VNY 2012 Catalog 3 Low
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DESIGN: WWW.HAUSER-SCHWARZ.CH THURSDAY MARCH 8TH – SUNDAY MARCH 11TH 2012 / 7W 34TH STREET, NEW YORK, NY
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Transcript of VNY 2012 Catalog 3 Low
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AUREUS CONTEMPORARY: KARIM HAMIDKarim Hamid’s paintings display a complete faith in the ability to couple together two very different, almost opposing elements. On one side: the very strong com-mitment to the technical craft of painting—the process of building a visual totality, paying tribute to a long and rich tradition of European painting. On the other side: an equally strong fascination with the contemporary world of superficial imagery and mindless consumerism.
Hamid’s challenge is to find a cohesive structure by which both of these elements can support the other. As can be witnessed in much of his work, the artist achieves so by allowing the “high art” technicality of the method and the thin veneer of the subject matter to clash, creating a tension further enhanced by the almost inva-sive focus he gives to the subject matter, often represented by an observed female.
Hamid’s paintings function as an intense psychic response to an unconvincing on-slaught of media superficiality mixed with the pervasive objectification of the female form in art history.
Hamid’s work not only references the classic representation of the female form. He works to update that visualization of the idealized female form through an invasive distortion and transformation of the human body.
Focusing strongly on the psychic condition of the subject observed, Hamid attempts to extract something meaningful—no matter how meaningless the subject matter or how elusive the character of the person being portrayed may appear.
“While the imagery is often distorted or exaggerated in my work, I also expect my work to express itself within its own polemical and painterly distortion of that dis-tortion. It is as much about the subject being observed, as about the method of being observed.”
WEBSITE
www.aureus-contemporary.com
CELL
+1 401 783 6632
CONTACT NAMES
Kevin Havelton Andreas Kuefer
REPRESENTED ARTISTS
Sara CarterPeter BuechlerJeremy DeanJeff DepnerHiroyuki HamadaWilliam ImmerCara PhillipsClaire ShegogYi-Hsin TzengChad Wys
COVER
Karim HamidDouble Portrait2009Oil on Board36 × 36 inch
INSIDE
Karim Hamidggw332010Oil on Board16 × 16 inch
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Karim HamidProm Princess2011Oil on Board12 × 16 inch
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GALERIE BAER: STEFAN KRAUTHThe subjects of Stefan Krauth’s images are made-up, fantastic, mystical, strange. The portrayed places seem like crime-scenes of past times. He is reminded of sto-ries of well-known pirates, distraught people who have chosen Wales as their ad-opted country, lost cities. Often people are missing from the artist’s photographs, but still the images leave a lot of room for fantasies about those missing people’s fears, their feelings, their yearnings. The uncanny, the fairytale-like sensibility in the pictures of Stefan Krauth lies not in the motif of the images themselves but in their stylized artificiality, thanks to the staging of the chosen part of the image and the use of light and reflexes full of facets. “Linda Sullivan’s journey” therefore seems like a trip from film still to film still, far away from a real starting point.
WEBSITE
www.galerie-baer.de
PHONE
+49 351 646 5033
CELL
+49 173 564 1211
CONTACT NAME
Patrick-Daniel Baer
REPRESENTED ARTISTS
Theo BoettgerHannes BroeckerJan BrokofStefanie BuschSebastian HempelAndreas HildebrandtFranka HörnschemeyerPeter K. KochStefan LenkeAnne Wenzel
COVER
Stefan KrauthIn Afghanistan2011Inkjet-print70,86 × 47,24 inch / 180 × 120 cm
INSIDE
Stefan KrauthThe Spot2009Inkjet-print23,23 × 33,46 inch / 59 × 85 cm
RIGHT
Stefan KrauthThe night in orient2010Inkjet-print14,96 × 22,83 inch / 38 × 58 cm
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BALZERARTPROJECTS: AO TAJIMAbalzerARTprojects presents Japanese artist Ao Tajima (b. 1979). She predominantly works with unexpected juxtapositions of everyday objects, furniture and clothing. Items are extracted from a home or family context and subversively stress gender and power hierarchies, without being overtly explicit. A critical analysis of global/transnational economic and cultural developments is reiterated in Tajima’s work. In “Rain” and “Chair, Waiting” she installs parallel worlds by juxtaposing unlikely, but not uncommon companions: a chair without a seat in front of a curtain made of a surrealistically deconstructed man’s winter coat; a table standing on men’s legs clad in formal trousers and shoes.
Her installations provoke reactions ranging from different levels of discomfort, to fear, amusement and disbelief. There are different conceptual layers to be explored, as the artist’s positions are preoccupied with how life is sustained by a logic that explicitly surpasses the realm of individual experiences, but emphasizes the biog-raphies of the everyday (a.k.a. the anonymous). Although she captures the seem-ingly uneventful, the superfluous and unnoticed, objects receive their intrinsic value through the reference to their very own biographies.
Time plays an important role in her work, real and fictional. This is highlighted in another series entitled “Thank you, goodbye”: it consists of collages of tens of thou-sands of cash register receipts. For this project, she only uses thermal paper, an ephemeral printing surface. Here, Tajima elaborates upon the time in which the work has been produced not only to dissolve into the time it is being shown, but also the work itself dissolves over time, leaving the viewer with only the footprints of a sup-posedly priced art work. What remains is the concept, not the object.
Tajima’s work is marked by an ironic take on social conventions and artistic norms. It is counter-intuitive and counter-institutional. Most often self-referential, her posi-tions critique the materiality of the art object. Tajima explores the ambiguity of art production, the market, historiography and analysis and navigates carefully between parody and sincerity.
WEBSITE
www.balzer-art-projects.ch
CELL
+41 79 229 3306
CONTACT NAME
Isabel Balzer
REPRESENTED ARTISTS
Andi BauerTom FellnerNici JostSebastian MejiaMimi von MoosClaudia Waldner
COVER
Ao TajimaChair, Waiting2011Chair, Clothes, Iron150 × 70 × 220 cm
INSIDE
Ao TajimaThe Third Fold (Die dritte Falte)2011Blanket, Wood, Toothpicks150 × 200 cm
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Ao TajimaRain2011Wood, Shoes, Trousers, Metal180 × 80 × 80 cm
RIGHT
Ao TajimaThank you, goodbye (Danke, auf Wiedersehen)2011Thermal paper, Cash Register Receipts24 × 30 cm
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BARBARIAN ART GALLERY: TREVOR GUTHRIETREVOR GUTHRIEZurich-based artist Trevor Guthrie was born in Scotland before emigrating to Canada. He attended the Victoria College of Art, earning his BFA in 1989. These days he is known for his large scale charcoal works that combine rigorous detail with intelli-gent wit. He draws on found imagery from photographs and film to create work that mines the collective experience. Direct, elegant and cerebral while simultaneously striking notes of insouciant humor, Guthrie’s work is a balance act of painstaking technique and sardonic but acute content.
Guthrie’s drawings morph proportion so as to play with the viewer’s eye and often one must walk around his work to find the proper perspective. Black humor, art historical references, and political commentary can all be found in his work. Guthrie often critiques the media presentation of world events, operating under the axiom that those who don’t learn history are doomed to repeat it.
The artist credits Francis Bacon as a major influence as well as Velasquez and Caravaggio. Described as a contemporary Edward Hopper, Guthrie persisted in representing the figure when it was not popular to do so.
Guthrie’s works have been exhibited in important museums and galleries and are represented in prestigious private collections. Worth mentioning is his participa-tion in the group exhibition “The End of History and the Return of History Painting,” curated by Paco Barragan, which has been shown at the Museum Domus Artium, Salamanca and at the Museum v. Modern Art, Arnhem, Holland in 2011.
BARBARIAN ART GALLERYThe Barbarian Art Gallery by Natasha Akhmerova is an international Contemporary Art Gallery located in Zurich and Moscow. Our main mission has been to bring wider recognition to underappreciated master artists of the post-Soviet period and the desire to bridge the gap between the markets and mentalities of Western and Eastern European Art.
The gallery position itself as a forum for the exchange of artistic and humanitarian ideas between West and East. As a result of this we have been collaborating with im-portant institutions, such as the Hermitage and the Cabaret Voltaire, with renowned curators, such as Nadim Samman, Viktor Misiano, Olesya Turkina, Viktor Mazin, Oksana Maleva, Steve Piccolo, Adrian Notz, Mario Lüscher and Paolo Bianchi, as well as with well known Swiss and Zurich based Artists, such as Jso Maeder, Hannes Brunner, Trevor Guthrie, Kaspar Toggenburger, Rolf Schroeter, Andres Bosshard, Com&Com and MARCK, a.o.
WEBSITE
www.barbarian-art.com
PHONE
+41 44 280 4545
CELL
+41 76 330 4011
CONTACT NAMES
Natasha AkhmerovaAlessandra Ruggieri
REPRESENTED ARTISTS
Vladimir ArkhipovYevgeniy FiksYuri KalendarevMarc Vincent KawargaDmitry KawargaGregori MaiofisOksana MasAlesander PonomarevIgor ThishinLeonid Tishkov
COVER
Trevor GuthrieTrionfo dell’innocuo2011Charcoal on paper126 × 96 cm
INSIDE
Trevor GuthrieBlack Hole (Event Horizon)2011Charcoal on paper66 × 86 cm
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Trevor GuthrieTerms of Endearment2011Charcoal on paper66 × 76 cm
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Trevor GuthrieDearly Beloved2011Charcoal on paper60 × 60 cm
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BATTAT CONTEMPORARY: SOPHIE JODOINSince 2004, Sophie Jodoin has worked exclusively in black and white, combining elements of collage, painting, photography and masterful draftsmanship. These elements evolve into austere, minimalist installations composed of large series of works that are often accompanied by video. Within these installations Jodoin’s work presents itself like an unsettling dream, delving into our common psyche and taunt-ing us to relate to its experience. From objects and architecture made oppressive and paradoxically impenetrable, to fragmented figures partially drowned out, dis-connected, eclipsed. Her images are filled with an uncomfortable tension between beauty and the grotesque, trash and fetish, presence and absence, skill and de-bauchery. The viewer cannot help but to identify with the latent concerns and fears that Jodoin’s work evokes.
Sophie Jodoin studied Visual Arts at Concordia University in Montreal. Her work has been presented in individual and group shows in the United States, Europe, and Canada, most recently at Battat Contemporary, Centre Clark, and OBORO, Mon-treal; Mount Saint Vincent University Art Gallery, Halifax; Galerie Bertrand Grimont, Paris; and at the Musée d’art de Joliette, Québec. She has been the recipient of grants from the Canada Council and le Conseil des arts et des lettres du Québec. Her works are in a number of public and private collections. She currently lives and works in Montreal.
Founded in 2009, Battat Contemporary is best described as a synthesis between a commercial gallery and a privately funded project space. Based in Montreal, Quebec, the function of the gallery is two-fold: providing opportunities to local, national and international artists to exhibit their work and helping to expand the cultural land-scape of Montreal by bringing these artists to the attention of the public. Rather than subscribing to a specific mandate or focusing on artists who are at a specific point in their career, Battat’s aim is to bring forward work that has not been seen. Within this framework we are allowed the space to work on a wide range of projects such as a solo exhibition by an emerging artist or curated exhibitions featuring the likes of Picabia, Tiepolo and William Kentridge.
WEBSITE
www.battatcontemporary.com
PHONE
+1 514 750 9566
CONTACT NAMES
Grier EdmundsonDaisy Desrosiers
REPRESENTED ARTISTS
John AnchetaMarion Wagschal
COVER
Sophie JodoinRemnant 22011Black gesso on magazine page8 × 6 inch / 20 × 15,5 cm
INSIDE
Sophie JodoinInstallation view from I felt a cleaving in my mind, at the gallery space 2011Charcoal and pastel on fabriano paper76 × 59 inch / 193 × 150 cm (each)
RIGHT
Sophie JodoinHybrid 62011Charcoal and pastel on artprint paper29,5 × 35 inch / 75 × 89 cm
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BCA GALLERY: MICHEL TUFFERYFor VOLTA 2012, Tuffery presents First Contact a digital installation shown with an evolving series of sculpture and paintings.
Tuffery delivers a contemporary Polynesian viewpoint as he questions this epic pe-riod in human discovery, utilising material recorded by scientists and artists from the three voyages of the English navigator Captain James Cook to the South Pacific during the 18th century.
Tuffery delves within the mindset of the historical characters, involved, including, the perception of artwork executed by the renowned Polynesian navigator Tupaia aboard Cook’s first voyage (1768 – 71). Central to Tuffery’s exploration is the historical figure Mai, the first Polynesian to travel to England. The impact of Mai’s visit to eighteenth century London was enormous. Tuffery investigates how both of these Polynesian personalities influenced the (then) contemporary psyche of Western culture and provides renewed perspective to the inevitable interaction of divergent ideologies.
Positioning himself within the continuum of historical interaction, Tuffery’s work re-flects the intricacy of fundamental discovery in human “first contact”.
World Public Collections: The British Museum, London, England; The National Gallery of Australia (NGA), Canberra, Australia; The Queensland Art Gallery, Brisbane, Aus-tralia; The Frankfurt Art Museum, Frankfurt, Germany; The Sydney Maritime Museum, Sydney, Australia; The Auckland Art Gallery, Auckland, NZ; The Museum of New Zealand, Te Papa Tongarewa, Wellington, NZ; The Christchurch Art Gallery, Christ-church, NZ; The Machida Museum, Japan; Pataka Museum of Arts and Culture, Porirua, NZ.
WEBSITE
www.gallerybca.com
PHONE
+682 21939
CELL
+682 55012
CONTACT NAMES
Ben BergmanLuke Brown
REPRESENTED ARTISTS
Tungane BroadbentTim BuchananMark CrossKay GeorgeNanette Lela‘uluAndy Leleisi‘uaoSylvia MarstersReuben PatersonLoretta Reynolds
COVER
Michel TufferyFirst Contact2011Digital Projection / DVDDimensions Variable
INSIDE
Michel TufferyCookie in the Cook Islands*Collection of the British Museum2008Acrylic on Canvas20 × 30 inch
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Michel TufferyNew Zealand Man in the Cook Strait Va Sa2009Acrylic on Canvas12 × 12 inch
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FEDERICO BIANCHI: DOMENICO PICCOLOHere I am therefore in front of this geography of madness painted by Domenico Pic-colo. A map of pain and solitude, fragile and mysterious. A thin pattern of events and situations where the doubt over reality’s nature is already intrinsic in the portrayed subject. We are before uncertainty to the nth degree. And through this double-track of a painting, researching the essence of the real and portraying what lost its sense—at least the conventionally shared features—we attain an unexpected reflection over the world and our place in it, but not less than what the painting can show us. The impression is everything inside these paintings is mute. Mute people, mute chil-dren and ill people, mute items and settings. It’s like the sounds were held by the monochrome of the painting, which creates an insulating gap between our space and that of the representation. Suddenly it is clear that the meaningful element, the one bringing to essence this reality of reclusion and inflicted pain to diversity, is the silence itself. Definitely little portrayable and pictorial, silence becomes instead the main character in Piccolo’s representation, adding on itself all of the silences, which for various purposes and in various ways, make this state of things possible. The core of reality that appears sudden and mandatory under our eyes is made by the causes that determinate this narrow-minded violence, this submission and conse-quent loss of dignity, and that are not as far as we like to imagine from the normal-ity of our healthy everyday life. Those causes are indeed ascribable, in a wider but not less concrete sense, to the explicit claim of the powers (and the plural is not a mistake) to give from time to time a clear and univocal meaning to reality, which one must match, being isolated otherwise. In the silence toward these compulsory impositions lies the cause of mental subjugation, the behaviour of which we are all quietly responsible. This is what Piccolo’s painting talks about. Looking at these small and delicate painted surfaces, all the power of deep rebellion, of indignation accompanied by that pietas which belongs to our deepest and most necessary humanity comes out. But not everything is lost. That’s for sure. If art and painting manage to give us a revelatory signal of the true meaning of the reality we’re living in, not everything is lost for sure, despite precise appearances.
by Raffaele Gavarro
WEBSITE
www.federicobianchigallery.com
PHONE
+39 02 3954 9725
CELL
+39 34 5047 0917
CONTACT NAME
Federico Bianchi
REPRESENTED ARTISTS
Giuseppe ArmeniaRadomir DamnjanPaola Di BelloZuzanna JaninTony JustJacopo MazzonelliBert TheisMagda TóthováJohannes VoglAlexander Wolff
COVER
Domenico PiccoloUntitled2011Acrilics on canvas30 × 20 cm
INSIDE
Domenico PiccoloUntitled2011Oil and enamel on paper30 × 42 cm
LEFT
Domenico PiccoloUntitled2011Oil and enamel on paper30 × 40 cm
RIGHT
Domenico PiccoloUntitled2010Inks on paper30 × 21 cm
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BLACKSTON: RACHEL BEACHBlackston’s program focuses on generating new critical perspectives on process-oriented art-making. The gallery works with emerging and mid-career artists, show-ing a range of media, with a primary focus on painting, sculpture, drawing and photography.
At VOLTA this year we are pleased to present new work by New York-based art-ist Rachel Beach. In her sculpture, Beach employs rigorous engineering along with painted representation of form to create a challenging perceptive experience. Beach examines the relationship between sculptural and painted spaces and the impact of structure and illusion on perception and experience. At the core of the artist’s work is an exploration of the dissonance between the concrete, physical, logical, structural and more illusive cultural beliefs of meaning and value in perception.
“I try to make my objects off-kilter or duplicitous, tinkering with the characteristics of symmetry/asymmetry, negative space, shape, edge, perspective, perception and objectness. If I can make a contrary relationship believable and interesting, the ob-ject holds in it the idea that meaning is not singular or authoritative, but is instead contingent upon context and reading.”
Beach’s sculptures evoke a Minimalist sensibility invigorated with archeological and architectural reference. Her work imbues the pure logic of physical form with hu-manism and narrative.
Rachel Beach is originally from Waterloo ON, Canada. She received an MFA from Yale University and BFA from the Nova Scotia College of Art and Design. Recent awards and grants include a Socrates Sculpture Park Fellowship, a Residency at the LES Printshop and a Canada Council for the Arts grant. Her work has been exhib-ited at Blackston, Lennon Weinberg and Mixed Greens in New York and Art Gallery of Nova Scotia and PlugIn Institute of Contemporary Art in Canada. Reviews of her work have appeared in The New York Times, Art in America and The Brooklyn Rail.
WEBSITE
blackstongallery.com
PHONE
+1 212 695 8201
CELL
+1 646 729 4175
CONTACT NAMES
Rhiannon KubickaTheodore Blackston
REPRESENTED ARTISTS
Justin AdianReuben CoxPia DehneChristina HejtmanekPatrick KeeseyGlynnis McdarisFranck SalzwedelJoe SolaKatja StukeFrank Webster
COVER 1
Rachel BeachMolt2010Screenprint and enamel on plywood76 × 29 × 12 inch
COVER 2
Rachel BeachCapture2011Oil and acrylic on plywood77 × 13 × 7 inch
INSIDE
Rachel BeachGather2011Oil and acrylic on plywood, reclaimed beam101 × 79 × 61 inch
RIGHT
Rachel BeachSurvey2011Oil on reclaimed plywood30 × 15 × 8 inch
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BLYTHE PROJECTS: JAMES CLARMedia artist James Clar fuses technology and popular culture in order to explore their effects on the ways in which people behave, interact, and communicate, as well as the implications these may have for the individual and society. His works of-ten control and manipulate light—the common element of all visual mediums. Tran-scending traditional assumptions, Clar employs innovative materials and systems to access new visual, emotional, and perceptual recesses. His works may startle with intimacy, or hint at danger; they may throw doubt into institutional architectures we take for granted. Clar builds upon accepted behavior patterns, playing with the un-spoken boundaries that dictate the proper distance between artwork and audience.
As an American living in Dubai since 2007, Clar’s recent work also explores deeper conceptual themes of nationalism, globalism and the media’s effect on popular cul-ture—often analyzing the discrepancies between information relayed by Western and Middle Eastern media sources. Clar relocated to New York in January 2012.
James Clar (b. 1979, Wisconsin) received his BA in Film from New York University in 2001 and his MFA in Media Art, also from New York University, in 2003. In early 2011 he launched “Satellite”, a warehouse studio space in Dubai that allows for large-scale experimentation and production. Clar also holds one United States pat-ent (and two pending patents) for engineering systems developed while creating his light sculptures. He was an artist in residence at Eyebeam Atelier in New York, Fabrica in Italy, and the FedEx Institute of Technology/Lantana Projects in Memphis. His artwork has been included in the Chanel Mobile Art exhibition (Tokyo), The New Museum of Contemporary Arts (New York), The Chelsea Art Museum (New York), The Somerset House (UK), Museum on Seam (Jerusalem), and Louis Vuitton Gal-lery (Hong Kong). Clar is represented by Blythe Projects in Los Angeles and Car-bon 12 in Dubai.
WEBSITE
www.blytheprojects.net
PHONE
+1 323 272 3642
CELL
+1 310 990 3501
CONTACT NAME
Hillary Metz
REPRESENTED ARTISTS
David BuckinghamSiri KaurTroy MorganLarry MullinsDias SardenbergMark SchoeningMichael Salvatore TierneyBen WhiteMeeson Pae Yang
COVER
James ClarBall & Chain2010Car headlights, chain and LED lighting35 × 35 × 35 inch / 89 × 89 × 89 cm
INSIDE
James ClarGlobal English (Arabic)2012Acrylic, LED & lightbox39 ½ × 10 × 4 inch / 100 × 25 × 10 cm
RIGHT
James ClarUntitled (Magnetic Field)2012Fluorescent tube lights, color filters and steel tube86 inch / 218 cm in diameter
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BROTKUNSTHALLE: ASGAR / GABRIELAsgar/Gabriel are like Poussin for the rave generation. Instead of Herms and Bac-chus, they have burnt out cars and chemical gods, but like Poussin they evoke the sacred transcendence to be found in the everyday ecstasies of our lives. I love these paintings because they are so of their time and timeless. As Francis Bacon once said there is only voluptuousness all the rest is a falling away!
Marc Quinn 2011
The artistic duo’s pictorial inventions force a dialectic elevating normative difference through aesthetic adaptation, thus canceling its fall: High and low, the serious and the entertaining, avant-garde and kitsch, masculinity and femininity, information and originality. It is not about depicting one’s own surroundings, but about a dé-tournement of the (model) picture, about recognizing the pictorial medium itself as a utopian entity, the iconicity of which has an arbitrary connection to social reality and ideology, because it can be filled with a new content and absorbed over and over again, but manifests itself within an ideologically occupied frame that always limits the artificial—in Asgar/Gabriel’s work synonymous with the painted—that is to be occupied.
Synne Genzmer 2011 (curator at Kunsthalle Wien, Vienna)
Elisabeth Gabriel (1974) and Daryoush Asgar (1975) born in Vienna and Teheran stud-ied Philosophy (MA) and Art (MFA); they have collaborated artistically since 2005. Highly active over the last years, Asgar/Gabriel’s work has been exhibited in solo exhibitions and numerous group shows around the globe. Recent solo exhibitions include Under the paving stones, the beach at Kunsthallen Brandts (Denmark) 2011, Auflösung der Ökonomie, Mannheimer Kunstverein (Germany) 2011, The disciplining time stands still, no activity, no automobiles, no angst, Annarumma Gallery (Italy) 2011 and The Loves of the Plants, hilger contemporary (Austria) 2010.
WEBSITE
www.hilger.at
[email protected]@hilger.at
PHONE
+43 1 512 53 15
CELL
+43 650 27 39 650+1 305 302 2027 (during VOLTA)
CONTACT NAMES
Ernst HilgerMichael Kaufmann
REPRESENTED ARTISTS
Daniele BuettiClifton ChildreeOliver DorferAnastasia KhoroshilovaÁngel MarcosBrian McKeeCameron PlatterSara RahbarMichael ScogginsMiha Strukelj
COVER
Asgar/GabrielKunst ist Anarchie (detail)2011Oil on canvas300 × 760 cm
INSIDE
Asgar/Gabrieloh and ah!2011Oil on canvas220 × 250 cm
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Asgar/Gabriel...if maintaining a subject position requires one’s product conform objectification, then one only differs from another in the same way Coke differs from Pepsi and one’s thoughts, feelings, and doings remain essentially inconspicuous and commensurable...2011Oil on canvas150 × 190 cm
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CARMICHAEL GALLERY: AAKASH NIHALANIMy street work consists mostly of isometric rectangles and squares. I selectively place these graphics around New York to highlight the unexpected contours and elegant geometry of the city itself.
For however briefly, I am trying to offer people a chance to step into a different New York than they are used to seeing, and in turn, momentarily escape from routine schedules and lives. We all need the opportunity to see the city more playfully, as a world dominated by the interplay of very basic color and shape. I try to create a new space within the existing space of our everyday world for people to enter freely, and unexpectedly ‘disconnect’ from their reality.
I’m not trying to push a certain highbrow logic or philosophy or purposefully com-municate through the esoteric medium of art. I work instinctively, trying to follow my gut about the sensation of color and space, and have fun doing it.
People need to understand that how it is isn’t how it has to be. My work is created in reaction to what we readily encounter in our lives, sidewalks and doorways, buildings and bricks. I’m just connecting the dots differently to make my own picture. Others need to see that they can create too, connecting their own dots, in their own places.
by Aakash Nihalani
WEBSITE
www.carmichaelgallery.com
[email protected]@carmichaelgallery.com
PHONE
+1 323 939 0600
CELL
+1 917 863 8414
CONTACT NAMES
Elisa CarmichaelSeth Carmichael
REPRESENTED ARTISTS
Simon BirchBoogie Krystian Truth CzaplickiGregor GaidaSimon HaasMark JenkinsEriberto OriolEstevan OriolSixeart Dan Witz
COVER
Aakash NihalaniStack2011Site-specific installation
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Aakash NihalaniAalign2011Painted wood67 × 50 × 0,25 inch
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Aakash NihalaniPop Out I2011Archival digital print on canvas52 × 52 × 1,5 inch
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CHAPLINI : RALF DEREICHRalf Dereich’s abstract oil paintings extend blurrily and without defined outlines across the canvas in an all-over manner. The pictorial architecture, which is com-posed of simple elements, directs attention towards the materiality and expression of color and line.
