ArtSlant - Recently added en-us 40 Florian Meisenberg - Wentrup - September 9th - October 19th Thu, 21 Jul 2016 17:59:07 +0000 Alfons Eggert, Marco Breuer, Hanno Otten, Pierre Cordier & Gundi Falk - Galerie Volker Diehl - July 29th - September 10th Thu, 21 Jul 2016 17:41:20 +0000 Kirsten Ortwed - Galerie Nordenhake GmbH - Berlin - September 10th - October 22nd Thu, 21 Jul 2016 17:28:26 +0000 Yves Scherer - Galerie Guido W. Baudach - September 17th - October 31st Thu, 21 Jul 2016 17:22:34 +0000 Chiharu Shiota - Blain|Southern Berlin - September 17th - November 12th <p style="text-align: justify;">Blain|Southern is delighted to announce that for her first exhibition with the gallery, <a href="" target="_blank">Chiharu Shiota</a> will create a new site-specific monumental installation in its Berlin space. Shiota is primarily known for her installations such as&nbsp;<em>The Key in the Hand</em>,&nbsp;with which she represented Japan at the Venice Biennale in 2015.&nbsp;</p> <p style="text-align: justify;">In these installations Shiota uses red or black yarn, weaving intricate networks of thread, enveloping objects and creating new visual planes, as if she were painting in mid-air. They evoke ideas that can be as complex as the tangled yarn itself, universal themes such as belonging, memory, history and fate.</p> Thu, 21 Jul 2016 17:08:23 +0000 Pavel Büchler - Tanya Leighton Gallery - July 1st - August 6th <p style="text-align: justify;">Tanya Leighton Gallery is pleased to announce <em>Geometry, Physics and the Science of Life</em> - Czech-born artist Pavel B&uuml;chler's fourth exhibition at the gallery.<br /><br />The idea of 'work' and its multifarious significance in relation to labour, art and productive thought has long been a subject of B&uuml;chler's. Work can be a bootstrapping capitalist ideal, or a vague reference to the sum of an artist's output; 'I love her work'. B&uuml;chler's own practice holds a mirror to the schizophrenic definition of the word, revealing its contradictions, ironies and subtleties. For his part, B&uuml;chler strikes a careful balance between over-working and not working at all, or rather turning idleness into artwork. Even when over-working, the product is often self-effacing, auto-destructive; 'All that hard work for nothing'.<br /><br />It is hard not to refer to the artist's oft-quoted description of his practice as 'making nothing happen'.<br /><br />'Nothing' in this case can be an idle object; popped footballs scavenged from playgrounds, tripods with no cameras attached to them, or outmoded slide projectors without images to project. B&uuml;chler's penchant for the left behind or obsolete often initiates his efforts in 'making nothing happen' - these are all objects that for whatever reason don't work anymore, but once did. Our understanding of their former lives is as important as our evaluation of their new ones. This psychology of seeing differently is directly alluded to in Observational Drawings (Yarbus Rorschach) in which B&uuml;chler has repurposed Russian psychologist Alfred Yarbus' exploration of vision as a product of prior conditioning, revealing that preconceptions colour our visual experience of all images.<br /><br />'Nothing' can also be the accumulation of something. In the five monochrome paintings, the most recent works on view - Portrait in Profile, Sad Young Man, and the triptych Brides - the artist's work is abstracted to the point of illegibility. Each was previously a failed figurative painting, gifted from a friend who would otherwise have thrown them out. B&uuml;chler has scraped the paint from each canvas, ground it with a mortar and pestle, and painstakingly reapplied it as uniformly as possible, obfuscating both the original image and his own weeks of labor. Work is again rendered obscure in Blind Circles (Under Surveillance), the oldest work in the exhibition, completed nearly 40 years ago. A series of seven photographs ostensibly picture performances in which B&uuml;chler drew circles while blindfolded. Here the medium has again been disabused of its usual documentary function and coaxed into performing a different role. Rather than capturing one fraction of a second - a moment indicative of the whole repetitive performance - the camera's shutter was left open an entire hour, effectively erasing all but traces of the artist working and leaving only the imperfect results of his efforts.