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23 May 2007 | Sculpture & Installation May 2007 |
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 Galerie Eva
Winkeler, Frankfurt Jürgen Krause & Gert and Uwe Tobias 50°06'36,40"N 8°40'42,24"O 25 May 2007 - 13 July 2007 The gallery Eva Winkeler is pleased to present the artists Gert and Uwe Tobias in their second show at the gallery together with Jürgen Krause. The show at the gallery displays separate works by each artist as well as one central joined piece. The rather conceptual working artist Jürgen Krause measured in 18 points of cartographic means the way from his studio until one certain point in the gallery. This point is the position which serves as the show title (50°06'36,40"N 8°40'42,24"O) but will also feature one big installation by Gert and Uwe Tobias. The object will somehow represent materials the artists use for their process of woodcutting but also additional found pieces of every day usage, altogether the object will reach from the floor until the ceiling of the gallery show room. The cartographic position and its way from the studio of Jürgen Krause can be seen in a separate reduced map only highlighting the measured way the artists took from his working place until the point where the sculpture is located. Furthermore Jürgen Krause is showing 7 framed drawings on paper - these drawings look on the first sight like mathematical lined papers from a scrap book. But on the second view one will see that all the lines are drawn by hand in such an exact way, that they first resemble like mathematical lined papers. On the opposite wall of these seven drawings, the artist is projecting one drawing on a large scale produced directly on the wall. By doing this Jürgen Krause is referring to an old method of wall painting. The invitation for this exhibition is based on a woodcut, by Gert and Uwe Tobias and is also issued in the fair. Date, name of the artists, the gallery and the exhibition are part of this work. Complementary colours and the fine production process of woodcarving support the topics: tradition, art and culture of Gert and Uwe Tobias, and through its content the position of radical reality as Jürgen Krause shows it in his detailed works. Therefore, the piece displays a mixture of the related positions of the meshing artists. Jürgen Krause works on material- and existential borderline experiences. Gert and Uwe Tobias construct and deconstruct reality and narration with the help of different media what is also represented in this crafted and quoting work. The perception and functioning of both artists collaborate in this exhibition and let order and disorder collapse. Image: Gert and Uwe Tobias without title, 2007 woodcut on paper 165x200 cm courtesy of Galerie Eva Winkeler Gallery website Read on... Galerie Eva Winkeler, Frankfurt |
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 Matthew Bown
Gallery, London Reza Aramesh Who is the third that walks beside you? 1 - 30 June 2007 Matthew Bown Gallery is pleased to announce a solo exhibition by Reza Aramesh, Who is the third that walks beside you? Who is the third that walks beside you? is a meditation on the nature of human identity. It questions the permanence or fixedness of identity and suggests that it is essentially 'performative', or, to use a phrase of Judith Butler's in Bodies that Matter, 'instituted through a stylized repetition of acts'. The exhibition is composed of three simultaneous video projections. Each projection is onto a screen made of boards that is propped against the gallery wall. One shows Masaki Kato, a professional bagpipe player, who plays his instrument while standing on a traffic island at the junction of Grays Inn Road and Theobalds Road, Clerkenwell. Another presents an interview with Kato in his hotel room as he prepares for the performance. The third is the static-camera image of a sunset at the Cliffs of Moher on the west coast of Ireland. Kato is himself a person who made a radical decision about his own identity. Seven years ago, when he was a student of literature in Nagoya, Japan, he had a vivid dream of playing a musical instrument. Only later did he become aware that this instrument corresponded to the Scottish pipes. The dream gave rise eventually to an existential choice: Kato decided to become a bagpipe player. In 2005 he moved to Glasgow to perfect his skills. The juxtaposing of Kato, a Japanese bagpiper playing a Scots dirge on the streets of London, with the Cliffs of Moher has an aleatoric feel which illuminates the otherwise inscrutable title of the show. It is taken from a 1964 work by William S. Burroughs, the writer, painter and spoken-word performer who championed the cut- up technique in literature, a method of achieving chance outcomes (Burroughs in his turn seems to have adapted the phrase from a passage in T. S. Eliot's The Waste