Aurel Scheibler exhibits Öyvind Fahlström’s first variable sculpture Sitting…Blocks from 1965-66 – Berlin – 08.04.2017-24.06.2017 – 11535

Sitting…Blocks, 1965-1966. Tempera on vinyl and wood, 10 blocks, 38 x 38 x 38 cm (each).

Aurel Scheibler, in collaboration with The Öyvind Fahlström Foundation, presents the solo exhibition by Öyvind Fahlström (1928–1976) featuring his first variable sculpture, Sitting…Blocks from 1965-66. It is the first time this important work is presented in Germany since it was shown in 1968 at documenta IV in Kassel. A selection of his works from the 1960s and 1970s also are on view.

One of the most complex and extraordinary artists of his time, Öyvind Fahlström is regarded today as a pioneer of interactive multimedia art. Fahlström started his Sitting… series shortly after he moved to New York in 1961. It signifies a new period in Fahlström’s work in which he invented “variable painting” and began to express meanings and events solely with the use of abstract character-forms.

In the first work of the series, Sitting… (1962), Fahlström started using figurative elements and created a complex pictorial space in which many events happened at the same time, overlapping and influencing each other.

The subsequent work, Sitting…Six months later (1962) was Fahlström’s first variable painting. In these works, painted elements could be attached to a painted panel with magnets, string or inserted in slits in the panel. Theoretically, they could be arranged in any configuration. Continue reading “Aurel Scheibler exhibits Öyvind Fahlström’s first variable sculpture Sitting…Blocks from 1965-66 – Berlin – 08.04.2017-24.06.2017 – 11535”

Philippe Braquenier’s Palimpsest at the Ravestijn Gallery in Amsterdam – 07.04.2017-20.05.2017 – 11534

Palimpsest / ARNANO – Grenoble, France – 20/03/02014. Print size: 100 x 110 cm / framed. Edition of 5 + 1 AP.

The natural foundations of our memory are slowly collapsing. Remembering as a basic human activity is turning into an underrated exercise. This is because more and more information is externalized on portable devices, hard drives and online cloud services. Mankind’s burgeoning desire is to rescue every bit of information from obscurity and safeguard scien-tific and cultural knowledge. Yet, to do so means that we are becoming increasingly de-pendent on technology and digital media.

The acceleration of technology introduces some serious risks. It dangers the preservation of entire bodies of knowledge. This is due to the decreasing life-span of digital formats and platforms used to storing mankind’s memory. Large scientific institutions like NASA have had to encounter the challenges of digital revolution with diligence. Their efforts have been progressively focused on recovering data from complete obliteration from old file formats. This said, digital dark age is a factual threat if sustainable methods for safekeeping data are not addressed with urgency.

Philippe Braquenier’s Palimpsest is an exhibition that crops up from this hastily developing technological landscape. It bears witness to the contemporary infrastructures of information repositories. In architecture, the word palimpsest is used to refer to the accumulation of de-sign elements in a particular place over time. Braquenier’s photographs incorporate architec-tural, technological and natural components with impressive clarity. The libraries, data cen-tres and both natural and built environments Braquenier approaches, hold a strong reference to the legacies of human knowledge.

The proximity of natural and technological milieus seems to propose a dependency in which one cannot exist without the other. Braquenier’s interest in the information depots expands from the question of their relationship to landscape and urban infrastructures, to what is re-quired to sustain the archives of human history. The aesthetic quality of Braquenier’s work is exquisite and well-measured. It points us to consider our forever sprouting interactions with technology.

Philippe Braquenier, born in 1985, is a Belgian artist working in conceptual and documentary photography. He received his BFA in photography from the Helb INRACI and has exhibited in Foto Museum Antwerpen, The Brussels Royal Museum of Fine Arts and Aperture Foundation in New York among other institutions and galleries. His work has recently been published in Wired, Aint-Bad, Médor and Accattone Magazine. Palimpsest will be published as a book later on during the year.

Website : Ravestijn Gallery
Source : Artdaily

The experimental vision and spirit of the Fotoform group is on view at Howard Greenberg Gallery – New York – 06.04.2017-13.05.2017 – 11533

Vera Lutter, Clock Tower, Brooklyn, June 29, 2009. Unique gelatin silver print, 19 x 19 1/4 inches.

In 1949, a group of avant-garde photographers got together in Germany to resusitate creativity in photography, which had been deemed degenerate by the Nazis. Founded by Otto Steinert, the group became known as Fotoform. By picking up where the Surrealists and the Bauhaus left off, Fotoform became a movement and spread internationally.

The experimental vision and spirit of the Fotoform group is on view in The Mechanics of Expression: Vera Lutter, Sameer Makarius & Otto Steinert at Howard Greenberg Gallery from April 6 – May 13,, 2017. The exhibition explores work by Steinert and his Fotoform group, as well as Sameer Makarius (1924-2009) who formed a photography group in Argentina, and contemporary artist Vera Lutter. Although living in different countries at different times, the artists exhibit a similar visual vocabulary.

