re-title.com
20 October 2011
  Painting & Drawing  

GALERIE JEANNE-BUCHER / JAEGER BUCHER, Paris
LUIS DE JESUS, Los Angeles
SIDE BY SIDE GALLERY AKIM MONET, Berlin
TACHE GALLERY, New York
GALERIE JETTE RUDOLPH, Berlin
 

 
GALERIE JEANNE-BUCHER / JAEGER BUCHER, Paris
 
 
Yang Jiechang, Tale of the 11th Day, Mid-Autumn, 2011
 
Yang Jiechang
Tale of the 11th Day, Mid-Autumn, 2011
Ink and mineral colours on silk, mounted on paper and canvas
104,33 x 111,81 in
Photo David Bordes
Courtesy of Galerie Jaeger Bucher Paris
 
 
YANG JIECHANG
Tale of the 11th day
 
13 October - 26 November 2011
GALERIE JEANNE-BUCHER LEFT BANK
 
Opening Thursday 20th October 2011 from 6 - 10pm
20 October - 30 December 2011
GALERIE JAEGER BUCHER RIGHT BANK
 
Following Yang Jiechang’s solo exhibition “On Ascension” at the gallery in 2008, we are pleased to present this coming autumn a two-part exhibition by the artist entitled “Tale of the 11th day” in our two Paris spaces, left bank and right bank.
 
The Galerie Jeanne-Bucher will present a selection of exceptional paintings from the 1990s including the 100 Layers of Ink series. This internationally acknowledged series, exhibited for the first time in the exhibition «Les Magiciens de la Terre» at the Pompidou Centre in 1989, was followed by a creative period in which his interest switched from contemplation to intervention and participation. Yang Jiechang endeavoured to question both social and political events of today’s societies, as well as those of his own life as a Eurasian artist constantly working between Europe and Asia.
 
Entitled Stranger than Paradise and Tale of the 11th Day, the latest series of works to be shown at the gallery Jaeger Bucher, furthers the artist exploration and questioning of our global world, calling into question the notions of control and instability that rule our collective systems of life. Basing his thinking on the idea that, in a media-dominated world where life has become unreal and fictional, authenticity has become a rare commodity, Yang Jiechang imagines “a landscape for a return to Nature” that he locates in Paradise.
 
By calling the exhibition «Tale of the 11th Day», Yang Jiechang deliberately extends the 10th day of Boccaccio’s Decameron with his paradise landscape. Here, people and animals frolic quite freely, reminding us that on the one hand humans may well be animals that have evolved, but that today they have become unnatural. Myths and legends, ancient narratives, the history of art, religion and customs and popular beliefs all relate stories of animals that have been a part of human history, accompanying our development.
 
The presentation of the two-part exhibition shows Yang Jiechang’s ability to alternately summon forth self-sublimation or active participation through works that are both traditional and yet completely of their time from the point of view of composition and the ideas they convey. By imagining a 10th Day for Boccaccio’s Decameron, Yang Jiechang has fundamentally gone back to the great Confucian scholars who thought their own ideals more important than any political system. He immerses us in a Paradise where all nature’s creations seem to live together in peace.
 
Yang Jiechang was exhibited in the Art Center in Rennes La Criée, and is currently exhibited at Palazzo Grassi - François Pinault's Foundation - in Venice in an exhibition curated by Caroline Bourgeois entitled "Le Monde vous appartient (The world belongs to you)" (through 31.12.2011)
 
 
ART FAIR - FIAC 2011
BOOTH O.D24, Grand Palais, Paris
 
Artists exhibited : Fermin Aguayo - Bissière - Jean Dubuffet - Zarina Hashmi - Henri Laurens - André Masson - Serge Poliakoff - Hans Reichel - Susumu Shingu - Nicolas de Staël - Mark Tobey - Fabienne Verdier - Vieira da Silva - Paul Wallach - Yang Jiechang.
 
From 19 to 23 October 2011, the gallery is pleased to present an exhibition at the FIAC entitled ESPACE LUMIERE (THE SPACE LIGHT) showing a collection of outstanding works by modern artists represented by the gallery. These works are of fundamental importance in the "oeuvre" of each artist besides being rare in the art market. Besides these historical works, we are presenting some of the latest creations of our contemporary artists and showing movies in the creation in the auditorium of the Grand Palais.
 
