Atelier Reflexe

AUDITORIUM DU LOUVRE

Atelier Reflexe & Fabrique des Illusions
WORKSHOP ATELIER REFLEXE
CONFERENCE DE PRESSE avec
PRESS CONFERENCE with ABEL FERRARA
(sur invitation ou présentation d’une carte de presse)
Jeudi 29 septembre à 16h
Thursday 29th September 2016 | 4 pm
Conception : Philippe Bérard
en partenariat avec dfilms / in partnership with dfilms
ADDICTION A L’ŒUVRE
octobre/novembre/décembre 2016
MASTER CLASS : ABEL FERRARA
Direction workshop: Véronique Bourgoin
ADDICTION à l’œuvre 2/5,
une histoire de cinéma qui s’accorde aux autres arts :
Conception : Philippe Bérard
http://www.bourgoin.name/
http://www.atelier-reflexe.org/
http://www.dfilms-programmation-cinema.fr/

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Intervenants :
Evgen Bavcar, Antoine D’Agata, Claire Fontaine, Stéphanie Gattlen,
Stéphane Goudet, Juli Susin, Ursula Penhaus-Bülher
Rencontres / Conférences / Master class / Exposition / Performance Projection
Octobre/Novembre/Décembre
+ Infos + renseignements pour inscription / information for registration
Facebook event
https://www.facebook.com/events/225550984505662/#

 
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SALON DE LA DE LA MICROEDITION /
FRAC PACA , ROYAL BOOK LODGE
LA LIGNE CONTRE LA FRONTIERE, JOUE ET GAGNE
Véronique Bourgoin
Eröffnung / Opening:
08. Oct 2016 | 12pm-7pm
Ende / End: 09/10/2016
FRAC PACA 20,
boulevard de Dunkerque 13002 Marseille
http://www.royalbooklodge.com/journal/

 

 MAD / MAISON ROUGE, ROYAL BOOK LODGE présente TABLEAU PERIODIQUE DES ELEMENTS USUELS

Le livre de Veronique Bourgoin  interroge la formule qui  s’empare du métabolisme du vivant.
L’édition spécial de ce livre, conçus par Juli Susin,(Royal Book Lodge)

 

On this occasion, the artist is going to realize a series of
drawings-portraits on a single line during the event, an action which

will be gathered in a book.

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WORKSHOP ATELIER REFLEXE
MASTER CLASS : ABEL FERRARA
Ausstellung / Exhibition: Addiction a L’oeuvre
Eröffnung / Opening: 22. Nov. 2016
Ende / End: 29/11/2016
Atelier Reflexe 26, rue Robespierre 93100 Montreuil
http://www.atelier-reflexe.org

 

MASTER CLASS : ABEL FERRARA
Direction workshop: Véronique Bourgoin /Intervenants :
Evgen Bavcar, Antoine D’Agata, Claire Fontaine,
Stéfanie Gattlen, Stéphane Goudet, Juli Susin, Ursula
Panhaus-Bülher / Conférences / Master class / Exposition / Performance Projection

This workshop is realized with the festival “ADDICTION à l’œuvre, une histoire du cinéma qui s’accorde aux autres arts de 1895 à 2019”. Designed by dfilms this programming comes along with meetings, exhibitions, conferences in partnership with:
Le Louvre, l’Ecole Nationale Supérieure des Beaux-arts de Paris, le Centre Pompidou, le Grand Palais, le musée de la Vie romantique, le Petit Palais, des cinémas indépendants, les Roches, Dirk Bakker Boeken, le Melies, les Cinémas du 93,
la Cinémathèque de Toulouse…

 

 

Ce workshop est réalisé dans le cadre du festival ADDICTION à l’œuvre,

une histoire du cinéma qui s’accorde aux autres arts de 1895 à 2019. Conçu par

dfilms, cette programmation s’accompagne de rencontres, d’expositions, de conférences en partenariat avec / This workshop is realized with the festival ADDICTION à l’œuvre, une histoire du cinéma qui s’accorde aux autres arts de 1895 à 2019.  Designed by dfilms this programming comes along with meetings, exhibitions, conferences in partnership with: Le Louvre, l’Ecole Nationale Supérieure des Beaux-arts de Paris, le Centre Pompidou, le Grand Palais, le musée de la Vie romantique, le Petit Palais, des cinémas indépendants, les Roches, Dirk Bakker Boeken, le Melies, les Cinémas du 93, la Cinémathèque de Toulouse, la fédération Addiction, SoS Addictions…

16, rue du ruisseau
93100 Montreuil – France

http://www.atelier-reflexe.org/

29. September 2016

imwerd1.jpg
Im Werd 1
Lena Rot Tonobjekte
Eröffnung:
Donnerstag, 29. September 2016 | 19 Uhr
1020 Wien Im Werd 1
http://www.lenarot.de
http://www.o-ooh.com/imwerd/
2170__4l10xA5q4iEYcRTr1SZ_lenarot.jpgFotocredits: Lena Rot

