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13th February 2007 | Photography & Multi-Media February 2007 |
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 YANCEY
RICHARDSON, New York Hellen van Meene The Yancey Richardson Gallery is pleased to present an exhibition of new photographs by Dutch photographer Hellen van Meene. Known for her intimate, intense portraits of adolescent girls and androgynous boys, this is van Meene’s first exhibition in the United States since 2001. These recent portraits are primarily the result of travels to Latvia, Russia, London, Japan and Morocco between 2004 and 2006. A survey of recent work by the artist is currently on view at the Museum Folkwang, Essen, Germany and in November 2006, Schirmer/Mosel published the monograph New Work. In addition, van Meene is featured in the exhibition Family Pictures, opening February 2007 at the Guggenheim Museum, New York. Having previously worked with models she knew, van Meene’s recent work was made with strangers, primarily in their own environments: students at their school in St. Petersburg, teenage mothers at home in London, Tokyo youth on the street, and girls in a village plaza in Morocco. Acknowledging the transformative potential of photography, van Meene has described her subjects as the raw material for her own creations, stating in a 2002 interview for the Museum of Contemporary Photography catalog, "I look for a certain mood in which the girls almost figure as actors. As a matter of fact, I treat my models as objects which you can direct and guide." The current work is less fictionalized and more direct than previously, evidencing less of the performance quality of her earlier portraits. The models are now placed against flat planes of color in unadorned environments and without props. The photographs are nonetheless filled with closely observed details and subtle, expressive gestures, many of which Van Meene has added or directed. Intimately scaled (12 x 12 or 16 x 16 inches) and pressed close to the picture plane, van Meene's portraits invite and reward scrutiny at close range. Image : Hellen van Meene Untitled #200, Netherlands, 2004 15 x 15 inch Chromogenic print Edition of 10, Signed, titled, dated and editioned on verso Courtesy of YANCEY RICHARDSON, New York Gallery website Read on... YANCEY RICHARDSON GALLERY, New York |
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 Monika Sprueth
Philomene Magers Munich DAVID LAMELAS - Early Works Monika Sprüth Philomene Magers present a series of late 1960s and 1970s works by the artist David Lamelas (born in Buenos Aires, 1946). Drawing attention to two large scale film and media installations, the exhibition reconstructs seminal conceptual work from this period to address the conditions under which the object of mass media comunication and images are produced and decoded. To consider what it means to exhibit not the image, but its mediation, Lamelas work focuses on the media and the way that it shapes reality. David Lamelas is one of the pioneers of Conceptual Art and the related practice of institutional critique, which developed during the 1960s and 1970s. Linked to the most important trends of Conceptualism in Europe, his work absorbed the cultural circumstances and the artistic contexts that awaited him within each of the cities where he lived. In that sense, it is a document of that vital experiment that continuously occupied him: his own internationalisation. He works with site specific sculptures, installations, films, video- performances, photographs and drawings. Lamelas can be seen as a pioneer of the radical repositioning of sculpture in the 1960s and 1970s that abandoned traditional definitions of sculpture, displacing its materials and modes of production. In the 1970s and 1960s, situated within an emerging aesthetic of institutional critique (the conditions of spectator behaviour as forms of social experience within the public institution of art), and opposed to the neutrality of minimalist sculpture, Lamelas sought to analyse art as a means of communication, relating it to how information was conveyed by the film and television industry, and to the discourses around public space and media technology. In the light of current discussions on the relationship between cinema, art, media, and politics, his work re-presented thirty years later has lost none of its relevance. Situation of Time (1967/2007) „Invited to contribute to Experiencias Visuales (1967), at the Instituto Torcuato Di Tella, David Lamelas responded to the exhibition site by linking the institutions of culture and industry. He borrowed seventeen televisions sets - the latest models produced by Di Tella Electronics - and placed them on three walls of the room. Tuned to a non-existent channel, they emitted a bright light that took complete possession of the room. By depriving the TV sets of their function as purveyors of pictures and information, Lamelas reduced them to a zero point, a visible remnant generating a kind of white noise, a "static" of pure mediality in time.