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Friedrich Petzel Gallery, New
York |
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Rezi van Lankveld
February 5 - March 13, 2010
Friedrich Petzel Gallery is pleased to
present an exhibition of new paintings by Amsterdam-based
artist Rezi van Lankveld. This will be the artist's second
solo exhibition in New York.
Rezi van Lankveld continues her method of
abstract painting that allows for revelation of the
spontaneous image. In her newest works, van Lankveld
concentrates on the lines that emerge from her paint-soaked
canvasses. Out of these, she tames unforeseen images of
figures and landscapes. In-between the swirls of the densely
contrasting colors, impressionist-like figures with scenes
reminiscent of 19th century lithographs and 20th century pen
and ink cartoons emulsify out of what is essentially an
abstract field.
Rezi van Lankveld's practice closely mimics
that of the abstract expressionists or that of the Surrealist
'ecrire automatic'. Unlike her predecessors, her process must
reveal a conscious image. Risk then plays a decisive act. It
is the risk in this limited process that the painting will not
lead to the right image or any image at all for that matter.
Therefore concentration and precision become the major factors
in the moving and setting of the paint. It is this oscillation
between abstraction and figuration that completes van
Lankveld's process: her works are at once the image and every
mark that has gone into making the paintings.
Rezi van Lankveld
graduated from Jan van Eyck Akademie, Maastricht in 1999. She
lives and works in Amsterdam. She has shown extensively
throughout Europe. Her recent exhibitions include: Kestner
Gesellschaft, Hannover; Museum voor actuele kunst, The Hague;
Museum Kunst Palast, Duesseldorf; Diana Stigter Galerie,
Amsterdam; 'Interested Painting," Gallery 400, University of
Chicago, the 'Prague Biennale 1'; and The Approach,
London.
Image:
Rezi van
Lankveld
Suburbia
2009
Oil on canvas
49.21 x 43.31
inches
Courtesy of Friedrich Petzel Gallery, New
York
Friedrich Petzel Gallery
535
& 537 West 22nd Street
New York, NY 10011
+1
212-680-9467
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Engholm Galerie, Vienna |
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DRAGO PERSIC
15. January - 5. March 2010
We are happy to host Drago
Persic's second solo exhibition at Kerstin
Engholm Gallery.
A total of six new artworks by the young
painter (born 1981, works and lives in Vienna) form a closed
cycle of works. Different garments, which are neither clearly
á la mode nor démodée, seem to be falling through a black
inexistent room without identity which spares any type of
perspective, boundary, any assignable source of light or
shadows. Apart from that, there seems to be no continuous
timeline present in the paintings. It looks as if the garments
have solidified to weightless figures while falling. Drago
Persic drew the drapery in a clear, true-to detail and
realistic manner. No blurring or classical composition in the
pictures indicate to the observer any chronology.
By installing the six monochrome black
spaces of the paintings in a continuous panorama, Drago Persic
works remind of the night sky which also refuses any timely or
spatial references to the observer. Therefore, the viewer
finds himself to be left on his own with astonishment,
ambiguity and without any chance for quick answers.
In the rear showroom of the gallery, Drago
Persic displays three new 8mm film loops, which at first sight
remind of old found footage material. However, the analog,
coarse grained film material is based upon digital
photographies, which have been conjoined by a computer
programme with the aid of a digital camera. Due to the
continuous toppling of the subjective perspective, the
repeating short sequences in the loop as well as the
artificial movement although the front and background remain
still and the impossibility of allocation of the content, the
observer feels as he was staggering. Grassland, trees, a house
in the back, a lake and the repeating of the horizon - things
each of us has seen before and usually doesn't become as
excited about. However, the tension between digital
artificiality and the seemingly historical 8mm film material
create a discomfort for the viewer, who again will be left
without any clear insight or solution.
Image:
Drago Persic
Courtesy of Drago
Persic and Kerstin Engholm Galerie Vienna
Engholm Galerie
KE Kunsthandel
GmbH
Schleifmühlgasse 3
A-1040 Vienna
+43 1 585 73
37
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Kavi Gupta Gallery, Berlin |
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PATRICK ALT
I Open Up The
Gallery
February 5, 2010 - March 27, 2010
Kavi Gupta Gallery Berlin
is proud to present the debut solo exhibition of painter
Patrick Alt. Although the gallery's inaugural
exhibition was last September, Alt's daft exhibition title -
"I Open Up The Gallery" - relates to a figurative suggestion
rather than the exhibition's actual vernissage; Alt's
exhibition is one to naively rediscover the space anew, in the
same sense that Alt approaches his work as a painter. Included
in the exhibition are a suite of the artist's abstract and
bold oil canvasses as well as few painted bought objects
installed throughout the gallery. Shot from the hip, Alt
perpetually creates works that balance between the artist's
reasoned and developed conceptual disciplines and one's will
to make a new, heartfelt, and expressive work of art. The
works' self-criticality arises from Alt's radical sense of
trepidation, one that questions how an artist is able to break
stride with their past and begin again.
Patrick Alt (b. 1976 in
Frankfurt am Main) is currently completing his studies at
Frankfurt's Städel Schule under Prof. Michael Krebber. Most
recently Alt's work has been included in a group exhibition
(Adrian Buschmann, Henning Straßburger, and Alt) at Galerie
Fiebach & Minninger in Köln. Alt has also spent the past
year making shows across continental Europe with the artist
group Vandel (Philipp Schwalb, Henning Straßburger, Christian
Rothmaler, Jannis Marwitz, and Alt). The group has made a
series of exhibitions under their collective title, most
recently at the AtelierFrankfurt in Frankfurt am Main and at
Marks Blond Project in Bern, Switzerland, and also listed in
the Watchlist of the July issue of German collector magazine,
Monopol. Alt lives in Frankfurt am Main; he maintains a studio
there and in Berlin.
