Agenda


Oct
5
jeu
Expo: Théo Mercier – Pièces Rapportées @ Musée de l'Homme (Paris)
Oct 5 2017 @ 10 h 01 min – Avr 2 2018 @ 18 h 00 min

Ouverture de l’exposition « Théo Mercier : pièces rapportées » à découvrir au Musée de l’Homme jusqu’au 2 avril 2018.

Le nouvel artiste invité Théo Mercier propose un parcours artistique singulier au sein de l’exposition permanente.

Plasticien et metteur en scène, Théo Mercier mène une réflexion située au carrefour de l’anthropologie, de l’ethnographie, de la géopolitique et du tourisme. Ses oeuvres résultent d’un travail d’anthropomorphisation des objets, de trouvailles, d’assemblages, de superpositions, de collages ou de greffes. Sa démarche de créateur mais aussi de collectionneur suscite des échanges foisonnants entre passé, présent et futur, animé et inanimé, vrai et faux, artisanal et industriel, profane et sacré, réel et fiction… En brouillant de la sorte leurs origines et leurs usages, il donne forme à un exotisme particulier qui défie les notions d’identité culturelle, de territoire géographique et d’échelle de temps.

Au musée, l’artiste s’insère dans les vitrines ou leur fait face. Ses pièces métissées, polymorphes, plurivoques ou ambigües dialoguent tour à tour avec les collections de préhistoire, d’anthropologie et d’ethnologie exposées. Les photographies, sculptures et installations présentées font ainsi écho aux objets de la Galerie de l’Homme, dessinant un jeu de miroir, entre anthropologie réelle et imaginaire.

En partenariat avec la Galerie Bugada & Cargnel & ARTE.

Jan
13
sam
Expo: Ryan McGinley – Paradiso @ Ratio 3
Jan 13 @ 18 h 01 min – Fév 24 @ 18 h 00 min

Ryan McGinley – Paradiso

January 13 – February 24, 2018

Opening Reception: Saturday, January 13, 6–8pm

2831A Mission Street, San Francisco, CA, 94110 USA

Ratio 3 is pleased to present Paradiso, an exhibition of new photographs by New York-based artist Ryan McGinley. Over the past fifteen years, McGinley’s practice has grown beyond its origins in candid lifestyle photography, bringing his emotive and wistful style to an expansive practice of figuration. From his well-known Road Trip series, to his prolific Yearbook installations of studio portraiture, McGinley has honed a distinct sensibility whether depicting anonymous figures in American landscapes or sharing private moments with specific subjects. In this newest collection of images, McGinley fluidly traverses the different modes of his photographic practice, depicting his models as both forms and subjects, and creating a striking combination of landscape figuration and inventive portraiture.

Throughout this most recent body of work, McGinley photographed nude figures in upstate New York during the winter and fall seasons. The transition of seasons brings complexity to even seemingly monochromatic landscapes. By concentrating on a single region during a particular season, McGinley has honed his images to depict the character of both place and person.

Where several images in Paradiso evoke the same sense of spontaneity as the artist’s earliest work, these images also reflect his deliberate focus that has shaped the last decade of McGinley’s practice. McGinley’s photographic treatment of his models is increasingly concerned with the body as form, departing from the spontaneous portraiture for which he first became known over a decade ago, yet preserving the exuberance of a candid image. Through careful direction of his subjects and selection of locations, McGinley constructs a world that pairs humanity with nature and blurs the distinction between fantasy and authenticity.

Ryan McGinley was born in 1977 in Ramsey, New Jersey. His photography has been the subject of international exhibitions including solo museum shows at the Whitney Museum of American Art, Galleria d’Arte Moderna e Contemporanea in Bergamo, Daelim Museum in Seoul, Kunsthal KAdE in The Netherlands, MUSAC in Léon, Spain, and MoMA PS1 in Long Island City. Group appearances include the Schirn Kunsthalle in Frankfurt, the San Francisco Museum of Modern Art, MoCA in Los Angeles, The Brooklyn Museum, Washington’s National Portrait Gallery, National Portrait Gallery in London, and the Fondazione Prada in Milan. Most recently, McGinley’s early work was the subject of a major survey at the MCA Denver. Paradiso is McGinley’s fourth solo exhibition with Ratio 3.

For all inquiries, please contact:

Theo Elliott theo@ratio3.org +1 415 821 3371

Jan
18
jeu
Expo: HONET – ArtGSCII @ Galerie At Down
Jan 18 @ 18 h 01 min – Mar 3 @ 19 h 00 min

Du 19 janvier au 3 mars 2018

Vernissage Jeudi 18 janvier 2018 à partir de 18h, en présence de l’artiste.

En véritable scientifique des écritures, plus largement explorateur des insolites avec un grand I, Honet mystifie les langages et alphabets, depuis toujours objets de ses fascinations. Dans son style inébranlable et minimaliste, il assemble pour sa troisième exposition à la galerie At Down les signes et codes nichés dans l’ASCII. Le smiley pour point de départ, cette norme informatique de codage de caractères est capable d’improbables lectures artistiques et assurément universelles. Signatures de mail, messages sublimés échangés sur des forums ou fioritures de discussions à l’image de nos actuels emojis, l’ASCII Art cristallise les nouveaux moyens d’échanges d’une génération décomplexée sur l’appropriation de sa langue.

Déstabilisant les frontières entre art et langages, Honet traduit ici sa culture graffiti et une vision du monde par le biais d’indices disséminés de façon très ludique. Dans une recherche de l’équilibre parfait entre les enjeux du monde moderne et l’héritage du passé, il signe une exposition à sens multiples, et livre des intrigues à déchiffrer tel un archéologue désireux de sublimer l’ordinaire.

Expo: Jules de Balincourt – They Cast Long Shadows @ Victoria Miro Gallery
Jan 18 @ 18 h 01 min – Mar 24 @ 18 h 00 min

Jules de Balincourt

They Cast Long Shadows

Private View 6 – 8pm, Thursday 18 January

Exhibition 19 January – 24 March 2018

Victoria Miro Mayfair, 14 St George Street, London W1S 1FE

Victoria Miro is delighted to announce an exhibition of new paintings by Jules de Balincourt.

‘Currently, making work and living in America is beyond words, but maybe not beyond images.’ – Jules de Balincourt

Quiet, reflective and mysterious, new paintings by Brooklyn-based artist Jules de Balincourt continue an intuitive approach to imagemaking,where the world we inhabit is filtered through the artist’s own psychological landscape. In Troubled Eden, 2017, a snaking river,encroached upon by signs of human activity, is worn like a shift dress by a figure with a sharp fringe and an assertive, red-carpet stance.In other works, de Balincourt paints nocturnal landscapes, figures seeking refuge, monsters that resemble monuments, glowing caves.
Everywhere, dreamlike distortions and disconcerting shifts in scale create a sense of eeriness and imbalance. There is an unsettlingatmosphere to these new paintings, suggestive of a world in flux. Yet, undeniable too, is a sense of optimism, a persistence of spirit, or a suggestion of how things might be different – with a collective leap of imagination, or if power was held in other hands.

How these paintings relate to the current social and political moment, and specifically to the power dynamics of contemporary America,is left deliberately ambiguous. Always rich in colour and technique, de Balincourt’s work is a bountiful confluence of reality and fantasy,where references to society, politics, or popular culture are never less than equalled by free association and painterly invention. As withprevious works, the new paintings began life as abstract shapes and colours – glowing, transparent, or sometimes acid-bright, as if to
indicate hyper-awareness on the artist’s part. Shaped by intuition, imagination and memory, imagery – sometimes recurring, such ascongregations of people – emerges through an intuitive dance. This is painting as open ground or test site, a point of departure for artist
and viewer alike, one through which we might attempt to process the chaos of contemporary life.

Expo: Remed – Ser. Entre semilla y ceniza @ Delimbo Gallery (Seville)
Jan 18 @ 21 h 01 min – Avr 2 @ 18 h 30 min

Exhibition “Ser. Entre semilla y ceniza” by Remed (France)

Opening: January 18th, through April 2nd 2017
Hours: Tuesdays – Fridays, 11am – 2pm and 6pm – 8:30 pm.; Saturdays 11:30am – 2pm

The French artist Remed show his new works in Seville after 11 years of his first solo exhibition at Delimbo gallery.

 

« Ser. Entre Semilla y Ceniza  » is the suggestive title of the new exhibition by the artist Guillaume Alby, better known by his artistic name Remed, an exhibition in which he features a selection of works made in the last year exclusively for this exhibition.

The exhibition comprises a total of 12 large-format paintings, 24 drawings and two sculptures that the artist has produced together with artisans and artists from the city of Seville, thus complying with his work ethic under which he seeks to involve locals in his work. process, enriching both his work and his knowledge, as well as at the same time giving support, recognition and visibility to the local arts and craft scene.

His work has been exhibited at the Museum of Contemporary Art in Sao Paulo, Museum of Contemporary Art in Marseille, or at the New York Childrens Museum, just to name a few, and at top-notch art galleries in places such as Johannesburg, New York, Paris, Atlanta, Marrakech, California, Sweden, London, Sao Paulo, and a long etc, and its murals can be seen throughout the globe.

Remed develops a work with a great relationship between the spiritual, the mathematical and the aesthetic, creating a harmony both visual and sensory.

It is the present moment to which Remed move us with the contemplation of his work, just the moment in which we find ourselves between the seed and the ashes, to make us celebrate life through art.

Expo: Eddie Martinez – Love Letters & Yard Work @ Mitchell-Innes & Nash
Jan 18 @ 18 h 01 min – Fév 24 @ 18 h 00 min

Mitchell-Innes & Nash is delighted to announce Love Letters and Yard Work, two concurrent exhibitions of new work by Eddie Martinez at the gallery’s Chelsea and Madison Avenue locations.  These two shows mark the first time Martinez’s work has been exhibited in New York following the opening of his solo exhibitions at the Davis Museum at Wellesley College and at The Drawing Center, New York in Fall 2017.  Love Letters and Yard Work will be on view from Thursday, January 18 to Saturday, February 24.  Love Letters will be exhibited at 534 West 26th Street and Yard Work at 1018 Madison Avenue.  Please join us for an opening reception at 534 West 26th Street on Thursday, January 18 from 6 to 8 pm.

