ArtSlant - Closing soon en-us 40 Susan Rand - Sanford Smith Fine Art/Jill Bokor Jewelry - October 10th, 2013 - November 20th, 2013 <p>Sanford Smith Fine Art is pleased to welcome the work of Susan Rand for our fall show. Susan received her BFA from Goddard College before settling in Lakeville, CT. She began exhibiting her paintings locally and has established herself as a highly recognized regional artist. Her work has been exhibited in many galleries throughout Litchfield and Berkshire County. She has participated in several artist residency programs including the Vermont Studio Center in Johnson, VT and The Tyrone Guthrie Center in Ireland.&nbsp;<br />Her oil paintings capture the beauty of the New England landscape: the open door of a barn, the light catching the leaves of October trees and the shock of forsythia that announces the coming Spring.</p> Thu, 10 Oct 2013 02:03:33 +0000 David W. Haas - Sanford Smith Fine Art/Jill Bokor Jewelry - October 10th, 2013 - November 20th, 2013 <p>David began taking large format black and white photographs of New England and the Mid-Atlantic during his final year at Massachusetts College of Art in 1980. Over the next eight years the Quabbin Reservoir and its lush 55,000 acre watershed would become the focal point for an investigation of how time and light reveal and define the sublime visual beauty and quiet drama of the Northeastern landscape. Sixty prints from the series are held in the permanent collection of the Boston Public Library. <br /><br /> In 1986 David left New England and returned to the Lehigh Valley in Southeastern Pennsylvania, a region his family has inhabited since 1741.&nbsp; His subjective interest also moved in a direction that drew upon cultural history and personal heritage as the road map for exploring the land of his ancestors and beyond. The one-room school house series and his thesis work at Mack Trucks in pursuit of a Masters degree at the University of Delaware ultimately led to David&rsquo;s on going historic documentary work for the HABS-HAER-HALS division of the National Park Service and the National Cemetery Administration, a branch of the Veterans Administration. <br /><br /> Along with over a thousand images of our nations historic resources archived in the Library of Congress, David&rsquo; s personal photographic work, including views from Maine to California, can be found in public, private, and corporate collections across the United States.&nbsp; His first exhibit was in 1976, many more solo and group shows have followed.<br /><br /> Since 1996 David has been teaching the black and white silver process as a part-time lecturer at Muhlenberg College in Allentown, Pennsylvania, where he currently resides, a couple blocks from the home of his Grandparents.&nbsp; &nbsp;</p> Thu, 10 Oct 2013 02:06:45 +0000 - The Townhouse Gallery - October 20th, 2013 - November 20th, 2013 <p>&ldquo;Ugly Feelings&rdquo; is an exhibition about emotional states that reflect a lack of agency. Anxiety, irritation, envy, lethargy &mdash; the kinds of feelings that are vaguely uncomfortable, sometimes difficult to justify, and usually dismissed as relatively&nbsp;banal, despite their pernicious power to prevent the emotional subject from acting.</p> <p>These feelings have a tendency to circulate during times of painful uncertainty, disorienting their subjects and making it difficult to perform. &ldquo;Ugly Feelings&rdquo; is about these affective states, and how they correlate to similarly ambiguous, uneasy aesthetic judgments.</p> <p>The exhibition is driven by a personal curatorial essay narrating a diverse group of works, which are bound together by a shared aim of dealing with or provoking particular emotions. The text itself is a response to questions that have been vexing Townhouse since 2011. How do we keep going in this extended traumatic moment?&nbsp;Artists find it difficult to work, exhibitions are cancelled, and seemingly innocuous projects can trigger unexpectedly violent controversies; as a result, the institution finds itself having to re-negotiate its programs very quickly (and usually with very limited resources) in reaction to the changing circumstances.</p> <p>The emotional impact of working (or being unable to work) in this context has shifted our institutional and curatorial thinking. &ldquo;Ugly Feelings&rdquo; is a first step towards&nbsp;reflecting on that shift, a gesture towards a project that will manifest in 2014 asking if an institution can create an exhibition without an artist.