ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Hildebrando de Castro - Paulo Darze Galeria de Arte - August 22nd - September 20th <p>Nada mais aflitivo para um artista, que uma folha de papel, ou uma tela, em branco: porque da&iacute; adv&eacute;m sua condi&ccedil;&atilde;o solit&aacute;ria encoberta pelas sombras de uma multid&atilde;o.</p> <p>O exerc&iacute;cio da arte &eacute; uma aventura pela qual o artista vislumbra suas a&ccedil;&otilde;es num campo cheio de escaramu&ccedil;as, onde as in&uacute;meras idea&ccedil;&otilde;es incidem sobre seus atos. O artista &eacute; algu&eacute;m que se oferta &agrave; fragilidade pela sua necessidade de absor&ccedil;&atilde;o, pela sua prem&ecirc;ncia em emitir um sil&ecirc;ncio significante, a partir de como administra os ru&iacute;dos das imagens; agrega para si, essa inst&acirc;ncia paradoxal: sacerdote e sacrif&iacute;cio. Mas &eacute; no v&eacute;rtice destas contradi&ccedil;&otilde;es onde se abre o gozo, a pot&ecirc;ncia deflagrada como soma de suas administra&ccedil;&otilde;es que lhe insta legitimidade perante as sombras que lhe oprimiam, agora nominada pela imagem de seus rostos que configuram o corpo reconhec&iacute;vel da sociedade que lhe aceita.</p> <p>Uma vez institu&iacute;do, o artista opera como um malabarista, sempre no fio da navalha, burlando sua invalidez; porque o meio de arte &eacute; eminentemente excludente, porta um gene perverso que lhe &eacute; constitutivo: admite com resist&ecirc;ncia novas verdades que podem se tornar refer&ecirc;ncias est&aacute;veis, mas o fantasma da suspens&atilde;o estar&aacute; sempre rondando &agrave; medida de seu humor cortes&atilde;o.</p> <p>Pela minha condi&ccedil;&atilde;o de artista, me fa&ccedil;o presente aqui, por uma fun&ccedil;&atilde;o meramente mediadora, ou ao menos para emitir um ponto de vista que se abst&eacute;m da formaliza&ccedil;&atilde;o cr&iacute;tica, ou atividade anal&iacute;tica, tendo como objeto a obra de outro artista, j&aacute; diversamente explorada por pensadores experientes sobre as ideias que est&atilde;o contidas na espacialidade complexa da obra de Hildebrando de Castro.</p> <p>A inten&ccedil;&atilde;o aqui &eacute; tentar extrair um ponto de vista que possa vislumbrar algum filtro diferente, pela paridade experiencial nessa viv&ecirc;ncia que o ato de criar implica, e, sobretudo, por uma identifica&ccedil;&atilde;o mais ou menos aproximada na forma como sempre administrou os riscos pelos quais deliberadamente escolheu, e o tornou um artista consagrado, mesmo trilhando caminhos que suscitaram provoca&ccedil;&otilde;es administradas de forma surpreendente, decidida e corajosa.</p> <p>Hildebrando de Castro &eacute; um artista que em toda sua trajet&oacute;ria deflagra desafios no contrap&eacute; das expectativas. Sua obra porta de imediato uma condi&ccedil;&atilde;o pela qual levanta certa tens&atilde;o, no modo como enreda suas qualidades de irrefut&aacute;vel preciosismo em sua fatura.</p> <p>Artista eminentemente figurativo, grifado por qualidades t&eacute;cnicas obsessivas, abrindo pela<em>&nbsp;mimese</em>&nbsp;toda sua instrumenta&ccedil;&atilde;o argumentativa, para al&eacute;m da inevit&aacute;vel evoca&ccedil;&atilde;o hiper-realista, porque distante do seu acriticismo. Desenhista de observa&ccedil;&atilde;o pelos c&acirc;nones tradicionais, usando modelos para a constru&ccedil;&atilde;o de suas narrativas, para em seguida assumir a fotografia como um aporte de agiliza&ccedil;&atilde;o processual, al&eacute;m do sintoma que tais usos refletem simbolicamente como ato incurso em seu tempo.</p> <p>O uso da imagem como recurso para a representa&ccedil;&atilde;o de sua imag&eacute;tica lhe retira das ideias naturalistas do passado, mas se reporta a esse passado instaurando ironicamente novas extens&otilde;es que se sobrep&otilde;em aos valores est&eacute;ticos institu&iacute;dos historicamente. O universo onde se apoia as narrativas de Hildebrando de Castro s&atilde;o providos pelo territ&oacute;rio da arte, do pensamento do homem sobre o homem, suas idiossincrasias e as coisas que cria e se cerca.</p> <p>Sua arte, portanto, transp&otilde;e a ideia da janela que representa, para o espa&ccedil;o do simulacro. Lida com um tr&acirc;nsito entre signos reconhec&iacute;veis, situa&ccedil;&otilde;es, comportamentos, erotismo e religiosidade, conceitos institu&iacute;dos - a seus aditivos provocantes, ir&ocirc;nicos, onde est&aacute; a servi&ccedil;o de deslocamentos que subvertem o usual, que estendem a natureza de suas constru&ccedil;&otilde;es subversivas no encontro de novas subjetividades em busca de elucida&ccedil;&otilde;es.</p> <p>A produ&ccedil;&atilde;o de imagens no mundo contempor&acirc;neo &eacute; excessiva. O olhar &eacute; for&ccedil;ado a uma aliena&ccedil;&atilde;o. H&aacute; um limite para a decodifica&ccedil;&atilde;o de suas (in) discrimina&ccedil;&otilde;es. Considerando apenas as imagens da arte pela sua hist&oacute;ria, testemunhamos o que foi filtrado como imagens exemplares: aquelas que trazem em si valores imanentes, em suas metodologias de feitura, que os liga a seu tempo, trazendo para a superf&iacute;cie o esfor&ccedil;o que lhes tornaram importantes, como legado do vis&iacute;vel, para interesse do olhar saturado, que se conforta ou reage ao que h&aacute; de reflexo do mundo, do homem, a partir do que rege as &eacute;ticas, as est&eacute;ticas, que s&atilde;o enquadramentos pol&iacute;ticos da visualidade.</p> <p>As narrativas de Hildebrando de Castro abrem de imediato, questionamentos dessa politiza&ccedil;&atilde;o das imagens. No plano da arte figurativa &ndash; usando aqui uma express&atilde;o gen&eacute;rica &ndash; &eacute; onde parece residir o desafio maior. O artista, por possuir esse aparato t&eacute;cnico irretoc&aacute;vel, essa qualidade &ldquo;imitativa&rdquo;, resvala na necessidade premente em negociar o que pode portar uma condi&ccedil;&atilde;o narcisista de desenhar e pintar com preciosismo. Tornar a esterilidade narc&iacute;sica - ou meramente diluidora do preciosismo - numa qualidade funcional no l&eacute;xico do seu tempo, e em sua pertin&ecirc;ncia de extens&atilde;o, como linguagem que ativa o que revela de novo, pelas surpresas a que somos hipnoticamente atra&iacute;dos em seu trabalho.