 

pinacoteca
could bees fly:
Udo Bohnenberger/Stefan Lux
Eröffnung | Do, 29.09.2016 | 19-22Uhr
Große Neugasse 44
1040 Wien
http://pinacoteca22.blogspot.co.at/
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ToolsAtWork
»40/20« 40 Jahre Apple
Vernissage
Donnerstag, 29. September 2016 | 19 Uhr
gabarage upcycling design
Ausstellung
Schleifmühlgasse 6, 1040 Wien
http://www.tuls.at/40
Sehenswerte Exponate aus 40 Jahren Apple:
Geschichten in Design Copyright: gabarage
Eintritt frei! Bitte um Anmeldung:
zeitsprung@toolsatwork.com

 

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So schnell vergehen 20 Jahre…
Vor 20 Jahren haben wir ToolsAtWork gegründet.
Für uns ein guter Grund zurück zu blicken und Danke
zu sagen – bei Kunden und Mitarbeitern.

»40/20«
Zu sehen sind zahlreiche Designer-Stücke aus 4 Jahrzehnten Apple-Geschichte, darunter eine voll funktionsfähige
LISA von 1983.

Upcycling steht im Mittelpunkt – aus Apple-Ressourcen unseres Service-Centers haben die Designer von gabarage exklusive Unikate gefertigt, die im Rahmen der Ausstellung erstmals zu sehen sein werden.

Ein historischer Mac wurde vom Maler und Autor
Christian Emil Cerny thematisch überarbeitet und wird im
Rahmen der Vernissage erstmals gezeigt werden.

Der musikalische Rahmen kommt von »Can you dig it?«
einem Vinyl-Projekt unseres Mitarbeiters Georg Darwiche.

Bei Erfrischungen und Snacks gibt es Gelegenheit für Fachgespräche

und Austausch von Apple-Erinnerungen.

Wir freuen uns über Euer Kommen!

Berenice und Walter Kuntner und das Team von Tuls

Medienwerkstatt Wien
“Get Fit With Dr. Lapschina”
site-specific participatory installation
von Lena Lapschina
Eröffnung: Donnerstag, 29.September 2016 | 19 Uhr
Ausstellung: 30.9 – 17.10. 2016 1070
Neubaugasse 40a
 
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“Get Fit With Dr. Lapschina” is a seven-channel participatory video installation with sound. Lena Lapschina started to develop and to film this series while staying as an AIR in California, when she was awarded the Djerassi Resident Artists Program. Meant as a comment on the zeitgeist, the videos discuss public health and literacy, gadgets and glamour. Visitors who tour the exhibition site are confronted with various freakish objects and are encouraged to carry out bizarre physical movements in synchronicity with the images on the screen. Lena Lapschina (Austrian, born in Russia, 1965) graduated from State Stroganow University of Fine and Applied Arts in Moscow. She lives and works in Vienna and Lower Austria. She has won the Austrian State Grant for Video and Media Art in 2011. She was awarded several prestigious residencies, including the Djerassi Residence Artists Program (Woodside, California), KuS (Heerlen, Netherlands), ORTung (Strobl, Austria), and Nordens Hus (Reykjavík, Iceland).

 

Aa Collections
Florian Lang Low Point Drain Vernissage:
29. September 2016 | 18°° Uhr
Ausstellung : 30.09 – 08.10.2016
Burggasse 68, 1070 Wien 1070,Wien
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über 15 Jahre section.a

sectiona
section.a
über 15 Jahre section.a
Geburtstag! Freitag, 21. Oktober 2016
sectioa08d39de
09.00 Frühstücken mit section.a Aida
Praterstern Praterstraße 78, 1020 Wien
11.30 Spazieren mit section.a
Rundwanderweg Nr. 9 Anfang Prater Hauptallee, 1020 Wien
13.00 Mittagessen mit section.a
Gösser Bierinsel, hinter dem Lusthaus Freudenau 555, Prater, 1020 Wien
17.00 Anstoßen mit section.a Hof der section.a
Praterstraße 66, 1. Hof, 1020 Wien
20.00 Feiern mit section.a
Donauturm Donauturmstraße, Mispelweg 8, 1220 Wien
Auf mehr als 15 gemeinsame Stunden freuen sich
section.a: Katharina Boesch, Christine Haupt-Stummer,
Andreas Krištof & Viktoria Pontoni kurz: die section.a
P.S. TIME IS A MIND CONSTRUCT. IT´S NOT REAL. (PRINCE)
section.a art.design.consulting gmbh
Praterstraße 66 / 7a 1020 Wien

