|
NA LISTI Od 04.8.2010.g. /
LISTED SINCE August 4th, 2010 among leading European magazines:  |
All Rights Reserved
Publisher online and owner: Sabahudin Hadžialić, MSc Sarajevo & Bugojno, Bosnia and Herzegovina MI OBJEDINJUJEMO RAZLIČITOSTI... WE ARE UNIFYING DIVERSITIES |
 |
|
|
....
|
DIOGEN pro culture magazine presents you / DIOGEN pro kultura magazin vam predstavlja
Exhibitions worldwide / Izložbe širom svijeta
2014.
29.6.2014
Painting & Drawing
Gladstone Gallery, Brussels
BayArt, Cardiff
Galerie Buchholz, Berlin
Art: Concept, Paris
 Richard Aldrich
Untitled, 2013
Oil, wax and enamel on linen
84 x 58 inches (213.4 x 147.3 cm)
Courtesy of the artist and Gladstone Gallery, New York | Brussels
Gladstone Gallery, Brussels
RICHARD ALDRICH until 12 July, 2014 Gladstone Gallery is pleased to present a solo exhibition by Richard Aldrich at our Brussels location. The exhibition is being presented in collaboration with dépendance, which will host a concurrent exhibition on view April 24 through May 24. The two exhibitions feature paintings, drawings, and sculptures created over the course of the past decade that highlight Aldrich’s interest in the way in which objects can be used to explore the impact of time on our understanding of ourselves and the world around us. Through each work, many of which were created over the course of multiple years, or returned to after a duration of time, Aldrich provides a rich visual representation of the evolution of objects - how, as we age and change, our conception of the things close to us is altered as well. This notion is reflected in his works, which, even when finished, evince a sense of continuous becoming, suggesting the possibility of future growth and change. Eschewing a particular art-historical definition of or vantage point from which to view his art, Aldrich sees his artistic practice as a constantly evolving force. Taken as a whole, his work defies a singular style, and in his drawings, paintings, and sculptures, Aldrich is able to move effortlessly between figuration, abstraction, and representation - often combining imagery variously inspired by people and places close to him, visual artists, writers, and musicians whom he finds interesting, and experiences drawn from his everyday life. Using a variety of techniques, such as thick and thin painting, removing portions of canvas from his work, and multi-media assemblage, Aldrich has developed an artistic style that turns away from the canonical understanding of art historically, in favor of exploring new conceptual processes through which to view the contemporary world as he sees it. The works on view represent the broad spectrum of Aldrich’s practice and, when taken together, read as a microcosm that encapsulates a series of moments caught in time. Among the works on view areReality Painting #6 (A Wall in My Bedroom) part of Aldrich’s ‘Reality Painting Series,’ a body of work that playfully adopts the art-historical idea of a series as a way to organize ideas, and which depicts scenes from Aldrich’s everyday life. Also on view is Stacks, a sculpture that brings together four elements of previously exhibited sculptures to create a new complete work. This piece reflects Aldrich’s interest in using re-contextualization to explore new ways in which objects can be engaged with and understood, an idea that is further expanded upon by virtue of the fact that this work was shown in his recent show at Bortolami Gallery in New York, and is now being revisited and approached anew. Among the works on view at dépendance are Untitled, a painting that is composed of a trilogy of novels from the Cyberpunk role-playing game universe Shadowrun, suspended from the canvas in mid-air, and the drawing One Kind of Sleight of Hand, which features the transparency that was used to create the painting Two bodies as One that was shown at dépendance in 2009. Aldrich was born in Hampton, Virginia, and currently lives and works in New York. He has been the subject of solo exhibitions at: San Francisco Museum of Modern Art, San Francisco, and the Contemporary Art Museum, St. Louis, St. Louis, Missouri. He has also been included in group exhibitions at notable institutions including: Contemporary Arts Museum, Houston, Texas; Tokyo City Opera, Tokyo; Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain; and Whitney Museum of American Art, New York. Gladstone Gallery 12 rue du Grand Cerf 1000 Brussels Belgium T: +32 2 513 35 31 Gladstone Gallery 
Nathan Hylden
Untitled, 2014
acrylic on aluminum
196,85 x 146,05 cm // 77 1/2 x 57 1/2 in
Courtesy of the artist and Art : Concept, Paris
photo : Fredrik Nilsen
Art : Concept, Paris
NATHAN HYLDEN More Over 14 June - 26 July, 2014 Art : Concept is pleased to present the third solo exhibition by Nathan Hylden, in which he will present a new series of paintings on aluminum. Once I get started, Meanwhile, and now More Over are three exhibition titles that not only inscribe Nathan Hylden’s work within thoughts related to time, but also within a reflection on the creative act of making an exhibition, both ideas working together within the artist’s conception. The gallery turns into a receptacle for works, but is also promoted to the status of work of art in itself, turning into a kind of total sculpture, temporal in nature. There are essential links between this temporality and the agency of visitor, and from Nathan Hylden’s work multiple questions arise. At first glance, Nathan Hylden’s paintings seem almost ghostly, each with its own density, yet creating a sequence, a decomposed set of images from the studio: here the shadow of the camera itself, there the shadow of a chair. The starting point of each aluminum painting lies in a photograph taken in the studio, a photograph of the very wall that will support the painting upon completion. Silk-screened on aluminum sheets, these photographs are elements in a sequential matrix that is rearranged in each work. The sheets are superimposed on each other, overlapping, each receives its part of a field of white sprayed paint, and a wash of metered gestural brush strokes, developing a common thread of a narration, that of the creation of a painting, but perhaps a painting that does not exist, or can never be present. From abstraction emerges a parallel reality in which visual temporality is overwhelmed by imaginative temporality. Time realized as representation will have an effect on the piece; turning it into a strange trace of reality and leading us to question the relationship between perception and image. Halfway between a suspended moment and the revelation of an image, Nathan Hylden’s paintings prove that there is a difference in quality between the existence of certain objects from his studio, the existence of the “absent” painting formed by our mind and the plain existence of a real object. The mental image built by the viewer corresponds to a sort of annex world and allows us to settle on the absence or existence of an object. Graphic and mechanic reproduction used by the artist are a means of substitution for the symbolism of a possible living reality. Playing with almost cinematographic codes, Nathan Hylden’s multiple images are inscribed in a given time, a time suspended between the half-present and near-future. Each painting thus becomes the symbolic summary of a stage of development that is exclusively dictated by the sequence. Aurélia Bourquard // Translation : Frieda Schumann Nathan Hylden is born in 1978 in Fergus Falls, Minnesota. He works and lives in Los Angeles. Exhibitions: Beware Wet Paint, Fondazione Sandretto Re Rebaudengo, Torino; Love Story, Die Sammlung Anne und Wolfgang Titze, 21er Haus / Belvedere, Vienna; The Floating Admiral, within Nouvelles Vagues, Palais de Tokyo, Paris; Meanwhile, Kunstverein, Hamburg; Meanwhile, Johann König, Berlin; L’Origine des choses, Centre National des Arts Plastiques Collection, La CENTRALE for Contemporary Art, Brussels; Lost in LA - an art exhibition & experience, Los Angeles Municipal Art Gallery, Barnsdall Art Park, Los Angeles; Minimal Myth, Museum Boijmans, Rotterdam. Art : Concept 13 rue des Arquebusiers 75003 Paris France T: +33 1 53 60 90 30 Art : Concept |
Gordon Dalton
Expensive holes to bury things, 2013
acrylic on canvas, 60x50cm
Courtesy of the artist and BayArt, Cardiff
Photo: Thomas Heming
BayArt, Cardiff
GORDON DALTON QUIET RIOTS 4th July - 1th Aug 2014 Private View 3rd July 6-8pm Gordon Dalton’s paintings have a melancholic humour that questions their seriousness and intentions. His seemingly offhand approach denies any superficial finesse to reveal a love of awkward imagery, polluted colours and scruffy surfaces. An anxious contradiction is on show, with the work being self conscious of what it is, its possible failings, yet disregarding any angst by replacing it with a certain nonchalance and arrogance. The paintings have an adolescent quality about them, vulnerable, embarrassed and yet full of rude bravado. Random objects are stuffed in dark, dusty cupboards; dirty canvases are propped up and held together with sticks and bits and bobs; faded bunting celebrates a long forgotten event and smoggy clouds are belched out across industrial landscapes from Teesside to South Wales to the American Mid West. The works both attract and repel, daring you to like them, to share in their stuttering, bad grammar. Dalton’s work asks the viewer to look longer and harder at what painting is, and why it continues to fascinate. A 16-page Riso print fanzine has been produced to coincide with this show and the group show, Strange Business at Syson, Nottingham (26th July - 19th Sept ). Printed by PrtScrnPress, Exeter. - Solo exhibitions include The Idiot Convention, Motorcade FlashParade, Bristol; We Care A Lot, Chapter, Cardiff; Gorilla Lipstick, Bank Gallery, Los Angeles. Recent group exhibitions include Change at Crewe, The Studio, Llandudno; Painted Thought, Arcade, Cardiff; Without an edge there is no middle, Pluspace, Coventry; Like A Monkey With A Miniature Cymbal, Aid & Abet, Cambridge; Uncle Vern's Dog, Gallery North, Newcastle; National Open, Motorcade Flash Parade, Bristol; AreWeNotDrawnOnwardToNewEra?, G39, Cardiff; Panopti(con), Bank Art, Los Angeles, USA, Oh show me your love, Galerie Skuc, Llubjiana, Slovenia, This show is ribbed for your pleasure, Cynthia Broan Gallery, New York, USA, Flourish, Moravian Gallery, Brno, Czech Republic, Over & Over, Again & Again, Contemporary Art Centre, Vilnius, Lithuania; Among the living, Milton Keynes; ICA, London; MIMA, Middlesbrough; City Gallery, Leics; Master of the Universe, Chapter Gallery, Cardiff Spectator T, Art Sheffield; Things we lost in the fire, Transition Gallery, London. Gordon Dalton lives and works in South Wales. BayArt 54B/C Bute Street Cardiff Bay Cardiff, CF10 5AF T: +44 02920 650 016 BayArt Gordon Dalton 
Michael Krebber
MK/M 2014/01, 2014
acrylic on canvas
120 x 160 cm
Courtesy of the artist and Galerie Buchholz, Köln | Berlin
Galerie Buchholz, Berlin
MICHAEL KREBBER Systemic Relevance 12 June - 16 August 2014 AN EXPERIMENT WITH TIME This seems plain enough. To any specific observer contemplating such a system of fixed, objective lines, the appearance of motion in the dimensions representing Space could be produced, as in Hinton's model, by 1the real movement, along the observer's "track" of a field of observation apparently at right angles to the dimension representing Time. But to suggest anything of that kind would be to hint that this Time-travelling field of observation pertained to a psychical observer. For the physical observer is already defined as the "track" travelled over. Now, the Relativitist has a very difficult case to present, and he certainly does not want to be handicapped with the burden of a psychical observer. On the other hand, he does not wish to appear to ignore the fact that we observe events in succession. It is this quandary which drives him to a statement which appears to be intended as non-committal. The "observer" is said to move along his " track," and the reader is left to infer what he pleases from that. Unfortunately, however, the reader has usually been allowed to infer that by "observer" is meant a physical apparatus, inorganic or organic. So he can hardly be blamed for supposing that he is intended to understand that the "track" is formed merely by the peculiar warpings of the Relativitist's "Space-Time," and that the physical elements of the observer's body move over the tracks, leaving these empty before and behind. If, however, he were to assert that this is the teaching of Relativity, he would be told that a track which possessed reality in such a sense and to such an extent as to account for all the physical characteristics of an imagined three-dimensional object moving along it would be, in every one of its cross-sections, physically indistinguishable from the imagined object itself. Physically, the track would actually be the object extended in Time. And that is the crux of the whole business. Galerie Buchholz Fasanenstr. 30 10719 Berlin Germany T: +49 (0)30 88 62 40 56 Galerie Buchholz 
|
29.6.2014
Food Culture & Slow Art
Roma, Italy
|
Food Culture & Slow Art
L’arte che rappresenta il gusto Si inaugura venerdì 4 luglio 2014 Food Culture & Slow Art | L’arte che rappresenta il gusto. Con la collaborazione degli artisti invitati a partecipare, sarà affrontato il tema dell’alimentazione, sarà nella sua essenza, un viaggio attraverso le sensazioni create dai “segni visivi” e dal “gusto”, riconosciuti quali patrimonio culturale e creativo. Si parlerà del “nutrimento” non solo dal punto di vista organico, ma anche dal punto di vista etico, sociale ed intellettuale: l’educazione al cibo ed alle risorse alimentari, mutuata dalla rappresentazione artistica. L’evento si articolerà in due giornate venerdì 4 e sabato 5 luglio. In programma dibattiti e conferenze sul tema del cibo ed una mostra di arti visive ad essi collegata curata da Antonietta Campilongo. Mostra e Conferenze si terranno presso gli spazi dell’Ex-Cartiera Latina, nel parco Regionale dell’Appia Antica (Via Appia antica 42, Roma). Scheda tecnica Titolo della manifestazione: Food Culture & Slow Art L’arte che rappresentail gusto A cura di Antonietta Campilongo Con il Patrocinio di: · Regione Lazio · Parco Regionale Appia Antica · Roma Capitale Municipio Roma VIII · CNA Roma Genere: Arte contemporanea - Arti Visive | Performance | Video | Poesia A cura: Antonietta Campilongo Testi in catalogo: Giovanni Argan, Andrea Catarci, Luigi Straffi. Antonella Catini Lucente, Bart Verlinde, Collettivo Neworld Catalogo: Neworld Edizioni Progetto e organizzazione: Associazione Neworld - ecologia e sociale - NWart Ufficio Stampa: NWart Periodo esposizione: dal 4 al 5 luglio 2014 Sede: Ex cartiera Latina - Sala Appia – Sala conferenze - Parco Regionale dell’Appia Antica Indirizzo: via Appia Antica, 42 Roma Opening: venerdì 4 e 5 luglio ore 18.30 – 23.00 Ingresso : libero Programma venerdì 4 luglio Ore 18.30 Intervento del Presidente Andrea Catarci e delll’ Assessore alla Cultura Claudio Marotta di Roma Capitale Municipio VIII - Sala Conferenze Ore 19.30 Performance Take Away Words & Voices - Intervento Corale Performativo di Giorgio Fiume Ore 21.30 Proiezione film breve BELLY BUTTON BROTH (Brodo di ombelico) La favola del pastaio che inventò il tortellino Regia di Giuseppe Gagliardi - Sala Conferenze Ore 22.00 Performance slow motion di due giorni ed installazione degli artisti § innocenti SOMETIMES I FooD VERY VERY SLOW [ mangiar bene, mangiar tutti (non gli altri) carta musica ] Programma sabato 5 luglio Ore 18.30 Il Feng shui del cibo e della cucina - a cura di Pasquale Fonte e Luigi Straffi - Sala Conferenze Ore 19.30 Proiezione film SLOW FOOD STORY - La storia dell’uomo e del movimento che hanno rivoluzionato la gastronomia - Regia: di Stefano Sardo - Sala Conferenze Ore 20.30 Performance slow motion di due giorni ed installazione degli a r t i s t i § i n n o c e n t i SOMETIMES I FooD VERY VERY SLOW [ mangiar bene, mangiar tutti (non gli altri) carta musica ] Ore 21.00 Associazione di promozione sociale Spazio etico Pasta madre, amore e fantasia Dimostrazione e degustazione Ore 21.30 Performance Flussi | Performers: Canto lunare Awisha Carolina Gentile, Suono lunare Pasquale Di Resta, Poesie lunari Lara Ferrara, Suoni lunari Roberto Scippa, Video onda bianca e maury, Portatori di lune. Special Guest di onda bianca dal titolo Il ritmo delle 13 lune piene | un calendario lunare per l’armonia alla luce del sole Artisti: Artisti Innocenti - Rosella Barretta - Rossana Bartolozzi – Giulia Bonora - Fabio Cameli - Antonietta Campilongo - Antonella Catini - Antonella Catini Lucente - Federica Cecchi - Sergio Coppi - Simona Cristofari - Simonetta De Santis -Silvano De Bernardi - Eaysipop - Giorgio Fiume - Daniela Foschi - Catia Ghinelli – Gruppo Sinestetico - Ombretta Iardino - IoSpazio e Laura Bacchetti - Luciano Lombardi - Pompeo Massaro - Sante Muro - Albino Palamara - Leonardo Pappone - Loredana Raciti – Luca Rossini e Maura Manfredi - Paolo Russo - Angela Scappaticci - Barbara Uderzo - Bart Verlinde – Marco Veronese - Paolo Vignini - Michele Welke. Info: www.nwart.it www.neworldproject.it [email protected] Tel. 339 4394399 Food Culture & Slow Art L’arte che rappresenta il gusto Tramite questo evento d’arte, si intende raccontare quella cultura del cibo associata ai cibi genuini e al mangiare bene. Lento mangiare, lento camminare, lento vivere, che recuperano una rinnovata attenzione verso gesti e valori travolti dai tempi iperattivi della società dei consumi. E volendo propagare questi valori, dove poteva mai essere rappresentata una simile filosofia di vita, se non in un territorio come il Lazio, dove notoriamente questa vocazione non ha mai cessato di esistere? Dunque grazie anche alla location individuata nell’ Ottavo Municipio di Roma , Food Culture & Slow Art | L’arte che rappresenta il gusto, sarà nella sua essenza, un viaggio attraverso le sensazioni create dai “segni visivi” e dal “gusto”, riconosciuti quali patrimonio culturale e creativo. Con la collaborazione degli artisti invitati a partecipare, sarà affrontato il tema dell’alimentazione; si parlerà del “nutrimento” non solo dal punto di vista organico, ma anche dal punto di vista etico, sociale ed intellettuale: l’educazione al cibo ed alle risorse alimentari, mutuata dalla rappresentazione artistica. La scelta di intervenire nel dibattito di sensibilizzazione sui temi dell’alimentazione viene dall’analisi dell’ampio spettro di contenuti che abbiamo affrontato e che affronteremo in futuro, siamo convinti che un’azione artistica possa contribuire ad accrescere la conoscenza e la consapevolezza di questa emergenza, da affrontare a livello di una presa di coscienza globale. Le urgenze in tema di alimentazione e nutrizione devono avere un posto di primo piano nelle scelte dei governi, delle istituzioni internazionali, e non ultimo a livello di comunità locali. In questi ultimi anni il dibattito intorno al cibo ha raggiunto un notevole grado di coinvolgimento del pubblico. E anche il mondo dell’arte, che sempre registra e spesso anticipa le tendenze estetiche e culturali, ha dedicato grande attenzione al mondo dell’alimentazione, mostrando creatività, curiosità e grande capacità propositiva. L’atto del mangiare in una comunità umana evoluta non soddisfa solo il bisogno biologico di sfamarsi e nutrirsi, acquista piuttosto anche un significato culturale: mangiare, selezionare e moderare i consumi, nel rispetto del pianeta e delle sue risorse. Muovendo dalla riflessione artistica si arriva ad indagare una dimensione concreta che si illumina di aspetti antropologici, come realtà dell'uomo in quanto tale, come fatto che chei riguarda tutti, ma proprio tutti. Collettivo Neworld |
29.6.204.
Ljubljana, Slovenia
Odprtje razstave Ostanki mesta v parku Tivoli // 1. julij 2014 ob 18.00
21.6.2014.
MaxMinus magazine exhibition
Sarajevo
Bosnia and Herzegovina
21.6.2014.
Dopoldansko srečanje: »TypeTogether: type critique & portfolio surgery«
Društvo Pekinpah, sekcija za razvoj in teorijo oblikovanja
Thursday, June 26, 2014 from 10:00 AM to 12:00 PM
Ljubljana, Slovenia
|
|
Pozdravljeni,
v soorganizaciji Pekinpaha v Ljubljano prihaja tipografski dvojec Burian-Scaglione.
Za dopoldansko srečanje je potrebna prijava na tej povezavi Dopoldansko srečanje: »TypeTogether: type critique & portfolio surgery«,
za večerno druženje pa kar uletite ;-)
Lepo vabiva, da se nam pridružite. Natančne informacije so v priponki.
