”Filippo Minelli started the ongoing series Silence/Shapes in 2009 to give a physical shape to silence.
As medium to realize his idea he chose chemicals used to create smokebombs and to juxtapose them with the romantic idea of beauty of the natural landscapes.

In the works of the series ‘Silence/Shapes’, commenced in 2009, the artistic research of Filippo Minelli has reached a high degree of synthesis and concentration that combines mastery of the aesthetic codes with language awareness and the ability to express complex content in a mediated way, through a dialectical perspective in permanent balance between transparency and opacity.

Starting from the observation on a purely descriptive level, these photographic artworks present themselves as natural landscapes or industrial archaeology in which we see “exploded” and spreading coloured smoke substances, jarring both thematically and visually with the context and the setting. There is no fortuity, nor documentary intent, but everything is built and composed with extreme attention given to formal and technical qualities.

The reading levels are varied: the one by Minelli is an art of stratified density which does not give up either the aesthetic message, or the transmission of conceptual meanings, multiple, multifaceted and intersecting each other.”

for more information please filippominelli.com

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Charlemagne Palestine. GesammttkkunnsttMeshuggahhLaandtttt

”American-born Charlemagne Palestine is a composer, musician, performer and visual artist. Already in the 1970s he composed repetitive music that clashed with the expectations of Western audiences. His early works were mostly compositions for glockenspiel and electronic musical instruments, but his best-known works are his piano pieces in which short sequences are repeated endlessly and variations appear only gradually. Although he was linked to musicians such as La Monte Young, Terry Riley, Philip Glass and Steve Reich, he rejected the minimalist label and instead created the term “maximalism” for his compositions.

In the 1970s, Palestine also produced a series of psychodramatic video works in which he activated the body through a symbiosis of sound and movement and gave expression to inner qualities. He often took his explorations to a point of physical and mental exhaustion. His performances and music videos repeatedly feature emblematic objects such as teddy bears, cognac bottles or scarves, which function as signatures and become “identification symbols”. In recent years, Palestine has worked chiefly with musicians such as Pan Sonic, David Coulter, Tony Conrad and Michael Gira. He has issued more than twenty solo albums and played at festivals throughout the world.”

Curator: Luca Lo Pinto

for more information please visit kunsthallewien.at

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From the gallery:

‘Nudge the Judge’ is Jamian Juliano-Villani’s first solo exhibition in Europe. On view are eight new paintings that pluck influence from fetish culture, exhibitionism, curiosities of nature, and her ever-growing register of imagery pulled from popular culture. Juliano-Villani’s canvases pack such a volume of imagery and reference that they betray their pop-y superficiality almost immediately. A glance at one painting can reveal quotations as far reaching as Mondrian, Caulfield, and George Ault, to the legendary illustrators such as Ralph Bakshi and Mort Drucker. Made to act in new roles, Juliano-Villani’s characters are deployed by the artist as totems of class politics, misogyny, racism, consumerism and self-doubt.

‘Nudge the Judge’ assembles a cast who seem to catch us as voyeurs, while at the same time acknowledging and welcoming their viewers’ gazes. A blow-up doll plays the piano in ‘The Entertainer’. A topiary fondles himself in one work, a half-dolphin in garters and an apron looks becomingly back at us in another. For as much a Juliano-Villani exploits quotation and collage, these paintings hold a psychology that is entirely their own.

Jamian Juliano-Villani lives and works in Brooklyn. Her work has been exhibited widely over the past three years including exhibitions at JTT, New York; Gavin Brown’s Enterprise, New York; SculptureCenter, New York; Night Gallery, Los Angeles; and MOSTYN, Wales. Her first institutional show was held at the Museum of Contemporary Art, Detroit this January, curated by Jens Hoffmann. Juliano-Villani is preparing a solo exhibition at Studio Voltaire, London in 2016, which will be accompanied by a catalogue. Her work will be featured in the upcoming exhibitions ‘Unorthodox’ at the Jewish Museum, New York, and ‘Greater New York’ at MoMA PS1, New York. 

An artist’s monograph will be published by KARMA, New York this December.

more information on tanyaleighton.com

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September 12 - October 25, 2015
Canada Gallery, New York

A Fall of Corners

“Ms Golden is a Michigan native. She was schooled at the Minneapolis College of Art and Columbia University.

Samara Golden’s objects roost in ways that sculpture shouldn’t. Built up and carved from 4×8 sheets of silver insulation board, then petrified with a slathering of epoxy resin, these tough flyweight chunks of handmade simulacra are her core constructions. Hung on an armature of bird bones, things fit where they need to. Suspended from hardly disguised strings and wires, stuff gets pinned up and down and over. Her sculpture can encrust itself to any axis. It is free to float.

Ms. Golden is a busy, nearly maniacal orchestrator of space and stuff. Her big silvery worlds are engineered, usually from the ceiling down. In A Fall of Corners, there is a renewed disconnect from gravity, the room is upended, sideways, and re-angled by a plushly carpeted catwalk. The gallery space gets spun like a wheel and falls apart into a kaleidoscope of views and points of view, folding space into sharply rendered scenes that spread out across each wall.  (In this case a country restaurant from the 1980’s, a wedding reception?, a hotel lobby and an apartment/bachelor pad equipped with exercise bike). Each of these set pieces is doubled through a sheet of mirror that spans the entire floor of the gallery. The effect is a kind of vertigo that can’t be measured with a stick.

As immersive as a cave and as personal as an underwear drawer, Golden’s handmade world seems to sample a combination of banal architecture and personal memory. Architecture as the envelope for our private lives is what Ms. Golden’s creations lock into. Flying over these places is a kind of magic that’s reserved for dreams and crane shots. Golden is in the business of making new realities come true, these are not in camera tricks or CGI, this all exists in real blood time.  Whole scenes cascade upon the viewer in a monstrous group hallucination leaving one asking Where am I? Are you seeing this? Am I having a migraine or did someone slip something in my drink?

From motion sickness to deja vu, Golden builds an art that disconnects eyes from mind and body. Perspectives are forced on the viewer like a collapsing building. I am reminded of Conical Intersect or Circus, those late Matta Clark works that shred perspectives on what used to be familiar, where the best photos defy any clear sense of orientation, only a ghost of place is left intact. With Golden there is no wrecking ball, the cuts are domesticated. Cups and saucers remain undisturbed, not one chair gets overturned. Perhaps in the end she is closer to some sort of space aged Kienholz for Golden’s things are life-size models of our feelings first and our architecture second.

There are moments when I am in this room that I lose more than myself. I stand dumbstruck in this thing wondering about bats and dolphins. Echo location comes to mind. Am I missing some inner equipment? In place of thoughts and words there are only feelings and sensations; heartbreak, regret, longing and fondness for the places and missing people of this world, and my own life. Abstraction at its best. The gears are freed up, spinning, sometimes quickly and sometimes slowly, I am just along for the ride. This is dislocation times one thousand and I for one am grateful for the break from myself.

Samara Golden, b. 1973, Ann Arbor, Michigan, has been featured in solo exhibitions at MoMA PS1, New York, Night Gallery, Los Angeles, and Frieze Projects, New York. Group exhibitions include MOCA, Los Angeles, Sculpture Center, New York, Zabludowicz Collection, London, and The Hammer Museum, Los Angeles. Golden will present a solo exhibition at the Yerba Buena Center for the Arts, San Francisco in March 2016. She is represented by Night Gallery, Los Angeles, and CANADA, New York. ”

images and press release courtesy of  canadanewyork.com

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WIM WENDERS | TIME CAPSULES. BY THE SIDE OF THE ROAD. WIM WENDERS’ RECENT PHOTOGRAPHS

17 September 2015 – 14 November 2015

Berlin

Blain|Southern Berlin is delighted to present new and recent photographs by Wim Wenders, the artist’s first exhibition in his hometown in over half a decade. The exhibition brings together images of Germany and America – the two countries that have most influenced the artist throughout his career.

for more information please visit blainsouthern.com
Images courtesy of the artist and Blain Southern

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September 25 2015 – January 10 2016

This exhibition surveys recent work by internationally-renowned artist Do Ho Suh. Suh creates architecturally scaled, fabric installations informed by his personal experiences, that recreate specific domestic spaces where he has lived, including his childhood home (a traditional hanok-style Korean house), a house in Rhode Island where he lived as a student, and his apartment in New York.

Suh weaves translucent structures made of monochrome polyester, at once architectural, and ephemeral, inviting viewers to wander through their dreamlike interior passageways (often complete with details such as light switches and door handles). In addition to these large scale installations, this exhibition presents Suh’s Specimen Series, fabric replicas of radiators, ovens, refrigerators and bathtubs, rendering these common household appliances luminous and transparent. MOCA Cleveland will also present works from Suh’s Rubbing/Loving Project, large scale rubbings in which the interior textures and details of the artist’s New York apartment are directly transferred onto paper. Suh is particularly influenced by his move from South Korea to the United States in 1991. His works highlight the porous boundary between public and private space as well as notions of global identity, space, nomadism, memory, displacement, and the meaning of home.

for more information please visit lehmannmaupin.com

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Valley Curtain, Rifle, Colorado, 1970-72

” Christo and Jeanne-Claude, respectively, in full Christo Javacheff and Jeanne-Claude de Guillebon   (respectively, born June 13, 1935, Gabrovo, Bulg. born June 13, 1935, Casablanca, Mor.—died Nov. 18, 2009, New York City, N.Y., U.S.), environmental sculptors, noted for their controversial outdoor sculptures and monumental displays of fabrics and plastics.

Christo attended the Fine Arts Academy in Sofia, Bulg., and had begun working with the Burian Theatre in Prague when the Hungarian Revolution of 1956 broke out. He fled to Vienna, where he studied for a semester, and then, after a brief stay in Switzerland, moved to Paris and began exhibiting his works with the nouveaux réalistes. While working there as a portrait artist, Christo met Jeanne-Claude de Guillebon, whom he married in 1959. Jeanne-Claude was once described as her husband’s publicist and business manager, but she later received equal billing with him in all creative and administrative aspects of their work. In 1964 the pair relocated to New York City, where their art was seen as a form of Arte Povera.

Christo’s earliest sculptures were composed of cans and bottles—some as found and some painted or wrapped in paper, plastic, or fabric. Christo and Jeanne-Claude’s first collaborative works included Dockside Packages (1961; Cologne), Iron Curtain—Wall of Oil Drums (1962; Paris), and Corridor Store Front (1968; New York City). In 1968 they also completed a suspended 18,375-foot (5,600-metre) “air package” over Minneapolis, Minn., and “wrapped buildings” in Bern, Switz.; Chicago, Ill.; and Spoleto, Italy. Their monumental later projects included Valley Curtain (1972; Rifle Gap, Colo.), Running Fence (1976; Marin and Sonoma counties, Calif.), andSurrounded Islands (1983; Biscayne Bay, Fla.). In 1985 in Paris, they wrapped the Pont Neuf (bridge) in beige cloth. In a 1991 project, the couple installed 1,340 giant blue umbrellas across the Sato River valley in Japan and 1,760 giant yellow ones in Tejon Pass, California. Four years later they wrapped theReichstag in Berlin in metallic silver fabric. The Gates, Central Park, New York City, 1979–2005 was unveiled in 2005. Stretching across 23 miles (37 km) of walkway in Central Park, the work featured 7,503 steel gates that were 16 feet (5 metres) high and decorated with saffron-coloured cloth panels.The Gates was on display for 16 days and attracted more than four million visitors.

Christo and Jeanne-Claude’s huge, usually outdoor sculptures are temporary and involve hundreds of assistants in their construction. Seen as they are by all manner of passersby, including those who would not necessarily visit museums, these works force observers to confront questions regarding the nature of art. As the scope of the projects widened, increased time was needed for planning and construction phases, the securing of permits, and environmental- impact research. For each project, they formed a corporation, which secured financing and sold the primary models and sketches. Most installations were documented in print and on film, and the materials that created them were sold or given away after the projects were dismantled. ”

via Encyclopaedia Britannica

The Wall – 13,000 Oil Barrels, Gasometer Oberhausen, Germany, 1998-99

The Wall – 13,000 Oil Barrels, Gasometer Oberhausen, Germany, 1998-99

Big Air Package, Gasometer Oberhausen, Germany, 2010-13

Big Air Package, Gasometer Oberhausen, Germany, 2010-13

Wrapped Reichstag, Berlin, 1971-95

Wrapped Reichstag, Berlin, 1971-95

Running Fence, Sonoma and Marin Counties, California, 1972-76

Running Fence, Sonoma and Marin Counties, California, 1972-76

Running Fence, Sonoma and Marin Counties, California, 1972-76

Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968-69

Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968-69

The Wall – Wrapped Roman Wall, Via Veneto and Villa Borghese, Rome, Italy, 1973-74

Valley Curtain, Rifle, Colorado, 1970-72

images courtesy of christojeanneclaude.net

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“Limits” is a relative term. Like beauty, it is often in the eye of the beholder.

—Chris Burden

Gagosian Paris is pleased to present works by Chris Burden, his first exhibition in Paris in more than twenty years.
Since the 1970s, Burden has channeled the daring spirit of his early life threatening performances into sculptures that embody technical feats on an imposing scale. Toys (figurines, train sets, Erector parts) are used as the building blocks for expansive scale models, cities, and battlefields, while actual vehicles (ships, trucks, and cars) are suspended or set in motion in surreal and improbable ways.

