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Art Exhibitions, Art Fairs, Visual Arts, Photography, Graphic Arts, Design, Video Art, Architecture, Films, Photo / Imaging Equipments, Publications


March 31, 2013

Phil Collins Exhibition, Museum Ludwig, Cologne, Germany - In every dream home a heartache


Phil Collins,  In every dream home a heartache
Museum Ludwig, Cologne, Germany
April 18 - July 21, 2013


For his upcoming exhibition at the Museum Ludwig in Cologne, Germany, the artist PHIL COLLINS is producing a new piece “my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught ” in collaboration with guests of GULLIVER, a homeless centre located in the centre of Cologne. There, Phil Collins installed a phone booth with a free line that anyone could use for unlimited international calls, the only condition being an agreement that the conversations were recorded. The collected material, which was then posted to a group of international musicians, served as the basis for a compilation of original new songs which will be presented in the exhibition as 7” vinyl records in specifically designed sound booths, into which the visitors can retreat, alongside a selection of video installations and photographs from recent years. 

PHIL COLLINS
Rude Boys, Leith Street #1, 2011
Lightjet print on Fuji Crystal Archive, 70 x 70 cm.
Courtesy Shady Lane Productions.



Having grown up in Runcorn, North England in the 70s and 80s, Phil Collins’ main interests lie in music, TV, and pop culture in general, originating in that time. In his films and photographs, he investigates the relationship between man and camera and the characteristics of the respective media in their everyday context. By instrumentalizing the apparatus of popular culture, he uses mass media strategies and critically applies them to an artistic context. His focus is always on direct engagement with ordinary people, who occupy center stage in his project-like videos, photographs, and sound pieces. Phil Collins travels to remote places—frequently scenes of political conflict— that fascinate him because of the changes taking place there. He uses newspaper ads and castings to encourage locals to participate in his work, especially people following their own agenda in encounters that often possess a high emotional charge.

Phil Collins is confronting today’s short-lived and noncommittal communication per text messages and constant short calls from smart phone to smart phone with an analogue and slowed-down factor, which is emphasized further through the use of the almost anachronistic medium of the vinyl record.


PHIL COLLINS
This Unfortunate Thing Between Us, 2011
Installation view, Artes Mundi 5, Chapter Art Centre, Cardiff, 2012.
Courtesy Shady Lane Productions.


PHIL COLLINS
This Unfortunate Thing Between Us, 2011
Installation view, Artes Mundi 5, Chapter Art Centre, Cardiff, 2012.
Photo: Robin Maggs.
Courtesy Shady Lane Productions & Artes Mundi 5.


Phil Collins collaborators have included men and women whose lives have been ruined by reality TV (The Return of the Real, 2006), who have had unpleasant experiences as a result of TV shopping (This Unfortunate Thing Between Us, 2011), or who have performed karaoke versions of songs by The Smiths in various parts of the world (The World Won’t Listen, 2005). 


PHIL COLLINS
the world won't listen, 2004-2007
Three-channel synchronised video installation; colour, sound; 56 min.
Production still, Gedung Medeka, Bandung, 2007.
Courtesy Shady Lane Productions.


Never judgmental, Phil Collins’s work reflects his interest in the formats and forms employed by the entertainment industry and in the personal consequences that its treatment of the individual can have. The artist is producing a new piece for his show at the Museum Ludwig. It requires the participation of local inhabitants and features collaborations with various musicians from all over Germany.

Exhibition curator: Anna Brohm

The exhibition is supported by Stiftung Kunstfonds. 
my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught ” is a supported project of the Academy of the Arts of the World.

MUSEUM LUDWIG, COLOGNE
Heinrich-Böll-Platz - 50667 Köln
Museum website: www.museum-ludwig.de

Other post about this artist: Phil Collins at Cornerhouse Manchester 2010

March 28, 2013

John Thompson: China antique photos 1868-1872 at the Crow Collection of Asian Art, Dallas


China Through the Lens of John Thomson 1868-1872. The vanished world of Imperial China
Crow Collection of Asian Art, Dallas, USA
Through May 5, 2013

JOHN THOMSON, Manchu Bride, Peking, Penchilie province, China 
Photo Courtesy of Wellcome Library, London.

China Through the Lens of John Thomson 1868-1872. The vanished world of Imperial China is startlingly revealed at the Crow Collection of Asian Art through May 5, 2013 during an exhibition of photography captured on glass plates by photographer JOHN THOMSON over a five year period, beginning in 1868. 

In a time where some feared that having their picture made could take vital essences from their body, intrepid photographer John Thomson bravely travelled throughout China winning the confidence of people from all walks of life. In John Thomson’s stunning photographs, he portrayed everyone from humble flower sellers and knife-grinders to beautiful brides and powerful Mandarin bureaucrats; often posing before backdrops of palaces, monasteries, pagodas, streets and back yards. 

Scottish photographer JOHN THOMSON was born in Edinburgh two years before the invention of the daguerreotype and the birth of photography. John Thomson first travelled to Asia in 1862, where he set up a professional photographic studio. Fascinated by local cultures, Thomson returned in 1868 and settled in Hong Kong. Over the next four years he made extensive trips to Guangdong, Fujian, Beijing, China’s north-east and down the great river Yangzi. China Through the Lens of John Thomson 1868-1872 is drawn from his time in these regions. 

These were the early days of photography, when negatives were made on glass plates that had to be coated with emulsion before exposure. A cumbersome mass of equipment was required, but with perseverance and energy, John Thomson captured a wide variety of images: landscapes, people, architecture, and domestic and street scenes. As a foreigner, his ability to gain access to photograph women was particularly remarkable - an opulently-dressed bride smiles shyly, a lady is seen after having her face painted, a government minister contentedly smokes his pipe and a smartly-dressed schoolboy carries his book and slate; John Thomson brilliantly catches the humanity of his sitters who wear traditional working clothes or finery at a key period when China was increasing its links with the West. He provides a wonderful historical record of costumes and hairstyles as well as iconic landscapes including stone animals, a large Junk sailing ship on the South China Sea, the Great Sacrifice Hall containing Ming tombs and a chapel destroyed by rioters, among others.

Curator of China Through the Lens of John Thomson 1868-1872 Betty Yao MBE, of Credential International Arts Management in London, England, says: “This exhibition seeks to show the great diversity of the photographs that Thomson took in China. What marked his work as special (portraits of the rich and famous aside) was the desire to present a faithful account of China and its people. Thomson wanted to show his audience the human aspects of life in China through his extensive record of everyday street scenes—rarely captured by other photographers of that era.” Thomson’s excellent work in China established him as a serious pioneer of photojournalism and one of the most influential photographers of his generation. Thomson amassed 650 glass plates before returning to Britain where he published many photographic and written works on China. 

