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Sanford Smith Fine Art is pleased to welcome the work of Sus an Rand for our fall show. Susan received her BFA from Goddard College befo re settling in Lakeville\, CT. She began exhibiting her paintings locally a nd has established herself as a highly recognized regional artist. Her work has been exhibited in many galleries throughout Litchfield and Berkshire C ounty. She has participated in several artist residency programs including the Vermont Studio Center in Johnson\, VT and The Tyrone Guthrie Center in Ireland. \;
Her oil paintings capture the beauty of the New Englan d landscape: the open door of a barn\, the light catching the leaves of Oct ober trees and the shock of forsythia that announces the coming Spring.

DTEND:20131120 DTSTAMP:20141123T213358 DTSTART:20131010 GEO:42.1944472;-73.3627291 LOCATION:Sanford Smith Fine Art/Jill Bokor Jewelry\,13 Railroad Street \nGr eat Barrington\, Massachusetts 01230 SEQUENCE:0 SUMMARY:Solo Exhibition\, Susan Rand UID:301474 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David began taking large format black and white photographs of New England and the Mid-Atlantic during his final year at Massachusetts College of Art in 1980. Over the next eight years the Quabbin Reservoir and its lush 55\,000 acre watershed would become the focal point for an invest igation of how time and light reveal and define the sublime visual beauty a nd quiet drama of the Northeastern landscape. Sixty prints from the series are held in the permanent collection of the Boston Public Library.
In 1986 David left New England and returned to the Lehigh Valley in So utheastern Pennsylvania\, a region his family has inhabited since 1741.&nbs p\; His subjective interest also moved in a direction that drew upon cultur al history and personal heritage as the road map for exploring the land of his ancestors and beyond. The one-room school house series and his thesis w ork at Mack Trucks in pursuit of a Masters degree at the University of Dela ware ultimately led to David&rsquo\;s on going historic documentary work fo r the HABS-HAER-HALS division of the National Park Service and the National Cemetery Administration\, a branch of the Veterans Administration.
< br /> Along with over a thousand images of our nations historic resources a rchived in the Library of Congress\, David&rsquo\; s personal photographic work\, including views from Maine to California\, can be found in public\, private\, and corporate collections across the United States. \; His fi rst exhibit was in 1976\, many more solo and group shows have followed.

Since 1996 David has been teaching the black and white silver proc ess as a part-time lecturer at Muhlenberg College in Allentown\, Pennsylvan ia\, where he currently resides\, a couple blocks from the home of his Gran dparents. \;  \;

DTEND:20131120 DTSTAMP:20141123T213358 DTSTART:20131010 GEO:42.1944472;-73.3627291 LOCATION:Sanford Smith Fine Art/Jill Bokor Jewelry\,13 Railroad Street \nGr eat Barrington\, Massachusetts 01230 SEQUENCE:0 SUMMARY:One Room Schoolhouses\, David W. Haas UID:301475 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;Ugly Feelings&rdquo\; is an exhibition about emotion al states that reflect a lack of agency. Anxiety\, irritation\, envy\, leth argy &mdash\; the kinds of feelings that are vaguely uncomfortable\, someti mes difficult to justify\, and usually dismissed as relatively \;banal\ , despite their pernicious power to prevent the emotional subject from acti ng.

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These feelings have a tendency to circulate during times of pai nful uncertainty\, disorienting their subjects and making it difficult to p erform. &ldquo\;Ugly Feelings&rdquo\; is about these affective states\, and how they correlate to similarly ambiguous\, uneasy aesthetic judgments.

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The exhibition is driven by a personal curatorial essay narrating a d iverse group of works\, which are bound together by a shared aim of dealing with or provoking particular emotions. The text itself is a response to qu estions that have been vexing Townhouse since 2011. How do we keep going in this extended traumatic moment? \;Artists find it difficult to work\, exhibitions are cancelled\, and seemingly innocuous projects can trigger un expectedly violent controversies\; as a result\, the institution finds itse lf having to re-negotiate its programs very quickly (and usually with very limited resources) in reaction to the changing circumstances.

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The e motional impact of working (or being unable to work) in this context has sh ifted our institutional and curatorial thinking. &ldquo\;Ugly Feelings&rdqu o\; is a first step towards \;reflecting on that shift\, a gesture towa rds a project that will manifest in 2014 asking if an institution can creat e an exhibition without an artist.

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In addition to the exhibition on the First Floor Gallery\, &ldquo\;Ugly Feelings&rdquo\; is a film and disc ussion series that touches on states of precarity\, psychosis\, nostalgia a nd utopia. Films will be screened in the Townhouse Library every Tuesday ni ght at 7 pm starting on October 22\, 2013.

DTEND:20131120 DTSTAMP:20141123T213358 DTSTART:20131020 GEO:30.0444196;31.2357116 LOCATION:The Townhouse Gallery\,Hussein El Me'mar Pasha St. off Mahmoud Bas youni St.\nCairo \, SEQUENCE:0 SUMMARY:Ugly Feelings UID:302735 END:VEVENT BEGIN:VEVENT DTEND:20131020T210000 DTSTAMP:20141123T213358 DTSTART:20131020T190000 GEO:30.0444196;31.2357116 LOCATION:The Townhouse Gallery\,Hussein El Me'mar Pasha St. off Mahmoud Bas youni St.\nCairo \, SEQUENCE:0 SUMMARY:Ugly Feelings UID:302736 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Hace unos añ\;os triunf&oac ute\; notoriamente en Madrid (antes lo habí\;a hecho en Barcelona) un a obra de teatro que se llamaba &ldquo\;Arte&rdquo\;. Trataba de un cuadro blanco por el que un coleccionista habí\;a pagado una buena cantidad de dinero. La tesis de la obra era que la sacralizació\;n del arte y del objeto artí\;stico habí\;a llegado a un punto tal\, que el arte contemporá\;neo se estaba convirtiendo en una idiotez banal cerc ana al insulto y a la estafa.

