re-title.com Features

Luis De Jesus Los Angeles presents KATE BONNER

Luis De Jesus Los Angeles is pleased to present

KATE BONNER
The other side is this side

April 23 - May 28, 2016

Kate Bonner has often turned to poetic analogies to describe her work and point toward an understanding of her vision, including statements such as:

“Time is slipping. A moment ago this image stood alone. Now it catches against that other one. It flips upside down. The pixels snag, are turned into paint.” And, “There is frost on the window; with my finger I trace a wavering, circling line. The window is a frame. The frost is a screen. My finger is a pen...”

Rather than a raison d’être these statements function like traces of something seen and experienced, much the same way that her work captures the shifting, slippery path between a thought and it’s object–the fleeting metaphysical transformation of ideas into form. Bonner’s work mines this ever-expanding space that digital processes have given her access to. Less limited by material parameters, “with digital tools, one photograph is painted into the fabric of another. Two moments appear as parallel visions, torn and spliced together.”

Kate Bonner’s exciting new photo-based works are anchored in digital processes in dialog with drawing, painting, sculpture and collage. Part photo, part object, the work is generated through a process of making and breaking apart. She folds or cuts found photographs into pieces and then scans them, producing a new image to manipulate with photo-editing software and analog tools.

With a CNC router, Bonner cuts narrow wavy lines and wide vector strokes from the surface of her work. These lines and vectors mimic the hand-produced gestures of finger painting, sketching and erasing. Bonner also uses found and original paintings to add texture to her images. Folded and cut apart, and then scanned, the rolled and crimped paintings create an illusion of depth. These painterly gestures and references to hand work are edited and reproduced through digital means. The digital gesture and the material gesture conspire and vie for attention.

KATE BONNER: The other side is this side is the artist’s second solo exhibition with the Gallery, currently on view from April 23 through May 28. Two recent press interviews with MUSEE Magazine and Artspace help to further elucidate her thoughts and ideas behind the work.  Kate will also be featured in a solo presentation at NADA New York 2016 with Et al. Projects, May 5-8.

For further information, please contact the gallery at 310-838-5900, or email [email protected].

Kate Bonner received her MFA from California College of the Arts in 2012. She lives and works in Oakland, CA, and is represented by Luis De Jesus Los Angeles. Bonner has participated in solo and group exhibitions at The Wattis Institute for Contemporary Art, San Jose Institute for Contemporary Art, Torrance Art Museum, Piasa Paris, Queens Nails, The Popular Workshop, Et. al., The Pit, The Hole, Catherine Clark Gallery, Ever Gold, and The Center for Ongoing Research & Projects, among others. Her work has also been presented at UNTITLED Miami, NADA New York, EXPO Chicago, Paris Photo Los Angeles, ALAC, and Material Art Fair.

LUIS DE JESUS LOS ANGELES
2685 S LA CIENEGA BLVD
LOS ANGELES CA 90034
T +1 310 838 5900
WWW.LUISDEJESUS.COM

Resource Extraction Corp

Resource Extraction Corp, Showroom, 2015

"Resource Extraction Corp is a web-based, conceptual art project. It is an investigation and reflection upon the notions of commerce, art as commodity, the rhetoric of philosophical language, the absurd and humor. It is a realization of the shifting methods by which a viewer relates to and interacts with art within the media; how the mass viewing of art work is realized on-line, the digital realm. This project is non-specific in location, time and person and is in perpetual development."

To peruse the Resource Extraction Showroom, please follow the link www.resourceextractioncorp.com

Left: Object #002, Referential Placement Designator, 2015
Right: Device #002, Inter-Personal Confluence Beacon, 2015

 

galerie laurent mueller STUDIO, Paris

Cyrille Weiner and Grégory Lacoua
Twice, 2014
Beech display with signed publication
Ed 3 + 2 EA
75 x 34 cm
Courtesy of the artist and galerie laurent mueller, Paris
19/80 éditions
 
 
TWICE
Cyrille Weiner and Grégory Lacoua
 
February 12th until March 14th 2015
 
Third proposal by Marguerite Pilven for the Code Inconnu cycle.
 
Since 2001, Cyrille Weiner has been developing a photographic work that describes contrasting territories, situated between nature and urban construction or abandon and restructuration of sites. Through the observation of these intermediate zones he engages a reflexion on the occupation of space and the time of its transformation; the way an individual inscrives itself solitarily or socially, on the margin or in full frame of collective planning.
 