Although he was not the first European photographer to visit the country, John Thomson was the first to travel extensively and produce works informing Western audiences about China the country. The plates were purchased by the Wellcome Library in London after John Thomson’s death and in 2008 the glass negatives, which were made ca. 1869-1872, were scanned into enormous digital files. From these files, inkjet prints were produced in 2008-2009. These very high-resolution inkjet prints are the ones being exhibited in Dallas. Most have never been displayed in United States.

As a result of the high resolution of the scans, we in the 21st century can now see in John Thomson's photographs things which he could never have seen himself. Thus the 49 photographs in the exhibition enable us to transcend the technology available to John Thomson himself (formidable though that was) and to see his China with a new eye.

Also on view at the Crow Collection in Dallas is (among others) an exhibition about Southeast Antique Asian Art

Trammell & Margaret Crow Collection of Asian Art Website: www.crowcollection.org

Lee Bul, Lehmann Maupin, Hong Kong, Inaugural Exhibition


Lee BulLehmann Maupin Inaugural Hong Kong Exhibition
Through May 11, 2013

Lehmann Maupin inaugurated this month (14 March) its first international exhibition space in the historic Pedder Building in Hong Kong with a solo presentation of new work by korean artist LEE BUL, on view through 11 May 2013. The gallery has represented Lee Bul since 2007, and in that time, she has been the subject of two solo exhibitions at Lehmann Maupin, New York. The inaugural exhibition at Lehmann Maupin, Hong Kong marks the first solo presentation of Lee Bul’s work in China.  

Considered the leading Korean artist of her generation, LEE BUL has achieved international recognition for her formally inventive, intellectually provocative oeuvre. Characterized by an unwavering defiance of boundaries, Lee Bul’s work demonstrates a commitment to exploring a variety of challenging media while experimenting with form. Her work is influenced by and references utopian thought found in literature, art and architecture, which are formally applied in sculptural works that refer to society’s pursuit of perfection in all forms of life; physically and as a society. Her work is evident of her vast knowledge and interest in tackling themes relating to human nature while remaining inventive, analytical, and producing thoughtful and masterfully constructed works.

For the inaugural show, Lee Bul has envisioned a dynamic installation that continues her exploration of ideas about utopia and the human condition; one that works in harmony with the gallery’s original architectural character, which was left intact during the renovation process. The exhibition features new sculptures intricately crafted by hand from polyurethane. Resembling small, imaginary landscapes or futuristic ruins, the surface of these sculptures are deliberately finished with patterns of brushstrokes evoking a poetic, painterly feel. This quality is echoed in the selection of the artist’s drawings that are on view alongside the sculptures. Drawing has long been an integral and vital part of Lee Bul’s practice, an outlet for experimentation in ideas and forms that may eventually take shape as finished sculptural works. 

Of her creative process, Lee Bul has remarked, “I start to sketch or just write about my ideas and put them up all over my wall in my studio, and everyday I watch this grow into a map of ideas until one day I think, ‘Maybe I can make this more concrete and specific.’” Rounding out the exhibition, there are three sculptures from one of the artist’s existing bodies of work that also engage with metaphysical and poetic concepts of architectural environments.

One of the exhibition’s special features is a limited-edition artist book titled Mon Grand Récit: Not Every Fallen Leaf, featuring a suite of drawings produced as visual research for a series of works presented by the Cartier Foundation in 2008. The drawings are accompanied by poetic, epigrammatic texts authored by the American art critic, Barry Schwabsky. Of the 1,001 signed and numbered copies, 1 to 240 are “Art Editions” presented in solander cases, hand painted by the artist. Each “Art Edition” is a unique part of larger sequential groups that when combined together form a larger painting. The special “Art Editions” was launched at Lehmann Maupin, Hong Kong on opening day.

LEE BUL (b. 1964) grew up in Seoul, Korea, and received a BFA in sculpture from Hongik University, Seoul, in 1987. Her work has been exhibited extensively on an international level with solo shows at the Museum of Modern Art, New York (1997); Kunsthalle Bern, Switzerland (1999); Fabric Workshop and Museum, Philadelphia (2001); MAC, Musée d’Art Contemporain, Marseille, France (2002); New Museum of Contemporary Art, New York (2002); Le Consortium, Dijon, France (2002); Japan Foundation, Tokyo (2003); Power Plant, Toronto (2003); Museum of Contemporary Art, Sydney (2004); Domus Artium, Salamanca, Spain (2007); Fondation Cartier pour l’art contemporain, Paris (2007 – 2008); and most recently, the Mori Art Museum, Tokyo (2012); and the Artsonje Center, Seoul (1998 and 2012), among others. In March 2010, a permanent installation entitled "A Fragmentary Anatomy of Every Setting Sun" was unveiled at the Hara Museum ARC, Japan. Forthcoming solo exhibitions are scheduled at MUDAM – Musée d’Art Moderne Grand-Duc Jean, Luxembourg, in 2013 and at the Ikon Gallery, Birmingham, UK, in 2014. Lee Bul’s work is part of numerous public collections around the world.

LEHMANN MAUPIN HONG KONG
407 Pedder Building, Hong Kong, China
Lehmann Maupin galleries website: www.lehmannmaupin.com

March 27, 2013

Southeast Asian Art from the Crow Collection, Dallas, US, 2013-2014 Exhibition


Peninsulas and Dragon Tails: Southeast Asian Art from the Crow Collection
Crow Collection of Asian Art, Dallas
Through February 14, 2014

The Crow Collection of Asian Art in Dallas, Texas, USA, is home to a small but engaging group of objects from places that are somewhat obscured by the collective term "Southeast Asia.” The name came into use at the end of World War II to describe a part of the world that had for several generations appeared on Western maps variously as Tonkin, French Indo-China (later North Vietnam and South Vietnam), Dutch East Indies, and various other names and boundaries that have disappeared with the reemergence of independent states, many of which have chosen names to contrast with the colonial period. Burma is officially Myanmar (although Burma is making an internal comeback), Cambodia is Kampuchea, the former Sultanate of Brunei is Brunei Darussalam, Singapore is independent from Malaya, and Malaya is Malaysia. East Timor—which was a Portuguese and Catholic outpost on the island of Timor, claimed by the Dutch after centuries of trade monopoly, invaded by Japan, handed back to Portugal, and then ceded to Muslim Indonesia—is now independent, with claims to large underwater gas reserves in the maritime (always murky) region that separates it from Australia. 

Southeast Asia is a part of the world where boundaries continue to change, and the segments of this complex history portrayed in Peninsulas and Dragon Tails suggest the potential for enriched understanding of the modern world through greater familiarity with the region’s past and current cultural geography. 

