re-title.com Features

Skotia Gallery, Sante Fe

 

 

 

The New Metropolis:
New paintings by Simon McWilliams

 

5th August -30th August 2010

Skotia Gallery, Santa Fe is pleased to welcome award winning Irish Artist Simon McWilliams to their roster of international artists.

 

These new paintings by Simon McWilliams feature a coming together of paint and subject matter. His title for the exhibition: The New Metropolis, is a deliberate allusion to both fact and fantasy in our rapidly changing visual environment. The title prompts images of Fritz Lang's classic film and Pieter Brueghel's Tower of Babel. Mc Williams, however, in his creations, utilizes the powerful strangeness of the New City yet clothes it in such resplendent colour that we experience the majesty of the Tower rather than its dehumanizing characteristics.

 

His medium coalesces with the forms he is creating. He implants new energy into the paint which enlivens and becomes part of, the newly emerging buildings. The lush fecundity of the pigment gives birth to some startling structures and yet, one is aware of the drawing skills which underpin these edifices of paint.

 

 

Image:

Simon McWilliams

"Metropolis"

Oil on Canvas

2010

195cm x 213cm

Courtesy of the artist and Skotia Gallery, Santa Fe

 

Skotia Gallery

150 W. Marcy Street Suite 103

Sante Fe
87501 New Mexico

T +1 505 820 7787

E info @ skotiagallery.com

 

Skotia Gallery

 

Simon McWilliams

 

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L-13 Light Industrial Workshop, London

 

 

NEAL JONES

New Paintings and Handmade Things

 

9th July - 8th August
then
24th - 29th August

Book Launch: 'Green Guilotine' - Thursday 26th August 6.30 - 9.00pm

"I am looking for an image of self-contained wildness..."

Neal Jones

 

"....(Neal Jones) is involved in the perennial and the physical. His passion for nature, his love
of what he has called the compost of life, his years spent working on his allotment in North London, and his despair in the face of the destruction of nature that he sees all around him predominates the work. He has now discarded some of the nature he worked with, and developed the paintings towards those things that had come to bother and intrigue him: namely how to deal, in painterly terms, with the absurdities he sees all around him, without relinquishing the firm roots of his inspiration."
Tess Jaray (from Neal Jones: The Absurd is the New Sublime?)

 

"Press release should mention squeaky drills, sawing, the pleasure and slow pace of making things. Modernism, peasants, Malevich?/Picasso?? poetry of animate stuff...blah or... I'm "an absurd nihilist?" A bit of absurd is ok, but I'm quite sensible and grounded really, my paintings have darkness but also idiotic JOY"

Neal Jones from an e-mail to L-13

This exhibition will present paintings and useful things that Neal has made from reclaimed materials over the last year. These include plank chairs, hard wood spatulas, bellows and toy boats. He has also hand made in small editions, three books of his writings and images and a special, very limited edition box set containing the books, a spatula and a very small painting.

 

All of Neal Jones' work contains a radical and sublime beauty that simultaneously rejects the gloss of the new whilst bravely forging it's own (new) visionary path. He employs a critical aesthetic/anti-aesthetic, set against an acute understanding and love of his materials, their inherent power, and their absurd uselessness. The resulting paintings and objects convey a genuine sense of depth, warmth and significant self-awareness that is a rarity in contemporary culture.

 

L-13 will publish 'Green Guilotine' a full colour book to celebrate the exhibition on the 26th August 2010.

 

Image:
Neal Jones
Ideally

Oil on reclaimed board
50.5 x 110 cm

2010
Courtesy of L-13 Light Industrial Workshop, London

 

 

L-13 Light Industrial Workshop

31 Eyre Street Hill

London EC1R 5EW
T + 44 020 7713 8255

E L-13 @ L-13.org

 

L-13 Light Industrial Workshop

 

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Cristina Guerra Contemporary Art, Lisbon

 

 

RUI TOSCANO
OUT OF A SINGULARITY

9 July to 11 September

 

According to the Big Bang theory, the Universe started as "singularity", about 13.7 billion years ago. Singularities are zones that challenge today's knowledge of physics. It is thought that exists inside the nuclei of Black Holes, in which gravitational pressure may be so intense that finite matter is compressed into infinite density. These zones of infinite density are called "singularities". This does not mean that the Big Bang is like a Black Hole; indeed, it is seen as something completely different, as a singularity extending through all space at a single instant, while a Black Hole is seen as a singularity extending through all time at a single point.

