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DIOGEN pro culture magazine presents you / DIOGEN pro kultura magazin vam predstavlja
Exhibitions worldwide / Izložbe širom svijeta
2014.
29.10.2014
Yousif Naser
Exhibition 3.11.- 15.11.2014
France
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| invitation.pdf |
1.9.2014
Sculpture & Installation
Galerie Urs Meile Lucerne
Galerie Nagel Draxler, Berlin
Sadie Coles HQ, London
 Li Gang
Beads No. 3, 2013
wooden spheres, shaped from the connecting points of a dead tree of Yunnan Province
504 pcs., ø 0.8 - ø 78 cm
Courtesy of the artist and Galerie Urs Meile Lucerne | Beijing
Galerie Urs Meile Lucerne
LI GANG Salt Road August 21 - November 1, 2014 Opening: Thursday, August 21, 2014; 6 - 8pm Galerie Urs Meile is pleased to announce the opening of Salt Road, the second solo exhibition by Li Gang(*1986 in Dali, Yunnan Province, lives and works in Beijing, China) at our Lucerne gallery. Li Gang studied painting, but went on to experiment with a wide range of media and materials. He wants his art to stay fresh and committing to only one medium would limit him too much. With Li Gang you never know which form his next group of works will take on. His art has no recognizable style, the common ground lies deeper: in Li Gang’s interest in transformation. This concern encompasses both: his own growth as an artist and the transformation of ordinary objects into art works. His aim is to create art, which is more than just a reproduction or copy of reality, and he challenges himself with all kinds of unusual materials: dead trees, waste from exhaust emissions, cement, stones and hemp string. Often the choice of material is significant as in the work The End - 2013.12 (2014, waste materials from exhaust pipes of cars and water, five bars of ink, each 1.2 x 2.2 x 11.5 cm). Li Gang altered the production process of Chinese ink, which is traditionally made out of soot collected over burning pine wood and mixed with glue. Li Gang used the waste materials from car fumes instead to create a toxic, but actually useable set of ink bars. Also for the third version of this series, Beads No. 3 (2013, wooden spheres, shaped from the connecting points of a dead tree from Yunnan Province, 504 pcs., ø 0.8 - ø 78 cm) the choice of material is relevant. Li Gang had 504 wooden spheres shaped from the parts of a dead tree, where the branches connect to the trunk, the roots divide and the boughs bifurcate. He did choose this part of the tree because it represents to him the origin of something new, the core of a fresh endeavor and the beginning of an emerging connection to the world. To him a tree is like a person’s life and relationships. Life is not linear, we grow and we connect, we explore new paths, it is a constant trial and error, a constant reaching out and retrieving. Another group of works is also based on the idea of connecting: Alienation (2013, stones and glue, 200 x 60 x 50 cm), Vertical (2014, stones and glue, 181 x 21 x 21 cm), Forgiving (2014, stones and glue, 70 x 68 x 14 cm), Not Wrong (2014, stones and glue, 49 x 62 x 12 cm), 1st May (2014, stones and glue, 71 x 53 x 9 cm). Li Gang joins large pebble stones with glue, which he uses like modeling clay, creating a shape that harmoniously connects the different ridges of the stones. Herewith the artist makes hidden connections of seemingly unrelated objects visible and combines them in hanging sculptures or objects that are reminiscent of frames. Li Gang’s paintings are situated between figuration and abstraction (Mid-February (2014, oil on hand-made canvas, 123 x 122 cm), Ornamental Carp (2014, oil on hand-made canvas, 162 x 178 cm), Description (2014, oil on hand-made canvas, 162 x 182 cm), Painting the Sky (2014, oil on hand-made canvas, 166 x 186 cm) and March (2014, oil on hand-made canvas, 107 x 102 cm)). The canvases are made of handmade hemp string and were produced in Li Gang’s hometown in Yunnan province. Their subjects are enlarged details of famous masterpieces or of his own sketches. Depending on the light conditions the structure of the canvas and the shiny oil color develop their own pattern, which breaks the depiction and transforms the painting into an object. Li Gang was born 1986 in Dali in Yunnan Province in China and studied oil painting at Yunnan Dali Academy in Dali, China and art at the Department of Experimental Art of Central Academy of Fine Arts, Beijing, China. More works from the series’ exhibited in Lucerne will be shown at Palais de Tokyo in Paris from October 20, 2014 as part of the group exhibition Inside China. Galerie Urs Meile Lucerne Rosenberghöhe 4 CH-6004 Lucerne Luzern Switzerland T: +41 (0) 41 420 33 18 GALERIE URS MEILE 
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 Anna Fasshauer
“Dow”, 2014
Trockenbauprofile, Lack
185 x 131 x 87 cm
Courtesy of the artist and Galerie Nagel Draxler Berlin | Köln
Photo: Simon Vogel
Galerie Nagel Draxler, Berlin ANNA FASSHAUER New Works 1 August - 10 September, 2014 Drywall construction profiles formed and wound to large sculptures, either coloured or partly lacquered, flexed sheet metal pictures - this is how Anna Fasshauer presents herself in her first exhibition at Galerie Nagel Draxler Berlin. Anna Fasshauer employs classical sculpture as if it were easy. In a rather open process, she accurately transforms material into forms, putting them into space. She neither designs nor draws, does not order the complete construction. Fasshauer produces herself in an energy consuming act of bending, flexing and fumbling around with the large and heavy works. She improvises, the works arise in the process of arising. The pictures are results of this process-oriented working method as well. Their format is classical, their topic is the surface, their expression is abstract. Everthing on display here is what it is and it is hand-made. Neither the so-called speculative materialsm or realism nor the post-structural correaltion are the matrix. In fact Fasshauer achieves a setting in the best tradition of abstract art of the 20th century, as if it were a continuum. Galerie Nagel Draxler Weydinger Str. 2/4 10178 Berlin Germany T: +49 (0) 30-40042641 GALERIE NAGEL DRAXLER 
