December 31, 2018

Douglas Melini @ Van Doren Waxter, New York

Douglas Melini: Starry Sky
Van Doren Waxter, New York
Through January 12, 2019

Douglas Melini 
Starry Sky #7, 2018 
Oil and acrylic on canvas with artist’s frame 
20 x 22 ½ inches (50.8 x 57.2 cm) 
Courtesy of the artist and Van Doren Waxter, New York

Van Doren Waxter presents paintings by Douglas Melini as the inaugural exhibition in the gallery’s new gallery space at 23 East 73rd Street; this newly renovated public exhibition space is an expansion on the building’s 3rd floor, adjacent to the gallery’s private viewing room. Douglas Melini: Starry Sky is the artist’s third show with the gallery. It follows the artist’s solo institutional exhibition at the Schneider Museum of Art, OR.

For this exhibition, Douglas Melini debuts a new series of paintings that merges his densely textured abstractions with the representation of a field of stars. In these chromatically charged works, pattern and saturated color become night skies, strewn and illuminated by stars. Formally rigorous, the canvases emerge from a meticulous collage process made entirely of paint; first layers of thin, nearly transparent acrylic are laid down in a lattice-like structure followed by gestural smears of oil impasto applied with a palette knife, or by hand. These thick tangles of paint become landscapes themselves transforming the work into a study of landscapes both within its materiality and its content. The paintings are then custom framed by the artist, presenting the works as deliberate objects.

Douglas Melini’s new Starry Sky paintings thoughtfully examine the abstract, pictorial, and conceptual nature of image making. In these paintings, he examines several modernist ideas about painting, including the use of the grid, the painterly surface and the painting’s objecthood. The artist also proposes ideas about light and space, both depicted and physical. The artist alludes to varied art historical references and inspirations, in particular the iconography of the night sky, including Italian frescoed ceilings depicting the heavens; saturated stained-glass windows which are illuminated from the back; the image and idea of a star as a symbol and pattern – often used as decoration and background throughout art history; and to gauge and mark the condition of night. 

Van Doren Waxter
23 East 73rd Street, New York, NY 10021

December 28, 2018

Michael Scott @ Xippas Paris

Michael Scott : Circle Paintings
Commissaire : Vincent Pécoil
Galerie Xippas, Paris
15 décembre 2018 - 16 février 2019

Michael Scott
Michael Scott, #142, 2018.
Peinture émail sur aluminium, 81,3 x 121,9 cm.
Courtesy de l’artiste et de Xippas Paris

Avec Circle Paintings, la première exposition personnelle de Michael Scott à Xippas Paris, l’artiste revisite et donne une nouvelle direction à ses premiers travaux, réalisés dans les années 80 – des peintures de cercles concentriques, quasi-identiques les unes des autres.

Ces tableaux, avec leur absence de style, leur refus manifeste de la maîtrise et de l’originalité, mettaient en avant l’idée en peinture. Ils valaient comme une prise de position par rapport au néo-expressionnisme alors triomphant à New York, et s’inscrivaient dans la voie ouverte par d’autres peintres comme Olivier Mosset ou Peter Halley. Réunies, ces peintures créaient un effet optique fort, qui est aussi un des ressorts de l’exposition à Xippas Paris.

Avec l’ajout de la couleur, les variations sur la taille et le cadrage, les peintures récentes sont nettement plus enjouées que les précédentes. Les choix d’accrochage suggèrent l’interchangeabilité de toutes les peintures, et conservent cette même méfiance vis-à-vis du concept d’originalité qui était le moteur des peintures des années 80. Dans le même temps, réalisées sur des panneaux d’aluminium, ces oeuvres ont une présence plus forte et se donnent comme des objets qui existent dans le monde, plutôt que comme des peintures « pures ».

Le travail de Michael Scott a été associé à celui de ses amis Steve di Benedetto, Matthew McCaslin et Steven Parrino, avec qui il a exposé de nombreuses fois. Sa peinture incarne depuis la fin des années 80 un versant majeur de l’art américain récent, héritier de la peinture abstraite radicale, mais aussi de l’art conceptuel et du pop art.

MICHAEL SCOTT est né en 1958. Il vit et travaille à New York. Ses peintures intègrent aujourd’hui des collections publiques importantes, parmi lesquelles : Le Consortium Museum, Dijon ; le Fonds National d’Art Contemporain ; le FRAC Nord-Pas-de-Calais ; le MAMCO, Genève ; le Musée Cantonal des Beaux-Arts, Lausanne ; la Kunsthalle Bern et le MACBA, Buenos Aires ; LACMA, Los Angeles. Michael Scott a été représenté par les galeries Tony Shafrazi (New York), Pierre Huber (Genève), Sandra Gering (New York) et Triple V (Paris). A Paris, son travail a été montré dans l’exposition Dynamo, au Grand Palais, en 2013. Parmi ses expositions institutionnelles significatives, figurent : le MAMCO, Genève (2017 et 2016) ; le Schneider Museum of Art, Ashland et le MACBA, Buenos Aires (2015) ; le Circuit, Lausanne (2014) ; le Consortium, Dijon et la Kunsthalle, Bern (2012) ; le CAPC, Bordeaux (2011) ; Le Magasin, Grenoble, (2009) ; la Fondation Vasarely, Aix-en-Provence (2008) ; le Musée Cantonal des Beaux-Arts de Lausanne (2005) et le Naples Museum of Art, Naples (2001).

108 rue Vieille du Temple 75003 Paris

December 26, 2018

Simone Fattal @ MoMA PS1, Long Island City, New York

Simone Fattal
MoMA PS1, Long Island City, New York
March 31 – September 2, 2019

MoMA PS1 presents the first solo museum exhibition in the United States of the work of Simone Fattal (Lebanese and American, b.1942). The retrospective will bring together a selection of over 100 works created over the last 40 years, featuring abstract and figurative ceramic sculptures, paintings, and collages that draw from a range of sources including war narratives, landscape painting, ancient history, mythology, and Sufi poetry. The exhibition will explore the impact of displacement, as well as the politics of archeology and excavation, as these themes resonate across Fattal’s multifaceted artistic practice.

SIMONE FATTAL was born in Damascus, Syria and raised in Lebanon, where she studied philosophy at the Ecole des Lettres in Beirut. She then moved to Paris where she continued her philosophical pursuits at the Sorbonne. In 1969, she returned to Beirut and began working as a visual artist, exhibiting her paintings locally until the start of the Lebanese Civil War. She fled Lebanon in 1980 and settled in California, where she founded the Post-Apollo Press, a publishing house dedicated to innovative and experimental literary work. In 1988, she enrolled in a course at the Art Institute of San Francisco, which prompted a return to her artistic practice and a newfound dedication to sculpture and ceramics. Simone Fattal currently lives in Paris and has had recent exhibitions at the Musée Yves Saint Laurent Marrakech (2018), the Rochechouart Departmental Museum of Contemporary Art (2017), and the Sharjah Art Foundation (2016).

Simone Fattal is organized by Ruba Katrib, Curator, MoMA PS1.

Major support for Simone Fattal is provided by The Contemporary Arts Council of The Museum of Modern Art. Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.


Rodney Graham @ 303 Gallery, New York

Rodney Graham
303 Gallery, New York
January 11 - February 23, 2019

303 Gallery announces their ninth exhibition of new work by Rodney Graham.

In a suite of new lightbox works, Rodney Graham continues to probe the semi-conscious creation of cultural archetypes. Begun in 2007, Rodney Graham's lightboxes synthesize and expand upon his practices in painting, photography, sculpture and film, using highly detailed set design and arcane conceptual inspirations to point to the paradigmatic functioning of stock characters from the realms of art, Hollywood film, music, history and the social world.

For Vacuuming The Gallery, 1949, 2018, Rodney Graham's monumental piece takes as its inspiration a photograph of New York gallerist Samuel Kootz smoking a pipe in his own gallery during a Picasso exhibition in 1949. On the walls in this image are a series of Rodney Graham's own abstract paintings, part of a series of variations based on a single watercolor by Alexander Rodchenko (Abstract Composition, 1941). Rodney Graham inhabits a role based on the image of Kootz, vacuuming the floors of his apartment-cum-gallery in a quaint-seeming gesture of domesticity. His taciturn, smug expression seems to translate not only the uptown art dealer persona, but the upending of that persona in performing a menial, unusually gendered task. Rodney Graham's Rodchenko-inspired paintings hang in the current exhibition as well, their anachronistic expressionist tendencies magnified by the contextual disconnect between the tableau the lightbox portrays and the contemporary tendency to view art in a sleek white cube.

