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  • Permalink for 'Jonas Wood at David Kordansky Gallery, Los Angeles'

    Jonas Wood at David Kordansky Gallery, Los Angeles

    Posted: 11-November-2014, 10:00pm EST by contact@vernissage.tv (VernissageTV)
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    A major exhibition by Los Angeles-based artist Jonas Wood is currently on view at David Kordansky Gallery in Los Angeles. Jonas Wood’s solo show at the gallery’s new location at 5130 W. Edgewood Place is Wood’s most expansive and diverse exhibition to date. It extends across three exhibition spaces, with each room focusing on a genre within his painting practice: plants, sports cards, and portraits. A salon-style installation of works on paper that are closely related to the paintings on view complements the exhibition. In this video, we attend the opening reception of the show on November 8, 2014. The exhibition runs until January 10, 2015.

    Jonas Wood was born in Boston, MA (US) in 1977. Wood lives and works in Los Angeles. Selected solo exhibitions include Hammer Museum, Los Angeles; the High Line, New York; the Lever House Art Collection, New York; Anton Kern Gallery, New York; and Shane Campbell Gallery, Chicago.

    Jonas Wood at David Kordanksy Gallery, Los Angeles. Opening reception, November 8, 2014.

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    From the press text:

    Among the paintings, Wood will debut a new series of large-scale pictures of solitary plants in painted pots. Referred to as ?landscape pots?, each image pairs a ?clipping???a plant form isolated from a preceding work by Wood??with a vessel shape that is, itself, a painted view??a cityscape, park, or jungle-like foliage. Compositing images of objects, perspectival spaces and external surfaces, as well as textures, scales, and temporalities, the pots exemplify Wood?s montage-based practice, and its evocation of nostalgia and the uncanny.

    Accordingly, Wood increasingly draws not only from his growing collection of photographic images and ?readymade? portraits such as trading cards, but also the history of his own practice. In tandem with his paintings, he has produced a breadth of preparatory and companion works on paper, through which he resolves elements of each composition and which he later mines for future works. In this sense, the exhibition?s installation of drawings approximates a view of his studio, functioning as a matrix to understand Wood?s process, and also his greater visual universe.

    Over the past decade, Wood has developed a singular style of representational image-making. Working from a vast archive of photographs??shot and collected by the artist or sourced via the Internet??Wood reinterprets everyday views from his life. Domestic interiors, televised sports, and snapshots of family members become observational events and opportunities for the construction of line and shape. In each work, he collages flat, graphic color, and freehand geometric patterns, synthesizing discontinuous views of his subjects. His paintings remain legible as representational images while skewing towards abstraction. For instance, Wood?s daughter?s painted face, the flowers of an orchid, and the musculature of Manute Bol?s arm appear equally as intimate portrayals, kaleidoscopic visions, and novel painterly events.

    An accompanying, fully illustrated catalogue, designed by Brian Roettinger and the artist, will be published in late 2014.

    Jonas Wood (b. 1977) has recently presented solo exhibitions of his work at the Hammer Museum, Los Angeles; the High Line, New York; the Lever House Art Collection, New York; Anton Kern Gallery, New York; Shane Campbell Gallery, Chicago; and David Kordansky Gallery, Los Angeles. Recent group exhibitions include Greater L.A., New York; Mixed Signals: Artists Consider Masculinity in Sports, Wexner Center for the Arts, Columbus, Ohio; and Newtonland: Orbits, Ellipses and Other Places of Activity, White Flag Projects, St. Louis. Wood?s work is included in the public collections of the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the MCA Chicago; the Hammer Museum, Los Angeles; and the San Francisco Museum of Modern Art, among others. In November 2014 he will debut a new façade and billboard with LAXART in Culver City. Earlier this year he released print editions with Edition Jacob Samuel, Los Angeles; Cirrus Editions, Los Angeles; and Hamilton Press, Venice, California. Wood lives and works in Los Angeles.

  • Permalink for 'Max Hooper Schneider: The Pound / Jenny?s, Los Angeles'

    Max Hooper Schneider: The Pound / Jenny?s, Los Angeles

    Posted: 9-November-2014, 10:00pm EST by contact@vernissage.tv (VernissageTV)
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    Max Hooper Schneider: The Pound is Jenny’s third exhibition since the gallery opened in the Silver Lake district of Los Angeles in April 2014, after Chuck Nanney: Body Parts & Oracles, and Mathieu Malouf: Human Presence. The Pound features mixed media sculptures made of material such as blood, bone, metal, concrete, or fruit. This video provides you with at walkthrough on the occasion of the opening reception of the exhibition.

