re-title.com
14 April 2011
  Sculpture & Installation  

DORSCH GALLERY, Miami
GALERIE CHRISTIAN LETHERT, Cologne
T293, Naples
POSTMASTERS GALLERY, New York
PROMETEOGALLERY DI IDA PISANI, Milan
 

 
DORSCH GALLERY, Miami
 
 
Paul Myoda, Glittering Machine: Billowy-Thorny Sconce, 2010
 
Paul Myoda, Glittering Machine: Billowy-Thorny Sconce, 2010
Aluminum, thermoplastic, high-powered LEDs, motors, microprocessor, circuit
30” x 12” x 20”
Courtesy of Dorsch Gallery, Miami
 
 
PAUL MYODA
Glittering Machines
 
April 8 - May 7, 2011
 
Dorsch Gallery is pleased to present a solo exhibition called Glittering Machines of works by Providence-based sculptor Paul Myoda. The exhibition will consist of eight crystalline machines, whose lights and sounds are activated by movement. The exhibition will be on view through May 7, 2011.
 
Since 2008, Myoda has been working on cybernetic sculptures, which are dynamic, interactive works of art that investigate and borrow from various biological systems (i.e., communicational, behavioral, and environmental). In an age where the screen mediates every single one of our computing experiences, the field of cybernetic sculpture is in a break-out moment. Myoda states the basis for this claim: “The graphic user interfaces that allow us to interact with our computers and other electronic devices are beginning to feel too narrow, too constricting, too separating, too disembodied.”
 
Behind Myoda’s multi-faceted sculptural project is the passionate conviction that exploring different ways for computation to exist and interact physically in our world will combat this century’s version of alienation. His work does this beautifully and with an engineer’s attention to intricate detail and functional potential. One of Myoda’s new machines Billowy Sconce (2010) looks like a cross between an intricately designed three-dimensional snowflake and a sea anemone, rendered with clear plastic and metal parts. Once activated, sensing a moving presence in the room, it shines light in multiple directions, creating a prismatic sculpture of angular crystalline forms, whose material is light. Another sculpture, Ratchet (2010), its graphic clover-like shape rendered in metal razor-sharp points, is utterly threatening. Attraction and intimidation are both survival mechanisms.
 
Sculptor Paul Myoda had a studio in the World Trade Center I in 2001, so he is attuned to the movement from trauma to utter disconnectedness, a feeling enhanced by living in a city where, especially right after September 11th, one avoids looking up, much less beyond one’s next step. Subsequent works encouraged citizens to look up again. In 2002, in memory of the tragic events of that day, he co-created a prism of searchlights for the WTC site. Tribute in Light is now an annual installation. In 2006 he proposed a synthetic star with Julian Laverdiere called Urban Lodestar, which was published in Popular Science, to give urbanites back what they cannot see: starlight.
 
By encouraging us to look, engage and respond, his works articulate nuances of our own ways of being in this world.
 
Paul Myoda received his BFA from Rhode Island School of Design in 1989 and his MFA from Yale University in 1994. He lists more than 40 exhibitions of sculptures, drawings and installations. He has also written for various art publications, including Art in America, Flash Art, and Frieze. From 1994–2006, he lived in New York, NY, co-founding an art production company, Big Room, and an architecture-ideas collaboration, Myoda + Ruy-Klein Architecture, and serving as an Adjunct Professor at The City College of New York. He has received grants from the National Endowment for the Arts, The National Science Foundation, Warhol Foundation, and Howard Foundation, among others. In 2001, he participated in the Lower Manhattan Cultural Council's World Views Program and had a studio on the 91st floor of WTC I. In March of 2002 he co-created the Tribute in Light in memory of the tragic events of 9/11, which has subsequently become an annual installation. Since 2006 he has been based in Rhode Island, where he is an Assistant Professor in the Visual Art Department at Brown University, teaching sculpture and new media. This is his first exhibition at Dorsch Gallery.
 
