Saturday, August 30, 2008
Friday, August 29, 2008
FAXINATION
FAXINATION
AUGUST 28 - OCTOBER 5, 2008
OPENING THURSDAY AUGUST 28, 6 - 9 PM
ALSO THURSDAY: LOYAL MAGAZINE ISSUE 10 RELEASE PARTY 6 - 9 PM
FAXINATION
FIA BACKSTRÖM
AIDAS BAREIKIS
JOE BRADLEY
YOSUKE BANDAI
GREG BOGIN
SARAH BRAMAN
JEFF ELROD
NICOLE EISENMAN
PHIL GRAUER
CLAIRE KELLER
EUNICE KIM
TONY MATELLI
BJARNE MELGAARD
SOSHIRO MATSUBARA
ELENA PANKOVA
ERIK PARKER
LES ROGERS
BILL SAYLOR
ANKE WEYER
TYLER WAXMAN
CURATED BY BILL SAYLOR
Fax-vision is blurry but straight to the point. For the group exhibition FAXINATION, LOYAL has received the drawings, collages and other artworks via one of the by-products of the corporate age, the FAX machine.
Like taking an X-ray of an image and stripping it down to its basic code, the FAX transmits the image in its rawest form, instantly and over any distance, anywhere with a phone line. Ephemeral and imprecise, these faxes retain the essence of an artist’s mark-making. The main value lies not in the fax as ”art object”, but in the effect of examining the results of this method of distinct visual communication.
FAXINATION is a show that constantly expands. The fax machine itself will be part of the exhibition, and the transmissions will be hung directly on the wall creating a WALL OF FAX. There’s a ghost in the wire receiving these international messages with an urgency and immediateness during the opening and throughout the show’s duration.
Galleri Loyal
Loyal Magazine

Lucas Ajemian
It is a pleasure to invite you to the opening of
Lucas Ajemian
Litanies
Marches
Stutters
Stammers
Turnstiles
&
Revolving Doors
Saturday September 6th from 3-6 pm
Concurrently, Lucas Ajemian participates in the U-Turn Quadrennial of
Contemporary Art in Copenhagen. He & musician Giancarlo Vulcano will also
perform with several rock bands at the opening party Friday September 5th at
9.30 pm.
Three other artists of the gallery participate in U-Turn:
Lilibeth Cuenca: performances on September 4th at 5.30 pm +
on September 5th at 6.30 pm, both Carlsberg Tap E
Tove Storch: Carlsberg Tap E
A Kassen: public performance, Søndre Boulevard
Kirkhoff


Isca Greenfield-Sanders
Isca Greenfield-Sanders
Against the Fall
September 6 - October 11, 2008
reception: Saturday, September 6 from 6 - 8 PM
Goff + Rosenthal is pleased to present “Against the Fall”, a new series of paintings, watercolors and line drawings by New York-based artist Isca Greenfield-Sanders.
Greenfield-Sanders’ parachute paintings are based on vintage WWII and Korean War era images. With this work the artist continues her exploration of personal and borrowed memory and, on a formal level, engages in an investigation of color separation. Says Greenfield-Sanders: “I was drawn to the parachute images both for their formal simplicity and for their metaphoric resonance in a time of war. The title of the show “Against the Fall” is a literal translation of the late 18th century French word "Parachute" (para 'protection against' + chute 'the fall'.)”
The paintings draw on sources as diverse as Edouard Manet, Winslow Homer, Francisco de Goya y Lucientes, Claude Monet, Andy Warhol and Antoine de Saint Exupéry’s children’s book Le Petit Prince, which has sold more than 50 million copies worldwide. Le Petit Prince leaves an indelible impression on readers due in large part to its singular illustrations. According to Greenfield-Sanders “Le Petit Prince recalls the same mix of dreamlike memories that I hope my paintings evoke. The parachute paintings, and in particular the line drawings, were made with this book in mind.”
Yet a darker subtext haunts these paintings. In the three large 63 x 63-inch “Parachute Class” series of paintings a group of servicemen grapple with a large white parachute. The figures recall Manet’s “Execution of Maximilian and Goya’s “The Third of May”. Of course in the Parachute Class paintings the figures are not a firing squad but are instead engaging with an object that has connotations of safety, freedom and escape. Nevertheless, the art historical references and the fact that the source imagery for these works is a cache of World War II photographs signals to the viewer that larger questions are afoot. Other works in the show like “Black and White Parachute (Black)” also suggest a more complex political reading of these paintings. And while the 35 x 35-inch gold leaf paintings depicting a single parachute clearly reference Warhol’s “Gold Marilyn Monroe” from 1962, the gold parachute paintings also speak to a desire for escape from our increasingly complex and strained financial world.
