Perrotin Paris is proud to present “Chasing Rainbows,” Josh Sperling’s rst exhibition with the gallery. The exhibition brings together a number of new works by the New York-based artist: composites—or shaped canvases and plywood panels—a series of monochrome canvas reliefs, and a large-scale installation.
These four works sum up the mood I’ve been in for the past few months. I've been reminiscing about my family when I was growing up, the trips we made cross-country skiing on glowing slopes in the Norwegian pitch-black winter, I remember we were thirsty with no water in the mountains and being told: 'if you are thirsty, drink your spit' but in a loving way. Then camping in moist green plastic tents in the forest in summer and trips abroad - five kids melted onto brown vinyl seats in a mustard yellow Volkswagen mini bus on the motorways from Oslo town to Venice, Italy and discovering on arrival this small shop filled with Murano glass objects, its trippy vases burning themselves into my child-brain, now literally burned by my heaters onto my canvas or linen, making surely sure I won't forget. My sister and I bought a small glass object each; colourful glass candy and a fish, proper tourists.
THE COURT, the newly created concept space in Pescara, has the pleasure to present the first exhibition project Voyage au bout de la nuit curated by Maurizio Vicerè - Vice and with the participation of the artists Cosimo Casoni, Andrea Martinucci and Marco Strappato. The exhibition will take place in the new Law Firm Di Pietro - Lucchi in Piazza della Rinascita, 24 Pescara.
A few centuries ago, art and science were not such different and separate fields, as we know them today. They had many points of correlations and coexistence. As practitioners in the art field we are aware of the color studies in art history, but color dictionaries were also developed in the field of natural studies as a means of describing and communicating the examination of nature.
Supplement is pleased to present the first solo exhibition in London by Dominic Samsworth. Samsworth works across painting, sculpture and installation. His past exhibitions have challenged and critiqued the gallery as a ‘leisure environment’, exploring the idea of the gallery as a symptom of the extravagances and excess of consumer lifestyle. For the exhibition Samsworth has created an installation that spreads across the entirety of the floor accompanied by two large wall works.
Tomorrow is Obsolete. By putting tomorrow in the past tense, the show that gathers artists Joachim Coucke and Nicolas Pelzer tells us about a world where digital technology, Internet and social networks are not a projected and fantasized image anymore, but a physical envelope. Between abandoned vestiges and morphology of data, both their works try to restore a physicality to the immaterial.
The Browsing Chamber explores the relation between process-based artists and the contemporary image culture. Five young international talents will exhibit works in a salon-style exhibition that will cover the entire surface of the backspace of the gallery, from floor to ceiling. All participating artists make process-based abstract works, which relate to painting in a systematic manner. These young artists are inspired by their largely digital surroundings and the way images are indexed on the Internet. The neatly organized grids of images provided by search engines have become a point of first contact for people interested in the work of an artist. This exhibition strategy can be viewed as a three-dimensional interpretation of a google image search. Entering the backspace should speak of human scale and our interaction with artworks grounded in their materials.
Sprüth Magers presents FOREVER, a new site-specific work by Barbara Kruger. For this installation, which occupies all four walls and the floor of the Berlin gallery’s main exhibition space, the artist has created one of her immersive room-wraps and several new vinyl works. Their boldly designed textual statements on the nature of truth, power, belief and doubt embody the distinctive visual language that Kruger has developed over the course of her forty-year career. This exhibition at Sprüth Magers, Berlin, marks exactly three decades since her first solo show at Monika Sprüth Gallery in Cologne.
The new Sustainable Development Goals (SGD) acknowledge the value of public space in creating sustainable cities. By looking at existing methodologies and considering additional indicators on accessibility, cities may find an effective path for meeting their goals. Successful town planning incorporates public areas to provide critical space for residents to breath and maintain an active life.
(Source: The City Fix™, produced by World Resources Institute Ross Center)
Spanning the entirety of the museum’s newly designed second floor, good evening beautiful blue by Ugo Rondinone is part of a major multi-institution retrospective comprising works that span three decades of the artist’s practice, from the late 1990s to the present. From poetic installations in public spaces to life-size drawings, Rondinone’s work balances on the edge of euphoria and detachment.
