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303 Gallery is pleased to present our first exhibition of ne w work by Jacob Kassay.

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Kassay's paintings re-evaluate the trajecto ry of a painting's production and upend its state as a finished form.

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Using the residual textiles from paintings long lost\, sold or otherwise disappeared\, Kassay has produced supports that follow the unique profiles and contours of each remnant for an ongoing series of irregularly shaped p aintings. As an inversion of this procedure\, Kassay has reproduced the str etchers initially built to conform to these discards as templates for entir ely new paintings\, further extending the ways in which by-products of proc ess can become blueprints.

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For this exhibition\, Kassay applies an atomized acrylic paint in place of the raw canvas of the original remnants. The paintings' surfaces simultaneously condense as solid textures and diff use into a depth-less fields of pixels. Oscillating between these dimension al states\, the opacity of the paintings remain partial and variable.

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As the stretcher's exchange their original remnants for painted surfaces \, the "untitled" of these previous works are replaced by arbitrary fragmen ts from passing conversations or aphoristic phrases. Rather than determinin g content\, these titles foreground their function as surrogates and parall el the discards themselves as language dissociated from its object.

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The paintings find their analog in a series of glass sculptures inspired b y the facade of Yale's Beinecke Library. Wrapped in semi-translucent marble \, the building necessarily reveals its framework and stanchions. Kassay's glass sculptures - solid wedges designed to be inserted into library books - act as lenses which simultaneously allow light to pass into their content s\, while obfuscating the legibility of the text they contain. The books be come containers\, orphaned from one communicative register then adopted int o another\, which give temporary residence to Kassay's sculptures.

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Jacob Kassay was born in Lewiston\, NY. He received his BFA from State Univ ersity of New York at Buffalo and now lives and works Los Angeles. Recent s olo shows include The Kitchen\, New York\; Xavier Hufkens\, Brussels\; Art: Concept\, Paris\; The Powerstation\, Dallas (catalogue) and Institute of Co ntemporary Art\, London (catalogue).

DTEND:20131220 DTSTAMP:20140902T060322 DTSTART:20131101 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:IJK\, Jacob Kassay UID:302154 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is proud to present Reflections + Transformati ons\, an exhibition of recent paintings and drawings by Sharmistha Ray. The exhibition &ndash\; Ray&rsquo\;s first solo in New York - explores the met aphysical emergence of the autonomous self in transitioning states between abstraction and the figure. For her last solo exhibition\, Hidden Geographi es\, Ray alluded to intimate tonalities as a collection of subtle whispers tucked away under the thick skins of paint-laden landscapes. In Reflections + Transformations\, those tonalities start to emerge more persistently\, p ushing their way through waves of abstraction. Alternating between layers o f ambiguity and suggestion\, the reflexive voice emerges at times in the fo rm of naked flesh\, while at other times remains figuratively buried under paint.
Ray&rsquo\;s paintings are sites for multiple negotiations to p robe the poetics of identity politics in continually shifting social and cu ltural parameters. Nomadically living between Mumbai and New York for close to a decade\, the artist embeds a haptic sense of movement in her painting s that mirrors her physical journeys in real time and space. Grid-like stru ctures that held paint in place here give way to more organic forms that mo rph into golden arcadias\, beds of roses and a garden of crushed flowers. T he self-reflexive voice vibrates within impasto layers of paint in City of Eros (2013)\, takes its form as abstracted female forms in the Fields of Go ld paintings\, wrestles with paint material in the Bed of Roses works and f inds a tenuous resolve in A Place of Her Own (2013).
The lyrical under tones of eroticism pervading the painterly realms of Ray&rsquo\;s abstracti ons find their self-conscious charge in the States of Arousal drawings. The ubiquitous and solitary female nude depicted in graphic tones departs from the overt sensuality of the paintings\, laterally entering into zones of r ealism to flesh out a narrative of carnal pleasure. The monumentalizing of personal intimacies\, whilst finding their formal tendencies within western art history\, have their rhetorical outflows from the more patriarchal and hetero-normative strictures of an eastern society where Ray spends most of her time.

Sharmistha Ray was born in Kolkata\, and lived in the Middle East before moving to the United States with her family in 1997. Sh e studied fine art and art history at Williams College and Pratt Institute and has been the recipient of notable awards and accolades including a Mont Blanc Young Artist Worldwide Patronage Commission (2012)\, a TED Fellowshi p (2009) and Joan Mitchell M.F.A. Grant (2004). Her works are in private co llections in India\, America\, Italy\, Singapore and Australia.

DTEND:20131214 DTSTAMP:20140902T060322 DTSTART:20131024 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Reflections + Transformations \, Sharmistha Ray UID:302157 END:VEVENT BEGIN:VEVENT DTEND:20131024T200000 DTSTAMP:20140902T060322 DTSTART:20131024T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Reflections + Transformations \, Sharmistha Ray UID:302158 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery | New York \;is proud to present In the Remains\, the first New York solo exhibition of Lon don-based artist Saad Qureshi. The meticulously ornate mul ti-media exhibition intricately examines the transience of time and the dev elopment\, distortion and deterioration of personal and collective memory. Here\, Qureshi explores the ever-shifting nature of human recollection alon g its frayed and fragmentary borderlands\, while leaving the works haunting \, multi-layered narratives ambiguous and open ended for what viewers thems elves might bring to the story. Oscillating between the tangible and imagin ed\, the textured and linear\, the stark and subtle\, the works channel the edge of consciousness where the lines between the present\, past and futur e break down - often within a single painting - and leave us grasping at th e fragments and obscurities of experiences drawn from both the artist and o urselves. Layered decorative devices drawing inspiration from traditional I slamic and Christian imagery combine with a host of recurring contemporary motifs of industrial ruins\, nomadic camps\, rainbow patterns\, explosions and clouds of smoke\, giving rise to a world where familiar scenes from bot h Eastern and Western history and the present-day become intertwined\, inex tricable and indelibly marked by our subjective interpretations.