<br /><br />Pavel B&uuml;chler (born 1952, Prague) has been exhibiting internationally for over 30 years and is well known for his pioneering work with language, conceptual art and the moving image, as well as his long career as a professor of art. His recent exhibitions include The National Gallery, Prague; IKON Gallery, Birmingham; the Centre for Contemporary Arts, Glasgow; Broad Art Museum, East Lansing; Power Plant, Toronto; Museum of Contemporary Art, Denver; Contemporary Art Museum, St. Louis; Centre d'Art Contemporain, Geneva; Museion, Bolzano; DOX, Prague; National Gallery, Prague; and Tinguely Museum, Basel.<br /><br />A major monograph on B&uuml;chler's work by Tommy Simoens was published this month by Ludion, Antwerp.</p> Thu, 21 Jul 2016 17:00:12 +0000 Group Show - Künstlerhaus Bethanien - July 15th - September 18th <p style="text-align: justify;">The exhibition <em>Ende vom Lied</em> looks back at the expatriation of songwriter Wolf Biermann from the GDR in autumn 1976. Although that event was forty years ago, memories of the artist&rsquo;s audacious poems and songs and his courageously expressed criticism of those wielding power in the unjust state of the GDR are still very much alive, even today.</p> <p style="text-align: justify;">Together with Karl Mickel and Adolf Endler, poet and songwriter Wolf Biermann, born in 1936, is regarded as a shaping influence on many intellectuals and artists of his own and the following generation in the GDR: they opened up wounds and delineated broader horizons beyond the GDR&rsquo;s provincial ways of thinking.</p> <p style="text-align: justify;">The exhibition <em>Ende vom Lied</em> presents works by artists who lived in the GDR or who look back on the GDR from today&rsquo;s perspective with an interest in asking how, as a person with creative potential, it is possible to act critically in face of injustice, taking a stand by employing art against fear-based systems.</p> <p style="text-align: justify;"><em>Ende vom Lied</em> shows documentation of concerts by Wolf Biermann &ndash; before his expatriation in 1976 and directly after the fall of the Wall in 1989 &ndash; as well as an interview with the artist reflecting on the events of 1976. In addition, there will be a show of paintings and sculptures that are connected personally to Wolf Biermann: they portray him, pay homage, or examine his role as a communist, poet and social critic. And it will also be possible to see series of photos documenting everyday life in the GDR: public life in the surveillance state, the irrational aspects of a society of shortages, the secret strategies of the state security services. In addition, however, there will be evidence of young people&rsquo;s and artists&rsquo; protest. The works of the exhibition reveal an aesthetic potency that enables them to make clear, on various temporal levels, that everyone may have been faced by ideology all the time in the everyday socialism of the GDR &ndash; but that this permanent, meaningless red light could not outshine reality.</p> <p style="text-align: justify;">The curator of the exhibition is Christoph Tannert; curatorial assistance: Miriam Barnitz.