ArtSlant - Closing soon en-us 40 Mairi Lafferty - Dundee Contemporary Arts - January 29th, 2013 - February 7th, 2013 <p>The first in a series of projects using the Information Space at DCA while the main galleries are closed for changeover. LOVE is the culmination of a two year research project by the artist Mairi Lafferty into Dundee’s Tayside House which is currently being dismantled.</p> Sat, 02 Feb 2013 02:54:06 +0000 Alberto Giacometti - Bechtler Museum of Modern Art - August 31st, 2012 - February 8th, 2013 <p>Sculptures, paintings, prints, drawings and decorative works by enigmatic artist Alberto Giacometti will be on view in <em><b>Giacometti: Memory and Presence</b></em>, opening August 31 in the museum’s fourth-floor gallery. The exhibition will reveal the artistic evolution of Giacometti, a key figure in 20th-century art, and illuminate the sense of intimacy that is reflected in works depicting his family, other artists and important cultural and intellectual figures.</p> Fri, 03 Aug 2012 07:25:59 +0000 - CAIS Gallery Seoul - January 8th, 2013 - February 8th, 2013 Thu, 24 Jan 2013 02:22:20 +0000 Miguel Palma - Arizona State University Art Museum - September 29th, 2012 - February 9th, 2013 <p>International artist-in-residence Miguel Palma (Portugal) has developed a “Remote Desert Exploration Vehicle” that investigates ways in which meaning of place, particularly in remote desert environments, is created and communicated. Palma's work in this exhibition engages issues through the lens of exploration: military history in Arizona and the Southwest, the military’s role in desert preservation, the history of Manifest Destiny and colonialism in populated places, strategies of adaptation and the role of technology in desert survival.</p> Thu, 23 Aug 2012 00:39:28 +0000 Group Show - Galleri Christoffer Egelund - December 6th, 2012 - February 9th, 2013 <p>In keeping with tradition, we proudly present the big annual group show XMAS, where more than 23 artist from around the world is presented. The target is to introduce new promising talents and to show there our establish artists are at the moment.</p> Wed, 09 Jan 2013 23:33:57 +0000 James Perry, Eric Holzman - Gremillion &Co Fine Art Inc - January 10th, 2013 - February 9th, 2013 <p>We are proud to present the wood sculptures of James Perry and the mixed media drawings of Eric Holzman</p> Sat, 12 Jan 2013 01:46:45 +0000 Robert Kinsell - McMurtrey Gallery - January 12th, 2013 - February 9th, 2013 <div id="node-13481" class="node sticky node-full node-type-exhibition"> <div class="node-content clear-block"> <div>Robert Kinsell's narrative paintings invite the viewer to participate in a new world of the artists' making. Beautifully rendered, Kinsell transforms the traditional landscape and still life into a springboard for new conceptual associations both comical and tragic.  </div> <div> </div> <div>Robert Kinsell completed his Master of Fine Art in Painting at the University of Wisconsin/Madison. He is a Professor of Art at Stephen F. Austin University in Nacogdoches, Texas, where he has taught Painting, Drawing, Figure Drawing, Design, and Advertising Design. Kinsell's solo exhibitions include "Past and Present" at the Longview Museum of Fine Art in Longview, Texas; "Reality-Virtual and Otherwise" at Texas Christian University in Fort Worth, Texas; and "The Secret Life of Objects: Ten Years in Texas," at the Museum of East Texas in Lufkin. He has also exhibited at the Galveston Art Center in Galveston, Texas; the Glassell School of Art in Houston, Texas; Arkansas Art Center in Little Rock, Arkansas; and Laguna Gloria Art Museum in Austin, Texas, and Ann Nathan Gallery in Chicago Illinois. His work can be found in a number of public and private collections, including the South Texas Institute for the Arts in Corpus Christi, Texas.</div> </div> <div class="clear-block"></div> </div> Sat, 12 Jan 2013 02:17:10 +0000 - Moody Gallery - January 12th, 2013 - February 9th, 2013 <p>Group Exhibition of Gallery Artists featuring works by James Drake from the "Red Touch" Series</p> Fri, 04 Jan 2013 21:31:21 +0000 Selma Gürbüz - RAMPA - January 8th, 2013 - February 9th, 2013 <p>Gürbüz meets viewers with her one-person exhibition at Rampa,<br />“Long Night. Faraway Voyages.”, on January 5–February 9, 2013. The<br />exhibition, composed of Gürbüz’s paintings, drawings, and sculptures<br />realized in 2011–12, displays the visual mythologies of Gürbüz’s<br />extensive art practice.<br />The works are a continuation of Gürbüz’s mysterious, magical<br />world that we had seen in previous exhibitions. In these large-scale<br />paintings and sculptures, Selma Gürbüz gives a voice to the images she<br />has compiled from both real and dream voyages: the human figures are<br />accompanied by animals and plants; inspiration from ancient Egyptian<br />art, Chinese and Japanese painting traditions, Velazquez, Monet, Islamic<br />miniatures and manuscripts can be traced in the works.