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18 December, 2006 | Seasonal Greetings from re-title.com |
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 Haunch of
Venison, London Patrick Tuttofuoco - Chindia The exhibition is to focus on the two main emerging world powers – India and China. The show is to tour the urban landscapes of both counties, with the artist’s photographs, maps, sculptures and video projections producing an ever evolving megalopolis. The artist’s experiences and observations of both countries become blurred through different scenes, shapes and sounds. The exhibition is based on a recent trip to 17 of the world’s fastest growing cities over three months, in ten different countries. Travelling in the company of an architect and two film makers, Tuttofuoco documented all he saw, photographing, interviewing and absorbing lifestyles, architecture and ways of living. The aim of the travellers was to survey the contemporary city, done in the context of an examination of the future of urbanization. Tuttofuoco has produced a four meter high sculptural interpretation for each of the cities Shanghai, Beijing, Delhi, and Bombay. Acting as both emotional and socio-cultural reflections of the artist’s experience of each place, the bright colours and modernist forms of the sculptures reflect the cities’ rapid development and globalisation. Collaboration is a natural part of Tuttofuoco’s work. Long Distance Runners, a video projection and mirror work, was conceived and made with the artist’s friend and film maker Mattia Matteucci. The work uses poetic film footage the two artists shot together in India and China, the mirrors reflecting the cityscapes into infinity. Image: Patrick Tuttofuoco Long Distance Runners 2006 Six part video projection - six mdf screens, six video beamers, six dvd players, six mixer audio speakers Running time approx 30 min each screen Each screen 2 m diameter Copyright Patrick Tuttofuoco, courtesy Haunch of Venison Gallery website Read on... Haunch of Venison, London |
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 Zach Feuer
Gallery, New York TAL R : Le peintre n'est pas là Zach Feuer Gallery is pleased to present Le peintre n'est pas là, the second New York solo exhibition by Israeli/Danish artist Tal R. The show, featuring five new paintings, will be on view from November 16, 2006 – January 6, 2007. Le peintre n'est pas là is the final show in a series of four exhibitions in which the artist restricts his color palette to seven colors: pink, yellow, green, red, brown, black and white. Working within these confines, the artist is enabled to breach conventions through a play on expectations that propels his work forward. For the exhibition, Tal deliberately selected a French title that instills the show with a sense of importance by associating it with Grand 19th Century French academic painting. He plays with the rules of academic painting with paint straight from the tube, schematic renderings and flat or skewed perspectives with shifts in scale. Tal further challenges formal expectations by exposing the painter's assumed working process. The paintings featured in the show contain large "unfinished" sections of white primer and under drawing that depict the stereotypical painter's haunts: the studio, the academy and the drinking hall. However, in each work, the painter is conspicuously absent. Image: TAL R Gate Brown (04.08.06) 2006 Mixed media on paper with painted frame 11 3/4 x 8 1/4 inches Gallery website Read on...Zach Feuer Gallery, New York |
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 Monika Sprueth
Philomene Magers Munich Philip-Lorca diCorcia - Early Works The New York artist Philip-Lorca diCorcia takes photographs that operate between the documentary tradition and the staged superficial images of film and advertising. In the late 1970s diCorcia began his series Family and Friends, taking photographs of friends and family members in deliberately staged settings and poses. He shows these people in seemingly banal everyday situations that on one level make the photos look like snapshots. Scenes like these are familiar, and yet it is hard to turn away from the pictures. The staging is so accomplished and finely planned, right down to the last detail, that it compels us to linger, and to consider the emotional and psychological meaning behind what seems to be just everyday. Typically for diCorcia’s work, a combination of natural and strategically employed artificial light lends the photos a remarkable sense of theatre. The light seems to lift the subject of the photo to a plane beyond