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Gerry Fox : Venice in Venice

GERRY FOX
VENICE IN VENICE
 
Palazzo Donà delle Rose
Fondamente Nuove
Cannaregio 5101
Venice (30121)

 

(Nearest vaporetto stop is Fondamente Nuovo)

 

Opening times:

3 June - 28 June, 11am - 7pm, Tues - Sun

 

www.veniceinvenice.com

 

 

Filmmaker and artist Gerry Fox invites us to explore a private Renaissance palazzo to reach the heart of VENICE IN VENICE, a site specific installation that captures the rituals, drama and traditions of Venetian life.

 

Gerry Fox, Venice in Venice, 2009
Courtesy Gerry Fox

 

 

Visitors can wander through the rooms of Palazzo Donà delle Rose, a late Renaissance Venetian palace that is still owned by the original family, to discover Fox’s filmed vignettes of Venetian life.  These are either projected onto screens in the rooms and halls, or directly onto the walls, so that we encounter them like vast paintings.

 

Fox has been visiting Venice over the last three years to capture the rituals and pageantry that are still very much part of its life today.  He shows us the pomp and circumstance: from the Regata Storica, with its flotilla of stunning Venetian boats and traditional costumes, to the stately priestly procession of the Festa Della Madonna Della Salute, with local churchgoers descending the steps after the festival service there; then the explosion of fireworks that light up the water for the Festa Del Redentore, the thrill of masked revellers appearing in the streets during Carnevale who we follow to a private ball in the Doge’s Palace, where some un-mask.
 
Then we see the less public side of Venice: as though lying on our backs in a gondola, we glide down canals, watching the endless shape-shifting of roofs and walls that line the way; at night, these same eerily empty waterways are illuminated by ghostly lights that play off bridges and houses.  Back to the working city, we see the fish and fruit sellers of the Rialto market, the industrial wasteland of Marghera, the city underwater during the floods of December 2008, contrasting with the frenetic pace of the Art Biennale and Film Festival.

 

Fox alternates slow motion, to reflect the sense of gliding across water that so characterises life on this island city, with speeded-up film to capture the frenzied pace of the festivals.  The image sequence takes us through the many different places, moods and sights that make up life in this surreal city. We experience the paradox of this permanent yet transient city: a city where costumed ceremonies still have the power to transport us to the sixteenth century, yet where the flooding of the streets is a very contemporary reality.

 

 

 

Gerry Fox, Venice in Venice, 2009
Courtesy Gerry Fox

 

 

Gerry Fox’s art documentaries have won BAFTA, Royal Television Society, Grierson Best Arts Documentary, Festival of Films on Art in Montreal Grand Prize and Prix Italia awards. He was the first artist in residence at 176 in Camden from 2007-2008; the resulting exhibition, Living London, was Exhibition of the Week in Time Out and Critics Choice in The Times and The Guardian. His installation Favela Descending, part of the Concrete and Glass festival in Shoreditch 2008, was also a critics’ pick in Time Out and The Guardian. Venice in Venice is made in collaboration with Researching Movies and Synergy Films.

 

 

For further information please contact Theresa or Julia at Theresa Simon & Partners:
+44 207 734 4800

[email protected]

[email protected]
From 3-6 June please contact Theresa on +44 7976 766221

 

 

 

GERRY FOX
VENICE IN VENICE
Palazzo Donà delle Rose
Fondamente Nuove
Cannaregio 5101
Venice (30121)
 
(Nearest vaporetto stop is Fondamente Nuovo)
 
For directions to Palazzo Donà delle Rose see:

 

www.veniceinvenice.com

 

Galerie Christian Lethert, Cologne

 

 

Lutz Fritsch

 

