Expo: Raphaël Zarka – Riding Modern Art @ BPS22
Sep 1 2017 @ 19 h 01 min – Jan 7 2018 @ 19 h 00 min

L’artiste français, Raphaël Zarka, transforme la Grande Halle du Musée en un skatepark inédit. Les skateurs comme les visiteurs pourront évoluer librement à travers ses sculptures modulaires, inspirées par les volumes géométriques du mathématicien allemand Arthur Schoenflies.
Du haut de la mezzanine, venez apprécier la force sculpturale des modules assemblés, évoquant un grand parc de sculptures modernes.

Raphaël Zarka expose également un ensemble de reproductions en noir et blanc de photographies, tirées de magazines de skateboard, montrant des skateurs réalisant des figures de style sur des sculptures modernes installées dans l’espace public.
Car le skate, comme l’art, est aussi une affaire de style !

Auteurs des photos de la série Riding Modern Art : Éric Antoine, Loïc Benoit, Dave Chami, Robert Christ, Jon Coulthard, Ryan Flynn, Gaston Francisco, Matt Georges, Hendrik Herzmann, Nikwen, Tuukka Kaila, Bryce Kanights, Guillaume Langlois, Ludica, Alan Maag, Jonathan Mehring, Ian O’Connor, Patxi Pardinas, Guillaume Périmony, Alberto Polo, Leo Preisinger, Adam Sello, Bertrand Trichet, Seu Trinh, David Turakiewicz, Davy Van Laere, Marcel Veldman, Maxime Verret et Alexis Zavialoff.

> EXPOSITION DU 02.09.2017 AU 07.01.2018

En EXTRA VIEW à l’exposition de Raphaël Zarka, Herman Byrd présente Magnum. Ce personnage fictif, créé par Erwan Mahéo et Sébastien Reuzé, présente sa toute dernière édition au BPS22.

Raphaël Zarka est représenté par la galerie Michel Rein, Paris/Brussels et la galerie Luciana Brito, São Paulo.

Riding Modern Art, une exposition en coproduction avec Espai d’art contemporani de Castelló (Valence, Espagne). Dans le cadre d’EXTRA, avec le soutien de l’Institut français et du Service de coopération et d’action culturelle de l’Ambassade de France en Belgique. Avec le soutien de La Première et La Trois.

Expo: Eddie Martinez – Ants at a Picknic @ Davis Museum at Wellesley College
Sep 19 @ 18 h 31 min – Déc 17 @ 18 h 00 min
Eddie Martinez: Ants at a Picknic
Sep 19 – Dec 17, 2017

The Davis Museum at Wellesley College is pleased to present Eddie Martinez: Ants at a Picknic, the artist’s first museum solo exhibition. The installation includes a suite of seven new large-scale “mandala” paintings, accompanied by a range of table-top painted bronze sculptures and large drawings.

Eddie Martinez (b. 1977) has been critically lauded and widely collected for his dynamic linear abstraction, exuberant color, and a vocabulary of idiosyncratic reiterating forms. Inspired by a mashup of visual culture sources, from fine art to popular culture, his work in every medium—painting, drawing, sculpture, and print—is impossible to mistake. Martinez’s paintings build from a distinctive process: the artist starts with small drawings, blows them up and translates the “skeleton” in black silk-screen ink onto canvas; he adds color—varying from impastoed dabs to sweeping washes in oil, marine enamel, and spray paint—and often affixes drawings and other textural materials to his surfaces. The drawings are an essential “biographical, journalistic tool” in his process, and “make their way into the painting studio and feed the paintings, [where] sometimes they get glued directly to the paintings.” 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 New York Times art critic, Roberta Smith, praises Martinez’s “exceptional gifts as a painter and draughtsman.” Painter and critic David Salle applauds the artist’s “innate compositional intelligence” and his “painterly intelligence… really something different from all else, from conceptual framework and technological innovation. What’s interesting is that it is still hard and when it works it resonates.” A full-color catalogue, designed by the award-winning firm of Stoltze Design, accompanies the exhibition with contributions from Lisa Fischman, Ruth Gordon Shapiro ‘37 Director of the Davis and exhibition curator, and Jim Lewis, Austin-based novelist, critic, and arts writer.

The exhibition and catalogue are realized with generous funding from Wellesley College Friends of Art at the Davis, The Helyn MacLean Endowed Program Fund for Contemporary and South Asian Art, The Mildred Cooper Glimcher ’61 Endowed Fund, and the Davis Museum and Cultural Center Endowed Fund; with additional support for the catalogue from Timothy Taylor Gallery, London, and Mitchell-Innes & Nash, New York.

Expo: Tal R – Sexhops @ Victoria Miro (London)
Sep 20 @ 10 h 00 min – Déc 20 @ 18 h 00 min


Tal R Sexshops

Private View 6 – 8pm, Tuesday 19 September 2017

Exhibition 20 September – 20 December 2017

Victoria Miro, 16 Wharf Road, London N1 7RW

With their areas of flat, unmodulated colour and deceptively simple compositions, Tal R’s paintings have long questioned our conception of and presumptions about our surrounding reality – what we see and where its meaning and beauty lies. In these new works he brings a quizzical eye to the largely unconscious actions of seduction, desire and gratification. Approaching his subject matter non-judgementally, Tal R sees the sex shop façade as being metaphorically allied to the function of desire within a painting. For the artist, that which is on display is only successful in as much as it activates the imagination, hinting at something tantalisingly out of reach; in the ‘back room’ as the artist says – unseen and unknown. Keeping us on the outside is a deliberate creative strategy. Working from photographs, some sent by friends and acquaintances from around the world, Tal R is on the outside too: shut out by closed doors and frosted windows, which he paints with varying degrees of abstraction in dazzlingly seductive hues.

