ArtSlant - Closing soon en-us 40 - Museum of Fine Arts Boston - July 21st, 2012 - February 18th, 2013 <p>Urban commoners in eighteenth- and nineteenth-century Japan, known as the Floating World, enjoyed a hedonistic lifestyle that included the pleasure of the companionship of pet animals. Many woodblock prints of fashionable beauties show them accompanied by elegant, pampered pets that symbolize luxury and sensuality. Formerly a prerogative of the nobility, pets were now available to newly affluent commoners as well.</p> <div class="additional-content"> <p class="additional-item">Cats and small dogs were especially favored as indoor pets, but monkeys, mice, fish, birds, and even singing insects were also cherished.  Meanwhile, on the streets and in the countryside, dogs were beloved pets of both children and adults. Traveling entertainers presented acts by trained monkeys in costumes, and artists sometimes drew humorous fantasy scenes of animals engaged in human activities.  </p> <p class="additional-item">Not just for animal lovers, “Cats to Crickets” will also appeal to those interested in early modern Japanese popular culture and fine printmaking.</p> </div> Sun, 19 Aug 2012 00:26:04 +0000 - Museum of Fine Arts Boston - September 15th, 2012 - February 18th, 2013 <p>This exhibition features a range of works from participants in the MFA's Artful Healing program, which brings the MFA collection and Museum educators to three partner institutions—Massachusetts General Hospital, Children’s Hospital Boston, and Dana Farber Cancer Institute—to improve environments through art-making, promote healing, and inspire hope in patients, families, and staff. “Artful Healing” highlights approximately 40 works, including drawings, photographs, and other 2D media produced by families and individual participants in response to images from the MFA collection.</p> Sun, 19 Aug 2012 01:31:41 +0000 - National Gallery of Canada - November 2nd, 2012 - February 18th, 2013 <p><em>Builders </em>presents more than 100 recent and significant acquisitions by emerging and established artists instrumental in shaping perspectives in Canadian art today. The exhibition reflects the work of the Gallery’s curators in building the collection through an informed understanding of contemporary Canadian art across diverse media, environments and generations.</p> Thu, 10 Jan 2013 00:12:40 +0000 - Fountain Art Fair - February 19th, 2013 - February 19th, 2013 Sun, 17 Mar 2013 18:28:12 +0000 Antonio Rovaldi - Hirshhorn Museum and Sculpture Garden - July 6th, 2012 - February 19th, 2013 <p>For Antonio Rovaldi (Italian, b. Parma, 1975; lives and works in Milan), frequent long-distance walks and bike rides provide an open-air studio for him to contemplate landscape, space, and distance. These elements are often key to his drawings, sculpture, photography, performance, and video art. In <em>The Opening Day</em>, 2009, a pitcher takes aim at mass-produced ceramics displayed as if they are classical still lifes. The artist uses the intangible arc of a fastball to create suspense. Perhaps a metaphor is also at play: has moving-image work, once considered to be outside the realm of fine art, now shattered this hierarchy?</p> Thu, 14 Feb 2013 02:15:37 +0000 Bethany Johnson, Ann Tarantino - The Contemporary Austin - Laguna Gloria - December 18th, 2012 - February 19th, 2013 <p>Bethany Johnson and Ann Tarantino both utilize elements of chance and explore the intricacies of systems in their works. In this exhibition the artists explore unfamiliar and novel techniques of&nbsp;drawing.</p> <p>Austin-based artist Bethany Johnson&rsquo;s practice revolves around the study of complex systems and the visual representation of information. Ranging from extremely detailed renderings of landscapes to loosely composed drawings made by captured rain, Johnson proposes different methods of interpreting and recording phenomena. She investigates various methods of science, cartography, philosophy, poetry and visual art. On view for this exhibition are Johnson&rsquo;s two types of rain drawings that utilize 19th-century scientific practices of determining rain&nbsp;accumulation.