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May 16, 2014 08:00 pm

Jun 29, 2014

Feldkirch

Kunst Palais Liechtenstein

Franz Rosei

Fading Figure, Marmor, 2003-2005

Feldkirch

Kunst Palais Liechtenstein

Franz Rosei

Opening	May 16, 2014 at 08:00 pm
Start date	May 17, 2014
End date	Jun 29, 2014

Die wesentlichen Steinbildhauer der Gegenwart in Österreich lassen sich an den Fingern einer Hand abzählen, selbst international bilden sie eine verschwindend kleine Gruppe. Franz Rosei gehört dazu. Seit etwa 40 Jahren ist der Künstler mit zahlreichen Ausstellungen im In- und Ausland sowie durch Arbeiten in privaten und öffentlichen Sammlungen und im öffentlichen Raum vertreten. Ursprünglich von der österreichischen Bildhauerschule herkommend, entwickelte Rosei bald eine eigene, in der Steinbildhauerei neue und eigenständige Formensprache. Seitdem arbeitet er, und nur wenige können dies heute, direkt am Stein. Rosei geht den schwierigsten Weg der Skulptur überhaupt. Er reduziert die Materie des Steins solange, bis er die für ihn endgültige Form gefunden hat. Dem Material Stein kommt auch eine symbolische Bedeutung zu. Rosei reflektiert dessen Alter und auch die Tatsache, dass er den Menschen überdauert. Die Steine beziehen sich auf ihre eigenen Millionen Jahre zurückliegenden Entstehungszeiten, aber sie erlauben auch Assoziationen zur Geschichte ihres ästhetischen Einsatzes von der ägyptischen Vorzeit bis zur griechischen Klassik, von der romanischen Archaik bis zur gotischen Eleganz.

Franz Rosei -

May 02, 2014 06:00 pm

May 24, 2014

Sydney - Paddington

Roslyn Oxley9 Gallery

Fiona Pardington

Sydney - Paddington

Roslyn Oxley9 Gallery

Fiona Pardington

Supernatural: Nature, Morte and Ripiro

Opening	May 02, 2014 at 06:00 pm
Start date	Apr 29, 2014
End date	May 24, 2014

Roslyn Oxley9 Gallery is pleased to present its first exhibition with artist Fiona Pardington. One of New Zealand’s foremost photographers, Pardington's solo exhibition of recent works will encompass some of the defining features of her practice: memory, mourning, beauty and sensuality. Her captivating images draw heavily on the European tradition of the vanitas or momento mori painting, where the luxury and opulence of the material world is undermined by the imminence of decay. Pardington meticulously composes each study by using found objects imbued with their own history, such as rediscovered family heirlooms or native botanical items. Life, death, longing and loss are all intertwined in these photographs. Fiona Pardington has exhibited widely since 1989. Recent exhibitions include Contact at the Frankfurter Kunstverein, Germany in 2012, the 2012 Ukraine Biennale and the 17th Biennale of Sydney curated by David Elliot in 2010. Her work is represented in several major international museum collections including the Musee du Quai Branly, Paris, National Gallery of Canada, Ottawa, Queensland Art Gallery / Gallery of Modern Art, Brisbane, National Gallery of Victoria, Melbourne, National Gallery of Art, Washington D.C and in New Zealand the Christchurch Art Gallery, The University of Auckland, Museum of New Zealand Te Papa Tongarewa, Auckland Art Gallery and Govett Brewster Art Gallery.

Fiona Pardington -

Apr 29, 2014 08:00 pm

Jul 13, 2014

Berlin

Uferhallen - Die 8 der Wege - The ...

The 8 of Paths

He Xiangyu, The Death of Marat, 2011, silicon, hair, textile, 175 x 50 x 35 cm, ProWinko Collection NL; Courtesy ALEXANDER OCHS GALLERIES BERLIN I BEIJING