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.

Expo: ROA – Cataclysm @ At The Gallery - Antwerp
Oct 7 2017 @ 17 h 01 min – Jan 7 2018 @ 18 h 00 min

At The Gallery is pleased to welcome you to the opening of the new show by Belgian artist ROA. ‘Cataclysm’ will show a new body of work made by the artist during a six week artist in residence period in our gallery.

ROA is considered to be one of the most important and influential mural artists of our time. His typical style immediately attracts the people’s attention. The larger than life black and white animals are a symbol for the relationship between man and animal. It talks about our destructive history of driving animals to extinction. Over the course of time humankind has forgotten about their ancestors and their place in the evolution. His new show is a celebration of life and the diversity of species.

The show opens to public on Saturday 7 October from 5 – 9pm. Entrance free, all welcome.

Exhibition from 7.10.17 – 7.01.18

Expo: Eddie Martinez – Studio Wall @ The Drawing Center (New York)
Oct 12 2017 @ 18 h 01 min – Fév 4 2018 @ 12 h 01 min
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.

Expo: Tal R – Academy of Tal R @ Museum Boijmans Van Beuningen (Rotterdam)
Oct 14 2017 @ 11 h 01 min – Jan 21 2018 @ 17 h 00 min

Academy of Tal R

14 October 2017 up to and including 14 January 2018


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.

Expo: Daniel Arsham – The Angle of Repose @ Galerie Perrotin (Paris)
Oct 14 @ 16 h 01 min – Déc 23 @ 19 h 00 min




OCTOBER 18 – DECEMBER 23, 2017

Pour sa nouvelle exposition à la galerie Perrotin, l’artiste américain Daniel Arsham, réinterroge le concept de permanence, continuant à développer un intérêt pour les cultures orientales ou les cycles des planètes, mais aussi pour sa propre temporalité, inhérente à sa pratique artistique.

Ainsi, pour un plasticien d’aujourd’hui qui expose autant aux Etats-Unis, en Asie qu’en Europe, se pose non seulement la question de la réception de l’œuvre, mais aussi celle de comprendre si un pays ou une culture peuvent inférer sur la création d’un nouveau corpus. Daniel Arsham travaille depuis ses débuts sur la mémoire et le temps, tout en s’intéressant à l’architecture, mais aussi à la notion de récit et aux auteurs de science-fiction. De manière plus personnelle, un ouragan auquel il a survécu à Miami en 1992 l’a rendu plus sensible à cette idée de la finitude, notamment développée par des reproductions d’objets qui traitaient de l’obsolescence. Pour l’exposition qui eut lieu en Corée l’été dernier, l’ensemble Fictionnal Archeology, débuté en 2013, s’était développé autour du jouet et de l’animal. Insérées dans une thématique globale d’archéologie du futur et d’attention à la poétique des ruines, ces pièces jouaient déjà sur l’ambivalence entre passé et futur. Des objets qui pourraient être découverts dans un temps lointain et témoigneraient de notre civilisation actuelle dont l’artiste se saisit en les présentant comme rognés, grignotés, creusés…

Ici encore, il renoue avec l’action de sélectionner rigoureusement des reliquats —le plaçant dans une certaine démarche conceptuelle— qui sont ensuite patiemment retravaillés à l’atelier. Ainsi des globes terrestres ou des surfaces de lunes sont grumeleux et matiéristes, répondant à des peintures de sable ou des compositions géométriques, faites à même le sol. Daniel Arsham a souhaité répondre et concorder à l’espace du Marais. «J’ai voulu jouer avec la lumière de la galerie et la manière dont elle pénètre l’espace, directement ou indirectement, sans pour autant prendre en compte l’histoire globale de Paris pour réaliser cette exposition.» Pour lui, cette présentation aurait été identique aux Etats-Unis ou en Asie, même si ce continent nourrit un rapport particulier à tout ce qui touche à l’enfance, observe-t-il… et qui n’était pas sans lien avec l’inspiration des jouets développée en Corée. En 2005, sa première manifestation parisienne portait également sur le temps et se nommait Homesick. Il affichait plus directement son attention à l’architecture et au bâtit, en mêlant des constructions imaginaires à la nature, tout en se plaçant dans les pas du modernisme.

Comme s’il avait pris une plus grande distance ces dernières années, Arsham se passionne désormais pour l’intemporalité de l’astrologie ou des philosophies orientales. Les cratères qui ornent ses sphères ou peintures de sables sont l’une de ses signatures, renvoyant toujours à cette idée d’infinitude, mais aussi à une fragilité intranquille. «Dans cette exposition, poursuit-il, la question du temps est d’une part perçue à travers le cycle de la lune, créant un lien entre cet astre et une sorte de décadence des objets, qui apparaissent comme s’ils provenaient du passé, tout en jouant sur l’ambiguïté de résidus qui n’auraient pu être découverts que dans le futur. Quant aux peintures de sable ou aux jardins composés de pigments de couleur vives, ils témoignent de mes recherches autour des mandalas tibétains. Dans la culture japonaise aussi, depuis des centaines d’années, les mêmes formes ou motifs sont cultivés et parfois réactualisés tous les jours dans leur composition. Je parle ici de la conception de cycles, semblant statiques et inchangés pour l’éternité, alors qu’ils sont réactivés au quotidien. Mes peintures de sable en sont comme une version fixée, semblant temporaires et éphémères, alors qu’à l’inverse, elles jouent sur la question de la représentation. Mon sujet principal est donc ce lien entre permanence et impermanence.»