 
DORSCH GALLERY
151 NW 24 St
Miami, FL 33127
T +1 3055761278
 
 
 
 

 
GALERIE CHRISTIAN LETHERT, Cologne
 
 
Lutz Fritsch, Raum hinter Fläche, Installation view, Galerie Christian Lethert, Cologne
 
Lutz Fritsch, Raum hinter Fläche, 2011
Installation view, Galerie Christian Lethert, Cologn
 
 
LUTZ FRITSCH
RAUM HINTER FLÄCHE
 
13.04. – 21.05.2011
 
On occasion of this year’s ArtCologne Galerie Christian Lethert is pleased to announce its 3rd solo exhibition with Cologne based artist Lutz Fritsch. With "Raum hinter Fläche" the artist presents his latest wall sculptures from the series "Construction" and new paper works with the title "Gedankenräume".
 
At first glance the colorful "Construction" wall sculptures appear to be fragile and delicate drawings on the wall. The rhythm of the colorful lines seems to put their light composition into motion and opens new special associations, depending on the viewer’s vantage point.
 
In his works on paper under the title "Gedankenräume" Lutz Fritsch interrelates different shapes and colors. Black, grey or bright red paper cuts are set next to each other and open up perspective effects that almost remind of abstracted cuttings of architectural photography and evoke imaginary rooms.
Lutz Fritsch‘s new sculptures and works on paper unfold a suggestive power that takes the viewer into a space behind the surface (“Raum hinter Fläche”).
 
The artist’s latest big sculpture project "Standortmitte" was executed on the two traffic circles connected by the Bundesautobahn 555 between Bonn and Köln. His site specific sculptures re-structure the public space. Other examples in public space are the work "Rheinorange" (1992) at the mouth of Rhine and Ruhr in Duisburg and the "Bibliothek im Eis" (2005) in the Antarctic Neumayer research station.
 
Characteristic for Fritsch’s artistic work is both the intuitive and the analytic involvement with space – expressed by sculpture, drawing and photography. Lutz Fritsch was born in Cologne in 1955 and still lives and works in the city.
 
We are also happy to announce our participation in this year’s ART COLOGNE from April 13th to 17th and Hong Kong Art Fair from May 26th to 29th.
 
 
GALERIE CHRISTIAN LETHERT
Antwerpener Straße 4
Cologne
D-50672
Germany
T +49 (0)221 35 60 590
 
 
 
 

 
T293, Naples
 
 
Keller/Kosmas (Aids-3d), 'Exotic Options' at T293, Naples
 
Keller/Kosmas (Aids-3d)
Exotic Options, 2011
Courtesy of T293, Napoli
 
 
Keller/Kosmas (Aids-3d)
'Exotic Options'
 
April 15 - June 15, 2011
 
For its first solo exhibition at T293, the duo Keller/Kosmas (Aids-3d), has ambivalently embraced its position as prosumer spider-agents, deftly navigating a value-added web of conceptual-creative-commercial competition. Acting as both patron and proprietor of an all-you-can eat-buffet, AIds-3d dynamically hedges its positions — deciding, juxtaposing and networking to effectively manage their risk while providing unique works which attempt to satisfy market criteria. The show title is a misappropriation of the economic term for a type of complex derivative which was coined by financial engineer Mark Rubinstein in his 1990 paper Exotic Options. These risky trades were summed up by former chairman of the Federal Reserve Paul Volcker as "speculative or purely financial activities that have little to do with the performance of the American economy." The use of these and other highly abstract and difficult-to-understand instruments created an almost tautological market, where banks thought they could eliminate risk and win in every situation.
 
The exhibition consists of a variety of unique, custom, bespoke, specially tailored objects which emit an aura of expressionistic free-agency, constrained by industrial and art world protocols. The upstairs rooms are demarcated by camouflage-like compositions of semi-distracting privacy films displayed on sneezeguards, a type of sanitary barrier for buffets. On the walls hang multimedia packages of unique c-prints depicting diverse value and energy stores, the original 4x5 negative and an overlay of holographic security foil. The calculated 'unique character' of these works serve to artificially amplify and simultaneously undermine their returns.
 
Downstairs, information asymmetries are short-circuited and power dynamics reflected towards infinity. A pair of opposing executive speech prompters display an adaptation of Peter Masters' manual on erotic hypnosis, Look Into My Eyes, which play slightly out-of-sync. Two perpendicularly mounted LED edge lit signs are engraved with carbon offset certificates purchased to neutralize the lifetime emissions of the LED's. The body of work is unified by the cold precision of glass-and-steel construction technique. The steel supports and glass panels are dutifully conform to the shapes and styles of transactional architecture, while the optical characteristics of glass create a ideal substrate for superpositions of weak attitudes and super-thin rhetoric.
 