From its origins, the medium of photography has held out the promise of enhanced vision, of eyes outside our bodies, in the words of Laszlo Moholy-Nagy. It has enticed its practitioners into realms of experiment and speculation, and inspired them to produce works that are equal parts science and self-expression. Even as the medium evolved artistically toward a documentary precision and a fidelity to appearances, it developed an alternative history, a tradition of testing the boundaries of the visual. The artists in the exhibition have carried that tradition forward in dramatic ways. They have given free rein to photographic processes, embraced abstraction, explored extreme ideas of form, and adapted the oldest photographic tools to new uses and formats. Continue reading “The experimental vision and spirit of the Fotoform group is on view at Howard Greenberg Gallery – New York – 06.04.2017-13.05.2017 – 11533”

Annely Juda Fine Art presents exhibition of works by Michael Michaeledes – London – 06.04.2016-20.05.2017 – 11532

Michael Michaeledes, Greek Islands, 1957. Ink on paper, 77 x 118 cm. © the Artist, courtesy Annely Juda Fine Art.

Annely Juda Fine Art is presenting an exhibition of works by Michael Michaeledes (1923 – 2015).

Michaeledes was one of the gallery’s longest standing artists and the gallery now shows a range of works from his early, figurative paintings from the 1950’s right up to his last works. Michael Michaeledes was born in Nicosia, Cyprus in 1923. He studied Architecture and Fine Arts at Milan University, Italy & Central Polytechnic, London, settling in London in 1955 to work as an artist and architect. Early paintings were figurative, however, an early interest in contrasting light and shade can be seen. Figuration was gradually abandoned by Michaeledes through abstract processes and gave way to juxtapositions of colour and line. His style grew more abstract over time, and finally he abandoned the use of paint entirely, working with just canvas and wood.

In later works, Michaeledes shaped and warped wooden frames across which he would stretch unprimed canvas. The final pieces are reliefs that cast deliberate and geometrically patterned shadows. Michaeledes cites the marble reliefs of Ancient Greece as inspiration for these works.

Michaeledes’ first solo exhibition was in 1959 at Leicester Galleries, London and he went on to exhibit in 40 solo and over 80 group shows, representing Greece at the 1976 Venice Biennale. His work is held in museums, foundations and private collections all over the world. His design and architectural work includes many residential buildings and interiors, warehouses, boats, a farm/safari lodge in Zambia and a stable in Newmarket. Michaeledes won the Philadelphios Panhelennic poetry competition, Athens in 1954.

Website : Annely Juda Fine Art
Source : Artdaily

Exhibition at South London Gallery brings together works by Erik van Lieshout – London – 07.04.2017-11.06.2017 – 11531

Erik van Lieshout, Untitled, 2012. Mixed media on paper, 29.7 x 42 cm. Part of Ministry of Subculture, 2012. Collection de Bruin-Heijn. Photo Jhoeko. © Erik van Lieshout.

Erik van Lieshout’s work explores themes often rooted in his experience of living and working in the Netherlands but nevertheless relevant to contemporary experience across Europe and beyond. For his solo show at the South London Gallery, Van Lieshout brings together works that draw on socio-political observations, marginalised identities and the role of the artist in society. An immersive architectural environment houses three video works characterised by an absurdist sense of humour and provocative questioning of the role of art and artists in society. All three works feature Van Lieshout, whose actions and statements blur performance with reality, dead-pan humour with utmost sincerity, and ambiguity of meaning with a sometimes disarming directness.

The Basement (2014), commissioned for the European biennial of contemporary art Manifesta 10 in St. Petersburg, documents Van Lieshout’s quest to improve the quality of life for the cats in the Hermitage Museum where there is a 200 year tradition of keeping cats in the basement to catch the mice. A short film documents his efforts as he cleans and paints their home, designs Modernist-inspired scratching posts, creates new climbing towers and installs artworks for their enjoyment. Interviews with the museum director, staff and the volunteers who look after the cats present a variety of perspectives on the situation, and the film is screened at the end of a make-shift tunnel daubed photocopies of cats, drawings and collages of political and other figures, and statements such as “What is a museum? A ‘shrine’ or a factory?” and “Free is boring. Problems we need”. Continue reading “Exhibition at South London Gallery brings together works by Erik van Lieshout – London – 07.04.2017-11.06.2017 – 11531”

New works by the Berlin-based artist Frank Maier on view at the Drawing Room in Hamburg – 23.02.2017-27.04.2017 – 11530

The Drawing Room is presenting new works by the Berlin-based artist Frank Maier (born 1966 in Stuttgart). For his first solo exhibition at the Drawing Room, Maier has created wall paintings reminiscent of colour fields, which form the background for his graphically well-defined, yet intricate works, painted in pastose acrylic on canvas in a retro-modernist style. He draws his material from the repertoire of forms used in concrete art and by the Russian Constructivist artists, in order to create his own self-referencing architecture of images.

