The master in Beijing...
Must to see if you is around.
Friday, February 29, 2008
303 Gallery is proud to present our first solo exhibition of sculpture by Jeppe Hein that is minimal in execution and engages the viewer in potentially social interactions.
For his New York gallery debut, Danish-born artist Jeppe Hein tests visitors' eyes. Instead of placing his works prominently in the gallery space, Hein works with more minimalist spatial interventions. All the works in this exhibition are installed in almost invisible places – in a corner, behind a column, at the end of a wall – so that the visitor does not notice them at first glance. The viewer is invited to take a close look around the gallery to search for the works and discover them. Hidden in a corner you find ‘Sugar Cube’, 2008, a white cube consisting of 36 small sugar cubes installed on a shelf. Towards the end of the exhibition the visitor walks into the ‘Spinning Ball’, 2008, a high polished steel ball that spins around its diagonal axis reorienting our experience of gravity.
Jeppe Hein activates the visitor’s relationship to space – turning the spectator into a participant. The viewer sees her/himself reflected in the surface of a neon piece which invites them to ‘PLEASE ENJOY RELAX STEAL DANCE TOUCH FLIRT SMOKE WONDER FEEL MUSE EAT SING LISTEN TALK ASK TOUCH NEON LOOK COMMUNICATE TOUCH EACH OTHER USE CAMERA FLASH.' The dialectical opposition catalyzed by language is echoed in the dissociative sensation of seeing one's own reflection behind instructive "rules" created for our own heeding.
In 2007 Jeppe Hein was included “The World as a Stage” at Tate Modern, London which will travel to the Institute of Contemporary Art, Boston. Last year Jeppe Hein also had solo exhibitions at the Sculpture Center, New York, Barbican Art Center, London and at the Carré d’Art - Musée d'art contemporain de Nîmes, which was accompanied by a catalogue. In 2008 will participate in an exhibition at the Museum of Contemporary Art Kiasma, Finland, as well as the Folkestone Triennial. In 2009 Hein will have a one-person exhibition at the AROS Kunstmuseum, Århus, Denmark accompanied by a public project and a solo exhibition at the Contemporary Art Gallery, Vancouver, Canada. The same year he will have a solo exhibition at the Indianapolis Museum of Art, Indiana. Jeppe Hein has previously exhibited at the Centre Georges Pompidou, Paris, Sprengel Museum, Hannover, Lenbachhaus Muenchen, Germany, and P.S.1, New York.
Posted by J-P Brask at 12:13:00 PM
Their success stems in part from his surprisingly large vocabulary of terse little doodles
and in part from the range of contrasts he coaxes from the black and white gouache.
It gives the piles a harsh, almost glittery light that catches the eye, communicating something
driven and serious.
Roberta Smith, New York Times
Taka Ishii Gallery is pleased to announce our first solo exhibition with artist Tomoo Gokita.
Born in Tokyo, Gokita has published and exhibited extensively within Japan as well as participated
in group and solo exhibitions in New York, Los Angeles and Berlin.
Tomoo Gokita’s work has had a strong presence within the world of contemporary culture internationally
for a number of years; however, it is only recently that his practice has been recognized within the
contemporary art world. A cult figure, Gokita’s earlier practice consisted primarily of works
executed in an off-hand manner, presented on paper within the context of an exhibition or, more
frequently, within the pages of a magazine for a creative or commercial project.
Gokita’s recent works mark a change; while retaining the tone and palette of pencil-on-paper as well as
his delight in found, marginal subject matter, Gokita’s recent paintings on canvas, executed in the
medium of gouache and gouache-based paints reveal a new interest in materiality. Gokita’s painted
figures exist as illustrated abstractions - this fact often made explicit by their deterioration
into non-representational painted swathes and blobs. As much “about“ the range of possibilities
inherent in varying shades of black and white, and the material flatness and contrastingly sharp
tones resulting from gouache applied to canvas, Gokita’s paintings are graphic re-presentations of
Gokita continues to create works on paper; however, rather than stand-alone works (with the exception
of painted studies), new drawings are presented in a continually growing group which, by the time of their
presentation at Taka Ishii Gallery will number into the hundreds. Contradicting their status as parts amongst
a whole, Gokita’s drawings are each presented within their own frame.
