ArtSlant - Openings & events en-us 40 Vladimir Markov - Henry Moore Institute - January 30th, 2013 11:00 AM - 5:30 PM <p class="Default">Voldemārs Matvejs (b. Riga, 1877; d. St Petersburg, 1914) was a Latvian painter and art theorist who was fascinated by the display and understanding of art. He took 'Vladimir Markov' as his <em>nom de plume</em> in 1912, marking the first publication of his theoretical writings.  In the three years before his death he researched a universal theory for the development and understanding of art, based on fundamental studies of the art of 'all periods and regions'. His research led him to photograph works of art across Europe, documenting many different modes of display, and, indirectly, revealing the ways in which photography can be used to tell a particular artistic narrative. This exhibition focuses on the depiction of sculpture, by exploring photographs, publications and a painting by Markov from 1910.</p> <p>The display, developed by the Henry Moore Institute with Dr Jeremy Howard (University of St Andrews, 2012 Henry Moore Institute Senior Research Fellow) and Irēna Bužinska (Latvian National Museum of Art, Riga) investigates how Markov developed a visual theory of appreciating sculpture.</p> <p>Between 1910 and 1913, while studying at the St Petersburg Art Academy, Markov became a spokesman for the Union of Youth, a Russian avant-garde artist group demanding artistic change and breaking out of the restrictive tenets of the academy and salon. In the first two issues of the Union's journal, published in April and June 1912, Markov's <em>Principles of a New Art</em> acted as a manifesto for the group.</p> <p>Markov was obsessed by art, constantly finding ways to travel in order to visit ethnographic collections of sculpture. In 1912, as a representative of the Union of Youth, Markov visited Berlin, Cologne and Paris. As part of his work he purchased photographs of sculptures and paintings by Picasso, his (ultimately unrealised) aim being the establishment of the first Russian museum of contemporary art. In 1913 he travelled with his close friend Varvara Bubnova, and a camera given by the Union, to Oslo, Copenhagen, Hamburg, London, Paris, Cologne, Brussels, Leiden, Amsterdam, Leipzig, Berlin and St Petersburg. In each collection he visited, he made notes and drawings, and carefully selected individual works to photograph.</p> <p>The images show Markov frequently found his way into storerooms, often using paper and sheets as makeshift backdrops. Markov's visual research informed four books. In <em>Creative Principles in the Plastic Arts: Faktura</em> (1913) he paid particular attention to the surfaces of sculpture and material processes in an investigation of the assemblage, artistry and 'noise' of visual art. In 1914 <em>The Art of Easter Island</em> was published, analysing the sculpture of the region from artistic, rather than ethnographic, perspectives. Between 1913 and 1914 he worked on the posthumously published <em>Negro Art</em> (1919), researched a year before Carl Einstein's 1915 much referenced <em>Negerplastic</em>. These books, along with exhibition catalogues from exhibitions organised by Irēna Bužinska, are held in our Research Library. His final planned book, <em>The Art of Northern Asia,</em> was unfinished at his untimely death, with many of his notes and manuscripts subsequently lost, leaving only a few surviving images as evidence of his research.</p> Fri, 04 Jan 2013 22:35:46 +0000 Group Show - Istanbul Museum of Modern Art - January 30th, 2013 10:00 AM - 6:00 PM <p>İstanbul Modern presents Prix Pictet, one of the most important photography prizes in the world. The aim of the prize is to use photography to raise public awareness worldwide to the environmental and social challenges of the new millennium. Featuring the work of 12 photographers who have been shortlisted for the fourth cycle, the exhibition this year focuses on the theme of 'Power'. Having a great creative reach, Power embraces contradiction. The same forces that result in disaster and despair can also generate hope and renewal.</p> <p>Global tour of the exhibition that begins with exhibitions in London, Munich, Paris, Beirut and İstanbul ends in 2014 with an exhibition at the Museum of Photographic Arts (MOPA) San Diego.</p> Sun, 09 Dec 2012 22:22:41 +0000 Group Show - Art Gallery of New South Wales - January 31st, 2013 10:00 AM - 5:00 PM <p>Is it possible to surmise the mystery of love or to reveal the emotions it engenders?