C’est également une analogie d’un processus créatif qui se retrouve tout à la fois bousculé et énergisé par les différents lieux et cultures où l’artiste est invité à exposer. La lecture des œuvres de Daniel Arsham peut, parfois, être interprétée à tort selon sa nationalité. Ainsi, à la vue des planètes, on pourrait songer à un lien avec la conquête de l’espace ou à une filiation Pop que ses pièces peuvent mettre en avant. Daniel Arsham se situe davantage dans une introspection et une réflexion qui pourrait s’inscrire dans l’uchronie (si le passé n’avait pas été le passé, quel serait le présent ou le futur ?). Il ingère différentes cultures, surfe sur les temporalités, se gargarise de regarder dans des directions multiples, souvent en marge de l’art contemporain. Ce travail intime est très nettement associé, aujourd’hui, à la lenteur et la contemplation, même si là-encore il ne craint pas de communiquer, en parallèle, avec la vitesse et la boulimie offerte par les réseaux sociaux. Mais le temps d’une exposition est autre, intimant au repos comme le suggère son titre… « The Angle of Repose » est également, dans sa définition, cet angle de pente que prennent naturellement certains matériaux, jusqu’à adopter une forme conique. Il est ici question d’équilibre des particules ou de physique, associé au facteur hasard et à un certain lâcher-prise…

Marie Maertens Commissaire et critique d’art. Juillet 2017

Expo: Felipe Pantone – Planned Iridescence @ GR Gallery (New York)
Oct 19 @ 18 h 01 min – Nov 25 @ 19 h 00 min

19 Oct – 25 Nov


Planned Iridescence

What: GR Gallery is thrilled to present “PLANNED IRIDESCENCE”, Felipe Pantone’s first solo show ion New York City. The exhibition puts together 20 works including paintings, projections, interactive installations and murals that analyze the interaction between the displacement of the light spectrum and the color dynamism.

When: Opening reception: Thursday October 19, 6:00pm – 9:00pm (Exhibition Dates: October 19 – November 25 2017) Members of the press can contact GR Gallery in advance to schedule a private viewing and/or an interview with the artist.

Where:  GR Gallery, 255 Bowery (between Houston & Stanton) New York, NY 10002

WhoFelipe Pantone (1986, Argentina)’s work is at the cutting edge of street art. His style is characterized by the use of bold colors, geometrical patterns and Optical Art elements. Straddling conventional graffiti, typography and abstraction, his work fuses bold elements of graphic design with highly evolved geometric shapes, to create an ultra-modern aesthetic which complements and reacts with the stark modernity of our cityscapes.

Why: “PLANNED IRIDISCENCE” aims to exhibit the artistic output of the internationally known and brilliant talent that is reinventing and bringing to another level the Optical and kinetic Art tradition. For his first Solo exhibition in NYC the artist is arranging an astonishing planning, revealing new works, product of years of research in his quest to evoke digital experience through inanimate objects.

Expo: Inés Longevial – Sous le Soleil @ HVW8 (Los Angeles)
Oct 20 @ 18 h 01 min – Nov 26 @ 18 h 00 min



Oct. 20th – Nov. 26th, 2017

La jeune artiste française désir déployer à travers ses peintures une vision puissante et complexe de la féminité. « Naturellement, j’étais très attirée par la représentation clichée et idéalisée du corps de la femme, comme il en pleuvait sur Instagram. Mais je me suis vite aperçue que ça me posait problème de dessiner des corps de femmes calqués sur les attentes et les fantasmes de notre société. Aujourd’hui, j’essaie de peindre les corps différemment : par petites touches, crops, fragments. J’aime souligner les formes charnues oubliées: le bout des doigts, les pommettes… C’est important de ne pas seulement cultiver la culture «girly» quand on parle des femmes et de montrer que la féminité peut être unique à chacune. » – Inès

Expo: Kenny Scharf – Inner and Outer Space @ Jeffrey Deitch (New York)
Oct 21 @ 12 h 01 min – Déc 22 @ 18 h 00 min

Kenny Scharf: Inner and Outer Space

October 21 – December 22, 2017
18 Wooster Street

The faces are melting in Kenny Scharf’s new paintings. “Things are disintegrating,” he says, “I am reacting to our increasingly out-of-control situation.” Scharf’s work continues to be infused by his inexhaustible optimism and his sense of fun but there has always been an engagement with profound issues beneath the façade. Ecology, the environment, and capitalist excess have long been central themes. More recently, his paintings have shown his alarm over the effects of petroleum and the mountains of nondegradable plastic that are produced from it.

Scharf’s work has always combined and contrasted the pop culture he absorbed growing up in Los Angeles with the important innovations in modern and contemporary art. His earlier work fused Dali and Disney. More recently, he has been in dialogue with Pollock and Abstract Expressionism. In the new work, he merges his distinct style with color field and stain painting. “I like to connect with every movement in 20th-century art,” Scharf explains. “I make new hybrids, taking it all in and putting it in a blender.”

A distinctive style is something that Scharf admires in other artists and from the beginning has tried to achieve in his own work. He believes in art as an expression of individual identity. From his first mature work as a student at the School of Visual Arts, a painting by Kenny Scharf was instantly recognizable. Still adhering to his signature style, he continuously invents new forms.

Scharf is very enthusiastic about his new “sloppy style” that characterizes the major paintings in the exhibition. Rows of faces disintegrate into colorful drips reminiscent of both New York School painting and the serial imagery of minimal art. In these new works, Scharf is striving to create clear and simple forms that resonate with meaning. He feels liberated and excited, adding that “it is so much fun.”
The expression of emotion in art is essential to Scharf. Art that is cold leaves him cold. He explains that cartoon faces can express emotion with abstract power. Like his artistic colleagues from his early years in New York, Jean-Michel Basquiat and Keith Haring, Scharf studied cartoons as a way to intensify figurative expression.

