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  • MaximillianGroup 5:12 AM on 26 May, 2018 Permalink | Reply
    Tags: Aspen, , Exhibitions, Julia Dault, Marianne Boesky,   

    Julia Dault at Marianne Boesky 

    Julia Dault at Marianne Boeseky

    Artist: Julia Dault

    Venue: Marianne Boesky, Aspen

    Exhibition Title: More Than Words

    Date: April 26 – June 9, 2018

    Click here to view slideshow

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    Julia Dault at Marianne Boeseky

    Julia Dault at Marianne Boeseky

    Full gallery of images, press release and link available after the jump.

    Images:

    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
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    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
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    Julia Dault at Marianne Boesky
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    Julia Dault at Marianne Boesky
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    Julia Dault at Marianne Boesky
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    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky
    Julia Dault at Marianne Boesky

    Images courtesy of the artist and Marianne Boesky, New York/Aspen. Photos by Object Studies. 

    Press Release:

    Marianne Boesky Gallery is pleased to present More Than Words, Julia Dault’s second solo exhibition with the gallery. The exhibition will feature a new series of sculptures as well as new paintings that, together, capture Dault’s iterative play with color, form, texture, and materials, as well as her ongoing exploration of the creative potential of industrial products. The new works underscore the value of engaging with the intricate, often beautiful, and little-considered systems that lie just beyond any given surface. This idea is also encapsulated in the exhibition title, which references Extreme’s 1991 hit song of the same name and continues Dault’s use of pop culture references in her work.

    Dault is driven by the boundless creative and formal possibilities within the confines of self-imposed rules, which are often determined by the materials and tools with which she is working. This sense of discovery in the seemingly constrained led to Dault’s newest sculptures: abstract compositions inspired by the intricate fretworks of brightly colored PEX tubing that comprise the plumbing systems in our homes and workspaces. This new engagement broadens Dault’s explorations of the tools and materials of other trades exemplified by earlier sculptures made with off-the-shelf Formica and Plexiglas.

    Dault experimented with the polyethylene PEX tubing in her studio, examining what geometric forms emerged as she bent and shaped the material. She then fabricated the sculptures in vividly colored, hand-rolled aluminum, creating patterns that resemble imagined engineering plans and maps of urban spaces. Hung on the wall, the new works reveal the aesthetic potential of these little-considered industrial materials. At the same time, the minimalist forms hearken back to the 1970s-era works of Anthony Caro and Frank Stella, continuing her engagement with the art of the postwar to the postmodern period.

    The exhibition will also feature more than a dozen new paintings that expand on Dault’s interest in layering, patterning, and the interdependence of color and form. As Dault applies and removes coatings of paint with brushes, sponges, combs, and other unconventional tools, new details and optical illusions arise. For example, Total Recall (2017) features a patterned velour atop Dault’s composition of blue and yellow forms; as the viewer moves around it, like a lenticular print, the fabric changes color and appears to rise from the surface. Dault creates similarly unexpected experiences through her use of woven and perforated vinyls and meshes.

    Dault’s experimentations with surface, tactility, geometry, color, and expressive juxtapositions infuse her paintings with vibrant energy that compel the viewer to look closely and discover unexpected moments of visual complexity. As the systems that underpin modern life become more complex, and, by extension, more opaque, Dault’s artworks provide an invitation to engage actively with our everyday surroundings. Quoting philosopher William James, Dault infers: “My experience is what I agree to attend to. Only those items which I notice shape my mind.”

    Link: Julia Dault at Marianne Boesky

    Contemporary Art Daily is produced by Contemporary Art Group , a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

    Contemporary Art Daily

     
  • MaximillianGroup 2:02 PM on 25 May, 2018 Permalink | Reply
    Tags: Angela Stief, , , Evelyne Axell, Exhibitions, , KÖNIG GALERIE   

    Evelyne Axell at KÖNIG GALERIE 

    Evelyne Axell at KÖNIG GALERIE

    Artist: Evelyne Axell

    Venue: KÖNIG GALERIE, Berlin

    Exhibition Title: Venus, Leda & Mona Lisa

    Date: April 28 – June 2, 2018

    Curated by: Angela Stief

    Click here to view slideshow

    Evelyne Axell at KÖNIG GALERIE

    Evelyne Axell at KÖNIG GALERIE

    Evelyne Axell at KÖNIG GALERIE

    Full gallery of images, press release and link available after the jump.