</p> <p>From Polly Borland’s playfully dressed-up bodies, replete with sexual suggestion, to Tim Silver’s disintegrating sculpture of a stargazing young man, this exhibition considers the variegated terrain of love’s language – joy, elation, longing, loss, melancholia and memory.</p> <p>For the first time since 1988, the Belgiorno-Nettis galleries at the Art Gallery of NSW will be architecturally reconsidered to take the viewer on a spatial and emotional journey through love’s language, from beginning to end.</p> <p>The exhibition includes photography, photomedia, video, collage, sculpture and installation.</p> Sun, 09 Dec 2012 23:21:11 +0000 - artgenève - January 31st, 2013 12:00 PM - 8:00 PM <h3>opening hours</h3> <p>thursday 31 january 12 am – 8 pm</p> <p>friday 01 february 12 am – 8 pm</p> <p>saturday 02 february 12 am – 8 pm</p> <p>sunday 03 february 12 am – 8 pm</p> <p> </p> <h3>tickets</h3> <p>adults20.- CHF</p> <p>groups (20 people min.)10.- CHF</p> <p>seniors/students/ages 6 to 167.- CHF</p> <p>children ages under 6 free of charge</p> <div class="content"> <h3>exhibitors</h3> <p><strong>contemporary art galleries and art spaces</strong><br /> <br /> 2m2<br /> Bischoff/Weiss<br /> Blondeau &amp; Cie<br /> Blancpain Art Contemporain<br /> Esther Schipper<br /> Caroline Smulders<br /> Future Gallery<br /> Gagosian<br /> Galerie Bernard Ceysson<br /> Galerie Bernard Jordan<br /> Galerie Bertrand Grimont<br /> Galerie Bodson-Emelinckx<br /> Galerie Lange + Pult<br /> Galerie Laurent Godin<br /> Galerie Les Filles du Calvaire<br /> Galerie M.&amp;T. de La Châtre<br /> Galerie Mathias Güntner<br /> Galerie Olivier Robert<br /> Galerie Rosa Turetsky<br /> Galerie Sébastien Bertrand<br /> Galerie XIPPAS</p> <p><strong>modern art &amp; design galleries</strong><br /> <br /> Galerie Ditesheim<br /> Galerie Patrick Gutknecht<br /> Galerie Michel Giraud<br /> Simon Studer Art / Associés<br /> Catherine Duret Art Moderne et Contemporain<br /> Ormond Furnitures &amp; Interiors<br /> Priveekollektie<br /> Silvan Faessler Fine Art</p> <p><strong>institutions &amp; special projects</strong><br /> <br /> Clouds – Pawel Althamer &amp; Lou Cantor,<br /> a project by Hug &amp; von Below<br /> Fmac &amp; FCAC – Fonds d’art contemporain <br /> de la Ville et du Canton de Genève<br /> Galeria Plan B<br /> Head<br /> If I was John Armleder (what curators can’t do), <br /> group show curated by Luca Cerizza<br /> Mamco - Musée d’art moderne et contemporain<br /> Centre d’Art Contemporain Genève<br /> Festival Antigel, danse et musique<br /> Ernst Ludwig Kirchner, Drawings <br /> from a private genevan collection<br /> Kurt Schwitters, Collages <br /> from a private genevan collection</p> </div> Mon, 24 Dec 2012 01:08:12 +0000 Olav Christopher Jenssen - Henie Onstad Art Centre - January 31st, 2013 11:00 AM - 7:00 PM <p>Olav Christopher Jenssen is one of Scandinavia´s most recognized and exhibited contemporary artists. This exhibition will focus on Jenssens wokrs on paper.</p> <p>Works on paper takes up a major part of his artistic production. With artists such as Paul Klee, Joan Miró and Cy Twombly as relevant references, in these works he has developed an intuitive and imaginative artistic method, first presented at the exhibition <i>101 Drawings</i>)in 1987 and later through numerous series of drawings, monotypies and watercolours . The exhibition will show a retrospective selection of these series.</p> <p>Jenssen has exhibited widely internationally and is professor in painting at Hochschule für Bildende Künste in Braunschweig, Germany.</p> Mon, 21 Jan 2013 02:02:03 +0000 Jacques Callot - Museum of Fine Arts, Houston (Beck Building) - January 31st, 2013 10:00 AM - 9:00 PM <p>Jacques Callot, one of the most accomplished printmakers of the 17th century, revolutionized the technique of etching. <em>Princes and Paupers</em> focuses on two poles of Callot’s work: his aristocratic commissions, and his images of the marginalized and impoverished.</p> <p>An international artist active in both France and Italy, Callot (1592–1635) was a consummate draftsman. His careful observations never fail to amaze viewers. Callot created more than 1,400 prints that reveal his fascination with a broad range of subjects, from the miseries of war to aristocratic pageantry; from saints to beggars; from biblical narratives and theatrical comedies to Gypsies and dwarfs. His prints often developed into series that explore a narrative or variations on a theme. Callot’s etchings, which are consistently imaginative, inventive, and witty, open a window through which to better understand 17th-century Europe.