May 31, 2019

Haworth Tompkins: RIBA London Awards Winner - Photographs by Fred Howarth, Haworth Tompkins, Philip Vile

Haworth Tompkins: 2019 RIBA  London Awards Winner for Battersea Arts Centre, London + RIBA London Client of the Year Award
Photographs by Fred Howarth, Haworth Tompkins, Philip Vile


Battersea Arts Centre, London, by Haworth Tompkins
Photo © Haworth Tompkins, Courtesy RIBA London


Battersea Arts Centre, London, by Haworth Tompkins
Photo © Philip Vile, Courtesy RIBA London


Battersea Arts Centre, London, by Haworth Tompkins
Photo © Fred Howarth, Courtesy RIBA London

Battersea Arts Centre, London, by Haworth Tompkins
Photo © Fred Howarth, Courtesy RIBA London

Battersea Arts Centre, London, by Haworth Tompkins
Photo © Haworth Tompkins, Courtesy RIBA London

HAWORTH TOMPKINS


RIBA - ROYAL INSTITUTE OF BRITISH ARCHITECTS
www.architecture.com

Mitzman Architects: RIBA London Awards Winner - Photographs by Richard Chivers

Mitzman Architects:  2019 RIBA  London Awards Winner 
Photographs by Richard Chivers

Alwyne Place, London, by Mitzman Architects
Photo © Richard Chivers, Courtesy RIBA London


Alwyne Place, London, by Mitzman Architects
Photo © Richard Chivers, Courtesy RIBA London


Alwyne Place, London, by Mitzman Architects
Photo © Richard Chivers, Courtesy RIBA London


Alwyne Place, London, by Mitzman Architects
Photo © Richard Chivers, Courtesy RIBA London


Alwyne Place, London, by Mitzman Architects
Photo © Richard Chivers, Courtesy RIBA London

>>> Other London buildings awarded 2019 Royal Institute of British Architects

Tim Ronalds Architects: RIBA London Awards Winner - Photographs by Paul Riddle

Tim Ronalds Architects: 2019 RIBA London Awards Winner
Photographs by Paul Riddle

Alleyn's School Lower School, London, by Tim Ronalds Architects 
Photo © Paul Riddle, Courtesy RIBA London

Alleyn's School Lower School, London, by Tim Ronalds Architects 
Photo © Paul Riddle, Courtesy RIBA London

Alleyn's School Lower School, London, by Tim Ronalds Architects 
Photo © Paul Riddle, Courtesy RIBA London

Alleyn's School Lower School, London, by Tim Ronalds Architects 
Photo © Paul Riddle, Courtesy RIBA London

Alleyn's School Lower School, London, by Tim Ronalds Architects 
Photo © Paul Riddle, Courtesy RIBA London

>>> Other London buildings awarded 2019 Royal Institute of British Architects

Feilden Clegg Bradley Studios: RIBA London Awards Winner - Photographs by Richard Battye, Lloyd Winters, Hufton + Crow, Morley von Sternberg, Tony Birch

Feilden Clegg Bradley Studios, 2019 RIBA  London Awards Winner for two Projects: Alexandra Palace, London - RIBA London Conservation Award - and Southbank Centre, London
Photographs by Richard Battye, Lloyd Winters, Hufton + Crow, Morley von Sternberg, Tony Birch

Alexandra Palace, London


Alexandra Palace, London, by Feilden Clegg Bradley Studios 
Photo © Lloyd Winters, Courtesy RIBA London

Alexandra Palace, London, by Feilden Clegg Bradley Studios 
Photo © Richard Battye, Courtesy RIBA London

Alexandra Palace, London, by Feilden Clegg Bradley Studios 
Photo © Richard Battye, Courtesy RIBA London

Alexandra Palace, London, by Feilden Clegg Bradley Studios 
Photo © Richard Battye, Courtesy RIBA London

Alexandra Palace, London, by Feilden Clegg Bradley Studios 
Photo © Richard Battye, Courtesy RIBA London


Southbank Centre, London


Southbank Centre, London, by Feilden Clegg Bradley Studios
Photo © Morley von Sternberg, Courtesy RIBA London


Southbank Centre, London, by Feilden Clegg Bradley Studios
Photo © Tony Birch, Courtesy RIBA London


Southbank Centre, London, by Feilden Clegg Bradley Studios
Photo © Morley von Sternberg


Southbank Centre, London, by Feilden Clegg Bradley Studios
Photo © Hufton + Crow, Courtesy RIBA London


Southbank Centre, London, by Feilden Clegg Bradley Studios
Photo © Hufton + Crow, Courtesy RIBA London


FEILDEN CLEGG BRADLEY STUDIOS



RIBA - ROYAL INSTITUTE OF BRITISH ARCHITECTS

Eric Parry Architects: RIBA London Awards Winner - Photographs by Dirk Lindner

Eric Parry Architects: 2019 RIBA London Awards Winner
Photographs by Dirk Lindner

4 Pancras Square, London, by Eric Parry Architects
Photo © Dirk Lindner, Courtesy RIBA London

4 Pancras Square, London, by Eric Parry Architects
Photo © Dirk Lindner, Courtesy RIBA London

4 Pancras Square, London, by Eric Parry Architects
Photo © Dirk Lindner, Courtesy RIBA London

4 Pancras Square, London, by Eric Parry Architects
Photo © Dirk Lindner, Courtesy RIBA London

4 Pancras Square, London, by Eric Parry Architects
Photo © Dirk Lindner, Courtesy RIBA London

>>> Other London buildings awarded 2019 Royal Institute of British Architects

Sophie Hicks Architects: RIBA London Awards Winner - Photographs by Annabel Elston

Sophie Hicks Architects: 2019 RIBA London Awards Winner
Photographs by Annabel Elston

1A Earl's Court Square, London, by Sophie Hicks Architects
Photo © Annabel Elston, Courtesy RIBA London


