7 March 2008

re-title.com newsletter - Sculpture & Mixed Media March 2008

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Galerie Conrads Düsseldorf David Zwirner New York Mario Mauroner Contemporary Art VIENNA Team Gallery New York Leslie Tonkonow New York Spencer Brownstone Gallery New York Next Newsletters         sign up!

Galerie Conrads Düsseldorf ANDREAS ERIKSSON "Content is a Glimpse" 4 Mar - 5 Apr 2008 In 2007 Andreas Eriksson was awarded with the renowned Baloise Art Prize at Art Basel, which is linked to a solo exhibition in 2008 in MUMOK in Vienna. The installation concept for Basel, which includes photographs, painting and a bronze sculpture, is based on the artist's experiences, impressions and reflections during his long daily walks with his dog - as he explained in a talk about the work. Andreas Eriksson, who came to Berlin at the beginning of 2000, along with many other young Scandinavian artists, had to leave the city because of his hyper-sensibility to electromagnetic smog, and consequently withdrew to a remote region of Sweden. During his daily walks, which give the artist an opportunity to closely observe his natural environment, Eriksson repeatedly experiences moments of intense absorption. His artistic production reflects these experiences in a complex and intricate process that demonstrates a high level of precision. This results in documentary records direct painterly gestures, as well as metaphorical pictures and objects. With astonishing ease, Eriksson succeeds in integrating photography, painting and sculpture in a complex overall installation. The jury in Basel described his installation as "impressive self-portraits full of serenity and mystery." For our exhibition, the artist has created new "shadow- paintings," as well as ceramic sculptures, photographs, and works on paper, which are directly related to the works exhibited in Basel Image: Andreas Eriksson >Content is Glimpse< cast bronz, unique ca. 20 x 10 x 20 cm ©Galerie Conrads, Düsseldorf Galerie Conrads Kronprinzenstraße 9 40217 Düsseldorf Galerie Conrads Düsseldorf Read on... Galerie Conrads Düsseldorf

David Zwirner New York MARCEL DZAMA: Even the Ghost of the Past 6 Mar - 19 Apr 2008 Opening on March 6, David Zwirner is pleased to present a new exhibition by Marcel Dzama. For the last decade, Canadian-born Dzama has shown extensively throughout North America and Europe. Transforming 519 West 19th Street into an odeum of imagination, Dzama's ambitious fifth solo exhibition at the gallery will include single drawings, composite drawings, costumes, dioramas, and film. Marcel Dzama is best known for his figurative compositions of pen and watercolor on manila- colored paper. Bearing a characteristic palette of muted browns, grays, greens, and reds, Dzama's drawings are populated by an expansive cast of human, animal, and hybrid characters. In this exhibition distinct personalities take center stage, most notably the masked and armed "terrorist." In the sixteen-part drawing Inflated Threat, 2007, this character is obsessively repeated amongst cowboys, archers, and femmes fatales, suggesting the exaggerated climate of fear and shoot-'em-up mentality at the forefront of American politics. Despite the works' formal and psychological complexity, the artist commonly places his fantastic personae against a blank background; avoiding a definite narrative context in the drawings, Dzama consequently invites various interpretations. In recent years, Dzama has expanded his practice to include work in multiple media, including painting, sculpture, and film. Mirroring the progression in his artistic practice, the exhibition's first room of drawings will give way to a second room of new work in three dimensions. Concurrently inspired by the religious shrines he found in Mexico and the work of Joseph Cornell, Dzama has created a series of five dioramas. Recessed into the wall, the works recall a child's puppet theatre or the traditional didactic displays found in natural history museums. Countering the mode of presentation's innocuous associations, the works ultimately reveal violent quirks, whimsical fetishes, macabre humor, and sardonic political criticism. For the colossal On the banks of the red river, 2007-2008, the artist has employed nearly 300 ceramic sculptures. Recreating the apocalyptic cover image of his 2005 exhibition catalogue, The Course of Human History Personified, this work is replete with greedy aristocratic hunters, gigantic disembodied heads, flying banshees, and a motley mix of creatures caught in the throes of death. For this exhibition, the artist has also created a sculptural work that pays homage to Marcel Duchamp's Étant donnés, 1946-66. Like Duchamp, Dzama has created an intricate tableau only visible to viewers through a small peephole. The artist imagines what could have provoked Duchamp's famous scene of a nude splayed in the woods. Evoking David and Goliath, Dzama's fanciful interpretation proposes a wily fox is to blame, knocking-out both the nude and her lover with a slingshot. Dzama, thus effectively, and comically, demystifies one of art history's most enigmatic works. In the final room, the artist will present his silent film The Lotus Eaters, 2005. Recalling a bygone cinematic era, the black-and-white short will be accompanied, on select days, by a live pianist. The title suggests the mythical race, whose favored food induced a dreamy and contented forgetfulness, found in Homer's Odyssey. While the film's narrative structure mimics that of Dante's Divine Comedy, as a tortured artist travels the underworld of his creations in search of his deceased wife. Using a combination of 8mm and 16mm film, Dzama also incorporates footage shot by a Fisher-Price PixelVision camcorder - the artist's childhood camera. Embodying the unique combination of homespun aesthetic and referential complexity that characterizes Dzama's production, the film makes vivid not only the characters who occupy the artist's imagination, but also the essential nature of the creative process. Image: Marcel Dzama Courtesy of David Zwirner, New York David Zwirner 519 West 19th Street New York, NY 10011 David Zwirner, New York Read on... David Zwirner, New York