</p> Mon, 10 Dec 2012 03:28:34 +0000 Ben Huff - Alaska State Museum - February 1st, 2013 10:00 AM - 4:00 PM <p>Exploring the people and landscape of Alaska's Dalton highway, Ben's work attempts to portray the road as the physical and psychological line between oil and frontier.</p> Thu, 17 Jan 2013 03:44:40 +0000 Drew Michael - Alaska State Museum - February 1st, 2013 10:00 AM - 4:00 PM <p>An Alaska Native, Yup'ik/Inupiaq, and Polish European, Drew combines different forms of customary and contemporary design using wood, ivory, feathers, found objects, stone, metal, plastic and bone.</p> Thu, 17 Jan 2013 03:46:56 +0000 Roy Peratrovich Jr. - Alaska State Museum - February 1st, 2013 10:00 AM - 4:00 PM <p>In recognition of Elizabeth Peratrovich Day and in honor of Elizabeth Peratrovich, this exhibit will feature a sculpture by Roy Peratrovich Jr., photographs, and historical information about Elizabeth and her work on behalf of equality for Alaska Natives.</p> Sun, 20 Jan 2013 23:09:09 +0000 Wendy Maruyama - Arkansas Art Center-Museum of Art - February 1st, 2013 10:00 AM - 5:00 PM <p>This exhibition combines two projects of Wendy Maruyama, a studio furniture maker and head of the studio furniture program at San Diego State University. These projects, the Tag Project and Executive Order 9066, together tell the story of the Japanese-American internment camps during World War II. In the Tag Project, Maruyama replicated 120,000 individual identification tags worn by the internees in the ten relocation camps, including two in Arkansas. Maruyama assembled the re-created paper tags in ten groups, each group representing all the internees at a specific camp. Each of these groupings hangs from the gallery ceiling and is about 11 feet tall. Maruyama has folded the Tag Project into a parallel project of hers titled Executive Order 9066 to show them together in this exhibition. Executive Order 9066 was the directive signed by President Franklin D. Roosevelt ordering the incarceration of all people of Japanese ancestry then resident in the United States. For the parallel project, Maruyama created work that explores ethnicity and identity through suitcases, footlockers and steamer trunks, artifacts from their owners' forced relocation journey in 1942.</p> <p>The Arts Center has collaborated with the Butler Center for Arkansas Studies and the Arkansas Center for History and Culture to organize Relics of Rohwer: Gaman and the Art of Perseverance, a related exhibition documenting the experiences and artwork of Japanese Americans at Rohwer, one of two internment camps located in Arkansas.The artwork is on loan from the Mabel Rose Jamison Vogel/Rosalie Santine Gould Collection, Butler Center for Arkansas Studies, Central Arkansas Library System.</p> Sun, 20 Jan 2013 23:31:23 +0000 Edward Weston - Arkansas Art Center-Museum of Art - February 1st, 2013 10:00 AM - 5:00 PM <p>As America awaited the declaration of war in the spring of 1941, photographer Edward Weston set out on a cross-country photographic expedition. Weston, one of America's leading modernist photographers, was making photographs for a new edition of Walt Whitman's Leaves of Grass. The Limited Editions Club of New York commissioned these images to bring together the great nineteenth-century poet's verbal celebration of America with the great twentieth-century photographer's visual odyssey. Weston declined to literally illustrate Whitman's words, yet the two portraits of America echo one another. Where Whitman's nineteenth-century verse was shaped by the Civil War, Weston's images anticipated World War II. <br /> <br /> Weston's trip lasted almost ten months, covering 24 states and nearly 25,000 miles. Weston and his wife, Charis Wilson, drove their trusty Ford, 'Walt,' throughout the South, the Mid-Atlantic, New England, and back home to California after the Japanese bombing of Pearl Harbor brought about America's entry into the war. Weston's photographs include studies of decaying southern mansions, the Boulder Dam, a homely display of old bottles, the Grand Canyon, New Orleans cemeteries, and haunting portraits of people the photographer met along the way. Weston's images form no detached national survey; rather they embody an idiosyncratic personal meditation on selected American places, objects, and people. Edward Weston: Leaves of Grass includes 53 photographs chosen from the approximately 700 negatives Weston developed from the trip.