ArtSlant - Recently added en-us 40 Sam3 - Wunderkammern - October 4th - November 8th <div class="splitcontentleft"> <p>Scroll Down for English</p> <p><strong>Wunderkammern &egrave; lieta di presentare Monumental, la prima mostra personale in Italia dell&rsquo;artista spagnolo Sam3.</strong><br /><br />Sam3 (Elche, Spagna, 1980) vive e lavora tra Murcia e Madrid. La pubblicazione&nbsp;<strong>Arte Espa&ntilde;ol Contemporaneo 1992 &ndash; 2013 (La F&aacute;brica, 2013) lo inserisce tra i pi&ugrave; importanti artisti di arte contemporanea spagnoli</strong>. I suoi interventi nello spazio pubblico, grandi sagome nere antropomorfe, sono visibili in tutto il mondo. Le &ldquo;ombre&rdquo; di Sam3, come le chiama lo stesso autore, riflettono sulla condizione umana: in bilico tra raffinata poesia e tagliente ironia, queste figure si connotano di significati alternativi, spesso anche molto provocatori e sovversivi.&nbsp;<br /><br />La mostra&nbsp;<strong>Monumental</strong>&nbsp;fa parte del nuovo progetto artistico di Wunderkammern,&nbsp;<strong>Limitless</strong>, che porter&agrave; in galleria cinque tra i pi&ugrave; importanti artisti della scena internazionale dell'Urban Art:&nbsp;<strong>Sam3&nbsp;</strong>(Spagna),<strong>&nbsp;L&rsquo;Atlas</strong>(Francia),&nbsp;<strong>Sten&amp;Lex</strong>&nbsp;(Italia),<strong>&nbsp;Alexey Luka&nbsp;</strong>(Russia) e<strong>2501&nbsp;</strong>(Italia). Il progetto esplora il concetto di limite nelle sue possibili forme e manifestazioni.&nbsp;<strong>Le figure di Sam3 ambiscono ad oltrepassare il limite della vita umana e la sua condizione transitoria. Le sagome antropomorfe rappresentano lo sforzo dell'individuo per raggiungere una gloria monumentale, situata in un tempo eterno e senza confini</strong>. Questa illusione viene poi interrotta nel momento in cui le figure si lasciano guidare soltanto dalle loro emozioni, che le conducono verso obiettivi di corto respiro, conflitti autodistruttivi, comportamenti eccessivamente autoritari. Affrontano quello che &egrave; il limite ultimo dell'esistenza.&nbsp;<br /><br />Sam3 fa uso di una grande variet&agrave; di tecniche artistiche, dalla scultura al murales, sperimentando con i video e le animazioni.&nbsp;<strong>Per Monumental l'artista presenter&agrave; una serie di nuove opere d'arte, sia in ceramica, utilizzando il bianco e il nero come colori, che a grafite e ad inchiostro su carta e tela. Prima dell&rsquo;inaugurazione della mostra, realizzer&agrave; un intervento nello spazio pubblico a Roma</strong>.&nbsp;</p> </div> <div class="splitcontentright"><hr /><br /> <p><strong>Wunderkammern is delighted to present Monumental, the first solo show in Italy by acclaimed Spanish artist Sam3.&nbsp;</strong><br /><br />Sam3 (Elche, Spain, 1980) lives and works between Murcia and Madrid. The publication&nbsp;<strong>Arte Espa&ntilde;ol Contemporaneo 1992 &ndash; 2013 (La F&aacute;brica, 2013) includes him among the most important Spanish contemporary artists</strong>. His public interventions with large black anthropomorphic silhouettes are visible all over the world. Sam3's &ldquo;shadows&rdquo;, as he calls them, reflect on the human condition: between refined poetry on one side and sharp irony on the other, these figures imply alternative meanings and often very provocative and subverting ones.<br /><br />His exhibition&nbsp;<strong>Monumental&nbsp;</strong>is part of the new art project by Wunderkammern titled&nbsp;<strong>Limitless&nbsp;</strong>that will bring to the gallery five of the most important artists of the international Urban Art scene:&nbsp;<strong>Sam3&nbsp;</strong>(Spain),&nbsp;<strong>L'Atlas</strong>(France),&nbsp;<strong>Sten&amp;Lex</strong>&nbsp;(Italy),&nbsp;<strong>Alexey Luka</strong>&nbsp;(Russia) and<strong>2501&nbsp;</strong>(Italy). This project explores the concept of limit in its diverse forms and manifestations.