Disciples of the Buddha Myanmar (Burma), Mandalay period, 19th century 
Wood with red lacquer and gilt [1979.16] 
Photo Courtesy of the Crow Collection of Asian Art, Dallas

Lacquered wood sculptures of young monks from the Mandalay period of Burmese history conjure the missing object of their devotion, the historical Buddha, who taught renunciation as a path to bliss, even while British colonials expelled the last king and queen, cooled themselves on sultry porches, and oversaw immense plantations of rubber trees on land where there had recently been only forest. A textile from 20th-century Bali reflects ancient associations between fortune, misfortune, time, and spirits, mixed with advice on preferred market days for various goods, local cults, and Hinduism as imported with people arriving from Java. The Crow Collection’s 7th-century sandstone sculpture of four-armed Vishnu, a rare example of early Khmer culture in Cambodia, takes its place alongside several later sculptures from the period of the Angkor sanctuaries. As always, the sculpture seems to occupy more space than its actual measurements would suggest. 

The scope of this exhibition touches on only a few times and places within the rich and complex history of Southeast Asia and its diverse cultures—ethnically varied, speaking localized languages, writing with different scripts, wearing different clothes, practicing different faiths, honoring different social structures. The objects shown are grouped by the modern countries with which they are particularly identified—Thailand, Myanmar, Vietnam, Cambodia, and Indonesia

The exhibition includes maps with boundaries of the shifting cultural spheres that produced the objects on view. The importance of geography to culture in this region emerges: the Himalayan mountains of the Eurasian continent branch to the southeast in fingers of land and terminate in the islands of the “Pacific Ring of Fire,” where the earth’s mantle shakes, and the land, rivers, and seas mete out judgments that are repeatedly honored.

Trammell & Margaret Crow Collection of Asian Art Website: www.crowcollection.org

March 26, 2013

Life in the UAE Documentaries, Dubai, Maraya Art Centre

Life in the UAE Documentaries - Short films
Maraya Art Centre, Dubai
April 6th 2013


In conjunction with the Dubai International Film Festival 2013 (DIFF), Maraya Art Centre will host a screening night celebrating and supporting young Emirati filmmakers on Saturday, April 6th 2013.

Opening with an intimate reception at 7pm, the evening will feature screenings from some of the Emirate’s best up and coming filmmakers, all of whom have been previously featured at the Gulf Film Festival (GFF). The screening will consist of five short films which range in genre from fashion to politics.

“Through our thriving partnership with the Maraya Art Centre we are very pleased to once again have the opportunity to expose the community to these young and vibrant film makers,” said DIFF Artistic Director and GFF Festival Director Masoud Amralla Al Ali. “All films, which have previously been showcased at GFF, were fantastically received by the local audiences and this is an ideal opportunity to expose film lovers to these films which contain emotions and storylines that really resonate with the local audience. We are dedicated to nurturing young Emirati talent and providing them with opportunities to showcase their artistic work throughout the year; this relationship offers a unique platform to engage wider audiences to experience these films.”

Showcased at GFF 2012, The Gamboo3a Revolution by Abdulrahman Al Madani, revolves around recent fashion trends, namely the beehive hairdo and questions whether it misuses the UAE’s cultural dress. Also screened at GFF 2012 Ana Arabi (I am Arab) by Jumana Al Ghanem explores the loss of the Arabic language due to modernization and a need to conform to social standards while Cats by Dubai Men’s College student Marwan Alhammadi looks into the recent trend of owning exotic pets among some Emiratis.

Meanwhile Second Wife by Moza al Sharif, screened in GFF 2010, allows viewers to witness the importance of cars to Emirati men. Finally Al Kandorah, a documentary from directors Lamya Al Mualla and Maitha Al Haddad examines the shift in attitudes towards the Kandorah, the traditional attire favoured by the Gulf’s men.

Giuseppe Moscatello, Maraya Art Centre Manager, commented: “Culture and art are inextricable. Every artist is a product of his or her time, culture, and society and there are few mediums as adept at capturing the interplay between artist and environment as film. With its rich cultural traditions Sharjah forms an exceptional backdrop for exploring the talents of the region and we are very pleased to be able to throw the spotlight on the Emirate’s amazing emerging film talent through this unique event.”

MARAYA ART CENTRE, DUBAI

PROGRAMME / FILMS' SYNOPSIS

AL KANDORAH
15 min
Directors: LAMYA AL MUALLA MAITHA AL HADDAD
This documentary directed by Lamya Al Mualla and Maitha Al Haddad looks at the kandorah, the traditional men’s attire of the UAE – from examining new styles and trends to contrasting the attitudes of different generations about this symbol of national identity and pride.

SECOND WIFE
14 min
Director: MOZA AL SHARIF
The 14-minute documentary directed by Moza al Sharif takes a look at Emirati men’s obsession with their cars. It is a series of comments from young Emirati men and women, where the humorous tone does not mask the seriousness of the message. Women claim men are willing to spend more money on their cars than getting married. “They’re willing to take out massive loans and spend up to Dh400,000 on a car but that leaves them penniless when they get married”.

ANA ARABI (I am Arab)
21 min
Directors: AHLAM ALBANNAI & JUMANA AL GHANEM
Ana Arabi is a 21-minute documentary lament against the dilution of the Arabic language and culture by foreign influences. It is co-directed by Ahlam Albannai and Jumana al Ghanem. The film explores the status of Arabic as a language among today’s Arab youth. It suggests innovative solutions towards preserving the language and its use.

CATS
15 min
Director: MARWAN ALHAMMADI 
A 15-minute short film directed by Marwan Alhammadi, titled Cats, goes into villas and farms across the UAE where proud owners talk about their prized possessions, as the majestic cats lounge around them. In the film, many of those interviewed own three or more of the exotic animals. In a revealing preface, the film claims that over 3,000 people in the UAE have wild animals as domestic pets. Of those, many own three or more.

THE GAMBOO3A REVOLUTION
17 min
Director: ABDULRAHMAN AL MADANI
When the traditional ‘sheila’ and ‘abaya’ were reinvented to launch the ‘gamboo3a’ trend (the bee-hive hair or ‘camel hump’), society was divided over it. The Gamboo3a Revolution directed by Abdulrahman Al Madani explores the debate of fashion vs. modesty.

Maraya Art Centre Website: www.maraya.ae
Gulf Film Festival Website: http://gulffilmfest.com

March 24, 2013

Alex Olson, Bravo Zebra, Laura Bartlett Gallery, London

Alex Olson, Bravo Zebra
Laura Bartlett Gallery, London
23 March - 12 May 2013

LAURA BARTLETT inaugurates its new gallery space at 4 Herald Street in Bethnal Green with the first solo exhibition in Europe by Los Angeles based artist, ALEX OLSON.

