re-title.com Features

Pékin Fine Arts, Beijing

 

 

Huang Zhiyang
Peripheral Vision

February 21 - April 30, 2009

Artist's Statement:

"In my view, it's always important to consider matters from the vantage point of a bit of time and distance. Consequently, I tend to view life from the sidelines, deliberately maintaining some distance from the mainstream, seemingly "drifting away" from the main currents of every day life. "Drifting away" for me, usually means questioning my surroundings and the status quo. You could say I've developed an attitude towards life that I adhere to, where I intentionally keep some distance from the mainstream and from what might be considered central to others.

For most, contemporary art is widely accepted as integral to every day life. However, this does not mean that trends in contemporary art can solve all of life's problems nor become part of the mainstream. Most so-called "Contemporary Art" is no more than a by-product or phenomenon needed to meet the demands of the marketplace and our endless appetite for the latest consumer products and spectacle. Today, much of "Contemporary Art" never goes beyond creating faint shadows of societal reality, images so far removed from reality that they often appear fake and vulgar. Unlike "Modern Art" of the past, which sought to depict the heavy weight of reality and flesh-and-blood activities, today's "Contemporary Art" often lacks meaning and substance, typically conforming to what is popular -and superficial - in every day life. So in my view, it is time to find a more appropriate term for what passes these days as "Contemporary Art".

Admittedly, I am also engaged in "Contemporary Art" production. In the past I thought I was an art creator, but now I regard myself as an art producer. To my surprise, I feel happier with the title of "Art Producer" rather than "Art Creator", and I am more determined than ever in realizing my art works. This shift in my attitude and self-consciousness arose following my change in my living environment. The past two years living in Beijing have made me accustomed to my current status as a person on the periphery looking at life's events from the sidelines. Thanks to my marginal status, I now enjoy more freedom and less anxiety. I can observe all the hustle and bustle and turmoil around the centre of activity, as an outsider, and occasionally butt in if I wish. But for most of the time, I stay away from this phenomenon of so-called "Contemporary Art" related activities. Having said all of this, one may rightfully ask whether I am more than a little ambivalent toward the art world of today.

In Peripheral Vision I attempt to present the main focus of my most recently completed Art Work; Art Works that came out of my status living on the periphery with an attitude of ambivalence. Maintaining this marginal status reinforces my feelings of ambivalence toward many of life's realities. And the Art Work that is born of this tension between a life on the periphery and the inevitable attitude of ambivalence resulting there from, has inspired the title of this exhibition. In Chinese, the term is literally translated as "Always on the Periphery".

Huang Zhiyang
September 30, 2008
Beijing

Image:
Huang Zhiyang (b. 1965 Taipei)

Auspicious Beast - Gilded Cocoons
Bronze Sculpture With Gold Leaf, On LED digital base
850 x 600 x 125 cm, 2009
photo by Fang Yulong, courtesy of Pékin Fine Arts

 

Pékin Fine Arts

No. 241 Cao Chang Di Village
Cui Ge Zhuang, Chao Yang District
Beijing
+86 10 5127 3220

Pékin Fine Arts

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Mark Moore Gallery, Los Angeles

 

 

Nobuhito Nishigawara        
Identities

February 21 - March 28, 2009   

Mark Moore Gallery is pleased to announce the inaugural exhibition of work by Nobuhito Nishigawara. In an era of globalization, as cultural identities and the boundaries between them become less rigid, Nishigawara's ceramic sculptures embody these cultural intersections. Born in Nagoya, Japan but having lived across the States, from Missouri to California, Nishigawara takes this global phenomenon and transforms it into a personal investigation of the inner-self. His repeated use of a stylized donkey figure is reminiscent of the industrialized kawaii aesthetic that prevails in Japanese culture, yet his use of ceramic renders it a sophisticated contemporary talisman. When paired with Nishigawara's other characters, that reference everything from ancient warriors to Renaissance dress to Disney cartoons, the donkey figure speaks of attempted relationships, of cultural confusion and dislocation. Nishigawara's sculptures seem to belong to every time and no time, to every place and no place. Rather than presenting concrete observations, they propose open-ended questions, their very uncertainty both liberating and disconcerting, their aesthetic belonging to us all and to no one in particular.

