ArtSlant - Recently added en-us 40 Blas Isasi - Galeria 80M2 Livia Benavides - November 26th - December 21st <p style="text-align: justify;">Blas Isasi (1981) es artista visual egresado de la Facultad de Arte de la PUCP en el 2005. Ha participado en numerosas muestras colectivas en el Per&uacute; y el extranjero entre las que destacan la reciente bipersonal "Dominio" con Eduardo Hirose (2014), curada por Jorge Villacorta y "El dibujo en el Per&uacute;: arqueolog&iacute;a de la realidad", curada por Carlo Trivelli en la feria Estampa 2015 de Madrid. <br /> <br /> Recientemente culmin&oacute; una residencia de m&aacute;s de un a&ntilde;o en Jan Van Eyck Academie (Maastricht, Pa&iacute;ses Bajos) y ha sido premiado con la beca Braunschweig PROJECTS para participar de una residencia de un a&ntilde;o en Hochschule f&uuml;r Bildende K&uuml;nste Braunschweig (HBK) a partir de noviembre del 2015 en Alemania.</p> Thu, 26 Nov 2015 18:26:23 +0000 Adán Vallecillo - Galeria 80M2 Livia Benavides - November 13th - December 21st <p style="text-align: justify;">Ad&aacute;n Vallecillo naci&oacute; en Danl&iacute;, El Para&iacute;so, Honduras (1977). Es licenciado en Sociolog&iacute;a por la Universidad Nacional Aut&oacute;noma de Honduras (2010). Realiz&oacute; estudios de arte en Escuela de Artes Pl&aacute;sticas, San Juan, Puerto Rico (2000) y en la Escuela Nacional de Bellas Artes, Tegucigalpa, Honduras (1995). <br /> <br /> Su carrera art&iacute;stica incluye decenas de exhibiciones individuales y colectivas, as&iacute; como varias conferencias y talleres en Am&eacute;rica Latina, el Caribe, Europa y Estados Unidos. Entre algunos de los reconocimientos a su labor art&iacute;stica se pueden citar selecciones para: CIFO, Miami, USA (2015); Sala de Arte P&uacute;blico Siqueiros, M&eacute;xico D.F. (2015); Trienal Poligr&aacute;fica de San Juan, Puerto Rico, (2015); 10 Bienal de Mercosur, Porto Alegre, Brasil, (2015); Bienal de Montevideo, Uruguay, (2014); Bienal de Arte Paiz, Ciudad de Guatemala (2014); Bienal de Cartagena, Colombia, (2014); California-Pacific Triennial, Orange County Museum of Art, USA, (2013); Caribbean: Crossroads of the World, Museo del Barrio, New York, USA (2012); 54 edici&oacute;n de la Bienal de Venecia, (2011); XIV Muestra Internacional de Performance, Ex-Teresa, Arte Actual, M&eacute;xico D.F. (2010); Bienal del Istmo Centroamericano, Managua Nicaragua, 2010; XXXI Bienal de Pontevedra, Espa&ntilde;a, (2010); 10 M&ordf; Bienal de la Habana (2009), Residencia Art&iacute;stica en la Escuela de Artes Pl&aacute;sticas, San Juan, Puerto Rico, (2007), entre otros. <br /> <br /> Sus obras forman parte de importantes colecciones como Daros Latin-am&eacute;rica, Zurich-R&iacute;o de Janeiro; Fundaci&oacute;n Teor&eacute;tica, San Jos&eacute;, Costa Rica; Colecci&oacute;n Patricia Phelps de Cisneros, Nueva York-Caracas; Saxo Bank, Dinamarca; Museo de Arte Latinoamericano MoLaa, California, Estados Unidos; Museo de Arte y Dise&ntilde;o Contempor&aacute;neo, San Jos&eacute;, Costa Rica; entre otras.</p> Thu, 26 Nov 2015 18:25:11 +0000 Antti Tanttu - Forum Box - Space for Art - December 11th - January 10th, 2016 <p style="text-align: justify;">Antti Tanttu - Balal |01:59min | 2014</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Hebrean kielen sana balal tarkoittaa sekoittamista, sekaannusta tai h&auml;mmennyst&auml;. Sana viittaa my&ouml;s Baabelin torniin. Baabelin torni on usein kuvattu aihe taidehistoriassa.<br />Balal on tulkintani t&auml;st&auml; usein kuvatusta aiheesta.</p> <p style="text-align: justify;"><br />The Hebrew word "balal" means to mix, mingle and confuse. Balal is also connected to the Tower of Babel. The Tower Of Babel is common subject in art history. Balal is my interpretation of that often pictured subject.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Mediaboxi on Forum Boxin tila mediataiteelle ja ohjelmisto suunnitellaan yhteisty&ouml;ss&auml; suomalaisen mediataiteen levityskeskuksen AV-ARKIN kanssa. Yhteisty&ouml;ss&auml; AV-arkin kanssa kuratoimme puoleksi vuodeksi eteenp&auml;in uusinta mediataidetta esittelev&auml; ohjelmakokonaisuus. Tila toimii nyt yhten&auml; t&auml;rke&auml;n&auml; kanavana mediataiteelle.</p> <p style="text-align: justify;"></p> Thu, 26 Nov 2015 18:19:54 +0000 Shoji Kato - Forum Box - Space for Art - November 18th - December 6th <p style="text-align: justify;">Maps of Boundlessness</p> <p style="text-align: justify;">Shoji Kato's paintings and drawings have focused consistently for some time now on mark making, which turns the canvases and papers into force fields of a kind. The small, geometrical forms in myriad colours appear to be in motion, suggesting that the currently observed stasis is merely momentary or even an illusion. The eye is drawn to the apparent voids between the marks - their relations - as a key to the inner logic they seem to follow.</p> <p style="text-align: justify;">Amongst the new works a different dynamic suddenly emerges. In some of the drawings the marks gather themselves around each other, as if rooted in an invisible landscape. The blank paper turns into a terrain, the contours of which the marks trace out. Suggestive of maps the marks can also now be read as symbols with a sense of fixity, rather than as material particles of a configuration that is in a constant process of becoming. Yet, seeing these different modes of mark making together with the installations, this opposition of the symbolic and the material begins to waver.</p> <p style="text-align: justify;">Further constellations take over the floors of the gallery with hundreds of small black and white photographs that chart the artist's walks along the ancient walled edges, the "growth rings" of cities. Carefully arranged according to the spatial coordinates of the locations they refer to, they form an orderly chaos that draws the viewer into the gap that always persists between the map and the inhabitation of the space. There are no pre-existing navigational tools available here. When peering into the images of urban landscapes, they appear as random compositions of numerous signs, forms, materials, modes of life. The corporate and other symbols become abstract geometry amidst diverse vectors. The notion of a bound territory falters.</p> <p style="text-align: justify;">Historical and material sediments of a city merge here with layers of mark making and boundary-building that communicate routes and rules, property and power, as well as disruption and divergence. The installations allow for a curious, simultaneously detached and embodied, perspective on the public space that appears to be formed out of ceaseless negotiation between these multiple scales and forces. The ever-present sound of water flows from one of the installations, in which the map becomes a garden fusing material and mental formations into one. The sound fills subtly the exhibition space as if a reminder of the fine line between violent occupation and mutual co-existence.</p> <p style="text-align: justify;">Taru Elfving</p> <p>&nbsp;</p> <p style="text-align: justify;">The exhibition reflects my interest in how humans ceaselessly build, keep, break and cross the edges. I have explored the transient nature of the very edges, in relation to their locations, composition, and object-ness. The focus is thus not on the edge of human territory, but on the ways in which edges are formed and settled, with respect to the notion of subjectivity.</p> <p style="text-align: justify;">This particular perspective guided my trajectories in different cities examining how different types of edges intersect. During my working process, I often encountered surprising "wormholes" in the everyday, and they allowed me to imagine the linkages of each place and time with others.