Taka Ishii Gallery
Posted by J-P Brask at 10:16:00 AM
Thursday, February 28, 2008
Wednesday, February 27, 2008
During the opening from 6-9 PM, Lilibeth Cuenca will make a live performance of her piece "The Artist’s Song”, followed by re-enact performances by Piero Manzoni, Yves Klein, Marina Abramovic, Yoko Ono, Ana Mendieta, and others. “The Artist’s Song” deals with the different positions and genres in art. The film will be presented after the performance.
"A Void” investigates the identity of an artist and questions the authenticity of the art work and the history of art. Performance art has been very radical in its transgressions and has expanded the categories of art. The authenticity of performance art is related to the here-and-now experience. When the performance is over, it can only be experienced through documentation far from the original experience. Even if it is performed again, it will be very different from the original experience, dependent on the artist, the audience, time and context.
Lilibeth Cuenca Rasmussen re-enacts other artists’ performances in her own way. The point of departure is identical, but the experience will be completely different. The historical re-enactments will follow each other without precedent announcement as one long performance. They will be documented and shown on video after the opening. Traces of the performances will also be present as drawings and photographs.
Posted by J-P Brask at 1:57:00 PM
Tuesday, February 26, 2008
IN THE ONION CELLAR
“The onion has many skins. A multitude of skins. Peeled, it renews itself; chopped, it brings tears; only during peeling does it speak the truth.” Günter Grass
Neue Alte Brücke is pleased to present the first solo exhibition in Germany by the English-born artist Dave Carbone. Titled In the Onion Cellar, this exhibition comprises new sculpture and wall-based works.
Carbone makes sculpture, painting and performance that transform found materials into precarious physical, emotional and conceptual conundrums. His fragile and labour-intensive constructions appear to reveal a tragic humour that, at times, exposes the artist’s own weaknesses and deficiencies.
This was seen in Carbone’s prosaically titled 2006 performance, Open Lecture. Here, Carbone delivered a simple artist’s talk on and around his general practice, which was closely followed by a question and answer session. Each audience member was given a question that had been previously prepared by a close friend of the artist. After the agreement that he would answer each question as honestly as possible, Carbone gave uncomfortably truthful responses to questions such as: “Would you sleep with a 12 year old?” and: “Do pain and humiliation excite you?”
Another recurring theme in Carbone’s practice is the drum, which he often uses as an underlying metaphor for life; as heartbeat, provider of rhythm or marker of time. Carbone’s interest in the drum is its ability to simultaneously hold the acts of creativity, destruction and resurrection. Skin protects the body to keep it alive and, when it is removed, the body dies. We create a drum by stretching the skin. Then by beating the drum, we resurrect an imitation of the heartbeat to celebrate life and death.
This exhibition borrows its title from a chapter in Günter Grass’s acclaimed 1959 novel The Tin Drum. It tells the life of Oskar Matzerath, who writes his autobiography from memory shortly after the end of the Second World War. At the age of three, he receives a tin drum for his birthday and, having observed the adult world, decides to will himself not to grow up. He retains the stature of a child for the rest of his life and the tin drum is his most treasured possession.
Set in postwar Germany, the Onion Cellar of Grass’s novel is an exclusive club frequented by businessmen, doctors, lawyers, artists and government officials. Its pared-down interior has neither bar nor menu. Instead, its owner, Ferdinand Schmuh, appears with onions, chopping board and a knife for each guest. On his ceremonial cue, guests would begin to peel and cut into the onions and shed involuntary tears. These floods of bottled-up emotions are later accompanied by confessions, revelations and self-accusations. The Onion Cellar appeared to function as a satirical device for Grass – a way of criticising the clammed-up world of postwar Germany, lacking the words, or conscience, to come to terms with its past.
In the Onion Cellar comprises four new sculptures, each constructed from secondhand drumkits, bastardised to form totemic structures. Standing above each group of drums is a water vessel complete with skeletal pipe work. When the vessels are filled and the valves opened, each drum begins to softly beat, finding an irregular rhythm dictated by chance, disorder, weight and flow.