za Pekinpah,
Petra Černe Oven in Barbara Predan
|
|
| _typetogether-vabilo.pdf |
21.6.2014
Photography
303 GALLERY, New York
Belfast Exposed Photography
Mai 36 Galerie, Zurich
Taka Ishii Gallery Photography/Film, Tokyo
Florian Maier-Aichen
100-Mile photograph, 2014
c-print
99 x 78 1/2 inches
edition of 6
Courtesy of the artist and 303 Gallery, New York
303 GALLERY, New York
FLORIAN MAIER-AICHEN June 5 - July 25, 2014 303 Gallery is pleased to present our fourth exhibition of new photographs by Florian Maier-Aichen. Navigating the fraught terrain where photography and painting intersect and collapse into one another, Maier-Aichen's newest works incorporate strategies from both media while persistently crossing back and forth along their borders. In a series of untitled abstractions that at first glance appear to contain absolutely no tangible photographic information, Maier-Aichen employs a process akin to now obsolete traditional cel animation. The foregrounds of these images feature gestural strokes and splashes in alternating positive and negative iterations, originally created by spontaneously pouring acrylic paint directly onto paper rolls. Output onto transparent film, these foreground components are then physically sandwiched together with painted backgrounds and photographed on an enormous copystand. This hybridization, on one hand steeped in the process-based darkroom tinkering of photograms and another referencing technological interventions into painting, creates a type of image that would never be possible via traditional painting or photography alone. Though decidedly photographic in nature (what could be more direct than photographing something on a copystand?), the oscillation between image and object is replete with the painterly allure of chance and chaos, so often scrubbed free from current modes of clinical and forced photographic production. Also included in this exhibition are more traditional landscape photographs. Though the photographs are quite straight, they also toy with notions of the painterly, as in an aerial image of Los Angeles with its saturated infrared hues and seemingly impossible expanses of depth, drawing on the imaginative possibilities of maps and the abstraction of landscape. An image of Andermatt in the Swiss Alps is a type of 19th century recreation using tricolor photography to mimic a similar image by Eduard Spelterini, who photographed the Swiss landscape from a customized hot-air balloon. The landscape has hardly changed in 150 years, as Switzerland itself is highly reliant on its own clichés and pristine maintenance of the landscape for tourist purposes. Maier-Aichen, in an interview in 2013, has said, "Photography is everywhere at every moment and has gone from mysterious to fake to simulative. Photography as an opaque medium of process, thought and craftsmanship is obsolete." Seeking to work around this bleak situation via strategies that hark back to photography's relationship to Pictorialism and German Romanticism, Maier-Aichen has arrived at methods that are reverential of photography's history, while also pointing to new possibilities for the photographic image. Turning the idea of photography as a tool to imitate painting on its head, Maier-Aichen works in reverse to re-establish the mysteries of photography itself. Florian Maier-Aichen was born in Stuttgart, Germany in 1973 and studied photography in Germany and the U.S. Recent solo exhibitions include the Museo Thyssen Bornemisza, Madrid (2008) and the Museum of Contemporary Art at Pacific Design Center, Los Angeles (2007). Group exhibitions include "Night in Day" (2014), Los Angeles County Museum of Art; The Artist's Museum (2010) MOCA, Los Angeles; "e;The Smithson Effect"e; (2011), Utah Museum of Fine Arts, Salt Lake City; "e;Natural History"e; (2012) Carnegie Museum of Art, Pittsburgh. Maier-Aichen lives and works in Cologne, Germany and Los Angeles, California. 303 GALLERY 507 W 24th Street New York, NY 10011 T: +1 (212) 255 - 1121 303 GALLERY 
Eikoh Hosoe
"Kamaitachi" #8, 1965 / late 1960s - early 1970s
Vintage gelatin silver print
© Eikoh Hosoe
Taka Ishii Gallery Photography/Film, Tokyo
EIKOH HOSOE KAMAITACHI June 7 - July 5, 2014 Taka Ishii Gallery Photography / Film is pleased to present “Kamaitachi,” a solo exhibition of works byEikoh Hosoe, from June 7th to July 5th. The exhibition will include 28 images from Hosoe’s highly acclaimed “Kamaitachi” series, some of which are previously unseen. “Kamaitachi” has traditionally been depicted as a weasel specter with sharp kama (sickle) in place of each arm. It also refers to the phenomenon of skin being cut, touched by the vortex-carring small whirlwind, as if struck by the sickle blade of the specter. Hosoe began shooting his “Kamaitachi” series in 1965, which takes the Butoh dancer Tatsumi Hijikata as its subject. Hosoe shot the series initially in Hijikata’s hometown Akita, then later in Shibamata and Sugamo in Tokyo, as if to trace the photographer’s own postwar trajectory. The series was published as a book in 1969. It overlaid the image of the Kamaitachi on Hijikata, who was searching for his origins within his hometown. It was also a way for Hosoe to come to terms with his own experiences of wartime evacuation in Yamagata, which he had nearly forgotten at the time. In an interview, he commented, “Where will the wartime experience of evacuation, postwar ruins and experience of living in Tokyo, and the current economic prosperity and peace all go?” 1 Hosoe explained that through the medium of Hijikata’s body, who shares the blood and culture in the Northeast, “I ‘documented’ my ‘memories’.” 2 The resulting works, spun out of the relation between photographer and subject, have a highly narrative quality. In the village, he played with children, was laughed at by farmers along the roadside, shat in the middle of a field, attacked a bride, kidnapped a baby, and ran through the rural landscape. Almost all the shooting was done guerrilla style in a flash. This was something that could only be achieved through photography. No other medium - film, television, painting, or novel - could have been used in its place. At that moment, I was certain of the superiority of photography. Eikoh Hosoe, “Foreword” in Kamaitachi 2 Eikoh Hosoe was born in 1933 in Yamagata Prefecture. In 1951, he won the top prize for students at the Fujifilm-sponsored “Fuji Photo Contest.” In 1952, after entering the Tokyo Junior College of Photography (currently Tokyo Polytechnic University), he formed a connection with the renowned artist Ei-Q, who organized Demokrato, an avant-garde artist’s group. Through this relationship, Hosoe cemented his individualistic way of thinking, which challenged common conceptions of art. In 1957, he participated in the exhibit “The Eyes of Ten,” organized by photography critic Tatsuo Fukushima. This exhibit led Hosoe to meet photographers Kikuji Kawada, Akira Sato, Akira Tanno, Shomei Tomatsu and Ikko Narahara, and together they formed the independent photo agency VIVO. This agency positioned itself against the then-popular “Realism Photography Movement,” and instead developed more “personal” or “subjective” modes of photographic expression. Hosoe has an esteemed reputation both at home and abroad: among his awards include The Medal with Purple Ribbon (1998), The Royal Photographic Society (England) Special 150th Anniversary Medal Award (2003), The Order of the Rising Sun (2007), the Mainichi Art Award (2008) and a designation as a Person of Cultural Merit by the Ministry of Education in 2010. Notes 1] “Hosoe Eikoh ni kiku” (interview to Eikoh Hosoe), The Photo Image, vol.1, 1969 2] Eikoh Hosoe, “Kamaitachi,” Shashin Hosoe Eikoh no sekai (Eikoh Hosoe Photographs, 1951 - 1988), Shashin Hosoe Eikoh no sekaiten jikko iinkai, 1988 Taka Ishii Gallery Photography/Film, Tokyo AXIS Building 2F, 5-17-1 Roppongi, Minato-ku 106-0032 Tokyo Japan T: +81 3-5646-6050 Taka Ishii Gallery |
Edson Chagas
Found Not Taken, Luanda, 2013
© the artist
Image courtesy of A Palazzo Gallery
Belfast Exposed Photography
EDSON CHAGAS FOUND NOT TAKEN 6 June to 3 August 2014 Found Not Taken is an ongoing series of photographs of objects found on the streets of Luanda, Angola, Newport, Wales and London, UK; cities where the artist has lived and worked. The project stems from Chagas’ interest in cities and what they tell us about contemporary consumer habits. The artist is particularly concerned about increased patterns of consumerism in his hometown. Since the end of the civil war in 2002, Angola’s economy has become the fastest growing in Africa and the sudden influx of wealth is rapidly transforming its capital, Luanda. Found Not Taken is a catalogue of unwanted, abandoned things, which highlights the excess of a growing consumer culture, but it is not purely a documentary project. Sometimes the artist repositions objects to produce new compositional arrangements. These found objects are recycled into a new relationship with their environment and into the realm of discourse and ideas. Chagas’ work is a subtle, often playful intervention. The aesthetic is minimal, almost abstract - with simple forms and the surface texture of the city rendered in great detail. At the same time, the relationship between object and context is central to the meaning of the work, and the new compositions that he creates - both in the actual city and in the form of an image - suggest other possible narratives and different ways of reading and experiencing the city. Edson Chagas lives and works in Luanda, Angola. After completing a degree in Photojournalism at the London College of Communication, he studied Documentary Photography at the University of Wales in Newport. His work was presented in the first pavilion of Angola at the 55th International Art Exhibition La Biennale di Venezia in 2013, which won the prestigious Golden Lion Award for the Best National Participation.Other exhibition highlights include participation in the 2nd Luanda Triennial, Angola, 2010; SP-Arte 2011, São Paulo, Brazil; the MABAXA project in Luanda, Angola and RAVY - Rencontre d’Arts Visuels, in Yaoundé, Cameroon, both in 2012. In 2011 he also took part in a workshop in Ethiopia, invited by the German organisation GIZ - Deutsche Gesellschaft für Internationale Zusammenarbeit, which culminated in various exhibitions, in 2012 at the Rheinisches Landesmuseum in Bonn, Germany, the National Museum of Ethiopia in Addis Ababa and later in Angola. Chagas combines his artistic work with the job of image editor for the Angolan newspaper Expansão. Belfast Exposed Photography The Exchange Place 23 Donegall Street Belfast BT1 2FF T: 44 028 90 23 09 65 Belfast Exposed Photography 
THOMAS RUFF
phg.03_II, 2014
c-print
edition of 4 + 1 AP, ed. 2/4
framed 239 x 184 cm (94 1/8 x 72 1/2 in.)
signed, dated and numbered verso
Courtesy of the artist and Mai 36 Galerie, Zurich
Mai 36 Galerie, Zurich
THOMAS RUFF NEW WORK June 14 through August 2, 2014 Thomas Ruff, born in Zell am Harmersbach, Germany, in 1958, is internationally renowned as one of the foremost living artist in the field of photography and the application of similar new artistic techniques. His work is exhibited worldwide, with recent shows at the Vienna Kunsthalle, the Museum of Contemporary Art, Chicago, the Haus der Kunst in Munich and the S.M.A.K. in Ghent, Belgium. The Mai 36 Gallery has been presenting his work on a regular basis since 1988. For the current exhibition of two photographic series, Thomas Ruff has once again adopted new techniques: on the one hand, digitally produced colour photograms, and on the other, digitally processed vintage photographs with the aesthetic appearance of negatives. Photograms are black and white photographic images created by placing objects directly onto light-sensitive material and exposing it to light, resulting in the objects being rendered as forms in light and shadow. It is actually an old technique, used by such notable artists as Lazlo Moholy-Nagy, Man Ray and Arthur Siegel, for instance, and was especially popular at the Bauhaus in the 1920s. Thomas Ruff now builds these objects digitally using a 3D software programme, which allows him to manipulate and arrange them entirely according to his own aesthetic criteria and, above all, in colour. Fully dedicated to the innovative potential of digital image processing, he conveys a new visual aesthetic of sumptuously colourful surfaces - compositionally freewheeling images using highly sophisticated, cutting-edge technology. Another of Thomas Ruff’s interests is the possibility of inverting images - in other words, producing negatives of them. For this, he uses existing historical images and negatives. This creates an entirely different effect, expressing an emphasis and concentration on compositional aspects. The new group of works he has been creating since this year, titled Negatives, is represented in our exhibition by the series neg◊lal, which is being shown to the public for the very first time. For this series, Ruff digitally reworked old technical shots of aeronautic industry prototypes being tested in the wind canal, manipulating light and shadow and altering the original sepia tone to transform them into shimmering blue images with an altogether unfamiliar and distinctive aesthetic. Throughout his oeuvre, Thomas Ruff repeatedly addresses the traditions of photography. His Portraits,Interiors and Nudes, to mention just three of his legendary series, have gained iconic status. At the Mai 36 Gallery, he once again presents his take on the history of photography in the form of high-tech and highly artificial reinterpretations. (Text: Axel Jablonski) Mai 36 Galerie Rämistrasse 37 CH-8001 Zurich Switzerland T: +41 44 261 68 80 Mai 36 Galerie 
|
14.6.2014.
Photon: 2. ViennaPhotoBookFestival
Invitation to the
2. ViennaPhotoBookFestival
Saturday, June 14, 2013, 10 am - 8 pm followed by a party
Sunday, June 15, 2013, 10 am – 6 pm
Organizers
AnzenbergerGallery and OstLicht. Galerie für Fotografie
Location
Brotfabrik Wien, Absberggasse 27, 1100 Vienna – AnzenbergerGallery, OstLicht, Hilger Next, Photon Gallery
Artistic Direction
Regina Maria Anzenberger and Michael Kollmann
AnzenbergerGallery and OstLicht. Galerie fuer Fotografie present the second Vienna festival around the photobook.
Following its huge success in 2013, the 2nd annual ViennaPhotoBookFestival is underway. With publishers from Eastern Europe and Russia participating, as well as schools and university photography classes that deal with the photo book medium, this is proving to be one of the most innovative photo book festivals in Europe.
Over two event-filled days, visitors can enjoy lectures of renowned photobook experts, meet photobook artists, and shop photobooks at an over 1000 m2 marketplace.
Program and lectures
Saturday, June 14, 2014
12.00 Horacio Fernandez on the Spanish "Photo Book Wonder"
14.30 Katarzyna Majak on the history of the Polish Photo Book
15.30 Irene Attinger from the Maison Européene de la Photographie Paris on "Love in the PhotoBook"
16.30 Magnum legend Josef Koudelka in dialogue with Gerry Badger
18.00 Ceremony of the first ViennaPhotoBookAwards and presentation of the winning book of the 1. ViennaPhotoBookReview, followed by a discussion from the jurors
19.30 Party – Drinks & Food & Music
Sunday, June 15, 2014
11.00 Rob Hornstra on his long-term documentary photo work "The Sotchi Project"
12.00 Manfred Heiting interviewed by Fabian Knierim (Curator Fotomuseum WestLicht) on his extensive photo book collection
14.00 Irina Chmyreva on the Russian Photo Book
15.00 "Private Photography in Photo Books", Erik Kessels on his publication "Album Beauty"
We are looking forward to seeing you!
Best regards,
Regina Maria Anzenberger & Michael Kollmann
2. ViennaPhotoBookFestival
Saturday, June 14, 2013, 10 am - 8 pm followed by a party
Sunday, June 15, 2013, 10 am – 6 pm
Organizers
AnzenbergerGallery and OstLicht. Galerie für Fotografie
Location
Brotfabrik Wien, Absberggasse 27, 1100 Vienna – AnzenbergerGallery, OstLicht, Hilger Next, Photon Gallery
Artistic Direction
Regina Maria Anzenberger and Michael Kollmann
AnzenbergerGallery and OstLicht. Galerie fuer Fotografie present the second Vienna festival around the photobook.
Following its huge success in 2013, the 2nd annual ViennaPhotoBookFestival is underway. With publishers from Eastern Europe and Russia participating, as well as schools and university photography classes that deal with the photo book medium, this is proving to be one of the most innovative photo book festivals in Europe.
Over two event-filled days, visitors can enjoy lectures of renowned photobook experts, meet photobook artists, and shop photobooks at an over 1000 m2 marketplace.
Program and lectures
Saturday, June 14, 2014
12.00 Horacio Fernandez on the Spanish "Photo Book Wonder"
14.30 Katarzyna Majak on the history of the Polish Photo Book
15.30 Irene Attinger from the Maison Européene de la Photographie Paris on "Love in the PhotoBook"
16.30 Magnum legend Josef Koudelka in dialogue with Gerry Badger
18.00 Ceremony of the first ViennaPhotoBookAwards and presentation of the winning book of the 1. ViennaPhotoBookReview, followed by a discussion from the jurors
19.30 Party – Drinks & Food & Music
Sunday, June 15, 2014
11.00 Rob Hornstra on his long-term documentary photo work "The Sotchi Project"
12.00 Manfred Heiting interviewed by Fabian Knierim (Curator Fotomuseum WestLicht) on his extensive photo book collection
14.00 Irina Chmyreva on the Russian Photo Book
15.00 "Private Photography in Photo Books", Erik Kessels on his publication "Album Beauty"
We are looking forward to seeing you!
Best regards,
Regina Maria Anzenberger & Michael Kollmann
14.6.2014
Sculpture & Installation
HALES GALLERY, London
GALERIE PERROTIN, Paris
GALERIE REINHARD HAUFF, Stuttgart
SCHLEICHER/LANGE, Berlin
RACHAEL CHAMPION
Primary Producers, 2014
mixed media, Permgold spar pebbledash, fresh water wild algae
386 x 510 x 893 cm
152 x 200 3/4 x 351 5/8 in
edition of 3 plus 1 artist's proofs
Courtesy of the Artist and Hales Gallery, London. Copyright of the Artist
HALES GALLERY, London
RACHAEL CHAMPION Primary Producers 11 June - 26 July 2014 Hales Gallery is delighted to announce Primary Producers, the gallery’s first solo exhibition with artistRachael Champion. Primary Producers is an exploration through energy and architecture in the form of a site-specific installation integrated into the architecture of Hales Gallery. The installation presents a pebble dashed landmass, punctuated with cylindrical concavities containing both wild and specific strains of fresh water algae. Pebbledash, a controversial rendering ubiquitous in the British landscape, and algae, a strong candidate for renewable energy as biofuel, are signifiers of both progress and problem--solving. These materials, integrated together as an architectural sculpture, point at both optimistic yet fallible responses to the urgent needs of our society. Primary Producers refers to algae and its characteristics as a basic life form, which, although having been used by humans for centuries, only recently became an important subject in sustainability. Rich in proteins and lipids, algae is seen as a "super-substance" with a wide range of uses - from its potential as a source of renewable energy, its ability to sequester carbon and its popularity as a health food trend (Spirulina). In Primary Producers, algae are placed alongside mundane pebbledash surfaces, inextricably associated in the UK with the very worst excesses of the home improvement industry. Pebbledash is often affiliated with "covering up" both bad brick work and historical detail and can be found all over Britain. At the height of roughcast rendering, homes would be 'dashed' in aggregates from the same quarry, giving humble architecture a sense of coherent continuity. Although being an omnipresent characteristic of the suburban, the quality of pebbledash reminds us of the raw natural materials that make up our built environment. Champion’s installation is an integration of two aspects of our society, architecture, and energy, both of which embody a sense of optimism and failure. The stones and organisms occupy the space very close to their original material form. Taken out of context and hybridized, the algae and pebbledash comment on our collective, ever-mounting, Anthropocene crises. Rachael Champion (b. 1982, New York, USA) graduated with a Postgraduate Diploma in Fine Art from the Royal Academy Schools in 2010. Champion has been awarded the Arts Foundation Award for sculpture (2013) and the Red Mansion Art Prize (2010). In 2012 she was the Camden Arts Centre 'Artist in Residence'. In the summer of 2014 Champion will install a permanent installation on Sarvisalo, The Zabludowicz Collection's outpost in Finland. Champion lives and works in London. Champion's work has been exhibited at a number of recognized international spaces including Modern Art Oxford (UK); Zabludowicz Collection, London (UK); Socrates Sculpture Park, New York (US); Bold Tendencies Sculpture Project, London (UK); Enclave Projects, London (UK); Horatio Jr, London (UK). In 2013 Champion's ambitious, site specific work Forced Landscape was installed in Derbyshire as part of the Wirksworth Festival. HALES GALLERY Tea Building 7 Bethnal Green Road London E1 6LA T: +44 (0) 20 7033 1938 Hales Gallery 
KRIŠTOF KINTERA
“NERVOUS TREE”
Installation view
Courtesy of the Artist and SCHLEICHER/LANGE, Berlin
Photo: Jens Ziehe
SCHLEICHER/LANGE, Berlin
KRIŠTOF KINTERA “NERVOUS TREE” 14 June - 26 July, 2014 Krištof Kintera’s installation transforms the exhibition space at SCHLEICHER/LANGE into a circuit that resembles an interactive experimental set-up for the viewer. “Nervous Trees” each consist of a substructure of branches on top of which sits a globe. The structure carries the sphere as though it were the body and the world its head. The upside-down branches are reminiscent of a system of veins or nerves in a biological organism. The installation’s individual pieces, which are up to three-and-a-half meters high, tremble at regular intervals according to a set logarithm, while the sound of the movement fills the space. It seems as though they have fallen victim to a nervous disorder, leading to their movements no longer being purposeful and keeping them on the spot, which makes it look as though they are performing a kind of dance. Through their movements, the kinetic sculptures engage in an active dialog with the beholder, communicating in a curious non-verbal language that the viewer seems unable to answer to. An emotional reaction is the only feasible option as verbal communication is impossible. Coming face to face with these otherworldly sculptural shapes, we feel a bit like Alice in Wonderland - and not least because of their proportions. Their physiognomy reminds us of evil characters from fairytales, of nightmarish, fantastic or surreal scenes in which trees are peculiarly able to walk around. Kintera draws on stereotypical scenes, key images or dream sequences that everybody is familiar with from film or literature and that have an uncanny effect. The viewer sees the “Nervous Trees” move, but cannot anticipate the movement that should follow the first, which produces a feeling of not-knowing and of the constant danger of being agitated. Still, it’s difficult to avoid being fascinated by the playfulness the moving objects exude. The transformative moment is important in Kintera’s work. He remodels mundane or common objects or places them in new, unusual contexts, using the principle of the ready-made. Along with story-telling and the humorous aspects of his works, a second glance reveals their deeper layers of meaning, their critical facets, serious undercurrent and the questions which they raise. They are inherently ambivalent. The viewer looking at the “Nervous Trees” literally gains a different perspective onto planet earth. By breaking with ingrained viewing habits, Kintera is able to take a step back: The gap thus created provides space for reflection. The nervously twitching earth, wreathing and shivering as it sits on top of a system agonized through sensory overload, can certainly be understood as social criticism. Which is why it seems plausible to surmise that the artist calls our optimism concerning science and technology and society’s belief in progress into question. The “Nervous Trees” prompt us to think about the future of the Earth’s overly aggravated support system and in turn about the way in which we interact with our environment. Trees as “our planet’s lungs” constitute a fundamental, life-sustaining foundation which seems to have been thrown off kilter, endangering the Earth’s equilibrium in its shivering ballet. Kintera succeeds in fuelling the debate on serious topics in complex ways. His works are neither purely humorous nor exclusively serious or solely concerned with profound questions, making an individual response to his works possible on different levels. Krištof Kintera (born1973, in Prague, Czech Republic) studied at the Academy of Fine Arts, Prague and the Rijksakademie van Beeldende Kunsten, Amsterdam. In 2014, the Tinguely Museum in Basel is dedicating a solo show entitled “I AM NOT YOU” to Kintera, on view at the same time as his solo show at SCHLEICHER/LANGE. Krištof Kintera has been included in many exhibitions, for example: Rosenblum Collection & Friends, Paris (2010) and the “After the wall”- exhibition of 1995 and 2000 in Hamburger Bahnhof and Ludwig Museum, Budapest as well as shows in the Moderna Museet, Stockholm in 1999, in MARTa Herford (2008), in Kunstmuseum Bonn (2007), in the Palais de Tokyo, Paris (2006), in the “Positioning- exhibition of 2005 in the Museum of Contemporary Art, Tokyo, Hiroshima Museum of Contemporary Art and The National Museum of Modern Art, Osaka, in the Bawag Foundation, Vienna (2004). He has exhibited at the 8th Triennale Kleinplastik, Fellbach (2001), at NBK, Berlin (2000), at Galerie für Zeitgenössische Kunst, Leipzig (2000) as well as at “Manifesta II” in the Casino Luxembourg - Forum d'Art Contemporain (1998). The current exhibition is Krištof Kintera’s fifth solo show at SCHLEICHER/LANGE. SCHLEICHER/LANGE Markgrafenstrasse 68 10969 Berlin Germany T: +49 (0)30 955 92 917 SCHLEICHER/LANGE |
DANIEL ARSHAM
“Obsidian Eroded Keyboard” 2014
Obsidian fragments, ground glass, hydrostone
15 1/2 x 52 1/4 x 5 inches
Courtesy of the Artist and Galerie Perrotin, Paris
GALERIE PERROTIN, Paris
DANIEL ARSHAM The Future is Always Now June 12 - July 26, 2014 “The Future is Always Now” is the ninth solo exhibition by New York artist Daniel Arsham at Galerie Perrotin, presenting a new body of approximately twenty artworks around the theme of music. For this exhibition, Daniel Arsham features a series of new casts based around the world of music presenting eroded sculptures, such as guitars, turntables, a microphone, boomboxes, a walkman and keyboards. These instruments, damaged by the passage of time, are like an archeology of the present. These sculptures are casted in mineral materials related to geology such as rose quartz, glacial rock, obsidian, steel or volcanic ash, resembling fossilized items, found in a futuristic archeological dig. The solo show also includes gouaches on mylar representing disused items exposed to the effect of time, a cassette and eroded CD. A stage with instruments also reconstitutes elements of a performance and four casted tires on the walls evoke a music tour as if a rock band deserted in the main room of the gallery. From November to December 2014, The Locust Projects, in Miami, will present Daniel Arsham’s work. Daniel Arsham was born and raised in Cleveland, Ohio in 1980. After graduating from Cooper Union in 2003, he received the Gelman Trust fellowship the same year. Arsham’s work has been shown at PS1 in New York, The Museum of Contemporary Art in Miami, the MCA Chicago, Athens Biennial in Greece, The New Museum in New York, Mills College Art Museum in Oakland, California and Carré d’Art de Nîmes, France among others. Daniel Arsham’s artistic practice includes several high profile collaborations with choreographer Merce Cunningham, Producer Pharrell Williams, and Designer Hedi Slimane. Also showing at the gallery: IZUMI KATO The first solo exhibition in Paris by Japanese artist Izumi Kato, gathering a selection of recent paintings, drawings and sculptures. PETER ZIMMERMANN sur le motif Peter Zimmermann’s seventh exhibition with the gallery. GALERIE PERROTIN 10, impasse Saint Claude &76, rue de Turenne 75003 Paris France T: +33 1 42 16 79 79 Galerie Perrotin 
Exhibition view: 5 billion solar years ..:::.., Galerie Reinhard Hauff, 2014
GALERIE REINHARD HAUFF, Stuttgart
5 billion solar years ..:::... Etel Adnan, Ergül Cengiz, Hadley+Maxwell, and Viron Erol Vert 5 June - 31 July 2014 5 billion solar years ..::.. is a line and a pictogram from the poem The Arab Apocalypse (1980-1990) by Lebanese born artist and poet Etel Adnan, and the title of an exhibition at the Galerie Reinhard Hauff. The exhibition displays works in various media by European/American artists with Middle Eastern roots, or artists sourcing inspiration in Middle Eastern art. Fascinating new visual languages result from this bi-directional process. Etel Adnan, born 1925 in Beirut, studied philosophy in Paris and California where she settled after leaving Lebanon. She still lives in Paris and the San Francisco area. The artist’s landscape paintings with the sun, the sea and the horizon in strong, simplified colour fields recall impressions from the home country she left behind. Her poems express her life in exile and often refer to personal experiences, philosophical and political ideas and the violence of the civil war in Lebanon. Etel Adnan was a major contributor to the Documenta 13 in in Kassel, 2012, and is also participating in the Whitney Biennial in New York this year. Her solo show at the Arab Museum of Modern Art in Doha, Qatar, runs through July 6th, 2014. In 2012, the Canadian artist duo Hadley+Maxwell, living and working in Berlin, integrated Etel Adnan’s reading Chapter XVIII of her poem The Arab Apocalypse into the work Etel’s Sun in their sound and light installation Skies of the Heart, commissioned for the Marrakech Biennial. Skies of the Heart is a group of light objects - sculptures or lamps of copper or tin conceived by the artists and hand made by traditional Moroccan craftsmen. The multiple light patterns from these celestial bodies reflect on walls, ceilings and floors, creating a powerful ambiance filled with the words and voice of Etel Adnan. In Arabic, French and English, she describes the sun’s power as both beautiful and destructive, asking how it can continue to witness the brutality of human violence without interfering. We are particularly pleased to be able to show large parts of this installation, and for the very first time together with paintings by Etel Adnan. Hadley+Maxwell are represented with large sculptural installations at the 2014 Sydney Biennial. Traditional Middle Eastern ornaments have been reinterpreted in the large-format cut outs by the Hamburg artist Ergül Cengiz (*1975), combining layers of net-works to create intricate plays of light and shadow. Together with the reflections and pictograms emanating from Hadley+Maxwell’s installation, multiple pattern types enhance each other. Both veil and wall, transparent and solid, these sheets hung from the ceiling, function as room dividers. While illustrating the evolutionary process of ornament, the integration of perspective and multidimensionality with the flatness of the pattern shows the fusion of Cengiz’ Turkish origins with her German background. Viron Erol Vert, born in 1975 in the Emsland, Germany, lives in Berlin and Istanbul. With a background in fashion, he works in various media usually involving some elements of traditional craftsmanship in his production, which range from clothing, to home furnishing, carpets and sculptures. Studying the mythology that contributes to the form and usage of familiar objects, he creates works which are vehicles for additional mythologies: From the ordinary carpet to the flying carpet, the magic carpet, from the common headscarf and the “decency” ideology behind women being covered in public to hairy scarves, from traditional friendship bedspreads with idyllic and nationalistic iconography to green peace and peace all over, Vert’s messages are designed to rethink automatic responses to cultural programming. Viron Erol Vert will have a solo show at the Künstlerhaus Stuttgart in September 2014. The Galerie Reinhard Hauff is most grateful to the Galerie Sfeir-Semler, Hamburg and Beirut, for their valuable contribution to this exhibition. Galerie Reinhard Hauff Paulinenstrasse 47 70178 Stuttgart Germany T: +49 (0) 711 609 770 Galerie Reinhard Hauff |
13.6.2014
Servizio Editoriale 14° Biennale Architettura 6 giugno- 23 novembre 2014
Venezia, Italy
14° Biennale Architettura 6 giugno- 23 novembre 2014
Da Rem Koolhaas ci si aspetta sempre molto. Il suo è un nome altisonante nel panorama internazionale e per la sua Biennale l’intero archiworld era in fermento per vederne i risultati .In questo importante palcoscenico mondiale ne descriviamo gli aspetti di questa 14° Biennale Architettura 2014 e Biennale Danza in concomitanza .