My inspiration comes from the culture I live in. Living in a melting pot of imported cultures and stimulants, my perception of aesthetic and self has become uncertain.
Nobuhito Nishigawara

Nobuhito Nishigawara received his BFA from the Kansas City Art Institute (Kansas City, MO) and his MFA from Arizona State University (Phoenix, AZ). He has exhibited his work widely throughout the United States in both group and solo exhibitions. Identities will be his first exhibition at the Mark Moore Gallery. Nishigawara lives and works in Santa Ana, CA.       

 

 

Image:

Nobuhito Nishigawara, Princess, 2008
clay, iron, silver, and acrylic, 46 x 19 x 33 inches
Courtesy of the artist and Mark Moore Gallery

 

 

Mark Moore Gallery

Bergamot Station A1
2525 Michigan Avenue
Santa Monica, CA 90404
Los Angeles
+1 310 453 3031

Mark Moore Gallery

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Daneyal Mahmood Gallery, New York

 

 

Andrei Molodkin
Oil Evolution

February 26 - April 11, 2009

Daneyal Mahmood Gallery is very pleased to present Oil Evolution by Andrei Molodkin - commemorating the 200th anniversary of Charles Darwin's birth. While Molodkin's work is known for questioning the role of oil in Western democracies; and exploring the troubling intersection between art and money - Oil Evolution uses oil as a liquid record of the earth's fossil history to reconstruct the descent of man.

Charles Darwin's model of evolution comes together in a three-part installation featuring Primate, Australopithecine and Homo sapien skulls negatively cast in acrylic and joined by a series of interconnected tubes circulating crude oil. Here it is not DNA that is the great signifier, that which transmits the virtues of one generation to the next, but oil - the new symbol of a universalized identity.

Man may be excused for feeling some pride at having risen, though not through his own exertions, to the very summit of the organic scale; and the fact of his having thus risen, instead of having been aboriginally placed there, may give him hope for a still higher destiny in the distant future...We must, however, acknowledge, as it seems to me, that man with all his noble qualities, with sympathy which feels for the most debased, with benevolence which extends not only to other men but to the humblest living creature, with his god-like intellect which has penetrated into the movements and constitution of the solar system - with all these exalted powers - Man still bears in his bodily frame the indelible stamp of his lowly origin.
(Charles Darwin)

Image:
Andrei Molodkin, Oil Evolution (Human Skull), 2008
crude oil in acrylic block
Courtesy of Daneyal Mahmood Gallery

Daneyal Mahmood Gallery
511 West 25th Street 3rd Floor
New York, NY 10001
+1 212 675 2966

Daneyal Mahmood Gallery

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MOT International, London

 

 

Adam Gillam, Sara MacKillop

21 February - 29 March 2009

Unsurprisingly, both Sara MacKillop and Adam Gillam have shown together before. Both artists' work caught my attention, instantly captivating me from the very first viewing. Whilst each adopts a very different approach to making stripped down minimalist sculpture, their use of apparently redundant materials means that their work naturally complements each other, though my reasons for showing them together are purely intuitive. I instinctively know that their work is good. To say too much about it would be superfluous, as the real joy within this work is the chance encounter. There is nothing of the spectacle to advertise, nothing unnecessary in its' production, only the infinite translations and interpretations that we each bring to these blank pages and the memories triggered by the recycled formalism of the analogue materials. What is left unsaid is almost more important.

