re-title.com
10 February 2011
Painting & Drawing 
MADDER139, London
SHOSHANA WAYNE GALLERY, Los Angeles
GALERIE MOURLOT, New York
GALERIA FUCARES, Madrid
GALERIE REINHARD HAUFF, Stuttgart
ProjecteSD, Barcelona
 

 
MADDER139, London
 
 
Richard Moon, Miss Daguerrotype, 2010 
 
 
RICHARD MOON
Plastic Time
 
4 Feb 2011 to 20 Mar 2011
 
Madder139 is pleased to present “Plastic Time” Richard Moon’s much anticipated first exhibition with the Gallery. Moon makes paintings which, without being photorealist, set out to exploit their origins in found photography but what distinguishes Moon’s work from the evidently related work of Richter, Polke, Tuymans or Currin are two differentiating characteristics: his treatment of time and the way in which he uses ‘plastic rhyme’.
 
Moon is inspired by history and photography. That is apparent in the diversity and historical precision of his photographic sources: nineteenth century daguerreotype portraits with the artificiality born of long poses; post mortem images of Victorian children: 1920’s film stills; 1950’s photographs to illustrate knitting patterns or medical journals. It can also be seen in the unorthodox way in which he mixes methods within a painting – such as flat photo-style areas with expressive backgrounds – as if styles are like colours waiting to be used. Moon can also date photographs by their colours, from the various tones of black and white, to the earliest hand-tinted methods, to the intensely artificial colours of the 1950s. His paintings follow those choices, ranging from straight black and white, to black and white images which are then colour-tinted, to full colour paintings using whatever colour range may suit – sometimes from the same date as the image’s source, sometimes not.
 
Thus Moon’s paintings use time to drive their subjects, colour and emotional tone. And their overall effects result from combining different times in complex ways: perhaps the dead eyes of a nineteenth century post-mortem photograph with a pose from the 1930’s and the colour of a 1970’s advert, all through the prism of 2011.
 
Picasso used the term ‘plastic rhyme’ to refer to the way in which some forms chime with and summon up others in a parallel to the way aural rhyme links words. Moon finds that such rhymes lie behind many of the combinations made in his paintings, even if he discovers them only when analysing afterwards what he has done. This can apply to the text which has recently reappeared in his paintings, as well as to images. This repetition of shapes and suggestions of meanings – both visual and semantic - changes the meanings of what Moon depicts, and heightens the ambiguity of the images. Someone coming fresh to one of Moon’s paintings is unlikely to pick up on all the combinations of time nor all the plastic rhymes which Moon himself locates in them. However, their presence does help to explain what creates the peculiar atmosphere of his work and also gives us ample scope to bring our own associ ations to bear.
 
Richard Moon lives and works in London and he studied at Camberwell College of Art and at The Royal Academy Schools, London. He has shown nationally and internationally and his work is held in several major collections.
 
 
Image:
Richard Moon
Miss Daguerrotype, 2010
Oil on Canvas
183 X 134cm
Courtesy of MADDER139, London
 
 
MADDER139
No.1 VYNER STREET
London E2 9DG
T +44 (0) 20 8980 9154
 
 
 
 

 
SHOSHANA WAYNE GALLERY, Los Angeles
 
 
Yuken Teruya, journey at Shoshana Wayne Gallery 
 
 
Yuken Teruya
journey
 
February 19 - March 26 2011
 
Shoshana Wayne Gallery is pleased to present Yuken Teruya’s fourth solo exhibition with the gallery.
 
Teruya connects his ancestry rooted in Okinawan tradition and relates it to the American experience.  Best known for his body of work cutting trees out of paper bags, this exhibition extends the artist’s vocabulary by using the precision of stenciling and translating it to an American street idiom in his graffiti flowers which are spray painted directly on the gallery walls.  In his bingata portraits, Teruya utilizes the local Okinanwan craft, bingata, made popular by kimonos, and presents images of past and present icons- men of different eras and worlds, connected through an idealism and belief in heroism. Teruya chooses these powerful figures- ranging from Obama to Geronimo to Ultraman to communicate ideas of land and occupation, state and territory; the relationship between the Protector and those being protected, specifically pointing to the U.S. military presence in Okinawa.  He challe nges the concept of the hero by placing Emperor Hirohito in the series of images, which is taken as a controversial statement in his homeland of Japan.
 
