The Public Art Fund presents
Richard Woods' wall and door and roof at New York's City Hall Park
July 2 – September, 2009
The Public Art Fund has commissioned Richard Woods to whimsically transform the gateway to New York's City Hall this summer. Cladding the property's two security booths with a printed facade of cartoonlike red bricks, Woods draws on his unique vernacular, identifying this design as an inexpensive architectural style; visually dynamic and in stark juxtaposition to the historically significant location. Woods' faux renovation continues inside City Hall, where one of the lobby doors is covered in a printed graphic that is a replication of itself, including all of the ornamental details of the original to produce a heightened and flattened sense of reality.
Location and Directions:
City Hall Park is located in Lower Manhattan, bordered by Broadway, Chambers Street, Centre Street, and Park Row. Subways: A, C, E to Chambers Street; 4, 5, 6, J, M, Z to Brooklyn Bridge-City Hall; N, R to City Hall; 2, 3 to Park Place. The exhibition is free to the public, although reservations are required for tours of City Hall and can be made by calling 311 or visiting www.nyc.gov.
Tuesday, June 30, 2009
Sunday, June 28, 2009
Saturday, June 27, 2009
Minneapolis is a city in the Midwestern United States, known for its high rate of literacy and racially tolerant atmosphere. In many respects it is the ideal American city, where coexisting cultures thrive, and in turn breed successive generations of even more creative, talented inhabitants. "Minneapolis" considers the implications of Minneapolis, its legacy and impact on everyone who has never been there.
Posted by J-P Brask at 12:33:00 PM
Friday, June 26, 2009
Thursday, June 25, 2009
Wednesday, June 24, 2009
Monday, June 22, 2009
“Waste Not” Projects 90：Song Dong
Beijing-based artist Song Dong (b.1996) presents his very first solo exhibition in the U.S. “Projects 90: Song Dong” at The Museum of Modern Art, New York. The installation work “Waste Not”, which was first exhibited at Tokyo Gallery + BTAP (Beijing) in 2005 under the curation of Wu Hung, will now be presented at MoMA in full-scale from 24 June, 2009 through 7 September, 2009.
The large scale installation work “Waste Not” was first presented in 2005, and has since been awarded The Golden Prize at the Grangju Biennale, traveled to Berlin and Walsall, and is now scheduled to be exhibited in Vancouver and California following the MoMA show. Through this project, which has received worldwide acclaim, the artist raises the private topic of a deepening relationship with his mother after his father’s death, while evoking the phenomenon of modern Chinese society. Tokyo Gallery + BTAP has continued to support and promote Song Dong and his project to a wide international audience, ever since it opened its branch in Beijing (2002). We are very pleased for “Waste Not” to be presented at MoMA, and hope you have an opportunity to stop by to experience.
Posted by J-P Brask at 11:51:00 AM
Saturday, June 20, 2009
Friday, June 19, 2009
RETURN TO THE WOMB
A solo exhibition by Neckface
Like an avenger from the dark side of nightmares, the young American artist Neckface slices all things pretty with his devilish scythe. A refined line draws up the contours and contrasts of a fantasy landscape in which death and destruction reigns in beautiful pastels.
Entering Neckface’s universe is like entering a horror chamber. At first glance his exhibition resembles a teenage room. Nostalgia and smiles quickly appear. But at second thought the warm memories and daft grin soon feels wrong. Because the deadly noose clinging to Neckface’s scrawny beings, and the blood that gushes from the chopped off limbs are not only figments of the imagination. These are images that have followed humanity since we first set our sights on this planet. From the inquisitions and witch hunts of the medieval times over the Judas Cradle and Iron Maidens to the world wars in the twentieth century and the prison camps of the twenty-first century in which human cries are lost in a geographic void that literally exists outside laws and regulations.
And how devilish it is then that Neckface is actually very, very funny… But his mission is not to mission. On the contrary. It is allowed to laugh at the unlucky men and women living in Neckface’s world where chaos reigns. Because even though his works evoke unpleasant memories they are also a tribute to the aggressive energy that runs like a violent undercurrent in punk, death metal, the skater scene, horror movies, Edgar Allen Poe and so forth. And of course the arts from minute etchings of the middle ages and voluptuous baroque paintings to the feverish surreal fantasies of Picasso and Max Ernst not to mention today’s Raymond Pettibon, Marcel Dzama and David Shrigley. And – bizarrely also to life as it is. Absurd on the verge of farcical. Unless you’re hanging on the unfortunate side of life, either behind frame or bars.