</p> <p style="text-align: justify;">My art works often move between the techniques of photography, painting, assemblage, mapping and installation. In this exhibition, three large installation works with photographic images correspond to the central part of Rome, Paris and Kyoto. In Rome and Paris I walked along the traces of ancient city walls, most of which have vanished today, and mapped the situations where I encountered symbolic signs. In Kyoto, I traced out innumerable symbolic sites in their close relationship with the water system in the ancient city structure.</p> <p style="text-align: justify;">Contrasting to this mapping method, I employ a self-generating technique in watercolour painting. The works seem like abstract images that are rooted in the school of constructivism, but in closer examination, one can find subjectivized temporality in them. The compositions have unfolded with micro movements in-situ, or un-scripted negotiations, processes of giving and being given with the particle-like forms.</p> <p style="text-align: justify;">Shoji Kato</p> <p style="text-align: justify;">Shoji Kato lives and works in Helsinki and has recently completed his doctoral thesis in the Academy of Fine Arts. This is the first exhibition after the completion of Shoji Kato's doctoral thesis, Place of Geometry, in 2015 and it is the fifth in the series of My Marks (Prelude in 2008, First Movement: Echoes in 2009, Second Movement: Wishful Formation in 2011, and Third Movement in 2014).</p> <p style="text-align: justify;"><a href="" target="_blank"></a></p> <p style="text-align: justify;">The exhibition is supported by SKR Finnish Cultural<br />Foundation and TAIKE Arts Promotion Centre Finland.</p> <hr /> <p style="text-align: justify;">Merkityksellisen &auml;&auml;rill&auml;</p> <p style="text-align: justify;">Shoji Kato on maalauksissaan ja piirroksissaan keskittynyt jo pitk&auml;&auml;n merkkien tekoon, jossa kankaat ja paperit latautuvat omanlaisikseen voimakentiksi. Pienet geometriset muodot lukemattomissa eri v&auml;ris&auml;vyiss&auml; tuntuvat olevan liikkeess&auml;. Havaittu staattisuus n&auml;ytt&auml;ytyy hetkellisen&auml; tai jopa illuusiona. Katsetta vet&auml;&auml; puoleensa merkkien v&auml;linen tila - niiden keskin&auml;iset suhteet - kuin ovena siihen sis&auml;iseen logiikkaan, jota ne seuraavat.</p> <p style="text-align: justify;">Uusien teosten joukosta nousee yll&auml;tt&auml;en esiin my&ouml;s toisenlaista dynamiikkaa. Joissakin piirroksissa merkit ker&auml;&auml;ntyv&auml;t tiiviisti toistensa ymp&auml;rille, aivan kuin n&auml;kym&auml;tt&ouml;m&auml;st&auml; maisemasta kohoten. Tyhj&auml; paperi muuttuu maaper&auml;ksi, jonka muotoja merkinn&auml;t piirt&auml;v&auml;t esiin. Kartanomaisina koostelmina merkkej&auml; voi lukea symboleina, merkityksilt&auml;&auml;n m&auml;&auml;ritettyin&auml;. Ne eroavat t&auml;ten materiaalisista partikkeleista, joiden muodostelmat toisissa teoksissa ovat jatkuvassa tulemisen tilassa. N&auml;yttelyss&auml; rinnakkain n&auml;htyin&auml; n&auml;m&auml; erilaiset merkintekojen tavat kuitenkin horjuttavat symbolisen ja materiaalisen vastakkainasettelua.</p> <p style="text-align: justify;">Gallerian lattiatilan ovat vallanneet taas satojen pienten mustavalkovalokuvien labyrintit, jotka j&auml;ljittelev&auml;t taiteilijan k&auml;velyreittej&auml; vanhoja kaupunginmuureja - n&auml;iden menneit&auml; &auml;&auml;ri&auml; tai "kasvuympyr&ouml;it&auml;" - my&ouml;ten. Vaikka sommitelmat toistavat tarkasti kuvauspaikkojen koordinaatit, ne muodostavat lopulta hallitun kaaoksen, johon katsoja eksyy. T&auml;ss&auml; kartan lukemisen ja tilaan paikantumisen v&auml;lisess&auml; siirtym&auml;ss&auml; eiv&auml;t perinteiset navigaatiov&auml;lineet auta. Kaupunkin&auml;kym&auml;t alkavat kuviin kurkkiessa vaikuttaa sattumanvaraisilta asetelmilta lukemattomia merkkej&auml;, muotoja, materiaaleja, el&auml;m&auml;&auml;. Yritysten ja liikenteenohjauksen symbolit n&auml;ytt&auml;ytyv&auml;t geometriana tilaa jakavien vektorien lomassa. Tilan rajaukset ja m&auml;&auml;ritykset murtuvat abstraktioiksi.</p> <p style="text-align: justify;">Historialliset ja materiaaliset kaupungin kerrostumat kietoutuvat merkkien ja rajanvetojen pintoihin, jotka kertovat s&auml;&auml;nn&ouml;ist&auml; ja poikkeuksista, vallasta ja vallattomuudesta. Installaatiot avaavat yll&auml;tt&auml;v&auml;n, samanaikaisesti et&auml;&auml;nnytetyn ja kehollisen, perspektiivin julkiseen tilaan. Se paljastuu jatkuvassa neuvottelussa, eri mittakaavojen ja voimien v&auml;lisess&auml; tasapainoilussa muodostuvaksi. Taukoamaton veden &auml;&auml;ni vuotaa installaatiosta, jossa kartta muuntuu puutarhaksi nivoen materiaaliset ja mentaaliset muodot yhteen. &Auml;&auml;ni t&auml;ytt&auml;&auml; vaivihkaa koko n&auml;yttelytilan ja muistuttaa siit&auml; ohuesta viivasta, joka erottaa rinnakkaiselon haltuunotosta.</p> <p style="text-align: justify;">Taru Elfving</p> Thu, 26 Nov 2015 18:17:48 +0000 Marjo Levlin - Forum Box - Space for Art - November 18th - December 6th <p style="text-align: justify;">The starting point of the work is the musical composition F&auml;ngelsemammans vaggvisa (The Jail Mother's Lullaby, 2012) by Kaija Maarika Penttala. She composed the piece after reading a newspaper article about imprisoned mothers, living with their child in primitive cells with poor or no sanitary facilities.</p> <p style="text-align: justify;">The unfamiliar theme recquired me to gather knowledge from various sources; I read studies and visited Vanaja prison* where Sanni Seppo and I had a workshop for some of the inmates. This is also where I got to know one of the mothers.<br /> The workshop introduced me to previously unknown prison life, to crimes committed by women and to the punishments that which follow the deeds. It made me reflect on punishments and what isolation from society, people and intimacy might feel like. It was also interesting to learn that about 80 % of imprisoned women experience the prison environment to be safer than the outside world.</p> <p style="text-align: justify;">The collaboration with Penttala had started in 2012, as she together with Anton Kukkonen created the music for my short film SUR l'eau REAL As conclusion for the project Penttala asked me to make a video work to her lullaby.</p> <p style="text-align: justify;">The conclusion of this collaboration can now be seen at Mediaboxi.<br />The video F&auml;ngelsemammans Vaggvisa is an experimental, poetic and symbolistic weave inspired by the theme.</p> <p style="text-align: justify;">The exhibition has been supported by Svenska kulturfonden.</p> <p style="text-align: justify;"><br />* Vanaja prison, run by Kaisa Tammi-Moilanen, aims to empower inmates with a progressive scheme using art and culture.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Teoksen l&auml;ht&ouml;kohta on Kaija Maarika Penttalan s&auml;vellys F&auml;ngelsemammans vaggvisa (Vankila&auml;idin tuutulaulu) vuodelta 2010. Penttala s&auml;velsi teoksen luettuaan artikkelin suomalaisista naisvangeista jotka alkeellisissa paljuselleiss&auml; lapsi mukanaan suorittavat rangaistustaan.</p> <p style="text-align: justify;"><br />Vieras aihe vaati perehtymist&auml; erilaisista n&auml;k&ouml;kulmista; luin tutkimuksia ja vierailin Vanajan vankilassa* valokuvaty&ouml;pajan tiimoilta, jonka pidimme yhdess&auml; Sanni Sepon kanssa muutamalle naisvangille. Siell&auml; sain my&ouml;s luotua kontaktin yhteen &auml;itiin. <br /> Ty&ouml;pajan kautta sain tuntumaa ulkopuoliselle ennest&auml;&auml;n t&auml;ysin tuntemattomaan vankilael&auml;m&auml;&auml;n, naisten tekemiin rikoksiin ja niist&auml; seuraaviin rangaistuksiin. Se sai pohtimaan rangaistusta ja sit&auml; mink&auml;laista erist&auml;minen maailmasta, ihmisist&auml;, l&auml;heisyydest&auml; voi tuntua. Kiinnostavaa oli my&ouml;s lukea ett&auml; tutkimusten mukaan noin 80 % naisvangeista kokee vankilan turvallisemmaksi kuin ulkopuoleisen maailman.</p> <p style="text-align: justify;">Yhteisty&ouml;mme Penttalan kanssa oli alkanut 2012, jolloin h&auml;n yhdess&auml; Anton Kukkoseen kanssa vastasi musiikista lyhytelokuvani SUR l'eau REAL (2012). Yhteisty&ouml;n p&auml;&auml;tteeksi Penttala pyysi minua tekem&auml;&auml;n videoteoksen vankila-aiheen ja tuutulaulun pohjalta.