Unrevealed

Daneyal Mahmood Gallery is very pleased to present Unrevealed by Lisa Ross, a solo exhibition comprised of photographs and video works made at holy sites in the Xinjiang Uyghur Autonomous Region of Northwest China.

Lisa Ross’s work concerns itself mainly with memory, temporality and the visual expression of faith. It is on the embodiment of the secular and the sacred that this work relies; a reconceptualization of the corporeal and its interdependence with time and place.

The solemnity of Ross's aesthetic incites contemplation: narratives, both real and imagined, emerge from her photographs viscerally engaging the viewer in rituals of visitation and gestures of devotion.

Included are two video pieces in which the body merges with the landscape and becomes the vehicle which invites - and desires - that the ephemeral become its own breathing, living entity: the only audible sound that of the wind and flags blowing in the desert.

Impermanence becomes tangible as the language of these works unfolds, then retracts. It is affirmed that life and death are never finite; that the articulation of grief - as well as transcendence - is a collective experience. Unrevealed disarms the notion that trajectories may have only one beginning and one end.

Sherisse Alvarez

DANEYAL MAHMOOD GALLERY

Gabriel Hartley

29 April – 20 June
Gabriel Hartley

Opening reception Tuesday 28 April, 6–8 pm

Inaugural exhibition at Swallow Street

Gabriel Hartley’s work deals with abstraction and the abstract while always holding onto suggestions of an image or an experience: be it a Tudor house, a lamp, a hat, or a loaf of bread.

The relationship of the abstract to the figurative is at its most evident in the painted postcards where elements from the photographic image are mimicked, abstracted or denied through the application of paint.

The process involved in the paintings and sculptures creates the form almost in reverse. There is no obvious starting point or image, but through covering up, layering and excavating, objects (both in the painting and physically) are created that have associations that shift between the imagined, the remembered and the appropriated. The forms in the painting often shift in and out of focus, with the structure in the foreground becoming the background. This leads attention to the surface and to the stuff of paint itself; these take precedence over the importance of deciphering forms. The paint, in terms of surface, handling and touch is at times crusty, clunky, and scarred, while at other times iridescent, sensitive, and austere.

The paintings are heavily influenced by other parts of the practice (the objects and the postcards) and vice-versa. There is a grand scale to some of the works, but a similar emphasis is placed on the domestic sized objects and paintings. These objects are not studies but help to change the position of the paintings, and likewise the paintings distort the reading and experience of the objects. The works function almost as props alongside each other; but there is still a strong sense of the importance of the individual piece and the experience gained from looking closely.

Gabriel Hartley graduated from the Royal Academy in 2008. He was included in Bloomberg New Contemporaries 2007 and 2008, John Moores Painting prize 2008 and Jerwood Contemporary painting 2009.

Swallow Street - London

MEGA

MEGA, GROUP SHOW, 17 APRIL - 23 MAY 2009

TJORG DOUGLAS BEER, ANDERS BONNESEN, JESPER CHRISTIANSEN, KRISTIAN DEVANTIER, LEONARD FORSLUND, GÜNTHER FÖRG, ESKE KATH, LARS TYGESEN, KATHRINE ÆRTEBJERG

Big, bigger, mega. A group show where the art is so large that it barely fits into the gallery. Even on the invitation card there is hardly room for the four letters M, E, G and A.

Throughout art history there has been a particular fascination with large formats. From the Pyramids to Michelangelo’s colossal sculpture of David. At MEGA, where the nine participating artists each present one single large piece, we are, except in the depictions of nature’s forces that are larger than man himself, however more grounded. From a gigantic floor lamp to an oversized sock, a winter garden and giant jumping jacks. The exhibition contains floor mosaics and sculptures as well paintings that are simply very, very big.