It is his early downtown history that brings Scharf back to New York this October. The Museum of Modern Art is opening an exhibition on the seminal performance space Club 57 in which Scharf played a central role. Watching him paint, one can see how his experience as a backup dancer for Klaus Nomi and his other performative roles have shaped his approach to his work. One side of his painting practice is detailed and meticulous to the extreme. The other side is tremendously physical and requires him to use his body like a dancer.

Visitors to Scharf’s Los Angeles studio are greeted by a hundred or more discarded plastic toys in his yard and on his roof. During the early part of his career, Scharf found his art materials in the garbage. To this day, he still stops his car when he finds plastic toys and TV sets thrown away on the street. These discarded plastic objects have inspired the two other bodies of work featured in the show: his Assemblage Vivant Tableaux Plastiques, and his TV Bax. The assemblage works, which are inspired by the Nouveau Realistes, are constructed from his stock of recycled plastic toys. The TV Bax are painted on the plastic backs of discarded television sets. Like the toys, the TV backs have a disconcerting anthropomorphic quality. Scharf wonders if their anonymous designers created these plastic covers, which are different for every model, to resemble a face.

Scharf finds these thrown-away toys and TV backs to be poignant objects, resonant with emotion. “Each of these objects carries a story,” Scharf explains. He thinks about how people might have struggled and sacrificed to buy these toys and TVs, and about the intense relationship that children and families have with them. Scharf resurrects the lives of these inanimate objects in his work. He also notes that garbage keeps changing with technology. The backs of TV sets used to have large protruding “noses.” Now they are flatter and more similar to a canvas.

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


Expo: HuskMitNavn – Framework @ V1 Gallery II (Copenhague)
Oct 27 @ 17 h 01 min – Déc 2 @ 16 h 00 min



A solo exhibition by HuskMitNavn

On view in V1 Gallery’s gallery II


Throughout his multidisciplinary career HuskMitNavn has actively explored the space between content and context. In sculpture, in site specific public and private murals and installations, in museum and gallery settings, in books and on digital platforms. He is a master at creating a dynamic relation between artwork, architecture and platform. Letting the setting and relation influence the content and vice versa. For several years he has actively engaged the digital application Instagram with hand drawn black line drawings. Using only A4 sized white paper, a black marker and a camera, he has created elaborate trompe l’oeil compositions (Instagram@huskmitnavn1).

In Framework HuskMitNavn challenges himself to reengage and reexamine the most basic artistic formats – paper and canvas. In 15 new works he lets frame and material play an active part in the composition. A wooden frame becomes the totem an unlucky explorer in a safari helmet is tied to awaiting his destiny in the boiling black pot (Dinner Time, 2017). Another wooden frame is eaten by the protagonist – a hungry beaver (The Beaver, 2017). In a series of intricate compositions on canvas, fictional stretcher bars are transformed to window frames in a play between background and foreground.

By twisting the framework for the simple materials, new ideas and possibilities arise. Drawings and paintings spread from canvas and paper and appropriate the frame into the artwork in unexpected and ingenious ways.
Framework is a playful exhibition challenging both artist and viewer.

HuskMitNavn (b.1975) lives and works in Copenhagen. HuskMitNavn has chosen to remain anonymous throughout his career as he would rather have people focus on his work instead of him. Interestingly HuskMitNavn has become one of the most recognized and celebrated contemporary Danish artists with more than a 100.000 followers around the globe on Instagram. He actively uses the medium to promote and instigate creativity. His artist books are being published around the world and his distinct socially conscious practice is resonating with a wide audience beyond Danish shores. He has recently exhibited at MIMA Museum, Brussels, Belgium, Heerup Museum, Rødovre, Denmark, Nordic Contemporary, Paris, France. Concurrently with Framework HuskMitNavn has created a second solo exhibition titled Work It that will be on display in V1 Gallery’s main gallery. Work It is an elaborate exhibition with 34 works on canvas, paper and a sculptural installation examining our contemporary work lifestyle. HuskMitNavn and V1 Gallery have collaborated for 15 years. Framework and Work It marks his 7th and 8th solo exhibitions with the gallery.

Expo: Jeroen Erosie – Trust Fall @ Mini Galerie
Oct 27 @ 18 h 01 min – Déc 2 @ 17 h 00 min

28 October – 2 December 2017

Mini Galerie is proud to announce Trust Fall, the third solo exhibition by Dutch artist Jeroen Erosie with the gallery.

Trust Fall features a new series of paintings, collages and sketchbook pages, representing a quicker and more direct approach in Erosie’s artistic practice. The title is a personal reference to this newly established attitude towards his work, where the end effect of the paintings are based on an inner artistic confidence. Erosie believes in an iterative process, a step by step method involving a more trusting attitude. The result is a sharper, intuitive creation, allowing the geometry of his signature forms to speak for themselves. A selection of sketchbooks showing the evolution of ideas and sources of inspiration allow visitors to take a peek inside the creative process of the artist. They also serve as a reference point to the canvases themselves, demonstrating this new freedom within Erosie’s work.

Holding an honours degree from the renowned Willem de Kooning academy in Rotterdam, Jeroen Heeman (Roosendaal en Nispen 1976) combines his formal training with an alternative abstract style that invites the viewer into a discussion on public space and the role art plays within it. His work has been shown in multiple art festivals and shows across Europe, the United States, and Japan, establishing Erosie as an irrefutable contributor to the contemporary art scene.