Annett Zinsmeister

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BNKR
Current reflections on art and architecture
Annett Zinsmeister – Urban Shelter?
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Eröffnung/Opening:
Donnerstag, 29. September 2016 | 19 Uhr
Kuratoren: Christine Haupt-Stummer,
Katharina Boesch, section.a, Wien
Ausstellung: 30.9.2016 – 26.2.2017
Ungererstraße 158, 80805 München
 
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Annett Zinsmeister (2016): „Urban Shelter? Archäologie“
Media Relations: BUREAU N, Berlin Visual: Karl Anders, Hamburg
Produktion: pr.ojekte | Köttl + Wiemer GbR, München
Leitung BNKR: Nina Pettinato, München
 
Verhandelte die vorherige Ausstellung „Im Raum mit_“ die
künstlerische Aneignung von Raum an sich, so steht in der
Einzelausstellung der deutschen Künstlerin Annett Zinsmeister
die Geschichte, Bedeutung und Vergänglichkeit von Schutzräumen
im Vordergrund. Mit Installationen, Projektionen und Interventionen
bringt die Künstlerin elementare Aspekte und Spuren aus der
Vergangenheit und Gegenwart des ehemaligen Hochbunkers zum
Vorschein und verbindet diese mit der höchst aktuellen Frage:
Wie gestaltet sich Schutz heute? Die Frage nach dem Schutz von
Zivilpersonen im urbanen Raum ist heute aktueller denn je.
Wurden die ersten Behausungen und Stadtgründungen auch als
Abwehr vor Angriffen erbaut, so kann aufgrund der technologischen,
virtuellen Entwicklungen im 20. / 21. Jahrhundert die Architektur und
die Stadt dieser elementaren Aufgabe kaum noch gerecht werden.
Veräußerung, Privatisierung und Umwandlung von ehemaligen
Schutzbunkern ist eine Reaktion auf ihre verlorene, ursprüngliche Funktion.
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Credit: Annett Zinsmeister, Virtual Interior RdK, CP, © 2014
Das Gebäude, in dem sich BNKR befindet, ein 1943 gebauter
Hochbunker in der Münchner Ungererstrasse, ist prädestiniert,
um die Frage nach Schutz und Schutzräumen von unterschiedlichen
Seiten zu beleuchten. Schutz ist hier als bauliche Masse existent
und erlebbar, steht aber zugleich für ein vergangenes Konzept
von Schutz. In der zeitgenössischen Transformation des Bunkers
mit seiner neuen Nutzung und seiner Ausrichtung als Kunstraum
wird ein Spannungsfeld aufgebaut, das zwischen Erinnern und
Vergessen, zwischen Vergangenheit und Zukunft oszilliert.
Mittels installativer Elemente, virtueller Raumöffnungen sowie
Wand- und Bodenprojektionen teilt Annett Zinsmeister die zwei
Ebenen des Ausstellungsraumes in zeitlich unterschiedliche
Zonen: Das Untergeschoss thematisiert die Vergangenheit
des Bunkers und fokussiert Themen wie Krieg, Bedrohung und
Zerstörung, aber auch Hoffnung und Zukunftsvisionen:
Projektionen einer Genealogie von Städten als Schutzräume werden
mit Entwürfen von Idealstädten und utopischen Stadtvisionen
überlagert. Darüber hinaus nimmt die Künstlerin Bezug auf
Umrüstungen in der Nachkriegszeit zu ABC-tauglichen
Schutzbunkern bei denen auch Sandfilter zum Einsatz kamen.
Sand als Träger von Geschichte (Sedimentschichten) und als
konkretes Material für den Bau der Bunker bereitet hier buchstäblich
den Boden für das Zusammenspiel von Form und Inhalt.
Im Erdgeschoss leitet die Künstlerin in die Gegenwart des Bunkers
über. Die Architektur wird als transformierte Geschichte in ihrer
gegenwärtigen Erscheinung genauer in den Blick genommen.
Das Wechselspiel zwischen Modernisierung und historischen
Spuren, die in die baulichen Massen eingeschrieben sind, tritt in
den Vordergrund. Raum-in-Raum-Installationen aus Detailaufnahmen
bieten einen neuen Zugang zu diesem ungewöhnlichen Ort,
indem sie die Eigenheit der Bunkerarchitektur reflektieren, spiegeln
und transformieren: analytisch, ästhetisch, perspektivisch,
illusorisch. Die Ausstellung verdichtet sich über die Dauer ihrer Laufzeit.
Das begleitende Veranstaltungsprogramm mit Expert_innen
aus den Bereichen Kunst, Architektur und Wissenschaft
thematisiert Fragen zur Vergangenheit, Gegenwart und
Zukunft von Schutzräumen.