 

Sara Mackillop
London-based Sara MacKillop received her MA in Painting at the Royal College of Art (2001) and her BFA with Honors at Leeds University (1996). Recent exhibitions include a two-person show with Ian Kiaer at International Project Space in Birrmingham, The difference between the to with Sean Edwards at Alp Gallery in Stockholm, 50 Envelope Windows at Whitechapel Project Space, and the solo exhibition Floor/Wall at Leicester City Art Gallery. Her worked has been published in the Toronto Star, Art Review, Miser and Now, and the Guardian. This is MacKillop's first show at MOT International

Adam Gillam
Adam Gillam (b. 1970 in East Farleigh, Kent) received his Post-Graduate Diploma in Painting at the Royal Academy Schools (1997) and his BA with Honors in Fine Art at Liverpool John Moores University. Recent solo exhibitions include I am definitely coming for longer if I come again at KLERKX in Milan and Art in a cupboard at Keith Talent Gallery, London. Gillam's work was included in the Brussels Biennial 1 and in other group exhibitions such as Show Me Don't Tell Me curated by Nicolaus Schafhausen and Florian Waldvogel from Witte de With (Rotterdam), Wandering Rocks at Gimpel Fils (London), and The Way We Work Now at the Camden Arts Centre (London). In addition to his first exhibition at MOT International, he can be seen in the upcoming Reconstructing the Old House curated by Benet Spencer in London and Cambridge, Cortez arrives at Herbert Read Gallery in Canterbury, and an exhibition curated by Sara Stenczer in Lyon, France. Gillam currently lives and works in London.

Image:
Learning to Float, Adam Gillam, 2009,
Aluminium, MDF, paint, medium format photograph
92.5 x 84 x 43 cm
Courtesy of MOT International, London

MOT INTERNATIONAL
Unit 54 / 5th floor, Regents Studios
8 Andrews Road
London E8 4QN
+44 (0)207 923 9561

MOT International

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LOOCK Galerie, Berlin

 

 

 

 

Takehito Koganezawa

 

February 28 - April 11, 2009

 

Loock Galerie is pleased to present new works by Takehito Koganezawa at Halle am Wasser. On February 13, the exhibition 'Polyrhythm' opened at BDI Kunstfenster, Breite Strasse 29, Berlin, and will be on view until December 2009.

Koganezawa works with video, drawing, installation, and performance, treating each as an equal means of expression. All his works share a poetic approach to everyday occurrences and observation, an engagement with the issues of time and the void as well as an underlying musicality.

In his drawings, Takehito Koganezawa creates relationships between objects from his everyday world of experience and abstract or fictive ones. While they show in part familiar content, they seem to emerge in the realm of a dream world due to their positioning, and are gathered in work groups like 'forgetting WORDS', 'forgetting SELF', or 'Superficial Blackhole'. Despite the usually obvious concretion of the visual subject, this verbal refusal of classification or theme is intentional in Koganezawa's work. "I would really like to see nothingness," he said in an interview with Hans-Ulrich Obrist. "So I am trying to generate meaning from an object."

Last year, Takehito Koganezawa held a fellowship at Villa Aurora in Los Angeles. His works have been presented at Christopher Grimes Gallery, Santa Monica, Otis' Ben Matz Gallery, Los Angeles, and at the exhibition Out of the Ordinary: New Video Art from Japan at MOCA Los Angeles, and at Museu de Art Moderna in Sao Paulo. After a fellowship at the Artist Residence Program of Kea Island, Greece, his installation could be seen in Qbox, Athens. He also showed an extensive video exhibition 'Between This and That' in November 2008 at Kanagawa Prefectural Gallery, Japan, and a catalog was published to accompany this exhibition.

On January 18, 2009, a solo exhibition of his work opened at Japan's MIMOCA, the catalog will be available in March 2009. Haus Konstruktiv in Zurich will show a further exhibition of his work in September 2009.

Image:
Takehito Koganezawa
Installation view
BDI Kunstfenster, Breite Strasse 29, Berlin
Courtesy of the artist and Loock Galerie, Berlin

 

Loock Galerie
Halle am Wasser
Invalidenstraße 50/51
10557 Berlin
+49 30 2462 7690

Loock Galerie

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Mai 36 Galerie, Zurich

 

 

Jürgen Drescher
Fund

27 February - 28 March, 2009

We have pleasure in presenting new works by the German artist Jürgen Drescher (born 1955 in Karlsruhe, lives and works in Berlin) in our next exhibition.