Mainly, the expressive capability of pure painting, the belief in painting itself is of central importance. This, above all, appears noteworthy when you take a look at his contemporaries’ work: with his art-for-art´s-sake approach, centered around the individual artist, Dereich creates a jumping-off point from the treadmill of the postmodern view of art.
He aims at having the picture in his grasp from the very beginning. The creamy texture of the paint is noticeable and this impression is underlined through the pas-tel colors. Dereich says his work is “the sound of eye and mind as parable of the people in the world.“
The artist was born in 1976 and lives and works in Berlin.
Chaplini is a gallery located in the heart of Cologne´s gallery district, exhibiting con-temporary art from young artists. The gallery exhibits innovative movements in art from all genres and identifies itself as a public space where art reveals the power and meaning of subjectivity to an open-minded audience.
WEBSITE
www.chaplini.com
PHONE
+49 221 1791 9688
CELL
+49 151 2403 4477
CONTACT NAMES
Berthold PottBettina Kraus
REPRESENTED ARTISTS
Oliver FlösselMax FrintropBehrang KarimiNadja NafeUwe Schinn
COVER
Ralf DereichNoT 0232011Oil on canvas220 × 170 cm
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Ralf DereichNoT 0152011Oil on canvas220 × 170 cm
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Ralf DereichNoT 0222011Oil on canvas220 × 170 cm
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Ralf DereichLoose 8”2011Oil on canvas220 × 170 cm
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CONNER CONTEMPORARY ART: WILMER WILSON IVCAMOUFLAGE & ARMOR, WHOLESALE. VOLTA NYC 2012Wilmer Wilson IV appropriates objects common to his socio-economic experience, manipulating their original intention to absurd degrees. For the three durational performances mounted at VOLTA NY, the artist creates a second skin by sculptur-ally covering his entire body with stickers. Wilson then flays his skin of stickers in an intensive act of self-immolation. Employing printed materials endorsed by the American government or political system, the performances engage issues sur-rounding freedom, authenticity, and vulnerability. Voted uses ‘I Voted’ stickers, typi-cally handed out after a citizen has cast a ballot; Legalize uses legal notary seals; and Henry Box Brown (Proto) uses postage stamps. The Self Portrait photographs, which document the performances, add further depth through their sensitivity to body language and ego.
PERFORMANCES:Thursday, March 8th: 11am – 7pm Friday, March 9th: 11am – 7pm Saturday, March 10th: 11am – 7pm
WEBSITE
www.connercontemporary.com
PHONE
+01 202 588 8750
CONTACT NAMES
Leigh ConnerJamie Smith
REPRESENTED ARTISTS
Janet BiggsZoë CharltonMary CobleKatie MillerPatricia PiccininiNathaniel RogersErik Thor SandbergFederico SolmiKoen VanmechelenLeo Villareal
COVER
Wilmer Wilson IVSelf Portrait as a Model CitizenC-Print40 × 30 inch
INSIDE
Wilmer Wilson IVStill 3 (from Study for Bandage)C-Print9 × 14 inch
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Wilmer Wilson IVStill 2 (from I Voted)2011C-Print9 × 14 inch
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THE CYNTHIA CORBETT GALLERY: JEREMY DEANAmerican artist Jeremy Dean (b. 1977) has built a reputation for exploring issues critical to society through his work. Deconstructing and re-contextualizing iconic symbols of power and wealth, his work addresses social, political, economic and cultural issues and questions the notion of modernity and human progress. Recall his Futurama Project, consisting of a HUMMER H2 converted into a working horse drawn stagecoach, pulled through Central Park or the Miami Design District by a team of horses. The artist now follows up the success of Futurama with a new se-ries of works, smaller in size but equally powerful in artistic and cultural relevance, works that are centered around the de- and reconstruction of the American flag. For VOLTA, Dean will present his largest flag deconstructions to date with striking new compositions, creating a rich and layered metaphor for these complex and uncertain times. Collections include the New York Public Library, 21c Kentucky and various private collections including the Pritzker Family Collection.
The Cynthia Corbett Gallery is an international contemporary art gallery that repre-sents emerging and newly established artists. It is a regular exhibitor at major interna-tional contemporary art fairs, plus has an annual programme of exhibitions that take place throughout the year in London and New York. corbettPROJECTS launched in 2004, focusing on presenting curated projects that address contemporary critical practice and works with emerging curators and artists. corbettPROJECTS presents an innovative programme of events in a variety of media with a particular emphasis on video art. The Cynthia Corbett Gallery has previously presented at VOLTA NY Ghost of a Dream (2010) and video by Christina Benz (2011). In 2009 the Gallery launched The Young Masters Art Prize sponsored by AXA UK. The Young Masters Art Prize 2012 will be launched in Spring 2012 as a not-for-profit initiative presented by The Cynthia Corbett Gallery.
WEBSITE
www.thecynthiacorbettgallery.com
PHONE
+44 20 8947 6782
CELL
+1 773 600 7719+44 7939 085 076
CONTACT NAMES
Cynthia CorbettCelia Kinchington
REPRESENTED ARTISTS
Lluís BarbaChristina BenzCharlotte BracegirdleAndy BurgessCecile ChongGhost of a DreamTom LeightonChristiane PooleyKlari ReisNicolas Saint Gregoire
COVER
Jeremy DeanI’ll fix this town (detail)2011Mixed media monoprint with American flag and needles21 × 31 inch
INSIDE
Jeremy DeanThe Compromise2011Mixed media monoprint with American flag and needles21 × 31 inch
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Jeremy DeanFlag Graph2010Mixed media monoprint with American flag and needles28 × 33 inch
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ANA CRISTEA GALLERY: RAZVAN BOARRazvan Boar (b. 1982, Romania) is one of the most promising and original talents emerging from a new generation of painters in Romania, a country which has re-cently produced an important movement in contemporary painting.
At first sight, Boar’s characters might appear deliciously seductive. However, once our gaze has lingered on a particular painting, we are drawn into the scenario the artist imagines for us. Initially, these scenarios might appear quite straight forward, even familiar, but the work’s familiarity is not merely rooted in commonplace con-temporary imagery; it springs from Boar’s attentiveness to Art’s great past masters.
The one constant of Boar’s work is that no matter what the dress, social status, or position of his sitters, their humanity burns out from the work; it is confrontational and unavoidable. Razvan Boar’s works, meticulously rendered paintings and draw-ings, withhold themselves. They are oblique in their exploration of social or political change in the lives of their protagonists. Things are happening, but somewhere in the middle distance. His subjects are indifferent to our gaze, fully absorbed in their own worlds, as we, through looking, become absorbed in ours.
It is perhaps this area, where the image breaks down into its effects, that the artist is exploring altogether.
Boar lives and works in Bucharest, Romania and was featured in his first US solo show at the Ana Cristea Gallery in May 2011. Other recent shows include “Portraits of Ambiguity” at Ana Cristea Gallery and “Portraits and Selfportraits” curated by Liliana Popescu at Knoll Galerie as part of the project “EAST by SOUTH WEST, curated by_vienna 2011”. During 2011 Boar was awarded the Constantin Brancusi fellowship at Cite Internationale des Arts in Paris by the Romanian Cultural Institute. He is currently receiving his PhD from the National University of Arts in Bucharest.
WEBSITE
www.anacristeagallery.com
PHONE
+1 212 904 1100
CELL
+1 347 248 1549
CONTACT NAME
Ana Cristea
REPRESENTED ARTISTS
Zsolt BodoniMichiel CeulersNicola Samori Alexander TineiBogdan VladutaCaroline Walker
COVER
Razvan BoarSomewhere between 0 and 10002011Oil on canvas77 × 61 inch / 197 × 155 cm
INSIDE (LEFT)
Razvan BoarRumors to the Contrary2011Oil on canvas44 × 58.5 inch / 112 × 149 cm
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Razvan BoarIn Theory2011Oil on canvas88 × 63 inch / 225 × 160 cm
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Razvan BoarThe cave2011Oil on canvas76.7 × 51 inch / 195 × 130 cm
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LUIS DE JESUS LOS ANGELES: ZACKARY DRUCKER“GOLD STANDARD”Drawing from feminist and queer theoretical discourse, Zackary Drucker’s work ad-dresses sexual exploitation, transgender representation, and drag performance in order to explore relationships that facilitate queer/countercultural lineage. Interested in obliterating language obstacles, pulverizing identity disorders and revealing dark subconscious layers of outsider agency, Drucker’s work reinvents and redistributes traditionally-held binary formulas and power relationships between spectacle and voyeur, dominator and subjugated, and the domesticated and exoticized. Keeping normative culture on the periphery, Drucker focuses instead on “reading”—a sub-cultural dialect of resistance, and uses her body to illicit desire, judgment, and voy-euristic shame from her viewer.
Filmed at the peak of autumn in a rural Midwestern locale, Drucker’s provocative video Lost Lake posits beauty and fear as inextricable from the psyche of the Ameri-can landscape. Contemplative moments and stunning vistas are jarringly punctuated with the vocabularies of witch-hunts, hate crimes and psychological violence. Light boxes from the series Don’t Look At Me Like That employ a range of house-hold props and tableaus that strive toward the portrayal of bodily identity—infused with acute, masochistic emotional compulsions. The photo essay Distance is where the heart is, home is where you hang your heart combines elements of personal his-tory, performance documentation, and exhibitionism. Executed over a snowed-in Christmas weekend at Drucker’s childhood home, the images veer between classi-cally sleek fashion editorials to the sexed-up fetishism of Pierre Molinere, the site-specific body works of Ana Mendieta, and the transgressive body-as-target perfor-mances of Chris Burden. “Distance” is a visual free-for-all that plays with sexuality, female subjection, power, wealth, vulnerability, victimization, family, comfort, safety, secrets—a perfect balance of voyeur and aesthete.
Zackary Drucker earned an MFA from the California Institute of the Arts in 2007 and a BFA from the School of Visual Arts in 2005. Upcoming exhibitions include the Hammer Museum 2012 Biennial “Made in LA” and the 5th Moscow Biennial in 2013. She has performed and exhibited her work in venues including the 54th Venice Biennale; Curtat Tunnel, Lausanne, CH; Lucca Center of Contemporary Art, Lucca, IT; Centre Georges Pompidou, Paris; REDCAT and LACE, Los Angeles; Yerba Buena Center for the Arts, San Francisco.
WEBSITE
www.luisdejesus.com
PHONE
+1 310 838 6000
CELL
+1 858 205 3739
CONTACT NAMES
Luis De JesusJay Wingate
REPRESENTED ARTISTS
Miyoshi BaroshHugo CrosthwaiteMartin DurazoChris EngmanAbel Baker GutierrezMargie LivingstonHeather Gwen MartinChristopher RussellFederico Solmi
COVER
Zackary Drucker and Amos MacDistance is where the heart is, Home is where you hang your heart, #12011Digital pigment print36 × 54 inch / 91 × 137 cm
INSIDE
Zackary Drucker and Manuel VasonThis is the Way I Want to Remember You2010Duratrans on LED lightbox, #137 × 28 inch / 94 × 71 cm
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Zackary Drucker and Amos MacDistance is where the heart is, home is where you hang your heart, #202011Digital pigment print16 × 24 inch / 41 × 61 cm
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Zackary DruckerLost Lake2010Digital video, color, 8 min
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DODGEGALLERY: SHEILA GALLAGHERA hybrid practitioner known for exhibitions of disparate materials, laborious inventive processes, and strong conceptual bookends, Sheila Gallagher’s new work displays rigor and delight in material juxtapositions and manipulations. Her latest series of plastic paintings are made with hundreds of melted plastic objects from Gallagher’s life, including bottle caps, toothbrushes, toys, prescription pill bottles, lawn furni-ture and credit cards. Her carefully selected compositions of gardens are gathered from photographic and art historical sources, some of which are her own images. In this series, Gallagher draws upon garden imagery associated with different faith traditions including Buddhism, Islam and Christianity, to create painterly mash-ups of the scared and the profane. Acting like time capsules, the plastic paintings are, in a sense, material biographies of Gallagher’s life, as well as encapsulation of ob-jects from this particular moment in our culture, endowing the works with a kind of pedestrian historicism. The pieces have been culled, melted, and distorted with parts missing or obliterated, to create saturated gardens of junk.
Grounded in the quotidian, yet framed by a wider view of historical events, Gallagher’s work asks us to explore how objects define us and to be awake to their shifting literal, symbolic, and poetic relationships. Inspired by Ann Carlson’s translations of Sappho’s fragments, the conscious gaps in Gallagher’s work point to incomplete knowledge and the inexhaustibility of interpretation, welcoming the viewer to draw connections and be aware of what is absent.
WEBSITE
www.dodge-gallery.com
PHONE
+1 212 228 5122
CELL
+1 917 288 9009
CONTACT NAMES
Kristen DodgePatton Hindle
REPRESENTED ARTISTS
Rebecca ChamberlainDave ColeEnvironmental ServicesDarren Blackstone FooteTed GahlJason MiddlebrookDaniel PhillipsLorna Williams
COVER
Sheila GallagherDeute2011Melted plastic mounted on armature96 × 108 inch
INSIDE
Sheila GallagherDeute2011Melted plastic mounted on armature96 × 108 inch
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Sheila GallagherDeute2011Melted plastic mounted on armature96 × 108 inch
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EB&FLOW: ALINKA ECHEVERRÍAAlinka Echeverría (b. 1981, Mexico City) is a visual artist whose photography and video work lies at the crossroads between documentary and fine art. Inspired by the real world, she uses the tools of visual anthropology and documentary practice, and then challenges these through experimental processes to create conceptual series. Her working background in development and visual communication projects in East Africa, India, Mexico and Cuba deeply informs her practice. Her work is en-riched by the treatment of her subject, as she weaves concepts of place, collective memory, ritual and identity. These concepts of man and his some times spiritual surroundings instil in the work a wonder, a presence and ultimately a longing that pushes Echeverría’s work into a new sphere of documentation. She sheds the pre conceived notions of documentary, anthropology, fine art, investigative journalism, and compounds these into a new form, a conceptual documentary.
Echeverría is a graduate of The International Center of Photography in New York and has an M.A in Social Anthropology from The University of Edinburgh. Her work has been featured in over thirty exhibitions worldwide, notably the 52nd Venice Bien-nale of Contemporary Art (2007), Pingyao Photo Festival in China (2008), The New York Photo Festival (2010), Steven Kasher Gallery in New York (2010), Flash For-ward Festival in Toronto (2010), Galerie Réverbère in Lyon (2011), Galerie Baudoin Lebon in Paris (2011), Maison de la Photographie in Lille (2011), Maison European de la Photographie in Paris (2011), The Royal College of Art in London (2011), the National Portrait Gallery in London (2011), Bibliothèque Nationale de France Fran-çois Mitterrand (2011) and Fototeca Nacional del INAH in Mexico (2011). In 2011 she was the recipient of the HSBC Prix pour la Photographie and a participant of World Press Photo’s Joop Swart Masterclass. Over recent years she has been awarded by PX3 Prix Pour la Photographie, CENTER, Magenta Foundation, American Photo and ASMP among others. Publications include GEO, Liberation, Le Monde Maga-zine, Le Monde, The Wall Street Journal, The British Journal of Photography, The Sunday Times Magazine, NPR, Time’s Lightbox, Visura Magazine, PHOTO, Ogo-niok and Foam.
WEBSITE
www.ebandflowgallery.com
PHONE
+44 207 729 7797
CELL
+44 758 124 4539
CONTACT NAMES
Margherita BerloniNathan Engelbrecht
REPRESENTED ARTISTS
Gemma AndersonBriony AndersonNeil AylingWilliam BradleyRoss BrownSue CorkeNicholas McLeodKatie Louise Surridge
COVER
Alinka EcheverríaUntitled (Road to Tepeyac)2010Archival pigment print – hanemuhle fine art paper60 × 46 cm
INSIDE (LEFT)
Alinka EcheverríaUntitled (Road to Tepeyac)2010Archival pigment print – hanemuhle fine art paper60 × 46 cm
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Alinka EcheverríaUntitled (Road to Tepeyac)2010Archival pigment print – hanemuhle fine art paper60 × 46 cm
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ELEVEN: KENT CHRISTENSENKent Christensen’s works explore how we live: our obsessions, addictions and plea-sures. He playfully satirises modern life, where indulgence is the new god. Icons were once the exclusive domain of religion and royalty, but today they are every-where and provide the visual backdrop to our world. Christensen applies an iconic status to his oversized ice-cream cones, milkshakes and candy that emerge from landscapes to become absurd, surreal objects.
Typical of his style, his paintings include elements of social satire, nostalgia, and au-tobiography and take us on a witty, wise and subtle journey through art history, reli-gious iconography and cultural politics. In their tongue-in-cheek embrace of iconic American sugar-based foods, his paintings pay homage to altarpieces, advertising, Pop Art, and minimalism among other themes.
There is a sense of familiarity in the way common objects are imposingly present-ed—like billboards that line stretches of the American highways. They are designed to demand your attention. They also emphasise how the unhealthy habit of plea-sure eating and overindulgence have become part of the American landscape. In Sundance Drumstick (2011) a giant drumstick ice cream floats over a mountain land-scape like an object lifted from a roadside billboard. Typical of his Magritte-inspired works, the image takes on sensational, devotional and supernatural qualities and is both beautiful and puzzling.
The ubiquitous nature of food in our time has led to a health crisis in most developed countries, but especially the United States and United Kingdom. Their obesity levels have spiked in recent years and efforts have been made to re-educate and re-direct people as to their eating habits and lifestyles. The colourful and alluring qualities of candy and other sugar based foods make them enticing visual subjects, mask-ing their true unhealthy nature, and provide a vivid visual metaphor for our times.
In one sense, Christensen comes to this material naturally, having witnessed a life-time of food rituals run amok in his native Mormon culture, where sugar has served as a substitute vice for generations. Mormons indulge in ice cream, soda, candy and baked goods rather than tobacco and “strong drinks,” an indulgence so zeal-ous that the artist has playfully dubbed sugar; “Mormon Heroin.”
Christensen’s work has always been rooted in art history, spanning modern and classical references to inform his contemporary paintings. Pie in the Sky (2011) looks like something Georgia O’Keefe might have painted if she painted pies (à la Wayne Thiebaud) suspended over her desert landscapes instead of bones. On closer in-spection, the familiar landscape of Hollywood becomes apparent, and other asso-ciations about illusory dreams, warped values and far-fetched promises soon follow.
The excessiveness that often comes with abundance and wealth needs to be more carefully considered as more often than not a darker reality lurks beneath the shiny surface. Driven by chasing satisfactions that can never be fulfilled, Christensen’s work employs an inescapable decadence of consumerist culture.
WEBSITE
www.elevenfineart.com
PHONE
+44 207 823 5540
CELL
+44 (0) 797 327 3011
CONTACT NAMES
Charlie PhillipsSusannah Haworth
REPRESENTED ARTISTS
Rick GilesGerry FoxRoland HicksNatasha KissellNatasha LawJennie OttingerMartha ParseyBen TurnbullHarry Cory WrightJonathan Yeo
COVER
Kent ChristensenLiberty Cone (detail)2012Oil on panel36 × 22 inch / 92 × 56 cm
INSIDE
Kent ChristensenPie in the Sky2012Oil on linen on panel24 × 24 inch / 61 × 61 cm
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ELEVEN: HARRY CORY WRIGHTHarry Cory Wright is an artist whose work explores our fundamental attraction to place, and the very physical process of being in landscape.
His photographs range from the intimate nature of his father’s bench beside a stream (Beneath Alders) to the stark grandeur of the rock face on the island of Staffa (Dark Cliff). Often it is the very physicality of a place to which Cory Wright is drawn; a feel-ing for the scale of things, their mass and volume. The vivid and immaculate nature of these large format works convey a real sense of “being there”. These photographs are firsthand accounts of landscapes to which we are all witness.
Bringing together works from his Place in Mind (2011) series and Journey Through the British Isles (2006) these selected works explore the notion of what might be termed as a certain “thereness”; a desire to seek out what humanises landscape, what energises it with a sense of the prospect, and ultimately separates it from wilderness.
He often spends several days in each location, becoming engrossed in the natural world around him, familiarising himself with the light, atmosphere, and selecting the perfect vantage point. Cory Wright draws on Eugène Atget’s matter of fact approach with keen attention to the ambiance of a place and the unique spirit of the location. In a digital age where photographic imagery is widely disseminated and easily captured, Cory Wright applies a methodical approach using his large and cumbersome view camera. The slow process, restriction of one exposure per scene and meticulous hand-printing charge the final work with a sense of hard-fought serenity and calm.
Cory Wright uses a large format 8 × 10 inch wooden Gandolfi plate camera to pro-duce negatives of astonishing clarity and detail. His printer in London, Jean Lippett, works closely with him to create the 20 × 16 inch prints that start to reveal the in-formation from the negative. Grieger, in Germany, then enlarges the photographs and it is at this point that the incredible level of detail really starts to appear. Each photograph is a hand printed C-type print.
WEBSITE
www.elevenfineart.com
PHONE
+44 207 823 5540
CELL
+44 (0) 797 327 3011
CONTACT NAMES
Charlie PhillipsSusannah Haworth
REPRESENTED ARTISTS
Rick GilesGerry FoxRoland HicksNatasha KissellNatasha LawJennie OttingerMartha ParseyBen TurnbullJonathan Yeo
COVER
Harry Cory WrightDark Cliff2010C-Print58 × 71 inchEdition of 3
INSIDE
Harry Cory WrightAlders2006C-Print63 × 79 inchEdition of 3
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Harry Cory WrightThe Greenaway2006C-Print63 × 79 inchEdition of 3
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ENVOY ENTERPRISES: ERIKA KECKI largely make my pieces from personal necessity to create. The urge to create some-thing over and over again to only then go back and reconstruct what I have created. Lately, I’ve been doing my best to work through impulse and counter the need to overanalyze. Working through personal boundaries makes the process feel exciting and challenging. I prefer to create pieces that promote feeling my way through the painting. It’s important to let my inside do the talking when it comes to art. My work has an amazing capacity to express my emotions and feelings, which are never clear or logical. I like art that is contradictory and confusing, which my work represents; it continues to command your attention inescapably.
WEBSITE
envoyenterprises.com
PHONE
+1 212 226 4552
CELL
+1 216 650 3954
CONTACT NAMES
Anthony J UdofiaJamie Sterns
REPRESENTED ARTISTS
Winston ChmielinskiThomas DozolDavid Alexander FlinnBrandon HermanRobert KnokeSlava MogutinMicki PelleranoAude Du Pasquier GrallAlex RoseDesi Santiago
COVER
Erika KeckAmerican Fags2011Acrylic paint, stretcher bars 64 × 20 × 7,5 inch
INSIDE
Erika KeckDear diary, you know what I mean?2010Acrylic and oil paint on canvas29 × 35 inch
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Erika KeckSomething Precious To Love2011Oil paint on board12 × 12 × 2 inch
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ESPAIV ISOR – V ISOR GALLERY: SANJA IVEKOVIĆSanja Iveković (b. 1949, Zagreb) graduated from the Academy for Fine Arts, in Croatia. Her art production has spanned a range of media such as photography, performance, video, installations and actions in the public domain since the 1970s. She belong to the artistic generation which emerged after ’68 and was raised in Socialist Federal Republic of Yugoslavia whose post-object art was usually covered by the umbrella term New Art Practice. Iveković’s work is marked by the critical discourse with the politics of images and body. The analysis of identity construc-tions in media as well as political engagement, solidarity and activism belong to her artistic strategies.
In the Yugoslav/Croatian art scene she was the first woman artist to express a clearly feminist attitude. In 1973 she started to work with video. In the late eighties she was a founder and a member of a number of women’s non-guvernment organizations in Croatia such as Elektra- Women’s Art Centre, The Centre for Women’s Studies, B.a.B.e—the women’s human rights group. Her work from the 1990s deals with the collapse of socialist regimes and the consequences of the triumph of capitalism and the market economy over living conditions, partucularly of women.
THE RIGHT ONE (THE PEARLS OF THE REVOLUTION), 2007/2011The new work The Right One (Pearls of the Revolution) synthesizes a number of is-sues characteristic of Iveković’s work. She deals with the tension between past and present, between emancipatory politics and today’s market economy, focusing on the double-bind position of women. The final work will consists of 10 photos and on each one the same photo of 2 Yugoslav partisans (attached) will be placed on the model’s left eye. So in a way it’s a play about the “original”…On a content level here I am being an agitprop artist dealing with the emancipatory politics (of past an-tifascist and/or socialist/communist resistant movements) and the loss the memory about it in today’s wild capitalism. Of course again I focus on women, representa-tion, media, etc...but this is all for the viewer to discover while looking for the “right one”. What I find interesting is that the revolutionary gesture was inaugurated in Spain (look at the photos I find) and then it was “used” at the beginning of Yugoslav antifascist movement. My parents were both partisans. There’s more to talk about…
SANJA IVEKOVIĆ: SWEET VIOLENCEMuseum of Modern Art (MOMA), New York, 18. 12. 2011 – 26. 3. 2012
WEBSITE
www.espaivisor.com
PHONE
+34 96 392 23 99
CELL
+34 628 88 12 45
CONTACT NAMES
Mira BernabeuMiriam Lozano
REPRESENTED ARTISTS
Alberto BarayaCarlos LeppeDaniel Garcia AndujarEsther FerrerHamish FultonJoan FontcubertaLynne CohenOswaldo MaciáRenée GreenSanja Iveković
COVER
Sanja IvekovićWomen’s House (Sunglasses) Sonia.2002 – 2004Photography48 × 67 cm each
INSIDE
Sanja IvekovićThe Right One (The Pearls of the Revolution)2007 – 2011Photography112 × 112 cm each
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Sanja IvekovićPersonal Cuts1982Video3'43"
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Sanja IvekovićPersonal Cuts1982Video3'43"
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GALLERI FLACH: ANDREAS JOHANSSONFrom where the sun now stands (2011) is the title of Andreas Johansson’s pop-up books, which are presented at VOLTA NY. In these fascinating books appear a worn but magical skateboard environment in the guise of a classic children’s book with pop-up images. The artist has long worked with collages in which photographs are cut apart and joined together to form new evocative places that are both familiar and strange. It’s about being young and drifting around, but also discovering what is meaningful and creative in derelict sites. Through a highly skilled craftsmanship the artist re-creates fascinating landscapes that are both fateful and full of undis-covered possibilities. The title alludes that we never know when something is about to happen.