The Love Letter series expands upon Martinez’s recent practice of utilizing enlarged silkscreens of small Sharpie drawings as a starting point for works on canvas.  Martinez’s daily drawing practice has long been a significant source of inspiration for his painting.  Of his drawings, the artist says, “I carry them around and poach different marks and moves. Some of them go straight onto my ‘drawing wall,’ which at times houses up to 500 drawings all mashed up on and over each other.”  The artists’ drawing wall is the subject of Martinez’s recent exhibition at The Drawing Center.  Curator Claire Gillman invited Martinez to recreate the floor-to-ceiling salon-style installation of works on paper in an immersive room, covering the four walls of The Drawing Center’s gallery.  Paintings were hung on top of the drawings to highlight the formal connections between the two mediums.

With the Love Letter works, Martinez mines his own drawing practice to create a sense of speed, clarity and simplicity of line and form in his large-scale paintings.  He then builds up dense and energetic layers of color using a variety of materials ranging from acrylic, oil, spray and enamel paints alongside collaged canvases and studio debris such as thumb tacks, wet wipes or the lids of paint cans.  Cartoonish figures and forms are packed with high-speed brushstrokes and occasionally obscured by multiple layers of overpainting. The compositions contain an inherent contradiction: a childlike simplification of a form executed in a confident, muscular line.

Martinez investigates questions of seriality and repetition, specifically the ways in which the same form can manifest.  A vast majority of the Love Letter paintings are executed at the same size.  Occasionally, a single drawing will become the blueprint for two or more paintings.  Recurring forms, purposely obscured, crop up across the body of work: a potted flower, a head in a helmet, a robotic body, a mushroom.  One can trace these forms throughout years of Martinez’s practice; they become letters in his own visual language.  Martinez bends the implications of seriality by rejecting the guidelines imposed by the silkscreen, often concealing the initial outline entirely.

Yard Work is a separate but related body of work created during the summer of 2017 on Long Island.  Unable to find a studio to rent for the summer, Martinez began to paint on the lawn outside his home.  He then allowed these paintings to dry there, exposed to the elements.  Upon very close inspection, the paintings have accrued leaves, grass and insects.  Although these compositions did not originate as drawings, Martinez uses the spray can as a drawing tool, creating compositions that range from completely abstract to figurative still lives.

Jan
19
ven
Expo: Todd James – Interior @ Eighteen (V1 Gallery)
Jan 19 @ 17 h 01 min – Mar 24 @ 16 h 00 min
Eighteen
INTERIOR
A SOLO EXHIBITION BY TODD JAMES
Opening reception: January 19 from 5 – 8 PM
Exhibition period: January 19 – February 24, 2018

 

Expo: Austin Lee – Tomato Can @ Peres Projects
Jan 19 @ 18 h 01 min – Mar 2 @ 18 h 00 min

Tomato Can
Austin Lee

January 19–March 2, 2018

Jan
20
sam
Expo: Cody Hudson – I Mean: I Wish I Could Have Time To Groove W/ You But I’ve Got To Get On With My Own Life @ Andrew Rafacz Gallery
Jan 20 @ 17 h 01 min – Fév 24 @ 17 h 00 min

Cody Hudson

I Mean: I Wish I Could Have Time To Groove W/ You But I’ve Got To Get On W/ My Life

ANDREW RAFACZ is pleased to announce I Mean: I Wish I Could Have Time To Groove W/ You But I’ve Got To Get On With My Own Life, a solo exhibition by Cody Hudson in Gallery Two.

Chicago, IL, January 20, 2018– ANDREW RAFACZ I Mean: I Wish I Could Have Time To Groove W/ You But I’ve Got To Get On With My Own Life, a solo exhibition of sculptures by Cody Hudson. The exhibition continues through Saturday, February 24, 2018.

Engaged in an ongoing investigation into shape and color in their most elemental ways, Cody Hudson has developed a body of paintings, installations, and sculptures over the last few years that transcend their reference points. He has created layered compositions that defy easy identification or interpretation.

Recently, Hudson’s anthropomorphic and abstract sculptural forms informed a shift in his approach to painting, opening up a new vocabulary that is bolder, more narrative, and arguably more directly painterly. These newest works are indebted to portraiture and landscape painting as much as graphic composition, at times outwardly suggesting masks, sunrises, beaches, exotic plants and still lifes, while also referencing the artist’s own interiority and the current state of the world.

With this exhibition, Hudson returns to sculpture, bringing some his recent ideas from his paintings back to the medium. The artist presents twenty-six new steel sculptures ranging in scale from a few inches to seven feet. Twenty-four small to medium sized works are presented on a shelf wrapping three walls of the gallery, with a monochromatic wall painting as background. The two largest works sit in the center of the room. Previously, all of his steel sculptures were left raw after they were cut and soldered. Here, the artist presents a number of the new works in three powder-coated colors: a subtle pink, bright white, and navy.

With this newest body of work, Hudson further utilizes distinct designs and negative space as a formal gesture. Many of the works continue to reference human/animal hybrid faces and bodily forms but seek to develop a deeper, more discrete language. Taken together, the results are a bold and activated environment.

Jan
26
ven
Expo: AKAY & OLABO – Wonderland @ MIMA
Jan 26 @ 18 h 01 min – Avr 15 @ 18 h 00 min

VERNISSAGE: 26.01.2018 / Entrée libre
EXPO: 26.01.2018 > 15.04.2018

Artistes: AKAY (SE) & OLABO (SE)

“Wonderland ou l’art de la rébellion est une tentative ludique de lutter contre la routine, imaginée par 2 artistes suédois issus du graffiti connus sous les pseudonymes d’Akay & Olabo. L’exposition nous plonge dans leurs aventures urbaines faites d’explorations interdites au sein de lieux laissés à l’abandon. Pour en venir à bout, le visiteur de Wonderland doit résoudre des énigmes tout au long de sa visite !”

Jan
27
sam
Expo: Sozyone Gonzales – Cabarets Bordels @ Galerie CELAL M13
Jan 27 @ 16 h 01 min – Mar 10 @ 19 h 00 min

Fév
2
ven
Expo: Cleon Peterson – The Shadow of Men @ MCA Denver
Fév 2 @ 18 h 31 min – Mai 27 @ 17 h 00 min

This winter, MCA Denver will dedicate its second floor to the work of Cleon Peterson. The installations will introduce Peterson’s murals, paintings, and sculptures to a new audience and will transform the museum inside and out.

With his boldly graphic style, Peterson’s work is newly meaningful in the current political climate, given its frequent depiction of violence. The exhibition, titledCleon Peterson: Shadow of Men, focuses on this current in Peterson’s work and showcases the artist’s aesthetic mastery, long under-recognized by the museum field. This solo presentation also demonstrates the importance of representing violence to highlight a disturbing though fundamental element of society. The exhibition squarely addresses the nature of violence at a time when this subject seems increasingly uncomfortable, yet urgent.

Fév
9
ven
Expo: Farshad Farzankia – Bread and Flower @ Andersen's Contemporary AMALIEGADE Main Gallery Space
Fév 9 @ 17 h 01 min – Mar 24 @ 15 h 00 min

FARSHAD FARZANKIA

First Solo exhibition at Andersen’s


Opening: 9 February 2018

Andersen’s Amaliegade

Copenhagen

We are delighted to present the first solo exhibition of works by Farshad Farzankia.

Opening: 9 February at Andersen’s Amaliegade

Farshad Farzankia was born in Tehran, Iran in 1980. He received a Bachelor degree in Visual Communication in Copenhagen, Denmark, where he currently lives and works. After starting painting recently Farzankia has rapidly become well known for his color full and symbolic paintings and sculptures which often refers to his personal background and heritage. he has recently very successful shows in LA at Richard Heller gallery as well as in Berlin.

Fév
10
sam
Expo: Jisan Ahn & Raymond Lemstra – Seoul Sessions @ Galerie Bart
Fév 10 @ 16 h 01 min – Mar 24 @ 17 h 00 min

Seoul Sessions

Jisan Ahn en Raymond Lemstra

Duo-expositie

10 02 ’18 / 24 03 ’18

Opening : zaterdag 10 februari 2018

To get a grip on the alienating and overwhelming city of Seoul, Raymond Lemstra collected many posters and stickers from the streets. These remnants of paper laid a new layer over Lemstra’s environment. “Places I first avoided became gold mines.”

Korean commercials from the seventies are a big inspiration to Jisan Ahn. “I want to place this obsolete traditional visual language in this time and see how people react to it.”

Fév
15
jeu
Expo: Fauna & Flora, l’univers de Julien Colombier @ Galerie de Sèvres
Fév 15 @ 16 h 01 min – Mai 5 @ 19 h 00 min


Dessin de Julien Colombier, 2017. Biscuit de porcelaine de J. Hébert-Coëffin, Toucan, 1935. (c) Sèvres/G. Jonca

Fauna & Flora, l’univers de Julien Colombier

Sèvres présente dans sa galerie parisienne ses créations animalières sublimées par une mise en scène de l’artiste Julien Colombier.

L’artiste crée un univers végétal luxuriant, coloré, onirique et fantasque, un environnement quasi-hypnotique avec un traitement plastique des motifs parfaitement maîtrisé jusque dans ses apparentes mais trompeuses, imperfections.

Pour cette exposition, en collaboration avec Audrey Guimard, scénographe, Julien Colombier met en scène une faune en porcelaine et grès de Sèvres faussement sage, parfois mutine surgissant de cette végétation stimulante, aux côtés de vases peints par l’artiste, sur trois formes classiques du répertoire de Sèvres y sont présentés.

La sculpture animalière est l’un des domaines privilégiés de la Manufacture, dès sa création en 1740. Éditée en biscuit, en grès ou même en faïence émaillée, on y trouve toutes sortes d’animaux domestiques ou familiers – chiens, chats, dindons, coqs, paons, crapauds, ours – aussi bien que des espèces exotiques – lions, éléphants, toucans ou perroquets. Tantôt petits sujets, tantôt plus grandes créations, ces animaux passent du réalisme naturaliste à une stylisation prononcée. Ils sont signés : François PomponYtiga NoumataEdouard-Maurice SandozGeorges-Lucien Guyot,Thierry Lebon, etc.

