April 3 – May 9, 2009
Opening: Friday, April 10, 6-8 PM
Gallery Hours: Tuesday - Saturday, 11-6 PM
Winkleman Gallery is very pleased to present “The Reappraisal,” our fourth solo exhibition by New York artist Jennifer Dalton. In 1999 Dalton presented her project “The Appraisal” at Chelsea’s Steffany Martz Gallery. At that time, Dalton was 31 years old and living a typical graduate student lifestyle, having been one until just the previous year. Presented in the project space of the gallery, this was her first solo exhibition in New York.
Inspired by her "day job" at Christie's auction house where she catalogued the desirable possessions of its clients,
in "The Appraisal" Dalton photographed, described and self-appraised every item in the small apartment she shared with her then-boyfriend, including the furniture she had scavenged from the street, the paintings and sculptures she had made in her living room/art studio, and the artworks she had acquired through trades with her artist friends. She then hired Christie's to conduct an official appraisal of her "estate" and compared her appraisal with their professional version to humbling effect. Finally, as part of the project, she sold a cross-section of her belongings on the auction website eBay, in an attempt to find the true value of each object.
Ten years later the boyfriend is a husband and Dalton qualifies as a homeowner, a mom, and a not-entirely-reluctant member of the bourgeois class. How does her lifestyle stack up against 2009's recently acquired values of austerity, anti-materialism and green living? Has she become a yuppie? Viewers of the exhibition can decide for themselves, appraising her economic footprint* and the accouterments of her trajectory into middle age.
In "The Reappraisal," everything in the house Dalton shares with her husband and four-year-old son is for sale, provided would-be collectors are willing to pay the price arrived at through her family's level of attachment to a particular object. Every household item—from graduate student paintings to the cleaning supplies under the kitchen sink to the planter in the back yard—has been photographed and appraised by both her and, again, Christie’s auction house. Presented in simple frames on rows of industrial shelving, like volumes in a library, each photograph and description has been color-coded by object type and placed in order by Dalton’s level of attachment to it, and thus by what she calls "Your Price."
Each object actually has three values attached to it: What Dalton thinks the item might be worth to other people; what Christie's thinks the item is worth based on their expertise; and "Your Price," the price at which it can be purchased through the exhibition. "Your Price" ranges from $500,000 on the high end for irreplaceable tchotchkes passed down through her family to minus $5, meaning Dalton will give you $5 if you come to her house and take it away. More than a follow-up to the project Dalton first did 10 years ago, "The Reappraisal" is a meditation on materialism, growing up, and the extent to which we can properly judge ourselves and each other by the contents of our bookshelves, refrigerators and medicine cabinets.
Jennifer Dalton received her BFA from UCLA and her M.F.A. from the Pratt Institute in New York. Her work has been exhibited throughout the United States and Europe, including in: "Wall Rockets: Contemporary Artists and Ed Ruscha," curated by Lisa Dennison, Flag Art Foundation, NYC; "Attention to Detail," curated by Chuck Close, Flag Art Foundation, NYC; "Made in America," curated by Janet Phelps, Peel Gallery, Houston, TX; "Air Kissing: An Exhibition of Contemporary Art About the Art World," curated by Sasha Archibald, Arcadia University Art Gallery, Glenside, PA; and "The Cult of Personality: Portraits of Mass Culture," Carriage Trade, NYC and Galerie Erna Hécey, Brussels, Belgium. Her work has been reviewed in Artforum, The New York Times, The New Yorker, Art Review, Art + Auction, ArtNews, and Art in America, among other publications.
Winkleman Gallery - Home
Tanya Bonakdar Gallery is delighted to present, Missing Link in Delphi, an exhibition of new painting, sculpture and drawing by Thomas Scheibitz. For his sixth solo presentation with the gallery, Scheibitz creates dynamic and precise works of layered form and color in two and three dimensions that continue his ongoing exploration of the boundaries between abstraction and figuration. While centrally concerned with principles of classification and systems of order, Scheibitz’s work resists traditional categorization itself, instead simultaneously collapsing and expanding conventional definitions and opening up new sculptural and painterly territory.
tanya bonakdar gallery :: exhibitions
Das Performance-Netzwerk ACT fördert die überregionale Zusammenarbeit zwischen den schweizerischen Kunsthochschulen im Bereich der Performancekunst. Die ACT-Meetings verstehen sich als offenes Laboratorium zur Erprobung und Hinterfragung künstlerischer Strategien und performativer Ideen im halböffentlichen geschützten Rahmen. Verschiedenste künstlerische Haltungen und Erfahrungswelten treffen aufeinander und treten in einen kreativen Dialog. Fragile Experimente haben im Rahmen von ACT genauso eine Chance wie bereits fortgeschrittene ausgearbeitete Performance-Konzepte. Das diesjährige Programm umfasst ein breites Spektrum an Themen und Herangehensweisen und bietet dem interessierten Publikum einen erfrischenden Einblick in das aktuelle Performanceschaffen der jungen Generation.
