BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

In keeping with tradition\, we proudly present the big annual group show X-MAS&rsquo\;14 introducing new promising talents and showing the newest works by our established artists.< /p>\n

We proudly present:

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Ida Kvetny (DK)\, Michael Johansson (SE)\, Maria Torp (DK)\, Yuichi Hirako (JP)\, Scott Everingham (CA)\, Christoffer Joergensen (CH)\, Louise Hindsgavl (DK)\, Crystel Ceresa (CH)\, Mikkel S. Andersen\, T hierry Feuz (AU)\, Armando Marino (CU)\, Ghost Of A Dream (US)\, Hensrik S. Simonsen (DK/UK) with more.

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We whish you a very Merry Christmas and a Happy New Year!

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FOR MORE INFORMATION ABOUT THIS SHOW PLEASE WRITE TO INFO@CHRI STOFFEREGELUND.DK

DTEND:20150131 DTSTAMP:20141128T070630 DTSTART:20141212 GEO:55.6871469;12.5924385 LOCATION:Galleri Christoffer Egelund\,Bredgade 75 \n1260 Copenhagen K\, SEQUENCE:0 SUMMARY:Xmas 14 / The Big Winter Show\, Armando Marino\, Christoffer Joerge nsen\, Crystel Ceresa\, Exhibitions\, Future Exhibitions\, Ghost of A Dream \, Henrik S. Simonsen\, Ida Kvetny\, Louise Hindsgavl\, Maria Torp\, Michae l Johansson\, Mikkel S. Andersen\, Scott Everingham\, Thierry Feuz\, Yuichi Hirako UID:365916 END:VEVENT BEGIN:VEVENT DTEND:20141211T190000 DTSTAMP:20141128T070630 DTSTART:20141211T160000 GEO:55.6871469;12.5924385 LOCATION:Galleri Christoffer Egelund\,Bredgade 75 \n1260 Copenhagen K\, SEQUENCE:0 SUMMARY:Xmas 14 / The Big Winter Show\, Mikkel S. Andersen\, Crystel Ceresa \, Ghost of A Dream\, Scott Everingham\, Exhibitions\, Future Exhibitions\, Thierry Feuz\, Louise Hindsgavl\, Yuichi Hirako\, Christoffer Joergensen\, Michael Johansson\, Ida Kvetny\, Armando Marino\, Henrik S. Simonsen\, Mar ia Torp UID:365917 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galleri Christoffer Egelund pr oudly presents the second solo exhibition \;Plantscapes \; with the talented UK-based Danish artist Henrik S. Simonsen.

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The exhibition \;Plantscapes \;con sists of a series of new paintings by Henrik S. Simonsen\, in which the art ist utilises nature's and the colour's abundant metaphorical oppurtunities to give form to an inner\, as well as an outer\, landscape. The paintings o f Simonsen are characterised by a powerful use of intense colours and the u se of abstract elements alongside the meticulous plant formations.

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For a decade\, Simonsen has perfected his wor k with nature as a metaphor for the inner landscapes of man. Contrasting no tions such as strength and frailty as well as passion and fear\, that defin e the human experience fill the canvases. The artist describes his own work as: &rdquo\;a visual diary of my observations and experiences along the\, at times\, overgrown path of existence&rdquo\;. \; The most prominent a rtistic means \; Simonsen uses to depict the human emotional landscape is an intense and captivating use of colour. In the piece \;Yellow< /em> \;a deep hue of yellow dominates the scene contrasting the more su btle hues of blue in the painting \;October grass. The two pai ntings are close to each other in matter of composition &ndash\; large part s of sky takes up the upper parts of the paintings and vegetation fills the bottom &ndash\; but the atmospheres and tales immanent to the paintings se em miles apart. \;October grass \;exudes autumn melancholy whereas \;Yellow \;is a true explosion of vitality.

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Simonsen's plantscapes reference Nordic ex pressionism\, a period in Art History where the elements of nature were not necessarily depicted in their natural colours. The landscapes of Edvard Mu nch express psychological states of mind\, they show nature filtered throug h the subjectivity of a human mind\, and not objective studies of nature. T he colour is at the forefront\, in the paintings of Munch and Nolde as well as in the work of Simonsen.

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But the inspiration of Simonsen are also to be found further back in time\, more sp ecifically in the Rococo period. The artistic expression of this era was ch aracterised by the organic\, the asymmetric and ornamental\, all notions ea sily translated to the universe of Simonsen. The plant formations growing w ild in the rococo paintings and interiors are given a new\, modern form in Simonsen's paintings.

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The \;p lantscapes \;of Simonsen are the fruit of a time-consuming process . The artworks all start as drawings drawn directly unto the canvas\, where after the delicate process of painting the negative space of the drawings b egins. The artist uses a special wash of colour pigment dissolved into a so lvent which gives the intensity of colour experienced in the paintings. It takes time and patience for the vegetation to grow into the strong and powe rful plantscapes we see in the gallery space.

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The colourful plantscapes of Simonsen offer a universe of intensit ies where melancholy and passion is weaved into the wildly growing vegetati on.

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Henrik S. Simonsen (b. 1974) grad uated from Sotheby's Institute of Art\, London and Montclaire University\, New York. He has exhibited at the Royal Opera House (2008)\, London\, and h as had several solo shows in renowned galleries such as Forster Gallery in London\, Opus Gallery in Newcastle and Byard Gallery in Cambridge. His pain tings\, drawings and prints are held in numerous private and corporate coll ections including the impressive art collection at the high-profile St. Pan cras Hotel in London.

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Galleri Christo ffer Egelund cordially invites you to the opening of \;Henrik S. Si monsen: Plantscapes \;on Friday the 7th of November from 17-20. Th e exhibition will run until December the 6st\, 2014. Opening hou rs: Monday - Friday from 11-18\, Saturdays from 12-16. For further informat ion and press photographs\, please contact the gallery at: info@christoffer egelund.dk or at +45 33 93 92 00.

DTEND:20141206 DTSTAMP:20141128T070630 DTSTART:20141108 GEO:55.6871469;12.5924385 LOCATION:Galleri Christoffer Egelund\,Bredgade 75 \n1260 Copenhagen K\, SEQUENCE:0 SUMMARY:Plantscapes\, Henrik S. Simonsen UID:365915 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Thaddaeus Ropac is del ighted to announce the upcoming Gilbert &\; George exhibition SCAPEGOAT PICTURES at Galerie Thaddaeus Ropac Salzburg.

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Over the decades\, Gilbert &\; George have observed the evoluti on of \;their \;East London neighbourhood and our modern world\, de aling with the perpetual flux of urban life. \;In these pictures\, the figures are acting in a way\, which recalls how Gilbert &\; George saw t hemselves as &lsquo\;Living sculptures&rsquo\;\, binding societal problemat ics and art together with a deadly serious way of describing a world of int ense emotion\, past\, present and future.

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These new pictures\, all from 2013\, reveal a modern western world thr ough Gilbert &\; George&rsquo\;s sociological environment by exploring t he tensions generated by the coexistence and the interaction of its inhabit ants. The pictures are populated by young people from different races and b ackgrounds\, veil-clad Muslim women\, and Gilbert &\; George themselves\ , masked in some or covered in small bomb-like canisters of nitrous oxide i n other pictures\, adopting different guises\, sometimes appearing as shatt ered forms. They describe\, as they have always done throughout their artis tic practice\, \;our modern urban world\, by tackling subjects &ndash\; death\, hope\, life\, fear\, sex\, money\, race and religion &ndash\; in a n engaging and direct way.