Land). The apparent casualness of the installation - a materialisation, as it were, of a video scrap-book - enhances the Burroughsian ambience of random possibility. Aramesh also produces the scap-book periodical Centrefold, and the show represents the extension of some of Centrefold¹s principles to video mise-en- scene. The contrast of London and Moher, two entirely dissimilar milieux, is intelligible as a statement about their difference. But it spans a narrative gap: a deliberate excision similar to those lacunae of meaning, the spaces between collaged ideas, insisted on by Burroughs. Aramesh seems to propose that it is here, in such a charged gap, in the absence as it were of an ordained life-narrative, that an individual can forge his or her own identity. Yet the title Who is the third that walks beside you? suggests something more than a statement about individual empowerment. It embodies a disquiet which is in fact explicit in Eliot's original lines: 'Who is the third who walks always beside you?/When I count, there are only you and I together/But when I look ahead up the white road/There is always another one walking beside you.' Many who have stood atop cliffs such as those at Moher (height 700 feet above sea- level) will have felt a suicidal urge; a few will have jumped: it is a suicide-spot. Kato himself is a forlorn figure amid the traffic, a still point on an 'island' in a city that is as profoundly indifferent to individual fortunes as it was in the time of Dickens; his tune is a lament. Identity may indeed be self-made, but at no little hazard to the individual. Reza Aramesh's one-person shows this year include Reza Aramesh at Watermans and a show created and curated by the artist, We've lost the hearts and minds, at E:vent Gallery. His work was seen recently in The Politics of Fear at Albion Gallery. Image: Reza Aramesh Who is the third that walks beside you? Courtesy of Matthew Bown Gallery, London Gallery website Artist website Read on...Matthew Bown Gallery, London |
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 Winkleman
Gallery, New York Andy Yoder Donald, Martha & Sam 11 May - 9 June 2007 Winkleman Gallery is extremely pleased to present Donald, Martha & Sam, our second solo exhibition by sculptor Andy Yoder. Continuing his use of domestic objects, the focal point of the show is a group of three portrait busts, each in the form of an oversized glass piggybank. Over three years in the making and cast in brilliant colored crystal, they depict Donald Trump in a golden amber, Martha Stewart in pale green, and Wal-mart founder Sam Walton in gun-metal blue. With prominent raised coin slots, the banks are a reflection of the varying degrees of notoriety each of them share concerning money, while the idealized, monumental styling of the heads reflects their status as celebrity icons of consumer culture. The use of colored crystal also serves as a metaphor for the fragile nature of success: despite its seductive beauty, it is easily shattered. Accompanying these works are a series of Amish- style quilts draping the walls of the gallery, with symbols for money incorporated into their colorful, highly-patterned designs. As his last name indicates, Yoder's family background includes Amish ancestry, lending these works an extra degree of personal resonance. For the artist, the slow accumulation of coins and meticulous piecing together of quilts are timeworn activities drenched in nostalgia, contrasting sharply with present-day concerns for money, success, and speed. Rounding out the exhibition are a group of watercolor drawings showing likenesses of Donald Trump, Martha Stewart and Sam Walton depicted in miraculous circumstances, similar to the face of Mary appearing in the bark of a tree, or the Shroud of Turin. Among many public sculpture projects and exhibitions, Andy Yoder was invited to exhibit in the 2007 American Academy of Arts and Letters Invitational Exhibition of Contemporary Art. Image: Andy Yoder "Sam" 2007 Lead Crystal Photo: Etienne Frossard Courtesy of Winkleman Gallery, New York Gallery website Read on...Winkleman Gallery, New York |
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 Space Other,
