NA LISTI Od 04.8.2010.g. / LISTED SINCE August 4th, 2010 among leading European magazines:

                  Einhorn Verlag S. Begman, Küsnacht, Schweiz                             

MI OBJEDINJUJEMO RAZLIČITOSTI...WE ARE UNIFYING DIVERSITIES

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Narudžba knjiga / Purchasing of the books / Bücher bestellen

Samira Begman

Avery Thorn

Sabahudin Hadžialić

Einhorn Verlag

Samira Begman

Sabahudin Hadžialić

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samo jedan klik desno

just one click on the left

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DIOGEN pro culture magazine presents you / DIOGEN pro kultura magazin vam predstavlja
Exhibitions worldwide / Izložbe širom svijeta
2013.

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31.5.2013.
Poziv za izložbu / Invitation for exhibition
„Ars Aevi Collection in Progress 1993-2013“ 
28.5. 2013. - 24.11.2013.

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31.5.2013.
RACHEL BUSBY
Postcards From Pareidolia
1 - 22 June, 2013-Private View: Friday 31 May, 6-9.30pm-London, UK

Rachel Busby Floodlight (Saturday night at the Sports Club), 2013 Acrylic on canvas 30.5 x 25.5 cm, 12 x 10 in

Pareidolia (pron.: parr-i-DOH-lee-a) is a psychological phenomenon involving a vague and random stimulus (often an image or sound) being perceived as significant. Common examples include seeing images of animals or faces in clouds, the man in the moon or the Moon rabbit, and hearing hidden messages on records when played in reverse.
 
Postcards from Pareidolia is an installation of raw sensorial paintings presenting a ‘storyboard’ of the artist’s rural living. Selective memories, true stories and ancient histories bind together the passage of time.
 
Each piece worked to an exacting sense, whether it be touch, smell or sound. Seeing nothing, but sensing everything. Within the setting of an unforgiving yet beautiful landscape, the work looks towards its inhabitants and ponders over their curious ‘frontier mentality‘. Big spaces breeding secrets, cultivating strange habits and lawlessness - the art of getting away with the 'stuff' that you can’t do elsewhere.

Rachel Busby Window, 2013 Acrylic on canvas 30.5 x 40.5 cm, 12 x 16 in

A mystery pondered, a curiosity. I never understood why many homes had a dead house plant in pride of place. On a sideboard, mantlepiece, coffee table, the poor thing becomes a surrogate ashtray, nicotine dead. A gooey pot, a couple of dead plant strands in blue - memories of a Virgin Mary porcelain. Hope from the ashes.
 
The street I grew up. Neat, concrete, grey. Even the sea as the streets’ background is grey. Concrete gardens, manicured shrubbery, never stood a chance. Except for my parents’ conifer. It’s making a break out.

Rachel Busby The Globe ( tools I ), 2013 Acrylic on canvas 30.5 x 25.5 cm, 12 x 10 in

www.re-title.com/artists/rachel-busby.asp

LUBOMIROV-EASTON
Enclave 8, 50 Resolution Way
Deptford
London SE8 4AL
T: +44 (0)7739749346
Wednesday to Saturday, 12-6pm
 
www.lubomirov-easton.com

Rachel Busby Virgin, 2013 Acrylic on canvas 41 x 51 cm, 16 x 20 in

Ufo spotting, moonshine, night skies, and space rock are just a few of the random and fleeting selections that build a bigger picture.
 
From the artist‘s notes:
Many of the paintings are interiors - looking out, looking in. Weather bound. Long, dark stormy winter months, the gloom, the heaviness weighing on the mind. Cheap interiors, fake wood formica, plastic tables, floral wall paper. Harsh fluorescent lighting. Beige. Cheap and nasty.
 
Miles from no-where, pitch black outside, looking from an entrance, the excited anticipation of the night ahead. Bright, twinkly lights, on and off, a sound check, a warm fuzzy glow of a fun-filled night. The mismatch of space rock in a disused chapel, the jarring flittering acrid lights in a stoned out room. Transparent and roughly addressed, a fuzzy memory of an impending urgency.

Rachel Busby Blue Stone Magic ( Marshes) 2013 Acrylic on canvas 25.5 x 40.5 cm, 10 x 16 in

The Preseli Hills -a location of stone age significance, an errie, barren place, steeped with mysticsm, hangs its heavy past in a deafened silence. I don’t like going there. But intrigued with its importance - a major trading route from the coast inland, a motorway for stone-age travellers. The unique blue stone, only found in this part of the world, yet dragged hundreds of miles to be part of the Stonehenge monuments. I paint a path through an obstacle course of marsh, shrubbery and rock.
 
These are my postcards.
 
 
Rachel Busby grew up in West Wales, and after an extended time living in London has now returned there. Rachel studied at Winchester School of Art and at the Akademie Der Bildenden Kunst in Vienna. She is the founding co-director of re-title.com. This will be her first solo exhibition since returning to live in Wales.
 

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23.5.2013.

LAURENT DELAYE GALLERY, London
United Kingdom

Peter Lamb Puffy Brain on Mountain, 2012 photograph, acrylic, spray and powder paint 280 x 190 cm Courtesy of the artist and Laurent Delaye Gallery, London

PETER LAMB
A PLACE THAT EXISTS
 
17 May – 15 June 2013
 
The gestural vigour of Peter Lamb's latest paintings suggests inspiration from Abstract Expressionism and even from the automatic techniques used by the Surrealists. But exposure to the warren of marks that complicate these surfaces relates the artist's ideas more closely to the American painter Cy Twombly who, while an admirer of Jackson Pollock, was also a critic of Pollock's painterly style to a level as self-identifiable as a signature. For Twombly, urgent and untranslatable furrows cancel individual expression to the point of anonymity. Random and repetitive, Twombly's marks contest the lure of the heroic artistic presence with an 'anti-gesture' that confronts the flatness of a painting's surface with complex clusters of lines and forms that alternate between clear and hidden areas.
 
Lamb also promotes inscrutability about meaning with concentrations of strokes, shapes and textures. Gestures are his own and, conceivably, other people's; authorship cannot be vouched for throughout an expanse of painting. Some elements are clearly not actual, physical registrations but marks that have been photographed, with the photograph then worked upon by being overlaid with new matter. What is more, the photograph reproduces shapes that could fall outside the general ambit of aesthetic consideration.
 
Adopting as his ground photographs of his studio floor place, Lamb's source material exists in an ambiguous position with the actions that take place once the photograph has been selected, enlarged and made ready to support collage and painting. After all, that original image is directly representational, depicting a place that exists, but is subsequently emptied of its figurative identity when the artist isolates particular geometric elements in an abstract way.
 
Lamb conflates two sorts of space. There is the actual space of the studio that was photographed and there is the illusory space presented by the reproduction. That second space is an allusion to, or memory of, the original place depicted by the mechanical process initiated by the digital lens. The flat surface of the print becomes the ineluctable plane of Modernism, a material expanse upon which shapes that are a representation of reality have been mechanically produced. Lamb's subsequent over-painting frees itself of the volumes and perspectives to project, with gesture and material, into the space of the spectator.
 
© Martin Holman 2012
 
 
LAURENT DELAYE GALLERY
First Floor
11 Savile Row
London W1S 3PG
T: +44 (0)20 7287 1546
 
LAURENT DELAYE GALLERY

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1301PE, Los Angeles
USA

Kirsten Everberg Come To Tomshino (Mirror), 2013 Oil and enamel on canvas over wood panel 72 x 96 inches, 182.9 x 243.8 cm Courtesy of the artist and 1301PE, Los Angeles Photo: Fredrik Nilsen

KIRSTEN EVERBERG
 
May 4 - June 29, 2013
 
1301PE is pleased to announce its fifth solo exhibition with Los Angeles based artist Kirsten Everberg. In her latest body of work, Everberg continues her exploration of the subjective nature of perception.
 
Everberg's paintings of empty interiors and unpeopled landscapes enter into a dialogue with one another, as motifs repeat and transform like recollected memories. She views the works in this exhibition as part of a circular, non-linear narrative that can be entered at any point. In this respect, her paintings reference a fluid cinematic space. More than simply illustrating specific scenes or frames, however, these paintings uncover the persuasive power that images have to construct reality.
 
"Ultimately, the works point to how images are framed, archived, and recalled by the viewer. The hazy edges and blurry lines of Everberg's paintings and works on paper seem clearly focused on the mediation of images within the broader landscape of visual culture."
– Gloria H. Sutton, "Surface Effects: Mediating Image Culture in the Paintings of Kirsten Everberg"
 
It is Everberg's seductive surfaces that first capture our gaze. Using a unique combination of oil and enamel paint, her works hover between representation and pure paint. There is always a tension here between the convincing depiction of space, and the abstract skeins of color that dance across the canvas. What appears to be an historic ballroom or dense jungle from far away, is reconfigured into glossy pools of paint close-up. Everberg's mastery of her medium is demonstrated by how deftly she walks this line. Narrative and image; truth and fiction; surface and what lies beneath – are all woven together in Everberg's captivating works.
 
Kirsten Everberg lives and works in Los Angeles. She has had recent solo exhibitions at the Pomona College Museum of Art, CA and the Scottsdale Museum of Contemporary Art, AZ. She has been included in exhibitions at several international institutions including FRAC Champagne-Ardenne, Reims, France; Le Consortium, Dijon, France; Vancouver Art Gallery, Vancouver BC, Canada; Museum of Contemporary Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; and Musée des beaux-arts, Nancy, France.
 
 
1301PE
6150 Wilshire Boulevard
Los Angeles, CA 90048
T: +1 323 938 5822
 
1301PE

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LA PETITE MORT GALLERY, Ottawa
Canada

Andrew Salgado Understudy, 2013 Oil on Canvas 120cm x 105cm Courtesy of the artist and La Petit Mort Gallery, Ottawa, Canada

ANDREW SALGADO
The Smallest Heart's Desire
 
May 3 – June 2, 2013
 
I am intrigued by the concept of truth and representation. Part of this has to do with my own personal struggles as conveyed through the notion that who one portrays in life is only part-truth – a performance executed on a multitude of levels. In many respects, identity is a performance executed through different guises, where as both individual and artist I'm curious to share this with my viewer through a limited articulation of the human face. The title, The Smallest Heart's Desire, simultaneously references the formal properties of the works themselves, a cheeky reference to the scale of the paintings as well as the narrative explored. In my most recent (previous) solo exhibition, I took a conceptual look at misanthropy, and with these works, I continue this journey: the smallest heart is a metaphor for my own shortcomings and the process I have taken, and continue to take, toward resolution. The eponymous desire refers to that pursuit toward fulfillment so relevant and specific to each of us.
 
Certainly the works are not meant to be celebrations of humanity's (or my own) glory, but are meant to explore the curious or unspoken aspects of 'self'. I have set to unfold the darkest corners of my own self-awareness, which proves to be a trying task, and upon reflection, it occurs to me that I often consider myself something of an anti-hero of my own creation. To present a series of works in which my subjects appear 'triumphant' is of little interest to me, since I believe there is more to excavate and portray from human nature in the poetry of discontentment, the awareness of oneself, or one's affect on his environment.
 
In the process I have taken myself out of the equation through a series of stand-ins, disguises, and doubles, in which an autobiographical perspective is explored through the use of a representative of sorts. Here, identities are obscured as a series of masks - figures lurk behind abstraction – but our cognitive processes still tie together and absolve what the subject himself lacks. I become narrator, weaving myself and my subjects in-and-out of fact and myth: where their histories end and my identity begins remains purposefully ambiguous.
 
The references to performance and masquerade in the titles of the works are resolutely intentional, and these were (and are) the formative elements that inspired and fuelled this exhibition from the very beginning. I see the whole show as a tiny little opera, in acts, with characters who are all kind of tragic and kind of ambiguous. My process is like the actor who adorns a tribal mask, which elevates someone from a corporeal self into a transcendent being – he is able to become a different person…As i am through the act of painting. At times I'm uncertain where I become only a medium for expression, like the ritual, the performance, or the metonym: the passing of one identity into another.
 
 
Andrew Salgado (b. 1982, Regina, Canada) has exhibited in the United Kingdom, Germany, Scandinavia, Australia, Venezuela, Thailand, Korea, Canada, and the United States. His bold, assertive, and generally large-scale figurative paintings have placed him as one-to-watch in both the UK's and North America's painting scenes; his recent solo exhibitions include In Order To Rebuild; Dosi Gallery, Busan, Korea (2012); and The Misanthrope; Beers.Lambert Contemporary, London, (2012). Forthcoming solo exhibitions include The Acquaintance, his first institution-exhibition at his home-town in The Art Gallery of Regina, Canada (Jan 2013); and solo exhibitions at La Petite Mort Gallery, Ottawa, Canada (May 2013); and One Art Space in New York City (October 2013).
 
Salgado's practice is an evolving process exploring concepts of identity through assertive, gestural figurative paintings. Salgado's practice (re)considers the tangibility and impermanence of the body, but also inwardly comments upon the fragility of self. Accordingly, Salgado exploits the purely physical properties of media to inform resonating themes within his work. In an effort to surpass a literal (re)presentation of his subject-matter, he prioritizes a visceral, sensual, topographic painting surface, toward an evolving language of figuration and abstraction. The work asks for consideration of what is visible, what is tangible, and what is suggested: pulling the viewer from the sutures of representation, and drawing attention to the painterly versus the metaphorical.
 
Salgado's paintings have hung in London's Courtauld Institute of the Arts (2010) alongside Tracy Emin and Gary Hume, was the highest-grossing work ever donated to Canada's esteemed Art For Life (18th Annual) Charity Auction (2011); included in the Merida Biennale of Contemporary Art (2010), the NordArt Carlshutte Biennale (2012); and is often featured in press and magazines, such as METRO, The Independent, Shortlist, Yatzer!, Juxtapoz, Colossal, Booooooom!, Beautiful Decay, Paradigm, Chaos, TOH! Italia. In 2011 he was featured in the Channel 4 (UK) documentary The Science of Art alongside artists Anish Kapoor, Howard Hodgkins, and Bridget Riley (2011). He has lived and worked in London, UK since 2008.
 
"At a time when painting itself often seems to be a threatened, even despised, form of artistic activity, Andrew Salgado emerges as a dazzlingly skillful advocate for the medium he has chosen to embrace."
- Edward Lucie-Smith, 2012
 
 
LA PETITE MORT GALLERY
306 Cumberland Street
Ottawa ON
K1N 7H9
Canada
T: 1 (613) 860.1555
 
LA PETITE MORT GALLERY

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KROBATH, Berlin
Germany

Despina Stokou George B., 2013 mixed media on canvas 150 x 200 cm Photography: Jens Ziehe Courtesy: Despina Stokou & Krobath Wien | Berlin

DESPINA STOKOU
DELUSIONS OF GRANDEUR / GRÖSSENWAHN
 
27 April – 22 June 2013
 
After a five-month stay in New York, which culminated in her US-debut bulletproof, Despina Stokounow presents Delusions of Grandeur at the Krobath Gallery. In her first solo exhibition in Berlin she continues to analyse the structures that enable (and at the same time distort) the production and dissemination of art: galleries, money, language, gender roles and the notion of success. Selected by the Deutsches Theater as the Artist of the 2013/2014 season, Stokou once again integrates dramatic texts into her analysis of the art scene. Fictional characters mingle with real-life people: Joan of Arc, Roberta, Blanche, Henry V and a certain George B...
- Despina Stokou
 
Delusions of Grandeur
Despina Stokou creates paintings. Yet the most prominent elements of her paintings are textual rather than pictorial. The Berlin-based artist cuts out letters from coloured origami paper and places them onto the canvas. There she juxtaposes word and sentence fragments with expressively applied, murky colours, which sometimes swell into dark clouds of text. Her method of scraping the colour, putting together newspaper and magazine snippets to create collages and selectively using spray colours results in a riotous ensemble. And to make it all look a little seedy, old snippets from Playboy and Playgirl are added to the mix. The letters conquer the canvas in a way that is reminiscent of the powerful graffiti which once adorned New York's walls, buses and underground trains. Back then, in the mid 1970s, Jean Baudrillard referred to this as the "revolution of signs".
 
Stokou finds the material for her textual paintings in her immediate surroundings: For 34 Adjectives NYT (2013) the artist filtered out all the adjectives used in an exhibition review by the influential art critic Roberta Smith published in the New York Times and used the resulting linguistic excerpts to produce art. Characters 2013/2014 (2013) was created in a similar manner. Here she presents various figures from her professional network as characters in a stage production: Mother Gallery, Father Gallery, the Collector Choir and the Writer. A part of the production environment that is usually barely visible to the public thus finds expression in the painting itself. However, Stokou does not aim to produce a strict narrative or to uncover some kind of hidden correlation. Instead, she focuses on private mythologies, linguistic games and misunderstandings: "A lot of the words I used are intended to open up paths to other spaces."
 
In Ruin Art Noir (2013) Stokou quotes the menus of "Les Trois Rois" in Basel and the five-star hotel "Delano South Beach", which is renowned for its exclusive pool parties during Art Basel Miami. The background colours of her "art cannibalism series", as she privately calls it, were inspired by the label of the champagne brand Ruinart. The products of the Reims-based champagne house are marketed at art fairs across the world by the luxury goods conglomerate LVMH.
 
Stokou is interested in the alluring charm and the slightly decaying glamour of places like Basel or Miami. She watches the goings-on and listens for the names that are traded like shares each season. The paintings from her Ruin Art series seem like hastily written notes, as if the surge of names, places and prices were fixated for a moment. But the obscurity remains. Like layered slides, Stokou's notes form a new picture puzzle: the dancing letters create distortion and ambiguity. Somewhere a door opens with a creak and lets a cool breeze into "Les Trois Rois". And the menu of the hotel restaurant Cheval Blanc suddenly features a Voodoo Stew.
 
Kito Nedo
(English translation: Mandana Taban)
 
 
KROBATH
Marienstraße 10
D-10117 Berlin
Germany
T: +49 30 280 426 70
 
KROBATH

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19.5.2013.

CONTEMPORARY VISIONS IV

Beers.Lambert Contemporary is proud to present an open call for our 4th Annual Open Exhibition, Contemporary Visions IV, held at our gallery in the heart of vibrant East London's contemporary art district between Shoreditch and The City.
 
The Beers.Lambert Contemporary annual open call/exhibition seeks to identify current trends in contemporary art through the discovery and exhibition of artists working in all artistic disciplines. Artists worldwide and at any career stage are welcome to submit an application for consideration to exhibit with Beers.Lambert Contemporary in London from November 14 - December 22, 2013. Applications will be juried by Kurt Beers, Director of Beers.Lambert and author of 100 Painters of Tomorrow; Christopher Jobson, Creator and Editor of 'This is Colossal'; Andrew Salgado, London-based artist and painter; and Cathy Wills, Chair of Collections at London's Contemporary Art Society. This is a remarkable opportunity for artists at any stage to exhibit in a vetted, curated group exhibition in the heart of London's vibrant art community. One or more artists will be selected for a solo-exhibition and other notable opportunities.
 
ELIGIBILITY
Artists worldwide, at any career-stage may submit.
 
DATES*
November 14 – December 21, 2013. *Subject to minor change.
 
ARTWORK
All media is accepted, including: two-dimensional, three-dimensional, installation, video, performance, new-media and any other traditional and non-traditional media. Submit up to 4 images. There is no maximum-pixel height/width to images. There are no restrictions to size or otherwise for to work submitted for exhibition. Work should be available for exhibition / sale during the exhibition dates.

• Artists working in video or time-based media can submit 4 video stills, accompanied by posting an edited video or video-reel of up to 3-minutes in duration directly to the gallery at: 1 Baldwin Street, London EC1V9NU. The CD should be labeled with the applicants first and last name and the title and year of the video.
  
• Performance artists may submit existing or proposed work with appropriate documentation.
  

 
FORMS
All data is to be submitted directly into the online application system.
 
JURORS
Kurt Beers, Director, Beers.Lambert Contemporary
www.beerslambert.com
 
Christopher Jobson, Creator and Editor, This is Colossal blog
www.thisiscolossal.com
 
Andrew Salgado, Artist
www.andrewsalgado.com
 
Cathy Wills, Chair of Collections, Contemporary Art Society
www.contemporaryartsociety.co.uk
 
FEE
There is a nominal processing fee of £10 to submit – payable via Paypal. You can update your application at anytime until the deadline closes.
 
DEADLINE & RESULTS
Open call dates will run from May 15 to July 1, 2013. While results will be sent by email to each applicant, spam filters, inbox limitations, and incorrect email addresses supplied means we cannot ensure all applicants are receiving pertinent information. As a result, applicants should make note of important dates and visit the site at those times; it remains the applicant's responsibility to check the site after 1 August 2012 after which results will be posted online.
 
AWARDS
One (or more) of the artists selected for exhibition will be offered a solo exhibition with the gallery in 2014. Other artists may be invited for representation or further opportunities with the gallery or the various jurors.
 
CONTACT
For further questions or queries, please contact [email protected]. Thank you in advance for your application, and we wish you the sincere best of luck with your application!
 
www.beerslambert.com/opencall/

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Swab Barcelona 2013 announces the creation of new Programmes for its sixth edition 

General Inquiries [email protected] Galleries contact [email protected]

Swab Barcelona will take place between 3rd and 6th October 2013 at the Italian Pavilion in Fira Barcelona. For the sixth edition of the Fair, Swab Barcelona will count on the participation of up to 60 galleries taking part in different programmes.
 
A part from the usual General Programme, for established emergent art galleries, and MYFAF, for young galleries that participate for the first time in an Art Fair, this year Swab Barcelona presents several Galleries Programmes that will focus on different aspects such as the country of origin or the type of art they show.
 
5 Galleries Programme
This Programme will be curated by BAR, a non-profit organization, independent and mobile dedicated to promoting artistic exchange through local partnerships, national and international curatorial project development and research. This programme will count on 5 international galleries with no more than five years of existence that pay special attention to research and artistic production, as well as a long-distance collaboration with artists.
 
We are proud to announce the Galleries participating in this Programme:
 
Galerie Tatjana Pieters, Gent (Belguim)
Silberkuppe, Berlin (Germany)
Courtesy Gallery, Los Angeles (USA)
Proyectos Ultravioleta, Ciudad de Guatemala (Guatemala)
Galerie Samy Abraham, Paris (France)
 
We are also proud to announce the 4 galleries selected to participate in MYFAF (My First Art Fair):
 
Galerie Gouvernnec Ogor, Marseille
Me & the Curiosity, (Pop up Gallery)
Galerie Pleiku, Berlin
Prawneg+Wolf, Bruneck
 
The complete list of exhibitors and programmes will be announced in the Official Press Conference on 5thJune at CCCB (Centre of Contemporary Culture of Barcelona)
 
We are also proud to announce the Swab Awards 2013 that this year will count as Jurors on artistic-cultural personalities from all over Europe:
 
• Best Gallery Award by Banco Sabadell Foundation

 
President: Miquel Molins, Director of the Banco Sabadell Foundation
Jurors: Josep Maria Civit (Collector), Katerina Gregos (Curator and Artistic Director of Art Brussels), Jérôme Pantalacci (Curator and Director of Art O-Rama, Internacional Art fair of Marseille), Glòria Picazo, (Director of Centre d’Art La Panera) and Xavier Antich (President of the board of trustees of Fundación Antoni Tàpies)
 
•  Mango’s Young Artist Award

 
President: Frans Bonet, Director of image from Mango
Jurors: Albertine de Galbert (Curator and Director of arte-sur.org), Kristian Jarmuschek (Director of Preview Berlin),  Josep Juanpere (architect and collector), Martina Millà (Director of Programming and Projects of Fundació Miró), Nina Stricker (Director kunStart 12)
 
• Award in Photography by Volkswagen that will give to the MACBA Foundation the winning artwork.

 
President: Bartomeu Marí, director of MACBA
Jurors: Pepe Font de Mora (director of Fotocolectania Foundation), Juan Redon (collector), Alvaro L. de la Madrid (collector and member of the MACBA Foundation Workshop), Han Nefkens (patron and writer).
 
•  Drawing Award by Diezy7 Collection
 
President: Fernando Romero, MOMA Advisory
Jurors: Ainhoa Grandes (MACBA Foundation Director), Alicia Ventura (artistic responsible of the DKV Collection), Jaime Sordo (President of the Association of Contemporary Art Collectors 9915), Mercedes Vilardell (collector)
 
• Idea Art Award by Marset

 
President: Javier Marset (Director of Marset)
Jurors: Manuela Valentini (curator), Miquel Planas (Artist and Professor of Sculpture at Universitat de Barcelona). The other Jurors are to be confirmed.
 
The application process for galleries wishing to participate in the General Programme is still opened.
 
Swab Barcelona continues with its Swab Off Programme, with Swab Stairs and As Sun As Possiblethat are taking place in May, and other activities that will soon be announced. For more information about these activities please visit: www.swab.es/activities
 
Swab Barcelona is an initiative of Espacio de Arte Contemporáneo Diezy7, which has the support of the Ajuntament de Barcelona, the Generalitat de Catalunya and the Ministerio de Educación, Cultura y Deporte.

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TATE BRITAIN
FOCUS: ROSE WYLIE
14 May - 6 October 2013
Artist Talk with Rose Wylie on Wednesday 15th May, 4pm
FOCUS Gallery at Tate Britain, Millbank  London SW1P 4RG

Elizabeth & Charles 2013 Pencil, marker and collage 30 x 42 cm © Rose Wylie Courtesy of the artist and UNION Gallery, London

The exhibition will run concurrently with Rose Wylie - Henry, Thomas, Keith & Jack at Union Gallery, London. The solo exhibition shows recent large-scale paintings and drawings by the artist from 2012 and 2013.
 
Rose Wylie (born 1934) makes large-scale paintings inspired by a wide range of visual culture. Her subject matter ranges from contemporary Egyptian Hajj wall paintings and Persian miniatures to films, news stories, celebrity gossip and her observation of daily life.

Inglourious Basterds (film note) 2010 Oil on Canvas, 181 x 338 cm © Rose Wylie Courtesy of the artist and UNION Gallery, London

In weaving together imagery from different sources with elements personal to the artist, Wylie’s paintings offer a direct and wry commentary on contemporary culture.
 
This display has been curated by Melissa Blanchflower, Lizzie Carey-Thomas and Clarrie Wallis.
 
www.tate.org.uk/whats-on/tate-britain/display/focus-rose-wylie
 
UNION Gallery
94 Teesdale Street
London E2 6PU
 
Opening Hours
Wed - Sat 12 - 6 pm
Sunday by appointment only
 
Tel: +44 (0) 207 739 9119
Mob: +44 (0) 785 0079 002
 
[email protected]
www.uniongallery.com

Queen of Sheba & JT, 2012 Oil on Canvas, 182 x 342 cm © Rose Wylie Courtesy of the artist and UNION Gallery, London

Wylie produces bold and loosely-painted canvases that are often made up of multiple panels. Her compositions and repeated motifs are informed by the cut-out techniques of collage and the framing devices of film, cartoon strips and Renaissance predella panels. Often working from memory, she distils her subjects into succinct observations, using text to give additional emphasis to her recollections.

POW, 2013 Oil on Canvas, 203 x 165 cm © Rose Wylie Courtesy of the artist and UNION Gallery, London

Alongside images of footballer John Terry, the Queen of Sheba and Marilyn Monroe, Wylie paints everyday events such as a girl eating a chocolate biscuit. This display also includes a work that refers to the artist Mark Wallinger’s film Sleeper 2004-5 where he roamed Berlin’s Neue Nationalgalerie dressed as a bear, and paintings from her ongoing ‘Film Notes’ series. These pay homage to film directors admired by Wylie including Werner Herzog, Carlos Reygadas and Quentin Tarantino.

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A PROGRAMME OF SPECIAL EVENTS AT GALLERIES IN LONDON EC1 & WC1
 
SATURDAY 18TH MAY 2013
12NOON-8PM
WWW.LONDONGALLERYDAY.COM

22 GALLERIES AND AN ARTISTS’ STUDIO IN LONDON WC1 AND EC1 WILL BE OPENING THEIR DOORS AND EXTENDING OPENING HOURS ON SATURDAY 18 MAY 2013 FROM 12 TO 8PM - MANY ARE HOSTING SPECIAL EVENTS, TALKS, BOOK LAUNCHES AND DRINKS. CUBITT GALLERY ON THE FRINGE OF WC1 OFF PENTONVILLE ROAD AND STRANGELOVE STUDIOS AT ST MARK’S CLERKENWELL WILL ALSO BE TAKING PART AND THROWING THEIR DOORS OPEN.
 
 
1. ANCIENT & MODERN 12NOON-8PM
201 WHITECROSS STREET, EC1Y 8QP
020 7253 4550
 
EXHIBITION: ALAN KANE - PUNK SHOP
ALAN KANE FUSES THE JOKE SHOP WITH HIS FIRST ADULT ART EXPERIENCE IN 1977 ON ENTERING SEDITIONARIES - VIVIENNE WESTWOOD AND MALCOLM MCLAREN'S BOUTIQUE ON THE KING'S ROAD. FINAL DAY OF THE EXHIBITION.
 
EVENT: ARTIST SIGNING OF LIMITED EDITIONS AND FINNISSAGE WITH APERITIFS 4-6PM.
 
 
2. ARCADE 12NOON-8PM
87 LEVER STREET, EC1V 3RA
020 7608 0428
 
EXHIBITION: POLITICS - CECILIE GRAVESEN, RUTH HÖFLICH, SARA KNOWLAND, FERNAND LÉGER, MARIA ZAHLE
 
 
3. ART REVIEW (NOT OPEN)
1 HONDURAS STREET, EC1Y 0TH
020 7107 2706
 
 
4. BREESE LITTLE 12NOON-8PM
30D GREAT SUTTON STREET, EC1V 0DU
07984 950951
 
EXHIBITION: DIMITRI KOZYREV
DIMITRI KOZYREV'S FIRST SOLO EXHIBITION IN LONDON. HIS COMPLEX PAINTINGS NEGOTIATE PHYSICAL AND MENTAL EXPANSIVE VISTAS REFERENCING MODERN HISTORY AND THE AVANT-GARDE THROUGH ABSTRACTION.
 
 
5. CABINET (CONTACT FOR DETAILS)
APT 6, 49-59 OLD STREET, EC1V 9HX
020 7251 6114
 
 
6. CARSLAW ST LUKES 12NOON-8PM
137 WHITECROSS STREET, EC1Y 8JL
020 7490 3667
 
EXHIBITION: MELANIE MANCHOT - LEAP AFTER THE GREAT ECSTASY
INSPIRED BY WERNER HERZOG'S GREAT ECSTASY OF WOODCARVER STEINER AWARD-WINNING FILM MAKER MELANIE MANCHOT OBSERVES DANGEROUS QUESTS FOR PERFECTION IN THE DESIRE FOR SKI JUMP WORLD CUP GLORY.
 
 
7. CHARLIE DUTTON GALLERY 12NOON-8PM
1A PRINCETON STREET, WC1R 4AX
0207 831 0889
 
EXHIBITION: WE SELL PORNOGRAPHY HERE
GROUP SHOW WITH MARIA BAJT, CECILIA BONILLA, LILLI HARTMANN, ALY HELYER AND KATE LYDDON. THE HUMAN CONDITION HERE IS SPEWED UP AND OFFERED FREELY, WITH LITTLE RESPECT FOR SOCIAL MORES OR POLITICAL CORRECTNESS, EXPECT THE WORK OF THESE FIVE ARTISTS TO BE ALARMING; UNNERVING; AND OMINOUS IN TONE.
 
 
8. CONTEMPORARY ART SOCIETY 12NOON-8PM
59 CENTRAL STREET, EC1V 3AF
020 7017 8400
 
EXHIBITION: IVAN SEAL
THE SOCIETY ENCOURAGES APPRECIATION OF CONTEMPORARY ART BY WIDE AUDIENCES DONATING WORKS BY NEW ARTISTS TO MUSEUMS - ART GALLERIES SUCH AS NORWICH CASTLE TO WHOM IVAN'S EXHIBITED WORK WAS GIFTED.
 
 
9. CUBITT GALLERY 12NOON-8PM
8 ANGEL MEWS, N1 9HH
020 7278 8226
 
EXHIBITION: AARON FLINT JAMISON
THE ARTIST PRESENTS A NEW COMMISSION FOR THE GALLERY. JAMISON IS EDITOR OF ACCLAIMED PUBLISHING PROJECT VENEER MAGAZINE AND OVERSEEING EXHIBITIONS ON IAN HAMILTON FINLAY AT YU HIS ARTS CENTRE IN PORTLAND, OREGON.
 
