ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Nasan Tur - Galerie Wilma Tolksdorf Frankfurt - September 12th - October 31st <p>Works by Nasan Tur will be presented at the Galerie Wilma Tolksdorf for the first time. His artistic practice is multi disciplinary and multi medial; it comprises photography, sculpture, video, drawing, performance, installation and is defined by questions concerning the predominant political, economical and socio-cultural conditions and sign systems nowadays.<br /><br />The work "GIVING IS TAKING", 2015 constitutes the title of the exhibition. Being one of the two large format woodcuts presented in the show this work is symptomatic for Tur's recurring interest in word, writing, language and their circulation in diverse contexts. Arguable, mirror-inverted statements or claims are monumentally inscribed into the wood. The woodcuts can be used as plates for potentially unlimited prints and therefore raise the questions of authorship and originality of a work. In doing so the woodcuts emphasize the aspects of the processuality and time in the world today characterized by the rapidity of the digital communication.<br /><br />For the work "Variationen von Kapital", 2013 around 41.000 possibilities of spelling the word "Kapital" with the same phonetic readability were generated by a computer. The artist then has written these orthographic variations with Indian ink on precious Tibetan paper transferring the words into the medium of the drawing. In the exhibition space a part of these unique copies will be presented on two walls in a regular grid. On the one hand this work refers to the relations between mechanical and manual production processes; on the other side it points towards the interrelations between work, product and capital.<br /><br />Made for the exhibition "Wall Works" at the Hamburger Bahnhof the video work "Berlin Says...", 2013 deals with language and sign systems we face as graffiti in urban space. Nasan Tur repeatedly overlays and overwrites sprayed slogans found by him on house walls in Berlin. At the end we perceive an almost monochrome screen which becomes kind of a hidden and indecipherable archive of an urban protest culture.<br /><br />The frontier between the private and the public spaces is articulated by the work "Demo Kits Deluxe", 2009. The furled banner and spray cans refer to the possibility of the free speech. At the same time the usage of precious materials such as high quality woods, valuably silk and the attractive form of presentation of each kit comments on the aestheticization and relativization of protest movements by the capitalistic systems.<br /><br /><br />Nasan Tur (*1974) studied at the St&auml;delschule, Frankfurt/M and at the Hochschule f&uuml;r Gestaltung, Offenbach/M, he lives and works Berlin. Nasan Tur's works were presented in international exhibitions e.g. Centre Pompidou, Paris, Blain|Southern, London/Berlin, Lentos Kunstmuseum Linz, Hamburger Bahnhof, Berlin, Istanbul Modern, Museum of Modern Art, Istanbul, Martin-Gropius-Bau, Berlin, Kunsthalle Kiel, Staatliche Kunstsammlungen Dresden, Kunstmuseum Stuttgart, Schirn Kunsthalle, Frankfurt, Kunsthalle Mannheim, West, Den Haag, Kunstraum Innsbruck, Neuer Berliner Kunstverein, Yapi Kredi Art Gallery, Istanbul, Thyssen-Bornemisza Art Contemporary, Wien, 6th Taipei Biennial, Taiwan and 10th Istanbul Biennial, Istanbul. Nasan Tur received numerous awards, most recently the Will Grohmann Prize of the Akademie der K&uuml;nste, Berlin and the Villa Massimo Fellowship of the German Academy Rome.<br /><br />For further information and press inquiries please contact<br />Galerie Wilma Tolksdorf: 0049 69 - 430 594 27 / office@wilmatolksdorf.de</p> Thu, 03 Sep 2015 12:27:37 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Nasan Tur - Galerie Wilma Tolksdorf Frankfurt - September 12th - October 31st <p>Works by Nasan Tur will be presented at the Galerie Wilma Tolksdorf for the first time. His artistic practice is multi disciplinary and multi medial; it comprises photography, sculpture, video, drawing, performance, installation and is defined by questions concerning the predominant political, economical and socio-cultural conditions and sign systems nowadays.<br /><br />The work "GIVING IS TAKING", 2015 constitutes the title of the exhibition. Being one of the two large format woodcuts presented in the show this work is symptomatic for Tur's recurring interest in word, writing, language and their circulation in diverse contexts. Arguable, mirror-inverted statements or claims are monumentally inscribed into the wood. The woodcuts can be used as plates for potentially unlimited prints and therefore raise the questions of authorship and originality of a work. In doing so the woodcuts emphasize the aspects of the processuality and time in the world today characterized by the rapidity of the digital communication.<br /><br />For the work "Variationen von Kapital", 2013 around 41.000 possibilities of spelling the word "Kapital" with the same phonetic readability were generated by a computer. The artist then has written these orthographic variations with Indian ink on precious Tibetan paper transferring the words into the medium of the drawing. In the exhibition space a part of these unique copies will be presented on two walls in a regular grid. On the one hand this work refers to the relations between mechanical and manual production processes; on the other side it points towards the interrelations between work, product and capital.<br /><br />Made for the exhibition "Wall Works" at the Hamburger Bahnhof the video work "Berlin Says...", 2013 deals with language and sign systems we face as graffiti in urban space. Nasan Tur repeatedly overlays and overwrites sprayed slogans found by him on house walls in Berlin. At the end we perceive an almost monochrome screen which becomes kind of a hidden and indecipherable archive of an urban protest culture.<br /><br />The frontier between the private and the public spaces is articulated by the work "Demo Kits Deluxe", 2009. The furled banner and spray cans refer to the possibility of the free speech. At the same time the usage of precious materials such as high quality woods, valuably silk and the attractive form of presentation of each kit comments on the aestheticization and relativization of protest movements by the capitalistic systems.<br /><br /><br />Nasan Tur (*1974) studied at the St&auml;delschule, Frankfurt/M and at the Hochschule f&uuml;r Gestaltung, Offenbach/M, he lives and works Berlin. Nasan Tur's works were presented in international exhibitions e.g. Centre Pompidou, Paris, Blain|Southern, London/Berlin, Lentos Kunstmuseum Linz, Hamburger Bahnhof, Berlin, Istanbul Modern, Museum of Modern Art, Istanbul, Martin-Gropius-Bau, Berlin, Kunsthalle Kiel, Staatliche Kunstsammlungen Dresden, Kunstmuseum Stuttgart, Schirn Kunsthalle, Frankfurt, Kunsthalle Mannheim, West, Den Haag, Kunstraum Innsbruck, Neuer Berliner Kunstverein, Yapi Kredi Art Gallery, Istanbul, Thyssen-Bornemisza Art Contemporary, Wien, 6th Taipei Biennial, Taiwan and 10th Istanbul Biennial, Istanbul. Nasan Tur received numerous awards, most recently the Will Grohmann Prize of the Akademie der K&uuml;nste, Berlin and the Villa Massimo Fellowship of the German Academy Rome.<br /><br />For further information and press inquiries please contact<br />Galerie Wilma Tolksdorf: 0049 69 - 430 594 27 / office@wilmatolksdorf.de</p> Thu, 03 Sep 2015 12:08:58 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Francesca Woodman - Moderna Museet - Stockholm - September 5th - December 6th <div class="ingress-text" style="text-align: justify;">The American photographer Francesca Woodman (1958&ndash;1981) created a body of fascinating photographic works in a few intense years before her premature death. Her oeuvre has been the object of numerous in-depth studies and major exhibitions in recent years, and her photographs have inspired artists all over the world.