</p> <p>Assim, o que converte suas imagens em afirma&ccedil;&otilde;es visuais t&atilde;o contundentes &eacute; essa mistura de precis&atilde;o t&eacute;cnica irrepreens&iacute;vel &agrave;s escolhas de variados repert&oacute;rios que lhe servem como diferencial que chega a ser insolente. Escolhas que em sua soma perfaz sua trajet&oacute;ria que recorre a variadas estrat&eacute;gias, desde a montagem de um cen&aacute;rio que busca a ambi&ecirc;ncia precisa para o que quer expressar, ao uso e afinidade com modelos vivos recorrentes, que atendem &agrave;s solicita&ccedil;&otilde;es de sua imagina&ccedil;&atilde;o para seus coment&aacute;rios, e arrematam uma esp&eacute;cie de choque t&eacute;rmico quando manipula diferentes aportes contidos na cultura, pelo que apreende de suas iconografias, objetos, situa&ccedil;&otilde;es ins&oacute;litas, valores ecol&oacute;gicos encontrados entre o sublime e o deboche; na destrui&ccedil;&atilde;o da natureza, ou nas naturezas das destrui&ccedil;&otilde;es, pelos relativismos promovidos na&nbsp; interface da cultura e suas din&acirc;micas transformativas</p> <p>Como artista autodidata, admite que provavelmente a origem de seus encaminhamentos independentes dos antolhos acad&ecirc;micos lhe tenham conferido suas liberdades de escolhas, pautadas inicialmente em sua mem&oacute;ria pessoal de adolescente, j&aacute; interessado no bin&ocirc;mio sagrado\profano, ou, para ser mais preciso, religi&atilde;o e erotismo, onde articulou muitas de suas idea&ccedil;&otilde;es iconogr&aacute;ficas.</p> <p>Imagens potentes, em geral, sem coment&aacute;rios circundantes que possam diluir sua iman&ecirc;ncia. A Hidelbrando, importa grifar uma ideia central circundada, via de regra, por fundos brancos ou negros, a dramatizar seu pendor pela estranheza, sexismos, dramaticidade, ironia beirando o humor negro, tang&ecirc;ncia ao escatol&oacute;gico, pervers&atilde;o, retratos, ludicidade de labor e humor.</p> <p>Mas em sua trajet&oacute;ria de aproximadamente 25 anos, h&aacute; a lida solit&aacute;ria, a cozinha oculta em que se d&atilde;o todos os processamentos de um artista em que, do ponto de vista de sua obra, n&atilde;o h&aacute; espa&ccedil;os para a sociabilidade: conquista pela retina ou cora&ccedil;&otilde;es expostos, ou melhor, pela cogni&ccedil;&atilde;o entre ambos. Neste sentido, falar de modo &ndash; ao menos esquem&aacute;tico &ndash; de sua genealogia, ou evolu&ccedil;&atilde;o, a sublinhar seus procedimentos t&eacute;cnicos em fun&ccedil;&atilde;o do que contribuiu em suas transforma&ccedil;&otilde;es ao longo destes anos de trabalho incessante, onde reside por lei de causa e efeito a sucess&atilde;o imbricada de que um resultado sucede a outros.</p> <p>Assim, o que caracteriza singularmente este artista, &eacute; seu modo &iacute;mpar de fazer suceder interesses sempre cuidadosamente escolhidos a servi&ccedil;o de uma precis&atilde;o gritante, mesmo referindo &agrave;s subjetividades que ele nos traz &agrave; tona. De modo resumido, ou apenas nominando os encadeamentos tem&aacute;ticos de Hildebrando, a partir da forma po&eacute;tica que Denise Mattar, curadora de ILUS&Otilde;ES DO REAL - mostra que apresentou sem intuito retrospectivo, mas que fornece toda a linhagem pela qual &eacute; poss&iacute;vel compreender a trajet&oacute;ria do artista<strong>: Historias Ins&oacute;litas</strong>,&nbsp;<strong>Entes Humanos</strong>,<strong>Inquieto Cora&ccedil;&atilde;o</strong>,&nbsp;<strong>Corpos Fragmentados</strong>,&nbsp;<strong>Inf&acirc;ncia Perversa</strong>* e&nbsp;<strong>Arquitetura da Luz,</strong>&nbsp;que &eacute; objeto da mostra aqui presente.</p> <p>Estas imagens que ora vemos na Paulo Darz&eacute; Galeria de Arte dizem respeito &agrave;s atualiza&ccedil;&otilde;es deste artista emblem&aacute;tico, que possui trajet&oacute;ria rica e transformadora pelo que &eacute; grifado em sua import&acirc;ncia no panorama da arte brasileira. Aqui presenciamos a beleza inteligente de imagens que n&atilde;o guardam nenhuma inoc&ecirc;ncia. S&atilde;o articuladas cuidadosamente no que nos oferece de sua beleza em sua camada mais aparente, al&eacute;m dos muitos substratos que suas abordagens referendam a servi&ccedil;o de um olhar preciso em suas estrat&eacute;gias cir&uacute;rgicas.</p> <p>O que nesta mostra testemunhamos &eacute; mais um de seus surpreendentes posicionamentos como artista que escolhe para suas afirma&ccedil;&otilde;es visuais verdadeiros desafios de algu&eacute;m acostumado a reinventar, ou reintroduzir, no campo das imagens, suas possibilidades infinitas. Neste recorte de sua produtividade Hildebrando de Castro abre mais uma vez seu surpreendente repert&oacute;rio, a mapear entre frestas, o que a hist&oacute;ria torna passado, e ele torna presente. Com estes brise-soleils, se debru&ccedil;a nos estaleiros onde se originaram as constru&ccedil;&otilde;es reflexivas, a arte, e, tamb&eacute;m, a arquitetura brasileiras em seu limiar hegem&ocirc;nico, onde evoca a acep&ccedil;&atilde;o moderna instaurada por uma metaboliza&ccedil;&atilde;o local.</p> <p>Estas imagens dos brise-soleils introduz certa contra&ccedil;&atilde;o em rela&ccedil;&atilde;o ao que conhecemos de Hildebrando. Recolhido de seu car&aacute;ter mais dram&aacute;tico, mas conservando seu princ&iacute;pio de resolu&ccedil;&otilde;es pict&oacute;ricos formais impec&aacute;veis, mantendo sua ironia de forma mais velada, pela pr&oacute;pria natureza do tema que aborda.</p> <p>Nesta mostra Hildebrando trata da converg&ecirc;ncia de duas<em>&nbsp;escrituras</em>&nbsp;que permeiam pela sua pintura as disposi&ccedil;&otilde;es de um recorte arquitet&ocirc;nico que enceta as janelas com seu aporte simb&oacute;lico na hist&oacute;ria da visualidade, o que remete ao problema autorreferente da arte.</p> <p>A partir da apar&ecirc;ncia, e da pr&oacute;pria metodologia da arte Concreta, seus campos de cor e forma executados em seu estado geom&eacute;trico e cromaticamente ass&eacute;ptico, respectivamente, o artista entroniza de imediato uma quest&atilde;o&nbsp;<em>vocabular&nbsp;</em>do ide&aacute;rio concretista.</p> <p>A reversibilidade, express&atilde;o contingencial do impasse concretista - que assinalava o problema de figura/fundo - &eacute; escolha deliberada de Hildebrando que n&atilde;o deixa de revolver seus genes constitutivos de temas anteriores, onde o enquadramento de pervers&atilde;o se reveste aqui, de uma sofistica&ccedil;&atilde;o enredada numa perspectiva puramente retiniana a brincar com sensos de conten&ccedil;&otilde;es como aporte de seus objetos temas, em estado de suspens&atilde;o.</p> <p>Mas nestes brise-soleils h&aacute; tamb&eacute;m a posi&ccedil;&atilde;o do artista que aparece mais uma vez na reg&ecirc;ncia de sua politiza&ccedil;&atilde;o, no que tange &agrave;s imagens que, &agrave; guisa de suas escolhas, perscruta cr&iacute;tica que sublinha as utopias modernas, nestas abordagens que apontam dire&ccedil;&otilde;es da arte e da arquitetura, nos oferece tamb&eacute;m um sentido de territorializa&ccedil;&atilde;o desta incurs&atilde;o como problemas localizados, isto &eacute;, a incurs&atilde;o de um cap&iacute;tulo da hist&oacute;ria recente da arte e da cultura brasileira imersa nas extens&otilde;es do modernismo, onde se origina o come&ccedil;o da hegemonia da arte brasileira.