ArtSlant - Recently added en-us 40 Group Show - Galerie Juliètte Jongma - May 14th - June 25th Tue, 03 May 2016 18:20:42 +0000 Zhana Ivanova - Ellen de Bruijne Projects - May 21st - June 25th Tue, 03 May 2016 18:18:28 +0000 Roberto Coda Zabetta, N. Dash, Nick Goss, Ian Kiaer, JURGEN OTS, Jackie Saccoccio, Gedi Sibony, Lucy Stein, Rezi Van Lankveld - Annet Gelink Gallery - May 20th - July 16th <p style="text-align: justify;">An exhibition in collabortaion with Paola Clerico and art@work with work by Roberto Coda Zabetta, N. Dash, Nick Goss, Ian Kiaer, Jurgen Ots, Jackie Saccoccio, Gedi Sibony, Lucy Stein, Rezi van Lankveld.</p> Tue, 03 May 2016 18:10:33 +0000 Persijn Broersen & Margit Lukács - Galerie Akinci - April 30th - July 9th <p style="text-align: justify;">In <em>Relics of the Real</em>, Broersen &amp; Lukacs present a series of new works that show a timeless world dictated by the woes and wants of our virtual times. With the mechanisms of illusion as a leading motive in their work, they focus on the search for the pristine, be it in the myth of Eden or in classical motifs from the past. In these works, the boundless dimensions of virtual space accumulate the most breathtaking mirages, but are inevitably subject to their own insubstantiality.</p> Tue, 03 May 2016 18:04:25 +0000 Dina Danish - Stigter van Doesburg - April 30th - June 11th Tue, 03 May 2016 17:58:13 +0000 José Ramón Amondaráin - Galerie Gabriel Rolt - April 30th - May 3rd <p style="text-align: justify;"><strong>Galerie Gabriel Rolt is proud to present Espazioren Irribarrea (The Abundant Laughter of the Space), the second solo exhibition at the gallery of Basque artist Jos&eacute; Ram&oacute;n Amondarain (1964). In this exhibition we follow the artist in his explorations to unearth the grass roots of Picasso&rsquo;s practice. Amondarain attempts to emulate the master by challenging him at his own game. He questions and interrogates not only the output of his fellow artist but also the methodology that he deploys in order to construct a language of his own.</strong> </p> <p style="text-align: justify;">Questions arise when faced with these works by Jos&eacute; Ram&oacute;n Amondarain. Can a copy of an iconic painting retain any value when we measure against it against its iconic original, that we may or may not ever have seen in the flesh? Can the imprint of an image supersede the artist who painted it? Hence, is there such a thing as originality in todays&rsquo; practice and even if so, isn&rsquo;t everything not only a consequence of what has gone before but should always be measured in the way it affects us in our time. Timeliness and Timelessness don&rsquo;t necessarily go hand in hand.&nbsp; Especially, when we remember the day that Colin Powell had to defend the invasion of Iraq, in front of a reproduction of Guernica that was safely covered up outside the United Nations Security Council room. It goes to show that we, even today, fear the wrath of what has gone before, even before a copy. &nbsp; </p> <p style="text-align: justify;">Amondarain has extensively referenced Guernica, arguably, the 20th centuries&rsquo; most iconic protest against the inhumanity of war, in his work. In 2012, the artist copied Picasso&rsquo;s the 8 stages that lie buried in the finished work, essentially, works that never were meant to be but brought to life for the occasion. For his show at Gabriel Rolt, he takes his assimilation of Spanish compatriot&rsquo;s work a step further. Based on the individual elements of 3,5 by 8-metre painting, Amondarain paints his own version, placed askew in the gallery space, ready to challenge the modern atrocities of war, fought at home but also still today especially in villages far away from the public eye.&nbsp;&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">231 preparatory sketches that display the way that Amondarain has worked his way into the code of Picasso flank this major new work by the artist.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">During the opening Firestone!, the gallery&rsquo;s house band, will engage with the work of the Basque artist in the way he has sought to infiltrate the DNA of his predecessor, only now loud, urgent and amplified</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Amondarain was born in 1964 at San Sebasti&aacute;n. He studied at the Faculty of Fine Arts in Bilbao and participated in 1988 at the Lithography Workshop, taught by Don Hebert in Arteleku. He earned several scholarships, such as the Counsil of Guipuzcoa in 1987 and 1988, or the Marcelino Bot&iacute;n Foundation in 1999. In 1988 he had his first solo exhibition at Bonnat Museum of Bayonne and later, in 1989. His works can be found in important international collections, including the collection Reina Sofia Museum in Madrid, the Guggenheim museum and the Coldo Mitxelena Museum in his native San Sebastian. Recently he showed at Atrium, Vitoria, Spain and Bozar, Brussels, Belgium.