Tattooed Man on Balcony, 2018, follows from a poem Rodney Graham penned in the style of Mallarme that was intended as an instructional guide for a tattoo artist. The image described, in which Popeye is clad in a deep-sea diving suit battling a giant squid, has been extended to an entire phalanx of characters from Popeye's compatriots in the Thimble Theater. The man's pompadour and spread-collar, open to the chest 50s-style shirt suggest an aging rockabilly fan whose most whimsical and hardscrabble years are behind him. Perched on the balcony of an apartment featuring a particularly Vancouver-centric brand of vernacular modernism, Graham again creates a strange kind of third-person self-portrait, as if this character is simultaneously himself, a model, and a type of standardized, unconscious prototype - an 'extra' of sorts.

A different type of stock character emerges in Remorseful Hunter, 2019, inspired by a found thrift store painting. Rodney Graham takes the guise of a mountain man with a rifle apparently in the midst of a remorseful existential crisis, sitting on a rock overlooking a Caspar David Fridrich-style landscape. He appears overtaken by sentimentality, a kind of existential Elmer Fudd who suddenly finds himself identified only with a sympathetic squirrel. Another type of "man with beast" portrait exists in Central Questions of Philosophy, 2018, a lightbox work inspired by two versions of the Pelican paperback cover for the philosopher AJ Ayer's titular book. In one version, the philosopher poses stoically in his home with a learned smirk, and in the other, he assumes the same pose, this time with a dog on his lap. The work nods to Ayer's work as a logical empiricist, positing two versions of reality: in one, a philosopher sits in a chair; and in the other, a philosopher and a dog sit in a chair. Graham is Ayer, Ayer is Graham, a dog is a dog is a dog.

RODNEY GRAHAM was born in Abbotsford, British Columbia, Canada in 1949. Solo exhibitions include Museum Frieder Burda, Baden-Baden, Germany (2017); Museum Voorlinden, Wassenaar, Netherlands (2017); BALTIC Centre for Contemporary Art, Gateshead, UK (2017); Le Constortium, Dijon, France (2016); Sammlung Goetz, Munich, Germany (2015); Vancouver Art Gallery, Canada (2012); Museum der Moderne, Salzburg, Austria (2011); and the Museu D’Art Contemporani de Barcelona, Spain (2010). He has participated in group exhibitions such as the Carnegie International, Pittsburgh, USA (2013); the 13th, 14th and 17th Sydney Biennales, Australia (2002, 2006, 2010); the Whitney Biennial, New York, USA (2006); and the Biennale d’Art contemporain de Lyon, France (2003). He represented Canada at the 47th Venice Biennale, Italy (1997). He has received the Gershon Iskowitz Prize, Toronto, Canada (2004), the Kurt Schwitters-Preis, Niedersächsiche Sparkassenstiftung, Germany (2006), and the Audain Prize for lifetime achievement in visual arts, British Columbia, Canada (2011). In 2016, Rodney Graham was appointed as an Officer of the Order of Canada, for his contributions to Canadian contemporary art. He lives and works in Vancouver.

Upcoming: ELAD LASSRY, March 2019, his second exhibition at 303 Gallery.

555 West 21st Street, New York, NY 10011

December 21, 2018

Ceal Floyer @ Lisson Gallery, London

Ceal Floyer
Lisson Gallery, London
Through 5 January 2019

Lisson Gallery presents a new exhibition by Berlin-based artist Ceal Floyer, her sixth with the gallery since she first showed in the same spaces in 1997. Over 20 years on, Ceal Floyer has lost none of her defiant simplicity or piercing philosophical precision, producing a distinct body of sculptural works, featuring poetic situations, subtle interventions, as well as new video and light installations.

A sonic experience beneath a clear, parabolic dome, which contains a directional speaker, hung from the ceiling, briefly drenches visitors with a gushing loop of static sound. While Untitled (Static) could be a strangely meditative zone of white noise, within the already white confines of the gallery, it might also act as an approximation of the sound of rain atop an umbrella, creating a momentary trompe l’oreille (the aural equivalent of a trompe l’œil).

Elsewhere, a diptych montage of small-sized images of Hotel Rooms (all works 2018) culled from travel brochures and glossy magazines advertising hotel suites and interior décor, is hung on two adjacent walls. This travelogue of pristine lodgings bespeaks not so much Ceal predilection for ironic image appropriation as it deconstructs some of the hidden conventions of commercial photography: each vista of a freshly made-up double- or twin-bedded haven is shot from either a left-hand or right-hand point of view. Ceal Floyer proceeds to uncannily mirror and re-stage the angle of the camera in a literal way by categorising and placing each image on either the left- or right-hand side of the space.

An understated survey of what constitutes the boundaries of this exhibition continues on the window where two typical hazard signs depict the maximum headroom available both inside and outside, although the extreme unlikelihood of anyone transgressing the height restrictions render these warnings as merely conceptual in nature. Multiple versions of this work, Maximum Headroom (2014/2018), will be adorning the façade of the Neuer Berliner Kunstverein until next year, further expanding (rather than limiting) where in time or space Ceal Floyer’s suggestions can exist or operate.

The function or lack thereof in Ceal Floyer’s subversive statements is compounded both by their ubiquity in everyday life and by their absurdity in her hands. As if to ram this point home, the main gallery features an outsized video, Hammer and Nail, of a hammer violently pounding a nail into a board. The progress of metal into wood seems stunted by the movement of the entire filmic frame, which gradually comes up to meet the nail’s head with each blow, enacting a negation of duties and a structural reversal or complication of the usual hammer-meets-nail relationship. Riven through, as these pieces all are, with Floyer’s inimitable humour and rigour, it is no surprise that she has been included in the South London Gallery’s current group exhibition, ‘KNOCK, KNOCK: Humour in Contemporary Art’ (until 18 November).

67 Lisson Street, London

November 30, 2018

Jennifer Packer @ Sikkema Jenkins & Co., New York - Quality of Life

Jennifer Packer: Quality of Life
Sikkema Jenkins & Co., New York
November 29, 2018 - January 19, 2019

Sikkema Jenkins & Co. presents Quality of Life, a solo exhibition of new paintings by JENNIFER PACKER. This is Packer’s second solo show at Sikkema Jenkins. 

Jennifer Packer’s painted figures and still lifes are exceptional for their expressive fields of color, worked tenderly by the artist’s hand. They are images made with the utmost care–for the subject, and for the artist herself.

Jennifer Packer’s subjects are often friends and family, loved ones who serve as an emotive force in her life. Her representations critique the positionality, autonomy and power of the marginalized subject. Her work intends to address the primacy of the gaze within painting as a locus for accountability and representation. In Jennifer Packer’s work, distinct features fade against the color of their environment, creating a protective distance between the direct gaze of the viewer and the subject’s interiority.

The floral still lifes echo the same fragility and tenderness of life expressed in her portraits. Situated within the historical tradition of still life painting, Jennifer Packer’s floral images are concerned chiefly with painting as a language for the transmission of information through touch; a delicate working of the painted medium in response to loss and trauma. Jennifer Packer’s flowers serve as an act of grief, commemoration, and healing.

Born in 1984 in Philadelphia, JENNIFER PACKER received her BFA from the Tyler University School of Art at Temple University in 2007, and her MFA from Yale University School of Art in 2012. She was the 2012-2013 Artist-in-Residence at the Studio Museum in Harlem, and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA, from 2014-2016. 

Jennifer Packer’s first solo museum show, Tenderheaded, was exhibited at The Renaissance Society, Chicago in September 2017 before traveling to the Rose Museum at Brandeis University in March 2018. The catalogue that accompanied the exhibition includes a conversation between Jennifer Packer and Kerry James Marshall, essays by Jessica Bell Brown and April Freely, a poem by Safiya Sinclair, and an introduction by curator Solveig Øvstebø.

530 West 22nd Street, New York, NY 10011

teamLab @ Pace Gallery, Palo Alto

teamLab: Continuous Life and Death at the Now of Eternity
Pace Gallery, Palo Alto
November 15, 2018 - January 13, 2019

teamLab, Continuous Life and Death at the Now of Eternity, 2017 
Digital work, 9 channels, endless 
© teamLab
Courtesy Pace Gallery

teamLab: Continuous Life and Death at the Now of Eternity, at Pace’s downtown Palo Alto gallery, features six monitor works in various scales. Each work embodies teamLab’s long-standing interest in the possibilities and meaning of what they call ‘Ultrasubjective Space,” the shallow spatial structure of traditional Japanese painting.  As in Japanese styles as varied as Ukiyo-e prints from the Edo period to contemporary Manga illustrations, figures and objects in teamLab’s compositions exist on a single plane of depth focusing on vertical and horizontal relationships to express dimensionality. It is different but equivalent to western one-point perspective as a system for representing space. Compared to classical western space, the viewer does not hold a dominant perspective over the subject matter but rather, is immersed within an integrated experience with it. Neither subordinate nor superior to western perspective, the implication of this alternative vantage point raises questions regarding how different cultures perceive the world. For instance, what does it mean when systems perceived as opposites are equally true and sustainable?

