Sebastian Burger’s point-of-view is metaphorically constituted by the frame, understood as a closed system which includes everything present in images and their signs, in the postures and gestures – visible and invisible – which are at the same time formed and unformed according to geometric schemas, relationships of light and shadow, chromatic variations and sharp outlines, ‘deframing’ and archetypes of a certain kind of cinema derived from the painterly
Adrien Missika’s Demain, Stabilisation presents a body of work that draws on the artist’s continuous reflections on ecology, metabolism and our relationship with the environment. The exhibition includes a series of sculptural works that operate as narrative structures, combining diverse artistic strategies that explore humour within conceptual art perimeters, the subtlety of existential poetics through diagrammatic sculptures of light and a performative revision of archival practices as an open form. The very promise of the title, Demain, Stabilisation (tomorrow, stabilisation), announces a state of deferred accomplishment, implicating the present as an entropic zone where homeostasis is possible, yet always postponed, evoking the denialist responses to the current climate crisis.
Across several new bodies of work, Gomez masterfully deploys trompe l’oeil painting techniques in a loose exploration of contemporary American subjectivity. The exhibition opens with a six second video loop from the 1941 Disney film Dumbo. An enraged captive gorilla shakes the bars of its cage and finds in shock that the bars of its prison are loose. Rather than freeing itself, it restores its cage in order to carry on its angry protest. The short looping video sets a tone of eternal return, prefacing several repetitions and recurrences throughout the exhibition.
Inspired on Le città invisibili (Invisible cities), a novel written by Italo Calvino and published in 1972, the aim of this project is to repopulate the center of the old city, giving back to the ancient places in Turin, a certain intimacy by installing a show where artworks can be presented by galleries. Arranged within a warm atmosphere, the purpose of the project is to get rid of the sterile white cubes, which characterize the ordinary galleries, museums and art fairs, offering a more intimate relationship with the venue, simulating, therefore, collectors’ private apartments.
Hijacking tropes of femininity prevalent in consumer culture, Anna Uddenberg’s sculptures exaggerate expectations of fitness, flexibility and sexuality to the degree that the absurdity of collective fantasies and the unfeasible demands they place on the body become apparent. Uddenberg’s subjects, contorted into improbable poses, seem to bend under pressure to conform to hyper-gendered, heavily reinforced representations of female identity.
In Thomason’s work, paint and marble dust are hand-mixed into a clay-like material and carefully applied to linen surfaces. Layered in sequence with surgical precision, a mottled rocky ground forms over time, revealing themselves to have more in common with something remembered from the Cave of Forgotten Dreams or a chunk of washed up rubble on the beach.
Inspired by the documentation modality used to describe an art work through its details, “Assiette ou Virage et Dérapage” is a project anchored to the idea that the Minor Circumstance of such images often exhibits the most material and fulfilling aspect of the object, letting visual pleasure have the best on the imaginary / imaginative concept of the artwork.
For his fifth exhibition at the gallery and second on Broome Street, Connors has altered the gallery floor plan into four equal but open quarters. The paintings are held in specific groups while at the same time these added walls create overlapping perspectives and the possibility for non linear encounters.
David Kordansky Gallery is pleased to announce Interiors and Landscapes, an exhibition of new work by Jonas Wood. The show, which will take place across all three of the gallery’s exhibition spaces, will open on November 3 and remain on view through December 16, 2017. An opening reception will be held on Friday, November 3 from 6:00pm until 8:00pm. The 13 paintings on view, large-scale canvases dedicated to interior and landscape scenes, provide evidence of significant advances in Wood’s technical approach to composition and color. They also showcase his unique ability to communicate emotional depth, humor, and an immersive sense of place. This exhibition solidifies Wood’s position as one of the most important Los Angeles-based painters working today, and as a key inheritor of several lineages of American figurative painting.
I am the body of a human is a self-referential declaration spoken from the voice both of a cyborg and a caveman: the condensed self-awareness of an existentialist being, a self-aware physical device, and a biological entity, all at once. Andrew Birk presents a series of Life Shrouds, an exercise of dirt-on-denim pieces made with the imprint of his own body. Coming from a trajectory of painting, exploring materials in relation to their common use, Birk turns to the most primordial tool, subject and material - the body and what it is surrounded by, what it is made of. A body that is neither a medium, like a brush operating between the gesture and the image, nor a portrait of a subject. These paintings are multiple indexes of one same reference, a physicality in movement: each the unpredictable product of an alive, perfect machine.
The artist’s body of work is deeply engaged with the history of Pop, underscoring the evolving relationship between art and commerce as well as articulating the parallels between graffiti’s custom of tagging and the same repetitive, identity-driven practise of the corporate logo. By appropriating these logos as his artistic tag, Passaporte disrupts the relationship between brand and consumer.
MONITOR Lisbon has the pleasure to announce its next exhibition, The Lobster Loop featuring works by Tomaso de Luca, André Romão and Andreia Santana, opening on 29th September, until 18th November 2017. The exhibition will debut new works by the three artists. The invitation was proposed due to the common ground of the three artists, which often deal with sculptural practices that come from an investigation through human aspects and sciences, reflecting on economical, cultural and political systems in a contemporary context.
Artissima is Italy’s most important contemporary art fair. Since its establishment in 1994, it has combined the presence of an international market with a focus on experimentation and research. Nearly two hundred galleries from around the world participate every year. In addition to the fair, Artissima is also composed of three art sections, headed by a board of international curators and museum directors, devoted to emerging artists, drawings and rediscovering the great pioneers of contemporary art. Aujourd'hui spoke with its new director Ilaria Bonacossa to know more about this year's edition.
Teresa Braula Reis draws attention to the often overlooked affinity between construction and destruction. Her work envisages the building not simply as a site of stability, but of mutability. The notion of temporality, and with that obsolescence, assume significance in her careful considerations of the structures she inhabits. In her first solo show White Helmet, Braula Reis presents installation, sculpture, video, and image transference prints that delve into different aspects of decay, precarity, and shaky ground as related to the built environment. With these themes in mind, she reveals the slippage, similarity, and overlap between these realms.
Holly Coulis is a painter living in Athens, Georgia and recently had a solo exhibition of new work titled Table Studies at the Klaus Von Nichtssagend Gallery in New York. Coulis has been known for radiant, patterned and delicately worked surfaces comprising bodies and objects in landscapes or tablescapes. Her more recent work has been skirting away from defined figuration into paired down yet scintillating objects on tables. Her current paintings illuminate the secret life of objects, reveal prismatic auras and defy easy explanations of pictorial space.
- Timothy Hull
These days in middling drift. Science awash with irrepressible fantasy. I was both the first and third person. Futures crossing between platforms, swarming junctions, technologies are natural forces.
The fountain of youth is a concept for later, we’ll get to that. For now the hope exists, chrysalis in the innocence of 21, sweet clippings of arms swung at parties, to swimming pools drunk and bed past dawn. Lives lived and years frittered. Disappearance our forever headline. Steps slippery, all those ringing announcements for the older ages. Bodies crash and rot - there and gone. To silicates, to sands, to dusts. Past lives. The dessert left is the ageless swirling of new beginnings, fractions to stack, old lives to relive, new bodies to run with.
This time, it was a speech bubble. With each new set of her "NEWZ!" paintings, I like to study the one or few new forms that emerge have always been there. She found a speech bubble revealed its absence by carving the shape of doorway from that of a bone.
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.