You could see here a direct reference to Michel Foucault's "androgynous images," which he defined in his text called Photogenic painting, written in 1975 for Gérard Fromager's monographic catalogue. These images combine mediums and categories, and bear testimony to the free relationship between photography and painting. Such is the very substance of Hubert Marot's work in his exhibition GOINGGONE. His first cyanotypes already conjugated photographic process with pictorial rendition. Here, his latest series introduces color as an element of variation, allowing a shift from negative to task. Color appears, driving the rhythm and, little by little, becomes the subject.
Mythologies are dead, they have always been. But even as corpses, they’ve been used as political strategies to manipulate fiction and facts. Fictional narratives have defined culture, its historicity, its legacy. Drama. Goosebumps visible in our skin. Chills. The amplification of the voice. The soundtrack of the film. Attitudes change. Behavioral patterns change, adapting to new forms of recognition. The stream of our social media accounts translated by ignorant algorithms. Liquid and opaque forms of identity. The movements of the body. The most superficial of all gestures can never be taken lightly, even if it tries hard to be disguised with bright colors, with feathers and fumes.
When you woke up this morning, you found the world largely as you left it. You were still you; the room in which you awoke was the same one you went to sleep in. The outside world had not been rearranged. History was unchanged and the future remained unknowable. You woke up to reality. But what is reality?
New Dawn presents the work of 9 artists whose approach to painting can be traced to a shared concern for the pictorial, and its recent fracture into the digital divide. The works span a range of mediums from traditional painting to algorithmically assisted drawing. In the presentation of the show a suspended painting in the centre of the gallery acts as both a barrier and gateway, where history is quite literally embedded in the contemporary. Across all works in the show, from the early 20th Century to the present, a shared concern can be traced to the balance struck at the dawn of abstraction and its relationship to documentary nature of the image itself.
Art dealers come with backgrounds in every shape or form. Owning a poster shop in LA, gallery assistant, son/daughter of some famous collector, professor, historian, failed artist, you name it. However, not many can say they had a professional sports career in their 20s. That is the story of Marco Marrone, co-owner of NEOCHROME gallery in Turin, who's life took him from the courts to the white cube. Read our interview to find out how he went from being a professional athlete to owning a contemporary art gallery in Turin, while being a collector and curator in between.
- Pedro Matos
Co-working spaces, newsrooms as factories for the post-factual era and logistics centres of online megastores are the focus of interest of Irish artist Yuri Pattison (*1986, lives in London). Pattison’s artistic world, which includes routers, humidifiers, surveillance cameras, office plants and cheap replicas of design classics, moves between the sculptural and digital and plays with control mechanisms. With his immersive, multimedia installation «Trusted Traveller» Yuri Pattison is transforming Kunst Halle Sankt Gallen into a projection surface for the contemporary world. By intervening as a programmer he spectacularly confronts the public with spaces, materials and themes that define today’s reality.
Where the I-world relationship, understood as a nucleus of phenomenological thinking, takes on the character of intentionality, it becomes necessary to investigate pure consciousness that allows the realisation of the totality of subjective and world experience.
The German word Erlebnis, translated with the expression “lived experience” or “living,” indicates the personal and unitary aspect for which the contents of consciousness are not passively taken but acquired in a living way in the flow of it.
Representation is a big word and it gets exponentially bigger when it itself is represented. Like multiplying by negatives, an absence of an absence constructs an index of an index. What would that look like?
There is no better place on earth to become one with yourself than the bathtub. So much that you never wish to get out. Or get back in as soon as possible. At least that’s how I feel. I take a bath every day. Sometimes even two. Starting your day with a full bath is so different than jumping into the shower. Win- ding down in a full bath at the end of the day is so different from going straight to bed and falling asleep. Bathtub: it’s a transition zone between night and day; it’s an interface of different states. But most of all it’s a place for becoming-one-with-yourself, a moment where hard edges dissolve. Home – for me it isn’t the four walls of an apartment; Instead home is: Your own body slipping into the warm water of a tub, where ever that tub may be. Tub – shell, not prison; tub – cocoon, not box; body enveloped by water, enveloped by a tub – that’s me with myself.