 
10. DALLA ROSA GALLERY 12NOON-8PM
121 CLERKENWELL ROAD, EC1R 5BY
 
EXHIBITION: CATRIN MORGAN - THE AGE OF WIRE AND STRING
CATRIN'S ILLUSTRATIONS ARE FOR BEN MARCUS' BOOK THE AGE OF WIRE AND STRING (GRANTA BOOKS, MAY 2013), A CLASSIC OF INNOVATIVE FICTION. OTHER ILLUSTRATIONS ENVISION IDEAS ABOUT THE WORLD CONJURED UP BY THE NOVEL.
 
 
11. DOMOBAAL 12NOON-8PM
3 JOHN STREET, WC1N 2ES
07801703871
 
EXHIBITION: FLOOD/Ní BHRIAIN/VARI
DAMIEN FLOOD / AILBHE Ní BHRIAIN / MHAIRI VARI
 
EVENT: DAVID GATES PRESENTS THE RURAL COLLEGE OF ART'S OPEN DAY 2013:
POP DOWN TO THE COLLEGE TAKING UP TEMPORARY RESIDENCY IN A 1730S BRICK COAL VAULT 12 NOON - 8PM
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BÜRO: OFFERING A SELECTION OF DOMOBAAL EDITIONS / GUEST PUBLICATIONS / COLLABORATIONS / HANDMADE BOOKS / CHAPBOOKS / NEWSPRINT EDITIONS / EDITIONS / BEERMATS / ALL AVAILABLE AT ATTRACTIVE RATES ON THIS DAY ONLY
TERMS: CARDS / CASH / PAYPAL / SWAPS
 
 
12. EAGLE GALLERY 12NOON-8PM
159 FARRINGDON ROAD, EC1R 3AI
0202 7833 2674
 
EXHIBITION: JULA FARRER - HELICAL LINKS
THE AWARD WINNING ARTIST'S 3RD SOLO EXHIBITION WITH EAGLE GALLERY INVESTIGATING THE AMORPHOUS GEOMETRY OF SPACE AND ITS CONSTRUCTED FORM, TWISTING AND ROTATING STRUCTURES CREATING ILLUSIONS OF 3D.
 
EVENT: POP-UP FOR THE DAY: EMMA JEFFS/N&N WARES TEXTILE SURFACE DESIGNS ON SCARVES.
 
 
13. FOLD GALLERY 10AM-8PM
15 CLERKENWEL CLOSE, EC1R 0AA
020 7207 4845
 
EXHIBITION: GROUP SHOW - SPEAK, CLOWN!
MORE OF AN EXPERIENCE THAN SHOW, CONCEIVED IN KINSHIP WITH SURREALISTS, PRE-SURREALIST VISIONARIES AND PSYCHOPATHOLOGICAL ART, THE WORKS COVER THE GAMUT OF THE COMIC, DISTURBING, AMUSING AND CONFUSING.
 
 
14. GAGOSIAN GALLERY 10AM-8PM
6-24 BRITANNIA STREET, WC1X 9JD
020 74933020
 
EXHIBITION: RACHEL WHITEREAD - DETACHED
WHITEREAD'S SCULPTURE EXPANDS ON MINIMALISM BY IMPLICATING THE TRACES OF INDIVIDUAL PRESENCE LEFT ON OBJECTS AND NEGATIVE SPACES FROM WHICH THEY ARE CAST. HUMAN EXPERIENCE TOUCHES HER CONSTRUCTIONS.
 
 
15. MARIA STENFORS 12NOON-8PM
UNIT 10, 21 WREN STREET, WC1X 0HF
020 7837 0819
 
EXHIBITION: MARTIN GUSTAVSSON - INDENTATIONS
A MAJOR NEW SERIES OF PAINTINGS BY THE ARTIST REVEALING A PHYSICAL ROTATION THROUGH A FIXED VIEWPOINT LIKE SNAPSHOTS OF A FILM OF A SCULPTURE IN ITS DYSFUNCTIONAL DISJOINTEDNESS.
 
EVENT: JOIN THE ARTIST FOR DRINKS, GRAVLAX AND OTHER SCANDANAVIAN SPECIALITIES.
 
 
16. MARSDEN WOO GALLERY 12NOON-8PM
17-18 GREAT SUTTON STREET, EC1V 0DN
020 7336 6396
 
EXHIBITION: MARTIN SMITH AND ANJA MARGARETHE BACHE
 
 
17. ROD BARTON 12NOON-8PM
ONE PAGET STREET, EC1V 7PA
020 728 3259
 
EXHIBITION: BRYAN DOOLEY - RABBIT IS RICH
BRYAN DOOLEY'S FIRST LONDON SOLO SHOW BREACHES PHOTOGRAPHIC CONVENTIONS WITH CONTENTS WHICH SPILL OUT OF THEIR BORDERS RUPTURING SPACE THROUGH SURFACE MANIPULATION.
 
 
18. ROKEBY 12NOON-8PM
5-9 HATTON WALL, EC1N 8HX
020 7193 5034
 
EXHIBITION: ELI CORTIÑAS - BIRD, CHERRY, LOVER
ELI CORTIÑAS' FIRST SOLO EXHIBITION IN LONDON OF FOUND FOOTAGE VIDEO WORK EXAMINES THE CONSTRUCTION OF FEMALE IDENTITY ASKING THE VIEWER TO READ MEANING INTO THEM AND CONSIDER THE CONTEXTS OF THE ORIGINALS.
 
 
19. THE ARTS CATALYST 12NOON-8PM
50-54 CLERKENWELL ROAD, EC1M 5PS
020 7251 8567
 
EXHIBITION: PATRICK STEVENSON-KEATING - ELASTIC DIMENSIONS
ARTS CATALYST COMMISSION ART THAT CRITICALLY ENGAGES WITH SCIENCE. PARTICK'S QUANTUM PARALLELOGRAPH IS A PUBLIC ENGAGEMENT PROJECT CONCERNING QUANTUM PHYSICS AND MULTIPLE UNIVERSES TO SEE ALTERNATE REALITIES.
 
EVENT: BOOK SALE COVERING 20 YEARS OF PROJECTS AND VIDEO DOCUMENTATION OF SOME OF THEM.
 
 
20. TINTYPE 12NOON-8PM
3RD FLOOR, 18 ST CROSS STREET, EC1N 8DX
07946 545 978
 
EXHIBITION: ADAM GILLAM - IDEAL PASTE
TINTYPE WILL BE SHOWING ADAM GILLAM'S SOLO SHOW. HIS COMIC, DELICATE SCULPTURES HAVE AN IMPROMPTU QUALITY, AKIN TO A MAKESHIFT MOMENT WHICH IS GIVE FORM.
 
EVENT: ADAM GILLAM AND LOUISE HOWLETT WILL BE PLAYING RECORDS FROM THEIR COLLECTION.
 
 
21. WORK 12NOON-8PM
10A ACTON STREET, WC1X 9NG
0207 713 5097
 
EXHIBITION: DAVID EVANS - THE ART OF WALKING: A FIELD GUIDE
TO CELEBRATE ITS PUBLICATION, WORK IS HOLDING A ONE-DAY EXHIBITION OF WORK FEATURED IN THE BOOK THE ART OF WALKING: A FIELD GUIDE (BLACK DOG PUBLISHING). IT IS THE FIRST SURVEY OF WALKING IN CONTEMPORARY ART.
 
EVENT: 3-4.30PM EDITOR DAVID EVANS AND ARTIST-WRITER DAVID COMPANY WILL TALK ABOUT WALKING AND ART. PLACES ARE FREE BUT LIMITED: PLEASE RESERVE BY RSVP TO[email protected]
 
 
22. WW GALLERY 12NOON-8PM
34/35 HATTON GARDEN, EC1N 8DX
01753 342 128
 
EXHIBITION: BROUGHTON & BIRNIE BERLIN THE FORGER'S TALE: QUEST FOR FAME AND FORTUNE
AN IMMERSIVE, EXPERIENTIAL, NARRATIVE, MUSEUM-STYLE INSTALLATION, IN WHICH BROUGHTON AND BIRNIE PUT ON THEIR CONTEMPORARY TAKE ON THE WEIMAR ERA: DEGENERATE ART BECOMES REGENERATE, AUDIENCE IS CABARET.
 
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SPECIAL GUESTS:
 
STRANGELOVE STUDIOS 3.30-8PM
ST. MARK’S CRYPT, MYDDELTON SQUARE, EC1R 1XX
07954 336173
 
STRANGELOVE STUDIOS, LOCATED IN THE CRYPT OF ST MARK’S CHURCH, WILL PRESENT ARTWORKS, INTERVENTIONS AND EVENTS IN AND AROUND THE CHURCH, INCLUDING A CIRCUMNAVIGATING HEARSE AND PERFORMANCES IN THE BELL TOWER, BY RESIDENT ARTISTS: NAT BREITENSTEIN, JASON AUGUSTINE CARR, PHILIPPA HADLEY CHOY, WILLIAM HORNER AND CHRISTOPHER ROUNTREE
 
EVENT: SALON PARTICULIER WILL HOST AN EVENING SALON OF TALKS AND DINNER AT 8PM: WITH SPEAKERS REV ELIZABETH ADUEKUNLE, ARTIST TOM ELLIS AND DR PATRICIA LYONS TICKETS AVAILABLE AT SALONPARTICULIER.ORG
 
 
WWW.LONDONGALLERYDAY.COM

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11.5.2013. 
Lincoln, United Kingdom

The Lincoln Boat Club, courtesy of Lincoln Art Programme

 
A programme of artist commissions, talks, film screenings and events exploring the mysteries and associated histories of Lincoln’s Brayford Island and its surrounding waters.
 
In the heart of Lincoln City center a small inaccessible isle, inhabited by a single willow tree sits maintaining an aura of mystery fuelled by its uncertain origins and rumors of submerged treasure. Over the May bank holiday weekend (25-27 May) Lincoln Art Programme embark on a journey to unearth and retrieve the forgotten histories of this curious island.
 
Five artists have been commissioned to respond to the site and context of the Brayford Isle which will populate the surrounding water, pathways, and ponds located around the area, whilst a programme of talks by artists, historians and geographers will take place on the surrounding banks, and a screening of Ben Rivers film The Creation As We Saw It will take place; all providing audiences with a unique experience and alternative perspective of the inconspicuous island.
 
Artist commissions include a new neon sign by Tim Etchells, comprising of a single statement, which floats in the water responding to the landscape whilst announcing its own failure. Blue Firth will take audiences on an excursion around the Brayford Pool in an adapted swan pedalo allowing for audiences to contemplate the area, which is accompanied by an audio piece that responds to visitors GPS locations. London based artist Ian Giles will lead a precession of a pot, which responds to the archeology of the site and will end in the ceremonial smashing for a future archaeological find.
 
Lincoln Art Programme are collaborating with NABROAD, to develop new commissions with Norwegian artists Benedicte Clementsen and Kurt Johannessen. The commissioned performances will see Benedicte Clementsen respond to the islands willow tree by looking at Lincolnshire mythology, whilst Kurt Johannessen presents a static performance which plays with ideas of illusion and standing on water.
 
September 2013 will see the project draw to a close with the launch of a new publication alongside a nationally focused symposium held in partnership with the University of Lincoln.  Bringing together both artistic and academic contributions from artists, historians and archaeologists the symposium will create a forum of discussion into ideas associated with methods and strategies of the re-telling of historical narratives and present new research unearthed throughout the project.
 
The weekend of activity is free to attend.  Further details of the publication and symposium will be released in the summer.

Full details and information on the forthcoming programme can be found here
 
PROJECT HUB
Throughout the weekend Lincoln Art Programme will be housed within the Lincoln Canoe Club Hub, on the Brayford Wharf East from 10-4pm. Here you will be able to collect a printed programme, sign up for talks and events and access further resources.
 
TRANSPORT
The Brayford Pool is a pedestrian area only, located just off the main high street and only a 10 min walk from the train station. The closet parking can be found at Broadgate (LN2 5AP), £4.00 all day.
 
Train information:
From London: Every hour on Saturday with one change at Newark (2 hours)
From Nottingham: Every hour on Saturday, direct train (1 hour)
From Leicester:  Every hour on Saturday, direct train (1.45 – 2 hours)
 
 
www.lincolnartprogramme.co.uk
 
 
Arts Council England, Heritage Lottery Fund and the Norwegian Embassy financially support Red Herrings and Chinese Whispers. The project also acknowledges the generous support of the Canal and River Trust, University of Lincoln and the Brayford Trust.

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09.5.2013.

OCCUPY SPACE, Limerick, Ireland

Tadhg Ó Cuirrín Falling, 2013 Courtesy of the artist

Occupy Space presents Optimism: a solo exhibition by Tadhg Ó Cuirrín
hosted by Ormston House
 
23rd May to 22nd June, 2013
 
"Optimism is a political act" (Alex Steffen)
 
Optimism addresses the rapidly growing proliferation of new digital technologies and media of the early 21st century. These technologies hold an increasingly prevalent position as mediators for our experience of our everyday lives. This holds certain benefits: the free-flow of non-hierarchised information for example, and a democratisation and interconnectivity imagined by the utopians of previous eras.
 
However a counter-argument could be made that precisely the opposite has occurred; namely that the constant bombardment of information and visual stimuli has had the effect of reinforcing existing power structures, contributing to the pervading sense of ennui and lethargy that characterises the postmodernist epoch.
 
In reality, both views have a certain validity. Utilising Jacques Derrida's conception of the pharmakon, something that is both a poison and a remedy all at once, the work seeks to counter the idea and practice of creating identity and agency through consumer choices, and that the only useful way to enact positive change in our lives, in both a personal and societal context, is through positive action and democratic engagement.
 
About the artist:
Ó Cuirrín's work questions ideas of success and failure, both at a macro and micro level, by interrogating decision making processes, the effect of power and powerlessness that run through society and resonate in the slightest physical sensation of every individual and object. He explores the optimism and anxiety inherent to this decision making proccess as filtered through through the prism of a disorientating array of new digital sign activity and web based cultural detritus. The work seeks to remystify this whirl of technological change through ritual, transfiguration, détournement, and by interrupting the smooth transmission of information to interrogate the structures and systems of power.
Using a variety of media, his practice utilises the conceptual language of the computer network; problems of organisation, boundary concepts, complexes of components in interraction, and often traces the space wherein physical space becomes an absurd extension of the digital. He emphasises the importance of play and humour to provoke but also to induce new modes of thought and creation, and seeks to create a visual and conceptual language that is heavy with connotation but light at first appearance.
 
Tadhg achieved an honours degree in Fine Art, Painting in the Limerick School of Art and Design in 2009. He has exhibited widely, nationally and internationally, and currently lives and works in Galway city. Upcoming projects include ‘Caochspota’, a group exhibition curated by Nuala Ní Flathúin at the Niland gallery Galway.
 
www.tadhgocuirrin.com
 
About Occupy Space:
Occupy Space provides a platform for local, national and international artists, welcoming a diverse range of practices and promoting Limerick as a hub for contemporary visual art. Occupy Space is a not-for-profit organisation that has established a dynamic programme of exhibitions and events to engage the local audience and to open up a critical dialogue with the wider visual art community. The fundamental objective of the organisation is to provide exhibition opportunities for graduate and emerging artists outside of the context of a commercial gallery space. Occupy Space is operated by a voluntary staff, providing experience in event management, facilitating exhibitions and developing potential for independent curatorial projects.
 
 
Occupy Space
Ormston House
Patrick St.
Limerick
Ireland
 
Occupy Space

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CHERRY AND MARTIN, Los Angeles, USA

Florian Morlat Cannonball 2013 Acrylic paint, cardboard, wood, and dried bananas 65.5 x 21.5 x 20.5 inches, 166.37 x 54.61 x 52.07 centimeters Photography by Robert Wedemeyer Courtesy of the artist, and Cherry and Martin, Los Angeles

Florian Morlat
Sticks and Stones, Pt. 1 and Pt. 2
 
Pt. 1 - May 4 - June 1, 2013
Pt. 2 - June 8 - July 6, 2013
 
Cherry and Martin is pleased to present Florian Morlat's first solo exhibition at the gallery. Morlat's show will take place in two parts: Part 1 opens May 4th, 2013; Part 2 opens June 8, 2013
 
Florian Morlat's first solo exhibition at Cherry and Martin includes works made from materials like cardboard, paint, plaster and wood. It also features a selection of new cast and painted aluminum pieces. This is a new direction for the artist. Morlat has long incorporated everyday materials into his sculptures and wall works. In his first exhibition at Cherry and Martin, he goes even further, adding organic materials like straw, French bread, and bananas.
 
Morlat was born in Munich. The physical components of his work recall his roots in a German-language post-war artistic tradition. At the same time, Morlat's visual pursuits, particularly with regard to shape, suggest an aesthetic born of 1960s California pop culture—he's lived in the state almost 20 years—and a familiarity with American modernist icons. In Morlat's work we sense the rawness of Franz West, the freedom of Alexander Calder, the poetry of David Smith. Morlat's pieces are subjective, stylized representations of people and things; at the same time, they are objective investigations into form and mass, color and, especially, shape. The tension of an encounter with the 'one-sideness' of Morlat's pieces is only resolved through circumnavigating them and getting a sense of their totality from all sides.
 
Cherry and Martin has previously presented Florian Morlat's work at Art Brussels as well as the three-person exhibition, "Matt Connors, Robert Cumming, Florian Morlat” (2011). He has been the subject of solo exhibitions at Galerie Ben Kaufmann (Berlin, 2009, 2005); Rowley Kennerk Gallery (Chicago, 2007); and Daniel Hug Gallery (Los Angeles, 2007, 2004). Group exhibitions include "Home Show, Revisited," Santa Barbara Contemporary Arts Forum (Santa Barbara, 2011); "YBA," curated by Ali Subotnick, Mauritzio Cattelan and Olaf Metzel (2006); Berlin Biennale (Berlin, 2006); "Abstract Art Now—Strictly Geometrical?," Wilhelm-Hack Museum, (Ludwigshafen, Germany, 2006); and "Florian Morlat and Thaddeus Strode," Michael Hall Gallery (Vienna, 2003). Morlat studied at the Akademie der bildenden Künste, Munich, received his diploma from the Kunstakademie Düsseldorf in 1996 and his MFA at University of California, Los Angeles in 1999. He lives and works in Los Angeles.
 
 
Cherry and Martin
2712 S. La Cienega Blvd
Los Angeles, CA 90034
T: +1 310.559.0100
Tuesday - Saturday 10am-6pm or by appointment
 
Cherry and Martin

HEZI COHEN GALLERY, Tel Aviv, Israel

Lothar Hempel Save our Souls!, 2013 Mixed materials, 250 × 540 cm Installation view at Hezi Cohen Gallery, Tel Aviv, 2013 Photo: Liat Elbling

LOTHAR HEMPEL
Songs for the Blind
 
25 April – 29 May 2013
 
Hezi Cohen Gallery is pleased to present Songs for the Blind, first solo exhibition in Israel for the acclaimed Berlin artist Lothar Hempel.
 
Lothar Hempel's works combine sculpture and photography, applying them to a set of aesthetic criteria which echo both cinema and theater. Generally speaking, Hempel's signature works are free-standing cuttings of photographic enlargements, which capture and freeze the motion of individuals or groups in the middle of performative gestures or actions. The photographic sculptural enlargements, whose sources remain mostly unidentified, each play a role in flat hybridized sculptural constellations, partially
re-presenting and re-playing the original photographed events, bringing them back into three-dimensional space and back to life-size measurements.
 
Songs for the Blind is the title Hempel chose for his new group of works, specially prepared for the occasion of his first solo exhibition at Hezi Cohen Gallery. The title reflects his ongoing interest in performance and music as sources of inspiration. It also signifies a rift between the senses, addressing the transmission of sound to those who cannot see. This transmission of audible experience indicates the lack of sight and compensates for it. Unlike the sound-image relationship in cinema, Hempel describes his sound as a substitute for visual image (not as its companion). The title suggests a negative condition masked by a positive occurrence, that is, the lack of sight accompanied by sound and music. This may serve as an interpretive key to understanding the mode of appearances in Hempel’s works, which manifests and thematizes the shift between absence and presence, between invisibility and visibility.
 
Lothar Hempel (b. 1966, Cologne), lives and works in Berlin. His previous exhibitions include Modern Art, London (2012); Anton Kern Gallery, New York (2011); Art : Concept, Paris (2012), as well as the Museum of Contemporary Art, Los Angeles (2010); Centre Pompidou, Paris (2009); Barbican Art Gallery, London (2008); and MoMA PS1 (2001). A retrospective show of his works was held in 2007 at Le Magasin, Centre National d'Art Contemporain, Grenoble, France. His works are included in the collections of the Museum of Modern Art, New York (MoMA), FRAC – Poitou-Charentes, Angouleme, France, the Museum of Contemporary Art, Los Angeles and The Saatchi Gallery, London.
 
 
HEZI COHEN GALLERY
54 Wolfson Street
66042 Tel Aviv
Israel
T: +972 (0)36398788
 
HEZI COHEN GALLERY

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JVA at Jerwood Space, London, UK

Jamie Ellul Time is Money Courtesy of the artist and Jerwood Visual Arts

JERWOOD ENCOUNTERS: AFTER HOURS
 
15 May - 23 June 2013
 
What happens when designers make work that is free from a client, brief or fee?
 
Curated by Nick Eagleton, UK Creative Director of design agency The Partners, the upcoming exhibition, After Hours, at JVA at Jerwood Space, London is the first Jerwood Encounters exhibition devoted to graphic design, and opens a window into the creative minds of graphic designers through the personal work they create.
 
With projects and ideas across the spectrum of media and themes, this rich variety of works explores the personal questions and passions that inspire designers to make them.
 
The show brings together a collection of outstanding personal works. Most of them have never been shown and were never intended, when created, for public view. They are the result of the compulsive creative practice common to this group of exceptional graphic designers. The work offers a glimpse into the imagination of the contributors; creating an original, brave and thoughtful exhibition of their artwork which is sure to inspire the next generation of graphic designers.
 
Nick Eagleton is UK Creative Director of design agency The Partners and is known for numerous prestigious projects including the relaunch of the Ford blue oval. He is a frequent judge at creative industry awards, and is accustomed to winning awards for his clients, including the Jerwood Charitable Foundation. Eagleton has embraced the ethos of the show and curated the exhibition outside of his usual work hours.
 
‘I wanted to find a fresh way to showcase the creative imagination that I see and am amazed by in my profession every day, and to bring together a wonderfully eclectic and surprising show. An exhibition that looks only at the personal work of graphic designers. The things they do when they're free from the constraints of a brief, a client or a fee. What better way to get an insight into the way their creative minds work? I hope the exhibition will throw light on this, and bring a little delight and intrigue along the way.’ Nick Eagleton
 
Contributors include: Robert Ball, Anthony Burrill, Phil Carter, Daniel Eatock, Michael Johnson, Kingston University, Alan Kitching, Magpie Studio, Craig Oldham, Jack Renwick, Steve Royle, Jim Sutherland, Young Creatives Network, and writer-in-residence, Nick Asbury.
 
After Hours will be on display from 15 May – 23 June 2013 at JVA at Jerwood Space, London . A series of free events will accompany the exhibition, for further details please visit: jerwoodvisualarts.org
 
 
JVA at Jerwood Space
171 Union Street
London SE1 OLN
T: + 44 (0) 20 7654 0171
Mon-Fri 10am-5pm, Sat & Sun 10am-3pm
 
Jerwood Visual Arts
 
Jerwood Charitable Foundation

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galerie frank elbaz, Paris, France presents
 
Davide Balula, Jesus Alberto Benitez, Tomislav Gotovac, Rainier Lericolais,
Gyan Panchal, Bernard Piffaretti, Mladen Stilinovic and Josip Vanista
 
April 2nd to May 25th

 Photos: Zarko Vijatovic

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Sculpture & Installation
ELI KLEIN FINE ART, New York
ESTHER SCHIPPER, Berlin
ALMINE RECH GALLERY, Brussels
MOTHER'S TANKSTATION, Dublin

ELI KLEIN FINE ART, New York

Shen Shaomin I Want to Know What Infinity Is, 2011-12 Silica gel, motor, air pump, human hair, synthetic resin, metal, lawn chair 23 1/2 x 59 x 31 1/2 inches (60 x 150 x 80 cm) Courtesy of the artist and Eli Klein Fine Art, New York

SHEN SHAOMIN
"I Touched the Voice of God"
 
April 26th to June 2nd, 2013
 
Eli Klein Fine Art is pleased to announce its second solo-exhibition for the Chinese-Australian artist,Shen Shaomin, I Touched the Voice of God. The exhibition expresses Shen Shaomin's deep concerns for the future of our planet. I Sleep on Top of Myself and I Want to Know What Infinity Is are works that reveal the artist's outlook through hyperrealistic sculptures that illustrate the potential and metaphorical consequences of a world which is over-developed and despoiled. The work from which the exhibition derives its name, I Touched the Voice of God is made from broken sections of a rocket sent into space. Utilizing braille, the sculptures comment on the human inability to truly comprehend the universe.
 
I Sleep on Top of Myself is a series of hairless, motorized, lifelike sculptures of animals which portend a future where the earth is severely depleted of natural resources-so much so that animals begin to loose their fur. Trapped in deep sleep, these breathing creatures-a cat, a dog, a bunny, and two geese-are forced to sleep on the remnants of their fur and feathers in order to survive. As a metaphor, this quietly troubling piece asks if we humans will be forced to survive on the remnants of our past once we have exhausted all of our natural resources.
 
Through a similar methodology, I Want to Know What Infinity Is questions the urge to relentlessly develop and expand our economies at all costs. Similar to the way we strive for development, the old, naked, breathing hyperrealistic sculpture of a woman relentlessly strives for a perfect tan. In Shen Shaomin's eyes, the consequences of our constant need for development will change the face of our planet, just as the undying urge for beauty transformed this old woman's body.
 
The series titled, I Touched the Voice of God encapsulates both of the statements made in I Sleep on Top of Myself and I Want to Know What Infinity Is, but goes one step further to question human intelligence itself. Appropriated from a rocket sent into space, the material used in this series of work is embossed with English braille. Standing in front of these pieces, our vision blinds us from understanding what is written on each sculpture. One must, in fact, be blind in order to read the words within these mysterious objects. As symbols of our greater universe, the artist's choice to cover these rocket ship parts with a language most English speakers are illiterate in, reveals that the artist believes our typical, normal, and assumed modes of perception render us blind and unable to develop a true understanding of the universe.
 
Shen Shaomin was born in Heilongjiang Province, China in 1956. He lives and works in Sydney, Australia and Beijing, China. His work has been exhibited in museum shows around the world, including recent exhibitions "Hot Pot: A Taste of Contemporary Chinese Art," Brattleboro Museum and Art Center, Brattleboro, VT (2013); "Go Figure: Contemporary Chinese Portraiture," Sherman Contemporary Art Foundation, Sydney, Australia (2012); "The Floating Eye," The 9th Shanghai Biennale, Shanghai Museum of Contemporary Art, Shanghai, China (2012); "The Unseen," The 4th Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China (2012); "ARSENALE 2012," The First Kiev International Biennale of Contemporary Art, Kiev, Ukraine (2012);"Flora and Fauna: MAD about Nature," Museum of Arts and Design, New York, NY (2011); "The Day After Tomorrow," 4A Centre for Contemporary Asian Art, Sydney, Australia (2011); and "The Beauty and the Distance," 17th Sydney Biennale, Sydney, Australia (2010).
 
 
ELI KLEIN FINE ART
462 West Broadway
New York, NY 10012
T: +1 212 255-4388
 
ELI KLEIN FINE ART

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ALMINE RECH GALLERY, Brussels

Peter Peri 'Man with a Knife', 2013 Patinated Steel 198 x 38 x 29,5 cm 78 x 15 x 11 5/8 inches Courtesy of the artist & Almine Rech Gallery

PETER PERI
LAST FAMILY
 
April 18 - May 25, 2013
 
Almine Rech gallery is pleased to present Peter Peri's first exhibition in Brussels, 'Last Family', his second show at the gallery.
 
On this occasion, the artist will present a selection of recent drawings, paintings and sculptures. The works in various mediums will be shown throughout the three distinct gallery spaces exploring notions such as empathy, intuition and self-dissolution.
 
For Peri, these notions can be inherent in the experience of art: his artworks suggest, but never reduce themselves to, an externalised entity, an embodied intelligence that stands in confrontation with the viewer, even when the work is seemingly near-abstract. The nature of this confrontation is cued by various influences that feed into the work, among them the writings of the Russian science-fiction novelist Yvegeny Zamyatin, and a 19th-century illustration purporting to depict the last family on Earth: a cluster of huddled skeletons inhabiting a distant future when the sun has burned out and the Earth frozen over. This image is a phantasmal presence in Peri's new 'Skeleton' paintings, wherein ghostly penumbra appear through the successive layers of the painted image, revealing the paintings' process and personal histories, 
The references to modernism that have inhabited Peri's earlier work here recur – the artist's grandfather was a constructivist, and Peri's art, with its dark undertow, regularly establishes a parallel between the shortfall of twentieth-century utopic visions and the erasings within his work.  Another salient influence on this work is existential psychology, wherein ideas of dark and blocked space that relate to schizophrenia, a kind of self-dissolving, find echoes in Peri's paintings, his drawings (some of which relate directly to drawings from psychological research) and his heavily frontal, confrontational sculptures. In Peri's art, this self-dissolving is recouped, both as a framework for understanding how we might relate to art – as a process of empathy and intuition, a training ground – and also as a way for art to accept the failings of modernism without surrendering geometry and abstraction (or, indeed, in Peri's painting, the virtues of improvisation). In his recent work, narratives of the modern begin to fall away, and one is left in an articulate state of encounter with a constructed otherness. Speaking of what he finds powerful and moving in historical art, Peri talks of 'a blank clarity that just tips into self-dissolution'; this is the state his current work pursues.
-- Martin Herbert.
 
Born in 1971 in London, England, Peri's solo exhibitions include; 'Country 10', Kunsthalle Basel (2006) and 'ARTNOW', Tate Britain (2007). His work has been included in numerous group exhibitions internationally including the Hayward Gallery, London (2006); Kestnergesellschaft, Hannover (2008) ; CCA Andratx, Mallorca (2009) ; The Saatchi Gallery, London (2010) and the Museum of Old and New Art, Hobart, Tasmania (2012). His work is conserved in both public and private collections including Tate Collection, the Victoria & Albert Museum and the Arts Council of Great Britain.
 
 
ALMINE RECH GALLERY
20 Rue de l'Abbaye
B - 1050 Brussels
Belgium
T: +32 32 26 485 684
 
ALMINE RECH GALLERY

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ESTHER SCHIPPER, Berlin

Ugo Rondinone Primal Installation view Esther Schipper, Berlin Photo: Andrea Rossetti

UGO RONDINONE
PRIMAL
 
APRIL 26 - MAY 30, 2013
 
Esther Schipper is pleased to present "primal" by Ugo Rondinone.
 
Working in a variety of media like sculpture, installation, painting, photography and video, Ugo Rondinone has been continuously addressing transient and ephemeral phenomena of time, fleeting emotions and momentous changes in atmosphere and moods of a place. During the last years the artist has captured these themes in a series of sculptures using different methods of casting. Motifs of Rondinone's sculptural series range from genres classical of art history, such as still lifes and nudes, to redefined archetypical forms of primitive art: masks, large abstracted heads and animal figures. The artist reinvents these motifs in different scales and materials and plays with multiple historic and visual references, translating these timeless images in the contemporary art context.
 
In the current exhibition the transformed space of the gallery becomes the stage for the new sculptures by Ugo Rondinone: 34 bronze-cast figures of horses individual in their forms and sizes. The plywood flooring spreads across the rooms of the gallery, uniting the space and introducing an active natural element into the white-cube environment. The white washed windows diffuse the daylight and isolate the exhibition from the world outside. A suspended translucent disc of a stainedglass clock decorates some of the windows. These coloured, perfectly divided clock-faces, stripped of their hands, augment the impression of an arrested time and isolated environment.
The gallery, which appears now to be transformed into a time capsule, is occupied by small figures of horses, each of them facing a different direction. These unique sculptures were modelled in clay and moulded by the artist himself, then cast in bronze and left raw after the casting. Both the uniqueness and the rough, hand-made character of the sculptures are emphasised by the titles given to each of the works and written by hand on the walls of the gallery. Introducing a romantic undertone to the show these titles, or rather names, refer to primordial natural phenomena: "the lava", "the cosmos", "the foliage", "the sunrise" etc.
 
