Thursday, May 31, 2007
Wednesday, May 30, 2007
Thomas Allen, Knockout, 2006
Thomas Allen, Knockout, 2006
The Affordable Art Fair (AAF NYC) creates an exciting environment for first-time buyers and experienced collectors to purchase original contemporary art by emerging and established artists represented by galleries from around the world including the U.S., Australia, Canada, France, Mexico, and the United Kingdom. Original contemporary painting, drawings, sculpture, photography and prints are available between $100 and $10,000.
Tuesday, May 29, 2007
Tom Meacham
Tom Meacham
“the greater good”
We are pleased to announce Tom Meacham’s second solo show with Oliver Kamm/5BE Gallery.
"The title of the second solo exhibition of recent paintings and sculpture by Tom Meacham, “the greater good”, suggests both the altruistic motto of a liberal democrat and the self-convincing rhetoric of a vigilante. Meacham offers an uneasy equation of extremes through a body of work that employs grid motifs on canvas, wood sculptures of “specific object” lineage, consumer objects and mundane materials.
"The piece that lends its name to the show is a large table constructed not as an homage to Juddian Modernism but as a deliberate misreading and displacement of those formal concerns. Laid out on its surface are dozens of knives of varying degrees of menace, from stiletto to machete. This unnerving collection, purchased in bulk through a late night home shopping network, seems designed to appeal not to the average consumer but to those who wish to amass private arsenals. What first appears to be a conventional display of weapons soon reveals a composition organized with the formal principles of a painting. The table’s base, constructed in the form of an ‘X’, reiterates crossed swords in piece that is a simple and sinister meditation on choice and freedom.
"The trihedral motif in the larger paintings, rendered in either electrical tape or ink jet on canvas, is an appropriation of the ceiling at the Yale Art Gallery, designed by Louis Kahn in 1951. Kahn’s innovation, to expose the structure that housed the building’s inner working systems in an elegant and elemental repeating form, was enabled by the Modernist ideology of his day. In Meacham’s work, signs that historically generate ideas of strength and stability are pulled to the opposite pole. In his paintings, imperceptible flaws in measurement, proportion and scale are allowed to accumulate and accrue as the triangular module repeats, resulting in subtly disconcerting optics. The resulting images appear simultaneously relentless and unsustainable. The tape paintings in particular, either hung on or leaning against the wall, appear to be both bandage and scaffold. In Meacham’s own words, ‘the system self-destructs’ with a confrontationally scaled ‘K’, oscillating between polar readings- full (thousands) and empty (strike out). Viewed from another perspective, the symbol dissolves and the piece re-organizes as sculpture- 3 pieces of tape on a plinth.
"Mondrian once famously stated, ‘If we cannot free ourselves, we can free our vision.’ Early in the last century, in order to pursue a neo-plasticist ideal of balance and universal repose, Mondrian abandoned the modular grid because it implied the tragedy of a rigidly ordered vision. Tom Meacham relies upon this tragedy. Every fulcrum point becomes a chance to unbalance the load."
Sunday, May 27, 2007
Saturday, May 26, 2007
René Francisco Rodríguez
Dear Friends and good women and men:
René Francisco Rodríguez will be representing Cuba at the Venice Biennial (June 10 - 21 November 2007). Raymundo Sesma will be showing a monumental site intervention in the crane of Bâlelatina, Basel (June 13 - 17, 2007). If you are going to be in Venice and/or Basel, I invite you to see both pieces by my artists.
I love you all and wish you all the BEST!!!
William Cordova
William Cordova, Territorial Pissing, 2007, collage on gold leaf
William Cordova’s first solo show in Switzerland “Pachacuti” (Stand up next to a Mountain)
FIGURES ON THE MOVE
FIGURES ON THE MOVE
They come from the imagination’s subconscious wonderland. They are laughing, jumping, dancing, jerking, twitching and moving around like hectic tap dancers. They are creatures of a kind, fetched from a cabinet of curiosities – and nonetheless they look sorely human, all too human. This is precisely why one feels a strange sense of familiarity when viewing the artist’s pictures. They are about you, me and our peculiar neighbor. And surely also about beings that you still can’t put a name to.