1A Earl's Court Square, London, by Sophie Hicks Architects
Photo © Annabel Elston, Courtesy RIBA London

1A Earl's Court Square, London, by Sophie Hicks Architects
Photo © Annabel Elston, Courtesy RIBA London

1A Earl's Court Square, London, by Sophie Hicks Architects
Photo © Annabel Elston, Courtesy RIBA London

1A Earl's Court Square, London, by Sophie Hicks Architects
Photo © Annabel Elston, Courtesy RIBA London

Groupwork: RIBA London Awards Winner - Photographs by Timothy Soar

Groupwork, 2019 RIBA London Awards Winner
Photographs by Timothy Soar

168 Upper Street, London, by Groupwork
Photo © Timothy Soar, Courtesy RIBA London

168 Upper Street, London, by Groupwork
Photo © Timothy Soar, Courtesy RIBA London

168 Upper Street, London, by Groupwork
Photo © Timothy Soar, Courtesy RIBA London

168 Upper Street, London, by Groupwork
Photo © Timothy Soar, Courtesy RIBA London

168 Upper Street, London, by Groupwork
Photo © Timothy Soar, Courtesy RIBA London

RIBA London Awards 2019 Winners

RIBA London Awards 2019 Winners


Coal Drops Yard, London, by Heatherwick Studio
Photo © Hufton + Crow, Courtesy RIBA London

Each year, RIBA Regional Award-winning buildings set the standard for skilful, accomplished architecture across the UK. All winning buildings are now in the running for highly coveted RIBA National Awards, which will be announced on 27 June 2019.
47 London buildings have been awarded 2019 Royal Institute of British Architects (RIBA) Regional Awards
The 2019 RIBA London Award-winning buildings are: 
NOTE: Click on the links to see photographs of each building 
















































Further Special Awards have been awarded to:


- Battersea Arts Centre by Haworth Tompkins – RIBA London Client of the Year Award

- London Bridge Station by Grimshaw – RIBA London Building of the Year Award

- Max Fordham House by bere:architects – RIBA London Sustainability Award, sponsored by Michelmersh

- Richard Tubb of EPR Architects for The Ned – RIBA London Project Architect of the Year Award, sponsored by Taylor Maxwell

- Torriano Primary School STEM Lab by Hayhurst and Co. – RIBA London Small Project Award
RIBA London Director, Dian Small, said: 
“Each year RIBA London Awards celebrate a diverse and eclectic range of project types and scales and celebrate the very best new buildings across the Capital. 2019 winning projects range from a one-bedroom private house which spans the length of two private garages to one of the busiest train stations in the country. They also include several significant public sector housing projects, beautifully-designed school extensions, state of the art office buildings and exquisite conservation projects, which breathe new life into some of London’s greatest treasures. Once again, all winning buildings demonstrate the extremely high standard of design quality in London and the breadth of its architectural output.”
The Royal Institute of British Architects (RIBA) is a global professional membership body that serves its members and society in order to deliver better buildings and places, stronger communities and a sustainable environment. 

RIBA - ROYAL INSTITUTE OF BRITISH ARCHITECTS
www.architecture.com

May 28, 2019

Guillaume Bresson @ Galerie Nathalie Obadia, Paris

Guillaume Bresson
Galerie Nathalie Obadia, Paris
Jusqu'au 29 juin 2019

La Galerie Nathalie Obadia consacre une quatrième exposition au peintre Guillaume Bresson, faisant suite au solo show que vient de présenter le French Institute Alliance Française (FIAF) à New York, où l’artiste réside depuis 2016.

Considéré comme l’un des peintres français les plus singuliers de sa génération, Guillaume Bresson présente ici un ensemble de toiles récentes réalisées dans son atelier new-yorkais, qui témoignent de l’évolution de son travail de scènes de rue hyperréalistes vers des territoires plus imaginaires. A travers un système de représentation issu des enseignements de la Renaissance italienne et du Classicisme français, Guillaume Bresson met en scène des sujets contemporains - une peinture du monde social d’autant plus saisissante qu’elle glisse dans une forme d’onirisme lyrique, qui plutôt que de le nier le transfigure.

Le corps-à-corps, une constante dans l’oeuvre de Guillaume Bresson, est ici décliné dans différents espaces, plus ou moins identifiables, plus ou moins familiers ou abstraits : une zone de périphérie urbaine, un lavomatic, l’environnement domestique d’une cuisine, des sous-bois enneigés qui ne sont pas sans rappeler les paysages hivernaux de Pieter Brueghel l’Ancien, une mer agitée.

Guillaume Bresson présente dans cette exposition différents éléments de son processus de travail : des grilles de perspective laissées apparentes aux peintures sur toile grands formats en passant par de plus petites études préparatoires, réalisées après les séances de pose qu’il effectue avec ses modèles amateurs puis recompose librement. L’artiste expérimente également une technique de transfert photographique, qui constitue le support de plusieurs peintures.

Au sein même des toiles, certaines zones vierges, qui contrastent avec des parties bien plus détaillées font également ressentir ce processus créatif de la peinture qui se donne aussi pour sujet : les toiles de Guillaume Bresson se nourrissent de ces vides, qui apportent une aura profonde et silencieuse aux scènes représentées.

Ce travail tout en contrastes rend d’autant plus sensible la réalité sociale qui est figurée de manière tantôt explicite, tantôt symbolique : celle des individus déshérités ou marginalisés (et souvent décentrés du tableau), courbés par le poids de la vie ou déjà à terre, sous les allures d’une descente de croix transposée au creux d’une vague qui se brise sous un ciel crépusculaire qui ne peut que rappeler les tragédies migratoires contemporaines. Si le contact humain est omniprésent dans l’œuvre de Guillaume Bresson, et prend par exemple les traits de deux jeunes filles de profil dont le rapprochement physique évoque le baiser de Giotto, son absence est d’autant plus frappante quand il s’agit de dépeindre cette forme de solitude existentielle qui s’installe dans des lieux souvent désertés. Le thème de la violence, récurrent dans l’oeuvre de Guillaume Bresson, trouve encore ici sa pleine expression et son ambiguité y est plus que jamais manifeste.

