ArtSlant - Recently added en-us 40 Daniel Mullen - Anise Gallery - June 9th - July 16th <p>Anise Gallery is delighted to present Holland-based artist Daniel Mullen for his first show at the gallery, &lsquo;Constructing the Future&rsquo;, which sees the artist develop his practice exploring space, line and form. There are clear aesthetic influences from futurism and the Dutch &lsquo;de Stijl&rsquo; movement, bringing both in line with contemporary messages and contexts.</p> <p><br />Mullen&rsquo;s work transcends the flat space of the canvas and invites the viewer into a new realm which is not explicit, creating access into a wider spectrum of the possible, and the imaginary. Again employing concepts developed by the likes of Mondrian in the De Stijl movement, we see the artist&rsquo;s work materialising the term &lsquo;neo-plasticism&rsquo;, referring to a branch of abstraction which uses horizontal and vertical lines and mostly primary colours.</p> <p><br />&lsquo;What is reality?&rsquo; is a question which emerges repeatedly in Mullen&rsquo;s work, as in contemporary society the line between our perception of reality and illusion becomes increasingly blurred. Highlighting the friction between the stability of structure and fragility in weightlessness is prevalent in this body of work. Mullen says: &ldquo;I paint an illusion to be recognised as exactly that, therefore raising the question of perception, like the shadows on the wall in the analogy of Plato&rsquo;s cave&rdquo;. Plato stated that the role of the philosopher is to communicate in such a manner that man would recognise the shadows in the cave as an illusion. Perhaps without Plato&rsquo;s grandiose statement, this communication of perception is evident in &lsquo;Constructing the Future&rsquo;.</p> <p><br />The artist speaks of his inspiration and motivation succinctly in that &ldquo;it is my Universe and I am the architect at play&rdquo;, asking a salient question about ownership of his work and influences: can we, as the viewer, be something of a curator in the world of Daniel Mullen&rsquo;s work? We can certainly identify geometric and dynamic themes relating to the urban domain.</p> <p><br />&lsquo;Constructing the Future&rsquo; is the latest exhibition for the artist, where his work has been shown internationally, however Anise Gallery are pleased to be the first to exhibit Mullen in the UK. His work is in numerous corporate and private collections globally. Recently he was long-listed for the Aesthetica art prize and in 2014 short-listed for the prestigious Royal Dutch Prize for Painting.</p> Thu, 05 May 2016 12:58:00 +0000 Lygia Clark - Alison Jacques Gallery - June 3rd - July 30th <p>Alison Jacques Gallery is pleased to announce a historical survey exhibition of works from the 1950s by Lygia Clark. This will be the artist&rsquo;s first solo presentation since the critically acclaimed retrospective <em>Lygia Clark: The Abandonment of Art 1948-1988</em> curated by Connie Butler and Luis P&eacute;rez-Oramas, at the Museum of Modern Art, New York (2014). It also follows the installation of <em>Fantastic Architecture</em>, at The Henry Moore Foundation (2014) and<em> Lygia Clark: Organic Planes </em>curated by Lisa Le Feuvre, at The Henry Moore Institute, Leeds (2014-2015).&nbsp;</p> <p>Born in Brazil, Lygia Clark (1920-1988) is one of the most pioneering artists of the twentieth century. Clark's groundbreaking work radically innovated the relationship between the art object and audience and has become a reference point for generations of artists pushing the limits of sculpture today. Her work has been acquired for major museum collections including Tate, London; The Museum of Modern Art, New York; The Art Institute of Chicago; Centre Pompidou, Paris and The Reina Sofia Museum, Madrid&nbsp;</p> <p>Lygia Clark was part of the neo-concrete movement, a splinter group of the 1950s Brazilian concrete art movement, calling for a greater sensuality, colour and poetic feeling in concrete&nbsp;art. In focusing on her work from the 1950s, we see the influence of her first visit to Paris in 1950 where she studied with key artists including Fernand L&eacute;ger. The drawing <em>Escadas (Stairs),</em>1951 is a clear indication of L&eacute;ger&rsquo;s influence on Clark but also of her interest in movement and a desire to break out from the restrictions of a static plane and strive for work that was more organic. It is this trajectory that we see in the graphite works from the early 1950s that continues into the group of 1957 monochrome gouaches <em>Planos em Superf&iacute;cie Modulada </em>(<em>Planes in Modulated Surface</em>). Throughout the decade, we see Clark&rsquo;s interest in colour via vibrant gouache works and a large turquoise painting <em>Superficie Modulada</em> (<em>Modulated Surface</em>)1955-57 made with industrial paint on board.</p> <p>From 1955, Clark showed her interest in three dimensional work and architecture through her painted wooden maquettes of interiors: <em>Maquete para interior nos.1 and 2</em> <em>(Maquette for interior no.1 and no.2).