 

Our Universe is supposed to have started from something infinitely small, infinitely hot and infinitely dense - as a singularity.

 

Following on from research into landscape and perception of the space within the field of cosmology that he had started in The Great Curve (Espaço Chiado 8, Lisbon, 2009), where he presented works in sculpture, video and installation, in Out Of A Singularity the focus of Rui Toscano's work is centred on drawing and painting.

 

RUI TOSCANO (1970) was born in Lisbon, where he lives and works. He studied Painting and Sculpture at AR.CO (Centre for Art and Communication) and at the FBAUL (University of Lisbon - School of Fine Arts) . He has presented his work in galleries, museums and alternative spaces since 1993, in exhibitions such as Take Off, Galerie Krinzinger, Benger Fabrik, Bregenz, Austria (1997) , 1, MACS (Serralves Contemporary Art Museum) , Oporto, Portugal (2002) and Metaflux, 9. International Architecture Biennial, Arsenale, Venice, Italy (2004).

 

His work is represented in several public collections as Fundação de Serralves, Caixa Geral de Depósitos, FLAD (Fundação Luso- Americana para o Desenvolvimento) , António Cachola, Madeira Corporate Services, PLMJ, Portugal Telecom, Fundación ARCO (Spain) , Fundación Coca-Cola (Spain) , MEIAC (Museo Extremeño e Iberoamericano de Arte Contemporneo, Spain) and also in numerous private collections between Portugal, Spain, Bra z i l , Austria, Switzerland and USA.

 

 

Image:
RUI TOSCANO

Messier 5 (NGC 5904), 2009-2010

acrylic on canvas, 250 x 400 cm

Courtesy of  Cristina Guerra Contemporary Art, Lisbon

 

 

Cristina Guerra Contemporary Art

Rua Santo António à Estrela, 33

1350-291 Lisbon

Portugal

+351 213 959 559

 

Cristina Guerra Contemporary Art

 

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Sikkema Jenkins & Co, New York

 

 

JENNIE C. JONES

Electric

 

July 8 - August 13, 2010

 

Sikkema Jenkins & Co is pleased to present Electric, an exhibition of new works by Jennie C. Jones, on view from July 8 through August 13, 2010.

 

Jennie C. Jones works at the intersection of art history and black history. She layers the formal language of modern art-abstraction, minimalism-over the conceptual and technical strategies of avant-garde jazz. Jones' work in audio, sculpture and drawing extends the parallel legacies of experimentation, wit and riff of these radical cultural forms. The new work brought together in Electric continues the artist's exploration of cultural confluence, hybridization, and a more complicated and historically inclusive form of modernism.

 

In her new audio work Slowly, In a Silent Way-Caged Jones digitally slows a section of Miles Davis' In a Silent Way (using tempo changes and cross-fading) to match the length of John Cage's pivotal work 4'33". In Jones' edit, the time frame Cage set aside for 'silence' is filled by Davis' measured hypnotic instrumental score (his characteristic trumpet is absent from the edited section). The result is a meeting of two notions of silence.

 

The installation of this work is carefully integrated with the architecture of the gallery: it is set for playback on a loop that alternates between the side front galleries. When its speaker is 'dead' the Cage piece is recreated as the sound of its listeners, the space itself filling the rest of the void. This is a mediated version of Cage's work: the speaker has replaced the live musicians.

 

In the main space, Jones presents a new series of collage and ink drawings based on the packaging of music. The "Song Container" series focuses on the compact disc box, transforming the commonplace collateral of listening into a minimalist art form. We are clearly still in the territory of the formal language of analogue but a new metaphor emerges in the reference to the 'emptiness' of the digital realm. Jones' reconfigured containers-shells that once held something as ephemeral as sound-are shown with display racks and other objects that evoke the formal language of minimalism. In the same space, a series of sculptural 'drawings' made from instrument cable are plugged directly into the gallery wall. The medium of these works - instrument cable - is part of the electrical apparatus used in the capture and editing of the music featured in this exhibition. Miles Davis' performance of In a Silent Way featured a full-blown electric set-up and is regarded as the first of his fusion recordings. John Cage was a well-known electronic music pioneer. But by plugging into the non-conductor surface of the gallery wall these wall works bring us back to the idea of silence. In the same way, the artist playfully questions the title of the exhibition.

