(V)alter ego

Andrea Tardini Gallery
(V)alter ego
curated by Elisa Fantin
Giudecca, Friday 7 April 2017 | 6pm
San Samuele, Saturday 8 April 2017 | 6pm
9 April – 6 June 2017
Venice, Giudecca 282  |  Salizada San Samuele 3157
In the box 1, 2015, silicone, fiberglass, wood, fishing line, oil colours

Valter Adam Casotto’s hyperrealism in the Giudecca gallery and in the new San Samuele exhibition space. Exclusively at Andrea Tardini Gallery, the works of an emerging artist, winner of the 2016 David di Donatello as “Best Makeup Artist” for “Tale of Tales” directed by Matteo Garrone 

Andrea Tardini Gallery has two reasons to celebrate in April: it will inaugurate the exhibit(V)alter ego, the first solo show by Valter Adam Casotto on Friday 7 April at 6 PM on Giudecca. Then, on Saturday 8 April at 6 PM, the grand opening of the exhibition space on Salizada San Samuele, a veritable “art district” in Venice, that already offers to the public many fine art galleries, design and handicraft shops.



Valter Adam Casotto in his studio, ph. Daniele Rovesi


(V)alter ego represents the artistic debut of Valter Adam Casotto, who developed his technique as a famous film prosthetic makeup artist. During this unusual experience lasting more than ten years, he closely studied and learned human anatomy and skin tissue. He can now reproduce it so faithfully that it is hyperrealistic.

Valter Casotto’s artistic research focusses on current topics like the transformation of the identity, both individual and of humanity at large. Valter examines the complexity of the concept of time,  in relation with the non-infinite nature of the human body, which emerges in his considerations as a mortal shell, a boundary. The artist’s work aims tocreate a paradox that seeks to exceed the ordinary sense of time as perceived by society.




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Opening Reception: Saturday, 1. April 2017 | 7- 11pm
Exhibition: 2. April – 29. April 2017
571 S. Anderson St. (Enter on Willow St)
Los Angeles, CA 90033
Opening Reception:
Saturday, 1. April 2017 | 7- 11pm
Exhibition: 2. April – 29. April 2017
571 S. Anderson St. (Enter on Willow St)
Los Angeles, CA 90033
Opening Reception:
Saturday, 1. April 2017 | 7- 11pm
Exhibition: 2. April – 29. April 2017
571 S. Anderson St. (Enter on Willow St)
Los Angeles, CA 90033
Opening Reception:
Saturday, 1. April 2017 | 7- 11pm
Abigail Goldman, Alex Kiessling, Andrew Brandou, Ben Frost,
Ben Howe, Brandi Milne, Brooks Salzwedel, Bumblebeelovesyou,
Caia Koopman, Camille Rose Garcia, Camilla D’errico,
Carlos Ramos, Chie Yoshii, Darcy Yates, Dosshaus,
Elizabeth Mcgrath, Ewa Pronczuk-Kuziak, Hannah Yata,
Hikari Shimoda,  Hirabayashi  Takahiro, Jana Brike, Peter Hamlin.
Jasmine Becket-Griffith, Joey Remmers, Jon Fox,  Keun Young Park,
Kit Mizeres, Kristen Liu-Wong,  Lori Nelson, Lu Cong,
Uke Chueh, Maika  Kobayashi,  Meredith Marsone, Michael Page,
Miho Hirano, Mikael Takacs, Natalia Fabia, Nigel Cox,
Okuda San Miguel, Peter Hamlin, Sarah Emerson, Sarah Stieber,
Sasha Ira, Sean Powell, Shag (Josh Agle), Stickymonger, Three,
Travis Lampe,  Victor Fota, Vincent Giarrano, Yosuke Ueno,
Young Chun, and Yuka Sakuma
Exhibition: 2. April – 29. April 2017
571 S. Anderson St. (Enter on Willow St)
Los Angeles, CA 90033

CHG -Corey Helford Gallery – Downtown Los Angeles’

is proud to premiere the new collection from Welsh-born, Los Angeles-based pop surrealist painter Richard J. Oliver.

It’s been two years since Oliver had his last solo exhibition of new works, and the wait is well worth it. This new collection of paintings, entitled “Immersion, is everything that is the best of Oliver — soulful, beautiful, heart-wrenchingly emotional and engaging in a unique and timeless way.



Regarding his new collection, Oliver shares: “This body of work is an expression of, and a meditation on deep rooted feelings of dissociation, isolation and the difficulties of realizing a union between mind and body. I get trapped seeking meaning and understanding at the expense of becoming unaware of the life-giving source that supports and nourishes me each second. While my attention is on insignificance, I miss the majesty of what is all around and within this existence. As a result, life can sometimes appear devoid of any vibrancy.

The challenge therefore has been to try and express this perplexity of uncertain and unclear ideas into a tangible and communicative expression using color and form, or as Plato puts it ‘render the realm of perfect eternal ideas into its imperfect copy.’

But why? Ultimately my hope is that meditating on interconnectedness and immersion in life will attend to the struggle and ease some suffering. By portraying this paradox of solitude of our human condition, I hope to relate and connect through relationships with others, who are feeling the same smallness and often frightening isolation of this human incarnation.

In each of these paintings I have tried to return to some equanimity. I have used the painting practice as a way to release the struggle by embracing all aspects of experience without judgment. While making the art, I adopted a loving kindness to all the inner feelings of confusion, frustration and limitation, and also an outward expression of compassion to others in the knowledge that they are likely to be experiencing the same difficulties in their lives.”

“My hope is that the paintings evoke the same feelings in the viewer that inspired me to make them and that somehow, in a small way, we can for just a moment not just be ‘on’ this little world, alone and isolated but be together and ‘of’ this nature and vast universe, and with compassion see in each other both beauty and suffering,” Oliver adds.



About Richard J. Oliver:

Richard J Oliver was born and raised in Wales, United Kingdom, studied Fine Art at the University of the West of England and undertook his Masters at UWIC in Wales. In his time between studies, Oliver built his reputation, beginning in Wales and later gaining recognition throughout the UK. His work has been included in numerous European group shows, which then segued into solo shows, including an exhibition at the prestigious Museum of Modern Art in Wales.
Oliver’s early work focused on his homeland, particularly the struggle of its youth trying to find identity in the aftermath of the local mining industry’s demise. His work often showcased the skeleton landscapes of mining villages in the Welsh valleys juxtaposed with contemporary youth. His latest works explore more universal subjects, from environmental issues to humanitarian and social problems that are close to his heart.
Since becoming a parent, Oliver has explored the anxieties of raising a child in an environment on the brink of disaster. The images touch on the tragedy of children forced to survive in an apocalyptic environment and violently fend for themselves. He transforms the natural instincts of fatherhood and family protection into striking visuals. More recently, portraits have crossed into the dark, brooding world of Grimm’s fairytales and surrealistic subjects that help convey the emotion and tragedy of our world’s children. Oliver works closely with many charities, having donating proceeds from his work to DreamLoveCure.org, City of Hope’s Department of Pediatrics, Williams Syndrome association and the Autism Society of Los Angeles.

