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Apply now for the POSITIONS BERLIN Art Fair

 

Apply now for the POSITIONS BERLIN Art Fair
 
From September 17 to 20, 2015 the second edition of POSITIONS BERLIN Art Fair will take place as a part of the Berlin Art Week. After a successful launch in 2014, we have set ourselves this year the aim to track timeliness and quality of the international art scene.
 
Applications for the second edition of POSITIONS BERLIN are open now!
 
Please find the application form at www.positions.berlin. The team of POSITIONS BERLIN is looking forward to receiving your application and is ready to answer your questions. Feel free to contact us at [email protected]!
 
Application deadline: 24th April 2015!
 
POSITIONS BERLIN
Potsdamer Straße 81b
10785 Berlin
www.positions.berlin
 

©Arena Berlin
 
Since many years Berlin has been the city that can offer the broadest overview of the current progressions of contemporary art with its multitude of international artists and galleries. POSITIONS BERLIN aspires to enable this overview and discourse more extensively.
 
POSITIONS BERLIN is an art fair to depict the quality and currentness of the international art scene comprehensively and independently from established categories, inviting the visitor to discover new positions – and last but not least expressing a recommendation for more than 80.000 visitors of Berlin Art Week.
 

©Edgard Berendsen
 
Berlin Art Week takes place every year in September supported by the Senate Administration for the Economy, Technology and Research. It offers a rich program of exhibitions, featuring numerous openings, lectures, discussions, performances, screenings, and other special events at the city’s museums and other art institutions.
 
A team of knowledgeable and experienced individuals in the field of art fairs with out-standing contacts in the international art market are behind the organization of POSITIONS BERLIN. We invite international galleries to apply with their represented artistic positions of modern and contemporary art.

©Edgard Berendsen
 
2015 POSITIONS BERLIN presents itself at the Arena Berlin - a 6,500 sqm hall with natural light, right on the river Spree. The Arena Berlin is not only a unique architectural point of the "roaring twenties", but also the ideal place for the POSITIONS BERLIN.
 
With 100 meters length and 70 meters span the hall was at its time the largest self-supporting hall in Berlin and one of the largest in Europe. The large skylights and glazed front side of the hall still make the Arena Berlin an exciting place in one of the most vibrating areas of Berlin. No other city than Berlin can provide a better overview of current developments in contemporary art.
 

©Arena Berlin

 

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
 
Read On... galerie laurent mueller STUDIO, Paris

 

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
 
Read On... ARRATIA BEER, Berlin

 

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
 
Read On... Galerie Nordenhake, Stockholm

 

ANAT EBGI, Los Angeles

Jason Bailer Losh
Incognito, 2015
Maple, brass, birch plywood
80 x 10 x 10 inches
Courtesy of the artist and ANAT EBGI, Los Angeles
 
 
JASON BAILER LOSH
Plow Louise

February 27 - April 4, 2015
Opening reception Friday February 27, from 7-9PM
 
Upon the pedestals rest pot metal, a croquet ball, a bowl, copper tubing, a gourd and some shrink-wrap. The wall works are made of Ultracal and ringed with rubber hose, a jump rope and plastic. The pedestals are built of pine, birch, maple; some finished with altered wallpaper patterns, shellac and acrylic paint.
 
“Jason, you might consider combining the sections of the thin floor lamps to make one of two endless columns.”
 
The objects upon each pedestal are found in thrift and second-hand stores. The motley collection is bought by the artist’s father-in-law and boxed and sent to Losh. He uses these items and constructs them into particular compositions, sequences and arrangements.
 
“You should consider that sculpture is elusive. It presents too many faces at once.”
 
The surface of each component is carved with a distinct history. Cracks, dents and paint abrasions that have accrued over decades distinguish their weathered surfaces. The wall sculptures are laced with ropes and etched with lines that record the artist’s hand.
 
“Consider that presentness is grace.”
 
The pedestals are either laid bare or laid with William Morris wallpaper patterns. They are essential objects that contain the elegant, gestural movement of each piece through consummating their raw presence.
 
“Jason, simplicity is complexity resolved.”
 
Jason Bailer Losh’s works are composed of everyday materials repurposed into wholly new objects. They feel visible and familiar, yet relate outside of their tactility and functionality. Through the artist’s hand, common, commercial and domestic objects are exposed of their sculptural, formal and physical dimensions.
 
“Well, good for plow Louise.”
 