</p> <p>N&atilde;o haveria nestas imagens dos brise-soleils, um tipo de urdidura que guarda os mesmos sentidos de pervers&atilde;o que orientaram muitos dos trabalhos de Hildebrando em suas diversas fases anteriores? N&atilde;o &eacute; essa diretiva que ele nos obriga a tomar com a retina em riste a sondar a imaterialidade de algo que evoca o concreto, em sua inst&acirc;ncia tem&aacute;tica, a da arquitetura em seus detalhes funcionais, que apontam para um dispositivo que em certa medida &eacute; um impedimento parcial da fun&ccedil;&atilde;o transparente que deve possuir as janelas, e que nos provoca a olhar ao que ele mesmo assinala nada haver por sua inexist&ecirc;ncia suspensa, congelada pelos seus simulacros num detalhe funcional arquitet&ocirc;nico cuja fun&ccedil;&atilde;o &eacute; reter a luz de forma modular? N&atilde;o &eacute; tamb&eacute;m, a condi&ccedil;&atilde;o alusiva ao Concretismo, a nega&ccedil;&atilde;o do pr&oacute;prio tema, quando articula seus campos crom&aacute;ticos a servi&ccedil;o de algo que parece contradito ao que remete?</p> <p>Assim, me parece que o artista ao construir um jogo de impactante sofistica&ccedil;&atilde;o e beleza, que parece envolver a ele pr&oacute;prio, o espectador e o que problematiza com o objeto pict&oacute;rico, as funcionalidades dos objetos enquadrados em seus historicismos, e a maneira que os envolve com suas articula&ccedil;&otilde;es conceituais, cobertas por uma inteligente abordagem onde nos endere&ccedil;a a aten&ccedil;&atilde;o para a afirma&ccedil;&atilde;o de Michel Foucault<em>: A rela&ccedil;&atilde;o da linguagem com a pintura &eacute; uma rela&ccedil;&atilde;o infinita</em>*. A este respeito n&atilde;o me furto em estender nestes jogos visuais de Hildebrando de Castro trazendo de imediato, mais uma vez, Foucault, em sua an&aacute;lise de &lsquo;Las Ni&ntilde;as&rsquo; de Vel&aacute;squez, aqui simplificando a paridade suspensiva do que Hildebrando de Castro ativa como princ&iacute;pio de reversibilidades em suas constru&ccedil;&otilde;es visuais eivadas a um inteligente conceitualismo que me parece conduzir suas operacionalidades atrav&eacute;s da pintura.</p> <p>Vauluizo Bezerra Julho 2014</p> Thu, 21 Aug 2014 06:22:34 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Ji Sim Hyun, Vladimir Kupriyanov, Daria Marchik, Armando Rearte - Natasha Akhmerova’s Barbarian Art Gallery - August 23rd - November 2nd Thu, 21 Aug 2014 06:07:23 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Peter Hujar - Mai 36 Galerie - Showroom - August 29th - October 25th <p>Das Werk von Peter Hujar (geboren 1934 in Trenton, New Jersey; gestorben 1987) hat seit den <br />Achtziger Jahren immer wieder bedeutende Ausstellungen erfahren. So erstmals in der Schweiz 1982 in der Kunsthalle Basel, 1994 im Fotomuseum Winterthur und im selben Jahr im Stedelijk Museum Amsterdam und 2007 im ICA London. Mai 36 Galerie zeigte zuletzt 2011 in der Ausstellung Paul Thek &ndash; cityscapes and other ideas Hujars Fotos Thek&rsquo;s Studio 1967.<br />Es freut uns Ihnen die Vertretung des Peter Hujar Estates durch die Mai 36 Galerie bekannt zu geben!<br />Aus der Modefotografie kommend, wie seine New Yorker Kollegen Irving Penn, Richard Avedon und <br />Robert Mapplethorpe, unterscheidet sich Peter Hujar jedoch stark von diesen. Zeitlebens f&auml;llt ihm das Imposante und die Vordergr&uuml;ndigkeit der Modefotografie als Aufgabe schwer, interessiert sich Hujar doch f&uuml;r das Darstellen von eigentlichem Leben mehr und er zeigt dies pur: in seiner K&ouml;rperlichkeit, in drastischen Szenerien, oder im Falle der Tierportraits humorvoll die Unschuld der Kreaturen hervorhebend.<br />Seine Vorbilder sind etwa Wegee oder Diane Arbus. Der eine verfolgt die katastrophischen und <br />hysterischen Momente des Stadtlebens, die andere offenbart die psychologischen Randsituationen der Gesellschaft aus analysierender Distanz. Hujar selbst ist Teil dieses Lebens, das er darstellt. Er &uuml;ber&auml;sthetisiert nicht, sondern zeigt in seinen Aufnahmen eine fast intime Beziehung zum Abgebildeten oder den Portraitierten. Seine Bildkomposition ist fein aber nicht aufdringlich, wirkt eher beil&auml;ufig. Er liegt mit seinen Aufnahmen immer etwas neben dem Erwarteten, was ihm bei seiner&nbsp;Modefotografie Schwierigkeiten einbrachte, jedoch in seiner freien Fotografie den besonderen Reiz ausmacht.<br />Sein Eintauchen in die Welt seiner Freunde und die Darstellung New Yorks von den Sechziger Jahren bis in die Achtziger Jahre zeigt eine Stadt, die es so nicht mehr gibt. Da wo Subkultur bl&uuml;hte, die heute unser kulturelles Ged&auml;chtnis der Stadt ausmacht und die er pur und direkt portraitierte, hat sich Gentrifizierung durchgesetzt und profitiert noch von eben dieser Vergangenheit. Dem Leben ganz nah und Oberfl&auml;chlichem fern, zeigt sein Werk das unverbl&uuml;mte Antlitz dieser vergangenen Zeit.<br />Dass im Portraitieren des Lebens gleichzeitig ein Portraitieren des Todes liegt &ndash; so meint Susan <br />Sontag, von der er drei ber&uuml;hmte Aufnahmen machte &ndash; ist das Verdienst Hujars und seiner Fotokunst.<br />Seine Aufnahmen sind Fenster in beide Reiche gleichzeitig. Das Reich des Lebens mit der <br />verg&auml;nglichen Kreatur, ob Mensch oder Tier, das Reich des Todes dargestellt insbesondere anhand der Fotografien aus den Katakomben Palermos: bekleidete Leichnahme, die, recht mitgenommen, wie auf eine andere Zukunft warten.<br />Unsere Ausstellung im Showroom umfasst Werke aus fast allen Bereichen seines Schaffens: Akte <br />und Portraits, Stadtansichten, Interieurs, Nachtaufnahmen sowie auch Tieraufnahmen und <br />Aufnahmen aus den Katakomben Palermos, die 1963 entstanden. (Text: Axel Jablonski)</p> Thu, 21 Aug 2014 05:49:18 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Philippe Vandenberg - Hauser & Wirth Zürich - August 30th - November 8th <p>Hauser &amp; Wirth is pleased to present the work of the Belgian artist Philippe Vandenberg for the first time in Switzerland. Curated by Harald Falckenberg, &lsquo;Philippe Vandenberg. Dog Day&rsquo; comprises oil paintings that were predominantly created in the decade before Vandenberg&rsquo;s death in 2009. His works testify to his quarrels with himself and the world, as well as an obsession that expresses itself through an enormous creative drive. Above all, these qualities are the result of his endless search for form.