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En su momento varias personas me reco mendaron la obra con mucho interé\;s: &ldquo\;a ti que eres artista t e va a encantar&hellip\;&rdquo\;  \;Yo siempre les contesté\; con un NO rotundo (má\;s o menos como el de Santiago Sierra) con el que se quedaban perplejos. Luego les contaba que añ\;os antes habí\ ;a tenido la oportunidad de disfrutar y apasionarme con una exposició \;n de Robert Ryman en el Museo Reina Sofí\;a de Madrid\, en la que m ostraba alrededor de un centenar de cuadros blancos. Su perplejidad aument& oacute\;: ¿\;todos los cuadros blancos? ¿\;Y te gustó\;? &ldquo\;No me gustó\;\, me apasionó\;&rdquo\; respondí\;a beligerante \;a modo de provocació\;n.

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Pero en realidad no les decí\;a nada má\;s que una verdad: Ryman me ayudó\ ; a descubrir la estrategia de la obsesió\;n y la pasió\;n para construir como artista un discurso propio e í\;ntimo\, má\;s a llá\; de modas\, tendencias y gustos mayoritarios. Tambié\;n pe rcibí\; en su trabajo la bú\;squeda de la transcendencia y el & ldquo\;encuentro&rdquo\; a travé\;s de la intensidad provocada por la reflexió\;n y la obsesió\;n.  \;En su obra encontré\ ; cientos de matices que me subyugaron y me llevaron a territorios emociona les apenas conocidos por mí\;. Añ\;os despué\;s\, en Hous ton\, disfruté\; en solitario durante media hora las enormes piezas n egras de la capilla Rothko\, que tratan de lo mismo y se ofrecí\;an a l espectador como pantallas-mé\;dium para ayudarle a conseguir entrar en su propio espacio mí\;stico.

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En muchas ocasiones los arti stas emocionales hablan del é\;xtasis alcanzado en el momento de una concentració\;n absoluta cuando está\;n realizando su trabajo y el tiempo se para ante un &ldquo\;hallazgo esencial&rdquo\;. Cuando oigo o leo algo sobre este tema siempre pienso en Santa Teresa de Jesú\;s y sus &ldquo\;encuentros&rdquo\; mí\;sticos y sus estados de é\; xtasis.

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Pienso que la exposició\;n &ldquo\;Blanco sobre Blanc o&rdquo\;\, en la que se presentan los trabajos de Oliver Roma (Parí\ ;s\, 1967) y Felipe Coddou (Santiago de Chile\, 1974) titulados &ldquo\;Bla ckout&rdquo\; y &ldquo\;Turistas&rdquo\;\, respectivamente\, habla de los s ilencios dejados por las transmutaciones y el é\;xtasis. Suelen ser s ilencios definitivos\, inmateriales y llenos de preguntas sin respuestas. E n esos silencios tan absolutos\, el tiempo se une de una manera esencial al paro del universo y define en las personas que lo viven un nuevo espacio m ental lleno de certezas.

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A principio de los añ\;os sesenta\, en una tarde de verano en un pequeñ\;o pueblo del Pirineo\, observaba có\;mo varias mujeres\, agazapadas en la sombra\, bordaban en silenc io sá\;banas y manteles para su ajuar o el de sus hijas. Estaba fasci nado con la velocidad con la que lo hací\;an y los dibujos y filigran as que conseguí\;an. Su concentració\;n era muy alta para no co meter errores. Una de ellas suspiró\; profundamente e inmediatamente otra dijo: &ldquo\;ha pasado un á\;ngel&rdquo\; y las demá\;s a sintieron. Fue la primera vez que lo oí\;. He recordado esta an&eacut e\;cdota porque creo que é\;sta es una exposició\;n llena de su spiros y de á\;ngeles que pasan y transforman el entorno. Consiguen t ransmutar a los personajes que habitan las imá\;genes de Coddou a lug ares extrañ\;os donde se dibuja la nada y las interrogaciones se hace n enormes porque el paisaje desolado parece que esconde toda la metaf&iacut e\;sica de nuestros tiempos.

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Sin embargo\, las imá\;genes de Oliver Roma\, aunque tienen mucho que ver con las de Felipe Coddou\, nos ha blan del é\;xtasis como un espacio donde se dibuja el silencio que an tecede al suspiro y que Javier Herná\;ndez Viñ\;uelas\, habland o sobre el trabajo de Oliver Roma\, define tan certeramente: &ldquo\;Ocurre muy pocas veces\, pero cuando sucede nada vuelve a ser lo mismo... Y lo qu e antes eran só\;lidas estructuras que sostení\;an creencias y valores\, lo que antes marcaba el rumbo y serví\;a de guí\;a\, se desmorona y te encuentras a oscuras\, sin nada a lo que agarrarte.

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Donde antes habí\;a respuestas indubitables\, ahora só\;lo h ay vací\;o\, mensajes desdibujados que ya no tienen sentido o el m&aa cute\;s absoluto silencio.

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Y entonces\, cuando te has vaciado de lo que tanto te habí\;a costado aprender\, se abre ante ti la oportunid ad de reinventarte\, de dar un paso má\;s allá\;\, un salto cu& aacute\;ntico\, de volver a nacer. \;

Ciuco Gutié\;r rez

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DTEND:20131121 DTSTAMP:20141123T213358 DTSTART:20130916 GEO:40.4063419;-3.6816482 LOCATION:Galería Cero\,C/ Fuenterrabia 13 \nMadrid\, 28014 SEQUENCE:0 SUMMARY:Blanco sobre Blanco\, Felipe Coddou\, Oliver Roma UID:297995 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition highlighting new works in all media\, by selec ted gallery artists.

