ArtSlant - Closing soon en-us 40 Patrick Dougherty - The Honolulu Museum of Art - February 6th, 2012 - March 4th, 2013 <p>Environmental artist Patrick Dougherty will create a site-specific work on the front lawn of the Academy starting Feb. 6. In just over two weeks, the North Carolina-based artist will twist and weave tree saplings to create large, organic sculptures. The surrounding environment and its given materials play a significant role in shaping his sculptures and in this case, his work will draw from the architectural elements of the Academy’s historical building and grounds.</p> <p>In 2005, Dougherty used strawberry guava saplings to fashion a sculpture that wound sinuously around the giant monkeypod tree on Spalding House’s lawn. This time, O‘ahu artist and landscape architect Leland Miyano helped Dougherty harvest materials such as strawberry guava and ash from Ho‘omaluhia Botanical Gardens.</p> <p>Dougherty combines his carpentry skills and his love and knowledge of nature to create whimsical, elegant woven masses that often relate to architectural structures or even evolve into cocoon-like organic vessels. He began working on simple structures in 1980s and since then has created more than 200 sculptures around the world.</p> Wed, 20 Feb 2013 07:34:11 +0000 - The Townhouse Gallery - February 24th, 2013 - March 6th, 2013 <p>“…<i>it is not enough for us to open our eyes, to pay attention, to be aware, for new objects suddenly to light up and emerge out of the ground”</i><br /> <i>--Foucault</i></p> <p><br /> <i>"How does history become `personal'—only when it is survived, or only when private lives become public knowledge? What constitutes an `experience' of history—`being there,' being told about it (telling it), being taught it (teaching it), reading about it, writing it? Or does history become `personal' when an individual cares about it?"</i><br /> —<i>Susan Crane, "(Not) Writing History"</i><br /> <br /> “Can a history of the 25 January revolution be written?” asked Mai Elwakil in the epilogue to the catalogue published after the “Speak, Memory” symposium that was held at Townhouse in October 2011. Just a few months after the symposium, which looked at archival strategies in artistic and institutional practice in the postcoloniality and economic periphery, the question of the archive took on an unprecedented urgency in revolutionary Egypt.</p> <p>In the two years since 25 January 2011, history has been unfolding in a rapid-fire series of stutters and starts, confused by radically conflicting narratives of events, punctuated by causes celebres that are forgotten within a matter of weeks, and characterized by the eerie, almost performative repetition of the same events over and over.</p> <p>In her essay, Elwakil referred to an article by Yasser Abdallah: “21 February: The people want to restore memory,” in which he diagnosed the people of Egypt with collective political amnesia. But in the face of this amnesia (perhaps the condition that triggers this endless repetition of violence on the same streets and same dates year after year), multiple archival initiatives have emerged—from the Mosireen video collective, to the online platform Qomra, to Khaled Fahmy’s digital archive initiative, as well as internet activism projects like the Arab Digital Expression Foundation and the Arab Techies.</p> <p>As the Egyptian state has systematically made its own archives either almost impossible to access or destroyed them through institutionalized neglect or outright vandalism, citizen journalism and online platforms have been held up as the answer to preserving fast-eroding memories and testimonies, and crafting alternative historical narratives. There is a popular idea that the internet is infinite and forever – capable of housing a never ending amount of information that will always be accessible; a utopian, democratic platform that can be engaged with by all. But reality is more complicated; the information highway is complicated by a host of checkpoints and barriers, blockages enforced by the state and economic policies. Sites are shut down, YouTube videos are deleted, photos are copied and inserted into different contexts; images are not fixed in the original narrative from which they were taken.</p> <p>Sponsored by, “Digitizing Memory” is an exhibition and event series that seeks, for the first time, to bring this network of initiatives into real space. The exhibition has a practical aim on one hand: to introduce audiences to the Qomra video archive initiative, and offer a series of workshops. It also aims to chart the genesis and interrelations between similar initiatives; host closed session meetings between the leaders of these different initiatives to see how they can mutually support each other; and a public panel discussion where participants from these initiatives will discuss the conceptual concerns behind digital archival practice in the current moment: As the very actors in unfolding political events are the ones documenting them, are we seeing the end of the ideal of the objective, removed documentarian/journalist? And if so, can history be written in the first person? Is it possible to catalogue and index this (verging on the sublime) flood of images and videos in the midst of this fluctuating, unfolding history, without the distance (in terms of time and affect) presumed to be needed to allow these events to coalesce into something comprehensible?