Title: Cannibals
Artist: Olga Balema
Space: Croy Nielsen. Berlin, Germany
Date: 5th May - 13th June 2015
  Olga Balema At Croy Nielsen, Berlin
 Olga Balema At Croy Nielsen, Berlin
 Olga Balema At Croy Nielsen, Berlin
 Olga Balema At Croy Nielsen, Berlin
 Olga Balema At Croy Nielsen, Berlin
 Olga Balema At Croy Nielsen, Berlin
 Olga Balema At Croy Nielsen, Berlin
 Olga Balema At Croy Nielsen, Berlin
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 Exhibitionâs Statement / Press Release
âBodily needs also indicate that the appearance of autonomy is an illusion, for the body must incorporate elements from outside itself in order to survive. The need for food exposes the vulnerability of individual identity, enacted at a wider social level in the need for exchanges, communion, and commerce with others, through which the individual is absorbed into a larger corporate bodyâ (Maggie Kilgour, From Communion to Cannibalism).
The sculptures here have ingested other former sculptures, a literal enactment of cannibalism. The round bellies of some are greedy and full, pregnant from autoerotic absorption. The latex skin of others is concave around the scaffolding of sharp and unnatural growths.
Ingestion threatens the crucial fiction that subjects are autonomously contained selves, distinct from their environments, agents of their own interiority. As food moves through bodies, exterior becomes interior and vice versa; object constitutes subject and vice versa.
The bodyâs periphery is permeable. One eats in conversation with others. One becomes subsumed by oneâs context. One re-enters the garden by becoming a vegetable. Food scarcity during times of overpopulation is really the solution to its own problem. Those who obey the tenets of the cannibalism taboo are inevitably the first to go. The best off are those who, from the beginning, understand their bodies as circulating in an economy of fungible volumes. In her autobiography Smile Please, Jean Rhys describes one Christmas Day: âspeaking to a Frenchman in Paris, I said, âI can abstract myself from my body.â He looked so schocked that I asked if I was speaking bad French. He said, âoh no, mais⌠câest horrible.â And yet for so long that was what I did.â
May the odds be ever in your flavor.
Tess Edmonson
 More Info
About the Artist - Olga Balema
About the Space - Croy Nielsen. WeydingerstraĂe 10 D-10178 Berlin, Germany
About the Post - Via http://www.croynielsen.de/CNstart.htm
Title: EchoesÂ
Artist: Marguerite Humeau
Space: Duve Berlin. Berlin, GermanyÂ
Date: 30th April - 6th June 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
 âEchoesâ At Duve Berlin 2015
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 Exhibitionâs Statement / Press Release
When Marguerite Humeauâs exhibition *Echoes* closes on June 6, the hypnotic yellow pigment that dresses the walls of the gallery for her work Black Mamba will presumably be repainted in a casual White Cube white. The layer of icky paint that you encounter now will however remain in situ under its new coat and you might remember during the next opening that the walls still contain the two grams of deadly poisonous venom, sourced in Florida, and used by Humeau as a colour sample and ingredient for her mural.
The yellow walls backdrop Humeauâs signature white polystyrene sculptures propped up on elegant metal legs or artificial prostheses and varnished to a kind of unearthly gleam. These graceful beings will spend the next six weeks calmly generating potions and toxins â agonists and antagonists â as in the case of Wadjet (King Cobra), which is engineered to produce its own antidote. Sobek (Muhammad Ali) produces resilient alligator blood on an industrial scale.
Humeau emphasises her interest in life and death as a matter of transition â as a fundamental change in a stage of aggregate that preserves an essence of a prior condition much like the wall retains its many coats of paint. In a quest that resembles biosynthetic sorcery or a 19th century expedition in the age of Google, she unearthed the sources of black mamba venom from Floridian laboratories, Australian alligator blood, and Californian breast milk. Humeau researched natural bodily fluids that have the capability to heal and to enhance life. The alchemical combination of alligator blood, hippopotamus milk from a Taiwanese zoo, online-shopped breast milk, and the chemicals Rapamycin and Resvetarol, gurgling and gasping within the pumping system of Tawaret, produces a light-pink potion that contains strong antibiotics and antiseptics, âcapable of healing any diseaseâ â according to Humeau (there is a sort of calm ecstatic truth about the potentialities she formulates.)
The titles of her works, Wadjet, Sobek, Taweret, reference the hybrid gods and goddesses of Ancient Egypt. Humeau thereby splices the oldest known human concept of the afterlife with the most recent dreams of regenerative medicine and biological engineering. Her retro-engineered afterlife comes along as a vision of a designed future in which we, too, become hybrids: part hippopotamus, part alligator, part goddess of childbirth and fertility.
Often in her work, Humeau has devised ways to conflate time by resurrecting extinct creatures and their voices. In this exhibition, the synthetic voice of Cleopatra sings to a 21st century beat in the nine extinct languages that she spoke. She becomes a modern day diva (imagine an FKA twigs-style music video), which means, of course, a goddess. The connotation of the âdivaâ as a celebrated female singer with an attitude originated in the late 19th century with the technical possibilities to record a voice, to eternalise, disembody and transmit it across the globe. Humeauâs labyrinthine adventures often gift her breathless subjects this kind of mediated, i.e. divine afterlife.
This gift of life however, to come full circle, contains a Warburgian twist. That âwhich is given,â the âdosisâ (the giving of medicine), over linguistic time transformed first into a euphemism and then into the German word âGift,â meaning poison. Humeau serves us her accursed share of toxins along with a vision of resilience, immunity and immortality, whose scientific basis within her speculative endeavour is trustworthy enough to become perilously attractive: Drink the milk, transfuse the blood, but keep clear of the walls.
â Eva Wilson
***
Marguerite Humeau (b. 1986, France) studied at the Design Academy Eindhoven and at the Royal College of Art, London, where she obtained her MA in Design Interactions in 2011. Her work was recently shown in a solo exhibition at Import Projects, Berlin and has been included in group exhibitions at TBA21 Thyssen-Bornemisza Art Contemporary (Vienna), the Serpentine Gallery (London), the Museum of Modern Art (New York), the Victoria & Albert Museum (London) and the Hayward Gallery (London). Her work is part of the permanent collection of the Museum of Modern Art, New York and of the Fonds de Dotation famille Moulin (Lafayette Collection), Paris. She lives and works in London.