DTEND:20131121 DTSTAMP:20141123T213358 DTSTART:20131101 GEO:43.393823;-79.7084768 LOCATION:Trias Gallery\,11 Bronte Road Unit 29\nOakville\, Ontario L6L 0E1 SEQUENCE:0 SUMMARY:New Works By Selected Gallery Artists\, Jodi Wheeler\, Frank Vondre js\, Karoline Varin-Jarkowski\, Katya Trischuk\, Ernestine Tahedl\, Ewa Str yjnik\, Samantha Sandbrook\, Hanna Ruminski\, Kirsten Muenzberg\, Donald Li ardi\, Anne-Marie Kornachuk\, Noo Atsiaq\, Etulu Etidloi\, Joanasie Manning \, Quaraq Nungusutiak\, Palaya Qiatsuq\, Joannie Ragee\, Jennifer Hornyak\, Joanne Helman\, Hugo Frones\, Douglas Edwards\, Ruth Dwyer\, Yeon-Tak Chan g UID:306369 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;One should keep in mind that it w as Eve who first ate from the tree of knowledge\, or rather of conscious th ought.&rdquo\;[1]

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With her multifarious work\, the German-Swiss arti st Meret Oppenheim (*1913 Berlin\, &dagger\;1985 Basel) was far ahead of he r time. Employing a wide range of media\, she plumbed the depths of human n ature\, exploring the cycles of life and death\, and the transformative pow ers of nature. Drawing upon her personal cosmology of surmounting barriers\ , she sought to transcend the boundaries between the male and the female pr inciples\, as well as between the fields of fine arts and applied arts thro ughout her life.

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And yet\, after her early success as the creator o f the &ldquo\;fur cup&rdquo\; (1936) in the circle of the Surrealists in Pa ris\, her multi-faceted interdisciplinary work faded into relative obscurit y for a longer period of time. It has only been (re-)discovered and perceiv ed in its broad scope and innovative energy in the past few decades\,   \;as e.g. can be seen at the artist`s Retrospective at the Martin- Gropius- Bau in Berlin (until the beginning of January 2014).

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The exhibition pays homage to the artist on the occasion of her 100th birthday with a special focus on the reception and reflection of her work by artist s who were her contemporaries as well as representatives of later generatio ns such as Hans Arp\, Marcel Jean\, Maurice Henry\, Max Ernst\, Man Ray\, D ieter Roth\, Daniel Spoerri etc. Moreover\, it aims to present a cross-sect ion of \; Meret Oppenheim`s  \;extensive oeuvre.

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On the occ asion of the exhibition a catalogue is published at Kerber Verlag (216 pp.\, 321 color und 130 b/W plates\, format: 29\,5 x 24 cm) wi th texts by Simon Baur\, Belinda Grace Gardner\, Werner Spies\, Christian W alda and Lisa Wenger as well as the collector`s edition &l dquo\;Kleiner Komet&rdquo\; (1970\, colored serigraph\, 23 x 17 cm\, editio n: 150).

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[1] Meret Oppenheim: Speech on the occasion of receiving the Art Award of the City of Basel 1974 on Jan uary 16\, in: Kunst-Bulletin\, Bern\, February edition\, 1975.

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DTEND:20131122 DTSTAMP:20141123T213358 DTSTART:20131022 GEO:53.5978318;9.9781763 LOCATION:LEVY\,Osterfeldstrasse 6 \nHamburg\, 22529 SEQUENCE:0 SUMMARY: Meret Oppenheim - Mirrors of the Mind\, Meret Oppenheim\, Hans Arp \, Marcel Jean\, Maurice Henry\, Max Ernst\, Man Ray\, Dieter Roth\, Daniel Spoerri UID:301462 END:VEVENT BEGIN:VEVENT DTEND:20131021T210000 DTSTAMP:20141123T213358 DTSTART:20131021T190000 GEO:53.5978318;9.9781763 LOCATION:LEVY\,Osterfeldstrasse 6 \nHamburg\, 22529 SEQUENCE:0 SUMMARY: Meret Oppenheim - Mirrors of the Mind\, Hans Arp\, Max Ernst\, Mau rice Henry\, Marcel Jean\, Meret Oppenheim\, Man Ray\, Dieter Roth\, Daniel Spoerri UID:301463 END:VEVENT BEGIN:VEVENT DESCRIPTION:

NoguerasBlanchard is very pleased to present an exhibition b y Christopher Knowles (New York\,
1959) in the gallery's space in Barc elona. Knowles' project "Typing" is the fifth presentation within the exhib ition programme "the Story Behind"\, curated by Direlia Lazo. Previous pres entations included works by Lisa Oppenheim\, Haris Epaminonda\, Tatiana Mes a and Francesco Arena.
Much of contemporary art is recreated in the st ory about itself\, narratives that mediate between the work and the viewer either to convey the artist&rsquo\;s intention\, explain the working proces s that underlies the images\, or reveal deliberate and purposeful interpret ations. Many artists use art to experiment with the modalities and mechanis ms of storytelling\; to narrate\, to recount\, to explain the interpretive universe surrounding our direct experience becomes another feature of these works. The Story Behind presents a group of works where stories\, whether fictional or real\, manifest and embody that oral and parallel world that a ccompanies the images.
Playwright and American theatre director Robert Wilson has said: "everything about Christopher Knowles makes sense\, but n ot in the way you are accustomed". Diagnosed with an autism spectrum disord er\, Knowles was one of the key figures of the late 1970s New York avant-ga rde\, thanks in part to his frequent collaboration with Wilson's key theatr ical productions.
The work of Christopher Knowles includes typewriter drawings\, paintings and audio recordings ranging from annotated lists of m usical hits to rhythmic sentences and repetitions composed by himself. His autistic condition determines these directional compositions. With Knowles\ , nothing is the result of chance but on the contrary\, his oeuvre belongs to a conscious and default distribution of signs that are translated into a bstract or sometimes recognizable figures. On one hand\, the recordings rev eal another edge of the vast universe of obsessions that nourishes his geni us: repetition. In one of the audio works\, Knowles reiterates for more tha n 10 minutes the name of US President Dwight Eisenhower. During the first p art of this sound piece\, the repetition is almost mimetic\, with paused an d linear intonation\, pronounced with an almost ceremonial tone. However\, as it progresses the modulation of the voice varies to a more casual tone\, introducing other information and eventually some hints of humour. In 1978 John Ashbery wrote in New York Magazine about Knowles' first personal exhi bition: "it seems that Christopher (Knowles) is giving the world a necessar y lesson: that in art it is possible to be negligent and rigorous at the sa me time."
This exploration of the repetitive also occurs in his intric ate drawings - known as "typings" - made mainly during the 1970s and 1980s. These works source episodes of his daily life through words and phrases\, sometimes poems\, or also detailed geometric patterns based on the letter " c"\, initial of his name. The trichromatic "typings" by Knowles\, some of t hem included in this presentation\, were regularly published in contemporar y newspapers\, magazines and catalogues and are considered historical piece s.

Christopher Knowles lives and works in New York.
Recent exhibitions include: Gavin Brown's enterprise\, New York (2013)\; Correspon dences\, Galerie Martin Janda\, Vienna (with Karl Holmqvist\, curated by Ma tthew Higgs) (2009)\; Gavin Brown's enterprise\, New York (2004). Between 1 978 and 1979 several personal exhibitions earned him recognition in the New York avantgarde\, including: Everyday Business\, Open Eye Theater\; Red an d Green\, About Earth &\; Universes: paintings by Christopher Knowles an d Typing Work\, both at Holly Solomon Gallery. Amongst group exhibitions: M erci Mercy\, 980 Madison Avenue\, New York (2013)\; Ecstatic Alphabets/Heap s of Language\, MoMA\, New York (2012)\; En el primer cercle\, Fundacio Ant oni Tapies\, Barcelona (2011)\; Poor. Old. Tired. Horse\, Institute of Cont emporary Arts\, London (2009)\; Visions of the Frontier\, curated by Robert Wilson\, Institut Valencia d&rsquo\;Art Modern (2009)\; Glossolalia: Langu ages of Drawing\, Museum of Modern Art\, New York (2008)\; Get Lost: Artist s Map Downtown New York\, New Museum Project\, New York (2007)\; Learn to R ead\, Tate Modern\, London (2007)\; Extraordinary Rendition\, NoguerasBlanc hard\, Barcelona (2007).
We kindly thank Gavin Brown's Enterprise\, Nu eva York for its co-operation.

DTEND:20131122 DTSTAMP:20141123T213358 DTSTART:20131017 GEO:41.3830356;2.1705993 LOCATION:Nogueras Blanchard Barcelona\,xucla\, 7 \nBarcelona\, 08001 SEQUENCE:0 SUMMARY:The Story Behind l Typing\, Christopher Knowles UID:303960 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Entrance to Abu Dhabi Art is complimentary. Tickets are required and can be collected at the entrance.

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The com mercial sections of Abu Dhabi Art\, located in Hall 1 and Hall 2\, \; are designated for visitors aged 13 and above.

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Abu Dhabi Art 2013 Participating Galleries:

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AB Gallery

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Agial Art Gallery

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Art Sawa

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ARTSPACE

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Athr Gallery

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Ayyam Gallery

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Bait Muzna Gallery

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Carpenters Workshop Gallery

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Cheim &\; Read

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Edward Ty ler Nahem Fine Art\, L.L.C

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eoa.projects

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Gagosian Gallery

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Galeri Zilberman

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Galerie Brigitte Schenk

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Galerie El M arsa

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Galerie Enrico Navarra

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Galerie GP &\; N Vallois

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Galerie Janine Rubeiz

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Kashya Hildebrand Gallery

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Galeri e Thaddaeus Ropac

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Galleria Continua

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Gallery Isabelle van de n Eynde

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Hanart TZ Gallery

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Hauser &\; Wirth

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Horra ch Moya

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Hunar Gallery

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kamel mennour

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Kerlin Gallery< /p>\n

Kukje Gallery / Tina Kim Gallery

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Lam Art Gallery

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La wrie Shabibi

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Leehwaik Gallery

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Leila Heller Gallery

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Lisson Gallery

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Meem Gallery

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October Gallery

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Paul St olper Gallery

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Salwa Zeidan Gallery

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Sfeir-Semler Gallery

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The Breeder

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The Park Gallery

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The Third Line

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Ti na Keng Gallery

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DTEND:20131123 DTSTAMP:20141123T213358 DTSTART:20131120 GEO:24.5302924;54.4451578 LOCATION:Abu Dhabi Art\,Saadiyat Cultural District Saadiyat Island\nAbu Dha bi\, SEQUENCE:0 SUMMARY:Abu Dhabi Art 2013 UID:304480 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20131123 DTSTAMP:20141123T213358 DTSTART:20131026 GEO:47.3556855;8.5616846 LOCATION:Art Forum Ute Barth\,Kartausstrasse 8 CH\nZurich \, Switzerland 80 08 SEQUENCE:0 SUMMARY: Solo Show (Töne und Grundrisse)\, Maja Vieli-Bisig UID:303816 END:VEVENT BEGIN:VEVENT DTEND:20131026T170000 DTSTAMP:20141123T213358 DTSTART:20131026T150000 GEO:47.3556855;8.5616846 LOCATION:Art Forum Ute Barth\,Kartausstrasse 8 CH\nZurich \, Switzerland 80 08 SEQUENCE:0 SUMMARY: Solo Show (Töne und Grundrisse)\, Maja Vieli-Bisig UID:303817 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art Plural Gallery is pleased to present the solo exhibition of Chinese artist Nan Qi in collaboration with China Art Foundation. Featu ring 30 of his most recent works\, the exhibition will run from October 31 to November 23\, 2013.