</p> <p>In Vandenberg&rsquo;s second exhibition at Hauser &amp; Wirth, Falckenberg will show the artist as a driven creator who is unable to find peace of mind, and never allows his audience peace of mind either. His work seems to be the product of an artistic impetus, a visionary and vehement creativity. Painting as an elixir of life is simultaneously his salvation and his torment:</p> <p>&lsquo;There is pain in painting: the anguish, the doubt, the panic, the pangs, the obsessive fear of being unable to meet the demands of the canvas&hellip; Thus I paint from failure to failure, from hope to hope.&rsquo;</p> <p>His paintings stand between the poles of destruction and creation, to the extent that these forces depend on each other. He tirelessly paints over one layer in favour of another. Like a slogan, the command &lsquo;Kill them all&rsquo; is displayed across a canvas. This is a reference to the aspect of destruction within the creative process, to which Vandenberg attributes great importance: destruction as a prerequisite for creating something new.</p> <p>The endless search for form became the main subject matter for his late works in particular, in which letters and lines, both solid and broken, play an important role. While letters form words in some of the paintings in the exhibition, in others they are obscured by smudges of oil paint to the point beyond recognition. Geometric patterns are combined in a seemingly endless repetition. Whether fine strokes or narrow letters, drawn on a multi-layered ground in oil and chalk, his letters become a motif. Word for word, usually somewhat chaotically arranged, they result in fragments of sentences. It is as if language gets in the way of painting, as if it disrupted the paintbrush from working and forced it to write; partial sentences seem to obsessively buzz around his head. Vandenberg&rsquo;s works open up the depths of human existence to the viewer and expose intense feelings far from pure emotionality. He writes:</p> <p>&lsquo;I am an artist of emotion and reflections. I don&rsquo;t mean sentimentalism, the emotional, but the shock of the emotion that triggers, as it were, the reflection. Only reflection creates space.&rsquo;</p> <p>It is most likely this reflection that drives him to his limits, that makes him carve the words into the still-wet oil paint, down to the linen, as if he had to banish them out of his head and onto the canvas &ndash; sentences of unfathomable despair that cry out for life and death. In these powerful late works, one can never shake the impression that Vandenberg used painting to rid himself of his inner demons.</p> <p><strong>About the Artist</strong></p> <p>The Belgian artist Philippe Vandenberg (1952 &ndash; 2009) began his studies in literature and art history before turning to painting and graduating from the Royal Academy of Fine Arts in Ghent, Belgium in 1976.</p> <p>After several solo and group exhibitions in Europe, Vandenberg exhibited for the first time in New York in 1986, whereupon the Guggenheim Museum acquired one of his paintings for its collection. At the time, Vandenberg was considered one of the most successful Belgian contemporary artists. Several important solo exhibitions followed, including one in 1995 at the Museum van Hedendaagse Kunst in Ghent (now the S.M.A.K.), in 1999 at the MuHKA &ndash; Museum voor Hedendaagse Kunst in Antwerp, and in 2006 with &lsquo;L&rsquo;important c&rsquo;est le Kamikaze: Oeuvre 2000 &ndash; 2006&rsquo; at the Mus&eacute;e Rimbaud in Charleville-M&eacute;zi&egrave;res. The De Pont Museum in Tilburg (2012) and the Maison Rouge in Paris (2014) recently showed works by the artist in dialogue with the Belgian artist Berlinde De Bruyckere.</p> <p>Solo exhibitions at the Langen Foundation in Neuss and the S.M.A.K. in Ghent are currently being planned.</p> Thu, 21 Aug 2014 05:27:12 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Matthew Day Jackson - Hauser & Wirth Zürich - August 30th - November 8th <p>Hauser &amp; Wirth is excited to announce Matthew Day Jackson&rsquo;s first solo exhibition in Zurich, &lsquo;Family&rsquo;, comprising over a dozen new works in the media of sculpture, painting, photography and work on paper.</p> <p>Matthew Day Jackson&rsquo;s interdisciplinary practice investigates the outermost limits of human experience. Drawing inspiration from layers of history that chart mechanical invention, territorial-exploration, warfare and medicine, Jackson works simultaneously with new technology and back-to-basics craftsmanship to create works that defy easy categorisation.</p> <p>&lsquo;All art is a self-portrait, but at the same time, the source of the form, is a further meditation on the material used. This meditation is a continuation of a dialogue about the material that we use to describe who we are, beyond our flesh. We express ourselves to people we know and those we don&rsquo;t, at various levels of intimacy, from the perfect stranger to someone with whom we would have sex. In our society and experience, which is increasingly dependent on branding, these outward expressions become who we are, from the paint on our door, the textiles we wear and furniture we have, to the type of TV or car that we may own. These are layers of flesh to be mined, to better understand and know our person in relationship to society and culture.&rsquo;</p> <p>&ndash; Matthew Day Jackson</p> <p>&lsquo;Family&rsquo; explores the domestic and examines boundaries of human perception, flitting between the individual and universal in a rhizomatic fashion. Extending through the gallery, &lsquo;Commissioned Family Portrait&rsquo; consists of 82 photographs of the artist and his family. These photographs were made using a Beckman &amp; Whitley high-speed rotating mirror framing camera, operated by engineer and scientist Tim Samaras (1957 &ndash; 2013). This technology was developed in the 1950s and used primarily during military weapons testing, in order to analyse the efficacy of explosions and shockwaves from nuclear detonations. The camera is capable of capturing over a million frames per second. The resulting image is created by 97,500 exposures &ndash; an image that is blurry, reminiscent of Victorian spirit photography. The artist and his family are the only human beings ever to have been photographed by this camera.