Antonio Murado
Von Lintel Gallery is pleased to announce an exhibition of new paintings by Antonio Murado. The solo show, Murado’s first with Von Lintel Gallery and his sixth in New York, runs November 19, 2009—January 16, 2010.
Antonio Murado’s abstract compositions are bold. Rendered in shifts of variegated hues, rich fleshy tans are punctured by broad greens, grays and browns, highlighted with deep crimson reds. Large swathes of multi-layered color organically ooze and spread across the surface of the paintings. Yet once we’ve taken the composition in, studied the artist’s clever use of shape and color, it is Murado’s expert handling of material, coupled with the complex richness of his surface that causes us to linger.
At first glance, Murado’s smooth glaze appears unyielding on the paintings’ surfaces. One must fight their way through to get at the textured forms of color beneath—whole areas where, through combined tones and values and uneven application of layering, the texture of linen beneath the oil is left detected. However, a closer look reveals breaks in the picture plane. Thick dabs of paint build up the already heavily layered painting, lending the surface a three-dimensional quality. Other areas in turn are scraped, gouged and incised, the paint removed down to its base layer, exposing the linen beneath like a raw wound. Murado’s paintings are the result of both an additive and subtractive process, the artist simultaneously building up layers as he takes them away. The textured paintings take on a feeling of antiquity, a timeworn quality. And it is this, this notion of time, its ebb and flow, that we take hold of as we slowly make our way through the two-dimensional veneer of Murado’s paintings.
Antonio Murado’s work has been exhibited nationally and internationally for nearly two decades. His work is held by virtually every museum in Spain and is included in major public and private collections throughout Europe and the United States. A native of Lugo, Spain, the artist currently lives and works in New York.
VON LINTEL GALLERY - NEW YORK
SOUND ECOLOGIES: LISTENING IN THE CITY
SOUND ECOLOGIES: LISTENING IN THE CITY
10am-4pm, Wednesday 18th November 2009
Department of Music, City University London, Northampton Square, London EC1V 0HB
A day of presentations, participatory workshops and informal performance around themes of urban sound, networked sound, locative media and acoustic ecology – the relationship between living beings their environment, as mediated by sound.
More info http://www.furtherfield.org/soundecologies.php
Nollywood
Hugo, vincitore di prestigiosi premi internazionali come il World Press Photo Award, lo Standard Bank Young Artist Award for Visual Art e il KLM Paul Huf Award, è uno dei fotografi più rappresentativi della sua generazione. Alcuni tra i musei più importanti del mondo, come la Tate Modern di Londra, il Centre Pompidou di Parigi, la Kunsthalle Wien di Vienna, hanno esposto il suo lavoro.
L’ultima serie fotografica dell’artista, Nollywood ( in anteprima italiana ad e x t r a s p a z i o) è un excursus nei “dietro le quinte” della terza maggiore industria cinematografica al mondo: Nollywood Nigeria.
La mostra verrà inaugurata mercoledì 25 novembre 2009 alle ore 19 e resterà aperta fino a sabato 9 gennaio 2010.
e x t r a s p a z i o
Donkijote.org
Érase esta vez un ingenioso burro con su armadura digital y sus andantes caballeros. Un cuento contemporáneo en vivo en LABoral Centro de Arte de Gijón a partir del 24 de septiembre y por los caminos de Asturias.
Donkijote.org - cuando los burros caminan en internet
Omer Fast
"In three parts Nostalgia weaves together the story of a London-based asylum-seeker with a stylised re-enactment of his story shot in the genre of a 1970s science fiction film. As such we witness a contemporary recollection of displacement and loss in a film narrative that is set in the future but which appears to have been produced in the past.
Tigerlily's two short films for acclaimed artist Omer Fast's installation which is showing at The National Gallery of Modern Art in Berlin on the 11th September 09, The South London Gallery on the 6th of October 09, and The Berkeley Art Museum later this Autumn."
Tigerlily :: Nostalgia
via artkey 12 cover - Teknemedia.net - l'arte contemporanea in italia
Julie Roberts and Moyna Flannigan
The work of Julie Roberts (born 1963 in Flint, North Wales) and Moyna Flannigan (born 1963 in Kirkcaldy, Scotland) has in common a preoccupation with the effects of power on women: power of institutions, political and social constraints and the family. The ghostly double and the shadow, which refer to our deepest subconscious, permeates the work of both Roberts and Flannigan in ‘Beautiful Shadow’.