Oliver currently paints and resides in Los Angeles.





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In Kooperation mit der AG Gesellschaftsdesign der
Hochschule für bildende Künste Hamburg
Eröffnung: Dienstag, 25. April 2017 |19 Uhr
Kurator Sebastian Hackenschmidt,
Kustode MAK-Sammlung Möbel und Holzarbeiten
Präsentations: 26. April – 14. Mai 2017
MAK, Stubenring 5, 1010 Wien
AG Gesellschaftsdesign der Hochschule für bildende Künste Hamburg:
Bibliothek für Gesellschaftsdesign, 2016/17
Anordnung der Lesetische (a) © Julian Bühler, AG Gesellschaftsdesign



Dienstag, 25.4.2017 | 19 Uhr

Friedrich von Borries (HFBK Hamburg) im Gespräch mit der Kulturmanagerin Heidemarie Dobner (Globart Academy, Wien), dem Wirtschaftswissenschaftler Wolfgang Spiess-Knafl (Next Generation Impact, Wien) und dem Rechtsanwalt und Stiftungsvorstand Ralf Leinemann (Leinemann-Stiftung für Bildung und Kunst, Hamburg)


Die BIBLIOTHEK FÜR GESELLSCHAFTSDESIGN ist eine temporäre und mobile Institution, die an verschiedenen Orten und in unterschiedlichen Kontexten auftaucht. Im Fokus des Projekts steht die Frage, ob – und wie – Design die Gesellschaft verändert. Für die Premiere der BIBLIOTHEK FÜR GESELLSCHAFTSDESIGN vom 26. April bis 14. Mai 2017 im MAK FORUM gaben 60 DesignerInnen und GesellschaftstheoretikerInnen eine Buchempfehlung zum Thema. Der Bestand von sechzig Büchern wird dabei einem permanenten Wandlungsprozess unterliegen: an jeder Station der Bibliothek werden zusätzliche Bücher empfohlen und vorgestellt.

Zu den unter anderem von Harald Gruendl, Van Bo Le-Mentzel, Fiona Raby, Andreas Reckwitz, Claudia Mareis oder Ezio Manzini ausgewählten Publikationen zählen der Koran, Henry Thoreaus Walden (1854) und Ivan IllichsSelbstbegrenzung (1975), aber auch Spike Lees Design for Obama (2009) und Horst Rittels Thinking Design (2013). Jede Publikation wird mit einer kurzen Biografie der/des Empfehlenden versehen sowie mit einer Erläuterung, warum dieses Buch für die Bibliothek benannt wurde.

Entwickelt wurde die BIBLIOTHEK FÜR GESELLSCHAFTSDESIGN von der AG Gesellschaftsdesign der Hochschule für bildende Künste Hamburg, mit der Idee, dass Studierende und Lehrende über die politische Relevanz und gesellschaftliche Verantwortung von Design nachdenken und Anregungen für die Entwicklung neuer Methoden und Forschungsansätze geben. Im universitären Pilotversuch wurde Studierenden nahegelegt, sich während des Studiums jeden Monat mit einem Buch auseinanderzusetzen.

Teil des Konzepts ist ein fortwährender Diskurs über die Publikationen. Im MAK werden drei Gesprächsrunden mit hochkarätigen VertreterInnen aus Wissenschaft, Kunst und Kultur abgehalten. Nicht nur der Bestand der Bibliothek unterliegt damiteinem permanenten Wandlungsprozess, auch die Auseinandersetzung mit dem Thema Gesellschaftsdesign wird ständig aktualisiert und um neue Impulse bereichert. Die Tauschprozesse und die Diskurse werden ab der Präsentation im MAK auf einer Website dokumentiert.

Die Umsetzung der Bibliothek wird durch die Leinemann-Stiftung für Bildung und Kunst, Hamburg ermöglicht.

AG Gesellschaftsdesign der Hochschule für bildende Künste Hamburg:
Bibliothek für Gesellschaftsdesign, 2016/17 Lesetisch, rot
© Julian Bühler, AG Gesellschaftsdesign




Dienstag, 2.5.2017 | 19 Uhr

Friedrich von Borries (HFBK Hamburg) im Gespräch mit dem Schriftsteller Ilija Trojanow (Wien) und dem Designer Thomas Feichtner (Wien)

Dienstag, 9.5.2017 | 19 Uhr

Sebastian Hackenschmidt (MAK) im Gespräch mit der Ausstellungskuratorin Brigitte Felderer (Universität für angewandte Kunst Wien) und der Volkskundlerin Klara Löffler (Institut für Europäische Ethnologie, Universität Wien)



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Das Missverständnis
von Albert Camus
SO 02. APR 2017 | 19.30 – 21 Uhr
Regie Nikolaus Habjan
Übernahme vom Schauspielhaus Graz
Spiel mit Schauspieler/innen und Puppen
Bühne Jakob Brossmann
Kostüme Denise Heschl
Dramaturgie Heike Müller-Merten
mit Nikolaus Habjan (Martha/Der alte Knecht),
Florian Köhler (Jan/ Der alte Knecht), Seyneb Saleh
(Maria/Die Mutter/ Der alte Knecht)
Neustiftgasse 1, 1070 Wien

Das Missverständnis

von Albert Camus
Regie Nikolaus Habjan
Übernahme vom Schauspielhaus Graz
Spiel mit Schauspieler/innen und Puppen
Man kann im Vergessen nicht glücklich sein. Von Unruhe getrieben kehrt Jan zurück in seine Heimat, die er vor zwanzig Jahren verlassen hatte.

Unter falschem Namen mietet er sich in dem von Mutter und Schwester geführten verlassenen Gasthof ein. Zunächst will er die Verhältnisse aus der Deckung beobachten, um empfinden zu können, ob und was ihm Heimat und Familie bedeuten. Aber der Prozess des Erkennens gerät zum kommunikativen Missverständnis. Jan weiß nicht, dass die beiden Frauen ihre Existenz mit Raubmord an Alleinreisenden bestreiten. Längst haben sie alle moralischen Skrupel abgelegt. Gewohnheit beginnt beim zweiten Verbrechen. Und „was man nicht kennt, ist leichter zu töten“. In seinem dreiaktigen Drama, uraufgeführt 1944 im besetzten Paris, behandelt Camus die Frage von Heimat und Exil mit der Wucht einer antiken Schicksalstragödie. Darin setzt er der Vernichtungskraft Europas die Vision einer freien menschlichen Existenz entgegen; Synonym dafür ist das Land am Meer.