</p> <p style="text-align: justify;">Lopputulos t&auml;st&auml; yhteisty&ouml;st&auml; on nyt esill&auml; Mediaboxissa.<br />Videoteos F&auml;ngelsemammans Vaggvisa on kokeellinen, runollinen kudelma, symbolistinen el&auml;ytyminen aiheeseen.</p> <p style="text-align: justify;">N&auml;yttely&auml; on tukenut Svenska kulturfonden.</p> <p style="text-align: justify;">* Kaisa Tammi-Moilasen johtamassa Vanajan vankilassa tehd&auml;&auml;n edistyksellist&auml; ty&ouml;t&auml; vankien voimauttamiseksi kulttuurin avulla.</p> Thu, 26 Nov 2015 18:14:22 +0000 Kaisaleena Halinen, Emma Helle, Markus Kahre, Juhana Moisander, Antti Oikarinen, Vesa-Pekka Rannikko, Tommi Toija, Samppa Törmälehto, Ilona Valkonen - Forum Box - Space for Art - November 19th - January 16th, 2016 <p style="text-align: justify;">Marras-tammikuussa <a href="" target="_blank">Czech Centren Prahassa</a> valtaa 9 boxilaista ja esill&auml; on upea, osin kulttuurikeskuksen tiloista ja historiasta inspiroitunut ja niit&auml; analysoiva kokonaisuus. N&auml;yttelyn avajaisia vietet&auml;&auml;n torstaina 19.11. klo 18.00 paikallista aikaa. N&auml;yttely on auki 19.11.2015 - 16.1.2016</p> <p style="text-align: justify;">Ryhm&auml;n&auml;yttelyn taiteilijat: Kaisaleena Halinen, Emma Helle, Markus K&aring;hre, Juhana Moisander, Antti Oikarinen, Vesa-Pekka Rannikko, Tommi Toija, Samppa T&ouml;rm&auml;lehto sek&auml; Ilona Valkonen.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">N&auml;yttely&auml; on tukenut FRAME ja Taiteen edist&auml;miskeskus. The exhibition is supported by FRAME Visual Art Finland and Arts Promotion Centre Finland.</p> <p style="text-align: justify;">Kaisaleena Halinen (born 1973)</p> <p style="text-align: justify;">Kaisaleena Halinen was born 1973 in Turku, and currently resides in Espoo. She graduated with a Masters in Fine Art from the Finnish Academy of Fine Arts department of Time and Space arts in 2002. Halinen works with sculptures and space installations. The idea of the work usually dictates the material and techniques for her works. Due to this fact her range of materials is vast: from concrete to dust and things found from silicon. Her works usually revolve around the relationships of things: human's relationship to nature, the viewer's relationship to the space, a mold's relationship to the original and also a scale model's relationship to the existing space and the viewer.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Emma Helle (born 1979)</p> <p style="text-align: justify;">Emma Helle is the newly elected president of the Association of Finnish Sculptors. She molds human figures or half-humans out of clay and wood. Helle is a sculptor who uses materials in versatile and surprising ways. She sculpts and molds in classic ways but will eventually add elements to her works which seem out of place, thus breaking the modernist illusion.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Markus K&aring;hre (born 1969)</p> <p style="text-align: justify;">The works of Markus K&aring;hre are normally large, almost theatre-related constructed situations in which the spectator realizes, to his surprise, that he is standing on the stage.</p> <p style="text-align: justify;">His work "The Night watch" is a scene from a yet unfinished project to re-tell the story of Ulysses inspired both by Homer and Joyce. It is describing Ulysses' journey to Hades where he meets the great war-heroes who ruled and divided the world.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Juhana Moisander (born 1977)</p> <p style="text-align: justify;">Juhana Moisander has presented his video installations in various international solo shows and group shows. Lately his works have been seen at the W&auml;in&ouml; Aaltonen museum in Turku and the Finnish Museum of Photography. Moisander has a Masters in Fine Arts from the Aalto University (2007).</p> <p style="text-align: justify;">Moisander combines video projections with sounds and objects, always fitting the piece into the given space and its architecture. Although the works often refer to art history and studied knowledge, Moisander's works still link strongly with the mundane and everyday life. Moisander often performs as a character in his pieces.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><br />Antti Oikarinen (born 1974)</p> <p style="text-align: justify;"><br />Antti Oikarinen's artistic practice is fueled by curiosity. He is interested in nature's phenomena and the models of explaining them in particular. Through his works Oikarinen aims to evoke feelings of curiosity in the viewer, similar to those he himself feels around these topics. Oikarinen aims to work in the borders of reality and possibilities.</p> <p style="text-align: justify;">Oikarinen graduated with a Masters in Art from the Finnish Academy of Fine Arts in 2006. He has had solo shows in Gallery Heino and at Forum Box. The Finnish state art collection, The Sara Hilden museum, The Amos Anderson museum and the Helsinki City Art museum have acquired Oikarinen's works.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Vesa-Pekka Rannikko (born 1968)</p> <p style="text-align: justify;"><br />Vesa-Pekka Rannikko is visual artist working with multiple media.<br />He graduated from Academy of Fine Arts Helsinki (MFA 1996). He has participated in numerous group exhibitions and has had solo shows in various galleries and museums in the Nordic countries and USA. His works are included in major public collections in Finland. Rannikko has received several prizes including the Ducat Prize 2003 and Maire Gullichsen Prize 2007. He represented Finland in Venice&not; Biennale 2011.</p> <p style="text-align: justify;">Vesa-Pekka Rannikko's works are hard to define. It seems he is re-inventing art for himself each time next opportunity comes. His works could formally be defined as installations, movies, events, objects or pictures depending on the viewpoint of the viewer or the context the work is shown in. He has created several site-specific works where the usual boundaries between the viewer, the work of art and the space are blurred. Rannikko's works challenge the limits of viewing and experience: an image becomes a material object while the space of the work becomes an image. Despite of the media he uses works often stay in-between and create an open situation which offers multiple ways of reading, interpreting and experiencing the artwork.</p> <p style="text-align: justify;">Vesa-Pekka Rannikko lives and works in Helsinki.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Tommi Toija (born 1974)</p> <p style="text-align: justify;">Tommi Toija sculpts from everyday materials - clay, discarded plywood, found objects and materials from hardware stores - tableaus of the simplicities of the everyday. Widely known from various exhibitions spanning over a decade, is the character in his works: the little man, whose appeal lies in his sensitivity.</p> <p style="text-align: justify;">Toija is one of the most respected sculptors of his generation. After graduating with a Masters in Fine Art from the Finnish Academy of Fine Arts he worked as an apprentice to the late sculptor Kain Tapper. Kiasma (the museum of contemporary art), Amos Anderson's art museum and the Helsinki city art museum have acquired Toija's art works for their collections. In 2010, Toija received a 5-year working grant for artists.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Samppa T&ouml;rm&auml;lehto (born 1977)</p> <p style="text-align: justify;">Samppa T&ouml;rm&auml;lehto is a Finnish painter whose works deal with the tired practicalities of our modern world and the art world in a straightforward manner. By drawing, colouring and sculpting in a seemingly random way, he creates a sudden and a sarcastic glance at the state of the "floating world". Most of T&ouml;rm&auml;lehto's works take place between the figurative and the abstract, from where they refer to some odd narrative. The artist wants to leave this hidden though, leaving the context and meaning of his works open for interpretation.