<br />Gürbüz’s art is about images. These images are not purely painterly,<br />but are rather enriched by poetry, fairy tales, and parables. Each<br />painting has its own story; they are not born from stories, but rather<br />have formed their own unique tales. As has been pointed out about<br />Gürbüz’s work, “These paintings stem from a dream in the middle of the<br />night, lit by a full-moon.”<br />Selma Gürbüz looks at themes derived from history, nature, the<br />subconscious, and mythology—the human figures are quite often<br />alone, displaying animal-like characteristics. This points to them being<br />integrated into nature and that they are protected by nature. Their<br />discomforts and pain express the artist’s own creative process.<br />Recently, figures are situated on the artist’s meticulously woven,<br />dream-like landscapes, integrated as her palette transitions from black<br />to soft hues of brown. Her characters are mysterious and poetic at the<br />same time, inviting the viewer to interrogate and express their inner<br />worlds. We remember what we have seen and on the other side, the<br />reality is not out of our minds; it chases us. By displaying our fears,<br />dreams, and anxieties, Gürbüz actually points to what exists through<br />what is constructed. Perhaps this is why Gürbüz positions herself at the<br />intersection of curiosity and magic.<br />To see the world within this other world, the viewer does not need<br />glasses. Imagination is more than enough.<br />Selma Gürbüz (1960) was born in Istanbul, Turkey.<br />After having studied at Exeter College of Art Design<br />between 1980-1982, she graduated from Marmara<br />University Fine Arts Faculty in 1984. Her recent solo<br />exhibitions include “Mind’s Eye”, Lawrie Sahbibi<br />Gallery, Dubai (2011); “Shadows of Myself”, Rose Issa<br />Projects at Leighton House Museum, London (2011);<br />“Archetypes”, Warehouse (Antrepo) No: 3, Istanbul<br />(2010), “Sunny Shadows”, Gallery Apel, Istanbul<br />(2008) and Makii Masaru Fine Arts, Tokyo (2007);<br />“Feline I”, Galerie Maeght, Paris (2006); “Feline II”,<br />Gallery Apel, Istanbul (2006); “The Fairy and the<br />Genie”, Gallery Apel, Istanbul (2004), “Yünname”,<br />Gallery Apel, Istanbul (2000) and “Karaname”, Gallery<br />Apel, Istanbul (1999). Gürbüz has also participated<br />in many national and international group exhibitions<br />including “From Traditional to Contemporary” (2010),<br />“New Works, New Horizons” (2009) and “Modern<br />Experiences” (2008), Istanbul Modern, Istanbul; “Cara<br />a Cara” (travelling show), with Marco Del Re, Galerie<br />Maeght, Paris and Barcelona (2003); “Fantaisies du<br />Harem et les Nouvelles Shéhérazades” (travelling<br />show), Museum of Contemporary Art, Barcelona and<br />Museum of Natural History, Lyon (2003); “Le Cirque”<br />(travelling show), Gérard-Georges Lemaire, Editions<br />Eric Koehler, Athenee-Theatre Louis Jouvet, Paris,<br />Espace Mira Phalaina, Montreuil and Novomestka<br />Radnice, Prague (1996). Her other projects include<br />“Shadow theatre design for ‘More Wind’”, Portside<br />Gallery, Yokohama (2005) and “Futurist Stage Curtain<br />Design”, Revues Parlées, Centre Georges Pompidou,<br />Paris (1996); “Automatic Games”, Kwangju Biennale,<br />Korea (1995) and “L’Orient des Cafés” (traveling<br />show), French Cultural Centre, Cairo, Alexandria,<br />Athens, Thessaloniki, Jerusalem, Tel Aviv (1992).<br />Selma Gürbüz lives and works in Istanbul, Turkey.</p> Mon, 14 Jan 2013 03:22:01 +0000 Corinne De San Jose - Silverlens Manila - January 10th, 2013 - February 9th, 2013 <p>With <strong>Conversation 17</strong>, CORINNE DE SAN JOSE methodically wraps everyday objects with fabric, neither to obscure nor hide, but to transform the materiality of her subjects— hammer, vase, wine bottle—into objets d’art.<br /><br />Like her previous exhibit titles, <strong>Conversation 17</strong> is a song reference, a play on the title of a song by The National. She connects the song to the idea of suffering from oblivion, or losing identity, grasping to control how your surroundings affect you. </p> <p class="Body1">The subjects are all concealed, completely wrapped, but there is no doubt as to what they are. By wrapping, their essential form is revealed rather than concealed. She has picked the most mundane of objects, binds it so that we will never know of its make or type. The selection is deliberate; we easily associate these objects with gender—from the sharp phallic tools to the curvy and round vessels. In the final process, the only visible layer is what we would easily associate with the feminine—floral fabric set against another floral fabric. Layer upon layer, the juxtaposition is at once jarring and beautiful.