</div> <div> <p style="text-align: justify;">Francesca Woodman began photographing in her teens and studied at the Rhode Island School of Design from1975 to 1978. Her output is usually divided into periods, from her early works, her years as a student in Providence, Italy (1977-1978), the Mac Dowell Colony, and, lastly, New York from 1979 until she died. The collection she left behind consists of a few hundred gelatin silver prints, but she also tried other techniques, such as large-format diazotypes, colour photography and video.&nbsp;<br /><br />Woodman&rsquo;s photographs explore gender, representation, sexuality and body. Her production includes several self-portraits, using herself and her friends as models. The figures are often placed behind furniture and other interior elements; occasionally, the images are blurred in such a way that their identity is hidden from the viewer. The intimate nature of the subject matter is enhanced by the small formats. Woodman worked in unusual settings such as derelict buildings, using mirrors and glass to evoke surrealist and occasionally claustrophobic moods.&nbsp;<br /><br />Moderna Museet will present some hundred photographs by Francesca Woodman, with a selection from the series and themes she explored. The exhibition is produced by Moderna Museet in association with Betty and George Woodman and the Estate of Francesca Woodman. Alongside this exhibition, Moderna Museet will present a compilation of photography from the same period from its collection, to show Francesca Woodman in context and expand the perspective on her oeuvre to the public.&nbsp;</p> <div style="text-align: justify;"> <h3>Public Opening</h3> </div> <div style="text-align: justify;"><strong>Friday 4 September at 5&ndash;8 pm</strong><br /><strong>Moderna Museet in Stockholm</strong><br /><br />At 6.30 pm welcome address by Daniel Birnbaum, Museum Director, and Ann-Sofi Noring, Co-Director. Introduction by Curator Anna Tellgren.<br /><br />Due to popular demand, the exhibition will be open from 5pm.<br /><br />Moderna Bar is open from 5 pm. Admission free.<br /><br />Welcome!</div> <hr /> <div class="ingress-text" style="text-align: justify;">Den amerikanska fotografen Francesca Woodman (1958&ndash;1981) skapade under n&aring;gra intensiva &aring;r f&ouml;re sin allt f&ouml;r tidiga bortg&aring;ng en samling fascinerande fotografiska bilder. Hennes verk har varit f&ouml;rem&aring;l f&ouml;r en l&aring;ng rad djupg&aring;ende studier och flera stora utst&auml;llningar under de senaste &aring;ren och hennes fotografier har inspirerat konstn&auml;rer runt om i v&auml;rlden.</div> <div style="text-align: justify;"> <p>Francesca Woodman b&ouml;rjade fotografera redan i ton&aring;ren och fick sin utbildning vid Rhode Island School of Design fr&aring;n 1975 till 1978. Hennes produktion brukar delas in i n&aring;gra olika perioder fr&aring;n de tidiga arbetena, &aring;ren p&aring; skolan i Providence, Italien (1977&ndash;1978), Mac Dowell Colony och slutligen New York fr&aring;n 1979 fram till hennes d&ouml;d. Den efterl&auml;mnade samlingen best&aring;r av n&aring;gra hundra gelatinsilverfotografier, men hon pr&ouml;vade ocks&aring; andra tekniker som diazotyper i storformat, f&auml;rgbilder och video.&nbsp;<br /><br />Woodmans fotografier unders&ouml;ker fr&aring;gor kring genus, representation, sexualitet och kropp. I hennes produktion finns en l&aring;ng rad sj&auml;lvportr&auml;tt, d&auml;r hon anv&auml;nder sig sj&auml;lv och sina v&auml;nner som modeller. Modellerna &auml;r ofta placerade bakom m&ouml;bler och andra inredningsdetaljer, eller s&aring; &auml;r bilderna lite suddiga, vilket g&ouml;r att personerna ofta &auml;r dolda f&ouml;r betraktaren. Motiven &auml;r intima, vilket f&ouml;rst&auml;rks av att bilderna &auml;r i ett litet format. Hon arbetade i alternativa milj&ouml;er, i rivningshus och anv&auml;nde sig g&auml;rna av speglar och glas, som skapar en surrealistisk ibland klaustrofobisk k&auml;nsla.&nbsp;<br /><br />Moderna Museet kommer att presentera ett hundratal fotografier av Francesca Woodman med ett urval fr&aring;n de serier och motivgrupper hon arbetade med. Museet samarbetar med Betty and George Woodman, The Estate of Francesca Woodman. Parallellt med denna utst&auml;llning kommer en sammanst&auml;llning med fotografier fr&aring;n samma period att presenteras, ur Moderna Museets samling, som placerar in henne i ett sammanhang och vidgar konstn&auml;rskapet f&ouml;r publiken.&nbsp;</p> </div> <div style="text-align: justify;"> <h3>&Ouml;ppen vernissage</h3> </div> <div style="text-align: justify;"><strong>Fredag 4 september kl 17&ndash;20</strong><br /><strong>Moderna Museet i Stockholm</strong><br /><br />Kl 18.30 h&auml;lsar &ouml;verintendent Daniel Birnbaum och vice museichef Ann-Sofi Noring v&auml;lkommen. D&auml;refter introduktion av curator Anna Tellgren.</div> <div style="text-align: justify;"> <p>Tack vare det stora intresset h&aring;ller vi utst&auml;llningen &ouml;ppen fr&aring;n kl 17.</p> </div> <div style="text-align: justify;">Moderna Bar &auml;r &ouml;ppen fr&aring;n kl 17.&nbsp;<br />Fri entr&eacute;.&nbsp;<br /><br />V&auml;lkommen!</div> <br /> <p>&nbsp;</p> </div> Thu, 03 Sep 2015 11:56:27 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Nina Kluth, Roman Kochanski, Peter Rösel - Holger * Priess Galerie - September 11th - September 12th Wed, 02 Sep 2015 18:52:48 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Kristján Gudmundsson - i8 Gallery - September 3rd - October 24th <p style="margin-top: 0px; color: #60666d; font-size: 15px; font-family: sans-serif; line-height: 24px; margin-bottom: 24px; text-align: justify;"><span style="font-size: small; color: #000000;">i8&nbsp;is pleased to announce an exhibition of Kristj&aacute;n Gudmundsson&rsquo;s works from 1971 - 1989, opening this Thursday, the 3rd of September, from 5 - 7 pm.&nbsp;</span></p> <p style="margin-top: 0px; color: #60666d; font-size: 15px; font-family: sans-serif; line-height: 24px; margin-bottom: 24px; text-align: justify;"><span style="font-size: small; color: #000000;">Gudmundsson places his work "within the tension that exists between nothing and something," and has spent the last 40 years exploring this realm in aesthetic investigations of drawing and painting, and visualisations of time and dimension, cause and effect.</span></p> <p style="margin-top: 0px; color: #60666d; font-size: 15px; font-family: sans-serif; line-height: 24px; margin-bottom: 24px; text-align: justify;"><span style="font-size: small; color: #000000;">In his <em>Drawing&nbsp;</em>series, a search for the essence of drawing, Gudmundsson upends our most basic assumptions of drawing&rsquo;s principles and materials by juxtaposing graphite and paper in various two- and three-dimensional forms. The<em> Drawings</em> utilize layered cardboard, ribbon reliefs, large rolls of newsprint paper, solid graphite blocks, and mechanical pencil leads, with the results bordering on sculpture.</span></p> Wed, 02 Sep 2015 18:47:34 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Rauha Mäkilä - Helsinki Contemporary - September 4th - September 27th <div id="story_en" class="tab-pane active"> <p style="text-align: justify;">"When Beyonc&eacute; sings <em>Girls run the world</em>, I want to believe it blindly."</p> <p style="text-align: justify;">When the artist Rauha M&auml;kil&auml;&rsquo;s first daughter was born, her own personal peace and happiness suddenly constituted what felt like an irreconcilable contrast with the chaos and cruelty that govern the planet. She found immersion in the world and imagery of popular culture soothing, while, conversely, it also made everything feel even more grotesque and sad.</p> <p style="text-align: justify;">M&auml;kil&auml; initially applied her artistic process to works on paper, before switching to paintings. She chose as one of her subjects Beyonc&eacute;&rsquo;s&nbsp;<em>7/11</em> music video, in which one of the world&rsquo;s most popular pop stars calculatedly appears as quite an ordinary girl. The compulsive repetition of the theme also serves as a catalyst for the whole process; how are we to get anywhere when making art suddenly feels like an inadequate contribution in a world that seems to offer no consolation. According to M&auml;kil&auml;, painting a less onerous reality, nevertheless, makes it possible to attain a momentary equilibrium amid the contradictions between the extremes of the world.