We speak about the figures in the painter Heidi P’s universe. And what we are speaking about is a universe that is entirely her own. She started – seriously – painting about three or four years ago, quickly making contact with an art gallery that sold her pictures in short order. Ever since that time, things have been moving fast – well-deserved. She has – presumably without consciously wanting to – become a part of the wave that is currently raging in the art world, a wave that has to do with the potential of art to communicate in a direct and unpretentious way, without too many filters and theoretical explanations.
But don’t make any mistake about it: Heidi P has a lot to offer - a fertile sense of fantasy, raving humor and a wryly capricious approach of the kind that can only emanate from a wholly uncontrolled poetic sensibility. Call it a seventh sense ... or an eighth sense. In any event, it is quite certain that Heidi P possesses a delicate intuition about life’s tumults and more erratic aspects. Her talent is secure and it’s already clear to see that it will develop even further than what we’ve seen up until now.
Her sources of inspiration feed in from everywhere: from her subconscious mind, of course, but also from the figures that she suddenly fastens her eye on, on a billboard, on a street corner or on an old wall. No matter what, as long as it ignites her picture-creating capabilities.
And then there are the colors. To a great extent, Heidi P builds her pictures up in colors. Bright colors, which vividly and jovially resound in the paintings like some kind of music. And then again, she is most certainly not afraid of using the colors in an untraditional way.
In certain periods in her output, she has been “writing” on the paintings. Short sentences – a kind of poetry. But her pictures tell stories in themselves, a profusion of short stories. Or, more precisely, fragments. For it is up to us to guess further, fueled by our own curiosity. There is no answer key.
Friday, May 25, 2007
Thursday, May 24, 2007
Jimmy Baker
Roberts & Tilton is pleased to announce an exhibition of new work by Jimmy Baker. Titled Rapture, the exhibition is a collection of fragmented narratives and artifacts that regard the present as if it were unearthed in a time capsule from our near future.
Baker's variety of working media presents the inevitable chaos of futuristic digital culture in form of highly refined aesthetics. Classical portraiture, iPods, photography, sculpture and hacked cell phones describe a variety of global concerns that accumulate into a grim dystopian future. The sum of this global turmoil is more the subject rather than its parts. While at once Baker's future is looming and ominous, it also provides hope by voicing the conscientious and aware. Baker contemplates the structure of information, and how we perceive events in hopes that we will step outside our moment in history.
OSCAR TUAZON
OSCAR TUAZON / "I'D RATHER BE GONE" /
STANDARD (OSLO) is proud to present its first exhibition of objects and photographic works by Paris-based artist Oscar Tuazon. "I'd Rather Be Gone" continues the artist's yearlong examination on how personal liberty can be embodied in architecture. Drawing on the early building experiments of the hippy commune Drop City as well as current practices in 'dwelling portably', Tuazon's work questions the conditions for sustainability and self-suffiency.
"When I attended Deep Springs College in the mid-90s, the Greyhound would stop at an intersection in the middle of the desert, 50 miles from the college. You had to wait there until someone drove out to get you, which sometimes took a few hours. The only other thing at that intersection was a whorehouse in a doublewide. (In Nevada, prostitution is legal.) On hot days, the Madame of the house would sometimes invite us inside and offer us a cold drink. The only way in and out of the college is through the whorehouse." Tuazon's works and writings continuously return to the ideal of the bare minimum – put forward by the writer Henry David Thoreau in the novel "Walden" (1854) – and thus also return to the question of whether isolation from civil society may gain a more objective understanding of it.