Lutz Fritsch develops and designs yardsticks for specific spaces which he offers up as sight assistants, so to say - be it on a piece of paper, on the walls of an exhibition space or in the middle of a landscape.  His luminous red, blue, yellow, or green lacquered aluminium plates and metal objects seem almost immaterial in their artificial perfection and thereby allow for a particular attentiveness to the space surrounding them. Fritsch follows hereby a "dialectic' method, joining provisionally the spectacular with the modest, and conceiving his objects as understatements and exclamation points at the same time.  In providing us with these sight assistants in the form of reduced drawings and sculptures, and integrating within these the dimension of a sovereign aesthetic, he directs us past optical measurement and comparison for sure: the physical places and spaces whose characteristics Fritsch tests and questions- with the help of a compositrial austerity that can be placed between Minimalism and Landscape paintings -are expanded through his work on imaginary and associated spaces. The seeming simplicity of material intervention makes the greatness or perhaps better, the expanse of the resulting spaces for reflection and spaces for imagining possible at all.  In connection with three extensive research trips to the arctic and antarctic - out of which his project "library in ice" came forth - he was again able to bring this interaction particularly distinctly before his (and our) eyes.
 

Image:
Lutz Fritsch
"Postkarten lügen nicht" (postcards don´t lie). 2009
Courtesy: Galerie Christian Lethert, Cologne

 

Galerie Christian Lethert
Antwerpener Straße 4
D-50672 Cologne
+49 (0)221 35 60 590

 

Galerie Christian Lethert

 

 

Galerie Emmanuel Post, Leipzig

 

 

Laura Bielau and Sebastian Gögel

 

Galerie Emmanuel Post presents b/w-photographs of Laura Bielau and a sculpture of Sebastian Gögel.

 

Laura Bielau was born in Halle/Saale, Germany, in 1981, and lives and works in Leipzig. She studied photography at Leipzig's Academy of Visual Arts with Prof. Timm Rautert (2005-2008) and is completing her post-graduate studies with Prof. Peter Piller. Latest exhibitions include: 2008 'Marion Ermer Preis', Neues Museum, Weimar; 2009 Haus der Photographie, Deichtorhallen Hamburg.

Laura Bielau compares the dim underground levels of atomic power plants and atomic waste storage facilities to the morbid world of dissected and stuffed animal cadavers and opens up a macabre frame of associations, which is plausible and speculative at the same time: not only the super GAU contaminates humans and natures, also the creeping contamination by radioactivity causes sickness, degeneration, deformation and death. The animals that Bielau photographed in various animal laboratories are pinned down, measured, dried and finally dissected or stuffed. Some were found by a forest ranger in the direct vicinity of an atomic power plant. (...)
(Text: Maik Schlüter, 2008)

 

Sebastian Gögel was born in Sonneberg/Thuringia, Germany, in 1978, and lives and works in Leipzig. He studied painting/graphic arts at Leipzig's Academy of Visual Arts with Prof. Sighard Gille (1997-2002) and completed his post-graduate studies in 2005. Latest exhibitions include: 2008 GEM, Museum of Contemporary Art, The Hague, The Netherlands; 2008/2009 'New Leipzig School', Cobra Museum of Modern Art, Amstelveen, The Netherlands.

What expresses itself in Sebastian Gögel's many drawings, paintings and tattoos as drastic images of penetration and gestures of perforation attains a new metaphysical level in the artist's new sculptures. Here, Gögel affords insight into the mental tools, subsidiary forms and primal creatures constituting his visual world. Far beyond apologetic attempts at celebrating beauty within ugliness, the grotesque within the purportedly normal (and vice versa) by means of zealous technical mannerism on the verge of kitsch, Gögel demonstrates in ruthless precision what he is dealing in and what he wants us to look at. (...)

(Text: Oliver Kossack, 2008)

 

 

Image:

Laura Bielau, KKW 3, 2006
silver gelatin print
92,5 x 111,2 cm  Edition: 3+1 a.p.
Courtesy of Galerie Emmanuel Post

 

 

Galerie Emmanuel Post
Windmühlenstraße 31b
04107 Leipzig
+49 (0)341 1269766

 

Galerie Emmanuel Post

 

 

Kusseneers Gallery, Antwerpen

 

 

Curtis Mann

 

In the MODIFICATIONS series, found photographs of unfamiliar and conflicted places throughout the Middle East and Northern Africa are subjected to a process of selection and erasure. By simply painting on enlarged color photographs with clear acrylic and then bleaching the image, new and abstract meanings are created from these family snapshots, travel photographs, and casual documentations. Thus, the photograph is physically and contextually altered; as a result, the work has the ability to oscillate between image and object, photography and painting, real and imagined.
I am constantly trying to force the medium to function outside of its initial utility and use its malleable nature as a way of coming to an ulterior understanding of the complex and the unfamiliar. This new reading attempts to shift and expand the limits on how we perceive and understand the fragmented world in which the photograph attempts to represent.
Curtis Mann