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The exhibi tion will create \;a tremendous environment before travelling to severa l museums. A book accompanies the exhibition\, inlcuding a comprehensive es say by the novelist and cultural critic Michael Bracewell. \;

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Gilbert\, born in the Italian Dolomites in 194 3\, and George\, born in Devon\, England in 1942\, both art students\, meet in 1967 at St Martin&rsquo\;s School of Art in London (now Central Saint M artins College of Art and Design). At the end-of-year-show\, the Snow Show\ , Gilbert and George created their first art as a joint effort\, far remove d from the formalist criteria of the art taught. In 1969\, they created the ir first &ldquo\;Singing and Living sculptures&rdquo\;\, making themselves both subjects and objects of their works in a perfect fusion of their art a nd their everyday life. Gilbert &\; George then start to appear as &ldqu o\;Living sculptures&rdquo\; in museums and galleries. In 1970\, during a r enowned presentation\, they sang and moved along Flanagan &\; Allen&rsqu o\;s song Underneath the Arches for hours. The pictures dating from 1971 ar e the first grid-arrangements\, which would henceforth become their formal signature. In 1980\, their iconography becomes more complex containing endl ess levels of meanings from symbolic and allegorical to the most unbridled eroticism\, to the religious\, political and personal.

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Gilbert &\; George have created together as an artist for over 40 years and have created more than 2000 artworks.

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In 1980\, the Stedelijk Van Abbemuseum in Eindhoven put together their first retrospective exhibition showing their pictures of 1971-80. In 1985\, the Guggenheim Museum\, New York staged a retrospective exhibition. In 1990 and 1993\, Gilbert &\; George had the ground-breaki ng exhibition in Russia and China. In 1997\, the Musé\;e d&rsquo\;art moderne\, Paris hosted a major retrospective exhibition of their art. In 2 005\, Gilbert &\; George represented Great Britain at the Venice Biennia l. The Tate Modern in London organised an extensive survey of Gilbert &\ ; George&rsquo\;s art in 2007\, which travelled to Munich\, Turin and then to the United States. They have received many awards including Honorary Pro fessor of Philosophy by London Metropolitan University.

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Die Galerie Thaddaeus Ropac freut sich\, die kom mende Ausstellung von Gilbert &\; George mit dem Titel SCAPEGOAT PICTURE S in der Galerie Thaddaeus Ropac Salzburg anzukü\;ndigen.

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Seit Jahrzehnten beobachten Gilbert &\; George die Entwicklungen in ihrem Viertel in East London und in der Welt von heute \, das urbane Leben im stetigen Fluss. Wie die Figuren in den aktuellen Bil dern agieren\, erinnert an die Selbstdarstellungen von Gilbert &\; Georg e als lebende Skulpturen (Living Sculptures)\, mit denen sie gesel lschaftliche Problematik und Kunst mit der todernsten Beschreibung einer in tensiven Gefü\;hlswelt in der Vergangenheit\, Gegenwart und Zukunft ver binden.

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Die neuen\, im Jahr 2013 ents tandenen Bilder zeigen eine moderne\, westliche Welt in einem von Gilbert & amp\; George geschaffenen soziologischen Feld\, in dem sie die Spannungen e rkunden\, die im Zusammenleben und der Interaktion der Bewohnerinnen und Be wohner entstehen. Bevö\;lkert werden die Bilder von jungen Menschen mit unterschiedlichem kulturellem und sozialem Hintergrund\, verschleierten mu slimischen Frauen und Gilbert &\; George selbst\, die sich in einigen Bi ldern hinter Masken\, in anderen von kleinen\, bombenfö\;rmigen Beh&aum l\;ltern mit Distickstoffmonoxid (Lachgas-Patronen) verdeckt\, prä\;sen tieren und verschiedene Gestalten annehmen\, teils in zersplitterter Form. Als kontinuierliches Element ihrer kü\;nstlerischen Praxis beschreiben sie unsere moderne urbane Welt durch ihre mitreiß\;ende und unmittelba re Behandlung von Themen wie Tod\, Hoffnung\, Leben\, Angst\, Sex\, Geld\, Kultur und Religion.

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SCAPEGOAT PICTUR ES schafft eine beeindruckende Atmosphä\;re und wird anschließ\;en d in mehreren Museen prä\;sentiert. Begleitend zur Ausstellung ist die gleichnamige Publikation mit einem ausfü\;hrlichen Beitrag des Schrifts tellers und Kulturkritikers Michael Bracewell erschienen.

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Der aus den italienischen Dolomiten stammende Gilbert (geboren 1943) und der 1942 in Devon (England) geborene George begegneten e inander 1967 als Kunststudenten an der St. Martin&rsquo\;s School of Art in London (heute Central Saint Martin&rsquo\;s College of Art and Design). Im Rahmen einer Ausstellung am Jahresende\, der Snow Show\, schufen Gilbert &\; George ihr erstes gemeinsames Kunstwerk\, das von den an der Kunstschule gelehrten Formalismen weit entfernt war. 1969 prä\;sentier ten sie ihre ersten Singing and Living Sculptures\, in denen sie a ls Subjekt und Objekt ihrer Arbeiten eine perfekte Verbindung zwischen ihre r Kunst und ihrem Alltagsleben herstellten. Das war der Auftakt fü\;r i hre Living Sculptures in Museen und Galerien. In einer berü\;h mten Vorstellung 1970 interpretierten sie mehrere Stunden lang ein Lied des britischen Gesangs- und Comedypaares Flanagan &\; Allen mit dem Titel < em>Underneath the Arches in Gesang und Bewegung. 1971 entstanden die e rsten Rasterbilder\, die ihr formales Markenzeichen werden sollten. 1980 wi rd ihre Ikonographie komplexer\, die unendlichen Bedeutungsschichten reiche n von der symbolischen und allegorischen Ebene ü\;ber schrankenlose Ero tik bis hin zu religiö\;sen\, politischen und persö\;nlichen Motive n.

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Gilbert &\; George sind seit &u uml\;ber 40 Jahren als (ein) Kü\;nstler aktiv und haben mehr als 2000 K unstwerke geschaffen.

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Im Jahr 1980 st ellte das Stedelijk Van Abbemuseum in Eindhoven die erste Gilbert &\; Ge orge-Retrospektive mit Werken von 1971&ndash\;1980 zusammen. 1985 zeigte da s Guggenheim Museum New York eine Werkschau. 1990 und 1993 hatten Gilbert & amp\; George bahnbrechende Ausstellungen in Russland und China. 1997 war ei ne groß\;e Gilbert &\; George-Retrospektive im Musé\;e d&rsqu o\;Art Moderne in Paris zu sehen. 2005 vertraten sie Groß\;britannien bei der Biennale in Venedig. Die Tate Modern in London veranstaltete 2007 e ine umfassende Werkschau\, die anschließ\;end in Mü\;nchen\, Turin und in den Vereinigten Staaten gezeigt wurde. Gilbert &\; George wurden mit zahlreichen Auszeichnungen geehrt\, darunter ein Ehrenprofessor fü \;r Philosophie der London Metropolitan University.