&nbsp;<strong>The silhouettes by Sam3 aspire to overcome the constraint of the human life and its temporary condition. The anthropomorphic figures represent the individual's effort to reach a monumental glory set in a boundless eternal time</strong>. Such illusion is then interrupted when the silhouettes are driven purely by their emotions, leading them to short-sighted objectives, self-destructive fights, dictatorial conducts. They face the edge of existence.&nbsp;<br /><br />Sam3 uses a great variety of artistic techniques, from sculpture to murals, experimenting with videos and animations.&nbsp;<strong>For Monumental the artist will present at Wunderkammern a complete new series of artworks, ranging from ceramics, using black and white colours, to new works with graphite and ink on paper and canvas. Before the exhibition opening, he will produce a public intervention in Rome</strong>.</p> </div> Thu, 02 Oct 2014 04:49:30 +0000 Antti Nyyssölä - Sinne - October 4th - October 26th <p>In his new exhibition&nbsp;<strong>Antti Nyyss&ouml;l&auml;</strong>&nbsp;continues his&nbsp;explorations of Helsinki.&nbsp;Nyyss&ouml;l&auml; is known for works that systematically analyse the places and materials in his surroundings. He does this in the form of abstract studies; paintings, frottage* and collage. He is&nbsp;now showing new works in these techniques: raw, fragile images from an urban landscape.</p> <p>Nyyss&ouml;l&auml; moves like a nomad around the city. He&nbsp;gathers materials, memories and settings. Like an archaeologist he&nbsp;patiently dusts off what lies hidden beneath the layers of time. To Nyyss&ouml;l&auml; this also means getting in touch with&nbsp;the right material and finding the right level of resistance. The painting,&nbsp;composition and execution are then just the last step in a long&nbsp;process.&nbsp;The new works in this show have been painted on&nbsp;corrugated metal&nbsp;and cardboard. The repeated waveforms in these materials become a&nbsp;suggestive echo within which the painting shifts back and forth.</p> <p>In the series of frottage works Nyyss&ouml;l&auml; has used graphite and paper to record surfaces, structures&nbsp;and rhythms from the city&rsquo;s architecture.</p> <p>The frottage becomes a haptic snapshot. Compared to a photograph it is relatively mute in its expression. But beneath the&nbsp;surface, unseen by the naked eye, the stories and the whispers are waiting. And, like&nbsp;<em>The Shroud of&nbsp;Turin</em>, Nyyss&ouml;l&auml;&rsquo;s frottage works&nbsp;come alive.</p> <p>The flag and the cross are recurrent motifs in&nbsp;Nyyss&ouml;l&auml;'s works. In his heraldry the symbols have been&nbsp;drained of their lifeblood, transparent ghosts hang on the walls like shed snakeskins. With these phantoms&nbsp;comes the silence, the emptiness, but also the energy charge. Something has&nbsp;happened and something has moved.</p> <p>Markus &Aring;str&ouml;m</p> Thu, 02 Oct 2014 04:20:47 +0000 karlo Andrei ibarra - Roberto Paradise - October 2nd - November 29th <p>On the other hand, in our front gallery, we present the first exhibition at&nbsp;<strong>Roberto Paradise&nbsp;</strong>of<strong>Karlo Andrei Ibarra&nbsp;</strong>(1982, Puerto Rico). Ibarra's practice focuses on issues such as historical legacy, corruption, memory and political systems in the context of different Latin American countries.<br /><br />Pablo Le&oacute;n de la Barra, Guggenheim's UBS MAP Curator for Latin America, comments that&nbsp;"Ibarra&rsquo;s work refers directly to Puerto Rico&rsquo;s subordinate position as an unincorporated territory of the United States, and aesthetically examines the implications of this association.&nbsp;With his thematically charged works, Ibarra might be the most political artist of his generation, joining together island aesthetics with ever-present political realities" (<em>Art Cities of the Future: 21st Century Avant-Gardes</em>, Phaidon, 2013).<br /><br /><strong>Karlo Andrei Ibarra</strong>'s approach to art relates to the way a poet assembles words; conscious of the value of excess and restraint. His work is not known for the explicit use of state-of-the-art technology; nevertheless, its strength lies in using other much more conventional and simple strategies with a powerful outcome.