Fauna & Flora, l’univers de Julien Colombier,exposition du 16 février au 5 mai 2018, Galerie de Sèvres à Paris (entrée libre)

4, place André Malraux, 75001 Paris
Métro : Palais Royal
galerie@sevresciteceramique.fr

Espaces ouverts du lundi au samedi de 14h à 19h.
La galerie de Paris sera fermée le 1er mai 2018

 

Fév
16
ven
Expo: Kathrine Ærtebjerg – Værktøjet @ Charlotte Fogh Gallery (Denmark)
Fév 16 @ 17 h 01 min – Mar 17 @ 16 h 00 min

VÆRKTØJET (THE TOOL)

Kathrine Ærtebjerg
16/02 2018 – 17/03 2018

We are proud to present Kathrine Ærtebjerg’s first gallery exhibition in Jutland, and we are looking forward to inviting you into her enigmatic universe. The exhibition consists of a number of new paintings and paperworks, and as always the human is central in Ærtebjerg’s art, The works deal with major existential themes such as body, gender, sexuality, vanity and death.

Many people know Kathrine Ærtebjerg’s paintings for the slightly surreal and enigmatic imagery of human characters, animals, objects and concrete shapes that moves in the borderland between figurative and abstract. As something new, Kathrine Ærtebjerg has used spray paint on all works and sprayed one or more items from the real world eg. leaves, branches and fruit from the nature or tools. The outer world and the phenomena, such as nature and the tool, and the inner world, the ideas and imagination, merge in the works of Ærtebjerg. The pictures are beautiful and enigmatic, legendary and poetic. They appear delicate and sensitive while also being humorous.

Expo: Lichtstraße – Grand Opening @ Ruttkowski;68
Fév 16 @ 19 h 01 min – Mar 31 @ 18 h 00 min

Lichtstraße – group show

Grand Opening of the new gallery space
Lichtstraße 8-24, Cologne
16/2/2018 7-10pm

Works by:
Jenny Brosinski, Francesco Igory Deiana,
Lars Eidinger, Antwan Horfee, Mark Jenkins,
Paa Joe, Conny Maier, Stefan Marx, Filippo Minelli,
Rebecca Morgan, Felix Oehmann,
Ricardo Passaporte, Devin Troy Strother,
Stefan Strumbel, Pablo Tomek, Fabian Treiber,
Henrik Vibskov, Daniel Weissbach, Wermke/Leinkauf

Credits:
Wermke/Leinkauf,
Terrorartists (Kunstmuseum Bonn / Pyro), Edition 5+2AP, 60 x 40 cm, signed

Fév
17
sam
Expo: Nano4814 – Turno de Noche @ Delimbo Gallery (Madrid)
Fév 17 @ 13 h 01 min – Avr 28 @ 14 h 00 min

Nano4814 – Turno de Noche

Attempting to go through any work by Nano 4814 (Vigo, 1978) involves delving into a hole-like shape––a space appearing laconically before us and dragging us toward the joys of synesthesia, where we know full well that one or another of our senses may undergo a fracturing, a transmutation, or some kind of quiet upheaval. Once inside, enticed by the journey through the work’s transparent traps, there appears a sort of twinkle, heavy with a routineness we believe we digest every day but will positively rethink on the way out.

This twinkle mutates suddenly into a squad of tough-guy ghosts offering an array of experiences: experiencing for the first time the smell of broken bones, hearing the explosion of a bunch of concrete balloons, or kissing a knife’s edge as sharp as a rainbow.

After this momentary lapse, everything becomes blurred—balance becomes gas; skeletons become walls; and colours become fate. As John Berger wrote in Steps toward a Small Theory of the Visible: “When a colour acquires substance and becomes a thing, it ceases to be a colour. It loses its innocence, and describing it is no longer such a simple matter; it now has the weight of the irremediable, for all that one might call it a blue sky. The blue ceases to be a colour you have chosen and instead becomes fate. A fate from which there is no escape [from the Spanish edition].”

We could argue that this “constant attempt to slip away” is what binds the Galician artist’s oeuvre together. These escape strategies add up to a vast imaginary cosmos folding in on itself, layer upon dark tragic layer, woven with brightly neon thread. Speaking of layers, I am reminded of a line from the opening of Eva Fernández del Campo’s essay La infancia como patria [Childhood as Motherland]: “We have all been sick children, and it is probably because we have all been submerged in the endless folds of sheets, blankets, and bedspreads that later on, as shivering adults, we are able to explore the intricate system of folds of which painting consists.” Interestingly, another of the pillars of the artist’s oeuvre arises from this quote: namely, play. In this case, the overarching importance of homo ludens can be seen in the explosive vindication of juvenile mischief—but with all one’s responsibilities laid out on the game board for the adults to see.

In this exhibition, NIGHT SHIFT, the artist offers up several zigs and zags through two-dimensional paintings, their spatial context, and a series of installations closely related to play—always rooted in concepts having to do with imbalance, defacement, or slyness.

On the one hand, his paintings still have the plastic rigour of a tense painted object. Like a reliquary from the Italian Duecento, its two-dimensionality remains untouched and headstrong. There is no room for optical fugues, only for allegorical ones. These paintings might seem like windows into a hidden world, but they are in fact a map with which to traverse—even inhabit—a hallucination.

But it is also important to keep in mind that in Nano 4814, as in all good city-dwelling flâneurs, three-dimensional space has the most important role to play: without this habitat, so to speak, none of the other puzzle pieces can become signs.

In order to navigate these zigs and zags with relative ease, it is helpful to keep in mind the Aberrations series, made up of several “distorting mirrors” of the kind we find in funhouses, where the image of the viewer morphs as he moves and gestures. The artist adds a new layer of interpretation to these mirrors—already altered in both form and function—by superimposing on ourselves fragments of black wire fence or traces of paint half scrubbed away (by a rag unable to wipe completely away). Upon our reflections, too, bubble pieces of flying femurs, handfuls of confetti in midair . . .

We know that the party has begun inside the hole, but we don’t know which of the elements now eclipsing our anomalous reflection symbolizes the opening toast.

Text by Daniel Muñoz
Translated by Guillermo López Gallego

Fév
22
jeu
Expo: Phil Frost – Ellipse of Passage @ Galería Javier López & Fer Frances (Madrid)
Fév 22 @ 16 h 01 min – Avr 27 @ 17 h 00 min

PHIL FROST: ELLIPSE OF PASSAGE

Madrid, February 22 – April 27, 2018

The Galería Javier López & Fer Francés, as part of its involvement in ARCOmadrid 2018, is proud to present the second show in Spain by Phil Frost (b. Jamestown, New York, 1973). Ellipse of Passage offers a chance to enjoy a selection of previously unseen works by the only contemporary artist to have exhibited at the Empire State Plaza in Albany, New York, where his works were in creative conversation with those of the Rockefeller Collection in a show commemorating the fiftieth anniversary of the collection’s creation. Frost’s visual language combines the rawness and gritty edge of the street, through its use of found materials, with the elegance of its painterly aesthetic, in which the importance of drawing—line, stroke, movement, power—is paramount.

Self-taught, Frost defines his personal style as “intuitive perceptive portraiture”. In the artist’s own words: “My work is a means to chart and define an interpretation of sensorial experience through perception and the building up of a consequential visual gesture, which amounts to an accumulation of physical trace as passage interwoven through the layers of pictorial depth”. In the 1990s he was part of the alternative New York graffiti movement and was influenced by the music scene of the period, creating images of immense expressive power that are immediately recognizable through the way they juxtapose white patterns, such as letters and symbols, on different levels.

His characteristic figures have elongated faces and stylized necks that recall totems and tribal masks and are the formal elements that establish the prinicipal axes of his complex compositions. Within the superimposed planes, viewers can make out geometric patterns—including circles of various sizes, positive and negative, stars, triangles, hearts—that repeat endlessly to create an articulated structure for both the bright colours of the base and contrasting elements of light and shade, as well as incorporating all kinds of salvaged and recontextualized objects—including boxes, bottles, ladders, baseball bats, helmets, toy cars, brushes, locks, buttons, leaves, feathers, metal plates, numbers and letters.

Ellipse of Passage includes several monumental works, one of them a diptych previously on show—in unfinished form—in Magnetic Shift, the exhibition at the Corning Tower in Albany mentioned above, as part of Frost’s work in progress. The idea of entry to another dimension of perception, indicated in the current exhibition’s title, is present in important earlier works such as Entrance to Perception Gate (2003–2014) or the emblematic Consequential Passage of Accumulative Experience in Perceptive Realm (2002–2014). Through their imposing size, some of the pieces on show here invite us to cross to the other side of the work’s surface and pass into the artist’s personal and unique universe.

Expo: Todd James – Love to love you @ Galería Javier López & Fer Frances (Madrid)
Fév 22 @ 16 h 01 min – Avr 27 @ 17 h 00 min

TODD JAMES: LOVE TO LOVE YOU

Madrid, February 22 – April 27, 2018

The Galería Javier López & Fer Francés is marking the return to showing separate projects in the two rooms at the space in La Florida with a solo exhibition by Todd James (b. New York, 1969), which focuses on his work on paper. In Love To Love You the artist is showing a wide selection of recent drawings where some of his most recognizable themes are evident: pirates with rifles, tanks and military aeroplanes in jaunty attitudes, women with cats in idyllic landscapes or in quiet bourgeois interiors—and these last have increasingly been coming to the fore, to the point of becoming separate scenes.

James shows an indisputable ability to synthesize images drawn from the overflowing stream of media information that inundates us every day and sometimes drowns us. The scenes he presents invite contemplation in an age when we are rarely offered time for reflection. The figures of women, generally lightly clad or nude silhouettes, have gradually been taking a dominant place in his universe of colours and forms; they smoke cigarettes, drink tea, and watch meditatively, in frozen moments, static atmospheres, sometimes with an element of anxiety but more and more relaxed and hedonistic now, in contrast with the hysteria and hectic rhythm beyond their walls.

