Leila Heller Gallery is pleased to present the first solo exhibition in the UAE by Kenny Scharf (b. 1958), muralist, painter, sculptor, and installation artist, best known for his fantastical, large-scale paintings of anthropomorphic animals and imagined creatures. The exhibition features a selection of large-scale works on canvas as well as relief sculptures comprised of oil painted televisions and small assemblages of found objects.
His new body of work is a reaction to what he perceives as our ‘increasingly out-of-control situation’, depicted by the melting faces in his paintings. Scharf’s work continues to reflect his inexhaustible optimism and his sense of fun but has always been engaged with profound issues beneath the facade. Ecology, the environment, and capitalist excess have long been central themes. More recently, his paintings reflect his environmental concerns over the petroleum industry.
Large-scale, bright, colorful paintings, murals, drawings, sculptures, prints and installations define Kenny Scharf’s oeuvre, often depicting animated cartoons or imagined creatures. With a child-like appeal, his work is often described as playful, optimistic, bubbly and full of joy. Beneath the colorful and idyllic surface of his paintings and collages, Scharf references the darker issues of the modern world. He categorizes his art as ‘pop surrealism’, drawing inspiration from the realm of the unconscious, explaining that his own unconscious is full of pop imagery. He cites surrealism and abstract expressionism as his major influences.
In We’re Melting Together Night and Day (2017), Melty Slop (2017) and consequent paintings in this series, animated faces of comical creatures crown the descending lines of paint, as though each downward melting blotch were the extended body of one of those figures. Alluding to Color Field, a style characterized by large, highly simplified compositions in which the use of color is independent of line and figuration, Scharf connects with modernist art movements by creating new hybrids, almost as if these earlier forms of art had been placed in a blender. Rows of faces disintegrate into colorful drips reminiscent of both New York School painting and the imagery of minimal art. In these new works, Scharf strives to create clear and simple forms that resonate with meaning, a process that he finds to be “so much fun”.
The use of cartoon faces allows Scharf to express emotion with abstract power. The expression of emotion in art is an element he considers essential to his practice; art that is cold leaves him cold. Scharf studied cartoons as a way to intensify figurative expression, like his artistic counterparts from his early years in New York, Jean-Michel Basquiat and Keith Haring.
Earlier in his career, Scharf sourced materials for his artworks in the garbage, and to this day, he still stops his car when he finds plastic toys and TV sets thrown out on the street. These discarded plastic objects have inspired the two other bodies of work featured in the show: his Assemblage Vivant Tableaux Plastiques, and his TV Bax. Inspired by the Nouveau Realistes, the assemblage works are constructed from his stock of recycled plastic toys, an expression of our perpetual consumerism. The TV Bax are painted on the plastic backs of discarded television sets. Like the toys, the TV Bax have a disconcerting anthropomorphic quality. The artist questions if their anonymous designers created these plastic covers, which are different for every model, to resemble a face.
These discarded toys and television backs are considered poignant objects, resonant with emotion. “Each of these objects carries a story,” Scharf explains. He considers how people may have struggled and sacrificed to buy these toys and TVs, and the intense relationships that children and families have with them. Scharf brings to life these inanimate objects in his work.
Since his childhood, Scharf has been fascinated by outer space. Space travel and the portrayal of infinite space have long been central themes. In his life and in his work, he tries to eliminate boundaries and borders. He is increasingly preoccupied with the inner space of painting, his exploration of which creates a dynamic tension with his passion for outer space. With his characteristic exuberance and moral voice, Scharf reformulates his unique combination of Pollock and Pop to create a vibrant new body of work.
The use of oil and acrylic paint in an airbrush-like manner imbues the presence of street culture within contemporary art. Pulsating with energy and overflowing with visual information, Kenny Scharf’s art infuses sinuous biomorphic forms with a symbolism reflecting electronic media’s insistent grip on our most primal fantasies. Fusing high art and cartoon, technological aspiration and ecological devastation, he creates playful works of art that evoke a state of whimsy.
Hell’O Enjoy the show…
10 ans de création
Hell’O est un duo d’artistes belges qui réalise aussi bien des fresques murales que des peintures sur toile et des installations.