</p> Sun, 20 Jan 2013 23:35:16 +0000 Lori Elliott-Bartle, Linda Hatfield, Marcia Joffe-Bouska, Judith Anthony Johnston, Pete Wroblewski - Artists Cooperative Gallery - February 1st, 2013 6:00 PM - 9:00 PM <p>Members of the Artists’ Cooperative Gallery explore the theme “Relationships” during February and will host a First Friday opening reception 6 p.m. to 9 p.m. Friday, Feb. 1, 2013. The show runs Jan. 29 to Feb. 24, 2013.</p> <p>             <strong>Pete Wroblewski</strong> is among the artists supporting the theme with two bronze sculptures. “Threshold” was inspired by the final scene of the opera “Bluebeard’s Castle,” in which a young woman accepts her doomed connection to a lover with dark secrets. “Curious?” depicts two figures facing one another, wondering whether to pursue a relationship.</p> <p>            <strong>Judith Anthony Johnston </strong>will show “Master of the Fall,” a mixed media piece in a series of works exploring human nature. “Relationships are the crux of humanity,” Johnston says. “This piece is about cruelty and control, a seemingly common thread in the human experience.”</p> <p>             <strong>Marcia Joffe-Bouska</strong> includes “Reconstructed,” a mixed media piece portraying the hard work, determination, tenacity and persistence required to rebuild and “reconstruct” a relationship. “The intent was to specifically reference a marriage,” she says, noting that familiar marriage vows are painted into the background. “But it really refers to the recommitment required to make <em>any</em> relationship work. Materials and technique -- red mirror edging the “chasm”, nails, hand prints, metal bands bridging negative space – suggest the difficulties, disappointments, disillusionment, betrayals, sorrows, ‘heartbreaks’ that can occur in <em>any</em> relationship in contrast to its initial promise, hopefulness, fervor, and optimism.” <br />  <strong>            Linda Hatfield</strong> will show “Happy Day with Monster,” in which she explores labeling and identity. “I think the green guy who looks so happy could be the subject, and he views the girl as the monster in his frame of reference,” she says.  “The piece is about labels and finding great joy in those who are different from us. The ways we relate to others visually is also part of this image.”<br />             <strong>Lori Elliott-Bartle</strong> adds “Murmur,” an oil painting depicting an embracing couple entwined in strands of barbed wire. Desiccated leaves fall and blue butterflies ascend around the couple, representing the ebb and flow of relationships, pleasure and pain, evolution and change.</p> Fri, 18 Jan 2013 23:27:06 +0000 Alistair McClymont - Contemporary Art Museum Raleigh - February 1st, 2013 11:00 AM - 6:30 PM <p>McClymont’s practice incorporates a range of materials and practices that include sculpture, photography and video. His most recent works reproduce natural phenomena as a means of exploring scientific and philosophical ideas. The means of production and installation of the work often reveals the science behind it. At the same time, it acknowledges that there is something inherently unknowable and uncontrollable about the way in which naturally or artificially induced phenomena behave that is capable of inducing awe and wonder.</p> <p>Works planned for the exhibition include several large inflated steel forms that demonstrate the effect of changing air pressure upon a sealed form, and a tornado produced using a humidifier and fans strapped to a simple scaffolding structure. The title of the exhibition is borrowed from the eponymous artwork <em>Everything we are capable of seeing</em>, McClymont’s nighttime rainbow. The colors produced by this installation represent every hue that a human being is capable of seeing. McClymont made this work in riposte to the poem Lamia by Keats, to demonstrate that knowledge of optics and of the relationships between visible light and color does not “unweave a rainbow” or undermine the sense of wonder and awe it can affect. Other works pick up on this epistemological theme and seek to demonstrate a connection with knowledge, process and beauty.</p> <p>To McClymont, the processes used to create the works are often more important than the actual finished artwork:</p> <p>“My artwork is a continuing process of discovery and experimentation. Each piece follows the last in a continual journey of investigation into cultural and physical phenomena. The work is underlined by a search for what it is to be human. This might be our position in time and space on a grand scale, or singular observations on subjects that fascinate me. Each piece takes a small subject area and breaks it down into something understandable and perhaps beautiful.”