Daniel Keller (b. 1986, Detroit, USA) and Nik Kosmas (b. 1985, Minneapolis, USA) live and work in Berlin. Solo exhibitions include: Neuer Aachener Kunstverein, Aachen, NiMK-Nederlands Instituut voor Mediakunst, Amsterdam (upcoming/2011); 0047, Oslo, Gentili Apri, Berlin, Autocenter, Berlin (all 2010); YAMA, Istanbul (2009). The duo Keller/Kosmas (Aids-3d) has been included in several group exhibitions: 'Based in Berlin', Kulturprojekt, Berlin; ‘Memery’, MASS MoCA, North Adams (2011); Kunsthalle Athina, Athens (2010); Padiglione Internet, 53rd Venice Biennale, Venice, (2009); ‘The Generational: Younger Than Jesus’, The New Museum of Contemporary Art, New York (2009); ‘This is a Magazine Episode 25: Activities in time and space’, DOCVA, Milan (2008); ‘Becks Fusions’, ICA Institute of Contemporary Arts, London (2007).
 
 
T293
Via Tribunali 293
80138 Naples
Italy
T: +39 081 295882
 
 
 
 

 
POSTMASTERS GALLERY, New York
 
 
 
David Nyzio, Carbon Mirror on Beaver Stump #1, 2010
coal, poplar, 48 x 22 x 14 inches
Courtesy of Postmasters Gallery, New York
 
 
DAVID NYZIO
Smoke and Mirrors
 
April 14 - May 21 2011
Opening Thursday, April 14 6-8pm
 
It has been too long. Postmasters Gallery is extremely pleased to present “Smoke and Mirrors,” an exhibition of new works by DAVID NYZIO. This will be the artist’s first solo show in New York in twelve years.
 
As always Nyzio’s works explore the richness of natural materials, processes and phenomena. In the past he has created photographic images in algae, constructed “grid paintings” from cut butterfly wings and employed insects to make his drawings. In this show he will exhibit sculptures made from polished coal (Anthracite) and cut charcoal, a series of smoke drawings, as well as objects made in collaboration with beavers and sheep.
 
Nyzio’s works are suspended between the two worlds: natural world and world of art. In one sculpture in the show the beaver stumps are sequenced to create a nature-made version of Brancusi’s endless column. The polished anthracite objects: a snowman, a string of beads, and several small puddles become wondrous mirrors reflecting their surroundings. The forms and materials acquire new meaning as David Nyzio brings to us objects of great beauty and enriches our perception of what already exists on earth. Now more than ever the turn towards understanding and preservation of natural world carries an extra weight.
 
David Nyzio:
 
"Through out my life, the extraordinary beauty and vastness of natural history has been profound. Marveling at the diversity and richness of form, down to the most finely structured surface, is central to my work. A predisposition as a tinkerer, has resulted in a diverse group of work, each forged from a different constellation of events. This recent group of work reflects this process.
 
Within the Anthracite coal works, regardless of the material’s blackness, the expression of light is central. Hundreds of millions of years ago during the carboniferous period, various photosynthetic bog plants at that time were processing sunlight, to synthesize foods from carbon dioxide and water. Over the next 300 million years, as these wetlands moved from the equator to their present location, the organic plant material was then buried and subjected to great pressure and heat. The result is an extremely high carbon material that unlike most other rock, is essentially made out of life.
 
The monumental temporal and spatial scale of these geologic oscillations are difficult to comprehend, the extreme compression of the coal and relatively instant release of it's sequestered light and heat needed to produce our energy, leaves me in awe and stupefied. In polishing to a mirror finish, this historically dimensional and exquisitely beautiful material, I contemplate the discrepancy between the speed of light, time it takes to see ones reflection in the material and it's actual dimension. My hope in these works is not so much to evoke a sense of pathos, but to inspire a reflection of space, time, and life.
 