Within the borders of the inner pictorial space, marked with colour, the artist uses geometrical vocabulary in a stringent and consistent manner. For Maier, the paintings do not portray life or reality but are themselves part of this life and this reality – living beings. The line plays an important role in his painting and therefore the delicate border lines define the hermetically closed pictorial space, which is mounted on painted wooden boxes, hence making it threedimensional. Inside this space, the line resembles a thread, stretched across the painted surface, linking the geometrical elements, intersecting and undercutting them. The subsequent constellations created between the individual elements of the picture, such as parallel lines and intersections, connection and separation or consolidation and dispersal, also involve the viewer on an emotional level in Maier’s idiosyncratic, abstract visual universe. Continue reading “New works by the Berlin-based artist Frank Maier on view at the Drawing Room in Hamburg – 23.02.2017-27.04.2017 – 11530”

Lehmann Maupin presents exhibition of new work by Do Ho Suh – Hong Kong – 20.03.2017-13.05.2017 – 11529

Do Ho Suh, My Home/s, 2017. Watercolor on paper, 9.37 x 12.56 inches (paper) 23.8 x 31.9 cm 11.34 x 14.53 x 1.38 inches (framed) 28.8 x 36.9 x 3.5 cm. Photo: Kitmin Lee Courtesy the artist and Lehmann Maupin, New York and Hong Kong

Lehmann Maupin is presenting Passage/s, an exhibition of new work by Do Ho Suh. The internationally renowned South Korean artist is best known for his installations, drawings, sculptures, and films, which often reflect on themes of home, displacement, memory, and individuality that evolve from his personal experiences and family history. For this Hong Kong exhibition, Suh will premiere a three-channel video installation, Passage/s: The Pram Project, as well as new drawings.

Passage/s: The Pram Project captures the artist and his young daughters on outings together in their London neighborhood. Shot using GoPro cameras affixed to the sides and top of a pram, the video offers the children’s perspective of the city. The ambient noises of the street and the rattling of the pram punctuate the conversations and chatter between Suh and his daughters. The children’s excitement imbues the dreary London cityscape with a curiosity and wonder shared by Suh, whose worldview had also been recently changed by fatherhood. Suh utilizes film editing—shifting between English and Korean and splicing in imagery from Suh’s hometown of Seoul—to comment on his experience of crossing cultural and geographical boundaries, and to express the transient nature of the Suh family’s life. Each of the three channels depicts a different viewpoint from the pram, projected simultaneously, for an immersive perspective and intimate experience of this work, emulative of the artist’s own relationship with his daughters. Continue reading “Lehmann Maupin presents exhibition of new work by Do Ho Suh – Hong Kong – 20.03.2017-13.05.2017 – 11529”

Exhibition of photographs by Nancy Baron and Pamela Littky at Kehrer gallery – Berlin – 01.04.2017-06.05.2017- 11528

American Desert Dreams

Kehrer gallery is presenting two female American artists who are dealing with different lifestyles in the American desert in their works.

Nancy Baronʼs series, »The Good Life – Palm Springs« (2010– 2015) guides us through this storied American resort town and its mid century modern lifestyle from the vantage point of a part-time resident. Her spare, jewel-toned impressions document the homes, cars, and clothes of these modernists, paying homage to the carefree post-World War II time in US history that glows warmly in rear view mirrors.

The towns Pamela Littky deals with in her series »Vacancy« are located in the Mojave Desert. Baker (California) and Beatty (Nevada) are the opposite of tidy Palm Springs. These towns, tha most people will only visit passing through, really show the inhospitality of the desert and seem vacant on first glance. But nevertheless people have chosen to settle down here and have built a close community.

With Palm Springs and the so-called Gateway to Death Valley Nancy Baron and Pamela Littky are dealing with very contrary living situations in the desert that, when you look close enough, do have something in common: they provide a space for the American Dream.

»Palm Springs – The Good Life Goes On« was already the second book Nancy Baron published 2016 with Kehrer Verlag about life in her second home. Pamela Littky released »The Villa Bonita« last year after having published »Vacancy« in 2014.

Website : Kehrer Gallery
Source : Artdaily

Cecilia Hillström Gallery presents Linnea Rygaard’s first solo exhibition at the gallery – Stockholm – 06.04.2017-13.05.2017 – 11527

Distance Control, 2017, oil and acrylic on canvas, 240 x 240 cm

Painting starts with an idea about painting, and is the chronicle of this idea’s disintegration, and reintegration, into the painting.

Linnea Rygaard makes stubborn paintings.

I am not in a position to say whether she is stubborn or not. I would in such case perhaps be assuming that these works I’m staring at are a projection of the artist and her manner. This is, more often than not, a naive assumption when looking at painting.

