Spread across two floors of the gallery, No one knows me like Dawn from the Jobcentre features mainly paintings. An honest, sometimes humorous account of time spent on Job Seekers Allowance underpins this body of new work. It invites the viewer to look at the fleeting yet significant relationships we encounter as we strive for success in the face of adversity. Richie’s work draws on many personal references, from his working-class roots, to metropolitan living, as well as his own experience of the darker side of urban life.
There is no presence without absence. We could even argue that the latter sharpens every visual manifestation, because it exists only in relation to a presence that makes it evident. Much of the intrinsic power of the very concept of universality owes its existence to something that is actually absent. From this perspective, loss becomes the space where real and ideal meet, blending into each other. The place where the form becomes eternal and only Beauty can reveal its truth.
We are the last analog representatives on our planet. Retrograde Mercury took away the remains of life in motion, so we arranged an event in the middle of nowhere. We met the other within an insular territory of the endless return. The black gut, leading the posthuman to the abandoned isolated dance-floor, is a wormhole, an error of time and space, the last reminiscence of a mother’s amniotic sac that had nurtured us long before the arrow of time appeared.
In I Will Carry The Weight, the title being the artists answer to Gang Starr’s song Who’s Gonna Take the Weight?, Josh Smith presents a series of new, large and small scale, oil canvases depicting variations of the personification of death: the grim reaper. In each canvas the grim reaper is portrayed with the customary black robe and scythe, positioned in surreal and hallucinatory dark landscapes marked by multi-coloured and vibrant brushstrokes.
FICTIONS aims to investigate the issue concerning the emphasis on what happens to a traditional form of image-making when it enters a digital framework, with a strong interest in the mediation that an artwork under- goes when it is consciously documented, investigated and distributed using digital technology. Both Richard Dupont and Michael Staniak are deeply involved in the question of truth, between the erasure of truth in itself and the revelation of a new aesthetic code, which is still in the process of being defined according to the virtual constellation of infinite possibilities.
A visual artist and a writer, Faldbakken references both modern and contemporary art history, as well as literature in his work. Deconstructing and undermining forms, altering ready-made objects, finding new configurations in collages, and experimenting with the use of words and the alphabet in his works, he invents his own artistic languages.
The “frontal shield” is a colorful element present in nature in the anatomy of a number of species of birds. Set on the bird’s forehead, the “shield” is used to visually attract while at the same time functioning as a protection device. There is also a link between the frontal shield and levels of testosterone production by the males.
In his second solo exhibition, Valentin Dommanget shows a profound evolution in his practice, and changes that mainly concern associations and visions that one may have towards the outside and possible social exchanges. The young French artist – who has always worked in the field of abstraction and having now internalised an aesthetic of digital reference that embraces the geological sciences and the hypercolor, the natural and the artifcio – in these new works also inserts human figures. He does this in order to analyse the interferences to which humanity in general is continually subjected and the new complexities arising in the distorted contemporary moment, in which a phantomatic and latent dark force tries to make us believe in the emptiness and lack of logic of content dissolving our minds through the saturation of data administered daily.
Barry McGee is an artist who takes uncertainty and unpredictability as his guiding principles. Every exhibition is different. He arranges paintings, drawings, sculptures, found objects, and works by other artists into freely improvised installations that roam across the walls, floors, and ceilings of an exhibition space. In the past, his installations have featured everything from robotic graffiti writers to entire shipping containers and automobiles.
It had been speculated that the world would end in 2012, or at the very least mankind would enter a new eon. While the date came and went without a bang, unbeknownst to most humans on earth it may have actually happened, as we replaced our own minds as the smartest things on earth with quantum computing.
Many cultures hire mourners to participate in funerals. They are a chorus, they are decoration, they are guides to the underworld and guides to the range of feelings that come with grieving. In Matthew Dickman’s poem Grief, grief comes as a purple gorilla. He writes: “We sit for an hour / while she tells me how unreasonable I’ve been, / crying in the checkout line, / refusing to eat, refusing to shower, / all the smoking and all the drinking. / Eventually she puts one of her heavy / purple arms around me, leans / her head against mine, / and all of a sudden things are feeling romantic. / So I tell her, / things are feeling romantic. / She pulls another name, this time / from the dead, / [...]”.
Thomas van Linge's work embraces popular culture, musical heritage and the effects of technology and commodification on contemporary society. For Deep Down Inside he has created a series of sculptures that mimic the form and function of heavy duty flight cases, acting as archives for a reimagined history of electronic dance music. The Velociraptor-narrated short film follows a similar thread, aligning natural, industrial and cultural phenomena through the notion of sound as a conveyor of the past. Thomas consecutively runs two experimental dance music record labels, BAKK and RUBBER. He also performs under his music moniker Randstad.
Tilman Hornig’s works emerge from a reaction to current events. His way of working is both intuitive and conceptually cross-media.
For his solo exhibition “Flipmode” in the gallery Gebr. Lehmann the artist has developed a new series of works with white wall paint and the European flag. The flag with its centered circle of stars, stretched in square format on frame, is extensively painted and presented as a rhomb. Each of the works remains untitled and is similar in form and aesthetics.
A new installation of paintings by New York–based artist Nate Lowman in Galleries 2 and 3 explores the timeless, palpable concept of desire using imagery and language drawn from American popular culture. Angels, poppies, hearts, pine-tree air fresheners, smiley faces, iconic celebrities, crosses, and news articles—all presented through the lens of desire and longing—tell part of the American story and confront viewers with the things of modern life that are often left unsaid and unexamined (Aspen Art Museum).
André Butzer is one of the most relevant contemporary German artists. His work explores the possibilities of the pictorial medium and develops a personal and strongly expressive universe. Butzer’s paintings reference German and American history, culture and politics, art history, science fiction, comics and animation.
Perrotin Paris is proud to present “Chasing Rainbows,” Josh Sperling’s rst exhibition with the gallery. The exhibition brings together a number of new works by the New York-based artist: composites—or shaped canvases and plywood panels—a series of monochrome canvas reliefs, and a large-scale installation.
These four works sum up the mood I’ve been in for the past few months. I've been reminiscing about my family when I was growing up, the trips we made cross-country skiing on glowing slopes in the Norwegian pitch-black winter, I remember we were thirsty with no water in the mountains and being told: 'if you are thirsty, drink your spit' but in a loving way. Then camping in moist green plastic tents in the forest in summer and trips abroad - five kids melted onto brown vinyl seats in a mustard yellow Volkswagen mini bus on the motorways from Oslo town to Venice, Italy and discovering on arrival this small shop filled with Murano glass objects, its trippy vases burning themselves into my child-brain, now literally burned by my heaters onto my canvas or linen, making surely sure I won't forget. My sister and I bought a small glass object each; colourful glass candy and a fish, proper tourists.