The exhibition includes a 2017 nine-monitor work of the same name that generates images of flowers and plants, evolving and changing in real time, and never repeating itself. New multi-monitor works include Waves of Light, 2018—a continuous loop of mesmerizing motion of white waves on a gold ground—and Reversible Rotation – Continuous, Black in White, 2018 in which calligraphic lines roam from screen to screen as three-dimensional forms on a two-dimensional surface. Another example of spatial calligraphy, Enso, 2017, is a continuous looped image of the Buddhist symbol of wholeness. Two additional single channel digital works featured in the exhibition include Chrysanthemum Tiger from Fleeting Flower Series, 2017—a brightly colored continuous loop of a tiger rendered with thousands of flowers forming and dissolving before the viewer—and Impermanent Life, 2017—an endlessly evolving, abstracted natural image, eliciting a meditation on the subtle quality of change.

teamLab (f. 2001, Tokyo, by Toshiyuki Inoko) is an interdisciplinary group whose collaborative practice seeks to navigate the confluence of art, technology, design, and the natural world. Rooted in the traditions of pre-modern Japanese art and on the forefront of interactive design, teamLab operates from a distinct concept of spatial perception, which they refer to as Ultrasubjective Space. Driven by their investigations of human behavior in the information era, teamLab proposes innovative models for societal development through immersive and participatory installations that employ computer graphics, sensing, sound, and light. Rather than using prerecorded animation, teamLab’s artworks are often rendered digitally in real time, and the actions of viewers cause continuous changes in their appearance and behavior.

Toshiyuki Inoko (b. 1977, Tokushima, Japan) was inspired to form teamLab in 2001 after graduating from the University of Tokyo, where he studied mechanical engineering and physics. Co-founded with his friends, teamLab was conceived as a space for collaborative learning and experimentation, following a common belief in the cogency of digital art and installation. Inoko had long considered the potential of a computer-generated space as a catalyst for change and regarded art as a vehicle to incite thought; within this framework, he committed himself to creating art with digital technology.

teamLab has been the subject of numerous monographic exhibitions, including Dance! Art Exhibition and Learn and Play! teamLab Future Park, at the National Museum of Emerging Science and Innovation, Tokyo (2014); and What a Loving and Beautiful World, Radcliffe Institute for Advanced Study, Harvard University, Cambridge (2015). Recent exhibitions dedicated to teamLab include Ever Blossoming, Art Gallery of South Australia, Adelaide (2016); Graffiti Nature, Walker Art Center, Minneapolis (2017); Homogenizing and Transforming World, National Gallery Singapore (2017); teamLab: Au-delà des limites, Grand halle de La Villette, Paris (2018); A Time When Art Is Everywhere, Cameron Art Museum, Wilmington, North Carolina (2018); and Massless, Amos Rex, Helsinki (2018). In 2018, teamLab partnered with leading urban landscape developer Mori Building Co., Ltd, to open MORI Building Digital Art Museum: teamLab Borderless in Tokyo—a digital only art museum encompassing over 60 artworks installed across all elements of the building.

229 Hamilton Avenue, Palo Alto, CA 94301

November 2, 2018

Tala Madani @ 303 Gallery, New York

Tala Madani, Corner Projections
303 Gallery, New York
November 1 - December 15, 2018

303 Gallery presents their first exhibition of new work by Tala Madani.

Tala Madani's work posits a world where primal desires are unrestrained by convenient norms. Her works are subsumed by light that points both outward and inward, at human instinct and upended social ritual. Paintings can be grotesque, violent, tender, obscene, and hilarious.

For this exhibition, Tala Madani presents new paintings and animation works. In two large corner paintings, men point handheld projectors at the wall, screens flashing in the distance. Behind the wall, short films combine live imagery with painted animations. In one of them, a group of men struggle to prevent themselves from being crushed by a giant pink penis that has fallen from the sky. In another, a man is trapped in a loop of stairs and escalators in a faceless atrium, eventually caught and dismembered by a crowd. This is one step removed, cinematic, there is an audience looking on; there's something natural in it all.

In a group of paintings, infants are portrayed innocently discovering their imagination. One child crawls toward a light source with his hand outstretched, projecting a mammoth shadow of himself. Another canvas shows a billboard of a child carving glowing lacunae into a body, multiplying the sun. These base instincts hold a puerile allure, where a lack of inhibition is infantile and callow, but also human and liberating. You find these humans crawling into glowing gas ovens to stick their heads inside, returning to a fetal posture of sincere and relatable ignorance. Exploring from beginning to end.

Born in Tehran in 1981, Tala Madani received her MFA from the Yale University School of Art in 2006. Recent solo exhibitions include: La Panacée, Montpellier, 2017; First Light, MIT Visual Arts Center, Cambridge, 2016; Centro Andaluz de Arte Contemporáneo, Seville, 2014; Nottingham Contemporary, 2014; Rip Image, Moderna Museet Malmö & Stockholm, 2013; The Jinn, Stedelijk Museum Bureau, Amsterdam, 2011. Tala Madani has also been included in: The 2017 Whitney Biennial, New York; Hope and Hazard: A Comedy of Eros (Curated by Eric Fischl), Hall Art Foundation, New York 2017; Los Angeles – A Fiction, Musée d’art Contemporain de Lyon, 2017; Zeitgeist, MAMCO, Geneva, 2017; Invisible Adversaries, The Hessel Museum of Art, Bard College, Annandale-on-Hudson, 2016; The Great Acceleration: Art in the Anthropocene, Taipei Biennial (curated by Nicholas Bourriaud), 2014; Made in L.A. 2014, Hammer Museum, Los Angeles; Where are we Now?, 5th Marrakech Biennale, Marrakech, 2014; Speech Matters, La Biennale di Venezia, 2011; Greater New York, P.S. 1, New York, 2010; Younger than Jesus, New Museum, New York, 2009. Tala Madani lives and works in Los Angeles.

555 West 21st Street, New York, NY 10011

October 27, 2018

Atul Dodiya @ Galerie Templon, Paris

Atul Dodiya, The Fragrance of a Paper Rose
Galerie Templon, Paris
27 octobre - 22 décembre 2018

La Galerie Templon présente pour la première fois depuis 5 ans à Paris le pionnier de l’art contemporain indien Atul Dodiya. L’artiste a conçu une exposition inédite autour du peintre Morandi, célébration de la beauté d’un monde hanté par la peur de la perte, réunissant de nouvelles oeuvres hybrides - peintures, installation et cabinets de curiosité.

Un dialogue du film de Federico Fellini La Dolce Vita est le point de départ de l’exposition : lors d’une réception, face à un tableau de Morandi, le héros exprime sa fascination pour le calme et la beauté de la composition du peintre, avant de révéler son angoisse devant cette sérénité apparente : ‘la paix me fait peur, peut-être plus que tout. J’ai l’impression qu’il ne s’agit que d’une façade qui cache le visage de l’enfer’. L’exposition d’Atul Dodiya s’articule ainsi autour de cette tension entre émerveillement et menace de destruction.

Vingt peintures directement puisées du film inaugurent le parcours. Ensuite une série de peintures inspirées par les fresques italiennes de la Renaissance convoque, au milieu de paysages d’Arcadie, des figures de saints autant que du Dieu Shiva, comme sauveurs d’un environnement menacé par l’effondrement. La colonne de Brancusi y devient un motif abstrait récurrent. Atul Dodiya mêle les références autant qu’il marie les techniques (peinture à l’huile, mastic, stratifié) pour offrir à sa peinture une matérialité inédite. Trois grandes vitrines réunissent des objets trouvés et photographies d’Atul Dodiya, agissant comme des rappels de l’oeuvre de Morandi. On y trouve la fleur en papier que le peintre italien utilisait comme modèle et qui donne son titre à l’exposition. Bien que rigide et sans vie, elle manifeste la beauté de la création dont on peut, malgré tout, imaginer profiter du parfum.

Atul Dodiya a été le premier à jeter des ponts entre art indien et occidental. L’expérience d’une année de formation à l’Ecole nationale supérieure des Beaux-Arts à Paris au début des années 1990 a été fondatrice. De la même génération que Subodh Gupta, Bharti Kher ou Sudarshan Shetty, il a emergé sur la scène internationale en même temps qu’eux dans les années 2010. Son oeuvre fait voisiner culture populaire et références au cinéma ou à la littérature. Derrière l’humour et la poésie, la politique reste un de ses sujets de prédilection.