</em></p> Tue, 03 May 2016 17:55:15 +0000 Michael John Whelan - Boetzelaer|Nispen - May 7th - June 11th <p class="p1" style="text-align: justify;">Boetzelaer|Nispen is proud to present <em>Darwin&rsquo;s Finches</em>, Michael John Whelan&rsquo;s third solo show with the gallery. Whelan&rsquo;s recent practice can be characterised as addressing humanity&rsquo;s physical effects and inherent mutability, questioning specifically the mechanics of science and preservation methodology. In Darwin&rsquo;s Finches, Whelan shows new video, photography and sound works predominately originating from his recent research project at the <a href="" target="_blank">Svalbard Global Seed Vault</a> in Norway. The vault, with a constant temperature of -18 &deg;C and built 120 meters inside the sandstone mountain Plat&aring;berget on the island of Spitsbergen, acts as a fail-safe for the worlds biodiversity, holding thousands of seeds, some of them created by centuries of artificial selection.&nbsp;The contents of the vaults were first accessed for extraction when the gene bank in Syria fell into the hands of the Islamic State, endangering the biodiversity of the region. Svalbard Global Seed Vault guards both natural and human endeavor and serves to protect biodiversity as well as food security. Whelan questions humanities need and self imposed task of preserving the natural world, touching upon familiar themes of science versus nature, and perhaps of order versus chaos.&nbsp;</p> <p class="p1" style="text-align: justify;">For his photographic series <em>Carapace</em> (2016)<em>, </em>Whelan photographed the ice-encrusted walls on an empty vault, drawing attention to both the absence of the intended function as storage &ndash; only one of the three vaults is currently in use &ndash; and the potentiality for the future. <em>Chamber</em> (2016)is a minimal sound-piece played throughout the gallery. It was recorded in the seed vault by leaving the recording device alone is the space without any human activity present. This resulted in an almost silent sound recording. The only evidence is a slight resonating from the coolant system which runs constantly to maintain the preservative temperature of the vault. This vacuous soundscape is presented alongside three sheets of paper, indicating the actual inventory of the vaults. The empty sheets are suggestive of the future possibilities for both the vault and the world in which it was built.</p> <p class="p1" style="text-align: justify;">In <em>Divergence of Character</em> (2016), a durational video projection of a mound of fresh ice is projected at large scale, highlighting an otherwise overlooked happening outside the seed vault on Plat&aring;berget. The ice is formed when water from the cooling system exits near the entrance to the vault. Upon exposure to the elements it freezes immediately, creating abstracted ice forms. The photographic series <em>In the black dark for good</em> (2016) shows portraits of the stones and dirt around the entrance to the vault, covered in layers of ice. Each photograph presents a stone in various stages of envelopment, two of the stones have been completely covered and are almost invisible shadows below the ice. The ice is the unintended result from a technical process necessary to maintain the preservatory act. It highlights roles that exist at the median between interference and preservation.</p> <p class="p1" style="text-align: justify;">Presented alongside the works from the Svalbard Global Seed Vault is a series of works which take their point of departure from the Natural History Museum of Berlin. Images of preserved biological specimens from the collection of the museum are displayed alongside an infinitely looped video of a lungfish, <em>Means of knowing</em> (2016), an animal Darwin termed a living fossil. They explore the environments that are created by scientists to preserve and display natural phenomena to the public and touch upon wider issues of natural control and preservation.</p> <p class="p1" style="text-align: justify;"><strong>Michael John Whelan &ndash; <em>Darwin&rsquo;s Finches</em> is kindly supported by <a href="" target="_blank">Culture Ireland</a>.</strong></p> <p class="p1" style="text-align: justify;"><strong>Michael John Whelan </strong>(1977, Ireland, lives and works in Berlin) received a MFA from Chelsea College of Art and Design, London. He has had solo exhibitions at Vitrine Project Space, London; Grey Noise, Dubai; Kunstverein Bochum, Bochum and Boetzelaer|Nispen, Amsterdam, among others. He participated in numerous group shows and screenings including at Lismore Castle Arts, Ireland; TULCA Festival of Visual Arts, Ireland; Abraham building, Neuss with Julia Stoschek Collection &amp; KAI 10 | Arthena Foundation, Dusseldorf; Centre for Contemporary Art Ujazdowski Castle, Warsaw; Museum Bochum; Kiasma, Helsinki and Dortmund Kunstverein. His work is included in the MLP Collection, the collection of the University of Arts, London, the Institute of Art, Design and Technology Dun Laoghaire Collection.