Anat Ebgi is pleased to announce Plow Louise, the gallery’s first solo exhibition with Los Angeles based sculptor Jason Bailer Losh. The exhibition opens February 27th and is on view until April 4th. An opening reception will be held Friday, February 27th from 7-9PM.
 
Jason Bailer Losh (b. 1977, Iowa) received his MFA from School of Visual Arts, New York. Losh’s work has been recently exhibited at several public and private institutions including The Museum of Love and Devotion, at Fairview Museum of Art and History in Fairview, Utah; the Gala at Greystone for LAXART, Los Angeles; and Rockaway!, an exhibition organized by Klaus Biesenbach at PS1/Rockaway Surf Club, NY. Losh has also participated in Soft Target, a group exhibition curated by Phil Chang and Matthew Porter at M+B Gallery, Los Angeles; and Building Materials, a group show curated by Lucas Blalock at Control Room, Los Angeles; and a group exhibition at CANADA, NY. He lives and works in Los Angeles.
 
 
ANAT EBGI
2660 La Cienega Boulevard
Los Angeles, CA90034
T: +1 646 281 1112
 
ANAT EBGI
 
Read On... ANAT EBGI, Los Angeles
 

Yancey Richardson, New York

Esko Männikkö
Untitled, from the series Organized Freedom, 2010
Courtesy of the artist and Yancey Richardson, New York
 
 
ESKO MÄNNIKKÖ
TIME FLIES
 
January 29 - March 14, 2015
 
Yancey Richardson is pleased to present Time Flies, a selection of works by Finnish photographer Esko Männikkö, the artist’s fifth exhibition with the gallery. The selection is drawn from the artist’s current museum retrospective, which originated in Finland at the Kunsthalle Helsinki and is travelling to Collezione Maramotti, Italy; Huis Marseilles, Amsterdam; and Gothenburg Museum of Art, Sweden.  Männikkö was previously the winner of the 2008 Deutsche Börse Photography Prize, the first time a Finnish artist has been recipient of this prestigious award.
 
As a self-taught artist, Männikkö counts few stylistic precedents or influences, and though his interest in the residue of everyday life is the foundation of his image making, his formalism lends itself to metaphoric or existential modes of interpretation. Time Flies includes a range of images - abandoned cars, cemetery portrait sculpture, discarded family photographs - whose subjects bear witness to the passage of time and serve as a poignant meditation on the inevitable collapse of all material things, human or inanimate. In the Time Flies retrospective catalog essay, art historian Liz Wells suggests that Männikkö’s imagery moves “from social documentary towards a more expressionist formal aesthetic, and from the more specifically located to a more generalized engagement with the nature of existence.”
 
“In Männikkö’s vision of the north a polyphony of elements of place and community, brought into relation with each other, testify to the complexities of everyday living circumstances and the extraordinary cacophony of people, animals, material objects, botanical or industrial constituencies, textures and colors with which we are surrounded, even in the most makeshift of circumstances.
 
Esko Männikkö’s work is characterized by the unusual variety of found or handmade frames carefully selected to complement the details or subjects and transforming the photographs into complete objects. The frames also serve as an ironic comment on the relationship between painting and photography. Mannikko also breaks convention in his distinctive installations featuring his photographs massed vertically on the wall or, more often, abutted together in a single line through the exhibition space.  As Wells comments:
 
“The touch of one frame to another operates within the blend yet, through the individuality of the frame, contributes to retaining distinctive thematic and visual textures. As such, Männikkö’s work stands as a clear example of intertextuality, and of the unpredictability of visual references and connections that we might make. It is this that renders his work immediate, memorable and existentially challenging.”
 
Recognized as Young Artist of the Year in Finland in 1995, Männikkö first gained international prominence with Far North, his portraits of isolated Finnish bachelors who epitomized a kind of loneliness and self-reliance. In 1996, he was awarded an ArtPace residency in San Antonio Texas, where he photographed the residents of two small Mexican-American communities on the US/Mexico border, resulting in the acclaimed series, Mexas. An ongoing series, Organized Freedom, focuses on abandoned houses resulting from rural depopulation throughout northern Finland.
 
Esko Männikkö has exhibited internationally at the Venice Biennale, the Sao Paolo Biennial, the Yokohama Museum of Art, the Shanghai Museum of Art and the Tate Liverpool. His work is in the permanent collection of the Museum of Contemporary Art, Los Angeles, Foundation Cartier, the Moderna Museet and the Malmo Art Museum, among others. In addition to his current retrospective, he has been the subject of mid-career retrospectives at the Kursaal Art Museum, San Sebastian, Spain and Millesgården Konsthall, Stockholm, Sweden. He has published three books including The Female Pike, which was selected for two compendiums of the most important books in the history of photography.
 