&nbsp;</p> <p style="text-align: justify;">The works in the <em>Harmony</em> exhibition can also be compared to Henri Matisse&rsquo;s large still lifes with flowers made in reaction to the horrors of the Second World War: beauty against cruelty, art against pitilessness.</p> <p style="text-align: justify;">"For me, some of the figures in the new paintings are like lumps of meat hanging in a slaughterhouse. Fortunately, other people can see them as dancing figures or as girls doing gymnastics. While, on the other hand, I have compulsively and obsessively cloaked them in pastel shades or in Guantanamo-orange prison colours."</p> <p style="text-align: justify;">M&auml;kil&auml; listens to music while she paints. "I try to paint the wonderful bubble that music creates in my mind. At the same time, I am afraid some terrorist organization or rocket will burst that bubble once and for all."</p> <p style="text-align: justify;">Rauha M&auml;kil&auml; (b. 1980, Helsinki) graduated from the Academy of Fine Arts in 2007, since when, her works have appeared in numerous solo and collective exhibitions in Finland and abroad, including: the Munch Gallery, New York, 2011; Museum of Contemporary Art Kiasma, Helsinki, 2012; and Amos Anderson Art Museum, Helsinki, 2012. Her works are in major collections in Finland, e.g. the Saastamoinen Foundation, Wihuri Foundation, and Museum of Contemporary Art Kiasma. M&auml;kil&auml;&rsquo;s works were last seen at Helsinki Contemporary in August 2012. She is due to participate in the collective exhibition, <em>Dark Days, Bright Nights. Contemporary Painting from Finland</em>, opening at the Kemper Museum of Contemporary Art in Kansas City, USA, in October 2015. Currently, she is also chair of the jury for the Young Artists 2015&nbsp;exhibition to be shown at Kunsthalle Helsinki at the end of the year.</p> <p style="text-align: justify;">A special thank you to the Oskar &Ouml;flund Foundation and Arts Promotion Centre Finland for supporting the artist&rsquo;s work.</p> <hr /> <div id="story_fi" class="tab-pane active"> <p style="text-align: justify;">"Kun Beyonc&eacute; laulaa&nbsp;<em>Girls run the world</em>, tahdon uskoa sen sokeasti."</p> <p style="text-align: justify;">Kun taiteilija Rauha M&auml;kil&auml;n esikoistyt&auml;r syntyi, oma henkil&ouml;kohtainen onni ja rauha muodostivat yht&auml;kki&auml; k&auml;sitt&auml;m&auml;tt&ouml;m&auml;lt&auml; tuntuvan kontrastin maailmassa vallitsevaan kaaokseen ja julmuuteen. Uppoutuminen populaarikulttuurin&nbsp;maailmaan ja kuvastoon toisaalta rauhoitti, mutta toisaalta sai kaiken tuntumaan entist&auml;kin irvokkaammalta ja surullisemmalta.</p> <p style="text-align: justify;">M&auml;kil&auml; l&auml;hti ty&ouml;st&auml;m&auml;&auml;n taiteellista prosessiaan paperit&ouml;ist&auml; siirtyen sitten maalauksiin. H&auml;n valitsi yhdeksi aiheekseen Beyonc&eacute;n&nbsp;<em>7/11</em>-musiikkivideon, jossa yksi maailman suosituimmista pop-t&auml;hdist&auml; esiintyy laskelmoidusti ihan tavallisena tytt&ouml;n&auml;. Aiheen pakonomainen toisto toimi my&ouml;s koko prosessin katalysaattorina; miten p&auml;&auml;st&auml; liikkeelle tilassa, jossa taiteen teko tuntui yht&auml;kki&auml; riitt&auml;m&auml;tt&ouml;m&auml;lt&auml; panokselta lohduttomaksi koetussa maailmassa. M&auml;kil&auml;n mukaan maalaamalla kevyemp&auml;&auml; todellisuutta on kuitenkin mahdollista saavuttaa hetkellinen tasapaino &auml;&auml;rip&auml;&auml;maailmojen v&auml;lisess&auml; ristiriidassa.&nbsp;</p> <p style="text-align: justify;"><em>Harmony</em>-n&auml;yttelyn ty&ouml;t voi rinnastaa my&ouml;s Henri Matissen suuriin kukka-asetelmiin reaktiona II-maailmansodan hirveyksiin: kauneus vastaan julmuus, taide vastaan lohduttomuus.</p> <p style="text-align: justify;">"Minulle osa uusien maalausten hahmoista on kuin teurastamolla roikkuvia lihaklimppej&auml;. Onneksi muut saattavat n&auml;hd&auml; ne tanssivina hahmoina tai jumppaavina tytt&ouml;in&auml;. Toisaalta olen verhonnut ne pakonomaisesti ja pakkomielteisesti pastellis&auml;vyihin tai Guantanamon oransseihin vankiasuv&auml;reihin."</p> <p style="text-align: justify;">Maalatessaan M&auml;kil&auml; kuuntelee musiikkia. "Koitan maalata sit&auml; ihanaa kuplaa, mink&auml; musiikki luo mieleeni. Samalla pelk&auml;&auml;n, ett&auml; joku terroristij&auml;rjest&ouml; tai ohjus posauttaa pop-kuplan lopullisesti puhki."</p> <p style="text-align: justify;">Rauha M&auml;kil&auml; (s. 1980, Helsinki) valmistui Kuvataideakatemiasta 2007, jonka j&auml;lkeen h&auml;nelt&auml; on n&auml;hty useita yksityis- ja ryhm&auml;n&auml;yttelyit&auml; Suomessa ja ulkomailla, m.m. Munch Galleryss&auml;, New Yorkissa 2011; Nykytaiteen museo Kiasmassa, Helsingiss&auml; 2012; ja Amos Andersonin taidemuseossa, Helsingiss&auml; 2012. H&auml;nen t&ouml;it&auml;&auml;n sis&auml;ltyy keskeisiin kokoelmiin Suomessa, esim. Saastamoisen s&auml;&auml;ti&ouml;n, Wihurin s&auml;&auml;ti&ouml;n ja Nykytaiteen museo Kiasman kokoelmiin. M&auml;kil&auml;lt&auml; n&auml;htiin edellisen kerran n&auml;yttely Helsinki Contemporaryssa elokuussa 2012. H&auml;n on mukana lokakuussa 2015 avautuvassa ryhm&auml;n&auml;yttelyss&auml;&nbsp;<em>Dark Days, Bright Nights. Contemporary Painting from Finland&nbsp;</em>Kemper Museum of Contemporary Artissa Kansas Cityss&auml;. H&auml;n on ajankohtainen my&ouml;s Taidehallissa vuoden lopussa j&auml;rjestett&auml;v&auml;n&nbsp;Nuoret 2015&nbsp;-n&auml;yttelyn juryn puheenjohtajana.</p> <p style="text-align: justify;">Erityiskiitos Oskar &Ouml;flundin s&auml;&auml;ti&ouml;lle ja Taiteen edist&auml;miskeskukselle taiteilijan ty&ouml;skentelyn tukemisesta.</p> </div> </div> Wed, 02 Sep 2015 18:43:45 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Häusler Contemporary Zürich - August 27th - November 7th <p style="text-align: justify;">H&auml;usler Contemporary&nbsp; is pleased&nbsp; to announce an exhibition&nbsp; curated by Andy Jllien for the Zurich gallerie s&rsquo; season opening&nbsp; 2015. The art lover and dealer will chose works from different&nbsp; times and styles and combine them with piece s from our&nbsp; program in a special setting&nbsp; &ndash; manifold and surprising!&nbsp;</p> <p style="text-align: justify;">Andy Jllien is a personality of his own, only rarely seen nowadays but always loved .&nbsp; Just as his famous shoe creations, the exhibition&nbsp; that he plans at our gallery for the season opening 2015 will be&nbsp; colorful and unique. The dealer and former gallery owner will&nbsp; temporary&nbsp; transform H&auml;usler <em>&raquo;This isn&rsquo;t my collection, this is my life.&laquo;</em><br /> <em>Andy Jllien</em></p> <p style="text-align: justify;">Contemporary into a private space&nbsp; with all the bells and whistles : he will bring along furniture and&nbsp; carpets of first class design, newspapers, books, and, of course,&nbsp; art! The walls will be equipped with specifically selected works&nbsp; from a manifold convolute and complemented with works by artists&nbsp; from our program. Many of them, he recently discovered at our&nbsp; gallery and thus opened up a new direction to his collection which&nbsp; is mainly&nbsp; comprising Pop Art and&nbsp; Swiss post - war art.&nbsp;</p> <p style="text-align: justify;">Following the&nbsp; &laquo; Petersburg hanging&raquo; ,&nbsp; Jllien will&nbsp; arrange a varied&nbsp; ensemble of paintings, drawings, photographs and objects from&nbsp; different periods of the&nbsp; second half of the 20 th century . Work s by&nbsp; Not Vital, Daniel Spoerri or Ed Ruscha will&nbsp; encounter pieces by David&nbsp; Reed, Roman Signer or Gary Kuehn. Bill Copley and Chuck Close are&nbsp; joining Hubert Kiecol and Bill Bollinger. Dieter Roth, David Hare,&nbsp; Bernhard Luginb&uuml;hl, and many others are also rep resented in this&nbsp; exciting&nbsp; presentation. Andy Jllien thus gives us an idea not only of&nbsp; his personal&nbsp; environment , but also of the way he lives his life and&nbsp; loves his art: without considering conventions, with passion and&nbsp; generosity. This attitude also is&nbsp; metaphor ically reflected in the title&nbsp; of our exhibition.