Agenda


Mar
19
lun
Expo: Kenny Scharf- Inner and Outer Space @ Leila Heller Gallery (Dubai)
Mar 19 @ 18 h 01 min – Août 31 @ 19 h 00 min

Leila Heller Gallery is pleased to present the first solo exhibition in the UAE by Kenny Scharf (b. 1958), muralist, painter, sculptor, and installation artist, best known for his fantastical, large-scale paintings of anthropomorphic animals and imagined creatures. The exhibition features a selection of large-scale works on canvas as well as relief sculptures comprised of oil painted televisions and small assemblages of found objects.

 

His new body of work is a reaction to what he perceives as our ‘increasingly out-of-control situation’, depicted by the melting faces in his paintings. Scharf’s work continues to reflect his inexhaustible optimism and his sense of fun but has always been engaged with profound issues beneath the facade. Ecology, the environment, and capitalist excess have long been central themes. More recently, his paintings reflect his environmental concerns over the petroleum industry.

 

Large-scale, bright, colorful paintings, murals, drawings, sculptures, prints and installations define Kenny Scharf’s oeuvre, often depicting animated cartoons or imagined creatures. With a child-like appeal, his work is often described as playful, optimistic, bubbly and full of joy. Beneath the colorful and idyllic surface of his paintings and collages, Scharf references the darker issues of the modern world. He categorizes his art as ‘pop surrealism’, drawing inspiration from the realm of the unconscious, explaining that his own unconscious is full of pop imagery. He cites surrealism and abstract expressionism as his major influences.

 

In We’re Melting Together Night and Day (2017), Melty Slop (2017) and consequent paintings in this series, animated faces of comical creatures crown the descending lines of paint, as though each downward melting blotch were the extended body of one of those figures. Alluding to Color Field, a style characterized by large, highly simplified compositions in which the use of color is independent of line and figuration, Scharf connects with modernist art movements by creating new hybrids, almost as if these earlier forms of art had been placed in a blender. Rows of faces disintegrate into colorful drips reminiscent of both New York School painting and the imagery of minimal art. In these new works, Scharf strives to create clear and simple forms that resonate with meaning, a process that he finds to be “so much fun”.

 

The use of cartoon faces allows Scharf to express emotion with abstract power. The expression of emotion in art is an element he considers essential to his practice; art that is cold leaves him cold. Scharf studied cartoons as a way to intensify figurative expression, like his artistic counterparts from his early years in New York, Jean-Michel Basquiat and Keith Haring.

 

Earlier in his career, Scharf sourced materials for his artworks in the garbage, and to this day, he still stops his car when he finds plastic toys and TV sets thrown out on the street. These discarded plastic objects have inspired the two other bodies of work featured in the show: his Assemblage Vivant Tableaux Plastiques, and his TV Bax. Inspired by the Nouveau Realistes, the assemblage works are constructed from his stock of recycled plastic toys, an expression of our perpetual consumerism. The TV Bax are painted on the plastic backs of discarded television sets. Like the toys, the TV Bax have a disconcerting anthropomorphic quality. The artist questions if their anonymous designers created these plastic covers, which are different for every model, to resemble a face.

 

These discarded toys and television backs are considered poignant objects, resonant with emotion. “Each of these objects carries a story,” Scharf explains. He considers how people may have struggled and sacrificed to buy these toys and TVs, and the intense relationships that children and families have with them. Scharf brings to life these inanimate objects in his work.

 

Since his childhood, Scharf has been fascinated by outer space. Space travel and the portrayal of infinite space have long been central themes. In his life and in his work, he tries to eliminate boundaries and borders. He is increasingly preoccupied with the inner space of painting, his exploration of which creates a dynamic tension with his passion for outer space. With his characteristic exuberance and moral voice, Scharf reformulates his unique combination of Pollock and Pop to create a vibrant new body of work.

 

The use of oil and acrylic paint in an airbrush-like manner imbues the presence of street culture within contemporary art. Pulsating with energy and overflowing with visual information, Kenny Scharf’s art infuses sinuous biomorphic forms with a symbolism reflecting electronic media’s insistent grip on our most primal fantasies. Fusing high art and cartoon, technological aspiration and ecological devastation, he creates playful works of art that evoke a state of whimsy.

Mar
30
ven
Expo: Chemin Papier @ Le Signe (Chaumont)
Mar 30 @ 18 h 01 min – Sep 16 @ 18 h 00 min

Chemin Papier, l’illustration et ses marges

du 31 mars au 16 septembre 2018

Vernissage : vendredi 30 mars à 18h 

Qu’est-ce que l’illustration aujourd’hui?

Bien des choses en réalité… Car si elle existe toujours en tant que telle, dans l’édition et la presse, les illustrateurs s’affranchissent sans cesse de ses frontières pour s’engager sur d’autres terrains, tels les romans graphiques, les affiches, … L’exposition Chemin papier, l’illustration et ses marges propose de répondre à la question en s’intéressant directement à la démarche personnelle d’une quinzaine de créateurs contemporains – parmi les plus talentueux de la scène internationale de l’illustration – en les invitant à présenter des séries de dessins originaux et des documents imprimés (livres, affiches, fanzines, objets, périodiques).
Cette sélection d’auteurs aux univers éclectiques donne à voir la diversité des supports et expressions d’un chemin créatif qui passe toujours par le dessin et le papier. L’exposition déborde ainsi du cadre pour s’intéresser plus largement aux liens entre dessin et édition, entre illustration et design graphique, et considérer l’illustration comme un point de rencontre entre une pluralité d’arts appliqués.

