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Galerie Christian Lethert,
Cologne |
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JILL BAROFF
THE MOVING TARGET
21 April - 27 May, 2010
Drawings and installations by Jill
Baroff (born in 1954) unite conceptual coherence with a
sensitivity towards materials.
Three different groups of works are being
introduced in this show. Particularly concise are the circular
"Tide Drawings". The motif of concentric circles was
prominently introduced into American art at the end of the
1950s by Jasper Johns and above all, Kenneth Noland with his
"Targets". In Jill Baroff's works, the hypnotic form of the
lines circling a common center is given a precise content and
motivation. The "Tide Drawings" are the visual translation of
the tide levels at various coastal locations over various
periods of observation. The artist takes hundreds and hundreds
of measurements from the Internet, and using a compass,
transfers them onto paper so that respectively individual
patterns of concentration come about. In other words: the
diachronic sequence of the tide levels is put into a
synchronic visual form. Like waves of water emanating
outwards, or the growth rings of trees, the optically
vibrating "Tide Drawings" show us the passage of time. In
doing so, the circular form indicates more the cyclic notions
of time in Asian cultures than the linear western notion, and
it is in keeping with the perpetual repetitive changes of ebb
and flow connected with the lunar cycle.
In active contrast to the precision of the
"Tide Drawings", Jill Baroff's formally freer "Floating Line
Drawings" arise from the sensitive dialogue between the artist
and the specific material qualities of gampi, a delicate,
transparent and yet surprisingly strong paper, native to
central and southern Japan, which the artist has studied
extensively. The simple, -structuring "rule" for this group of
works consists in the artist drawing a line of varying width
with graphite or oil pastel around the perimeter of each sheet
of paper, cutting this free and allowing it to float above the
remaining square before she affixes it there. Decisive in this
process is that it is never wholly predictable how the strip
of paper is going to react, where it bends or frays, how the
folds will be, etc. The result is multi-layered drawings with
an emphasis on the material, suffused with an astonishing
lightness and freedom, and which have taken on a poetry of
their own from the interplay with chance.
A third group of works by Jill Baroff is
introduced with a floor installation of monochrome yellow,
corrugated cardboard. The "Corrugated Floor Works" were
originally inspired by observations of light changing on
Japanese tatami floor mats. For the Galerie Christian Lethert,
Jill Baroff is realizing an installation, on the one hand,
bearing reference to the specific conditions and proportions
of the center room of the gallery, and on the other hand,
making use of the mathematic Fibonacci-sequence (1, 1, 2, 3,
5, 8, etc.) as a compositional basis. Here as well, an
openness to the given concrete situations goes hand in hand
with conceptual logic.
Image:
Jill Baroff
The Moving
Target
Installation view
Galerie Christian Lethert,
Cologne
Foto: Simon Vogel, Cologne
Galerie Christian
Lethert
Antwerpener Straße 4
D-50672
Cologne
T +49 (0)221 35 60 590
E info @
christianlethert.com
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Galerie Lichtpunkt, Munich |
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Zipor, Ziporim, Ziporra - thank you anyway and
kind regards
7.- 21 May. 2010
On May 6th 2010 at 7 pm Galerie
Lichtpunkt, Lothstraße 78a in 80797 Munich is opening
the international group show 'Zipor, Ziporim, Ziporra -
thank you anyway and kind regards'. Thirty international
artists present their take on the bird, Zipor in Hebrew.
Thirty international artist pay tribute to
the bird, zipor in Hebrew. "Zipor, the bird, arouses manifold
associations. This thought chain for example: the bird, birds,
what birds do (the verb vogelen or voegeln is colloquial for
copulating in German)" gallery owner Horst Ambacher explains
about the background of the exhibition, "but the international
approach is just as important for the concept. The works came
flying in just as the birds from all directions. In safe
packages, of course.
