Art: Concept is glad to announce Roman Signer’s fourth personal exhibition at the gallery.

Since the mid-seventies, Roman Signer has showed and re-enacted paradoxes. The mini-shows and non-happenings generated by his sculptures, installations and performances and documented by his videos and photographs form a permanent questioning on the economy of entertainment. With a light approach, his work tackles modern concerns such as efficiency, performance or productivity, as well as our deeply rooted obsession with functionalism.

Views of Roman Signer's exhibition @ Art: Concept, Paris

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Mousse is delighted to invite you to an exhibition of new works by Keren Cytter at David Roberts Art Foundation and Pilar Corrias Gallery.

Playing with the specific geographic situation of the two sites, Cytter creates a single project in four parts, produced both in Berlin and London. The artist alters the formula of the conventional solo presentation by unravelling her exhibition across the two spaces.

Following on from this unique project, from 15.02.2011 at DRAF Cytter releases her authorial control by inviting artists Willem de Rooij and Falke Pisano to select the content of her exhibition.

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All photos: dreusch.loman, 2010

Absalon engages himself with spaces in systematic and successive ways. By taking questions around essential human activities and basic forms such as the rectangular, the square, the triangle and the circle as his starting points, he begins by emptying out the encountered spaces before restructuring and refilling them with the help of simple forms. These test assemblies, further developed later on by means of objects, drawings, photographs and films, come to a full circle in Absalon’s Cellules: individualized, ascetic living units for contemplation based on the measurements of the artist’s own body. Reduced to a vocabulary of strictly geometrical forms these pieces convey a sense of absolute abstraction, yet without alluding to utopian ideas. Instead, they open up heterotopic spaces, which Absalon had planned to publicly position in six large cities in order to confront his physical existence with the corpus of society: “They are not meant to posit any solutions in terms of isolation. They have been made for living the social.” (Absalon)

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Clifton Benevento is pleased to present Back to the Old House, a group exhibition featuring film, sculpture, photography and installation by Marieta Chirulescu, Patricia Fernandez and Marjorie Keller. United by material manifestations of how fragmented memory and the personal archive can materialize as abstraction, Back to the Old House draws together a selection of works spanning over thirty years.

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Katharina Grosse is known for the vibrant palette and exuberant gestures of her large-scale canvases and raucous installations which merge painting, sculpture, and architecture. Wielding a spray gun instead of a brush, Grosse often paints directly on the walls, floors, or facades of her exhibition sites, altering the logic and scale of architecture itself. In an effort to liberate her works from the Euclidian space of wall and floor, Grosse also incorporates into her multidimensional paintings a variety of unexpected objects, including beds, clothes, balloons, shaped canvases, and soil. Joining these incongruous elements in a continuous flow of color, Grosse opens up a new path for painting while rearranging conventions, hierarchy, and our very habits of seeing.

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ÍNDEX is a new biannual publication of the Museu d’Art Contemporani de Barcelona (MACBA) on artistic research, thought and education. The journal aims to generate a new bibliography that participates in the renewal of culture and to become a test bed for the construction of a new critical language that encourages thinking from and through art.

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