È per questo che la mostra Elements of Architecture al padiglione centrale dei Giardini si rivela un po’ una delusione e difficilmente potrà appassionare gli addetti ai lavori. L’operazione è messa in piedi magistralmente: in mostra non l’architettura ma i suoi elementi, scomposti, in parte destrutturati e ricomposti.
Porte, finestre, muri, balconi, ascensori, soffitti, scale, maniglie, corridoi, facciate, finti caminetti fino ad una serie sulla storia degli orinatoi vecchie “comode” dai nostri giorni sino al periodo romano tutti riletti, ripassati e presentati in parte dal punto di vista tecnologico e in parte dal punto di vista estetico. Ma per apprezzarla un architetto medio deve uscire dalla propria ottica ed entrare in un’altra, più mainstream, altrimenti il rischio è di associare la mostra a una specie di Salone del Mobile. Solo se si cambia il punto di vista si può apprezzare questa operazione radicale, dipinta come teorica ma, in fondo, forse un po’ superficiale.
Il padiglione italia “Innesti Grafting”,(curato da Cino Zucchi) rispecchia la più radicale espressione degli architetti su questa contemporaneità , molti gli artisti presenti con i lavori , dalla foto , al video ,ai plastici ecc.
Interessante è il bellissimo collage di Davide Rapp ha realizzato estraendo da filmstorici scenecon assensori scale , porte , finestre , corridoi , bagni , balconi , serrature sedie , tavoli , dal titolo “Elements”.
Padiglioni cui citiamo per innovazioni , la Polonia ,Svizzera , Emirati Arabi Uniti , Turchia, Albania ,Brasile ,Russia e Finlandia,Cile,mentre Israele, come da qualche anno a questa parte, si conferma tra i più poetici.
Particolarmente interessante il Padiglione Venezia , con l’originalissima istallazione dei disegni di Daniel Libeskind .
Inventiva e ironia accomunano i padiglioni di Francia e Gran Bretagna con entrambi le loro installazioni , la Repubblica del Kossovo con una grande installazione come una grande torre costituita da 720 sgabelli
La Svizzera ,ha scelto di portare avanti quest’anno nel Padiglione Svizzero alla XIV Biennale di Architettura di Venezia con il suo curatore Hans Ulrich Obrist Il suo progetto poliedrico infatti punta l’attenzione, a partire da una retrospettiva omaggio ai due autori, alla recente architettura come strumento per comprendere il futuro.
E’ sempre l’Arsenale che offre le proposte più stimolanti , si assapora l’arte a 360°, tra l’altro in questa edizione è concomitante anche Biennale Danza che si innesta con piacere tra le opere e tra i progetti espositivi d’architettura , non mancano video , plastici , foto , installazioni e progetti che rispettano la visione del mondo dell’architettura e dell’urbanistica attuale.
Così Virgilio Sieni, direttore della Biennale di Danza a Venezia, novità principali di questa Biennale d’Architettura diretta da Rem Koolhaas: il rapporto stretto di collaborazione tra le tante biennali veneziane.
La giuria di “fundamentals” ha scelto il padiglione coreano “Crow’s Eye View” per la straordinaria capacità di presentare un nuovo corpus di conoscenza dell’architettura urbanistica in una situazione polita particolarmente delicata .
Leone d’oro alla carriera alla canadese Phyllis Lambert , Leone d’argento al padiglione Cileno alle artiglierie dell’Arsenale , menzioni al Canada , Francia , Russia.
Pubblico , giornalisti , addetti ai lavori , architetti , critici ecc molto numerosi , la biennale chiuderà il 23 novembre 2014
GRUPPO SINESTETICO (Albertin , Sassu , Scordo) www.grupposinestetico.it
1) http://www.sognoelektra.com/speciali/biennale_architettura2014_elements_of_architecture.html
2) http://www.lobodilattice.com/mostre-arte/14th-biennale-architettura-ve
12.6.2014
galerie frank elbaz
Paris, France
presents
Heart-Shaped Box
Greg Bogin / Jennifer Boysen / Kaz Oshiro / Blair Thurman
Exhibition from June 7th to July 26th 2014
from Tuesday to Saturday 11am-7pm
Opening Saturday, June 7th
View of the exhibition Heart-Shaped Box, galerie frank elbaz, Paris, France, 2014
The question of its factual or its fictitious flatness has never ceased to irrigate painting, whether we trace its use of perspective from Prehistoric times, to Antiquity to the Renaissance or, on the contrary, that we take interest in its forthcoming object status as it has been formulated since the fifties.
From the sixties, Frank Stella found an interest by slightly raising away the canvas from the wall, using a somewhat thicker frame, not to stretch towards the object but thus strengthening the idea of surface1, this was no longer the flatness that was at stake but the surface and its qualities, sometimes even going as far as to forget the canvas that sub-tends2 them. The idea of surface does not necessarily imply that of flatness; for Stella, paintings are three-dimensional objects even if we rarely look at them off the wall and, hence, all painted surfaces have a depth, even those that are monochromes3. Oscillating between two spaces, the pictural one, « of illusion », and the « real » one, within which stands the person facing them, Stella’s paintings, just as Mc Cracken’s planks that tends to exclude matter in favor of color or Judd’s elements that search to evoke the latter as such, operate, on the occasion of their deliberate incursion in the physical space, a change of ontological status. Perhaps not quite paintings anymore but not necessarily sculpture, these « specific objects » use their(s) surface(s) suggesting the space that is behind, below, in front, around... 
View of the exhibition Heart-Shaped Box, galerie frank elbaz, Paris, France, 2014
|
View of the exhibition Heart-Shaped Box, galerie frank elbaz, Paris, France, 2014
It is in this context of production of a first generation of artists who has been able to consider abstraction as part of art history that were born Blair Thurman (in 1961), Greg Bogin (in 1965) and Kaz Oshiro (in 1967). It is complicated and often dangerous to try to trace the lineage of influences thus we will simply set the facts. When they were still students, the dominant speech was that of a « death of painting », while Schnabel and Basquiat haunted the gallery walls. Blair Thurman then began looking for a « infinity effect4 » that he first materialized in the form of a loop which is also that of a motor circuit. His pieces always play with vacuum, asserting a kind of incompleteness whether by the necessary space between the neon tubes or because they enlighten - which is necessarily something other than themselves - or even by how his paintings show us the wall on which they are suspended or the floor on which they rest. In Greg Bogin, we still face a shapes’ imbrication that sometimes overplay, sometimes deny the link they maintain with the content. In most series just as in the works we can see here, the presence of white is strong even if it is sometimes physically reduced. It is a painted white, full, clean, opaque and stable, far from the vortex that sometimes seems to create the openings in Thurman’s canvases - the symbolical and material loop-hole of the imprisoning planar surface such as defined by Fontana about his slashed canvases. A window as open as closed, a flatness as artificial as factual. The same applies with entirely opposed processes for Kaz Oshiro, thus the volume of his pictorially reproduced objects being only a lure, the back they sometimes reveal brings the eye to stumble on the raw canvas. In his series of Still Life paintings, it is almost a second degree painting that he produces by a representation of monochrome as though broken, bent or slumped. But far from having been tortured or mistreated as Parrino’s paintings, those ones are designed as such from the layout of the frame. In Jennifer Boysen’s work, the youngest of the group (born in 1976), it is no longer only the frame that informs the canvas but found objects that sometimes come to slip in, or even replace it. Whether she stretches the canvas on metal plates reminiscent of automobile body parts, or that her frame appear trying to escape from themselves, to grow in space, she gives her painting a presence that seems to exceed main physicality : would there be a ghost in the shell?
|
Kaz Oshiro
Untitled Still Life, 2014,
Acrylic on canvas
59 x 40 x 20 in., Unique
Jennifer Boysen
Untitled, 2014
tempera on fabricated stretcher
26 x 36 in. Unique
|
Blair Thurman
Sashimi Satans, 2014
Acrylic on shaped canvas
93,3 x 24 in., Unique
|
1 « When you stand directly in front of the painting it gives it just enough to hold it depth off the wall ; 're conscious of this sort of shadow, just enough to emphasize the surface. In other words, it makes it more like a painting and less like an object, by stressing the surface. » Frank Stella in « Questions to Stella and Judd , Interview by Bruce Glaser, Edited by Lucy R. Lippard », Minimal Art, A Critical Anthology, Edited by Gregory Battcock, PCU (1968), 1995, p. 162.
2 « I lose sight of the fact That my paintings are on canvas, and I just see my paintings. [...] If the visual act taking up on the canvas is strong enough, I do not get a very strong sense of the material quality of the canvas. It spells of disappear. » Ibid., P.160.
3 See Frank Stella interviewed by Michael Archer in 1985, in William Furlong, Speaking of Art, Phaidon, 2010 Side A, p. 72.
4 « Infinite Quest », Blair Thurman in conversation with Bill Powers, www.musemagazine.it, February 2014.
Aude Launay
galerie frank elbaz
66 rue de turenne
75003 Paris France
T + 33 1 48 87 50 04
www.galeriefrankelbaz.com
[email protected]
2 « I lose sight of the fact That my paintings are on canvas, and I just see my paintings. [...] If the visual act taking up on the canvas is strong enough, I do not get a very strong sense of the material quality of the canvas. It spells of disappear. » Ibid., P.160.
3 See Frank Stella interviewed by Michael Archer in 1985, in William Furlong, Speaking of Art, Phaidon, 2010 Side A, p. 72.
4 « Infinite Quest », Blair Thurman in conversation with Bill Powers, www.musemagazine.it, February 2014.
Aude Launay
galerie frank elbaz
66 rue de turenne
75003 Paris France
T + 33 1 48 87 50 04
www.galeriefrankelbaz.com
[email protected]
10.6.2014
Andrew Salgado 'Variations on a Theme' at One Art Space New York
May 3 - July 6, 2014
Broadly speaking, Variations on a theme sees Salgado approaching his practice in the least autobiographical manner to date; recently I have heard Salgado describing his artistic concern as one of centrifugal rings rippling outward in a pond, always related to that initial ‘rock-drop’ incident, but no longer dependent upon it for motivation. That initial incident, a widely publicized 2008 assault that Salgado has moved on from in both his personal life and now (never more evidently) in his art.
Why such a marked shift? Salgado is never one to repeat himself; following a 5th sellout exhibition in Cape Town earlier this year, Variations is as much a response to, and growth from, that body of work as it is a reaction to what Salgado perceived as its overwhelming intimacy and warmth. The title itself is purposefully ambiguous, but in a general sense is a reference to patterns explored in Classical music, and we see the same explorations paralleled in Classical art, and again, here, for Salgado, Variationsallowed for a chance to truly open his conceptual standpoint and explore almost anything andeverything of importance to the young artist. What we see is a remarkably cohesive, thoughtful series of works of profound depth and complexity. This is not just a ‘strong body of work’, but is the kind of career defining collection that should serve to place Salgado firmly as one of the most promising painters of his generation, if not already. 
BIO
ANDREW SALGADO (b. 1982, Regina, Canada) has created a buzz for himself with bold, generally largescale figurative paintings that have situated him as one to watch in both the UK and North America; even listed by Saatchi as "one to invest in today" (Sept 2013) and lauded by esteemed critic Edward Lucie Smith as a "dazzlingly skillful advocate" for painting. Salgado is one of 100 artists to be featured in the forthcoming publication 100 Painters of Tomorrow, authored by Kurt Beers and published by Thames & Hudson, (2014), and he is recipient of the Saskatchewan Lieutenant Governor's Arts Award (2013). Salgado has exhibited in the United Kingdom, Germany, Scandinavia, Australia, Venezuela, Thailand, Korea, South Africa, Canada, and the USA. Forthcoming solo exhibitions include Variations on a Theme, One Art Space, New York City, NY (May 2014); and Storytelling, Beers Contemporary, (October 2014). Previous solo exhibitions include Enjoy the Silence, Christopher Møller Art, Cape Town, South Africa, (2014); The Acquaintance, his first museum-based exhibition, Art Gallery of Regina, Canada (2013); and The Misanthrope, Beers.Lambert Contemporary, London, (2012). His paintings have hung alongside works by Tracy Emin and Gary Hume in London’s Courtauld Institute of the Arts included in the Merida Biennale of Contemporary Art (2010), the NordArt Carlshutte Biennale (2012); and has been featured Maclean’s (Canada), The Globe and Mail (Canada), The Independent,The Evening Standard, Shortlist, Yatzer, Metro and more. He frequently donates to charitable associations worldwide, including the Terrence Higgins Trust, MacMillan Cancer Support, and others, and garnered the highest-bid ever auctioned at Canada’s esteemed Friends For Life Annual Charity Auction (2011). In 2011 he was featured in the Channel 4 (UK) documentary What Makes a Masterpiece, alongside artists Anish Kapoor, Howard Hodgkins, and Bridget Riley (2011). In 2013 he was commissioned to create a brand new series of large-scale works to adorn the windows of the luxurious UK-retailer, Harvey Nichols. Salgado has lived and worked in London, UK since 2008. |
Titles, references, and imagery all tend to suggest a greater appreciation and acknowledgement of Salgado’s own placement in the history of art. A media with so much historical depth, breadth, and baggage, it appears as though Salgado is intent to celebrate the triumph of painting instead of hide within its shadow. He is keen to remark, with a sly smile, that Picasso himself said “good artists borrow; great artists steal.” As viewers, we recognize a growing series of recurring motifs, harlequin patterns, text, a defiant deconstruction of the painted surface, smiley faces, spraypainted stencils, even arrows that may (or may not) allude to latter-day Bacon, or even the strongly linking appearance of frames within frames, perhaps suggesting paintings, as though Salgado intends to remind us (at every chance) that what we are viewing is a reconstruction - a very conscious nod to the legions of visual (and other) stimuli that culminate in the body of work produced. In a sense, Salgado is no longer contented with being a ‘figurative painter who verges on abstraction’: that previous artistic pursuit perhaps becoming banal, an all-too-ubiquitous approach to painting. Instead, Salgado seems impassioned to present figurative paintings in a manner that we’ve never quite seen before. With his inspirations proudly emblazoned, his work still manages to seem utterly fresh, never derivative, and while intentionally referential to so many things, is never quite like anything else, either. Here, we see the artist thriving as not just a painter but a conceptualist, a collagist, an abstractionist, freed from any previous conceptual baggage and fully inspired. In an initial viewing, a friend mistook the central figure in Green Dionysus as Salgado’s self-portrait; (its not) and while Salgado corrected the friend, I tend to disagree, for Salgado has never quite found his own voice so firmly as he has in Variations.
|
10.6.2014
PINTA LONDON 12-15 June 2014
London, England
|
Sonia Falcone, courtesy Salar Galeria de Arte | PSH Projects (La Paz | Bogota)
|
Pinta London celebrates fifth anniversary
Europe’s only art fair dedicated to modern and contemporary
Latin American, Spanish and Portuguese art
12 - 15 June 2014, Earls Court Exhibition Centre
- Over 50 international galleries
- Launch of Pinta Photo, featuring new photography by composer Michael Nyman
- Pinta Projects to focus on influential women in Latin American art
- Pinta Design to celebrate functional design pieces from Mexico and Brazil
- Pinta Media Art to feature work by pioneer of BioArt: Eduardo Kac
- Pinta Auditorium Programme to feature leading female curators, dealers and collectors
Europe’s only art fair dedicated to modern and contemporary
Latin American, Spanish and Portuguese art
12 - 15 June 2014, Earls Court Exhibition Centre
- Over 50 international galleries
- Launch of Pinta Photo, featuring new photography by composer Michael Nyman
- Pinta Projects to focus on influential women in Latin American art
- Pinta Design to celebrate functional design pieces from Mexico and Brazil
- Pinta Media Art to feature work by pioneer of BioArt: Eduardo Kac
- Pinta Auditorium Programme to feature leading female curators, dealers and collectors
Manuel Calvo, courtesy Jose de la Mano, Madrid
Xavier Mascaro, courtesy SP Koren, London
Additional show features across Pinta London will include:
The second edition of Pinta Media Art: an innovative showcase of art that explores links with technology. Curated by Rolando J Carmona, this will feature the work of Brazilian artist Eduardo Kac, pioneer of BioArt and telepresence, renowned worldwide for the creation of Alba: a genetically modified "glowing" rabbit. - A special homage to abstract art in Spain, titled Black and White in Spanish Geometry from 1950-1970, including works by Enrique Salamanca and José Luis Gómez Perales - A curated show by Nekane Aramburu on behalf of the Embassy of Spain, titled GAUR[sic]. Translated as ‘Today’ in Basque, GAUR will analyse the evolution of video art in Spain, featuring the work of eight artists based in the Basque Country. This showing at Pinta London will mark the launch of an international tour for the exhibition, travelling to Honduras, Costa Rica, Mexico, Uruguay, Argentina, Chile and Nicaragua later this year. This project is an initiative of the Etxepare Basque Institute, the Spanish Agency for International Development and the Office for Cultural and Scientific Affairs. On celebrating Pinta London’s fifth anniversary, Director Alejandro Zaia commented:
‘In recent years London has undoubtedly become one of the leading markets for Latin American art, and we at Pinta London are excited to bring the finest examples of this work to the UK for the fifth year. We offer a unique opportunity within Europe for visitors, collectors, galleries and museums to continue building their knowledge and widening their networks in the Latin American art world, and hope that Pinta’s continued presence in London will further increase awareness and exposure of these significant artists.’ Now in its fifth year in the UK, the Pinta London Museums Acquisition Programme aims to enrich the Latin American art collections of renowned international institutions. The programme offers a matched funds system to museums, allowing them to purchase artworks at the fair. Participating institutions for 2014 will include Tate Modern (London) and mima (Middlesbrough). Since the scheme’s inception in 2006, Pinta New York and Pinta London have enabled over £1,000,000 worth of contemporary Latin American art to be acquired by institutions around the world including MoMA (New York); Centre Georges Pompidou (Paris); Museum of Fine Arts Boston and Tate Modern (London). |
Cristina Almovar, courtesy Set Espai d'Art, Valencia
At the heart of the show will be Pinta Projects, honouring the influential women who have made a mark in the perception of Latin American art over the decades, curated by collector and patron Catherine Petitgas and Brazilian curator Kiki Mazzucchelli. Showcasing a wide variety of work by female artists from Argentina, Brazil, Costa Rica, Peru and Venezuela - including Anna Bella Geiger, one of the key figures in Conceptual Art from Latin America and a pioneer of video and experimental practices in Brazil - Pinta Projects will explore how Latin American women have led the way when it comes to innovation in art.
This theme will be addressed further in the Pinta Auditorium Programme, which will bring together leading female curators, dealers and collectors to give an insight into their unique vision and practice. Speakers including collector and patron Valeria Napoleone, and Founder and Director of Dhaka Art Summit Nadia Samdani, will discuss whether in this age of globalisation, there is still a need to promote areas of the art world that are under-represented. Pinta Design will focus on classic and industrial design from Mexico and Brazil, with pieces to look out for including furniture designed by world renowned Brazilian architect, Oscar Niemeyer; a new series of handcrafted lamps by Mexican designer Valentina Gonzalez Wohlers; and work by Brazilian brothers, Fernando and Humberto Campana. Presented by Manuel Díaz Cebrian in partnership with leading Mexican curator Ana Elena Mallet, who recently launched contemporary design show De Ida y Vueltain Mexico City, and Brazilian collector Raul Schmidt - fresh from curating Brazilian Design: Modern & Contemporary Furniture currently on show at the Embassy of Brazil in London, this section of the show will give visitors the chance to pick-up functional design pieces for the home. 
