re-title.com
07 July 2011
 Painting & Mixed Media  

KENNY SCHACHTER ROVE PROJECTS, London
303 GALLERY, New York
CONRADS, Düsseldorf
LEHMANN MAUPIN, New York
ALISON JACQUES GALLERY, London
 

 
KENNY SCHACHTER ROVE PROJECTS, London
 
 
Annabel Emson, Birthing Waters, 2011
 
Annabel Emson, Birthing Waters, 2011
oil on canvas, 83” x 94”
Courtesy of the artist and Kenny Schachter/ Rove Projects
 
 
ANNABEL EMSON & GEREON KREBBER
A Few Written
 
12 July - 30 July 2010
 
Kenny Schachter/ Rove Projects and Marine Contemporary are pleased to present, A Few Written, a two-part exhibition of new works by London based artist, Annabel Emson and Cologne based artist, Gereon Krebber. Part I of the exhibition opens on July 12 at Kenny Schachter/Rove Projects in London and Part II continues at Marine Contemporary in Los Angeles on July 30.
 
In this site-specific collaboration of paintings and sculptures, the artists explore the ideas of transformation and contradiction. For both artists, the process of making the work is fundamental to developing a visual language through which they can communicate the feeling of experience to the viewer. Both quiet and confrontational, these works define and redefine the meanings of process and transformation. Bringing elements of chaos and dissonance into a state of harmony, each work matures from an inchoate state into a fully realized presence. !
 
Annabel Emson’s paintings reflect the patterns that arise naturally in the structure of the world around us. Her work explores the psychological drama of the imagination: fantastical and dream-like, each work becomes a performative landscape through which the autobiography of experience is distilled. During the process of making the paintings, Emson likens her work to that of building a relationship: a series of attempts at intimacy with the work, of fallen expectations, of failures and finally, of surrender. It is in the suspended spaces between the swaying of depicted figuration and abstraction, that her worlds take shape, merging from rhythmical mark making and application techniques. In her painting Birthing Waters , the viewer takes a journey through the transitions from past to present, where the artist’s history is revealed. Emson’s painting acts as a rhythm of color, of possibility, of realization and as a sorting structure through which the artist makes harmonies within the chaos around her.
 
The sculptures of Gereon Krebber may remind us of something - a cloud, a giant button, a slice of something meat-like, but the everyday materials, of which they are composed, such as balloons or plastic wrap, are always radically transformed from their original function. Based in London, Krebber regards the spirit of his work as "seriously flippant." Krebber’s work is full of contradictions. Working predominantly in a site-specific capacity, he makes installations that are at once symbiotic with the spaces they are created for and yet markedly alien within them. His subject is the flowing nature inherent in the creative process of the plastic arts. Although his work may have representational tendencies, it also has liquid, pliant and transitory aspects. His shapes often appear to float in space and, at the same time, react to the architecture of their exhibition space, which endows them with a corporal and vivid character. In this exhibition, Krebber’s dried pig’s ear mobiles hang from the walls of the gallery in a deliberately bizarre and flipped way. His play on the dark humor is apparent in the forming of oddities and the beauty that comes from these formations. It is in the inchoate that Krebber finds his moment: “It is when transitions get caught and moments of experience evaporate, when tilting effects freeze and surfaces irisate, that the in-between condenses surprisingly to form”.
 
Annabel Emson (b.1975, London, United Kingdom) received an MFA from The Slade School of Art in London and a BA from Chelsea College of Art & Design. Emson’s paintings are experiential performances on the relationship between the inner psychological terrain and the outside materialist world; through mark making and the language of paint she creates doorways into autobiographical landscapes that allow her to visually inhabit both worlds. Her work will be shown in the upcoming 2011 Paint exhibition at the Saatchi Gallery in London. Emson lives and works in London.
 
Gereon Krebber (b. 1973, Oberhausen, Germany) studied at the Dusseldorf Art Academy with Tony Cragg and Hubert Kiecol. He graduated in 2002 with an MA in sculpture from the Royal College of Art, London. His sculptures are often in unusual and ephemeral materials like foil, foam and burnt timber. Krebber frequently works site specifically, responding to the given parameters of a space. Often attracted to marginalized areas such as pillars, the corners of rooms, beams, he creates friction and overlap between art and architecture.' (Jacqui McIntosh). Krebber currently lives and works in Cologne and recently received the Wilhelm-Lehmbruck-Scholarship. He is currently a guest professor at the HfbK Hamburg.
 