A travers une peinture qui fonctionne par citations et écarts, Guillaume Bresson déjoue subtilement les attentes et parvient à magnifier ses sujets en restant toujours fidèle à cette sorte de vérisme contemporain, auquel il a su donner une forme propre et magistrale.

GUILLAUME BRESSON

Né à Toulouse en 1982, Guillaume Bresson vit et travaille à New York.

Diplômé de l’École Nationale Supérieure des Beaux Arts de Paris, Guillaume Bresson reçoit les Félicitations du Jury lors de sa sortie d’école en 2007. Son travail questionne les notions de la mise en scène de la réalité sociale en peinture. Il est révélé au grand public lors de l’exposition Dynasty au Palais de Tokyo et au Musée d’Art moderne de la Ville de Paris en 2010 – année où il reçoit également le Prix Sciences-Po pour l’art contemporain. 

L’œuvre de Guillaume Bresson a depuis été montrée dans un certain nombre d’institutions internationales à l’instar de la Kunsthalle de Karlsruhe (Allemagne, 2011), la Biennale de Curitiba (Brésil, 2011), le Musée de Perm (Russie, 2012), l’Institut du Monde arabe (Paris, 2015), la Collection Lambert à Avignon (France, 2015), le ArtSpace Boan à Séoul (Corée du Sud, 2016), la Fondation d’entreprise Ricard (France, 2018).

Guillaume Bresson est invité en 2015 par Olivier Py, directeur du Festival d’Avignon à concevoir l’affiche de ce festival mondialement reconnu comme l’un des principaux pour les arts de la scène et à bénéficier d’une exposition personnelle au sein de l’ Eglise des Célestins à Avignon.

Cette même année Guillaume Bresson est sollicité par les « Nouveaux Commanditaires » pour créer un polyptyque pour l’équipe de foot du RedStar, qui est devenu un emblème du club et a été montré dans plusieurs expositions collectives dont La Grande Galerie du Foot (Grande Halle de la Villette de Paris, France, 2016), Le Sport est un Art (Centre d’art contemporain, Meymac, France, 2017) et Par Amour du jeu (Magasins Généraux, Pantin, France, 2018). Les œuvres de Guillaume Bresson ont été reproduites dans de nombreux articles et catalogues d’exposition. Le peintre a fait l’objet de deux publications monographiques : Guillaume Bresson aux Editions Dilecta en 2012 et Guillaume Bresson, RedStar Football Club aux Presses du Réel en 2016.

Les œuvres de Guillaume Bresson sont présentes dans de nombreuses collections publiques et privées, notamment celles du MUDAM au Luxembourg et du Musée des Abattoirs à Toulouse, qui détiennent chacune une de ses œuvres majeures.

Cette année, Guillaume Bresson a bénéficié de sa première exposition personnelle aux Etats-Unis sur une invitation du French Institute Alliance Française à New York. Il fera également partie en 2019 d’une exposition collective sur la peinture figurative Les Enfants du Paradis au MUBA de Tourcoing (France), dans le cadre de la manifestation artistique Lille 3000 intitulée L’Eldorado (commissariat : Jean-Max Colard et Jérôme Sans).

GALERIE NATHALIE OBADIA
3 rue du Cloître Saint-Merri - 75004 Paris
www.nathalieobadia.com

May 26, 2019

Magdalena Jitrik @ Galeria Luisa Strina, Sao Paulo - El Silencio

Magdalena Jitrik: El Silencio
Galeria Luisa Strina, São Paulo
June 5 — July 27 2019

Why call “silence” an exhibition that has so much to say? Eight paintings and a set of objects compose Magdalena Jitrik’s fourth solo exhibition at Galeria Luisa Strina. It is as an enigma to be deciphered. Perhaps the most mysterious of the paintings, which at first sight appears to be the representation of a pair of eyes on a red concrete bulky formation, evokes the glances cast by the seated female figure in the lower right corner of Les Demoiselles d’Avignon, as well as the dying woman, outstretched arms in a surrendering posture, on the right side on the Guernica painting. The reference to Picasso is not direct nor fundamental, but it is known that the Argentine artist uses historical vanguards, from cubism and surrealism to the De Stijl and Bauhaus, in her critical reinterpretation of modernisms.

The resemblance to Picasso´s paintings is due less to the work by the Spaniard than to Picasso’s appropriation of primitivism, after all, the aesthetic choice to abandon perspective in favor of the two-dimensionality was deliberately adopted in Les Demoiselles in order to “épater la bourgeoisie”, who was used to traditional European painting, is revised by Magdalena Jitrik in her deliberate use of perspective. In her paintings, Magdalena usually inserts visual contradictions between background and figure. The smoky effect on several of the pictures presented in El Silencio produces not only a sensation of a floating volume, but also projects the figure back and forth in an infinite dynamism.

It is important to remember that in 1907 Matisse classified The Young Women of Avignon as a bad taste joke, and today the painting is considered the genesis of the Cubist revolution. On one hand, if Les Demoiselles founded cubism, Guernica is the movement’s greatest icon. As it is known, the title of Pablo Picasso’s monumental painting derives from the name of the Spanish village that was the first urban area to undergo aerial bombing on April 26, 1937, by the German military air force that backed up the Francoist dictatorship during the Spanish Civil War, prologue to the Second World War. Nowadays, and over the years since then, this work is considered a peace symbol and a libel against war atrocities, of any war. It is said that when a Nazi official saw the painting, he allegedly asked Picasso: “Did you produce this horror, sir?”, To what the artist replied “No, you did”.