Berlin

Uferhallen - Die 8 der Wege - The 8 of Paths

The 8 of Paths

Art in Beijing

Opening	Apr 29, 2014 at 08:00 pm
Start date	Apr 30, 2014
End date	Jul 13, 2014

The show and accompanying program – including a symposium with well-known experts in the field, guided tours and a film series – showcase works by young artists living and working in Beijing and, at the same time, highlight the diverse artistic practices in that city today. The curatorial team comprises Guo Xiaoyan – one of China’s best known curators, at present at the Minsheng Art Museum and previously Chief Curator at the Ullens Center for Contemporary Art – as well as Berlin curators Thomas Eller (former Director of the Temporäre Kunsthalle Berlin) and Andreas Schmid. Together, they visited over 50 ateliers in Beijing’s 798 Art Zone, Cao Chang Di, Hei Qiao and Song Zhuang to select the works for "The 8 of Paths". The exhibition’s title not only evokes the lucky number 8 in the Chinese tradition, but also their own curatorial journey as they explored the paths of discovery through Beijing’s varied landscape of artistic approaches. The legendary "China Avantgarde" exhibition held in 1993 in Berlin’s Haus der Kulturen der Welt is regarded as the first of its kind in Europe. This exhibition also co-organized by Andreas Schmid, co-curator of "The 8 of Paths", jump started an interest in Chinese contemporary art in the West. Building on that tradition "The 8 of Paths" spotlights leading current positions and profiles a new generation of artists who, thanks in part to the older generation around Ai Weiwei, have acquired quite new possibilities and freedoms over the past years.

Xiaoyun Chen - Colin Chinnery - Lu Fang - Xiao GUAN - Xiangyu He - Qingtai Hu - Xuan Kan - Hui Li - Ran Li - Liu Chuang - Xun SUN - Sishun Wang - Wei WANG - Xing YAN - Junling Yang - Honglei YU - Zhao Zhao - Yu Zhu - Binyuan Li - Wei LIU - Song Lu - [Sun Yuan *1972 & Peng Yu *1973] Sun & Peng - [Deng Dafei & He Hai] Deng & He - Utopia Group -
Curator Andreas Schmid - Thomas Eller - Xiaoyan GUO -

Apr 25, 2014 06:30 pm

Jun 01, 2014

London

Maureen Paley

DAVID SALLE

Trappers, 2013, oil and acrylic on canvas, 213.4 x 327.7 cm; 84 1/8 x 129 1/8 inches

London

Maureen Paley

DAVID SALLE

Opening	Apr 25, 2014 at 06:30 pm
Start date	Apr 26, 2014
End date	Jun 01, 2014

Maureen Paley is pleased to present the second solo exhibition by David Salle at the gallery. Salle lives and works in Brooklyn, New York and is known for the crucial role his work played in the discussions around postmodernism in contemporary art. Taught by John Baldessari in the 70's at UCLA he is considered part of the Pictures Generation whose work was revisited in an exhibition of the same name at the Metropolitan Museum of Art, New York in 2009. Salle’s subject matter and pictorial language stem from his interest and engagement in performance and his exploration into the relations between painting and cinema. At the center of the new exhibition is a large painting of the American West titled Trappers (2014). The black and white underlying image is a re-painting of a scene by George Caleb Bingham, one of the most popular American painters of the mid 1800s. Bingham's paintings were extremely theatrical and would be set up in tents where admission was charged in order to view them. Although carefully plotted, the composition of Salle’ painting is also subject to chance as Salle introduces brightly colored body prints that are made by literally dragging a model across the painting's surface. His aim is always to keep the eye moving across and around the space of the painting and in Trappers the actual movements begin to translate into metaphorical ones.

David Salle -

Apr 24, 2014 05:00 pm

Jul 13, 2014

Chicago

Museum of Contemporary Photograph ...

Home Truths: Ph ...

Fred Hüning, Untitled (2 photographers), 2008, Courtesy of the artist

Chicago

Museum of Contemporary Photography - MoCP

Home Truths: Photography and Motherhood

Opening	Apr 24, 2014 at 05:00 pm
Start date	Apr 25, 2014
End date	Jul 13, 2014

Home Truths: Photography and Motherhood aims to challenge long-held stereotypes and sentimental views of motherhood by addressing issues such as gender roles, domesticity, the body and the identity of individuals within the family unit. The work of these nine artists tends to be autobiographical in focus and sits within the documentary genre. Large in both scale and scope many of the projects span over several years with some still on-going. Please visit MoCP Website for Public Programs of this exhibition.