The battery dies at 30 %, again. Mischieving nature compressed to gadget, performing things on its own, clogging seamless communication. Cut off from the network, a body reclines on spring grass while staring into a starless sky. Across blue-hued layers are other bodies, unreachable but abundant with recourses, asteroids, like lonely gas stations reverberating in immense space. Bodies in landscapes.
How do we break from these simulatory boundaries provided within this millennial world? How can one be liberated or emancipated from the bind of digital life. Would it be too romantic to argue that one truly only lives on the edge when encountering the unpredictable or the uncanny, in danger or on the brink of death? Shouldn’t life announce itself through the dynamism of feeling, passion and the direct experience of the present?
Queer history and social space have always interested Emily Roysdon generating an interdisciplinary working method with projects taking the form of performances, photographic installations, print making, texts, videos, curating and collaborations. Her notions about what it is ‘unseen in time’ and the politics of transitions had recently formed Uncounted, a site-specific project that has unfolded over several years through a series of related questions and visual vocabulary. At the core of the project is a 23 part text that engages a vocabulary of movement, margins and trespass. Drawing on texts by W.H. Auden, David Hammons and Gertrude Stein, the work considers “uncounted experience,” what is “beyond the will to measure,” posing such questions as “What is time if not activism?” and “What instruments have we?”
Aujourd’hui is pleased to release this exclusive interview with Patricia Treib by Timothy Hull during Treib’s latest exhibition of paintings titled Intersticies at Bureau in New York. Treib’s work explores the malleable boundaries of the picture plane and plumbs the depths of forms, both familiar and distant. Her paintings have an irrepressibly active surface, as colors dance about in melody and forms arrive at destinations heretofore mysterious. Treib’s current exhibition furthers her intimate and dynamic research into the secret life of objects and motifs.
- Timothy Hull
Pamela Rosenkranz investigates the meaning of human nature in the contemporary world. Her artistic research references various fields of knowledge – from medicine, religion and philosophy, to art and marketing. These references are aimed at questioning the way we see and perceive things, and at exploring the way the elements, advertising, and culture influence our identity. Working with a variety of media, sometimes in unusual pairings, that range from branded water bottles to Amazon Echo speakers, materials including pigments and pheromones, neuro-active microbes and parasites, colors and scents, she addresses the shifting meanings of the ‘natural’ and the ‘human’ in the Anthropocene age. Her persistence as to the ‘naturalness’ of seemingly unnatural materials evaporates the foundational distinction between ‘organic’ and ‘synthetic’.
Some people believe art develops in a backstitch manner, in a one step back, two steps forward fashion. Starting from one point, the needle leads the thread one point back in direction of sewing, creating a loop through the back of the fabric and getting out one point forward from where it started. This technique is repeated again and again and allows the stitching line to be filled from both sides and thus endure better.
As is typical of her practice, this new body of work by Marguerite Humeau began with an excavation of the past. Wielding research as a spade, Humeau dug into the science and myth surrounding the origin of war. The artist corresponded with the archaeologists unpacking Site 117, the earliest recorded mass cemetery, as an entry point. Her discus-sions led her to early depictions of war from Assyria and Egypt where myth and history were foiled by one another. In Riddles, Humeau weaves together the speculative tales of fact and fiction to form a new narrative for the sphinx.
In 'Einsame Insel' Kenneth Alme delves in deeper to investigate the mind, gestures and properties of an artist. Through painting, sculpture and video Alme takes his outset in the philosophic phrase first put forth by philosopher George Berkeley 'If a tree were to fall on an uninhabited island, would there be any sound'. In the same way Kenneth Alme asks the question 'if nobody are around to experience an artwork, does it exist'.