In this selection of works, we can see how the compositions are becoming more complex, as James reorganizes our traditional perception of foregrounds and backgrounds. The objects that populate the interiors—chairs, tables, flowers, books, painting, fruit, skulls, teapots, cups, ashtrays, pipes, and cigarette butts—are transformed into an alphabet of shapes that resolve into one another and combine through the artist’s original palette and exuberant outlook.

The title of the exhibition refers to the pleasure he takes in painting, a celebration of love for what one is doing, and Matisse’s joie de vivre; James acknowledges his admiration for Matisse, and the Frenchman’s spirit somehow imbues the pictures of recent years. The title’s wording was inspired by the song Love to Love You Baby—a hit for Donna Summer in the seventies—which has a sensuality that is embodied in the blonde girls who capture the viewer’s gaze with their voluptuosity and, sometimes, sass.

Fév
23
ven
Evenement: Ciao Presto @ BATT coop
Fév 23 @ 18 h 00 min – Fév 25 @ 18 h 00 min

L’ami Aurélien de Riso presto raccroche les gants. À cette occasion, nous organisons un weekend de rétrospective et de braderie sur l’ensemble de son catalogue à la librairie BATT Coop.
Vernissage le vendredi 23 de 18h à 22h puis ouverture les samedi 24 et dimanche 25 de 14h à 18h.

Expo: Alexandre Bavard – System @ Chez Lepeuve (Clichy)
Fév 23 @ 18 h 01 min – Mar 24 @ 18 h 00 min

 

Vernissage de l’exposition « System »

Le système « BULKY » est un système de notation du mouvement généré par le tag développé par Alexandre Bavard. A partir de cette technique, Alexandre réalisa une première performance avec la volonté de combiner plusieurs médium d’expression sur la base d’une interaction entre la calligraphie de rue, la danse et la création sonore. Cette création fut présentée au Palais de Tokyo en Juin 2017. ( Prix jeune révélation talents arts urbain 2017. ADAGP/Palais de Tokyo )

l’exposition présentera ce système à travers des oeuvres originales, des fanzines, des sérigraphies …

Le vernissage sera également l’occasion de présenter le nouveau projet d’Alexandre Bavard NEO-ARCHEOLOGIA développé à partir du système BULKY.

alexandrebavard.com

Instagram: 87mosa87

Fév
24
sam
Expo: MINA & BRUCE – Solo pour deux @ art is just a four letter word Gallery
Fév 24 @ 18 h 01 min – Avr 21 @ 18 h 00 min
Mina & Bruce – SOLO POUR DEUX

24.02.2018 – 21.04.2018

art is just a four letter word Gallery
Markt 6, 59494 Soest
Mar
1
jeu
Opening: Austin Eddy – Houten paddestoelen @ Ornis A. Gallery (Amsterdam)
Mar 1 @ 17 h 00 min – 21 h 00 min

Austin Eddy – Houten paddestoelen

01 March – 03 March, 2018

Expo: Austin Eddy – Houten paddestoelen @ Ornis A. Gallery (Amsterdam)
Mar 1 @ 17 h 01 min – Mar 3 @ 18 h 00 min

Austin Eddy – Houten paddestoelen

01 March – 03 March, 2018

Opening: Nicolas & Jean Jullien – Le weekend @ Galerie SLIKA (Lyon)
Mar 1 @ 18 h 30 min – 22 h 30 min
Expo: Nicolas & Jean Jullien – Le weekend @ Galerie SLIKA (Lyon)
Mar 1 @ 18 h 31 min – Avr 7 @ 19 h 00 min
Opening: Louis Granet – Free, Super fast !!!!! @ Neumann Wolfson Art (New york)
Mar 1 @ 18 h 00 min – 20 h 00 min

Free, Super fast !!!!!

Louis Granet

March 1 – April 14, 2018

Neumann Wolfson Art is pleased to present the first US solo exhibition of French
artist Louis Granet. The exhibition will feature work made by Granet throughout his three-month
residency with the gallery in Manhattan’s Alphabet City.

Granet’s paintings can best be described with the French word “bavard”. They
speak fast and loud, reflecting a sense of urgency and disorder so characteristic of city life.
Rooted in the art of comic illustration, he is drawn to unconventional narratives found in the
banal and quotidien on unfamiliar streets. Granet mines energy from sheafs of soggy cardboard
and chaotic bodega racks to portray his split-scene landscapes that serve as personal travel
diaries. To the average passerby, a smashed lightbox-logo atop a deli awning is merely that,
but with Granet’s sensitive perception of the abject, we can almost envision a Lichtensteinian
“POW!” in his dramatic rendering.

Downtown, urban undergrowth overtakes human upkeep, and animation lends
itself generously to a traveler’s rotating gaze. With this exhibition, viewers are invited to release
themselves from their routine navigation of New York City, and forge new paths through
Granet’s dystopian flair for exploration.

Expo: Louis Granet – Free, Super fast !!!!! @ Neumann Wolfson Art (New york)
Mar 1 @ 18 h 01 min – Avr 14 @ 18 h 00 min

Free, Super fast !!!!!

Louis Granet

March 1 – April 14, 2018

Neumann Wolfson Art is pleased to present the first US solo exhibition of French
artist Louis Granet. The exhibition will feature work made by Granet throughout his three-month
residency with the gallery in Manhattan’s Alphabet City.

Granet’s paintings can best be described with the French word “bavard”. They
speak fast and loud, reflecting a sense of urgency and disorder so characteristic of city life.
Rooted in the art of comic illustration, he is drawn to unconventional narratives found in the
banal and quotidien on unfamiliar streets. Granet mines energy from sheafs of soggy cardboard
and chaotic bodega racks to portray his split-scene landscapes that serve as personal travel
diaries. To the average passerby, a smashed lightbox-logo atop a deli awning is merely that,
but with Granet’s sensitive perception of the abject, we can almost envision a Lichtensteinian
“POW!” in his dramatic rendering.

Downtown, urban undergrowth overtakes human upkeep, and animation lends
itself generously to a traveler’s rotating gaze. With this exhibition, viewers are invited to release
themselves from their routine navigation of New York City, and forge new paths through
Granet’s dystopian flair for exploration.

Mar
2
ven
Opening: Will Sweeney – Vorpal Sword @ Diesel Art gallery (Tokyo)
Mar 2 @ 11 h 30 min – 21 h 00 min

 

Vorpal Sword – the dreamland created by psychedelic power

London based graphic artist Will Sweeney holds a solo show in Japan for the first time in 11 years

Diesel art gallery presents ‘Vorpal Sword’an exhibition by acclaimed graphic artist Will Sweeney from 2018.3,2(Fri) – 5.24 (Thu). Vorpal Sword is the first major solo exhibition by Will Sweeney in Tokyo for 11 years. Will Sweeney is known for his diverse range of work from record sleeves, T-shirt and toy designs to fashion textiles, animated music videos and advertising campaigns for high end clients as well as his own psychedelic adventure comic ‘Tales from Greenfuzz’. The newly created work featured in Vorpal Sword represents Will’s ongoing fascination with post apocalyptic worlds, microcosmic evolution and fantastical technology. The title is inspired by Lewis Carroll’s poem, Jabberwocky (from Through The Looking Glass).

A retro/futuristic English landscape, mutated beyond recognition, is populated by mythical creatures and freakish characters, living in makeshift shelters, conducting strange rituals and harvesting the polluted soil. Meanwhile the urban centres have fallen to ruin and decadence, ruled by a twisted elite, who exploit the populace for food and entertainment. Monsters roam the landscape, real and imagined, only those able to wield The Vorpal Sword stand a chance of defeating them.

The new pieces are rendered in garish colour and in a larger scale than much of Will’s previous work,using watercolour, gel marker brush and ink, Will has developed a looser more freeform style in these pieces. Other work in the show includes a series of small scale paintings of tiny universes which display Will’s fascination with biological & medical illustration, depicting visions of worlds within worlds, cross sections of alien organisms and alien technology from eldritch dimensions. These paintings were generated from free flowing ink paintings, and refined with ballpoint pen to create an otherworldly atmosphere that suggests 1970’s science fiction art, coral reefs and primitive structures hewn from an alien substance.

In addition there will be a new animation piece made in collaboration with London artist/musician Subway Lung and several older, unseen pieces, sketches books and collected ephemera from Will’s archive.

The title Vorpal Sword signifies a vital creative energy, a life-force beaming directly from the subconscious which will vanquish monsters and destructive forces. The painting Energy Cannot Be Destroyed perhaps represents the idea behind the title best, a chaotic maze of mutated machines and strange objects burst and sputter volatile substances in a feedback loop of demented propulsion. The monsters of mundanity and inertia are defeated by the metaphysical blade of The Vorpal Sword. The life cycle goes on, cross pollinating and evolving.

There will be a range of exclusive special products on sale during the exhibition including two new limited edition silkscreen prints as well a new book zine featuring work from the show.

Information

Title : Vorpal Sword
Artists : Will Sweeney
Date : March 2 ‒ May 24, 2018
Venue : DIESEL ART GALLERY (inside Diesel Shibuya)
Website : diesel.co.jp/art
Address : Cocoti B1F, 1-23-16, Shibuya, Shibuya-ku, Tokyo
TEL : 03-6427-5955
Hours : 11:30am to 9pm
Entrance fee : Free
Closed : No scheduled holidays
Coordinator : Ayako Terashima
Supported : Medicom Toy / Nieves / Fern Toys / MATSUI BIGEIDO Co.,Ltd.

【SIGNING】

Will Sweeney will be giving a signing at DIESEL ART GALLERY on March 3rd (Sat) 15:00- 17:00

Coordinator : Ayako Terashima

London based producer specialised in licensing, coordination and translation for various creative projects including graphic arts, fashion, design and culture. She has also worked for London agencies such as Winkreative and Assembly London. She worked previously as a coordinator for Diesel Art Gallery for The Ayami Nishimura x Rankin exhibition.