    Max Hooper Schneider was born in Los Angeles in 1982. He holds a master?s degree in landscape architecture from Harvard University. Solo exhibitions include Show No. 1, Federico Vavassori, Milan; Coordinate 2, Pacific Coast Highway, Los Angeles. He participated in Bathymetry, Del Vaz Projects, Los Angeles; Spring Exhibition, Kunsthal Charlottenborg, Copenhagen; Dark Star, Basilica Hudson, New York; Mongolia Land Art Biennial, Ikh Gazriin Chuluu, Gobi Desert; Mongolian National Art Gallery, Ulaanbataar, Mongolia, among others.

    Max Hooper Schneider: The Pound / Jenny’s, Los Angeles. Opening reception, November 7, 2014.

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  • Permalink for 'The Artist is an Explorer. Curated by Marina Abramovic'

    The Artist is an Explorer. Curated by Marina Abramovic

    Posted: 7-November-2014, 12:17am EST by contact@vernissage.tv (VernissageTV)
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    The Artist is an Explorer is a one-day performance exhibition that took place on the 20th September 2014 at Fondation Beyeler in Riehen (Basel, Switzerland). Curated by Marina Abramovic the exhibition featured performances by the artists Anna Berndtson, Abraham Brody, Rebecca Davis, Yingmei Duan, Paula Garcia, Kira O’Reilly, Lyndsey Peisinger, Melati Suryodarmo, and Nico Vascellari. In this video, we have a short look at each of the performances, interviews with the artists are coming soon.

    The Artist is an Explorer. Curated by Marina Abramovic. Fondation Beyeler, Riehen (Switzerland), September 20, 2014.

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  • Permalink for 'Mel Bochner: Going out of Business! at Simon Lee Gallery London'

    Mel Bochner: Going out of Business! at Simon Lee Gallery London

    Posted: 4-November-2014, 10:00pm EST by contact@vernissage.tv (VernissageTV)
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    Going out of Business! (and other recent paintings on velvet) at Simon Lee Gallery in London is Mel Bochner’s first solo exhibition with the gallery. The show consists of a new body of word paintings on velvet. Mel Bochner began making paintings on velvet in 2005, after he had discovered, that velvet didn’t absorb the paint like other unprimed textiles. In this video, we have a look at the exhibition on the occasion of the private view of the show on October 13, 2014.

    Mel Bochner: GOING OUT OF BUSINESS! (and other recent paintings on velvet). Simon Lee Gallery London, October 13, 2014.

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    ?I began making paintings on velvet in 2005. The initial impulse came from a book on incunabula (printing before the invention of movable type). In most cases these books and broadsheets were woodblocks printed on paper, but a few were printed on cloth. That gave me the idea of trying to print directly on various kinds of unprimed textiles?linen, cotton, silk, etc. Unfortunately, without primer, paint was absorbed into their porous surfaces. Velvet, much to my surprise, was the only material that kept the paint up. And while it wasn?t my intention, the kitschy aura of paintings-on-velvet (Elvis!) was an unexpected but not unwelcome bonus.

    Since Jackson Pollock, one of the directions painting has taken has been to exploit the expressiveness of paint itself. But while Pollock proclaimed ?no chaos, damn it!? it is the surrender of control that frees the paint to express its paintness. In the velvet paintings the paint is delivered to the surface indirectly. First a computer-controlled laser engraves the text into a thick acrylic sheet, which will serve as a printing matrix. Then, letter by letter, the words are hand-filled with pure oil paint, sometimes up to a pound per letter. Finally, the velvet is laid face down on the plate, placed in a hydraulic press, and subjected to 750 tons of vertical pressure. With so many uncontrollable variables (temperature, humidity, viscosity, and pressure) there is no predicting what the paint will do. The paint?s chemistry, its ?fluids and ground-up stones,? determines, beyond any dictates of good or bad taste, what the final painting will look like. Under pressure the paint, with nothing to prevent it, bleeds freely into weirdly marbleized puddles. The more viscous colors spurt out of the letters, while the densely pigmented ones emerge in wrinkled globs. The random smudging and smearing render some words unreadable, obliterate others, and further estrange them from any ?necessary and sufficient? meaning. When the velvet is pulled off the plate, the result is always a surprise, sometimes a jolt.?