Boston Andrew Mowbray : Bathyscope 18 May - 30 June 2007 "In the recent past people have redefined and united communities based on race, religion, gender and sexual preference, often as a reaction to a perceived white heterosexual male majority. I believe many of us still continue to perpetuate the 1940's and 1950's paradigm of this male role model. With these thoughts and questions of contemporary cultural and social issues, I often wonder where I fit in." Andrew Mowbray What does it mean to "be a man"? Although gender relations have an impact on almost everything we do, the critical study of men and masculinity is a relatively new development. While it is recognized that males tend to occupy positions of advantage in patriarchal societies, there are significant variations on the notion of masculinity even within western society. Over the past 4 years, Andrew Mowbray has gradually focused on the development of performative alter egos that embody the artist's quest for insight on contemporary notions of masculinities. These performance works have been central to the development of a body of work that is mostly sculptural, however, it also includes video, photography, and painting. Andrew Mowbray's performance Walden Pond (2004) established a clear reference to Henry David Thoreau (1817- 1868), an American author, abolitionist, naturalist, transcendentalist, tax resister, and philosopher, who choose to live simply but critically in natural surroundings. Another of Mowbray's performances, Just For Men (2005), after the popular men's hair dye, referenced in a tongue-in-cheek manner a piece by Janine Antoni titled Loving Care, a title she derived from the hair dye for women that shares the name. Just For Men explored the changing roles of men and women in both the domestic and workplace settings, as well as exposed the male struggle with hegemonic masculinity notions in a post- feminist society. Relying on these and other 'ready-made' sources of masculinities among white, middle-class males of last two American centuries, Mowbray's imagery repository explores the discrepancies and fragmented complex nature of manliness notions, the difficulties of getting past these, and the risk of relying on these constructs as suitable sources for qualitative analysis of gender issues. Andrew Mowbray was born near Plymouth Massachusetts in 1972. He went on to study sculpture at the Maryland Institute College of Art (BFA, 1995) and at The Cranbrook Art Academy in Michigan (MFA, 1998). Awarded several prestigious grants in New England, Mowbray's works have been exhibited mostly in the Northeast United States, and recently in Minnesota and California. He currently teaches sculpture at Wellesley College. Image: Andrew Mowbray Bathyscape (detail) 2005-2006 polyethylene plastic, acrylic, bronze 84" x 42" x 42" Courtesy of the Artist. Gallery Website Read on... Space Other, Boston |
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 Madder139,
London MICHAEL LISLE-TAYLOR 17 May - 27 June 2007 Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot. 'Authors note', The Adventures of Huckleberry Finn- Mark Twain Michael Lisle-Taylor graduated from Sculpture at the Royal College last year, prior to this he had completed his BA at Chelsea. Before this he served 13 years in the military. This will be Lisle-Taylor's first solo show, showcasing a body of work which encompasses sculpture, photography, video, and drawing, often as part of the execution of some seemingly hair brained scheme. For Tournament of the Dirty Nurse 2006 he manufactured an ornately embroidered boxing ring, then hauled it up a mountain piece by piece for reconstruction at the summit. He subsequently recruited former colleagues to airlift the boxing ring. It dangled precariously through the sky and then landed in an anonymous UK airfield. The resulting video is both comic and gutsy, as if the mechanics of war have been raided by the artist. For Madder 139, Lisle-Taylor will take a welded and upholstered submarine invention on a cave-diving escapade under the Welsh Hills. On May 16th we will be presenting the outcome of this dangerous endeavour, whatever this might be. So far it's included the meticulously drawn plans and construction of the beautiful, though cumbersome vessel itself. Hanging from your Daisy Chain 2007 will stand alone in the upper gallery, a climbing frame tightly corseted with sailing canvas, and bolted with sharp fixings. Too fragile and vicious for its original purpose, a pointless enterprise somehow made meaningful. Oddly seductive, it sits awaiting its miss/use. The sculptural work exists both as relic - remains of an event, be it actual or imagined - and as thing in itself. The work is brutally honest, almost overburdened with meaning and with history. Each component is sourced precisely, its motive reasoned, its implication planned, the use of certain materials has become policy. Carpenter, seamstress and strategist, Lisle-Taylor follows elaborate working processes, comparable to life in the army. The architecture of conditioning; its ceremony and manoeuvres, the spit and polish, the uniforms and drill. It's dignity reduced to absurdity, and dignified once more - a blunt practice for these muted times. Wonder, terror, and something comic too. The illogicality of the task is set. Image: Michael Lisle-Taylor Hanging from your Daisy Chain 2007 Climbing frame, Canvas, Hemp, Eyelets, Steel 250 x 142 x 123 cm Courtesy of Madder 139, London Gallery website Read on... MADDER139, London |
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 Priska C.
