What does it mean to be both a painter and a sculptor in their most traditional guises, as well as an artist tied to transcribing reality at a moment in which the production and distribution of images has become so immediate and so intimately bound up with the way we live through our daily lives?
From the essay by Andrew Bonacina

The book, designed in close collaboration with the artist, is published to coincide with Daniel Sinsel’s first solo exhibition at Chisenhale Gallery, London, the first in a public institution. Produced by Mousse in association with Sadie Coles HQ, London, and with support from The Breeder, Athens, Office Baroque, Antwerp, and Galerie Micky Schubert, Berlin.

Book Launch Tuesday 1 March, 7 pm
Nicholas Cullinan, Curator of International Modern Art at Tate Modern, leads a tour of the exhibition.
This event is followed by a reception in the studio to celebrate the launch of the new monograph.

Chisenhale Gallery
64 Chisenhale Road
London E3 5QZ

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David Hammons
until March 4, 2011
L & M Arts, New York

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‘Eclipse’ is the first solo exhibition in an Italian institution of the Slovak artist Roman Ondák. At the Fondazione Galleria Civica, the artist presents a body of pieces that work as poetic counterpoints between the real architecture of the exhibition area and the imaginary architecture evoked by the artist. Each work merges into the exhibition space and cover the real architecture of the museum like a threshold that, when crossed, bring the visitor into a fantastic and dreamy dimension.

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For his first exhbition at Federica Schiavo Gallery, Salvatore Arancio has conceived a new series of works that follow his ongoing interest and investigation into ideas of nature and its merging with science, alongside the ability of myth and legend to introduce an exploration of the mystical.

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For his first solo exhibition at a Swiss institution, Navid Nuur created a ‘parallel’ world in the Kunst Halle Sankt Gallen, showing its innumerable possibilities for the generation of poetic moments with everyday materials. Our various senses, as well as other forms of perception such as reading and walking, play an important role in the reception of his works. “Post parallelism” is conceived as a system which generates internal references and itself becomes content. Full of small humorous gestures on the one hand and spectacular expansive installations on the other, this exhibition will remain in the memory of the visitors as a unique experience.

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Thomas Kilpper, Nora Schultz, Rebecca Ann Tess, Vincent Vulsma and Henrik Olesen are the 2011 winners of the Villa Romana Fellowship. At the beginning of February, the first four artists arrived in Florence and introduced themselves immediately in an initial joint exhibition of new works. Henrik Olesen, who will work at Villa Romana from July to November 2011, will then exhibit his work on September, at the OPEN STUDIOS event. This year’s Villa Romana Fellows were selected by judges Kathrin Rhomberg, curator of the 6th Berlin Biennale, and by the artist Willem de Rooij. More after the jump.

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Pianissimo gallery is pleased to announce Britannica, the first italian exhibition by American artist Daniel Turner. The current show will be made of several wall rubbings and one painting. Turners untitled wall rubbings will span throughout the ground floor space engaging both the consideration of presence and absence in a subtle yet unsettling manner. Made by the manual pressing of steel wool directly onto the gallery wall the rubbings create clouds of indexical markings producing lines of fine steel fibers amongst the gallery floor. This weathering away of material contrast and correlates with another work housed upon the second floor, Untitled 5250. Continuing to evoke an austere, almost ethereal calmness, such work has developed by encasing petroleum byproducts used to preserve wooden vessels against dry rot.

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Galerie VidalCuglietta is pleased to present the new solo exhibition of Brussels-based Canadian artist Zin Taylor, The Voids. Using a familial arrangement of forms, the installation constructs a line of thought between quotation – as the place of a scenario – and the language of the hand-made – where differing pronunciations of a word encourages the growth of narrative possibility.

A series of fabricated brass vitrines cubically accommodate a hundred-plus objects of plaster, wood, plastic, and clay that have been fashioned into a series of terms: Knives, Hands, Spectacles, Instruments, and Forms. Taxonomically arranged, each of the structures presents a categorical abstraction of thought into form.