&nbsp;</p> <p style="text-align: justify;"><em>Deborah Keller, H&auml;usler Contemporary</em></p> Wed, 02 Sep 2015 18:39:04 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Arturo Herrera, Gesine Grundmann, Florian Japp, Gereon Krebber, Jaana Caspary, Johannes Weiß, Vanessa Henn, Wolfgang Flad - GRÖLLE pass:projects - September 5th - October 18th <p style="text-align: justify;">Mit der Ausstellung &ldquo;Skulptur&rdquo;, die am 5. September in Wuppertal er&ouml;ffnet wird, pr&auml;sentiert die Galerie GR&Ouml;LLE pass:projects Arbeiten von acht Bildhauern, alle auf eine ganz besondere Weise ausgew&auml;hlt wurden.</p> <p style="text-align: justify;">Wolfgang Flad, Kurator der Ausstellung, ist selbst Bildhauer und hat somit weit mehr als einen rein theoretischen Zugang zum Thema Skulptur.&nbsp; Aus seiner eigenen gelebten Erfahrung wei&szlig; er genau, welche konzeptuellen und technischen Fragen sich in der Auseinandersetzung mit dreidimensionalen</p> <p style="text-align: justify;">Formen und Materialien im Raum stellen. Welche Vielfalt an M&ouml;glichkeiten im Bereich der Bildhauerei existiert, zeigt sich in den von Wolfgang Flad zusammengestellten Objekten, zu denen auch eine eigene Arbeit geh&ouml;rt.</p> <p style="text-align: justify;">Wolfgang Flad legt einerseits Wert auf eine ganz subjektive, individuelle Auswahl der K&uuml;nstler und seinen ganz pers&ouml;nlichen Blick auf die Bildhauerei, andererseits lassen sich zahllose &Auml;hnlichkeiten, Verbindungen und Parallelen in den Ansichten und Herangehensweisen der einzelnen K&uuml;nstler ablesen. Genau genommen handelt es sich bei allen gezeigten Arbeiten um Plastiken, also um eine Form der Bildhauerei, bei der es insbesondere um das<br /> Zusammenf&uuml;gen und Modellieren von Material geht.</p> <p style="text-align: justify;">Die bei GR&Ouml;LLE pass:projects gezeigten, abstrakten Skulpturen, bestehen aus ganz unterschiedlichen Werkstoffen, von Pappe &uuml;ber Textilien und Holz<br /> bis hin zu gefundenen Alltagsgegenst&auml;nden, die aneinandergef&uuml;gt, aufeinandergestapelt, aufgeschichtet und auf die verschiedensten Weisen additivzusammengesetzt wurden.&nbsp; Allen Arbeiten liegt zudem eine starke Farbigkeit zugrunde.<br /> Es existiert, wie im eigenen Werk des Kurators und Bildhauers Wolfgang Flad, ein abstrakt malerischer Ansatz im Raum,<br /> der bei der Vielfalt der Exponate alles in einen schl&uuml;ssigen Zusammenhang bringt.</p> <p style="text-align: justify;">Zu den K&uuml;nstlern:</p> <p style="text-align: justify;">Auf der Schnittstelle zwischen Malerei und Skulptur und als Ausnahme zwischen den rein bildhauerischen Positionen der teilnehmenden K&uuml;nstler zeigt<br /> Arturo Herrera kleinformatige Leinw&auml;nde, auf denen er ausgeschnittene, bedruckte Stoffe, Taschen und Filzst&uuml;cke collagiert, die er abschlie&szlig;end ungezwungen bemalt.</p> <p style="text-align: justify;">Gesine Grundmann bildet aus hunderten, kreisrund ausgeschnittenen Eierkartons eine S&auml;ule, die durch die Unterschiedlichkeit der &uuml;ber die Jahre<br /> gesammelten Kartons eine lebendige Oberfl&auml;che erh&auml;lt und an die langsam gewachsene Rinde eines Baumes erinnert.</p> <p style="text-align: justify;">Florian Japp verbindet Metallgestelle mit Seilen, Holzplatten, Seifen, Turnschuhen und anderen Alltagsgegenst&auml;nden,<br /> die nur scheinbar eine Funktion erf&uuml;llen und Assoziationen zu Fitnessger&auml;ten erzeugen.</p> <p style="text-align: justify;">Gereon Krebber bespr&uuml;ht unz&auml;hlige Schichten von Folien, die zu immer dickeren Volumen umwickelt werden, um diese schlie&szlig;lich mit Flammen<br /> zu durchl&ouml;chern und deren Oberfl&auml;che zu verschmelzen. Das so entstandene, vielschichtige Gebilde weckt Erinnerungen an Korallen und Schw&auml;mme.</p> <p style="text-align: justify;">Bei Jaana Caspary schmiegt sich scheinbar eine Tischdecke um ein Beistelltischchen aus den Sechzigerjahren.<br /> Das tats&auml;chliche Aussehen des M&ouml;belst&uuml;cks wird f&uuml;r immer verborgen bleiben, da es sich hier um einen abstrakten Gipsfaltenwurf handelt,<br /> der durch Modellieren und Schleifen eine flie&szlig;ende glatte Oberfl&auml;che erhalten hat.</p> <p style="text-align: justify;">Johannes Wei&szlig; setzt einen klassizistischen Sockel, dessen Wei&szlig; durch einen farbigen Ast durchbrochen wird, mit einer an eine Vase erinnernden,<br /> farbigen Skulptur zusammen, sodass das Gesamtbild in einem ganz typischen Kunstgewerbemuseum zu finden sein k&ouml;nnte, aber eben doch verst&ouml;rend anders wirkt.</p> <div style="text-align: justify;"> <p>Vanessa Henn f&uuml;hrt die typischen mit PVC bezogenen Handl&auml;ufe von Treppengel&auml;ndern der Nachkriegsmoderne ad absurdum.&nbsp;Das ihm zugrunde liegende Metallband formt sie zu einer Endlosschleife in mehreren &uuml;bereinander liegenden Kreisen.</p> </div> <p style="text-align: justify;">Wolfgang Flad baut aus gestapelten Ovalen einen Sockel, der wie ein Rohling f&uuml;r eine erst noch zu bauende Skulptur wirkt,<br /> und setzt darauf als Kontrast dazu ein aus Holzresten und Pappmache gebautes, filigran flie&szlig;endes, organisch wirkendes Objekt.</p> Wed, 02 Sep 2015 18:32:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Rob Hall, Minna Loft, Madeleine Palser Barto, Celeste Magee, Jack Standaar, Laura Johnston, Alexander Stimpson, Carol Rowlands - Gallery 6NINE - August 19th - September 6th <p style="text-align: justify;">You are invited to Natural Dialogues our tenth group of exhibitions for 2015.<br /> <br /> Featuring works by Rob Hall, Minna Loft, Madeleine Palser Barto, Celeste Magee, Jack Standaar, Laura Johnston, Alexander Stimpson, Carol Rowlands and items from a workshop run by Lorna Crane at 69 Smith St Gallery on August 7th &amp; 8th.<br /> <br /> Please join the artists at the opening Saturday 21st August 4pm - 6pm</p> Wed, 02 Sep 2015 18:29:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Elger Esser - Galerie Thaddaeus Ropac - Salzburg Villa Kast - August 28th - October 31st <p style="text-align: justify;">From 27 August to 31 October, Galerie Thaddaeus Ropac is showing a solo exhibition with new works by photographer Elger Esser.</p> <p style="text-align: justify;">The exhibition comprises two series of works, in which Esser focuses on the garden of entomologist Jean-Henri Fabre (1823-1915) as well as on the motif of sunset. Claude Monet's garden in Giverny, the topic of the last exhibition at Galerie Thaddaeus Ropac in Paris (2011), is now followed by a further landscape with a <em>Weltbild</em> projected on to it. The <em>leitmotiv</em> of the exhibition is the iris: the iris as a flower, the <em>iris</em> <em>of the sun</em>, the <em>iris</em> <em>of the photography</em>.</p> <p style="text-align: justify;">Esser&rsquo;s latest works were developed in the garden of famous entomologist Jean-Henri Fabre in S&eacute;rignan-du-Comtat in the county of Vaucluse. The scientist and author of <em>Souvenirs Entomologiques</em> lived there with his family for over 30 years until his death, the estate being the fulfilment of a long-cherished dream. In <em>Souvenirs Entomologiques</em> Fabre writes: "This is what I have been looking for, <em>hoc erat in votis</em>: a piece of land, no, not particularly big, but enclosed and protected from curious gazes; a piece of land, abandoned, infertile, burned by the sun but hospitable for thistles and hymenoptera. [...] It is a <em>harmas</em>. That is what an uncultivated, rocky area, which has been surrendered to wild thyme is called [...]." In these works, the viewer's eye immediately encounters dense vegetation. The viewer is virtually drawn into the thicket. "There is no longer any real 'sublime' in the romantic sense; rather, the sublime reveals itself in the internalisation.", says Elger Esser. &nbsp;It is the projection of an imaginary world into the landscape, which, in the more recent series, increasingly shifts into the photographer&rsquo;s focus.</p> <p style="text-align: justify;">As a contrast to this, in the series of the sunsets, the viewer's eye can wander unhindered across the vast plain. This series of works is characterised by an impressionistic glowing brightness. Here Esser premi&egrave;res a new technique in which he prints on silver-plated sheets of copper placed on a console and leaning object-like against the wall.