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DIOGEN pro culture magazine presents you / DIOGEN pro kultura magazin vam predstavlja
Exhibitions worldwide / Izložbe širom svijeta
2013.
25.10.2013.
Linda Cummings WATERLINES at dm contemporary NYC
New York, USA
Linda Cummings
WATERLINES A solo exhibition of recent works by artist Linda Cummings is now on view through 16 November, 2013. An artist’s talk is scheduled to take place in the gallery on Saturday, 2 November, 2013 from 2 to 4 p.m. It is free and open to the public, but registration is necessary due to limited space. dm contemporary NYC 39 East 29th Street, 2nd Floor New York, NY 10016 TEL 212 576 2032 [email protected] www.dmcontemporary.com Over the past five years, water has taken on a central role in Cummings' work. The Farm River, which flows right outside her Connecticut studio has become her favorite playground, her outdoor photo studio and lab, and the subject of a year-long project that culminated with the Stirring the Waters exhibition in 2010. In Cummings' current exhibition, Waterlines, photographs quite literally 'spill' from the wall, and in some cases, out of the frame. The installation recalls the flow of the river, and allows a conceptual reversal of the photographs that have given form to what is essentially formless. |
![]() Drawn In I-IV
2013
Archival pigment prints on Hahnemuhle paper, painted wooden ledge frames
image: 60.25 x 19.75 inches (each); paper: 73.25 x 20.25 inches (each); ledge frame: 3 x 23-1/8 x 2-1/4 inches (each)
image: 153 x 50.2 centimeters (each); paper: 186.1 x 51.4 centimeters (each); ledge frame: 7.6 x 58.9 x 5.7 centimeters (each)
Cummings' photographic process involves a series of actions, reactions, and interactions, inspired by the rhythm and the flow of the river. Movement created on the surface of the water translates into ripples, that are echoed by the artist's transcriptions and drawings on paper, which is submerged in the water. The photographs - aided by the fluidity of the water, and the transformations caused by sunlight - capture the essence of the artist's experience with the river. In a recent interview with art historian and writer Renata Karlin, Cummings compares her process to the transformations that occur in a traditional darkroom environment. Karlin writes: "Drawing lines with lead that turn silver in the sunlight, Cummings draws our attention to the history of photographic darkroom processes, and the making of silver gelatin prints in a watery bath." Photographs such as 'Silver Linings', and 'Slow Light' allude to both the 'slow time' of historical darkroom process, and the 'split second' universe of the digital world. Photography has undergone a tremendous technological change in the past two decades. Cummings' current work draws upon these perceptual and technological shifts.
Linda Cummings was born in Valley Forge, PA. She has a BFA from Nova Scotia College of Art and Design, and an MFA from Mason Gross College of Art at Rutgers University, NJ. Cummings lives and works in New York City, and Branford, CT., and currently teaches at the International Center of Photography in NY. She is the recipient of numerous fellowships and awards and residencies, including the Whitney Museum of American Art, the Bronx Museum of Art, Yaddo, the Vermont Studio Center and the New Jersey Printmaking Council. Cummings' photographs have been featured in fine art publications such as BLIND SPOT magazine, "Graver La Lumiere" Exhibition Catalogue, and the "Director's Cut" of APERTURE. Her work has been widely exhibited nationally and internationally, and is in private as well as public collections, such as: the National Museum of American Art at the Smithsonian (Washington, DC), Brooklyn Museum of Art (NY), Bronx Museum of the Arts (NY), Lehigh University (PA), Muskarell Museum (VA), NYU Langone (NY), New York Health and Hospitals Corporation (NY), Museo Nazionale della Fotographia de Brescia (Italy), and Musee Jenisch (Switzerland). In addition to her photographic practice, Cummings speaks at international and national conferences on the psychology of the creative process.
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19.10.2013.
Jessica Faiss and Rollin Leonard Receive "Moving Image Award"
Their Artworks "Solitude" and "360º / 18 Lilia" Were Selected for 53 Art Museum in Guangzhou, China.
Moving Image art fair, is very pleased to announce that artists Jessica Faiss, represented by Galleri Flach, Stockholm, Sweden, and Rollin Leonard, represented by Transfer Gallery, Brooklyn, NY, are the recipients of the 2013 Moving Image Award. The Moving Image Award funds the acquisition of artwork exhibited at the fair for the permanent collection of contemporary art institutions. For the 2013 London edition of Moving Image, the selection was made by Mr. James Hu, curator for 53 Museum in Guangzhou, China.
360° / 18 Lilia exploits the mathematical concept of ‘highly composite numbers' and what the artist dubs ‘visual elasticity' (a common thread in Leonard's work). The number of photographs in this work totals 360, a highly composite number and one with an extraordinarily large number of divisors. This allowed for several timelines to be abstracted evenly from the set and to optimize the time it takes to syncopate again. The result is the face falls out of and back into order in the fewest frames possible. Human faces, bodies, and familiar objects are frequent subjects for the artist partly because of our innate ability to recognize the objects despite scrambling or distorting the image. A face, a subject with high visual elasticity, is especially resistant to being obscured or lost in pattern. Just as you see faces in wood grain, clouds, and shadows, your mind easily knits Lilia together even when fragmented.
Artist Bio Rollin Leonard, born in 1984, lives and works in Portland, Maine where he maintains a photography and production studio. He has shown large-scale video installations, photographic prints, and web-based work since 2004. His medium varies but his conceptual approach is consistent – projecting the logic, meaning, or pattern from one domain into another, often using the human body as a vehicle to do so. Leonard earned a BA in Philosophy and a BA in Painting from the University of Minnesota in 2007. Leonard's work has been shown at The Photographer's Gallery, London; Point Ephémère, Paris; Museum of the Moving Image, New York; Essential Existence Gallery, Leipzig; Moving Image Art Fair, New York & London; NADA Art Fair, New York; and online at Fach & Asendorf Gallery. ABOUT THE MOVING IMAGE AWARD Established in 2012 to help incorporate video and film into the permanent collections of art institutions, the inaugural Moving Image Award honored San Francisco collectors Pamela and Richard Kramlich, who have supported contemporary artists working in video, film, and new media through their private collection and through the New Art Trust, a non-profit organization they founded to advance the collection, preservation, exhibition, and understanding of technology-based art forms. The Kramlichs' dedication has inspired Moving Image to reach out to similarly-minded supporters to expand the inclusion of video, film and new media in museum collections globally. Moving Image co-founders Murat Orozobekov and Edward Winkleman noted that "presenting a global snapshot of contemporary video art has been one of the goals of Moving Image since its inception and having this opportunity to collaborate with and connect artists with collections on an international level is a testament to our mission. We are so grateful to Mr. Qiangbo Li for his generous support of the Moving Image Award, and have so enjoyed working closely with Mr. James Hu of 53 Art Museum on the award this year. We feel Moving Image London 2013 is perhaps the strongest presentation of the fair to date, and we are delighted that Jessica Faiss and Rollin Leonard have been selected as the recipient of the 2013 Moving Image Award." ABOUT 53 ART MUSEUM 53 Art Museum is located in Guangzhou City, China, situated in a modern construction designed from repurposed rail car hangars, the site combines the history of the old industrial atmosphere of Guangzhou and the modern art pavilion aesthetic. Featuring 53 galleries within its walls, the museum is dedicated to the experimental, pioneering, cross-border nature of international contemporary art. Under the slogan of "Standing in Guangdong, with eyes on the world", 53 Art Museum devotes itself to promoting contemporary art, especially video art. ABOUT MOVING IMAGE Moving Image art fair returns to The Bargehouse, October 17-20, 2013, during the Frieze Art Fair in London. Located within a short walking distance of Tate Modern, the Bargehouse is adjacent to the legendary Oxo Tower on the South Bank. Moving Image will be free to the public and open Thursday - Saturday, October 17 - 19, 11 am - 7 pm, and on Sunday, October 20, 11 am - 4 pm. An opening reception for Moving Image will take place Thursday, October 11, 6 - 8 pm. Moving Image was conceived to offer a unique viewing experience with the excitement and vitality of a fair, while allowing moving image-based artworks to be understood and appreciated on their own terms. Moving Image London 2012 will feature a selection of international commercial galleries and non-profit institutions presenting single-channel videos, single-channel projections, video sculptures, and other larger video installations. Moving Image October 17-20, 2013 Bargehouse Oxo Tower Wharf Bargehouse Street South Bank London SE1 9PH, UK For more information, contact Edward Winkleman at (44) 07887 817306 or email us at[email protected] www.moving-image.info |
Solitude by the Swedish/Swiss artist Jessica Faiss, is one of two videos in which the beholder follows a suggestive movement forward from the inside of a car or a train, experiencing greyish or autumnal sceneries passing by.
The videos are based on motion and suggestive moments in unpopulated areas in a Nordic environment and describe a state of travelling in a continuous, meditative movement, which is a recurrent theme in Jessica Faiss' works. The artist describes it as a way to capture a sense of vulnerability and loneliness but also of peace and liberation. It's about to face oneself in an existential condition in which suggestive and repetitive movements through landscapes creates conditions for such a meeting to take place. Although Jessica Faiss is an artist that works in several different techniques the imagery is held together by a visual purity and reduction. Thus emerges a natural dialogue between the different expressions – video, photography, collage and painting – which highlights different perspectives on a ground state. The images in the videos are alternately seductive and disturbing that attract and hold the viewer's gaze and perception. It is a visual language that refers more to painterly qualities than to narrative and narration. Artist Bio Jessica Faiss was born 1973 in Martigny, Switzerland, but lives and works since many years in Stockholm, Sweden. She is educated at the University College of Crafts, Art and Design in Stockholm and has since then participated in a series of exhibitions in Sweden and internationally. |
17.10.2013.