Titled Tier, Drip Drum, Rooted by Time and Cymbals of Communication the sculptures will be simultaneously played/performed by Carbone on the opening night. Through the act of filling each vessel and releasing each valve, Carbone’s presence in the exhibition can be seen in parallel to that of Ferdinand Schmuh – and in turn the gallery is equated to an exclusive club – a pseudo-ceremonial environment that is, at least symbolically, afforded the potential to produce emotion, even honesty.
Dave Carbone lives and works in Frankfurt am Main. His work has been included in many UK and international exhibitions. At 7pm on Wednesday 12th March Dave Carbone will give a lecture on his work at the Frankfurter Kunstverein. Entry to this event is free.
Posted by J-P Brask at 11:51:00 AM
SISTER CORITA 'PASSION FOR THE POSSIBLE'
CURATED BY AARON ROSE
CORITA KENT WAS AN ARTIST, TEACHER, PHILOSOPHER, POLITICAL ACTIVIST, AND POSSIBLY ONE OF THE MOST INNOVATIVE AND UNUSUAL POP ARTISTS OF THE 1960’S. SHE COULD BE SEEN AS THE POSITIVE WEST-COAST ALTERNATIVE TO WARHOL, POSSIBLY PRE-DATING HIM. WITH FAME, CAME THE OPPORTUNITY TO BRING HER CONTEMPORARIES TO LECTURE AT HER TEACHINGS. ILLUSTRIOUS SPEAKERS INCLUDING LUMINARIES SUCH AS DESIGNERS CHARLES AND RAY EAMES, MUSICIAN JOHN CAGE, GRAPHIC DESIGNER SAUL BASS AND FILM DIRECTOR ALFRED HITCHCOCK. HOWEVER, WHAT IS PERHAPS EVEN MORE INCREDIBLE IS THAT SHE WAS A CATHOLIC NUN.
AARON ROSE IS AN INDEPENDENT CURATOR, ARTIST, WRITER AND CURRENTLY LIVING IN LOS ANGELES. HE IS CO-CURATOR OF THE LARGE-SCALE MUSEUM EXHIBITION TITLED “BEAUTIFUL LOSERS: CONTEMPORARY ART & STREET CULTURE” WHICH OPENED IN MARCH 2004 AT CONTEMPORARY ARTS CENTER IN CINCINNATI AND HAS BEEN TOURING AMERICA AND EUROPE SINCE.
Posted by J-P Brask at 11:48:00 AM
Monday, February 25, 2008
Young artist seeks audience to enjoy poly-conscious attempts at post-medium condition production.
Must enjoy race mongering, disparate disconnected thoughts and sunsets (really). Familiarity with the work of Sun Ra, Joseph Beuys, Rosalind Krauss, Richard Pryor, Hans Haacke, Carl Andre and interest in spelunking the death of identity a plus. I’m looking for an audience with a good attention span that is willing to stay with me through the good and the bad. I enjoy creating videos, producing sculptures, and making photographs. My interest are costuming, Sam Greenlee novels, Godard films and masturbation. Ability to hold conversation using only rap lyrics, and a sense of humor a must.
— Rashid Johnson
Nicole Klagsbrun Gallery is pleased to present The Dead Lecturer, the first New York solo exhibition by Rashid Johnson, running from February 22 to March 29, 2008. An opening reception will be held on Friday, February 22, from 6-8 pm.
Titled after a book of poems by LeRoi Jones (later Amiri Baraka), the exhibition reflects Johnson’s multifaceted engagement with what David Hammons termed “cultural abstraction.” Using sculpture and tightly cropped photographs, the artist explores the semiotic systems and iconography of a mythic secret society of African-American intelligentsia within a metaphysical landscape removed from time and history.
Functioning as investigative reporter and archivist as well as artist, Johnson deploys materials including steel, shea butter, black soap, wax, mirrors, wood, together with found objects to form an installation that effortlessly shifts between media, emphasizing the poetic cadence of his work. Mysticism and nostalgia create interplay among smoke-shrouded portraits, symbolic substances, and menacing forms.