Der in Graz geborene und in Wien ansässige Musiktheaterregisseur und Co-Direktor des Schubert Theaters Nikolaus Habjan perfektionierte die Kunst des Puppenspiels bei Neville Tranter. Inzwischen stehen zahlreiche, zum Teil preisgekrönte Inszenierungen von und mit ihm in Wien und anderen österreichischen Städten auf den Spielplänen. Das Missverständnis übersiedelt nach einer erfolgreichen Vorstellungsserie am Schauspielhaus Graz an das Volkstheater.

Seyneb Saleh spielt in Nikolaus Habjans Inszenierung von Albert Camus’ “Das Missverständnis” die Rollen der Mutter und der jungen Ehefrau Maria. Dramaturgin Heike Müller-Merten sprach mit ihr über das Gefühl, in zwei Welten zu leben, das “Mittelmeerische Denken” und ihre Erlebnisse an der serbisch-ungarischen Grenze.

Heike Müller-Merten: Der Autor Camus, der im algerischen Mondovi als Sohn eines französischen Einwanderers und einer spanischen Mutter geboren wurde, war ein Leben lang Wanderer zwischen Nordafrika und Europa. Mit 27 Jahren ging er nach Europa und lebte als Journalist und Schriftsteller in Paris und Lyon. Trotzdem hat er die Einfachheit des ärmlichen Lebens in seiner algerischen Heimat in seinen Schriften verklärt und ihr immer den Vorzug vor Europa gegeben. Europa blieb ihm mit seinem Streben nach materiellen Gütern fremd. Empfindest Du Dich auch aus zwei Welten kommend?

Seyneb Saleh: Ja – wobei ich das nicht immer so wahrgenommen habe. Als Kind war alles noch sehr einfach: Ich lebe in einem Land namens Deutschland und ich spreche zu Hause Deutsch – also bin ich Deutsche. Erst viel später ist mir durch  Reaktionen von außen klar geworden, dass es nicht so einfach ist. Mein irakischer Vater hat zu Hause nie arabisch mit uns gesprochen, aber ich kenne die Sprache durch Fernsehsendungen auf Al Jazeera. Durch meinen Vater, unsere Aufenthalte in arabischen Ländern, im Irak und Marokko und durch die muslimische Erziehung bin ich mit der orientalischen Kultur aufgewachsen. Die Frage ist doch immer: Bezieht man sich auf diese kulturelle Diskrepanz oder sucht man die Gemeinsamkeiten? Wenn ich einen gravierenden Unterschied zwischen Europa und der orientalischen Kultur sehe, dann den, dass in der arabischen Gesellschaft den Menschen etwas zu eigen ist, das ich als Demut bezeichnen würde – vor dem Leben und vor der menschlichen Existenz. Hier versteht man sich als Herrscher über die Dinge. Dort lehnt man sich in gewisser Weise zurück und respektiert die Dinge, wie sie sind.


Seyneb Saleh, Nikolaus Habjan © http://www.lupispuma.com / Schauspielhaus Graz

Was sehen diese Reaktionen “von außen” aus?

Mitunter wird man jeweils von der anderen Seite vereinnahmt – oder auch abgelehnt. Das empfinde ich als absurd, weil ich mich ja – im Gegensatz zu Camus – in beiden Welten “ganz” fühle. Wenn ich mich in Marokko aufhalte, werde ich gefragt, ob ich nun Muslima sei oder nicht, ob ich faste oder nicht. Andere stellen sofort eine Verbindung her: Ach, du bist ja eine von uns, du bist ja auch Araberin, Irakerin … Umgekehrt werde ich hier in Europa eher als eine junge Frau mit Migrationshintergrund wahrgenommen. Ich sehe auf beiden Seiten etwas Manipulatives, das sich entweder in Vereinnahmung oder in Ausschluss äußert.

Du hast dich vor wenigen Wochen eine Zeit lang an der serbisch-ungarischen Grenze aufgehalten.

Ich bin mit einem Kollegen nach Röszke gefahren. Es ist ein Unterschied, ob man den Menschen am Westbahnhof oder dort begegnet. Hier beginnt zwar das lange Warten, aber sie sind in Sicherheit. Röszke war eine Etappe ihres langen Fluchtweges. In den drei Tagen, in denen ich dort am Zaun stand, sind pro Tag 10.000 Menschen an mir vorbei marschiert. Einen Kilometer vom Zaun entfernt gab es einen Acker mit acht Dixie-Klos, circa 80 Helfer/innen von Organisationen und 30 Freiwillige aus ganz Europa. Das Elend der dort Ankommenden war groß. Einmal kam eine Mutter weinend auf uns zu gelaufen. Sie hatte die Nacht versteckt im Maisfeld verbracht, aus Angst vor dem Militär und der Polizei. Sie hielt ihr Kind im Arm. Es war ganz steif und apathisch. Und dann drückte sie uns dieses steife Kind in die Hände, und wir wussten selber nicht: Ist es jetzt tot?

Konntest du mit deiner Vatersprache Brücken bauen?

Weil ich arabisch kann, habe ich mich an die Grenze gestellt und versucht, den Flüchtenden Informationen zu geben. Viele kamen an und haben ganz verängstigt auf den Zaun gedeutet und gefragt, ob das jetzt schon Europa sei. Wir haben sie begrüßt, erklärt, wo sie hingehen können um sich auszuruhen oder registrieren zu lassen und so weiter. Die Menschen waren zum Teil sehr überrascht, dass auf dem Grenzstreifen zwischen Serbien und Ungarn plötzlich jemand steht, der Arabisch zu ihnen spricht. In den Tagen, an denen ich dort war, bin ich viele Male gesegnet und bedankt worden. Obwohl es körperlich sehr anstrengend war, war ich voller Euphorie. Die Kraft der Leute, ihre Zuversicht, ihre Hoffnung hatten etwas so Ansteckendes.

Camus hat 1952 in einem Interview gesagt: “Von den Küsten Afrikas aus, wo ich geboren wurde, sieht man, wobei die Distanz hilfreich ist, das Gesicht Europas besser, und man weiß, dass es nicht schön ist.” Wie empfindest du das Gesicht Europas heute?