</p> <p>Ann Tarantino, based in Pennsylvania, will create two site-responsive works for this exhibition. For an installation in the Driscoll Villa sun porch, Tarantino will adhere panels laser cut with abstract patterns directly to the windows, creating what looks like an stained glass installation. Throughout the rest of the Villa, she will draw directly on the wall, utilizing methods of pouring, dripping, and blowing ink onto a surface to create intricate patterns. Referencing the organic patterning of nervous tissue, the emotional ties revealed through contemporary social networks, or the labyrinthine streets of ancient cities, Tarantino abstracts systems that are old and&nbsp;new.</p> Tue, 25 Feb 2014 18:51:01 +0000 Daniel Rode - The Townhouse Gallery - February 3rd, 2013 - February 20th, 2013 <table border="0" cellpadding="0" cellspacing="0" width="100%"> <tbody> <tr> <td valign="top"> <p align="center"></p> </td> <td valign="top"> <p class="p1"><br />  </p> <p class="p1"><span style="font-size: small;">“<b>Untitled</b>,” a temporary intervention in the Townhouse Factory Space by Cairo-based artist Daniel Rode, is the culmination of a series of artistic investigations that span the past year and a half.</span><br /> <br /><span style="font-size: small;"> The aesthetics of error inform the central piece in the installation — a large-format printed banner with a pattern taken from Cairo’s abandoned billboards. When these billboards are not booked with advertisements and are left empty, the hidden interior structure of the neon light tubes becomes visible, creating large abstract patterns that shine across the darkened city. This structure is assembled by hand, leading to irregularities in the lighting pattern; and single tubes or groups of light elements are broken, creating dark gaps and holes.</span><br /> <br /><span style="font-size: small;"> Rode was intrigued both by the aesthetics of these patterns, and by these systematic irregularities and failures. A huge billboard is switched on, but does not fulfill its function as a carrier of information. This installation responds to these deeply compelling errors in visual communication.</span><br /> <br /><span style="font-size: small;"> </span></p> </td> </tr> </tbody> </table> <p> </p> <table border="0" cellpadding="0" cellspacing="0" width="100%"> <tbody> <tr> <td valign="top"> <p align="center"></p> </td> <td valign="top"> <p dir="RTL"><br /><span style="font-size: small;"> </span><br /> <br /> <br /><span style="font-size: small;"> " بدون عنوان" هو تدخل معاصر فى مساحة المصنع بالتاون هاوس للفنان "دانيل رود" المقيم فى القاهرة، وهو تتويج لسلسلة من التجارب الفنية التى امتدت على مدار سنة ونصف.</span><br /> <br /><span style="font-size: small;"> جماليات الخطأ  هى مصدر الإلهام فى القطعة الأساسية فى التجهيز – وهى لوحة كبيرة مطبوعة بتصميم يستوحى مشهد لوحات الأعلانات بالشوارع عندما تكون شاغرة. تلك اللوحات الإعلانية عندما تخلو من الإعلانات يتبدى بداخلها هيكل من مصابيح النيون وكأنه نسق تجريدى يشع فى ظلام الليل. هذا الهيكل الذى يتم تركيبه باليد يتضمن تكوينات غير منتظمة فى نسق الضوء، كما يحدث أن تكون بعض المصابيح قد توقفت عن العمل على نحو يخلق مساحات أو ثقوب سوداء.</span><br /><span style="font-size: small;">  </span></p> <p dir="RTL"><span style="font-size: small;">أحس "رود" بالدهشة تجاه جماليات تلك الأشكال الضوئية غير المنتظمة والتى لا تخلو من الأعطال المتوقعة. والحقيقة أنه عندما تتم إضاءة لوحة اعلانات، فإنها لا تقوم بدورها المفترض كناقل للمعلومات. هذا التجهيز هو استجابة لتلك الأعطال الجديرة بالتأمل فى عالم الاتصالات البصرية.</span></p> </td> </tr> </tbody> </table> Tue, 05 Feb 2013 09:31:25 +0000 Tony Twigg, Alfredo & Isabel Aquilizan, Maria Cruz, David Griggs, Diokno Pasilan, Juni Salvador - Yuchengco Museum - January 23rd, 2013 - February 20th, 2013 <p>With the title UnBound, this exhibition explores how culture moves beyond cartographic or physical boundaries, from the physical passage of the object to questioning how ideas and histories are carried and rewritten, responding to different criteria and value constructs.