</p> <p>At times, artworks take the form of direct demonstration, or experimentation: phenomena are removed from the world and reduced to their essence. At other times, the artworks are formed by phenomena: a process that is out of the artist’s control, where the final work points to the process that created the sculpture or image.</p> <p>McClymont lets the concept dictate the materials and method, producing artworks ranging from large-scale installations to iPhone applications; yet underlying all the work is a deep concern for beauty and reason.</p> <p><strong>Elysia Borowy-Reeder</strong>, CAM Raleigh executive director and curator of the exhibition, says:</p> <p>“McClymont suggests new ways of experiencing art—Alistair McClymont makes night-time rainbows, suspends raindrops in mid-air and creates tornadoes with deceptively simple machines. A UK based artist working in sculpture, photography and video, McClymont describes these as ‘phenomena’ artworks, in which he tries to capture natural, often overlooked occurrences and evoke a sense of wonder. CAM Raleigh is proud to make his United States debut. Don’t miss the opening night of the exhibition and February First Friday when you can catch his nighttime rainbow which lends its title to the exhibition: <em>Everything we are capable of seeing</em>.”</p> <p>Alistair McClymont graduated from the Royal College of Art in 2005 with an MA in Sculpture. Recent solo exhibitions include noshowspace, London (2012), The Art House Foundation, London (2012), ‘<em>The Limitations of Logic</em>’ at the Wyer Gallery, London (2009) and at Hull Art Lab (2005). Recent group exhibitions include ‘<em>Brittle Crazie Glasse</em>’ at Islington Mill, Salford (2012), ‘<em>Blue Skies</em>’, Dundee Contemporary Arts (2012), ‘<em>V22 Summer Club</em>’, London, (2012), ‘<em>Title to be decided*</em>’, Mexico, Leeds, (2012), Construction Gallery, London (2012), ‘<em>LABoral - Experimental Station</em>’, Los Prados, Spain (2011-12), ‘<em>Experimental Station, Research and Artist Phenomena</em>’, CA2M Madrid (2011). His work can be found in permanent collections at the Gibberd Sculpture Garden in Essex and at Credit Agricole.</p> Sun, 13 Jan 2013 01:30:19 +0000 Jeremy Deller - Contemporary Art Museum St. Louis - February 1st, 2013 7:00 PM - 9:00 PM <p><em>Jeremy Deller: Joy in People</em> is the first mid-career survey of one of Britain’s most significant contemporary artists. Over the past two decades, Jeremy Deller has redefined the rules of contemporary art and become a profound influence on artists emerging today. His practice puts everyday life and experience at the center of his internationally recognized collaborative and interactive work, celebrating how people’s activities transform mass culture or become part of the popular imagination itself. Deller’s statement that “art isn’t about what you make but what you make happen” is reflected in the way that he assembles things, stages events, and orchestrates and directs ephemeral yet galvanizing situations.</p> <p><em>Joy in People</em> will radically and dynamically transform CAM’s entire museum space, from the galleries to the café, lobby, and courtyard. The exhibition features a comprehensive selection of Deller’s major installations, photographs, videos, posters, banners, performances, and sound works. Highlights include <em>Open Bedroom</em> (1993), a life-size reconstruction of his first exhibition staged in his parents’ house while they were away on vacation, and <em>Valerie’s Snack Bar</em>, a functioning replica of a Manchester café, originally created as a float for a parade Deller orchestrated in 2009 (complemented by large-scale parade banners, including one designed by David Hockney, and a video of the procession).</p> <p>Many of Deller’s projects over the years have dealt with the social meanings of popular music and how the use of power by those in authority affects everyday people. An extensive array of public programs is planned to complement the exhibition, including a live performance of Deller’s pivotal 1997 work <em>Acid Brass</em>, in which acid house techno music is played by a traditional brass band, as well as a discussion between the artist and key participants in<em> It Is What It Is</em>, his 2009 project about the Iraq War. CAM’s museum store, CAM POP, will also be specially curated to reflect Deller’s exuberant embrace of both high and low culture.