Bravo Zebra brings together a new suite of paintings, each entitled Proposal and numbered according to the order in which they were completed. Introducing these works is a small painting, Press (December-February), which functions as a record of the making of the other works. Each day in the studio, the artist would peal the plastic covering off her palette and apply it to the surface of this painting, thereby notating some of the choices that went into the production of the subsequent paintings. The action of pressing against a surface and leaving a trace also stresses the exterior nature of these works and their use of the surface as a carrier of signs. 

The larger paintings, all of which are the same scale, take the name Proposal in relation to the artist’s belief that all paintings function as proposals. Each of these paintings presents it’s own subtle visual conundrum, choreographing the marks on its surface into signposts pointing in contradictory directions of interpretation. Olson favors “stock signage,” meaning signs that are untethered to a single specific meaning, which encourage a desire to define them while sidestepping a narrow read. 

For this particular exhibition, Alex Olson has employed patterns of dots, lines and textures for their extreme familiarity and simple ability to create an expectation of consistent repetition, only to be subtly undone by such means as a glop of paint overflowing its borders or by a collision with an alternative interpretation of the same marks. Colour likewise comes into play through its ability to highlight, muffle, counter, and clash. 

Alex Olson creates her marks using highly indexical tools, such as trawls, window scrapers, palette knives, plastic wrap, and low grade brushes. She points to the surface itself through dragging and rubbing paint into the face of the painting, exposing each scratch and mark embedded within it. Collectively these graphic and material marks compete against one another as they vie for the viewer’s attention through their conflicting signals. Viewed from different angles and distances, the paintings yield new sets of information, so that the encounter is one of negotiating and reevaluation. These works offer the viewer an unfolding experience of visual signs that highlight the process by which we encounter, translate and assign meaning to surface information on a daily basis.

The title of the exhibition Bravo Zebra is sourced from the International Code of Signals for boats, which Olson was specifically looking into for the maritime flag signaling systems. There is a common phrase, “Bravo Zulu” which combines the alphanumeric flags B and Z, or Bravo Zulu. However, prior to 1956 and the adoption of the International alphabet, the US referred to BZ as Baker Zebra. So the title is a non sensical one that combines the two and is about the act of communicating through visual signals on surfaces, but without a specific linguistic definition attached. It's more about cross signaling and encouraging the brain to want to decipher but without providing a singular statement, so that you revisit your decisions of how you are interpreting the visuals again and again. 

ALEX OLSON lives and works in Los Angeles, California. She received a BA from Harvard University in 2001, and an MFA from CalArts in 2008. Recent exhibitions include Made in LA, Hammer Museum, Los Angeles; Shane Campbell Gallery, Chicago; Lisa Cooley, New York and the Museum of Contemporary Art, Chicago. Alex Olson is included in the current exhibition Painter, Painter at the Walker Art Center, Minneapolis. This is Alex Olson’s first solo exhibition at Laura Barlett Gallery, London.

LAURA BARTLETT GALLERY
4 Herald Street, Bethnal Green, London E2 6JT
www.laurabartlettgallery.com

March 23, 2013

Sheikh Majid Mohammed Al Maktoum at Art Dubai 2013

Art Dubai is held under the patronage of HH Sheikh Hamdan bin Mohammed Al Maktoum, Vice-President and Prime Minister of the United Arab Emirates, Ruler of Dubai. The 20 March 2013, HH Sheikh Hamdan bin Mohammed Al Maktoum inaugurates the seventh edition of Art Dubai at Madinat Jumeirah

Here are some pictures of the inauguration by HH Sheikh Hamdan bin Mohammed Al Maktoum.


HH Sheikh Hamdan bin Mohammed Al Maktoum
HH Sheikh Hamdan bin Mohammed Al Maktoum in front of an artwork
Photo by Musthafa Aboobacker, 2013. Courtesy Art Dubai

HH Sheikh Hamdan bin Mohammed Al Maktoum
HH Sheikh Hamdan bin Mohammed Al Maktoum talking about an artwork
Photo by Musthafa Aboobacker, 2013. Courtesy Art Dubai




HH Sheikh Hamdan bin Mohammed Al Maktoum with Art Dubai Fair Director Antonia Carver
Photos by Siddharth Siva, 2013. Courtesy Art Dubai


HH Sheikh Hamdan bin Mohammed Al Maktoum
HH Sheikh Hamdan bin Mohammed Al Maktoum looking at an artwork of UAE artist Osama Al Zubidi
Photo by Musthafa Aboobacker, 2013. Courtesy Art Dubai



HH Sheikh Hamdan bin Mohammed Al Maktoum, Antonia Carver, the Art Dubai Fair Director and Arif Naqvi, patron, collector,  Founder / CEO of Abraaj Capital, the partner of Art Dubai
Photos by Musthafa Aboobacker, 2013. Courtesy Art Dubai



HH Sheikh Hamdan bin Mohammed Al Maktoum and Savita Apte (left), speaking with Arif Naqvi (right). Savita Apte is Director of Art Dubai, Chair of The Abraaj Group Art Prize, Associate of Serpentine Gallery for Indian Highway and an Art Historian. Photos by Musthafa Aboobacker, 2013. 
Photo Courtesy Art Dubai 


Art Dubai Website: www.artdubai.ae

March 22, 2013

Montre Royal Oak Leo Messi No.10 - Audemars Piguet - Vente Sotheby's Genève


La Royal Oak Leo Messi  No.10, Edition Limitée créée par Audemars Piguet en l'honneur du footballeur. Vendue aux enchères au bénéfice de la Fondation Leo Messi
Vente de Haute Horlogerie de Sotheby’s Genève11 mai 2013

La Royal Oak Leo Messi No.10 sera présentée le 11 mai 2013, dans le cadre de la vente de Haute Horlogerie de Sotheby’s Genève. Sotheby’s et Audemars Piguet s’associent pour soutenir la Fondation Leo Messi puisque l’intégralité du produit de la vente sera reversée à la fondation du footballeur. 

Avant sa mise aux enchères le 11 mai 2013, la montre Royal Oak Leo Messi no. 10 sera exposée chez Sotheby’s Hongkong (3-8 avril), Sotheby’s Londres (12-15 avril), Sotheby’s Zurich (2-3 mai) et Sotheby’s Genève (9-10 mai).

Leo Messi
Photopraphie du footballeur Leo Messi portant la Royal Oak Leo Messi No.10
Courtesy of Audemars Piguet, Sotheby's Genève, Fondation Leo Messi

Porté par Leo Messi ci-dessus et dessiné avec sa collaboration, ce chronographe de 41 mm en platine est la dixième pièce d’une édition spéciale de 100 montres que la Maison Audemars Piguet a dédiée au joueur en 2012. Clin d’œil au numéro 10 que Leo Messi arbore au sein de l’équipe du FC Barcelone et de la formation argentine, la montre portera le numéro 110 dans la vente. Le lot sera accompagné d’un maillot de l’équipe d’Argentine avec l’autographe de Leo Messi, ainsi que du dessin original de la montre signé par le footballeur et par le directeur artistique d’Audemars Piguet, Octavio Garcia. Le futur propriétaire de la montre aura par ailleurs la chance de rencontrer le sportif de légende en personne à Barcelone. 