The aim of this exhibition is to revisit traditional Chinese ink painting and engage our global audience in broader dialogues.

Working with ink on Xuan paper alternating black an d white\, Nan Qi&rsquo\;s work is deeply rooted in the technique of traditi onal ink painting. From this strong personal attachment to ink\, the artist incorporates new elements to his work\, such as the dot pointillist and 3D techniques\, injecting an innovative dimension to the traditional medium.< /p> DTEND:20131123 DTSTAMP:20141123T213358 DTSTART:20131031 GEO:1.294176;103.849427 LOCATION:Art Plural Gallery\,38 Armenian Street \nSingapore\, 179942 SEQUENCE:0 SUMMARY:AUTHORITY SEX MONEY \, Nan Qi UID:300641 END:VEVENT BEGIN:VEVENT DTEND:20131030T210000 DTSTAMP:20141123T213358 DTSTART:20131030T180000 GEO:1.294176;103.849427 LOCATION:Art Plural Gallery\,38 Armenian Street \nSingapore\, 179942 SEQUENCE:0 SUMMARY:AUTHORITY SEX MONEY \, Nan Qi UID:300642 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Peter Neilson&rsquo\;s exhibition &hellip\;plus stances\, sh adows and portraits\, immerses its audience deep into the realm of film noi r where finely robed ladies slip behind velvet curtains and suited gentlema n linger in the shadows. Seemingly significant papers exchange hands and fi ll leather suitcases\, each tableaux set under the shimmering light of a st ar studded sky.

DTEND:20131123 DTSTAMP:20141123T213358 DTSTART:20131107 GEO:-33.881271;151.2334498 LOCATION:AUSTRALIAN GALLERIES 15 Roylston Street\,15 Roylston Street \nPadd ington \, NSW 2021 SEQUENCE:0 SUMMARY:…plus stances\, shadows and portraits\, Peter Neilson UID:305394 END:VEVENT BEGIN:VEVENT DTEND:20131107T200000 DTSTAMP:20141123T213358 DTSTART:20131107T180000 GEO:-33.881271;151.2334498 LOCATION:AUSTRALIAN GALLERIES 15 Roylston Street\,15 Roylston Street \nPadd ington \, NSW 2021 SEQUENCE:0 SUMMARY:…plus stances\, shadows and portraits\, Peter Neilson UID:305395 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lange Zeit ist Golinski den Geschichten rund um die Mintarde r Ruhrtalbrü\;cke nachgegangen. Diese fü\;gen sich in seiner neuen Arbeit &bdquo\;Die Lü\;cke\, die der Kasten lä\;sst&ldquo\; zu eine r erlebbaren Installation mit intensiver Gerä\;uschkulisse. Seine Objek te und Installationen sind radikal reduziert und anti-dekorativ. Sie basier en auf dem Dilemma zwischen dem Drang nach Erinnerung - gleichzeitigem Verg essen und den blinden Stellen im kollektiven Gedä\;chtnis\, die den Mom ent zwischen Gegenwart und Vergangenheit komprimieren.

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Andreas Goli nskis (1979 geboren in Essen\, lebt und arbeitet in Essen und Mailand) Arbe iten changieren zwischen der italienischen Arte Povera und einer aktuellen Variante der Spurensicherung\, die auch durch seine Heimat\, geprä\;gt ist.

DTEND:20131123 DTSTAMP:20141123T213358 DTSTART:20130920 GEO:51.512821;7.4648727 LOCATION:DORTMUND KUNSTVEREIN\,Hansastr. 2-4 \nDortmund \, 44137 SEQUENCE:0 SUMMARY:DIE LÜCKE\, DIE DER KASTEN LÄSST\, Andreas Golinski UID:293765 END:VEVENT BEGIN:VEVENT DTEND:20130920T210000 DTSTAMP:20141123T213358 DTSTART:20130920T190000 GEO:51.512821;7.4648727 LOCATION:DORTMUND KUNSTVEREIN\,Hansastr. 2-4 \nDortmund \, 44137 SEQUENCE:0 SUMMARY:DIE LÜCKE\, DIE DER KASTEN LÄSST\, Andreas Golinski UID:293766 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ab dem 23. Oktober zeigt die Flo Peters Gallery eine Ausstel lung lange unter Verschluss gehaltener Pressefotografien. Ein altes Pressea rchiv ö\;ffnet zu diesem Anlass erstmals seine Pforten und ermö\;gl icht die Zusammenstellung einer spannenden Schau voller unverfä\;lschte r Momentaufnahmen.
Bilder\, die fü\;r ihre Zeit und aus ihr hera us sprechen - zu sehen sind ausschließ\;lich unbearbeitete Originalauf nahmen. Diese unverstellten Zeitdokumente geben Einblicke in Leben und Gese llschaft der 1950er bis -90er Jahre in Deutschland und international. Die M otive reichen dabei von Szenen aus Politik und Zeitgeschehen ü\;ber Dok umentationen einschneidender Ereignisse der Weltgeschichte bis hin zu nosta lgischen Schnappschü\;ssen von Filmstars und anderen Prominenten.