In his video installation Teruya follows small paper boats, bearing flags of various communities located within his adopted neighborhood in Brooklyn, down a city street gutter flooded with water.  Boxes and bags are again present; used as stencils themselves, and also to serve as a reminder of popular culture as seen in the remnants of packaging which once housed mass produced consumer goods, and for the artist, give a glimpse into American life.  In his ceiling work, Teruya infuses a pattern through the entire draped linen fabric with dyed images that represent the fascinating mix of cultures between Okinawa and the U.S. culture as found on military bases located there.
 
Teruya expresses the fluidity of cultural information and identity.  His work utilizes the history of familiar Japanese art forms, bingata and origami; and places them in relationship to the popular and contemporary cultural identity most strongly influenced by common American cultural forms, graffiti and advertising.  Teruya uses the symbolism of flowers, birds, waves, and bicycles in all of his works.  This simple visual poetry focuses most on the feeling of movement; and in turn best relates the feeling of how fluid cultural identity can be.
 
Born in Okinawa, Japan, Yuken Teruya received his MFA from the School of Visual Arts in New York in 2001. He work has been exhibited widely throughout the United States, Europe, and Asia including: The Okinawa Prefectural Art Museum, Japan(2009); The Albright-Knox Art Gallery, Buffalo, NY (2009, The Japan Society, New York (2008); The Museum of Arts & Design, New York (2008); The FLAG Art Foundation, New York (2008); Asia Society, New York (2007); Thermocline of Art - ZKM, Karlsruhe, Germany (2007);the Guggenheim Museum, New York (2007); Greater New York at P.S.1 Contemporary Art Center, Queens, NY (2005); Yokohama International Triennial, Yokohama, Japan (2005); and Fuchu Biennale at the Fuchu Art Museum, Tokyo, Japan (2004). His work is included in collections such as: FLAG Art Foundation, New York; Guggenheim Museum, New York; The Museum of Modern Art, New York; Daiichi Seimei Museum, Tok yo; Seattle Art Museum, WA; Saatchi Collection, London;  Sakima Art Museum, Okinawa, Okinawa Prefectural Art Museum and others.
 
 
Image:
Yuken Teruya
Courtesy of Shoshana Wayne Gallery
 
 
SHOSHANA WAYNE GALLERY
Bergamot Station, 2525 Michigan Avenue B1
Santa Monica
Los Angeles, CA 90404
T 1 310.453.7535
 
 
 
 

 
GALERIE MOURLOT, New York
 
 
Susan Schwalb, Toccata I, 2010 
 
 
SUSAN SCHWALB
A Gathering Quiet
 
Metalpoint Paintings and Drawings
 
25 Jan 2011 to 12 Mar 2011
Artist Reception: Thursday, February 10, 2011 5:00 PM – 8:00 PM
 
Galerie Mourlot is pleased to announce its second solo exhibition of new paintings and drawings by Susan Schwalb.
 
Susan Schwalb’s new series of carefully constructed silverpoint paintings uses delicate horizontal lines and bands, drawn across layered fields of color, to create serene and meditative works.
 
Layering, line and light are Schwalb’s signatures. Each individual silverpoint line which she attentively places over a field of acrylic color adds a layer of movement to her painting. The result is a quiet and compelling vibration of color and line. The paintings in this new series are composed of subtle hues of pale peach, subdued pink, pastel blue and muted gold, evoking natural forces. These panels are carefully beveled so that the imagery seems to float off the wall. While her works are essentially abstract, the carefully chosen titles do provoke certain readings. Aspects of her art suggest movement, change, and even weather and time of day. Susan Schwalb transcends the unforgiving medium of silverpoint to deliver works that radiate a powerful spiritual presence.
 
The exhibition will continue through March 12, 2011. It is accompanied by a catalogue with an essay by Christine Temin, art critic for The Boston Globe for over two decades and currently a freelance writer.
 
Susan Schwalb is one of the foremost figures in the revival of the ancient technique of silverpoint drawing in America. Her oeuvre ranges from drawings on paper to artist books and paintings on canvas or wood panels. Susan Schwalb is represented in major public collections, including the Museum of Modern Art, New York, the National Gallery, Wash. D.C., The British Museum, London, The Brooklyn Museum, NY, The Fogg Art Museum, Harvard University, Kupferstichkabinett - Staatliche Museen zu Berlin, Germany, Victoria and Albert Museum, London, Museum of Fine Arts, Houston, TX, The Achenbach Foundation of Graphic Arts, Fine Arts Museums of San Francisco, The Library of Congress, Washington, DC, The Ashmolean Museum, Oxford, England, The Rose Art Museum, Brandeis University, Waltham, MA, Yale University Art Gallery, New Haven, CT, Rhode Island School of Design Museum of Art and the Arkansas Arts Center , Little Rock, AK.
 