Galerie Mikael Andersen

1968. The Great Innocents

1968. The Great Innocents
Kunsthalle Bielefeld, March 15 – August 2, 2009

After the success of 1937. Perfection and Destruction, the Kunsthalle Bielefeld is once again examining a year that was a crucial turning point in history. Besides the student rebellions and the political uproar around the world, 1968 was about an anti-dictatorial impulse in art. The exhibition will feature works that took stock of the world and documented its changes, by more than 150 artists from around the world. From Joseph Beuys to Andy Warhol, from Louise Bourgeois to Lawrence Weiner, 1968. The Great Innocence presents innocently rendered corrections, demanded en masse, of the traditional system of art. Most of the artists encountered the time-honored genres of painting and sculpture with distrust. With the help of innovative materials and concepts, the artists wanted to break open the old museum structures and overcome the spatial hurdles. Those in Land Art went to work in the landscape or desert towns. Performance artists moved their bodies in the process of questioning them. Minimal Art dispensed with manual art production, while the artists hired technicians to execute their works. Conceptual Art used numbers, letters, grids, information, and photographic sequences. A few artists wanted to be writers, philosophers, and scientists. Many of the new works were intended to lead to heightened perception, to new realms of consciousness. A certain political and moral irony could not be overlooked. The creative self was the focal point in 1968, and around it formed a new contemporary art culture. 1968. The Great Innocence analyzes American, European, and Asian artists, as well as visionary architects, through approximately three hundred works. DuMont will publish a book to accompany the show. Financial support has been provided by the Kunststiftung NRW, the Kulturstiftung der Sparkasse Bielefeld, the Stadtwerke Bielefeld, the Bundeszentrale für politische Bildung und the Bielefelder Gemeinnützige Wohnungsgesellschaft. The catalog is supported by Ernst von Siemens Kunststiftung.


Kunsthalle Bielefeld

Valay Shende

Valay’s recent works are in subtle ways his attempts to question the maladies afflicting urban society and humans today. He is a keen and sensitive observer of his surroundings and concerned about the common man’s trial and tribulations of day-to-day life.

Valay feels an artist owes a responsibility to the society and firmly believes an ideal world can be re-created. He wishes the audience to reflect upon the social issues plaguing man today.

Valay primarily creates video works and sculptural installations. His observations and feelings set off the production of his work and hence determine the choice of media. His works demonstrate his technical deftness and ability to transform a thought into a work of art.


Kashya Hildebrand

Yes I Can!

Tobias Madison
Yes I Can!
April 18 – May 16, 2009

The Industrial Revolution, new production technologies and distribution channels, as well as general economic growth multiplied the landscape of the object in the 20th century to infinity. It was only a matter of time (and less a matter of high vs. low) for the arrival of what is called Pop Art. The pressures of affliction and pleasure became unavoidable and art took its position in the name of thought and decoration. Ever since, the love for the object has been multiplied to infinity. More precisely, it expanded to the love for software and the people using it. But still, we ask the same old question: Who did it and how did he do it? Of course the who and the how don’t exist anymore, it was the software, developed and used by many, misunderstood (or perhaps not?) in glorious ways. So while the post-war period belonged to the object, our time belongs to software and data modification. Did art already notice it? Probably not, but a few artists certainly did. And now you want a name? Tobias Radisson.
Tobias Madison produces vitrines, wallpaper, pictures, sculptures, texts, scans, photographs, films etc. They are full of references (Huysmans, Oakley, aestheticism, music, pose, French naturalism, Radisson, display) and there is no respect: not for drafts nor for idols, nor for nature, nor for the great minds, nor even for the own work. Everything is raw material that can and will be accelerated, while its authority is constantly drawn out. An “I” is appearing, incarnated in the form of a young artist from Basel, pondering about today’s world. But even then, sometimes it is just data that has shifted.
- Daniel Baumann

Tobias Madison is a co-founder of the New Jerseyy artist’s-run space, as well as Used Future publications, both in Basel. Past group and solo exhibitions include the galerie du jour agnes b., Paris ; Raster, Warsaw ; Karma International, Zurich ; Kunsthalle Basel ; and Layr Wuestenhagen, Vienna. Tobias Madison was born in Basel, Switzerland in 1985, where he lives and works.