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Flo Peters Gallery presents an exhibition of press photograph ies\, kept under wraps for a long time. On this occasion\, an old press arc hive opened its doors for the first time\, allowing to put together an exci ting show full of real snap shots.
Pictures that tell vividly about their decades - exclusively and only in raw\, unretouched original shots. T hese undisguised documents of their times offer insights into life and soci ety of the 1950s to the -90s in Germany and internationally. Their subjects show a wide range from politics and current affairs over far-reaching worl d historical events up to nostalgic scenes of film stars and other celebrit ies.

DTEND:20131123 DTSTAMP:20141123T213358 DTSTART:20131023 GEO:53.5481314;10.0021784 LOCATION:Flo Peters Gallery\,Chilehaus C Pumpen 8 \nHamburg \, 20095 SEQUENCE:0 SUMMARY:WHAT YOU SEE IS WHAT THEY SAW - Vintage Press Pictures UID:303085 END:VEVENT BEGIN:VEVENT DTEND:20131022T210000 DTSTAMP:20141123T213358 DTSTART:20131022T180000 GEO:53.5481314;10.0021784 LOCATION:Flo Peters Gallery\,Chilehaus C Pumpen 8 \nHamburg \, 20095 SEQUENCE:0 SUMMARY:WHAT YOU SEE IS WHAT THEY SAW - Vintage Press Pictures UID:303086 END:VEVENT BEGIN:VEVENT DESCRIPTION:

La galerí\;a Fú\;cares tiene el placer de presen tar en su espacio de Almagro una exposició\;n individual de Sime&oacu te\;n Saiz Ruiz (Cuenca\, 1956).

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El desmantelamiento del almac&eacu te\;n del artista en Cuenca ha servido de pretexto para revisar un cuerpo d e obras que abarcan desde los añ\;os 70 hasta nuestros dí\;as y que recorren prá\;cticamente todas las constantes formales y concept uales de su trayectoria. Aunque la mayor parte no habí\;an \; sid o expuestas anteriormente\, su inclusió\;n en la exposició\;n e stá\; motivada por su relevancia dentro del discurso \; del artis ta.

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El recorrido comienza con una serie de fotografí\;as en B /N de los añ\;os 70 tomadas en un temprano viaje a Marruecos. El pais aje\, las ciudades y sus habitantes son fotografiados con distancia\, con u na mirada desapasionada y respetuosa. Por su temá\;tica estas obras e nlazan con las pinturas de la serie \; Tiempos de alegrí\;a\, expuestas en 2012 en el mismo espacio y\, \; de una mane ra má\;s general\, con el uso de la fotografí\;a como base docu mental para gran parte de su producció\;n pictó\;rica. \;\n

La serie central de la exposició\;n la constituyen siete pintu ras de principios de los añ\;os 80. "Son crudos campos de blanco y ne gro opuestos creando una diagonal descendente en la superficie pictó\ ;rica y que se ven todos juntos formando un continuum. Su referencia son el support-surface\, el postminimalismo en general y dentro de é\;l la pintura monocromá\;tica como la de Brice Marden\, el minimalismo y Ry man en particular\, Serra sin duda\, toda la pintura del color field\, desd e Louis hasta Olitski\, y finalmente y sobre todo los ú\;ltimos cuadr os de Rothko". Estas obras dialogan con las cabezas de soldados sovié \;ticos riendo (2013) que se pudieron ver en su ú\;ltima exposici&oac ute\;n individual en Madrid\, buscando una contaminació\;n que va m&a acute\;s allá\; de lo esté\;tico.

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Ya en los añ\;o s 80\, la serie "Juguetes violentos" incorpora la figuració\;n unida al tema de la violencia\, que se convertirá\; en una de las obsesione s recurrentes de su trabajo. La exposició\;n se cierra con la imagen alegre de una pequeñ\;a acuarela de un arbusto lleno de flores. " Pod rí\;a pensarse que esa alegrí\;a está\; ausente de las ot ras obras\, pero yo la encuentro a manos llenas en las fotografí\;as de Marruecos\, sin duda en los soldados en el descanso de la batalla y que tambié\;n son el horizonte de los cuadros blancos y negros".

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Simeó\;n Saiz Ruiz ha expuesto de manera individual en la Galer&iacut e\;a Fú\;cares (Madrid y Almagro)\; \; Galerí\;a Tomá \;s March (Valencia)\; ATA Centre for Contemporary Art. (Sofí\;a\, Bu lgaria)\; Galerí\;a Antonio Machó\;n (Madrid)\; la Galerí \;a Egam (Madrid)\; Tossam-Tossam Gallery (Nueva York) y Galerí\;a La Má\;quina Españ\;ola (Sevilla) entre otras. De entre sus princ ipales exposiciones en espacios pú\;blicos destacarí\;amos las realizadas con la serie "J'est un je" en Hospederí\;a Fonseca\, Salam anca\; Universitat de Valè\;ncia \, Valencia\; \; Museo de Santa Cruz de Toledo\, Toledo\; \;Espacio Caja Burgos\, Burgos\; Espais\, Cen tre d'Art Contemporani. Gerona y Mills Gallery. BCA. Boston\, Estados Unido s. \;Su obra se encuentra en colecciones pú\;blicas y privadas co mo las del MNCARS\, MUSAC\, Fundació\;n Sorigué\;\, Artium y la Fundació\;n La Caixa.