ATUL DODIYA, né en 1959, vit et travaille à Mumbai. Il est représenté dans les collections de nombreuses institutions internationales, dont celle du Mnam-Centre Pompidou. Il a pris part à la plupart des grandes expositions sur l’art indien organisées aux Etats-Unis, en Europe et en Asie ces dernières années : After Midnight : Indian Modernism to Contemporary India au Queens Museum de New York (2015), India: Art Now au musée d’ARKEN au Danemark (2012), La Route de la soie au Tri Postal à Lille et Paris Delhi Bombay au Centre Pompidou (2011), Inside India au Palazzo Saluzzo Paesana Turin et The Empire Strikes Back à la Saatchi Gallery de Londres (2010), Indian Summer à l’Ecole des Beaux Arts, Paris (2000). Il a également a participé à la Documenta de Kassel en 2007, à la Biennale de Gwangju (commissaire Okwui Enwezor) en 2008, à la Biennale de Moscou (commissaire Jean-Hubert Martin) en 2009, à la Biennale de Kochi en 2012. En 2014 le Bhau Daji Lad de Mumbai lui a consacré une grande exposition : 7000 Museums.

30 rue Beaubourg, 75003 Paris

October 26, 2018

Michael Krebber @ Greene Naftali Gallery, New York

Michael Krebber
Greene Naftali Gallery, New York
October 26 – December 15, 2018
"All languages being cousins beneath the skin, in other words?”
—Ian Watson, The Embedding
Greene Naftali presents Michael Krebber’s seventh solo exhibition at the gallery, and his first since the artist relocated to New York City. The exhibition features new paintings based on iterations of coded painterly gestures, executed in only two colors.

These gestures, which repeat and accrue across the exhibition, transform into an assembly of signifiers that read like a novel.

Michael Krebber’s practice has consistently been characterized by strategies that offer a distinct commentary on painting and art exhibitions, functioning by establishing and obliterating its own constitutive elements in order to tell a joke that continues again and again. With this new body of work the artist moves towards a blur of painterly and textual structures that establish a visual grammar through an abstract compositional method. The interlacing goes back and forth, interweaving the blank ground of the canvas into the painting, resurfacing fore- and background. The paintings in this exhibition play a dual role, as an essence in and of themselves. Yet with their contingency upon a highly coded system, these works do not offer to complete or resolve.

Born 1954, Cologne, Germany, Michael Krebber lives and works in New York. Recent solo exhibitions include The Living Wedge (Part II), Kunsthalle Bern, Bern (2017); The Living Wedge, Serralves Museum, Porto, (2016); Greene Naftali, New York (2015); Museum Ludwig, Cologne, 2015; Les escargots ridiculisés, CAPC musée d’art contemporain, Bordeaux, (2012); and Greene Naftali, New York (2011). His work is in the collection of Museum of Modern Art, New York; CAPC musée d'art contemporain, Bordeaux; Hamburger Bahnhof – Museum of Contemporary Art, Berlin; Museum Ludwig, Cologne; and Museum Brandhorst, Munich. He was awarded the Wolfgang Hahn Prize by the Museum Ludwig, Cologne, in 2015.

508 West 26th Street, New York, NY 10001

October 7, 2018

Mark di Suvero @ Paula Cooper Gallery, New York

Mark di Suvero: Hugs
Paula Cooper Gallery, New York
October 6, 2018 - February 28, 2019

Paula Cooper Gallery presents the installation of Mark di Suvero’s monumental steel sculpture Hugs at 220 11th Avenue, New York. Organized on the occasion of the gallery’s fiftieth anniversary, the installation is located down the street from its new primary space at 524 W 26th Street. The presentation honors Mark di Suvero’s long history with the gallery, having first collaborated with Cooper at Park Place Gallery (1965-67) and later at the Paula Cooper Gallery—including the second exhibition in 1968, and most recently in a one-person show in 2018. The sculpture is presented in collaboration with the Moinian Group and Alex Brotmann Art Advisory.

Throughout his sixty-year career, Mark di Suvero has created vibrant and dynamic works, which fuse vitality and improvisation with complex construction. Standing over fifty feet high, the pyramidal structure Hugs, is composed of steel I-beams whose three legs intersect in a central, curved form. Its expansive scale allows viewers to engage physically with the work, inducing a kinesthetic response as one walks under and around to perceive it from shifting vantages. Democratic accessibility and viewer participation have long been driving principles in Mark di Suvero’s artistic practice:
“When one is an artist, one wants to do art that is meaningful to a lot of people. Most art is shown in museums and galleries, which eliminates a whole population. By putting it out on the streets, you open it up to the world … there’s a great thing that happens when you have outdoor works where people are interacting and searching … I like to do interactive work. I really believe that the piece needs to be all the way around you. We see in about 210 degrees, but you feel what there is at the very edge of vision. With sculpture, you can get inside of it. It gives you a different kind of a feeling.” (Mark di Suvero, interviewed by Brienne Walsh: “Orgasmic Space: Q+A With Mark di Suvero,” Art in America, July 1, 2011)
Born in 1933 in Shanghai, China, Mark di Suvero first came to public prominence in 1975 with a display of his work in the Jardin des Tuileries in Paris—the first for any living artist—and a major retrospective that same year at the Whitney Museum of American Art in New York. This exhibition featured his large-scale sculpture in public sites throughout all five boroughs of the city. The artist has had acclaimed international exhibitions in Nice (1991), Venice (1995, on the occasion of the 46th Venice Biennale) and Paris (1997), among others. In 2011, eleven monumental works were installed on Governors Island in New York Harbor. Organized by Storm King Art Center, this marked the largest outdoor exhibition of work in New York City since the 1970s. That same yearMark  di Suvero received the National Medal of Arts, the nation’s highest honor given to artists. In May 2013, the San Francisco Museum of Modern Art presented eight monumental sculptures in the city’s historic Crissy Field for a yearlong outdoor exhibition. In September 2016, two monumental works were installed on Chicago’s Lakeshore Drive through a partnership between the Chicago Park District and EXPO CHICAGO; they will remain on view through September 2019. One can also see a number of permanently installed Mark di Suvero sculptures at the Storm King Art Center in Mountainville, New York. The artist currently lives and works in Petaluma, CA.

524 West 26th Street, New York, NY 10001

Stéphane Couturier / Fernand Léger, Musée national Fernand Léger, Biot

Stéphane Couturier / Fernand Léger
Musée national Fernand Léger, Biot
6 octobre 2018 - 4 mars 2019

Les musées nationaux du XXe siècle des Alpes-Maritimes invitent des artistes contemporains à exposer ou créer des œuvres dans le cadre d’expositions conçues en résonance avec les collections et le site du musée.

En 2018, le musée national Fernand Léger a souhaité mettre en lumière les riches correspondances thématiques et plastiques qui existent entre la peinture de Fernand Léger (1881-1955), pionnier de l’avant-garde de la première moitié du XXe siècle, et l’œuvre photographique de Stéphane Couturier, artiste français né en 1957. 

La rencontre de Stéphane Couturier avec l’œuvre du peintre a donné lieu à la création de photographies inédites,inspirées par la collection du musée : Stéphane Couturier a choisi le tableau intitulé Le Grand remorqueur, paysage industriel des bords de Seine peint par Fernand Léger en 1923, point de départ pour le photographe de nouvelles prises de vue, réalisées dans la ville de Sète à l’automne 2017.

L’exposition présente également des œuvres plus anciennes de Stéphane Couturier, qui établissent un dialogue in situ avec les tableaux de Fernand Léger. Les deux artistes partagent une même fascination pour les profondes mutations de la ville, un intérêt commun pour le monde du travail, l’esthétique industrielle ou l’architecture moderne, notamment celle de Le Corbusier. Mais, tandis que Fernand Léger exprime, après la Seconde Guerre mondiale, sa foi dans le progrès, la modernité et la reconstruction, Stéphane Couturier documente, à partir des années 1990, la disparition progressive de la société industrielle et la transformation de l’espace urbain qui en découle, dans les métropoles mondiales (Paris, Berlin, Séoul, Brasilia, Salvador da Bahia, Alger).

Dans sa série inédite, conçue en écho à l’œuvre de Fernand Léger, Stéphane Couturier utilise la superposition de plusieurs photographies numériques, technique initiée en 2004 dans ses premières séries intitulées Melting Point. L’artiste fait naître une réalité hybride, à partir de la fusion de deux ou trois images. Cette synthèse entre deux réalités produit une multitude de détails, où l’œil du spectateur se perd et provoque une impression de mouvement et de dissolution du sujet, au sein d’une composition monumentale.