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Us ing his own childhood memories as a starting point\, Qureshi's abandoned la ndscapes and structures appear in both minimalistic and layered forms befor e expanding into complex conceptual and actualized narratives of personal r eflections. Here\, the processes of remembrance take on intricate yet lofty forms\, traveling beyond a mere depiction of some distant place or story f rom once upon a time. The subjects slowly render an existence as affected b y their own surroundings\, while staying local to the initial idea of a rec alled personal memory\, composing a subtle yet interdependent commentary on both the constantly evolving and constantly disintegrating fabric of perce ived experience. Integral to the work\, however\, is the point at which Qur eshi and his subjects must inevitably stand aside\, allowing the viewer to wind their own recollective path of discovery through the abstracted realms of both the artist's personal experiences and his interpretation of our sh ared histories.

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Expanding upon his earlier bodies of work\, Qureshi continues his stylistic preference for muted background palettes\, but pro gressively implements strategic flourishes of color in his mixed media work s\, incorporating oil\, spray paint and wax pencil. Ambiguous scenes of bat tle and nomadic landscapes in chaos are populated by faceless unidentifiabl e inhabitants in conflict\, while blood pours forth rainbow-colored and riv ers run red. Elsewhere\, disembodied angel wings and smoke clouds hover in figureless scenes where any explanation for their existence has already bee n swallowed by the advancing nothingness stage-left. Meanwhile the future o f the illusive narrative is seen still coming into existence at right\, lea ving the overall work to take on the quality of a running film strip\, whos e characters and events\, through the inevitable breakdown of our recollect ions\, are doomed first to obscurity and finally to oblivion.

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In Qu reshi's large-scale mixed media installation Borrowed from the Shadows< /em>\, the ominous sculptural assemblage assumes a multitude of meanings. T he charred black surface alludes to the horrific consequences of increasing ly impersonal and mechanized warfare\, while the forms of the structures th emselves resemble the giant but shadowy weapons with which it is waged\, or perhaps the remains of an incinerated forest caught in the crossfire. As t he creator\, Qureshi once again invites his viewers to determine the final narrative\, subject to their own interpretations and associations derived f rom the materiality and foreboding presence of the objects. Influenced by v arious disciplines of psychology\, history\, religion and philosophy\, the work in this exhibition seeks to develop Qureshi's unique exploration of th e nature and mechanisms of memory\, born from the continuously intertwining experiences of our shared personal and cultural histories.

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Born in 1986 in Britain\, Qureshi received his MFA in Painting from the Slade Scho ol of Fine Art and lives and works in London. His work has been exhibited a nd collected internationally\, including solo exhibitions at Gazelli Art Ho use\, London (2012)\, Aicon Gallery\, London (2010)\, and\, among others\, the joint exhibition 'Ruins' at ArtEco Gallery\, London (2013) and the grou p exhibition 'Don't Raise the Bridge\, Lower the River' at Saatchi Gallery\ , London (2009). This is his first solo exhibition in New York.

DTEND:20131214 DTSTAMP:20140902T060322 DTSTART:20131024 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:In the Remains \, Saad Qureshi UID:304013 END:VEVENT BEGIN:VEVENT DESCRIPTION:

1965 &ndash\; 1977 includes key works by eight artists who resp onded to the aesthetics of minimalism and pop art with unique materials\, p rocesses\, and content. Many of these paintings and sculptures represent ea rly achievements made during the first stages of their careers.

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The earl iest works in the exhibition are Victor Grippo&rsquo\;s sm all\, chromatically vibrant paintings from 1965. The imagery in these works was influenced by the design of electronic circuitry and presage Grippo&rs quo\;s use of scientific materials\, minerals and commonplace objects to de pict natural forms of energy.

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Sylvia Plimack Mangold&rs quo\;s Floor I (1967) is the first of her paintings depicting a ti lting floor plane of gridded parquet tiles. Plimack Mangold&rsquo\;s realis tic iterations of constructed pictorial space retain their provocative rela tionship to the pure grids and systematic strategies employed by her peers.

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Neil Jenney&rsquo\;s Linear Piece (1967) is c omposed of two sections of aluminum alloy bent into nearly identical shape by hand. While each half of the diptych conforms to the same design\, the p rocess reveals how handmade objects\, even if serialized in their construct ion\, are always unique.

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Michael Buthe&rsquo\;s Unt itled (1968-69) is comprised of two painted canvases stretched on the same support. The top canvas is torn and ripped away to reveal the monochro me square beneath\, emphasizing the materiality and spatial potential of pa inting. Buthe&rsquo\;s torn canvas paintings were exhibited at museums in A msterdam\, Bern\, and Wuppertal in the first year after they were created.< /span>

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The box for Richard Artshchwager&rsquo\;s Locations (1969) is clad in his signature Formica and contains 5 blps made of wood\, glass\, Plexiglas and rubberized horsehair. Artschwager firs t exhibited his blps in the 1968 Whitney Annual.

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Robert Kinmont&rsquo\;s wood\, copper\, and water construction\, Sou rce Support (1970-73)\, lays bare his philosophical and material orien tation while succinctly conveying his commitment to precise\, structural cl arity. Kinmont grew up in the desert near Bishop and has lived most of his adult life in northern California\, the landscape of which has continued to influence the majority of his projects.