F+F Zürich Schule für Kunst und Mediendesign,
FHNW Hochschule für Gestaltung und Kunst, HGK Institute Basel und Aarau,
Haute école d'art et de design HEAD, Genève,
Hochschule der Künste Bern HKB,
Hochschule Luzern Design & Kunst HSLU,
Zürcher Hochschule der Künste ZHDK.
bereits definierte Daten und Orte:
F&F, Schule für Kunst und Mediendesign Zürich
Kapelle und Erfrischungsraum
For Immediate Release
THE NATURE SHOW
April 17, 2009 – May 23, 2009
Opening Reception, Friday, April 17th, 6:00 – 8:00 PM
Perry Rubenstein Gallery is pleased to announce The Nature Show, Richard Woods' upcoming solo exhibition at the gallery. Woods works with existing architecture and materials to completely transform structures and spaces, engaging them with reality and fantasy. He has been re-creating and re-envisioning objects and environments since the late 1990s. Plywood and household gloss are used to employ the traditional technique of wood block printmaking technique in order to cover surfaces of interiors and exteriors that create vividly different graphic surroundings. For the 50th Venice Biennale, Woods transformed the grounds of a Renaissance Venetian Palazzo, rendering the courtyard grounds in exaggerated cobblestone of fantastical white, black and grey. At the Royal Academy of Arts in London, Wood's bursting images of flora and fauna in Two cockatoos (red), in conjunction with the building's traditional details, morphs the "proper" interior space. Woods has done numerous projects and commissions in New York and throughout the U.S.; this will be his first large-scale exhibition in the States since 2002.
In April, Woods will cover the gallery floors with the cartoonish line drawings of flowers from his Floral repeat series (begun in 2000) on a vivid green background. The interior gallery walls and the front window walls will be covered floor to ceiling in his signature wood panel print. Also on view will be a selection of Woods' Offcut-Inlay paintings, household paint on panels made from leftover floorboards inlayed into raw plywood. These paintings have been integrated into Woods' practice in the last few years and are integral to his process. He is constantly experimenting, making things in the studio, formulating and finalizing his ideas through doing. The DIY nature of the work feeds into the activation of a space or object. The work is always in a sense, a riff on something else—vernacular architecture, found objects and materials—a contemporary and theatrical interpretation of something classical or perhaps "regular." Woods' work is both witty and illusionistic; there is an optimism and liberalism to the work literally and conceptually.
Duchamp's ready-mades, Artschwager's use of synthetic materials (wood grain in particular), and James Turrell's use of existing grounds and phenomenology of perception can all be called upon as references. Woods' ties to art history are apparent, yet he is not interested in the contemporary notion of art as a precious object—his work allows us to walk on it, touch it, exist within it. A great admirer of William Morris, whose preference for the flat use of line and color and abhorrence of "realistic" rendering or shading revolutionized textile design in the 19th Century. Like Morris, who is known for his hands-on technique and multi-faceted practice, Woods infuses his own unique language in everything that he does.
Woods was born in Chester in 1966 and now lives and works in London. He received his MA at the Slade School of Fine Art in London in 1990. His first solo exhibition took place in Winchester in 1988, followed by Cargo at Arched Space, London, in 1990. He was among nine artists selected for the Barclays Young Artist Award in 1991 (with an exhibition at the Serpentine Gallery, London). Solo shows have taken place in London, Athens, Rome, Paris, Berlin and Turin since 1994. He has done commissions and exhibitions with the Wimbledon School of Art at Oxford University, The Henry Moore Foundation in Leeds, Paul Smith and Comme des Garçons in Tokyo. He did a site-specific installation in the London Underground for Art Leicester Square (2006) and was in the Liverpool Biennale (2008). His work is currently on view in Superabundance at the Turner Contemporary Project Space in Margate. This spring installation will begin on the MCM headquarters in Seoul, South Korea, Woods' largest permanent exterior commission to date.