</p> <p>In addition to the exhibition on the First Floor Gallery, &ldquo;Ugly Feelings&rdquo; is a film and discussion series that touches on states of precarity, psychosis, nostalgia and utopia. Films will be screened in the Townhouse Library every Tuesday night at 7 pm starting on October 22, 2013. </p> Thu, 17 Oct 2013 02:36:38 +0000 Felipe Coddou, Oliver Roma - GalerĂ­a Cero - September 16th, 2013 - November 21st, 2013 <div class="descripcion"> <p>Hace unos a&ntilde;os triunf&oacute; notoriamente en Madrid (antes lo hab&iacute;a hecho en Barcelona) una obra de teatro que se llamaba &ldquo;Arte&rdquo;. Trataba de un cuadro blanco por el que un coleccionista hab&iacute;a pagado una buena cantidad de dinero. La tesis de la obra era que la sacralizaci&oacute;n del arte y del objeto art&iacute;stico hab&iacute;a llegado a un punto tal, que el arte contempor&aacute;neo se estaba convirtiendo en una idiotez banal cercana al insulto y a la estafa.</p> <p>En su momento varias personas me recomendaron la obra con mucho inter&eacute;s: &ldquo;a ti que eres artista te va a encantar&hellip;&rdquo; &nbsp;Yo siempre les contest&eacute; con un NO rotundo (m&aacute;s o menos como el de Santiago Sierra) con el que se quedaban perplejos. Luego les contaba que a&ntilde;os antes hab&iacute;a tenido la oportunidad de disfrutar y apasionarme con una exposici&oacute;n de Robert Ryman en el Museo Reina Sof&iacute;a de Madrid, en la que mostraba alrededor de un centenar de cuadros blancos. Su perplejidad aument&oacute;: &iquest;todos los cuadros blancos? &iquest;Y te gust&oacute;? &ldquo;No me gust&oacute;, me apasion&oacute;&rdquo; respond&iacute;a beligerante&nbsp;a modo de provocaci&oacute;n.</p> <p>Pero en realidad no les dec&iacute;a nada m&aacute;s que una verdad: Ryman me ayud&oacute; a descubrir la estrategia de la obsesi&oacute;n y la pasi&oacute;n para construir como artista un discurso propio e &iacute;ntimo, m&aacute;s all&aacute; de modas, tendencias y gustos mayoritarios. Tambi&eacute;n percib&iacute; en su trabajo la b&uacute;squeda de la transcendencia y el &ldquo;encuentro&rdquo; a trav&eacute;s de la intensidad provocada por la reflexi&oacute;n y la obsesi&oacute;n. &nbsp;En su obra encontr&eacute; cientos de matices que me subyugaron y me llevaron a territorios emocionales apenas conocidos por m&iacute;. A&ntilde;os despu&eacute;s, en Houston, disfrut&eacute; en solitario durante media hora las enormes piezas negras de la capilla Rothko, que tratan de lo mismo y se ofrec&iacute;an al espectador como pantallas-m&eacute;dium para ayudarle a conseguir entrar en su propio espacio m&iacute;stico.</p> <p>En muchas ocasiones los artistas emocionales hablan del &eacute;xtasis alcanzado en el momento de una concentraci&oacute;n absoluta cuando est&aacute;n realizando su trabajo y el tiempo se para ante un &ldquo;hallazgo esencial&rdquo;. Cuando oigo o leo algo sobre este tema siempre pienso en Santa Teresa de Jes&uacute;s y sus &ldquo;encuentros&rdquo; m&iacute;sticos y sus estados de &eacute;xtasis.</p> <p>Pienso que la exposici&oacute;n &ldquo;Blanco sobre Blanco&rdquo;, en la que se presentan los trabajos de Oliver Roma (Par&iacute;s, 1967) y Felipe Coddou (Santiago de Chile, 1974) titulados &ldquo;Blackout&rdquo; y &ldquo;Turistas&rdquo;, respectivamente, habla de los silencios dejados por las transmutaciones y el &eacute;xtasis. Suelen ser silencios definitivos, inmateriales y llenos de preguntas sin respuestas. En esos silencios tan absolutos, el tiempo se une de una manera esencial al paro del universo y define en las personas que lo viven un nuevo espacio mental lleno de certezas.</p> <p>A principio de los a&ntilde;os sesenta, en una tarde de verano en un peque&ntilde;o pueblo del Pirineo, observaba c&oacute;mo varias mujeres, agazapadas en la sombra, bordaban en silencio s&aacute;banas y manteles para su ajuar o el de sus hijas. Estaba fascinado con la velocidad con la que lo hac&iacute;an y los dibujos y filigranas que consegu&iacute;an. Su concentraci&oacute;n era muy alta para no cometer errores. Una de ellas suspir&oacute; profundamente e inmediatamente otra dijo: &ldquo;ha pasado un &aacute;ngel&rdquo; y las dem&aacute;s asintieron. Fue la primera vez que lo o&iacute;. He recordado esta an&eacute;cdota porque creo que &eacute;sta es una exposici&oacute;n llena de suspiros y de &aacute;ngeles que pasan y transforman el entorno. Consiguen transmutar a los personajes que habitan las im&aacute;genes de Coddou a lugares extra&ntilde;os donde se dibuja la nada y las interrogaciones se hacen enormes porque el paisaje desolado parece que esconde toda la metaf&iacute;sica de nuestros tiempos.