On a formal level printing is integral to Greenfield-Sanders’ work, which combines the digital with the handmade. Greenfield-Sanders explains that the palette of this series reflects the CMYK color separation breakdown. The parachute paintings were originally painted as the source images appeared: blue sky with red and white striped parachutes. As she had done with earlier work, Greenfield-Sanders removed the blue and painted the image pink which gave the work an otherworldly quality. For the third group she decided to paint them black--“like night escapes or something more ominous”, she says. With the addition of the gold group she had the entire CMYK spectrum: blue (C, cyan), pink (M, magenta), black (K, key) and gold (Y, yellow.)”
Isca Greenfield-Sanders lives and works in the East Village and on a lake in the Hudson Highlands. Her work is included in many private and public collections including The Guggenheim Museum in New York. In early 2006 her work was the subject of a two-person exhibition at the Museum Mosbroich in Leverkusen, Germany. Her work has been the subject of articles in many magazines and publications including Art News, Tema Celeste, Elle, Departures, Vanity Fair, Elle Décor, and Art Forum.
Goff & Rosenthal
Jeff Ladouceur Limited Edition
Jeff Ladouceur has recently produced a edition of twenty prints each of the above images. Each image is printed on a unique piece of antique paper.
Works are available for $250 each. Please contact ZieherSmith at 212-229-1088 or email info@ziehersmith.com for more information.
Only two weeks remain to view Ladouceur's amazing piece, Floater, embracing the facade of the Vancouver Art Gallery. This project is curated by Jordan Strom who states
"Whether in drawing or three dimensions, Ladouceur's images are always in metamorphosis, evapo-transpiring into clouds of steam and semi-solid anthropomorphic forms lifting off the ground." (Jeff Ladouceur: Floater, Vancouver Art Gallery brochure, June 6 - September 7, 2008).
Zieher Smith
Thursday, August 28, 2008
DUALITY OF HUMANITY - SOLO EXHIBITION
Over 100 pieces will go on display at White Walls in a timely new show called “Duality in Humanity.” The show marks a bit of a departure for the artist, whose unique form of reverse propaganda emerged from the spirit of the punk movement. With this show, Shepard takes a step back from the ‘calls to action’ against mindless consumerism and war evidenced in previous shows like 1984ia, E Pluribus Venom and Imperfect Union. “The difference between this show and the previous ones is that now Obama is in the mix,” Shepard said. His recent work reflects his own personal shift towards a new optimism, a direct result of his involvement with, and inspiration by, the powerful political ideals of Barack Obama.
The title of the show, “Duality of Humanity,” is inspired by the peace-sign wearing US soldier in Vietnam, ‘Joker,’ in Stanley Kubrick’s Full Metal Jacket. A central piece is a child with a gun in his hand and a flower in his hat. That theme of soldiers and weapons bearing peace signs, or peace signs comprised of military effects, runs through many pieces in the show. Environmental themes also appear in some pieces, illustrating the tenuous balance between our dangerously uncontrolled consumption of non-renewable resources, and our well-intentioned eco-concerns. Suffering and hope are seamlessly merged in a visual mash-up that defies expectations and easy answers.
“Duality of Humanity” includes larger mixed media pieces on paper that has been covered with carefully collaged Ephemera, self-printed patterns and found clippings from printed media. The backgrounds provide a seductive painterly texture and visual subtext, often allowing apropos words and images to bleed through the iconic images printed over them. The multiple layers create a sense of depth, but also bring in temporal elements through preserved newsclippings, historic images and vintage printing effects. It is the images in the foreground, however, that give the work its power. They are crisp and provocative, communicating in a way that is direct and clear.
Obey Giant
POLLEN
POLLEN
Bernadette Corporation, Véronique Bourgoin, Vero Cruz and the
Hole Garden, Sascha Hahn, Charlet Kugel, Birgit Megerle, Oliver Rohe, Susanne Winterling
Neue Alte Bruecke


The Lords i Beverly Hills
A Beverly Hills avantgarde art show about God.
Join us for a drink and enjoy spectacular new works by.....