</p> Thu, 02 Oct 2014 04:16:52 +0000 ADÁL - Roberto Paradise - October 2nd - November 29th <div>Are we the same person when nobody is watching? Do we perform for others in order to find out who we are? How do we reach an understanding of our self? And does one&rsquo;s self get spent, so to speak, or does it remain the same throughout life?&nbsp;<br /><br />The cycle of auto-portraits that make this exhibit, &ldquo;I Was a Schizophrenic Mambo Dancer for the FBI / Go Fuck Your Selfie,&rdquo; started in the 1980s and continued to this day, is representative of the same exploration. In them&nbsp;<strong>AD&Aacute;L</strong>&nbsp;(1948, Puerto Rico), wearing a black suit and French mustache, asks the viewer to question what type of self we choose to present to others and to the extent to which that kaleidoscopic self is an artifice. In doing so, he ponders the degree to which narcissism has been commoditized. This sequence of images feels to me absolutely true, even authentic, yet it argues that the self is a mask and that our identity is in a constant state of flux.&nbsp; <div><br /><strong>AD&Aacute;L</strong>&nbsp;is one of the most provocative visual explorers of the self today. He belongs to an illustrious artistic tradition that includes, most notably, Lee Friedlander, Lucas Samaras, Cindy Sherman, and Ana Mendieta, and that is traced back to the myth of Narcissus, whom Ovid says (<em>Metamorphosis</em>, Book 3) Nemesis brought to a pool, where, after seeing his face reflected on the water, he fell in love with his own image. To a degree, all of us are Narcissus: seeing our image reflected comforts us, it gives us a sense of weight, of authenticity. Conversely, the distortion of that image, its perversion, shakes us to the core.</div> </div> <div>&nbsp;&nbsp;<br />Those distortions&mdash;those misrepresentations&mdash;are what&nbsp;<strong>AD&Aacute;L</strong>&rsquo;s work is about. He has been experimenting with self-image for decades. Born and raised on a farm in Puerto Rico, as a&nbsp;<em>j&iacute;baro</em>&nbsp;he was transplanted early on to a poor urban environment in the Bronx. The experience resulted in a sense of displacement, a clash of perceptions that permeates his entire oeuvre. It is an oeuvre that navigates the thin line between being and nonbeing, the real and the fictional.<br /><br />- Excerpt of&nbsp;<em>The Untrue Self</em>&nbsp;by Ilan Stavans (full text included in&nbsp;<strong>AD&Aacute;L</strong>&rsquo;s latest book published by Roberto Paradise on the occasion of this exhibition) - Exhibition soundtrack:&nbsp;<em>Identity Audio Finder</em>&nbsp;by Calin Dover&nbsp;Tarrts</div> Thu, 02 Oct 2014 04:13:32 +0000 Jussi Heikkilä - Galleria Ama - October 4th - October 26th Thu, 02 Oct 2014 03:34:23 +0000 Thomas Nyqvist - Forum Box - Space for Art - October 3rd - October 26th <p>N&auml;yttely Thomas Nyqvist Ruins of sorts Forum Boxissa esittelee taiteilijan vuosina 2012-2014 maalaamia raunioaiheisia teoksia.</p> <p>Thomas Nyqvist (s. 1955) on ennenkin tarjoillut suurikokoisissa maalauksissaan rujon kauniita n&auml;kymi&auml; kaupungin laita-alueilta. H&auml;n on kuljettanut meit&auml; oudoille teille ihmettelem&auml;&auml;n Helsingin teollisuusalueiden, purkuty&ouml;maiden ja lumisohjoisten kenttien kauneutta.</p> <p>Uudessa maalaussarjassaan Ruins of sorts h&auml;n esittelee er&auml;&auml;nlaista rauniotaidetta. Vaikka maalaukset kuvaavat todellisia purkuty&ouml;maita t&auml;m&auml;n p&auml;iv&auml;n Helsingist&auml;, voisi kuvia luonnehtia l&auml;hes apokalyptisiksi tuomiop&auml;iv&auml;n n&auml;yiksi. Valtavat romahtaneet betonilaatat, tiilikasat, v&auml;&auml;ntyneet harjater&auml;stangot ja puiden tummat siluetit tekev&auml;t n&auml;kymist&auml; dramaattisia ja v&auml;kivaltaisia. L&auml;ht&ouml;kohtana n&auml;ihin visioihin ovat Helsingin merenranta-alueiden j&auml;re&auml;t muutosty&ouml;t. Kokonaiset ter&auml;sbetonirunkoiset teollisuusrakennukset ovat v&auml;istym&auml;ss&auml; siistien asuinkortteleiden tielt&auml;. Toisaalta Nyqvist onnistuu kuin varkain her&auml;tt&auml;m&auml;&auml;n mielikuvia antiikin raunioista. Katkenneet ja murtuneet betonipalkit vertautuvat vaivihkaa kaatuneisiin marmoripylv&auml;isiin.