ArtSlant - Recently added en-us 40 Anne de Gelas - exp12 / exposure twelve - June 5th - July 5th <div id="yiv4864068941yui_3_16_0_1_1411670892875_148274" class="yiv4864068941" dir="ltr" align="LEFT"> <div id="yiv4864068941yui_3_16_0_1_1428914964507_203513" class="yiv4864068941"> <div id="yiv4864068941yui_3_16_0_1_1430164443806_14383" class="yiv4864068941" align="LEFT"><span id="yiv4864068941yui_3_16_0_1_1430164443806_14382" class="yiv4864068941" style="font-family: 'Helvetica Neue';"><span id="yiv4864068941yui_3_16_0_1_1430164443806_14381" class="yiv4864068941">For the first time in Germany, <span id="yiv4864068941yui_3_16_0_1_1430164443806_14547" class="yiv4864068941" style="color: #000000;">"M&egrave;re et Fils" </span>presents living-in-Bruxelles-Belgian-artist Anne de Gelas's last works.</span></span></div> <div id="yiv4864068941yui_3_16_0_1_1430164443806_14386" class="yiv4864068941" align="LEFT"><span id="yiv4864068941yui_3_16_0_1_1430164443806_14385" class="yiv4864068941" style="font-family: 'Helvetica Neue';"><span id="yiv4864068941yui_3_16_0_1_1430164443806_14384" class="yiv4864068941">In her book "L'amoureuse", which has been published in 2013 at Le Caillou Bleu publishing house, she described the death of her partner, her being shattered and grief. In order to write it, she held a diary every day, which was "an emergency-chanting discipline" as she says, and she mixed texts, drawings and pictures in an elliptical and tense layout, intending to seize "the vibration of life" and cause "an emotional shock".</span></span></div> </div> <div id="yiv4864068941yui_3_16_0_1_1428914964507_203537" class="yiv4864068941" dir="ltr"><span class="yiv4864068941" style="color: #000000;"><span class="yiv4864068941" style="font-family: 'Helvetica Neue', sans-serif;"><span class="yiv4864068941"><em class="yiv4864068941">&nbsp;</em></span></span></span></div> <span id="yiv4864068941yui_3_16_0_1_1428914964507_203516" class="yiv4864068941"><span id="yiv4864068941yui_3_16_0_1_1428914964507_203515" class="yiv4864068941" style="font-size: small;"></span></span></div> <div id="yiv4864068941yui_3_16_0_1_1411670892875_148274" class="yiv4864068941" align="LEFT"><em id="yiv4864068941yui_3_16_0_1_1411670892875_152049" class="yiv4864068941"><strong id="yiv4864068941yui_3_16_0_1_1411670892875_152048" class="yiv4864068941"><span id="yiv4864068941yui_3_16_0_1_1428914964507_203639" class="yiv4864068941" style="font-size: small;">Opening: June 05, 2015 at 7 pm</span></strong></em></div> Thu, 30 Apr 2015 11:26:49 +0000 Richard Deacon - Galerie Thomas Schulte - May 2nd - June 27th <p>As part of the Gallery Weekend Berlin, Galerie Thomas Schulte presents new works by Juan Usl&eacute; paralleled in the Corner Space by a site-specific window&nbsp; painting by Richard Deacon. Both artists open their presentations on Friday, May 1st from 6 to 9 pm.</p> Wed, 29 Apr 2015 13:41:48 +0000 Juan Uslé - Galerie Thomas Schulte - May 2nd - June 27th <p>As part of the Gallery Weekend Berlin, Galerie Thomas Schulte presents new works by Juan Usl&eacute; paralleled in the Corner Space by a site-specific &nbsp;&nbsp;window&nbsp; painting by Richard Deacon. Both artists open their presentations on Friday, May 1st from 6 to 9 pm.</p> <p>At the center of Juan Usl&eacute;&rsquo;s exhibition &ldquo;Mar de Aral&rdquo; are new, large-format works. Since the end of the 1990s, the Spanish artist has been working, in no particular order, on the series &ldquo;So&ntilde;&eacute; que revelabas&rdquo; (&ldquo;I dreamed that you appeared&rdquo;), which represents the largest coherent group of works within his diverse oeuvre. In it, Usl&eacute;&rsquo;s poetic emotional conceptualism comes to light, as the artist not only inquires into the structure of the painterly process within abstraction, but simultaneously allows the subjective experience and feeling to flow into it.</p> <p>In predominantly black-and-white paintings, which always are created at night, Usl&eacute; works with extremely reduced painterly means. Color and ductus are limited to the slightest and the tension of the works results from minimal changes in tonal value and contrasting horizontal layers, slightly differing in brushstrokes. On always vertical canvases, bright streaks of color create highlights on the grey, vibrating chord. Each painting develops from the permanent repetition of a brushstroke, which from line to line fills the surface and provides a distinct transparent planarity. Every mark of the brush is charged with an existential corporeality, as the artist rhythmically transfers his heartbeat onto the canvas.