Galeristin Dr. Ursula Krinzinger

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die renommierte österreichische Tageszeitung
„Die Presse“, hat die Galeristin Dr. Ursula Krinzinger, für den
Wettbewerb um die ÖsterreicherIn des Jahres im Bereich
Kultur-Erbe nominiert.

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Das Team bittet um Ihre Stimme für Ursula Krinzinger

Wir würden uns sehr freuen wenn Sie an der Abstimmung teilnehmen

würden und diese Mail weiterleiten.

Vielen Dank!

Das Team der Galerie Krinzinger

Hier können Sie Ihre Stimme abgeben:

http://diepresse.com/unternehmen/austria16/5082997/index?cat=5
http://diepresse.com/unternehmen/austria16/index.do

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Krinzinger ist eine Naturgewalt von einer Galeristin.
„Ich liebe diese Arbeit“, sagt sie. Ihre Galerie ist längst Institution,
ihre Energie längst Legende.
09.09.2016 | 18:16 |   (Die Presse)

Man hätte gerne so einiges, was Ursula Krinzinger hat. Ihre Vielfliegerkarte
zum Beispiel, bespielt sie pro Jahr doch bis zu 14 Kunstmessen von Abu Dhabi,
Dubai, Hongkong, Singapur bis zu den Klassikern London, Paris, Basel, Miami.
Vor allem aber natürlich nur ein ganz kleines bisschen Etwas von der Kunst,
die in nunmehr 45 Jahren durch ihre Hände gegangen ist. Schon in ihrer
allerersten Ausstellung in ihrer allerersten Galerie in Bregenz 1971 zeigte sie
u. a. Maria Lassnig. Dann folgten Ausstellungen mit Gottfried Bechtold,
Arnulf Rainer, Betonporsches und gestische Abstraktion.

Das hieß Kampf in den 1970er-Jahren in Österreich. Und reden, reden, reden.
Doch die sogenannte Informationsgalerie dieser Pionierjahre hat in der 1940 in
Bregenz geborenen Kunsthistorikerin ihre Meisterin gefunden. Krinzinger ist
immer noch die Powerfrau des heimischen Kunstbetriebs, die „Warrior Queen“,
die für die Wertschätzung der zeitgenössischen Kunst unermüdlich auf Achse ist.
Wie viele Vernissagen, wie viele Dinners, wie viele Künstlergespräche, wie viele Führungen, wie viele Querelen und wie viel Überzeugungsarbeit hat sie

schon gemeistert  und geleistet?

Vor allem der Wiener Aktionismus, die Performancekunst und feministische
Positionen hat Krinzinger seit der Anfangszeit vertreten. 1975 begann
sie mit dem Nachlass von Aktionist Rudolf Schwarzkogler zu arbeiten,
dessen Verkauf an das Wiener Mumok 1982 der Grundstein für das
Aktionismus-Archiv war. 1976, als das noch als Provokation empfunden
wurde, zeigte sie eine Ausstellung ausschließlich mit Künstlerinnen.
Zwei Jahre später organisierte sie ein Performance-Festival. Der größte
heutige Performance-Star, Marina Abramović, fand schon Mitte der 1970er
in Krinzingers Innsbrucker Galerie eine Heimat. Schon damals betrieb
Krinzinger parallel zur Galerie in Kroatien auch ein Workshop-Programm,
eine Leidenschaft für Künstler-Residencies begann, die bis heute blieb.
So stellt Krinzinger Künstlern Studios in Ungarn, Sri Lanka (mit der One
World Foundation) aber auch in ihrer Galerie-Dependance für junge
Kunst in der Schottenfeldgasse zur Verfügung. In Wien ist Krinzinger
seit 1986 aktiv, die Hauptgalerie sind elegante Altbauräume in der Seilerstätte.
Auch hier wird die Mischung aus internationalen Stars, dem Nachwuchs,
den Frauen, den Malern, den Performancekünstlern aufrechterhalten.
„Man muss immer up to date sein“
Aus lokalen Querelen und Intrigen hielt sie sich in den vergangenen Jahren immer mehr heraus. Die großen Kämpfe scheinen vorüber. Denn wie keine andere steht Krinzinger auch für die Internationalisierung des österreichischen Kunstmarktes. Die vielen Kunstmessen, die Betreuung von Künstlern und Sammlern rund um die Welt, die Kontakte zu Kuratoren und Museen – „man muss immer up to date sein in diesem Geschäft“, weiß sie. Wochenenden gibt es in dieser Branche keine. Trotzdem: „Ich liebe diese Arbeit“, sagt sie immer noch. Sie hat Glück, ihre zwei Kinder auch, jedenfalls ihr Sohn möchte die Galerie bald einmal weiterführen, ihre Tochter ist selbst Künstlerin. (sp)
Die Presse
Dr. Ursula Krinzinger von Almuth Spiegler
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Sasha Okun