Magdalena Jitrik’s exhibition can be thought as a manifesto against the archipelago of arrogance that condemns us to silence. The more geometric works of the show have a Mondrian felling to them, who is also revisited in a sideway manner, logically. It is symptomatic that the pieces assembled in the gallery shed light to the Manifesto I (1918), by the group De Stijl to the present, a century and two great wars later:
There is an old and new understanding of time. The old one is related to the individual. The new one is related to the universal. The dispute between individual and universal is shown both in global wars and in contemporary art. 
War is destroying the old world and its content: predominance of the individual in all fields. 
The new art has brought to light what is contained in the new understanding of time: a balance between the universal and the individual. 
The new understanding of time is prepared to take place in both the inner and outer life.
Tradition, dogmas and the predominance of the individual (of the natural) are preventing this understanding. 
Therefore, the founders of the new plastic arts ask everyone who believes in the reform of art and culture to annihilate these development obstacles, just as they annihilated in the new plastic arts (abolishing natural forms) what prevents any pure artistic expression, the ultimate consequence of all art forms. 
Current artists, driven by the same consciousness throughout the world, took part in the world war against the domain of individualism and authoritarianism from an intellectual point of view. They commiserate, then, with all who fight, intellectually or materially, for the formation of a life union, in art, in culture.

The war against individualism, in Magdalena Jitrik’s career, is perhaps most evident in her militancy ahead of the Popular Workshop on Screen Printing, with Mariela Scafati and Diego Posadas, in the year 2000. With this collective, for example, the Argentine took part in the 27th Bienal of São Paulo in 2006 curated by Lisette Lagnado – an exhibition that disseminated the concept of relational aesthetics by the Frenchman Nicolas Bourriaud in Brazil and is now considered a turning point in the history of the Biennial, firstly by abolishing national representations, but mainly for having placed on the agenda of the art system the artists´ researches that focused on collaboration and cohabitation, or else, on the values ​​of “living together”, which was borrowed from Roland Barthes´ work, that was the expression that gave the 2006 Biennial its name, Como Viver Junto. The union that the artists fought for a century ago was revived in Latin America and around the world in the year 2000 and again, at the beginning of the following decade, in the Arab Spring (2011) and in the Days of June, in Brazil (2013).

Let’s return to the painting that seemed to portray a pair of eyes and see there two birds that touch each other with the tip of their beaks, two people who are in dialogue, or yet the symbol of infinity. “It was a picture where visuality and materiality emerged, somewhat arbitrarily, in the process of producing the works for the solo show at Luisa Strina. I do not have a lot to say about this work, unless I see in it something about communication, communication as a symbol of something continuous, something infinite, “reflects Magdalena Jitrik. The artist´s show tells us, in the end, that, even when we cannot speak, silence promotes the reflection that leads to an infinite conversation with the other.

MAGDALENA JITRIK

Magdalena Jitrik (1966) was born in Buenos Aires, where she lives and works. From 1974 to 1987, the artist lived in México, where she studied visual arts at Escuela Nacional de Artes Plásticas. She has been showing her work since 1990, when she had her first solo show at Galería del Rojas. She was one of the founders of the Argentine art collective Taller Popular de Serigrafía (2002 -2007), with whom she created an intervention of graphic art in the 27th Bienal de São Paulo (2006). Jitrik has joined the biennials of Porto Alegre, Brazil (2009); Thessaloniki, Greece (2009); Trienal Poligráfica de Puerto Rico (2009), Istambul, Turky (2011) and Manifesta 9, Genk, Belgium (2012).

Recent solo exhibitions include: Venceremos // Black is Beautiful, Centro Cultural Universidad Nacional General Sarmiento e Casa Doblas, Buenos Aires, Argentina (2017); Vanguardia – America, MACBA, Buenos Aires, Argentina (2016); Modern Painting, Galeria Luisa Strina, São Paulo, Brazil (2014); El Fin, el Principio, Fundación Universidad Di Tella, Buenos Aires, Argentina (2013); International Lantern, The Beltable Center, Limerick, Ireland (2012); La Linterna Internacional, Museo Castagnino, Santa Fe, Argentina (2012).

Recent group shows include: Potência e Adversidade – Art from Latin America at the collections of Portugal, Museu de Lisboa / Pavilhão Branco and Pavilhão Preto, Lisboa, Portugal (2017); Verboamérica, Museo de Arte Contemporáneo de Buenos Aires (2016); Retour sur l’Abîme – l’art à l’épreuve du génocide, Les Musées de Belfort, France (2015); El teatro de la pintura, Museo de Arte Moderno, Buenos Aires (2014).

Public Collections holding her work include: MACBA Barcelona; Reina Sofia, Madrid; Museo de Arte Contemporáneo de Rosario (MACRo), Rosario, Argentina; Museo de Bellas Artes de Bahía Blanca, Argentina; FRAC – Provence-Alpes-Côte d’Azur, Marseille, France; Fundación ARTEBA, Buenos Aires; MALBA – Museo de Arte Latinoamericano de Buenos Aires; Centro de Arte 2 de Mayo, Madrid, Spain; Museo Universitario de Arte Contemporáneo, UNAM, México.

GALERIA LUISA STRINA
Rua Padre João Manuel 755
Cerqueira César 01411-001
São Paulo SP Brazil
www.galerialuisastrina.com.br

Miguel Rio Branco: Maldicidade @ Galeria Luisa Strina, Sao Paulo + Book Published by Taschen