Verzerrt und zerrissen. Die Geflüchteten kommen hierher mit einem fast schon ehrfürchtigen Bild von Europa, im Hinblick auf die Menschenrechte und die Freiheit der Religion. Das ist es ja, wonach sie streben, was sie teilweise auch in ihren Gesellschaften schon etabliert hatten, bis wieder ein Militärputsch oder die nächste Diktatur kam. Dann registrieren sie, dass es hier auch rechtspopulistische Parteien gibt, Leute, die einen beschimpfen oder Asylbewerberunterkünfte in Brand stecken. Das kriegen sie gar nicht zusammen mit ihrem Bild von Europa. Wir als Europäer/innen dürfen uns da nicht herausreden. Wir müssen auch unsere Verantwortung an den Kriegen oder an der Armut in großen Teilen der Welt anerkennen und tragen. Gerade bei diesen Stellvertreterkriegen in der Region Syrien-Irak stehen sich auch westliche Mächte gegenüber und verteidigen ihre geopolitischen Interessen. Das kann man nicht leugnen, das ist auch Teil des Bildes. Die moralischen Werte, die die Flüchtlinge Europa zuschreiben, dürfen auch wir nicht als gegeben voraussetzen. Sie müssen immer wieder erhalten, neu hinterfragt und verteidigt werden.

Albert Camus beschwor besonders in den späten Dreißigerjahren des 20. Jahrhunderts den Gedanken der Mittelmeer-Kultur als Quelle des Glücks gegen das freud- und maßlose Europa. Diese Thesen blieben auch zu seiner Zeit nicht unumstritten, herrschte an den Küsten des Mittelmeeres doch ebenso Unterdrückung und Diktatur. Noch in seinem Hauptwerk Der Mensch in der Revolte (1952) bietet er im entscheidenden Schlusskapitel “Das mittelmeerische Denken” gegen die Kultur Europas auf. Siehst du in dem Begriff “Mittelmeerisches Denken” Alternativen zu heutigen mitteleuropäischen Verhältnissen?

Es wäre sehr zu hoffen, dass wir aus den heutigen Erfahrungen der Griechen oder Italiener, die neben ihren wirtschaftlichen Problemen auch die Flüchtlingsströme jahrelang alleine bewältigen mussten, eine andere Perspektive auf das Europäische gewinnen. Wir Europäer/innen müssen neu definieren, was das Ziel, was die Utopie für die Staatengemeinschaft ist. Ich fände es begrüßenswert, dass man den europäischen Wertekanon überprüft und um Wert- und Lebensvorstellungen ergänzt, die die Länder des Mittelmeeres und des Orients einzubringen haben.

Und nicht jede Wirtschaft dem Diktat mitteleuropäischem Zuschnitts unterwirft, nicht nur materielle Werte und Konsumangebote in die Waagschale legt, sondern auch eine schützenswerte Umwelt, Muße, ein erreichbares Pensionsalter oder eben Schönheit und menschliches Maß – um mit Camus zu sprechen.

Der Bühnenbildner der Produktion Das Missverständnis, Jakob Brossmann, hat einen Film gedreht, der heuer in die Kinos kommt: Lampedusa im Winter. Darin erzählt er, welche übermenschlichen Anstrengungen die Bewohner dieser kleinen Mittelmeerinsel seit Jahren auf sich nehmen, um Flüchtlinge zu bergen, zu retten und zu versorgen. Das sind alles arme Fischer, die selber ums wirtschaftliche Überleben kämpfen. Beschämend.

Das Missverständnis wurde 1944 uraufgeführt. Europa war verwüstet durch den Zweiten Weltkrieg. Die Mutter und die Schwester im Stück repräsentieren gewissermaßen das tote, abgestorbene System. Sie sehnen sich nach dem Meer. Ihnen gegenüber stellt er quasi idealtypisch die Figur der Maria, das freie Wesen aus einem Sonnen-Land jenseits des Meeres. Darin liegt natürlich eine Utopie, denn – abgesehen von den Auswirkungen der Kolonialgeschichte – Algerien war zu dieser Zeit auch kein Freiheitsidyll. Heute wiederum bewegen sich die Menschen aus den kriegsgebeutelten Ländern Nordafrikas oder aus dem arabischen Raum nach Europa, das als Stabilitätsgarant erscheint. Das Missverständnis ist von Camus als überzeitliche Parabel konstruiert. Hat es für dich während der Probearbeit dennoch eine zeitliche Verortung gegeben?

Ich muss ganz ehrlich sagen, dass ich das Stück zu Beginn der Proben noch gar nicht so sehr verbunden habe mit unserer jetzigen Zeit. Das kam eher während der Vorstellungen. Wenn man eine Schlagzeile liest wie “Boot gekentert mit 800 Leuten”, dann bekommt das einen ganz anderen Wiederhall. Wir waren mit dem Missverständnis in Fürth bei einem Gastspiel und ich wusste, wir spielen vor 700 Leuten. Und dann ist mir während des Spiels bewusst geworden, dass so viele Menschen in der Nacht ertrunken waren, wie im Zuschauerraum sitzen. Das erschlägt einen dann.



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Opening Reception: 2. May 2017 | 6 – 8 PM
exhibition:  May 2 – June 24, 2017
909 Madison Avenue New York, NY 10021

  DianeArbus Diane Arbus Girl and boy, Washington Square Park, N.Y.C. 1965
Copyright The Estate of Diane Arbus





Diane Arbus: In the Park

May 2–June 24, 2017 Lévy Gorvy

“… I remember one summer I worked a lot in Washington Square Park. It must have been about1966. The park was divided. It has these walks, sort of like a sunburst, and there were these territories staked out. There were young hippie junkies down one row. There were lesbians down another, really tough amazingly hard-core lesbians. And in the middle were winos. They were like the first echelon and the girls who came from the Bronx to become hippies would have to sleep with the winos to get to sit on the other part with the junkie hippies. It was really remarkable. And I found it very scary… There were days I just couldn’t work there and then there were days I could…. I got to know a few of them. I hung around a lot… I was very keen to get close to them, so I had to ask to photograph them.”

– D.A.
New York…Lévy Gorvy is pleased to announce the exhibition Diane Arbus: In the Park, on view in New York beginning May 2. The exhibition will be the first to focus solely on Arbus’s photographs made in Central Park and Washington Square, theaters of public interaction that provided fertile territory for the creation of many of her most striking and original images. All of the works on view were made within four miles of where they will now be exhibited.