<br />Commissioned by the Australian Embassy Manila, in partnership with the Yuchengco Museum, Australian curator Gina Fairley has turned to a group of six artists who live between and across the Philippines and Australia. It is their self-driven passion for nearly two decades that has grown an incredible bond and influenced a next generation of artistic exchange.<br />2013 marks 20 years of Tony Twigg coming to Manila, having presented over 12 solo exhibitions within this art scene. Diokno Pasilan was involved with the Australia Centre as a host for visiting artists when it opened in the early 1990s. He now lives between Melbourne and Palawan and is active in both art scenes. Juni Salvador (who takes his oath on this coming Australia Day) lives across and between Manila and Sydney. David Griggs in recent years has made Quezon City his home, and Maria Cruz’s career stretches from Sydney to Manila to Berlin, where she has exhibited and taught. This dialogue started in the 1930s, when Scottish-born, European-schooled artist Ian Fairweather spent time in the Philippines painting before making Australia his home. Tony Twigg’s installation Anak Bayan (again) draws tribute to that history at the foundation for this exhibition.<br />These artists are clearly unbounded by ideas such as ‘nation-based identity,’ rather choosing to embrace the intuitive flow of ideas that comes from the movement between places.<br />UnBound is an exhibition that throws up fresh thoughts on how we define histories, identity, and movement in our times. Using the metaphor of an airport’s transit lounge as the point of intersection for coming and going, arriving and departing—for ideas of home and away—this exhibition has a particularly contemporary feel to it with the frequency with which these artists move across our region.<br />UnBound is an acknowledgment of a long-held creative respect between Australia and the Philippines and the artists who have made both places their home.<br />QUOTATIONS<br />“All six artists have been instrumental in taking the work of Filipino artist’s abroad—they are great ambassadors and have continued what the Australia Centre started in the 1990s.”<br />– general quote that you can use or apply.<br />“The artists in this exhibition have been particularly committed in their desire to live and work across our two countries – one that has been driven by passion,” said curator Gina Fairley. “As a curator it is fabulous to work with material that connects with audiences of different locations in unique and local ways. Clearly it is this passion that is felt.”<br />“How culture is transported, repackaged by these artists, and then interpreted by local audiences, sits at the core of this exhibition. It is a both an expression and a questioning of our times.”<br />– Gina Fairley, Australian curator<br />“The question most often asked is, ‘So Tony, where are you based?’ While it is usually just friendly banter, for me the answer is consequential. It attaches me to a place and defines me within nationalistic structures that govern ideas such as Australia’s cultural politics, but also the kind of global art rhetoric that identifies artists such as myself as peripatetic - born here, lives there, lives and works. For me it is a much broader geographic experience that has little to do with cartography or categories. It is about space.”<br />– Tony Twigg, Australian artist<br />“In our practice we always try to make sense of how the materials on hand relate to an idea.”<br />– Alfredo &amp; Isabel Aquilizan, Filipino artists living in Australia<br />“Engagement is the key element in the work; the inter human relations that go into the artistic production.” The Aquilizans continued, “Our projects go beyond their material form. Our interest lies in the works providing a platform for exchange through creative processes, [and] negotiations with the audience.