 
YANCEY RICHARDSON GALLERY
525 West 22nd Street
New York, NY 10011
T: 1 646-230-9610
 
YANCEY RICHARDSON
 
Read On... YANCEY RICHARDSON, New York
 

narrative projects, London

Rachel Lowe
Found image
Courtesy of the artist
 
 
RACHEL LOWE
 
28th February - 4th April 2015
Private view 28th February, 4-8pm
 
For the inaugural exhibition at its new space, narrative projects is delighted to present a new body of work by Rachel Lowe. In her practice Lowe engages with the physicality of the moving image. She presents the works in such a way that the viewer is made acutely aware of constituent operations of the image that they perceive.
 
Comprising largely of collage, in different forms, this new body of work by Rachel Lowe seeks to explore our relationship with, and our increasing reliance on, representational images of all kinds.
 
Using found images, taken from a variety of sources and times, the depicted reality of the image is, in different ways, disturbed or disrupted.
 
Altering our perception of ‘depicted’ time, these slight shifts give the illusion of the lengthening out of a moment, the impression of tangibility even, whilst the negation or emptying out of the subject matter, serves to challenge the assumptions we make when ‘reading’ images.
 
It is the inadequacy of representation, in the face of experience, which the work seeks to address. As we strive as a society, through ever more convincing depictions of "reality", to bridge the gap between the experience of a moment, and the representation of that moment, the work seeks not only to make that gap more visually apparent, but also to reveal our own complicity in the images which increasingly deceive us.
 
About the Artist
 
Rachel Lowe (b. 1968, Newcastle upon Tyne. Lives and works in London). Her previous solo exhibitions include Revolving Woman, Eastside Projects, Birmingham (2013); Oriel Mostyn Gallery, Llandudno (2002); The Showroom, London (2001); Southampton City Art Gallery (1999). Her work has also been included in Revolver: Part 3, Matt’s Gallery, London (2012); Government Art Collection Whitechapel Art Gallery, London and BMAG, Birmingham (2012); Wake, (curated by Anne Bean) Dilston Grove, London (2011); Act of Drawing, Vivid, Birmingham (2009); Strangers with Angelic Faces, Akbank, Istanbul (2006); Beck’s Futures, ICA, London (2002); The British Art Show 5, Edinburgh etc, (2000); Olay Vision Award for Women Artists, Lux Gallery, London (1999) (Joint winner); Hello..clk..bzz..whrr..nice to meet you, Kunstbunker, Nuremberg (Curated by Kathrin Böhm & Gavin Wade) (1999); Speed, (Curated by Jeremy Millar) The Photographers Gallery and Whitechapel Art Gallery, London (1997); and Low Maintenance & High Precision, Hales Gallery/172 Deptford High St, London (1997). Her work is also included in a number of collections, such as the Arts Council, British Council, the Norton Collection, and the Tate.
 
 
narrative projects
110 New Cavendish Street
Fitzrovia
London, W1W 6XR
T: +44 (0) 20 7637 0658
 
narrative projects
 
Read On... narrative projects, London

 

Green On Red Gallery, Dublin

Tom Hunter
Inner Circle, 2013
C-type print
Edition of 4, 76.2 x 96.5cms
Courtesy of the artist and Green On Red Gallery, Dublin
 
 
TOM HUNTER
Axis Mundi & Bathing Places, Dublin Bay
 
February 19 - March 28, 2015
 
The Green On Red Gallery is delighted to announce the opening of Tom Hunter’s fourth solo exhibition, Axis Mundi & Bathing Places, Dublin Bay, at the Spencer Dock gallery on Thursday, February 19, 6-8pm. The show consists of two separate bodies of work, one made in the last 2 years in the artist’s native England, the other made while on the Artist’s Residency Programme in the Irish Museum of Modern Art in Dublin in 2006.
 
Tom Hunter is perhaps best known for his alluring and beautifully composed images of the marginal in society, specifically in the neighbourhood of Hackney, East London, home to the artist for the last 20-30 years. Hunter’s honest depiction of life in the bars, the streets and halls of Hackney, far from being voyeuristic, reveals the drama and the dignity of ordinary lives. What is special about these varied scenes of seedy or borderland London is how they wear the garment and authority of art history. Each photograph references a painting in the collection of the National Gallery, London and, more generally, the artist’s deep admiration for the quiet, mysterious interiors of Johannes Vermeer’s 17th C. Delft, for example.
 