Diane Arbus, Two ladies walking in Central Park, N.Y.C. 1963.
© The Estate of Diane Arbus


For Arbus, the city’s parks were arenas of rich and unpredictable encounter. The exhibition will interweave rarely seen photographs, such as A very thin man in Central Park, N. Y .C. 1961, and Couple talking on a path, N. Y .C. 1970, alongside well-known images such as Child with a toy hand grenade in Central Park, N.Y.C. 1962, and Young man and his pregnant wife in W ashington Square Park, N. Y .C. 1965. The majority of these works were the result of a single chance meeting between Arbus and her subjects. Several, including Girl in a beret in Central Park, N.Y.C., 1958, Three girls at a Puerto Rican Festival, N.Y.C. 1962, and Susan Sontag and her son on bench, N.Y.C., 1965 are being exhibited here for the first time.

Arbus began photographing in Central Park in 1956, at the very beginning of her work as a serious artist, and returned repeatedly to the city’s parks over her brief, fifteen-year career. Among the last pictures in the exhibition is A young man and his girlfriend with hot dogs in the park, N.Y.C., made in 1971, the year of her death. The exhibition thus surveys the evolution of Arbus’s style (from smaller to larger negatives, from smaller to larger prints), as well as the evolution of her singular approach to the people she photographed.

About the Artist

Diane Arbus (1923–1971) was one of the most original and influential artists of the twentieth century. She studied photography with Berenice Abbott, Alexey Brodovitch, and Lisette Model, and her first published photographs appeared in Esquire in 1960. In1963 and 1966 she was awarded John Simon Guggenheim Fellowships, and was one of three photographers whose work was the focus of New Documents, John Szarkowski’s landmark exhibition at the Museum of Modern Art in 1967. A year after her death, her work was selected for inclusion in the Venice Biennale—the first work of an American photographer to be so honored. The Museum of Modern Art hosted a major retrospective that traveled throughout the United States and Canada from 1972 to 1975. A larger full scale retrospective, Diane Arbus Revelations, was organized by the San Francisco Museum of Modern Art in 2003 and traveled to museums in the United States and Europe through 2006. A major European retrospective of Arbus’s work opened at

the Jeu de Paume, Paris in October 2011 and traveled to Winterthur, Berlin and Amsterdam through 2013. More recently, Arbus’s early work was the focus of Diane Arbus: In the Beginning, organized by the Metropolitan Museum of Art. Notable monographs on the artist’s work include Diane Arbus (1972); Magazine Work (1984);Untitled (1995); Diane Arbus Revelantions (2003); Diane Arbus: A Chronology (2011), andIn the Beginning (2016).

This exhibition is presented in collaboration with Fraenkel Gallery, San Francisco.


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New Museum New York
“Carol Rama: Antibodies”
Exhibition: April 26–September 10, 2017
Second Floor, 235 Bowery
New York, NY 10002


“Carol Rama: Antibodies” is the first New York museum survey of the work of Italian artist Carol Rama (b. 1918, Turin, Italy–d. 2015, Turin, Italy) and the largest presentation of her work in the US to date. While Rama has been largely overlooked in contemporary art discourses, her work has proven prescient and influential for many artists working today, attaining cult status and attracting renewed interest in recent years. Rama’s exhibition at the New Museum will bring together over one hundred of her paintings, objects, and works on paper, highlighting her consistent fascination with the representation of the body. Seen together, these works present a rare opportunity to examine the ways in which Rama’s fantastical anatomies opposed the political ideology of her time and continue to speak to ideas of desire, sacrifice, repression, and liberation. “Carol Rama: Antibodies” celebrates the independence and eccentricity of this legendary artist whose work spanned half a century of contemporary art history and anticipated debates on sexuality, gender, and representation. Encompassing her entire career, the exhibition traces the development from her early erotic, harrowing depictions of “bodies without organs” through later works that invoke innards, fluids, and limbs—a miniature theater of cruelty in which metaphors of contagion and madness counteract every accepted norm. The exhibition is curated by Helga Christoffersen, Assistant Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director, and is accompanied by a fully illustrated publication.

New Museum New York
“Lynette Yiadom-Boakye: Under-Song For A Cipher”
Exhibition: May 3 – September 3, 2017
Fourth Floor, 235 Bowery
New York, NY 10002


This exhibition brings together a selection of works by British artist Lynette Yiadom-Boakye (b. 1977, London), a 2013 Turner Prize finalist and one of the most renowned painters of her generation. Yiadom-Boakye’s lush oil paintings embrace many of the conventions of historical European portraiture, but expand on that tradition by engaging fictional subjects who often serve as protagonists of the artist’s short stories as well. These imagined figures are almost always black, an attribute Yiadom-Boakye sees as both political and autobiographical, given her own West African heritage. Often immersed in indistinct, monochrome settings, her elegant characters come to life through the artist’s bold brushwork, appearing both cavalier and nonchalant, quotidian and otherworldly. In part because they inhabit neutral spaces, her subjects’ idle, private moments provoke the imagination of viewers and remain open to a range of narratives, memories, and interpretations. This exhibition is curated by Natalie Bell, Assistant Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director, and is accompanied by a fully illustrated publication.

New Museum New York
Kaari Upson: Good thing you are not alone
Exhibition: May 3 – September 10, 2017
Third Floor, 235 Bowery
New York, NY 10002


This exhibition marks the first New York museum presentation of work by Los Angeles–based artist Kaari Upson (b. 1972, San Bernardino, CA). Encompassing drawing, painting, sculpture, and video, Upson’s works track open-ended, circuitous narratives that weave elements of fantasy, physical and psychological trauma, and the often-fraught pursuit of an American ideal. A decade ago, Upson immersed herself in what became perhaps her best-known project, which began with her visit to the site of a burned-down house. For the prodigious The Larry Project (2005–ongoing), she unearthed a well of projected histories, images, and artifacts inspired by forgotten fragments from the abandoned personal archive of a man whom she had never met. Upson has continued this near-obsessive forensic approach in subsequent projects such as MMDP (My Mother Drinks Pepsi) (2014–ongoing), a series of videos and sculptures of fossil-like, aluminum-casted Pepsi cans based on the interdependent relationship between herself and her mother, and informed by commodity culture. For her exhibition at the New Museum, Upson will debut a new series of works that center around a family living in a tract house in Las Vegas. The series will explore an environment characterized by its architectural mirroring, yet haunted by the psychological tensions inherent in striving toward an imaginary perfect double. This exhibition is curated by Margot Norton, Associate Curator, and is accompanied by a fully illustrated publication.