the everyday situation. As it explores the surface of what is presented, it turns the scene into a stage, resembling a film still that the viewer can only really understand in terms of the whole plot – only there is no such plot. The protagonists of these pictures seem caught in a freeze-frame, and the world around them has come to a standstill. A familiar situation suddenly appears unreal, because the artist has somehow stopped time and revealed the actual complexity of the scene. We cannot help sensing that something special is happening here, but what that might be remains obscure. This forces us to develop narrative strategies that examine the limits of the frozen scenes and attempt to come up with some kind of storyline. The way the scenes are staged makes the action all the more direct and therefore also confronts us with their banality, and with the private nature of the moment captured – and ultimately with the ever-recurring moments of our own everyday lives. Philip-Lorca diCorcia successfully stages the surface to guide our attention to what lies beneath it, and we end up wondering about ourselves. Image: Philip-Lorca diCorcia Brian, 1988 Ektacolor print, framed 24 x 30 in, Edition 20 Gallery website Read on...Monika Sprueth Philomene Magers Munich |
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 Hilger
contemporary, Vienna Daniele Buetti Daniele Buetti exalts serene human bodies or symbolically gesturing hands into heroic images, which can be used to separate the individual pictures into passive and active. Some bodies emerge out of the ambience, iridescent between grey, brown and green, or are only schematically localised behind a veil in the distance. Others with lowered head and closed eyes deny the onlooker any kind of eye contact. Despite this recoiling and introverted body language, the picture space is steered into the enigmatic by the figures, charged in effect in its reduced imagery. Above all the white points, like light reflexes, wreathing and eddying in cloud-like forms and organic configurations, abstract the physical presence and lend it aura. Image: Daniele Buetti venetian mirror 4, 2006 lightbox, pu-foam Gallery website Read on...Hilger contemporary, Vienna |
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 E:vent,
London We’ve lost the hearts and minds - Created by Reza Aramesh Lewis Amar, Reza Aramesh, Gordon Cheung, Henry Coleman, Gian Paolo Cottino, Dan Griffiths, Antony Gross, Cyril Lepetit, Will Hunt, George Kontos, Steve Klee, Goshka Macuga, Cristina Mariani, Theo Michael, Redux Project, the hut project, Theo Prodromidis, TemporaryContemporary, Alex Zika, Jen Wu. In August 2006 when I was invited by the E: vent to put together a show, I suggested to create something involving the artists from Scrapbook 5 (though few more artists have been invited since...) at the time I didn’t think about the content and what I wanted the show to be about etc... I’ve finally come to work it out... for the exhibition to investigate the followings: (it sounds theoretical but in fact I am hundred percent sure it will look as non- linear as the Scrapbooks and as open ended.) 1. Contradictions and contradictory traditions of curated shows by artists and group shows as a whole. 2. To be dealing with aesthetics understood as a category of politics rather than politics! 3. To ask the question - in the climate where all the emphasis and the energy in art are being expended on getting a presentable surface - is it possible for art to operate successfully outside of this arena? 4. To deal with the grammar of art rather than the medium and finally posing the question can art be political (taking political art out of the equation)? Reza Aramesh Gallery website Read on...E:vent, London |
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 Studio 1.1,
London Grotto (if it ain't baroque don't fix it) studio1.1 presents a group show which takes Christmas by the throat and wrings the last drop of commercial art from it. In an anti-curatorial experiment we give you a hang of anything up to 200 works that, regardless of size, will also pay scant regard to whatever hangs or stands beside them. We are hanging the show 'blind'. There is no privileged position: - what you see is what we got. Is the work or your stomach strong enough? Do the artists dare? How dare we? The show includes video, sculpture, painting, installation, whatever you can think of on the grounds that it brooks all and every 'interference'. Where did this notion of interference come from? Was it in any case an arrogance of cold war CIA -fuelled self-expressionists (God Bless 