Rashid Johnson studied at Columbia College, Chicago (1996-2000) and the School at the Art Institute of Chicago (2004-2005). His exhibitions include Freestyle, curated by Thelma Golden (2001, The Studio Museum in Harlem, NY); A Perfect Union...More or Less, curated by Hamza Walker (2004, Renaissance Society at the University of Chicago, IL); and recently, Color Line, curated by Odili Donald Odita (2007, Jack Shainman Gallery, NY). Upcoming exhibitions include the Magdeburger Kunstmuseum, Magdeburg, Germany (2008, solo) and the Contemporary Arts Center Cincinnati (2008). He lives and works in New York.
Posted by J-P Brask at 3:11:00 PM
Saturday, February 23, 2008
Friday, February 22, 2008
Thursday, February 21, 2008
It is with great pleasure that we are able to present a second solo exhibition of the work of Manfred Kuttner (1937-2007).
The Dresden and Düsseldorf art academies during the early 1960s, the popular class of Karl Otto Goetz, student friendships with Gerhard Richter, Sigmar Polke and Konrad Lueg (who would become the group Realistischer Kapitalismus in 1963) and a first, self-organised group exhibition in a Düsseldorf display window space – all in all a good start to the artistic career of Manfred Kuttner, who died last year at the age of 70. In 2007 the Tate Modern in London featured his work along with that of Anselm Reyle and Thomas Scheibitz in the exhibition The Artist’s Dining Room.
After emigrating to West Germany with his wife in 1960 to flee the repressive circumstances in the GDR, Kuttner produced a body of work with a distinctive formal vocabulary of its own in only four years, from 1961 to 1964. This was described by contemporary critics as “kinetic painting” because he brought an abstract rhythmisation to his canvasses – or to old curtains and other fabrics – in the way he applied the then newly available neon paints. He himself said that he was concerned with achieving immediacy with colour composition, and was particularly taken with Yves Klein’s use of colour. Some of Kuttner’s images do indeed have an almost magnetic visual “pull”, but he was not interested in the mechanical, fastidious precision of Op Art. His painting is more nonchalant, often reduced to simple grids, and is more reminiscent of the compositions of Mary Heilmann. Reduction and rhythmisation are frequent strategies in his paintings, as well as his drawings – some of them executed on newspaper – which are exhibited here for the first time.
In his other artistic activities, Kuttner focused on the objects of the contemporary world around him, applying neon paint to various (plastic) toys, a typewriter, the academy piano, and the chair and bicycle saddle exhibited here. This work suggests Dada and Pop Art, and is no less visually compelling.
The work that perhaps unites all his interests most strikingly is the 8mm film entitled A-Z. Kuttner’s formal approach was to expose each frame of the film as a photograph and to hand-colour a number of interjacent unexposed frames. His subject matter is street signs, advertising, private images, artworks produced by his friends – all of it arranged into a walk through Düsseldorf from his flat to his studio at the Academy. In 1965 Kuttner decided for the “A” of the film – i.e. to provide for his family by earning a regular income as an advertising graphic designer – as there were very few collectors for his work at the time. Those who did know his work, as he himself said at the time, assumed that this “newfangled neon painting” would never last for more than a year and were hesitant to buy. As it turned out, it has now lasted for more than 45 years.
Posted by J-P Brask at 11:59:00 AM
Wednesday, February 20, 2008
FINISSAGE 'BERLINER STRASSE' EXHIBITION
SEVEN POSITIONS ON CONTEMPORARY STREET CULTURE.
WITH THE ARTISTS ANTON UNAI / NOMAD / MAROK / JAYBO aka MONK / ADRIANA CIUDAD WITZEL / DANIEL TAGNO / NEON
YOU'RE WELCOME TO CELEBRATE WITH US THE CLOSING OF A CHAPTER IN THE RISING BERLIN FINE URBAN ART MOVEMENT.
AND WE ARE HONOURED TO PRESENT LIFE FROM LOS ANGELES: "THE SADS" – THE BAND OF STREET & ART CURATOR AARON ROSE AND HIS FRIENDS.