U&I Gallery Auditorium
Sasha Okun
A Harmony of Dissonance
Press Preview:
Thursday 29. September 2016 | 5pm -9pm
6pm -9pm : interview with Sasha Okun
Curator Hagai Segev
Exhibition: 29 Sept –13. October 2016
open daily for public view
7a Howick Place, Victoria, London, SW1P 1DZ
 
 
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U& I Gallery Auditorium
Sasha Okun
“A Harmony of Dissonance”
Sasha Okun in Conversation
Saturday 8. October 2016 | 11am-5pm,
during Frieze.
A brunch and open talk held by Sasha and
Hagai Segev with guest academics.
Exhibition: 29 Sept –13. October 2016
7a Howick Place, Victoria, London, SW1P 1DZ
Entry is free

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Artso is proud to bring this solo exhibition of Sasha Okun to London.   This major presentation of 26 artworks is from a private collection that derives from a largely unseen Artist’s catalogue of 300 works spanning 15 years. The show will feature exceptional large scale works such as a triptych, with several individual works approximating to 3m x 2m in size.

“A Harmony of Dissonance” represents the journey of Sasha’s life through nearly 70 years, his sense of displacement and ‘minority’ status.    Born in 1949 in Leningrad, Sasha is a Russian Jew who emigrated to Jerusalem in 1979 where he has worked since.

The art works feature in respected private collections and live with the ‘great artists’ be they modern, impressionist or contemporary, a rare and special trait of Sasha and his work.

Michael Marx, founder of Artso: “The works are reflective of a life displaced.  Sasha seems to intentionally study or subconsciously interpret his mind to displace the story or moment his artwork holds.  This struck me from when I first met Sasha over a decade ago and why I feel it is important his work is seen and shared. “

Respected international curator, Hagai Segev: “I wanted to be involved in this project from day 1 and am delighted Michael invited me to participate.   Rarely would an artist’s career and body of works be kept together ready for delivery and introduction to our Art audience.  I identified with the quality and caliber of this collection of works in a similar manner as how Sasha would describe himself – ‘a craftsman’, all of which is apparent when seeing the quality and intellectual depth of his works. Sasha’s intellect is that of a philosopher, visible by the storytelling within his work which reaches beyond the ‘canvas’, albeit the works are executed on wood/board in a fresco manner but with oil paint which lands a very unique and deep feeling to the paintings.”

Commenting on his work, Sasha Okun says: “”The people I’m interested in are ordinary, simple, pot-bellied and aging – in short, just like me. They are far from the idealised 90-60-90.   After all, everyone is ultimately a self portrait.   What is man? It is the fear of death, vanity, stupidity, greed, lust, pain and so on and along with it nobility, generosity, love and a mind. And a lot of other silly things.  All this is a wonderful cocktail that is called human life.”

A current museum show at Petach Tikvah Museum of Art in Israel which opens next month and the forthcoming 2017 Summer Museum show “New Aquisitons” at the Albertina Musuem, Vienna are additional to the inclusion of Sasha’s works in collections such as Russky Museum in St Petersberg Russia and the Israel Museum, Jerusalem.

 

U + I Gallery Auditorium,

7a Howick Place, Victoria, London, SW1P 1DZ

Entry is free

Notes to Editor

Artso

Artso was founded by Michael Marx specifically to support Sasha Okun, thus allowing him the freedom to apply his ‘craft’. Artso operates across Europe, Israel and North America.

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SASHA OKUN

One bright morning I set out to paint the landscape around Bethlehem.
All of a sudden there was the muse standing in front of me.
I recognized her right away.
Good morning, I greeted her.
Hello, Sasha, she said.
Why did you reveal yourself to me? I asked.
If you want to say something, go ahead, because I have no time to spare. The paints are drying up.
What is there to say, my dear Sasha. You know everything yourself…
What’s the use of trying to fathom the meaning of profound concepts, or wasting your life searching for a gospel for humanity?
Look around! The myth is more real than reality, and the mundane is full of charm. The less attention you pay to yourself the more yourself you will be.
The eternal is more innovative than the latest news. Banality harbours a hidden secret, while the pursuit of originality is really banal…
The muse kept on talking till I interrupted her to ask:
All right, madam, but what does all this have to do with me? What exactly do you want with me?
She looked at me dumfounded for a few moments, then waved her hand in despair, handed me a paintbrush and vanished.
Go figure it out…

Sasha Okun was born 1949 in Leningrad, USSR.

1972 he graduated as M. A. from
Muchina Academy of Arts & Design.

In 1979 Sasha emigrated to Jerusalem.

https://sashaokun.com/life/

Hagai Segev Curators is a curators studio dedicated to projects of museums and exhibition design and planning. The studio is active in Israel and Europe.