New Museum New York
Exhibition: May 3 – June 25, 2017
Curated by Sara O’Keeffe, Assistant Curator
Fifth Floor, 235 Bowery
New York, NY 10002


A platform founded by Christopher Udemezue, RAGGA connects a community of queer Caribbean artists working across a wide range of disciplines—including visual art, fashion, and poetry—to explore how race, sexuality, gender, heritage, and history inform their work and their lives. A vibrant community deeply committed to education and grassroots organizing, RAGGA fosters a network and an extended family that makes space for solidarity, celebration, and expression. Their residency will explore Afro-Caribbean diasporic traditions, bringing together works by a group of artists who trace their own relationships to Caribbean history. The exhibition will include sculptures from Renée Stout’s Roots and Charms series, which nod to the hand-painted signs advertising elixirs and spiritual healing on the storefronts of shops in New Orleans and Washington D.C., and to the symbolic objects found within them. Tau Lewis’s foraged, ain’t free series portrays cacti, plants transplanted to radically different climates where they thrive nevertheless, a metaphor for the diasporic condition. Works in Paul Anthony Smith’s Grey Area series layer grainy silkscreened images of male acquaintances Smith encountered while back in his hometown in Jamaica for his aunt’s funeral, alongside images of a cemetery burial ground, suggesting a complex relationship to an island he left as a child.

Taking up Édouard Glissant’s claim that “the language of the Caribbean artist does not originate in the obsession with celebrating his inner self; this inner self is inseparable from the future evolution of his community [in which] he is his own ethnologist, historian, [and] linguist,” RAGGA NYC’s residency will also feature a number of public programs, including workshops exploring Afro-Caribbean spiritual traditions and an evening of performances and poetry by members of RAGGA.

This exhibition is curated by Sara O’Keeffe, Assistant Curator.


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New Museum
Elaine Cameron-Weir
Exhibition: April 19–September 3, 2017

Curated by Natalie Bell, Assistant Curator.

Lobby Gallery, 235 Bowery
New York, NY 10002
Elaine Cameron-Weir, a terrestrial sediment melted by hypervelocity impacts from outerspace, most fell on Bohemia, molten, forming strange shapes and solidifying bottle green like the eyes of a gorgon, 2014 (detail). Stainless steel, sterling silver, laboratory clamps, and carved moldovite, dimensions variable. Courtesy Rodolphe Janssen
As a sculptor, Cameron-Weir engages diverse aesthetic styles, merging modern, industrial, and natural designs that emphasize the relationship of the body to surfaces and call attention to phenomena that are both manifest and hidden. Since her earliest works, Cameron-Weir has drawn inspiration from the figure of the aesthete in nineteenth-century Europe as a hallmark of heightened sensory engagement, refined sensitivity to beauty, transgressive sexual desire, and the pursuit of pleasure through artifice or illusion. Aromatic materials and fragrances such as incense are another common feature of Cameron-Weir’s works, and their presence alludes to a history of spiritual, medicinal, or funerary practices, as well as contemporary methods of sensory appeal.

For her exhibition at the New Museum, Cameron-Weir incorporates tools typical of a laboratory to establish a mood of observation and to propose a tension between scientific and occult practices. While her new works evoke a range of associations, they are informed by her study of antiquated scientific texts about vision, medieval armor and torture devices, and early-Renaissance orthopedics—as well as her interest in corporeal symmetry and erogenous zones as aspects of the body forged through human evolution. Cameron-Weir’s installation also draws from the emerging field of sensory archaeology, which questions the privileging of vision in the historical imagination, and aims to enrich speculations about our human ancestors through diverse phenomenological observations.

“Elaine Cameron-Weir” is curated by Natalie Bell, Assistant Curator.

Elaine Cameron-Weir was born in 1985 in Red Deer, Alberta, Canada, and lives and works in New York. She has had solo exhibitions at VENUS, Los Angeles (2016); Andrea Rosen Gallery, New York (2016); Ramiken Crucible, New York (2014); Galerie Rodolphe Janssen, Brussels (2014); White Flag Library, St. Louis, MO (2013); and Desaga, Cologne, Germany (2012). Cameron-Weirhas also been included in group exhibitions at La Biennale de Montréal (2016–17); FUTURA, Prague (2016); GAMeC, Bergamo, Italy (2014–15); and the Philadelphia Museum of Art (2014). Cameron-Weir earned a BFA from the Alberta College of Art and Design and an MFA from New York University.


New Museum New York City
Listening Party:
Poetry and Record Release for Leave No Trace
Thursday, 20. April 2017 | 7 pm
235 Bowery, New York City 10002


In celebration of A.K. Burns’ Leave No Trace (2016), this record release party includes performances and readings by artists and writers including Justin Allen, Fia Backström, CAConrad, Katherine Hubbard, and Juliana Huxtable. Leave No Trace is an experimental audio project released as a limited edition vinyl with an accompanying poem. The recording consists of two full-length LP tracks that combine ambient environmental recordings, vocalization, sounds generated from various materials, and an old electric guitar. The title references wilderness ethics, pointing to questions around unregulated spaces, bodies and actions that go unrecorded, and what is natural or naturalized.

A.K. Burns is the artist-in-residence through the Department of Education and Public Engagement’s Spring R&D Season: BODY. In her exhibition and residency “Shabby but Thriving,” A.K. Burns continues a serial work that draws on theater, science fiction, philosophy, and ecological anxieties. The project is organized around five elements: power (the sun), water, land, void, and body. In “Shabby but Thriving,” commissioned by and premiering at the New Museum, Burns presents the project’s next chapter, a two-channel video staged within an installation that explores the subjugation and agency of various bodies.

New Museum New York City
Seven on Seven
Saturday, 22. April 2017 | 12- 20:30 pm
235 Bowery, New York City 10002
Seven on Seven pairs seven leading artists with seven visionary technologists, and challenges them to make something new an artwork, a prototype, whatever they imagine.
Seven on Seven 2017 will feature:
Artist Jayson Musson & Jonah Peretti, Founder and CEO, Buzzfeed Artist collective and NEW INC resident DIS & Rachel Haot, Managing Director, 1776 Artist Bunny Rogers & Nozlee Samadzadeh, Engineer, Vox Artist Olia Lialina & Mike Tyka, artificial intelligence
researcher at Google Artist Addie Wagenknecht & Cindy Gallop, Founder, MakeLoveNotPorn and IfWeRanTheWorld Artist Constant Dullaart & Chris Paik, Partner, Thrive Capital Artist Miao Ying & Mehdi Yahyanejad, Founder, Balatarin
and Net Freedom Pioneers