Eduardo Kac, Tesao, Pinta Media Art
|
5.6.2014
Painting & Drawing
Hezi Cohen Gallery, Tel Aviv
Galerie Bernard Bouche, Paris
galerie laurent mueller, Paris
Barbara Gross Galerie, Munich
Left: Brendan Fowler, from north (...), 2014, rayon, polyester, acrylic on canvas, 152.5x101.5 cm
Right: Matthew Chambers, Atlas to Bear 3, 2014, acrylic, enamel based adhesive and nylon flocking on canvas, 249x127 cm
HEZI COHEN GALLERY, Tel Aviv
BRENDAN FOWLER & MATTHEW CHAMBERS 5 June - 26 July 2014 Hezi Cohen Gallery is pleased to present a new duo show by LA-based artists Brendan Fowler andMatthew Chambers. Brendan Fowler's gradual transition from the indie music scene to the art world reveals various experiments in breaking the rules of the newfound realm whose properties he seeks to tame. Seen from afar, the works in the exhibition look like segments of photographs gone wrong. The densely arrayed rows of threads, into which the image resolves itself on closer inspection, disclose the work's means of production - an industrial embroidery machine. The shock of the encounter with the works stems in large part from their scale. Under Fowler's directions the mechanical embroidery becomes a mechanism for the detailed production of an all-encompassing picture. Yet, Fowler undermines against the picture's completeness at two levels: actively, before production, when he edits the images in Photoshop, and later on, more passively and randomly, through the production flaws of the industrial machine. For years, Matthew Chambers' abstract works were an inseparable part of a feverish practice of figurative painting. In a work routine involving dozens of canvases in parallel, the abstract works showed up as the destination for the paintings in which Chambers identified an overburdening: he would cut these up into strips and begin a course of assembly according to a geometrical pattern. In the past two years Chambers began to experiment more and more with the geometrical arrays, and gradually the abstract works have become an independent body of work, no longer dependent on the destruction of his figurative paintings. Out of the sequence of works in the exhibition, we witness two different modes of confronting the canvas: one seeks to contend with the unceasing flow of vacuous images from the outside world, while the other turns assiduously to realms of mathematical order and logic. Brendan Fowler (b. 1978), lives and works in Los Angeles. In the past year his work has been exhibited, among the rest, at the Museum of Modern Art (MoMA), New York; Gemeentemuseum, the Hague, Netherlands; Untitled, New York; Marlborough Chelsea, New York; and at the Control Room, Los Angeles. In addition to many solo gallery shows, Fowler has recently exhibited his 'New Camera' works in a solo show at the LA><ART, Los Angeles. Matthew Chambers (b. 1982), lives and works in Los Angeles. Recent participation in exhibitions includes Untitled, New York (2013, 2010); Marlborough Madrid, Spain (2012); Rubell Family Collection \ Contemporary Arts Foundation, Miami, Florida (2011); Espacio 1414, San Juan, Puerto Rico (2011). Among his upcoming shows for this year, Chambers will participate in the exhibition Painters' Painters at the Saatchi Gallery, London. In addition to many solo gallery shows, Chambers has presented in the past year a solo exhibition at the Zabludowicz Collection, London. HEZI COHEN GALLERY 54 Wolfson Street 66042 Tel Aviv Israel T: +972 (0)36398788 HEZI COHEN GALLERY 
galerie laurent mueller, Paris
THE MORE POETIC SIDE OF MONEY Danica Phelps June 5 - July 18, 2014 For her first exhibition in France, Danica Phelps shows a series of drawings which stem from the project Income’s Outcome. This exhibition will also contain works made on the gallery premises, during Phelps’ stay in Paris, together with her son Orion, at the studio inside the gallery. Composed like a personal diary, Income’s Outcome relies on an economy of life that the artist consigns, saves and shares with the spectator. Nothing is lost in this vital cycle of production and spending that rhythms the deployment of her series, defining the pulse as much as the content. Phelps shares as easily tumultuous episodes from her sexual life, as a simple trip to the laundromat or an outing with her son. These episodes are sketched with a sensual and precise line, as if drawn from nature, and are accompanied by numbers on what they cost. These moments of intimacy and creation that are priceless, are thus being accounted for. Danica Phelps does her accounts whatever happens. This arid and disciplined protocol seems to interrogate, even refuse, the division of art and life, of work and pleasure. By confronting two views, one sensual and light of the drawings and, one fastidious and bookkeeping (sometimes delegated to assistants) of bar codes under each drawing, Phelps addresses a sensitive aspect of the art market which is at the same time one of its levers: the confrontation between usage value and exchange value, the circulation of desire and investment. The circulation of money, its more poetic side, would thus be the objective materialisation of a vital flux. Danica Phelps also involves the buyers into her work by consigning their name on a second generation of drawings realised by a transfer onto tracing paper of each sold drawing. These reproductions are made by request and without limit. The second hand buyer is informed of the previous sales of the drawing of his choice. Places and dates of the transactions as well as the identity of the buyers inform each new owner of the pedigree or the genealogy of his acquisition. Their price always remains the same though and is fixed by the artist in relation to the affective importance that she gives them. The subversion of Danica Phelps’ work does not rely as much on the showcase of her intimate and financial life, as on a profound questioning of the value criteria of art, her approach consisting in analysing the material means of existence and to allow their conditions. MP Danica Phelps, born 1971 in New York. Holds an MA from the Rhode Island School of Design and has had many solo as well as group exhibitions since the 90s. Lately, she showed at the Galeria Nieves Fernandez (Madrid), Dina4Projekte (Munich) and the Center for Maine Contemporary Art among others. She was awarded the Individual Artist Grant by the New York Foundation for the Arts. Her work can be found at the Brooklyn Museum of Art, Seattle Art Museum or the Yale Art Museum Collection. galerie laurent mueller 75 rue des Archives 75003 Paris France T: +33 1 42 74 04 25 galerie laurent mueller |
Antonio Calderara
Costellazione, 1968
54 x 54 cm
Oil on wood
Courtesy of Galerie Bernard Bouche, Paris
GALERIE BERNARD BOUCHE, Paris
ANTONIO CALDERARA - JEAN DEGOTTEX CARLO GUAITA - PETER JOSEPH June 3 - July 5, 2014 The gallery is pleased to announce from June 3, a group show exhibition with four artists - Antonio Calderara, Jean Degottex, Carlo Guaita and Peter Joseph, who have in a common denominator a shared interest in virtues of asceticism and with this famous phrase "less is more". Antonio Calderara (1903-1978) in his early work was figurative whilst he later turned to abstraction and minimalism, leaving behind the real world as a distant memory. He lived a solitary life near Lake Orta with his wife Carmela, a conscious choice on the part of the artist who wished to distance himself from the bustling art scene of the time. The main concern of Calderara is the fusion of light and color: color as light, light as color. In 1959, his work gradually and logically shifted toward abstraction with an unforced ease. Seeing becomes knowing and knowledge leads to coherent pictorial forms, always saturated with the richness of perception. The panel, in most cases quadratic and modestly dimensioned, is now the given territory. They initially exhibit a material thickness of about 10 mm, later roughly 3 mm. The painting is continued along the side surfaces. All the formal definitions refer to the entire field, which implies and provokes an imaginary expansion. The internal geometric order creates conditions that point toward an external order. The differentiation of the hues and the light/dark shading is achieved by applying the paint in many transparent layers. A subtle luminosity and closure of the surface emphasizes the unity and coherence of the pictorial object and means of painting. Jean Degottex (1918-1988) began to distance himself from the lyric abstraction movement of which he was one of the major figures. Little by little he abandoned color and started taking interest in the sign, in a form of writing that is the product of deep meditation and that reveals a quest for emptiness, a concept drawn from zen philosophy. Gradually, the writing disappeared and gave place to lines in a search for greater simplicity and the absolute gesture. Degottex summarized the work of a painter as discharging paint onto the canvas until exhaustion. Canvas, brush, paint, gesture, everything is laid bare. Carlo Guaita is inspired in his recent works by the scientific revolution of the XVIIth and the XVIIIth century, the origin of the modern thought. Carlo Guaita is working mainly on paper, sculpture and painting, where he likes to introduce some texts coming from ancient naturalists authors. He freely brings in his work texts like inventories and miscellaneous works reproductions (cards, pictures, sculptures) of different sizes, without any defined standards but unpredictable relationships and compatibilities. The artist is looking for a new iconography of the modernity. Carlo Guaita, is working about the relations between the work and the materials which constitute his elaboration, adding to that some conceptual and historical references. His work can be describe as a continuous stratification, almost as if it was an infinite filling, an uncertain encyclopedia, that can be watch in the same time in a formal, conceptual and esthetical way. Peter Joseph's more recent pieces are characterized by a compositional improvisation and are the result of experience, his touch both dynamic and calm, leaving several sections unpainted which evoke a new space and new emotion. It breaks away from the formal restraint of over thirty years, featuring angular and biomorphic shapes floating over a neutral ground, which occasionally disintegrate or collapse into semi-translucent ethereal washes. The new paintings feature the tonal evocations of previous series, but here the references are, according to the artist, the landscape and skies of his Gloucestershire home of 30 years, also reflecting his fascination with the powerful significances of classical Greek architecture. The marks of the brush strokes, becoming forms on a ground which gives a new space of transparency, are embodiments of atmospheres, memory or location. However, “Representation is, as always, something that belongs to words and not to pictorial substitutes,” Joseph says. “For the artist, the subject of the painting is his life.” GALERIE BERNARD BOUCHE 123, Rue Vielle Du Temple 75003 Paris T: +33 1 42 72 60 03 GALERIE BERNARD BOUCHE, Paris 
SILVIA BÄCHLI
o.T. , 2013
Gouache on paper
55 x 75 cm
Courtesy the artist and Barbara Gross Galerie, München
Barbara Gross Galerie, Munich
SILVIA BÄCHLI Weiter. Wird. (Further. Becomes.) May 23 -July 12 2014 An observation, a memory, a vague idea is the beginning. Form finds itself along the way. Line is the subject. It breathes, is first dark and wafts, becoming lighter, out of the white of the paper.It extends across the whole sheet, touching other lines, leaning against them, intersecting, dangles from the edge, runs around, takes in the margins, sweeps off the paper. With these words Silvia Bächli succinctly describes the creation and realization of her drawings in 2014. Ever since her first exhibition at the Barbara Gross Galerie in 1988 her work has been under steady development. "Continually doing something different than before without abandoning the previous things, taking them all along and slowly continuing them” - this idea of the artist fuels her constantly changing visual formulations. Bächli’s drawings are reactions to the phenomena she perceives in her immediate surroundings: things and landscapes, observations of movement and sound. Motifs like the outline of a female torso, the silhouette of a couple, or the depiction of a branch, are familiar from her earlier works. They hang between drawings that are less clearly figurative. Freely drawn lines, soft and flowing, dynamically curved or precisely geometric, awaken recollections of landscapes, organic or architectonic structures. Color is newly dominant. Where many different shades of black once constituted the richness of her drawings, Bächli now extends her palette with milky, matte and transparent hues as well as strong colors. Rhythmically layered lineaments are condensed into a surface. Bächli’s four-month stay in Iceland in 2008 has been described as her 'initial experience of color.' The white, snowy landscape with its contrasting colored details, such as a door painted bright blue, or a roof covered in green, is echoed in the ensuing works. Her first color drawings were added sporadically to her mainly black-and-white installation at the 2009 Venice Biennial. In our exhibition they are now the major element. "Bächli’s mastery rests on her ability to alienate the conventional aspect of subjects by means of palette and shading so that something new emerges, something familiar and yet still foreign,” writes Michael Semff in the catalogue for her exhibition at the Graphische Sammlung Munich in 2014. Silvia Bächli, *1956 in Baden, lives and works in Basel and Paris. Solo shows (selected): Silvia Bächli. Brombeeren. Arbeiten auf Papier, Staatliche Graphische Sammlung in der Pinakothek der Moderne, Munich (2014); What About Sunday - Silvia Bächli and Eric Hattan, MK Gallery, Milton Keynes, UK (2013); Far Apart - Close Together Kunstmuseum St. Gallen (2012), Schnee bis im Mai - Silvia Bächli und Eric Hattan; Kunsthalle Nuremburg (2011); det. das, Swiss Pavilion at the 53rd Venice Biennial (2009); Nuit et jour, Cabinet des arts graphiques, Centre Pompidou, Paris (2007); Museu de Serralves, Porto (2007); Poèmes sans prénoms, Mamco, Musée d'art moderne et contemporain, Geneva (2006) Barbara Gross Galerie Theresienstr. 56, Hof 1 80333 Munich Germany T: 0049 89 296272 Barbara Gross Galerie |
5.6.2014
BERLINER LISTE 2014: The Photography Section
Again at BERLINER LISTE 2014: The Photography Section
The BERLINER LISTE will be held from September 18th to 21st, 2014 for the eleventh time. The application period has started - please find more information and apply online under www.berliner-liste.org As a discoverer’s fair for contemporary art, the BERLINER LISTE focuses particularly on exciting international galleries, project spaces and artists that enrich the art market with their current work in a moderate-price segment and highly interesting for collectors. 
Curator Dr. Peter Funken will make an international selection of exhibitors. Among the additional features is the awarding of the Peter C. Schlüschen sport photography prize (endowed with 10.000 Euros).
Not only photography-galleries can apply, all other artists, galleries and project spaces can now apply in BERLINER LISTE 2014 |
After the great positive resonance last year, the BERLINER LISTE offers again an international platform for photography. With its long tradition in photography and its many exhibition halls, Berlin plays a significant role in the photography world - more than enough reason to open up an exhibition section dedicated to this discipline.
The Postbahnhof Berlin with its bright, light-flooded atmosphere offers an incomparable architectural stage to exhibit artworks appropriate. The Photography Section will be given visual prominence within this year’s exhibition space and be readily identifiable. The section is expected to attract many photography lovers and collectors. Again we are counting on more than 10.000 visitors. 
Please do not hesitate to contact us via email ([email protected]) or telephone +49 -(0)30 - 77 008 993. In case you have questions about the curation, we can also put you in direct contact with curator Peter Funken - just drop us an email and we forward it to him.
We are looking forward to your application! Warm regards Jörgen Golz Fair Director |
3.6.2014
London
Timothy Taylor Gallery presents SEAN SCULLY - Kind of Red
Sean Scully
‘Kind of Red’, 2013
Oil on aluminium
5 parts each: 85 x 75 in. / 215.9 x 190.5 cm
Sean Scully
Kind of Red
Opens Tuesday 10 June 6-8pm
Exhibition continues until 12 July 2014
Timothy Taylor Gallery is proud to announce a presentation of ambitious new paintings by Sean Scully. This is the artist’s eighth solo show with the gallery and the first opportunity to view new work in London since 2010. A full colour catalogue, featuring an essay by the acclaimed music and sports writer Richard Williams, will accompany the exhibition.
Since the 1970s, Sean Scully has gained international prominence as one of the most admired and significant contemporary abstract painters working today. Monumental in scale, the works featured in this exhibition demonstrate a mature confidence and unwavering drive for experimentation. Indeed the focal point of the show, Kind of Red, 2013, a powerful five-panel installation on aluminium, is unlike any work previously made by the artist.
Music, particularly jazz, has always played an inspirational part in Scully’s practice and Kind of Redreferences the seminal 1959 Miles Davis album Kind of Blue, which Scully absorbed while making these paintings in his German studio. Davis’ album was pioneering for its exploration of the possibilities of modal jazz, using musical modes while keeping chordal movement to the minimum and allowing the music to billow and stretch more freely, promoting a feeling of space and calm. Similarly, by repeating the motif of twinned blocks of reds, greys and blacks in differing orientations across five separate panels, Scully establishes an expansive, pulsating rhythm. As Richard Williams observes, “...just as Davis worked on the modes that were to replace conventional harmonic structures throughout most ofKind of Blue, so Scully devised the format and the ground...on which the Kind of Red paintings were to be made. The bare metal of the working surface remains exposed beyond the edges of the painted area; in two of the pieces, drips run down towards the bottom edge”.
“I wanted to set up something that was very rhythmical,” Scully says, “so that the images were on the support but not secured to it, so that they could float around and set up these rhythms between them, up and down and from side to side, playing with the edges. Those drips gave them a kind of lift-off.”
Kind of Red
Opens Tuesday 10 June 6-8pm
Exhibition continues until 12 July 2014
Timothy Taylor Gallery is proud to announce a presentation of ambitious new paintings by Sean Scully. This is the artist’s eighth solo show with the gallery and the first opportunity to view new work in London since 2010. A full colour catalogue, featuring an essay by the acclaimed music and sports writer Richard Williams, will accompany the exhibition.
Since the 1970s, Sean Scully has gained international prominence as one of the most admired and significant contemporary abstract painters working today. Monumental in scale, the works featured in this exhibition demonstrate a mature confidence and unwavering drive for experimentation. Indeed the focal point of the show, Kind of Red, 2013, a powerful five-panel installation on aluminium, is unlike any work previously made by the artist.
Music, particularly jazz, has always played an inspirational part in Scully’s practice and Kind of Redreferences the seminal 1959 Miles Davis album Kind of Blue, which Scully absorbed while making these paintings in his German studio. Davis’ album was pioneering for its exploration of the possibilities of modal jazz, using musical modes while keeping chordal movement to the minimum and allowing the music to billow and stretch more freely, promoting a feeling of space and calm. Similarly, by repeating the motif of twinned blocks of reds, greys and blacks in differing orientations across five separate panels, Scully establishes an expansive, pulsating rhythm. As Richard Williams observes, “...just as Davis worked on the modes that were to replace conventional harmonic structures throughout most ofKind of Blue, so Scully devised the format and the ground...on which the Kind of Red paintings were to be made. The bare metal of the working surface remains exposed beyond the edges of the painted area; in two of the pieces, drips run down towards the bottom edge”.
“I wanted to set up something that was very rhythmical,” Scully says, “so that the images were on the support but not secured to it, so that they could float around and set up these rhythms between them, up and down and from side to side, playing with the edges. Those drips gave them a kind of lift-off.”
Sean Scully
‘Landline Blue’, 2014
Oil on aluminium
85 x 75 in. / 215.9 x 190.5 cm
The exhibition also features a select number of paintings from the recent Landline series. Defined by broad horizontal bands of blues and greys that appear to hover above one another, the sense of movement in these works is more restricted, yet a distinct visual ‘humming’ emanates from the vibrating colour zones. “I was always looking at the horizon line - at the way the blocks of the world hug...and brush up against each other, their weight, their air, their colour, and the soft uncertain space between them.”
Born in Dublin in 1945, Sean Scully moved to London in 1949. He studied at Croydon College of Art, London, (1965-68), and Newcastle University (1968-72), before moving to New York in 1975 where he became an American citizen in 1983. He has been nominated for the Turner Prize twice (1989 and 1993). His critically acclaimed Wall of Light series toured America from 2005, culminating at The Metropolitan Museum of Art, New York in 2007. Scully was elected a Royal Academician in 2013. In November 2014, the Shanghai Himalayas Art Museum will hold a major solo exhibition as part of the Shanghai Biennale. This exhibition will travel to Beijing in 2015.
Recent solo exhibitions include Sean Scully: Triptychs, Pallant House Gallery, Chichester (2013/2014);Sean Scully: Change and Horizontals, curated by Brett Littman of The Drawing Center New York, Timothy Taylor Gallery, London (2012), touring to New York and various venues across Europe; Sean Scully: Notations, Philadelphia Museum of Art, Pennsylvania, USA (2013).
Scully’s work is held by numerous public collections worldwide, including The Metropolitan Museum of Art, Museum of Modern Art, and Solomon R. Guggenheim Museum, New York; The National Gallery of Art, the Corcoran Gallery of Art, and Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Modern Art Museum of Fort Worth, Fort Worth; Tate, London; Kunstsammlung Nordrhein-Westfalen K20K21, Düsseldorf; Albertina, Vienna; Museo Nacional Centro de Arte Reina Sofia, Madrid; and Instituto Valencia d’Arte Modern, Valencia. Sean Scully lives and works in New York, Barcelona and Munich.
Timothy Taylor Gallery is located at 15 Carlos Place, London, W1K 2EX, just south of Grosvenor Square and next to the Connaught Hotel.
For further information about Sean Scully or for press images, please contact Carla Borel[email protected] / +44 (0)207 409 3344
Born in Dublin in 1945, Sean Scully moved to London in 1949. He studied at Croydon College of Art, London, (1965-68), and Newcastle University (1968-72), before moving to New York in 1975 where he became an American citizen in 1983. He has been nominated for the Turner Prize twice (1989 and 1993). His critically acclaimed Wall of Light series toured America from 2005, culminating at The Metropolitan Museum of Art, New York in 2007. Scully was elected a Royal Academician in 2013. In November 2014, the Shanghai Himalayas Art Museum will hold a major solo exhibition as part of the Shanghai Biennale. This exhibition will travel to Beijing in 2015.
Recent solo exhibitions include Sean Scully: Triptychs, Pallant House Gallery, Chichester (2013/2014);Sean Scully: Change and Horizontals, curated by Brett Littman of The Drawing Center New York, Timothy Taylor Gallery, London (2012), touring to New York and various venues across Europe; Sean Scully: Notations, Philadelphia Museum of Art, Pennsylvania, USA (2013).
Scully’s work is held by numerous public collections worldwide, including The Metropolitan Museum of Art, Museum of Modern Art, and Solomon R. Guggenheim Museum, New York; The National Gallery of Art, the Corcoran Gallery of Art, and Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Modern Art Museum of Fort Worth, Fort Worth; Tate, London; Kunstsammlung Nordrhein-Westfalen K20K21, Düsseldorf; Albertina, Vienna; Museo Nacional Centro de Arte Reina Sofia, Madrid; and Instituto Valencia d’Arte Modern, Valencia. Sean Scully lives and works in New York, Barcelona and Munich.
Timothy Taylor Gallery is located at 15 Carlos Place, London, W1K 2EX, just south of Grosvenor Square and next to the Connaught Hotel.
For further information about Sean Scully or for press images, please contact Carla Borel[email protected] / +44 (0)207 409 3344
Sean Scully
‘Landline Grey’, 2014
Oil on aluminium
45 x 40 in. / 114.3 x 101.6 cm
Timothy Taylor Gallery
15 Carlos Place
London W1K 2EX
T: +44 (0)20 7409 3344
Open Monday to Friday 10am - 6pm
Saturday 11am - 5pm
www.timothytaylorgallery.com
15 Carlos Place
London W1K 2EX
T: +44 (0)20 7409 3344
Open Monday to Friday 10am - 6pm
Saturday 11am - 5pm
www.timothytaylorgallery.com
30.5.2014
Photography, Film & Video
MOTINTERNATIONAL, London
PILAR SERRA, Madrid
LUIS DE JESUS, Los Angeles
Elisa Sighicelli
Untitled (Silk), 2013
pigment print on archival paper, gaffer tape
56.6 x 71.6 cm
Courtesy of the artist and MOT International London
MOT INTERNATIONAL, London
ELISA SIGHICELLI 22 May - 28 June, 2014 MOT International London are pleased to announce an exhibition of new works by Elisa Sighicelli in her first solo exhibition with the gallery. Exploring the relationship between representation and reality, Sighicelli’s photographic works challenge the formal and physical properties of the medium, questioning its two-dimensionality, presentation, and subject matter. In her new body of work, Sighicelli extends the space of representation, gaffer taping and nailing images directly to the wall. Engaging in a kind of inverse tromp-l’oeil effect, the tape or nail appears to hold up the photograph’s folds of fabric drapery, elegantly disorienting the spacial planes of the image. The apparatus of display becomes the works central proposition, highlighting tensions between the photographic image, and the photograph as an object in and of itself. Also presented are works in which the artist has photographed details of glass objects; often richly coloured they appear as lucent, almost abstract forms. Yet by placing these images under convex circles of glass Sighicelli renders them unstable. Blurring distinctions between image and reality, the surface of the convex glass casts reflections of the surrounding room, changing as the viewer moves in the space. Sighicelli 'un-fixes' the photograph, playing with the dynamics of perception by folding the actual into the pictorial. Elisa Sighicelli (b.1968) lives and works in Turin. She exhibited at the 53rd Venice Biennial in the Italian Pavilion and solo presentations of her work have been staged at the GAM - Galleria Civica D'Arte Moderna e Contemporanea, Turin; MAMbo, Bologna and Gagosian Gallery, most recently in Geneva. Recent group exhibitions include Wunderkammer. Arte, Natura, Meraviglia ieri e oggi, Museo Poldi Pezzoli, Milan (2013) Punti Di Vista. Identità Conflitti Mutamenti, Galleria Nazionale di Cosenza, Cosenza, Palazzo Arnone; Marking Time, MCA, Sydney; Silences where things abandon themselves, MSU - Museum of Comtemporary Art, Zagreb (all 2012) Ceci n’est pas du Cinema, Castello di Rivoli Museo d’Arte Contemporanea and Museo Nazionale del Cinema, Turin (2011). MOT INTERNATIONAL First Floor, 72 New Bond Street London W1S 1RR T: +44 (0)20 7491 7208 MOT INTERNATIONAL 
Kate Bonner
An effect like fast forwarding, 2014
Digital pigment prints on Norbord Ultralight
75 x 55 in (190.5 x 140 cm)
Courtesy of Luis De Jesus Los Angeles
LUIS DE JESUS, Los Angeles
KATE BONNER Possible Event May 17 - June 28, 2014 Time is slipping. A moment ago this image stood alone. Now it catches against that other one. It flips upside down. The pixels snag, are turned into paint. One pixel becomes liquid and is stretched, poured, smoothed over the surface of the image. With digital tools, one photograph is painted into the fabric of another. Two moments appear as parallel visions, torn and spliced together. Luis De Jesus Los Angeles is very pleased to present KATE BONNER in her first solo exhibition with the gallery, titled Possible Event, on view from May 17 through June 28, 2014. Through a process of reduction and transformation, Kate Bonner’s work withholds explanation and proposes simple fictions. Using digital brushes, power tools, and a language of fragmentation, she seeks to expand space, to break through the surface of the image. Her work is an attempt to see in, around and under images. It questions limits and points of entry. Kate Bonner began this process of questioning with progress shots and reference photos of drawings and paintings. In these off-frame photos, and later scans and photocopies, she sought out objects that could operate as mere objects rather than symbols. She began cutting apart photographs, folding them, rolling them, and flipping them around in an attempt to use representational imagery for formal, abstract purposes; to deny a story. In Possible Event, multiple images are located in one frame. The images are points in time, spliced into a location. As moments, the images compete with each other, and submit to each other inside the confines of a flattened plane. Each piece has a front and a back; mounted rather than framed, they operate like snapshots - folding, bending, leaning. There are borders and frames inside the image (both around the rims of the photographs, and around the edge of the digital print), while cuts and folds in the work turn the room into an even larger frame. Discarding any distinction between sculpture, photography, and installation, Kate Bonner acknowledges our human desire to investigate, to know, to mentally construct, while simultaneously confounding it. Kate Bonner received her MFA from California College of the Arts in 2012. She lives and works in Oakland, CA. In 2013, Bonner was included in NextNewCA, a survey of selected MFA graduates at the San Jose Institute of Contemporary Art. She also participated at Luis De Jesus Los Angeles in The Road and for all intents and purposes, as well as the Dallas Art Fair and Paris Photo Los Angeles. She has exhibited at The Wattis Institute for Contemporary Art, San Jose Institute for Contemporary Art, Queens Nails, The Popular Workshop, Important Projects, Et al Projects, and NADA New York, among others. LUIS DE JESUS Los Angeles 2635 S. La Cienega Blvd. Los Angeles, CA 90034 T: +1 310 838 6000 LUIS DE JESUS, Los Angeles |
Lidia Benavides
Akasha, 2014
Fotograf´a impresa con tintas UVI sobrecaja de luz LED
Tamaño de 100 x 140 cm
Courtesy of the artist and PILAR SERRA, Madrid
PILAR SERRA, Madrid
LIDIA BENAVIDES Clear Light of Emptiness 3 June to 12 July Opening 3 June 2014 at 8 p.m. Lidia Benavides (b. Madrid, 1971), artist who focuses her investigation into light as an autonomous visual language, holds a doctorate in Fine Arts from the Complutense University of Madrid, with a thesis titled “Light as visual language and its significance: space, movement and perception”. Since 1998 she has been working on this complex and attractive theme by means of a series of photographs, light-boxes, videos and installations, always working on series such as natural light/artificial light in which she modelled light-beams, reflections and refractions in shots using daylight and sources of electric light; in infrared/ultraviolet exhibited in Photoespaña 00 the artist inquired into wavelengths invisible to the human eye. In 2002 she held her first exhibition in the gallery, then known as Galer´a Estiarte, with the series Filters, Antidotes and Heavenly Juice, photographs in which she shows the subtlety, the veilings, the purity of an abstract language, in which light is the basis of her creation. In 2004 she exhibited for a second time in Estiarte with a series titled Cosmorama, signifying the optical device used to increase the size of objects by means of a camera obscura. The series consisted of two series of photographs, a photo-installation of 22 photographs and a video. In the prologue to the catalogue, Oscar Alonso Molina wrote: “These bodiless sparkles, phantasmagorical auras and fumaroles resound in the bottom of each one like echoes of the same resonance box: the exacerbated sensitivity to light and the colour of Lidia Benavides”. In her continual search for the luminous universe, Lidia Benavides went to the Solar Platform of Almer´a, a body coming under the Ministry of Education and Science located in the Tabernas desert in Almer´a, where she interviewed the research personnel and made several visits to the facilities in order to infuse her own particular artistic language with the latest advances in solar energy. Sun oven was the title of the project that saw the start of a less abstract stage of large-size photo-installations formed by a mosaic of photographic images, reflecting the sun in the silver mirrors of the actual Sun Oven and which create the sensation of a beautiful and spectacular golden surface. Two years later she turned her attention to the Institute of Astrophysics of the Canary Islands with its telescopes and facilities at Roque de los Muchachos on the island of La Palma, which led to another interesting project, Gamma, exhibited in the gallery in 2010. The following year she spent some time in Berlin visiting various solar facilities and platforms in the city and its surroundings, resulting in works in which, by means of digital colour and pictorial treatment of the images, she transforms the austerity of the facilities into a universe full of colour and energy. This project, Berlin Solar Energy Production, was exhibited in the Vierter Stock Galerie in Berlin and in the Galer´a Pilar Serra later on. On this occasion we are displaying six pieces, mounted in light-boxes, lightweight ethereal images in which, in the words of Mariano Navarro, “one could say they were a pearly sky in the uncertain hour of daybreak, apparently hardly any if there is nothing that is not nothing itself or, putting it another way, are constituted solely by means of the almost imperceptible rubbing of light on the transparent curved surface of the sphere”. GALER´A PILAR SERRA C/ Santa Engracia, 6 Bajo Centro 28010 Madrid Spain T: +34 91 308 15 69 /70 PILAR SERRA |
23.5.2014
HERE IN PARADISE
ART EXHIBITON
IRELAND
22.5.2014.