Andreas Johansson is a young and talented artist who in a fairly short career already has taken a big step within the Nordic contemporary art scene. He graduated from Malmo Art Academy, Sweden in 2006 and has since then participated in exhibitions in Europe and been granted scholarships at IASPIS, Swedish Visual Arts Fund’s international programme.
GALLERI FLACHGalleri Flach is located at the major gallery district in Stockholm, Sweden, and was founded in 1999. Galleri Flach works with Swedish and international contemporary art, with both emerging and established artists. In the past, the gallery had a cer-tain focus on artists working with painting in an innovative and groundbreaking way, although always including all kinds of contemporary media.
Today the gallery represents a wide range of artists and artistic medias. Besides our regular exhibition programme with 7– 8 exhibitions per year, we also include project-based collaborations with artists. In these we have a special focus on in-novative working methods connecting artists from the Nordic countries with artists from non-european regions, recently with West Africa.
WEBSITE
www.galleriflach.com
PHONE
+46 70 750 16 70
CELL
+46 70 750 17 70+46 70 731 99 17
CONTACT NAMES
James FlachEva-Lotta Holm Flach
REPRESENTED ARTISTS
Kristina BengthHillevi BerglundMohamed CamaraVille LenkkeriMonika MarklingerPatrick NilssonJohan FuråkerTwan JanssenJorma PuranenFredrik Wretman
COVER
Andreas JohanssonFrom where the sun now stands2011Paper and glue59 × 44 × 88 cmEd. 6/6
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Andreas JohanssonFrom where the sun now stands2011Paper and glue59 × 44 × 88 cmEd. 6/6
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Andreas JohanssonFrom where the sun now stands2011Paper and glue59 × 44 × 88 cmEd. 6/6
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FORTLAAN 17: LOTTE VAN DEN AUDENAERENLVDAThe site-specific installations, urban interventions, neon sculptures, word images and ephemeral works of Lotte Van den Audenaeren revolve around the determination of place and content. Van den Audenaeren shifts presence, use and context. She explores and unfolds multiple-layered perception by simple de- and re-construction of visual representation.The interventions, additions and deletions organized by Van den Audenaeren have a minimal or limited materiality, but they cause a drastic impact on their environment. Her works have a tendency to appear barely present or in the process of disappear-ing—like light, shadows or apparitions.
VOLTALotte Van den Audenaeren is an artist in the residency program of the International Studio & Curatorial Program (ISCP) New York, 2012. New York City is her current habitat for new urban installations that question visual language, transcription and transient appearance.At VOLTA, Van den Audenaeren presents recent projects and work in progress on generating interference, disturbance and distinct, present absence. She transfers presence and appearance in multiple figures and perspectives.
BIOLotte Van den Audenaeren (b. 1979) lives and works in Brussels, Belgium. She graduated from Sint-Lukas University College of Art and Design, Brussels and the Faculty of Fine Arts of the University College Ghent, Belgium. She participated in the Erasmus program at Fontys University of Applied Sciences & Arts in Til-burg, The Netherlands. Van den Audenaeren received the Award Legacy Franciscus Pycke and became Coming People laureate at S.M.A.K. City Museum for Contem-porary Art, Ghent. Recent solo shows include Extramuros, Strombeek, Cultural Centre Strombeek, Brussels; paper planes, Nadine, Brussels; some pictures and things i left behind, New York City, USA. Recent group shows include Melancholy is not enough...*, Unicredit Pavillon, Bucharest, Romenia; SCULPTURE, Galerie Fortlaan 17, Ghent.
WEBSITE
www.fortlaan17.com
PHONE
+32 9 222 00 33
CELL
+32 475 55 01 77
CONTACT NAME
Ischa Tallieu
REPRESENTED ARTISTS
Jacques CharlierStief DesmetManor GrunewaldLawrence MalstafPieter Laurens MolHermann NitschEva SchlegelKiki SmithErica SvecZachary Wollard
COVER
Lotte Van den Audenaerenrefractor2011
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Lotte Van den Audenaerenl ittle black mess2008Photograph on dibond100 × 75 cm
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Lotte Van den Audenaerenblanco2008Neon, aluminium85 × 40 × 14 cm
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FRED [LONDON] L IMITED: MATTHEW MCCASLINFRED [London] is pleased to present a solo exhibition of New York artist, Matthew McCaslin. He has exhibited extensively in the United States and Europe in the last twenty years and is internationally acclaimed for his sculpture and installation work.
The booth includes wall pieces, which fuse the ephemeral qualities of photogra-phy and light with prosaic everyday household objects and building materials. He explores the experience of nature—the world outside our contemporary walled and wired existence—manipulated to maximize visual pleasure. McCaslin’s work explores our paradoxical relationship with the natural environment, a relationship which is often mediated by technology.
Matthew McCaslin (b. 1957) lives and works in Brooklyn, New York. He received a B.F.A. from Parsons School of Art. Recent exhibitions included Musee d’Art Moderne, St. Etienne; Weserburg Museum fur Moderne Kunst, Bremen; Museum fur Moderne Kunst, Frankfurt; FRAC Bourgogne, Dijon; Le Magasin, Grenoble.
WEBSITE
www.fred-london.com
PHONE
+44 20 8981 2987
CELL
+44 77 1218 3690
CONTACT NAME
Fred Mann
REPRESENTED ARTISTS
Joseph BertiersNayland BlakeAnsuya BlomKate DavisPeter DavisGodfried DonkorDon JointMatthew McCaslinAthi-Patra RugaSusanne Simonson
COVER
Matthew McCaslinDavid Smith2009Light fixture, metal conduit tubes, cabling, electrical hardware, porcelain light socket, light bulbDimensions variable
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Matthew McCaslinBite the Bullet2009Photograph mounted on aluminium, chewing gum29 ½ × 41½ × 1½ inch
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Matthew McCaslinHe or She and She or He (diptych)2009Flexible electrical conduit, porcelain light sockets, mirrored light bulbs, electrical hardware74 × 34 × 11 inch and 66 × 24 × 13 inch
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GUIDI&SCHOEN: PUGLIESE / REPETTOWe’re used to considering the white cube of the art gallery as a neutral space to be filled in with new signs every time there is a new exhibition. But the most conscious artists realise that the gallery is itself a medium, a space to be moulded to open a door onto what lies on the other side of the mirror: reality, the living.
When they visited Guidi&Schoen gallery, Roberto Pugliese and Tamara Repetto were attracted by what waited beyond the threshold of the spaces made available to them, in a city made up of thresholds, in which a single step is enough to go from strong light to darkness, from big piazza to claustrophobic lane, from a sparkling“above” to a dark, corrupt, noisy but entirely human “below”.
Sight is not enough to represent complex reality when most things happen out-side the light of the sun. Other senses take over: touch, smell and hearing. After all, awareness of the senses that the pre-eminence of sight has made secondary in importance in western culture (to the point that some might find an art made up of sounds, flavours and smells quite revolutionary) is one of the factors that has in-spired these two artists coming from very different places and backgrounds to work together on a number of occasions.
Sounds and odours are of primary importance in Inside Outside, their exhibition project for Guidi&Schoen in 2011. The installation consists of seventy blown glass balls of different sizes, each of which contains the black cone of a speaker. The balls hang from the ceiling, each at a different height, on clear nylon wire, letting the big black wires that take the sound to the speakers fall onto the floor. This installa-tion turns things around in a curious way: as we visit the installation, we do not find ourselves looking at the glass balls hanging from the ceiling, but at the jungle of alien flowers rising out of the floor, supported by thin black stems, with their single organ watching us and talking to us at the same time. They tell us about the street, about the tirelessly teeming city outside, and about the fact that we rush to them to see what they have to say. The sounds conveyed by the speakers are gathered in real time by a microphone outside the gallery and sampled by a computer which directs them to the glass balls in eighteen separate channels. The result is a sort of chit-chat which is both familiar and alien at the same time: familiar, because it is built on the basis of the sounds in the environment we left behind us when we en-tered the gallery; and yet alien, because this familiar sound (which we rarely listen to) is isolated, drawn to our attention, multiplied, spatially distributed in different areas and subjected to the tiny variations produced by the interaction of the cone with the glass ball, which becomes its sounding board.
Dialogue between interior and exterior creates an effect like that of Russian dolls, which never becomes an intellectual exercise but seems natural due to the strong emotional impact and immediate communicative power of the projects, and be-comes an invitation to reflect on the porosity of these two realms, traditionally seen as opposites. Technology does not show off its muscles or astound us with spe-cial effects, but becomes the shortest and, paradoxically, the most natural way of knocking down the walls of the exhibition space and opening the doors to what the artists are most interested in: life, and our ability to understand and represent it.
by Domenico Quaranta (abstract)
WEBSITE
www.guidieschoen.com
PHONE
+39 010 2530557
CONTACT NAMES
Guido GuidiChico Schoen
REPRESENTED ARTISTS
Olivo BarbieriMatteo BasiléDaniele BuettiAndrea ChiesiVania ComorettiGiacomo CostaRichard KernAlessandro LupiMassimo VitaliCorrado Zeni
COVER
Pugliese / RepettoInside Outside2011Glass balls, speakers, cable, pc, software, audio card, amplifier, microphone, sound trackDimensions variable (detail)
INSIDE
Pugliese / RepettoInside Outside2011Glass balls, speakers, cable, pc, software, audio card, amplifier, microphone, sound trackDimensions variable (total view)
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HALSEY MCKAY GALLERY: PATRICK BRENNANPatrick Brennan creates charismatic pictures that operate just outside the notion of painting’s convention and expectations. Layering paint alongside everyday objects such as popsicle sticks, discarded fabrics, scraps from his studio floor and detri-tus from the workplace, the artist’s paintings float between beauty and an awkward chaos. Making a seemingly strident introduction, these works on wood panel and canvas subvert this greeting with a subtle knowledge of their place in history, as well as on the wall. The pedestrian materials and variety of handling taken at first glance give way to reveal the earnest and playful sophistication driving the artist’s choices and approaches. Operating between the bravado of Abstract Expressionism, juxta-positions of the Combine and the casual nature of contemporary abstraction, Bren-nan’s paintings exude humility as well as confidence—a most beautiful aggregate.
MIRRORS FOR EYES , a monograph of Mr. Brennan’s paintings along with an in-terview by artist Amy Sillman was published by the gallery in December of 2011.
Patrick Brennan (b. 1975, Syracuse, NY) now resides in New York City. He studied at Munson Williams Proctor Art Institute and received a BFA in Painting and Video Art from Alfred University in 1998. Brennan’s recent solo exhibition, There is an Ocean, was held in May of 2011 at Halsey Mckay Gallery. Mr. Brennan’s work has also recently been exhibited at MOMA / PS1, Nicole Klagsbrun, Monya Rowe Gallery, Zieher Smith, Edward Thorpe Gallery, Artist Space and Clifton Benevento in New York. Brennan has been awarded residencies at Atlanta College of Art, Atlanta GA, Burren College of Art (Ireland), and The Experimental Television Center Owego, NY.
Halsey Mckay Gallery was founded in 2011 by curator Hilary Schaffner and artist Ryan Wallace. Located in the town of East Hampton, New York, the gallery serves as a forum for emerging artists and provides a relaxed environment for visitors to view contemporary art. Contributing to the area’s rich history and support for the arts, Halsey Mckay looks to make introductions between exciting artists and the community. Exhibitions scheduled for 2012 include Ben Blatt, Ryan Travis Christian, David Kennedy Cutler, Elise Ferguson, Joseph Hart, Andrew Kuo, Denise Kupfer-schmidt, Lauren Luloff, Sara Greenberger Rafferty and Matt Rich.
WEBSITE
www.halseymckay.com
[email protected]@halseymckay.com
PHONE
+1 631 604 5770
CELL
+1 646 431 7467+1 917 568 5271
CONTACT NAMES
Hilary SchaffnerRyan Wallace
REPRESENTED ARTISTS
Glen BaldridgeBen BlattLouisa ChaseChris DuncanSally EgbertElise FergusonTed GahlJoseph HartLauren LuloffMatt Rich
COVER
Patrick BrennanFade & Flow2011Mixed media on canvas72 × 48 inch / 182.9 × 121.9 cm
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Patrick BrennanInstallation, There is An Ocean, Halsey Mckay GalleryPictured, L: Brief Architectures, R: Get Free (Pink)2011Mixed media on canvasPictured, L: 12 × 12 inch / 30.5 × 30.5 cm, R: 48 × 36 inch / 121.9 × 91.4 cm
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Patrick BrennanCoward2011Mixed media on canvas49 × 49 inch / 124,5 × 124,5 cm
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HENNINGSEN GALLERY: EMIL SALTOEmil Salto’s practice centers on visual spaces that point to parallel realities and temporalities. Through film and photography, the artist explores the myth about the passage or portal between this and other spaces and realities—as explored by for example Jorge Luis Borges in Aleph (1949).
Salto’s investigation of “hidden matter” is grounded in the materiality of the various media he works in, and often in the physicality of his own body in the artistic pro-cess. If Salto insists on a certain formalism in his work, heightened by the consis-tent use of only various grades of black, white and grey, he does so in the attempt to give a more concrete form to the immaterial and intangible, more often explored in a fictional space.
WEBSITE
www.henningsengallery.com
PHONE
+45 8882 6605
CELL
+45 4077 7005
CONTACT NAME
Andreas Henningsen
REPRESENTED ARTISTS
Troels AagaardTim AyresAnders BülowMikkel CarlJeanette HilligKristofer HultenbergRasmus Høj MygindChristoffer Munch AndersenLea PorsagerMalene Landgreen
COVER
Emil SaltoHypercube2011Unique photogram on baryta paper9,5 × 12 inch
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Emil SaltoHypercube2011Unique photogram on baryta paper9,5 × 12 inch
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Emil SaltoHypercube2011Unique photogram on baryta paper9,5 × 12 inch
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Emil SaltoHands20118mm black and white film transferred to HD, Silent, dur. 3:30 min, loopDimensions variable
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HIGHLIGHT GALLERY: MANOR GRUNEWALDManor Grunewald is an autodidactic artist. His path towards paper and canvas is defined by painting and drawing, by the action itself rather than by the technical approach. His solo exhibition at VOLTA, called “Knock, knock who’s there?”, refers to the question of “who is fooling who?” Is it the painter or the collector? His ex-perience with different art collectors in the past has been of them wanting to make studio visits. They desire to acquire more knowledge about his oeuvre. Thus, he has re-created the studio-environment by transforming the walls of his booth into a replica of his studio walls. He has been inspired by all of the painting-marks on the walls of his studio and their origin within the process of making new work. These marks are recreated within his booth, as are the paintings whose process created the marks. The painting subject matter plays with the concept of reproduction of original images from art history as well as advertisement.
Manor Grunewald has had solo shows at Highlight Gallery (San Francisco), Galerie Fortlaan 17 (Gent, B), ARCO (Madrid), The SECONDroom (Antwerp, B), the Beurss-chouwburg (Brussels, B) among others. He has had group shows at the Hermitage Museum (Amsterdam, NL), the Bozar (Brussels, B), The Hypnotic Defence (Tokyo), Kulturbunker (Frankfurt, Germany), and Gallery Chappe Montmarte (Paris, Fr). He has been selected for the Young Belgian Painters Award, has won the BNP Paribas Young Talent Award, and has been nominated for the Provinciale Prijjs Beeldende Kunst Oost-Vlaanderen.
Highlight Gallery presents contemporary art curated by country. The artists it rep-resents have had gallery, institutional and print exposure in their home country and abroad. For Year One, Highlight Gallery features Belgium and shows works in a variety of media from the country’s contemporary artists. Highlight Gallery will fea-ture another country and its art each year, while still promoting and exhibiting the artists whom it represents.
WEBSITE
www.highlightgallery.com
PHONE
+1 415 529 1221
CELL
+1 650 400 9432
CONTACT NAME
Amir Mortazavi
REPRESENTED ARTISTS
Christophe CoppensFilip DujardinCharif BenhelimaNick ErvinckAnneke EussenRenato NicolodiBenoit Plateus
COVER
Manor GrunewaldPulp and Paper Profits2011Collage of Oil, Plastic, Linseed Oil on Paper19,7 × 25,6 inch / 50 × 65 cm
INSIDE
Studio View2011
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Manor GrunewaldChaos is Good for What Ails You2011Oil, Acrylic, Spray Paint on Canvas78,75 × 118,1 inch / 200 × 300 cm
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INDA GALLERY: MARIANNE CSÁKYMarianne Csáky is a Hungarian-born artist currently living and working in Budapest and Brussels. She spent longer periods of time in Korea and in China as a resident artist exhibiting her work, teaching at universities, and holding presentations.
She works with different media: photo, video, painting, sculpture, embroidery, and installation, and trained in arts as well as cultural anthropology and literature. After completing her M.A., she studied multimedia design/development and video art. Since the very start of her career, Csáky has been known for her non-mainstream forms of expression, and her unconventional and provocative images.
Csáky has exhibited widely, and her work is represented in various collections, in-cluding the collection of Lila and Gilbert Silverman (Detroit, USA), Yoko Ono (New York, USA) and Arturo Schwarz (Milan, Italy).
History and personal memory, body and representation, desire and subjectivity, and the most basic and intimate spheres of the soul, mind and body in a sociological, historical and theoretical context are the focus of her interest. She wants to reveal how all these factors work together in defining and redefining our position in the world, the different roles as individuals, members of society and subjects of history and also makers of history. What is the role of our memories, and how the re-written memories and shifting desires construct the self of a person.
The essential part of her project about history and memory is filming and photograph-ing the same scenes in different places with local people with different personal background. She started this project in Budapest, and then continued the work in Seoul, South Korea, then in China.
The source material is an old European (Hungarian) home movie. She re-shot some sequences and stills of this movie in Kunming, in January 2010, asking her Chinese colleagues and friends to perform the original scenes in their interpretation. Her aim is to experiment with the way we construct ourselves and our vision of the world.
WEBSITE
www.indagaleria.hu
PHONE
+36 1 413 1960
CELL
+36 70 316 4472
CONTACT NAMES
Ágnes TallérBrigitta Muladi
REPRESENTED ARTISTS
Lajos CsontóMárta CzeneZsófia FáskertiZsolt FerenczyJudit FischerGyörgy JoviánKamen StoyanovÁdám SzabóLilla SzászZsófia Szemző
COVER
Marianne CsákyDream my Dream2011Light jet print45 × 135 cm
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Marianne CsákyJangtze 1– 22011Sheet films, glass51 × 17 cm
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Marianne CsákyDelete2011Video animation, installation3'07", Sounds: TGNoize
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JARMUSCHEK + PARTNER: CARINA L INGECarina Linge’s current group of works is titled “Über das Begehren“ (“About Desire”). The works function as an assembly of photographs, objects and texts that have been installed at the wall so they work as an image themselves. The central topic of the works is desire. Similar to her previous works, the artist goes back to the allegoric picture language of the renaissance and baroque, but all the same time she points towards the present. There are imprints, shadows or the residual heat of people or things that are depicted in the images of Carina Linge. In her works the artist refer to the past, things that have never been there, are missed by someone or desired, the stand still, death, loss, something that is not present anymore or has never ex-isted. The absent or the blank position is meant to be filled with knowledge and remembrance by the viewer or to be imagined. It is the imagination itself that lurks with desire; hence also in the work titled “Infrathin“.
Carina Linge (b. 1976, Cuxhaven) studied Fine Arts at Bauhaus University Weimar and currently lives and works in Leipzig, Germany.
Her work can be found in public and private art collections such as Anger Museum Erfurt, and the well-known collection SØR Rusche, Oelde/Berlin. Recent institutional group shows include the Max-Pechstein-Förderpreis, Kunstsammlungen Zwickau; Vom Labor zum Projekt, Neues Museum Weimar; Unter Helden. Vor-Bilder in der Gegenwartskunst, Kunsthalle Nürnberg; the Fotosommer Stuttgart – Award Show, Württembergischer Kunstverein; and Face to Face: German Contemporary Pho-tography, at Dong-Gang Museum of Photography in Korea. Her most recent solo shows were presented at Gallery Jarmuschek + Partner in Berlin, at the Kunsthalle Weimar and the Kunsthalle Erfurt in Germany.
WEBSITE
www.jarmuschek.de
PHONE
+49 302 859 9070
CELL
+49 179 512 9068
CONTACT NAMES
Kristian JarmuschekStefan Trinks
REPRESENTED ARTISTS
Carlsen TroelsPatrick CierpkaGraubergDieter LutschHarding MeyerBerit MyrebøeMartha ParseyMarkus PutzeJakob RoepkeMarkus Weis
COVER
Carina LingeKäfig2011C-Print on Aludibond29,5 × 19,7 inch
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Carina LingeInfrathin2011C-Print on Aludibond31,5 × 47,2 inch
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Carina LingeStilleben C.L.2011C-Print on Aludibond18,3 × 13,8 inch
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JENKINS JOHNSON: T IMOTHEUS TOMICEKOften, when we pose our gaze to an art image, we have the forthright sensation of a paradox. What reaches us immediately and straightaway is marked with trouble, like a self-evidence that is somehow obscure. Whereas what initially seemed clear and distinct is, we soon realize, the result of a long detour -a mediation. […] We can embrace it, let ourselves be carried away with it; we can even experience a kind of jouissance upon feeling ourselves alternately enslaved and liberated by this braid of knowledge and not-knowledge, of universality and singularity, of things that elicit naming and things that leave us gaping.
by Georges Didi-Huberman
Contemporary Viennese artist, Timotheus Tomicek, forces us to re-examine our ex-pectations of the familiar through his juxtaposition of movement and stillness, the-matic dissociation, and references to traditional photorealism, Dutch genre paint-ings, and the Renaissance. Using photography, video and installation, Tomicek composes subtle, uncanny, and haunting visual architecture. At first glance his works seem inactive, vaguely familiar, even referential; however, as the viewer be-comes engaged the true complexity of the works’ delicate movements surface and moments of uncertainty unravel.For VOLTA NY Jenkins Johnson Gallery presents a series of Tomicek’s installations. Some works reference historical painting and photography. Predominant figures such as Vermeer, Magritte, and Balthus, as well as more contemporary artists such as Gehart Richter or William Eggleston, are contextually imputed and visually re-cycled by Tomicek, providing a new frame of reference for their works. Other works exhibit a more detached snapshot feel and act as singular elements, parts of a larger whole or “universe”, as referred to by Tomicek. Composed much like a haiku, this as-semblage of diverse genres, media, scale and modes of representation, purposively disparate, delivers new meaning and reality to us with poignancy and reverence.Timotheus Tomicek lives and works in Vienna, Austria. He studied photography, film and visual art in Vienna and earned his Masters Degree from the Universität für Musik und darstellende Kunst Wien. He has been exhibited internationally, including a 2011 solo show at C/O Editions in Berlin. He was awarded the 15th Welde Art Prize in Photography, and was a 2010 Finalist for the Arte Laguna Prize, Venice, Italy.
WEBSITE
www.jenkinsjohnsongallery.com
PHONE (NEW YORK)
+1 212 629 0707
PHONE (SAN FRANCISCO)
+1 415 677 0770
CONTACT NAMES
Karen Jenkins-JohnsonDavid CarmonaKaren Gilbert
REPRESENTED ARTISTS
Nicolas AfricanoBen AronsonMeghan BoodyMelissa CookeNathaniel DonnettLalla EssaydiTim EtchellsJulia Fullerton-BattenZak OveFelandus Thames
COVER
Timotheus TomicekOne More2010Video Installation
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Timotheus TomicekGlass Girl2011Video Installation
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Timotheus TomicekSophia Revant2011C-print
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KALHAMA&PI IPPO: L I ISA LOUNILALiisa Lounila made her international debut at the Venice Biennale in 2003. Already at this time the young artist representing Finland made an impression with her distinct nostalgic aesthetic. Liisa Lounila is a Helsinki-based artist who has worked for sev-eral periods of time in New York. In addition to her internationally acclaimed video pieces Lounila is also known as a versatile and multidisciplinary artist. The gloomy and industrial-inspired aesthetics typical for Lounila is present in her newest glit-ter paintings and palladium sculptures. The works express passing and grasping of fleeting moments. The dazzle and aesthetication is a part of the mood that Lounila skillfully captures in her art. Lounila’s object based works communicate life’s small, forgotten details that symbolize the emotional state of expectation and excitement, fulfillment and longing.
GALLERY PROFILEGallery Kalhama&Piippo Contemporary was founded in the fall of 2007. Due to its ambitious program it has quickly gained a position as one of the leading galleries in the Nordic art scene. The Helsinki-based gallery relocated to a new space in September 2011.
The gallery has a strong curatorial emphasis. The artistic profile is run by art histo-rian and former independent curator, Pilvi Kalhama. Kalhama&Piippo shows both thematic group exhibitions and solo shows of younger generation and mid-carreer Scandinavian and international artists. The gallery program includes contemporary art in all various media in order to challenge the traditional genres of art. Emphasis is on creating international networks between artists, curators and galleries. In ad-dition to the ambitious exhibition program, the gallery publishes artist books, orga-nizes artist talks and seminars.