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DTEND:20150117 DTSTAMP:20141128T070630 DTSTART:20141129 GEO:47.8045175;13.0431523 LOCATION:Galerie Thaddaeus Ropac - Salzburg Villa Kast\,Mirabellplatz 2A \n Salzburg\, 5020 SEQUENCE:0 SUMMARY:Scapegoat Pictures\, Gilbert & George UID:365913 END:VEVENT BEGIN:VEVENT DTEND:20141129T140000 DTSTAMP:20141128T070630 DTSTART:20141129T120000 GEO:47.8045175;13.0431523 LOCATION:Galerie Thaddaeus Ropac - Salzburg Villa Kast\,Mirabellplatz 2A \n Salzburg\, 5020 SEQUENCE:0 SUMMARY:Scapegoat Pictures\, Gilbert & George UID:365914 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On 29 November\, the Saturday of the first weekend in Advent\, Galerie Thaddaeus Ropac invites you to a s pecial afternoon event in the Drawing Cabinet.

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For the fourth time\, the gallery is hosting a pre-Christmas char ity exhibition for LICHT INS DUNKEL (a charity project run by the Austrian Broadcasting Company)\, open until 23 December. The gallery is providing se lected artworks \; by internationally renowned artists including Herber t Brandl\, Nan Goldin\, Alfred Hrdlicka\, Marie-Jo Lafontaine\, Hubert Sche ibl\, Bettina Rheims\, Lisa Ruyter and Andy Warhol.

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On Christmas Eve\, the entire proceeds from the works sold d uring the whole exhibition time will be donated directly to the initiative LICHT INS DUNKEL which has worked for many years\, in close collaboration w ith the ORF (Austrian Broadcasting Company) to give material and psychologi cal support to children in Austria with disabilities and special needs\, to gether with their families. In recent years\, thanks to the generous suppor t of our collectors\, we have been able to help many children in Austria an d with your help\, hope to achieve our goals again this year.

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We would also like to welcome you to a book presen tation followed by a reading from the recently published Christmas book by LICHT INS DUNKEL entitled STEHT DAS CHRISTKIND VOR DER TÜ\;R?. The book includes a collection of short stories with Christmas memories from well-k nown personalities. The proceeds from the book sales are also donated to th e charity.

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Am Samstag des ers ten Adventwochenendes\, dem 29. November bittet die Galerie Thaddaeus Ropac im Zeichnungskabinett zu einem besonderen Nachmittag.

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Bereits zum vierten Mal lä\;dt die Galerie zu einer v orweihnachtlichen Charity-Ausstellung fü\;r Licht ins Dunkel ein\, die bis zum 23. Dezember zu sehen ist.Ausgewä\;hlte Kunstwerke internationa l renommierter Kü\;nstler werden von der Galerie zur Verfü\;gung ge stellt. Darunter befinden sich unter anderem Werke von Herbert Brandl\, Nan Goldin\, Alfred Hridlicka\, Marie-Jo Lafontaine\, Hubert Scheibl\, Bettina Rheims\, Lisa Ruyter und Andy Warhol.

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Der gesamte Erlö\;s der verkauften Arbeiten geht am Weihnachtsabend o hne jeden Abzug an die Initiative LICHT INS DUNKEL\, die in enger Kooperati on mit dem ORF seit vielen Jahren das Ziel verfolgt\, Kinder mit Behinderun gen und besonderen Bedü\;rfnissen sowie ihre Familien in Ö\;sterrei ch materiell und ideell zu unterstü\;tzen. In den letzten Jahren konnte n wir durch die groß\;e Unterstü\;tzung unserer Sammler vielen Kin dern in Ö\;sterreich helfen und hoffen unsere Ziele auch dieses Jahr wi eder mit Ihrer Hilfe erreichen zu kö\;nnen.

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Gleichzeitig mö\;chten wir Sie herzlich zu einer Buchprä \;sentation mit anschließ\;ender Lesung aus dem kü\;rzlich erschie nenen Weihnachtsbuch von Licht ins Dunkel mit dem Titel \; Steht da s Christkind vor der Tü\;r? einladen. Das Buch beinhaltet eine&nbs p\; Sammlung von Kurzgeschichten mit Weihnachtserinnerungen prominenter Per sö\;nlichkeiten. Der Erlö\;s des Buchverkaufs kommt ebenfalls der A ktion zugute.

DTEND:20141223 DTSTAMP:20141128T070630 DTSTART:20141129 GEO:47.8045175;13.0431523 LOCATION:Galerie Thaddaeus Ropac - Salzburg Villa Kast\,Mirabellplatz 2A \n Salzburg\, 5020 SEQUENCE:0 SUMMARY:Charity Exhibition "Licht ins Dunkel"\, erbert Brandl\, Nan Goldin\ , Alfred Hridlicka\, Marie-Jo Lafontaine\, Hubert Scheibl\, Bettina Rheims\ , Lisa Ruyter\, Andy Warhol UID:365911 END:VEVENT BEGIN:VEVENT DTEND:20141129T140000 DTSTAMP:20141128T070630 DTSTART:20141129T120000 GEO:47.8045175;13.0431523 LOCATION:Galerie Thaddaeus Ropac - Salzburg Villa Kast\,Mirabellplatz 2A \n Salzburg\, 5020 SEQUENCE:0 SUMMARY:Charity Exhibition "Licht ins Dunkel"\, erbert Brandl\, Nan Goldin\ , Alfred Hridlicka\, Marie-Jo Lafontaine\, Bettina Rheims\, Lisa Ruyter\, H ubert Scheibl\, Andy Warhol UID:365912 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150221 DTSTAMP:20141128T070630 DTSTART:20150115 GEO:59.3458661;18.0378473 LOCATION:Galerie Nordenhake\,Hudiksvallsgatan 8 \nStockholm\, SE-113 30 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anna Barham UID:365910 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ann Bö\;ttcher&rsquo\;s fi rst exhibition at Galerie Nordenhake in Stockholm originates in a project o riginally made in the town of Svolvæ\;r\, northern Norway\, for the Lo foten International Art Festival in 2013. The exhibition constitutes an ong oing archeology\, unfolding in present time and absorbing new episodes.

Bö\;ttcher&rsquo\;s participation in LIAF became deeply entwine d in her research and response to the history of Lofoten which had a strate gically important position in the German occupation of Norway during the Se cond World War. While there the curator\, Eva Gonzá\;lez-Sancho\, int roduced Bö\;ttcher to the founder of the Lofoten War Memorial Museum\, William Hakvaag. The two works she produced\, a textile work and a series o f drawings\, derive from Hakvaag&rsquo\;s stories about the local history o f Svolvæ\;r and the German occupation during the years of 1940-45.

Bö\;ttcher handmade two wall-mounted textiles - one woven\, one crocheted - composed as an abstraction of a nearby cannon emplacement. Han ging in the War Memorial Museum\, the textiles acted as a portal for the gh osts said to haunt the building. The local library was the site of Bö\; ttcher&rsquo\;s other work. Through the windows of the library one could lo ok out over the surrounding spruce trees and a white building that Bö\; ttcher discovered had been the former Gestapo headquarters. Returning to Ca netti&rsquo\;s famous &ldquo\;Masse und macht&rdquo\; (1960)\, in which the author likens the German masses to a marching forest\, Bö\;ttcher drew &ldquo\;portraits&rdquo\; of the trees. For her the trees suggested the fi gures of soldiers from the neighbouring old Gestapo building. She presented the drawings on the short end of the library bookshelves.

Soon the library will relocate. The surrounding spruce trees were pruned of thei r branches\, then finally cut down. The former Gestapo house returned to ap artments after the war. Flux and movement prevail.