</p> <p style="text-align: justify;">Elger Esser was born in Stuttgart in 1967 and spent his childhood in Rome. In the 1990s he studied in the famous class of Bernd and Hilla Becher at the Kunstakademie/D&uuml;sseldorf, where Esser now lives and works. The classic genres of veduta and landscape are central themes in Esser's photographs. His works are characterised by largely monochromatic colouring, a preference for diffuse, uniform lighting and a constant tension between micro and macro structures. With sensitive and precise observation, Elger Esser captures the exact moment at which the character and the atmosphere of a landscape are revealed. Not by chance are Esser's photographs often associated with the (travel) literature of the late 18th and 19th centuries. In his more recent series, the resolution of the photographs increasingly assumes a painterly quality.</p> <p style="text-align: justify;">Extensive solo exhibitions at Kunstmuseum/Stuttgart (2009), Museum voor Moderne Kunst/Arnhem (2010), Institute of Modern Art/Nuremberg (2013) and Florida Museum of Photographic Arts/Tampa (2014), will be followed in the next two years by monographic exhibitions in the Kunsthalle/Karlsruhe (2016) and the Landesgalerie/Linz (2017). In 2016, Schirmer/Mosel publishers are bringing out a book about the heliogravure series <em>Combray</em>.</p> <p style="text-align: justify;">Esser's works are represented in numerous institutional collections including those of the Metropolitan Museum of Art/New York, Guggenheim Museum/New York, Centre Pompidou/Paris, Kunsthaus/Zurich, Stedelijk Museum/Amsterdam, Albright-Knox Art Gallery/Buffalo, St&auml;dtische Galerie im Lenbachhaus and Kunstmuseum/Stuttgart.</p> Wed, 02 Sep 2015 18:18:00 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Till Velten - Galerie Nicola von Senger - August 28th - September 12th <p style="text-align: justify;">Ausgangspunkt f&uuml;r die Solo - Ausstellung &bdquo;Urgarage&nbsp; &ndash; eine Skulptur&nbsp; f&uuml;rs Volk&ldquo; von Till Velten ist eine &Uuml;berdachung gegen&uuml;ber dem&nbsp; Haupteingang der Viadukt - Markthalle und&nbsp; somit keine 150m von der&nbsp; Galerie Nicola von Senger entfernt. Diese &Uuml;berdachung, ein&nbsp; &Uuml;berbleibsel der ersten Garage der Emil Frey AG, kommt uns wie ein&nbsp; amerikanischer Freund entgegen, ein mobiler Freigeist f&uuml;r Farbe,&nbsp; Form und Funktion. In Betracht dieses fr ohen Baldachins werden wir&nbsp; zur&uuml;cktransportiert, in eine Vergangenheit wo Skulpturen Autos&nbsp; waren, und Autos Skulpturen im &ouml;ffentlichen Raum.</p> <p style="text-align: justify;">In unseren Zeiten und Breiten voll stockendem Verkehr und&nbsp; Autogeb&uuml;hren wird vergessen, dass das Auto einmal&nbsp; das&nbsp; Vehi kel f&uuml;r&nbsp; Gl&uuml;ck, Mobilit&auml;t und Sch&ouml;nheit war. Das Zentrum der Mond&auml;nit&auml;t war&nbsp; nicht Kunst und Kunstmessen, nicht K&uuml;nstler und Theoretiker waren&nbsp; die Traumberufe, sondern Autos und Autosalons, Mechaniker und&nbsp; Rennfahrer.</p> <p style="text-align: justify;">Um uns von diesem einmaligen Mobilit&auml;tsve rsprechen, dass die&nbsp; Autobegeisterung hervorgebracht hat, nochmals mobilisieren zu&nbsp; lassen, verbiegt sich der K&uuml;nstler Till Velten vor der anglophilen&nbsp; Mechaniker - und Rennfahrer - Familie Frey. Durch K&uuml;nstlerportr&auml;ts der&nbsp; Autodynastie Frey , n&auml;ml ich Emil Frey, se ine Frau R&ouml;sli Frey und&nbsp; Walter Frey wird dies eine Gegen&uuml;berstellung zwischen einer&nbsp; immobilen Malerei, die eine Anerkennung nicht erk&auml;mpfen muss, und&nbsp; einer mobilen Skulptur, die&nbsp; noch&nbsp; nicht zur Kenntnis genommen wird.</p> <div style="left: 98.6px; top: 477.023px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="311.9999999999999">Ausgangspunkt f&uuml;r die Solo</div> <div style="left: 410.683px; top: 477.023px; font-size: 20px; font-family: monospace;">-</div> <div style="left: 422.683px; top: 477.023px; font-size: 20px; font-family: sans-serif; transform: scaleX(1.32);" data-canvas-width="263.99999999999994">Ausstellung &bdquo;Urgarage</div> <div style="left: 686.717px; top: 477.023px; font-size: 20px; font-family: sans-serif;">&ndash;</div> <div style="left: 710.717px; top: 477.023px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="168.00000000000003">eine Skulptur</div> <div style="left: 98.6px; top: 500.223px; font-size: 20px; font-family: sans-serif; transform: scaleX(1.35519);" data-canvas-width="743.9999999999991">f&uuml;rs Volk&ldquo; von Till Velten ist eine &Uuml;berdachung gegen&uuml;ber dem</div> <div style="left: 98.6px; top: 523.623px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="287.9999999999999">Haupteingang der Viadukt</div> <div style="left: 386.683px; top: 523.623px; font-size: 20px; font-family: monospace;">-</div> <div style="left: 398.683px; top: 523.623px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="180.00000000000003">Markthalle und</div> <div style="left: 578.717px; top: 523.623px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="299.9999999999999">somit keine 150m von der</div> <div style="left: 98.6px; top: 547.023px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="707.9999999999992">Galerie Nicola von Senger entfernt. Diese &Uuml;berdachung, ein</div> <div style="left: 98.6px; top: 570.223px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="800.9999999999991">&Uuml;berbleibsel der ersten Garage der Emil Frey AG, kommt uns wie ein</div> <div style="left: 98.6px; top: 593.623px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="779.9999999999991">amerikanischer Freund entgegen, ein mobiler Freigeist f&uuml;r Farbe,</div> <div style="left: 98.6px; top: 617.023px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="479.9999999999996">Form und Funktion. In Betracht dieses fr</div> <div style="left: 578.717px; top: 617.023px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="323.99999999999983">ohen Baldachins werden wir</div> <div style="left: 98.6px; top: 640.223px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="755.9999999999991">zur&uuml;cktransportiert, in eine Vergangenheit wo Skulpturen Autos</div> <div style="left: 98.6px; top: 663.623px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="587.9999999999994">waren, und Autos Skulpturen im &ouml;ffentlichen Raum.</div> <div style="left: 98.6px; top: 710.623px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="695.9999999999992">In unseren Zeiten und Breiten voll stockendem Verkehr und</div> <div style="left: 98.6px; top: 733.857px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="599.9999999999994">Autogeb&uuml;hren wird vergessen, dass das Auto einmal</div> <div style="left: 698.717px; top: 733.857px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="47.99999999999999">das</div> <div style="left: 746.767px; top: 733.857px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="47.99999999999999">Vehi</div> <div style="left: 794.767px; top: 733.857px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="96">kel f&uuml;r</div> <div style="left: 98.6px; top: 757.257px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="800.9999999999991">Gl&uuml;ck, Mobilit&auml;t und Sch&ouml;nheit war. Das Zentrum der Mond&auml;nit&auml;t war</div> <div style="left: 98.6px; top: 780.657px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="791.9999999999991">nicht Kunst und Kunstmessen, nicht K&uuml;nstler und Theoretiker waren</div> <div style="left: 98.6px; top: 803.857px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="743.9999999999991">die Traumberufe, sondern Autos und Autosalons, Mechaniker und</div> <div style="left: 98.6px; top: 827.257px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="132.00000000000003">Rennfahrer.