For further information regarding Trust Fall please contact Julia van der Meer at

Expo: Machine Show @ Library Street Collective (Detroit)
Oct 28 @ 18 h 01 min – Déc 23 @ 18 h 00 min

OCTOBER 28 – DECEMBER 23, 2017 

For a catalog, please contact

Opening on October 28, Library Street Collective presents Machine Show, an exhibition exploring the innovative processes of painters Paul Kremer, Mark Flood, MOMO and Jason REVOK. Curated by Kremer, Machine Show will uncover the methodology behind the artists’ works, showing painting alongside video, performance, and functional objects. Whether made to spec or fashioned from available found materials, an artist’s tools can be definitive for a particular series of works, and even have the potential to drive an entire career. With the acceleration of production schedules, tools can be made and modified to offer expediency in practice, create a spectacle in performance, upend convention, or create an aesthetic that leaves the viewer wondering how a piece was made. In taking matters into their own hands, the act of creating unique tools can express dissatisfaction with the status quo, available methods, and with movements in art that came before. Whether analog or tech-based, it is the ultimate act of progress to design new methods of production.


Expo: Tomoo Gokita – Beauty @ Mary Boone Gallery (New York)
Nov 2 @ 17 h 01 min – Déc 22 @ 18 h 00 min

On 2 November 2017, Mary Boone Gallery will open at its Fifth Avenue location
Beauty, an exhibition of new paintings by TOMOO GOKITA.


From his early work in graphic design and artist books, Tomoo Gokita evolved a distinctive manner of painting that incorporated a wide variety of brush marks and a range of shades between black and white. His raffish subjects seemed to have been lifted from reproductions in bygone detective novels, Hollywood tabloids, and wanted posters. In Mature, a new series of portrait paintings exhibited here, Gokita depicts women « of a certain age » who appear to have posed for a fetish magazine. Without the distortions and grotesquerie of his earlier works, Gokita portrays these enigmatic characters naturalistically as unconventional objects of desire, treating his subjects with obvious contemplation and admiration.


Gokita’s gift of observation is apparent in a surprising new series of Fake Cezanne
paintings. At once Realist homage and Conceptual card trick, these would seem to be faithful renditions of Cezanne still-lifes, yet by rendering the images in lush halftones, Gokita evokes grainy, nostalgic reproductions in vintage art journals rather than original masterpieces.


Tomoo Gokita was born in 1969 in Tokyo, Japan, where he continues to live and work. In 2014, the Kawamura Memorial DIC Museum of Art in Sakura, Japan, organized a major survey of his work. This will be his third solo exhibition
with Mary Boone Gallery.


The exhibition, at 745 Fifth Avenue, is on view through 22 December 2017.
For further information, please contact Ron Warren at the Gallery,
or visit our website
Expo: Hell’o – Dystopia @ 1AMSF (San Francisco)
Nov 2 @ 19 h 01 min – Nov 30 @ 18 h 30 min

« Dystopia » by Hell’O Collective

First Amendment Gallery is very excited to announce “Dystopia” a debut US solo exhibition by Belgium duo Hell’O Collective in San Francisco, CA.  The opening reception is scheduled for Thursday, November 2nd at 7pm. The exhibition with include new paintings, drawings, installation and exterior murals. The gallery is located at 1000 Howard St. in Downtown San Francisco.  To receive a preview of the works in the exhibition contact

Expo: Guy Yanai – Barbarian in the Garden @ Praz Delavallade (Los Angeles)
Nov 4 @ 18 h 01 min – Déc 22 @ 18 h 00 min

Nov 4th – Dec 22nd

Opening Reception: Saturday, Nov. 4th, 6pm -8pm

Praz-Delavallade Los Angeles is pleased to present its first solo exhibition by Guy Yanai, opening on November 4 and on view through December 22, 2017. Yanai’s practice is fueled by fables, stories and hymns—each painting a reflection of the pragmatic side of our life. In his isolated moments one may find a smiling child,
big splash, lonely banana, bristling cactus, modernist lamp, singing bird or a tiny boat gliding on placid waters below a clear sky. These individual vignettes bleed into one another and could continue forever, suspended in time. Many of Yanai’s subjects are intentionally recognizable and commonplace, rendered into
a pixelated appearance.

For his first exhibition with the gallery, Yanai presents a series of paintings and drawings that capture his alienation to memory and places, flattened and made shallow through solid blocks of color that create the appearance of cut-outs or collage. He creates a mise en scène by the activations of separate vignettes from distant memories such as a painting of George Washington on a horse—drawn from a recollection of when he made a similar drawing for his brother around the age of 7—juxtaposed with paintings of plant life and unoccupied interiors such as a view from his apartment in Tel-Aviv or a hotel in Rayol-Canadel-sur-Mer.

Expo: Hajime Sorayama – Sawasdee Sexy Robot @ EchoOne ArtSpace (Bangkok)
Nov 10 @ 18 h 01 min – Déc 31 @ 18 h 00 min

EchoOne ArtSpace collaborates with Nanzuka Underground (Japan) to hold its first show in Thailand by Hajime Sorayama And showcasing a whole lot of paintings, sexy robot life size and Bearbrick 2000% that was introduced to the Thai people for the first time.

Opening Reception: November 10, 2560 from 18.00 – 20.00 (for those who have invitations only)
Open to the public: November 11, 2017 – December 2017
Products in the works: Original Painting, Print on Canvas, Print on Paper, Bearbrick & Rabbrick 400% + 100%, T-shirts, caps, mugs and more.

