ArtSlant - Current exhibits en-us 40 Michael Loew - ACME Fine Art - February 9th, 2013 - March 30th, 2013 <p>A retrospective survey of watercolors and drawings by noted abstract expressionist artist Michael Loew will open on Saturday 9 February at ACME Fine Art in Boston. A reception from 2:00 to 4:00 p.m. will mark the occasion. The exhibition will be on view through Saturday 2 March at the gallery and on-line at </p> <p>The exhibition will be composed of works created between the late 1930s and 1985, and it highlights drawings and watercolors that were made as studies for paintings or murals, as well as finished, stand alone artworks.  </p> <p>Michael Loew was a master of weaving geometry with nature. He seemed to delight in exploring the limits of nature based abstraction. Throughout his career one can see a back and forth between the almost totally abstract, and the representational. Although it is impossible to say how and where Loew's modern tendencies originated, it is fair to say that his experiences, his education, and his own interests led him in a distinctly avant-garde direction very early on. On the side of experience, one might point out his collaboration with DeKooning on a 1939 NYC World's Fair mural that led to a life-long friendship that must have influenced Loew. Certainly, his post war training under one of the most important nature-based abstract expressionists, Hans Hofmann, also proved to have had significant influence. Then, there was his study abroad at the Atelier Leger. Although various influences may have come to bear on Michael Loew, his work is always in his own true voice, and that voice is consistently clear, concise, and elegantly expressive. </p> <p> A comprehensive exhibition catalogue including an essay by Susan C. Larsen is available through the gallery. Please contact ACME Fine Art for further information about Michael Loew, or this exhibition.</p> Fri, 22 Mar 2013 22:36:43 +0000 Warwick Thornton - ACMI (Australian Centre for the Moving Image) - February 5th, 2013 - June 23rd, 2013 <p>Opening today at the Australian Centre for the Moving Image (ACMI) is <i>Warwick Thornton: Mother Courage</i>, a striking video and sculptural installation from lauded Australian filmmaker Warwick Thornton. Thornton is an Alice Springs based filmmaker and artist whose film <i>Samson &amp; Delilah</i> (2009) won the Camera d’Or for best first feature at the 2009 Cannes Film Festival. </p> <p>Commissioned by ACMI for the ACMI Commissions Series, <i>Warwick Thornton: Mother Courage</i> is a two-channel video and sound installation presented inside a dilapidated campervan. Inspired by Bertolt Brecht's 1939 play <i>Mother Courage and Her Children</i>, Thornton has translated the play’s underlying theme of survival to an Australian context. Whereas Brecht's Mother Courage drags around a cart, plying her wares on the battlefields of an endless war, Thornton's Mother Courage is an elderly and impoverished Aboriginal painter who makes and sells her art from the back of a van.  Surrounded by paint pots, utensils and bedding, the resourceful woman (played by artist Grace Rubuntja) applies herself to her dot painting, while her bored grandson sits listening to loud Aboriginal rock music that blares from a radio. The artist and her grandson are physically confined to the cramped space of the campervan, and yet the work invites the viewer to place the pair in a much larger context that acknowledges the influence of culture and tradition, but also the impact of colonisation.</p> <p><i>Mother Courage </i>made its international debut last year in Kassel, Germany at the prestigious art festival dOCUMENTA (13). Here <i>Mother Courage</i> was constantly on the move, roving from gallery to gallery and visible to queues of exhibition visitors around the city. At ACMI, the work finds new meaning within the rarefied confines of the museum, cutting against the grain of the white cube/black box experience offered by Gallery 2.</p> <p> </p> Tue, 05 Feb 2013 05:55:44 +0000 Winfred Rembert - Adelson Galleries - February 1st, 2013 - March 31st, 2013 <p>Adelson Galleries Boston is pleased to present Caint to Caint, a solo exhibition of Winfred Rembert (b. 1945).  The artwork will be on display from Friday, February 1st, 2013 through March 31st, 2013 in our South End gallery at 520 Harrison Avenue.