Aujourd’hui, l’œuvre photographique de Stéphane Couturier, jouant des potentialités infinies de l’outil numérique, allie une approche documentaire à un traitement complexe de la composition. A la manière d’un tableau cubiste, elle puise dans le réel, le fragmente et, grâce au rythme et aux contrastes entre lignes, formes et plans colorés, le dépasse pour en offrir une nouvelle perception.

Stéphane Couturier interroge ainsi la nature prétendument objective du medium photographique : s’affranchissant de la réalité la plus immédiate, ses photographies nous font voyager dans un paysage imaginaire où tout devient possible.

Chemin du Val de Pôme - 06410 Biot

September 30, 2018

Tatsuo Miyajima, Drawings @ Buchmann Galerie, Berlin

Tatsuo Miyajima: Drawings
Buchmann Galerie, Berlin
28 September - 3 November 2018

Buchmann Galerie presents the first solo exhibition of drawings by TATSUO MIYAJIMA (*1957, Tokyo) 

Tatsuo Miyajima is one of Japan‘s most important sculptors and installation artists. In his œuvre, the artist – who became known primarily for his works using digital light diodes (LED) – is concerned with concepts of time, its (non-) calculability and its cultural and existential dimension. 

One important component of the works is counting and sequences of numbers. These numbers, appearing in continuous and recurrent - although not necessarily consecutive - cycles from 1 to 9, represent the journey of life until death, whose finality is symbolized by ‚0‘ or the zero point. Consequently, this never appears in the artist‘s work. The series of works on paper from 1995 to 2018 now collected in the Buchmann Box explore several issues essential to Tatsuo Miyajima‘s work. 

Kũ Drawing Series 
In the Zen tradition Kũ stands for emptiness (Kũ is the transcription of the Sanskrit word sunya or sunyata, translated literally as „emptiness“). Tatsuo Miyajima describes how he produced these drawings in a state of Kũ, holding a pencil in his hand, his eyes closed: The lines from my subconscious show my time spent in emptiness. The length of time given in the title, 15 minutes for example, describes the period of time which I spent in an altered state of mind, with my eyes closed

Innumerable Counts Series 
Every number in these drawings represents a moment in the counting cycle from 9 to 1. The empty space in the potentially in infinite sequence of numbers re- presents the figure zero, which - as indicated above - does not appear in his work. In these drawings the artist is attempting to grasp moments in cycles of innumerable counts. The Innumerable Counts visualize life for Tatsuo Miyajima. The spirals or lines in the drawings are thus excerpts from a broader context, from innumerable moments in time. 

Count Down Drawing Series 
Tatsuo Miyajima provides a different interpretation of the zero, the empty space, in his Count Down Drawing Series: this series of works shows a repea- ted sequence, counting down from 9 to 1, as the title suggests. Here, too, the place of zero (Kũ) is represented by an empty space or fille with a thin gold foil or a microchip. In this variation the empty space is filled; it is, as the artist points out, the field provided with every possibility, the field of potential. 

The artist‘s works on paper are an essential component of his practice, seen as equal in status to the installation pieces and performances. They complete the artist‘s complex œuvre, which is characterized by investigation into the significance of counting and time, and by subtle meditations exhibiting sublime precision and finesse. 

Important works by the artist can be found in collections including the Tate Gallery London, the Bavarian State Collection of Painting Munich, La Caixa Barcelona, the Deste Foundation in Athens, the Museum of Contemporary Art Chicago, the Museum of Contemporary Art Tokyo, Leeum Seoul, Kunstmuseum Bern, and M+ in Hong Kong. 

Buchmann Box 
Charlottenstrasse 75, 10117 Berlin

September 9, 2018

Véronique Arnold @ Buchmann Galerie, Lugano

Véronique Arnold: "Ou elles volent, ou elles tombent"
Buchmann Galerie, Lugano
8 September 2018 - 26 January 2019

The exhibition space Buchmann Lugano presents the artist Véronique Arnold (Strasbourg, *1973).

The exhibition presents new, unseen art works, realised specifically for this occasion. The central space of the Gallery in Lugano hosts a work which sits on the border between installation and sculpture. The artist started with gathering real leaves during her walks. She then dipped them in white porcelain and at a later stage, she carefully and meticulously applied extra layers of porcelain by hand. Until finally being baked in a specialized oven. The result of this slow, painted and delicate process was then laid, with particular calm and attention on a plinth expressly conceived for the city space. The leaf, symbol of fragility and lightness, recalls the transience of life, leads to a reflection of death and their profound meaning.

To complete the exhibition, on the walls: graphite drawings on canvas, which once again present leaves that seem to be moving, perhaps echoing the title of the exhibition.

In short, the work of Véronique Arnold gives intense emotions to its poetic strength, inserting natural elements into a broader and more complex metaphorical discourse, while maintaining a vocabulary that is coherent to the viewer. Fascinating works, whose genesis implies a repetitive gesture, almost a form of ritual, of which the artist takes charge and gives back to the community in a refined visual and emotional experience.

Véronique Arnold realised a personal exhibition at the gallery Stampa of Basel (2017), at the Musée des Beaux-Arts in Mulhouse (2015), exhibited in a collective at the Fondation Fernet-Branca of Saint-Louis in Alsace (2015), she collaborated with Christine Ferber and Jean-Paul Hévin at the Salon du Chocolat of Isetan in Tokyo (2012) and presented her works at the Palazzo Salis, Soglio della Biblioteca Engiadinaisa, Sils Maria (2012).

In addition to this exhibition, you may find her works on paper a t the WOPART fair 2018 starting from the 20th to the 23rd of September presented in our stand B2 at the Centro Esposizioni of Lugano.

Via della Posta 2, CH-6900 Lugano

July 8, 2018

Dan Graham @ Regen Projects, Los Angeles

Dan Graham: New Works By A Small-Town Boy 
Regen Projects, Los Angeles
July 7 – August 18, 2018

Regen Projects presents an exhibition of works by Dan Graham. This marks his second solo presentation at the gallery.

For over fifty years, Dan Graham’s expansive multidisciplinary practice has encompassed video, sculpture, photography, performance, installation, and a prolific body of writing on religion, music, art, architecture, garden design, and popular culture. Forming a central theoretical thread throughout the course of his career, his work has examined the function and role of architecture in contemporary society, and how it frames and reflects public life. Since the 1970s he has produced what he refers to as pavilions, hybrid constructions that are part architecture and part sculpture. Inspired by ornamental buildings found in 17th and 18th century European pleasure gardens, Dan Graham’s sculptural pavilions are comprised of simple geometric forms and constructed using materials associated with corporate architecture like metal, aluminum, transparent and/or two-way mirrored glass, and sometimes juxtaposed with natural elements like hedges. Functioning as built environments, the pavilions create unusual optical and physical experiences for the viewer – blurring the lines between public and private space – and making apparent that our material surroundings structure the very core of our societies by determining the form of our vision and sight.

A selection of photographs relating to his seminal magazine artwork, Homes for America (1966), and taken by Dan Graham during a 2006 visit to his native suburban New Jersey, feature images of diverse architectural styles punctuated with lawns, topiaries, and shrubs. Displayed in a sequenced formation on the gallery walls, each image highlights Dan Graham’s interest in serial structures, topology, and systems of information as evident in the peculiar color ranges, materials, and repetitive geometries of the suburban American landscape. A series of architectural models and video works provide further context for his ongoing exploration of the built world.

Dan Graham (b. 1942) lives and works in New York. Recent solo exhibitions include Red Brick Art Museum, Beijing (2017); Zagreb Museum of Contemporary Art (2017); The Metropolitan Museum of Art, New York (2014); Le Consortium, Dijon (2011); Museum of Contemporary Art, Los Angeles (2009); and The Whitney Museum of American Art, New York (2009). His work is included in the permanent collections of The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Tate Collection, London; Centre Pompidou, Paris; and Museo Nacional Centro de Arte Reina Sofia, Madrid.

6750 Santa Monica Boulevard, Los Angeles, CA 90038

June 30, 2018

Michael Boyd @ Eric Firestone Gallery, East Hampton, NY

Michael Boyd: 1969
Eric Firestone Gallery, East Hampton
June 28 - July 29, 2018

Michael Boyd: 1969 brings together a major series of paintings made by the artist in the late 1960s in response to a new environment. The work has not been presented as a group since the year they were made, when they were exhibited at the former art gallery of Cornell University. They are both pristinely abstract and profoundly associative of landscape, space, and light. They are paintings with gradient fields of blue, and ribbons of other colors, as punctuation.