</p> Mon, 14 Jan 2013 09:47:56 +0000 Group Show - DOX Center for Contemporary Art - November 22nd, 2012 - February 21st, 2013 <div class="ST-content ST-content-type-text ST-content-section-content paragraph"><em>"It's not the story of the battle; it's the battle of the story!" </em> <br /> Patrick Reinsborough</div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph">In the last few years we have witnessed how the corrosion of the three main modes of social imaginary that defined modernity – the market economy, the public sphere, and the self-government of citizens – has reached a critical point. As a result, the increasing number of people in different fields, social scientists, artists, public intellectuals, and activists are calling for rethinking and reinventing social change. Such voices, however, are too often fragmented in their respective boundaries, and, consequently, they have not yet been able to articulate a compelling alternative metanarrative that the public would identify with and which would thus result in a major positive change. <br /> <br /> The project <em>Cartographies of Hope: Change Narratives </em> was born out of the sense of urgency and the effort to address this situation. It seeks to bring attention to this condition and to call for joint effort to identify alternatives we can agree. The premise of the project is that narratives of social imaginary play a key role in generating positive changes. Social change is always seen as a certain story, which then becomes an important driver of the change itself. This double function of reflection and agency constitutes a methodological core of the project. </div> <div class="ST-content ST-content-type-photo ST-content-section-content photo"></div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph"> <p>The last couple of decades have been characterized by the dominant influence of neo-liberal ideology, notably by its narrative about the market mechanisms as natural principles penetrating all fields of social life, including education, healthcare, science, and art. The result is rising inequality, thinning social cohesion, and the fragmentation of polity. In this situation, to simply critique and historicize the neo-liberal system is not enough. We need to connect alternative narratives into a coherent whole –  a metanarrative that would provide us with a sufficient social cohesion <br />on one hand and openness and hope on the other. The project<em> Cartographies of Hope: Change Narratives</em> comprises of an exhibition, two conferences, workshops, and discussions. Its objective is to map different narratives of social imaginary and to start connecting them to a coherent bigger story,  as well as to develop networks and shared databases of individuals and institutions associated with those narratives on local and international levels. The exhibition is organized in several sections and subsections that represent diverse narratives of change, while their sum and sequence indicate a larger picture that may inspire thinking about a new metanarrative:</p> </div> <div class="ST-content ST-content-type-photo ST-content-section-content photo"></div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph"> <div> <p>1.  Multitude of social change (local and global, fast and slow, generational and inter-personal)</p> <p>2.  Crises (ecologial, financial and economic, political, moral)</p> <p>3.  Disrespect and protest (forms of disrespect: injustice, inequality, unfreedom, forms of protest, protest movements)</p> <p>4.  Social imagination (solidarity and participation, moral and political dimensions of economy, global respect and justice, humanity and nature)</p> </div> </div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph"> <p>The project is organized by the DOX Centre for Contemporary Art in Prague<br /> in collaboration with the following partners: the Centre for Global Studies <br />in Prague, the Institute of Sociology of the Czech Academy of Sciences, <br />the Council for Foreign Relations, Prague. Representatives of various NGOs <br />and social movements from the Czech Republic and abroad will also participate in the project.