<br />  <br /> The title of the show is based on Winfred Rembert’s painting, “Caint to Caint (Can’t see when you go to work, can’t see when you get back),” referring to working in the cotton fields before sunrise until after sunset during his days in Cuthbert, Georgia in the 1950s and 60s.  Winfred continues this work ethic - working from the early morning to late at night telling his life’s story on leather sheets.<br />  <br /> Having survived the hardships of bigotry, near lynching, and jail, Winfred has seen some of the ugliest moments in American history.  He retells these memories with a method that he learned in prison when he witnessed a man carving leather wallets.  He began practicing this technique, and later in his life, at the suggestion of his wife Patsy, Winfred took the practice to a new level by carving his life story into sheets of tanned leather that he colors with dye.  He does not simply depict the horror of his past; rather, he recaptures the feeling and vision of Cuthbert, Georgia in the 1950s and 60s.  One sees segregated pool halls, church and town scenes that seem antiquated, yet they existed during this man’s generation.  His amazing life story is not only an inspiration, but also an important part of American History.  <br /> </p> Sat, 23 Feb 2013 23:24:37 +0000 SungSoo Kim, Brent Kee Young - Akron Art Museum - October 20th, 2012 - April 7th, 2013 <p style="text-align: center;"><strong>"Lovers of beautiful glass sculpture will be in for a treat over the next six months, because the Akron Art Museum is showing works by two outstanding artists.</strong></p> <p style="text-align: center;"><strong>Brent Kee Young, who teaches at the Cleveland Institute of Art, and Sungsoo Kim, who teaches at Kent State University School of Art, have each developed new, highly individual and divergent techniques that push the boundaries of glass sculpture.</strong>"<br /> - Dorothy Shinn, Akron Beacon Journal</p> <p>The Akron Art Museum joins dozens of Ohio museums and galleries in celebrating the 50th anniversary of the studio glass movement in the United States, which began with the Toledo Glass Workshops in 1962. Featuring artists at the forefront of contemporary glassmaking, <em>New Artifacts: Works by Brent Kee Young and Sungsoo Kim</em> pays tribute to the pioneering spirit of the movement’s founders. Works by Cleveland Institute of Art professor and department head Young are juxtaposed with the works of Kim, an adjunct professor at Cleveland Institute of Art and Kent State University. Each has developed diverging and highly personal techniques that expand our understanding of the possibilities for glass.</p> Mon, 28 Jan 2013 22:44:56 +0000 Danny Lyon - Akron Art Museum - January 26th, 2013 - June 21st, 2013 <p>This exhibition presents a dramatic inside look at 1960s biker counterculture. From 1963 – 1967 Danny Lyon not only captured the bikers in photographs, but immersed himself in the lifestyle. Lyon joined the Chicago Outlaw Motorcycle Club, making him a pioneer of the new form of photojournalism where the artist was personally involved with the subject. This series was featured in Lyon’s defining first photography book and became one of the most important and influential documentary series of the late 20th century. This exhibition is drawn exclusively from the museum’s extensive holdings of Lyon’s work.</p> Mon, 28 Jan 2013 22:48:19 +0000 Duncan Tonatiuh - Akron Art Museum - February 9th, 2013 - August 4th, 2013 <p>The museum is collaborating with Leggett Elementary, King Elementary, Glover Elementary and The Lippman School to celebrate the power of picture book storytelling and promote visual literacy. Leggett second and third grade students will create collaborative classroom picture books to be displayed in The Mary S. and David C. Corbin Foundation Gallery. The student artists will also meet and work with children's book author and illustrator Duncan Tonatiuh, who will create a large-scale mural for the exhibition depicting a contemporary interpretation of Ezra Jack Keat's classic <em>The Snowy Day</em>.</p> Mon, 28 Jan 2013 22:51:17 +0000 Max Ernst - Albertina - January 23rd, 2013 - May 5th, 2013 <p class="avtext"><em class="avtext">“Before he descends, a diver never knows what he will bring back up.”