Photography, Film & Video
Side by Side Gallery Akim Monet, Berlin
Galerie Stefan Röpke, Cologne
Belfast Exposed Photography
Galerie Eric Dupont, Paris
Side by Side Gallery Akim Monet, Berlin"DANCE OF THE SEVEN VEILS"
Contemporary works from the Middle East Halim Al Karim Dhafer Al Shehri Amira Behbehani Shadi Ghadirian Abdulnasser Gharem Majida Khattari Tahmineh Monzavi Shirin Neshat IRAN IRAQ KUWAIT MOROCCO SAUDI ARABIA September 20 to December 14, 2013 Dance of the Seven Veils refers to the beheading of St. John the Baptist demanded by Salome. Interestingly, this tale has antecedents both in the Old Testament and in Assyrian and Babylonian religions, thus revealing a connection between the West and the Middle East, an undercurrent of the exhibition itself. As the title suggests, it's all about the veil - a controversial topic not just in the Middle East, but also in the West. One need only think of the recent clash between Muslim protesters and riot police in a Paris suburb after attempts were made to fine a woman for wearing a full Islamic veil. Or one need only recall any number of incidents in the Middle East where so-called religious police beat women for not wearing the veil. But the veil is just the tip of the iceberg. This article of clothing has become a symbol of women's rights - the right to drive, to education, to appear without a male relative in public, to work, to vote.... Paradoxically, the question of the veil reveals gender issues even as it conceals the female form. Our mission is to be a catalyst for contemplation and a platform for artists of significant merit. Consistent with our commitment to relevancy and dialogue, we have chosen works for Dance of the Seven Veils which are both contemporary and provocative but which, in the final analysis, transcend their anecdotal and historical content. It is this quality of transcendence that distinguishes, for example, a photograph from a photographic work of art. When form overtakes content, craft becomes art, and timely becomes timeless. Or to put it another way, as a colleague art dealer once said, "Subject matter is only an excuse to make a great work of art." Earlier exhibitions at Side by Side Gallery Akim Monet sought to stimulate a dialogue between Modern and Contemporary art through works drawn primarily from the Western tradition. But the world is changing and drawing closer thanks to the Internet and social media. So, we choose to be an active thread in that global fabric: we have broadened our mission in order to explore the connection between Contemporary art from the West and the Middle East. In fact, we see these two geographical spheres as one: The Greater West, stretching from the Arabian Gulf and the Levant to Berlin, Paris and London, and on to New York, Los Angeles and Vancouver. Dance of the Seven Veils pulls on that thread, first sewn in the previous exhibition, which featured the works of Saudi artist Abdulnasser Gharem and launched his Amen Art Foundation. The Foundation went on to the Venice Biennale this year, where Abdulnasser Gharem brought Dhafer Al Shehri, one of the artists featured here. Side by Side Gallery Akim Monet GmbH Potsdamerstrasse 81b 10785 Berlin Germany T: +49 30-25 46 09 44 Side by Side Gallery Akim Monet Galerie Eric Dupont, ParisLee FRIEDLANDER
October 12th – November 30th 2013 Born in 1934 in Aberdeen (United States), Lee Friedlander takes up an interest in photography in the 1950s. Following in the wake of Robert Frank and Walker Evans, the American urban social landscape becomes his primary focus. For the first time, the Eric Dupont Galerie exhibits the work of Lee Friedlander through a series of thirty emblematic works. Excluding his retrospective at the Jeu de Paume in collaboration with the MoMa, the artist has not shown in Paris in over 22 years. This exhibition offers a range of photographs dating from the 1960s until now, retracing the various themes explored throughout his career. The various subjects – nature, urban landscapes, nudes and self portraits – are also an opportunity to dive into Friedlander's paradoxical univers. Characterized by a mixture of influences, his universe refers not only to the Minimal Art movement but also to Pop art. In addition, the originality of Lee Friedlander's work resides in his play of techniques. Thus, the effects produced by the play of shapes and figures – the reflection, the glare, the transparency and even the cast shadow and the symmetry – are substantial to the artist's work. In the first room, the series of nudes refers to the 1979-1990 period of Friedlander's career. These photographs contrast with his urban images series such as America by Car. Here, the artist is interested in the diversity that the body has to offer, particularly feminine ; diversity offered not as an erotic object but as a plastic material. As a result, the heat of the bodies disappears allowing for the coldness of the material to take prominence. The nonexistant face and the modeled body hint at sculpture. The intensity of the flesh gives way to the contours of the body, recalling the candor of a sculpted marble volume. Under the glass roof, a series of photographs dedicated to nature are exhibited across from a series of self portraits. First, the photographer presents a bountiful nature, where the usage of shadow and reflection gives the impression of a living nature. The viewer is immersed in the plant kingdom of Lee Friedlander. As for the self portraits, they present a different approach to his work. Thanks to the use of reflection and the technique of drop shadow, he puts himself in the context of each of the subjects and landscapes that he photographs. These techniques, fostering a distancing effect, empty the self portraits of their subjectivity and give way to neutrality. The form is favored over the emotion. The photographs exhibited in the back room are dedicated, in large part, to American landscapes. In order to capture the city, Friedlander destructures the image in order to center it around geometry and articulate it according to a reflex mirror. This is how he reorganizes the photographed landscape. Galerie Eric Dupont 138, rue du Temple FR - 75003 Paris France T: (+33) 1 44 54 04 14 Galerie Eric Dupont |
Galerie Stefan Röpke, CologneEDWARD BURTYNSKY
WATER October 19 – November 23, 2013 Galerie Stefan Röpke is pleased to present "Water", Edward Burtynsky's fourth solo-exhibition at the gallery, on view October 19 – November 23, 2013. The exhibition presents a selection of photographs from a much larger body of work that, along with the film WATERMARK and the BURTYNSKY – WATER book (Steidl), are a result of Edward Burtynsky's largest project to date, documenting the scale and impact of manufacturing and consumption on the world's water supplies. Burtynsky chronicles the various roles that water plays in modern life – as a source of healthy ecosystems and energy, as a key element in cultural and religious rituals and as a rapidly depleting resource. The photographs, both beautiful and haunting, create a compelling global portrait that illustrates humanity's past, present and future relationship with the natural world. Shooting in ten different countries for the WATER project, Burtynsky's subjects include dry-land farming in Spain, pivot irrigation sites in Texas, and the 2010 oil spill in the Gulf of Mexico. In these instances, Burtynsky took to the air using conventional helicopters, remote controlled helicopters and small fixed-wing aircraft, to bring the scale of the human imprint into a more meaningful perspective. He also traveled to photograph millions of people bathing in the cleansing power of the sacred Ganges River in India; mega-dam construction on the upper Yangtze and the once-per-year silt release on the Yellow River in China, and the precious virgin watersheds of British Columbia and the dry beds of the Colorado River Delta. Edward Burtynsky's works are in the collections of over 50 museums worldwide, including the Museum of Modern Art and Solomon R. Guggenheim Museum, New York; the Tate Modern, London; the Reina Sofia Museum, Madrid; and the National Gallery of Canada. Burtynsky received the inaugural TED Prize in 2005, named an Officer of the Order of Canada in 2006, and in 2012, he won the prestigious Tiffany Mark Award for his philantrophic endeavors. Edward Burtynsky lives in Toronto, Canada. Opening Preview and Book Signing Event: October 18, 2013, 6:00pm – 9:00pm. The artist will be present. 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 Belfast Exposed PhotographyDRAGANA JURISIC
YU: The Lost Country 25 October to 20 December 2013 This series of photographs are the outcome of Dragana Jurisic's journey around the former Yugoslavia, retracing the route of an extraordinary expedition made by Anglo Irish writer Rebecca West in 1937 written about in the acclaimed book Black Lamb and Grey Falcon (1941). The final images capture unexpected and often uncanny parallels to West's text and delve into the artist's understanding of her own history. At the centre of Dragana Jurisic's project lies the extraordinary travel book Black Lamb and Grey Falcon, written by Anglo Irish writer Rebecca West in 1937, charting her journey through Yugoslavia. The resulting work, initially intended as a snap book, spiralled into half a million words, and became a portrait not just of Yugoslavia, but of Europe on the brink of the Second World War. West thought of Yugoslavia as her motherland. By its very nature Yugoslavia was a land of displaced peoples and this was a fate that Rebecca West shared. Born to an Anglo-Irish family, she never felt like she truly belonged anywhere. "In any class I feel at home, and I am never accepted, because of the traces I bear of my other origins." West said that she could only remember things if she was able to write them down and consequently wrote half a million words about a country she knew was to become a memory, in order not to forget anything about it, and to preserve this memory for millions of Yugoslavs who now live in exile. She thought of art as re-living of experience. The series of photographs exhibited in Belfast Exposed are the outcome of Jurisic's committed and uncompromising retracing of West's journey over a three year period, visiting the exact locations and seeking out similar revelatory narratives. The final images capture unexpected and often uncanny parallels to West's text and delve into the artist's understanding of her own history. Jurisic was born into Yugoslavia and describes her practice as being produced from the position of an exile: "Now, more than twenty years after the war(s) started, I began to recall and question my own memories of both the place and the events personally experienced. I am calling myself an exile, and not an expatriate – because I can't, even if I wanted to - return 'home'. During the 1990 census, I was also denied the right to be Yugoslav, the nationality I identified myself with until then. (Being a child of a Croatian father and a Serbian mother, this left me somewhat confused.) The census researcher's answer to why this was impossibility, mirrored very closely something that Mussolini said: "Yugoslavia does not exist. It is a heterogeneous conglomerate which you cobbled together in Paris.' In search of both the lost country and the lost identity, I started retracing West's journey and re-interpreting her masterpiece by using photography and text in an attempt to re-live my experience of Yugoslavia and to re-examine the conflicting emotions and memories of the country that ‘was'." YU: The Lost Country is supported by Arts Council Northern Ireland and Belfast City Council. Since receiving a distinction for her MFA (University of Wales, Newport) in 2008, Jurisic was selected as an Axis MAstar in 2009, "An annual selection of the most promising artist from the UK's leading MA courses". In 2010, she received the Arts Council of Ireland Travel and Training Award. In 2011, Dragana won the Royal Hibernian Academy's Emerging Photographic Artist Award, Arts Council Ireland Travel and Training Award and Culture Ireland funding, as well as the Graduate Student Prize from The International Rebecca West Society. In 2012, Dragana received funding from the Belfast Exposed and the Arts Council Ireland award. She exhibited widely internationally and her work is part of the Irish State Art Collection, University of Michigan collection and many private collections. Currently Jurisic is undertaking her PhD research at the European Centre for Photographic Research . Belfast Exposed Photography The Exchange Place 23 Donegall Street BT1 2FF Belfast Northern Ireland T: 44 028 90 23 09 65 Belfast Exposed Photography |
10.10.2013.
Sculpture & Installation
Galerija Gregor Podnar, Berlin
Churner and Churner, New York
Children's Museum of the Arts, New York
mother's tankstation, Dublin
Galleri Specta, Copenhagen
Galerija Gregor Podnar, BerlinATTILA CSÖRGÕ
SHAPES IN TRANSITION September 21 – October 26, 2013 Galerija Gregor Podnar is pleased to announce Attila Csörgõ 's third solo exhibition in Berlin "Shapes in Transition" featuring installations, drawings and photographs from the Clock-work series, and the work Squaring the Circle, the first version of which piece was presented in dOCUMENTA (13). Combining the media of photography, sculpture, and drawing, the works of Hungarian-born artist Attila Csörgõ offer viewers an intelligent and playful introduction to questions of science and technology. The results are often unexpected, amusing, or even poetic. In long-term experiments the artist explores branches of science such as kinetics, optics, or geometry to examine questions of perception; and on this basis he develops his theories about the construction of reality. Recent kinetic constructions of the experimental Clock-work series, Clock-work from 2011 andClockwork (Made in Poland) from 2012, continue his examination of light and motion combined. At the interface of visual arts and science, his work on phenomena of perception finds its focus in the lemniscate, the figure eight lying on its side. Both mathematical symbol and poetic shape, the lemniscate is a symbol of infinity shaped like a horizontal 8. What Csörgõ has built is a 'time machine' which can be read as a sculpture or a three dimensional drawing, a moving picture or simply a scientific experiment. 'Squaring the circle' was originally one of the famous – unsolvable - mathematical tasks coming from the ancient Greek world. It fascinated people during centuries until the final conclusion in the 19th century when mathematicians proved it is unsolvable. Nowadays, metaphorically, we use this phrase for describing a task that is impossible to carry out. Squaring the Circle belies the age-old problem to be solved by making the impossible possible and turning a circle into a square. This playful yet complex work creates a square from the shadow of a circle with the help of a special mirror. Attila Csörgõ was born in 1965 in Budapest, he lives and works in Warsaw. He has had solo exhibitions at the Kunsthalle Mainz (2012), the Atelier Calder, Sache (2011), the Wiener Secession, Vienna (2011), the Kunsthalle Hamburg, MUDAM Luxembourg and Ludwig Museum Budapest (2009-2011), Domaine de Kerguéhennec, France (2009), and the Museum Folkwang, Essen (2008). Csörgõ has participated in the dOCUMENTA (13) (2012), the Biennale of Sydney (2008), the Istanbul Biennial (2003), and the Biennale di Venezia (1999). In 2008, he was granted the Nam June Paik Award, Europe's renowned prize for media art. Galerija Gregor Podnar Lindenstrasse 35 D-10969 Berlin Germany T: +49 30 259 346 51 E: [email protected] Galerija Gregor Podnar Children's Museum of the Arts, New YorkROBERT STRATI
Fields of Play September 23, 2013 - January 26, 2014 Robert Strati's "Fields of Play" is now on view at the Children's Museum of Art in New York City. The work includes a number of suspended transparent panels placed at varying distances down the narrowing, unique space of the Bridge. The panels contain cutouts of differing sizes and shapes, inspired by the lines of various sports fields or astronomical mappings. These cutout shapes provoke viewers to experiment with different lines of sight - from afar, or sandwiched between the panels - in order to discover for themselves how shapes from different panels can line up. "Fields of Play" factors in the effect of the space's circular windows, lighting, and bands of color connecting the walls, ceiling and carpet, which end up lending the panels an almost eerie, biological luster. Robert Strati's "Fields of Play" evokes the complex natural fractals seen in magnified views of cell walls or the immense, spidery clouds of interstellar nebulae. In their physicality, they also invite children to test their pliability and playfully zig-zag between them, creating a multi-layered experience that invites viewers of all ages to playfully tweak their perspective. Children's Museum of the Arts 103 Charlton St New York, NY 10014 T: +1 (212) 274-0986 Children's Museum of the Arts Galleri Specta, Copenhagen