 

Jones attended Rutgers University, Mason Gross School of the Arts where she received her MFA in 1996. Prior to that she attended The School of the Art Institute of Chicago, receiving a BFA in 1991. Over the past decade she has participated in numerous prestigious artists residency and fellowship programs, both nationally and international. In 2008 she was a fellow at the Rockefeller Foundation's Bellagio Study Center as well as a Visiting Artist at The American Academy in Rome, Italy. Her awards include a Creative Capital grant in 2008, The Rema Hort Mann Foundation Award, in 2006, and a Pollock-Krasner in 2000. Jones was the 2008 recipient of the William H. Johnson Prize awarded to one emerging African American artist a year. Upcoming exhibitions include a major solo shows at The Yerba Buena Center for the Arts, San Francisco and LA > < Art Los Angeles in early 2011.

 

 

Image:
Jennie C. Jones
Courtesy of Sikkema Jenkins & Co, New York

 

 

Sikkema Jenkins & Co
530 West 22nd Street
NY 10011
New York, NY 10011
T +1 212 929 2262
E gallery @ sikkemajenkinsco.com

 

Sikkema Jenkins & Co

 

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Galeria Fucares, Almagro, Spain

 

 

RAFAEL LÓPEZ-BOSCH

"The good times are killing me"
("Los buenos tiempos me matan")

 

12th of June until the 24th of September (August closed)

 

The Fucarés art gallery Almagro presents Rafael López-Bosch (Madrid, 1980) first one man show tittled "Los buenos tiempos me matan" ("The good times are killing me"). The artist invites us to reflect in a transgressor manner on maters that are in some cases complex "It is important to laugh at yourself, using humour allows the realise of tension and we can see things in a different perspective".

 

The artist's parting ground and indicate to establish a common reference is that which could be understood as sheared reality; the physical mater that surrounds us and escapes any philosophical interpretation as it is sheared physically by all.
It would be complicated to establish any interaction with anyone if within are own individual reality we were unable to establish links that escape any interpretation and were not physically sheared by all.

 

Gathering the uncommon, allowing everything to fall in to place, mixes, breaks, bonds, transforms up-to-the-minute, something unexpected, in this process the work acquires its own language and the objects that form it acquires a new life. We are not faced with a narrative that's literal. The pieces enclose within a complex language that parts with the ordinary throw the use of imagery and materials that are accessible to any one, this creates a nexus throw which the artist identifies with his time. The use of familiar images and materials draws up lines of narrative that the viewer can identifies with. The dialog is established and is able to conclude the narrative by using the imagination as all the components are found in front of him, similar to the game "scrabble", we have all the letters and they have to be put in place to create words.

 

Rafael López-Bosch started his artistic career in England where he attended college at Central St. Martins and Camberwell College Of Arts; This British influences and it's perspicacious humour are evident in his work. At an early stage in the artists carrier he was introduced to Joseph Voice's work, in conceptual art Rafael has found a way to express his political restlessness. Far from taking political sides, the artist deals with the problems arising from a society were it does not mater whoever is in charge, the real interest is the essence of what it is that leads us to try to control all that is around us.

 

The show is organised throw a number of series that relate to each other. The first sequence, a number of drawings under the name "Who killed Mickey Mouse" ("Quién mató a Mickey Mouse"), were protagonists from the Disney factory shear the limelight with world known personalities. In this works a set of geometrical figures is emphasized in relation of some kind to the process of learning, referencing the replacement in traditional moral values.

 

"Gods Creatures" (Criaturas de Dios) Are the names given by the artist to a set of sculptures were animals are made from different parts of other animals. These installations arise as results of the manipulation of are surroundings and the fears of are actions as a society. Human creations or natures heritage? The mad cow disease, the bird flu, swine flu... are this founded preoccupations or simple social hysteria? Huge illnesses that we supposed to change are world.