Les auteurs invités :

Bráulio Amado (Portugal), Blexbolex (France), Cristina Daura (Espagne), Hannah Waldron (Royaume-Uni), It’s Raining Elephants (Suisse), Jockum Nordström (Suède), Kitty Crowther (Belgique), Mari Kanstad Johnsen (Norvège), Bettina Henni (France), Alexis Beauclair (France), Paul Cox (France), Simon Roussin (France), Philippe Weisbecker (France), Yann Kebbi (France)

Commissariat : Vincent Tuset-Anrès, en collaboration avec Fotokino et Cucufa
Scénographie : Cucufa (Benoit Bonnemaison-Fitte, Fred Fivaz, Vincent Tuset- Anrès, Marion Pinaffo
Partenaires : Fotokino (Marseille), Lézard Graphique (Brumath), Nicole Crème (Marseille)

Mai
6
dim
Expo: Gert & Uwe Tobias – »auf« @ Kunsthalle Recklinghausen (Recklinghausen)
Mai 6 @ 11 h 01 min – Sep 9 @ 18 h 00 min

Gert & Uwe Tobias – »auf« 

 

Art Exhibition of the Ruhrfestspiele 2018

May 6 – September 9, 2018

Hard coal mining ends in 2018, marking the era of German history over the last 150 years. The Kohlaususstieg prompted the RuhrKunstMuseen to implement the largest ever exhibition project realized on the topic of « Art & Coal » across cities . Thus, this year’s art exhibition of the Ruhrfestspiele returns to the origin of the festival.

The artist duo Gert & Uwe Tobias creates narrative spaces. Since their studies, the twin brothers born in 1973 in Braşov (Brasov) have been working together – « One and one is three of us, and three is work » – and since then they have defined collage as their working principle. Their complex pictorial worlds cite the classical modernity, but also integrate everyday cultural finds, motifs of the Art Brut or elements of folk art.

At the heart of the Recklinghausen exhibition are large-format woodcuts printed like a jigsaw puzzle, captivating through their exuberant imagination and simultaneous artistic asceticism, through humor and subtle artificiality. They are covered by murals that equally cover all three floors of theKunsthalle Recklinghausen. There are also new, multi-part series of ceramic objects. Gert & Uwe Tobias approach the subject of mining in a variety of facets and realize an installation-oriented Gesamtkunstwerk that involves the exhibition visitor physically . The narrative structure of her production interweaves motifs of the mining world above and below ground,but remains associatively open. The exhibition once again proves the fascination of the Tobias brothers for the grotesque and ambiguous, for the play with seductively colorful surfaces and a look into abysmal depths.

 

Mai
9
mer
Expo: Get Up, Stand Up! @ MIMA (Bruxelles)
Mai 9 @ 10 h 01 min – Sep 30 @ 18 h 00 min

La voix du peuple avant Twitter, c’est l’affiche en mai 1968.  L’avènement des réseaux sociaux a redonné vie à la contestation populaire, comme les affiches à la fin des années 60. Si la société a évolué, les combats restent les mêmes: écologie, droit des minorités, paix, travail, féminisme.

  • ☛ + de 450 affiches et objets
  • ☛ 30 pays
  • ☛ 5 continents
  • ☛ Installation de la pièce historique “Frappez les gradés” créée en 1971 par Julio Le Parc.
Juin
2
sam
Opening: Søren Behncke – The White House @ The Art Museum Brundlund Castle (Brundlund)
Juin 2 @ 14 h 01 min – Nov 4 @ 16 h 00 min

 

The summer’s great art exhibition at the Kunstmuseet Brundlund Slot is also known as Papfar, with contemporary artist Søren Behncke (born 1967). The southern Jutland artist shows from June 2 and November 4 retrospective exhibition with works from his earliest career until now. In 2002, Søren Behncke (born 1967) took a drastic decision: he saved money, closed his company and began his work as an artist. He wanted to experiment, play and unfold his artistic visions.

It all started with a practical premise: the materials did not cost anything, so the savings saved longer. Then Behncke found cardboard in containers, plastic bags at his friends and crayons in her daughter’s room. It became an artistic piece, where the materials used to function as legpiles and help. A cardboard hole or color can inspire a painting, the many presses on the cardboard boxes become part of the motif or the symbols become the decoration of the new Golden Horn.

The artist is driven by the desire to experiment and challenge: What happens if you build a truck solely of cardboard or if you put together a lot of yellow cases? And how could a couple of cardboarders make a rainy day? We put our world at the head and we have an opportunity to think about consumption, gender roles, art history or just the color yellow. Also notice the titles of the works. Here the humour and the duality also sparkle.

Søren Behncke has been inspired by a number of cultural figures and artists during his career. One of them was Franciska Clausen (1899-1986) and therefore Behncke has created a series of new works dedicated to and inspired by her art.

The art museum, Brundlund Castle, houses the country’s largest collection of Clausen’s art. Here Behncke has been in folders and magazines, to find a number of works that serve as a substitute for his own works. In addition, the museum has found some drawings and paintings, derived fromFranciska Clausen’s time with the French Cubist painter Fernand Léger (1881-1955) in his art school Académie Moderne. It is this time in Clausen’s career, which Behncke is particularly inspired by and has created a number of new works for the exhibition.

Août
15
mer
Expo: Leo Coyte – Seasons @ Nicholas Thompson Gallery (Melbourne)
Août 15 @ 17 h 01 min – Sep 2 @ 17 h 00 min

LEO COYTE

‘SEASONS’

CURRENT 15 AUGUST TO 2 SEPTEMBER 2018

EXHIBITION STATEMENT

In Seasons Leo Coyte’s idiosyncratic visual language continues to cycle through everyday encounters and subconscious recollections. The directness of a shallow picture plane and frontal figure-ground relationship provides Coyte with a simple yet sophisticated stage to play-out a series of psychic tableaux.

Août
17
ven
Expo: Alicia McCarthy – Solo Show @ V1 Gallery (Copenhagen)
Août 17 @ 17 h 01 min – Sep 22 @ 16 h 00 min

V1 Gallery is pleased to present

A solo exhibition by Alicia McCarthy 

OPENING RECEPTION: FRIDAY AUGUST 17. 2018. TIME: 17.00 – 21.00
EXHIBITION PERIOD AUGUST 17 – SEPTEMBER 22. 2018

Alicia McCarthy’s energetic works weave together colour, pattern and occasional lyrical or understatedly profound phrases. The artist is drawn to the discarded. Digesting the city’s landscape, ambivalent everyday items sheared from their original intent are appropriated into intimate art objects. Abandoned wood is scouted and repurposed as a foundation. McCarthy applies house paint, coloured pencil, liquid graphite and spray paint transforming recycled materials into art objects with a folk, DIY and punk aesthetic. Most of the new works combine various abstract gestures while maintaining a very physical presence. They are subtle, radiant, complex and emanate an immediate and honest energy.

