The exhibition Quand les formes sont attitudes gathers works whose manufacturing process can be likened to performance, while creating a permanent form. Those forms are linked to an attitude, in the broad sense of the word : an action, a process, or even an ideology. In this exhibition, the process induced by the realization of the works questions the rite or ritual, whether they are real, acted or fantasized, public or private. It also shows the performance from an unusual point of view : what endures as a work after its ephemeral realization ?

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Galleria Monica de Cardenas is pleased to announce the exhibition “Drawing in Space”, in which are shown sculptures and installations by eight artists who have expanded drawing into real space since the 1950ies until today.

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In 1971, Robert Overby went to a derelict, burned-out building in Los Angeles called the “Barclay House”, painted thick layers of latex rubber directly onto the building facades and architectural fragments, let the latex harden, and then peeled it off. The resulting serial castings recorded every bump, scratch and blemish on the house in meticulous detail, mapping out air vents, pipes, patch repairs, and grooves that marked the edges of the cladding.

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Commemorating the centennial of the birth of Kati Horna (Szilas-Balhas, Hungary 1912- Mexico City 2000), celebrated in 2012, Museo Amparo in collaboration with the Jeu de Paume in Paris, present the homonymous exhibition Kati Horna, with the intention of generating international recognition of this versatile photographer of a committed humanism, highlighting her unique creativity and contributions made to the development of photojournalism and photo-essay.

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Laura Bartlett Gallery is pleased to present The Walk…in green, our fourth solo exhibition with artist Becky Beasley.

Robert Walser’s relatively long short story, The Walk, is the story of a day in the form of a walk ending at nightfall. Along the way the story unfolds through domestic, urban and country landscapes. It is a kind of straight story (A to B), which nevertheless proceeds by a shaggy dog method (via C). It is a model for the exhibition.

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The Power Plant is pleased to present the first solo exhibition in Toronto by the renowned British artist Mike Nelson. Nelson is best known for his large-scale installations, in which visitors move through immersive spaces of his invention. The artist is creating new, site-specific work that is dramatically transforming the gallery’s space to explore the ideas of travel, the road trip and the journey, themes that are at the heart of Mike Nelson: Amnesiac Hide.

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“Shakti”

Shakti is primordial cosmic energy and represents the dynamic force through which the whole universe moves.

Shakti is the personification of the divine feminine creative power.

Brand New Gallery is pleased to present “Shakti”, an all-female collective that provides a bird’s-eye view on contemporary artistic practices adopted by emerging and established artists at an international level.

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Churner and Churner is pleased to announce Jordan Kantor’s second solo exhibition at the gallery.
This exhibition will comprise a wide-ranging selection of interconnected works, indicative of the artist’s diverse studio practice.

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For its new show, Art: Concept is glad to present Nathaniel Mellors’s work. This project has been set-up in collaboration with Gallery Monitor (Rome), which represents the artist, and is to be considered as the first of a series of exchange-projects between the two galleries. Born in 1974 in Doncaster (England), this artist, who lives and works between Los Angeles and Amsterdam, develops an art based on film-making; writing scripts as well as directing and editing them, and working closely with actors such as Patrick Kennedy and David Birkin. To these films, he adds works based on sculpture and photograms, such as the ones that can be seen in this show. His studio works incorporate humor, irreverence, the poetic and the absurd but to address themes of ownership, history, power, morality etc. By drawing inspiration from the techniques linked to cinematographic fictions, he inscribes his work within given contexts of the social reality that he questions and analyzes. He explores our tastes, morality, habits and the various ideas anchored in our collective memory.

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A new exhibition of recent works by ten contemporary artists tracing a growing interest in the pollution and breakdown of systems and processes. Slippages and spillages, disruption and contamination characterise sculptural, film and installation works.

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Collaboration is the most important component of Marinella Senatore’s concept of art. The Italian artist (*1977) involves thousands of people in her elaborate projects as producers, writers and in other roles to create, for example, parades, operas and radio programmes. She is not only concerned with triggering social processes but also with questioning concepts such as community and social responsibility, finding new narrative forms and ultimately in generating a collective memory through joint action. Kunst Halle Sankt Gallen is showing documentary material and the results of several of her projects, for instance in the form of films, and is launching a new particípative venture: Estman Radio.

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From January 18th to March 31st the gallery Vera Munro presents new works on two floors. Dorner continues the very new group of objects, which he did for the first time in 2010, now with oil, acrylic and paint on wood.

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The notion of circularity applied to historiographical inquiry is a reoccurring theme in the work of Jorge Satorre. We can understand in this concept the necessity of continuous interchanges among shifting points of view, analyzing details of isolated or apparently anomalous occurrences in the historical fabric in order to compare them with generalized or hegemonic versions. The proposal for Satorre’s second solo show in the Gallery arises from the result of a movement in this direction, towards a new context of inquiry.

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Luxembourg & Dayan is pleased to announce ‘A Not So Still Life’, an exhibition of two significant late paintings by Lucian Freud (1922–2011), presented alongside other modern works in juxtapositions that invite new associations and insights into the art of a 20th century master.

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The structure of the show is simple. A single large room (the Shed, the pitched-roof building that leads into the central body of the Hang- ar) with five works: one per corner, and at the center, the installation 432 Hz (2009), which could be seen as the autobiographical linchpin of the system. It helps to know that a few years ago the artist moved to Greece, where she keeps bees. Created for the group show “Barock” at the MaDRE museum in Naples, the work consists in a pavilion made of wooden panels, containing backlit beehive frames. Assaël has created designs on them by sealing some cells with wax, in various compositional schemes – as if the social life inside had arranged itself into transitory formations or atypical patterns. When a visitor enters, the sound is activated: a buzz at the frequency of 432 hertz— i.e., cycles per second – considered particularly “organic,” because it is a multiple of 8 Hz, the base frequency of the Earth (much of the world’s music was tuned to this natural pitch until the Fifties, when the International Standards Organization decided to set standard pitch at 440 Hz, which is now shared by all electronic instruments). A geographic echo also reverberates in the title of the exhibition, which is not a word but an untranslatable sequence of sounds and syllables, like the onomatopoeic reflection of a place: ILIOKATAKINIOMUMASTILOPSARODIMAKOPIOTITA.

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Pavel Pepperstein “Debris of the Future”

Pace London is pleased to present an exhibition of new drawings and paintings by Pavel Pepperstein from 11 February to 15 March 2014 at 6-10 Lexington Street. “Debris of the Future” will be Pepperstein’s first exhibition with Pace and coincides with the UK-Russia Year of Culture programme initiated by the British Council and the Russian Ministry of Foreign Affairs. At once intriguing and confounding, Pepperstein’s pictorial language appropriates the Suprematist iconography of the Russian avant-garde, impregnating its minimalist forms with mysterious figures drawn from Russian folklore, Hollywood films, science fiction and the artist’s own ingenious fantasies.

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