Circle Culture Gallery
Posted by J-P Brask at 12:18:00 PM
Tuesday, February 19, 2008
CHARLEY HARPER: WORKS ON PAPER 1961-1970
FEBRUARY 23rd– MAY 3rd, 2008
RECEPTION, SATURDAY FEBRUARY 23rd, 6-9 PM
Cincinnati, Ohio – Charley Harper: Works on Paper 1961-1970 is the second exhibition
for the Cincinnati-based gallery, Country Club. This exhibition features original
illustrations and paintings from classic books such as The Golden Book of Biology
(1961, Golden Press) and The Animal Kingdom (1968, Golden Press). Also included
in the exhibition will be original illustrations for Ford Times, Sohioan and various
other publications from that time period. Most of this work has never been seen
outside of Harper’s Studio.
Charley ng his unique, modernist
style to a wide range of publications. Harper’s work is beloved in his adopted
hometown of Cincinnati, Ohio, though his influence has stretched across the
world. He is best known for his unique style combining straight and curved lines
and flat areas of carefully selected colors. Through his work for Ford Times
and the publication of Charles Harper’s Birds and Words (1974, Frame House Gallery)
together with his work for the U.S. National Park Service, Harper brought an
entirely new perspective to the chosen subject matter of birds and wildlife, a genre
dominated by naturalism and realism. Harper referred to his approach as “minimal
realism.” Recent publications and exhibitions have introduced Harper’s modernist
vision of nature to an entirely new generation of artists and critics. His work resonates
as fresh and contemporary as any painter’s of his generation.
A versatile artist fluent in many techniques, Charley Harper: Works on Paper 1961-1970,
adds another layer to Harper’s impressive career. The paintings and illustrations
Harper completed in the years surrounding his work for Golden Press demonstrate
a confident and entirely matured style highlighted by unusual, dynamic perspectives
and lines that are simultaneously precise, lyrical and expressive. Harper’s work is even
more remarkable given the fact that his sophisticated and decidedly minimalist approach
to his subjects was applied to children’s books and corporate promotional literature.
Harper’s exceptional skill and creativity elevated any book, advertisement or brochure
to a true work of art.
Country Club Gallery
Posted by J-P Brask at 3:57:00 PM
Monday, February 18, 2008
Hales Gallery is pleased to announce Hew Locke's second solo show at Hales Gallery.
How do you want me? is a series of studio photographs Locke has been developing for the past three years, resulting in a parade of sinister figures; corrupt kings, generals, tyrants and bandits. They echo the portraits of aristocratic ancestors and nobility that are a staple in museums and stately homes.
Hew Locke grew up in Guyana and this new series has allowed him to explore a mixture of national identity, personal fantasy, and socio-political caricatures. The duality of Hew's characters is integral to the work; whilst he is playing a part, he is also parodying himself.
Tyger, Tyger, is a costume derived from the famous Redcoats of the British Army during the Napoleonic Wars. Adorned with trophies of war, self-awarded medals, scalps and babies' heads, it alludes to shrunken heads, or child soldiers. They are a reminder of how many he has killed to reach this point of power. The cheap fabric patterned backdrop is a pirated Versace design based on heraldic imagery.
Congo Man, so called after a controversial Trinidadian calypso comedy song by The Mighty Sparrow, (a wildly perverse pastiche on African roots, interracial revenge, interracial sex, oral sex and cannibalism). Banned from the radio until 1989, the song plays with the sexual stereotypes of white and black, and also the cultural tensions between black Africans and Afro-Caribbeans.
How Do You Want Me? is the question many people ask when posing for their portrait for posterity at a high-street photographer's. Studio photography is an obvious inspiration - whether from Africa, from studio photos of the Maharaja's, photographs of the Black Panthers, or the video statements and familiar imagery from hostage-takers and terrorists.
Several of the works reference ideas of Albion and Arthurian legend. Some contain the Queen's motto Honi soit que mal y pense (Evil be to him who thinks Evil of it), a constant mantra throughout Locke's work. They also resemble images of the Black Jacobeans (such as Toussaint L'Overture, the leader of the slave revolution in Haiti).
Most importantly, the series knits together several strands of Locke's previous work; re-presentations of civic statues in the Natives and Colonials series, the drawings improvised from Velasquez and Goya portraits of the Spanish Royal family and his Menace to Society sculptures.