Alicia McCarthy is one of the core figures of what is now known as “The Mission School” together with Barry McGee, Margaret Kilgallen, Ruby Neri and Chris Johanson. Named after San Francisco’s Mission District where the artists lived and worked in the 1990s when it was still a pre-gentrified low-rent neighbourhood. The group came together around independent music, skateboarding, graffiti, community driven projects, queer politics and zine publishing.

They favoured found materials to paint and draw on and turning them into sculptures and installations. Influenced by their rough urban surroundings, the natural beauty that encapsulates San Francisco and their mutual interests, they started making art that carried a myriad of sentiments, simultaneously upbeat and downbeat, abstract and figurative, harsh, humorously tender, repetitive, old fashioned and avant-garde.

The group never worked as a collective and never sought out a collective identity, but their aesthetics and attitude gained popularity in San Francisco and spread, influencing and inspiring creators around the world. The group became part of the seminal traveling exhibition Beautiful Losers(curated by Aaron Rose and Christian Strike), now also a documentary of the same title.

Alicia McCarthy, born 1969, lives and works in Oakland. She received her BFA from San Francisco Art Institute in 1994 (MFA from University of California 2005). In 2013 at the same institute, a large group exhibition titled Energy That Is All Around: Mission School, curated by Natasha Boas, would survey the work of McCarthy and her colleagues. Other recent exhibitions include White Columns, New York, Grey Art Gallery, New York University, Jack Hanley, New York, and Berkeley Art Museum, Berkeley. McCarthy has taken part in several group exhibitions at V1 Gallery, this is her second solo exhibition with the gallery.

Expo: Barry McGee – Little Savage @ Eighteen (Copenhagen)
Août 17 @ 17 h 01 min – Oct 20 @ 16 h 01 min

Eighteen is pleased to present

Little Savage – A solo exhibition by Barry McGee

OPENING RECEPTION: FRIDAY AUGUST 17. 2018. TIME: 17.00 – 21.00
EXHIBITION PERIOD AUGUST 17 – OCTOBER 20. 2018

Barry McGee creates vast unpredictable and improvised organic installations. He incorporates paintings, ceramics, drawings, books, plants, photography, sculptures, found objects, works by other artists into immersive exhibitions that sprout and grow over the walls, floors and ceilings of the exhibition space.

Little Savageis a place to explore. Enjoy.

Barry McGee, born 1966, lives and works on the American West Coast in San Francisco. He works in a wide variety of media; painting on wood, ceramics, drawing, zines, photography, sculpture and large-scale installation. McGee refuges hierarchies of material or subject matter and all formats are treated equally. McGee’s artistic style incorporates a multitude of inspirations – American folk art, sign making, op art and graffiti. His work is influenced by, and reflects upon contemporary society, especially those that tend to be left behind by it, or choose not to play by its rules. In the recent body of work McGee pushes his imagery into the iconic, figures and shapes are barely indicated, then repeated and mixed with abstract patterns. McGee has recently been the subject of three large survey exhibitions at the Modern Art Museum of Ft. Worth Texas, the Berkeley Art Museum and the Institute of Contemporary Art in Boston. Little Savage is Barry McGee’s first solo exhibition with Eighteen, he has previously mounted and curated exhibitions at V1 Gallery.

Expo: Daniel Sparkes – Woodland Reducer @ Dinner Party Gallery (London)
Août 17 @ 18 h 01 min – Août 20 @ 18 h 01 min

Friday Aug 17 Dinner Party presents Woodland Reducer, new works by Daniel Sparkes PV 6 – 9pm then by appointment until Monday Aug 20

Août
23
jeu
Opening: Otani Workshop – Solo show @ Perrotin (Seoul)
Août 23 @ 17 h 00 min – 19 h 00 min

OTANI WORKSHOP

Opening Thursday August 23, 5 – 7pm

August 23 – September 22, 2018

Perrotin Seoul is pleased to present Otani Workshop’s first solo exhibition in South Korea. The occasion also marks the artist’s first solo show with the gallery.

Established in 2005, Otani Workshop is representative of an exciting new wave of ceramic artists from Japan, blending time-honored Japanese artistic techniques with contemporary aesthetics. While it is true that the word workshop invites an assumption that it is a collective of artists, a factory or even an amateur experiment, Otani Workshop is in fact the name of a single artist: Shigeru Otani.

While a student at Okinawa Prefectural University of Arts, Otani became frustrated by the prospect of indigence as an artist. This lead the artist to take a sabbatical from school and embark on a year-long personal expedition, exploring Japan while sleeping in the bed of a pickup truck. What began as a tour of various museums, temples and shrines of his home country, soon became an introspective journey, questioning his identity as an artist. This experience led to the epiphany that he was, after all, on the right path toward a predestined career as a sculptor.

Expo: Otani Workshop – Solo show @ Perrotin (Seoul)
Août 23 @ 17 h 01 min – Sep 22 @ 18 h 00 min

OTANI WORKSHOP

Opening Thursday August 23, 5 – 7pm

August 23 – September 22, 2018

Perrotin Seoul is pleased to present Otani Workshop’s first solo exhibition in South Korea. The occasion also marks the artist’s first solo show with the gallery.

Established in 2005, Otani Workshop is representative of an exciting new wave of ceramic artists from Japan, blending time-honored Japanese artistic techniques with contemporary aesthetics. While it is true that the word workshop invites an assumption that it is a collective of artists, a factory or even an amateur experiment, Otani Workshop is in fact the name of a single artist: Shigeru Otani.

