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Galerie Sfeir-Semler,
Hamburg |
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GÜNTER HAESE
Neue Skulpturen
March 29th - May 8th, 2010
Günter Haese has been
making mobile sculptures since the late 1950s. In 1964, he
became the first German artist after the second world war to
have a solo exhibition at the Museum of Modern Art in New
York. He participated in Documenta in Kassel in 1964 and went
on to represent Germany at the Venice Biennale in 1966. His
fragile, delicate sculptures are in many important collections
include the MoMA and the Guggenheim in New York and a number
of German museum collections.
His sculptures are small in size and made
of phosphor bronze wires in metallic and black colors. Every
movement in the air or vibration in a room brings them to
movement. These tenuous wire compositions become light, poetic
constellations. They are precious indeed, with Haese's small
oeuvre consisting in just around 400 sculptures over his
decades-long career.
Image:
Günter Haese
Helion
2006,
Phosphorbronze,
44x53x55cm
courtesy of
Gallery Sfeir-Semler/ G. Haese
Galerie
Sfeir-Semler
Admiralitätstr. 71
D-20459
Hamburg
T +49-40-375 199 40
E galerie @
sfeir-semler.com
Tuesday to Friday from 11a.m. -6p-m. Saturday from
12-3 p.m.
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The Apartment, Athens,
Greece |
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Matthew Higgs -
Showdown
April 15 - May 29, 2010
The Apartment is pleased
to present an exhibition of works by Matthew
Higgs, under the title "Showdown".
Matthew Higgs is known for
his 'found conceptual art' that takes the form of framed book
pages, re-photographed book covers and typographic works on
paper. For his first exhibition with the gallery, and his
first in Greece, he has put together a group of abstract works
on paper, which are indebted yet retain a critical distance to
the late-modernist tradition of abstract painting. In
addition, he has included two text pieces, which reflect the
limitless possibilities in the exploration of language as well
as in the relationship between image and text. Through
re-visiting and re-contextualizing existing printed matter,
the artist poses questions on the nature of contemporary art
production today.
Matthew Higgs (b. 1964,
UK) has recently had solo exhibitions at Murray Guy, New York
and Wilkinson, London. Recent group exhibitions include " Not
so Subtle Subtitle" curated by Matthew Brannon at Casey
Kaplan, New York and 'Two Years' at The Whitney Museum of
American Art, New York. In 2009, he was the curator of Lucas
Samaras' exhibition for the Greek Pavilion at the 2009 Venice
Biennale. He is the director and chief curator of White
Columns, New York's oldest alternative space, where he has
organised more than 125 exhibitions and projects.
Also showing: Sotiris Panousakis -
Painting is the Show, April 15 - May 29, 2010 -
The Apartment is pleased to present an exhibition of new
paintings by Sotiris Panousakis.
Image:
Matthew
Higgs
Photograph of a Book (Pictures in
Peril), 2009
Framed digital c-print
47.5 x 40
cm
Edition of 10
Courtesy of The Apartment, Athens,
Greece
The Apartment
29, Ithakis
St
GR - 112 57
Athens
Greece
T +30 210
3215469
E info @ theapartment.gr
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Maureen Michaelson Gallery,
London |
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George Walker Retrospective
22 - 29 April 2010
Maureen Michaelson Gallery
is proud to present a retrospective exhibition of
George Walker, whose work it has been showing
since 1986. The work of George Walker, one of Britain's most
important ceramic sculptors, is instantly recognizable, yet he
has always had an 'outsider' status, working without reference
to or even knowledge of ideas and trends within the wider art
world. The themes with which his work deals include gender,
authoritarian institutions and global geopolitics. His work is
held in several private and public collections in England,
Europe and the USA and has been featured in many
publications.
George Walker's work is a sophisticated
commentary on interpersonal relationships in western culture,
and on geopolitical and economic realities. Having studied
painting originally, he turned to ceramics later in life. He
found this a more satisfying medium than a flat surface for
depicting the relationships and drama he wanted to express.
The sculptures are frequently unsettling, confronting the
viewer with uncomfortable aspects of their lives and
psyches.
Walker's work is also concerned with the
history of sculpture in Western art both in terms of colour
and form. Colour is an integral part of his work for its
decorative effect but also to enhance narrative clarity. He is
dismissive of the way art historians have rewritten the rules
of what is acceptable in sculpture, a belief he sees as being
founded upon the fact that ancient polychrome sculptures have
survived down the ages without their original colours and
often as broken torsos without arms and legs. The limbless
female torso then became an accepted depiction of the female
form in western sculptural traditions largely through the work
of Rodin and Maillol. He has made a series of works re-uniting
these torsos with their limbs.
With an ironic nod to the ceramic material
with which he works, many of the sculptures are in the
notional form of teapots or other vessels. The head of a
figure may form a removable lid, an arched body the handle,
and apertures in a mouth, shoe or gun barrel for example, may
form a spout.
Image:
George Walker
Relying
on Science, 2004
47 x 36 x 25cm. Teapot
form
Handbuilt ceramic, vitreous slips
Courtesy of
Maureen Michaelson Gallery, London
Maureen Michaelson
Gallery
Hampstead
London NW3
T +44 20 7435
0510
E info @ maureenmichaelson.com
Sat & Sun 2 - 6. Weekdays by appointment
Please contact gallery for full address details
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Air de Paris |
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Pierre Joseph
From Apple Core to Glass
27 March - 30 April 2010
Pierre Joseph, a seminal
figure for the new generation of French artists, is pursuing
his questioning of tangible signs of reality. His
approach successively deals with issues like the permanence of
things and the transposability and digital manipulation of
reality.