</p> <p><a href=""><img class="alignnone size-medium wp-image-4391" src="" alt="CULTURE_IRELAND_LOGO_BW" width="440" height="122" /></a></p> <p>&nbsp;</p> Tue, 03 May 2016 17:50:57 +0000 Job Koelewijn - Galerie Fons Welters - May 13th - June 18th Mon, 02 May 2016 06:07:52 +0000 Olga Balema - Galerie Fons Welters - May 13th - June 18th <p style="text-align: justify;"><em>Two souls inhabit, oh! my breast &ndash; F.W. Goethe<br /></em></p> <p style="text-align: justify;">Motherland &ndash; mapping out our territory, not forgetting that maps are plans, object spaces made to be seen or read. The breast is one of two prominences found on the upper ventral region of the torso of female and male primates. A prominence is a large, bright, gaseous feature extending outward from the Sun&rsquo;s surface, often in a loop shape. In females, it serves as the mammary gland, which produces and secretes milk and feeds infants &ndash; you are what you eat. The opposition between inside and outside, between eater and eaten, is not reciprocal, but culminates in a process of ingestion that ultimately transforms our identity. Reproduce and keep making more, more for more, more more more sucking, taking everything we need from another human being, pissing on our patches so no one else can lay there, sucking from our mothers and all they can do is stay there, a nipple giving life and then we send it off to daycare.</p> <p style="text-align: justify;">Destruction as being born into being denying the pleasure the explosion destruction of the female motherhood hurling her into a female being emotion and hormone seeping through the skin finding its ways to excrete through tears and urine blood and milk milk being sucked in by the baby taking in its mother taking more and more and more until it&rsquo;s sick and you&rsquo;re left with nothing the soul clamps as the baby sucks and grows bigger and bigger into this beautiful being that walks all other animals walk when they are born we crawl we lie we suck we stare at our mothers hoping they can comfort us feed us hold us and you do because the feeling of doing nothing about this being is even more of a nothing but the world turns out to be a contradiction the ugliness the freedom the bicycles and the girls that get on them the ease the discomfort only makes you hold your baby harder and allow it to suck some more whilst watching a woman with tassels shake her titties for a man to ejaculate on to explode whilst the milk drips from your nipple and the baby sleeps in your arms breathing softly destruction as coming into being double standards for honoring and debasing women for their reproductive powers conceptualizing the earth as a mother Mother Earth Mother Nature Mother Land Mother Tongue fear worship abuse.</p> <p style="text-align: justify;">The sucking stops and man is nowhere to be seen the bicycle girls move so fast and patience wears thin but the hair still grows &ndash; we end up eating ourselves and our children producing more to keep the wolf from the door.</p> <p style="text-align: justify;">Taking it too far and then wanting to disappear, hanging there, crossing borders and drowning on the representation of the in-between, claiming space, claiming land having power, do nothing but emphasize the conditions of micro-worlds of territories, skull as compass: all the secret fluids and internal memory-oceans aligned by force of desire, you can taste it.</p> <p style="text-align: justify;"><br />[Juliette Blightman]</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Olga Balema (b. 1984, Lviv, Ukraine) holds an MFA from University of California Los Angeles and has had residencies at Rijksakademie van beeldende kunsten and Skowhegan School of Painting and Sculpture. Recent exhibitions include: One reenters the garden by becoming a vegetable, Kunstverein N&uuml;rnberg, Albrecht D&uuml;rer Gesellschaft, Nuremberg (2015); Cannibals, Croy Nielsen, Berlin; Listening, i.c.w. Anne de Vries, Michael Thibault, Los Angeles (2015); Warm Bodies i.c.w. Jonathan Baldock, Kunstvereniging Diepenheim; Her Curves, High Art Gallery, Paris; Body of Work, Galerie Fons Welters; What Enters, 1646, The Hague.</em></p> <p style="text-align: justify;"><em>Furthermore, her work was featured in I Am Still Alive &ndash; On the Materialities of Life, Moderna Museet, Stockholm (2016); By the Bearer in whose Name it is Issued, Center for Style, Melbourne; Function Follows Vision, Vision Follows Reality, Kunsthalle Wien, Vienna; Surround Audience, Triennial, New Museum, New York (2015); Puddle, pothole, portal, Sculpture Center, New York (2014); Doom: Surface Control, Le Magasin Grenoble; New Dawn, Silberkuppe, Berlin; Nature after Nature, Fridericianum, Kassel. Geographies of Contamination, David Roberts Foundation, London, (2014).