PETER HOLST HENCKEL
Couplings and Doublings October 5 - November 9, 2013 With the exhibition Couplings and Doublings, SPECTA is showing a series of new works by Peter Holst Henckel, each element of which is installationally juxtaposed to form visual and conceptual pairs and combinations - thereby creating new images and meanings. There are some things that we usually view as being ineluctably part of something else: a pair of jeans ... a pair of shoes ... a doppelganger ... a pair of wings ... Language, in other words, incorporates the idea that there are things which are both themselves and, at one and the same time, dependent upon something else, through which they form another kind of whole or unity. This can take the form of doubling, mirroring or pairs of opposites. In many areas, our language and the world around us is made up of such couplings and doublings, which create a simple conceptual framework and structure for the way we experience and act in the world. The title of the exhibition can thus be understood both concretely and conceptually, in that all of the works in the exhibition consist of two or more parts which are physically related to each other. At the same time, links are created on a conceptual and imaginary plane to a number of cultural, psychological and personal phenomena and experiences. On the basis of this premise, the exhibition is made up of three individual but coherent spaces which, each in their own way, consist of mutual couplings and doublings. In both material and conceptual terms, Couplings and Doublings has a wide embrace. The exhibition includes for example a number of modified objects, photographs printed on fabric, wooden objects, processed textiles, terracotta figures, etc. On the conceptual level, the works deal with both existential, bodily and intersubjective relationships, and make reference to such works as Edgar Allan Poe's doppelgänger short story William Wilson, Alvar Aalto's Villa Mairea and some of Peter Holst Henckel's own earlier works, such as World of Butterflies. As is often the case with Peter Holst Henckel's art, the exhibition establishes a poetic sphere in which materiality, language and meaning are allowed to mingle and become interwoven with each other. Peter Holst Henckel (1966/DK) held his first solo exhibition at SPECTA exactly twenty years ago, and has since exhibited several times at the gallery, both individually and in group exhibitions. He trained at the Royal Danish Academy of Fine Arts in Copenhagen in 1985-92, and has participated in numerous exhibitions in Denmark and abroad. In recent years, Peter Holst Henckel has carried out a series of major works of public art around Denmark, including at Christiansfeld School, the Carlsberg Museum in Valby, the Royal Danish Playhouse in Copenhagen, the Rambøll headquarters in Ørestad, the University of Copenhagen and Lisbjerg School in Aarhus. The exhibition is supported by the Danish Arts Council. GALLERI SPECTA Peder Skrams Gade 13 DK-1054 Copenhagen Denmark T: +45 33 13 01 23 GALLERI SPECTA |
Churner and Churner, New YorkNICK HORNBY
SCULPTURE (1504-2013) September 19, 2013 - November 02, 2013 Churner and Churner is pleased to present the first solo U.S. exhibition of British sculptor Nick Hornby. "Sculpture (1504-2013)" brings together three new works by the artist, each of which circumnavigate his enquiry into citation and abstraction. In The Present Is Just a Point, Michelangelo's David has been extruded to a single point. Standing 9-ft tall and made from half a ton of 150-micron marble dust, the apotheosis of human perfection is reduced to zero, the impeccable curves and relaxed contrapposto of David stretched to their endpoint. The horizontal extrusion is stood erect balancing on its tip, supported by a boulder in the same way historic figures are braced by adjacent rocks or conveniently placed tree trunks. In an inversion of the process of carving (removing) to a gesture of modeling (adding), Hornby commissioned a traditional stone carver from Carrera, Italy, to come to London and model a rock in terracotta at his studio. David's face appears in a second work, this time mirrored upon itself at a degree angle to make a new compound face. The result is an anamorphosis, the face skewed so severely that it is recognizable only from an acute angle. This Pinocchioesque head is suspended in a bronze cage, much like that of Giacometti's Nose. In both the resin and bronze versions, the profile becomes an unsettling moment of aggression, not quite the gun-shaped sculpture of Giacometti, but a startling disfiguration of beauty. Finally, Hornby departs from his more typical gleaming white curves with nine photographs. Hornby has digitally manipulated Matisse's The Backs (1909-31) in order to extrapolate hypothetical future iterations beyond Matisse's works, themselves a progression further and further into abstraction as the modeling of flesh gave way to geometric forms. In Hornby's simplification, the relationship between figure and ground, already at stake in Matisse's production, falls away, and the compromised forms collapse not into difference but repetition. Unlike the exclamation point of The Present Is Just a Point, the grammatical comparison here would be the ellipses, a subtle fade to black. The trickster makes this world. Nick Hornby is a British artist living and working in London, England. He has exhibited in the UK, the US, Switzerland, Greece, and India, including Tate Britain, Southbank Centre, Fitzwilliam Museum, United Kingdom; Eyebeam, New York; and The Hub, Athens Greece. His most recent exhibition, with Sinta Tantra, was at One Canary Wharf in 2013. Hornby was a 2011 artist in residence at Eyebeam, New York. Other residencies include the ICIA (Mumbai), and theFleischmann Foundation (Slovakia). He has been awarded several Prizes including the Clifford Chance Sculpture Prize, RBKC Artists' Professional Development Bursary, the Deidre Hubbard Sculpture Award, and the BlindArt Prize; and he was shortlisted for the inaugural Spitalfields Sculpture Prize and the Mark Tanner Sculpture Prize. His work has been featured on Artforum.com, Wired, Conde Naste Traveler, and Out, among others. He has a special commission permanently sited at the Andaz 5th Avenue, New York, and the Poznan-Lawica Airport, Poland, as part of the 2012 Third Mediations Biennale. Hornby's work will be on view at the Museum of Art and Design, New York, in the exhibition "Out of Hand: Materializing the Post-Digital," from October 14, 2013 through July 6, 2014. Churner and Churner 205 10th Ave New York, NY10011 T: 1 212-675-2750 Churner and Churner mother's tankstation, DublinSHANE MCCARTHY
WORDS, SOMETIMES, GET IN THE WAY OF MEANING 25 September – 2 November 2013 The beginning of a course of action. In his now famous text, Ten Rules of Writing, [1] the late Elmore Leonard ‘casually' noted, [2] "(Joseph Conrad said something about words getting in the way of what you want to say.)" While, from my incomplete digging, what I think Conrad might actually have said was, "…words, as is well known, are the great foes of reality", [3] the form of Leonard's memory-softened, first-personalized and far from throw-away remark is an object lesson, by example, in the writer's sleight of hand. Shane McCarthy's debut solo exhibition title and variation upon the same thought; Words, sometimes, get in the way of meaning, interestingly, appropriately, throws structure into the mix (the comma [pause for consideration] is king). McCarthy pushes the key signifiers out to the ends; "words…meaning". Meaning, that if you either read everything, or skip everything in between [4], then the core dialectic, absence/presence, remains apparent/evident. Language, smaller: words, now there's the thing; tricky little, minxy, mini-concepts, like ‘solo', like ‘debut', like ART. Do they have greater, easier or diminished meaning in a world defined by search engines? Let's run it. Debut, also début: 1. A first public appearance, as of a performer. 2. The formal presentation of a young woman to society [just women?- feigns outrage!]. 3. The beginning of a course of action. Warm, cooler, hotter. "The beginning of a course of action", seems apposite to McCarthy's show (I'm not doing the title again, but I can italicize it for you), as it not only opens a new season in the gallery, a return from the endless, languid, Irish summer [!], into the more reflective, darker cools of Autumn. But, by necessity ‘it', a début show, sets out a stall, describes an envisaged path, a realization of sorts, of what has been previously noted as a sense of exceptional promise, anticipated in and of McCarthy's work. With concretization, the commitment of a complete, full-scale show, promises are either broken or kept. No pressure. [5] A course of action looms. Upon what grounds is an ‘anticipation' anticipated? ‘Shane McCarthy', what do we know of him? The great search engine brings us to various options of person, but reality, like any ‘creative' process involves choices. Re-focus: our Shane McCarthy (born 1988, graduated IADT, lives and works in Dublin) is a very precise being. His works, his words, his structures, his animated projections epitomize this precision, yet maintain an air of exquisite improvisation at the same time. There have not been many of them (works or shows) to date; a degree exhibition, a fine re-structuring of the same installation in the aptly named "Beautiful Potential" show, and two other works made for LISTE Basel 2012, which held ground, with poise and elegance, alongside Nina Canell and Uri Aran. McCarthy has time on his side, but anticipation/expectation is based upon the fact that every work has been made with the intention to count, also that his work exhibits a rare ability to instinctively "allure". What is perhaps most alluringabout McCathy's sculptures, (let's call them that, or, if being super-specific, carefully arranged sculptural installations), is their ability to walk the immanence/potential tightrope, between the excitement of the many directions in which an ‘incomplete' work may yet diversify, and the closure, the sadness of resolution. McCarthy's course of action is right in-between, an aesthetically negotiated stand-off, where collective meaning floats or hovers, somewhere between pronouncement, intention, (mis)understanding, deception, truth and ‘reality' (whatever that actually is? [6] ) McCarthy's texts - realized in fading, pulsing projected light - allure with what has been described as the false promise, or "glamour" of neon signs. In a recent Mousse Magazine interview with McCarthy, the writer, Maeve Connolly notes; "…the properties of light and language intertwine, emphasizing the power of both to attract or even seduce. …I was recently reminded (by the art critic Caoimhín Mac Giolla Léith) of the etymological relationship between "grammar" and "glamour". The notion of putting a "glamour" (or spell) on someone suggests an assertion of power, founded in part upon learning and a facility with language." [7] McCarthy's analysis is cool (not that ‘Cool'), but almost detached, as if almost floating alongside his work: "I view this [practice] as a kind of dialogue (or perhaps a system that facilitates dialogue) between its disparate elements, such as the "scene", its material objects, language and [its] meaning. One that is viewable, both from within its structure and more abstractly as a whole by the viewer, encouraging reaction within a closed-looped system. This hopefully causes an enfolding and unfolding of its concept." [8] Concept: 1. A general idea derived or inferred from specific instances or occurrences. 2. Something formed in the mind; a thought or notion. 3. A scheme; a plan, a course of action. Action: 1. The state or process of acting or doing. 2. Something done or accomplished; action speaks loader than words. (Elmore Leonard said something like, if it feels like writing, write it again). --- 1] Originally published as a 2001 article for The New York Times in the series, ‘Writers on Writing'. This text has substantially resurfaced, courtesy of social media sites, subsequent to Leonard's recent death at the age of 83. 2] ibid. Not only is the casualness an affectation, but I have just broken rule number four, "Never use an adverb to modify a verb." 3] From Conrad's 1911 novel, Under Western Eyes. 4] "Hooptedoodle". See Leonard on Steinbeck: ibid no.1 5] Particularly when magazines, Blouinfineart and Modern Painters, include; Shane McCarthy – words, sometimes, get in the way of meaning, in their selection of 100 Best Fall Shows. How things have changed, the combined power of art fairs and social media, scuppers revelation and expectation, equalizing the first show of a young artist with that of a retrospective of seasoned and acknowledged masters, before the show is even installed. Wook-wook! 6] Apparently Reality 1. The quality or state of being actual or true. 2. One, such as a person, an entity, or an event, that is actual. 3. The totality of all things possessing actuality, existence, or essence. 4. That which exists objectively and in fact. 7 Loop System, Shane McCarthy interviewed by Maeve Connolly, Mousse Magazine, issue:37 February-March 2013 8 Ibid mother's tankstation 41-43 Watling Street Ushers Island Dublin 8 Ireland T: +353 (0)1 6717654 mother's tankstation |
08.10.2013.
dalla Rosa Gallery, London, UK
Luis De Jesus Los Angeles; USA
David Castillo Gallery, Miami, USA
Cristina Guerra Contemporary Art, Lisbon, Portugal
dalla Rosa Gallery, London
DAVID WEBB
FRAGMENTARIUM 11 October – 9 November 2013 dalla Rosa is proud to present David Webb's first solo show at the gallery. Fragmentarium explores personal memories and incidents from Webb's family history, collected in a new body of work that includes paintings and works on paper. What at a glance seems to be abstraction is in fact representational - we see condensed recollections that gather archetypical forms, characterised by the vivid colours of memory. This perceived integration of abstract and figurative language is a distinctive trait of Webb's practice, as painter Eleanor Moreton writes: 'Even at their darkest Webb’s paintings have lightness and luminosity. Working and erasing until an essence of the original image or idea is all that remains, it is often at this point that the original motif is no longer readable. There is no question that they can be a purely aesthetic experience and can meet their audience on the shared ground of beauty. Nevertheless, they have a narrative thread.' Webb looks at Sienese Renaissance painters such as Sassetta and the Lorenzetti brothers for solidity and volume, and Matisse for fluidity of colour and line. The formal construction of each composition gives equal importance to the centre and the periphery of the canvas. Location is crucial. Light, colours and contrast of places such as Canada, Mexico, Cyprus and Britain inform the tone of each painting. 'The work included in Fragmentarium continues themes relating to ancestral stories of travel, specifically a single journey taken by my Grandmother and Mother in 1955, when they returned permanently to the UK from Tanzania. The accounts of their migration were often incomplete and imprecise, and I feel the relevance for me was not the emphatic recounting of history, but rather the sentiment that surrounded what happened. I aim to find this within my work; often obliquely, sometimes using their letters, photographs and objects from the time to develop and pare down shapes, and re-imagine colour. The imagery is typically and purposely evasive and the figure/motif fluctuates within a space between flat abstraction and a more traditional representation of the landscape, seascape or interior. In addition are paintings relating to more personal experiences of place and relocation; a sense of shifting, setting down, and collecting in an emotional, perceptive, sense. For example, my immediate surroundings - Deptford Creek's sparkly grey mud and detritus; still life objects, or the landscape around Lemba in Cyprus - so important in my education and development.' (David Webb, September 2013) ABOUT THE ARTIST After studying Fine Art in Aberystwyth, David Webb (born 1973) obtained an MA in Painting at Canterbury Christ Church University College and a postgraduate diploma at the Cyprus College of Art (Lemba). He was also awarded residencies at The MacDowell Colony (Peterborough, New Hampshire), Yaddo, (New York), and a fellowship at Vermont Studio Center. Now based in London, Webb has exhibited extensively in Britain and abroad, notably: solo shows at Transition and APT Galleries (London), and group exhibitions at the Siena Art Institute (Italy), Flowers East (London), The Painting Center (New York City). Webb has work in private and corporate collections in Australia, Britain and the USA, and in the collections of the Siena Art Institute and the National Library of Wales. Coinciding with Fragmentarium, Hollow Earth London produced a video interview with David Webb, watch it here. dalla Rosa would like to thank Benjamin Bridges and Shuhei Nakayama. dalla Rosa Gallery 121 Clerkenwell Road London EC1R 5BY [email protected] dalla Rosa Gallery Cristina Guerra Contemporary Art, Lisbon