A tout juste 25 ans, LEO MESSI a déjà tout d’une légende dans le monde du football. Premier joueur de l’histoire à avoir gagné quatre Ballons d’or consécutifs, l’Argentin a profondément influencé la discipline grâce à sa technique exceptionnelle, son esprit d’équipe exemplaire et son sens édifiant du fairplay. En 2012, il a notamment réalisé l’extraordinaire performance de marquer 91 buts en 69 rencontres, un nouveau record mondial. 

Audemars Piguet a produit l’édition limitée de la Royal Oak Leo Messi en 2012, alors que la maison célébrait le 40ème anniversaire de la Royal Oak, une icône intemporelle de l’élégance sportive. Le modèle Leo Messi en platine est pourvu d’un cadran épuré qui ne reprend pas le traditionnel motif « tapisserie » du modèle mais arbore un bleu profond, rehaussé d’indexes en or blanc. Les trois compteurs auxiliaires du chronographe et de la petite seconde sont par ailleurs entourés d’un fin anneau en argent brossé. 

Royal Oak Leo Messi no. 10, par Audemars Piguet
LA FONDATION LEO MESSI
Créée en 2007 par Leo Messi avec le soutien de sa famille, la Fondation Leo Messi œuvre pour que tous les enfants du monde disposent de chances égales pour réaliser leurs rêves. Depuis sa création, la fondation a travaillé sans relâche pour venir en aide aux enfants et aux adolescents dont la santé est en danger. Ses projets, qu’ils soient au niveau national ou international, se concentrent sur l’éducation et la santé (notamment la lutte contre les cancers infantiles et la maladie de Chagas). 
Site internet de la Fondation :  www.fundacionleomessi.org

AUDEMARS PIGUET 
Audemars Piguet est la plus ancienne manufacture horlogère à toujours être entre les mains des familles fondatrices (Audemars et Piguet). Depuis 1875, la société a écrit des chapitres essentiels de l’histoire de la Haute Horlogerie dont font partie de nombreuses premières mondiales. Dans la Vallée de Joux, au cœur du Jura suisse, des chefs-d’œuvre voient le jour en séries limitées avec un remarquable niveau de perfection horlogère: des modèles sportifs et audacieux, des garde-temps classiques et traditionnels, de splendides créations de joaillerie pour dames, ainsi que des pièces uniques. 
Site internet : www.audemarspiguet.com


Royal Oak Edition Limitée Leo Messi 
Boîte (41mm) en platine, lunette tantale, glace saphir avec traitement anti-reflets. Couronne vissée. Etanche à 50m. Fond en platine, gravé de l’inscription ROYAL OAK LIMITED EDITION et LEO MESSI, numéroté 10/100. Cadran bleu foncé satiné, index appliques, aiguilles Royal Oak en or blanc avec dépôt luminescent. Bracelet en caoutchouc noir avec boucle déployante AP en platine, second bracelet cousu main en crocodile bleu foncé à ‘’grande écaille carrée’’. 

Calibre Manufacture 2385, à remontage automatique, Diamètre total: 26.20 mm (11 ½ lignes), Epaisseur : 5.50 mm, 37 rubis, 304 composants, Réserve de marche minimale: approx. 40 heures. Cadence du balancier: 21'600 alternances/heure (3Hz), Décoré du motif Côtes de Genève et perlé, Rhodié, Masse oscillante en or 18 carats monobloc. 

Site internet de Sotheby's : www.sothebys.com 

March 21, 2013

New Art Fair in Istanbul, Turkey, 2013




All Arts Istanbul, New Art Fair in Turkey

A brand new art fair was founded in Istanbul, Turkey: ALL ARTS ISTANBUL that will take place for the first time from 18 to 21 April 2013 at the Istanbul Convention Center in Harbiye, Taşkışla Street. The new Turkish art fair will offer art enthusiasts a wide array of works, ranging from Turkish and Ottoman traditional arts to antiques, from modern to contemporary art. In addition to a variety of artworks from Turkey, Middle East and North Africa, antiques and contemporary art will be presented side by side by galleries, art institutions and auction houses in addition to second-hand booksellers, artisans, craftsmen and antique dealers. With a comprehensive approach to art, All Arts Istanbul aims to serve as the nexus point in Turkey for people and institutions who invest in art and art objects. The fair will offer participants many programs to choose from, including visits to artist's studios, guided tours of museums and private collections, seminars, conferences and workshops.

Group photograph of All Arts Istambul's Advisory Board
The Advisory Board for All Arts Istanbul was created with key figures from the art world and member from the organizations sponsoring the new Turkish art fair. 


All Arts Istanbul Advisory Board Meeting, 10th December 2012

The first comprehensive meeting of the fair took place last december, and the names of the members of  the Advisory Board are as follows:

Prof. Dr. Nurhan Atasoy, Turkish Cultural Foundation
Beşir Ayvazoğlu, Zaman, Columnist
Beyhan Bağış, Anatoli, Chairman
Doç. Dr. Emin Mahir Balcıoğlu, Qatar Museums Authority, Project Director
Faruk Bayrak, Everest Publishing, Chairman
Ahmet Benli, Galérie Benli
Tayfun Demirören, Demirören Holding, Executive Board Member
Uğur Derman, Türk Petrol Foundation, Executive Board Member
Haldun Dostoğlu, Galeri Nev
Doç. Dr. Ahmet Halûk Dursun, Topkapı Palace, Museum Director
Levent Erden, Havas World Wide Turkey, CEO
Dr. M. Sinan Genim, Architect
Remzi Gür, Gürmen Group, Chairman
Ali Güreli, All Arts Istanbul, Chairman
Prof. Dr. Gül İrepoğlu, Art Historian, Architect
Prof. Dr. Mustafa İsen, General Secretary of the Presidency
Yusuf İyilik, Yön Group, Chairman
Prof. Dr. Hasan Bülent Kahraman, All Arts Istanbul, General Coordinator
Prof. Dr. Hüsamettin Koçan, Baksı Museum, Founder
Fehmi Koru, Star, Columnist
Doç. Dr. Nazan Ölçer, Sakıp Sabancı Museum, Director
Ömer Faruk Şerifoğlu, Advisor to the Private Collection of the Presidency
Jale Tantekin, Tantekin Antiques
Cumhur Güven Taşbaşı, The Director General for Promotion of the Ministry of Culture and Tourism
Doç. Dr. Gülname Turan, Istanbul Technical University, Faculty Member
Necla Zarakol, Zarakol Communication, Chairman

ALI GURELI
Ali Güreli, the President of the Board of All Arts Istanbul said: '' Istanbul is becoming one of the most important contemporary art centers in the world, and the Biennial as well as the Contemporary Istanbul Art Fair, which has taken place for the 7th time in 2012, are strong contributors of this development.'' He also called attention to the private sector’s piqued interest in art, saying “Interesting and important exhibitions took place in Istanbul in recent years, the likes of which had never been executed in Turkey before. After developing its contemporary art scene, Istanbul will expand its cultural, economic and touristic boundaries further with ''All Arts Istanbul Fair''. Intense interest in the traditional arts, the need for investment in art as a tool of of modernization, today is quite tangible in these fields even beyond the known names. All Arts Istanbul will contribute greatly to the city, culture and art.”

