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20 November, 2006 | Painting, November 2006 |
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 Mai 36 Galerie,
Zurich Magnus Plessen New Paintings Magnus Plessen worked for several years as a photographer and filmmaker before turning to painting and its wide variety of possibilities in the year 2000. Plessen's paintings are distinguished by an independent composition technique and a reduced visual language that are increasingly attracting the attention of the international art scene. Photography is a central aspect in the painting of Magnus Plessen owing to its neutrality, which the artist greatly appreciates. He thus transposes photographs of everyday scenes, simple actions, portraits and architectural perspectives by simple means, producing pictures with an immediate impact. Motifs that appear staged against a monochrome background may subsequently dissolve into it. Plessen then restores the self-portrait's unpainted areas, signifying the moment of dazzling blindness. The artist uses photography as a stimulus for remembering persons, events or places that he reactivates during the painting process. His inner images are converted through deconstruction and merely suggested by means of broad, thrifty, frequently streaky and precisely placed brush strokes executed with various degrees of pressure, sometimes vertical, sometimes horizontal, sometimes focused, and sometimes defining empty areas. Gallery website Read on... Mai 26 Galerie, Zurich |
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 Sprüth Magers
Projekte, Munich Zbigniew Rogalski : Letter Monika Sprüth and Philomene Magers are pleased to present the first solo exhibition of Zbigniew Rogalskiat the gallery of Sprüth Magers Projekte. The exhibition consists of ten new paintings that Rogalski (born 1974) has grouped together under the title of LETTER. The word ‘Letter’ for him symbolises communication and interaction between people. In an extended meaning it refers to interpersonal relations of a more general nature, to friendship and relationship. The works in the exhibition touch on this theme more or less explicitly. The paintings are very heterogeneous. Here, Rogalski is deliberately trying out the different possibilities of presentation. Broadly speaking, they can be broken down into the following topics: a portrait, some stellar constellations, close-ups of faces, landscapes and a flag. Zbigniew Rogalski was born to 24.07.1974 in Dabrowa, Bialystok (Poland). 1999 he graduated from the academy of arts in Poznan. He lives and works in Warsaw. Rogalski belongs to the most interesting newcomers of the Polish art scene. Gallery website Read on...Sprüth Magers Projekte, Munich |
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 Andrea Rosen
Gallery, New York NIGEL COOKE : Dead Painter One of the most brilliant young painters working today, Nigel Cooke's talent is informed by serious intellectual enquiry into his medium and an uncommon fluency in writing about the theory and practice of painting. He has enjoyed a meteoric rise to acclaim over the last five years with an instantly recognizable style and subject matter. How exciting it is, then, to see him evolve without hesitation even beyond the devices that have brought him success, and to track his powerful maturing as an artist in this radical new body of work. In titling his show 'Dead Painter', Cooke signals both the spirit of irreverence that informs the new work, and its fundamental subject: the role of the painter and the act of painting, which spans the greatest masterpiece and the crudest daubings. He mockingly reserves a place for himself in the pantheon of imposing, bearded "Ghosts That Need Tending", while reducing the great men to melancholy turnip-heads, and so the paintings embody both the vaunting ambition and the destructive self-doubt of the artist. The ambivalence extends into the very language of the paint, which appears in places as gobs of base matter and elsewhere as the element of luminous, transcendent illusion. Gallery website Read on...Andrea Rosen Gallery, New York |
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 Branch Gallery,
Durham, NC Gibb Slife : The New Convolution Mel Prest : Pacific Transmissions For his solo exhibition at Branch, Brooklyn artist Gibb Slife presents new paintings and an installation of six silkscreened mirrors entitled "Slow Burn". From royal images of bejeweled crowns and scepters to fringed canvas "flags" of American iconography, Slife's paintings are bold, autonomous, and uniquely masculine. With "Slow Burn", Slife rearranges one hundred years of front page headlines and silkscreens the images on mirrors—forcing the viewer to confront the way they read the news and absorb the facts presented as truth. San Francisco artist Mel Prest's painted panels are formal and architectural. Prest writes that she is influenced by Japanese gardens of rock, moss, and raked sand; Tibetan mandalas; and victorian labyrinths—all tools for contemplation. A new series of drawings shows the artist layering lines of gouache on paper into frantic and beautiful web-like grids. In contrast to the minimal paintings these works were inspired by the translation of Led Zeppelin lyrics. Gallery website Read on...Branch Gallery, Durham, NC |
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 Simon Lee
Gallery, London CHRISTOPHER WOOL Simon Lee proudly presents new paintings and works on paper by Christopher Wool. Christopher Wool has punctuated the art world with works that have reinvigorated recent contemporary debate on the changing status of painting. He belongs to a generation of artists (Robert Gober, Jeff Koons and Richard Prince) who in the early 1980s were looking for new possibilities in painting and sculpture. Within his particular oeuvre, Wool has transposed elements from mass culture such as print media, advertising, music and film as a means to create a collision between painting and printing. The processes of painting, the physical properties of paint and techniques of reproduction underpin Wool’s practice. Crucial to Wool is his impulse to exploit the limits of painting. In previous works he has used a plethora of media comprising aluminium, silkscreen, varnish, photography, paint rollers and stencils with industrial procedures and techniques made available by mass production. Wool used these procedures in combination with painting to play with the ideas and techniques of reproduction. The processes of painting, the physical properties of paint and techniques of reproduction underpin Wool’s practice. Crucial to Wool is his impulse to exploit the limits of painting. In previous works he has used a plethora of media comprising aluminium, silkscreen, varnish, photography, paint rollers and stencils with industrial procedures and techniques made available by mass production. Wool used these procedures in combination with painting to play with the ideas and techniques of reproduction. Gallery website Read on...Simon Lee Gallery, London |