</p> <p>&ldquo;Usl&eacute; has taken the brush imprint that represents nothing but itself &ndash; an invocation of the great historic longing in painting for the absolute absence of mimetic reference, for pictures that do not imitate anything &ndash; and turned it into a sort of painterly cardiogram, a work that reflects and responds to the history of painting and may at once be read as a self-portrait in a very elemental sense," Stephan Berg explains in the catalogue for Usl&eacute;'s exhibition at the Kunstmuseum Bonn in 2014.</p> <p>Juan Usl&eacute; was born in 1954 in Santander, Spain. In recent years he has developed to be one of the most important artists in the international art world. His paintings and photographs have been shown in countless American and European exhibitions. He has had shows in museums such as the Reina Sofia (2003), the SMAK in Geneva (2004), and the Irish Museum of Modern Art in Dublin (2004). In 2005 he participated in the 51st Biennale in Venice. In Germany, his works were presented in a retrospective of the Morsbroich Museum in Leverkusen and at the documenta IX. The group of works So&ntilde;&eacute; que revelabas was extensively exhibited in 2014 at the Kunstmuseum Bonn and Centro Galego de Arte Contempor&aacute;nea in Santiago de Compostela. Numerous catalogues were published about him and in 2002 he won the Spanish national prize for art. He lives and works in New York and Saro in the North of Spain.</p> <p>&nbsp;</p> Wed, 29 Apr 2015 13:38:07 +0000 Per Inge Bjørlo - Gerhardsen Gerner - May 1st - June 20th Mon, 27 Apr 2015 17:08:01 +0000 Nathalie Grenzhaeuser - Heinz-Martin Weigand Gallery - May 1st - July 11th <p>Opening reception: Friday, May 1, 2015 from 6 to 9pm<br />Exhibition trough July 11, 2015<br />BERLIN GALLERY WEEKEND: special opening hours Sat May 2nd - Mon May 4th: 11am - 6pm</p> <p>Nathalie Grenzhaeuser works in areas which one could at first call peripheral zones on the current geopolitical world map. One such place is Spitzbergen, which stands under Norwegian sovereignty and is in the archipelago of the same name north of the polar circle. The artist has travelled there three times, and during her last visit in 2009 primarily photographed Pyramiden (Russian: ????????), a coal mining settlement given up by the Russians in 1998 which has meanwhile become a ghost town that one can visit virtually on the internet.</p> <p>Another island situated somewhat outside political attention for a long time is Cuba. The socialist state lies in the Antilles archipelago in the Caribbean. Here in 2013, Grenzhaeuser concentrated mainly on the Cuban province of Guantanamo, which is often equated with the American prison camp, the Guantanamo Bay Naval Base. Entry to this is also forbidden to civilians, making it a ghost town in the figurative sense &ndash; perhaps the world's most famous.<br /><br />The confrontation with both places comes from the artist's engagement with large-scale architectural and industrial projects resulting from lofty aims, which react to extreme conditions and generate their own hypertrophic form. Examples are her series on the postmodern office area of La D&eacute;fense in metropolitan Paris (2001) and on mining sites in the Australian desert (2008-2011). Even here, these witnesses of civilisation processes appear in Grenzhaeuser's photographic images to be strangely fragile and questionable, in spite of their monumentality and technical superiority.</p> <p>In the series, Pyramida and La Marea (The Flood), her sculptural worlds change into spaces of emptiness and transitoriness in which time appears to stand still. Against the background of rapid global, political and economic change, these peripheral areas appear anachronistic. In graphic comparisons, the artist uses the phase of their ostensible rest and seeks connections and forces which point to their possible future.</p> <p>A common characteristic of Pyramiden and Cuba lies in their socialist history, which is still present in Cuba today. In both series, Lenin monuments act as ideological mega-signs. The few remaining monuments in the world to the leader of the Russian October Revolution are reminders &ndash; 25 years after the collapse of the socialist political system &ndash; of the political vision of rewriting history through revolution and altered power relations. At the same time they symbolise the survivor of a historic period. Nathalie Grenzhaeuser spans these theoretical spaces between utopia and its failure when she shows the bust of Lenin in lost profile on the empty square in front of the backdrop of the mountain panorama, or as a striking form s!imilar to rock that symbolises longevity and yet slowly weathers.</p> <p>&nbsp;</p> Mon, 27 Apr 2015 17:07:30 +0000 Benedicte Gyldenstierne Sehested - Galerie Micky Schubert - May 1st - June 27th <p>*extended opening hours<br />Friday 1st 11&ndash;9pm<br />Saturday 2nd<br />&amp; Sunday 3rd 11&ndash;7pm<br />Monday by appointment</p> Mon, 27 Apr 2015 17:03:26 +0000