Juschka Fine Art, New York Richie Budd Emoting Skillformation Rememories 24 May - 23 June 2007 Priska C. Juschka Fine Art is pleased to announce the opening of Richie Budd's first solo show at the gallery. Richie Budd constructs performative sculptures and sculptural installations that seek to resonate somewhere beyond the "game over" sequence in their maximizing sensorial potential and their banal dystopian residue. Working with the surplus of our materially dependent commerce society, the artist reconstitutes ephemera into inventive systems - impossibly self-contained microenvironments -based on sensory modalities. These precarious and multi- faceted systems function on multiple levels, both inert and active, in which the objective is to create a structure of reference that keeps the work in play, long after the show is over. The artist's main influence is Neuro-Linguist Programming, a communication model that borrows from behavioral psychology, hypnotism, and transformational grammar i.e. By playfully extrapolating from various fields, Budd creates compressed, quasi living and breathing systems that endeavor to infiltrate the senses and invoke intense, impressionable, referential experiences. Specific objects from the mundane (paper shredder) to the ephemeral (aromatherapy) get incorporated by physically constructing, structuring and underscoring the conglomerate "nature" of our lived experience. Whether small or large scale pieces, each is designed to emulate what is referred to as a S.E.E., a significant emotional experience; the S.E.E. has the potential to create or be the source of an emotional, mental or even physical ease or dis-ease occurring in the body. In Bon Voyage Emoting Skillformational Rememories De Pileon (2007), Budd anchors his exhibition with a seemingly ever-expanding installation in which the artist will "perform" the piece on opening night. The artist will install himself within his scatological habitat operating various elements of his piece, from strobe lights, live feed cameras, and smoke machines to tending to the grill and insuring enough popcorn for an insatiable art crowd. Budd's intent is to create an experience of sensory overload with a "sound-track" garnered from texts on coaching models and life techniques. Richie Budd has recently completed residencies with the Triangle Arts Association Artists' Workshop in Brooklyn, NY and the Vermont Studio Center, VT where he has a permanent installation. His recent exhibitions include Waiting to Explode at the Lawndale Arts Center in Houston, a performance for the Artpace Gala, and Artpace San Antonio. He received his MFA from the University of Texas in San Antonio and his BFA from the University of North Texas in Denton. -Jennifer Davy Image: Richie Budd Bon Voyage Monstroms De Pileon Mixed Media Installation Variable dimensions 2007 Courtesy of Priska C. Juschka Fine Art, New York Gallery website Read on...Priska C. Juschka Fine Art, New York |
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 extraspazio
gallery, Rome Nicholas Hlobo Umakadenethwa engenadyasi 3 May - 6 July 2007 e x t r a s p a z i o presents Umakadenethwa engenadyasi, a solo exhibition by Nicholas Hlobo (Cape Town, 1975). This is the first exhibition in Italy by a young South African artist whose work, distinguished by an unusual clarity of vision, irony and sensitivity to materials, involves the spectator in a playful questioning and dismantling of ideological cultural themes and constructions such as sexual and ethnic identity. With amusing self-irony, at the opening of the show Nicholas Hlobo will represent the deathless cliché of comparing art performance and sexual performance (Dubula), in the specific case of a universal icon that has weathered all kinds of storms: 'the black male'. Hlobo's ethnic origin is Xhosa (like former South African president Nelson Mandela) and the artist makes frequent references to the idiosyncrasies and idioms of his culture, employing the metaphoric values and 'plasticity' of the language to add new levels of meaning and associative stratifications to his work. For example, two of the sculptures on show are entitled Dubula - the word can mean 'shooting with a gun' or 'inflorescence' - and Ubomvu, which means 'something red', or 'a bloodstained person', but also 'angry'. The term is further used to insult people who insist on dressing in the Xhosa tradition, who wear the group's characteristic red mask during rites and resist the influence of European cultures. On show are a series of drawings and five large size sculptures made from scrap materials: tree trunks modelled by the wind, eroded by water and bored through by termites; industrial rubber - inner tubes - that gives the idea of protection but also vulnerability. In his work, Nicholas Hlobo obliquely questions the pathological bad faith through which inadequacy anxiety with regard to the complexity of