re-title.com
3 February 2011
Sculpture / Installation 

DORSCH GALLERY, Miami
MARION MEYER CONTEMPORAIN, Paris
POLLEN, Monflanquin
PARI NADIMI GALLERY, Toronto
 

 
DORSCH GALLERY, Miami
 
 
Felecia Chizuko Carlisle, Pink Army / Pink Rectangle, 2011 
 
 
Felecia Chizuko Carlisle
I Saw Three Cities
 
February 11 - March 26, 2011
Opening Reception, Friday February 11, 6-9pm
 
I Saw Three Cities, a solo exhibition of recent works by Felecia Chizuko Carlisle, appropriates its title from a 1944 surrealist painting of the same name by Kay Sage. This painting and other examples from the period featured deep perspective, a sense a drama through stark contrasts, dreary atmospheres and almost endless horizons. These landscapes contained strange geometric allusions to architectures that supposedly had deteriorated over time, yet never existed. Sage depicted places found inside the mind of a subject whose gaze was focused on an imagined future.
 
The title, I Saw Three Cities, speaks to the question of artistic vision. The exhibition addresses ambiguous notions of the future/present, engaging in ideas of efficiency, efficacy, and function while experimenting with form. Carlisle continues to study space, through relations between discreet works of sculpture, photography, video and design. I Saw Three Cities, balances a sense of optimism for the future with the apparent realities of failed utopian and modernist dreams.
 
Felecia Chizuko Carlisle, a native Floridian, received her MFA from the New Genres department at San Francisco Art Institute, in 2006. She has explored a variety of contexts for her work including television in Madrid, Spain, and Moab, Utah, nightclubs in Hamburg, Germany and San Francisco, and has shown in various national and international galleries, museums and public spaces. Carlisle was most recently included in New Work 2010,  a group show at the Miami Art Museum. Her research in art focuses on the complex relationship between real and virtual space, navigating the territories between the two. Her work draws from and combines multiple disciplines such as performance, installation, sound, design, architecture, sculpture and photography. Carlisle currently maintains a studio in the Wynwood Arts District of Miami, FL.
 
 
Image:
Felecia Chizuko Carlisle
Pink Army / Pink Rectangle, 2011
video
dimensions variable
Courtesy of Dorsch Gallery, Miami
 
 
DORSCH GALLERY
151 NW 24th Street
Miami, FL 33127
T +1 305-576-1278
 
 
 
 

 
MARION MEYER CONTEMPORAIN, Paris
 
 
Patrick Neu, Sans Titre, 2010  
 
 
PATRICK NEU
 
14 January - 26 February 2011
 
Patrick Neu was born in 1963 and lives and works in Wingen-sur-Moder near Strasbourg. He obtained a graduate degree in 1986 from the École supérieure d’art décoratif in Strasbourg where he was Sarkis’ student. It was moreover at Sarkis’ invitation, in 2007, that he took part in two exhibitions, one at the Louvre and the other at the Musée Bourdelle. He was a resident at the Villa Médicis in Rome in 1995 and in 1999 at the Villa Kujoyama in Kyoto. In 1997, invited by Didier Semin and Georges Didi-Huberman, he participated in the exhibition Empreinte, at the Centre Georges Pompidou. He was represented in Paris by the Patricia Dorfmann gallery from 1995 to 1997 and by the Arlogos gallery from 1998 to 2001. More recently, he took part, in 2009, in the Printemps de septembre à Toulouse and, in 2010, in the opening exhibitio n of the Centre Pompidou-Metz Chef-d’oeuvre. Le Mamco of Geneva published a monograph about him (2009-2010), Dans la suie des images et les iris de la pensée.
 
In his work on Patrick Neu, Didier Semin reveals*, in the text he devoted to the artist, that the challenge of the exhibition Empreinte «was to understand, as precisely as possible, how the works were made». Patrick Neu is part of this constellation of artists who do have knowledge in the important decision that should lead to the realization of a work. His work is rooted in art history, history of science and technology. His knowledge is lined by a deep understanding of artistic gestures closest and most distant in time. It also interacts well with his contemporaries, with the goldsmiths of ancient or Grunewald that it is no less today. The large gap between knowledge and continuous experiments, between specific procedures and ideas to implement, partly explains the technical achievement that represents each piece that comes out of the workshop and also explains the miraculous aspec t that s’ sum up and wonder.
 
* Didier Semin, Locus Solus, 57 Sublimation des pattes de moineau, dans Patrick Neu L’instant n’en finit pas, édition du Frac Lorraine, 2008. 
 
 
Image:
Patrick Neu
Sans titre, 2010
bone, height : 20 cm
Courtesy Patrick Neu - Marion Meyer Contemporain
© photo C. Darrasse
 
 
Marion Meyer Contemporain
3 rue des Trois Portes
75005 Paris
France
T + 33 (0)146330438
 
 
 
  

 
POLLEN, Monflanquin
 
 
Laura White at Pollen, Monflanquin 
 
 
LAURA WHITE
 
4 February - 4 March 2011
 
For living, for loving, for loathing
 
Exploring the language of sculpture Laura White uses a range of materials from everyday objects to constructed matter. She is interested in our relationship and negotiation with the ‘stuff’ of the world, from the readymade to the handmade, image to objects, the representational to the abstract, playing with value, profile, association and meaning of individual and collections of objects. These objects/arrangements occupy a fluid space, on one hand demanding critical discourse, and on the other its own ambiguous, intuitive logic.
 
