ArtSlant - Recently added en-us 40 Group Show - David Castillo - September 26th - November 15th <p style="text-align: justify;"><strong>David Castillo Gallery</strong>&nbsp;is proud to announce&nbsp;<em>Amerika</em>, with new work by represented, national, and international artists. Kafka's unfinished first novel, published posthumously as&nbsp;<em>Amerika</em>, documents an imminent, alien journey toward the vast abstraction of landscape.&nbsp;<em>Amerika</em>, presents an intercorporeality of liminal territories identifying more with Shangri-La than turn-of-the-century power. The artists in&nbsp;<em>Amerika</em>&nbsp;coagulate around textile and conceptual sculpture, photography, painting, installation and performance to interrogate discursive practices that undertake the body that&nbsp;<em>is formed</em>- objectified- abstracted. Whether the body at stake constitutes a material engagement with Art History or an ecosophy of subjectivities, social relations, environments, symbolic codes, rhythms, and aesthetic patterns,&nbsp;<em>Amerika&nbsp;</em>presents a poetics of non-arrival- an insistence upon the performativity of plurality rather than its ontology.</p> <p style="text-align: justify;">The glow of red, white and blue from Rafael Ferrer's&nbsp;<em>Artforhum&nbsp;</em>neon, rendered in the typeface of the magazine to which the wordplay refers, creates a new visual language around established culture. Such unincorporated territory is also occupied by Xaviera Simmons, who complicates the placidity of landscape with portraits utilizing a lexicon of iconic album covers. The result is personal-- familiar and radical-- a parade of reminders or refuted expectations in conversation with Christian Marclay's triptych&nbsp;<em>Untitled (from the series "Fourth of July")</em>. The Fourth of July parade recorded in Marclay's photographs presents an American landscape of bodies in motion or perpetual (re)translation. Jillian Mayer's video is of the nude artist strolling down a beach, pursued and gradually covered by computer cursors. The familiar digital arrows point to becoming-subject and becoming-object, charged with Art Historical and pop cultural attitudes toward the female body.&nbsp;&nbsp;</p> <p>The intricate textile sculptures of Sanford Biggers, Nick Cave, Pepe Mar, and Shinique Smith affect organismic dreamscapes and irrupt the habit of, as Maurizio Lazzarato writes, partitioning assemblages into subjects and objects. Biggers'&nbsp;<em>Haute Mess&nbsp;</em>(2014) and Cave's&nbsp;<em>Soundsuit</em>(2013) are critically necessary, for their chaotic relation between antique quilt fragments and spray paint-- traditional patterns and the human figure-- refusing the subject-object dichotomy. Smith's suspended coagulations of color and texture and Mar's phantasmagoric "shirts" -- on the macro and micro scales, are in the space between materiality and anthropocentrism.</p> <p style="text-align: justify;">What once may have been regarded as Kafkaesque are now critical tenants of the Anthropocene, the epoch in which autonomous human identity is no longer privileged and the degree of human impact on the environment widely acknowledged. It is a time for photographic technology to reproduce infidel identities, as in the works of Luis Gispert, Francie Bishop Good and Robert Melee. It is time for the medium specificity of painting to destabilize the central figure, as in the work of Paul DeMuro, Eric N. Mack, Melvin Martinez, Bjarne Melgaard, Fabian Pena, Philipp Schwalb, Wendy White, and David Wojnarowicz.&nbsp;<em>Amerika&nbsp;</em>imagines a journey toward the Anthropocene, from the sculptures of Huma Bhabha to the performances of Kate Gilmore, Susan Lee-Chun and the TM Sisters or the collages of Adler Guerrier, Lyle Ashton Harris, and Quisqueya Henriquez.&nbsp;&nbsp;</p> Fri, 12 Sep 2014 14:54:50 +0000 Amadeo Azar - Alejandra Von Hartz Gallery - September 11th - November 14th <p style="text-align: justify;">An Artist who wishes to introduce himself to a new context draws a map. He places the pieces in such a way so that we can understand the new fragments in the landscape of those that preceded them, establishing a mental cartography where to hear one&rsquo;s questions in reverse. This exhibition, the first of Amadeo Azar at the Alejandra von Hartz Gallery, is in the spirit of a retrospective in the sense of steering our sight both backwards and forwards so as to perceive the totality of his ideas.