Jennifer Boysen, Kadar Brock, Donna Huanca, Evan Nesbit, Nicholas Pilato, Graham Wilson, Jeff Zilm
Jennifer Boysen, Kadar Brock, Donna Huanca, Evan Nesbit, Nicholas Pilato, Graham Wilson, Jeff Zilm
Artists: Dagrun Adalsteinsdottir, Una Margret Arnadottir, Ed Atkins, Jordan Baseman, Hanna Kristin Birgisdóttir, Margret H. Blondal, Helga Griffiths, Francesca Grilli, Styrmir Orn Gudmundsson, Graham Gussin, Anne Haaning, Kolbeinn Hugi Hoskuldsson, Selma Hreggvidsdottir, Hekla Dogg Jonsdottir, David Kefford, Raul Keller, Kris Lemsalu, Katarina Lofstrom, Ragnar Helgi Olafsson, Beatrice Pediconi, Finnbogi Petursson, Sally O’Reilly, Ene-Liis Semper, Margret Helga Sesseljudottir, Helgi Thorsson.
Raymond Boisjoly, Matt Browning, Aaron Chan, Andrew Dadson, Zachari Logan
The exhibition space is turned into a stage for moving images. Just as actors have their roles in a play, the individual works here also have their entrances and exists. Presented in differing projection situations, the films, short and long loops as well as filmic triptychs that are linked cyclically stand in a spatial and temporal relationship to each other. The sequence of the pieces is consequently structured in an infinite filmic loop and accordingly functions as a connective stylistic means. The arrangement of the individual works follows a complex score that is targeted at their atmospheric interaction on the one hand as well as to enable the viewer to focus on each of them individually on the other. In the process, motion and immobility, sound and silence, the mysterious and the banal in Franceschini’s pictorial world are interwoven.
Quinlan takes the exhibition as a critical stance, in which different aspects of her work over the past ten years are unfolded and re-read. The inventorying and editing of the images opens up a field of mediations between the original prints and their final display, allowing Quinlan to address questions of seriality, abstraction and indexicality. Repetition and size are at play in the form of single images, diptychs or full editions, explicitly reiterating the artist’s own steps. Instead of proposing a linear reinterpretation of her work, Quinlan posits a circular temporality; revisiting, reusing and putting images from different times in contact, making them contemporaneous.
with David Douard, Liz Craft and Jesse Stecklow
Una Donna, che tiene la destra mano alta; con la sinistra un’Asta, & si posa colli piedi sopra una Base quadra. La mano alta è indicio di pertinace costanza ne’ fatti proponimenti. La Base quadrata significa fermezza, perche, da qual si voglia banda si posi, stà salda, & contrapesata egualmente dalle sue parti, il che non hanno in tanta perfettione i corpi d’altra figura. L’Asta parimente è conforme al detto volgare, che dice, Chi ben s’appoggia, cade di rado. Et esser costante non è altro, che stare appoggiato, & saldo nelle ragioni, che muovono l’intelletto à qualche cosa.
Jon Pestoni’s paintings are proposals, formal experiments in which competing, even contradictory, aesthetic positions co-exist, often within the same work. They are documents of an ongoing process of self examination, cancellation, and improvisation in which the desired result is not only visual surprise but also the continual rediscovery of how art feels in real time, on a moment-to-moment basis.
Pictures & Scripts is a series of 20 new paintings that juxtapose still images appropriated from black and white films with excerpts from fictive narrative film scripts. Removed from their original contexts, these appropriated film stills capture moments of paused action, within which selected forms have been discretely over-painted in monochrome fields. The excerpts of dialogue between unknown characters hint at conversations between art world insiders, humorously denuding the commercial arm of the art industry. The lineage of these diptychs can be traced back to Baldessari’s early experiments with text and image in the mid-1960s, wherein empty canvases were painted with statements derived from contemporary art theory, one of which, Space, 1966-68, will be presented in the Paris exhibition.
Although many people are familiar with Meyer Vaisman’s art, he has been largely absent from the art world in recent years. After a final show at Gavin Brown’s gallery in 2000, he dropped out from the New York arts scene. The farewell display included a life-sized effigy of the artist’s therapist in New York, holding a harlequin’s suit in her hands that was patched together from clothes belonging to his parents. In retrospect, the Freudian overtones in the piece seem ominous: Vaisman subsequently suffered a series of psychological and emotional blows that ultimately led him to a new kind of spiritual devotion.