  More Info
About the Artist -Â Marguerite Humeau
About the Space - Duve BERLIN. Gitschiner Strasse 94/94a (Entrance D, Floor 2) 10969 Berlin, Germany
About the Post - Via http://www.duveberlin.com/   Copyright 2015 - DUVE Berlin All Rights Reserved
Santo Tolone â37 Days Of Darknessâ at Limoncello, London
Title: 37 Days of Darkness
Artist: Santo ToloneÂ
Space: Limoncello. London, U.K.
Date: 30rd April - 6th June 2015
 â37 Days of Darknessâ by Santo Tolone. Limoncello Gallery, London 2015  Â
 â37 Days of Darknessâ by Santo Tolone. Limoncello Gallery, London 2015
 â37 Days of Darknessâ by Santo Tolone. Limoncello Gallery, London 2015
 â37 Days of Darknessâ by Santo Tolone. Limoncello Gallery, London 2015
 â37 Days of Darknessâ by Santo Tolone. Limoncello Gallery, London 2015
 â37 Days of Darknessâ by Santo Tolone. Limoncello Gallery, London 2015
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 Exhibitionâs Statement / Press Release
CEILING: Whatâs going on?
MIRROR: Hey! Anybody around here? Canât see a thing!
CEILING: Well maybe there is no thing here.
ALEK: Ayy? Ayyy aayyyy� ...Nobody�
CEILING: What should we do?
ALEK: Wait... what else is there to do?... like when youâre stuck in a tin can.
FLOOR: Donât be so dramaticâŚ
SANTO: Well, we could call someone â but who?
FLOOR: This situation is making me nervousâŚ
MIRROR: Come on! Itâs like a blind date: claustrophobia, cosmic pessimism, freezing gale and the inner torment of post-modernist blah blah blah... Letâs look at the bright side!
 More Info
About the Artist - Santo Tolone
About the Space -Â Limoncello, 340-344 Kingsland Road, London E8 4DA U.K.
About the Post - Via http://thisistomorrow.info/articles/santo-tolone-37-days-of-darkness
Title: -
Artist: Hito Steyerl
Space: Artists Space. New York, U.S.A.Â
Date: 8th March - 24th May 2015
 Hito Steyerl at the Artists Space, New York 2015
 Hito Steyerl at the Artists Space, New York 2015
 Hito Steyerl at the Artists Space, New York 2015
 Hito Steyerl at the Artists Space, New York 2015
 Hito Steyerl at the Artists Space, New York 2015
 Hito Steyerl at the Artists Space, New York 2015
 Hito Steyerl at the Artists Space, New York 2015
 Hito Steyerl at the Artists Space, New York 2015
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 Exhibitionâs Statement / Press Release
Encompassing the entirety of Artists Spaceâs two venues in Lower Manhattan, this exhibition will include films, installations and lectures from the past ten years, as well as a new commission.
Steyerlâs work has developed through her dual practice as a filmmaker and writer. Her films, essays and lectures uniquely articulate the contemporary status of the image. Central to Steyerlâs work is the notion that global communications technology, and the attendant mediation of the world through images, has had a dramatic impact on the conception of politics, culture, economics and subjectivity itself.
The artistâs early essay films addressed issues of migration, multiculturalism and globalization in the aftermath of the formation of the European Union. Steyerlâs more recent works have extrapolated on the essay form as an open-ended means of speculation. These works are rooted in an analysis of late capitalismâs social, cultural and financial imaginary via distinctive object lessonsâinstances in which tracing the circulation of data, sounds and images reveal otherwise illegible structures of power. Steyerlâs approach is both humorous and forensic, utilizing her own research alongside montages of found material, digitally manipulated imagery, interviews and first-person voice-overs to speak about how images migrate, proliferate and persist across different technological supports and ideological contexts.
Her films often revolve around particular figures, such as Andrea Wolf (November, 2004), a friend from Steyerlâs youth who became a martyr of the Kurdish liberation movement; or Jacob Wood (Liquidity, Inc., 2014), an investment banker turned cage fighter. Speaking of those films, Artists Space curator Richard Birkett states: âThe films are distinctly not âaboutâ these subjects, but instead articulate how their identities, mediated through representation and self-presentation, become allegorical sites at which complex flows of desire, control and capital intersect.â
Steyerl is also routinely present in her workâas investigative voice, as image âbody,â as subject and object. Her recent lectures for example, initially presented live and then exhibited as documentation, articulate the notion of the artist as performing image, as producer and as circulator. Steyerl has coined the term âcirculationismâ in order to describe a state that is ânot about the art of making an image, but about post-producing, launching, and accelerating it.â
Courtesy: Artists Space, New York. Photo: Š Matthew Septimus.
More Info
About the Artist - Hito Steyerl
About the Space - The Artists Space. New York, U.S.A.Â
About the Post - Via http://moussemagazine.it/steyerl-artists-spac-ny-2015/#more-64318
Title: Multi-Dimesional Images & Pictographic Objects
Artist: Diana Artus, Swen Kaehlert, Michel Lamoller, Panagiotis Margaritis, Sinta Werner
Space: Art Center Bethanien. Berlin, GermanyÂ
Date: 14th May - 17th May 2015
 âMulti-dimensioanal Images and Pictographic Objectsâ Installation View
 âMulti-Dimensional Images & Pictographic Objectsâ Installation View
 Work by Michel Lamoller
 âMulti-Dimensional Images & Pictographic Objectsâ Installation View
 Work by Swen Kaehlert
 Work by Swen Kaehlert
  Exhibitionâs Statement / Press Release
âMulti-Dimensional Images and Pictographic Objectsâ examines the nature of the image and the object and the relationship between those unbreakably connected elements.
Without image there is no object, without object there is no image. It is the question of the hen and the egg.
The participating artists work with different materials and processes but are all dealing with this very special relationship, moving back and forth between image and object and reverse. The results of the artistic processes are either two- or three-dimensional, but refer in both cases to the other: Objects being the results of images; Images that derive from objects.
The works of this exhibition share a common quality; their appearances are a direct causal result of the making process, they lay open their own conditions of existence. Two-and three-dimensional representation become observable at the same time.