</p> <p>Sin embargo, las im&aacute;genes de Oliver Roma, aunque tienen mucho que ver con las de Felipe Coddou, nos hablan del &eacute;xtasis como un espacio donde se dibuja el silencio que antecede al suspiro y que Javier Hern&aacute;ndez Vi&ntilde;uelas, hablando sobre el trabajo de Oliver Roma, define tan certeramente: &ldquo;Ocurre muy pocas veces, pero cuando sucede nada vuelve a ser lo mismo... Y lo que antes eran s&oacute;lidas estructuras que sosten&iacute;an creencias y valores, lo que antes marcaba el rumbo y serv&iacute;a de gu&iacute;a, se desmorona y te encuentras a oscuras, sin nada a lo que agarrarte.</p> <p>Donde antes hab&iacute;a respuestas indubitables, ahora s&oacute;lo hay vac&iacute;o, mensajes desdibujados que ya no tienen sentido o el m&aacute;s absoluto silencio.</p> <p>Y entonces, cuando te has vaciado de lo que tanto te hab&iacute;a costado aprender, se abre ante ti la oportunidad de reinventarte, de dar un paso m&aacute;s all&aacute;, un salto cu&aacute;ntico, de volver a nacer.&nbsp;<br /> <br /> Ciuco Guti&eacute;rrez</p> </div> Sat, 21 Sep 2013 03:55:35 +0000 Group Show - Trias Gallery - November 1st, 2013 - November 21st, 2013 <p>An exhibition highlighting new works in all media, by selected gallery artists.</p> Thu, 07 Nov 2013 03:57:35 +0000 Meret Oppenheim, Hans Arp, Marcel Jean, Maurice Henry, Max Ernst, Man Ray, Dieter Roth, Daniel Spoerri - LEVY - October 22nd, 2013 - November 22nd, 2013 <p align="center"><em>&ldquo;One should keep in mind that it was Eve who first ate from the tree of knowledge, or rather of conscious thought.&rdquo;<a title="" href="#_ftn1"><sup><strong><sup>[1]</sup></strong></sup></a></em></p> <p>With her multifarious work, the German-Swiss artist Meret Oppenheim (*1913 Berlin, &dagger;1985 Basel) was far ahead of her time. Employing a wide range of media, she plumbed the depths of human nature, exploring the cycles of life and death, and the transformative powers of nature. Drawing upon her personal cosmology of surmounting barriers, she sought to transcend the boundaries between the male and the female principles, as well as between the fields of fine arts and applied arts throughout her life.</p> <p>And yet, after her early success as the creator of the &ldquo;fur cup&rdquo; (1936) in the circle of the Surrealists in Paris, her multi-faceted interdisciplinary work faded into relative obscurity for a longer period of time. It has only been (re-)discovered and perceived in its broad scope and innovative energy in the past few decades, &nbsp;as e.g. can be seen at the artist`s Retrospective at the Martin- Gropius-Bau in Berlin (until the beginning of January 2014).</p> <p>The exhibition pays homage to the artist on the occasion of her 100<sup>th</sup> birthday with a special focus on the reception and reflection of her work by artists who were her contemporaries as well as representatives of later generations such as Hans Arp, Marcel Jean, Maurice Henry, Max Ernst, Man Ray, Dieter Roth, Daniel Spoerri etc. Moreover, it aims to present a cross-section of&nbsp; Meret Oppenheim`s &nbsp;extensive oeuvre.</p> <p>On the occasion of the exhibition a <strong>catalogue</strong> is published at Kerber Verlag (216 pp., 321 color und 130 b/W plates, format: 29,5 x 24 cm) with texts by Simon Baur, Belinda Grace Gardner, Werner Spies, Christian Walda and Lisa Wenger as well as the <strong>collector`s edition</strong> &ldquo;Kleiner Komet&rdquo; (1970, colored serigraph, 23 x 17 cm, edition: 150).</p> <div><br clear="all" /><hr align="left" size="1" width="33%" /> <div> <p><a title="" href="#_ftnref1">[1]</a> Meret Oppenheim: Speech on the occasion of receiving the Art Award of the City of Basel 1974 on January 16, in: <em>Kunst-Bulletin</em>, Bern, February edition, 1975.</p> <p>&nbsp;</p> </div> </div> Sun, 10 Nov 2013 04:45:08 +0000 Christopher Knowles - Nogueras Blanchard Barcelona - October 17th, 2013 - November 22nd, 2013 <p>NoguerasBlanchard is very pleased to present an exhibition by Christopher Knowles (New York,<br />1959) in the gallery's space in Barcelona. Knowles' project "Typing" is the fifth presentation within the exhibition programme "the Story Behind", curated by Direlia Lazo. Previous presentations included works by Lisa Oppenheim, Haris Epaminonda, Tatiana Mesa and Francesco Arena.