His work has been shown in numerous solo and group exhibitions, including at venues in the USA, Italy and Germany, and recently at the Shanghai Biennale. The Buchhandlung Walther König publishers published the monograph entitled "Jürgen Drescher - Arbeiten bis heute" in 2007.

Jürgen Drescher's artistic work is characterised by a concern with everyday objects, which he transfers either directly - in the sense of "objects trouvé" that are already transferred by the artist's gesture into "ready-made" objets d'art -, or, as was the case here, through the recent indexal reproduction method of the "casting process" in the gallery. His videos are similarly produced in that he puts existing film material into new contexts and gives it a new interpretation. For some years now, Jürgen Drescher has been combining this practice with an approach characterised by scepticism and mistrust of social regulations and commercially orientated agreements.

In this, his second solo exhibition in Mai 36 Galerie, Jürgen Drescher presents an installative setting of individual objects from various work complexes that may be interpreted in a contextual connection. Aluminium casts - a bench, a window cross, a safe door and discarded clothing - are interspersed by facial impressions, drawings of roll down gates and videos of wheels, rolled-out marquises and empty projection screens placed pointing towards the ceiling

With the aim of creating formal and semantic connections between the exhibits, Jürgen Drescher uses concepts such as the German word "Fund" in the sense of its literal translation "find", as well as in its original English meaning "fund" = capital. Jürgen Drescher regards his finds, his focal material, as capital because they represent - via a kind of "ethnographic" examination - self-experience in the facets of the inventory of the exhibition. This also applies to the facial impressions, which were acquired from the inhabitants of a Pacific island on a South Sea expedition in 1880. The artist and the viewer find themselves in an experimental order that contains material for private mythologies or critical examination.

[Text: Barbara Buchmaier, Berlin]

Image:
Jürgen Drescher
Courtesy of the artist and Galerie Mai 36

 

Mai 36 Galerie
Rämistrasse 37
CH-8001 Zurich
+41 44 261 68 80

Mai 36 Galerie

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Rudolph Projects ArtScan Gallery, Houston

Lillian Warren : Here is Nowhere

Opening Thursday February 26, 6 - 8pm

Exhiibition continues through Saturday, April 11, 2009
 
Rudolph Projects ArtScan Gallery is pleased to present the second solo exhibition by Lillian Warren, Here is Nowhere.

 
Lillian Warren
L 24 - Sept 6, 6:39 pm
12 x 16.5 inches
acrylic on canvas
2008

Lillian Warren's subject matter are landscapes that mine the netherworld of barely memorable urban images: gas stations, pharmacies, jumbled powerlines, and commercial buildings. To prepare, the artist takes numerous photographs of the same object from different angles and in different light conditions. She then chooses one or several images and transforms non-descript urban vistas into romantically inflected icons. Painted with a loose, impressionistic brush stroke, these works capture light as a hybrid state of natural phenomena and artificial emissions.

 

 

 

Liilian Warren

W40 - June 13, 8:38 pm

13 x 16 inches

acrylic on canvas
2008

 

Some of the works consist of several panels each depicting the same object from a slightly different perspective. With no fixed vantage point and no pervasive definition of the object/landscape, the viewer experiences the sensation of driving by in a car unable to lay down a permanent memory trace. Yet this fluid state may let these images surface and circulate in the viewer's mind, perhaps ready to be contemplated.