</p> <p style="text-align: justify;"><em>Ende vom Lied</em> is a project conceived in parallel to the exhibition Voices of Dissent. Art in the GDR 1976&ndash;1989 in the Martin-Gropius-Building Berlin, which examines the same theme, showing positions adopting an anti-attitude to the &ldquo;custodial state&rdquo; of the GDR. (16th July &ndash; 26th September 2016).<br /> Ende vom Lied is accompanied by an extensive catalogue with numerous illustrations and monographic essays on the participating artists (design: Tobias Jacob), which will be available in the exhibition and via K&uuml;nstlerhaus Bethanien.</p> <p style="text-align: justify;">The exhibition and catalogue have been realized with generous support from the Governing Mayor of Berlin, Senate Office &ndash; Cultural Affairs.</p> <p style="text-align: justify;">Ekkehard Maa&szlig; will be performing songs by Wolf Biermann at the opening event on 14th July 2016.</p> <hr /> <p style="text-align: justify;">Die Ausstellung <em>Ende vom Lied</em> blickt zur&uuml;ck auf die Ausb&uuml;rgerung des Liedermachers Wolf Biermann aus der DDR im Herbst 1976. Obwohl das Ereignis 40 Jahre zur&uuml;ckliegt, ist die Erinnerung an die frechen Gedichte und Lieder und die mutig vorgetragene Kritik des K&uuml;nstlers gegen&uuml;ber den M&auml;chtigen im Unrechtsstaat DDR nach wie vor lebendig.</p> <p style="text-align: justify;">Zusammen mit Karl Mickel und Adolf Endler galt der 1936 geborene Dichter und Liedermacher Wolf Biermann vielen Intellektuellen und K&uuml;nstlern seiner und der nachfolgenden Generation in der DDR als pr&auml;gend: sie legten ihre Finger in die Wunden und beschrieben weite, aus dem DDR-Provinzdenken herausf&uuml;hrende Horizonte.</p> <p style="text-align: justify;">In der Ausstellung <em>Ende vom Lied</em> werden Werke von K&uuml;nstlern und K&uuml;nstlerinnen pr&auml;sentiert, die in der DDR gelebt haben oder von heute aus auf sie zur&uuml;ckblicken und sich f&uuml;r die Frage interessieren, wie man sich als Mensch mit kreativem Potential kritisch gegen&uuml;ber Unrecht verh&auml;lt und wie Kunst Zeichen setzen kann gegen Systeme der Angst.</p> <p style="text-align: justify;"><em>Ende vom Lied</em> zeigt Dokumentationen von Konzerten von Wolf Biermann &ndash; vor seiner Ausb&uuml;rgerung 1976 und direkt nach dem Mauerfall 1989 sowie ein Interview mit dem K&uuml;nstler, das die Ereignisse von 1976 reflektiert.</p> <p style="text-align: justify;">Au&szlig;erdem werden Bilder und Skulpturen zur Anschauung gebracht, die mit Biermann pers&ouml;nlich zu tun haben, die ihn portr&auml;tieren, w&uuml;rdigen oder seine Rolle als Kommunist, Dichter und Gesellschaftskritiker hinterfragen. Und es werden fotografische Serien gezeigt, die den Alltag in der DDR dokumentieren: das &ouml;ffentliche Leben im &Uuml;berwachungsstaat, die Irrationalit&auml;ten der Mangelgesellschaft, die Geheimstrategien des Staatssicherheitsdienstes. Aber auch das Aufbegehren der jungen Leute und der K&uuml;nstler. Die Werke der Ausstellung verm&ouml;gen Kraft ihrer &auml;sthetischen Potenz auf diversen Zeitebenen deutlich zu machen, dass Ideologie im sozialistischen Alltag der DDR zwar st&auml;ndig vor aller Augen war, aber dieses st&auml;ndige sinnlose Rotlicht die Wirklichkeit nicht &uuml;berstrahlen konnte.</p> <p style="text-align: justify;">Die Ausstellung wird kuratiert von Christoph Tannert; kuratorische Assistenz: Miriam Barnitz.</p> <p style="text-align: justify;"><em>Ende vom Lied</em> ist ein Projekt, das parallel zur Ausstellung <em>Gegenstimmen.</em> <em>Kunst in der DDR 1976-1989</em> im Berliner Martin-Gropius-Bau konzipiert wurde, wo es um das gleiche Thema geht und um Haltungen, die eine Anti-Position zur staatlichen Bevormundung einnehmen (16. Juli &ndash; 26. September 2016).</p> <p style="text-align: justify;"><em>Das Ende vom Lied</em> wird begleitet von einem umfangreichen Katalog (Gestaltung: Tobias Jacob), der in der Ausstellung und &uuml;ber das K&uuml;nstlerhaus Bethanien erh&auml;ltlich ist.