Hew Locke was born in Edinburgh, lived in Guyana for 24 years and is now based in London. Hew has been commissioned to design a permanent artwork for the New Art Exchange in Nottingham and is part of the forthcoming group show Now Then at the Bluecoat Art Centre, Liverpool. Recently, Hew participated in Infinite Island: Contemporary Carribean Art at the Brooklyn Museum, New York. His works are included in several prestigious collections such as the Brooklyn Museum, Victoria & Albert Museum drawing collection, the British Museum and the Henry Moore Institute.
Posted by J-P Brask at 9:48:00 AM
Saturday, February 16, 2008
People and Places
Jasper Sebastian Stürup, Søren Behncke, Peter Funch, Knud Odde, Hans E. Madsen, Lars Bukdahl
Drawings, sculpture, photography, painting, light, text
Curated by Mikkel Amby
People and Places
The theme of the groupshow, People and Places focus on people and their realationship to the environment. The six Danish artist, both established and emerging artist, embrace some of the most interesting tendencies of contemporary art.
The paintings of Knud Odde takes off in an emotional and exspressive form with motives of people and places coming from music and litterature. In comparation Jasper Sebastian Stürups drawings appears fragile and fail with scenes of people in abstract environments and landscapes.
Hans E. Madsen creates sitespecific installations of light, that is oscillating between illusion and reality, while Søren Behncke works with the universal signs from cardboadpacking and litter, wich he alters into pictures, scupltures and streetart. In this way he opens up for dialog between the public and the private.
Peter Funch works with documentary scenes between reality and manipulated settings. In his photographies of streetcorners in New York, he freezes the people and samples the motives into new corealations.
For the exhibition, the author Lars Bukdahl, has created a literary work displayed in gallery.
Posted by J-P Brask at 12:03:00 PM
Friday, February 15, 2008
MARIUS ENGH: "LYCANTHROPIC CHAMBER"
21.02.-29.03.2008 / PREVIEW: 21.02.2008 / 19.00-21.00 /
SCENE I & SCENE II
“Homo Sum; Nihil humani a me alienum puto”. [“I am a man; Nothing human is alien to me.”]
- Terentius (185 – 159 BC), “Heauton Timoroumenos”
“In vain he attempted to speak; from that very instant!
His jaws were bespluttered with foam, and only he thirsted!
For blood, as he raged amongst flocks and panted for slaughter.!
His vesture was changed into hair, his limbs became crooked;!
A wolf, he retains yet large trace of his ancient expression,!
Hoary he is as afore, his countenance rabid,!
His eyes glitter savagely still, the picture of fury.”
- Ovid (43 BC – 17 AD), “Metamorphoses”
“We have to distinguish two classes of instincts, one of which, the sexual instincts or Eros, is by far the more
conspicuous and accessible to study.... The second class of instincts was not so easy to point to; in the end
we came to recognize sadism as its representative. On the basis of theoretical considerations, supported by
biology, we put forward the hypothesis of a death instinct, the task of which is to lead organic life back into the
inanimate state; on the other hand, we supposed that Eros ... aims at complicating life and at the same time,
of course, at preserving it. Acting in this way, both the instincts ... would be endeavouring to re-establish a
state of things that was disturbed by the emergence of life. The emergence of life would thus be the cause of
the continuance of life and also at the same time of the striving towards death; and life itself would be a
conflict and compromise between these two trends.”
- Sigmund Freud, “The Ego and the Id”, 1960
Posted by J-P Brask at 10:22:00 AM
I CAN GIVE YOU WHAT YOU WANT
New York (February 14, 2008) - Perry Rubenstein Gallery is pleased to present I Can Give You What You Want, the first New York solo exhibition by Ry Fyan.
Working primarily with painting, Fyan creates and explores numinous landscapes where material and metaphysical realms co-mingle. Culling specific cultural and spiritual icons such as the pyramids of Gyza, Tibetan mountains, and ritualistic masks, Fyan presents a hybridized worldview within the framework of his practice. These elements, meticulously painted in a photorealistic style, act in opposition to their expressionistic backgrounds built up from multiple layers of oil, enamel and spray paint. The end result creates shifts in compositional style that ultimately evokes a sense of ambiguity in the works.