 
Image:
Susan Schwalb
Toccata I,  2010
silverpoint, acrylic on wood
30 x 30 x 2 inches
Courtesy of Galerie Mourlot, New York
 
 
GALERIE MOURLOT
16 East 79th Street
New York, NY 10075
T +1 212 288 8808
 
 
 
 
 
GALERIA FUCARES, Madrid
 
 
Lluís Hortalá, "Exercitatorio", Galería Fúcares Madrid 
 
 
LLUÍS HORTALÀ
“EXERCITATORIO”
 
January 29th - March 12th 2011
 
Fúcares Gallery presents the fourth individual exhibition by Lluís Hortalá at its art space in Madrid. These works have been created in the last two years within a project presented now for the first time and that will be extended to Barcelona’s Sunyol Foundation in March 2011. An animation in DVD, (“Las Tentaciones / Les Temptacions”), a series of three large-format drawings on canvas (“Falacia Patética”), a set of digital prints (“Exercitatorio”), a sequence of five works on paper entitled “Montserrat” and two benches/sculptures are presented at the gallery space.
 
The exhibition has taken its title, “Exercitatorio”, from a 16th-century mystic essay, a prayer handbook written in the vernacular by García Jiménez de Cisneros, the abbot of Montserrat to expound on the plan of the Three Paths, leading from the basest thing to the loftiest. Cisneros uses the image of the ascent up the mountain, and Lluís Hortalà incorporates this idea into his work, revisiting his experience as a mountaineer as something parallel to his plastic work, something similar, in his words, to “an spiritual journey of contemplative ascent through the senses”. A journey not lacking in dangers, and over which temptations loom. In his particular “Exercitatorio”, the representation of landscape is also a journal of his climb.
 
In all the works of this series, Lluís Hortalà brings into play canonical and unmistakable images from Montserrat – a range of mountains that he knows well thanks to his personal experience as a climber, to which he now adds a reflection on the legendary and the collective, an “eye vision” as “mirror-vision” of all perspectives gained. This reflection, however, is a visual one, narrative and even physical. And it contains another about the very means to produce the images, a meditation indistinguishable from the practice or exercise.
 
Lluís Hortalá, who preserves the eyes of a sculptor, talks about Montserrat as if it were a glyptotheque. The mountains, individualised, christened with literary names, become characters. To this humanization of nature alludes the title “Falacia Patética” [Pathetic Falacy] (borrowed from the critic Alejandro J. Ratia, who in turn borrowed it from Ruskin vía Rosenblum), that LLuís Hortalà uses in some of his most ambitious drawings in charcoal. In them, the great attention to geological detail, dramatized by the use of lights and shades, creates human appearance. His sculptures/benches placed in front of the drawings allude to the mechanism of contemplation and its cultural context, but the visitor will realize in the sequences offered how farce and deception are part of the representation.
 
Lluís Hortalà (Olot, Girona, 1959) has set up individual exhibitions in galleries both in Spain and Portugal. Some of the collections where his work can be seen are Artium, MNCARS, Barcelona’s “La Caixa” Foundation and the Trust Foundation, in Washington DC. Outstanding among his projects is an individual exhibition at the CDAN in Huesca (September 2011) in which he will present a revision of his work tackling landscape.
 
 
Image:
Lluís Hortalá
"Montserrat I", 2009
Carbón sobre papel.
90 x 135 cm
Courtesy of Galería Fúcares Madrid
 
 
Galería Fúcares Madrid
Conde de Xiquena, 12 1º Izq.
28004 Madrid
Spain
T +34 91 319 74 02
 
 
 
 

 
GALERIE REINHARD HAUFF, Stuttgart
 
 
Mark Pearson, I Am The Fly at Galerie Reinhard Hauff
 
 
MARK PEARSON
"I Am The Fly"
 
11.02. - 02.04.2011
 
Opening Friday, 11.02.2011, 5 - 9 pm
 
LINIE WEST 11.02.2011, 17 - 21 Uhr
Real Party at Künstlerhaus Stuttgart with DJ CANTÜRK, 9 - 12 pm
 
Galerie Reinhard Hauff is pleased to present London artist Mark Pearson (*1966) with his second solo show at the gallery, "I am The Fly", February 11th through April 2nd, 2011.
 
