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08 November, 2006 | Sculpture & Installation, November 2006 |
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 Goff+Rosenthal,
New York Henry Krokatsis : Cure Goff + Rosenthal is pleased to present the first solo exhibition in New York by London-based artist Henry Krokatsis. Krokatsis makes site-specific installations, sculpture, paintings and drawings. Most of Krokatsis’ work derives from found objects and other discarded material which is then re-fashioned in order to play with archaic representations of bourgeois or aristocratic culture. For Cure, Krokatsis has transformed the entire gallery into a sort of off-kilter “trophy room”. The transformed space falls somewhere between a functional yet subverted version of a white cube and a displaced, bleached and post-modern trophy room – obsessively crafted yet thoroughly corrupted. The gallery walls are overlaid with hand-crafted Georgian- style raised paneling made, in part, from reclaimed materials. The panels have been roughly coated in thick off-white rubber. The cement gallery floor has been overlaid with a parquet floor based on the parquet flooring of Versailles. Instead of traditional quarter sawn oak, this floor has been made using discarded materials – rejected off-cuts, abandoned wardrobes and broken kitchen units--all more or less white. These have been dismantled, painstakingly cut down and laid by hand. Gallery website Read on... Goff+Rosenthal, New York |
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 GALERIE REIMANN
LE BÈGUE, Dusseldorf VERA LOSSAU "VERA LOSSAU dramatizes the confrontation of the artist with the world, the painful collision between the immediate impulse of the artistic intention and the ambivalence of the world. (...) The questions which interest her in art are connected much too close with the anthropology and ontology of the artist, with the artist’s body and being. The drama in the production of art objects does not happen between the artist and the institution, not between artefact and gallery, but between the artist and the world.” Keti Tschukrow VERA LOSSAU (*1976) shows at REIMANN LE BÈGUE sculptures which are displayed on the gallery floor. After strong impressions in Japan the use of forms of the artist with her artistic understanding accessed an exchange with Far Eastern legacy. Gallery website Read on...GALERIE REIMANN LE BÈGUE, Dusseldorf |
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 LiveBox Gallery,
Chicago Echoes of MOD 70s LiveBox at Hejfina Lee Arnold Jill Johnston-Price Galina Schevchenko Myriam Thyes Patricia Shrigley LiveBox “Echoes of MOD 70s”, taps into the spirit of a decade marked by flashy fashions, high energy and irreverence. The artists in this exhibition echo the saturated colors, intensity and inventiveness of this decade. LiveBox Gallery is appropriating the holiday shopping season as the gallery creates greater public access to media arts. LiveBox will be exhibiting video and drawings at Hejfina, an eclectic lifestyle shop on Milwaukee Ave. Exhibiting artists include Lee Arnold, Lane Last, Jill Johnston-Price, Patricia Shrigley, Galina Schevchenko, and Myriam Thyes. On a screen in the shop window, vibrant animations by Lee Arnold, Jill Johnston-Price, Galina Schevchneko and Myriam Thyes, continuously loop engaging the viewer from the street. Inside the shop two screens seem to dance in unison, one literally as Patricia Shrigley captures Eastenders dancing in the streets in “Pilchards”. Also inside is an installation of Galina Schevchenko’s drawings and video. Gallery website Read on...LiveBox Gallery, Chicago |
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 e x t r a s p a
z i o , Rome Nancy Radloff “Please understand: We do not impose certain rules and restrictions on you without a great deal of thought about their therapeutic value. A good many of you are in here because you could not adjust to the rules of society in the Outside World, because you refused to face up to them, because you tried to circumvent them and avoid them. At some time – perhaps in your childhood – you may have been allowed to get away with flouting the rules of society. When you broke a rule you knew it. You wanted to be dealt with, needed it, but the punishment did not come. That foolish lenience on the part of your parents may have been the germ that grew into your present illness. I tell you this hoping you will understand that it is entirely for your own good that we enforce discipline and order”. Miss Ratched, “the Big Nurse”, in Ken Kesey’s One Flew Over the Cuckoo’s Nest The exhilarating perversion and cruelty of this speech, which also resounds from east to west in the ravings of those seeking to dictate their agendas and protocols to the world entirely for our own good, is echoed in the installations of Nancy Radloff (Los Angeles, 1955) exhibited in her first Italian solo show at the e x t r a s p a z i o gallery in Rome. - Guido Schlinkert - Gallery website Read on...e x t r a s p a z i o, Rome |
