Brask Art Blog

BLOG moved

2009-09-11T13:28:00.001+02:00

Remeber i moved the blog.
check it out:::
BRASK ART BLOG

New adress

2009-09-05T12:59:00.000+02:00

I have move my blog...
Check the new out..
Brask Art Blog

Gardar Eide Einarsson

2009-09-04T09:50:00.004+02:00

From Nils & Louisiana...

Louisiana
Nils Stærk

Richard Tuttle

2009-09-04T09:14:00.000+02:00

Stuart Shave/Modern Art

Cleon Peterson

2009-09-04T09:11:00.000+02:00

Alice

Dan Attoe

2009-09-04T08:42:00.001+02:00

EVERYTHING STARTS AS SOMETHING YOU DON'T UNDERSTAND

All my paintings and neon come from a process of creating a new image every day. For seven years I did a painting every weekday, now I do daily drawings. This is partially out of respect for all of the people I know who work regular jobs, because I don't consider myself different from them. It's also partially out of an enjoyment of the freedom I have in my practice and a desire to push myself and see what I can come up with next. Finally, it's because I have an interest in maintaining a record of my intellectual development, for myself, and for anthropological purposes.

As part of my commitment to all of these things, it's my opinion that honesty plays an important role in choosing the images I make. What I take to be "honest" is a matter of paying attention to things that I'm genuinely interested in. To me this means listening to my biological and intellectual needs without worrying about looking socially unacceptable, smart, out of touch or pandering to my conscience. From any given series of ideas to draw or paint, I'll choose those that have a certain "electricity" to them, that hold my attention and get me excited or engaged.

In order to maintain vitality my process has to remain flexible. I can't hold myself to any one line of thought, a style, or subject matter. At the same time, I'm a slow learner, and there are certain things that seem to be limitless in their value to me, such as: wilderness landscapes, sex and violence. These particular subjects are due to things I imprinted on in my rural childhood, things I have attraction to as a male human and things related to social and cultural anxieties.

At this point in the evolution of this daily process (I'm about at the twelve year mark) most of the images that hold my attention come from a place that is best described as "peripheral". These are things that my deliberate mind is a little too dumb to run into on its linear path, but it can sometimes help out. Often, it's hard to recreate these images because it's like they're in the corner of my eye, and if I look directly at them, they change shape. Sometimes, I watch them roll through my head right before I go to sleep.

Almost all of my images are entirely invented. I only use photographs or other source materials as reference (in most cases), the way a writer would use a dictionary. It's my belief that invented images contain more nuanced information related to development. In addition, there's a pure rush of excitement that comes from making an image that didn't exist in the world before.

Over time, these peripheral images have gotten more complicated. Things like atmosphere, depth, dimension and details in character of people and places have gotten more specific and increased in their range of complexity (some of them are still pretty simple). The result is that I've broadened the spectrum of art that I look at to inform my painting. My painting process owes much to early American artists like Thomas Moran, Frederic Edwin Church and Albert Bierstadt, as well as other "traditional" painters like Frederic Remington, Caspar David Friedrich, Edward Hopper and Andrew Wyeth. I feel a huge respect for their facility with paint, and I respond to their ability to create an environment and convey character.

Of course, the meat of my work is actually very little about standing on these men's shoulders, or even about relating to the art world at all. Far more important to maintaining vitality and "usefulness" to myself, and anyone else who may be interested in the development of someone from this time and place is the part of my process that I call "Field Research". By this I mean just going out and participating in the world the way a guy my age, of my upbringing, who lives where I do, would. This part of my job is pretty hard to do wrong. I just get to do the things that I want to do: hiking, surfing, taking road trips, spending time with friends, etc. The things that set my work apart from someone such as Thomas Moran, other than my interests (some might say quality), are in many cases simply products of my time: I can travel places in shorter time than he could, I have access to technology that allows me to see the world in different ways, maintain dialogs with many people easily and offer insights into things that might never have occurred to me otherwise, I also have an awareness of the changing of the world socially and environmentally ˆ all of this contributes to the sensibility of my work. I understand that the information in my work will be received in varying degrees by different viewers, but I hope that some usefulness can be obtained by anyone.

Peres Projects

UNCONSCIOUS

2009-09-03T09:17:00.001+02:00

Steinle Contemporary

Copenhagen Graffiti

2009-09-03T09:01:00.004+02:00

KURS HAVNEN

2009-09-03T09:00:00.002+02:00

Kurs

MICHAELA EICHWALD:

2009-09-03T08:47:00.002+02:00

MICHAELA EICHWALD: The Classical
6 SEPTEMBER - 4 OCTOBER 2009
OPENING SATURDAY 5 SEPTEMBER, 6:30 - 8:30 PM

Michaela Eichwald is a German artist based in Berlin. For her first solo exhibition at Vilma Gold, Eichwald will present a series of new paintings and sculptures.

“Although Michaela Eichwald has been an artist, writer and protagonist of the Cologne art scene since the 1990s, it is only relatively recently that she has begun to venture regularly into gallery spaces with her multi-disciplinary work. Her neo-bohemian bricolaged sculptures and small, cultivatedly naive ‘bad’ paintings suggest life beyond their simple means. The artist’s New York début show, ‘Ergriffenes Dasein: Artist Writer Mentalist’, included such reconfigured found objects as metal Tchotchkes rescued from an incinerator. Sculptures such as Neues aus dem Ahrtal (News from the Ahrtal, 2008) – made from resin poured into a bag filled with found objects such as a watch with no face, a bunch of mussels, pills and coins – suggest that her wit-filled works are part quirky time capsules and part subjective anti-monuments.”
Dominic Eichler, Frieze Art Fair Yearbook 2008-9

Eichwald's recent solo exhibitions include Total Awareness Of All Dimensions (Dimensions Variable) at the Aachener Kunstverein (2009), Reena Spaulings, New York (2008) and Europian Kunsthalle c/o Ebertplatz, Cologne (2008). She has exhibited widely in museum group shows including Kunsthalle Exnergasse Vienna (2008), ZKM, Karlsruhe (2008), White Colums, New York (2008), Museum of Contemporary Art, Miami and Henry Art Gallery, Seattle (2007), ICA Pennsylvania, Pennsylvania and The Power Plant, Toronto (2006) and Künstlerhaus Stuttgart, Stuttgart (2006).

Vilmagold

Shirin Neshat: Turbulent

2009-09-03T08:43:00.000+02:00

FAURSCHOU

Gardar EIDE EINARSSON - 'I Caused Dreams Which Caused Death. This is my Crime'

2009-09-02T09:37:00.003+02:00

Bugad & Cargnel

THOMAS HOUSEAGO

2009-09-02T09:22:00.000+02:00

CFA Berlin

Tilo Baumgartel

2009-09-02T09:10:00.000+02:00

Wilkinson Gallery

Copenhagen & NYC Graffiti

2009-09-01T12:35:00.004+02:00

Great & Bates
Cope 2 Blog

Crazy boat !

2009-09-01T12:02:00.002+02:00

Fos`boat....
Shitt it crazy:::.

Socialdesign

I Don?t Believe You, It Used To Be Like That And Now It Goes Like This

2009-09-01T11:27:00.002+02:00

LIKE THAT AND NOW IT GOES LIKE THIS

Curated by Ingrid Chu and Savannah Gorton

Forever & Today, Inc. is pleased to present I Donʼt Believe You, It Used To Be Like That And Now It Goes Like This, an exhibition by Danish artist Jasper Sebastian Stürup including three new works created specifically for the exhibition as well as a free artist book edition. Autobiographical elements not only link the works on view together, but point to a critical juncture in the artistʼs practice.