“ Here at Monika Sprüth Philomene Magers, Lamelas reinstalls this work applying the original concept with the latest technology of 2007. (from: Heike Ander, Works 1962-1976, in: „David Lamelas: A New Refutation of Time“, 1997) Film Script (1972) concerns the relation between image and the construction of reality. Film Script was one of the first cinematic installations created by an conceptual artist and is one of the most powerful works by Lamelas. The installation captures the manipulation of meaning and the convergence of reality and fiction in the mediascape. Using a 16mm film projector and simultaneously running slide projections as narrative displays, Lamelas work implies that the meaning of an image as information can be changed through editing and suppression. London Friends (1974) „Exploring the narrow zone between fiction and reality, David Lamelas invited a number of London friends to a photo studio for a photo-session. He had the photographs taken by a professional (fashion) photographer. In accordance with Lamelas‘ concept, his sujects chose glamorous poses intended to embody the image of fictionalised portraits, Lamelas thus produces a portrait of the London scene as a whole in those days.“ (from: Heike Ander, Works 1962-1976, in: „David Lamelas: A New Refutation of Time“, 1997) Image: David Lamelas London Friends, 1974 from a series of 23 black and white photographs each ca. 42,3 x 37,4 cm, framed unique Courtesy Galerie Monika Sprüth / Philomene Magers, Köln / München / London Gallery website Read on...Monika Sprueth Philomene Magers Munich |
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 Ellen Curlee
Gallery, St Louis MO Free Rein / Full Play: New Chicago Photography Adam Ekberg, Jenny Kendler, Mayumi Lake, Lilly McElroy, Lindsay Page, David A. Parker, Sabrina Raaf, Esteban Schimpf Ellen Curlee Gallery is pleased to announce FREE REIN/FULL PLAY: New Chicago Photography curated by Dana Turkovic and Anne Wischmeyer. In his essay, “On Inventing Our Own Art”, Ibram Lassaw describes the attitude being formed by artist’s of his generation: “They feel that the important thing for art is to be alive, to be full of suggestion and possibilities, to enlarge our sensibility and to intensify experience” It is precisely this synergy that becomes apparent in the work of these new Chicago photographers. Free Rein / Full Play is an exhibition that attempts to explore this phenomena, to capture this energy, with a combination of fantasy and performance, whether it utilize the body, object, or material. Although each work maintains its conceptual individuality, this association of freedom and playfulness produces a common uninhibited conceptual approach, which is enhanced by the photographic medium. Lassaw also suggests: “The artist no longer feels that he is ‘representing reality’, he is actually making reality - Reality is something stranger and greater than merely photographic rendering can show.” This is apparent in the collection of works by these artist’s, each of them produces images that in some ways, reveals a subconscious effort at Lassaw’s idea of a “new reality”. Free Rein / Full Play is a small, but concentrated attempt of capturing a spirit of art-making, in this case Chicago, and one that continues in its claim of “endless opportunity”. Image : Esteban Schimpf Emergency Blanket: The Koolhaas Building at the Illinois Institute of Technology 2005. Archival Inkjet print. Courtesy of Ellen Curlee Gallery, St Louis MO Gallery website Read on...Ellen Curlee Gallery |
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 f a projects,
London Izima Kaoru: Erin O’Connor Wears Vivienne Westwood f a projects is pleased to announce the exhibition of the first series of works by the renowned Japanese photographer Izima Kaoru to be shot in the UK with a British model. Taken on location in Kew Gardens, Erin O’Connor Wears Vivienne Westwood is a series of photographs which realises O’Connor’s own fantasy of a perfect death. Kaoru’s ongoing project, ‘landscapes with a corpse’ is internationally recognised as one of the defining oeuvres of Japanese photography of the last 20 years. As with Araki, violence and the female figure lie at the heart of Kaoru’s work, but uniquely for him each series is conceived as a collaboration between the artist and his subject. The models develop with Kaoru their own fantasy of a perfect death. Landscapes with a Corpse began as a project in fashion photography, but has become Kaoru’s singular and ongoing obsession. The images in each series are structured in a filmic progression from close up to long shot, which, for Kaoru, echoes the journey the soul takes as it leaves the body. The works represent the compelling and disquietening conjunction of beauty and mortality. This series was commissioned in collaboration with the Doll, and will be launched during London Fashion Week at On|Off at the Royal Academy of Arts, Burlington House, from 12 – 15 February. It will then be on show at the London gallery. Izima Kaoru has exhibited extensively internationally since beginning the series Landscapes with a Corpse in 1993. Solo exhibitions include gallery shows in New York, Paris, Cologne, Munich, and Verona. In 2006 his work was included in the exhibitions Berlin- Tokyo/Tokyo-Berlin, Die Kunst zweier Städte, at the Neue Nationalgalerie, Berlin; Der Contract des Photographen, Akademie der Künste, Berlin, Excess, Angel Row Gallery, Nottingham and Six Feet Under, Kunstmuseum Bern. Image : IZIMA KAORU ERIN O'CONNOR WEARS VIVIENNE WESTWOOD, 451, 2006. (C) THE ARTIST. COMMISSIONED BY On|Off, LONDON. COURTESY F A PROJECTS, LONDON Gallery website Read on... f a projects, London |