Although the exhibition seems to play with modernist means of expression like the materiality of bronze sculpture, contrasts of wood and bronze surfaces, the reappearing motif of a horse (that bears one of the longest traditions in art history), the collage and interplay of all these elements in the show brings in a subversive sentimental and popular twist characteristic of works by Ugo Rondinone. The works on display in "primal" follow the series of bronze cast bird sculptures shown in 2012 in the exhibitions "primitive" at the Common Guild, Glasgow and Art Unlimited, Basel. The artist's appropriation and redefinition of classical and archetypical images in bronze and aluminium casts continues the line of his earlier "Nude", "Moonrise" and olive tree sculptures and works in the on-going "still life" series.
 
On April 23rd Ugo Rondinone's public art project "Human Nature", commissioned by the Public Art Fund for Rockefeller Plaza, was inaugurated in New York (on view until June 7, 2013). The next solo exhibition of the artist "thank you silence" will open at the M Museum, Leuven in June (June 27 - October 6, 2013).
 
Ugo Rondinone, born in Switzerland in 1964, lives and works in New York. He studied at the University of Applied Arts in Vienna. He has exhibited extensively internationally and his recent solo shows include: ""primitive", The Common Guild, Glasgow (2012); "Wisdom? Peace? Blank? All of this?", Kunsthistorisches Museum,Vienna (2012) and "Nude", Cycladic Art Museum, Athens (2012). Recent and upcoming group shows with participation of the artist are: "Nasher XChange", Nasher Sculpture Center, Dallas; "Dark Optimism", MoMAPS1, New York; "Lightness of Being", Public Art Fund 'city hall park', New York; "Dynamo", Galeries, Nationales du Grand Palais, Paris; "Una Posibilidad de Escape. Para Asaltar el Estudio de la Realidad y Volver a Grabar el Universo", EACC, Castellon; "Lass Dich von der Natur anwehen – Landschaftszeichnung der Romantik und Gegenwart", Kunsthalle Bremen, Bremen (all: 2013).
 
 
ESTHER SCHIPPER
Schöneberger Ufer 65
D-10785 Berlin
Germany
T: 0049 (0) 30 37 44 33 133
 
ESTHER SCHIPPER

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MOTHER'S TANKSTATION, Dublin

Nina Canell O Little Drops Installation view Courtesy of mother's tankstation, Dublin

NINA CANELL
O Little Drops
 
24 April – 1 June 2013
 
Listen to the bonds fall off which hold you above and below.
Guillaume Apollinaire, 1918
 
First energy, second heat, third water: O Little Drops, Nina Canell's third solo exhibition made specifically for mother's tankstation, bears witness to the single-minded focus of her work from its very outset. 1 With its recurrent attention set upon the themes of energies and forces, both visible and invisible, water has long been a preoccupation, with numerous and significant pieces that have explored its essentially differing forms and potentials: solid, liquid, vapour, life-giving, imprinting, eroding, soothing and wildly destructive. 2 Such pieces as Shedding Skin (perpetual current for twenty-four buckets),Perpetuum Mobile (283 Stone) and Anatomy of the Rising Tide, are historicised in international exhibition record. Half the pace of a given place, one of her earliest works, from the first mother'sexhibition (hers and ours), employed water as a weight, while Thermal Mass, 3 from her subsequent show, submerged a red emergency light in a small pale of water.
 
At a point when we had still not seen the new work for the coming show, we requested a couple of pointers from the artist to help direct us in formulating a text. 4 Two enigmatically reductive ideas arrived. Firstly, a single line of poetry, re-composed ("...above") horizontally, rather than in its original downward-flowing, vertical form, extracted from Apollinaire's 1918 'Calligramme', il pleut (quoted complete, "... below". 5 I should note that 'altitudes' and gravitational pull might be considered as other substantially dominant and reoccurring themes in Canell's work – "and the bonds fall off that hold you..."). And the second, the even more elusive suggestion of "less heat, more moisture", scribbled on the back of an exhibition checklist at the end of brief meeting in Minneapolis, itself home to the great Mississippi River (then frozen) and her first solo American institutional exhibition. Hydrology may concur with Canell's notion, but might incline towards a reversal of emphasis, more heat less moisture, as heat acts positively upon the mass of water, turning it into vapour. In Canell's version, the absence or negation of event merely allows the constituent element to linger longer. Less heat does not, of course, increase the volume of water, but allows it to pool, as the coolness upon the surface protects its mass. Too much cold, of course, makes it almost a dangerous, slippery rock. Thinking about water, thinking about ice, thinking about a falling tear...
 
The enigmatic, multi-talented and social-media-friendly Canadian astronaut, Commander Chris Hadfield, recently tweeted a YouTube video, Tears in Space (don't fall) 6, apparently dislodging the central Newtonian axiom that anything that has risen or been raised up must eventually fall or return to earth. In a concise and playful pedagogical staging from onboard the International Space Station, Commander Hadfield illustrates that tears (here faked for 'demonstration purposes') exclusively form as "balls of water", that drift around and just get inconveniently bigger the more an unhappiness expresses itself physiologically. Eventually, the evaporation process might occur, but given the cold that permeates two hundred and twenty miles above the earth, this is not going to happen in a hurry (the surface protects its mass). In the meantime, any such human unburdening leaves its physical evidence as a floating pool of salty 'emotion', biding its time, until the entire space station returns to earth, one way or another (along with the 'fallen tear'). Perhaps even in space you can't entirely escape the 'altitudinal', Newtonian law.
 
Alternatively, absorption is always a practical solution to an unwanted moisture issue, and one that Canell enacts in the gallery, with the presence of numerous dishcloths, laid out, flat, like fragments of non-objective paintings, gravitationally repurposed for the floor. Thinking about crying, thinking about cold, thinking about gravity...
 
Thinking about something, thinking about anything, makes me think about thinking about things? Gaston Bachelard notes the meditation upon a 'thing' is much like slipping into a daydream, in that you are subconsciously aware that you are in 'it', yet simultaneously uncertain why you are in it, exactly where or how it began, and where it is liable to lead or end. Perhaps the state of "intimate immensity", as he describes it, is a productive state in or from which to 'think' about Nina Canell's work?
 
One might say that immensity is a philosophical category of daydream. Daydream undoubtedly feeds on all kinds of sights, but through a sort of natural inclination, it contemplates grandeur. And this contemplation produces an attitude that is so special, an inner state that is so unlike any other, that the daydream transports the dreamer outside the immediate world to a world that bears the mark of infinity.7
 
Like Bachelard, like Apollinaire, Canell thinks about things outside of – or aside from – orthodoxy. Her visual 'syntax' alights gracefully upon lumpen (in the sense of dispossessed or uprooted) things, plumbing accessories, for example. Which in her hands are made to seem as if they are the weightless, phenomenological or philosophical expressions of much higher, but passing notions, elusivefancies that float away, like tears unfettered in space, free from the usual sorts-of-laws that bind us clods of earth (to earth). Forces that impact upon the expectations of material and rational behaviours are lightly brushed aside, the weight of a water drop seems equally light, or heavy, as a little lump of concrete, a ball of chewed-up gum or a hanging 'droplet' forged from iron. Having evaporated things with the heat of thought, a cohesive stain remains, a pattern (a memory of thought), while a cloud of impending meanings, a reservoir of other, many more unspoken but potent thoughts, forms above, waiting to rain down. Pooling, floating, eventually evaporating, rising again.
 
-
 
1] Nina Canell's three exhibitions with mother's tankstation, over a period of seven years, have witnessed her artistic evolution from a recent graduate, to one of the most respected and quietly influential of European sculptural practitioners, and follow the sequence:
Energy; We woke up with energy, January 2006
Heat; Slight heat of the eyelid, February – March, 2008
Water; O Little Drops, April – June 2013
2] The artist also notes that " there is also something to be said for the near infinite number of forms, shapes and directions of precipitation which can be observed on the Irish Isle".
3] Collection of Irish Museum of Modern Art.
4] I have noted before that 99% of all known press releases are written from a position of 'unknowing'.
5] Il pleut, Guillaume Apollinaire, 1918.
Le texte:
Il pleut des voix de femmes comme si elles étaient mortes même dans le souvenir
c'est vous aussi qu'il pleut, merveilleuses recontres de ma vie, ô gouttlettes!
et ces nuages cabrés se prennent à hennir tout un univers de villes auriculaires
écoute s'ill pleut tandis que le regret et le dédain pleurent une ancienne musique
écoute tomber les liens qui te retiennent en haut et en bas
6] http://www.youtube.com/watch?v=P36xhtpw0Lg&noredirect=1
7] Bachelard, Gaston, The Poetics of Space, pg 183
 
 
mother's tankstation
41-43 Watling Street
Ushers Island
Dublin 8
Ireland
T: +353 (0)1 6717654
 
mother's tankstation

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Free School: Cornell M.F.A. Exhibition 2013 
May 3-10, 2013 Opening Reception: Friday May 3, 6–9 p.m.

Annual Cornell M.F.A. Thesis Show at Gary Snyder Project Space
 
Cornell University’s Department of Art announces its sixth annual M.F.A. Exhibition at the Gary Snyder Project Space, at 250 W 26th Street, 4th Floor, in Chelsea, New York. The show runs from May 3rd until May 10th with a reception at the gallery on Friday, May 3rd from 6pm to 9pm. The exhibition and opening reception are open to the public. Gallery hours are Friday to Friday 11 am to 6 pm.
 
In 2008 the Department of Art at Cornell instituted the annual show of work by members of its Master of Fine Arts program. Held each May, the show gives these artists an exciting opportunity to exhibit their work in New York City.
 
The M.F.A. art program at Cornell is a part of the College of Architecture, Art and Planning. With a tradition of generous tuition support and the opportunity to engage with BFA undergraduate students, work closely with art department faculty, and earn a stipend through teaching assistantships, the Cornell University M.F.A. Art Program provides an exceptional context for interdisciplinary research and creative development.
 
Previous Cornell M.F.A. recipients have been awarded John Simon Guggenheim and Pollock- Krasner Foundation Fellowships, DAAD scholarships, and are represented in the collections of the MoMA, Whitney Museum of American Art, the Guggenheim Museum, and the Smithsonian Institution
 
For information regarding the New York City exhibition, contact Maria Brown, Admissions and Graduate Services at [email protected]  or (607) 254-4505 or visit: http://aap.cornell.edu/mfashow
 
 
Featuring new work by:
 
Sophia Balagamwala
Born and raised in Karachi, Pakistan, Sophia completed her undergraduate degree in Visual Arts and Political Science at the University of Toronto. Her works explore assemblages, spaces, and nonsense, and usually reference Karachi.
 
Jerry Birchfield
Jerry Birchfield was born in Cleveland, OH and earned a BFA in photography from the Cleveland Institute of Art in 2009. He is the recipient of a 2011 Ohio Arts Council Individual Excellence Award, the 2009 First Agnes Gund Traveling Award, and the 2007 Maxeen J. Stone Flower ’76 Scholarship for Photography. His work has been exhibited at the Toledo Museum of Art, OH; The Print Center, Philadelphia, PA; and the Riffe Gallery, Columbus, OH. His work is included in the forthcoming exhibition, Realization is Better than Anticipation, at the Cleveland Museum of Contemporary Art as well as a solo exhibition at William Busta Gallery this fall.
 
José Andrée De León
Born in civil war Guatemala during the late 1980s, José Andrée De Leon is an American-raised artist whose mediums are analog photography, Super 8, 16mm film, and performance work. A graduate of Hampshire College, he worked closely with the late Robert Seydel and video artist Joan Braderman in cultivating his desired aesthetic. A recipient of the SAGE Fellowship for the 2012-2013 academic year, José's work focuses on humanistic struggles of transnationalism, post-colonial theory, and diasporas.
 
Elizabeth Corkery
Much of Elizabeth Corkery’s work is informed by an ongoing fascination with representation, place and the multiple with specific regard to their relationship to print media. Her practice currently centers on large-scale installation pieces, which initiate a slippage between the conventionally two-dimensional nature of print and a more volumetric architectural space. Engaging initially with just a photograph, her explorations often begin with the two-dimensional descriptions of a location she has never visited.  Approaching the site with an absence of physical experience she embarks on a process of construction, which, through the visual mediations of digital reproduction, screenprint and sculptural form, returning the images to a spatial context, as site-specific installations.
 
Brian Dunn
Brian Dunn's paintings provide views of the prosaic through a lense of pictorial and material abstraction. Individual works are often comprised of multiple paintings installed in response to an architectural given. In addition to Free School, his work will be on view for the month of May in Stirred Up Still at Fjord Gallery, Philadelphia, PA.
 
Nick Foster
Working with architectural spaces is Nick Foster's main point of interest. He believes that architecture holds within it latent and clear collective psychic processes, whether pathological, benign, or even meta-material. Through photography's queer paradoxical programs, its ability to mimic spaces while always remaining Not-It, one can engage in play that ends up being an affective, albeit abstract, form of archaeology that moves in and out of an essence that literally appears, to one, and in his view much more important, another that surfaces from a non-place-able, magical, archetypal, Styx Zone. This play does not lead to a knowledge gained nor is it a means to an end, but rather it attempts a tracing of the myriad, vague, alienated, and crooked paths back to a singular same starting point.
 
Mariamma Kambom
Mariamma Kambon explores contemporary culture within the context of recorded history.
Her first solo show, Exposure, was held at the National Museum of Trinidad and Tobago, (2007), followed by Between the Lines, at Tobago Hilton, (2007). Her work has been published in international newspapers, magazines and advertising campaigns. In 2009, Kambon was selected as an official photographer for the Fifth Summit of the Americas, which led to an image on the front page of the New York Times.
Mariamma was awarded a Sport and Culture Grant by the Ministry of Sport and Youth Affairs (2009) and moved from the Caribbean to New York to expand her practice.
 
Raja’a Khalid
For her studio practice, Raja’a Khalid uses a fictitious archive as an armature through which the forgotten histories of iconic contemporary political events are revisited. In A Minor Histories Archive, documents are collected, appropriated, presented or subtly subverted to make certain implied meanings of power more explicit. Archive’s preoccupation is with minor details of East/West collisions so documents in it refer to the otherworldly ceremony and cultural propaganda of global political exchanges.
 
Christina Leung
Christina Leung is a sculptor who is interested in readymades, modes of fabrication, reproductions, and aberrations. Leung is a 2nd year Cornell MFA student.
 
Francesca Lohmann
Born in San Francisco, CA in 1986, Francesca Lohmann completed her undergraduate studies at the Rhode Island School of Design, majoring in printmaking. Since then she has lived and worked in the Pacific Northwest, exhibiting locally in Seattle, as well as in San Francisco, New York and Kyoto. Currently she is completing her MFA at Cornell University in Ithaca, NY.
 
Katherine Somody
Katherine Somody is interested in ephemeral, repeated gestures: language that points elsewhere, and work that might just possibly void itself to allow for the next possibility. Lately, she's been working a lot with balloons as a way to mark the passage of time, and all that that implies. Her minimal performative work investigates our relationship to place, to time, to self, and to each other.
 
Gaby Wolodarski
Gaby Wolodarski is a painter, mostly.  Haunted by the premise that, personal prejudices and pragmatic facts of life notwithstanding, no one thing has more importance than any other, and that neither does any criterion fully outweigh any other, she generates paintings and paint-based installations as a means towards the lifting of the quotidian veil, or filter, which she perceives as operative on the stream of sensory and linguistic input that is experience.  The idea of the basic parity of all things makes their partisanship all the more exciting.  It's an idea which compels a probing into comparisons between objects, and into the absurdities of perception (we only see the fronts of things, for example), until difference is rendered inseparable from one's comprehension of it. To put paint to the service of this inquiry is both cynical (as today's visual culture is faster and more mobile than paint could ever aspire to) and hopeful (that a painted image's direct appeal may be a means to connect doubt to the tendency to believe one's eyes).
 
Piotr Chizinski
Piotr earned a BFA in Sculpture/Photography from Texas Tech University and is currently completing a MFA from Cornell University in New York.  In 2011 he was awarded the prestigious Jacob K Javits Fellowship from the U.S Department of Education to cover the costs of his studies.  Working with models, materials, drawings, and performance he explores the hidden infrastructure, both social and material, that we interact with in our daily lives.  Piotr has participated in many national and international exhibitions and residencies and continues a practice that seeks to engage with the public and social real with a view to shape and transform human action and historical experience.
 
 
http://aap.cornell.edu/mfashow

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26.4.2013.
ROSE WYLIE
Works on paper
Galerie Michael Janssen, Berlin
April 27 - June 1, 2013

US Soldier & Plane (Shannon), 2005 Ink and collage on paper 84 x 59,5 cm / 33,1 x 23,4 in.

Galerie Michael Janssen is pleased to present its second exhibition by English artist Rose Wylie (b. 1934) entitled Works on paper parallel to her first major solo museum exhibition at Tate Britain. On view is a selection of her drawings, collages and watercolours from the last ten years.
 
Wylie uses moments from films, memories and dreams to create metaphysical meditations on her own experience of the world. Her art is surprisingly accessible and immediate; she purposely chooses subjects that are shared and often combines seemingly naïve figuration with a lyrical sense of composition. Despite its childlike sensibility, it has a contextual depth that comes from experience. She first studied art as a young woman, but only began to seriously paint at the age of 47, after her children had grown and she had gone back to art school, graduating from the Royal College of Art in 1981.

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Gas 2, 2012 Watercolour and collage on paper 90,5 x 60,5 cm / 35,6 x 23,8 in.

Rose Wylie (b. 1934 in Kent. Lives and works in Kent.) attended The Royal College of Art from 1979 to 1981 and the Folkestone and Dover School of Art from 1952 to 1956.
 
Selected exhibitions: 2013: Seoul Museum of Art, Seoul, South Korea (solo/upcoming); Tate Britain, London (solo/opening May 6) Galerie Michael Janssen, Berlin (solo); Haugar Museum, Tonsberg, Norway (solo). 2012: Jerwood Gallery, Hastings, UK (solo); Galerie Michael Janssen, Berlin (group); University of the Arts, Philadelphia (solo). 2011: Galerie Michael Janssen, Berlin (solo), The Drawing Room, London (solo). 2010: National Museum of Women in the Arts, Washington DC (group). 2009: Turner Contemporary, Kent, UK (group).

Pink Bow and Soldier, 2004 Marker, pen, ink, and collage on paper 32,2 x 43,2 cm / 12,7 x 17 in.

Although Wylie's work might at first glance be categorized as Outside Art, it is full of sophisticated cultural and art-historical references - such as the films of Quentin Tarantino and Albrecht Dürer's woodcuts - and evokes the work of Jean-Michel Basquiat and Philip Guston.

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R.B. Interview, 2012 Watercolour on paper 84 x 85 cm / 33,1 x 33,5 in.

The starting point for her paintings is her recollection of things. Her memories, rather than the images themselves become the model for her work. The mnemonic process is for her a useful way to filter essential characteristics and to avoid too literal a translation.
She usually begins with a drawing, which she then works and reworks, cutting, collaging, slicing and dicing it until she gets something that she is satisfied with. She then uses the drawing as the basis for a painting. Despite their delicacy, she paints large-scale canvases - often combining several panels to create a whole.
 
Wylie's work has garnered praise from critics such as Roberta Smith in the New York Times and Germaine Greer in The Guardian. She participated in the 2010 Women to Watch exhibition at the National Museum of Women in the Arts, and was chosen by fashion designers Savannah and Sienna Miller as a guest artist for a fall/winter collection.
 
In May 2013 Tate Britain will present a solo exhibition of her most recent works.

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Night Circus (Mercury) , 2012 Watercolour and collage on paper 88,5 x 60 cm / 34,8 x 23,6 in.

Galerie Michael Janssen
Potsdamer Str. 63
D-10785 Berlin
T. +49 30 259 272 50
F. +49 30 259 272 518
[email protected]
www.galeriemichaeljanssen.de

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22.4.2013.
DAN VOINEA
A Momentary Rise of Reason
12 April – 18 May, 2013

Dan Voinea A Momentary Rise of Reason (2012) oil on linin 150x140cm

A Momentary Rise of Reason is the first UK-solo exhibition of the work of Romanian painter Dan Voinea. Hailing from a new school of contemporary realist painting, Voinea and his contemporaries (fellow Romanian Adrian Ghenie, Belgian Michaël Borremans, or the UK’s own Justin Mortimer, to name a few) have not only endured an early 21st century phase that appeared to prefer whimsy and liberty over realism (consider momentarily the surge in popularity of work by Peter Doig, Cecily Brown or Gary Hume, for instance,) but have prevailed, spearheading the recent reinvigoration of realist painting occurring on an international scale to an unprecedented degree.

Dan Voinea Parade (2013) oil on linen 180x200cm

Further, the paintings remain crucially aware of their art-historical context; Voinea’s love for the craft of both historical and contemporary painting shines through, subverting his influence and in a move of careful selection – intentionally flattening their temporal context: a nostalgia for some sepia-toned 1950s appears to recur, or perhaps it is the artist’s forlornness for some F. Scott Fitzgerald-worthy 1920s and 30s. At times Voinea seems like a disciple of celebrated American painter Andrew Wyeth, but at other times he throws the viewer back 100 years and his references are full of richly self-aware references to the fanciful Edwardian paintings of the 19th century.
 
In fact, Voinea credits the 'intervention' of street-performers as a source of inspiration and raw material for some of his recent work. For him, the performers articulate a deliberate exercise in sanity and the absurd, where reality becomes intwined with the dreamlike.  One can see a naturalized world within which 'ordinary' events have been interfered, and this new semantics breathed into life.  In much of his work, everyday settings such as streets and hallways appear half-realized, as though articulated through paintings of backdrops - in which paintings of paintings or vaguely described sets interefere with our reception of reality and reason. For this purpose, Voinea employs a Shakespearean mise-en-scene: solemn tones are countered by comical interludes; characters within the paintings appear both absurdist and melancholic. It is a form of reality itself once divorced from reality, where life becomes gradually contaminated by a series of macabre overturns and stage-shadows. This paradox allows the viewer to draw their own conclusions without emphasizing difference; it aims - with the effortless narrative created by Voinea's brushwork - to naturalize all elements into the same thing: a fleeting recognition, like deja-vu, in which the real and the absurd are countered in equal measure. It is a mastery of both composition and execution, with Voinea manipulating the painterly strings of the marionette.

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BEERS.LAMBERT contemporary
1 Baldwin Street
London, EC1V 9NU
Tel. +44(0)207 502 9078
info @ beerslambert.com
www.beerslambert.com

Dan Voinea Performance II (2013) oil on linen 160x200cm

However despite this revalued focus on ‘new realism’, even referring to Voinea’s paintings as ‘realist’ seems to partly miss the mark; certainly the works maintain an element of hyperrealist tendencies, and Voinea is a confident draftsman and storyteller. Yet while technically realistic and anatomically correctly proportioned, the works are characterized as much by their apparent lack of realism: their fantastical tendencies, collapsing or nondescript environments and preference for magic realist narratives. One need look only at the simple brilliance in the titular A Momentary Rise of Reason, 2012 to see the painter’s signature style: the pallor of bare skin against a stark, painterly background; a style situated paradoxically between the looseness of an sketch and the obsess of the hyperreal; all combined with thoughtfully restrained palette and an intense jolt of vibrant color; an obvious affinity for appropriated imagery and a narrative that simultaneously invites and resists the whims of the viewer to understand the tableaux. From one boldly confident painting to the next, one can almost hear the artist’s working whispers: there are no rules to Voinea’s world – and what a wonderful world becomes manifest for the viewer.

Dan Voinea In Absentia (2012) oil on linen 150x130cm

Dan Voinea (b. 1970, Brasov, Romania) has exhibited in a number of solo and group exhibitions in Romania and France.  His group exhibitions consist of [The Year of ‘Unarte’ ‘Dalles Hall], Bucharest, [Characters], 3-4TNB Gallery, Bucharest, [SPACE Art] University’s Gallery, Bucharest, [New Art in Town], Podul Gallery, Bucharest, and [Watching the Neighbourhood, Make a Point], Bucharest.  Solo exhibitions include [East Wind ‘Les Cordeliers’ Romans Sur Isere], France, [Finish the Poem] ‘S.A.N’ San de Senart, France, [Heroes and Judges], Carturesti Gallery, Bucharest, and [Playboy Afternoon], D’Ancona Budis Gallery, Bucharest.  Voinea currently lives and works in Bucharest, Romania, and is a graduate of the National University of Art Bucharest.

Dan Voinea Performance I (2012) oil on linen 150x180cm

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20.4.2013. 
STATION INDEPENDENT PROJECTS, New York
DAVID CASTILLO GALLERY, Miami
OCCUPY SPACE, Limerick
CARSLAW St* Lukes, London
CLAMPART, New York

STATION INDEPENDENT PROJECTS, 
New York

Megan Cump Untitled (sea), 2013 Gelatin Silver 20x24 inches Courtesy of the artist and Station Independent Projects, NYC

MEGAN CUMP
Black Moon
 
April 10– May 12, 2013
 
Megan Cump's Black Moon series constructs a world swallowed by darkness–terrains that skirt the visible. For Cump, the dark is itself a wilderness of sorts, full of the promise of the unknown. It is fitting that the locations she has photographed: underground caves, deep woods, night skies and oceans, conjure up mythic tales of transformation and the underworld. Some of these landscapes are inhabited by wild creatures, including a fox, ghostly white deer, and a shadowy woman who, in one photograph, floats in water black as the night, bringing to mind the ancient Hermetic axiom "as above, so below." This woman is, in fact, the artist, but one could argue that all of Cump's figures, even the animals, are enigmatic self-portraits.
 
Replete with auspicious meteor showers and subterranean passages, these photographs transport us, suggesting the other side of things. Stars appear to burn through the atmosphere and the evening sky fills with otherworldly light and color. The vivid flames are produced by deliberately introducing light leaks that simultaneously destroy and create anew the imagery on the negatives. In the past, Cump notes, the night imparted fundamental knowledge, serving as navigational field, timekeeper, and source of cosmologies. Distinctions were not drawn between scientific observation, spirituality, and art. Recent research suggests that some Paleolithic cave paintings are also prehistoric star maps–the stray dots and dashes overlaid on depictions of animals mark the earliest constellations.
 
Black Moon draws from folktales, spirit photography, epic poems, and the alchemy of analog photography. It connects photography's historical relationship with making the unseen visible with tales of metamorphoses, animism, and the netherworld. Megan Cump's photographs are earthly and astral, dark and ecstatic.
 
Megan Cump has exhibited widely, including a solo White Room exhibition at White Columns, NYC; The Soap Factory, Minneapolis; ARENA Gallery, NYC; Gallery 400, Chicago; Mixed Greens, NYC; Bronx Museum of Art, NYC; and the Tamayo Museum, Mexico City. Cump's work is currently on view in MASS MoCA's "One Minute Film Festival" exhibition. She has been awarded fellowships from the LMCC Workspace Program and the MacDowell Colony. Cump holds an M.F.A. from the School of the Art Institute of Chicago, a BA from Macalester College and she attended Skowhegan School of Painting and Sculpture.
 
 
STATION INDEPENDENT PROJECTS
164 Suffolk Street
New York, NY 10002
T: +1 917.698.2012
 
STATION INDEPENDENT PROJECTS

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CARSLAW St* Lukes, London

Melanie Manchot, Spray 1, 2011 C-Type Print 38.7 X 69.2 cm Courtesy of the artist and CARSLAW St* Lukes, London

MELANIE MANCHOT
LEAP after The Great Ecstasy
 
Private View 19th April 6-8pm
20th April - 1st June, 2013
 
CARSLAW St* Lukes is pleased to announce an exhibition project with Melanie Manchot: Leap after The Great Ecstasy, a multi channel video work presented in an installation specifically designed for the gallery. Inspired by Werner Herzog's film 'The Great Ecstasy of Woodcarver Steiner ' (1974), the work observes a range of physical and psychological situations in the quest for a brief moment of perfection.
 
Set on the world's largest natural ski jump, the video charts the intense preparations for an annual world cup, both in terms of the materiality of the site and the individuals involved. The piece tracks in great detail those elements that contribute to the construction of a large-scale event as well as the obsessive focus required to perform at the edge of what is possible, to attain ten seconds of human flight and to briefly defy gravitational pull.
 
Explored in the work is the tension between nature and a human desire for control. Arguably many of the processes and gestures observed across the work's distinct sequences contribute to the endeavor to shape and sculpt a section of nature for a specific human activity, to make it perfect, even just for a moment.
 
For the presentation of Leap after The Great Ecstasy at CARSLAW St* Lukes, Manchot has devised an installation that takes over the gallery, its yard and playhouse and transforms these into a continuous choreography. A small group of night time photographs opens the show and sets the stage: each of the images is a portrait of the location, of its dense physicality and what it might stand for in terms of danger and desire. Further staging devices such as a provisional seating structure and an outside wooden room reflect the material nature of these temporary events while providing custom made environments for the work.
 
The opening of the show will coincide with the launch of Manchot's new book '100' – produced in the same village, Engelberg.
 
Melanie Manchot is a filmmaker and photographer whose work has been shown nationally and internationally including at The Whitechapel Gallery, London; MacVal, Musee d'Art Contemporaine, Paris; The Photographers Gallery, London; Galerie m, Bochum, Germany; The Institute of Contemporaray Arts, London; The Brooklyn Museum, New York; The Australian Museum of Photography, Sydney; The Courtauld Institute, London; Museum Folkwang, Essen and as part of Nuit Blanche, Paris. She is the recipient of many awards including the Oriel Davies Award 2012 and the Great North Run Moving Image Commission 2013.
 
Leap after the Great Ecstasy is being screened as part of Videonale 14, Kunstmuseum Bonn, Germany until 7 April. Her work can be seen as part of Walk on at Pitzhanger Manor Gallery, London between 27 March - 5 May 2013 touring to Northern Gallery of Contemporary Art, Sunderland, Mac Birmingham and further venues in 2014.
 
With special thanks to Bowers & Wilkins the generous providers of the sound equipment for this exhibition. ( Bowers-Wilkins.co.uk )
 
The work will be on show continually during gallery hours on Friday and Saturday and on request on Thursday.
 
 
CARSLAW St* Lukes
137 Whitecross Street
St* Lukes
London EC1Y 8JL
T: +44 (0)20 7490 3667
 
CARSLAW St* Lukes

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CLAMPART, New York

Joshua Lutz The Coming Insurrection, 2012 Digital C-print 40 x 30 inches (Edition of 5) Courtesy of the artist and CLAMPART, New York

JOSHUA LUTZ
Hesitating Beauty
 
April 11 – May 18, 2013
 
ClampArt is very pleased to announce "Joshua Lutz: Hesitating Beauty," the artist's second solo show at the gallery. The exhibition coincides with the release of Lutz's monograph of the same title from Schilt Publishing (Hardcover, 96 pages, 9.5 x 6.7 inches, $35).
 
In "Hesitating Beauty," Lutz breaks down the structure of the photograph as truth and challenges the traditional function of the medium in building narrative. The project is an intimate portrait of the artist's mother unlike any other photographic model.
 
Blending family archives, interviews, and letters with his own photographic images, Lutz spins a seamless and strangely factual (yet unflinchingly fabricated) experience of a life and family consumed by mental illness. Rather than showing us what it looks like, "Hesitating Beauty" plays with our conceptions of reality to show us what it feels like to grapple with a family member's retreat from lucidity.
 
Joshua Lutz writes: "Holding on so tightly to what I believed was sanity and being consumed by fear of depression and schizophrenia prevented me from being fully present to my mother's reality. The past few years, as she slipped away from the aggressive paranoia and depression of my youth to an almost calming sense of delusion, made it much easier for me to rid the anger that veiled my life and to attempt to find a place of empathy and compassion as I managed her care. In making this work and simultaneously falling deeper into her psychosis, I tried to imagine a time when the past, present and future collided; a place where the weight of memory is heavier than reality."
 
