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.
Eddie Martinez – Studio Wall
Drawing Room Oct 13, 2017 – Feb 04, 2018
Eddie Martinez’s drawing practice blends seamlessly with his daily life as the New York-based artist carries pen and paper with him on the subway, to the doctor’s office, and to restaurants and lectures, among other work and leisure events. Stylistically evocative of mid-century abstraction, Martinez’s drawings bring their own complexity, plugging a rotating cast of characters into raw, vigorously-drawn landscapes: cartoon ducks, oversized eyes, coiled snakes, and anthropomorphic blocks of color are among his itinerant motifs. In his Brooklyn studio, Martinez maintains a “drawing wall,” wherein sketches ranging in size, shape, and material serve simultaneously as a source of inspiration and a data bank for the artist’s incessant imaginative output. The Drawing Center’s forthcoming exhibition Eddie Martinez: Studio Wall, will bring the drawing wall to the museum. The artist will paper the gallery with thousands of sketches that he will change throughout the exhibition’s run. In addition, several large drawings and paintings will be hung on top of these sketches allowing viewers to observe the interconnection between all aspects of Martinez’s practice.
Organized by Claire Gilman, Chief Curator.
Eddie Martinez: Studio Wall is made possible by the support of Beth DeWoody, Jeannie and T Grant, Barbara Toll, Bruce and Robbi Toll, and Craig Nerenberg.
Special thanks to Mitchell-Innes & Nash, New York, and Timothy Taylor Gallery, London.
Image: Eddie Martinez, Untitled, 2015. Silkscreen ink, oil paint, spray paint and enamel on canvas, 72 x 60 inches. Courtesy of the artist, Mitchell-Innes & Nash, New York, and Timothy Taylor Gallery, London.
This autumn, Museum Boijmans Van Beuningen’s main exhibition galleries will be filled with the impressive oeuvre of the Danish artist Tal R, recognised as one of the most active and productive artists of our time. His sources of inspiration are divergent. Tal R is also inspired by styles of other artists like Picasso, Dumas and Picabia. The other way around Tal R’s work is internationally a point of reference for many comtemporary artists. ‘Academy of Tal R’ is the first major museum retrospective of this multidisciplinairy artist.
Tal R (Tel Aviv, 1967) has boundless creative energy: he transforms everything in his environment into art. His work looks wild and vital, with a knowingly playful, almost absurdist tone. Tal R freely combines techniques and materials: he paints, draws and makes collages, sculptures and furniture. Tal R is a keen observer, who takes inspiration from reality as well as his imagination. His work fits within the northern European tradition of Edvard Munch, Asger Jorn and Georg Baselitz.
Featuring hundreds of works, ‘Academy of Tal R’ is the artist’s largest exhibition to date. Museum Boijmans Van Beuningen is showing impressive pieces such as ‘Deaf Institute’, more than forty sculptures and the gigantic ‘House of Prince’ (2003-05), which comprises around 200 smaller works. Many of the works are in private collections and have rarely been exhibited.
The title ‘Academy of Tal R’ should be understood as a humorous provocation, since the artist’s work is anything but academic. With a sensory display, Museum Boijmans Van Beuningen invites visitors to step into the unique and vivacious world of Tal R.
We are very excited to announce Paul Wackers 3rd solo show at the Alice Gallery
‘PARTS OF EVERYTHING THAT ARE PIECES OF EVERYTHING ARE ALL AROUND US’
EXHIBITION: 17.11.2017 > 26.01.2018
AND the release of our first BOOK
‘YOU ARE WELCOME HERE’
10 Years of paintings by Paul Wackers, ed. Alice Gallery
For much of his childhood, Mark Dean Veca called the Bay Area home. He is currently based in Los Angeles, but his illustrious career as an artist has taken him around the world and back.
With a diverse portfolio of drawings, paintings, prints, and murals, Veca has mastered a signature style—grounded in mesmerizing line-work and psychedelic patterns—that imposes deeper reflection on the duality and scale of his subjects. Haight Street Art Center is excited to present PSYCHOBIODELICA, an exhibit that looks into how Veca’s art has found its place in the world of gig posters.
In conjunction with Agent Ink Gallery, we are proud to welcome Mark Dean Veca back to the Bay Area. Please join us from 6pm to 8pm on Saturday, December 2nd for the opening reception of PSYCHOBIODELICA at the Haight Street Art Center.
Free to the public. Show runs through January 23, 2018 in the Haight Street Gallery. Open Wednesday through Sunday from 11am to 5pm.