Hagai Segev – http://www.hagaisegev.com

Artso  – www.artsoltd.co.uk

Frieze London 2016

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Frieze London
6 – 9 October 2016
Regent’s Park
https://frieze.com/fairs/frieze-london

https://frieze.com/

Frieze Art Fair releases extensive new program details and highlights

for Frieze London and Frieze Masters,
opening : October 6-9, 2016
at The Regents Park in London.
The fairs will bring together more than 200 of the world’s leading

contemporary art galleries from 30 countries.

 

Frieze Masters
The Regent’s Park
Thursday, October 6: 11am – 7pm
Friday, October 7: 11am – 7pm
Saturday, October 8: 11am – 7pm
Sunday, October 9: 11am – 6pm
(near the London Zoo)
London – NW1 4HA, UK

Frieze Projects

Frieze Sculpture Park
on view through January 2017.

http://www.resnicow.com/client-news/frieze-london-2016-highlights-including-museum-acquisition-funds-talks-sculpture-park

http://www.resnicow.com/client-news/frieze-sculpture-park-free-outdoor-exhibition-three-months

Shadi Habib Allah

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Green Art Gallery at
Frieze London
Shadi Habib Allah
October 6 – 9 2016
Al Quoz 1, Street 8, AlSerkal Avenue, Unit 28

Shadi Habib Allah
A Defective Wave Shields Disparate Topographies

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Frieze London
Focus Section, Booth G27
6 – 9 October 2016

Regent’s Park

https://frieze.com/fairs/frieze-london

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Carol has just limped out of her aerobics class, unable to finish due to shortness of breath. (Safe, 1995) This recurring condition eventually snowballs into an interiority complex, relieved only by self-hypnotic allergy afflictions. She decides to attend the Wrenwood Institute in New Mexico to heal the issue. The illness appears to be the best thing that happens to Carol, specifically while dealing with the matters of her isolation in suburban Los Angeles. She considers her illness an enlightenment and interprets her own refusal to participate in group therapy discussions as a desire to keep the illness.

Subsequently Per Segerbäck, an engineer at Ericsson, gets Electromagnetic Hyper-Sensitivity because he is overexposed to telecom fields he’s developing at work. The company responds by providing him with a metal-shielded workspace, a protective suit, and even a modified Volvo. Eventually he has to move to an iron-shielded cabin, isolated from telecom radiation.

Groups of Bedouins meanwhile use the now outmoded telecom network, Mr. Segerbäck helped engineer, for illicit exchange in the deserts of Sinai and Jordan. They found potential in the deficiency.

Shadi Habib Allah

Shadi Habib Allah’s practice traverses installation, video and sculpture, in order to examine the structural and material circulations of objects, people, histories and the economy. While each project defines its own terms and necessary means of engagement, a common thread is the reworking of existing structures and the making of images in ways that eventually erase or replace the original. Eventually, it becomes unclear what is original and what is the copy. Faintly humourous anecdotes function as a pretext for more complex topics and critical positions. His practice never centres on the object or the artifact itself. Rather, it concerns itself with the reconstruction or subversion of existing objects and in this way questions received ideas of use and value, and the structures that hold them in place. 

Born in Jerusalem, Palestine in 1977, Shadi Habib Allah received a BFA from Bezalel Academy of Arts and Design in 2003 and an MFA from Columbia University in 2010. He was twice awarded Second Prize in the Young Artist Award from the A.M. Qattan Foundation, and has attended residencies at Cittadelarte, Fondazione Pistoletto in Biella, Italy and Gasworks in London, England. He was nominated for the Luma Award (2011), and was also the 2012 recipient of the Louis Comfort Tiffany Award. Habib Allah will start his upcoming residency at Delfina Foundation in London in October 2016.

Habib Allah’s work has been exhibited at the New Museum Triennial (2015); Art Statements, Art Basel 43 (2012); Palestine c/o Venice, Venice Biennale (2009); the Riwaq Biennale, Ramallah (2009); and In Focus, Tate Modern, London (2007), amongst others. 

Recent exhibitions include Biscuits and Green Sox Maaike, Reena Spaulings Fine Art, New York (2016); Shadi Habib Allah: 30KG Shine, Rodeo, London (2015); The Verdant at Hacienda, Zurich (2015); Empire State curated by Norman Rosenthal & Alex Gartenfeld, Palazzo delle Esposizioni, Rome (2013) & Galerie Thaddaeus Ropac, Paris (2013); Frozen Lakes, Artists Space, New York (2013); and Nouvelles Vagues, curated by Jason Waite and Antonia Alampi, Palais de Tokyo,Paris (2013). He lives and works in New York.