Joshua Lutz graduated with an MFA in photography from Bard College/The International Center for Photography in 2005. He has received several prestigious awards and grants, including being named one of the top thirty emerging photographers by Photo District News Magazine in 2004 and winning The Tierney Fellowship in 2007. Lutz has exhibited his work in numerous group shows and solo exhibitions over the past fifteen years.
 
 
CLAMPART
521-531 West 25th St
Ground Floor
New York, NY 10011
T: +1 646.230.0020
 
CLAMPART

DAVID CASTILLO GALLERY, Miami

Francie Bishop Good Boy and Bottle, Malecon, 2012 Pigment print 40 x 60 inches, Edition of 3 Courtesy of the artist and David Castillo Gallery, Miami

FRANCIE BISHOP GOOD
Far From Apple Hill
 
April 11 - May 4, 2013
 
David Castillo Gallery is proud to present Far From Apple Hill, new photography by Francie Bishop Good for the artist's second solo show with the gallery.
 
Far From Apple Hill reveals far as a relative term. To experience Bishop Good's large-scale, digital photographs is to fall between antipodes-- cut through the center of the Earth on the straightest path between diametrical opposites-- slip from memory to lived experience. The artist compresses place and time like folding a map, making visible an expired wind in the shape of trees or the passion in muscle memory.
 
You can't go home again, cautions Thomas Wolf. Bishop Good reaches impossibly toward her distant past in Apple Hill, Pennsylvania from her present South Florida, itself a transient region shaped by pirates, political refugees, and seasonal tourists. The resulting images draw from these varied locations; familiar bodies and strangers; specific cultures and diasporas; reconstruction and autopoiesis. Bishop Good's photographs are monuments to Walter Benjamin's notion of memory not as "an instrument for exploring the past, but rather a medium."
 
Bishop Good depicts the place and time of the other, who, as in folklore, is also a familiar. Bishop Good sets upon the world with a keen vision, filtering the darkness of time and place-- moment and memory-- sign and signifier so that the vulnerability of early childhood, the bosom of a landscape, or the trauma of a torn umbrella is yours, and you can recognize it, suddenly, as clear as a photograph. Bishop Good's work resonates exponentially at the roots of collective memory. Far From Apple Hill is inspired and troubled by memory in hyperreality, both painfully removed and staggeringly intimate.
 
Francie Bishop Good lives and works in Fort Lauderdale, Florida. Recent museum acquisitions include the Wadsworth Atheneum Museum of Art, Hartford, Connecticut; The Patricia & Philip Frost Art Museum, Florida International University, Miami, Florida; and Fort Lauderdale Museum of Art, Fort Lauderdale, Florida. The artist's solo show at the Hollywood Art & Culture Center, Florida, opens November 2013.
 
 
DAVID CASTILLO GALLERY
2234 NW 2 Avenue
Miami, FL 33127
T: +1 305 573-8110
 
DAVID CASTILLO GALLERY

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OCCUPY SPACE, Limerick

Laura McMorrow Not of this Earth, 2012 Courtesy of the artist

Occupy Space and Stag & Deer Present:
 
Richard Forrest // Laura McMorrow // Caroline McNally // Jillian McAteer
 
12th April to 11th May 2013
 
Occupy Space and Stag & Deer present works by Richard Forrest, Laura McMorrow, Caroline McNally and Jillian McAteer. Taking lens-based media as a starting point, Occupy Space have developed a curatorial collaboration with Stag & Deer, an exhibition-making partnership based in Cork. Both Occupy Space and Stag & Deer are non-profit organisations with a history of utilising slack spaces, multiple sites and temporary venues to house exhibitions of contemporary visual art. We share a common objective on this particular project which positions lens-based artists firmly within the remit of contemporary visual arts practice. The selected artists use a range of approaches, incorporating multi-disciplinary practices that speak to the process of making in relation to lens-based media. Photography, film, performance and installation combine, inviting the audience to explore the ideas of perception and the human experience of seeing which underpin concepts at play within the individual artworks.
 
On this occasion we are using two slack spaces to exhibit the works, they are located side-by-side at 7/8 Rutland Street. We would like to acknowledge the support of Limerick City Council for permitting access to the spaces which had formally been earmarked as part of 'The Opera Centre' development. This exhibition and related events are made possible due to Project Award Funding from The Arts Council.
 
Exhibiting Artists:
 
Laura McMorrow - Not of this Earth
Laura McMorrow’s practice is an exploration of the interface between video and sculpture by creating structures to present video as dynamic 3D objects. These structures have physical qualities that mimic the context of the video.Not of this Earth - On entering the installation space, the viewer is struck by the sight of an illuminated conical structure. The material shape of this construction needs negotiation and examination, making the viewing of the video more a physical experience. The presentation of the projection screen with its enclosed space sets the formal structure, resembling aspects within the video content. The projector’s light beam takes on material qualities and is an exploration of how our awareness works, combining phantasmagorical elements and installation strategies.The footage in the video was filmed using handmade sets. Materials were recorded in a state of transient movement. Styrofoam rocks tumble weightlessly along the ground; crystals are formed from jelly, and bitumen bubbles. The video asks the viewer to suspend their disbelief, and the sets and lighting techniques give the illusion of large-scale landscapes.
 
Caroline Mc Nally & Jillian Mc Ateer - 24 (Selected Works)
24 is a photographic project produced collaboratively by artists Caroline Mc Nally and Jillian Mc Ateer. Over a period of twenty four hours the artists responded to a domestic environment in an impulsive and intuitive manner. Influenced by the One Minute Sculptures of Erwin Wurm, a familial location becomes a strange space of subversion and performance.
The images occupy a space between the everyday and a spontaneous artificiality, creating a spectacle from the commonplace. The home is represented as a self-contained environment: amusing and yet adverse, drawing out the bizarre from the familiar. Ordinary furnishings become peculiar props in a disjointed performance intended to distort and subvert the spectator’s expectations of the home.
The self-consciously composed images reduce the performers to inanimate objects absorbed by the assembly of the mise-en-scène. Their facelessness casts an ominous shadow behind the shallow picture plane and denotes an anxiety within the humour and play.
 
Richard Forrest - The Observer Effect
Richard Forrest’s practice investigates relationships between different information systems and the external world. His works dissect and manipulate structures such as the computer and the brain, manipulating modes and mechanisms through which we perceive what is around us. Through subversive interventions, his practice exploits how implicit and explicit errors manifest within material and mental processing. Technology has become an important tool for these perceptual interventions and is combined with the acquiring and appropriation of scientific information and methodologies. Richard’s practrice is multidisciplinary, incorporating sculpture, light installation, performance, print, photography and video.
 
Supported by: The Arts Council, Eire; Occupy Space; Stag & Deer; Creative Limerick
 
 
OCCUPY SPACE
7/8 Rutland Street
Limerick
Ireland
 
Gallery open 12- 6 Tuesday- Friday, 10- 6 Saturday
 
OCCUPY SPACE
 
STAG & DEER

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15.4.2013.
RANA BEGUM
Manifold
April 19 – May 25, 2013

We are very delighted to present Manifold, Rana Begum’s first solo-exhibition in Cologne. The London-based artist is exhibiting a new body of work comprised solely of white folded steel sheets, which originate from studies in paper. The vivid colours that Begum applies on the back of the white folded works radiate onto the white wall, giving the impression that the work is floating in space. This new series of work represents a calm and contemplative approach, yet Begum’s bold use of colour conveys the electric intensity of the city.

Rana Begum was born in Bangladesh in 1977 and lives and works in London. In 2012 she received the Jack Goldhill Award for sculpture by the Royal Academy of Arts in London. We are happy to announce the publication of our first catalogue on Rana Begum’s work, which will be presented during the exhibition opening.

Rana Begum’s post-minimal form vocabulary is not only influenced by Donald Judd and Agnes Martin, but also by colourful Islamic art and architecture. Effortlessly taking the vibrant collage of the urban environment and concentrating it through a process of refinement and filtration, Begum creates works, which are crystalline, simple, pure and hard-edged. Begum’s work is minimal in its formal language, imposing order and system by abstracting moments of accidental and visual wonder. The multi-perspective quality of Begum’s art invites the viewer to walk around, choosing where to pause in front of the work, instead of being a passive observer: "The soft glow of colour is smuggled into the space of shadows and opacities interrupt the spaces of reflection and the resulting structures are materially stable but perceptually labile. As the viewer moves across the work, colour, light, shadow and composition all shift. Again, the singular object is made plural; the viewer’s relative position to it at a given moment determines the specific composition perceived but positions and, hence, compositions are multiple if not infinite." Murtaza Vali

Besides Manifold in our gallery space we will show a large 34 part aluminum work No. 261 in our Art Cologne booth from April 18-22. Furthermore we will present a solo show with Rana Begum’s new paintings at this year’s NADA NYC from May 10-12.

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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11.4.2013.
SEAN KELLY GALLERY, New York
KROBATH, Vienna
ANNET GELINK GALLERY, Amsterdam
WORKPLACE GALLERY, Gateshead

SEAN KELLY GALLERY, New York

Nathan Mabry Heavy Handed (Tocca Ferro/Horns Up), 2013 Photo: Robert Wedemeyer Courtesy of the artist and Sean Kelly Gallery, New York

NATHAN MABRY
Shapeshifter
 
March 29 through May 4, 2013
 
Sean Kelly announces Shapeshifter, an exhibition of new work by Nathan Mabry. This is the artist’s first exhibition with the gallery and will include sculptures from two different series of work.
 
Mabry’s Heavy Handed (Separation Anxiety) and Heavy Handed (Tocca Ferro/Horns Up) will be presented in gallery two. The Heavy Handed works are large-scale sculptures made of steel that resemble block-like human hands, making gestures ranging from the benign to the profane. They reference sign language, colloquial symbols and other forms of gestural communication that can be simultaneously illustrative and provocative.
 
In gallery three, Mabry will exhibit his newest series of work, which comprises oversized terra-cotta heads resting atop aluminum bases that reference minimalist sculpture, specifically Donald Judd’s milled aluminum works. The heads, hand-sculpted by Mabry, are derived from architectural elements - tenon heads found at Chavín de Huántar, a pre-Columbian religious and political site built by the Chavín people in Peru. The Chavín religion involved human to animal transformation, or shapeshifting, achieved through the use of hallucinogenic drugs. Mabry’s heads incorporate animals commonly associated with Chavín iconography, specifically jaguars, eagles and snakes.
 
The stark contrast of these ancient figurative forms to the cool reserve of their abstract minimalist bases creates, in Mabry’s words, a “crashing together” of cultural aesthetics; this juxtaposition of ancient and contemporary is a common theme in Mabry’s oeuvre.
 
Shown together, these two bodies of work offer an opportunity to see the broad range of Mabry’s sculptural vocabulary, his complex visual language and his underlying use of humor to connect with the viewer. While the exhibition title, Shapeshifter, is a specific reference to Chavín iconography, it is also a reference to Mabry’s ability to move between artistic styles and find inspiration from varied sources.
 
Nathan Mabry received his BFA from the Kansas City Art Institute and his MFA from the University of California, Los Angeles. His work is in the permanent collections of numerous institutions including the Whitney Museum of American Art, New York; the Los Angeles County Museum of Art; the Hammer Museum, Los Angeles; and the Museum of Contemporary Art San Diego, La Jolla. His work has recently appeared in exhibitions at the Hammer Museum, Los Angeles; the Museum of Contemporary Art San Diego, La Jolla; the Parrish Art Museum, Southampton; the Las Vegas Art Museum; the 176 Zabludowicz Collection, London, and the Vanhaerents Art Collection, Brussels. Mabry will be the subject of a solo exhibition, Sightings, at the Nasher Sculpture Center in Dallas, which opens April 13th and runs through July 17th.
 
Concurrently, in gallery one, Sean Kelly will present Meshes of the Afternoon, a group painting exhibition.
 
 
SEAN KELLY GALLERY
475 Tenth Ave
New York NY 10018
T. 212.239.1181
 
SEAN KELLY GALLERY

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ANNET GELINK GALLERY, Amsterdam

Ryan Gander Be prepared, 2013 Billboard paper print of Iphone in someone’s hand with the screen containing text Courtesy of the artist and Annet Gelink Gallery, Amsterdam

RYAN GANDER
Once upon a Bicycle, not so long ago
 
13.04.13 – 18.05.13
 
Annet Gelink Gallery proudly presents the fifth solo exhibition by Ryan Gander (Chester, 1976): Once upon a Bicycle, not so long ago, showing an entirely new body of work. Gander’s practice is as deeply conceptual as it is playful, recalling fictional stories and events, personal memories and art history - in particular the history of Modernism. In his current show at Annet Gelink Gallery, Gander reminisces, exhibiting his great skill as a visual storyteller.
 
On entering the gallery, the first work one encounters is “My head on your Belly” (2013); a marble sculpture of the items of luggage Gander always travels with. Together with the title, the work seems to constitute a longing for home. A little further in the exhibition, one finds “Investigation # 99 – the halo effect” (2013), consisting of two sculptures which Gander has made from a description of an unfinished project by his father. Central in the exhibition space “I is … (iii)” (2013) is shown, a marble sculpture representing a den, which consists of a simple shelter made by the artist’s three years old daughter using a sheet and a full-size Rietveld Cargo chair and smaller Rietveld Cargo chair, designed for children. Although this work directly recalls Gander’s family life, it also hints to art history (De Stijl) by the use of the Rietveld Chairs and by the technique of ‘draping’. By rendering drapery in marble, Gander alludes to classical sculpture - creating a playful tension between tradition and modernity. Gander’s works are often extremely layered, threading together fact and fiction, the personal and the historical.
 
By contrast to the traditional medium of marble, in “Investigation # 92 - With heart dotted 'i's” (2013) the artist employes striped toothpaste as his material, from which to fashion an alphabet. Likewise, the lamps he made for his wife are constructed from unorthodox media. In Gander’s practice, everything can become a work of art; the artist doesn’t limit himself in material nor in subject.
 
By mentioning his wife, three-year-old daughter or father in his work, Gander easily engages his audience. One should keep in mind however, that his practice is as rigorous as it is poetic.
 
Recent projects include Esperluette, Palais de Tokyo, Paris, FR; dOCUMENTA (13), Kassel, DE; Boing, Boing, Squirt , Museo Tamayo, Mexico City, MX; Locked Room Scenario, commissioned by Artangel, London, UK; and ILLUMInations at the 54 th International Art Exhibition of the Venice Biennale.
 
Concurrently, in the Bakery, Annet Gelink Gallery presents the first show by Jacqueline Bebb(Chester, 1977): She Showed a bit of Skirt, but Settled for a Kit-Kat.
 
 
ANNET GELINK GALLERY
Laurierstraat 187-189
NL-1016 PL Amsterdam
Netherlands
T: 31 20 3302066
 
ANNET GELINK GALLERY

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KROBATH, Vienna

Esther Stocker Exhibition view Krobath Vienna, 2013 photo: Meinrad Hofer Courtesy: Esther Stocker & Krobath Wien|Berlin

ESTHER STOCKER
 
10.04. – 01.06.2013
 
Esther Stocker’s modernist form language manifests itself in a variety of artistic media, addressing a theme that dates back to the abstraction of painting in the early 20th century, when Kasimir Malevich’sBlack Square on White (1915) transferred painting to the non-representational realm and introduced a spatial dimension. The departure of painting towards a three-dimensional approach that goes beyond figurative representation created a wider range of possibilities to view art as a holistic experience of philosophical issues.
 
In her works, Stocker uses diverse media to address the resumption of a Malevichian discourse on abstraction geared to the theory of space. The artist systematically checks the validity of the two-dimensional logic of imagination in painting and breaks up its spatial limitations. By using black-and-white patterns and textures, she releases the viewer from the perception of colour and draws their attention directly to spatial structures. Stocker’s artistic work deals with the juxtaposition of painting, photography and sculpture as an interaction between theories that encompass all spatial dimensions.
 
In her most recent works, black squares in grid patterns are transferred in a repetitive form onto the surface of objects that are suspended in space. By folding and creasing the original paintings on paper, she creates “clusters” or reliefs on the wall. The process of creasing the black-and-white grid patterns creates a distorted array of variously arranged squares, thus also alluding to instances of Op Art and subsequently transferring them into the three-dimensionality of space.
 
The inspiration for this series of objects came from mock-ups which Stocker was using in an attempt to crease space in order to disrupt the strict geometry and create a contrast to the standard structures and the form language of her paintings. The shape of Stocker’s cluster sculptures are reminiscent of crumpled pieces of paper which used to be flat before they were disposed of in this form. The artist thus addresses the active process which aims to distort the information of the sheet by turning the two-dimensional sheet of paper into a three-dimensional shape with a different volume.
 
The main room of the current exhibition at the Krobath Gallery features Stocker’s new sculptures in different forms and illustrated with various grid patterns. In addition to the objects, the artist also adapts her medium transfer technique using photography. In this process, the three-dimensional creased shapes regain two-dimensional properties through the dispositif of photography. The artist thus reproduces the folded paper formats and objects in order to visualise the rupture lines of their three-dimensionality on a photographic surface. These works are therefore related to the spatial objects and yet can also be regarded as independent pieces within the context of Stocker’s other photographic works.
 
The object sculptures are arranged as a mobile, which produces moments of movement as it hangs in space. Depending on the viewing angle, Stocker’s works thus place various aesthetic demands on the viewer, which are of less relevance in the photographs due to the fixed viewing angle of the camera. The black-and-white aesthetic intensifies the focus on space, explores its basic structures and uses modernist terms to probe the impact of a space-time axis on the scope of movement.
 
Walter Seidl
(English translation: Mandana Taban)
 
 
KROBATH
Eschenbachgasse 9
A - 1010 Vienna
Austria
T: +43 1 585 7470
E: office @ galeriekrobath.at
Tue – Fri 11am – 6pm, Sat 11am – 3pm
 
KROBATH

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WORKPLACE GALLERY, Gateshead

Hugo Canoilas Magma Installation view Workplace Gallery, Gateshead

HUGO CANOILAS
Magma
 
30th March - 4th May 2013
 
Workplace Gallery is pleased to present Magma a solo exhibition or new and recent works by Portuguese artist Hugo Canoilas.
 
With its foundations in painting, Canoilas' work is often collaborative and incorporates video, sound, sculpture and performance as well as research-based projects. Over the last decade painting has led him to establish a dialogue between abstraction and a style that nods towards social realism. With a strong interest in modernism and literature, Canoilas' practice revisits histories from a political, poetic, religious or existentialist perspective and has a capacity to be in a limbo between some of these subjects.
 
For the past 3 years Canoilas has been collecting pages from free newspapers both at home and whilst travelling. Each page is selected either because of his inability to understand or comprehend the content both in terms of language and subject. These pages then form the ground for a series of paintings made ‘blind’ in which Canoilas presses the paper face down into paint. For Workplace Gallery, Canoilas has collaged a collection of these works by overlaying specifically selected and framed works with paintings projected from transparencies on analogue overhead projectors.
 
For his recent installation Paradise Birds – at 30th São Paulo Biennial - Canoilas created a series of epic scaled paintings on unframed, unprepared canvas using a process of dipping, staining, and drawing in Ink rather than paint. Depicting characters who first explored the interior territories of Brazil the paintings move between figuration and abstraction, performance and propaganda calling into question the status of both the works as art objects and their subjects as either national hero or political tools.
 
Magma brings together a collection of works that explore Canoilas’ ongoing enquiry into the potential for his work to operate between media, structure and meaning.
 
‘My work has a wide range of possibilities in terms of aesthetic and how medium takes shape. It has a lot to do with the multiplicity of events that take place in front of me and its infinite possibilities.
 
My work many times acts as a diagram that condenses a lot of different layers where all the social, the political, and the overall aesthetic come together. I do a lot of paintings and it always derives from this chaos. You have so many images in your head and some give you the responsibility to jump over, some are ways that let you go in a certain direction. We still have the positive and affirmative energy that can be brought to this world. The works come from this idea, it looks very complex, but at the end it is very easy and natural. I just can’t explain it in a easier way.’
 
Hugo Canoilas was born in 1977 in Lisbon, Portugal. Recent Exhibitions include: Paradise Birds - 30th São Paulo Biennial - A iminência das poéticas, curated by Luiz Perez Oramas, Tobi Maier, André Severo and Isabela Villanueva, Museum Casa do Bandeirante, São Paulo, The isle of the dead, Quadrado Azul Gallery, Porto, Untitled (we can be altogether), curated by José Quaresma, MNAC - Chiado Museum, Lisbon, A painting is getting its kicks, 1M3, Lausanne, Endless Killing, curated by Chus Martinez. Huarte Contemporary Art Center, Vota Octávio Pato - Ten reasons to be a member, curated by Tobi Maier, Frankfurter Kunstverein, Frankfurt, Are you still awake?, curated by Emília Tavares, MNAC - Chiado Museum, Lisbon, Strata, curated by Francesco Stocchi, Sammlung Lenikus, Vienna, Infinit tasks, curated by Paulo Pires do Vale, Gulbenkian Museum, Lisbon, Dear painter paint me - with heart and reason, curated by Kaszás Tamás. Trafó Contemporay Art Center, Budapest. He lives and works in Vienna, Austria.
 
 
WORKPLACE GALLERY
The Old Post Office
19/21 West Street
Gateshead NE8 1AD
UK
T: +44 (0) 191 477 2200
 
Tuesday - Saturday, 11am - 5pm
(or by appointment)
 
WORKPLACE GALLERY

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4.4.2013.
GALERIE MARIAN GOODMAN, Paris
VON LINTEL GALLERY, New York
BOETZELAER|NISPEN, Amsterdam
GALERIA HELGA DE ALVEAR, Madrid

GALERIE MARIAN GOODMAN, Paris

Sabine Moritz Fluss (Frau im Wasser) / River (Woman in the Water), 2010 Oil on canvas 80 x 100 cm (31 ½ x 39 ¼ in.) Courtsy of the artist and Marian Goodman, New York and Paris

SABINE MORITZ
Limbo 2013
 
March 22 - May 4, 2013
 
Galerie Marian Goodman is very pleased to announce our first exhibition of works by Sabine Moritz. Eighteen paintings and around sixty works on paper made over the last ten years will be shown here for the first time.
 
Moritz began this extraordinary body of work shortly after the attacks of 9/11, when she spent three days in Novia Scotia after her flight to New York was diverted.
 
From this foreign, isolated location she watched the immediate aftermath of the attacks and began to contemplate the changing nature of borders, conflict and the technology of war.
 
With the exception of Gelbes Kleid I and II (both inspired by a Robert Capa photograph from the 1940s) all the paintings in the exhibition are based on press clippings collected over the last ten years. Using these documentary images as a starting point Moritz deconstructs them rendering them devoid of any historical context. Moritz does not seek to directly document war but instead to approach it obliquely by focusing on rare moments of calm and intimacy of every day during conflict.
 
“Her stated desire is to free the motifs from their immediate history and from the words that accompany them. Moritz’s war paintings are not about specific incidents, specific people, and specific wars; instead they reflect broader historical phenomena, such as our era’s new wars, and by extension, the Cold War.” 1
 
Moritz creates an atmosphere in which tension is omnipresent without the use of explicit violence and images of carnage.
 
“Hostilities are suspended in all her war paintings, sometimes (…) for what might only be a brief moment, sometimes (more commonly) for longer. To that end, Moritz paints what is often considered tangential to war but it is in fact integral to it, namely the time before, in between, or after combat actions. But despite the putatively peripherical nature of these moments, they may be ones of great concentration.” 2
 
Set apart from the immediate reality, Sabine Moritz’s representations of war in an anti-historical and inexplicit manner create moments suspended in time; in Limbo.
 
In addition to the paintings, sixty drawings in pastel, charcoal and graphite will be shown downstairs. The drawings are regularly dated and could be considered as a visual diary.
 
Sabine Moritz’s early drawings are autobiographical. The “Lobeda cycle” (1991-1992) is a recollection of places in the city of Lobeda where she had grew up. In the continuity of this work, JENA Düsseldorf(1992-1994) is another series of drawings she created from photographs which represent places she knew before and after moving to the west. Growing up in East and West Germany at the time of the Cold War predisposed Moritz at an early age to an understanding of the complexities of national identities and conflict that are a central interest of her recent work.
 
Sabine Moritz was born in 1969 in Quedlinburg and grew up in East Germany. Moritz emigrated to Darmstadt, West Germany when she was sixteen. She first studied art at the Hochschule für Gestaltung (Offenbach) and then at the Kunstakademie Düsseldorf. She had several solo exhibitions in Germany and the United Kingdom. Sabine Moritz lives and works in Köln.
 
A catalogue titled Sabine Moritz: Limbo 2013 with an essay by Christine Mehring will be published on the occasion of the exhibition. This is the first monograph dedicated to paintings by Sabine Moritz which includes 64 color illustrations of works made between 2001 and 2013.
 
The exhibition Sabine Moritz : Limbo 2013 will be on view through May 4, at 79 rue du Temple, Tuesday to Saturday, from 11am to 7pm.
 
1] Christine Mehring, «Old War, New War, Cold War: The Art of Sabine Moritz» in Limbo 2013, Marian Goodman Gallery, 2013.
2] Ibid
 
 
GALERIE MARIAN GOODMAN
79 Rue du Temple
75003 Paris
France
T: +33 1-48-04 7052
 
GALERIE MARIAN GOODMAN

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GALERIA HELGA DE ALVEAR, Madrid

Prudencio Irazabal Untitled # 25S, 2007–12 Acrylic on canvas 240 x 193 cm Courtesy of the artist and Galería Helga de Alvear, Madri

PRUDENCIO IRAZABAL
Untitled
 
14 March - 4 May, 2013
 
Prudencio Irazabal presents his latest work at the Galería Helga de Alvear. In these new pieces he untiringly pursues his investigation of the deeper layers of painting, which, over the years, has yielded meanings contrary to the materiality of a way of seeing that can be described as “perpendicular to the surface” of the painting. Availing himself of so-called “persistence techniques” —the repeated application of transluscent colours on the same patch of canvas - the artist provokes a revelation of traces made possible only as a result of a long period of time spent on a work. Some of the works exhibited took up to five years to produce.
 
In his new works, Prudencio Irazabal untiringly pursues his investigation which, through an etymological enquiry coupled with an analysis of the purely physical properties of painting, seeks to understand the painting process as something that is played out not only on the surface but also at the deeper layers of a painting. Such an emphatically material way of seeing has yielded over the years contrasting meanings, so that one could describe this way of seeing as being “perpendicular to the surface” of the canvas.
 
By using so-called “persistence techniques” - essentially similarly repetitive applications of transluscent colours on one and the same area of the canvas -the artist provokes a revelation of traces that only a long period of time spent on a work can create. Some of the works exhibited took up to five years to produce.
 
Without minimisng the importance of those aspects of painting which a camera can pick up on and reproduce on screen or on paper, these work procedures create perception zones that the viewer can make out only by standing directly in front of the painting.
 
Although the inner life of paintings has not received much attention outside museum restauration departments, for Irizabal it weighs heavily in the act of perception. To reveal it or be able to see it without the aid of tools, the artist uses a highly transparent acrylic material. For transparency not only creates depth and forces material to defer to light, but by not requiring study or analysis it functions autonomously before the naked and trusting eye.
 
These new paintings lend greater protagonism to the underlying layers of the painting and with new formulae solve the problem of integrating more opaque colours among the top layers. Colour reveals itself mainly as a catalyser of light, leaving behind its emotional markers for which, and contrary to common belief, there are no rules. The constants of fluidity and permeability, along with other aspects associated with the multiplicity of spaces, irradation of colour and the absence of a precise focal point, are some of the main arguments that Prudencio Irazabal brings together in the canvases now on display at the Galería Helga de Alvear.
 
 
GALERIA HELGA DE ALVEAR
Doctor Fourquet 12
28012 Madrid
Spain
T: +34 91 468 0506
 
GALERIA HELGA DE ALVEAR
 

 VON LINTEL GALLERY, New York

Canan Tolon Untitled 4.3, 2013 oil on canvas 24 x 24 inches (61 x 61 cm) Courtesy of the artist and Von Lintel Gallery, New York

CANAN TOLON
Somewhere Now
 
April 18 – May 25, 2013
Opening reception: Thursday, April 18, 6 – 8 PM
 
Von Lintel Gallery is pleased to announce our first solo exhibition of paintings by Canan Tolon.
 
Canan Tolon’s paintings at first appear as purely abstract, but with time the eye discovers familiar urban landscapes in the rhythmic painted streaks. She explores the visualization of space by creating an illusion of depth and engages the viewer in the game of seeking recognizable imagery and inventing a visual narrative. The black and white pieces in particular allude to the documentary quality of photography, suggesting reality where there is only imagination. Like a distant mirage, the viewer is drawn into the work, wanting to explore the multiple layers of information. With even closer inspection, the elusive vistas dissolve back into abstract patterns revealing the painting’s deception. This duality makes the imagery unstable, flickering between truth and illusion to create an ever-interesting visual feast.
 
Born in Istanbul, Tolon trained as an architect and holds a Masters from the University of California at Berkeley. In addition to her paintings, she is also well known for her large-scale installation work. She has exhibited internationally since 1984, including shows at the San Francisco Museum of Modern Art, Rotterdam’s Museum Boijmans Van Beuningen, the Istanbul Modern Museum, and London’s Saachi Gallery. In 2012, she was named one of Art+Auction’s 50 Next Most Collectible Artists. Tolon lives and works in the California Bay Area.
 
The exhibition is accompanied by an illustrated catalogue.
 
 
VON LINTEL GALLERY
520 W. 23rd Street
Ground Floor
New York, NY 10011
T: +1 212 242 0599
 
VON LINTEL GALLERY

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BOETZELAER|NISPEN, Amsterdam

Peter Lamb 'White rainbow red light showing' 2013 photograph of studio floor printed onto a4 dibond aluminium acrylic and spray paint Courtesy of the artist and Boetzelaer|Nispen, Amsterdam

SLOW IS SMOOTH IS FAST
Jack Brindley, Bob Eikelboom, Peter Lamb, Neal Rock, Shane Bradford and Just Quist
 
20 April - 18 May 2013
 
Slow is Smooth is Fast
On the 20th of April Boetzelaer|Nispen is opening three group exhibitions called Slow is Smooth is Fast. The exhibitions will feature works by Jack Brindley, Bob Eikelboom, Peter Lamb, Neal Rock, Shane Bradford and Just Quist. Who all confront painting with exceptional creativity, discarding the stigma of traditionalism and rearranging the medium and the process.
 
By assembling a coherent group of works of art in one gallery space expectations are created that an exhibition is taking place. However there are three explanatory texts, there are three sets of documentational material and there are three titles, pointing at a completely different situation.
 
Slow
Perhaps it is anthropological in part, a cold European thing. Although, the Scandinavians allude to it and get the idea they are usually too analytical to follow through. The French, Belgians and Germans understand it well but somehow enact it less. Of the rest of Europe, the south is too warm (too Roman?); too comfortable to push it far enough while The Eastern block too, buried as it is in the History Of Nations always push it too far. Only the Dutch and the British seem to possess the necessary puerile instinct, the secular disbelief in the afterlife and a debunked sense of the absurd to fully understand the benefits of the occasional, unfettered and unreasonable indulgence in debauchery. In short, we are hedonists and understand that pleasure can be profound.
 
Smooth
Briefly, we can talk about the future
Virilio’s dystopian flow describes the forthcoming mass evacuation
Of the sedentary masses – the displacement of millions
Forming a permanent swarm-like migration
…‘An era of habitable circulation’
Such alarming and exciting cultural conditions require
An optimum engagement
A silk-lined transition of ideas back and forth
An oscillation and transformation between places
States of being and production blended with acute contextual awareness
The granite of moments is more like lava, a dark rapture
Transformation in agency itself
I hope this helps: now slow down and hurry
 
Fast
Hedonists! Indulge the now
Future and past are illusive
Immediate sensation is knowledge itself
The shame of spectacle makes minutes of us all!
Artists know this
Pure pleasure isn’t careless
Grease the instant
Go beyond
Confident of a safe return
Make sport of art
Condense the heart
Collapse, but who is willing to do it?
Employ unfettered risk
As a means to the fluid
 
Slow is Smooth is Fast is initiated by Peter Lamb and organised by Shane Bradford, Neal Rock and Peter Lamb. Texts are by Shane Bradford.
 