In the work of Michel Lamoller photographs are manually transformed - by a process of cutting and layering - into three dimensional sculptures. The space-illusion of photography is complemented by a new real space. The final result of this working process is either the sculpture, or a photograph of it.
Also using photography, Sinta Werner creates works - tautologies - that are both image and object at the same time. A photo of a space or an objects gets printed and then attached to the original space or object in original size. Like this a three-dimensional âdouble- imageâ is created.
Panagiotis Margaritis transforms flat wooden panels into folded three- dimensional images that are affected by the impact of light and shadow. These objects refer to our everyday experience of the materiality of paper, and - by implying painted frames - also to images in general.
In Diana Artusâs work the initial point are photographs of urban phenomena and architectural bodies.These visualt , findsâ initiate a process of analog transformation of the photographic material by means of repeated reproduction, added distortions and interferences, error and interactions between ,innerâ and ,outerâ images.
Swen Kählerts works are results of various painting-processes, in which he treats the canvas like an object itself. Only in the moment of stretching it onto the frame it becomes an image, and the illusion of space, which is a direct imprint of a three-dimensional condition, begins to be effective.
Initiated by Michel Lamoller and Panagiotis Margaritis
 More Info
About the Artist - Diana Artus, Swen Kaehlert, Michel Lamoller, Panagiotis Margaritis, Sinta WernerÂ
About the Space - Art Center Bethanien. Berlin, GermanyÂ
About the Post - Photos by Gonzalo Reyes Araos and Panagiotis Margaritis, Courtesy of the Artists
Title: Â Lignine Duress
Artist: Wolfgang TillmansÂ
Space: Chantal Crousel. Paris, FranceÂ
Date: 18th April - 23th May 2015
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
 Wolfgang Tillmans at Chantal Crousel
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 Exhibitionâs Statement / Press Release
The title of the exhibition refers to a photograph, presented in the adjacent smaller gallery space, showing a tree split in half after a hurricane. The materiality of the tree is laid open, fibres curling from the cracked wound. The force of the storm has broken down the cohesion of the wood, a combination of lignin(1) and cellulose. Paper, a long standing focus of Wolfgang Tillmansâ exploration of his medium, is made of varying amounts of cellulose and lignin â the highest quality and longest lasting paper being lignin free.
The exhibition presents two radically different material manifestations of photographs, which are actually both printed on the same durable archival paper using the longest lasting inks. Tillmans continues to make the perceived durability of the framed picture and the perceived fragility of the unframed picture a central theme of his exhibition making practice. The unframed inkjet prints are physically unprotected but are protected by the ownerâs right to reprint the work with a set of data given to him at the time of purchase. The framed and glazed photographs are physically protected but come without the right of the owner to reprint the work without the artistâs permission. This duality, a contradiction between the desire for the now, the immediate, and for longevity and protection, can be seen repeated in his subject matter and his oeuvre as a whole.
The main spaces of the gallery contain six large scale works from two closely related, yet conceptually quite different, groups of pictures which Wolfgang Tillmans worked on throughout 2014. Both owe their origin to Tillmansâ discovery of a constellation of digital and analogue technologies in a short moment of coexistence. The badly tuned television set in the artistâs hotel room in St Petersburg, was an old first generation flat-screen TV which had a different speed of image line change and was still using analogue signals. Tillmans hi-resolution digital camera was able to capture the fast-changing television image with a speed, not possible in the past, when such photographs would always have shown diagonal dark bands.
On three visits during 2014 Tillmans explored the potential of this particular television set, creating images which, even though born out of a highly specific setting, eloquently speak about communication and the world weâre in at large.
Although these pictures may overwhelm the eye at first glance, they radiate an immense visual excitement drawn from their own pictorial energy.
Seemingly black and white from a distance, upon close-up inspection the works appear to be extremely colourful. Overall colour shifts across the image surface interferes the viewerâs certainty of what he or she actually sees. The seemingly black and white image is revealed to consist of intense red, green, and blue colors.
The Sendeschluss / End of Broadcast photographs show no recognizable signal. They depict a state of entropy which may or may not contain all information overlaid at the same time. The title alludes to the moment at the end of the night when in decades past the official program of a station has ended and the signal was switched off. We may have personal memories of such quaint times, yet on the other hand the switching off of a signal could be caused by censorship or other violent causes. At once generic and highly specific, Sendeschluss / End of Broadcastcan thus be seen to resonate with Tillmansâs broader practice, which addresses the fundamental question of what it means to create new pictures in an increasingly image-saturated world. With the digital camera, the amount of information presented in a given photograph has become almost infinite and seems to open up several layers within a single image.
The Weak Signal photographs by contrast show a televisionâs receiver trying to decipher a weak signal and attempts to display its image against the over-powering noise of the electromagnetic static always present as a background. Even though no sense can be made, it is clear something is being received, something was sent. It is left open if this is a deliberate or accidental act of misunderstanding. In the past, Tillmansâ has tirelessly explored the boundaries of the photographic process, using various light sources and chemicals along with photographic techniques as a way of further questioning representation using non-figurative strategies. Finding its lineage in his abstract series Freischwimmer, Silver, Lighter, Blushes, and Greifbar, these new works are close kin to Tillmansâ Memorial for the Victims of Organized Religion, an installation of black and almost black photographs, which shows that an absolute distinction between what the viewer is presented with, and what he or she imagines to see, cannot be drawn. In the meantime, encounter offers the image of seedlings in a planter, which had been accidentally halfcovered for a long time. Bereft of light, they however grow green, leaving their state of a natural ÂŤ photogram Âť.
(1.) Lignin is a complex polymer derived from wood, and is an integral part of the secondary cell walls of plantsnand some algae. It is one of the most abundant organic polymers on Earth, exceeded only by cellulose.
 More Info
About the Artist - Wolfgang Tillmans
About the Space - Galerie Chantal Crousel. 10, rue Charlot 75003 Paris, France
About the Post - Via http://www.contemporaryartdaily.com/2015/05/wolfgang-tillmans-at-chantal-crousel/
Lena Henke and Marie Karlberg At Vilma Gold, London
Title: Â One step away from further Hell
Artist: Lena Henke, Marie KarlbergÂ
Space: Vilma Gold. London U.K.