In the galler y space in Stockholm the &ldquo\;original&rdquo\; elements of the shelves a nd the carpets are relocated. The resettlement of the shelves is another in stance in their journey. Coming from the harbour-town of Svolvæ\;r\, l ike ships themselves\, they appear momentarily inanimate in a static migrat ion\, the tree figures on their prows. Interspersed with the shelves are ph otographs of the former Gestapo headquarters. One shows a white Mercedes pa rked outside. Taken in the 1980&rsquo\;s\, this photograph represents a tou chstone between the building&rsquo\;s past and it&rsquo\;s future.

Some changes Bö\;ttcher researches and documents\, some she witnesse s\, others she initiates. By interweaving source material in the form of ph otographic documentation\, new material from recent site visits and self-au thored texts\, Bö\;ttcher introduces herself into the open-ended narrat ive. New events connect with historical ones and bring the story into the p resent.

Ann Bö\;ttcher was born in 1973 in Bruzaholm\, Swede n. She currently lives and works in Malmö\;. Her work is currently exhi bited at Magasin III in The Drawing Room. Recently she participated at the EVA International Biennial\, Limerick\, Malmö\; Konstmuseum\, Malmö \; (2014)\, Bonniers Konsthall\, Stockholm\, and the Lofoten International Art Festival\, Svolvæ\;r (2013). Her solo exhibitions include "Der Umg ang mit Mutter Grü\;n"\, Galerie Nordenhake\, Berlin\, "The Entrance to the Sanatorium"\, INDEX\, Stockholm (2007)\, "The 1st at Moderna" at the M oderna Museet\, Stockholm (2006). She has participated in group exhibitions at venues including Liljevalchs\, Stockholm\, Lunds konsthall\, Lund\, Mus eum de Fundatie\, Zwolle (2011)\, Malmö\; Konstmusem\, Malmö\;\, Ma gasin III\, Stockholm (2010)\, Nationalmuseum\, Stockholm\, WUK - Kunsthall e Exnergasse\, Vienna (2009)\, Kunsthal Charlottenborg\, Copenhagen\, ZKM\, Museum fü\;r Neue Kunst\, Karlsruhe (2008)\, Moderna Museet\, Stockhol m\, P.S. 1 MOMA\, New York\, Gallery Murray Guy\, New York (2006)\, the Mus eum of Contemporary Art\, Zagreb (2004)\, Magasin III\, Stockholm\, and Cen tre Culturel Sué\;dois\, Paris (2003).

DTEND:20141220 DTSTAMP:20141128T070630 DTSTART:20141114 GEO:59.3458661;18.0378473 LOCATION:Galerie Nordenhake\,Hudiksvallsgatan 8 \nStockholm\, SE-113 30 SEQUENCE:0 SUMMARY:Transmigrations (Bookshelves\, a cannon emplacement and a Mercedes) \, Ann Böttcher UID:365909 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141128T070630 DTSTART:20141031 GEO:47.3889215;8.5249604 LOCATION:Galerie Nicola von Senger\,Limmatstr. 275 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Solo Exhibition\, Elke Silvia Krystufek UID:365908 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Eva Presenhuber is ple ased to present the second solo show of American artist Alex Hubbard entitl ed Urethane Paintings.

Urethane Paintings is a prese ntation of 15 works created by casting traditional paintings and using cast ing materials on traditional stretchers. These cast and poured paintings be come lenses through which the gallery space as well as the other paintings in the exhibition can be viewed. Simultaneously\, they also act as film sti lls testament to their own creation.
The works vary from beer bottle brown amber to melted plastic purples and blacks. The paintings act as pro jections against the gallery white\, as ushers between spaces\, and as port holes to outside space.

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Hubbard has l ong been an artist whose praxis intertwines the different roles of the arti st\, making films as a painter and paintings as a sculptor. It is in this n ew series that he manages to fully display his vision of space and architec ture and forces us to enter this reflexion through a labyrinth of colours a nd textures\, of light filtered through screens. Thus the paintings create their own space surrounding them. The stretchers are a mise en abyme of the ir own motifs when placed in front of windows which reproduce a similar str ucture.

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In this new series of work\, one cannot help but sensing Hubbard&rsquo\;s humour\, as if he had decided to take on our popular vision of painting as a window into a world\, a worl d of his own he has decided to create.

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Alex Hubbard has had solo exhibitions at the Rose Art Museum\, Brandeis U niversity\, MA\, USA 2014\, at the Hammer Museum\, CA\, USA\, 2012\, Kunsth alle Berlin\, DE\, 2010\, Centre for Contemporary Visual Art\, Toronto/ON\, Canada\, 2010 and The Kitchen\, New York/NY\, USA.

DTEND:20150124 DTSTAMP:20141128T070630 DTSTART:20141122 GEO:47.3863528;8.5169459 LOCATION:Galerie Eva Presenhuber (Maag Areal)\,Zahnradstrasse 21 \nZurich\, 8031 SEQUENCE:0 SUMMARY:Urethane Paintings\, Alex Hubbard UID:365907 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Eva Presenhuber is del ighted to present the four international artists Justin Matherly\, Oscar Mu rillo\, David Ostrowski\, and Tobias Pils in a group exhibition. The exhibi tion features new works that provide glimpses of the artists&rsquo\; curren t artistic production.
The four artistic positions could not be more different\, however the idea for the show and its realization were meant to explore the aesthetic of the dissimilar\, contradictory\, and different ev oked by such variety. The point was to achieve identification by distinguis hing between the exhibited positions\, each of which is convincing thanks t o its singular quality\, its presence\, and its individual expressive means . Any notion of coherence was thus permanently undermined\, and replaced by one of reciprocal commentary.

Justin Matherly is known for hi s large-scale sculptures in cast concrete that refer allegorically to sculp ture from Greek and Roman antiquity. Parts of crutches and walkers combine with shapes cast in concrete that curve around the metal like knots. Using soft materials Matherly creates a flexible mold\, the cast of which is then reworked in a second step. This forces him to once again study the negativ e of the desired form. Without being shown what the original images might o nce have meant to represent\, as viewers we see ourselves confronted with e xtremely compressed and degraded shapes\, many of them as though limbs of a mputated and beheaded bodies. The walkers mounted beneath them as permanent supports for the sculptures suggest the possibility of the deterioration o f our own bodies\, which are at the same time potentially liberated thanks to the mechanical aids. Matherly describes this ambivalence between freedom within the bondage and limitations of one&rsquo\;s own body as &ldquo\;per petual motion.&rdquo\; &ldquo\;It all connects to metempsychosis\, which is a Greek theory about the reincarnation of the soul after death. In my work \, there&rsquo\;s a breakdown of forms into other forms&mdash\;nothing ever really stops. The walkers can also help on a practical level by making the sculptures portable.&rdquo\;

At the age of ten Oscar Murillo moved with his family from La Paila\, a small mountain village in Colombia\ , to East London. Years later he describes the move as an &ldquo\;astonishi ng cultural displacement.&rdquo\; Themes such as distance\, displacement\, and movement are pivotal in Murillo&rsquo\;s artistic practice and strategy . The manifestation of the body in transit and precise questioning of such issues as migration\, trade\, and globalization characterize his work&mdash \;on the canvas\, in his actions\, in the studio\, and beyond. As an artist \, Murillo functions as a middleman between various demographics\, and faci litates the encounter between two worlds that would not normally meet in th e same way. &ldquo\;What&rsquo\;s interesting to me is how cultures collide &mdash\;what&rsquo\;s important is functionality and for things to have the same standing\,&rdquo\; he explains. &ldquo\;I am trying to obliterate hie rarchies.&rdquo\; Despite his multidisciplinarity\, painting can be seen to be his core concern. He frequently uses a broom handle instead of a brush\ , and generally lets a canvas lie on the floor for a month or two before it is stretched so that it gathers &lsquo\;information&rsquo\;\, what the art ist refers to as the &lsquo\;DNA of the studio&rsquo\;. Murillo&rsquo\;s pa intings are thus filled with archival traces of past actions that are promi nently recalled in words or numbers&mdash\;&ldquo\;work\,&rdquo\; &ldquo\;y oga\,&rdquo\; &ldquo\;poker\,&rdquo\; &ldquo\;corn\,&rdquo\; &ldquo\;3&rdqu o\;&mdash\;or\, as mentioned above\, in the form of pieces of studio detrit us&mdash\;crumpled drawings\, threads\, adhesive pigment\, copper\, or dust .