</p> <p class="Body1">But it’s the patterns of fabric that have a mesmeric effect, like staring into a stereogram. We are drawn in to look a few seconds longer than we originally intended, the clashing prints a visual, tactile overload, a still life that demands more of your time.</p> <p class="Body1">To wrap something is also to protect it, and the impulse to protect, to heighten that which is basic or essential is perhaps the strongest conceptual link to CORINNE’s past works.</p> Sat, 05 Jan 2013 00:22:53 +0000 Allan Balisi - Silverlens Manila - January 10th, 2013 - February 9th, 2013 <p>ALLAN BALISI's <strong>Mirages</strong> at Silverlens features large format monochromatic paintings of jarring lyrical images cinematic in their aplomb suspense that explore the phantasmagoria of uncertain meaning melancholic over fictional ends.<br /><br />The look on the man's face is one of perturbed intensity.  He squints hard from despair with an effort to find something he couldn't see yet.  Lateral strokes line the image per inch mechanically distorting the portrait like bad visual reception on TV as if losing his composition from this conundrum.  The next panel reveals the object of his vexation: a booklet with blank pages apparently.  His fingers poised readily to flip to the next page wanting affirmation of the vacant meaning from the book on hand, while permeated with a foreboding existential horror creeping into the core of his beliefs that maybe there is only nothing.  This climactic episode is forever on hold.</p> <p>A woman sits on the bedside.  We cannot see her face as it is turned away from the viewer.  But the gesture that she makes seems to be that she is talking intently on the phone, with one leg crossed and raised to relax over idle amusement about what is being said.  Although, we don't truly see her hands so it is difficult to tell if she is actually talking on the phone. Or maybe, that she is just miming the gesture of being on the phone, like the rehearsal of some forgotten memory.  A ghostly existence this is, having lost her sense of reality.  The harsh light that hovers about her effectively washes out her constitution from her surroundings.  Thus, the painter cleverly whites out certain parts of her body to blend it with the adjoining bed that creates a surreal effect.  Indeed, that maybe the purpose of the work, which is to create doubt, or to establish fiction based on fact.  This is what pictures do, to confabulate, especially paintings that can resemble reality through facility guided by the artist's creative imagination.  Thus the lamp at the top corner of the picture on the bedside table seems to agree with the conceit of appearances by bending its body to blend with the fantastic quality of the painting.  <br /><br />A piece of cloth fluttering in the wind reaches the height of the moment when it touches the peak of the mountain, apparently, making a shape that resemble the much rigid bigger mass.  A visual pun of course, connecting two seemingly similar forms but each having different content, which remarks on our visual interpretation of phenomena or the cognitive processing of events.  In such a case, painting manages to freeze the fleeting moment into still episodes of ecstatic awareness - a simultaneity of contradicting conditions that opens up to wide vistas of new experience and understanding, possibilities amid impossibilities, that can only add to the mystery of the operations of a static medium capable of activating our conscious experience. </p> <p>In cheerful anticipation of what is still to come a group of young men looks ahead.  They perhaps are in celebration over the conferment of new responsibilities laden with expectations.  Hanging above their heads is the word "end" which has a double-edged connotation here, as in the mark of a new beginning, or perhaps an end to a previous more innocent life.  The "end" rings an ominous sound of impending finality caught side by side with an image of hopeful gathering, which can only play so many endless juxtapositions of meaning, such as: is this the beginning or the end type of inquiry, or the blank signification of what end and for whom, moreover, who are these people and what is their identity, since the viewer is not made privy to a prior condition within the narrative context that gives it closure.  The challenge therefore is how to navigate away from making associations outside of its intended meaning or the author's narrative imperative.  Thus without leading to misconceptions, we can approach the painting as an abstraction of sorts, as an empty signifier, one that avoids representational attachments to literal interpretation, but is linked to a structured net of ambiguity, creating an open discursive inquiry, with a permeating mood that can only be distinctively melancholic, nostalgic for long lost ideals, giving the picture a decentered reality.  