WEBSITE
www.kalhamapiippo.com
PHONE
+35 892 785 301
CELL
+35 840 533 4070
CONTACT NAME
Pilvi Kalhama
REPRESENTED ARTISTS
Marcus EekSaara EkströmLukas GöthmanHannaleena HeiskaVillu JaanisooSanna KannstoJukka KorkeilaVille LöppönenRauha MäkiläHeli Rekula
COVER
Liisa LounilaUntitled #32006Glitter, acrylic medium and Swarovski crystals on MDF47,2 × 34,5 inch
INSIDE
Liisa LounilaTwo Sugars Would Be Great (not exactly Bar Italia but will do)2011Palladium on take-away coffee set, glass vitrine 7,8 × 13,7 × 13,7 inch
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Installation view from gallery during Liisa Lounila’s exhibition Just Can’t Get Enough of Last Night, October 2011.
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KEVIN KAVANAGH: STEPHEN LOUGHMANStephen Loughman’s new series The Fisherman’s Widow takes its name from a print found on the wall of the room of one of Jack the Ripper’s victims. Loughman is interested in the notion of an artwork as witness to a crime. Each painting takes as its source a “grab” from a film (Dressed to Kill, Klute and From the Life of the Marionettes). These images come preloaded with associations embedded within the narrative of the films from which they are taken. In this case the common narra-tive thread is the prelude to a violent act. For Loughman, the act of painting these images functions as a distilling method which slows down and fetishises what is only a few seconds of film time. The titles of the works are taken from the scripts of the respective films.
Stephen Loughman (b. 1964, Dublin) lives and works in Dublin. His shows include Collecting the New: Recent Acquisitions to the IMMA Collection; IMMA, Dublin (2010); Our Victory, Kevin Kavanagh, Dublin (2009); Contemporary Art from Ireland, European Central Bank, Frankfurt (2005); New Territories, ARCO ’05, Madrid (2005), (curated by Enrique Juncosa); Stephen Loughman, 26th Sao Paulo Bienal, Brazil (2004), En direct de Dublin, Centre Culturel Irlandais, Paris (2003). He has received numerous Arts Council of Ireland bursaries and his work is in public collections, in-cluding: Irish Museum of Modern Art, The Arts Council of Ireland, AXA Insurance & The Office of Public Works and private collections.
Kevin Kavanagh is one of Ireland’s premier galleries showing Irish and international contemporary art. Founded in 1998, the gallery moved in 2008 to a 135m² space on Chancery Lane in Dublin city centre. The gallery’s annual programme consists of 10 solo and 2 curated group exhibitions as well as special events, screenings, performances and participation at international art fairs. Since 1998, the gallery has published over 30 books.
WEBSITE
www.kevinkavanaghgallery.ie
PHONE
+353 1 475 95 14
CELL
+353 86 396 2248
CONTACT NAMES
Kevin KavanaghLourdes Viso
REPRESENTED ARTISTS
Oliver ComerfordMargaret CorcoranGary CoyleNevan LahartSean LynchMick O‘DeaGeraldine O‘NeillDermot SeymourSonia ShielUlrich Vogl
COVER
Stephen LoughmanPilgrim2011Oil on canvas70 × 50 cm
INSIDE
Stephen LoughmanMagic Mirror2010Oil on canvas35 × 45 cm
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Stephen LoughmanMorlock2009Oil on canvas40 × 60 cm
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GALERIE KLEINDIENST: JENS SCHUBERTIn my work I deal with the creation of symbols of the old eternal archetypes. An interesting aspect for me is that symbols convey narration without being narra-tive itself. Its shapes, colours and arrangements contain information, stories and meanings, which are not immediately revealed. Meanings of common symbols are legible for more people and are faster apparent. Personal, private symbols are only intelligible for oneself. In this way my work contains common symbols, which are well-known, as well as my own personal ones, which represent certain periods, ex-ams or experiences.
Thus hybrids arise from already existing symbols and new own ones. Pictures emerge, which resemble coats of arms or emblems. Maybe they are. Because they represent a story, too. And again it is narration without being narrative. The pic-tures lie open for the viewer like a mirror of lived through adventures. Not readable, but as a kind of diary. They are cult images, which revolve around stories, assump-tions and connotations. They collect energies and meanings, generate mysteries and evoke emotions. The pictures hide the precise reference, but deep inside they have the archetypal core, which makes them tangible and thus vague classifiable.
by Jens Schubert
WEBSITE
www.galeriekleindienst.de
PHONE
+49 341 477 4553
CELL
+49 170 808 5816
CONTACT NAMES
Matthias KleindienstChristian Seyde
REPRESENTED ARTISTS
Claudia AngelmaierTilo BaumgärtelPeter BuschChristian BrandlFalk GernegroßTobias LehnerNadine Maria RüfenachtChristoph RuckhäberleSebastian StumpfCorinne von Lebusa
COVER
Jens SchubertCat mask2011Lino cut63 × 47 inch
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Jens SchubertArt and Insanity2010Lino cut39 × 27,5 inch
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Jens SchubertSmart alec2011Lino cut63 × 47 inch
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Jens SchubertZoster2011Lino cut39 × 27,5 inch
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KUTTNER SIEBERT: TERRY HAGGERTYTerry Haggerty creates artworks of extraordinary intensity. It is the structure of paint-ed lines whose extremely precise execution and dynamism challenge the beholder and his visual capacity to the utmost. The representation of lines that run in parallel over long stretches awakens an impression of plasticity through their abrupt change in direction. In particular, it is the extraordinary precision that causes a disturbance, because the otherwise standard traces of the executing artist’s hand in the course of layers of painting, repeated rubbing, and the canvas robbed of its structure are no longer visible under the varnish-covered layers. Instead, the surface is flat and homogenous in its composition, so that the impression of a mechanical perfection overlays the lack of an original trace of the artist. In this way, the image undergoes a shift to the object, and this straddling between the artistic media signifies at the same time an expansion by way of the notion of minimal art and its categorical characteristics. With Terry Haggerty, the expression “abstraction” takes on new di-mensions, by the fact that the painting process is no longer in the foreground and the viewer can no longer be sure of the intentionality. In this case, abstraction is not defined exclusively by the picture, but finds itself at the same time in the pro-cess of its creation.
Haggerty has in recent years become known to a wide audience, due to numerous exhibitions and his spectacular wall installations, most recently at the Dallas Cow-boys’ new stadium, CCNOA in Brussels, or Hammer Museum in Los Angeles. Not only does the object character naturally come to the forefront in the wall-filling works, a dynamism develops that achieves a quick change in the perception of forms. The beholder is once again challenged to separate the various possibilities of percep-tion in a fraction of a moment, between foreground and background, and to follow the lines that wind through the space.
WEBSITE
www.kuttnersiebert.de
PHONE
+49 30 2804 2290
CELL
+49 179 291 6497
CONTACT NAMES
Tobias KuttnerMathias Siebert
REPRESENTED ARTISTS
Erika HockOlaf QuantiusGregor SchmollJudith SchwinnStefan SehlerWolfgang Stehle
COVER
Terry HaggertyInstallation view at Hammer Projects, Los Angeles2007
INSIDE
Terry HaggertyInstallation view at CCNOA, Brussels2009138 × 470 inch
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Terry HaggertyTwo MindsInstallation view at Dallas Cowboys Stadium, Dallas,2009
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LAMONTAGNE GALLERY: JEFF PERROTTThe Random Walk paintings employ chance, arbitrariness, and intuition as a meth-od to suggest indeterminate, uncertain, and incomplete states of being. They raise questions about abstraction’s will to power and its intentionality, as well as the im-portance to the audience of the artist’s signature and intentionality. What is the dif-ference between intuition and chance, intention and arbitrariness? Is a painted mark ever truly willed, or pre-conditioned? A simple game spinner is used to develop a random walk—a continuous line iterated in the picture plane as a torus. Every shift in direction indicates a new spin; every change in coloration is an intuitive response to that shift. The hand moves forcefully, lazily, dumbly, brightly, developing or shift-ing mood and momentum. That movement and color are additive, expansive, not reductive, responsive to a moment-to-moment shift in thought.
WEBSITE
www.lamontagnegallery.com
PHONE
+617 464 4640
CONTACT NAME
Russell LaMontagne
REPRESENTED ARTISTS
Gil BlankTory FairKim FalerDana FrankfortShay KunAndrew MowbrayDaniela RiveraAlexia StamatiouJoe WardwellMichael Wetzel
COVER
Jeff PerrottRW73 (Honeydripper) (detail)2011Oil on linen72 × 60 inch
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Jeff PerrottRW75 (The View From Nowhere)2011Oil on canvas96 × 202 inch
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Jeff PerrottRW80 (Nonplus)2011Oil on linen36 × 34 inch
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LARMGALLERI : N ICOLA SAMORINicola Samori’s works often refer to Italian 17th century painting, by the selection of motives as well as by his painting technique. Still lifes, portraits, devotional paintings and landscapes develop through enormous technical skills over a long span of time and through numerous layers of paint on copper, wood or canvas. But Samori with-holds the imaginary “finished“ painting from us and reverses the process of origin drastically. He purposely destroys the image surface, attacks selected parts with a palette-knife, with diluent, or with his bare hands, until he tears off the (oil-)skin from his painted figures. Physicalness and the body are most important for Samori’s paintings, and the process of skinning stresses this importance. Samori builds up his “body of work“ with an abundance of art-historical references and masses of paint just to forcefully destroy them. By focusing on the materiality and artificiality of the image, Samori negates classical representation and questions painting itself.
WEBSITE
www.larmgalleri.dk
PHONE
+45 2680 9230
CELL
+45 2680 9230
CONTACT NAMES
Louise RahbekLars Rahbek
REPRESENTED ARTISTS
Christian AchenbachDitte EjlerskovOana FarcasJiri GellerAndreas GolderHenriette Camilla HansenKaspar Oppen SamuelsenMoritz Schleime
COVER
Nicola SamoriSensa Titolo2011Oil on wood8,3 × 4,7 inch
INSIDE
Nicola SamoriSeer2011Oil on wood41,7 × 36,2 inch
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Nicola SamoriSeer (detail)2011Oil on wood
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SUVI LEHTINEN: CHRISTA JOO HYUN D’ANGELOChrista Joo Hyun D’Angelo’s work seduces viewers using the slick language of advertising and its serial appeals to purchase. Focusing on the presence of com-modity fetishism in our collective cultural consciousness, her process deconstructs our insatiable visual appetite by appropriating and altering mass-circulated images from commercial branding, fashion and celebrity culture.
These manic alterations, appropriations and installations of collage, prints, ready-made books and faux-advertisement reveal the structure of commercial allure by obscuring its main characters; models, products, sex and luxury. D’Angelo’s hand is certainly the protagonist in her compulsively worked pieces, and is the vehicle through which her critique of pop-culture machinery is most clearly elucidated.
The artist’s most recent work has heavily featured audience interaction and par-ticipation, encouraging viewers to engage in carefully crafted scenarios. D’Angelo ponders the various vices of advertising and popular media, and encourages criti-cal reflection and even reproach.
A COLLECTIVE ENTERPRISEIn October 2010 Galerie Suvi Lehtinen opened its doors in the heart of Berlin-Mitte with an interest in young Berlin-based artists whose conceptual work is consciously situated within the contemporary artistic, social and political discourses.
As a collective enterprise, the gallery maintains a collaborative relationship with its own artists, guest curators and outside publications, reflecting the non-hierarchical perspective of Berlin’s art scene. This attitude informs the gallery’s manifold ap-proach to producing exhibitions, acting as a platform that supports and encourages creative curatorship.
WEBSITE
www.galerielehtinen.com
CELL
+49 176 3240 6673
CONTACT NAMES
Suvi LehtinenNicole Rodriguez
REPRESENTED ARTISTS
Aleesa CoheneEemil KarilaJanne RäisänenOlli Piippo
COVER
Christa Joo Hyun D’AngeloSurround Sound2011C-Print4,5 × 5 inchEdition 20
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Christa Joo Hyun D’AngeloReverie2010Custom made book (Melanie Megassa & Christa Joo Hyun D’Angelo collaboration)11 × 6 inch / 27 × 15 cm
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Christa Joo Hyun D’AngeloLet Them Eat Cake2011Digital C-Print10 × 11 inch / 25 × 17 cm
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LIV INGSTONE GALLERY: RYAN MENDOZARyan Mendoza is one of the protagonists of a renewed interest in painting. His work moves between realism and expressionism in the constant retrieval of historical references, which comprise Lucian Freud, Chuck Close and Alex Katz. In painting he combines distant models with original aesthetic stimuli drawn from everyday ex-periences. He depicts scenes that traverse intimate dreads and reveal humanity’s hidden obsessions.
Mendoza successfully embraced an artistic career after devoting himself to literature and photography. His subjects are taken from old photos of strangers, newspaper clippings or TV stills. They animate works conceived by a superimposition of past and present and speak the language of childhood. Drawings and words are com-bined in a figurative prose that narrates and destabilizes.
His brushstrokes entrap events and figures with strong signs and dense colors, between dark, oppressive tones, and gradations of counterpoint. Men, women and children move on film sets or appear like the nostalgia for a disturbing dream.
by Anna Luigia de Simone(From the catalogue for the exhibition The Possessed at the MADRE Museo d’Arte Contemporanea Donnaregina, Naples in 2010)
Ryan Mendoza (b. 1971, New York) studied painting at the Parsons School of Art and Design in New York and Paris, and began to travel, moving between Munich, Berlin, Paris and Rome. He now lives and works in Naples and Berlin.
Selected solo exhibitions: 2013 Gemeentemuseum The Hague (forthcoming), 2012 VOLTA NY (Livingstone gallery), 2010 FRIEZE London (Galleria Massimo Minini), 2010 MADRE Museo d’Arte Contemporanea Donnaregina, Naples, 2009 Galerie Lelong, Paris, 2008 Livingstone gallery, The Hague, 2006 Akira Ikeda Gallery, Berlin, 2004 Jiri Svestka Gallery, Prague, 2002 White Cube, London.
WEBSITE
www.livingstonegallery.nl
PHONE
+31 70 360 9428
CELL
+31 654 711 701
CONTACT NAME
Jeroen Dijkstra
REPRESENTED ARTISTS
James BrownDaniele GallianoRaquel MaulwurfArnulf RainerCornelia SchleimeManfred SchneiderHugo TielemanBirgit VerwerRoger WardinJan Wattjes
COVER
Ryan MendozaWe will never leave again (detail)2011Oil on canvas250 × 190 cm
INSIDE
Studio Berlin with model2011
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Ryan MendozaWork in progress / hommage to Marina Abramovich (detail)2011Oil on canvas140 × 170 cm
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MA2GALLERY: KEN MATSUBARATHE SLEEP WATER—Melt ing Frozen Memor ies.Ken Matsubara dissolves our sleeping memories just as they are frozen at the bot-tom of our hearts, in his works made of antique objects, photographs and videos imprinted with people’s memories.
He thinks that memories are inherited from human to human through the DNA of microorganisms, and that people can reach these common memories that cross over the world’s various races and generations if we can awaken our own memo-ries. Human beings are tied together by common memories, and we will cross over those boundaries by sharing our memories.
“MEKONG DELTA”The video for this work was shot at the Mekong River Delta in Vietnam.5 children are floating in the muddy river just as if they are rising up to heaven.They are visible through an original, specially crafted, translucent mirror, glass dome. This work is dedicated to and mourns for the death of children in the many wars and disasters around the world.
WEBSITE
www.ma2gallery.com
PHONE
+81 3 3444 1133
CELL
+81 904 220 2985
CONTACT NAME
Masami Matsubara
REPRESENTED ARTISTS
Yasuyoshi BotanKoto BolofoAki EimizuTamotsu FujiiTimothy Greenfield-SandersYasuko IbaAkihiro HiguchiNobuaki OnishiMikiya TakimotoAsami Yoshiga
COVER
Ken MatsubaraMekong Delta2012Mixed media
INSIDE
Ken MatsubaraMekong Delta2012Mixed media
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Ken MatsubaraMekong Delta2012Mixed media20 × 9,5 × 9,5 cm25 × 9,5 × 9,5 cm30,5 × 15 × 15 cm
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WALTER MACIEL GALLERY: DEAN MONOGENISThrough my work I explore situational relationships of otherwise incongruous ele-ments. An example would be a high-rise at the foot of a glorious mountain, or a “new construction” condo spawning out of an isolated field of vegetation. I paint these settings as utopias or fantasy environments. Noticeably, the more I scour the inter-net or document my travels for source material, the more I find that some of these imagined scenarios already exist. In such cases, my work becomes a commentary on globalization or expansion, which are inevitable. While this may be true, I am not making an indictment. Instead, I am more interested in exploring the awkward beauty inherent in development and decay.
The concept of transformation—in theory and practice—has a firm place in my paint-ing. Though my work looks highly rendered, I employ an active process of editing. Normally, I paint on wood or plastic panels employing customized stencils. Utiliz-ing the dialogue established between different painting techniques, these stencil-applied graphic elements are integrated with areas that I paint freehand. Line, edge, and texture are very important to me as well. To accentuate these formal concerns I often paint things like the sky last, which creates a shallow, imbedded quality to the painted imagery underneath. The effect works to maximize the visual tension on the painted surface, challenging the logic of what naturally should be in front and behind. As the picture develops there inevitably comes a point for revision, that I achieve by sanding and reworking areas to bring them back to a zero state. This ability to erase allows me to maintain precision without forfeiting spontaneity and improvisation.
by Dean Monogenis, 2011
WEBSITE
www.waltermacielgallery.com
PHONE
+1 310 839 1840
CELL
+1 415 336 3292
CONTACT NAME
Walter Maciel
REPRESENTED ARTISTS
John BankstonRebeca BollingerMargarita CabreraCarolyn CastañoFreddy ChandraCynthia Ona InnisJohn JurayjHung LiuMaria E. PiñeresRobb Putnam
COVER
Dean MonogenisThe Nearest Faraway Place (detail)2011Acrylic on wood panel60 × 72 inch
INSIDE
Dean MonogenisThe Sea’s Between Us2011Acrylic on wood panel40 × 50 inch
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Dean MonogenisOne Year2011Acrylic on wood panel36 × 48 inch
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MAGROROCCA: FRANCESCO MERLETTIHieratic and austere as modern Madonnas, Francesco Merletti’s icons are suspend-ed in the void of monochromatic backgrounds. As a “director“ the artist chooses the interpreter, he creates the character and puts the “actress“ in a “mise en scène“. In the last set of works, the artist proposes the same ambiguous female figure. The face is always the same, the same model, in different clothing, soft fur, sophisticat-ed headgear, who in each case interprets different roles. His paintings are different acts of performances, as the cues of a character, the indispensable cadences to create the whole story. Watching our contemporaneousness, the artist examines every single situation, and by mixing art and theater he shows us the common hu-man fraility in a society increasingly fragile.
WEBSITE
www.magrorocca.com
PHONE
+39 022 953 4903
CELL
+39 339 291 1810
CONTACT NAMES
Rosanna MagroMassimiliano Rocca
REPRESENTED ARTISTS
Alejandra AlarcònKristian BurfordOmar ChaconFloria GonzalezDavid Gremard RomeroTamara KostianovskyJill Sylvia
COVER
Francesco MerlettiPiccola e cattiva2004Oil and acrylic on canvas70,9 × 47,3 inch / 180 × 120 cm
INSIDE
Francesco MerlettiPer la felicità manda baci… (detail)2011Oil and enamel on canvas27,6 × 31,5 inch / 70 × 80 cm
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Francesco Merletti…grande sconforto (detail)2011Oil and enamel on canvas27,6 × 31,5 inch / 70 × 80 cm
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MARX & ZAVATTERO: WILL IAM SWANSONFabricated from exploding painterly passages, Bay Area artist William Swanson’s new series of acrylic on panel paintings presents a thrilling departure from his pre-vious work. Utilizing his signature arresting palette, play between light and beauty, structure and fissure, Swanson creates dynamic painted landscapes that are dense and luminous.
Pushing each work to the point of saturation, Swanson’s lovely passages of poured diluted paint spawn new found terrains that mimic geological strata, waterways, and toxic spills against a backdrop of landscape and manmade imagery. This process yields ruinous, yet beautiful paintings that set the stage for either a pre- or post-apocalyptic scene, showing liminal space of incessant rebirth.
Increasingly saturated with information, Swanson’s new paintings compress layer upon layer of paint—suggesting stratified geologic specimens—contrasting with architectural forms that function like windows, circuitry, or video screens, providing depth and perspective that hints entirely of other worlds.
Swanson has earned great critical praise over the last several years with reviews in Art in America, ArtNews, The Los Angeles Times, The San Francisco Chronicle, Anthem, Artweek, The LA Weekly, and art ltd. His 2011 solo exhibition at Marx & Zavattero was acclaimed as one of the “Top Ten Painting Shows in the U.S.” on The Huffington Post. Swanson has had solo exhibitions at DCKT Contemporary, New York, and Walter Maciel Gallery, Culver City. Group exhibitions include Future Tense: Reshaping the Landscape, The Neuberger Museum of Art, Purchase, NY; I Want to Feel at Home Here, Milepost 5, Portland, OR; and Built Against Site, Paragraph, Kansas City, MO. His work was also featured in Bay Area Now 3 at Yerba Buena Center for the Arts, San Francisco. Swanson received his BFA from the Rhode Is-land School of Design in 1992 and currently lives and works in Oakland, California.
WEBSITE
www.marxzav.com
PHONE
+1 415 627 9111
CONTACT NAMES
Steve ZavatteroHeather Marx
REPRESENTED ARTISTS
Michael ArcegaLibby BlackBradley CastellanosMatt GilJames GobelYoon LeeLiséa LyonsAndrew SchoultzTaravat TalepasandPatrick Wilson
COVER
William SwansonOpen Land Projection2011Acrylic on panel47 × 74 inch
INSIDE
William SwansonUnderstory Expanse2011Acrylic on panel33 × 30 inch
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William SwansonLower Spectrum2011Acrylic on panel20,5 × 20,5 inch
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MIXED GREENS: JULIANNE SWARTZI am interested in harnessing and sculpting something completely noncorporeal. Light is my primary material because it instills presence without physicality. It can be easily taken for granted, yet when contemplated, light becomes a sense provok-ing opportunity for thought.
I use commonplace lamps and hardware to create events with light. The contrast between the mechanisms and the images they produce explores the possibility of coexisting oppositions such as beautiful and banal, fugitive and accessible, mys-terious and apparent.
I make sculptures to create a situation where the wondrous and the mundane can occur simultaneously. I take photographs to capture that experience within a daily context. I’m looking for the instant when light in its changing forms makes the or-dinary remarkable.
Julianne Swartz received her MFA from Bard College and currently lives and works in Kingston, NY. Her work has been widely exhibited throughout the United States and Europe at venues including the Tate Museum, Liverpool, England; the Whitney Museum of American Art, NYC (biennial exhibition 2004); the New Museum, NYC; the Delaware Center for Contemporary Art, Wilmington, DE; the Aldrich Museum, Ridgefield, CT; P.S.1 Contemporary Art Center, L IC, NY; SculptureCenter, L IC, NY; The Jewish Museum, NYC; Artists Space, NYC; The Frances Young Tang Teach-ing Museum and Art Gallery at Skidmore College; and the Palm Beach Institute of Contemporary Art, FL. She is the recipient of the 2010 Academy Award in Art from the Academy of Arts and Letters, a 2008 Joan Mitchell Foundation Award, and a 2005 NYFA fellowship in sculpture. Swartz has a large-scale permanent installation at the Indianapolis Museum of Contemporary Art and a large-scale public sound in-stallation installed on New York’s High Line. A mid-career survey of her work, How deep is your, will open at the deCordova Museum during the fall of 2012 and travel to the Scottsdale Museum of Contemporary Art in 2013.
WEBSITE
mixedgreens.com
PHONE
+1 212 331 8888
CONTACT NAMES
Heather BhandariSteven SergiovanniMonica Herman
REPRESENTED ARTISTS
Kim BeckSonya BlesofskyHoward FondaKimberley HartJoan LinderAdia MillettMark MulroneyRudy ShepherdJoseph SmolinskiMary Temple
COVER (1)
Julianne SwartzClose (Ken)2010Digital C-Print16 × 21,5 inch
COVER (2)
Julianne SwartzClose (Yellow T-shirt)2010Digital C-Print16 × 23,25 inch
COVER (3)
Julianne SwartzClose (Pink Ball Two)2010Digital C-Print16 × 23,25 inch
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Julianne SwartzClose (Two Arms)2010Digital c-print16 × 23 inch
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Julianne SwartzCamera-Less-Video for Norridgewock2009Stainless steel, optical lenses, Plexiglas, hardware, view20 × 12 × 8 inch
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ROBERT MORAT GALERIE: CHRISTIAN PATTERSONChristian Patterson (b. 1972) is an American artist based in New York. His work is exhibited, collected and published internationally and is in the Libraries of the Mu-seum of Modern Art, the Whitney Museum of American Art and the New Orleans Museum of Art. His first book, Sound Affects, was published in 2008. Redheaded Peckerwood, his second monograph, was published by MACK in 2011 and was named “Best Photobook of 2011” by numerous critics and publications.
Redheaded Peckerwood is a series of photographs, documents and objects with a tragic underlying narrative—the story of 19-year-old Charles Starkweather and 14-year-old Caril Ann Fugate, who murdered ten people including Fugate’s family during a three-day killing spree across Nebraska in 1958.Patterson’s work is not merely documentary; it includes images made through fo-rensic study, archival digging, appropriation, reenactment and staging. It challenges photographic truth and representation and deliberately mixes fact and fiction as it presents, re-presents and ultimately fragments a true crime story. Photographs are the heart of this work but they are complemented and informed by documents and objects that belonged to the killers and victims.In book form, the work is presented as a visual crime dossier with pieces of paper evidence inserted into the book. The images and inserts serve as cues and clues within a visual puzzle; in this way, the work is presented to the viewer as a mystery to be solved.