These situations in-between geographies are also seen as respirations, moments where the urban fabric and its activities come to a stop, revealing a blank where perceptive habits and the appreciation of space are overwhelmed. The photographies that Cyrille Weiner takes as he explores those territories become breeding ground for fictions. He encourages their open reading, disconnected from their original context, by building scenarios that take shape as exhibitions, editorial projects and installations.
 
For the Code Inconnu cycle, a longterm project conceived with the designer Grégory Lacoua becomes reality: to realise a hybrid photographic object, half sculpture, half furniture. Both are interested by the possibility to enrich ones relation to the world by creating objects and situations whose incertain identification asks for novel uses, reviving the role of the body and the eye.
 
Three photographies by Cyrille Weiner, transferred onto glass panes, are placed in front of each other, revealing a floating, porous landscape, at once natural and urban. This superposition reminds us of the relief effect of old stereoscopic images whose public display often resulted in a collective experience. The work presents to the eye a projection space both dense and crystalline that can be adjusted and reconstructed at will.
 
MP
 
The artist’s book Twice by Cyrille Weiner, published by 19/80 will be launched at the opening.
 
Cyrille Weiner holds a diploma from the Ecole Nationale Supérieure Louis Lumière. His practice questions the fictional and poetic power of the photographic document through an open interpretation of geographical, urban and architectural problematics. His work has been presented at the Musée d’Art Contemporain de Lyon, Rencontres d’Arles, villa Noailles (Hyères), Centre de photographie de Lectoure, Guangdong Museum of Art (China) and at the Festival of Light in Buenos Aires. He has received the Prix Rodolphe Hervé et Lucien Hervé in 2012. He is the author of Presque île (éditions villa Noailles / archibooks) and Twice (19/80 éditions)
 
Gregory Lacoua holds a diploma from ENSCI-les Ateliers and Ecole Boulle. He works in a conceptual and empirical way, aiming to alter living standards and daily uses. In 2014, he presented with the agency Flavie + Paul an experimental collection of objets : objets du quotidien qui stimulent la conscience de soi. In 2010 he signed the interior design of the Chapelle des religieuses de l’Assomption in collaboration with JS Lagrange. Amongst his clients, Christian Dior parfum, Ligne Roset, the RMN and the Ministère de la Culture (France). He received the prix Etoile de l’Observeur du design in 2007 for his carpet-stool produced by Ligne Roset. In 2015 he will present a collection of toys developing the art of basketwork for the salon Playtime (Coll. Flavie + Paul) and the production of a domestic accessory for MarcelBy.
 
 
galerie laurent mueller STUDIO
75 rue des Archives
75003 Paris
France
T: +33 1 42 74 04 25
 
galerie laurent mueller
 
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ARRATIA BEER, Berlin

Jeremiah Day
The Frank Church - River of No return Wilderness
Courtesy of the artist and ARRATIA BEER, Berlin
 
 
JEREMIAH DAY
The Frank Church - River of No return Wilderness
 
February 27 - April 4, 2015
 
Opening: February 27, 6-9pm.
Performance: Jeremiah Day with Bart de Kroon 7-7:30pm
 
Arratia Beer is pleased to present Jeremiah Day’s first solo exhibition in Germany, The Frank Church - River of No Return Wilderness.
 
Jeremiah Day’s practice integrates photography and an improvisational, moving/talking performance method into an idiosyncratic and personal mode of description.  The historical and the political are transmitted through embodiment, incarnation and encounters with sites of memory.
 
Part epitaph, part ode, part investigation, The Frank Church - River of No Return Wilderness draws together years of research and studio performance into an anti-monument, chronicling the example of US Senator Frank Church, remembered only by activists for his work documenting the secret histories of US politics during the Cold War.
 
A widely forgotten figure, Church’s name has resurfaced to public attention in the wake of the revelations of Edward Snowden. In the 1970’s Church led a series of investigations into the political practices of the United States, including the harassment of Martin Luther King Jr, assassination plots of foreign political leaders, and the development of mass surveillance.
 
The title of this work is taken from the name of a wilderness reserve in Idaho, named in honor of United States Senator Frank Church, who had ironically used those exact words to warn of crossing over a “bridge of no return,” and this word play becomes the point of departure and hinge for Day’s evocation of Church, his investigation and his subsequent failed Presidential run. The Wilderness, the largest undeveloped area in the lower 48 States, is so vast that forest fires are allowed to take their course, leaving huge areas burned out.
 