While a student at Okinawa Prefectural University of Arts, Otani became frustrated by the prospect of indigence as an artist. This lead the artist to take a sabbatical from school and embark on a year-long personal expedition, exploring Japan while sleeping in the bed of a pickup truck. What began as a tour of various museums, temples and shrines of his home country, soon became an introspective journey, questioning his identity as an artist. This experience led to the epiphany that he was, after all, on the right path toward a predestined career as a sculptor.

Opening: A minimal relief @ Nevven Gallery (Göteborg)
Août 23 @ 17 h 00 min – 20 h 00 min

Clemens Behr
Dominic Terlizzi
Fanny Hellgren
A Minimal Relief
Aug 23 — Sep 16, 2018

Opening reception: Aug 23, 17:00 — 20:00.

  • From August 23rd to September 16th and as the first exhibition of a new season of shows, Nevven is hosting the three—person exhibition A Minimal Relief. Whether it be in the form of mosaics of roughly crushed wood—boards, of organic textures of handmade paper, or over—detailed moulded acrylic paintings on canvas, the exhibition will showcase and highlight the common ground between the practices and the intersections between three current series by Clemens Behr, Fanny Hellgren and Dominic Terlizzi.

    After his 2016 solo show with the gallery — Nevven is pleased to exhibit again Clemens Behr. Known for his ephemeral sculptures and monumental installations of raw building materials, Behr’s approach to abstract three—dimensional forms is ironic, personal and savvy. For this exhibition, Behr presents a new wall—based sculpture featuring an abstract collage of wood—panels. Rough and elegant, this work could be taken as brief summary of the German artist’s production in its timeless grace and brutal nature.

    After her first solo show with the gallery in Fall of 2017, Fanny Hellgren contributes to this exhibition with a wall—based installation from a series of paper sculptures which furthers her research into this material. To create these new works the Swedish artist dissolved cardboard and newspapers in water in order to reshape them into large slabs of handmade paper. Micro—tonally coloured by the remains of the fibres recycled into them, imprinted in textures both incidentally and deliberately, the results are imposing yet weightless organic surfaces which resembles wrinkled and delicate layers of skin.

    Along with these two artists, Nevven is proud to introduce for the first time in Sweden the Baltimore—based artist Dominic Terlizzi. In a painstaking and meticulously long process, the American artist uses acrylic paint as moulding material in order to create extremely complex, mosaic—looking, reliefs on canvas. The subjects of the figurative compositions which results from this process are playful, ironic and humorous, yet at the same time elegant in such an effortless way that makes Terlizzi’s works unique in their own genre. For A Minimal Relief, he presents a selection of new monochrome moulded acrylic paintings on canvas.

    The hope is that this exhibition will enable the viewers to experience the quiet elegance these three artist share in their most recent wall based sculptural works. Antithetic in their process, they are connected in a shared uncommon approach to materials, which they bend with elegance and subtle irony while altering their function or appearance. We believe that — regardless of their differences — Clemens Behr, Fanny Hellgren and Dominic Terlizzi have found each other on a common ground in the latest results of their practices. A Minimal Relieftries to capture this convergence, letting these three artists lyrically enhance and mirror each other through their exhibited works.

Expo: A minimal relief @ Nevven Gallery (Göteborg)
Août 23 @ 17 h 01 min – Sep 16 @ 17 h 00 min

Clemens Behr
Dominic Terlizzi
Fanny Hellgren
A Minimal Relief
Aug 23 — Sep 16, 2018

Opening reception: Aug 23, 17:00 — 20:00.

  • From August 23rd to September 16th and as the first exhibition of a new season of shows, Nevven is hosting the three—person exhibition A Minimal Relief. Whether it be in the form of mosaics of roughly crushed wood—boards, of organic textures of handmade paper, or over—detailed moulded acrylic paintings on canvas, the exhibition will showcase and highlight the common ground between the practices and the intersections between three current series by Clemens Behr, Fanny Hellgren and Dominic Terlizzi.

    After his 2016 solo show with the gallery — Nevven is pleased to exhibit again Clemens Behr. Known for his ephemeral sculptures and monumental installations of raw building materials, Behr’s approach to abstract three—dimensional forms is ironic, personal and savvy. For this exhibition, Behr presents a new wall—based sculpture featuring an abstract collage of wood—panels. Rough and elegant, this work could be taken as brief summary of the German artist’s production in its timeless grace and brutal nature.

    After her first solo show with the gallery in Fall of 2017, Fanny Hellgren contributes to this exhibition with a wall—based installation from a series of paper sculptures which furthers her research into this material. To create these new works the Swedish artist dissolved cardboard and newspapers in water in order to reshape them into large slabs of handmade paper. Micro—tonally coloured by the remains of the fibres recycled into them, imprinted in textures both incidentally and deliberately, the results are imposing yet weightless organic surfaces which resembles wrinkled and delicate layers of skin.

    Along with these two artists, Nevven is proud to introduce for the first time in Sweden the Baltimore—based artist Dominic Terlizzi. In a painstaking and meticulously long process, the American artist uses acrylic paint as moulding material in order to create extremely complex, mosaic—looking, reliefs on canvas. The subjects of the figurative compositions which results from this process are playful, ironic and humorous, yet at the same time elegant in such an effortless way that makes Terlizzi’s works unique in their own genre. For A Minimal Relief, he presents a selection of new monochrome moulded acrylic paintings on canvas.

    The hope is that this exhibition will enable the viewers to experience the quiet elegance these three artist share in their most recent wall based sculptural works. Antithetic in their process, they are connected in a shared uncommon approach to materials, which they bend with elegance and subtle irony while altering their function or appearance. We believe that — regardless of their differences — Clemens Behr, Fanny Hellgren and Dominic Terlizzi have found each other on a common ground in the latest results of their practices. A Minimal Relieftries to capture this convergence, letting these three artists lyrically enhance and mirror each other through their exhibited works.

