ArtSlant - Recently added en-us 40 Oscar Abraham Pabón - Martin Van Zomeren - October 17th - November 21st Thu, 08 Oct 2015 18:53:00 +0000 Lisa Oppenheim - Galerie Juliètte Jongma - November 12th - December 30th Thu, 08 Oct 2015 18:47:03 +0000 Olga Balema, Maria Roosen, Taocheng Wang, Matthew Monahan - Galerie Fons Welters - October 24th - November 21st Thu, 08 Oct 2015 18:43:29 +0000 Alice Ronchi - Galerie Fons Welters - October 24th - November 21st Thu, 08 Oct 2015 18:41:39 +0000 Jake and Dinos Chapman - Galerie Gabriel Rolt - November 26th - January 23rd, 2016 Thu, 08 Oct 2015 18:32:56 +0000 Shezad Dawood - Galerie Gabriel Rolt - October 2nd - November 14th <p style="text-align: justify;"><span style="font-size: small;"><strong>Galerie Gabriel Rolt is proud to announce <em>The double life of Arthur Schnitzler </em>Shezad Dawood&rsquo;s third solo show with the gallery.&nbsp;<br /></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">In turn-of-the-last-century Vienna, Dr. Sigmund Freud went to great lengths to avoid ever meeting the celebrated Austrian playwright Arthur Schniztler, as he felt that actually meeting this, his intellectual doppelganger, might have fatal consequences.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Schnitzler in turn was to have his late novella <em>Traumnovelle</em>, or <em>Dream Story</em> adapted by Kubrick into his last film <em>Eyes Wide Shut</em>, starring at the time real-life husband-and-wife Tom Cruise and Nicole Kidman, as a couple torn apart by the husband&rsquo;s erotic double-life.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Max Ophuls 1950 iconic film <em>La Ronde</em>, was also based on an earlier work by Schnitzler, the 1897 play <em>Reigen</em>, which consists of ten interlocking scenes between pairs of lovers, with each partner appearing in 2 consecutive scenes and therefore creating a sequence of sexual encounter played out across class lines and against the backdrop of a syphilis pandemic in Vienna.</span><br /><br /><span style="font-size: small;">It is hard to say who was more influential on whom, but Freud after keeping a safe distance until the age of 66, wrote the following in a letter to Schnitzler:</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>I have gained the impression that you have learnt through intuition &ndash; though actually as a result of sensitive introspection &ndash; everything that I have had to unearth by laborious work on other persons.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">For his solo show at Galerie Gabriel Rolt, Shezad Dawood takes his conceptual starting point from an imaginary letter that he likes to think that Schnitzler might have written back to Freud:</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Dear Dr. Freud, </em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>I should like to thank you for the numerous impulses I have found in your work. The Interpretation of Dreams in particular, in its illustration of the inherent sexual pathology of the bourgeois, has afforded me much amusement.&nbsp;<br /><br /></em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>But perhaps your desire to avoid our meeting, represents something of this pathology too, and takes too seriously the affect of the waking state? Rather fear Schadenfreude than your double revealing the fragility of the house of cards that is the human mind. As our Russian friend would have it:</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><em>&lsquo;In the doorway of the next room, almost directly behind the waiter and facing Mr. Golyadkin, in the doorway which, till that moment, our hero had taken for a looking-glass, a man was standing - he was standing, Mr. Golyadkin was standing - not the original Mr. Golyadkin, the hero of our story, but the other Mr. Golyadkin, the new Mr. Golyadkin. <br /></em><br />The second Mr. Golyadkin was apparently in excellent spirits. He smiled to Mr. Golyadkin the first, nodded to him, winked, shuffled his feet a little, and looked as though in another minute he would vanish, would disappear into the next room, and then go out, maybe, by a back way out; and there it would be, and all pursuit would be in vain. In his hand he had the last morsel of the tenth pie, and before Mr. Golyadkin's very eyes he popped it into his mouth and smacked his lips. "He had impersonated me, the scoundrel!" thought Mr. Golyadkin, flushing hot with shame. "He is not ashamed of the publicity of it! Do they see him? I fancy no one notices him . . . "&rsquo;</em><a title=""><em><strong>[1]</strong></em></a></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Yours Faithfully,</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Arthur Schnitzler</em></span></p> <div style="text-align: justify;"><br clear="all" /><hr align="left" size="1" width="33%" /> <div> <p><span style="font-size: small;"><a title="">[1]</a>&nbsp;Dostoevsky, Fyodor:&nbsp;<em>The Double &ndash; A Petersburg Poem</em>, chapter