MICHAEL BOYD (b. Waterloo, Iowa, 1936 - d. Ithaca, New York, 2015) began his career as an Abstract Expressionist in New York City and gradually moved toward hardedged abstraction. His paintings of the 1960s utilize broad fields and blocks of color. However, in 1969, his work shifted dramatically. Michael Boyd had been working as a graphic designer and, in that year, accepted a job at Cornell University to teach design. In response to the landscape and sky of the Finger Lakes region of upstate New York, he began to explore gradient fields of blue. Michael Boyd’s use of gradients and nuanced chromatic shifts would become further developed in his early 1970s work. Although his are pristine paintings, Michael Boyd was more interested in the experiential, rather than color theory. The exhibition highlights this transitional period of Michael Boyd’s work, when his move to Ithaca predicated a personal vision, apart from the hierarchies from the New York art world.

Prior to 1969, Michael Boyd was making shaped canvases; however he never fully embraced 1960s theoretical ideas of painting as an anti-illusionistic object. Instead — as these paintings make clear — he was interested in expanding the expressive and associative possibilities of painting. Despite his meticulous craftsmanship, the work always includes painterly, handmade elements, and he rooted himself within the legacy of Abstract Expressionism. The paintings reference places or themes with titles like “Airport,” “Scarab,” “Lakeside.” Michael Boyd wrote, in 1991, “What matters is how one can use the resources of the medium to explore the mystery.”

Following Michael Boyd’s studies at the University of Northern Iowa and a stint in Ajijic, Mexico, Michael Boyd split his time between Ithaca and New York City, where he maintained a studio in his Soho loft. Michael Boyd had several solo exhibitions at Max Hutchinson Gallery in the 1970s, and was the subject of museum exhibitions at the Fine Arts Gallery of the State University of New York at Oneonta (1972); and a traveling exhibition originating at the Davenport Museum of Art, Iowa (1989), among others. His work is in the permanent collections of institutions including the Albright-Knox Gallery, Buffalo, NY; The Chrysler Museum of Art, Norfolk, VA,; and the Everson Museum of Art, Syracuse, NY. 

Eric Firestone Gallery represents the estate of Michael Boyd, and this is the gallery’s second solo exhibition of his work. 

4 Newtown Lane, East Hampton, NY 11937

April 28, 2018

Willy Ronis par Willy Ronis @ Pavillon Carré de Baudouin, Paris + Deux livres chez Fammarion

Willy Ronis par Willy Ronis
Pavillon Carré de Baudouin, Paris
27 avril - 29 septembre 2018

Willy Ronis par Willy Ronis
Affiche de l'exposition

Personnage clé de l’histoire de la photographie française, Willy Ronis (1910-2009) est l’une des plus grandes figures de cette photographie dite « humaniste », attachée à capter fraternellement l’essentiel de la vie quotidienne des gens. A partir de 1985, Willy Ronis se plonge dans son fonds photographique pour sélectionner ce qu’il considère comme l’essentiel de son travail. Il réalise une série de six albums, constituant ainsi son « testament photographique ». Ces albums inédits sont la matrice de cette exposition.

A l’invitation de Frédérique Calandra, Maire du 20e arrondissement, Willy Ronis par Willy Ronis est à voir au Pavillon Carré de Baudouin, qui fête ses dix ans cette année, au coeur de ce quartier de Paris qu’il aimait tant.

A l’initiative des exécuteurs testamentaires et détenteurs du droit moral, Jean Guerry, Daniel Karlin, Roland Rappaport et Gérard Uféras, l’exposition est organisée conjointement par la Médiathèque de l’architecture et du patrimoine (MAP) et la mairie du 20e arrondissement, en partenariat avec l’Agence photographique de la Réunion des musées nationaux – Grand Palais.

Devenu reporter photographe en 1936, Willy Ronis mène de front commandes et recherches personnelles. Observant le monde, ses photos dressent une sorte de portrait à la fois intimiste et profond de la société et de l’époque. Elles constituent un immense travelling qui donne à voir, à comprendre et à aimer les gens dans l’ordinaire de leur vie. En plaçant l’homme au centre de son oeuvre, en posant sur lui un regard optimiste et bienveillant, Willy Ronis n’en néglige pas pour autant de rendre compte de la dureté de l’époque, d’où ces nombreuses images sur le monde du travail et les luttes ouvrières, marquant son empathie et un engagement social qui perdure tout au long de son oeuvre.

En France comme à l’étranger, de multiples expositions et publications – dont Belleville-Ménilmontant en 1954, livre culte auquel une salle entière de l’exposition est consacrée – ont jalonné le parcours de Willy Ronis, marqué entre autres par le Grand Prix national des Arts et des Lettres, qui lui est décerné en 1979, et la grande rétrospective du Palais de Tokyo en 1985 célébrant la donation faite par le photographe de l’ensemble de son oeuvre à l’État français en 1983. Au coeur de celle-ci figurent en bonne place les six grands albums composés et sélectionnés par Willy Ronis lui-même, qui accompagne chaque photographie de réflexions et de commentaires très détaillés sur les circonstances de la prise de vue comme du matériel utilisé.

Outre les photographies exposées, près de deux cents, réalisées entre 1926 et 2001, le public peut également feuilleter les albums à partir de bornes composées de tablettes interactives. Par ailleurs, une série de films et de vidéos réalisés sur Willy Ronis sera projetée dans l’auditorium selon une programmation particulière. Une occasion unique d’entrer de plain-pied dans l’univers personnel de l’artiste.

Neuf ans après le décès de Willy Ronis, cette exposition célèbre la clôture de la succession et l’entrée de l’oeuvre dans les collections de la MAP, l’établissement du ministère de la Culture qui gère, entre autres, les grandes donations photographiques faites à l’État.

Le commissariat de cette exposition est assuré par Gérard Uféras, photographe, l’un des plus proches amis de Willy Ronis, et par Jean-Claude Gautrand, photographe, journaliste et historien de la photographie française. Toutes les photographies exposées font l’objet d’un travail exceptionnel au sein du laboratoire de l’Agence photographique de la Réunion des musées nationaux - Grand Palais, qui les diffuse en exclusivité.

A l’occasion de l’exposition, les éditions Flammarion publient deux livres :

> Paris Ronis (collection Photopocket), 128 p., 100 illustrations, avril 2018

Paris Ronis
(c) Flammarion

> Ronis par Ronis, édition scientifique intégrale et inédite des 590 images des six albums, avec les commentaires de Willy Ronis, septembre 2018

Willy Ronis par Willy Ronis
(c) Flammarion

121 rue de Ménilmontant, 75020 Paris

April 21, 2018

Birgit Jürgenssen @ Alison Jacques Gallery, London - Nocturnal Light

Birgit Jürgenssen: Nocturnal Light
Alison Jacques Gallery, London
17 April - 19 May 2018
It is as if we have crossed into night, where in moonlight the world appears as half shadows and emergent forms. As we make our way through the dark we become aware that things are not what they might at first seem to be. The figures and forms that are perceived in the dark can change dramatically with examination.
 Julien Robson, John Hansard Gallery,
Nekyia. Night See Ride. Night Lake Crossing, exhibition catalogue, Southampton, UK, 1987

Alison Jacques Gallery in collaboration with the Birgit Jürgenssen Estate, Vienna, presents Nocturnal Light, a solo exhibition of work by the Austrian artist Birgit Jürgenssen (b.1949, Vienna). Whereas Birgit Jürgenssen's 2013 solo show at the gallery focused on works from the 1970s, the current exhibition presents later work, made between 1987 - 1996. Jürgenssen, who died in 2003 aged 54, left several decades of work from performative photography to painting, drawing, and sculpture.

The title Nocturnal Light is taken from one of the largest works in the show, made in 1987, a mixed media on linen triptych which depicts three sources of nocturnal light: angel, moon and torch. Another painting, Double-Moon from the same year continues this narrative and explores the symmetry between day and night, light and shadow or reality and fantasy. This work is from a series originally exhibited in Birgit Jürgenssen's only UK museum solo exhibition Nekyia. Night See Ride. Night Lake Crossing, curated by Julien Robson first shown at the John Hansard Gallery, Southampton (1987). In the same year the exhibition also travelled to IKON Gallery, Birmingham and the Arnolfini Gallery, Bristol.