Miguel Rio Branco: Maldicidade
Solo show & launch of a book published by TASCHEN
Galeria Luisa Strina, Sao Paulo
June 5 - July 27, 2019
“As a constellation of blatant urbanity entropy in cities distributed on varied latitudes and longitudes, even though the eye-conciousness does not resist looking for clues to which cities and countries the portrayed spaces were produced in, it is important that, in the face of Maldicidade, the moment in which the eye-skin assumes the impossibility of the task and realizes that the city is only one, after all: about what great cities, if its recent history and territorial extension are taken into consideration, could it be said that it does not know these images? 
(…) ‘Murió El Cuerpo’, says the headline on the newspaper held by a boy leaning against the side of a precarious settlement. It is difficult to understand who the original headline was referring to, but in this context, it is the body of the so-called Western civilization which, having achieved unprecedented scale and power in the planet’s history, caves in crushed under the very weight of the ideals it has nurtured”, curator Paulo Miyada writes in an unpublished essay, on the occasion of Miguel Rio Branco’s solo show  in Oi Futuro, Rio de Janeiro, in 2017.
Maldicidade, a work in progress by Miguel Rio Branco, only existed until now in photobook format, published by CosacNaify in 2014, and as stand-alone works or sets of photographs in narrative (polyptych) made during the artist’s stay in different cities where his international career took him to. Firstly, as a diplomat´s child, beginning with painting, until the end of the 1960s, later as a photography director in Brazilian film documentaries and then as a correspondent of the Magnum agency in the 1980s. Finally, as a multidisciplinary artist, he exhibited in institutions such as The Art Institute of Boston; Photo Forum, Frankfurt; Aperture’s Burden Gallery, NY; Maison Européenne de La Photographie, Paris; Rencontres d’Arles; Museum of Contemporary Art of Tokyo; Casa América, Madrid; Kulturhuset, Stockholm; and MASP; besides being one of the artists honored with a pavilion at the Inhotim Institute. In June 2019, Luisa Strina Gallery presents Maldicidade, a solo exhibition, showing about 20 works. At the opening, the artist launches a so titled book, in a new edition, by Taschen.

MIGUEL RIO BRANCO, Maldicidade 
with texts by Paulo Herkenhoff
Hardcover, 24.5 x 33 cm, 464 pages
Availability: June 2019
Published by TASCHEN: www.taschen.com
Photo © Miguel Rio Branco, Courtesy TASCHEN

Although there are new developments in the Maldicidade series, the text by Paulo Miyada continues to be current and precise. The city is one. All the works selected by Miguel Rio Branco for the solo show in the gallery picture the pulsating metropolis, between exuberance and misery, vibrant colors and nocturnal vapors, poetic abstractions and honest denouncements. About what big city could it be said that these contrasts are not known? Merging photos published in 2014 with new ones, which are only be revealed in the Taschen’s book and in the exhibition, the artist does not consider it relevant to think the image on these terms – “new”, “unpublished” etc. – because, according to him, “what the unprecedented amounts to is the construction and the intention”, that is, the edition of a book or a group of photographs to be enlarged, the sequence in which the images are presented, the context in which each snapshot is placed in relation to others – by approach or repulsion -, formal, narrative, color and so on, it always creates an unprecedented experience.
“The Taschen version has a new dynamic, possibly a little less melancholy, but placing importance, in addition to the construction, to the complete reading of each image. We see the details otherwise not perceivable in the small format. It ends up becoming a different book. A bit like some jazzy musical performances. As my work was being shown at the Magnum gallery in Paris (1985), it was critically defined by the photographer Denis Stock as if I had tried to create music with photographs: perhaps the greatest praise they have ever been given”, says Miguel Rio Branco about the book.
Since 1977, with “Strangler in a strangled land” and also the exhibition Negativo Sujo (1978), coming from painting and cinema, the artist has begun to create poetic narratives with assemblages made with groups of photographs; already then at that moment, the idea of a single photo, “a decisive moment”, has not been enough for him; the field of the image, according to him, needed a visual narrative context. “A set of pieces can reach a final format in the dialogue among them, just as others, by individual force, do not need or cannot be in sets, they are fully complete individually. The cement that unites them in different constructions is what creates the rhythm and the concepts that complete the works, even provisionally”, he explains.
Following this logic, at the exhibition Maldicidade, the visitor is faced, for example, with the Black and Rose with Flag diptych, a nearly perfect meeting between geometric patterns – one in an inside environment, another one caught on the street – where both depict an element in a state of suspension, the “punctum” of both, to connect with Roland Barthes, that unites them, or that cements, although provisionally, the construction of the diptych. Near this set of pictures, however, the spectator can contemplate Blue and Red Shoes, shown as a single piece in all its narrative force, without the need of another image to complement it, even though, in the most recent edition of the São Paulo Biennial, the same work was seen in a polyptych, entitled Geometry of Desire.
“My work is like a tide of images that can take different directions, as in a sea of images that create poetic discourses that often unravel their documentary capacity, generating more meaning. They create rhythms and meaning that obliterate a simple proposal of reality. ”
After Negativo Sujo, Miguel Rio Branco showed, at the 1983 São Paulo Biennial, an audiovisual piece called Dialogues with Amaú, composed of five translucent screens on which a sequence of images of a deaf-mute kayapó boy was projected in connection to other images of his life and images of the white civilization that surrounded his village. “The connections had a rhythm of their own, but they generated random, but significant relationships in the images choice; the work falls in the area defined by Hélio Oiticica as Almost Cinema”, tells us the artist. This work is permanently exhibited in the pavilion dedicated to the work of Miguel Rio Branco in Inhotim, and is considered one of the most iconic works of expanded photography by a Brazilian artist.
Still on the subject of the book and its relation with great cities, Miguel Rio Branco alleges that “the changes were provoked specially by issues related to the new size and by the city that attracts me, clearly not all, even less by ours that become more and more precarious structurally, but MALDICIDADE came from a mixture of the French expression. ‘mal d’amour’, love pain, and a damned city: sometimes I feel revulsion and, sometimes, attraction. But, I still think cities are on an irreversible path to terror after they reach a certain size, after an exaggeration made of millions of people. I do not think large concentrations of people are healthy; today, they seem to me a great attraction to disaster”.
MIGUEL RIO BRANCO

Born in 1946, Las Palmas de Gran Canaria, Spain, Miguel Rio Branco lives and works in Araras, Rio de Janeiro, Brazil. Graduated in the New York Institute of Photography and at the Superior School of Industrial Design, Rio de Janeiro, he began to show photographs and films in 1972, developing a documentary work with a strong poetic load. In the 1980s, he was acclaimed internationally for his films and photographs in the form of prizes, publications and exhibitions, such as the Grand Prize of the First Triennial of Photography of the Museum of Modern Art, São Paulo, and the prize Kodak de la Critique Photographique, 1982, in France.