HASAN BULENT KAHRAMAN
General Coordinator of All Arts Istanbul, Prof. Dr. Hasan Bülent Kahraman also said: "All Arts Istanbul will create a platform for traditional, exemplary art works that are produced in Turkey, that are neither marketed nor promoted to the fullest outside the scope of auctions and some limited networks. Collectors who have so far presented their accumulations only in auctions, will be given a chance to present, promote and if the occasion arises, sell their valuable objects, and the fair will create an opportunity to enrich and transform existing collections. The fair will be a platform where buyers and sellers will be able to come together in a highly contemporary  setting and an attractive setup."

Website: www.allartsistanbul.com


March 18, 2013

Paris - France galleries at Art Dubai 2013 - Featured artists and artworks - Part 2

Paris - France Art Galleries at Art Dubai 2013: Featured Artists and Artworks - Part 2

In a previous post I shared with you the list of french galleries from Paris which will exhibiting at Art Dubai 2013 with featured artists and artworks. This post is the second part of this presentation. I start with Imane Farès gallery.


IMANE FARES GALLERY, PARIS, FRANCE

Imane Farès gallery was founded in 2010 in the 6th arrondissement of Paris (41, rue Mazarine), where many great gallery are established. Imane Farès gallery is dedicaced to contemporary art from the Middle-East and Africa. All medium are exhibited: painting, sculpture, video art, installations, mixed media... Imane Farès allows the parisian and the French to discover talented Middle Eastern and African artists. He is recognized for the quality of the artworks exhibited in his gallery. Among the artists represented by Imane Farès gallery are the artists Younès Rahmoun, Billie Zangewa and Ali Cherri whose works will be presented at Art Dubai 2013.

Younès Rahmoun
YOUNES RAHMOUN
Darra-Kawn (Atom-Universe), 2012
Metal and chromatic metal, Diameter of 150 cm
Courtesy of the artist Younès Rahmoun and Imane Farès

The work of Younès Rahmoun has been recently exhibited at Imane Farès gallery in Paris (October 2012 - January 2013).

Billie Zangewa
BILLIE ZANGEWA
If not now then when?, 2011
Tapestry, silk, 137 x 55 cm
Courtesy of the artist Billie Zangewa and Imane Farès 

Ali Cherri
ALI CHERRI
Going trough my mind, 2011
Photograph, 50 x 65 cm
Courtesy  of the artist  Ali Cherri and Imane Farès

Inaugural Miami First Friday Art Walk 2013


Inaugural Downtown Miami First Fridays Art Walk 2013
April 5th, 2013

The inaugural Downtown Miami “First Fridays” Art Walk on Friday will take place on April 5th from 6-10pm. This new cultural initiative shines a light on the growing art community and collector market in Downtown Miami, bringing together non-profit arts organizations and local galleries for special exhibitions, artists open studios, tours, exclusive openings, artist performances and an international contemporary art fair, MIA Encore, aboard SeaFair at Bayfront. The Art Walk will be held the first Friday of every month January-June and October-December. The September Art Walk will be held in conjunction with DWNTWN Art Days, September 20-22, 2013. The “First Fridays” Art Walk is organised by the International Fine Art Expositions (IFAE), founders of Art Miami (1991) and organizers of the Miami International Art Fair (MIA), in collaboration with the arts and culture community of Downtown Miami.

The First Fridays Art Walk will showcase over 150 exhibiting artists in fifteen venues, offering an array of art experiences that will reflect multiple mediums, styles, and trends in the art world. Participating organizations include:

MDC Museum of Art+Design
Dimensions Variable
Bas Fisher Invitational
TM Sisters
Turn-Based Press Studio
Artisan Lounge, 26 Artists Studios
Etra Fine Art
Nina Torres Fine Art
Eleazar Delgado Studio
Giants in the City, Presented by Irreversible Magazine
Ocean Bank Art Space
Sculpture in the Park at Bayfront
McCormick Place, 7 Artists Studios
MIA Encore – at SeaFair, 28 International Galleries
Art in Public Places

All participating organizations are conveniently located within two blocks of the Miami Trolley line and Metromover. 


 Downtown Miami First Fridays Art Walk Map




The “First Friday” Art Walk coincides with the debut of the MIA Encore fair, April 5th-7th, a new series of fairs launched by IFAE this spring following MIA fair in January. Each MIA Encore show will gather a carefully selected array of 28 international dealers presenting both established contemporary and emerging artists. Works will be composed of contemporary, cutting-edge art of all media including photography, painting, mixed media, sculpture, jewelry, installation and video. Admission to MIA Encore will be complimentary for the duration of First Friday hours from 6-10pm.

For more information on Miami First Friday Art Walk visit www.expoships.com/firstfridays/

March 16, 2013

French galleries from Paris at Art Dubai 2013 - Featured artists and artworks

French Art Galleries from Paris at Art Dubai 2013

Art Dubai, March 20-23, 2013
Poster by Cartier, sponsor of Art Dubai 2013
Photo (c) Gautier Willaume

CHANTAL CROUSEL GALLERY, PARIS, FRANCE

As a very famous gallery in Paris, Galerie Chantal Crousel represented internationaly recognized artists. Chantal Crousel founded its gallery in 1980. The gallery is located 10 rue Charlot in the 3rd arrondissement of Paris. Niklas Svennung, the son and associate of Chantal Crousel, opens a second space named La Douane Galerie Chantal Crousel in the 10th arrondissement of Paris: 11F rue Léon Jouhaux which is an extension of the principal space. Among the artists represented by Chantal Crousel Gallery are Mona Hatoun, Gabriel Orozco and José Maria Sicilia, whose recent works will be presented at Art Dubai 2013.

Mona Hatoun
MONA HATOUN, Baluchi (orange and brown), 2012
Wool Carpet, 112 x 190 cm
Courtesy the artist Mona Hatoun and Galerie Chantal Crousel, Paris

MONA HATOUN was born in 1952 in Beirut, Lebanon. The artist lives and works in London and Berlin.