</em> (Max Ernst)</p> <p class="avtext"><br />The Albertina will devote an exhibition - his first retrospective in Austria - to Max Ernst, the great pictorial inventor. Presenting a selection of 180 paintings, collages, and sculptures, as well as relevant examples of illustrated books and documents, the exhibition will assemble works related to all of the artist’s periods, discoveries, and techniques, thereby introducing his life and œuvre within a both biographic and historical context.</p> <p class="avtext">Together with Matisse, Picasso, Beckmann, Kandinsky, and Warhol, Max Ernst no doubt numbers among the leading figures of 20th-century art history. An early protagonist of Dadaism, a pioneer of Surrealism, and the inventor of such sophisticated techniques as collage, frottage, grattage, decalcomania, and oscillation, he withdraws his work from catchy definition. His inventiveness when it comes to handling pictorial and inspirational techniques, the breaks between his countless work phases, and his switching back and forth between themes cause irritation. Yet what remains a constant is his consistence in terms of contradiction.<br />Max Ernst was a restless personality who always strove for freedom. Torn between the realization of his personal aims in life and the social and political obstacles during a turbulent period, he nevertheless always looked ahead: a “flight into the future”. A misunderstood and revolting artist, he had moved from Cologne to Paris in 1922, where he joined the circle of the Surrealists; he was detained as hostile alien twice, attempted to get away, and was released thanks to lucky “coincidences”. In 1941 he escaped into American exile<br />Remembrance, discovery, recycling, and collage were the combined motor that drove him in his work.  Under these aspects, the exhibition positions Max Ernst’s œuvre between references to the past, contemporary political events, and a prophetic and visionary perspective of the future. He who attested to himself a “virginity complex” in the face of empty canvases went always in search of means that would allow him to augment the hallucinatory capacities of his mind, so that visions would arise automatically in order to “rid him of his blindness”.</p> Sat, 19 Jan 2013 04:06:14 +0000 Lewis Baltz - Albertina - March 1st, 2013 - June 2nd, 2013 <p class="avtext">The landscape photographs by the US-American Lewis Baltz are characterized by deserted and frequently devastated peripheries. In 1970s, he revolutionized fine-art photography with motifs that had previously not been thought worth depicting, such as industrial buildings, suburban housing developments, and wasteland. <br /><br />From March 2013, the Albertina will dedicate an exhibition comprising as many as several hundreds of photographs to this artist, who was born in Newport Beach, California, in 1945. On display will be, among other works, the famous series <em class="avtext">The Tract Houses</em> (1971) and <em class="avtext">The New Industrial Parks Near Irvine</em> (1973-75), through which Baltz fundamentally reformed the genre of landscape photography, thereby addressing the disastrous impact of technology on society in the twentieth century. <br /><br />Baltz’s imagery reveals itself as thoroughly innovative: in formally rigid photographs, such as in the series <em class="avtext">The Prototype Works</em> (1967-76), the artist has defamiliarized architectural motifs to such an extent that they turn into almost abstract forms and surfaces. This utterly precise language of form, by which Baltz focuses on the materiality and surface textures of the objects depicted, demonstrates the influence of Minimal Art on his work. With their allusions to further artistic movements, such as Conceptual Art and Land Art, Baltz’s photographs turn out to be a play with citations and references that is to be analyzed in this exhibition. <br /><br />The show will highlight outstanding works by Lewis Baltz, which apart from the aforementioned examples will include the series <em class="avtext">Candlestick Point</em> (1987-89) and the colour photographs of <em class="avtext">Sites of Technology</em> (1989-91). The Albertina seizes this exhibition as an opportunity to display exceptional