**********
Goodiepal (DK)
Simon Starling (UK)
Misaki Kawai (JP)
Seth McBride (US)
Jakob S. Boeskov (DK)
Albert Reyes (US)
**************
Curated by Sean Rubinstein
Saturday, September 13, 2008
David Lawrence Gallery
Wednesday, August 27, 2008
Spencer Tunick
Spencer Tunick
Hales Gallery are pleased to present Spencer Tunick’s fourth solo show at the gallery. Tunick’s large scale, participatory installations involving thousands of naked bodies are well known around the world. This particular aspect of Tunick’s work combines sculpture, performance and land art that consistently features skilfully posed nudes juxtaposed in urban and natural environments. These installations are then recorded by Tunick through photographs and films. Explorations in Architecture focuses on a series of Tunick’s photographs which operate against the backdrop of architectural structures. Tunick integrates the massed soft forms with the harder, angular elements of the various buildings or public places he chooses to appropriate. A town square in Mexico City, a multi-storey car park in Amsterdam and outside the Sage Centre in Gateshead, UK, become useful formal devises, where the repetitive nature of the architecture is echoed in Tunick’s composition of bodies. Although Tunick freely embraces the aesthetics of a rock festival and consumer culture, there is an underlying political statement that comes from the mass gathering of people. In a time when political ideology is collapsing in favour of pragmatism, it is unsurprising that Tunick’s work occasionally forms a catalyst to peaceful protest or becomes a vehicle to highlight issues such as global warming or HIV. Tunick was born in Middletown, New York in 1967. He has exhibited widely. His temporary, site-specific installations have taken place around the globe in cities including Montreal, Melbourne, Lyon, Santiago, New York, Mexico City and Barcelona to name a few. Since 1994, Tunick has organised over 75 site-specific installations. Selected installations include: 2008 - Ernst-Happel-Stadium, Vienna, Austria; 2007 - Sagamore Hotel, Miami Beach, Florida, Aletsch Glacier, Switzerland; 2006 - Museum Kunst Palast Dusseldorf, Germany, Museum of Contemporary Art, Caracus, Venezuela; 2005 - BALTIC Centre for Contemporary Art, Gateshead, UK; 2003 - Grand Central Station, New York. Selected solo exhibitions: 2008 - Vienna's Kunsthalle, Austria; 2007 - Mexico City Museum, Mexico City, Mexico, i8 Gallery, Reykjavik, Iceland; 2006 - BALTIC Centre for Contemporary Art, Gateshead, UK, Museo de Arte Contemporaneo, Caracus, Venezuela, Havana Biennial, Centro de Arte Contemporáneo Wilfredo Lam, Havana, Cuba; 2005 - Lyon Biennale, Lyon, France, Museum of Contemporary Art Cleveland, Cleveland, Ohio; 2003 - Institut de Cultura de Barcelona, Barcelona, Spain. Most recent projects include two installations in Ireland.
Hales Gallery
William Cordova, Rashawn Griffin, Leslie Hewitt and Gean Moreno
Dear Friends of the Gallery
Arndt & Partner opens the 2008 exhibition season with four young US artists, three of them having shined forward at this year’s Whitney Biennial. The show is curated by Rashida Bumbray from The Kitchen, New York, and assembles strong individual positions within radical realism.
Arndt Partner
Tuesday, August 26, 2008
Allan Otte
"In Otte's figurative universe the conventional values have been turned upside down. Aspects of reality that are often given a lower priority are emphasized and consequently, at long last, they find their way to our desirable gaze".*
Galleri Tom Christoffersen presents Allan Otte's solo exhibition "Stille billeder" (Silent Pictures).
The paintings show human influenced but completely deserted provincial landscapes, which are in a paradoxical state of immediate established and infinite standstill. The large horizontal pieces appear clearly as figurative painting but dissolve into controlled and abstract strokes of paint when examined up close.
Wrecked cars and overturned trucks in an abandoned landscape is the recurrent motive of the new paintings by Allan Otte. But destruction as such is not the primary subject matter. The accident operates as a particular way of telling a story, as the crash stops the movement of the car and forces us to strand somewhere in the middle of nowhere where a hold would have been unthinkable for most. Instead of showing the dramatically period before the accident or the violent moment, where the landscape is actually influenced by the disaster as it happens, Allan Otte decides to point at the infinite time after the accident. The silent paintings consist of a particular duration, which is put forth and given value. It is about a state of stagnation cleansed from changes or influences, which most of all resembles a hesitating calm after the storm.