Recent solo shows include: Nada levarei qundo morrer, MASP – Museu de Arte de São Paulo (2017); Wishful Thinking, Oi Futuro, Rio de Janeiro (2017); From Tokyo to Out of Nowhere, Galeria Filomena Soares, Portugal (2016); New York Sketches, Magnum Photo Gallery, Paris (2016); and Color Theory, Pinacoteca de São Paulo (2014).

Recent group shows include: Southern Geometries, from Mexico to Patagonia, Fondation Cartier pour l’art contemporain, Paris (2018); 33th São Paulo Biennial (2018); Door into Darkness, Galerija Kula, Institute Haru – Milesi Palace and The Institute for Scientific and Artistic Work, Croatian Academy of Sciences and Arts, Split, Crotia (2018); 11th Mercosur Biennial, Porto Alegre (2018).

The artist has works in the collection of important institutions such as Museum of Modern Art Rio de Janeiro; Museum of Modern Art São Paulo; MASP – Museum of Art of São Paulo; George Pompidou Center, Paris; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Museum of Photographic Arts of San Diego; and Metropolitan Museum, New York.

GALERIA LUISA STRINA 
Rua Padre João Manuel 755
Cerqueira César 01411-001
São Paulo SP Brazil
www.galerialuisastrina.com.br

May 25, 2019

Carl Chiarenza @ Virginia Museum of Fine Arts, Richmond

Carl Chiarenza
Virginia Museum of Fine Arts, Richmond
Through November 12, 2019

Carl Chiarenza
CARL CHIARENZA (American, born 1935)
Burnham Brothers, Essex, MA, 1962, printed later
Gelatin silver print
Virginia Museum of Fine Arts
Gift of Carl Chiarenza, 2016.516
© Carl Chiarenza, Courtesy of the VMFA

The Virginia Museum of Fine Arts (VMFA) presents an exhibition of works by photographer CARL CHIARENZA, on view in the Photography Gallery. Born to Italian immigrant parents and raised in Rochester, New York, Carl Chiarenza’s interest in photography developed early in his childhood. From 1953 to 1957, Carl Chiarenza studied at the Rochester Institute of Technology under the direction of Minor White and Ralph Hattersley. Since the late 1960s, Carl Chiarenza has been a leading figure in a movement that seeks to expand the conceptual boundaries of photography.

Carl Chiarenza’s photographs have been included in more than 80 solo and 250 group exhibitions since 1957. His black and white photographs, which often contain elements of collage, have continued to challenge notions of landscape, abstraction, visitor perspective, and the very medium of photography itself. This free exhibition is curated by Virginia Museum of Fine Arts Executive Director and CEO Alex Nyerges.

“The Virginia Museum of Fine Arts is incredibly grateful to Carl Chiarenza for his generous gift of works to the museum,” says Alex Nyerges. “I am honored to curate the first Chiarenza exhibition at VMFA, and hope that these twenty-two phenomenal works will offer museum members and visitors an opportunity for a deeper understanding and fresh perspective of the limitless world of photography.”

Carl Chiarenza
CARL CHIARENZA (American, born 1935)
Sulfite White Figure with Spears, 1962, printed later
Gelatin silver print
Virginia Museum of Fine Arts
Gift of Carl Chiarenza, 2016.517
© Carl Chiarenza, Courtesy of the VMFA

Carl Chiarenza is inspired by both the beauty and human connections to landscapes, but has been continuously dissatisfied with traditional outdoor nature photographs. In acknowledging that depictions of landscapes in paintings are constructed, he began to approach his photographs as abstract and emotional constructions that allow us to examine nature in relation to the self.

The key characteristic that came to dominate Carl Chiarenza’s style was nyctophilia, or a preference for and comfort in darkness. His photographs do not offer familiar faces or landscapes; there is no evident cultural or psychological framework for the viewer to build their response. Rather, the lack of specificity and sense of timelessness reminds us that all photographs are constructions of reality that produce various interpretations relative to each viewer. Carl Chiarenza’s work invites individual reflection by forcing us to examine the subliminal workings of the mind. In these photographs, nothing is absolute, leaving all realities subject to each observer. 

VIRGINIA MUSEUM OF FINE ARTS - VMFA
200 N. Arthur Ashe Blvd., Richmond,  VA 23220
www.vmfa.museum

May 24, 2019

Go Figure! Curated by Beth Rudin DeWoody @ Eric Firestone Gallery, East Hampton, NY

Go Figure! Curated by Beth Rudin DeWoody
Eric Firestone Gallery, East Hampton, NY
May 25 – June 22, 2019
Eric Firestone Gallery presents Go Figure!, a group exhibition about an ongoing dialogue between contemporary figurative artists and figuration of the 1950s, 60s and 70s and includes works by the following artists: 

Tunji Adeniyi-Jones • Emma Amos • Will Barnet • Diedrick Brackens • Katherine Bradford • Delia Brown • Joan Brown • Alex Bradley Cohen • Lucille Corcos • Mira Dancy • Elaine de Kooning • Charles DuBack • Angela Dufresne • Martha Edelheit • Eric Fischl • Natalie Frank • Barnaby Furnas • Shirley Gorelick Mimi Gross • Ridley Howard • Konstantin Kakanias • Sam Kalda • Maira Kalman • Howard Kanovitz • Alex Katz • Bill King • Marcia Marcus • Liz Markus • Jan Müller • Joe Overstreet • Philip Pearlstein  Vanessa Prager • Eleanor Ray • Walter Robinson • Mira Schor • Joan Semmel • Jansson Stegner • Ruby Sky Stiler • Billy Sullivan • Nick Weber • Tom Wesselmann • Jane Wilson • Jason Yarmosky • Hartwell Yeargans • Yelena Yemchuk