</p> <p style="text-align: justify;">Ausstellung und Katalog wurden mit freundlicher Unterst&uuml;tzung des Regierenden B&uuml;rgermeisters von Berlin, Senatskanzlei &ndash; Kulturelle Angelegenheiten realisiert.</p> <p style="text-align: justify;">Zur Er&ouml;ffnung am 14. Juli 2016 singt Ekkehard Maa&szlig; Lieder von Wolf Biermann.</p> Thu, 21 Jul 2016 16:56:48 +0000 - KunstHall - Deutsche Bank - July 21st - October 30th <p style="text-align: justify;">The word &ldquo;common&rdquo; can mean &ldquo;ordinary&rdquo; but also &ldquo;joint&rdquo; in the sense of shared. In connection with both the Polish as well as the global art scene, which is becoming increasingly transgressive, media and market oriented, political, and controversial, the exhibition title COMMON AFFAIRS raises questions. Is art really so commonplace? Is it really a joint matter? What role does art play today, in the summer of 2016&mdash;not only in Poland, but also in a European context? COMMON AFFAIRS was conceived as a cooperation project between the Deutsche Bank KunstHalle in Berlin, the Polish Institute Berlin, and the Zachęta &ndash; National Gallery of Art in Warsaw. At the two Berlin venues, the exhibition presents a selection of artists who were nominated for the VIEWS Award from 2003 to the present. It touches on the history and impact of the award initiated by Deutsche Bank and the Zachęta, which has become the most important prize for contemporary Polish art.</p> Thu, 21 Jul 2016 16:52:14 +0000 Liz Larner - Galerie Max Hetzler (Goethestraße) - September 16th - October 22nd Thu, 21 Jul 2016 16:42:16 +0000 Wilhelm Schürmann - Galerie Max Hetzler (Bleibtreustraße) - September 16th - October 22nd Thu, 21 Jul 2016 16:42:11 +0000 Jos de Gruyter & Harald Thys - Galerie Isabella Bortolozzi - August 30th - October 29th Thu, 21 Jul 2016 16:38:03 +0000 Bosco Sodi - Galerie EIGEN + ART (Berlin) - July 7th - August 27th <p style="text-align: justify;">It starts with a simple idea: massive cubes of clay, half a meter high. Bosco Sodi's new sculptures, cubes of fired clay stacked in high columns, on view from 7 July to 27 August in the Berlin gallery EIGEN + ART, shouldn't function at all in these dimensions. They ought to have exploded while being fired; too great is the force of extreme heat that is released in the material &ndash; sand, earth, and water.</p> <p style="text-align: justify;">Bosco Sodi refused to be dissuaded and began his experiment. In his studio on the Pacific coast of Mexico, he worked for several months creating the cubes, from preparing and compounding the material through layering and forming to drying and firing them. He experimented with various fuels, like coconut shells and wood, and observed the effects on the form, surface, and color. Even the kiln in which the cubes were fired for 24 hours was built especially for this purpose from clay bricks, using the method people have used for several thousand years when working with ceramics.</p> <p style="text-align: justify;">In the end stands the ideal form: a symmetrical cube with six equal sides, something that doesn't exist in nature and that only humans can produce, but made entirely of organic materials, produced through the interaction of all four elements. Each cube bears the traces of the work process, some with more and some with fewer fissures, the corners slightly warped, the hues shimmering, depending on what material was used in the firing process. Each cube tells the story of its creation.</p> <p style="text-align: justify;">By piling the cubes to columns in the exhibition, Bosco Sodi lets them approach the form and proportions of the human body and at the same time creates an architecture reduced to the essential, a colonnade through which one can move. Viewed up close, the columns develop a power that is hard to capture in words and that one can experience, but not hold fast. As if one could feel the forces required to produce them, the rawness, naturalness, heat, mass, and the sheer weight they consist of.