Since graduating from Whitney ISP Tuazon has produced a series of sculptures composed of urban debris: cardboard boxes, wooden pallets, printing plates, OSB boards from building sites, or melanin boards from defunct kitchens – materials gathered from the area of his Paris studio or near the various venues of his exhibitions. In an initial phase these sculptural works would take forms of geodesic domes and draw on such typologies as indigenous building techniques, DIY architecture, as well as a more determined dedication to structural clarity, advocated by the engineer R. Buckminster Fuller. More recently the works have taken on the character of full-scale building prototypes, such as the work "1:1" at the center of the show.
This assemblage of melanin boards and wooden pallets is constructed to serve as a corner of the house Tuazon planning to erect near Portland, Oregon. Approaching the building project through a series of trial products rather than drawings, the exhibition context becomes a chance to test rather than portray this situation. At the same time Tuazon exposes the shortcomings of the works as prototypes, which continuously seem to be balancing between actual functionality and a possible transcendent materiality as sculptures. Tuazon draws attention to the disjuncture of forcing one space (the un-built house) onto another space (the gallery), and underscores the impossibility of really modelling something accurately in the context of an exhibition. Adding to these sculptures are four folded and framed photographs, rendering tableaux of temporary architecture from the woods of Portland. The photographs become a surface for exploring another kind of space, while being folded also modulating the distances within the image, between one space and another.
Oscar Tuazon (b. 1976 in Seattle, Washington) received his education from Cooper Union and the Whitney ISP in New York. His works were earlier this year shown in solo exhibitions at Bodgers and Kludgers, Vancouver and at castillo/corrales, Paris. His recent group exhibitions include "Down By Law", The Wrong Gallery for the Whitney Biennial, New York; "The Elementary Particles (Paperback Edition)", STANDARD (OSLO); and "Minotaur Blood" at Jonathan Viner / Fortesque Avenue, London. "Metronome no. 10", which Tuazon co-edited with Clementine Deliss, will also be included in the Documenta 12 Magazines project.
Upcoming projects:
Matias Faldbakken: "A Hideous Disease / Art Basel 38 / Statements / 11.06.-17.06.2007
Gardar Eide Einarsson: "South of Heaven" / Frankfurter Kunstverein / 27.07.-16.09.2007
Wednesday, May 23, 2007
"I'VE BEEN SETTING FIRES ALL DAY"
BRETT WILSON
MICHELLE CORTEZ
SUZANNAH SINCLAIR
"I'VE BEEN SETTING FIRES ALL DAY"
May 25 - July 8, 2007
Opening Reception with the Artists Friday, May 25, 6-9 p.m.
"I've Been Setting Fires All Day" shows the work of 3 artists with an intrinsic sensibility that is both vulnerable and sophisticated.
Brett Wilson does what few others dare to do when he takes the craft of painting at face value, making naive oil paintings that use a sharp wit to convey meaning. In "Let's Do Some Living After We Die" his deceased dog Gilligan is portrayed enjoying himself in the afterlife in a field of raw and beautifully rendered flowers. His self-portrait "Feelin' Fine" is a depiction of a trip to the afterlife to visit "Gilly", showing just the top of Wilson's head peeking up in that same field of flowers. Since life is so fragile it should be taken with the best of humor, Wilson reminds us.
Michelle Cortez's watercolor and embroideries on thin white fabric resemble old bed sheets, fragile and strong. Domesticity comes to mind as it usually does with sewn works, but in this case she has taken it on the road. These works were all made before, during and after a 6 month bus trip through South America. In Cortez's simultaneously meticulous and haphazard work you can feel the sweat of her labors and the issues she may have been struggling with along the way. There is a distinct sense that she was working something out by creating these highly personal works.
Suzannah Sinclair paints seductive portraits of young females in different states of repose. Whether in bed, laying in the grass or in other intimate settings, her subjects are always stripped down to their bare elements. Often inspired by 1970's era Playboy imagery, her muses are mischievous and knowing with a pure innocence and clarity which it seems Sinclair wishes to preserve in her paintings. Often referred to as sad and lonesome, her paintings also show a confident power in their solitude which is presented by Sinclair to us, the audience and voyeur. Created with thin layers of translucent watercolor on birch panel, Sinclair uses the natural wood grain as part of the composition which furthers the sensual quality of her work.