Expo: Alexis Poline – Jardin, Lointain, Cour. @ Capsule Gallery (Rennes)
Nov 10 @ 17 h 01 min – Déc 1 @ 18 h 30 min

Jardin, Lointain, Cour. — Alexis Poline

— 10/ 11/ 17 — 07/12/ 17 —

Vernissage vendredi 10 Novembre . 15H 22H

(N°2) Le Circuit des Têtes de l’Art 2017.

« Il y a d’abord cette pratique régulière dans mon carnet, et cette envie de faire une exposition de dessins. Je ne me lasse pas de la peinture, au contraire, mais le dessin c’est bien aussi.
Mes dessins se limitent souvent à ce carnet, petit format, dont une partie est présentée dans un petit livre aux Éditions Peinture. Dessiner pour une exposition c’est autre chose… Comment montrer le dessin au sein d’un espace ? Au mur, sous verre, encadré même ? L’angoisse.
Alors très vite s’impose un projet, une expo simulacre. Une fausse exposition de dessin, avec de vrais dessins, mais sans papier. Comme au théâtre, des châssis de bois, peints, degré zéro du décor. Le geste de dessiner arrive alors en dernier. Une exposition de dessin comme décor. La peinture au final est invoquée, le châssis toujours présent. Toujours le même principe de construction, de préparation préalable, toujours autant de bricole en amont.
« Jardin » (coté gauche de la scène), « Lointain » (fond de scène), « Cour » (coté droit), le lien me paraît évident avec les expositions précédentes, le paysage comme constante.
Un vernissage comme une première de spectacle. »

Expo: Moderne Jazz – FFRRRRVUMVUMTACTAC @ Module (Paris)
Nov 11 @ 18 h 01 min – Déc 1 @ 21 h 00 min

XVIIIe arrondissement de Paris. Les rayons froids d’un matin de Novembre inondent les façades sculptées de la rue Cyrano de Bergerac. Derrière la vitre de la devanture bleue, l’exposition s’achève d’être montée.

Eclaté et actif depuis cinq années déjà, le collectif Moderne Jazz s’installe au Module pour une nouvelle monstration, occasion de dévoiler des objets mis en forme sans concertation ou presque. Postés, acheminés en voiture, par train ou dans un sac à dos, ces derniers prennent place et cohabitent comme autant d’entités distinctes, livrées au sein d’un même espace.

En 2015 déjà dans la galerie Slika de Lyon, des objets se télescopaient de leur disparité. Alors liés par une logique simple, il s’agissait de donner corps dans le lieu d’exposition à une pièce peinte sur mur et documentée par une photographie en usant de divers supports, matières ou techniques. Une couronne, un drap-écran, un pull de maille, une horloge, des tracés velleda déposés sur vinyle.

Aujourd’hui, les pièces présentées pour cette exposition se rapprochent parfois du vêtement, du jouet, d’autres encore sont plus reliées au mobilier. La répartition hétérogène de ces éléments agît comme le passage d’un univers à un autre, d’une ville à l’autre, telle une ligne de chemin de fer imaginaire qui relierait Brest à Marseille, Paris à Valence, Lille à Angers, le tout sur dix mètres carrés.

La teneur disparate de nos productions, rendue en partie contextuelle du fait de l’éloignement de chacun dans des régions françaises distinctes (en outre par l’évidence de la constitution différente nos regards et pratiques) se ressent par exemple lors du dernier coup d’œil sur un mur peint en-semble avant d’en quitter les lieux: avec comme seul lien la couleur de la peinture ou les outils partagés, le rendu final d’une fresque réalisée en groupe surprend toujours par la nature contrastée de ses sous-ensembles. Mais bien qu’il subsiste dans le produit de nos réunions autant de diffé-rences que d’acteurs concernés, c’est bien la saveur d’une cohérence globale qui finit par l’emporter ; en jouant au jeu des ressemblances, le regard crée des ponts, des passerelles de gestes ou bien de sens entre les différentes peintures. Un élan commun.

Autant que nos rencontres sur mur génèrent des lignes et des masses figés sur une seule surface, murale, ouverte, nos rendez-vous cloisonnés en galerie voient naître des intentions en volume. Un instinct signifié comme pour coller au contexte et s’adapter au lieu, offrir une dimension de plus au visiteur avec qui nos objets cohabitent.


Froissés, pliés, salis, remplis dans leur essence des sons et des odeurs de l’atelier, des dessins prépa-ratoires sont joints aux objets et renseignent cette fois sur une logique propre a chacun, un docu-ment de travail où s’estompe la volonté stylistique liée à la facture de graffitis et à l’identité styli-sée de son auteur. Révélateurs en somme d’un trait utilitaire, modeste, lié simplement à l’acte de faire objet.

Ainsi ces feuilles de route qui sont des témoins du moment du passage de l’idée à l’objet manipu-lable deviennent un lien entre les différents objets, une manière aussi de montrer l’envers et dire plus sur le processus de fabrication mis en place.

Douze modules, une présence matérielle de chacun, comme le visage imprimé de l’absent sur la photo de groupe. Cette exposition comme l’invitation à une fête d’intérieur, fête silencieuse où les objets se font face, dialoguent, vivent ensemble dans une même pièce.