Nicolás Lamas’ practice mainly includes found objects, installations and sculptures that focus on the transitory and hybrid nature of reality. For his first solo exhibition in Amsterdam he presents a dismantled production site interconnected with a series of objects that seem not to belong here. Using cognitive tensions between consumed and wasted energy, the show reflects on the transitory condition of matter as embedded in a system of ephemeral and divergent relations.
Gray outlines of dancing shadows become hazy through the fogged windows, and the glares of the night start to melt into one another.
It’s time to close your eyelids, yield to the fattery of a welcoming sleep and let dreams bump into your drowsy, kissable smile.
While the bothersome buzz of the waking city greets a new day, echoing around you.
Noises down the road move into a whisper that the wind takes away, repeating the same strange words like the echo of a menacing litany.
Sebastian Burger’s point-of-view is metaphorically constituted by the frame, understood as a closed system which includes everything present in images and their signs, in the postures and gestures – visible and invisible – which are at the same time formed and unformed according to geometric schemas, relationships of light and shadow, chromatic variations and sharp outlines, ‘deframing’ and archetypes of a certain kind of cinema derived from the painterly
Adrien Missika’s Demain, Stabilisation presents a body of work that draws on the artist’s continuous reflections on ecology, metabolism and our relationship with the environment. The exhibition includes a series of sculptural works that operate as narrative structures, combining diverse artistic strategies that explore humour within conceptual art perimeters, the subtlety of existential poetics through diagrammatic sculptures of light and a performative revision of archival practices as an open form. The very promise of the title, Demain, Stabilisation (tomorrow, stabilisation), announces a state of deferred accomplishment, implicating the present as an entropic zone where homeostasis is possible, yet always postponed, evoking the denialist responses to the current climate crisis.
Across several new bodies of work, Gomez masterfully deploys trompe l’oeil painting techniques in a loose exploration of contemporary American subjectivity. The exhibition opens with a six second video loop from the 1941 Disney film Dumbo. An enraged captive gorilla shakes the bars of its cage and finds in shock that the bars of its prison are loose. Rather than freeing itself, it restores its cage in order to carry on its angry protest. The short looping video sets a tone of eternal return, prefacing several repetitions and recurrences throughout the exhibition.
Inspired on Le città invisibili (Invisible cities), a novel written by Italo Calvino and published in 1972, the aim of this project is to repopulate the center of the old city, giving back to the ancient places in Turin, a certain intimacy by installing a show where artworks can be presented by galleries. Arranged within a warm atmosphere, the purpose of the project is to get rid of the sterile white cubes, which characterize the ordinary galleries, museums and art fairs, offering a more intimate relationship with the venue, simulating, therefore, collectors’ private apartments.
Hijacking tropes of femininity prevalent in consumer culture, Anna Uddenberg’s sculptures exaggerate expectations of fitness, flexibility and sexuality to the degree that the absurdity of collective fantasies and the unfeasible demands they place on the body become apparent. Uddenberg’s subjects, contorted into improbable poses, seem to bend under pressure to conform to hyper-gendered, heavily reinforced representations of female identity.
In Thomason’s work, paint and marble dust are hand-mixed into a clay-like material and carefully applied to linen surfaces. Layered in sequence with surgical precision, a mottled rocky ground forms over time, revealing themselves to have more in common with something remembered from the Cave of Forgotten Dreams or a chunk of washed up rubble on the beach.
Inspired by the documentation modality used to describe an art work through its details, “Assiette ou Virage et Dérapage” is a project anchored to the idea that the Minor Circumstance of such images often exhibits the most material and fulfilling aspect of the object, letting visual pleasure have the best on the imaginary / imaginative concept of the artwork.
For his fifth exhibition at the gallery and second on Broome Street, Connors has altered the gallery floor plan into four equal but open quarters. The paintings are held in specific groups while at the same time these added walls create overlapping perspectives and the possibility for non linear encounters.