Since 2003 Burden has constructed large-scale models of bridges—both real and imagined—by plotting thousands of toy construction parts. Tower of London Bridge (2003) mimics every aspect of the suspension design of the actual bridge, including its functional drawbridge. Tyne Bridge Kit (2004) is Burden’s reimagining of the Erector toolbox: the one-ton wooden chest contains rows of drawers that store the tools, blueprints, and 200,000 metal parts that can theoretically be used to assemble a 9 1/2 meter-long model of the Tyne Bridge in England. In Three Arch Dry Stack Bridge, 1/4 Scale (2013), first exhibited in the major survey “Chris Burden: Extreme Measures” at the New Museum, New York (2013–14), three elegant arches are made up of hand-cast concrete blocks, held together by gravity alone in the manner of classical keystone construction.

for more information please visit gagosian.com

photos by Thomas Lannes

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from the artist

the pool

In the Pool series I utilize photography’s ability to create visual narratives, which echo moments from my childhood. The choice of a unified color palette, with saturated and bleached-out tones, reminds one of the qualities of home movies and reinforces the ambiguous relation between reality and fiction. Beyond my personal memory it’s also a collective memory I am trying to reveal through the common and universal experience of leisure and bathing. In my work I also focus on the notion of space and the relationship we entertain with the environment in which we live. Swimming pools and beach resorts are interesting to me for they represent a dominant theme of modern life in our culture. They also mix the natural element of water with the cultural and social element of manmade spaces where people can escape from everyday life and seem liberated from any social reference. Although their activities and expressions are familiar and spontaneous, the scenes appear composed by a silent choreographer when moments are isolated and frozen within the frame of the camera.

for more information please visit karinelaval.com

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Spanning a variety of media encompassing photography, sculpture, happenings and performances, sound, and single and multi-channel video installations, Aitken’s work explores the modern landscape and posits possibilities for new uncharted frontiers.

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Galleria Continua is thrilled to present in its exhibition space in Beijing the show Ai Weiwei. For the first time in his life, the famous Chinese artist designs and realizes a solo exhibition in his home country, following the entire development of the project from conception to realization in situ.

The show represents a new “challenge” faced by the artist through what he defines as a “learning process”, an on-going project, which is at the same time a struggle and above all, the organisation of an actual organism. Wang Jiaci (Wang family ancestral hall) was an ancestral temple of Ming age, dedicated to the cult of Wang Hua, an important prince who was reigning during the 6th century A.D., taken as reference by all future dynasties, from Tang to Qing. For hundreds of years, the ancestral temple was considered a sacred place, destined to host offerings and cult ceremonies for ancestors, as well as a place for holding important social activities or meetings and those concerning the Wang family.

Today Wang Jiaci is the hub of Ai Weiwei’s monumental project, an ancient building which was disassembled into more than 1500 pieces and meticulously re-built inside two exhibitive areas: Galleria Continua and Tang Contemporary Art Center, crossing the wall that divides the two galleries. The peculiarity of this traditional architecture lies in its structure consisting of columns and wooden beams, completely independent and detachable from the walls. This building technique, recently developed also in the West, was used in China over one thousand years ago and is strictly related to the Chinese philosophy and thought. The choice to bring a predominant installation with imposing structure, cultural importance and aesthetic beauty inside an exhibition and two galleries, aimed at setting conditions of “totality” where the environment, which is no longer physical but also temporal and social, becomes an essential aspect of the work. Thus, visitors become part of the project, and their behaviour forms an inseparable part of it.

The visitor, invited to enter the two exhibitive areas at different times, is forced to see the work only partially, without ever being able to view and enjoy the entire architectural structure from a single point. The public is invited to walk inside a “social context” rather than a visual one, a condition in which the architectural object was deprived of its original use, thus acquiring a new shape and meaning. The behaviour of those who live this experience becomes, therefore, the focus of the entire project, and even the work itself. Ai Weiwei focuses, once again, on the importance of human actions within a particular event, not only of artistic, but also of social and public character.

For more information please visit galleriacontinua.com

Images courtesy of oak taylor-smith

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Curated by world renowned Australian surfboard designer Hayden Cox, the exhibition launch was hosted alongside surfer and Haydenshapes team reder Craig Anderson and New York Artist Jason Woodside. The Gallery event marked the release of a new artist collaboration between Haydenshapes and Woodside whose bright and colorful signature print was added to Haydenshapes latest model release ”Love Buzz” and displayed in the room along with 3 marble prints from Haydenshapes previous Summer Cage Installation project.

The large scale wave installation was created using sustainable Xantia X-Board Cardboard material. More info can be found at xanita.com.

For more information please visit haydenshapes.com

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Exhibition 27 June – 18 October 2015

A major exhibition of new work made specially for The Fruitmarket Gallery by Phyllida Barlow, one of the international art world’s brightest stars. Born in Newcastle in 1944, and with a career spanning five decades, Barlow is known for monumental sculpture made from simple materials such as plywood, cardboard, fabric, plaster, paint and plastic. Physically impressive and materially insistent, her sculptures are inspired by the outside world, and with the experience of living and looking.

Barlow’s exhibition sets out, in her own words, to ‘turn the Gallery upside down’. A new series of large sculptures engulf The Fruitmarket Gallery in art, spilling from the upper gallery over the staircase and into the ground floor, enticing the visitor from the street and into a new world.

A major monograph accompanies this exhibition. Phyllida Barlow: Sculpture 1963–2015, written by Frances Morris, Director of Collection, International Art at Tate, offers an indispensible resource on the practice of this important British sculptor. Published by The Fruitmarket Gallery and Hatje Cantz.

for more information please visit fruitmarket.co.uk

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Originally from Mexico City, Gabriel Dawe creates site-specific installations that explore the connection between fashion and architecture, and how they relate to the human need for shelter in all its shapes and forms. His work is centered in the exploration of textiles, aiming to examine the complicated construction of gender and identity in his native Mexico and attempting to subvert the notions of masculinity and machismo prevalent in the present day.

His work has been exhibited in the US, Canada, Belgium, and the UK. After living in Montreal, Canada for 7 years, he moved to Dallas, Texas, where he obtained his MFA at the University of Texas at Dallas. For the final two years of his degree, he was an artist in residence at CentralTrak, the Artist in Residency program at UTD. His work has been featured in numerous publications around the world, including Sculpture magazine, the cover of the 12th edition of Art Fundamentals published by McGraw-Hill, and in author Tristan Manco’s book Raw + Material = Art . He is represented by Conduit Gallery in Dallas, and by Lot 10 Gallery in Brussels.

more information on gabrieldawe.com

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In 2015 Serpentine Galleries celebrates the 15th anniversary of the world-renowned Pavilion commission.

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Summary:

Marking the first collaboration of its kind between the Museum of Modern Art of the City of Paris and the Museum of Contemporary Art of Montreal, this major exhibition represents a critical retrospective of the works by internationally renowned artist David Altmejd.

The Museum exhibition brings together some thirty works made over the last 15 years. Altmejd has created, among other things, a new on-site intervention. On of the major parts of the presentation, The Flux and the Puddle, 20140, offers a dazzling compendium of the main motifs and preoccupation that inhabit the artists powerful imagination.

Biography:

Born in Montréal in 1974, David Altmejd lives and works in New York. After studying visual arts at the Université du Québec à Montréal, where he majored in drawing and painting, he graduated as a sculptor in 1998. Fascinated by biology and science-fiction film, he moved to New York, where he earned an MFA at Columbia University in 2001. Altmejd represented Canada in 2007 at the 52nd Venice Biennale with the installation The Index, and took part in the Istanbul and Whitney Biennials in 2003 and 2003, respectively.

more information on www.macm.org

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Rolls-Royce Motor Cars will present the first public showing of Isaac Julien’s new work Stones Against Diamonds during Art Basel in Basel, 2015. The work, commissioned as part of the Rolls Royce Art Programme, will be shown at the Kirche Elisabethen, Basel, from 16-17 June 2015. Following the preview during the Venice Biennale last month, the video installation film will be shown on a larger scale than previously seen, as a unique site specific installation filling the magnificent interior of the imposing church across ten screens. Isaac Julien’s film draws inspiration from a letter written by Brazilian architect Lina Bo Bardi.

Stones Against Diamonds examines themes within her letter, where she praises the beauty of natural elements over preferred precious stones. Filming the work in remote Vatnajökull region in South East Iceland Austurland,, using the breathtaking scenery of glistening ice caves as a set for the film, Julien portrays some of the most beautiful objects as the least precious in a conventional sense. The shoot took place over five days with the crew enduring sub-zero temperatures deep in the heart of spectacular glacial caves, formed in ice over thousands of years and accessible for only a few days a year due to the harsh climate. Signature elements of Bo Bardi’s work have been incorporated into Julien’s work, including a staircase, meticulously built by hand in the ice cave during the production of the film.

In a move providing technical challenges for the fifty-strong crew, a larger version of the staircase was recreated during post-production before being merged, using CGI, replicating Bo Bardi’s famed spiral staircase. Continuing the parallels, Julien incorporates Bo Bardi’s signature easels in his film, made of glass and concrete, two elements present in the majority of her work.

The way in which Julien’s film will be installed in Basel continues this representation, as the artist will multiple screens positioned to draw direct comparison with Bo Bardi’s work. Stones Against Diamonds will be shown on a loop, repeated five times within the hour across the ten screens, each time varying slightly to add an element of surprise for the viewer. Richard Carter, Director of Global Communications, Rolls-Royce Motor Cars said, “The precision incorporated into the production of this work is demonstrated by the crew travelling to the ends of the earth to find the rarest, most beautiful natural components in order to create a piece of moving, dramatic and timeless art. This truly reflects Rolls-Royce Motor Cars, where the master craftsmen and women source the world’s finest materials to create rare, unique and exquisite motor cars, which transcend their primary function as a form of conveyance to become works of art themselves.”

more information on isaacjulien.com

photos by harold cunningham

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Damián Ortega

Casino / Curated by Vicente Todolí

from 5 June to 8 November 2015

More information available on hangarbicocca.org

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French photographer Charles Pétillon created the series ‘Invasion’, containing bundles of white, inflated balls within architectural spaces, neighborhoods and natural landscapes. He considers each photo in his series a metaphor for either a period of time, an emotional sensation, or universal urban evolution. They aim to change our perception of the ordinary sceneries we encounter everyday.

The photos were exhibited at Maison Européene de la Photographie between the 20th of February and the the 22th of March 2015.

More information and works available on charlespetillon.com

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Features include Another Magazine, Wallpaper*, Port Magazine, NY Times, Telegraph Luxury, Le Monde, Printed Pages, Telegraph Magazine

Clients include Jo Malone, Maiyet, Smythson, Sunspel, Stella McCartney, COS, Pringle

To see more of her work you can check her website at katejackling.com

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Yayoi Kusama’s latest exhibition titled ”Give me love” will be held at the David Zwirner Gallery in New York during May 9 – June 13, 2015.

”David Zwirner is pleased to present Give Me Love, the gallery’s second exhibition with Yayoi Kusama in New York. On view in two spaces, 519 and 525 West 19th Street, will be new paintings from the celebrated My Eternal Soul series, new polka-dotted pumpkin sculptures, and the artist’s seminal installation The Obliteration Room from 2002.

Widely recognized around the world, with a recent survey of museum attendance ranking her as the most popular artist in 2014, Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installations, the written word, films, fashion, design, and architectural interventions. ”

more information available on davidzwirner.com

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more information on louisvuitton.com

images courtesy of architecturaldigest.com

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Frieze New York returned to Randall’s Island Park, Manhattan from May 14 to 17, 2015. For the fourth consecutive year, Frieze New York was sponsored by Deutsche Bank.

Housed within an innovative structural design and overlooking the East River, the fair showcased the world’s most exciting contemporary galleries. This year saw the introduction of Spotlight, a new gallery section which took place alongside the existing Frame and Focus sections. The fair also benefited from a celebrated non-profit program comprising Frieze Projects, Talks, Sounds and Education.

Images courtesy of ocula.com
Photographs © Charles Roussel & Ocula
More information available on friezenewyork.com

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photo ropac.net

Brecht’s great aesthetic and intellectual affinity with Chinese poetry and its inclination towards demotic, unsentimental, didactic expression corresponds to Slominski’s sympathy for the non-exclusive quality of Brecht’s writing.

Slominski’s works evince an extremely democratic view of the subjects he uses. He finds beauty in objects that are generally perceived only casually, and fondly adopts them in his works.

In combination with Brecht’s poem Die Freunde, the vehicles [Gefährte] are reinterpreted as friends [Gefährten]. One could perhaps make the association with a couple who are sometimes separated, sometimes together, and the common expression “to have someone in tow”, probably also plays a role. The trivial information that Brecht was a keen if rather reckless car-driver seems to be an allusion on a further level of meaning.

photo ropac.net

The artists of the Cologne Progressives – a group that came together during the inter-war years, from 1920 until 1933, and worked with pictograms – could serve as an art-historical link between Brecht’s poetry and Slominski’s reduced symbolic language. In accordance with their self-conception as political artists and their claim to combine politics and art, the predominant artistic substance of the Cologne Progressives (protagonists were Gerd Arntz, Franz Wilhelm Seiwert, Heinrich Hoerle) concerned themes such as revolution, social and political events, or man and his place in society. The figures are not so much individuals as schematised beings exemplifying specific types. Their preferred genres were painting and graphic works, since – in keeping with their socio-political aim – these would reach a large target group. In both painting and graphic works, the realistic element receded in favour of the geometric.

photo ropac.net

Boris Groys remarked on Slominski’s work: “I thus have the impression that everything Andreas Slominski does is a reference to something else. This is where the actual power lies. Fundamentally, the power to direct attention is absolute power.”

photo ropac.net

via ropac.net

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Baled Truck began with an old pick-up truck compressed into a rectangular block. As Ray has pointed out, “Baled Truck is a sculpture that commemorates solidity and compression — as in memory, what seems assembled from the past is in reality carved from the present.” Reflecting the artist’s meticulous process, Baled Truck took more than six years to complete. Machine-carved from solid stainless steel, it is nearly ten feet long and weighs thirteen tons.

