This is an exhibition of new works by Swiss artist Gina Folly, marking her second solo show at the gallery, in the new space of Ermes-Ermes in Vienna. Folly’s practice has focused on a multitude of cultural and social phenomena. Society, plants, animals, as well as everyday objects and situations play a vital role in her work.
Pilkington’s work explores abstraction through figuration, investigating the role of the motif and the relationship it holds to drawing in contemporary abstract painting. Seductive explorations of colour are informed by clarity and confidence through painterly application. The artworks created for this exhibition offer propositions through simplification and rejection.
Maureen Paley is pleased to announce a new exhibition at the gallery that brings together the work of Gardar Eide Einarsson and Oscar Tuazon. The artists have been friends and collaborators for many years having met on the Whitney Program in 2001. Their shared interest in the re-appropriation, assemblage and abstraction of political imagery and information has brought their work together through various projects and exhibitions. This will be Gardar Eide Einarsson’s third exhibition at the gallery and the first time that Oscar Tuazon’s work will be shown at Maureen Paley.
For his first solo exhibition at the gallery, Gundam Air will present a new series of works which reflects the artists current / future investigation with issues concerning authenticity and the personal space vs. the collective taste.
Stefan Brüggemann’s oeuvre is characterised by an ironic conflation of Conceptualism, Minimalism and a post-Pop aesthetic. Hauser & Wirth Zürich is delighted to present the artist’s first solo exhibition in Zurich, showcasing new and recent painting and sculpture. In ‘TAKE, PUT AND ABANDON’ Brüggemann’s masterful wordplay and conceptual rigour coalesce to create a bold and pertinent body of work focusing on themes of appropriation and displacement. The philosophy of language is an important tenet in Brüggemann’s practice, in which text functions as a fluid medium, utilised for both form and meaning; his choice of words typically provocative, acerbic and topical.
If that was his name, Victor, whether it was a male or female, kid or centenarian, whether he was a kind of god, or simply a human, forgotten and hunchbacked because of time, as the rest of us, nobody knew.
Victor, as it is said, is the Mover-of-things (Naset-Koast’t), the Harvester (Bijrigiri), the magic Child (Xilumium pronj’t), the Old Man who gently knocks (Zan’jèe), the Little Girl who makes the clouds come and go (Bul’kerat).
The entire concept of the show is originated by an analysis on the subject of the Forest that, apart from being a natural asset, represents a cultural heritage: the history of western thinking seems to be deeply rooted in the Forest. The act of going “into the woods” runs through the modern philosophical speculation, from Thoreau’s Walden pond and Heidegger’s hut in the Black Forest Mountains, until its more generic idea of a spiritual retreat; it acts as a metaphor of a travel towards a more profound self-knowledge, towards wisdom and a more human-oriented, essential way of feeling.
There is the Beginning and there is the End, and then there is Death. He keeps on coming back in “The Seventh Seal” - ever since that rst scene – arriving on the beach and stating the obvious: “I am Death”. All pale features. All black out t. Leaving little for imagination. Leaving little sense of hope: “Nothing escapes me. No one escapes me.” Leaving you with few other options but to drag your feet, drag out time and drag out the next move in this chess game that you presumed was the best way of buying time
Jesse Darling is an artist based in London and Berlin. In an ongoing project to denaturalize the theological ecosystem of capitalist modernity as “an arbitrary, violent fairytale,” JD’s work and research considers the social, physical and narrative body as a site where architectural, [bio]political and social structures manifest and become transformed. Jesse Darling works in sculpture, installation, text, sound and ‘dasein by design’. Their work has been published and exhibited internationally.
Trenches have a so called ‘stand-up time’. This is the time from when a trench is dug, until the trench walls start to cave in. Stand-up time can vary from minutes to months, depending. Trench boxes, or manhole boxes, are used to protect people who work inside trenches.
Flashing lights. When silence becomes unbearable because it enhances the sound sensation, I woke up, not without difficulties, in these open valleys with a free airflow which are sufficiently sheltered from strong west and north winds.
Blinded by a dazzling sun, I carry my hands near to my eyes, then close them to darken this bright light. I open them again. The ground, strewn with blue gentians which descend several meters is breathtaking. ‘- Is it real?’ I try, with some delicacy, to pick one of them to smell the exquisite elixir of its perfume.
647(a) by American artist Dean Sameshima, featuring a new series of “documentary paintings” based off of the artist’s media archive, and a continued investigation of queer desires and nostalgia through the method of documentary.
In those days of summer which reached forty degrees and higher, the white cats seemed to be particularly prolific. These scorched ghosts lurked among the streets and I couldn’t but help envision each one as a sort of pure white grim reaper, ready to pounce at any moment.
An urge to visualise and scrutinise an imagined future has been tied with humans for centuries, may it be through the witchcraft of the crystal ball or on the contrary, through the somewhat more realistic assumptions of speculative fiction, the roots of which are in this case, grounded within an adequate knowledge of the real world. Looking back into the late nineteenth and the following twentieth century, where the multiplicity of imagined futures developed together with concepts of a speeding modernity, we are faced with an arena where the probable became gradually possible and the gap between the imagined and the lived, shifted from a diminishing distance to a greater proximity.
A painter and printmaker, Teague lives and works in Copenhagen, Düsseldorf and London. He received his BFA from the Duncan of Jordanstone College of Art, Dundee, rounding out his education with a residency at the Lepsien Art Foundation in Düsseldorf (2016–2017). He discovered his vocation as a painter in 2008, when he visited the Cy Twombly retrospective at Tate Modern, London. Since then he has followed the paths charted by Agnes Martin in minimalist abstraction, the brand of expressionism and informal art practised by artists like Joan Mitchell, Raoul De Keyser, David Ostrowski and Óscar Murillo, and the post-conceptualism of Christopher Wool.
This exhibition consists of five tableaus made of pressed wool, dyed with natural materials and cut with pressurized water. The images inscribed and materials used were chosen to reflect a few of the ways that women work. Some of these images may look familiar to you: a rendering of Courbet's The Grain Sifters and The Sleeping Spinner, while some of these scenes may feel familiar to you: women trading in influence, selection, assistance and care by communicating, designing, aiding, sifting, listening, responding, crafting and up-scaling.
Giorgio Galotti gallery, on the occasion of the opening of the new space, is thrilled to present the first solo show by Piotr Skiba. The exhibition presents two works in a deep dialogue between them and realised specifically for the new location; one, environment related and the other of reduced size. The intervention aims to match two basic elements of Piotr’s approach: on one hand the brightness of the materials involved, on the other hand the artisan process that confers a rather primitive aura around which his research process is developed.