David Ostrowski&rsquo\;s large-format works frequently strik e us as daringly\, almost provocatively empty. But to Ostrowski emptiness a nd nothingness are not merely abstract philosophical concepts\, but rather a deliberately cultivated artistic gesture and strategy\, as well as a comp lex way of grappling with material. &ldquo\;Ultimately I try to switch off this painterly knowledge. I enter the atelier and forget everything. I supp ress pressure and ambition. I simply paint\, and then the works happen some how. And again and again I forget how I painted pictures before\,&rdquo\; h e assures us. In this way Ostrowski tests boundaries\, and risks producing questionable pictures. His processes are only seemingly disoriented\, howev er\; the artist clearly cultivates methods by which he provokes coincidence and tempts the unexpected. This is above all manifested in the works of hi s &ldquo\;F&rdquo\; series&mdash\;&ldquo\;F&rdquo\; standing for &ldquo\;fa iled.&rdquo\; David Ostrowski&rsquo\;s works are layerings of multiple pain t and material planes that are collaged on the canvas\, overpainted\, and p romptly torn off again. Occasionally they bear the traces of dirt and footp rints. He is also interested in the immediacy and irrevocableness of the us e spray paint\, which he employs as an artistic intervention on the canvas. In this way pictures are produced that retain a high degree of uncertainty \, are cheerfully hermetic in a grungy way\, and virtually defy categorizat ion.

What is interesting about Tobias Pils&rsquo\; work is the mystery of confusion. In his large-format pictures we are confronted with ambiguous geometric shapes\, grids\, and structures that combine into confi gurations that leave objectivity only guessed at. Pils&rsquo\; objective re ferences elude positive legibility\, they seem like dream fragments\, snipp ets of memory\, or realistic set pieces in which we think we can make out l andscapes\, figures\, and objects. Then there&rsquo\;s the modulation of gr ay tones that create in the picture a mood that is neither gloomy nor cheer ful. Pils&rsquo\; gray\, like his expressive shapes\, constitutes an entity of its own\, and stands in no direct relation to nature\, but simply point s to its own mutability. By evoking associations\, allusions\, and ephemera l coherencies\, Pils&rsquo\; works function as appropriate referents for th e inscrutability and chaos of life. They are works that intentionally elude anything explicit and represent a permanent avoidance of superficial solut ions. &ldquo\;I don&rsquo\;t believe in solutions\,&rdquo\; the artist says \, &ldquo\;that&rsquo\;s why I try to forget all pictures when starting a n ew one.&rdquo\;

Justin Matherly (born 1972) lives and works in Brooklyn\, New York. This past spring Paula Cooper Gallery presented his s olo show and in 2013 his exhibition &ldquo\;All industrious people.&rdquo\; His works were also included in the Public Art Fund exhibition in City Hal l Park in 2012\, in the Galerie Bureau in 2011\, and in the Sculpture Cente r in New York in 2010.

Oscar Murillo (born 1986) lives and wor ks in London. In 2013 the South London Gallery presented the artist&rsquo\; s first major solo show in Great Britain. During a five-week summer residen cy at the Rubell Family Collection in Miami in 2012 he created works that w ere exhibited in that same year in his first solo show in the United States . His works and projects have also been seen in the Showroom MAMA in Rotter dam in 2013 and in the Serpentine Gallery in London in 2012. For his ongoin g project &ldquo\;Frequencies\,&rdquo\; a collaboration with family members and the political scientist Clara Dublanc\, Murillo visits schools around the world and installs canvases on schoolroom desks. The canvases are meant to reveal the pupils&rsquo\; creative and critical thought processes and c apture them visually. The project thus focuses on universal cultural discou rses and provides insight into different social communities.

D avid Ostrowski (born 1981) lives and works in Cologne\, and from 2004 to 20 09 studied painting under Albert Oehlen. Just now his solo show &ldquo\;Jus t Do It&rdquo\; is on view in the Fondazione Sandretto Re Rebaudengo in Tur in. Other solo shows this year were &ldquo\;Emotional Paintings&rdquo\; at Peres Project in Berlin and &ldquo\;Das Goldene Scheiss&rdquo\; in the Gale rie Almine Rech in Paris. In 2013 London&rsquo\;s Simon Lee Gallery present ed his works in solo show &ldquo\;Yes or let&rsquo\;s say no\,&rdquo\; and in 2014 in the framework of the group show &ldquo\;Walk the Line&rdquo\; in Hong Kong.

Tobias Pils (born 1971) lives and works in Vienna. In 2013 the Vienna Secession presented a solo show with the identically na med title &ldquo\;Secession.&rdquo\; His works have also been seen at the I nternational Studio &\; Curatorial Program (ISCP) in New York in 2014\, as part of a group show in the Jack Hanley Gallery in New York in 2011\, an d at the NAMOC Museum during the Beijing Biennale in 2010.

DTEND:20150124 DTSTAMP:20141128T070630 DTSTART:20141122 GEO:47.3892908;8.5248503 LOCATION:Galerie Eva Presenhuber (Löwenbräu-Areal)\,Limmatstr. 270\, \nZuri ch\, CH-8005 SEQUENCE:0 SUMMARY:Group Exhibition\, Justin Matherly\, Oscar Murillo\, David Ostrowsk i\, TOBIAS PILS UID:365906 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Eva Presenhuber is del ighted to announce the solo show of the German artist Candida Hö\;fer. The exhibition includes a selection of large-format photographs of imposing interiors and parts of buildings\, as well as a series of new pictures\, s ome focusing on singular objects\, others exhibiting an increasing tendency toward abstraction.

From 1973 to 1982 Candida Hö\;fer att ended the Kunstakademie Dü\;sseldorf. She first studied film under Ole John before transferring to the photography class of Bernd Becher in 1976 a s one of his first students. In 1975 she had her first exhibition at galler y Konrad Fischer in Dü\;sseldorf\, where she presented a slide projecti on. Candida Hö\;fer&rsquo\;s entry into the art world is thus closely a ssociated with the city of Dü\;sseldorf and her contacts from that time .