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Between 1968 and 1977\, Ree Morton created a significant and varied body of work. Unt itled (1973)\, is an un-stretched canvas with three wood blocks at the base which exemplifies the continuity between her abstract and nature base d imagery. A complete set of studies for her final work\, Manipulations of the Organic (1977) will also be exhibited.

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During the 1970s\, < strong>Paul Thek lived and worked primarily in Europe and construc ted a series of large scale environments in collaboration with friends. Thr oughout that time Thek created a number of paintings on newspapers. Gra sshopper and Dinosaur (1975) show their respective subjects d epicted as tiny creatures against fields of grey paint\, evoking the scale of his environments and theatrical projects.

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The gallery will be closed from December 24 through January 1.

DTEND:20140104 DTSTAMP:20140902T060322 DTSTART:20131123 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY:1965 - 1977\, Richard Artschwager\, Michael Buthe\, Victor Grippo\, Neil Jenney\, Robert Kinmont\, Ree Morton\, Sylvia Plimack Mangold\, Paul Thek UID:307146 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Statement by Christopher Crosman

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In previous exhibit ions \; of drawings and prints by Emily Nelligan and her late husband M arvin Bileck at the Alexandre Gallery\, \; the focus has been on works by both inspired by summers on Great Cranberry Island located just off Moun t Desert\, Maine. \; \; For this joint exhibition--along with Nelli gan&rsquo\;s charcoal drawings spanning more than a decade on the Cranberry islands--an extraordinary set of illustrations for a never published child ren&rsquo\;s book by Marvin Bileck is featured. \; \;

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Nelli gan&rsquo\;s work over the past half-century and more has never wandered fa r from Cranberry&rsquo\;s often fog-shrouded\, intertidal shorelines. \ ; Nelligan has stated that she finds it difficult to draw anywhere else but on Cranberry Island. \;  \;Utilizing only charcoal (always unfixed ) and an eraser held in either hand\, her drawings transcend any limitation s her modest tools would seem to impose\; through Nelligan&rsquo\;s \; caressing touch the subjects include the blurred\, soft edges between abstr action and representation\, seeing and not\, between being and not. \;& nbsp\; While there are no direct precedents for Nelligan&rsquo\;s work\, sh e speaks to traditions rising out of late 19th century tonalism& mdash\;Whistler&rsquo\;s gentle admonition that paint &ldquo\;&hellip\;shou ld be like breath on a pane of glass\, &rdquo\;as well as the organic abstr action found in early twentieth century American  \;modernism. \; F or instance\, Alfred Stieglitz&rsquo\;s photographs of clouds\, the &ldquo\ ;Equivalence&rdquo\; series\, or Arthur Dove&rsquo\;s glowing orbs in indet erminate space. \; Nearly dumbstruck\, as have been other notable criti cs in front of Nelligan&rsquo\;s drawings\, Maureen Mullarkey can only invo ke liturgical metaphor: &ldquo\;If the ancient canonical hours could be obs erved by images instead of prayers\, here they are.&rdquo\; \; Some dra wings convey the impenetrable darkness of dense fog enveloping the island a t night. \; In others\, there is a quality of moisture-laden light\, of breaking dawns and distant clearing. \; Littoral immanence. \;&nbs p\; And we cannot help but wonder if the drawings in this exhibition\, most ly created after her husband of nearly fifty years&rsquo\; death in 2005\, aren&rsquo\;t in some measure prayers and homages to their long life togeth er.

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Unlike Nelligan\, who has only recently attained wider recognit ion and critical acclaim&mdash\;largely through previous exhibitions at the Alexandre Gallery--Marvin Bileck has long been known for his illustrations of children&rsquo\;s books including his Caldecott award-winning\, Rai n Makes Applesauce and A Walker in the City by Alfred Kazan.& nbsp\; \; It is\, therefore\, no accident that he and fellow Cooper Uni on graduate\, Ashley Bryan\, also a noted children&rsquo\;s book author and illustrator\, found themselves collaborating on a book for children. \ ; \; Initiating and developing the project between 1965 and 1970\, they chose an obscure manuscript by Virginia Woolf\, By Trolley Past Thimbl edon Bridge. \; Bileck&rsquo\;s magical\, whimsical drawings\, sho wn here for the first time\, even in this partly finished form\, conjure a world of enchantment through free association and play&mdash\;primarily wor d play and visual puns (tales and tails are hopelessly entwined throughout) . \; \; Embodying childhood memories that are often fragmentary\, o ut of temporal sequence\, isolated and interwoven&mdash\;jostling vignettes as presented by Bileck--these lively\, complex drawings need few words to convey a narrative that is itself almost entirely about the joys of sensory experience.  \;Indeed\, letters and words vary in size\, location and prominence and often become their own visual mysteries and surprises as the y swoop and bend across the page. Bileck&rsquo\;s invitation to board the a uthor&rsquo\;s magical &ldquo\;trolley&rdquo\; back to childhood wonderment \, alludes\, perhaps\, to his own first memories of children&rsquo\;s books . \; The drawings have an antique\, faded appearance\, as if pulled fro m some forgotten bookshelf of his own fast receding childhood. \; Arthu r Rackham (Peter Pan) and Lionel Feininger&rsquo\;s early &ldquo\; Kin-Der-Kids&rdquo\; come to mind. \; In their reticence and dissolving legibility&mdash\;like the nearly lost\, blurred recollections of childhoo d itself--they come closest to his wife&rsquo\;s ethereal landscapes.   \; \;Or as the narrator of Thimbledon Bridge tells us:

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OUR DAY DREAMS AND FANCIES

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TAKE OFF IN OUR PLAY

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WHAT&rsquo\;S REAL\ , WHAT&rsquo\;S IMAGINED

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NO ONE CAN SAY

DTEND:20140111 DTSTAMP:20140902T060322 DTSTART:20131207 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:Emily Nelligan: Drawings and Mavin Bileck: Thimbledon Bridge\, Emil y Nelligan\, Marvin Bileck UID:301207 END:VEVENT BEGIN:VEVENT DTEND:20131207T150000 DTSTAMP:20140902T060322 DTSTART:20131207T130000 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:Emily Nelligan: Drawings and Mavin Bileck: Thimbledon Bridge\, Marv in Bileck\, Emily Nelligan UID:301208 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A philosophical discourse via photographic materials and vis ual language.