Expo: Will Sweeney – Vorpal Sword @ Diesel Art gallery (Tokyo)
Mar 2 @ 11 h 31 min – Mai 24 @ 21 h 00 min

 

Vorpal Sword – the dreamland created by psychedelic power

London based graphic artist Will Sweeney holds a solo show in Japan for the first time in 11 years

Diesel art gallery presents ‘Vorpal Sword’an exhibition by acclaimed graphic artist Will Sweeney from 2018.3,2(Fri) – 5.24 (Thu). Vorpal Sword is the first major solo exhibition by Will Sweeney in Tokyo for 11 years. Will Sweeney is known for his diverse range of work from record sleeves, T-shirt and toy designs to fashion textiles, animated music videos and advertising campaigns for high end clients as well as his own psychedelic adventure comic ‘Tales from Greenfuzz’. The newly created work featured in Vorpal Sword represents Will’s ongoing fascination with post apocalyptic worlds, microcosmic evolution and fantastical technology. The title is inspired by Lewis Carroll’s poem, Jabberwocky (from Through The Looking Glass).

A retro/futuristic English landscape, mutated beyond recognition, is populated by mythical creatures and freakish characters, living in makeshift shelters, conducting strange rituals and harvesting the polluted soil. Meanwhile the urban centres have fallen to ruin and decadence, ruled by a twisted elite, who exploit the populace for food and entertainment. Monsters roam the landscape, real and imagined, only those able to wield The Vorpal Sword stand a chance of defeating them.

The new pieces are rendered in garish colour and in a larger scale than much of Will’s previous work,using watercolour, gel marker brush and ink, Will has developed a looser more freeform style in these pieces. Other work in the show includes a series of small scale paintings of tiny universes which display Will’s fascination with biological & medical illustration, depicting visions of worlds within worlds, cross sections of alien organisms and alien technology from eldritch dimensions. These paintings were generated from free flowing ink paintings, and refined with ballpoint pen to create an otherworldly atmosphere that suggests 1970’s science fiction art, coral reefs and primitive structures hewn from an alien substance.

In addition there will be a new animation piece made in collaboration with London artist/musician Subway Lung and several older, unseen pieces, sketches books and collected ephemera from Will’s archive.

The title Vorpal Sword signifies a vital creative energy, a life-force beaming directly from the subconscious which will vanquish monsters and destructive forces. The painting Energy Cannot Be Destroyed perhaps represents the idea behind the title best, a chaotic maze of mutated machines and strange objects burst and sputter volatile substances in a feedback loop of demented propulsion. The monsters of mundanity and inertia are defeated by the metaphysical blade of The Vorpal Sword. The life cycle goes on, cross pollinating and evolving.

There will be a range of exclusive special products on sale during the exhibition including two new limited edition silkscreen prints as well a new book zine featuring work from the show.

Information

Title : Vorpal Sword
Artists : Will Sweeney
Date : March 2 ‒ May 24, 2018
Venue : DIESEL ART GALLERY (inside Diesel Shibuya)
Website : diesel.co.jp/art
Address : Cocoti B1F, 1-23-16, Shibuya, Shibuya-ku, Tokyo
TEL : 03-6427-5955
Hours : 11:30am to 9pm
Entrance fee : Free
Closed : No scheduled holidays
Coordinator : Ayako Terashima
Supported : Medicom Toy / Nieves / Fern Toys / MATSUI BIGEIDO Co.,Ltd.

【SIGNING】

Will Sweeney will be giving a signing at DIESEL ART GALLERY on March 3rd (Sat) 15:00- 17:00

Coordinator : Ayako Terashima

London based producer specialised in licensing, coordination and translation for various creative projects including graphic arts, fashion, design and culture. She has also worked for London agencies such as Winkreative and Assembly London. She worked previously as a coordinator for Diesel Art Gallery for The Ayami Nishimura x Rankin exhibition.

Opening: Daniel Jensen & Mark Posey – Happy Depression @ BEERS London (Londres)
Mar 2 @ 18 h 00 min – 20 h 00 min

Happy Depression

 

Opening Preview: Friday 2 March

Exhibition: 2 March – 14 April 2018

Daniel Jensen / Mark Posey

 

The second exhibition of the year presents Daniel Jensen and Mark Posey, who were both originally chosen by the jury for ‘Contemporary Visions 8’, instead exhibiting them together for the first time. Both artists use painting and sculpture to present a tongue-in-cheek commentary on domesticity, materiality, and the banal.Jensen’s drawings and paintings are an absurdist re-evaluation of the world around him: socks, leaves, smiley faces, and squiggles are all flattened with a dry, sardonic wit that carries over into his sculptural identity. Cast from cardboard, plastic cups, and whatever detritus lies around his studio, the young Swedish artist elevates such irreverent media into totem-like relics. Choosing to celebrate the banality of his media and subject matter rather than hide behind it, the artist’s works inhabit a sort of celebratory low-browness, coming across like a sort of plastic-party-hat revelry turned serious art-practice

The connection to Posey’s subject matter is evident: still-lifes of constant slippage, like a collapsed party table in which the contents are in a perennial state of collapse. Posey’s choices mimic Jensen’s too, where silly materials like bricks, bananas, candles, and cups are painted with the same sort of passing reverence Cezanne or Van Gogh gave to the passing of clouds. Further, these artists seem to poke fun at our constantly moving tendencies, as though a contemporary counterpart to the Dutch still life paintings, and here the rather fluid, appropriately light-hearted attention to detail that one would expect from a modern-day still-life painter. There is a suggestion toward a post-analog life – where elements have been flattened and cheapened, but hereby reinterpreted and propped-back up through the artist’s prowess: re-evaluated and cherished, however tangible and silly these modern day apparatuses appear: a flattened beer can salvaged from the frat-party propped up on its side, ready for arrangement within the still-life.

Opening: Sammy Stein – Galerie 128 @ Galerie 126 (Rennes)
Mar 2 @ 19 h 00 min – 22 h 00 min

Je pousse le portail, la végétation est dense. Du dehors, le bâtiment est à peine visible, caché derrière d’imposantes broussailles et des lits de fougères.
Impossible d’aller plus loin, des arbres ont poussé devant la porte d’entrée. Sur la droite de la maison, le garage apparaît sous les feuillages : vignes, ronces, orties.
Une mousse vert émeraude a intégralement recouvert la poignée, si rouillée qu’elle reste dans ma main lorsque je la tourne. Par chance, la porte pivote et s’ouvre en un grincement malheureux. Gnnnnniiiiiii…
Les mauvaises herbes ont envahi toute la pièce. De gigantesques lianes pendent du plafond éventré. On observe des nids d’hirondelle poussiéreux à chaque angle. De lourdes toiles d’araignées retiennent des papillons de nuit, depuis longtemps momifiés et secs comme des biscuits.
Le lierre abondant recouvre tous les murs. De-ci, de-là, parmi les herbes hautes, on aperçoit ce qui semble être des restes d’exposition : dessins, peintures, mobiles, sculptures, livres…
Tout est détruit, anéanti, en ruine, mêlé aux morceaux de verre, aux canettes en métal écrasées, aux restes de nourriture – dont les meilleures parties ont été dérobées par différents rongeurs. Une famille de scolopendres marrons a élu domicile dans ce qu’il reste de la bibliothèque. Il y une forte odeur de terre humide, comme si il avait plu toute la nuit dans un champs en périphérie de Rennes.
Au fond de la pièce, coule une cascade.
Je me souviens à présent. Je me souviens bien, c’était la galerie 128.

Sammy Stein vit et travaille en short à Paris.

Une bien meilleure belle bio à lire chez :
https://www.matiere.org/auteurs_/stein/

De biens belles choses pour se faire une idée ici :
http://cargocollective.com/sammystein/

Expo: Daniel Jensen & Mark Posey – Happy Depression @ BEERS London (Londres)
Mar 2 @ 18 h 01 min – Avr 14 @ 17 h 00 min

Happy Depression

 

Opening Preview: Friday 2 March

Exhibition: 2 March – 14 April 2018

Daniel Jensen / Mark Posey

 

The second exhibition of the year presents Daniel Jensen and Mark Posey, who were both originally chosen by the jury for ‘Contemporary Visions 8’, instead exhibiting them together for the first time. Both artists use painting and sculpture to present a tongue-in-cheek commentary on domesticity, materiality, and the banal.Jensen’s drawings and paintings are an absurdist re-evaluation of the world around him: socks, leaves, smiley faces, and squiggles are all flattened with a dry, sardonic wit that carries over into his sculptural identity. Cast from cardboard, plastic cups, and whatever detritus lies around his studio, the young Swedish artist elevates such irreverent media into totem-like relics. Choosing to celebrate the banality of his media and subject matter rather than hide behind it, the artist’s works inhabit a sort of celebratory low-browness, coming across like a sort of plastic-party-hat revelry turned serious art-practice

The connection to Posey’s subject matter is evident: still-lifes of constant slippage, like a collapsed party table in which the contents are in a perennial state of collapse. Posey’s choices mimic Jensen’s too, where silly materials like bricks, bananas, candles, and cups are painted with the same sort of passing reverence Cezanne or Van Gogh gave to the passing of clouds. Further, these artists seem to poke fun at our constantly moving tendencies, as though a contemporary counterpart to the Dutch still life paintings, and here the rather fluid, appropriately light-hearted attention to detail that one would expect from a modern-day still-life painter. There is a suggestion toward a post-analog life – where elements have been flattened and cheapened, but hereby reinterpreted and propped-back up through the artist’s prowess: re-evaluated and cherished, however tangible and silly these modern day apparatuses appear: a flattened beer can salvaged from the frat-party propped up on its side, ready for arrangement within the still-life.