</em></p> <p style="text-align: justify;"><em>Currently, her solo exhibition: Early Man, One for all series is on view at the Swiss Institute, New York.</em></p> Mon, 02 May 2016 06:06:38 +0000 Bouke de Vries - Galerie Ron Mandos (Amsterdam) - May 21st - June 18th Sat, 30 Apr 2016 16:50:08 +0000 Ron van der Ende - Galerie Ron Mandos (Amsterdam) - May 21st - June 18th Sat, 30 Apr 2016 16:49:54 +0000 Eric White - GRIMM Gallery - April 29th - June 1st <p style="text-align: justify;"><em>"As a movie is an invented reality, perhaps our reality&nbsp;is some sort of illusory projection of consciousness."&nbsp;</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>It is with great pleasure that we announce the first solo exhibition by Eric White (US, 1968) with the gallery in Amsterdam.&nbsp;</strong>&nbsp;</p> <p style="text-align: justify;">Eric White's paintings reference 20<sup>th</sup>&nbsp;century film, music and pop culture backed by consummate draftsmanship and painterly finesse to subvert and recode the dominant narratives of contemporary society. White's paintings are constructed from elements of our collective consciousness, overflowing with an entropic visual overload. &nbsp;</p> <p style="text-align: justify;">For this solo exhibition White presents a new body of work that is a tribute to music and its lost forms, such as the LP and 8-track tape. A group of new paintings focuses on famous album covers, the recognition of their design is shared by many of us on an unspoken visceral level. We know these covers, always present in our visual memory, they are an expression of a period or particular time in our lives, but are we actually perceiving them anymore? White mixes up both the original content as well as the meaning of these images and forces us to look and interpret them again. As writer Mike Newton states in his essay about the LP paintings, "These are exercises in both loving fidelity to their widely-revered sources, and cheeky impertinence in the face of fading cultural legacies."&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">A large freestanding work is based on the legendary 'White Album' aptly titled "The Beatles" (2016). It is a centerpiece of the exhibition. White recreated the gatefold record as a sculpture painting five times the scale of the original, a monument to music. The Beatles' portraits that are featured&nbsp;in the original album design are re-constructed using elements from well known Richard Hamilton paintings, the original artist who designed the album, and the song titles have been re-shuffled into bizarre anagrams. Painted in oil on panel, this work resonates with wit while flaunting amazing artistic skills.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Another central work is titled "Mingus!"(2016) a painting that features a portrait of the jazz composer and bassist surrounded by his peers and influencers on a surreal 1930's Busby Berkeley surreal stage set. The exhibition also includes installations constructed from 8-track tapes with modified labels; while vinyl is still around and making a come-back of sorts, the 8-track is officially dead forever. An installation of these tapes, all featuring central female figures is shaped into a massive pyramid symbolizing the power of music and memorializing a forgotten past. The 8-track installation is related to the album covers, is really an extension of it, but the formal difference is that these covers are created digitally, from a selection of actual vintage album covers with all text and extraneous elements redacted. For White these tapes connote a particular era in American culture, and a specific period of his childhood, underlining a certain nostalgic longing and sense of comfort.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">About the artist&nbsp;</p> <p style="text-align: justify;">Eric White (USA, 1968) was born in Ann Arbor (Michigan) and currently lives and works in Los Angeles and New York. He received his BFA from the Rhode Island School of Design in 1990. He has served as adjunct professor at the School of Visual Arts since 2006. In 2010, White received a Painting Fellowship from the New York Foundation for Arts. White's work has been featured in exhibitions in museums including the Laguna Art Museum in California, the Long Beach Museum of Art in Los Angeles, Museo de la Ciudad de M&eacute;xico, De Bond Museum in Belgium, MACRO Museum in Italy, and The American Visionary Art Museum in Baltimore. His work has also been exhibited extensively in galleries around the world including Copenhagen, Brussels, New York, Miami, Hamburg, Los Angeles and Paris. In 2015, Rizzoli released White's first important monograph - an extensive survey of his work.</p> Sat, 30 Apr 2016 16:42:53 +0000