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 Cynthia Broan
Gallery, New York What F Word? curated by Carol Cole Levin Cynthia Broan Gallery will present What F Word?, a group exhibition curated by Carol Cole Levin of female artists representing multiple generations. Works that span 45 years are all somehow connected to an “F” word. In the 50's, there was only one meaning for the “F” word and that was the slang word for copulation; coincidentally, the act of love that begets the life that begins in a female womb. In the last decade, the “F” word has been used derogatively to refer to words like “feminist” and “fascist,” even “flag” was draped in controversy. How will we refer to this decade? Is this the art of the 00”s? Does it have gender? “G” follows “F” in the English alphabet. Why do English nouns not have gender like the Romance and Germanic languages? Who decided the gender of their nouns? “Say Something,” a painting of Dana Frankfort implores. Suzanne McClelland mockingly replies in Coming to a Head on how to give a blow job in pink and red. Ghada Amer and Reza Farkhondeh ever so subtly suggest females making love in Dalliances. Embroidery and fabric are everywhere, materials long associated with the female. Digital embroidery, right or left brain? Who is right? Who is left? Where is feeling? What represents fact? Jennifer Viola uses an alphabet of sign language to express more than the letter “F.” Sabyna Sterrett in Flood, hand stitches pearls on fabric printed with fish (a Christian symbol of faith) to memorialize the devastating Easter flood in 1979 of the Pearl River that flows through Mississippi, the same river that was dragged for bodies during civil rights trials in the 60's. Feminist? Fascist? Fear? Flag? Figure? Face? Ferocious? Fanatic? Faith? Future? Family? Food? Flood? Fire? Fortune? Finance? Fish? Friend? Fame? Free? Fun? Facetious? Fad? Flower? Fancy? This exhibition is dedicated to the memory of Arlene Raven. Artists: Ghada Amer & Reza Farkhondeh, Janet Biggs, Phyllis Bramson, Carol Cole, Patricia Cronin, Nancy Davidson, Lesley Dill, Diane Edison, Susan Paul Firestone, Dana Frankfort, Lauren Gibbes, Gina Gibson, Kate Gilmore Nancy Grossman, Jane Hammond, Rajkamal Kahlon Robin Kahn, Deborah Kass, Suzanne McClelland, Beverly McIver, Ulrike Mueller, Barbara Nessim, Shay Nowick, Brenda Oelbaum, Lesley Patterson-Marx, Elaine Reichek, Beatrice Schall, Rachel Selekman, Lowery, Stokes Sims, Anita Steckel, Sabyna Sterrett, Jennifer Viola, May Wilson, Image : Kate Gilmore "The Hand that Feeds You" Video Still Courtesy of Pierogi Gallery. Curator's website Gallery website Read on... Cynthia Broan Gallery, New York |
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 VILMA GOLD,
London -in apertura- : Martin Soto Climent Raphael Danke Jennifer West For the group show In Apertura, LA-based artist Jennifer West will present two films - examples from a series of cameraless films produced in 2005/6. Using a variety of techniques, West exposes, manipulates and transforms 16mm film stock to produce results reminiscent of 60s psychedelic visuals. West uses a range of everyday materials to marinade the film, from toothpaste to patchouli incense, Pepto-Bismol and guacamole, and exposes them with light sources such as fireworks; static electrical sparks and Xerox light.Other alchemic materials that transform the film include Jim Shaw's urine and Comme des Garons perfume, amongst West's cocktail of corrosives. In this exhibition we will present West's Tar Smell Film (16mm film negative exposed with cigarette light, dragged along beach sand tar, rubbed with skin so soft lotion and dripped with manic panic hair dyes based on notes for Tar Scent by CdG) and Yeah Film (16mm film leader soaked in clover, belladonna and poppy tea, inscribed with the word yeah written in beet- juice and Pepto-bismol) which together, through their titled narrative and heady hallucinatory abstraction evoke a tale of the West Coast, of hanging out at the beach, smoking and drinking mind-altering teas. In Raphael Danke's collages, the subject is removed from the page, leaving a void or aperture: an unidentifiable shape. The images assume the feeling of a missing person from the room. Remaining sections of furniture, hair, light and shadow point towards the one time presence of the figure, but the mood reflects the absence.The collages give the impression of an empty film set or stage, where the potential of the missing body is felt as a latent energy. Danke interweaves the substance of the fictive space with the physical and psychic energy of the absent human body. Mexican artist Martin Soto Climent combines everyday objects to create simple sculptures that, through their seemingly effortless combination emphasise their loaded histories. Using often sexually charged objects such as pearls, shoes, hats and bicycle saddles, Climent creates relationships that examine masculine and feminine motifs and relationships between the urban and the body. Climent's sculptures sometimes rest together harmoniously, sometimes focusing on their tenuous contact, and sometimes to create friction. Despite their apparent simplicity the sculptures are loaded with their own power and symbolic significance Image: Raphael Danke Alison Goldfrapp 2006 Courtesy of VILMA GOLD, London Gallery website Read on...VILMA GOLD, London |