Neckface was at the tender age of 20 named on of the most interesting artists on the American independent art scene. His gallows humor attracted attention on streets all over the world. His first exhibition, Witch Hunt, opened in 2004 at the seminal and influential New Image Art Gallery in Los Angeles. Soon after followed a book on his works, entitled Satans Bride! Most recently Neckface has had solo exhibitions at dpmhi (London), Monster Children (Sydney) and contributed to the important exhibition The Bay Area Now at Yerba Buena Center for the Arts in San Francisco. Neckface first visited V1 Gallery in 2007 with the solo exhibition Rehearsal for Death.
Curator and culture critic Carlo McCormick has called Neckface: "The most prolific and idiosyncratic street artist working today".
Donny: Are these the Nazis, Walter?
Walter Shobchak: No, Donny, these men are nihilists. There's nothing to be afraid of.
Posted by J-P Brask at 9:43:00 AM
Thursday, June 18, 2009
Story without a Name", curated by Blair Taylor
Carol Bove, Andrew Lord, Terence Koh, Dash Snow
June 20 ˆ August 15, 2009
Opening: Saturday, June 20, 2009, 7 ˆ 10 p.m.
Javier Peres is pleased to announce "Story without a Name," a group exhibition curated by Blair Taylor. The exhibition includes film and collage by Dash Snow, and sculpture by Carol Bove, Terence Koh and Andrew Lord. All four of these artists currently live and work in New York City.
At the onset of the Great Depression in the 1930s, Joseph Cornell took work designing textiles and selling appliances door-to-door to support his family and his habit of collecting ephemera with which to make artwork. He later referred to this period as "a golden age ˆ one of white magic without which I don't know where I would be today." It was during this time that Cornell created a series of collages titled "Story without a Name ˆ for Max Ernst," from which the present exhibition takes its name and mission.
Like Ernst's own "collage novels" of the same period, Cornell's collages forego narrative in favor of a kind of subjective helix. The collage materials were often taken from pre-photography penny novels (with heavily popular themes), but recombined to off-putting effect in a way we broadly categorize now as Surrealist.
Here, bracketed by disquieting figurative collage and film by Dash Snow, sculptures by Andrew Lord, Carol Bove and Terence Koh anthropomorphize to resemble an eerie gathering (social, Neopagan, alien or otherwise) at the center of the gallery space. The material range ˆ from Super 8 film to ceramics to painted bronze to peacock feathers ˆ provokes a sensual suspension as that between synapses, a realm where dreamscape and corporeality fold together.
Carol Bove was born in 1971 and raised in Berkeley, CA. Bove's work is also currently on view at Tate St. Ives, UK. Previous museum shows include the Whitney Biennial 2008 in New York City as well as solo exhibitions at the Kunsthalle Zurich, Kunstverein Hamburg and ICA Boston.
Beijing-born artist Terence Koh's work is currently included in the 53rd Venice Biennale. He has had solo exhibitions at the Schirn Kunstalle, Museo de Arte Contemporaneo de Castilla y Leon, Kunsthalle Zürich, Secession, Vienna and Whitney Museum of American Art.
Born in 1950 in Whitworth, England, Andrew Lord has been exhibiting ceramic sculptures since the late 1970s, most recently in a solo exhibition at Barbara Gladstone Gallery in New York. Lord's works have also been shown at international institutions such as Art & Project, Amsterdam, The Carnegie Museum of Art in Pittsburgh, PA, Camden Arts Center, London, and Rijksmuseum Twenthe, Enschede.
Dash Snow has lived in New York City since his birth in 1981. His work is also featured in a current exhibition at the Institut Valencia d'Art Modern in Spain. Snow has also been included in group exhibitions at the Pergamon Museum, Berlin, Royal Academy of Arts, London and the Whitney Biennial 2006.
Posted by J-P Brask at 10:42:00 AM
Wednesday, June 17, 2009
Monday, June 15, 2009
ANDREW HAYWARD, KERRI MEEHAN, PAUL MILLHOUSE-SMITH, STUART MORRISON, YADZ ODEDINA, LEONARDO ULIAN, LABAN UNDERHILL AND THOMAS WRIGHT
Hales Gallery is pleased to present Umlaut, an exhibition curated by Stuart Morrison. This is the forth in a series of summer shows where the gallery branches out from it’s regular exhibition programme and provides the opportunity for young independent curators, and artists to develop and present work. Umlaut includes the work of nine artists who have all made works specifically for the show; Andrew Hayward, Kerri Meehan, Paul Millhouse-Smith, Stuart Morrison, Yadz Odedina, Leonardo Ulian, Laban Underhill and Thomas Wright.
The Umlaut (ü) is a diagrammatic mark used to indicate a shift in a spoken language. It is the altering from an initially identifiable letter or sound to that which is of a specific time, country or region. An Umlaut exists as a symbol for our relationship to the curious and unusual; a notation for a formless familiarity.