REVIEWS“Patterson displays a knack for synecdoche and his images teeter between delicacy and violence.” Sarah P. Hanson, Modern Painters“Redheaded Peckerwood contests the fixed interpretation of an event and pro-vides new ways to access a story.” Karen Irvine, Curator, Museum of Contempo-rary Photography“A kind of impressionist visual narrative whose subtext is Patterson’s own obses-sion.” Sean O’Hagan, The Guardian“Christian Patterson is working out something that hasn’t been done much before, if ever: a kind of subjective documentary photography of the historical past.” Luc Sante, Author
WEBSITE
www.robertmorat.de
PHONE
+49 403 287 0890
CELL
+49 172 411 5069
CONTACT NAME
Robert Morat
REPRESENTED ARTISTS
Jessica BackhausPeter BialobrzeskiThekla EhlingJoakim EskildsenPeter GranserAndrew PhelpsRichard RenaldiSimon RobertsBertien van ManenRobert Voit
COVER
Christian PattersonStorm Cellar2011Archival Inkjet Print8 × 10 inch
INSIDE
Christian PattersonPrairie Grass Leak2009Archival Inkjet Print40 × 50 inch
RIGHT
Christian PattersonRay of Light2006Archival Inkjet Print24 × 36 inch
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MORGEN CONTEMPORARY: PETER BUECHLERBorn in 1965, Peter Buechler has been living and working in Berlin, Germany since 1986. His intensive involvement with the method of newly defining motives through different-sized grids began almost 10 years ago with retouching auctioned oil paint-ings. Thereby, he entered an ever evolving and simultaneously refining adventure referring to both conceptual art and pop art.
In Buechler’s work, the simple and often rather unspectacular motives, landscapes and themes are the entrance to a multi-layered visual experience. They root in the digital archive consisting of the artist‘s own snapshots as well as images found on the Internet. Peter Buechler‘s narratives open up to the viewer in a multi-faceted way, or close and develop into new ones. His complex and time-consuming painting method hugely contributed to this perception. By strictly geometrically dividing the canvas into three to four centimeter sized square-shaped color patches, aligning the chromaticity of the motive accordingly, he establishes a hitherto unwitnessed imaginative space between reality and a digital visual world. Of all things it is the sharp graphic delimitation of the color patches, producing a certain pictorial blur, which brings the themes and objects to oscillation and the viewer into the position of the storyteller.
By applying a tool from journalism—rendering specific parts of paintings unrecog-nizable—he tries to find connections between the visual contents and their perceiv-able appearance. The informational value is taken from the paintings and is being substituted by new information, which results from the painting. At this point the paintings are not clearly distinguishable any longer, but can only be accessed via the viewer’s “mapped memory”. Even if one believes to have identified the possible content displayed in the painting, the beholder is denied a clear and verifiable ac-cess to the painting’s content. The paintings withdraw themselves over and over again from any definite reality. The object seen is closely tied to the beholder and can only be interpreted by him. Two different beholders see two different contents while the presented visual information remains the same. The threshold between seeing and recognizing—in terms of a possible content—becomes perceptible by moving in front of the paintings: they vary with the changing distance. When ap-proached they almost dissolve into colored squares made of oil paint.
WEBSITE
www.morgen-contemporary.com
PHONE
+49 306 630 9145
CELL
+49 173 673 4666
CONTACT NAME
Angelika Watzl
REPRESENTED ARTISTS
H. P. AdamskiJohn BreedSabine DehnelNiki ElbeAndy HarperJens LehmannAnna Lehmann-BraunsSimon MennerAlastair Thain
COVER
Peter BuechlerUntitled2011Oil on canvas200 × 150 cm
INSIDE
Peter BuechlerUntitled2011Oil on canvas220 × 300 cm
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Peter BuechlerUntitled2011Oil on objet trouvé, acrylic glass box43,5 × 35,2 cm
RIGHT
Peter BuechlerUntitled2011Oil on objet trouvé60 × 48 cm
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NUMBER 35 GALLERY: MARTIN SCHWENKIn “The Language of Flowers” of 1929, Georges Bataille assesses that the language of flowers is contradictory: the above-ground part of the plant distinguishes itself through purity and beauty, the opposite expresses itself in the root, its ugly dirtiness and proliferation. Bataille points out that because only the plant’s upper part would be included in civilization, its materiality becomes deceiving. If one wanted know the entire plant, one had to also understand its underground ugliness.
Enter the vegetative sculptures of Martin Schwenk. The plants formed out of sili-cone, plaster or acrylic glass raise the ambivalence of the flower, to the principle they show the attractive and the depraved part of the plant alongside each other. While the artificial structure of Schwenk’s work address textbook artwork, the real sculpture settles in half way between nature and the museum. Its deviations from both create the specific eccentricity of Schwenk’s sculptures.
WEBSITE
www.numberthirtyfive.com
PHONE
+1 212 388 9311
CELL
+1 646 382 4527
CONTACT NAMES
Cindy RuckerBrad Silk
REPRESENTED ARTISTS
Keith AndersonChristopher DanielsCharles DunnAdam HayesHannes KaterGereon KrebberMiyeon LeeGary Rough
COVER
Martin SchwenkOhne Titel2001Plexiglas90 × 52 × 57 inch
INSIDE
Martin SchwenkOhne Titel2011Acrylic glass, PU foam, Cord87 × 31 × 20 inch
LEFT
Martin SchwenkOhne Titel2010Acrylic glass, plaster, acrylic paint51 × 71 × 45 inch
RIGHT
Martin SchwenkOhne Titel2008Plexiglas, pigments, epoxy resin, plastic34 × 27 × 21 inch
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O'BORN CONTEMPORARY: ALEX F ISCHERArtists must take responsibility for representing the time in which they live.
The images of “Beyond the Fall” come from what has become the predominant first-world interface: The personal computer and internet-capable device is now the pri-mary filter by which broad swaths of people interact and know themselves. These technologies have the ability to snake our attentions, beliefs and desires, influencing cognition and our experience of the world.
In order to represent these paradigm shifts, Alex Fischer reifies the low-culture of individualistic habits and persuasions to be in dialogue with the ripe philosophy of high art. His chosen medium of digital collage perfectly compliments his artistic pro-cess, by which he paints together images from a collection of digital sources. Each piece concedes to multiple interpretations due to Fischer’s choice to obscure the visual space of the image into near abstraction. The narratives encompass char-acters, scenes, and symbols with all of their ambiguity, insight, and metaphysical baggage on display. The content originates from their adaptations to and the im-pact of this current age.
Alex Fischer (b.1986, Walkerton, ON) is an artist and empiricist living and working in Toronto, Canada. A sociologist of internet culture, Fischer mediates the visual and theoretical philosophies, which can be accessed through contemporary technol-ogy. This extraction and the resulting dissemination are essential to his approach to art-making, which is at once reactionary and projective. He composes his figures and landscapes by digitally assembling visual and conceptual sources in order to explore the syncretic effect of the digital-age.
Fischer’s work has been featured in Backflash, Beautiful Decay and Rojo. He is the creator, editor and juror of Sync Resist, released in 2009 through York University. In 2010, Fischer produced his first artist book, Smarter Today published by O'Born Contemporary and Wassenaar.
WEBSITE
www.oborncontemporary.com
PHONE
+1 416 413 9555
CONTACT NAME
Natalie MacNamara
REPRESENTED ARTISTS
Liam CrockardRafael GoldchainJill GreenbergKate McQuillenJohn MonteithDominic NahrEd OuNoel Rodo-VankeulenCaitlin RueterPublic Studio
COVER
Alex FischerArtists Image20122079 × 2935 pixel digital image22 × 30 cm Giclée
INSIDE
Alex FischerParrots201114280 × 10200 pixel digital image84 × 60 inch Giclée
RIGHT
Alex Fischerbow201210677 × 8367 pixel digital image60 × 47 cm Lightjet
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PIERRE-FRANÇOIS OUELLETTE: ED PIENEd Pien is a multidisciplinary artist based in Toronto. He has recently been selected by Artistic Directors Gerald McMaster (Curator, AGO) and Catherine de Zegher (for-mer Guest Curator, Department of Drawings, MoMA) to participate in the 18th Bien-nale of Sydney, and by Denise Markonish to present a new work at MassMOCA in 2012 for the exhibition Oh, Canada. Pien has exhibited nationally and internationally including the National Gallery of Canada, Ottawa; the Drawing Centre, New York; Museum of Art and Design, New York; Centro Nacional é las Artes, Mexico City; the Goethe Institute, Berlin; Middlesbrough Art Gallery, UK; W139, Amsterdam; Contem-porary Art Gallery, Vancouver; The Contemporary Art Museum in Monterrey, Mexico; Bluecoat, Liverpool; Art Gallery of Ontario, Toronto and La Biennale de Montreal 2000 and 2002. His ambitious large-scale installations, drawings and paper cuts are featured in the permanent collections of the Art Gallery of Ontario, the Montreal Museum of Fine Arts and the National Gallery of Canada, Ottawa. Pien’s featured participation in the 2012 Sydney Biennale solidifies the importance and influence of his work at an international level.
Pien draws on sources both Eastern and Western to create his work, including Asian ghost stories, hell scrolls, calligraphic traditions and the works of Hieronymus Bosch and Francisco Goya, creating sensual, drawing-based installations using ink and translucent paper (like Earthly Delights in the collection of the Montreal Museum of Fine Arts). The spectator is invited to walk into these floor-to-ceiling environments and approach the half-human, half-animal monsters within. Continuing in the vein of light and dark and experiential worlds, this installation for VOLTA 2012 entitled Spectral offers a transformative and immersive environment, inviting visitors as wit-nesses and participants.
WEBSITE
www.pfoac.com
PHONE
+1 514 395 6032
CELL
+1 514 885 4956
CONTACT NAMES
Pierre-François OuelletteEdward Maloney
REPRESENTED ARTISTS
Alexandre CastonguayLuc CourchesneAdad HannahDil HildebrandMaskull LasserreJohn LatourKent MonkmanMarie-Jeanne MusiolRoberto PellegrinuzziChih-Chien Wang
COVER
Ed PienRevel (detail)2011Cut mylar, projectionDimensions variable
INSIDE
Ed PienTwilight Game2010Ink on shoji paper18,5 × 28 inch
RIGHT
Ed PienRevel (detail)2011Cut mylar, projectionDimensions variable
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P74 GALLERY: MLADEN STIL INOVIĆINSULTING ANARCHYI wanted to make an anarchical exhibition including works that differ stylistically and thematically, but no matter how I place the works, I always seem to get structure far from being anarchical. That is why this exhibition is entitled “Insulting the anar-chy”. This title is of course an alibi for all of my insanities and impertinences, for my artistic “freedom”. My aim is to have many voices, not just one voice, but the main initiative comes from the love of garlic, bread and butter.Economy is a parody of economy. Media is a parody of media. Art is a parody of art. Etc… is a parody of etc… Parody can not be parodied. That is why there are so many obvious stupidities that are obvious stupidities and not a parody.
SELECTED SOLO EXHIBITIONSSing!, Mladen Stilinović Retrospective, Ludwig Museum, Budapest, 2011Mladen Stilinović, Insulting Anarchy, Galerie Martin Janda, Vienna, 2011I Have No Time, Muzeum Sztuki / Museum of Modern Art, Warsaw, 2010VOX, centre de l’image contemporaine, Monteral, Canada, 2010Crvena Nit / Rec Thread, Gallery Nova, Zagreb, 2010Insulting Anarchy Sold, With Old Films, P74 Gallery, Ljubljana, 2010Mladen Stilinović – Artist’s Books, Index, The Swedish Contemporary Art Foundation, Stockholm, Sweden, 2010Van Abbemuseum, Eindhoven, Nederland, 2008Mladen Stilinovic – White absence, Trafo House of Contemp. Art, Budapest, 2008Galerie im Taxispalais, Innsbruck, Austria, 2008Mladen Stilinović: On Money, Zeroes, etc, CCA, Centre for Contemp. Art, Glasgow I am Selling M. Duchamp, Austrian Cultural Forum, Prague, 2007Platform Garanti, Istanbul, Turkey, 2007Artist at Work, Škuc Gallery, Ljubljana, 2005The Cynism of the Poor, Museum of Contemporary Art, Zagreb, 2003Grassstreet Gallery, Melbourne, 2001Geometry of Cakes, Museum of Modern Art, Ljubljana, Slovenia, 1994Sing!, Gallery of Contemporary Art, Zagreb, 1980
SELECTED GROUP EXHIBITIONS Ostalgia, The New Museum of Contemporary Art, NewYork, 2011A Complicated Relation / Part I, Kalmar konstmuseum, Kalmar, 2011Dialogue, Boris Cvjetanović & Mladen Stilinović, galerie frank elbaz, Paris, 2011Particolare, Signum Foundation, Venice, 2011Museum of Speech – Extra City, Kunsthal Antwerpen, Antwerp, 2011KONTAKT Collection, Sofia Art Gallery, Sofia, 2011Museo de las narrativas parralelas....., MACBA, 2011Les Promesses du passé, Centre Pompidou, Musée National d’Art Moderne, Paris, 2010Volume Collection, Fondazione Bevilacqua La Masa, Venice, 2010Over the Counter – Economy in Post-Socialist Art, Mucsarnok Kunsthalle, Budapest, 2010In full bloom, Galleria Raffaella Cortese, Milano, 2010Art Always Has Its Consequences, Muzeum Sztuki Lodz, Lodz, 201011th International İstanbul Biennial, Istanbul, 2009Take the Money and Run, de Appel arts centre, Amsterdam, 2009Documenta 12, Documenta, Kassel, 200715th Biennale of Sydney, Sydney, 200650th International Art Exhibition Venice Biennale, Venice, 2003
Mladen Stilinović (b. 1947, Belgrad) lives in Zagreb, Croatia.
WEBSITE
www.zavod-parasite.si
PHONE
+38 640 370 199
CONTACT NAMES
Uroš LegenTadej PogačarUros Potocnik
REPRESENTED ARTISTS
Tomaž FurlanDejan HabichtSanja IvekovićPolonca LovšinTadej PogačarSBDBalint Szombathy
COVER
Mladen StilinovićUntitled (nail…)1998Collage (wooden plate)6,3 × 8,1 inch
INSIDE
Mladen StilinovićInsulting Anarchy (vrijeđanje anarhije prodano)2008Collage9,4 × 7,1 inch
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PABLO’S BIRTHDAY: HENRIK E IBENHenrik Eiben’s work traces the intellectual-aesthetic lines of a narrative minimalism, via familiar references to the 1960s and 70s, into post-modernity and beyond. A possible way into it is certainly provided by the keyword “formalism today”, in view of the visual language of a younger generation of contemporary artists working in this context. Eiben shows a deliberate conjunction of narrative elements with a re-duced formal language.
Underlying Eiben’s work is a classical understanding of painting taken to its lim-its—related in this respect to minimalism, as this process is carried out with the possibilities of a formal aesthetic and the expansion of sculpture and installation into the pictorial space.
Even in their first impression these works establish an extension of a formal ex-pression whose hard-edge aesthetic recalls Frank Stella’s shaped canvases—plus related to Ellsworth Kelly’s works, where monochrome canvases are placed one on top of the other to achieve a sculptural extension of painting in the contrast of colour and shadow at their edges. But in Eiben’s works this process is taken further: the canvases are neither differently coloured, nor are they placed one above the other. In their juxtaposition alone their surfaces and the tension produced by their vertical displacement bring about an extension of painterly depth into sculptural space. The insertion of coloured strips of fabric and glass clearly show where Eiben’s aesthetic realm of operation is situated: at the edge itself, at the boundary between reduction to formal principles and the extension of visual experience. From this standpoint a new, completely open realm of aesthetic experience is revealed—voyager explores this space, in which it conveys to the viewer Eiben’s formal aesthetics.
Henrik Eiben’s works take a stand within this matrix: there is a narrative minimalism at work in them that does not conceive of formal expression as a stand-out fea-ture, and that has the potential, through subtle allusions, to turn the viewer into the knowledgeable discoverer of the works’ own points of reference.
WEBSITE
pablosbirthday.com
PHONE
+1 212 462 2411
CELL
+1 917 450 5354
CONTACT NAMES
Jimi BillingsleyArne Zimmermann
REPRESENTED ARTISTS
Christian EisenbergerCarla GannisFrank GerritzEckart HahnMatthias KoesterKarsten KonradKristian KozulMarc Lueders
COVER
Henrik EibenThe Way Side2011Tiffany glass, metal, silicon, wood220 × 3 × 11 cm
INSIDE
Henrik EibenVoyager 6, Desperado2011Styrofoam, fabric, glass, plaster, wood65 × 145 × 15 cm
LEFT
Henrik EibenGimme Oho2010Wood, plexiglass, and paint102 × 66 × 5 cm
RIGHT
Henrik EibenNY 12010Lacquer, acrylic, spraycolor, paper, on paper65 × 50 cm
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PARISIAN LAUNDRY: JANET WERNERJanet Werner’s work focuses on the invention of fictional characters based on found images from popular culture, including models, celebrities, dolls and figurines. The paintings operate within and against the genre of portraiture, taking anonymous fe-male figures and imbuing them with fictional personalities. In her current work there is a shift in the proportions of the figures; an argument has erupted between beauty and the grotesque and the figure itself has become the site of contest. Folded, cut, occluded, or altered, with colors ranging from luminous to ashen and scale shift-ing from pixie to giant, these figures possess an otherworldly aspect. Mute and expectant, leaning into the frame, at once imposing and powerless, the characters embody conflict and contradiction. Wearing their complications like a crown, they confront the viewer with their big loneliness, beckoning like absurd clowns or sor-cerers practicing a kind of rough magic.
Janet Werner was born in Winnipeg and lives and works in Montreal. She received her BFA from the Maryland Institute College of Art in Baltimore and her MFA from Yale University, New Haven, CT. Werner has shown widely in Canada including In-ternationally, her work was presented at the Prague Biennale and will be featured in the upcoming survey exhibition Oh, Canada at MASS MoCA, North Adams, MA.
Parisian Laundry represents Canadian and international artists, rotating solo pre-sentations of their current practices while maintaining a program of special project exhibitions for invited artists. Programming is divided throughout the three exhibi-tionspaces including the gallery’s former mechanical room; a two storey concrete box known as the “Bunker”, an ideal space for new media works as well as site-specific installation and sculpture. Recent and upcoming programming includes an installation and performance by New York based artist Haig Aivazian, an installation by Virginia based sculptor Michael Jones McKean, a screening of BAND by New York based artist Adam Pendleton and live performances by New York City based artist Kalup Linzy. A commitment to invitational collaborations with important proj-ects such as the Biennale de Montréal, and The Mois de la photo have featured projects by Luis Jacobs / Noam Gonick, Eve Sussman and the Rufus Corporation. Parisian Laundry has recently presented critical and monumental solo exhibitions of Valérie Blass, Alexandre David, Janet Werner, and Rick Leong as well as a three-floor museum style retrospective of Québec city based collective BGL. The gallery maintains a nomadic profile through our publication program as well as ongoing participation in international art fairs.
WEBSITE
www.parisianlaundry.com
PHONE
+1 514 989 1056
CONTACT NAME
Jeanie Riddle
REPRESENTED ARTISTS
David Armstrong SixBGLValérie BlassPaul ButlerAlexandre DavidJennifer LefortRick LeongKalup LinzyAdrienne SpierJustin Stephens
COVER
Janet WernerUntitled (stalker) (detail)2012Oil on canvas108 × 78 inch
INSIDE
Janet WernerUntitled (drape)2012Oil on canvas88 × 66 inch
LEFT
Janet WernerGenie2010Oil on canvas87 × 66 ½ inch
RIGHT
Janet WernerSheila2011Oil on canvas54 × 45 inch
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PARKER’S BOX: STEFAN SEHLERStefan Sehler has developed the ability to position himself in an intriguingly precise juggling act, on the razor’s edge between opposing and complementary territories of painting. His negotiation of an evolving dynamic between representation and ab-straction has given him a respected position in Europe, in relation to both the legacy of German painting, and the potential of its future. Sehler’s reverse paint technique on Plexiglas panels links his thinking to both German traditions and contemporary currents, as does his strong relationship to both figurative and abstract mechanisms. At the same time, Sehler is unquestionably a pioneer, not a follower, and the risks he has taken in developing new techniques and ideas clearly bear witness to this spirit. In this way, Sehler is particularly preoccupied with the spectator’s relation-ship to the painted surface, and how this affects our perception of images. The most extraordinary (but logical) aspect of this is that he denies physical access to that very surface through his choice of technique.
As Dr. Susan Canning has written: “(Sehler’s) process underlines the generative ar-tistic act by pointing it out. The end result lets one see the materials, see the paint that retains its synthetic aspect… Only desire on the part of the spectator makes the paint become its subject. In a similar way, the spectator desires the materiality of the paint and surface but can only guess at that experience. The Plexiglas perversely bolsters the work’s materiality by denying it, while at the same time being ironic- si-multaneously protecting the act of representation and distancing the viewer from it.”
Stefan Sehler’s work figures in numerous private, corporate and institutional col-lections, and he has exhibited in museums, contemporary art centers and galleries worldwide. His most recent museum exhibition was a double solo show with Robert Longo at the Museum of Modern and Contemporary Art in Nice, France (catalogue available at VOLTA).
WEBSITE
www.parkersbox.com
PHONE
+1 718 388 2882
CONTACT NAME
Alun Williams
REPRESENTED ARTISTS
Steven BrowerEdith DekyndtSimon FaithfullJason GlasserPatrick MartinezCaroline McCarthyBruno PeinadoTere RecarensSamuel RousseauJoshua Stern
COVER
Stefan SehlerUntitled (detail)2011Oil, enamel and acrylic paint behind Plexiglas80 ¾ × 61 inch / 205 × 155 cm
INSIDE
Stefan SehlerUntitled2009Oil, enamel and acrylic paint behind Plexiglas80 ¾ × 159 ½ inch / 205 × 405 cm
RIGHT
View of Stefan Sehler, New Paintings at Parker’s Box, December 2007, from left to right: Untitled (Marsh II) and Untitled (Marsh III)both 2007Oil, enamel and acrylic paint behind Plexiglas86 ¼ × 62 ¼ inch / 219 × 158,2 cm
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PDX CONTEMPORARY ART: ADAM SORENSENDrawing upon disparate vocational and popular traditions from across the world, Adam Sorensen’s paintings articulate a particular vision, tied deeply to the reality of landscape while imbued with enough imagination to make them otherworldly. The trail of aesthetic influence is not hidden in Sorensen’s work. Pulling equally from television and animation aesthetics, ukiyo-e traditions of Japanese woodcuts, the Hudson River School, and painters of the American West, Sorensen strikes an unbe-lievable balance between the terrific wonder of the sublime and the inaccessibility of an imagined place. The Romanticism of Caspar David Friedrich melds with the vivid sharpness of near digital vistas devoid of figures but not lacking in personal depth.
Born in Chicago, Illinois and raised in Gettysburg, Pennsylvania, Adam Sorensen received a BFA from Alfred University in New York and a Post-Baccalaureate Cer-tificate in painting from the Studio Art International, Florence, Italy. Sorensen lives and works in Portland, OR. He has shown frequently at museums and galleries throughout the Northwest, and his work resides in prominent private and corporate collections up and down the west coast.
Portland, Oregon’s PDX Contemporary Art continues to expand and evolve while maintaining its original mission of facilitating and building artists’ careers. In 15 years of operation, PDX has consistently programing rigorous and compelling ex-hibitions and is widely admired for its independent spirit while maintaining a collab-orative attitude and dialogue with artists, fellow dealers, publishers and institutions. Owner / Director Jane Beebe, a much revered member of the Portland art community, has served on the board of directors of the Portland Art Museum and Oregon College of Art and Craft. Beebe serves on long-range civic planning committees address-ing art and culture, and has been a guest speaker at various Oregon institutions.
WEBSITE
www.pdxcontemporaryart.com
PHONE
+1 503 222 0063
CONTACT NAME
Jane Beebe
REPRESENTED ARTISTS
Anna Gray + Ryan Wilson PaulsenJohannes GirardoniArnold J. KempCynthia LahtiJames LavadourNancy LorenzD.E. MayStorm TharpMarie WattMasao Yamamoto
COVER
Adam SorensenCroatoan (Detail)2011Oil on canvas50 × 57 inch
INSIDE
Adam SorensenWellspring2011Oil on canvas50 × 57 inch
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PENTIMENTI GALLERY: MARK KHAISMANMy works are pictorial illusions formed by light and shadow. Tape allows for images that communicate what I’m interested to do in a very direct way.
My medium consists of three elements: translucent packing tape, clear acrylic pan-els, and light. By superimposing layers of translucent tape, I play on degrees of opac-ity that produces transparencies highlighted by the color, shading, and embossment. There are some qualities of tape that make it unique for me as an art material: its banality, humbleness and its “throwaway” nature; its default settings of color and width limiting my freedom; its unforgiving translucency—no mistakes can be hidden; the cold and impersonal attitude that tape surface suggests.
I apply a stripe of brown translucent tape on a clear backlit acrylic panel, and if I don’t like it, I peel it off. If I peel off less frequently than apply, a chance is that an image emerges. The whole process is reminiscent to the red room photo devel-opment in the pre-digital era, in a way, as my hands do the job, and my mind is witnessing the appearance of the image, then the only concern becomes to not under—or overdevelop it.
My works are categorized mainly as portraiture and fall into two main groups: (1) “real” faces—portraits derived from my own photographs, or classic art and (2) fic-tional characters—ones derived from old movies or social media. I like to see these two themes as parallel. Together they interplay on real and projected self, individual and group identity, on latent pressure involved in being and playing human.
Born in Kiev, Khaisman studied Art and Architecture at the Moscow Architectural Institute, Moscow, Russia. His recent exhibitions are: Science Museum, London, UK; Contemporary Istanbul Art Fair, Turkey; Berliner Liste 2011, Berlin, Germany; Wallingford Art Center and Woodmere Art Museum, Philadelphia, PA; Vitra Design Museum, Weil am Rhein, Germany; BYU Museum of Art, Proto, UT; and more. He has been the recipient of many awards and works are found in the collections of: Vitra Design Museum, Germany; Annenberg Center Collection; British Airline Col-lection; Delaware Art Museum; West Collection; and more. Mark Khaisman is rep-resented by Pentimenti Gallery, Philadelphia, PA.