A box of photo paper in my darkroom got 'blown'\ , that is\, opened in a fully lit room. Photography is all about the contro l of tiny amounts of light in tiny fractions of time\, so that was a pretty gut wrenching\, oh no\, moment. Rather than throw away a few hundred feet of paper\, I kept it for experiments. Having the lights on meant that I cou ld finally use all of the 72' paper I had but couldn't get my arms around i n the full darkness that you need for color processing. Theoretically they should have been either black or bleached white\, but with different diluti ons and temperature chemistry combinations they started to turn out like cr azy\, giant abstract paintings with some strange material presence. It's a roll of the dice\, all in one go process\, which is hard to fully control. I find the emotional effect of their presence bypasses reason and intellect ual functions in an unsettling manner. The front room has two sets of these monsters stacked in pairs on top of each other\, in separate frames\, so t hey stretch floor to ceiling\, within the room.

Confusion on t his topic of feelings led me back to a box of abstract photograms I made in 2000-2003 with colored gels and geometric masks. There was one that I hate d at the time that ten years later turned out to be really special in a way the others weren't. I figured the best way to try to understand this was t o make some more. These are the works in the back room. They were made in ' other people's darkrooms\,' and are very crisp and geometric. The ones that are special have a back and forth of order and chaos. I think sometimes th is is how most things are in life.

Over the last few years\, I have been working on a silent video about personal demons\, which will be projected onto the front window wall of the gallery the night of the openin g\, which of course is Halloween.

Also in the back room is a d rawing about feelings.


Mariah Robertson was born in 197 5 and grew up in California. She lives and works in Brooklyn\, NY. She has exhibited widely at public and private institutions including the current e xhibition XL/19 Acquisitions at the Museum of Modern Art\; Mariah Robertson \, The Baltic Centre for Contemporary Art\, UK\; Greater New York\, MoMA/PS 1\, NY (catalogue)\; Mariah Robertson\, Grand Arts\, MO (booklet) and Out o f Focus at The Saatchi Gallery\, London (catalogue). Robertson has just rel eased a leporello bound\, scaled reproduction of one of her 100ft photograp hs with London based publisher 'Self Publish be Happy'. Her work is in the collections of the Museum of Modern Art\, NY and the LA County Museum of Ar t\, CA and featured in an ongoing documentary for Art 21 titled New York Cl ose Up.

DTEND:20131220 DTSTAMP:20140902T060323 DTSTART:20131031 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY: Permanent Puberty\, Mariah Robertson UID:304670 END:VEVENT BEGIN:VEVENT DTEND:20131031T200000 DTSTAMP:20140902T060323 DTSTART:20131031T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY: Permanent Puberty\, Mariah Robertson UID:304671 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition considers three contemporary artists who are inspired by the history and structure of American quilts but who are neith er inhibited\, constricted\, nor defined by it. Sabrina Gschwandtner\, Luke Haynes\, and Stephen Sollins are keenly aware that a quilt&rsquo\;s very s ubstance&mdash\;its remnants\, pieces\, choices\, geometries&mdash\;is prof oundly laden with meaning. They intentionally seek such emotional and reten tive content in their work\, oftentimes through ingenious techniques and by using unexpected materials such as 16mm film strips or used Tyvek envelope s. By purposefully reusing experiential elements with relevance to their ow n lives and times\, they exploit the tension inherent in historical quilts between function and significance. The three artists are especially attract ed to the rationality and precision of specific quilt patterns that often h ave illusive qualities&mdash\;Tumbling Blocks\, Log Cabin\, Sunshine and Sh adow\, Double Wedding Ring&mdash\;examples of which\, from the museum&rsquo \;s collection\, will also be on view.

DTEND:20140105 DTSTAMP:20140902T060323 DTSTART:20131001 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:alt_quilts\, Sabrina Gschwandtner\, Luke Haynes\, Stephen Sollins UID:294143 END:VEVENT BEGIN:VEVENT DTEND:20131001T173000 DTSTAMP:20140902T060323 DTSTART:20131001T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:alt_quilts\, Sabrina Gschwandtner\, Luke Haynes\, Stephen Sollins UID:294144 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cristó\;bal Lehyt&rsquo\;s (b. 1973) approach to site- specificity questions the immediate perception of sight (and the site) as a device of cultural translation: what you see is not what you get. For Lehy t\, site-specific sculpture occupies the exhibition space as a phenomenolog ical difficulty rather than an encounter with the audience.

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Lehyt&r squo\;s artistic practice\, specially his drawings\, also departs from a ps ychological conundrum\, projecting the real on a screen\, or "sheet"&mdash\ ;a piece of white fabric\, thick but not totally opaque\, serves in this ca se as an allegory of sight as blurred vision or detritus. Typically\, his s eries of drawings entitled\, Drama Projections operates within the liminal realm of language as an impediment or defect. Drawing serves as a medium for a silent type of storytelling in which a mechanism of reproducti on/psychic projection allows the artist to delve into life&rsquo\;s everyda y conflicts that are unleashed by the artist&rsquo\;s narrative impulse.