 

 

Lillian Warren
Interchange July 8, 1:38 am
19 x 29 inches
Acrylic on paper mounted on canvas
2008

 

 

 

Lillian Warren

G203 - Aug 25, 5:11 pm
18 x 22 inches
acrylic on canvas
2008

 

For more information or to see other available works by Lillian Warren, please contact Rudolph Projects ArtScan Gallery at 713-807-1836 or info @ rudolphprojects.com

 

 

Lillian Warren

L 24 - Sept 6, 6:40 pm
12 x 16.5 inches

acrylic on canvs
2008

 

 

Rudolph Projects ArtScan Gallery
1836 Richmond Avenue
Houston, Texas 77098
713-807-1836

 

www.rudolphprojects.com

 

 

 

 

Parasol unit foundation for contemporary art, London

 

Robert Mangold: X, Plus and Frame Paintings

Works from 1980s

 

24 February - 8 May 2009

Private view: 23 February, 6.30-8.30pm

Robert Mangold
Four Color Frame Painting #5
1984
Acrylic and black pencil on canvas
281.9 x 266.7 cm (111 x 105 in.)
Courtesy PaceWildenstein, New York and Galeria Elvira Gonzalez, Madrid

 

 

Parasol unit is delighted to present a new exhibition of works by the American artist Robert Mangold. The exhibition will concentrate on three dynamic groups of painting that Mangold executed between 1980 and 1986, entitled X, + and Frame Paintings series. These outstanding paintings continue to express Mangold's central concerns in painting, namely the relationship between figure and surface. They play a pivotal role in Mangold's oeuvre and form his first exhibition in a UK institution.

The X and + series, as their titles suggest, refer to mathematical operations. Theyare composed of several rectangular and square canvases of varying lengths and widths that are abutted and inscribed over with pencil respectively with a linear figure of X or +. The proportions of these elements are derived from precisely defined mathematical relationships, such as the halving of the length or width of a specific area and depending on the manner they are joined, the outline of the whole can be defined as either regular or irregular. The pencil inscribed figure of X or + on the painted canvas eliminates categorically any illusory effect and keeps the painting to the surface. Mangold uses vivid and intense colour combinations to highlight the interplay of scale and perception.

 

The concept of intensifying a clearly accentuated pictorial form by creating multi-part structures and using different colours is taken one step further in Mangold's Frame Paintings, in which usually four, but in a few cases three, rectangular canvases are arranged to form a frame. An irregularly distorted, hand-drawn ellipse in pencil runs across the surfaces of the painted elements, and touches variably the inner corners of the frame or the inner and outer edges of the rectangles to accentuate the surface of the painting. One of the most significant elements of these works is the relationship between the work and the gallery wall, which is encapsulated by the frame, but also surrounds the work, creating a multi-dimensional space that resonates with the works of some of Mangold's contemporaries, such as Dan Flavin and Sol LeWitt.

 

Robert Mangold
+ Within + (Red, Yellow, Orange)
1981
Acrylic and black pencil on canvas
229.5 x 306 cm (90.4 x 120.5 in.)
Kunstmuseum Winterthur
Purchased with funds from Jubiläumsstiftung Kunstverein Winterthur, 2008.

 

A remarkable aspect of the X, + and Frame Paintings is their often imposing size and their architectural quality. Of these three series Mangold has said: 'You always come to a dilemma at the end of a series. The image had become thinner and thinner [in the Xs and +s] and there was more and more wall. The energy was all going out. I wanted to go back circling, getting the image back into a container. So I took these four members and made frames out of them, and then used the line as a way of connecting through it.'

Robert Mangold (b.1937) held his first solo show in 1964 and since then he has exhibited extensively internationally. Solo exhibitions include Solomon R. Guggenheim Museum, New York in 1971; Kunsthalle, Basel in 1977 and Stedelijk Museum, Amsterdam in 1982. Mangold has exhibited as part of group exhibitions at Museum of Modern Art, New York; Grand Palais, Paris; and Kunsthaus, Zurich. His work has been exhibited at both Documenta (1972, 1977, 1982) and the Whitney Museum of American Art Biennial (1979, 1983, 1985), and at the Venice Biennale in 1993. His work is held in collections worldwide including Tate, London; Solomon R. Guggenheim Museum, New York; and Centre Pompidou, Paris.

This exhibition will be accompanied by a new publication on the artist's work, co-published by Parasol unit and Koenig Books, London.