 
BOETZELAER|NISPEN
De Clercqstraat 64
Amsterdam
1052NJ
Netherlands
T: +31 (0) 655 174 473
 
BOETZELAER|NISPEN
 

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4.4.2013.
LUIS DE JESUS LOS ANGELES

Marcos Ramírez ERRE Bush, 2013 left panel, polychrome paint on metal 36 x 36 in (91 x 91 cm) Courtesy of Luis De Jesus Los Angeles

Marcos Ramírez ERRE Bush, 2013 right panel, polychrome paint on metal 36 x 36 in (91 x 91 cm) Courtesy of Luis De Jesus Los Angeles

MARCOS RAMÍREZ ERRE
Playing Series Serious
 
Opening: Saturday, April 6, 2013, 6 to 9 P.M.
Exhibition: April 6 - May 11, 2013
 
The Bottlefield, Performance @ 7:30 P.M.
 
Luis De Jesus Los Angeles is very pleased to present Marcos Ramírez ERRE in his first solo exhibition at the gallery, titled Playing Series Serious, on view from April 6 through May 11, 2013. An artist's reception will be held on Saturday, April 6th, from 6:00 to 9:00 p.m., and will include an opening night-only participatory performance titled The Bottlefield, starting at 7:30 p.m.
 
Invested in an ongoing interrogation of language and the consequences of its translation, across terrains and cultures, Marcos Ramírez ERRE's works intimately negotiate the subject and the object, history and memory, aesthetics and politics, the local and the global, and the personal and the collective.  Posing questions about the relationship between art and audience, ERRE's works transform spectators into implicated subjects charged with the responsibility of taking an active role in producing the tensions expressed by the works.
 
ERRE's new series of works, entitled Playing Series Serious, uses humor, word play, and the format of crossword, game search, Sudoku, labyrinth, and maze puzzles to continue his strategic appropriation of language-based signage.  Comprised of polychrome-on-metal and etched mirror wall objects, his work addresses the internalization of politics into the habitual vernacular of the everyday.  Testing the limits of cognition as well as the conventions of word and sign puzzles, Playing Series Serious also explores translation, misunderstanding and the impossibility of choosing to recognize what is hiding in plain sight.

Marcos Ramírez ERRE Hu, 2013 left panel, polychrome paint on metal 36 x 36 in (91 x 91 cm) each Courtesy of Luis De Jesus Los Angeles

Marcos Ramírez ERRE Hu, 2013 right panel, polychrome paint on metal 36 x 36 in (91 x 91 cm) each Courtesy of Luis De Jesus Los Angeles

Rational choice dictates that the decisions we make are directed towards finding the most efficient solution to a problem that will also cause the greatest good.  ERRE's Playing Series Serious brings us face to face with the real contradictions inherent in making any kind of choice let alone a positive one, whether personal or political, as he challenges the viewer to resolve puzzle and word-games that confront loaded political statements juxtaposed with their grammatical dissolution into image.  Just as in politics, Playing Series Serious teasingly prompts us to restore order by electing to play the game and engage our logical and emotive apparatus in exercises of conscious seeing.
 
Acknowledged as one of the foremost figures in the history of borderland cultural practices for over two decades, Marcos Ramírez ERRE - known by his pen name "ERRE" (the sound of the Spanish double R letter) - is a formally-trained attorney, skilled carpenter, and self-taught artist whose practice includes performance, installation, sculpture, billboards, photography, video, and painting.  ERRE has participated in residencies, lectures and numerous collective exhibitions in Mexico, the United States, Russia, China, France, Spain, Cuba, Puerto Rico, Chile, Colombia, Argentina, and Brazil, including InSITE95 and InSITE97; VI and VII Havana Biennials; 2000 Whitney Biennial; 2004 San Juan Poly/Graphic Triennial; 2007 São Paulo Biennial; 2007 Valencia Biennial;  2nd Moscow Biennial 2007; 2008 California Biennial; and 2012 ZERO1 Biennial.

Current and forthcoming exhibitions include Registro 03 | Espejo/Reflejo (Register 03 | Mirror/Mirrored)at MARCO (Museo de Arte Contemporáneo de Monterrey), Monterrey, México, through May 5, 2013;Border Cultures: Part One (homes, land), at the Art Gallery of Windsor, Ontario, Canada, through March 31; Fronteridad, migración, territorios y nomadismo artístico (Frontierism, Migration, Territories and Artistic Nomadism), at Polytechnic University of Valencia, Valencia, Spain, from April 18 through June 15, 2013; and, The Very Large Array: San Diego/Tijuana Artists in the MCA Collection, at the Museum of Contemporary Art San Diego, CA, through June 1, 2013.
 
Other solo and group exhibitions include Marcos Ramírez ERRE: La reconstrucción de los hechos (A Reconstruction of Events), 20-Year Retrospective, at the Museo de Arte Contemporáneo Carrillo Gil, Mexico City; Ballad for Mellisa and Bob (or, the different ways to live on the border), an intervention at Casa Azul, Frida Kahlo Museum, Mexico City; How Many Revolutions?, LAX ART, Los Angeles; The Body of Crime, Artpace, San Antonio, TX; The Four Pilots of the Apocalypse, The Suburban, Chicago, IL; Postcards from the Edge, The Atheaneum of Music and Arts Library, La Jolla, CA; To Whom it May Concern/War Notes, Stanlee and Gerald Rubin Center for the Visual Arts, University of Texas at El Paso, El Paso, TX; Strange New World, Museum of Contemporary Art, San Diego, CA; and Baja to Vancouver: West Coast Contemporary Art, Seattle Art Museum, Seattle, WA, among others.

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28.3.2013.

LUBOMIROV-EASTON

Iavor Lubomirov and Bella Easton
Pattern Recognition (from Blue)
 
First from the new annual series The Directors’ Cut
Private View: Friday 29 March 6-9:30pm
Exhibition Dates: 30 March to 20 April, Wednesday to Saturday, 12-6pm
 
Pattern Recognition (from Blue) is the first in a new annual series of works by the artist-curatorsIavor Lubomirov and Bella Easton, directors of ALISN and LUBOMIROV-EASTON. Once a year the artist duo will represent themselves at their artist-run project space in a series entitled The Directors' Cut.
 
Lubomirov and Easton have been collaborating as art professionals since 2011 and lately this collaboration has extended into their practice. While continuing to produce their own very different work, emerging synergies have suggested natural ways to complement each others' competencies and in January 2013 the pair co-produced the first of a series of collaborative artworks - A Romance of Many Dimensions - for London Art Fair.
 
Lubomirov and Easton have brought together an unusual combination of talents to their collaborations. An Oxford Mathematician and a Royal Academy Painter, Lubomirov creates uncompromising geometric objects, clothed in Easton's luxuriant patterns and colours. Their literal melding of practices is soft yet substantial, blending seduction with seriousness in surprising and unlikely objects, which fall within multiple remits and disciplines, straddling sculpture, printmaking, animation, drawing, painting and architecture. They share a common obsession with hand-made multiples and a belief in creating valid possibilities for craft to exist in contemporary art.
 
Their work is radically different in conception, execution and material, but achieves a harmony through a common use of the grid to explore the role of the hand of the artist in the production of multiples. For both the need for a precise structure is not an end in itself, but a way of containing and inviting chance, just beyond the edge of human ability. They are thus able to ask relevant questions about making that are not couched in nostalgia, but are part of a larger resurgent discussion about craftsmanship and the role of the artist in the production of work. In Easton’s looming wall panels, a system of geometry orders the repetition of hundreds of hand-painted or printed patterns in a way that establishes a connection between images of architectural spaces and the pattern of the work itself. Lubomirov grows sculptural pieces through a slow and laborious process of layering of grids drawn on thin materials, creating a spatial distortion of flat geometry.
 
For Pattern Recogniton (from Blue), Lubomirov and Easton are showing a collaborative piece framed within the context of independent artworks by each artist. The total coming together of a-tonal sculptures and colour-rich wall works into a single central piece can thus also be seen in reverse as a litmus-like separation of the two artists’ individual practices.

A Romance of Many Dimensions – a collaboration between Iavor Lubormirov and Bella Easton 151 hand coloured copper plate etchings hand cut and layered into a bespoke box 38 x 30 x 7cm (box measurement)

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28.3.2013.
Duke MFA|EDA Inaugural Thesis Exhibition
Featuring Work by the Class of 2013
 
March 22 - April 14, 2013
 
Opening: Friday, March 22, 5-10pm
Power Plant at The American Tobacco Campus, Durham, NC
 

Lisa McCarty 1:00 - 2:00 p.m. (Electric Hurricane Lamp) 4"x5" film sheet exposed with handmade camera 40" x 32" LightJet Print, 2013

Marika Borgeson Belhaven Video still, 2013

Less than two years ago, Duke University welcomed 15 students into its newly launched Master of Fine Arts in Experimental and Documentary Arts. This spring, the program is proud to announce MFA|EDA2013, the inaugural thesis exhibition of the MFA|EDA at Duke.
 
Featuring work by the Class of 2013, the exhibition includes a range of media, from installation and performance to film and photography. Fifteen site-specific projects and presentations investigate topics including photographic abstraction, complex familial ties and histories, undocumented immigrant youth, Mormon religion and ritual, the poetic nuances of street photography and the expressive possibilities of moving image archives.
 
The exhibition will kick off on Friday, March 22, in the newly renovated 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 on Sunday, March 24 with additional film premieres; further openings and events will take place throughout March and April at venues across Durham, including The Carrack Modern Art, Casbah Durham and Cassilhaus, as well as the Fredric Jameson Gallery and the Duke School. To view work from the exhibitions and to access a detailed schedule of events, visit mfaeda2013.org.
 
The MFA|EDA is thrilled to congratulate the Class of 2013:
 
Eric Barstow
Marika Borgeson
Philip Brubaker
Laura Doggett
Wolfgang HastertBraxton Hood
Elizabeth Landesberg
Peter Lisignoli
Annabel Manning
Lisa McCartyLaurenn McCubbin
Natalie Minik
Jolene Mok
Talena Sanders
Joel Wanek
 
A unique initiative, the MFA in Experimental and Documentary Arts (MFAEDA) at Duke Universitycouples 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 MFAEDA 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 MFAEDA website at mfaeda.duke.edu. Additional inquiries may be sent to [email protected].
 
MFA|EDA 2013 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 Ellen Cassilly and Frank Konhaus and the Cassilhaus Collection; Casbah Durham and The Carrack Modern Art.

Laura Doggett Lauren 16mm film still, 2013

Natalie Minik Truly Still from digitized super 8 footage, 2012

Joel Wanek Sun Song Video still, 2013

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11.3.2013.
Stefana McClure - Science is FICTION
 
29.3. – 11.5.2013
Private View: Thursday March 28th, 6 – 9PM
London /UK

The Vampire, No.9 of 23 drawings from Science is FICTION, subtitles from a Series of Films by Jean Painlevé), 2012 - 2013 Transfer paper mounted on rag Each 27.6 x 32cm

Bartha Contemporary is delighted to announce Stefana McClure’s (b. 1959, UK / USA) upcoming exhibition ‘Science is FICTION’ featuring a monumental ‘films on paper’ suite in twenty-three parts, science fiction in the form of a series of manga drawings and some new large scale colour-blind works articulating the world of pure science. Please join us for the private view on Thursday March 28th from 6PM – 9PM. Exhibition on view until May 11th 2013.

Before Attenborough and Cousteau there was Painlevé. The artist’s second solo exhibition with the gallery celebrates the wonderful underwater documentaries of this early twentieth century French marine biologist and cinematic pioneer. In McClure’s suite of ‘Science is FICTION’ drawings the subtitles to twenty-three of his magical films are superimposed, concentrated and concealed in two shimmering bands at the bottom of otherwise uninterrupted monochromatic fields. Letters, in their original typeface and screen placement, are relentlessly accumulated and stacked upon themselves, coalescing in a super-condensed version of each film’s dialogue. These abstractions, characterised by the distillation of time and the obliteration and reconstruction of information, are tangible manifestations of film.

Hinotori 1-9: dialogue to manga by Osamu Tezuka, 2011-12 Wax transfer paper mounted on dibond 25.5 x 36.3 cm Courtesy Christoph Seibt Collection ContemporaryArt

Colourblind Drawings: Ed & Eli, 2013 Archival Ink on hole-punched paper Each 61x 61 cm

Alongside this expansive work, a second suite of nine drawings further showcases the artist’s predilection for seriality. Entitled ‘Hinotori’ this suite of drawings on wax transfer paper mounted on dibond, is a distillation of the nine-volume manga epic by the inimitable Osamu Tezuka who worked on the series for over 35 years and considered it to be his life’s work. Arguably one of the finest works of Japanese comic art ever produced, this is science fiction at its best. Twelve separate stories, linked by the presence of the mythical hinotori, or bird of fire, jump across time, alternating between a distant future and a distant past, ultimately converging on the present. These manga drawings relate strongly to the films on paper, concentrating the dialogue of entire comic books into single drawings, each new layer of text covering, but not quite obliterating the one that went before it.


While the films of Jean Painlevé exist on the border of sci-fi and nature documentary and Hinotori is sheer science fiction, the new colour-blind drawings, based on early twentieth century Japanese tests designed for the detection of colour vision deficiencies, double up as effective diagnostic tools and embody the realm of pure science. Much of the colour information has been carefully removed from these intense multi-layered works, which have been riddled with thousands of holes.
 
Recent sculptural objects will complete the installation.

Detail: The End of The World, 2012 Cut paper 39.5cm circumference

Stefana McClure lives and works in New York. She has previously lived and worked in Japan for many years and is a native of Northern-Ireland. Her work has been exhibited widely and forms part of numerous international private and public collections. For further information, or to receive reproduction quality images, please do not hesitate to contact the gallery.
 
 
Next exhibition: Henrik Eiben ‘Now’s the Time’ 17.5. – 22.6.2013, Private View, Thursday 16.5.
 
 
BARTHA CONTEMPORARY
25 MARGARET STREET
LONDON W1W 8RX
 
T: +44 (0) 20 7985 0015
F: +44 (0) 20 7985 0016
E: [email protected]
 
www.barthacontemporary.com

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VON LINTEL GALLERY, New York, USA

Dana Melamed Engine 3.2, 2012 transparency film, cinefoil, paper, pencil shavings, recycled industrial components, acrylic paint, ink, charcoal, and wire on aluminum mesh 18 x 19 x 3 inches Courtesy of the artist and Von Lintel Gallery, New York

DANA MELAMED
DUALITY OF MATTER
 
February 28 - April 13, 2013
 
Von Lintel Gallery is pleased to announce Duality of Matter, an exhibition of new work by Israeli artistDana Melamed.
 
In her latest body of work, a series of wall-mounted sculptures, Melamed presents haunting urban landscapes that explore the struggle between humanity and nature. The abandoned environments are littered with the twisted metal of urban decay under violent skies. The intricate and three-dimensional crevices, caverns, stairwells, and passageways can be explored endlessly, yielding a new discovery with each viewing. Tangled vines threaten to envelope the crumbling architecture, reminding us of our tenuous hold on the constructed environment. While humans strive to build and to civilize, often causing harm in the name of progress, nature continues its perpetual cycle of renewal.
 
Melamed’s work grows organically, building up from the surface of an irregular aluminum mesh.  She combines found natural and manmade elements with drawings and sculpted architectural forms. Each piece is developed layer upon layer with paint and glue, agitated with razors to distort and obscure the images, and fused with a blowtorch. Melamed relates her aggressive techniques and the use of both mechanical and organic materials to the conflict between people and the environment. Her layered and repeated process of drawing, painting, building, carving, scraping, and burning also recalls the growth and subsequent destruction essential to our relationship with nature.
 
Dana Melamed holds a B.A. in Architectural Studies from ORT Technikum in Israel. She has exhibited in museums and galleries throughout the United States. The artist lives and works in New Jersey. This exhibition marks Melamed’s first solo show with Von Lintel Gallery.
 
The exhibition is accompanied by an illustrated catalogue.
 
 
VON LINTEL GALLERY
520 W. 23RD STREET
GROUND FLOOR
New York, NY 10011
T: +1 212 242 0599
 
VON LINTEL GALLERY

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DALLA ROSA GALLERY, London, UK

Richard Ducker Dark Matter (2012) ink on paper Courtesy of dalla Rosa Gallery © Richard Ducker

RICHARD DUCKER
DARK MATTER
 
8 - 28 March 2013
Private view Thursday 7 March (6.30 – 8.30)
 
dalla Rosa Gallery is proud to present Dark Matter, a solo exhibition of sculptures and work on paper byRichard Ducker. This new body of work is based on a specific vision of war, portrayed through delicate ink drawings and sculptures suggesting a post-conflict scenario.
 
“The ink drawings come from a desire to find a means of politicising the Dark Matter sculptures I had been working on at the same time, as a way of confronting a horror within the contemporary. Where the sculptures explore an alienation from language through displacement, the ink drawings respond to images directly. Gleaned from the Internet, they are (news reel, mobile phone uploads) images of lingering smoke after explosions from current conflicts.”
 
“As Vilém Flusser states: The photographic image elevates the historical event to a 'trans-historical' level, taking it outside the flow of historical events. Google search amplifies this process, compressing time and flattening space. Rather than emulate this by represent horror with horror, the scale of the drawings are deliberately that of the postcard, reducing its sublime to pocket size. The digital image of convenience made analogue.” (Richard Ducker, 2013)
 
The series of delicate drawings are confronted with shard-like dark sculptures that seem to draw all surrounding light to their jet-black core. Writing about Ducker's recent work Patrizia Di Bello (Birkbeck College) noted: “If his previous sculptures turned the detritus of consumer culture into monuments to our obsession with things, the new work, Dark Matter appears to quote a monochromatic tradition. However, on close inspection the black shards have just as much in common with the discarded props of a pre CGI sci-fi movie, when such concoctions had to make do as interstellar debris floating in deep space or the rough surface of a new planet.”
 
Richard Ducker has exhibited throughout the UK and internationally, including: ICA (London); Kettles Yard (Cambridge); Serpentine Gallery (London); Royal Academy (Edinburgh); Mappin Gallery (Sheffield); The Yard Gallery (Nottingham); The Kitchen (New York); Flowers Central (London); Cell Project Space (London); Katherine E Nash Gallery (Minnesota, USA); Standpoint Gallery (London); Café Gallery (London); Anthony Reynolds Gallery (London).
 
In 2006 Ducker was founder and director of Fieldgate Gallery. The space was 10,000 square feet warehouse in Whitechapel, London, and over two and half years hosted 18 exhibitions. Since the space closed in 2008 he has continued to curate under the name of Fieldgate Gallery at a variety of different venues.
 
 
DALLA ROSA GALLERY
121 Clerkenwell Road
London EC1R 5BY
 
Open Wednesday to Friday 12 - 6 pm, Saturday 12 - 5 pm or by appointment.
 
DALLA ROSA GALLERY

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ROYAL COLLEGE OF ART, London, UK

Jack Strange, ‘g’, 2008 Lead Ball, dimensions 3.8cm x 4.4cm x 4.4cm Courtesy of the artist, Limoncello and Tanya Bonakdar Gallery, New York

NO ONE LIVES HERE
 
March 8 – March 24, 2013
 
Featuring: Neïl Beloufa, Mosireen Collective, David Raymond Conroy, Aleksandra Domanovic,S. Mark Gubb, Raphael Hefti, Jill Magid, Shana Moulton, Hito Steyerl, Jack Strange.
 
2013 marks the 20th anniversary of Curating Contemporary Art (CCA) exhibitions at the Royal College of Art. This year’s graduating CCA Masters students present No one lives here, an exhibition by international artists exploring aspects of the digital age that permeate contemporary life, from the domestic to the political.
 
The over saturation and remediation of images, through social media, open source databanks and citizen journalism, has contextually altered the individual and social rules of engagement. Bringing together sculpture, installation, moving image and performance, No one lives here will look at the contradictions and paradoxes of living in the digital age.
 
The title of the exhibition is derived from Indian theorist and philosopher Gayatri Spivak’s concept of ‘planetarity’ from her book Death of a Discipline (2005). Her assertion that “the globe is on our computers. No one lives there”, frames the exhibition thematic of a virtual environment that is uninhabitable yet populated.
 
White Mountain, a separate but connected display will preface the main exhibition. The Pionen White Mountain Data Centre, a subterranean databank located near Stockholm houses the Wiki-Leaks servers, among others. Presented as an architectural case study with archival material, plans and images, its inclusion in the exhibition symbolises the layers of access and secrecy synonymous with virtuality. The display considers the development of the Data Centre as a metaphor for the contemporary condition of digital cultural flow.
 
The No one lives here website will form an integral part of the exhibition, with further content and an interactive documentary. A free public events programme includes discussions and performances with participating artists, Shana Moulton, David Raymond Conroy and Aleksandra Domanovic.
 
The MA Curating Contemporary Art programme was established in 1992 and is widely acknowledged as an important marker of current developments in contemporary art. The annual graduate show in the RCA galleries has become known for experimental approaches to working with artists, and for introducing new international artists to UK audiences.
 
 
Royal College of Art Galleries
Kensington Gore
London SW7 2EU
T: +44 (0)207 590 4444
 
Open 10am-5.30pm daily
Twitter: @nooneliveshere1
 
Website: www.nooneliveshere.rca.ac.uk

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FREIGHT + VOLUME, New York, USA

PETER HUTCHINSON The Logic of Mountains, 2010 photo collage with text 80 x 120 inches Courtesy of Freight+Volume, New Yo

PETER HUTCHINSON
THE LOGIC OF MOUNTAINS
1963-2013: A 50-Year Survey of Collages, Constructions, Books and Film
 
March 7th – April 13th, 2013
 
It’s a great honor and pleasure to present Peter Hutchinson’s 50-year survey, The Logic of Mountains, at Freight+Volume. That being said, it’s very possible that there is in fact no logic to mountains: much like Peter’s work in general, they are cloaked in ambiguity – rational, irrational, or somewhere in between – i.e. they just ARE. But no matter, they are indeed awe-inspiring.
 
This is precisely the beauty and irony of Peter’s work – it defies exact description and categorization, much like the man himself. I’ve known and worked with Peter for over 20 years – in fact, for most of my career as a gallerist – and I must say there has never been a dull or predictable moment. To know Peter is to be constantly astounded, enriched and educated by him – at age 83 he (and his work) is still as fresh and funny as ever; his transplanted English infectious wit and insight never ceases to surprise.
 
Why his career hasn’t reached even greater heights in the US as it has in Europe is also somewhat of an enigma. Highlights of his impressive resume include a two-person show with Dennis Oppenheim at the MoMA in 1969, representing the US Pavilion at the Venice Biennale in 1980, a solo retrospective at the Arp Museum in Remagen, Germany in 2010, and work in virtually every major US and European museum collection. His peers and friends form a who’s who of art world luminaries for the past five decades – Robert Smithson, Dennis Oppenheim, Sol LeWitt, Bill Beckley, Al Hansen, Teeny Duchamp, John Cage, Jackie Matisse, Virginia Dwan, Colin de Land – just to name a few. Perhaps his decision to move to the Cape 40 years ago – a kind of self-imposed exile from NYC and the center of the art world – accounts in part for this under-recognition. But it is inevitable that Peter will eventually get his much deserved due. I hope this 50-year survey will help contribute towards that end.
 
Hutchinson is a true renaissance man, in every sense of the word. Part fanatical botanist, part consummate humorist, part die-hard TV sitcom enthusiast (he can practically recite every episode from Cheers and Seinfeld from heart), Peter again defies easy labeling. Visiting his garden and studio, especially in the summer, which he shares with several half-feral cats and includes a rare species of orchid he himself discovered and named, is a rare treat. The stories I’ve shared with Peter over the years are many. There’s the summer in the 90’s he introduced me to his then-dealer from NY, the legendary Holly Solomon, who wore her mink coat the entire visit (it was August), even as we lunched on lobster roll melts on the deck of DNA, my Provincetown gallery, and planned his next exhibition. There was the time I was swept off my feet – quite literally – at a busy intersection in Soho on the way to Henry Geldzahler’s memorial, after we drank a pair of bee-pollen/spirulina/high-protein shakes and Peter suddenly decided he knew the best way to cure his art dealer’s backache. There was the first time I tasted his homemade dandelion wine before a studio visit, and a few glasses later – like wearing 3-D glasses – was seeing incredible new dimensions in the already surreal photo-collages. There were long meandering walks in the beech forest near his house, testing various species of wild mushrooms (with serious trepidation) and being very grateful to survive another day. But above all, there is Peter Hutchinson’s work itself – bursting with color, humor and a kind of quiet, understated subversiveness.
 
Richard Prince once confessed to me, when he purchased a work from Hutchinson’s first show at F+V, that Hutchinson was the single most important influence on his own art. He considered Peter - and many would agree – to be the “grandfather of narrative art”. To be sure, Peter has always been an iconoclast – well ahead of his time. From his long-term vegetarian diet (“I won't eat anything with a face” Peter once confided) to composting and recycling his trash long before it was fashionable, to never driving or owning a car – Peter has constructed a self-sufficient, modest and almost hermetic existence, well outside the art world (albeit firmly entrenched in it). He follows a long line of literary and artistic Provincetown transplants, also counterculture and fiercely independent – such as Henry Beston, Hans Hoffmann, Stanley Kunitz, Norman Mailer, Jack Pierson and John Waters.
 
Hutchinson’s ecological philosophy and lifestyle shine through in his work and writings, of which we’ve excerpted several in the accompanying catalog for The Logic of Mountains exhibition. Peter seems to say, using his life by example, that there is so much to appreciate, to do and see and smell and taste and experience – outside the parameters of the art world – while at the same time ironically it seems he has never really left that world. The trajectory of his life and his work - forever intertwined – attests to that fact.
 
I’ve learned so much from Peter over the years, as his friend, fellow artist, and dealer, and I expect I will continue to do so for many years to come. For that I am very grateful. Special thanks also to Anthony Haden-Guest and Peter Frank for their always remarkable literary and historical insights, to Monica Truong for her amazing design skills, to Ron Lindholm at Cape Cod Picture Framing for his fine and speedy work on this and many other shows of Peter’s, to Kevin Thomas for his expert photography, to Peter Donnelly for his tireless work and patience as Peter’s studio assistant, to Forrest Gray for his swift transport, and to all the staff at Freight+Volume for their indispensable help in creating this exhibition.
 
Bravo!!
Nick Lawrence
Owner/Director
Freight+Volume
 
 
FREIGHT + VOLUME
530 W. 24th Street
New York, NY 10011
T: +1 212-989-8700
 
FREIGHT + VOLUME
 

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07.3.2013.
Domžale,
Slovenia

Več o razstavi in Galeriji Domžale na www.kd-domzale.si.

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06.3.2013. 
Fountain Art Fair partners with Pratt students and alumni for The Pratt Project, announces musical guests Spank Rock and Nina Sky

Fountain Art Fair • March 8 - 10th, 2013
69th Regiment Armory
68 Lexington Ave at 25th St
 
Opening Reception March 8th at 7pm
Buy tickets here

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Fountain Art Fair presents headlines Spank Rock and Nina Sky

(March, New York City)— Fountain Art Fair is returning to the 69th Regiment Armory, home of revolutionary 1913 Armory Show, for its 8th New York edition.  A highly anticipated line-up of DJs and hip-hop, a large scale street art installation with Robots Will Kill, a booth featuring Pratt graduate students, as well as over seventy world class exhibitors will commemorate this homecoming. Hailed as a no-holds-barred platform for the most progressive emerging talent and art world icons, Fountain will continue to host pioneering installations and experimental programming.
 
 
FOUNTAIN’S ALL STAR MUSICAL LINE-UP
With lines around the block last year for our opening night reception, Fountain plans to surpass expectations on Friday night, March 8th with the progressive New York hip-hop stylings of Lucas Walters and the fearsome Baltimore based sounds of Musa and underground hip-hop phenomenon Spank Rock, who were recently added to Boys Noize Records family.  The Centennial Celebration continues Saturday, March 9th from 7pm to midnight, with DJ sets by Chances with Wolves, performances by Kamp!, Fountain’s own NSR, and a DJ set from the dynamic identical twins Nina Sky.
 
Tickets for opening night traditionally sell out so we strongly suggest buying tickets in advance!
 
 
FOUNTAIN PARTNERS WITH PRATT GRADUATE STUDENTS AND ALUMNI

Levi Jackson, Gold

Fountain was amongst those devastated to hear Pratt Institute’s main building was destroyed by an aggressive fire earlier last month, destroying dozens of art studios, thousands of student artworks and significantly damaging the historic six-story building.
 
"The fire has been challenging for everyone involved. The students quickly turned to one another and have developed a stronger sense of community and rapport. The fire forced an uncontrolled, unplanned scenario on the students and they are responding with such energy and positivity, organizing shows and helping one another," said Nat Meade, Assistant to the Chair of Fine Arts at Pratt.
 
In the spirit of rebuilding, Fountain is humbled to partner with Pratt on The Pratt Project, a group show featuring graduate students Naroa Lizar, Loney Abrams, Ian Swanson, Erik Plambeck, Levi Jackson, Jesse Gammage, Raul Hott Ubilla, Tao Kulczycki, Lucia Pedi, Jean-Paul Gomez.
 
The Pratt Project is a survey of the work emerging from the Pratt Graduate Department. All artists are second year graduate students with upcoming MFA thesis shows this Spring. The artists were selected through a proposal process juried by Pratt alumni (2000) and Fountain co-Director of Development Jason Voegele and Pratt graduate student Lucia Pedi.
 
“The booth reflects the diversity of approaches within our practices. We are grateful to Fountain for this opportunity,” said Pedi.
 
To support Pratt students before Fountain opens, visit their website to make a donation to The Main Building Recovery Fund. Funds raised through this effort will provide students with the immediate support they need to get back into the studio. Remaining funds will be used for longer-term rebuilding efforts.
 
Official Fountain Art Fair Exhibitor List
 
Fountain selects galleries based on their dedication to accelerating the arts with rigorous exhibition programs. With an emphasis on originality and quality, hundreds of artists will be showcased, ranging from young stars and mid-career artists to established masters:
 
A Band Apart Gallery 22, A Bowl of Mixed Art, A Dying Breed, Amanda Hudson Photography, Arch Enemy Arts, Arcilesi | Homberg Fine Art, ART-FLOW, Artist Collective, Asan Gallery, Bad Booth and Beyond, Bartek Walicki, Calico, Carol Scavotto, Cloisters Gallery, Converge Gallery, COOHAUS, Correa, Jimenez  and Stewart, Creamhotel, Dacia Gallery, Dan Sabau, David Kesting Presents, Davis Art Services, DigiPen Institute of Technology, EMP Gallery, et al Projects, Front Room Gallery, Fuchs Projects, Gallery DEN, Gentleman’s Game, Grace Exhibition Space, Greyegg Presents, G Spot, Hullaballoo Collective, iArt-4, Inyoung Seoung, Kaboose Gallery, KiloWatt Gallery, Leon Reid IV, Lindsay Carron, Marc Lecureuil, MayJune Gallery Presents: Art Mazinga, Charlie K. Art Space, GAGA Gallery, K& P Gallery, Luv Gallery, MK Gallery, Michellekwan Gallery, Modern Art, Richard Catherine Gallery, Urah & Partners Gallery MCCAIG + WELLES, Mighty Tanaka, Murder Lounge, Pascal Lievre, Paul Szabo, Pete's Fingers, Post Nature Art, Pop Mortem/BluBeard, Republic Worldwide, Roleke, Rose Morgan, Rush Arts Gallery, Said Assemi, Sarah Trouche, Solo(s) Project House, Station 16, Stephen Lipuma, tART Collective, The Hangar Gallery, The Parlour Bushwick, The Pratt Project, The Sculptor’s Guild, TheSo&SoCollective, Topaz Arts, Uprise Art, Vicki DaSilva & Hec One Love, Yes Gallery, Yonabe
 
Fountain Art Fair Visitor Info
Tickets may be purchased online here in advance of the fair.
Fountain is centrally located in Manhattan (25th Street & Lexington Ave) and is within walking distance of all New York City fairs and galleries. Street parking is available. We will honor any Armory Show VIP passes.
 
Stay Connected
For the latest updates on Fountain, visit fountainartfair.com, find us on Facebook atfacebook.com/fountainartfair, and follow us on Twitter at @FountainArtFair.
 
About Fountain Art Fair
Founded in 2006, Fountain Art Fair has received critical acclaim for its uniquely alternative 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 for the future of contemporary art.
 