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 Madder Rose
Gallery, London Forthcoming exhibition Nessie Stonebridge Larger than life, intimately small, Stonebridge uses dramatic comparative scale to explore both her psychological and physical status. Stonebridge works simultaneously in both Charcoal and Paint, switching between methods and scales. Often appearing as dark and explicit, her marks draw upon past and present emotions, always heavily charged. The canvas becomes an organic playground where sexual tension and emotion are played out in orgy of amorphic forms, presenting the viewer with familiar yet ambiguous notions; Stonebridge’s paintings exude a raw appeal whilst nurturing a transcendental beauty. Photographer credit: Bob Aitchison Gallery website Read on...Madder Rose, London |
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 Galeria Galou,
Brooklyn FANTASTIC ROUTES curated by Alejandra Villasmil JANICE CASWELL - ELISABETH CONDON - CLAIRE COREY - FRANKLIN EVANS - SANDY LITCHFIELD - KAREN MARGOLIS - CARRIE SOLOMON - SARAH TRIGG - ALEJANDRA VILLASMIL In a dynamic context driven by globalization and the accelerated changes in technology and telecommunications, artists are reacting by creating their own parallel universes, places that exist somewhere between abstraction and representation and that are visually identifiable by gestures evoking intricate routes, swirling paths, and dizzying swirls. Influenced by the clash between the organic and the artificial, the natural and the man-made and the intuitive versus the schematic, the artists showcased in Fantastic Routes find their own ways of comprehending and dealing with notions of space, displacement and nomadic conditions, and inventing methods of charting ideas, capturing memories, and expressing visions of the future. In their search of Utopia, they transit dreamy landscapes and follow their personal cartographies for guidance. This process is one of collecting data, gathering knowledge, and ordering overloads of information. Formally, the expression of their personal perceptions of the environment and their experiences of place and time is a “fantastic topography” of strident colors, carefully orchestrated compositions, and repetitive actions of mark making, brushstrokes and gestures that derive in patterns, codes, and systems. Gallery website Read on...Galeria Galou, Brooklyn |
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 Houldsworth,
London ALICIA PAZ : Babylon : New Paintings Paz presents a series of magnificent trees, rich in symbolism, dense and varied, which act as umbrellas to a stylistic performance taking place within their branches. She weaves a luxurious web of botanical fragments, relishing in a myriad of colours, contrasts and textures. In anthropomorphous fashion, Paz’s trees talk and sing, teeming with a chattering community of parrots, neurotic women, mysterious green men, butterflies, and an assortment of ghosts. Ambiguous narratives and tongue-in-cheek fairytales hide amongst the branches. These trees of life are imbued with drunken genealogical conundrums whilst cycles of death and re-birth are evoked with humour and grace. A piece such as Chiaro-Oscuro pronounces its witty intent, but takes on board all the skill of the style which it implies. Rendered, uncharacteristically for Paz, in a muted palette of greys and blacks, it takes the light source as its idea and then suggests the ultimate conclusion of chiaroscuro as the form of the cartoon faces which hang amongst the branches of the silhouetted tree. The broken term of the title suggests another peculiarity of Paz’s work – that of her multi-cultural perspective. Mexican born, with long periods of time spent in America, France and the UK, Paz has managed to turn each culture towards the other offering a wonderland mirror – placing taste and tradition on its head. A Mexican and American experience of Japanese cartoon also feeds into the work, but to see the work as straightforwardly mixing hi and low culture is too simplistic. Gallery website Read on... Houldsworth, London |
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 Kantor / Feuer
Gallery, Los Angeles Dana Frankfort Believer Clear, concise, and never more than a few words long, these paintings nevertheless remain open to multiple, though not infinite, interpretations. Take for example the painting "Cute And Useless": Is it the object (a painting), the artist (a woman), or the gesture (Duchampian) that is "cute and useless"? It is easily conceivable that the correct answer is all three. "Space Between Paintings" like Cute And Useless both minimizes itself (as in "It is merely the...") and creates a spectacle of it's own self deprecation. Created in several sizes the space between the paintings could be large or small. And of course the best and most important paintings require as much space as possible, resulting in the deployment of ever-larger (louder) signifiers of this space. And so the existence of Space Between Paintings as an object has a kind of nagging tone. Trying to push its way through a crowd of "real" paintings, it is almost insufferably annoying and steadfastly refuses to allow the "real" paintings to go about their work, presumably the recording of historical moments or sweeping canonical redefinitions of "beauty". Gallery website Read on... Kantor / Feuer Gallery, Los Angeles |
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