José Maria Sicilia
JOSE MARIA SICILIA, The Instant, 2012
Floor made in white marble, black marble, and copper, 400 x 400 cm
Courtesy the artist José Maria Sicilia and Galerie Chantal Crousel, Paris

JOSE MARIA SICILIA was Born in 1954 in Madrid, Spain. The artist lives and works in Majorca and Paris.

Gabriel Orozco
GABRIEL OROZCO, Roiseau 6, 2012
Bamboo branch and bird feathers, 290 x 270 x 190 cm
Courtesy the artist Gabriel Orozco and Galerie Chantal Crousel, Paris

GABRIEL OROZCO was born in 1962 in Jalapa, Veracruz, Mexico. The artist lives and works in Paris, Mexico and New York.

Chantal Crousel gallery's website: www.crousel.com

YVON LAMBERT GALLERY, PARIS, FRANCE

Founded in 1966  by the art dealer and collector Yvon Lambert, the gallery has a strong tradition of presenting artists’ projects that are ambitious, intense, and innovative. Opened in 2000, Lambert Collection in Avignon (5 rue violette, 84000 Avignon, France) is a contemporary art museum exhibited dealer and collector Yvon Lambert' collection built up since the 1960s and comprising of 600 works valued by Christie’s at nearly 100 million euros (2012). In 2011, Yvon Lambert confirmed she would donate her collection to the State for permanent conservation in Avignon.

Among the artists represented by Yvon Lambert, Paris, the gallery will presented Candida Höfer work.

Candida Höffer
CANDIDA HOFER, Galeries Lafayette Dome, Paris, 2012
C-print, 180 x 180 cm
Courtesy Yvon Lambert, Paris. 

This photograph by Candida Höfer has been created in conjunction with the 100th anniversary of the Coupole of the Galeries Lafayette.

DANIEL TEMPLON GALLERY, PARIS, FRANCE

Daniel Templon (born 1945) founded its first gallery in 1966. Daniel Templon gallery moved to its current location in 1972 (30, rue Beaubourg, 75003 Paris) near the Centre Pompidou (opened in 1977). Daniel Templon was one of the pioneers of contemporary art exhibitions in Paris. The gallery as an international reputation. Among the artist represented by the gallery, recent works by Iván Navarro and Kehinde Wiley are presented at Art Dubai 2013.

Kehinde Wiley
KEHINDE WILEY
John Churchill, Duke of Marlborough II, 2012
Oil paint on canvas, 152,2 x 107 cm
Courtesy Galerie Daniel Templon, Paris. Photo: B. Huet / Tutti

Iván Navarro
IVAN NAVARRO
Desert  (Columbia Center), 2011
Neon, wood, paint, Plexiglas, mirror, one-way mirror and electricity, 120 x 107 x 18 cm
Courtesy Galerie Daniel Templon, Paris


IN SITU / FABIENNE LECLERC GALLERY, PARIS, FRANCE

A renowned galerist in Paris, Fabienne Leclerc opened its first art space in Paris in 1989. Fabienne Leclerc gallery In Situ moved to its current location in the 6th arrondissement of Paris in 2007 (6, Rue du Pont de Lodi). Among the artists represented by In Situ / Fabienne Leclerc gallery are the artists Patrick Tosani, Meschac Gaba and Ni Haifeng whose works will be presented at Art Dubai 2013.

Patrick Tosani
PATRICK TOSANI
Khaled, 2002
Color photograph, c-print, 30 x 40 cm
Courtesy of the artist Patrick Tosani and Galerie In Situ / Fabienne Leclerc, Paris

Patrick Tosani
PATRICK TOSANI
Prise d'air I, 2010
Photograph, c-print, 153 x 123 cm
Courtesy of the artist Patrick Tosani and Galerie In Situ / Fabienne Leclerc, Paris

PATRICK TOSANI was born in 1954 in Boissy-l’Aillerie. Tle artist lives and works in Paris.

Meschac Gaba
MESCHAC GABA
Pythagore (Perruque MAVA serie), 2011
Braided synthetic hair, metal parts and model's bust, 98 x 37 x 42 cm
Courtesy of the artist Meschac Gaba and Galerie In Situ / Fabienne Leclerc, Paris

MESCHAC GABA was born in 1961 in Cotonou, Benin. The artist lives and works in Benin (1991-1996) and also in Rotterdam, The Netherlands, since 1996.

Ni Haifeng
NI HAIFENG
HS 6403.99, 2007
Nickel and bronze, lcd screen, video, 1mn, Various dimensions, edition 3 + 1AP
Courtesy of the artist Ni Haifeng and Galerie In Situ / Fabienne Leclerc, Paris

NI HAIFENG was born in 1964 in Zhoushan, China. The artist lives and works in Amsterdam, The Netherlands.

The other parisian galleries exhibiting at Art Dubai 2013 will be presented in a next post.

March 15, 2013

Expo Jan Fabre, Galerie Templon, Paris


Exposition Jan Fabre, Gisants ...
Galerie Daniel Templon, Paris
Jusqu'au 20 avril 2013

Jan Fabre
JAN FABRE
Dragonfly on Skimmer, 2012
Marbre, 32 x 23 x 20 cm
Courtesy Galerie Daniel Templon, Paris

Deux ans après le succès de Piètas à la Biennale de Venise, l'artiste JAN FABRE transforme la Galerie Templon à Paris en chambre sacrée. Les deux espaces de la galerie accueillent un couple de gisants en marbre de Carrare accompagné de sculptures de cerveaux habités d’insectes et de plantes. Après s’être emparé du thème de la pièta, Jan Fabre se confronte à la tradition séculaire de la mise en scène de la mort. 

L’artiste rend hommage à deux personnalités dont les découvertes ont éclairé le siècle passé : Elizabeth Caroline Crosby (1918-1983), neuro-anatomiste américaine et Konrad Zacharias Lorenz (1903-1989), biologiste et zoologiste autrichien. Fervent défenseur du dialogue entre les champs de la connaissance, Jan Fabre a déjà travaillé sur les neurosciences, notamment avec le film Is the brain the most sexy part of the body ? (2007)

Si les sculptures funéraires invitent à la méditation sur la vanité de l’existence, la mise en scène de Jan Fabre questionne les liens de l’homme avec la nature et sa propre nature. Le cerveau, siège de l’intelligence et de la créativité, apparaît comme un protecteur, un guide possible dans l’au-delà. Les insectes - papillons, abeilles, araignées, scarabées - adoptent la fonction traditionnellement dévolues aux chiens ou aux lions des sépultures royales, posés aux pieds des gisants : celle de la résurrection.