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 Western
Exhibitions, Chicago AMANDA ROSS-HO gran-abertura Through a constellation of new sculptures, collage, and architectural intervention in the form of a site- specific installation, Amanda Ross-Ho explores spaces of presentation and the materiality of vacancy. Raw canvas, sheetrock, and bond paper are critical surfaces, examined for their structure in order to locate the agency, and potential gendering of paintings, rooms, and books. Ross-Ho looks at studio production (sculptures, collages, assemblages, photography) as a model creative system that allows for a broader understanding of intuitive philosophy and basic human psychology. References to the sites and forms of her production are elemental in her work, acting as a constant backdrop for the many variables that are depicted, represented, or enacted through images and objects. This strategy of inclusiveness destabilizes traditional hierarchies of presentation, maximizing contextual clues and maintaining an insistent connectivity to the complicated external world where the work originates. Gallery website Read on...Western Exhibitions, Chicago |
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 Galerie Stefan
Röpke, Köln Bernardí Roig Galerie Stefan Röpke presents selected works from "The Light-Exercises Series" by Spanish artist Bernardí Roig. These works are based mainly upon the symbolism of light and the mataphor of blindness and human lack of communication. The pictured persons in his sculptures, installations, drawings and videos are, more ore less visible, deprived of the ability to see or to talk. They lead the viewng person into worlds of loneliness. Light plays a major role in the works of Bernardí Roig. He does not use this light to light his works up, but to blind the protagonist just as the viewer. Last summer Bernardí Roig had a large solo exhibition in the Kunstmuseum Bonn, which will travel to Ostend and Prague next year. Bernardí Roig, born 1965, communicates with the viewer through his sculptures, which portray or represent the human being in order to reflect the sense of life. In his dialog, he provides us with more than the spoken word - he touches the field of obsessions. He is obsessed with death and immortality, esthetics and eroticism. The fire in Roig's sculptures burns deep within the mind of the subject. Breaking through the eyes of his masculine hero, it stands for glowing spirit, for intellectual power and urge for research. The desire (el deseo) in his several shapes is the outstanding human ability, which keeps death at arms length as long as it glows. Gallery website Read on...Galerie Stefan Röpke, Köln |
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 Priska C.
Juschka Fine Art, New York DIANA AL - HADID The Gradual Approach of My Disintegration Priska C. Juschka Fine Art is pleased to present the new sculptural installation The Gradual Approach of My Disintegration by the artist Diana Al-Hadid. By melding personal biography with cultural iconography, Al-Hadid interlaces place, history and self. Composed of two parts, Al-Hadid combines foam, polystyrene and fiberglass for the production of an elaborate multi-layered construction with a distinct internal logic. The pivotal component of the sculpture is Al-Hadid's recreation of the Aleppo citadel — a fortress that was built in her Syrian birth city in the 10th century for military purposes, and eventually became a holy site for Muslims. The structure sits on an elliptical base atop a hill, hovering over the ancient city as the streets wrap around it. In the sculpture, the citadel is placed upon a classical column, which has been 'humanized' and given feet in place of its traditional base. The corresponding part of the installation consists of a Corinthian capital, which its characteristic acanthus leaves have been displaced and fallen to the ground, and a molding of the artist's own sandals. Connecting the two parts of the installation is a divided bridge that its two portions end with hands that echo Michelangelo's Creation of Adam image from the Sistine Chapel. Gallery website Read on...Priska C. Juschka Fine Art, New York |
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 Galerie