<br />Much of contemporary art is recreated in the story about itself, narratives that mediate between the work and the viewer either to convey the artist&rsquo;s intention, explain the working process that underlies the images, or reveal deliberate and purposeful interpretations. Many artists use art to experiment with the modalities and mechanisms of storytelling; to narrate, to recount, to explain the interpretive universe surrounding our direct experience becomes another feature of these works. The Story Behind presents a group of works where stories, whether fictional or real, manifest and embody that oral and parallel world that accompanies the images.<br />Playwright and American theatre director Robert Wilson has said: "everything about Christopher Knowles makes sense, but not in the way you are accustomed". Diagnosed with an autism spectrum disorder, Knowles was one of the key figures of the late 1970s New York avant-garde, thanks in part to his frequent collaboration with Wilson's key theatrical productions.<br />The work of Christopher Knowles includes typewriter drawings, paintings and audio recordings ranging from annotated lists of musical hits to rhythmic sentences and repetitions composed by himself. His autistic condition determines these directional compositions. With Knowles, nothing is the result of chance but on the contrary, his oeuvre belongs to a conscious and default distribution of signs that are translated into abstract or sometimes recognizable figures. On one hand, the recordings reveal another edge of the vast universe of obsessions that nourishes his genius: repetition. In one of the audio works, Knowles reiterates for more than 10 minutes the name of US President Dwight Eisenhower. During the first part of this sound piece, the repetition is almost mimetic, with paused and linear intonation, pronounced with an almost ceremonial tone. However, as it progresses the modulation of the voice varies to a more casual tone, introducing other information and eventually some hints of humour. In 1978 John Ashbery wrote in New York Magazine about Knowles' first personal exhibition: "it seems that Christopher (Knowles) is giving the world a necessary lesson: that in art it is possible to be negligent and rigorous at the same time."<br />This exploration of the repetitive also occurs in his intricate drawings - known as "typings" - made mainly during the 1970s and 1980s. These works source episodes of his daily life through words and phrases, sometimes poems, or also detailed geometric patterns based on the letter "c", initial of his name. The trichromatic "typings" by Knowles, some of them included in this presentation, were regularly published in contemporary newspapers, magazines and catalogues and are considered historical pieces.<br /><br />Christopher Knowles lives and works in New York.<br />Recent exhibitions include: Gavin Brown's enterprise, New York (2013); Correspondences, Galerie Martin Janda, Vienna (with Karl Holmqvist, curated by Matthew Higgs) (2009); Gavin Brown's enterprise, New York (2004). Between 1978 and 1979 several personal exhibitions earned him recognition in the New York avantgarde, including: Everyday Business, Open Eye Theater; Red and Green, About Earth &amp; Universes: paintings by Christopher Knowles and Typing Work, both at Holly Solomon Gallery. Amongst group exhibitions: Merci Mercy, 980 Madison Avenue, New York (2013); Ecstatic Alphabets/Heaps of Language, MoMA, New York (2012); En el primer cercle, Fundacio Antoni Tapies, Barcelona (2011); Poor. Old. Tired. Horse, Institute of Contemporary Arts, London (2009); Visions of the Frontier, curated by Robert Wilson, Institut Valencia d&rsquo;Art Modern (2009); Glossolalia: Languages of Drawing, Museum of Modern Art, New York (2008); Get Lost: Artists Map Downtown New York, New Museum Project, New York (2007); Learn to Read, Tate Modern, London (2007); Extraordinary Rendition, NoguerasBlanchard, Barcelona (2007).<br />We kindly thank Gavin Brown's Enterprise, Nueva York for its co-operation.</p> Thu, 24 Oct 2013 21:39:35 +0000 - Abu Dhabi Art - November 20th, 2013 - November 23rd, 2013 <p>Entrance to <strong>Abu Dhabi Art</strong> is complimentary. Tickets are required and can be collected at the entrance.</p> <p>The commercial sections of <strong>Abu Dhabi Art</strong>, located in Hall 1 and Hall 2,&nbsp; are designated for visitors aged 13 and above.