Baled Truck, 2014
photo matthewmarks.com

Girl on Pony, shown here for the first time, is a sculptural relief machined from a solid block of aluminum. Seven feet high, five feet wide, and four inches deep, it depicts a young girl on horseback with reins in her hand, but it does not reveal the head, tail, or legs of the animal she rides. Ray made his first relief in 2007, and Girl on Pony is his fifth sculpture in this format. “The conventions inherent in a relief are both interesting and useful to me,” Ray explains. “An illusion is maintained by careful orchestration of both pictorial and sculptural elements.”

Baled Truck, 2014
photo matthewmarks.com

Baled Truck, 2014
photo matthewmarks.com

Installation view of Charles Ray
photo matthewmarks.com

Installation view of Charles Ray
photo matthewmarks.com

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photo ropac.net

The first exhibition space is occupied by the work Hole, a four-metre-high model of a house as a body. This work objectifies and internalises the relationship between a perceiving human body and its habitat by mining and perforating the normally closed body-volumes using the languages of cells, corridors, shafts and windows, presenting the subjective body as a mansion of many chambers.

photo ropac.net

This idea of the transmutation of the anatomical body into interconnected cells is continued in the second gallery space with the installation Expansion Field. The sixty sculptures that constitute this piece are arranged in four rows; a totalised environment constructed in Corten steel sheet from expansions of over twenty fundamental body poses. Each work has been evolved by applying regular increments of expansion to each of the constituent cells of a particular body stack. Together the group of sculptures form a field similar in appearance to the repeated units of a minimalist installation or the rows of megaliths at Carnac.

photo ropac.net

In the largest and highest space in the exhibition another field is installed. Here, well over life-size cast iron stelae immerse viewers in a forest of totemic presence, in which they are invited to intuit somatic gestalts evoking a variety of emotions, from resistance to delirium.

photo ropac.net

The final work in the exhibition, Matrix II, is made specifically for the fourth space of the Galerie Thaddaeus Ropac Paris Pantin. It is virtual architecture, a three-dimensional drawing that identifies sixteen room-sized volumes that interconnect around a void space equivalent to two adjacent standing bodies. Using re-enforcing mesh, the skeleton of cast-concrete buildings, Matrix II interrogates the form and structure of the human habitat. This work reveals itself to the gaze of an ambulatory visitor and invites visual penetration, while denying physical access. The challenge of distinguishing foreground, mid-ground and background in the multiple layers of mesh is a vertiginous optical task. As the viewer circulates around the work it creates a disorientating perceptual field in which figure/ground relations become inverted and the accelerating effects of compressed perspective confuses the eye.

photo ropac.net

photo ropac.net

photo ropac.net

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photo pacegallery.com

Although stars have previously appeared in Nara’s work, this exhibition and recent body of work marks his first focused engagement of the theme. Nara paints his distinctive adolescent figures interacting with or surrounded by sequences of golden four-point stars. The youthful nature of Nara’s figures conjures childish notions of the star, varying from from earning a gold star as a reward for good work in school to the optimism of childish bromides such as “shoot for the stars” and “wish upon a star.” The latter phrase highlights the way stars can be read as harbingers, auguring the fulfillment of a wish or something more sinister. The many facial expressions of Nara’s figures suggest these meanings, be it the hopefulness of a child gazing up at the stars or a more adolescent cynicism, chary of any sense of hope. The exhibition also features a 2011 acrylic and pen work on a wood panel shaped like the four-point stars in the more recent paintings, establishing the motif in his oeuvre.

photo pacegallery.com

Nara’s works on various surfaces such as cardboard and jute on wood create different effects for the paint. In several of his new works, he uses jute stitched together that is then stretched over a wood panel. The stitched jute creates a textural surface of irregular gridded lines that, coupled with the wood panel, lend the work an almost sculptural quality. Nara seeks to counterbalance these forces—the texture of the jute especially—by painting in flat blocks of color devoid of texture evocative of Japanese woodcuts. This technique of flattened paint distinguishes itself from the layering of diaphanous and airy pigments that characterize much of his work, yet finds precedent in his earlier billboard paintings.

photo junglekey.fr

photo artbaselhongkong-online.com

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After All

Our new project “Death by Diamonds and Pearls” is a conceptual mix between mythological symbols from the middle ages, mythology (from myth and metaphorical characters to cult objects and social status) and the cosmetized contemporary.
The stilistics is based on combining elements from different periods of time (armours, helmets, contemporary clothes, motocycles, accessories) and proposes the viewer an image of a temporal space where he is invited to meditate about the human and spiritual side.

Between Us

Evoking cultural references (Saint Sebastian), historical moments (medieval jousting), and social rebellion, the photos propose connections between old and new and bring into spotlight transformations that took place due to the passing of time. The photos explore notions like myth, violence, hypocrisy, lust for power, duality. The world presented in this space is corrupt, and the positive characters suffer. Above all there is a justice force, which comes to punish in order to reset the general equilibrium.
The artists question the idea of human condition during different time periods (from the Middle Ages until today) and the way we interact with this spiritual belonging. This makes the audience think of issues concerning the significance and presence of myths in our life in the 21th century. The world of our project is divided into characters that are abused and those that abuse.

To sum up, it is a melancholic episode about vulnerable beauty giving birth to metaphysical injuries.

Chastisement

Molotov Cocktail

Sebastian

Renaissance Stage 2

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Glenn Kaino at Honor Fraser
photo artnews.com

Socratis Socratous’s installation, Incarnation in the Foucs: MENAM Lounge, part of The Breeder, Athens
photo artnews.com

Kyungah Ham at Kukje, Seoul/Tina Kim, New York
photo artnews.com

Eddie Peake at Galleria Lorcan O’Neill
photo artnews.com

Julio Le Parc seen at Galeria Nara Roesler
photo artnews.com

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Björk, Vulnicura, 2015Copyright © 2015 Inez and Vinoodh. Image courtesy of Wellhart/One Little Indian

On the second floor, in the Marron Atrium, two spaces have been constructed: one is dedicated to a new sound and video installation, commissioned by The Museum of Modern Art, for “Black Lake,” a song from Björk’s new album Vulnicura (2015); and the second is a cinema room that screens a retrospective in music videos, from Debut (1993) to Biophilia. On the third floor, Songlines presents an interactive, location-based audio experience through Björk’s albums, with a biographical narrative that is both personal and poetic, written by the acclaimed Icelandic writer Sjón, along with many visuals, objects, and costumes, including the robots designed by Chris Cunningham for the “All Is Full of Love” music video, Marjan Pejoski’s Swan Dress (2001), and Iris van Herpen’s Biophilia tour dress (2013), among many others.

Courtesy Wellhart Ltd & One Little Indian via MOMA

Courtesy Wellhart Ltd & One Little Indian

Courtesy Wellhart Ltd & One Little Indian

Photograph by Danny Clinch via MOMA

Photograph: Tom Pietrasik for the Guardian

Photograph: Tom Pietrasik for the Guardian

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Hu Qingyan
Mountain of Gold No. 2, 2014

Vital selected a slab of marble and set it in a three-dimensional plaster frame. The reliefs mounted on the wall are reminiscent of inverted windows in historic Engadin houses. Combining local materials with references to his home territory in Engadin, Switzerland, is a typical approach for Not Vital, who also has a studio in Beijing and spends time working there.

Hu Qingyan
Fruitless Trees, 2014

Hu Qingyan, Cloud
photo ocula.com

Ai Weiwei,
Lantern, 2014

via galerieursmeile.com

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Best Friends, 2012
Courtesy of Ellen de Meijer

In Digital Divide, Ellen de Meijer’s works express a ruminative perspective from what you don’t see to what you feel everyday. De Meijer intends to capture the impact of our postmodern society on human behavior and the conflict between our basic human instincts of love, greed, fear and community, and our constant desire to progress and succeed.
“Digital Divide is about all of us. The last 20 years we have experienced an enormous evolution mainly driven by technology and the digital revolution. But our human instincts have not changed, despite that our modern society often expects us to ignore these. It’s this tension that inspires my work,” says de Meijer.

left: Virtual Love, 2012, right: Wall Street Bully, 2013

Down the Wall, 2011
Courtesy of Ellen de Meijer

Que Sera Sera, 2014
Courtesy of Ellen de Meijer

Soul Mates, 2012
Courtesy of Ellen de Meijer

 
via unixgallery.com

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Saul’s politically charged, and often politically incorrect, paintings are rooted in a system of removal from the artist’s beliefs, void of morals and ambivalent in their politics. Saul sources imagery from popular culture and current and historical events for his cartoonish and surreal depictions. The resulting paintings of the grotesque are more akin to social commentary than clear political statements.

photo venusovermanhattan.com

Born in San Francisco in 1934, Saul settled in Paris in the late ’50s after completing his studies at California School of Fine Arts and Washington University, St. Louis. Saul is often associated with the Chicago Imagists, a group of artists typically defined by their Post-War tradition of fantasy-based art-making rooted in surrealism, pop culture, and the grotesque, as well as the Funk Artists of the San Francisco Bay Area. Like the Imagists and Funk Artists, Saul chose to work outside of the confines of the New York art scene, instead embracing humor in a time of stark seriousness.

photo venusovermanhattan.com

Predating Pop Art, Saul’s Sex Boat, 1961, is expressionist and loosely rendered, depicting banal everyday objects as a direct response to the existentialist beliefs of Abstract Expressionism. Saul’s paintings from the late ’60s and early ’70s, on the other hand, are more vibrantly colored, technically refined and illustrative. An exhibition highlight, Crucifixion of Angela Davis, 1973, depicts Davis as a green, contorted, monstrous figure strung about a wooden cross, stabbed with knives that read “JEEZ US,” “JEEZ IS,” and “JEE SIS”. A prominent counterculture leader of the ’60s associated with both human rights and violent activism, Davis remains a controversial political figure. These are the images that Saul is drawn to – “pictures with problems.”

photo venusovermanhattan.com

photo venusovermanhattan.com

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Analia Saban
Claim (from Curtain), 2012
photo spruethmagers.com

In the large gallery, Claim (from Chesterfield Sofa) (2014) appears at first glance like two objects – a sofa and, with a sly nod to that interior-decorating cliché, the painting above it in matching neutral colours. But the work is in fact a single, integrated sculpture, with both objects unified by the large piece of canvas that they share. The canvas spreads and grows from the stretcher, invading the interior of the room, perversely merging with the sofa. The paradoxical mood of this work extends to Draped Marble (Fior di Pesco Apuano) (2015), where a thin slab of marble hangs from a pristine sawhorse as if it were a wet towel. Cracking where it folds, yet just maintaining its form, the marble fails to live up to its essence as a material prized for hardness and permanence. The traditional still life is treated with similar irreverence in Fade Out (Bouquet of Flowers, in Ten Steps) (2015). An elegant line drawing of flowers is repeated ten times to create a polyptych. With repetition the image becomes increasingly distorted: as the viewer moves from left to right, the lines in each drawing become heavier and darker, until the legible still life becomes obliterated by black ink. As an involuntary force appears to overwhelm the picture, Saban reimagines the still life as a machine-made abstraction. An element of time or evolution is suggested by the structure of the work, which the viewer can read either way: an abstraction reducing itself to a clear image, or an image giving in to entropy, becoming a nameless shape.

Analia Saban
Discharge, 2012
photo spruethmagers.com

Saban’s surgical treatment of her material extends to photography: she will drag a still-wet photograph across a textured surface, or scrape the emulsion off the paper. In Markings (from Paint Storage) (2014) Saban scrapes a photograph that depicts a shelf of paints before reapplying the emulsion to an adjacent canvas. Saban taps into ideas and forces that she finds within the photographic image, as if the depicted object – the cans of paint – transform to become actual pigment and a rival to the artist. Throughout Interiors, Saban seems to discover an inner life in each artwork, constituted in part by the conventions of media and genre. She converses with, even fights against, the materiality of each painting, photography or sculpture, and each work endures as a hard-won depiction of that process.

Analia Saban
Trash Bag with Knot, 2012
photo spruethmagers.com

Analia Saban was born in Buenos Aires, Argentina, in 1980 and lives in Los Angeles and New York City. She has exhibited widely in both solo and group shows. Recent group exhibitions include Variations: Conversations in and Around Abstract Painting, LACMA, CA, Vibrant Matter, Kiosk, Ghent, Belgium (both 2015), An Appetite for Painting, National Museum of Norway, Oslo (2014), Expanding on an expansive subject, Part 2: Analia Saban, Is this a painting?, Armory Center for the Arts, Pasadena, CA (2014), Le Club des Sous L’Eau / Nouvelles Vagues / Young Curator Season, Palais de Tokyo, Paris (2013), the Hammer Museum’s first Los Angeles biennial exhibition, MADE IN LA 2012 and LA>La Ballena Negra, MARCO Museum of Contemporary Art, Vigo, Spain (2012), Lost Line: Selections from the Permanent Collection, Los Angeles County Museum of Art, Los Angeles, (2012), and Pour une grammaire du hazard, FRI-ART, Centre d’art Contemporain de Fribourg, Switzerland (2012/2013). She is the recipient of the Norton Museum’s Rudin Prize For Emerging Photographers Award (West Palm Beach, 2012), the Santa Monica Artist Fellowship (2010), as well as grants from the Durfee Foundation (2009) and the Fundacion Antorchas Fellowship (Buenos Aires, 2003 – 2005).

