Sculpture & Installation
International Contemporary Art 
13 September 2012
Susumu Shingu, Wings of Time, 2010
Susumu Shingu
Wings of Time, 2010
Steel, stainless steel, aluminum, polyester cloth
h: 149.6 x Ø: 120 inches
h : 380 x Ø : 305 cm
Courtesy of Galerie Jaeger Bucher, Paris
Beyond Time
Opening on Saturday September 15th from 4 to 7pm
Exhibition from September 15th to December 1st 2012
“During my 40 years of work, I have always expressed through my sculptures, my exhibitions, my illustrated books and my theatre plays how much Earth is a wonderful and precious planet. Since man made disasters caused on our planet are reaching a critical level, I feel there is even more emergency to send my simple message to all the inhabitants of this planet, which is, what wonderful Nature we have on our planet (…). I believe men are benevolent. And I also believe in Art. Since the visible future is one for our children, I would like to address them this message.” Susumu Shingu
Following the success of his two previous exhibitions at the gallery entitled Sculptures du respir in 2006 and Planet of Wind and Water in 2009, the gallery is pleased to announce a new exhibition by the Japanese artist Susumu Shingu entitled Beyond Time. Ten of his new mobile indoor sculptures as well as two sculptures for outdoor will be shown; the latest coloured collages of the artist as well as the wonderful and detailed study drawings of his sculptures will also be presented.
Born in 1937 in Osaka, Susumu Shingu conceives sculptures with movements generated by the forces and flows of nature – wind, water, sunlight and gravity. A true poet of Nature, his mobile sculptures are full of lightness, playfulness and musicality and echo the infinite beauty of our planet. Their movement is almost always accompanied by the observer's sudden realization that he is himself linked to the same forces as those of the sculpture which brings him to reconnect with the most fundamental principle of life : breathing in and breathing out, the natural rhythm of Breath. The artist's close observation of Nature's movements leads him to an extreme refinement in his choice of medium, with a skillful and scientific use of the most up-to-date materials.
Each of his works brings a breath of hope and life for the planet: thus the Wind Caravan, an exceptional project consisting of 21 sculptures which the artist installed between 2000 and 2001 in six remote places across the planet, in a variety of windy climates with no electricity, or his latest project entitled Genki Caravan Yuriage, which consisted in the installation of these 21 same sculptures, this time covered with multicoloured wings, in a fisherman’s village named Yuriage in the North of Japan, entirely decimated by the recent tsunami. A 10mn video of the Genki Caravan Yuriage, realised by the wife of the artist on the Yuriage site will be projected at the gallery during the exhibition.
This exhibition will also be the occasion to follow the initial 2009 gallery presentation of the artist's Breathing Earth diorama - an autonomous village entirely regulated by natural energies - and understand its latest development and the tests realised with the windmill prototype. A limited edition of a new Breathing Earth Portfolio including information on Breathing Earth and prints numbered and signed by the artist is available for sale during the exhibition.
A trilingual (French, English and Japanese) catalogue of 108 pages including full colour reproductions of the sculptures and works on paper, with texts from Takeshi Umehara, philosopher and researcher of Japanese culture, a text from Susumu Shingu on Breathing Earth and of Véronique Jaeger on Shingu's work is available at the gallery.
The exhibition will also present:
- the new illustrated book by the artist on the Monarch butterfly entitled Traveling Butterfly just published.
- an installation entitled Sinfonietta of Light will be shown in the large octogonal basin of the Tuileries from October 10 to 30th.
- an exclusive presentation of the film Breathing Earth: Susumu Shingu's dream by German filmmaker Thomas Riedelsheimer in the Grand Palais Auditorium on Sunday October 21st at 3pm during the FIAC
- a sculpture entitled Moon Boat presented at FIAC Grand Palais in Paris from October 18 to 21st on Booth 0.D24
5 & 7 rue de Saintonge
75003 Paris
T: +33 (0) 1 42 72 60 42
Matthew Lusk, Installation of More Broken Glass Than There Was Window
Matthew Lusk
Installation of More Broken Glass Than There Was Window
ZieherSmith, New York
More Broken Glass Than There Was Window
September 6 – October 6, 2012
Mathew Lusk transforms the gallery with his installation inspired in part by a 1936 photograph by Arthur Rothstein of a lonely structure seen in the Kansas plains titled “A Bank That Failed.” Conceived before recent financial crises, the concept has since expanded almost exponentially. Utilizing salvaged, long-discarded architectural and sculptural remnants, he configures here “something like an abandoned bank, complete with offices, a boardroom, teller’s windows and bathrooms, furnishing this new environment with an array of objects and gestures that would further an extended inquiry into the nature of various aspects of the American Dream. This project isn't about banking, per se, but more concerned with greater themes of responsibility and disaster and redemption and hope. It has as much to do with
failed levees as levied failures.”
Viewers wander from room to room besieged with found objects as divergent as a common rotating fan labeled Katrina in faded marker, a stuffed turkey (Ben Franklin’s choice for our national bird and perhaps more apropos), and a cheap plastic clock advertising Viagra. The magnificent center piece is a bank vault that acts as monumental ziggurat, its door blown from its hinges into the middle of the exhibition space. Vintage fixtures and sundry details like period lamps, upended clerk’s desk, and hand-made sandbags (screen-printed with backward dollar signs) comprise a bunker/levee. Lusk leaves a mysterious passageway – perhaps this serves possible escape for the ghost of the Grand Panjandrum.