Cheim & Read is pleased to announce an exhibition of new work by Barry McGee, which will open on January 4, 2018, and run through February 17, accompanied by a catalogue with essay by Katya Tylevich. This is the artist’s second show with the gallery.
Barry McGee is an artist who takes uncertainty and unpredictability as guiding principles. His exhibitions are raucous, provocative mixes of painting, drawing, found objects, and sculpture that leap effortlessly from highly crafted studio works, often featuring geometric patterns or abject figurative motifs, to the commodities and detritus of consumer culture, including entire automobiles and shipping containers. He arranges his work into freely improvised installations that roam across the walls, floors, and ceilings of an exhibition space as well as its ancillary rooms, where it may or may not be seen. Occasionally a number of artworks will depart from the ensemble and hang as discrete objects on the wall, an occurrence that can be startling, even jarring, in its straightforward display of virtuosic technique.
For his new show at Cheim & Read, McGee will transport everything from his San Francisco studio that “resonates” for him, as he has described it. The installation will be assembled from such elements as ceramics; a stack of surfboards; a group of cluster paintings, but done, according to the artist, “in a desperate, more broken way.” His well-known empty liquor bottles, which are painted with portraits of their down-and-out former owners, may be included the show, though hidden away as part of the artist’s program of incorporating unseen objects into an installation, where their energy is meant to be felt as a presence in the room.
Green is Katherine Bernhardt’s fifth solo show with the gallery and finds the artist oscillating between optimism and dread. Bernhardt uses green to allude to jungles, money, grass, smoggy air pollution, barf, and envy. Green also refers to Soylent Green the classic dystopian movie, which tells the story of environmental collapse and moral decline. The paintings depict robotic killer bees, huge avocados, Garfield, bottles of Coke, Nike swooshes and manufactured crap that is contrasted with the delights of nature. Bernhardt has also made a series of painted wood sculptures which augment and extend her painted forms; they are hybrids of flora, fauna and furniture painted tropical day-glo pink.Green pushes the parameters of Bernhardt “pattern” paintings that debuted at CANADA three years ago. The paintings were wild mixtures of seemingly unrelated objects (plantain chips, airplanes, cigarettes) depicted radically out of scale in relation to one another and executed with non-hierarchical conviction. The most recent paintings feature a new collection of imagery: Oaxacan bird symbols, avocados, Agua de Jamaica, cross sections of watermelons, bottles of Coke and stormtroopers that add to her ever-expanding personal lexicon.Bernhardt finds a new sense of up and down with a return to figuration. The paintings are so large that Bernhardt painted them face-up on her studio floor. The process is direct and straightforward. She outlines things and characters with spray paint and then “colors” them in with thinned-out acrylic. The resulting color flows and puddles to add a sense of uncertainty and loss of boundary. There are many chance moments that conjure a weightless feel: opaque paint pools in odd places causing a drippy light saber or mussed-up bowtie on Babar.
The introduction of figures (Darth Vader, stormtroopers, the Pink Panther) gives the works allegorical power as Bernhardt’s painting seems to offer a warning about our materialistic culture and its mindless waste. The paintings reflect a political climate where suddenly good and evil seem to be colliding again, even though who is good and who is evil is anyone’s guess. Bernhardt doesn’t provide any simple answers, but allows her attraction, revulsion and sense of wonder to flow.
January 6 – 28, 2018
OPENING: Saturday, January 6th from 6-8pm
The Hole is proud to announce our second solo exhibition by new media artist KATSU. Behind this nom de guerre the artist has written a lot of illegal graffiti and shared a lot of subversive computer work; this is his second exhibition with us under the name. With “Memory Foam” he elaborates on the themes introduced in his 2015 show “Remember the Future” about technology’s promise and its sad compromise. Using drone paintings, wallpaper, AI criminal portraits and a new VR piece in this exhibition, KATSU looks deeper at how machine learning is outstripping emotional intelligence.
“Emotional Intelligence” is the title of the wallpaper in the front gallery. Mimicking Warhol’s machine-assisted consumer focus, KATSU here cynically reproduces a stock photography “emotion.” Hanging on top of the wallpaper are drone flowers: paintings made by a drone carrying a can of spray paint. KATSU pioneered this technique and featured its use in the 2015 show; here the drone has been programmed to autonomously execute repeated marks on each of the 200+ paintings, whereas previously the flight and spray was controlled by the artist’s hand remotely. As with his 2015 smiley face drone paintings, he chose flowers as a nod to the hippie culture that is an often-overlooked aspect of Silicon Valley tech culture.