Axis Mundi & Bathing Places, Dublin Bay are produced in a medium size and photographed using a large-format, pin-hole camera. They are as close as the artist has come to shooting pure, romantic landscape subjects. Nature is seen at its most exposed and elemental, possibly at dawn. The pin-hole camera, like a “ heavenly portal “ lends a drama and distortion that magnifies the subject and lifts it out of the ordinary. The bending horizon, the even grey Dublin light, the pull of the ample sea, the bursting pink light on the English horizon gives both series a timeless and ageless dimension. Heaven and earth are joined in these images in a cosmological declaration.
 
The mark of man, however, is evident even central to the story of these works. The menhirs are testament to a prehistoric civilisation about which little is known for fact except, on the evidence of its surviving monolithic architecture, that it clung predominately to north Western Europe and parts of North Africa. It is easily imagined as a time of giants, great legends and heroic battles. As a child the artist walked the ancient roads leading to these focal points in the land. But the artist’s more immediate predecessors here are the communities of travellers, revellers and revivalists with their own rites and heroics.
 
Later, as I started walking this landscape, the hill forts of Hambledon Hill, Hod Hill, Badbury Rings and Spetisbury Rings took me back to an imagined world of Asterix and Obelix fighting great battles of independence and liberation.
 
As a teenager in the late Seventies the tribalism and eccentricity in England seemed to explode, with hundreds of bikers roaring through our village on a Bank holiday, like a huge invading army of Goths, to the Mods, Skinheads and my new adopted brethren the Punks. Some of these tribes were drawn to the Stonehenge Free Festival.
 
( Tom Hunter )
 
The hand bars, on the other hand, at Sandycove and Seapoint remind us of the invisible community of open water swimmers and another monumental, epic journey which begins with the following description :
 
Lend us a loan of your noserag to wipe my razor.
A new art colour for our Irish poets : snotgreen. You can almost taste it, can’t you ?
He mounted the parapet again and gazed out over Dublin bay, his fair oakpale hair stirring slightly.
- God, he said quietly. Isn’t the sea what Algy calls it : a grey sweet mother ? The Snotgreen sea. The scrotumtightening sea. Epi oinopa ponton. Ah, Dedalus, the Greeks. I must teach you. You must read them in the original. Thalatta ! Thalatta !. She is our great sweet mother. Come and look.
 
( Ulysses, James Joyce )
 
Journey is the leitmotif for Tom’s work as an artist. His journey, of course, is more an internal one.
 
Tom continues to exhibit internationally and has recently exhibited at the Wellin Museum of Art, Clinton, New York, Scandinavia, elsewhere in Europe and in China. In 2015 he will take up a commission to complete a project during a residency in Jordan on the life of Laurence of Arabia, a fellow-Dorset man.
 
The artist will give a talk on his work on March 6th, 1-2pm in the Green On Red Gallery in Spencer Dock. Free. Booking advisable. On March 12th Donal Curtin, Senior Partner, BCK Chartered Accountants and Chairman of the Board of Chambers Ireland will give a talk in the gallery on The Art of Collecting at 6pm. All welcome.
 
 
Green On Red Gallery
Park Lane
Spencer Dock
Dublin 1
Ireland
T: +353 1 671 3414
 
Green On Red Gallery
 
Read On... Green On Red Gallery, Dublin

 

Welcome to Art Rotterdam 2015 | 5 - 8 February

Welcome to Art Rotterdam
The fair to discover young art
5 - 8 February 2015
Location: Van Nellefabriek
 
Le Monde: ‘Art Rotterdam est sans doute une des meilleures foires du moment’
‘Art Rotterdam is without a doubt one of the best fairs of this moment’
 
The 16th edition of Art Rotterdam will inform you about  the latest developments in visual art.
With different views on young art in diverse exhibition concepts Art Rotterdam becomes more and more an alternative for the large international art fairs. Video art can be enjoyed in an open and interactive setting at Projections and the Mondriaan Fund once again shows the youngest talents in the spectacular warehouse of the former distribution centre of the Van Nelle Fabriek.
 
New this year is Intersections, a stage for artists initiatives and project spaces in the former  workshops of the  Van Nellefabriek. Intersections presents installation, interactive, and  performance art and the theme is the Dutch Flemish year. At the Van Nellefabriek terrain there are more inspiring exhibitions, like for example the nominees for the MK-Award, large sculptures by DordtYart and art for under € 1.500,- at We Like Art.
 