<br />T&ouml;rm&auml;lehto graduated from the Finnish Academy of Fine Arts with a Masters in Painting in 2013. T&ouml;rm&auml;lehto has had solo shows in Finland, Germany, Denmark and the Netherlands.<br /></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Ilona Valkonen (1980)</p> <p style="text-align: justify;">Fine artist Ilona Valkonen is known both for her conceptual installations and more traditional paintings. Her works often suggest delicate parallel ways of viewing reality. Lately she has chosen a more strict volume in her paintings.</p> <p style="text-align: justify;">Valkonen has studied at the Finnish Academy of Fine Arts and the Academy of Fine arts in Prague. In addition to her solo shows, she has taken part in numerous group shows in both Finland and abroad.</p> <p style="text-align: justify;">Valkonen has also worked on experimental performance art and taken part in several performance events.</p> <p style="text-align: justify;"></p> Thu, 26 Nov 2015 18:12:10 +0000 Group Show - espacio trapézio - November 18th - November 29th <p class=" text-justify" style="text-align: justify;">Archivo de documentos preliminares, v&eacute;ase: notas, bocetos, borradores, apuntes, mapas y partituras. T&oacute;mese &eacute;stos como guiones gr&aacute;ficos para la interpretaci&oacute;n. Enti&eacute;ndase por &laquo;nota&raquo; cualquier documento digital, mecanografiado o manuscrito de car&aacute;cter personal. Enti&eacute;ndase por &laquo;boceto&raquo; cualquier documento preparatorio que contenga una idea esbozada. Enti&eacute;ndase por &laquo;borrador&raquo; cualquier documento provisional que preceda a la obra pero no sea la obra final. T&oacute;mese el t&eacute;rmino &laquo;apunte&raquo; desligado de su car&aacute;cter de registro. T&oacute;mese el t&eacute;rmino &laquo;mapa&raquo; desligado de su condici&oacute;n documental. T&oacute;mese el t&eacute;rmino &laquo;partitura&raquo; seg&uacute;n su etimolog&iacute;a: como partici&oacute;n (partition, en franc&eacute;s) y como punto de partida (departure, d&eacute;part). N&oacute;tese que aqu&iacute; la &laquo;partitura&raquo; no est&aacute; limitada por el uso del lenguaje musical, as&iacute; como el &laquo;mapa&raquo; tampoco lo est&aacute; por el uso del lenguaje cartogr&aacute;fico o arquitect&oacute;nico. Enti&eacute;ndase por ambos t&eacute;rminos cualquier escritura abstracta, emancipada de la realidad sonora y visual, que describa un desarrollo espacial y temporal.</p> <p class=" text-justify" style="text-align: justify;">N&oacute;tese que el archivo no pretende poner en entredicho las categor&iacute;as &laquo;obra&raquo; y &laquo;documento&raquo;. Aqu&iacute; el documento ocupa eventualmente el lugar de la obra pero no es la obra final. Abst&eacute;ngase de considerar que el documento expuesto insin&uacute;a que tal vez no haya lugar para la obra, el archivo no est&aacute; condicionado por la faceta productiva del arte conceptual; tampoco cuestiona si ser&aacute; necesario ejecutar la obra tal como describe el documento, o si por el contrario deber&aacute; bastar con &eacute;ste. Enti&eacute;ndase en todo caso que el documento no es aut&oacute;nomo sino declaradamente preliminar, accesorio, funcional, o dicho de otra manera: que precisa forzosamente un estado posterior.</p> <p class=" text-justify" style="text-align: justify;">El archivo no est&aacute; sujeto a la supervivencia material, puesto que los documentos no importan como objetos sino como factores (del lat&iacute;n: facere, &laquo;que hacen&raquo;). Conc&iacute;base indistintamente el documento original y una fotocopia del mismo, ambos formatos se ajustan al prop&oacute;sito del archivo.</p> <p style="text-align: justify;">En colaboraci&oacute;n con el <strong>XXII Festival Internacional de Arte Sonoro y M&uacute;sica Electroac&uacute;stica &ldquo;Punto de Encuentro&rdquo;</strong>.</p> Thu, 26 Nov 2015 18:06:51 +0000 Melody Owen - Elizabeth Leach Gallery - November 5th - January 2nd, 2016 <p style="text-align: justify;">Best known for her collages, <strong>Melody Owen</strong> uses both vintage and contemporary imagery, often taking inspiration from fairy tales or fables. A frequent participant in artist-in-residency programs, Owen demonstrates a remarkable aptitude for assimilation, absorbing the materials, attitudes, and mythologies of each new circumstance and culture in her work. In <em>Everything is Water</em>, Owen focuses her illustrations on our connection to the natural world and the way in which our actions create a result. A single drop of water creates a ripple in a pond, a year of life creates another ring around a tree. This connectedness of all things is what drives the work and inspires her collage.</p> <p style="text-align: justify;">A graduate of the MFA program at Alfred University (Alfred, NY), Owen has exhibited at such locations as the Royal College of Art (London, England), Clough-Hanson Gallery at Rhodes College (Memphis, TN), Spoonbill and Sugartown (Brooklyn, NY), Bellevue Art Museum (Bellevue, WA), the Art Gym at Marylhurst University (Marylhurst, OR) and the Portland Art Museum (Portland, OR). Owen has completed residencies at the Cit&eacute; Internationale des Arts, (Paris, France), the Gil Society (Akureyri, Iceland) and the Est-Nord-Est Residency (Saint-Jean-Port-Joli, Canada). In 2009 she was artist-in-residence at Gaestatelier Krone (Aarau, Switzerland), funded in part by the Oregon Arts Commission.</p> Thu, 26 Nov 2015 18:03:40 +0000 Mark R. Smith - Elizabeth Leach Gallery - November 5th - January 2nd, 2016 <p style="text-align: justify;"><strong>Mark R. Smith</strong> continues his exploration of pattern and recycled textiles, creating unconventional objects based on a conceptual framework. Smith manifests his ideas through a labor-intensive process, transforming everyday materials into dynamic, thoughtful paintings. In <em>The Silk Road,</em> Smith examines both the historic trading route through central Asia, and the illicit online commerce site of the same name. His geometrically designed paintings create a continuous circuit mimicking a computer motherboard and referencing the seductive nature of the internet. Smith further studies what was an online blackmarket connection to the ancient trade route connecting the east to the west, in a series of laser cut prints on painted felt. In these prints, resembling half tonal photographs, Smith presents actual screen shots from the darknet marketplace, images of drug paraphernalia alongside figurines, camels and other objects and creatures that might have been found on the original Silk Road.</p> <p style="text-align: justify;">Smith received his BFA from The Cooper Union (New York, NY) and his MFA from Portland State University (Portland, OR). He has had solo exhibitions at the Office of the Governor (Salem, OR), Northview Gallery at Portland Community College (Portland, OR), Gallery Hlemmur (Reykjavik, Iceland), and the Art Gym at Marylhurst College (Lake Oswego, OR). Smith was included in The Oregon Biennial three times, and received the curator&rsquo;s award in 1995 and 2001. He has also received many public commissions, including projects with Trimet, Providence Hospital, and the Port of Portland (all Portland, OR). Smith&rsquo;s work is included in a number of public and private collections, including the American Embassy (Accra, Ghana), CityArts Inc. (New York, NY), King County Public Art Collection (Seattle, WA), Lewis and Clark College (Portland, OR), and Nike Inc. (Beaverton, OR).