</p> <p><strong>Jeremy Deller</strong> (b. 1966, London; lives in London) will represent Britain at the 2013 Venice Biennale. He studied art history at the Courtauld Institute of Art and University of Sussex and, in 2004, won the Turner Prize. His work has been presented in solo exhibitions at the New Museum of Contemporary Art, New York (in collaboration with the Museum of Contemporary Art, Chicago, and the Hammer Museum, Los Angeles, 2009), the Palais de Tokyo, Paris (2008), and the Kunstverein in Munch (2005), and in major group exhibitions such as <em>September 11</em>, at MoMA PS1, Long Island City, New York (2011), the Sao Paolo Biennale, Sao Paolo, Brazil (2010), and the 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004), among many others.</p> <p><em>Jeremy Deller: Joy in People</em> is organized by the Hayward Gallery, London, where it was curated by Director Ralph Rugoff. The exhibition is coordinated at the Contemporary Art Museum St. Louis by Chief Curator Dominic Molon and is accompanied by a fully illustrated catalog ($40).</p> Sat, 05 Jan 2013 00:46:58 +0000 James Aldridge - David Risley Gallery - February 1st, 2013 5:00 PM - 8:30 PM <p>David Risley Gallery is proud to announce our first solo show of James Aldridge in<br />Copenhagen.<br />Representation of the natural world is central to James Aldridge’s work. How we<br />relate to images of nature and the folklore and superstitions that surrounds them<br />affect our reading of these images. The crow, which repeatedly features in<br />Aldridge’s work, has long been seen as an ominous portent. Rather than a simple<br />representation of a bird, the image of the crow carries with it myriad<br />associations.<br />In Aldridge’s work a tension between the real and fantastic is revealed and<br />establishes a compelling psychological space. The conventions of landscape<br />representation are abandoned in these paintings — horizons disappear and gravity<br />and orientation fail to obey the usual rules. Yet connections between these birds,<br />plants and other animals and the landscape remain, conjuring a strangely<br />atmospheric result. Tension lies in the interplay between decorative and beautiful<br />elements and the implied violence of dripping or vomited blood and nightmarish<br />mutated mandalas. Polyhedral objects exert a gravitational influence on the<br />compositions, exploding or imploding their space, while rendering these enigmatic<br />objects both incongruous and pivotal. These enigmatic forms refer to 16th century<br />explorations of perspective, and like the natural history illustrations that<br />Aldridge references they come from a time when art and science were more<br />intimately related to humanistic discovery than postmodern aesthetics.<br />These elements of Aldridge's imaginaire recall this rich legacy but are<br />re-established in a hallucinatory world where these disparate characters interact<br />to make a whole.<br />James Aldridge was born in the UK in 1971 and lives and works in Småland, Sweden. Recent<br />solo exhibitions have included Poppy Sebire Gallery, London (2011), Gabriel Rolt,<br />Amsterdam (2010); Galería Casado Santapau, Madrid (2009); Suite Gallery, Wellington NZ<br />(2009) and David Risley Gallery, London (2008). Group exhibitions include First Cut,<br />Manchester City Art Gallery, Apopcalypse Now, Nieuw Dakota, Amsterdam (2011), Second<br />Biennial of The Canary Islands, Santa Cruz de Tenerife (2009); On that which remains,<br />Nassauischer Kunstverein, Wiesbaden (2008); PLUS, Museum Wiesbaden (2007)). His painting<br />Cold Mouth Prayer was commissioned for Tate Modern and he has work in several major<br />international, private collections. Aldridge holds an MA from the Royal College of Art<br />and in 1998 was awarded the Rome Scholarship in Fine Art. Upcoming shows include Empty<br />Distances, Mark Moore Gallery L.A. curated by Caryn Coleman-Mojica, First Cut, Djanogly<br />Gallery, Nottingham touring to Southampton City Art Gallery and a solo show at Nässjö<br />Konsthall<br /><br /></p> Sat, 26 Jan 2013 06:23:59 +0000 Group Show - Galerie Eva Presenhuber (Löwenbräu-Areal) - February 1st, 2013 6:00 PM - 8:00 PM <p>In “Quickness,” the second chapter of Italo Calvino’s Six Memos for the Next Millennium, the author retells the ancient legend of the Emperor Charlemagne who late in life fell in love with a German girl so passionately that he neglected his regal duties. This, of course, alarmed everyone at his court. Suddenly, the girl died, which was a relief for the courtiers. However, not before long, the old emperor immediately fell in love with her corpse and refused to allow its removal from his bedchamber. Such macabre behavior prompted the Archbishop Turpin to examine the girl’s dead body one night. To Turpin’s astonishment he found a ring with an insert precious stone hidden underneath her tongue. And as soon as the ring was in Turpin’s hand Charlemagne fell madly in love with him and quickly ordered the corpse to be buried. Turpin, needless to say, was shocked by Charlemagne’s display of such an unusual love for him. Driven both by embarrassment and perplexity Turpin threw the ring into Lake Constance whereupon Charlemagne fell deeply in love with the lake and would not leave its shores.