Strategies of mapping, whether they be environmental, physical or architectural, define the artistic profile of John Wallbank, who simultaneously intersects the lines between drawing and sculpture through an ecology of material becoming. The graphic trait, elaborated through the digital, as seen in the artist’s book Drawing, 2013, is analogous to the function of his sculptures, exploring the distance between the raw material given by nature and the artist’s approach to the surroundings. By confronting the chaos of heterogeneous accumulations, the mimetic approach of John Wallbank consists of processing material until reaching the very essence of its elements (glass fibre, resin, cotton fabric), similar to a carving depth. Sculpture is conceived of as a process of sublation between voids and masses, the positive and the negative of material morphologies. By excavating these polarities, the artist prototypes sculptural models via spatial extensions, sequences and scales.
Disegni is the new section of Artissima devoted to the expressive medium of drawing. The section is intended to celebrate an artistic discipline capable of expressing the immediacy of and the thinking behind the creative gesture, existing in a space suspended between idea and finished work. We sat down with the curatorial duo João Mourão and Luís Silva to know more about it.
At its best the gallery is an imaginarium, a place in which ideas can be fostered, modelled and tested. In this current juncture it feels art can cross its parameter line with more ease than before; accidentally or with intent finding itself in radically different contexts, being used in radically new ways. It’s this capacity to cross lines, to bleed that is most interesting to me at the moment, it’s a point in which a work risks collapse, losing a certain vital plane of ambiguity in exchange for becoming real in someone else’s hands.
The exhibition is the picture of a mental garden in which enthusiasm and admiration are the engine that moves the relationship between nature and man, according to very ancient rules. Friendship, as a cosmic force necessary to life, positive or negative, drives in harmony all the elements in this place.
In his work Naufus Ramírez-Figueroa seeks to confront historical narratives with personal memories. His relationship with the past, especially that of Latin America, is a tangle of History to which Ramirez-Figueroa accesses through his own biography. In his projects, which take the form of performances and installations, he uses the languages of folklore, science fiction and theater to reshape these events and their protagonists through his personal experiences.
Emily Mae Smith is versed in various strategies of representation. She pulls from disparate sources to create paintings that reflect the complexity of our time and personhood. She has been particularly interested in a wide range of neo-classical and symbolist works—commonly known as the twisted end of academic painting—in part because these compositions delve deeply into the abyss of the subconscious.
Aujourd'hui is proud to announce its partnership with Artissima, Italy’s leading contemporary art fair, will return to the Olympic Oval pavilion in Turin from November 3 to 5, 2017, for the first time under the guidance of Ilaria Bonacossa.
Not to create any doubtful theories around the following exhibition I wish to state that interpreter's booth I’m referring to in the title is a banal square construction build with a clear purpose to host translators during conferences or any other events that demands simultaneous translation.
The entire project arises from the will to use architectural laws as a medium to be in touch with the memory, starting from Aldo Rossi's thinking who observed the private person's condition as the only one useful to create buildings. The series presented in the exhibition is therefore based on a dialogue with the Rossi’s monument to Sandro Pertini (Milan 1988-1990). The work is considered both a theater and a meeting place, consisting of a large staircase ending with a square very similar to a theater stage. The fact that this stage is behind the "public" sitting, makes it a space where thoughts are conveyed, a mystical and almost unreal place where, what has been thought and what has been remembered, they recite together. The architectural work consists of the reiteration of a form, a code, an element that emphasizes the theatrical component. Through these features, Rossi's architectural ideas are clearly manifested, making this construction the starting point for recomposing memory through exercise and repetition.
Evoking feelings of summer, sun and nostalgia, Baltes invites us into a world where everything feels intensified. Summer is a season that plays by its own set of rules—it is exotic, it is energising and it is something we think and fantasise about year-round. Summer has the potential to answer all of our problems or, at the very least, to provide us with a kind of temporary escape. This possible escape, however, gives way to a kind of urgency. Summer comes with an end date, thus each of its days is contextualised by a need to maximise them to the fullest. In this sense it becomes a state of mind, balancing a desire to do everything with a need to do everything.
You can argue how migration stimulates the economy, or try to explain how structural racism happens anywhere. You can debate the validity of the nation state, and claim that identity is constructed like a flag on the moon. You might call for radical change, but that doesn’t change how people feel about these topics. How they feel depends on who they are, where they are, and how they’re able to relate their particular past. Our memories leave marks, and as the body remembers things it establishes habits. Even though everyone’s body and past are unique, many share a comparable experience.
