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Almine Rech Gallery Paris: BEATRICE CARACCIOLO - Terra d'ombra
CURTIS MANN - Openings
- 3 Mar 2012 to 7 Apr 2012

Current Exhibition


3 Mar 2012 to 7 Apr 2012

Almine Rech Gallery Paris
19 Rue Saintonge
F-75003
Paris
France
Europe
T: +33 (0)1 45 83 71 90
F: +33 (0)1 45 70 91 30
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W: www.alminerech.com











BEATRICE CARACCIOLO - Terra d'ombra
March 3rd until April 7th, 2012
Almine Rech Gallery, Paris
12


Artists in this exhibition: BEATRICE CARACCIOLO, CURTIS MANN


BEATRICE CARACCIOLO - Terra d'ombra

Almine Rech Gallery, Paris

Opening on Saturday, March 3rd, 2012, 5 p.m.
Exhibition running from March 3rd until April 7th, 2012

Simultaneaously to her show at the gallery, Beatrice Caracciolo will also be exhibiting, ...Pour que passe enfin mon torrent d'anges, at the Château de Haroué (Lorraine, France), from March 4th to September 18th, 2012

Almine Rech is pleased to present Beatrice Caracciolo’s Terra d’Ombra, an exhibition of recent works, including photographs, drawings, paintings and 2-dimensional sculptures made out of zinc. All works testify to the artist’s preoccupation with space, ways of defining and reclaiming territory—an affirmation of the gestural impulse underlying art-making. Caracciolo’s language is first and foremost expressive and gestural, following in the footsteps of those artists who emerged in the wake of Abstract Expressionism, both in Europe and America. She has also learned the lessons of Minimalism, which advocates for occasional restraint and greater poise and discipline. Beyond this lineage, her work is permeated by a highly developed sense of materials and textures.

For the past decade, Beatrice Caracciolo has experimented with a variety of materials, starting with her trademark charcoal drawings in which collaged elements often come to the fore. She has developed a series of works in zinc, a medium which bears witness to the passage of time. Of greyish appearance—the colour of time gathered—the recycled zinc used by the artist is the product of chemical reactions provoked by its exposure to natural elements. In Caracciolo’s zinc sculptures, different greys coexist, the outcome of the artist gathering a variety of pieces, each suffused with its own markings and coloration. Each fragment bears a different imprint, the result of erosion by the joint action of windsewpt rain and humidity. Here and there lines of fracture appear—fragments of metal not perfectly aligned, but juxtaposed in a seemingly commonplace manner—roughness and refinement reconciled.

Beatrice Caracciolo’s work is evocative of areas of fluctuation between solid and fluid states of matter, perhaps as a way of declaring her obsession with the quasi—alchemical processes. It points to the fact that her work is very much concerned with ways to depict displacements of energy. Ultimately we realise that the gesture underlying the construction of the zinc pieces is directly related to that of her charcoal drawings; the trajectory of lines defined by various overlapping fragments of zinc can be assimilated to lines “etched” in space. In her trademark large drawings, superimposed, overlapping and disseminated traces of various lines all testify to a complex interaction between conscious thought and the effects of chance and the unforeseen.

The show at Galerie Almine Rech will run concurrently to an exhibition of the artist’s works, entitled …pour que passe enfin mon torrent d’anges at the Chateau de Haroué (Lorraine).
Beatrice Caracciolo was born in Brazil and raised in Italy. She studied in New York at NYU and Columbia University, before pursuing an art curriculum at the New York Studio School. She has had numerous exhibitions of her works in the USA and Europe since the Nineties —most recently an exhibition of her prints and photogravures at Paula Cooper Gallery in New York— and was the subject of a retrospective at the Villa Medici in Rome in 2010. She lives and works in Paris.

Olivier Berggruen


CURTIS MANN - Openings

Almine Rech Gallery, Paris

Opening on Saturday, March 3rd, 2012, 5 p.m.
Exhibition running from March 3rd until April 7th, 2012

Almine Rech Gallery is pleased to announce the first solo exhibition of Curtis Mann in Paris.
In Openings, Mann displays several new bodies of lens-less photographic work. Through a series of bleaching, cutting, and folding techniques, Mann has continued to engage in the delicate, purposeful effacement of photographic paper. Deriving influence from American artist Gordon Matta-Clark (1943-1978), who often cut directly into, and removed entire sections of, abandoned buildings, Mann likewise “unbuilds” materials as a paradoxical means to comprehend their structural potential. How, Mann probes, can information be revealed through the marking of its absence?

For the series C.I., Mann examines this disparity between the qualities of positive and negative space. Using a process he has developed – “misting” bleach onto already-developed photographic paper – Mann has masked off shapes derived from documentation of Matta-Clark’s 1975 project, Conical Intersect. The resulting, near monochromatic white-on-white photographs are at once flat and dynamic, recessed where the chemical has eaten away at the paper’s surface, and protrusive where it has not. As with the process of intaglio printmaking, which uses acid to bite away at the plate, Mann has utilized bleach in a counterintuitive way: to reveal, rather than to blanch. As with the original Conical Intersect, these images possess a portal-like quality – a disruptive, if ethereal, opening where one least expects it.

Mann has systemically defaced the surface of exposed black photographic paper in the series Paper Cuts. In clean, horizontal, vertical, and arching lines, the artist scores a sharp blade along the surface, removing thin layers of dense emulsion. The lines, made without a ruler or drawing device, are straight though never perfectly so, referencing the immediacy and fallibility of the exacting process. Paper Cuts enacts the action of applied erasure as a form of anti-drawing. In Mann’s mission to comprehend the object – much as he manages with bleach – he has inexorably undone his very material, dismantling the piece in the process of generating it.
In a final set of small, collaged works entitled Paper Fragments, Mann grapples with the implication of Matta-Clark’s generative influence. The series takes a number of images of Matta-Clark himself at work in the studio – framed behind glass by Mann, who removed them directly out of a book he owned onto which he adhered shards of his own abstract, chemically-treated photographs, obscuring the majority of portrait beneath. The pieces, aside from being the most representational in the show, are the most provocatively conflicted. In concealing the image of the late artist beneath his own creation, Mann both admits to and denies the potency of Matta-Clark’s influence. Herein lies some clue: Mann’s paper, though on top, is affixed to the glass. The two are connected, but may never touch.

Carmen Winant

Born in 1979 in Dayton, Ohio, Curtis Mann lives and works in Chicago, Illinois. He was most recently exhibited in the Whitney Biennial 2010, curated by Francesco Bonami and Gary Carrion- Murayari and recently had a solo exhibition at the Jewish Museum of Contemporary Art in Kansas City, MO.







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