photographs from its own holdings in the form of the two series <em class="avtext">The New Industrial Parks Near Irvine</em> and <em class="avtext">The Prototype Works</em>. Further excellent works by such artists as Robert Smithson, Ed Ruscha, Bernd &amp; Hilla Becher, and Donald Judd will visualize artistic influences that proved to be crucial for Lewis Baltz’s work. This contextualization is meant to present the complexity of Lewis Baltz’s œuvre on the one hand and pay tribute to one of the most important photographers of the second half of the twentieth century on the other. </p> <p class="avtext"> </p> Sun, 26 May 2013 00:48:20 +0000 Hieronymus Bosch, Pieter Bruegel the Elder, Maarten van Heemskerck, Hendrick Goltzius, Rembrandt van Rijn, Anton van Dyck, Peter Paul Rubens - Albertina - March 14th, 2013 - June 30th, 2013 <p class="avtext">The graphic collection of the Albertina houses an internationally important inventory of Dutch drawings. Its scope and quality make it possible to present Dutch drawing art in all of its thematic, technical and stylistic diversity. A top-class selection of 170 works is presented in the Albertina.</p> <p class="avtext">Highlights of the exhibition are larger groups of works from Hieronymus Bosch, Pieter Bruegel the Elder, Maarten van Heemskerck, Hendrick Goltzius, Rembrandt, Anton van Dyck and Peter Paul Rubens.  </p> <p class="avtext"> </p> Sun, 26 May 2013 00:53:10 +0000 Antoine Roegiers - Albertina - March 14th, 2013 - June 30th, 2013 <p class="avtext">Last year the Albertina began inviting artists at irregular intervals to take part in interventions in and at the palace. This new series will be continued this year.</p> <p>Following the first intervention by Markus Hofer, it will be possible as of 14 March to view the works of the Belgian artist Antoine Roegiers on the theme of Brueghel's "The Seven Deadly Sins" in the exhibit <a target="_blank" href="http://main.jart?rel=en&amp;content-id=1202307119323&amp;ausstellungen_id=1304426266799" class="avtext"> </a><span class="avtext"><em class="avtext">Bosch Brueghel Rubens Rembrandt</em> </span>.</p> Sun, 26 May 2013 00:57:26 +0000 Maerten van Heemskerck, Barthel Bruyn the Elder, Mariotto di Nardo, Neri di Bicci, Apollonio di Giovanni, Jacopo Ligozzi - Allen Memorial Art Museum - August 28th, 2012 - June 30th, 2013 <p></p> <p><em>Religion, Ritual and Performance in the Renaissance</em> brings together more than 80 works, sacred and secular, spanning the late thirteenth to early seventeenth centuries, from both Northern and Southern Europe. The objects—which include paintings, sculptures, and decorative arts—are from the collections of the AMAM and Yale University Art Gallery.</p> <p>The exhibition was made possible by a generous grant from the Andrew W. Mellon Foundation, as part of a collection-sharing initiative. It presents works used in private devotion, public worship, religious processions, and other rites and rituals, such as marriages, alongside those of a more secular nature, including portraits and chests, which nevertheless perform functions related to self-fashioning and display. Among the many exceptional works in the exhibition are two portable altarpieces that would have been used in private devotion: one, a painted triptych (the earliest on view, from ca. 1280-90), is discreet and intimate, while the other, a lapis lazuli- and coral-encrusted work complete with its case (one of the latest works, from 1608), is a masterpiece of craftsmanship. The exhibition allows the AMAM to supplement its rich Renaissance collection with superb paintings from Yale by Taddeo and Agnolo Gaddi, Sano di Pietro, Ridolfo Ghirlandaio, Lucas van Leyden, and Jacopo Tintoretto, among many others, as well as sculptures from France, Germany, and Italy.</p> <p>An exciting aspect of the exhibition is the opportunity it presents to see works by Apollonio di Giovanni, Neri di Bicci, Mariotto di Nardo, and Barthel Bruyn the Elder from both the AMAM and YUAG collections. Also reunited are six enigmatic paintings from a series of twelve by Maerten van Heemskerck. A very large early fifteenth-century Florentine altarpiece is seen in its full glory, emphasizing the fragmentary nature of so many other Renaissance paintings whose original surrounding works have been lost. The exhibition will be used extensively in teaching, research, and public programs during the 2012-13 academic year.