IX, (1846)</span></p> </div> </div> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;&nbsp;</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Shezad Dawood&rsquo;s solo exhibition <em>The Double Life of Arthur Schnitzler </em>can be taken as a sequence of asymmetric doublings, that also builds a chain of references. From the Brion Gysin-inspired unfurling of the Dream Machine in <em>The Pattern of The Plan, </em>to the quantum theories of Robert Anton Wilson explored in both <em>Why Depend Upon Space and Time </em>&ndash; which attempts to pick up the legacy of Futurism by attempting a quantum portrait of Anton Wilson. And <em>Elliptical Variations III </em>which looks at the wave-form of particles operating in multiple simultaneities that also loops back to the Alpha wave-form generated during dream sleep. To the doubling of a painting based on the same digital image, yet rendered as two very different times of day and seasons of the year. A cumulative building of a chain of pairs that in turns plays on the sequence of relationships in Max Ophuls <em>La Ronde</em>, while playfully admitting the membrane between dream and reality that allows for the science of quantum mechanics, and multiple lives lived on multiple earths.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Shezad Dawood</strong> (1974 (UK) Lives and works in London, UK) was trained at Central St Martin&rsquo;s and the Royal College of Art before undertaking a PhD at Leeds Metropolitan University. Dawood works across film, painting and&nbsp;sculpture to juxtapose discrete systems of image, language, site and&nbsp;multiple narratives, using the editing process as a method to explore meanings and forms between film and painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His practice often involves collaboration, working&nbsp;with groups and individuals across different territories to physically&nbsp;and conceptually map far-reaching lines of enquiry. These networks map across different geographic locations and communities and are particularly concerned with acts of translation and restaging. For example, his collaborative film project, &lsquo;Feature&rsquo; (2008), which relocated the action of a traditional western to the English countryside, slipping into other sub-genres such as the zombie-flick, and Wagnerian opera (and features cameos from artists Jimmie Durham and David Medalla), as well as South Asian god-flick. His most recent video work, &lsquo;Towards the Possible Film&rsquo; (2014), shot on location in Sidi Ifni, Morocco, explores anthropological concepts of indigenousness through the genre of science fiction.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Dawood&rsquo;s work has been exhibited internationally, including Taipei Biennial (2014), Marrakech Biennial (2014) MACBA Barcelona (2014), MoMA PS1 (2014), Witte de With (2013), Modern Art&nbsp;Oxford (2012), Busan Biennale (2010), Tate Britain (2009), and the 53rd Venice Biennale&nbsp;(2009). His further extensive exhibitions include interventions in cities such as Tangiers, Mumbai, Karachi, Hamburg, and Singapore. Recent projects include feature film Piercing Brightness&nbsp;(2013), a solo exhibition at Parasol Unit, London, Leeds Art Gallery (2014) and at OCAT Xi&rsquo;an, China (2014).&nbsp;Shezad is a Jarman Award nominee (2012) and&nbsp;one of the winners of the Abraaj Capital Art Prize (2011).&nbsp;He currently lives and works&nbsp;in London, where he is Research Fellow in Experimental Media at the&nbsp;University of Westminster.</span></p> <p><em>&nbsp;</em></p> Thu, 08 Oct 2015 18:25:37 +0000 Teun Hocks - Torch Gallery - October 24th - January 2nd, 2016 <p style="text-align: justify;">On Saturday the 24th of October TORCH gallery Amsterdam will open with <em>New Work</em>, a solo-exhibition by Teun Hocks. After building a studio in France the artist has now finished a new series of work. Following the opening in Amsterdam, Museum CODA in Apeldoorn will present another solo featuring a broad selection of his older work, starting from November 1st. On the 13th of November HEDEN, an art space in The Hague will open with an exhibition focused on Teun's work on paper. A new publication and edition will be made available during all these exhibition. In addition to all these events Teun will be present during the upcoming edition of the Amsterdam Art Weekend (November 26-29) for a book signing session. After being out of the limelight for quite some time these three concurrent exhibitions should mark a convincing comeback.</p> <p style="text-align: justify;">Teun Hocks is one of the founders and iconic artists of staged photography in the Netherlands. Although he started out as a performance- and video-artist he quickly found footing as part of a group of photographers who tried to reinvent their medium in a theatrical way during the eighties. Ever since Hocks has been making works that exist somewhere between photography and painting and between performance and selfportraiture. In his studio he constructs a stage with a painted backdrop. He then poses himself on this stage and takes a black and white photograph of the scene using an old camera with a timer. The resulting silver gelatin print is hand-colored by the artist using oil paint. This peculiar technique gives his work an oddly timeless quality, atypical for photographs of performances.