the contemporary world, even in modern forms of society, is appeased by a (not always cold) war against those who by birth, worldview or behaviour stand outside the standards of an aggressive majority that celebrates its own conformism. (Think of the humiliating uproar recently triggered in Italy by the attempt to draw up guidelines for civil unions, including those by same sex couples). The exhibition title, Umakadenethwa engenadyasi, may be translated as 's/he who gets rained upon without a coat'. It's a Xhosa saying referring to people who leave themselves open in facing the difficulties of their choices. It often means a woman who frees herself from the control of men, who works towards her own independence and has relationships when and with whom she likes: a woman who respects herself. The term is also used to describe someone who does not adapt to the antiscientific stereotypes recently put forward by Italian senator, neuropsychiatrist and psychotherapist Paola Binetti: "homosexuality is not normal, it is a deviation from the norm written in a morphological, genetic, endocrinological and character-related code" (TV programme "Tetris", La7, 3rd March 2007). - Guido Schlinkert - Nicholas Hlobo was born in Cape Town, South Africa, in 1975. Lives and works in Johannesburg. Solo exhibitions: Umakadenethwa engenadyasi, e x t r a s p a z i o, Rome, 2007; Izele, Michael Stevenson gallery, Cape Town, 2006. Selected group exhibitions: Turbulence - Art from South Africa, Hangar-7, Salzburg, 2007; Second to None, Iziko South African National Gallery, Cape Town, 2006; Olvida quien soy - Erase Me from Who I Am, Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, 2006; Inventors, Makers and Movers, Arti et Amicitiae, Amsterdam, 2005; Take Me to the River, Pretoria Art Museum, Pretoria, 2005; A Decade of Democracy: Witnessing South Africa, African American Museum, Dallas / KZNSA Gallery, Durban / The National Center for Afro-American Artists, Boston, 2004-2005; Intercession, Johannesburg Art Gallery, Johannesburg; Mine(d) Fields, Stadtgalerie, Bern, 2004. Hlobo was the winner of the 'Tollman Award for Visual Art' in 2006 and is currently artist in residence at Ampersand Foundation in New York. Image: Nicholas Hlobo Yinxibe xa ikulingana 2007 wood, ribbons, inner tyre tubes cm 190 x 164 x 116 courtesy: e x t r a s p a z i o, Roma Gallery website Read on...extraspazio gallery, Rome |
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 James Cohan
Gallery, New York ERICK SWENSON 22 May - 30 June 2007 James Cohan Gallery is pleased to present our second solo show by Texas-based artist, Erick Swenson. The exhibition will consist of a single large- scale installation that exemplifies Swenson's stated interest in commanding a space by "utilizing the quietness of one object." With skillful object-making and continued inspiration from natural history dioramas, set design and special effects, Swenson creates ambiguity with his elaborately constructed tableaux. Untitled, 2007 is a meticulously crafted work measuring 15 x 24 feet that portrays sculpted fragments of a killer whale's corpse floating in a transparent-blue watery field of poured resin. Cast chunks of ice with cavernous shadows and reflections of sunlight surround the subject that appears caught in a perpetual state of drifting at sea. The representation of a once-powerful creature rendered defenseless is a consistent subject matter in Swenson's works. Often depicted in tragic moments, his animals comment on the fragility of life and one's own vulnerability. In Untitled, the viewer is witness to an unexplained scene frozen in a single moment. By giving few clues as to how this animal has arrived in this state, Swenson sets the scene for the viewer to determine the events leading up to the creature's fate, otherwise shrouded in mystery. The central theme becomes less about the immediate subject at hand; instead resonating more in the relationship between object and viewer, highlighting the pathos and inevitability of forces that are greater than both. C. Sean Horton writes, "As allegories for the human condition, Swenson's sculptural installations masterfully speak to the power of myth to address ideas that might otherwise seem sentimental or pretentious." Swenson's work has received solo exhibitions at the UCLA Hammer Museum, Los Angeles, California (2003), the Villa Stuck, Munich, Germany (2002) and was included in the 2004 Whitney Biennial. His work is in the permanent collections of the Dallas Museum of Art, the Modern Art Museum of Fort Worth, the Saatchi Collection, and the San Francisco Museum of Modern Art. Swenson currently lives and works in Dallas, Texas. Image: ERICK SWENSON Untitled [detail], 2007 Mixed media 181 x 280 x 24 inches Courtesy of James Cohan Gallery, New York Gallery website Read on...James Cohan Gallery, New York |
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