</p> <p>Rauniot ovat kautta aikojen olleet katoavaisuuden symboleja. N&auml;m&auml;kin vaikuttavat maalaukset muuntuvat universaaleiksi kuviksi tuhosta ja samalla kuin varoituksiksi kulttuurimme v&auml;ist&auml;m&auml;tt&ouml;m&auml;st&auml; kohtalosta. T&auml;ss&auml; mieless&auml; ne ovat yht&auml; aikaa ajattomia ja hyvinkin ajankohtaisia. Tuhon ja rappion kuvastot liittyv&auml;t elimellisesti my&ouml;s meid&auml;n aikaamme. Sota, terrorismi, reaalisosialismin luhistuminen, ekologiset kriisit ja taloudellinen taantuma ovat aikaansaaneet ymp&auml;rill&auml;mme tuhoa ja raunioita. Toisaalta n&auml;it&auml; ilmi&ouml;it&auml; on mahdollista k&auml;sitell&auml; juuri kuvilla raunioista. Taiteilijat Euroopassa ja Yhdysvalloissa ovat viime vuosikymmenin&auml; kuvanneet esimerkiksi kaupunginosia, joista asukkaat ovat kaikonneet, autioiksi j&auml;&auml;neit&auml; tehdasrakennuksia ja hyl&auml;ttyj&auml; kylm&auml;n sodan aikaisia sotilastukikohtia. Tunnettu kirjailija W.G. Sebald on vaellellut t&auml;llaisissa ymp&auml;rist&ouml;iss&auml; pohtien kulttuurin tilaa. Kuvataiteen kent&auml;ll&auml; t&auml;t&auml; ty&ouml;t&auml; tehd&auml;&auml;n paljon valokuvan ja liikkuvan kuvan keinoin, mutta Thomas Nyqvist on urbaani l&ouml;yt&ouml;retkeilij&auml;, joka maalaa n&auml;kem&auml;st&auml;&auml;n suurikokoisia tauluja.</p> <p>Thomas Nyqvistin &ouml;ljymaalaukset ovat taideteoksina vaikuttavia. H&auml;nen v&auml;rimaailmansa on dramatisoitunut dramaattisen aihepiirin my&ouml;t&auml;. Indigonsiniset tai voimakkaan punaiset pohjustukset kuultavat vaimeampien v&auml;rikerrosten l&auml;vitse s&auml;hk&ouml;ist&auml;en betonin ja tiilimurskan leimaamaa maisemakuvaa. Nyqvistin maalausten dramaattisuus ja uhkaavuus on kutkuttavan taitavan siveltimenk&auml;yt&ouml;n suodattamaa. H&auml;n on rakentanut kuvataiteen traditiosta, elokuvan ilmaisukielest&auml; ja oman aikansa tuntemuksesta persoonallisen synteesin.</p> <p>N&auml;yttelyn yhteydess&auml; julkistetaan 160-sivuinen kirja, joka esittelee Thomas Nyqvistin t&auml;h&auml;nastista tuotantoa. Kirja k&auml;sitt&auml;&auml; taidehistorioitsija Ville Lukkarisen kirjoittaman laajan esseen Thomas Nyqvistin taiteesta sek&auml; l&auml;hes sata v&auml;rikuvaa Nyqvistin teoksista vuosilta 1980-2014. Kirja on kolmikielinen. Sen kustantaja on Parvs Publishing. Hinta 40&euro;.</p> Thu, 02 Oct 2014 03:14:35 +0000 Teresa Poester - Bolsa de Arte de Porto Alegre - October 1st - November 5th Thu, 02 Oct 2014 03:04:44 +0000 Robert Marchessault - Bau-Xi Gallery - Vancouver - September 30th - October 16th <p>Marchessault is a well-established Canadian painter with an extensive exhibition history. His newest series of work on panel evolves out of his continued interest in the contemporary, sublime landscape.&nbsp;&nbsp;Marchessault states: "My painting can be seen as an inquiry which ultimately seeks to reveal how painted images act as a metaphor for who or what I am. The landscape paintings, which I have been making since the mid-1970s, seek to reveal my emerging understanding of the non-duality of nature. These works have gone through a range of artistic treatments with the 1990s seeing a focus on space, light, textures, atmosphere and distance. I am intrigued with the sensation of being personally diminished when experiencing great spaces. Deserts, mountains, and vast open plains make me feel that some fundamental truth is revealed by this sense of dissolution into these spaces. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove nonessential visual elements. When a work is successful, it has a poetry that presents some aspect of my understanding of who I am."