Geographical references are an immanent part of Candida H&ou ml\;fer&rsquo\;s extensive &oelig\;uvre. For more than forty years the arti st has photographed the interiors of actual buildings\, most accessible to the public\, rarely private ones as well\, that are readily identifiable. A mong them are museums\, libraries\, foyers\, concert halls\, bank archives\ , exhibition halls\, stages\, and train station waiting rooms. The geograph ical range and thus the socio-cultural connotations of her chosen motifs ex tends mainly across Europe and North America\, and reaches in single instan ces to South America and Asia. Each work is precisely and simply titled wit h the name of the place or the institution in which the photographed space is found. The actual existence of these spaces is what matters\, although C andida Hö\;fer&rsquo\;s artistic interest is not in mere documentation. What does interest her is the differentiation of complex picture subjects\ , the issue of light\, and how spaces and architecture influence people. Ye t people are only rarely included in the photographs\, generally categorica lly excluded. She explains: &ldquo\;Of course it interests me that these ar e spaces used by people\, but I don&rsquo\;t have to show this by picturing them. I want to capture how the spaces change over time\, how they change because of what is placed in them\, and how the things interact with each o ther.&rdquo\; Candida Hö\;fer&rsquo\;s pictures are extremely thoughtfu l compositions of subjects filled with an almost infinite variety of archit ectural and decorative details. Their desertion and &ldquo\;uncanny beauty& rdquo\; (Benjamin H. D. Buchloh) is somewhat disorienting\, unsettling\, an d humbling.

The exhibition presents a series of photographs of various interiors\, two of which were made in Dü\;sseldorf. These are &ldquo\;Schmela Haus Dü\;sseldorf | 2011&rdquo\;\, the Nordrhein-Westfa len art collection\, and the &ldquo\;New Stahlhof Dü\;sseldorf | 2012&r dquo\;\, renovated in 2002. Here she has focused on a stairwell\, showing i ts impressive architecture. A symphony in white\, created simply by the rec eding line of the banister.

In contrast to her earlier works\, most of which were meant to show inherent relations of images\, the new wo rks more often concentrate on single objects\, often in isolation and caref ully staged. They explore the ontology of objects\, colors\, and light. For example\, a neon tube in the dark interior of a stairwell becomes a form-g iving entity\, and dictates the minimal composition on the picture surface. In another work a thin white line runs across a concrete floor\, and the p hotographic composition is thereby fragmented into two abstract sections. T hese new works often have English titles\, but as in those of her earlier p hotographs they indicate nothing more but what there is to see. For example \, the work just mentioned is simply titled &ldquo\;Line on the Floor 2014& rdquo\;.

In addition to the photographs\, Candida Hö\;fer is also presenting two new projections in the show\, &ldquo\;Echoes&rdquo\; and &ldquo\;Roads&rdquo\;. Since the beginning of her artistic career she has again and again quite deliberately employed projections\, which mediate between stasis and movement\, between the haptic and the immaterial image. She describes the projections\, as opposed to photography\, as &ldquo\;a c ounterbalance to the weight that static wall pictures can assume in an exhi bition. A projection prescribes the sequence of images&mdash\;but can never completely dictate the viewer&rsquo\;s perception\, for viewers can begin watching it or walk away from it at any point in the sequence. A book does the same. And there as well the author cannot control the sequence. That is up to the reader. In addition\, a projection is comparable to the fleeting nature of our own seeing\, but at the same time provides an opportunity to


pause for a moment. And that too is a quality of ever yday seeing. However the images\, if they are large and hang low\, can only invite one to look. At least as a form of presentation they offer a way of looking that is not between merely a fleeting registration and pausing\, b ut rather between a mere glance and close study\, if the viewer&rsquo\;s pa tience permits it.&rdquo\;

Candida Hö\;fer&rsquo\;s sensit ivity to the inherent laws of the picture medium\, as well as her conscious emphasis on aesthetic aspects of presentational forms\, are once again abl y presented in this exhibition.

Candida Hö\;fer&rsquo\;s w orks have been shown in a number of gallery solo shows\, including the Sonn abend Gallery in New York\, the Galerie Johnen &\; Schö\;ttle in Col ogne\, and the Johnen Galerie in Berlin. Her works have also been included in exhibitions in numerous museums\, including the Kunsthalle Basel\, the K unsthalle Bern\, the Museum fü\;r Neue Kunst in Freiburg\, the Baltimor e Museum of Art\, the Portikus in Frankfurt am Main\, the Museum of Modern Art in New York\, the Kunsthaus Bregenz\, and the Museum Ludwig in Cologne. In 2013 the show &ldquo\;Dü\;sseldorf&rdquo\; was presented in the Mus eum Kunstpalast in Dü\;sseldorf\, and it is currently on view in the Ku nstmuseum Luzern. In 2002 Candida Hö\;fer participated in documenta 11. In 2003 she represented Germany at the Venice Biennale (together with Mart in Kippenberger).

DTEND:20150124 DTSTAMP:20141128T070630 DTSTART:20141122 GEO:47.3892908;8.5248503 LOCATION:Galerie Eva Presenhuber (Löwenbräu-Areal)\,Limmatstr. 270\, \nZuri ch\, CH-8005 SEQUENCE:0 SUMMARY:Closer\, Candida Höfer UID:365905 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150214 DTSTAMP:20141128T070630 DTSTART:20150109 GEO:55.681922;12.588053 LOCATION:Galerie Asbæk\,Bredgade 23 DK-1260 \nCopenhagen\, SEQUENCE:0 SUMMARY:Solo Exhibition\, Nicolai Howalt UID:365900 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150103 DTSTAMP:20141128T070630 DTSTART:20141205 GEO:55.681922;12.588053 LOCATION:Galerie Asbæk\,Bredgade 23 DK-1260 \nCopenhagen\, SEQUENCE:0 SUMMARY:Paul McDevitt & Cornelius Quabeck\, Paul McDevitt\, Cornelius Quabe ck UID:365899 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the show Animation Syntax J esper Carlsen works &ndash\; through animation &ndash\; with our understand ing of objects. Human perception of the spatial is on the agenda in Carlsen &rsquo\;s works. We experience our own reality chronologically\, and Carlse n works through animation to clarify time as a crucial factor in our way of understanding. Meaning is created for us in the form of sequences\, and sm aller sequences can be created precisely by means of animation. Carlsen thu s tries in his works to dissect the sequences anatomically. How are they bu ilt up? How are they broken down? These are some of the questions that Carl sen works with.

For example\, time is collapsed in Carlsen&rsq uo\;s paintings &ndash\; an animated motion is seen all at once\, inasmuch as several angles of a given object are presented. The simple geometric for m is turned three-­\;‐dimen-­\;‐ sionally\, after which it is project ed down on to the two dimensions of the painting\, so that the actual point of departure &ndash\; the geometric form &ndash\; is dissolved.

In a light-­\;‐sculpture the figurative element is removed such that time remains through the timing of some light bulbs that create an illusion of pure motion\; a motion that evokes associations with a bouncing ball. C arlsen thus demonstrates the mental programming that makes us perceive thin gs in a temporal framework. Although the light bulbs only light up in turn\ , we see motion: the bouncing ball as the archetype of an animation is a fi gure that recurs in several of the works in the show.

For the show Carlsen has also animated his own hand. Through the animation\, the me chanics of the fingers and the mobility of the hand are explored in relatio n to the pleasure of turning and twisting everything. This creates a diseng aged\, virtual sensory experience &ndash\; only the motion of touching is l eft\, yet it can be difficult not to reflect that motion mentally.
In the animated chimpanzee\, imperceptibly many small sub-­\;‐eleme nts are joined together to create life. The chimpanzee is computer-­\;‐c reated &ndash\; that is\, coloured and animated triangles give the illusion of a physical object. For Carlsen it is the same elementary building-­\ ;‐blocks &ndash\; time and geometry &ndash\; that are simply carried forwar d to a different logical conclusion.

Jesper Carlsen (b. 1977) graduated in 2006 from the Funen Academy of Art in Odense. Since then he ha s exhibited in several places in Denmark and abroad. Carlsen&rsquo\;s focus is on animation and video\, and in his artistic practice he concentrates o n human perception and the semiotic systems by which we navigate.