"Edinburgh Art Festival is Scotland’s largest annual festival of visual art and has something for everyone. Established in 2004, the Festival works in partnership with the city’s artists, galleries, museums and visual art spaces to present the best, exciting and most intriguing in modern and contemporary visual art. This year will see the 6th Edinburgh Art Festival take place between 5 August and 5 September."
Edinburgh Art Festival
Collect LES 2009
Join Artlog for Collect LES, an art crawl through the Lower East Side's burgeoning art community. Coordinated by Artlog in partnership with the LES Business Improvement District, Collect LES includes more than twenty-five galleries and the New Museum.
From the Bowery to East Broadway, over a thousand art enthusiasts toured the neighborhood galleries during last year’s event. This year will be no less spectacular! Enjoy free wine, beer and liquor and special offers at local businesses as you tour the Lower East Side’s galleries and Phillips Art Expert’s selected urban art locations."
Artlog / Collect LES 2009"
More than an art fair, NEXT is a showcase for the world’s talents and an adventure in cutting-edge culture. An opportunity to redefine the relationship between art and its public, NEXT is a portal to seeing contemporary art in new, innovative, eye-opening ways. NEXT will include works from both commercial and non-commercial arts organizations--galleries, project spaces, art publications and key private contemporary collections from around the world.
NEXT 2009 :: The Invitational Exhibition of Emerging Art
CENTRE OF ATTRACTION
The 8th Baltic Triennial of International Art
09 14 - 11 3 2002 Organization: Contemporary Art Centre
Curator: Tobias Berger, (Kunsthalle Fridericianum)
Artists: Franz Ackermann (Germany), Rieko Akatsuka (Japan/Great Britain), Pavel Althamer (Poland), Francis Alÿs (Belgium/Mexico), Vladimir Arkhipov (Russia), Azorro (Poland), Mikhal Barazna (Belorus), Thomas Bayrle (Germany), Bluenose-Group (Russia), Monica Bonvicini (Italy/Germany), Candice Breitz (South Africa/Germany), Aida Čeponyte/Valdas Ozarinskas (Lithuania), Martha Colburn (Usa/The Netherlands), Annelise Coste (France/Switzerland), Björn Dahlem (Germany), Jeroen De Rijke/Willem De Rooij (The Netherlands), Vadim Fishkin (Russia/Slovenia), Sylvie Fleury (Switzerland), Gints Gabrans (Latvia), Lukasz Gorczyca (Poland), Asta Gröting (Germany), Nic Hess (Switzerland), Choi Jeong Hwa (Korea), Christian Jankowski (Germany), Katarzyna Józefowicz (Poland), Kiwa (Estonia), Artur Klinov (Belarus), Jakob Kolding (Denmark), Hendrikje Kühne/Beat Klein (Switzerland), Mark Lombardi (Usa), George Maciunas (Lithuania/Usa), Jan Mančuška (Czech Republic), Ieva Mediodia (Lithuania/Usa), Julie Mehretu (Usa), Nathalie Melikian (Canada), Darius Miksys (Lithuania), Sarah Morris (Great Britain), Mvrdv (The Netherlands), Deimantas Narkevičius (Lithuania), Audrius Novickas (Lithuania), Henrik Olesen (Denmark), Ilppo Pohjola (Finland), Marjetica Potrč (Slovenia), Eglė Rakauskaitė (Lithuania), Peter Robinson (New Zealand), Taro Shinoda (Japan), Santiago Sierra (Mexico), Sean Snyder (Usa/Germany), Tommy Stockel (Denmark), Yuk King Tan (New Zealand), Salla Tykkä (Finland), Pae White (Usa), René Zeh (Germany), Darius Žiūra (Lithuania)
CAC - [Contemporary Art Centre]
Desiderio | Alessandro Brighetti| Svitlana Grebenyuk
Felipe Cardeňa | Fabiano Parisi
A cura di Chiara Canali
Alla Fabbrica Borroni di Bollate è di scena un progetto che riunisce le ricerche di cinque giovani artisti trentenni tra i più interessanti sulla scena artistica italiana.
Non si tratta di una mostra collettiva, ma di cinque personali che presentano il “lancio” ufficiale di diverse tematiche e linguaggi espressivi dalla piattaforma comune della Fabbrica Borroni, spazio aperto alle sperimentazioni sull’arte contemporanea e laboratorio per la visibilità e la promozione di giovani e giovanissimi.
Nei suggestivi e affascinanti spazi ex-industriali della fabbrica, un tempo dedicati al lavoro e ora ristrutturati e riadattati, si sviluppa il percorso espositivo che alterna opere pittoriche di grandi dimensioni e wall drawings site-specific, foto pitture e video-proiezioni, sculture e installazioni di forte impatto visivo.