Mixed / Multi-Media
Gandy gallery, Bratislava
The Gallery at 70/77 Cowcross Street, London
Gypsum Gallery, Cairo
Andrew Rafacz Gallery, Chicago
Lia Perjovschi
Subject and Society
edition 20+2ap
courtesy Gandy gallery
Gandy gallery, Bratislava
LIA PERJOVSCHI Knowledge Museum (kit) Opening reception: Tuesday May 27 th from 18.00 to 20.00 in presence of the artist Exhibition May 28 - July 31, 2014 Gandy gallery is pleased to present a first exhibition by LIA PERJOVSCHI Knowledge Museum (plan) is a project in which I recycle all my other projects, I present “like an architect” the model - on a table, on the walls, or in a space, using diagrams from my interdisciplinary research - from books, reviews, the internet and objects both mainly in museums stores around the globe from 1999-untill today (used for educational purposes). The museum comprises 7 (seven) departments: Earth, Body, Art, Culture, Knowledge, Science, and Universe. It is not “The Museum”- it is a basic starting point. Knowledge is Surviving (doing the best you can out of what you have) - Lia Perjovschi Born in 1961 in Sibiu, Romania, Lia Perjovschi studied at the Art Academy Bucharest 1987-1993. She currently lives in Sibiu and Bucarest. Lia has been recognised as one of the leading performance artists in Romania, and is also known for her unusual objects. From the 1990s, she has been gradually focusing more on conceptual projects such as Timelines, Mind Maps (Diagrams) (since 1999), andKnowledge Museum (based on an interdisciplinary research project from 1999), that follow historical and intellectual events and ideas, and on collections such as the Globe Collection (since 1990), commenting on media and on consumerism. She is the founder and coordinator of CAA /CAA (Contemporary Art Archive and Center for Art Analysis), an organic still in process project (under different names since 1985). She has exhibited at 2013, Tranzit, Prag, 2011 MACBA Barcelona, Kunstler Hause Wien, 2010 Van Abbe Museum Einhoven, Cabaret Voltaire Zurich, Jamaica Center NY, 2009 MUMOK Wien, IWAB Incheon S Korea, Modern Art Oxford, Bild Museet Umea, 2008 Wilkinson Gallery London, Sydney Biennale, Jumex Foundation Mexico City, 2007 Nasher Museum at Duke University NC US,Walker Art Center MN, Tate Modern London, Kunstmuseum Liechtenstein, Centre Pompidou Paris, 2006, Yujiro Gallery London, MuHKA Antwerpen, Royal College of Art London, 2005 Generali Foundation Wien, Wurtenbergishe Kunstverein, Stuttgart, Museum of Modern Art Ljubljana. Gandy gallery Sienkiewiczova 4 81109 Bratislava Slovakia T: +421 915203082 Gandy gallery 
Ala Younis
UAR, 2014
pencil and carbon on paper
30 x 42 cm (detail)
Courtesy of the artist and Gypsum Gallery, Cairo
Gypsum Gallery, Cairo
ALA YOUNIS UAR May 13 - June 10, 2014 Gypsum Gallery is delighted to host the first solo exhibition in Egypt by Amman-based artist Ala Younis. UAR is a research-based project whose starting point is a photograph of Gamal Abdel Nasser looking onto an enthusiastic and proud Arab crowd during the signing of a sovereign union agreement between Egypt and Syria in 1958. Many regional and international forces challenged the promise of a sovereign union of Arab states. Things, however, seemed to be gathering force in the region with a rocket-industry project on the verge of giving the Arab world unprecedented power and the Gulf flooding with oil, experts and exports. But a heart attack sent Nasser home dead from an Arab Summit. A rupture. A shock. Five million mourners marched a 10 km procession to his burial, while engulfing the coffin. All Arab heads of state were in attendance. King Hussein of Jordan and PLO leader Yasser Arafat cried openly while Muammar Gaddafi of Libya reportedly fainted twice. In Jerusalem, roughly 75,000 Arabs marched through the Old City chanting, "Nasser will never die." In Syria as in Kuwait, a general mourning was announced for 40 days. Leipzig marched, so did Moscow who sent the Soviet Premier. Going through a repertoire of images and objects that emerged from that time, the project studies the stories and mechanisms that produced Nasser’s historical figure. It is a finale to a trilogy of a body of work on Arab Nationalism that started with Nefertiti and Needles to Rockets (2008), and Six Days(2009). It is an exploration of individuals’ complicated relationship to Gamal Abdel Nasser as the hero and the anti-hero, to his promises and his failures. The trilogy delves into Egyptian modernism and the appropriation of symbols from a glorious past and the rhetoric of science, progress and industrialization. Working with video, installation and publication-based projects, Ala Younis examines how Arab modernism and identity are shaped by ideology and politics. Her projects begin with found objects and images. Some are deeply intimate, while others already possess icon status - albeit ones that have been discarded or forgotten with the passage of time like a defunct Nefertiti sewing machine and a tin soldier. Each object or image becomes part of a web of stories in which the personal is inextricable from the collective. Ala Younis’ work has been presented by many institutions worldwide including L'Institut du Monde Arabe, Paris; Egyptian Museum, Munich; Mathaf: Arab Museum of Modern Art, Doha; Institut Valencià d'Art Modern, Valencia; Delfina Foundation, London; Ashkal Alwan Association, Beirut; Darat al Funun, Amman; Townhouse Gallery and Contemporary Image Collective (CIC), Cairo; Museet for Fotokunst, Odense; Zendai MoMA, Shanghai, among others. Her work was also shown in Gwangju Biennale, South Korea; New Museum Triennial, New York; Istanbul Biennial; International Biennale for the Artist’s Book, Alexandria; Asian Art Biennale, Dhaka; and Cairo's 17th Youth Salon. In addition to her art practice, she has curated numerous projects in the Middle East and Europe including the Kuwaiti Pavilion at the Venice Biennale in 2013. Younis was born in Kuwait, and studied architecture in Amman, where she currently lives. She is among ArtReview’s Future Greats 2012, a Bellagio Creative Arts Fellow (2013), and on the advisory board of Berlinale's Forum Expanded. The research for this exhibition has been generously supported by the Kamel Lazaar Foundation. Gypsum Gallery 5A Bahgat Ali Str., Apt. 12 Zamalek Cairo E: [email protected] Gypsum Gallery 
|
Simon Hombersley
Denys Lasdun - NT1
Graphite on paper
60cm x 80cm
2014
SIMON HOMBERSLEY
Brutal Texture: a 20th Century Society Exhibition 7-20 June 2014 Private View Monday 9 June 18:00 - 20:30 An exhibition celebrating the work of some of Britain’s finest Brutalist architects will open on 7 June 2014, as part of the London Festival of Architecture. ‘Brutal Texture; a 20th Century Society Exhibition’ features works on paper by artist Simon Hombersley, who has a focus on architecture and the built environment. Brutalist buildings such as the National Theatre often top the polls as both the most loved and most hated buildings. Many were controversial when they were built and continue to divide critics. But these buildings are increasingly valued as democratic, idealistic and of high quality. The exhibition celebrates both the architects and the buildings they created. Peter Ruback, Chair of the 20th Century Society: “The 20th Century Society campaigns to preserve and promote the best post 1914 architecture and design. The best Brutalist buildings, are often misunderstood and much maligned, but these architects cared passionately about detailing and quality of design. Their buildings are an important part of our c20th architectural legacy and we’re delighted to support an exhibition that highlights, explains and celebrates the contribution of these architects to Britain’s built environment.” Artist Simon Hombersley is intrigued by the detail of buildings considered to be ‘brutal’. “There’s often a delicacy of finish, an incredibly high quality in both the design and the workmanship,” says Hombersley. “We pass by these buildings in London and often see only the form and bulk of the design. But if you spend some time looking up close, you can often see a wonderful artisanal quality from a time when architects delighted in the decorative potential of concrete.” The exhibition celebrates the work of leading c20th architects such as Erno Goldfinger, Alison and Peter Smithson and in particular Sir Denys Lasdun. Dr Banabas Calder, the leading expert on Lasdun: “Denys Lasdun gave the highest attention to the finishes of his buildings, from refined, glistening precast to the apparent roughness of board-marked in situ. However, even his rough textures were produced by careful carpentry and expert concrete-work. Many wrongly characterise post-war British architecture as a moment when quality was sacrificed to speed and economy. Hombersley’s focus on surface texture draws attention to the range and quality of craft which the leading architects and their contractors put into the seminal material of the period, concrete.” ‘Brutal Texture: a c20th Century Society Exhibition’ will run from 7-20 June at the Gallery, 70/77 Cowcross Street, Clerkenwell. It is part of the London Festival of Architecture 2014. Details on the exhibition are at www.brutal-texture.com. The Gallery 70/77 Cowcross Street Clerkenwell London EC1M 6EL Simon Hombersley: +44 (0)7958 473834 www.brutal-texture.com 
Kelly Kleinschrodt
Courtesy of the artist and Andrew Rafacz Gallery, Chicago
Andrew Rafacz Gallery, Chicago
KELLY KLEINSCHRODT Murmelte Instrumente May 24 - July 5, 2014 ANDREW RAFACZ is pleased to announce Murmelte Instrumente, new photographs and objects byKelly Kleinschrodt in Gallery One. This is the artists first solo exhibition with the gallery. Motherhood and the identity of the female body as mother are central to Kleinschrodt’s continually evolving multi-disciplinary practice. Murmelte Instrumente, a new body of work that is part of her ongoing, larger project mother/cut, translates to “muttering instruments” playing off its cognate relationship to the German word for mother. The muttering instruments are, for Kleinschrodt, the personified objects of motherhood, and she revels in their musicality. The breast pump, breast milk, skin, and violin are referenced throughout, as elements and subjects of the photographs as well as objects included in the installation. The title also references the nascent language between mother and newborn child, as well as the mother’s muffled voice - both literally, as she sits underneath the fabric for a portrait, and psychologically, as she assumes another identity secondary to that of her child. In a series of new photographic works called (__’s mother), Kleinschrodt draws a direct reference to Victorian-era child portrait photography where the mother is present to hold the baby, but completely obfuscated by a dark cloth. The child appears to be sitting in front of a backdrop, which is in fact the cloaked mother. Kleinschrodt has updated this trope by producing a similar composition in iteration, photographing the seated mother in profile, and adding surrogate objects such as a breast pump and a violin to become the primary subject of the portrait. The results are simultaneously classical and conceptual, elegant, yet uncanny. Just as the breast pump is a surrogate for the infant child, the violinist is a surrogate for the artist herself. The performance of everyday gestures and the music intrinsic to everyday objects and liquids are recurrent thematic concerns for Kleinschrodt. With previous projects, the violin and recordings of the breast pump figure directly as the instruments of live performance as a critical element of the exhibition. Eschewing the inclusion of performance, the violin and breast pump become both object and subject in the photographs and installation, creating a more suggestive relationship to the inherent musical counterpoint of object and gesture. KELLY KLEINSCHRODT (American, b. 1983) lives and works in Los Angeles, CA. She received her MFA at UCLA and her BFA at the Art Institute of Boston at Lesley University. Kleinschrodt has presented solo exhibitions with Carter & Citizen, Los Angeles and at UNTITLED., Miami (with Carter & Citizen); and Crisp London Los Angeles. Her work has also been exhibited and screened at Samson Projects, Boston; L.A.C.E., Los Angeles; The Wand, Berlin; Moving Image, New York; Kavi Gupta, Berlin; Museo Ex Teresa Arte Actual, Mexico City; and OPEN Contemporary Art Center, Beijing. This is her first exhibition with the gallery. 
April Street
Untitled, 2014
black nylon over acrylic, pastel, and hosiery
66 in x 54 in
Courtesy of the artist and Andrew Rafacz Gallery, Chicago
APRIL STREET
Runner May 24 - July 5, 2014 ANDREW RAFACZ is pleased to announce Runner, new paintings and an installation of cast sculpture by April Street in Gallery Two. This is the artist’s first solo exhibition with the gallery. Comprised of the artist’s black hole paintings and an installation of 150 cast bronze birthday candles running in and out of the gallery walls, April Street’s Runner, forms paths from inner to outer space both physically and psychologically. Like Street’s previous work, there is a tension between the paintings, the objects and the viewer where things are not always what they seem. Street not only punctures holes in the walls of the gallery but also in the paintings, revealing the gestures’ ability to adapt to and manipulate our interpretation, suspending disbelief while opening up the surface of the painting to reveal its inner workings. April Street's black hole paintings are named after stars frequently referenced in literature; they are psychedelic time capsules holding clues to the history of painting and the personal narrative of the artist. Each painting is wrapped in black nylon with holes cut or punched through revealing layers of painted hosiery. These hosiery layers are artifacts of a private performative act in which the artist wraps herself in hosiery material to enact a series of precise body positions, recorded while sleeping, into pools of acrylic paint on a canvas. The impression made by this act creates a positive and negative, and the mark making has the appearance of a photograph. The negative on the hosiery is then reassembled onto painting’s frame. Street’s gravitational configurations of painted hosiery inside black veils of nylon evoke notions of masking, deception, sexuality, duration, and adaptation, but these objects of action also point to the act of peering through a camera’s eye piece - cropping and editing out the unnecessary. Street's work creates relationships in the gallery that hinge on the ability of an object to transform our interpretation with the altering of its gestures. The puncturing of the surface is made to reach inside for an understanding of how these objects can mysteriously reenact a sensation of blushing or bruising skin and create the psychological territory of the painting itself through the repurposing of its varied elements. The work ignites a conversation with eccentric abstraction, feminism, the performative and the post-war movement Art Informel, while occupying a new space. APRIL STREET (American) lives and works in Los Angeles, CA. She studied traditional bronze casting in central Italy and painting at The School of the Art Institute of Chicago. Recent exhibitions include Carter & Citizen, Los Angeles, CA; Emerson Dorsch, Miami FL; Rosamund Felsen Gallery, Santa Monica, CA; the Santa Barbara Museum, Santa Barbara CA. She received an NEA Project Grant for her video collaboration, Imaging Appalachia. Press includes reviews and articles in Art Forum, Art in America, the San Francisco Arts Quarterly, Huffington Post, LA Weekly, Los Angeles Times, and The New York Times. This is her first exhibition with the gallery. Andrew Rafacz Gallery 835 W. Washington 2nd Floor Chicago, IL 60607 T: (312) 404.9188 Andrew Rafacz Gallery |
20.5.2014.
Painting & Drawing
Luis De Jesus Los Angeles
studio1.1, London
Andréhn-Schiptjenko, Stockholm
blank projects, Cape Town
Michael Kindred Knight
Runoff, 2014
Acrylic on canvas
52 x 46 in / 132 x 117 cm
Courtesy of Luis De Jesus Los Angeles
Luis De Jesus Los Angeles
MICHAEL KINDRED KNIGHT Rayleigh May 17 - June 28, 2014 Artist’s reception: Saturday, May 17th, 6:00 - 8:00 p.m. Luis De Jesus Los Angeles is very pleased to present Los Angeles-based artist MICHAEL KINDRED KNIGHT in his second solo exhibition, titled Rayleigh, on view from May 17 through June 28, 2014. An artist’s reception will be held on Saturday, May 17th, from 6:00 to 8:00 p.m. Michael Kindred Knight continues to utilize and cultivate a roster of plank-like forms, his abstractions appearing simultaneously tectonic and connected to observation, particularly observation of natural light and its inherent ability to generate color and visual phenomena. Hard and soft edged lines, panels, and planks of varying weight and density are at once structure, gesture and depictions of atmosphere. In Rayleigh, Knight’s practice is coupled with a straightening out of the compositions and increased scale; the paintings are more assured in their articulation and increasingly succinct in their generation of distinct atmospheres. Knight subtly employs luminous layers of white and grey tones butting up against more substantive hues that frame and situate the picture plane. The direct mark making, albeit nuanced, reveals how the painting is made layer by layer, the corners and edges functioning as indexes. Each decision is informed by the accumulation of the previous. The paintings, with the process visible and with the interplay between representation and abstraction, acknowledge the slipperiness of paint as a material, both physically and interpretively. Michael Kindred Knight was born in Portland, Oregon, and received an MFA from Claremont Graduate University (2010) and BA from Western Washington University (2004). He lives and works in Los Angeles. Knight is the recipient of the Karl and Beverly Benjamin Fellowship in Art, and the Walker/Parker Memorial Fellowship, and the Claremont Graduate University's President's Art Award. His work has received critical reviews and been featured in The Los Angeles Times, The New York Times, New American Paintings, The Huffington Post, Glasstire, and ArtScene, among other publications. Luis De Jesus Los Angeles 2635 S. La Cienega Blvd. Los Angeles, CA 90034 T: +1 310 838 6000 Luis De Jesus Los Angeles 
Martin Jacobson
Landscape 7, 2014
Oil on canvas
255 x 195 cm, 100 3/8 x 76 3/4 in.