Mario Mauroner Contemporary Art VIENNA Bernardí Roig ..Darüber muss man schweigen 28 Feb - 23 Apr 2008 The drawings, sculptures and Installations by Bernardí Roig (*1965 in Palma de Mallorca) deal with the existential questions of men: light and fire are metaphora for blindness, for the blazing mind which is caught in the individuals of our world full of low communication and intensity. 2006/07 a big solo show was shown at the Domus Art Museum DA2 Salamanca, at the Kunstmuseum Bonn, at the Kampa Museum Prague and the Musée d'Art Moderne Oostende. For 2010 a solo show at the IVAM in Valencia is planned. Central figures of Bernardí Roigs' show in Vienna are Ludwig Wittgenstein and Thomas Bernhard, two persons that have influenced the austrian, or even more the viennese artistic and cultural world unlike almost any other artist before. The model-sculpture of the Wittgenstein-house in the third district of Vienna is interpreted by Roig as the external appearance of Wittgensteins inner conflicts: so to say it can be seen as the architecture of his own mind. Remarkable details such as the curtains - which leave the persons inside the house in total isolation once closed - and the very spartanic interior design of the house Roig relates with the anxious mind of Ludwig Wittgenstein. Roig lets him wander through the house in the video placed inside the model. The drawings placed around the house show details of the house and the main figure of the show, marked by misery and impotence. The austrian author Thomas Bernhard has influenced Bernardi Roig since his early youth. Bernhard incorporates the history around Ludwig Wittgenstein and the Wittgenstein house in Vienna in his novel "Correction", which also serves as connecting link between Bernhard and Wittgenstein in the exhibition. "Mein Kopf könnte ja dort sein, wohin ich gar keine Zugänge mehr habe" - "my head could be somewhere I don't have accession anymore": the figures in Roigs' works are accompanied by self- doubts and panic to the own failure. "Father-light exercises", "Kiss-exercises" or the frequently freezing and unfreezing head "Anton Frost" are the documentation of the single attempts of Roigs' figures to fight the own impotence in which they are trapped. The glistering light seems to blind them, and not to lighten the scenery. Furthermore it's a metaphor for the blazing mind, trapped in them. (Mag. Ute Stadlbauer) Image: Bernardí Roig Antonfrost, the film, Video, 2007 Courtesy of Mario Mauroner Contemporary Art VIENNA Mario Mauroner Contemporary Art VIENNA Weihburggasse 26 A - 1010 Vienna Mario Mauroner Contemporary Art VIENNA Read on... Mario Mauroner Contemporary Art VIENNA