</p> Thu, 26 Nov 2015 18:02:24 +0000 Group Show - Dvorak Sec Contemporary - December 11th - January 28th, 2016 <p style="text-align: justify;">Srdečně v&aacute;s zveme na kolektivn&iacute; v&yacute;stavu s&nbsp;n&aacute;zvem <strong><em>Glassplus <em>&agrave;</em> la Borges aneb Zrcadlo a mask&aacute;č<em>,</em></em></strong> jej&iacute;mž z&aacute;měrem je uk&aacute;zat tvorbu &scaron;pičkov&yacute;ch autorů současn&eacute;ho uměn&iacute;, pro kter&eacute; je pr&aacute;ce se sklem typick&aacute;, a z&aacute;roveň představit současn&eacute; umělce, kteř&iacute; se specifick&yacute;m m&eacute;diem skla pracuj&iacute; ojediněle nebo to dokonce bude jejich premi&eacute;ra. Na t&eacute;to unik&aacute;tn&iacute; v&yacute;stavě tak dojde ke střetu generac&iacute; i dvou zcela odli&scaron;n&yacute;ch světů v ch&aacute;p&aacute;n&iacute; skla jako takov&eacute;ho. Celou v&yacute;stavu prov&aacute;z&iacute; princip zrcadlen&iacute;, kter&yacute; je jedn&iacute;m z&nbsp;poj&iacute;tek cel&eacute; koncepce.</p> <p style="text-align: justify;"><br /> Zastoupen&iacute; umělci: Rudolf Burda, V&aacute;clav Cigler, Jiř&iacute; Černick&yacute;, David Čern&yacute;, Viktor Fre&scaron;o, A&scaron;ot Haas, Jitka Havl&iacute;čkov&aacute;, Kl&aacute;ra Hor&aacute;čkov&aacute;, Milan Houser, Olgoj Chorchoj, Martin Janeck&yacute;, Mari&aacute;n Karel, Pavel Kopřiva, Martin Krajc, Alena Kupč&iacute;kov&aacute;, Marek Kvet&aacute;n, Stanislav Libeňsk&yacute;, Jakub Matu&scaron;ka aka Masker, Michal Motyčka, Pasta Oner, Rony Plesl, Richard &Scaron;tipl, Roman T&yacute;c, Maxim Velčovsk&yacute;, Franti&scaron;ek V&iacute;zner, Dana Z&aacute;mečn&iacute;kov&aacute;, Josef Zlamal.</p> <p style="text-align: justify;">Slavnostn&iacute; vernis&aacute;ž se uskutečn&iacute; v&nbsp;p&aacute;tek <strong>11. 12. 2015 od 17 </strong><strong>do 20 h.</strong> <strong>v&nbsp;DSC Gallery</strong>.</p> <p style="text-align: justify;">Sklo je křehk&aacute; z&aacute;ležitost, proto bude možn&eacute; do galerie během vernis&aacute;že vstupovat v omezen&eacute;m počtu ve skupin&aacute;ch vždy po 15 minut&aacute;ch. Př&iacute;padn&eacute; ček&aacute;n&iacute; před galeri&iacute; v&aacute;m zpř&iacute;jemn&iacute;me sv&aacute;řen&yacute;m v&iacute;nem.</p> <p style="text-align: justify;">Partnerem v&yacute;stavy je společnost Bomma.</p> <p style="text-align: justify;"><br /> Tě&scaron;&iacute;me se na v&aacute;s.</p> Thu, 26 Nov 2015 17:58:12 +0000 Jacqueline Humphries - Contemporary Arts Center New Orleans - November 19th - February 28th, 2016 <div class="panel-pane pane-node-content no-title block"> <div class="block-inner clearfix"> <div class="block-content"> <div class="node-content"> <div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-full"> <div class="field-items"> <div class="field-item even"> <blockquote> <h4 style="text-align: justify;">&ldquo;I think a painter&rsquo;s first job is to get someone to look at a painting. Perhaps it&rsquo;s about motion and light. Having a heightened sense of the painting changing in front of your eyes gives it an almost cinematic quality&mdash;light moves across the surface and makes new images before your eyes." &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &mdash;Jacqueline Humphries</h4> </blockquote> <p style="text-align: justify;">Over the course of her nearly 30-year career, Jacqueline Humphries (b. 1960, New Orleans, Louisiana) has emerged as a singular force in contemporary art, an influential &ldquo;artist&rsquo;s artist&rdquo; whose signature abstract works in metallic and ultraviolet pigments must be experienced firsthand.</p> <p style="text-align: justify;">Jacqueline Humphries is the artist&rsquo;s first solo museum exhibition in nearly a decade and the very first to be held in her hometown. Comprised of entirely new works, the exhibition is the most extensive presentation to date of both her silver and blacklight paintings. Humphries&rsquo; densely layered, atmospheric canvases activate, and are activated by, the space around them. The muted metallic surfaces of the silver paintings respond to shifting natural light and change with the movements of the viewer, positioning abstract painting as a theatrical, time-based art. The black-light paintings reveal their true nature&mdash;and actually emit light&mdash;only when &ldquo;excited&rdquo; by ultraviolet bulbs. These paintings, hung in a darkened environment, immerse viewers in spectacular fluorescence, and amplify their awareness of viewing and being viewed by others. Both bodies of works self-consciously engage the history of art and refer to popular culture as well, melding the drips, zips, and dots of mid-century abstraction with psychedelia and cinema&rsquo;s silver screen.</p> <p style="text-align: justify;"><em>This exhibition was organized by Carnegie Museum of Art.</em></p> </div> </div> </div> </div> </div> </div> </div> <div class="panel-pane pane-views-panes pane-artists-panel-pane-1 no-title block"> <div class="block-inner clearfix"> <div class="block-content"> <div class="view view-artists view-id-artists view-display-id-panel_pane_1 view-dom-id-8b3d18bd1ccc0f2bd240bdef65fc0638"> <div class="view-content"> <div class="views-row views-row-1 views-row-odd views-row-first views-row-last"> <div class="views-field views-field-field-artist"> <div class="field-content"> <div class="node-content"> <h3 class="node-title" style="text-align: justify;"><a href="" target="_blank">Jacqueline Humphries</a></h3> <div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-featured"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Jacqueline Humphries lives and works in New York City. Recent solo exhibitions include Greene Naftali, New York (2015); Carnegie Museum of Art, Pittsburg, PA (2015); Stuart Shave/Modern Art, London (2014); Greene Naftali, New York (2012); and Prospect.1 New Orleans, LA (2008).</p> <p style="text-align: justify;">Her work was included in the 2014 Whitney Biennial. Humphries'&nbsp;work is in the permanent collections of the Museum of Modern Art, New York; The Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art; the Tate Modern, London; Albright-Knox Art Gallery; the Museum of Fine Arts, Boston; and the Smithsonian Institution, D.C.</p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Thu, 26 Nov 2015 17:54:00 +0000 James Hoff - Contemporary Arts Center New Orleans - November 19th - February 28th, 2016 <div class="panel-pane pane-node-content no-title block"> <div class="block-inner clearfix"> <div class="block-content"> <div class="node-content"> <div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-full"> <div class="field-items"> <div class="field-item even"> <blockquote> <h4 style="text-align: justify;"><span style="font-size: small;">&ldquo;Viruses, like art, need a host, preferably a popular one.&rdquo;</span></h4> <h4 style="text-align: justify;"><span style="font-size: small;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &mdash;James Hoff</span></h4> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">B=R=I=C=K=I=N=G is the first solo museum presentation of work by James Hoff (b. 1975, Fort Wayne, Indiana). As co-editor and publisher of Primary Information*, Hoff has long explored competing forms and networks of distribution.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hoff&rsquo;s recent &ldquo;virus paintings&rdquo; and sound works exhibit an inevitable development of his engagement with technology, popular and political culture, and the intentional and unintentional disruptions therein. &ldquo;Bricking,&rdquo; the title of his exhibition, is a term used to describe the overload of an operating system when infected with malware, which renders it useless, at least, for its originally intended purposes. Hoff generates his virus paintings and sound works through a process of digital conversion, subsequent infection of his image files by a computer virus, and transference back to canvas or aluminum. To locate Hoff&rsquo;s recent work in the long tradition of painting demands a reappraisal of the medium beyond its Modernist material imperatives of paint on canvas and within a digital context, in which any form, whether visual, verbal, or sonic, can be reduced to and reorganized as an arrangement of code. Most shocking, however, is that Hoff&rsquo;s intentional acts of corruption yield a kind of noise that appears as phenomenal facsimile of the painterly surfaces that defined American Abstraction of the last century. And his sound works invite easy listening and recall familiar dance beats. Derived from nefarious sources, they figure innovation as invasive mutation, cloaked in the familiar vocabularies of popular culture.