JOSÉ LOUREIRO
OURIÇOS 11 October – 13 November 2013 "Today, I limited myself to a single, wide and long red brushstroke. A workload only akin to the twelve Labors of Hercules. These brushstrokes bring to mind big ships with excess weight at the bow, risking sinking as soon as they set sail but finally managing to go their way." I wrote these lines in a recent (and lengthier) email to a friend of mine, telling him about what I was doing. If I start by quoting my own words it is because they accurately describe the way I’m now working. Each one of these brushstrokes arises from a particular place, different from all others, and the dimension they acquire essentially depends on the ballast of pigment and oil they carry within. Black is important because it behaves as a catalyst; for example, as it tangentially approaches a red, it intensifies it, rendering it redder. This red – I could have used any other color in this example – is more intense at its center and diffuse at its margins, almost forming a halo. Apparently immobile, these colors fluctuate and never really touch each other, even when they overlap. Color and brushstroke are a single entity, inextricable. As such, there is time and duration, beginning and end. It is between these two points, and in a scale ranging from disaster to epiphany, that everything is played out. Colors are served in tubes we can buy at the store. We open one of these tubes and become ecstatic with what we see. Only later we understand that colors are like sharp ramparts, so closed in upon themselves that they can only be taken by storm, and with immense effort. We don’t even have exact names for them; despite the fact that they’re always so impeccably labeled. Having one color, we just need to change its place so that it’s no longer the same. Colors communicate between them in an indecipherable code, impervious to the most powerful algorithm. They are as slippery as eels, and sting like urchins. We’ll never discover the Rosetta Stone of colors. - José Loureiro JOSÉ LOUREIRO was born in Mangualde in 1961. Lives and works in Lisbon. He identifies two pieces of reading as representing formative moments in his artistic development: the poem Deslumbramentos (Fascinations) from O Livro de Cesário Verde, by Cesário Verde; and the chapter from War and Peace, by Leo Tolstoy, in which the battle of Borodino is narrated. At the moment, all his life revolves around three words: priolo , filament and rim. The artist is represented in several public and private collections as Fundação de Serralves, Oporto, Portugal; Centro de Arte Moderna José de Azeredo Perdigão – Fundação Calouste Gulbenkian, Lisbon, Portugal; Colecção Caixa Geral de Depósitos, Lisbon, Portugal; Colecção Berardo, Lisbon, Portugal; Colecção António Cachola, Elvas, Portugal; Museu de Arte Contemporânea do Funchal, Madeira, Portugal; Fundação Leal Rios, Lisbon, Portugal; Centre Pompidou - Museu Nacional de Arte Moderna, France; Fundação de Arte Contemporânea Daniel & Florence Guerlain, Les Mesnuls, France; European Investment Bank, Luxembourg; European Patent Office, Munich, Germany; European Central Bank, Frankfurt, Germany; Hiscox, London, UK. Cristina Guerra Contemporary Art Rua Santo António à Estrela, 33 1350-291 Lisbon Portugal T: 351 213 959 559 Cristina Guerra Contemporary Art |
Luis De Jesus Los AngelesMARGIE LIVINGSTON | OBJECTIFIED
October 19 - November 23, 2013 Reception: Saturday, October 19, 6-9 PM Luis De Jesus Los Angeles is pleased to present MARGIE LIVINGSTON: OBJECTIFIED, an exhibition of new "Paint Objects", on view from October 19 thru November 23, 2013. An artist’s reception will be held on Saturday, October 19, from 6 to 9 p.m. This will be the artist's second solo exhibition with the gallery. The gallery has also presented her work in group exhibitions, two-person projects and art fairs in Los Angeles, New York, San Francisco, and Miami. Margie Livingston is first and foremost a painter. Her desire to liberate painting from illusion and free herself from the limitations of traditional painting pushed her to articulate and embrace an entirely new approach to making work. Employing strategies and methods associated with the construction and carpentry trade, she builds three-dimensional paint objects that are made entirely out of acrylic paint, allowing her to directly translate the phenomena of space, light, color and gravity upon these hybrid structures. Solid blocks and logs of paint and sheets of paint reconstituted into "wood" products, such as waferboard and paneling, investigate the properties of paint pushed into three-dimensions. Inevitably layered with personal history, Livingston's work also has art-historical connections. In the case of the paint objects - simulacra of building products that experiment with paint's materiality, render the conventions of minimalism in three-dimensional painted form, push paint into the domain of sculpture, nod to the ready-made, and use nonmimetic color to highlight their own artificiality - the obvious links are not just with Frank Stella's paintings but also with the work of Jackson Pollock, Donald Judd, Carl Andre, and Lynda Benglis. Livingston's paint objects also subvert, challenge, and recontextualize this history. The gesture of individual expression, the "mythic/heroic", and even the autobiographical and craft bias of much historical feminist artwork is sliced by industrial machinery or obliterated by layers of accident, collaboration, and carpentry skills that draw attention away from the hand of the artist and toward the process itself. And, yet, these objects' indebtedness to earlier artists and late-modernist art movements is only one of their collective dimensions. Another is their evocation, however oblique, of the natural world's ravaged state. Margie Livingston has been nominated for the 2013 Louis Comfort Tiffany Foundation Biennial Award. She received her M.F.A. in painting from the University of Washington and was awarded a Fulbright Scholarship in 2001, a period she spent living and working in Berlin. Other awards include a 2011 Artist-in-Residence at Los Angeles Contemporary Exhibitions (LACE), the 2010 Neddy Fellowship from the Benkhe Foundation and the 2010 Arts Innovator Award from Artist Trust (funded by the Chihuly Foundation), a 2008 Artist-in-Residence at the Shenzhen Fine Art Institute, and the 2006 Betty Bowen Memorial Award. She has been featured in solo and group exhibitions at Los Angeles Contemporary Exhibitions; Henry Art Gallery, Seattle Art Museum, and Tacoma Art Museum, Washington State; Shenzhen Fine Art Institute, China: Kunstruimte 09, Groningen, The Netherlands; PROGR Zentrum fur Kulturproduktion, Bern, Switzerland; and Amerika Haus-Berlin, Germany, among others. Margie Livingston's work is included in the permanent collections of the Shenzhen Fine Art Institute, Seattle Art Museum, Tacoma Art Museum, Eugenio Lopez Collection, Joel and Zoe Dictrow Collection, and numerous other private and public collections. Luis De Jesus Los Angeles 2635 S. La Cienega Blvd. Los Angeles, CA 90034 T: +1 310 838 6000 E: gallery @ luisdejesus.com Luis De Jesus Los Angeles David Castillo Gallery, MiamiMELVIN MARTINEZ
All Inclusive! October 10 - November 20, 2013 Reception Thursday, October 10, 7 to 10 pm David Castillo Gallery is proud to present All Inclusive!, a solo show by Melvin Martinez. Martinez paints with oil, acrylic, silk flowers, plastic gemstones, glitter, yarn, and the detritus of a post-apocalyptic Hobby Lobby. The artist applies swatches of glossy magazines with the torque of a pallet knife. He layers paint like fondant until it catches pompons. Martinez interrogates the rhetoric of painting. In turn, the artist interrogates that of sculpture, collage, performance, and decoration. In the tradition of Jackson Pollock's action paintings or Rosemarie Trockel's machine knitted canvases, the works in All Inclusive! vibrate on the meniscus of knowability, threatening to dissolve into process and materiality. El Jardincito is the site of a spirited cross-section of the Great Pacific Garbage Patch.Sugar Painting evokes the confectionary pallet of an ice cream parlor or the eerie allure of an algae bloom. The large-scale Macrame Serie Entramados seduces the viewer with its rich texture or imminent spider. Martinez balances density and diversity by inviting familiar painterly discourses, including expression, into an actor-network. Inclusivity ultimately aids in defending painting against itself. For Franco "Bifo" Berardi, the inclusivity of image does not lie in its representation of social reality, but its ability to select from among infinite dynamic projections. The image is an act of imagination that creates phenomenological experience. The image is a dispositif. Likewise, Martinez's paintings are active and unfixed. They are dispositifs that map without subscribing to landscape; amass bodies without figuration; immortalize without portraiture; communicate without expressionism; set tone without color fields, be literal without minimalism, and contemporary without Pop. Fucking Painting reads as both a snarky admonishment of its medium and an earnest act of love, simultaneously semantic and corporeal. All Inclusive! is just that: inclusive, convivial, rendering painting both resource and schema, both technology and techne. Melvin Martinez was born and lives and works in San Juan, Puerto Rico. He received his BFA from the School of Fine Arts, San Juan in 2005. The same year, Martinez won the prestigious Castellon Painting Prize (Spain). His work has been exhibited in important institutions internationally, has been reviewed in significant publications such as The New York Times, Modern Painters, among many others. His work is also included in the 2013 Phaidon publication "Art Cities of the Future: 21st-Century Avant-Gardes." Among his institutional collections are Irish Museum of Modern Art, Dublin; Museo de Bellas Artes, Castellon, Spain; Espai D'Art Contemporani, Castellon, Spain; Museum Collection Lambert, Avignon, France; MAP, Museum of Ponce, Puerto Rico; MAC, Museum of Contemporary Art, Puerto Rico; VAC, Valencia Arte Contemporáneo, Valencia, Spain; Harn Museum of Art, University of Florida, Gainesville; Palm Springs Art Museum, Palm Springs, California; The Rubell Family Collection, among others. David Castillo Gallery 2234 NW 2 Avenue Miami, FL 33127 Florida T: +1 305 573-8110 David Castillo Gallery |
08.10.2013.
THE ROWAN UNIVERSITY ART GALLERY
Glassboro, New Jersey, USA
14.10.-16.11.2013.
The language of Photomontage

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04.10.2013.
Feature Newsletter Photography Film & Video 03 October 2013
Yancey Richardson Gallery, New York
Galería Helga de Alvear, Madrid
Brancolini Grimaldi, London
Yancey Richardson Gallery, New York
OLIVO BARBIERI
Alps - Geographies and People
September 19 – November 2, 2013
Yancey Richardson is pleased to present Alps - Geographies and People, the fifth solo exhibition at the gallery by Italian artist Olivo Barbieri, and the inaugural exhibition in the gallery's new street-level space at 525 W. 22nd street. Having previously completed a series of aerial photographs in the Dolomites range in northern Italy, Barbieri has embarked on a project documenting the largest range in Europe, and the relationship that extreme climbers have to the terrain. As the artist describes:
"The subject of 'Alps – Geographies and People' is how the mountain is perceived from the climbers' point of view - its peaks and precipices, the mirages and hallucinations in its geography. In these images, everything is true. The proportions and the forms are real. Even the people and the position they're in...those, too, are real."
The word Alps derives from the French and Latin "alpes", which at one time was thought to derive from the Latin "albus" (white), in reference to the permanent snow on the peaks of the range. Employing a technique he calls "solid color", Barbieri makes erasures and selectively whites out portions of the mountains, opening the possibility to define their fundamental forms in a concise way. Conceptually similar to the selected focus of his site specific_ series, which transformed the world into a model of itself, Barbieri here uses "solid color" to draw out the mountain's basic, original form. Shot from a helicopter, the sublime and dizzying vantage is further enhanced by the inclusion of climbers traversing rocks and chasms, seeking to discover a hidden truth in what Barbieri describes as "blank maps", a kind of spiritual space outside the realm of traceable geography. Whereas his previous Dolomites series revealed the terrain and included people as a near supplemental element denoting scale, Alps - Geographies and People moves the climbers to the fore, presenting their extreme and dangerous traverse as a near hallucinogenic journey of discovery among the most famous heights of Europe's largest peaks.
The exhibition will coincide with the release, this fall, by Aperture Press, of site specific_, a survey of Barbieri's ten-year, ongoing project reimagining urban spaces across the globe. In addition to his photographic work, Barbieri has also directed critically acclaimed films, such as site specific_ROMA 04, site specific_SHANGHAI 04, and site specific_LAS VEGAS 05, which he has exhibited at the MOMA, New York, the Tate Modern, London, the Wexner Center for the Arts, and the Museum of Contemporary Art, Chicago, among other venues. His films have been featured in the 2005 Toronto Film Festival and the 2006 Sundance Film Festival. He has also exhibited his photographs internationally at the Centre Pompidou, Paris, the San Francisco Museum of Modern Art, the Museum of Contemporary Art, Chicago, the Cleveland Museum of Contemporary Art, and the International Center of Photography, New York. He has participated in the Venice Biennial (1993, 1995, 1997, 2011, 2013), the Prague Biennial (2009) and the Seville Biennial (2006). Born in 1954, Olivo Barbieri lives and works in Modena, Italy.
YANCEY RICHARDSON GALLERY
525 West 22nd Street
New York, NY 10011
T: 1 646-230-9610
YANCEY RICHARDSON GALLERY
Alps - Geographies and People
September 19 – November 2, 2013
Yancey Richardson is pleased to present Alps - Geographies and People, the fifth solo exhibition at the gallery by Italian artist Olivo Barbieri, and the inaugural exhibition in the gallery's new street-level space at 525 W. 22nd street. Having previously completed a series of aerial photographs in the Dolomites range in northern Italy, Barbieri has embarked on a project documenting the largest range in Europe, and the relationship that extreme climbers have to the terrain. As the artist describes:
"The subject of 'Alps – Geographies and People' is how the mountain is perceived from the climbers' point of view - its peaks and precipices, the mirages and hallucinations in its geography. In these images, everything is true. The proportions and the forms are real. Even the people and the position they're in...those, too, are real."
The word Alps derives from the French and Latin "alpes", which at one time was thought to derive from the Latin "albus" (white), in reference to the permanent snow on the peaks of the range. Employing a technique he calls "solid color", Barbieri makes erasures and selectively whites out portions of the mountains, opening the possibility to define their fundamental forms in a concise way. Conceptually similar to the selected focus of his site specific_ series, which transformed the world into a model of itself, Barbieri here uses "solid color" to draw out the mountain's basic, original form. Shot from a helicopter, the sublime and dizzying vantage is further enhanced by the inclusion of climbers traversing rocks and chasms, seeking to discover a hidden truth in what Barbieri describes as "blank maps", a kind of spiritual space outside the realm of traceable geography. Whereas his previous Dolomites series revealed the terrain and included people as a near supplemental element denoting scale, Alps - Geographies and People moves the climbers to the fore, presenting their extreme and dangerous traverse as a near hallucinogenic journey of discovery among the most famous heights of Europe's largest peaks.