Welcome to the opening\, Friday 31 October 17:00 - 19:00

DTEND:20141129 DTSTAMP:20141128T070630 DTSTART:20141031 GEO:55.681922;12.588053 LOCATION:Galerie Asbæk\,Bredgade 23 DK-1260 \nCopenhagen\, SEQUENCE:0 SUMMARY:Animation Syntax\, Jesper Carlsen UID:365898 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Em sua terceira individual na galeria Silvia Cintra + Box 4\, no Rio de Janeiro\, Rodrigo Matheus apresen ta uma sé\;rie iné\;dita de esculturas\, instalaç\;&otild e\;es e colagens produzidas durante temporada na cidade apó\;s per&ia cute\;odo de quase quatro anos no exterior. Os trabalhos sã\;o constr uí\;dos a partir de postais enviados do Rio de Janeiro para a Europa ao longo do sé\;culo XX. Sã\;o cartõ\;es encontrados pelo artista em feiras de segunda mã\;o europeias\, trazidos de volta ao destino de origem e\, aqui\, combinados a postais enviados da Europa e enco ntrados na capital carioca em pleno sé\;culo XXI.

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A micronarrativa é\; pano de fundo de esculturas e instalaç\;õ\;es que repetem no interior da gal eria aquilo que se observa como recorrente na cidade: a relaç\;&atild e\;o entre a vegetaç\;ã\;o e a arquitetura. O vocabulá\;r io modernista das construç\;õ\;es dos anos de ouro e as grades de ferro anexadas a seus pré\;dios posteriormente. O comé\;rcio vigoroso da regiã\;o do Saara que corresponde à\; agenda da ci dade &mdash\; Carnaval\, Natal\, Ano Novo. O macaco que sobrevive entre aqu ilo que foi civilizado e o que nunca será\;. O jogo de permissã \;o e interdiç\;ã\;o mediado pela praia.

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O conjunto de obras que a exposiç\;&a tilde\;o abriga se vale do pró\;prio repertó\;rio visual da cid ade para o desenvolvimento de esculturas que se apropriam tanto daquilo que é\; planejado quanto aquilo que é\; espontâ\;neo e improv isado na malha urbana. &ldquo\;Os materiais utilizados nestes trabalhos sae m deste contexto. Grades de metal de padrõ\;es variados\, plantas art ificiais\, areia e telas de proteç\;ã\;o para reforma de pr&eac ute\;dios\, vitrines do Saara e materiais de construç\;ã\;o que stionam a imagem glamourizada dos cartõ\;es postais face aos problema s reais que a cidade enfrenta&rdquo\;\, comenta o artista.

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Ainda nas palavras de Rodrigo Matheus \, &ldquo\;Do Rio e para é\; to Rio and from&rdquo\; discute a ambiguidade do processo de modernizaç\;ã\;o brasileiro a par tir do imaginá\;rio que o Rio de Janeiro projeta. &ldquo\;Porta de en trada do paí\;s e monumento natural\, antiga capital do Impé\;r io Portuguê\;s\, antiga capital do Brasil\, destino turí\;stico e hoje alvo de um retrofit urbaní\;stico que busca fundar no seu centro histó\;rico uma ilha globalizada cercada de uma paisagem tropical avessa a domesticaç\;õ\;es&rdquo\;.

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Sobre o artista

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Rodrigo Matheus nasceu em 1974\, em Sã\;o Paulo\, e vive e trabalha entre Londres e sua cidade natal. Graduou-se em Multimí\;dia e Intermí\;dia na Escola de C omunicaç\;õ\;es e Artes da USP (ECA-USP) e é\; mestre em escultura pelo Royal College of Art\, na capital inglesa. Seus trabalhos ar ticulam diversas mí\;dias &mdash\; ví\;deos\, instalaç\;& otilde\;es e esculturas &mdash\; em obras que discutem a natureza da repres entaç\;ã\;o na arte e sua relaç\;ã\;o com o design industrial. Apresentam situaç\;õ\;es que questionam as estrutur as de poder por trá\;s de identidades visuais que regram nossa subjet ividade em nome do progresso civilizató\;rio.

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Ao aproximar elementos industriais e naturai s em um só\; corpo\, o artista lanç\;a com suas obras um olhar crí\;tico sobre as noç\;õ\;es coletivas de representa&cce dil\;ã\;o da natureza forjadas dentro de um ambiente pú\;blico e urbano. Modifica e propõ\;e novas combinaç\;õ\;es para o mecanismo da vida cotidiana. Constró\;i a partir de objetos em circ ulaç\;ã\;o no mundo novas possibilidades de sentido fora daquel as programadas pela sua funç\;ã\;o.

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É\; representado por galerias em Londres\, Rio de Janeiro\, Sã\;o Paulo e Los Angeles e suas obras estã\; o presentes em diversas coleç\;õ\;es pú\;blicas e particu lares\, como Instituto Inhotim\, MAM - Museu de Arte Moderna de Sã\;o Paulo\, Pinacoteca do Estado de Sã\;o Paulo\, Museu de Arte Moderna do Rio de Janeiro e instituto Itaú\; Cultural.

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Dentre as exposiç\;õ\;es individuais\, destacam -se Coqueiro Chorã\;o\, Ibid Projects (Londres\, 2014)\, Colisã\;o de Sonhos Reais em Universos Paralelos\, Fundaç \;ã\;o Manuel Antonio da Mota (Porto\, 2013) e Handle with Care\, Galpã\;o Fortes Vilaç\;a (Sã\;o Paulo\, 2010). J&aa cute\; entre as coletivas\, chamam atenç\;ã\;o as participa&cce dil\;õ\;es de Rodrigo em Champs Elyseé\;s\, no Palais de Tokyo (Paris\, 2013)\, Imagine Brazil\, Astrup Fearnley Museet (Oslo\, 2013) e Itinerá\;rios &ndash\; Itinerâ\;ncias\, 32ª\; Panorama do Museu de Arte Moderna de Sã\;o Paulo (2011)\, The Spiral and the Square\, Bonniers Kontshall\, Stockholm\, (Su&e acute\;cia\, 2011).

DTEND:20141206 DTSTAMP:20141128T070630 DTSTART:20141030 GEO:-22.9752959;-43.2293341 LOCATION:Galeria Silvia Cintra + Box 4\,Rua das Acácias\, 104 Rio de Janeir o 22451-060 SEQUENCE:0 SUMMARY:Do Rio E Para é To Rio And From\, Rodrigo Matheus UID:365895 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141128T070630 DTSTART:20141125 GEO:-19.9376743;-43.9377343 LOCATION:Galeria Murilo Castro\,Rua Antônio de Albuquerque\, 377 - conj\, 0 2 \nSavassi\, Minas Gerais 30112-010 SEQUENCE:0 SUMMARY:Desbordando Corpos\, Beth Moysés UID:365894 END:VEVENT BEGIN:VEVENT DESCRIPTION:

THEGRASSISALWAYSGREENER is the title of the exhibition of Linnenbrink´\;s most recent works at Max Estrella Gallery (the second in this space).

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Colors move us. Very few people are capable of viewing the colors that surround them with indifference. They may stimulate or pacify\; they can trigger unpleasant states of mind or pleasant sensations. For Goe the\, seeing colors was an experience based on reciprocal energies between nature and the observer. It was a phenomenon that did something to the obse rver\, something linking a man´\;s innermost being to the world around him via the detour of the seeing eye.

