re-title.com
25 February 2011
Sculpture & Installation 

INVISIBLE-EXPORTS, New York
PAUL KASMIN GALLERY, New York
LOOCK GALERIE, Berlin
AIR DE PARIS
 

 
INVISIBLE-EXPORTS, New York
 
 
Paul Gabrielli, Untitled (Alarm Bell), 2010
 
 
PAUL GABRIELLI
Generally
 
February 18 - March 27, 2011
 
INVISIBLE-EXPORTS is pleased to present Generally, the second solo exhibition of work by Paul Gabrielli.
 
Paul Gabrielli is an exacting deconstructionist sculptor, whose magical-realist assemblage work comprises a subversive program of building objects up as a way of taking them apart. In his earlier work, inspired by both the collage appropriation of Dada and the rigorous clarity of sculptural minimalism, Gabrielli transformed the everyday into the uncanny, producing ideal sculptures, both familiar and more perfect than their real-world counterparts. In this new series, Gabrielli continues to focus on ideal objects as abstractions, but has moved one level further into internal space, yielding a body of sculpture that interrogates perception and our broken ways of seeing. The new work is assembled not only from refined ready-mades but also from ambiguous trompe l’oeil elements shadowed by imposed obfuscations and everyday items turned on by unusual desires.
 
The work included in Generally explores his vision of three-dimensional objects as compressed images. These intimate and meticulous sculptures mirror in the external world the way those same objects are processed through the eye and projected into the brain. In this way, Gabrielli transforms the gallery into an experimental environment at once fictional and clinical. By juxtaposing two objects of similar purpose — a re-imagined smoke alarm and an inscrutable fire bell, or a surveillance camera and a flashlight — he invokes a wayward world that touches on the romantic and the surreal, inviting us to abandon our real-world associations and approach those varieties of items instead as true objects. That is, objects of desire.
 
The shape of infatuation, and its shaping power, feature especially prominently in Gabrielli’s “toys”—refurbished elemental items, such as wood, metal, or cloth, showcased behind plastic windows and mounted on cardboard backings of various landscapes, as though for display on a sales rack. In these enigmatic works, mesmerizing fetish tableaux in miniature, Gabrielli illustrates the lonesome manner by which we call objects to life through desire, enlisting them in our emotional lives through a dysfunctional imaginative campaign. In his work with institutional items, Gabrielli enacts that same desire, blurring the features of familiar structures as though by intense focus, close at hand but yet more alien. When we stare hard at objects, our desire is so strong that we lose sight of them.
 
Paul Gabrielli (b. 1982) is a New York-based artist whose work has been exhibited at institutions and galleries including the Cartier Foundation, Paris; BOMB Magazine, New York; 303 Gallery, New York; and the Verge Gallery, Sacramento, among others. His work is included in the permanent collection of the Cartier Foundation. He has an upcoming profile in Mousse Magazine.
 
 
Image:
Paul Gabrielli
Untitled (Alarm Bell), 2010
Ultra-cal, plastic smoke detector, ink jet printed sticker, steel bolt, wood, acrylic, enamel
12 x 12 x 4.5"
Courtesy of the artist and INVISIBLE-EXPORTS
 
 
INVISIBLE-EXPORTS
14A Orchard Street
(between. Hester and Canal Street)
New York, NY 10002
T +1 212 226 5447
 
 
 
 

 
PAUL KASMIN GALLERY, New York
 
 
Iván Navarro, Surrender (Flatiron), 2011
 
 
IVÁN NAVARRO
Heaven or Las Vegas
 
3 March - 2 April 2011
 
Paul Kasmin Gallery is pleased to announce an exhibition of new works by Chilean artist Iván Navarro. Heaven or Las Vegas, featuring fluorescent light sculptures drawn from the floor plans of iconic skyscrapers, will be on view at 293 Tenth Avenue from March 3 to April 2, 2011.
 
