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December 14~2011
December 14~2011
December 14~2011
December 14~2011
December 14~2011
December 13~2011
December 13~2011
December 13~2011
December 13~2011
Sinsel’s minimal yet intricately detailed works reflect a focus on the nature of painting and sculpture and on the particular qualities and associations of the materials he uses. These materials carry meaning through their origins and historical resonances. Vellum – essentially animal skin – is either cut o woven to form columns and pipes. Sinsel underscores the alchemy using one material as the basis for representing another material.
December 13~2011
December 13~2011
December 12~2011
At some point I decided I wanted to create a show about love: a show that both represented and rekindled my faith in art as a tool for expressing something at once personal and universal. The immeasurable impossibility of this task is reflected in the subjective and personal assembly of artists represented in this exhibition. The title stems from the famous ee cummings poem, and seemed capable of embodying my desire to show that which we can know, but not understand.
December 12~2011
December 11~2011
The camera, with its strong moral claims to truth and objectivity now over a century old [c. 1953], has established its manner of seeing as the common visual currency of our time, and we come to think of photographic experience as the equivalent of personal participation. But we should ask ourselves who would be truly richer – one who possessed photographs of every surviving building of the classical world, or Sir John Soane, who had measured every stone of the Coliseum and could quote its intercolumniation even in his old age.
December 10~2011
In his artistic practice Peter Regli brings together a poetic approach with sweeping gestures. He became known for his temporary interventions in public space – under the label Reality Hacking he uses both landscape as well as everyday objects in order to twist conventional concepts of reality. His sculptures, photographs and spatial installations are characterised by a sharp observational talent and striking wit.
December 9~2011
For over two decades, Jim Hodges has employed a broad range of everyday and precious materials to create works that transform the quotidian object into a site where the personal, political, and universal merge through simple gesture and poetic command. Taking up varied modes of process and production, Hodges’ practice resists the definitional aims of discourse, instead offering multilayered works that evoke resonant themes such as identity, loss, mortality, and love.
December 8~2011
The project presented by the American artist Sam Durant for the exhibition held at Franco Soffiantino Gallery in Turin is a personal evocation of the anarchist movement operating in Italy in the nineteenth and early twentieth century. Using marble from Carrara and through traditional sculpture techniques, local craftsmen have reproduced busts of some key figures in the anarchist movement of that time. Together with portraits, the marble reproductions also depict crates and boxes for transporting dynamite and a bag of calcium carbonate on which quotes from the anarchists have been carved. Among the figures represented are Carlo Pisacane, Errico Malatesta, Francesco Saverio Merlino and Carlo Cafiero, the fathers of Italian anarchism and also lesser-known figures like Marie-Luise Berneri and futurist poet Renzo Novatore.
December 7~2011
Mousse is happy to announce the launch of Matthew Brannon’s monograph Hyena’s Are… at Casey Kaplan, New York, on Saturday, December 10.
Coinciding with his first solo exhibition with the gallery, “Gentleman’s Relish”, this compact volume, published by Mousse, traverses Brannon’s entire oeuvre and includes an intricate and illuminating essay by Jan Tumlir. Accompanied by a vast selection of image reproductions of artworks and references, Tumlir’s chapters provide a deeper understanding of the complexity of Brannon’s work and practice to date.