</p> Sun, 09 Sep 2012 00:59:28 +0000 Audrey Flack, Ana Mendieta, Holly Wright, Jackie Winsor, Alison Saar, José Bedia, Joseph Beuys, Dennis Oppenheim, Louise Bourgeois - Allen Memorial Art Museum - August 28th, 2012 - June 30th, 2013 <p>As in earlier periods, the art of the 20th and 21st centuries engages in a dialogue with the important themes of religion, ritual, and performance. Works from the AMAM collection by artists from diverse backgrounds and artistic approaches reflect a broad array of responses to these concepts. Examples by artists such as Louise Bourgeois and photographer Holly Wright address religion, ranging from the Christian tradition to other beliefs from around the world. Other artists like Jackie Winsor employ the idea of ritual as an art-making strategy, while Alison Saar and José Bedia present it as a subject. Ephemeral performance art is documented in works by artists including Joseph Beuys, Dennis Oppenheim, and Ana Mendieta.</p> Sun, 09 Sep 2012 01:05:14 +0000 - Allen Memorial Art Museum - September 6th, 2012 - June 30th, 2013 <p>This exhibition brings together exquisite examples of Muslim figurative and non-figurative art.  Illustrated manuscripts and calligraphic samples from regions ranging from North Africa in the West to the Persian Plateau in the East will allow visitors to examine and take pleasure in some of the diverse aesthetic traditions of the Muslim world. This exhibition coincides with Professor Esra Akin-Kivanc’s courses “Visual Cultures of the Muslim World” and “Approaches to Islamic Art and Architecture.”</p> Sun, 09 Sep 2012 01:20:38 +0000 John James Audubon - American Museum in Britain - March 10th, 2013 - October 28th, 2013 <p class="MainText">John James Audubon is known for his remarkable studies of American birds depicted in their natural habitats. His The Birds of North America (1827-1839), in which he identified 25 new species and a number of new sub-species, is considered to be one of the finest ornithological works ever completed. However, his studies of mammals are less well-known.</p> <p class="MainText">Twelve folio engravings by this great ornithologist, naturalist and painter are on display within the Museum until 28 October.</p> <p class="MainText">John James Audubon’s exotic and often romanticised life has been widely chronicled; searching ‘Audubon’ on the internet produces over ten million hits. Born Jean-Jacques in Haiti in 1785, he was the illegitimate son of Captain Jean Audubon and his French-Creole mistress. He was raised in France, received some naval training, learned to love nature and wildlife, and began to draw. To escape conscription into Napoleon’s army the eighteen year old Audubon was sent to America to manage his father’s new estate, Mill Grove, near Philadelphia. Although Audubon returned to France he finally settled in America in 1806.</p> <p class="MainText">His earliest studies of birds date back to 1804 but work for his epic The Birds of America demanded a more peripatetic way of life and in 1820 Audubon began his travels, supporting himself as a portrait painter and drawing master. His aim was to represent the authentic colours and details characteristics of each species life-size. He collected his own specimens, usually by shooting them, in order to record the colours before the faded. Wiring the birds in life-like positions, he transcribed their outlines as accurate pencil drawings.</p> <p>John James Audubon changed forever the way in which nature is illustrated. His painstakingly executed, life-size images underscore his genius and confirm his place as one of the great American artists of the 19<sup>th</sup> century.</p> Tue, 05 Feb 2013 06:17:41 +0000 Jeff Grant - ANDREAS GRIMM - MÜNCHEN - March 8th, 2013 - April 19th, 2013 <p><b>ANDREAS GRIMM MUNCHEN </b>freut sich Ihnen die dritte Einzelausstellung des in New York lebenden Künstlers Jeff Grant (*1975, Potsdam, New York, USA) zu präsentieren. Die Ausstellung <i>Sun on field</i> zeigt neue Zeichnungen und Skulpturen sowie eine Videoinstallation. Der Künstler ist anwesend.