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 Houldsworth,
London ZOE WALKER & NEIL BROMWICH : Limbo Land Houldsworth is delighted to present Zoë Walker and Neil Bromwich’s Limbo-Land for the first time in London and to offer an opportunity to see an important multi-media installation by this ambitious duo, currently receiving critical acclaim worldwide. Limbo Land is a space of oblivion, confinement, or transition. It is also an unspecified region between dreams and reality where frontiers are undermined and negotiated. Zoë Walker and Neil Bromwich’s video installation, shot at dusk and accompanied by the featured 3-metre inflatable moon, is concerned with precisely such in-between states and places. The juxtaposition of lightness and weight is encompassed in the uncanny presence of a moon within the gallery walls. Similarly, the astronaut protagonist, the artist herself, is caught between land and sky, an amateur comically caught in a forestalled lift-off. Limbo-Land invites the viewer to venture forth into an unknown space that lies between precarious states of being. The use of play and frivolity to encourage reflection is also echoed in Walker and Bromwich’s more recent artistic endeavours. Limbo-Land offers a foundation from which to contextualise the growing inventory of art produced by these two artists and to how they reveal art as a catalyst for change. Friendly Frontier (2003- 2005), Love Cannon (2005-2006) and the ongoing Panacea project (in collaboration with Michael Pinsky) further explore art’s ability to overcome boundaries, and to function as a universal formula for social, economical and political problems. Zoë Walker and Neil Bromwich have worked together since 1999 with major projects including My Island Home for the V&A; Urban Nomads at South London Gallery; Fusion for St Johns Hospital Livingston and Fruitmarket Gallery Edinburgh; Celestial Radio for COAST with Commissions East; Love Cannon Parade with the Great Unsigned and Whitechapel Gallery; Site- Seeing; A Disneyfication of Cities at the Künstlerhaus, Vienna; and Somewhere Special at the Australian Centre for Contemporary Art, Melbourne. Panacea, their most major project to date, has travelled from Centre de Création Contemporaine, Tours, France, Parvis Centre d’Art Contemporain, France, John Hansard Gallery, Southampton, and Cornerhouse, Manchester, and tours to Milton Keynes Gallery in June 2007, sponsored by the Wellcome Trust and Arts Council England. The Panacea catalogue and a monograph on Zoë Walker & Neil Bromwich are to be published by John Hansard Gallery and distributed by Cornerhouse Publications in May 2007. Image : Zoë Walker and Neil Bromwich Limbo-Land inflatable moon, video projection, drawings Courtesy of Houldsworth, London Gallery website Read on...Houldsworth, London |
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 YVON LAMBERT,
Paris Alice Anderson : RECOLLECTION-The woman who saw herself disappear Yvon Lambert is delighted to present the first personal exhibition of Alice Anderson at the gallery . The gallery represents the artist since 2002; she has been invited to present her work at the Studio in 2002 and in 2004. She has been part of the group exhibition “Les Enfants du Paradis” at the gallery in 2004. FREUDIAN TALES: Alice Anderson has been developing an extremely mature body of work since 1999. Delving into the various levels of a possible autobiography intertwining the imaginary and the fictive. She has an amazing way of telling stories, creating intense dream-like atmospheres with smooth and perfect images serving as a screen for the blackness and violence of the familial situations she speaks of. Her characters act like automatons: Lost in a labyrinthic and Kafkaesque administration at closing time (N.I.H.R., 2002). Hypnotized poisoning milk (The Idiot of Evenville, 2004), a mother suggesting her daughter to jump out of the window (Prompt Book, 2005) For this new exhibition Alice Anderson is presenting a new film and a new installation. The architecture of the film "RECOLLECTION” –The woman who saw herself disappear, 2006 was conceived as a labyrinth inviting the spectator to wander in the imagination of a woman ghost who cannot stop reliving the day of her own disappearance and yet who cannot understand how it occurred. The only thing she remembers from her childhood is her mother banishing her for having committed a crime that condemns her to eternally assassinate her future self. The installation “INVIGILATOR” 2007 is featuring silicon a woman watching over the visitors. Image: Alice Anderson Courtesy of Yvon Lambert, Paris Gallery website Read on... YVON LAMBERT, Paris |
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