The exhibition will coincide with the release, this fall, by Aperture Press, of site specific_, a survey of Barbieri's ten-year, ongoing project reimagining urban spaces across the globe. In addition to his photographic work, Barbieri has also directed critically acclaimed films, such as site specific_ROMA 04, site specific_SHANGHAI 04, and site specific_LAS VEGAS 05, which he has exhibited at the MOMA, New York, the Tate Modern, London, the Wexner Center for the Arts, and the Museum of Contemporary Art, Chicago, among other venues. His films have been featured in the 2005 Toronto Film Festival and the 2006 Sundance Film Festival. He has also exhibited his photographs internationally at the Centre Pompidou, Paris, the San Francisco Museum of Modern Art, the Museum of Contemporary Art, Chicago, the Cleveland Museum of Contemporary Art, and the International Center of Photography, New York. He has participated in the Venice Biennial (1993, 1995, 1997, 2011, 2013), the Prague Biennial (2009) and the Seville Biennial (2006). Born in 1954, Olivo Barbieri lives and works in Modena, Italy.
YANCEY RICHARDSON GALLERY
525 West 22nd Street
New York, NY 10011
T: 1 646-230-9610
YANCEY RICHARDSON GALLERY
Galería Helga de Alvear, Madrid
SLATER BRADLEY
she was my la jetée
19 September - 2 November 2013
Galería Helga de Alvear opens the new exhibition programme with the American artist Slater Bradleywho returns to Madrid to represent his latest work she was my la jeteé, a personal remake of the cult film La Jeteé (1962) by his idol Chris Marker, one of the best known experimental filmmakers of the 20th century. In this work – filmed with Super 8 and HD – Bradley creates an idealised portrait of an unachievable woman. In addition, the exhibiton contains a series of photographs that represent the same archetypical pattern of an ideal woman as in La Jeteé.
Slater Bradley, (San Francisco, USA, 1975) lives and works in Berlin, Germany
For almost fifteen years Slater Bradley has been producing a unique oeuvre through which he has explored his own biography and that of the generation to which he belongs. Resorting to doubles and shadows, on the one hand, and to the painful fantasy of youth idols, on the other, he has created a corpus of work that hovers between the genres of video and photography.
His career focuses on the theory of the subject, the conditionings of patterns and their performative possibilities that continue to fascinate many young artists intent on unravelling the identity of those of their day and age. But while so many others centre their efforts on the critical destruction of the gestures and attitudes of juvenile heroes, Slater Bradley bases his work on the memento mori, "remember you shall die".
The fact is that all his heroes have died young: Kurt Cobain, Ian Curtis and Michael Jackson are embodied in Benjamin Brock, whom Bradley met at a disco in New York in 1999 when he was twenty-four and who became his doppelgänger - a term first used by German Romantic Jean Paul to refer to the phantasmagorical image of one who "walks beside us", our darker self, considered by Strindberg an omen of death.
The game of mirrors between Bradley the artist, Brock the double, and the youth culture idols portrayed examines, in the artist's own words, "the psychological effects of idolatry, mimicry and the collective unconscious in the formation of the teenager identity of a specific generation: my own."
Galería Helga de Alvear
Doctor Fourquet, 12
28012 Madrid
Spain
T: 0034 91 468 05 06
Galería Helga de Alvear
she was my la jetée
19 September - 2 November 2013
Galería Helga de Alvear opens the new exhibition programme with the American artist Slater Bradleywho returns to Madrid to represent his latest work she was my la jeteé, a personal remake of the cult film La Jeteé (1962) by his idol Chris Marker, one of the best known experimental filmmakers of the 20th century. In this work – filmed with Super 8 and HD – Bradley creates an idealised portrait of an unachievable woman. In addition, the exhibiton contains a series of photographs that represent the same archetypical pattern of an ideal woman as in La Jeteé.
Slater Bradley, (San Francisco, USA, 1975) lives and works in Berlin, Germany
For almost fifteen years Slater Bradley has been producing a unique oeuvre through which he has explored his own biography and that of the generation to which he belongs. Resorting to doubles and shadows, on the one hand, and to the painful fantasy of youth idols, on the other, he has created a corpus of work that hovers between the genres of video and photography.
His career focuses on the theory of the subject, the conditionings of patterns and their performative possibilities that continue to fascinate many young artists intent on unravelling the identity of those of their day and age. But while so many others centre their efforts on the critical destruction of the gestures and attitudes of juvenile heroes, Slater Bradley bases his work on the memento mori, "remember you shall die".
The fact is that all his heroes have died young: Kurt Cobain, Ian Curtis and Michael Jackson are embodied in Benjamin Brock, whom Bradley met at a disco in New York in 1999 when he was twenty-four and who became his doppelgänger - a term first used by German Romantic Jean Paul to refer to the phantasmagorical image of one who "walks beside us", our darker self, considered by Strindberg an omen of death.
The game of mirrors between Bradley the artist, Brock the double, and the youth culture idols portrayed examines, in the artist's own words, "the psychological effects of idolatry, mimicry and the collective unconscious in the formation of the teenager identity of a specific generation: my own."
Galería Helga de Alvear
Doctor Fourquet, 12
28012 Madrid
Spain
T: 0034 91 468 05 06
Galería Helga de Alvear
Brancolini Grimaldi, London
EVE PLAYS DUCHAMP
Curated by Kevin Moore
4 October - 10 November 2013
Brancolini Grimaldi announces Eve Plays Duchamp, a group exhibition of three American artists -Tricia Lawless Murray, Heidi Snow and Hannah Whitaker - each working in a vein of feminist-inflected neo-Surrealism. The show is curated by Kevin Moore, an independent scholar and curator based in New York.
Establishing an historical basis for the exhibition, Kevin Moore writes:
"In 1963 the Pasadena Museum of Art hosted the first American retrospective of Marcel Duchamp. A stunt coinciding with the exhibition involved a young woman named Eve Babitz, who sat naked in the gallery for a chess match with the 76-year old Duchamp in front of one his most iconic works, Large Glass (1915 - 1925). If the goal of chess is "to mate," the tableau vivant of Eve Babitz and Duchamp effectively activated the Large Glass, "performing" that work's themes of coupling and sublimated desire, nuanced in the work's full title, The Bride Stripped Bare by Her Bachelors, Even."
"While historical Surrealism has been criticized for its sexist treatment of women, the presence of Eve Babitz, sitting comfortably naked opposite one of the great masters of 20th-century art, challenges Surrealist ideas of patriarchal dominance. By 1963, many of the traditional social hierarchies referenced by historical Surrealism were being challenged and eroded. This was true for art-making as well, and in that sense Eve Babitz might be seen as representing feministbased art practices to come - a woman playing to traditional roles yet turning the tables by embracing the themes and strategies of an older generation of male artists to rebellious and provocative effect. Eve is stripped bare, but on her own terms, so we might call the match now even."
Tricia Lawless Murray is an LA-based artist working in photography, video, collage, sculpture and installation. Eve Plays Duchamp will feature work from Lawless Murray's recent series which reinterprets Marcel Duchamp's last work Étant Donnés in which the viewer peers through peepholes in a wooden door. The difference here is that Lawless Murray allows viewers to breach the barrier that existed in Duchamp's construction and enter the space of the diorama via her videos, collages and three-dimensional works. The works take their titles from songs rooted in American folk, blues, country and pop music as they relate to the seminal alternative country rock album, The Sweetheart of the Rodeo by The Byrds. These works represent the transition from the investigation of Duchamp's work to that of Western Americana as Lawless Murray begins to make visual her rendition of the "Great American Novel". Her agenda is to refashion works from the past to lend them a point of view that is contrarily ironic and romantic while maintaining the perspective of woman as visual provocateur as opposed to object of delectation.
New York-based artist Heidi Snow explores obscure histories, deciphering in relics such as fanciful costumes and various forms of documentation, lost chapters in the history of fashion. Through sculptures, photographs and drawings, her work examines the ways in which women's fashion in particular has contributed to the exaggeration, distortion, and fetishisation of the female body according to the cultural fantasies and perversions of a given historical moment.
Also based in New York, Hannah Whitaker's photographs are the results of unwieldy experimental systems allowed to unfold. They start with organising principles ranging from visual patterning to repetitive motions, to mathematics. They present a kind of overt rationale represented visually by a grid or geometric pattern – which is then undermined by mistakes, randomness, imperfection and messiness. Recently Whitaker has made use of hand-made screens and other experimental in-camera techniques in order to layer different visual languages within a single image, placing the geometric alongside the photographic. The images depict a range of subjects, often with loaded histories – such as an ancient Greek marble quarry or a Hawaiian volcano – so that each image has a dual function as both twodimensional image and gatekeeper of a larger narrative.
Kevin Moore is the author of Starburst: Color Photography in America 1970-1980 (Cincinnati Art Museum/Hatje Cantz, 2010) and Jacques Henri Lartigue: The Invention of an Artist (Princeton University Press, 2004), and a contributing author to Robert Heinecken (Ridinghouse, 2012) and Words Without Pictures (LACMA/Aperture, 2009).
Brancolini Grimaldi
43 - 44 Albemarle Street
First floor
London W1S 4JJ
T: +44 (0)20 7493 5721
Brancolini Grimaldi
Curated by Kevin Moore
4 October - 10 November 2013
Brancolini Grimaldi announces Eve Plays Duchamp, a group exhibition of three American artists -Tricia Lawless Murray, Heidi Snow and Hannah Whitaker - each working in a vein of feminist-inflected neo-Surrealism. The show is curated by Kevin Moore, an independent scholar and curator based in New York.
Establishing an historical basis for the exhibition, Kevin Moore writes:
"In 1963 the Pasadena Museum of Art hosted the first American retrospective of Marcel Duchamp. A stunt coinciding with the exhibition involved a young woman named Eve Babitz, who sat naked in the gallery for a chess match with the 76-year old Duchamp in front of one his most iconic works, Large Glass (1915 - 1925). If the goal of chess is "to mate," the tableau vivant of Eve Babitz and Duchamp effectively activated the Large Glass, "performing" that work's themes of coupling and sublimated desire, nuanced in the work's full title, The Bride Stripped Bare by Her Bachelors, Even."
"While historical Surrealism has been criticized for its sexist treatment of women, the presence of Eve Babitz, sitting comfortably naked opposite one of the great masters of 20th-century art, challenges Surrealist ideas of patriarchal dominance. By 1963, many of the traditional social hierarchies referenced by historical Surrealism were being challenged and eroded. This was true for art-making as well, and in that sense Eve Babitz might be seen as representing feministbased art practices to come - a woman playing to traditional roles yet turning the tables by embracing the themes and strategies of an older generation of male artists to rebellious and provocative effect. Eve is stripped bare, but on her own terms, so we might call the match now even."
Tricia Lawless Murray is an LA-based artist working in photography, video, collage, sculpture and installation. Eve Plays Duchamp will feature work from Lawless Murray's recent series which reinterprets Marcel Duchamp's last work Étant Donnés in which the viewer peers through peepholes in a wooden door. The difference here is that Lawless Murray allows viewers to breach the barrier that existed in Duchamp's construction and enter the space of the diorama via her videos, collages and three-dimensional works. The works take their titles from songs rooted in American folk, blues, country and pop music as they relate to the seminal alternative country rock album, The Sweetheart of the Rodeo by The Byrds. These works represent the transition from the investigation of Duchamp's work to that of Western Americana as Lawless Murray begins to make visual her rendition of the "Great American Novel". Her agenda is to refashion works from the past to lend them a point of view that is contrarily ironic and romantic while maintaining the perspective of woman as visual provocateur as opposed to object of delectation.
New York-based artist Heidi Snow explores obscure histories, deciphering in relics such as fanciful costumes and various forms of documentation, lost chapters in the history of fashion. Through sculptures, photographs and drawings, her work examines the ways in which women's fashion in particular has contributed to the exaggeration, distortion, and fetishisation of the female body according to the cultural fantasies and perversions of a given historical moment.
Also based in New York, Hannah Whitaker's photographs are the results of unwieldy experimental systems allowed to unfold. They start with organising principles ranging from visual patterning to repetitive motions, to mathematics. They present a kind of overt rationale represented visually by a grid or geometric pattern – which is then undermined by mistakes, randomness, imperfection and messiness. Recently Whitaker has made use of hand-made screens and other experimental in-camera techniques in order to layer different visual languages within a single image, placing the geometric alongside the photographic. The images depict a range of subjects, often with loaded histories – such as an ancient Greek marble quarry or a Hawaiian volcano – so that each image has a dual function as both twodimensional image and gatekeeper of a larger narrative.
Kevin Moore is the author of Starburst: Color Photography in America 1970-1980 (Cincinnati Art Museum/Hatje Cantz, 2010) and Jacques Henri Lartigue: The Invention of an Artist (Princeton University Press, 2004), and a contributing author to Robert Heinecken (Ridinghouse, 2012) and Words Without Pictures (LACMA/Aperture, 2009).
Brancolini Grimaldi
43 - 44 Albemarle Street
First floor
London W1S 4JJ
T: +44 (0)20 7493 5721
Brancolini Grimaldi
04.10.2013.