Moyna Flannigan, Beautiful Shadow, 2009,
oil on canvas, 40 x 30 cm
oil on canvas, 40 x 30 cm
In the painting Beautiful Shadow Flannigan places a colossal woman constructed from a flow of lava-like paint against a landscape which appears dwarfed by her powerful physical presence. The tension lies between her personal state, the chaos surrounding her and the force of the paint. Is she the destructive force? Or a symbol of the debris? She appears not quite wholly alive, having skeletal arms, but seems eternal, far from dead. Flannigan creates a concrete reality comprising the uncertainties of dream, memory and experience. She draws on reference points such as Kafka’s The Trial. Or she uses newspaper images which become, worked and reworked, independent of their source, as they are transformed by memory and imagination into an alternative but no less truthful reality.
Flannigan is represented in numerous public and private collections worldwide including The Aberdeen Art Gallery, The Scottish National Gallery of Modern Art, Edinburgh, The Saatchi Collection, London, The Deutsche Bank, The City Art Collection, Munich, and The NatWest Art Collection, London and in several private collections in the Netherlands.
Moyna Flannigan lives and works in Edinburgh.
Roberts paintings are pervaded by her interest in the intangible and insidious power that seeps down from the Social Body to the individual. There has always been the pressure from society for women to conform, as in Freud's words to 'a potential helper or sexual object'. A series of watercolours and oil paintings on the subject of The Good Wife notate the activities expected of a British housewife in the period from the 1930-1950's. Inspired by a book handed down to Roberts from her grandmother, she painted scenes which reveal an anthropological glimpse of the subtle dynamics of political power within family life.
Julie Roberts, Air Dried, 2009,
oil on canvas, 61 x 46 cm
oil on canvas, 61 x 46 cm
Roberts is represented in numerous public and private collections worldwide including The Hirshhorn Museum, Washington, DC, Indianapolis Art Museum, Indiana, The Tate Gallery, London, The Scottish National Gallery of Modern Art, Edinburgh, The National Museums and Galleries of Wales, Cardiff, Centre National des Arts Plastiques, Paris, The Moderna Museet, Stockholm and Serralves Museum of Contemporary Art, Oporto, Portugal and in several private collections in the Netherlands.
Julie Roberts lives and works in Carlisle, England.
Current exhibition - akinci.nl/
After 1973
Charlotte Fogh Contemporary presents:
Luis Guerra & Paula Cobo: After 1973
Opening: Friday November 20th from 4-7 pm
November 20th - December 19th 2009
The artists will be present at the opening.
Charlotte Fogh Contemporary has the great pleasure to present Luis Guerra & Paula Cobo’s exhibition, "After 1973".
“After 1973” refers to the period after president Allendes’ coup in Chile September 11th 1973 and the following consequences for the artists in Chile . The suppression by the military dictatorship resulted in a resistance, which was expressed by a new conceptual approach to art inspired by German conceptual art and Joseph Beuys. This, combined with a new vitality and freedom provides the setting for the young artists of Chile today.
"After 1973" is the artist's first exhibition in Denmark. Through various media; drawings, text, paintings, installation, video and objects Luis Guerra & Paula Cobo are exploring the historical and social memories from the period after 1973.
Since 2008 Luis Guerra & Paula Cobo have been travelling with their art project, I-am-a-gallery, which is a travelling platform for investigation of the conceptual contemporary art. Furthermore they are represented by the gallery Alice Day at Bruxelles. In 2010 Luis Guerra has a soloexhibition at Museum of Modern Art in Chile, and Paula Cobo has received a two year grant for San Francisco Art Institute.
CHARLOTTE FOGH: Contemporary art
Serge Poliakoff
Serge Poliakoff, le suprÍme peintre de l`Abstraction
20 novembre 2009 - 15 gennaio 2010
inaugurazione: giovedÏ 19 novembre, h. 18,30
A quarant’anni dalla sua scomparsa, Lorenzelli Arte celebra Serge Poliakoff, artista russo, naturalizzato francese, con il quale ha intrattenuto rapporti continuativi a partire dagli anni ‘60 e, unica in Italia in maniera costante e organica, ne ha proposto l’opera in piu' di un’occasione.
La prima esposizione di Serge Poliakoff curata dalla Galleria Lorenzelli risale infatti al dicembre 1970, l’anno successivo a quello della scomparsa dell’artista, e fu fatta nella sede di Bergamo. Una successiva mostra fu realizzata a Milano nel 1982 nella sede di via Sant’Andrea.