    -Mel Bochner, Some thoughts on Color, Language, Painting and Blah, Blah, Blah, 2007 / 2013

    Mel Bochner was born in 1940 in Pittsburgh, Pennsylvania. Bochner received his BFA in 1962 and honorary Doctor of Fine Arts in 2005 from the School of Art at Carnegie Mellon University. He lives and works in New York.

  • Permalink for 'Walead Beshty at The Curve, Barbican Centre, London'

    Walead Beshty at The Curve, Barbican Centre, London

    Posted: 2-November-2014, 10:00pm EST by contact@vernissage.tv (VernissageTV)
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    A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench is the title of Walead Beshty’s large scale installation for the Barbican Centre’s The Curve. For his Curve commission, the London-born, Los Angeles-based artist Walead Beshty has transformed the Curve into a huge panorama made of more than 12,000 cyanotype prints that cover the huge wall from floor to ceiling. A central platform enables the visitor to view the work from multiple perspectives. In this video, Walead Beshty talks about the idea behind the work, how the prints have been created, how they objects are arranged on the wall, and why a series of encyclopedic volumes complements the exhibition.

    Walead Beshty (born in London in 1976) is an artist, writer and professor working in Los Angeles. The work on his Curve commission began in Beshty’s studio in Los Angeles in 2013. For each of the 12,000 prints, the artist used cyanotype – one of the earliest photographic processes with a cyan-blue tint – and objects from the artist’s studio: an object is placed on top of a porous surface (such as discarded paper or cardboard), which has been coated with UV-sensitive cyanotype chemistry. After being exposed to the sunlight, the silhouette of the object appears against a cyan-blue background. The last prints were made in London in October 2014, made with material sourced from the Barbican during Walead Beshty’s residency. The prints are presented in chronological order, so that the installation can be read as a visual timeline.

    Walead Beshty: A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench at The Curve, Barbican Centre, London. Interview with Walead Beshty, October 14, 2014.

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    Complete video (11:44 min.):

  • Permalink for 'Richard Tuttle:  I Don?t Know, Or The Weave of Textile Language / Whitechapel Gallery, London'

    Richard Tuttle: I Don?t Know, Or The Weave of Textile Language / Whitechapel Gallery, London

    Posted: 30-October-2014, 11:00pm EDT by contact@vernissage.tv (VernissageTV)
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    The Whitechapel Gallery in London currently presents a major survey exhibition dedicated to the American artist Richard Tuttle, which spans five decades of the artist’s career. The retrospective is titled I Don’t Know, Or The Weave of Textile Language. In this video we have a look at the show on the occasion of the press preview.

    The exhibition is part of a collaboration between the Whitechapel Gallery and Tate Modern that celebrates the American sculptor and poet Richard Tuttle. In addition to the exhibition at the Whitechapel Gallery, the Tate Modern commissioned Richard Tuttle to create a work for its Turbine Hall. Tuttle conceived a large-scale sculptural installation that is principally constructed of fabric. It?s the largest work ever created by the artist. click here!

    The joint project has been specially devised by the artist. It focuses on the particular importance of textiles in his work. The exhibition at the Whitechapel Gallery centers on his use of fibre, thread and textile. The show includes Looking for the Map 8, (2013-14), a new work shown in the UK for the first time, works made in situ by the artist such as the re-making of the key sculpture Ten Kinds of Memory and Memory Itself (1972), as well as international loans from museums and private collections. Richard Tuttle positioned the works not chronologically, but in a formal relationship to each other and in direct response to the architectural framework of Whitechapel Gallery?s historic exhibition spaces. The exhibition features works ranging in scale from the intricate series of Section, Extension wall pieces to the 3-metre long floor-based sculpture Systems VI (2011).

    Richard Tuttle: I Don?t Know, Or The Weave of Textile Language. Whitechapel Gallery, London (UK). Press preview, October 13, 2014.