Animamus Art Salon: A Living Gallery, London : 1-31 October, 2013
Animamus Art Salon: A Living Gallery, London
@Apiary Studios
458 Hackney Road, London E2 9EG
1-31 October, 2013
Preview 1 October 7-11 PM
For the month of October, 2013, Animamus Art Salon will be turning Apiary Studios into a playful, flexible community space for international and local artists alike. We will be presenting a diverse program of events, workshops, and more. Everything will be free of charge and open to the public.
Holding 3 separate, unique studios and over 2,000 square feet of space total, a portion of which will serve as living space for artists, Apiary Studios will serve as a welcoming, inspirational environment for both the team of creatives who will call it home for the month and the public.
By allowing the public access to all areas we hope to create a transparent experiment in artistic process and community building while simultaneously engaging both artists and the public in a constant performance of ideas, which cannot be repeated.
More artists, participants and organisations are added daily.
The calendar of events is available on animamusartsalon.com
Artists in Residence:
Aharon (Brighton, UK), Emma Andrea (Sweden), Chris Carr (Brooklyn), Reece Cox (Brooklyn), Sophie Crow (Norwich, UK), Mars Gomes (London), Isaac Gut (NYC), Kirsty Harris (London), Dan Hayhurst (London), Metteliva Henningsen (Denmark), Katie Innamorato (New Jersey), Alan Joseph (NYC), June King (London), Morgan King (London), Jenna Kline (Brooklyn), Liza Lacroix (Brooklyn), Ariele Max (NYC), Gerlado Mercado, (Brooklyn), Karolina Magnusson-Murray (London), Florence Nasar (Brooklyn), Jane Oldfield (London), Gregory Paul (Brooklyn), Talia Peleg (London), Charley Peters (London), Mark Pilkington (London), Linden Renz (Brooklyn), Claire Christine Sargenti (NYC), Spatial (London), Matthew Spendlove (London), Andrei Sopon (Romania), Sarah Strong (London), Reuben Sutherland (London), Mark Watson (London), Ventiko (Brooklyn), and Sara Zamet (London).
Participating Artists:
Adrian Austin, Erik Berglin, Michael Blase, Laura Blüer, Catrine Bodum, David Chalkley, Jordan Chlapecka,Harris & Clarke, Alex DeCosta, Dix Co, Augustin Doublet, Hannah Futers, Robert Goldkind, Erin Goodman, Joseph Gurka, Caro Halford, Aimee Hertog, Miao Jiaxin, Hey-Seung Jung, Hyun Min Kim, Jung S. Kim, Amber Lee, Hyemin Lee, JaeWook Lee, Jiyoung Lee, Jiyoun Lee Lodge , Quetzal Maucci, Kurt Mcvey, Julia Miranda, Nate Michaelson, Mariel Victoria Mok, Laurie Nouchka, No.W.Here, John Rae Park, Adina Preston, Misha Poloskin, David Powers, Moorland Productions, Laurie Nouchka, Araba Ocran, Jonah Rosenberg, Julia Maria Sinelnikova, Paul Stanley, Strange Attraciton, Olivia Swider, Anastasia Taharons, Susanna Thornton, Jemma Watts, Sarah West, Brenton Wolf, Ivan Valtchev, Ventiko, Elizabeth De Vita, xvi collective, Timur York, and Alex Zhaoguo Zhang.
Apiary Studios, 458 Hackney Road, London E2 9EG, apiarystudios.org, animamusartsalon.com
All entry is free.
About the Curator/Creator:
Ventiko is a photographic artist who has been based in New York City since 2008.
Ventiko learned her trade under the tutelage of Maestro Tony Clevenger of Quarter Moon Photography in Indianapolis, Indiana, USA.
Her artworks have been exhibited nationally and internationally in such exhibitions as "St. Sebastian:1530-2011" at Edelman Arts, New York City, Rox Gallery, New York City, "La Petite Muerte" at Drawers Gallery, London and BCN LND at Untitled, Barcelona. She was a resident at Matt Roberts Arts in 2013 which lead to the formation of xvi collective she is a member of. Her recent works will be exhibited in October at The Korean International Art Fair, Sluice Art Fair London, and Animamus Art Salon: A Living Gallery, London Apiary Studios. Currently she is represented by Coohaus Art, Chelsea, New York.
About Apiary Studios:
Apiary, the yellow rose in East London's lapel, exists to enable artists and practitioners from every discipline to realise their vision. We herd cats and wrangle cattle for all of your creative needs.
For more information please contact [email protected]
@Apiary Studios
458 Hackney Road, London E2 9EG
1-31 October, 2013
Preview 1 October 7-11 PM
For the month of October, 2013, Animamus Art Salon will be turning Apiary Studios into a playful, flexible community space for international and local artists alike. We will be presenting a diverse program of events, workshops, and more. Everything will be free of charge and open to the public.
Holding 3 separate, unique studios and over 2,000 square feet of space total, a portion of which will serve as living space for artists, Apiary Studios will serve as a welcoming, inspirational environment for both the team of creatives who will call it home for the month and the public.
By allowing the public access to all areas we hope to create a transparent experiment in artistic process and community building while simultaneously engaging both artists and the public in a constant performance of ideas, which cannot be repeated.
More artists, participants and organisations are added daily.
The calendar of events is available on animamusartsalon.com
Artists in Residence:
Aharon (Brighton, UK), Emma Andrea (Sweden), Chris Carr (Brooklyn), Reece Cox (Brooklyn), Sophie Crow (Norwich, UK), Mars Gomes (London), Isaac Gut (NYC), Kirsty Harris (London), Dan Hayhurst (London), Metteliva Henningsen (Denmark), Katie Innamorato (New Jersey), Alan Joseph (NYC), June King (London), Morgan King (London), Jenna Kline (Brooklyn), Liza Lacroix (Brooklyn), Ariele Max (NYC), Gerlado Mercado, (Brooklyn), Karolina Magnusson-Murray (London), Florence Nasar (Brooklyn), Jane Oldfield (London), Gregory Paul (Brooklyn), Talia Peleg (London), Charley Peters (London), Mark Pilkington (London), Linden Renz (Brooklyn), Claire Christine Sargenti (NYC), Spatial (London), Matthew Spendlove (London), Andrei Sopon (Romania), Sarah Strong (London), Reuben Sutherland (London), Mark Watson (London), Ventiko (Brooklyn), and Sara Zamet (London).
Participating Artists:
Adrian Austin, Erik Berglin, Michael Blase, Laura Blüer, Catrine Bodum, David Chalkley, Jordan Chlapecka,Harris & Clarke, Alex DeCosta, Dix Co, Augustin Doublet, Hannah Futers, Robert Goldkind, Erin Goodman, Joseph Gurka, Caro Halford, Aimee Hertog, Miao Jiaxin, Hey-Seung Jung, Hyun Min Kim, Jung S. Kim, Amber Lee, Hyemin Lee, JaeWook Lee, Jiyoung Lee, Jiyoun Lee Lodge , Quetzal Maucci, Kurt Mcvey, Julia Miranda, Nate Michaelson, Mariel Victoria Mok, Laurie Nouchka, No.W.Here, John Rae Park, Adina Preston, Misha Poloskin, David Powers, Moorland Productions, Laurie Nouchka, Araba Ocran, Jonah Rosenberg, Julia Maria Sinelnikova, Paul Stanley, Strange Attraciton, Olivia Swider, Anastasia Taharons, Susanna Thornton, Jemma Watts, Sarah West, Brenton Wolf, Ivan Valtchev, Ventiko, Elizabeth De Vita, xvi collective, Timur York, and Alex Zhaoguo Zhang.
Apiary Studios, 458 Hackney Road, London E2 9EG, apiarystudios.org, animamusartsalon.com
All entry is free.
About the Curator/Creator:
Ventiko is a photographic artist who has been based in New York City since 2008.
Ventiko learned her trade under the tutelage of Maestro Tony Clevenger of Quarter Moon Photography in Indianapolis, Indiana, USA.
Her artworks have been exhibited nationally and internationally in such exhibitions as "St. Sebastian:1530-2011" at Edelman Arts, New York City, Rox Gallery, New York City, "La Petite Muerte" at Drawers Gallery, London and BCN LND at Untitled, Barcelona. She was a resident at Matt Roberts Arts in 2013 which lead to the formation of xvi collective she is a member of. Her recent works will be exhibited in October at The Korean International Art Fair, Sluice Art Fair London, and Animamus Art Salon: A Living Gallery, London Apiary Studios. Currently she is represented by Coohaus Art, Chelsea, New York.
About Apiary Studios:
Apiary, the yellow rose in East London's lapel, exists to enable artists and practitioners from every discipline to realise their vision. We herd cats and wrangle cattle for all of your creative needs.
For more information please contact [email protected]
27.9.2013.
Ljerka Njerš
Exibition...28.9. - 28.10.2013.
Castle St. Cross Zachretje
Croatian Zagorje
Near Zagreb
Croatia
26.9.2013.
LEONARDO ULIAN
BEERS CONTEMPORARY
1 Baldwin Street
London, EC1V 9NU, UK
Private View: Thursday, Sept. 26 from 6-9pm
Exhibition Dates: 27 September - 9 November 2013
All that we are arises within our thoughts. With our thoughts, we make our world.
- Buddha
That is beautiful which is produced by the inner need, which springs from the soul.
- Kandinsky
For Leonardo Ulian's first solo exhibition with Beers Contemporary, the artist has created his most intensive and mesmerizing series of works to date; entitled Sacred Space, the exhibition consists of a series of mandalas, a symbol from Hindu and Buddhist symbolism that represents metaphysical enlightenment, made entirely from meticulously arranged electronic components. Ulian's reflexive use of the geometrical mandala can also be seen as a nod to his 'past-life' as an technican, but through his application, Ulian divorces the electronic components from their origins, giving new life to these (now defunct) technological bits, creating a new type of hybridization that is equal parts spiritualization and contemporary critique: "We live in a society that worships electronic technology," he states "both for necessity but also because it makes us feel better, not unlike its own new form of fashionable spirituality."
His interest in the technological mandala began when considering the relationship between modern day human nature and pursuits of personal fulfillment, to the 'cult of the electronic', including our perception of Eastern spiritualization as 'Enlightened', and the dependency placed upon the technological as a modern day savior. Perhaps he comments on the realization that Western cultures (abundant with technology, industrialization, commercial progress, and the pursuit of acquiring material belongings) are consistently ranked as the least happy cultures worldwide. Those cultures that project their spiritualization upon symbolism and belief in self reflection and convalescence, however, are more fulfilled, and happier.
But Ulian's use is not an outright critique of our society. For there is joy in these mandalas, a colorful circuitousness of shape, form, and function(lessness). Furthermore, the mandalas reference processes of causality and creation. Through their use, Ulian points to what has been hidden from the eyes of the consumer, representing technology as extraordinary, even sublime or theological, where perfection, design, and meditation are united. "The technological mandalas are an external representation of an ideal organization of geometric shapes and ideal journey of the mind." In this sense, these up-cycled works become something more than the sum of their parts; they become something almost ethereal. In stark contrast to how meaning is often generated today: through mass production and sheer inundation of image and message, here is a clear and unaltered form of personal and spiritual communication.
Indeed, if the experience for the viewer is meditative; it is certainly an act of devotion for Ulian. Through his arduous, unmistakably (and crucially) handmade process, electronic components lose any past functionality in order to become reincarnated, passive components; but reflective of their own past lives, each is imperative to the reading of the whole. For each on its own may appear insignificant, but in its current incarnation (as well as its previous life on a circuit board) each is paramount for information, communication, relay, and autonomy. The mandalas present us with meaning by way of the meaningless, thought by way of the thoughtless; that is to say, as viewers, we project our own peace upon these forms, we extract from them the very meaning we want to extract, however simplistic and symmetric....or however complex and profound.
Through these harmonic shapes, Ulian claims that his very purpose is to "generate inner images actively through the minds of the viewers who are looking into the physical pieces hanged on the wall." Ideally, the energy that flows through his mandalas circuits is a current of thoughts, possible questions and inner feelings reflecting the human condition in this specific moment in history. It seems the universe Ulian creates is a utopian cross section between the technological, spirtual, and corporeal: an infinite connection among persons, objects or places, like the countless routes and connections found spinning out from the centre of the mandala, awash with all its complexities and intricacies, both small and large, mundane and inspired.
LEONARDO ULIAN (b.1974) has had solo-exhibitions including Time Wave Zero, Gallery Espacio Valverde, Madrid, Spain (2012); Flames, Roses, and Wires, Shaft Gallery, London (2010), and Iperuranio, Kobo Art Space, Udine, Italy (2009). Selected group exhibitions include: Motion 1, Syzygy Art Space, London (2012); Bow Art Open, Bermondsey Project Space, London (2012); Condensation, Immaginare il Tempo, Clauiano, Italy (2011); Umlaut, Hales Gallery, London (2009); Three by Three (IV), Yinka Shonibare Project Space at Sunbury House, London (2009). Ulian was also awarded the Owne Rowley Award in London (2009), as well as the Stamps of the XX Century (national prize) in Udine, Italy (2000). Ulian will be exhibiting with Beers.Lambert at the London Art Fair in January 2013. He has been collected by the fashion house Hermès of Paris International, Fidelity Worldwide Investments, Hobby Lemon collection, and a number of prestigious private collections internationally. His work has also been commissioned by WIRED magazine and for Hermès' flagship store in Paris. He holds a Bachelor of Fine Art from Sir John Cass Faculty of Art, Certification in Graphic and Multimedia Design from the Graphic Art Centre in Udine, Italy, as well as a Diploma in Technical Micro-electronics from the Institute of Industry and Handicrafts in Gorizia, Italy. He lives and works in London, UK.