Here, the combination of these disparate images altogether lend a modernist montage effect to the works, one that shocks the viewer into making connections amidst jarring missing links, which can only intensify the tension lying behind their mute sensibility, creating an anticipation of an end that only recedes further back as we approach it.</p> <p>The culture of copies does bring many questions pertaining to the nature of how we perceive and interpret reality.  From painting's standpoint, some things can be taken out, or maximized to effect, without losing grip of reality held by outward impressions, but allowing the mind to take control of the interpretation of reality as opposed to relinquishing it over to what the eye can normally see.  Alan Balisi manipulates the picture deftly like a narrator who tests the limits of our attention, to challenge our notions of reality, that is, if we can still believe what we see, given the fact that all things appear normal.  Perhaps this is still what makes painting credible, not so much because of its capacity to create an illusion, but rather, with the way it can transform semblances of the real into replicas with a negative aura - the other that would critique the actual.  Reorganization, repetition, revision, and patterning of internal components are characteristics of a language that can make familiar utterances into a unique individual style.  This idiosyncratic stylization becomes essential especially within a practice such as painting that through time has become compacted with various modes of expression, which in itself makes it such a unique language different from other mediums of representation.  Resemblances have become mere appearances, like the real that repeats itself everyday without alteration of our cognition of it and yet life essentially is different from day to day depending on how we live it, in how we use it to each of our own purpose.  Alan Balisi's works had shown us that through a touch of ironic humor, mystery, poetic reflection, and melancholic introspection, that the language of painting facilitates critical attention more than its mere appearance.</p> Sat, 05 Jan 2013 00:25:17 +0000 Eric Zamuco - Silverlens Manila - January 10th, 2013 - February 9th, 2013 <p><span style="font-family: 'etica', Arial, Helvetica, sans-serif; font-size: 13px; font-style: normal; font-weight: 400; color: #3a3e3e;">When about 10 million of your compatriots are strewn around approximately 200 countries, tropes of displacement and flux get invariably bandied about so often that the subject plunges to cliché status and thus get dismissed far too quickly.  And yet the push and pull of diaspora remain arguably compelling, making the case for Zamuco’s fascination with the volatile state of objects, bodies, and places as metaphor for his own in-betweeness patently logical. Setting up and packing house from the American Midwest to the East Coast till finally returning to homebase in the Philippines two months ago, Zamuco’s fascination with the tenuousness of image and ramshackle materiality manifests this time around in Site of Marks in it’s literally shredded traces of the artists’ recent past alluding to tenements sitting next door to edificies now increasingly becoming iconic of our own supposedly dragon-on-the-verge economy.  These faux visceral space markers hope to beg questions of memory’s non-fixity and seminal corporeal and psychogeographic hindsight.</span></p> Sat, 05 Jan 2013 00:28:13 +0000 Group Show - Silverlens Singapore - January 18th, 2013 - February 9th, 2013 <p>Makati, Philippines—before the year came to a close, Silverlens Galleries held its culminating show for the fifteen artists it represented. This saw one of the most multifaceted assemblies of works, both in form and conviction, to be held across Silverlens’ three exhibition spaces. The works ranged from mediums as diverse as paintings, drawings, photographic prints, sculpture, and collage, done mostly by artists who started their practice not more than two decades ago. This places Silverlens Galleries as one of the art establishments that runs a more comprehensive coverage of contemporary art practices within the land, and one of the so-called alternative spaces enterprising enough to take root with a younger generation of artists. And while these artists work across diversified disciplines, all of them do so within the same breadth of a truly contemporary approach. </p> <p>Even the concerns that emanate from each work pass off as varying as the medium themselves. It was a rich assortment of size, orientation and affectation—from the explicitly serene and esoteric to the implicitly gritty and offbeat, from the heavily expressionist and accidental to the downright technical and calculated of processes, which may serve as a stringent affair to sort. The task reserved for curating the show entails with it not only the premise to operate on a pre-formulated condition, but also the question