Janine Antoni - Elina Brotherus - Elinor Carucci - Ana Casas Broda - Ann Fessler - Tierney Gearon - Fred Hüning - Kathie Murray - Hanna Putz -
Curator Susan Bright -

Apr 11, 2014 06:00 pm

Jul 13, 2014

Dallas

Nasher Sculpture Center

Bettina Pousttchi

Dallas

Nasher Sculpture Center

Bettina Pousttchi

Sightings

Opening	Apr 11, 2014 at 06:00 pm
Start date	Apr 12, 2014
End date	Jul 13, 2014

For her exhibition at the Nasher, Pousttchi expands on the relationship between photography, sculpture, and architecture to create a unique environment that draws on the history of the Nasher Sculpture Center site. The artist will transform one of the upstairs galleries into a closed urban streetscape recalling the gasoline service stations and parking lots that formerly occupied the Nasher location dating back to when Ross Avenue was known as "Automobile Row" in the middle of the 20th century. The floor of the gallery will be "blacktopped" and painted to resemble a street, creating a "drive thru" art gallery for selected works from the Nasher Collection. A photographic pattern reminiscent of expanding scissor gates often used to protect storefronts and automobile repair shops will be applied to the glass facades of the gallery, obscuring views into and out of the space. In addition, several of Pousttchi’s sculptures made from police barricades and street bollards will occupy the spaces surrounding the gallery. Born in Mainz, Germany in 1971, Pousttchi studied with artists Rosemarie Trockel and Gerhard Merz at the esteemed Kunstakademie Düsseldorf and participated in the Independent Study Program at the Whitney Museum in New York in the 1990s. Since 1997, she has participated in numerous group and solo exhibitions, including at the Venice Biennale in 2003 and 2009, the Kunsthalle Basel in 2011, and the major projects mentioned above.

Bettina Pousttchi -

Apr 11, 2014 06:00 pm

May 17, 2014

Frankfurt am Main

Galerie Kim Behm

Carles Valverde

Frankfurt am Main

Galerie Kim Behm

Carles Valverde

Opening	Apr 11, 2014 at 06:00 pm
Start date	Apr 12, 2014
End date	May 17, 2014

Carles Valverde (*1965) works with metal, mainly with steel, with sheets and profiles commonly used industrially; he oxidizes, sands, and adds patina to these materials. His universe is identified with geometry, his sculpture is governed by sections, angles and sharp edges. At a first glance, nothing contradicts the rigor of forms. We admire the sharpness of his vision and the beauty of the surfaces. But in reality, nothing is more variable than this geometry. Small pieces that can be held in one‘s hand, dense and massive, are produced in their monumental versions and placed on the ground; these sculptures only have a transitory appearance.

Valverde is interested in the options that are hidden within the forms. It is not only the finished sculpture that tempts him, but the forms contained within. Geometry is a language of clarity and simplicity that holds all the complexities. The work of Carles Valverde was developed starting from simple ideas from which it reveals inexhaustible riches.

He has shows in Switzerland, Germany and Spain, while participating in international art fairs throughout Europe. He also produced several monumental sculptures for public and private organizations and his works are part of numerous collections in Switzerland and abroad.

Carles Valverde -

Apr 04, 2014 12:00 pm

Aug 11, 2014

Pasadena

Norton Simon Museum

Face It

Judy Dater , George Livia, 1996, 10 x 8 in. (25.4 x 20.3 cm), Norton Simon Museum, Gift of the Artist, PH.2010.2.1, © Judy Dater

Pasadena

Norton Simon Museum

Face It

The Photographic Portrait

Opening	Apr 04, 2014 at 12:00 pm
Start date	Apr 04, 2014
End date	Aug 11, 2014

Portraiture customarily takes on the aura of fact, as it communicates information about a sitter’s visage. When captured through the mechanical lens of the camera, such likenesses impress us as vivid surrogates for reality. Face It: The Photographic Portrait considers the notional world—where ideas are balanced with facts—presented in the close-up. It assumes that there is more to the photographic portrait than meets the eye. In place of seeking a strict reportage of a subject’s features, or outright flattery, Face It bids us look for the affective moment, the human interest, and the metaphorical associations inherent in portraits of persons known or anonymous. When confronted with figures loosed from the conventions of traditional portraiture, we, as viewers, are prompted to be active rather than passive in our experience of the images. The intimacy that occurs in such an encounter with the informal or ambiguous conjures in us a psychology of looking. A series of special events are being offered in conjunction with the exhibition. More information can be found on the museum's website.

