Lutz Fritsch develops and designs yardsticks for specific spaces which he offers up as sight assistants, so to say - be it on a piece of paper, on the walls of an exhibition space or in the middle of a landscape.  His luminous red, blue, yellow, or green lacquered aluminium plates and metal objects seem almost immaterial in their artificial perfection and thereby allow for a particular attentiveness to the space surrounding them. Fritsch follows hereby a "dialectic' method, joining provisionally the spectacular with the modest, and conceiving his objects as understatements and exclamation points at the same time.  In providing us with these sight assistants in the form of reduced drawings and sculptures, and integrating within these the dimension of a sovereign aesthetic, he directs us past optical measurement and comparison for sure: the physical places and spaces whose characteristics Fritsch tests and questions- with the help of a compositrial austerity that can be placed between Minimalism and Landscape paintings -are expanded through his work on imaginary and associated spaces. The seeming simplicity of material intervention makes the greatness or perhaps better, the expanse of the resulting spaces for reflection and spaces for imagining possible at all.  In connection with three extensive research trips to the arctic and antarctic - out of which his project "library in ice" came forth - he was again able to bring this interaction particularly distinctly before his (and our) eyes.
 

 

Galerie Christian Lethert
Antwerpener Straße 4
D-50672 Cologne
+49 (0)221 35 60 590

 

 

 

 

 

 

 

Laura Bielau and Sebastian Gögel

 

Galerie Emmanuel Post presents b/w-photographs of Laura Bielau and a sculpture of Sebastian Gögel.

 

Laura Bielau was born in Halle/Saale, Germany, in 1981, and lives and works in Leipzig. She studied photography at Leipzig's Academy of Visual Arts with Prof. Timm Rautert (2005-2008) and is completing her post-graduate studies with Prof. Peter Piller. Latest exhibitions include: 2008 'Marion Ermer Preis', Neues Museum, Weimar; 2009 Haus der Photographie, Deichtorhallen Hamburg.

Laura Bielau compares the dim underground levels of atomic power plants and atomic waste storage facilities to the morbid world of dissected and stuffed animal cadavers and opens up a macabre frame of associations, which is plausible and speculative at the same time: not only the super GAU contaminates humans and natures, also the creeping contamination by radioactivity causes sickness, degeneration, deformation and death. The animals that Bielau photographed in various animal laboratories are pinned down, measured, dried and finally dissected or stuffed. Some were found by a forest ranger in the direct vicinity of an atomic power plant. (...)
(Text: Maik Schlüter, 2008)

 

Sebastian Gögel was born in Sonneberg/Thuringia, Germany, in 1978, and lives and works in Leipzig. He studied painting/graphic arts at Leipzig's Academy of Visual Arts with Prof. Sighard Gille (1997-2002) and completed his post-graduate studies in 2005. Latest exhibitions include: 2008 GEM, Museum of Contemporary Art, The Hague, The Netherlands; 2008/2009 'New Leipzig School', Cobra Museum of Modern Art, Amstelveen, The Netherlands.

What expresses itself in Sebastian Gögel's many drawings, paintings and tattoos as drastic images of penetration and gestures of perforation attains a new metaphysical level in the artist's new sculptures. Here, Gögel affords insight into the mental tools, subsidiary forms and primal creatures constituting his visual world. Far beyond apologetic attempts at celebrating beauty within ugliness, the grotesque within the purportedly normal (and vice versa) by means of zealous technical mannerism on the verge of kitsch, Gögel demonstrates in ruthless precision what he is dealing in and what he wants us to look at. (...)

(Text: Oliver Kossack, 2008)

 

 

 

 

Galerie Emmanuel Post
Windmühlenstraße 31b
04107 Leipzig
+49 (0)341 1269766

 

 

 

 

 

 

 

In the MODIFICATIONS series, found photographs of unfamiliar and conflicted places throughout the Middle East and Northern Africa are subjected to a process of selection and erasure. By simply painting on enlarged color photographs with clear acrylic and then bleaching the image, new and abstract meanings are created from these family snapshots, travel photographs, and casual documentations. Thus, the photograph is physically and contextually altered; as a result, the work has the ability to oscillate between image and object, photography and painting, real and imagined.
I am constantly trying to force the medium to function outside of its initial utility and use its malleable nature as a way of coming to an ulterior understanding of the complex and the unfamiliar. This new reading attempts to shift and expand the limits on how we perceive and understand the fragmented world in which the photograph attempts to represent.
Curtis Mann