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Iris Sheets\, Lehyt&rsquo\;s solo project for the Americas S ociety\, in its various paradoxes and components&mdash\;a site-specific scu lpture\, a mural of drawings\, and a banner to be hung at the building&rsqu o\;s southwestern faç\;ade&mdash\;tackles the contradictions of an ar tist from the so-called periphery living in and outside his original contex t. On the one hand\, Lehyt's site-specific sculpture echoes the shape of th e geography of Chile and its materials symbolically link the piece with the country&rsquo\;s role as a successful world exporting country. Lehyt is no t interested in undertaking an essentialist celebration or in examining pol itical mythologies from the Cold War\, although in his previous works allus ions to Chile have been repressed and abstracted. It is not accidental he r ecurrently uses materials from the South American country blended with a cl uster of multilayered references to land art and minimalism\, as well as Ma tt Mullican&rsquo\;s hypnotic drawings. An artist born in 1973\, Lehyt&rsqu o\;s sculpture and drawings are informed by an exploration of the repressio n of memory after Chile&rsquo\;s dictatorship and its trivialization throug h the gap between traumatic experience and the past. Lehyt uses history as an abstracted fact muted by language and identifies post-traumatic effects of repression as a mythological construction of the present. Iris Sheet s frames these issues as a Samuel Beckett-like tongue twister directed to non-English native speakers.

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The Installation

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Lehyt will create a site-specific installation that respond s to the architecture of the Americas Society&rsquo\;s art gallery and cons iders its exhibition history as a space dedicated to (re)present the art of the Americas since the 1960s. The centerpiece of the show will be a gigant ic snake-like\, three-dimensional structure that weaves through the 1000-sq uare foot space. Upon entering\, visitors will encounter what will seem to be the head of the monstrous figure. The structure will be made with natura l wood drenched in red Chilean wine and natural-fiber rope therefore engagi ng the spectator&rsquo\;s perception of space and teasing his or her sense of vision\, smell\, and touch. The body of the sculpture forms a sort of ve rtebrae that will operate very much like many of Lehyt&rsquo\;s other works &mdash\;it will appear as one thing and function as another\, making it dif ficult to identify. The work will be at once abstract\, yet organic in form . Lehyt&rsquo\;s work operates within these contradictions\, which can also take the form of humor or through a linguistic game in which a joke can be a way for the visitor to access to the meaning of the work of art. For Leh yt\, contemporary art&mdash\;specifically sculpture&mdash\;game playing all ows for alternative approaches to be explored\, some of which may not norma lly be taken seriously within the traditional context of art making.

\n< p>Another component of Iris Sheets is a mural the artist will prod uce specifically for the exhibition. Working in tandem with the monumental three-dimensional piece\, this work is based on drawings\, which the artist titles Drama Projections&mdash\; a psycho-analytic process that i s the result of mind-numbing sessions of &ldquo\;automatic drawing.&rdquo\; Begun in 2003\, Drama Projections was started as a means for Lehy t to overcome a conceptual resistance to representing the traumas of the pr esent through portraiture. Through these sessions of automatic drawing\, th e artist projects his own fantasies upon his everyday encounters with unkno wn men and women on the subway\, in restaurants\, or on the streets of the many cities he has visited. At the end of each session\, Lehyt is left with intimate drawings he has produced\, which can be viewed as characters star ing in their own fiction. As the artist has stated\, the portraits are like the &ldquo\;the undead in a strange limbo.&rdquo\; Nevertheless\, these ra w drawing are rarely shown and undergo various levels of mediation. For Iris Sheets\, Lehyt will enlarge these drawings\, so that they are al most life-size in form.

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Lehyt will also hang a large banner outside Americas Society&rsquo\;s building southwestern faç\;ade entitled Violeta (2006). The banner features an image of the Chilean protest and folk singer Violeta Parra\, along with the text "Thank you life for giv ing me so much\," lyrics from her iconic song. \; Although Parra&rsquo\ ;s song became internationally associated to the shattered social utopias f rom the 1970s\, the song is the mere product of the singer&rsquo\;s existen tial preoccupations rather than a programmatic piece of propaganda. Lehyt e mphasizes the lack of accuracy of its present meaning by showing it as an e nigmatic marker\, decontextualized from history and transmitted through myt hs. The song&rsquo\;s lyrics printed on the banner also operates as a comic al element to be discovered by the passersby.

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Iris Sheets will be accompanied by an upcoming fully illustrated catalogue in which art historian Jaleh Mansoor (Department of Art History\, Visual Art &\; The ory at University of British Columbia) will contribute with an essay as wel l as Chilean writer Alejandro Zambra with a text in dialogue with Lehyt&rsq uo\;s approach to history as repressed memory. In addition\, the publicatio n will feature an interview with Chief Curator Gabriela Rangel and Assistan t Curator Christina De Leó\;n and the artist. \;

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About the Artist

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Cristó\;bal Lehyt\, born in Santiago\, Chile in 1973\, \;lives and works in New York City. He stud ied at the Universidad Cató\;lica de Chile\, and later at Hunter Coll ege and The Whitney Independent Study Program in New York. His solo exhibit ions include the Carpenter Center (Cambridge\, MA in 2010)\, Fundació \;n Telefó\;nica Chile (2009)\, Kü\;nstlerhaus Stuttgart (2008)\, University of California Irvine (2007)\, and numerous others in galleries in London\, Santiago de Chile\, Caracas\, and Mexico City. He has also part icipated in group exhibitions at the Mercosur Biennial (2009)\, El Museo de l Barrio (2007)\, Kunsthaus Dresden (2006)\, the Shanghai Biennale (2004)\, the Whitney Museum of American Art (2003)\, MoCA Los Angeles (2002)\, amon g many others in New York\, Madrid\, Santiago\, Bogotá\;\, Caracas\, Mexico City\, Berlin\, Vienna\, Beijing\, and Rio de Janeiro. He has been a warded the John Simon Guggenheim Memorial Foundation Fellowship and the Art Forum Fellowship at Harvard University. He is represented by Die Ecke\, Sa ntiago and Johannes Vogt Gallery in New York. His work with paintings\, dra wings\, and photographs explore identity\, figuration\, and dramatic narrat ive.