In the artist’s words: “There’s a relationship to tulip mania [famous Dutch tulip market crash in the 1600s] and crypto currency, but the flowers are primarily about being ‘below the API’ and our automated future. These paintings are post-human works; they discuss authorship and the removal of humankind from the equation of life.”
The rear gallery space will feature five massive AI criminal portraits generated, like the above, via artificial intelligence using a neural network and a learning algorithm to generate criminal mugshots. The artist trained a computer on thousands of vintage black and white mugshots using Google’s Tensor Flow machine-learning library. Once having learned the details of criminal faces it could then create an infinite amount of these on its own. These were made on a GAN system (generative adversarial network) with two competing systems: one seeking the correct outcome and the other trying to trick it. This for some reason creates surprising and evocative results when dealing with this imagery. The sinister side is that AI is also being used to create systems for law enforcement and has far reaching civil liberties implications, but yeah. Machine learning!
A small side room of the exhibition is devoted to a new VR piece by KATSU that is an “homage” to the Tenderloin area of San Francisco, a region “with deep roots in graffiti culture” that is slowly being sanitized and gentrified. According to the artist, “the same advanced technology responsible for this anthropological artwork about the neighborhood will also be responsible for its demise.”
Vernissage mercredi 10 janvier, 16h-19h
10 janvier – 24 février
La galerie Perrotin est heureuse de présenter «Chasing Rainbows», la
première exposition de Josh Sperling en ses murs. Elle réunira un nombre
important de nouvelles œuvres signées de l’artiste newyorkais : les
« composites » —ou toiles découpées et panneaux contre-plaqués—, une
série de reliefs sur toiles monochromes et une installation de grande
Tomoo Gokita “HOTEL PARAISO”
Dates: Jan 12 – Feb 10, 2018
Location: McNamara Art Projects, Hong Kong
Opening reception: Friday, Jan 12, 18:00 – 20:00
Taka Ishii Gallery is pleased to present “HOTEL PARAISO”, Tomoo Gokita’s first solo exhibition in Hong Kong featuring new paintings at McNamara Art Projects from January 12 to February 10.
Gokita has been producing black and white gouache paintings inspired by magazines and photographs of the 1960s and 1970s. He employs a unique method and collage-like approach to create paintings of varied subjects including portraits, still lifes, and abstracts that are sophisticatedly rendered and diversely expressive.
This exhibition features paintings of the colorful people who gather at an imaginary place called “HOTEL PARAISO”. Although Gokita visited an actual hotel of the same name while in Mexico, the HOTEL PARAISO of his new paintings is fictional and, like “paradise”, can be located neither in space nor time. HOTEL PARAISO is a constructed image comprising the artist’s fragmentary memories of his trip to Mexico and his childhood introduction to the word “Paraiso” through Haruomi Hosono’s 1978 album of the same name. The extraordinary space of the hotel functions as a stage for narratives concerning the painted characters’ emotions and secrets. The vividly depicted scenes and meticulously rendered backgrounds, organic forms, and other pictorial elements enhance the works’ depth and appeal.
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 firstname.lastname@example.org +1 415 821 3371
MARUANI MERCIER has the pleasure to announce Jonathan Lasker‘s new exhibition, Recent Paintings.
Lasker is an American abstract painter best known for his works incorporating biomorphic shapes, geometric patterns, and gestural graffiti marks within a shared pictorial space.
Working within the traditions of artists such as Philip Guston and Robert Ryman, Lasker focusses his efforts on reimagining pictorial ideas within the material constraints of painting. “My goal is to bring the viewer to the threshold of narrativity without crossing over,” the artist explains, “to bring the viewer to the state of pure pictorially. Therefore I decided to use unrecognizable abstract forms as surrogate figures. This would convey the pure condition of being a thing in space.” With strong compositional structure and intelligent color choices, this new series of paintings hum with energy.
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.
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.
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.
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.
NANZUKA is pleased to present an exhibition of works by the legendary artist Toshio Saeki. This marks Saeki’s first solo presentation at the gallery, and is the largest solo exhibition to date to feature a comprehensive selection of his original works.
