Gabriele and Di Pietro worked separately, without debating their decisions if not through the intermediation of the curator, in order for both to come up with an emblematic work, one that might express the main themes and characteristics of their current research. A synthesis of their poetics that would reflect and capture both the formal and conceptual approach of this particular period of their lives and friendship.
For his first solo exhibition in New York in nearly ten years, British conceptual artist Ryan Gander presents a new body of work that considers the psychology of the body and questions the possibilities and limitations of figuration. A master storyteller, Gander’s complex yet playful practice is characterised by allusion, where focal points are teasingly hidden and meaning is subtly implied. Stimulated by existential queries and investigations into what-ifs, each one of his artworks acts as a vessel to tell a new story, all collectively fitting into an overarching narrative where fictions and realities collide. Mirrors with no reflection, bodiless eyes, faceless men and a self-portrait in constant motion combine to reflect Gander’s interest in the dialectics of self-awareness and the barriers to understanding.
“In 2005, by chance I came across a list published by the Ministry of the Interior which covered ‘France’s 172 forbidden cities’. I (re)discovered that these places bear names reminiscent of bucolic landscapes : Merisiers, Rosiers, Les Buis, Epinette, Tilleul... That same year, I exhibited a « herbal » at Octave Cowbell’s gallery: I set about burning all these names for vegetation, just like squatters do in stairwells. A country stroll which is in fact dragging the spectators right into outer city hell."
Graham Wilson’s first solo exhibition at the gallery, Cauling All My Contemporaries… (To Come Burst My Bubble), is deeply personal, extended meditation on artistic autonomy. Presenting a new body of work spanning installation, video, and sound recording, Cauling All My Contemporaries expands Wilson’s ongoing investigations concerning the role of the artist in society and the particular nature of the artist’s relationship to contemporary culture—a relationship that is at once dependent and antagonistic.
Well, hello! Oh shit. Hello? So nice to meet you! Yes! There were Triscuits. There were staff people. I got into position in a heavily-upholstered chair. There was some conversation going on about how teenagers dress like prostitutes. Gee, I don’t have much to bring to the table here since I forgot to have children. So I start thinking about holes.
The exhibition brings together a selection of new works by Schroeder that further develop the artist’ aesthetic research upon painting as performative practice, as well as upon the interaction between colours and light.
"I want to write about nothing", Marguerite Duras wrote at the end of her long and eventful life. I believe, no I'm actually totally convinced, any artist with strength, ambition and a trace of genius would change out write with paint; "I want to make paintings about nothing." Taste it. It tastes bitter sweet, like a dull sunset, like wind flowing through the dying and red vegetation of the of a southern landscape of Europe at Autumn. The change of seasons are abstract, the grid concrete, but Fall will drip colors like drops of paint on a canvas. It's out of our control, like abstract paintings ideally and potentially always were, and always will be. Hopefully.
ASHES/ASHES is currently showing TRAUMA SAUNA, an exhibition by Brian Kokoska featuring Chelsea Culprit, Erik Frydenborg, and Ben Stone. The exhibition presents a new series of paintings by Brian Kokoska within an installation of sculptures by Chelsea Culprit, Erik Frydenborg, and Ben Stone.
In Throat wanders down the blade.. Basic methodically constructs Bridle, the character that embodies the tension of both the fundamental fragility of life as well as the violent force behind its suffocation.
Though Harold Ancart’s work almost always begins with the drawn mark, it takes a variety of final forms. Objects that can be viewed as paintings, sculptures, and installations have defined his exhibitions, suggesting that the role of an artist is best described as that of the wanderer: a figure borne along by his impressions and his ability to generate images, with each work pointing the way to the next. In Ancart’s case, this movement also represents an astute amalgamation of European and American art historical traditions.
Once I actually started thinking about the peculiarity of the situation – this curated exhibition is part of CODE Art Fair to legitimize the more straight- forward pro table sections, and still my works are for sale – I soon came up with the basic concept for the show: Danish artists who are NOT represented by a gallery in Denmark.
For his second solo exhibition with C L E A R I N G, Calvin Marcus has trans- formed the gallery space into a panoramic eld of grass comprised of thirty-nine new paintings. Each canvas, an enlargement of a crayon on kraft-paper study, is expressively executed in rich green oil stick over sandy brown grounds. The grasses are made with different levels of density, some so sparse that they begin to feel like body hair.
Good painting was and will always be better than its concept. I do not wish to whine about the good old days, but no contemporary painter is advised anymore to create paintings without a strong theoretical superstructure regarding his own work. This is a pity because painting – when it’s really good – is, of course, always better than its concept. Good painting can be recognized by good painting, just like you know a good painting when you see it. “A rose is a rose is a rose” also applies to “painting”.
Fredrik Værslev’s exhibition at Bergen Kunsthall is his largest solo show to date and comprises two distinct series of new paintings. One group of works will be integrated into Bergen Kunsthall’s modernist gallery spaces as a meticulously planned architectural installation of painted canvases. For the other, Værslev will collaborate with several international artists, including Matias Faldbakken, Stewart Uoo, Josh Smith and Allison Katz, on his ongoing series of “shelf-paintings.”
Darren Bader, Imre Bak, Sara Cwynar, Mathew Cerletty, Aleksandra Domanovic, Alex Da Corte, Gardar Eide Einarsson, Ida Ekblad, Mandy El-Sayegh, Matias Faldbakken, Claire Fontaine, Henning Hamilton, Yngve Holen, Alex Israel, Austin Lee, Hanna Lidén, Klara Lidén, Michael Manning, Mia Marfurt, Dóra Maurer, Oscar Murillo, Grear Patterson, Yves Scherer, Timur Si-Qin, Franciszka & Stefan Themerson, Amalia Ulman, Fredrik Vaerslev, Banks Violette
For this show, Cardoso and Estna developed two individual groups of work in parallel, exchanging occasional thoughts throughout the length of a year, since their first meeting. Estna contacted Cardoso and both agreed on producing the show currently on view at Múrias Centeno, Porto, as well as an upcoming show at Temnikova & Kasala gallery, Tallinn, Estonia (2017).
Exhibiting artists: Adriano Amaral, Hicham Berrada, Lupo Borgonovo, Cécile B. Evans, Neringa Cerniauskaite (aka Pakui Hardware), June Crespo, Diogo Evangelista, Guan Xiao, Rodrigo Hernandez, Patrick Hough, Sasha Litvintseva, Adrien Missika, Saskia Noor van Imhoff, Yuri Pattison, Mariana Silva, Iza Tarasewicz, Ana Vaz & Tristan Bera, Zoe Williams.
Aujourd'hui will be on Summer Holidays during the month of August.
We will be back online in September with new projects and updates.
Featuring twelve artists working across varied media, this show will explore the formal tool of antithesis as it is manifest in works that run the gamut from video and installation, to painting and photography. The artists included in the exhibition are: Lucas Blalock, Liz Deschenes, Jessica Dickinson, Trisha Donnelly, Apostolos Georgiou, Hilary Lloyd, Shahryar Nashat, Blake Rayne, Nora Schultz, Amy Sillman, Diane Simpson, and Michael E. Smith