 
KENNY SCHACHTER ROVE PROJECTS
33-34 Hoxton Square
London N1 6NN
T: +44 (0)7979 408 914
 
 
 
 
 
 

 
303 GALLERY, New York
 
 
Mike Nelson, Triptych, 2009
 
Mike Nelson, Triptych, 2009
mixed media
53 1/2 x 94 3/4 x 96 inches
Courtesy of 303 Gallery, New York
 
 
THE ART OF CLIMBING MOUNTAINS
 
29 June - 29 July 2011
 
Cevdet Erek
Adrian Ghenie
Adriana Lara
Mike Nelson
Joel Shapiro
 
303 Gallery presents "The Art of Climbing Mountains," a group exhibition inspired by an excerpt of René Daumal's " Mount Analogue" published in 1952. The works in this exhibition investigate a variety of positions and possibilities addressing the challenges of life and the way in which one addresses these challenges - surreal, metaphorical and otherwise. Daumal, the French Surrealist writer, was known for his allegorical novels and translations of sacred Buddhist texts.
 
"Shading Monument for an Artist," 2001-2011, by Cevdet Erek, works with migratory nature of the contemporary art community that moves individuals away from their homes in order to participate. Erek's sculpture comes out of the wall and functions as an awning. The awning is cut in a way that its shade reads as an adapted text from monuments for International Brigades of the Spanish Civil War built around Europe. IN HONOR OF COUNTLESS PEOPLE , WHO LEFT THEIR HOMELANDS TO , CREATE FREELY IN THE HEROIC , STRUGGLE FOR ART. MANY FELT , ALONE, ISOLATED AND LIKE LOSERS. , BUT NEVER SURRENDERED. THEIR EXAMPLE INSPIRED THE WORLD.
 
"Triptych" (2010) by Mike Nelson, who represents Britain in the 54th Venice Biennial this year, is a wooden platform with a small set of stairs and a trap door. It is preceded by several oriental carpets and a pile of rusted chains. This work functions at once as a stage, the platform of a gallows, and a preacher's podium - diverse possibilities that can potentially co-exist in one mind. Joel Shapiro's formal experimentation walks the line between abstraction, representation, and utility, its purposeful ambiguity a window onto the viewer's expectation and perception.
 
A new painting by Adrian Ghenie, characteristic of his practice, borrows from art & cinema history to create a suggestive imaginary that is cryptic, yet disarmingly familiar.
 
Adriana Lara's set of five constructions, "23690," part of an ongoing series, takes photographic exposures of common every day objects in her studio that have been scanned. The image includes the scanner bed, another found object. Lara modifies her wooden frames so that they both contain the work as well as transfer additional information in the representation of numbers. Each "number" can be arranged in any order each time it is installed - which effects the overall five digit number, altering the final reading. Our interaction with the possibilities presented creates different outcomes.
 
Special Thanks to House of Gaga, Mexico City; Fernando Mesta; Pace Gallery, New York; La Capela, Barcelona; SALT, Istanbul; Ivy Shapiro.
 
 
303 GALLERY
547 W 21st STREET
New York, NY 10011
T: +1 212 255 - 1121
 
 
 
 

 
CONRADS, Düsseldorf
 
 
Lara Viana: Untitled 2011
 
Lara Viana, Untitled, 2011
Oil on board, 48 x 41 cm
courtesy: Conrads, Düsseldorf and Domobaal, London
 
 
LARA VIANA
 
1-31 July, 2011
 
Conrads are pleased to announce the first solo show of the London based artist in Germany.
 