Analia Saban
Claim (from Chair), 2013
photo spruethmagers.com

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Aisthesis is not a show to see but to hear. A perceptual experience only, where the boundaries of space and light mingle and vanish.
The exhibition includes 19 works: projections, installations and environments sensory admirably integrated in the spaces of the villa.

image courtesy of FAI Villa e Collezione Panza
photo by Simone Bossi

The two new works made specifically by Irwin and Turrell for the exhibition make it an unmissable opportunity.
The excitement reaches its climax in the Ganzfeld “Sight Unseen”, one of the works of James Turrell, who transforms the Great Stables in a landscape without horizons, while “Varese Scrim,” the project of Robert Irwin for limonaia, creates a labyrinth emotions shaped by natural light.

image courtesy of FAI Villa e Collezione Panza
photo by Simone Bossi

The exhibition also discusses with photos, videos and documents the close relationship that bound him for forty years the two exponents Californians to Giuseppe Panza. It was the great collector, in fact, that in the 70 commissioned Irwin and Turrell memorable site-specifi c to the Villa and its collection is known throughout the world.

image courtesy of FAI Villa e Collezione Panza
photo by Simone Bossi

image courtesy of FAI Villa e Collezione Panza
photo by Simone Bossi

image courtesy of FAI Villa e Collezione Panza
photo by Simone Bossi

Aisthesis closes a major tour that saw Turrell protagonist, in 2013, three major exhibitions at LACMA in Los Angeles, the Guggenheim in New York and the Museum of Fine Arts, Houston.

The exhibition is curated by Michael Govan, LACMA CEO and Director – Los Angeles County Museum of Art and Anna Bernardini, Director of Villa Panza.

via aisthesis-fai.it

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“The Man on the Phone” 2010
photo perrotin.com

Since the 1990’s, Xavier Veilhan has developed a multi-form approach to sculpture, painting, performance, video and photography. Gaining international recognition with his 2009 exhibition at the Château de Versailles in France, recent projects in the US include a site-specific exhibition at the Sheats-Goldstein Residence in Los Angeles in 2013, “Jean-Marc” (2012) installed in Manhattan’s Midtown and “Le Corbusier” (2013), a large-scale bust of the architect now permanently installed in Miami’s Design district. Known primarily for his figurative sculptures, Xavier Veilhan has developed his own formal vocabulary, often reinterpreting classical sculptural and architectural elements with the aid of high technology.

photo newrafael.com

In the New York gallery, the artist pays direct homage to the music producers who are responsible for creating the soundtrack of our time. “Producers” is a series of sculptures modelled from 3D scans and rendered in a variety of materials, from wood to metal.

photo newrafael.com

photo newrafael.com

photo vvork.com

via perrotin.com

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Always interested in scientific research connecting disparate parts of the universe through underlying geometry, Lemley has become known for large-scale, angular neon installations that unify spaces through light, color, and line. More captivating than the actual geometric theories is the process of experimentation and discovery shared by scientists and artists alike. Lemley is intrigued by the next set of questions each installation poses and the challenge of uniting materials, light, and architecture within each exhibition.

photo mixedgreens.com

Approximately six years ago, a large Chestnut Oak tree fell on a ridge near Lemley’s studio in rural Appalachia. The trees in that area can be traced back to the early 19th century in spite of scarce nutrients and strong winds on the cliff. Lemley walked past this fallen tree nearly every day. Eventually, he began to carve the wood, exposing nearly two centuries of history. The shapes of the sculptures come from the knots, limbs, defects, and idiosyncrasies in the tree’s growth. Lemley works to reveal the underlying geometry in this natural material; he sees the cuts as a collaboration with the tree, uncovering an order and a narrative that was already there.

photo thisiscolossal.com

photo thisiscolossal.com

Neon tubes act as extensions of the wooden, gem-like forms. The lines of light become drawings in three-dimensional space, exaggerating shapes, drawing attention to characteristics of the wood, and imagining what could have been if the tree continued to grow and expand. The neon is a counterpoint to the wood formally, materially, and conceptually. Although the neon is light itself, it becomes a ghost of the carved wood.

Together, the heavy wooden forms and the delicate, yet powerful, neon create an immersive installation for viewers, recreating the wonder Lemley feels when reading about a new scientific discovery or taking a walk through the woods.

photo creativitea.org

photo artcation.com

via mixedgreens.com

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Ghenie, who was born in 1977, is known for moody paintings, often portraits or interiors, that he bedecks with patches of brushy abstraction. Michaël Borremans and Luc Tuymans may come to mind as precedents when viewing his canvases.

ADRIAN GHENIE
The Dada Room, 2010
via timvanlaeregallery.com

The painter has had solo shows at S.M.A.K. Ghent, the MCA Denver, and the Stedelijk Museum in Amsterdam, and been in included in quite a few international group shows. He’s represented by Pace, Tim Van Laere Gallery, and Galerie Judin, and is cofounder of Galeria Plan B, which has locations in Cluj and Berlin.

ADRIAN GHENIE
Untitled, 2010
photo timvanlaeregallery.com

Ghenie has some big shoes to fill. In 2013, Romania presented Alexandra Pirici and Manuel Pelmuş’s An Immaterial Retrospective of the Venice Biennale, which received wide acclaim. In 2011, the nation presented a three-person show with Ion Grigorescu, Anetta Mona Chişa, and Lucia Tkáčová.

ADRIAN GHENIE
The Blue Rain, 2009
photo timvanlaeregallery.com

ADRIAN GHENIE
Pie Fight Study, 2009
photo timvanlaeregallery.com

ADRIAN GHENIE
Selfportrait as a monkey, 2010
photo timvanlaeregallery.com

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Based in London since the mid-1990s, Ozbolt is a voracious traveller and exoticist whose work wistfully ransacks cultures, traditions, curiosities, and epochs. Collapsing the narratives of his paintings and sculptures into solitary images, Ozbolt creates mysterious and often macabre imagery that persistently conflates traditional European genres – of portraiture, still life, landscape, and history painting – with motifs sourced from Christianity, African and Asian art, and cultural stereotypes, all overlaid with the artist’s signature sharp wit.

The Intruder, 2014
photo hauserwirth.com

Comprised of a series of new paintings, sculptures, and drawings, ‘More paintings about poets and food’ will remain on view at Hauser & Wirth’s uptown gallery through 21 February 2015.

Me and My Pets, 2014
photo hauserwirth.com

Central to the exhibition is Ozbolt’s new work ’50 ways to leave your lover’ (2014), a major installation – and the largest work created by the artist to date – of 50 paintings presented in a continuous horizon line on the gallery’s second floor, where viewers are invited to follow a path through the artist’s rambunctious imagination. In the middle of the space is a custom-built trolley designed to hold and transport all 50 paintings. Assembled from found wood and scrap material, this cart functions both as quasi-Modernist sculpture and a portable repository for the artist’s work. The subjects of paintings in ’50 ways to leave your lover’ (which takes its title from Paul Simon’s 1975 hit song of the same name) derive from pop culture and politics, and the history of art and abstraction. Some are painted in bold, bright colours, while others are rendered in mute monochromatic hues. Offering up images from found and fantasy scenes, the paintings reveal a glimpse into the random effusions of Ozbolt’s subconscious, teetering between, and often spilling into, the theatre of the absurd. This series of 50 works was painted within a three-month period and can be read diaristically as a sketchbook of the artist’s moods and associations at a particular moment in time. Flitting between solid, geometric block painting and scratchy, gestural markmaking, ’50 ways to leave your lover’ playfully illustrates Ozbolt’s droll humour and mastery of paint.

Releasing the Demons of Creativity, 2014
photo hauserwirth.com

Delivery, 2014
photo hauserwirth.com

Let Her Eat Paint, 2014
photo hauserwirth.com

Shallow Victory, 2014
photo hauserwirth.com

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David Altmejd lives and works in New York, NY, USA. He was born in Montreal, Canada, in 1974, and holds MA Fine Art from Columbia University, New York, NY, USA (2001), and BA Fine Art Université du Québec à Montréal, Montreal, Canada (1998).

David Altmejd, Eye, 2015
photo modernart.net

In 2007 Altmejd represented Canada at the Venice Biennale. His work has previously been the subject of solo exhibitions at MOCA Cleveland, Cleveland, OH, USA (2012); Brant Foundation Study Center, Greenwich CT, USA (2011); Le Magasin, Centre National d’Art Contemporain de Grenoble, Grenoble, France (2009); Museum of Contemporary Art, Denver, CO, USA (2007); Oakville Galleries in Gairloch Gardens, Oakville, Ontario, Canada, travelling to: Galerie de l’UQAM, Montréal, Canada and Illingworth Kerr Gallery, Alberta, Canada (2007). Altmejd’s work has been included in exhibitions including Builders, Canadian Biennial 2012, National Gallery of Canada, Ottawa, ON, Canada (2012); Mondes inventés, Mondes habités, MUDAM Luxembourg, Luxembourg (2011); Skin Fruit, New Museum, New York, NY, USA (2010); Liverpool Biennial, Tate Liverpool, Liverpool (2008); Quebec Triennial, Musee D’Art Contemporain de Montreal, Montreal, Canada (2008); Whitney Biennial 2004, Whitney Museum of American Art, New York, NY, USA (2004); and the 8th Istanbul Biennial, Istanbul, Turkey (2004).
David Altmejd’s current solo exhibition Flux at Musée d’Art Moderne de la Ville de Paris, Paris, France (2014-2015), travels to MUDAM Musée d’Art Moderne Grand-Duc Jean, Luxembourg, opening in March.

David Altmejd, Anand, 2015
photo modernart.net

David Altmejd, Untitled 7 (Rabbit Holes), 2014
photo modernart.net

David Altmejd, Juliette’s Self Portrait, 2015
photo modernart.net

David Altmejd, Faces, exhibition view
photo modernart.net

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Hamid Ka Chimta, 2014
photo hauserwirth.com

‘Seven Billion Light Years’ will go on view 10 February 2015 at the gallery’s downtown location at 511 West 18th Street, and remain on view through 25 April. The exhibition coincides with the debut of a major work by Subodh Gupta in the much-anticipated exhibition ‘After Midnight: Indian Modernism to Contemporary India 1947/1997’, opening 8 March 2015, at the Queens Museum in New York NY.

Known Stranger, 2014
photo hauserwirth.com

The exhibition title ‘Seven Billion Light Years’ makes reference to the earth’s current population of seven billion human beings – and its cosmic inverse, the unfathomable distance between our mortal lives and a mysterious cosmos. Gupta’s art asks what it would mean to address the world’s people not as an anonymous mob but as individuals who each possesses a piece of infinity. A centerpiece of the show is a series of new paintings called Seven Billion Light Years, which returns to Gupta’s signature subject of basic kitchen utensils familiar to every Indian. Utilizing three-dimensional objects affixed to canvas with resin, these paintings continue his investigation into the sustaining and even transformational power of the everyday. In them viewers can detect what anthropologist and writer Bhrigupati Singh describes as ‘the patterns we create through our diurnal scrapings, the marks we leave night and day, through rise and fall, joy and sorrow, on the surfaces of our ordinary domestic vessels that journey with us, sometimes for years. What we discover in the process are intricately crafted pieces of the cosmos’.

My Family Portrait, 2013
photo hauserwirth.com

This is not a fountain, 2011
photo hauserwirth.com

Untitled, 2014
photo hauserwirth.com

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photo racheluffnergallery.com

Lucas Blalock’s photographs investigate stand-ins, or surrogates, with hot dogs acting as lines, brushstrokes, body parts, and still life objects. The corporeal quality of food develops an uncanny relationship to the flatness of the printed object, facilitating a comic scenario that the images exploit through humor and abjection.

Lucas Blalock, “Circle,” 2014
photo racheluffnergallery.com

Leonhard Hurzlmeier’s most recent series of paintings depicts women engaged in various activities of daily life. Imagining these quotidian moments, which range from flossing, to practicing yoga, to putting on a pair of boots, Hurzlmeier’s paintings seek to draw insight from the everyday. His figures always hinge on abstraction, while his use of color, composition, and deadpan humor balance the discomfort that comes from the voyeurism inherent in his gaze.

photo joshuaabelow.blogspot.ro

Jamie Isenstein’s work merges performance and sculpture, bridging figure and material through slapstick humor. The new works exhibited in Proper Nouns shift away from the artist’s use of her own body as an object, yet maintain a familiar relationship between the subject and matter. Isenstein makes use of light and the surrounding environment to activate the everyday objects in her forms.

Leonhard Hurzlmeier, “Nabelschau (Navel-gazing),” 2014
photo racheluffnergallery.com

Zachary Leener’s ceramic sculptures, drawn from observation, duplicate, castrate, and merge phalluses, limbs, and orifices with knobs and handles to create abstract table-top works. His enigmatic and often inscrutable objects bring to mind the comics of artists like R. Crumb, with an attention to detail for color and surface that balances the gentle humor of his abstraction.