Courtesy of the artist and Andréhn-Schiptjenko, Stockholm
Andréhn-Schiptjenko, Stockholm
MARTIN JACOBSON Landscapes May 15 - June 28, 2014 We proudly present Martin Jacobson’s third exhibition at Andréhn-Schiptjenko. The opening takes place on Thursday, May 15, 5 - 8 p.m. Martin Jacobson’s most recent watercolours and oil paintings depict landscapes in an almost unreal range of colours. The starting point is images found on the “scrap heap” of art history. Jacobson collects images at flea markets, second hand bookshops and on the internet. He looks for archetypical motifs and themes such as sunsets, moonlight, forests, water, sky and roads. Interpreting the originals is a way for Martin Jacobson to create an image that is both new and old, familiar and unknown. It is an attempt to repair the gap that time and space have created between the present time and the found image. In the works in the exhibition, Jacobson has more particularly focused on light and colour phenomena, which he feels correspond to the human condition. The sunset reminds us of time passing by and the dancing flecks of flight of the movement of all things. Through painting I want to give myself a push over the threshold. I try to create images, which I cannot imagine and can only appear through painting. I begin with an idea. After a while I must abandon the original idea and follow the will of the image. I feel I have succeeded when the image has taken me to a previously unknown place. Without me getting lost on the way. Every image is a step of the way, a fragment of a larger image. The impetus to depict is a way for me to create a link between the depicted and myself. To give an abstract experience a concrete form. Martin Jacobson (b. 1978) graduated from Malmö Art Academy in 2005. His solo exhibition Excursions at the Nordic Watercolour Museum in Skärhamn, Sweden, recently closed. His works have been shown in shows such as The Traveller’s Guide to the Other Side at La Conservera, Murcia, Spain, in the Danish pavilion at the Venice Biennale in 2009; in the exhibition The Collectors, curated by Elmgreen & Dragset, at the 17th Biennale of Sydney; in the exhibition The Beauty of Distance, curated by David Elliott, and Nordic Delight at the Institut Culturel Suèdois i Paris, curated by Sinziana Ravini. Andréhn-Schiptjenko Hudiksvallsgatan 8 Stockholm Sweden T: +46 (0)8 612 00 75 Andréhn-Schiptjenko 
|
Marcus Cope
Unfinished Works
oil on primed paper
29.7 cm x 21 cm
2014
studio1.1, London
MARCUS COPE Made in Lempa May 28th - June 1st, daily 12-6pm Private View Thursday 29th, 6-9pm The forty-eight drawings in this show were all made by Marcus Cope during a month spent at the Cyprus College of Art in the spring of this year. Nostalgia for full-scale painting, perhaps, away from home and the studio? The drawings obsessively go back over the same subject-matter: canvases, paintings, paint tins, walls. A painter's world. In just a couple of them a painter is actually there, at work on a painting, but in all the rest the human element - an artist who in any case isn't Cope himself - has been supressed, and it's the work itself that's on show: paintings, finished or unfinished, or blank canvases hanging on the wall or piled up against each other on the floor. Though, these are drawings after all, the subject is never more than glanced at, alluded to, delicately touched in. That the work is in the studio is marked by the small wooden supports it's resting on to keep it off the floor, or maybe a tin or two of paint in front of it. If it's up in place, hanging on the wall, then we must be in a gallery. Nostalgia doesn't really come into it, in fact. For a year now it's drawing Cope has been concentrating on, not painting. The tight constraints he's working under here - a sprayed red ground, four colours, forty-eight sheets of A4 - are less a set of practical limitations dictated by the circumstances than a formal decision to keep things under control. Each drawing makes the same small moves and each next one shifts them, just an inch. The hinting and the allusiveness aren't just a witty way of getting the viewer to do some work - though they are that too - they are the point of the exercise. Aside from the few anchoring touches of realism - the deft almost cartoonish touches of a paintbrush here, a chair there - the drawings are playing games. Within the scattergun extremes of the red spray, not necessarily covering the whole of the paper and not signifying anything in itself, versus the ruled line, the basic geometry which creates the side of a canvas, there's a constant question being asked. How little information can we get away with, artist or viewer? Not just how do we make meaning, but how do we deal with the meaningless? In the end it's the idea of reflexivity too we need to clear away; this isn't by any means drawing about painting. It's just another way of keeping things simple. An artist works in a studio (even an imaginary one), why pretend he doesn't? Why go out into the landscape, why set up the still-life? What is happening on these surfaces is a set of delicate re-arrangements of lines and angles. The pervasive pink might make us think of blood (of course it mustn't). The canvases, walls, room-corners, (all made of lines and right-angles), aren't in our heads, they're there on the paper: but that that working painter was suppressed could be significant. What else needs to dissolve for meaninglessness to take over? Marcus Cope, born Bath, 1980. He lives and works in London. He completed his Masters at Chelsea College of Art and Design, London (2006). This is his third solo exhibition at studio1.1, following Carrion(2011) and Don’t Fill My Head With Your Subversive Nonsense (2010). Recent solo exhibitions include ‘My First New York Show: Looked Good on Paper’ (2013) and Marcus Cope (2012) both at Neu Froth Kunsthalle. Recent group exhibitions include Things you don’t do/things you do do at Bath School of Art and Design Gallery (2014); Signs of the City, Drawing Room in collaboration with UBM PLC, London (2013); MINGLES CALYPSUS / MUNGLES CORPUS at Neu Froth Kunsthalle, Brighton (2013);Untitled 1: Glitch at Peacock Projects, London (2013); Painterly Effluvia at Norman Rea Gallery, York (2012); and Civil Twilight at Boetzelaer and Nispen, London (2011). Cope’s work was included in the recent Thames and Hudson publication Nature Morte by Michael Petry. studio 1.1 57a Redchurch Street London E2 7DJ T: + 44 (0) 7952 986 696 studio 1.1 Marcus Cope 
blank projects, Cape Town
Jan-Henri Booyens Die teorie van weerstand in die gas kamer (2014) Oil on canvas, 170 x 200 cm Courtesy of the artist and blank projects, Cape Town JAN-HENRI BOOYENS Some Kind of Nature Opening Thursday 15 May 2014, 18:00 15 May - 21 June, 2014 blank projects is pleased to present Some Kind of Nature, a solo exhibition of new work by Jan-Henri Booyens. These paintings are the realisation of a process of automatic drawing performed by Booyens during a recent five month retreat. Similar to the Dadaist technique of automatism which relied on the improvised free-flow of thoughts and expressions, Booyens would carry on drawing as he slipped into sleep, only to discover the results of the process the following day. In describing his reasoning for this method, Booyens says that he came about it in order to try and break away from the premeditated conditioning of his compositions. Easily dismissed as insignificant marks and doodles, these drawings have however been brought to life as they are boldly reinterpreted as large-scale oil paintings, demonstrating Booyens' inimitable approach to his medium. Energetic and occasionally violent, the works reveal a physical confrontation with the canvas as Booyens ventures into a wilderness of abstract exploration. Booyens' pictorial vocabulary is complex; throwing together aspects of abstract expressionism and three-chord punk rock, it juxtaposes pared-down, frenetic linear work with backgrounds of densely textured planes of soft monochromes, dominated by melancholic blues. These paintings reveal a search for a new language of painterly abstraction that is uncompromising in its urgency. Through the chaos of these compositions there comes a considered meditation on the productivity of his automatic method that brings a visual order to what might be otherwise seen as random. The works on Some Kind of Nature are simultaneously fearless and defiant, and vulnerable. Jan-Henri Booyens’ work is often described in terms of a struggle between the representational and abstract, the rational and chaotic. An affinity and critical engagement with Modernism is coupled with his relationship to the South African landscape, both physical and social. He has been described as a “forerunner of a new kind of formalism” in South African art” *. Recently, Booyens has affected a subtle shift in his work from concerns with graphic pattern and repetition to experiments in texture and line. His most recent paintings signal a swivel in the artist’s gaze, from the external to the internal, with the artist destroying and resurrecting his paintings, mixing his media and introducing new source material. * Mary Corrigall, 2012, ‘Pulling Things Apart: Jan-Henri Booyens’. Born in Johannesburg in 1980, Booyens lives and works between Cape Town and Pretoria. He studied at the Durban Institute of Technology and the Gerrit Rietveld Academie voor Beeldende Kunsten in Amsterdam, and has taught in the Visual Arts Department at the University of Stellenboosch. Booyens was one-third of the infamous artist collective Avant Car Guard and his work is part of numerous collections, including the Cartier Foundation for Contemporary Art in Paris and the Iziko South African National Gallery. Solo exhibitions to date are The Matt Sparkle (Whatiftheworld, Cape Town, 2008),People Used To Dream About The Future (artSPACE Berlin, 2009), Tectonic (Whatiftheworld, Cape Town, 2010), Strange Days (blank projects, 2012) and Save It Till The Morning After (blank projects, 2013). blank projects 113-115 Sir Lowry Road Woodstock Cape Town South Africa T: +27 21 462 4276 blank projects |
08.5.2014
Sculpture & Installation
MICHAEL JANSSEN, Berlin
FOXY PRODUCTION, New York
Meyer Riegger, Berlin
Cherry and Martin, Los Angeles
Lili Dujourie
"Jeux de dames"
installation view, Michael Janssen Berlin
May 3 - June 21, 2014
Courtesy Michael Janssen Berlin-Singapore
MICHAEL JANSSEN, Berlin
LILI DUJOURIE Jeux de dames May 3 - June 21, 2014 Michael Janssen Berlin is pleased to announce its second exhibition by Belgian artist Lili Dujourie (b. 1941). Entitled Jeux de dames the exhibition showcases the central homonymous velvet sculpture from 1987, her complete early video works as well as the photographic series Oostende (Storm) from 1976. Dujourie’s work includes video, collages, sculptures, installations and photography. She is a pioneering artist who created groundbreaking works in the 1970’s with her feminist performance videos. In the 1980’s Dujourie started to make sculptures with velvet, which she usually draped over a built armature of steel and wood. The result displays the richness and complexity of a whole culture by folding its past into its present: it takes a framing device from the history of painting and puts it on the stage of contemporary sculpture in a leading role. In Jeux de dames (draughts or checkers but literally Ladies’ plays, 1987) Dujourie stages an encounter between a flamboyant curlicue of blue velvet and an angular black screen of lacquered wood, standing on a marble draught board. The sculpture depicts a scenery that seems to have been abandoned by the female model. She is no longer posing and all that remains of her are her ornaments of velvety curves. Édition de tête, 1972-1981 comprises 14 of her black-and-white videos created between 1972 and 1981. In them Dujourie created extremely intimate and captivating soundless moving images in ‘soft’, painterly ‘grisaille’; they all feature the human figure - usually herself - as a sculptural presence. The open-reel tapes have been re-mastered for preservation purposes in 2002 and since then shown and written about in various contexts, and are now regarded “...as crucial for understanding how artists realized the potential of the electronic moving image at an early stage.” (in “The actions of bodies: approaching Lili Dujourie”, Anders Kreuger, Afterwall, Autumn/Winter 2013). In her works Dujourie is continuously concerned with contemporary reinterpretations of themes, forms and gestures from art history, which is one reason why her many-faceted but dense and precisely articulated oeuvre is so visually and intellectually rewarding. In her articulation of minimalism and conceptual ideas, her works draw questions on the relation between matter and subject and how this relates to perception. Her work has been presented at the P.S.1 in New York, at the Museum of Contemporary Art in Los Angeles, at the Documenta 12, at the 2010 Sharjah Biennial and at the 2008 Gwandju Biennal. In 2005 a major exhibition (curated by Lynne Cooke) at the Palais des Beaux Arts in Brussels was dedicated to her work. In 2011 Michael Janssen had a major survey with Dujourie in Berlin. In 2014 she will have a major survey at the Leopold-Hoesch-Museum in Düren, Germany. Lili Dujourie b. 1941 in Roeselare, Belgium. Lives and works in Ghent, Belgium. Selected exhibitions: 2011: Galerie Michael Janssen, Berlin, Germany (solo). 2010: La Conservera, Murcia, Spain (solo); Kunsthalle Bern, Switzerland (group), Centre Georges Pompidou, Paris, France (group). 2009: Sharjah Biennial, Sharjah, UAE (group). 2008: P.S. 1. Contemporary Arts Center, New York NY, USA (group); MOCA, Los Angeles CA, USA (group); Gwangju Biennial, Gwangju, South Korea (group). MICHAEL JANSSEN Potsdamer Str. 63 D-10785 Berlin Germany T: +49 (0)30 259 272 50 MICHAEL JANSSEN Berlin-Singapore 
Nathan Mabry
'Heavy Handed (Flesh and Blood)'
2014
Cor-ten steel, aluminum base
55 x 63.5 x 109.75 inches, 139.7 x 161.29 x 278.77 centimeters
Courtesy of the artist and Cherry and Martin, Los Angeles
NATHAN MABRY
GOODGOD May 3 - June 28, 2014 Cherry and Martin presents GOODGOD, Nathan Mabry’s fourth solo exhibition with the gallery. The exhibition will contain large-scale sculptures and wall-bound intimate sculptures offering further insight into his diverse practice. GOODGOD is a formal exploration of ancient signs and symbols combined with references to current universal gestures, elements of popular culture, spiritual and mythological belief systems and art historical innuendo. Mabry’s long term interest in creation myths comes to the fore in this exhibition as one moves from the double-handed gesture of two tectonic minimalist Cor-ten steel hands that are locked in an unending embrace, to the ritualistically weeping fecund figurative fountain to polished bronze dinosaur skulls installed as silent mnemonic instruments. In 2013, the Nasher Sculpture Center presented a solo exhibition, Sightings: Nathan Mabry and his work was selected for the Phoenix Museum of Art Artpick acquisition award. Mabry currently has the six-part sculpture Process Art (B-E-A-G-G-R-E-S-S-I-V-E) on view at the SCAD Museum of Art in Savannah, GA. His work is in such collections as the Dallas Museum of Art (Dallas, TX); Vanhaerents Art Museum (Brussels, Belgium); Hammer Museum (Los Angeles, CA); Museum of Contemporary Art, San Diego; Los Angeles County Museum of Art (Los Angeles, CA); 176 / Zabludowicz Collection (London, UK); The Rubell Family Collection, (Miami, FL) and Whitney Museum of American Art (New York, NY). Nathan Mabry received his BFA from the Kansas City Art Institute and his MFA from the University of California, Los Angeles. Cherry and Martin 2712 S. La Cienega Blvd Los Angeles, CA 90034 T: +1 310.559.0100 Cherry and Martin 
|
Stephen Lichty
Untitled, 2014
polished stone and steel
9 x 10 x 10 inches
Courtesy of the artist and FOXY PRODUCTION, New York
FOXY PRODUCTION, New York
STEPHEN LICHTY 10 May - 28 June 2014 Stephen Lichty’s first solo exhibition at Foxy Production comprises a new body of sculptures that give minimalist, iconic forms an expressive force. Lichty is interested in the transformation of objects and organisms through both actions upon them and their placement with other elements. These metamorphoses generate an allusive dynamic that often lies somewhere under the threshold of representation. The artist places a cat that has undergone taxidermy upon a carved pillar of basalt. This juxtaposition is at first jarring, even startling; on reflection, cat and rock seem to follow each other’s contours in a kind of symbiotic physical relationship. The animal’s very life-like presence makes it more than a memento mori: the work underlines how objects can generate not just retrospection, but how they also sustain their own energy in the moment. The work recalls ancient Egyptian statues whose role was to guard the deceased as they crossed into the after-life; they, like Lichty’s sculpture, are part of a system that transcends their individual identity, that is more iconographic than figurative. Fountains consists of two parallel rectangular circulating pools of water. Viewers find themselves between identical long and narrow bronze trays, placing them physically within the dynamic of the work's structure. The simple elegance of the work’s design belies the many varied references it invokes: from domestic water features to grand public memorials, and from Duchamp’s readymades to the architecture of Mies van der Rohe. Untitled is a black cube divided into very similar but still distinct sections: carved basalt is placed upon a block of oxidized steel. The work may recall the sculpture of Carl André or John McCracken in its spare form, although the subtle disjunction of its components, of their color and texture, contrasting with their shared mineral ingredient (magnetite) provokes questions about unity, repetition, and difference. Cord consists of a braid of dark Japanese silk held tautly between ceiling and floor. The work is the most minimal of the exhibition, comprising, it could be said, silk and tension. Yet it conjures a range of associations that circulate without holding claim to it: from the history of silk; to the physics of its pressured structure; to its art historical reference, the yarn sculptures of Fred Sandback. FOXY PRODUCTION 623 WEST 27 ST New York, NY 10001 T: +1 212 239 2758 FOXY PRODUCTION 
KATINKA BOCK
FEBRUAR
Courtesy of the artist and Meyer Riegger, Berlin
Meyer Riegger, Berlin
KATINKA BOCK FEBRUAR 02.05.2014 - 31.05.2014 A Conversation between North and February N: My constant is space, my territory immaterial. But time envelops my limbs. It reaches out for me, while I lay my breath on it. Here I exist in a subtle way. The passing of time is inscribed in the discrepancy between two chairs, one placed on an island in a park for a certain time, weathered and dull-edged, it bears evidence of my presence, my gusting and secret hunting on its skin. I never saw the other one. Would they recognize each other? F: Their togetherness is destined to last for a certain duration, this duration is my body, I surround them with my definition of time. I am just as caught up in the temporary as you are, but with the period of time that I impart in my invisible demarcation, I also provide space to stay, to pause. A viewer can linger. N: You are traversed by a horizon line of bronze-cool branches, your borders marked, along the wall, the ceiling, the coordinates that encircle you here and now. The points that mark me remain in the realm of the non-visible, if one even grants me such measuring units. Despite the limitation and definition of place, time, space: I grow continually, as movement. Within a single day, a person can take on my characteristics, climbing up to a balcony and dropping matter from it. The result is shaped by calculation and coincidence, it carries my vibrating, oscillatory driving force, even if we may not see the action nor the material being moulded. It is like an open game. F: I need these boundaries, the beginning and the end. Without any firm definition I would be lost. That which flows does not lie in my power. You move freely. I develop in the liberty of this cave and surface, which I embrace with my body. I harbour caves like this here too, allegorically shaped out of clay, with wood, cloth and other soft materials... plastic footballs that are crumpled or bit apart by dogs, found or traded. Their jagged form nestles up to my columns. My hollows are vessels for words. And then the open spaces, you spoke of the horizon. It defined the distance, the landscape, possibly even the border, where I may meet you, where our spirits convene. This blue sfumato line winds between stasis and its trembling dissolution in space. I feel close to you, kindred, although you make the end of my existence clear to me. N: We are part of flux, we are processes. The transience of the moment and the limit of space; who would be we if they frightened us? They define us, just as we describe and fill them, as what they are and can be. The balls tell us stories, just like the chairs speak of reciprocal absence. Only their dissimilarity within sameness reveals their shared orientation. They connect the two of us, and yet they are completely themselves. F: Warmth and cold, light and dark. Space, surface. Time, space. We bear all of this inside ourselves, we reveal it in the counterpart that comes close to us. You selected the performance, I the exhibition. We encounter our roles. Trying them out may soften and sharpen our eye for experiencing time and space as what they are. They are us. Somewhere, children play with balls outside, they do not ask about February and they do not ask about North. N: Your horizon is the beginning of my act. We will meet again in May. Meyer Riegger Friedrichstrasse 235 D-10969 Berlin Germany T: 49 030 315 665 80 Meyer Riegger |
07.5.2014
Frankfurt, Germany
IVAN JAKSIC
Künstler aus Ungarn als Gast bei WESTKUNST
FOTOGRAFIE AUSSTELLUNG
VERNISSAGE am 10. Mai 2014 um 17:00 Uhr
in Westkunst Galerie, Bolongarostr.122,
65 929 Frankfurt
Ausstellungsdauer vom 10.05. bis 16.05.2014
Öffnungszeiten: tgl. von 16 bis 19 Uhr
Westkunst Nied
Spomenka Aleckovic
"I BI SVETLOST" - "i bi svetlost" - Izložba fotografija Ivana Jakšića
Svetlost je izvor života: u tom svetlu ćemo videti svetlost.
Ivan Jakšić je rođen 1969, a ljubav prema fotografiji počela je još u ranom uzrastu dok je cvo svoje slobodno vreme provodio padeći sa svojim ocem, koji je bio profesionalni umetnički fotograf.
Nakon diplomiranja na Ferenc Toldi gimnaziji počinje da radi kao fotograf u Mađarskoj telegrafskoj agenciji (MTI), a zatim u umetnčkom „Foto studiju SUSU“ u Budimpešti.
Od 1994. godine radi kao foto-urednik „Crpskix narodnix novina“ (Časopis- Srpska manjina) , kasnije „Srpskix nedeljnix nedeljna“ u Mađarskoj, a jedan je od osnivača udruženja umetnika „Krug“ iz Budimpešte. Aktivno učestvuje u organizovanju kulturnix programa kao što su „Vizuelna i književna umetnička kolonija“ koja ce u Mađarskoj odpžava svake godine.
Jakšić je imao više grupnih i samostalnih izložbi. Živi i radi u Budimpešti.
Künstler aus Ungarn als Gast bei WESTKUNST
FOTOGRAFIE AUSSTELLUNG
VERNISSAGE am 10. Mai 2014 um 17:00 Uhr
in Westkunst Galerie, Bolongarostr.122,
65 929 Frankfurt
Ausstellungsdauer vom 10.05. bis 16.05.2014
Öffnungszeiten: tgl. von 16 bis 19 Uhr
Westkunst Nied
Spomenka Aleckovic
"I BI SVETLOST" - "i bi svetlost" - Izložba fotografija Ivana Jakšića
Svetlost je izvor života: u tom svetlu ćemo videti svetlost.
Ivan Jakšić je rođen 1969, a ljubav prema fotografiji počela je još u ranom uzrastu dok je cvo svoje slobodno vreme provodio padeći sa svojim ocem, koji je bio profesionalni umetnički fotograf.
Nakon diplomiranja na Ferenc Toldi gimnaziji počinje da radi kao fotograf u Mađarskoj telegrafskoj agenciji (MTI), a zatim u umetnčkom „Foto studiju SUSU“ u Budimpešti.
Od 1994. godine radi kao foto-urednik „Crpskix narodnix novina“ (Časopis- Srpska manjina) , kasnije „Srpskix nedeljnix nedeljna“ u Mađarskoj, a jedan je od osnivača udruženja umetnika „Krug“ iz Budimpešte. Aktivno učestvuje u organizovanju kulturnix programa kao što su „Vizuelna i književna umetnička kolonija“ koja ce u Mađarskoj odpžava svake godine.
Jakšić je imao više grupnih i samostalnih izložbi. Živi i radi u Budimpešti.