</em> These clearly reveal Clark&rsquo;s desire to expland from a two dimensional surface and fuse painting with architecture. Also on view is Clark&rsquo;s maquette for <em>Construa voc&ecirc; mesmo o seu espa&ccedil;o de viver (Build your own living space)</em>,1955 in which Clark shows her dream for an entire building in which the visitor can change the configuration of rooms via a series of sliding walls, demonstrating her vision of audience participation and a living or organic sculpture. &nbsp;</p> <p>In the late 1950s, Clark made her first study for a <em>Casulo (Cocoon)</em> in which a relief starts to lift off the wall, reflecting the idea of movement. All the works in the show lead to a crucial moment in 1959 when Clark made a balsa wood study for what would become her first <em>Bicho </em>(<em>Critter or Animal</em>) sculpture called <em>Caranguejo</em> (<em>Crab</em>). The <em>Bicho</em> series, which Clark went on to develop throughout the early 1960s, was formed from a series of metal plates joined by hinges. Laid flat, they formed a plane but when manipulated by an observer or participant, the hinges served as a backbone and the form of the <em>Bicho</em> changed according to the viewer&rsquo;s manipulation of the work. A <em>Casulo</em>, balsa wood study and the unique <em>Bicho </em>maquette for <em>Caranguejo</em> (<em>Crab</em>), all made in 1959, are included in this exhibition&nbsp;</p> <p>Important solo and group exhibitions during Clark&rsquo;s lifetime include the early S&atilde;o Paulo Biennials (1953-1967), the&nbsp;<em>Second Pilot Show of Kinetic Work,</em>&nbsp;curated by Guy Brett at Signals Gallery, London (1962);&nbsp;and a presentation, alongside Mira Schendel, at the Venice Biennale (1968)&nbsp;</p> <p>The only posthumous solo exhibitions outside Brazil before the MOMA, New York retrospective (2014) were<em> Lygia Clark</em>,&nbsp;Fundaci&oacute; T&agrave;pies Major, Barcelona (1997) which travelled to Marseille MAC; Serralves Foundation, Porto; Palais des Beaux-Arts, Brussels and the Imperial Palace, Rio de Janeiro; and <em>Lygia Clark: Estudos e Maquete</em>, Alison Jacques Gallery, London (2010). Clark was recently included in <em>Adventures of the Black Square, Abstract Art and Society 1915-2015</em>, curated by Iwona Blazwick and Magnus Petersens, Whitechapel Art Gallery, London (2015) and <em>Life Itself</em>, curated by Daniel Birnbaum, Moderna Museet, Stockholm.</p> <p>Forthcoming museum shows include: <em>Making and Unmaking</em>, curated by Duron Olowu, Camden Arts Centre, London (June &ndash; September 2016) and a major presentation of work as part of <em>The Shadow of Color</em> curated by Rita Kersting (December 2016 &ndash; April 2017), The Israel Museum, Jerusalem.&nbsp;</p> Tue, 03 May 2016 16:27:26 +0000 Piero Manzoni, Marianne Vitale - Ibid. - April 26th - May 7th <p style="text-align: justify;">Ibid Gallery London is pleased to present&nbsp;<em>focus (1-8)</em>, a show of fortnightly rotating works by modern and contemporary artists in intimate dialogue.</p> <p style="text-align: justify;">The works shown from Ibid Gallery&rsquo;s collection will be chosen for their visual or conceptual ties with the historical work they are presented alongside. With this platform, the influence that the selected 20th century masters have had on recently established artists is acknowledged and a new dialogue is created between works decades apart by tracing the lineage of ideas. Furthermore, in placing these pieces in proximity to each other but simultaneously giving the viewer space to focus on each work individually, a deeper, imaginative experience is made possible and associations can be questioned.</p> <p style="text-align: justify;">Every two weeks there will be a new two-person show with themes of its own and in all instances of two artists who have never before been shown together on such a level. Ibid Gallery invites the viewer to revisit the space throughout the duration of the show and will be announcing the schedule on the website and Instagram.</p> <p style="text-align: justify;">The opening week will present Piero Manzoni&rsquo;s&nbsp;<em>Achrome (1960-61)&nbsp;</em>and Marianne Vitale&rsquo;s&nbsp;<em>Tongue and Groove (2)</em>, (2012).&nbsp;</p> Sat, 30 Apr 2016 17:53:29 +0000 Frank Gerritz - Bartha Contemporary - May 13th - July 2nd <p>Bartha Contemporary is delighted to announce two coinciding exhibitions of recent works by German artist Frank Gerritz (b. 1964) at Bartha Contemporary in London and the Sleeper Art-Space in Edinburgh. The London exhibition (May 13 &ndash; July 2) will include two new pencil drawings on MDF alongside recent drawings on paper, the Edinburgh exhibition (May 13 &ndash; June 10) will showcase a single installation of a four-panel oil paint-stick on anodised aluminium work.&nbsp;<br /><br />For the past two decades, Gerritz has applied layers upon layers of graphite using soft Faber Castell 9B pencil marks on walls, paper and, as is the case in this instance, industrially manufactured MDF panels. &ldquo;Definition of Space | Four Center Connection (spread my wings)&rdquo; the key work in this exhibition and probably Frank Gerritz&rsquo;s most ambitious work on MDF to date, evolves from a concentred composition. Two elemental forms of opposing forces, placed side by side are separated by a devising line, formulate this seminal work.<br /><br />Gerritz&rsquo;s MDF drawings render light and modulate it to such an extent that the experience is akin to moving into a sculptural space. Similarly, the artist&rsquo;s works on anodized aluminium encompass a genuinely physical experience. Here the metal support turned into a body of light, at the same time offset and articulated by dark black areas of oil paint-stick, drawn onto the cool anodised aluminium surface. In this instance composed over four panels, &ldquo;Temporary Ground I Territory I The Sleeper&rdquo; exhibited in Edinburgh is spaced precisely along its horizontal axis. The initially flat appearance of the works pulls the viewer to its sides, revealing its three-dimensional composition. The work appears to float at a carefully calibrated distance from the wall, the resulting shadow-gap further elevating the sculptural nature of the piece.&nbsp;<br /><br />Frank Gerritz has been exhibiting globally since the late 1980&rsquo;s, more recently a series of institutional exhibitions in Europe confirmed his invaluable contribution to contemporary art discourse. In 2007, the American art critic and poet Donald Kuspit called the artist &ldquo;The Last Abstract Hardliner&rdquo;, a title he doubtlessly retains to the present day.</p> Thu, 28 Apr 2016 10:06:27 +0000