A single-channel video interweaves archival footage of Church speaking, with fragments of Day performing in the studio, and is juxtaposed with a large mural painting and series of color photographs depicting the Wilderness.
 
Combined with original artifacts from Church’s Presidential run, gifts made to Day in a spirit of comraderie by the Church archive in Idaho, the installation itself becomes a performative gesture.
 
Through a combination of physical scale, and narrative content, the piece attempts to take up the tradition of French history painting, in which art achieves political relevancy through dramatization and metaphor.
 
The Frank Church - River of No Return Wilderness was originally produced in collaboration with the Stedelijk Museum in Amsterdam as part of their 2012 reopening exhibition and was subsequently presented at the Centre George Pompidou in Paris.
 
Visual artist, Jeremiah Day also trained in movement, working regularly with the pioneer of postmodern dance Simone Forti. His work establishes a montage narrative form, where political and personal realities intertwine through different techniques, including photography, video and movement.
 
The video features the contribution of Day’s long time musical collaborator Bart de Kroon, an Utrecht-based singer-songwriter who also possesses degrees in Psychology and Genocide Studies.
 
Jeremiah Day (1974, USA) graduated from the University of California, Los Angeles and attended the Rjiksakademie de Beeldende Kunsten in Amsterdam. Recent exhibitions include: “Nonfictions” with Fred Dewey and Simone Forti at the Santa Monica Museum of Art, “The Promise” at Arnolfini, Bristol, and 2014 Liverpool Biennial.
 
 
ARRATIA BEER
Potsdamer Str. 87
10785 Berlin
Germany
T: +49 30 23 63 08 05
 
ARRATIA BEER
 
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Galerie Nordenhake, Stockholm

Hreinn Friðfinnsson
Illustration, 2015
Courtesy of the artist and Galerie Nordenhake | Berlin - Stockholm
 
 
HREINN FRIDFINNSSON
Echoes and Reflections
 
Vernissage: February 26, 2015, 17.00 - 20.00
Exhibition period: February 27 - April 2, 2015
 
Hreinn Friðfinnsson exhibited with Galerie Nordenhake for the first time in 1989. Over the years his oeuvre has been recognized with significant institutional exhibitions, including his survey exhibition at The Serpentine Gallery, London in 2007, curated by Hans Ulrich Obrist and Olafur Eliasson, and his encapsulated retrospective at the 30th São Paulo Biennial in 2012, curated by Luis Pérez-Oramas.
 
Friðfinnsson is considered by many the father of Icelandic conceptual art. As a reaction to the Abstract Expressionism of the 1960’s Friðfinnsson returned to the extraordinary qualities of the Icelandic topography and atmosphere that had traditionally been represented in landscape painting. His focus was on the most ephemeral and fleeting qualities of the world around him: light, reflection, wind, water, the passing of time. He also embraced other subjects of transient nature; for years he has collected the secrets of strangers, re-enacted unlikely myths, made artworks of borrowed materials (a sculpture of his neighbor’s door, photographs of his cousin’s horses), appropriated the wares of industrious spiders, saved and pressed Autumn leaves picked up in the early 1980’s. Friðfinnsson’s response to these inscrutable subjects developed into works characterized by a lyrical, stark poetry, an exquisite lightness of hand and an often self-diminishing humor.
 
The act of returning to older works has become an important element of Friðfinnsson’s practice in recent years. It is not a sentimental act, though one may suppose so. Instead, revisiting old ideas entails an element of circularity and impermanence which is congruent to his practice as a whole.
 
In the exhibition Friðfinnssonn returns to his mythical House Project - a project based on the story of an old eccentric Icelander who intended to built a house inside out. In 1974 Friðfinnsson built the house based on the story in a remote area of the Icelandic volcanic tundra. Inversed, the wallpaper, curtains and framed pictures hanging on the outside, the house thereby contained the whole world, except itself. Since 1974 Friðfinnsson has returned to the work and developed new chapters in the life of the house thereby maintaining the mythology around it and adding new layers.
 