JAN FABRE
Né en 1958 à Anvers, Jan Fabre est reconnu depuis la fin des années 1990 pour son œuvre d’homme de théâtre, de plasticien et d’auteur. Il s’intéresse depuis 1976 à l’art de la performance, et se lance en 1980 dans la mise en scène et la chorégraphie. Depuis, il a réalisé une trentaine de pièces mêlant danse et théâtre, dont la radicalité déclenche régulièrement la polémique, comme Je suis sang (2000) ou L’Orgie de la Tolérance (2009). En mai 2013 il présentera au Théâtre de la Ville à Paris The Tragedy of a Friendship consacré à la relation entre Nietzsche et Wagner.

Dessinateur invétéré, Jan Fabre crée des sculptures, modèles et installations qui font vivre ses grands thèmes de prédilection tels que la métamorphose ou l’artiste comme guerrier de la beauté. Parmi ses expositions personnelles les plus marquantes ces dernières années on peut citer celle du Museum voor Hedendaagse Kunst à Anvers en 2006 et du Musée du Louvre en 2008. Récemment, l’artiste a fait l’objet d’expositions au Kröller-Müller Museum d’Otterlo au Pays-Bas (Hortus/Corpus, 2011), au Kunsthistorisches Museum de Vienne et au Musée d’art moderne de Saint-Etienne (Jan Fabre. Les années de l’heure bleue, 1986-1991, 2011).

Un catalogue bilingue anglais/français de l’exposition a été publié avec des textes de Jo Coucke, Marie Darrieussecq, Vincent Huguet et Bernard Marcelis.

Prochaines expositions à la Galerie Templon :
Ivan Navarro, Where is the next war ?, 25 avril - 1er juin 2013
David LaChapelle, 6 juin - 27 juillet 2013


Galerie Daniel Templon
30, rue Beaubourg
75003 Paris - France
www.danieltemplon.com



March 12, 2013

New York Lower East Side Art in China - Exhibition at James Cohan Gallery Shanghai


Downtown: A View of New York's Lower East Side
James Cohan Gallery, Shanghai, China
March 8 - May 5, 2013

Downtown: A View of New York's Lower East Side (LES) is a group exhibition presented by James Cohan Gallery in Shanghai with artworks by Joshua Abelow, David Adamo, Michael Bauer, David Brooks, Erica Baum, Hilary Harnischfeger, Jessica Jackson Hutchins, Anicka Yi, whose work exemplifies the alternative scene in New York City’s burgeoning Lower East Side art district. For the artists included, this exhibition marks the first time their work will be shown in China. The exhibition was developed in collaboration with the LES galleries who represent the artists presented in the exhibition. It was curated by Jessica Lin Cox and William Pym of James Cohan Gallery, New York. A bi-lingual catalog of the exhibition accompanies the exhibition. 

Anicka Yi
ANICKA YI 
阿尼卡•伊  
Debt to Pleasure, 2011
欢乐之债, 2011 
Digital c-print 数码打印 - 30 x 45 inches; 76 x 114 cm 
Courtesy the artist and 47 Canal, New York

ANICKA YI was born in 1971 in Seoul, South Korea. The artist lives and works in New York, USA

David Brooks
DAVID BROOKS 
大卫•布鲁克斯 
Imbroglios (a phylogenetic tree, from Homo Sapiens to Megalops Atlanticus), 2012
《纠葛(系谱 树,从智人到大西洋大眼蟹)》, 2012 
Fiberglass, gelcoat, MDF, pencil, hardware 
玻璃钢、凝胶图层、中密度纤维板、铅笔、硬件 
21 x 12 x 5 ft; 6.4 x 3.65 x 1.5 m
Courtesy the artist and American Contemporary, New York

DAVID BROOKS was born in 1975 in Brazil, Indiana, USA. The artist lives and works in New York, USA.

Jessica Jackson Hutchins
JESSICA JACKSON HUTCHINS 
杰西卡•杰克逊•哈钦斯 
Dinner Theater, 2012
晚宴剧场, 2012 
Collage on canvas, glazed ceramic, chair 
布面拼贴、上釉陶瓷、椅子 
85 1/2 x 72 1/2 x 21 inches; 217 x 184 x 53 cm 
Courtesy the artist and Laurel Gitlen, New York

JESSICA JACKSON HUTCHINS was born in 1971 in Chicago, IL USA. The artist lives and works in Berlin, Portland, OR USA.

In assembling this exhibition, DOWNTOWN provides a snapshot of what is on view in eight prominent LES galleries. As the oldest neighborhood in New York City, the LES has been home to waves of immigrants from Eastern European Jews, Poles and Ukrainians to what is today the heart of New York’s Chinatown. Throughout the neighborhood, galleries can be found tucked into small storefronts, up narrow staircases, and more recently in newly-built white box spaces. Progressive gallery models are thriving; they are incubators of the most exciting emerging artwork being made today. The close-knit community of artists and art dealers attracts well-heeled crowds to this former working class neighborhood, shifting the associations of the old world to the new. In the spirit of cultural exchange, this exhibition brings the best of the LES scene to audiences in Shanghai. 

Michael Bauer
MICHAEL BAUER 
迈克尔•鲍尔 
Thon - H.S.O.P. – 42, 2012
鲔鱼 - H.S.O.P–42, 2012 
Oil on canvas 布面油画 - 72 x 60 inches; 182.9 x 152.4 cm
Courtesy the artist and Lisa Cooley, New York

MICHAEL BAUER was born in 1973 in Erkelenz, Germany. The artist lives and works in New York, USA

Joshua Abelow
JOSHUA ABELOW 
乔舒亚•阿贝娄 
Dumb & Easy, 2007-2008
愚蠢与简单, 2007–2008 
Oil on linen 亚麻布面油画 
56 panels, each 18 x 18 inches; 45.7 x 45.7 cm  
共 56块,每块 18 x 18英寸(45.7 x 45.7 厘米) 
Courtesy the artist and James Fuentes LLC, New York

JOSHUA ABELOW was born in 1976 in Frederick, Maryland, USA. The artist lives and works in Brooklyn, New York, USA

The accompanying publication traces the evolution of the idea of 'downtown' as an attitude as much as a place. An essay by the curators charts the history of the downtown art scene in New York and the parallel social and cultural contexts from the late 1960s to the present. Interspersed throughout are first-person narratives from the artists and gallerists in the show who talk about what the LES means to them. The effect for the reader is as if overhearing snippets of life lived by artists and art professionals on the scene. In keeping with the show’s theme, the publication has been designed by Project Projects, an internationally celebrated design firm as well as a grassroots member of the LES community.

James Cohan Gallery Shanghai
1F, Building 1, Lane 170 Yue Yang Road, by Yong Jia Road - Shanghai, China
James Cohan Gallery's website: www.jamescohan.com