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">What does an Artist do when he creates a work? He formulates a plan. In this case to take the technique to the extreme so that it collapses. To become an expert in the tradition of the pictorial ingredient&mdash;this time the watercolor&mdash;in order to betray that capacity until it all but disappears.</p> <p style="text-align: justify;">This could possibly be the mechanism by which Azar proposes the experience of sentiments, from something concrete to generate an emotion. To perceive something like a reflection, not the thing in and of itself, but its supernatural side and the disenchantment. To push paint and place it in a vacuum is almost a strategy to expose the deception of the vanguards, thereby restoring the sense of that ideal. He makes it explicit through repetition until it becomes tacit while creating a script from which to read his metaphysical doubts.</p> <p style="text-align: justify;">In&nbsp;<em>Patience is a Mine Field</em>, Amadeo Azar proposes an itinerary through his passions in order to demolish the theoretical building of his own ideas. Where in one space we see monumental constructions transposed on paper documenting the human desire for perfection, and in the adjoining space we find the ruins of that purpose on a dissection table. Thereby offering us relief from such a distressing servitude.</p> <p style="text-align: justify;">Hegel claimed that history advances on the wrong side, but it advances. Amadeo Azar believes that the Latin American vanguard has a different, more confused meaning. Here, it appears that the future slows down, but it is in that very different function where it obtains an identity. Perhaps the only objective to pursue is to ignore everything in order to construct one&rsquo;s own reality and continue advancing.</p> <p style="text-align: justify;">Amadeo Azar is interested in the visual languages of modernism inasmuch as they embody utopian sets of beliefs and views of the world and its future. He has focused on architectural and avant-garde movements of the first half of the XX Century exploring how they related to and had influence on political and social movements in Latin America, and the way that utopian moment was disarticulated as it encountered local circumstances and fell into dystopia.</p> <p style="text-align: justify;">Some specific references which have entered his work include a project for the city of Buenos Aires presented by Le Corbusier to the government of Peron in the 1940&rsquo;s; the urban developments and architectural trends during mid-Century in Argentina (such as the buildings by Ingeniero Salamone); the MAD&Iacute; and Concreto-Invenci&oacute;n &mdash;avant-garde movement native to Argentina&mdash; that focused on abstraction as well as on progressive politics (Lozza, Maldonado, Iommi, and others); never-built projects by Russian Constructivists architects such as Konstantin Melnikov or Iacov Chernikov; the style of architecture used for pavilions at world fairs and monuments which represent a certain collective view a nation has of itself.</p> <p style="text-align: justify;">Amadeo Azar was born in Mar del Plata in 1972 and is currently residing in Buenos Aires. He graduated from M. Malharro School of Visual Arts and continued his studies taking part in scholarships sponsored by Fundaci&oacute;n Antorchas. In the last ten years, he has participated in numerous individual and collective exhibitions both in private galleries as well as institutional spaces in Argentina, Brazil, Spain, Costa Rica, Panama, Ecuador and the United States. These include Open session Program of Drawing Center (New York), Museo de Arte Moderno (MAMBA, Buenos Aires), Museo Antropologico y de Arte Contempor&aacute;neo (MAAC, Ecuador), Premio Fundaci&oacute;n Ita&uacute;, Premio Fundaci&oacute;n Andreani, and an individual exhibition at the C&aacute;diz Provincial Council, Spain.</p> <p style="text-align: justify;">Azar&rsquo;s work is to be found in important private and institutional collections in the United States, Europe and several Latin-American countries.</p> <p style="text-align: justify;">He lives and works in Buenos Aires, Argentina.</p> Fri, 12 Sep 2014 14:38:12 +0000