Date: 28th March - 16th May 2015
 âOne step away from further Hellâ At Vilma Gold, London 2015
 âOne step away from further Hellâ At Vilma Gold, London 2015
 âOne step away from further Hellâ At Vilma Gold, London 2015
 âOne step away from further Hellâ At Vilma Gold, London 2015
 âOne step away from further Hellâ At Vilma Gold, London 2015
 âOne step away from further Hellâ At Vilma Gold, London 2015
 âOne step away from further Hellâ At Vilma Gold, London 2015
 âOne step away from further Hellâ At Vilma Gold, London 2015
 âOne step away from further Hellâ At Vilma Gold, London 2015
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 Exhibitionâs Statement / Press Release
The new and newer bodies of work shown by Marie Karlberg and Lena Henke at Vilma Gold are provocatively âfeminineâ. Less on display, though, is their recourse to a determined, hypostasized anger. Iâm not sure the duo would say so themselves; after all, are girlsâis anyoneâallowed to admit to anger anymore? And would such an anti-productive disclosure preclude activity?
The femininity in question is not the perpetual fecundity in nuce of a Venus of Willendorf, which may nonetheless be invoked by the bulbous, vulvar motifs of Henkeâs hoof-like sculptures; there is a certainly a displaced repression in their FreudianâAnnaâsânod to girlsâ horses. There is some trash, too: the way the city washes itself.
Neither is such âfemininityâ enclosed by the flatness and washing-way of another contemporary vulgate: the figuration of post-authentic selfhood. Karlbergâs twenty Ikea mirrors are embossed with graphicsâof the renaissance motif of Death and the Maiden; or of the artistâs naked body, if it can still be said to be hers. In these mirrors, strolling as through a salon, we glimpse in passing Henkeâs urban obelisks, which recall physical dividers of personal space in those areas that are private/public (Starbucks). These have a surprising effect of domesticized, solid tar.
Is there a gradually ossifying fontanel on view? Karlbergâs flush, inflamed series of watercolors is a bestiary of men and monsters depicting states of corporeal derangement. Charged, Boccaccian, grotesque, odalisque, these tableaux New-yorkais are neutralized in part, though, by their cool mounting on black rubber, then packaged in turn in a gelatinous transparent plastic. âAre youâNobodyâtoo?â; âWhoâs the Bosch here?â
Is it impudent to mention the prickly empathy of a nail salon? Yes. Then again one speaks of mirrors with an impunity that is the hallmark of sterilization. Some tubes are tied. Karlberg and Henkeâs works are dual, and speak to conjoined hair, Rosemarie and a metaphorology of cloven hoofs. Leaving the room, or evading the discussion, the cigarette-smoking viewer is delivered back to his solipsism, speaking on Bluetooth or shouting at himself.
âĂ une Passanteâ
When the flights and projects began, I counted myself both lucky and deserving. No one said anything, nobody middled. I came to see this as a lack of comment, commitment. Eureka, Europa. Little did I know I was being coaxed into what in the turbulent 2040s would be termed âLumpenprekariatâ.
Arriving in London on a late, post-pilot flight, I found the tube closed. The island region was interminably unnavigable and empty in the most hostile manner. I asked a red bus driver how to get to the undeservedly and mercilessly far region of Câwhere I was to stay. My collaborator was not answering; this was before iMessage; he was asleep. The driver suggested I might be better convenienced by finding a nearby hostel. There was one by the British Library.
Longly I wandered the empty tubular streets toward the fleet-footed urn of sleeping books. I came upon a smoking woman and asked her where the library is. âYou do know itâs closed, she said cleverly. She was an illustrator who lived in Hâ. Itâs not like that, she said to her male roommate on the phone while we rode the bus back to her flat.
After I woke up gratefully and mercifully on her couch, her roommate served me tea, and the subject of conversation turned to his front teeth. They had recently gone missing, been punched out on his way to work by a fast cyclist on his own way to work. The roommate was calm and quaint and normal about it, serving me English breakfast in their illustrative garden. The possibility of kindness. I never saw either of them again.
This was before cruelty became algorithmic, incarcerated or invisible. I like to tell people stories about stupid/coincidental actions, or bad or failed experiences, to remind them that such lapses were once possible, and that their disappearance is not desirable, either. Kindness is possible. Yes, I am Christian. My answer to the suggestion that all should enter an economy of communicability, sex or money (exchange)âa libidinal economyâis âno.â Whether you can meaningfully separate such an attempt from that economy is a different, though interesting, question.
Centuries earlier, the suicide Josef KramhĂśller (A.W.M.) was in Hell. During and before this he photographed his finger grease on the windows of upscale London boutiques to express he was angry and invisible. A slight (sic) of hand. Why vilify that anger? Aught such anger be excised, like the roommateâs teeth, or might we angels distinguish between two kinds of hell?
Pablo Larios
Courtesy: Vilma Gold, London.
 More Info
About the Artist -Â Lena Henke, Marie Karlberg
About the Space - Vilma Gold. 6 Minerva Street, London E2 9EH U.K.
About the Post - Via http://moussemagazine.it/henke-karlberg-vilma-gold/
Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing
Title: Biogenic Mineral
Artist: Timur Si-Qin
Space: Magician Space. Beijing, ChinaÂ
Date: 3rd April - 17th May 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
 Timur Si-Qin âBiogenic Mineralâ at Magician Space, Beijing 2015
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 Exhibitionâs Statement / Press Release
Magician Space is very pleased to present âBiogenic Mineral,â the first exhibition in China by Berlin-based artist Timur Si-Qin. Informed by the qualities and form of rock minerals, the exhibition presents âTruth by Peace,â a brand released by the artist for this exhibition under the banner of which includes an installation of sculpture and photography. Geological transformation is used as a metaphor for a consumer culture heated, pressurized and compressed in order to generate new patterns and forms.
Timur Si-Qinâs work revolves between the transformation of material and matter. This body of recent work explores more closely inspiration taken from China, a place he shares a blood relationship with, envisioning the country as an immense super processorâone that incessesantly draws raw material from all over the word transforming them into other material forms.