on how to assert a kind of ideological or hegemonic structure that can surpass the mere straightforwardness of exposing a given collection and make it at least independent from a possibly random outcome. In anthologies in literature which is identical in the sense that it sums up a collection of works by different authors, the approach can be varied depending on the editor. It can be thematic, or towards a careful placement of which story is apt to follow the next to strengthen a message or to lead us into an idea, or merely alphabetical in ascending or descending order, neutral and objective. With the latter the reader flips the pages in his own choosing and is subject to his own idea or what suits his taste on what a satisfying sequence should be.</p> <p>Inside the gallery we are confined to that physical plane where the movement of our own bodies is dependent. Skipping from one painting to a sculpture at the far end of the gallery without encountering other works is almost, if not truly, impossible. And this is where curatorial work is significantly varied from editorial work: it has to deal with a given space, and the inter-relationships of each artwork cannot be autonomous from the manner they are positioned within the space. And this is where Silverlens Galleries' flagship show for their represented artists becomes noteworthy, as it goes from mere exposition of art constructions into being itself a construct to expose.</p> <p>The appointed curator, GARY-ROSS PASTRANA, known for his conceptual pieces and also part of the Silverlens' artists, took on the task as another avenue to explore the salient conditions of exhibiting a predetermined roster. His several years of experience curating group shows have already informed him of the primary role of the curator to mediate between the artworks and the viewing public's experience of it. With a given roster at hand and the condition that they are to work with their own dominant styles and themes representative of themselves, Pastrana is faced with two dilemmas: on how to reposition the case as a gallery event as opposed to an art fair, and how to hold the works together to save it from slipping into mere extravaganza. There were also two options to solve it in which he chooses neither: to forge an underlying theme or to position the works into a coherent narrative. The path he chose was the path circumscribed by the fabled ley hunters. </p> <p>Ley lines, much like constellations, are man-made constructs out of the sheer desire to draw connections and superimpose significance. In ley hunting, a practice which started as early as the 19th century, the objective was to seek out ley lines which were the alleged alignments of historical sites and monuments into straight lines. The lines formed between archeological sites of great importance like the pyramids, stone hedges, or ancient temples are believed to be interconnected. And for this reason alone their existence can be justified with whatever purpose those lines could have served:  ancient track ways, spiritual pathways of cosmic energy, and for some, alien navigation routes. </p> <p>The concept of the show <strong>Ley Hunting</strong> is neither thematic nor demographic. Tautologically speaking, it does not revolve around a concept but on the possibility of one. It seems to amplify further what the curator Andrew Renton has already taken into account about the practice: that curating is about “seeing where the creative act can possibly go...and we don't know where it can go.” Pastrana, who has also worked with site-specific sculptures draws an affinity with the landscape and treats the gallery as such. Positioning the artworks as archeological sites, they only correspond to the lay of the land, or in this case the galleries' interior architecture. Like structures as diverse and removed from each other as the ruins in Angkor Wat and the statues in Easter Island, the connection ascribed to them by ley hunters are arbitrary and their alignment could be merely happenstance. Yet on the other hand, each may hold the corresponding link to a grand design. As Barthes claimed that all myth is merely speech, the show Ley Hunting, more than anything else, invites us to its own possible language. </p> <p>With the opening of <strong>Ley Hunting</strong> in the Makati galleries, we are confronted at the onset of two possible landmarks—the two galleries situated across each other. One is the main Silverlens Gallery while the one across is Slab, and within Slab is another smaller section called 20Square. The narrow elevated walkway which connects the two galleries immediately reinforces the idea of the line drawn from one continent to another. If these are indeed two separate worlds then they contain their own unique terrain. Inside the main gallery the formation appears more vast and quiet, like an open country. FRANK CALLAGHAN's photographs of seascapes