</p> <div>Der Titel <i>Sun on field</i> nennt ein Stereotyp der Landschaftsmalerei. Doch im Gegensatz zu seiner hellen Konnotation ist der vordere Bereich der Galerie abgedunkelt und die Wände sind schwarz gestrichen. Im Dunkel sind zwei Hyänenrudel in der Videoinstallation <i>Hyena shift</i> (2013) über Eck projiziert, die gespiegelt aufeinanderzulaufen. Sie tauchen aus hellem Weiß auf und laufen mit reduzierter Geschwindigkeit und zeitlich leicht versetzt aufeinander zu, um wieder im Weiß zu verschwinden.</div> <div> </div> <div>Der nächste Raum ist lichtdurchflutet. An der gegenüberliegenden Wand sind zwei Landschaften, <i>Sun on field</i> und <i>Yellow light on sun and field</i> installiert. Gelbe durchscheinende Acetatfolie liegt in der erstgenannten Arbeit auf einem floralen Untergrund und suggeriert den Titel der Arbeit. <i>Yellow light on sun and field</i> erscheint als Verdrehung: Die gelbe Folie liegt direkt auf der Wand und lässt diese durchscheinen. Unterlegt ist die Folie mit einem kreisrunden und einem rechteckigen Blatt, die aus einem Buch ausgeschnittene Rapsfelder zeigen. Scheinbar sieht man, was man liest: Sun on field, ein gelber Kreis und ein Feld. Oder hat man es mit einer abstrakten Collage diverser Materialien zu tun?</div> <div> </div> <div>Die rechte Wand zeigt zwei, mit bunten Pinnadeln installierte Bilder eines rituellen Aztekenschädels, den der Künstler in Mexikostadt als Tourist fotografierte. Das klassische <i>memento mori</i> Motiv schaut den Betrachter mit einem kugelrunden Auge und zackig geschliffenen Zähnen an. Bunte Nadeln durchstechen das Bild genau an der Stelle, wo Löcher in den Schädel gebohrt worden sind. Man kann zweifeln was verstörender ist: Der einäugige Schädel, <i>memento mori</i>, mit seinem treuseligen Blick oder die hellen, gelben aber einsamen Landschaften.</div> <div> </div> <div>Der hintere Bereich der Galerie präsentiert Zeichnungen, die an das frühere Werk Jeff Grants anschließen: Gesichter und Kopfumrisse, die nicht detailliert gezeichnet sind, sondern durch bunte Punkte irritieren, die eine kreisende Bewegung nahelegen. Zusammen werden sie mit Landschaften gezeigt, deren Wolken je nach Winkel anwesend oder abwesend sind. Diese stehen nicht nur durch ihren ephemeren Charakter und die Nadeln im Schädel (wie Punkte) in Zusammenhang mit den anderen Arbeiten, sondern auch durch ihre Verbindung disparater Bildelemente. Jeff Grants Arbeiten spielen mit Täuschung und Enttäuschung, Erwartungen und deren Brechung.</div> <p> </p> <p><b>ANDREAS GRIMM MUNCHEN </b>is pleased to announce the third solo exhibition by New York and Berlin based artist Jeff Grant (born 1975 in Potsdam, New York). <i>Sun on field </i>showcases new drawings, sculptures as well as a video installation. The artist is present.</p> <div>The title <i>Sun on field</i> refers to a stereotype in landscape painting, but unlike its bright connotation the first gallery space is darkened, its walls painted black. The darkness is interrupted by a two-channel video projection in the corner of the room, depicting a pack of hyenas moving around (<i>Hyena shift</i>, 2013). They emerge from a bright white glow, running around each other in slow-motion only to disappear again into a stark brightness.</div> <div> </div> <div>The next room on the other hand is light-flooded. On the right wall, two landscapes, <i>Sun on field</i> and <i>Yellow light on sun and field</i>, are installed.</div> <div>The first work is a floral motive that is partially covered with a circle of yellow translucent acetate, suggesting the title of the work. <i>Yellow light on sun and field</i> appears as a twisted version of the former work: The same yellow sheet is installed directly onto the wall, letting a circular and a rectangular sheet, clippings of a book showing rape fields, shine through. Apparently one sees what one reads: Sun on field, a yellow circle and rectangle. Or is it supposed to be an abstract collage of various materials? On the left wall there are two images of a ceremonial Aztec skull installed with colorful pins, which the artist photographed in Mexico City as a tourist. The classic <i>memento mori</i> motive seems to look at the viewer with bullet-shaped eyes as well as jagged and sharpened teeth. The pins pierce the images at the exact same spot where holes have been drilled into the skulls. It is doubtful what is more disturbing: The one-eyed skull with its sad, loyal look or the bight yellow but lonely landscapes.