Team Gallery New York PROGNOSEFEHLER Bernhard Martin 21 Feb - 29 Mar 2008 Team Gallery is pleased to present an exhibition of new work by the Berlin-based artist Bernhard Martin. The exhibition will run from the 21st of February through the 29th of March 2008. Bernhard Martin's exhibition, made up of paintings, sculptures and drawings, deliberately undermines - some might even say affronts - a viewer's conception of good taste. His visual content toys with artistic convention and legitimacy, questioning whether that which Martin so lovingly renders is worthy of depiction in the first place. His kaleidoscopic visions are referentially surreal and pop - his plastic patch- working of imagery creating a hybrid of person, place, thing. Martin builds a new composite whole, but traces of the individual elements remain distinct and unambiguous - a leg here, a banister there. Spaces overlap and dissolve, sometimes fragmenting into pure abstraction. Conceptually, this pictorial variation goes hand in hand with the diversity of technical and stylistic elements, chosen for reasons that do not always announce themselves. Attempts to make sense and order of these strange amalgamated visions are thwarted by an apparent crass and transgressive randomness. In fact, what we are seeing is a very deliberately orchestrated fusion of fantasy and reality. Within this tremulous collision, cultural hierarchies have been flattened. Any differentiation between high- brow and low is null and void, as sex and play, and fear and nostalgia, cohabitate. The specific choices that are responsible for such an impression - this chaotic web of references and styles - undermine the notion that an artist's gesture has any fixed or inherent meaning. The question becomes not what exactly are we looking at, but rather, why are we looking? What cause does Martin have to conjure up these images? The exhibition's title, loosely translated into English as a "failure in prediction" clearly points to the fallibility of the artist as visionary. Martin has replaced lofty, poetic visions with hallucinatory ones that somehow fluctuate between the horror of meaninglessness and the comfort of the fathomable. Martin's work has been the subject of monographic exhibitions at the Museum Fridericianum in Kassel, at the Villa Arson in Nice, at the MAMCO in Geneva, and at New York's PS1. He has had solo gallery shows in such cities as London, Paris, Salzburg, Barcelona, Athens and Zurich and has had 14 one-person exhibitions in his native Germany. It is Martin's first show at Team Image: PROGNOSEFEHLER - Bernhard Martin Installation View Team Gallery, NYC Courtesy of Team Gallery, New York Team Gallery 83 Grand Street cross streets Wooster and Greene New York, NY 10013 Team Gallery, New York Read on... Team Gallery, New York