The carbon mirrors made out of charcoal were inspired at first, by drawing with charcoal. The material is well known for the rich matte blackness it possess when crushed or scraped against the paper, however the reflective beauty of the charcoal, and the ringing sound it makes when dropped is what really interests me. It wasn't until I was birding in a burned area of Yellowstone that I was truly inspired by the charred shiny blackened pines gleaming in the sun. This led to experimenting with making charcoal using different kinds of wood, testing for reflective qualities. This was done using an all but sealed chamber I put into my woodstove. Testing about 25 species I selected 5 for the piece in the exhibition. The off gas byproduct of this work was the source of some of the heat for my home this past winter. Charcoal like coal, is fused with natural history, and with more recent human history. Deviating from the illustrative way charcoal is used in drawing, that is: "the technique of configuring the crushed blackness against the paper in order to effectively control the light of the paper glowing through the blackness", the use of charcoal in theseworks is about three dimensionality. The charcoal is a microscopic configuration of mirrors determined by the particular woods' history. These mirrors reflect and direct the light, bringing light and color out of the blackness, the work changing noticeably with your orientation".
 

POSTMASTERS GALLERY
459 West 19th Street (at 10th Avenue)
New York, NY 10011
T: +1 212 727 3323
 
 
 

 
PROMETEOGALLERY DI IDA PISANI, Milan
 
 
 
Kevin van Braak, Hitlers globe, 2011
Steel frame, lead bol
135 x 135 x 170 cm
 
 
KEVIN VAN BRAAK
History is made of different shades of grey
 
8 – 30 April 2011
 
Kevin van Braak reconstructed four office desks of controversial former world leaders – Hitler, Stalin, Mao, and Nixon – and the world globe that Hitler had in his office in the Reichskanzlei (the Reich Chancellery).
 
The desks and the globe are detailed, but are not exact copies. They have the original proportions, but are realized in a different material. The desks are coated in polyurea, which gives them a thick, grey rubber-like layer. It creates a unifying effect. Though the desks carry all the original details, these details are pushed into the background because of the uniform colour and coating. In that way, the desks act more as sculptures than as functional objects. Placed together in one room the exhibition has a height of 78 centimetres, which enhances even more a neutralizing effect. Yet, to neutralize what happened at these desks is not Van Braak’s intention. On the contrary, because of their similar outlook the history that was literally written at these desks comes strongly to the fore. Not in a literal sense or in a direct line with history. The new appearance of these historical objects makes that they resist being literally inscribed with decisions of life and death of millions of people, signed on these desks by their owners. Still, you cannot get rid of associating the thing with the harsh reality its original supported and the bitter imprint it leaves behind. For sure, the lumpy coating layer does not cover up the gruesome effects of some of the decisions made on these desks. It makes the lead globe on his steel support in the other room even heavier. Van Braak made this Columbus Grossglobus für Staats- und Wirtschaftsführer (Columbus’ Big Globe for World- and Economic Leaders) out of lead. Although it is immediately recognized as a globe, there are no countries visible on it. It evokes a story about Hitler having a small globe on his desk on which all the countries in the world were shown in one grey shade and over them was written ‘Deutschland’ (Germany).
 
Over the last years, Van Braak pursued his interest in the role that architecture plays in the erasure of history by reconstructing parts of buildings or historical objects. Historical obscurity, distortion, and disappearance in which architecture plays a major role are central to works such as Staircase (2006), Books for Burning? (2009) and La Facciata (2010). These works feature buildings and sites with important political and ideological backgrounds. By means of mimicking, restoring, adapting, and transforming Kevin van Braak lays bare their historical paths and uncovers former ideological functions. For Post-Monument, the XIV International Sculpture Biennale of Carrara, he built a façade of a building in the modernist 1930s’ style of the Italian fascism. The façade was made out of wood, and was finished and coated in polyurea on the front to appear impressive and monumental. By walking through the façade, the back sides reveals the wooden structure that holds the scenography. In an innovative and subtle way Kevin van Braak always makes sure that the structures he builds not only support the concept, but carry it in every meaning of the word.
 
 
PROMETEOGALLERY DI IDA PISANI
Via G. Ventura 3
20134 Milano
T. +39 02 2692 4450
 
 
 
 
 
 

 
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