 

 

 

 

 

Robert Mangold
X Within X (orange)
1980
Acrylic and black pencil on canvas (four parts)
180 x 222 cm (70.9 x 87.4 in.)
Private collection, Brussels

 

 

 

Events Programme:

Wednesday 25 February, 7pm
Robert Mangold and Tim Marlow In Conversation
American painter Robert Mangold and Tim Marlow, Director of Exhibitions at White Cube, will talk about Mangold's work in Parasol unit's galleries
£5 / £3 concessions

 

Thursday 5 March, 7pm
First Thursdays event: Exhibition tour by Andrew Bick
Andrew Bick, painter, curator and lecturer will lead a tour of Robert Mangold's exhibition and will discuss the works on display
£5 / £3 concessions

 

Thursday 19 March, 7pm
Poetry Reading by David Chaloner
David Chaloner is a poet whose most recent book is Beyond These Lines (Equipage, 2007).
His Collected Poems were published by Salt in 2005. He will read from his work
Free

 

Saturday 21 March, 2pm
Symposium: 'Between Painting, Space and Architecture: Considering the work of Robert Mangold'
In partnership with the Centre for the Study of Contemporary Art, University College London, this symposium will explore the implications of the work of Robert Mangold
Speakers are:
Briony Fer: Professor of History of Art at University College London and author 
Mark Godfrey: Curator at the Tate Modern and Lecturer at the Slade School of Fine Art, London
Karsten Schubert: Director of the Karsten Schubert Gallery, London and the publishing house Ridinghouse Editions
Ziba de Weck: Director of Parasol unit foundation for contemporary art, London and the curator of the Robert Mangold exhibition
£10 / £8.50 concessions

Thursday 2 April, 7pm
First Thursdays event: David Batchelor and Matthew Collings In Conversation
David Batchelor, artist and writer and Matthew Collings, painter, author and television presenter will discuss Robert Mangold's exhibition and the artist's work in a wider context
£5 / £3 concessions

 

Thursday 30 April, 7pm
Poetry Reading by Andrea Brady
Andrea Brady will read a selection of her poetry in the gallery. Andrea is the director of theArchive of the Now (archiveofthenow.org) and co-publisher of Barque Press
Free

 

Thursday 7 May, 7pm
First Thursdays event: Exhibition tour with Achim Borchardt-Hume
Achim Borchardt-Hume, Curator of Modern and Contemporary Art at Tate Modern, will lead a tour of Robert Mangold's exhibition and will discuss the works on display
£5 / £3 concessions

 

Booking is essential due to limited spaces
To book, contact Emma Williams on 020 7490 7373 or email emma @ parasol-unit.org

Visitor information

Gallery opening times: Tuesday - Saturday, 10am - 6pm and Sunday, 12 - 5pm
Closed Easter Friday and Easter Monday

Admission: Free

From Angel tube, turn left out of the station and onto City Road. Continue down City Road for ten minutes and turn left onto Wharf Road before the Texaco Service station.
 
From Old Street Tube, leave the station from exit 1 and walk up City Road for five minutes. Turn right onto Wharf Road after the Texaco service Station.

Buses 43, 205 and 214 all travel down City Road. 

 

 

Parasol unit foundation for contemporary art
14  Wharf Road
London N1 7RW

T  + 44 (0) 207 490 7373
F  + 44 (0) 207 490 7775

E  info @ parasol-unit.org

 

Parasol Unit

 

 

TEAM Gallery, New York

 

 

Memories of the Future
Jakob Kolding

 

February 19th - March 28th 2009

Team is pleased to present an exhibition of new posters, collages, lambda prints and sculptures by the Berlin-based, Danish artist Jakob Kolding. Entitled memories of the future, the exhibition will run from the 19th of February through the 28th of March 2009. Team Gallery is located at 83 Grand Street, between Wooster and Greene, on the ground floor.

Kolding's collages, which have been exhibited extensively throughout Europe, take as their subject the cultural collisions inadvertently set up by the contemporary city. Kolding's work celebrates a number of urban cultural, synthetic emanations (hip-hop, graffiti, skateboarding, electronic music), as well as the aesthetics of urban studies. Hybrids of invention and documentation, renderings and diagrams, his work depicts processes and events, historical and futuristic narratives pointing to propositions and effects of urban economics, planning, architecture, ecology, transportation systems, politics, and social relations.