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Palazzo Cavalli Franchetti
Exhibition: 11 MAY – 26 NOVEMBER 2017
Organizzato da 11 Maggio – 26 Novembre 2017
Curated by/ curato da
Dimitri Ozerkov, Herwig Kempinger, Adriano Berengo
consultant Clare Phyllis Davies
San Marco 2847 / Campo Santo Stefano
30124 Venedig / Italien
Berengo  Space
Campiello della Pescheria, Murano


Palazzo Franchetti | San Marco 2847, Venice
Berengo Exhibition Space | Campiello della Pescheria, Murano:
Fondazione Berengo
Loris Gréaud
The Unplayed Notes Factory
Exhibition: May 13–November 26, 2017
Curated by Nicolas Bourriaud,
a special project of GLASSTRESS 2017
Campiello della Pescheria
30141 Murano, Venice Italy
Hours: Saturday–Monday | 1–4pm
Loris Gréaud, The Unplayed Notes Factory, 2017. 3D rendering.
Photo: Gréaudstudio. © Loris Gréaud, Gréaudstudio.
Returning to Venice for the 57th Venice Biennale, GLASSTRESS brings together 40 leading contemporary artists from Europe, the United States, the Middle East and China in an ambitious exhibition exploring the endless creative possibilities of glass. Conceived by Fondazione Berengo, the project will take place in two exceptional historic locations: Palazzo Franchetti in Venice and a converted furnace in Murano.
Since its debut as a collateral event of the Venice Biennale in 2009, GLASSTRESS has revived the traditional craft of Murano glass blowing by forging new alliances with internationally renowned artists and designers and has since become an unparalleled platform show casing ground breaking new works in glass.
Charles Avery, Untitled (Ninth stand #1) / detail,
2017, glass, steel, plastic containers, fabric, brick, wood, blood, acrylic, 165 x 108 x 79 cm, Courtesy the artist and Berengo Studio, Photo credit: Francesco Allegretto
The 2017 edition of GLASSTRESS presents an impressive line – up of artists including
Ai Weiwei, Jake & Dinos Chapman, Jan Fabre, Abdulnasser Gharem , Tony Oursler, Laure Prouvost, Ugo Rondinone, Thomas Schütte and Sarah Sze. With little or no prior experience working with glass, these artists have embraced the challenge of creating extraordinary works in this very delicate medium in collaboration with Muranese artisans. The remarkable output of this unusual encounter defies t he stereotypes associated with this ancient craft, ultimately pushing the boundaries of both contemporary art and glass.
Ai Weiwei who has experimented with Murano glass for the first time says:
“I think what Berengo did is exceptionally brilliant. The idea, the concept is so strong. He believes in contemporary expression, but at the same time tries to develop this old technique into a new language. I’m a contemporary artist, but I am always learning and working with tradition.”
Major highlights from the 5th edition of GLASSTRESS exhibited at Palazzo Franchetti include Gartenzwerge, an installation of colourful and geometric sculptures reminiscent of garden gnomes produced by German artist Thomas Schütte. Scottish artist Charles Avery transposes his signature fictional island to the Venetian lagoon, with an installation depicting the long journey of eels from his hometown, Oban, to Venice.
The artist has been inspired by the act of glassmaking as a way to discover an objective truth through physical movement, strength and timing. Brigitte Kowanz and Erwin Wurm, both representing the Austrian Pavilion this year, also experiment with glass and conceive striking installations at the 19th Century palace.
Brigitte Kowanz
American artist Sarah Sze has collaborated with glass masters to create a site – specific installation composed of shards, Cotissi, informed by her experience of working
in the furnace. Her intervention traces the confines of the Palazzo Franchetti with a delicate, but strong line of shards of glass circling the architecture and echoing the shades of blue and green of the Laguna.
Iraqi artist Halim Al-Karim recounts his exile in the desert during the first Gulf War with a mirrorin engraved Murano glass, combining his poetry with traditional Venetian art.Kuwaiti artistMonira Al Qadiripresents seven sculptures of oil drill heads made of iridescent glass, Amorphous Solid Ghost,mimicking artefacts. The installation attempts to conjure the premonition that fossil fuels will soon become obsolete as an energy source, and pre-emptively positions oil drilling as an inexplicable human activity from ancient times. Abdulnasser Gharem, Saudi Arabia’smost important conceptual artist, addresses themes of Islamic cultural identity in contemporary society, drawing his inspiration from his previous experience as a Lieutenant Colonel in the Saudi army. His work The Stamp(Moujaz)takes on a satirical view of bureaucracy in the Arab world.
Clare Phyllis Davies states that the fragility and translucence of glass combined with malleability of form and nuance of colour makes the medium serve as an ideal foil for effects and currents that would otherwise remain at the threshold of human perception.
In the garden of Palazzo Franchetti, Belgian artist Koen Vanmechelen presents a spectacular installation exploring recycling and sustainability supported by ECO-oh!
In Murano,where the exhibition continues, Loris Gréaud makes his GLASSTRESS debut with a special projectat Berengo Exhibition Space. The French artist will bring an abandoned glass furnace back to life with his immersive and performative solo exhibition The Unplayed Notes Factory curated by Nicolas Bourriaud. The Campiello della Pescheria furnace, shut down for the last 60 years, willhost an unofficial glass production line with an almost alchemical ambition to crystallise time.
GLASSTRESS 2017 is curated by Dimitri Ozerkov (Director of the Hermitage 20/21 Project for Contemporary Art at the State Hermitage Museum, St. Petersburg), Herwig Kempinger (President of Secession, Association of Visual Artists, Vienna) and Adriano Berengo (President of Fondazione Berengo and founder of GLASSTRESS, Venice), with the consultancy of Clare Phyllis Davies (Assistant Curator of Modern and Contemporary Art, Middle East, North Africa, and Turkey at The Metropolitan Museum of Art, New York).The Unplayed Notes Factoryby Loris Gréaud is curatedindependently by Nicolas Bourriaud.
