Hans Peter Feldmann, Joe Hamilton, Anna Kristensen, Mario Milizia, Taisuke Mohri, Macoto Murayama, Shuichi Nakano, Wieland Payer, Annalisa Pintucci, Wang Qiang and Lorenzo Vitturi
Caroline arranged to meet me at the Louvre to look at the pieces she would be showing during “Bal”, organized in Pistoia.
We met up under Rubens’s Exchange of the Two Princesses of France and Spain. It was right there, flooded with divine light, beneath a cornucopia overflowing with drops of gold, mother-of-pearl pearls and roses, that we would imitate the gesture of agreement of the two princesses, and finish writing this text.
Murphyʼs sculptures are like drawings in space: the play between line and volume, space and lightness, is central to his work. These qualities inform his exploration of patterns that define and re-present the patterns integral to organic forms. Furthermore, the works engage with the microcosm and macrocosm of structures found in nature, acting like a lens that zooms in and out of woven fabric, foliage, or cells, revealing hidden or invisible structures, while remaining essentially abstract.
Eva Koťátková takes as her central theme the individual’s relationship to normative social structures and institutions, such as the government, school, the family, and the hospital. An obsessive collector of historical books on psychology, medicine, and social science, images culled from these sources appear time and again in her installations, collages, and drawings. While frequently appearing grotesque, Koťátková ‘s work often strikes a poetic or darkly humorous note. Along with Czech Surrealism and Absurdist fiction, the artist counts slapstick and Charlie Chaplin among her sources of inspiration. Throughout her work, she gives form to the invisible, disciplining force exerted by rules, conventions, and rituals.
Jean-Luc Blanc, Whitney Bedford, Judith Bernstein, Marvin Gaye Chetwynd, Lothar Hempel, Celia Hempton, Hedwig Houben, Tatiana Rihs, Walter Robinson
The exhibition entitled “The Big Game” is a non-linear trip through 35 years of artistic practice. Focusing exclusively on works on paper, “The Big Game” begins with drawings from the early 1980s—done for the design group Memphis of which Du Pasquier was a founding member—and follows her creative journey until today.
Duncan Campbell, Lia Forslund & Franek Wardynski, Ximena Garrido Lecca, Han lshu, Toril Johannessen, Gabriel Kuri, Joao Vasco Paiva, Heidi Voet, Hannes Zebedin
For his second exhibition with the gallery the artist presents a new body of work in which the notion of surface capture is approached from multiple directions. Drawing
upon a collection of three-dimensional scans of classical statuary in which subjects such as animals, martyrs and satyrs are depicted flayed, the artist has produced three
cast carbon fiber skins. These eviscerated forms are shown alongside a calfskin scale model of the gallery that has been flattened by the form of a sickle.
In “After the Riot II”, his third solo exhibition with Galerie Guido W. Baudach, Erik van Lieshout presents a new video installation and works on paper addressing the effects of various contemporary political problems and social conflicts. With reference to concrete examples from his native Holland, and in a unique personal mode that is as engaged as it is confrontational, van Lieshout investigates the relationships between the public and the political spheres and between the individual and society.
Marvin Luvualu Antonio, Nadia Belerique, Diane Borsato, Lili Huston-Herterich, Karen Kraven, Abby McGuane, Brian Rideout, Brad Tinmouth
For his first solo exhibition at the gallery, Alessandro Pessoli presents a series of new paintings, which reinterpret some traditional genres of painting with a personal, intimate and almost emotional approach.
“The Passion according to Carol Rama” offers an overview of a multi-faceted body of work, its scenography taking the form of a fragmented “anatomy” that combines the chronological and the thematic in a thoroughgoing revelation of Rama’s obsessive complexity.
Shifting between modes of perception, from a galaxy of fruit, to a detailed re-construction of a picnic scene to found abstractions that reveal themselves, Peter Coffin’s exhibition is a quest to visualize the spectrum between the micro and the macrocosms and our understanding and position within the two.
Indipendenza, STANDARD (Oslo) and Mehdi Chouakri are pleased to announce “Reciprocal Score,” a two person exhibition of work by Tauba Auerbach and Charlotte Posenenske.
WHITEOUT is a natural condition, found in polar regions, in which uniform illumination from snow on the ground and from a low cloud layer makes features of the landscape indistinguishable, causing a loss of orientation. WHITEOUT also refers to Thomas Wachholz’ technique of whiting out the color on the canvas with ethanol.
Luc Fuller, Aidan Koch, Sarah McMenimen, Alexandra Noel, Megan Plunkett, Elliott Wright
Villa Croce returns to being a private home decorated with design furniture hosting more than eighty works from an extroardinary Genovese collection never publicly exhibited.
The works rigorously selected with a visionary outlook on the developments of contemporary art, are the result of a passion Rosetta Barabino shared with her youngest son that in more than thrity years took them visiting galleries and contemporary exhibitions in all of Italy.
“We’ve Got Mail II” is a continuation of We’ve Got Mail, which took place in April to July of 2014. Part of MOSTYN’s history series of exhibitions, the sequence of We’ve Got Mail shows (of which there will be a total of four) respond to the context in which they are placed—a former postal sorting office into which MOSTYN’s galleries were expanded in 2010.