Ben Nason/Pilaiporn Pethrith
Ben Nason
Spare
24. maj – 30. juni 2007
Ben Nason: Untitled 1 from the series "Spare", 2006, archival ink jet print, 126 x 84 cm. 
Pilaiporn Pethrith
SOS#4 (Series of Situations)
24. maj – 30. juni 2007
Pilaiporn Pethrith: Untitled, 2006, print på lærred, 120 x 80 cm.
Gert Robijns
Gert Robijns Olympics
In his works Gert Robijns focuses our attention on simple scientific principles, forms and places. Smallest details may inspire him to his philosophical and poetic contemplations. For example that a blink causes reality to shift to the left or to the right, that images take shape in our brain.
His exhibition Olympics emanates from a similar idea, it developed from reflections on the shape of a circle. Found material is sawed into smaller and larger elements generating positive and negative outlines of a circle. The modest composed cuttings evolve in space to images of a wide range of meanings.
The sculptural installation is completed with a sliding door, which opens and closes in irregular intervals. The structured framework is leaning casually against a wall, leaving only the space behind it open for view. Simultaneously to the rhythmic opening of the structure a bright light switches on in an adjacent part of the exhibition space.
Connotations to gateways, crowds of people, the flurry of camera flashes, and spotlights are in a striking contrast to the quite order of the rest of the installation. The critic Wim Peeters aptly characterizes Gert Robijns approach as being marked „by indication, rather than designation or interpretation.
Herzliche Grüße / best wishes Julia Sökeland, Nasim Weiler
www.artagents.de
Tuesday, May 22, 2007
Monday, May 21, 2007
DUNK! / FORMEL 1
DUNK! / FORMEL 1
DUNK! is proud to present new paintings by the upcoming Danish painters Rasmus Lütken and Jakob Rød
Rasmus Lütken is a profound fabulous surrealistic formalistic humorist who keeps a perfect balance between colors and form in some marvelous far-out cartoon like paintings in which every-day-life walks dreamlike on the edge of the abyss.
Jakob Rød is a super conceptual painter who by simple moves creates some of the coolest and breathtaking beautiful paintings on the art scene right now in a style where
Pop is confronted with the purest form of zen.
Opening Reception:
Thursday, may 24, 2007 from 6:00 p.m. –10:00 p.m.
The exhibition is open from Friday, May 25, until Sunday, June 24, by appointment or
every Thursday from 10: a.m. – 3:00 p.m.
DUNK!
Værkstedsvej 6, 2. sal tv.
2500 Valby / København.
Zadok Ben David
Zadok Ben David
Black Field
Black Field, 2007, painted steel, size variable
Exhibition dates: 1st June - 7th July 2007
Hales Gallery is pleased to present Israeli sculptor Zadok Ben David’s first solo show at the gallery.
Ben David is best known for his work using slights of hand and eye, emerging from his obsession with magic tricks. In 1988 he represented Israel at the Venice Biennale, which was the culmination of this early period of single works.
Since this time, Ben David has enjoyed considerable success with his large scale installations; his major work, Evolution and Theory, 1998, has been exhibited at the Museum Beelden aan Zee, Scheveningen, in the Netherlands and the San Francisco Art Institute. This work initiated Ben David’s exploration into the paradoxical position of western scientific discovery which has continued to form a central theme within his practice.
This new work Black Field continues to investigate Ben David’s interest in visual trickery and illusion in relation to a fascination with science as a vehicle for progress. A major installation, it completely permeates the left hand side of the gallery allowing the spectator only one vantage point from which to view this spectacular work. Both witty and playful, the piece seduces its audience by creating a deception, easy to unravel but magnificent in its simplicity.