These works are fabricated, not merely physically, but also in terms of making something up. They are white lies, and white lies, as we all know, are forgivable. They are fabricated and modelled in the mind of the artist, during a process she describes as a contest between the developing work and herself. Already in terms of process they are successful, in their not being predominantly a projection of the artist – her determination, wants, needs. The best pieces may even be the result of Rygaard losing those particular contests. They are stubborn and insistent, these paintings – even single-minded. The best paintings have always determined themselves. Paint, the material, insisted that Eduard Manet not model the green rails in ”Le balcon”, but put them there. The work is, after all, not named after the three figures on the balcony, but after the balcony itself. Rygaard’s paint determines much of her outcome as well. Edge prevails in her works, and that edge is determined by paint. We push edge – we mask it, and we model it, but if the paint is not allowed to somehow determine its own outcome, we are faced with some kind of craftsmanship, which can, in the worst case scenario, end up under the auspices of damage control. Not that Linnea doesn’t experience her share of damage control; we all do.

This situation, where physical elements tint the projected will of the self brings to mind the state of hallucination. When we hallucinate, seemingly foreign matter enters into our own conscious stream and effects the outcome dramatically. If we accept and even enjoy this injection, we stand to experience something of a gift. If we resist, we end-up in what is commonly referred to as a bad trip. And bad trips make for bad paintings. Continue reading “Cecilia Hillström Gallery presents Linnea Rygaard’s first solo exhibition at the gallery – Stockholm – 06.04.2017-13.05.2017 – 11527”

Peter Sacks’ first solo exhibition at Marlborough Gallery in New York – 05.04.2017-06.05.2017 – 11526

Peter Sacks, Township 7, 2014-2016, mixed media, 84 x 84 in. © Peter Sacks, courtesy Marlborough Gallery, New York.

Marlborough Gallery announces the first solo exhibition at the gallery of works by South African-born, U.S.-based painter Peter Sacks. The exhibition includes over 14 recent paintings as well as collage works on paper. The artist’s approach to painting includes utilizing the most intimate material residues of life — textiles, texts, and traces of objects—all transformed into active fields of energy, empathy and history. Each work by Sacks is a striking accretion of material, meaning, and emotion. In addition to wood, metal, cardboard, batting and quilting, the rhythmic surfaces are made up of pieces of fabric from Africa, India, Europe, embroidery, fishing nets, buttons and burlap. Garments and fragments such as shrouds, nightshirts and denim work clothes feature prominently in several works and evince the human situation in universal yet intimate ways. By incorporating these artifacts, the artist’s paintings become textured, shapeshifting worlds which register everything from ritual belief to delight or danger, loss or retrieval. Sacks has referred to his intensive process of discovery and layering as “excavating in reverse.”

Art critic and author Sebastian Smee, who contributed the essay for the exhibition’s catalogue, writes of the new works that they “are as ambitious, full-throated, and convincing as any I have seen by a living artist over the past decade.” He states further, “their beauty is polyphonic…in their visual brilliance, their material variety, and their hard-won coherence, they confirm that—amid the convulsions of history, the unfolding fiasco—the parade of life goes on.” Continue reading “Peter Sacks’ first solo exhibition at Marlborough Gallery in New York – 05.04.2017-06.05.2017 – 11526”

Flowers Gallery in London opens exhibition of works by Scarlett Hooft Graafland – London – 29.03.2017-29.04.2017 – 11525

Scarlett Hooft Graafland, Resolution, Malekula, 2015, C-type Print, © Scarlett Hooft Graafland, Courtesy of Flowers Gallery London and New York.

Scarlett Hooft Graafland’s surreal, dream-like photographs provide the lasting record of her carefully choreographed, site-specific sculptural interventions and performances in some of the most isolated corners of the earth. The exhibition Discovery draws together more than a decade of exploration, from the salt desert of Bolivia to the desolate Canadian Arctic, the island of Madagascar and the remote shores of Vanuatu, where her interactions reflect an exchange between the boundless realm of nature and the relative confines of culture. This is her first solo exhibition with Flowers Gallery.

Hooft Graafland’s images emphasize the ‘natural strangeness’ of the landscape with uncanny juxtapositions of everyday objects and materials. Local customs and stories are interwoven throughout her work, re-interpreting and re-imagining mythologies related to the landscape. Rich, earthy pools of spices gather within blinding white salt flats in Carpet; balloon-clad figures stand against striking azure skies in Burka Balloons and Salt Steps; and bare, surrealistically detached legs wrap playfully around a giant, spiked desert cactus in Discovery. Continue reading “Flowers Gallery in London opens exhibition of works by Scarlett Hooft Graafland – London – 29.03.2017-29.04.2017 – 11525”

Exhibition of Keltie Ferris’ ongoing series of body prints at Mitchell-Innes & Nash – New York – 29.03.2017-06.05.2017 – 11524

Keltie Ferris, Siblings Apollo + Artemis, 2017. Oil and powdered pigment on paper, 43 3/4 by 56 5/8 in. 111.1 by 143.8 cm. © Keltie Ferris. Courtesy of the artist and Mitchell-Innes & Nash, NY

Mitchell-Innes & Nash announces M\A\R\C\H, an exhibition of Keltie Ferris’ ongoing series of body prints at the Madison Avenue gallery. M\A\R\C\H is Ferris’ third solo show with Mitchell-Innes & Nash.