-Moderne Jazz

Expo: Josh Reames – Don’t cross streams while trading horses @ Luis De Jesus (Los Angeles)
Nov 11 @ 18 h 01 min – Déc 23 @ 18 h 00 min
Don’t cross streams while trading horses
Artist Reception: Saturday, November 11, 6-8 PM
Luis De Jesus Los Angeles is very pleased to announce Don’t cross streams while trading horses, an exhibition of new paintings and sculptures by Josh Reames, to be presented from November 11 through December 23, 2017. This will be the artist’s third exhibition with the gallery. An opening reception will be held on Saturday, November 11th, from 6:00 to 8:00 pm.
In Don’t cross streams while trading horsesReames dismantles symbols associated with American economic and political power. Referencing Abraham Lincoln’s acceptance speech for a second-term nomination in which he modestly stated that it was best not to « swap horses while crossing the river, » Reames inverts the sentiment to draw focus to the transactional nature of the expression while using humor to editorialize business as usual. Reames usurps emotion-saturated metaphors and codified visual signs – logos, mottos, anthems, seals – everything that stabilizes status quo is placed on the chopping block. Brooms sweep up dirt. Snakes lose their heads. Cars drive off cliffs. Painting is protest and Reames‘ paintings are akin to burning flags that illuminate the dusk by setting fire to the establishment. The paintings in Don’t cross streams while trading horses depict symbols perforated by tromp l’oeil singes and torch-burned holes. Metaphoric destruction can be as revelatory as the real thing.
Expo: Paul Wackers – Parts of everything that are pieces of everything are all around us @ Alice Gallery (Bruxelles)
Nov 16 2017 @ 18 h 01 min – Jan 26 2018 @ 18 h 00 min



We are very excited to announce Paul Wackers 3rd solo show at the Alice Gallery


OPENING: 16.11.2017
EXHIBITION: 17.11.2017 > 26.01.2018

AND the release of our first BOOK

10 Years of paintings by Paul Wackers, ed. Alice Gallery

Expo: Mon Colonel & Spit – Lepidoptera @ BPS22 (Charleroi)
Nov 17 2017 @ 19 h 01 min – Jan 7 2018 @ 19 h 00 min



  • 18.11.2017 – 07.01.2018
  • Vernissage, le vendredi 17.11.2017, de 19:00 à 22:00

Ce duo d’artistes composé d’Eric Bassleer, alias Mon Colonel (Liège, 1974), et Thomas Stiernon, alias Spit (Liège, 1977), se forme suite à la scission, en 2008, du collectif « The ERS ». Leurs œuvres, toutes composées à quatre mains, comportent des aquarelles sur papier qui débordent de mots, phrases et dessins tirés du quotidien des artistes. A partir des mêmes éléments, ils réalisent aussi, depuis quelques années, d’incroyables céramiques.

Les photographies réalisées sous la forme de polaroids, dans leurs déambulations quotidiennes, sont des éléments moins connus de leur travail qui illustrent, sous un autre angle, leur univers.

Pour leur exposition au BPS22, le duo crée une cabane en carton dans laquelle ils invitent les visiteurs à pénétrer. A la manière d’un journal intime en trois dimensions, ils y partagent les instantanés de 3 mois de voyages et d’aventures en Belgique, en France, au Maroc et aux Etats-Unis. Céramiques, poteries, aquarelles, polaroïds, dessins à la bombe sont déployés comme autant de moments éphémères de leur vie sauvage.

Le titre de l’exposition, LepidoptERA (nom scientifique du papillon commun), est inspiré de ce que les artistes nomment des « moments papillons » en référence à la photographie instantanée utilisée comme base à leurs travaux, à la fugacité des moments partagés, à l’insouciance de la vie de bohème que vivaient les artistes à leurs débuts. LepidoptERA est aussi une invitation à pénétrer le cocon dans lequel se construisent l’œuvre et la pensée de Mon Colonel & Spit.

Curatrices : Nancy Casielles & Dorothée Duvivier

18.11.2017 > 07.01.2018

Extra View, à voir en parallèle à l’exposition de Raphaël Zarka, Riding Modern Art.
Le BPS22 étoffe sa programmation en proposant à des artistes de présenter une partie spécifique de leur production ou de réaliser un nouveau projet. Repris sous le label Extra View, différentes approches et formes artistiques vous sont proposées au sein du Musée pour élargir encore le regard porté sur l’art.

Expo: Arts Factory Winter Show @ Arts Factory (Paris)
Nov 21 @ 17 h 01 min – Déc 23 @ 19 h 30 min

featuring Sergio Mora, Niark1 & Gary Taxali
vernissage le mardi 21 novembre de 17h à 21h
exposition du 22 novembre au 23 décembre 2017

Plaisir d’offrir, joie de recevoir … le Winter Show est enfin de retour ! Pour cette nouvelle édition qui se tiendra du 21 novembre au 23 décembre 2017, la galerie Arts Factory reçoit 3 pointures de la scène graphique internationale, à savoir : le barcelonais Sergio Mora, le très parisien NIARK1 et pour la première fois en France, le canadien Gary Taxali !

[ save the date ! plus d’infos très bientôt … ]

Expo: Pablo Tomek – Mixed Messages @ Nevven Gallery (Suède)
Nov 23 @ 17 h 01 min – Déc 22 @ 18 h 00 min


A solo show by PABLO TOMEK


MONDAY, NOVEMBER 20, 2017. TIME 18:00-19:30.

Graffiti is a language conveyed in an illegal act which subtends an intrinsic idea of freedom and appropriation that transcends and questions the common rules of society. Albeit – and on the contrary of common beliefs – Graffiti is also a world of very strict rules. Soon after its early days, this culture shaped itself into a very hierarchical and rigid set of commandments: from the definitions of “kings” and “toys” to what should be a “tag”, what a “throw-up” and what a “piece” and how they should interact in the streets.

Especially in recent years, some of these rigidities have been questioned from the inside by a number of young practitioners. Particularly in Europe – these sparse individuals and “crews” started diverse practices which radically began to extend and challenge the possibilities of graffiti as a language. Among the key players and pioneers in this wave of changes we surely find Pablo Tomek and his crew PAL.