</p> <p style="text-align: justify;">At the core of Bosco Sodi's work is always the process, the trying out and arriving at a result whose appearance he may influence, but not foresee. Sodi leaves as much as he can thereby to coincidences or even accidents; he veritably seeks the uncontrollable. The artist determines the framework and the material, but the finished work arises through processes that take their own path.</p> <p style="text-align: justify;">The same holds true in his pictures, which grow into three dimensions, which he usually produces in colored series. Their surfaces develop furrows when he layers sawdust, glue, cellulose, and pure pigment on canvases and then lets them dry under the influence of local temperature and humidity conditions; Sodi has several studios in New York, Mexico, and Barcelona. But the quality of the water and the consistency of the sawdust let the pictures develop differently in accordance with the site. His work on the pictures ends the moment when, after days of forming, drying, and processing, the first cracks appear on the surfaces. Then the pictures develop a life of their own, changing in color and in the forms that develop on the surface. Even if all the pictures in the new series of titanium white squares have the same format and were made with the same material under the same climatic conditions, none is like another, each can be read differently and arouses different associations and memories when one's gaze opens up to them. Often these are memories of natural phenomena and formations like lush green rain forests, gleaming blue surfaces of seas, or shocking pink blossoms that build up in one's head when one views the pictures, and the sight of these pictures is as overwhelming and gripping as the sight of the vastness of the sea, the mountains, or forests. The new white series is like a dry desert, like the soil hungering for rain: earthy, thirsty, perhaps also icy. Here, too, the energy seething under the surface is downright graspable.</p> <p style="text-align: justify;">Bosco Sodi's work is closely interwoven with the Japanese concept of wabi sabi. In this aesthetic philosophy, beauty does not lie in external glamor, but in the "imperfect", in simplicity, the patina, and the fine cracks in the surface of a perfect picture.</p> <p><em>Text by Leonie Pfennig</em><strong><br /></strong></p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Es beginnt mit einer simplen Idee: Massive W&uuml;rfel aus Ton, einen halben Meter hoch. Bosco Sodis neue Skulpturen, zu hohen S&auml;ulen geschichtete W&uuml;rfel aus gebranntem Ton, die vom 7. Juli bis 27. August in der Berliner Galerie EIGEN + ART zu sehen sind, k&ouml;nnen in dieser Dimension eigentlich gar nicht funktionieren. Beim Brennen m&uuml;ssten sie explodieren, zu gro&szlig; ist die Kraft, die dabei im Material &ndash; Sand, Erde und Wasser &ndash; in Verbindung mit extremer Hitze freigesetzt wird.</p> <p style="text-align: justify;">Bosco Sodi lie&szlig; sich nicht beirren und begann sein Experiment. In seinem Atelier an der mexikanischen Pazifikk&uuml;ste arbeitete er mehrere Monate lang an der Kreation der Kuben, von der Vorbereitung und Zusammensetzung des Materials &uuml;ber das Schichten und Formen bis zum Trocknen und Brennen der W&uuml;rfel. Er experimentierte mit verschiedenem Brennmaterial wie Kokosschalen oder Holz und beobachtete die Auswirkungen auf Form, Oberfl&auml;che und Farbe. Selbst der Ofen, in dem die Kuben 24 Stunden lang gebrannt werden, wurde speziell f&uuml;r diesen Zweck aus Tonziegeln gemauert, dem Prinzip folgend, nach dem Menschen seit mehreren tausend Jahren mit Keramik arbeiten.