Hreinn Friðfinnsson (b. 1943 in Iceland) has lived in Amsterdam since the early 1970’s. He was a co-founder of the of the Icelandic avant-garde artists’ collective SÚM and has exhibited widely internationally. Solo shows include House at Hafnarborg - Hafnafjordur Center of Culture and Fine Art (2012) and retrospectives at Malmö Konsthall, Art Museum Reykjavik (2008) and the Serpentine Gallery (2007) the National Gallery of Iceland (1993), the Institute of Contemporary Art, Amsterdam (1992). Other significant participations include The Imminence of Poetics at the São Paulo Biennale and Ends of the Earth - Land Art to 1974 at MOCA Los Angeles and Haus der Kunst, Munich. He represented Iceland at the 45th Venice Biennale in 1993.
 
 
Galerie Nordenhake Stockholm
Hudiksvallsgatan 8
SE-113 30 Stockholm
Sweden
T: +46 8 21 18 92
 
Galerie Nordenhake | Berlin - Stockholm
 
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Hezi Cohen Gallery, Tel Aviv

Carsten Nicolai
334m/s, 2007
Perspex tubes, gas, igniting mechanism, room installation, dimensions variable
Installation view at Hezi Cohen Gallery, Tel Aviv, 2014
Photo: Liat Elbling
Courtesy Galerie EIGEN + ART Leipzig/Berlin and the Pace Gallery
 
 
CARSTEN NICOLAI
frequenz
 
13 November - 27 December 2014
 
frequenz at Hezi Cohen Gallery, Tel Aviv presents three bodies of work which focus on the subject of sensing (German: ‘abtastung’).
 
334 m/s (2007) is a room installation, depicting the speed of sound (c = λ · ƒ), which is about 334 m/s (the speed of sound under normal conditions in the atmosphere). Two translucent tubes filled with propane gas are set on fire to cause a chain reaction. A flame burns from one side to the other, slowly accelerating to the point where it hits the end of the tube. Due to the ratio of the gas-Oxygen mix the flame causes a rapid explosion, which can be heard as a sonic boom.
 
future past perfect pt. 01 (sononda) (2010) is the first part of the short film series ‘future past perfect’, originally recorded in 2006. The series whose single fragments are planned to be a part of a larger scale film project are designed as a row of conceptually independent movies that document Nicolai’s focus of interest that year, each part builds on the insight gained from the previous work. sononda’s visual qualities may seem artificial, however, the work was shot in a natural environment. The focus is directed on the sculptural quality of light. The correspondence of music - with its low frequency modulations and merging soundscapes - as well as the light playing on the curved surfaces of the sculptural stone formations create together an ever-changing atmosphere of concrete and abstract appearances.
 
The series abtastung frequenz (2014) and abtastung wellenform (2014) are ‘photographs’ on which time-based processes were suspended in order to visualize them for human perception. Thereby the works are not photographs in the classical sense, but rather a sort of photogram or more specifically, a scanogram. Much like the photogram, the scanogram is the result of a direct sensing (‘abtastung’) of light impulses by the scanner, independent of a classical negative in the proper sense. The image is created by moving the scanner sensor and the light source simultaneously. Depending on this specific technique, unique images in the form of parabolic frequency lines and waves are visualized. A fundamental starting point for these works is studies and theories by László Moholy-Nagy and his experiments with light sources and photogram techniques. The works abtastung frequenz (2014) and abtastung wellenform (2014) can be understood as translations of these techniques into modern technologies, in which randomness and the technical specifications of the scanner play a decisive creative role.
 
Four works of the extensive series abtastung wellenform (2014) were selected and exposed to photo-technical processes. The series abtastung frequenz (2014) consists of twenty sensings - ‘abtastungen’ - that were exposed on a transparent photo-film. The large number of works in this series demonstrates the creative and playful possibilities of modern technologies when used as a creative tool.
 
Carsten Nicolai (b. 1965, Karl-Marx-Stadt, lives and works in Berlin) is one of the most prominent sound and multimedia artists active today. In his work, Nicolai uses electronic sound and visual art as a hybrid-tool to create his own microscopic view of creative processes. His work environment resembles a laboratory. Influenced by scientific reference systems, Nicolai often engages in mathematical patterns such as grids and codes, applying concepts such as error, randomization and self-organizing structures into his work.
 