Pablo Tomek is not an artist coming from graffiti, he is a graffiti writer and an artist. The two practices proceed in parallel, in osmotically interacting ways: his art affects his graffiti, questioning the form and aesthetic of his tags and pieces, while his experience of the streets fuels his studio work with concepts and approaches otherwise unthinkable. In his art practice, he borrows tools, materials and supports from street workers. Sponges – as the ones used by workers to cover up windows – take the place of brushes, glass substitutes canvases while stained protective plastic (the ones normally placed on floors when painting) and found objects take the place of sculptures.

It’s not a simple switch in materials we are witnessing in Tomek’s work. It feels that this passage holds something more conceptual and complex than a stylistic idea. We find in this artistic endeavour a strong connection to a blue-collar’s approach, to humble but mastered skills and the effectiveness learned by endless repetition. It is not a coincidence then that in graffiti the achievements of a “writer” mostly come from reiterate exercise and practice, which is what allow to combine style, effectiveness and quickness together.

Elevating practical skills to art creates a turn in perspective, which brings down the theoretical substantiation of an artist’s practice while exalting the quality of art as a practice humbly rooted into hard work. Tomek’s art is able to bring not only this refreshing approach but also the actual street, with its workers’ tools and aesthetics, inside the elitist space of a gallery. He achieves this through artworks which are immediate and thoughtful at once, able to make us rediscover the poetry of gesture and its capacity to convey feelings and emotions.

The expressiveness of gestures is what the French artist pointed out in many occasions as striking him especially in the sponged windows you can see so often in French cities. In his opinion the stroke used to apply paint to cover windows involuntarily channels a feeling – or an energy – that comes from the person executing the work. It is no surprise then that Tomek’s paintings and works on paper have been often connected to abstract expressionism, as the rough force and powerful gesture behind their execution clearly speaks an intimate language through abstract communication.

In Mixed Messages the French artist will bring for the first time his art to Sweden giving us the possibility to explore this complex practice. A new series of monotypes on paper will convoy his latest experiments, mixing his abstract works with hints of figuration which he describes as coming from the walls and his experience of the city. This show and the works in it will allow us to step inside Pablo Tomek’s artistic realm which extends from the studio space to the worksite landscapes of the ever-growing and over-gentrified French capital. An artistic landscape which is intimate, puzzling and attractive at once and that in Tomek’s hands has become the right lever to splendidly overthrow the rules of both worlds of graffiti and art.

Expo: Cosmogg II @ Fluorescent Smogg (Bristol)
Nov 30 @ 18 h 01 min – Déc 3 @ 17 h 00 min

Who’s Coming ? COSMOGG II✨💥✨💥✨ Lucas Price, Mudwig, Cain Caser, Paul Insect, Sickboy, Roids, Russel Maurice.

Original artwork and Editions produced by Fluoresent Smogg.

Happening somewhere in Bristol UK! Private View – November 30th 6pm – 10pm, Open to public 01/12/17 – 03/12/17 11am-5pm

For guaranteed entry to the private view (location announced 24hrs prior to opening) ⏰

Expo: Mission Paul Loubet @ Galerie Bomma (Paris)
Déc 2 @ 15 h 01 min – Déc 10 @ 20 h 00 min


Nous avons le plaisir de vous inviter à la prochaine exposition de la Galerie BOMMA « Mission Paul Loubet », quatrième exposition personnelle de Paul Loubet et premier solo en France.

Du 2 au 10 Décembre 2017,
Vernissage le samedi 2 Décembre à partir de 15h,
49 Rue de la Cour des Noues, Paris 20

Un superviseur peut superviser correctement trente caméras.
La Ville de Paris possède 1105 caméras fixes.
Combien de superviseurs faut-il pour surveiller Paris ?

Un drone évolue dans un rayon de 100 mètres autour de son superviseur.
La Ville de Paris mesure 105 km2.
Combien de drones faut-il pour surveiller totalement Paris ?

Un superviseur ne peut piloter qu’un drone à la fois.
50% des Parisiens ont la capacité financière et l’adresse nécessaires à l’acquisition d’un drone.
Paris compte 2,2 millions de Parisiens.
A quel point est-il nécessaire que la sécurité soit l’affaire de tous ?

Les enfants naissent avec les technologies de leurs pères dans les gènes.
Pour un enfant né après aujourd’hui, est-ce que piloter un drone serait une gêne ou un jeu d’enfant ?


À travers cette proposition, Paul Loubet révèle avec finesse le statut ambigu des objets technologiques en projetant sur ces items un univers ludique et onirique qui rappelle la naïveté de l’enfance. A la manière d’un enfant qui transforme un bâton en fusil, Paul utilise le bois de manière brute et primitive pour faire émerger des objets d’inspiration technologique. Par la simplification des formes et la fragilité des mécanismes, il ramène l’objet à son essence formelle. En exacerbant l’aspect « ludique » de ces technologies, l’artiste pousse à envisager leur puissance néfaste. Artefact ou véritable console de jeux pour adulte, les jouets injouables de Paul Loubet soulèvent des questions éloignées de l’imaginaire enfantin.

Les drones que crée l’artiste font désormais partis des thèmes récurrents de sa mythologie. Protagonistes à part entière, les drônes autonomes de Paul Loubet se pilotent sans intervention humaine.

La palette est minimaliste, les formes simples, à la limite de l’abstraction, Paul simplifie, réduit, compartimente. Les formats sont grands et les protagonistes minuscules, effet vertigo sur toile, il fait cohabiter grand espaces et modèles réduits. La touche est naïve, brute, celle d’un peintre, qui malgré sa volonté de géométriser et de compartimenter, sort du cadre et n’est pas d’une perfection sans faille.