DTEND:20131214 DTSTAMP:20140902T060323 DTSTART:20130910 GEO:40.6955248;-73.9871396 LOCATION:Americas Society Gallery\,680 Park Avenue (@ 68th St) \nNew York\, NY 10065 SEQUENCE:0 SUMMARY: Iris Sheets\, Cristóbal Lehyt UID:295850 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140125 DTSTAMP:20140902T060323 DTSTART:20131205 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Hans Hofmann\, Hans Hofmann UID:309939 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The addition of artists to the program is always an exciting moment to reaffirm the gallery&rsquo\;s commitment to showing the most mea ningful and important work of our time\, and so it is with great pride that Andrea Rosen Gallery announces Josephine Meckseper&rsquo\;s first exhibiti on with the gallery.

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Meckseper&rsquo\;s new work attempts to constr uct the present as archaeology and to create a window into a historic past at the same time. The exhibition will feature large-scale vitrines\, mirror wall panels and photographic works that reveal a historical link between c ontemporary consumer display forms and their early 20th century precursors. While Meckseper&rsquo\;s earlier vitrine works commented on contemporary c onsumer culture using the shop window as an example and focus point for civ ic unrest and protest in our late capitalist society\, her current works al lude to the political dimension of early modernist display architecture and design between World War I and II in Weimar Germany.

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Where the art ist&rsquo\;s previous work pointed to the instability of capitalism and oft en included photographs taken by the artist at political protests\, the wor ks in the current exhibition refer to the rise of the Bauhaus and Deutscher Werkbund and their imminent destruction through the Nazi regime. Evoking t he modernist architecture of Ludwig Mies van der Rohe&rsquo\;s Barcelona Pa vilion and the way in which it framed a single sculpture by Georg Kolbe\, M eckseper&rsquo\;s vitrines both show how works are contingent on environmen t and context and how they can become subject to the vicissitudes of extern al ideologies. The stainless steel and glass vitrines in her current exhibi tion house arrangements of early 20th century inspired hand made sculpture casts and paintings\, taking on a similar function as Mies van der Rohe&rsq uo\;s well-known designs and glass structures for art collections: art and art history are here on display.

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Featured throughout the exhibition is a black and white photograph Meckseper took of the Niedersachsenstein m onument built by the Expressionist artist Bernhard Hoetger in her hometown\ , the early 20th century artist colony\, Worpswede. The imposing sculpture was intended as a tribute to the fallen soldiers of World War I\, just as C onstantin Brancusi&rsquo\;s &ldquo\;Endless Column&rdquo\; was to the Roman ian war victims. The Nazi party\, however\, declared Hoetger&rsquo\;s Expre ssionist art &ldquo\;degenerate&rdquo\; in 1936\, and the Niedersachsenstei n is the only surviving large scale Expressionist outdoor sculpture in Germ any.

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Concrete and bronze casts of mannequin parts evoking Brancusi& rsquo\;s &ldquo\;Male Torso&rdquo\; are paired with appropriated elements l ike boxes of male underwear label 2(X)ist. In addition\, large-scale wall b ound works on mirror as well as enlarged sketches and collage bare traces o f early 20th century Expressionism. Their formal appearance of window shape s bring to mind Max Beckmann&rsquo\;s paintings from his exile years in the United States in the late forties\, which often depicted window tableaus.< /p>\n

Meckseper&rsquo\;s confrontation of contemporary consumer display v itrine structures with the historic underpinnings of Hoetger's\, Brancusi's and Mies van der Rohe's work\, illustrates how early Modernism\, German Ex pressionism and the avant-garde developed into a form of political and aest hetic resistance to the mainstream. \; In Meckseper&rsquo\;s work\, the full complexity and contradictions of how contemporary life\, art\, commer ce and politics intertwine are addressed and embodied\; the gallery space b ecoming a site of inquiry into hidden ideologies and power systems.

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Josephine Meckseper was born in Lilienthal\, Germany\, and stud ied at Hochschule der Kü\;nste in Berlin and CalArts\, Los Angeles\, wh ere she received her MFA. Meckseper is currently preparing for a forthcomin g solo exhibition at the Neuer Aachener Kunstverein\, Germany\, in 2014. Mo st recently\, her work was exhibited throughout the permanent collection an d public spaces of Parrish Art Museum during their first summer season in t heir new Herzog &\; De Meuron building. Meckseper&rsquo\;s first public project in New York\, Manhattan Oil Project\, was commissioned by Art Produ ction Fund and installed in a lot adjacent to Times Square in 2012. A major retrospective was organized by the Kunstmuseum Stuttgart\, Germany\, in 20 07. Meckseper&rsquo\;s work has been exhibited worldwide\, and is in the pe rmanent collections of numerous institutions\, including the Solomon R. Gug genheim Museum\, The Museum of Modern Art\, the Whitney Museum of American Art\, the Perez Art Museum Miami\, migros museum fü\;r gegenwartskunst\ , Zü\;rich\, and the Hammer Museum\, UCLA. The artist lives and works i n New York.