 
GALERIE JEANNE-BUCHER
53 rue de Seine
75006 Paris France
T + 33 (0)1 44 41 69 65
E jeannebucher @ wanadoo.fr
 
 
 
 
GALERIE JAEGER BUCHER
5 & 7  rue de Saintonge
75003 Paris France
T + 33 (0)1 42 72 60 42
E contact @ galeriejaegerbucher.com
 
 
 
 

 
LUIS DE JESUS, Los Angeles
 
 
Mara De Luca, Odette, 2010
 
Mara De Luca
Odette, 2010
acrylic and collage on canvas
62 x 96 in | 157,4 x 243,8 cm
Courtesy of Luis De Jesus Los Angeles
 
 
MARA DE LUCA
saltus fidei | Leap of Faith
 
22 October 22 – 26 November 2011
Artist’s reception: Saturday, October 22nd, from 6:00 to 9:00 p.m
 
LUIS DE JESUS is very pleased to announce MARA DE LUCA: saltus fidei | Leap of Faith, the artist’s debut solo exhibition at the Gallery, presented at our new location, 2685 S. La Cienega Boulevard, Los Angeles, CA.
 
Titled the Sipario series (Italian for theatrical curtain or scrim), Mara De Luca’s exciting new paintings are a reflection on a contemporary sublime that is profound in its absolute superficiality and theatricality.  The Sipario paintings are inspired by the aesthetic and emotional experience of daily life in Los Angeles, a city of visual contrasts and contradictions: stunning natural beauty coexisting in a cultural climate of facile content, saturated digital aesthetics and air-brushed, synthetic effects.  The works address the existential through a romanticized and hyper-analog translation of digital media and contemporary imaging tropes particular to mass media and visual culture.
 
In the Sipario paintings, constructed landscape and atmospheric imagery present a mirroring of process and content - their exaggerated artifice reveals and disguises the processes by which they have been made, and a relationship between picture and craft is evident.  Ranging in color from bright, glowing artificial to a natural and grayscale palette, the picture planes are vast and vacuous, evoking the emotional emptiness of unflinchingly optimistic, success-oriented Hollywood values and self-improvement ideology.  Iconographic elements - appearing as recurring texts, rainbows, moon and stars - point to themes of faith, hope and desire.  Visual “faith”, or suspension of disbelief, is required of the viewer throughout and is a thematic thread connecting the diverse works.
 
Paintings such as Albertine and Odette are generated through paint pours onto unprimed canvas; the poured image is then overlaid with a ready-made fade - a two-tone semi-transparent fabric. This innovative technique mimics the digital “pour” and “gradient” editing features common to Photoshop, yet achieves a dramatically low-resolution and analog effect, calling to mind an enlarged or “actual-size” print out of skies and clouds.  Other monochrome works such as Dusk Clouds and B/W Gradient are the result of an entirely different technical approach: a hand-generated gradient achieved through repeated layering of thin acrylic washes.
 
The resulting effect is one of seamless perfection evoking the digital fade backgrounds prevalent in mainstream media advertising (internet, cell phone and billboard graphics) or the subtle and vast gradient of a Los Angeles sunset.  The paintings make a direct reference to California Light and Space, sharing concerns of subtle light plays, monochromatic surfaces and atmospheric effects.  De Luca paradoxically cross-breeds this influence with a more conceptually-driven Modernist approach: ruptured pictorial illusionism by way of heightened technical processes (pours, stains, sprays, and collage), resulting in a critically self-referential picture plane.
 
Mara De Luca is a Los Angeles-based artist.  She received a BA in Visual Arts from Columbia University in 1995 and her MFA from CalArts in 2004.  De Luca’s work is a reflection on contemporary mass media expressed though the diverse pictorial, conceptual and technical conventions of abstract and representational painting.  Recent exhibitions have included CERCA Series: Mara De Luca, a solo exhibition at the Museum of Contemporary Art San Diego, in March 2010.  Her work has also been exhibited in the U.S. and Europe at venues including Galerie Chromosome, Berlin; AbstruseSpace, London; and Los Angeles Contemporary Exhibitions (LACE), among others.  From 1998 to 2003, she lived and worked in Berlin, Germany.  De Luca has received critical press in publications such as the Los Angeles Times, Time Out London and Tip Berlin, and she was recently the recipient of a Durfee Foundation Artist’s Grant.