Toshio Saeki was born in 1954 in the Miyazaki prefecture, and after spending his childhood years in Osaka, moved to Tokyo in 1969. His distinct works that interwove elements of eroticism, humor, and horror had gained the praise of Shuji Terayama and Tatsuhiko Shibusawa, leading to him to make his debut on the pages of Heibon Punch magazine in 1970. In the same year he released his first publication entitled Toshio SAEKI art book（Agrément-sha）, and despite holding an exhibition that introduced the original works featured, all of such had been stolen after its closing. Saeki’s work soon gained enthusiastic popularity internationally, such as its use for the cover of John Lennon and Yoko Ono’s 1972 album,“Sometime in New York City.”
The world of black humor and eroticism that permeate Saeki’s works is replete with provocative gimmickry, which by means of unveiling various sexual taboos, serves to stimulate our inner selves. From observing the high literary qualities of his works as conceived through the various forms of love and desire that are inherent within them, it is indeed evident that such have not necessarily been depicted through mere lustful inclinations. Moreover, viewers recognize how the “lines” which define the exquisite boundaries between the simplicity and calculation that constitutes his works as art, through them increasingly amplify their persuasiveness.
Saeki’s works that can indeed be considered as contemporary Shunga (erotic art) or Yokaiga
(ghost and monster art) are not confined to the context of Japan’s underground illustration scene. Saeki continues to receive increasing international acclaim, having held exhibitions in recent years in countries across the globe including the UK, France, Israel, the US, Canada, Hong Kong, and Taiwan; as well as the successive release of his publications such as Rêve écarlate（éditions Cornélius), YUMENOZOKI: Toshio Saeki Artist Book (Kokushokankokai Inc.), and Toshio Saeki 70 (Seirin Kogeisha).
In addition to some new works, this exhibition introduces a selection of Saeki’s original illustrations centering on those produced between the 1970s and 1980s. On this occasion, Saeki also engages in the challenge of creating a large-scale mural in color.
An opening reception with the artist will be held on January 20 (Sat).
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.
A group show curated by JONATHAN CHAPLINE featuring:
JENNIFER J. LEE
OPENING: THURSDAY JANUARY 25, 2018. TIME 17:00-21:00
EXHIBITION PERIOD: JANUARY 25 – FEBRUARY 24
JONATHAN CHAPLINE – ARTIST-TALK AT GÖTEBORGS STADSBIBLIOTEKET
TUESDAY, JANUARY 23, 2018. TIME 18:00-19:30.
It is since the rise of Abstraction at the beginning of the past Century that the relevance of figuration in Contemporary art has been debated, often leading to long periods of neglect. But even when disregarded as outdated, unintellectual and almost trivial, figuration rhythmically kept on returning stronger and more revolutionary than the very revolutions which tried to bury it. Its directness and its capacity to communicate and to convoy the ideas, trends and aesthetics of the contemporary world have proven countless times that figuration will always have a part to play in the art world.
If we look closely at the most relevant new directions in American art right now, it is clear how figuration has come back and it is actually in full swing. It can be hidden in seemingly abstract compositions as much as it can be so obviously central in a work of art to become borderline illustration. The artists which are part of this new figurative wave like to play with this kind of boundaries mixing digital aesthetics, comic characters and classical painting. The result is a multitude of directions with one point of connection, the newness and renewed relevance of an art which speaks again with images.
Jonathan Chapline is one of the most intriguing figures among these emerging figurative artists. He analogically paints and sculpts still lifes taken from a digital yet oneiric world, which fascinates the viewer with the soft light and unnatural stillness of their suspended atmospheres. Chapline – together with illustrator Lorraine Nam – is also the founder of the online platform #FFFFFFWalls. Since 2012 they interviewed some of the best emerging and established artists in New York and their website has allowed their followers to have unique insights into this ever-growing artistic scene. For these two reasons Chapline plays a key-role in this exhibition, both as participating artist and as the curator behind this variegated and thoughtful survey.
#FFFFFFiguration is an investigation into figuration, a journey through eleven very different yet intertwined approaches to it. We can get lost following the hypnotic and intricate hair’s patterns of one of Julie Curtiss characters, we can discover images under the almost abstract paintings of Ted Gahl and Sarah Faux or observe the digital world meeting our own in one of Michael Dotson artworks. In this exhibition we can find comics as in Clayton Schiff’s drawings, glittery rainbows as in Hein Koh’s soft sculptures and we can enter the surreal landscapes and blurred still lifes populating the works by Jennifer J. Lee. Classic figuration is reinvented as in the paintings by Zuriel Waters and Andy Pomykalski while painted words merge into the overworked surfaces of Alicia Gibson’s oeuvre. With #FFFFFFiguration Jonathan Chapline offers us an insight into some of the utmost captivating new ways of figuration in New York right now.
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 !”
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.