Later we come a cross "Economist in hardship" (Los economistas en apuros), Exquisite drawings that in a humorous and simple way make parody of the present economical situation, throw questions like, who took the money? How to get to work? O who will keep the house?;

 

After reflecting on López-Bosch's work we come to the conclusion that creating and art that includes political themes does not mean you have to be claiming in protest, repetitive messages are tiring, posters and slogans are lost in time and were ingenuity comes, one has to be up-to-date with the language with which we can identify throw the years.

Placido Newark, Sevilla 2010.

 

 

Image:
Rafael López-Bosch
"HAPPY SUCKER! SUCKER! ", 2010
Mixed Media

80 x 100 x 170 cm
Courtesy of Galeria Fucares, Madrid | Almagro

 

 

Galeria Fucares Almagro
San Francisco, 3
13270 Almagro
Spain
T +34 926 86 09 02

 

Galeria Fucares

 

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Jerwood Space, London

 

 

Jerwood Contemporary Makers
Exploring new perspectives in making

 

17 June - 25 July, 2010

 

Morphing basket weave, a self-contained laundry and an over-sized charm bracelet are just some of the works that have been selected for the third and final Jerwood Contemporary Makers.

 

This year's exhibition will explore the notion of making from a variety of creative perspectives. Selectors Hans Stofer, Richard Slee and Freddie Robins - three of the most inventive names in the visual arts - have chosen 29 makers to take part, each of whom will exhibit one work and receive an equal share of a £30,000 prize fund.

 

The 2010 Jerwood Contemporary Makers are:

Laura Ellen Bacon, Chien-Wei Chang, David Clarke, Carl Clerkin, Julie Cooke, Robert Dawson , Nora Fok, David Gates, Joseph Harrington, Tony Hayward, David Rhys Jones, Kirsty MacDougall, Nicola Malkin, Taslim Martin, Flora McLean, Rowan Mersh, Gareth Neal, Karen Nicol, Heather Park, Lina Peterson, Laura Potter, Tomoaki Suzuki, Ingrid Tait, Marloes ten Bhomer, Maud Traon, Richard Wheater, Conor Wilson, Emma Woffenden, and Dawn Youll.

The exhibition, designed by Michael Marriot, will take visitors on a visual journey through the different approaches to the art of making, highlighting its importance as a visual arts discipline.  Jerwood Contemporary Makers is the UK's only award for the applied arts and is a major strand of the Jerwood Visual Arts programme.

 

Jerwood Contemporary Makers, was launched by the Jerwood Charitable Foundation in 2008 as a three-year exhibition series supporting and showcasing emerging creative talent.  Each year, a different panel of selectors has curated the exhibition, inviting a group of makers to respond to a different guiding concept.

 

Jerwood Contemporary Makers will be shown at the Jerwood Space, London, from 17 June to 25 July before touring to Dovecot Studios, Edinburgh, with IC: Innovative Craft.

Jerwood Visual Arts is a contemporary gallery programme of awards, exhibitions and events at Jerwood Space, London, which then tours nationally. Jerwood Visual Arts aims to promote and celebrate the work of talented emerging artists across the disciplines of drawing, painting, sculpture, applied arts, photography and moving image. It also aims to make connections and provoke conversations within and across the different disciplines.

 

Jerwood Visual Arts is a major initiative of the Jerwood Charitable Foundation.

 

The Jerwood Charitable Foundation is dedicated to imaginative and responsible revenue funding of the arts, supporting emerging artists to develop and grow at important stages in their careers. They work with artists across art forms, from dance and theatre to literature, music and the visual arts.

 

 

Image:
Carl Clerkin
Desperate Measures
© the artist

 

 

Jerwood Space
171 Union Street
London, SE1 0LN
T + 44 (0) 20 7654 0171

 

Jerwood Space

 

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Galpão Fortes Vilaça, São Paulo

 

 

Sara Ramo & Cinthia Marcelle

Grand Illusion

 

3 July through 21 August, 2010

 

Galpão Fortes Vilaça is pleased to present the third collaboration between the artists Sara Ramo and Cinthia Marcelle. A Grande Ilusão is an installation that deals with the object and representation, and man's need to create limits and borders with the aim of organizing and protecting himself.