The large ink on paper drawing, It Used To Be Like That And Now It Goes Like This (2009), depicts a hallucinogenic montage of stacked objects and figures appearing like totem poles that allude to sculptures made of differing hard and soft materials. Among the varying forms are a continuous metamorphosis of cacti, faceless disembodied heads, frozen water, an abstract fur shape served on a plate, a cooked soufflé, a rabbit, mushrooms, diamonds, emanating rays of sunlight, and the artist himself in the act of drawing. Didnʼt Anybody Tell Her (2009) is a short video of cherry blossoms floating along the gently rippling waves of the Sumida River that runs through central Tokyo. This momentary transition of time and place during the artistʼs travels is touched upon in a simple and visually abstract manner, as points of light glint upon the petals in the water, creating dancing lines and stars. The small fur sculpture displayed under a glass dome, Came So Far For Beauty (2009), was created from the fur collar of a winter coat formerly worn by Stürup. Relating to the transformation of a foxʼs fur from a living creatureʼs coat to adorning a collar and ultimately becoming an artwork, the preciousness of this exquisite remnant and its uncanny appearance as a fetish-like object is preserved for contemplation. Significantly, a parallel reference is made to the artistʼs own journey of departing his home country in Scandinavia to reside in New York.

JASPER SEBASTIAN STÜRUP (b. 1969, Denmark) relocated from Copenhagen to New York in early 2008. Stürup received his MFA degree from The Royal Danish Academy of Fine Arts in Copenhagen in 1999, and in addition to his work as an artist, he has self-published over 20 artist books since 1994 through Fluens Forlag (The Flyʼs Publishing Company). Stürupʼs recent solo exhibitions include Horsens Konstmuseum, Horsens, Denmark (2008). Group exhibitions include CCAA, Tokyo, Japan (2009); U-Turn Triennial, Copenhagen, Denmark (2008); Helsinki Biennial, Helsinki, Finland (2008); Friendly Fire independent publishers area of the NY Art Book Fair, New York (2006, ʼ07, ʼ08, ʼ09); Art Basel, Basel, Switzerland (2007); Museum of Contemporary Art, Skopje, Macedonia (2006); Library of Alexandria, Alexandria, Egypt (2006); Sixth Sharjah International Art Bienniale, Sharjah, UAE (2003); Carnegie Art Award, Reykjavik Art Museum, Reykjavik, Iceland (2002); Tenth International Print Triennial, Finland; and Malmö Konstmuseum, Malmö, Sweden (2001).

FOREVER & TODAY, INC. is a new non-profit initiative that is a sponsored organization of the New York Foundation for the Arts. Currently inhabiting a 100 square foot storefront on the cusp between New Yorkʼs Lower East Side and Chinatown, Forever & Today is a mere thumbprint on the ever-expanding demographic of contemporary art that offers a unique set of circumstances for artists to create new work and engage the public.

Forever and Today

Gilbert & George

2009-09-01T10:39:00.002+02:00

The Baronian_Francey gallery has the enormous pleasure and honour of announcing the exhibition of works from the latest series to date by Gilbert & George: Jack Freak Pictures.
In this latest series, which contains the largest number of pieces so far, Gilbert & George continue to explore themes that have been precious to them for a number of years. For them, everything concerning life is a potential subject for their art. In these recent works they have continued to break down the rules of social propriety with a calmness and a detachment that are very English.

In these images, the English flag, the map of the district of East London (Fournier St.) where their studio is located, trees, graffiti and medals are all subjects from which they draw an intriguing and universal narration. As very often happens in their work, the artists are once again protagonists of the pieces. Their faces and their bodies appear in numerous images. Thanks to computer processes they are represented in a stylized and often distorted way in a metaphor of human beings attached to their social, religious and sexual norms. Some of these new pieces make the images explode into fragments before melting them down again into new fascinating kaleidoscopic shapes mixing the monstrously grotesque with an ornamental jumble reminiscent of sacred art.

Gilbert, born in 1943 in Italy in the city of San Martino, and George, born in 1942 in Devon, England, met in 1967 in the sculpture courses of Saint Martin’s School of Art at Oxford. For more than 40 years, they have lived and worked together in London, the two making up a single artist, Gilbert & George.
In 1969 they created their first Singing and Living Sculptures in which they were simultaneously subject and object, refusing to separate their performances from their everyday life. By this act, they revolutionized the very practice of sculpture.
The first black and white photographs appeared at the beginning of the 1970s: large photo-montages consisting of panels geometrically divided into rectangular boxes defined in black in the style of stained glass windows. It was these photos that brought them international renown.
Around the end of the 1970s, they decided to introduce the colour red into them, and in the 1980s the colours evolved, as yellow, pink and blue made their appearance, while the imagery became more complex and the levels of meaning multiplied. These photos generally contain portraits of the artists themselves and are an opportunity to turn taboo subjects such as sexuality, race, religion, national identity, politics, etc. into irony.
During the last few years their retrospective has travelled in Europe and the United States, from the Tate Modern in London to the Brooklyn Museum of Art in New York, appearing also at the Haus der Kunst in Munich, the Castello di Rivoli in Turin, the Milwaukee Art Museum, the de Young Museum in San Francisco, and the Philadelphia Museum of Art. In 2005, they represented Great Britain in the Biennale of Venice.

Baronian_Francey Gallery

DANIEL RICHTER @ HAMBURGER BAHNHOF

2009-09-01T10:37:00.001+02:00

CFA Berlin

SONG HONG

2009-08-31T13:00:00.000+02:00

Welcome to the opening of the exhibition SONG HONG by Pham Ngoc Duong (VN), Le Huy Hoang
(VN), TSC Tempest (AUS), Karoline H. Larsen (DK) , Henrik L. Jørgensen (DK), Ursula
Nistrup (DK), Bettina Camilla Vestergaard (DK), Daniel Svarre (DK).

HANOI FUTURE ART
HOUSE 64. LANE 310. NGHI TAM. TAY HO. HANOI.
Open from 4. - 18. September 2009.
Wednesday to Saturday 14:00 - 18:00.

Hanoifutureart

Daniel Lergon:::

2009-08-31T12:40:00.003+02:00

Andersens

FINE LINES – NEW WORKS BY COPE2

2009-08-31T11:51:00.001+02:00

FINE LINES – NEW WORKS BY COPE2

FINE LINES
The tag, also referred to as handstyle, urban calligraphy or ‘writing’, is a personal statement or signature: an expression of identity. The work of many artists starts and ends with the tag. For some the tag represents the basis from which they developed their style into less abstract art forms. For many of these artists tagging is a relevant part of their work, others' entire message is contained within their tag. Reaching across culture, class and age, the tag is a global art form: a pure form of self expression and style. Originating in Philadelphia in the 1960s and New York in the early 1970s, other isolated styles also developed independently including the pixação style in São Paulo. The tag has, for the most part, been either ignored or openly reviled yet for decades it has laid the foundation for a number of related art forms which have developed from the streets to galleries worldwide.
Join us at Skalitzers as we present the first in a diverse series of shows exploring the role of tagging within the world of contemporary art.

COPE2
One of New York's most prolific writers, Cope2 has achieved international recognition over the past decade for his distinctive style. Born in the South Bronx he began writing in 1978. He developed his style in the subways and streets of the Bronx throughout the 1980s and 1990s, becoming a legend on the street both in New York and internationally. Cope2 crosses between art world, mainstream and street culture alike. Since first putting pen to canvas in 2000 as part of the historic Guernsey's ‘Graffiti at Auction’ event his art has gone on to be exhibited in galleries and museums both in the US and Europe. In recent years Cope2 has been commissioned by Time Magazine and designed shoes for Converse and Adidas. His work has even crossed into the virtual realm with appearances in video games 'Getting up' and 'Grand Theft Auto IV'.
This is his first solo show in Europe.