    Images:

    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
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    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
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    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE
    Evelyne Axell at KÖNIG GALERIE

    Images courtesy of KÖNIG GALERIE, Berlin

    Press Release:

    “My world, for all its aggressiveness, is brimming with unconditional zest for life. My motif is clear: Nudity and femininity represent the utopia of a bio-botanical freedom – a freedom, which is immune to frustration and gradual repression, a freedom, which tolerates only the limits, it sets for itself.” Evelyne Axell

    Evelyne Axell’s (1935 – 1972) work has reached cult status. Her work can be seen as one of the highlights of pop art – an art form, whose protagonists only gradually find recognition. Despite being on exhibition in renowned institutions such as Centre Pompidou in Paris, Tate Modern in London, Brooklyn Museum in New York and Kunsthalle Wien, Axell’s work is representative of an era whose potential is only recently being acknowledged.

    In the late 60s and early 70s, the Belgian artist, who worked under the name Axell in order to obscure her gender, developed a subversive imagery that oscillates between female actionism and seduction and unfolds a protofeminist force. Strong women, like the first female astronaut Walentina Tereschkowa or the US activist Angela Davis, dominate the artist’s imagery. As hinted at in the exhibition title, Axell engages with both contemporary stereotypes of femininity as well as centuries old role ascriptions and correctively intervenes in persistent gender relations: reflecting on art history – such as Venus iconography, Leda with the Swan depictions and distinguished portraits like Leonardo da Vinci’s Mona Lisa – she subverts historically sedimented, male perceptions of femininity and renegotiates the socially constructed image of women as either ‘angel in the house’ or femme-fatale.

    The duplication and repetition of the female nude and the reclaiming of the depicted body – as can be seen in the artist’s self-portraits – deconstruct the dominant rules of authorship: Axell switches sides and trades her role as muse for that of producer. In Le peintre (1971) she confidently inserts herself into a fictive genealogy of self-portraits, demonstrating a natural-seeming joy at making art. Axell’s view towards masculinity is a critical one. She shows men as voyeurs, depicts the male gender as symbolically reduced, and ironically pokes fun at macho behavior. The status symbol ‘car’, for instance, is a recurring theme in Axell’s work; one that she subjects to a symbolic reconfiguration: In Axell-ération (1965) a woman in red high-heels has her foot on the pedal and Changement de vitesse (1965) shows a woman’s naked calves enveloping the gearshift. In Auto-stop (1965), a work gesturing towards Diego Velázquez’s La Venus del Espejo, the artist scrutinizes the power dynamic inherent in the gaze.

    Art, for Axell, evolved into a weapon of provocative self-empowerment, which she yielded against the objectification of women in post-war society. Her protofeminist imagery, which draws on pop’s depiction of reality as heavily mediatized and therefore ultimately constructed, seeks representation of women’s perspectives and female desire. At least until actual gender equality is achieved, Axell’s sensual impetus will remain culturally and politically relevant.

    Link: Evelyne Axell at KÖNIG GALERIE

    Contemporary Art Daily is produced by Contemporary Art Group , a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

    Contemporary Art Daily

     
  • MaximillianGroup 8:38 AM on 25 May, 2018 Permalink | Reply
    Tags: , Exhibitions, , , ,   

    Kirsten Pieroth at Mathew 

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    Artist: Kirsten Pieroth

    Venue: Mathew, New York

    Exhibition Title: Events and Guises

    Date: April 29 – June 3, 2018

    Click here to view slideshow

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    Full gallery of images, press release and link available after the jump.

    Images:

    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
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    Kirsten Pieroth at Mathew
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    Kirsten Pieroth at Mathew
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    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew
    Kirsten Pieroth at Mathew

    Images courtesy of Mathew, New York

    Press Release:

    “…for the lion, as opposed to man, has no need to disguise his actions, he hunts and seizes his prey as himself… the intention, of one body onto another, irreversibly begins with the moment of touch… from then on, man’s desperate attempts at escaping the incorporation into a larger, predatory body leads to the inevitable arrest in life…” (paraphrases from an unknown source, as remembered by the artist)

    Mathew Gallery is pleased to announce the first solo exhibition of works by German artist Kirsten Pieroth in New York.The artist presents a series of new works that mark Pieroth’s longstanding interest in the human condition and its subsequent psychological, physical and communal aspects.

    The central work of the exhibition, Abrasives (Olympus), 2018 comprises of a series of forty-seven pages of the Sunday edition of the German newspaper ‘Frankfurter Allgemeine Zeitung’, onto which the artist has printed sequences of various objects, food and physical actions (mostly devotional in nature – kneeling or knocking) to record notions of the modern self, as well as the abrasion, both in a metaphorical and in a physical sense, of the modern self in today’s society. Headlining the series is a print of a flow roll massage roller, uncannily resembling a prison bar or cagelike structure, which is printed onto a portrait of the German philosopher Arthur Schopenhauer, whom the artist has referenced in previous works. Schopenhauer’s well known proclamation of Sunday as the day that exemplifies most the ennui and general boredom of the bourgeois amidst the surplus, is used here by the artist as a backdrop for the piece. The title Olympus might not only refer to the mythological heaven of gods, but also the human condition as seen through various stages of self conditioning. Visually appearing like an overloaded set of scribblings, the piece unfolds like a modern day polyptych. In this vein, the artist’s notion of a contemporary vineyard in the work Grapes (Olympus), 2018 appears in the guise of an electricity mast.