The Blueproject Foundation presents "Bei mir geht es in den Keller hoch", the first personal exhibition of the artist David Ostrowski in Spain that can be seen in the Sala Project from July 14th to October 1st, 2017. The exhibition allows the visitors to discover the pictorial work of the artist, presenting a selection of paintings, as well as a large installation that will occupy the center of the Sala Project.
Ocaso is the last individual show of Nicolas Lama, Peruvian artist who lives in Belgium. For this new project, Lamas uses a series of meetings and unstable relationships between elements from different contexts, which interact within a space of a gallery under a not established parameters. Ocaso proposes an ontological review to our present under a dark and quiet perspective, where light seems to be diluted behind a horizon which is about to disappear.
For Wolfgang Voegele, the figuration dissolves in the composition; for him it is about getting to a state in the paintings, where he can paint without thinking. Voegele works with form in an area between abstraction and figuration, using similar forms in an unpredictable pattern. The artist compares his practice to the automatism of Robert Motherwell, an American painter who formed part of the New York School of abstract expressionism. He elaborates: "There is always a sense of figuration in the paintings, and it is never completely abstract. The forms are always, in some way, figurative by themselves. But together with the other forms in the picture, they dissolve in the composition."
Exhibiting artists: Ricardo Passaporte, Pedro Matos, Martin Lukac, Jenny Brosinski, Giuseppe De Mattia, Francesca Longhini, Grant Wells, Joshua Evan, Asger Dybvad Larsen, Søren Sejr, Gijs van Lith, Jonas Lund, Peter Mohall, Tove Storch, Andrew Birk, Steven Cox, David Stjernholm, Jon Pilkington, Matthew David Smith, Ted Gahl, James Krone, E.B. Itso, Wolfgang Voegele, Lea Guldditte Hestelund, Ethan Cook, Sophia Pompéry, Angelo Volpe, Magnus Thierfelder, Lorenzo De Angelis, David Rosado, Andreas Albrectsen, Rieko Hotta, Lazar Lyutakov, Jan S. Hansen, Adam Jeppesen, Morten Barker, Ismar Cirkinagic, Anders Bülow, Habib Farajabadi, Ryan Nord Kitchen, Francois Patoue, Cody Tumblin, John Knuth, Manuel Forte, Morten Knudsen, Charles Munka, Alexander Tillegreen, Antonio Della Corte & Alessandro Moroder.
Immersed in leisure while automated bodies scurry around carrying out our daily routines and work, we devote ourselves to spiritual and cultural augmentation, cultivation of our creativity and fitness. Everyone is familiar with such kind of phantasy of automation. It is, of course, accessible to only part of the future post-working class.
The Madre museum in Naples presents the first solo show in a public Italian institution devoted to Wade Guyton (Hammond, Indiana, 1972), one of the leading American and international artists of the latest generation. Since the early 2000s, Guyton’s works have explored the state and impact of the production and circulation of digital images, depicting the potential forms they take on as well as delineating the specific sensibilities and original languages they assume in the way they are globally shared. By updating the expressive and cognitive canons that can be traced back to the practices both of Pop and Conceptual Art during the second half of the twentieth century, Guyton employs a seemingly simple procedure in his artistic practice. Using ink jet printers, the artist applies a series of recurrent images, signs or motifs previously processed by programs such as Photoshop or Word to canvas or other materials. A dynamic relationship is created between unexpected superimpositions, mechanical errors and discrepancies during the printing phase, which is implied by the use of these tools and which the artist takes to the limits, challenging their specific functions. This enables Guyton to reveal the contingency of digital technology and to reveal its working codes. The conflicts of digital expression are made visible, leading us to reflect on the conditional nature of its visualisation created through the analog tools of the visual arts.
Organized by Ryan Wallace, Brass Tacks brings together artists who glean highly specific material spoils from the outside world to fuel and map their work environments. Drawing from piles of photograms, stacks of paper, shards of Perspex, spools of Targhee fibers, documentation of light reflections, measurements of body mass, and hoards of wooden furniture, all manner of actions are employed in forging the works in the show.
The ambiguous relationship between appropriation, authorship and ready-made object and the equally delicate one between language, personal narrative and collective history: these are the themes that Claire Fontaine, Fabian Herkenhoener, Martin Soto Climent and Tris Vonna-Michell will examine in the exhibition ’t twoninethree in-residence at Luciana Brito Galeria’.