</p> </div> Sat, 24 Nov 2012 01:57:34 +0000 Group Show - RH Gallery - February 13th, 2013 - February 22nd, 2013 Sat, 31 Aug 2013 08:54:03 +0000 Aldon Mines, Shannon Gowen - BLUEorange - January 19th, 2013 - February 23rd, 2013 <p><em>Portals of Misconception</em> features a site specific installation by sculptor Aldon Mines and installation artist Shannon Gowen as well individual works from both artists.  Aldon's sculptures draw viewers in and ask them to question preconceived ideas of functionality and practicality.  Shannon seamlessly intertwines elements of fiber art, embroidery, collage and sculpture into her installations.  Together they have created an imaginative piece that is as captivating as it is beautiful.</p> Sat, 12 Jan 2013 02:31:16 +0000 Joel Glassman - Center for Maine Contemporary Art - February 18th, 2013 - February 23rd, 2013 <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p>Drop by CMCA during February school vacation week to see <em>The Recycled Menagerie,</em> a delightful collection of whimsical creatures created by the late Joel Glassman (1911-2007) of Camden. Made almost entirely from discarded and recycled materials, the menagerie will charm and inspire viewers of all ages. The exhibit will be open Monday through Saturday, February 18 – 23, 10am to 4pm.</p> <p>If you would like to try creating your own menagerie, CMCA’s ArtLab will be open from 2-4pm each day of the exhibit, stocked with recycled materials (feel free to bring along your own bits and pieces as well).</p> <p>Admission to <em>The Recycled Menagerie</em> exhibit and ArtLab is free of charge, but donations are accepted.</p> <p><strong>More about the Artist</strong><br /> Joel Glassman was born in Philadelphia in 1911. He began designing shoes at age 17, and continued to design for clients until age 94. Joel and his wife Eleanor lived in Italy for 15 years, providing design services for companies all over the world. When Joel was 80, he began to create his <em>Recycled Menagerie</em>. He presented his creatures to children in schools and museums, to encourage them to create with materials they might throw away. Joel died in Camden, Maine on July 12, 2007, three months shy of his 96th birthday.</p> </div> </div> </div> Wed, 13 Feb 2013 04:56:08 +0000 Andreas Reiter Raabe - Charim Galerie - December 14th, 2012 - February 23rd, 2013 <p>Andreas Reiter Raabe zeigt in seiner ersten Einzelausstellung in unserer Galerie neue Werke<br />aus unterschiedlichen Arbeitsphasen.<br />Renate Wiehager entwickelt in der Auseinandersetzung mit dem Werk von Andreas Reiter<br />Raabe mit dem Begriff der „Distanz“ ein perspektivierendes Konzept, das die<br />unterschiedlichen Werkgruppen zueinander in Beziehung setzt.<br />„Das Werk von Andreas Reiter Raabe hat sich von Beginn an als eine Abfolge von<br />Distanzergreifungen realisiert. Die Formen der Distanznahme umgreifen ein denkbar weites<br />Spektrum – intelektuelle Kritik, materielle Experimente, gezielte Dislokation von Selbst und<br />Werk während langer Reisen, dialogisches Verrichten und neu Entwickeln von Erkenntnis und<br />Gewissheit. Der Begriff der Distanz wäre für Andreas Reiter Raabe künstlerisch zu wenden,<br />insofern er von den frühen Lackbildern und Rahmenobjekten bis zu seinen aktuellen<br />konzeptuellen Bildfindungen immer zugleich an der professionellen Beherrschung eines<br />künstlerischen Mediums und an der gleichzeitigen Überwindung desselben gearbeitet hat.<br />Man könnte, anders gesagt, Reiter Raabe – in Phasen der Distanznahme – als Rezipienten<br />seines eigenen Werkes bezeichnen. Im künstlerischen Verfertigen sich selbst beobachtend<br />als Teilnehmer von Kunstgeschichte. Er hat das geistige und formale Repertoire der<br />wesentlichen Ismen der Moderne – vom Readymade über Informel, Zero, Minimal und<br />Concept Art bis zu Apropriation – nach eigenen Parametern noch einmal durchgespielt, um<br />sich gleichsam den Gang der Argumentation zu vergegenwärtigen. Eine gewisse strategische<br />Vorgehensweise ist Reiter Raabe hier ebenso wichtig wie ein intuitives Sich-leiten-lassen von<br />Anregungen, Zufällen oder visuellen Eindrücken. Alle Werkgruppen kontrastieren durch ihren<br />Umgang mit der Farbe – dem Material der Malerei – den Zufall mit Kontrolle, Ordnung mit<br />Unordnung und illustrieren so den Konflikt zwischen Geist und Materie.