The installation consists of over 3000 acid etched stainless steel miniatures, cut to resemble illustrations from 18th and 19th century herbal and botanical manuals which Ben David has collected and chosen specifically for this project. Each flowering plant has been given a unified size, painted black and placed upright. Viewed individually, the pieces appear to be both a shadow, and a shadow of a shadow, superimposed against an immaculate white ground. Yet, seen as a whole, as the title indicates, the installation emerges as a ghostly horizon, metaphorically suggesting a burial field, ravaged by plague, pestilence or war.
Zadok Ben David moved to Britain in the 1970s and studied sculpture at St Martin’s School of Art under the tutorage of Anthony Caro, William Tucker and Phillip King. His work first came to prominence as part of the New British Sculpture movement in the early 1980s which reacted against much of the minimal and conceptual art of the 1960s and 1970s.
Most recently, Ben David has produced a solo survey show at Guangdong Museum of Art in Guangzhou, China and has completed a series of major outdoor sculptural works including those at the Yad Vashem, Israel and Goodwood Sculpture Park.
Sunday, May 20, 2007
CINDY SHERMAN
CINDY SHERMAN
A Play of Selves
May 23 - June 15, 2007
Opening: Wednesday, May 23, 6-8pm
"A Play of Selves / Act 2-Scene 2", 1975
black and white photograph mounted on board
45 x 38.1 cm
© Cindy Sherman
Monika Sprüth and Philomene Magers are delighted to exhibit 'A Play of Selves,' Cindy Sherman's seminal work from 1975 at their Grafton Street gallery in London.
In the introduction to the recently published catalogue for 'A Play of Selves' (Hatje Cantz, 2007), Sherman states: "This is the only work I've ever done that was consciously autobiographical."
American photographer and film-maker Cindy Sherman, born 1954 in New Jersey is known for her conceptual self-portraits in which she fully transforms herself into different personas with the use of make-up, costumes, play acting and even prosthesis. Sherman's work questions visual representation by addressing the false naturalness of photography, in particular the images of women which are promoted by mass culture such as movies, television and magazines as reality. Some of her most important series of works include "Untitled Film Stills" (1977-1980), "Centerfolds" (1982), "Disasters" (1986-1989), "History Portraits/Old Masters" (1988-1990) "Sex Pictures" (1992), and "Clowns" (2003-2004).
'A Play of Selves' comprises 72 photographic assemblages which Cindy Sherman cut out of black and white prints in 1975 during her last college year in Buffalo, New York, and marks one of the first uses of herself as a subject in staged photographs. Having originally used the cut-out figures for an animated film ('Doll Clothes,' 1976) she soon realized that the figures could interact with each other. A film script developed, the story of a young woman overwhelmed by various alter-egos working at odds with her and her final conquering of self-doubt, played out in four acts and a finale with 16 separate characters. The scenes incorporate the allegoric figures 'Madness,' 'Vanity,' 'Agony' and 'Desire' that evoke the conflicting aspects of the female protagonist, which appears in different situations as 'Broken Woman,' 'The Actual Main Character' and 'The Character as Others see Her.' Only at the end does 'Broken Women' become the 'Actual Main Character.'
Cindy Sherman lives and works in New York City. Since the 1980's, her work has been collected by major private and institutional collections worldwide. Most recently, a large-scale retrospective organized by the Jeu de Paume, Paris travelled to Kunsthaus Bregenz, Austria and is currently on view at the Louisiana Museum for Moderne Kunst, Denmark until May 20, concluding at Martin-Gropius-Bau, Berlin, Germany (15 June - 17 September 2007).
'A Play of Selves' will be on view at Monika Sprüth Philomene Magers, 7A Grafton Street, from May 23, 2007 through June 15, 2007. Opening Hours are Tuesday through Saturday, 10 am - 6 pm and by appointment.
Saturday, May 19, 2007
Rene Schmidt
A manifold is an abstract mathematical space in which every point has a neighborhood which resembles Euclidean space, but in which the global structure may be more complicated.