</p> <p>&lsquo;Self-Portrait Progression (monster-self)&rsquo; is a figurative shelf-piece exploring the monstrous as a way of considering portraiture. For over a decade Jackson has been creating figurative sculpture using the human form and its systems as a structure through which to consider the constituent attributes of society and culture. Made of elemental materials, the figures begin to take on qualities of the environment we inhabit. In Jackson&rsquo;s sculpture, &lsquo;flesh&rsquo; is usually implied, and exists only in the mind of the viewer. For this work, Jackson has integrated tools and processes from horror film special effects. The horror genre reverberates throughout the exhibition as a hyperbolic reminder of the masks we wear and the roles we play in our daily interaction. Jackson suggests that society is mirrored in the world around us: the generated narratives in film, print and the Internet reflect our interests, who and what we are. &lsquo;Self-Portrait Progression (monster-self)&rsquo; can be interpreted as a forensic exploration of the many facets of humankind.</p> <p>&lsquo;Frivolous time piece&rsquo; is a custom-made cuckoo clock based on the Apple 2 house in Nevada, built in 1955 by the Army Corp of Engineers who wanted to discover how the average American home would fare under nuclear attack. Prior to testing, the house was &lsquo;dressed&rsquo; like a life-sized dollhouse. Mannequins, food, linens and home d&eacute;cor were shipped to the testing site to create a &lsquo;more realistic&rsquo; destruction of the home as well as demonstrating the roles in the narrative of American life in the 1950s. Fabricated in the Black Forest, the clock presents carved representations of the artist&rsquo;s family: Matthew Day Jackson, his wife, two sons and dog. Programmed to chime at quarter past and quarter to the hour, the clock plays OMD&rsquo;s &lsquo;Enola Gay&rsquo;, a song that addresses the atomic bombing of Hiroshima on 6 August 1945, during the final stages of World War II and &lsquo;Winter Wonderland&rsquo;, merging the geographical, historical and temporal. The base of the clock, reminiscent of a cross-section of Earth, is a scale model of human skin.</p> <p>Using the family dog &lsquo;Beastie&rsquo; as the subject for &lsquo;Synthesis of Canine Dynamism&rsquo;, Jackson considers Futurist works such as Umberto Boccioni&rsquo;s &lsquo;Unique Forms of Continuity in Space&rsquo; in this striking stainless steel sculpture. Recalling Futurism&rsquo;s desire to capture movement in image and form, Jackson employed photography and imaging software to capture the animal in motion for the creation of this sculptural form. The domesticated dog, its appearance and behaviour, is an object lesson on the evolution of society over the last 34,000 years. Jackson explores the perpetual struggle between sculpture and movement in this work while responding to our current moment of radical social and cultural changes stemming from technology. The base of the sculpture is a cast plastic cross-section of the floor in an average American suburban home.</p> Thu, 21 Aug 2014 05:23:41 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Sam Falls - Galerie Eva Presenhuber (Maag Areal) - August 30th - October 25th <p>Galerie Eva Presenhuber is delighted to announce the second solo exhibition of Los Angeles based artist Sam Falls. The exhibition will feature a new body of work centered around the series of the Fern and Palm Paintings.&nbsp;<br /><br />&bdquo;These rain and plant works come out of my continued interest in the duality between representation and abstraction while also employing universal means to bridge the gap between artist and viewer, as well as the gaps between photography, painting, and sculpture. In a time when mechanical reproduction and technology constantly loom over visual art, I want to reinforce the natural elements as constructive tools not in opposition, but more as reciprocation, undermining the alienating means of production that technology continues to offer within art. What I mean is that the camera and darkroom, or computer and printer, when employed as an artistic tool can create a material distance between production and reception that looses both conceptual integrity and a legible reception. Like the sun works I&rsquo;ve made, the rain can function as a descriptive artistic tool while also being a universal state of shared experience. As I move around the canvas outside, the viewer walks to work in the rain, drives home to dinner in the rain, and eventually comes in from the rain to the gallery.<br /><br />I took plants as the common subject matter for this body of work not only for their legacy in art history, but their reference to place. The works here were made from west to east, from the palm fronds in my backyard in Venice, California, to the abounding ferns bordering my mom&rsquo;s hayfield where I grew up in Vermont, to the trees around the grounds of a recent residency in Sarvisalo, Finland. Beyond the native vegetation delineating geography, these &ldquo;paintings&rdquo; represent duration and environment, visible in the scattered heavy rains of Southern California, to the light spring mist in Vermont, to the consistent light drizzle of the Scandinavian archipelago. Representation and abstraction are the fundamental elements of western art history and contemporary art, respectively, and the conceptual goal of these works is to address the present relevance of both forms in one work. The works are essentially landscape paintings, where there is a discrete image of the plant, as well as a pure abstraction unique to the precipitation that created it. Like a photogram, the image is a negative of the actual subject, and like an icon, the subject surpasses its image to reference a world outside of the painting. And like the paintings of Pollock or Frankenthaler, they&rsquo;re made flat, but now on the ground outside by the hand of nature rather than the hand of the artist. And that&rsquo;s what I think is relevant today, an image that speaks to an empirical place outside the frame, and pure abstraction that returns the viewer to their own references and understanding of process, not the ghost of the artist in the studio with an idiosyncratic impulse and method. Furthermore, the colors function as a serial descriptive agent, they&rsquo;re chosen at random and used only as an illustrative tool - their mixture and color combinations a virtue of the material and process, not creative or emotional decisions.