Lara Viana
 
" ... When taking in these works one can't help but think about how the photographic object has been previously handled in paint, by the likes of Gerhard Richter or Luc Tuymans. They radiate a peculiar energy that sits somewhere between the fuzzy warmth of recollection and the alchemical mystery of the re–dimensionalised subject. Viana appears at home within the representational hall of mirrors that connects the world of painting with that of imaging, drawing one's attention to the innate human desire to render things realistically and the ways that new technologies fracture our understanding of reality. Where Richter's and Tuymans' blurry re–contextualisation of familiar and mass–media imagery are associated with particular political themes, Viana hovers between the time–based evidence of an unspecified event and its fictional (mis)reading as if stage–managing fragments of a baroque drama. Her paintings may be more about the workings of the mind than the media machine but, like her predecessors, she appears alive to the difficulties of extrapolating one from the other.
 
It is no surprise, then, that Viana cites Velazquez as an influence, particularly when it comes to her chromatically complex interiors out of which social situations, or the aftermath of them, seem to have grown like soft–tissue attachments. So, too, her reductive approach to technique – Viana applies, moves and erases oily umbers, ochres and blues around and from the ground as if hesitant to pin the image down. Ever since her Royal College days, Viana has been making works in which the potential elements of a story appear to emerge, low–relief, from matter. The lurid gaseous compositional quality of her earlier paintings has given way to a more sophisticated set of mid–tonal propositions, the slippery smears of organic hues reminiscent at points of bodily fluids on glass – biopsy slide evidence of the painter's uncanny ability to describe space and the passage of time.
 
Viana's delectable, yet disquieting studies for a mental picnic open up many byways between personal and public territories: the influence of cultural production on the content and stylistics of memory, at every level. But back in the studio, and drawn into a Viana Rorschach–image conundrum, one remembers that these works are as much about the nature of living as the removed technical recording of it. Her curious handling of the half–remembered comes as a result of serious real–time observation, an acute sensitivity to the manner in which light alters objects and situations. And as one watches an eggy ovaloid visage melt into a mirror holding a secret interior, it's hard to care about the chicken. ... "
 
- Rebecca Geldard, an extract from her essay for Lara Viana's exhibition at Phoenix Arts, Exeter, in June 2009.
 
Lara Viana was born and brought up in Salvador, Brazil. She graduated from the Painting Department at the Royal College of Art in 2007, was selected for New Contemporaries in 2008 and the Whitechapel Gallery's East End Academy 2009 – The Painting Edition as well as a solo show at Phoenix Arts, Exeter. Lara Viana has exhibited in 'Psychic Geography' at Workplace Gallery, Gateshead. 

 
CONRADS
Lindenstr. 167
40233 Düsseldorf
Germany
T: +49 211.3230720
 
 
 
 

 
LEHMANN MAUPIN, New York
 
 
BILLY CHILDISH, Elgar Sat on Stairs, 2011
 
BILLY CHILDISH, Elgar Sat on Stairs, 2011
oil and acrylic on linen
48.03 x 59.84 inches
Courtesy of Lehmann Maupin Gallery, New York
 
 
ON SHUFFLE
 
6 July - 19 Aug 2011
 
Lehmann Maupin Gallery, New York presents On Shuffle, a group exhibition featuring works by Billy Childish, Kim Gordon, Kalup Linzy, Ryan McNamara, Tony Oursler, Dave Muller, Dario Robleto and Stephen Vitiello on view at 540 West 26th Street, 6 July - 19 August, 2011 . On Shuffle presents works by these interdisciplinary underground cult figures in various mediums, which use and reference music, including sound, performance, painting, mixed media and video.
 
Billy Childish’s portraits of composers Sergei Vasilievich Rachmaninoff and Jean Sibelius reflect the crossover between art and music in Childish’s work. In addition to the creation of over 2000 paintings, Childish has a prolific output of music and poetry, with over 40 collections of poetry and 100 full-length LP’s. Childish will present his first solo exhibition at Lehmann Maupin Gallery in November 2011.
 
Video and performance artist Kalup Linzy is best known for his series of video art pieces satirizing the tone and narrative approach of television soap opera. In addition to serving as writer, director, and editor, Linzy performs many of the characters himself, oftentimes donning drag. In “Conversations wit de Churen VII: L’ll Myron’s Trade,” we follow Katonya and others through a dramatic soap opera narrative.
 
