Joana Vasconcelos, who was born in Paris in 1971, is a Portuguese artist living and working in Lisbon. She has exhibited regularly since the mid-1990s, gaining international recognition for her work specially after participating in the 51st International Art Exhibition – la Biennale di Venezia in 2005.
Johannes Vogt Gallery is pleased to present “Behind The Scenes,” the first solo exhibition by Brussels-based artist Benoit Platéus at the gallery. The exhibition features new paintings from Platéus’s Behind the Scenes series, atmospheric canvases fashioned from old movie posters. In the works exhibited, Platéus uses painting not to represent but to blur an image—to emphasize as much as to obscure.
Mariana Caló and Francisco started their collaboration in 2010 with the project Gradations of Time over a Plane, an ongoing series on non-linear chapters, in which the duo has been developing a reflection on the notion of Time and its relation to human subjectivity. The practice of Caló and Queimadela has explored several media and disciplines, namely moving image, both film and video, drawing and painting.
Artissima is enriched by a new section, a new prize, and a structure that brings relevance to experimental and emerging art. The 2016's edition comprises seven sections, three of which are each selected by a board of international curators and museum directors. Dialogue, one of the new sections, presents booths featuring a maximum of three artists in a coherent and curated project.
We spoke with art dealers Kim Savage from FOLD Gallery in London and Antoine Levi from the eponymous gallery in Paris to learn more about what we could expect at their booth in this section, how did they feel about this format and also about topics such as the role of the art fair and its future formats.
The first UK solo exhibition by Donna Huanca at the Zabludowicz Collection is also the first performance-led commission in the space, with daily performances from painted models activating a series of new site-responsive architectural and sculptural installations in the 19th century former Methodist chapel.
The exhibition challenges the hegemony of beauty and comfort while exposing its underlying emptiness and delicate violence. Familiar spaces become alien and objects take on a life of their own as Ito unravels the role of power, mimesis, and manipulation in the artistic and industrial practices of reproducing everyday life. Act I: The Crucible’s Nest is the first in a series of narrative presentations and will be immediately followed by Act II: Carcass and the White Light at Springsteen Gallery in Baltimore this October.
Figurative painting has continued its resurgence. Its current forms feature a wide range of experimental ideas, compositions and subjects. Figuration is an old art form, yet continues to evolve and is forever reflecting on themes based around human identity. This show features a group of young, innovative figurative artists who deal with the human form and figurative canon without being overtly academic.
Lutz Braun, Timothy Davies, Isabelle Fein, Burkhard Beschow, & Anne Fellner, Cameron Irving, Tamen Perez, Clémence de La Tour du Pin, Antoine Renard, Max Ruf, Lin May Saeed, Eric Sidner, Alex Turgeon.
The practice of building refuges does not completely end with childhood: as adolescents and adults we keep claiming for an intimate space where we can be in solitude, read a book, listen to our favourite music, or just rest. At the very opposite of kids’ playful and spontaneous attitude, the construction of shelters is the expression of an urgent need for immigrants and homeless people searching for a lair in the rips of the urban fabric.
For Huanca, the body and skin are an ongoing focus and she employs them as both pure surface and material. Cosmetics function as a medium of transformation and performers are painted from head to toe. They are choreographed to move glacially, in a meditative state, through her installation environments which consist of paintings, sculptures and ephemera. The performers’ presence both activates her studio works and relate to dissimulation, fusion, and camouflage, furnishing the beginnings of a poetic narrative on the fragmentation of identity.
Aujourd’hui is happy to present an exclusive selection of pictures from Galerie Valentin’s archive, that documents not only the gallery's program throughout the last 20 years, but also the evolution of an exhibition's photographic documentation.
HEADRUSH: Bodily reaction when too little oxygen floats to the head. Often occurs when standing up too quickly, eating something very cold, getting high, or when suddenly struck by adrenaline. Common symptoms include lightheadedness, a sudden feeling of euphoria, as well as tingling vision or “stars” in ones eye sight.
Among the intellectuals who have explored eroticism, from Sappho to Benedetto Croce, by way
of the 18th Century libertines, to George Bataille’s solar visions and subsequent psychoanalytical discoveries. The crucial issue of an ever present phallocratic bias or rather, if you like, a certain degree of chauvinisme has always played a substantial role.
Renowned as an art fair of research, Artissima has proven to be a forerunner of new curatorial tendencies and a pioneer of new formats, thanks to its constant self-reinvention. The innovative, experimental and dynamic approach of the fair makes it not only one of the most anticipated international events, but also the Italian locus of excellence, where visitors can investigate and reflect upon new approaches to artistic creation and contemporary curatorship.
At a moment when public debate spotlights a global governance system that seems to ignore the needs of many of its participants, starkly contrasting visions for alternative political systems are emerging. What would a world look like where the collusion of an elite few would be rendered technically impossible? Can a truly inclusive global future exist?
The process in which Ricardo Morales-Hernández formulates his canvases is both intuitive and rigorous. The attention shown to a somewhat harsh array of materials melds readily with his fluid and lyrical strokes. The presented series of works float ambiguously through abstraction between a figure and landscape. The resulting images are emotionally jarring, but beautiful at once.
Every artist is linked to a mistake with which he has a particular intimacy. All art draws its origin from an exceptional fault, each work is the implementation of this original fault, from which comes a risky plenitude and new light.