re-title.com
  9 December 2010
Painting & Drawing

CHARLIE SMITH london
MARC JANCOU CONTEMPORARY, New York
WINKLEMAN GALLERY, New York
JOHNEN GALERIE, Berlin
 

 
CHARLIE SMITH london
 
 
Gavin Tremlett, Portrait Study 6, 2010 
 
 
GAVIN TREMLETT
Amusements
 
10 December 2010 to 29 January 2011
 
“Situated between an embrace of vulgarity in contemporary culture, and a yearning for a lost mode of figuration in painting, my work establishes a place of intersection between the sublime possibilities of painting, and the closed, crude nature of pornography.”
 
CHARLIE SMITH london is delighted to present Berlin based artist Gavin Tremlett with his first one person show in London.
 
Tremlett’s portraits and full figure nudes provide a point of entry into an investigation of the human self. Playfully encouraging the gaze Tremlett’s classically rendered adolescent subjects invite us to engage voyeuristically whilst simultaneously turning the gaze back upon itself, as if to both absorb and reflect; to watch and be watched; to tempt and to reject. Displaying an emphatic sexuality, Tremlett’s subjects are at once enticing, inquiring and accusatory. Innocent and guilty, they are both victims and perpetrators.
 
Tremlett’s unparalleled technical ability combined with the seductive come hither pose of his subjects leads us into a confrontation with the uncanny. Beauty vies with deformity as his classically rendered, often mask-like visages both obscure as well as disclose. This rendering of face as mask is often coupled with abstract, painterly marks that serve to obfuscate the subject, thus interfering with the totality of an ideal self. There is a denial of the whole but also a doubling in process here, both physically and symbolically. The idea of the double, which can be read into portraits, reflections, shadows, totems or even the continuation of a blood line, as the psychoanalyst Otto Rank would have it, is a narcissistic extension of the self and a guarantee of immortality.
 
Tremlett’s paintings then are beautiful and unsettling manifestations of numerous combined and fragmented sources. At once we are attending art history, pornography, popular culture, nostalgic ideals, and the artist’s and our own inner drives and memories, both apparent and repressed.
 
Gavin Tremlett, born: 1977.
Education: 2001 – 2004: MA in Painting, Royal Academy Schools, London; 1996 – 1999: BA (Hons) in Fine Art (First Class), Loughborough University School of Art & Design
Selected Exhibitions: 2010: Amusements (Solo), CHARLIE SMITH london, London; The Future Can Wait (curated by Zavier Ellis & Simon Rumley), Shoreditch Town Hall, London; New British Painting (curated by Zavier Ellis & Pilvi Kalhama), Gallery Kalhama & Piippo, Helsinki; Papyrophilia (curated by Zavier Ellis), CHARLIE SMITH london, London; 2008: Be Stiff (Solo), Wohnmaschine, Berlin; Prague Triennial, National Gallery of Contemporary Art, Prague; 2007: Malkunst 2, Contemporary Painting in Berlin, Fondazione Mudima, Milano; The Dream of Putrefaction, The Metropole Galleries, Folkstone; 2006: The Hobby (Solo), Wohnmaschine, Berlin; Icons, Chung King Project, Los Angeles; 2005: Introspective Men, Madder 139, London; Schmidt, Tremlett, Tzamouranis, Wohnmaschine, Berlin; 2005: Faux Realism Part 2, The Rockwell Project, London; Faux Realism Part 1, The Royal Academy Schools Gallery, Hornsey; 2004: The Arrival s, The Pump House Gallery, London
Awards & Residencies: 2004: The Gordon Luton Award for Fine Art Painter-Stainers
Collections: Thomas Rusche, Münster, private collections throughout Europe
 
 
Image:
Gavin Tremlett
Portrait Study 6
Oil & graphite on paper
54x45cm
2010
Courtesy of CHARLIE SMITH london
 
 
CHARLIE SMITH london
2nd Floor
336 Old Street
London, EC1V 9DR
T +44 020 7739 4055
 
 
 
 

 
MARC JANCOU CONTEMPORARY, New York
 
 
Alexi Worth, The Formalists, 2008
 
 
PRIVATE FUTURE
CURATED BY MICHAEL CLINE
 
December 9 - January 29, 2011
 
Marc Jancou Contemporary is pleased to announce Private Future curated by Michael Cline. The selection of artists spans generations and geographical locations but is united through medium and a savvy dialogue with the contemporary world presented in an unconventional way. The exhibition will feature works by Ion Birch, Carter, Scott Cassidy, Thomas Chimes, Jonathan Gardner, Jess, Kurt Kauper, Justin Lieberman, Kerry James Marshall, Erik Parker, Lari Pittman, Peter Saul, Jim Shaw, Torsten Slama, Alexi Worth and Jakub Julian Ziolkowski.
 