Tony Oursler, known for his innovative combination of video, sculpture, and performance, explores the relationship between the individual and mass media systems with humor, irony, and imagination. Among the artists Oursler has collaborated with is Sonic Youth member, Kim Gordon. In this exhibition, Gordon's "Sickness" and "Hair Police" from the series titled "The Noise Paintings," take their names from the subculture of noise bands, treating the blank canvas like a t-shirt.
 
Ryan McNamara mines pop music history to locate soundtracks for his investigations into the peculiarities of bodily and social experience. “Trains, Boats and Planes,” projected on the floor, shows the artist lying amid a field of dime-store leaves as the Burt Bacharach song of the same title plays. The artist has said that this work is the realization of an image that popped into his head every time he heard these no-win, futile lyrics.
 
Artist, musician and DJ Dave Muller creates experimental works, reinterpreting objects that mingle personal and musical. “Muller Family Car Listening Stack (From Frances Down to Dave)” reflects the artist’s attempt to transform the ephemeral into the concrete. The work captures the moment in which this stack of CDs, representing the family’s listening spectrum, were all together in the Muller Family Car.
 
Dario Robleto often uses records, tapes, and recordings as his medium to address themes of popular music and culture, science and humanity. Robleto’s “I Wish The Ocean Sounded More Like Dusty Springfield” and “I Wish The Ocean Sounded More Like Muddy Waters,” are composed of apple blossom seashells collected by the artist. Robleto created pairs of seashells and serenaded them with songs by Dusty Springfield or Muddy Waters and then returned each seashell’s partner to the shore in hopes of altering the sound of the ocean. Robleto then used the remaining seashells to spell out the words “Dusty” and “Muddy.”
 
Former punk guitarist and sound artist, Stephen Vitiello, who has also collaborated with Oursler, manipulates and transforms everyday atmospheric sounds in his creation of sound installations. Vitiello’s “Light Readings” is an audio-video work in which the artist used a “photocell” device that translates light frequencies into sound through a video synthesizer.

 
LEHMANN MAUPIN
540 West 26th Street
New York, NY 10001
T: +1 212.255.2923
 
 
 
 

 
ALISON JACQUES GALLERY, London
 
 
Ryan Mosley, Cave Inn, 2011
 
Ryan Mosley, Cave Inn, 2011
Oil on linen
214 x 180 cm, 84 1/4 x 70 7/8 ins
Courtesy of Alison Jacques Gallery, London
 
 
RYAN MOSLEY
 
15 July - 13 August 2011
Opening Thursday 14 July, 6-8pm
 
Ryan Mosley's distinctive visual language is rooted in its timeless qualities; archaic skulls, top hats and fig leaves collide with anthropomorphic limbs and futuristic, shamanic figures that create a bewildering backdrop in which anything is possible.
 
For this solo show Mosley has delved further into this landscape by offering his protagonists a stage on which to play out their ambiguous narratives. The world of performance he conjures allows variegated images and motifs to become characters in a stage-play realm, uprooted from specific ties of time and location and given the chance to create new meanings and narrative opportunities. Despite the undeniable presence of art historical references in Mosley's practice, the stage provides a setting free of signifiers on which seemingly disparate figures can perform. Disembodied heads floating around each periphery invite us to become part of an extended audience. Mosley's scenes are framed by botanical bunting, which morph between menacing truncheons and mysterious fauna. These devices act as figurative stand-ins and provincial props, anchoring the characters in space and preventing them from drifting away.
 
Mosley's canvases are infused with the ebullient energy of the theatre, carnival and cabaret, yet the artist's highly singular and distinctive visual lexicon makes possible a wider range of thematic textures and moods. Mortality and the transient nature of time are never far from the surface from his otherworldly scenarios, as the cavernous eye sockets of a colossal skull survey the action centre stage, transforming the performative narrative into a gargantuan vanitas.

 
ALISON JACQUES GALLERY
16 - 18 Berners Street
London W1T 3LN
T: +44 (0) 20 7631 4720
 
 
 
 
 

 
 re-title.com 
BM Box 5163
London
WC1N 3XX
United Kingdom
+44 (0) 870 922 0438