Mark Pearson lives and works in one of the most socio- economically deprived parts of East London. As he commutes through the back streets of this residential and commercial environment he is constantly alerted to the visual signs of its diverse cultures and communities. His work is influenced by this dense cultural landscape where myriads of signs and symbols compete for attention. The artist also uses words or Tags casually taken from advertising signs from small commercial neighborhood enterprises or patterns and textures that might be grafted directly from the walls and pavements of the streets through which he passes. Pearson also uses motifs originating from punk and new wave music, and logos that represent industrial or corporate giants.
 
The artist combines these influences to produce work on thin sheets of cartridge paper that are assembled with cello or gaffa tape into large scale works. Logos, motifs, words and patterns are fused into layers of competing messaging systems that are positioned aggressively against each other. Some layers contain repeated and geometrical elements that suggest an occult vision of the city and how it operates. But as the surfaces are added to, the sense of organisation and structure within the work is destabilised. The work becomes a palimpsest of superimposed signs and random utterances that mirrors the fragile and chaotic social order of the city.
 
LINIE WEST is a joined initiative of Künstlerhaus Stuttgart, Galerie Parrotta, Galerie Klaus Gerrit Friese and Galerie Reinhard Hauff.
 
 
Image:
Mark Pearson
Courtesy of Galerie Reinhard Hauff, Stuttgart
 
 
GALERIE REINHARD HAUFF
Paulinenstr. 47
D-70178 Stuttgart
T +49 711 609770
 
 
 
 

 
ProjecteSD, Barcelona
 
 
Marc Nagtzaam, Modernist Persuasion, ProjecteSD, Barcelona 
 
 
MARC NAGTZAAM
MODERNIST PERSUASION
 
04.02 > 02.04.2011
 
For Marc Nagtzaam, to draw is to construct an unknown place for the artist and the public to live in: “The drawings,” he says, “are like empty spaces, parallel to the world. I try to create a place that is not clearly defined.”
 
Nagtzaam works primarily in darkly filled in graphite non-figurative compositions. His visual repertoire ranges from a kind of hard-edge all-over abstraction to the reproduction of the written word. Friezes of lines, dots, circles or meticulously copied text fragments, form the infinite riches of variation in the artist’s work. According to art critic Chris Sharp: “Much of Nagtzaam’s practice could be said to proceed along the same positive/negative lines—a binary that, incidentally, often characterizes his black-and-white palette—in the sense that a step forward is almost always preceded by a step back, or any investiture of the self is invariably countered by a preponderant removal of that same self”.
 
The idea of the grid is undoubtedly relevant in Nagtzaam’s work. As Dieter Roelstraete pointed out in his essay Twittering Machines (of the Modernist Persuasion): “Marc Nagtzaam’s drawings – for they are always, in the final analysis, drawings, even if their images are made up out of words – are drawn reflections upon the art of drawing itself: thoroughly self-referential and therefore deeply inscribed in the history of modernism (to which occasional reference is made) – made present most palpably in the artist’s exploration of that most hallowed of modernist paradigms, the grid.”
 
And with the grid, and probably as an inevitable consequence, the notion of the fragment is essential in the way Nagtzaam approaches and processes his works. Copy and repetition are, as well, used by the artist as a ritual and a meaningful element in his work process. The artist deliberately draws the same repeated structures, in different dimensions or compositions, on paper or displaced as wall drawings, over and over, here and there, again, as if he was both mapping and measuring, even indexing small bits of information. Almost the same but yet different. Every drawing appearing only as a tiny part cropped from a much larger fabric. It is maybe because of this that the artist has expressed preference for drawing, because of its quality of incompletion, of its sense of always being unfinished. In Nagtzaam’s artworks, clearly, the content of this preference is expressed not only at the level of the medium , but also on a conceptual and formal level, making such an inclination for incompletion into a strikingly coherent project, where with every drawing a silent intimacy is communicated.
 
 
Image:
Marc Nagtzaam
Courtesy of ProjecteSD, Barcelona
 
 
ProjecteSD
Passatge Mercader 8, baixos 1
08008 Barcelona
T + 34 93 488 1360
 
 
 
 
 
 

 
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