<br /> <br /> Calvino notes the striking improbability of the extraordinary series of events: The love of an old man for a young girl, a necrophiliac obsession and a homosexual impulse, while in the end everything subsides into melancholy contemplation, with the old king staring in rapture at the lake.<sup>i</sup> These episodes are yoked by a verbal link, the word ‘love’ or ‘passion,’ which establishes continuity between different forms of attraction,<sup>ii</sup>” and while the ring acts as narrative link, and joins the disparate episodes together. It is the desire emanated by the ring that pulls the Emperor from lustful love to eternal contemplation.<br /> <br /> From October 2010 to the present, at the storefront window of 39 Great Jones Street on a quiet corner of the East Village, there has been an ongoing event: every two months a single work by one artist, from various generations and persuasions, has been displayed.<br /> <br /> From Martin Boyce’s (b. 1967) thoughtful and simplified sculptural repertoires, distilled from early 20th century modernism to the essential, sound biting text-based poetry of John Giorno (b. 1936); from Wesley Martin Berg’s (b. 1984) darkly romantic vision of images bred from folklore and popular culture to Matteo Callegari’s (b. 1979) graphic style that refutes any identifiable visual sign; from the visceral/generative, off-the-grid geometry of Wyatt Kahn (b. 1983) to the hermaphroditic versatility of Alan Shields (b. 1944); from Bruno Gironcoli’s (b. 1936) awesome excessive synthesis of organic forms and industrial/domestic objects to Ann Craven’s (b. 1967) renewable system of seriality infused with endless exploration of abstract mark-making and representational imagery; from the expressive monopoly of black and white cartoon faces and comic book characters viewed frontally by Joyce Pensato (b. 1941) to Josh Smith’s (b. 1976) anarchistic energy, which clashes noisily between personal gestures and impersonal reproductive images ; from the silky yet concentrated/reductive /process- based/painterly form of Andrew Brischler (b. 1987) to the pure economy of Giorgio Griffa’s (b. 1936) never-ending brush marks on unbounded fields of raw canvases; from Tamuna Sirbiladze’s (b. 1971) uncensored expressionism to Davis Rhodes’s (b. 1983) erotic/Burgess-esque minimalism; from the monumental intimacy of Ron Gorchov’s (b. 1930) concave/convex saddle paintings to the conceptual/contextual sculptural impulse toward timeless hybridism of Ann Chu; or from George Ortman’s (b. 1926) blunt and inventive harmony of vernacular autosymbolic imagery and minimal structure to Kes Zapkus’s (b. 1938) codified yet non-hierarchical explosion of infinite push and pull of inner and outer images stemming from his maximalist vision. What among these provides the point of contact and space of solace—that is, the opportunity for one thing to relate to another—is the storefront window. Here, singular contemplation is truncated, a casualty of a perpetually shifting space. The viewing experience of such a project must be measured differently: various, dissimilar duration with no unifying focal point. But in this rare occasion at Galerie Eva Presenhuber, in which all these works may be seen together for a first time, outside of the storefront context, each work may be viewed individually and of a part of one unified space and time. Such an occasion is particularly special, if we are, as Henri Bergson suggests, to regard the condition of time as a constant negotiation between matter and memory. The former is perceived in order to contextualize representation; the latter evokes the mystery that resides in the past; that is “image-remembrance,” which is not contingent on or internal to the body.<br /> <br /> <br /> <br /> <strong>Life is a Killer</strong><strong><br /> </strong><br /> Near the window far from the crowded streets <br /> You lean your naked eyes against its glass, Watch the memories slide off. <br /> You realize you have been walking too swiftly<br /> Along the sidewalk far too long.