At first glance Fyan's illusory spaces appear to be structured from a matrix of narratives that allude to archeological and cultural highs, however the appropriated pop elements and product labels discovered throughout these landscapes create a humorous polarity between these highs and the social lows of consumerism and mass consumption. Sampling Colgate ads, Pepto-Bismol labels and Young Jeezy album covers, Fyan evokes a feeling of the familiar, albeit with a daringly new sensibility. Often mistaken for collage, these tangled elements beautifully distort and blur the line between allegory and representation.
Ry Fyan completed his BFA in painting at the Pratt Institute in New York, and currently lives and works in Brooklyn and. Recent exhibitions include 'Panic Room' at the Deste Foundation, Athens; 'Mail Order Monster's' at Peres Projects, Berlin and 'Bitten' at Lightbox Gallery, Los Angeles.
Posted by J-P Brask at 10:18:00 AM
Thursday, February 14, 2008
It's Gouache and Gouache Only'
gathered by Geoffrey Young
an exhibition at two galleries
David Ambrose, Cynthia Atwood, Larissa Bates, Louise Belcourt, Steve di Benedetto
Dike Blair, Katherine Bradford, Heather Brammeier, Sarah Brenneman, Scott Brodie
Derek Buckner, Morgan Bulkeley, Quentin Curry, Kirsten Deirup, Don Doe, Julie Evans
Liam Everett, Walton Ford, Chie Fueki, Sophie de Garam, Jim Gaylord, Alexander Gorlizki
Julie Gross, Sue Havens, Sutton Hayes, Jessica Hess, Warren Isensee, Erick Johnson
Clint Jukkala, Deborah Kass, Philip Knoll, Zohar Lazar, Judith Linhares,Martin McMurray
Max Maslansky, Robin Mitchell, Sue Muskat, Kathryn Myers, Thomas Nozkowski,Bruce Pearson
Gary Petersen, Zoe Pettijohn, Oona Ratcliffe, Lucas Reiner, Joyce Robins, Kay Rosen Jackie Saccoccio, Lisa Sanditz, Katia Santibanez, Dan Schmidt, Erik Schoonebeek
Michelle Segre, Beth Shipley, James Siena, Amy Sillman, Elena Sisto, Jason Stewart
Andrew Small, Cary Smith, Jered Sprecher, Linda Stillman, Barbara Takenaga
Ann Thornycroft, Fred Tomaselli, Fred Valentine, Nichole Van Beek, Chuck Webster
Garth Weiser, Benji Whalen, Ann Wolf & Will Yackulic.
Jeff Bailey Gallery
Posted by J-P Brask at 11:40:00 AM
Wednesday, February 13, 2008
Public space as a multilayered and shared space is the main issue of the group exhibition FOR A HAPPIER TOMORROW. Invited by Galleri Tom Christoffersen artist Alexandra Croitoru presents a well-researched selection of photography and video from Central-Eastern Europe.
Anca Benera and Kamen Stoyanov refer to the changes and the political antagonisms, that have affected the identity of public monuments, Adela Demetja reverses a given political situation by imagining an Albanian Embassy in Germany where people would queue for a visa, Daniel Gontz criticises social regimentation by using the prefabs of a socialist block of flats to make a puzzle with infinite solutions while Kristina Lenard and Petar Mirković play with the border between reality and fiction, between illusion and actuality, in his images of modern atomic shelters Ivan Petrović discuss questions of safety, phobias and fear, Marek Kvetan points at different social dysfunctions by creating fictional spaces with the means of digital manipulation and Erik Sikora is ironically commenting on the strategies of the «social artist».
Posted by J-P Brask at 11:41:00 AM
“I will never lie to my mother again”
Group exhibition curated by ANDREW SENDOR
MOGADISHNI AAR is pleased to present “I will never lie to my mother again”, a group exhibition curated by New York based artist Andrew Sendor. An exciting exhibition for both MOGADISHNI and Denmark, as all but one of these artists work has yet to be seen in this country. Included in the exhibition are drawing, painting, photography and sculpture.