For this exhibition at Pollen, Laura extends her ongoing fascination and investigation into objects she comes across, from those found in bricolage and craft shops to the objects in and on the periphery of our living and working spaces, such as an arrangement of objects in a shop window or ornaments clustered on a mantelpiece. Thinking about the pile of objects we acquire, borrow and give away during our lives, Laura is interested in ideas and questions around their relational placement and display, where an object can be just as much a decoration, ornament or centrepiece as it is an artwork in a gallery. Objects she makes from everyday and ready available materials, such as tinfoil, clay and expanding foam appear on one hand familiar, and yet equally strange and unfamiliar like prototypes or hybrids. We are encouraged to question our own taste and the value given to these objects, pointing us back out into the world where the strangeness is not so much in the gallery but the objects we come across everyday in our lives.
 
Laura White’s recent solo exhibitions include: 2010/11 Anxious Glory. Collective Gallery, Edinburgh, Scotland, 2009  Chromodomo: Scratching Walls and Sticky Décor. The Wall House #2, Groningen, Netherlands, If I had a monkey I wouldn’t need a TV – Part 2.  Carter Presents, London (exhibition and book launch. Pub. Laura White: The Stuff of Images.) 2008/09  If I had a monkey I wouldn’t need a TV. Castlefield Gallery, Manchester. Group exhibitions include: 2010 The Jolly (Good) Show. Collyer Bristow Gallery, London, Object as Subject. Stephen Lawrence Gallery, The University of  Greenwich, London, Sculpture Now, Herbert Read Gallery, Canterbury.  2009 The Earth Not a Globe 2. Rokeby, London, Between my Finger and my Thumb. Schwartz Gallery, London.
 
 
Image:
Laura White
Courtesy of the artist
 
 
POLLEN
25 rue Sainte Marie
47150 MONFLANQUIN
France
T 05 53 36 54 37
 
 
 
 

 
PARI NADIMI GALLERY, Toronto
 
 
Kata Legrady, Gas mask 1, 2009 
 
 
KATA LEGRADY
 
February 3 – March 12, 2011
Opening reception Thursday, February 3, 5-8pm
The artist & David Rosenberg will be in attendance.
 
Pari Nadimi Gallery is pleased to present a solo exhibition of photographs and sculptures by German -based artist Kata Legrady.
 
Kata Legrady proceeds by collision, arousing a sculptural confrontation and symbolic encounter of two different worlds. On the one hand weapons of war and sweets on the other. In other words, a short circuit between lethal and harmless, a tension between childhood and destruction, between freedom from care and suffering. The choice of Smarties, a colorful sugar-coated chocolate confectionery, evokes the “colored dots” with which Roy Lichtenstein painted his large-format comic strips. The difference is, however, that the confectionary here does not serve to create representational images, but covering them with abstract ornamental motive that do not make them unrecognizable or unusable. In the hands of the artist, machine guns, grenades, handguns become strange and glossy, almost beautiful and attractive.
 
The object obtained in this way can be shown as it is. It is exhibited presented under bell jar or glass as a curiosity or a powerful talisman, or it can be photographed. The scale can be changed in this way, enlarging the object to a great extent. It always appears frontally to the viewer, illuminated by an inflexible light, contrasted by an immaculate white background. This other way of creating distance only heightens the dumb and hypnotic presence of the transformed object; as if a precious hallucination. Images dominated by clinically precise, hauntingly vibrating colors; pictures, as the artist put it, of children-soldiers and other abominations.
 
Kata Legrady was born in 1974 in Barcs, Hungary, currently lives in Hanover (Germany) and works in Hanover (Germany), Budapest (Hungary) and Paris (France). Legrady’s exhibition at Pari Nadimi Gallery will be accompanied by a new book on her work titled “Bombs and Candies” by David Rosenberg, published by Skira Publishing House in Milan, Italy. The book is distributed in North America by Rizzoli International Publication. “Art Game Book, Artists in the 20th Century” (Assouline Publishing, New York, 2010) is another book by David Rosenberg which will also accompany Legrady’s exhibition at Pari Nadimi Gallery, the book included Legrady’s work together with the works of artists: Damien Hirst, Jeff Koons, Takashi Murakami, Vanessa Beecroft, Maurizio Cattelan and more.
 
 
Image:
Kata Legrady
Gas mask 1, 2009
c print, mounted on alu-dibond with plexiglas
49 x 68 ½ in
Courtesy of Pari Nadimi Gallery, Toronto
 
 
Pari Nadimi Gallery
254 Niagara Street
Toronto, ON
Canada, M6J 2L8
+1 (416) 591-6464
 
 
 
 
 
 

 
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