Questa rassegna che aprira' al pubblico il prossimo 20 novembre e che mutua il titolo da un’affermazione che Kandinskji fece sul suo amico Poliakoff -giudizio peraltro condiviso dalla maggior parte della critica contemporanea all’artista- presenta un nucleo di opere realizzate tra il 1952 e il 1968 molte delle quali di proprieta' della Galleria che le acquisto' direttamente dall’artista oltre a diversi lavori provenienti da importanti collezioni private.
Trenta le opere esposte -per la maggior parte oli, tempere e una interessante serie di ceramiche- tutte realizzate durante quello che e' considerato il periodo migliore dell’artista tra l’inizio degli anni Cinquanta e gli anni Sessanta quando, lontano da ogni influsso banalmente post-cubista, fondamentale nella cultura visiva francese, tenta la definizione di uno spazio totale, costruito ma non frazionato nella serie dei suoi componenti. Poliakoff arriva all’astrazione alla fine degli anni ‘30, ma e' dopo la guerra che elabora progressivamente la sua cifra definendo con strati di colore le forme irregolari incastrate le une dentro le altre e creando accostamenti netti ma vibranti che danno l’impressione della profondita' in modo che la tela obbedisca ad una necessita' strettamente plastica.
Rapidamente riconosciuto come una delle personalita' piu' originali dell’astrazione moderna, Serge Poliakoff ha saputo definirne con la sua pittura una versione singolare e unica, equidistante dalla stretta geometria -che giudicava troppo fredda- e dalla improvvisazione gestuale, cara ad artisti a lui contemporanei, definendo le sue campiture stratificate sulla tela con rigore e sensualit‡ ereditati dalla sua cultura di derivazione e evocatrici della tradizione delle antiche icone russe.
La mostra rappresenta una rara occasione di cogliere con un ampio sguardo la fase piu' significativa del lavoro che tanto celebre lo ha reso nel panorama artistico internazionale. Per l’occasione sara', come di consueto, pubblicato un catalogo con le riproduzioni a colori di tutte le opere e un completo apparato critico-bibliografico. Il catalogo sara' disponibile in galleria.
www.lorenzelliarte.com
LA SUITE
LA SUITE involves follow-up in both senses of the term: it comes after, and it reveals forms of kinship. These latter may be formal or referential, but can equally be exaggerated and invite circumspection. We follow just as we are followed. No work is heredity-free, even if each invents its own history of art; but its decision is that of whom to follow, not of who will follow it. LA SUITE, by contrast, decides on which works follow; but it writes its own history – and, indirectly, that of the works it embraces.
Air de Paris - Now
LIVING SCULPTURES
Christian Jankowski, Dali Woman, 2007CHRISTIAN JANKOWSKI
LIVING SCULPTURES
SCHINKEL PAVILLON
14.11.2009 – 20.12. 2009
Opening: Saturday 14.11.2009, 7 - 10 pm
Curator: Nina Pohl / Stephan Landwehr
Oberwallstrasse 1
10117 Berlin
www.schinkelpavillon.de
Five Weeks of Expenditure, Squander, and Idleness
Five Weeks of Expenditure, Squander, and Idleness
October 7 – November 14, 2009
Azorro, Ada Bell, Liudvikas Buklys, Angela Bulloch/Liam Gillick, Heinrich Dunst, Sara Glaxia, Igor Grubić, Felix Kaufmann / Walther Soyka / Robert Reinagl, Paul Lynde, Momus, Darius Mikšys, Max Peintner, Manfred Pernice, David Schulman, David Woodard, Jonas Žakaitis
»Verausgabungssymposium« is a show with a very open structure that includes artworks as well as performances and lectures (which are in part considered performances, too) dealing with expenditure, squander and idleness – the unproductive or the superfluous, the investment without return, the dissipation of accumulated wealth (like a feast for instance) …
The exhibition starts with three contributions and an empty space. In the next five weeks the exhibition spaces are going to be gradually filled; only on the last day of the show will it be visibile in its entirety.
COCO
Arte + 2009 - La Habana Digital
Arte + 2009 - La Habana Digital
Arte + Nuove tecnologie
La giovane arte cubana fa tappa per il secondo anno alla Fabbrica del Vapore.
Il tema è quello del digitale e delle nuove tecnologie.
Mostra collettiva, rassegna video, workshop, reading poetico e musica per un completo scambio culturale.
artisti: M. Abad, A. Alvarez Zenea, F. Cardena, Desiderio, L. Diaz, J. Gutierrez, N. Julian e Y. Ramirez
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