5.5.2014
Photography
SPRÜTH MAGERS BERLIN
ANNET GELINK GALLERY, Amsterdam
MURRAY GUY, New York
Philip-Lorca diCorcia
Gerald Hughes (a.k.a. Savage Fantasy), about 25 years old, Southern California, $50, 1990-92
Chromogenic print
60,3 x 91,1 cm, 23 3/4 x 35 7/8 inches
Copyright Philip-Lorca diCorcia
SPRÜTH MAGERS BERLIN
PHILIP-LORCA DICORCIA HUSTLERS 2 May - 21 June 2014 In the early 1990s, Philip-Lorca diCorcia made five trips to Los Angeles, where he drove along Santa Monica Boulevard and nearby neighborhoods on the lookout for male prostitutes. The artist would then strike a deal: he offered each prostitute his normal rate, asking only to take their photograph. The resulting series, today called Hustlers, was both a breakthrough for the artist and a key episode in the now familiar mode of photography that occupies a semi-fictive space between street and stage. The historical specificity and taxonomic impulse of the project are declared in the title of each photograph: the subject is identified by his name, age, place of birth, and the money he received for agreeing to pose. Philip-Lorca diCorcia predetermined each setting, posing his assistant to prepare the lighting and set up before returning with a man to make the final photograph. Hotel rooms, parking lots, curbs, cafes, backyards and bus stops all offer potential backdrops for the pictures. Chris, 28 years old, Los Angeles, California, $30 (1990-92), shows a man seated on an elevated motel walkway, the metal guardrails receding into space, his arms reaching up to clutch the highest rail. He might be lost in thought, yet the picture also conveys a sense of entrapment. Tim, 27 years old, Orange County, California, $30 (1990-92) depicts a shirtless man bathed in warm light, gingerly approaching an open door as if he couldn’ t quite tell whether it offered an escape or an alluring dead-end. The subjects convey a range of emotions or attitudes, from dignified beauty to desperation, lending poignancy to the elegiac mood of the series. Conceived amid the AIDS crisis and during the ‘culture wars’ of the early 1990s, an era fuelled by the censorious rhetoric of figures such as Jesse Helms, the photographs come out of a particularly tense historical moment. In 1989, diCorcia received a grant from the National Endowment for the Arts, and this money allowed him to embark on the Hustlers project, not to mention pay the prostitutes in the photographs. “None of these guys were free", writes diCorcia in a new steidldangin book to mark the twentieth anniversary of the first exhibition of Hustlers, at MoMA, in 1993. "They charged for their services, for a faked sense of what passes for intimacy in the realm they left behind. They barely found a place to sleep or get high afterwards, but they accomplished the most sublime trade, their artistry: Nothing for Nothing. That's what was so perfect for me. It summed it all up.” Philip-Lorca diCorcia (born 1951, Hartford, USA) studied at the School of the Museum of Fine Arts, Boston, and at Yale University, where he is currently a Senior Critic. He was awarded the Artist Fellowship of the National Endowment for the Arts three times, as well as the Infinity Award for Applied Photography by the International Center of Photography and the Eisenstaedt Award by Life Magazine. Solo exhibitions include the Hepworth Wakefield (2014), Schirn Kunsthalle Frankfurt and Museum de Pont, Tilburg (both 2013), the LACMA, Los Angeles (2008), the Institute of Contemporary Art, Boston (2007), the Museo Nacional Centro de Arte Reina Sofía, Madrid (1997), and MoMA, New York (1993). His series A Storybook Life was exhibited at Whitechapel Art Gallery, London, before travelling to the Centre National de la Photographie, Paris; Museum Folkwang, Essen, Germany; Magazin 3, Stockholm Konsthall; Fondazione Bevilacqua La Masa, Venice, and the Centro de Artes Visuais, Coimbra, Portugal, in 2003/2004. Sprüth Magers Berlin is concurrently presenting the solo exhibitions 'Frankfurter Block - Arbeiten am Hohlkasten 1981 - 2014' by Reinhard Mucha and 'Eine Ansammlung von Gegenständen' by Peter Fischli & David Weiss. SPRÜTH MAGERS BERLIN Oranienburger Str. 18 D-10178 Berlin Germany T: +49 (0) 30 2888 40 30 SPRÜTH MAGERS BERLIN | LONDON 
Zoe Leonard
Untitled (Two Windows Dye Transfer), 2005/2010
Dye Transfer Print
20 3/4 x 30 inches Edition of 6
Courtesy of the artist and Murray Guy, New York
MATTHEW BUCKINGHAM, ZOE LEONARD, GORDON MATTA-CLARK
2 May - 7 June 2014 Murray Guy is pleased to present an exhibition of three distinct bodies of work that use photography as a tool for the investigation of urban change, historical representation, and social experience. Matthew Buckingham’ s Peace and Anarchy, 2004-09, is a series of paired photographs and short texts that examine the history and use of common symbols or signs, particularly those that appear as graffiti in urban areas. Each of the photographs depicts a symbol in-situ while the written component of the work traces out the development and early usage of that sign. In each case, the chronicle ends at the point where the symbol enters wider public awareness, allowing the spectator's personal associations, familiarity, and memories to take over. In the early 1970s, Gordon Matta-Clark began a series of ‘building cuts’ he would later call Bronx Floors. Using a handsaw he would cut away a rectangular section of the floor of a derelict apartment building and reveal the space, or spaces, below. The object was removed and displayed in a gallery setting, and the hole was often photographed accentuating its edges and producing a frame within the frame. In a contemporaneous, yet lesser-known photographic series, Matta-Clark’ s inclusive approach to art making is represented by a fascination with the growing graffiti culture in New York. Overlapping markings made up of names, drawings, and numbers almost entirely cover the surface of the walls. The camera frames various modes of public address; the images produced are cutouts from an urban space that suggest a collective narrative. The specificity of location or architecture is less significant than the radical act of signing a wall, which Matta-Clark reenacts by airbrushing in color over some of the black and white prints. Nearly thirty years later, Zoe Leonard produced a small series of photographs of boarded doorways and bricked up windows. While observing the transformation of her neighborhood, she focused on the altered surfaces of shuttered building facades, the superfluous stoop and windowsills; forms without function. From the vestiges of a threshold and the distorted outline of a window, new possibilities arise, framing time and space, and marking the difference between lived experience and its representation. These buildings are a physical manifestation of the city - the silent observers of change, movement, and time. Throughout her practice, Leonard insists on a more considered method of looking and recording: “Perhaps everything the viewer needs to know is in the frame.“ MURRAY GUY 453 West 17 Street New York, NY 10011 T: 001 212. 463. 7372 Murray Guy |
Ed van der Elsken
Karel Appel, Amsterdam, 1962
© Nederlands Fotomueseum
ANNET GELINK GALLERY, Amsterdam
Ed van der Elsken Karel Appel, Amsterdam, 1962 © Nederlands Fotomueseum THROUGH MY EYE - ARTISTS PORTRAITS Ed van der Elsken, Albrecht Fuchs, Arnold Newman With additional work by Karel Appel, Max Ernst and Roger Hiorns 25 April - 31 May 2014 Annet Gelink Gallery proudly presents the group exhibition Through My Eye - Artists Portraits, with work by Ed van der Elsken, Albrecht Fuchs and Arnold Newman. The exhibition centres on photographic portraits of some of the most important 20th and 21st century artists taken in the singular style of the three photographers. Next to these portraits, works by portrayed artists Karel Appel, Max Ernst and Roger Hiorns will also be on view. Arnold Newman (New York, 1918 - New York, 2006), considered to be the father of “Environmental Portraiture”(portraits executed in the subject’ s natural environment), is one of the great masters of the 20th century photography. Newman is known for the many images he took of his artist friends. His style consists of placing his subjects in carefully controlled setting, creating portraits that capture the essence of the individual’ s life and work. For Newman the natural surrounding of the person photographed is essential: not only for the composition of the portrait, but also for our understanding of the person being photographed. His portraits of artists, such as those on view here of Max Ernst, Mondriaan, and Jackson Pollock, have become the iconic images through which we have come to remember these artists. Ed van der Elsken (Amsterdam, 1925 - Edam, 1990), the “Enfant Terrible”of Dutch photography, made his name as a street photographer, in particular through his many photobooks such as ‘Love on the Left Bank’ . He also took various images of his peersfrom the artistic and cultural worlds such as Karel Appel, Chet Baker and Sarah Vaughn. In contrast to Newman’ s controlled portraits, Van der Elsken captured his subjects as they were working, giving these images the feel of ‘stolen’ moments. They thus give an energetic and dynamic glance into the working mind of the portrayed artists. In the Bakery, his film Appel Iep (1961) of Karel Appel at work, is on view. The vibrant style of his photographs is transferred to the 16 mm film, presenting the artist as a creative entity as well as placing a special focus on his humanity. Albrecht Fuchs (Bielefeld (GER), 1964) approaches his subjects by stripping them from their profession and rather enhancing their human side. He manages to make intimate images of individuals who just happen to be known. Fuchs uses colour photography and puts his subjects in their natural environment (backyards, living rooms, beds, couches or studios), by doing so his subjects, looking straight at the spectator, have a relaxed yet distant posture. As such, the images suggest a controlled and posed moment, but also present the viewer with the possibility of entering the artist’ s world. In the Bakery, next to Ed van Der Elsken’ s video, three black and white photographs by Martijn van Nieuwenhuyzen are also on view. As a curator at Amsterdam’ s Stedelijk Museum, Van Nieuwenhuyzen has been making black and white portraits of artists since the early 1990s. Many of his pictures were shot during studio visits and while installing exhibitions - those moments before the opening when artist and curator spend time together and live the different phases in the development of a show. The pictures reflect this special dynamic between artist and curator: the artist is not portrayed in an formal pose but caught in a moment of discussion, reflection or even sleep. Van Nieuwenhuyzen has a large archive of black and white artist’ s pictures, comprising portraits of, among many others, Jeff Koons, Sigmar Polke, Sarah Lucas, Mario Merz, Gilbert & George, Marlene Dumas, Rineke Dijkstra, Kai Althoff, Aernout Mik, Jennifer Tee and Urs Fischer. In the Bakery a small selection is presented: Rineke Dijkstra, Mario Merz, and James Lee Byars. By showing these different styles side by side a dialogue into the nature of the artist portrait is opened. What are we really looking at here? On the one hand we see the artist in the portrait, in character as a famous artist. Yet, we are also presented with the carefully arranged image of the artist behind the camera. This tension is further emphasized by displaying alongside the portraits, the original work of some of the portrayed artists. Through My Eye - Artists Portraits poses the question which one, work or portrait, will give us a true insight into who and what we are looking at. ANNET GELINK GALLERY Laurierstraat 187-189 NL-1016 PL Amsterdam Netherlands T: 31 20 3302066 ANNET GELINK GALLERY 
|
29.4.2014
Painting & Drawing
CARSLAW St* Lukes, London
Galería Maior, Mallorca
SomoS, Berlin
Churner and Churner, New York
Nessie Stonebridge
Outside In My Comfort Zone, 2014
Oil on Canvas, Wood, Spray Paint, Bulldog Clip
130 x 80cm
Courtesy of the artist and CARSLAW St* Lukes, London
CARSLAW St* Lukes, London
NESSIE STONEBRIDGE BRITISH BIRDS 26th April - 31st May 2014 CARSLAW St* Lukes is pleased to present British Birds, the much anticipated exhibition of paintings and drawings by Nessie Stonebridge. Resembling some sort of mid-air collision or interstellar explosions, the energy at the centre of Nessie Stonebridge’s paintings and drawings is centrifugal. Often small in scale, they nevertheless explode beyond their boundaries - their vectors suggestively reaching out beyond their pictorial edges into the gallery space. Stonebridge’s latest series of works draws inspiration from the bucolic, if wild and wind-battered Norfolk coastline, where she now has her studio. Previously rooted in London, Stonebridge’s palette has begun to soften to include murky and Romantic sea greens and stormy blues, although vivid moments of urbane post-punk pink and night-crawler black remain. At the heart of each of these new images is a fury of beaks, encircled by fanlike, semi-abstracted wings. The result is an aviary of attack and defence, intimating the basic fight-or-flight behaviour of even the most diminutive of birds. Beyond their avian references, these images are impressive for their counterpoising of formal elements. The gestural brilliance of Stonebridge’s mark-making - her paint is scored and splattered with a palette knife, brush or by hand - is contained within a deliberate and considered structural vortex. We could go further and say that for all their allusions to natural and animal forces, Stonebridge’s paintings are fundamentally abstract. They re-route the energy of the external world into a painterly lexicon of sharp, curved edges and electric reds and yellows. Stonebridge has become increasingly concerned with the edges of her paintings and drawings, often extending them out with quasi-sculptural elements, such as painted and concertinaed canvas, or long thin strips of wood resembling thin shelves or props. As a gallery-based dramaturgy, these arrangements invoke the restless excitement of Stonebridge’s practice. Stonebridge’s own allusions often verge on the violent or sexualised: she talks of the use of war fans as both weapons and shields in the Samurai arsenal, and of the use of fans in codified symbolic rituals in eighteenth-century France to indicate one’s sexual availability. She talks similarly of the enormous range of lurid colours in nature - the gold and vermillion of fauna and flora near her Norfolk studio: signals of attraction and danger. If we were to distil these works into a single word it would be ‘energy’ - and all the life-and-death struggles that word implies. CARSLAW St* Lukes 137 Whitecross Street St* Lukes London EC1Y 8JL T: +44 (0)20 7490 3667 CARSLAW St* Lukes 
Liis Koger
The Contemplative Mind
Oil on canvas
47.2 x 47.2 in
Courtesy of the artist and SomoS, Berlin
SomoS, Berlin
LIIS KOGER Paintings Opening: April 21st, 2014 at 3-7pm April 22 - 28, daily 2-6pm The first solo exhibition in Berlin by Estonian painter and poet Liis Koger, organized and curated by Simson Gallery, opens at SomoS on April 21st, 2014 at 3pm. The presentation is on view until April 28, daily from 2-6pm. Liis Koger was born 1989 in Pärnu and is currently based in Tallinn. The artist has graduated from Pärnu Sütevaka High School Of Humanistics, and studied Psychology and Theology at University of Tartu, graduating there in 2013 with a BA degree in Painting, Fine Arts. Painting and poetry are connected in many ways. If one looks at poets/artists like Jean Cocteau, Max Jacob, William Blake, Pablo Picasso, or P.P.Pasolini, it becomes clear that being a poet adds an extra, often somewhat esoteric dimension to other artistic expressions the poet might choose. Kogers's paintings are distinguished by a high level of lyricism and introspection. The classic abstract Nordic painterly tradition of artists such as Per Kirkeby is given a contemporary and already very mature interpretation. Since 2010, Liis Koger has exhibited widely, enjoyed solo and group shows in Estonia, Italy, UK, USA and Switzerland. Her work is present in private collections in Estonia, Sweden, Italy, Switzerland, Norway. Works in public spaces include Riigikogu, The Parliament Of Estonia, Toompea, Tallinn, Estonia and the Institute Of Mathematical Statistics, Tartu, Estonia. SomoS Kottbusser Damm 95 10967 Berlin Germany T: +49 172 3118431 SomoS 
|
Adrian Navarro
Loop #2, 2012
Oil and acrylic on canvas
185x232 cm
Courtesy of the artist and Galería Maior
Galería Maior, Mallorca
ADRIAN NAVARRO LOOPS 20 April - June 2014 The paintings of Adrián Navarro are product of a dialectical reflection and a careful execution. After conceptualism, thought is inevitable in the process of artistic creation, therefore the problem lies in guessing what is reflected and what the method is. The artist uses a logical dialectic to think his paintings, as in his pictures he shows a number of elements that can usually be considered antithetical, facing gesture to geometry, background to figure, disorder to order, the virtual to the real, two-dimensional to volumetric. The game is attractive and paradoxical, since the viewer’s perception is subjected to an unusual exercise in painting, which generally responds to mere instinct or seeks immediate pleasure before an attractive combination of shapes and colors. An apparently informalist background made of gestural brushstokes and colourful patterns covered by a milky glaze functions as an illusory landscape. On that plane-background a powerful geometric figure emerges which seems perceptually rendered by a uniform grid of white dots that let you glimpse the inside, creating the effect of permeability and detachment on the viewer. The artist’s training as an architect becomes apparent in his approach, showing architecture’s ultimate function: creating habitable spaces. Navarro’s visual exploration celebrates the dichotomy among physical confinement and expansive freedom in painting. This struggle between opposites symbolizes the pulsation of life that plays tensely with the role of our body in the artificial world. Adrián Navarro lives and works in London. He started his artistic activity in New York in 2001, after graduating from the Polytechnic University of Madrid, School of Architecture. In 2008 Navarro completed his art studies in Central Saint Martin’s College of Art & Design. Recent solo shows include Espacio Rojo, Galería Pilar Serra, Madrid, 2013; Reflections, Maerz Contemporary, Berlin, 2012 and In&Out, 60 Threadneedle Street Art Space, London, 2012. He has been featured in group shows such as The Collection, Eastmen Gallery, Hasselt, Belgium, 2014; Geometry of Chance, Mirus Gallery , San Francisco, 2013; Premiere 2013, Maerz Contemporary, Berlin, 2013 and Cómplices del arte español contemporáneo, Fundación Canal, Madrid 2012. Galería Maior Maior Plaça Major, 4 - 1° Pollença, Mallorca 07460 Mallorca Spain T: +34 971 53 00 95 Galería Maior 
Lisi Raskin
Untitled (Painting for AS), 2013
acrylic paint, oil paint, paper, archival glue, nails, and wood
36 1/2 x 44 inches
Courtesy of the artist and Churner and Churner, New York
Churner and Churner, New York
LISI RASKIN MUTUAL IMMANENCE April 17, 2014 - May 31, 2014 Churner and Churner is pleased to present “Mutual Immanence,” an exhibition of new paintings by Lisi Raskin. Ranging in size from 4 feet to 2 inches - some small enough to fit in the palm of one’s hand - these paintings reconstitute fragments of material, line, and shape that have been torn from their original sources and at times refuse to assemble themselves into stable images. Here Raskin uses the language of abstraction to resist easy resolution and inflect the works with a strongly felt tenderness. Raskin has previously traveled to the Arctic Circle, former East German and Yugoslav Atomic bunkers, and through the American West exploring the intersections of oral histories, nuclear-age fears, utopian mythologies, and the architectures of the Cold War. While she continued this work during a 2013 trip to Afghanistan made possible through a Creative Time Global Residency Grant and the Robert Sterling Clark Foundation, she has also sharpened her focus by studying radical pedagogy and attending activist trainings. These roads have led Raskin to a deeper awareness of the normative and conservatizing culture that attempts to subjugate her and appropriate her output even as she benefits from unearned privilege. While in Afghanistan, Raskin visited and photographed the museum of the Organization for Mine Clearance and Afghan Rehabilitation in Kabul, the ruins of Darul Aman Palace, and Herat’s Jihad Museum, among other sites, collecting over 15,000 photos. What she exhibits on her return, however, are not the images themselves, but paintings through which she recasts her experience of these sites through a somatic use of materials in her studio. The provisional nature of Raskin’s materials also speaks to the complex and precarious state of the socioeconomic, nationalistic, gendered, and bureaucratic choreography that characterized her trip. The eros within these new paintings reform her aesthetic influences to include some semblance of what has been lost amidst the fragmented residue of Soviet modernism and American exceptionalism transformed by years of war in Afghanistan. With “Mutual Immanence,” Raskin continues her practice of using strategic ineptitude to expose her own ignorance, doubt, and blind spots, but she does so in a more informed and delicate manner. Her aim is to utilize her own failings to undo the notion of a static, empirical truth, leading us to see our positions and our conclusions as intrinsically connected. Concurrent with her exhibition at Churner and Churner, Raskin has created a large-scale, site-specific environment at Art in General at 79 Walker Street. Part of the New Commission series, “Recuperative Tactics” is an immersive installation that sutures found materials into an architectural palimpsest, transforming the gallery into the site of an attempted reconstruction of memory, riddled with the complicated cyphers of an outsider’s account of the vestiges of war. ABOUT THE ARTIST Since 1998, Lisi Raskin’s on-site research has informed the making of paintings, drawings, objects, videos, and large, constructed environments that she has exhibited internationally at institutions including Kunsthaus Graz, Casino Luxembourg, the Frankfurter Kunstverein, the Contemporary Art Center Vilnius, MoMA PS1, the Blanton Museum of Art, and the Center for Curatorial Studies/Hessel Museum at Bard College. Her web projects have been published in Triple Canopy magazine, as part of the Dia Foundation web projects, and on Creative Time Global Reports, where she is a regular contributor. She has built large-scale environments at the 11th Istanbul Biennale, the 2nd Athens Biennale, and the 3rd Singapore Biennale. Additionally, Raskin has embarked on projects that deliberately explore the intersections between utopian architecture, community connectivity, and art pedagogy, including an ongoing collaboration with artist Kimberly Kay. Under the working title of MOTORPARK, Raskin and Kay are in the process of transforming a 1996 Bluebird school bus into a mobile, programmable project space. Raskin was born in Miami, Florida. She received her BA in Fine Arts from Brandeis University in 1996 and her MFA from Columbia University in 2003. Raskin and her work have been the subject of reviews and articles in publications such as Artforum, Flash Art International, the New York Times, and Art Lies, among others. Raskin is currently an Associate Professor in the Department of Painting, Drawing, and Sculpture at Tyler School of Art, Temple University, in Philadelphia, PA. Churner and Churner 205 10th Ave New York, NY 10011 T: 1 212-675-2750 Churner and Churner |
29.4.2014
MARK TITCHNER, London
Exhibition runs until 4 May | Wed - Sun 11am - 5pm
Grumbling Fur Performance | Dilston Grove | Sun 27th April, 3pm
A 30th anniversary exhibition in Cafe Gallery and Dilston Grove.
Mark Titchner Cafe Gallery 2014, photo Miyako Narita
In celebration of the 30th anniversary of the opening of Cafe Gallery and the 15th anniversary of the opening Dilston Grove, CGP London has commissioned a single artist to present works across it’s two spaces.
The exhibition encompasses a number of media including digital print, wall drawing, video, sculpture and installation exploring systems of belief, both secular and spiritual, often focusing on the marginalised, discredited or forgotten ideologies and objects we place our faith in. Using the impersonal language of the public realm, ranging from the quasi-mysticism of corporate mission statements to the maxims of revolutionary socialism, his work exhorts us to believe in it. Motifs taken from advertising, religious iconography, club flyers, trade union banners, prog rock and political propaganda all vie for our attention. The common denominator is a quest for enlightenment; a desire for some form of transcendence; and yet, abstracted from its original context the message appears drained of meaning. We know that we are being asked to respond but the purpose is unclear, leaving us only with the formal means of exhortation and our own desire for meaning. Titchner has specifically conceived a new series of wall drawings for Cafe Gallery. Early on in his career wall drawing was a central focus. Originally based on Op Art wallpaper designs from the artist’s childhood home, the works moved through an exploration of diagrammatic and modernist design motifs to the artist’s first works with text. In 2001, Titchner abandoned these works to concentrate on the new possibilities offered by large-scale digital print. However, a new wall drawing commissioned for the reopening of the South London Gallery in 2010 led Titchner to reappraise this element of his practise and it has since continued to be a significant aspect of his work. 
Cafe Gallery Southwark Park during the 1980’s, CGP London Archives
CGP London 1984 - 2014 - A different kind of gallery celebrates 30 years 2014 sees the 30th anniversary of CGP London, a public art gallery that began in a derelict cafe and now boasts unique exhibition space across two sites in one of London’s most beautiful parks, a model record of community engagement, and a hugely popular exhibition programme. Un 
Cafe Gallery Southwark Park 2013, CGP London Archives
Three decades on, and CGP London’s success can be measured in the transformation it has worked on itself and its surroundings. Before the old park cafe was quietly rebuilt as a modern gallery in 2001, CGP opened the derelict church on the edge of Southwark Park as a temporary exhibition space. This proved so successful that they took it on raising the capital funding to renovate it for long term use as a gallery. Dilston Grove became their second exhibition space and now CGP is the only London gallery with two completely contrasting sites for presenting work: a cool white cube and a cavernous, raw installation space. Reflecting both this uniquely individual visual arts environment, and its artist-led management, CGP’s programme is known for taking risks and allowing artists a creative freedom unknown elsewhere. When CGP opened, an art gallery outside of central London was a rare phenomenon. Bermondsey is now a key centre of this city’s arts ecosystem.
CGP London is a unique visual arts venue that not only proves the positive power of such places, but also the singular difference artist managers can make. For exhibition programme and opening hours visit www.cgplondon.org |
Mark Titchner 'ROSE' Dilston Grove 2014, photo Miyako Narita
The exhibition continues across the park at Dilston Grove with ‘ROSE’, a hallucinatory new collaboration with acclaimed musicians Daniel O'Sullivan and Alexander Tucker and a distinct contrast to the hard edge, silent but vocal graphic works at Cafe Gallery. As you approach the enchanting hum beckons you inside it as if the building itself has come to life. Once you enter you are surrounded by sound, moving image and Dilston Grove itself all working together to impress something upon you, something uplifting, something disconcerting?
YOU LIVE YOU LEAD YOU CREATE YOU CHANGE YOU WORK YOU DREAM There is no question that this work was specially developed for this unique space. The work combines large format text with fast cut images relating to the four elements; water, fire, air and earth. Moving through three increasingly unsettling hypnotic sections, affirmative texts of the kind encountered in self-improvement manuals and corporate speak, creep gradually towards something more sinister. This seemingly affirmative, commonly used language contrasting the imaginary landscape of individual aspiration with our real conditions of flawed existence. The work was influenced by interrogation techniques found in the declassified CIA Kubark manual. The soundtrack for the work is an original piece written and performed by Daniel O'Sullivan and Alexander Tucker, which will be performed by them live on Sunday 27th April 3 - 4pm. 
Cafe Gallery Southwark Park during the 1980’s, CGP London Archives
The early 1980s saw a thriving artistic community in Bermondsey, which had lost its docks and other big employers and still bore traces of wartime bombing. Artists took advantage of low rents in this depressed area with studio space and accommodation for many provided in places like Butlers Wharf and St Katherine’s Dock. The Bermondsey Artists’ Group was founded in 1983 to advocate for artists and to find exhibition venues of which were rare outside central London. Within a year, the group had secured use of the old cafe by the lido in Southwark Park, and voluntarily refurbished and opened it as an exhibition space. Since then, CGP London has consistently been ambitious and taken risks in regeneration and programming.
Dilston Grove 2014, photo Miyako Narita
|
21.4.2014.
Moraću da skrenem! - SKC Filmforum, Beograd, Srbija
utorak, 15. april u 20hm, utorak, 15. april u 20h
|
|
Slobodan Šijan: Moraću da skrenem!
Predstavljanje izložbe i publikacije
Utorak, 15. april u 20.00 mala sala SKC, Kralja Milana 48, Beograd, Srbija
U razgovoru učestvovali: Slobodan Šijan, Ješa Denegri, Nebojša Milenković i Stevan Vuković
Dobitnik nagrade “Pavle Vasić” za prošlu, 2013. godinu je istoričar umetnosti i kustos Muzeja savremene umetnosti Vojvodine Nebojša Milenković, za monografski katalog izložbe “Slobodan Šijan: Moraću da skrenem, Vizuelni eksperimenti 1960-2012”, koja je u tom muzeju realizovana u decembra 2012 godine. U obrazloženju žirija ove nagrade, koju jednom godišnje po konkursu dodeljuje Udruženje likovnih umetnika primenjene umetnosti i dizajnera Srbije, i to za “tekstove iz oblasti primenjene umetnosti i dizajna objavljene u svim vrstama stručnih publikacij”a stajalo je sledeće: „Iako je tema ove publikacije umetnikovo vizuelno eksperimentalno stvaralaštvo u periodu od 1960. do 2012, Milenković u svom tekstu ne predstavlja rad Slobodana Šijana u pukom hronološkom redosledu već kontekstualizuje kako njegova interesovanja za psihodeličnu i konceptuanu umetničku perspektivu tako i celokupani dosadašnji vizuelni opus ovog umetnika". Ovo priznanje Nebojši Milenkoviću za istraživački rad biće povod za razgovor sa njim o samom tekstu i o izložbi čiji sadržaj je tekst interpretirao, a za koju je Slobodanu Šijanu dodeljena i nagrada "Tradicija avangarde" za 2014. godinu. U razgovoru će učestvovati Slobodan Šijan i Ješa Denegri, kao i Stevan Vuković, koautor postavke te izložbe.
