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Galerie Thomas Schulte, Berlin |
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IŃIGO MANGLANO-OVALLE
25 April to 20 June 2009
As part of the Gallery Weekend Berlin 2009,
Galerie Thomas Schulte presents Ińigo Manglano-Ovalle's
first solo show in Berlin. The centerpieces of the
exhi-bition are the installation Dirty Bomb and the
new video Juggernaut. The opening reception will be
held from 7 to 9 pm on Friday, April 24, the artist will be
present.
Dirty Bomb is a full-scale reproduction of Fat
Man, the second atomic bomb used in history, detonated by the
United States over Nagasaki in 1945. Unlike the original, the
reproduction is painted with white car varnish and splattered
with mud.
Just as a sullied sports car forfeits some of its
precious appearance, the bomb here almost loses its
threatening aspect. A humorous reflection of the artist's
strategy for the installation exhibited at Documenta XII,
Phantom Truck, an accurate reproduction of the mobile
laboratory for biological weapons presented in a Power Point
presentation by former US Secretary of State Colin Powell
before the UN Security Council as evidence of the Iraqi
government's possession and production of weapons of mass
destruction, Dirty Bomb now turns reality relations
upside down: unlike Phantom Truck, which never really
existed but was just an invention to justify the US attack of
Iraq, Dirty Bomb is a copy of a weapon of mass
destruction that was actually developed and used. But now, in
a version that makes clear the interest of the artist in the
ethical dilemma of aesthetics: "What's beautiful and what's
monstrous, or are they so intertwined you can't locate either
one of them? When I make a beautiful cloud, I still want
people to think of a nuclear explosion."
Ińigo Manglano-Ovalle was born in Madrid
in 1961, and lives and works in Chicago. His work is included
in many museum collections around the world, such as Museum
für Moderne Kunst, Frankfurt, New York's Solomon R. Guggenheim
Museum and Whitney Museum of American Art, the Library of
Congress, Washington DC, Fundació La Caixa, Barcelona, and
Fundación Cicneros, Caracas. In 2001 Manglano-Ovalle was given
the prestigious MacArthur "Genius Award." Only in April 2009
did he receive one of this year's Guggenheim Fellowship
Awards.
Manglano-Ovalle's projects in 2009 include his
participation with Phantom Truck in the exhibition
Bilderschlachten in the German city of Osnabrück (April
22-June 10), an individual show at the Massachusetts Museum of
Contemporary Art, his participation in the group exhibition
Human/Nature: Artists Respond to a Changing Planet at Berkeley
Museum of Art (April 1-September 27), and Ecomedia at
Sala Parpalló in Valencia (February 10-April 26).
Image:
Ińigo Manglano-Ovalle
Dirty Bomb,
2008
Painted fiberglass and aluminum, epoxy resin, mud
325 x 157.5 x 157.5 cm
Ed. 3 + AP
Courtesy: Donald
Young Gallery, Chicago, and
Galerie Thomas Schulte,
Berlin
Galerie Thomas
Schulte
Charlottenstraße 24
D-10117
Berlin
Germany
+49 (0) 30 2060 8990
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AEROPLASTICS contemporary,
Brussels |
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Olivier Blanckart
Coming Home (Pauvre France)
24 Apr 2009 to 6 June 2009
AEROPLASTICS Contemporary is pleased to
announce the return to the city of his birth of that most
Belgian of French artists, Olivier
Blanckart.
Like Alice stepping through the looking-glass, Olivier
Blanckart traverses the border to return the insult of
Baudelaire's pamphlet Pauvre Belgique some
150 years later on. As if, in these times of Bling Bling, it
is only beyond Parisian frontiers that work of this kind may
be mounted.
For the image, and in particular the photographic image,
is the centre of gravity of his oeuvre - the photographic
reproduction as such (like in the series Me as...), or the
interpretation of a photographic image re-worked in three
dimensions as in his various sculptures. Blanckart takes as
starting point these images that have become popular icons.
Icons whose original content has been lost for the viewer and
that the artist then (a)mends, as it were. To accomplish this,
he uses recuperated materials: kraft paper, adhesive tape,
cardboard, etc. All these worthless materials,
generally serving just to wrap and protect things, here are
fashioned and sculpted to become themselves the true and
valued oeuvre. And it is the very ambivalence of this
materials, at once playing the cards of realism and the
grotesque, that allows the innate story of the image - now in
3D volumes - to re-emerge.