BEERS CONTEMPORARY
1 Baldwin Street
London, EC1V 9NU
Tel. +44(0)207 502 9078
info @ beerscontemporary.com
www.beerscontemporary.com
- Buddha
That is beautiful which is produced by the inner need, which springs from the soul.
- Kandinsky
For Leonardo Ulian's first solo exhibition with Beers Contemporary, the artist has created his most intensive and mesmerizing series of works to date; entitled Sacred Space, the exhibition consists of a series of mandalas, a symbol from Hindu and Buddhist symbolism that represents metaphysical enlightenment, made entirely from meticulously arranged electronic components. Ulian's reflexive use of the geometrical mandala can also be seen as a nod to his 'past-life' as an technican, but through his application, Ulian divorces the electronic components from their origins, giving new life to these (now defunct) technological bits, creating a new type of hybridization that is equal parts spiritualization and contemporary critique: "We live in a society that worships electronic technology," he states "both for necessity but also because it makes us feel better, not unlike its own new form of fashionable spirituality."
His interest in the technological mandala began when considering the relationship between modern day human nature and pursuits of personal fulfillment, to the 'cult of the electronic', including our perception of Eastern spiritualization as 'Enlightened', and the dependency placed upon the technological as a modern day savior. Perhaps he comments on the realization that Western cultures (abundant with technology, industrialization, commercial progress, and the pursuit of acquiring material belongings) are consistently ranked as the least happy cultures worldwide. Those cultures that project their spiritualization upon symbolism and belief in self reflection and convalescence, however, are more fulfilled, and happier.
But Ulian's use is not an outright critique of our society. For there is joy in these mandalas, a colorful circuitousness of shape, form, and function(lessness). Furthermore, the mandalas reference processes of causality and creation. Through their use, Ulian points to what has been hidden from the eyes of the consumer, representing technology as extraordinary, even sublime or theological, where perfection, design, and meditation are united. "The technological mandalas are an external representation of an ideal organization of geometric shapes and ideal journey of the mind." In this sense, these up-cycled works become something more than the sum of their parts; they become something almost ethereal. In stark contrast to how meaning is often generated today: through mass production and sheer inundation of image and message, here is a clear and unaltered form of personal and spiritual communication.
Indeed, if the experience for the viewer is meditative; it is certainly an act of devotion for Ulian. Through his arduous, unmistakably (and crucially) handmade process, electronic components lose any past functionality in order to become reincarnated, passive components; but reflective of their own past lives, each is imperative to the reading of the whole. For each on its own may appear insignificant, but in its current incarnation (as well as its previous life on a circuit board) each is paramount for information, communication, relay, and autonomy. The mandalas present us with meaning by way of the meaningless, thought by way of the thoughtless; that is to say, as viewers, we project our own peace upon these forms, we extract from them the very meaning we want to extract, however simplistic and symmetric....or however complex and profound.
Through these harmonic shapes, Ulian claims that his very purpose is to "generate inner images actively through the minds of the viewers who are looking into the physical pieces hanged on the wall." Ideally, the energy that flows through his mandalas circuits is a current of thoughts, possible questions and inner feelings reflecting the human condition in this specific moment in history. It seems the universe Ulian creates is a utopian cross section between the technological, spirtual, and corporeal: an infinite connection among persons, objects or places, like the countless routes and connections found spinning out from the centre of the mandala, awash with all its complexities and intricacies, both small and large, mundane and inspired.
LEONARDO ULIAN (b.1974) has had solo-exhibitions including Time Wave Zero, Gallery Espacio Valverde, Madrid, Spain (2012); Flames, Roses, and Wires, Shaft Gallery, London (2010), and Iperuranio, Kobo Art Space, Udine, Italy (2009). Selected group exhibitions include: Motion 1, Syzygy Art Space, London (2012); Bow Art Open, Bermondsey Project Space, London (2012); Condensation, Immaginare il Tempo, Clauiano, Italy (2011); Umlaut, Hales Gallery, London (2009); Three by Three (IV), Yinka Shonibare Project Space at Sunbury House, London (2009). Ulian was also awarded the Owne Rowley Award in London (2009), as well as the Stamps of the XX Century (national prize) in Udine, Italy (2000). Ulian will be exhibiting with Beers.Lambert at the London Art Fair in January 2013. He has been collected by the fashion house Hermès of Paris International, Fidelity Worldwide Investments, Hobby Lemon collection, and a number of prestigious private collections internationally. His work has also been commissioned by WIRED magazine and for Hermès' flagship store in Paris. He holds a Bachelor of Fine Art from Sir John Cass Faculty of Art, Certification in Graphic and Multimedia Design from the Graphic Art Centre in Udine, Italy, as well as a Diploma in Technical Micro-electronics from the Institute of Industry and Handicrafts in Gorizia, Italy. He lives and works in London, UK.
BEERS CONTEMPORARY
1 Baldwin Street
London, EC1V 9NU
Tel. +44(0)207 502 9078
info @ beerscontemporary.com
www.beerscontemporary.com
26.9.2013.
Hezi Cohen Gallery, Tel Aviv, Israel
Zach Feuer Gallery, New York, USA
ProjecteSD, Barcelona, Spain
Skoto Gallery, New York, USA
Hezi Cohen Gallery, Tel Aviv
ELISABETTA BENASSI
GOLDEN ROCK 12 September – 16 October 2013 Golden Rock is Elisabetta Benassi's first solo exhibition at Hezi Cohen Gallery. Benassi presents new installation works, created especially for the exhibition, with a selection of recent works, which together disclose Benassi's unique re-examination of anthropological and historical themes, re-emerging in her work in various forms. These lyrical manifestations seek to challenge the arbitrariness of the viewer's consciousness with respect to historical events, and to place the validity of the personal memory in doubt. Benassi's work fluctuates between two primary means of action: the readymade object, which is diverted from its original mundane task in the framework of daily life, and the image archive, whether it's the artist's private archive or the press and media ones, which is aimed at the collective consciousness. Through installation works, videos and watercolor drawings, Benassi takes the viewer on a journey deep into the residues of personal memory out of which to dredge scraps of social and historical consciousness. The watercolor drawings, displayed in the exhibition along with the installation works, represent a chapter from an ongoing development in Benassi's work, which began in 2010. Out of the image banks of the printed press - those archives that haven't yet been digitalized - Benassi picks out photographs, sometimes at random, sometimes deliberately. The image in Benassi's work is the reverse side of the archive photograph filled with captions, notes and stamps documenting its publication history, and sometimes even segments of the image itself. The watercolor drawing in Benassi's work is a faithful reproduction of an original, but in this case the original (the reverse side of the photograph) is itself a set of expressions that bear testimony to yet something else (the photograph). The photograph in itself is mute. However, the information on the reverse side confirms to us the existence in time and space of both the photographed moment, which has been denied to us, and the photograph's history, which came to an end when the print archive was abandoned. Thus, out of this copy, we, the viewers, go on to willingly replay a historical consciousness for ourselves. Elisabetta Benassi (b. 1966), lives and works in Rome. Her previous solo exhibitions include Fondazione Merz, Turin (2013); Fiac! Grand Palais, Paris (2011); and Magazzino, Rome (2010, 2006). These days, a project by Benassi titled 'The Dry Salvages' (2013) is exhibited in the Italian pavilion at the Venice Biennale. Benassi has also participated in the previous edition of the Biennale, as part of the show at the Arsenale. Her works are included in the collections of the Centre Georges Pompidou, Paris; FNAC Fonds National d'Art Contemporain, Paris; FRAC Fonds Régional d'Art Contemporain, Marseille; Castello di Rivoli, Turin; MACRO Museo d'Arte Contemporanea, Rome and a UniCredit long-term loan at the MAXXI, Museo Nazionale delle Arti del XXI Secolo, Rome. Hezi Cohen Gallery 54 Wolfson Street 66042 Tel Aviv Israel T: +972 (0)36398788 E: [email protected] Hezi Cohen Gallery ProjecteSD, Barcelona
DORA GARCÍA
HERE COMES EVERYBODY 13 September - 6 November 2013 ProjecteSD is honoured to present Here Comes Everybody, the second solo exhibition of Dora Garcíain the gallery, where a selection of her most recent work is shown. Some of the works exhibited have been developed with the support of the International Prize for Contemporary Art (PIAC) awarded to García by the Fondation Prince Pierre de Monaco and exhibited at the Spazio Punch in Giudecca Island as a parallel event of the 55th Venice Biennial. The exhibition title, Here Comes Everybody (HCE), refers to James Joyce's Finnegans Wake main character's name, figure or principle in which, among countless interpretations, the following allusions have been recognized: God; Cromwell; Oscar Wilde's father, William; a Norwegian conqueror, or a Danish salmon. In this sense, that of infinite references, this exhibition relates to Dora García's previous show at ProjecteSD, Men I Love (2009). Since 2010, Joyce's oeuvre has played a central role in García's artistic research. She has found in the writings of the Irish author some of the main subjects appearing in her work since the very beginning: "the idea of text and interpretation, the idea of reading as action, language as a translator of the real and perhaps as a creator of the real, language as structure of the subconscious. Poetry, poetry as disease, as deviancy of language. All that is there, and also the artist and the audience, the artist and success, the artist as creator of publics. And then of course there is Finnegans Wake as text. A book that destroys language." [1] Language devours the real (Jacques Lacan, le Sinthome). The Joycean Society (video HD, 53'), one of the key works in the exhibition, portrays a circle of readers of the Zürich James Joyce Foundation devoted to the reading of Finnegans Wake. Together with García's earlier video works The Deviant Majority (2010) and The Inadequate (2011), The Joycean Society is the third chapter of this trilogy. The video shows a small room filled with books (the most complete Joycean library in Europe), where this group of amateurs –in the original meaning of the word– meet weekly since 1986 to read the text out loud and come up with possible interpretations, in a very dedicated but joyous act. The members of the circle form a sort of laboratory with a method conditioned by the own features of the book: firstly because of its dark, inexhaustable, and changing quality, where many authors have seen the best possible representation of the Unconscious. And secondly because of the circular nature of the work, its end linking with the sentence in the very beginning of the book, and therefore a book where no beginning or end are established. All along the video, both the readers and the viewers are enthralled by the strangeness of such a common practice: talking. Jacques Lacan Wallpaper (2013), is the edition as a unique work of a wallpaper made from an original drawing. The work combines images that refer to various characters and ideas, from Robert Walser to the Seminar XXIII by Lacan Le Sinthome, devoted to Joyce. The format chosen (wallpaper) alludes to the work Hanging Man/Sleeping Man (1989-96) by Robert Gober or the classic horror short story The Yellow Wallpaper (1892) by Northamerican novelist Charlotte Perkins Gilman. Ideas and references that are associated to notions such as: image as background, image as pattern, image as tissue, the Unconscious as the language of the Other, the idea of "wallpaper" as a representation of the dreams, the oneiric. Jacques Lacan and his use of Joyce's writings to explain his concept of "symptom" is one more time a reference for García in the work Partitura Sinthome [Estudios preparatorios] (The Score Sinthome [Preparatory Studies]) (2013) . The piece is composed of a drawing sketchbook containing seventy six original graphite drawings and the book by Lacan Le Séminaire livre XXIII, Le Sinthome, in the reading of which the artist extracts material to design a choreography. The drawings function as a choreographic lexicon that corresponds to the text, designated as a score. If the fundamental estrategies of the Unconscious are condensation and diplacement, we find here a clear example of condanceation (condansation, is the term used by Lacan). In Malson (nightmare) (2013) García returns to her series Read with Golden Fingers initiated in 1999. On this occasion, she uses a beautiful edition of an Italian translation of Anna Livia Plurabelle, first book eight chapter of the Finnegans Wake. As it is clearly indicated in the title of this series, the book pages and imprinted with gold as they are read. A simple and eloquent gesture to close the exhibition. [1] ["... brings us by a commodius vicus of recirculation back to". A conversation between Anna Daneri and Dora García on The Joycean Society]. In The Joycean Society. Foundation Prince Pierre de Monaco, Silvana Editoriale, 2013. Dora García (*Valladolid, ES, 1965, lives and works in Barcelona) Recent solo exhibitions: The Joycean Society, collateral event of the 55th Venice Biennale, Fondation Prince Pierre de Monaco, Giudecca, Venice; The Inadequate, Spanish Pavilion, Venice Biennale (2011); Power to the People: Contemporary Conceptualism and the Object in Art, the Australian Centre for Contemporary Art, Southbank, Victoria (2011); I am a judge. Kunsthalle Bern, Bern (2010); Rooms, Conversations, Galerie fur Zeitgenossische Kunst, Leipzig, 2007; Code inconnu, S.M.A.K., Ghent, 2006; Todas las historias, Museo Nacional Centro de Arte Reina Sofia, Madrid, 2006. Recent group exhibitions: Exile, Tel Aviv Museum, Tel Aviv, Israel, curated by Steven Henry Madoff; Die Klau Mich Show: radicalism in society meets experiment on TV, Documenta 13, Kassel (2012), The Unexpected Guest, Liverpool Biennial (2012), Descriptive Acts, SFMOMA, San Francisco (2012), Blow up, cycle Side Effects, Jeu de Paume, Paris (2012), Contemporary Art & Science Fiction. Grand-Hornu Museum of Contemporary Art, Hornu (2012); Books on Books, Swiss Institute Contemporary Art, New York (2011), The Fifth Column, Secession, Vienna (2011) and The Rehearsal of Repetition, Grantpirrie Gallery, Sydney (2011). Skulptur Projekte Münster, Münster, 2007. Upcoming exhibitions and projects: solo show at the Kunsthalle Bregenz, KUB Arena, Austria; Bergen assembly 2013, Bergen, Noruega; solo project en Rupert, Vilnius, Lithuania, curated by Juan de Nieves. ProjecteSD Passatge Mercader 8, Baixos 1 ES - 08008 Barcelona Spain T: + 34 93 488 1360 ProjecteSD |
