Martin Barré and Jorge Queiroz @Galerie Nathalie Obadia at Esther Schipper. In the occasion of the Berlin-Paris Exchange. (January 15 – March 13, 2010)
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Martin Barré.
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Jorge Queiroz.
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Damien Deroubaix and Maël Nohazic at the French Institute.
Damien Deroubaix and Maël Nohazic @The French Institute (January 27 – March 2, 2010)
From the press release:
Les travaux de Damien Deroubaix sont emplis de symboles drastiques et souvent sombres. Il puise dans un répertoire de subculture. Ses travaux sont provocants, éloignés de la réalité de façon cauchemardesque mais non sans une certaine dérision.
Chez Mael Nohazic, l’apocalypse devient idylle. Des lieux sans peur, ni sentiments, ni souffrances , ses oeuvres sont caractérisées par des transformations, des mutations, des atmosphères énigmatiques. Une poésie de l’horreur et de la beauté.
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Johan Zetterquist at invaliden1.
Johan Zetterquist: Studies For A Monument @invaliden1 (January 9th – February 6th, 2010)
From the press release:
“Studies For A Monument” questions the turn of relative values into institutional speech by presenting a personal monument. A black fence placed in the middle of the white cube gallery is construed as a ruin and surrounded by a series of drawings. A ruin is architecture in decay, and its death, so to speak, has been idealized since the Romantic period. By juxtaposing the black fence and the drawings, Zetterquist highlight this paradoxical use of contrived ruins, constructed for the express purpose of decay.
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Graham Anderson at Nice and Fit.
Graham Anderson: New Paintings and Drawings @Nice and Fit (January 16 – March 12, 2010)
From the press release:
The rain I watch fall in the courtyard comes down at quite varying tempos.
In the center it’s a fine discontinuous curtain (or net), an implacable but relatively slow downfall of fairly light drops, a lethargic, everlasting precipitation, a concentrated fragment of the atmosphere. Near the left and right walls, heavier, individual drops fall more noisily. Here they seem the size of a grain of wheat, there of a pea, elsewhere almost of a marble.
Francis Ponge (trans. C.K.Williams)
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Katharina Otto at 401contemporary.
Katharina Otto: Behind The Wall of Sleep @401contemporary (January 23 – March 6, 2010)
From the press release:
Katharina Otto’s paintings convey a dark, mystical atmosphere. Hints of traditional pictorial themes unfold, usually in small wooden formats: Models of female nudes, depicted from behind kneeling at a well or with the shadowy shape of a swan in her lap, semi-abstract landscapes or figures on which only arms or a head are visible. The sombre color palette combines ochre, violet, black and red tones, which are sometimes carefully blended and other times left to appear rough.
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Inaugural Exhibition at Blum & Poe.
Chiho Aoshima, Jennifer Bornstein, Slater Bradley, Nigel Cooke, Carroll Dunham, Sam Durant, Anya Gallaccio, Mark Grotjahn, Tim Hawkinson, Julian Hoeber, Matt Johnson, Friedrich Kunath, Sharon Lockhart, Florian Maier-Aichen, Victor Man, Dave Muller, Takashi Murakami, Yoshitomo Nara, Hirsch Perlman, Dirk Skreber, Keith Tyson, Lee Ufan, Chris Vasell: 15th Anniversary Inaugural Exhibition @Blum & Poe (October 3 – November 14, 2009)
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First Floor.
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Second Floor.
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Faris McReynolds at Roberts & Tilton.
Faris McReynolds: The Primitive Electric @Roberts & Tilton (October 17 – November 14, 2009)
From the press release:
There’s a sense of aimlessness about these portraits as each one resists a simple narrative
reading, opting instead for a more expansive, albeit more complicated view of the world.
McReynolds desires to paint in a primitive manner, yet this “primitivism” derives less from
stylistic choice than from the intention to communicate multiple versions of the world at once.
Here the traditional portrait is turned on its ear as figures merge into one another, blurring
literal and cultural boundaries, exposing their bodies in weirdly grotesque ways, yet without
shame. McReynolds wants nothing more than to allow these paintings to communicate freely on a variety of levels, and each exists as a visual testament not to the artist himself but to the
vagaries of a flawed and failed culture.
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Pierogi and Hales Gallery in Miami.
Pierogi, Brooklyn and Hales Gallery, London in Miami.
Nadja Bournonville, Dawn Clements, Hugo Crosthwaite, Adam Dant, James Esber, Jane Fine, Tony Fitzpatrick, Patrick Jacobs, Kim Jones, Darina Karpov, William Lamson, Yoon Lee, Ati Maier, Ryan Mrozowski, Johan Nobell, John O’Connor, Michael Schall, David Scher, Ward Shelley, Tavares Strachan, Lynn Talbot, Jim Torok, Sarah Walker, Martin Wilner, Daniel Zeller.
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David Scher.
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Ryan Mrozowski.
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Martin Wilner.
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David Shapiro.
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Dawn Clements.
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Darina Karpov.
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Ryan Mrozowski.
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Darina Karpov.
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Hugo Crosthwaite.
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Laura Oldfield Ford.
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Tavares Stratchan.
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Kim Jones.
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Bob and Roberta Smith.
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Jim Shaw at Les Abattoirs.
Les Abattoirs, Toulouse, France. January 3, 2010.
I am now back in Europe for a few weeks for a winter-y taste of negative temperatures. On my first day back inside a French museum, LA was already haunting me, and I loved it. The site specific installation created by Jim Shaw was vibrant and darkly humorous, and was resonating beautifully within the space and the two other pieces from the permanent collection – Picasso and Dali’s theater curtains.
From the press release:
L’installation consiste en un assemblage baroque et grandguignolesque de dessins montés sur des châssis en bois et entre lesquels la circulation est possible. On y découvre des copies de sculptures de Borofsky, une créature-aspirateur qui avale les foules, une libre adaptation de la toile “Prémonition de la guerre civile” de Dalí, un clin d’œil à Daumier et sa tête royale en forme de poire, des références au groupe anglais Led Zeppelin ainsi que des petits sacs identiques à ceux que Dalí à peint sur son rideau (sauf que ceux de Shaw sont estampillés du $ américain, peut-être comme une référence au surnom qu’André Breton avait donné à Dalí, “Avida Dollar”).
EDIT. See more images of the installation on the site of PRAZ-DELAVALLADE Gallery.
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Jim Shaw, Labyrinth: I dreamed I was taller than Jonathan Borofsky, 2009.
Pablo Picasso, La dépouille du Minotaure en costume d’arlequin, May-July 1936.
Salvador Dali, Le Tricorne, 1949.
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