</p> <p style="text-align: justify;">Am Ende steht die ideale Form: ein symmetrischer W&uuml;rfel mit sechs gleich gro&szlig;en Seiten, wie er in der Natur nicht existiert und nur Menschen ihn schaffen k&ouml;nnen, jedoch aus ganz und gar organischen Stoffen, entstanden durch das Zusammenwirken aller vier Elemente. Jeder W&uuml;rfel tr&auml;gt die Spuren des Arbeitsprozesses, hat mal mehr, mal weniger Risse, die Ecken sind leicht verzogen, die Farbt&ouml;ne changierend, je nach dem, welches Material im Brennprozess verwendet wurde. Jeder erz&auml;hlt die Geschichte seiner Entstehung.</p> <p style="text-align: justify;">In dem Bosco Sodi die W&uuml;rfel in der Ausstellung zu S&auml;ulen formiert, n&auml;hert er sie an die Form und Proportion des menschlichen K&ouml;rpers an und erschafft gleichzeitig eine auf das Wesentliche reduzierte Architektur, einen S&auml;ulengang, durch den man sich bewegen kann. Aus der N&auml;he betrachtet entfalten die S&auml;ulen eine Kraft, die sich schwer in Worte fassen l&auml;sst, die man erfahren, aber nicht festhalten kann. Als k&ouml;nnte man die Kr&auml;fte sp&uuml;ren, die zu ihrer Entstehung notwendig waren, das Rohe, Nat&uuml;rliche, die Hitze und Masse und das schiere Gewicht, aus dem sie bestehen.</p> <p style="text-align: justify;">Im Kern der Arbeit von Bosco Sodi steht immer der Prozess, das Ausprobieren und Ankommen bei einem Resultat, dessen Erscheinung er zwar beeinflussen, aber nicht vorhersehen kann. Sodi &uuml;berl&auml;sst so viel er kann Zuf&auml;llen oder sogar Unf&auml;llen, er sucht das Unkontrollierbare geradezu. Der K&uuml;nstler gibt den Rahmen und das Material vor, doch das fertige Werk entsteht durch sich verselbstst&auml;ndigende Prozesse.</p> <p style="text-align: justify;">So auch bei seinen ins dreidimensionale auswachsenden Bildern, die er meist in farblichen Serien arbeitet. Ihre zerfurchten Oberfl&auml;chen entstehen durch das Aufschichten von S&auml;gemehl, Leim, Zellstoff und reinem Pigment auf Leinw&auml;nden und dem anschlie&szlig;enden Trocknungsprozess unter Einfluss lokaler Bedingungen wie Temperatur und Luftfeuchtigkeit &ndash; Sodi unterh&auml;lt mehrere Ateliers in New York, Mexiko und Barcelona. Aber auch die Qualit&auml;t des Wassers und die Beschaffenheit der S&auml;gesp&auml;ne lassen die Bilder je nach Ort verschieden werden. Seine Arbeit an den Bildern endet im Moment, in dem nach tagelangem Formen, Antrocknen, Bearbeiten die ersten Risse in der Oberfl&auml;che entstehen. Dann entwickeln die Bilder ihr Eigenleben, ver&auml;ndern sich in der Farbe und in den Formen, die sich an der Oberfl&auml;che ausbilden. Auch wenn allen Bildern der neuen Serie titanwei&szlig;er Quadrate dasselbe Format zugrunde liegt, dasselbe Material verwendet wurde, dieselben klimatischen Bedingungen herrschten &ndash; keins ist wie das andere, jedes l&auml;sst sich anders lesen, weckt andere Assoziationen und Erinnerungen, wenn der Blick sich einmal darauf eingelassen hat. Oft sind es Erinnerungen an Naturph&auml;nomene und Formationen wie sattgr&uuml;ne Regenw&auml;lder, leuchtend blaue Meeresfl&auml;chen oder schreiend pinke Bl&uuml;ten, die sich beim Betrachten der Bilder im Kopf aufbauen, und genauso &uuml;berw&auml;ltigend und nicht loslassen k&ouml;nnend wie der Blick auf die Weite des Meeres, der Berge oder W&auml;lder, f&uuml;hlt sich der Anblick dieser Bilder an. Die neue, wei&szlig;e Serie ist wie eine trockene W&uuml;ste, wie der Boden, der sich nach Regen verzehrt, erdig, durstig, vielleicht auch eisig. Auch hier ist die Energie, die unter der Oberfl&auml;che brodelt, f&ouml;rmlich greifbar.</p> <p style="text-align: justify;">Bosco Sodis Arbeit ist eng verwoben mit dem japanischen Konzept des wabi sabi. Nach dieser &auml;sthetischen Philosophie liegt die Sch&ouml;nheit nicht im &auml;u&szlig;eren Glanz, sondern im &bdquo;Unperfekten", in der Schlichtheit, der Patina und in den feinen Rissen in der Oberfl&auml;che eines vollkommenen Bildes.