</p> Thu, 02 Oct 2014 03:01:07 +0000 Mike Nelson - AZKM Muenster - November 1st - February 22nd, 2015 <p>Mike Nelson ist international bekannt f&uuml;r seine Installationen, Skulpturen und komplexen ortsspezifischen Inszenierungen. Seine Arbeiten wurden weltweit in zahlreichen Einzel- und Gruppenausstellungen gezeigt. Auf der 54. Biennale von Venedig 2011 repr&auml;sentierte Mike Nelson Gro&szlig;britannien. Zweimal war er f&uuml;r den renommierten Turner Prize (2007 und 2001) nominiert. Seit Mitte der 2000er Jahre ist er Dozent an der Rijksakademie Amsterdam. Mike Nelson wurde 1967 in Loughborough (GB) geboren und lebt mit seiner Familie in London.</p> <p>Die Kunsthalle M&uuml;nster hat Mike Nelson zu seiner ersten institutionellen Einzelausstellung in Deutschland eingeladen. Nach ersten Besuchen in M&uuml;nster plant Mike Nelson eine neue ortsspezifische Installation. Ausgangspunkt bildet dabei die Historie des Ortes im Kontext des vormals industriell genutzten Innenhafens und die mit dem Einzug der Kunsthalle/ dem Atelierhauses architektonische wie konzeptionelle Umnutzung des ehemaligen Kornspeichers. Im Rahmen seiner Recherche und der Projektrealisierung wird Mike Nelson f&uuml;r die Dauer eines Monats in M&uuml;nster leben und arbeiten.</p> <p>Im weitesten Sinne wird die Arbeit in M&uuml;nster eine Art begehbarer Werkstattsituation &sbquo;nachbilden&rsquo;, bestehend aus neuen und wiederverwendeten Objekten, Dingen und Fragmenten aus unterschiedlichsten Kontexten. Das Projekt f&uuml;r M&uuml;nster steht dabei im Zusammenhang mit einer Installation von Mike Nelson, die er aktuell f&uuml;r das Palais de Tokyo in Paris realisiert.&nbsp;</p> <p>Die Arbeiten von Mike Nelson bewirken und erfordern h&auml;ufig mehr als &sbquo;nur&rsquo; ein staunendes Sehen. Als raumgreifende Wucherungen m&uuml;ssen sie regelrecht durchschritten und damit physisch erlebt werden. In den Momenten gr&ouml;&szlig;ter atmosph&auml;rischer Verdichtung erinnern die begehbaren Installationen an Gedankenbilder, wie sie etwa beim Lesen der Kurzgeschichten von Jorge Luis Borges hervorgerufen werden. Borges Fiktionen markiert vor allem die Verr&auml;umlichung der Zeit auf ihre labyrinthische und nicht lineare Natur. F&uuml;r ihre Figuren ist die Welt nicht ein Zusammentreffen von Gegenst&auml;nden im Raum, sondern eine heterogene Reihenfolge unabh&auml;ngiger Handlungen. In ihnen k&ouml;nnen Entdeckungen sowohl in der Vergangenheit, als auch in der Gegenwart gemacht werden. Damit r&uuml;ckt die Grundbedingung menschlichen Handelns aufs Neue in den Blickpunkt: Gleichwohl wir die Vergangenheit kennen, sind wir nicht in der Lage, auf die Zukunft einzuwirken. Das hei&szlig;t, wir sind st&auml;ndig in der Situation, &uuml;ber Dinge entscheiden zu m&uuml;ssen, die sich fundamental auf unser Leben auswirken k&ouml;nnen, ohne jedoch die notwendige Wissensgrundlage zu haben: &bdquo;Wir sind in eine Zeit geworfen, in der alles provisorisch ist. Durch neue Technologien wandelt sich unser Leben t&auml;glich. Die Traditionen der Vergangenheit lassen sich nicht wiederherstellen, w&auml;hrend wir nur vermuten k&ouml;nnen, was die Zukunft bringen wird. Deshalb sind wir gezwungen, so zu leben, als seien wir frei zu entscheiden.&rdquo; (John Gray, 2010). Wenn wir nun r&uuml;ckwirkend in eine Vergangenheit, das hei&szlig;t in die Vergangenheit der Zukunft, neue M&ouml;glichkeiten einf&uuml;hren k&ouml;nnten, nach denen wir unser gegenw&auml;rtiges Leben ausrichten, w&uuml;rden wir dann nicht unser Schicksal selbst &auml;ndern? Aber um welchen Preis? - Dass wir die Zukunft als bereits verloren akzeptieren!</p> <p>In diesem Ideenkomplex vermitteln die Installationen von Mike Nelson auf der Ebene kostbarer, &auml;sthetischer Erfahrungen. Seine bekanntesten Arbeiten nehmen in-situ-R&auml;ume zum Untersuchungsgegenstand, die marode wirken, ja sogar von einer absto&szlig;end morbiden Atmosph&auml;re beherrscht scheinen: Baulich hinf&auml;llige und mit Staub &uuml;berzogene R&auml;ume, die schon lange nicht mehr von Menschen genutzt werden und deren Geschichten vergessen sind. Eingriffe, Freilegungen und Hinzuf&uuml;gungen aus allt&auml;glichen Materialen, wie Beton, Holz, Metall oder diversen Fundst&uuml;cken wandeln die R&auml;ume in magische, gleichsam mysteri&ouml;se Orte, an denen bislang verborgenes, versch&uuml;ttetes oder vielleicht &sbquo;nur&rsquo; parallel existierendes verlebendigt ist und ebenso bet&ouml;rend wie verunsichernd konfrontativ aufscheint beziehungsweise sich sprichw&ouml;rtlich in den Weg stellt. In gewisser Weise lassen diese R&auml;ume an quasi Readymades denken - in deren Gegenwart die Vergangenheit noch eine Zukunft hat.