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Gladstone Gallery, New York |
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Banks Violette
February 12 - April 17, 2010
Gladstone Gallery, in
collaboration with Team Gallery, is pleased
to announce a new installation by Banks
Violette. Violette's work ranges from haunting yet
exquisitely rendered graphite drawings to sculptural
installations composed of cast salt, light, and sound.
Throughout his practice, he plumbs the simultaneous
degradation and accretion of meaning through the process of
mythology, often embodied in forms strongly associated with
sub-cultural communities, personal memorials, or historical
obscurities. The black and white spectacle of his stark
compositions belies the uneasy and fraught allusions of
appropriated images and forms reconstructed as vessels of
oblivion.
For this new installation, Violette
continues to mine a rich art historical terrain in which the
materials and forms associated with Minimal and Conceptual Art
become reactivated as theatrical platforms of performative
decay. He pairs a large chandelier composed of multiple
fluorescent tubes with a black wall that seems to buckle and
melt against the reflection of the light. Both aspects of the
installation recall the monochromatic tone and the use of
replaceable industrial materials common to Minimalist and
Conceptual sculptors such as Donald Judd and Dan Flavin;
however, Violette's works seem self-consciously constructed
and theatrical. Wires fall in a cascade alongside the
chandelier while the apparatus of steel tubes and sandbags
supporting the wall remain in plain sight. By exposing these
more banal technical necessities, Violette heightens the
artificial spectacle of his installation, as if willing these
two canonical art historical movements into an internecine
danse macabre. He unmasks form and content as sites
vulnerable to intellectual vandalism and moribund
mythologizing.
Banks Violette was born in
1973 and lives and works in New York. His work has been the
subject of numerous solo exhibitions, including those at
Museum Dhont-Dhaenens in Deurle, Belgium; Kunsthalle Wein; the
Modern of Art Museum of Forth Worth, Texas; Kunsthalle Bergen,
Norway; and the Whitney Museum of American Art. He has also
participated in group exhibitions at The Solomon R. Guggenheim
Museum, New York; the Migros Museum fur Gegenwartskunst,
Zurich; Museum of Modern Art, New York; Palais de Tokyo,
Paris; the Royal Academy, London; P.S. 1, New York; the Museum
Boijmans van Beuningen, Rotterdam; among others.
Image:
Banks Violette
throne ( and over and
over again)
2009-10
Fluorescent tubes, steel, chain,
wire and road case
299 H x 240 L x 108 W inches
(759.5 H
x 609.6 L x 274.3 W cm)
Copyright Banks
Violette
Courtesy Gladstone Gallery, New York and Team
Gallery, New York
Gladstone Gallery
530 West 21st
Street
New York
+1 212.206.9300
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Galleri Nicolai Wallner,
Copenhagen |
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Milieu Social
January 29th to March 20th 2010
It is a great pleasure for Galleri
Nicolai Wallner to present Milieu Social a
new installation by Danish artist Jeppe
Hein.
Combining sculpture and installation with
architecture and technology, Jeppe Hein sets up a dialogue
between work, viewer and site. Like other of Hein's work the
particular installation for Milieu Social involves
the physical presence of the viewer set against a pattern of
minimal forms.
Initially, visitors entering the gallery
space will only face the gallery manager pedalling on an
exercise bike in an otherwise empty room. The bike is
connected with a steel construction and chain drive that leads
through the wall to the room next door. Curious to figure out
what the bike is driving on, people will find a mobile with
four round and double-sided mirrors hanging from the ceiling
of the second exhibition room. The distance between the
mirrors allows visitors to move around and pass through them.
The mobile turns around its own axis very slowly and subtly.
Thus, the mirrors reflect the entire surrounding from various
perspectives enabling the viewer to look at different parts of
the space at the same time. Moreover, the double reflection
created by overlapping mirror images at a certain position of
all three mirrors, extend the space to infinity.