</div> <div style="left: 98.6px; top: 874.257px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="491.99999999999955">Um uns von diesem einmaligen Mobilit&auml;tsve</div> <div style="left: 590.717px; top: 874.257px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="239.99999999999997">rsprechen, dass die</div> <div style="left: 98.6px; top: 897.457px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="743.9999999999991">Autobegeisterung hervorgebracht hat, nochmals mobilisieren zu</div> <div style="left: 98.6px; top: 920.857px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="800.9999999999991">lassen, verbiegt sich der K&uuml;nstler Till Velten vor der anglophilen</div> <div style="left: 98.6px; top: 944.257px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="120.00000000000001">Mechaniker</div> <div style="left: 218.633px; top: 944.257px; font-size: 20px; font-family: monospace;">-</div> <div style="left: 230.633px; top: 944.257px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="168.00000000000003">und Rennfahrer</div> <div style="left: 398.683px; top: 944.257px; font-size: 20px; font-family: monospace;">-</div> <div style="left: 410.683px; top: 944.257px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="491.99999999999955">Familie Frey. Durch K&uuml;nstlerportr&auml;ts der</div> <div style="left: 98.6px; top: 967.457px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="144.00000000000003">Autodynastie</div> <div style="left: 254.633px; top: 967.457px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="47.99999999999999">Frey</div> <div style="left: 302.633px; top: 967.457px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="72">, n&auml;ml</div> <div style="left: 374.683px; top: 967.457px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="204.00000000000003">ich Emil Frey, se</div> <div style="left: 578.717px; top: 967.457px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="287.9999999999999">ine Frau R&ouml;sli Frey und</div> <div style="left: 98.6px; top: 990.857px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="132.00000000000003">Walter Frey</div> <div style="left: 242.633px; top: 990.857px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="575.9999999999994">wird dies eine Gegen&uuml;berstellung zwischen einer</div> <div style="left: 98.6px; top: 1014.26px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="791.9999999999991">immobilen Malerei, die eine Anerkennung nicht erk&auml;mpfen muss, und</div> <div style="left: 98.6px; top: 1037.51px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="335.99999999999983">einer mobilen Skulptur, die</div> <div style="left: 434.683px; top: 1037.51px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="59.99999999999999">noch</div> <div style="left: 494.683px; top: 1037.51px; font-size: 20px; font-family: monospace; transform: scaleX(1);" data-canvas-width="395.9999999999997">nicht zur Kenntnis genommen wird.</div> Wed, 02 Sep 2015 18:15:42 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Martin Assig - Galerie Born - September 6th - October 31st Wed, 02 Sep 2015 18:11:33 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Celina Portella - Galeria Inox - September 11th - October 3rd Wed, 02 Sep 2015 18:06:59 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Mihut Boscu Kafchin, Łukasz Jastrubczak, Tomasz Kowalski, Marcin Zarzeka - Galeria Dawid Radziszewski - September 25th - October 31st <p style="text-align: justify;">A labourer working in a factory left work every day with a wheelbarrow of sand. After a few days the guard at the gate asked him why he was taking the sand and whether he had permission. The guy got furious and dumped the sand from the wheelbarrow in front of the gatehouse and drove off. In actual fact he was stealing wheelbarrows, not sand.</p> <hr /> <p style="text-align: justify;">Pracujący w fabryce robotnik, wychodząc z pracy, co dzień wywoził taczkę piasku. Po kilku dniach wartownik na bramie zakładu spytał go, dlaczego wywozi piasek i czy ma na to zgodę. Facet się zdenerwował, wywalił mu piasek z taczki przed str&oacute;ż&oacute;wkę i odjechał. Tak naprawdę kradł taczki, a nie piasek.</p> <h2>A labourer working in a factory left work every day with a wheelbarrow of sand. After a few days the guard at the gate asked him why he was taking the sand and whether he had permission. The guy got furious and dumped the sand from the wheelbarrow in front of the gatehouse and drove off. In actual fact he was stealing wheelbarrows, not sand.</h2> Wed, 02 Sep 2015 17:59:26 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Gagosian Gallery - Geneva - October 9th - December 19th Wed, 02 Sep 2015 17:29:24 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list enna-Riikka Halonen, Johanna Lecklin, Milla-KariinaOja - espacio trapézio - September 5th - October 12th <blockquote> <p class=" text-justify" style="text-align: justify;"><em>A man sets out to draw the world. As years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face.</em></p> <p class=" text-right" style="text-align: right;"><strong>Jorge Luis Borges</strong>, <em>The Aleph and Other Stories</em></p> </blockquote> <p class=" text-justify"><em>&nbsp;</em></p> <p class=" text-justify" style="text-align: justify;">Group exhibition of <strong>Henna-Riikka Halonen</strong>, <strong>Johanna Lecklin</strong> and <strong>Milla-Kariina</strong><strong>Oja</strong> whose works actively reflect the nature of realities and the possibilities of their interpretation. These three Finnish artists have all gained international recognition and work mostly with the means of moving image and photography.</p> <p class=" text-justify" style="text-align: justify;">Henna-Riikka Halonen&acute;s works explore how to create stories within stories and how to weave events into events. In this, different realities overlap and the viewers awaken to the meaningful openness of the narratives and of the series of events. In her practice Johanna Lecklin works with stories, which she re-tells turning the viewer&rsquo;s attention towards effects caused by the different ways of telling and representing stories. How does the story change when it is told again? In Milla-Kariina Oja&acute;s artwork the question of the private and public space intertwine. What is familiar and what is unknown and how do these spaces and situations merge with each other?<strong>&nbsp;</strong></p> <p class=" text-justify" style="text-align: justify;"><strong>Henna-Riikka Halonen</strong> is showing an installation, <strong><em>Eden, The Po(w)der of Fear.</em></strong> The installation consists of a short film, drawings and a poster, and is continuation for a performance Halonen constructed for Lilith Performance Studio in Malm&ouml;, Sweden during spring summer 2014. The live performance <em>Eden, The Pow(d)er of Fear</em> took place in a labyrinth-like construct, in which the young actors from Malm&ouml; repeated strange rituals and viewers were let in to wander freely. A throw of a dice governed the order of the scenes inside of the set, where a group of &ldquo;students&rdquo; were spending time, indulging in transgressive behavior of all sorts; games, plays, rituals and other activities. The starting point for the project was the French Nouveau Romain writer Alain Robbe Grillet&rsquo;s film<em>&nbsp;L'Eden et Apres</em> from 1970.</p> <p class=" text-justify" style="text-align: justify;"><strong>Milla-Kariina Oja</strong> is showing a selection of her photography series <strong><em>Home-Project</em></strong> (2010) and a video work <strong><em>Falling House</em></strong> (2013). They both belong to the on-going research in Oja ́s recent years works on ones individual space, home and borders. <em>Home-Project</em> was realized in Finland and China, where Oja travelled with a self made house-shaped construction to different landscapes carefully setting up her house there and then photographing it. <em>Falling House</em> follows the destruction of a two-storey house in a town in South China.</p> <p class=" text-justify" style="text-align: justify;"><strong>Johanna Lecklin</strong> is showing two moving image works, <strong><em>The Cage</em></strong> (2015) and <strong><em>A Christmas</em> Tale</strong> (2013). Lecklin is interested in experimenting with storytelling. Both of the works are inspired by recorded stories from her storytelling project <em>Story Caf&eacute;</em>. They are part of a series of works in different film genres that depict girls being mean. In <em>The Cage</em> the main character is later dealing with her memories. Lecklin has arranged her caf&eacute; and made recordings in ca 15 cities around Europe.