Myra is a large painting created by Marcus Harvey in 1995. It became notorious when it was exhibited at the Sensation exhibition of Young British Artists at the Royal Academy of Art in London from 8 September to 28 December 1997.
Victoria Miro is pleased to present Harvest, Elmgreen & Dragset's second solo exhibition with the gallery. Harvest showcases two precisely choreographed environments which at first may appear visually and conceptually diverse, but through Elmgreen & Dragset's own refined systems of logic, they bring to life a multi-layered set of narratives that play upon childhood memories, and question issues linked to our cultural heritage and the institutional through a personally charged perception. Displayed in the downstairs gallery is a series of new unique monochrome works, The Named Series, the surfaces of which consist of white wall paint carefully removed from prominent museums and public galleries by professional conservators, using techniques employed to restore frescoes and murals. The thin layer of removed white wall paint is then applied onto raw canvas and framed, so that this ordinary, typically valueless and disregarded 'background' is transcended and becomes painting with a new worth and significance. Each bears the name of its former home - such as Solomon R. Guggenheim Museum, New York; Pinakothek der Moderne, Munich; Serpentine Gallery, London - and when viewed together, the subtle variations in texture, shade of colour and quality of the paint become apparent, indicative of the self-presentation of each institution. Drawing on the history of the readymade, as well as the legacy of Minimalism (with particular reference to the work of Robert Ryman), the canvases also serve as signifiers of how such institutions figure in art-world consciousness as a locus of desire. The series can be seen as a natural development of Elmgreen & Dragset's earliest works, exemplified by performances such as Twelve Hours of White Paint/Powerless Structures, Fig. 15 (1997), in which the artists repeatedly painted white an exhibition space over the course of twelve hours, or their witty distortion of the quintessential white cube in works like Dug Down Gallery/Powerless Structures, Fig. 45 (1998) or Suspended Space/Powerless Structures, Fig. 313 (2002). In the upstairs gallery, and in stark contrast to the clean precision and clarity of the downstairs space, the artists lay out an altogether different setting, one that takes its cue from the rustic interior architecture of the bare-brick and wooden-beamed upper space of Victoria Miro. Here Elmgreen & Dragset present their playful version of a hayloft, replete with strewn hay and works that operate within a lexicon of rural iconography; stag antlers, a sculpture of a young farm boy, abstract paintings derived from lines of timber work in medieval Northern European architecture and traditional German barns, and a timber wall-frame which reads KUNST, amongst others. One clearly sees the references to 1950s abstract formal language, as in Franz Kline's paintings, but instead of claiming the aesthetics of the concrete or sublime, these works reveal a direct inspiration from humble farmyard imagery. In this juxtaposition of works, all definitions of 'culture' are acknowledged - from the simple lived experience to the institutionalized fine arts. The basic process of growing and cultivating and also the harvest become the central topic. Characteristic of Elmgreen & Dragset's practice, the exhibition explores both personal and shared cultural identity and memory - and presents them alongside one another, in no hierarchical order.
ALEX HUBBARD Eat Your Friends 02 MARCH 2012 - 05 APRIL 2012
Simon Lee Gallery is proud to present EAT YOUR FRIENDS, an exhibition of new videos and paintings by American artist Alex Hubbard, his first solo exhibition at the gallery. Hubbard values the materiality and tactility of every stage of the creation of his paintings and videos, rather than deriving satisfaction from their finished resolution. In a constantly shifting flat plane, building and art materials, urban detritus, and domestic items make their way into Alex Hubbard’s two new videos, EAT YOUR FRIENDS and BOTTOM OF THE TOP, and now on to his paintings too. Avoiding a single point of focus, he constructs his videos in layers, engulfing the viewer with bold colours, performative gestures and evolving, all-over compositions in which movement is multi-directional and time appears to be non-linear. Spilling, spraying, constructing, throwing, splashing and building over a flat surface, the constantly shifting camera view from upright to horizontal stymies any attempt at a rational apprehension of the objects and processes featured. Instead each frame becomes a non-hierarchical pictorial arrangement, in which he himself is often present, either as a disembodied arm or hand, or in full, revealing the apparent trickery of the film as no trick at all. The fast-paced and shifting soundtracks add an uplifting and provocative dimension to his audacious visual narratives that challenge notions of duration and question the difference between looking and watching. The four paintings in this exhibition are made with fibreglass, glassy pools of resin and oil which runs over myriad plastic objects and fixes them to their surface. As with his two videos, the compositions are non-hierarchical and make explicit their construction. Hubbard’s videos and paintings are constructed along parallel lines, both exploring the construction, composition, mass, colour and depth of images in unexpected ways. Alex Hubbard was born in 1975 in Toledo, Oregon, and lives in New York. He received his BFA from the Pacific Northwest College of Art and participated in the Whitney Museum Independent Study Program. One-person exhibitions of his work have been presented at venues such as Gaga Contemporary, Mexico City; Standard (Oslo), Oslo; and the Kitchen, Maccarone Gallery, and Team Gallery in New York. A two-person exhibition with Oscar Tuazon was presented at the Contemporary Art Museum St. Louis in 2008. Hubbard’s work has been featured in numerous group exhibitions, including Compulsive Jalouse, Palais de Tokyo, Paris (2006); Nothingness and Being, Jumex Collection, Mexico City (2009); The Reach of Realism, Museum of Contemporary Art, North Miami (2009); Whitney Biennial, Whitney Museum of American Art, New York (2010); Greater New York, MoMA PS1, Long Island City, New York (2010); Knight's Move, SculptureCenter, Long Island City, New York (2010), and Le Printemps de Septembre, Festival of Contemporary Arts, Toulouse (2011).