</p> <p><b>About <a href=";id=09ddb97664&amp;e=ea3245a884" target="_self"></a></b></p> <p> is an innovative online platform that allows citizen-to-citizen information sharing in order to increase political awareness and strengthen civil society. Qomra provides a user-friendly platform to upload, share and discuss content, bypassing mainstream censorship mechanisms and allowing users to freely express political ideas and opinions in real time. User participation will create a permanent archive of various forms of documentation of events from before and during the ongoing revolution, through which citizens can share their knowledge and hold their representatives accountable for abuses of power.</p> <p><strong>Program of Events in Townhouse's Factory Space</strong><br />  </p> <p><b>Exhibition</b><br /> February 24 – March 6, 2013</p> <p><b>Panel Discussion</b></p> <p>February 27, 2013, 7 pm<br /> Reception at 9 pm</p> <p><b>Workshops</b></p> <p>Tuesdays, February 26 &amp; March 5<br /> 7 pm</p> <p></p> <p align="right">"ليس كافيا أن نفتح أعيننا، أن ننتبه، أن نعي أشياء جديدة نورت و ظهرت من الأرض"<br /> فوكولت </p> <p dir="RTL">"متى يصبح التاريخ <i>شخصياً </i>فقط عندما ينجو، أم عندما تصبح الحياة الخاصة معرفة عامة؟ ما يشكل تجربة من التاريخ هو أن تكون هناك، أن يحكى لك عنه؟ (أو تحكي)، أن يدرس لك؟ (أو تدرسه؟)، أن تقرأ عنه أو تكتبه؟ أو أن التاريخ يصبح شخصيا عندما يهتم به الأفراد؟"</p> <p dir="RTL">سوزان كرين- (عدم) كتابة التاريخ<br />  </p> <p dir="RTL">"هل يمكن أن يدون تاريخ ثورة ٢٥ يناير؟" تسأل مي الوكيل في خاتمة الكاتالوج الذي تم نشره بعد سيمبوزيوم "تكلم..ذاكرة" الذي انعقد في تاون هاوس في أكتوبر ٢٠١١. بعد أشهر قليلة من السمبوزيوم ، الذي فحص استراتيجيات الأرشفة في الممارسات الفنية و المؤسسية ما بعد الإستعمار و التوسع الاقتصادي ، أخذ التساؤل عن الأرشيف أهمية ملحة في مصر الثورية.</p> <p dir="RTL">في فترة عامين منذ ٢٥ يناير، بدأ التاريخ ينكشف في تسلسل سريع من العثرات و البدايات، يربكها التضارب الراديكالي في سرد الأحداث التي تحكيها قضايا تظهر و تختفي في ظرف أسابيع و التي تحوطها الغرابة و تكرار الأحداث.<br />  </p> <p dir="RTL">في مقالها، أشارت الوكيل الى مقال آخر لياسر عبد الله: "٢١ فبرابر: الشعب يريد استعادة الذاكرة"، و التي شخص فيها حالة الشعب المصري كحالة جماعية من فقدان الذاكرة السياسية (و التي ربما تسبب التكرار اللانهائي للعنف في نفس الشوارع و نفس التواريخ عام بعد عام)، وظهرت مبادرات أرشفة متعددة - بداية من مركز الفيديو لمُصرين، و قمرة المبادرة التوثيقية على الانترنت، الى مبادرة خالد فهمي للأرشيف الرقمي إضافة الى مشاريع الناشطين على الانترنت مثل مؤسسة التعبير الرقمي (أضف) و تقنيين العرب.<br />  </p> <p dir="RTL">في الوقت الذي جعلت الدولة المصرية - بشكل منهجي - الوصول الى أرشيفها مستحيلا أو دمرته بالإهمال المؤسسي أو بالتخريب المباشر، ظهرت صحافة المواطن و المبادرات الرقمية كمحاولة للحفاظ على الذكريات والشهادات المتآكلة، و صياغة بديلة لسرد التاريخ.<br />  </p> <p dir="RTL">هناك اعتقاد شائع ان الانترنت قادر دائما على احتواء قدر لا متناهي من المعلومات التي يسهل دائما الحصول عليها و مساحة مثالية و ديمقراطية متاحة للجميع. و لكن الواقع أكثر تعقيدا : الطريق الى المعلومات تعقد بمجموعة من نقاط التفتيش و الحواجز، هذا الانسداد فرضته الدولة و السياسات الاقتصادية. حجب المواقع الالكترونية و حذف مقاطع فيديو من يوتيوب و نسخ الصور ثم ادراجها في سياقات مختلفة غير التي تم التقاطها فيها.<br />  </p> <p dir="RTL">تحت رعاية موقع قمرة، "التوثيق الرقمي للذكريات" هو معرض و سلسلة من الفاعليات التي تهدف الى تقديم هذه الشبكة من المبادرات الى الواقع. لهذا المعرض هدف عملي، من جهة: تعريف الجمهور بمبادرة قمرة لأرشفة الفيديو و تقديم سلسلة من ورش العمل. و يهدف أيضاً الى ولادة وتداخل المبادرات المماثلة، و عقد مجموعة من الاجتماعات المغلقة بين قادة هذه المبادرات لبحث وسائل تبادل الدعم فيما بينهم، و حلقة نقاش عامة و التي تناقش فيها كل المبادرات المشاركة المخاوف الفكرية وراء الممارسة الرقمية الأرشيفية حالياً: في الوقت الذي يمثل فيه الفاعلون في الحراك السياسي الأشخاص الموثقين لتلك الأحداث، هل نرى نهاية الصحافة أو التوثيق الحيادي؟ و بناء على ذلك، هل يمكن كتابة التاريخ بصيغة المتكلم؟ و هل هناك امكانية لجدولة و فهرسة هذا الفيض من الصور و مقاطع الفيديو (و التي قاربت على التسامي) في هذا التاريخ الذي يتميز بالتذبذب والانكشاف المستمر، بدون المسافة (من حيث الوقت و التأثير) المطلوب وجودها للسماح لهذه الأحداث بتكوين شئ مفهوم.<br />  </p> <p dir="RTL">عن قمرة: <a href=";id=8eff79cb84&amp;e=ea3245a884" target="_self"></a><br />  </p> <p dir="RTL">هي مبادرة مبتكرة تتيح للمواطنين تبادل المعلومات من أجل زيادة الوعي السياسي و تعزيز المجتمع المدني. توفر "قمرة" مساحة الكترونية سهلة الاستعمال لرفع، وتبادل ومناقشة المحتوى، متجاوزة آليات الرقابة التقليدية مما يسمح للمستخدمين في التعبير عن الأفكار و الآراء السياسية في نفس اللحظة. مشاركة المستخدمين ستسمح بخلق أرشيف دائم لمختلف أشكال توثيق الأحداث من قبل و أثناء الثورة المستمرّة، و التي من خلالها يستطيع المواطنون تبادل معرفتهم و محاسبة ممثليهم على إساءة إستخدام السلطة.