“ (Renate Wiehager)<br />Martin Prinzhorn wiederum betont das Prozesshafte, das den Gestaltungsmaterialien selbst<br />Bildlichkeit zukommen läßt.<br />„Es ist immer wieder die Betonung des Prozesses, die bei den Bildern Reiter Raabes<br />vorherrscht. Planung und Zufall, bzw. Intuition werden gleichsam auf einer höheren Ebene<br />verhandelt, die das Wissen über die surrealistische Bildmaschine oder den erweiterten<br />expressiven Körper mit enthält und anspricht, nah am Spannungsfeld zwischen Bild einerseits<br />und Installation und Skulptur andererseits. In den Bildern geht es nicht um Auflösung im Sinne<br />einer Reduktion zum puren Bild hin, sondern sie handeln auch immer davon, das Material<br />zum Bild zu machen.“ (Martin Prinzhorn)</p> Thu, 06 Dec 2012 01:31:57 +0000 Pablo Picasso - Gagosian Gallery - Geneva - November 1st, 2012 - February 23rd, 2013 <p><em>Everything you can imagine is real.</em><br /> —Pablo Picasso<br /> <br />Gagosian Gallery is pleased to present selected works by Pablo Picasso.</p> <p style="text-align: justify;">One of the most influential artists of the twentieth century, Picasso’s oeuvre encompasses nearly twenty thousand artworks, transcending all attempts at categorization.  On view are works in various mediums, which span the breadth of his diverse and prolific output.<br /> <br /> It was Picasso’s maverick ability to expand the vocabulary of modern aesthetics, including non-traditional influences while legitimizing new media, which ushered in a new era in art.  On view are paintings, drawings, and terracotta sculptures that attest to the enduring appeal of his restless virtuosity. Paintings such as <em>Le Petit Picador</em> (1889), <em>Nature morte à la guitar</em> (1924), <em>Marie-Thérèse a la Guirlande</em> (1937) <em>Femme endormie, symphonie en gris</em> (1943) <em>Portrait d’enfant: Paloma</em> (1952) are exhibited alongside robust ceramics such as <em>Centaure (recto) Feuillage (verso)</em> (1952) and <em>Scène tauromachique</em> (1952); as well as ink drawings such as <em>Enfant jouant au train (1ère partie et 2ème partie)</em> (1950) and <em>Le Laboureur céleste</em> (1950).</p> <p style="text-align: justify;">This exhibition will coincide with “Picasso at Work: Through the Lense of David Douglas Duncan,” an exhibition celebrating the historic friendship between the American photographer and the artist. “Picasso at Work” is on view at the Musées d’Art et d’Histoire, Geneva from October 30 through February 3, 2013.</p> <p style="text-align: justify;"><strong>Pablo Picasso</strong> was born in Málaga, Spain in 1881 and died in France in 1973. Recent exhibitions of his work include “Picasso: Tradition and the Avant-Garde,” Museo Nacional del Prado and Museo Nacional Centro de Arte Reina Sofía, Madrid (2006); "Picasso and American Art," Whitney Museum of American Art, New York (2006, traveled to Walker Art Center, Minneapolis and San Francisco Museum of Modern Art through 2007); "Picasso et les Maîtres," Galeries nationales du Grand Palais, Paris (2008–09); “Picasso: Challenging the Past,” National Gallery, London (2009); and “Picasso at the Metropolitan Museum,” Metropolitan Museum of Art, New York (2010). “Picasso: Black and White” is on view at the Solomon R. Guggenheim Museum, New York through January 23, 2013.