Spanning our Kitchener and Lorne St galleries this exhibition includes both new and historical works.
Dick Frizzell has often slipped through the nets of traditional critical and curatorial definition and the success of his artistic career is, in part, due to the number of dramatic diversions he has made between different art styles and genres.
Frizzell has emerged as somewhat of an icon in New Zealand´s visual culture and fittingly he was commissioned to create some of the official 2011 Rugby World Cup artworks. His series of images capture New Zealand´s unique culture and rugby´s place within it.
Although primarily a painter, Frizzell also produces an extensive range of works on paper including lithographs and screen prints.
Polish artist Monika Sosnowska is known for her ambitious architectural and sculptural installations, which simultaneously embrace and resist the spaces they occupy. Sosnowska´s exhibition will obliquely reference her hometown of Warsaw and the economic shift that has occurred since the collapse of communism in 1989 to the present day.
Characteristically, the artist´s sculptures recall familiar objects transformed in some way. Such as, dysfunctional stairways that join one floor to the other yet serve no purpose, or large-scale metal cubes and girder structures twisted and wedged into existing gallery spaces. Her exhibition will present a series of new painted steel sculptures, redolent of broken market vendor stands, referencing actual forms salvaged from Jarmark Europa Stadium, originally the site of a large market that sold everything from imitation Nike training shoes to pirated CDs and DVDs. The market opened with the onset of capitalism and ended last year when the stadium was destroyed to make way for a new national stadium that was built in time to host Euro 2012.
For Jay Stuckey's second exhibition, the artist delves deeper into dreams and archetypical imagery. The paintings utilize an aoristic approach -- an action without denoting whether completed, begun, or repeated -- composing a perpetual grand narrative harkening back to allegorical and historical painting.
Launching from Stuckey's previous works, the imagery in these new paintings gets pushed back, capturing the outlines and textures of faded fragments of memory, akin to the quality of dreams. They also ask more from the viewer, the images slowly boil up to the surface over a course of time, rather than immediately. Layers of oil paint, oil stick, crayon, and torn paper create a wall-like surface with scrawling figures of various sizes, veering away from the traditional pictorial plane.
By using dreams as subject matter, Stuckey consequently taps into the collective unconscious where the union of opposites manifest – male and female, love and war, darkness and light. In the large scale painting Guardians of the Secret, a smiling couple nestled inside a bus unaware, or hiding from, the dangerous and violent world outside the vehicle. These polarities are a reflection of our collective psychological condition – layered with complexities, sometimes perverted, vulnerable, and humorous.
We are delighted to present the first solo exhibition at Klompching Gallery, featuring the highly popular photographic artworks of Cara Barer. The artist photographs outdated, abandoned and obsolete books, but only after transforming them into sculptural objects of beauty.
Coiled and crumpled, they segue into a considered commentary on the changing role of libraries, society's relationship with how it accesses and values knowledge and, in a technology advance world, her work questions the future of the book itself.
The photographs are presented as large-scale pigment prints, rich in color and highly detailed, engendering both curiosity and delight. Her work can be firmly placed within the interdisciplinary—new and growing—genre of 'altered books', which started in the 1960's with A Monument: A Treated Victorian Novel by the British artist Tom Phillips.
Durch eine Vielzahl an Einzel- und Gruppenausstellungen in Nordrhein-Westfalen, aber auch im Ausland wie England oder der Türkei, ist Uwe Thiergarten einem breiten Publikum bekannt.
Für seine Präsentation „Ansichten – Einsichten – Aussichten“ hat er eine Auswahl verschiedener Werke zusammengestellt, die sich unterschiedlicher Techniken bedienen. Thiergartens Fotos zeigen zum Beispiel Strandhütten oder Jäger vor fast monochromweißen Hintergründen, während seine sogenannten „Materialbilder“ deutlich bewegter erscheinen. Der Künstler arbeitet dabei häufig mit Naturstoffen oder Alltagsdingen wie Tontöpfen, Gipsformen oder Holzstücken. Dadurch, dass er sie in Kunstwerke integriert, werden sie aus ihren gewohnten Sinnzusammenhängen herausgelöst und erhalten eine neue Bedeutung.
Am Beispiel „Stroh“ beschreibt Uwe Thiergarten die Wirkung seiner Bilder folgendermaßen: „Das Stroh bekommt in meinen mit Gaze überzogenen und bemalten Strohbildern eine neue, wichtigere Funktion. Es füllt als dichtes Geflecht die Bildfläche. Es entsteht eine Strukturdichte mit ganz individueller dreidimensionaler Wirkung. Die Transparenz ist bewusst eingesetzt, um den Blick in die Tiefe zu lenken. Je näher man dem Bild kommt, desto mehr schwindet das Malerische und das reale Objekt Stroh tritt in den Vordergrund.“
The exhibition "the last days in chimalistac" at Kunsthalle Basel is the first solo show by Leonor Antunes in Switzerland.