Through methods of manipulation, Umlaut seeks to explore uncanny instances in which the proverbial and foreign exist in duality. Seating the representational in unfamiliarity both secures and intensifies the created fictions. Due to this inclusion of recognisable material, references to potential histories and narratives are born, building new relationships between object, environment and artist.
Andrew Hayward's Self-portrait is a majestic cross gender reinvention of the artist as a female torso, immobile except for a wheel mounted plinth. It displays the ambivalence of aspirations to idealised masculinity and fears of artistic impotence.
Kerri Meehan creates collages, negotiating images from autobiographical snapshots of precarious social scenes and various pulp media sources in order to create darkly humorous narratives. Through the juxtaposition of domestic scenes and cinematic visuals, Meehan produces an ironic dystopian reality.
In his work Paul Millhouse - Smith explores the notions and ideals of freedom. By creating 'other spaces' he eludes to the possibility of adventure within our known surroundings.
Stuart Morrison’s work seeks to relate disparate subject matters through the pastiche of identifiable material. His work tests the boundaries in which we understand realities and fictions by merging unrelated stimuli resulting in what must act as a cipher for the viewer’s imagination.
Yadz Odedina’s work is the display of a magical and whimsical fall of man. Odedina’s fantastical explosions of the body act as a dramatic residue of heroic audacity rendered in throw away, domestic materials.
Leonardo Ulian’s work describes the relationship between artist and environment. The result is a well-organized system of objects, sounds and light that affect the surrounding space and neighbouring work.
Mark Laban and Elizabeth Underhill’s collaborative practice experiments with site specific work, informed by the study of institutional frameworks. Laban Underhill aims to question the nature and specificity of artistic practice, production and the etiquette of collaboration.
Thomas Wright’s supernatural Arcadias confuse tranquillity with unease through the caricaturing of fantasy and decorative art. Garish compositions balance kitsch predictability with fastidious elegance to provoke uncertainty.
Save the date: Thursday 2nd July - In association with Timeout's 'First Thursdays', Hedydd Dylan and Benjamin Copeman provide an evening of explorative performance to accompany the Gallery's exhibition.
Posted by J-P Brask at 1:57:00 PM
DUNK! / HENNINGS PRESENNING
An exhibition by Ellen Hyllemose, Camilla Nørgård og Lise Nørholm.
DUNK! is now ready with a total summer delux special.
DUNK! proudly presents a stunning collaborational project.
DUNK! is handing over the stage to HENNINGS PRESENING.
HENNINGS PRESENING is sophisticated girl power.
HENNINGS PRESENING is restricted to a collective choice of standard colours.
HENNINGS PRESENING is yellow, green, orange, black, white and gray.
HENNINGS PRESENING goes into a dialog with the space, the window and the view.
HENNINGS PRESENING is a collective and social intervention in progress.
HENNINGS PRESENING is the third collaboration between Ellen Hyllemose,
Camilla Nørgård og Lise Nørholm.
Posted by J-P Brask at 1:51:00 PM
Javier Peres is pleased to present new works by John Kleckner and Mark Flood. Never has defacement been so unabashedly stabby and consumer-culture critical as with Houston-based artist Mark Flood, nor as minutely crafted as with the Berlin-based American artist John Kleckner. Mischief-maker, identities specialist and sub-lingual alchemist Mark Flood layers various media and signs to render their meaning highly problematic, often ascorbic, sometimes bitingly astute; street signs are literally defaced with phrases, often conciously misspelled, that speak to the deepst subconscious desires of humans and consumers; celebrity posters mangled to leave little recognizable in these public icons. John Kleckner employs a draftsman's scalpel of detailed incision upon every fold, crease, tear or slough of flesh of his characters, whom his meticulous ink drawings present in various stages of metamorphosis, framed by and often entangeld in menacing and magical nature-scapes. His minute lines, magnificent detail and portentous symbolism evoke 15th-century etchings and yet take as their core the present-day tortures of the psyche: Modern-day zombies, obviously staged Horror-movie gore, and bruised superheros are some of the defaced humanoid forms that people his compositions.
Posted by J-P Brask at 9:49:00 AM
Sunday, June 14, 2009
I have a new show coming up next weekend In Berlin at Fruehsorge Contemporary Drawings together with Olivia Seiling. I won't make it to the opening, but if you're in the area, come by have a look and a drink
The new cool internet bookstore Proun have started to carry my books, besides being online they will be opening a store somewhere in Chicago sometime in the near future.
Dot Dot Dot
Jasper Sebastian Stürup & Olivia Seiling
Jasper Sebastian Sturup
Posted by J-P Brask at 11:23:00 AM