Expo: Sammy Stein – Galerie 128 @ Galerie 126 (Rennes)
Mar 2 @ 19 h 01 min – Mar 30 @ 19 h 00 min

Je pousse le portail, la végétation est dense. Du dehors, le bâtiment est à peine visible, caché derrière d’imposantes broussailles et des lits de fougères.
Impossible d’aller plus loin, des arbres ont poussé devant la porte d’entrée. Sur la droite de la maison, le garage apparaît sous les feuillages : vignes, ronces, orties.
Une mousse vert émeraude a intégralement recouvert la poignée, si rouillée qu’elle reste dans ma main lorsque je la tourne. Par chance, la porte pivote et s’ouvre en un grincement malheureux. Gnnnnniiiiiii…
Les mauvaises herbes ont envahi toute la pièce. De gigantesques lianes pendent du plafond éventré. On observe des nids d’hirondelle poussiéreux à chaque angle. De lourdes toiles d’araignées retiennent des papillons de nuit, depuis longtemps momifiés et secs comme des biscuits.
Le lierre abondant recouvre tous les murs. De-ci, de-là, parmi les herbes hautes, on aperçoit ce qui semble être des restes d’exposition : dessins, peintures, mobiles, sculptures, livres…
Tout est détruit, anéanti, en ruine, mêlé aux morceaux de verre, aux canettes en métal écrasées, aux restes de nourriture – dont les meilleures parties ont été dérobées par différents rongeurs. Une famille de scolopendres marrons a élu domicile dans ce qu’il reste de la bibliothèque. Il y une forte odeur de terre humide, comme si il avait plu toute la nuit dans un champs en périphérie de Rennes.
Au fond de la pièce, coule une cascade.
Je me souviens à présent. Je me souviens bien, c’était la galerie 128.

Sammy Stein vit et travaille en short à Paris.

Une bien meilleure belle bio à lire chez :
https://www.matiere.org/auteurs_/stein/

De biens belles choses pour se faire une idée ici :
http://cargocollective.com/sammystein/

Mar
3
sam
Opening: Erik Parker – New Mood @ Mary Boone Gallery
Mar 3 @ 17 h 00 min – 19 h 00 min

Erik Parker – New Mood

Expo: Erik Parker – New Mood @ Mary Boone Gallery
Mar 3 @ 17 h 01 min – Avr 21 @ 18 h 01 min

Erik Parker – New Mood

Mar
8
jeu
Opening: Nicolas Karakatsanis – Disgracers @ Alice Gallery
Mar 8 @ 18 h 00 min – 21 h 00 min


DISGRACERS

Nicolas Karakatsanis

08.03.2018 – 29.04.2018Vernissage

Thursday 08.03.2018 / 18:00-21:00

‘DISGRACERS’ is the 4th Brussels’ solo show by
critically acclaimed photographer Nicolas Karakatsanis.

The inspirational seed for the series was planted years ago when visiting The Met in New York, Nicolas was struck by a series of works depicting falling figures by the late 16th, early 17th century artist, Hendrick Goltzius who – not unlike Nicolas himself – chased after technical and poetic understanding of different media and apparatuses with a quiet but fierce ambition.

Nicolas’ remarkable way of pickling bodies in their surroundings so the former cannot be recalled without the latter has made his one-off works into much sought-after artefacts by lovers and collectors of photography around the world.
For ‘DISGRACERS’ the ante is upped when the inspiration of a painting becomes a photo, which then becomes an abstraction in and of itself. You might see bodies falling any which way into liquid voids, classic forms being catapulted into timelessness and conflicting energies finding a calm that may or may not be everlasting, all coinciding with portraiture redefined.

But, you will only get to do so if you show up to the exhibit at Alice Gallery. No extra ‘editions’ of these works are made available after the show. Luckily, it’s more than worth the trip because Nicolas Karakatsanis’ aversion to reproduction of his own art is only matched by his distaste for stagnancy. While pushing against the currently accepted norm of the virtually endless cloning of artwork, he also relentlessly thrusts against his own boundaries as an artist and artisan. Visitors of the exhibit will be rewarded with a progressive and exclusive experience that can never be relived. Meaning: don’t look for a hashtag. There will be none.

Dominique Nzeyimana

Expo: Nicolas Karakatsanis – Disgracers @ Alice Gallery
Mar 8 @ 18 h 01 min – Avr 29 @ 18 h 00 min

DISGRACERS

Nicolas Karakatsanis

08.03.2018 – 29.04.2018Vernissage

Thursday 08.03.2018 / 18:00-21:00

‘DISGRACERS’ is the 4th Brussels’ solo show by
critically acclaimed photographer Nicolas Karakatsanis.

The inspirational seed for the series was planted years ago when visiting The Met in New York, Nicolas was struck by a series of works depicting falling figures by the late 16th, early 17th century artist, Hendrick Goltzius who – not unlike Nicolas himself – chased after technical and poetic understanding of different media and apparatuses with a quiet but fierce ambition.

Nicolas’ remarkable way of pickling bodies in their surroundings so the former cannot be recalled without the latter has made his one-off works into much sought-after artefacts by lovers and collectors of photography around the world.
For ‘DISGRACERS’ the ante is upped when the inspiration of a painting becomes a photo, which then becomes an abstraction in and of itself. You might see bodies falling any which way into liquid voids, classic forms being catapulted into timelessness and conflicting energies finding a calm that may or may not be everlasting, all coinciding with portraiture redefined.

But, you will only get to do so if you show up to the exhibit at Alice Gallery. No extra ‘editions’ of these works are made available after the show. Luckily, it’s more than worth the trip because Nicolas Karakatsanis’ aversion to reproduction of his own art is only matched by his distaste for stagnancy. While pushing against the currently accepted norm of the virtually endless cloning of artwork, he also relentlessly thrusts against his own boundaries as an artist and artisan. Visitors of the exhibit will be rewarded with a progressive and exclusive experience that can never be relived. Meaning: don’t look for a hashtag. There will be none.

Dominique Nzeyimana

 

Mar
9
ven
Opening: Geoff McFetridge – solo show @ Half Gallery (New York)
Mar 9 @ 18 h 00 min – 20 h 00 min

Geoff McFetridge – solo show

Mar
14
mer
Opening: Amandine Urruty – The party @ galerie arts factory
Mar 14 @ 17 h 00 min – 21 h 00 min

Amandine Urruty

The party

exposition du 15 mars au 28 avril 2018
vernissage le mercredi 14 mars de 17h à 21h
galerie arts factory – 27, rue de charonne – 75011 paris
métro : ledru-rollin & bastille / du lundi au samedi : 12h30-19h30

//////////////////////////////////////////////////////////////////////////////////////////////////

Après « Bedtime Stories », son dernier solo show programmé en 2015 dans le cadre de HEY! Acte III au Musée de la Halle Saint Pierre, Amandine Urruty est enfin de retour sur la scène parisienne avec une ébouriffante collection de dessins, fruit de deux longues années de travail. Fascinante immersion dans un univers baroque et singulier, « The Party » – à l’instar du film éponyme de Blake Edwards – nous entraîne dans une invraisemblable bacchanale, orchestrée par une surdouée du crayon. Véritable alchimiste de l’histoire de l’art et de la culture populaire, Amandine Urruty convoque sur les quatre niveaux de la galerie Arts Factory les grands maîtres de la peinture flamande, pour livrer, entre autres prouesses graphiques, sa propre version des Sept Péchés Capitaux en mode Muppet Show.

Figure centrale de compositions saturées au fusain et à la mine de plomb, une galerie de personnages trop poupins pour être tout à fait honnêtes, veille sur un Neverland résolument borderline. Rejetons illégitimes d’une famille recomposée avec Jérôme Bosch, Lewis Carrol, Stephen King et Jérôme Zonder en ombres tutélaires, ils sont les acteurs d’un petit théâtre masqué, où tout semble sur le point de basculer à grands coups de martinet. Ambitieuse, érudite et foisonnante, cette exposition est aussi l’oeuvre d’une enfant des années 80 qui aurait malicieusement déversé son gargantuesque coffre à jouets, pour organiser la fête d’anniversaire ultime, autant redoutée par les parents qu’une invasion de Gremlins affamés.

Trop de chance vous êtes invités …
Welcome to The Party !

Expo: Amandine Urruty – The party @ galerie arts factory
Mar 14 @ 17 h 01 min – Avr 28 @ 19 h 30 min

Amandine Urruty

The party

exposition du 15 mars au 28 avril 2018
vernissage le mercredi 14 mars de 17h à 21h
galerie arts factory – 27, rue de charonne – 75011 paris
métro : ledru-rollin & bastille / du lundi au samedi : 12h30-19h30

//////////////////////////////////////////////////////////////////////////////////////////////////

Après « Bedtime Stories », son dernier solo show programmé en 2015 dans le cadre de HEY! Acte III au Musée de la Halle Saint Pierre, Amandine Urruty est enfin de retour sur la scène parisienne avec une ébouriffante collection de dessins, fruit de deux longues années de travail. Fascinante immersion dans un univers baroque et singulier, « The Party » – à l’instar du film éponyme de Blake Edwards – nous entraîne dans une invraisemblable bacchanale, orchestrée par une surdouée du crayon. Véritable alchimiste de l’histoire de l’art et de la culture populaire, Amandine Urruty convoque sur les quatre niveaux de la galerie Arts Factory les grands maîtres de la peinture flamande, pour livrer, entre autres prouesses graphiques, sa propre version des Sept Péchés Capitaux en mode Muppet Show.

Figure centrale de compositions saturées au fusain et à la mine de plomb, une galerie de personnages trop poupins pour être tout à fait honnêtes, veille sur un Neverland résolument borderline. Rejetons illégitimes d’une famille recomposée avec Jérôme Bosch, Lewis Carrol, Stephen King et Jérôme Zonder en ombres tutélaires, ils sont les acteurs d’un petit théâtre masqué, où tout semble sur le point de basculer à grands coups de martinet. Ambitieuse, érudite et foisonnante, cette exposition est aussi l’oeuvre d’une enfant des années 80 qui aurait malicieusement déversé son gargantuesque coffre à jouets, pour organiser la fête d’anniversaire ultime, autant redoutée par les parents qu’une invasion de Gremlins affamés.

Trop de chance vous êtes invités …
Welcome to The Party !