'em)? Hasn't it out- lived its usefulness? Or has it been relaunched, rebranded quite perversely as intertextualism (sic)? Playing its part in accelerating the decay of magic and the rise of the pointlessly grotesque? Post-post modern, post ironic, post everything, in fact lost in the Christmas post.. Let's switch the lights off on Oxford Street. - I bring a message from your master Marcus Licinius Crassus, Commander of ltaly. Your lives are to be spared. Slaves you were...and slaves you remain. But the terrible penalty of crucifixion has been set aside...on the single condition that you identify the body... or the living person of the slave called 'Grotto Artist'. - I'm Grotto Artist! - - I'm Grotto Artist! - - I'm Grotto Artist! - - I'm Grotto Artist! Artists include: Mike Bartlett, Stephen Harwood, Dai Roberts, Keran James, Eduardo Padilha, Sharon Hall, Peter Linde Busk, Will Stein, Kate Street, John Summers, Cathy Lomax, Richard Ducker, JA Nicholls, Laura White, Lena Nix Gallery website Read on...Studio 1.1, London |
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 Lehmann Maupin,
New York Sergio Prego Sergio Prego typically examines our set notions of space and of time's linear development. For his first exhibition at Lehmann Maupin, Sergio Prego will present two films and large sculptures where time is suspended and space is manipulated. The new film "Black Monday" depicts a small explosion and plume of smoke captured from several viewpoints in the artist’s studio. This single moment is fixed in time then manipulated with a computer to upset the usual relationship between space and time, creating what appears to be a three-dimensional sculpture in video. "10 to 0 Degrees," Prego’s most recent film, also explores the conventional notion of linear time and attempts to cause friction between the simple documentation of an action and the narration that results from these related elements. The film directly references acclaimed Russian director Andrei Tarkovsky's 1972 cult classic "Solyaris." Filmed through the tunnels and streets of Tokyo, Prego utilized four cameras to capture the "futuristic" landscape. In the original film, the future was represented as a contemporary highway scene. Here the notion of the future has been updated. With several cameras recording simultaneously inside and outside of the car as Prego travels through the cityscape, he is able to give different perspectives on the same view. In homage to Bruce Nauman, Prego constructed "Sunoise," a large sculpture comprised of two fluorescent tubes joined by mechanical arms. Each light moves independently of the other, folding and rotating as though dancing in the gallery. In another part of the gallery, Prego presents his newest sculpture made of large sheets of damaged metal in an attempt to alter our perceptions of space. Spanish artist Sergio Prego was born in San Sebastian in 1969. Prego works in many different fields of media including video, photography, performance art, installation, and sound. Prego has exhibited extensively in the United States and abroad, most recently at Centro de Arte Contemporaneo de Málaga in Spain, Museum of Contemporary Art in Denver, and P.S. 1 MoMA in New York. Prego also created a special installation at the Palazzo delle Papesse-Centro Arte Contemporanea in Siena in 2005. Image: SERGIO PREGO Installation View 1 December 2006 - 10 February 2007 Left: Untitled, 2006, steel, aluminum, and sandbags Right: Sunoid, 2006, mechanized arms with fluorescent lights Gallery website Read on...Lehmann Maupin, New York |
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 Foxy Production,
New York JIMMY BAKER : THE CAPTIVES Foxy Production presents The Captives, the inaugural New York solo exhibition of Cincinnati based artist Jimmy Baker. The Captives constructs a compelling imaginary informed by the relationship between war and technology. In this boldly figured mix of painting, sculpture, sound, photography and video, Baker grapples with the costs of progress. Implicating himself and his viewer, he rewires found objects and familiar scenes to produce a flux of emotion, doubt, and thought. Passaro’s Flashlight, an installation comprising sculptural elements, video and a wall drawing, refers to a reported case of torture by a US contractor of an Afghan detainee. A flashlight, wedged into a simulated sandbank, acts like a pinhole camera; when peered down, it reveals footage of the turbulence in Iraq. The surrounding drawing, reminiscent of Heavy Metal symbolism, has a heraldic bearing that alludes to bloodlines and collective symbols, to violence and power. Baker