<br /> <br /> <br /> <b>برنامج الأنشطة في مساحة المصنع في تاون هاوس</b></p> <p dir="RTL"><strong>المعرض</strong></p> <p dir="RTL">٢٤ فبراير- ٦ مارس ٢٠١٣<br /> الإفتتاح الساعة السابعة مساءاً</p> <p dir="RTL"> </p> <p dir="RTL"><strong>حلقة نقاش</strong><br /> ٢٧ فبراير ٢٠١٣ - ٧ مساءاً<br /> ريسبشن ٩ مساءاً</p> <p><br /> <strong>ورش العمل</strong><br /> الثلاثاء، فبراير ٢٦ و مارس ٥<br /> ٧ مساءاً</p> Sat, 23 Feb 2013 01:29:43 +0000 Karen Kitchel - Robischon Gallery - January 17th, 2013 - March 8th, 2013 Wed, 12 Mar 2014 13:13:26 +0000 Fabienne Verdier - Art Plural Gallery - January 25th, 2013 - March 9th, 2013 <p>Art Plural Gallery is pleased to announce the inaugural solo exhibition of French artist Fabienne Verdier in Southeast Asia. The exhibition runs from 25 January to 9 March 2013 and features some of her latest drawings and large-scale paintings. <br /><br />Fabienne Verdier will be sharing about her work and philosophy at an art talk organised by the gallery on a date to be confirmed later. A comprehensive, fully-illustrated art book will be launched during this occasion.<br /><br />For her Southeast Asian premiere, Fabienne Verdier explores the theme of abstract landscapes inspired by her journey by the coastline of Norway. Verdier seeks inspiration from the living – the movement of life forces through stone and soil. Encapsulating the transience of things, Verdier’s forms are restrained yet spontaneous. Following her solo show at the gallery, another solo exhibition will take place at the Groeninge Museum in Bruges come March 2013.</p> Sun, 10 Mar 2013 00:52:58 +0000 Group Show - Brand New Gallery - January 15th, 2013 - March 9th, 2013 <p style="text-align: justify;"><strong><em>Indeterminacy of arrangement of parts is a literal aspect of the physical existence of the thing.</em></strong></p> <p style="text-align: justify;" align="right"><br />Robert Morris, <em>N</em><em>otes on </em><em>S</em><em>culpture </em><em>4</em><em>: </em><em>B</em><em>eyond </em><em>O</em><em>bjects</em>, Artforum, 1968 </p> <p style="text-align: justify;">The term <em>Anti Form</em>, formulated by Robert Morris at the end of the ‘60’s marks the abandonment of the traditional concept of artistic production: a radical challenge that has catalyzed the attention towards new aesthetic models. Materials become the prominent elements of the artwork’s compositional process, prevailing on the necessity, essential in Minimalism, to plan and arrange beforehand.</p> <p style="text-align: justify;">The progressive ideas divulged through the <em>Anti Form</em> Manifesto, once considered subversive, are translated, today, in the theories that identify an increasingly globalized art structure. </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Brand New Gallery departs from these assumptions to present <em><strong>Beyond the Object</strong></em>, a group show<em> </em>appositely conceived to combine works by artists with disparate backgrounds and from different generations, inevitably forced to confront themselves with production, exploring the interaction between composition and form which radically becomes an archetype endowed with its own language.</p> <p style="text-align: justify;">The artists employ a post-minimalist lexicon, occasionally pictorial, at times closer to installation and assemblage of daily materials, to underline the experiential role of art as a tool to generate new perceptive possibilities in the disoriented spectator. The act of creation coincides with the process of production. The relationship between the real space into which the spectator moves and the physical presence of the piece gains more and more importance for these artists who invite the public to interact with their works in a physical dialogue which allows an empirical recognition of the object.</p> Thu, 03 Jan 2013 03:13:57 +0000 Nazafarin Lotfi - Brand New Gallery - January 15th, 2013 - March 9th, 2013 <div class="jScrollbar_mask"> <div style="font-family: 'Calibri','sans-serif'; font-size: 8pt;"> <p style="text-align: justify;"><span style="font-size: small;">Brand New Gallery is delighted to present <strong><em>Love at last sight</em></strong>, <strong>Nazafarin Lotfi</strong>’s first Italian solo exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">On show a selection of inedited works, appositely tailored for the Milanese space, that investigate on the relationship between the artist and her production. Nazafarin Lotfi imposes an overwhelming distance between herself and her works; she moves away from the origins of conception up to an extreme point of no return so that the remaining void can be filled in by the presence of the spectator. In spite of this attempt of detachment, an intimate relationship between the artist and her works is inevitably established. The creative act thus becomes an occasion to manifest her thoughts, instinctively expressed, without being restricted by pre-determined hierarchical orders. </span></p> <p style="text-align: justify;"><span style="font-size: small;">The works verge towards monochromy and the color palette is reduced to an absolute minimum. The dark surfaces  devour light, denying any form of visibility and concealing misleading heterogeneous elements, withdrawn from their daily use. The artist’s interest towards empty spaces and interruptions descends from her architectural academic background and represents an invitation towards the unknown: this position is emphasized by the transitivity of the adopted materials and by the selected processes of production whose functions overlap and boundaries are blurred.