Curator Beth Rudin DeWoody says:
I’ve always been attracted to figurative painting and drawing even though I love abstract and minimalist art. I also love the in-between when figure melds into the abstract.  There are many young artists who are looking back to some of the great figurative artists of the mid 20th-Century, putting their own 21st-Century influences and viewpoints onto the works.  
The exhibition is about pairing contemporary artists with artists of the mid-20th Century to shed new light on the strength of their voices, and continued relevance today. Despite the dominance of Minimalist and Conceptual art, a surprising number of artists in the 1960s and 70s were using figuration to pioneer aesthetic and political ideas that we often take for granted today. 
In the historic work, we see explorations of personal identity and societal roles within a range of portraiture. Artists look at the domestic and the family, the fictional studio space, and the world outside.  In many works, an intimate space collides with a broader popular culture image bank.  Traditional images of the nude are undone, appropriated by a female gaze or a deconstruction of formal conventions. The exhibition displays a massive range of material approaches, from a finely rendered touch, to collage and impasto surfaces, to work that exists in the space between painting and object. 
The pairings that guided curatorial selections are often playful visual connections, but can also reflect more literal mentorship or inter-generational connections between the artists.

Beth Rudin DeWoody, art collector and curator, is President of The Rudin Family Foundations and Executive Vice President of Rudin Management. The Beth Rudin DeWoody Collection has over 10,000 works in various media, including painting, drawing, sculpture, works on paper, video, and installation, by leading and emerging contemporary artists. It also includes significant holdings of iconic furniture, design, objects, ephemera, and artist’s books. The Collection has been the subject of exhibitions featured at the Norton Museum of Art, West Palm Beach and the Parrish Museum, Water Mill, among other institutions. In December 2017, Beth Rudin DeWoody opened The Bunker Artspace in West Palm Beach, Florida to present viewable storage of her collection, as well as exhibitions. 

Beth Rudin DeWoody has curated numerous exhibitions, including “I Won’t Grow Up” at Cheim & Read, New York; “Think Pink” at Gavlak Gallery, Palm Beach; “Bad For You” at Shizaru Gallery, London; “Please Enter” at Franklin Parrasch Gallery, New York, and “Really” at Wilding Cran, Los Angeles.

ERIC FIRESTONE GALLERY
4 Newtown Lane, East Hampton, NY
www.ericfirestonegallery.com

Regina Riveira @ Olympic Sculpture Park, Seattle Art Museum - Octopus Wrap

Regina Silveira: Octopus Wrap
Seattle Art Museum, Olympic Sculpture Park
Through March 8, 2020

Regina Silveira
REGINA SILVEIRA
Installation view of Regina Silveira: Octopus Wrap 
at the Olympic Sculpture Park. 
© Seattle Art Museum. Photo: Natali Wiseman

SAM’s Olympic Sculpture Park presents Regina Silveira: Octopus Wrap, a new site-specific installation for the PACCAR Pavilion. Inspired by the park’s location at the intersection of several busy thoroughfares, Octopus Wrap envelops the building’s walls in a mind-bending tire track pattern that questions our perception of reality. This is the first time the internationally celebrated artist has shown work in Seattle.

Brazilian artist Regina Silveira is renowned for her illusionistic interventions on buildings, city streets, and public parks. These surreal disruptions of public spaces have included exaggerated shadows, swarms of insects, dense clusters of footprints, and nocturnal light projections of animal tracks wandering across building façades. Regina Silveira started her career in the 1950s and has become one of the country’s most revered artists, creating works that investigate the representation of reality and the power of art to transform.

For this installation, Regina Silveira has wrapped the PACCAR Pavilion’s floor, walls, and windows in an improbable pattern of overlapping tire tracks that from a distance recall the arms of an octopus. The installation resolves on the building’s interior mural wall in five toy motorcycles driven by five tiny drivers. Taking the park’s location—zigzagging around busy city streets, railroad tracks, and waterways—as inspiration, Octopus Wrap upends the viewer’s perception of a well-known space, disrupting its austerity with boisterous visual noise.

“Silveira is an extraordinary artist who has inspired several generations of artists in Brazil,” says Catharina Manchanda, SAM’s Jon and Mary Shirley Curator of Contemporary Art. “Her artistic gesture is political in the sense that she aims to disrupt the familiar. Irreverent and fantastical, her immersive installation is like a noisy parade that stops us in our tracks.”

Regina Silveira
REGINA SILVEIRA
Installation view of Regina Silveira: Octopus Wrap 
at the Olympic Sculpture Park. 
© Seattle Art Museum. Photo: John Reed

ABOUT REGINA SILVEIRA

Regina Silveira was born in 1939 in Porto Alegre, Brazil. She received her Ph.D. in 1984 at Universidade de São Paulo, Brazil and has taught there since 1974.

Noteworthy recent solo shows include EXIT, Museu Brasileiro da Escultura – MuBE, São Paulo, Brazil, 2018; Todas As Escadas, Instituto Figueiredo Ferraz, Ribeirão Preto, Brazil, 2018; Crash, Museu Oscar Niemeyer, Curitiba, Brazil, 2015; and 1001 Dias e Outros Enigmas, Fundação Iberê Camargo, Porto Alegre Brazil, 2011. Regina Silveira’s recent group exhibitions include Mixed Realities, Kunst Museum, Stuttgart, Germany, 2018; Imprint, Academy of Fine Arts, Warsaw, Poland, 2017; Future Shock, Site Santa Fe, Santa Fe, USA, 2017; Radical Women in Latin America, Hammer Museum, Los Angeles, USA, 2017; and Consciência Cibernética [?], Itaú Cultural, São Paulo, Brazil, 2017.

Regina Silveira has taken part in over 13 international biennials and received noteworthy grants including Prêmio MASP (2013), Prêmio APCA for her trajectory (2011) and Prêmio Fundação Bunge (2009). The artist also received grants from the John Simon Guggenheim Foundation (1990), Pollock-Krasner Foundation (1993) and Fulbright Foundation (1994).