 

The installation is based on the comedy of errors The Grand Illusion (1937) by French film director Jean Renoir. This film, set in World War I, concerns the relation between the individual who imprisons and the person imprisoned. The plot takes place entirely within a German prison in such a way that the war appears as an external character and as a starting point for human questionings.

 

The visitors enter a completely closed and darkened room. Gradually, as they get used to the darkness, they encounter a movie-screen frame from which the actual screen itself has been removed. Through the screen they see a cement wall with a gap, through which a path of earth runs. The spectators then hear fragments of dialogs from the film, while they read the following dialog in the subtitles at the bottom of screen:

 

- Are you sure that's already Switzerland, right over there?
- No doubt about it.
- It looks the same to me.
- What do you want? A boundary is something that cannot be seen. It is a man´s creation, even though nature doesn't care much about it.

Questions of representation and staging are constant in the works by Sara Ramo and Cinthia Marcelle. This tiny fragment of dialog, extracted from its original context, refers not only to the great rupture created by World War I, but to the idea of borders, physical or psychological obstacles, and how they are overcome.

 

The two artists have previously participated in important national and international exhibitions, and will participate, separately, in the 29th Bienal de São Paulo. Sara Ramo participated in the Venice Biennale, 2009; the Panorama da Arte Brasileira, 2003; and the 6° Bienal do Mercosul, Porto Alegre, RS, 2007. Cinthia Marcelle's solo shows have most notably included those at Camberwell College of Arts, England (2009), Sprovieri Projetti, England (2009), Box4, Brazil (2007); Fundação Joaquim Nabuco, Brazil (2006); and Museu de Arte da Pampulha, Brazil (2004).

 

Image:
Sara Ramo & Cinthia Marcelle
Exhibition View, Grand Illusion, Galpão Fortes Vilaça, 2010
Courtesy of Galeria Fortes Vilaça, São Paulo

Photograph Edouard Fraipont

 

Galpão Fortes Vilaça
Rua James Holland
71 Barra Funda
01138-000
São Paulo
Brazil

T + 55 11 3392 3942

 

Galeria Fortes Vilaça

 

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Mark Moore Gallery, Los Angeles

 

 

Chad Person
Surviving the End of Your World

 

The artist's inaugural LA exhibition featuring installation, performance and sculpture.

 

July 10 - August 14, 2010

Mark Moore Gallery is pleased to announce the first Los Angeles solo exhibition for contemporary artist, Chad Person.

 

In his newest body of work, Person utilizes his trademark fascination with the confluence of economy and societal power structures through innovative installation, sculpture and performance. Surviving the End of Your World will feature several collages from the artist's "TaxCut" series, and the debut of "Thirst" - a fifteen-foot inflatable sculpture depicting the Mobil Oil Pegasus lying in a glossy black acrylic pool of its own crude. Person's use of iconographic signifiers related to American capitalism and consumerism are juxtaposed with notions of sheer Darwinist survival featured in his "RECESS" project, which will be featured in the gallery's Project Room. In addition to a live video feed of the artist's performance in his self-made "apocalypse bunker" in Albuquerque, New Mexico, "RECESS" includes functioning installation works to spotlight cultural intervention, critique of corporate enterprise and the myth of self-reliance in the face of essential conservation.

 

"New Mexico-based multimedia artist Chad Person creates beautifully crafted, ironic indictments on society's most dangerous flaws." - Shana Nys Dambrot, Flavorpill (2010)

 

Chad Person (born 1978, Marinette, WI) received his MFA in Photography from the University of New Mexico. His work is included in the public collections of The West Collection (PA), Frederick R. Weisman Foundation Collection (CA) and The University of New Mexico Art Museum (NM). He has had solo exhibitions in Albuquerque, Marfa and River Falls, and been featured in PULSE Miami Contemporary Art Fair.