Lusk casts a crooked, anachronistic eye on today’s anemic economic, spiritual, political and cultural institutions. “More Broken Glass Than There Was Window” is an apt tagline for many aspects of our contemporary predicaments. The imagery and sentiment was undoubtedly also influenced by the decrepit and decayed environs of the neighborhoods surrounding the artist’s studio in Newburgh, New York.
This is the Matthew Lusk’s first solo project. His work has been in group shows in New York including at Sculpture Center, Exit Art, Museum 52, and triple candie, as well as the 2008 Emerging Artist Fellowship and corresponding exhibition at Socrates Sculpture Park. His hybrid curatorial/art projects at galleries including Lehman Maupin and Jack the Pelican have received praise from press such as The New York Times, The New Yorker, and Time Out/New York, among others. He has his MFA from the Art Institute of Chicago and lives in New York.
516 West 20th St
New York, NY 10011
T: +1 212-229-1088
Installation view
07 September - 13 October 2012
AUSEINANDERNEHMEN is the gallery’s third solo-exhibition of Berlin based installation- and video-artist Max Sudhues (*1977).
The exhibition title can be interpreted in many different ways – both in technical and human terms - and refers to a conceptual body of work that it presented here for the first time. With the aid of pincette and screwdriver Max Sudhues opened and deconstructed two broken video beamers into their components. This anatomic process and the material gained by it lead to a series of works that range from medium to content and examine the artistic usability of the used material. The innards of these gutted digital devices find new forms and narrative meanings by being observed from different analogue and digital, old and modern projection- and presentation techniques.
The installation Shadows Of The Future consists of these remains of the digital: plastic, wire and glass which find their place on the surface of an analogue overhead projector. This colorful lightsculpture counteracts with its own projection on the wall that seems to dissolve in its own shadow.
The stepwise and examining arrangement of the components on the glass surface of the overhead projector is documented in an 80-part slide-projection called Progressionen. The fast sequential slide-projections show images and graphic elements that change step-by-step and temporarily remind of constructivist compositions or broken stained-glass windows. The slideprojection i.a. is influenced by the animated abstract color compositions of the 1930s and 1940s animation pioneers Oskar Fischinger and Harry Smith.
In the video work Phase these digital elements are staged to fantastic and surrealist ensembles. Possible architectures of the future and futuristic (urban) landscapes are created with most minimal means. The converted components are illuminated from below. The only movements in this video loop are dust particles dancing in rays of light and a vibration caused by the overhead projector’s ventilation system.
A series of 6 silk screen prints - a traditional and most analogue reproduction technique - eventually transfers the artist’s extensive research on material and form onto the flat paper surface and herewith extends Sudhues’ artistic language. Although produced with a serial process, each silk screen is a unique piece by having manipulated each print.
We are pleased to announce our first participation in this year’s ArtRio from September 12-16. Again we will exhibit at NADA Miami from December 6-9.
Antwerpener Straße 4
50672 Cologne
T: +49 (0)221 35 60 590
Cheon pyo Lee, Medium is the Same, 2012
Cheon pyo Lee
Medium is the Same
various materials
14x19 feet
Cheon pyo Lee
Medium is the Same
8 September - 14 October 2012
INTERSTATE PROJECTS is pleased to present Medium is the Same, Cheon pyo Lee’s first solo show with the gallery. Lee persistently examines questions of medium and genre through a sensitive and personalized body of work. Medium is the Same employs Lee’s personal economy to create a narrative atmosphere, a space full of lingering tones, endless chatters and moody humor. As an expedition into the complexities of association and narrative, the exhibition comprises two floors with a series of surprises and inversions.
Taking on the dual character of both engine and vehicle, the exhibition allows one to move in and outside the workings of travel and trade. Each individual work espouses a particular approach to fabrication. Chinese Waterfall, Broom, and the altered clapping monkeys within Felicity, investigate the myriad forms of kinetic sculpture, through components such as; custom built gears, bill counters, conveyer belts, and appropriated figurines.
Comparatively, in the basement project space, Lee has created an installation focusing on the journey of a container ship as it dumps toxic waste across the oceans, without a destination or an owner. Within Felicity and Wave Patterns, Lee’s palette acquires a crisp plasticity, mimicking graphic and industrial prototyping. The stylistic differences between the two floors are dismantled in the fragmented debris spotting the wall pieces that double the exhibition’s title, Medium is the Same.
Cheon pyo Lee lives and works in Brooklyn, New York. Holds an MFA from Yale University and did his undergraduate work at the School of the Arts Institute of Chicago. He has recently exhibited his work at Eyebeam (New York), Zero One (San Jose), The Contemporary Arts Center (Cincinnati), and Whiteflag (New York), in addition to numerous shows in South Korea and Brazil.
Interstate Projects focuses on young, emerging artists, works to connect artists and ideas from across the country. The gallery is located in Bushwick at 66 Knickerbocker Ave, Brooklyn NY 11237. Our hours are Friday – Sunday 12 – 6 and by appointment.
66 Knickerbocker Ave
Brooklyn (Bushwick)
New York, NY 11237 
BM Box 5163
United Kingdom
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