COPE2 (NEW YORK)
Born 1968, Bronx, New York
Lives & works in the Bronx, New York
SELECTED EXHIBITIONS & AUCTIONS
2009
'TKid x Cope2', M2 Gallery, New York
'Graffiti - Street Art', Millon & Associés Auction, Paris
'Street Art', Artcurial Auction, Paris
'TAG au Grand Palais', Gallizia Collection, Paris
'All that Glitters is Gold', McCaig Welles Gallery, New York (Guest Curator)
'The Sharpie Show', Crewest Gallery', Los Angeles
2008
‘Top of the Line’, The Showroom Gallery, New York (Guest Curator)
2007
‘The Walls Belong to Us’, New York
2005
‘Weapons of Mass Destruction’, Fifty24SF Gallery, San Francisco
2004
‘Cope2’, Defiance Gallery, Chicago (Solo exhibition)
'Tag the system', The Showroom NYC, New York
2000
Guernsey's, 'Graffiti at Auction', New York

Skalitzers

Drexel Proyectos

2009-08-31T10:33:00.001+02:00

Drexel Proyectos

Rødland::

2009-08-31T10:06:00.002+02:00

Sneak view from Rødland..
Standard

Elmgreen & Dragset

2009-08-29T09:43:00.002+02:00

We are pleased to announce our forthcoming, third exhibition with artist duo Elmgreen & Dragset. In addition to their award winning presentation as both artists and curators of the Danish and Nordic Pavilions at the 53rd International Art Exhibition - la Biennale di Venezia, London and Berlin based Michael Elmgreen and Ingar Dragset’s recent solo exhibitions include MUSAC, Leon (2009), Malmö Konsthall, Sweden (2007) The Serpentine Gallery, London (2006) and the Tate Modern, London (2004). Recent group exhibitions include the Louisiana Museum of Modern Art, Denmark (2009), the Yokohama International Triennale of Contemporary Art (2008) and Skulptur Projekte Münster (2007). In 2008, Elmgreen & Dragset’s national memorial to gay victims of the Nazi regime was inaugurated in Berlin. In addition to Yokohama, the artists have presented their work within Japan at the Mori Art Museum, CCA Kitakyushu and as part of the Echigo-Tsumari Art Triennial

SUPERMODELS is comprised of a series of playful semi-abstract sculptures accompanied by a series of editioned photographic works. In a combination of Western modern abstract sculpture and pop cultural cartoon shapes the sculptures propose in a humorous manner some new ideal body types. The Supermodel sculptures will be dressed by a wide range of prominent fashion designers and photographed by Muga Miyahara in various real-world settings and subsequently presented alongside their photographic representations within the space of the gallery. Each sculpture will be dressed in clothing specifically designed for the project by established and emerging fashion designers including Rei Kawakubo (COMME des GARÇONS), Yasuko Furuta (TOGA), Tamae Hirokawa (SOMARTA), London based Malaysian born Han Chong, and Yusuke Takahashi, recipient of 83rd Soen prize and Bunka Fashion Graduate University student .

Taka Ishii Gallery

ELAD LASSRY

2009-08-29T09:37:00.001+02:00

David Kordansky Gallery is pleased to announce its first solo exhibition of new work by Elad Lassry. The opening reception will be held on Saturday, September 12 from 6 to 9pm, and the exhibition will be on view through October 24, 2009. Elad Lassry's films and photographs draw from hauntingly familiar aspects of visual culture to create a matrix of non-linear narratives, illuminating a nuanced topography of image-making.

Lassry treats appropriation and archive research as tools among many others, and is just as likely to hire a crew and shoot a new film based on archival images as he is to physically manipulate a purchased headshot into a one-off photographic readymade and place it in a matching-colored frame. While there are affinities between Lassry's work and that of the artists of the Pictures generation, he is less concerned with vagaries of social critique and ironic distance, adapting instead an almost anthropological approach to the question of why a particular image gets made. By placing moving, still, and found images in direct conversation with each other, Lassry focuses attention on the basic tenets of still and moving photography (inclusive of the larger cultural institutions and systems that surround the production of images) and brings attention to the catalogue of articulations (cut, montage, crop, mask) brought about by editing.

Whereas one found image might require an additive process (such as silkscreen or collage), the creation of a new image might hinge upon a subtractive one (such as the removal of one of its subjects). Lassry views these seemingly contradictory techniques as differences of degree, revealing that all images are not only mediated but that they might in fact begin with mediation. In his deliberate approach to the framing of still photographs, Lassry's frames are at times painted a color chosen from a dominant hue within the image. This act of optical detournement reinforces the physical immediacy of an image and recontextualizes it in the visual economy of other images on view.

Throughout the work, the driving concerns are an exploration of the materiality of photographs versus the materiality of images and an investigation of how images are given historical 'addresses' or indexes in the greater culture. All images exhibited are of the same scale so that these concerns are brought to the forefront. Lassry's films are projected according to dimensions similar to the still images on view, allowing them to be seen in the context of the basic photographic image of which each frame is finally composed; in addition, the films are not converted into a digital format and are always presented in their original form.

Untitled, a 16mm film on view in the exhibition, reconsiders photographic documentation and production stills from the rehearsal of Jerome Robbins' 1955 made-for-TV production of Peter Pan. Lassry has cast actors to play Robbins (Eric Stoltz) and Mary Martin (Merett Miller) and recreated sequences from the rehearsal, revealing the places where cinematic and structuralist approaches to the image meet and diverge. Due to the questions associated with its notation and recording, as well as its complicated relationship to cinema, dance has provided Lassry with a rich source of material.

Other recurring sources are Life-style photo essays, animal photography, headshots, textbooks, greeting cards, advertising and instructional imagery. Rather than pay heed to notions of high and low, Lassry isolates the moment before such a distinction is even made, thereby adapting the rigorously pioneering spirit of early photography and film for a contemporary, image-saturated environment.

Since 2008 Elad Lassry has had solo exhibitions at the Whitney Museum of American Art and the Art Institute of Chicago. In 2010 he will be the subject of a one-person exhibition at the Kunsthalle Zurich. He has recently participated in Younger Than Jesus at the New Museum and in the 2008 California Biennial at the Orange County Museum of Art. This fall he will be included in Dance With Camera at the Institute of Contemporary Art in Philadelphia. Born in Tel Aviv, Lassry lives and works in Los Angeles.

David Kordansky Gallery

Sean Talley

2009-08-29T09:34:00.002+02:00

The Jancar Jones Gallery is pleased to announce its second solo exhibit of the work of San Francisco-based artist, Sean Talley. The exhibit will consist of a number of works on paper, as well as three-dimensional works in plaster and Masonite.

Building on concepts from his previous exhibit, in which the subject was presented as the object rather than a representation of itself, his new body of work thus brings materiality to the fore, focusing his efforts on the surface and presence of each piece. Using common materials, such as graphite and plaster, he creates simple hard-edged forms, using slight gestures to “let the materials present themselves.” The pieces impart a quiet potential, an action that is not physically present but addresses the objecthood of each form. As in his rectangular forms, with one corner cut off, Talley’s choice to remove one corner as opposed to another comes to signify a singular subjective action, standing in contrast to the “purity” of form and material. Likewise, through his use of plaster (the resulting forms moving into three-dimensional space) he addresses the assigned values within each composition through the conscious manipulation of geometric volume. With a nod to Kelly, his work is a meditation on the Minimalist canon yet with the assertion of his own critical consideration of the process and production of such a restrained aesthetic.

Jancar Jones

New art centre in Copenhagen

2009-08-28T15:35:00.002+02:00

New art centre in Copenhagen

After 11 good years at Islands Brygge it is with great pleasure that Galleri Nicolai Wallner welcomes you in our new space at Ny Carlsberg 68 at an opening the 3rd of September 5 to 10 p.m.