</p> <div class="right-big-item right-item"> <div class="padded-section"> <div class="normal-text"> <div> <h3>Abu Dhabi Art 2013 Participating Galleries:</h3> <p>AB Gallery</p> <p>Agial Art Gallery</p> <p>Art Sawa</p> <p>ARTSPACE</p> <p>Athr Gallery</p> <p>Ayyam Gallery</p> <p>Bait Muzna Gallery</p> <p>Carpenters Workshop Gallery</p> <p>Cheim &amp; Read</p> <p>Edward Tyler Nahem Fine Art, L.L.C</p> <p>eoa.projects</p> <p>Gagosian Gallery</p> <p>Galeri Zilberman</p> <p>Galerie Brigitte Schenk</p> <p>Galerie El Marsa</p> <p>Galerie Enrico Navarra</p> <p>Galerie GP &amp; N Vallois</p> <p>Galerie Janine Rubeiz</p> <p>Kashya Hildebrand Gallery</p> <p>Galerie Thaddaeus Ropac</p> <p>Galleria Continua</p> <p>Gallery Isabelle van den Eynde</p> <p>Hanart TZ Gallery</p> <p>Hauser &amp; Wirth</p> <p>Horrach Moya</p> <p>Hunar Gallery</p> <p>kamel mennour</p> <p>Kerlin Gallery</p> <p>Kukje Gallery / Tina Kim Gallery</p> <p>Lam Art Gallery</p> <p>Lawrie Shabibi</p> <p>Leehwaik Gallery</p> <p>Leila Heller Gallery</p> <p>Lisson Gallery</p> <p>Meem Gallery</p> <p>October Gallery</p> <p>Paul Stolper Gallery</p> <p>Salwa Zeidan Gallery</p> <p>Sfeir-Semler Gallery</p> <p>The Breeder</p> <p>The Park Gallery</p> <p>The Third Line</p> <p>Tina Keng Gallery</p> </div> </div> </div> </div> Sun, 27 Oct 2013 22:31:58 +0000 Maja Vieli-Bisig - Art Forum Ute Barth - October 26th, 2013 - November 23rd, 2013 Thu, 24 Oct 2013 01:17:26 +0000 Nan Qi - Art Plural Gallery - October 31st, 2013 - November 23rd, 2013 <p>Art Plural Gallery is pleased to present the solo exhibition of Chinese artist Nan Qi in collaboration with China Art Foundation. Featuring 30 of his most recent works, the exhibition will run from October 31 to November 23, 2013. <br /><br />The aim of this exhibition is to revisit traditional Chinese ink painting and engage our global audience in broader dialogues. <br /><br />Working with ink on Xuan paper alternating black and white, Nan Qi&rsquo;s work is deeply rooted in the technique of traditional ink painting. From this strong personal attachment to ink, the artist incorporates new elements to his work, such as the dot pointillist and 3D techniques, injecting an innovative dimension to the traditional medium.</p> Sat, 26 Oct 2013 03:23:29 +0000 Peter Neilson - AUSTRALIAN GALLERIES 15 Roylston Street - November 7th, 2013 - November 23rd, 2013 <p>Peter Neilson&rsquo;s exhibition &hellip;plus stances, shadows and portraits, immerses its audience deep into the realm of film noir where finely robed ladies slip behind velvet curtains and suited gentleman linger in the shadows. Seemingly significant papers exchange hands and fill leather suitcases, each tableaux set under the shimmering light of a star studded sky.</p> Sat, 02 Nov 2013 03:54:09 +0000 Andreas Golinski - DORTMUND KUNSTVEREIN - September 20th, 2013 - November 23rd, 2013 <p>Lange Zeit ist Golinski den Geschichten rund um die Mintarder Ruhrtalbr&uuml;cke nachgegangen. Diese f&uuml;gen sich in seiner neuen Arbeit &bdquo;Die L&uuml;cke, die der Kasten l&auml;sst&ldquo; zu einer erlebbaren Installation mit intensiver Ger&auml;uschkulisse. Seine Objekte und Installationen sind radikal reduziert und anti-dekorativ. Sie basieren auf dem Dilemma zwischen dem Drang nach Erinnerung - gleichzeitigem Vergessen und den blinden Stellen im kollektiven Ged&auml;chtnis, die den Moment zwischen Gegenwart und Vergangenheit komprimieren.</p> <p>Andreas Golinskis (1979 geboren in Essen, lebt und arbeitet in Essen und Mailand) Arbeiten changieren zwischen der italienischen Arte Povera und einer aktuellen Variante der Spurensicherung, die auch durch seine Heimat, gepr&auml;gt ist.</p> Sat, 02 Nov 2013 16:37:31 +0000 - Flo Peters Gallery - October 23rd, 2013 - November 23rd, 2013 <p>Ab dem 23. Oktober zeigt die Flo Peters Gallery eine Ausstellung lange unter Verschluss gehaltener Pressefotografien. Ein altes Pressearchiv &ouml;ffnet zu diesem Anlass erstmals seine Pforten und erm&ouml;glicht die Zusammenstellung einer spannenden Schau voller unverf&auml;lschter Momentaufnahmen. <br /> Bilder, die f&uuml;r ihre Zeit und aus ihr heraus sprechen - zu sehen sind ausschlie&szlig;lich unbearbeitete Originalaufnahmen. Diese unverstellten Zeitdokumente geben Einblicke in Leben und Gesellschaft der 1950er bis -90er Jahre in Deutschland und international. Die Motive reichen dabei von Szenen aus Politik und Zeitgeschehen &uuml;ber Dokumentationen einschneidender Ereignisse der Weltgeschichte bis hin zu nostalgischen Schnappsch&uuml;ssen von Filmstars und anderen Prominenten.