Mar
17
sam
Opening: Matthew Ronay – Ramus @ Galerie Perrotin
Mar 17 @ 16 h 00 min – 19 h 00 min

Matthew Ronay

Ramus

Vernissage samedi 17 mars, 16h -19h

17 mars – 26 mai 2018

La dernière fois que je me suis rendu au studio de Matthew Ronay, je l’ai trouvé assis sur une chaise au centre de la pièce. Il portait une paire de baskets bleu roi habillées d’un motif en mesh blanc et dotée d’une semelle laiteuse translucide. À sa droite se trouvait une paire identique, portée de façon similaire et positionnée de la même façon que la paire qu’il avait aux pieds, comme si un Matthew invisible était assis sur une chaise invisible juste à côté de lui. La Jordan Horizon, m’a expliqué Ronay, est un modèle hybride, une mutation dans l’univers Jordan, alliant les lignes épurées de la Jordan Future et la semelle lobulaire caractéristique de la Jordan 13. Il l’a tellement aimée qu’il a acheté deux paires identiques et, plutôt que d’en mettre une de côté pour plus tard, les a utilisées toutes les deux sans attendre.

Ronay travaille à partir de dessins, des croquis simples en apparence qu’il dessine dans un petit carnet de notes qu’il garde constamment avec lui. Il s’agit de dessins de corps entrelacés, de membres et de protubérances, de cuticules, de pédoncules, de furoncles, de calcifications, de croisements entre la matière dure et la matière souple, de bernacles, de nœuds, de tumeurs, de membres fantômes et de membres atrophiés. Ce ne sont pas des dessins de sculptures, mais des dessins qui deviennent sculptures. Ni plans ni schémas, ces dessins sont plus libres, plus intuitifs et s’affranchissant de toute considération pour les particularités structurelles des sculptures qu’ils décrivent.

Une fois les dessins terminés, Ronay inverse les modes d’écriture et s’attèle à la tache de déchiffrer ses propres notes, de lire chaque croquis comme le schéma d’une sculpture. À ce moment transitionnel d’un processus littéralement bicaméral, l’œuvre passe de la pièce épurée du studio où s’empilent carnets et autres monographies reliées à une pièce sale plus petite où un bloc de bois de tilleul attend d’être taillé, gougé, râpé, creusé, réduit en copeaux, poncé, marqué, floqué, teinté et alvéolé. Ronay travaille seul et sur une sculpture à la fois, de sa conception à sa finalisation, avant de commencer à travailler sur la suivante. Chaque sculpture part d’un dessin pour donner vie à un objet et nécessite donc de résoudre des problèmes d’équilibre, de remédier à des perspectives impossibles, d’interpréter la texture et d’ajouter de la couleur (ce dernier détail est particulièrement important lorsque l’on sait que Ronay, bien qu’il utilise la couleur comme tout autre artiste d’aujourd’hui, ne peint qu’en noir et blanc).

À différents moments de nos vies, Matthew et moi avons exercé plus ou moins le même métier, à savoir celui de réaliser des maquettes pour des architectes. En général, ces modèles représentaient un élément isolé, un pan de fenêtre ou le détail d’un angle qui ne prenait pas facilement forme sur le papier et qui devait être vu en trois dimensions pour être compris. Des années plus tard, j’ai appris que le mot «architecte» était dérivé du grec arkhitektônōsignifiant «maître bâtisseur». Le terme original décrivait une profession où design et construction ne faisait qu’un mais, au fil du temps, les maîtres bâtisseurs ont cessé de bâtir. Aujourd’hui, les architectes sont des experts en modes figuratives (dessins, modèles, rendus et animations), qui sont les illustrations de la structure et non les structures elles-mêmes. L’architecte, dès lors que la structure prend forme, délaisse son design.

Je ne dirais jamais que Ronay est un architecte mais le glissement de la signification du mot laisse penser à un processus de travail à cheval sur cette séparation étymologique. D’un côté, Ronay est un maître bâtisseur qui veille à la germination de chaque sculpture à chacune de ses phases de création. De l’autre, il rend possible une faille au sein du processus, une faille grâce à laquelle il peut coucher ses idées sur le papier sans s’encombrer de préoccupations pratiques, interpréter ses propres schémas, et trouver le moyen de donner vie en trois dimensions à ses dessins. Comment faire en sorte que le bois se comporte comme le fusain ? Quand faire du plexiglas souple et du bois de tilleul dur ? Où trouver les os à l’intérieur des masses sans forme ?

Les dessins de Ronay sont automatiques et intuitifs, ils découlent naturellement de son propre corps, venant d’habitudes de composition intériorisées et de mémoire motrice. Ses sculptures, à l’inverse, sont minutieuses, réalisées avec une précision rigoureuse et une technique magnifique. Ses langues invraisemblablement réalisées sans traits de scie et sans rainures laissent perplexe quiconque ayant déjà travaillé le bois. Chaque sculpture, malgré ses extravagances, reste pourtant immanquablement fidèle au simple dessin qui l’a précédée

 

Pour sa prochaine exposition chez Perrotin, Matthew dessine à une échelle différente, travaillant sur des formats plus grands qui permettent différents types d’interactions physiques avec le dessin. Libéré des limites du carnet à spirales, l’artiste exécute de nouveaux gestes partant de l’épaule ou du bras plutôt que de la main. Son corps joue un plus grand rôle dans chaque dessin et de nouvelles variations émergent en termes d’épaisseur de trait, de texture et de détails. Ronay passe tour à tour du dessin à l’objet, d’une pièce sale à une pièce propre, d’une paire de chaussures à une autre paire identique.

Justin Beal

Expo: Matthew Ronay – Ramus @ Galerie Perrotin
Mar 17 @ 16 h 01 min – Mai 26 @ 19 h 00 min

Matthew Ronay

Ramus

Vernissage samedi 17 mars, 16h -19h

17 mars – 26 mai 2018

La dernière fois que je me suis rendu au studio de Matthew Ronay, je l’ai trouvé assis sur une chaise au centre de la pièce. Il portait une paire de baskets bleu roi habillées d’un motif en mesh blanc et dotée d’une semelle laiteuse translucide. À sa droite se trouvait une paire identique, portée de façon similaire et positionnée de la même façon que la paire qu’il avait aux pieds, comme si un Matthew invisible était assis sur une chaise invisible juste à côté de lui. La Jordan Horizon, m’a expliqué Ronay, est un modèle hybride, une mutation dans l’univers Jordan, alliant les lignes épurées de la Jordan Future et la semelle lobulaire caractéristique de la Jordan 13. Il l’a tellement aimée qu’il a acheté deux paires identiques et, plutôt que d’en mettre une de côté pour plus tard, les a utilisées toutes les deux sans attendre.

Ronay travaille à partir de dessins, des croquis simples en apparence qu’il dessine dans un petit carnet de notes qu’il garde constamment avec lui. Il s’agit de dessins de corps entrelacés, de membres et de protubérances, de cuticules, de pédoncules, de furoncles, de calcifications, de croisements entre la matière dure et la matière souple, de bernacles, de nœuds, de tumeurs, de membres fantômes et de membres atrophiés. Ce ne sont pas des dessins de sculptures, mais des dessins qui deviennent sculptures. Ni plans ni schémas, ces dessins sont plus libres, plus intuitifs et s’affranchissant de toute considération pour les particularités structurelles des sculptures qu’ils décrivent.

Une fois les dessins terminés, Ronay inverse les modes d’écriture et s’attèle à la tache de déchiffrer ses propres notes, de lire chaque croquis comme le schéma d’une sculpture. À ce moment transitionnel d’un processus littéralement bicaméral, l’œuvre passe de la pièce épurée du studio où s’empilent carnets et autres monographies reliées à une pièce sale plus petite où un bloc de bois de tilleul attend d’être taillé, gougé, râpé, creusé, réduit en copeaux, poncé, marqué, floqué, teinté et alvéolé. Ronay travaille seul et sur une sculpture à la fois, de sa conception à sa finalisation, avant de commencer à travailler sur la suivante. Chaque sculpture part d’un dessin pour donner vie à un objet et nécessite donc de résoudre des problèmes d’équilibre, de remédier à des perspectives impossibles, d’interpréter la texture et d’ajouter de la couleur (ce dernier détail est particulièrement important lorsque l’on sait que Ronay, bien qu’il utilise la couleur comme tout autre artiste d’aujourd’hui, ne peint qu’en noir et blanc).

À différents moments de nos vies, Matthew et moi avons exercé plus ou moins le même métier, à savoir celui de réaliser des maquettes pour des architectes. En général, ces modèles représentaient un élément isolé, un pan de fenêtre ou le détail d’un angle qui ne prenait pas facilement forme sur le papier et qui devait être vu en trois dimensions pour être compris. Des années plus tard, j’ai appris que le mot «architecte» était dérivé du grec arkhitektônōsignifiant «maître bâtisseur». Le terme original décrivait une profession où design et construction ne faisait qu’un mais, au fil du temps, les maîtres bâtisseurs ont cessé de bâtir. Aujourd’hui, les architectes sont des experts en modes figuratives (dessins, modèles, rendus et animations), qui sont les illustrations de la structure et non les structures elles-mêmes. L’architecte, dès lors que la structure prend forme, délaisse son design.

Je ne dirais jamais que Ronay est un architecte mais le glissement de la signification du mot laisse penser à un processus de travail à cheval sur cette séparation étymologique. D’un côté, Ronay est un maître bâtisseur qui veille à la germination de chaque sculpture à chacune de ses phases de création. De l’autre, il rend possible une faille au sein du processus, une faille grâce à laquelle il peut coucher ses idées sur le papier sans s’encombrer de préoccupations pratiques, interpréter ses propres schémas, et trouver le moyen de donner vie en trois dimensions à ses dessins. Comment faire en sorte que le bois se comporte comme le fusain ? Quand faire du plexiglas souple et du bois de tilleul dur ? Où trouver les os à l’intérieur des masses sans forme ?