For Heaven or Las Vegas, Navarro’s first solo exhibition at the gallery, the artist has created a series of fluorescent light wall sculptures based on the floor plans of twelve of the world’s most well known skyscrapers, including the Flatiron Building in New York, the Jumeirah Emirates Towers in Dubai and The Center in Hong Kong. These monumental buildings were chosen for the ambitious innovations in design and engineering that were required to construct them and for their importance to the historical spread of Western-style development across the globe. Through a positioned play of mirrors and lights, viewers have the experience of looking up into the interior elevation of each building, many of which tower more than 1,000 feet high in actuality. Within each work, Navarro has incorporated significant words or phrases like  SURRENDER,  RESIST, and  YOU SAY YES, which ech o like suggestions or commands through each structure’s illusory depth.
 
Iván Navarro was born in Santiago, Chile and is known internationally for his socio-politically charged sculptures of fluorescent and incandescent light. Recent solo exhibitions include Nowhere Man, Contemporary Art Center, Towner, UK (2009), Threshold, Chilean Pavilion, Aresnal, 53rd Venice Biennale (2009), and Backstage, Greenway Gallery-Adelaide Bank Festival of Arts, Australia (2008). His work is held in the public and private collections of the Hirshhorn Museum and Sculpture Garden (Washington, DC), Virginia Museum of Fine Arts (Richmond, VA), Fonds National d’Art Contemporain (Paris), LVMH Collection (Paris), Saatchi Collection (London), Martin Z. Margulies Warehouse (Miami, FL), and Centro Galego de Arte Contemporanea (Santiago de Compostela, Spain). Iván Navarro currently lives and works in Brooklyn.
 
 
Image:
Iván Navarro
Surrender (Flatiron), 2011
neon, mirror, one way mirror, wood, paint and electric energy
23 x 46 x 6 inches, 58.4 x 116.8 x 15.3 cm
Courtesy of Paul Kasmin Gallery, New York
 
 
PAUL KASMIN GALLERY
293 Tenth Avenue at 27th Street
New York, NY 10001
T +1 (212) 563-4474
 
 
 
 

 
LOOCK GALERIE, Berlin
 
 
Peter Rösel, AH-2668 (Detail: Tizian), 2010
 
 
Peter Rösel
I promise....
 
11 February - 12 March 2011
 
Loock Galerie is pleased to present the show I promise.... with new works by Peter Rösel.
 
The exhibition presents sculptures demonstrating the injection of an illusionary moment into objects from everyday life, which is characteristic of Rösel’s work. These objects are historical furniture pieces that have become obsolete through technological progress. However, Rösel gives them a new life in his art.
 
Rebuilding TV cabinets from the 1950s and 1960s which display the names Titian, Rembrandt and Leonardo, Rösel presents the TV programmes in a sublime wrapping. Instead of tube-operated black and white images they now accommodate video projections of a wasp flying in a toy helicopter as well as short films of the artist seemingly overcoming gravity.
 
Two telephone benches of identical construction are endowed with two Berlin telephone directories from 1941 and respectively 1945. “The extent of horror inherent in the difference of these two directories reveals itself little by little. Rösel’s ensemble speaks quietly and laconically of the connection between the bourgeois and the barbaric.“ *
 
The installation lending its title to the exhibition I promise... is a collection of 27 money notes from Zimbabwe which work to highlight a hyperinflation of astonishing proportions illustrated by the notes which range from 1 to 1 trillion Zimbabwean dollars. Upon each note Rösel has painted two small figures performing somersaults around the image of a cliff which is imprinted upon each of the 27 notes. In addition to the original painted money notes, Rösel exhibits thumb cinema animation of the tireless somersaulting figures upon a monitor.
 