</p> <p class=" text-justify" style="text-align: justify;">This exhibition is part of <strong>D&iacute;as N&oacute;rdicos</strong>, multidisciplinary festival of Nordic culture in Madrid, and was kindly supported by <strong>Arts Promotion Centre Finland</strong>,<strong>&nbsp;Frame Visual Art Finland</strong> and<strong>&nbsp;Ibero-American Institute of Finland</strong>.</p> <p class=" text-justify" style="text-align: justify;"><strong>Henna-Riikka Halonen</strong> (b.1975) uses a wide range of historical and cultural references, including Avant-Garde theatre and science fiction literature and cinema &ndash; testing the tensions between performers, audience and acting and non-acting. She creates stories within stories, spaces within spaces, events within events, in which social possibilities are both rehearsed, performed and re-performed. In this, references and elements are brought together through a collage like process.</p> <p class=" text-justify" style="text-align: justify;">She has worked on and produced many collaborative large scale video projects and commissions in UK, Israel, Ireland, France and Finland and has shown her work widely in international exhibitions and festivals such as Research pavilion, Venice Biennale 2015, You Imagine What you Desire, Biennale of Sydney 2014, Eden The Pow(d)er of Fear, Lilith Performance Studio (Malmo, Sweden), Fictitious Entry, Uqbar (Berlin), Video Dumbo festival (New York), Gallery Factory (Seoul), Transmediale 2012 (Berlin), Centre Pompidou (Paris), Festival De Nouveau Cinema (Montreal), Brussels Short film Festival, Musrara Mix (Jerusalem), Collective Gallery (Edinburgh), Incheon International Biennale (Korea).</p> <p class=" text-justify" style="text-align: justify;">Halonen graduated with MFA Fine Art from Goldsmiths College, London in 2006 and is currently doing Doctoral studies at the Finnish Academy of Fine Arts. She lives and works in Helsinki, Finland.</p> <table class="default" summary="ee" width="100%" border="0" cellspacing="0" cellpadding="2"> <tbody> <tr> <td valign="top">&nbsp;</td> </tr> </tbody> </table> <p class=" text-justify" style="text-align: justify;"><strong>Johanna Lecklin</strong> (b. 1972) often uses storytelling as a point of departure for her work, and asks audiences to participate in interviews, storytelling events and secret confessions. Her interest lies especially in moving image on the border of documentary and fiction.</p> <p class=" text-justify" style="text-align: justify;">She has arranged solo exhibitions for example in Gallery Forum Box in Helsinki and in Haninge Art Hall in Sweden. Her works have been shown in the collection exhibition Contemporary Portrait. <em>Face to Face</em> (2015-2016) in the Contemporary Art museum Kiasma in Helsinki and in the <em>City States</em> exhibition in Liverpool Biennial 2010, and on several international art and film festivals such as Kasseler Dokumentarfilm- &amp; Videofest in Germany, New Screen New-Castle, Newcastle, UK, and Tampere Film Festival, Tampere, Finland.</p> <p class=" text-justify" style="text-align: justify;">Lecklin has graduated with a master&rsquo;s degree from the Finnish Academy of Fine Arts 2003 and from Helsinki University 2008. She is doing her doctoral studies at the Finnish Academy of Fine Arts and at Helsinki University. She has studied at the Fine Art Media department at Slade School of Fine Arts, UCL in London 1998-99. She lives and works in Helsinki, Finland.</p> <table class="default" summary="jjj" width="100%" border="0" cellspacing="0" cellpadding="2"> <tbody> <tr> <td valign="top">&nbsp;</td> </tr> </tbody> </table> <p class=" text-justify" style="text-align: justify;"><strong>Milla-Kariina</strong><strong>Oja&acute;s</strong> (b.1976) recent works investigate the characteristics of different individual spaces, attempting to ask what is similar between them, what connects the spaces, not architecturally or materially, but on an emotional level. In our memories the spaces we have lived in get the same meaning. They have all been shelters for us, spaces of protection and comfort. In our memories they become one.</p> <p class=" text-justify" style="text-align: justify;">Her work moves on the borders of photography and video, often including some performative qualities. Her work has been exhibited in galleries, art centres and museums in Europe and China. Her newest video installation <em>Behind dark curtains snow seems to be whiter</em> was part of the international Turku Biennial 2015 at the Contemporary Art Museum Aboa Vetus &amp; Ars Nova (Turku, Finland). <em>Home-Project </em>featured now in Espacio<strong>&nbsp;</strong>Trapezio was exhibited previously as a solo show in Beijing at one of&nbsp; Chinas most prominent platforms for contemporary photography and video art, The Three Shadows Photography Art Centre and was also part of the Special Projects -Foreign artists in China platform at the Art Beijing Contemporary art fair 2010. Other exhibitions include: Imagine Gallery (Beijing), Photography Gallery Hippolyte (Helsinki), Oulu Museum of Art (Oulu, Finland), Lahti Museum of Art (Lahti, Finland) Lianzhou International art photography festival, (Lianzhou, China), Galleria Ferran Cano (Barcelona).</p> <p class=" text-justify" style="text-align: justify;">Oja is currently based in Helsinki. She graduated with BA (Hons) Fine Art Photography from Manchester Metropolitan University 1999. She continued her studies in a Fine Art PhD program 2000-2002 at the University of Barcelona, Spain, where she lived and worked for 7 years until she moved to China in 2006.</p> <hr /> <blockquote> <p class=" text-justify" style="text-align: justify;"><em>Un hombre se propone la tarea de dibujar el mundo. A lo largo de los a&ntilde;os puebla un espacio con im&aacute;genes de provincias, de reinos, de monta&ntilde;as, de bah&iacute;as, de naves, de islas, de peces, de habitaciones, de instrumentos, de astros, de caballos y de personas. Poco antes de morir, descubre que ese paciente laberinto de l&iacute;neas traza la imagen de su cara.</em></p> <p class=" text-right" style="text-align: right;"><strong>Jorge Luis Borges</strong>, <em>El Aleph y otras historias</em>.</p> </blockquote> <p class=" text-justify" style="text-align: justify;">Exposici&oacute;n colectiva de <strong>Henna-Riikka Halonen</strong>, <strong>Johanna Lecklin</strong> y <strong>Milla-Kariina</strong><strong>Oja</strong>, cuyos trabajos reflejan la naturaleza de la realidad y las posibilidades de su interpretaci&oacute;n. Estas tres artistas finlandesas, que han ganado reconocimiento a nivel internacional, trabajan con la fotograf&iacute;a y la imagen en movimiento.</p> <p class=" text-justify" style="text-align: justify;">El trabajo de <strong>Henna-Riikka Halonen</strong> explora c&oacute;mo crear historias dentro de historias y c&oacute;mo tejer acontecimientos dentro de otros acontecimientos. De este modo las diferentes realidades se superponen y los espectadores aprecian la apertura significativa de los relatos y de la serie de acontecimientos. En su pr&aacute;ctica, <strong>Johanna Lecklin</strong> trabaja con historias, las cuales vuelve a contar y hace as&iacute; una llamada de atenci&oacute;n sobre los efectos que generan las diferentes maneras de contar y representar historias &iquest;c&oacute;mo cambia la historia al volver a contarla? En la obra <strong>Milla-Kariina Oja</strong> la cuesti&oacute;n del espacio p&uacute;blico y privado se mezcla &iquest;qu&eacute; es lo familiar y qu&eacute; es lo desconocido y c&oacute;mo se funden estos espacios y situaciones entre ellos? <strong>&nbsp;</strong></p> <p class=" text-justify" style="text-align: justify;"><strong>Henna-Riikka Halonen </strong>muestra una instalaci&oacute;n, <strong><em>Eden, The Po(w)der of Fear</em></strong>. &Eacute;sta consiste en un cortometraje, dibujos y un p&oacute;ster, y es la continuaci&oacute;n de una performance que Halonen construy&oacute; para el Lilith Performance Studio en Malm&ouml; (Suecia) a lo largo de la primavera y el verano de 2014. La performance <em>Eden, The Po(w)der of Fear</em> tuvo lugar en una construcci&oacute;n laber&iacute;ntica en la cual j&oacute;venes actores de Malm&ouml; repet&iacute;an extra&ntilde;os rituales y entre los que los espectadores deambulaban libremente.