Ferris began the body print series during a residency in 2013. Contrary to the spray-painted abstract canvases for which she is known, the body prints offer an avenue for Ferris to inject herself physically into her work, both as a form of self-portraiture and as an alternate means of mark-making. The artist coats her body, nude or clothed, with oil and presses herself against paper on the floor of her studio. She then covers the impression with powdered pigment. The result is a photographic yet fragmented impression, recalling an X-ray or Xerox copy.

With these new works, Ferris continues to explore painting as a personal index and the literal relationship between the artist and his or her work. Although initially one might point to Yves Klein, in process Ferris’ body prints are more closely indebted to David Hammons and Jasper Johns. Unlike her predecessors, however, Ferris’ body prints reject an easy gendered identification of the body, suggesting a fluid and performative state of gender identity. Ferris highlights the physicality of the process, subtly shifting the position of her body to create impressions that range in tone from static to fluid, defensive to aggressive, and masculine to feminine. The viewer senses the artist’s hand and, in turn, the objecthood of the prints.

Similar to her atmospheric layered paintings, the body prints also display a powerful perceptual depth. The imprints float in hazy compositions that suggest the shadow or memory of the artist, literally and figuratively. As no two prints are exactly the same, each work represents a multitude of forms. Displayed together, the impressions present individual facets of the artist’s identity, both autonomous and dependent. The artist calls into question the notion of seriality and the existence of a true carbon copy. Continue reading “Exhibition of Keltie Ferris’ ongoing series of body prints at Mitchell-Innes & Nash – New York – 29.03.2017-06.05.2017 – 11524”

Parafin presents second exhibition with the British painter Justin Mortimer – London – 30.03.2017-20.05.2017 – 11523

Installation view.

Parafin presents its second exhibition with the British painter Justin Mortimer, widely regarded as one of the leading figurative painters working today and an emblematic figure for a younger generation of artists. Mortimer is an artist who has consistently pursued a particular vision and way of working independently of the vagaries of fashion.

Justin Mortimer’s paintings address the present moment. They reflect upon a world in a state of disorder and respond to recent events in the US, Calais, the Ukraine, West Africa, Syria and Afghanistan. The paintings combine imagery sourced from the internet with archival material from old books and magazines in order to visualise a world in which nothing is stable or certain, echoing the tectonic cracks appearing in the old world order.

It Is Here (2016), the large painting that gives the exhibition its title, epitomizes Mortimer’s ambiguous approach to his subject matter. A night scene featuring a naked figure, a tent and a shrouded, seated figure who gazes out at the viewer, it could be a scene from the Glastonbury Festival, perhaps the aftermath of a good time, or equally a depiction of the grim realities of The Jungle, the notorious refugee camp in Calais. Another large canvas Zona (2016) transposes hazmat suit-clad figures from the recent Ebola crisis in Africa to a dark northern forest lit by flares and plumes of smoke culled from imagery of the riots in Ferguson, Missouri. In Fugue (2016-17) an anonymous figure occupies a liminal space that is at once interior and landscape, and in which books and papers are piled up suggesting an excess of information. Cumulatively, Mortimer’s work suggests that the present state of global instability is drawn from many sources. Continue reading “Parafin presents second exhibition with the British painter Justin Mortimer – London – 30.03.2017-20.05.2017 – 11523”

Lisson Gallery Milan presents exhibition of works by Spencer Finch – Milan – 31.03.2017-19.05.2017 – 11522

Spencer Finch, Vanitas (Tulips), 2012. © Spencer Finch; Courtesy Lisson Gallery.

Photography is a fundamental aspect of Spencer Finch’s work and has informed his practice in a multitude of ways throughout his career. Spurred by an ongoing investigation into the nature of colour and the elusive power of light, Finch uses photography – itself a combination of these two elements – as a way of capturing the fleeting and ephemeral, the things one cannot see, but also as a tool to record distinct moments in time. His exhibition at Lisson Gallery Milan celebrates this aspect of the artist’s oeuvre and features six works that have either been created using the medium of photography or in response to the photographic process.