</span></p> <p style="text-align: justify;"><span style="font-size: small;">If previously this process was employed for a narrative purpose, now Nazafarin Lotfi implements the inverse procedure, pushing her works to spontaneously release a story. In her new series the artist explores every trace reported on the canvas. The layers are positioned and contemporaneously rejected, leaving behind one and only ephemeral mark. The sculptures, like the paintings, are created through a mechanism of destruction and removal. In this process the composition can never be considered complete and obsessively becomes the starting point for a successive production. The image thus represents the presence of the artist’s ultimate action on the canvas.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Nazafarin Lotfi was born in 1984 in Mashad, Iran. After having obtained her bachelor at the University of Tehran in 2007, she moved to the United States where, in 2011, she achieved a Master of Fine Arts at the Chicago School of Art Institute.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Her work has been included in international exhibitions in the United States, Europe and Asia, amongst which <em>NURTUREart Benefit</em> at Chelsea Art Museum, NY, <em>In Between</em> all’Autumn Space, Chicago, IL and <em>Faux-Cult</em> at Noglobe, Brooklyn, NY. She lives and works in Chicago, IL.</span></p> </div> </div> Thu, 03 Jan 2013 03:17:51 +0000 Jerry Baron - Coos Art Museum - February 8th, 2013 - March 9th, 2013 <p>This retrospective by Oregon painter Jerry Baron includes paintings and drawings spanning a period of over 30 years. He has exhibited his works in Montana, Idaho, Colorado, Washington and Oregon, including 10 years in Portland’s Pearl District, the city’s center for art galleries. He has also had two one-person exhibits at the Jacobs Gallery in the Hult Center for the Performing Arts in Eugene. The exhibition features 65 paintings and 95 drawings.</p> Thu, 17 Jan 2013 02:11:03 +0000 - Coos Art Museum - February 8th, 2013 - March 9th, 2013 <p>Annual art competition for high school students from throughout southern Oregon. Sponsored in part by Southwestern Oregon Community College Foundation.</p> Thu, 17 Jan 2013 02:13:19 +0000 FRANZ MÜNSTER - Flo Peters Gallery - January 23rd, 2013 - March 9th, 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>Dass er ein herausragender Fotograf war, wurde schon zu seinen Lebzeiten erkannt und gewürdigt: FRANZ MÜNSTER (1898 – 1974) erhielt über Jahrzehnte hindurch Auszeichnungen, Medaillen und Urkunden bei nationalen Fotowettbewerben. Das beeindruckende Werk des Amateurfotografen, der ab 1937 in Hamburg als selbständiger Fotoreporter tätig war, ist vielfältig und kann durchaus neben so bedeutenden Namen wie Heinrich Kühn oder Gertrude Käsebier bestehen. Neben piktorialistischen Genreszenen und idyllischen Naturaufnahmen lassen sich in späteren Arbeiten bereits Einflüsse der Avantgarde-Photographie erkennen.</p> <p>Die Flo Peters Gallery zeigt erstmals einen einzigartigen Querschnitt seines Schaffens: Rund 40 Vintage-Arbeiten aus seinem Nachlass werden im 1. Stock der Galerie im Chilehaus präsentiert.</p> </div> </div> </div> Sat, 19 Jan 2013 02:52:09 +0000 Toby Burrows - Flo Peters Gallery - January 23rd, 2013 - March 9th, 2013 <p>In New York sind seine Arbeiten heiß begehrt und sind dort bereits in bedeutenden Sammlungen vertreten: Die Fotografien des Australiers TOBY BURROWS. Toby Burrows, Jahrgang 1971, studierte Malerei und Fotografie am Sydney College of Arts. Nach seinem Abschluss leitete er vier Jahre lang den größten Fotostudio Komplex Europas, die Londoner Holborn Studios, und arbeitete in diesem Rahmen mit Fotografen wie Richard Avedon, Albert Watson oder David Bailey zusammen. Seit 2008 widmet sich Burrows in persönlichen Projekten verstärkt der künstlerischen Fotografie, womit er in seiner ersten Einzelausstellung im Jahre 2008 in Sydney unmittelbar große Beachtung fand und mehrfach ausgezeichnet wurde. Es folgten Ausstellungen seiner Werke in Galerien in London, New York und Hamburg, wo er jetzt auch erstmals sein neuestes Werk präsentiert: 20 Groß- und Mittelformate seiner Serie SOLILOQUY, neben Highlights seiner Erfolgsserie FALLEN.</p> Sat, 19 Jan 2013 03:03:35 +0000 Joan Mitchell, John Chamberlain - Gagosian Gallery - Rome - February 8th, 2013 - March 9th, 2013 <p>Gagosian Gallery is pleased to announce an exhibition that juxtaposes paintings by Joan Mitchell and sculptures by John Chamberlain.</p> <p>Born just one year apart in the Midwestern United States, Mitchell and Chamberlain were inspired by the muscular spontaneity of Abstract Expressionists such as Franz Kline and Willem De Kooning. Mitchell is considered a principal figure in the second generation of Abstract Expressionists as well as one of the few female exponents. Her lively and impassioned paintings laud the beauty of the natural world. Chamberlain is best known for his metal sculptures constructed from discarded automobile-body parts and other modern metal detritus, where the industrial origin of materials is underscored by a cumulative formal elegance.