</p> <p style="text-align: justify;">Hocks himself usually features as the main actor in his work, although there do exist a few rare pieces where the artist is nowhere to be found. Still, the subject matter is never of a personal nature. His works are concerned with a concept of the everyman. In his works Hocks portrays a rather sheepish, unremarkable guy. This 'everyman' bears the attributes of powerless citizenship; a drab gray suit, a beaten suitcase and a hat which seems to be permanently adrift. This character ends up facing very improbable dilemmas in a world that can best be described as a dreamed version of Dutch village life. He perseveres through these tests with a compassionate but weary smile on his face, implicitly telling stories of global problems on a human scale. Through his character Hocks also refers to the remarkable foundations of art itself; the structure of illusions and assumptions which are needed to understand the history of western art history.</p> <p style="text-align: justify;">Teun Hocks (1947) lives and works in France. His work is represented by TORCH gallery in Amsterdam, Fahey Klein in Los Angeles, Patricia Dorfmann in Paris and Paci Contemporary in Italy. His work is exhibited worldwide and is part of a large number of institutional and private collections. New Work will be his tenth solo-exhibition at TORCH. Besides the new publication and edition older catalogues will also be available at the gallery.</p> <p style="text-align: justify;">Opening CODA: 1 November</p> <p style="text-align: justify;">Opening HEDEN The Hague: 13 November</p> <p style="text-align: justify;">A new publication and limited edition will be available during the exhibition.</p> <p style="text-align: justify;">Amsterdam Art Weekend: 26-29 November 2015</p> <p style="text-align: justify;">Book Signing by Teun Hocks: 28 November</p> <hr /> <p style="text-align: justify;">Op zaterdag 24 oktober opent <em>New Work</em>, een solotentoonstelling van Teun Hocks bij TORCH gallery in Amsterdam. Na een studio te hebben gebouwd in Frankrijk heeft Hocks inmiddels een nieuwe serie werken klaar. In aansluiting op deze solo zal er vanaf 1 November een ruime selectie van zijn werk te zien zijn bij museum CODA in Apeldoorn, en zal er op 13 november een tentoonstelling met de nadruk op zijn werk op papier openen bij Heden in Den Haag. Een nieuwe publicatie en editie zullen beschikbaar zijn tijdens al deze tentoonstellingen. Als kers op de taart zal Teun Hocks tijdens het aankomende Amsterdam Art Weekend (26-29 november) in Nederland zijn voor een book signing. Na een tijdje uit het voetlicht te zijn geweest maakt Hocks zo een grootse rentree.&nbsp;<br /><br />Hocks is een van de grondleggers en gezichtsbepalende kunstenaars van de ge&euml;nsceneerde fotografie in Nederland. Hoewel hij begon als performance- en videokunstenaar vond hij al snel zijn plek als deel van een groep fotografen die in de jaren '80 op theatrale wijze fotografie opnieuw uitvonden. Sindsdien maakt Hocks werken die het midden houden tussen fotografie en schilderkunst en tussen zelfportret en performance. In zijn studio bouwt hij een decor met een geschilderde achtergrond. Hierin neemt hij plaats en maakt hij (met een zelfontspanner) een zwart/wit foto van de scene. De uiteindelijke zilvergelatineprint wordt door Hocks zelf van kleur voorzien met behulp van olieverf. Het resultaat is een vervreemdende samenkomst van technieken die de werken een voor het medium atypische tijdloosheid geven.&nbsp;<br /><br />Hoewel Hocks vrijwel altijd zelf het onderwerp van zijn werk is - er bestaan enkele zeldzame werken waarop de kunstenaar niet te vinden is - &nbsp;draait het afgebeelde toch meer om de mens in zijn algemeenheid. Hocks neemt de rol aan van een vrij sullig alledaags mannetje. Dit 'mannetje'- voorzien van alle uiterlijke kenmerken van de machteloze burgerman (een grijs pak, een versleten aktetas en een altijd wegvliegende hoed)- verzeilt telkens in magisch-realistische dilemma's. Met een meewarige blik ondergaat deze stuntelaar onmogelijke beproevingen, en vertelt zo impliciet over wereldproblematiek op menselijke schaal. Ook refereert Hocks via zijn mannetje aan de merkwaardige grondbeginselen van de kunst; de illusies en aannames die nodig zijn om de westerse kunstgeschiedenis te begrijpen.<br /><br />Teun Hocks (1947, Leiden) woont en werkt in Frankrijk. Zijn werk wordt vertegenwoordigt door TORCH in Amsterdam, Fahey Klein Gallery in Los Angeles, Patricia Dorfmann in Parijs en in Itali&euml; door Paci Contemporary. Zijn werk wordt wereldwijd tentoongesteld en is deel van vele belanghebbende institutionele en private collecties. New Work zal zijn tiende solotentoonstelling zijn bij TORCH. Naast de nieuwe publicatie zullen ook zijn oudere catalogi beschikbaar zijn in de galerie.