The passing of time most poignantly comes to the fore in Vanitas (Tulips) (2012), for which Finch documented the fallen petals of three floral arrangements, after having removed them from a vase. The delicate remains evoke the beauty of random patterns and the Dutch tradition of still life painting, offering a meditation on chance and death. Flowers appear again in The daisy follows soft the sun (2017), the newest work in the exhibition, in which the camera tracks the movement of heads and stems as they tilt in the direction of the sun throughout the course of a day. The change in natural elements over a period of time is also evident in Finch’s photographic work Thank you, Fog (2009). Shot at one-minute intervals for an hour, the photographs depict the various states and densities of fog as it descends over Sonoma County in California. The transition from revelation to concealment of the wooded landscape below abstracts the sensation of being lost in a cloudy bank to a single, planar colour. Continue reading “Lisson Gallery Milan presents exhibition of works by Spencer Finch – Milan – 31.03.2017-19.05.2017 – 11522”

Exhibition of new work by Ciprian Muresan opens at David Nolan Gallery – New York – 30.03.2017-06.05.2017 – 11521

Ciprian Muresan, All Images from a Book on Holbein, 2017. Graphite on paper, 21 3/16 x 32 1/8 in., 53.8 x 81.6 cm © Ciprian Muresan, Courtesy David Nolan Gallery, New York.

David Nolan Gallery announces All Images from a Book…, an exhibition of new work by Ciprian Mureşan, the artist’s second solo show with the gallery. Bringing together a thematically interrelated group of works – albeit in characteristically diverse media – the exhibition will include a suite of recent drawings, a floor-bound sculpture, and a wall-mounted brass relief.

Mureşan (b. 1977, Romania) is best known for his subtly subversive and darkly humorous work often touching on the failed ideals in the aftermath of Communist rule in Eastern Europe. In recent years, his conceptually oriented practice has involved drawing, printmaking, video, found-object sculpture and puppetry performance. In his newest body of work, the artist takes on the highly charged topic of artistic reproduction. For Mureşan, the arena of reproduction is of particular significance, as it was through the study of printed copies of historical artworks – as opposed to first-hand encounters with the originals – that he resolved to become an artist. Moreover, in Romanian art schools the meticulous copying of classic paintings and sculptures remains at the cornerstone of an artistic education.

In a group of seven new works on paper, the artist continues his series of “Palimpsest” drawings, started in 2013, wherein every image from a given book or magazine is hand-rendered (with the aid of a light box) in overlapping layers of graphite pencil onto a single sheet of paper. One such drawing, All Images from a Book on Holbein (2017), comprises images from a monograph on the 16th century portraitist, Hans Holbein the Younger. On close inspection, intermittently decipherable images of famous historical figures come in and out of focus. Mureşan’s approach to replication, however, is distinctly different from classic appropriation art, and has more in common with the musical practice of remixing – while certain elements are recycled, the end-product has an uncanny, diffuse relationship to its source material. Continue reading “Exhibition of new work by Ciprian Muresan opens at David Nolan Gallery – New York – 30.03.2017-06.05.2017 – 11521”

Nicolas Krupp Gallery in Basel exhibits works by Diango Hernández – 03.03.2017-29.04.2017 – 11519

Diango Hernández, Hotel Sevilla, 2016. DiHe-2016-17. Oil on canvas and aluminium stretchers, 180 x 140 cm. Signed and dated by Diango Hernández

Holidays must be our desires and fantasies come true, something extraordinary that on principle contradicts the daily routine and suddenly transforms us into happier beings.

Longing for the holidays is what Pilar knew how to do best; it was her true profession – a professional vacation dreamer. And it was that deep desire to be happy that filled her childhood with monumental joy and that years later would become an infection and true delight. Being next to Pilar was something like furrowing a river with the spirit conga or like ten in the morning in July when we enter the sea for the first time.

In 1961 when Pilar turned 27 she decided to plan a different kind of vacation. Many things had happened in Havana the previous year and almost all of them were extraordinary. Like a miracle, or better yet, like a spell, from one day to the next revolutionary law punished the mere fact of saying the word vacation. Let it be clear that I am not exaggerating. According to the revolutionaries, what was actually happening in those years throughout the island was the fulfillment of the authentic vacations that the people had longed for during the last 100 years and that in the following years would become the longest “vacations” in history. For the revolutionaries there was an inherent logic to call the revolution “vacations” but for Pilar this was just nonsense. Nevertheless these “revolutionary vacations” forced Pilar to vacation in a different way and perhaps an even better way. Continue reading “Nicolas Krupp Gallery in Basel exhibits works by Diango Hernández – 03.03.2017-29.04.2017 – 11519”

Forum Gallery presents an exhibition entitled Lowcountry: New Paintings, by artist Brian Rutenberg – New York – 23.03.2017-06.05.2017 – 11518

Brian Rutenberg, Southward, 2017, oil on linen, 60 x 82 inches.

Forum Gallery in New York presents an exhibition entitled Lowcountry: New Paintings, by artist Brian Rutenberg, on view from March 23 through May 6, 2017.