</div> <div>The rear section of the gallery display drawings that refer to Jeff Grants earlier work: faces and head shapes that are not drawn in detail, but irritate with colored dots, suggesting a circular motion. These drawings are exhibited together with some other landscapes that play with the presence and absence of clouds depending on the photographic angle. These works are not only connected to the others through their ephemeral nature as well as the obvious link between the colorful needles in the skulls and the bold points in the drawings but also by the disparate use of pictorial elements.</div> <div>Jeff Grant’s work plays with deception and disappointment, expectations and their refraction.</div> Sun, 24 Mar 2013 22:09:17 +0000 Susanne Themlitz - ARANAPOVEDA Galeria - February 7th, 2013 - April 4th, 2013 <div id="texto_expo"> <p>La exposición individual OH!, refleja la potencia de su dibujo para configurar espacios íntimos e inmediatos a partir de historias entrecortadas que poseen un carácter onírico. Detrás del trasfondo orgánico se entiende algo más allá de lo vivo que nos habla del cuerpo, de las pasiones. La naturaleza, se transforma toda ella, en alegoría, infiltrando cierto nerviosismo e incertidumbre a lo que tradicionalmente conocemos como género paisajístico.</p> <br /> <p>Las esculturas y los dibujos de Susanne S.D. Themlitz nos transportan a mundos paralelos y paisajes extensos apoyándose, algunas de las citaciones de la Historia del Arte. Son momentos desconcertantes, universos completos, paisajes vertiginosos, habitados y conectados por elementos más o menos extraños. Son líneas de diseño ligadas a espacios, abismos y vacíos. En paralelo cuerpos de color casi autónomos. Planas y Entre-Planas.</p> <br /> <p>Existen perspectivas basculares (perspectivas de rana, de pájaro o mismamente humanas), distorsiones, insistencias, y estiramientos. El punto de vista se desplaza incesantemente. La coherencia de la perspectiva se disuelve. Los colores se desprenden, aglomerándose y multiplicándose.</p> <br /> <p>Un mapa de reflexiones, memorias construidas y vestigios de percepción.</p> <br /> <p>La obra de Susanne S.D. Themlitz – son observaciones de una existencia relativa, de viajes ficticios o naturalezas muertas, de un frágil y sutil hábitat.</p> <br /> <p>OH! Es su primera exposición individual en ARANAPOVEDA tras la exposición colectiva “Otras flores del mal” en la galería dentro del Festival “Jugada a 3 bandas” en Abril de 2012 comisariada por Oscar Alonso Molina.</p> <br /> <p>Susanne S.D. Themlitz (Lisboa, 1968). Vive y trabaja entre Colonia y Lisboa.</p> <br /> <p>Desde 1992 hasta la actualidadha expuesto con regularidad en innumerables museos e instituciones museos de Portugal, Alemania, Francia y España tales como el MAS (Santander), Calouste Gulbekian (Lisboa) ,Museo do Chiado (Lisboa), Hans-Peter-Zimmer Foundation (Düsseldorf) y en las galerías Vera Cortés (Lisboa), Angeles Baños (Badajoz), Steiner Gallery (Berlin), Carla Stützer Gallery (Cologne), Luis Serpa (Lisboa) entre otras. Ha participado en ferias como: ARCO (desde el año 1998), Slick Art Fair, ArtBo, ArtRio, ArteLisboa, ScopeBasel..</p> <br /> <p>Sus obrase encuentra en colecciones como Cámara Municipal de Almada (Portugal), Ar,Co(Lisboa, Portugal), Banco Espíritu Santo (BES / Portugal), Museo BordalloPinheiro( Portugal), Caixa General de Depósitos/ Culturgest (Portugal), Fundación Carmona e Costa(Portugal),Museo Iberoamericano de Arte Contemporáneo (Badajoz, España), Fundación Fernando María Centenera (España), Fundación Fronteira &amp; Alorna (Portugal),Fundación Ilídio Pinho(Portugal), Lisbon City Hall (Portugal), Museo de Arte Contemporáneo(Funchal, Portugal), Museo de Arte Contemporáneo Santander (España),FundaciónPLMJ (Portugal), Cámara municipal de Lisboa(Portugal), Cámara municipal de Ponte de Sôr(Portugal), Fundación Calouste Gulbenkian (Portugal), Museo Amadeo de Souza – Cardoso (Portugal), Museo de Arte Contemporáneo Funchal (Portugal), Museo de Arte Contemporáneo Elvas MACE (Portugal), Museo de Arte Contemporáneo MEIAC (España), Museo de Serralves (Portugal) y Hospital S. Francisco de Xavier (Portugal).</p> </div> Sat, 02 Feb 2013 01:16:27 +0000