 

 

Courtesy of Kusseneers Gallery, Antwerpen
 
 
 Kusseneers Gallery
11 De Burburestraat
2000 Antwerpen
Belgium
+32 32572400

 

 

 

 

 

Sean Branagan and Paul Cole 

 

In line with the philosophy of the fair, Gooden Gallery / VINEspace London, have a tightly curated two person exhibition at the Solo Project. The gallery will be presenting Sean Branagan's latest moving image pieces that are projected onto painted canvases alongside Paul Cole's recent plasticine assemblages inspired by pages from 70's porn magazines.

 

The act of viewing 'Smokin' (2009) by Sean Branagan (pictured) becomes an act of participation; the naked female subject blinks and stares back at you so that  conventional power structures of viewer over art-object are replaced by the pace and scope of a quasi-real encounter. In the pieces that will be on show, Branagan also allows selective reflection on works such as Edouard Manet's 'Olympia' (1863) and 'Quince, Cabbage, Melon, and Cucumber,' (1602) by Spanish Still Life painter Juan Sánchez Cotán.

 

Paul Cole's work also confronts the viewer, and with titles like 'Christianne with Green Boots' and 'Angie',  it is clear that these particular pieces are named in honour of the porn stars featured on the magazine pages that inspired them . "When I was a boy growing up in Stevenage, it was common to find these images stuffed in bushes in the woods. Back then they were potent pornographic images. Today they are tame; more kitsch than sexually explicit, however palpable their primary function."  - Paul Cole 2009.

 

Paul Cole  and Sean Branagan exhibited this year at the Palazzo delle Esposizioni, Rome, as part of ROMA, the Road to Contemporary Art and both have forthcoming solo shows  at Gooden Gallery, London (formerly VINEspace) in 2009/10.

 

 

 

 

 

 

Monika Bobinska presents an installation of new and recent works by Adam King at The Solo Project in Basel.
Adam King appropriates the images, objects and detritus of consumerism and the urban environment to create collages and installations that make reference to nature, the pastoral and the macabre.
A variety of elements are reconfigured and choreographed to create works that revel in transformation, ambiguity and the discovery of the unknown. Whilst offering a commentary on consumer excess and exploring notions of value, these complex and often beautiful works speak of collapsed borders and the possibility of new beginnings.
Adam King was born in Norwich, and completed his MA in Drawing at Wimbledon College of Art. His work is held in numerous private and public collections in the UK and the USA, including Charles Saatchi and V22. Exhibitions in 2009 include Pulse New York,  'Beyond Pattern', a UK museum touring exhibition, 'Journey to the Centre of the Earth' at Gallery 20/21, Scunthorpe, and 'Pandamonium', in association with Artwise Curators, in aid of the World Wildlife Fund. Adam King lives and works in London.

 

 

 

 

Monika Bobinska
242 Cambridge Heath Road
London E2 9DA
+44 (0)786 606 3663 | (0)20 8980 9393

 

 

  

 

At this year's "The Solo Project", curated by Paul Kusseneers and taking place at the same time with ArtI40IBasel, Galerie Voss will show works by Kay Kaul and Kate Waters.

 

Both artists focus with different means on the depiction of art spaces. The photo series called "Studioscapes" by Kay Kaul shows interior views of artists' studios. The photos are composed of several pictures of the studios and give the impression of a panorama view. The resulting spatial distortion detaches the matter-of-fact and documentary nature and presents the studios as vivid spaces the viewer can dive into and wander about. In her so-called "museum paintings", Kate Waters shows views of museum spaces, in which she ironically focuses on the contradictions that can be found in the depicted motifs. Tourists, who have their pictures taken in front of the old master painting like hunters are captured as well as visitors that have turned away from the artworks and stare into space as if in trance. The light conditions in the images are particularly elaborated by the artist's outstanding technique of painting. The contrast of the warm, natural light in the old master paintings and the bluish artificial light of the museums illustrates furthermore the different narrative levels Kate Waters depicts in her paintings.

 

 

Galerie Voss
Mühlengasse 3
D-40213 Düsseldorf
+49 211 134982

 

 

 

 

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