Opening: Joakim Ojanen – Where do we go from here? @ Christian Larsen Gallery (Stockholm)
Août 23 @ 18 h 00 min – 20 h 00 min

JOAKIM OJANEN

Where do we go from here?

Aug 23 – Oct 6, 2018
Opening Aug 23, 6-8 pm

‘His art is all about relationships. Those between boys and dogs predominate. But those between kids and their inner lives also take shape. The same goes for the relationships between kids and grown-ups, individuals and stereotypes, one’s self- image and reality…Ojanen’s paintings could be the mongrel offspring of a picture by Peter Saul and an episode of The Simpsons. The crudeness intensifies their insight, often brilliantly. 

David Pagel, LA Times, 2018

Christian Larsen is pleased to present Where do we go from here? Joakim Ojanen’s first exhibition with the gallery. Featuring a new series of sculptures, paintings and drawings this is Ojanen’s first solo exhibition in Stockholm.

In Where do we go from here? Ojanen continues the evolution of his diverse array of endearing and surreal characters, creating sculptural and pictorial scenes where his cast of oddballs and misfits are released from isolation and increasingly begin to interact with one another. Manoeuvring around the exhibition these figures and creatures appear in conversation, seemingly unaware of how they got there and unsure about where the path may lead next.  But the sense of melancholy and unease that is laced throughout Ojanen’s practice does not take over; instead the tragicomic characters that inhabit his playful world demonstrate a determination and desire to press forward, to overcome. None more so than in Boy with Bff Riding in the Wind, 2018 where a Breton striped wearing figure rides his dog-like steed triumphantly, boy and friend in perfect harmony, as if returning from some far-flung adventure in celebration.

Working in both clay, bronze and in a new development for this exhibition, plasticine, Ojanen’s sculptures are intuitive in their making. Starting with the shape of the head, Ojanen gradually begins to prise each character’s features from the material, building and experimenting until a unique, individual personality and voice is brought to the fore. A seemingly never-ending array of peculiar noses, eyes and mouths are used that, little by little, evolve in ever-more surreal directions. Ears can function like arms, cheeks begin to stretch and flop, full human lips morph into duckbills and elongated noses sprout from their faces creating an imaginary world where anything seems possible. Ojanen’s drawings develop in much the same intuitive organic way as his sculptural works, with the artist using charcoal and pastel as a medium for this exhibition and applying colour to these for the first time.

Where do we go from here? also includes Rough Day (Boy with Bag) 2017, Ojanen’s largest sculpture created to date. The monumental bronze cast figure, whose head hangs in quiet reflection in the second gallery space, holds court over the exhibition visitor and presents a striking example of how Ojanen manages to balance complicated melancholic emotions with wit and comedy. Ojanen’s enigmatic and playful work thrives on the carefully crafted balance between childlike innocence and melancholy, with his ever increasing and diverse cast of multifaceted characters displaying the full spectrum of complicated human emotion. Where do we go from here? presents an artist continuing to develop and evolve his own unique, surreal language and sets a tantalising clue as to what may be to come.

Expo: Joakim Ojanen – Where do we go from here? @ Christian Larsen Gallery (Stockholm)
Août 23 @ 18 h 01 min – Oct 6 @ 16 h 01 min

JOAKIM OJANEN

Where do we go from here?

Aug 23 – Oct 6, 2018
Opening Aug 23, 6-8 pm

‘His art is all about relationships. Those between boys and dogs predominate. But those between kids and their inner lives also take shape. The same goes for the relationships between kids and grown-ups, individuals and stereotypes, one’s self- image and reality…Ojanen’s paintings could be the mongrel offspring of a picture by Peter Saul and an episode of The Simpsons. The crudeness intensifies their insight, often brilliantly. David Pagel, LA Times, 2018

Christian Larsen is pleased to present Where do we go from here? Joakim Ojanen’s first exhibition with the gallery. Featuring a new series of sculptures, paintings and drawings this is Ojanen’s first solo exhibition in Stockholm.

In Where do we go from here? Ojanen continues the evolution of his diverse array of endearing and surreal characters, creating sculptural and pictorial scenes where his cast of oddballs and misfits are released from isolation and increasingly begin to interact with one another. Manoeuvring around the exhibition these figures and creatures appear in conversation, seemingly unaware of how they got there and unsure about where the path may lead next.  But the sense of melancholy and unease that is laced throughout Ojanen’s practice does not take over; instead the tragicomic characters that inhabit his playful world demonstrate a determination and desire to press forward, to overcome. None more so than in Boy with Bff Riding in the Wind, 2018 where a Breton striped wearing figure rides his dog-like steed triumphantly, boy and friend in perfect harmony, as if returning from some far-flung adventure in celebration.

Working in both clay, bronze and in a new development for this exhibition, plasticine, Ojanen’s sculptures are intuitive in their making. Starting with the shape of the head, Ojanen gradually begins to prise each character’s features from the material, building and experimenting until a unique, individual personality and voice is brought to the fore. A seemingly never-ending array of peculiar noses, eyes and mouths are used that, little by little, evolve in ever-more surreal directions. Ears can function like arms, cheeks begin to stretch and flop, full human lips morph into duckbills and elongated noses sprout from their faces creating an imaginary world where anything seems possible. Ojanen’s drawings develop in much the same intuitive organic way as his sculptural works, with the artist using charcoal and pastel as a medium for this exhibition and applying colour to these for the first time.

Where do we go from here? also includes Rough Day (Boy with Bag) 2017, Ojanen’s largest sculpture created to date. The monumental bronze cast figure, whose head hangs in quiet reflection in the second gallery space, holds court over the exhibition visitor and presents a striking example of how Ojanen manages to balance complicated melancholic emotions with wit and comedy. Ojanen’s enigmatic and playful work thrives on the carefully crafted balance between childlike innocence and melancholy, with his ever increasing and diverse cast of multifaceted characters displaying the full spectrum of complicated human emotion. Where do we go from here? presents an artist continuing to develop and evolve his own unique, surreal language and sets a tantalising clue as to what may be to come.