Galleri Nicolai has on Ny Carlsberg Vej created a new nucleus for contemporary art in Copenhagen in a shared building with Nils Stærk, IMO, BKS Garage and Kopenhagen Publishing. To gather different galleries under one roof is exceptional in Scandinavia and will surely redefine and strengthen the Copenhagen art scene. The combination of already established, international galleries with new artist-run spaces is quite unique and it is our expectation that it will create an exciting and valuable synergy.
The 800m2 Galleri Nicolai Wallner will open with three separate exhibitions: One solo exhibition with the English post-conceptual artist Jonathan Monk and one solo exhibition with the German artist Christoph Ruckhäberle. Besides this the gallery will also show the exhibition I – Works from the Nicolai Wallner Collection with selected works by Olafur Eliasson, Elmgreen & Dragset, David Shrigley, Peter Land and Jonathan Monk.

Books & Posters - New Sculptures by Jonathan Monk

Jonathan Monk’s new series of sculptures consists of bronze casts of padded envelopes and cardboard tubes, used to send books and posters of importance to the artist. Through the obvious contrast between the poor and disposable quality of the wrapping material and the permanence of the bronze, Jonathan Monk explores and rethinks the creative process and the role of the artist. Monk challenges both art and his own authority through these sculptures that also play with the fact that access to the content they originally protected is impossible from the moment they are made permanent in bronze. A paradox that aptly describes Monk’s own way of relating to art and art history.

Jonathan Monk has had solo exhibitions at several North American and European art institutions. Last year Monk had a double show at Palais de Tokyo (Paris) and Musée d'Art Moderne de la Ville de Paris (Paris).

L’Emmerdeur Futuriste by Christoph Ruckhäberle

Christoph Ruckhäberle has during the last years received acclaim for his paintings and prints. His new exhibition will present a new series of drawings that in regard to his paintings, shows a more unrestrained and direct way of dealing with the figurative. Ruckhäberle’s style points to several places in the art of the 20th century in a very original and contemporary way. With his keen eye for colour and form, Christoph Ruckhäberle has created fifty individual creatures that dance, grin, make faces, and show teeth. The figures are composed from a continuous combination of geometric elements and exist in a cross between abstraction and realism. Opposed to Ruckhäberle’s earlier production these new works explore less the melancholic and the existential issues but draw more on a rich visual tradition for the theatrical.

Christoph Ruckhäberle is internationally renowned as one of his generations most interesting and innovative painters. His works are represented at MOMA (New York) and in numerous other public collections in the US and Europe. This summer he had a larger solo show at the Migros Museum (Zürich).

I - Works from the Nicolai Wallner Collection

This exhibition presents a selection of Nicolai Wallner’s private collection with a focus on art that deal with identity and reflection of self.

Opposite an early but seminal work by Olafur Eliasson, a mirror that reflects a burning candle, one finds Elmgreen & Dragset’s Powerless Structures, Fig 19, a piece that evolves around sexuality and identity. The exhibition also offers a view of Peter Land's iconic video Peter Land d. 5. maj 1994, which with humorous but also existential and melancholic self-exposure influenced a great portion of the video art of the mid 1990s. Some of the same qualities one also finds in David Shrigley’s drawings with their simple but effective lines that present thoughtful ponderings on the human existence. Jonathan Monk is represented by Self-portrait (Where Abouts Unknown) that through its form makes the signature of the exhibition.

The exploration of the artist self formed the basis of many artworks made in the 1990s and accordingly a large part of the art that has been shown in Galleri Nicolai Wallner since the inauguration of the gallery in 1993. With works that span the period 1991 to 2003 the exhibition marks a place in art history but it also gives an image of the qualities and ambitions that drive our work today.

We look forward to inviting you to the opening of our exhibitions and the rest of the galleries and we wish to mark and celebrate this event and the unique collaboration that has been established between the galleries.

In connection with the opening there will be a musical performance by the band Asia Today featuring Andy Moss, Simon Fujiwara and Ingar Dragset of artist duo Elmgreen and Dragset.

The opening will have food from Thai restaurant Ranee’s and Den Økologiske Pølsemand. We will of course also offer a local beer, Carlsberg.

The opening will take place the 3rd of September 5 to 10 p.m. on Ny Carlsberg Vej 68. Everybody is welcome. We look forward to seeing you.

After the opening there will an after party from 11 p.m. on Karriere Bar, Flæsketorvet 57-67, København V.

Nicolai Wallner

Josh Brand

2009-08-28T14:29:00.000+02:00

Herald Street

WENDELIEN VAN OLDENBORGH

2009-08-28T13:56:00.000+02:00

WILFRIED LENTZ

Andrea Zittel

2009-08-28T13:54:00.000+02:00

Sprueth Magers

Søren Behncke

2009-08-28T11:36:00.002+02:00

V1
Charlotte Fogh

Ai Weiwei: World Map

2009-08-28T11:15:00.001+02:00

FAURSCHOU

Closing Extravaganza

2009-08-27T11:19:00.001+02:00

Jack Hanley, New York

New Gallery in town::::

2009-08-27T11:15:00.001+02:00

IMO Projects

Kasper Sonne

2009-08-27T10:50:00.003+02:00

Sneak view from V1...
Pretty NICE:::...
Kasper Sonne
V1

Blood & Ink - September Exhibition - Hosted by Danny Masterson

2009-08-26T12:38:00.001+02:00

A. Conway Hubbard @ POVevolving Gallery

On September 10th, 2009 POVevolving Gallery will open a wonderful exhibition of original prints by Los Angeles based artist A. Conway Hubbard.

The show, hosted by Actor / DJ Danny Masterson, will be the first exhibition by A. Conway Hubbard in nearly a decade and marks the artist's first adventure into the world of drypoint intaglio printing.

The included works are the first that the artist has shown since formulating a special printmaking ink that uses blood as its primary ingredient. For this exhibition, Hubbard has printed each intaglio plate in varying ways using both traditional black inks and his specially created 'blood ink.'

All of the prints in this exhibition are beautifully framed as groups of prints. A presentation that functions both as a great display of the formal craft involved in making prints of this nature, and as a conceptual point of departure for this very impressive body of work as a whole.

POVevolving Gallery

Birmingham Bordeaux project exchange, “Re-Place”

2009-08-26T12:36:00.001+02:00

Birmingham Bordeaux project exchange, “Re-Place”

Richard Biarderau, Joss Burke, Peter Grego, Isidore Krapo, Véronique Lamere, Christophe Massé ,Tom Ranahan, Pamina Stewart, Francis Viguera and Paula Woof.

10th – 13th September.

Opening. Friday, 11th of September 2009 18.00 – 20.00

The Works Gallery, The Works, Third Floor Jubilee Works,130 Pershore Street, Birmingham, B5 6ND
Opening Hours.10:00 – 17:00

In November 2008 artists Peter Grego, Tom Ranahan, Pamina Stewart and Paula Woof from Birmingham exhibited with French artists at the Le Hangar en Bois Gallery, Richard Biarderau, Joss Burke, Isidore Krapo, Véronique Lamare, Christophe Massé and Francis Viguera, as part of an exchange exhibition at the Art Chartrons Festival held in Bordeaux.

In September 2009, to coincide with Arts Fest in Birmingham, a second exhibition will take place. The title and the theme of the show is Re-Place. The artists from Birmingham and Bordeaux will interpret the idea of place in its widest sense using a range of media: photography, video, sculpture, mixed media and painting. The aim of this exhibition is to build on the cultural and artists’ links developed in the initial exhibition held in Bordeaux and to create a 'bridge' between artists working in these cities and link with other international artist communities.