&nbsp;<br /><br />As Sol Lewitt said, &ldquo;When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair&rdquo; (Sol Lewitt, Paragraphs on Conceptual Art). The palm fronds were harvested from the various palm species in my back yard in Venice and placed on the raw canvas, cut to fit the respective palms, then a dry pigment is scattered over the entire piece and left for the rain. It rains short and hard, the canvas is heavily speckled in a short rain and in a longer storm it really blends and runs. As it dries sometimes water from an overhanging palm tree will drop and leave a large heavy drop, or an alley cat will even walk over the painting, further describing the surroundings.&nbsp;<br /><br />The ferns were collected at night from a large swath of land and the bare canvas drop cloth large enough to cover the space would be laid down and the ferns scattered again in situ. With dry pigment again blanketing the entire set-up, they would be set by the overnight dew, retrieved and stored in the barn to dry before the heavy afternoon thunderstorms came in. Because of the lightness of the ferns they had to be made like this with mist rather than rain, which I found would flood the canvas and wash away the ferns and their image. The sun would also cause the cut ferns to coil and wilt, so the night time was the right time. The works are quiet and calm compared to the heavy rains of Los Angeles and the city.<br /><br />Lastly, when I arrived for a residency in Finland at the beginning of June the apple trees were in full bloom and as I watched the flowering trees&rsquo; pedals fall I realized it was a unique time and place to be. I set canvases out underneath the trees and secured them to the ground - they collected the falling pedals and after the trees were bare I proceeded with the earlier explained process. So here not only was the composition of color random but the composition of the subject matter was its own doing, completely natural.&nbsp;<br /><br />The scale of these works is an environmental size, they inhabited the outdoors before the indoors. Influenced both by the traditional scale of the studio and massive works of Land Art, these works reside somewhere in between. Their relational essence of the project also falls between these histories, where the studio could be the equivalent of renting a private apartment and Land Art the assertive erection of a public building, these works are &ldquo;leave no trace&rdquo; camping; going out into nature with only what you can carry, spending time alone and interacting with a shared space, then taking away with you everything you came with, along with an enriched connection to the work. The ideal translation of this is that it mimics the viewer&rsquo;s interaction with the work in the gallery. I can faithfully say these works not only serve as a conceptual testament to the tools of nature amidst technology, but the value of our mutual experience of the world in which we live.&ldquo;&nbsp;<em>Sam Falls</em><br /><br />Sam Falls currently has an exhibition at the Public Art Fund in New York, NY, USA. He will also have a solo exhibition at Pomona College, CA, USA, and at the BallRoom Marfa in 2015. Solo and group exhibitions of his work have been held at LAXART, Los Angeles, CA, USA, 2013, Madre Museum, Naples, Italy, 2014.&nbsp;</p> Thu, 21 Aug 2014 05:14:11 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Steven Shearer - Galerie Eva Presenhuber (Löwenbräu-Areal) - August 30th - October 25th <p>Galerie Eva Presenhuber is delighted to announce a new exhibition of Canadian artist Steven Shearer.<br /><br />Steven Shearer&rsquo;s practice encompasses many different medias, from found photography, drawing, and painting to collage and focuses on a melancholic vision of youth, tinted by strong references to the iconography of extreme metal cuture. His world is one of alienation and repulsion towards the everyday, a world whose heroes are death-metal rockers, 1970s prefab boy bands and teen stars, amature glam-rockers and guitar-wielding teenaged suburban dreamers. Shearer is not interested in the fame of his characters but much more so in their downfall. The artist applies to these themes an almost anthropological or phrenological approach, one in which he obsessively wanders and browses the internet to create a comprehensive archive of these images, organised by him within themes of his own. These subcultures are reflections of Shearer&rsquo;s own suburban youth, aiming at shedding light onto the insecurities and vulnerabilities of adolescents, characteristics that never quite disappear into adulthood and are at the core of the human soul.&nbsp;<br />Using this set of references as a starting point, Shearer displays in delicate drawings and extremely intricate paintings, portraits of these once famous faces, or unknown characters in a way that reminds one of Pre Raphaelite imagery. This exhibition focuses on portraiture, a development in the artist&rsquo;s vision whereby his imagery has overcome his archival obsession, creating anonymous, androgynous characters, whose averted gaze emphasises their objectification as well as their own self absorbed and egocentric entities.&nbsp;<br />On display is also a large group of Poems, a series of drawings that the artist has pursued throughout his career, inspired by scatological and blasphemous Black &amp; Death Metal song titles and text written by the artist, it presents visions of the nihilistic sublime and draws attention to its operatic poetry but also to its relations with broader histories and traditions.<br /><br />It is not the violence or the blasphemous aspect of these images that is most striking in these works, but indeed, Shearer&rsquo;s delicacy, sincerity and craftsmanship, successfully allowing the viewer to find himself in the experience of others.&nbsp;<br /><br />Steven Shearer will have 2017 a big exhibition at the National Gallery of Canada in Ottawa. He has represented Canada at the 54th Venice Biennale, and has had solo exhibitions worldwide in institutions such as University Museum of Arts and Sciences, Mexico, 2008, New Museum, New York/NY, USA, 2008, The Power Plant, Toronto/ON, Canada, 2007, Ikon Gallery, Birmingham, UK, 2007, De Appel. Center for Contemporary Art, Amsterdam, Netherlands, 2007. Group exhibitions including his works have been held at Palais de Tokyo, Paris, FR, Seattle Art Museum, Seattle/WA, USA, Kunstforum Ostdeutsche Galerie, Regensburg, Germany, Renaissance Society, Chicago/IL, USA, Kunstmuseum Luzern, Luzern, Switzerland, Casino Luxembourg. Forum d'Art Contemporain, Luxembourg.</p> Thu, 21 Aug 2014 05:11:34 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Wyatt Kahn - Galerie Eva Presenhuber (Löwenbräu-Areal) - August 30th - October 25th <p>Galerie Eva Presenhuber is pleased to announce the first exhibition of New York based artist Wyatt Kahn.