Participants Art Rotterdam
 
Main Section
 
acb Gallery [HU], AKINCI [NL], andriesse eyck galerie [NL], The approach [UK], ASPN [DE], Willem Baars Projects [NL], Base-Alpha Gallery [BE], Belenius/Nordenhake [SE], van den Berge [NL], Francis Boeske Projects [NL], Boetzelaer Nispen [NL], BORZO [NL], Ellen de Bruijne Projects [NL], Canvas International Art [NL], Kristof De Clercq gallery [BE], Cokkie Snoei [NL], Dürst Britt & Mayhew [NL], Edel Assanti [UK], Flatland Gallery [NL], G262 Sofie Van de Velde [BE], van Gelder [NL], Annet Gelink Gallery [NL], Annie Gentils Gallery [BE], Geukens & De Vil [BE], Grimm Gallery [NL], Jochen Hempel [DE], Gerhard Hofland [NL], Jeanine Hofland [NL], Majke Hüsstege [NL], Juliette Jongma [NL], Roger Katwijk [NL], Van Kranendonk [NL], kunstgaleriebonn [DE], Martin Kudlek [DE], Maurits van de Laar [NL], LhGWR [NL], Wouter van Leeuwen [NL], Wilfried Lentz [NL], Ron Mandos [NL], Mario Mazzoli [DE], Kunsthandel Meijer [NL], van der Mieden [BE], MISAKO & ROSEN [JP], Nouvelles Images [NL], Onrust [NL], Ornis A. Gallery [NL], Pablo's Birthday [USA], Galerie Pennings [NL], PHOEBUS Rotterdam [NL], R & R Reutengalerie Amsterdam [NL], RAM [NL], Ramakers [NL], JOEY RAMONE [NL], Petra Rinck Galerie [DE], Gabriel Rolt [NL], David Risley Gallery [DK], Rotwand [CH], Barbara Seiler [CH], Slewe [NL], snap projects [FR], Stigter Van Doesburg [NL], tegenboschvanvreden [NL], Tenderpixel [UK], TORCH [NL], TRAPÉZ [HU], Upstream Gallery [NL], VILMA GOLD [UK], Vivid [NL], Kunstruimte Wagemans [NL], Van De Weghe [BE], Fons Welters [NL], West [NL], Western Exhibitions [USA], xpo gallery [FR], ZERP Galerie [NL], Galerie Zink [DE], Martin van Zomeren [NL]
 
New Art Section
 
All Together Now [NL], balzer art projects [CH], mariondecannière [BE], GALERIE CONRADI [DE], Cøpperfield gallery [UK], Jeanroch Dard [BE], Division of Labour [UK], D+T Project Gallery [BE], Grimmuseum [DE], Herrmann Germann Contemporary [CH], Rianne Groen [NL], Hopstreet Gallery [BE], Harlan Levey Projects [BE], Galerie Max Mayer [DE], Tatjana Pieters [BE], Berthold Pott [DE], Praterstraße Berlin [DE], South Kiosk [UK], Maria Stenfors [UK], Super Dakota [BE], Frank Taal [NL], WORKS|PROJECTS [UK], ZAK | BRANICKA [DE], Van Zijll Langhout [NL]
 
Projections
 
Pauline Boudry / Renate Lorenz - Ellen de Bruijne Projects [NL] | Gonzalo Lebrija - Faggionato [UK] | Yael Bartana - Annet Gelink Gallery [NL] | Domenico Mangano - MAGAZZINO Arte Moderna [IT] Hans Op de Beeck - Ron Mandos [NL] | Melanie Gilligan - Galerie Max Mayer [DE] | Cécile B. Evans - Barbara Seiler [CH] | Roos Theuws - Slewe [NL] | Nathaniel Mellors - Galerie Stigter van Doesburg [NL] | Sander Breure & Witte van Hulzen - tegenboschvanvreden [NL] | Renzo Martens - Fons Welters [NL] | Janis Rafa - Martin van Zomeren [NL]
 
Intersections
 
1646 [NL], A Tale of a Tub [NL], DASH [BE], Hole of the Fox [BE], Hotel Maria Kapel [NL], Lokaal 01 [BE], MAMA [NL], Meuze [NL], NEST [NL], NICC [BE], Nieuw Dakota [NL], Nieuwe Vide [NL], Rongwrong [NL], Stichting IK [NL], The Ridder [NL], Trendbeheer Present [NL]
 