- Forms to make the thoughts – Knives to cut these into units – Hands to hold the units – Spectacles to look at these units – Instruments to serenade these units

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The works shown in the exhibition “Surface/Tension” explore the unifying aesthetic and interest in unconventional materials and sculptural practices shared by Kitty Kraus, Dan Shaw-Town and Gedi Sibony – three geographically and methodologically disparate artists.

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Until April 3, Portikus presents Matthew Brannon’s exhibition “A question answered with a quote”.
Matthew Brannon has developed a site-specific installation, as part of which he will also show several new works.

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We are delighted to invite you to an exhibit of our printed production on Saturday the 19th of February 2011, from 6.00 pm, at Torpedo Bookshop / Torpedo Press, Trelastgata 3, Oslo, Norway.

In this occasione Mousse will present its printed production in a temporary library, a display that will aim at representing the origins, motifs and relations which determine the birth and the forms of a catalogue of books.

On the same night, a concert by Dan-Ola Persson, Music for the Videos of Lars Laumann, from 8 pm.

Living a life at 7500 € per square metre or 1800 € rent a month is possible. Paris air is on sale by the cubic metre, but this isn’t an effect of social segregation, it isn’t a form of exclusion – it’s just that the value of the ground under our feet has changed, and our lives with it.

Created within the political and economic context of global capitalism in the twenty-first century, in which the industrial working class of the United States is shrinking if not disappearing altogether, Sharon Lockhart’s photographic series “Lunch Break” – which also gives the title to the artist’s second solo exhibition at Giò Marconi gallery – captures a moment in time that may soon become a thing of the past.

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Jan Verwoert: Tell Me What You Want, What You Really, Really Want
Vanessa Ohlraun, ed.

Rotterdam’s Piet Zwart Institute inaugurates a series of anthologies devoted to artists, writers and critics that have animated its MFA program over the years. The first is critic and writer Jan Verwoert, whose dense and rather eclectic texts, assembled here, address various topics and different artists, and give the chance to go through them as if they were lessons from the toughest professor of your favorite course for you to study and, hopefully, enjoy. Indeed, sometimes it’s nice to pretend to go back to school. (Stefano Cernuschi)

Sternberg Press, Berlin
312 p. • hardcover • English

“Our Daily Permanence” – Michael Dean’s solo show at Nomas Foundation, Rome – is a dialogue of voices discussing ideas of permanence and impermanence, history and imminence, physical imitation and emotional indentation. Responding to the layers of Rome’s history, the artist reflects on the column in its materiality and immateriality. A rock transformed into a stone structure that with time becomes rock once again, the column encompasses a history of substance, imminence and endurance. The shape undergoes a further transformation in correspondence to our own physical presence, relating to the neck, the throat and consequently to the notion of voice.

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STANDARD (OSLO) is proud to announce the opening of its first solo exhibition with Norwegian artist Fredrik Værslev. Comprising of five works from his recent series of ‘terrazzo paintings’, the exhibition builds on Værslev’s interest in the relationship between the monochrome painting and the monotony of ornament.

“Everything that usually serves representation and illusion is left to serve nothing but itself, that is abstraction; while everything that usually serves the abstract or decorative – flatness, bare outlines, all-over or symmetrical design – is put to the service of representation. And the more explicit this contradiction is made, the more effective in every sense the picture tends to be.”
- Clement Greenberg

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All photos: Vegard Kleven. Courtesy of the artist and STANDARD (OSLO), Oslo

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The paintings of the New York based artist Kerstin Brätsch alternate between a distant third-person perspective and an enthusiastic, slogan-like voice promoting the Kerstin Brätsch “brand” with titles like Kerstin Kopy Kommerzial. Brätsch teamed up with Adele Röder in 2007 to found the “import-export agency” DAS INSTITUT, in line with her idea that the “one-woman-artist” concept is no less conservative than the “one-man artist” model. Her painting is institutional critique in the form of resolute action. Brätsch consciously chooses to collaborate and uses humour to subtly undermine stereotypes and conventional notions of what it means to be an artist. What at first appears to be a wild exaggeration that walks a thin line between art, knitted material, role play and marketing is also a pointed commentary on the art world and a plea for painting and its possibilities.

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