</p> <p>2014 feiert die Kunsthalle M&uuml;nster ihr zehnj&auml;hriges Jubil&auml;um im Speicher II. Im f&uuml;nften Stock des sanierten Kornspeichers im st&auml;dtischen Industriehafen gelegen, hat sich die Kunsthalle in dem vergangenen Jahrzehnt zu einem Ausstellungsort mit &uuml;berregionaler Ausstrahlung entwickelt. Drei bis viermal im Jahr erhalten internationale K&uuml;nstler die Gelegenheit, den 800 qm gro&szlig;en Ausstellungsraum f&uuml;r ihre ortsbezogenen Visionen zu verwandeln und umzubauen.</p> <p>Die Mike Nelson-Ausstellung wird von der Kunststiftung NRW, dem British Council und den Stadtwerken M&uuml;nster gef&ouml;rdert. Die Kunsthalle M&uuml;nster wird von dem Freundeskreis der Kunsthalle M&uuml;nster unterst&uuml;tzt.</p> Thu, 02 Oct 2014 02:56:12 +0000 Halima Cassell, Rachid Koraichi, Soraya Syed - ART 18/21 - October 10th - November 26th <p><strong>Halima Cassell</strong></p> <p><em>&nbsp;&lsquo;Cassell invites category-crunching &ndash; applied art becomes fine art, ceramics become sculpture, and her activities in both areas draws deep inspiration from architecture&rsquo;</em></p> <p><em>Andrew Lambirth 2009</em></p> <p>Clay, wood, porcelain and most recently marble Halima Cassell is an artist of small stature with a powerful touch that transforms these hard, often unforgiving materials into objects that compel and hold the gaze. Halima&rsquo;s work is held in private and public collections including the V &amp; A, The Hepworth, Wakefield and Birmingham Museum.</p> <p><strong>Rachid Koraichi</strong></p> <p>Rachid Korachi&rsquo;s mark-making commands the materials they dance with; ceramics, textiles, metals, paint and paper, silk and canvas.</p> <p>Winner of the 2011 Jameel Prize, his sculptural installations featured at the 47th and 49th Venice Biennales. Rachid&rsquo;s roots - Algerian and Sufi are the visual language that his work sings. The intricate forms of Arabic calligraphic scripts interplay with symbols, glyphs and ciphers drawn from a wide variety of other languages and cultures. Rachid works between Paris and Tunisia&nbsp;</p> <p><strong>Soraya Syed</strong></p> <p>Traditional calligraphy at the hands of a skilled practitioner is brought to another level when the essence of the marks, the forms and the negative space are cleverly understood and succinctly re-presented. A true reflection of her work, Soraya Syed is graceful yet strong, controlled yet imaginative and skillful beyond her years. Her work contains an ellaborate mix of traditional calligraphy and contemporary abstraction.</p> <p>Awarded the icazetname from Istanbul, Turkey Soraya&rsquo;s work is represented in Royal Collections and International Museums.</p> Thu, 02 Oct 2014 02:50:00 +0000 Judith Murray, Robert Yasuda - Sundaram Tagore Gallery - Singapore - October 17th - November 27th <p>Long-established New York painters Robert Yasuda and Judith Murray, a couple for more than fifty years, show their work side by side for the first time in&nbsp;<em>Duo</em>, their Singapore debut.&nbsp;<br /><br />Judith Murray works primarily in oil on linen canvases, sculpting paint into lush, exuberant, abstract compositions in combinations of red, yellow, black and white. Yasuda, likewise, produces resoundingly abstract works, but in a quieter, more minimal way, applying acrylic polymer on fabric layered on sensuously carved wood panels.<br /><br />Both artists challenge traditional notions of painting and sculpture&mdash;redefining picture planes and the role of the painting frame. The twenty-five paintings in Duo, most of which were created in the last two years, demonstrate a unique balance between two very distinct bodies of work.