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>*Primary Information is a NYC-based press dedicated to the circulation of artists&rsquo; books and out-of-print editions. The Stacks bookshop at the CAC will present a wide selection of titles from the imprint during the exhibition and beyond.</em></span></p> </div> </div> </div> </div> </div> </div> </div> <div class="panel-pane pane-views-panes pane-artists-panel-pane-1 no-title block"> <div class="block-inner clearfix"> <div class="block-content"> <div class="view view-artists view-id-artists view-display-id-panel_pane_1 view-dom-id-62a5771f6f9810efe94cdb39d26df2c8"> <div class="view-content"> <div class="views-row views-row-1 views-row-odd views-row-first views-row-last"> <div class="views-field views-field-field-artist"> <div class="field-content"> <div class="node-content"> <h3 class="node-title" style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank">James Hoff</a></span></h3> <div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-featured"> <div class="field-items"> <p style="text-align: justify;"><span style="font-size: small;">James Hoff&nbsp;is an artist living and working in Brooklyn, NY.&nbsp;His work encompasses painting, sound, performance, and publishing among other media. He has maintained a strong focus on distributed forms and experiments with language, including cross-disciplinary investigations that address orally-transmitted syndromes, computer viruses, and ear worms. Hoff has released two records with PAN, with the latest being BLASTER, which documents his experiments with infecting 808 beats with computer viruses. He has performed and exhibited his art work extensively throughout the United States and Europe over the last ten years.&nbsp;Hoff is also a co-founder of Primary Information, a non-profit arts organization devoted to publishing artists&rsquo; books and art historical documents.</span></p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Thu, 26 Nov 2015 17:52:14 +0000 Group Show - Centre d’Art Contemporain Genève - December 11th - January 10th, 2016 <p style="text-align: justify;">Each year, a dozen Genevan artists and makers compete for one of the bursaries awarded by the Berthoud, Lissignol-Chevalier and Galland funds of the City of Geneva within the field of plastic and applied arts.</p> <p style="text-align: justify;">The exhibition of the nominees at the Centre offers a true picture of youthful creativity in Geneva, demonstrating the different visions of the world that co-exist in the city.</p> <h6 style="text-align: justify;">SHORTLISTED ARTISTS 2015</h6> <p style="text-align: justify;">AMI<br />Beno&icirc;t Billotte<br />Ceel Mogami de Haas<br />Chlo&eacute; Delarue<br />Camille Dumond<br />Futur Neue (Constance&nbsp;Delamadeleine and Alex W. Dujet)<br />Lauren Huret<br />Quentin Lannes<br />Boris Meister<br />Noha Mokhtar<br />Lamya Moussa<br />Cassandre Poirier-Simon<br />Marion Tampon-Lajarriette<br />Thiong-Toye/Racine</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Performance by Cassandre Poirier-Simon: during the vernissage, 10 December, 7.30PM and during the finissage on January 10th, 5PM</p> <hr /> <p style="text-align: justify;">Chaque ann&eacute;e, une douzaine d'artistes et cr&eacute;ateurs de Gen&egrave;ve concourent pour l'une des bourses offertes par les Fonds Berthoud, Lissignol-Chevalier et Galland de la Ville de Gen&egrave;ve, dans le domaine des arts plastiques et des arts appliqu&eacute;s.</p> <p style="text-align: justify;">L'exposition des nomin&eacute;s au Centre propose un v&eacute;ritable &eacute;tat de la jeune cr&eacute;ation &agrave; Gen&egrave;ve, t&eacute;moigne des diff&eacute;rentes visions du monde qui y coexistent.</p> <h6 style="text-align: justify;">ARTISTES NOMIN&Eacute;S 2015</h6> <p style="text-align: justify;">AMI<br />Beno&icirc;t Billotte<br />Ceel Mogami de Haas<br />Chlo&eacute; Delarue<br />Camille Dumond<br />Futur Neue (Constance&nbsp;Delamadeleine et Alex W. Dujet)<br />Lauren Huret<br />Quentin Lannes<br />Boris Meister<br />Noha Mokhtar<br />Lamya Moussa<br />Cassandre Poirier-Simon<br />Marion Tampon-Lajarriette<br />Thiong-Toye/Racine</p> Thu, 26 Nov 2015 17:21:15 +0000 Pascual Sisto - Brand New Gallery - November 20th - December 23rd <p style="text-align: justify;">For <em>En Plein Air</em>, Pascual Sisto has sampled the organic occurring markings native to a peculiar household plant commonly known as the spotted laurel or gold dust laurel (<em>Aucuba Japonica &lsquo;Variegata&rsquo;</em>); a plant variety that has been produced in strict cultivation by selective breeding. This sampling has occurred not once or twice but multiple times throughout different mediums, like a virus that spreads unrestricted until all distinctions between natural life and ersatz simulations become indistinguishable.&nbsp;</p> <p style="text-align: justify;">The synthesized version of the pattern is generated by a set of algorithms that randomly arranges the golden spots in space while also modifying the complexity of the edge roughness of each individual spot to closely match its source; whereas, the actual shrub the pattern is based on, is a cultivar whose green leaves are naturally and irregularly variegated with the yellow spots and blotches. Foliage color can vary considerably depending on the amount of sun exposure. Control and randomness are used in equal measure to recreate this naturally occurring organic pattern.</p> <p style="text-align: justify;">The golden dust pattern becomes the motif for the back gallery video installation and creates a simulated virtual environment resembling the chosen flora. The chromatic motif expands beyond its boundaries, spreading into different referent layers: through inkjet pigment on paper, dye-infused printing on a commercial carpet covering the entire space, a gobo stencil on a spotlight casting the specks onto a synthetic plant, immersive video animations and the living molecules that compose its originating plant matter. It further diffuses the domain of the senses by encapsulating the installation with a layered soundscape of wildlife sounds and a custom scent that is time-released through ultrasonic diffusers to continually affect the atmosphere of the space.</p> <p style="text-align: justify;">In this sense, the work acts as a house of mirrors, between the printed carpet, drawing, plants and Sisto&rsquo;s amalgamation of sight, sounds and smells, including an oculus rift VR scene that transports you into your own variegated cosmos. In this mise en abyme, the hierarchies of the natural order are fused with the machine-made origins of industrial pattern design. All are blurred and merged to the point where it becomes difficult to discern the source from its copies.</p> <p style="text-align: justify;"><strong>Pascual Sisto</strong></p> <p style="text-align: justify;">(b. 1975, Barcelona, Spain) lives and works in Los Angeles.</p> <p style="text-align: justify;">Originally&nbsp;from Spain, Pascual graduated with a BFA from the Art Center College of Design in Pasadena, California, and a MFA from the University of California, Los Angeles. He also attended the Skowhegan School of Painting and Sculpture in 2011 and is a recipient of the 2012 California Community Foundation Emerging Artist Fellowship. Recent exhibitions include 5 Car Garage and Prism Gallery in Los Angeles, Seventeen Gallery in London, Armory Center for the Arts in Pasadina, the Utah Museum of Contemporary Art in Salt Lake City, China Art Objects and at Smart Obejcts in Los Angeles.