Leur univers graphique unique, complexe et ambigu s’enrichit et se développe au fur et à mesure des créations.
Par leur approche qui mêle une extrême liberté iconographique à une exécution rigoureuse, Jérôme Meynen et Antoine Detaille produisent un monde imaginaire fertile, parfois grotesque mais toujours poétique. Une sorte d’étrange bestiaire fantastique, peuplé d’animaux énigmatiques et de créatures vaguement humaines, asexuées, composé de formes et de symboles tirés de l’iconographie des contes, des fables et autres mythologies anciennes et contemporaines.
Utilisant une bonne dose d’humour et de moquerie, Hell’O bouscule les faiblesses humaines dans des compositions mêlant la réflexion métaphysique et le non-sens, mettant en valeur le mystère et l’interprétation libre du spectateur.
L’art de Hell’O réside dans le traitement d’idées parfois crues ou dures au moyen de formes douces et d’une esthétique léchée, ou, à l’inverse, d’aborder des thèmes légers avec un trait précis et méticuleux, oscillant continuellement entre attraction et répulsion, à la fois joyeux et macabre, amusant et effrayant, mièvre et rêveur, morbide et séduisant… Un art de la dualité.
Avec le temps, les formes se sont épurées, centrées sur l’essentiel, le noir et blanc a fait place à la couleur, d’abord discrète et pastel, ensuite plus franche et vive.
L’exposition du BAM présente leur 10 dernières années de création depuis leurs premiers dessins en noir et blanc jusqu’aux tableaux plus abstraits en couleur. De plus, le parcours plongera le visiteur en totale immersion au cœur d’œuvres du collectif créées in situ spécialement pour l’exposition. De nombreux collectionneurs privés, galeries ou institutions publiques belges et étrangères ont accepté de nous prêter leurs œuvres pour ce premier « état des lieux » de leur travail.
Gert & Uwe Tobias – »auf«
Hard coal mining ends in 2018, marking the era of German history over the last 150 years. The Kohlaususstieg prompted the RuhrKunstMuseen to implement the largest ever exhibition project realized on the topic of « Art & Coal » across cities . Thus, this year’s art exhibition of the Ruhrfestspiele returns to the origin of the festival.
The artist duo Gert & Uwe Tobias creates narrative spaces. Since their studies, the twin brothers born in 1973 in Braşov (Brasov) have been working together – « One and one is three of us, and three is work » – and since then they have defined collage as their working principle. Their complex pictorial worlds cite the classical modernity, but also integrate everyday cultural finds, motifs of the Art Brut or elements of folk art.
At the heart of the Recklinghausen exhibition are large-format woodcuts printed like a jigsaw puzzle, captivating through their exuberant imagination and simultaneous artistic asceticism, through humor and subtle artificiality. They are covered by murals that equally cover all three floors of theKunsthalle Recklinghausen. There are also new, multi-part series of ceramic objects. Gert & Uwe Tobias approach the subject of mining in a variety of facets and realize an installation-oriented Gesamtkunstwerk that involves the exhibition visitor physically . The narrative structure of her production interweaves motifs of the mining world above and below ground,but remains associatively open. The exhibition once again proves the fascination of the Tobias brothers for the grotesque and ambiguous, for the play with seductively colorful surfaces and a look into abysmal depths.
La voix du peuple avant Twitter, c’est l’affiche en mai 1968. L’avènement des réseaux sociaux a redonné vie à la contestation populaire, comme les affiches à la fin des années 60. Si la société a évolué, les combats restent les mêmes: écologie, droit des minorités, paix, travail, féminisme.
- ☛ + de 450 affiches et objets
- ☛ 30 pays
- ☛ 5 continents
- ☛ Installation de la pièce historique “Frappez les gradés” créée en 1971 par Julio Le Parc.
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.