Curatorial Statement:
This exhibition is to be a showcase of painting and drawing that at first blush might seem visionary, with its idiosyncratic views of social and relational norms, alternate realities, and internal logic. The work both engages and reflects contemporary life by having one foot firmly planted in ‘now’ and the other in the slippery past, by bridging the two with old fashioned story telling.
 
Many of these artists have careers out of step with art trends. They are stubbornly ‘old’ media and are not market driven but rather maker driven. Their art provides an alternate path to the well-trodden and traditionally linear conception of modern art. Rather than explore the branches and tender new shoots of art practice, they find sustenance and nourishment from the trunk, and more importantly the subterranean root system, where what some might call ‘tradition’ is found. This is not tradition with a capital ‘T’, this is tradition as it really is, full of perversity, distortion, religious feeling, mysticism, occultism, and sexual innuendo. In the way that something seemingly innocuous can appear strange after the scab of history and commerce have been plucked from pink flesh, these artists re-present the world as their own and refashion it to their own private means.
 
 
Image;
Alexi Worth
The Formalists, 2008
oil on nylon mesh
54 x 36 inches / 137.2 x 91.4 cm
Courtesy of Marc Jancou Contemporary, New York
 
 
Marc Jancou Contemporary
524 West 24th Street
New York, NY 10011
T +1 212 473 2100
 
 
 
 

 
WINKLEMAN GALLERY, New York
 
 
Christopher K. Ho 2010 / Hirsch E.P. Rothko 2001 (No. 9), 2010
 
 
Christopher K. Ho
Regional Painting
 
Nov 18 - Dec 23, 2010
 
Winkleman Gallery is very pleased to present Regional Painting, our second solo exhibition by New York artist Christopher K. Ho. In this richly layered show, Ho calibrates fiction, fact, and figment into a precarious universe, at the center of which is one Hirsch E.P. Rothko, an anagram of the artist’s name. The invention of and creations by this shadow artist—a performance, twelve paintings, and a ghostwritten memoir—deploy conceptual art against itself to liberate Ho from its self-imposed constraints, and collectively propose regional painting as a viable model for contemporary practice.
 
License Plate Shed (2009-10) frames the exhibition. Part endurance art, part experiment, part polemic, it consists of Ho’s yearlong sojourn in a remote mountain town in southwestern Colorado. Working and living in a 700-square foot shed covered in license plates, the artist allowed himself to become vulnerable to the region’s ideas—one might say the ideology of regionalism. The attendant suspension of criticality—both in the sense of being critical and of having art-historical knowledge—encouraged different modes of ‘critical’ to emerge.
 
In the twelve Untitled (2001/2010) paintings, Ho allowed himself to unselfconsciously paint. Their lack of pursuit of originality or polemic paradoxically underscores their authenticity. A third term between and beside avant-garde and rear-guard, regional painting’s flank position allows for it to accidentally comment on the mainstream. Regional art proposes alternatives not by willful acts of judgment, but by alliteration of and variation on art that is proximate but not entirely accessible. Under its rubric, an artist’s relationship to his contemporaries and forbears is communal rather than competitive. That Ho felt comfortable enough to revisit painting after a ten-year hiatus is a result of regionalism’s nurture rather than a reconnection with nature.
 
By replacing derivation—borne of lack of imagination—with emulation—a generous and generative act—Ho alleviates the ‘anxiety of influence’ and thus the need for the defensive maneuvers of conventional critique, including negation, subversion, irony, and even parafiction. This allows for other strong subjectivities in the creative process—an amplification of Ho’s longtime commitment to collaboration. Such is the case with Hirsch E.P. Rothko by Hirsch E.P. Rothko (2010), a memoir of Ho/Rothko’s Colorado sojourn ghostwritten by Inez Kruckev, who had creative latitude; Ho’s only contribution was a polemic about regionalism embedded in the narrative.
 
In Hirsch E.P. Rothko’s own words, from the memoir: “Regionalism is not a style, but a mode of and model for making. It not so much aims to suspend the viewer’s disbelief as it enables an artist to suspend his self-consciousness. The suspension of criticality, whether reflexive or deconstructive, opens a fictive space where a conceptual artist can be a painter, a painter a writer, a dealer a publisher….”
 