In previous projects, the artist has regularly adopted contemporary modes of commercial operations such as branding, commercial photography, and advertising. âPEACEâ is a brand the artist initiated in recent years for his exhibitions, the brand image incorporates the PEACE slogan with a white and grey Taoist Taiji symbol. For his solo exhibition in Beijing, Si-Qin mimics New York fashion brand Hood by Airâs sub-brand HBA, creating his own TBP (Truth by Peace) evoking K-Pop culture, as well as the production of large-scale commercial images. For Si-Qin, the adaptation of the brand undergoes a transformation similar to metamorphic processes found in the natural worldâthey all derive from matter shifting through phase transitions from one attractor to another.
Constituting the major component of the TBP brand in material form, the main hall features a set of rock-like sculptures fabricated in a factory located in Heiqiao Village, Beijing. Similar to how marble is the metamorphic version of limestone composed of ancient sea life, in the broader sense, minerals can also be regarded as a product of geological evolutionâa movement undergoing stages of heat and pressure through prolonged periods of time in order to yield a new form. The artist regards transformation within culture (with brands as a concrete example) as similarly a result of these complex
movements compressed together by metamorphic processes. With this sculpture installation in the main hall, the artist has also fabricated octagonal structures lined with an LED light systemâcombining traditional and contemporary structures, these elements together play the role of âvisual attractors,â directing the movement of culture or a âphase transition.â
 More Info
About the Artist -Â Timur Si-Qin
About the Space - Magician Space. 798 East Road, 798 Art Zone, 2 Jiuxianqiao Road, Chaoyang District, Beijing 100015 CHINA
About the Post - Via http://moussemagazine.it/timur-si-qin-magician-space/#more-63320
âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City
Title: The Lulennial: A Slight Gestuary Part three
Artist: Group ShowÂ
Space: Lulu. Mexico City, Mexico
Date: 7th February - 17th May 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
 âThe Lulennial: A Slight Gestuary Part threeâ at Lulu, Mexico City 2015
Â
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 Exhibitionâs Statement / Press Release
Robert Barry, Isaac Contreras, Lin Yilin, Simon Gabriel Greenberg, Matt Hinkley, Roman Ondak, Yoko Ono, Goran Petercol, Ana RoldĂĄn, Ana Santos
Loaded with double and even triple entendres, the title literally says it all. A Slight Gestuary seeks to function as a kind of reliquary of slight gestures, which is also in and of itself, inevitably slight (mindful of the mathematical impossibility of any kind of exhaustive or encyclopedic presentation of the âslight gesture,â the exhibition can but adumbrate the vast multitudes to which the title alludes). In other words, the theme of the exhibition is: small gestures, big impact. These gestures could be either quite humble, in so far as the physical art work they produce is characterized by a marked material economy, or they could be slight in so far as the gesture, also slight and local, accrues a historical significance which ultimately wields a much larger, and even international impact. Perhaps no historical artist better embodies, or better yet, defines these parameters than the Czech artist, JiĹĂ Kovanda. His actions from the â70s are a case in point. Enacted for the camera or a very small audience in the streets of Prague, Kovanda carried out a series of works, which ranged from hiding from passersby, to turning around on an escalator and staring at people, to executing a series of choreographed gestures which were indistinguishable from everyday gestures. Since being popularized in the west, these minor works of poetic protest have accumulated a broad international appreciation, while also retrospectively nuancing the oppressive context from which they issue. For all their initial simplicity, they are incredibly complex pieces whose depth and complexity have only deepened, matured, ramifying outward, over time.
A Slight Gestuary pairs living, established and emerging artists with historical artists and instances. Given the size of Lulu (9 square meters) and the ambition of the exhibition to be comprehensive, rather than exhaustive, it will necessarily take place in three successive installations. Each iteration in the space will be accompanied by the online publication of a historical archive, featuring work which consists of documentation (of the original gesture), as opposed to the work itself.
Thus, contrary to the expansionism that currently dominates almost every aspect of contemporary art, A Slight Gestuary proposes a radical modesty, examining its many implications and celebrating its overall economy.
Curated by Chris Sharp and Fabiola Iza
 More Info
About the Artist -Â Robert Barry, Isaac Contreras, Lin Yilin, Simon Gabriel Greenberg, Matt Hinkley, Roman Ondak, Yoko Ono, Goran Petercol, Ana RoldĂĄn, Ana Santos
About the Space - Lulu. Bajio 231, Colonia Roma, Cuauhtemoc Mexico City, Mexico
About the Post - Via http://moussemagazine.it/lulennial-lulu-3-mexico-city/#more-63618
Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara
Title: Isabelle Cornaro & Giuseppe Uncini (Curated by Bruno CorĂ and the Archivio Uncini) Â
Artist: Isabelle Cornaro & Giuseppe Uncini
Space: Galleria Vistamare. Pescara, ItalyÂ
Date: 7th March - 16th May 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
 Isabelle Cornaro & Giuseppe Uncini at Galleria Vistamare, Pescara 2015
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 Exhibitionâs Statement / Press Release
The exhibition of works by Giuseppe Uncini and Isabelle Cornaro, continues the galleryâs tradition of presenting exhibitions that pair artists of historical importance with young talents who are currently gaining international recognition.
As with previous shows in the series, there is a subtle but significant connection between the two artistsâ work, manifest both in their common use of the medium of sculpture and in the importance that both Uncini and Cornaro give to areas of shadow, which in some of the works on show becomes the protagonistâthe independent subject of the work.
From Unciniâs pioneering âCementarmatiâ at the end of the 1950s, followed by the âStruttureambienteâ, âDimoreâ and âOmbreâ cycles, and right up to the final projects and designs for his âColline artificiali, the Fabriano-born sculpture who worked in Rome alongside Lo Savio, Schifano, Festa and Angeli, and later as a member of the Gruppo Uno, played a major part in the redefinition of sculpture in Italy and throughout Europe. In fact, alongside a handful of other artists including Enrico Castellani, Piero Manzoni, Francesco Lo Savio, Agostino Bonalumi and, later on, Nicola Carrino, in developing self-signifying structures that speak of and for themselves, Uncini contributed to a major shift in the tradition of Italian and European art, one that established artâs semiotic/constructive valueâan approach that paved the way for, but differed from, that of the American minimalist movement.