Zach Feuer Gallery, New York
JON RAFMAN
You are standing in an open field September 12 - October 26, 2013 Zach Feuer Gallery is pleased to present Jon Rafman's first New York solo exhibition, You are standing in an open field. The show opens September 12 and is on view through October 26. Journeys through virtual landscapes form the heart of Jon Rafman's current show, expressing his continuing search for lost loves, ideals and cultures. Alongside this, Rafman foregrounds his ongoing exploration into the nature of memory conveyed through intimations of archaeology and anthropology, highlighting the way that we rely on objects to locate our relationship to the past. Sculpture, video, and mixed media installation express the material form that memory takes. The historical impulse to make sacred what is lost becomes all the more urgent when we consider contemporary technologies and online cultures. Rafman encases not-yet-vanished cultures in the form of sham relics or false monuments in order to both recognize their historical value and to critique contemporary amnesia. In his works, ephemeral cultures meet the solidity of constructed artifact. In Rafman's version of archaeology, a large finely engraved stone carving commemorates not fallen war heroes but the names of defunct New York state shopping malls. By using sham ruins to evoke an historical gaze on these contemporary cultural objects, Rafman changes the meaning of both and raises the question of what exactly we are remembering when we visit a museum, when we look at a memorial, or when we click on a broken weblink. In A Man Digging, a virtual flaneur undertakes an evocative journey through the uncanny spaces of video game massacres in Max Payne 3. In a re-visioning of the game, Rafman radically changes the role of the player, as the goals of the game give way to a meditation on the game as landscape. Rafman confronts both the danger of passively aestheticizing the "wreckage" of the past and the romantic fixation on death as a placeholder for meaning. As the narrator drifts through nostalgic recollections of his fragmented past, Rafman takes us through the gleaming surfaces of memory to the far edge of the real. In the film, Codes of Honor presents pro video-gamers vivid accounts of their most intense experience; whether it be the prized moment when they master a game or the despairing moment after they have been defeated by an arch-rival. Our narrator is devastated over the loss of the time. Solidarity, honor, and achievement defined his life. However, the lack of tradition and history inherent to the video game blocks his path to generate new meaning in his life after the glory of championship is no longer. Set to a new track by experimental musician, Oneohtrix Point Never, Rafman's latest film engages with the plethora of desires found in online subcultures. Captivating as much as unsettling, the film immerses us in the densely layered world of internet fetishists. Rather than reducing the fetish to a point of novelty, Rafman delves fully into the tantalizing and mysterious nature of the obsession. On October 19, Rafman will be hosting a Street Fighter Tournament at the gallery, which will showcase the best current and former champions in NYC pro-gaming history. Jon Rafman (b. 1981, Montreal, Canada) is an artist, filmmaker, and essayist. He received his MFA from the School of the Art Institute of Chicago in 2008 and his work has been exhibited at the New Museum in New York, the Palais de Tokyo in Paris, and the Saatchi Gallery in London. This show was produced in collaboration with AMERICAN MEDIUM (Daniel Wallace and Josh Pavlacky) ZACH FEUER GALLERY 548 West 22nd Street New York, NY10011 T: +1 212 989 7700 ZACH FEUER GALLERY Skoto Gallery, New York
IFEOMA ANYAEJI
TRANSMOGRIFICATION September 26th - November 2nd, 2013 Skoto Gallery is pleased to present Transmogrification, an exhibition of recent mixed media sculpture by the Nigerian-born artist Ifeoma Anyaeji. This will be her first solo show at the gallery. The artist will be present at the reception on Thursday, September 26th, 6-8pm. Ifeoma Anyaeji's recent sculpture employs a virtuosic ability to create elegant forms drawn from architecture and domestic furniture design through the reconstruction of found objects such as the ubiquitous plastic bags and bottles. She utilizes a process that is physically and conceptually steeped in memory, history and the passage of time to create work that radically put into question conventional notions of what sculpture is. Using hair plaiting technique known as Threading from her homeland, she threads and braids discarded plastic bags into plasto-yarns which she combines with strong compositional organization to create complex yet lyrical assemblages of everyday objects that reflect subtle understanding of context and awareness of the relationship between function and experimentation. There is an abiding urge in her work to highlight the relevance of social responsibility to the environment in today's hyper-consumer society as she engages with the cyclical nature of production, accumulation and regeneration in the creative process, and as stated by the artist "My concept of material reuse through the transformation of an object's physical state, is to echo the environmental implication of accumulation and the extensiveness of a politicized archeology of modernity's consumptive system". By imbuing mundane materials, marks and processes with surprising significance and intricate design, her work is transformed into extraordinary visual poetry with textures of vibrations and pulsations that allow the viewer a freedom of imagination, interpretation and emotional response. Her use of obsessive repetition shows affinities with the concerns of African traditional textile weaving and hair braiding techniques, and seeks to resurrect gender-categorized craft and decorative art as viable means of artistic expression, as well as ts political and subversive potential. Included in this exhibition is Oche Onodu (Couch), 2012, a joyous mixed-media installation that meanders and infiltrates the architecture of spaces, as it implores us to question our everyday experiences in both a physical and mental sense. She inventively combines her materials to form bold abstract composition that evinces persistent experimentation and a mastery of technique that goes beyond accepted boundaries of the medium. Allusions and metaphors abound as she weaves together personal and collective memories with reflections on universal experiences that celebrates openness to the world and to diversity. Although its visual impact is greatest from far away, a closer look offers a rewarding experience and palpable sensations evocative of the expansive possibilities of life and art. Ifeoma Anyaeji was born 1981 in Benin City, and hails from Anambra State in the south eastern part of Nigeria. She obtained an undergraduate degree, with honors from the University of Benin, Benin City, Nigeria in 2005 before traveling to the US in 2010 as a Ford Foundation International Fellow where she obtained her MFA in 2012 at the Sam Fox School of Design and Visual Arts, Washington University, St Louis, Missouri. She has participated in several solos and group exhibitions both at home and abroad, including ‘Reclamation', University of Missouri, Columbia in 2012. She was the Washington University in St Louis Nominee for the 2012 International Sculpture Center Outstanding Student Achievement Award. Her work is in several collections in Africa, Europe and the US. She currently teaches at the University of Benin, Nigeria. SKOTO GALLERY 529 West 20th Street, 5FL. New York, NY10011 T: +1 212-352 8058 SKOTO GALLERY |
24.9.2013.
Barbara Bračun
Photo art -exhibition
"Sea of love"
Public and University library "Derviš Sušić",
Tuzla, Bosnia and Herzegovina
20.9.2013. - 20.10.2013.
Style and Sympathies
New Photography Works by Iké Udé
Leila Heller Gallery, New York, USA
October 10 – November 9, 2013
Opening reception: Thursday, October 10, 6 to 8 pm
New York, New York (September 24, 2013). Leila Heller is pleased to announce Style and Sympathies, an exhibition of photographs by New York-based, Lagos, Nigeria-born artist Iké Udé, on view at Leila Heller Gallery, located at 568 West 25th Street, from October 10th to November 9th.
Style and Sympathies includes a selection of self-portraits from Udé’s critically acclaimed Sartorial Anarchy series and, for the first time, the series will be broadly continued and presented. Udé’s distinctive portraits, which poeticize colors, sumptuous fabrics, and composition, transcend the traditional aesthetic of portraiture by adopting a post-modern twist. The portraits show a highly stylized world of color and improvisational virtuosity, in which the artist employs men’s fashion ensembles that have been culled from various historical times and geographies.
At once a reference to and departure from Dandyism, Udé's Sartorial Anarchy series is essentially post-dandyism in its conceptual use of fashion/costume as an index of culture. Udé has been engaged with this body of work since 2010, when the first photographs of this series were presented in the exhibition, The Global Africa Project, at the Museum of Arts and Design (MAD), New York. Most recently, Udé has continued his Sartorial Anarchy series for the exhibition Artist/Rebel/Dandy: Men of Fashion at the Rhode Island School of Design (RISD) Museum.
About Iké Udé
With his ongoing photographic self-portraits, Sartorial Anarchy, wherein he is dressed in varied costumes across geography and time, Nigerian-born Iké Udé explores a world of dualities: photographer/performance artist, artist/spectator, African/post-nationalist, mainstream/marginal, individual/everyman and fashion/art. Conversant with the world of fashion and celebrity, Udé gives the aspects of performance and representation a new vitality, melding his own theatrical selves and multiple personae with his art. Like Andy Warhol, Udé plays with the ambiguities of the marketplace and art world, particularly in his notorious art, culture, and fashion magazine, aRUDE and style blog, theCHIC INDEX. His work is in the permanent collections of Solomon R. Guggenheim Museum, the Smithsonian Museum of Art, and in many private collections; exhibited in solo and group exhibitions; reviewed in Art in America, New Yorker, Art Daily, L'UOMO Vogue, Flash Art, and the New York Times. His articles on fashion and art have been published in magazines and newspapers worldwide. Vanity Fair included him on their International Best Dress List, in 2009 and in 2012. He lives and works in New York City.
All Images Courtesy of the Artist and Leila Heller Gallery, NY.
LEILA HELLER GALLERY
568 West 25th Street
New York, NY 10001
Tel: +1 212 249 7695
Fax: +1 212 249 7693
www.LeilaHellerGallery.com
Opening reception: Thursday, October 10, 6 to 8 pm
New York, New York (September 24, 2013). Leila Heller is pleased to announce Style and Sympathies, an exhibition of photographs by New York-based, Lagos, Nigeria-born artist Iké Udé, on view at Leila Heller Gallery, located at 568 West 25th Street, from October 10th to November 9th.
Style and Sympathies includes a selection of self-portraits from Udé’s critically acclaimed Sartorial Anarchy series and, for the first time, the series will be broadly continued and presented. Udé’s distinctive portraits, which poeticize colors, sumptuous fabrics, and composition, transcend the traditional aesthetic of portraiture by adopting a post-modern twist. The portraits show a highly stylized world of color and improvisational virtuosity, in which the artist employs men’s fashion ensembles that have been culled from various historical times and geographies.
At once a reference to and departure from Dandyism, Udé's Sartorial Anarchy series is essentially post-dandyism in its conceptual use of fashion/costume as an index of culture. Udé has been engaged with this body of work since 2010, when the first photographs of this series were presented in the exhibition, The Global Africa Project, at the Museum of Arts and Design (MAD), New York. Most recently, Udé has continued his Sartorial Anarchy series for the exhibition Artist/Rebel/Dandy: Men of Fashion at the Rhode Island School of Design (RISD) Museum.
About Iké Udé
With his ongoing photographic self-portraits, Sartorial Anarchy, wherein he is dressed in varied costumes across geography and time, Nigerian-born Iké Udé explores a world of dualities: photographer/performance artist, artist/spectator, African/post-nationalist, mainstream/marginal, individual/everyman and fashion/art. Conversant with the world of fashion and celebrity, Udé gives the aspects of performance and representation a new vitality, melding his own theatrical selves and multiple personae with his art. Like Andy Warhol, Udé plays with the ambiguities of the marketplace and art world, particularly in his notorious art, culture, and fashion magazine, aRUDE and style blog, theCHIC INDEX. His work is in the permanent collections of Solomon R. Guggenheim Museum, the Smithsonian Museum of Art, and in many private collections; exhibited in solo and group exhibitions; reviewed in Art in America, New Yorker, Art Daily, L'UOMO Vogue, Flash Art, and the New York Times. His articles on fashion and art have been published in magazines and newspapers worldwide. Vanity Fair included him on their International Best Dress List, in 2009 and in 2012. He lives and works in New York City.
All Images Courtesy of the Artist and Leila Heller Gallery, NY.
LEILA HELLER GALLERY
568 West 25th Street
New York, NY 10001
Tel: +1 212 249 7695
Fax: +1 212 249 7693
www.LeilaHellerGallery.com
VILLA AMIRA, Street Ante Starčevića 33,
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Pošta/Mail: Freelance Editor in chief Sabahudin Hadžialić,
Grbavička 32, 71000 Sarajevo i/ili
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Design: Sabi / Autors & Sabahudin Hadžialić. Design LOGO - Stevo Basara.
Freelance gl. i odg. urednik od / Freelance Editor in chief as of 2009: Sabahudin Hadžialić
All Rights Reserved. Publisher online and owner: Sabahudin Hadžialić
WWW: http://sabihadzi.weebly.com
Contact Editorial board E-mail: [email protected];
Narudžbe/Order: [email protected]
Pošta/Mail: Freelance Editor in chief Sabahudin Hadžialić,
Grbavička 32, 71000 Sarajevo i/ili
Dr. Wagner 18/II, 70230 Bugojno, Bosna i Hercegovina