Cardenas Bellanger

La Vittoria di luci e suoni sulla città

In occasione della quattordicesima edizione MiArt offre alla città una serata-evento unica per contenuti artistici, una festa di luci e suoni per celebrare il Centenario del Futurismo. Grazie all’intervento di cinque artisti la luce diventa protagonista in installazioni e proiezioni che illumineranno proprio il cuore della città: il Castello Sforzesco.

Sito Ufficiale Castello Sforzesco

LAMBRETTO ART PROJECT

Ideato da mariano Pichler LAP,LAMBRETTO ART PROJECT, vuole essere un osservatorio della creativita' e del pensiero contemporaneo.

A inaugurare LAP sara' una installazione di Nico Vascellari, "I hear a Shadow", una scultura in bronzo di grandi dimensioni realizzata attraverso un complesso processo di fusione.
Anticipa la mostra una nuova performance dell'artista insieme ai due gruppi musicali Burial Hex e WW, la prima dopo quella ospitata alla Biennale di venezia 2007. testo critico a cura di Andrea Lissoni.










sabato 18 aprile a partire dalle 21 seguira' la festa di MIART 2009.

more about Nico Vascellari su weblogART

more Lambretto su weblogART

"It improves more and more"

Takenori Fukaumi
"It improves more and more"
April 11, Sat - May 2,Sat, 2009

ここのたび４月11日（土）から５月2日（土）までGALLERY MoMo 両国では深海武範さんの当ギャラリーでは初めての個展「みるみるあげてみる」を開催します。
深海さんは1975年山梨県生まれ、1999年東京藝術大学美術学部デザイン科卒業、2001年に同大学美術研究科修士課程終了後作家活動を続けています。
深海さんが描く対象は身近な世界、誰にでもありそうですがでもどこか違う感じ、ものの感じ方や見方のアングルがどうも違うようです。それは端的に人物を描いた時に強く感じることができ、世の中に対しても斜めに見ている方かもしれないと思わされ、彼の作品からは、アングルが違うことでありきたりの風景がこんなにもおもしろく見えるものかと、私たちの脳を刺激します。
結婚してからは奥さんをモチーフにすることが多かったのですが、最近はお子さんが生まれ、奥さんと共に自然に描かれる対象となり、家族へのほのぼのとした愛情をストレートに感じます。
私たちのギャラリーでは初の発表になりますが、どんな作品が展開されるか楽しみです。


http://www.gallery-momo.com/

From Brücke To Bauhaus

From Brücke To Bauhaus
The Meanings of Modernity in Germany, 1905-1933

Galerie St. Etienne, New York
March 31, 2009 - June 26, 2009

In the last decades of the nineteenth century, Germany, like much of Europe and the United States, underwent an extensive process of industrialization. Everywhere, industrialization produced enormous social and economic changes: a shift from a predominantly rural to an urban-oriented society, resulting in a displacement of peasants and farmers by factory workers, handicraft by mechanization; the advent of mass production, mass communications and mass culture; the rise of a new capitalist class that threatened traditional power hierarchies. Germany industrialized somewhat later and more rapidly than other countries, and the German people arguably were therefore more shaken by the concomitant social upheaval. The stresses of industrialization were further exacerbated in Germany by the fact that the nation, formerly an agglomeration of independent kingdoms, duchies and city-states, was only first unified in 1871. Reactions to modernity were therefore inexorably infused with a yearning for national identity.

Exhibition: From Brucke To Bauhaus at Galerie St. Etienne

Posti di Vista 2009

"Posti di Vista 2009
un appuntamento imperdibile del Fuorisalone"

Progetto collettivo per il Fuorisalone, organizzato dai Laboratori della Fabbrica del Vapore, che nasce con l’intento di collegare il mondo della formazione con quello del lavoro, in termini di ricerca, sperimentazione e avanguardia.
La sesta edizione riflette sul concetto di Chilometro Zero in tutte le sue sfumature: valorizzazione del territorio, abbattimento dei costi e delle conseguenze del trasporto merci, recupero della sfera locale, maggior controllo sulla qualità e risparmio economico.

COMUNE DI MILANO - Posti di Vista 2009