The main focus of this show is on Birgit Jürgenssen's experimental photographic work from her fabric series. These consist of photographic prints mounted on canvas, which are screwed to iron frames that Birgit Jürgenssen constructed herself. Thin, translucent fabrics are stretched over the surface, veiling and slightly obscuring the images. The photographs themselves are created through a range of processes, including photograms, solarisation, and multiple-exposures. In some of the works, Birgit Jürgenssen employs cyanotype, a contact printing technique which creates a blue tint that reduces her figures and objects to silhouettes and dreamlike forms.

Born and educated in Vienna, Birgit Jürgenssen studied at the University of Applied Arts, Vienna (1967-71) and lectured at both the University of Applied Arts and the Academy of Fine Arts, Vienna (1980-97). Her work has been featured in museum exhibitions including XL: 19 New Acquisitions in Photography, curated by Sarah Meister and Eva Respini, MoMA, New York (2013-2014); The 10th Gwangju Biennale, Burning Down The House, curated by Jessica Morgan, South Korea (2014); Women House, curated by Camille Morineau, La Monnaie de Paris, France (2017). Jürgenssen is included in: Virginia Woolf: An Exhibition Inspired By Her Writings, curated by Laura Smith, Tate St Ives, UK (2018) and The Shape of Time, curated by Jasper Sharp, Kunsthistorisches Museum Wien, Vienna (2018). A retrospective of Birgit Jürgenssen entitled Snow Storm will open at the Kunsthalle Tübingen, Germany in November 2018. Jürgenssen's work has been acquired by major museums including the Museum of Modern Art, New York; MAK, Vienna; Tate, London and Centre Pompidou, Paris.

16-18 Berners Street, London W1T 3LN

March 25, 2018

Martha H. Kennedy, Drawn to Purpose: American Women Illustrators and Cartoonists, 2018

Drawn to Purpose: American Women Illustrators and Cartoonists
University Press of Mississippi in association with the Library of Congress
March 2018

Martha H. Kennedy
Drawn to Purpose: American Women Illustrators and Cartoonists
Foreword by Carla Hayden
Published by University Press of Mississippi 
in association with the Library of Congress
Book cover courtesy of the Library of Congress

A new book presents a survey of the often-neglected artistic achievements of women in cartooning and illustration, featuring more than 250 color illustrations, comic strips and political cartoons, including original art from the collections of the Library of Congress. In “Drawn to Purpose: American Women Illustrators and Cartoonists,” Martha H. Kennedy, curator of popular and applied graphic art, presents a comprehensive look at the trailblazing artists whose work was long overlooked in the male-dominated field from the late 19th century into the 21st century.

“Drawn to Purpose” was published in March 2018 by University Press of Mississippi in association with the Library of Congress. It is the first overarching survey of these art forms by women in the Library’s collection. The book accompanies the Library’s exhibition “Drawn to Purpose” featuring original works by women cartoonists and illustrators.

“‘Drawn to Purpose’ brings together a remarkable sampling of book illustrations, posters, industrial design, courtroom sketches, comic strips, political cartoons and art for magazines and newspapers produced by women over a 150-year span,” Librarian of Congress Carla Hayden wrote in the forward for the book. “As a kid who read everything, I pored over the illustrations just as much as the accompanying words. Images can make reading more meaningful and more memorable.”

In 1915, portrait painter Cecelia Beaux predicted it would be at least 1,000 years before the term “women in art” would sound as strange as the term “men in art.” Indeed, Martha H. Kennedy’s book tracks the incremental progress and societal pressures that kept all but the most resilient women from advancing in the arts. It’s also a story of women artists who were moved by their creative drive, by commerce or by necessity to create art that fulfills a purpose.

Celebrated artists and works featured in the book and exhibition include New Yorker cartoonist Roz Chast, Lynn Johnston’s comic strip “For Better or For Worse,” innovative artists including Lynda Barry and Hilary Price, those who broke barriers of race or sexual orientation to become voices for underrepresented communities including Barbara Brandon-Croft and Alison Bechdel, and rising stars such as Jillian Tamaki.

The book explores several themes and artistic platforms: 
- The Golden Age of Illustration
- Early Cartoonists
- New Voices and New Narratives in Comics
- Illustrations for Industry 
- Editorial Illustrators
- Magazine Covers 
- Cartoons, and Political Cartoonists and Caricaturists.

10 First Street S.E., Washington DC

February 28, 2018

Images en lutte @ Palais des Beaux-Arts, Paris - La culture visuelle de l ’extrême gauche en France (1968-1974)

Images en lutte. La culture visuelle de l’extrême gauche en France (1968-1974)
Palais des Beaux-Arts, Paris
Jusqu'au 20 mai 2018

Fosse qui ferme
Affiche sérigraphiée
70 x 50 cm
Coll. des Archives nationales

Fruit des regards croisés de deux disciplines souvent opposées, l’histoire de l’art et l’histoire, cette exposition propose une lecture documentée de ce moment particulier de l’histoire contemporaine, les années 1968-1974, où l’art et le politique, la création et les luttes sociales et politiques furent intimement mêlés.

L’exposition n’est pas une histoire visuelle du politique mais une histoire politique du visuel. Elle présente des affiches, des peintures, des sculptures, des installations, des films, des photographies, des tracts, des revues, des livres et des magazines, dont quelque 150 publications consultables dans le cadre d’une bibliothèque ouverte.

Poing levé
Affiche sérigraphiée de l’Atelier Populaire
Coll. des Beaux-Arts de Paris

Grève illimitée
Affiche sérigraphiée de l’Atelier Populaire
Coll. des Beaux-Arts de Paris

C’est donc un long cortège qui est ici dévoilé , qui commence dans les grandes manifestations contre la guerre du Vietnam, s’attarde dans l’Atelier populaire des Beaux-Arts en mai et juin 1968 pour, dans les années suivantes, parcourir les boulevards parisiens, occuper les usines, les mines, les universités, les prisons et tant d’autres lieux dans toute la France.

La mémoire collective des événements de mai 68 est largement liée aux affiches produites par l’Atelier Populaire, émanation de l’occupation de l’École des Beaux-arts de Paris à partir du 14 mai par ses étudiants et ses enseignants, bientôt rejoints par de nombreux artistes.

Mort pour la cause du peuple (Pierre Overney), 1972
Affiche, 60 x 50 cm
Coll. particulière

Merri Jolivet
Pompidou Overney, 1972
Technique mixte sur toile
115 x 148 cm
Coll. Jean-Claude Meunier

Ces affiches témoignent bien sûr de la mobilisation en France et à travers le monde de toute une génération dans cette révolte politique du tournant des années 1960-1970 ; mais ces affiches sont aussi porteuses d’une autre histoire, loin de celles des partis politiques désireux de participer au système parlementaire, mais proche de celles des organisations d’extrême gauche interdites dès juin 1968 et qui vont se multiplier pendant plusieurs années, changeant de noms au fil des opérations de police et des scissions, jusqu’à l’auto-dissolution de la Gauche prolétarienne (GP, maoïste) le 1er novembre 1973, un mois après le coup d’État du 11 septembre 1973 au Chili.

Elles démontrent que ce soulèvement d’une génération, qui est allé jusqu’à l’épuisement des utopies dans le terrorisme, la découverte des massacres commis en leur nom en Extrême-Orient (Chine de la Révolution culturelle, Cambodge des Khmers rouges) et la possibilité de l’accession au pouvoir de la gauche de gouvernement (avec l’adoption du Programme commun par les socialistes, les communistes et les radicaux, en 1972), a partie liée avec les images et avec l’art d’avant-garde de cette époque – non sans contradictions. Elles ne sont en même temps que la partie la plus connue d’un foisonnement de la création, qui répond à une volonté de renverser radicalement les systèmes en place, dont la plupart des résultats, lorsqu’ils sont montrés aujourd’hui, le sont en mettant de côté leur signification politique, au profit d’une esthétisation réductrice.

Monique Frydman
Maquette pour l’affiche d’Histoires d’A.,
film de Charles Belmont et Marielle Issartel, 1973
Crayon de couleurs et feutre sur calque (4 feuilles)
50 x 32 chaque.
Courtoisie : Monique Frydman et Marielle Issartel

Pierre Buraglio
Exercice de Camouflage, 1968
Tissu de camouflage, toile peinte
100 x 100 cm
Courtoisie : galerie Jean Fournier, Paris
Crédit photo : Alberto Ricci

L’exposition IMAGES EN LUTTE, la culture visuelle de l’extrême gauche en France (1968-1974), entend redonner à la création portée par ces utopies révolutionnaires, sans distinguer a priori ce qui relève de l’art et ce qui tient de la propagande visuelle, leur soubassement et leur complexité, en même temps qu’elle souhaite interroger les contradictions et les ambiguïtés des rapports entre art et politique, en considérant, depuis une époque où ces rapports ont perdu de leur acuité, une période où une grande partie de la création ne pouvait se penser sans eux.