Paul McCarthy, “Painter,” 1995
photo racheluffnergallery.com

Paul McCarthy’s seminal video, Painter (1995), is a clownish parody of the Abstract Expressionist artist Willem de Kooning, using eschatological and visceral performance to demount the myth of a heroic male artist by satirizing the painter’s grandstanding studio persona and his notorious interactions with collectors and dealers.

Jamie Isenstein, “Sand Lamp (2),” 2015
photo racheluffnergallery.com

Wyatt Kahn lives and works in New York. His paintings, prints, drawings, and collages have been exhibited at LAXART, Los Angeles; Galerie Eva Presenhuber, Zurich; T293, Rome, among others. His work is included in the collections of the Whitney Museum of American Art; the Centre
Pompidou, Paris; the Museum of Contemporary Art, Los Angeles; the Dallas Museum of Art; the Museum of Contemporary Art, Chicago; the CCS Bard Hessel Museum; and the Albright-Knox Art Gallery. In 2015, Kahn will present solo exhibitions at the Contemporary Art Museum St. Louis; a joint exhibition at Tanya Leighton, Berlin and Adrian Rosenfeld, Los Angeles; and a solo project at the Performa Biennial.

photo racheluffnergallery.com

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photo frankmagnotta.com

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frankmagnotta.com

photo frankmagnotta.com

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photo konstkalendern.se

photo konstkalendern.se

Cathedral and factory-havebeen added together. Historical , contemporary and fictional references intertwine and opening into artist’s interpretation.

photo instrumentandoccupation.se

photo urbantaster.com

photo gallericharlottelund.com

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betting

DIS, studies for The Island, 2015, codesigned by Mike Meiré.COURTESY THE ARTISTS AND DORNBRACHT

“The art world is going through a big transition at the moment due to the changed status of the object, the dominance of the market, art’s relationship to the digital world, the unclear role museums are playing,” Hoffmann wrote in an e-mail. He speculated that the New Museum Triennial might be “the first [show] to fully capture that change.”
If nothing else, the 2015 Triennial, organized by New Museum curator Lauren Cornell and artist Ryan Trecartin, may be the first large-scale museum exhibition to credit its existence to an astrologer.
“Ryan had agreed to do the show in part because of our friendship,” Cornell said, “and in part because his astrologer told him he was going to be playing more of a producer role in 2015.” She laughed at this, but she wasn’t joking. “His astrologer is thanked in the show,” she said.
Trecartin was included in the first New Museum Triennial in 2009, “Younger Than Jesus,” named for the cut-off age of its participants. Cornell, then the executive editor of Rhizome, an arts organization devoted to new media and affiliated with the museum, acted as his liaison. Cornell said that a two-and-a-half-year curatorial project—she and Trecartin were announced as the organizers of the 2015 Triennial back in April 2012—is “like a relationship. I knew he was somebody that I would want to commit to in that way. I can argue with him and we can get over it.”
The two set out to bring together artists who were, in Trecartin’s words, “shattering our understanding of what art is.” The exhibition’s title, “Surround Audience,” is both a nod to Trecartin’s work—surrounding an audience with art, which he accomplishes by installing his videos in rooms crammed with props and furniture—and, more to the point, a reference to mass surveillance. Cornell and Trecartin began working on the show right around the time of the Edward Snowden leak, after which Cornell conducted a lengthy interview with Laura Poitras, the filmmaker who helped release Snowden’s information to the wider world.

Shelly Nadashi, A Good Bowl of Soup, 2013, installation and performance, Sotoso, Brussels.COURTESY THE ARTIST

Whatever problems mire the art world, the real world is always worse. This year’s Triennial makes this political backdrop explicit. As a rule, few exhibitions of this kind have been so unabashedly topical, with the exception of the 1993 Whitney Biennial, which, held in the wake of the L.A. riots, had admission buttons by Daniel J. Martinez that read “I CAN’T IMAGINE EVER WANTING TO BE WHITE.” Recent countrywide protests sparked over the institutionalized murder of unarmed black men by police have clearly affected American artists—at least as much as the “image-laden culture” touted by the museum as one of the show’s primary touchstones.
Josh Kline, a New York–based artist, goes so far as to use retired police officers in his video works in the Triennial; they will be seen reading social-media feeds that refer to police brutalities. The videos will be installed in “police Teletubbies,” as Kline described them, four “paramilitary statues that have TVs embedded in their stomachs.” (“And they’ll have Teletubby faces,” he said.) For another video in the show, Kline worked with David Meadvin, a former speechwriter for Barack Obama and Harry Reid, on an imagined Obama speech about a variety of topics including police brutality and surveillance—the kind of rallying cry the public would have expected from the Obama of 2008 that has since been muted by so much politics.
“There was a moment when everyone was kind of holding their breath when he would start speaking because they were so excited,” Kline said. “Then I remember watching the inaugural address at work—and people were waiting for this transformative figure who just didn’t emerge. It was like a different speaker almost. That more pragmatic, more deliberate, less emotional speaker has been with us most of the way ever since.”
Niv Acosta, a black transgender performer, takes a more oblique approach to the issue of race, choreographing a performance that is, Acosta said, “a culmination of research on sci-fi, disco, astrophysics, and locating the black experience within that.” This has resulted in a disco space opera starring four queer black performers, partially inspired by Diahann Carroll’s bizarre cameo in the Star Wars Holiday Special, which aired on CBS in 1978.

Niv Acosta, i shot denzel, 2014, performance at New York Live Arts, New York. IAN DOUGLAS/COURTESY THE ARTIST

If the politicized representation of bodies and language in the art world and beyond is one strand of the show—evident also in Frank Benson’s 3-D sculpture of the transgender-renaissance woman Juliana Huxtable (a Triennial artist herself), and in the installations of Njideka Akunyili Crosby, who deals with “what it means to be a cosmopolitan Nigerian”—the other side of the exhibition features the kind of futurist imaginings embodied by Trecartin. DIS, a “digital media platform” that looks at how creative fields—particularly art, fashion, and media—have become increasingly corporatized by new technology, was one of the first participants asked to show at this Triennial. (Several of its members have appeared in Trecartin’s films.) Their work is like a Crate & Barrel catalogue by way of Mike Kelley, a campy indictment of commercial enterprise mixed with a genuine savvy for Madison Avenue–grade advertising. For the exhibition, they are fusing both strands together—the intellectual and the banal—by installing in the museum a “hybrid kitchen and bath” designed by Dornbracht, a crafter of luxury kitchen and bath fixtures. Lauren Boyle, one of DIS’s members, described Dornbracht as “super, super high-end. Their website is phenomenal.”
Dornbracht came to the group through Google’s recommended ads. The search engine “caught on to the fact that we were researching art and,” Boyle said, “apparently luxury kitchens and baths. We kept getting ads for Dornbracht.” DIS will invite performers to stage talks and events within the space—allowing people to philosophize while, for example, making a grilled cheese sandwich. Dornbracht’s “trademark piece,” Boyle said, is a horizontal shower, which will be constructed inside the museum. It’s a contraption with five fountains that gently rain down on the bather, who is lying down on a long bench.
“So we’re gonna have a woman come in there and shower with her clothes on,” Boyle said. “It’s gonna be pretty weird.”
Horizontal showers aside, this year’s Triennial is more or less a vertically integrated exhibition, if one could imagine such a thing, with every component, down to even the publicity campaign, acting as a piece of the show. The ads are in fact a commissioned artwork featuring a cartoon pill that can be seen on posters for the Triennial engaging in a variety of debased activities—binge drinking, smoking, tanning—beneath slogans such as “I’ll Triennial Once” and “We Really Tried This Time.” The campaign was masterminded by K-HOLE, an art collective and “trend forecasting group,” which—like the ad campaign itself and similar to the mentality of DIS—exists simultaneously as an ironic commentary on and earnest participant in the very ideas it criticizes. Last year the group coined the term “normcore,” which would have merely been a good joke if it hadn’t been adopted into American vernacular to become an actual trend. The term, which originated from the humorous reports that K-HOLE releases as free PDFs on its website, was shortlisted by the Oxford Dictionaries as the word of the year. (Oxford’s definition: “a trend in which ordinary, unfashionable clothing is worn as a deliberate fashion statement.” It lost to “vape.”) Greg Fong, a founder of K-HOLE, said the Triennial ad campaign taps into what he calls our “post-rational times.”
“You only need to watch one Super Bowl ad for one minute to know that we live in a time when signs and symbols and markers have reached—I wouldn’t say their minimum value, but they’re more lightweight and malleable than ever,” Fong said. “Rather than be freaked out by this fact, we wanted to celebrate it. And even if it doesn’t bring people in the door, maybe it will help them understand that institutions can also be run with a sense of humor.”
Though not every artist in the exhibition bares his direct influence, this celebration masquerading as institutional critique places K-HOLE and DIS thoroughly in the tradition of Trecartin, whose films both revel in the fact of digital life and sinisterly document its chaos. Trecartin was one of the first artists to understand the Internet as portentous, but entertainingly so.
“A decade ago feels like a century,” Trecartin wrote in an e-mail when asked about the progression of his work. “I think the last decade was so accelerated we don’t even truly understand how to identify the changes that have happened and how they have affected society and human behavior.”

Firenze Lai, Tennis Court, 2013, oil on canvas, 40″ x 30″.COURTESY THE ARTIST AND VITAMIN CREATIVE SPACE, GUANGZHOU, CHINA

This Triennial is an attempt to understand. In fact, Trecartin’s work provided inspiration for the first Triennial in 2009. Massimiliano Gioni, the New Museum’s associate director and a cocurator of that show said he felt compelled to organize an exhibition around this theme after encountering a Trecartin film for the first time; watching the film he had experienced a sense of, to use Gioni’s word, “terror.”
“It was 2006 and I was 33,” Gioni said. “I felt like I was facing someone who was clearly younger than myself, who belonged to a different moment in time. So on one level, the show was a means of bridging a generational gap, but also came from a fear of being pushed out of my own time, that I needed to understand this whole new different way of making art.”
The fact that Trecartin’s work seemed to at least signal a kind of paradigm shift in the preoccupations of contemporary art has caused a unique dilemma in terms of organizing this new Triennial. Cornell referred to Trecartin as a “generational icon”—not the usual phrase one would use to describe a curator.
“People see Ryan as if he is going to deliver the future to them,” Cornell said. “I think that people think the show is gonna be, like, a hologram, or fly in on a UFO. There are quite a few projects that have a digital component but it also is a show, you know?”
She continued: “Every exhibition like this, it’s not about being liked. The Whitney Biennials I saw in the early aughts were really important to me and formative. I saw artists of my generation in them, which made me feel like I had a place in the art world. But, like all biennials, they were trashed by everybody. But, I think you know that you’re going to put your life into something for two and a half years, and then people will, if not trash it, then at least have infinite opinions on it.”
As for Gioni, he’d welcome another wave of terror.
“I’m excited to be made to feel old when this exhibition opens,” he said.

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Thater is one of the most important video artists working today. Since the early 1990s, she has created a wide range of film, video, and installation-based works whose sculptural forms engage spatial perception in physical, as well as conceptual, terms. Her pioneering oeuvre was among the first to push the boundaries of how new media art is displayed, helping to cement its position in the art world.

Diana Thater, Science, Fiction (2014)
photo artobserved.com

Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals. While her in-depth studies of ecosystems and animal behavior propose observation as a kind of understanding in itself, her ethical position is implicit in the work, which, while subtly political, provides views of the sublime in all its incarnations—stunning, beautiful, and simultaneously terrifying.

photo artobserved.com

In her new installation, which like the exhibition is titled Science, Fiction, Thater focuses on the dung beetle and the intricate navigation system it deploys in disposing balls of animal excrement, its main source of nutrition. Recent studies have revealed that the species uses the Milky Way to orientate itself at night, currently the only insect known to do so. In an experiment in which the beetles were placed on an outdoor table, they were only able to navigate in their usual straight line with an open view of the nocturnal sky—when their overhead vision was blocked, their movements became erratic and slowed drastically. The same experiment was repeated inside a planetarium, alternately turning the Milky Way on and off, and the animals’ path was demonstratively straighter and faster in light of the galaxy.

Other works:

photo artoffice.org

photo ilikethisart.net

photo ilikethisart.net

photo thaterstudio.com

via davidzwirner.com

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Idiots (Afke Golsteijn en Floris Bakker), The Art of making Jewellery, 2014
photo museumarnhem.nl

The often complex relationship between humans and animals lies at the heart of the works of the participating artists. For many of the artists the beauty of the animal forms the starting point of the work, but other themes such as impermanence, the border between fantasy and reality, the meat industry, ‘memento mori’, environmental issues, fables and symbols come into play as well. What the artists share is a love for nature. The animals that they use in their work are often ‘roadkill’ or were killed because they are perceived as pests.

Reid Peppard, Haarband, Double Rat Headdress, 2008. Foto: Jiro Schneider

The Arnhem designer Lenneke Wispelwey designed the exhibition. She is well-known for her ceramics in pastel colours with strong, geometric shapes.