</p> <p>Mitchell worked for the most part on large-scale canvases and multiple panels, striving to evince a natural rhythm that emanated from the expansiveness of gesture and from uninhibited use of color; Chamberlain's emphasis on discovered or improvised correlations between material and color rather than a prescribed idea of composition have often prompted descriptions of his work as three-dimensional Abstract Expressionist paintings. The painter and the sculptor share a preference for excess and spontaneity in their art-making. The energetic clustered brushwork of Mitchell's <em>Yves</em> (1991), <em>Untitled</em> (1987-88) and <em>Row Row</em> (1982) perfectly complements Chamberlain's crumpled, crushed, bent, and welded <em>ACEDIDDLEY</em> (2008) <em>GOOSECAKEWALK</em> (2009) and <em>STUFFEDWITHSURPRISE</em></p> <p>(2011), in which sweeping, sterling contours suggest an aggregate of brushstrokes.</p> <p> </p> <p><strong>Joan Mitchell</strong> (1925-1992) was born in Chicago and attended Smith College and The Art Institute of Chicago. She moved to France in the late 1950s and in 1967 she settled in Vertheuil, where she lived until her death. Her work is part of numerous public collections including Museum of Modern Art, New York; Whitney Museum of American Art, New York; Tate Collection, London; and the San Francisco Museum of Modern Art. Retrospective surveys include "Joan Mitchell Pastels," Whitney Museum of American Art, New York (1992); "The Paintings of Joan Mitchell," Whitney Museum of American Art, New York (2002); and "The Paintings of Joan Mitchell," Birmingham Museum of Art, Alabama (2003, travelled to Modern Art Museum of Fort Worth, Texas and Phillips Collection, Washington, DC through 2004).</p> <p><strong>John Chamberlain </strong>(1927-2011) was born in Rochester, Indiana. He attended the Art Institute of Chicago (1951-52) and Black Mountain College (1955-56) and moved to New York in 1956. His work is represented in many major public collections including Chinati Foundation, Marfa, Texas; Menil Collection, Houston; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum Ludwig, Cologne; and Tate Modern, London. He had his first retrospective at the Solomon R. Guggenheim Museum, New York, in 1971, followed by more than one hundred one-person exhibitions, including Dia Art Foundation (1983); "John Chamberlain: Sculpture, 1954-1985," Museum of Contemporary Art, Los Angeles (1986); Staatlich Kunsthalle Baden-Baden (1991); "John Chamberlain: Sculpture," Stedelijk Museum, Amsterdam (1996); "John Chamberlain: Foam Sculptures (1966-79) and Photographs (1989-2004)," Chinati Foundation, Marfa, Texas (2005-06); and "John Chamberlain: American Tableau," Menil Collection, Houston (2009). His most recent retrospective, "Choices," was held at the Solomon R. Guggenheim Museum, New York in 2012. His work has been included in numerous international survey exhibitions, including Bienal de São Paulo (1961, 1994), Biennale di Venezia (1964), Whitney Biennial (1973, 1987), and Documenta 7 (1982). "Chamberlain at the Fairchild" is on view at the Fairchild Tropical Botanic Garden in Coral Gables, Florida through April 30, 2013. </p> <p>Chamberlain died in Manhattan in 2011.<span style="text-decoration: underline;"><br /> <br /> </span></p> Sat, 02 Feb 2013 23:18:58 +0000 Josh Smith - Galerie Eva Presenhuber (Maag Areal) - January 18th, 2013 - March 9th, 2013 <p>Galerie Eva Presenhuber is delighted to announce its second solo show of Josh Smith (b.1976) in its Maag Areal gallery. This show will present a wide array of Smith’s painterly evolution, ranging in different sizes, techniques and motifs. <br /> <br /> Josh Smith has come to public recognition through his instantly identifiable abstract style, from his Name Paintings to his collages and his favoured motifs such as the fish or the leaf. The idea behind these recurring motifs is to achieve an impenetrable abstraction, yet an abstraction that makes its methods clear and reveals its making. The urgency felt in the paintings is actually a cover for a long thought process, for a careful and meticulous selection in which the brushstrokes, the collaged elements are brought together to form an image. The elements of the paintings put together quickly, sometimes painted directly onto walls confront us with wrongful common visions of preciousness towards art and even more so towards painting as a practice. In this exhibition, Smith will show his new body of work and particularly a large grid of 15 paintings, displayed together to present as one painting, it is in fact a collage of all different paintings that are worked on separately. <br /> <br /> Smith comes from a background of print-making and is fascinated with producing books, the idea of repetition being at the core of these practices, they find their ways in his visual aesthetics. Painting his name repeatedly, or an abstraction of a leaf or a fish helps the viewer to get away from the object itself, not focusing on how it is rendered but rather on how it is painted. Cleaved away from the signification of what is depicted, the lines and curves, the palette become the subject of his work. The repetition of his own work within his oeuvre is linked to the fact that nothing goes to waste in Smith’s studio, posters, prints and papers of all sorts are recycled and incoporated into collages and paintings, old announcement