The "realism", which at a distance communicates the narratives, is dissolved in many ways. Concretely speaking the overall motive is broken down to painted surface, when looked upon at close. A plane, which consists of diffuse spray painted areas tightly kept at ease as they border innumerable sections, where the disciplined strokes of paint are either horizontal or vertical. When it comes to the landscape, which in the illusion of painting is recognized as the contemporary Danish province, the actual places does not exist "out there" as the sketch for each painting is sampled digitally by an immense amount of image fragments downloaded from the world wide web.
In the works of art by Allan Otte an explicit union of figurative painting and an exploration of painting as media is to be found. By his systematically approach to painting as an independent research and his at the same time insisting on both narrative, subject matter and illusion Otte seems to master both investigating abstract painting and "realism" in one.
Allan Otte (1978) graduated from the Royal Danish academy of fine Arts in 2007. He is nominated to the Carnegie Art Award 2008 and therefore participates in the exhibition shown in estimated European Art Museum until April 2009. Of previous and upcoming exhibitions the following can be mentioned: the solo show "Everything is Good Here", Galleri Tom Christoffersen and Himmerlands Kunstmuseum (2006). "Go Figure", Arken Museum for Moderne Kunst (2006), the solo show "Landscape Painting" Skive Kunstmuseum (2008). "Enter" (triennale), Kunsthallen Brandts (26.10.08-11.01.09). "Grønningen", Bornholms Kunstmuseum (01.11.08-18.01.09). In 2004 Allan Otte became represented at Arken Museum of Modern Art with two paintings and at Skive Kunstmuseum in 2006 also with two works of art.
*The quote is from "Glimpses of Reality and Picturesque Moments" by Rasmus Vestergaard in catalogue "Landscape Painting", Skive Kunstmuseum 2008.
Tom Christoffersen
Thilo Heinzmann
THILO HEINZMANN
AN EMPTY STOMACH IS THE DEVIL'S PLAYGROUND
Bortolami is proud to announce the first exhibition of Thilo Heinzmann's work in the United States. His abstract paintings are the result of Heinzmann's continuous research and discovery of new materials. Glued, pinned, perched or dispersed on a white background, his materials are chosen because of their uncommon textures. Since his days as a student, Heinzmann has been concentrating on the endless possibilities of white background paintings. Whether it is canvas, aluminum or polystyrene, white has been the stage where his crystalline, translucent, refractive materials could be transported into their next life.
Marbled pigments, vellum, crystals and minerals, furs, melted tin, all had a life before becoming part of a formal composition. They carry the symbolism of their previous life with them in the paintings, and their varied textures are in tension with each other, creating a hedonistic and subliminal surface. Heinzmann resembles an alchemist, mixing and matching and looking for the ultimately perfect, abstract, window on the world.
Thilo Heinzmann was born in 1969, he lives and works in Berlin. The artist has been included in exhibitions at both the Kunstverein Oldenburg and Kunstverein Frankfurt in Germany. He shows widely in galleries in Europe.
Bortolami Gallery
Monday, August 25, 2008
Amie Dicke and Assume Vivid Astro Focus
Javier Peres is pleased to start off the fall season with solo shows by Amie Dicke and assume vivid astro focus.
For her fourth solo exhibition with Peres Projects, "Passive Drifter," the Dutch artist Amie Dicke will present an installation of new sculptures and framed works. Never falling prey to the often literal approach of "political art", Amie's works instead turn the constant hum of Europe's shameful cultural and political past into an enabling violation – an aesthetic game that turns classical imagery and often found antique objects on its head and leaves Amie with a rich visual vocabulary all her own. Amie Dicke (b. 1978 Rotterdam, the Netherlands) lives and works in Amsterdam and will be present for the opening.
Assume vivid astro focus' Berlin premiere at Peres Projects will include new wall papers, drawings, works on canvas, neon sculptures, and a not-so-surprise performance by a surprise guest. assume vivid astro focus, with a palette that is Rosenquist meets Tropicália creates, á la Takashi Murakami, everything from handbags to decals to full multi-media installation events. By defying more traditional ethical concerns of appropriation and authorship, avaf revels in the power of the found image and the computer-age futility of copyright while exploiting the music of our own personal nostalgia.
Peres Projects
Sunday, August 24, 2008
Hew Locke
Hales Gallery and Iniva (Institute of International Visual Arts) are pleased to invite you to celebrate the opening of Hew Locke's major new installation at Rivington Place.
Locke brings together formal and thematic elements of his practice to create a fictional collection of the possessions of an imaginary ruler. The installation combines monumental figures reaching up to 14 ft tall, with an elaborate backdrop of wall drawings.