<br /><br />Judith Murray&rsquo;s solo exhibitions began in 1976 at the historic Betty Parsons-Jock Truman Gallery in New York, followed by solo shows at the legendary Clocktower, New York; MoMA PS1, New York; and the Dallas Museum of Fine Arts, Texas. Her paintings have been included in more than thirty museum exhibitions worldwide, including at the Whitney Museum of American Art, New York, and the Museo de Art Moderno, Mexico City.<br /><br />Among Murray&rsquo;s signature parameters is her limited palette of only four base colors: red, yellow, black and white. The varied hues in the hundreds of works she has produced&mdash;paintings, drawings, prints and sculpture&mdash;have emerged from just this palette. Murray, who has traveled extensively&mdash;from the jungles of South America to the ancient temples of Asia&mdash;researching crafts and art, believes it represents her primary universal palette, with references to prehistoric painting and aboriginal art around the world.<br /><br />Compositionally, Murray works from an off-square format and all her paintings include a vertical bar along the right edge. By their very nature and design, the paintings remain abstract as the bar prevents any completion of pictorial space, landscape or other. The bar creates a tension with the rest of the painting irrespective of the composition, acting as a visual foil.<br /><br />In addition to a Guggenheim Fellowship, Judith Murray is the recipient of the American Academy of Arts and Letters Academy Award for Painting, and the National Endowment for the Arts Award. Murray was inducted into the National Academy in 2009. In 2006 the internationally acclaimed filmmaker Albert Maysles produced the documentary&nbsp;<em>Judith Murray: Phases and Layers</em>, filming the artist working on a large-scale painting. Her work is in the collections of the United States Embassy in Mumbai; the royal family of Abu Dhabi; National Museum of Art, Warsaw, Poland; the Library of Congress, Washington, DC; the Brooklyn Museum, New York; National Academy Museum, New York; The Carnegie Institute, Pittsburgh; Lincoln Center for the Performing Arts, New York; The Contemporary Museum, Hawaii; and the New York Public Library.<br /><br />Robert Yasuda began exploring themes of perception, light and nature in the early 1970s. Increasingly, he became fascinated with the way various kinds of light, natural and artificial, affected the perceived color and character of his works.<br /><br />His process begins by hand-carving wooden panels, which often take on unexpected shapes and non-traditional forms. Their smooth, gently sloped edges are one of the hallmarks of his work. Yasuda then applies alternate layers of fabric and paint in a palette of luminescent teals, pinks, purples, blues, greens and gold. Building the surface until the desired effect is achieved, each layer of paint and fabric is subtly visible, creating a radiant color field and depth of space, which is reinforced by light reflecting off the intricate weave of the scrim. The surfaces are at once ethereal and architectural.<br /><br />In addition to his ongoing investigation into the effects of light on surfaces and forms, Yasuda continues to examine the role of the support in his paintings. Having rejected the notion of the conventional painting frame as a decorative or purely functional element, Yasuda consistently introduces new means of context and framing. He attaches cradle-like wooden structures behind and above the paintings, forcing the works forward into space giving them a distinctly sculptural quality. The work is understated and contemplative, revealing itself in a slow and deliberate manner.<br /><br />Robert Yasuda has been recognized with awards from the John Hay Whitney Foundation, the National Endowment for the Arts and the American Academy of Arts and Letters. His works are in the permanent collections of the Brooklyn Museum, New York; the Library of Congress, Washington, DC; the New York Public Library; the Bass Museum, Miami, Florida; Carnegie Institute, Pittsburgh; Wadsworth Atheneum Museum of Art, Hartford, Connecticut; and the McNay Art Museum, San Antonio, Texas. Notable exhibitions include the Bruno Bischofberger Gallery, Zurich; the Betty Parsons Gallery, New York; MoMA PS1, Long Island City, New York; the Museum of Contemporary Art, Chicago; and the Corcoran Gallery, Washington, DC.