L’exposition est construite comme une suite de lieux successivement investis par l’extrême gauche et permettant ainsi de lire une chronologie événementielle dans l’exposition elle-même. Elle vise à appréhender la façon dont la volonté politique de changer profondément la société dans un cadre révolutionnaire, que celui-ci trouve son moyen dans le trotskysme, le maoïsme ou l’élan libertaire, affecte les images, aussi bien lorsque celles-ci relèvent du champ explicitement artistique que lorsqu’elles appartiennent au champ plus large de la communication et de la diffusion des luttes politiques.

Louis Cane
Sol/Mur rouge n°73 A 24, 1973
Acrylique sur toile
264 x 212 et 204 x 172 cm
Coll. MJS, Paris

Eduardo Arroyo
Nature morte, Burgos, 1970,
La table du colonel Ordovas, Président du tribunal militaire, 1971
Huile sur toile
Coll. H. Parienté

L’exposition présente donc des affiches, des peintures, des sculptures, des installations, des films, des photographies, des tracts, des revues et des publications, dont quelque 150 livres, brochures et magazines en consultation libre, choisis à la fois pour leur signification historique et pour leur qualité visuelle, sans prétendre à l’exhaustivité mais en opérant un choix guidé par l’efficacité et la participation à une bonne articulation du parcours ainsi tracé. Il importe en outre de laisser à chacun de ces types d’images une inscription dans un régime propre de visibilité et de diffusion, qui ne les aplatissent ni dans le sens d’une esthétisation généralisée, ni dans celui d’une neutralisation documentaire.

Avec les oeuvres de Gilles Aillaud, Eduardo Arroyo, Pierre Buraglio, Louis Cane, Coopérative des Malassis, Noël Dolla, Gérard Fromanger, Monique Frydman, Michel Journiac, Julio Le Parc, Annette Messager, Olivier Mosset, Jean-Pierre Pincemin, Bernard Rancillac, Martial Raysse, Claude Rutault, Carole Roussopoulos, Nil Yalter...

Commissaires de l'exposition : 
Philippe Artières, directeur d’études au CNRS (Institut interdisciplinaire d’anthropologie du contemporain, EHESS)
Eric de Chassey, professeur d’histoire de l’art à l’ENS de Lyon, directeur de l’Institut national d’histoire de l’art (INHA).

Comité scientifique :
Jean-Michel Alberola, artiste, professeur aux Beaux-Arts de Paris ;
Françoise Banat-Berger, directrice des Archives nationales, Pierrefitte /Seine;
Emmanuelle Giry, conservatrice du patrimoine, Archives nationales, Pierrefitte /Seine;
Anne-Marie Garcia, conservatrice du patrimoine, responsable du service des collections aux Beaux-Arts de Paris ;
Pascale Le Thorel, responsable du service des éditions des Beaux-Arts de Paris ;
Nathalie Léger, directrice générale de l’Institut Mémoires de l’Édition Contemporaine (IMEC), Abbaye d’Ardenne ;
Marc Pataut, photographe, professeur aux Beaux-Arts de Paris ;
Valérie Tesnière, directrice d’études à l’EHESS, directrice de la Bibliothèque de documentation internationale contemporaine, Paris.

Cette exposition bénéficie d’un partenariat avec les Archives nationales et avec la Bibliothèque de documentation internationale contemporaine (BDIC).

La réalisation de cette exposition, ainsi que les évènements associés qui se dérouleront du 12 au 20 mai aux Beaux-Arts de Paris, sont rendus possibles grâce au soutien et à l’engagement de la Maison Sonia Rykiel et de son président Jean-Marc Loubier.


February 25, 2018

Icônes de Mai 68 @ BnF François-Mitterrand, Paris - Les images ont une histoire

Icônes de Mai 68 - Les images ont une histoire
BnF François-Mitterrand, Paris
17 avril - 26 août 2018

Comment s’est construite notre mémoire visuelle collective des événements de Mai 68 ? Selon quels processus certaines photographies, présentées comme documentaires, ont-elles atteint un statut d’icônes? S’appuyant sur près de deux cents pièces - photographies, planches contact, magazines, documents audiovisuels -, l’exposition présentée par la BnF fait l’histoire de certaines de ces images désormais célèbres. Elle suit leur trajectoire médiatique pour mettre en évidence les conditions de leur émergence culturelle dans la mémoire collective.

La barricade, le duel CRS/étudiants, le pavé lancé, le poing levé... depuis 50 ans, la représentation des événements de Mai 68 est associée à des motifs récurrents. L’exposition analyse le parcours sinueux de différentes photographies, depuis la planche-contact jusqu’à leur circulation dans les magazines et autres produits éditoriaux : elle revient sur l’élaboration médiatique et culturelle de la représentation de ces événements historiques.

De la photographie à l’icône

Le portrait de Daniel Cohn-Bendit face à un CRS par Gilles Caron et la « Marianne de 68 » de Jean-Pierre Rey constituent deux exemples caractéristiques de la fabrique des icônes. 

La photographie de Daniel Cohn-Bendit par Gilles Caron n’a pas immédiatement été distinguée et mise en exergue par les grands titres de la presse magazine. Reprise dans le milieu photojournalistique à partir de 1970, elle circule plus largement à partir de 1978 puis à l’occasion des anniversaires décennaux de Mai 68 et de l’agence Gamma (fondée en 1967). Ce sont ces publications successives dans la presse et autres supports culturels (livres, catalogues,…) qui ont contribué à sa singularisation. Pour éclairer la trajectoire de cette photographie devenue icône, l’exposition en présente des tirages originaux mais aussi de nombreuses formes éditées jusqu’en 2008, tout en retraçant la légende photojournalistique de son succès dans les médias. 

La « Marianne de 68 » de Jean-Pierre Rey a également évolué vers un statut d’icône. Publiée en petit format en 1968, elle a ensuite été diffusée à plusieurs reprises jusqu’en 2008. Au fur et à mesure de ses publications, le cadrage se resserre, faisant perdre à la photographie son ancrage historique, et les commentaires se recentrent sur l’image elle-même faisant d’elle un symbole de Mai 68.

Une mémoire en noir et blanc

L’exposition interroge également la pratique de la couleur : comment et pourquoi la mémoire visuelle de Mai 68 se conjugue-t-elle en noir et blanc alors que les événements ont été couverts et diffusés en couleurs par la presse de l’époque ? Des clichés couleurs ont été pris par de nombreux photographes : Janine Niépce, Georges Melet, Bruno Barbey, Claude Dityvon... Peu de ces images sont pourtant remobilisées dans les médias par la suite. L’exposition éclaire ces choix éditoriaux rétrospectifs et l’amnésie associée à cet usage de la couleur .

Récits photographiques

D’autres récits photographiques des événements ont à l’inverse échappé à la mémoire visuelle commune. En marge de la presse magazine, des photographes ont pris part à des démarches collectives. Des initiatives d’expositions et de projections photographiques ont vu le jour, portées par des personnalités qui racontent leur propre printemps 1968 et participent aux réflexions politiques et sociales à l’oeuvre. C’est le cas de l’exposition du club amateur des 30X40 ou du diaporama collaboratif de Jean Pottier et Jacques Windenberger présentés dans l’exposition. Ces montages et séries photographiques constituent une redécouverte de recherches d’alternatives aux représentations dominantes des grands médias.

« L’icône absente »

Pour finir, l’exposition interroge en creux le statut d’icône. Pourquoi la première « nuit des barricades » n’a-t-elle paradoxalement laissé aucune image persistante ? Il s’agit de la nuit du 10 au 11 mai, qui a fait monter en Une des principaux magazines d’information de l’époque les événements du printemps 1968. Malgré l’imaginaire puissant qu’elles suscitent, ces scènes d’affrontements nocturnes n’ont généré aucune icône. Les photographies produites ont peu fait l’objet de publications à l’époque et de citations ultérieures. Cette absence d’icône trouve des pistes d’explication dans le manque de lisibilité de ces images et leur inadéquation visuelle avec le récit porté par les médias : celle d’un duel entre jeunesse et forces de l’ordre.

Commissariat : 
Dominique Versavel, conservatrice au département des Estampes et de la photographie, BnF 
Audrey Leblanc, docteure en histoire et civilisations (Ehess), Université Lille 3

Publication : Catalogue de l’exposition - Editions de la BnF, 20x30 cm, 128 pages, Prix : 29 euros

BnF François-Mitterrand
Quai François-Mauriac, 75013 - Galerie 1