TAKE OFF è cinque mostre personali che fanno interagire tra loro differenti formule e tecniche espressive, in un’ottica di sviluppo e sperimentazione che intende verificare la potenzialità di nuove poetiche in “decollo” verso gli orizzonti dell’arte contemporanea.
DESIDERIO (Milano, 1978), vincitore del Premio Italian Factory per la giovane pittura italiana 2008 e finalista al Premio Celeste 2008, con Atomic Rocket (nome di un giocattolo telecomandato degli anni Cinquanta) riassume i cicli maturati negli ultimi tre anni – Beauty Hazard, Confabula Spurio, Chernobyl e I Love my Queen –, presentando i protagonisti di un mondo infantile assurdo e allucinato, in un’indagine poliedrica che contamina la pittura con l’illustrazione, passando attraverso il cortometraggio e la scenografia teatrale.
ALESSANDRO BRIGHETTI (Bologna, 1978), secondo vincitore del Premio Italian Factory per la giovane pittura italiana 2008, in God Alter Ego ricostruisce in vitro un microcosmo naturale ingrandito al microscopio, dove radiografie ed immagini anatomiche del corpo umano sono disturbate dall’ingerenza di strutture artificiali e meccaniche. La biologia, espressa con la pittura, viene reinterpretata e fatta evolvere dalla macchinosità dell' intervento fotografico e tecnologico.
Vincitrice della precedente edizione del Premio Italian Factory per la giovane pittura italiana e selezionata al concorso Germinazioni di Perugia, SVITLANA GREBENYUK (Ucraina, 1979) presenta l’ultima serie di lavori intitolati Ultima Traccia. L’esplosione del colore, caratteristica fondamentale del procedimento artistico di Svitlana, sembra qui compressa in immagini in b/n purificate nella loro essenzialità, le cui tracce nere attraversano lo spazio bianco diventando filtro esteriore per esprimere la levità di un mondo candido e inviolato.
I collage painting di FELIPE CARDEŇA (Balaguer, Spagna, 1979) si aggregano in un’installazione unica di moduli a incastro, in un caleidoscopio di fluorescenze che rinvia alla psichedelia più totale. La mostra The Black Dahlia riunisce una ventina di puzzle colorati e multiformi, dedicati a volti e personaggi che sembrano usciti da storie poliziesche degli anni Trenta e Quaranta, in un intreccio noir che si sovrappone alle trame di un patchwork di fiori e frutta.
Dopo il progetto fotografico Contemporaneamonti a Roma, FABIANO PARISI (Roma, 1977) sbarca a Milano con la mostra Still Life, una ventina di stampe fotografiche in tecnica mista e resina su ferro che riportano in vita gli spazi silenziosi delle fabbriche abbandonate e delle aree dismesse ai bordi delle metropoli industriali.
In contemporanea alle stampe fotografiche verrà realizzata l’installazione (R)esisto, un container in ferro che racchiude tre light box con le vedute interne di una stessa fabbrica, ripresa su tre lati. Una sorta di “meta-fabbrica”, una fabbrica nella fabbrica, accompagnata dal suono ripetuto di gocce d’acqua che cadono sul pavimento, per ricreare l'atmosfera di trovarsi immersi nei residui di una grande fabbrica abbandonata.
a cura di Chiara Canali
con la collaborazione di Italian Factory e Galleria San Lorenzo
Il progetto TAKE OFF partecipa alle iniziative del Fuori MiArt 2009.
Via Matteotti 19 - Bollate (MI)
inaugurazione: 17 aprile 2009 dalle ore 19.00 alle 24.00
18 aprile – 10 maggio 2009
martedì – venerdì dalle 16.00 alle 20.00
sabato e domenica dalle 11.00 alle 20.00
Vi informiamo inoltre che sarà disponibile un servizio navetta gratuito dalla Fiera di Milano, presso l’uscita di MiArt - Porta Teodorico - alla Fabbrica Borroni, Via Matteotti, 19 Bollate a/r nei seguenti orari:
venerdì 17 aprile h 18.30; 19.30; 20.30
sabato 18 aprile h 16.30; 17.30.
Il pullman riporterà l'insegna CERVI ATTILIO SRL.
I posti disponibili sono 50 a corsa, fino ad esaurimento posti.