Milieu Social presents two rooms,
one containing bicycle and the other a large mobile consisting
of mirrored disks suspended from the ceiling. The two parts of
the installation are connected by simple but ingenious
machinery that allows the viewer to animate the mobile by
moving the pedals of the bicycle.
Each of the mirrors in the mobile
presents new views of the visitors caught in the middle of the
seamless gallery space. Surrounded by mirrors, you become at
once actor and audience, viewer and viewed, and your reflected
image is simultaneously fractured and multiplied.
Ironically the person that is powering the
work is at the same time excluded from seeing it. After taking
seat in contraption it become obvious that a dividing wall
obstructs the view of the mobile. Hein contests the accepted
conventions of viewing and presents an energetic and playfully
antagonistic relationship between art and audience. We are
encouraged to participate in the creation of the artwork but
are denied access to it. Hein likes to tease the viewer and
carefully examines our individual and socially conditioned
responses.
Importantly Hein's artistic production
contains its fair share of humor. There is an absurd
fascination of overtly complex machinery and innovation.
Though not necessarily the full answer to the world's demand
for clean energy, pedal power technology seems to have its own
strange allure. It represents a certain causality that both
puzzles and challenges the viewer.
With Milieu Social Hein seems
to point to a new understanding of the exhibition space as a
social environment. The exhibition deftly subverts
preconceived notions making the viewer both instigator and
object.
Jeppe Hein currently has a
large solo exhibition at ARoS Kunstmuseum (Aarhus). He has
previously had solo exhibitions at several other prestigious
institutions including Centre Georges Pompidou (Paris), Tate
Liverpool (Liverpool), Spregel Museum (Hannover), Schirn
Kunsthalle (Frankfurt), Frac Île-de-France (Paris), Sculpture
Centre (New York), Musée d'Art contemporain de Nîmes (Nîmes),
and P.S.1 Contemporary Art Center (New York).
Image:
Jeppe Hein
Mobile Mobile
(2010)
Exercise bike, steel construction, chain drive,
mirrors
Variable dimensions
Unique
Photo credit: Anders Sune Berg
Courtesy:Galleri Nicolai Wallner, Copenhagen,
Denmark
Galleri Nicolai Wallner
Ny
Carlsbergvej 68 OG
DK-1760 Copenhagen
Denmark
+45 32570970
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Madame Lillie's, London |
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sceaduwe*
Russell Chater, Helen Scalway,
Richard Stone
Open 6-14 March 2010, Fri-Sun, 12-6pm
*sceaduwe - translatable
as either shade or shadow; the artists explore this spectral
spectrum through viewer participation and a range of
media:
Continuing the artist's interest in
transitional spaces, drawing and the void, Russell
Chater whitewashes the gallery windows. A playful yet
poetic intervention, the work sets the tone for the show and
raises questions about the permanence of the space itself.
Visitors are asked to leave their mark on the glass: a
scribble, a name, a face - a touch and an affirmation that
they were there - that we are here. These ideas are heightened
in a series of intimate drawing-like photographs: monochrome
images that play with sign and symbol, surface, mark making
and the need to leave our trace. Meanwhile, the heightened
tapping of a blind persons cane draws viewers to the artist's
projection piece 'Probe' - a work resonant with feeling around
in the dark.
Helen Scalway is also
concerned with means of remembering and maintaining a
presence. With delicate drawings framed in dark frames, the
artist explores nineteenth century mourning jewellery in jet
and silver: a brooch, a chain - a keepsake. The black in the
images and the glass combine to both reflect and absorb the
viewer like an obsidian mirror. Arranged as if themselves
composing a jewel, the work continues the artist's interest in
drawing and fluid spatial systems.