The work 100y presents the thematic entanglement of the past and present. 900 light bulbs of the GDR brand Narva packed in their original boxes are to be used as ready-mades in one single fitting, illuminated individually until their demise and replaced one after another until all 900 have been fully used. “Illuminants as timekeepers: The bulbs, each with a burning time of 1000 hours, will defy the EU-ban for a total of 100 years. This period of time seems to be clear-cut but it cannot really be grasped as its potential options and hazards are far beyond the powers of our imagination. However, if one thinks of the moment in which 100y will extinguish, one’s mind will begin to buzz like a helicopter on a wasp-flight.”*
 
*Karsten Müller
The book “Tizian, Rembrandt, Leonardo-s Automatic”, ed. by Karsten Müller, Ernst Barlach Haus, Hamburg 2010, is accompanying the exhibition.
 
 
Image:
Peter Rösel
AH-2668 (Detail: Tizian)
Installation: 3 TV cabinets (Rembrandt, Tizian and Leonardo Special Automatic TV)
digital video, 3 loops (each 1:15 min., silent), 85 x 82 x 44 cm, 2010
Courtesy of the artist and Loock Galerie
 
 
LOOCK GALERIE
Halle am Wasser
Invalidenstraße 50/51
DE-10557 Berlin
T +49 30 2462 7690
 
 
 
 

 
AIR DE PARIS
 
 
Claire Fontaine, No Family Life, 2011
 
 
CLAIRE FONTAINE
No Family Life
 
11 Feb-19 March 2011
 
Living a life at 7500 € per square metre or 1800 € rent a month is possible. Paris air is on sale by the cubic metre, but this isn't an effect of social segregation, it isn't a form of exclusion – it's just that the value of the ground under our feet has changed, and our lives with it.
We didn’t ask for anything, but have received expulsions and demolitions of the buildings that were still bearing our traces and our smell. We had built, in places where no one lived, spaces for being together and they were razed to the ground, priceless spaces for a few years, open to everyone who felt welcome; it doesn't sound like much, but it's inestimable. Because we terribly needed to live far from parquet and authentic terracotta floors, far from fireplaces with mirrors and cornices, far from panoramic views and greenery outside the window.
We remember that our first home is our body and that its inhabitants are our thoughts and our loves. We remember that life doesn’t have a price, and the places where it happens mustn’t have one either.
We remember that streets and apartment buildings are there because they are part of a world in which there is money– but there’s also blood, thoughts, childhood, solitude and illness. A world in which there is a need for money – but also a need for love, work done passionately, the urgency of being together.
Space forgets us. Space is crowded with precursory signs of a new drought. We buy a fragment of Paris, we double-lock it, we go through two doors with access codes, and a caretaker's lodge, and we do nothing there that we couldn't do elsewhere. We are going to fill it up with secondhand furniture painted pastel colours, we will put a coloured bead curtain in the kitchen doorway, a rug in the living-room, orchids in white pots and coloured lights around the mirror over the fireplace. We will have a bowls with fresh fruits in the kitchen, green plants in the living room, a beautiful bed-couch and bedrooms painted in clear blue. We are going to climb the wooden stairs with their red carpet before we stick our key in the lock and realise that we were wrong. We realise that this is not the present and can't be the future. That in this fragment of Paris there is no room for anybody. We realise – as we lean on th e antique railing of the window to smoke a cigarette and check our cell phone – that we are irreparably alone and that it is  too late. For a life at 7500 € per square metre is not an innocent life, it isn't an accessible life, it isn't an open, free, adventurous, interesting life. It is a private life.
- Claire Fontaine
 
Air de Paris is very pleased to announce Claire Fontaine’s second solo show. 
 
Claire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a "readymade artist".
In 2011 Castilla y Leon (Spain) will dedicate a solo exhibition to Claire Fontaine. Her work has recently been the subject of solo exhibitions at the MOCA, Miami and at the Museo, Mexico in 2010, and, in 2009, at the Aspen Art Museum. A reference monograph will be published soon at Walther Koenig Verlag.
 
 
Image:
Claire Fontaine
No Family Life, 2011
white painted neon, transformer and animator
20 x 206 cm, Edition 3
Courtesy of Air de Paris
 
 
AIR DE PARIS
32 rue Louise Weiss
75013 Paris
T. +33 (0)1 44 23 02 77
 
 
 
 
 
 

 
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