posters become the basis for new announcement paintings, older paintings are reprinted, glued and repainted. <br /> <br /> Josh Smith has managed to overcome the challenges of painting, incoporating disparate elements whilst creating a unique style, constantly reinventing himself. He is a master of colour and composition and in this new show, he displays works creating self entities that are coherent with each other. It is undeniable that it is in this eternal quest for abstraction that lies Smith’s ambitious side, his self-confidence to pursue new directions, and this quest reveals his audacity and brashness. <br /> Josh Smith has had solo exhibitions at the Brant Foundation, CT, USA, Museum Dhondt-Dhanenens in Deurle, Belgium, Centre d'Art Contemporain in Geneva, Switzerland, amongst others and has participated in the 54th Venice Biennale, and other important group shows such as Younger Than Jesus in the New Museum, NY, USA.</p> Wed, 12 Dec 2012 23:53:39 +0000 Athanasios Argianas, Susan Hiller, Rowena Hughes, Elizabeth McAlpine - Galerie Gebr. Lehmann, Dresden - January 22nd, 2013 - March 9th, 2013 <p>Die Gruppenausstellung "In the Air Tonight" präsentiert vier Künstlerinnen und Künstler aus London. Der Titel ist eng mit dem kuratorischen Ansatz und dem Inhalt der Schau verbunden und weckt Assoziationen und Erinnerungen an einen Popsong von 1981.<br />Die Essenz dieser Ausstellung bildet das Zentrum derkünstlerischen Produktion, die Ästhetik, um Entwicklungen aufzugreifen, die förmlich “in der Luft” liegen. Der Zusatz “tonight” weist auf die kuratorische Wahl, das Fragmentarische und das Temporäre der ausgestellten Konstellation hin.<br />Im Gegensatz zur Wahl eines festumrissenen Themas bildeten ein intensiver Rechercheprozess und ein durch Zufall geprägter Zugang den Kern der kuratorischen Praxis.<br />Aus einer vielstimmigen Situation unterschiedlicher künstlerischer Ansätze werden die Querverbindungen und ästhetischen Überlappungen zwischen den Werken sichtbar: Beispielsweise eine reduzierte Farbgebung, feinausgearbeitete Oberflächen und ein hoher Impetus auf den Zusammenhang von Form und Inhalt gehören zu den geteilten Ästhetiken.<br />Recherchereisen im Oktober 2011 und Juli 2012 sowie Erfahrungen aus mehreren Aufenthalten in London bilden die Basis für die Ausstellung. Verschiedene Generationen von Künstlern mit unterschiedlichen Herkünften wurden für die Schau gewählt. Sie kommen aus Großbritannien, Griechenland und den USA. Die Herkunft wird dabei durch vielfältige Reisen und Aufenthalte kombiniert. Während in der Vormoderne nationale Zugehörigkeiten und Traditionen die Formung der kulturellen Produktion bestimmte, bewegen sich Künstler heutzutage durch einen Ozean globaler Neustrukturierungen. Dabei ist die Kunst, diesen Wandel der Ortsbezüge zu greifen (Arjun Appadurai). Für die Recherche von "In the Air Tonight" war das Experiment eine mögliche visuelle Kultur aus London zu fassen essentiell.<br />"In the Air Tonight" ist deshalb eine bewusst komponierte Ausstellung und eine kuratorische Methode – inspiriert durch Visual Culture und Ästhetik. Es ist der Versuch, präzise Verbindungen zwischen Künstlern aufzuzeigen, die in London leben und arbeiten. Sie alle stehen für ihr individuelles Oeuvre, die Kombination verschiedener Ortsbezüge und für spezifische konzeptuelle Fragestellungen.<br />Gleichzeitig zeigt die Ausstellung einen geteilten Diskurs, der im reduzierten Farbspektrum, minimalistischen Gesten und der Kombination von fein herausgearbeiteten Oberflächen und Formen in den gewählten Werken sichtbar wird. Diese Ausstellung lädt den Betrachter ein, sich mit diesen sublimen, jedoch nicht weniger eindrucksvollen Werken zu beschäftigen. Dabei kommt der Zusatz “tonight” einer Aufforderung für eine erhöhte Aufmerksamkeit gleich: Denn wie es das Dunkel des nächtlichen Zwielichts – nicht Licht, nicht Schatten – ausmacht, gilt es den Blick schärfer zu stellen, um des Nachts die Konturen zu erkennen. Die Betrachter sind dazu eingeladen, sich auf solch ein ästhetisches Experiment einzulassen. Dann entsteht aus all diesen losen Verbindungen ein leises, jedoch eindringliches Summen: Something is “in the Air Tonight.”<br />Christine Nippe, 2012</p> <p>In the Air Tonight is a gathering of works by four London-based artists into an exhibition whose content and curatorial approach evoke and coincide strongly with associations and memories of<br />a pop song from 1981. The essence of this exhibition is reflected in its title, as well as in its devotion to an aesthetics—aesthetics being the core of artistic production—which allows the comprehension of developments in art that are literally “in the air.” The addition of “tonight” is a reference to the act of curation, the fragmentary and temporary quality of an exhibited constellation. Rather than being based on a clear-cut theme, the nucleus of the curatorial practice that gave rise to In the Air Tonight was shaped by an intensive research process and a chance-driven approach. The idea was to produce a many voiced setting that includes contrasting artistic methods so as to reveal cross-references and aesthetic overlappings such as reduced color spectrums, elaborately treated surfaces, and a common drive toward the linkage of form and content.