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The Hole is proud to announce the exhibition Chicken or B eef? assembled by Danish curator Jesper Elg. This show is a museum-styl e Transatlantic survey of figurative painting in Europe and America\, named after the ubiquitous question posed on transatlantic flights.

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As o pposed to creating two camps at odds\, the show instead highlights the many similarities of approach\, not just between the two regions but also betwe en the more prominent artists in the group and their more emerging counterp arts. The comic outlines and slapstick nudity of a Todd James painting appe ar in a Misaki Kawai work as well\; Cecily Brown’s joyous brushstrokes find a counterpart in the abstracted opulence in Rosson Crow’s funerary flowers \; Tal R’s circus figures and reduced palette resonate with young artist Ke egan McHargue’s pastelled acrobats\; and many more complementary themes tha t the viewer will enjoy discovering for themselves.

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Despite how int ernational the art world has become—not just art fairing\, but internetting and institutional exchanging—the show hints at some regional differences i n approach. Perhaps we confront the work with the stereotype that European painting is more conceptual or more academic\; perhaps American painters ar e more iconoclastic and irreverent. After all\, each region has their own g ods in their own pantheons of figuration and certainly different teachers a t their academies of higher learning. Daniel Richter guides grad students i n Vienna while Cecily Brown and David Salle have consulted those at Yale fo r example. It would be hard to point out in words just what these regional differences might be\, though such distinctions may appear to emerge when e xperiencing these artworks throughout the same gallery space.

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Figur ative painting as a genre is celebrated here as well\, whether or not this style of work is “on trend”\, and celebrated in its myriad forms. The genre is as heterogeneous as the regions of “Europe” and “North America” are\, a nd just as Spain\, Greece\, Denmark and Austria are represented alongside S an Francisco\, Ontario\, New York and Los Angeles\; so\, too\, are expressi vely drippy figures\, hyper-realistic idealized figures\, penetrating psych ological figures\, and occasionally no real “figure” at all. If figurative work has been unstylish in recent years within the micro-trending art world in favour of more lazy conceptual and minimal works\, then let this show s erve to reassert the things viewers could never really get rid of liking an yway\, like skill and sincerity and immediate\, emotional\, gutsy work\; th oughtful and intense and odd works\, rendering and likeness and oil paint\, works that may even celebrate that very un-cool topic\, beauty.

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Th e curator writes:

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Figurative painting betrays our need to commun icate—not in words\, but in images: the need to relate experience and emoti on\, beyond written and spoken language. From the Chauvet Cave in France to Instagram\, we all feel a compulsion to record the human condition.

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We also all experience and view the world differently. In figurati ve painting we can report these experiences across the boundaries of langua ge\, geography and time. Figurative painting offers a form of personal semi otics\; perhaps that is why it is so difficult to write and talk about a fi gurative painting\, as we can only describe the components and the combinat ion of elements that we already have words for and the figures\, situations \, textures and colors we recognize.

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It is a very different experience to view Le Radeau de la Méduse on Google or in the Louvre. That is why we keep visiting museums and galleries to encounter the original art work and feel a human connection: some things are lost in translation.< /p>\n

This exhibition in no way intended as a definitive survey\, but rather a just as personal compilation of a group of figurative painters fro m Europe and North America. It is a stab at presenting a variety of contemp orary figurative styles\, which are independent and interlinked at the same time\, including the disappearance of the body into figurative expressions and gestures – a beautiful broken language.

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About the curat or:  Jesper Elg (b.1975) is the co - founder and director of V1 Gallery \, Copenhagen\, Denmark. He also works as an independent curator and is ser ving as a member of The Danish Arts Councils Committee for International Ar t (2011 – 2014). 

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DTEND:20130420 DTSTAMP:20140822T010132 DTSTART:20130306 GEO:40.725131;-73.992465 LOCATION:The Hole NYC\,312 Bowery \nNew York\, NY 10012 SEQUENCE:0 SUMMARY:Chicken or Beef\, Dan Attoe\, Katherine Bernhardt\, Anna Bjerger\, Maya Bloch\, Cecily Brown\, Peter Linde Busk\, Miriam Cahn\, Troels Carlsen \, John Copeland\, Rosson Crow\, Jules de Balincourt\, Barnaby Furnas\, Joc elyn Hobbie\, HuskMitNavn\, Todd James\, Misaki Kawai\, Margaret Kilgallen\ , Jemima Kirke\, John Korner\, Ella Kruglyanskaya\, Eddie Martinez\, Geoff McFetridge\, Keegan McHargue\, Taylor McKimens\, Bjarne Melgaard\, Antonio Ballester Moreno\, Anders Oinonen\, Erik Parker\, Tal R\, Lola Schnabel\, R yan Schneider\, Allison Schulnik\, Devoin Troy Strother\, Jannis Varelas UID:263679 END:VEVENT BEGIN:VEVENT DTEND:20130306T210000 DTSTAMP:20140822T010132 DTSTART:20130306T180000 GEO:40.725131;-73.992465 LOCATION:The Hole NYC\,312 Bowery \nNew York\, NY 10012 SEQUENCE:0 SUMMARY:Chicken or Beef\, Dan Attoe\, Katherine Bernhardt\, Anna Bjerger\, Maya Bloch\, Cecily Brown\, Peter Linde Busk\, Miriam Cahn\, Troels Carlsen \, John Copeland\, Rosson Crow\, Jules de Balincourt\, Barnaby Furnas\, Joc elyn Hobbie\, HuskMitNavn\, Todd James\, Misaki Kawai\, Margaret Kilgallen\ , Jemima Kirke\, John Korner\, Ella Kruglyanskaya\, Eddie Martinez\, Geoff McFetridge\, Keegan McHargue\, Taylor McKimens\, Bjarne Melgaard\, Antonio Ballester Moreno\, Anders Oinonen\, Erik Parker\, Tal R\, Lola Schnabel\, R yan Schneider\, Allison Schulnik\, Devoin Troy Strother\, Jannis Varelas UID:263680 END:VEVENT END:VCALENDAR