Märta Mattsson, Broche, Palindrome, 2014. Foto: Emma Fredriksson

Emily Valentine,Vijf broches, Deconstructed Budgie, 2010. Foto: John Lee

Kate MccGwire, photo webodysseum.com

via museumarnhem.nl

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Power Hammer shows new sculptures based on machines and tools as an extension of the The New Tribal Labyrinth series which Atelier Van Lieshout (AVL) aims to start a Neo-Industrial Revolution with. AVL wants to reinterpret and revalue factories, manual labour and installations of the Industrial Revolution by creating sculptures made in an improvised style with contemporary materials. In our contemporary Western society it seems that physical labour is reserved for ‘others’, leaving us solely occupied with form. AVL states that as a society we cannot just consume and use; real products should be made and grown around us. AVL wants to see a return to the idealism of production, where the shape and character of the material determines the design.

The new sculptures in this exhibition not only refer to the romantic longing for a return to Industry, but further to this, Industry is honoured by emphasizing the fact that it brought our Western society freedom, wealth and prosperity.

photo grimmgallery.com

The focus on social utopia and alternative models of life can be traced throughout the work of AVL. While the focus of production at AVL could initially be found in the motif of freedom (the most radical implementation of which was the declaration of a free state AVL-Ville in 2001 at the port of Rotterdam), an intense exploration of restrictive systems has followed in subsequent years. This new series of work, New Tribal Labyrinth, reflects on our complex contemporary society in which inordinate consumption meets limited resources.
In this ongoing ‘Gesamtkunstwerk’, AVL suggests an alternative world order in which imaginary tribes constitute a new society, thus facilitating a return to a simple and self-sufficient way of life.

photo grimmgallery.com

Joep van Lieshout explains: “Industry used to play a vital role, as it enabled societies based on farming to reach a higher level of development and prosperity. Nowadays however, everything that reminds us of physical production has been banned from our society, and has subsequently been removed from our sight. Our role is only to design, no longer to produce. In fact, all the things which we find undesirable seems to have been banished. Farm animals disappear into anonymous mega-stables, prisons and mental institutions get moved out to remote business parks. The only thing left in our sanitized world is consumption: retail, recreation, restaurants. This reinvention of the industrial revolution wants to make a link with, but at the same time transcend, the utopian socialist Arts and Crafts movement that tried to close the gap between designer, producer and user. Just like the Arts and Crafts movement wanted to protect craftsmanship against the effects of industrialization, AVL wants to protect Industry. Industry and production should be a part of our society, as should be manual labour, pollution and hardship. As a society we cannot just consume and use, real products should be made and grown.”

photo grimmgallery.com

photo grimmgallery.com

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One of the world’s most important living artists, Bill Viola has been instrumental in establishing video as a vital form of contemporary art. In this exclusive exhibition, the Art Gallery of South Australia, St Peter’s Cathedral and the Queen’s Theatre are transformed into magnificent screening houses for Viola’s work. From the sheer scale of Fire Woman and Tristan’s Ascension to the moving intimacy of Three Women, seven astonishing installations across the three sites envelop the viewer in total image and sound environments that cast Viola’s distinctive light on themes of birth, death, love, anger, ecstasy, suffering and fear.

photo adelaidefestival.com.au

photo tate.org.uk

photo lemonde.fr

via adelaidefestival.com.au

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photo Courtesy of Davide D’elia

This time the artist operates in the opposite direction: he employs the antivegetative; antifouling paint, a kind of paint used above all on ships and boats to stop the growth of algae, coral and mould on the hull. The protagonist of the work is still the gallery itself, transformed into an inhabited space and ideally semi-immersed in the antivegetative: pictures, sculptures and furniture all appear in the grip of antifouling paint, coloured its typical aseptic green, almost as if to block any proliferation of life.

With ANTIVEGETATIVA Davide D’Elia presents a project born out of the opposition between organic and synthetic, living and aseptic, hot and cold, formal and informal.

The exhibition is rounded off with a critical piece by Giulia Ferracci.

photo Courtesy of Davide D’elia

photo Courtesy of Davide D’elia

photo Courtesy of Davide D’elia

via exelettrofonica.com

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Installation view of Roy Lichtenstein: Intimate Sculptures, 2014
Photo Misha Sesar

Roy Lichtenstein: Intimate Sculptures presents a selection of the artist’s sculptures and maquettes, works that playfully and pointedly blur the boundaries of drawing, sculpture, and painting. Comprised of everyday and mass-produced objects – a mirror, water glass, and coffee cup – as well as the artist’s signature brushstrokes, the works highlight Lichtenstein’s ability to elevate the everyday to the iconic. Presented in a gallery space populated with furniture, the exhibition encourages engagement, inviting audiences to view historic works in an intimate setting. Maquette for House I (1996) inspired the domestic context for this environment, a later work wherein Lichtenstein reduces the structure of a cookie cutter suburban house to black outlines and primary colors – yellow siding, a blue roof, and red to accent the shutters and chimney.

Installation view of Roy Lichtenstein: Intimate Sculptures, 2014
Photo by: Misha Sesar

Often overlooked but routinely used, commercial subjects become monuments in the artist’s hand, wherein shadow, contour, and highlight are rendered in patinated bronze. In Mirror II (1977), Lichtenstein transforms a vanity mirror into a static, unchanging reflection – focusing on the form of the object while negating its intended function. Mobile III (1990) directly references Alexander Calder’s archetypal mobiles, “freezing” an item whose sole purpose is to respond to movement. Rather than condense volume and function into a linear still life, these sculptures become intimate metaphors for the disposable society in which they exist.

Installation view of Roy Lichtenstein: Intimate Sculptures, 2014
Photo by: Misha Sesar

Nodding to the physicality of the Abstract Expressionist movement and its influence on Western art, Lichtenstein’s brushstroke sculptures democratize mark-making and painterly authority through isolation and reproduction. Lichtenstein describes his desire to separate the brushstroke from the canvas and distill it to its purist form: “…my latest interest is probably in some way a reaction to the turn of contemporary painting back toward an expressionist path, toward the revealing of the brushstroke in the surface of the painting. Still, I am doing it my own way.”Lichtenstein’s modern approach to the brushstroke continued to incorporate his signature Ben-Day dots in new and substantial forms, most evident in the figurative works Maquette for Brushstroke Head Red and Yellow (1992) and Maquette for Brushstroke Nude (1992). Lichtenstein’s brushstroke sculptures are emblematic of his lifelong exploration of representation and abstraction, form and function, and high and low culture, and continue to pose the question “what constitutes art?”

Maquette for House I, 1996

via flagartfoundation.org

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ONCE AGAIN SOME PERVERSE MANIPULATIONS WERE RE- FRESHING THE WORLD, 2009 photo yvon-lambert.com

For more than a decade, Loris Gréaud has established an atypical trajectory in the international contemporary art scene. His work has been widely exhibited internationally, and in recent years, he has been the subject of significant museum exhibitions in major cities worldwide – including Hong- Kong, Tokyo, London, New York, Berlin, Milan, and Paris. In 2008, Gréaud became the first artist to take over all 40,000 square feet of the prestigious contemporary art center Palais de Tokyo in Paris with his monumental and fantastical multidisciplinary installation Cellar Door. The project, which spanned five years and was site-specific to each venue, traveled to some of Europe’s most respected institutions, including the ICA, London; Kunst Halle Sankt Gallen, Switzerland; La Conservera, Murcia, Spain; and the Kunsthalle Wien in Austria.
Known for creating long-term projects and immersive installations riddled with deep philosophical and conceptual undercurrents, Gréaud refers to his process as an “empirical machine,” often collaborating with engineers, architects, musicians, historians, and scientists.

FREQUENCY OF AN IMAGE (2012) Courtesy Gréaud Studio et Yvon Lambert Photo Minsk Studio

FREQUENCY OF AN IMAGE (2012) Courtesy Gréaud Studio et Yvon Lambert Photo Minsk Studio

The artist Loris Gréaud during the installation of his “Cellar Door” project at the Palais de Tokyo in Paris.

via dallascontemporary.org

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Inez van Lamsweerde and Vinoodh Matadin
Kirsten, Star, 1997
© Inez & Vinoodh / Courtesy Gagosian Gallery

Eric Fischl is an internationally acclaimed American painter and sculptor. His artwork is represented in many distinguished museums throughout the world and has been featured in over one thousand publications. His extraordinary achievements throughout his career have made him one of the most influential figurative painters of the late 20th and early 21st centuries.

Installation view of Disturbing Innocence, 2014

Fischl was born in 1948 in New York City and grew up in the suburbs of Long Island. He began his art education in Phoenix, Arizona where his parents had moved in 1967. He attended Phoenix College and earned his B.F.A. from the California Institute for the Arts in 1972. He then spent some time in Chicago, where he worked as a guard at the Museum of Contemporary Art. In 1974, he moved to Halifax, Nova Scotia, to teach painting at the Nova Scotia College of Art and Design. Fischl had his first solo show, curated by Bruce W. Ferguson, at Dalhousie Art Gallery in Nova Scotia in 1975 before relocating to New York City in 1978.

Mummified Barbies by EV Day photo worleygig.com

Fischl’s suburban upbringing provided him with a backdrop of alcoholism and a country club culture obsessed with image over content. His early work thus became focused on the rift between what was experienced and what could not be said. His first New York City solo show was at Edward Thorp Gallery in 1979, during a time when suburbia was not considered a legitimate genre for art. He first received critical attention for depicting the dark, disturbing undercurrents of mainstream American life.

Installation view of Disturbing Innocence, 2014

John Wesley Caryn and Robin, 1968
Private Collection ©John Wesley. Image courtesy of Fredericks & Freiser, New York

via flagartfoundation.org

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Pressed Flower Red, 2013
photo paulkasmingallery.com

Ron Arad was awarded the Royal Designer for Industry (RDI) in recognition of his ‘sustained excellence in aesthetic and efficient design for industry’ in 2002. He was Professor of Design Product at the Royal College of Art in London from 1997 until 2009. Ron Arad was awarded the 2011 London Design Week Medal for design excellence. In 2013 he was elected as a Royal Academician by the Royal Academy of Art in London.

Pressed Flower Petrol Blue, 2013
photo paulkasmingallery.com

Pressed Flower Navy Blue, 2013
photo paulkasmingallery.com

Pressed Flower Rust, 2013
photo paulkasmingallery.com

Pressed Flower White, 2013
photo paulkasmingallery.com

Pressed Flower Yellow, 2013
photo paulkasmingallery.com

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Leila Heller Gallery announces “Emotional Diagrams and Other Micrologies”, Loris Cecchini’s first solo exhibition with the gallery, on view from January 15 – February21, 2015 at 568 West 25th Street.

Sentimental seismographies (E. Dickinson), 2014
photo leilahellergallery.com

Continuing his inquiry into the evaluation of space in relation to nature, technology, and art, “Emotional Diagrams and Other Micrologies” proposes an overview of the artist’s practice where materials are explored while reality gradually dissipate across the gallery’s space. Throughout his career, Cecchini has continuously introduced the concept of the organic element as a central component in his work, in part as an exploration of the idea of the object and its inherent materiality, but also as a minimalist practice. With the lens of a scientist, Cecchini closely examines his modules starting with basic 3D or watercolor studies,advancing to the particularity of natural elements.

Wallvave vibration (ears particle tingles), 2012
photo leilahellergallery.com

The exhibition will present a number of Cecchini’s module-­based installations, a calculated chain of stainless steel elements originating from his preliminary inquiries again using organism, as a leitmotif in his work to address the intricate evolution of art in relation to sciences.

Stratashades (Yellow), 2014
photo leilahellergallery.com

In The Ineffable Gardener and Inherent Transience (2013), Cecchini has joined together petals of steel modules to form a semblance of a climbing plant organically deriving from an array of bewildering trails contrasting the deliberate intention of the propagation.

The Ineffable gardener and inherent transience, 2013
photo leilahellergallery.com

Germination rates on four poles, 2015
photo leilahellergallery.com

Hypermeasures for a vertical orchestra, 2015
photo leilahellergallery.com

Trisphere Ultrastructure (Heart), 2015
photo leilahellergallery.com

Trisphere Ultrastructure (Amaoeba), 2015
photo leilahellergallery.com

Sequential interactions in alfalfa chorus, 2014 photo leilahellergallery.com

Sporopollenins, 2015
photo leilahellergallery.com

via leilahellergallery.com

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Entitled I Don’t Know . The Weave of Textile Language, this newly commissioned sculpture combines vast swathes of fabrics designed by the artist from both man-made and natural fibres in three bold and brilliant colours.

Richard Tuttle I Don’t Know . The Weave of Textile Language 2014

The commission is part of a wider survey of the artist taking place in London this autumn and comprising a major exhibition at the Whitechapel Gallery surveying five decades of Tuttle’s career and a sumptuous new publication rooted in the artist’s own collection of historic and contemporary textiles.

photo telegraph.co.uk

A double whammy of exhibitions for the revered American artist: a textile-based commission in the Tate’s Turbine Hall and a retrospective at the Whitechapel.
Evening Standard, Autumn 2014’s hottest London events

Tuttle uses textiles…to open our eyes and our senses
The Observer

[Tuttle] immerses his audience in mountains of fabrics and waves of saturated colour
The Telegraph

via tate.org.uk

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Ghost

For the insects and the hounds brings together Nordström’s latest body of work produced in a farmhouse studio on Gotland, an island located off the southeastern coast of Sweden, greatly differing from his usual workspace in Stockholm. The exhibition’s title insinuates these remote, rural environs—Nordström has noted how insects would fall from the ceiling onto the works below and that the family dog was his only disruption in the studio—and further evokes the tensions between man and nature, reality and fantasy which more broadly characterize the artist’s practice.