The Portuguese-born, Berlin-based artist has used the entire ground floor gallery of the Kunsthalle to present an installation that encompasses a series of sculptural works engaging with the histories of 20th-century architecture, design and art. Antunes frequently takes as her starting point design objects, architectural details and art works belonging to the international Modern Movement. In her own sculptures, these earlier objects are reinterpreted in different materials and may thereby retain their original size or be scaled down. Most of the 20th¬century art works, objects and buildings addressed by Antunes are those that employ the grid as the organizational basis of their architectural volume, design or picture plane. The underlying presence of the grid becomes the most striking common feature of Antunes´s own sculptural pieces. These latter are realized in materials that have a natural or slightly antiquated touch to them, such as rope, wood, leather and brass, and use techniques often borrowed from vernacular traditions of craftsmanship originating from various locations, such as South America, Mexico and Portugal.
The works in this exhibition also explore themes of violence, injustice, and subjugation, as policemen wearing helmets and battle gear as familiar from photographs of the Occupy Wall Street protests. Yang combines depictions of police violence with European motifs of women from early Baroque until the 19th century; the faces that in mannerism express vulnerability become allegories of oppression in the midst of the oppressors. A fighter presents himself in quite a different way, crossing a ´red line´, armed and in a simultaneously defensive and aggressive pose, apparently all-too-resolute.
Alexander Ochs showed work by Yang Shaobin for the first time in 1999, hence the title of the exhibition, the same year the artist received great international recognition at the Venice Biennale curated by Harald Szeeman. Yang´s blood-red paintings (in Venice seen alongside the work of Sigmar Polke) were disturbing: They depicted people beaten beyond recognition. Their faces did not reveal realistic exactitude, but a blurry, fluid uncertainty.
Yang Shaobin´s work is currently on view at the exhibition Chinese Expressionism in Shanghai Art Museum (China Art Museum) and HOW Art Museum, Wenzhou, China, and the 2013 Sharjah Biennale, United Arab Emirates. In addition, the exhibition Blue Room is currently being shown at Arken Museum in Ilshøj, near Copenhagen.
Galleri Christoffer Egelund proudly presents the exhibition Lines and Layers by the Swedish artist Michael Johansson. Lines and layers unfold in the artist´s strict, yet witty, compositions of everyday objects.
The exhibition is primarily made out of new pieces that can be divided into two series; every piece constructed from objects found at one of the artist´s many visits at flea markets. Foldable Ladder Assembly Kit – II is one example from the series of 1:1 construction kits. A ladder has been taken apart and the parts put together in a metal frame with strings attached. To strengthen the association with construction kits the pieces has been painted entirely orange. The function of the ladder has been removed to transform the object into art. The same can be said of the other type of artworks presented at the exhibit. Here multiple objects have been stacked together as real life Tetris cubes. Boxes are stacked as a sandwich with an intermediate layer of smaller boxes and containers put together in strict order and thereby impede the originally intended function.
The exhibition represents a new presentation format, called “CC - Classic Contemporary”, initiated by the Kunsthalle Erfurt.
The exhibition series will kick off with a presentation of works by Gisèle Freund (1908-2000) and Jessica Backhaus (*1970). The two artists met for the first time in Paris in 1992. For Backhaus, it was an encounter of great significance - and not only as a photographer. A special friendship developed between Backhaus, a student at the time, and Freund, the grande dame of photography. Even after the younger photographer moved to New York in 1995, the two remained in regular contact until Freund passed away in 2000.
In honour of the 100th anniversary of Freund´s birthday in 2008, Backhaus dedicated a photo series to her esteemed mentor and friend titled “One Day in November” (2005-2008). The series was not so much a classical hommage as it was a quiet, especially poetic gift of photography. Backhaus, who deeply respected and admired Freund, never dared to show any of her works to Freund while she was alive - apart from one photo.
In addition to the group of works dedicated to Freund, the Kunsthalle Erfurt will also present other photo series by Jessica Backhaus. The exhibition includes works by Gisèle Freund, chosen by Backhaus together with curator Silke Opitz.
The Kunsthalle Erfurt is especially grateful for the numerous loans provided by the Centre Pompidou in Paris and the IMEC Archives in Saint-Germain-la-Blanche-Herbe.
Galería Arnés y Röpke is pleased to present Interface, Julie Oppermann´s first solo exhibition at the gallery.
Interface is the culmination of a month-long residency project at Galeria Arnés y Röpke. Julie Oppermann has spent the month of August in Madrid, creating a series of paintings that develop out of a dialog with, and transform the walls and spaces of the gallery. Working directly on the walls as well as on traditional panels, the painted installations will playfully subvert and challenge the viewer´s spatial perceptions and visual reasoning. The tension between real and illusory space, arises at this interface, where different modes of visual reasoning collide.
Today you find 195931 artists, and 8122 curators in 221877 exhibitions in 12573 venues (resulting in 762511 network edges) from 1880 to present, in 1545 cities in 163 countries, plus 277 professional and private artwork offers.
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