Margaret Honda, “Sculptures”
On the occasion of the twentieth anniversary of Triangle France, Margaret Honda presents a project that is both a site-specific work and a retrospective approach to her practice.
Since the 1980s, she has been making works that include sculptures, performances for both general and intimate audiences, photography, and, more recently, film. A common thread is the artist’s investigation into the sculptural qualities and attributes of art, which she recognizes as an intrinsic element of all of her production. Invested in a nonlinear and atemporal approach to history, Margaret Honda has made use of biographical elements, reinterpreted previous works—by actually melting down existing sculptures—and highlighted specific modes of cultural production throughout history. In all cases, these initiatives do not stem from a project of nostalgia but rather from an active engagement with historicity, continuously interweaving different points in time to produce work infused with the present.
The “Real Humans” exhibition presents works by Ian Cheng, Wu Tsang, and Jordan Wolfson, three young American artists, who each, in their own way, reflect on the conditions of what it means to be a human being in their multimedia pieces. Each of them takes on a different perspective, examining socio-cultural, biological, economic or psychological structures into which the human being is integrated and which he participates in generating or even changing. Insofar as the artists have a space of their own to present their works, the exhibition format allows for an “experience space” for singular encounters as well as linkages between the three positions. “Real Humans” represents Wu Tsang’s and Ian Cheng’s first institutional exhibition in Germany, and both artists have developed new works for this show.
This exhibition will connect artists from around the world, united by a common medium: the abstract white relief. From the earliest unfoldings of figuration by Henri Laurens produced in Paris to the harmonious constructions of the Brazilian Sergio Camargo, “Sotto Voce” will map the progression of the abstract white relief geographically and through time, with a focus on the 1930s to 1970s.
An accordion takes a deep breath, filling the extent of its interior cavities. It can accept all types of gases; toxic, smoky, dusty, clean, no matter what, it indiscriminately takes all matter around. In its most unfurled state you will notice each of the ribs along its bellow, flexing and drooping down. When satisfied with its inhalation, it collapses slowly letting out a choir of harmonies that echo the crevasses of its bosom. And everything that was inside is being pushed out to fill the halls of our ears or the surrounding flanks in new mixtures and temperatures, either being sucked back again into the caverns of the instrument or settling in carefully sorted layers somewhere else. see more
Hassan Khan has named his exhibition after a novel published in 1974 by the American sciencefiction author Philip K. Dick. Set in a futuristic America, the story is about a world-famous television star who, after an attempt on his life, wakes up in a shabby hotel room only to realize that the world no longer knows who he is. The solution to the riddle is in the discovery of a reality-distorting drug which has catapulted him into a parallel world. Both in the title and between the individual chapters, a famous song by the English composer John Dowland (1562–1626) is quoted.
Maaike Schoorel’s work is informed by her research into the human mind’s ability to perceive and understand the visual world. The subjects of her paintings appear at once recognisable and elusive. Using photographic source material of people, places and objects Schoorel’s compositions simultaneously appear and dissolve into the canvas.
The perceptual systems of the brain enable individuals to see the world around them as stable, even though the sensory information is typically incomplete and rapidly varying. Human and animal brains are structured in a modular way, with different areas processing different kinds of sensory information. Some of these modules take the form of sensory maps, mapping some aspect of the world across part of the brain’s surface. These different modules are interconnected and influence each other. see more
Rod Barton is delighted to present “Blue Pacific”, the first solo show at the gallery by Lauren Elder. Fascinated by the language of objects, symbols and logos, Elder, through her sculptural practice attempts to find parallels between these themes and explores the unique way in which they function as an alphabet and map. Through appropriation of existing forms and symbols and their subtle manipulation, Elder has twisted their language to become adapted and unique to her. These new forms then create their own fictionalised history that runs alongside any prior narrative that the object or symbol has enshrined within.
poets and artists express a view of the world as a collage of passing fragments.
there is no bigger picture or a linear logic here, only transitory images and words,
seen as if rushing past the windows of a train. (Ugo Rondinone)