Re Place

JOY RIDE

2009-08-26T12:34:00.001+02:00

New Image Art

Momentum 5th Nordic Biennial of Contemporary Art 'Favoured Nations'

2009-08-26T12:13:00.000+02:00

Electra Productions

Davis Rhodes

2009-08-26T11:29:00.000+02:00

Team Gallery

ERIC WESLEY: MAUREEN PALEY

2009-08-26T10:19:00.001+02:00

Maureen Paley

ALEX DORDOY / THE MODERN INSTITUTE

2009-08-25T20:49:00.001+02:00

The Modern Institute

Great & Bates Burner::::

2009-08-25T18:53:00.002+02:00

New stuff:::...
Great & Bates

DAN SHAW-TOWN

2009-08-25T18:05:00.002+02:00

DAN SHAW-TOWN
Drawings
Selected by Alex Logsdail

Gallery-C is pleased to present an exhibition of new works by English artist Dan Shaw-Town. Entitled Drawings, the exhibition will run from the 3rd of September through the 3rd of October. Gallery-C is an autonomous project space located within the walls of Team Gallery in New York, 83 Grand Street, between Wooster and Greene.

Shaw-Town's practice originates in the appropriation of everyday objects in which he re-examines their uses and aesthetic possibilities, often reworking them to represent something that they are not. In this new body of work Shaw-Town approaches the practice of drawing with this same ideology and begins to blur the lines between the two and three-dimensional.

The word 'Drawing' itself sits strangely, at once retaining a quaint specificity yet representing so many betweens that it can only be thought of as a general term. It is of course often used as a preliminary tool, as in the sketch, or a traditional technique employed to record or document. It is therefore no coincidence that the aesthetic Shaw-Town adopts often feels like just the beginning or indeed the leftovers of a bigger event. The work seems to suggest the potential of performance, as the slippery composition of his works appear almost as 'kits'; however the function of the 'kit' remains fundamentally abstract, and it is soon obvious that participation is not a suggestion. Although things have been placed with delicate precision, they retain a sense of the spontaneous, however this spontaneity has been rehearsed time and time again.

The positioning of each object in the composition of a work is never final; the works are in a constant state of flux and can be rearranged in multiple configurations. Folds can be opened, crumpled sheets flattened, objects moved. Any adjustment made to the composition reveals labor that has gone into the making of a piece that was not previously viewable. The internal surface created by the folding of paper contains markings that become hidden, in essence making much of the drawing invisible. There is always a weighted suggestion that something is filling this unseen space even if the viewer cannot confirm that this is the case.

This entropic system of making and changing is visible in the works labored surface. These Drawings bring to mind the attributes of sculpture, that of physical exertion and dirty hands, the result of actions, constructing, bending, rolling and adorning. It seems the notion of the 'makeover' has often been too much of a temptation, as the works show visible traces caused by the endless efforts to re-group and try again.

Dan Shaw-Town has exhibited his work since 2004 and had his first solo show in London in 2008. He has been included in many group shows internationally and his work in held in several international collections including the Zabludowicz Collection. He was the winner of the Roley Prize for Fine Art in 2006 and the BAA Expo initiative, Public Sculpture Award in 2008. This will be the first time that Shaw-Town has exhibited his work in the USA.

Gallery-C is open from Tuesday through Saturday, 10am to 6pm. For further information and/or images please call 212.279.9219 or email alex@teamgal.com.

Gallery C

DASK / Hasselblad Masters on Tour

2009-08-25T16:15:00.001+02:00

Dask Gallery

Todd James Don`t` stop get it get it

2009-08-25T13:06:00.001+02:00

Colette

V1

Copenhagen Graffiti

2009-08-25T10:04:00.016+02:00

More New & old stuff, but still rocking:::

Copenhagen Graffiti

2009-08-24T16:21:00.005+02:00

Some new evil stuff::...

Toys Crew
I Love Graffiti
Great & Bates
Sketch
Cres
Cope 2
The Dark Roses
Husk Mit Navn
Seen Blog
Toys Crew BLOG
Dozo

Husk Mit Navn

2009-08-24T15:05:00.003+02:00

Some brand new Husk Mit Navn from the street::::
Husk Mit Navn

John Kørner studio Visit::::::.....

2009-08-24T14:35:00.003+02:00

Some new stuff from the master::::...

Awesome blog

2009-08-24T11:28:00.001+02:00

Cope 2

What the Others Knew

2009-08-24T11:22:00.001+02:00

LEIF HOLMSTRAND: What the Others Knew

Johan Berggren Gallery is pleased to announce as it’s inaugural
exhibition, a solo presentation of Malmö based artist Leif Holmstrand
(b. 1972). Holmstrand has exhibited widely in various contexts during
the past decade, earning a name for himself as both a performance artist
and a critically acclaimed visual artist. Not to forget his position as
one of the leading poets of a younger generation.

The current exhibition consists of two parts. The first being a large
scale installation in the front room of the gallery. The stage is set by
a number of sculptural elements resulting in a tense and somewhat
claustrophobic environment contextualising ideas, motifs and techiques
from an earlier body of works. However the ongoing storytelling,
emmanating from a performative experience about body & gender, history &
identity is boundary breaking. Whether inside of the installation or
viewing the room from the outside, past as well as a notion of now are
transcended, resulting in what could best be described as a timeless
psychodrama.

In the second room of the gallery the setting is different. In the
sparse and serene environment we witness ”what the others knew”. An
overlapping documentation of the actual making of the installation ”What
the Others Knew” has resulted in an intricate series of photographs
where pivotal moments in the making are paired with cerebral lines of
thought. At a critical spot in the room a sculptural self-portrait ”Hon
ligger i delar” rests and accentuates the context and could be seen as
an epicentre around which the exhibition is evolving or ending.

An earlier exhibition in the spring 2009, at the gallery’s premises on
Östra Tullgatan, was a ”mini-retrospective” and a testbed that saw
mainly sculptural objects by Holmstrand from the past ten years coming
together for the first time. In the current exhibition Holmstrand’s
overall aim has been to move beyond the singular object as a brick in a
narrative play. Instead Holmstrand swaps the ideal of the isolated
object for a more open ended, scenographic and challenging environment.

Johan Berggren

Total Revolution

2009-08-24T10:53:00.002+02:00

Total Revolution constitutes an arena for a duel on opinions and conceptions. Written in neon, burned on canvas, illuminated on a chain link fence, in video, through sound and photography Sonne questions the way we experience and interpret. What is meaning and who defines it?

Using paradox as ammunition, Sonne attacks the categorical truths that normally overwrite nuances. Cultural references and powerful concepts such as freedom, power, truth and lie – concepts, which often serve as the foundation of Western discourse – are being scrutinized with a smile and twist of mind. Sonne’s works turns into a playful Morse system, where the only dictionary is the beholder’s world perception.

Manipulating well-established signs and symbols, investigating, inventing, reusing and renovating self-contradictory words, sentences and objects. Sonne revels in dualities, whether it is in the form of material (synthetic/natural), production (industrial/hand made), form (geometrical/organic) or color (black/white).
The construction of doubt, uncertainty, or outright failure is omnipresent in Kasper’s work. Total Revolution is both a critical outcry that questions the simplified social discourse, and a personal reminder to everyone about how easy it is to pass judgment and reach hastened conclusions.

Sonne’s visual language and choice of materials refer to European modernism and American minimalism. The industrial produced materials and geometric shapes are juxtaposed by organic imperfections and human traces, adding humane vulnerability to the machinelike works.

Sonne draws inspiration from philosophy, psychology, politics, religion, art history and popular culture.

Kasper Sonne, born 1975, lives and works in New York. Total Revolution is Sonne’s third solo exhibition with V1 Gallery, later this year he opens a solo exhibition with LaViolaBank in New York. Spring 2010 Museo Sala Siqueiros in Mexico will exhibit a large-scale installation created for the museum.

V1 Gallery

Public Toilets

2009-08-22T12:47:00.003+02:00

Hi,

This is our last summer intervention.

A very crowded area at night time when the atmosphere is great... we installed 80 male urine containers, the ones used in hospitals. Inside we poured yellow water and, what else but our lights.

We hope you will like it.

Luzinterruptus

Groupshow Borderline Pleasure

2009-08-22T12:45:00.001+02:00

Michael Janssen

Tom Burr: Sentence

2009-08-22T09:57:00.001+02:00

Tom Burr's first show at Bortolami Gallery, opening on September 10th, is also his first gallery exhibition in the United States in six years.