Garçon et Fille / Bad Grades (2014)

Who knows what God knows?, 2014

Delicately and elegantly constructed, Nordström’s collages, watercolors, graphite drawings, and architectural sculptures feel improvisational and spontaneous, yet rich in detail. His works on paper read like storyboards, often referred to by the artist as “stills,” where all the action takes place simultaneously within a frozen frame. His imaginative tableaux-like environments appear as fantastical settings populated with unique figures, animals, architecture, furniture, musical instruments, and other props, all varying in scale and composition. Demonstrating his innovative approach to illustration and his distinctive choice in subject matter, his works feature an assorted cast of characters, seemingly pulled from different eras, and frequently employ unusual horizontal or vertical formats that recall the sequential arrangement of comic books and filmstrips.

When I Met Myself

The exhibition’s centerpieces will include three large-scale works on paper, each measuring over two meters in length, that take inspiration from frescoes found in the numerous medieval churches on Gotland, most readily seen here with the floating female figures encircled by rays of lights who the artist attributes to Gothic madonnas. The layered, heavily worked surfaces of these watercolors convey Nordström’s meticulous, labor-intensive process, which begins by making paper cutouts of figures and other objects with individualized, hand-drawn features—accumulating hundreds that are collected in piles around the studio. Pulling from this vast stockpile, he arranges the cutouts, only settling on the final placement once charged connotations are achieved between the characters and their settings. The ambiguous, hidden narratives imbue the works with a sense of intrigue, which is furthered by enigmatic titles varying from colloquial expressions to poetic vignettes and streams of consciousness, as exemplified by the graphite drawing When I met myself, depicting two men in antiquated dress within a nondescript interior whose interaction remains unintelligible.

Wine and Bread, 2014

For the present exhibition, Nordström continues to fabricate sculptures from cardboard, matchboxes, and other found scraps of paper, which have become increasingly important to his practice since he began showing them in the mid-2000s. The artist considers his three-dimensional paper objects to be an extension of his two-dimensional drawings and collages. His latest sculptures appear more abstract and formal than previous examples that were representational, directly referencing architecture as small-scale models of modernist-looking buildings. With their square and rectangular formats resembling picture frames, the new sculptures seem to stand as miniature abstract paintings and also operate as an innovative way for the artist to further explore the physical qualities of paper and mark-making.

Big sister, 2014

Service et congé, 2014

The exhibition will be accompanied by a fully illustrated publication forthcoming in 2015 by David Zwirner Books.

via davidzwirner.com

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photo museotamayo.org

From September 25, 2014 to January 19, 2015 we will finally have the pleasure to witness her exhibition “Infinite Obsession” in Mexico City, in the Tamayo Museum, a selection of more than 100 artworks the artist created between 1950 and 2013. These include paintings, works on paper, sculptures, videos, slideshows and installations.

photo museotamayo.org

photo museotamayo.org

via arto.mx

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Selfportrait 4, 2010
photo timvanlaeregallery.com

“I don’t want to give the viewer everything”, Ghenie says, “but when people look at my work, I want them to think about what they’re looking at and to feel something. I’m not a history
painter, but I am fascinated by what happened in the 20th-century and how it continues to shape today. I don’t feel an obligation to tell this to the world, but for me the 20th-century was a century of humiliation – and trough my painting, I’m still trying to understand this.”
Ghenie’s earliest paintings were small-format works that employed a monochromatic palette
to depict intriguing scenes with considerable delicacy and often in darkly humorous circumstances, although simultaneously involving an element of tragedy. In Turning Blue
(2008) we see the dead Lenin going mouldy, while In the Middle of the Night
(2008) depicts a set of false teeth on a shelf. In recent years the scale of the works has increased and his figurative compositions have become complex, veering towards abstraction and functioning on numerous different levels in order to generate open meanings. Ghenie’s palette has evolved towards brighter tones and more colour. As in his earlier works, he frequently incorporates self-portraits (Self-Portrait No. 4, 2010).

In the middle of the night, 2008
photo timvanlaeregallery.com

Turning Blue, 2008
photo timvanlaeregallery.com

Charles Darwin at the age of 75, 2014
photo pacegallery.com

The Arrival , 2014
© Courtesy of the artist & Nolan Judin

via cacmalaga.eu

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In his work, Erwin Wurm has done much to expand the concept of sculpture, and he uses absurd and comic elements of contemporary society – particularly in relation to the human body. In his sculptures and performances, he has repeatedly re-drawn and extended the fragile boundary defining a visible form from inside and outside, fundamentally challenging and questioning the viewer’s perception of reality.

The combination of materials in his œuvre creates spaces and allusions that far transcend the relation between viewer and object. In Angst / Lache Hochgebirge, a black chair appears to split open a house; the two objects stand in a specific relationship, developing a network of relationships that takes shape beyond the viewer. Here deformation has taken over a considerable part of the figuration (Erwin Wurm, 2014).

Angst / Lache Hochgebirge
photo ropac.net

According to Aristotelean tradition, the “substance” of things lies in their autonomous reality, and less in the human activities that assign meaning to them or attempt to wrest from them their physical secrets. The object is more than simply its relation to man. This is precisely the direction in which Erwin Wurm wishes to take the viewer. Thus for instance, in Hochgebirge a black refrigerator clings to a warped high-rise building, or sausages stand or lie on chests of drawers. Here man is no longer the measure of all things – like the Earth after the Copernican revolution. This brings about a new form of materialism, or “realism”, which accepts that things are not subordinate to man, but follow natural laws of their own. Markus Gabriel sums it up: There is not one single world, but many, many different perspectives on the world. (Markus Gabriel, 2013). Thus material assumes a different status – as for instance in Erwin Wurm’s latest ceramics, manifested with volume and materiality in an Origami or a Tantum Verde. In the new burnt clay sculptures I’m guided by the material … it’s as though I’m merely following the sculpture – it guides and leads me (Erwin Wurm, 2014).

Angst / Lache Hochgebirge
photo ropac.net

Angst / Lache Hochgebirge
photo ropac.net

Other works:

photo cargocollective.com

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photo andrearosengallery.com

Curator Statement

The Thing and the Thing-in-Itself focuses on the limits of human understanding that Immanuel Kant contemplated in The Critique of Pure Reason (1st ed. 1781). This philosopher speculated that humans only know things in the world through space and time, as well as the causes they attribute to these objects and events. Instead of accurately replicating the world, people’s understanding of it is dependent on their restricted ability to grasp it. In other words, they construct the world they experience, making sensory information idiosyncratic and/or socially oriented rather than accurate, and people’s perception of their world an ongoing film or performance. It helps to consider Kant’s term “thing-in-itself” as shorthand for the strict limits to the ongoing theater of everyday life humans produce, direct, and cast, so that they themselves can then serve as its main players.

photo andrearosengallery.com

photo andrearosengallery.com

via andrearosengallery.com

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photo Samara Golden

The Flat Side of the Knife combines physical spaces with illusory spaces that appear only in mirrors, reflecting what the artist refers to as “layers of consciousness,” akin to psychological and hallucinatory spaces in the mind. Her use of mirrors in conjunction with sculptural elements made from a silvery insulation board, known commercially as Rmax or Thermax, allows the illusion of space to expand in multiple directions; creating imaginary depth below the gallery floor, for instance, or suggesting adjacent rooms that do not actually exist.

photo Samara Golden

The Flat Side of the Knife marks Golden’s first solo museum exhibition. She received her MFA from Columbia University and has exhibited her work at the Museum of Contemporary Art, Los Angeles (MOCA); Sculpture Center, New York; Night Gallery, Los Angeles; CANADA, New York; Cardi Black Box, Milan; Loyal Gallery, Stockholm; and Galerie Crevecoeur, Paris; among others. Most recently, Golden’s work was featured in the 2014 Hammer Museum Biennial, Made in L.A.

photo Samara Golden

photo Samara Golden

via momaps1.org

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“It’s not easy to choose an artist for Versailles,” Ms. Pégard said. “It’s not a museum, or a gallery or an exhibition space.” She said that Mr. Kapoor, 60, had been chosen “because he has something particular to say in this setting.” The series of solo shows began in 2008 with Jeff Koons and has included Takashi Murakami among others.

Certainly Mr. Kapoor, who was born in India and has lived in London for decades, is no stranger to grandeur. He is probably best known recently for his “ArcelorMittal Orbit” in Queen Elizabeth Olympic Park in London, a convoluted cross between the Eiffel Tower and a Salvador Dalí surrealist fantasy that stands more than 375 feet high and is Britain’s tallest sculpture.

photo anishkapoor.com

Nor is he a stranger to the Paris art scene: In 2011 he was the chosen artist for the annual Monumenta show, where his “Leviathan,” a huge maroon balloon-like structure almost entirely filled the inside of the Grand Palais. “Leviathan” attracted more visitors during its six-week stint that any other Monumenta show, a record presumably not lost on the Versailles selectors. Versailles itself packs in some 5 million visitors a year, with numbers peaking during the summer, when the contemporary art exhibition is a magnet for foreign tourists. Big crowds should mean big revenue — much needed when austerity is slicing into the government’s culture budget.

photo anishkapoor.com

photo anishkapoor.com

photo anishkapoor.com

http://artsbeat.blogs.nytimes.com

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Curated by internationally renowned cultural agitator and curator Jérôme Sans, the exhibition explores the interplay between Marino’s iconic architectural designs, his personal collection of contemporary art and his series of cast-bronze boxes. True to the architect’s practice of creating bespoke environments at the intersection of art, design and fashion, One Way: Peter Marino will feature commissioned new work by artists Gregor Hildebrandt, Guy Limone, Farhad Moshiri, Jean-Michel Othoniel and Erwin Wurm.

Jean-Michel Othoniel, Black Rosaries, 2014
photo by Philippe Chancel / courtesy of Jean-Michel Othoniel

One Way: Peter Marino begins with Hildebrandt’s Orphische Schatten (Orphic Shadows), a site-specific installation that employs hundreds of videotape strips culled from copies of Jean Cocteau’s classic film Orphée. Hildebrandt’s installation continues inside the museum galleries, plunging the Bass Museum’s “white cube” into shimmering darkness, extending Cocteau’s poetic play with imagery of mirrors and passageways to the Underworld.

These corridors of tape guide visitors through a selection of works from Marino’s personal collection of contemporary art, including pieces by Loris Gréaud, Keith Haring, Richard Serra, Rudolf Stingel, and Andy Warhol, among others. The exhibition also features sections dedicated to Pop Art, iconic portraiture and photography, and Marino’s recently designed series of cast-bronze boxes that will be presented within leather-clad walls.

One Way: Peter Marino comes to a suitably mythological conclusion with the recreation of Christophe Willibald Gluck’s opera Orfeo ed Euridice. This work – a collaboration between Marino, his wife Jane Trapnell, Michal Rovner, Dior, Francesco Clemente and others – recreates the opera originally staged in Marino’s New York home in 2013 with sets designed by Marino himself. Artistic collaborations and privately commissioned performances such as Orfeo ed Euridice demonstrate Marino’s passion and continued drive to work with the most talented individuals in the visual and performing arts.

photo by Maggie Nimkin

Featured Artists:
Miquel Barceló, Georg Baselitz, Steve Benisty, Jeff Burton, Francesco Clemente, Dan Colen, Ronnie Cutrone, Peter Dayton, Richard Deacon, Pierpaolo Ferrari, Lucio Fontana, Adam Fuss, Loris Gréaud, Andreas Gursky, Keith Haring, Gregor Hildebrandt, Damien Hirst, Thomas Houseago, Zhang Huan, Y. Z. Kami, Idris Khan, Anselm Kiefer, David LaChapelle, Claude Lalanne, Peter Lane, Guy Limone, Nate Lowman, Robert Mapplethorpe, Steven Meisel, Andrei Molodkin, Joel Morrison, Farhad Moshiri, Vik Muniz, Jean-Michel Othoniel, Yan Pei-Ming, Walter Pfeiffer, Paola Pivi, Richard Prince, Lee Quiñones, Michal Rovner, Robert Ryman, Tom Sachs, Richard Serra, Andy Warhol, Christopher Wool, Erwin Wurm, Manolo Yllera.

photo by Maggie Nimkin

Wim Delvoye

via www.bassmuseum.org

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photo pacegallery.com

Some New Painting (and Photography) is Hockney’s first exhibition of works completed since his return to Los Angeles from England, where he spent a decade pictorially exploring the East Yorkshire landscape of his youth.

photo pacegallery.com

The works in the exhibition demonstrate Hockney’s longstanding dedication to painting and to depicting the human figure. Hockney made all of these works in his Los Angeles studio using live models—friends, colleagues and dancers. The exhibition includes seated portraits of individuals, a series of paintings that recalls Matisse’s masterpiece Dance and paintings of figures posing in his studio. Hockney moved his figures and objects around the studio. Playing with time and space, some figures appear more than once in the same painting.

photo pacegallery.com

photo Tom Barratt

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Courtesy of Studio Olafur Eliasson
photo Iwan Baan

Courtesy of Studio Olafur Eliasson
photo Iwan Baan

Eliasson’s first solo show in France since his 2002 exhibition at the Musée d’art Moderne de la ville de Paris, Contact envelops visitors in a choreography of moving light and shadows, seemingly transporting them into the darkness of outer space. A number of smaller optical devices distributed throughout specially built passageways continue the artist’s on-going investigations into the mechanisms of perception and the construction of space.
As Olafur Eliasson explains: “My exhibition addresses that which lies at the edge of our senses and knowledge, of our imagination and our expectations. It is about the horizon that divides, for each of us, the known from the unknown.”
On the roof, Olafur Eliasson has installed an apparatus that tracks the sun and, at certain hours of the day, directs light rays onto a multifaceted, geometric sculpture suspended within the building.