 

 

Image:
Curtis Mann, Landlocked, Checkpoint (unknown and Palestine) (dyptich)
51 x 70 cm + 51 x 71 cm
clear acrylic varnish and graphite on bleached found photographs

Courtesy of Kusseneers Gallery, Antwerpen
 
 
 Kusseneers Gallery
11 De Burburestraat
2000 Antwerpen
Belgium
+32 32572400

 

Kusseneers Gallery

 

 

Gooden Gallery | VINEspace London

 

 

Sean Branagan and Paul Cole 

 

In line with the philosophy of the fair, Gooden Gallery / VINEspace London, have a tightly curated two person exhibition at the Solo Project. The gallery will be presenting Sean Branagan's latest moving image pieces that are projected onto painted canvases alongside Paul Cole's recent plasticine assemblages inspired by pages from 70's porn magazines.

 

The act of viewing 'Smokin' (2009) by Sean Branagan (pictured) becomes an act of participation; the naked female subject blinks and stares back at you so that  conventional power structures of viewer over art-object are replaced by the pace and scope of a quasi-real encounter. In the pieces that will be on show, Branagan also allows selective reflection on works such as Edouard Manet's 'Olympia' (1863) and 'Quince, Cabbage, Melon, and Cucumber,' (1602) by Spanish Still Life painter Juan Sánchez Cotán.

 

Paul Cole's work also confronts the viewer, and with titles like 'Christianne with Green Boots' and 'Angie',  it is clear that these particular pieces are named in honour of the porn stars featured on the magazine pages that inspired them . "When I was a boy growing up in Stevenage, it was common to find these images stuffed in bushes in the woods. Back then they were potent pornographic images. Today they are tame; more kitsch than sexually explicit, however palpable their primary function."  - Paul Cole 2009.

 

Paul Cole  and Sean Branagan exhibited this year at the Palazzo delle Esposizioni, Rome, as part of ROMA, the Road to Contemporary Art and both have forthcoming solo shows  at Gooden Gallery, London (formerly VINEspace) in 2009/10.

 

above left:  Sean Branagan, 'Smokin'  2009
(moving image and paint on canvas)
above right:  Paul Cole, 'Angie' (detail) 2008
(plasticine on board)
Images courtesy: Gooden Gallery London

 

Gooden Gallery | VINEspace
25a Vyner St
London E2 9DG
+44 (0)20 8981 1233

Gooden Gallery | VINEspace

 

 

Monika Bobinska, London

 

 

Adam King

 

Monika Bobinska presents an installation of new and recent works by Adam King at The Solo Project in Basel.
Adam King appropriates the images, objects and detritus of consumerism and the urban environment to create collages and installations that make reference to nature, the pastoral and the macabre.
A variety of elements are reconfigured and choreographed to create works that revel in transformation, ambiguity and the discovery of the unknown. Whilst offering a commentary on consumer excess and exploring notions of value, these complex and often beautiful works speak of collapsed borders and the possibility of new beginnings.
Adam King was born in Norwich, and completed his MA in Drawing at Wimbledon College of Art. His work is held in numerous private and public collections in the UK and the USA, including Charles Saatchi and V22. Exhibitions in 2009 include Pulse New York,  'Beyond Pattern', a UK museum touring exhibition, 'Journey to the Centre of the Earth' at Gallery 20/21, Scunthorpe, and 'Pandamonium', in association with Artwise Curators, in aid of the World Wildlife Fund. Adam King lives and works in London.

 

 

Image:

Adam King, Headquarters, 2008

Collage on paper

50 x 70 cm | 20 x 28"

Courtesy of Monika Bobinska, London

 

 

Monika Bobinska
242 Cambridge Heath Road
London E2 9DA
+44 (0)786 606 3663 | (0)20 8980 9393

 

Monika Bobinska

 

 

Galerie Voss, Düsseldorf

 

Kay Kaul and Kate Waters

At this year's "The Solo Project", curated by Paul Kusseneers and taking place at the same time with ArtI40IBasel, Galerie Voss will show works by Kay Kaul and Kate Waters.