DTEND:20140118 DTSTAMP:20140902T060323 DTSTART:20131123 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Josephine Meckseper UID:307975 END:VEVENT BEGIN:VEVENT DTEND:20131122T200000 DTSTAMP:20140902T060323 DTSTART:20131122T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Josephine Meckseper UID:307976 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140118 DTSTAMP:20140902T060323 DTSTART:20131123 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Also on View\, Hannah Wilke\, Alina Szapocznikow UID:314278 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is pleased to announce a three-person e xhibition in our Gallery 2 space with work by Matt Connors\, John Henderson and Lucas Knipscher. Using very different strategies\, each of these artis ts consciously engages the tropes of modernist abstraction in ways that bot h acknowledge the familiarity of these gestures and renew and challenge the material conventions of their mediums. In objects that navigate and test t he assumed boundaries of painting\, sculpture\, and photography\, the three artists actively register the evolving potential of these media\, suggesti ng an open and performative relationship to the history of abstraction and all of its loaded meanings.

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Rejecting\, perhaps\, the serial obsole scence of commodity\, the artists&rsquo\; subtle gestures explore the limit s of material\, support\, surface\, and structure\, finding continuation in our most traditional art practices. In a context defined by the increasing saturation of images\, the three artists here make a case for the unique p osition that real objects can hold in the physical space of a viewer.

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Matt Connors (b. 1973) received his MFA from Yale in 20 06. Major solo and two-person exhibitions of his work have been presented a t MoMA PS1\, New York\; Kunstahlle Dü\;sseldorf\, Germany\; Dallas Muse um of Art\, Texas\; CANADA Gallery\, New York\; Cherry and Martin\, Los Ang eles\; and The Breeder\, Athens\, Greece. Group exhibitions include those a t Walker Art Center\, Minneapolis\; Contemporary Arts Museum\, Houston\, Te xas\; Kunsthalle Andratx\, Mallorca\, Spain\; Office Baroque Gallery\, Antw erp\, Belgium\, and Sikkema Jenkins\, New York. \; He was the receipien t of a 2012 Guggenheim Fellowship Grant.

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John Henderson (b. 1984) received his MFA in painting from Northwestern University i n 2010. Recent solo exhibitions include Peep-Hole\, Milan\, Italy\; Galerie Perrotin\, Hong Kong\; T293\, Naples\, Italy\; Museum of Contemporary Art\ , Chicago\; and Golden Gallery\, Chicago. His work was featured in the Prag ue Biennale 6 and group exhibitions at Depart Foundation\, Rome\; Cherry an d Martin\, Los Angeles\; Museo d&rsquo\;Art Moderna di Bologna\, Italy\; an d Family Business Gallery\, New York.

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Lucas Knipscher (b. 1979) received his MFA in photography from Bard College in 2008. Re cent solo exhibitions include Vilma Gold\, London and Thomas Duncan Gallery \, Los Angeles\; his work has been included in group exhibitions at Swiss I nstitute\, New York\; Rachel Uffner Gallery\, New York\; the Sculpture Cent er\, New York\; and Balice Hertling\, Paris.

DTEND:20140118 DTSTAMP:20140902T060323 DTSTART:20131123 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:three-person exhibition\, Matt Connors\, John Henderson\, Lucas Kni pscher UID:307971 END:VEVENT BEGIN:VEVENT DTEND:20131122T200000 DTSTAMP:20140902T060323 DTSTART:20131122T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:three-person exhibition\, Matt Connors\, John Henderson\, Lucas Kni pscher UID:307972 END:VEVENT BEGIN:VEVENT DESCRIPTION:

kaufmann repetto is happy to announce the first of a series of exhibitions in New York\, opening on November 9\, with a solo show by It alian painter Pierpaolo Campanini.
The work of Pierpaolo Campanini is at the same time intimate and monumental. The sculptures assembled in his s tudio in a meticulous process of accumulation of objects and natural elemen ts are\, through pictorial mediation\, rendered solitary creatures &ndash\; inhabitants of a fictitious reality\, both tangible and indefinite.
T he space in which Pierpaolo Campanini's subjects are developed is an arena\ , where objects appear in a struggle to find a definitive form\, a place in the world.
The paintings presented in Campanini's exhibition are situ ated between memory and desire\, where vernacular monuments are ambiguous s ubjects that escape an unequivocal definition. Through the process of paint ing\, they appear to dissolve in delicate gestures that aim to recover an o riginal form. Here\, the softness of fabrics wraps around a disparate mass of elements that alternates moments of tension with the abandonment of grav itational force.
In a kind of diametric symmetry\, natural elements li ke leaves\, roots\, and twisted branches are represented through the memory of sculpture\, the mediation of past models\, and the re-elaboration of cu ltural tradition.
Monuments in forgotten squares\, faded photographs\, actors in an empty theatre\, the refuse of ideas shattered in pieces: Camp anini&rsquo\;s works unleash a feeling of abandonment. As in the opening li nes of T.S. Eliot's &ldquo\;The Waste Land&rdquo\; beauty\, by way of dyscr asia\, generates a silent pain: &ldquo\;April is the cruellest month\, bree ding / Lilacs out of the dead land\, mixing / Memory and desire\, stirring / Dull roots with spring rain.&rdquo\;
Pierpaolo Campanini was born in 1964 in Cento (Ferrara)\, Italy\, where he lives and works.
Recent ex hibitions include &ldquo\;La Figurazione Inevitabile&rdquo\;\, Centro per l &rsquo\;arte contemporanea Luigi Pecci\, Prato (2013)\; Corvi Mora\, London (2012)\; &ldquo\;Faces&rdquo\;\, curated by Paolo Colombo\, Onassis Cultur al Centre\, Athens (2012)\; &ldquo\;Silences where things abandon themselve s&rdquo\;\, MSU\, Zagabria (2012)\; &ldquo\;Italics: Italian art between tr aditionand revolution 1968-2008&rdquo\;\, curated by Francesco Bonami\, Mus eum of Contemporary Art\, Chicago and Palazzo Grassi\, Venice (2009)\; kauf mann repetto\, Milan (2009)\; Blum and Poe\, Los Angeles (2008)\; &ldquo\;A pocalittici e Integrati: utopia nell&rsquo\;arte italiana di oggi&rdquo\;\, MAXXI\, Museo Nazionale Delle Arti del XXI Secolo\, Rome (2007)\; Salon 94 \, New
York (2006)\; &ldquo\;Etc.\;&rdquo\; Le Consortium\, Dijon (200 5)\; La Quadriennale di Roma\, Rome (2005)\; &ldquo\;VERNICE\, Sentieri del la giovane pittura italiana&rdquo\;\, curated by Francesco Bonami\, Villa M anin\, Udine (2004)\; &ldquo\;Ratio\,&rdquo\; curated by Andrea Bruciati\, Galleria Civica\, Monfalcone (2003).