Aside from works by Inge Pries (Germany),
Zvika Kantor (Israel), Brooke McGoven (USA), Ellen Munro
(Scotland) and others, the exhibitions also hosts a piece by
Danish artist Nina Saunders who took part in the successful
show 'The Collectors' at the 53th Venice Biennale. Themed
exhibitions like 'Zipor, Ziporim, Ziporra' automatically
expand. The idea is what makes the exhibition. That way
everyone, from art lovers to experienced collectors, will be
able to find access.
the bird
Forever limited to the ground mankind has
always been impressed by those seemingly weightless creatures
in between heaven and earth: the birds (hebrew: zipor,
ziporim).
Far back into mythology we find a
certain role attached to those individuals. Phoenix burns dead
just to awaken from the ashes again. Gryphon is closely
connected to the sun and embodies alertness and acumen. Ziz is
the ancestral image of the bird in jewish mythology while
Garuda - half human half eagle - takes on a role as messenger
of the gods.
As the current exhibition makes clear,
artists of our time are still playing on the bird from
different viewpoints. Mainly we will find smaller works from
almost all genres of art, drawings, collages, watercolours,
photography painted on, video and more. Also there are two
bigger sculptures mounted on the wall and installed in the
room leaving it to the observer to find a statement for what
they see. Other works will dictate more directly how they want
to be interpreted.
On a sidenote it shouldn't be missed that
the Middle High German verb vogelen originally meant the
birds' process of copulation. It was only in later times that
it came to be used for humans as well.
Image:
Sandro Botticelli
Zipporah Daughter of Jethro
Detail from " The Trials
and Calling of Moses"
1481-82
Fresco
Sistine Chapel,
Vatican, Rome
GALERIE LICHTPUNKT - AMBACHER
CONTEMPORARY
Lothstraße 78a
80797 Munich
T
+49 (0) 89 - 32 55 72
E info @ galerie-lichtpunkt.de
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Dorsch Gallery, Miami |
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Jacob Robichaux
Haptic
May 7 - June 5, 2010
Dorsch Gallery presents
Haptic, a solo exhibition by Jacob
Robichaux, from May 7 - June 5, 2010. An opening for
the artist will be held on May 7th from 7 - 9pm. The gallery
will also be open for Second Saturday on May 8th from
7-10pm.
Haptic opens up a space for the
disruption of hierarchy through play. Dusty slides click
through slide carousels and rhythmically fill the space with
projections that read at first as monochromes but, over time,
reveal a set of short gestural performances: the smashing of
faux dinner plates made of candied break-a-way glass and often
used for carnival games. A series of paintings offer a studied
and sophisticated use of vibrant primary colors, as well as
highly textured surfaces adorned with bits of smaller embedded
objects and materials including dyed wool, pins, waxed string,
straws, and jute.
Robichaux also brings along a collection of
found and altered objects including carnival supplies,
educational materials, debris found on the street, hand-made
magic tricks and magician's props as well as things found at
party-supply stores or yard sales. These will be presented as
potential performance props, performance relics, and discreet
sculptures alongside video documentation of past performances.
A backdrop installed in the gallery invites viewers to
interact with some of these objects in spontaneous gestural
performances which, in turn, will be documented and projected,
revealing the generative and continuous nature of the
work.
In addition to solo exhibitions at
Museum 52 and a bevy of recent group exhibitions in New York,
Jacob Robichaux's work was recently featured in
'Prolongation', Chez Valentin, Paris, 'Painthings' at Kevin
Bruk Gallery in Miami, and the exhibition 'this is a
performance' at Artist Curated Projects in Los Angeles. He has
recently issued a multiple for The North Drive Press and
contributed a performance for Lucky DeBellvue: Hobo Routine at
Burning Bridges. Additional forthcoming performances will take
place at the Movement Research Festival and Jack Hanley
Gallery in New York. He studied at the Parsons School of
Design.