The A-Men (2008) ironically deconstructs icons of Marvel
Comics and those of contemporary art. In this way, the White
RY-MAN bursting though a pure white canvas is assailed by
super-villains, The NAU-MAN and the SHE(R)MAN. The pithy
violence of Bruce Nauman and the grotesque incarnation of
Cindy Sherman lay siege to Robert Ryman's pure art.
Politico-religious confusion and its détournements (i.e.
deflections, reroutings) are revisited in The Remix of Babylon
(2008), a Bush-ian reinterpretation of the distressing disco
hit Rivers of Babylon by Boney M.
Katmandoo (2002) deconstructs the official photograph of
the Nepalese royal family massacred in 2001.
With NASDAQ (2007), Blanckart takes aim at a strange
convergence between the era of conceptual art and the regime
of dematerialized technological values. Both were marginal
sectors, and both have become established frames of
reference.
With Femmes Déviolées (2004-2005), Blanckart calls into
question the brutality inflicted upon Algerian women, forcibly
unveiled to be photographed by French soldiers during the
Algerian War.
Whether it has to do with photography (the series Me
as...) or his series of sculptures based upon these images in
adhesive tape and cardboard, Blanckart is driven by a very
post-modern obsession: the deconstruction of icons and, if
possible, knocking idols off their pedestals.
Image:
Olivier Blanckart
The A-Men: RY-MAN
2008 - Scotch tape, kraft paper, cardboard, various
materials - Lifesize.
© Olivier Blanckart, courtesy of
AEROPLASTICS contemporary
AEROPLASTICS contemporary
32 rue
Blanche
1060 Brussels
Belgium
+32 2 537 22 02
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Exile, Berlin |
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Kazuko Miyamoto: String and Thread ///////// Sol
LeWitt: Walldrawing 815
April 18 - May 23 2009
Exile is proud to present the work
of artist Kazuko Miyamoto for the very first
time to a Berlin audience. The exhibition String and
Thread shows a selection of works spanning four decades.
As homage, the exhibition also features the important work
Wall Drawing 815 by artist Sol
LeWitt, with whom Miyamoto shared great artistic
affinity and friendship.
Kazuko Miyamoto (born 1942) left Japan for New York
in 1964. In 1969, she met the artist Sol LeWitt, with whom she
engaged in a life-long creative and conceptual dialogue. The
exhibition String and Thread begins with a particular period
in the 1970's when Miyamoto created a series of ephemeral
constructions using only nails and string. Based on existing
conceptual drawings and vintage photographs Miyamoto will
re-create and re-interpret two of these String pieces
specifically for this exhibition.
Central to her work has always been the notion of the
line as a link between two points. In Miyamoto's artistic
career this line has evolved from being part of a geometric
grid towards a more organically shaped object. In recent years
Miyamoto explored elements of dance and performance based on
ideas of improvisational music. String And Thread will show
Miyamoto's creative process through the decades and, with the
inclusion of Wall Drawing 815, pay tribute and homage to Sol
LeWitt.
In 1972 Miyamoto became a founding member of A.I.R.
Gallery, founded in 1972 as the first artist-run,
not-for-profit gallery for women artists in the world. Here,
she worked and exhibited together with artists such as Nancy
Spero and Ana Mendieta. In close work relationship with Sol
LeWitt Miyamoto fabricated many of his sculptures in the past
39 years. In 1986 she established gallery onetwentyeight, the
Lower East Side's longest continuously running alternative art
space. Miyamoto has participated in countless national and
international exhibitions in the past 40 years. To name a few:
55 Mercer Gallery, New York; Marilena Bonomo Gallery, Italy;
Lodz Biennale, Poland; Neue Galerie Linz, Austria and P.S.1
Contemporary Art Center, New York. Her work is included in a
wide selection of important public and private collections
such as The Museum of Modern Art, New York and The National
Museum of Modern Art, Kyoto.
Exile is honored to announce Kazuko Miyamoto as the new
resident. Starting on March 30th Miyamoto will use Exile to
create an installation of re-created and new works that will
open to the public on April 18th. Many works in the exhibition
have not been shown in public since their original
construction.
All works by Kazuko Miyamoto and Sol LeWitt are
available for sale.