Fountain Media Partners
Fountain is proud to work with our presenting partner WAGMAG the free monthly guide to Brooklyn galleries. We are also happy to work with Republic Worldwide, Artcards, Art Dossier, Art Slant, and Hamptons Magazine. We are also proud to be partnering with The L Magazine and Brooklyn Magazine for our fifth consecutive year. Follow @FountainArtFair on Twitter for updates from our favorite media outlets.
 
Recent Press
“The way an art fair should be.” -The Economist
 
“Fountain remains truly a haven for the self-taught, self-represented, and DIY rogues of the art world — a sort of organized free for all, with one part street art and one part explorations in formalist craft.”
-ARTINFO
 
Press Contact
Media information and images can be downloaded directly from fountainartfair.com/press. 
Journalists can subscribe to our mailings to receive information on Fountain Art Fair.
 
For media sponsorship inquiries, please contact:
+ Marcella Zimmermann, Fountain Art Fair Partner Relations
[email protected]
 
For product sponsorship inquiries, please contact:
+ Meghan Vanalstyne, Fountain Art Fair Sponsorship
[email protected]

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2.3.2013.

GALERIE STEFAN RÖPKE, Cologne, Germany

Jordi Alcaraz "L‘altre i jo", 2013 drawing on cardboard and methacrylate 22,4 x 26 inches / 57 x 66 cm Courtesy of the artist and Galerie Stefan Röpke, Cologne

JORDI ALCARAZ
 
February 23 – April 13, 2013
 
Galerie Stefan Röpke is pleased to present its third solo-exhibition of works by Jordi Alcaraz, on view February 23 – April 13, 2013.
 
The diversity of materials Jordi Alcaraz utilizes in his work, and the creative ways he manipulates them to create his poetic spatial compositions blur many of the lines between the different art forms, from drawing and painting, to sculpture and architecture, and even literature and nature.  What we experience with looking at his work is very much in tune with the very process and curiosities that Jordi pours into them; a playful and experimental exploration of materials with minimal execution that allows each gesture to carry a gravity and necessity within the composition of each work.   Light and shadow play an equal role as paint, graphite, and found objects in compositions within a physical framework that presents itself both as boundary and as visual and sculptural element.  These are works that balance the solidity of the sculptural form and the fragility of the ephemeral composition.
 
Jordi Alcaraz was born in Callela, Barcelona, Spain where he lives and works. His work has been widely exposed around the world including the Los Angeles Municipal Art Gallery (LAMAG), Los Angeles (2011); LACMA, Los Angeles (2011); Museum der Bildenden Künste, Leipzig (2010); Arts Santa Mònica, Barcelona (2010); Centre d’Art Tecla Sala, L’Hospitalet de Llobregat, Barcelona, (2008) and Fundación Telefónica, Madrid (2001), among others. And this year Alcaraz will participate in the exhibition 'Nuage' in the Musée Reattu de Arles, France.
 
Examples of his work can be found in many important private and public collections including the Biedermann Museum, Donaueschingen, Colección Fontanal Cisneros, Miami, Museo Can Framis, Barcelona, Fundación Vila Casas, and Centro de arte Tecla Sala.
 
For more information and images of works presented at the exhibition, please feel free to contact the gallery.
 
 
GALERIE STEFAN RÖPKE
St. Apern-Strasse 17-21
50667 Cologne
Germany
T: +49 022125 55 59
 
GALERIE STEFAN RÖPKE

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BETTY CUNINGHAM GALLERY, New York, USA

Philip Pearlstein Model on Air Mattress with Mickey Mouse Blanket, 2012 Oil on canvas 60 x 48 inches, 152.4 x 121.9 cm Courtesy of the artist and Betty Cuningham Gallery, New York

PHILIP PEARLSTEIN
 
February 21 - March 30, 2013
 
Betty Cuningham Gallery is pleased to announce an exhibition of recent paintings by Philip Pearlstein. The exhibition, the artist’s sixth show at the gallery, will include approximately 10 paintings and 5 watercolors dating from 2011 to the present.
 
This most recent body of work continues Pearlstein’s distinct approach to realism. Since 1960 he has studied and painted the oddly ever-changing shape of the nude model, focusing on the technical characteristics of painting the figure rather than creating a storyline.
 
Around 1982, when he moved into a larger studio, the objects he had collected over the years entered into his view and resulted in more complex compositions. The collectibles ranged from toys to antiquities, Americana-themed novelties to African art. Similar to his models, each object is one element of an overall abstract painting, which has characterized Pearlstein’s canvases for decades. With all storyline removed, the composition and technicality of the painting quickly become the subject. In 2001, Desiree Alvarez, an artist and long time model for Pearlstein, wrote:
 
The tension in his work comes from the fact that we are not accustomed to perceiving the body as a territory for abstraction. We want a painting of the body to be visceral because our experience of our bodies is visceral. Therefore, we do not bring the language of abstraction, and especially not geometric abstraction, to nude figure painting. Pearlstein’s challenge is that we should.
 
Pearlstein’s work can be seen in a host of prestigious collections, most notably: The Art Institute of Chicago, Chicago, IL; The Cleveland Museum of Art, Cleveland, OH; Corcoran Gallery of Art, Washington, DC; de Young Museum, San Francisco, CA; Hirshhorn Museum, Washington, DC; Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Boston, MA; Museum of Fine Arts, Houston, TX; The Museum of Modern Art, New York, NY; National Gallery of Art, Washington, DC; Philadelphia Museum of Art, Philadelphia, PA; and The Whitney Museum of American Art, New York, NY.
 
Philip Pearlstein was born in Pittsburgh, PA in 1924. He received a BFA from Carnegie Institute of Technology in 1949 and an MA from NYU’s Institute of Fine Arts in 1955. That same year he had his first solo show at Tanager Gallery. Throughout his career, he has held posts as teacher and critic at various institutions, including Pratt Institute, Yale University, and Brooklyn College. From 2003 – 2006, Pearlstein served as the President of the American Academy of Arts and Letters. He lives and works in New York City.
 
A solo show of Pearlstein’s work, Philip Pearlstein’s People, Places and Things, is set to open in March 2013 at the Museum of Fine Arts, St. Petersburg, FL. His work will also be included in a group show, entitled Skin, at the Royal Hibernian Academy in Dublin, Ireland opening later this year.
 
 
BETTY CUNINGHAM GALLERY
541 West 25th street
New York, NY 10001
T: +1 212 242 2772
 
BETTY CUNINGHAM GALLERY

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AIR DE PARIS, France

STÉPHANE DAFFLON
Swing
 
From February 22 to April 6, 2013
 
For almost fifteen years now, Stéphane Dafflon has been building up a body of work of the first rank, marked by an originality that suggests an underlying elusiveness: at no point do his elegant geometrical abstractions defer to an unambiguous compositional principle. Borrowings, optical upsettings, the site specific, the index, the sample – all no sooner evoked than revoked. His titles admit of no superfluous interpretation, bear no hidden meaning: they simply state the medium and a number: AST, acrylique sur toile (acrylic on canvas); PM, peinture murale (wall painting); SAI, sculpture sur acier inoxydable (stainless steel sculpture), etc.
 
This artist summons his viewer as much to a rediscovery of the venue as to a perceiving of autonomous forms. Just as Airless, his first exhibition at Air de Paris (2000) brought his personal physical touch to bear on the actual exhibition space, this new show will see him applying his range of slender lines to both canvases and walls. Liberated from the streamlined design shapes they may have been borrowed from, these lines sometimes follow the edges of his stretchers, divide up the walls and redraw their corners. Space is no longer just to be traversed, but also to be displaced, vectored, transferred.
 
This exhibition will be a chance to observe the way Dafflon's practice is rooted in shifts, while, incidentally, embracing all the operations already mentioned – none of which, alone, would exhaust its complexity: shifts of format (stretcher size governed by the size of the passages), of colour (the tones of the canvases and the wall paintings reflecting two contradictory movements) and of placement (according to the transfers effected).
 
The upshot being that Stéphane Dafflon, rather than bothering about reacting to art theory, seems – in an act of defiance – to have taken literally the taggers who wrote on the gallery facade, "Easy to understand but complicated to do?" Don't bet on it, though.
 
Born in 1972, Stéphane Dafflon lives and works in Lausanne. His work has been widely exhibited in venues including Kunsthaus Aarau, La Maison Rouge, Kunsthalle Bern, the Swiss Cultural Centre in Paris, Frac Aquitaine and the Villa Medici in Rome. Next April he will be taking part in the exhibition Luminous! Dynamic! Space and Vision in Art from Our Time until 1913, curated by Serge Lemoine and Mathieu Poirier at the Grand Palais in Paris. The Fri-Art art centre in Fribourg has just given him a solo show, in the wake of another at MAMCO in Geneva. His work has been acquired for many public and private collections in France and abroad.
 
 
AIR DE PARIS
32, rue Louise Weiss
75013 Paris
France
T: +33 (1) 4423 0277
 
AIR DE PARIS

 LUIS DE JESUS, Los Angeles, USA

Mara De Luca Elegy IX (sv) , 2012 Acrylic and collage on canvas, 48 x 42 in / 122 x 101cm Courtesy of Luis De Jesus Los Angeles

MARA DE LUCA
Cruise Collection 2013
 
23 February – 30 March 2013 
 
Graphic chic.  Sketched from essential lines.  Sculpted by optical combinations.  Ignited by striking flashes of light.  For Cruise Collection 2013, a modern bon ton by Mara De Luca.
 
"For Cruise Collection 2013, I have created the poetic drama and darkly romantic mood of Rainer Maria Rilke's existential poetry while re-examining visual codes through a contemporary lens,' explains De Luca.  'I set out to contaminate the styles and conventions of Minimalist Abstraction and Romantic Painting with a new vision: conceptual rigor imbued with the facile seduction and sublime effect of high fashion advertisement."
 
A mix-and-match inclination of diverse aesthetics installed and experienced as a single visual event.  A ready-made approach towards the monochrome.  Poured clouds.  Macro brushmarks.  Collaged fabric overlays, transparent and opaque.  Ruptured illusion.  A romantic gesture.1
 
Cruise Collection 2013 is Mara De Luca's second solo exhibition with Luis De Jesus Los Angeles.  It represents her current project, "Elegies", which takes inspiration from Rilke's "Duino Elegies" (1912-22), recognized by scholars as his most important work.  Rilke’s ten elegies are an impassioned monologue discussing the limitations and insufficiency of the human condition.  De Luca’s response to Rilke’s cry of despair ("Who, if I cried out, would hear me among the hierarchies of angels?") invokes its own philosophical struggle befitting our highly commodified existence: “Beauty or suffering?”  “Haute couture or fractured consciousness? ”
 
Mara De Luca’s work investigates the history and visual language of abstract painting, and is a reflection on contemporary mass media expressed though diverse pictorial, conceptual and technical conventions.  The "Elegies" series comprises ten painting "types" that mimic digitally rendered atmospheric imagery—what might be described as "hyper-analog" representations of light and space. The paintings are generated through paint pours onto unprimed canvas; the poured image is then overlaid with a semi-transparent fabric—a ready-made fade.  Removed from its original context, the material loses its function as a fashion accessory and becomes a central figure in the work; its synthetic quality simulates an appropriate metaphor for our contemporary, yet superficial visual culture.2
 
De Luca addresses existential questions through an art historical lens, drawing upon various painting conventions: she reinvents the techniques of late 20th century modernist painters, recreates the minimal atmospheric effects of the California Light and Space movement and simulates nature’s Romantic sky setting.  The underlying current that runs through these diverse art styles is one of transcendental experience.  For De Luca, Abstraction, Minimalism and Romanticism as referenced in the “Elegies” are tools used to mine the history of painting’s rich visual language, to reaffirm the longstanding notion of art as an instrument to transcend chaos and to re-define its place in a contemporary and undeniably digital landscape.3
 
Mara De Luca was born 1973 in Washington, D.C., and lives and works in Los Angeles.  She received her MFA from California Institute of the Arts, Valencia, CA, and BA from Columbia University, New York.  De Luca has exhibited in museums and galleries in the U.S. and Europe.  Recent and forthcoming exhibitions include Stations (a series of fourteen paintings inspired by Barnett Newman'sStations of the Cross,) at the Museum of Contemporary Art San Diego; Searchin': Los Angeles and the Quest for the Sublime, curated by Mary Coyne, at Angels Gate Cultural Center, San Pedro, CA; andElegies, an exhibition of new hybrid prints, created during her 2012-13 residency at Irvine Fine Arts Center, Irvine, CA, opening March 9th, 2013.
 
1 This statement was adapted from the original press release for the Gucci Women's Cruise Collection 2012 and is offered as a tongue-in-cheek nod to De Luca's source inspiration: the seductive manipulation of words, images and graphics in today's media, the ascendancy of art as "fashion", and the continued influence of Rainer Maria Rilke's poetry upon a retail contemporary sublime.
 
2, 3 Gosia Wojas, “Requiem for Sublime”, October 26, 2012. Los Angeles.
 
 
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

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ALISON JACQUES GALLERY, London, UK

Michael Bauer Slow Future - Skoer, 2012 Oil on canvas 180 x 175 cm, 70 7/8 x 68 7/8 ins Courtesy Alison Jacques Gallery, London

MICHAEL BAUER
SLOW FUTURE - H.S.O.P. - Opus
 
22 February - 28 March 2013
 
'Bauer's paintings are fragmented, sexual, feverish and funny; worlds within worlds that won't be pinned down. They make me think of filthy cities, and filthier minds; of lavish interiors, abandoned excavations, half-remembered rituals, snatches of music and inexplicable joy.' Jennifer Higgie, 2008
 
Alison Jacques Gallery is delighted to present Michael Bauer's inaugural exhibition at the gallery, a new series of oil paintings entitled Slow Futures - H.S.O.P. - Opus. He employs an extraordinary range of mark-making in them - from heavy impasto to fine-brush doodles - layering diverse narrative clues as if engaged in some ardent form of reverse archaeology. In the middle of large canvases, Bauer builds rich amalgams of fascinating personal detritus, suspending tangled recollections of historical trivia, friends' anecdotes, forgotten bands, maligned painters' mistakes, and so on. All his paintings are fundamentally portraits, but they are portraits of memories.
 
Bauer loves titles - the more deliberately obscure and diverse the better - and this series is no exception. The 'slow' of Slow Future refers to his pace in working, building layer upon layer, organically but never systematically, and because one of the things Bauer has always valued about painting is that it's slower than other media. H.S.O.P. is an acronym for the Hudson River School of painting - a 19th century fraternity of American landscape painters who hold no significance for Bauer other than the fact that they've become unfashionable and he likes the idea of "colonizing their memory". He fundamentally disagrees with the notion that painting itself has become obsolete and, by annexing a school devoted to it, seeks to re-emphasize that painting remains not only central to his future, but to the future. Opus is a typically self-deprecating Bauer addendum, a tongue-in-cheek nod to the fact that he doesn't see this or any other of his series as fitting into an ordered theory or composition.
 
Bauer usually adds some kind of coding system to his paintings' surfaces, alluding to a faux structure at each of their premises. These have recently taken the form of colour-coded punctuation, but in most of the paintings here the only graphic notation he uses are deliberate red herrings: Bauer has painted small flags in their corners, chosen not because of any personal geographic or historical relevance, but because they are from lesser-known nations that he didn't recognise and are often confused with more prominent countries. What's particularly appealing to Bauer is that any flag, known or unknown, carries so much invented history. So, in addition to these being framing devices or heraldic elements for each painting, he wants them to function as "traps of meaning" in the context of all the other clues in the works.
 
Investigating failings - both Bauer's own and those of other painters - is another central element of this exhibition. As an adolescent, he copied the more expressive elements of "an awful Pointillist painter (his) dad collected" and returns to that here, relishing overused and flawed techniques from this and other artists, and, as he says, "focussing on their stupidities". Bauer has also brought more figurative elements into these new works, notably hands and feet, because he was never any good at rendering them as a young artist. Beyond revisiting failures, he uses his own unconscious acts in these works, often deliberately drawing with a brush "while (his) mind is somewhere else". He then invests time responding to these 'mistakes' in very particular, attentive ways. So, whilst Bauer isn't the slightest bit interested in rectifying them, the process of embracing and creating a kind of recycled beauty from the inappropriate and the rejected is absolutely central to his endeavours. Attempting to create resolved works would be disingenuous to Bauer's practice and to what he believes about painting, and one of the enduring fascinations in these works lies precisely in their remaining unfathomable. As Higgie puts it, 'A painting is not, and never has been, an explanation...it will always choose to hide as much as it reveals'.
 
Michael Bauer (b. 1973, Erkelenz, Germany) studied at the Hochschule fur Bildende Kunst in Braunschweig, and now lives and works in New York. Notable solo exhibitions include K-Hole (Frogs), Villa Merkel, Esslingen am Neckar (2011); Marquis Dance Hall, Istanbul (2010); Anthem, Kunsthaus Baselland, Basel (2009); and Kunstverein Bonn, Bonn (2007). Bauer is the subject of a substantial JRP Ringier monograph published in 2008, entitled Borwasser, with a lead essay by Jennifer Higgie and an interview with Stefanie Popp.
 
 
ALISON JACQUES GALLERY
16 - 18 Berners Street
London W1T 3LN
T: +44 (0) 20 7631 47
 
ALISON JACQUES GALLERY

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27.2.2013.

Clemens von Wedemeyer Das Bildermuseum brennt, 2004-2005 3 channel videoinstallation, 27 min., colour, sound Production still Courtesy of the artist and KOW-Berlin

ART COLOGNE 2013:
High-calibre special shows and exhibitions
 
April 2013 – focus on the Rhineland. The 47th ART COLOGNE runs from the 19th to 22nd April with over 200 international galleries from 25 countries showcasing the full spectrum of contemporary art, post-war and modern masters. ART COLOGNE is also playing host to a programme of special exhibitions. Highlights from the Düsseldorf-based Julia Stoschek collection will be shown in the entrance area of the fair. On ART COLOGNE’s forecourt at the south entrance to the Koelnmesse complex, visitors will be greeted by a large-scale, visually spectacular sculpture by Katharina Grosse. ART COLOGNE is also pleased to co-operate with the Cologne electronic music label KOMPAKT to celebrate its twentieth anniversary. At the same time as ART COLOGNE, a high-calibre retrospective and three exciting shows of work by contemporary artists will be starting at the Museum Ludwig, the Kölnischer Kunstverein and the Ludwig Forum für Internationale Kunst. The cooperative effort of these three institutions and ART COLOGNE is designed to give art lovers a high-profile, attractive, event-filled and easily accessible cultural programme.
 
Special shows:
It has been several years since ART COLOGNE hosted work from a major private collection. Now Julia Stoschek has put together a museum-calibre exhibition titled ‘Das Bildermuseum brennt’ [lit. ‘the picture gallery is on fire’]. Specially tailored to the Cologne exhibition hall, the show goes into the complexities of staging exhibitions and how artworks are perceived in a given exhibition space. The performance artist and musician Mariechen Danz and her band UNMAP (with special guests) will give a concert at VENUS & APOLL in Düsseldorf as part of the Stoschek show. The concert kicks off at 9pm on the 19th April 2013.
 
The German artist Katharina Grosse lives and works in Berlin. In her painting she uses a wide variety of surfaces, often working directly on the walls and floors of exhibition or living spaces, the facades of buildings and on giant styrofoam objects. On the forecourt at the south entrance to the Koelnmesse complex Grosse will be showing a sculpture consisting of two enormous styrofoam slabs stacked one above the other. She has spray-painted the sculpture with layers of vivid colour. Its impact is visually arresting and highly dynamic. Visitors are encouraged to walk around the sculpture and use the opportunity to view it from multiple vantage points in a gradual process of engagement with it. At ART COLOGNE Grosse’s work is represented by Galerie Nächst St. Stephan Rosemarie Schwarzwälder (Vienna) and Johann König (Berlin).
 
The KOMPAKT label was launched in 1993 by Wolfgang Voigt, Jürgen Paape and Michael Mayer. This was the genesis of its signature ‘Cologne Sound’. KOMPAKT now represents a long list of international artists working in every branch of contemporary electronic music. And the label still remains at the spearhead of the electronic avant-garde scene. It is celebrating its twentieth anniversary with a music installation specially designed for ART COLOGNE. This will be staged in the foyer. The label will also be running a KOMPAKT music booth and exhibiting a range of visual material and artist-designed covers. There will also be a chill-out lounge with multimedia sound art on tap.
 
Exhibitions:
The long awaited retrospective of Andrea Fraser opens on the 20th April 2013 at the Museum Ludwig. The American artist is the designated recipient of this year’s Wolfgang Hahn Prize. This is the first comprehensive show of her work since 2003. It documents the early performances of the 1980s and her more recent work. Fraser is scheduled to stage a 1991 performance titled ‘May I help you’ on the 21st April. The European premiere of her full-length performance ‘Men on the Line’ – first performed in Los Angeles in 2012 – will be held at the Museum Ludwig on the 21st June.
 
Opening on the eve before the preview and vernissage of ART COLOGNE, on the 17th April 2013, an exhibition at the Museum Ludwig is showcasing the British video artist Phil Collins. Collins’s work takes a critical look at the burgeoning instrumentalisation of the entertainment industry. He uses his contemporaries as players in his films, photographs and sound tracks, deliberately recontextualizing popular media strategies. His work turns on a critical preoccupation with mass media.
 
Opening a few hours before the Phil Collins exhibition, a Stefan Müller solo exhibition opens at theKölnischer Kunstverein. Long overdue, this is the Cologne-based artist’s first public show for many years. One of his creative points of departure is to mix the traditional tools of the artist’s trade such as canvas and paints with randomly chosen everyday residual products like dirt, ash and dregs.
 
An exhibition of work by the Detroit-based artist Michael E. Smith is yet another April highlight. It opens at the Ludwig Forum für Internationale Kunst in Aachen on the 21st April 2013. Smith’s work is still relatively unknown in Germany. His objects are powerfully expressed, extraordinarily precise illustrations of the interface between art and sociopolitical reality. He frequently uses materials sourced in everyday subcultural life, directly referencing the sports and music of Afro-American youth culture and positioning them in a new spatial context.
 
 
Please note: New dates
 
47th ART COLOGNE 2013
Open to the public: 19th to 22nd April 2013
 
AXA ART Professional Preview and Vernissage
Thursday, 18th April 2013
 

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26.2.2013.

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Video večer / Video Evening #13:

Nataša & Katja Skušek: Pri Zlatem stegnu 2008-2011

Projekcija in predstavitev


Torek, 26. 2. 2013, ob 19. uri

Galerija Photon, Trg prekomorskih brigad 1, Ljubljana

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Samorefleksija in odgovorno delovanje v svetu umetnosti

Šola Svet umetnosti uspešno zaključuje 14. šolsko leto


Svet umetnosti smo leta 1997 razvil iz potrebe po teoretičnem in praktičnem izobraževanju na področju sodobne vizualne umetnosti. Postali smo edini celostni izobraževalni program v Sloveniji (in okolici), ki prihodnje strokovnjake uči veščin in metod za kuratorsko, kritiško in teoretsko delo. Dvoletno izobraževanje za kustose in kritike vključuje predavanja, seminarje, delavnice, raziskovalno delo, module o praktičnem delu kustosa in študijske ekskurzije. Izobraževalni proces pa sestavljajo organizacija dogodkov, priprava zaključne razstave pod mentorskim vodstvom, obiski ateljejev, pisanje kritik pod mentorskim vodstvom, srečevanja s kustosi, umetniki, teoretiki in pisci.


V šolskem letu 2011–2013 smo uspeli nadgraditi program z novimi učnimi vsebinami in publikacijami, mednarodnim povezovanjem in ažurno spletno dokumentacijo. Najbolj pa smo ponosni, da se bo v 14. šolskem letu stotim diplomantom pridružila nova generacija bodočih kustosov. Osem tečajnikov bo aprila izobraževanje zaključilo z zaključno razstavo, ki se bo odprla 4. aprila 2013 v ljubljanski Galeriji Škuc. Že zdaj vljudno vabljeni!


Izjemna 14. generacija tečajnikov

Šolo je obiskovalo 10 udeležencev, v zaključni letnik pa se jih je uvrstilo 8. Poslušali so 3 serije predavanj stalnih predavateljev in 4 predavanja gostujočih predavateljev o kuratorskih praksah, se udeležili 4 seminarjev in delavnic iz pisanja, obiskali so 20 razstav in 5 ateljejev umetnikov ter potovali na 3 študijske ekskurzije v Krakov, Gradec in Zürich. Izjemen prispevek letošnje generacije je refleksija programa v obliki kritik in poročilo, ki so objavljena na spletni strani šole kot učno gradivo in popotnica bodočim tečajnikom
 

VEČ NA SVETU UMETNOSTI: http://www.worldofart.org/aktualno/

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21.2.2013.

Raphaël Zarka Series: The Prismatics (Les Prismatiques) ink on paper, 2013 photo: Caio Caruso Courtesy of Luciana Brito Galeria, São Paulo

 LUCIANA BRITO GALERIA, São Paulo, Brasil

RAPHAËL ZARKA
GRAMMAR AND COMPILATION
 
26 February - 23 March 2013
 
Luciana Brito Galeria presents for the first time in Brazil the solo exhibition by Raphaël ZarkaGrammar and Compilation. The French-born artist is known for exploring the potential of structural forms, driven particularly by a theoretical experimentation on the possibilities of different materials, volume, and geometry. Raphaël Zarka is also extremely familiar with the dynamics of surfaces and the versatility of spaces, which can be attributed to his experience with skateboarding.
 
Grammar and Compilation brings together a collection of works, mostly never before shown, which summarizes his current artistic poetics: the geometric shapes presented suggest ‘collectionism,’ as practiced by the artist, while the 'grammar' emerges through the combinatorial process present in most of the works on display. This combination, in addition to consolidating outstanding elements of his research (geometry, transposition of elements from painting to sculpture, as well as the building of a body of shapes in the mold of a collection), also demonstrates an unavoidable reference to the studies of The Grammars of Ornament.
 
The series of sculptures The Prismatics (Les Prismatiques) condenses these characteristics. There are two works in wood, each consisting of solid modules of Jatobá (Hymenaea courbaril) wood. This is the first time that the research involves a typical wood from the country in which it will be presented. For each of the sculptures, the modules are seated differently in order to create specific combinations, alluding to the playful process of dissection puzzles, particularly Tangram, the ancient Chinese puzzle. As for the modules, they were inspired by the shape of the 'wedge' (piece of wood that tapers to a thin edge, used for tightening or adjusting objects, such as a canvas stretcher frame). Les Prismatiquesplays with the uniformity of the wood cut and the randomness of its natural cracks. Along with the sculptures, a set of drawings shows other combinations of wooden modules, representing a natural logical continuation of The Prismatics (Les Prismatiques), but employing a different technique. In addition to stressing what we see on display, the drawings demonstrate a tiny fragment of the thousands of possibilities for assembling the modules, using colors and perspectives that hark back to early Italian Renaissance paintings.
 
The artist works not only the art of both replica and construction, but also deduction with extreme precision. In his works from the series Deduction, Raphaël Zarka extracts forms from plywood boards, alluding to the history of painting, geometric research, and studies on perspective. For him, this is a way of revisiting history and situating himself as an observer and lover of art. The artist also presents a series of black-and-white prints: Invitation Cards. With unavoidable presence in all of his solo exhibitions, the set refers to diferent elements – objects, persons, books, etc – and represents a collection in itself. Each of these works shows combinations of geometric shapes, in addition to highlighting diverse aspects of the sculptures and drawings.
 
An object of study that is often present in much of Raphaël Zarka’s work, the rhombicuboctahedron(Archimedean solid - or semiregular convex polyhedra - discovered by the Greek physicist) is dealt with in two pieces in the show. In addition to the silkscreen Catalogue Raisonné of the Rhombicuboctahedra, the video Rhombus Sectus (2009) brings a sequence of static shots, with centripetal format, echoing on the Katsushika Hokusai’s illustrations Thirty-Six Views of Mount Fuji(1831–1833), but in the context of the National Library of Belarus, in Minsk, whose building has the shape of an uncanny rhombicuboctahedron.
 
About Raphaël Zarka
1977, Montpellier, France. Lives and works in Paris, France.
Raphaël Zarka studied fine arts at the Winchester School of Art, in England, and at the École nationale supérieure des beaux-arts, in Paris, France. He has shown in many public and private venues and exhibitions, including the Centre Pompidou and the Palais de Tokyo (both in Paris, France), Performa 11 (New York, USA), Moscow Biennale (Russia), Macro (Rome, Italy), Modern Art Oxford (Oxford, UK), Mercer Union (Toronto, Canada), Projects Arts Centre (Dublin, Ireland), Stroom (Den Haag, The Netherlands), Centre d’Art Contemporain (Saint-Nazaire, France), Contemporary Art Centre (Vilnius, Lithuania), Villa Warsaw (Poland), Bischoff/Weiss Gallery (London, GB).
 
 
LUCIANA BRITO GALERIA
Rua Gomes de Carvalho, 842
BR - 04547 003 São Paulo
Brazil
T: +5511 3842 0634 / 0635
 
LUCIANA BRITO GALERIA

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Diane Simpson Cape (SL) 2011 Gatorfoam board, spunbond polyester, and crayon 17 x 50 x 11 1/2 inches Image courtesy the artist and Corbett vs. Dempsey, Chicago. Photography by Tom Van Eynde.

CORBETT VS. DEMPSEY, Chicago


DIANE SIMPSON
 
8 February - 23 March, 2013
 
Corbett vs. Dempsey is very pleased to present its first solo exhibition of new sculpture and drawings by Diane Simpson. Since her earliest shows at Artemisia and the Phyllis Kind Gallery in the late 1970s, Simpson has been a major force in Chicago sculpture. Indeed, Simpson straddles several generations in Chicago art; she attended the School of the Art Institute in the mid 1950s, received her MFA there in 1971, where she was friends with Imagist artists including Christina Ramberg and Ray Yoshida, and she has maintained deep connections with the abstract conceptual artists of the 1980s, including Richard Rezac and Julia Fish.
 
Exploring a liminal zone between abstraction and figuration, her sculpture starts with intensive studies in fashion, extracting the human (left as an insinuation) and focusing on the architecture of the attire, its inherent tensions and relaxations, out of which Simpson extrapolates entirely original forms. A collar, a cuff, a hem – each part of a piece of clothing is fodder for formal play, deconstruction and reconstruction. An intense and detail-fixated craftswoman, firmly in the same Windy City tradition as H.C. Westermann, she has worked in diverse materials, including cardboard, MDF, wood, fabric, paper, aluminum, and vintage linoleum, all with a meticulous finish and an aggressive sense of design.
 
Early in her career, Simpson introduced a way of making 3-D work that translated from drawings, concentrating on the 45-degree angles that helped define a certain kind of perspective. She continues this investigation with an important new piece, based on the same set of calculations, as well as unveiling new freestanding, wall hanging, and shelf-based works. Along with these new sculptures, Corbett vs. Dempsey presents several new drawings, executed on graph paper, which stand both as studies for the sculptures and fully-realized, independent works on paper.
 
Simpson was the subject of a retrospective, Sculpture + Drawings, 1978-2009, at the Chicago Cultural Center (2009). A full-color, 48-page catalog, with essays by John Corbett and Jason Foumberg, accompanies the exhibition.
 
 
In the West Wing, Corbett vs. Dempsey presents Constructions, 1960-1970, work by Rodney Quiriconi (b. Chicago, 1933). Quiriconi was well known in Chicago in the 1960s and ‘70s. One of the only artists of the era to have drawn extensively on Minimalism, Quiriconi was neighbors with H.C. Westermann, whose use of rare woods directly influenced him. At the outset of the 1960s, he was working as a painter, but gradually moved into making intricate, exquisitely crafted box constructions, using metal, glass, wood, and mirror. The earliest boxes were relatives of Joseph Cornell’s, with similar roots in a Surrealist collage sensibility, but deeper into the 1960s they became more stripped down and experimental.
 
Over the years, Quiriconi was associated with several legendary Chicago galleries, including Dell and Phyllis Kind, and he participated in numerous exhibitions at the Hyde Park Art Center. This is the first solo presentation of a group of his vintage works in over thirty years. A full-color, 16-page catalog, with an essay by John Corbett, accompanies the exhibition.
 