</p> Sun, 04 Oct 2015 15:15:36 +0000 Adriano Amaral, Alex Dordoy, Alicja Kwade, Nicolas Provost, Lucy Skaer, Theis Wendt - GRIMM Gallery - October 10th - November 14th Sun, 04 Oct 2015 14:54:41 +0000 Ulf Puder - Galerie Akinci - October 24th - November 21st Sun, 04 Oct 2015 14:45:25 +0000 Camille Henrot - Witte de With Center for Contemporary Art - September 25th - October 25th <div style="text-align: justify;"> <p>When faced with the large-scale light box which functions as the ongoing display module for the&nbsp;<em>In Light Of 25 Years</em>&nbsp;series, artist Camille Henrot was reminded of her training in animation. Although the production of animation has by now gone mainly digital, light box based animation remains an essential part of animation studies.</p> <p>During her research into the exhibition history of Witte de With, Camille Henrot was drawn to the works of Michelangelo Pistoletto, who used mirrors and photography to create&nbsp;<em>trompe l&rsquo;oeils</em>&nbsp;where the distinction between physical objects and representations is blurred. Also of inspiration were the video works by Ulrike Ottinger, who had a solo exhibition at Witte de With in 2004. In these videos, a universe of strange characters unfolds, inspired by countercultures and questioning norms and morals.</p> <p>For her new work, titled&nbsp;<em>The Beaver Moon</em>, Henrot drew two human-like characters and staged them as if involved in domestic activities of maintenance and cleaning, reminding us that exhibition spaces are the homes of artworks, and sometimes of artists as well. The creatures are ambiguous, existing somewhere between the realms of male and female, human and bird. They are reminiscent of the Egyptian god Thoth, who has the body of a man and the head of an ibis, and who was the god of writing, science, and magic. Thoth was believed to be self-begotten, and was considered the care-keeper of the universe.</p> <p>In Light Of 25 Years<br />Presented as part of &nbsp;<em><a href="" target="_blank">In Light Of 25 Years</a></em>, &nbsp;this &nbsp;project celebrates Witte de With&rsquo;s 25th anniversary. For &nbsp;<em>In Light Of 25 Years</em>, ten artists and curators each create an image-based work that analyzes certain sediments of contemporary art history, departing from Witte de With&rsquo;s archive.</p> <p>Our newest limited edition brings together the&nbsp;<em>In Light Of 25 Years</em>&nbsp;commissions. For more information on this limited edition &nbsp;<a href="" target="_blank">click here</a>.</p> </div> <div style="text-align: justify;"><hr /> <p>Toen zij werd geconfronteerd met de grote&nbsp;<em>lightbox</em>&nbsp;die &nbsp;functioneert als permanente display voor de&nbsp;<em>In Light of 25 Years</em>&nbsp;serie, werd kunstenaar Camille Henrot herinnerd aan haar opleiding in animatie. Hoewel de productie van animaties inmiddels voornamelijk digitaal gebeurt, blijft lichtbak-gebaseerde animatie een essentieel onderdeel van animatiestudies.</p> <p>Tijdens haar onderzoek naar de tentoonstellingsgeschiedenis van Witte de With, &nbsp;viel het oog van kunstenaar Camille Henrot op de werken van Michelangelo Pistoletto, die spiegels en fotografie gebruikt om trompe-l&rsquo;oeils te maken, waarbij het onderscheid tussen fysieke objecten en hun representaties vervaagt. Een andere bron van inspiratie waren de videowerken van Ulrike Ottinger, waarin een universum van vreemde wezens zich ontvouwt &nbsp;&nbsp;en &nbsp;normen en waarden in twijfel getrokken worden.</p> <p>Henrot toont twee door haar getekende mensachtige personages die opgaan in huishoudelijke activiteiten zoals onderhoud en schoonmaken, en herinnert ons eraan dat tentoonstellingsruimtes de huizen van kunstwerken zijn, en soms eveneens van kunstenaars. De wezens zijn dubbelzinnig, bestaande ergens tussen de gebieden van man en vrouw, mens en vogel. Ze doen denken aan de Egyptische god Thoth, die het lichaam van een man en het hoofd van een ibis heeft, en die de god was van het schrijven, wetenschap, en magie. Thoth werd gezien als door zichzelf verwekt, en werd beschouwd als de behoeder of verzorger van het universum.</p> <p>In Light Of 25 Years<br />Deze presentatie is een onderdeel van&nbsp;<em><a href="" target="_blank">In Light Of 25 Years</a></em>, dat het 25 jarig jubileum van Witte de With viert. Voor deze serie presentaties krijgen tien kunstenaars en curatoren toegang tot Witte de Withs archief en maken elk een beeld dat elementen uit de recente kunstgeschiedenis analyseert.</p> <p>Onze nieuwste limited edition brengt alle&nbsp;<em>In Light Of 25 Years</em>&nbsp;opdrachten samen in een portfolio. Voor meer informatie over deze limited edition: &nbsp;<a href="" target="_blank">klik hier</a>.</p> </div> Sun, 04 Oct 2015 14:41:23 +0000