    The dystopian sentiment of Events and Guises is enhanced further by the work Panorama, 2018, made from a washing machine drum, in which an amalgamation of once red, yellow, blue and white lacquer has been splashed onto its interior walls by the physical action of the spin cycle of the machine. Whereas the shutters of the drum raise open, alternating between joy, longing, despair or even more grotesquely, a winged consumer product (as if reimagining one of Hieronymus Bosch’s haunting creatures), the title suggests a panoramic insight into a claustrophobic experience from within the walls of the drum. Based on a washing machine’s promise of continual rejuvenation, a concept similar to that of the fountain of youth, to turn the old, dirty and used back into the new, brilliant and fresh, the artist placed pure colors inside the drum to unhinge this concept by introducing the viewer to a new color scale that has been violently forced to depart from its course of origins by being subjected to the distorting rotations of society’s machineries.

    A similar motif is explored in a series of smaller plaster sculptures, titled Seven Studies for a Mouth and a Hand, 2018. Again, the viewer is confronted with a resonating body, or rather, a body expected to be resonating, albeit silently devouring, thus the objects are an essentially hollow and square embodiment, suspended between predatory desires and despair, abundance and abandonment, lock and release, consuming and being consumed. These rudimentary sculptures appear as figures reduced to grimacing mouth-pieces and what could be seen as jaws. The question that arises with these works, being based on deformed product encasings, is the duality of feeding and eating, as evident in all human interactions and societal endeavours. The roughly patched sculptures offer varying glimpses into the depths of their interior selves, and seem to express various states of need, greed, desire, longing, satisfaction and discontent. Loosely assembled on the floor, they appear like haunting spirits or shades, while a hand that rests amongst them has been reduced to an empty stump.

    The notion of the circular reoccurs throughout the show, and is introduced again in the work Vertigo (It is your flesh that I wear), 2018. For this work the artist has printed a set of mattress bedsprings, stripped bare from their fabric skin, onto a white sheet of paper. The print testifies to the rather inquisitory nature of the inner workings of an object outwardly designed for recline, rest and recovery. Presented upright, an invisible self seems embossed into the matrix of an industrial landscape, and the skeletal physicality of the structure echoes a sense of trembling and anxiety by lacking a clear focal point, as if in constant motion blur.The tilted object, with its diminishing contours, stands here like a fragile frame for a vanished figure, a body that cannot be recovered. The paper itself, acting like a bedsheet with stains, creases and holes, suggests the violation on the human condition performed by the taste of metal.

    The artist’s acute sense for the implications of materials becomes further elaborated in Neuköln, 2018. For this, the artist gathered preowned wooden floorboards and roof construction materials in Berlin to build a bench, a work that alludes to a series of early works by the artist and is a recurring motif in her practice. The notion of imported, often exotic woods is here manipulated to the abject, given the rather desolate condition of the boards and their original location in one of Neukölln’s worker’s housings. By physically raising the boards to a higher level, the work not only prepares the ground itself while questioning concepts of our human need for settlement, but also elevates the evolutionary process from the hunter and gatherer to the bourgeois onto a questionable pedestal.

    Paul Francis

    The text follows a conversation with the artist.

    Link: Kirsten Pieroth at Mathew

    Contemporary Art Daily is produced by Contemporary Art Group , a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

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  • MaximillianGroup 11:56 AM on 24 May, 2018 Permalink | Reply
    Tags: , , Exhibitions, , Louisa Gagliardi, Open Forum   

    Louisa Gagliardi at Open Forum 

    Louisa Gagliardi at Open Forum

    Artist: Louisa Gagliardi

    Venue: Open Forum, Berlin

    Exhibition Title: Holdings

    Date: April 14 – June 1, 2018

    Click here to view slideshow

    Louisa Gagliardi at Open Forum

    Louisa Gagliardi at Open Forum

    Louisa Gagliardi at Open Forum

    Full gallery of images, press release and link available after the jump.