JAMES ROSENQUIST

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Galerie Thaddaeus Ropac Paris Pantin
JAMES ROSENQUIST
FOUR DECADES, 1970-2010
Opening: VERNISSAGE:
Saturday 10 September, 5pm – 8pm
DIMANCHE 11 SEP | 14H-18H
10 SEPTEMBRE 2016 – 7 JANVIER 2017
69, avenue du Général Leclerc 93500 Pantin

 

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James Rosenquist Between Mind and Pointer,
Chest Temperature, 1982
Huile sur toile / Oil on canvas. 196,9 x 167,6 cm (77,52 x 65,98 in)
© 2016 James Rosenquist / VAGA, New York.
Used by permission. All rights reserved. Photo: Jim Strong, Inc

Galerie Thaddaeus Ropac is pleased to present a solo-exhibition of American artist James Rosenquist at their Pantin gallery, as well as an exhibition of his collages at the Marais gallery.

Born in 1933 and raised in the American Mid-West, James Rosenquist led a career as a billboard painter before rising to fame in the 1960s as a leading figure of the Pop Art movement alongside contemporaries Andy Warhol, Roy Lichtenstein and Claes Oldenburg.

Drawing on his experience as a billboard painter, Rosenquist plays on the iconography of advertising and mass media, to create distinctive compositions that explore the culture of modern capitalism. With striking immediacy, he questions the make-up of his surroundings: on the one hand, the urban environment shaped by the aesthetics of consumerism, on the other Florida’s nature graced with tropical flora. Whether sequenced, prismatic or crosshatched, each of Rosenquist’s ingenious compositions unfolds multiple narratives and plays with space and dimension. The works touch upon subjects that range from aesthetics to geo-politics, from technology to ecology as well as outer space and time travel.

This ambitiously scaled exhibition comprises around 33 works, mainly loaned from the artist and private collections. The selection presents highlights throughout four decades of the artist’s œuvre, starting from the 1970s.

 

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James Rosenquist Source and preliminary study for Zone, 1960
Découpage magazine et crayon sur papier / Magazine cutout and pencil
on paper 46,4 x 66 x 3,8 cm (18,25 x 26 x 1,5 in)
© 2016 James Rosenquist / VAGA, New York.
Used by permission. All rights reserved. Photo: Peter Foe
 

A masterpiece of the exhibition is the 14 meter long and 5 meter high Four New Clear Women (1982). First exhibited at Leo Castelli Gallery in 1983 and selected for the Art Unlimited section of Art Basel in June 2016, the painting is a fine example of the artist’s use of monumental scale.

The works of the 80s and early 90s represent a key stage in the development of the artist’s aesthetic, marked by his signature, crosshatched technique. The process is exemplified in his floral works, such as the painting Sky Hole (1989) from his Welcome to theWater Planet series. Along with his floral works, the artist developed a series of outer space paintings that recall hallucinatory dreams.

Rosenquist’s longstanding fascination with outer space is seen in his early 90s Meteor Series – with the meteor symbolizing the inexplicable. With these works, the artist pays tribute to famous painters such as Brancusi and Picasso, bridging the gap between Modern and Contemporary art.

From the late 1990s to the first decade of the 21st century, the motif of time takes centre stage in Rosenquist’s practice. The Speed of Light and The Hole in the Centre of Time series explore different aspects of the theme. Rosenquist is fascinated by Einstein’s theory of relativity, according to which a stationary spectator sees an event differently from a spectator traveling at the speed of light. Works from the Speed of Light series juxtapose objects painted with trompe l’oeil precision and abstract, winding forms that recall waves of energy. Time Stops the Face Continues (2008) and Speed of Light Illustrated (2008) from The Hole in the Centre of Time series include motorized mirrors allowing for the viewer and surrounding space to be part of the work. Depending on the viewer’s position and speed, the paintings perpetually transform. Rosenquist puts into question our perception of time and whether we are in control of it or it controls us.

 

homothetic.jpgThe starting point of most paintings is a collage of source material, a composition of drawings and found images, often distorted with the aid of a reflective metal cone and a photocopier. Gridding the colossal canvas, the artist translates the image directly by hand onto the canvas – using no airbrush or modern technology.

 

Simultaneously to the survey of Rosenquist’s paintings in Pantin, the gallery will exhibit around 30 rarely seen collages in their Marais gallery, offering a glimpse into the thought process behind a finished painting. The pendant exhibition will emphasise how these intimate-scaled works are not only a step in the working process, but are also works in their own right. Rosenquist writes: “Collage is still a very contemporary medium, whether it is done with little bits of paper or in the cinema. […] In collage there is a glint…or reflection of modern life. For example, if you take a walk through midtown Manhattan and you see the back of a girl’s legs and then you see out of the corner of your eye a taxi comes close to hitting you. So – the legs, the car – you see parts of things and you rationalize and identify danger by bits and pieces. It’s very quick. It’s about contemporary life.”