Predstavljanje izložbe i publikacije
Utorak, 15. april u 20.00 mala sala SKC, Kralja Milana 48, Beograd, Srbija
U razgovoru učestvovali: Slobodan Šijan, Ješa Denegri, Nebojša Milenković i Stevan Vuković
Dobitnik nagrade “Pavle Vasić” za prošlu, 2013. godinu je istoričar umetnosti i kustos Muzeja savremene umetnosti Vojvodine Nebojša Milenković, za monografski katalog izložbe “Slobodan Šijan: Moraću da skrenem, Vizuelni eksperimenti 1960-2012”, koja je u tom muzeju realizovana u decembra 2012 godine. U obrazloženju žirija ove nagrade, koju jednom godišnje po konkursu dodeljuje Udruženje likovnih umetnika primenjene umetnosti i dizajnera Srbije, i to za “tekstove iz oblasti primenjene umetnosti i dizajna objavljene u svim vrstama stručnih publikacij”a stajalo je sledeće: „Iako je tema ove publikacije umetnikovo vizuelno eksperimentalno stvaralaštvo u periodu od 1960. do 2012, Milenković u svom tekstu ne predstavlja rad Slobodana Šijana u pukom hronološkom redosledu već kontekstualizuje kako njegova interesovanja za psihodeličnu i konceptuanu umetničku perspektivu tako i celokupani dosadašnji vizuelni opus ovog umetnika". Ovo priznanje Nebojši Milenkoviću za istraživački rad biće povod za razgovor sa njim o samom tekstu i o izložbi čiji sadržaj je tekst interpretirao, a za koju je Slobodanu Šijanu dodeljena i nagrada "Tradicija avangarde" za 2014. godinu. U razgovoru će učestvovati Slobodan Šijan i Ješa Denegri, kao i Stevan Vuković, koautor postavke te izložbe.
18.4.2014
Ljubljana, Slovenia
| evabilo.pdf |
17.4.2014
Sculpture & Installation
CUE Art Foundation, New York
Johannes Vogt Gallery, New York
Mihai Nicodim Gallery, Los Angeles
Margaret Cogswell
Wyoming River Fugues
installation detail
CUE Art Foundation
CUE Art Foundation, New York
MARGARET COGSWELL RIVER FUGUES: Moving the Water(s) April 26 - May 31, 2014 RIVER FUGUES: Moving the Water(s) interfaces elements of Cogswell’s previous project, Wyoming River Fugues with Ashokan Fugues, a new component that explores the New York City water supply system and the Catskill Watershed. Each River Fugues project is an individually unique installation which utilizes the musical structure of a fugue to weave together video, audio, and sculptural components into exhibitions exploring the interdependency of people, industry, and rivers. From the artist’s statement: “In its most general aspect, a fugue involves musical lines that sound very different and move independently from each other, but sound harmonious when played simultaneously. My reason for using the fugue is because of its flexibility as a conceptual framework which can be applied to any set of components one is trying to integrate, be they sounds or images.” Since 2003, the main focus of Cogswell’s work has been an ongoing project that explores the increasingly politicized role of water. Beginning with Cuyahoga Fugues (2003), the project has since led to a number of related commissions throughout the United States, including Hudson Weather Fuguesat Wave Hill in the Bronx and Mississippi River Fugues at the Art Museum of the University of Memphis in Tennessee. ABOUT THE EXHIBITION PROGRAM: Each year, CUE invites ten artists and arts professionals from across the country to anonymously nominate artists whom they feel are actively creating innovative, challenging, and conceptually rigorous work. Nominated artists are invited to apply, and the final selection is made by an independent jury each fall. Through the solo exhibition program, CUE aims to present new and exceptionally strong work by under-recognized and emerging artists based in the United States, and is committed to exhibiting work of all media, genres, and styles. Nominators are selected annually by CUE’s Advisory Council. ABOUT CUE: CUE Art Foundation is a dynamic visual arts center dedicated to creating essential career and educational opportunities for emerging and under-recognized artists of all ages. Through exhibitions, arts education, and public programs, CUE provides artists and audiences with sustaining and meaningful experiences and resources. Major programmatic support for CUE is provided by CAF American Donor Fund, Anholt Services (USA) Inc., Agnes Gund, The Joan Mitchell Foundation, New York Community Trust, The Andy Warhol Foundation for the Visual Arts, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts (a state agency). Cogswell’s exhibition is supported in part by a grant from: Foundation for Contemporary Arts CUE Art Foundation 137 W. 25th Street New York, NY 10001 T: +1 212-206-3583 E: [email protected] CUE Art Foundation MARGARET COGSWELL 
Image courtesy of the artist and Mihai Nicodim Gallery, Los Angeles
JACK LAVENDER
Glistening Echoes of a Slow Walk Home. April 19th - May 31st 2014 Opening Reception: April 19th 2014, 6-9 pm Mihai Nicodim Gallery is pleased to announce the U.S. solo debut of British artist Jack Lavender. The show’s title is in equivocal reference to a ritual performed by the artist in early adolescence. Walks home from school lead Lavender past an old factory with a smashed window at street-level. Only the street-facing panel of the window’s double-glazed glass was broken, presenting a small hole into which he could stuff varied materials gathered on these walks. Old candy wrappers, chewing gum, twigs, leaves, left over soda... The materials Lavender dropped between the two panes settled in layers over time, their composite ultimately presenting an image. While the artist’s account provides framework for some of the new forms in the exhibition, its significance is preternatural. For Lavender, autobiography is only one of many illusory tools used to examine and distinguish between our individual experiential pasts and the collective, culled histories of culture-at-large. For his exhibition at Nicodim, Lavender has created a large series of sculptural work utilizing a distinct method of object-classification characteristic to the artist’s greater practice. Wall-based, hanging and freestanding, Lavender’s work draws both from low-Pop culture and the natural world, the details of his materials wavering fastidiously between cult and the occult. Large glass units are filled with consciously compiled debris; both organic and manufactured, the materials fester within their vitrines, only disrupted by the artist’s intervening shots of hyper-colored pigment. This art-historicized interjection is also mimicked in the floor and ceiling works in which elegant metal tubes are affixed and strapped with common, everyday goods such an incense burner or a crumpled can. In either instance it’s difficult to determine which gesture Lavender would claim as his intervention: the pigment or the debris, the metal pole or its adornment. Within this question lies the idiosyncrasy of his conceptual posit. For Lavender, subjective ‘histories’ are less compelling than the cultural production and evolution of ritual itself. As childhood ritual may be reexamined as auspice for a lifetime in art making, Lavender’s work nods both to the absurdist and sentimentalist. In result his forms circumvent both form and function - objects assumed to be ‘found’ could easily have been fabricated and vice versa. This uncanny dialogue is present throughout the new work, exemplifying Lavender’s ongoing interest in material origin as well as the modes and techniques through which an object’s provenance may be redefined through presentation. Jack Lavender (b.1983, Canterbury) lives and works in London. Recent exhibitions have included ‘Teen Paranormal Romance’, The Renaissance Society at the University of Chicago, Chicago (2014), ‘The Unpainted Landscape’, Mihai Nicodim Gallery, Los Angeles (2013) and ‘Dreams Chunky’ (solo exhibition), The Approach, London (2013). Forthcoming exhibitions include ‘Pre-pop to Post-human: Collage in the Digital Age’, Hayward Touring Exhibition, to be first presented at Hatton Gallery, Newcastle, UK (2014). Mihai Nicodim Gallery 3143 South La Cienega Blvd Unit B Los Angeles, CA 90016 T: +1 323.610.3780 Mihai Nicodim Gallery |
Matthew Schreiber
GateKeeper, 2014
Laser diode modules
Dimensions variable
JOHANNES VOGT GALLERY, New York
MATTHEW SCHREIBER "SIDESHOW" April 10th - May 10th, 2014 Johannes Vogt Gallery is pleased to announce Sideshow, the first New York solo exhibition byMatthew Schreiber. Schreiber’s main practice centers around the use of fluorescent lights and laser diode modules. Sideshow spans across both exhibitionspaces of the gallery and combines works across varying mediums including light sculptures, holography, photography, and an immersive architectural intervention that will take over the entire rear gallery. Sideshow is the most invasive project by the gallery to date. Schreiber’s use of contemporary technology engages a conversation with ideas of the esoteric, superstition and the occult. His practice pits the active image of the past against today’s screen-based image culture of slick and banal immediacy. Tipping his hat to modern subculture’s affinity to immersive techno-spaces, the exhibition’s title subtly references the “Fun House”, a massive nightclub that occupied parts of the gallery’s building complex during the 1980’s. The exhibition’s centerpiece, GateKeeper, is a site-specific laser installation that engages wall drawing and artificial fog in a blacked-out enclosed room. The resulting work is an immersive environment enveloping the viewer in a wash of immaterial geometric forms. Constrained only by the building’s architecture the lasers physically and ideologically point outwards towards infinity. In the gallery’s main room Schreiber presents a sequence of works that build up an aura around our sense of technology. In Gandalf, a large fluorescent light sculpture, Schreiber recreates the composition known as Squaring the Circle, a part of Robert Lawlor’s exercises in Sacred Geometry. It is a drawing in which the act of its completion coincides with a metaphysical change within the drawer. This element is in turn subverted by the mass of power and control cables spilling off the piece’s surface. In Dark Tumbler, a light-lock darkroom door installation, Schreiber facilitates sensory deprivation in the likes of the phenomenologist artist movements of the 60s, such as GRAV (Groupe de Recherche d’ Art Visuel). Schreiber’s sculpture Infrared Pentagram delivers a discreet experience of the artist’s use of geometric language; existing in part outside of the visible spectrum places it in direct opposition to Gandalf. Playing with the obfuscation and transparency surrounding modern technology and vision, Schreiber successfully leverages technological forms against somewhat obscure subject matter. Schreiber posits a conflation of knowledge and experience leaving the viewer to contemplate our normalized interactions with technology alongside potentials for an illusive socio-spiritual back end. Matthew Schreiber was born in 1967 and lives and works in New York City. He holds an MFA from the School of the Art Institute of Chicago. Schreiber’s work has been the subject of numerous solo exhibitions including Guilloche at Fireplace Project in East Hampton, NY; Swiss Hall the permanent installation at Herzog & de Meuron Residence in Basel, Switzerland; Platonic Solids at the Fort Lauderdale Museum of Art, Fort Lauderdale, FL; and Ontario, a site-specific installation curated by Ambra Medda in the Miami Design District, FL. His large-scale light installations have been presented at Hyde Park Art Center in Chicago. Group exhibitions include The Jeweled Net: Views on Contemporary Holography at the MIT Museum in Cambridge, MA; Crystalline Lattice, curated by Yongwoo Lee in Gwangju, South Korea; Miami Noir at Invisible Exports in New York, NY; Shadows, Disappearances, and Illusions at the Miami Art Museum; and Group Show at Galerie Almine Rech in Paris, France. JOHANNES VOGT GALLERY 526 W 26th Street, #205 New York, NY 10001 T: +1 2122552671 JOHANNES VOGT GALLERY 
|
17.4.2014
Mixed / Multi-Media
|
galerie laurent mueller, Paris
POST CUTS
Roland Stratmann April 3rd to May 24th 2014 Since the end of the 1990s, Roland Stratmann has been working with performance, installation and drawing. Often participative and playful, his work creates a dynamic of exchange for which it invents the forms of reception. Drawing, as place where the eye is trained and form takes shape, hold a central place. For his exhibition at the galerie laurent mueller, the creation of images happens through prior destruction, a cut which leads to new constellations of meaning. In his most recent series Post Cuts, Roland Stratmann uses postcards with pittoresque or folkloric iconography. Three cards assembled on their edge are the starting point of a game of cutting out, covering and inversion. The series titled Spots can be approached as a reflexion upon evil and its banalisation by the media. In a famous text on the subject, Regarding the Pain of Others, Susan Sontag writes that seeing horrible images repeatedly makes them less real. Jacques Rancière adds: “ If horror is banalized, it is not because we see too many images of it. [...] But we do see too many nameless bodies, too many bodies incapable of returning the gaze that we direct at them [...] [1]. Roland Stratmann thwarts this distanciation from reality of the image by dissociation and layering. Drawings based on war and attacks images found on the Internet are inserted into fractured graphical compositions. These remind us of blood splatters. A dualism between the visible and the unrepresentable establishes itself, the image and its real violence withdrawn from view. Their stereoscopic composition implies the research of a viewpoint at the right distance of the subject, between the cliffs of blinding empathy and indifference. As counterpoint to this series of drawings, the installation Àpnoia punctuates the exhibition with its relentless noise provoked by pulsating air inside of bags like artificial lungs. Their character, at once ghostly and reminiscent of the body through its striking reality, relies on a dualism similar to the one in the drawings: a link is created between the precise observation of a disaster and its imaginary reformation. The whole takes the shape of an investigation, it entices the visitor to ask himself what to think, and what to do with what he sees. Roland Stratmann, born 1964 in Borken-Weseke, Germany. Lives and works in Berlin. MA of Fine Arts at the Universität der Kunste Berlin, he has also an education in graphic design and printing. He has exhibited at the Stadtmuseum Borken, at the ICPA (Paraguay) and at the National Museum of Fine Arts of Santiago de Chile amongst others. He has received numerous awards such as the Integrierte Stadtentwicklung und Baukultur in 2009. A catalogue of his drawings was published by the Stadtmuseum Borken and the galerie laurent mueller in 2011. 1] Rancière. Jacques, 2009. The Emancipated Spectator, Translated from French by Gregory 1 Elliott. London: Verso. galerie laurent mueller 75 rue des Archives 75003 Paris France T: +33 1 42 74 04 25 galerie laurent mueller Martin Asbæk Gallery, Copenhagen
Maria Rubinke
It’s Better To Burn Out Than To Fade Away
Courtesy of the artist and Martin Asbæk Gallery, Copenhagen
MARIA RUBINKE
IT’S BETTER TO BURN OUT THAN TO FADE AWAY 11 April - 17 May 2014 Opening Friday 11 April 5-7 pm The Danish artist Maria Rubinke is taking over Martin Asbæk Gallery for the first time with an exhibition that puts our view of the classic porcelain figure to the test and allows the incomprehensible and chaotic in the human subconscious to rise to the surface. The pure white porcelain surface attracts the gaze of the viewer, but at the same time distorts our presuppositions when the small porcelain girls are slowly broken down and subjected to contrast-filled madness. They sink down and seem to drown in the thick mud of the bog and are fatally bitten by a snake. Like the Surrealists, Maria Rubinke thematizes the complexity of the human psyche and works in a formal idiom all her own. The exhibition has been created throughout the artist’s 27th year - a year that has offered emotional ups and downs. With inspiration from ‘Club 27’, the group of legendary artists who lost their lives at the age of 27, combined with her own experience, Maria Rubinke subjects her innocent little china girl to a process of decomposition until she has quite vanished and only the delicate little shoes remain, slowly consumed by an army of ants. Maria Rubinke works in an extremely structured way, but for this exhibition has for the first time let go from the beginning of the creative process and let the works slowly create themselves as she worked through her own personal crisis. This is why there are also traces of a kind of panic throughout the exhibition, which reflects the emotional plunge the artist has undergone - Rubinke has let go, let the dark, gloomy thoughts find expression in the porcelain, ending with a rebirth. This is manifested in the sculpture I died a hundred times, which shows the porcelain girl standing on a heap of black skulls, carrying a small infant whose umbilical cord has not yet been cut. The title of the sculpture is a quotation from the singer Amy Winehouse - a ‘member’ of Club 27. The symbolic language is powerful throughout the exhibition. The tall straight birch trunks that stand as densely as a forest from floor to ceiling in the first room of the gallery are like a symbol of life, connecting earth and sky. But the roots, our foundation, have been removed like the safety net that was pulled out from under the little girl so she is left standing there helplessly, only to start all over again. Maria Rubinke studied at the School of Glass and Ceramics on Bornholm in 2008. Later she has exhibited at Haugar Vestfold Museum of Art in Norway and the Civic Museum Bassano del Grappa in Italy, and most recently she has presented a comprehensive solo exhibition, Fragile, at the Vejle Art Museum in 2012. Martin Asbæk Gallery Bredgade 23 DK-1260 Copenhagen Denmark T: +45 33 15 40 45 Martin Asbæk Gallery PINTA LONDON
12-15 June 2014 Earls Court Exhibition Centre London SW5 9TA 
Immerse yourself in the spirit of Latin America.
Europe’s only art fair dedicated to modern and contemporary Latin American, Spanish and Portuguese art. 
Celebrating 5 years in London, PINTA returns to Earls Court from 12 - 15 June 2014.
In the last years, London has become the leading city and market to showcase Latin American art. PINTA London continues to bring awareness and exposure to Modern and Contemporary Spanish, Portuguese and Latin American Art, presenting over 50 established galleries. 
A special feature of PINTA LONDON 2014, will be the celebration of Women in Latin American art. Thus, the Solo Shows will present the work of influential Women who have made a mark in the perception of Latin American art. Once again, PINTA Projects will be curated by Catherine Petitgasand Kiki Mazzucchelli and will focus on female artists. Our series of talks and events will include leading female artists, curators, dealers, collectors and museum directors, offering an insight into their unique vision and practice. For the third consecutive year PINTA Design will return curated by Manuel Diaz Cebrian presenting iconic pieces from Latin America.
PINTA is a much anticipated event where patrons, private collectors, galleries, museums and visitors meet to build their knowledge and widen their networks in the Latin American art world. 
OPENING HOURS:
Thursday 12 June - By invitation only Friday 13 June 2014: 2pm to 9pm Saturday 14 June 2014: 11am to 8pm Sunday 15 June 2014: 12 pm to 7 pm 
Alfredo Jaar
Gold in the morning
1985
Light box
130 x 190 cm
Cortesía Galería Oliva Arauna
|
Ibid. London
Olivier Castel
Fountain
Courtesy of the artist and Ibid. London
OLIVIER CASTEL
Fountain 2 April - 3 May 2014 Ibid. is pleased to present its first solo show with London-based artist Olivier Castel entitled Fountain. In 2010, aged eighty, the French actor Jeanne Moreau performed a public reading of the screenplay forLe Moine (The Monk), written by Luis Buñuel and Jean-Claude Carrière in 1970. Moreau was cast in the role of Mathilde, a wicked and seductive woman who disguises herself as a monk and causes a succession of terrible events, but the film was never realised. For his exhibition at Ibid, Castel has made a re-recording of Moreau’s reading performed by a German woman, who happens to be a singer, and who speaks very little French. Like the majority of visitors to the exhibition, the narrator doesn't understand the content of the French text. She performs the words as a melody. The meaning is removed and the language becomes abstract. In French, the words for voice (voix) and path (voie) are homophonous, suggesting the potential of the voice to create its own path. Castel uses the voice to animate the room, like a musical box. The darkened room mimics the succession of spaces in which the story takes place - a monk's cell, cellar, bedroom, confessional box, cave, carriage, dungeon, prison cell and balcony. The transformation of the room by Mathilde's voice mirrors the transformation she operates on the main character, the monk, as he turns from piety to sexual desire, murder and ultimately Satanism. The unrealised film is staged without images; comprising the voice, the room and a red spot of light from a moving head light, programmed to draw continuously on the gallery floor for the time taken to read the screenplay aloud. The light is reminiscent of a candle or a flame dancing in a fire. It recalls the Gothic, echoing the origins of the screenplay - a late 18th Century novel by Matthew Gregory Lewis - but also the proto-cinematic, as an elementary form of moving image. A series of drawings on the walls break from the main focus of the exhibition and permit the visitor to explore the space on their own terms. The drawings are made of powdered cement, a material that is transformed as part of a process and used here in an unfinished state. The drawings are photographed in black and white and printed on acetate. Like the light, the drawings present a partial representation and one that is temporal, existing only long enough for the photograph to be taken. Olivier Castel usually presents work under heteronyms and has created over thirty different identities since 2001. This exhibition forms part of a body of work produced under the identity, Raymond Roussel, begun in 2004. Olivier Castel (born 1982, Paris, France) lives and works in London. Recent solo exhibitions includeEight hearts, Hayward Gallery, London (as Louise Weiss); The back of an image, Rowing, London (as Louise Weiss) (both 2013); and Ribbons! (The Shape of an Exhibition), Auto Italia, London (as Breer Lazidj Nahr) (2010). Group exhibitions include Memory Marathon, Serpentine Gallery, London (as Winnie Cott); A Trusted Friend, Carlos/Ishikawa, London (as Olivier Castel, Casper Perrin Yoakum and Côme Ciment); Sweets in Jars, Seeds in Bags, Jars in Stores, Bags in Stores, Ausstellungsraum Klingental, Basel (as Olivier Castel and Francis Frederick); and In the Belly of the Whale (ACT III), Montehermoso, Vitoria-Gasteiz (as Winnie Cott and Côme Ciment) (all 2012). Ibid. 37 Albemarle Street London W1S 4JF T: 44 (0) 207 998 7902 Ibid. Galería Helga de Alvear, Madrid
Thomas Locher
Bosch.1.Xa, 2013. 4/0c print-Vutek QS, Alubond.
Courtesy of the artist and Galería Helga de Alvear, Madrid
THOMAS LOCHER
Absent Things 27 March - 17 May 2014 Thomas Locher (Munderkingen, Germany, 1956) presents his second exhibition at the Helga de Alvear Gallery. This show, entitled Absent Things, explores the relationship between language and economy and the influence both of them exert on the individual. Thomas Locher, a pioneer of neo-conceptual art since the late 1980s, examines the rules of language and the complex pathways by which they operate, especially in an economic and legal context, an aspect of his work which has won him international acclaim. On this occasion, through a series of images, Locher addresses issues such as exchanges, free gifts, merchandise and structures of trust and credibility, taking account of their political implications as well as their impact on the daily lives of human communities. In some pieces in the exhibition, such as the series SMALL GIFT. TO GIVE. GIVING. GIVEN. GIFT, IF THERE IS ANY ... (J.D.) (2006/2013), Thomas Locher appropriates media images related to the context of negotiations and exchanges that depict gestures evoking the act of giving and receiving. Following his usual practice, he sets these images against textual quotations from Jacques Derrida’s book Donner le Temps 1: La fausse monnaie. Like the French philosopher, Locher reflects on the possibility of giving something without entering into a vicious circle of exchanges which finally turns that action into a debt that must be repaid. He thereby questions the generosity of the act of “giving” and identifies the conditioning factors and expectations under which merchandise is handed over without compensation. In some of his works Locher starts from classic paintings by Giotto and Hieronymus Bosch depicting images that allude to abundance and to the duality of “giving” and “receiving”, on which he places a series of letters that bring new meanings to the work as a whole. For example, the initials G-W-G or W-G-W (acronyms of Ware und Geld: Merchandise and Money) on frescoes by Giotto refer both to a Marxist economic analysis of the circulation of goods and to the rules governing the transformation of those goods into capital. All the works in the exhibition Absent Things juxtapose apparently contradictory concepts to generate an open dialogue between their different elements and with the viewers themselves. Locher uses dialectics, endowing each work with new political and psychological meanings which spring from the interaction between image and language. In short, Thomas Locher relativises established principles and rules as a tool to explore the political implications inherent in the structure of language, as well as their impact on society and human behaviour. Galería Helga de Alvear Doctor Fourquet, 12 28012 Madrid Spain T: 0034 91 468 05 06 Galería Helga de Alvear 
|
Exhibition IV
|
Exhibition IV
|
Exhibition III
Exhibition I
|
Exhibition II
Naručite naše magazine...Purchase our magazines
|
VILLA AMIRA, Street Ante Starčevića 33,
|
LP vinyl sell from Bosnia and Herzegovinahttp://lpvinyl.weebly.com/
|
Narudžba knjiga / Purchasing of the books / Bücher bestellen
|
|
.
Copyright © 2014 DIOGEN pro cultura magazine & Sabahudin Hadžialić
Design: Sabi / Autors & Sabahudin Hadžialić. Design LOGO - Stevo Basara.
Freelance gl. i odg. urednik od / Freelance Editor in chief as of 2009: Sabahudin Hadžialić
All Rights Reserved. Publisher online and owner: Sabahudin Hadžialić
WWW: http://sabihadzi.weebly.com
Contact Editorial board E-mail: [email protected];
Narudžbe/Order: [email protected]
Pošta/Mail: Freelance Editor in chief Sabahudin Hadžialić,
Grbavička 32, 71000 Sarajevo i/ili
Dr. Wagner 18/II, 70230 Bugojno, Bosna i Hercegovina
Design: Sabi / Autors & Sabahudin Hadžialić. Design LOGO - Stevo Basara.
Freelance gl. i odg. urednik od / Freelance Editor in chief as of 2009: Sabahudin Hadžialić
All Rights Reserved. Publisher online and owner: Sabahudin Hadžialić
WWW: http://sabihadzi.weebly.com
Contact Editorial board E-mail: [email protected];
Narudžbe/Order: [email protected]
Pošta/Mail: Freelance Editor in chief Sabahudin Hadžialić,
Grbavička 32, 71000 Sarajevo i/ili
Dr. Wagner 18/II, 70230 Bugojno, Bosna i Hercegovina