Image:
Patrick Alt
PIN
2010
oil on
canvas
180 x 150 cm (70.86 x 59.05 in)
Courtesy of Kavi
Gupta, Chicago | Berlin
Kavi Gupta Berlin
Kluckstraße
31
10785 Berlin
+49 162 800 7609
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Feature Inc. New York |
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BEN SNEAD
28 January - 27 February 2010
Ben Snead continues to use
frogs, fish, birds, snakes, and various insects, as the fodder
of his paintings. previously the compositions were quite
literal and often hinted at social constructs and amusing
choreography while the most recent paintings have a more
abstracted eccentricity that includes partial disappearances
into folds as in paper or windows as in computers, mashings,
and fragmentation. Two of my favorites are a heap of chopped
up purplish frogs against a black ground that looks rather
like a car crash or the makings of a dinner, and two
hilariously frightening talking heads composed of swarming
grasshoppers. There is as well a more classical and spacious
arrangement of three stacked rows of three, 9 grouper (a fish)
heads, all but one oddball face the same direction, and it is
a perfect opportunity to observe the wide range of superficial
similarities and differences within a species. Same different;
different same. There is no way that this fish talk cannot be
flipped into the wealth that composes the range of human
features. Peace.
In December 2009, Ben Snead's commission by
the Metropolitan Transit Authority was completed. It is in the
departures and arrivals area, mezzanine level of the Jay St.-
Borough Hall A-C-F station, towards the south end of the
station.
Image:
Ben Snead
The Conversation, 2010
oil
paint on linen
46 x 46" each of two
Courtesy of Feature
Inc. New York
Feature Inc.
131 Allen St
New
York, NY 10002
+1 212.675.7772
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Cheim & Read, New York |
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BILL JENSEN
NEW WORK
18 February to 27 March 2010
Cheim & Read is
pleased to announce an exhibition of paintings and works on
paper by Bill Jensen. The show is accompanied
by a full-color catalogue with an essay by David Hinton, a
prominent scholar and respected translator of Chinese poetry.
This is Jensen's second show with the gallery; his first was
in 2007.
Bill Jensen was born in Minneapolis,
Minnesota in 1945 and received his MFA at the University of
Minnesota in 1970. He has lived and worked in New York since
the early 1970s, maintaining a studio in Williamsburg,
Brooklyn. Jensen has long been respected for his
unconventional abstractions, their compositions evocative of
otherworldly landscapes where spatial definition is informed
by structural logic. Shape, line, and intense color follow
unpredictable paths, but coexist in psychic harmony. Influence
of the early American modernists (Albert Pinkham Ryder, Arthur
Dove) and the Abstract Expressionists (Jackson Pollock, Mark
Rothko, the prophetic Arshile Gorky) are evident, as are the
visionary canvases of Myron Stout, and Forrest Bess.
Jensen is also inspired by Taoist
philosophy, Chinese painting, and ancient and contemporary
Chinese poetry. The third and fourth century Taoists believed
that pure nature could not be experienced by humans, due to
their inevitable mannerization of the natural world. Chinese
painters subsequently attempted to depict the phenomena of
nature "itself." This history, linked to the idea that
all matter is the same-the understanding that something is
everything and everything is something-was of profound
influence on Jensen. An intuitive, unpretentious painter,
Jensen strives to attain content originating in the psychic
and emotional; for him, content is more important than result.
Jensen argues that his paintings' beauty, or lack thereof, is
not his decision, but determined by the painting itself.
Devoted to his craft, Jensen makes his own
paints with finely ground pigments and a self-developed
oil-based medium. This allows him to control viscosity and
saturation, and provides a wide spectrum of color and texture
in his paintings. His methodology consists of multiple
layering, scraping, seeping and "dredging," and is determined
in part by unusual, self-made tools. Jensen's experimental
painting techniques are pivotal to the outcome of his heavily
worked canvases. As he has stated, "Solutions come from the
working process."
The recent paintings on view in this
exhibition show the range of Jensen's process and the depth of
his content, from ethereal, washy forms, to dense, physically
worked surfaces of color and texture, punctuated by titles
like Genesis, Time After Time and Occurrence Appearing of
Itself. Saturated red, blues and yellows coalesce, extending
in and out of space, retreating and aggressively reappearing.
The drawings and works on paper, some black and white, are
more intimate in scale, but still contain the translucency and
intensity of the paintings. The black and white works, with
their variety of tones, read as if they were in color, while
the color drawings radiate hypnotic clarity. Drawing has been
a constant throughout Jensen's practice, and was at times his
main mode of artistic exploration. Its direct relationship to
his painting is evident.
The sense of freedom in Jensen's work is
belied by the commitment, consistency and seriousness with
which he approaches it. As he says, "Each work for me is not
about one idea; it is about an emotional event that must be
searched for and clarified." Jensen achieves his goal of
transforming the viewer's experience, providing a peek into
the transcendent.
Image:
Bill Jensen
Time After Time 1993-2009
0il on
linen
32 x 24 3/4 in 81.3 x 62.9 cm
Courtesy of Cheim & Read, New York
CHEIM & READ
547 West 25th
Street
New York, NY 10001
+1 212 242 7727
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re-title.com - Independent directories of
emerging & professional contemporary art
Coming Next
February 17-18 Sculpture / Installation
February 24-25 Photography, Film & Video
March 3-4 Painting / Drawing
March 10-11 Mixed / Multi Media
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BM Box 5163
London
WC1N 3XX
United
Kingdom
+44 (0) 870 922
0438 |
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