DTEND:20131123 DTSTAMP:20141123T213358 DTSTART:20131019 GEO:38.8868916;-3.7105821 LOCATION:Galeria Fúcares (Almagro)\,San Francisco\, 3 \nALMAGRO\, 13270 SEQUENCE:0 SUMMARY: "1970 - 2013"\, Simeon Saiz Ruiz UID:303075 END:VEVENT BEGIN:VEVENT DTEND:20131019T220000 DTSTAMP:20141123T213358 DTSTART:20131019T200000 GEO:38.8868916;-3.7105821 LOCATION:Galeria Fúcares (Almagro)\,San Francisco\, 3 \nALMAGRO\, 13270 SEQUENCE:0 SUMMARY: "1970 - 2013"\, Simeon Saiz Ruiz UID:303076 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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gal erie antoine ertaskiran is proud to present the latest solo exhibition by D ominique Blain entitled Blancs de mé\;moire (Memory Blank). this exhibition is at the core of a body of recent works developed from arc hival images and newspaper clippings kept by the artist for more than 20 ye ars. through videos\, collages and photomontages\, in this new series of wo rks Blain touches upon different moments when human rights and the human co ndition are in peril.

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in a mes sage both political and poetic\, she challenges the relationship between re ality and our understanding of it. playing upon\, and subtly questioning\, the tension between objectivity and subjectivity\, perception and represent ation\, the artist draws our attention to socio-political situations often forgotten but always making for disturbing news.

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the video Blancs de mé\;moire\, whose title refers to a book by Georges Anglade\, focuses on a photograph of refugees facing an invisible border ... swept by the constant motion of waves\, this image confronts us with the denial and neglect suffered by whole populations\, th eir predicament slowly disappearing from western memory. This work echoes a video installation presented as part of a group exhibition\, À\; Montré\;al quand l'image rô\;de (In Montreal when the image roa ms)\, organized by the UQAM gallery (curated by Louise Dé\;ry) a nd presented at Studio national des arts contemporains Le Fresnoy (France) until January 5\, 2014.

Dominique Blain lives and works in Mon treal. her work has been shown in several cities in North America\, Europe and Australia (Biennale of Sydney in 1992). three major retrospectives of h er work have been organized: Musé\;e d&rsquo\;art contemporain de Mon tré\;al in 2004 (travelling at the Mackenzie Art Gallery in Regina an d at the Nickle Art Gallery in Calgary)\; Musé\;e national des beaux- arts du Qué\;bec in 1998 (travelling at the Ansel Adams Center of San Francisco and at the Sala 1 in Roma)\; Contemporary Art Center Arnolfini i n Bristol organized in 1997-1998 an exhibition in five institutions in the United Kingdom: Belfast\, London\, Edinburgh\, Newcastle and Cambridge. man y museums have shown her work such as the Portland Museum of Art\, the Los Angeles County Museum of Art\, Kunstverein in Frankfurt\, Stedelijk Museum in Amsterdam\, Louisiana Museum in Copenhagen\, European Museum in Brussels \, and the Museum of Science and Industry in Manchester\, UK. in Quebec\, s he has participated in three editions of les cent jours d&rsquo\;art contem porain and presented her work at the Galerie de l&rsquo\;UQAM\, Sherbrooke University art gallery\, at the Musé\;e ré\;gional de Rimouski and at the Musé\;e d&rsquo\;art de Joliette.

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Dominique Blain has produced a series of public art in stallation in Quebec\, among them: Thé\;â\;tre du Nouveau Monde\ , Montreal (2011)\; Montreal Museum of Fine Arts\, Bourgie Pavilion (2011)\ ; Adresse symphonique\, Montreal (2011)\; Thé\;â\;tre d&rsquo\;A ujourd&rsquo\;hui\, Montreal (2010)\; Hô\;pital du Sacré\;-Coeur \, Montreal (2009)\; Jewish General Hospital\, Montreal (2008)\; Jardins de Mé\;tis (2007)\; Quartier International of Montreal (2006)\; Bibliot hè\;que et Archives nationales du Qué\;bec\, Montreal (2005)\; Sinclair-Laird School\, Montreal (2000)\; Maison des é\;crivains\, Mo ntreal (1991)\; and at the head quarters of Radio-Canada Society in Toronto (1994).