Leslie Tonkonow New York AMY CUTLER : Alterations 23 Feb - 5 Apr 2008 The enigmatic imagery of Amy Cutler's paintings and drawings is transformed into three dimensions in her first major work of sculpture. Alterations consists of 120 cast and painted female figures placed on top of and around a long wooden table. The figures placed along the perimeter of the tabletop were cast wearing corduroy dresses and clogs, sitting on round stools wrapped with braided hair, with their arms extended in front of them. A complex web of strings wrapped around their arms connects each sculpture to a corresponding unraveling figure on the floor. These hydrocal casts feature the exquisite detail characteristic of all of Amy Cutler's work. Having painted the individual faces in gouache, Cutler renders each with a separate character and expression. A solitary lamp hanging from the ceiling illuminates the emotional theater in this poignant interplay of shadow and form. Alterations was commissioned by the Museo Nacional Centro de Arte Reina Sofía in Madrid, and exhibited there from July 3 through September 10, 2007. The work will enter the museum's permanent collection at the close of this special New York presentation. Four unique hand-colored lithographs, created for the installation in Spain, will also be on view. Amy Cutler was born in 1974 in Poughkeepsie, New York. Past exhibitions of her work have included a major survey at the Indianapolis Museum of Art (2006) and solo shows at the Kemper Museum of Contemporary Art, Kansas City (2004), and the Institute of Contemporary Art, Philadelphia (2002). She has also participated in a two-person exhibition at the Walker Art Center, Minneapolis (2002) and in such important group exhibitions as Global Feminisms, the Brooklyn Museum (2007); ARS 06, KIASMA, Museum of Contemporary Art, Helsinki; and the Whitney Biennial (2004). Works by Amy Cutler are in the collections of the Whitney Museum of American Art; The Museum of Modern Art (MoMA), New York; the Metropolitan Museum of Art, New York; the Walker Art Center, Minneapolis; the Hammer Museum, Los Angeles; the Indianapolis Museum of Art, and other major institutions. This spring, she will participate in Darger-ism: Contemporary Artists and Henry Darger at the American Folk Art Museum in New York (April 15 through September 21, 2008). Image: AMY CUTLER, Alterations, 2007 120 cast and painted figures (hydrocal, string, wooden table) dimensions variable Courtesy of Leslie Tonkonow Artworks + Projects, New York Leslie Tonkonow Artworks + Projects 535 West 22nd Street New York , NY10011 Leslie Tonkonow Artworks + Projects, New York Read on... Leslie Tonkonow Artworks + Projects, New York

Spencer Brownstone Gallery New York Martin Wöhrl kontrapost 29 Feb - 5 Apr 2008 Spencer Brownstone Gallery is proud to present a solo exhibition of new work by Munich based sculptor Martin Wöhrl, the artist's first exhibition in the United States. Wöhrl's wide-ranging practice frequently incorporates reinterpreted motifs and strategies drawn from the history of art, architecture, and design, and is characterized by an elliptical skirting of the borders between form and function. Often using found objects or materials sourced form budget DIY and hardware stores, the artist has crafted elevated minimalist platforms that can be enjoyed as sculpture - or used as stages or seating. He has produced a series of fish tanks modeled on utopian modernist housing, and standing lamps from recycled junk. His ongoing 'Gloriole' decorative wall works fashion baroque radiating halos from discarded shards of wood left on his workshop floor. For his exhibition at Spencer Brownstone Gallery, Wöhrl will present several new 'Gloriole' pieces alongside new works specially created in-situ at the gallery. Springing from the art historical concept of 'Kontrapost', the works in the show will be orchestrated as a series of unfolding dialectical 'conversations'. The show's centerpieces will be architectural structures in the form of columns, and two major wall pieces constructed from old wooden doors that have been carved, using power tools, with elaborate ornamental decorations referencing Bavarian folk decoration and corporate logos. The handcrafted detailing and sensitivity to color and patina sets the artist's work apart from much contemporary critical discourse on the relationship between art and design. Wöhrl's work ultimately offers a more generous and inclusive traversal of our shifting definitions of the aesthetic and the functional. Martin Wöhrl was born in Munich, Germany, in 1974 and studied at the Akademie der Bildenden Künste in the city before completing his studies at Glasgow School of Art through a DAAD Fellowship in 2002. Recent solo exhibitions include 'New Works' at Villa Concordia, Bamberg, and 'Papa Bifi' at Atelier Wilhelmstraße 16 e.V., Stuttgart, as well as several solo exhibitions at Sprüth/Magers Projekte, Munich. The artist has participated in group exhibitions at venues internationally, including Museo Carrillo Gil, Mexico-City; 4th Berlin Biennial; W139, Amsterdam; and Lenbachhaus, Munich. Image: Martin Wöhrl Leo, 2008 Wood, doors 132 x 168 inches Courtesy of Spencer Brownstone Gallery, New York Spencer Brownstone Gallery 39 Wooster St New York, NY 10013 Spencer Brownstone Gallery Read on... Spencer Brownstone Gallery, New York

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