Carsten Nicolai is represented by Galerie EIGEN + ART Leipzig/Berlin, the Pace Gallery and Galleria Lorcan O’Neill, Rome. This year, Nicolai presented the project α (alpha) pulse at Art Basel Hong Kong, which had been the central project commissioned by the fair. Other major international exhibitions include the ‘documenta X’ in Kassel (1997) and the 49th and 50th editions of the Venice Biennale (2001, 2003). Audiovisual performances by Nicolai (under the pseudonym ‘noto’) were held at the Pompidou Center, Paris (2008, 2006), Tate Modern, London (2006), the Museum of Modern Art (MoMA), New York (2003), the Museum of Modern Art, San Francisco (2001) and the Solomon R. Guggenheim Museum, New York (2000).
 
 
Hezi Cohen Gallery
54 Wolfson Street
Tel Aviv 66042
Israel
T: +972 (0)36398788
 
Hezi Cohen Gallery
 
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Contemporary Art Gallery Vancouver

Shimabuku
When Sky was Sea, (2002)
DV transferred onto DVD. Edition of 5
Courtesy the artist and Air de Paris, Paris
 
 
SHIMABUKU
When Sky was Sea
 
November 21, 2014 to January 11, 2015
Opening reception: Thursday, November 20, 7-10pm
 
When Sky was Sea is the first large-scale exhibition in North America of work by renowned Japanese artist Shimabuku.
 
The presentation by this extraordinary artist demonstrates the breadth of his practice; works revealing an essential connection to things elsewhere in a wider world, underlining the continuity that exists between art and life.
 
We follow as the artist travels the world, interacting with strangers, and conversing with nature, Shimabuku instigating moments of poetry, humour, joy and surprise.The exhibition includes works dating back to the mid-1990s, when he first emerged as an artist in Japan, through to presenting a wide variety of more recent work for which he has since become internationally celebrated. Exemplifying his unending curiosity and freedom of expression Shimabuku uses installation, video, photography, drawings, sculpture and events alike to convey his intense fascination with the natural world–equally the animal and vegetable realms–and the countless manifestations of human culture within it.
 
His artistic proposition is essentially one of storytelling and discovery, in passing through the rubber band (2000) visitors are invited to step through the stretching loops, a simple act of fun and wonder via the most modest of means, as in all of his works the marvellous emerges from the mundane.Shimabuku is not so interested in discovering the reasons why, instead preoccupied, through a joyful approach, with unions of myth or mystery and the everyday. This is epitomized by Something that Floats / Something that Sinks (2008), a work through which the artist draws our attention to the fact that some pieces of fruit and vegetables float in water or appear to swim, while others sink. It is wonderful and ostensibly miraculous.
 
The exhibition is complementary to and produced in association with Ikon Gallery, Birmingham, UK and Kunsthalle Bern, Switzerland.
 
Shimabuku (1969, born in Kobe, Japan) lives and works in Berlin. Selected solo exhibitions include: Sea and Flowers, Barbara Wien Wilma Lukatsch, Berlin; City in the sea, Air de Paris, Paris; Flying Me, Kunsthalle Bern, Switzerland (2014); Something that Floats/Something that Sinks, Ikon Gallery, Birmingham, UK and Noto, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2013); Leaves Swim, Nogueras Blanchard, Barcelona, Spain (2012); Man should try to avoid contact with alien life forms, Centre international d'art et du paysage de l’Île de Vassiviére, Vassiviére, France; On the water, CAPC musée d’art contemporain de Bordeaux (2011); The Watari Museum of Contemporary Art, Tokyo (2009); DAAD galerie, Berlin; Wilkinson Gallery (2007); Swansea Jack Memorial Dog Swimming Competition, Glynn Vivian Art Gallery, Swansea (2003); Then, I Decided To Give a Tour of Tokyo To the Octopus From Akashi, Galerie Yvon Lambert, Paris (2002); America, Hiroshima City Museum of Contemporary Art, Japan (1994).
 
Established in 1971 the Contemporary Art Gallery is the longest standing free public art gallery in Vancouver dedicated exclusively to presenting contemporary art. By the early 1990s the programme expanded providing some of the first institutional exhibitions for many important Vancouver artists, including Brian Jungen, Germaine Koh and Steven Shearer. The Contemporary Art Gallery is a publicly funded institution, generously supported by the Canada Council for the Arts, the City of Vancouver and the Province of BC through the BC Arts Council and the BC Gaming Policy and Enforcement Branch. We are very grateful for this support and that we receive from the Vancouver Foundation and our members, donors and volunteers.
 