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Per la sua personale <em>En Plein Air</em>,&nbsp;Pascual Sisto ha esaminato la colorazione di alcune piante da appartamento comunemente conosciute&nbsp;come &ldquo;alloro macchiato&rdquo; (<em>Aucuba Japonica Variegata</em>); una pianta che &egrave; stata prodotta selezionando e coltivando diverse specie per arrivare ad avere una colorazione molto particolare delle foglie. Per la mostra, questa peculiare pigmentazione della pianta, &egrave; stata ottenuta dall&rsquo;artista attraverso l&rsquo;impiego di diversi media, come se fosse un virus che si diffonde sino a che la distinzione tra artificio e natura diventa indistinguibile.&nbsp;</p> <p style="text-align: justify;">La&nbsp;sinterizzazione del campione &egrave; ottenuta attraverso degli algoritmi che distribuiscono in modo casuale le macchie dorate nello spazio della galleria modificandone anche la dimensione delle singole macchie per renderle il pi&ugrave; possibile simili alle foglie reali che si presentano verdi con punti e macchie giallo/oro di forma irregolare. Il colore delle foglie varia notevolmente a seconda dell&rsquo;esposizione alla luce solare. Per ricreare la pigmentazione del fogliame &egrave; necessario tenere in considerazione in egual misura sia il controllo che la&nbsp;casualit&agrave;.&nbsp;</p> <p style="text-align: justify;">L&rsquo;alloro&nbsp;macchiato &egrave; il motivo usato per la video installazione che occupa lo spazio espositivo creando cos&igrave; un ambiente virtuale che simula il campione scelto. Il motivo cromatico supera i confini diffondendosi e moltiplicandosi nello spazio: dalle stampe su carta, al tappeto che occupa l&rsquo;intera superficie della galleria, alle luci che proiettano le macchie su delle piante artificiali sino alle animazioni video.&nbsp;L&rsquo;audio di fauna selvatica e il profumo di bosco emanato dai diffusori, fanno si che l&rsquo;opera avvolga lo spettatore al suo interno condizionando e cambiando continuamente lo spazio.</p> <p style="text-align: justify;">In questo senso il lavoro di Pascual Sisto progettato per questa mostra diviene come un labirinto di specchi dove il tappeto, i disegni, le piante, i suoni e gli odori ci trasportano in un mondo parallelo.&nbsp;In questa <em>mise en abyme</em>,&nbsp;le gerarchie di ordine naturale si fondono con le macchie prodotte artificialmente offuscando il confine tra ci&ograve; che &egrave; reale e ci&ograve; che &egrave; la sua copia.</p> <p style="text-align: justify;"><strong>Pascual Sisto</strong></p> <p style="text-align: justify;">(1975, Barcellona, Spagna) vive e lavora a Los Angeles.</p> <p style="text-align: justify;">Originario della Spagna, Pascual si &egrave; dipromato con un BFA presso Art Center College of Design a Pasadena, California, ed un MFA dell&rsquo;Universit&agrave; della California, Los Angeles. Ha frequentato la Skowhegan School of Painting and Sculpture nel 2011 ed &egrave; stato il beneficiario del California Community Foundation Emerging Artist Fellowship nel 2012. Tra le mostre pi&ugrave; recenti: 5 Car Garage e Prism a Los Angeles, Seventeen Gallery a Londra, Armory Center for the Arts a Pasadena, Utah Museum of Contemporary Art a Salt Lake City, China Art Objects e a Smart Obejcts a Los Angeles.</p> Thu, 26 Nov 2015 17:16:27 +0000 Amy Feldman - Brand New Gallery - November 20th - December 23rd <p style="text-align: justify;">Amy Feldman&rsquo;s latest work in <em>Moon Decorum</em> embodies a world that is both restrained form and wild pathos. Her pristine pearlescent surfaces are a substrate upon which she showcases gesture. This is mark making in two forms.&nbsp;</p> <p style="text-align: justify;"><em>Moon Decorum</em>, the painting from which the exhibition takes its title, has both of these forms occurring at once. On the one hand, there are fluid gibbous forms that explode outward and highlight escaping drips akin to the effulgent white drips in the black and white paintings of Willem de Kooning. On the other hand, her marks evidence a reduced seriality, manifesting as a footnote of expression or an acknowledgment of the ironic symbol of gesture&mdash;much as in a work by Jasper Johns. Therein resides what could be called a lunar friction in Feldman&rsquo;s paintings, between two divergent cultural interpretations of lunar activity: the moon demonstrates precision and regularity in its rotation,&nbsp; yet epitomizes our primal fears of its transformative power (as in the cultural myth of the werewolf). The darkness of these paintings is analogous to the cold vacuum of space and also to the palpable electricity of fear in the night air: Heideggerian, both angst and furcht, that is feeling that is abstract and concrete.&nbsp;</p> <p style="text-align: justify;">It is noteworthy that Feldman titled her exhibition in consideration of the moon with its multiple connotations. We take the scientific and poetic resonance of the moon&mdash;its tidal sway, its white and grey modulated surface&mdash;as commonplace. We are accustomed to thinking of a stark division between the science of astronomy and the art of painting: the planetary bodies as opposed to the Romantic achievement for instance in the <em>r&uuml;ckenfigurs</em>, who sit with their backs to the viewer gazing at a bright hovering orb in the sky and populate the paintings of Caspar David Friedrich.&nbsp;</p> <p style="text-align: justify;">The ancients had no such divisions. Plato reasoned the moon revolved with mathematical precision in a musically harmonious motion while at the same time he understood it as being an apparatus of divine retribution where the gods could play out their wrath on humans below. It is this duality that Feldman strikes in her most recent work.&nbsp;</p> <p style="text-align: justify;">A painting such as <em>Swollen Omen</em> alludes to the aforementioned primal anxieties and also recalls the body. The cavities and protrusions of her bulbous shapes simulate viscera. Is it her body? Is it an abbreviation of her movement with the brush across the surface? Is it a thigh or a knee? Feldman&rsquo;s lines are reminiscent but indiscernible, and their allusiveness hardly matters. What does deserve consideration is how these forms activate reminiscence. Feldman creates a biomorphic shorthand that reminds us of a body suspended between the scientific and the poetic: between the anatomic and the lustful. It is on that line that her rippling forms can activate humor and also serious thought. When Feldman approaches her surfaces, she is this instrument on the milky porcelain finish of her surfaces. You can sense her wildness in a field of restraint: always grey paint upon an always immaculate light ground.&nbsp;</p> <p style="text-align: justify;">Feldman&rsquo;s greys fluctuate between lighter and darker values, often reading as pewters, slates or concretes. Her greys are tethered to her mark making. I think of their subtlety as akin to clouds casting shadows over the landscape. Forms racing on a surface, but intangible and completely abstract. Similarly, her greys mirror movement, like a shade following a figure. At times faint and at other times dusky, they intimate the trace of her painterly act.</p> <p style="text-align: justify;">Pronounced shifts in her oeuvre are evidenced in her mark making. Her cartoon-like stroke shows the influence of Futurism, of Pop namely Andy Warhol and Roy Lichtenstein. But with the Feldmans in this exhibition, I think of a time in art that is so rarely considered, such as in the work of Nicholas Krushkenick, who painted after the heyday of Abstract Expressionism in a style best described as abstract Pop. Unlike Krushkenick, Feldman restricts her palette showing her digestion of all of these iconic painters, but also her improvisation in the current moment. Aren&rsquo;t we in such an era of hyper-commodification, but also of hyper-regionalism, and locavorism? We consume images, products, ideas at a clip, but are almost wistful for a slower time. Feldman&rsquo;s synthesis of an immediate serial form and her judiciously subdued palette manages to locate a contemporary abstraction that navigates beyond irony to a place of sincerity and sharp wit.