Courtesy of Studio Olafur Eliasson
photo Iwan Baan

The exhibition interacts with the newly unveiled site-specific commission Inside
the horizon. Including a unique sound composition designed by Samuli Kosminen
and Olafur Eliasson, this commission is a vibrant interplay of daylight, yellow light, shadows, and reflections that offers constantly changing perspectives of the Fondation’s architecture, the surroundings, and other visitors.

Courtesy of Studio Olafur Eliasson
photo Iwan Baan

via fondationlouisvuitton.fr

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photo gagosian.com

Urs Fischer (b. 1973, Zurich) lives and works in New York. His work is included in many important public and private collections worldwide. Recent major exhibitions include “Kir Royal,” Kunsthaus Zurich (2004); “Not My House Not My Fire,” Espace 315, Centre Pompidou, Paris (2004); “Mary Poppins,” Blaffer Gallery, Art Museum of the University of Houston,Texas (2006); “Marguerite de Ponty,” New Museum, New York (2009–10); “Oscar the Grouch,” The Brant Foundation, Greenwich, Connecticut (2010–11); “Skinny Sunrise,” Kunsthalle Wien, Vienna (2012); and “Madame Fisscher,” Palazzo Grassi, Venice (2012), as well as the Biennale di Venezia in 2003, 2007, and 2011.

photo gagosian.com

photo gagosian.com

photo gagosian.com

via gagosian.com

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photo by Mikael Lundgren, courtesy of Bildmuseet and Estudio Campana.

For Bildmuseet Campanas are creating a new site-specific room installation, Woods. It will be the Campanas first exhibition in Sweden and the starting point for a programme of workshops and lectures during the exhibition period.

photo by Mikael Lundgren, courtesy of Bildmuseet and Estudio Campana.

photo by Mikael Lundgren, courtesy of Bildmuseet and Estudio Campana.

photo by Mikael Lundgren, courtesy of Bildmuseet and Estudio Campana.

via bildmuseet.umu.se

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photo db-artmag.com

The exhibition is part of the multi-years partnership the Bank has started in 2012 with MACRO Museum within its activities in favor of contemporary art and young artists, which Deutsche Bank fosters since many years all over the world. “With Tobias Rehberger, we are celebrating the third year of our partnership with MACRO” said Flavio Valeri, Chief Country Officer Deutsche Bank “a collaboration looking far into the future and born out of a common desire to offer major international art to the wide public”. Giovanna Martinelli, Assessor for Culture, creativity, and artisti promotion of Roma Capitale, addirmed: “The partnership between Deutsche Bank and MACRO is a virtuous example of collaboration between public and private institutions to be regarded as a model and point of departure for further synergies”.

More works:

photo pilarcorrias.com

photo contemporaryartdaily.com

photo contemporaryartdaily.com

via db.com

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Bound Figure, 2014
photo houldsworth.co.uk

Challenging notions of materiality, Arsham plans to distort the gallery’s architecture. Enveloped within white drapery, it is unclear whether the figure behind the wall has been entrapped in plaster, or whether he is seeking refuge from an external force. Coercing materials to behave in unexpected ways, the artist’s intervention seeks to transcend the boundaries of the white cube by physically altering its framework.

Bound Figure, 2014
photo houldsworth.co.uk

Discussing his architectural interventions, Arsham explains: ‘in all of these works, I alter something that everyone knows. I manipulate the surface of architecture or the material of it. Sometimes it’s a surface and sometimes it’s the depth of the wall. I’m always looking for various ways that I can transform these things. They stretch like fabric, sometimes appear to be eroding like a natural formation, creeping back into the architecture, and sometimes they appear to be melting. These different states of transition inspire my work. Oftentimes there are figures that interact with the architecture by wrapping themselves up in the walls or appear to be hiding behind the surface.”

Bound Figure, 2014
photo houldsworth.co.uk

Bound Figure, 2014
photo houldsworth.co.uk

via houldsworth.co.uk

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photo mariangoodman.com

Regarded as one of the most important sculptors of his generation, Juan Muñoz was known for his return to the human form in art and for his emphasis on the relationship of sculpture, architecture and the viewer. In sculptures, drawings, ‘conversation pieces’, and immersive installations, he often placed the viewer in dramatic relationship to space and objects that were at once architectural and implied narrative or silence, a sense that something had happened or was about to happen. His sources ranged from literature, architecture, mythology, to music, film, theater, poetry. Ever the storyteller, his artistic activity extended to plays for radio and theater, writings and essays. Frequently, Muñoz’s sculptural tableaux offer the viewer an experience of physical passage through interior spaces, suggesting a psychological landscape of presence and distance, labyrinths and solitudes, urbanscapes and empty interiors, the collective and the individual.

photo mariangoodman.com

“I sometimes feel that [some of] my work is about waiting, waiting for something to happen; on the one hand afraid in case it does happen, or even wishing that it had never occurred. It is like keeping a work in that state that we would call desire- keeping it at that level of desire, just holding it there that wish, that uncertainty, keeping the work still just here. Or like watching a door which one day a person might open.”
-Juan Muñoz in Monologues and Dialogues, 1997

photo mariangoodman.com

photo mariangoodman.com

via mariangoodman.com

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photo mariangoodman.com

Over the past five years Richter has been primarily concerned with a series of paintings premised on systematically deconstructing a photograph of his own abstract oil on canvas from 1990. Revisiting an idea he first employed in his late-seventies project ‘128 Photographs of a Painting’, he divided the work’s surface into two vertical sections, then halved those halves, and so on, subjecting them repeatedly to a premeditated procedure he described simply as ‘dividing, mirroring, repeating’. At the point when this digital process had generated 4,096 infinitesimal vertical sections, Richter intervened with a rigorous selection process, re-imposing his subjective will and choosing particular preferred strips with which to continue working.

photo mariangoodman.com

Following one further final halving and mirroring, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of colour, the largest of which stretches over ten metres, as seen on the gallery’s first floor. By tellingly entitling these unique works ‘Strip’ paintings, Richter is referring not to those lines, but both to the miniscule vertical strips they represent of their source and to the sense of physically ‘stripping’ – taking apart and dismantling his original painting. Of not only reinventing, but wholly paring down and fundamentally abstracting his own abstraction.

photo mariangoodman.com

photo mariangoodman.com

via mariangoodman.com

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photo hifructose.com

photo perrotin.com

photo cac.lt

via hifructose.com

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photo Hisao Suzeki

In 2015 Serpentine Galleries celebrates the 15th anniversary of the world-renowned Pavilion commission. Over the past 15 years the Serpentine Pavilion has become an international site for architectural experimentation, presenting inspirational temporary structures by some of the world’s greatest architects. A much-anticipated landmark in London each summer, the Pavilion is one of the top-ten most visited architectural and design exhibitions in the world.

photo Iwan Baan

Serpentine Galleries announces that Spanish architects SelgasCano will design the 15th Serpentine Pavilion. The award-winning studio, headed by José Selgas and Lucía Cano, is the first Spanish architecture practice to be asked to design the temporary Pavilion on the Serpentine’s lawn in London’s Kensington Gardens. In keeping with the criteria of the scheme, this will be the studio’s first new structure in the UK, with plans set to be revealed in February 2015.

photo Iwan Baan

SelgasCano’s design follows Smiljan Radić’s Pavilion in 2014, which was likened by many to a spaceship resting on Neolithic stones. Previous architects include Sou Fujimoto, 2013; Herzog & de Meuron and Ai Weiwei, 2012; Frank Gehry, 2008; Rem Koolhaas and Cecil Balmond, with Arup, 2006; Oscar Niemeyer, 2003; Daniel Libeskind with Arup, 2001; and Zaha Hadid, who designed the inaugural Pavilion in 2000.

photo Iwan Baan

photo Iwan Baan

photo Hisao Suzeki

via serpentinegalleries.org

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The exhibition takes the form of a work in its own right, with creatures sometimes combining the anthropomorphic and the animal: half-vegetal, half-mineral hybrids that make play with the architecture of the museum as they spin out their arachnoid labyrinths. David Altmejd’s approach to sculpture is characterised by its wide variety of materials and a longstanding interest in the natural sciences and architecture.

Altmejd works in direct contact with psychic flux. In his “definitive dreamer’s” world action and consciousness merge: he dominates the grotesque and the abject, combines aesthetics and ‘glamour’ and uses his sculptures to explore the worlds of dream and nightmare in a mingled ambience of fascination and terror.

DAVID ALTMEJD, Sarah Altmejd, Photograph by Lance Brewer © David Altmejd, Image

The exhibition reveals a group of deliberately contradictory artistic accomplishments – conceptual and processual, virtuoso and readymade – while the flow of light from countless natural and artificial sources is split by the mirrors, shattered or intact according to the sculptor’s whim, that it encounters.
Close to the cinema worlds of David Cronenberg and David Lynch, and marked like all artists of his generation by the works of Matthew Barney, Altmejd combines mystical and alchemical elements with an aesthetic torn between structure and dispersion. A theatre of shapes and organs in gestation, and of crystals in formation, his work functions by strata, patiently assembling timeless sediments in a sudden, exhilarating, dreamlike explosion.

DAVID ALTMEJD, The University 1, © David Altmejd, Image courtesy of Andrea Rosen

DAVID ALTMEJD
Born in Montreal in 1974, David Altmejd lives and works in New York. After studying visual arts at the University of Quebec in Montreal, where he majored in drawing and painting, he graduated as a sculptor in 1998. Fascinated by biology and the cinema of the fantastic, he moved to New York and in 2001 took out a fine arts degree at Columbia University. In 2007 he represented Canada at the 52nd Venice Biennale with his installation The Index and showed at the Istanbul and Whitney Biennials in 2003 and 2004 respectively.

DAVID ALTMEJD, The Swarm, Photograph by Farzad Owrang

DAVID Altmejd, Untitled, Photograph by Jessica Eckert © David Altmejd

DAVID ALTMEJD,abcdefghijklmnopqrstuvwxyz, Photograph by Kurt Deruyter

DAVID ALTMEJD, The Flux and The Puddle, Photograph by James Ewing © David Altmejd

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Bentley presents Bentley Elements, a new series of art and design commissions conceived

by creative directors Campbell-Rey to debut at Design Miami, 1–4 December 2014

The first instalment in the series celebrates the element of Light, as interpreted by artist Massimo Uberti

Celebrating Bentley’s commitment to craftsmanship and innovation, Bentley Elements is an artist initiative conceived by creative directors Campbell-Rey that will debut at Design Miami 2014. Each iteration of Bentley Elements will see an original commission from a craftsperson or artist representing a variety of disciplines including art, design and technology whose individual practices and techniques celebrate the diverse aspects of the Bentley brand. Taking a three-pronged approach, Bentley Elements bridges the physical and abstract elements of the car’s construction with the institutional values of the brand and the elemental features of the natural landscape that the car inhabits. The finished artworks will then be unveiled at cultural happenings around the globe with a new element and artist commission added annually.

“Bentley Elements represents the return to a purist expression. It celebrates innovation and craftsmanship whilst exploring the nuanced artistic processes inspired by the legendary British marque.” – CAMPBELL-REY

photo Bentley Elements

Creative directors Campbell-Rey took inspiration from the quality control tunnels in the Bentley factory, which are not only visually striking environments, but also the physical expression of Bentley’s dedication to excellence and consequently chose Light as the first element to be explored in the series. To interpret their vision, Bentley commissioned Massimo Uberti, an Italian conceptual artist based in Brescia, Italy, renowned for his sculptural light installations whose striking geometric structures suggest gravity and reality-defying 3D forms. At the core of his practice lies the desire to reduce the process to its essential components and to present light in its purest form.

photo Bentley Elements

“NEED REAL QUOTE I like to work with opposites – inner becomes outer, high becomes low, bright becomes dark. In short, I hope to prove that something exists. But it’s not a prerogative of the artist. He makes and that is all.” – MASSIMO UBERTI

photo Bentley Elements

During Art Basel and Design Miami, the Bentley Elements space will also play host to the Business of Fashion. Editor-in-Chief, Imran Ahmed, will launch the third issue of its print publication, BoF500, and co-host the fourth installment of the #BoFLive talk series. Further information is available upon request.

photo Bentley Elements

photo Bentley Elements

via spazioborgogno.com

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via serpentinegalleries.org

Reiner Ruthenbeck in his own words

“In my work I have often presented contrasts, polar elements, tensions, and tried to bring these into a formal unity. I have reduced formal structures as far as possible. The result seems to offer relatively little nourishment to the intellect. I would like thereby to bring the viewer to a contemplative, holistic acceptance of my art.” – Reiner Ruthenbeck, 1986

via kultur-online.net

“I try to create something hovering, a balance. I want to maintain tranquillity. Everything can be traced back to polarity and unity – opposites that creation always builds on. Polarity has been a presence in my work almost from the beginning. Two different materials, hard and soft, or polarity based on colour, black and white. This pervades my whole work. We are moving towards immaterial art, yet we only approach it in small steps.” – Reiner Ruthenbeck, 2006

photo nedva.blogspot.ro

photo reiner-ruthenbeck.de

via serpentinegalleries.org

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