 
LUIS DE JESUS Los Angeles
2685 S. La Cienega Boulevard
Los Angeles, CA 90034
T: +1 310-838-6000
E: gallery @ luisdejesus.com
Hours: Tuesday-Saturday, 10am-6pm
 
 
 
 

 
SIDE BY SIDE GALLERY AKIM MONET, Berlin
 
 
George GROSZ, Brave New World, c. 1946/1947
 
George GROSZ (1893-1959)
Brave New World, c. 1946/1947
Colored Ink on Paper
50 x 39.2 cm (19 5/8 x 15 1/2 in.)
Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin
 
 
FERTILITY
 
Marina ABRAMOVIC
Jonathan BOROFSKY
Louise BOURGEOIS
Tracey EMIN
George GROSZ
Ernst Ludwig KIRCHNER
Otto MUELLER
Pablo PICASSO
Auguste RODIN
Andres SERRANO
Daniel SPOERRI
 
September 9 – November 26, 2011
 
Fertility, in all its literal or metaphoric meanings, is cyclic and timeless. At its most basic, to be fertile is to bear fruit-whether humans making children or the land producing crops. In a broader sense, fertility speaks to inventiveness, abundance, possibilities, ideas. It is the terrain of artists directly engaged in the act of creation and a fitting concept for the inaugural show of Side By Side Gallery Akim Monet, an exhibition space interested in the tangencies and dialogues between artworks spanning time and place.
 
Grouping works dating from the late 19th century to the contemporary moment by eleven artists, the show looks at its theme from many angles - factual and symbolic, erotic and tender, visceral and humorous. The contemporary artist Marina Abramovic immediately commands attention with the assertiveness of her female imagery. Abramovic's 2005 chromogenic print "Women in Rain #2," taken from her video piece "Balkan Erotic Epic," shows traditionally dressed village women in a field lifting their skirts and thrusting their exposed vaginas to the heavens. In equal parts startling and comic, the image is part of Abramovic's exploration of ancient Balkan beliefs in the power of human genitalia to ensure the fertility of the land.
 
Serrano's "Frozen Semen with Blood" (1990) is precisely that - plumes of the red and white elemental substances isolated close-up against a black ground. It is both matter-of-fact in its literalness and also beautifully evocative of pigments suspended in an Abstract Expressionist painting. It finds resonance with the corporeal redness of Louise Bourgeois's three gouaches titled "Pregnant Woman" from 2008 and 2009. Bourgeois's works, each a silhouette of a bulbous torso, seem to flip between figurative totems and abstract rivers of live-giving fluids. These embodiments of the state of fertility, made when the artist was in her mid 90s, have their roots in Surrealism, as do Daniel Spoerri's 1990s collages using images of reproductive anatomy lifted from 19th-century encyclopedias and his 1995 bronze "La Coppia-Hr. Stossel und Fr. Muscheli." This couple is amusingly personified by surrogates for their sexual organs- a rubber stamp for Hr. Stossel, a conch shell for Fr. Muscheli, each anthropomorphically poised on a set of little legs.
 
Another conversation over time happens between Ernst Ludwig Kirchner's "LiegendesPaar" (1908), a print of a couple lying in bed calmly post-coital, and Tracy Emin's 2009 monoprints "Suffer Love" of a woman furiously masturbating. Both are private glimpses of erotic intimacy, each daring in their own time, yet Emin's female is adamantly alone. While Emin's images suggest a kind of infertility of loneliness, at the same time they speak to the generative possibilities of her own hand as a means of self-preservation whether emotional or artistic.
 
Auguste Rodin and Pablo Picasso, two artists who saw their own virility as a font of creative power and viewed their prolific artistic output as a kind of offspring, each are represented by works overtly celebrating female sexuality. Rodin's bronze "Torsed'Adele" (1878) is a classically lyrical arched torso of his favored model Adele, who was in fact pregnant (although not obviously so) at the time of her sitting. In the etching "Raphael et la fornarina. II: Avec un voyeur cache" (1968), Picasso equates the erotic with the artistic enterprise as he imagines Raphael simultaneously seducing and painting his model.
 