JOHANSSON & JOHANSSON
JOHANSSON & JOHANSSON
May 24th – June 29th, 2007
OPENING
THURSDAY, MAY 24 2007, 5-8 PM
Participating artists:
Lena Johansson and Andreas Johansson
English version
Andreas Johansson (SWE) works with handmade photographic collages, where photography’s of landscapes, roads and buildings are cut up and put back together again in a different and apparently logic way, but so precisely that the joints are not immediately noticeable to the viewer. Johansson plays with surface and depth and confronts the viewer with images of public spaces that seem easily recognisable and appear well known. One seems to be observing a realistic space that is represented in natural dimensions. The concept that these fictive spaces might not exist in real life – but only in Andreas Johansson’s universe – seems remote. Gradually the conceptual structure behind the images is revealed. The eternally blue, cloudless sky, the lack of any horizon and the strange way the trees are reflected in the Dace-baths all disclose unnerving aspects of a reality that is devoid of any human presence. However, it is only seemingly that all life has abandoned the worn-down and graffiti-covered buildings, the ruined tennis court and the slightly too green swimming pool. For between the cracks in the asphalt, in the middle of the tennis court and behind the buildings nature is bursting forth.
Andreas Johansson was born in 1977 and educated at the Konstskolan Idun Lovén and the Konsthögskolan in Malmö (2006). This spring his work may also be seen at Liljevalchs Konsthall in Stockholm.
In Lena Johansson’s (SWE) portraits, women are depicted as sensual creatures and figures that have been staged. She finds inspiration for her paintings in the world of fashion and advertising. However, Lena Johansson’s portraits of women are painted with an intuitive sensitivity that raises them above the often stereotypical images seen in commercials and fashion magazines. Lena Johansson utilizes this honest and intuitive approach as a specific mode de travail. It requires her acceptance of the natural and uncensored self that the models are such a contrast to. This straightforwardness is important exactly because the images that she draws upon and alters are all about accepting a fabricated picture of her inner self. In other words, Lena Johansson represents herself via models, thereby using ”their” body language and aura to be able to portray herself from her early teenage years up to today.
Lena Johansson was born in 1975 and received her education at Konstskolan Idun Lovén, Den Kungliga Konsthögskolan in Stockholm and Malmö Konsthögskola (2007). Her latest works have been exhibited at bendixen contemporary art and Brändström & Stene in Stockholm.
Opening hours: Tuesday – Friday 12-17, Saturday 11-14
Please note that the entrence at Carl Jacobsensvej 20, stairway 20 is being renovated from week 21 – 31, 2007. Please use entrence 6 or 11 during this period.
Jim Shaw
Jim Shaw 'Distorted Faces & Portraits, 1978 - 2007'
BFAS
Blondeau Fine Art Services SA, Geneva
5, rue de la Muse
1205 Genève - Switzerland
Ville Lenkkeri
Ville Lenkkeri
REALITY IN THE MAKING
25 May – 30 June
The opening show will take place on the 24th of May, 2007, 5pm – 8pm.
Thursday, May 17, 2007
Neil Farber & Chris Gilmour
Perugi artecontemporanea - via Giordano Bruno 24 b – Padova
Chris Gilmour
Disposable
IN THE B SIDE ROOM
Neil Farber
Please Give Blood
Curated by Guido Bartorelli
opening Saturday 26th May 2007
From 6,30 pm onwards (until 20th September 2007)
Galleria Perugi is proud to present solo shows by two internationally successful artists, the Canadian Neil Farber, also famous for his work as a member of the Royal Art Lodge, and the English artist Chris Gilmour, resident in Italy for a number of years.
Farber presents Please Give Blood, a huge multi-element drawing made up of sixteen sheets of paper. The large space gives full rein to the ineffable creatures which fill his visions, perhaps never before shown in such an exquisitely cruel and dream-like way.
As always, Gilmour concentrates on the re-thinking of sculpture and sculptural language. His technical ability has reached such a level as to allow him to duplicate segments of reality with incredible precision, the only difference being the material- scrap cardboard. The “parallel reality” he creates thus becomes invalidated by a kind of original factory defect which makes it humble and fragile, but which is at same time of great poetic fascination.