Things have changed greatly since Tom's last commercial show in his native New York. A new generation of artists emerged to advance and challenge traditional ideas in art. Among these is a notable group that is mining the history of Post-Minimalism and Post-Modernism. It is important to recall that these artists are picking up on a thread that began a generation or two before them.

Tom Burr entered the picture then, back in the early 1990s when he started showing at Colin DeLand's American Fine Arts in SoHo. AFA had already presented the fences and aluminum panels of Cady Noland and the domestic-object based installations of Jessica Stockholder; across the street and around the corner, Felix Gonzalez-Torres put out strings of light and Jack Pierson hung tinsel. Within this context, Burr was an important new voice in the dialogue of institutional critique, exploring the politics of minimalism and politics at large that were at the forefront of artistic and social concerns-notably identity, society and the body, often dealing with issues of sexuality, war and the structures of public and private spheres.

One distinction of Burr's work that persists is his consideration of the ephemeral. This interest extends beyond time to all sensory experiences, which must be transitory by nature. He describes individual sculptures as 'moments' and thinks of their varied qualities in terms of musical notes, temperatures, and moods-qualities that cannot be trapped into the permanency of an object, but may be somehow suggested.

Movies and sitcoms, like Men in Black and Bewitched, acknowledge the crux of the ephemeral by giving protagonists the unearthly power of being able to snare those moments. They stop time with a click, a twitch or a wiggle. Burr positions himself as this hero and casts the viewer as his sidekick. We walk into a room full of scattered objects, many of which appear to have been suddenly abandoned. It feels almost-familiar; you are in your neighbor's bedroom, perhaps. The scale is human and humane and even in his most monumental works bears a direct proportional relationship to the spectator. Materials have a latent potential-the hinged figure could collapse flat, the shirt could fall, the bare wood could be painted, varnished or otherwise concealed.

A sense of timing lingers between the objects and their ownership remains ambiguous. It might appear that there is a story or scene involved-and in fact there may be. Or not. Officially, no specific narrative is ever revealed by the artist, no interpretation or assignation ever described as blatantly 'wrong.' The shirt or pants may have belonged to the artist, or his lover, or his father. The portraits may be devotionals culled from a fan's stash of memorabilia-to Jim Morrison, Brad Davis, John Cage, Kate Bush, etc. Or they may be surrogates, stand-ins meant to represent elements of the artist himself, discrete clues about the artist's own biography or experience.

The use of language enhances this ambiguity. Titles for works and for exhibitions are deliberately elusive, typically bearing many meanings and leaving the visitor to speculate which-if any-bear real significance. Sentence, sliver, silver, and so forth.

Tom Burr's work may currently be seen in a two-person exhibition (with Monica Bonvicini) at the Museum für Gegenwartskunst, Basel; as a part of 'Rachel Harrison: Consider the Lobster and other Stories' at the Hessl Museum at Bard College; in 'The World is Yours', curated by Anders Kold at the Louisiana Museum in Denmark; 'Moby Dick', curated by Jens Hoffman, at the CCA Wattis Institute for Contemporary Arts, San Francisco (opening late September) and in the exhibition 'Saints and Sinners,' curated by Laura Hoptman, at the Rose Art Museum, Brandeis University. He will have a solo show at the FRAC Champagne Ardenne in the Spring of 2010. He is presently a visiting critic at Yale School of Art, Graduate Program in Sculpture. His work is included in prestigious public and private collections around the world.

Bortolami Gallery/a>

TORBJØRN RØDLAND: "ANDY CAPP VARIATIONS"

2009-08-22T09:53:00.001+02:00

TORBJØRN RØDLAND: "ANDY CAPP VARIATIONS"

28.08.-26.09.2009 / : FRIDAY 28.08.2009 / 19.00-21.00

STANDARD (OSLO) is pleased to present "Andy Capp Variations", an exhibition of new works by Torbjørn Rødland. For his second solo exhibition in the gallery, Rødland employs the comic strip character of Andy Capp as the starting point for a series of 12 small-scale black and white photographs. Repeating the same drawn image of this character, these photographs seem motivated by an interest in nivellation; an attempt at having the photographs neither appear as portrait, nor landscape, nor still life.

"Common sense is genius dressed in its working clothes". The claim made by writer Ralph Waldo Emerson would not automatically extend to serve as a description of the comic strip character Andy Capp. However, ‘common sense’ and ‘working clothes’ - strictly speaking being two out of three - would at least make a decent score. Torbjørn Rødland’s recent body of works centres around a trademark portrait of this British comic strip character (whose strip has been running in daily newspapers since the late 1950s). Here the working class figure is rendered with his iconic pose: cap tipped down and cigarette dangling from his lips. Rødland located this drawing printed onto a souvenir mirror. The mirror was then applied to make a rhythmic reappearance of the same motif, but also to serve as a tool to tweak the logic of photographic flatness and pictorial space. Throughout these twelve photographs Rødland seeks to obscure the relationship between foreground and background, while never extending this play beyond the limits of analogue photographic techniques.

"Andy Capp Variations" could both be seen as a hard return to repetition and as an attempt to dissolve the classical genres that Rødland has been preoccupied with in recent years: the still life, the portrait and the landscape photography. These recent photographs apparently relish the arbitrary combination of elements from all the above genres. In isolating this pleasure from reason, Rødland would claim, these photographs are ‘perverted’: "Perverted photography doesn’t sell a product or communicate a message. It’s not meant to be decoded, but to keep you in the process of looking. It’s layered and complex. It mirrors and triggers you without end and for no good reason, and that is erotic". Thus these photographs take an obvious interest in a limited play: the staccato insistence on the same image on the one hand and the continuous and restless re-contextualizing of the very same image on the other.

The choice of Andy Capp as the centre of this play could partly be explained by an interest in Andy Capp as a representation of the ‘common man’ or the comic strip as a representation of ‘common sense’. Being about the people and for the people it does not rely on any education or esoteric knowledge. In fact the continuous juxtaposition of "the people" with "the elites" seems essential to the plot, not only proving a certain populist sentiment but occasionally also proving itself as a convenient and commonly accessible illustration for political parties, which at some point had former chairman of the Norweigan neo-liberal Progress Party, Carl I. Hagen, claiming that Andy Capp represented the party’s ideal supporter.

Torbjørn Rødland (b. 1970) has exhibited extensively in Europe at venues such as the Centre Pompidou, Paris; the 48th Venice Biennale, Venice; Astrup Fearnley Museum of Modern Art, Oslo; Stedelijk Museum, Amsterdam; Reina Sofia Museum, Madrid, and Museum of Contemporary Art, Chicago. Recent and upcoming solo exhibitions include Air de Paris, Paris; Michael Benevento, Los Angeles; Sørlandets Art Museum, Kristiansand, and Galerie Rodolphe Janssen, Brussels. Recent group exhibitions includ Mai 36 Galerie, Zürich; Musée d’Art Contemporain de Lyon, Lyon; Andrew Kreps Gallery, New York; and Malmö Art Museum, Malmö.

Standard Oslo

E 45 - ROAD ART

2009-08-21T15:32:00.001+02:00

Søren Behncke aka Papfar (Cardboarddad): E45 - Road Art

Charlotte Fogh Contemporary has the great pleasure to present Søren Behnckes second soloexhibition at the gallery, “E45 - Road Art”.

The exhibition features new Road Art-artworks from the artist, which relate his early straight and humorous style to his characteristic figurative and linguistic elements in a more expressive and modern look.

The exhibition E45 shows Søren Behnckes’ trip down the motorway E45 from Sweden and through Europe. The result is a Road Art-exhibition, where drawings, paintings and sculptures represent an artistic and visual diary of the trip.