Best known for his lurid street scenes of decadent Berlin, Kirchner also made wholesome scenes of maternal care including a mother and son playing with a train in the grass titled "Spielende kinder imgrasmiteisenbahn" (1924). Otto Mueller offers a harrowing counterpoint in his 1920 lithograph "Mutter und kind II." It is unclear whether boy cradled against the mother's body is only sleeping or in fact dead in a kind of pieta. Mueller's "Polnischefamilie" (1920-21), with a bony baby at the mother's breast and another child crouching under the table, illustrates that fertility can also be associated with destitution and failure to thrive. Their countryman George Grosz contributes an unsettling work on paper titled "Le Meilleur des mondes" (c. 1946-47) referencing Aldous Huxley's dystopian 1932 novel "Brave New World" about humans being relieved of their reproductive functions. Here Grosz presents a sardonic image of modernity with a grotesque embryo gestating in an anthropomorphic decanter towering over a naked woman robbed of her womb and a backdrop of glittering skyscrapers.
 
Jonathan Borofsky's contribution to the show takes a wide-angle view on the theme. "Human Structures (32 Figures)" (2002/2009), an indoor version of a large-scale piece done for the Beijing Olympics, is a freestanding cylindrical tower of alternating male and female figures, connected hand to hand and head to foot, each a different bright color of translucent molded polycarbonate. Here, the parts join like building blocks to create one universal, fertile organism. It is the eternal daisy chain of humanity. 
 
- Text by Hilarie M. Sheets
 
 
Side by Side Gallery Akim Monet GmbH
Potsdamerstrasse  81b.
10785 Berlin
T. +49-30-25 46 09 44
Tue - Sat 11:00am – 6:00pm
 
 
 
 
 

 
TACHE GALLERY, New York
 
 
Adrew Salgado, The Patience, 2011
 
Andrew Salgado
The Patience, 2011
oil on canvas
80 x 36 in
© the artist
 
 
ANDREW SALGADO
ANXIOUS
 
13 October to 18 November 2011
 
ANXIOUS, Andrew Salgado's first solo exhibition in New York City, sees the artist drawing upon historic masculine portraiture handled with an experimental, painterly sensibility, suggesting themes of displaced identity and an overriding technical love for the medium. Salgado’s paintings are an exploration of the concept of masculine identity through an assertive, gestural approach to figurative representation. The works reference Classical archetypes found in figurative masculine portraiture, while prioritizing a disregard for what Salgado views as the 'parameters' of figurative painting; Salgado himself recounts artists as diverse as Caravaggio, Veronese, Bjarne Melgaard, Francis Bacon, and Daniel Richter as influences. As a result, the works resonate with a frenetic, nearly schizophrenic energy, suggesting both a serene recollection of memory and convalescence (a number of the works feature mouthless boys, perhaps suggesting Salgado's victimization in a 2008 hate-crime assault in which he lost his teeth,) but move beyond mere solipsism in favor of metaphor, narrative and aggressive, abstract brushwork. ANXIOUS is a collection of nearly one-dozen, never before exhibited works (all from 2011) featuring portraits that loom from the canvas with a sensuous, aggressive painterliness and politically-charged narrative.
 
Conceptually, Salgado’s practice (re)considers the tangibility and impermanence of the body, but also inwardly comments upon the fragility of self. Accordingly, Salgado typically exploits the purely physical properties of media to inform resonating themes within his work. In an effort to surpass a literal (re)presentation of his subject-matter, he prioritizes a visceral, topographic painting surface and at times, a use of paint that calls attention to - and celebrates - its sheer materiality. The work asks for consideration of an evolving language of figuration and abstraction, calling attention to what is visible and what is suggested: pulling the viewer from the sutures of representation, and drawing attention to the painterly versus the metaphorical.
 
ANXIOUS runs October 13 - November 18 at Tache Gallery NYC. Reception October 13, 6-9pm with artist in attendance.
 