Première exposition monographique
19.05 > 29.07.2018
avec la Galerie Magda Danysz
À la fois discrètes et frappantes, souvent gigantesques, les œuvres de Vhils représentent des visages anonymes, creusés dans différents matériaux ou à même les murs. Désormais connu et exposé à travers le monde, l’artiste portugais fait escale au CENTQUATRE. L’occasion pour cet explorateur urbain de présenter au public parisien une vue d’ensemble de son travail, mais aussi d’aller une nouvelle fois à la rencontre d’une ville et de ses habitants.
vernissage public samedi 19 mai à partir de 14h
The summer’s great art exhibition at the Kunstmuseet Brundlund Slot is also known as Papfar, with contemporary artist Søren Behncke (born 1967). The southern Jutland artist shows from June 2 and November 4 retrospective exhibition with works from his earliest career until now. In 2002, Søren Behncke (born 1967) took a drastic decision: he saved money, closed his company and began his work as an artist. He wanted to experiment, play and unfold his artistic visions.
It all started with a practical premise: the materials did not cost anything, so the savings saved longer. Then Behncke found cardboard in containers, plastic bags at his friends and crayons in her daughter’s room. It became an artistic piece, where the materials used to function as legpiles and help. A cardboard hole or color can inspire a painting, the many presses on the cardboard boxes become part of the motif or the symbols become the decoration of the new Golden Horn.
The artist is driven by the desire to experiment and challenge: What happens if you build a truck solely of cardboard or if you put together a lot of yellow cases? And how could a couple of cardboarders make a rainy day? We put our world at the head and we have an opportunity to think about consumption, gender roles, art history or just the color yellow. Also notice the titles of the works. Here the humour and the duality also sparkle.
Søren Behncke has been inspired by a number of cultural figures and artists during his career. One of them was Franciska Clausen (1899-1986) and therefore Behncke has created a series of new works dedicated to and inspired by her art.
The art museum, Brundlund Castle, houses the country’s largest collection of Clausen’s art. Here Behncke has been in folders and magazines, to find a number of works that serve as a substitute for his own works. In addition, the museum has found some drawings and paintings, derived fromFranciska Clausen’s time with the French Cubist painter Fernand Léger (1881-1955) in his art school Académie Moderne. It is this time in Clausen’s career, which Behncke is particularly inspired by and has created a number of new works for the exhibition.
ANDREW SCHOULTZ – BEAST OF BURDEN
Growing up in Milwaukee, Wisconsin,was part of a hard-working middle-class, who always felt the full force of political changes in the United States of America. His move to San Francisco within the 90’s was a game-changer for the artist, as he could break free of the conservative confinements of his home town and dip into the uprising graffiti and skateboard scene of the Bay Area. Schoultz was already interested in both subcultures before and after his arrival he quickly established himself as a professional skateboarder and built up a reputation as a serious graffiti writer. He spent 17 years in this vibrant city, before he moved to Los Angeles four years ago, and his works are still omnipresent, especially his murals on San Francisco’s streets. These days, Andrew Schoultz is more known as an internationally renowned artist, working with fine art galleries, art museums and institutions all over the world. During the last 20 years, his artworks broke out of the street art and graffiti scene and into the contemporary art-market, never losing touch to his unchanged purpose of doing art – creating a political commentary.
Schoultz has a pictorial approach to social and political commentary and represents a comprehensive, historical position with his densely-layered paintings, exploring patterns in history related to war, natural disasters and globalization. Inspired by underground comics, graffiti, German map-making, the archaic illustrations of the Nuremberg Chronicle of 1492, and Persian Miniatures to name a few, the artist’s work is profoundly chaotic both visually and thematically. Schoultz’s work lacks overt references to singular historical events, but rather explores a collective unrest, pulling from disparate global affairs and histories such as the wars in Iraq and Afghanistan, the 2016 U.S Election, the rise of China as an economic giant, natural disasters, the pangs of the recession in the United States, to the fall of the Persian and Roman Empires. This broad range of historical references in the artist’s work speaks not only of Schoultz’s conglomerated themes and influences, but also points to the artist’s interest in the cyclical nature of history, as illustrated through his juxtaposition of primitive and modern symbolism.
Beast Of Burden will represent new works on canvases and paper, plus an in situ installation of Andrew Schoultz.
The exhibition starts on the 9th of June 2018 at 6pm in presence of the artist and runs through the 4th of August 2018.
For more information or requests please write us on firstname.lastname@example.org or call +49 202 2651416.