Engulfed in amorphous wax or with surfaces
partly removed, Richard Stone's antique
figurines and landscape paintings hover, distanced from their
historical domestic settings or purpose. Strange and
ambiguous, they both reveal and conceal evocations of self and
place, as well as raise questions over appropriation and
ownership. Meanwhile, ghostly furniture fittings are placed
against the walls, hinting at their original function, but
unable to be opened: the walls themselves now full of tension
and content.
sceaduwe is the third
exhibition together by the artists over the last year in
London gallery spaces. All the spaces have had previous
histories (a former East End pub, a former toothpaste factory
and, in the case of Madame Lillie's, a former corset makers
and sculpture workshop), whilst one of the previous spaces has
since closed - a poignant sign of the times. This layering of
history and transience is embraced in the artists work:
Russell Chater
graduated from the MA Fine Art course at Central Saint Martins
in 2000. A former Co-Director of Dalston Underground Studios
(which celebrates its 10 year anniversary with an exhibition
later this year), the artist has exhibited extensively in the
UK and abroad with exhibitions including: Visions of Desire,
Galeria Espacio, Valencia, Spain; Science Fiction: Double
Feature Ikon Gallery, The Custard Factory, Birmingham
Institute of Art & Design, The Springhill Institute,
Birmingham; Intersculpt UK Museum of Science & Industry,
Manchester; Quotidien aide (Les Locataires) Ecole superieure
des beaux- arts de Tours, France (Curated by Frank Lamy); Is
there anyone home? Gallery Westland Place, London &
Galerie Zurcher, Paris (Curated by Roy Exley); Trace:
International Drawing Exhibition - Touring: Greece, France,
UK.
Helen Scalway
graduated from the MA Fine Art course at Chelsea College of
Art in 1996. She has just completed an Arts and Humanities
Research Council funded project as a visual artist in
collaboration with the V&A (on whose site she has been
blogging) and Royal Holloway, London University. In 2007 and
2008 she held residencies at The Drawing Centre, Wimbledon
College of Art, London, University of the Arts. Recent London
shows include Moving Patterns at the Royal Geographical
Society, and loadbearing at Ada Street Gallery. Her work is
held in numerous collections, including the Artists Book
Collection at the V&A. Scalway is currently working on a
contribution to a book to be published by V&A Publishing.
Richard Stone
graduated from the MA Fine Art course at Central Saint Martins
in 2000. Upcoming projects include Schwartz Gallery presents:
Richard Stone and Rosanna Greaves, Schwartz Gallery, London.
Recent solo projects include reenactment of a memorial, Madame
Lillie's Gallery, London and the parlour, Amwell Street,
London. Further work has been shown at St Pancras Crypt,
University of the Arts and Beaconsfield, London as well as
further galleries and sites in the UK and abroad.
Image:
Richard Stone
i want to
disappear, i do not want to disappear, 2010
Courtesy of the
artist
Madame Lillie's
10 Cazenove
Road
Stoke Newington
London N16 6BD
+44
7990695363
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Bourouina Gallery, Berlin |
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MICHAEL BIBER / MIRKO TSCHAUNER
TISCH & TAFEL
6 February - 20 March 2010
The Bourouina Gallery is
pleased to show with Tisch & Tafel (table &
board) the works of Michael Biber and
Mirko Tschauner for the first time in
Berlin.
The paintings of Michael
Biber are composed of basic forms: rectangles,
triangles, circles. They play with relations, the positive and
the negative, depth and plane and the positioning of objects
in the pictoral space. Asymmetry, rhythm and various fragments
emerge in place of harmony. The kind of approach equals a
permanent test arrangement. Structure adds up to the
coherence: on naked aluminium panels meet stress marks,
imprints and digital patterns that are brought into the
classical form of the collage by ripping, cutting and glueing.
These fragile compositions tend to rub: they rise over the
rack, seem to stick out, are attached and play with the
boundary. The recurrant question is how the arrangements
position themselves in the pictoral space. This is what brings
in the disturbing quality in Biber's work. Formerly
alternative categories suddenly meld and overlie: concreteness
and abstraction, fiction and documentation.