ANDREW SALGADO (b. 1982, Canada) lives and works in London, UK. He holds an MFA from London’s Chelsea College of Art (2009) and has exhibited in London, Berlin, Oslo, Vancouver, Toronto, Venezuela, and Niamey (Niger). Forthcoming solo exhibitions include The Misanthrope, Beers.Lambert Contemporary, London, UK, (2012); New Paintings, Dosi Gallery, Busan, Korea (2012); Black Paintings, MellerMerceux, Oxford, UK; and The Acquaintance, Art Gallery of Regina, Regina, Canada (2012). Previous solo exhibitions include Paint Your Black Heart Red, Galerei Atopia, Oslo, Norway (2010); and Boys Night Out, Interurban Gallery, Vancouver, Canada (2008). Noteworthy group exhibitions include Transgression, Beers.Lambert Contemporary Art, London, UK (2011); Golden, La Petit Mort Gallery, Ottawa, Canada (2011); Art For Life [featured artist], Vancouver, Canada (2011); the 2010 Merida Venezuela Biennale; and the Courtauld Institute Academy Hang IX along Gary Hume and Tracy Emin (2010-11), London, UK. He was awarded Courvoisier’s Future 500 (2010), shortlisted for Art of Giving at London’s Saatchi Gallery (2010), and will be featured in the forthcoming Channel 4 (UK) documentary The Science of Art alongside Anish Kapoor and Bridget Riley (2011).

 
TACHE GALLERY
547 W 27 Street No.602
New York, NY 10001
T: +1 347 453 7903
 
 
 
 

 
GALERIE JETTE RUDOLPH, Berlin
 
 
Lea Asja Pagenkemper, The Magican, 2011
 
Lea Asja Pagenkemper
The Magican, 2011
Oil, Spray on Canvas
200 x 170 cm
Courtesy of Galerie Jette Rudolph, Berlin
 
 
LEA ASJA PAGENKEMPER
The Lover and The Magican
 
29 October - 30 November 2011
Opening: 28 October, 2011, 6-10pm
 
“Extreme licence wedded with a joking mood is accompanied by a refusal to take the underlying truth of eroticism seriously: by seriously I mean tragically.” (Georges Bataille)
 
The exhibition “The Lover and the Magician” presents the latest works by Baselitz master student L. A. Pagenkemper. Her paintings focus on symbolically charged landscapes which, beyond any realistic illusionism, are committed to moments that lyrically render the atmosphere.
 
Pagenkemper’s paintings surprise viewers through the emphasis placed on the fleeting quality of the transparent colors and through the shadowless trees, animals and figures that look as if they want to flee the stagnation or dangerously close collapse of an established social order that is still in place. The new compositions are particularly harmonious since they are designed around a central subject. For example, the focus is on a tree, a magician, a pair of lovers, a cottage. These forms successively emerge from the network of large curved lines and areas of color that are hardly differentiated from one another, that seem to endlessly merge into one another. A way of painting that is related to surrealism’s “écriture automatique,” Pagenkemper’s painting often presents disrupted, reduced passages, which, having emerged from the spontaneity of the act of painting, appear like gestures on the canvas. The immediate and purist approach to form and color gives the images their open and associative structures: on the one hand, figurative forms symbiotically bond in the abundance of organic forms in the whole image and, on the other hand, these forms preserve their corporeal presence through the autonomous quality of the painting style and color in the image.
 
The artist places iconic elements from daily life in utopian landscapes. This is done to symbolically present human situations of love and Eros, magic and disillusion, excess and decay. In addition to these references to the painting of a Munch or Gauguin, Pagenkemper’s simplified and original manner of representation discloses a quest for expression and feeling that resists the deceptive illusionism of (media) reality, to ultimately put forth a different option, that of a changed subjectivity.
 
Similar trends can currently be found in the music, literature and theater scenes: Staging emotional transgressions or incidents where everyday feelings like love, hate and despair are hurt is a way to ensure that a situation will be dynamic, that it will provoke feelings of irritation for the recipient.
 
Through the simplified methods of painting she employs, Pagenkemper’s inner intention seems to be to want to leave the space of the painting, to offer a true art of the gesture. In the style of Georges Bataille, the artist stages the motifs of love and fear in terms of an aesthetic that transgresses notions of form and boundary and in place of the nothingness of the possibilities in the media age, she puts forth an aesthetic of an overextended self. It is precisely in the tense area of prohibitions and their transgression that the rebellious dissolution of the ego and the experience of being beside oneself is made possible, on “that path that leads to the transforming of a prohibition’s principle, of necessary and mandatory decencies, into uncomprehending hypocrisy, into a lack of understanding for what is at stake.”

 
GALERIE JETTE RUDOLPH
Strausberger Platz 4
D- 10243 Berlin
Germany
T: +49 (0)-30- 613 03 887
 
 
 
 
 
 
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