Pennacchio Argentato presents a series of sculptures that furthers the project started at Midway Contemporary Art in Minneapolis with the exhibition ‘The New Boring’.
The starting point is the analysis of elements that bring together Minimalism and Pop Art, such as serial forms and techniques of production and consumption, as well as insistence upon the externality of experience and meaning in the contemporary expression.Through the exhibited pieces, Pennacchio Argentato makes reference to the affinities between Donald Judd and Andy Warhol that seem to give an answer to a world where it is difficult to have any interest at all and to replace the dialogue between interest and indifference with the one between interest and boredom.
Warhol said ‘it would be so much easier not to care… it’s too hard to care’. On the one hand, boredom generates resistance towards contemporary society, on the other hand, it drives a continuous desire to produce and to consume ‘the brand new’, turning into an actual occupation.
Pennacchio Argentato shows a series of sculptures made of concrete slabs that bend sinuously until they assume positions on the verge of breaking. The dimensions, the human height of the sculptures and steel handles generate a sense of presence, that comes into direct contact with the viewer’s body that is prompted to activate it. However, the weight and the hardness of concrete make it impossible to interact with them in any way, leading to a standstill, to a non-action, which leads to an alienated and alienating condition. This situation hints at a condition of uneasiness that ascribe to boredom a comical and irreverent character.
Marc Quinn's self portraits made of frozen blood. For his ongoing self-portait project simply titled "Self," Quinn uses his own blood to create a frozen bust every five years. The works' appearance changes over time as Quinn ages, making for an interesting study in decay.
SCARF is an exclusive online 48 hour art fair, held between November 16-18, hosting the leading Nordic contemporary art galleries. Browse the galleries, select the artworks, learn about the artists, get gallery information and click to buy. The artworks exhibited at SCARF are sold on a first-come, first-served basis. For 48 hours SCARF brings the Nordic art scene to you.
Till Gerhard - Eulen und Engel at Galerie Bel'Art, Stockholm
New paintings and collages. Opening Saturday the 29th of September 2012, 1 - 4 pm. The artist present. Catalogue and a deluxe edition of 25 each with a mixed media. Until the 24th of October.
Till Gerhard is one of Germanys most renowned artist of his generation. Born in Hamburg in 1971. His works are included in such important international collections as Saatchi, London, Falckenberg, Hamburg, Jumex, Mexico City and Richard Prince, New York, just to mention a few.
As Graham Domke writes in the catalogue: I was transformed, unburdened and cut loose by his indelible, interzonal paintings. The visceral abstract expressions were alienation effects super-imposed - the sacred overlay - atop photorealist paintings ? representational, made to be familiar yet nonetheless strange and out of step and time. The paintings sat amidst atmospheric installations that felt like unmonumental ruins constructed and charged to authentically resemble bunkhouses in countercultural communes. More than anything it was the hazy glare, a persistance of vision and an induced, dissolving sense of an intense Stendhal syndrome immersion and the effect was path-finding....
FREDRIK VÆRSLEV "LANTERNE ROUGE" 24.08.-29.09.2012 / PREVIEW: 24.08.2012 / 18.00-21.00 ----- STANDARD (OSLO) is proud to announce an exhibition of new works by Fredrik Værslev. Entitled "Lanterne Rouge", the exhibition brings together 20 new paintings for both of the gallery's venues. All stemming from his recently developed series of 'canopy paintings', Værslev is exploring a matter of factness in his paintings while employing a process that reveals this fact as highly fictionalized.
Friedrich Petzel Gallery is pleased to announce Piano in the Rain a solo exhibition by Dana Schutz. The show will be on view from May 2 – June 16, 2012 with an opening reception on May 2, from 6 – 8pm. In her first exhibition at Friedrich Petzel Gallery, Dana Schutz’ characters overcome what would be impossible and often dysfunctional situations. As suggested by the title, “Piano in the Rain” these situations are impeded by the romantic tenor they resonate. Schutz uses these unstable narrative dilemmas as a springboard to paint and employs various characters to demonstrate them.
JACKIE GENDEL "Beneath Low Lying Clouds" August 25 - October 5, 2012 Opening reception with the artist Saturday, August 25th, 6-8 pm ... LOYAL is pleased to present Beneath Low Lying Clouds, a solo exhibition by New York artist Jackie Gendel. This is Gendel's European solo debut, and her first exhibition with Loyal.