About the curator: Christina
Linden has spent the past year working as Curatorial
Fellow at the Center for Curatorial Studies, Bard College
after graduating from the same institution last May. She
worked at galleries, museums, and non-profit art spaces in New
York, Berlin, rural Thailand, and San Francisco before
enrolling at Bard. She has published writing in Art
Lies, Art Voices, Provence, and
Women and Performance: a Journal of Feminist Theory,
and has essays forthcoming in catalogs for the Blaffer Gallery
in Houston and the San Francisco Museum of Modern
Art.
Image:
Jacob
Robichaux
Activities for Slides,
2006-2010
35mm color slide projections
Courtesy of Dorsch Gallery, Miami
Dorsch Gallery
151 NW 24
St
Miami, FL 33127
T +1 3055761278
E info @
dorschgallery.com
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Annet Gelink Gallery,
Amsterdam |
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MEIRO KOIZUMI
TOTAL ECSTASY
24 April - 22 May, 2010
Annet Gelink Gallery
proudly presents its second exhibition of Meiro
Koizumi (1976). Under the name of Total
Ecstasy, Koizumi is showing new works related to his
performance series 'Melodrama for Men'. Meiro Koizumi's
many-sided works render a portrait of modern Japanese society.
In his videos, sculptures, photos and works on paper
nationalism, rituals and dealing with a country with its
emotionally charged history play a key role. His video works
are recordings of performances - carried out by himself or by
an actor - which slowly develop into absurd, tragicomical,
sometimes even aggressive situations. Meiro Koizumi
investigates in his work the true nature of human psychology
and its deepest, darkest emotions.
The exhibition Total Ecstasy is all about
the performance 'Melodrama for Men # 4 - Historical Fuck', the
fourth part in the performance series 'Melodrama for Men' (as
of 2008). In this performance, which will take place during
the opening of the exhibition on Saturday 24 April, Meiro
Koizumi draws parallels between moments of ecstasy in
sexuality and in nationalistic feelings. Where in the previous
performances the artist puts himself in the position of
amongst others Japanese Kamikaze General Takijiro Ohnishi, who
after his war crimes committed ritual Harakiri suicide, and a
Dutch woman who was abused as sex slave during World War II by
Japanese soldiers, 'Historical Fuck' is in particular about
the Japanese sense of inferiority in regard to the West.
Koizumi assumes a double role of on the one
hand a Japanese officer, and on the other hand a blonde
(Western) woman. The sexually charged ritual acts he carries
out during the performance result eventually in a moment of
ecstasy, and a birth. Once again, this work affects personal
human suffering, but also a striking phenomenon in Japanese
society. According to the artist, Japanese men are still
speaking of a 'victory' when having sex with a blonde woman.
The sense of inferiority is still playing an important role,
certainly since World War II.
The performance takes place in a set full
of attributes and technical equipment, which continues to be
visible during the exhibition. In addition, there are
drawings, photos and archive materials on display which are
related to 'Historical Fuck' and to earlier performances from
the 'Melodrama for Men' series.
Meiro Koizumi studied at the Chelsea
College of Art and Design in London and at Rijksakademie van
Beeldende Kunsten in Amsterdam. After various exhibitions in
amongst others Tate Modern in London and Stedelijk Museum
Bureau Amsterdam he had in 2009 his first solo exhibition in a
museum at the Mori Art Museum in Tokyo and a retrospective at
Hedreen Gallery in Seattle. In addition, he participated in
the Nanjing Triennale in 2008. Upcoming shows will be during
the Aichi Triennale 2010 and the 6th Seoul International Media
Art Biennial 'Media-City Seoul'.
Image:
Meiro
Koizumi
Kamikaze Dog #
1
2009
colour photograph
58 x 48 cm
Courtesy of Annet Gelink Gallery, Amsterdam
ANNET GELINK GALLERY
Laurierstraat
187-189
NL-1016 PL
Amsterdam
T + 31 20 3302066
E
info @ annetgelink.com
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Coming Next
May 12-13 Painting & Drawing
May 19-20 Sculpture / Installation
May 29-27 Photography, Film & Video
June 2-3 Painting & Drawing
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BM Box 5163
London
WC1N 3XX
United
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+44 (0) 870 922
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