</p> <p>//</p> <p>Flo Peters Gallery presents an exhibition of press photographies, kept under wraps for a long time. On this occasion, an old press archive opened its doors for the first time, allowing to put together an exciting show full of real snap shots. <br /> Pictures that tell vividly about their decades - exclusively and only in raw, unretouched original shots. These undisguised documents of their times offer insights into life and society of the 1950s to the -90s in Germany and internationally. Their subjects show a wide range from politics and current affairs over far-reaching world historical events up to nostalgic scenes of film stars and other celebrities.</p> Fri, 18 Oct 2013 23:59:14 +0000 Simeon Saiz Ruiz - Galeria FĂșcares (Almagro) - October 19th, 2013 - November 23rd, 2013 <p>La galer&iacute;a F&uacute;cares tiene el placer de presentar en su espacio de Almagro una exposici&oacute;n individual de Sime&oacute;n Saiz Ruiz (Cuenca, 1956).</p> <p>El desmantelamiento del almac&eacute;n del artista en Cuenca ha servido de pretexto para revisar un cuerpo de obras que abarcan desde los a&ntilde;os 70 hasta nuestros d&iacute;as y que recorren pr&aacute;cticamente todas las constantes formales y conceptuales de su trayectoria. Aunque la mayor parte no hab&iacute;an&nbsp; sido expuestas anteriormente, su inclusi&oacute;n en la exposici&oacute;n est&aacute; motivada por su relevancia dentro del discurso&nbsp; del artista.</p> <p>El recorrido comienza con una serie de fotograf&iacute;as en B/N de los a&ntilde;os 70 tomadas en un temprano viaje a Marruecos. El paisaje, las ciudades y sus habitantes son fotografiados con distancia, con una mirada desapasionada y respetuosa. Por su tem&aacute;tica estas obras enlazan con las pinturas de la serie&nbsp; <em>Tiempos de alegr&iacute;a, </em><em>expuestas en 2012 en el mismo espacio</em> y,&nbsp; de una manera m&aacute;s general, con el uso de la fotograf&iacute;a como base documental para gran parte de su producci&oacute;n pict&oacute;rica.&nbsp;</p> <p>La serie central de la exposici&oacute;n la constituyen siete pinturas de principios de los a&ntilde;os 80. "Son crudos campos de blanco y negro opuestos creando una diagonal descendente en la superficie pict&oacute;rica y que se ven todos juntos formando un continuum. Su referencia son el support-surface, el postminimalismo en general y dentro de &eacute;l la pintura monocrom&aacute;tica como la de Brice Marden, el minimalismo y Ryman en particular, Serra sin duda, toda la pintura del color field, desde Louis hasta Olitski, y finalmente y sobre todo los &uacute;ltimos cuadros de Rothko". Estas obras dialogan con las cabezas de soldados sovi&eacute;ticos riendo (2013) que se pudieron ver en su &uacute;ltima exposici&oacute;n individual en Madrid, buscando una contaminaci&oacute;n que va m&aacute;s all&aacute; de lo est&eacute;tico.</p> <p>Ya en los a&ntilde;os 80, la serie "Juguetes violentos" incorpora la figuraci&oacute;n unida al tema de la violencia, que se convertir&aacute; en una de las obsesiones recurrentes de su trabajo. La exposici&oacute;n se cierra con la imagen alegre de una peque&ntilde;a acuarela de un arbusto lleno de flores. " Podr&iacute;a pensarse que esa alegr&iacute;a est&aacute; ausente de las otras obras, pero yo la encuentro a manos llenas en las fotograf&iacute;as de Marruecos, sin duda en los soldados en el descanso de la batalla y que tambi&eacute;n son el horizonte de los cuadros blancos y negros".</p> <p>Sime&oacute;n Saiz Ruiz ha expuesto de manera individual en la Galer&iacute;a F&uacute;cares (Madrid y Almagro);&nbsp; Galer&iacute;a Tom&aacute;s March (Valencia); ATA Centre for Contemporary Art. (Sof&iacute;a, Bulgaria); Galer&iacute;a Antonio Mach&oacute;n (Madrid); la Galer&iacute;a Egam (Madrid); Tossam-Tossam Gallery (Nueva York) y Galer&iacute;a La M&aacute;quina Espa&ntilde;ola (Sevilla) entre otras. De entre sus principales exposiciones en espacios p&uacute;blicos destacar&iacute;amos las realizadas con la serie "J'est un je" en Hospeder&iacute;a Fonseca, Salamanca; Universitat de Val&egrave;ncia , Valencia;&nbsp; Museo de Santa Cruz de Toledo, Toledo;&nbsp;Espacio Caja Burgos, Burgos; Espais, Centre d'Art Contemporani. Gerona y Mills Gallery. BCA. Boston, Estados Unidos.&nbsp;Su obra se encuentra en colecciones p&uacute;blicas y privadas como las del MNCARS, MUSAC, Fundaci&oacute;n Sorigu&eacute;, Artium y la Fundaci&oacute;n La Caixa.