WEBSITE
www.pentimenti.com
PHONE
+1 215 625 9990
CONTACT NAME
Christine Pfister
REPRESENTED ARTISTS
Steven BarisKim BeckCecilia BiaginiMatthew CoxKevin FinkleaJudy GellesMatt HaffnerJoseph HuHadieh ShafieJackie Tileston
COVER
Mark KhaismanChair #22011Packaging tape on plexiglas, steel box48 × 36 inch
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Mark KhaismanFrame #132010Packaging tape on plexiglas, steel box36 × 48 × 6 inch
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Mark KhaismanGirl with Earring2011Packaging tape on plexiglas, translucent resin light box20,5 × 27 × 6 inch
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THE POOL NYC: PATRICK JACOBSPatrick Jacobs intentionally blurs boundaries between the traditional artistic media of painting, sculpture and photography in his works. At the same time, they pres-ent the viewer with a spatial and perceptual conundrum. We are drawn into a space at once determinate and infinite, natural and contrived, prosaic and otherworldly.
Jacobs draws inspiration from sources as diverse as historical landscape painting and contemporary chemical companies’ home and garden pest control brochures, such as Chevon’s Ortho Books. Recalling the Claude glass, an optical device popu-lar in the 18th century used to frame the picturesque, the lenses invoke the invisible eye of the wary homeowner searching an otherwise vacant domestic landscape for imagined interlopers. Ortho, Greek for “correct”, further alludes to the unending quest to control any divergence from the norm, as well as the manipulation of our sense of perspective. With such a fusion of influences, these quiet compositions offer a magical view of the mundane. Here, reality has been de-familiarized, and the uncanny has supplanted the commonplace.
Each work consists of a meticulously constructed, three-dimensional diorama in-stalled within the wall and viewed through a circular window of glass lenses. The combination of the negative focal length of the lenses and sculptural foreshorten-ing creates the illusion of seemingly infinite depth within the limitations of a narrow space. The result is a distorted reality corrected only when seen through the lenses. Though artificial, these worlds are nevertheless strangely real and tactile.
Whereas painters using the Claude glass sought highly picturesque moments, Ja-cobs’ dioramas tend to depict banal and subtle scenes, places often overlooked, such as a field with an anthill or the view out a window over a radiator. This exhi-bition will include four works from Jacobs’ interior series. In each, an imaginative bird’s eye view of the Gowanus Heights from the artist’s apartment in Brooklyn, NY produces a spatial progression from interior to exterior as well as the impossible effect of simultaneous close-up and distance.
WEBSITE
www.thepoolnewyorkcity.com
[email protected]@thepoolnewyorkcity.com
PHONE
+1 212 367 7520
CELL
+1 347 257 4103 +39 335 625 1723
CONTACT NAMES
Viola RomoliLuigi Franchin
REPRESENTED ARTISTS
Gaia Carboni Eteri Chkadua Glaser/KunzKika Karadi Jonathan Rider Andrea Salvatori Fabio Viale
COVER
Patrick JacobsInstallation View2011Mixed mediaDimensions variable
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Patrick JacobsInterior with View of Gowanus Heights2011Wood, extruded styrene, acrylic, paper, vinyl film, steel, lighting, glass74 × 53 × 53 cm
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Patrick JacobsWork in progress: Interior with View of Gowanus Heights2011Wood, extruded styrene, acrylic, paper, vinyl film, steel, lighting, glass74 × 53 × 53 cm
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Patrick JacobsWindow with View of Gowanus Heights2010Wood, extruded styrene, acrylic, paper, vinyl film, steel, lighting, glass43 × 27 × 24 cm
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PRISTINE GALERIE: OREET ASHERYOreet Ashery is a London-based, interdisciplinary artist. In her performances, pho-tographs and videos as well as in her textual works, Ashery examines questions of cultural, political, and sexual identity. Her practice engages with socio-political para-digms and tends to include participatory and delegated elements. Frequently Ashery will produce work as a male character: Marcus Fisher (an orthodox Jewish man), a Norwegian postman, a large farmer, a false messiah and an Arab man. In her inter-ventions she confronts her secular environment with the explicitly “other”, probing the limits of multicultural and multi-religious societies. In some of her more overtly political work, power structures are challenged through means other than gender.
Oreet’s work has been shown recently at Tate Modern, Pompidou Centre, Brook-lyn Museum, Whitstable Biennial, Freud Museum, OK Centre for Contemporary Art, Zentrum für Kunst und Medientechnologie and Pristine Galerie.
Pristine Galerie opened its headquarters in Monterrey, Mexico with a clear mission: to promote the creation of first-rate and emerging contemporary artists. The gallery has worked from its beginning as catalyst and vehicle of an interaction between Monterrey and international platforms of contemporary art, working with featured curators, who put together world-class art exhibitions at Pristine Galerie, making a statement on not being held captive to fear in the current national situation, re-membering Picasso’s words on art as an offensive weapon in the defense against the enemy.
Pristine Galerie presents for VOLTA NY Ashery’s newest project— HAIROISM , which began with an interactive performance where Oreet Ashery used hair given by au-dience members to mimic public figures through hair: Moshe Dayan, Abu Marzook, Avigdor Lieberman, Yasser Arafat and Ringo Starr. The cover image is a detail from the last stage of this performance—Oreet Ashery fully covered in hair, looking like some sort of creature.
WEBSITE
www.pristinegalerie.com
PHONE
+52 81 8218 9925+52 81 8218 9926+52 81 8315 2118
CELL
+52 81 8254 7277
CONTACT NAMES
Alberto LealDaniel Gonzalez Lozano
REPRESENTED ARTISTS
Shahram EntekhabiEnrique Garcia SaucedoJuan Carlos GranadosZachari LoganEmma McCaggDamian OntiverosMiguel Rodriguez SepulvedaRiiko SakkinenSvajone & Paulius StanikasAbdul Vas
COVER
Oreet AsheryHairoism (detail)2011Photograph110 × 140 cm
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Oreet AsheryHairoism series: Avigdor Lieberman, Moshe Dayan, Yasser Arafat / Ringo Starr, Mousa Mohammed Abu Marzook2011Photographs50 × 40 cm each
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Oreet AsheryHairoism series: Yasser Arafat / Ringo Starr2011Photograph50 × 60 cm
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<<REWIND<<: T IONG ANGREMODELLED (AN AFRICAN IN CHINA) / 2008 – 2012Tiong Ang is a Dutch artist who works at the undefined borders of intercultural exchange and global polarisation, always with a deeply felt personal yet ambiva-lent engagement with his subject matter. He has worked and exhibited all over the world, often operating within a specific local context in projects that generate a broad range of ideas, methods and experiences. He works in painting as well as film/video, installation, photography and performative projects, generating “veiled” situations that gradually acquire unexpected depth while demonstrating a focus on everyday life and the role of chance. Balancing between documentary realism and mediatised fantasy, his work shifts conventional perspectives on interracial conflict, economic dependence or globalized pop culture into absurdic and slightly obscure images that are brought together in enigmatic constellations and installations. As an Indonesian-born Chinese, educated and working in the Netherlands, his chosen unstable position is both post-colonial, multiple and hybrid.
This presentation concentrates on the remodeled African, displaced in contemporary Western or Oriental culture. Tiong Ang extends a multi-layered project he initially developed for Shanghai Biennale 2008 called Models for (the) People. Witnessing China”s giant steps on the world stage from a close distance, Tiong Ang (whose mother lived in quite a different Shanghai as a young child) shot a new experimental film about an African merchant arriving in modern day Shanghai. The film explores different perspectives on the city, the site of the Biennale and western views on China, wherein the arrival of the African functions as a moment of absurdity and alternation. Paintings of horses, objects of commerce and textual slogans in differ-ent languages completed the presentation at the Biennale, and some reappear in this extended version.
Tiong Ang has continued his explorations on the stereotype of the dislocated black man in Settlements (2011), a museum installation as a performative and filmic proj-ect inviting the same man Atone Niane from Senegal to act out as a narrator of stories of multiple migrations and the affects of derangement and confusion. He is placed within a dedicated pseudo set modelled after one of Sol LeWitt”s Incom-plete Open Cubes. The storyteller is surrounded by silent onlookers, who help to move the set around the exhibition Unwanted Land at the Museum Beelden aan Zee in The Hague. Set in the heart of the Netherlands, a nation currently struggling with its political and democratic seizure, the lament of the black man is both urgent and strangely nocturnal.
The striking black man is being re-modelled, and the “African” is presented as an exploration of a range of stereotypes of “the Other”, and likewise the idea of “China” is not to be confused with a particular nation but extends to more general concepts of “another place”, “somewhere else”, “far away” etc. Humour, absurdity and a subtle irony melt down within a geopolitical account of different realities, generating beau-tiful and haunting images. In all its disparate mediations Tiong Ang”s work can be witnessed as a portrayal and celebration of modern day angst and confusion. The presentation comprises of paintings, photographs and videos selected from the two original installations and new images from the archives.
WEBSITE
www.rewind147.com
PHONE
+1 917 327 3580
CONTACT NAME
Florence Lynch
REPRESENTED ARTISTS
Carolina Raquel AntichRaffi AsdourianCarlo FerrarisSteven RoseGabriele StellbaumJeanne Susplugas
COVER
Tiong AngModels for (the) People2008Project for 7th Shanghai Biennale Production still
INSIDE
Tiong AngOne Man2012C-Print39 × 59 cm
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RICA: JORGE DÍAZ-TORRESThings as they are is the perspective we encounter as we appreciate Jorge Díaz-Torres’ work. This artist is known for his sculptures made with materials such as papier-mâché, ceramic and PVC, representing real objects with dramatic distor-tions and fragments of public space experience. Díaz-Torres works with the outside space and picks it up with a constructive gesture.
Diaz-Torres presents work at VOLTA NY that belong to three different series. His recent work, Sudden Impact is a documentation of experiences that leave a mark on the city. Guardrails used to divide street lanes or create a perimeter for traffic are copied directly after been hit in car accidents. The result from this gesture is a sculpture showing the true and anonymous incident of somebody in the streets. In City Rock, the artist continues documenting stories of public space by representing a detail of another incident in which someone has stolen the tires of a car and leaves it on top of rocks and blocks. Anti-scavenger, on the other hand, makes visible the sense of insecurity for having the need of protecting these objects, such as an ice refrigerator, gas tanks and even security cameras. These objects determine the na-ture of the urban space; Referring that this is an anthropological study of certain areas of the city where the sense of security is poor or non-existent.
Jorge Díaz-Torres (b. 1974, San Juan) earned his BFA hon. in Sculpture from theEs-cuela de Arts Plasticas in San Juan, P.R. in 2010. Among his participation in group exhibitions are the Muestra Nacional de Artes Plásticas, 2009 and in 2010 at Galería Christopher Paschall in Bogotá, Colombia. His recent solo exhibitions have been at the CIRCA Art Fair 2010, Impulse at the Pulse Miami Art Fair 2010, in which he earned the Pulse Prize and Sudden Impact at the Museo de Arte de Puerto Rico in 2011. His most recent solo show will be at the Museo de Arte de Ponce with Art in response in September 2012.
WEBSITE
www.ricathegallery.com
CELL
+1 787 697 1300
CONTACT NAME
Roberto J. Nieves-Robles
REPRESENTED ARTISTS
Alex RodriguezFernando Pareja & Leidy ChavezJason MenaOmar VelazquezRoberto MarquezVictor Sosa
COVER
Jorge Díaz-TorresSudden Impact2011Papier-mâché, Wood, Acrylic & Enamel15 × 264 × 72 inch
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Jorge Díaz-TorresAnti-Scavenger2010PVC, Ceramic, Spray paint, Steel, Matt board, Laminated wood, Electrical tape68 × 58 × 35 inch
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Jorge Díaz-TorresCity Rock2011Papier-mâché, Ceramic, Plexiglas, Urethane & Spray paint82 × 22 × 108 inch
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GALERIE STEFAN RÖPKE: JASON GRINGLER My current practice is based on the limitations of specific materials. I use Plexiglas as a starting point for building on the history of abstraction, and although abstrac-tion is a relatively young form, it is still burdened by the historic weight of painting, classical or otherwise. I use only a small Plexi knife to produce very limited shapes. This simple and focused constraint forces my practice out of my habitual attempts at art making.
Some recent thoughts about my work revolve around cultivating an aesthetic of vio-lence as a formal device in my studio practice. This idea has historical roots in artists such as Steven Parrino and Angela de la Cruz. But where Parrino and De La Cruz transform the physical destruction of an object in to formal painting and sculpture, I translate the gesture of destruction in to a highly formal simulacrum of violence.
Plexiglas is reflective; the coupling of Plexiglas with broken mirrors allows the ar-chitecture (and viewer) from any space to become integrated with the work. The fragmented mirror acts simultaneously as a window as well as a painterly device. I have chosen a material that I find to be the antithesis of what painting tradition-ally represents.
The work invariably begins with construction. I use the Brooklyn industrial environ-ment as source material for the development of structures and language within my painting practice. I find that there is a moment between looking and registry, be-tween the recognition of an object’s existence, and the recognition of the associa-tions that object holds; it is in this moment of flux that I experience the most affect-ing changes applicable to my work.
A secondary but equally important part of my practice involves the cannibalization of my larger works. Digital inkjet prints of the Plexiglas works are cut and remixed to create small collage pieces, which become the basis for new large scale works with Plexiglas. I tend to copy myself in order to exhaust a particular composition that interests me. The source and the result simultaneously become the same and not the same. The original becomes lost as the language moves in a cyclical fashion.
This allows for ongoing and evolving production within very specific parameters.
by Jason Gringler
WEBSITE
www.galerie-roepke.de
PHONE
+49 221 255 559
CONTACT NAMES
Stefan RöpkeAlejandro Zaluskowski
REPRESENTED ARTISTS
Jordi AlcarazEdward BurtynskyAleksander DuravcevicSharon HarperRobert MapplethorpeMax NeumannJulie OppermannAitor OrtizBernardí RoigKeisuke Shirota
COVER
Jason Gringler Untitled (tim-hecker)2011Mixed media on plexi and mirror48 × 42 inch
INSIDE
Studio View2011
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TYLER ROLLINS: ARAYA RASDJARMREARNSOOKAraya Rasdjarmrearnsook is universally recognized as one of the leading video art-ists from Southeast Asia. Her works have a meditative, ritualistic quality, and—like many of humanity’s important rituals—they are often focused on the idea of com-munication between different realms. Her earlier works, for example, have explored the connection between the living and the dead, between the insane and “normal” people, and between humans and animals. Over the past several years, Araya has focused on art itself and the way the viewer interacts with a work of art. In the vid-eos she presents in our booth, Araya has placed framed reproductions of iconic Western artworks in settings that are radically different from the art museum—spe-cifically in rural villages, markets, and Buddhist temples in Thailand, where she films groups of farmers or working class people discussing the artworks. These videos show the meeting of two different worlds: “high art” and everyday life; the person-al and private spheres; elite vs. mass culture; art and commerce; East and West. While issues of class and cultural differences, exoticization of the “other,” etc., are invoked, these videos also convey a sense of curiosity, humor, and joy that empha-size a common humanity.
Araya’s work has been featured in biennials around the world. She represented her native Thailand at the Venice Biennale (2005) and was featured in the Sydney Bien-nale (2010 and 1996), the Nanjing Biennale (2010), the International Video Art Bien-nial in Tel Aviv (2010), the Ural Industrial Biennale of Contemporary Art (2010), the Incheon Women Artists Biennale (2009), the Taipei Biennial (2006), the Gwangju Biennale (2006), the Carnegie International (2005), the International Istanbul Bien-nial (2003), the Johannesburg Biennial (1995), and the Asia Pacific Triennial (1993). She was an artist-in-residence at Artpace, San Antonio (1998 –1999). Her works have been shown in numerous international museum exhibitions on five continents, including the groundbreaking exhibition, Traditions/Tensions: Contemporary Art in Asia, organized by the Asia Society in New York (1996). In 2011 alone, her work was featured in group exhibitions at the Zentrum für Kunst, Karlsruhe, Germany; the National Museum of Art, Osaka, Japan; the Musée de l’Objet, Blois, France; the Changwon Asian Art Festival, Gyeongnam, South Korea; the Sørlandets Kunstmu-seum, Kristiansand, Norway; MDE11, Medellin, Colombia; and the Singapore Art Museum. Later this year, the Walters Art Museum, Baltimore, will present Araya’s first solo exhibition in a US museum.
WEBSITE
www.trfineart.com
PHONE
+1 212 229 9100
CELL
+1 917 923 7982
CONTACT NAMES
Nicholas CohnTyler Rollins
REPRESENTED ARTISTS
Tiffany ChungFX HarsonoTracey MoffattManuel OcampoJimmy OngSopheap PichPinaree SanpitakJakkai SiributrAgus SuwageRonald Ventura
COVER
Araya RasdjarmrearnsookMillet’s The Gleaners and the Thai Farmers (detail)2008Single channel video15 minutes
INSIDE
Araya RasdjarmrearnsookVillage and Elsewhere: Jeff Koons’ Wolfman in Pakoitai Market and Sunday Market2011Single channel video
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Araya RasdjarmrearnsookVillage and Elsewhere: Artemisia Gentileschi’s Judith Beheading Holofernes, Jeff Koons’ Untitled, and Thai Villagers2011Single channel video19:40 minutes
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Araya RasdjarmrearnsookManet’s Luncheon on the Grass and the Thai Villagers2008Single channel video16 minutes
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GALERIE RÖMERAPOTHEKE: JANA GUNSTHEIMERWhat immediately strikes you about Jana Gunstheimer’s work is the amazing variety of artistic media, from drawings, paintings and photographs to huge installations, including fictitious “frame narratives”, which the artist combines into coherent to-tal concepts. She creates visual narratives, not to shake our belief in reality, but to open the eyes of the viewer to reality. Occasionally provocative and dark, her works are often spiced with a pinch of humour. Far from being simple, beautiful pictures, Jana Gunstheimer’s creations are multi-layered works of art addressing social and political issues.
WEBSITE
www.roemerapotheke.ch
PHONE
+41 43 317 1780
CONTACT NAME
Philippe Rey
REPRESENTED ARTISTS
Marcin CienskiMarcel GählerDavid HareFlorian HeinkeVera Ida MüllerDieter RothCaro SuerkemperJörn VanhöfenJudit VilligerChristian Weihrauch
COVER
Jana GunstheimerNiedere Gebiete2011Graphite on paper60 × 50 cm
INSIDE
Jana GunstheimerNiedere Gebiete2011Graphite on paper50 × 71 cm
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Jana GunstheimerMethoden der Zerstörung2011Graphite on paper
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SAMSØN: MATT RICH“My paintings get rid of the canvas and its hired muscle, the stretcher bar. In their collaged construction, paper is flexible and malleable both as surface and structure. Paint is a literal material with weight, elasticity, volume—properties typically aligned with sculpture and three-dimensional space. These pieces hang irregularly, almost quilt-like, on the wall, achieving a wholeness that is at once finished and yet irrevo-cably piecemeal. They posit a version of flatness that is experiential and in tension.”
by Matt Rich, November, 2011
Matt Rich (b. 1976, Boston, MA) currently has his second solo with Samsøn on view. In 2010, he was a finalist for the James and Audrey Foster Prize at the Institute of Contemporary Art, Boston. His first solo with Samsøn, IRE & ICE, was selected as one of the top ten exhibitions of 2009 by the Boston Globe. His work has been reviewed by ArtForum and Art Papers. He recently was commissioned to create a print for Ningyo Editions which was acquired for the collection of the Massachu-setts Institute of Technology.
WEBSITE
samsonprojects.com
PHONE
+1 617 357 7177
CELL
+1 917 494 5411
CONTACT NAME
Camilo Alvarez
REPRESENTED ARTISTS
Nicole CherubiniDavis CherubiniCraig DrennenJeffrey GibsonSteve LockeGabriel MartinezRune OlsenTodd PavliskoSuzannah SinclairSummer Wheat
COVER
Matt RichCross2010Latex, acrylic and spray paint on cut paper111 × 55 inch / 282 × 140 cm
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Matt RichSlash2010Latex and spray paint on cut paper and linen tape38,5 × 41 inch / 99 × 104 cm
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Matt RichAmpersand2011Latex, acrylic and spray paint on laminated paper86 × 73 inch / 200 × 180 cm
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SCHUEBBE PROJECTS: CARL EMANUEL WOLFFCarl Emanuel Wolff’s sculptures and installations focus on the question of the place of the ideological and the factual in contemporary art. The modernist striving for au-tonomy has apparently liberated the work of art from its utilitarian function, as well as from its mediating purposes, such as those of court and church. Since this pro-cess began, the responsibility for defining art and providing its basis of legitimation has increasingly been assumed by philosophy, aesthetic theory and criticism. How-ever, the supposed free space of art, institutionalized by the museums and public collections, is not a space of disinterested contemplation; instead, it is becoming a kind of ghetto, a sealed-off area in which the artwork, neutralized by exhibition, is reduced to a commodity whose selection, presentation and production are entirely governed by the laws of the market.
Wolff displays his works in mundane places, outside traditional exhibition contexts—not just for the sake of using alternative settings, but as a means of exploring and radically questioning the ways in which the museum, and the everyday world, allow the artwork to be seen: complementing and integrating it, or suspending its effect. The artist uses places and situations in which the individuality of the goods on dis-play creates an aesthetic “surplus” which appears identical to that of the artwork. The cigar, for example—the product of a sophisticated culture of smoking—serves as an artificial form or an art form in which content and image coincide, but which preserves the directness of sensuous perception, instead of imposing determinate meanings and interpretations. The same applies in the use of the fairytale or the game of snooker. Wolff’s works establish open structures in which the conditions of perception depend directly on the willingness of viewers to engage with the work and complement it through personal involvement.
This approach, whose origins lie in Romantic art criticism, is rendered all the more provocative and significant by the prevalent tendency to invert the perception of art and the work, placing it within a hermetic circle that provides enigmatic critical justifications for art which is in fact wholly subordinate to the logic of the market. The seemingly fictitious reality of the art work is shot through with strands of desire. Where it impinges on the reality of everyday life, or vice versa, the artificial divisions become transparent and permeable; in the work of Carl Emanuel Wolff, therefore, the arbitrary demarcations between art and life are dissolved and exactly inverted. Here, art becomes real and effective, to the extent that reality is recognized as an imaginary construction, entirely ruled by fictions.
by Karin Stempel
WEBSITE
www.schuebbeprojects.com
PHONE
+49 211 328 985
CELL
+49 171 272 6063
CONTACT NAME
Christa Schuebbe
REPRESENTED ARTISTS
Per AdolfsenYukako AndoFranz BurkardtNashun NashunbatuMalte RenzChristian SchoelerTianhong ShengZhou Yunxia
COVER
Carl Emanuel WolffGolfplayer2006Steel, Firecrackers190 × 60 × 40 cm
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Carl Emanuel WolffKnallertier II2005Steel, Firecrackers265 × 170 × 80 cm
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GALLERY SIMON: SHIN IL K IMShin Il Kim is interested in obscuring the borders of categories set by humans. This idea is well expressed through such media as videos, pressed line drawings, and sculptures comprising letters and characters. His videos mostly express images as lights, and by doing so tear down the boundary of each image. His colorless drawings pull down ideational preconceptions that we have about colors. His letter sculptures project vague limitations derived from the categorization processes of language that refer to things or emotions.
Kim graduated from the Department of Sculpture of the Seoul National University College of Fine Arts and majored in media arts at the School of Visual Arts in New York. His works were exhibited at the Singapore Biennale 2006 and the fifth Seoul International Media Art Biennale, also known as the Media City Seoul 2008. His works are in the collections of the Gyeonggi Museum of Modern Art, the Kim Chong Yung Museum, the Queens Museum of Art of New York, and the New York New Museum of Contemporary Art among others.
Gallery Simon, founded in 1994, has been at the forefront in representing the most current and significant tendencies in Korean and international contemporary art. Since its establishment, the gallery continues to preserve the aesthetic quality of contemporary artwork. Also, the gallery remains to play an important role in pro-moting Korean artists as well as raising Korean art audience’s awareness of the international art scene.
As part of Gallery Simon’s ongoing goal, we encourage artists‘ active participa-tion in exhibitions while discovering young artists with new vision. To remain as the foremost foundation of its field, Gallery Simon continuously work as a mediator be-tween artists and collectors in Korea and overseas. It seeks for renowned artworks to be shown to a variety of audiences. Gallery Simon will strive to become the most prolific gallery in Korea.
WEBSITE
www.gallerysimon.com
PHONE
+82 2 549 3031
CELL
+82 10 3798 7599
CONTACT NAME
Young Bin Kim
REPRESENTED ARTISTS
Sun-Myoung ChoiHae-sun HwangAiran KangJa-young KuJoohyun KimSowon KwonYong-Rae KwonSang-Kyoon NohBeom MoonKa-lim Yoon
COVER
Shin Il KimDrawing the Beauty (detail)2010Pressed line drawing on transparent Polycarbonate, Epoxy55 × 77 cm
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Shin Il KimTemporal Continuum Intuitively Known Élan vital Operates Emptiness2010Hand-cut epoxy, polystyrene, video projector, DVD player114 × 205 × 20,5 cm
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Shin Il KimDividing Space (Dividing Space, Holding Air, As It Is, Thus Come)2011Wire-cut Aluminum, anodized in white111,5 × 18,7 × 16,5 cm
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SLAG GALLERY: DUMITRU GORZOART IS PERSONAL IS POLITICALIn his works, Gorzo takes the visual game for aesthetic and artistic experience to the extreme by expanding it to include individual personal and political positioning. Not shying away from issues of great controversy in his native Romania and Europe, he disallows a euphemistic look at his presentations.