Image:
Kazuko Miyamoto
String and Thread
Installation view
© the artist, courtesy of Exile
Berlin
Exile
Alexandrinenstr 4, HH
D
- 10969 Berlin
Germany
+49 176 83097626
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Galerie Urs Meile, Lucerne |
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I WROTE DOWN SOME OF MY THOUGHTS - LIU
DING
April 18 - July 4, 2009, Lucerne
I Wrote Down Some of My Thoughts presents a
recent series of works by artist Liu Ding,
which reveals yet another important aspect of the
multiplicities of his practice. The artist has commenced on
this artistic adventure since the beginning of 2008, when he
started to hand-write his strings of thoughts on black and
white photographs that he had taken of a beautiful landscape
early on. These thoughts recorded his contemplations on the
medium of photography and the relationship between our visual
memory/experience and the reality it's based on. Rather than
drawing any conclusion on this subject matter, the artist made
bare his unprocessed process of thinking, remaining truthful
to the occasional struggles the artist was having with his own
thoughts, deliciously raw and thought-provoking.
After that, the artist further explored this way of
working by inscribing on a series of used furniture, which he
turned into a room installation. In both groups of works, the
objects he chose to write on, be it photography or furniture
items, together with the process of writing became a courier
for his deliberation. Often the texts were drawn from his own
deliberation, about art itself, or concerning his perception
of certain phenomena, experience and ideology. Although most
of his writings use the first person in narration, we can
always derive from his discussions issues that we can relate
to or have experience of.
In this exhibition, the artist relies on a selection of
very specific and precise examples for his story-telling:
printed reproductions of artworks, crafts, an altered map,
photographs and mostly ready-made items that the artist
regrouped or edited. He wrote down his perceptions and
insights gained through them on them. They communicate his
re-considerations of his own perceptions or experiences and
awareness of a more universal nature.
These "reconsiderations" imply a possibility for yet more
"reconsiderations". As the artist offers his
"reconsiderations", he also reminds us of the endless
possibilities for re-perceptions of these perceptions. What
these "re-perceptions" are about isn't as important as the act
of "re-perceiving" itself. It urges us to keep an active gaze,
tirelessly re-examining the intellectual foundation that
supports and positions us and what we call "experience". Every
piece of work in this exhibition is related to each other,
situated within the coordinates of the artist's system of
thoughts.
Image:
Liu Ding
"Descriptive, Narrative,
Descriptive, Narrative" 2009
wood, porcelain
84 x 36 x
38 cm
Courtesy: Galerie Urs Meile,
Beijing-Lucerne
Galerie Urs Meile,
Beijing-Lucerne
Rosenberghöhe 4
CH-6004
Lucerne
Switzerland
+41 (0) 41 420 33 18
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Pékin Fine Arts, Beijing |
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Marvin Minto Fang
(b. 1955 Taipei)
Sculpture Projects, Solo Exhibition
May 9 - Jun 15, 2009
Opening Reception for Taiwanese artist Marvin Minto
Fang's solo exhibition in China: May 9, 2009, from 2 to 6
pm.
Marvin Minto Fang's latest work combines
the interests of an artist, an architect of public space, and
a botanist with a keen eye for garden design. Grouping a large
number of camphor-carved "trees-reborn from trees" in the
gallery space, resulting in a peculiar Chinese garden of
hand-manicured flora and fauna. Mintofang's garden is
interactive and tactile rather than meditative, and is
comprised of sweet smelling wood sculpted trees, marble and
concrete installation, and painted tree images covering the
gallery walls.
(b. 1955 Seoul)
Sculpture Projects, Solo Exhibition
May 9 - Jun 15, 2009
Opening Reception for Korean artist Bae Hyung Kyung's
solo exhibition in China: May 9, 2009, from 2 to 6 pm.
Seoul-based sculpture artist Bae Hyung
Kyung's first Beijing exhibit includes a monumental
installation of Buddhist luo han each "housed" in a life-size
packing crate, piled one on top another. Visually, the
stockpiling of luo han's alludes to the dismantling and
re-building of Buddhist temples. Implicitly bearing witness to
the exponential growth in cross-border trade and communication
between Seoul and Beijing resulting in nearly a quarter
million persons of Korean ethnicity living in Beijing.
Images:
Marvin Minto Fang
A - Sua
Installation (
camphor wood )
2008
© Marvin Minto Fang, courtesy of
Pékin Fine Arts
Bae Hyung Kyung
Karma
Bronze,
steel
2009
90 x 90 x 200 cm
© Bae Hyung Kyung,
courtesy of Pékin Fine Arts
Pékin Fine Arts
No.241 Cao Chang
Di Village
Cui Ge Zhuang
Chaoyang District
Beijing
100015
+86 10 5127 3220
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