"The exhibition", says Pierre Joseph,
"is made up of notes and ideas given concrete expression.
These ideas take on a certain form right now, but this
material form could be different. The forms adopted are not
necessarily the most appropriate ones, but they are the
product of various choices randomly made at given
times."
"Two of these forms are kinds of
mirages, glimpses of a reality that might or might not be
there, like memories. A third one - a shelf - inventories
various common materials and counts out their degree of
biodegradability from ephemeral to everlasting. The fourth
form is a digital picture frame showing a text by Jean
Baudrillard about disappearance, followed by a critical
analysis of the shift from analogue to digital, especially in
the field of photography."
"It is about conservation and
memory, time and technology."
Born in 1965, Pierre Joseph lives and works
in Paris. His works have been acquired by many private and
public collections both in France and abroad. Recently they
have been presented at the Conciergerie in Paris as part of
the Centre Pompidou's New Festival, the Printemps de Septembre
in Toulouse, the MOCA in Miami, the first Athens Biennial and
the Lyon Biennial.
Also showing:
Shimabuku, Kaki and Tomato, 27 March
- 30 April 2010. Although not collaborative exhibitions per
se, these two solo shows are filled with cross-references and
veiled allusions to each other. They share the same economy of
means, while generating profound questions relating to both
philosophy and aesthetics.
Image:
Pierre Joseph
Là, pas
là (miroir), 2010
peinture spray, miroir - édition
1
Courtesy of Air de Paris
Air de Paris
32, rue Louise
Weiss
FR - 75013 Paris
T +33 (1) 4423 0277
E fan @ airdeparis.com
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Flowers Central, London |
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Tim Lewis
A Retrospective
14 April - 08 May 2010
Tim Lewis has been
exhibiting his sculpture - an uncanny breed of object-entities
and mechanical creatures that seem to inhabit a post-natural
world - since the 1980s. Lewis has always had a preoccupation
with endowing objects with properties they don't naturally
possess. He has made a chair walk across rooms on a pair of
crutches, incited a butterfly - its wings, shimmering sheets
of branded aluminium - to emerge out of a lemonade can, and
co-opted the tapered toe of a Jimmy Choo shoe to house a
robotic bird; the taught, red patent skin of the shoe a
lipstick-slick foil to the creature's crude avian anatomy.
Lewis'cast of assisted ready-mades and creature-like
constructions have typically explored the boundary between
nature and fabrication, mixing intricate mechanics with a
dextrous appreciation of both art and artifice. This
exhibition draws together a selection of work spanning the
last two decades, providing a survey of Lewis' evolving visual
landscape and mapping the transformation and maturation of an
enduring platoon of protagonists.
His is a world where prosthetic devices,
mechanisms furnished with feathered plumes, spinning forms and
glitchy
stroboscopes punctuate the panorama, chattering in
the codified cadence of their unique shared language. Lewis
forms, adorns, undresses and remakes these creatures in an
endless endeavour to realise and animate anew; a perpetual
becoming that is reflected in their own, often obsessive,
activity. A mechanical arm equipped with the tools to write
targets its given tabula rasa, whether till roll, postcard or
note pad, and repetitively asserts its existence through the
etch of an exacting signature.The scrawl of word or form
restated incessantly, until ink or graphite pierce paper, is
perhaps the defining image in Lewis' visual arsenal.What may
appear as monomaniacal obsession, a relentless, maddening
reiteration of action or idea, in fact betrays a visionary
creative drive that - like the idiosyncratic creatures and
machines it engenders - cannot be fully harnessed. Standing
amongst the works in this exhibition, neither Lewis, nor his
viewer, can anticipate quite what will happen next. For every
precisely programmed performance there is the intimation of
rebellion or slippage; for every closed system there is the
threat of caesura and the hint of a splintering subversion. It
is in these moments of unpredictability that Lewis' work
shifts, develops and evolves into new formations.This
exhibition manifests an attempt to trace this mutable lineage,
capturing a selection of Lewis' anthropomorphic entities and,
in the act of ensnaring that which cannot be fully predicted,
acknowledging the absent presence of experiments still to
come.
Also showing: Eduardo
Paolozzi, Lower Gallery, 14th April - 8 May 2010. A
selection of collage, bronze sculpture and
chromed steel
sculpture.
Image:
Tim Lewis
Untitled
(hand turned wheel with green lamp), 1998
Steel and
electric light
54 x 33 x 15 cm / 21¼ x 13 x 6
in
Courtesy of Flowers
Flowers Central
21 Cork
St
London W1S 3LZ
T +44 020 7439 7766
E info @ flowersgalleries.com
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re-title.com - Independent directories of
emerging & professional contemporary art
Coming Next
April 28-29 Sculpture & Installation
May 5-6 - Mixed / Multi Media
May 12-13 Painting & Drawing
May 19-20 Sculpture /
Installation
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BM Box 5163
London
WC1N 3XX
United
Kingdom
+44 (0) 870 922
0438 |
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