The exhibition in Pescara illustrates the evolution of Unciniâs work with a selection of pieces from the artistâs own archive and other key collections and foundations.
Isabelle Cornaro is a young French artist whose work is informed by her training as an art historian specialized in the art of the sixteenth and seventeenth centuries. Her visual language is powerfully influenced by the forms and compositional structures of the past, paying overt tribute to the Baroque, Classicism and, in her work with film in particular, to the Modernist avant-gardes.
Using a broad range of media (film, sculpture, drawing and painting) the French artist attributes new significance to everyday objects, which she recontextualises so that the viewerâs experience is one of
aesthetic disorientation. Many of her sculptures reflect a classical taste in compositional structure via a careful use of perspective and, above, the play of light and shadow which is fundamental to any reading of these works. Her decontextualised use of everyday utensils alters their original identity, generating a form of discrepancy between their aesthetic and cultural significance and putting into question their social function in a way that suggests a novel reflection on the relationship between space and object.
From the large wooden sculptures encrusted with objects, like God Box no.2 (2013) and pieces from the âOrgon Doorâ series (2014), to the films and her large velvet panels, the works on show illustrate Cornaroâs extraordinary technical versatility and the originality of her creative and stylistic journey to date.
Curated by Bruno CorĂ and the Archivio Uncini
* Courtesy: Galleria Vistamare, Pescara. Photo: Giovanni Di Bartolomeo.
 More Info
About the Artist -Â Isabelle Cornaro & Giuseppe Uncini
About the Space -Â Galleria Vistamare. Â Largo dei Frentani, 13 â 65127 Pescara, Italy
About the Post - Via http://moussemagazine.it/cornaro-unicini-vistamare-2015/#more-63598
Title: Ein Tisch ohne Brot ist ein Brett
Artist: Sophie Nys
Space: Crac Alsace. Altkirch, France
Date: 1st March - 17th May 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015Â
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015Â
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
  âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
 âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
âEin Tisch ohne Brot ist ein Brettâ by Sophie Nys at Crac Alsace. 2015
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Exhibitionâs Statement / Press Release
Ein Tisch ohne Brot ist ein Brett, ein Tisch ohne Brot ist ein Brett, ein Tisch ohne Brot ist ein Brett, ein Tiw show of Sophie Nys, as if the better to grasp its mechanics and substance. For this statement, which not only acts as an image, informs both the challenges of Sophie Nysâ work in general and the preoccupations at work in this exhibition in particular. Ein Tisch ohne Brot ist ein Brett, which literally means âa table without bread is a boardâ, is the adaptation of a Russian saying which deals with both the object in its simplest material apparatus and the history it raises. Ein Tisch ohne Brot ist ein Brett, and, you see, the words are pleasant to utter, is therefore this relentless conceptual game, at once economical and rudimentary, which addresses a whole swathe of history, that of bread and its absence, and by extension the history of the crises and famines that have traversed Europe.
For if Sophie Nys is interested in history, and how it is manufactured and represented, she invariably approaches it through sourcesâobjects, archives, documentsâwhere she inquisitively observes the negative space, almost the unconscious and the repressed, operating by association of ideas and formal analogies. So, strictly speaking, it is not a matter of bread in this show. Rather, it involves its absence in periods of crisis, for example during the wars that have raged in this part of the worldâAltkirch and its surroundings, where the art centre is located todayâand the alternative recipes or practices which the inhabitants of this part of the world have managed to invent.
In particular, Sophie Nys has focused on a certain number of objects and works which have to do with the regionâs industrial past and more especially on the figure of the workerâshe likens to documents coming from other geographical, historical and artistic fields. In this way, and for the first time in an exhibition, the artist brings in her original sourcesâat once a source of inspiration for her work, and a source in the historical sense of the termâwhich she has collected in various museums and sites in the region, and which she updates in arrangements and assemblages of critical gestures and forms.
So the body of the Schweissdissi, âthe man who sweatsâ will rub shoulders indirectly with the firgures of Patti Smith, Joseph Beuys and Carl Andre, whose 120 heat-resistant bricks arranged in a rectangle will encounter the damaged fingers of workers whose hands are caught in the production tool, which they never laid their hands on, which will meet the sad gaze of Dumbo, a tiny navvy, the underground journeys of Herculean miners, an industrial painting, a punitive sculpture, ingenious tables-cum-chairs or clandestine popular practices, and together produce unlikely sequences of events.
â History without critique is inert; criticism without history is aimless, said Hal Foster.
â Ein Tisch ohne Brot ist ein Brett, added Sophie Nys.
Images courtesy of Crac Alsace, Altkirch
 More Info
About the Artist -Â Sophie Nys
About the Space - Crac Alsace. 18 Rue De Chateau. Altkirch, France
About the Post - Via http://www.contemporaryartdaily.com/2015/05/sophie-nys-at-crac-alsace/#more-148793
Title: Crystal Readings (curated by Gislind KÜhler)
Artist: Group ShowÂ
Space: Soy CapitĂĄn. Berlin, Germany Â
Date: 30th April - 27th June 2015
 âCrystal Readingsâ at Soy Capitan, Berlin 2015
 âCrystal Readingsâ at Soy Capitan, Berlin 2015
 âCrystal Readingsâ at Soy Capitan, Berlin 2015
 âCrystal Readingsâ at Soy Capitan, Berlin 2015
 âCrystal Readingsâ at Soy Capitan, Berlin 2015
 âCrystal Readingsâ at Soy Capitan, Berlin 2015
 âCrystal Readingsâ at Soy Capitan, Berlin 2015
âCrystal Readingsâ at Soy Capitan, Berlin 2015
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Exhibitionâs Statement / Press Release
Crystal Readings  curated by Gislind KÜhler
Mikkel Carl, Dominik Gohla, Pakui Hardware, Daniel Stempfer, Anna Zett
Fine cracks appear on the surface. The penetration of matter; new levels, techniques and structures swell out once again to dissolve. Meanings, attempts, codes are generated to explain processes. Layers of perception break apart. Forms become visible, they refer to something invisible, in the future? New combine to form a whole, vanish. Scepticism replaces reassurance, followed by speculation, then ambiguity.