<br /> <br /> Take a single encounter, swing; <br /> You will be able to recount oblique lines, <br /> As if the memory of the material <br /> Has been scratched onto the windowpane. <br /> They straighten themselves out to form <br /> Certain geometries that remind you of <br /> William Blake’s Auguries of Innocence:<br /> To see a World in a grain of sand <br /> And a Heaven in a wild flower<br /> Hold Infinity in the palm of your hand <br /> And Eternity in an hour.<sup>iii <br /> </sup><br /> I refuse to temper my subversive spirit,<br /> To light the candle for the sake of seeing <br /> Imperceptible contours of an old church’s barrel vault. <br /> Nor would I dare to touch the cool, smooth surface of <br /> An unidentified object that resembles my own torso and shoes. <br /> Where did it come from so mysteriously?<br /> <br /> Oh, between the spaces of Daphne’s laurel leaves <br /> There’s plenty of room for you to stay if you like. <br /> Call it a space of enchantment. <br /> Do not close the window until you have<br /> Rested your body and told the tales of love.<br /> <br /> Love in a square. <br /> Love in a triangle and a circle, <br /> Like Kandinsky who has forgotten Vologda <br /> And all of its fairy-tale power and splendor. <br /> Amorini, putti, grounded in flight.<br /> <br /> Go away. I do not feel sad if <br /> You have forgotten your passport to the other life. <br /> Nor do I feel disappointed with only the frontal view of <br /> An old church’s tympanum <br /> (Just restored by my father last year)<br /> Darkening slowly by a black sun.<br /> <br /> A profile of a man, wearing an unusual hat, <br /> Smoking a cigarette on the sidewalk, asks me:<br /> “How long is the walk from 31 Great Jones <br /> To the Cloister where I can see the Mérode Altarpiece <br /> By the Master of Flémalle?”<br /> <br /> I say, an hour in eternity: <br /> “Between the space of the window and where<br /> Joseph is making his mousetraps <br /> You will find clusters of geometry that <br /> Could make you feel dizzy and lose your way...”<br /> <br /> In this window you are invited to mourn the death of <br /> The deviant queen Penthesilea, valiant in the wake of her grave mistake. <br /> The rest of your friends stand in the rain, on the sidewalk, <br /> Forever. They ask among themselves “Where do emotions hide?”<br /> Or “Do words have voices?” <br /> Each watches the water gush, <br /> Turn into black liquid,<br /> Form a fierce yet utterly familiar face of cartoon character, <br /> Daffy Duck, Mickey Mouse, <br /> Long before Lenny’s silly harmonics become phantoms.<br /> <br /> I am ready to tell you my tales of love.<br /> Each made with smeared colors,<br /> Painted in luminous red, yellow, and green, subordinated with <br /> Chromatics of grey, black, and all else allowed <br /> For my furious longing to be understood. <br /> I prefer to push the narratives hard <br /> To bury them below <br /> Abstract images. <br /> THERE IS NO PICTORIAL MEMORY TO TAKE AWAY<br /> FROM THESE ARTICULATED FIELDS OF SENSATION.<br /> <br /> At the window you stand symmetrically, <br /> Motionless, and notice the sign below: <br /> “DANGER. NO CARS. VAULTED SIDEWALK.”<br /> <br /> You call your mother in Güttigen and ask whether <br /> She still looks abstractly into the depths of Lake Constance, <br /> Where Charlemagne still refuses to leave the shore. <br /> The window, like a hidden ring, celebrates unrelated events that come and go <br /> While each is, IMMANCABILMENTE, distinctly assertive of its own <br /> Repetition and rhythm races against time.<br /> <br /> Now you remember what Baudelaire has warned us, <br /> What one can see out in the sunlight is always less interesting than what goes on behind<br /> a windowpane. In that black or luminous square life lives, life dreams, life suffers.<sup>iv</sup><br /> <br /> In ill-conceived and youthful foolishness <br /> Lies a casualness toward destruction, <br /> And in a war against civilization <br /> Lives the speed that fails to recognize <br /> Its brief window of time.<br /> <br /> We realize LIFE IS A KILLER. <br /> <br /> <br /> Text and poem by Phong Bui<br /> </p> <hr /> <p><sup>i William Butler Yeats, ed. Poems of William Blake, The Modern Library, Boni and Liveright Publishers.<br /> ii Charles Baudelaire, Paris Spleen: 1869, New Direction Publishing, 1970, pg. 77.<br /> iii Italo Calvino, Six Memos for the Next Millennium, Harvard University Press, 1988, pg. 32. <br /> iv Ibid.</sup></p> Thu, 24 Jan 2013 02:36:26 +0000