</p> Fri, 18 Oct 2013 23:24:13 +0000 Dominique Blain - galerie antoine ertaskiran - October 16th, 2013 - November 23rd, 2013 <div class="description"> <p style="text-align: justify;">galerie antoine ertaskiran is proud to present the latest solo exhibition by Dominique Blain entitled <em>Blancs de m&eacute;moire (Memory Blank)</em>. this exhibition is at the core of a body of recent works developed from archival images and newspaper clippings kept by the artist for more than 20 years. through videos, collages and photomontages, in this new series of works Blain touches upon different moments when human rights and the human condition are in peril.</p> <p style="text-align: justify;"><br /> in a message both political and poetic, she challenges the relationship between reality and our understanding of it. playing upon, and subtly questioning, the tension between objectivity and subjectivity, perception and representation, the artist draws our attention to socio-political situations often forgotten but always making for disturbing news.</p> <p style="text-align: justify;"><br /> the video Blancs de m&eacute;moire, whose title refers to a book by Georges Anglade, focuses on a photograph of refugees facing an invisible border ... swept by the constant motion of waves, this image confronts us with the denial and neglect suffered by whole populations, their predicament slowly disappearing from western memory. This work echoes a video installation presented as part of a group exhibition, <em>&Agrave; Montr&eacute;al quand l'image r&ocirc;de (In Montreal when the image roams)</em>, organized by the UQAM gallery (curated by Louise D&eacute;ry) and presented at Studio national des arts contemporains Le Fresnoy (France) until January 5, 2014.<br /> <br /> Dominique Blain lives and works in Montreal. her work has been shown in several cities in North America, Europe and Australia (Biennale of Sydney in 1992). three major retrospectives of her work have been organized: Mus&eacute;e d&rsquo;art contemporain de Montr&eacute;al in 2004 (travelling at the Mackenzie Art Gallery in Regina and at the Nickle Art Gallery in Calgary); Mus&eacute;e national des beaux-arts du Qu&eacute;bec in 1998 (travelling at the Ansel Adams Center of San Francisco and at the Sala 1 in Roma); Contemporary Art Center Arnolfini in Bristol organized in 1997-1998 an exhibition in five institutions in the United Kingdom: Belfast, London, Edinburgh, Newcastle and Cambridge. many museums have shown her work such as the Portland Museum of Art, the Los Angeles County Museum of Art, Kunstverein in Frankfurt, Stedelijk Museum in Amsterdam, Louisiana Museum in Copenhagen, European Museum in Brussels, and the Museum of Science and Industry in Manchester, UK. in Quebec, she has participated in three editions of les cent jours d&rsquo;art contemporain and presented her work at the Galerie de l&rsquo;UQAM, Sherbrooke University art gallery, at the Mus&eacute;e r&eacute;gional de Rimouski and at the Mus&eacute;e d&rsquo;art de Joliette.</p> <p style="text-align: justify;"><br /> Dominique Blain has produced a series of public art installation in Quebec, among them: Th&eacute;&acirc;tre du Nouveau Monde, Montreal (2011); Montreal Museum of Fine Arts, Bourgie Pavilion (2011); Adresse symphonique, Montreal (2011); Th&eacute;&acirc;tre d&rsquo;Aujourd&rsquo;hui, Montreal (2010); H&ocirc;pital du Sacr&eacute;-Coeur, Montreal (2009); Jewish General Hospital, Montreal (2008); Jardins de M&eacute;tis (2007); Quartier International of Montreal (2006); Biblioth&egrave;que et Archives nationales du Qu&eacute;bec, Montreal (2005); Sinclair-Laird School, Montreal (2000); Maison des &eacute;crivains, Montreal (1991); and at the head quarters of Radio-Canada Society in Toronto (1994).</p> </div> Sat, 12 Oct 2013 04:41:13 +0000 Martin Barre, Fred Sandback - Galerie Hubert Winter - October 11th, 2013 - November 23rd, 2013 <p>Junge K&uuml;nstlerInnen auf beiden Seiten des Atlantiks interessieren sich derzeit wieder vermehrt f&uuml;r das Werk von Martin Barr&eacute;. &Auml;hnliches gilt f&uuml;r den amerikanischen Bildhauer Fred Sandback, der ebenfalls jahrelang als vergessen galt.