    Images:

    Louisa Gagliardi at Open Forum
    Louisa Gagliardi at Open Forum
    Louisa Gagliardi at Open Forum
    Louisa Gagliardi at Open Forum
    Louisa Gagliardi at Open Forum
    Louisa Gagliardi at Open Forum
    Louisa Gagliardi at Open Forum
    Louisa Gagliardi at Open Forum
    Louisa Gagliardi at Open Forum
    Louisa Gagliardi at Open Forum

    Images courtesy of Open Forum, Berlin

    Press Release:

    Open Forum is happy to present Holdings, an exhibition of new works by Zurich based artist Louisa Gagliardi (b.1989, CH). While figuration and portraiture have always been central to Gagliardi’s practice, in this new body of work, figures and atmospheres morph into one another, simultaneously concealing and revealing.

    The works in the exhibition utilize intricately embellished textures, exaggerated scales, in addition to dreamlike lighting. Navigating between digital rendering and painting, Gagliardi first paints using a computer, and then prints the paintings out on vinyl. Finally, she applies several layers of materiality to them, ranging from nail varnish to gel medium. Compositionally, the works blur the lines between interior and exterior, real and surreal.

    More specifically, these paintings develop a notion of lust for nature and outdoors, contrasting suggestions of domesticated surroundings. In a broader sense, they conjure images of escape versus entrapment, and the realization of one’s own limitations. These limitations manifest in different forms. On one hand, we are limited by our inability to take the necessary steps to escape restrictions by responsibilities, fear of failure, etc… and on the other hand, we are limited by a fear of disappointment and regret if action is taken and our expectations are not met.

    Holdings attempts to embrace and explore this state of inaction.

    Link: Louisa Gagliardi at Open Forum

    Contemporary Art Daily is produced by Contemporary Art Group , a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

    Contemporary Art Daily

     
  • MaximillianGroup 6:02 AM on 24 May, 2018 Permalink | Reply
    Tags: , , Exhibitions, , Jeanette Mundt, Société   

    Jeanette Mundt at Société 

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    Artist: Jeanette Mundt

    Venue: Société, Berlin

    Exhibition Title: Lana Del Rey

    Date: April 27 – June 1, 2018

    Click here to view slideshow

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    Full gallery of images, press release and link available after the jump.

    Images:

    Jeanette Mundt at Société
    Jeanette Mundt at Société
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    Jeanette Mundt at Société
    Jeanette Mundt at Société

    Images courtesy of the artist and Société. Photos by Ilya Lipkin.

    Press Release:

    I. Blind landing. Two-and-a-half twists in the air. Back handspring onto vaulting table. Roundoff onto springboard. Reversal to transfiguration. Roundoff-one-and-a-half-twist step out-roundoff-back handspring-arabian double front-front layout salto. Splicing motion, mutilating time.

    II. The “becoming subject”— the becoming Olympiad-blind landing out of Amanar; the becoming Americanteenaged-tattooed; the becoming female-Blaze Pink into camouflage-latent hunter drive. Engendering and gendering the sport, not by rules but by an “immanent sense of the game,”* shared in a field: the necessity of play for the players; the production of durability thru corporeal dispositions; the gymnastic elasticity of bodies, stretched by fabric and time.

    III. But what ensures this durability? The extensification of Edison’s originary electric pen, naval homosociality transfigured too, subsumed in punk aesthetic; “the social life of things,”** objects traveling on their own damn course—in and out of commodity, body to conjugal body…and yet the question’s the same: what is the boundary of pain, where the sea meets the sky and death resides.

    IV. The becoming dead- “Spirit attains its truth only by finding itself in absolute dismemberment.”*** What is the process of this finding? Not annihilation, but incomplete destruction. The kind of time you start to see passing, death as anti-economy, vanitas in the Latin—futility of material.

    Esra Padgett
    *Bourdieu and Wacquant. 1992. An Invitation to Reflexive Sociology.
    **Appadurai. 1986. The Social Life of Things.
    *** Mbembe. 2003. Necropolitics.

    Link: Jeanette Mundt at Société

    Contemporary Art Daily is produced by Contemporary Art Group , a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

    Contemporary Art Daily

     
  • MaximillianGroup 5:58 AM on 24 May, 2018 Permalink | Reply
    Tags: Exhibitions, ,   

    : Sue Coe: Graphic Resistance 

    June 3–September 9, 2018

    MOMA

     
  • MaximillianGroup 2:18 PM on 23 May, 2018 Permalink | Reply
    Tags: , Eva Presenhuber, Exhibitions, , Trisha Donnelly,   

    Trisha Donnelly at Eva Presenhuber 

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    Artist: Trisha Donnelly

    Venue: Eva Presenhuber, Zurich

    Date: April 21 – May 26, 2018

    Link available after the jump.

    Image:

    Trisha Donnelly at Eva Presenhuber

    Image courtesy of Eva Presenhuber, Zurich/New York. Photo by Stefan Altenburger.

    Link: Trisha Donnelly at Eva Presenhuber

    Contemporary Art Daily is produced by Contemporary Art Group , a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

    Contemporary Art Daily

     
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