</p> Sat, 27 Oct 2012 01:09:49 +0000 Annelies Strba - Galerie EIGEN + ART (Leipzig) - January 12th, 2013 - February 23rd, 2013 <p>"In den letzten Jahren haben sich Annelies Štrbas Fotografien immer weiter von ihren früheren Abbildungen häuslichen Lebens entfernt, ihre Serie ,My Life's Dreams' gibt aufschlussreiche Hinweise darauf, wohin es ihr Herz mittlerweile gezogen hat: Sie wurde zur Geschichtenerzählerin, die Märchen spinnt und Handlungsnetze webt, (...) Die Serie ‚My Life's Dreams' beinhaltet zahlreiche Fotos schlafender Mädchen, welche an die Dornröschen-Tradition anknüpfen. Mehr als alles andere künden sie von der Sehnsucht, sich Unschuld und Staunen zu bewahren. Thematisierte ,Shades of Time' die Beschwernisse der Mutterschaft und die Last der Sterblichkeit, so spiegeln die Bilder aus ,My Life´s Dreams' den Wunsch, beidem zu entrinnen, und das möglichst in Anmut und Schönheit. Gleichwohl gibt es auch Hinweise auf die Unmöglichkeit solchen Strebens. Die sonderbar eigenständig wirkenden Mädchen im Wald, so hübsch und blond, weisen genügend Spuren aktueller Lebenswirklichkeit auf, um anzudeuten, dass sie in diesem Wunderland fehl am Platze sind, und das halluzinatorische, oft neongrelle Kolorit der Bilder verleiht ihnen eine scharfe und manchmal beängstigende Kontur. Im Kontrast dazu erinnern Stoffschichten und hölzerne Interieurs, ebenso wie Mohnblumen, Wälder und gebirgige Landschaften an alte europäische Märchen und die orientalische Exotik der Geschichten aus 1001 Nacht. Diese Bilder schließen Banalität und Hässlichkeit des gewöhnlichen Daseins ebenso aus wie jeglichen Aspekt des Maskulinen, sie erschaffen ein Reich ätherischer Weiblichkeit, des machtvollen Zustands von Traum, Schlaf und Bewusstlosigkeit. Es ist eine schlaftrunkene, schwerfällige und schöne Welt, kurzzeitige Zuflucht vor dem kalten, starren Blick des Sensenmanns." (John Hutchinson, aus: My Life's Dreams, Stuttgart, 2012)</p> Sat, 12 Jan 2013 00:17:11 +0000 Jörg Sasse - Galerie Wilma Tolksdorf Frankfurt - December 4th, 2012 - February 23rd, 2013 <p>Galerie Wilma Tolksdorf is delighted to present works by Jörg Sasse from his series of <i>Still Lifes</i> and <i>Tableaux</i>.</p> <p> </p> <p>Whether curtains, stairways, radiators, reflections in windows or unique lighting conditions - with an eye for detail Jörg Sasse reveals fragments of our everyday environment. Since the 1980s the artist has photographed seemingly plain everyday objects in private homes, public buildings and shop windows, unimpressive at first glance. Through unusual perspectives and detail, he transfers the preexisting composition into images with a distinct aesthetic quality. The transformation of a rather "simple" objects into a picture-worthy image as well as its form, shift the contextual meaning of the individual picture and their relation to each other.</p> <p> </p> <p>For the current exhibition 38 <i>Still Lifes</i> from 1984 to 2012 are arranged and presented in four blocks. Through the use of databases the artist categorizes his works, thus being able to examine similarities and differences in order to subsequently compare various constellations to one another. The interaction of materials, shapes and colors reveal interrelations that any viewer can discover and formulate for themselves.</p> <p> </p> <p>Apart from the <i>Still Lifes</i>, works from the continuously developed series of <i>Tableaux</i> are on view. Since the early 1990s Jörg Sasse has worked with computer-manipulated photographs, which are mostly based on found and archived footage by amateur photographers. These archived images serve as starting points, which are transformed into works whose origin is often no longer recognizable. With the endless possibilities of digital imaging, the artist applies the realism of photographic imaging to create independent pictures. Sometimes it seems familiar and picturesque; sometimes it creates associations in the history of art, but ultimately remains an autonomous work in suspense of presence and elusiveness.</p> <p> </p> <p>As a former master student of Bernd Becher, Jörg Sasse (born in 1962) plays an important role in contemporary art. His works have been exhibited internationally and are part of world famous art collections, including the Solomon R. Guggenheim Museum, New York, Banco Espirito Santo Photography Collection, Lisbon, MUMOK, Vienna, Kunsthalle Zurich and Winterthur Photo Museum. Works from his series of <i>Still Lifes</i> were recently presented in a solo exhibition at C/O Berlin.</p> Thu, 24 Jan 2013 13:55:37 +0000