<br />In the Air Tonight arose out of several periods of residence in and research trips to London, both in October 2012 and July 2012. Artists of different generations with different origins—Great Britain, Greece, and the United States—were chosen and yet, these origins are hybridized through multiple journeys and stays in other places. While premodern times saw cultural production’s  determination through national belonging and tradition, artists nowadays navigate through an ocean of global restructurings. The art lies in grasping this transformation of the relevance of site (Arjun Appadurai). An experiment geared to the uncovering of a possible common visual culture particular to London was an essential component of the research.<br />In the Air Tonight is, as such, an intricately devised exhibition as well as a curatorial method inspired by the disciplines of Visual Culture and Aesthetics. It is an attempt to highlight precise interconnections between artists who live and work in London. Each artist is featured with works that are exemplary of his or her oeuvre, that signify specific conceptual interrogations as well as combinations of contrasting site-references. At the same time, these works also display a shared discourse that is based not only on the minimalistic gesture, but also on the combination of painstakingly prepared surfaces. Viewers are invited to immerse themselves in these sublime yet penetrant works. The addendum “tonight” is hence a call for heightened scrutiny. For just as one is compelled in the dusk—which is neither light nor shadow—to focus his or her gaze in order to recognize the contours of the night, so are viewers invited to engage with this aesthetic experiment.<br />All these loose connections result in a quiet, yet insistent hum: there’s something in the air tonight.<br />Christine Nippe, 2012</p> Thu, 03 Jan 2013 01:29:43 +0000 RAGNA RÓBERTSDÓTTIR - i8 Gallery - January 17th, 2013 - March 9th, 2013 <p>i8 Gallery is pleased to announce an exhibition of new works by Ragna Róbertsdóttir. This will be the artist’s third solo exhibition at the gallery.<br />Róbertsdóttir´s latest works are characterised by ambiguities of time and place. The work consists of natural materials gathered from the sea, including shells from Arnarfjördur in the remote Icelandic Westfjords. There the artist has been avidly collecting shells and has been drawn by the cycle that occurs as shellfish grow, develop their own unique form, and then decay into the homogeneity of the gravel and yellow sands that are characteristic of the fjord´s beaches. Róbertsdóttir´s collection and classification of shells has taken place over many years, and their display here has been executed with patience and meticulous attention – all for the brief moment of the exhibition. Róbertsdóttir also uses sea salt, both in its raw state – as in one of her geometric wall installations – but also in pieces based upon the random crystallizations that occur through evaporation of water.<br />The continual undercurrent of change and transformation that surrounds us is the main subject of Róbertsdóttir´s exhibition. The material world is either becoming or decaying, constantly reforming into something utterly different, through processes of varying duration. As an artist Róbertsdóttir directs our attention to these natural evolutions, but she also intervenes, becoming a participant by transforming raw material through her work. Like an alchemist, the artist gathers materials from nature and transforms them, so that they take on new value as works of art, conforming to a different set of rules within culture.<br />Ragna Róbertsdóttir´s (b. 1945) works have been exhibited widely – in Europe, the US, China and Australia. Solo exhibitions include Bury Art Gallery Museum + Archives, Bury, UK (2008), New Bedford Art Museum, Massachusetts, US (2005), Chinese European Art Center, Xiamen, China (2004), Reykjavik Art Museum – Kjarvalsstadir, Iceland (2004), National Gallery of Iceland, Reykjavik, Iceland (2003) and Kunstmuseum Bern, Switzerland (1991).</p> Tue, 15 Jan 2013 23:16:55 +0000 STÉPHANE ZAECH - Katz Contemporary - January 18th, 2013 - March 9th, 2013 <p>KATZ CONTEMPORARY is delighted to announce its second solo exhibition by Stéphane Zaech<br />(*1966, Vevey, lives and works in Montreux and Villeneuve, Switzerland). In addition to opulent,<br />colourful oil paintings the gallery space will feature more toned-down, subtly coloured drawings.<br />Parallel to the exhibition, art&amp;fiction is publishing The Crossing ZAECH Peintures/Paintings with an<br />introduction by Giovanni Carmine.<br />The artist Stéphane Zaech, born and raised in the French-speaking part of Switzerland, masterfully<br />plays with citations from art history: The viewers find themselves reminded of Titian, Diego Velàzquez and Pablo Picasso as well as contemporary artists such as George Condo or John Currin. Zaech arranges his artistic borrowings into baroque images, stretches female bodies into multiple perspectives - citing Picassoʼs Les Demoiselles dʼAvignon (1907) - or deconstructs facial features.<br />The virtuoso painter thus opens up a world of whimsical imagery and guides the viewers into an Opera reale, into a perfectly composed contemporary oeuvre, within which they can immerse in the artistʼs visual world.