Christian Nagel Köln NILS NORMAN : Degenerate Cologne “The world’s greatest heap of Debris” Until the 1990s Cologne was a strange idiosyncratic mix of 1950s architecture and 1970s oddities and eccentricities. Since the 1990s the city centre has radically changed – some streets unrecognisably so. The hyper-commercial core of glass buildings, centred around Friesenplatz and the Media Park, with their deli’s, sports bars and fast food chains, and the inner ring, are now more reminiscent of a downtown American streetscape than a German one. With neoliberalism appearing so concretely in the fabric of Cologne’s inner city, one wonders what it might look like from a different perspective, an “infinite horizon” of fantasies and alternative visions. This exhibition uses sculptures and large digital drawings to playfully explore the notion of an alternative view through ideas taken from utopian visions of the past, anarchist dreams, permaculture techniques and obsolete ideologies; offering up tentative ecological, sustainable solutions and disruptive blockages to the ever-increasing privatisation of public spaces and city centres. Gallery website Read on... Galerie Christian Nagel Köln |
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 Spacement
Gallery, Melbourne Bernhard Sachs The Paranoiac Critical Method - Chloroform Vision of St Eustace 'Here the sense of transience produced by waiting rooms serves as an oblique reference as Sachs pushes the experience of arrested or failed narratives in a worked over, layered environment... Sachs fictitious image circulate in what he calls "a space of lostness" called up in this installation in a newsprint shrouded space that could be equally a demolition site or renovating job.' [Australian Art Collector - issue 38 October to December 2006 by Ingrid Periz.] Hallucinating Politics: The Paranoiac Critical Method - Chloroform Vision of St. Eustace is the final exhibition in a project called Trilogy. The first exhibition (Reconstruction of) The Polish Game (2004), Ocular Lab, Melbourne, and its subsidiary, Late-Capitalist Painting Seminar, Victorian College of the Arts, Melbourne (2005), addressed an obsessive- compulsive trajectory in history and its representations, an aporetic mise-en-abyss of discontinuities and fragments in the wake of the remainders of the pleasure principle. The second, Regime iconoclaste d’un frisson: le cercle vicieux après Salo / Iconoclastic Regime of the Shudder: the Vicious Circle after Salo, Ocular Lab (2005), and its subsidiary Das Fatale - The Paranoiac Critical Method, Victorian College of the Arts (2006), concerned the death drive and a constitutive sadism in signification. Trilogy has as its centre the so-called problem and critique of representation, with art as the somatic play of a repertoire of introjections characterised variously as a stench and a derision in the body as image of the past. Suspended between a historicity connected to as an ecstatic excess through which the image of the past persists as inescapable condemnation and obsession, and the erasures of the death drive, art, in this hysteric seizure of representations, this interminable fit in the epileptic sense of the grand mal, hallucinates politics endlessly. Gallery website Read on... Spacement Gallery, Melbourne |
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 ZINGERpresents,
Amsterdam Graham Hudson ZINGERpresents has great pleasure in announcing the solo debut of Graham Hudson in The Netherlands. The young artist will be the first to feature in our new gallery space in Amsterdam situated at the Gerard Doustraat 134, Amsterdam. Hudson arrives in the Netherlands after having spent 6 Months in his own theme-park ‘free-state’, at London ’s Parade Ground flanking Tate Britain on his Henry Moore Fellowship. It was a place where Hudson had to adapt his practice, it became a laboratory for sculpture and public projects. Chance was given free reign in a profession where all is deliberate and debated. The piece dè résistance, a house of sorts, stood firm as a command centre on this historic place of militancy, outside of it; a test tube garden where materials would hold up or collapse against the natural forces. Materials were primarily sourced in the skips, streets or by ‘donations’ to the project. These ‘Waste’ Materials of the street demanded the artist to learn the new language of their territory. This looser approach to sculpture and creation emerged and has given birth to a new manner of working, whilst remaining true to art historical and theoretical framework that provides the foundation to his eclectic practice. Gallery website Read on...ZINGERpresents, Amsterdam |
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