 More Info
About the Artist -Â Mikkel Carl, Dominik Gohla, Pakui Hardware, Daniel Stempfer, Anna Zett
About the Space - Soy CapitĂĄn. PrinzessinnenstraĂe 29 10969 Berlin, Germany
About the Post - Via  http://soycapitan.de/?page_id=244
Frontviews Temporary At Kunstquartier Bethanien, Berlin
Title: Movements Towards Formation Â
Artist: Group Show
Space: Kunstquartier Bethanien. Berlin, GermanyÂ
Date: 29th April - 3rd May 2015
  Frontviews Temporary At Kunstquartier bethanien
 Work by Yorgos Sapoutzis
 Work by Yorgos Sapoutzis
 Work by Yorgos Sapoutzis
 Work by Yorgos Sapoutzis
 Work by Yorgos Sapoutzis
 Work by Yorgos Sapoutzis
 Work by Michaela Zimmer
 Frontviews Temporary At Kunstquartier bethanien
 Work by Peter Welz
 Work by Peter Welz
 Work by Michaela Zimmer
 Work by Stella Geppert
 Work by Stella Geppert
 Work by Stella GeppertÂ
 Work by Stella Geppert
 Work by Stella Geppert
 Frontviews Temporary At Kunstquartier bethanien
 Work by Michaela Zimmer
 Work by Judy Miller
 Work by Judy Miller
 Work by Judy Miller
Work by Judy Miller
Work by Judy Miller
Work by Elena Bajo
Work by Elena Bajo
Work by Elena Bajo
Work by Elena Bajo
Work by Elena Bajo
Work by Elena Bajo
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Exhibitionâs Statement / Press Release
Movement towards formation
Ursula StrĂśbele
âI have always admired how an idea that comes up and even if it would be the most abstract of ideas, lends us wings and carries us away. One is stuck, then suddenly moves forward, that is the meaning of thinking.â
Stepping into motion, to progress, stand still, come back, act.
This activity usually takes place in obscurity, behind the scenes, revoked of any opponentâs gaze.In between fragments appear on the surface, twinkle out of the dark, leaving visible traces.
Their reverberation anticipates the inherent past movements and livens it up again right in front of the eyes of the spectator.
The genesis spoken of here, be it from spatial installation, sculpture, a painting rendered on canvas or film takes place as a performative action and could be interpreted in the understanding of Paul Valery, as dance: âActivity (..), deriving from common and appropriated activity, then detaching itself and in the end turning against it.â
He carries on: âEach activity that isnât in pursuit of the beneficial but can be cultivated, perfected and developed in fact ties in with this basic form of dance. And therefore all art can be regarded as a special case of this common idea since all art, as by definition, includes moments of activity, an activity that achieves the work or leads to its potency.â
This implicit form of motion manifests itself in each work and inscribes itself in its rich texture. The artistic dance with the material leads up to its âGestalt-Bild-ungâ - >>movement towards formation<<. Towards here addresses a direction as well as probably a (even unconscious) target, which manifests itself in the size of canvases that are based on the artistâs height and reach or sculptural appropriations of space in opposition to entropic processes lost in chaotic openness or ruthless imposture of forms regardless of the materialâs own intrinsic language. Thoughts are translated into body language, readable in the work, fixed.
The same-titled exhibition >>movements towards formation<< takes these reflections into account to show 6 international artists: Elena Bajo, Judy Millar, Stella Geppert, YorgosSanpountzis, Peter Welz und Michaela Zimmer. In Co-operation with frontviews and the Dachverband Tanz this groupshow is accompanied by a choreoraphy  of Canan Erek in the hallway during gallery weekend (30.4. â 3.5.2015) in the projectspace of Bethanien in Berlin.
More Info
Frontviews Temporary
About the Artist - Elena Bajo, Stella Geppert, Judy Millar, Yorgos Sapoutzis, Peter Welz, Michaela Zimmer
About the Space -Â Kunstquartier Bethanien. Mariannnenplatz 210997 Berlin, Germany
Title: Shapes of thingsÂ
Artist: Trudy BensonÂ
Space: Lisa Cooley. London U.K.Â
Date: 4th April - 3rd May 2015
 Trudy Benson At Lisa Cooley, London 2015
 Trudy Benson At Lisa Cooley, London 2015
 Trudy Benson At Lisa Cooley, London 2015
 Trudy Benson At Lisa Cooley, London 2015
 Trudy Benson At Lisa Cooley, London 2015
 Trudy Benson At Lisa Cooley, London 2015
 Trudy Benson At Lisa Cooley, London 2015
 Trudy Benson At Lisa Cooley, London 2015
 Trudy Benson At Lisa Cooley, London 2015
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 Exhibitionâs Statement / Press Release
Lisa Cooley presents Shapes of Things, Trudy Bensonâs first solo show with the gallery, featuring new paintings made with oil, enamel, and acrylic on canvas.
The banana phone is ringing. Trudy Bensonâs abstract paintings vibrate with an audible buzz, full of electricity and action. Benson examines surfaces, depths, literalism, and lyricism, as her works oscillate between high formal contrastsâimage and object, figure and ground, thickness and thinness. Her skill as a painter lies in her ability to balance these juxtapositions and to reconfigure them from one painting to the next, while maintaining a deep commitment to a singular aesthetic vision.
While Bensonâs previous works have explored connections between screen-based image making and painterly handicraft, her new works concentrate on drawing. She has also been known for complicated, spectral color choices, and here, she takes the same risks with line and surface that she used to take with color. Accordingly, the palette of these works is more focused, allowing the profound weirdness of her compositional choices to take prominence. Her idiosyncratic, non-hierarchical structures fluctuate with potential readings from viewing to viewing.
For instance, Bensonâs Re: Composition, one of the largest paintings in the show, consists of a diaphanous layer of airbrushed doodles topped with an opaque, geometric, white and black pattern. Thick red, yellow, green, and blue shapes, as well as a scaffold of black and white extruded paint rest on the paintingâs surface. Each layer competes for attention in the same way a camera searches for focus within a field of vision. The layers in each painting canât be viewed at once because no single layer dominates. Thus, the visual experience of Re: Composition remains underdetermined, lacking a clear beginning or ending. Bensonâs works are not about going from point A to point B; rather, they feed back on themselves in an intricate loop of time and viewing experience.