Charlotte Fogh Contemporary

Troels Wörsel

2009-08-21T09:52:00.000+02:00

Galleri Susanne Ottesen

JONATHAN DELACHAUX

2009-08-21T09:40:00.000+02:00

Haas Fischer

ISOE Toys Crew

2009-08-21T09:09:00.000+02:00

Galleri Grisk

Daniel Lergon: 3K

2009-08-20T15:48:00.001+02:00

Daniel Lergon: 3K
BONUS: two recent works by Simon Dybbroe Møller

It is a great pleasure to announce a new exhibition at Andersen’s Contemporary in the period August 28th - September 25th 2009. For the second time in Denmark the gallery presents a solo exhibition with german painter Daniel Lergon (b. 1978). Moreover, in the same period, the gallery shows two recent works by Simon Dybbroe Møller (b. 1976), whom will be represented by the gallery henceforward.

DANIELS LERGON’S 3K continues Lergon’s original painterly studies of the interaction between light and surface, and as in the case of his past practice, the paintings are created with lacquer, without pigment, on fabric.

About 14 billion years after the Big Bang, Lergon’s visual universe oscillates around that very moment, when matter separated from radiation and the universe began its still ongoing expansion. The separation of matter and radiation implicated, that for the first time the universe became transparent, and electromagnetic radiation with wavelengths
ranging from the infrared with the lowest energy to the ultraviolet with the highest energy, created light and colour.

Lergon has previously worked with the ultraviolet, however in this exhibition, it is the infrared part of the visible spectrum that is painterly investigated. Lergon is visualizing that the spectrum has been cooled down to invisible heat; to the lowest energetic boundary in the spectrum: a dark red colour reiminiscent of glowing iron being cooled down. Thus
with this investigation of temperature loss and low energetic boundaries Lergon also touches upon the fact, that when meassuring cosmic background radiation today - the radiation released with the Big Bang - it has been cooled down, due to the expansion of the universe, to a temperature of about 3 Kelvin, 3K.

Five dark red paintings are presented on one wall in the exhibition room. They all are 2 meters in height, while their width gradually expands from 60 to 340 cm. The paintings are materialized by the opposing wall, where Lergon has created large drawings, by applying metallic grain pigment directly onto the wall.

SIMON DYBBROE MØLLER’S two works are in different ways inspired by the mathematician Sophus Tromholt’s (1851-1896) unsuccessful attempts to photograph the northern lights in the late 19th century. The dias work Dance of Light (2009), is based on eyewittness desciptions of northern light, collected and recorded by Tromholt. In Dybbroe Møller’s work these records have been translated into ballet, which in turn has been photographed.
The photographs are here displayed as a slide show with images rhythmically fading in and out of each other, so that the movement of both northern ligh and dance light seems recreated.
Dybbroe Møller’s also shows the photographic collage, Only Particles, Some Fast Some Slow (two Sophus Tromholt)

(2006-2009). Tromholt for technical reasons could not photograph the northern light and, therefore, drew his impressions, photographed his drawings and then published the results as photographs of the northern light. Dybbroe Møller has coloured Tromholt’s “photograph”of the northern light, cut it into a tangram-like puzzle, and then reassembled it
in a new and different way. The work on one hand refers to the cubist concept, but simoultanously points out the fact, that Tromholt is today mainly known for his tangram-derived mathematical games.

ANDERSEN_S CONTEMPORARY

Everything that Happens

2009-08-20T11:09:00.002+02:00

Gala Honoring Dan Graham

2009-08-20T10:54:00.002+02:00

SculptureCenter

Copenhagen Graffiti

2009-08-19T20:51:00.002+02:00

Great & Bates

LIVE EVIL * DORTE NAOMI

2009-08-19T10:38:00.000+02:00

DORTE NAOMI

Zilla Leutenegger

2009-08-19T10:34:00.001+02:00

New York, August 17, 2009 — Perry Rubenstein Gallery is pleased to announce its representation in the U.S. of Swiss artist Zilla Leutenegger. Leutenegger has been exhibiting her multi-media work internationally since graduating from the School of Visual Arts in Zurich in 1995. Leutenegger's first large-scale solo exhibition with Perry Rubenstein Gallery will be in March 2010; it will mark her first solo show in New York since 2003.

Drawing is the root of Zilla Leutenegger's practice, whether it manifests itself in a wall drawing, a projection, or a traditional work on paper. Leutenegger incorporates drawing into various media; oftentimes video and/or animation are combined in installations that may span an entire room or building or may be confined to a small swatch of the wall. Playing with notions of space and time, the two-dimensional aspect of her drawing (be it on the wall, on paper, or animated on video) is often combined with three-dimensional objects to create a stage of sorts for the imagination. Exploring scenes or moments that have a poetic simplicity, her drawings and videos are images of ideas, more sketches than precise renderings, line drawings produced freehand.

Focusing on universal themes — architecture, domesticity, fantasy, and childhood — Leutenegger is not concerned with imposing an overarching plan or concept but rather wants the viewer to bring their own thoughts to the image or environment she creates. Leutenegger herself (or her silhouette or shadow) is most often the lone figure in the work, which points to a "solitariness" but also an exchange. Leutenegger expects the viewer to play a participatory role; as viewer, you feel as if you've been let in on a secret. The subtle ambiguity of the work allows it to float between playfulness and melancholy with exquisite sincerity; Leutenegger draws where she wants to stay and where you want to go.

Zilla Leutenegger was born in Switzerland and lives and works in Zurich. Past solo institutional exhibitions include Kunstmuseum des Kantons Thurgau, Warth (2008); CCA Center for Contemporary Art, Tel-Aviv (2007); Kunsthalle Wien, Vienna (2006), Fundació "La Caixa", Sala Montcada, Barcelona (2004). Recent group exhibitions include Sprengel Museum Hannover, Hannover (2008), Parasol Unit, London (2007); Haus der Kunst, Munich (2007); Sammlung Goetz, Munich (2006); Tate Modern, London (2005); Museo de Arte Contemporaneo de Castilla y León, León (2005) Yokohama Museum of Art, Yokohama (2005), Museum of Modern Art, Shanghai (2005), Schaulager, Basel (2004), Museo de Arte Moderno de Buenos Aires, Buenos Aires (2003), Palais de Tokyo, Paris (2003), Kunst-Werke Berlin (2003).

Perry Rubenstein Gallery

Ceal Floyer: show"

2009-08-19T09:12:00.001+02:00

Ceal Floyer show

Seemingly the two scenes are identical in every detail, the mirroring of two vigorous pensioners dancing expressively in their middle-class living room. With lilting steps they are cutting up the floor on the Persian carpet. Surrounded by a paneled dresser and bureau, the domesticity is cheerfully converted into a dancing pleasure. Yet something ruptures the sweet idyll; changes, skips and additions have sneaked into the doubling of events. In search of these differences the keen eye takes in scenes and magazines, and is finally satisfied to find them. The doubling of images with mistakes; in the present case the art historical device of the comparative look is activated within American weekend entertainment.

Ceal Floyer’s (born 1968) works typically require an attentive and engaged viewing. The precision and evocativeness Floyer applies to her minimal installations, objects and films challenge our perception. Analytically she lays open the structural character of things. Upon their inversion her objects of interest reveal their quiet poetics.

KW Institute for Contemporary Art

Dinos & Jake Chapmans "Fucking Hell"

2009-08-18T12:51:00.001+02:00

Jake & Dinos Chapman

Andrew Bick | Slow Magic

2009-08-18T12:31:00.001+02:00

In conversation: Andrew Bick & Alicia Paz, Sat 5 Sept, 3.00pm, the Bluecoat, Liverpool.
Artists Andrew Bick and Alicia Paz talk to Sara-Jayne Parsons, Exhibition Curator at the Bluecoat, about their work and participation in Slow Magic.