lie at the heart of it. They are flanked by WAWI NAVARROZA's and GINA OSTERLOH's own photographs on each side. Three sets of photographs, three dots on the same line to connect. And all three demonstrate the same fluidity in their flatness, from NAVARROZA's suspended narratives to OSTERLOH's homogeneously constructed dimensions. The line continues across the other wall as HANNA PETTYJOHN explores the visual transformations involved in doing portraits of faces through a glass plane. And moving to the adjacent wall is COSTANTINO ZICARELLI's drawings, where the fluidity continues if only through a sequence of literal and cultural images of doomed excess in a triptych called Lake of Fire. </p> <p>Across the other side in the next room the landscape is more unpredictable. Immediately grabbing our attention are the larger (in terms of scale) and self-effacing works by MARIA TANIGUCHI and PATRICIA PEREZ EUSTAQUO, both shrouded ominously in black. Then set across each other from opposing walls are the series of photograms by ISA LORENZO and the drawings by CHRISTINA DY which are both monochromatic referents to expressions achieved out of a more calculated and technical process.  Holding its own like a placid island in another corner are photographs by RACHEL RILLO with her brilliant refinement of life's minutiae transformations, and at the other enclosed section of the gallery called 20 Square are the wall-bound works of LUIS LORENZANA, RYAN VILLAMAEL, DINA GADIA, and GARY-ROSS PASTRANA, acting as coordinates of representational and abstract images of collage and paintings that converge on the primitive centerpiece in the form of a sculpture by MARIANO CHING.</p> <p>These are just but one cluster of connections out of the many that can be drawn between their arrangements inside these galleries. As the show moves to Silverlens Singapore, we are to rekindle our assessment based on a possibly newer configuration, as the artworks submit right away to the demands of the space. A reduction in scale is inevitable, but almost all of the fifteen represented artists maintain the original concerns from the first show in Manila:</p> <p>FRANK CALLAGHAN will still show an edition of his <em>Seascape</em> series, in continuing to demonstrate his inclination towards a restrained composition in photography. Likewise showing her previous work is WAWI NAVARROZA who, like CALLAGHAN, would prefer bolder images rather than the cluttered, and whose pictures echo a poetic strain that reverberates from the frozen moment, like they were part of someone's verse rather than of a snapshot.  As for GINA OSTERLOH's work titled <em>Wide Group Dynamic</em>, her picture of a homogeneous tableau of card-boards is printed as adhesive posters comprised of 1000 sheets, re-interpreting the work as a mass-produced sheet of paper that further subdues the dimensionality of her perceived subject inside the picture. </p> <p>ISA LORENZO continues her series of photograms where she uses a combination of objects directly exposed to the photographic paper. The ambiguity resulting from the  juxtaposition of two  disassociated objects (like in <em>Waxing</em>, a figurine of a stag together with a zodiac medallion/seal) is subdued by the process of having them rendered  equally  into a unified object of light and shadow as if they were taken from the same surface. The same goes with RACHEL RILLO's works, whose masterful control over light coupled by the ingenious composition of her surprisingly mundane subjects, whether in photographic prints or Polaroid, eliminate all signs of banality to pass them off as great landmarks inside one of life's micro-events.</p> <p>To bridge the gap between the photograph-based artworks towards the more material-based works of drawings, paintings and the plastic arts are the works of MARIA TANIGUCHI and PATRICIA PEREZ EUSTAQUIO. Their works offer a more contemplative reading through their conceptual framework, and are derived out of a direct response against popular imagery. As in MARIA TANIGUCHI's series of work called <em>News</em>, she goes back to the image-defying constructions of lines and blemishes. Like newsreels, the paper is constructed within the frame as if trying to align to each other in succession, and leaves an impression of a film outtake jammed inside the projector. The same attempt to construct her own visual compendium out of the hinges of popular imagery is PATRICIA PEREZ EUSTAQUIO, whose sculptural work also defies familiar forms, yet are usually riddled by familiar objects: crochet laces, ornamental figures and postcards. Her work is contemplation over the text brought about by the conjunction of each object to the concept behind the forms she makes. </p> <p>Then to further this idea of placing concept behind craft are the paper works of RYAN VILLAMAEL and CHRISTINA DY. As Ryan Villamael cuts out from paper to create the symmetrical expression