The participating artists are THORDIS ADALSTEINSDOTTIR, DANIEL DAVIDSON, JOHN KLECKNER, DIETRICH SCHIFELING, ANDREAS SCHULENBURG, PINAR YOLACAN. The show has been enabled by the collaboration of international galleries Rivington Arms (NY), Stux Gallery (NY), Peres Projects (Los Angeles/Berlin) and Galerie Schuster (Berlin/Frankfurt).
On view is a conglomerate of challenging, thought provoking artworks that share commonalities in content and large contrasts in the methodologies employed. Within the gaps of this vast range of mediums and styles lies meaning regarding how an artistic vision is born and realized. While there are moments of realism, the exhibition is predominantly seen through a ‘fictive lens’-- often more accurate than that of a ‘scientific lens’. There is an inner turmoil and unrest that is present in the works, addressing some difficult truths inherent within present-day societal dynamics. Brought into light are ideas surrounding human mortality and the ways in which we go about avoiding or confronting this age old topic, censorship versus raw expression within the creative process and the exposure of a personal, deep-rooted, emotional and psychological discord.
In the paintings of Thordis Adalsteinsdottir (b. 1975, Iceland) there is an undeniable sensitivity for human emotions and the tension of human communication or lack thereof. Distorted figures inhabit an unknown space defined by the reductive monochrome shapes that characterize Adalsteinsdottir’s idiosyncratic world of painting. While the stories that fuel her process of generating imagery are often personal, the resulting painting will always transcend the personal—floating in a universal realm of graphic language.
Daniel Davidson’s (b. 1965, U.S.) figurative paintings reveal a highly subjective fusion of hybrid characters, spaces, and styles. The figures that people his works are often self-portrait caricatures of an infinite variety of possible selves. His goal “is the creation of a meaningful reflection of the emotional states inherent in everyday experience. Often employing the comic or the grotesque, these paintings are multiple and fractured personalities looking for a cobbled identity.”
John Kleckner (b. 1978, U.S.) creates proto-emotional pictorial phenomena that employ metaphors of biology and evolutionary ecology. His works depict human beings in stages of transformation-to occupants of lush natural realms, to unexplained physical states, and to obscure crevices of metaphysics. They evoke a revelatory exposure of the artist and the inner self at large.
Small-scale, expressionistic paintings by Dietrich Schifeling (b.1977, U.S.) portray uncomfortably intimate interiors replete with non-linear narrative content. At once fantastical and commonplace, depicted are highly sexually charged scenes from the ‘everyday’ populated with both humans and animals. More often than not, it is the bedroom where the activity takes place in Schifeling’s paintings, which raises questions about our approval or repression of sexual motives and desires in general.
Born in Germany but educated and living in Denmark, Andreas Schulenburg (B. 1975, Germany) has a sharp eye for the naturalized Danish national feeling and the clichés not always visible to the Danes’ own eyes. Schulenburg’s usual humorous and society critical angle is expressed in his felt piece “Harmonie”, a reflection on ‘danishness’ as expressed by the milk carton. The brand usually shows a cow in a sunny Danish landscape. In Schulenburg’s version, however, a sort of Danish nearsightedness is indicated through a “Siamese twin cow” joined by the necks, leaving a mutated double cow with no heads, only bodies. The cow is flanked by a polar bear and a pyramid, leaving the viewer thinking about Denmark in relation to the stereotype images of other parts of the world.
Pinar Yolacan’s (b. 1981, Turkey) photographs are from her ‘Perishables’ series executed from 2001-2004. This particular series of photographs depicts ageing Upper East Side WASP-style women, which seduces and disgusts in equal measure. The posed figures are draped in clothing that was created by the artist from materials as unpredictable as: cow stomach, chicken skin, tripe and lamb testicles. Any semblance of appeal dissolves when, on closer inspection, the subtly sophisticated cream and tan garments reveal their deeply repellent origins. These amorphous offerings hang lifeless, indistinguishable from the flesh they shroud: Yolacan hints at the fast-encroaching mortality of her subjects by reincarnating the already demised.
Posted by J-P Brask at 11:30:00 AM