 

Both artists focus with different means on the depiction of art spaces. The photo series called "Studioscapes" by Kay Kaul shows interior views of artists' studios. The photos are composed of several pictures of the studios and give the impression of a panorama view. The resulting spatial distortion detaches the matter-of-fact and documentary nature and presents the studios as vivid spaces the viewer can dive into and wander about. In her so-called "museum paintings", Kate Waters shows views of museum spaces, in which she ironically focuses on the contradictions that can be found in the depicted motifs. Tourists, who have their pictures taken in front of the old master painting like hunters are captured as well as visitors that have turned away from the artworks and stare into space as if in trance. The light conditions in the images are particularly elaborated by the artist's outstanding technique of painting. The contrast of the warm, natural light in the old master paintings and the bluish artificial light of the museums illustrates furthermore the different narrative levels Kate Waters depicts in her paintings.

 

Image:
Kate Waters, Hero, 2009
Oil on canvas
180 x 200 cm
courtesy Galerie Voss, Düsseldorf

 

Galerie Voss
Mühlengasse 3
D-40213 Düsseldorf
+49 211 134982

 

Galerie Voss

 

 

The Space Between at The Crypt, St Pancras Church, London 5 - 21 June, 2009

 

The Crypt
St Pancras Church
Euston Road
London NW1 2BA

5 to 21 June, 2009

Opening times: 12.30pm to 6pm, Tuesday to Sunday

www.thespacebetween.org.uk

 

 

 

THE SPACE BETWEEN

 

Group show with artists Annie Cattrell, Amanda Couch, Richard Ducker, Jan Dunning,

Joy Gerrard, Kate MccGwire, Marilène Oliver, Kate Street, Esther Teichmann

 

 

Amanda Couch, Dust Passing, 2009
Mixed media and dust; live performance with installation and camera obscura
Photo credit: Aileen Harvey

 

 

The Space Between brings together a group of nine established and newly established artists (whose work ranges from video to performance and sculpture), many of whom are represented in major collections, including the Saatchi, V&A and Wellcome Trust's. The show explores the ideas that surround our common experience of 'liminality', of existing in 'a space between' places, ideas, thoughts and emotions. The venue itself, with its tombstones and relics of those who have 'crossed over', is perfect for a discussion of the theme, occupying as it does the middle ground between states, the ephemeral and the permanent, life and death.

 

The current Zeitgeist dictates that we can be anyone or anything if only we try hard enough, or are good enough, and so increasingly we find ourselves in a 'space between', somewhere between 'being' and 'becoming'. It's a place of transformation and possibility, rich with longing, melancholy and fantasy. Only here are we able to stop and contemplate - but never entirely grasp - the state of flux that characterizes our lives.

 

This sense of being poised on some kind of threshold is all the more topical because of the precariousness of the age in which we live. As the artist Doris Salcedo has said, 'Precariousness produces an image in which the nature of the work is never entirely present.' The artists' diverse practices of sculpture, video, photography, installation and performance each tap into different aspects of the theme:

 

 

Annie Cattrell, From Within, 2007
Cast silver

 

Annie Cattrell describes herself as 'a runner between worlds', between science and art. Her work deals with the fleeting and ephemeral, those things that are normally invisible to the human eye - a breath inside a human lung or cloud formation on a particular day.. She will be showing a new work, 'Pleasure/Pain', which exploits the latest neuroscientific findings to make visible the transmission of our most basic emotions -  those associated with pleasure and pain - from the primordial centre of the brain stem to the two hemispheres where those feelings are experienced.

Amanda Couch has created an alter ego, 'a traveller, somewhere between civilized and savage, woman and child, space and time'. She has created a new work especially for The Space Between, which she will perform at the private view.

Richard Ducker makes sculptural objects coated in concrete that are at once sombre and humorous. He combines the found with the made object to suggest private stories embedded in works which 'evoke nostalgia, myths soaked in dreams, and fairy-tales gone wrong', and will be exhibiting a new work, 'Aqualung'.