Featuring the work of six international artists, Slow Magic examines different approaches to contemporary painting in playful and enchanting ways. For some artists the excitement of working with paint is found in their brushstrokes, daubs, drips and smears. Applying paint in a very vigorous way often results in an expressive surface that is lively and sensuous.

The decisions made by some artists are revealed through contrasting surfaces and colours. They often concern themselves with the physical qualities of paint ahead of a need to create realistic or representational images. These abstract paintings tell stories through layers.

Other artists make paintings using marker pen, Perspex, wax, smoke or collage materials, and sometimes cut through their canvases to create visual tricks. The illusions they create make us wonder, are we looking at something real or imagined? Is a painting flat or three-dimensional? The selection of works included in the exhibition highlights that much like a conjuror; it is the artist's sleight of hand that makes painting magical.

Hales Gallery

Johan Thurfjell at Galerie Nordenhake Stockholm

2009-08-18T10:17:00.001+02:00

Johan Thurfjell
Conclusion

Galerie Nordenhake is pleased to announce its first solo exhibition in Stockholm with Johan Thurfjell.

Thurfjell continues to source personal and sometimes private experiences in order to create works that resonate on a universal level. He avoids sentimentality despite the often poetic and personal characteristics of his material.

In his exhibition Conclusion, Thurfjell presents two sculptures and a series of watercolours that communicate a sense of loss, nostalgia and possibly tragedy. Through a process of miniaturizing “big” and sometimes traumatic subjects Thurfjell renders them manageable both to himself and his audience.

Collapse is an imposing sculpture depicting a multi-tower turn-of-the-century iron bridge in a state of destruction. The failing structure is fictional but inspired by a bridge collapse in Minneapolis in 2005. The physical, visible catastrophe of the bridge becomes a cathartic embodiment of a psychological state.

A steel sculpture of an old American billboard, scaled down to human height, is presented in the work Conclusion. The surfaces of the signs show a patina suggesting years of use, weather and finally, neglect. The remaining traces point to an earlier epoch and evoke a tainted nostalgia. The communicative power of the billboard has defaulted instead into an archeology.

The sense of loss and personal history in the exhibition crystallizes in Ghosts, a series of faint geometric watercolors in old frames. The paintings function as simple monochrome abstractions but allude to removed old photographic portraits. The faded traces of the missing photographs invoke those once depicted and now absent.

Johan Thurfjell was born in 1970 in Solna. He currently lives and works in Stockholm. His most recent solo exhibition at Galerie Nordenhake was titled "Dead Calm," and held in 2008. Other solo exhibitions include "Jim's Room," Magasin 3 Stockholm Konsthall (2007), Färgfabriken in Stockholm (2004) and Index in Stockholm (2001). His group exhibitions include the Lewis Glucksman Gallery in Cork (2007), Bonniers Konsthall in Stockholm (2007), 21c Museum in Louisville (2006), Moderna Museet in Stockholm (2006), Signal Malmö (2005), the Nordic Festival of Contemporary Art Momentum in Moss, Norway (2004), Norrköpings Konstmuseum (2003) and Dunkers Kulturhus in Helsingborg. In June 2008 he was honored with an award from the Marianne and Sigvard Bernadottes Artist Fund.

Galerie Nordenhake Stockholm

'Chaosmosis' by Jonas Pihl

2009-08-18T09:26:00.001+02:00

BLACK & WHITE GALLERY is proud to present CHAOSMOSIS by the Danish artist Jonas Pihl.

CHAOSMOSIS has been borrowed by Jonas Pihl from a Deleuze's term 'chaosmos' as the title for his first solo exhibition in the United States. It represents complexity of the themes and formal issues he investigates and reveals the artist's ceaseless scrutiny of the spectrum of paradoxes to be found when random transforms into pre-determined and chaos amalgamates with cosmos.

In his native Denmark, Jonas Pihl is best known for extensive groups of works in which he connects the formal and the conceptual aspects of painting. The starting point for Pihl is paint itself. He investigates qualities and meanings of paint in its fluid and frozen states as revealed through reconstructed shapes of random splashes. Both three dimensional and painted still, his works combine moments of sync and resolution with unsettling agitations in the recorded form. Turbulent visual planes provoke barriers and gaps in the viewing experience.

Since 2005, the Copenhagen-based artist has been developing a new series of three dimensional works. He uses various shapes of random paint splashes to create stylized plastic shapes resembling the original splashes. Absurd scenarios are then painted on the three dimensional shapes to further reinforce the optical illusion of the perspective. In his choice of the bizarre figures and forms, the artist draws upon and transforms sci-fi motifs and themes from popular culture. These new works are being shown for the first time in CHAOSMOSIS. Installed on wall paintings serving as a stage-like backdrop, the new presentation simultaniously emphasizes and defies the trompe l´oeil perspective of this optically illusional environment and morphs into a psychologically charged spatial installation - a monumental single piece.

Jonas Pihl was born in 1978 and currently lives and works in Copenhagen, Denmark. In 2008 he graduated from the prestigious Royal Danish Academy of Fine Arts. Pihl has participated in multiple international group exhibitions and had several solo exhibitions in Denmark. Several of his works can be found in public collections of Nykredit, Købstædernes Forsikring and Pension Danmark.

Black & White Gallery

FYS crew & Friends:::::.....

2009-08-18T08:48:00.005+02:00

The Dark Roses
Toys Crew
Dozo
I Love Graffiti
Sketch

FYS crew & Freinds....

2009-08-18T08:48:00.000+02:00

BEKYMRET BORGER & RACEKAT

2009-08-17T14:48:00.001+02:00

Kulturevolution

New wall in Copenhagen::

2009-08-17T12:46:00.007+02:00

A new nice wall.

GHOST _ SABE Train Piece:::

2009-08-17T12:34:00.001+02:00

Ghost fra New York & Sabe made a very nice train....

gaard - Ontemporary rt

2009-08-17T12:25:00.003+02:00

gaard - Ontemporary rt

With the exhibition Ontemporary rt, Galleri Christoffer Egelund is proud to present Morten Steen Hebsgaard’s first major solo exhibition in the gallery. The title is inspired by the copycat industry, where, for instance, a mediocre watch maker will transcribe a brand like Rolex into Olex. Ontemporary rt thus refers to the conflict between original and copy.

For this exhibition, Morten Steen Hebsgaard has formulated a set of dogma rules: 1) all materials must be bought from IKEA, and 2) the works must copy art history. This has enabled Hebsgaard to select his own personal “darlings” and to reinterpret them, misunderstand them and challenge them in his own works. This has resulted in a series of exciting sculptural objects, where such artists as Kasimir Malevitj, Piet Mondrian and Andreas Slominski and others are all re-edited in a suggestive and humorous fashion. Morten Steen Hebsgaard turns things upside down, goes along with and against and around his art heroes, and challenges the spectator by questioning the order of things.

The contrast between modern art and IKEA is another interesting element in his project: elitist high culture against the furniture giant’s production of cheap design for the masses. The question is what actually happens when Morten Steen Hebsgaard copies these major historical works, interprets them using cheap materials from IKEA, and creates new and unique art.

Morten Steen Hebsgaard graduated from the Royal Danish Academy of Fine Arts in 2007, and from 2005-2006 he attended Städelschule [under Professor Simon Starling] in Frankfurt DE, and was awarded the EXIT EXTRA prize by the Copenhagen art society Gl. Strand. His works have been exhibited at art fairs, biennials and museums in Denmark and abroad. Among his exhibitions are: solo exhibition at Vejen Art Museum and curated exhibitions at Fulgsang Museum of Art, Plan B. Bologna in Italy, add x to (n), the Museum of Contemporary Art in Roskilde, Hafen 2. Offenbach in Germany, Dale Biennale in Norway, Preview Berlin, Bridge NY in the US. In addition, he will exhibit at Kunstforeningen Gl. Strand next year. Morten Steen Hebsgaard is co-founder of the artist groups A Kassen and OEen Group.

Gallery Christoffer Egelund