of an image in mind, CHRISTINA DY does so by drawing in detailed precision a wallpaper-like pattern, and then folds her paper to the shape of the embedded image from the pattern, in this case—of butterflies. The frailty of VILLAMAEL’s cutouts is countered by the compactness of DY's ornate origami. In the other side of drawing on paper are the triptychs of COSTANTINO ZICARELLI. For the show in Singapore, he seems to portray another narrative that progresses from light to dark, closing full circle as the title suggests, <em>Verse, Chorus, Verse</em>. The two set of symbols superimposed against a generic backdrop offsets the plain-speak of the grim riders at the center who are portrayed as observers. </p> <p>Moving on to a different type of portraiture is HANNA PETTYJOHN's painting, where she continues to place between her and her subjects the glass plane, using it as a transfiguring agent. DINA GADIA on the other hand employs the jovial sensibilities of pop imagery to create unease. Then rounding up the 15 works are the works of LUIS LORENZANA and MARIANO CHING who both dwell on the offbeat permutations of surrealist characters, though they seem to move in opposite directions as LORENZANA's works foray more to the fantastical while CHING ascribes back to the renderings of Art Brut. </p> <p>Within the space of Silverlens Singapore these works again converge, and are again subject to be read for their multi-faceted qualities or even their hodgepodge appearance. But in the mix of all these it is inevitable: to draw combinations, to find sequences, to connect them through lines and to either say that all have been placed in perfect unison or have been perfectly out of place. And this kind of arbitrariness that is present everywhere among us whether with our relationships with places, objects or events, is the kind of construct that Ley Hunting does not necessarily yield helplessly to but embraces as part of the curatorial system. As the new works by the 15 artists represented are again gathered, it is up to us once more to lay the myth around them.</p> Sat, 05 Jan 2013 00:34:54 +0000 Leah King-Smith, Nancy Goldring, Barbara Norfleet - Southeast Museum of Photography - November 9th, 2012 - February 9th, 2013 <p>November 10, 2012 – February 9, 2013</p> <p><strong>Opening Reception: Friday, November 9, 5-7pm. ACA's Poetry Slam @ 7pm.</strong></p> <p>LEAH KING-SMITH, NANCY GOLDRING, BARBARA NORFLEET</p> <p>Held in partnership with the Atlantic Center for the Arts (ACA) in New Smyrna Beach, FL.</p> <p><strong>The exhibition will open Friday, November 9, 5-7pm at ACA's Mark and Margery Pabst Visitor Center &amp; Gallery. This event will be held in conjunction with ACA’s “notorious” Wham Bam Poetry Slam at 7pm. Both events are free and open to the public.</strong></p> <p><strong>LOCATION:</strong> The Atlantic Center for the Arts, 1414 Art Center Avenue, New Smyrna Beach, FL 32168</p> <p><br />For information about ACA please email: <a href="" rel="nofollow"></a> or call:<span class="baec5a81-e4d6-4674-97f3-e9220f0136c1" style="white-space: nowrap;">(386) 427-6975<a href="#" title="Call: (386) 427-6975" rel="nofollow" style="position: static !important; margin: 0px; width: 16px; bottom: 0px; display: inline; white-space: nowrap; float: none; height: 16px; vertical-align: middle; overflow: hidden; top: 0px; cursor: hand; right: 0px; left: 0px;"><img title="Call: (386) 427-6975" src="data:image/png;base64,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" style="position: static !important; margin: 0px; width: 16px; bottom: 0px; display: inline; white-space: nowrap; float: none; height: 16px; vertical-align: middle; overflow: hidden; top: 0px; cursor: hand; right: 0px; left: 0px;" /></a></span></p> <p><strong>For more information about this exhibition:</strong> <a href="" rel="nofollow"></a></p> <p> </p> Fri, 19 Oct 2012 19:20:27 +0000 Assaf Shaham - Tel-Aviv Museum of Art - September 8th, 2012 - February 9th, 2013 <p>Assaf Shaham (b. 1983, Jerusalem) deals with<br /> photography and its mechanisms; he examines<br /> the way photography is perceived, subverts the<br /> prevalent view centering on the photographed<br /> object, and brings to the front the taken-for-granted<br /> act of photography. Shaham deconstructs and<br /> foils basic and sophisticated tools for creating<br /> and processing images, and juxtaposes concepts<br /> of early photography with digital manipulations,<br /> exposing their clumsiness.</p> Thu, 20 Dec 2012 08:33:19 +0000 Hanoch Levin, Michael Druks - Tel-Aviv Museum of Art - September 24th, 2012 - February 9th, 2013 <p>The series of drawings "Mr. Wolf" (1968), a<br /> collaboration between Hanoch Levin and Michael<br /> Druks, was the origin of eight silkscreen prints<br /> in an album whose cover was made by Druks.<br /> The album Mr. Wolf was published by Gordon<br /> Gallery (1980).</p> Thu, 20 Dec 2012 08:43:19 +0000