DTEND:20140111 DTSTAMP:20140902T060323 DTSTART:20131109 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:kaufmann repetto at Andrew Kreps\, Pierpaolo Campanini UID:307174 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140111 DTSTAMP:20140902T060323 DTSTART:20131109 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Peace Torques\, Padraig Timoney UID:307175 END:VEVENT BEGIN:VEVENT DTEND:20131109T200000 DTSTAMP:20140902T060323 DTSTART:20131109T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Peace Torques\, Padraig Timoney UID:307176 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his third solo show at Anton Kern Gallery\, Brazilian ar tist Marepe presents a group of six sculptures made of common objects and p ut together with great formal rigor and poetic potential. These works achie ve a complex layering of references and meanings addressing the linkage bet ween the individual and society.
Marepe's sculptures are made from eve ryday materials such as plastic buckets and tables\, ironing boards\, broom s\, bicycles\, wheelbarrows\, and chipboard. Some titles\, such as Embutido Sanfona (embedded accordion)\, are inspired by popular music\, others are factual and descriptive\, such as Empilhamento (stacking). The work allows for a direct reading\, and perhaps more importantly\, leads toward a sensor y experience\; an intimacy of touch and interaction\, comparable to the dee ply emotional experience and immediacy of listening to music.
Duchamp and Neoconcretismo may be part of Marepe's inspiration\, but it is the arti st's deep concern for the social and for human interaction that drives his art. He combines quotidian objects and materials to form disarmingly simple monuments\, some suggesting abstract forms\, others depicting figures enga ged in dance-like interaction\, and in some cases allowing cut-out chipboar d to assist in creating specific figures.
Many of Marepe's titles refe r to Brazilian music or lyrics. Embutido Sanfona for example\, can be trans lated as &ldquo\;built-in concertina\,&rdquo\; the slightly smaller version of the accordion which is the lead instrument in Forró\;\, a thrilli ng and infectious folk-pop music from the North-East of Brazil\, the region where Marepe grew up and still lives and works. "Embutido Sanfona" also re fers to Marepe's previous wooden models for rooms and trucks and his intere st in communal and shared spaces. It is simultaneously a minimalist kinetic sculpture\, a model for multi-purpose housing\, and a musical celebration.
Marepe's work speaks\, or rather sings of everyday life and love\, ce lebrating and elevating the specific materials and origins of the work to t he universal. The ordinary shines in its simple beauty declaring its libera ting and transformative power.
Born Marcos Reis Peixoto 1970 in San An tonio de Jesus\, Bahia\, Brazil\, Marepe lives and works in Salvador de Bah ia\, Brazil. The artist has participated in various group exhibitions inclu ding The Living Years\, Walker Art Center\, Minneapolis (2012)\; Gigantes p or su propia naturaleza\, IVAM Instituto Valenciano de Arte Moderna\, Valen cia\, Spain (2011)\; NeoHooDoo: Art for a Forgotten Faith\, The Menil Colle ction\, Houston\; PS1\, Long Island City\; Miami Art Museum\, Miami (2008/0 9)\; An Unruly History of the Readymade\, Jumex Collection\, Mé\;xico \; When Lives Become Form: Contemporary Brazilian Art: 1960-Present\, Museu m of Contemporary Art of Tokyo (both 2008)\; Alien Nation\, ICA\, London\; 27th Bienal de Sã\;o Paulo\; 15th Biennale of Sydney\, Sydney (all 20 06)\; Tropicá\;lia: A Revolution in Brazilian Culture\, Barbican Art Gallery\, London\; The Bronx Museum of the Arts\, New York\; Museu de Art M oderna\, Rio de Janeiro\, Museum of Contemporary Art\, Chicago (2005/06)\; How Latitudes Becomes Forms: Art in a Global Age\, Contemporary Arts Museum \, Houston\; Venice Biennale\, Venice\, Italy\; the Istanbul Biennial (all 2004). Recent solo exhibitions include Veja meu Bem\, Tate Modern\, London\ ; Espelho\, Museu de Arte Moderna\, Sã\;o Paulo (both 2007)\, and Ver melho Amarelo Verde Azul\, Centre Pompidou\, Paris (2005)\;

DTEND:20131221 DTSTAMP:20140902T060323 DTSTART:20131025 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Marepe UID:302159 END:VEVENT BEGIN:VEVENT DTEND:20131025T200000 DTSTAMP:20140902T060323 DTSTART:20131025T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Marepe UID:302898 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20131214 DTSTAMP:20140902T060323 DTSTART:20131025 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, John Bock UID:310216 END:VEVENT END:VCALENDAR