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In Linnenbrink´\;s work one thing is encountered above all else: col or. Pure luminous and pulsating color. Colors seem to communicate and do so mething to us. Color is at the heart of Linnenbrink´\;s artistic work &ndash\; along with its full wealth of emotional and psychological impact. It makes no difference whether we are face-to-face with one of his large fo rmat images\, in which he allows the pigments dissolved in epoxy resin to r un slowly down the picture carriers in satiated\, glistening vertical strip es\; or whether we study those works in which small drilled craters disclos e many apparently archeological layers of paint\, or find ourselves in one of his site-specific\, all-over paintings that cover the walls\, floors and ceilings\, their iridescent stripes of color subduing entire architectures and permanently altering the viewer´\;s perception.

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There is also a performative quality in his works\, wh ich becomes clear not only when Linnenbrink pours the resin with its added pigments onto the image carrier\, or drills holes in the hardened paint lay ers of some paintings. It also becomes particularly obvious in the case of his mural works. These are color-spaces that oscillate for the viewer betwe en two- and three-dimensionality.

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Wit h all this\, the artist explores the image of time\, using the methods of t he plastic arts as a way of recreating the behaviour of this slippery dimen sion.

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Markus Linnenbrink (Dortmund\, Alemania\, 1961) lives and works in Brooklyn\, New York. H e studied painting in Kassel and at the Hochschule der Kü\;nste in Berl in. His works have been exhibited internationally\, from Seoul to New York\ , San Francisco or Chicago\, in addition to many German cities. Worth menti oning are his solo exhibitions at the Hammer Museum Los Á\;ngeles\, U SA\; Kustverein Gü\;tersloh\, Germany\; the Mä\;rkisches Museum\, W itten\, Germany\; Museum Neue Galerie\, Kassel\, Germany\; among others. As well as his participation in international group shows such as the San Jos é\; Museum of Art and the Bedford Gallery of the Lesher Center for th e Arts\, both in California\, USA\; Queens Community Houses\, New York\, US A\; the Cleve Carney Art Gallery\, Chicago\, USA\; the Visual Arts Center\, Richmond\, USA\; the IV Biennial of Beijing\, China\; Kunsthalle Nuernberg or Kunsthaus Rhenania\, Cologne\, Germany. Today Linnenbrink´\;s radi cal color positions can be found in numerous private collections such as De utsche Bank and Commerzbank\, Germany\; AXA Insurance\, Luxembourg\; The Ar t CollTrust\, Bank One\, Harvard University\, UCLA Hammer Museum \; San Fra ncisco Museum of Moden Art\, USA\; Herzliya Museum of Art Israel\; Colecci& oacute\;n Olor Visual\, Spain\; and many other institutions.

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His permanent installations include the Philadelphi a Academy of fine Art Museum\, Philadelphia\, USA\; the Center Court\, The Hague\, Netherlands\; and the City of Stuttgart\, Germany.

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http://markuslinnenbrink.com/

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< strong>Markus Linnenbrink

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THEGRASSISALWAYSGREENER es el tí\;tulo de la exposici& oacute\;n de los ú\;ltimos trabajos de Markus Linnenbrink en la galer í\;a Max Estrella (la segunda en este espacio).

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Los colores nos conmueven. Muy pocas personas son capaces de ver los colores que nos rodean con indiferencia. Pueden ser estimulantes o relajantes\; pueden desencadenar sensaciones incó\;modas o placent eras. Para Goethe\, la posibilidad de percibir colores se trataba de una ex periencia basada en energí\;as recí\;procas entre la naturaleza y el observador. Era un fenó\;meno que poní\;a en contacto nue stro ser má\;s profundo con la naturaleza que nos rodea.

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En el trabajo de Linnenbrink destaca\, por encima de todo\, el uso del color: puro\, luminoso y palpitante. Los colores pare cen comunicarse y provocarnos algo. El color es protagonista en la obra art í\;stica de Linnenbrink junto con su rico impacto emocional y psicol& oacute\;gico.

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No importa si estamos f rente a una de sus obras de gran formato\, en las que permite que los pigme ntos disueltos en resina epoxi corran lentamente hacia abajo\, provocando b rillantes rayas verticales\; si estudiamos las piezas en las que peque&ntil de\;os crá\;teres perforados revelan\, casi de forma arqueoló\; gica\, las distintas capas de pintura\; o si nos encontramos en uno de sus site-spefifics\, en los que cubre paredes\, suelo y techo\, someti endo toda la arquitectura con sus rayas de colores iridiscentes y alterando la percepció\;n del espectador.

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Tambié\;n hay una cualidad performativa en sus obras\, que se pone de manifiesto no só\;lo cuando Linnenbrink vierte la resina pigmentad a en el soporte\, o perfora agujeros en las capas de pintura endurecida. Si no que es especialmente significativa en sus instalaciones murales\, espaci os de color que hacen pasar al espectador de las dos a las tres dimensiones .

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Con todo esto\, el artista explora la imagen del tiempo\, usando los mé\;todos de las artes plá\;s ticas como una forma de recrear el comportamiento de esta resbaladiza dimen sió\;n.

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Markus Linnenbr ink(Dortmund\, Alemania\, 1961) vive y trabaja en Brooklyn\, Nueva York. Estudió\; pintura en Kassel y en la Hochschule der Kü\;nst e en Berlin. Sus obras se han expuesto internacionalmente\, desde Seoul has ta Nueva York\, San Francisco o Chicago\, ademá\;s de en numerosas ci udades alemanas. Cabe destacar sus exposiciones individuales en el Hammer M useum de Los Á\;ngeles\, EEUU\; el Kustverein Gü\;tersloh\, Alema nia\; el Markisches Museum\, Witten\, Alemania\; Museum Neue Galerie\, Kass el\, Alemania\; entre otras. Así\; como su participació\;n en m uestras colectivas internacionales en el San José\; Museum of Art\, y la Bedford Gallery del Lesher Center for the Arts\, ambos en California\, EEUU\; Queens Community Houses\, Nueva York\, EEUU\; Cleve Carney Art Galle ry\, Chicago\, EEUU\; Visual Arts Center\, Richmond\, EEUU\; la IV Bienal d e Beijing\, China\; Kunsthalle Nuernberg y Kunsthaus Rhenania\, en Colonia\ , Alemania. Destacamos su presencia en colecciones como Deutsche Bank y Com merzbank\, Alemania\; AXA Insurance\, Luxemburgo\; Colecció\;n Olor V isual\, Españ\;a\; Herzliya Museum of Art Israel\; The Art CollTrust\ ,\, Bank One\, Harvard University\, UCLA Hammer Museum o San Francisco Muse um of Moden Art\, en EEUU\; entre otras muchas. Algunas de sus instalacione s permanentes está\;n en el Center Court\, de la Haya\, Paí\;se s Bajos\; en la ciudad de Stuttgart\, Alemania\; Philadelphia Academy of fi ne Art Museum\, Filadelfia\, EEUU.

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http://markuslinnenbri nk.com/

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Markus Linnenbrin k

DTEND:20150117 DTSTAMP:20141128T070630 DTSTART:20141115 GEO:40.42356;-3.695112 LOCATION:Galería Max Estrella\,Santo Tomé\, 6\, Patio \nMadrid\, 28004 SEQUENCE:0 SUMMARY:Thegrassisalwaysgreener\, Markus Linnenbrink UID:365893 END:VEVENT END:VCALENDAR