 
CORBETT VS. DEMPSEY
1120 N. Ashland Ave. 3rd Floor
Chicago, IL 60622
T: +1 773-278-1664
 
CORBETT VS. DEMPSEY

Massimo Bartolini Afterheart, 2012 Wooden organ 265 x 265 x 112 cm Courtesy of the artist and Frith Street Gallery, London

FRITH STREET GALLERY, London

MASSIMO BARTOLINI
AFTERHEART
 
8 February – 28 March 2013
 
Frith Street Gallery is pleased to announce an exhibition of new works by Massimo Bartolini. This will be Bartolini’s second solo exhibition at the gallery.
 
For the artist the work in this show acts as a sequel to an earlier piece called Serce (Heart) exhibited in his 2011 solo exhibition Serce na Zloni (The Heart in the Hand) at the Centre for Contemporary Art Torun, Poland. The central work in the current exhibition, itself called Afterheart, is an acoustic sculpture. Here a scaled-up barrel, like that of a giant musical-box, slowly revolves, opening and closing the valves of a wind organ whose pipes form part of the structure on which the mechanism sits. The music produced by the organ has been composed in collaboration with the artist by Italian composer Edoardo Marraffa. The air moving through the structure is like a kind of breath, so although purely mechanical Afterheart is a rather human and intimate work.
 
100 hours takes the form of two monumental drawings and functions in the space like a theatrical backdrop. It depicts a network of what might be roots, tree branches or even neurons – a purposeful tangle of lines. The title refers to the length of time that Bartolini, along with a good friend, took to finish the drawing. The process, involving many discussions and arguments, is as important as the outcome.
 
2 Weight Dews is a pair very subtle monochrome paintings made with industrial enamel paint on wood and aluminium respectively. Their surfaces are covered with a delicate layer of artificial dew. The moisture seems fleeting, even incidental, as if it was a reaction to atmospheric changes or the breath of a passer by. The weight of each individual piece, due to the material it is made from is, as suggested by the title, completely different, but it is a difference that cannot be seen.
 
Pensive Bodhisattva is a sculptural ‘image’ of a Buddhist statuette seen by Bartolini in a museum in London. This particular style of statue is common all over the East from India to Japan and the figure is almost always seated in the same pose; legs crossed, one hand holding the ankle, the other under the chin. This small figure was reproduced by the artist from memory and seems somehow to be contemplating the intricacies and connections of all the other works in the exhibition.
 
***
 
A solo exhibition by Massimo Bartolini can be seen at The Fruitmarket Gallery, Edinburgh, 1 February – 14 April 2013. His work was included in the recent Documenta 13, Kassel, Germany and Track, Ghent, Belgium. Recent solo exhibitions include Serce na dtoni, Centre Of Contemporary Art, Torun, Poland (2011). ICA Sofia, Bulgaria (2010) and Dialogues with the City, MAXXI, Rome.
 
 
Frith Street Gallery
17-18 Golden Square
London W1F 9JJ
T: +44 (0) 20 7494 1550
 
Frith Street Gallery

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THE PROPOSITION, New York



MICKALENE THOMAS
décopolis : the talent of others
 
February 6 – February 24, 2013
 
Following her blockbuster solo show, Origin of the Universe, at the Brooklyn Museum of Art and her two-venue exhibition, How to Organize a Room Around a Striking Piece of Art, at Lehmann Maupin Gallery, The Proposition is pleased to collaborate with Mickalene Thomas on a pop-up shop entitleddécopolis: the talent of others.
 
Thomas transports the various elements of her tableaux installations – the customized furniture, the 70s-inspired decorative objects, the shag rugs and wood paneling  – and reinstalls them in the gallery as a stage for the artist-curated exhibition, the talent of others.
 
The installation allows Thomas to select and showcase artists that she has personally discovered through her many collaborative projects -- décopolis is the actualization of this community whose practice(s) encompass multiple genres and styles to create the essence of a fantastical pop-up.
 
The group of intriguing artists working in various mediums includes:
 
David Antonio Cruz presents two paintings from his Chocolate series in addition to a collection of small drawings merging the infamous Roger Casement's body and the subjects of his long time photo documentations, which were taken during his stay in the Congo and Brazil.
 
Roddy Fitzgerald combines realism and classicism to create stories that represent the contemporary human experience.
 
Jayson Keeling creates artwork that provokes and dismantles pop iconography and the accepted politics of sex, gender, race, and religion by pitting them against the aggressiveness of youth culture.
Elisabeth Gaffaney photographs her surrounding environment focusing on texture, composition and the opulent natural colors that occur in the everyday.
 
Vincent Oquendo extracts and pieces together makeup looks from different iconic women and reinvents them in a modern way on his muse.
 
Brother Vellies present Velskoen, pronounced "fell-skoon" and known colloquially as "vellies," -- the ancestor of the modern-day desert boot. Their velskoen are made in the coastal town of Swakopmund, Namibia, where a small group of eight Damara gentlemen assemble every shoe by hand, turning out just 20 pairs an afternoon.
 
Nina Ziefvert (NINA Z) reintroduces the iconic Swedish clog to the metropolitan market. Her raw yet feminine and functional designs are inspired by her Swedish heritage, global travels and life in Brooklyn.
 
 
THE PROPOSITION
2 Extra Place (@ E 1st Street off Bowery)
New York, NY 10003
T: +1 212 242-0035
 
Gallery Hours: Wednesday – Sunday, 12 – 6pm
For additional information please contact Ronald Sosinski, Director
 
THE PROPOSITION

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21.2.2013.

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ANNA FABRICIUS
Nepredvidljivi dogodki prihodnosti
 
otvoritev v sredo, 20. februarja ob 19. uri 
Photon – Center za sodobno fotografijo
Trg prekomorskih brigad 1, Ljubljana, Slovenia

V Photonu bo na ogled razstava Nepredvidljivi dogodki prihodnosti avtorice Anne Fabricius, ene najbolj prepoznavnih in uveljavljenih predstavnic sodobne fotografije iz Madžarske. Razstavo bo uradno odprl Veleposlanik Republike Madžarske, gospod István Szent-Iványi.



Anna Fabricius, iz serije Vaj-Voi, 2007-2011

Na razstavi v Photonu bo avtorica predstavljena z izborom del treh zadnjih serij, ki jih odlikuje osebni, skoraj intimni slog. V seriji polaroidov Nepredvidljivi dogodki prihodnosti so prizori brez razpoznavnih pomenov dopolnjeni z izrazi / napisi, ki so prepisani iz vedeževalskih kart. Serija Vaj-Voi obnavlja skupne temelje ugro-finske jezikovne skupine. Avtorica analizira sedem stavkov, ki zvenijo zelo podobno v finskem in madžarskem jeziku, obenem pa je ustvarila fotografije situacij, ki ustrezajo pomenom teh stavkov. V okviru priprav na njeno serijo Useless Best Wishes je avtorica prosila prijatelje in znance iz tujine, da ji za njen rojstni dan namesto običajnih »neuporabnih« najboljših želja, pošljejo »uroke«, ki imajo čarobne moči in pomagajo pri napovedovanju in obrambi pred nesrečami.
 
Anna Fabricius (1980) živi in deluje v Budimpešti, kjer je leta 2011 končala doktorat na Moholy-Nagy University of Art and Design. Gre za eno od mednarodno najbolj uveljavljenih madžarskih umetnic mlajše generacije, ki redno razstavlja in rezidira v etabliranih umetniških kontekstih; nazadnje je bila rezidenčna gostja mariborskega EPK.
Razstava bo odprta do 19. marca!
Odpiralni čas: vsak delavnik med 12. in 18. uro
 
 
www.photon.si
www.fabriciusanna.com
Vabljeni!

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19.2.2012.

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Ljubljana, Slovenia
"Vabim vas na odprtje razstave 
v sredo,20. februarja 2013, ob 19. uri
v Bežigrajsko galerijo 1, Dunajska 31"

15.2.2013.

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Galerie Jaeger Bucher, Paris, France

Absence disparue, 2012 Wood, cloth, string, acrylic paint 93 x 37 x 52 cm / 36,6 x 14,6 x 20,5 inches (c) Paul Wallach, Courtesy Galerie Jaeger Bucher, photo Georges Poncet

Approximately fifteen recent sculptures by Paul Wallach will be presented in this new exhibition entitledh e r e t o f o r e. This slightly archaic English indicates that we are in an "up to now." It expresses a vision of history across space-time, or, as the poet Nicolas Pesquès puts it in his splendid text on the exhibition, "the support of yesterday for its continuous revival and, in this in-between which is today, the practice of a future that turns its back on nothing."
 
The raw material of his sculpture--wood—is a living substance with a smell and a texture, capable of changing over time. The artist is familiar with every aspect of this material, having worked with wood since childhood, and seeing trees as the absolute creation for they are living sculptures inserted in Nature with an infinite diversity of forms; Trees are for him absolute creations, living sculptures infinitely diverse in their forms; this does not prevent Paul Wallach from using other materials, such as plaster, steel, cloth, paper, metal or even glass, which give a great unity to the work in the cohesion of their assembly.
These new works have a likeness in their common means of expression: rough and whitened wood, lightness despite volume, the mysterious way in which they hang naturally on the wall, held by a thread, a pin or a simple nail, resembling spatial forms filled with density varying in appearance and volume according to our own perspective. Volumes in space as much as forms filled with space, these sculptures float weightlessly thanks to their skilfully modelled architectures and geometries: they seem to be conceived from space, changing their point of perspective as they see fit in order to multiply the exploration of our sensory capacities and demonstrate how essential their exploration is for the world we are forming. By multiplying our points of view on these "sculptures that draw ordrawings that sculpt, the artist enlarges the experience of our bodies. He opens up a new dimensional communication which is a daily experience for him but which goes against the grain of our ordinary habits and the conventions of our senses." Thus these sculptures are not objects but "portions of air, voids maintained in barely discernible limits, volumes scarcely bounded, merely signified. One could almost say they are pure spaces, if such a thing could exist, models of possible space, samplings of the word volume", according to Nicolas Pesquès.
 
In addition to the traced lines and their drawings in space, which become forms of sculpted space, there is also a painterly dimension to his sculpture, a painting-becoming-sculpture, as it were.
 
The sculptures of Paul Wallach invite us into the heart of geometry and its many spatiotemporal landscapes as well as mindscapes; their perception is ever renewed according to the time, mood and light.
 
 
GALERIE JAEGER BUCHER
5 & 7 rue de Saintonge
75003 Paris
France
T: +33 (0) 1 42 72 60 42
E: contact @ galeriejaegerbucher.com
Facebook: Galerie Jeanne-Bucher / Jaeger Bucher
 
www.galeriejaegerbucher.com

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TREVOR PAGLEN Untitled (Reaper Drone), 2010 C-print 48 x 60 in (121.9 x 152.4 cm) Courtesy of the artist and Metro Pictures, New York

METRO PICTURES, New York
 
TREVOR PAGLEN
 
February 7 – March 9, 2013
 
In his first exhibition at Metro Pictures, Trevor Paglen presents works related to his project The Last Pictures, a selection of photographs reflecting unease and uncertainty about the present, and a deep anxiety about the future.
 
Commissioned by Creative Time, Paglen worked with scientists at the Massachusetts Institute of Technology to produce a disc micro-etched with 100 photographs, designed to last in space for billions of years. The project culminated in November of 2012 when the disc was attached to a communications satellite and launched from Kazakhstan into Earth’s orbit.
 
The exhibition includes a selection of key images from The Last Pictures. Among the large color prints and black-and-white diptychs is Angelus Novus (2012), a photograph of the backside of Paul Klee’s 1920 painting of the same name. Once owned by Walter Benjamin, the painting is an important reference in the philosopher’s last work "Theses on the Philosophy of History" (1940). In the essay Benjamin argues for a circular conception of history, one recognizing that despite the notion of progress, societies produce and reproduce similar economic, humanitarian, and political crises. For Benjamin, the “angel of history” faces the past and is propelled backwards into the future by the ongoing explosions of the present. By presenting the back of the painting, Paglen asks his audience to look back at the ongoing crisis of the present. Additionally, there is a grid of 182 images collected for the project but ultimately excluded and a video of the satellite in orbit.
 
Also exhibited are photographs, "skyscapes," of nearly undetectable surveillance drones in a seemingly empty field, a massive National Security Agency data center under construction in suburban Utah, and secret satellites in the night’s sky. Paglen’s images are both documents of clandestine military operations and a contribution to the history of photographic abstraction, following in the tradition of Alfred Stieglitz’s landmark "Equivalents" series of imposing clouds in an inordinately black sky.
 
In September 2012 Paglen and filmmaker Werner Herzog discussed The Last Pictures in an event at New York’s Bryant Park. Following a series of lectures at institutions in the United States and Europe in fall 2012, The Last Pictures was published by the University of California Press and Creative Time Books and is available at the gallery.
 
Paglen will give tours of the exhibition every Saturday at 3 PM except for February 23rd.
 
Trevor Paglen holds an MFA from the School of the Art Institute of Chicago and a Ph.D. in Geography from U.C. Berkeley. Paglen has had one-person exhibitions at: the Vienna Secession, Berkeley Art Museum; Kunsthall Oslo; Kunsthalle Giessen, Germany. His work has been included in group shows at: MIT List Visual Arts Center, Cambridge, MA; SITE Santa Fe, New Mexico; Haus der Kunst, Munich; Walker Art Center, Minneapolis; Tate Modern, London and San Francisco Museum of Modern Art. He has participated in the 2009 Istanbul Biennial and 2012 Liverpool Biennial.
 
 
METRO PICTURES
519 West 24th Street
New York, NY 10011
T: +1 212 206 7100
 
METRO PICTURES 
 
TREVOR PAGLEN

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Jeremy Bolen Untitled (CERN 7.20.12) 2012 archival pigment print, flora from site, painted frame 45" x 36" Courtesy of Andrew Rafacz Gallery, Chicago

JEREMY BOLEN

Cern
 
February 9 – March 30, 2013
 
ANDREW RAFACZ begins 2013 with Cern, new works by Jeremy Bolen. This is the artist’s first solo exhibition with the gallery. It continues through Saturday, March 30, 2013.
 
In an effort to rethink documentary tendencies, Jeremy Bolen employs a series of site-specific, experimental photographic techniques to explore the tensions between traditional representation and invisible phenomena. Bolen uses bodies of water, soil, unexposed film, and self-designed multi-lens cameras as recording devices, rethinking the apparatus for each site to capture events beyond human perception. He collaborates closely with scientists, piggybacking on their experiments to record evidence of unknown and unresolved energy, from forgotten natural disasters and particle acceleration, to the surface of the film. The film becomes a responsive membrane leaving a documentary trace, an ambient map, a literal, empirical index that makes the unknown less abstract. The final images are re-immersed in the site material where they were conceived, causing a tension between the real and the representational.
 
To create the work included in this exhibition, Bolen traveled to CERN in Geneva, Switzerland to interact with the Large Hadron Collider, which produces 600 million particle collisions per second in an effort to recreate the conditions present just after the Big Bang. These "field recordings" ultimately investigate the complications that arise from these collisions and their relationship to naturally occurring forces. New spaces evolve in each document as climate and human interaction shift and blur the system of materials. As Karin Knorr Cetina wrote in Epistemic Cultures, "in these experiments the universe of signs and traces is overlaid by a universe of simulations and distortions of signs and traces." For Bolen, this is the way the practice of the photographer and the scientist are fundamentally connected. In the same way that things are disturbed when measured through scientific processes, the very act of photography itself, whether traditional or experimental, adulterates its final results. It is this tension between the accuracy or inaccuracy of capturing ephemeral phenomena and its potential representation as a visual artifact that drives Bolen’s documents.
 
JEREMY BOLEN (American, b. 1977) lives and works in Chicago. He received his MFA from UIC in 2012. He was included in GROUND FLOOR at the Hyde Park Art Center, Chicago, in 2012 and exhibited at the UNITLED art fair in Miami, December 2012, with the gallery. He is included in numerous private collections as well as the Progressive collection. A catalog with images and an essay by Monica Westin accompanies the exhibition.
 
 
ANDREW RAFACZ GALLERY
835 W. Washington
2nd Floor
Chicago, IL 60607
T: (312) 404.9188
 
ANDREW RAFACZ GALLERY

Douglas Gordon Sharpening Fantasy, 2012 (film still) Courtesy of the artist and Blain|Southern

DOUGLAS GORDON


Sharpening Fantasy, 2012
 
7th February – 28th April 2013
 
Blain|Southern Berlin is delighted to present a new group of video works by Douglas Gordon during the 63rd Film Berlinale, 2013. Gordon is one of the most important and influential artists of his generation. In addition to films and video installations, his work embraces photography, the written word, sculpture and music.
 
For Sharpening Fantasy, 2012 Gordon travelled to Tangier, where he filmed traditional knife grinders in different locations within the Kasbah of the seaport city. The viewer watches as the effortlessly repeated movements of the men are set to the soundtrack of their day’s work.
 
Following the recent large-scale, site-specific works by Jannis Kounellis and Lawrence Weiner, the installation transforms the former production hall of Der Tagesspiegel newspaper into an experiential, audio-visual space. The work presents collisions between Europe and the ‘Orient’, perception and prejudice, desire and fear.
 
Unlike the films of snake charmers in Natural Historie on the Parapet and Natural Historie on the Altar, which Gordon recorded in Marrakech four years previously, Sharpening Fantasy, 2012 blurs the boundaries between the different sensory perceptions, between reality and fairy tale, between dramatic imagination and a more muted gaze.
 
Douglas Gordon has long been affiliated with Berlin; he won a DAAD scholarship in 1998 and has lived and worked there since 2008.
 
 
Douglas Gordon was born in Glasgow in 1966. After receiving his B.A. at the Glasgow School of Art (1984 to 1988).
 
Gordon undertook a post-graduate program at the Slade School of Art in London (1988 to 1990). Gordon has had major solo exhibitions at Tate Liverpool (2000), Museum of Contemporary Art, Los Angeles (2001), the Hayward Gallery, London (2002) and Van Abbemuseum, Eindhoven (2003). In 2005, he curated The Vanity of Allegory, an exhibition at the Deutsche Guggenheim, Berlin and released the film Zidane: A 21st Century Portrait. Further solo exhibitions include those at the National Gallery of Scotland (2007); Kunstmuseum Wolfsburg (2007); MoMA, New York (2006); Palais des Papes, Avignon (2008); DOX, Prague (2009); Galerie Eva Presenhuber, Zürich (2009); DVIR Gallery, Tel Aviv (2009); Tate Britain, London (2010); Gagosian Gallery, London (2011); Yvon Lambert, Paris (2011); MMK, Frankfurt (2011); and MOCA, Los Angeles (2012). His work Henry Rebel was shown at 43 Basel Art Unlimited, Basel, and in September 2012 the Akademie der Deutschen Künste, Berlin, hosted a solo exhibition.
 
He has been invited to present his work at a number of film festivals, including, the Festival de Cannes, Toronto International Film Festival (TIFF), La Biennale di Venezia, and Edinburgh International Film Festival, among many others.
 
Gordon was the 1996 recipient of the Turner Prize and the Kunstpreis Niedersachsen, Kunstverein Hannover. In 1997 he was awarded the Premio 2000 at the 47 Esposizione Internazionale d’Arte, La Biennale di Venezia, Venice and received the DAAD Stipend in Berlin. In 1998 he was presented with the Hugo Boss Prize at the Guggenheim Museum in SoHo, New York, as well as with the Central Kunstpreis, Kölnischer Kunstverein, Cologne and the Lord Provost’s Award, Glasgow City Council, Glasgow.
 
Most recently, in 2008, he won the Roswitha Haftmann Prize awarded by the Kunsthaus Zürich and he was the recipient of the 2012 Käthe-Kollwitz Prize, awarded by the Akademie der Künste, Berlin. In 2008 Gordon was Juror at the 65th International Venice Film Festival, La Biennale di Venezia, and in 2012 he was the Jury president of CinemaXXI at the 7th Rome Film Festival, Festival Internazionale del Film di Roma.
 
Douglas Gordon lives and works in Berlin and Glasgow.
 
 
BLAIN|SOUTHERN
Potsdamer Straße 77–87
10785 Berlin
Germany
 
BLAIN|SOUTHERN

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JAN DIBBETS New Colorstudy (Yellow) 1976-2012 color photograph 125 x 250 cm (49 3/16 x 98 7/16 in) Courtesy of Galerie Nelson - Freeman, Paris

JAN DIBBETS
 
2 February – 29 March 2013
 
Galerie Nelson-Freeman is pleased to present new work by Dutch artist Jan Dibbets, his first solo exhibition with the gallery.
 
Jan Dibbets has been a major figure in the international art world for more than forty years. Initially trained as a painter at the fine arts academy in Tilburg, Jan Dibbets turned to photography at the end of the 1960s, and such early series as "Perspective Corrections" became one of the essential foundations of Conceptual Art. To this day his work revolves around questions that pertain to the structure of photography and the mechanisms of perception, "what we see" as opposed to "what we know."
 
For this first exhibition at the gallery, Jan Dibbets will show for the first time a new series of large-scale photographs, New Colorstudies 1976/2012. Using negatives shot in the 1970s that were quite direct explorations of depicting color without an obvious structure, these new works use a large scale unavailable at that time to create almost painterly monochrome works.  All are close-cropped details of car hoods – "flat and shiny like a photograph" – on which might be reflected sky and trees, photographs that are simultaneously as abstract as they are precise representation. The found industrial color of the cars, reproduced with the equally industrial chemical color of film chemistry, in the 70s Dibbets left unaltered; but in this new series he has often manipulated the color, bringing us back to the questions of representation and reality that are at the core of Dibbets’s work.
 
New Colorstudies 1976/2012 illustrates afresh Dibbets’s ambition to "demonstrate that reality is an abstraction," and to bring both abstraction and figuration together through the photographic medium.
Jan Dibbets was born in Weert, Holland, in 1941, and now lives and works in Amsterdam.  Since 1967, Dibbets has participated in numerous international exhibitions including the Venice Biennale (1972) and Documenta in Kassel (1972, 1977, 1982). His work is part of many public collections including the Van Abbe Museum (Eindhoven), the Stedelijk Museum (Amsterdam), Tate Modern (London), the Museum of Modern Art (New York), the Hirshhorn Museum (Washington, D.C.) and the Musée national d'Art Moderne (Paris). One-person exhibitions have been organized at the Stedelijk Museum in Amsterdam (1972, 1996), the Walker Art Center (Minneapolis) together with the Guggenheim Museum (New York, 1987), and most recently at the Musée d'Art moderne de la Ville de Paris (2010). 
 
 
GALERIE NELSON - FREEMAN
59 rue Quincampoix
75004 Paris
France
T: +33 (0) 1 42 71 74 56
 
GALERIE NELSON - FREEMAN

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13.2.2013.
Slovenia 2013

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Galerija Kapelica

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DEVICE_ART 4.013: Hrvaska_Slovenija_Srbija_Japonska Low-tech, high-tech in vse vmes Praga, 8.-15. februar 2013 Galerija Skolska 28, Skolska 28, Praha 1 Otvoritev razstave: petek, 8. februar 2013, ob 18h K4 Klub, Celetna 20, Praha 1 Performansi: petek, 8. februar 2013, ob 20h Okrogla miza: sobota, 9. februar 2013, ob 18h

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Kiberpipa

Kabaret je umetnost. Dober kabaret je veliko več. Sonorični kabaret je v zasedbi kabaretne skupine Subkomite nekaj posebnega. Odlična glasba, prepričljivi songi v več brezhibno interpretiranih tujih jezikih, satirične vsebine z rahlim pridihom političnega šarmerstva ... Poligloti, humoristi, glasbeniki in igralci, s poreklom iz vseh vetrov, odličnimi fizionomijami, ki prepričujejo v izdelanih karakternih vlogah. Vabimo vas na sonorični kabaret Luč Noči / Night Light avtorice Sanae Taha, v režiji Vojka Anželjca. Pridružite se nam na premieri, v petek, 15. februarja, ob 20. uri ali na ponovitvi, v torek, 19. februarja, ob 20. uri, v Veliki dvorani CSU Vodnikova domačija. Glasbo je aranžiral Luka Ropret, scenografijo in kostume je oblikovala Sanaa Taha, prevod nekaterih besedil pa je pripravila Polona Glavan. V kabaretu vas bodo zabavali nastopajoči Subkomitejevci: Sanaa Taha, Luka Ropret, Polona Glavan, Sanja Žmavc, Srečko Meh in Thierno Diallo. Vstopnina je 8 evrov, za študente, upokojence in brezposelne (ob dokazilu) 5 evrov. Dodatne informacije in rezervacije vstopnic na: [email protected].

V predavanju bo Tiago Martins z vami delil svoje izkušnje kot umetnik-programer. Svojo pot je začel s študijem računalništva na Portugalskem, nadaljeval pa s študijem, poučevanjem in ustvarjanjem na oddelku za multidisciplinarnost Akademije (Univerze) za umetnost v Avstriji. V obdobju sodelovanja z ljudmi iz različnih držav ter z različnimi znanji in interesi je odkril, kako večstranski smo pravzaprav lahko - če znamo deliti / izmenjavati svoje metode ter pri tem razumeti njihove prednosti in pomanjkljivosti, bomo morda lahko našli način kako početi to, v čemer uživamo in uživati v tem, kar počnemo. Vljudno vabljeni!

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13.2.2013.

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Naš autor iz prvog broja DIOGEN pro art magazina (oktobar 2010.g.),  Marcin Bondarowicz (Poljska) predstavljen je u  novoj Galeriji savremene umjetnosti SZTUKONET.

Our author from DIOGEN pro art magazine No 1. (October 2010), Marcin Bondarowicz (Poland) is presented within the new Gallery of contemporary art SZTUKONET.

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11.2.2013.

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Galerija fotografija Ljubljana (Mestni trg 11/I), Slovenija
predstavlja autore u Ljubljani i u Parizu (Francuska)

Gallery of Photography Ljubljana (Mestni trg 11/I), Slovenia presents authors in Ljubljana and in Paris 

Jane Štravs: Dahab #048, 2006. 70x100cm, c-print, edicija: 3+2AP

Jane Štravs - DAHAB - Otvoritev razstave:
14. februar 2013 ob 19.00 uri Ob 18. uri predstavitev nove publikacije iz zbirke Artzine (Hiša fotografije, Novo mesto)  z naslovom "Jane Štravs: Dahab". 

• Kusterle Roberto
• Štravs Jane
• Vogrinčič Matej Andraž

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Jane Štravs- Dahab -
14 February - 23 March
Opening of the exhibition
14 February at 7pm

07.2.2013.
Current Exhibitions worldwide

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AEROPLASTICS, Brussels, Belgium

Till Rabus Epouvantail n°3 2011 oil on canvas 220 x 150 cm Courtesy of the Artist and AEROPLASTICS Contemporary

Till Rabus
Fearless Realism
 
Dennis Scholl
Les non-dupes errent
 
25 January - 16 March, 2013
 
Two exhibitions for two artists who have in common a rare mastery of their respective technique – drawing on paper for Dennis Scholl, oil on canvas for Till Rabus. Of course, the analogy doesn’t stop there. In their work, both question the limits of realistic figuration, and develop an aesthetic based on the telescoping between imaginary objects and characters, or elements taken from their immediate environment.
 
With Till Rabus, the work may be born from a vacation snapshot gleaned from the Internet, to which he will then add a “disturbing” element. Sometimes it has to do with the fortuitous encounter with an innocuous object like a discarded wrapper from a bar of chocolate caught in ice, and then conferring it with the status as the main subject in a winter landscape. His artistic course is emblematic of the digital age where what’s at play is no longer to know what merits being photographed, but rather what merits being conserved or even transposed from a file to a painting on canvas. For other compositions, like his Voodoo series, the artist assembles a well-chosen miscellany of objects – flowers, shells, children’s toys – creating altars that are at once laughable and unsettling. The crâneries (Cranials) are product of the same process, with the figurine of Donald provided with a bird’s skull, or a human skull topped by a funnel. As for Patchwork Hotels, more recent, they attest to the new way that Till Rabus envisages the deconstruction of the real: here he no longer proceeds by addition or collage, but by accumulation of visual signs. These entangled amalgams of arm and silk-gartered legs on hotel beds, under a raw light, play with codes from pornography while always remaining in the realm of suggestion.
 
By titling his exhibition Fearless Realism, Till Rabus resolutely places himself under the sign of the image. Dennis Scholl, for his part, invokes the tutelary figure of Lacan, and lines up under language. The “non-dupes errent”: even if the artist doesn’t wish that this Lacanian reference be read too literally, it nonetheless perfectly applies to his oeuvre. If one accepts that these “non-dupes” are those who don’t let themselves be taken in by the trap of the artifice, then it’s true that those among them who contemplate Dennis Scholl’s drawings may continue to long “err” amidst traits in search of an explanation to the visual puzzle they are looking at. As the artist puts it, there is no particular narration to be found, just a structure formed around interstices. His very individual technique aims to create soft surfaces behind which the creating gesture disappears, while also allowing for the unification – at least in appearance – of scattered story elements. Organic landscapes, Christ and cross issue from an encounter between Grünewald and Dali, hallucinating visions worthy of Lautréamont: the iconographic corpus of Dennis Scholl seems infinite in its richness and complexity. References to art history are numerous, from Schongauer and Dürer to Hans Bellmer and de Chirico, and passing too by way of the Romantics like Füssli and Blake. But these are never literal quotes; rather they are suggestions that may help to (further) cover one’s tracks.
 
P-Y Desaive

AEROPLASTICS contemporary
32 r. Blanche str.
1060 Brussels
Belgium
T + 32 2 537 22 02
F +32 2 537 15 49
E: contact @ aeroplastics.net
 
AEROPLASTICS

Dennis Scholl Idee des Werkes 2012 pencil on paper 98 x 68,5 cm Courtesy of the Artist and AEROPLASTICS Contemporary

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INVISIBLE-EXPORTS, New York, USA

HOW I WROTE ‘ELASTIC MAN’
 
Anne Doran, Franklin Evans, Daniel Newman,
Deb Sokolow, Philip von Zweck, Ishmael Randall Weeks
 
February 1 - March 10, 2013
 
INVISIBLE-EXPORTS is pleased to present How I Wrote 'Elastic Man', a group exhibition featuring work by Anne Doran, Franklin Evans, Daniel Newman, Deb Sokolow, Philip von Zweck, and Ishmael Randall Weeks.
 
Obscurity and deliberate disorder can be perversely rewarding strategies for artists - performing for the viewer the experience of discovery, protecting the meaning of the work by concealing or confusing it, offering up one’s own back-story only through piecemeal contextualization, and presenting even quotidian work as arcane. It’s an increasingly common practice that promises to turn all knowledge into secret knowledge, and all meaning into gnostic meaning, available only to initiates and the especially devoted.
 
The work that makes up How I Wrote 'Elastic Man' takes the cult of arcana and the gesture of self-erasure, not as strategy, defensive or otherwise, but as querulous subject. Determining the special power that accrues when information is parceled out reluctantly, or privately, and questioning why work becomes more alluring the more it withdraws from us. Hunting down what, if anything, is gained for artists by the practice of self-obfuscation and what is the aim of a practice in which work reveals its meaning to viewers through a program of careful and discrete clue-giving (biography, reference-giving, or curatorial guidance). Often, artists engaged in the re-surfacing of archival and other "found materials" seek to cloud those discoveries over again in a performance of their own process. Perhaps we’re forced to fetishize the unknowable in an age of information oversupply and infinite search, so much so that we elect to hide knowledge behind smokescreens of difficulty.
 
Anne Doran (b. 1957) is a Canadian artist living and working in New York. Working since the early 1980s, she’s been included in exhibitions at MoMA P.S.1; The Kitchen, New York; Artists Space, New York; the Centre Georges Pompidou, Paris; Tony Shafrazi Gallery, New York; Stedelijk Museum, Amsterdam; the New Museum of Contemporary Art, New York; and 303 Gallery, New York; among others. Her work has appeared in The New Yorker, The Village Voice, and Flash Art, among others.
 