Disposable is the title of this new series of works which draw their subject matter directly from the artistic tradition. These works are derived from the statues and busts often present in public spaces, their function to make eternal the memory of some illustrious man of history, but these are men whose great deeds are so often irredeemable forgotten.
The shows are curated by Guido Bartorelli.
Wednesday, May 16, 2007
PETER FISCHLI & DAVID WEISS
PETER FISCHLI & DAVID WEISS
"EQUILIBRES"
May 15 - July 28, 2007
Natürliche Grazie, 1984/86
C-Print, 40 x 30 cm
© Peter Fischli & David Weiss
Monika Sprüth and Philomene Magers are pleased to present the photographic series EQUILIBRES by Peter Fischli and David Weiss at their Munich Gallery.
In their work, the artists employ a wide variety of artistic means of expression, ranging from film, photography and artists’ books to sculptures and multimedia installations. They adapt everyday objects and situations which they place – not without humour or irony – in an artistic context, thus raising philosophical and theoretical questions regarding the explanation of the world.
The photographs EQUILIBRES were created in the years 1984 and 1986. It is a series of 82 black-and-white and colour photographs showing assemblages of everyday objects. The attention is drawn to an dizzying construction, with gravity seemingly working in reverse, creating a state of suspension which cancels the weight and the value of the individual components. This is also summarized in the subheading of the EQUILIBRES of Peter Fischli and David Weiss: „Am schönsten ist das Gleichgewicht, kurz bevor’s zusammenbricht.“ („Balance is most beautiful just before it collapses.“)
Precarious and often on the verge of collapse, the photographs with their suggestive titles are reminiscent of thought experiments and evoke the familiar Surrealist image of the „chance encounter of a sewing machine and an umbrella on a dissection table“ (Lautréamont). The titles alternately function as accurate summaries of the sculptural situation, as in the case of the SCHLUMMERSCHLINGE (SLUMBER SNARE) or as anecdotic descriptions.
In their new EQUILIBRES artists’ book, Peter Fischli and David Weiss have often assigned different titles to one and the same motif.
A smaller selection of the EQUILIBRES was presented for the first time in 1985 in the exhibition STILLER NACHMITTAG (QUIET AFTERNOON) at Monika Sprüth Gallery, Cologne, at the Kunsthalle Basel and at the Groningen Museum, accompanied by the artists’ book of the same title.
Peter Fischli (b. 1952) and David Weiss (b. 1946) live and work in Zurich. They became internationally known through their film DER LAUF DER DINGE (THE WAY THINGS GO) which was shown at the DOCUMENTA in Kassel in 1987. Peter Fischli and David Weiss have represented Switzerland in numerous international exhibitions such as the Venice Biennale and were awarded the Golden Lion in 2003.
Their large retrospective FLOWERS & QUESTIONS was first shown at the Tate Modern in London in Autumn 2006 and travelled afterwards to the Musée d‘Art Moderne de la Ville de Paris, the Kunsthalle Zürich and the Deichtorhallen Hamburg.
For further information or visual material please contact Julia Weiß.
www.spruethmagers.com
Benny Droscher
Please join us from 18.30 - 20.30 tonight for the opening of Lurking for Transcendental Moments, Benny Dröscher's first solo exhibtion in the UK. And afterwards at the Bloomsbury Bowling Lanes, Tavistock Hotel, Bedford Way.
Tuesday, May 15, 2007
ART PARTY/EXHIBITIONISM
Hz is proud to make room for an interesting look through the eyes of NICHOLAS TAYLOR, 1/5 of the legendary GRAY orchestra featuring band-members JEAN MICHEL BASQUIAT, MICHAEL HOLMAN, WAYNE CLIFFORD and VINCENT GALLO.
FRIDAY May 18th at 21h00, Hz is transformed into a kaleidoscopic look on art and music history, featuring Mr. Nicholas Taylor himself on the turntables alongside Mxll and Pac.
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