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  • Permalink for 'The Oxymoron of Normality at Depo Istanbul'

    The Oxymoron of Normality at Depo Istanbul

    Posted: 28-October-2014, 11:00pm EDT by contact@vernissage.tv (VernissageTV)
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    The Oxymoron of Normality at DEPO Tütün Deposu Lüleci in Istanbul, Turkey, is an exhibition which brings together artists from Poland and Turkey. Organized by the Arsenal Gallery in Bialystok, Poland, the show is part of the cultural program of the 600th anniversary of the Polish-Turkish diplomatic relations in 2014. The Oxymoron of Normality. We are Europeans, but perhaps not in a full sense is curated by Monika Szewczyk and aims to cover the condition of countries in the area of Central and Eastern Europe and the Balkans. It features the artists Can Altay, Fatma Bucak, Hera Büyükta?c?yan, Hubert Czerepok, Oskar Dawicki, Anna Konik, Zbigniew Libera, Franciszek Orlowski, Jadwiga Sawicka, Konrad Smole?ski, Ali Taptik, Marek Wasilewski, and Piotr Wysocki. The exhibition runs until November 30. In this video, curator Monika Szewczyk talks about the concept of the exhibition, and the artists Ali Taptik, Franciszek Orlowski, Marek Wasilewski, Fatma Bucak, and Hubert Czerepok talk about the work they present in the show.

    The Oxymoron of Normality at DEPO Tütün Deposu Lüleci in Istanbul, Turkey. Video by Ania Ejsmont and Bogdan Szetela.

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    Monika Szewczyk:

    This exhibition is directly inspired by the work of Alexander Kiossev (Notes on Self-Colonising Cultures, B.Pejic, D.Elliot (red) After the Wall. Art and Culture in post-Communist Europe, Stockholm 1999) regarding the condition of East-Central European and the Balkan countries. The suggestion to look for the sources of their problems with self-definition and discovering their identity further than the simple lack of continuity in the democratic process, caused by the communist era, seems particularly interesting. Kiossev calls such countries ?self-colonizing cultures?, emphasizing the fact that this colonization is in a way ?voluntary? and happens without any external force. We cannot identify with values which we consider Universal, but we also cannot reject them in favour of our own values. We try to cope with this in various ways; either by constant comparisons and applying the ?normality? measure and asking when ?when will it be normal in here? meaning the way it is THERE; or by repressing and rejecting the obvious notion of the marginality of Polish culture, pretending to be a part of the Universe and assuming that we have a special role in shaping the European culture, by over-emphasizing own values, unjustly forgotten culture standards and finally by looking for those guilty of ?doing it to us? by falsifying the history. In any case we consistently avoid facing the fact that our culture has not become inferior because it became dependant on alien elements, but at its very core it has been constituted as dependant because of realizing its own inferiority. That would allow us to replace the ?normal-pathology? opposition with ?central-peripheral? and would allow us to accept our condition.

  • Permalink for 'Art, Scandal and the Breaking of Taboos. Talk at Fondation Beyeler'

    Art, Scandal and the Breaking of Taboos. Talk at Fondation Beyeler

    Posted: 26-October-2014, 11:00pm EDT by contact@vernissage.tv (VernissageTV)
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    On the occasion of its exhibition Gustave Courbet and the presentation of Courbet’s painting L’Origine du Monde (The Origin of the World), Fondation Beyeler in Riehen (Basel, Switzerland) organized a discussion with the title Art, Scandal and the Breaking of Taboos, and the participants Tracey Emin, Elisabeth Bronfen, Sir Norman Rosenthal, Andreas Beyer, and Finn Canonica. The video above is an excerpt, the complete version is available below.

    ?Decisive new impulses have repeatedly been transmitted to art by artists who have deliberately flaunted convention. Art history is a history of the breaking of taboos. Scandalous artworks are often associated with provocative representations of sexuality. Why is Courbet?s L?Origine du Monde still controversial today? To what extent has the role women play in art changed since it was painted? Which artworks have the potential to break taboos today? These and other questions were discussed at the Fondation Beyeler by the artist Tracey Emin, the literary expert and feminist Elisabeth Bronfen, the British curator Sir Norman Rosenthal and the art historian Andreas Beyer. Presented by: Finn Canonica, chief editor of Das Magazin.?

    Art, Scandal and the Breaking of Taboos. Talk at Fondation Beyeler within the context of the exhibition Gustave Courbet at Fondation Beyeler, October 9, 2014. The exhibition Gustave Courbet at Fondation Beyeler runs until January 18, 2015.

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    Complete video (1:25:36):

  • Permalink for ''

    Andro Wekua: Some Pheasants in Singularity / Sprüth Magers London

    Posted: 23-October-2014, 11:00pm EDT by contact@vernissage.tv (VernissageTV)
    Archivo adjunto [Descargar]

    Some Pheasants in Singularity is Andro Wekua’s first exhibition at the gallery Sprüth Magers. For this show, Andro Wekua transforms the London gallery by installing a wall constructed of rough breeze blocks behind the large bay window of the gallery. The wall partially obscures the view into the gallery space, hiding a life-sized sculpture of an androgynous adolescent that is suspended from the ceiling of the main gallery room. The figure is both robotic and lifelike. The exhibition also features a group of paintings that combine portraiture, abstraction and figuration.