Les dessins de Ronay sont automatiques et intuitifs, ils découlent naturellement de son propre corps, venant d’habitudes de composition intériorisées et de mémoire motrice. Ses sculptures, à l’inverse, sont minutieuses, réalisées avec une précision rigoureuse et une technique magnifique. Ses langues invraisemblablement réalisées sans traits de scie et sans rainures laissent perplexe quiconque ayant déjà travaillé le bois. Chaque sculpture, malgré ses extravagances, reste pourtant immanquablement fidèle au simple dessin qui l’a précédée

 

Pour sa prochaine exposition chez Perrotin, Matthew dessine à une échelle différente, travaillant sur des formats plus grands qui permettent différents types d’interactions physiques avec le dessin. Libéré des limites du carnet à spirales, l’artiste exécute de nouveaux gestes partant de l’épaule ou du bras plutôt que de la main. Son corps joue un plus grand rôle dans chaque dessin et de nouvelles variations émergent en termes d’épaisseur de trait, de texture et de détails. Ronay passe tour à tour du dessin à l’objet, d’une pièce sale à une pièce propre, d’une paire de chaussures à une autre paire identique.

Justin Beal

Mar
18
dim
Opening: Hiroshi Iguchi – Synthesizer @ SO1
Mar 18 @ 18 h 00 min – 20 h 00 min

Hiroshi Iguchi – Synthesizer @ SO1

March 19 Mon – 25 Sun, 2018 #hour 1 – 7pm
Opening Reception: March 18 Sun 6 – 8pm

Expo: Hiroshi Iguchi – Synthesizer @ SO1
Mar 18 @ 18 h 01 min – Mar 25 @ 19 h 00 min

Hiroshi Iguchi – Synthesizer @ SO1

March 19 Mon – 25 Sun, 2018 #hour 1 – 7pm
Opening Reception: March 18 Sun 6 – 8pm

Mar
22
jeu
Opening: Dark Ymmot – Intérieur / Extérieur @ Straat Galerie (Marseille)
Mar 22 @ 19 h 00 min – 21 h 00 min

« Intérieur / Extérieur »

 

23 mars 2018 – 21 avril 2018
Vernissage le jeudi 22 mars 2018 à 19h

 

À propos de l’exposition

Dedans,
L’atelier côtoie la solitude, calme avant la tempête.
L’acrylique devient fil.

Étoiles, foules et Histoire de l’art m’animent.
Empruntés au Monde pour devenir personnel.

Pensées, souvenirs et questions s’harmonisent.
Rendus au Monde pour devenir étrangers.

Étrange danse entre :
L’âme et le Cosmos,
L’émotion et la technique,
L’intérieur et l’extérieur…

Ymmot

Expo: Dark Ymmot – Intérieur / Extérieur @ Straat Galerie (Marseille)
Mar 22 @ 19 h 01 min – Avr 21 @ 19 h 00 min

« Intérieur / Extérieur »

 

23 mars 2018 – 21 avril 2018
Vernissage le jeudi 22 mars 2018 à 19h

 

À propos de l’exposition

Dedans,
L’atelier côtoie la solitude, calme avant la tempête.
L’acrylique devient fil.

Étoiles, foules et Histoire de l’art m’animent.
Empruntés au Monde pour devenir personnel.

Pensées, souvenirs et questions s’harmonisent.
Rendus au Monde pour devenir étrangers.

Étrange danse entre :
L’âme et le Cosmos,
L’émotion et la technique,
L’intérieur et l’extérieur…

Ymmot

Mar
24
sam
Opening: Mrzyk & Moriceau – Never Dream of Dying @ Air de Paris (Paris)
Mar 24 @ 17 h 00 min – 21 h 00 min

March 24 – May 19, 2018

Mrzyk & Moriceau

Air de Paris

Expo: Mrzyk & Moriceau – Never Dream of Dying @ Air de Paris (Paris)
Mar 24 @ 17 h 01 min – Mai 19 @ 19 h 00 min

March 24 – May 19, 2018

Mrzyk & Moriceau

Air de Paris

Mar
26
lun
Opening: Os Gemeos – Déjà Vu @ Lehmann Maupin (Hong Kong)
Mar 26 @ 18 h 00 min – 20 h 00 min

OSGEMEOS 
Déjà Vu

March 26 – May 12, 2018
Hong Kong

 

Hong Kong, February 13, 2018—Lehmann Maupin is pleased to announce Déjà Vu, the Brazilian artist duo OSGEMEOS’ first solo exhibition in Hong Kong. Twin brothers Gustavo and Otavio Pandolfo together have developed an internationally recognized style born of influences across pop culture, music, folk art, and their vivid inner worlds. Déjà Vu presents new paintings and a sound installation from the highly influential artists who are sought out for numerous high profile collaborations and commissions, transforming buildings and public spaces across Europe, South America, and the United States. The gallery will host an opening reception with the artists on Monday, March 26, from 6 to 8PM at the Pedder Building.

Known internationally for a figurative style that typically features their signature yellow characters, thin dark red outlining, and intricately patterned designs, OSGEMEOS broke onto the art scene during the late 1980s as graffiti writers in their São Paulo neighborhood of Cambuci. Initially influenced by the graffiti movement coming out of New York, they were ultimately inspired by the ingenuity and resourcefulness evident in their working class neighborhood, and sought to make their art accessible to the community as a way to contribute a sense of optimism.

 

Déjà Vu extends OSGEMEOS’ approach to their exhibitions as an immersive, multi-sensory experience, as exemplified in their many international institutional shows. The exhibition pays tribute to music in particular with their mixed media sound installation, White Carnival (2016), where the artists have painted their characters directly onto speakers in a formation that resembles a choir. More traditional paintings from a recent series of work pays homage to the late 1970s and early 1980s, the period which represents a coming of age for the artists. This era, considered the golden age of hip-hop, is intrinsically linked to their practice with comparisons evident in the bravado, improvisational structure, and descriptions of everyday life on the streets. Additional paintings reflect upon lived and imagined experiences the artists share, including allegorical motifs such as water and the moon and stars, which have long appeared in their work, rendered vividly to conjure a lucid dream state.

 

Similar to the Surrealist artists of the early 20th century, OSGEMEOS seek to defy conventions and push boundaries in art and society through the unbridled exploration of the subconscious and one’s imagination. In direct contrast to the surrealist notion of a solitary dream space, the twins have described a shared intuition and subconscious experience that is translated visually through their collaborative process. Through their art, OSGEMEOS seek to empower their audience to consider their own subconscious.

Expo: Os Gemeos – Déjà Vu @ Lehmann Maupin (Hong Kong)
Mar 26 @ 18 h 01 min – Mai 12 @ 19 h 00 min

OSGEMEOS 
Déjà Vu

March 26 – May 12, 2018
Hong Kong

 

Hong Kong, February 13, 2018—Lehmann Maupin is pleased to announce Déjà Vu, the Brazilian artist duo OSGEMEOS’ first solo exhibition in Hong Kong. Twin brothers Gustavo and Otavio Pandolfo together have developed an internationally recognized style born of influences across pop culture, music, folk art, and their vivid inner worlds. Déjà Vu presents new paintings and a sound installation from the highly influential artists who are sought out for numerous high profile collaborations and commissions, transforming buildings and public spaces across Europe, South America, and the United States. The gallery will host an opening reception with the artists on Monday, March 26, from 6 to 8PM at the Pedder Building.

Known internationally for a figurative style that typically features their signature yellow characters, thin dark red outlining, and intricately patterned designs, OSGEMEOS broke onto the art scene during the late 1980s as graffiti writers in their São Paulo neighborhood of Cambuci. Initially influenced by the graffiti movement coming out of New York, they were ultimately inspired by the ingenuity and resourcefulness evident in their working class neighborhood, and sought to make their art accessible to the community as a way to contribute a sense of optimism.

 

Déjà Vu extends OSGEMEOS’ approach to their exhibitions as an immersive, multi-sensory experience, as exemplified in their many international institutional shows. The exhibition pays tribute to music in particular with their mixed media sound installation, White Carnival (2016), where the artists have painted their characters directly onto speakers in a formation that resembles a choir. More traditional paintings from a recent series of work pays homage to the late 1970s and early 1980s, the period which represents a coming of age for the artists. This era, considered the golden age of hip-hop, is intrinsically linked to their practice with comparisons evident in the bravado, improvisational structure, and descriptions of everyday life on the streets. Additional paintings reflect upon lived and imagined experiences the artists share, including allegorical motifs such as water and the moon and stars, which have long appeared in their work, rendered vividly to conjure a lucid dream state.

 

Similar to the Surrealist artists of the early 20th century, OSGEMEOS seek to defy conventions and push boundaries in art and society through the unbridled exploration of the subconscious and one’s imagination. In direct contrast to the surrealist notion of a solitary dream space, the twins have described a shared intuition and subconscious experience that is translated visually through their collaborative process. Through their art, OSGEMEOS seek to empower their audience to consider their own subconscious.

Mar
31
sam
Opening: Koralie – Indigo Blood @ Jonathan LeVine Projects (New Jersey)
Mar 31 @ 18 h 00 min – 20 h 00 min

KORALIE

INDIGO BLOOD

Opening reception: Saturday, March 31 from 6 – 8 pm
March 31st , 2018 – April 28th , 2018

Expo: Koralie – Indigo Blood @ Jonathan LeVine Projects (New Jersey)
Mar 31 @ 18 h 01 min – Avr 28 @ 18 h 00 min

KORALIE

INDIGO BLOOD

Opening reception: Saturday, March 31 from 6 – 8 pm
March 31st , 2018 – April 28th , 2018

Mai
11
ven
Opening: Tal R – This is not detroit @ MOCAD (Detroit)
Mai 11 @ 18 h 00 min – 21 h 00 min

Tal R – This is not detroit

MOCAD is excited to announce a solo exhibition featuring the work of Copenhagen-based artist Tal R. : this is not Detroit will open on Friday, May 11th.

The intricate, multipart installation manifests the artist’s fantasy of Detroit, acting as a meditation on dream places, identity, and whimsy. The exhibition will remain on view at MOCAD through July 29.

Expo: Tal R – This is not detroit @ MOCAD (Detroit)
Mai 11 @ 18 h 01 min – Juil 29 @ 17 h 00 min

Tal R – This is not detroit

MOCAD is excited to announce a solo exhibition featuring the work of Copenhagen-based artist Tal R. : this is not Detroit will open on Friday, May 11th.

The intricate, multipart installation manifests the artist’s fantasy of Detroit, acting as a meditation on dream places, identity, and whimsy. The exhibition will remain on view at MOCAD through July 29.