&nbsp;</p> <p style="text-align: justify;">(Text by Andrianna Campbell)</p> <p style="text-align: justify;"><strong>Amy Feldman</strong></p> <p style="text-align: justify;">(b. 1981, New Windsor, NY) lives and works in Brooklyn, New York.</p> <p style="text-align: justify;">Amy Feldman has had solo exhibitions at Blackston, New York; Sorry We&rsquo;re Closed, Brussels, Belgium; ANNAELLEGALLERY, Stockholm, Sweden. Her work has been included in exhibitions at Kunstmuseum Bonn, Germany; Museo Britanico Americano, Mexico City; Mus&eacute;e d&rsquo;art Moderne, Saint-Etienne, France; New Britain Museum of American Art, CT; The American Academy of Arts and Letters, New York and she will exhibit in 2016 at Ratio 3, San Francisco and in 2017 at Nerman Museum, Overland Park. She is the recipient of awards, residencies, and grants including the Joan Mitchell Foundation Grant, the Marie Walsh Sharpe Residency Fellowship, the Robert Motherwell Fellowship at the MacDowell Colony, a Yaddo Residency Fellowship, the VCUarts Fountainhead Fellowship, the Henry Street Settlement/Abrons Art Center Residency, and a Skowhegan School of Painting and Sculpture Fellowship (2009).</p> <hr /> <p style="text-align: justify;">Gli ultimi lavori di Amy Feldman presentati in <em>Moon Decorum</em>&nbsp;incarnano un sentimento che &egrave; al contempo pacato e ricco di pathos. Amy Feldman, attraverso le incontaminate superfici perlescenti delle sue opere, evidenzia il gesto sulla tela.&nbsp;</p> <p style="text-align: justify;"><em>Moon Decorum</em>,&nbsp;l&rsquo;opera da cui la mostra prende il titolo, mette in luce entrambi gli aspetti. Da una parte ci sono le forme fluide e ondulate che si dipanano verso l&rsquo;esterno mettendo in risalto le gocce di colore ai bordi del dipinto, come accade nei dipinti in bianco e nero di Willem de Kooning. Dall&rsquo;altra parte, il tratto utilizzato dall&rsquo;artista evidenzia una serialit&agrave; ridotta che si manifesta quasi fosse una nota a pi&egrave; di un&rsquo;espressione o un&rsquo;affermazione dell&rsquo;ironia del gesto pittorico, ricordando cos&igrave; i lavori di Jasper Johns. &Egrave; in quest&rsquo;ambivalenza che risiede quello che nelle opere dell&rsquo;artista viene denominato attrito: la luna si dimostra precisa e regolare nella sua rotazione ed al tempo stesso il suo potere trasformativo (basti pensare al mito del lupo mannaro) incarna le nostre paure primordiali. L&rsquo;oscurit&agrave; di questi dipinti &egrave; analoga all&rsquo;immensit&agrave; fredda e vuota dello spazio e alla paura che ci assale nel buio della notte. Come suggerito dalla teoria di Heidegger, sia l&rsquo;angoscia che la fuga, sono sentimenti astratti e concreti al tempo stesso.</p> <p style="text-align: justify;">&Egrave; interessante notare come Amy Feldman abbia intitolato la sua mostra tenendo in considerazione la luna e le sue molteplici connotazioni. Quando pensiamo all&rsquo;influenza delle fasi lunari in termini scientifici o poetici &egrave; dato tutto gi&agrave; per assodato. Siamo altres&igrave; abituati a fare una netta distinzione tra l&rsquo;astronomia e la pittura: la visione scientifica dei pianeti si oppone all&rsquo;immagine romantica del&nbsp;<em>r&uuml;ckenfigurs</em>, dove le figure sostano dando le spalle&nbsp;all&rsquo;osservatore mentre osservano una sfera luminosa nel cielo; proprio come avviene nei dipinti di Friedrich. Per i nostri antenati questa divisione non sussisteva. Platone studi&ograve; la rivoluzione della luna con precisione matematica ed al tempo stesso cap&igrave; che essa era anche un mezzo divino per punire gli essere umani. &Egrave; questa dualit&agrave; che Amy Feldman rappresenta nei suoi lavori pi&ugrave; recenti.</p> <p style="text-align: justify;">Un dipinto come <em>Swollen Omen</em>&nbsp;allude proprio alle preoccupazioni primarie appena accennate ricordando le forme di un corpo con le sue cavit&agrave; e le sue sporgenze che simulano le viscere. &Egrave; il corpo dell&rsquo;artista? Un&rsquo;abbreviazione del movimento del pennello sulla tela? &Egrave; un ginocchio oppure una coscia? Le linee tracciate dall&rsquo;artista sono allusive, ma non &egrave; questo che le interessa. Ci&ograve; che merita di essere considerato &egrave; come queste forme attivino i ricordi e le associazioni mentali. Le forme di Amy Feldman ci ricordano un corpo scientifico e il poetico, in sospeso tra l&rsquo;anatomia e la seduzione. L&rsquo;artista diventa strumento attivo nella creazione delle fini superfici bianche dei suoi dipinti dove si nota la natura selvaggia ed al contempo moderata della sua azione attraverso l&rsquo;utilizzo dell&rsquo;acrilico grigio che viene steso sulla tela.</p> <p style="text-align: justify;">Utilizza varie sfumature di grigio; dal color peltro al calcestruzzo. Le tonalit&agrave; di Amy Feldman sono legate insieme dal gesto pittorico. Sono simili a nuvole che gettano l&rsquo;ombra sul paesaggio, intangibili ed astratte che al contempo conferiscono un senso di movimento alla tela. Talvolta appena accennate, talaltra rese evidenti, rivelano il gesto personale dell&rsquo;artista.</p> <p style="text-align: justify;">&Egrave; il gesto pittorico che movimenta e da un senso di cambiamento nel lavoro di Amy Feldman. Le pennellate mostrano l&rsquo;influenza di movimenti come il Futurismo o la Pop Art di Warhol e Lichtenstein. Le opere proposte per&nbsp;<em>Moon Decorum</em>&nbsp;fanno riferimento anche a momenti della storia dell&rsquo;arte che sono stati meno famosi: come ad esempio il lavoro di Nicholas Krushkenick. Diversamente da Krushkenick, Amy Feldman limita l&rsquo;influenza di tutti questi artisti inventando qualcosa di completamente nuovo. Non siamo pi&ugrave; nell&rsquo;era dell&rsquo;iper-mercificazione, dell&rsquo;arte ragionata. Oggi consumiamo velocemente le immagini, i prodotti e le idee ma sentiamo continuamente la malinconia dei tempi passati. Le opere di Amy Feldman permettono l&rsquo;individuazione di un&rsquo;astrazione contemporanea che va oltre l&rsquo;ironia servendosi di arguta sincerit&agrave;.</p> <p style="text-align: justify;">(Testo di Andrianna Campbell)</p> <p style="text-align: justify;"><strong>Amy Feldman</strong></p> <p style="text-align: justify;">(1981, New Windsor, NY) vive e lavora a Brooklyn, New York.</p> <p style="text-align: justify;">Amy Feldman si &egrave; diplomata presso la&nbsp; Rhode Island School of Design nel 2003 e ha conseguito il master in belle arti presso la&nbsp; Rutgers University nel 2008.&nbsp; Ha avuto numerose mostre personali presso Blackston, New York; Sorry We&rsquo;re Closed, Brussels, Belgio; ANNAELLEGALLERY, Stoccolma, Svezia. Le sue opere sono state incluse in mostre collettive tra le quali ricordiamo quelle presso Kunstmuseum Bonn, Germania; Museo Britanico Americano, Citt&agrave; del Messico; Mus&eacute;e d&rsquo;art Moderne, Saint-Etienne, Francia; New Britain Museum of American Art, CT; The American Academy of Arts and Letters, New York, NY. Nel 2016 esporr&agrave; presso Ratio 3, San Francisco e nel 2017 al Nerman Museum, Overland Park. Ha ricevuto numerosi premi e riconoscimenti ed ha partecipato a diverse residencies tra cui il Joan Mitchell Foundation Grant, il Marie Walsh Sharpe Residency Fellowship, il Robert Motherwell Fellowship at the MacDowell Colony, la Yaddo Residency Fellowship, il VCUarts Fountainhead Fellowship, il Henry Street Settlement/Abrons Art Center Residency e&nbsp; Skowhegan School of Painting and Sculpture Fellowship (2009).</p> Thu, 26 Nov 2015 17:16:26 +0000 Marilice Corona - Bolsa de Arte de Porto Alegre - November 19th - December 16th Thu, 26 Nov 2015 17:09:50 +0000