 

 

Richard Ducker, Now say after me, 2008
Mixed media and concrete

 

 

 

Jan Dunning, Untitled (Ballroom), 2008
Colour pin-hole photograph, mounted on aluminium in wooden tray frame
50 x 47 cm

 

Jan Dunning works with a pinhole camera, offering an unsettling, enigmatic perspective on the 'natural' world. Her work exploits the ambiguous and transformational perspective of the pinhole photograph to present confrontations between fiction and reality, the possible and impossible, the natural and unnatural.

 

Joy Gerrard concentrates on space, site, politics and a visual response to the city as a site of transformation. She looks at the idea of 'the crowd' framed by urban space in an attempt to address some fundamental questions about the changing political face of the city. Recent work includes large-format drawings of crowds forming to mourn and protest as well as miniature animation and video works that comment on the politics of congregation and dispersal in urban spaces.

 

 

Joy Gerrard, Detail of Image Table, 2009
Multiple components made from steel, Perspex and wood; sculptural objects, video screens, sprayed MDF
120 x 450 cm

 

 

 

Kate MccGwire, Rile, 2009
Pigeon feathers, felt, glue, polystyrene and museum cabinet
180 x 60 x 60 cm
Photo credit: JP Bland
 

Kate MccGwire uses impure materials, most recently pigeon feathers, to create forms that exist somewhere between myth and reality, deliberately playing with Freud's notion of 'The Uncanny' (that sense of something which is both familiar and strange) to unseat our sense of well-being. She will be showing 'Rile', a feathered hybrid, half serpent half snake, and 'Sluice', an effluent-like flood of pigeon feathers, both of which play on the material's ability to elicit wonder and repulsion in equal measure.

 

Marilène Oliver works at a crossroads somewhere between new digital technologies, traditional print and sculpture, her finished objects bridging the virtual and the real worlds. She works with the body translated into data form in order to understand how it has become 'unfleshed', in the hope of understanding who or what it has become.. To this end she uses various scanning technologies, such as MRI and PET, to reclaim the interior of the body - a threshold portraitists don't generally cross - in all its physical beauty. And yet we are never privileged a complete view of the body before us; in her 'Family Portrait' series (which will be shown in its entirety) our gaze is constantly drawn to the gaps, the spaces between the printed sheets, each representing a slice of the body.

 

 

 

Marilène Oliver, Exhausted Figure, 2006
Engraved acrylic and fishing wire
170 x 55 x 30 cm
Edition of 6
Photo credit: Todd White

 

Kate Street, Fucking Roaches, 2009
Plaster casts, wire and oil paint
Dimensions variable

  

 

Kate Street uses language and well-known stock phrases as a starting point for her sculptural works that strike a balance between the theatrical and the absurd, the romantic and the deathly. She is creating two new works for the show, one of which 'Bird in the Hand' explores our need to compare our achievements with others', to dissect and analyse, in the search for the root of what makes us happy. 

Esther Teichmann uses the medium of photography and video to examine the relationship of the self to the maternal body and to the body of the lover. Desire and fear of loss are subtly and yet powerfully evoked in these explorations of the visceral and expressive properties of the human physique and skin. Teichmann will show 'To Get There', a video work which invites the viewer to enter into the intimate world of the mother longing to comfort an adult child.

 

 

Esther Teichmann, Untitled from Mythologies, 2008
C-type
102 x 127 cm

 

 

The exhibition runs from 5 to 21 June at The Crypt, St Pancras Church, Euston Road, London NW1 2BA  Opening times: 12.30pm to 6pm, Tuesday to Sunday

Artists' talk: Sunday 7 June (2.30pm) to reserve a free place email emma.lilley @ btinternet.com (numbers are limited)

 

For further information or images see www.thespacebetween.org.uk

or phone Emma Lilley on 07834 320714

email emma.lilley @ btinternet.com

 

 

 

PREVIEW BERLIN 2009 - New Concept

 

PREVIEW BERLIN - THE EMERGING ART FAIR 2009

Main hall Airport Tempelhof

c/o Zentralbüro

Karl-Liebknecht Str. 7

10178 Berlin - Germany

Tel. +49 (0)30 49 80 55 17

Email: info @ previewberlin.de

www.previewberlin.de

 

 

NEW CONCEPT & NEW APPLICATION DEADLINE

 

PREVIEW BERLIN - THE EMERGING ART FAIR

SEPTEMBER 25 - SEPTEMBER 27, 2009

OPENING: SEPTEMBER 24, 2009

Application Deadline: May 29, 2009

 

 

LESS REGRESS – MORE CONGRESS

 

After Preview Berlin – The Emerging Art Fair was successfully held in Hangar2 for the past two years, the fair will, this year, be held in the former airport’s main hall.