The exhibition showcases eleven new paintings by American nature-based abstract artist Brian Rutenberg (b. 1965). This new group of paintings is a reflection of the artist’s love for the South Carolina lowcountry where he grew up. His visceral infatuation with the place has been his principal aesthetic concern for the last two decades. According to the artist, these new paintings are not just about his passion for the landscape, but also about the detailed expression of his journey from his birthplace to New York, where he now works and lives. Working in bold strokes of rich, thick paint, Rutenberg builds and sculpts his surfaces to achieve rhythmic, faceted passages contrasting with pools of light and dark to evoke the endless variants of the landscape that inspires him:

My connection to the landscape of coastal South Carolina has nothing to do with nostalgia; it’s much broader than memory. It’s my clear-seeing place. Everything I needed to become a painter I got long ago, those things must be sustained and permeate everything I do…

Brian Rutenberg (born 1965, Charleston, SC) lives and works in New York City. He is a Fulbright scholar (1997) and a graduate of The College of Charleston and the School of Visual Arts (NY). His paintings are in permanent museum collections, including the Butler Institute of American Art, Youngstown, OH; Yale University Art Gallery, New Haven, CT; Peabody Essex Museum, Salem, MA; Nassau County Museum of Art, Roslyn, NY; Gibbes Museum of Art, Charleston, SC; Hunter Museum of American Art, Chattanooga, TN; Naples Museum of Art, Naples, FL; Boca Raton Museum of Art, Boca Raton, FL; Ogden Museum of Art, New Orleans, LA; and the Morris Museum of Art, Augusta, GA. Brian Rutenberg has been the subject of one-person exhibitions at the Cress Gallery of Art at The University of Tennessee, Chattanooga, TN; the Cotuit Center for the Arts, Cotuit, MA; and currently, a retrospective of paintings at the Saginaw Art Museum, Saginaw, MI through June 3, 2017. He has exhibited at galleries across the country, and his work is collected throughout the US and Europe.

Website : Forum Gallery
Source : Artdaily

Exhibition at Ben Brown Fine Arts includes rare examples of ZERO period works by Heinz Mack – Hong Kong – 21.03.2017-05.05.2017 – 11515

Heinz Mack (b. 1931), Feuer-Teppich (Chromatische Konstellation) [Fire-Carpet (Chromatic Constellation)], 1993. Signed and dated ‘mack 93’; signed, titled and dated ‘mack 93, Feuer-Teppich’ on the reverse. Acrylic on canvas, 130 x 160 cm; (51 1/8 x 63 in.).

Ben Brown Fine Arts presents Heinz Mack: Structures, the revolutionary artist’s second solo show at the Hong Kong gallery. The exhibition includes paintings, works on paper and reliefs ranging from the artist’s renowned ZERO period to the present, examining his lifelong interest in light, colour, form, vibration and sensory perception. The exhibition will run concurrently with Art Basel Hong Kong 2017.

Mack made his initial impact on post-war discourse with the ZERO movement, founded with Otto Piene in 1957 in Dusseldorf, Germany, and later joined by Günther Uecker in 1961. ZERO was considered a blank slate or starting point for these young German artists recovering from the ravages of World War II. They strove to challenge and transgress the traditional dictums of art making, to transport art into new spaces, to create an experience for the viewer, and to dissolve boundaries between nature, art and technology, all with an optimistic enthusiasm and unrestricted aesthetic. The ZERO movement gained momentum internationally and grew to include artists such as Lucio Fontana, Yves Klein, Yayoi Kusama, Piero Manzoni and Jesús Rafael Soto, the myriad practices of its participants anticipating the future movements of Minimalism, Conceptualism and Land art. The ZERO movement profoundly impacted future generations of artists, ranging from Gerhard Richter to Robert Smithson and James Turrell, and was recently recognized at the Guggenheim Museum in New York with the seminal show ZERO: Countdown to Tomorrow, 1950s-60s.

This exhibition includes rare examples of ZERO period works including Licht-Relief [Light-Relief] (1958), an undulating aluminium relief; Mauerrelief [Wall-Relief] (1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster-Oval [Grid-Oval] (1966), a graphic geometric black and white painting on panel. Continue reading “Exhibition at Ben Brown Fine Arts includes rare examples of ZERO period works by Heinz Mack – Hong Kong – 21.03.2017-05.05.2017 – 11515”

LIDL Works and Performances from the 60s by Jörg Immendorff on view at Michael Werner Gallery – New York – 16.03.2017-13.05.2017 – 11514

“Laufen (Run)”, 1965. Dispersion on canvas, 43 1/4 x 43 1/4 inches, 110 x 110 cm.

Michael Werner Gallery, New York, is presenting Jörg Immendorff: LIDL Works and Performances from the 60s. Featuring both paintings and objects, the exhibition provides viewers with an opportunity to see a rarely-exhibited body of early work by one of the most important artists to emerge during the post-war period in Germany.