    Andro Wekua was born in Sochumi, Georgia. He lives and works in Berlin and New York. His education includes National Art School, Sochumi, Georgia; Phil. Institute ?Gogebaschwili? in Tiblisi, Georgia; and Visual Art School in Basel, Switzerland. In 2011 he was nominated for Preis der Nationalgalerie für junge Kunst, Berlin (Germany).

    Andro Wekua: Some Pheasants in Singularity / Sprüth Magers London. Opening reception, October 13, 2014.

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    Press text:

    For his first exhibition with Sprüth Magers, Andro Wekua will transform the London gallery by installing a wall constructed of rough breeze blocks, partially obscuring the view into the space through the large bay window. While from the exterior the blocks will be untreated and exposed, the interior side of the wall will have a smooth white surface as if to disguise it from within, allowing the wall to blend seamlessly into the interior space. Within the gallery, Wekua will suspend from the ceiling a life-sized sculpture of an androgynous adolescent.

    Known for his uncanny evocations of architecture and memory through exhibitions that imply a non-linear narrative, Wekua here creates a psychologically charged interior. A figure, at once robotic and lifelike, is isolated in a clean gallery space, behind a forbidding block wall that restricts the view to the outside world. The device from which the figure hangs suggests a playground swing, yet he or she hangs in a physically impossible position. Wekua poses questions about interior and exterior, private and public space, performance and imprisonment, revelling in an ambiguity that serves to provoke the viewer?s imagination.

    The exhibition will also feature a group of paintings that combine portraiture, abstraction and figuration. Whether the characters in the paintings relate to the sculpture is unclear, and Wekua invites us to make our own connections through his work.

    Andro Wekua (1977) lives and works in Berlin and New York. Solo exhibitions include Pink Wave Hunter, Benaki Museum, Athens (2014) and Kunsthalle Fridericianum, Kassel (2011), Never Sleep with a Strawberry in Your Mouth, Kunsthalle Wien (2011), A Neon Shadow, Castello di Rivoli, Turin (2011), Workshop Report, Wiels, Brussels and Museion, Bolzano (2009), My Bike and Your Swamp, Camden Arts Centre, London and De Hallen, Haarlem (2008), and Wait to Wait, Museum Boijmans van Beuningen, Rotterdam (2007). Group shows include INSIDE, Palais de Tokyo, Paris (2014), The Human Factor: Uses of the Figure in Contemporary Sculpture, Hayward Gallery, London (2014), A Disagreeable Object, Sculpture Center, New York (2012), ILLUMInations, 54th Venice Biennale (2011), Contemplating the Void, Guggenheim Museum, New York (2010), Gwangju Biennale, South Korea (2010), Shifting Identities, Kunsthaus Zürich (2008) and Berlin Biennale (2006).

  • Permalink for 'Gerhard Richter at Marian Goodman Gallery London'

    Gerhard Richter at Marian Goodman Gallery London

    Posted: 22-October-2014, 12:00am EDT by contact@vernissage.tv (VernissageTV)
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    Marian Goodman inaugurated her London gallery with an exhibition of new and recent works by Gerhard Richter. The show features over 40 works, including new paintings of the series Strip, Flow and Doppelgrau. The exhibition is accompanied by a large glass sculpture ? 7 Panes of Glass (House of Cards) ? and a selection of earlier pieces. The exhibition will remain on view until 20 December 2014.

    Gerhard Richter has recently been the subject of substantial solo exhibitions at the Fondation Beyeler, Basel; The Kunstmuseum Winterthur; and the Staatliche Kunstsammlung, Dresden. The artist?s work was last seen in London in Gerhard Richter: Panorama, a comprehensive retrospective at Tate Modern in 2011, which travelled to the Neue and Alte Nationalgalerie, Berlin, and The Centre Pompidou, Paris.

    The new Marian Goodman Gallery London is housed in a former Victorian factory warehouse in Lower John Street, measuring 11,000 square feet over two floors, which has been completely renovated with the help of David Adjaye.

    Inaugural exhibition at Marian Goodman Gallery London. Private View, October 14, 2014.

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