&nbsp;<br />&nbsp; &nbsp;Obwohl sie unterschiedlichen Generationen angeh&ouml;ren, haben sie viel gemeinsam. Beide gingen durch eine konzeptuelle Phase, und erst als Reaktion darauf konnten sie ihren h&ouml;chst minimalistischen Stil und ihre ersch&uuml;tterliche Treue zu einer traditionellen Kunstgattung entwickeln. Bei Sandback war dies die Bildhauerei, bei Barr&eacute; die Malerei, in der er sogar das uralte Konzept des Tafelbildes wieder aufnahm. Zu ihrer Zeit wirkte das anachronistisch. Heute aber, nach all den Jahren der aufgeblasenen Installationskunst, erscheinen Barr&eacute; und Sandback geradezu als Propheten. Man zerst&ouml;rt keine Kunstgattung, indem man einfach vor ihr davonl&auml;uft! Nichtsdestoweniger weisen ihre Werke zahllose Unterschiede auf. Wie k&ouml;nnte es auch anders sein, wo doch beide so sehr an ihrem Ausdrucksmittel hingen. Sandback konzipierte seine Fadenskulpturen oft abstrakt, f&uuml;hrte sie jedoch in ganz spezifischen, konkreten architektonischen Kontexten aus. Ja, sie waren und sind sogar abh&auml;ngig von diesen Kontexten. Im Gegensatz dazu stellte Barr&eacute; den Kontext seiner Bilder akribisch selbst zusammen. Besonderes Augenmerk galt dabei dem Bildformat, das eines der wichtigsten Bindeglieder zwischen den einzelnen Gem&auml;lden einer Serie war.<br />&nbsp; &nbsp;Doch nichts beweist die Seelenverwandtschaft der beiden K&uuml;nstler besser als Sandbacks sp&auml;te Schnittreliefs &ndash; &bdquo;ein Seiteng&auml;sschen, das im Kreis f&uuml;hrt&ldquo;, wie er sagte. Sie &auml;hneln Barr&eacute;s Leinwandbildern der Siebzigerjahre oft auf geradezu gespenstische Weise. Fast scheint es, als h&auml;tte Sandback &ndash; f&uuml;r einen Augenblick befreit von den Vorgaben der Architektur -&nbsp; in seinen Untersuchungen des malerischen Bildraums dieselben formalen L&ouml;sungen gefunden wie Barr&eacute;. Grund daf&uuml;r ist vielleicht, dass beide gegen&uuml;ber Regeln, Systemen und Motiven skeptisch eingestellt waren. Anstatt auf ihrer Verwendung zu beharren &ndash; wie es st&auml;rker konzeptuell orientierte K&uuml;nstlerInnen getan h&auml;tten -, unterliefen Sandback und Barr&eacute; die tautologische Starre des kartesischen Raums mit dem Potenzial und der Dynamik der Linie. Schlie&szlig;lich betonte Barr&eacute; immer, dass er &bdquo;Gesten liebe, die etwas von ihrer Virtualit&auml;t behalten, auch wenn sie aufgezeichnet worden sind&ldquo;. Sandbacks F&auml;den sind das perfekte skulpturale Gegenst&uuml;ck dieser Gesten.</p> <p><strong>Yve-Alain Bois,</strong> geboren 1952 in Constantine (Algerien), lebt in Princeton (USA), wo er als Professor an der School of Historical Studies am Institute for Advanced Study t&auml;tig ist.</p> <p>The current interest of young artists on both side of the Atlantic for the work of the French painter Martin Barr&eacute; (1924-1993) is akin to the attention recently paid, after years of neglect, to the work of the American sculptor Fred Sandback (1943-2003). Though a generation apart, both artists have much in common, notably their passage through a conceptual phase against which they reacted in order to develop their superlatively minimal art, and their obdurate desire to cling to a traditional category (sculpture for Sandback, painting for Barr&eacute;, including for him a return to the old concept of <em style="mso-bidi-font-style: normal;">tableau</em>). It might have seemed anachronistic then; it now feels prescient, after decades of puffed up installation art: one does not destroy a medium (painting, sculpture) by running away from it.</p> <p>Of course, there are countless differences between their work, and it could not be otherwise, given each artist&rsquo;s attachment to his own medium. Though he often conceives of them in the abstract, Sandback&rsquo;s string pieces are realized in specific, concrete, architectural contexts; they depend upon them. On the contrary, Barr&eacute; meticulously constructed his pictorial context (he was particularly attentive to the format of his canvases, which functioned as one of the main connective tissue between works within a single series). But nothing better reveals their affinity of thought than Sandback&rsquo;s late cut reliefs, a &ldquo;circular little sideroad,&rdquo; as he called them, which often look so eerily similar to Barr&eacute;&rsquo;s canvases of the 1970s. It is as if when he decided to tackle pictorial space, and momentarily free his work from the strictures of architectural sites, Sandback was naturally compelled to adopt the same formal strategies than Barr&eacute;. The reason lies perhaps in their common skeptical attitude toward rules, systems, motivations: rather than insisting upon their use in their work, as more conceptually bent artists would have done, they let the potentiality of the line, its dynamism, dialectically undermine the tautological rigidity of the spatial grid. Barr&eacute; used to say that he liked &ldquo;a gesture that keeps something of its virtuality after having been traced.&rdquo; Sandback&rsquo;s threads are a perfect materialization of such gestures.</p> Wed, 02 Oct 2013 09:18:08 +0000