The sculptures of Mirko
Tschauner are static material-compositions. Their
reduced chromaticity is a result of the materials used:
concrete, natural stone or steel. These matters are cut or
cast into basic geometric forms. Their assembly results from
simple composition methods such as mirroring, twisting,
tilting and layering. The sculptures seem to be freed of their
actual weight. The heavy-weight formations annex the room with
a mysterious and omnious lightness. This tention - is the
sculpture stable, in balance or will it fall ? - brings in the
feeling of a sudden stopped dynamic to his works. The
materials of Mirko Tschauners sculptures are omnipresent,
though unrecognized as facades, lampposts or staircases.
Detached from their architectural and functional context, the
glimpsed perceived flashes up in Tschauners sculptures as
fragments. Hereby his works become memory fragments of urban
everyday life.
The artists approaches are formally alike
and reveal themselves in their interplay: Both search for
concreteness in abstraction. Their art does neither describe,
nor illustrate. Still one can see realism in their works:
material realism. Their materials are of industrial source.
Color, form and materiality originate from fabrication which
brings in an automated moment, a spark of coincidence. The
final works are characterized by a certain displacement: The
real surfaces are shifted - displaced - and with them their
original beeing.
Image:
Michael Biber / Mirko Tschauner
Tisch
und Tafel
Installation View
Bourouina Gallery,
Berlin
BOUROUINA GALLERY
Charlottenstr.
1-2
D-10969 Berlin
+49 (0)30 755 12 477
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Sikkema Jenkins & Co, New
York |
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LEONARDO DREW
January 30 - March 6, 2010
Sikkema Jenkins & Co.
is pleased to announce a solo exhibition of new work by
Leonardo Drew, on view from January 30 -
March 6, 2010.
Drew is known for his dynamic large-scale
sculptural installations, which incorporate created,
manipulated and found materials such as paper, wood, tree
branches and roots, rust and mud. This exhibition will include
several such installations, the scale of which envelop the
viewer in a sculptural environment. In addition to the
installation work, Drew will also present freestanding
sculptures and works on paper.
Leonardo Drew has been making artwork since
childhood, first exhibiting his work at the age of 13. He went
on to attend the Parsons School of Design and received his BFA
from the Cooper Union for the Advancement of Science and art
in 1985. Since then, he has shown in a variety of institutions
such as The Hirschhorn Museum and Sculpture Garden at the
Smithsonian Institution in Washington DC, the Royal Hibernian
Academy in Dublin, Ireland, The Art Institute of Chicago, The
Miami Art Museum, and the St. Louis Art Museum.
After debuting last year at the Blaffer
Gallery, the Art Museum of the University of Houston, Drew's
touring mid-career survey Existed: Leonardo Drew will open at
the Weatherspoon Art Museum in Greensboro, NC on February 6th
and will be on view through May 9th. A new monograph published
by Giles, Ltd., London, in conjunction with the survey is
currently available.
Concurrent with Drew's exhibition, the
gallery will be presenting three new large-scale photographic
works by Vik Muniz from his series "Pictures of Junk" in the
Backspace. Using discarded materials, Muniz composed these
images based on 18th and 19th century anatomical studies of
human skeletons. Vik Muniz was born in Brazil and currently
lives and works in Brazil and Brooklyn. His work is included
in the collection of many museums including the Museum of
Modern Art, Metropolitan Museum of Art, Whitney Museum of
American Art, Guggenheim, Art Institute of Chicago, Centre
George Pompidou, Centro Cultural Reina Sofia, and Irish Museum
of Modern Art.
Image:
Leonardo Drew
Number 135,
2009
Wood and mixed media
180 x 688 x 63 inches
457.2
x 1747.5 x 160 cm
Courtesy of Sikkema Jenkins &
Co
Sikkema Jenkins & Co.
530 West
22nd Street
New York, NY 10011
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re-title.com - Independent directories of
emerging & professional contemporary art
Coming Next
February 24-25 Photography, Film & Video
March 3-4 Painting / Drawing
March 10-11 Mixed / Multi Media
March 17-18 Photography, Film &
Video
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BM Box 5163
London
WC1N 3XX
United
Kingdom
+44 (0) 870 922
0438 |
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