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DTEND:20131123 DTSTAMP:20141123T213358 DTSTART:20131016 GEO:45.4866672;-73.5688227 LOCATION:galerie antoine ertaskiran\,1892 rue payette \nmontreal \, qc h3j 1p3 SEQUENCE:0 SUMMARY: Blancs de mémoire (Memory blank)\, Dominique Blain UID:301792 END:VEVENT BEGIN:VEVENT DTEND:20131016T200000 DTSTAMP:20141123T213358 DTSTART:20131016T170000 GEO:45.4866672;-73.5688227 LOCATION:galerie antoine ertaskiran\,1892 rue payette \nmontreal \, qc h3j 1p3 SEQUENCE:0 SUMMARY: Blancs de mémoire (Memory blank)\, Dominique Blain UID:301793 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Junge Kü\;nstlerInnen auf beiden Seiten des Atlantiks in teressieren sich derzeit wieder vermehrt fü\;r das Werk von Martin Barr é\;. Ä\;hnliches gilt fü\;r den amerikanischen Bildhauer Fred Sandback\, der ebenfalls jahrelang als vergessen galt. \;
 \;  \;Obwohl sie unterschiedlichen Generationen angehö\;ren\, haben s ie viel gemeinsam. Beide gingen durch eine konzeptuelle Phase\, und erst al s Reaktion darauf konnten sie ihren hö\;chst minimalistischen Stil und ihre erschü\;tterliche Treue zu einer traditionellen Kunstgattung entwi ckeln. Bei Sandback war dies die Bildhauerei\, bei Barré\; die Malere i\, in der er sogar das uralte Konzept des Tafelbildes wieder aufnahm. Zu i hrer Zeit wirkte das anachronistisch. Heute aber\, nach all den Jahren der aufgeblasenen Installationskunst\, erscheinen Barré\; und Sandback ge radezu als Propheten. Man zerstö\;rt keine Kunstgattung\, indem man ein fach vor ihr davonlä\;uft! Nichtsdestoweniger weisen ihre Werke zahllos e Unterschiede auf. Wie kö\;nnte es auch anders sein\, wo doch beide so sehr an ihrem Ausdrucksmittel hingen. Sandback konzipierte seine Fadenskul pturen oft abstrakt\, fü\;hrte sie jedoch in ganz spezifischen\, konkre ten architektonischen Kontexten aus. Ja\, sie waren und sind sogar abhä \;ngig von diesen Kontexten. Im Gegensatz dazu stellte Barré\; den Ko ntext seiner Bilder akribisch selbst zusammen. Besonderes Augenmerk galt da bei dem Bildformat\, das eines der wichtigsten Bindeglieder zwischen den ei nzelnen Gemä\;lden einer Serie war.
 \;  \;Doch nichts bew eist die Seelenverwandtschaft der beiden Kü\;nstler besser als Sandback s spä\;te Schnittreliefs &ndash\; &bdquo\;ein Seitengä\;sschen\, da s im Kreis fü\;hrt&ldquo\;\, wie er sagte. Sie ä\;hneln Barré \;s Leinwandbildern der Siebzigerjahre oft auf geradezu gespenstische Weise . Fast scheint es\, als hä\;tte Sandback &ndash\; fü\;r einen Augen blick befreit von den Vorgaben der Architektur - \; in seinen Untersuch ungen des malerischen Bildraums dieselben formalen Lö\;sungen gefunden wie Barré\;. Grund dafü\;r ist vielleicht\, dass beide gegenü \;ber Regeln\, Systemen und Motiven skeptisch eingestellt waren. Anstatt au f ihrer Verwendung zu beharren &ndash\; wie es stä\;rker konzeptuell or ientierte Kü\;nstlerInnen getan hä\;tten -\, unterliefen Sandback u nd Barré\; die tautologische Starre des kartesischen Raums mit dem Po tenzial und der Dynamik der Linie. Schließ\;lich betonte Barré\; immer\, dass er &bdquo\;Gesten liebe\, die etwas von ihrer Virtualitä\ ;t behalten\, auch wenn sie aufgezeichnet worden sind&ldquo\;. Sandbacks F& auml\;den sind das perfekte skulpturale Gegenstü\;ck dieser Gesten.

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Yve-Alain Bois\, geboren 1952 in Constantine (Algerie n)\, lebt in Princeton (USA)\, wo er als Professor an der School of Histori cal Studies am Institute for Advanced Study tä\;tig ist.

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The cu rrent interest of young artists on both side of the Atlantic for the work o f the French painter Martin Barré\; (1924-1993) is akin to the attent ion recently paid\, after years of neglect\, to the work of the American sc ulptor Fred Sandback (1943-2003). Though a generation apart\, both artists have much in common\, notably their passage through a conceptual phase agai nst which they reacted in order to develop their superlatively minimal art\ , and their obdurate desire to cling to a traditional category (sculpture f or Sandback\, painting for Barré\;\, including for him a return to th e old concept of tableau). I t might have seemed anachronistic then\; it now feels prescient\, after dec ades of puffed up installation art: one does not destroy a medium (painting \, sculpture) by running away from it.

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Of course\, there are countl ess differences between their work\, and it could not be otherwise\, given each artist&rsquo\;s attachment to his own medium. Though he often conceive s of them in the abstract\, Sandback&rsquo\;s string pieces are realized in specific\, concrete\, architectural contexts\; they depend upon them. On t he contrary\, Barré\; meticulously constructed his pictorial context (he was particularly attentive to the format of his canvases\, which functi oned as one of the main connective tissue between works within a single ser ies). But nothing better reveals their affinity of thought than Sandback&rs quo\;s late cut reliefs\, a &ldquo\;circular little sideroad\,&rdquo\; as h e called them\, which often look so eerily similar to Barré\;&rsquo\; s canvases of the 1970s. It is as if when he decided to tackle pictorial sp ace\, and momentarily free his work from the strictures of architectural si tes\, Sandback was naturally compelled to adopt the same formal strategies than Barré\;. The reason lies perhaps in their common skeptical attit ude toward rules\, systems\, motivations: rather than insisting upon their use in their work\, as more conceptually bent artists would have done\, the y let the potentiality of the line\, its dynamism\, dialectically undermine the tautological rigidity of the spatial grid. Barré\; used to say t hat he liked &ldquo\;a gesture that keeps something of its virtuality after having been traced.&rdquo\; Sandback&rsquo\;s threads are a perfect materi alization of such gestures.

DTEND:20131123 DTSTAMP:20141123T213358 DTSTART:20131011 GEO:48.2041341;16.3564058 LOCATION:Galerie Hubert Winter\,BREITE GASSE 17 \nWIEN\, A-1070 SEQUENCE:0 SUMMARY:Joint Exhibition\, Martin Barre\, Fred Sandback UID:299925 END:VEVENT BEGIN:VEVENT DTEND:20131010T210000 DTSTAMP:20141123T213358 DTSTART:20131010T180000 GEO:48.2041341;16.3564058 LOCATION:Galerie Hubert Winter\,BREITE GASSE 17 \nWIEN\, A-1070 SEQUENCE:0 SUMMARY:Joint Exhibition\, Martin Barre\, Fred Sandback UID:299926 END:VEVENT END:VCALENDAR