Août
24
ven
Opening: Now & Then @ The Hole (New York)
Août 24 @ 18 h 00 min – 21 h 00 min

Beautiful Losers anniversary show August 24-September 1 curated by @aaronroseofficial presented by @rvca at The Hole

 

Expo: Now & Then @ The Hole (New York)
Août 24 @ 18 h 01 min – Sep 1 @ 18 h 00 min

Beautiful Losers anniversary show August 24-September 1 curated by @aaronroseofficial presented by @rvca at The Hole

 

Août
29
mer
Expo: HuskMitNavn – TEGN @ Nikolaj Kunsthal (Copenhagen)
Août 29 2018 @ 12 h 00 min – Jan 6 2019 @ 17 h 00 min

Nikolaj Kunsthal looks forward to presenting a brand new exhibition for the whole family after the summer holidays.

TEGN is the largest exhibition to date by the Danish artist HuskMitNavn. Nikolaj Kunsthal’s largest room will be transformed into an environment where the artists view of the world can come to life – amongst others via his characteristic life size figures painted on the walls.

One will also be able to experience hundreds of his satirical 3D drawings, where a white piece of A4 paper is transformed into three dimensional sculptures. When visiting the exhibition, the audience is invited to have a go at drawing in different set up environments. As an example, it will be possible to paint on a train, or break the entrance into a space with old gold frames and where the visitor can create art for the ‘museum’.

More info to come.

The exhibition opens on the 29th August, book the date now.

Opening: HuskMitNavn – TEGN @ Nikolaj Kunsthal (Copenhagen)
Août 29 @ 12 h 00 min – Août 30 @ 6 h 00 min

Nikolaj Kunsthal looks forward to presenting a brand new exhibition for the whole family after the summer holidays.

TEGN is the largest exhibition to date by the Danish artist HuskMitNavn. Nikolaj Kunsthal’s largest room will be transformed into an environment where the artists view of the world can come to life – amongst others via his characteristic life size figures painted on the walls.

One will also be able to experience hundreds of his satirical 3D drawings, where a white piece of A4 paper is transformed into three dimensional sculptures. When visiting the exhibition, the audience is invited to have a go at drawing in different set up environments. As an example, it will be possible to paint on a train, or break the entrance into a space with old gold frames and where the visitor can create art for the ‘museum’.

More info to come.

The exhibition opens on the 29th August, book the date now.

Août
30
jeu
Opening: Harold Ancart – Freeze @ David Zwirner (London)
Août 30 @ 18 h 00 min – 20 h 00 min

Harold Ancart Freeze

London

Dates

August 31—September 22, 2018

David Zwirner is pleased to present an exhibition of new paintings by the Belgian artist Harold Ancart at the gallery’s 24 Grafton Street location in London.

Ancart began painting icebergs in January 2018 in response to a glacial winter in New York, where the artist is based. These new works will be on view in Freeze, Ancart’s first exhibition in the United Kingdom as well as his first presentation at the gallery. The title of the exhibition refers not only to cold temperature but also to the command not to move.

Ancart paints subjects that naturally invite contemplation such as the horizon, clouds, flowers, or flames. Mankind has gathered around a flickering flame for millennia, weaving stories and creating myth, while the flame generates faces and figures as it moves. Clouds, mountains, and icebergs function in the same anthropomorphic way. According to the artist, they carry many faces and tell many stories.

The subject matter of the iceberg is consistent throughout the exhibition. The only other recurrent element that unites the paintings is the horizon line that slices through each work, dividing sky and sea, foreground and background. This device dissects the painting from a figurative whole into abstract parts; subject concedes to form, color, and gesture; these works are a meditation on painting.

Expo: Harold Ancart – Freeze @ David Zwirner (London)
Août 30 @ 18 h 01 min – Sep 22 @ 18 h 00 min

Harold Ancart Freeze

London

Dates

August 31—September 22, 2018

David Zwirner is pleased to present an exhibition of new paintings by the Belgian artist Harold Ancart at the gallery’s 24 Grafton Street location in London.

Ancart began painting icebergs in January 2018 in response to a glacial winter in New York, where the artist is based. These new works will be on view in Freeze, Ancart’s first exhibition in the United Kingdom as well as his first presentation at the gallery. The title of the exhibition refers not only to cold temperature but also to the command not to move.

Ancart paints subjects that naturally invite contemplation such as the horizon, clouds, flowers, or flames. Mankind has gathered around a flickering flame for millennia, weaving stories and creating myth, while the flame generates faces and figures as it moves. Clouds, mountains, and icebergs function in the same anthropomorphic way. According to the artist, they carry many faces and tell many stories.

The subject matter of the iceberg is consistent throughout the exhibition. The only other recurrent element that unites the paintings is the horizon line that slices through each work, dividing sky and sea, foreground and background. This device dissects the painting from a figurative whole into abstract parts; subject concedes to form, color, and gesture; these works are a meditation on painting.

Août
31
ven
Opening: Clife Burns – Wallace Bros @ Le Module (Paris)
Août 31 @ 18 h 00 min – 22 h 00 min

Issu de la scène graffiti parisienne, Clife Burns est un artiste français. Il vit et travaille à Paris.

A travers ses illustrations et peintures sur toile, il développe un imaginaire coloré et burlesque qui s’inspire notamment de l’univers du marionnettiste Jim Henson et des créations graphiques d’Ub Iwerks.

Il y a deux ans, il découvre le travail d’artistes céramistes à atelierlebiscuiten région parisienne. Ce médium devient alors une manière de décliner son univers loufoque en volume et l’entraîne, depuis peu, dans la réalisation de « totems » en bois et en cuir.

Ces deux dernières années il a participé à divers expositions collectives comme « Cera Max 1 » à Liège à la Galerie Central ou encore, dernièrement, l’exposition « Brut » à Romainville. Parallèlement il a réalisé des fresques en tant qu’invité de festivals street art tels que le Meeting of Styles France ou le Top To Bottom en 2016.