 
Contemporary Art Gallery
555 Nelson Street
Vancouver, BC
V6B 6R5
Canada
T: +1 604 681 2700
 
Contemporary Art Gallery
 
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Galerie Catherine Bastide, Brussels

Valerie Snobeck
Go Soft, 2014
60 minutes
HD film
 
 
VALERIE SNOBECK | HENRIK OLAI KAARSTEIN | NICK BASTIS
 
16 November - 20 December 2014
 
VALERIE SNOBECK - Go Soft
 
There’s a monochromatic green filling up the frame. We hear the sound of footsteps approaching. A hand lays down a non-running mechanical pocket watch, and sets up tools nearby. Over the next hour, we see the horologist’s hands filmed from above, meticulously take apart, clean up and maintain the watch mechanism before putting it back together. The video unwinds a continuous cycle of removal, resuscitation, and delay.
 
Valerie Snobeck’s video, “Go Soft” uses formal constraints similar to those within the Structural film tradition. Throughout the video the watch does not give us the time, at least not a regimented time of notched minutes. Dismantled, the watch becomes an object to watch. Many objects, gears unlatched from one another, and unlatched from chronology, move in and out of the frame.
 
Engraved on one of the gears are the letters S H E L L. This watch was originally lubricated with Shell oil. In the 1940s the watch was a promotional item, a way of lubricating the public’s opinion into positive thoughts about the oceans, the future and our control of it.
 
Valerie Snobeck was born in Wadena, MN, in 1980. BFA, St. Cloud State University, 2003, MFA, University of Chicago, 2008. Her work has been exhibited in the United States and in Europe, at the 2014 Whitney Biennial, the University of Delaware, the Smart Museum of Art at the University of Chicago, and the Consortium in Dijon. She lives and works in New York.
 
-
 
HENRIK OLAI KAARSTEIN - Pride
 
(“Lady Pride, national pride, gay pride, parental pride, maternal pride, artistic pride, female pride, classless pride, pride lecture, we are proud, bongo pride, cock pride, pride tears, tears of pride, proud shit, proud abstraction, proud patience, proud future, Europride, pink pride, proud blue, red pride, proud black, orange pride, proud violet, purple pride, proud white, yellow pride, pride grey, proud flower, proud rose, proud sex, good pride, less good pride, adequate pride, proud Magdalene of Magdala, proud in Persia, proud at home, proud in water, proud with a gun”)
 
- Henrik Olai Kaarstein
 
Henrik Olai Kaarstein’s work is an exploration of the domestic, the intimate and the private in its materials, its rituals and its aspirations. It is often made out of found objects, many of them functioning as a sort of personal image bank and having a sentimental as well as an aesthetic value: a sleeping bag, an office table, a fake rose, a tissue paper box, some underwear packaging, some cardboard sheets, and so forth. His paintings are not painted on conventional canvases, as he uses various objects and materials soaked in paint or stained by it, rather than the paint being deposited on the surface of the canvas. Characters, symbolic systems and recurring imagery are used such as a swimming/drowning divas, some birds, roses, torsos, objectified men, and even some terrorists, all brought into play in colorful abstractions. Kaarstein relies on these various sources to paint even though he works in a intuitive way, allowing mistakes made during the process to remain or even to be highlighted, letting the process of soaking his supports sometimes damage the surface if needs be, to embrace, “the murky line between creation and destruction”. The constant feed of news, information and disinformation is source of excitement and fascination for Kaarstein, who equates the confusion delivered by mass media each time a sensational situation arises with something he wants to project in his own art, such as in “Dzhokhar Rose”, based on the press images of the surviving sibling of the Boston Marathon Bombers.
 
Henrik Olai Kaarstein was born in Oslo, Norway in 1989. He has attended the Nordland College of Art and Film, Kabelvåg, Norway and is currently enrolled at the Staatliche Hochschule für Bildende Künste, Städelschule, Frankfurt am Main. He has exhibited at Il Crepaccio (Milan), Tidens Krav (Oslo), T293 (Naples), Welcome Screen, Laura Bartlett Project Space (London), ReMap4 with T293 (Athens) and T293 (Rome).
 