<br />The fact that Zaechʼs works exclusively feature figural and scenic motifs, as well as composition and colouring of his oil paintings in particular, inevitably reveal 17th century Dutch painting as a source of his inspiration. The piece Steady State, however, evokes entirely different associations: The guitar depicted in a cubist manner - clearly citing the example of Picassoʼs silent sculptural guitars made of cardboard (1912-14) - is combined with the depiction of a male body, whose placement within the composition resembles portraits by Diego Velàzquez. Zaech succeeds to transfer the image into the present through the figureʼs modern attire. In the two pieces Soie and La Alba the reference to today becomes evident as well: Unlike in old painting tradition there are no male artists accessorized with a pallet, instead we see gracious female bodies dressed like dancers.<br />Zaech manages to translate and adapt the traditional composition of the masters of art history to the contemporary in his drawings as well as his oil paintings. The featured works of the exhibition thus take the viewer on a journey through the history of art. In a chain of associations Zaech forms<br />contradictory visions and bizarre imageries into a new entity. The artist questions well-known viewing patterns and creates his very own pictoral universe - terrifying and magnificent at once. Stéphane Zaech plays with this correlation and invites the viewer into his Opera reale of fascinating and perfectly composed pieces, entirely in the sense of classical painting.<br />Last year, Stéphane Zaechʼs (*1966, Vevey, lives and works in Montreux and Villeneuve, (Switzerland) work was featured in several group exhibitions, including Contemporain...ou bien? La collection dʼart BCV in the Fondation de lʼHermitage in Lausanne, Review in the CentrePasquArt, Biel, and ... itʼs only Malerei but i like it at Kunstverein Offenburg Mittelbaden (Germany). Zaechʼs works are part of several domestic and foreign private and public collections.</p> Thu, 10 Jan 2013 02:34:01 +0000 Daan van Golden - Mai 36 Galerie - January 18th, 2013 - March 9th, 2013 <p>Daan van Golden was born in Rotterdam in 1936 and studied at the Rotterdam Academy of the Fine Arts and Technical Sciences, where he specialised in painting and drawing. He lives and works in Schiedam in the Netherlands. An overview of his oeuvre was shown at the Camden Arts Centre in London in 2009 and was later on show in Geneva and Lisbon. The Wiels Contemporary Art Centre in Brussels also mounted a large retrospective exhibition of his work in 2012. We are delighted to be holding the first gallery exhibition by Daan van Golden in Switzerland.<br />Daan van Golden developed his style in Japan in 1963 and has adhered to it to this very day. Having previously painted abstract-expressionistic works, between 1963 and 1965 in Japan he refined a technique that involved Japanese enamel paints and enabled him to give his works an unimagined colourfulness and presence. He began painting textile and paper patterns with extreme precision and at an almost meditative speed. His models included tablecloths, fabrics and packaging. He generally focussed on everyday items which he experienced in his surroundings, transferring them to an artistic context in his unique way and thereby unifying life and art. He also varied the colour and size of one and the same motif which, through this kind of appropriation, took on a life of its very own. Later he used the same kind of variation and abstraction to produce enlarged details from, for example, works by Jackson Pollock or Henri Matisse. He also used the media of photography and silk-screen printing, and here too, varied and frequently reinterpreted details.<br />Van Golden is often linked with Pop Art, although the latter exhibits neither ironic distance from its motifs, nor an exaggeration of what is depicted. A comparison with Minimal Art also falls short, as van Golden’s works foreground the seriousness of his meditative, slow execution and are imbued with an individuality comparable more to the artistic positions of, for example, Paul Thek, Oyvind Fahlström or Dieter Roth.<br />Van Golden hovered between all these tendencies and positions and was frequently exhibited in the same context, to which he was considered to be formally suited. At the same time, he clearly pointed up the limits of the respective stylistic trend.<br />Our exhibition consists both of works dating from the 1970s onwards, and the new series “Double Prints”, photographs combining earlier works that link his paintings of grids, patterns and organic forms from the 1960s and 70s with the silhouette-like images from series such as “Heerenlux”. These small- to mediumsized photographs forge a link between van Golden’s early years and today. Complemented by photographs from the series “Youth is an Art”, taken of his daughter over the course of the years, the whole exhibition becomes a kind of summary of his artistic interests and his views of the world of everyday life and the world of art – his aim having always been to unite these.<br /><br /></p> Fri, 28 Dec 2012 01:59:02 +0000