Etichette: miart 2009
Hernan Bas: The Dance of the Machine Gun & other forms of unpopular expression
23 April – 10 July 2009
Opening reception: Thursday, 23 April 2009 from 6-8 PM
201 Chrystie Street, New York City
Lehmann Maupin Gallery is pleased to announce its first exhibition with Hernan Bas, The Dance of the Machine Gun & other forms of unpopular expression, opening on Thursday, 23 April at the gallery's 201 Chrystie Street location.
Bas continues to indulge his fascination with the history of painting, fantastical tales of the supernatural and Neo-Gothic romanticism to form a new series of paintings. He has moved away from the decadent dandies of earlier series towards fertile landscapes populated with exotic creatures and waifish adventurers. His dark and melancholy palettes have given way to lush vivid colors, yet continue to extol the escapist fantasies and rich narratives seen in his early career.
Lehmann Maupin - Upcoming Exhibitions
Marita Muukkonen is curator at FRAME - The Finnish Fund for Art Exchange, and works as editor of FRAMEWORK - The Finnish Art Review. From 2001-2005 she was at NIFCA, The Nordic Institute for Contemporary Art. She curated the video programme related to the Arctic Hysteria exhibition currently showing at the Ludwig Museum, Budapest.
Perpetuum Mobilε is in permanent motion, yet its archive can be found at
Acax.hu -Check in 7.
Following the right hand of...
April 2nd – May 2nd 2009
Team is pleased to present an exhibition of new work by the Brussels-based, French artist Pierre Bismuth. Entitled Following the right hand of…, the exhibition will run from the 2nd of April through the 2nd of May 2009. Team Gallery is located at 83 Grand Street, between Wooster and Greene, on the ground floor.
For his ongoing series, Following the right hand, Pierre Bismuth does just that. He projects a feature film onto a sheet of Plexiglas and painstakingly follows the movements of the lead actress’ right hand with a black marker. The resultant abstract drawings are then enframed over a 30 by 40 inch photographic print of a still image from the film. The image selected by the artist represents the moment that he disengages from the actress, sometimes near the beginning of the film, creating a simple drawing; but just as often near the end of the film, creating an aggressive thicket of marks that almost obliterate the filmic image. In this way, the motion picture is occluded by a chance pattern that constitutes a kind of messy signature made by the actress. There is an undeniably fetishistic aspect of this work, as a portion of its appeal is linked to the actress’s name and aura; at the same time, the focus on the squiggly marks paradoxically negates the film, along with its star, by obscuring them with black ink, frustrating our desire to connect with the screened image.
The likes of Joan Crawford, Marlene Dietrich, Greta Garbo, and Marilyn Monroe are re-animated in these strangely romantic artworks, wherein Bismuth holds hands with these women across a vast sea of time. These idols, who had diminished agency even in their most famous starring roles, are given a degree of authorial control through Bismuth’s conceptual interventions into film history. The women in Bismuth’s Following… series are not only the male artist’s subjects, they also participate in the authorship of the works. In a method that inverts the action of an artist like Jackson Pollack, Bismuth grants the subject the power to conduct his imprint and hence renders himself incidental, the simple facilitator of the séance.
Popular and high culture have provided the scaffolding for Bismuth’s practice. Over the years, political events, reportage, men’s magazines, Disney characters, fairy tales, the rituals of the white cube, museum architecture, and the didactic plate have all been implicated and re-dressed in a body of work that repeatedly returns to the discourse of appropriation for it’s guidance. However, no form of culture has been more present in Bismuth’s art than that of the motion picture, particularly work from the period of the Classical Hollywood Cinema.
Pierre Bismuth has been exhibiting his work for the past twenty years. Prominent monographic exhibitions have been held at the British Film Institute, the Kunsthalle in Basel, Nice’s Villa Arson, Rotterdam’s Witte de With, at MAMCO in Geneva, and at the Kunsthalle in Vienna. He has participated in group exhibitions at the Centre Georges Pompidou, the ICA in London, the Sprengel Museum in Hanover, Frankfurt’s Museum für Moderne Kunst, the Kunsthalle Bern; the Ludwig Museum in Köln, the Stedelijk Museum in Amsterdam, and numerous others. His work was included in the 2001 Venice Biennale and in Manifesta 4. Bismuth has had solo shows at galleries in such cities as London, Paris, Brussels, Turin, Tel Aviv and Antwerp.
It is exceedingly appropriate that Bismuth work with this material. After all, he is the only fine artist to have ever won an Academy Award — in 2002 for Best Original Screenplay with Michel Gondry and Charlie Kaufman for the film Eternal Sunshine of the Spotless Mind. This is his second solo at Team.
Pierre Bismuth : Following the right hand of...