<br /><br />Wyatt Kahn has come to prominence on the international art scene with a series of works using a technique that he developed, building forms by cutting shaped MDF stretcher panels and covering them with raw canvas. He then assembles them together, using the three dimensional elements to create a two dimensional work. This allows him to explore the realm of the pictorial composition beyond the traditional techniques and avoids flatness. The gaps between the stretchers create the lines of an abstract composition but also opens the possibility for another space and another image, thus the wall on which the canvas is hanging becomes an active part of the work.&nbsp;<br />Having evolved from using white canvases, the artist explored the possibility of an underlying monochromatic color, creating different hues of colors on the surface, allowing that color to come through in a muted way.&nbsp;<br />For this new exhibition, Kahn presents a new body of work which focuses on a concept of representation of an object through all its aspects: visual, sensational and conceptual. For these works, the shaped stretchers come together to create the shape of the actual object, the motifs used to cover the first layer of the stretchers are the epitome of the representation of that object, drawn by hand in an almost automatic way. These works are extremely intricate and also fathom the possibility of synesthesia in a visual form.&nbsp;<br /><br />Wyatt Kahn will have a solo exhibition at the Contemporary Art St Louis Museum in 2015, and has had solo shows at LAXART in Los Angeles, USA 2014 and was part of ReMap 4 in Athens, Greece.&nbsp;<br />He has received his BFA from the School of the Art Institute of Chicago in 2006 and his MFA from Hunter College in New York in 2012.&nbsp;</p> Thu, 21 Aug 2014 05:08:18 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Scott Johnson - Waterstone Gallery - September 2nd - September 28th <p>In the field of watercolor Johnson's approach is both unique and recognizable. Multiple layers of watercolor medium give these paintings a patina saturated in color. Mystery serves as the background for his exploration and development of each tree which are botanically correct or created. This has been his signature style for many years. Very small to full sheet paintings will be displayed.</p> Thu, 21 Aug 2014 02:44:55 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Sinne - August 25th - August 31st Thu, 21 Aug 2014 02:33:19 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Sun Xun - ShanghART Singapore - August 29th - October 3rd <p>ShanghART Gallery is honoured to present Sun Xun&rsquo;s solo exhibition&nbsp;'Palimpsestes&rsquo; on 29th August to 5th October 2014. The exhibition showcases 23 paintings from the&nbsp;&lsquo;Palimpsestes&rsquo; collection created by Sun Xun from 2013 &ndash; 2014. It is a series of illustration, painted&nbsp;directly on tree barks, presenting the idea that the existence of a story unfolds before the creation of&nbsp;paper.<br />&lsquo;Palimpsestes&rsquo; is the Latin word for the first primeval book made from goatskin which words were inked,&nbsp;scraped off its content and re-written or painted again, in doing so, destruction and continuity appears&nbsp;to exist on the same medium.<br />The repetitive process of writing and erasing seems to be a metaphor of a story dissolving into eternality, as the same story becomes part of another narrative and moving into annals of history contemporaneously.<br />Sun Xun&rsquo;s main artistic practice of an animated film is presented in a different but similar framework in&nbsp;this series, expanding his narrative creation in various approaches comparable to a dictionary, drama&nbsp;or a monument. These oeuvre reflects the artist&rsquo;s rumination on the past, present and being in the&nbsp;moment, as well as his explorations and experimentation of the multifarious narrative medium.</p> <p>ARTIST INTRODUCTION<br />Sun Xun (b.1980) was born in Fuxin, Liaoning Province. He currently lives and works in Beijing. He graduated from the China Academy of Fine Arts in 2005 and founded &pi; Animation Studio in the following year. Sun Xun completed his first 3D animated film "Magic Party and Dead Crow," which was&nbsp;nominated in the 8th Rome Film Festival 2013, and has received Young Artist Award in The 8th AAC Art&nbsp;China Awards for the Most Influential in 2014. Some notable awards include Best Young Artist, Chinese&nbsp;Contemporary Art Awards (2010), Young Art Award, Taiwan Contemporary Art Link (2010), and the Arts&nbsp;Fellowship by Citivella Ranieri Foundation, Italy (2010).<br />Sun Xun&rsquo;s recent major exhibitions include Yesterday Is Tomorrow, Hayward Gallery, London, UK (2014); Brave New World, Edouard Malingue Gallery, Hong Kong (2014); Magician Party and Dead Crow, ShanghART Beijing, Beijing (2013); The 4th Moscow International Biennale for Young Artists Exhibition in Moscow, Russia (2014); My Generation: Chinese Young Artists, Tampa Museum of Art &gt;and Museum of Fine Arts, St. Petersburg, Florida, U.S.A (2014); Chinese Ink: Past as Present in Contemporary China, The Metropolitan Museum of Art, New York, U.S.A (2013); Documentary Fortnight 2013, MoMA&rsquo;s International Festival of Nonfiction Film and Media, New York, U.S.A (2013).</p> Thu, 21 Aug 2014 08:06:23 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list George Egerton-Warburton - PICA - Perth Institute of Contemporary Art - September 13th - November 2nd <p><em>Administration is just Oulipian Poetry</em>&nbsp;is a significant solo exhibition by Western Australian born, Los Angeles-based artist, George Egerton-Warburton.<br /><br />A large architectural intervention will see carved pieces of the gallery walls suspended from a sprawling 7 metre mobile, an exploration of the ways in which our creative energies and small artistic gestures can affect the balance of power. Egerton-Warburton's interconnected installation will see the gallery filled with paintings, videos, sculptures and the scent of rain on dirt, as it collectively forms a sensorially charged, contemplative environment.<br /><br />The artist is creating a world within a world where everything is literally held in the balance, but where, perhaps, the small joys and tiny tedious actions of the everyday administration of our lives can be considered poetic and artistic.</p> Thu, 21 Aug 2014 02:24:02 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Erin Coates - PICA - Perth Institute of Contemporary Art - September 13th - November 2nd <p>Talented WA artist Erin Coates has been commissioned to re-shape the geography of the PICA spaces through an ambitious and grand scale installation, inspired by the artist's background in urban climbing and interest in architecture. Coates creates a new landscape inside PICA, connecting the ground and first floors with a 7 metre high mountainous structure housing a micro-cinema and surrounded by wall drawings, a 3D film and an interactive climbing room.