Venez découvrir son univers et ses dernières céramiques lors de son exposition intitulée « Wallace bros » du samedi 1er au dimanche 2 septembre de 14h à 19h.

Vernissage le vendredi 31 août à partir de 18h.

site web: http://www.clifeburns.com/
pages facbook: https://www.facebook.com/clifeburns/
instagram: https://www.instagram.com/clifeburns/

Expo: Clife Burns – Wallace Bros @ Le Module (Paris)
Août 31 @ 18 h 01 min – Sep 2 @ 19 h 00 min

Issu de la scène graffiti parisienne, Clife Burns est un artiste français. Il vit et travaille à Paris.

A travers ses illustrations et peintures sur toile, il développe un imaginaire coloré et burlesque qui s’inspire notamment de l’univers du marionnettiste Jim Henson et des créations graphiques d’Ub Iwerks.

Il y a deux ans, il découvre le travail d’artistes céramistes à atelierlebiscuiten région parisienne. Ce médium devient alors une manière de décliner son univers loufoque en volume et l’entraîne, depuis peu, dans la réalisation de « totems » en bois et en cuir.

Ces deux dernières années il a participé à divers expositions collectives comme « Cera Max 1 » à Liège à la Galerie Central ou encore, dernièrement, l’exposition « Brut » à Romainville. Parallèlement il a réalisé des fresques en tant qu’invité de festivals street art tels que le Meeting of Styles France ou le Top To Bottom en 2016.

Venez découvrir son univers et ses dernières céramiques lors de son exposition intitulée « Wallace bros » du samedi 1er au dimanche 2 septembre de 14h à 19h.

Vernissage le vendredi 31 août à partir de 18h.

site web: http://www.clifeburns.com/
pages facbook: https://www.facebook.com/clifeburns/
instagram: https://www.instagram.com/clifeburns/

Sep
1
sam
Expo: Make Your Mark @ PLUS-ONE Gallery ZUID (Antwerpen)
Sep 1 @ 14 h 00 min – Oct 14 @ 18 h 00 min
Sep
6
jeu
Antwan Horfée – Art on Paper – Booth n°26 @ Bozar - Art on Paper (Brussels)
Sep 6 @ 11 h 00 min – Sep 9 @ 19 h 00 min

Antwan Horfée – Art on Paper – Booth n°26

presenté par Plus-One Gallery

Opening: Todd James – Electric Ritual @ Alice Gallery (Brussels)
Sep 6 @ 18 h 00 min – 22 h 00 min

Todd James- Electric Ritual

Expo: Todd James – Electric Ritual @ Alice Gallery (Brussels)
Sep 6 @ 18 h 01 min – Oct 27 @ 18 h 01 min

Todd James- Electric Ritual

Opening: Felipe Pantone – Transformable Systems @ Joshua Liner gallery (New York)
Sep 6 @ 18 h 00 min – 21 h 00 min

Pantone’s inaugural solo exhibition with the gallery, Transformable Systems, opens September 6.

Expo: Felipe Pantone – Transformable Systems @ Joshua Liner gallery (New York)
Sep 6 @ 18 h 01 min – Oct 13 @ 18 h 00 min

Pantone’s inaugural solo exhibition with the gallery, Transformable Systems, opens September 6.

Sep
8
sam
Expo: Daniel Arsham – 3018 @ Perrotin (New York)
Sep 8 @ 10 h 00 min – Oct 20 @ 18 h 00 min

Daniel Arsham

3018

September 8 – October 21, 2018

Perrotin New York is pleased to present 3018, an exhibition of new work by Daniel Arsham. This is his fifteenth exhibition with Perrotin since joining the gallery in 2005. Though the exhibition contains pieces never before seen in New York, visitors will recognize strains of previous works by Arsham, as signature forms and strategies recur, unifying Arsham’s involvement in different disciplines—sculpture, architecture, film, performance—into a total ouvre. 3018 continues Arsham’s dystopian vision of the future, one in which culture as we know it today is eroded, and the objects of modern life have fallen into aestheticized obsolescence.

The ground floor of the gallery is transformed into a provisional garage, as two storied cars occupy the space: a 1981 Delorean, reminiscent of Back to the Future’s (1985) essential prop, and a 1961 Ferrari 250GT California that visitors will recall from Ferris Bueller’s Day Off (1986). The cars are instantly recognizable for their pop cultural import, though Arsham has rendered them in crystal, as if an ashy veil had fallen over this museum for film memorabilia. The cars are in a state of decay and portions of the shell have eroded away revealing a mineral core underneath. Volcanic ash, pyrite crystal, selenite, and quartz have sprouted where the mechanical components used to be.

An interest in materials—synthetic and natural, manmade and geological—pervades all the work on view, and with 3018, Arsham remains committed to his signature gesture: transposition. He casts common objects in geological materials that render them as obsolete as they are recognizable, thus highlighting their iconic status. A cast of characters recognizable from childhood cartoons appear as oversized, cast iron-on patches, mementos from the artist’s youth, now calcified. Formerly pliable, they’ve transubstantiated into hardened forms. Some have cracked to reveal the mineral growths that seem to have overtaken many of Arsham’s artifacts.

The now rigid status of these objects is only evident to the touch, not the eye; They are cast meticulously, the fibers of the embroidery captured in the material. This haptic quality only accentuates the confusion of materials that seems to animate much of Arsham’s work, his imperative to “make one material look like another.” That which we know to be soft is hard, that which was once stable is now mutable.

Wrapped sculptures, newer to Arsham’s vocabulary of forms, exemplify this material alchemy. The folds in the fabric have hardened in place, resembling the wet drapery technique on an ancient greek statuary, an effort to capture in stone the diaphanousness of fabric. Arsham’s model is Man Ray’s The Enigma of Isidore Ducasse (1920), swapping out the famous sewing machine for recognizable cartoon characters. Pop cultural icons that feature prominently in the American imaginary are palpable but not seeable in this disquieting double play of identification and concealment.