Gorzo’s artistic approach mirrors his reflective ingenuity, in that it has been both experimental and classic—be it working in large-scale painting experimenting with base coats in oil paintings as he did for the 11th Istanbul Biennale, in extensive installation or sensitive works on paper. His deceptively simple drawings of what he calls “demons” represent an intimate diary in which he indulges his inner whims.
His recent work series “HEADS” draws from such an exploration; however, carry-ing it further in investigating the actuality of what strikes the viewer as avant-garde approaches to expression. The crucial question emerges as to what extent trans-atlantic reception of art itself has lost nothing of its power in the process of cultural self-perception. Where they may appear as merely straight-forward, such whims demonstrate the amount of trust he musters, and requires, for the task of transport-ing personal references into an exhibition context.
His conceptual sincerity is no more on display than when he dedicates his works to an unconditional plea for prioritized discursive desire. In the epilogue of his huge 2006 MNAC show’s catalog in Bucharest, he says about himself that he was post-illuminist rather than post-feminist, a statement to which his work soundly attests: Settling the question as to the disparity between intuitive and discursive discovery.
by Benjamin D. Fellmann (Senior Editor of DARE Magazine)
WEBSITE
www.slaggallery.com
PHONE
+1 212 967 9818
CELL
+1 917 977 1848
CONTACT NAME
Irina Protopopescu
REPRESENTED ARTISTS
George AnghelescuMax DunlopIoana JoaDio MendozaSerkan OzkayaNaomi Safran-HonMircea SuciuErik SwansonSergiu TomaStefan Ungureanu
COVER
Dumitru GorzoHEAD III2011Acrylic and watercolor on paper81 × 42 inch
INSIDE
Dumitru GorzoHEAD I2011Acrylic and watercolor on plywood96 × 48 inch
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Dumitru GorzoHEAD II (detail)2011Acrylic and watercolor on paper78 × 42 inch
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SPECTA: PETER HOLST HENCKELPeter Holst Henckel places his artistic practice in the cross-field between aesthetics, politics and poetry. Often the works balance on the narrow line between a simple, lucid expression and a conceptually dense complex of meaning. The immediate, aesthetically attractive expression is intended as an open invitation to the observer to interact with the work and to contribute to the production of its meaning. To Peter Holst Henckel, there is no contradiction between form and content, aesthetics and meaning; on the contrary, the formal and social dimensions of the work continu-ously reflect each other, thereby creating new configurations, new meanings and new questions. Among other things, the encounter with the works invites its viewers to reflect on the relationship between aesthetics and its historical/political context.
Inherent in this is the recognition that art is not an isolated world in itself, but rather one of many ways of being in the world—of understanding and relating to the world. Art becomes an interface between ourselves and the world around us. In the same way that the interface of a computer establishes a common language between the computer’s binary codes and us as users, art can create a common space which enables us to be in and relate to our common reality, in all its aspects—as a trans-lation of individual problems into common questions.
SPECTA represents a selected group of Scandinavian and International artists. SPECTA focuses on artists working persistently with their individual artistic posi-tion, involving a conceptual approach to topic or genre and an original use of media and material. The gallery arranges six to seven exhibitions per year, solo as well as curated group shows, presenting a large variety of media, including photography, sculpture, painting, installation, video, sound and drawing.
WEBSITE
www.specta.dk
PHONE
+45 3313 0123
CELL
+45 2041 6733+45 2963 5594
CONTACT NAMES
Else JohannesenGitte Johannesen
REPRESENTED ARTISTS
Thordis AdalsteinsdottirLars ArrheniusMaj-Britt BoaEva Steen ChristensenEllen HyllemoseJette Hye Jin MortensenNina SaundersAndreas SchulenburgDaniel SvarreSvend-Allan Sørensen
COVER
Peter Holst HenckelIt’s About Time (Tick Tock)2010Wall installation; TV, wire, video 5:35, ed. 2Dimensions variable
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Peter Holst HenckelIt’s About Time (Waltz in D Flat Major)2010Lambda photography, ed. 3(Detai l )
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Installation view from VOLTA7, Basel2011
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STEDEFREUND: MARLENA KUDLICKAIn Marlena Kudlicka’s work, the objects are constructed on an underlying basis of counterpoints. The elements function on the verge of stability, creating a certain structure of dependency and irrationality. In dealing with space, the artist treats a given place like a canvas where weight, volume, colors, contours and edges are distributed across one continuum. The manner of display can be visually likened to the punctuation in a sentence.
Kudlicka continues her interest in peripheral space and its incompleteness: holes, fragments, abandoned sites. While examining the aspects of such sites, she is in-terested how fragility activates space. For the artist, fragility indicates a chance to reconsider the whole in relation to its history, the past and the present. Like incom-pleteness, fragility acts as a counterpoint and is crucial to making space “complete”.
Kudlicka uses quotes and elements of the avant-garde and re-evaluates their con-temporary relevance. By doing so, she combines “high” material such as polished steel with “low” materials such as MDF, concrete, bitumen, roofing paper, wire, glass enamel. Her installations thus combine constructivist elegance with a certain DIY gesture.
Marlena Kudlicka’s (b. 1973, Poznan) work has been the subject of solo shows around New York, Germany and Poland, and has also featured in numerous group shows.
She has participated in residency programs at Swing Space LMCC NYC 2008/09; International Studio & Curatorial Program NYC 2007/08; Akademie Schloss Solitude Stuttgart 2003/05; Location One NYC 2004/05; Art Omi NY 2003.
Kudlicka received following grants: A. Mickiewicz Insitute PL 2010; Narodowe Cen-trum Kultury PL for ISCP NYC 2007/2008; Trust For Mutual Understanding New York 2004/2005; Akademie Schloss Solitude Stuttgart 2003 – 2004; Alfred Jurzykowski Foundation New York 2003
Stedefreund is a project by 12 Berlin artists who share the vision of a space used as a central hub for thematic and spatial interventions.
WEBSITE
www.stedefreund-berlin.de
CELL (ANNE FÄSER)
+49 162 2488 641
CELL (ANNE GATHMANN)
+49 157 8562 9843
CONTACT NAMES
Anne FäserAnne Gathmann
REPRESENTED ARTISTS
Stefka AmmonNicole DegenhardtAnne GathmannKerstin GottschalkRebecca MichaelisUta PäffgenMarcel PrufertKatja PudorAlexandra Schumacher
COVER
Marlena Kudlickaconfidential confessions2011Vertical object: steel, wire, wood, enamel200 × 165 × 8 cm
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Marlena KudlickaArcheology of Hole. Creating an Archive2011Steel powder coated, glass, plaster, enamelSite specific installation
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Marlena Kudlickaone more than 1o (detail)2010Steel, empty plaster ball, wire, glass, wooden ball with steel, enamel, acrylic500 × 600 × 200 cm
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HEIKE STRELOW: ÖZLEM GÜNYOL & MUSTAFA KUNTIn their works the artists concentrate on the interrelation between identity and so-cial political systems and structures, as well as the constructions of social crite-ria like dignity and justice. They question the inner structure of cultural codes and constructions such as national identity and borderlines. The works show a precise composition of abstract and representational forms defined by an interplay of the visible and the invisible. The Turkish artist couple is influenced by minimal art as well as the structuralist issues of sign, meaning and entity. They transfer art’s im-manent questions into the field of politics, and vice versa. They confront the viewer with current issues of our societies in a way that is open for different interpretations, but on the other hand forces the viewer to take their own stand.
Günyol & Kunt, who both studied at the well-known Städel School in Frankfurt, Germany, have shown their work at the Istanbul Biennial 2011, Istanbul,Turkey, the International Triennial of Contemporary Art, Izmir, Turkey, the Museum for Modern Art, Frankfurt, Germany. Recently they participated in the Artist in Residence pro-gram at the Temple Bar Dublin, Ireland and the New York Residency of Schloss Balmoral, Germany.
GALERIE HEIKE STRELOWThe gallery originally focused on positions which are redefining the meaning of na-ture and landscape and the relevance of human, body and environment. It’s not limited to natural and geographic areas but includes cultural, medial or physical landscapes. Furthermore, the presented artists build a thread from social construc-tions to art related questions within the public as well as to the examination of the individual in political relations. Thereby the gallery keeps on working with artists that have dealt with socially relevant questions since the 1970s, but nevertheless focuses on contemporary positions.
WEBSITE
www.galerieheikestrelow.de
PHONE
+49 694 800 5440
CELL
+49 172 676 9613
CONTACT NAME
Heike Strelow
REPRESENTED ARTISTS
Fides BeckerNin BrudermannMarco EvaristtiJáchym FleigJavier HinojosaMathias KesslerAstrid KorntheuerGerhard MantzIgor Sacharow-RossKatrin Ströbel
COVER
Özlem Günyol & Mustafa KuntSuspicious Activities2011Print on paperDimensions variable
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Özlem Günyol & Mustafa KuntState Paintings (from a series of 25 pieces)2008Inkjet print on cotton paper39,6 × 28,7 cm each
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Özlem Günyol & Mustafa KuntPersuation Exercices (detail)2011Print on paper18 prints, 70 × 60 cm each
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SUTTON GALLERY: STEPHEN BUSHStephen Bush is an established, highly respected Australian painter whose prac-tice over recent years has spanned from his masterful repeated portrayal of Babar the Elephant, to large scale works of drips, swirls and pours of free-flowing paint seeping throughout alpine vistas. Bush presents a seductive contrast in the pictorial realism of foreground motifs such as log cabins, beehives, potbelly stoves and lone wondering figures, against freeform pours of glossy oil and enamel.
Colonial figures reminiscent of his earlier paintings reappear in his current body of work. There is a fluidity of these figures coming in: they frolic, saunter, charting these new lands, circumnavigating vivid terrains, or welding and tending a non-existent apiary. These scenes are free from overbearing narrative and it is the “unexplainable” about the inhabitants that drives the artist, which is extrapolated further when these colonial explorers are depicted as characterizations of himself.
Bush has exhibited extensively in Australia and the USA since 1984. Highlights in-clude participation in Future Tense: Reshaping the landscape, Neuberger Museum, NY; major solo exhibition SITE Santa Fe, 2007 and a survey exhibition at The Ian Potter Museum, University of Melbourne, 2003. Bush’s works are held in all Aus-tralia’s major collecting institutions, and numerous prestigious private collections including the Michael Buxton Collection, Melbourne; BHP Billiton, Melbourne; Wes-farmers Collection, Perth, Western Mining, Melbourne, the Commonwealth Bank Collection, Sydney, and also the Museum of Old & New Art (MONA), Hobart. He is the only resident Australian painter featured in Phaidon’s current major publication Vitamin P2: New Perspectives in Painting. Stephen Bush takes up the prestigious Green Street Studio Residency, New York, January through to March 2012.
WEBSITE
www.suttongallery.com.au
PHONE
+61 394 160 727
CELL
+61 433 762 116
CONTACT NAMES
Irene SuttonElizabeth McDowell
REPRESENTED ARTISTS
Gordon BennettAleks DankoElizabeth GowerRaafat IshakNicholas ManganRosslynd PiggottPeter RobinsonDavid RosetzkyJackson SlatterySimon Terrill
COVER
Stephen BushDelivering Pinus Mugo2010Oil and enamel on linen79 × 122 inch
INSIDE
Stephen BushRhodamine Mabel Bungaara2011Oil and enamel on linen48 × 39 inch
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Stephen BushThe Lure of Paris No.222002Oil on linen72 × 72 inch
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J IR I SVESTKA GALLERY: ANDREJ DUBRAVSKYAndrej Dubravsky (b. 1987, Slovakia) represents the very young scene of the for-mer socialist country. He is still studying at the Academy of Fine Arts and Design in Bratislava and is now mostly working in painting, dominated by unorthodox themes like self-gratification, homosexuality or intergenerational relationships. Taking his inspiration from old masters and actual social issues, his artistic gesture is subor-dinated to the acute need to find the right expression for the variety of feelings and (bittersweet) self-experiences of growing up.
Mainly centered on the male body, his artistic interests match with the up-to-date rules of popular culture: narcissistic self-presentation and inquiries of the own iden-tity. Dubravsky’s ultimate fetish is the bunny-mask, which he applies to a variety of portrayed persons, integrating them this way into his own world, which is dominated by the principle of pleasure and pain. Inspired by the myths of gay subculture, his playful bunny-dreaming transcends into a personal symbol, that makes each of his paintings complete. Becoming increasingly dominant, it takes a central position in the artist’s self-projection process, which transforms each of his paintings into a sort of self-portrait.
J IRI SVESTKA GALLERY AND JIRI SVESTKA BERLINThe Jiri Svestka Gallery was established in 1995 by the art historian and curator Jiri Svestka, becoming the leading gallery in the Czech Republic.
Its mission in Prague is to introduce young Czech, Slovak and East European art-ists to the international audience. The Jiri Svestka Gallery is acting at the edge of the art world and does pioneering work on this field, not only in the Czech Repub-lic, but also in the larger region of Central and Eastern Europe. Besides exhibitions, the gallery also organizes performances, lectures and discussions with artists. This program contributes to the development of art and the art market in this region. Therefore the profile of the gallery is not only concentrated on young artists, but also, especially in the case of foreign artists, on the older generation.
In September 2009 a new branch, Jiri Svestka Berlin, opened in the thriving gal-lery district on Potsdamer Strasse. Jiri Svestka Berlin also focuses on Centre- and Eastern European artists. Here we are picking up new discoveries as well as historic positions from the beginning of the 20th century.
WEBSITE
www.jirisvestka.com
PHONE
+42 022 231 1092+49 303 472 7642
CELL
+42 060 236 7601
CONTACT NAME
Jiri Svestka
REPRESENTED ARTISTS
Stefan à WengenAdela BabanovaPetra FeriancovaDan GrahamJitka HanzlovaKristof KinteraPetra Mala MillerIoana NemesMarketa OthovaKatarina Poliacikova
COVER
Andrej DubravskyMurky Wood (detail)2012Acrylic and oil on canvas190 × 130 cm
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Andrej DubravskyFour (detail)2011Acrylic on canvas190 × 130 cm
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Andrej DubravskyCarnival 98 (detail)2012Acrylic on canvas190 × 103 cm
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Andrej DubravskyDiet2012Acrylic on canvas100 × 80 cm
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FREDERIEKE TAYLOR: RAQUEL MAULWURFWhile Raquel Maulwurf’s previous work dealt with the remnants and destruction of war, her new work captures our world’s chaos when hit by the forces of nature and ecological disasters; exploring the notion of whether nature is striking back at us for polluting its oceans, poisoning its air, burning down forests and turning the ground we walk on into radioactive wasteland.
Making something evocative and beautiful from horrific events, these images, both destructive and monumental, are manipulated in such a way that only the essence of the event remains. The drawings no longer show what we see, but that which we know, making current events tangible, posing the question of why mankind is so eager to destroy.
Drawing on thicker board allows the artist to brutalize the surface with sharp ob-jects; depicting violence through violence by scratching, the artist is materializing destruction in both subject and process.
BIORaquel Maulwurf (b.1975, Madrid) lives and works in Amsterdam, The Netherlands. She studied at the Art Academy of Arnhem and the SAE International Technology College Amsterdam (multimedia). The artist has had a major solo exhibition with catalog at The Stedelijk Museum Schiedam in Holland. Her works have also been included in numerous international group museum exhibitions including Museo del Sannio Rocca dei Rettori, Italy, Musée d’Art Moderne et d’Art Contemporain, Bel-gium, Lahti Art Museum, Finland and the CODA Museum in Holland.
The artist’s works are included in prominent public collections including: the Ge-meentemuseum The Hague, the Prefectural Art Museum Nagasaki, Bonnefanten Mu-seum Maastricht, Stedelijk Museum Schiedam, Museum van Bommel van Dam Venlo, Ministry of Foreign Affairs The Hague: Consulate-General New York, Erasmus Univer-sity Rotterdam Art Collection and Progressive Art Collection, Columbus, Ohio. Her work is included in many private collections both in the United States and Europe.
WEBSITE
www.frederieketaylorgallery.com
PHONE
+1 646 230 0992
CELL
+1 917 402 4881
CONTACT NAME
Frederieke Taylor
REPRESENTED ARTISTS
Antenna DesignOlive AyhensLong-Bin ChenMel Chin[dNASAb]Jackie FerraraJulie LangsamMary LumKirsten NelsonChristy Rupp
COVER
Raquel MaulwurfBlack sea II (detail)2011Charcoal/pastel on museum board153 × 263 cm / 60,2 × 103,5 inchPhotography: Bill Orcutt
INSIDE
Raquel MaulwurfBurning IX2011Charcoal/pastel on museum board153 × 264 cm / 60,2 × 103,9 inchPhotography: Peter Cox
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Raquel MaulwurfInto the Trees / Schlacht im Hürtgenwald 1944 – 19452009Site-specific wall drawing in charcoal on five walls at Frederieke Taylor Gallery, New YorkDimensions variablePhotography: Bill Orcutt
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VANE: KERSTIN DRECHSELKerstin Drechsel’s investigation of everyday culture, artistic production and individual taste is orientated towards the rhythms of popular music, film and daily occurrenc-es. From transvestites to sex club devotees, office workers to nuclear protestors, Drechsel captures intimate personal moments, of individuals or sub-culture groups expressing or identifying themselves through their clandestine rituals or in the spe-cific environments they create around themselves. Drechsel depicts her subjects’ everyday lives in all their oppressive reality, a reality that poignantly underlies their obsessions and aspirations.
Often working on series of several oil canvases and gouaches at a time, her work draws on images taken from the internet, magazines and books, as well as her own snapshots, all presented in a pale, colourful, fluid style, transforming them into an archive of constantly recycled wishes, dreams and memories. Captured and ad-opted motifs combine in her paintings with the vague promises of desire, fulfilment and adventure. The characters in Drechsel’s paintings—often of ambiguous sexual identity, denying the obvious pigeon-holing of gender stereotypes—are not look-ing for their next kick, but rather devote themselves, totally self-absorbed, to their pleasures and passions.
Kerstin Drechsel was born in Reinbek, Germany, in 1966, and lives in Berlin. Solo exhibitions include If you close the door, Vane, Newcastle (2012) and September, Berlin (2010), Jan-Holger, Vane, Newcastle (2008), and Mittelerde, September, Ber-lin (2007). Recent group exhibitions include those at Museo Internacional de Arte Contemporáneo, Lanzarote, Contemporary Art Society, London, Museum Ludwig, Cologne, and Cité Internationale des Arts, Paris. ‘Heat Storage Systems’, a mono-graph of the artist’s work with texts by Birgit Effinger, Jack Halberstam, Angela McRobbie, Jutta von Zitzewitz, and a forward by Dieta Sixt, was recently published by Hatje-Cantz.
WEBSITE
www.vane.org.uk
PHONE
+44 191 261 8281
CELL
+44 771 309 7852
CONTACT NAMES
Paul StoneChristopher Yeats
REPRESENTED ARTISTS
Héctor Arce-EspasasJorn EbnerMark Joshua EpsteinNick FoxNadia HebsonJock MooneyMichael MulvihillJosué PellotMorten ScheldeFlora Whiteley
COVER
Kerstin Drechsel‘If you close the door’ seriesInstallation view
INSIDE
Kerstin DrechselUntitled, from ‘If you close the door’ series2008 – 10Oil on canvas8,7 × 12 inch
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Kerstin DrechselNein, from ‘Daily Vol. 3’ series2011Gouache and watercolour on paper9,5 × 12,6 inch
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GALERIJA VARTAI : MINDAUGAS LUKOŠAIT ISMindaugas Lukošaitis invites the viewer to take an in-depth look at certain aspects of imagery, tendencies of human imagination, and strives to promote a responsible outlook on history. This investigation of visual constructs underscores a difficult yet well known topic. He uses a sketch-like manner in his drawings: the strokes are free and swift, yet acutely precise. His works are vibrant and energetic. Without any direct reference to archival material or photographs that would illustrate the topic, Lukošaitis substitutes documentary history with his own imagination.
“Ever since I was a child I was fascinated with the dream-like qualities of drawing. Through drawing I aim to discover the world in relation to myself, as opposed to es-caping the reality or looking for external fulfilment. For me drawing is comparative to meditation, a conversation or a dialogue.” (M.L.)
Born in Šiauliai, Lithuania, in 1980, Mindaugas Lukošaitis lives and works in Vilnius.
SELECTED EXHIBITIONSSão Paulo 26th Biennale (2004); Baltic Triennial of International Art, Vilnius (2005, 2009); Louisiana Museum of Modern Art, Humlebæk, Denmark (2005, 2011); Con-temporary Art Centre (CAC), Vilnius (2003, 2005, 2009, 2010); Kalmar Konstmu-seum, Sweden (2007); IBID Projects, Vilnius/London (2005, 2007); Galerie Rüdiger Schöttle, Munich (2006); Galerie Fons Welters, Amsterdam; Frankfurter Kunstver-ein; Stedelijk Museum Amsterdam; The Museum of Contemporary Art, Oslo (2005); BAK, Utrecht; Centraal Museum, Utrecht; Cultuurcentrum Strombeek Grimbergen, Belgium (2004); Biennale for Young Art, Moscow (2003).
SELECTED BIBLIOGRAPHY2 Show, CAC, Vilnius and Contemporary Art Museum, Riga (2003); Hajo Schiff: Ge-schichte der Ausstellung und Thesen des Kurators, Kunstforum (2004); V ITAMIN D—New Perspectives in Drawing, Phaidon (2005); Urban Stories The X Baltic Trien-nial of International Art, CAC, Vilnius (2009); Lithuanian Art 2000 – 2010: Ten Years, CAC, Vilnius (2010).
WEBSITE
www.galerijavartai.lt
PHONE
+37 052 122 949
CELL
+37 061 244 472
CONTACT NAMES
Laura RutkutėSalvinija Kirvaitienė
REPRESENTED ARTISTS
Ray BartkusJurga BarilaitėLaura GarbštienėUgnius GelgudaŽilvinas KempinasŽilvinas LandzbergasDomas NoreikaKaido OleAndrius Zakarauskas
COVER
Mindaugas LukošaitisHouse2007Pencil on paper34 × 24 inch / 86 × 61 cm
INSIDE
Mindaugas LukošaitisObject of Modern Art2011Pencil on paper8,3 × 11,4 inch / 21 × 29 cm
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Mindaugas LukošaitisBody2006Pencil on paper14,6 × 22 inch / 37 × 56 cm
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VIGO GALLERY: NEAL TAITIn Neal Tait’s paintings, images of everyday objects such as a piece of furniture or a birdhouse, are combined with ambiguous, embryonic forms that join together the uneasy space between physical reality and the subconscious mind. The result is an almost familiar world with an eerie dreamlike quality that impresses its unnerv-ing mood upon the viewer. Tait’s works are based on found materials, photographs and images from the media which he distorts through the manipulation of scale and colour. He strips away the original meaning from these commonplace objects and figures, and mutates them into pure, self-contained forms. Influences include Philipp Otto Runge, Fernand Léger, and the psychoanalytical developments of Henri Michaux and André Breton.
Tait was born in Edinburgh in 1965 and graduated from the Chelsea School of Art, and the Royal College of Art. Major solo exhibitions include Les Toits de Parise, White Cube (London, 2009) and Neal Tait: The Dressmaker Who Lived on The Outskirts, Tanya Bonakdar Gallery (New York, 2008).
In 2009, Tait’s paintings formed part of the Turps Banana group shows at the Gal-leria Marabini in Bologna and Milan. More recently, his works were included in Tate Britain’s seminal Watercolour exhibition (London, 2011), alongside examples by J.M.W. Turner, Anish Kapoor and Tracey Emin. He is represented in numerous pub-lic and private collections, including the Zabludowicz Collection and the Kunsthalle Mannheim in Germany.
VIGO GALLERYVigo Gallery was formed in 2011 by art dealer Thomas Williams and former FAS Contemporary director Toby Clarke. Since it’s opening, the gallery has exhibited En Face by Gavin Turk; new work by Leonardo Drew, winner of this year’s Joyce Al-exander Wein Prize; and The Whole Earth by acclaimed collaborative artists Emma Biggs and Matthew Collings. An innovative series of shows is scheduled for 2012, including California!: Bay Area Artists from the 1960s and 70’s, and a unique exhi-bition of paintings by Jason Martin hung alongside the works of Lucio Fontana, in the early autumn.
WEBSITE
www.vigogallery.com
PHONE
+44 207 491 1490
CONTACT NAME
Toby Clarke
REPRESENTED ARTISTS
Lars EllingHenry KrokatsisChe LovelaceOliver MarsdenZak OvéBiggs and CollingsHeywood and Condie
COVER
Neal TaitUntitled2011Oil on linen122 × 112 cm / 48 × 44 inch
INSIDE
Neal TaitThe way we try to do good, gone bad2009 – 2011Tempera and acrylic on canvas122 × 162 cm / 48 × 63 ¾ inch
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ALEJANDRA VON HARTZ: DAVID E. PETERSONDavid E. Peterson (b. 1979 USA) is an abstract rule-based painter whose subject matter is informed by Product / Graphic Design and Modern Architecture. He creates a new system of rules for the subject based on a first observation. Through creative deconstruction, he analyzes the aesthetics of the original piece and reconstructs them into a new composition. The end result is a precise Art Object with its own system of rules.
Order is the central imperative in David E. Peterson’s art. His system of rules chal-lenges the theory of entropy. His goal is that of non-entropy, completing every ar-tistic task with 100% accuracy. Peterson’s treatment of color follows suit. Although he uses a full range of color in his work, each is purposely pursued and pre-deter-mined so as to know how it will react with the others, before mixed and applied to the surface.
Peterson has exhibited his work throughout the United States and Europe. His work is included in the collections of the Museum of New Art (Detroit), Progressive Art Collection, The Related Group, amongst others. His work has been profiled on Forbes.com, CNN, and the Detroit Free Press. David holds a BFA from the Center for Creative Studies in Detroit, MI.
For his Solo Project at VOLTA NY 2012, David will be exhibiting work from both his Product and Puzzle Series.