Address Art Rotterdam
Van Nellefabriek
Van Nelleweg 1
3044 BC Rotterdam
The Netherlands
 
Opening hours
Thursday February 5: 11.00 - 19.00 hrs
Friday February 6: 11.00 - 21.00 hrs
Saturday February 7: 11.00 - 19.00 hrs
Sunday February 8: 11.00 - 19.00 hrs
 
Tickets
at the fair € 17,50
online € 13,50 [€ 4,- discount]
online combi ticket 2 days: € 20,- [can only be bought online]
 
Check for more information:
www.artrotterdam.com
www.artrotterdamweek.com

QUAD, Derby

Gibson/ Martelli
White Island, 2014
Installation, Interactive Virtual Environment, Oculus Rift Virtual Reality Headset
Custom Interface, 5.1 Surround Audio (detail)
Courtesy of the Artists
 
 
GIBSON/MARTELLI
80° N
 
13 December 2014 to 8 February 2015
 
80° N is an exhibition by Gibson/Martelli featuring works drawing on personal and historical narratives in a search for the geographical North Pole
 
A SEASON OF ADVENTURE
Inspired by the spirit of discovery and celebrating the pioneers who break new ground through science and new technologies, with exhibitions, digital experimentation, talks, events, film screenings and educational activities that journey into the art of exploration.
 
QUAD presents a trilogy of works by artists Gibson/Martelli. 80° N is the result of a four year research project that centres on Arctic exploration. The 80° North parallel is the line of latitude where the Polar region begins. The Gibson/Martelli trilogy considers this navigational concept from three different perspectives:
 
In Search of Abandoned responds to a marker on the Google Maps for Spitsbergen that is labelled ‘Abandoned’. The artists sought to rediscover this location, both physically during a residency Martelli attended in Svalbard, and also through a computer generated virtual experience.
 
White Island draws on S. A. Andrée’s doomed Polar balloon expedition of 1897. Attempting to reach the Pole, Andrée’s balloon crashed on the ice near Kvitøya (White Island). The three expedition members perished, and their final campsite was only located in 1930. Consulting textual and photographic documentation left by the original expedition members, Gibson/Martelli built a computer generated world using height map data and game engine technology;
 
In Perfect Circle, a 100 year old Dutch sailing vessel, *Noorderlicht*, makes a 360° turn in an attempt to describe a perfect circle in the sea near the Monacobreen Glacier.
 
In its attention to the expansive frozen lands and seas of ice, the exhibition contemplates the overwhelming might of nature, its beauty and its vulnerability. In each project, the artists depart from classical representations of heroic voyages of discovery enabled by engineering mastery. Gibson/Martelli invite the viewer to observe the Arctic from a first-person perspective. Employing immersive techniques from virtual reality and video games, the viewer’s panoramic gaze is transformed by individual agency. In these spaces science & fiction merge, addressing the position of the self in relation to nature and technology - imagined & experienced views of place where invention and memory collide.
 
“Gibson and Martelli’s work pushes both the capacity of cutting edge visualization technology and our understanding of where contemporary art can take us.” - CAFKA Biennial Director Gordon Hatt, 2014
 
Ruth Gibson & Bruno Martelli see their practice as an ongoing investigation into simulacra and the sublime underpinned by the tradition of figure and landscape. They make environments and performances using print, video and computer games. Known as igloo from 1995 - 2010, their first work together won them a BAFTA nomination. They exhibit in galleries, theatres and festivals around the world including The Detroit Institute for Art, the Barbican, SIGGRAPH, ISEA, The Royal Opera House, Royal Festival Hall & 52nd Venice Biennale. Bruno lectures at AA School of Architecture, Slade & Goldsmiths College; while Ruth is Creative Fellow at the Centre for Dance Research at Coventry University’s School of Art & Design. Their work can be found in private and public collections including Sarah Meltzer Gallery, Rose Goldsen Archive of New Media Art & the British Film Institute.
www.gibsonmartelli.com
 
80°N by Gibson/Martelli is produced in association with QUAD, supported by Arts Council England and CAFKA14 - with generous sponsorship from Christie Digital & WorldViz.
 
The exhibition 80°N is part of a Season of Adventure at QUAD which will include talks, events, films and workshops.
 
Gibson/ Martelli are QUAD Digital Fellows for 2014.
 

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