The materials Kolding chooses, often looking like several generations of reproductions and suggesting the possibility of mass-production, give his forms and imagery the clinical quality of propaganda used to advocate public plans. Cut-out texts and photos of individuals foregrounded against post-war, highly-designed institutional buildings, housing and landscapes raise questions - how capable is the built environment of social control and even more importantly, can an ideology be translated into practice? Kolding demonstrates how plans fall flat, pointing out architecture's and its social initiatives' possible malevolence and impotence when it comes to influencing art and society. Revealing the physical spaces of Capitalism as both depletive and ineffectual, Kolding not only elaborates Marx's argument on class struggle but questions the power of Capitalism altogether.

Our obsession with modernity - with speed, technology, with youth and with violence - and our favoritism of the new over the old, has led to the stubborn imposition of maladaptive, albeit idealistic, urban schemes, which thwart social integration and individual expression. Kolding's urbanscapes are aesthetically attractive but empty economic expedients, illustrative of the profound divisions within society. The inhabitants of Kolding's collages are alternatively shown observing - isolated - amused - rebelling - frequently stifled in a never-ending game of cultural one-upsmanship, bounded on all sides by the city's engulfing map.

Jakob Kolding has been exhibiting internationally over the past twelve years. He has had solo shows in London, Geneva, Rome, Berlin, Vienna, Amsterdam, Helsinki, Stockholm and his native Copenhagen. His work has been included in shows at such prestigious venues as the DeAppel Foundation; the South London Gallery; The Rooseum; The Kölnischer Kunstverein; the Palais de Tokyo; and the Louisiana, among many others. He had a solo exhibition at the Kunstverein in Hamburg, mounted an ambitious solo project at the Frankfurter Kunstverein, and participated in Utopia Station in the 2003 Venice Biennale. This is Kolding's second solo show at Team.

 

Image:
Jakob Kolding, Untitled (Barbican)
2008-09, lambda print, 55.5 x 86 inches
Courtesy of Team Gallery

Team Gallery
83 Grand Street
cross streets Wooster and Greene
New York, NY 10013
+1 212 .279. 9219

Team Gallery

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Galerie Magda Danysz, Paris

 

 

Ray Caesar
(digital art)
February 7th - March 4th, 2009

The Magda Danysz Gallery is proud to present Ray Caesar's exceptional personal exhibition. This artist is back in France after having spent the year 2008 visiting international art scenes with new original pieces. All of his works plunge us in a rococo, as well a surrealist universe, yet with a futuristic flavour.

Deformed heads and disproportioned bodies that impress yet don't frighten are the protagonists of his paintings. It's as if these dolls held the key to a deep truth no one can attain, a revelation on human cruelty.

 

 

Kosta Kulundizic
(paintings)

February 7th - March 4th, 2009

The Magda Danysz Gallery is glad to welcome Kosta Kulundzic for a solo show that you will surely remember. Kosto Kulundzic is a young French artist of Serbian origin, who is already known for his powerful and expressive painting. After a year of hard work in France and abroad, with exhibits in art centers, at the Cultural Center in Serbia, and at the Cultural Center in Clamart, he will delight the gallery with his first individual exposition.

For this exhibit that is a project in it of itself, Kosta Kulundzic presents an exceptional interpretation of the myth of Judith. In the original excerpt in the Bible, Judith kills the general threatening her people but cutting his throat. Kosta takes History into his own hands: one theme, but several models. His models are young women he knows in Paris, which pull us out of the myth per se and draw our attention to the "absolute woman" that lives inside each of them.

 

 

Image:

Ray Caesar
day break,
digital print,
40x30inch., 2008
Courtesy of Galerie magda Danysz, Paris
 

Galerie Magda Danysz
78, rue Amelot
11 Paris
France
+33 1 45 83 38 51

 

Galerie Magda Danysz

 

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