WEBSITE
www.alejandravonhartz.net
PHONE
+1 305 438 0220
CELL
+1 305 322 6112+1 305 333 5376
CONTACT NAMES
Alejandra von HartzJuan von Hartz
REPRESENTED ARTISTS
Soledad AriasMarta ChilindronMatthew DelegetDanilo DueñasJaime GiliSilvana LacarraArtur LescherKarina PeisajovichPablo SiquierAna Tiscornia
COVER
David E. PetersonPlaid (Winter and Summer)Left panel2012Acrylic, mdf and uv resin38 × 58 × 3 inch
INSIDE
David E. PetersonJcrew Installation, Plaid (Winter and Summer), and Sock TableInstallation view (sketch)
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David E. PetersonPuzzle #92009Acrylic, mdf, birch and uv resin(1) 5 × 7 × 2 inch(2) 5 × 20 × 2 inch
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GALLERI JAN WALLMARK: MATS PEHRSONCONTEMPLATION We live in a time with great uncertainty, in our politics, our economic policies and relations with countries around the globe. What will the future bring?In this new series of paintings Mats Pehrson depicts people, contemplating in empty surroundings, alienated.In an anonymous environment, together but disconnected, there is the one common denominator—their shadow—the inseparable companion.His photographs of urban settings have been reduced in scale and erased of any reminder of city life. Replaced with painterly minimalistic settings, an unpredict-able future.
“Part poet, part journalist, Mats Pehrson looks at the world with an eye towards life’s contradictions. While he can paint sublimely lovely scenes, he sets out instead to capture the tensions that teem all around us. His talent as a painter imbues his works with a lush fullness and rich color tonality. And Pehrson’s understanding of pictorial space allows him to produce a striking sense of depth. While Pehrson may have strong social views, these are not message paintings; they are more riddles than aphorisms. This lack of resolve is by design. By granting room for individual interpretation, Pehrson seeks to “provide viewers with the opportunity to deepen their response” to a given subject. Seducing with cinematic splendor and painterly delight, Pehrson lures us towards a new appreciation of life’s complexity. His paintings remind us that experience itself is a collage of shifting fragments, held together by our own sense of beauty and order.”
Suzanne Ramljak is an art historian, writer, and curator.
Mats Pehrson lives and works both in New York City (studio in the Financial District, Manhattan) and in Stockholm, Sweden. Having exhibited heavily in Sweden, Pehrson is making an effort to show more of his work in the United States, as he has been inspired by New York City for more than 20 years.
WEBSITE
www.janwallmark.se
PHONE
+46 82 20 922
CELL
+46 707 141 810
CONTACT NAME
Jan Wallmark
REPRESENTED ARTISTS
Caroline Af UgglasLisbeth BoholmTorbjorn CalveroRobert HilmerssonPia LindenbaumAnders Wallin
COVER
Mats PehrsonCONTEMPLATION 12011Mixed media10 × 16 inch / 25 × 40 cm
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Mats PehrsonCONTEMPLATION 82011Mixed media10 × 16 inch / 25 × 40 cm
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Mats PehrsonCONTEMPLATION 42011Mixed media10 × 16 inch / 25 × 40 cm
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WHATIFTHEWORLD / GALLERY: ROWAN SMITHRowan Smith (b. 1983, Cape Town, South Africa) completed his BA in Fine Art at the Michaelis School of Fine Art in 2007, with a body of work for which he was named the top graduate. He has most recently shown in Circulate, Exchange at the Uni-versity of California Los Angeles. In 2008, Smith presented his debut solo show Future Shock Lost at Whatiftheworld to both critical and public acclaim. The artist was hailed as one of the country’s “Bright Young Things” in the continent’s leading art publication Art South Africa. In 2009, Smith presented his second solo show, If You Get Far Enough Away, You’ll Be On Your Way Home. He is currently complet-ing his MFA degree at the California Institute of the Arts.
POST CULTURE AND PERPETUAL TOURISMSouth Africa’s emergence from Apartheid in 1994 occurred in parallel to the digital revolution and the ubiquity of Internet culture. While this observation relies heavily on the economic constraints of any particular context, this digital meme as an ideology or modality far precedes the actual technology. Predominant symptoms of Internet culture and the digital age are the high-speed transfer of information and the shrink-ing of space. Often referred to under the blanket of globalization, this new set of cultural terms has given rise to the stretching out and thinning of cultural experience, and ultimately the disappearance of subcultures—at least in the Hebdigien sense.
Within a South African context, the simultaneous fall of Apartheid and rise of the Internet age has created a space within which the terms of culture and identity are in a constant state of redefinition. In his new body of work, Smith argues that this new set of cultural conditions forces one to experience culture in a state of perpetual tourism, like Lucy Lippard describes the tourist’s characteristics through seduction and hyperbole. Smith’s work approaches cultural experience and the movement of cultural signs through a centre-periphery and import-export relationship, in an at-tempt to renegotiate the terms of cultural space.
WEBSITE
www.whatiftheworld.com
PHONE
+27 21 802 3111
CELL
+27 76 422 2387
CONTACT NAMES
Ashleigh McLeanJustin Rhodes
REPRESENTED ARTISTS
Julia Rosa ClarkPeter EastmanPierre FouchéDan HalterTrasi HenenDaniella MooneyAndrzej NowickiCameron PlatterAthi-Patra RugaMichael Taylor
COVER
Rowan SmithDestroy All Speakers / Dubul’Ibunu (Ayesaba Amagwala) Version20128" speakers, wood, paper, amplifier, sound recordingDimensions variable
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Rowan SmithAd Inexplorata2009Cane, imbuia, walnut jelutong and acrylic on boardDimensions variable
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Rowan SmithThe Thrill of it All / Little Lies / The Misunderstanding2011Star Piano Co. upright piano30,3 × 29,9 × 14,6 inch
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STEVEN ZEVITAS GALLERY: ANDREW MASULLOIf any trend is now detectable in the constantly shifting world of contemporary art, it is the resurgence of abstract painting. For nearly three decades, Andrew Masullo has ignored art world trends and produced a highly personal body of work that seems more relevant than ever. In a way, it seems as if the art world has finally caught up with him.
Masullo’s hard-won paintings are notable for both their intimate scale and sophisti-cated use of color and composition. They are formed by what Masullo calls “good, old-fashioned trial and error, making mistakes and figuring things out along the way.” This way of working leaves some paintings unfinished for months or even years, with abandoned directions often visible in completed pieces. In his own words: “I’ve done my best to make paintings with no preconceived ideas or theories, no personal or outside references, no pictorial imagery, no agendas, and no gimmicks.”
Andrew Masullo’s paintings are currently on view in the Biennial at the Whitney Museum of American Art. His most recent solo shows have been at Steven Zevitas Gallery in Boston; Feature, Inc. in New York City; Daniel Weinberg Gallery in Los Angeles; Gallery Paule Anglim in San Francisco; and Texas Gallery in Houston. In 2011 he participated in twelve group exhibitions, including shows at Mitchell-Innes & Nash and Friedrich Petzel Gallery in New York City, and Rhona Hoffman Gallery in Chicago. In 2011 he was awarded a Fellowship from the John Simon Guggenheim Memorial Foundation.
WEBSITE
www.stevenzevitasgallery.com
PHONE
+1 617 778 5265
CELL
+1 617 834 8674
CONTACT NAMES
Steven ZevitasAndrew Katz
REPRESENTED ARTISTS
Chris BallantyneAstrid BowlbyMichael KruegerDavid X. LevinePeter OpheimJered SprecherTaravat TalepasandAnn ToebbeChuck Webster
COVER
Andrew Masullo5014 (detail)2008Oil on canvas16 × 20 inch
INSIDE
Andrew MasulloGallery Installation2011Steven Zevitas Gallery, Boston, MA
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Andrew Masullo52392010Oil on canvas16 × 20 inch
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Andrew Masullo52662010 – 11Oil on canvas24 × 20 inch
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ZIMMERMANN KRATOCHWILL: MARTIN KRENNMartin Krenn’s work “Memory in (Post-) Totalitarianism” is a photographic journey to various places of history. By virtue of monuments and cenotaphs, archives, mu-seums and memorials in Germany, Romania and Austria the evolution and alterna-tion of the representation of history is scrutinized. Furthermore, the significance of memorials, films and historical novels within the creation of a collective and cultural memory is analyzed. Over a one-and-a-half year long research period, the artist vis-its official and unofficial memorials and examines the various strategies of presen-tation and intermediation of history. Krenn avoids the equalization of crimes in the totalitarian communistic past and in fascism as well as Nazism. He investigates the dissimilarities and analogies and deals with the intermediation of fascistic history in communistic and post-communistic societies. Krenn is interested in the aftermaths of political ideologies on subsequent generations and the influence of a totalitarian past in the formation of new political territories.
In his 3-channel-audio-slide-projection “Memory in (Post-) Totalitarianism”, Martin Krenn incorporates film stills, book illustrations and screenshots and combines those with analog on-site photographs. The dialogues, spoken by actors, are based on interviews conducted with experts. Range and succession of photographs and texts build up a new narrative. By means of this meta-narrative the artistic approach, the artist’s position as interviewer and observer as well as complex history-politics of former political regimes are visualized.
The image-text-reference is continued in the photographic part of the project. The black and white photographs are expanded with text-shields to direct the viewer at hidden or invisible information, immanent in the venue.
Martin Krenn was born in Vienna in 1970 and currently lives and works in Vienna and Belfast. He works with different media such as photography, video and internet. In his work Martin Krenn examines and discusses sociopolitical topics.
WEBSITE
www.zimmermann-kratochwill.com
PHONE
+43 316 823 7540
CELL
+43 664 356 7788
CONTACT NAMES
Karl ZimmermannRudolf Kratochwill
REPRESENTED ARTISTS
Poklong AnadingLena CobangbangGaston DamagSofia GoscinskiDavid GriggsRobert LangeneggerOtto MuehlHermann NitschJayson OliveriaIsa Rosenberger
COVER
Martin KrennSecuritate Archives, Files Popesti-Leordeni (detail)2010/2011Black and white photography on paper, textshield102 × 136 cmEdition: 3
INSIDE
Martin KrennMemory in (Post-) TotalitarianismProjection still, Buchenwald Memorial2010/20113-channel-audio-slide installation, 27 minEdition: 3
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Martin KrennSecuritate Archives, Files Popesti-Leordeni2010/2011Black and white photography on paper, textshield102 × 136 cmEdition: 3
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ART/TREK NYCArt/Trek NYC is a five borough quest to discover emerging artists in the new cable TV series premiering on NYCLife (Channel 25). Traveling in the show’s signature mobile art gallery—a converted mobile home, nicknamed ArtV—host CJ Follini is joined by an art world luminary from each borough serving as guest hosts as they meet artists hopeful of breaking into New York City’s competitive art scene. Each artist creates an impromptu show in the ArtV and invites neighbors to view the work and share their opinions on camera. One of the five artists will be selected during a live filming at VOLTA NY 2012 to have their first ever solo gallery show under written by the show’s sponsor (described below) in the season finale.
Each of our Season One artists are stand outs in their mediums. Staten Island fea-tures photographer Nicholas Fevelo. Bronx artist Christopher Smith takes on multi-media projects with paint, video, and found objects. Photographer Allison Kaufman resides in Manhattan. Brooklyn brings us performing and video artist Edoheart. Meanwhile, installation duo Peacock, Chris Attenborough and Sean Naftel, hatch their plans in Queens.
Art/Trek NYC is brought to you by WelcometoCOMPANY.com, an online and offline community created for collectors, by collectors™ of emerging art. Our network pro-vides art enthusiasts with a one-stop home to satisfy their obsession. This includes: the Art/Trek NYC TV-show; a website to network & curated secondary market; and monthly members-only meetups known as The Collector Series™. Welcometo-COMPANY.com prides itself in discovering fresh, engaging artists, and sharing those artists with its members through multiple platforms such Art/Trek NYC and Limited Edition prints. Welcome to COMPANY!
PHONE
+1 212 929 8600
CONTACT NAME
CJ Follini
Hanna ChungMatt HeldYeji JunElektra KBLauren MatsumotoJazz-minh MooreMooreMelissa MurrayMelodie ProvenzanoRandal WilcoxAmy Wilson
COVER
Art/Trek NYC
INSIDE
Randal WilcoxSelf-Portrait as a Pair of Art-Collectors2011Water Color, Graphite, and Acrylic on Paper18 × 24 inch / 45 × 61 cm
RIGHT
Art/Trek NYCFeatured Artists and Co-Hosts
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ARTSPACE.COMArtspace is the premier online marketplace for contemporary art, offering collectors and aspiring collectors the opportunity to discover, learn about and collect art by top contemporary artists from the world’s leading museums, cultural institutions, galler-ies and, directly from artist’s studios. Membership to Artspace is free, prices start at $200 and every sale of artwork on the site supports an artist, cultural institution or non-profit organization. For more information, visit Artspace.com.
ASSUME VIVID ASTRO FOCUSassume vivid astro focus (avaf) is an artist duo made up of Eli Sudbrack and Chris-tophe Hamaide Pierson. Born in different parts of the world, sometime between the 20th and 21st centuries, the pair are nomads. Their explosive works are a chaotic, visually stimulating mash-up of references and have been exhibited at numerous international venues including the 2004 Whitney Biennial, the 2008 São Paulo Art Biennial, Deitch Projects in New York, and the Hiromi Yoshii Gallery in Tokyo, Japan. They are in the permanent collection of the Museum of Modern Art, New York. In just the last year, avaf was featured on the PBS series Art 21, produced a series of paintings and installations for Commes des Garçons, designed the facade and in-terior of the Galeria Melissa store in São Paulo, and worked with Lady Gaga to cre-ate the very original and eccentric Gaga’s Holiday Workshop at Barneys New York.
PETER DOIGPeter Doig’s paintings capture moments of the everyday with a dream-like tranquil-ity altered through the use of staining, dripping, stippling, and a vibrant range of electric, almost hallucinatory, colors. The artist began showing in pubs and bars in England in the early 1980s, catching the eye of mega-collector Charles Saatchi. In 1984, an exhibition of paintings held at Victoria Miro Gallery was short-listed for the prestigious Turner Prize. A major retrospective of Doig’s work was presented by Tate Britain in 2008.
STEVE MILLERMiller is an artist whose knowledge of visual culture and technology allows him to create works that are both densely intellectual and aesthetically beautiful. Trained by silkscreen printers who worked with Andy Warhol, and inspired by artists like Robert Rauschenberg who boldly mixed imagery in his work, Miller’s photographs and paint-ings are uniquely wrought examinations of the systems that constitute our world.
WEBSITE
www.artspace.com
PHONE
+1 212 675 5804
CONTACT NAME
Christopher Vroom
COVER
assume vivid astro focusamour vivacité ardeur fantaisie2011Print12 × 17 inch12 × 40 inch
INSIDE
assume vivid astro focusannoyingly vulgar? amorously fatal?2011Print12 × 17 inch12 × 40 inch
LEFT
Peter DoigUntitled2011Print29,3 × 23,2 inch
RIGHT
Steve MillerLaw of the Jungle2011Photograph12 × 17 inch
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BOOM!: BOOMBOXES, IPADS, AUDIOVISUAL INTERFACESCulture Shock presents BOOM!, a good old-fashioned celebration of technology, creativity, physicality, and art. When input/output jacks were incorporated into boomboxes, allowing for the coupling of devices such as microphones and turn-tables, an explosion of creativity occurred. New forms of dance emerged, new forms of music, as cultural experimentation was taken to the streets. This installation pays homage to that energy.
BOOM! features Boomboxes from the personal collection of Lyle Owerko, Genera-tive Animation iPad apps from Glenn Marshall, audio interfaces curated by Dave Hodge, and dance performances by Victor “Kid Glyde” Alicea and Melanie Aguirre. Innovation happens when things that are separated get mixed.
VOLTA NY patrons are encouraged to touch the iPads, create with us, interact, smile, dance and be happy.
“Exactly when the term ‘boombox’ hit the streets is not known for sure. In the United States, department stores apparently began using the term in marketing and adver-tising as early as 1983. Street slang linguists pin the term down at 1981, and define the boombox as ‘a large portable radio and tape player with two attached speak-ers’. Initially, it became identified with certain segments of urban society, hence the nicknames like ‘ghetto blaster’ and ‘beat box’. And due to their size and relative por-tability, as the general public began to embrace these gargantuan creations of elec-tronics, lights, and chrome-plated gadgetry, a new form of expression was born.”
by Lyle Owerko
Culture Shock is a New York City-based media consultancy for creative industries. We are recognized for strategic and creative approaches to content creation, art curation, marketing, brand development and positioning in global, digital and lo-cal markets.
LYLE OWERKOLyle Owerko is a photographer and filmmaker. Known for his perception and knowl-edge of urban movements, his instinctually crafted visual images have found an in-credible place in the lexicon of popular culture, fine art and journalism.
GLENN MARSHALLGlenn Marshall’s distinct style of abstract computer animation blends modern art, eastern mysticism, mathematics, nature and science. Glenn is a strong advocate of the digital artist’s necessity to be both artist and programmer.
DAVE HODGEDave Hodge is an award-winning musician, music producer, composer and sound designer. He’s performed with some of the most critically acclaimed acts around the globe, including Basement Jaxx, Bran Van 3000, Macy Gray, Broken Social Scene, Feist and Brazilian Girls.
VICTOR “KID GLYDE” ALICEAHead of acclaimed NYC b-boy crew The Dynamic Rockers, Kid Glyde has appeared in numerous dance movies and won several prestigious b-boy titles.
MELANIE AGUIRREA native New Yorker, Malanie has been dancing since the age of 3, and brings a lifetime of artistic creativity and experience to the worlds of dance, film, & music.
WEBSITE
www.cultureshockny.com
PHONE
+1 347 463 9023
CELL
+1 917 363 6027
CONTACT NAME
Debra Anderson
EXHIBITED ARTISTS
Lyle OwerkoGlenn MarshallDave Hodge
PERFORMING ARTISTS
Victor “Kid Glyde” AliceaMelanie Aguirre
COVER (TOP IMAGE)
Glenn MarshalliPad art2009Digital media
COVER (BOTTOM IMAGE)
Lyle OwerkoJVC RC-M702009Photographc/o CLIC Gallery NY
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GALLERIST
INNOVATING THE ART EXPERIENCEGallerist is an unique, interactive art platform that unifies the global art community—from artists and dealers to galleries and collectors.
UNITING CREATORS, COLLECTORS, AND EVERYONE IN-BETWEENGalleries — Expand your reach with our world-class online experience. Manage your artist and client relationships, hold private appointments, and conduct sales anywhere in the world. Easily manage inventory on your iPad and select what you want to share with collectors and public buyers.
Art Consultants & Private Dealers — Securely manage your portfolio with a simple interface, and create custom private galleries for key clients. Provide guidance and insight from anywhere in the world.
Collectors — Art, information, and expertise from renowned specialists is just a click away. Browse the latest exhibitions, access show previews, and even try pieces in your home. When you’re ready, interact with a dealer. From discovery to delivery, portfolio management has never been easier.
Artists — In partnership with your gallery, exhibit in a cutting-edge virtual gallery with stunning detail and scale and share your vision and inspiration with collectors.
Art Shows — Share your exhibition and invite visitors through a comprehensive portfolio featuring our intuitive, eye-catching platform.
VIRTUALIZING VOLTA (AND SHARING IT WITH THE WORLD)Gallerist is bringing the Volta experience to collectors all over the world via our Beta platform. Invitees enjoy a sample of the Gallerist experience through a show preview and can interact with participating galleries for more information and purchase op-tions. Visit Volta’s online exhibition until March 21.
UPGRADING YOUR ACCESSDiscover more about Gallerist as we unveil select global art events. Gallerist Volta invitees who register will receive a complimentary 3-week pass to view the show online, and VIP invitations to future Gallerist openings and events.
WHY WE OPEN OUR DOORSWe strive to envelop the world in art, and to make the experience memorable. We believe that technology is at the forefront of the art business evolution, and, with the growth of the art community in mind, we have worked to create a trusted, cos-mopolitan art destination.
Founded by a passionate group of private collectors and technology innovators, we believe in the development of meaningful relationships. While Gallerist is not yet open to the public, we encourage you to contact us at [email protected] to explore partnership opportunities and learn more about our platform.
We also believe that creating a community means empowering individual members to shape its development. If you have thoughts on how Gallerist can further enhance your art experience, please send a note to [email protected].
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THE HOMEBASE PROJECTThe HomeBase Project is a site-specific residency and research program, explor-ing the notion of home.
Operating in the intersection of contemporary art and social change, HomeBase seeks to foster interconnectedness in society while experimenting in meaningful urban living.
Each year HomeBase transforms vacant urban sites in neighborhoods undergoing change, into temporary multi-diciplinary “homes” which nurture outstanding artistic exploration, community cultivation, cross-cultural dialogue and education—offered free and open to the public.
The driving force behind the project is a growing group of outstanding international artists and social entrepreneurs, who reflect on home as the foundation of human-ity and pursue a vision for a healthier society.
The HomeBase Project was founded in NYC in 2006 by artist and curator Anat Litwin as a nomadic, non-for-profit, artist-run innitiative. It has since traveled to five locations in NYC and Berlin in collaboration with over sixty international artists, ac-knowledged at volta 2009 as a “New Model for Public Art” and featured in notable venues and publications such as the New York Times, and Jerry Saltz “Pick of the Week” in the New Yorker Magazine.
We are now establishing the HomeBase LAB—the headquarters for HomeBase in Berlin—and building our next project, HomeBase VI , marked for 2012 in Jerusalem.
We are proud to launch at VOLTA NYC our international art service and products— a direct manifestation of our projects.
ABOUT IGNATZ BIER—OUR #1 PRODUCTIgnatz Bier is a artisan craft pilsner, brewed by HomeBase artists, beer lovers, neighbors and social entrepreneurs at the historic Engelhardt Brewery, located at Thulestrasse 54, Pankow Berlin.
Our beer was named after the first landlord of the building—Herr Ignatz Nacher, a German-Jewish merchant, beer maker, director and main shareholder of the Engel-hardt brewery. Nacher transformed Engelhardt brewery into one of the most suc-cessful breweries in Germany before it was taken over in the 1930s by the Third Reich, in what became one of the biggest cases of Nazi expropriation.
Exactly 105 years after Ignatz Nacher launched the first “Engelhardt Pilsner” on site, HomeBase Project conducted together with the neighbors, an artistic resurrection of the brewery—re apropriating the building into the HomeBase LAB—an artistic residency and research center exploring the notion of home.
The boutique bottles of Ignatz Bier carry a message of interconnectedness in soci-ety and function as a vehicle for realizing our vision.
We are proud to offer to our supporters a unique collectors item: 99 limited signed editions of original Ignatz Bier, brewed on site on the historical date—March 5th, 2012, at the HomeBase LAB.
Prost, Salute & Lechaim!
* Other Products at the HomeBase booth: A limited edition of the re-staged Ignatz Bier Photographs, Prints, KunstKompost & more
WEBSITE
www.homebaseproject.orgwww.ignatzbier. homebaseproject.org
PHONE
+1 917 714 1350
CONTACT NAMES
Anat LitwinBas KoolsMauricio Lizarazo
EXHIBITED PROJECT
USA Launch of Ignatz Bier The HomeBase Project Art Service & Products
COVER
HomeBase Project logo & mission statement
INSIDE
March 5th 1907 – March 5th 2012 Re-staging of the historic Engelhardt photograph and celebrating the launch of Ignatz Bier—a community based product created by HomeBase artists, beer lovers and neighbors at the HomeBase LAB, Berlin.
Original Photograph: Launch of Engelhardt Pilsner under the management of Ignatz Nacher, March 5th, 1907, at the Engelhardt Brewery located Thulestrasse 54, Berlin, Photographed by Waldemar Titzenthaler.
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NURTUREART: DAVID SCHOERNER In his photographic work, David Schoerner develops conceptual and thematic threads that connect apparently disparate images. Each work stands out on its own while also being part of slightly suggested and sparsely detailed narratives. Romanticism goes hand in hand with candor and a certain restraint. Schoerner’s fascination with beauty and his penchant for troubled relationships and mixed feel-ings emerge in Portrait of a Woman, the project he presented to NURTUREart’s 2011 Open Call. In this well curated series of photographs, we are exposed to a very personal email exchange between lovers, one of them being the artist himself. The images are captured on Polaroid film. In the artist’s own words, memory, or the idea of looking back on the past during the present, is apparent in the process of photographing a contemporary form of communication with an outdated one. The Polaroid has often been used as a private medium; just as these emails were written with one person in mind, the Polaroid allows them to exist as a unique print/object. Close by, a large photographic portrait of a slightly melancholic brunette tempts the viewer to identify her as Schoerner’s counterpart in the conversation fragments immortalized by the Polaroids. Two likewise romantic landscapes, a panoramic view of a wintry ocean and a slightly defocused image are both pervaded by a sense of ambiguous spatial and conceptual neutrality. Taken together, these images define an open narrative suspended on a fine line between reality and imagination.
David Schoerner (b. 1984) lives and works in New York City. He received his Bach-elor of Fine Arts at Montserrat College of Art in Beverly, Massachusetts in 2007 and has participated in group exhibitions in New York, Los Angeles, Hong Kong, Provincetown and Paris.
NURTUREart Non-Profit Inc. is dedicated to nurturing contemporary art by provid-ing exhibition opportunities and resources for emerging artists, curators, and lo-cal public school students. The unique synergy between NURTUREart’s programs generates a collaborative environment for artistic experimentation. This framework, along with other far-reaching programming, cultivates a supportive artistic network and enriches the local and larger cultural communities.
WEBSITE
www.nurtureart.org
PHONE
+1 718 782 7755
CELL
+1 646 549 1761
CONTACT NAME
Marco Antonini
COVER
David SchoernerMontauk (detail)2010Digital C-Print30 × 36,5 inch
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David SchoernerPortrait of a Woman2011Digital C-Print30 × 36,5 inch
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David SchoernerAugust 1, 2006 5:51:37 PM (detail)2011Polaroid4 × 5 inch (8 × 9 inch framed)