 

Moving away from the classic fair concept, we are, this year, aiming more for an exhibition format whereby there will be no typical fair constructions. This is in response to the special features of the heritage protected main hall of the former airport and also time limits due to another event which is being held in the same location in the run up to the fair. Our idea is to bring together projects which can be exhibited without partition walls and which, therefore, come primarily from the fields of sculpture, installation, performance or video. Furthermore, an exciting challenge will also be the possible artistic discourse with the historic setting.

 

As in previous years, a jury will select the participants from the submitted concepts and project suggestions. The development and placement of the individual projects will, this year, also be organised by a curator, the aim being a more intensive collaboration between participants and organisers. This change in concept offers both the participating galleries and Preview Berlin very different opportunities and forms of experimentation and presentation.

 

As production costs will be significantly lower this year, Preview Berlin 2009 will be able to reduce the participant fee. The cost, this year, will be 2,600 euros plus VAT for a solo presentation / 4,000 euros plus VAT for two artistic positions. Presentation space available for the galleries and project spaces depends on the size of the artworks. Despite this price adjustment, Preview Berlin will still offer participants and visitors the important infrastructure such as organisation, safety and PR. With special evening events, we are also continuing the fair’s party tradition, which lives, not least, from the great appeal of the location.

 

This year there will also be a greater focus on the exchange between gallery owners, collectors, curators and art lovers. It is planned that there will be a communication platform, alongside the exhibition/fair area, which will offer various opportunities for discourse such as talks, presentations and guided tours. Preview Berlin 2009 will also be more consolidated and concentrated this year due to the shorter fair duration. This year the fair will be held from 25 - 27 September 2009; the opening will be on 24 September 2009.

 

APPLICATION DEADLINE: May 29, 2009

Download application form:

http://www.previewberlin.de/Sites/anmeldunge.html

 

MAINHALL AIRPORT TEMPELHOF

 

 

 

 

 

 

 

PREVIEW BERLIN - THE EMERGING ART FAIR 2009

FAIR DATES: September 25 - September 27, 2009

OPENING: September 24, 2009

 

 

PREVIEW BERLIN - THE EMERGING ART FAIR 2009
Main hall Airport Tempelhof
c/o Zentralbüro
Karl-Liebknecht Str. 7
10178 Berlin - Germany

Tel. +49 (0)30 49 80 55 17
Email: info @ previewberlin.de

www.previewberlin.de

 

 

Daneyal Mahmood Gallery, New York

 

LISA ROSS
UNREVEALED

 

April 16 - June 13, 2009

Daneyal Mahmood Gallery is very pleased to present Unrevealed by Lisa Ross, a solo exhibition comprised of photographs and video works made at holy sites in the Xinjiang Uyghur Autonomous Region of Northwest China.

Lisa Ross's work concerns itself mainly with memory, temporality and the visual expression of faith.  It is on the embodiment of the secular and the sacred that this work relies; a reconceptualization of the corporeal and its interdependence with time and place.

The solemnity of Ross's aesthetic incites contemplation: narratives, both real and imagined, emerge from her photographs viscerally engaging the viewer in rituals of visitation and gestures of devotion.

Included are two video pieces in which the body merges with the landscape and becomes the vehicle which invites - and desires - that the ephemeral become its own breathing, living entity: the only audible sound that of the wind and flags blowing in the desert.

Impermanence becomes tangible as the language of these works unfolds, then retracts.  It is affirmed that life and death are never finite; that the articulation of grief - as well as transcendence - is a collective experience. Unrevealed disarms the notion that trajectories may have only one beginning and one end.

(Sherisse Alvarez)

 

Image:
Lisa Ross, Black Garden (Blue Crib), 2009

Image © Lisa Ross, 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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