Jörg Immendorff (1945-2007) began his formal artistic training at the Kunstakademie Düsseldorf during a time when that city was developing into an international center for contemporary art. In 1964 Immendorff was admitted into the class of Joseph Beuys, then the most important artist working in Germany and a figure of profound influence for an entire generation of German artists. Immendorff’s relationship with Beuys marked the beginning of an intensely productive period for the young artist, who was deeply affected by the Beuysian notion that art can and should play a wider role in society. Immendorff initiated groundbreaking work immediately upon his entry into the Beuys class, creating objects and actions which challenged the traditions of fine art and which increasingly came to address the pressing social and political issues of the day. Continue reading “LIDL Works and Performances from the 60s by Jörg Immendorff on view at Michael Werner Gallery – New York – 16.03.2017-13.05.2017 – 11514”

Van Doren Waxter presents exhibition of paintings from crucial figure of late-era American abstraction – New York – 22.02.2017-28.04.2017 – 11511

Harvey Quaytman, Vital Attractions, 1990. Acrylic and crushed glass on canvas, 60 x 60 inches. (152.4 x 152.4 cm) Signed, titled, dated on reverse.

Van Doren Waxter presents Harvey Quaytman: Hone, an exhibition of paintings from this crucial figure of late-era American abstraction. Opening February 22, 2017 and remaining on view through April 28, 2017, Harvey Quaytman: Hone marks the gallery’s first exhibition of Quaytman’s work since representation of the artist’s estate in 2016. A fully illustrated catalogue will accompany this exhibition with an essay by Steven Henry Madoff.Harvey Quaytman came of age in the 70s and 80s when the art world was focused on Neo-Expressionism, Minimalism, Conceptualism and the Pictures Generation. Counter to these movements, Quaytman’s work developed in response to Abstract Expressionism in an attempt to develop a more personal approach to abstraction. Harvey Quaytman: Hone features nine paintings made between 1982 and 1990, a period in which the artist favored paintings with a palette of white, black, blues, yellows, vermillion, and rust which, at times, were incorporated with crushed glass. Predicating his use of color on the basis of attraction, Quaytman noted, “I have no specific meanings, but a color must mean something to me before I use it. I must love that color and it must strike me.” Continue reading “Van Doren Waxter presents exhibition of paintings from crucial figure of late-era American abstraction – New York – 22.02.2017-28.04.2017 – 11511”

New series of oil on canvas works by Los Angeles based artist Christian Vincent on view at C24 Gallery – New York – 02.03.2017-26.04.2016 – 11508



Christian Vincent, Web, 2016. Oil on canvas, 74 x 90in. (188 x 228.6cm).

C24 Gallery is presenting Through the Frame, a new series of oil on canvas works by Los Angeles based artist Christian Vincent. Through the Frame is on view March 2 – April 26, 2017.In this brand new collection of dreamlike paintings, Christian Vincent explores and illuminates social behavior, conformity and isolation in the post-industrial world. Vincent’s distinctive use of perspective and color coupled with the device of defining and framing space with doorways, windows, and mirrors draw focus to the public and personal conflicts and complications of contemporary life.

The independent fictions Vincent portrays in Through the Frame explore existence and nature, and the relationships between the artist’s anonymous characters and the landscapes they inhabit. Within each scene is a metaphorically charged scenario, a miniature drama, which Vincent has become so famous for creating. Vincent’s poetic perspectives on the social and psychological behaviors that are fundamental to the American experience, cast the viewer in the twin roles of observer and voyeur, leaving them to question the nature of desire and individuality. Humanist themes present questions that resonate within all of us.

Vincent’s visual vocabulary sharpens the post-industrial American complex, and directs our attention to his concerns without relying on shock or cynicism. In Blind Spot, we see a large group, dressed exactly the same and painting the same image. The scene is taken off canvas and we are left to question how large the room and the group actually is. Are they learning to paint in the same style, or is it intentional mass production? Patterns in nature that mimic familiar human shapes are seen through multiple tableaus: Ocean waves mimic the faces of hurried people (Untitled, and Dissolve), and wallpaper evokes the ebb and flow of liquid currents, or crowds (Reflex). Within these patterns, we recognize something familiar. Vincent’s deft brush isolates us from others who linger just beyond the frames, creating both a sense of disconnection and a longing for fulfillment.

Art In America’s Gerrit Henry wrote: “The artist Vincent most closely resembles is not a painter at all, but…novelist Sinclair Lewis. Like Lewis, with his knowing savaging of all things American, Vincent is at bottom a social commentator…[his] deep and perplexed love of his country is worked out in a melodrama of purely native characters and situations.”

Christian Vincent, born in 1966, lives and works in Los Angeles, California. He studied at the Art Center College of Design in Pasadena and his work has been exhibited extensively in the United States, including at the Kemper Museum of Contemporary Art Kansas City, MO; Naples Art Museum, Naples, FL; Susquehanna Art Museum, Harrisburg, PA; Frye Art Museum, Seattle, WA; and Arnot Art Museum, Elmira, NY. Vincent’s work is included in several prominent private collections internationally.

Through the Frame is Christian Vincent’s first solo exhibition at C24 Gallery.