Supplement is pleased to present the first solo exhibition in London by Dominic Samsworth. Samsworth works across painting, sculpture and installation. His past exhibitions have challenged and critiqued the gallery as a ‘leisure environment’, exploring the idea of the gallery as a symptom of the extravagances and excess of consumer lifestyle. For the exhibition Samsworth has created an installation that spreads across the entirety of the floor accompanied by two large wall works.
Tomorrow is Obsolete. By putting tomorrow in the past tense, the show that gathers artists Joachim Coucke and Nicolas Pelzer tells us about a world where digital technology, Internet and social networks are not a projected and fantasized image anymore, but a physical envelope. Between abandoned vestiges and morphology of data, both their works try to restore a physicality to the immaterial.
The Browsing Chamber explores the relation between process-based artists and the contemporary image culture. Five young international talents will exhibit works in a salon-style exhibition that will cover the entire surface of the backspace of the gallery, from floor to ceiling. All participating artists make process-based abstract works, which relate to painting in a systematic manner. These young artists are inspired by their largely digital surroundings and the way images are indexed on the Internet. The neatly organized grids of images provided by search engines have become a point of first contact for people interested in the work of an artist. This exhibition strategy can be viewed as a three-dimensional interpretation of a google image search. Entering the backspace should speak of human scale and our interaction with artworks grounded in their materials.
Sprüth Magers presents FOREVER, a new site-specific work by Barbara Kruger. For this installation, which occupies all four walls and the floor of the Berlin gallery’s main exhibition space, the artist has created one of her immersive room-wraps and several new vinyl works. Their boldly designed textual statements on the nature of truth, power, belief and doubt embody the distinctive visual language that Kruger has developed over the course of her forty-year career. This exhibition at Sprüth Magers, Berlin, marks exactly three decades since her first solo show at Monika Sprüth Gallery in Cologne.
The new Sustainable Development Goals (SGD) acknowledge the value of public space in creating sustainable cities. By looking at existing methodologies and considering additional indicators on accessibility, cities may find an effective path for meeting their goals. Successful town planning incorporates public areas to provide critical space for residents to breath and maintain an active life.
(Source: The City Fix™, produced by World Resources Institute Ross Center)
Spanning the entirety of the museum’s newly designed second floor, good evening beautiful blue by Ugo Rondinone is part of a major multi-institution retrospective comprising works that span three decades of the artist’s practice, from the late 1990s to the present. From poetic installations in public spaces to life-size drawings, Rondinone’s work balances on the edge of euphoria and detachment.
Nicolás Lamas’ practice mainly includes found objects, installations and sculptures that focus on the transitory and hybrid nature of reality. For his first solo exhibition in Amsterdam he presents a dismantled production site interconnected with a series of objects that seem not to belong here. Using cognitive tensions between consumed and wasted energy, the show reflects on the transitory condition of matter as embedded in a system of ephemeral and divergent relations.
Gray outlines of dancing shadows become hazy through the fogged windows, and the glares of the night start to melt into one another.
It’s time to close your eyelids, yield to the fattery of a welcoming sleep and let dreams bump into your drowsy, kissable smile.
While the bothersome buzz of the waking city greets a new day, echoing around you.
Noises down the road move into a whisper that the wind takes away, repeating the same strange words like the echo of a menacing litany.
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.