</p> <p class=" text-justify" style="text-align: justify;">Un lanzamiento de un dado rige el orden de las escenas en el interior del escenario, donde un grupo de "estudiantes" pasan el tiempo, permiti&eacute;ndose una actitud transgresora con juegos, rituales y otras actividades. El punto de partida del proyecto fue la pel&iacute;cula <em>L'Eden</em><em>&nbsp;et Apr&egrave;s</em> de 1970 del escritor de la <em>nouveau roman</em> francesa Robbe Grillet.</p> <p class=" text-justify" style="text-align: justify;"><strong>Johanna Lecklin</strong> muestra dos obras de imagen en movimiento, <strong><em>The Cage</em></strong> (2015) y <strong><em>A Christmas Tale</em></strong> (2013). Lecklin est&aacute; interesada en experimentar con la narraci&oacute;n. Ambos trabajos est&aacute;n inspirados en historias grabadas de su proyecto de narraci&oacute;n de historias llamado <em>Story Caf&eacute;</em>. &Eacute;stos forman parte de una serie de obras de diferentes g&eacute;neros cinematogr&aacute;ficos que representan ni&ntilde;as que se comportan de forma cruel. En <em>The Cage</em>, la protagonista est&aacute; enfrent&aacute;ndose a sus recuerdos. Lecklin ha organizado su caf&eacute; y ha realizado grabaciones en 15 ciudades a lo largo de Europa.</p> <p class=" text-justify" style="text-align: justify;"><strong>Milla-Kariina Oja</strong> muestra una selecci&oacute;n de su serie de fotograf&iacute;a <strong><em>Home-Project</em></strong> (2010) y el obra de v&iacute;deo <strong><em>Falling House</em></strong> (2013). Ambos trabajos pertenecen a una investigaci&oacute;n presente en el trabajo de los &uacute;ltimos a&ntilde;os de Oja, que tratan sobre el espacio individual, el hogar y las fronteras. <em>Home-Project</em> fue realizado en Finlandia y China, donde Oja viaj&oacute; a diferentes paisajes con una construcci&oacute;n en forma de casa hecha por ella misma y la instal&oacute; cuidadosamente para luego fotografiarla. <em>Falling House</em> sigue la destrucci&oacute;n de una casa de dos plantas en un pueblo al sur de China.</p> <p class=" text-justify" style="text-align: justify;">Esta exposici&oacute;n forma parte de <strong>D&iacute;as N&oacute;rdicos</strong>, festival multidisciplinar de cultura n&oacute;rdica en Madrid, y cuenta con la amable colaboraci&oacute;n del <strong>Arts Promotion Centre Finland</strong>,<strong>&nbsp;Frame Visual Art Finland</strong> y el <strong>Instituto Iberoamericano de Finlandia</strong>.&nbsp; </p> <p class=" text-justify" style="text-align: justify;"><strong>Henna-Riikka Halonen</strong> (1975) usa una gran variedad de referencias hist&oacute;ricas y culturales,&nbsp; incluyendo teatro de vanguardia y literatura y cine de ciencia ficci&oacute;n -poniendo a prueba las tensiones entre los actores&nbsp; el p&uacute;blico y la actuaci&oacute;n y la no actuaci&oacute;n. Crea historias dentro de historias, espacios dentro de espacios, acontecimientos dentro de acontecimientos, en los cuales las posibilidades sociales son ensayadas, interpretadas y reinterpretadas. Referencias y elementos se unen a trav&eacute;s de un proceso similar a un collage.</p> <p class=" text-justify" style="text-align: justify;">Ha trabajado y producido muchos proyectos de v&iacute;deo colaborativos a gran escala, y comisionados en Reino Unido, Israel, Irlanda, Francia y Finlandia, y ha exhibido su trabajo en festivales y exposiciones internacionales como en el Research pavilion, Bienal de Venecia 2015, <em>You imagine What, you Desire</em>, Bienal de Sydney 2014, <em>Eden The Pow(d)er of Fear</em>, Lilith Performance Studio (Malm&ouml;, Suecia), <em>Fictitious Entry</em>, Uqbar (Berl&iacute;n), Video Dumbo festival (Nueva York), Gallery Factory (Se&uacute;l), Transmediale 2012 (Berl&iacute;n), Centre Pompidou (Par&iacute;s), Festival du Nouveau Cinema (Montreal), Brussels Short film Festival, Musrara Mix (Jerusal&eacute;n), Collective Gallery (Edimburgo), Incheon International Biennale (Korea).</p> <p class=" text-justify" style="text-align: justify;">Halonen se gradu&oacute; con&nbsp; un MFA de Bellas Artes en Goldsmiths College, Londres en 2006 y actualmente se realiza acutalmente estudios de doctorado en la Finnish Academy of Fine Arts. Vive y trabaja en Helsinki, Finlandia.</p> <table class="default" summary="lll" width="100%" border="0" cellspacing="0" cellpadding="2"> <tbody> <tr> <td valign="top">&nbsp;</td> </tr> </tbody> </table> <p class=" text-justify" style="text-align: justify;"><strong>Johanna Lecklin</strong> (1972) a menudo usa la narraci&oacute;n como punto de partida para su trabajo y pide a su p&uacute;blico participar en entrevistas, contar acontecimientos y confesiones secretas. Le interesa especialmente la imagen en movimiento en la frontera entre documental y ficci&oacute;n.</p> <p style="text-align: justify;">Ha realizado exposiciones individuales en la galer&iacute;a Forum Box en Helsinki y en Haninge Art Hall en Suecia. Sus obras han sido expuestas en la exposici&oacute;n colectiva llamada <em>Contemporary Portrait. Face to Face</em> (2015-2016) en el Contemporary Art museum Kiasma en Helsinki y en la exposici&oacute;n <em>City States</em> en la Bienal de Liverpool de 2010, y en diferentes festivales internacionales de arte y cine como en el Kasseler Dokumentarfilm &amp; Videofest en Alemania, New Screen New-Castle, Newcastle, Reino Unido, y el Tampere Film Festival, Tampere (Finlandia).</p> <p class=" text-justify" style="text-align: justify;">Lecklin est&aacute; graduada con un&nbsp; m&aacute;ster en la Finnish Academy of Fine Arts (2003) y en la Universidad de Helsinki (2008). Actualmente realiza su doctorado en la academia Finnish Academy of Fine Arts y en la universidad de Helsinki. Ha estudiado en el departamento de medios audiovisuales en la Slade School of Fine Arts, UCL en Londres (1998-99). Vive y trabaja en Helsinki, Finlandia.</p> <table class="default" summary="jjj" width="100%" border="0" cellspacing="0" cellpadding="2"> <tbody> <tr> <td valign="top">&nbsp;</td> </tr> </tbody> </table> <p class=" text-justify" style="text-align: justify;">Los trabajos recientes de<strong>&nbsp;Milla-Kariina Oja</strong> (1976) investigan las caracter&iacute;sticas de los diferentes espacios individuales, tratando de preguntar qu&eacute; hay de similar entre ellos, qu&eacute; es lo que conecta los espacios, no arquitect&oacute;nica o materialmente, sino a nivel emocional. En nuestros recuerdos, los espacios en los que hemos vivido tienen el mismo significado. Todos han sido refugios para nosotros, espacios de protecci&oacute;n y de confort.</p> <p class=" text-justify" style="text-align: justify;">Su trabajo se mueve por las fronteras entre la fotograf&iacute;a y el v&iacute;deo, incluyendo a menudo calidades performativas. Su trabajo ha sido expuesto en galer&iacute;as, centros de arte y museos en Europa y China. Su instalaci&oacute;n de v&iacute;deo m&aacute;s reciente <em>Behind dark curtains snow seems to be whiter<strong>&nbsp;</strong></em>form&oacute; parte de la Bienal Internacional de Turku 2015 en el museo de Arte Contempor&aacute;neo Aboa Vetus &amp; Ars Nova (Turku, Finlandia). <em>Home-Project,</em> presentado ahora en el Espacio<strong>&nbsp;</strong>Trap&eacute;zio, fue expuesto previamente como exposici&oacute;n individual en Beijing en una de las plataformas m&aacute;s destacadas de fotograf&iacute;a y videoarte de China, The Three Shadows Photography Art Centre y form&oacute; parte del <em>Special Projects - Foreign artists in China</em> en la feria de arte Art Beijing Contemporary (2010). Otras exposicones: Imagine Gallery (Beijing), Photography Gallery Hippolyte (Helsinki), Oulu Museum of Art (Oulu, Finlandia), Lahti Museum of Art (Lahti, Finlandia) Lianzhou International art photography festival, (Lianzhou, China), Galleria Ferr&aacute;n Cano (Barcelona).</p> <p class=" text-justify" style="text-align: justify;">Oja actualmente vive en Helsinki. Se gradu&oacute; con honores como licenciada en fotograf&iacute;a art&iacute;stica en la Manchester Metropolitan University 1999. Continu&oacute; sus estudios en un programa de artes pl&aacute;sticas de 2000 a 2002 en la Universidad de Barcelona, Espa&ntilde;a, donde vivi&oacute; y trabaj&oacute; durante siete a&ntilde;os hasta mudarse a China en 2006.</p> Wed, 02 Sep 2015 17:28:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list