Manuel Álvarez-Bravo - Diane Arbus - Imogen Cunningham - Judy Dater - Minor White - John R. Gossage - Philippe Halsman - Lee [Elizabeth] Miller [Lady Penrose] - Robert Delford Brown - Douglas Gilbert - Charles H. Traub -
Curator Gloria Williams Sander -

Mar 17, 2014 06:00 pm

Apr 19, 2014

London

Maureen Paley

SARAH JONES

Cabinet (III) (Drape), 2013, framed c-type print from black and white negative, frame: 65.3 x 53.3 cm - 25 3/4 x 21 inches, paper: 60 x 48 cm - 23 5/8 x 18 7/8 inches

London

Maureen Paley

SARAH JONES

Opening	Mar 17, 2014 at 06:00 pm
Start date	Mar 18, 2014
End date	Apr 19, 2014

Maureen Paley is pleased to present Sarah Jones’ sixth solo exhibition at the gallery. Following on from the recent publication of her monograph by Violette Editions, Jones’ new photographs continue to explore how subjects are measured and transcribed through the large format view camera and flattened in pictorial space. Predicated on the disarming and the vernacular she uses a vocabulary that simultaneously describes as well as documents. In her expanded Cabinet series arrangements of found objects are contained, mirrored and presented as if held in a vitrine. Over the years themes such as the analyst’s couch, the municipal rose garden as still life in-situ, the drawing studio and the singular female subject have been central to her concerns. Her photographs are often made on location and illuminated with carefully controlled lighting that allows the subject to both emerge from and recede into a darkened space. Through the use of analogue techniques Jones studies the correspondence between the skein of the film, the surface of the photographic print and the surface of her subjects. For Jones this attention to materiality brings to mind the act of mark making in drawing. She has previously used the diptych as a formal device and direct reference to early stereographic photographs in order to present two perspectives of a single form. More recent diptychs consider the act of doubling and the alchemic nature of the photographic process by literally flipping an Image.

Sarah Jones -

Feb 24, 2014 06:00 pm

May 25, 2014

Frankfurt am Main

Galerie im Karmeliterkloster

WANDA PRATSCHKE ...

Große Liegende, 2009/2011

Frankfurt am Main

Galerie im Karmeliterkloster

WANDA PRATSCHKE: HERZDAMEN

Skulpturen 2009 bis 2014

Opening	Feb 24, 2014 at 06:00 pm
Start date	Feb 25, 2014
End date	May 25, 2014

The artifacts Wanda Pratschke creates are set, clear and strong. She designs female statues and figures which give an orientation and address familiarity, they invite to have a dialogue. This dialogue we take into consideration because we are not mislead to utopian science-fiction or mimicry. Nevertheless, all her statues are filled by vision. They do not disappear to everyday life, anecdotes or gossip. They are full of changes in so many ways. In a feminine surrounding she investigates and finds the everlasting re-definition of world, genesis, human nature. Her sitting, standing or crouching bodies are rising like rocks, widen like rivers, lasting like seas or mountains - nature. Was Wanda Pratschke schafft, ist gefügt, klar und fest. Sie formt Frauenfiguren, die Orientierung geben und damit Ansprache, Vertrautheit, zum Du auffordern, zum Dialog einladen. Diesen Dialog nehmen wir gerne auf, denn wir werden nicht getäuscht, keine Mimikry, kein utopischer Science-Fiction. Dennoch sind all ihre Figuren erfüllt von Vision. Sie verlieren sich nicht im Alltag, Anekdotischem, Geschwätzigkeit. Sie sind voll vielfältiger Wandlung. Die Künstlerin verschreibt sich nicht dem schalen Traum von Paradiesen ästhetischer Illusion. Im Frauenwesen sucht sie und findet sie die immerwährende Neudeutung von Welt, Schöpfung, Menschlichkeit. Ihre sitzenden, stehenden, hockenden Leiber sind ragend wie Felsen, dehnen sich wie Flüsse, dauernd wie Meer oder Gebirge - die Natur. Dr. Friedhelm Häring

Wanda Pratschke -

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