Adriano Costa
Touch me I am geometrically sensitive
Courtesy of the artist and Sadie Coles HQ, London
Sadie Coles HQ, London
ADRIANO COSTA Touch me I am geometrically sensitive 28 August - 27 September, 2014 During August and September 2014, Brazilian artist Adriano Costa presents his first solo exhibition in London - also his first with Sadie Coles HQ. Made over a period of two months in London during the lead-up to the exhibition, Costa’s latest works harness everyday objects - mostly gathered in situ - so as to magnify their basic geometrical patterns, textures and colours. While probing the imaginative and aesthetic potential embedded in the stuff of daily life, Costa’s sculptures, paintings and installations also allude implicitly to the wider system in which art is made, validated and sold. In line with previous installations, Costa’s found objects - readymade yet reformulated - continue to express their original functions and resonances; earlier assemblages have for example recycled items of clothing from his childhood. He has made a series of wall compositions using cut-out sections of free London newspapers, and these bear witness to the news stories that dominated the headlines over the summer (or indeed those that passed by without note), from the wars in the Middle East to the shooting down of Malaysia Airlines flight MH17 in the Ukraine. Reflected in these works, Costa proposes, is a sense of the “crazy and intense summer” that has just passed, with “some works speaking of tragedies, others of funnier things. It’s always important for me to talk about where I’ve been working - perhaps in an attempt to understand.” Assimilating a diverse range of forms and colours - whether of copper or concrete, steel or cloth - Costa also oscillates freely between miniature and monumental scales, suspended and earthbound formats, or flat and volumetric structures. His works harbour precise references to artists he admires - allusions “packaged in plastic” - while also affectionately subverting the models they invoke. A grid of metal tiles, reminiscent of a Carl Andre floor sculpture, has for instance been riddled with circular holes. Elsewhere Costa has deployed coloured polythene bags (rubbish and recycling sacks from different London boroughs) to create geometrical wall pieces akin to Constructivist paintings; while in a series of small-scale paintings, he combines the methods and motifs of embroidery, collage and cartoons. Quoting artistic precursors in seemingly degraded materials or formats, Costa playfully interrogates the “real value” of works of art, addressing the question of how unspectacular or even desultory materials might transmute into an art object and vice versa. Conflating painting and sculpture, his works inveigle viewers into tactile environments that amount to giant three-dimensional avant-garde paintings; yet their ‘abstract’ designs work to reveal and reassert - rather than disguising - their component materials, whether carpets or clothes or goalposts. Citing the ground-breaking and sensual Neo Concrete installations of Brazilian artist Hélio Oiticica, Costa compares the construction of his installations as analogous to painting - a process of simultaneous construction and deconstruction. One earthbound sculpture takes the form of a cluster of cylindrical vessels resembling earthenware pots or cross-sections of pipe; these sit like archaeological fragments amid a heap of dust - but might as easily be the remnants of a building site as an historical excavation. Of his working method, he has observed: “I never work with a predetermined project. Rather, it is a certain material or colour that determines my direction, and when other elements are incorporated, one thing starts to relate to another, some problems emerge, and I try to solve them. Sometimes, there is no solution, so I have to deal with that too.” Magnifying the emotional charge or chance beauty lurking within forgettable objects, Costa’s is an ‘art of the incidental’ which elides the gap between artistic experimentation and the unpredictable turns of daily existence. Adriano Costa (b. 1975, São Paulo) lives and works in São Paulo, Brazil. His work is currently featured in Under the Same Sun: Art from Latin America Today, Guggenheim, New York; a recent solo presentation at the Zabludowicz Collection, London and will have solo exhibition at Peep-Hole, Milan in September. Selected group exhibitions include: IMAGINE BRAZIL, Astrup Fearnley Museet, Oslo & Musee D’Art Contemporain de Lyon, France, 2014; Correspondências, Centro Cultural dos Correios, Rio de Janeiro, 2013; Time Space Poker Face, Be-Part, Waregem, Belgium, 2013; Rumos Artes Visuais, Itaú Cultural, São Paulo, 2012; MYTHOLOGIES, Cité Internationale des Arts, Paris, 2011; Programa Anual de Exposições, Centro Cultural São Paulo, 2010. Sadie Coles HQ 62 Kingly Street London W1B 5QN T: +44 (0) 20 7493 8611 Sadie Coles HQ |
PREVIOUS INFO ABOUT WORLDWIDE EXHIBITIONS 2014 /
INFORMACIJE O IZLOŽBAMA 2014.
INFORMACIJE O IZLOŽBAMA 2014.
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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. Publishers online and owners: Peter Tase & Sabahudin Hadžialić
Whitefish Bay, WI, United States of America
Contact Editorial board E-mail: [email protected];
Narudžbe/Order: http://www.diogenpro.com/diogen-all-in-one.html
Pošta/Mail USA: Peter Tase, 5023 NORTH BERKELEY BLVD. WHITEFISH BAY, WI, 53217, USA
Pošta/Mail BiH: Sabahudin Hadžialić, Grbavička 32, 71000 Sarajevo i/ili Dr. Wagner 18/II, 70230 Bugojno,
Bosna i Hercegovina