This flamboyant commemoration of individual power becomes a poignant parody of today's social and political global climate. Presented through the formal language of traditional museum display, Locke's allusions to the language of contemporary dictatorships and war assume a powerful commentary on our national cultural institutions and their relationship to the modern constructs of history and society, cultural identity and national pride.
Hew Locke was born in Edinburgh, lived in Guyana for 24 years and is now based in London.
Recently, Hew participated in Infinite Island: Contemporary Carribean Art at the Brooklyn Museum, New York and completed a commission to design a permanent artwork for the New Art Exchange in Nottingham. 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.
Hales Gallery
Nic Hess
Nic Hess
For his third solo exhibition at The Project, New York, Swiss artist Nic Hess marks a departure from his site-specific, large-scale tape "drawings" with a series of new sculptures. In the same vein, however, Hess continues to make critical use of familiar images and logos now rampant in society. By isolating and dissecting these images in seemingly incongruous arrangements, he is able to provide revelatory new aesthetic contexts outside of the inscribed value systems of commercial capitalism.
The sculpture King Gerrit borrows from Gerrit Rietveld’s Red Blue Chair, one of the most iconic pieces of modern furniture. In Hess’ version, the back of the chair is lengthened to the point of instability and the legs are secured with colored masking tape that extends to the surrounding floor space. Appearing more like a throne than a chair, this is an homage at once explicit and open-ended to the furniture designer (Hess studied at the Gerrit Rietveld Academy in the Netherlands from 1992 to 1996).
Several of Hess’ new sculptures feature different body parts in isolation. In From Crutch to Cane, a display dummy holds a cane while also balancing an 18th century gun on the same arm. Forming a long zigzag that is constructed out of several canes, this floor installation is a reminder of human frailty—canes used by the elderly, crutches by the injured. Hess also transforms a carved wooden mask from Lötschental, one of the largest valleys in the Bernese Alps, into a fountain-sculpture titled Brunnen der wiederkehrenden Tränen (Fountain of Recurring Tears). Water pumping through the left eye gives it anthropomorphic qualities, suggesting a suspended state of grief.
Similarly, in Gottesanbeter, (mantis) an I.V. stand is transformed into a mobile figure with outstretched arms and a welcoming hand. Its head is composed of an oversized, rolled-up 100 Swiss Franc bill bearing the face of Alberto Giacometti. The sculpture is a portrait of Giacometti, inspired by the shapes of his figures and drawings. The work is also another example of the artist’s enduring investigation of the intersection of art with the social, political, and economic implications of Switzerland’s private banking sector.
Off-Shore Island Trade, a four piece wall installation, takes as its point of departure the disappearance of Paul Cézanne’s Boy in a Red Waistcoat from the E.G. Buehrle Collection museum earlier this year. Cézanne’s work is used as a symbol for money outside its legal circuit. The artist imagines that the painting is now located somewhere on the Cayman Islands or Bahamas, hiding in a palm tree waiting for its exchange into money through a secret change of ownership.
Nic Hess was born in 1968 in Zurich. Selected solo exhibitions include the Kunstmuseum Winterthur, Switzerland; The Fruitmarket Gallery, Edinburgh; bytheway projects, Amsterdam; Arndt & Partner, Zurich; Figgevonrosen Gallery, Cologne; Haus der Kunst, Munich; Casa del Lago, Mexico City; Swiss Institute, New York. Projected exhibitions include the Hammer Museum in spring 2009.
Elproyecto
HANOI FUTURE ART presents 2 new exhibitions for the opening show.
HANOI FUTURE ART is a non-commercial artist initiative for the development of
experimental art in Hanoi. The aim is to facilitate a creative cross-cultural dialogue
between local and international artists through workshops and private exhibitions.
HANOI FUTURE ART presents 2 new exhibitions for the opening show.
WHAT? By Nguyen Khe, Phuong Vu Manh, Robert A. Mody and Jes Brinch.
THE GUN AND THE GIRLS by Phuong Vu Manh and Jes Brinch.
GRAND OPENING PARTY FRIDAY AUGUST 29. 15:00 TO 21:00. FREE BEER.
HANOI FUTURE ART
NHA 64. NGO 310. NGHI TAM.
TAY HO. HANOI. VIETNAM.
HANOI FUTURE ART welcomes you to a private view of the exhibitions during our opening
hours.
OPEN FROM AUGUST 30. TO SEPTEMBER 20. 2008. WEDNESDAY TO SATURDAY 14:00 TO 18:00.
HANOI FUTURE ART is sponsored by the Danish Arts Council.
Saturday, August 23, 2008
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