here combines moral complexity with a visual force that recalls Hans Haacke’s conceptual representations. Controlled Room is a matrix of flat-screen TV frames containing satellite photographs, gleaned from the Internet, of CIA detainment camps from across the globe. Evoking a war nerve center, the work acts as a document of sites of inhumanity, while also exploring the growing functionality of the Internet as a dynamic archive of human activity. The work places the viewer in conflicting positions: as voyeur, witness, and supervisor. The Prophets is a series of miniature portraits of leading Heavy Metal musicians arranged in a pentangle. Succinctly rendered in oil with resin coatings and composed in soft hues with flat backgrounds, Baker’s intense works give 18th century portraiture a glossed-up digital feel. Each painting has an imperfect, dripping rubber frame that counterpoints the noble gaze of its subject. These fierce men, whose music so often speaks of violence and destruction, are given a beatific luster. Image: Jimmy Baker The Prophets: Tom Araya, 2006 oil and resin on panel, rubber on frame 9 x 7 in. / 22.9 x 17.8 cm Gallery website Read on... Foxy Production, New York |
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 Caren Golden,
New York Photo Femmes Caren Golden Fine Art is pleased to present PHOTO FEMMES, an exhibition of photo-based works by Heather Bennett, Julee Holcombe, Francie Bishop Good, Laura London, Fay Ray, and Carly Steward. Whether using the photographic medium to investigate the real or to create the imaginary, they reside in an era of mass communication which forms a common cultural prism through which their art is viewed. Heather Bennett is both the subject and documenter of her fictions. She parodies classic feminist parables and deconstructs the portrait of woman in contemporary visual culture. In her most recent body of work, her highly stylized images present iconic characters of female oppression rendered with the stylized veneer of fashion. Her imagery juxtapose the subservience of her self-portraits to her position as the author and director of the image. Francie Bishop Good has documented her niece, Carly, for more than nine years. Her ongoing project is a prolonged meditation on the relationship between a young girl and our culture at large. Frequently a looming, out-of-focus figure on the periphery of an unsettling mise en scène, Carly is the surrogate for the artist, the viewer, the universal social consciousness -- a girl/woman forming her sense of identity in a chaotic world. Laura London’s seemingly spontaneous images are in fact the result of her careful orchestration of the setting, costumes, lighting and stage direction of her photographs. In her newest series titled "Portraits on Location: Young Hopefuls," London has imbued the optimism of youth with suggestions of possible failure and disillusionment. The cultural signifiers of each chosen location alter the otherwise positive image of youth’s limitless potential. Using hundreds of digital photographs to form her montage, Julee Holcombe's seamless images emulate Renaissance paintings while commenting on contemporary issues of identity. She instills psychic tension in each of her works by embedding her temporal subjects within timeless cultural frameworks. In “Self as Narcissus” she is both the author and a double subject of the photograph, confounding the viewer with a multitude of identities within a single image. Fay Ray co-opts photographic images from magazines to explore the commodification of the female body. By coupling the mechanical and the corporal, she transforms the figure and the object to create images that transcend either category. Aptly named “Thing Inside Myself,” her series of collages illustrates how much we are a co-mingling of the interior and the exterior, the physical and the material, the spirit and the tangible. Carly Steward's photographs are a coda to the work in the PHOTO FEMMES exhibition. As the other artworks are filled with figurative images, self- portraiture and implied narratives, Steward's work document museum installations after the exhibition has been dismantled and the artifacts removed. Attention is drawn to the artifact absent from its intended context and leads us to question what in fact is the subject matter that we are viewing — the empty space, the display as an architectural structure or the photograph itself as discrete object. Image: Fay Ray New Flesh: 12, 2006 unique photo collage, 20 x 15 inches Gallery website Read on... Caren Golden, New York |
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