-
 
NICK BASTIS - Making Friends
 
On this particular morning, Sam’s internet was down, so he went out for a stroll along the river. He looked over to the other side and thought he saw his friend Mose. He couldn’t be sure from that distance - it could have been someone else with a similar stride and the same hair-do as Mose. Sam decided to take the bridge across the river and see whether it was Mose.
 
Mose was walking on the other side of the river. As he looked across the river, he thought he saw his good friend Sam. He was almost sure it was Sam, but at the same time, he knew it could have been someone who looked just like Sam with a comparable puffy jacket. He decided to take the bridge across the river to see if it was Sam.
 
On the bridge, it turned out that it was neither one of them.
 
- As told by Gijs Milius
 
Rather than expressing something in particular, the work is more concerned with the mechanisms of expression itself and its contingencies, produced through minor interjections in already occurring processes, flirting with an evacuation of the ego. Well, except for the sculpture of the guy with his penis looped into his own anus. That is an autonomous piece.
 
Nick Bastis (MFA, 2013, University of Chicago), was born in New York in 1985. Currently based between Brussels, BE and Vilnius, LT. Works recently shown at the Museum of Contemporary Photography (Chicago, US), Fluxia (Milan, IT) and Objectif (Antwerp, BE), upcoming shows at Regards (Chicago, US), Podium (Olso, NO), Kunsthalle Athena (Athens, GR), Chapter NY (New York City, US).
 
 
Galerie Catherine Bastide
67 Rue de la Régence
Regentschapsstraat 67
B-1000 Brussels
T : +32 2 646 29 71
 
Galerie Catherine Bastide
 
Read On... Galerie Catherine Bastide, Brussels

 

Galerie Martin Janda, Vienna

Jakob Kolding
The Raven, 2014
collage on paper
76 x 56,5 cm
Courtesy of the artist and Galerie Martin Janda, Vienna
 
 
JAKOB KOLDING
MASQUERADES
 
19 November 2014 - 10 January 2015
 
Galerie Martin Janda is pleased to announce Masquerades, Jakob Kolding’s fourth solo exhibition at the gallery. The exhibition will run from 19th of November 2014 to 10th of January 2015. As the title suggests, the exhibition examines different takes on masks and the connected acts of gesturing, performing and staging–acts that indicate different possible identities, as well as psychological, social and political implications.
 
Taking masquerades as a starting point, the works playfully combine a wide range of influences. From renaissance sculptures to surrealism, psychoanalysis and dream interpretation to modernist theatre, dioramas and classic literature to hip hop culture and pop music, post-structuralist identity theory and back again to pre-modern myths and fables. In the process, a world of constantly shifting, changing and overlapping positions is constructed.
 
Often using only a few elements–in some works just one or two–a wide range of possible meanings are opened up. What at first hand might look like a symbol with a certain significance gradually turns to suggest multiple readings, oscillating between different positions and seeming contradictions, creating an ambivalent state of radical openness that is, at the same time, liberating as well as frightening–a state of existential drama that is loaded with a dream-like ambiguity.
 
Central to the exhibition is a large installation composed of individual sculptures of life-sized figures made from prints on wood cutouts. A landscape of people, trees and animals create a scenography that lies somewhere in between theatre scene design, 19th century dioramas and amusement parks. As the spectator walks among the figures, the basic stage prop construction becomes obvious. It’s a scene that can be entered, but which at the same time shows its own one-sidedness. It invites the spectator to become a part of it, while simultaneously introducing considerations on its very construction, making evident the slippery slope between the real and the imaginary. Or indeed, between the “real” and the performed. Among the figures some are dressed up in costumes and others wearing masks or hiding their faces in other ways. This becomes both a stage performance and a performance of identity. Identities that are defined individually as well as collectively as they interact with each other, as well as the added layer of the spectators as they enter the installation and become a part of it. In this manner, one of the works even leaves the part of the body most commonly used for personal identifications, the head, empty, just as those found in old amusement parks where you could stick your head through a hole to be photographed as a different person or in a different landscape.
 
The theme of masquerades shows itself perhaps even more directly in the two groups of collages. In one group, the individual works focus specifically on the idea of masks, incorporating various ways of masking, covering or being covered, hiding or being hidden, to challenge, change or construct an identity, or maybe all three at once. In the other group of collages, the stage plays a larger role, creating a series of dramatic settings. Works that are literally making a scene.
 
A new artist book by Jakob Kolding will be presented for the first time on the occasion of the exhibition Masquerades. The book, entitled The Hat, is the first of two books by Kolding made with the Barcelona artist book publisher Cru.
 