Architectural interventions, another signature of the artist, figure in the exhibition; an entire wall of the gallery is pockmarked with more of Arsham’s “erosions,” a trompe l’oeil wallpaper produced in collaboration with Calico, a Brooklynbased designer and fabricator. More in line with Arsham’s previous experiments in architecture, in which forms appear to emerge from the wall leaving hardened draped fabric in their wake, is FUTURE (2018). Here, the word, redolent with connotations of both promise and menace, presses through the surface of the wall and threatens to compromise its structural integrity. FUTURE acts alternately as a harbinger of the cataclysm that has befallen these fond objects of the recent past, or as a signpost for some saving grace ahead.

Opening: Tomoo Gokita – New works @ Blum and Poe (Los Angeles)
Sep 8 @ 18 h 00 min – 20 h 00 min

Tomoo Gokita

Blum & Poe, Los Angeles
September 8 – October 27, 2018
Opening reception: Saturday, September 8, 6-8pm

Blum & Poe is pleased to present an exhibition of new work by Tokyo-based painter Tomoo Gokita. This is the artist’s first exhibition with the gallery.

In his piercing, psychologically charged monochrome and greyscale paintings, Gokita portrays stylized cultural types against ambiguous backgrounds. Whether depicting wrestlers, starlets, dancers, or newlyweds, the artist shrouds his subjects in an atmosphere of eerie anonymity. Some compositions seem grounded in specific art historical references—ranging from Surrealism to post-war German figurative painting—yet are often imbued with the syntax of mainstream culture and its more obscure undercurrents. Viewers are left scavenging their memories for cultural indicators or contexts to complete the elusive, often inscrutable narratives before them.

The signature style of Gokita’s painting practice developed from his earlier career as a graphic designer in the late 1990s and early 2000s. At that time, he produced a series of newsprint books inspired by vintage magazines, film stills, pornography, and postcards—influences that endure to this day. Although Gokita’s penchant for pop culture immediately made him a celebrated figure within the fashion and music scenes, he also felt creatively cornered by this kind of attention. In 2005, he set aside graphic design entirely for the unconstrained artistic freedom of painting and drawing.

This exhibition presents a body of new paintings, all on square canvases. In Bongo Nyah (2018), the female nude—among the most prevalent tropes in representational art—is rendered with a sensual but disquieting intensity. The classicism of her seated pose and hand gesture, recalling the figurative tradition of 19th-century masters such as Manet, is ruptured by the smeared distortion of her face. This tension is sustained in double portraits such as Living Together (2018), the Gentleman Two (2018), and Love Duet (2018), in which Gokita dramatizes the awkwardness of his subjects’ poses and the ambiguity of their relationship to each other. In the group portrait Wrap Your Troubles in Dreams(2018), a seated woman, rendered with unusual fidelity, stares directly the viewer. Her uncomfortably crossed legs and conjoined hands emphasize the ultimate aim of Gokita’s art: the implication of the viewer in the psychological questioning of the construction of collective cultural memory.

Tim Biskup – New paintings and prints @ Face Guts (Los Angeles)
Sep 8 @ 18 h 00 min – 22 h 00 min

New Paintings and Prints by Tim Biskup. Opens September 8th 6-10pm at #faceguts

Expo: Tomoo Gokita – New works @ Blum and Poe (Los Angeles)
Sep 8 @ 18 h 01 min – Oct 27 @ 18 h 00 min

Tomoo Gokita

Blum & Poe, Los Angeles
September 8 – October 27, 2018
Opening reception: Saturday, September 8, 6-8pm

Blum & Poe is pleased to present an exhibition of new work by Tokyo-based painter Tomoo Gokita. This is the artist’s first exhibition with the gallery.

In his piercing, psychologically charged monochrome and greyscale paintings, Gokita portrays stylized cultural types against ambiguous backgrounds. Whether depicting wrestlers, starlets, dancers, or newlyweds, the artist shrouds his subjects in an atmosphere of eerie anonymity. Some compositions seem grounded in specific art historical references—ranging from Surrealism to post-war German figurative painting—yet are often imbued with the syntax of mainstream culture and its more obscure undercurrents. Viewers are left scavenging their memories for cultural indicators or contexts to complete the elusive, often inscrutable narratives before them.

The signature style of Gokita’s painting practice developed from his earlier career as a graphic designer in the late 1990s and early 2000s. At that time, he produced a series of newsprint books inspired by vintage magazines, film stills, pornography, and postcards—influences that endure to this day. Although Gokita’s penchant for pop culture immediately made him a celebrated figure within the fashion and music scenes, he also felt creatively cornered by this kind of attention. In 2005, he set aside graphic design entirely for the unconstrained artistic freedom of painting and drawing.

This exhibition presents a body of new paintings, all on square canvases. In Bongo Nyah (2018), the female nude—among the most prevalent tropes in representational art—is rendered with a sensual but disquieting intensity. The classicism of her seated pose and hand gesture, recalling the figurative tradition of 19th-century masters such as Manet, is ruptured by the smeared distortion of her face. This tension is sustained in double portraits such as Living Together (2018), the Gentleman Two (2018), and Love Duet (2018), in which Gokita dramatizes the awkwardness of his subjects’ poses and the ambiguity of their relationship to each other. In the group portrait Wrap Your Troubles in Dreams(2018), a seated woman, rendered with unusual fidelity, stares directly the viewer. Her uncomfortably crossed legs and conjoined hands emphasize the ultimate aim of Gokita’s art: the implication of the viewer in the psychological questioning of the construction of collective cultural memory.

Sep
14
ven
Opening: SKWAK – New show @ Art to Be Gallery (Lille)
Sep 14 @ 18 h 30 min – 21 h 30 min

SKWAK – New show

Oct
13
sam
Grand Opening: Ruttkowski;68 – PARIS  @ Ruttkowski;68 (Paris)
Oct 13 @ 19 h 00 min – 23 h 00 min

save the date!

Ruttkowski;68 – PARIS
Grand Opening

October 13th
8 Rue Charlot – 7PM