 

Image:
Chad Person

Two Arms, 2010
wood, steel pipe and fittings, glue and twine
42 x 1 x 4 inches each

Courtesy of Mark Moore Gallery, Los Angeles

 

 

MARK MOORE GALLERY
Bergamot Station A1
2525 Michigan Avenue
Santa Monica
Los Angeles, CA 90404
T +1 310 453 3031

 

Mark Moore Gallery

 

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Dorsch Gallery, Miami

 

 

David Marsh

in direct quote

 

June 11 - July 10, 2010

 

Dorsch Gallery is pleased to present in direct quote, a solo show by David Marsh following his recent MFA thesis exhibition at the University of Miami. The new work produced for this show reveals an artist with a strong foundation who is actively and quickly evolving. Despite the influence of his mentors and other artists (including Darby Bannard, Jules Olitski, and more recently Robert Thiele), Marsh is consistently developing his own visual language through a rigorous process of inquiry. He is squarely committed to abstraction, affirming its relevance as a living practice.

Marsh's paintings are a product of the constant challenges he places upon his materials, techniques, and even his own assumptions as a painter. He tends to work in layers, adding and subtracting material, exploring the effects of each element, and uncovering earlier gestures. The result is a finely tuned balance between extremes. The work included in this exhibition makes bold use of scale and form, yet retains a delicately handled surface. In contrast to the heroic scale of some of the paintings, a close view is rewarded by subtle details of image and texture. Drawing emerges out from under broad and bright washes of paint and strips of heavy fabric. At times, he even employs distinctly feminine imagery, including flower shapes torn off an old quilt. The paintings are, in keeping with his intentions, very alive - they offer a rich experience for the viewer to dive into, bringing his or her own sets of influences and references to have a fresh and personal experience of the work.

 

Image:
David Marsh
Untitled, 2010
Graphite, acrylic, pastel and artificial gold leaf on canvas
10 feet x 18 feet

Courtesy of Dorsch Gallery, Miami

 

Dorsch Gallery
151 NW 24 St
Miami, FL 33127
T +1 3055761278

 

Dorsch Gallery

 

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Galerie Eva Presenhuber, Zurich

 

 

SUE WILLIAMS

 

July 23 - September 18 2010

 

Galerie Eva Presenhuber is pleased to present a solo show of the works of American artist Sue Williams (*1954), featuring new paintings and drawings.

 

Sue Williams has lived and worked in New York since the mid-1980s. In her early career, she became known to a wider audience with her highly narrative painting. In taboo-like visual stories that seem like comics and caricatures, scenes of domestic violence and sexual obscenity, the artist expresses her rage over the enduring acceptance of sexism in society.

 

Unlike many of her contemporaries, who in confronting the classically male dominated medium of painting turned to other modes of expression such as film, photography, or installation, Sue Williams remained committed to her familiar terrain. It is precisely this monopolistic aspect that allowed Sue Williams to play with the often conventional and stereotypical representations of her male colleagues and massively exaggerate them in her own visual space.

 

While she first worked in a style that was highly narrative and figurative, formally similar to caricature, this changed quite dramatically in the mid-1990s. The text that often accompanied the earlier works now disappears completely from the images, and the depictions of violent sexual acts, once explicitly presented, are here fragmented across the entire image.

Sue William's painting has constantly moved along a narrow line between figurative depiction and complete abstraction, as happens in some works in the early 2000s, in which the targeted monochromatic brushstroke becomes a central element. In her new works, these two realms are mixed anew, and Sue Williams thus explores an entirely new way of working.

 

For although the images are abstract, the beholder comes across recognizable details, be they individual body parts or formations reminiscent of human organs. Her reflections are thus based always on real images, and the impression left by these images is what repeatedly surfaces, interwoven with these works structured in a web-like way.

Torn blood vessels, broken bones, bursting abdomens, and in the midst of it all a single thumb or a hanging tongue, this whole compendium of painful symbolism is ironically given the title Yes, We Can. In so doing, Sue Williams develops her own furious social critique.

 

Image:
Sue Williams
"Yes We Can"
2009
Oil, acrylic paint on canvas
106.7 x 132.1 x 4.8 cm / 42 x 52 x 1 7/8 inches

 

Galerie Eva Presenhuber

Limmatstr. 270

P.O. Box 1517

CH-8031 Zurich

T +41 43 444 70 50

E info @ presenhuber.com

 

Galerie Eva Presenhuber

 

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