Jakob Kolding was born in 1971 in Albertslund (DK), and lives and works in Berlin.
 
 
Guided Gallery Tour with Hemma Schmutz through the galleries in Eschenbachgasse (Martin Janda, Krobath, Meyer Kainer, Mezzanin, Steinek) in the context of the VIENNA ART WEEK 2014: Thursday, November 20, 5 pm. Starting at Galerie Martin Janda, Eschenbachgasse 11, 1010 Vienna.
 
 
Galerie Martin Janda
Eschenbachgasse 11
A-1010 Vienna
Austria
T: +43 1/585 73 71
 
Galerie Martin Janda
 
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Art & Science Collaborations, Inc. at New York Hall of Science

Robert Strati
Cerebral Composition, 2014
Digital Print
18" x 24"
Courtesy of the artist
 
 
The BRAIN
 
16th international art-sci juried exhibition
organized by Art & Science Collaborations, Inc.
and held at the New York Hall of Science
 
October 11, 2014 - March 29, 2015
 
Yura Adams (USA), Laura Ahola-Young (USA), Julie Amrany (USA), Travis Bedel (USA), Federico Carbajal (Canada), Lia Cook (USA), Bonnie Cutts (USA), Gregory Dunn (USA), Lauren Evans (USA), Robert Fathauer (USA), Roger Ferragallo (USA), Debra Friedkin (USA), Eran Gilat (Israel), Geoffrey Harrison (UK), Gunes-Helene Isitan (Canada), Elizabeth Jameson (USA), Terri Lloyd (USA), José Miguel Mayo (USA), Patricia Moss-Vreeland (USA), Valeriya N-Georg (UK), Remy Nurse (UK), Robert Peters (UK), Michael Ricciardi (USA), William Stoehr (USA), Robert Strati (USA), Aga Tamiola (Germany), Franco Tosi (Italy), Jayne Walther (USA), Ron Wild (Canada)
 
We have entered the era of “Big Neuroscience.” The goal of the United States’ Brain Research through Advancing Innovative Neurotechnologies (BRAIN) initiative is to map the activity of every neuron in the human brain, and the mission of the European Union’s Human Brain Project (HBP) is to construct realistic simulations of the human brain.  They are the biggest scientific challenges of the 21st century.
 
Propelled by MRI and fMRI imaging technologies, scientists are already discovering fundamental mechanisms of brain function that will ultimately create a more complete understanding of what it means to be human. These “heady” times for neuroscience are also having a domino effect in the arts. Artists have long reflected upon the nature of perception, memory, and emotion to create their work. But recent breakthroughs in understanding the brain, accompanied by its visualizations, are sparking the imaginations of artists around the world. And recently, a young neuroscientist who was so enamored with the beauty of the brain’s neurons and synapses has created a successful career in the arts as a painter!
 
Separately, and often in collaboration with neuroscientists, artists are using abstract thinking, imagination, and visual perception to respond to new discoveries in brain science. Sometimes, they are spurred by neural maladies that have touched them personally, such as color blindness and dyslexia, or the more serious impacts of brain damage from injury, epilepsy, Alzheimers, autism, and schizophrenia, among others.
 
A new openness from science practitioners and a desire for public engagement with their research findings, has created a plethora of recent art+neuroscience activities including: the new scientific field of Neuroaesthetics; “The Beautiful Brain: Art and Science of the Human Mind” online forum; The Interalia Magazine dedicated to the interactions between the arts, sciences, and consciousness; “Neuroscience Art” exhibitions mounted at The Society of Neuroscience annual meetings; and a 2014 production of a planetarium journey, the NEURODOME, that utilizes the data visualization tools of astronomy to depict high-resolution imagery of the brain.
 
This juried exhibition is the result of Art & Science Collaborations’ international Open Call for stunning visual images documenting original art executed in any media that was inspired or informed by the various aspects of the brain and new discoveries in neuroscience.
 
Cynthia Pannucci, Founder/Director of Art & Science Collaborations, Inc.
 
 
New York Hall of Science
47-01 111th St.
Corona
New York, NY, 1136
T: +1 718-699-0005
 
Art & Science Collaborations, Inc.
 
New York Hall of Science
 
Read On... Art & Science Collaborations, Inc. at New York Hall of Science