SAM's OLYMPIC SCULPTURE PARK
2901 Western Avenue, Seattle, WA 98121
seattleartmuseum.org

Jeffrey Gibson @ Madison Museum of Contemporary Art - Like a Hammer

Jeffrey Gibson: Like a Hammer
Madison Museum of Contemporary Art
June 8 - September 15, 2019

Jeffrey Gibson
JEFFREY GIBSON (Mississippi Band Choctaw/ Cherokee) 
AMERICAN HISTORY (JB), 2015
Wool, steel studs, glass beads, artificial sinew, 
metal jingles, acrylic yarn, nylon fringe, and canvas
89 × 66 × 5 in. 
Lent by the Lewis Family
Image courtesy of Jeffrey Gibson Studio and 
Roberts Projects, Los Angeles, California 
Photograph by Peter Mauney

The Madison Museum of Contemporary Art (MMoCA) presents the 2019 presentation of artist JEFFREY GIBSON’s first major museum exhibition. Organized by the Denver Art Museum (DAM), Jeffrey Gibson: Like a Hammer showcases the artist’s highly acclaimed multi-disciplinary work and chronicles a pivotal moment in the artist’s career when his contemporary artistic practice converged with his Native American heritage. The exhibition features about 65 objects comprising large and mid-sized figurative works, text-based wall hangings, a significant selection of his illustrious Everlast beaded punching bags, painted works on rawhide and canvas, as well as videos.

“Jeffrey Gibson’s work is vibrant and bold, yet its layering conveys ideas that reward close viewing. His distinctive voice and visual language have drawn well-earned accolades,” stated Stephen Fleischman, MMoCA director. “We are fortunate to bring this exhibition to Madison and to continue our ongoing dialogue with the community and other museum visitors.”

Jeffrey Gibson
JEFFREY GIBSON (Mississippi Band Choctaw/ Cherokee) 
I PUT A SPELL ON YOU, 2015 
Repurposed punching bag, glass beads, artificial sinew, and steel
40 × 14 × 14 in. 
Collection of the Nasher Museum of Art 
at Duke University, Durham, North Carolina
Museum purchase, 2015.11.1. 
Image courtesy of Jeffrey Gibson Studio and 
Roberts Projects, Los Angeles, California
Photograph by Peter Mauney

Jeffrey Gibson
JEFFREY GIBSON (Mississippi Band Choctaw/Cherokee)
OUR FREEDOM IS WORTH MORE THAN OUR PAIN, 2017
Repurposed punching bags, glass beads, artificial sinew, acrylic felt, steel, and brass
114 × 71 × 42 in
Collection of Vicki and Kent Logan
Image courtesy of Jeffrey Gibson Studio and
Roberts Projects, Los Angeles, California
Photograph by Peter Mauney

Jeffrey Gibson: Like a Hammer reveals how the artist draws upon his heritage and remixes his older works to create a distinct visual vocabulary in artworks that explore his multi-faceted identity and the history of modernism. Jeffrey Gibson derives inspiration from a multitude of sources, ranging from pan-Native American visual culture to his involvement as a young adult in the queer club scene. His interests and life experiences inform his vision of exuberant hybridity, in which glass beads and metal jingles merge with abstract geometric patterns and passages of text from song lyrics, poems, and the artist’s own voice.

"Like a Hammer will feature works from one of the most important periods of my career so far,” said Jeffrey Gibson. “The exhibition begins with artworks that I made just after nearly giving up making art altogether due to feeling misunderstood as an artist and struggling to establish a personal language that describes my experience without compromising it. The objects, sculptures and paintings I've made since 2011 document this journey of establishing my own forward-looking voice influenced by all that has come before me."

Jeffrey Gibson
JEFFREY GIBSON (Mississippi Band Choctaw/Cherokee)
All Things Big and Small, 2016
Acrylic paint and graphite on canvas
70 × 57 1/8 in. 
Collection of Lisa and Stuart Ginsberg
Image courtesy of Jeffrey Gibson Studio and 
Roberts Projects, Los Angeles, California
Photograph by Peter Mauney

Jeffrey Gibson
JEFFREY GIBSON (Mississippi Band Choctaw/Cherokee)
Thinking of You, 2015
Graphite and acrylic paint on rawhide over wood panel
18 x 32 x 2.5 in. 
Private collection, courtesy of Marc Straus Gallery, New York
Image courtesy of Jeffrey Gibson Studio and 
Roberts Projects, Los Angeles, California
Photograph by Peter Mauney

Jeffrey Gibson frequently explores colonialism and the post-colonial mindset, reflecting on how American Indian experiences parallel other civil rights movements. His work also revolves around universal themes of love, community, strength, vulnerability and survival. Through videos featuring interviews with the artist and related programming, visitors will be able to gain an enhanced understanding of Jeffrey Gibson’s distinctive and complex creative practice, as well as how it has evolved from series to series.

Jeffrey Gibson: Like a Hammer is organized by the Denver Art Museum and curated by John Lukavic, Andrew W. Mellon Curator of Native Arts. The exhibition travelled to just two additional venues (the Mississippi Museum of Art and the Seattle Art Museum). 

Exhibition Sponsors: Generous funding for MMoCA’s presentation of Jeffrey Gibson: Like a Hammer has been provided by the Pleasant T. Rowland Foundation; The DeAtley Family Foundation; The David and Paula Kraemer Fund; Mary Ellyn and Joe Sensenbrenner; Ellen Rosner and Paul J. Reckwerdt; Gina and Michael Carter; maiahaus; Betty Jane Perego Fund at the Madison Community Foundation; National Guardian Life Insurance Company; Sara Guyer and Scott Straus; Mark and Judy Bednar; Dan and Natalie Erdman; a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts; and MMoCA Volunteers.

MADISON MUSEUM OF CONTEMPORARY ART
227 State Street, Madison, WI 53703
www.mmoca.org