Franklin Evans, born in Reno, NV, lives and works in New York. He has a BA from Stanford University and an MFA from University of Iowa. His work has been exhibited at: The Drawing Center, New York, NY; Weatherspoon Art Museum, Greensboro, NC; Yerba Buena Center for the Arts, San Francisco, CA; and El Museo del Barrio, New York, NY. He has had solo exhibitions internationally, including “2008/2009 < 2009/2010” at Sue Scott Gallery (New York) in 2009. In 2008 he co-curated “Perverted by Theater” at Apexart. He has been selected for residencies by The Marie Walsh Sharpe Space Program, LMCC Workspace: 120 Broadway, and Yaddo. His work is in the permanent collections of El Museo del Barrio (New York), The Weatherspoon Art Museum, The Sweeney Art Gallery, University of California, Riverside, and Progressive Art Collection.
 
Daniel Newman (b. 1978) is currently dividing his time between New York and Berlin. His work has been exhibited at Fredric Snitzer Gallery, Miami; Gallery Diet, Miami; Bas/Fisher Invitational, Miami; Daniel Silverstein, New York; and the Outpost for Contemporary Art, Los Angeles; among others. He is the recipient of the Ruth Epstein Memorial Prize for Excellence in Sculpture from 2002.
 
Deb Sokolow (b. 1974) received her MFA from the School of the Art Institute of Chicago in 2004 and lives and works in Chicago. In 2013, Deb Sokolow will have solo shows the Wadsworth Atheneum Museum of Art in Hartford, CT and be included in a group shows The Drawing Center in New York. Her past solo shows include The Kemper Museum in Kansas City; The Spertus Museum of Art, Chicago; a 12 x 12 show at the Museum of Contemporary Art in Chicago; the Abrons Art Center in New York City; INOVA in Milwaukee; and The Moore College of Art in Philadelphia. She’s been included in group shows at the Van Abbemuseum in The Netherlands; Scottsdale Museum of Contemporary Art in Arizona; Smart Museum in Chicago; Voorkamer in Belgium; and Good Children Gallery in New Orleans. Sokolow's work is in the permanent collections of the Scottsdale Museum of Contemporary Art in Arizona, Museum of Contemporary Art, Chicago, the Spertus Museum in Chicago and The Kinsey Institute for Research in Sex, Gender, and Reproduction in Bloomington, Indiana. Her work will be included in Phaidon’s upcoming VITAMIN D2 hardcover survey of contemporary drawing practices. She is a 2010 resident of the Art Omi International Artists Residency and a 2012 recipient of a Artadia Chicago grant. Deb Sokolow is represented by Western Exhibitions, Chicago.
 
Philip von Zweck is a painter and artist who lives and works in Chicago, IL. He has had solo exhibitions and projects at Medicine Cabinet, threewalls, The Museum of Contemporary Art, Gallery 400, among others, and has appeared in numerous group exhibitions across the country and internationally. From 1995-2010 he produced a weekly radio program “Something Else” on WLUW in Chicago, and from 2005-2008 he ran the gallery, VONZWECK, out of his living room. He was the recipient of the penultimate Richard H. Driehaus Emerging Artist Award.
 
Ishmael Randall Weeks was born in 1976 in Cusco, Peru; educated at Bard College (2000) and attended The Skowhegan School of Painting and Sculpture (2007); and currently lives and works in Lima and NY. He has exhibited internationally for the last 12 years and his work is in the collections of the Albright Knox Art Gallery, Buffalo; MIMA, Middlesbrough, UK; The Museum of Art in Lima (MALI), Lima, Peru; and the MACRO Museum, Rome, among others.
 
 
INVISIBLE-EXPORTS
14A Orchard Street
(between. Hester and Canal Street)
New York, NY 10002
T: +1 212 226 5447
 
INVISIBLE-EXPORTS

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galerie laurent mueller, Paris, France

TIGHTROPE, DE LA CREATION D’UN EQUILIBRE
Valérie Dantas Mota, Christof Zwiener
 
February 9th to March 30th 2013
 
The galerie laurent mueller is inviting Valérie Dantas Mota and Christof Zwiener to a dialogue about the tightrope.
 
The tightrope is equilibrium and balance but also the tension of a straight line and the possibility of a constant disequilibrium. The walk over the void is as much a very personal act as it is a performance which symbolises our world in constant change.
 
This equilibrium is essentially defined by the possibility of a fall, by the crumbling of the system. A system is always in balance, on the one hand there is structure and on the other its individual elements, reassembled in chaos. The paradox of an equilibrium between order and disorder.
 
Valérie Dantas Mota has worked on the equilibrium between materials. By constructing open systems in wax, in lead, in wood and in leather, which are prone to fail. Each material is in a different state, wax and lead have gone through physical transformations and could return to their initial state. Wood and leather have been definitely altered, they have been cut and now remind us of their initial form which used to bear life.
 
Christof Zwiener has been researching the system behind the system, a type of selfreference to installation art. With his arrangement of white plinths of different sizes but all linked through the invisible thread that is their identical volume, he is looking to confront the fix points which define the tightrope with the universe of possibilities which inhabits the space in-between.
 
Equilibrium is treated as a physical domain, the interdependence between the parties gives stability and structures the whole, there exists a charge of energy which links all the shown elements and which contributes to the result. The question of equilibrium is as much physical as it is philosophical, the shown pieces ask the question of the equilibrium but also the question of the system and it’s stability. Whether it is a mathematical system or a social one, there will always be elements of instability, of questioning, which contribute as much to equilibrium as to the inherent tension, stabilising or not.
If you are not living on the edge, you are taking up too much space.
 
Valérie Dantas Mota, born 1977 in São Paulo, lives and works in Paris
Master in Plastic Arts at the Santa Marcelina faculty of São Paulo. Between her undergraduate and her masters she participated in many Brazilian exhibitions following the success of her solo exhibition PRIMEIRA - united artists IV, Casa das Rosas, São Paulo in 1998. Her solo shows comprise among others the Centre Culturel de São Paulo in 1999, Species at the Officine Culturelle Uberlândia in 2003 and her two exhibitions in Paris in 2008 and 2010 at griesmar & tamer, then JTM Gallery. She participated in the 53rd salon d’art contemporain de Montrouge in 2008.
 
Christof Zwiener, born 1972 in Osnabrück, lives and works in Berlin
Diploma from the Hochschule für Bildende Kunst, Braunschweig in 2004. Among his solo exhibitions are Berlin today, Raum für Zweckfreiheit, Berlin 2012, no bronze, Torreão, Porto Alegre 2009, textum, Kunstverein Langenhagen 2008, starting at zero, Bonner Kunstverein 2006, Haus Schwartekopp und die Werksbahn, Kunstverein Arnsberg 2006, Monument, Galerie Frehrking Wiesehöfer, Cologne 2006, it was because gravity made itself master over me, Kunstverein Ulm 2005 and halbrund oder rund, je nach dem, Kunstverein Ravensburg 2004. In 2013 he participated in INDIZIEN FÜR EINE MÖGLICHE DEUTSCHE GESCHICHTE, Kunstverein Zurich and in Zu Gast (3) “East”, Kunstsaele, Berlin. In 2008 in Rendezvous, MAC Lyon, in Vertrautes Terrain, ZKM Karlsruhe and in Entropie Zuhause, Sammlung Schürmann, Berlin.
 
A catalogue edited by the gallery will be published on the occasion of the exhibition.
 
 
galerie laurent mueller
75 rue des Archives
75003 Paris
France
T: +33 1 42 74 04 25
 
galerie laurent mueller

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GALERIE MICHAEL JANSSEN, 
Berlin, Germany

Assaf Gruber First Kiss, 2013 23 x 28 x 18 cm Epoxy and polyurethane Courtesy Galerie Michael Janssen, Berlin

ASSAF GRUBER
Every Corner of the Soul
 
February 12 - March 30, 2013
Opening Saturday, February 9, from 3 to 8 p.m.
 
On the occasion of the opening, Alicia Frankovich, (*1980 in New Zealand) will show her new performance The Missing Action from 6 to 8 p.m.
 
Galerie Michael Janssen is pleased to announce the inaugural exhibition of its new location in Berlin entitled Every Corner of the Soul by Assaf Gruber (b. 1980 in Jerusalem). The opening will be take place on Saturday, February 9 from 3 to 8 p.m. in the gallery's new space at Potsdamer Str. 63.
 
In his practice Gruber reflects upon how and why a sculptural language emerges in different cultural contexts. His spatial arrangements are an expression of his efforts to overcome the limitations of the medium sculpture. In his works, he often integrates found footage from fictional films that capture ‘sculptural gestures’ performed by their different protagonists and are an integral part of his sculptures.
 
Balancing on the borderline between the subjective and the universal, his spatial configurations integrate and simultaneously deconstruct a variety of formal vocabularies (installation, sculpture and moving image). Metaphoric and allegorical they are as gestural as they are performative. Masterfully orchestrated, they resemble landscapes of thought encompassing instability and balance in relation to private histories.
 
One of the central works of the show lends the exhibition its programmatic title – Every Corner of the Soul – and is a quote from a lecture that French philosopher Michel Foucault gave in 1983 at the UC Berkley entitled The Culture of the Self. In it, Foucault examines Western culture's conceptual development of individual subjectivity. The work shows a looped moving image of the artist’s foot jumping in his studio projected between a blackboard painted on the wall (from which notes have been erased) and a bag next to a towel forgotten on the floor. An ambiguous paragraph from the lecture is read by Foucault and can be heard in the background. The artist’s foot is an allusion to the physicality of the human body and the blackboard to the mind.
The idea behind the exhibition emerges from an attempt of the artist to trace ‘warm spots’ in the ‘corners of the soul’ - memories of excitement, anxieties, and laughter - and to create a form of subjectivity from a slowly but persistently vanishing collective memory.
 
Evasive Action consists of a 1992 Sony Home Cinema monitor tilted to its side and in which a clip of Burt Lancaster climbing a rock is seen on a looped excerpt from the 1968 film The Swimmer directed by Frank Perry. The middle-aged seductive male character in the film seems to be struggling against ageing like the monstrous and obsolete home movie beamer.
 
Other works on view in the exhibition reflect on the non-functionality of sculptural objects and are a reaction against a kind of contemporary information overload and the need of productivity in modern societies. They are as subjective and intimate as they are universal; self-posed questions with communal question marks that allude to specific events but do not necessarily require the imposition of the event onto the artwork itself.
 
Assaf Gruber (b. 1980 in Jerusalem. Lives and works in Berlin.) studied at the Ecole Nationale Supérieure de Beaux-art, Paris and at the Higher Institute for Fine Arts (HISK), Ghent, Belgium.
 
Selected exhibitions: 2013: Zamek Culture Centre, Poznan, Poland (group/upcoming); Art in the Public Space - Open City, Lublin, Poland (group/upcoming); Galerie Michael Janssen, Berlin (solo). 2012: Bat Yam Museum of Contemporary Art, Israel (solo); Künstlerhaus Bethanien, Berlin (solo); Cultuurcentrum Evergem, Belgium (solo); Ritopek, Belgrade, Serbia (group) and Fichtebunker, Berlin (group). 2011: Dublin Contemporary 2011 (curated by Jota Castro and Christian Viveros-Fauné), Dublin, Ireland (group); ReMap 3, Athens (group); Malopolskie Centrum Kultury Sokol, Nowy Sacz, Poland (group); Grimmuseum, Berlin (group) and Château de Saint-Ouen, Saint-Ouen, France (group).
 
 
GALERIE MICHAEL JANSSEN
Potsdamer Str. 63 (new location)
D-10785 Berlin
T: +49 30 259 272 50
 
GALERIE MICHAEL JANSSEN

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CELL PROJECT SPACE, London, UK

Peles Empire FORMATION, 2013 installation view, Cell Project Space photography by Mariell Amélie

PELES EMPIRE
FORMATION
 
1st February - 17th March 2013
 
Cell Project Space presents a newly commissioned work by the artist duo Peles Empire. As a continuous approach to their practice the artists have used the armory room of a 19th Century Romanian castle as a starting point for the exhibition’s construct. They have created 3D interpretations using original photographic documentation of the castle’s interior and artifacts and reproduced these into two-dimensional renderings. This complex process of evolution transcends collage and deconstruction to present a dissemination of the original thought.
 
FORMATION brings together a group of sculptural and digital print works, which explore the potential of a historical space and transforms it into physical material. Space is expanded by utilising A3 black and white photocopies cut and pasted into backdrops of digital pastiche. Two screens of thickly montaged black and white photocopies divide the gallery into three equally sized adjoining chambers, enabling the spaces to be entirely enveloped by a distorted view of the armory room; traces of the castle contents nestle within a field of reprographic noise. In this instance the imagery only touches the edge of its original subject matter giving an impression of parts left to signify a whole.
 
Set against a digital print the artists combine an unlikely combination of material, ceramic works made in unglazed white porcelain merge with the porous coarse qualities of black grog, a material often designated for architectural projects. Its brittle harsh nature is set against the matt black sheen of carbon photocopy ink. Adding to this complex web of relationships between various methods of production and references is a play on assumed opposites; photographic versus abstract, hand-made versus mass-produced, Classical versus the Post-modern. Binding all this together, though, the castle armory is ever present, resisting one viewpoint and becoming more liquid than solid or both at the same time.
 
Ornamentation and decoration is suggested here, however, Peles Empire refuse their work to be purely gestural, considering this to be insufficient. Instead the problematic properties of material combinations are left to metamorphose throughout the gallery, threatened by the possibility of imminent collapse. This contrast between the fragile nature of ceramics with the raw energy of visual imagery holds back the possibility of the work taking a definitive form but exposes the potential of transformed material.
 
Founded in 2005 Peles Empire is a collaborative work by Katharina Stoever and Barbara Wolff. The project borrows its name from the Romanian castle Peles, built between 1893 and 1913 at the foot of the Carpathian Mountains, The rooms of the existing castle copy a range of past architectural styles, combining Art Deco, Orientalism, Renaissance and Rococo. The creators of Peles opposed any current design trend by establishing an almost ironic representation of the ‘ideal’ castle. Stoever and Wolff have reproduced over ten rooms of the castle since the project began and have collaborated with a range of artists. They have based themselves in Frankfurt, Los Angeles and London and have collaborated with artists in over 30 exhibitions. The project now consists of two exhibition spaces in London and Cluj.
 
In 2012 Peles Empire were included in ‘entrance, entrance’, curated by Isobel Harbison, Temple Bar, Dublin, ‘Young London’, V22, and ‘Bold Tendencies’, London. In 2011 they were selected for Frieze Projects ’ at the Frieze Art Fair, London with previous exhibitions in 2009 including ‘Men’, ORTON.nl, Rotterdam; and ‘The Big Armory,’ Maes & Matthys Gallery, Antwerp. In 2007 they were invited by MAK Center for Art & Architecture at the Schindler House, Los Angeles to exhibit in ‘The Mystery of Life’. In March 2013 the artists will have a solo exhibition at Kunstmuseum Stuttgart, Germany, and a solo exhibition in May 2013 at GSS, Glasgow.
 
 
CELL PROJECT SPACE
258 Cambridge Heath Road
E2 9DA London
T: + 44 (0) 20 72413600
open Friday- Sunday 12-6pm or by appointment
 
CELL PROJECT SPACE

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ALEXANDER & BONIN, New York

Matthew Benedict "Silent" Still Life, 2002-2012 found objects, wood, leather and wire on wood 32 1/2 x 57 1/4 x 15 in/82.5 x 145.5 x 38 cm photo: Joerg Lohse Courtesy of Alexander and Bonin, New York

MATTHEW BENEDICT
Americana
 
January 26 - March 9, 2013
 
Matthew Benedict’s Americana will open on January 26th at Alexander and Bonin. The exhibition includes several new sculptures juxtaposed against selected paintings from 1998 – 2013. The subjects of both his sculpture and paintings draw from history, literature, the mythic and the supernatural.
 
Benedict’s object-based works of the last decade have been assembled from artifacts sourced in New England and date from 1860 to the present. The Terrible Old Man (2011-2012), a composition of glass bottles, furniture and tar, is based on H.P. Lovecraft’s tale of an old sea captain who communicates with the spirits of his dead shipmates whilst living thieves plot to rob him. "Silent" Still Life (2002-2012), a wall relief made of a desk and objects (possibly from an American Fire Department), recalls 19th century trompe l’oeil paintings. Blessed Be (2010) evokes cross-stitched Victorian motto samplers, rendered in gouache on wood. The medium of gouache and the making of embroideries have been a part of Benedict’s work since 1989.
 
Recent paintings allude to the settling and establishment of New England and the loss of historical objects and places in a digital culture. Pilgrimage (2012) depicts a now lost hand-painted sign directing visitors to the Provincetown, Massachusetts Pilgrim Monument and Museum. Where Tom Died (2012) shows a still extant corner of a Manhattan tavern where Thomas Paine is thought to have lived his final moments in 1809.
 
Born in Rockville, CT, Benedict lives and works in Brooklyn. His work is the subject of Matthew Benedict: The Mage’s Pantry published by Hatje Kantz. His 2010 exhibition at Alexander and Bonin was Dramatis Personae, a selection of photographs of his costumed models. Benedict was a 2011 resident at The Versailles Foundation, Inc. /Claude Monet, Giverny. His works are included in the permanent collections of the FRAC de Picardie, Amiens, Dallas Museum of Art, the Hammer Museum, Los Angeles, the Museum of Modern Art, New York, San Francisco Museum of Modern Art and the NASA Art Program, Washington, DC.
 
 
ALEXANDER & BONIN
132 Tenth Avenue
New York, NY 10011
T: +1 212 367-7474

ALEXANDER & BONIN

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P.P.O.W, New York

Suzanne Treister "From ARPANET to DARWARS via the Internet (diagrams)" 2009-11 Archival giclee print with watercolor on Hahnemuhle Bamboo paper 16 1/2 x 11 3/4 inches Edition of 6 Courtesy of the artist and P.P.O.W Gallery, New York

SUZANNE TREISTER
HEXEN 2.0
 
January 17 – February 23, 2013
 
P.P.O.W is pleased to announce the opening of HEXEN 2.0, Suzanne Treister's second solo exhibition with the gallery. HEXEN 2.0 looks into histories of scientific research behind government programs of mass control, investigating parallel histories of countercultural and grass roots movements. Treister's HEXEN 2.0 charts, within a framework of post-WWII U.S. governmental and military imperatives, the coming together of scientific and social sciences through the development of cybernetics, the history of the internet, the rise of Web 2.0, increased intelligence gathering and implications for the future of new systems of societal manipulation towards a control society.
 
HEXEN 2.0 specifically investigates the participants of the seminal Macy Conferences (1946-1953), whose primary goal was to set the foundations for a general science of the workings of the human mind. Treister's project simultaneously looks at diverse philosophical, literary and political responses to advances in technology including the claims of Anarcho-Primitivism and Post Leftism, Theodore Kaczynski/The Unabomber, Technogaianism and Transhumanism, and traces precursory ideas such as those of Thoreau, Warren, Heidegger and Adorno in relation to visions of utopic and dystopic futures from science-fiction literature and film.
 
The artworks exhibited are based on actual events, people, histories and scientific projections of the future. They consist of alchemical diagrams, a Tarot deck, photo-text works, pencil drawings, a video, and the website HEXEN 2.0, offering a space where one may use the works as a tool to envision possible alternative futures.
 
Suzanne Treister studied at St Martin's School of Art, London (1978-1981) and Chelsea College of Art and Design, London (1981-1982) and currently lives and works in London. Primarily a painter through the 1980s, Treister was a pioneer in the digital/new media/web based field from the beginning of the 1990s, developing fictional worlds and international collaborative organizations. Recent exhibitions and events include solo and group shows at the Science Museum, London; Schirn Kunsthalle, Frankfurt;Raven Row, London; Secession, Vienna; Museum of Contemporary Art (CAPC) Bordeaux; Annely Juda Fine Art, London; and Tate Britain, London. Treister's work is held in private and public collections including Tate Britain, EMI Paris, Arts Council of England, Center for Contemporary Art Znaki Czasu (CoCA), Poland, and AXA Collection.
 
 
P.P.O.W
535 West 22nd Street
3rd Floor
New York, NY 10001
T: +1 212-647-1044
 
P.P.O.W

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NEW ISSUE OF 
DIOGEN pro art magazine
1.2.2013.

28.2.2013.

DIOGEN pro culture magazine
Annual No 3.
21.3.2013.

MAERZ CONTEMPORARY, Berlin

Adam Adach Volksschwäne, 2012 Mixed media on canvas 200 x 300 cm Courtesy of Maerz Contemporary, Berlin

ADAM ADACH
Das Jahrhundert der Judenbuche
 
1 February - 23 March 2013
Opening: 1 February, 6 pm.
 
Maerz Contemporary Berlin opens Friday 1 February 6pm the solo exhibition of Polish/French artistAdam Adach (1962). The exhibition, named “Das Jahrhundert der Judenbuche”, will go on until 23 March.
 
“Das Jahrhundert der Judenbuche” (The Century of the Jewish Beech) is the heading of Adam Adachs thoughts that he has neatly divided into a text of four sections. The Berlin exhibition, to which these thoughts belong, is prepared in a period when the German newspapers are full of the term "century". Yet the turn of the last century, also the turn of a millennium, is more than ten years back in time. Recently, however, the book “1913: Der Sommer des Jahrhunderts” (1913: The Summer of the Century) was released. In this book art historian Florian Illies describes that summer one hundred years ago, the year before the First World War began.
 
Adach is known for basing his paintings on photos, as are many other artists, among them Gerhard Richter. "Nazi holidays" shows a beach scene. Sparsely-clothed people are lying or sitting on the beach or are standing at the railing watching the sea. Unrecognizable flags are hanging from the flagpoles; the sail of the boat on the horizon is as white as a flag of truce. Only the title brings cruelty to the painting. In the century of two world wars, the murderers and their families, and also those who had brought them to power, were sunning themselves on the beach. Kraft durch Freude – Strength through Joy.
 
Adach’s works are not only referring to the specific historical period of Totalitarianism in Europe. "Romantics (G8 Rostock)" is dated 2007-2012. The summit of the major industrialized nations took place in Heiligendamm in 2007. The masked person in the painting is presumably protesting violently against the summit. "Riots in Rostock - 430 police officers injured" was a headline in Spiegel Online in those days. It can only be speculated as to whether the title of Adach’s painting refers to the fact that those in Europe who oppose the economic order dominated by the G8 are devaluated with the attribute "Social Romantics". In 2012, when the painting was completed, this subject was again very relevant. In the south of the continent, angry citizens are out on the streets demonstrating against the (savings) policies applied to battle the financial crisis which brought their countries to the brink of bankruptcy. Some of the protesters resemble the person portrayed by Adach. Sometimes Angela Merkel is shown with Nazi symbols during demonstrations.
 
Text fragments taken from the catalogue text written by Clemens Bomsdorf.
 
 
MAERZ CONTEMPORARY
Weimarer Str. 16
D - 10625 Berlin
Germany
T: +49 (0)30 60940015
 
MAERZ CONTEMPORARY

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Galería Fúcares MADRID

Simeón Saiz Ruiz Personaje nº 10, 2013 Óleo sobre lino 35 x 33 cm Courtesy of Galería Fúcares Madrid-Almagro

SIMEÓN SAIZ RUIZ
"J’est un Je” (Final) y “Flores, risas, poder” (Comienzo)
 
2 February - 26 March 2013
 
The Fúcares gallery_Madrid is pleased to present the eighth solo show by Simeón Saiz Ruiz(Cuenca, 1956).
 
"J'EST UN JE" (END) AND "FLOWERS, LAUGHTER AND POWER" (BEGINNING)
 
"There is no more flower light / Cover yourselves with mould, the heavens / (I'm not speaking for enemies / But to you, friends) / ... / Sealed with wax / The victory is mature / Nothing matters to us anymore / The sun lies at our feet with its throat slit! / ... / -We have torn out the Sun with its fresh roots / They smell of arithmetic, greasy, / Here it is, look at it! 1
 
Let's look. Whereas Alberti said that a painting should represent people of all ages and conditions, in my exhibition there will be paintings that span the entire range of possibilities in terms of the nature of the pictures. There are those based on real documents (television images) and those based on fictitious documents (other paintings). There will be pictures taken directly from reality-in their own way, all these pictures are records of something real translated into painting codes-and images that only exist in and of themselves. Fictitious images will be missing.?The absence should stand out noticeably, because I want to address the real, not simulations. I am aware of the important blend of fiction and non-fiction in the art production of recent years, which forces us to take a stand in this regard. My stance is that interpretation of reality is already a fiction. It may address a real world or a fantasy world. Imagination entertains us, but what we need to change is the real world. We can fictionalize it partially so as to make it more habitable and thus use it so as not to see what it is made of, and especially so as not to know how it may change.
 
There are two series in this space, one that ends and another that begins. The times with their own waves of transformations are what compel the changes. I am not going to dwell on the effects of the economic crisis or the loss of credibility, not to mention the legitimacy, of politics, and the sensation of the dictatorship of capital. The two series blend together in the exhibition and I hope something unique is born of their dialogue.
 
I have been working with the pictures of the victims of the Balkan Wars since before 1996. Its end is an arbitrary decision. It would not be if I no longer had left in my archive of the period any pictures more that could be made into paintings. In any case, the last painting is the one I have always imagined as a closing. In it one hardly distinguishes a person in the middle of the ruins of a city among whose rubble one can barely discern human remains. I hope that, as Foster says of Warhol, not only does the conjunction reveal the representation of the traumatic, but it also produces its effect in the spectator. The imagery in this series is very dramatic, although it is intended that viewers do not reject the paintings for this. The location of these events is not very far away, yet it is a different place.
 
The series that is beginning consists of a heterogeneous set of pictures, still in formation. Now the drama, of another kind, is here. That is why I aim for the pictures to express, to the contrary, the happiness and jubilation of men and women when they succeed in living in a dignified manner. This sort of joy, its very existence, can play a vital role in the realm of politics.
 
So, there are paintings of people laughing.
 
The combination of a victim of armed conflict and someone laughing, who also poses wearing what appears to be military attire, may ignite controversy. This is intended, although I hope they do not provoke fires of uncontrollable emotions. Rage against the laughing subjects, or against the artist, would be misguided, because these people are not laughing at the victims, nor do they have anything to do with their assassinations. They simply laugh because they are sentient beings with emotions. And theirs is the shared laughter of the public space, rather than that of the privately consumed spectacle.
 
Two different groups laugh. In one, there are real people, taken from pictures that have been published online of the demonstrations that took place during the Arab Spring in Egypt. They have a very specific reason for the joy they express, which looks to the future. In the other, fictional characters arrive to us from the past. This rendering draws on a painting by the Soviet painter Yury Mikhalovich Neprintsev (1909-1996), A Rest After Battle, of which there are three versions. The one dating from 1955, at the Tretyakov Museum, is the one I used. That painting, in turn, is based on another fiction, the poem Vassili Tyorkin by Aleksandr Tvardowsky (1910-1975), about a Russian soldier during World W ar II. I know little more of either. My relationship with the painting is limited to what one sees in a reproduction.
 
All the pictures are there to bear witness to the fact that even in drama and tragedy, the people involved are human beings. Flowers make manifest the exuberant nature of existence. The third thread in the new series is a combination of a painting of a garden full of flowers, a painting based on some sketches made in situ in a Polish city located on the road from Warsaw to Cracow, and a slide projects of that very road. It is not the first time that I have worked with the juxtaposition of painting and projected photographic images, which seems so obvious to me that I do not understand why I or other artists do not use it more often. Almost twenty years ago I presented a multiple projection of pictures that were also taken en route, together with copies of self-portraits by Rubens and St. Anguisola. A friend told me that when he saw my copy of Rubens' work he thought I had gone crazy. And another asked me why I had not paid someone to paint the copies. They brought to light the reasons why people paint. The painter paints precisely in order to go crazy, that is, to do what no one expects of him, and because he likes doing it. Painting a garden full of flowers is also crazy.
 
For the exuberant flower there is no guilt accompanying what it does to exist. But man falls to one side or the other, with the executioner and guilt or with the victim and helplessness. We can strive to bring about life without executioners or victims, that is, to bring about life.
 
Painting can do little. But it may do something. Flowers grow close to the railways that transported the victims from the ghettos to the extermination camps. This power to grow despite the surroundings could be seen as indifference. But perhaps it could also be seen as the fight for existing with dignity, in all its fragility and defencelessness.
 
Perhaps we are fortunate that flowers, poetry and painting continue to exist after Auschwitz.
 
- SIMEÓN SAIZ RUIZ
 
1 Kruchionij, Alekséi; Victoria sobre el Sol (Victory over the Sun), 1913, translated into the Spanish by Yana Zablaka, in Aleksandr Deineka [1899-1969] Una vanguardia para el proletariado (An Avant-garde for the Proletariat), exhibition curated by Manuel Fontán del Junco, Juan March Foundation, Madrid 2011, pages 313-18.
 
* For further elaboration of these ideas see the catalogue Tiempos de Alegría, produced for the exhibition at Fúcares Almagro.
 
 
Galería Fúcares MADRID
Calle Doctor Fourquet 28
28012 Madrid
Spain
T: +34 91 319 74 02
 
Galería Fúcares MADRID - ALMAGRO

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25.1.2013.

SWAB BARCELONA 2013

NEW DATES: FROM 3rd TO 6th OCTOBER AT THE ITALIAN PAVILION IN FIRA BARCELONA
 
Swab Barcelona 2013, International Contemporary Art Fair, presents its sixth edition that will be held for the first time from 3rd to 6th October, adapting to the international calendar and at the beginning of the Catalan art’s season. Swab Barcelona seeks to initiate an Arts Week, with the collaboration of the Catalan Cultural Institutions, and offering a variety of artistic projects for the visitors of the city.
 
 
BAR, CURATORS OF THE YOUNG GALLERIES PROGRAM
 
Swab Barcelona 2013 continues to focus on emerging art, building new audiences with desire to broaden the spectrum of collectors in the city of Barcelona. To this end, Swab Barcelona 2013 creates a new program curated by BAR*,  with ten international galleries with no more than five years of existence that pay special attention to research and artistic production, as well as a long-distance collaboration with artists.
 
Swab Barcelona 2013 will count with a General Programme and MYFAF Programme that will complete the sixty galleries that will participate in 2013 edition. In this new stage of Swab Barcelona and in order to reflect on the present and future, Swab Barcelona expands the Swab Collectors Programme, focussing on a new generation of collectors and introducing the participation by both curators and directors of art institutions and other cultural agents.
 
Swab Off, which this year outlines the activities conducted in different areas throughout the year 2013, will feature new programmes. "Citizens", a programme for young artists interventions in various public spaces of the city, in an attempt to expand the influence of the Fair beyond the booths and bringing it closer to local and potential audiences of contemporary art, and other programmes that will be announced soon.
 
Moreover, in this attempt to make the youngest art more accessible in the city of Barcelona, Swab Barcelona continues with Swab Stairs, in collaboration with TMB and the participation of students from design schools of the city. Furthermore, organized by Kognitif, Swab Barcelona will present two painted walls as part of the Ciutat Bella project started in 2011, and a new state wide program organized by Volkswagen.
 
 
SWAB AWARDS
 
Swab Barcelona continues with  its usual awards such as the Best Gallery Award by Banco Sabadell Foundation, the Mango’s Young Artist Award and the Drawing Award by Diezy7 Collection, and features a new Award in Photography by Volkswagen, that will give to the MACBA Foundation the winning artwork.
 
Swab Barcelona will continue to collaborate with other international art fairs, in order to be present in other countries and to encourage the exchange of young artists and galleries worldwide.
 
Swab Barcelona is an initiative of Espacio de Arte Contemporáneo Diezy7, which has the support of the Ajuntament de Barcelona, the Generalitat de Catalunya and the Ministerio de Educación, Cultura y Deporte.
 
The online application process for galleries wishing to participate in Swab Barcelona 2013 will start onFebruary 4th through www.swab.es/applications
 
 
For more information, please visit our website: www.swab.es
General Inquiries [email protected]
Press contact [email protected]
Galleries contact [email protected]

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Copyright © 2013 DIOGEN pro cultura magazine & Einhorn Verlag S. Begman, Küsnacht, Schweiz 
Design: Sabi / Autors & Sabahudin Hadžialić. Design LOGO - Stevo Basara. 

All Rights Reserved. Publisher: Einhorn Verlag S. Begman, 8700 Küsnacht, Schweiz
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Pošta/Mail: Freelance Editor in chief Sabahudin Hadžialić, Grbavička 32, 71000 Sarajevo i/ili Dr. Wagner 18/II, 70230 Bugojno, Bosna i Hercegovina    

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