<br /><br />A catalogue accompanies Duo. It includes an introduction and interview by the legendary American curator Alanna Heiss, founder of P.S.1 Contemporary Art Center (now MoMA PS1).</p> Thu, 02 Oct 2014 02:34:44 +0000 Adriano de Aquino - Mercedes Viegas Arte Contemporânea - October 16th - November 7th <p>A Mercedes Viegas Arte Contempor&acirc;nea inaugura, no pr&oacute;ximo dia 15 de Outubro, exposi&ccedil;&atilde;o individual com pinturas in&eacute;ditas de Adriano de Aquino.</p> <p>&nbsp;</p> <p>Adriano de Aquino compreende a cor como mat&eacute;ria. Dando segmento &agrave; pesquisa pict&oacute;rica iniciada em 2007, o artista aprofundou seus experimentos sobre os suportes met&aacute;licos e sint&eacute;ticos &ndash; a&ccedil;o / alum&iacute;nio e acr&iacute;lico &ndash; e intensificou sua busca pela transpar&ecirc;ncia crom&aacute;tica, explorando as possibilidades expressivas de pigmentos e substratos de &uacute;ltima gera&ccedil;&atilde;o. As obras da mostra foram realizadas utilizando resina sint&eacute;tica Poliuretano Uretane (PU) sobre placas de a&ccedil;o carbono ou alum&iacute;nio.</p> <p>Segundo Aquino, &lsquo;as obras dessa exposi&ccedil;&atilde;o s&atilde;o como espelhos / imagem que, pra l&aacute; da interpreta&ccedil;&atilde;o subjetiva, refletem situa&ccedil;&otilde;es mut&aacute;veis da obra no plano f&iacute;sico. Incorporando ao campo da pintura as ocorr&ecirc;ncias simult&acirc;neas que acontecem nos encontros entre observador e objeto. As cores e formas intr&iacute;nsecas &agrave; pintura est&atilde;o presentes, todavia, a superf&iacute;cie espelhada reflete os acasos e incita no olhar est&iacute;mulos mutantes provenientes das mudan&ccedil;as de luz e do entorno onde nos deparamos com os objetos no mundo real&rdquo;.</p> <p>O ambiente circundante &eacute; sugado pra dentro, tomado pela cor da tela</p> <p>Adriano de Aquino atua no campo das artes desde os anos 60, quando participou da lendaria exposi&ccedil;&atilde;o&nbsp;<em>Opini&atilde;o 65, no MAM-RJ</em>. Ap&oacute;s um periodo de 7 anos em Paris, retornou ao Rio na d&eacute;cada de 80 onde, al&eacute;m de seguir como artista, foi presidente da Associa&ccedil;&atilde;o de Artistas Pl&aacute;sticos Profissionais e Secret&aacute;rio de Cultura do Estado (2000 &ndash; 2003).&nbsp;</p> Thu, 02 Oct 2014 02:24:05 +0000 Teemu Maenpaa - Make Your Mark Garage/Gallery - October 3rd - October 31st Thu, 02 Oct 2014 02:14:44 +0000 Lawrence Weiner - Kunstnernes Hus - September 30th - October 6th <p>Kunstnernes Hus har i h&oslash;st gleden av &aring; presentere et verk av Lawrence Weiner i foajeen. Lawrence Weiners tekstverk har gjennom de siste &aring;rtiene blitt vist p&aring; en rekke anerkjente internasjonale utstillinger. Hans banebrytende virksomhet som kunstner og skulpt&oslash;r har siden 1960-tallet g&aring;tt ut p&aring; &aring; definere det skulpturelle mediet som &laquo;spr&aring;k i kombinasjon med det materialet som det refereres til&raquo;. Kunstnernes Hus vil uttrykke en varm takk til Lawrence Weiner, Regen Projects og Erling Kagge.</p> Thu, 02 Oct 2014 02:09:26 +0000 Joaquín Sorolla - FUNDACIÓN MAPFRE Sala Recoletos - September 26th - January 11th, 2015 <p class="Body1"><strong>From 26<sup>th</sup> September 2014 until 11<sup>th</sup> January 2015 the exhibition SOROLLA Y ESTADOS UNIDOS is on at the FUNDACI&Oacute;N MAPFRE gallery in Paseo de Recoletos. This exhibition is the first to include 150 paintings by Joaqu&iacute;n Sorolla (1863-1923); it follows the fascinating story of the Valencian painter in the United States, displaying some of his best work outside Spain and examining his extraordinary international fame.</strong></p> Wed, 01 Oct 2014 10:36:31 +0000 Martin Mannig - Galerie Gebr. Lehmann, Dresden - November 8th - January 17th, 2015 Wed, 01 Oct 2014 09:36:32 +0000