During the 1960s in New York, several notable exhibitions on collage and mixed media art were staged, providing historical context for the direction Rosenquist’s practice was taking. Curator Lawrence Alloway linked this new City Art of “junk culture” to Dada and Futurism, also considered as urban art. Alloway writes: “Junk culture is city art. It’s source is obsolescence, the throwaway material of cities, as it collects in drawers, cupboards, attics, dustbins, gutters, waste lots, and city dumps… Assemblages of such material come to the spectator as bits of life, bits of the environment. The urban environment is present, then, as the source of objects, whether transfigured or left alone.” To Rosenquist, the city with its cars, highways and appetite for consumption was an endless source of inspiration.

Today, Rosenquist is represented in public and private collections worldwide, in the Los Angeles Museum of Contemporary Art, the Tate Modern in London and the Metropolitan Museum of Art in New York. The Guggenheim Museum organized an important retrospective exhibition on the artist in 2003 that travelled around the world.

A fully illustrated catalogue will accompany the exhibition with essays by Alain Cueff and Sarah Celeste Bancroft.

 

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PORTE-BOUTEILLES

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Galerie Thaddaeus Ropac Paris Marais
MARCEL DUCHAMP
PORTE-BOUTEILLES “Bottle Rack” (1959)
Opening:
Thursday, October 20, 2016 | 6.30-8.30pm
Exhibition: 20 Oct 2016 – 14 Jan 2017
Paris Marais
7, rue Debelleyme, 75003 Paris
 

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Marcel Duchamp, Porte-bouteilles, 1959 (after 1914 original)
signed 1960, Galvanised Iron 59.1 x 36.8 cm (23.27 x 14.49 in)
Courtesy Robert Rauschenberg Foundation
© Succession Marcel Duchamp / ADAGP Paris, 2016
Photo: Glenn Steigelman

Galerie Thaddaeus Ropac is pleased to announce a forthcoming exhibition featuring the most important Marcel Duchamp sculpture to come on the market for many years : Porte-bouteilles (Bottle Rack), from 1959, is widely considered one of the most iconic sculptures from the XXth century.

The exhibition created around this masterpiece will open in the Paris Marais gallery on October 20th, a date which also commemorates the 100th anniversary of the term readymade, that Duchamp used for the first time in 1916 in a letter to his sister Suzanne.

The exhibition features Marcel Duchamp’s Porte-bouteilles from 1959, the year in which Robert Rauschenberg bought it for his personal collection where it remained until it was transferred to the Robert Rauschenberg Foundation. The Robert Rauschenberg Foundation states : “The Board made the strategic decision to sell this work, which will allow us to create an endowment. Having a more diverse portfolio of cash investments and art will allow us to focus on our core legacy. In this coming year we will be launching the research towards our Catalogue Raisonné – a key project for the Foundation.” Galerie Thaddaeus Ropac has been chosen by the Robert Rauschenberg Foundation to place the sculpture in a permanent museum home allowing for ongoing public viewing and scholarship of this historical piece.

Porte-bouteilles is recognised as one of the most significant works of the XXth century, as it was considered by Duchamp to be his first readymade. For Duchamp, the readymade meant the transition from what he called “retinal art” into an intellectual approach of his practice. As André Breton wrote in 1938 in hisDictionnaire abrégé du surréalisme, a readymade is an “ordinary object promoted to the dignity of an art object by the mere choice of the artist”.

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After Duchamp left Europe and moved to New York in 1915, he became a major figure in the art scene of the city, influencing many collectors, curators and especially a new generation of artists. Robert Rauschenberg met Marcel Duchamp in 1953 at the Stable Gallery, the two of them, along with Jasper Johns, became close friends.

It was in 1959 that both artists took part in a group exhibition titled “Art and the Found Object” in the Time-Life Reception Center in New York, Duchamp decided to include his Porte-bouteilles in this exhibition. He asked Man Ray in Paris if he could borrow the 1935–36 version, which Man Ray had in his collection. After discovering that Man Ray had lost 
the object, Duchamp encouraged him to buy another one at the Grand Bazar de l’Hôtel de Ville and to ship the object to New York. When Rauschenberg realized that this work was available for sale he acquired the piece for his own collection.

This masterpiece, the second existing one from Duchamp’s original Porte-bouteilles, had remained in Rauschenberg’s collection since he acquired it. Two years after buying this sculpture, he loaned it to the historical exhibition “The Art of Assemblage” at the MoMA in New York which travelled to the Dallas Museum for Contemporary Art and to the San Francisco Museum of Art. Since then, this work has been exhibited in important institutions such as the Ludwig Museum in Cologne, the Menil Collection in Houston, the Reina Sofia Museum in Madrid and the Philadelphia Museum of Art.

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