Bridget Donahue presents “Vertical Elevated Oblique,” a new body of work from Martine Syms. For her first solo show with the gallery, Syms was inspired by a riff on a popular joke. “Everybody wanna be a black woman but nobody wanna be a black woman.” Using the 17th century text Chirologia: Or the Natural Language of the Hand as a guide she created an inventory of gestures for performance.
After two first collaborations towards projects mixing art and architecture (Here’s the spheres ;p’ by Antoine Dorotte in 2013, and Présence Stratégique by Vincent Mauger in 2014), Les Champs Libres and 40mcube come together once more around the work of Hans Op de Beeck. By inviting this captivating, multi-disciplinary artist, it is confirming a belief in the narrative power of art and its capacity to elicit stories and emotions.
Marianne Boesky Gallery is pleased to present an exhibition of new work by Andisheh Avini, the artist’s second solo show at the gallery.
Andisheh Avini’s practice thrives on the juxtaposition of patterns, materials and East/West influences, employing the ensuing collisions to challenge the symbolic implication of imagery and to explore the visual experience of memory. For this exhibition, Avini will utilize the townhouse’s unique architecture to expand upon his particular interest in the domestic realm, re-staging and challenging his visual memories with compelling tableaux vivants that allude to the past while remaining firmly rooted in the present.
Galerie Guido W. Baudach is pleased to present its first exhibition of works by Cologne-based artist Tamina Amadyar. Born in Kabul in 1989, Amadyar grew up in Germany from the age of five and is a graduate of the Kunstakademie Düsseldorf. Her autobiographically inspired paintings engender a specific type of cultural transfer while also combining figuration and abstraction with a rarely seen lightness and concision.
Amadyar’s work proceeds from spaces, or rather her memories of spaces. These usually hark back to her childhood in Afghanistan, or, if they are more recent, are overlaid with patterns of perception that correspond to that time.
“So Much More Than the Sum of Its tropes” is a beautiful sentence by critic and writer, Jo Walton, referring to Theodore Sturgeon’s sci-fi masterpiece The Dreaming Jewels published in the US in 1950 and then translated and reprinted in many different countries and many editions.
A “trope” is the use of figurative language via a word, phrase or even an image for artistic effect.
Conversation between two people whose identity is unknown to date, recorded by an individual ‘authorised to assist’ on 08/07/1932 from 8:26 p.m. to 9:26 p.m. at a hotel bar.
T: What year is it?
T: You said that the photo dates back to 1937 but the calendar on the wall shows that it is 1936.
There are countless families of beautiful birds in Ukraine. Thousands fly chirping through the leaves of the acacia trees, perch lightly on birch branches, ears of wheat, and the golden rims of sunflowers, pecking seeds from their big black eyes. They sing in flight with the roar of howitzers and the stutter of machineguns in the background, warplanes screaming high over the immense Ukrainian plain. They alight for a moment on the backs of the soldiers, ride in the saddles and the manes of the horses, on artillery mounts and rifle barrels, the turrets of the Panzers, and atop the boots of the fallen. They have no fear of the dead. They are minute, swift, cheerful birds. Some are gray, some red, some yellow. Only the chests are red or turquoise on some. Only the neck or tail on others.
Ricky Swallow uses humble, ordinary materials to create precisely rendered objects that he then casts in bronze. The unique works that result are expressions not only of the objects’ constructed forms, but also of the process of transformation by which an otherwise inert grouping of forms becomes a sculpture. Swallow is invested in equal measure in the making of things and the testing of concepts; in hands-on work with cardboard, tape, and glue and the mediated potentials of the foundry; in the immediacy of craft and the austere elegance of geometric abstraction. His work therefore appeals directly to the senses while retaining the ever-curious philosophical register of a Socratic dialogue. As if to emphasize this, Swallow has installed the works in “/SKEWS/” so that they can respond directly to each other, often eschewing standard hanging heights and calling attention to the spatial qualities of the gallery space itself.
Situations in which the explicable and rationally comprehensible are confronted with the impenetrable represent one of the central areas of interest of the artist duo João Maria Gusmão + Pedro Paiva. Their work consists of films, photographs and camera obscura installations as well as sculptures, and it presents physics experiments, natural processes and everyday or historical episodes. These are usually associated with mysterious and not infrequently also extrasensory aspects. The seemingly scientific, objective view of things that simultaneously defines many of their works introduces the inexplicable into our familiar reality, but without ridding it of its enigmatic quality.
“Cannibalism is the only thing that unites us. Socially. Economically. Philosophically.” (Oswald de Andrade, Cannibalism Manifesto)
Andrew Kreps Gallery is pleased to present “Persistence. Repeated,” an exhibition devoted to the work of Robert Overby (1935–1993).
This exhibition follows the travelling retrospective, “Robert Overby. Works 1969–1987,” which in 2014 and 2015 was staged at four European institutions: the Centre d’Art Contemporain in Geneva, the Galleria d’Arte Moderna e Contemporanea in Bergamo, the Bergen Kunsthall and Le Consortium in Dijon. Curated by Alessandro Rabottini, this survey was accompanied by the most complete publication to date on the California artist’s work.
The Innocents features an image stream, an interview with Truman Capote’s desire, and shapes that correspond to the former through the instructions of the latter.
“Where to Start From” at MAXXI, Rome
MAXXI dedicates to Maurizio Nannucci, one of the most important names in Italian contemporary art from the 1960s to the present time, a major exhibition entitled Where to Start From, curated by Bartolomeo Pietromarchi.
Given the enthusiastic response to the first edition of Èdra, this curatorial project continues and expands its scope. This multi-venue exhibition includes the participation of foreign academies, international cultural institutes and embassies in Rome. The exhibited artworks of both Italian and international artists, even though situated in different physical locations throughout the city, follow one main theme selected by a different curator each year.
Galerie Rolando Anselmi is delighted to announce “Firma Matar,” the first solo show by Santiago Taccetti in the gallery space in Berlin. For this occasion, the artist will present a site-specific installation, which extends in both exhibition rooms and revolves around the idea of standardization and re-appropriation. Using materials reminiscent of the past, which like a familiar smell might conjure up a blurry memory of a collective unknown, the works dwell in that fuzzy space between fact and fiction. The pieces seem to revolve around a combination of instances or things you swore you had seen so many times before.
For his first exhibition at Valentin gallery, “Poison IV,” Brian Kokoska offers an installation that unfolds like a monochromatic total environment, home to a set of new paintings and sculptures. Initially limited to the plane of a painting, and then gradually extended to the exhibition space, the coloured tonality chosen for each series of paintings—in this case a swampy pale green and a ultimate-black—spreads its colour over the walls, carpet and ceiling, but also through sculptures and assemblages created from found items. All of the elements that make up this environment are merged and homogenised by an all-over chromatic, plunging the viewer into a layout whose spatial informations—depths, perspectives, scales, thickness, volume—are diminished and altered.