Christopher K. Ho (b. 1974, Hong Kong) has had solo exhibitions at Winkleman Gallery (2008) and GALERIA EDS in Mexico City. He was included in the 2009 Incheon Biennial, the 2008 Busan Biennale, and the 2008 Chinese Biennial. He has participated in group exhibitions at the Queens Museum, Socrates Sculpture Park, Dallas Contemporary, MASSMoCA at the Berkshire Botanical Gardens and the Delaware Center for Contemporary Art; and internationally at the Freies Museum in Berlin, the Museum of Contemporary Art in Srpska, and the Other Gallery in Shanghai. He received his B.F.A. and B.S. from Cornell University and his M.Phil from Columbia University.
 
 
Image:
Christopher K. Ho 2010 / Hirsch E.P. Rothko 2001 (No. 9)
2010
Acrylic, oil, wax and graphite on linen
12 x 16 in
Courtesy of Winkleman Gallery, New York
 
 
Winkleman Gallery
621 West 27th Street
New York, NY 10001
T +1 212.643.3152
 
 
 
 

 
JOHNEN GALERIE, Berlin
 
 
Andrew Grassie, Archive: after Jan Merta's '…a spolu i zapadala', 2000, 2010
 
 
ANDREW GRASSIE
Archive
 
20 November 2010 - 15 January 2011
 
For his first solo exhibition in Germany, Scottish artist ANDREW GRASSIE (b. 1966, Edinburgh) went through the gallery archive and selected various images, some detailed shots of individual works, some exhibition views. Instead of putting the focus on the gallery history’s ‘highlights’, Grassie was rather interested in the different modes of photographic documentation and all questions that arise by transforming them into paintings.
 
This exhibition opens different layers of a discourse, one layer dealing with documentation, another with the fact that the artist turned photography into painting. What is the relationship between reality and illusion? Another question debates the potential of documentation as a perfect surrogate for the original: At first glance it is hard to tell Grassie’s egg tempera paintings apart from photographs. When looked at from up close they gain very subtle painterly qualities. Their small format invites the viewer to come closer and study them very thoroughly. Tension exists between the ‘softer’ painterly surface and its quality as a handcrafted object. There is an area of conflict between the depiction of a random photograph that can be reproduced anytime and the pictured art works and exhibition space. Grassie decided against perfect documentary photographs, and rather chose amateur shots of wo rks by Dan Graham, Martin Creed, Jan Merta, Ian Wallace, Stephan Balkenhol and James Welling, as he is interested in their small flaws and missing perfection. The extinction of any personal hand opens up an area of ideas reaching much further than the artist’s subjective world. The pictures are visually attractive and, caused by their book-like size feel at the same time close to the virtual world of thoughts and language.
 
This exhibition is the third and final show celebrating the 25-year history of the gallery. The first was titled ‘We are stardust, we are golden’, and focused exclusively on the female artists shown over the years by the gallery. The second exhibition ‘Conversation Pieces’ was curated by Jens Hoffmann and ‘staged’ both historical, and current artistic positions represented by Johnen Galerie. This ‘chamber play’ was also inspired by the gallery’s close proximity to the Deutsches Theater.
 
On the occasion of Andrew Grassie’s first exhibition in Germany, the gallery will publish a catalogue with an essay by Raimundas Malasauskas und a dialogue between Malasauskas and the artist.
 
Andrew Grassie (b. 1966 in Edinburgh, UK), studied at St. Martin’s School of Art, London 1984-88 and received his M.A. at the Royal College of Art, London in 1990. Solo Exhibitions include „Andrew Grassie: Painting as Document“, Talbot Rice Gallery, University of Edinburgh, 2008; „New Hang“ Art Now, Tate Britain, London, 2005. His work was also presented at Whitechapel Gallery, London, in 2009. Selected publications: „Andrew Grassie: Private, Tate New Hang, Group Show, The Making of the Painting“, Sperone Westwater & Maureen Paley, 2006; „Art and Photography“, Phaidon, 2003.
 
Andrew Grassie’s works are held in the collection of Tate Britain and the United Kingdom Government Art Collection. He is working on ongoing commissions for the Goetz Collection, Munich and Rennie Collection, Vancouver. Andrew Grassie lives and works in London.
 
 
Image:
Andrew Grassie
Archive: after Jan Merta's '…a spolu i zapadala', 2000, 2010
Tempera on paper on board
15,9 x 20,5 cm - 6 x 8 in.
Courtesy of JOHNEN GALERIE, Berlin
 
 
JOHNEN GALERIE
Marienstrasse 10
10117 Berlin
Germany
T +49 30 27 58 30 30
 
 
 
  
 
 

 
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