</p> <p><em>Text von Leonie Pfennig</em><strong><br /></strong></p> Thu, 21 Jul 2016 16:33:02 +0000 Lutz Bacher - Galerie Buchholz - July 8th - August 27th <p style="text-align: justify;">For her fourth solo exhibition with Galerie Buchholz, Lutz Bacher presents &ldquo;Divine Transportation&rdquo;, a constellation of works in various media spanning the American artist&rsquo;s career, from 1973 through today.<br /> <br /> A solo exhibition by Lutz Bacher titled &ldquo;Magic Mountain&rdquo; is currently on view at 365 Mission in Los Angeles (through July 31). Earlier this year, she presented &ldquo;More Than This&rdquo;, an exhibition at Secession in Vienna, which was accompanied by her publication &ldquo;The Gift&rdquo;. Recent solo exhibitions include the Statens Museum for Kunst, Copenhagen (2014); the Aspen Art Museum, Aspen (2014); Portikus, Frankfurt-am-Main (2013); ICA London (2013); and the Kunsthalle Zurich (2013); MoMA/P.S. 1 (2009), Kunstverein Munich (2009), and the Contemporary Art Museum, St. Louis (2008). Group exhibitions include &ldquo;Number 12: Hello Boys&rdquo;, Julia Stoschek Collection, D&uuml;sseldorf (2016); &ldquo;Collecting Lines. Drawings from the Ringier Collection (Chapters I &amp; II)&rdquo;, Villa Flora, Winterthur (2015); &ldquo;Open Dress&rdquo;, Museum Abteiberg, M&ouml;nchengladbach; &ldquo;Spies in the House of&nbsp;Art&rdquo;, The Metropolitan Museum of Art, New York (2012); The Whitney Biennial, The Whitney Museum of American Art, New York (2012); &ldquo;Closed Circuit&rdquo;, The Metropolitan Museum&nbsp;of Art (2008); &ldquo;Grey Flags&rdquo;, Sculpture Center, New York and Bordeaux Mus&eacute;e d&rsquo;Art Contemporain, Bordeaux (2006); &ldquo;American Tableaux&rdquo;, Walker Art Center, Minneapolis (2002);&nbsp;and &ldquo;Bit Streams&rdquo;, The Whitney Museum of American Art, New York (2002). Her work is in the collections of The Metropolitan Museum of Art, New York; MoMA, New York; The&nbsp;Whitney Museum of American Art, New York; The Art Institute of Chicago, among others.</p> Thu, 21 Jul 2016 16:29:41 +0000 John Kelsey - Galerie Buchholz - July 8th - August 27th <p style="text-align: justify;">A new series of watercolors presents images of street fights. Mostly male figures are seen coming to blows or grappling in parking lots and other metropolitan settings. We never learn the identities of these antagonists or the specific content of their disputes but we do begin to experience the emergence of a specific genre, the street fight, which is more local to smart phone and online culture than any known fine art tradition. This is not the first time the artist has applied the medium of aquarelle to serial imagery: earlier instances depicted data server farms and production stills from the movie &ldquo;The Canyons&rdquo;.<br /> <br /> Meanwhile a series of blank white canvases almost disappears on the gallery&rsquo;s walls. Based on the floor plans of real estate listings in New York, these odd shaped blanks don&rsquo;t do much more than send the white of the gallery back in another form. At one point there was a plan to paint the canvases but in the end it seemed better to make the flimsiness of the watercolors do the main work of supporting the exhibition, rather than demoting them in relation to real painting (an attempt to become a studio artist for two weeks in Berlin did not feel great). The shapes and titles of the canvases are taken from promotional real estate material gathered during the artist&rsquo;s recent attempts to find a new home in New York.