Benson accomplishes this displacement by taking advantage of paintâs various states of matterâsolid (extruded), liquid (rolled or brushed), and gas (sprayed). Each phase carries a unique set of physical and temporal characteristics and provides a distinct set of visual effects that further the artistâs creation of painterly loops and knots. Her sprayed paint goes on quickly and absorbs into the surface, creating depth and atmospheric perspective. Her extruded paint, deliberate and slow in its shallow relief, contrasts with the spontaneity of her airbrushed marks. Her rolled or brushed oil paint lies between these two, neither thick nor thin, but fluidâa property that Benson regularly highlights by letting the paint drip down the canvas in colored rivulets. In Banana Phone, sprayed umber sits in the middle ground and pushes the brushed gray and banana yellow away from each other, even though the two layers obviously exist in the same physical plane. In Tan Gram, both the grayish-white shapes and several purple-gray fields of rolled paint seem out of place, like squares at the wrong party.
Likewise, Benson deliberately confuses figure and ground in representational terms. Banana Phone evokes an object, a white arc-like blip possibly gripped by fingers outlined in black extruded paint. Bensonâs figure-play further confuses her painterly space, while also claiming additional territory for her investigation into drawing. These flat-footed shapes are bold and a bit silly, apparitions on the edge of fully revealing themselves. In this space between figuration and abstraction, Benson raises important new stakes for her painting, finding right in wrongâor at least in awkwardness and cockeyed quasi-representationalism. In Bensonâs expert hands, no matter how shaky the ground, the pictures never risk falling apart.
In celebration of the exhibition, Superchunk frontman Mac McCaughan will DJ a special event at the gallery on April 15th, from 9pm until midnight. McCaughan's solo debut Non-Believers is out May 5th on Merge Records and features cover artwork by Benson. Benson also directed the upcoming video for the Non-Believers track "Wet Leaves."
Trudy Benson was born in Richmond, Virginia, and currently lives and works in Brooklyn, New York. She received her Masters of Fine Arts from Pratt Institute, New York. This will be her fourth solo exhibition in New York.
*All images are: Courtesy of the artist and Lisa Cooley, New York.
 More Info
About the Artist - Trudy Benson
About the Space - Lisa Cooley 107 Norfolk Street New York, New York 10002 U.S.A.
About the Post - Via http://www.lisa-cooley.com/exhibitions/trudy-benson-shapes-of-things
Title: Â The Ninja from Marrakech (Curated by Arielle Bier)
Artist: Josep Maynou
Space: GSL Projekt. Berlin, GermanyÂ
Date: 25th April - 16th May 2015
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015Â
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015
 The Ninja from Marrakech by Josep Maynou at GSL Projekt, Berlin 2015
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 Exhibitionâs Statement / Press Release
The Ninja from Marrakech is a solo exhibition by artist Josep Maynou featuring a new series of hand woven artworks created in the mountain villages of Morocco.
Mixing graphics and references of international pop-culture with the cultural exchange of social practice, Maynou bridges the international lived experience between urban and rural communities. The growing ubiquities of graphic icons such as happy faces, thumbs-up signs, graffiti, and English lettering, have become accepted baselines for cross-cultural platforms of communication across the language divide. A smiley face icon used on the cell phone of a Berber Shepard in the mountains of Morocco or a Start-Up Engineer in Berlin carry the same significance. For Maynou, these connecting points become the starting point for storytelling of the cross-cultural mash up of both real and imagined experiences.
Curated by Arielle Bier
 More Info
About the Artist - Josep Maynou
About the Space - GSL Projekt. Novalisstrasse 7, 10115 Berlin, Germany.
Title: How to work live better
Artist: Anita Witek
Space: lâĂŠtrangère, London U.K.
Date: 26th March - 2nd May 2015
 âHow to work live betterâ by Anita Witek
 âHow to work live betterâ by Anita Witek
 âHow to work live betterâ by Anita Witek
 âHow to work live betterâ by Anita Witek
 âHow to work live betterâ by Anita Witek
 âHow to work live betterâ by Anita Witek
 âHow to work live betterâ by Anita Witek
Â
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Exhibitionâs Statement / Press Release
lâĂŠtrangère is excited to announce: How to work live better: the first UK solo exhibition of the celebrated Austrian artist, Anita Witek. The show, which encompasses installation, montage and photography is concerned with the production and representation of images within the field of photography, and will be displayed in a series of constructed spaces within the gallery.
From sculptural installation to photomontage, Witek renders multiple slippages between two and three dimensionality. It is this process of simultaneously âmakingâ and âbreakingâ space, of moving within and beyond the pictorial plane and also the inside/outside spaces of the gallery itself, that reveals the innately artificial and mimetic nature of the photographic medium.
Central to Witekâs practice is the artistic process of photomontage. Her extensive archive of printed matter, consisting of contemporary and historical magazines, newspapers, found books, and posters, provide the material for her working process. By dissecting, detaching and cutting into these materials Witek not only interferes with the tension of their surfaces, but also questions and destabilises their initial content.
Witek has recently continued this de-contextualisation of the imagery with which we are consistently bombarded through the use of the material on which billboard adverts are printed. These large-scale, consumer-driven bulletins are recycled and reformed into the artistâs colour palette; the original image becomes lost within the sculptural installation that the viewer is left with. Witekâs process comments on contemporary modes of image-making and the potentially endless chains of derivatives to which one single photograph is subject. No longer is the index embedded within the signifying photograph, but instead it becomes just one step in a continuous flux of material; its context and history is constantly subject to re-appropriation.
Although Witekâs images may be anti-narrative in the traditional sense, being devoid of any visual connections between speaking subjects, this rupture allows for the temporal perception of the spectator to be brought forward. As the gaze moves over the image, deducing and carving a pathway through its many layers, Witek releases what avant-garde filmmaker, Malcolm Le Grice, calls âspectator timeâ: vision as function.
More Info
About the Artist - Anita WitekÂ
About the Space -  lâĂŠtrangère . 44a Charlotte Road London EC2A 3PD United Kingdom
About the Post - Via http://letrangere.net/exhibitions/
