Get Mousse at home:
January 31~2012
Press release:
Dear friends of the gallery,
on January 21, 2012 we opened the last shows of the gallery with Spartacus Chetwynd, Hans-Jörg Mayer and a group show with works of Ida Ekblad, Matias Faldbakken, Berta Fischer, Karl Holmqvist und Vincent Tavenne.
The gallery closes in March.
Yours, Giti Nourbakhsch
January 27~2012
At Raucci/Santamaria, artist and writer David Robbins presents “The Lift Trilogy” (2006-2011), his second exhibition in Naples since 1995. Comprising three videos along with related paintings and sculpture, the exhibition explores the evolution of Robbins’ complex interactions with personal trainer Joshua Van Schaick. Each of the three videos is integrated into a unique installation. delivering its own, self-contained pleasures, while together the three form a chain of revelations that establish a narrative arc and the exhibition whole.
January 26~2012
SculptureCenter presents “Scene, Hold, Ballast” a two person exhibition with David Maljkovic and Lucy Skaer, artists whose work shares an engagement with sculpture, film, and distinct approaches to exhibition design. “Scene, Hold, Ballast” conceived as a dialog, will feature new works by Maljkovic and Skaer commissioned through SculptureCenter’s Artist in Residence program. The exhibition is guest curated by Fionn Meade.
January 25~2012
This exhibition is centred on a deliberate conflict between a viewing space in Hackney and paintings by three good-looking men. There are parallels and overlaps at work in the paintings of Jack, James and Neil as much as there are tensions and departures. Along with Simon, the gallery director, there are four men in the equation, fighting–Queensbury rules–respectfully as colleagues. They share a supreme confidence in the radical possibilities that the basic elements of paint applied to a flat rectangular surface can provide. There are no insecurities whatsoever regarding newer technologies and mediums that stake claim to contemporary relevance.
January 24~2012
Hello,
has a certain non-word-ness about it. It feels more like sound and less like communication of meaning than most words. When Thomas Edison discovered the principle of recorded sound, the first word he yelled into the machine was ‘halloo’. Hello is the title of the audio piece that, with a stressed correctness of tone and attempted neutrality, will speak to you when you enter the Fondazione Giuliani. Hello is also the title of this exhibition.
January 23~2012
An exponent of the new generation of French artists, Jean-Baptiste Maitre has already met with a certain success in Europe through his work, which may be described as a reassessment of modernist aesthetics with regard to today’s cultural needs.
In the 1960s and 1970s — a period of continuous experimentation that may be termed ‘modernist’ — the artwork, on the one hand, lost the specificity that tradition had established, but, on the other hand, it acquired new forms of identity thanks to the artists themselves, together with theorists, art historians, aestheticians and so on. Thus the work received a variety of definitions — as many as there were points of view regarding it, or, to put it another way, the number of conceptual mediations interposing themselves between the observers and their direct perception of the work.
January 22~2012
VW (VeneKlasen/Werner) presents the first exhibition of Roger Fritz’s production photographs from Rainer Werner Fassbinder’s 1982 film, Querelle.
Rainer Werner Fassbinder is considered to be among the most important practitioners within the so-called New German Cinema. In March 1982, production began on what would become Fassbinder’s last film. With an international cast including Jeanne Moreau, Brad Davis and Franco Nero, Querelle debuted in Paris later the same year, only a few short months after Fassbinder’s tragic death.
January 21~2012
Thomas Duncan Gallery presents its inaugural exhibition “I Think and That Is All That I Am”, which takes as its point of departure the notion of plasticity, exploring the term in both neurological and art historical senses. In neuroscience plasticity refers to the manner in which the physical structure of the brain changes over time through learning and experience – how the brain itself is pliable. Plasticity in art historical discourses relates to the materiality of the art-making process (the tangible, malleable ‘product’ as a physical form).
January 20~2012
REGISTER OF DOCUMENTS 1974-
Register of Documents (Vokno)
Where the Berlin Wall once marked the frontier between the two opposed political systems of Germany, Sony and Mercedes Benz have now constructed new headquarters, celebrating their victory in the Cold War. Materially speaking, these structures are light, soaring tensile monuments of steel and glass – the ideological antithesis of the heavy opaque wall the buildings replaced.
January 19~2012
It is hard to attribute a stylistic unity to Hubert Duprat’s work. His intention isn’t to surprise or to create “out of the blue”; each one of his pieces is the result of a precise and tangible moment that pinpoints a significant experience, meant to allow him to temporarily break up with his previous schemes. He is at the crossings of two worlds: the world of free artistic expression, and the world of rationally organized artifacts. Neither goldsmith nor sculptor, not an entomologist, definitely not an archeologist, not even an artist, he uses his knowledge to reach beyond a purely artistic sphere. His interest doesn’t really lie in the transformation of something into something else that could be considered artwork, but rather in the creation of a metaphor between being and becoming, a ”know-how” and a possible “how-to-know”.
January 18~2012
An exhibition organized by Loring Randolph. Featuring works by Etienne Chambaud, Isabelle Cornaro, Julia Dault, Jose Davila, Jason Dodge, Ryan Gander, Liam Gillick, Andrew Kuo, Mateo Lopez, Benoit Maire, Arthur Ou, Marlo Pascual, Pietro Roccasalva.
January 17~2012
Galerie Eva Presenhuber presents new work by Paris-based American artist Oscar Tuazon in a show entitled Manual Labor. In recent years, Oscar Tuazon’s works, notably constructions in wood and concrete, have been shown in many exhibitions worldwide, including the 2011 Venice Biennial. His approach, working with and against the entropic qualities of natural materials, achieves fascinating results. In formal terms, Tuazon’s work displays loose links with the development of minimal and land art by artists such as Sol LeWitt or Michael Heizer. Tuazon’s hybrid sculptures, which are formed by and bear the traces of physical labor, are situated between architecture and performance.
January 16~2012
Using video, sculpture and photography, Sofia Hultén reveals the inalienable characteristics of everyday objects. The individual histories of articles as diverse as a steam roller and a sofa cushion are contained in a patina of rust, scratches, dirt and spills. Hultén finds integrity and dignity in these materials while the performative aspect of her practice embraces the absurd spirit of television sit-coms. Rather than confirming the maxim that the whole is more than the sum of its parts, Hultén exposes the parts themselves.
January 12~2012
SENTENCES ON PHOTOGRAPHY BY TORBJØRN RØDLAND
1. The muteness of a photograph matters as much as its ability to speak.
2. The juxtaposition of photographs matters as much as the muteness of each.
3. All photography fattens. Objectifcation is inescapable.
4. Photography cannot secure the integrity of its subject any more than it can satisfy the need to touch or taste.
5. Good ideas are easily bungled.
January 10~2012
Jakub Nepras works and lives in Prague where he was born in 1981. He is assembling video material from various sources and transforms and digitally alters them into video collages, or “video paintings” as he calls it. He projects his video paintings on regular screens or, quite often, on plexiglass sculptures he created. Besides his own artistic work, Jakub Nepras is very active in the young art scene in Prague and several years ago he co-founded Trafacka, a center for young art and independent music in Prague.
January 9~2012
“Vieques Videos 2003-2011″ is Allora & Calzadilla’s third solo show at Lisson Gallery. Made over the course of a decade Returning a Sound (2004), Under Discussion (2005) and Half Mast/Full Mast (2010) are now shown here together for the first time.
