The exhibition will present a new body of works, which builds on Reith’s previous series of collages, wood works and drawings. Juxtaposed with bold shapes the artists’ recurring themes such as architectural spaces, landscapes and artifacts are distilled down to their most essential elements. The minimalist images evoke a sense of ceaselessness fuelled by Reith’s search to find a balance between impending loss and the lightness of being.
Smile! You Are in Spain is the slogan of a well-known, five year-long advertising campaign launched in 2004 to promote tourism in Spain. It captioned photographs of young people enjoying Spain, surrounded by sunny landscapes, at unspoiled beaches or in front of iconic monuments, immersed in an inviting atmosphere suitable for culture, leisure and sports. The purpose was to convey an image of Spain as the ultimate tourist destination, an earthly paradise and the land of sun and fiesta. Such conservative campaigning, which put an emphasis on a slow-paced and pleasant lifestyle, succeeded in capturing the stereotypes and clichés traditionally associated with the country, nurturing this appealing, peculiar image of Spanish vitality and cheerfulness in the minds of potential tourists. Throughout the years of the campaign and following more than a decade of sustained economic growth, Spain was badly affected by the global financial crisis of 2008; while promoting such an ideally positive take of Spain under Juan Miró’s sunny emblem, the country was inwardly succumbing to a profound and severe economic downturn.
Sarah & Charles’ (1981 & 1979) work is muldisciplinary: installations, sculptures and videos, alternated with soundscapes, performance and photographical work. Always enveloping a broad range of techniques, each applied according to the ideas it wants to transmit. Apart form the studio work, they’ve been commissioned artworks on public space and created several scenographic concepts for dance and theater – in their country and abroad. Their collaboration is extended in large-scale projects such as the short films they’ve produced in the past couple of years. They live and work in Brussels and their collaboration goes back as far as 2004.
For his first solo exhibition at Roman Road, Cuban artist Victor Payares, who is soon to complete an MFA at the Royal College of Art in London, has been commissioned to create a site-specific installation that expands on his new investigation of exploring ways of simulating memories through his artistic practice.
John Armleder (b. 1948, Geneva) is a singular figure in postwar art. His career spans five decades and synthesizes many of the competing aesthetic developments associated with that period. Such productive friction animates his earliest work with the Groupe Ecart in Switzerland, his many projects informed by his association with the Fluxus movement, and his interest in John Cage’s work in particular. Moreover, his groundbreaking approach to painting incorporates elements of sculpture, installation, design, performance, and radical conceptual provocation. That he has been able to operate on so many fronts at once, approaching each exhibition as an uncompromising and often unpredictable work in and of itself, has made him a seminal artist of his generation worldwide and one of the defining and most characteristic voices in Swiss art since World War II.
The title directly comes from a found object, a random sticker on a door of a comic figure sitting at a desk with piles of study books. Above the comic are the words 'Silence, Genious at work' which is a straight reference to its studying aspect. This is Laureyns and Grunewald's interpretation of the art practice itself and the myth or the romantic idea of the artist seen as a sublime or idealized human being. On the other hand it shows self-relativization of the artist practice in our current time. The sticker itself, partially torn, ripped off, is the testimony of time.
She is driving, angry. She is driving, sad. She’s been driving for hours, nowhere in particular – post-fight. Highway, industrial landscape – in transit. By now, together with fading daylight her mind is turning soggy and dropping off, out of focus. Her eyes are on the road, thoughts floating around her; some circling back, again and again.
Condo is a collaborative exhibition by 36 galleries across 15 London spaces, taking place from 14 January to 21 February 2017. This initiative, led by the young gallerist Vanessa Carlos from Carlos/Ishikawa, aims to propose an alternative model for gallerists and artists to exhibit internationally, addressing a much deeper collaboration and conversation among London galleries.
Circle becomes transition, from ID, single and defined identity, to IC, identity in circularity, where multiple identities are, in a customized line existing all, any time worthy, to swing calm back and forward. IC conjugates times and places to coordinate and modulate inner surroundings and frameworks. This reserved / ended curve declaims itself as case, symbol of cyclical time, infinte and universal.
There’s an old Italian joke that goes like this: Two friends are going to the market. It’s winter, and it’s freezing cold outside. While they walk, one says to the other: “When we were at home you couldn’t stop talking and now it’s almost half an hour that you’re silent. Is there anything that worries you? Are you sad?”, and his friend replies: “How could I talk? I don’t have my gloves and it’s too cold to pull out the hands from my pockets!”
Julião Sarmento, who was born in Lisbon in 1948, is a Portuguese artist living and working near Lisbon. He is one of Portugal’s most resounding names in the art world, from the seventies to the present day, receiving institutional and private prestige in a career full of highlights.
As the world detaches from itself - half software and half cloud - bodies experience an acceleration of their queer features and reconfigure while surfacing algorithmically through live streams and apps, compressed and loaded onto the ether.
When you drive east from the coast, Los Angeles reads like timeline. It starts with 1950s beach shacks, which turn into 1960s ranches and 1970s mansions. Moving towards the desert, one finds themselves on the shiny outskirts of an ever-expanding universe. A city diffused across an infinite horizontal plane, L.A. is best understood from those cinematic vantage points where one can observe the invisible parallels of the map encroaching further and further into natural landscape.
1 Behold ye helpless patients inside the city walls! 2 Here within the cold steel and stone the liars of the ancient school dance in divine costumes from which value has been masqueraded in for centuries. 3 Those old gents rhyme with threats, curses, criticism, mockery and create rampant wrath from East to West and North to South. 4 For the fatal fallacies of this faculty and its pallid pupils, a child hast birthed whom floats like a mist above and about these nervous structures. It gathers moss and dirt upon this arid wilderness until the metal master doth sink. What man has made, a child can destroy!
Aguilar is a self-taught painter born in Nicaragua and now living in Miami. He bases his compositions on antiquated, found photographs and transforms them into potent evocations of our current moment of political unrest and populist anger. In the seven large scale paintings comprising Bad Color Book, he uses anonymous historical images taken during the Great Depression and Weimar Germany.
Jeff Elrod is an American abstract painter who employs both digital and analog processes to create his work. Using Photoshop and other drawing programs he draws and reworks imagery that he then renders on canvas; often by hand, using acrylic paints, tape, and airbrush. He also prints his computer generated images directly onto canvas. Elrod advances an argument that is committed to the formal values of painting while inserting an unsettling psychological undertow to his imagery.
The exhibition, which includes a newly commissioned series of works in an immersive installation environment, continues the artist’s engagement with materials as a means of exploring wider conceptual dialogues surrounding structures of production within a specific geographic context.
Provocative, puzzling, and visually seductive, in his first museum survey Alex Da Corte’s neon-bright, exuberant works merge the languages of abstraction and modern design with banal, off-brand items, ranging from shampoo to soda to tchotchkes and household cleaning supplies. Acid-hued and organized with a rigorous formal logic, Da Corte’s mash-ups mine products of domestic life—which he finds on pilgrimages to supermarkets, flea markets, and dollar stores—for unexpected visual appeal as well as emotional and libidinous impact. Heir to Pop artists of the 1960s, Da Corte combines common consumer objects with popular culture, personal family narratives—and other artists’ work—in vibrant installations of sculptures, paintings, and videos. Taking over MASS MoCA’s second-floor galleries, Free Roses features a selection of works made over the last ten years, as well as a major new installation, which serves as a conceptual fulcrum for the entire show.