<br /> <br /> Various handcrafted wooden fish/whales were collected via Ebay. Like the shaped canvases each whale has its unique silhouette. These may have previously functioned as shop signs, cutting boards or paddles. At one point the exhibition was going to be called <em>Dolphinitely</em> but in the end the image on the invite card replaced that title: some viewers may recognize the baby dolphin who died while people were taking selfies with it in Argentina.</p> Thu, 21 Jul 2016 16:26:22 +0000 Maria Anwander, Fernanda Fragateiro, Matthew Metzger, Pablo Rasgado, Haleh Redjaian, Katerina Seda, Friedrich Teepe - Galerie Arratia Beer - July 14th - August 5th Thu, 21 Jul 2016 16:21:05 +0000 Lucie Mičíková - Chert - July 8th - August 12th <p style="text-align: justify;">Our relation with Lucie Mičíková dates back to 2013.</p> <p style="text-align: justify;">Lucie applied for an internship at the gallery, as part of her studies at the Academy of Fine Arts and Design in Bratislava. Along with her application letter she also sent a portfolio of her works.</p> <p style="text-align: justify;">Going through the pages, what mostly caught my attention was a wood and metal constructions on a tree, a sort of tree house &ndash; stage platform. The structure would get activated and brought to life through lectures and performances involving other students of the academy. The installation was accompanied by a beautiful &ldquo;Model of construction on pizza box&rdquo; and a series of drawings and collages &ldquo;The Cities on the Trees&rdquo;.</p> <p style="text-align: justify;">The drawings and the model clearly stated her interest in an ephemeral, fragile and intangible reality, that she is able to create with much delicacy and lightness. The whole project was inspired by Italo Calvino&rsquo;s novel &ldquo;The Baron in the Trees&rdquo;. The book tells the story of Cosimo Piovasco di Rondò, a 12 years old boy who refuses to follow the rules of the 18th century double-faced society. To change his faith, he decides to climb up a tree and spend the rest of his life inhabiting an arboreal kingdom, creating his own rules.</p> <p style="text-align: justify;">As in the &ldquo;Ville Spatiale&rdquo; projects by Yona Friedman, Lucie&rsquo;s idea aimed to create a vertical space dedicated to culture and exchange above the normal routine of life and society rules. This idea of a fragile, vertical reality is a recurring theme in her work.</p> <p style="text-align: justify;">In her exhibitions, cut out shapes of papers are often visible, while flying around in a vertical / suspended way, together with other fragments, collages, painted lines and printed surfaces, walls made of paper, pigments&hellip; Nothing in her work would suggest any idea of solidity or durability. Everything is temporary and precarious &ndash; even her collages works seem to refuse to be forced into any kind of frame or constructions. Sometimes they lie between the wall and the floor, folding between the two rigid surfaces.</p> <p style="text-align: justify;">At the end of her internship in Berlin she created a site-specific installation for the vitrines in the outdoor courtyard of the old gallery&rsquo;s location in Skalitzerstrasse. Titled &ldquo;Forgotten leaf &rdquo; the exhibition featured a series of paper &ldquo;cities &ndash; nests&rdquo; creating something similar to architectural landscapes and delicate scenarios.</p> <p style="text-align: justify;">For her show in our new location in Ritterstrasse, Lucie created a full new body of works where the &ldquo;nest&rdquo; is again a central theme, this time in an exaggerate enlarged scale. Several meters of folded papers overlap on each other, taking over the lower space of the gallery and connecting the two floors of the space. In the room upstair a delicate wall drawing frames the room with water, shadows, waves and lines. Finally on the second floor of the gallery, many open notebooks are placed on the floor, resembling the waves of a water&rsquo;s surface, like a choppy ocean of paper.</p> Thu, 21 Jul 2016 16:18:04 +0000