<br /><br />For this project Coates draws a fluid relationship between drawing, 3-dimensional structures and moving image. Each element interacts with another: the towering central architectural sculpture is formed from the tessellating lines based on the points of contact made during her climbs; recordings of bodies moving across built forms generate the shapes of cast climbing holds in the gallery; and large diagrammatic wall drawings reveal a matrix of invisible routes and information layered over architecture and public art throughout the city.&nbsp;<br /><br /><em>KINESPHERE</em>&nbsp;is a major solo project that uses utopic, absurdist and guerrilla strategies to find new physical interactions with everyday environs and to critically challenge the way we are patterned to read and use the built environment. It is a significant new project by a Western Australian artist at a pivotal point in her career.</p> Thu, 21 Aug 2014 02:20:24 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - PICA - Perth Institute of Contemporary Art - August 3rd - August 31st <p>The PICA Salon takes the traditional salon concept and twists it into an exquisitely designed microcosm of artworks by today's most renowned contemporary artists.<br /><br />This annual exhibition celebrates the stellar history of Perthʼs leading contemporary arts organisation by showcasing artworks for sale by a selection of those who have exhibited at the institute over the last 23 years.</p> Thu, 21 Aug 2014 02:15:13 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Michel Gondry - Museum of Contemporary Art Tokyo - September 27th - January 4th, 2015 <p>Spirited film director Michel Gondry is best known for his work on Bj&ouml;rk's music videos and the film<em>Eternal Sunshine of the Spotless Mind</em>.With "Around Michel Gondry's World", you will have complete access to his creative world in two different exhibition spaces.</p> <p>Part one,&nbsp;<strong>"The Home Movie Factory"</strong>, is a workshop-type exhibition where you will be challenged to create your own original film with a range of different sets that include a back alley, a caf&eacute; and a train carriage. The Factory embodies Gondry's belief that anyone with a good idea can make a film and it offers the opportunity to experience all the processes of filmmaking from the writing of the screenplay to the shooting. No prior experience in filmmaking is required and each group will have an instructor on hand for support.&nbsp;<strong>Three hours later, you leave with a DVD of your own little masterpiece!&nbsp;</strong>Finished movies are screened to the group and added to the stock in the mock video store at the front of the museum, where they can be viewed by visitors on a widescreen television.<br />Visitors are welcome to simply visit the exhibition without participating in the workshop.</p> <p>Part two,&nbsp;<strong>"Around the World in 19 Videos"</strong>, is an installation featuring 19 of Michel Gondry's best-known music videos. Enter the labyrinthine world of Gondry's wildly inventive music videos, and admire the drawings of his latest work&nbsp;<em>Is the Man who is Tall Happy?</em>&nbsp;and the romantic and mysterious gadgets that appear in films such as&nbsp;<em>Mood Indigo (L'Ecume des jours)&nbsp;</em>and&nbsp;<em>The Science of Sleep</em>.</p> Thu, 21 Aug 2014 02:08:02 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - KUNSTHALLE BASEL - August 31st - September 7th <p>Die Kunsthalle Basel und die Hochschule f&uuml;r Gestaltung und Kunst (HGK) der Fachhochschule Nordwest-schweiz (FHNW) freuen sich, am Sonntag, den 31. August 2014, die Diplomausstellung des Master Fine Arts zu er&ouml;ffnen. 13 K&uuml;nstlerinnen und K&uuml;nstler des Instituts Kunst der HGK in Basel sowie eine weitere K&uuml;nstlerin, die im Rahmen der Master-Kooperation mit der Hochschule der K&uuml;nste Bern (HKB) an der Ausstellung teilnimmt, zeigen Arbeiten in den R&auml;umen der Kunsthalle Basel, in der Lobby, an der Fassa-de des Geb&auml;udes, im Innenhof und in der Werkstatt.</p> <p>Charakteristisch f&uuml;r die diesj&auml;hrige Diplomausstellung des Master Fine Arts der HGK Basel ist die grosse Medienvielfalt der pr&auml;sentierten Arbeiten. Die K&uuml;nstlerInnen bedienen sich klassischer Medien wie der Fotografie, Malerei und Skulptur. Daneben begehen sie neue Wege, entwickeln Installationen f&uuml;r den Raum vor Ort, arbeiten mit Video oder verlassen gar den Ausstellungsraum, um die Arbeiten am und vor dem Geb&auml;ude, in und vor der Werkstatt der Kunsthalle zu situieren. So unterschiedlich wie die Aus-stellungsorte der Werke sind auch die Themen und Interessen der K&uuml;nstler, die sich mit menschlichen Eigenschaften auseinandersetzen, soziale Themen aufgreifen oder sich mit &auml;sthetischen Konzepten aus Kunst, Architektur und Design besch&auml;ftigen.</p> <p>Die Arbeiten der K&uuml;nstlerInnen zeigen, wie individuell und auf der anderen Seite wie vielf&auml;ltig der Stu-diengang des Master Fine Arts der HGK ist. Jede einzelne Arbeit wirkt unabh&auml;ngig und generiert einen eigenen Diskurs. Die Ausstellung, die keine Gruppenausstellung im klassischen Sinne ist, zeigt wie sich 14 k&uuml;nstlerische Positionen unabh&auml;ngig voneinander und doch im engen Austausch miteinander entwickeln k&ouml;nnen. &Uuml;ber die Ausstellung bekommt der Betrachter einen fundierten Einblick in die Ausbildung, ihre Herangehensweise, Ausrichtung und die dadurch erzielten Ergebnisse. Grundlegend hierf&uuml;r war die enge Zusammenarbeit mit Mentoren und Mentorinnen, die als Vermittler aus Kunstpraxis und -theorie die Arbeiten mit den K&uuml;nstlern und K&uuml;nstlerinnen diskutierten. Dadurch wurden einzelne Sichtweisen gesch&auml;rft, und die Arbeiten konnten gezielt weiterentwickelt werden.</p> <p>Die Arbeiten von Martina B&ouml;ttiger, Iris Ganz, Louise Guerra, Adrian Kaeser, Jeannice Keller, Rosanna Monteleone, Ramon Schnyder, Angelika Schori, Andreas Thierstein, Evelina Velkaite, Nicole A. Wietlis-bach, Maria Zimmermann, Claire Zumstein &amp; Manuela Imperatori (Gast HKB Bern) setzen sich in der Kunsthalle Basel zu einer vielf&auml;ltigen Ausstellung zusammen. Zum ersten Mal in diesem Umfang pr&auml;sen-tiert, zeigen sie die Entwicklung von 14 Absolventen auf.</p> Thu, 21 Aug 2014 01:40:00 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list