New Artists Ai Weiwei (China), Charles Avery (UK), Dike Blair (USA), Graham Fagen (UK), Gaia Fugazza (Italy), Abdulnasser Gharem (Saudi Arabia), Loris Gréaud (France), Xenia Hausner (Austria), Siggi Hofer (Italy), Cameron Jamie (USA), Halim Al-Karim (Iraq), Brigitte Kowanz (Austria), Dr Lakra (Mexico), Karen LaMonte (USA), Paul McCarthy (USA), Haroon Mirza (UK), Laure Prouvost (France), Monira Al Qadiri (Kuwait), Random International (UK), Ugo Rondinone (Switzerland), Markus Schinwald (Austria), SarahSze (USA), Sabine Wiedenhofer(Austria), Dustin Yellin (USA)
Returning artists
Monica Bonvicini (Italy), Jake & Dinos Chapman (UK), Tony Cragg (UK), Erin Dickson (UK), Jan Fabre (Belgium), Josepha Gasch-Muche (Germany), Francesco Gennari (Italy), Shirazeh Houshiary (Iran), Vik Muniz (Brazil), Tony Oursler (USA), Jaume Plensa (Spain), Thomas Schütte(Germany), Koen Vanmechelen (Belgium), Erwin Wurm (Austria)
GLASSTRESS was launched in 2009 by Adriano Berengoas an official collateral event of the 53rdVenice Biennale. The project has been then accredited for four consecutive editions and it is today the world’sleading showcase for the collaborative work of contemporary artists and designers with Berengo Studio’sMuranese glass masters.
Organised by Fondazione Berengo, GLASSTRESS exhibitions have been presented in prominent museums and institutions worldwide including the Boca Raton Museum of Art, Florida, the London College of Fashionand The Wallace Collectionin London,theArt Museum Riga Bourse in Riga, Milles gården Museumin Stockholm, the Museum of Arts and Design (MAD)in New York, the Beirut Exhibition Center(BEC) in Beirut.
Jan Fabre. Glass and Bone Sculptures 1977 – 2017″
Fondazione Berengo was founded by Adriano Berengoin 2014 as a cultural institution consolidating and strengthening his mission of marrying the Muranese glass-making tradition with contemporary art. The Foundation seeks to achieve this goal through educational initiatives and an interdisciplinary programmeof exhibitions and special projects in collaboration with internationally acclaimed artists, designers, and architects.
Adriano Berengowas born in Venice in 1947 and lives between Venice and Beirut. He holds a Foreign Languages degree from Ca’Foscari University(Venice) and a Master’s degree in Comparative Literature from the State University of New York.
Adriano Berengo is the visionary behind Fondazione Berengo, GLASSTRESS and the glass factory Berengo Studio 1989. Following the footsteps of Egidio Costantini and Peggy Guggenheim who have introduced outstanding artists such as Pablo Picasso and Marc Chagall to Murano glass, he has been championing the innovative use of glass as a medium in contemporary art for almost 30 years by inviting more than 300 artists in his studio.
11 MAY – 26 NOVEMBER 2017
Palazzo Franchetti
San Marco 2847, Venice
Daily 10am – 6:30pm
13 MAY – 26 NOVEMBER 2017
Berengo Exhibition Space
Campiello della Pescheria, Murano
Saturday – Sunday – Monday | 1pm – 4 pm
In occasione della 57 a Biennale di Venezia, assistiamo al grande ritorno di GLASSTRESS
che quest’anno coinvolge oltre 25 importanti artisti della scena contemporanea
provenienti da Europa, Stati Uniti, Medio Oriente e Cina, in una delle più ambiziose
mostre d’arte contemporanea in vetro mai realizzate. Supportato dalla Fondazione
Berengo, il progetto sarà presentato in due eccezionali location storiche: Palazzo
Franchetti a Venezia e una vecchia fornace adibita a spazio espositivo a Murano.
Dal suo debutto nel 2009 come evento collaterale della Biennale di Venezia,
GLASSTRESS ha rivitalizza to la tradizione del vetro di Murano creando nuove
collaborazioni con rinomati artisti e designer internazionali diventando un punto di
riferimento nella presentazione di progetti ambiziosi e innovativi.
L’edizione 2017 di GLASSTRESS schiera una straordinarialistadi artisti, sia affermati che emergenti, tra cui Ai Weiwei, Paul McCarthy, Ugo Rondinone, Alicja Kwade, Jan Fabre,
Thomas Schütte e Laure Prouvost. La maggior parte degli artisti invitati non hanno esperienza nellalavorazione del vetroma hanno accettato la sfida dando vita a sorprendenti realizzazioni in collaborazione con i maestrimuranesi. Il risultato di questo insolito connubio infrange gli stereotipi associati alle creazioni artigianali e sfida le nozioni sull’artecontemporanea e sul vetro.
GLASSTRESS 2017 è curato da Dimitry Ozerkov (direttore del Progetto 20/21 per l’Arte Contemporanea presso il Museo statale Ermitage di San Pietroburgo), Herwig Kempinger (presidente della Secessione Viennese, Associazione di Artisti Visuali)e Adriano Berengo(presidente della Fondazione Berengo e ideatore di GLASSTRESS, Venezia), con la consulenza di Clare Phyllis Davies(assistente curatore specializzata su Medio Oriente, Nord Africa e Turchia nel Dipartimento d’Arte Moderna e Contemporaneadel Metropolitan Museum di New York).
Tra gli importanti contributi di questa edizione citiamo l’artista belga Koen Vanmechelenche, con la spettacolare installazione Protected Paradisenel giardino di Palazzo Franchetti, affrontai temi del riciclo e della sostenibilità grazie al supporto di ECO-oh!; gli artisti che rappresenteranno il Padiglione Austria alla Biennale di Venezia, Brigitte Kowanze Erwin Wurm, sperimenteranno anch’essi col vetro per creare affascinanti opere.AMuranoinvece,l’artista francese Loris Gréaud,per il suo debutto in GLASSTRESS,realizzerà l’installazione The Unplayed Notes Factory, dando nuova vita a un’antica fornace abbandonata.
Nuovi artisti
Ai Weiwei (Cina), Charles Avery (Regno Unito), Dike Blair (USA), Paul McCarthy (USA), Abdulnasser Gharem (Arabia Saudita), Loris Gréaud (Francia), Halim Al-Karim (Iraq), Brigitte Kowanz (Austria), Karen LaMonte (USA), Laure Prouvost (Francia), Monira Al-Qadiri (Kuwait), Ugo Rondinone (Svizzera), Sarah Sze (USA), Sabine Wiedenhofer (Austria), Dustin Yellin (USA). Collaborazioni rinnovateMonica Bonvicini (Italia), Tony Cragg (Regno Unito), Erin Dickson (Regno Unito), Jan Fabre (Belgio), Josepha Gasch-Muche (Germania), Shirazeh Houshiary (Iran), Alicja Kwade (Polonia), Vik Muniz (Brasile), Jaume Plensa (Spagna), Thomas Schütte (Germania), Koen Vanmechelen (Belgio), Erwin Wurm (Austria).
GLASSTRESS viene lanciato da Adriano Berengonel 2009 come evento collaterale della 53aBiennale di Venezia.Il progetto è stato ripropostocon cadenza biennale per quattro edizioni consecutive e rappresenta, ad oggi, la principale vetrina espositiva per opere nate dalla collaborazione tra artisti edesigner contemporanei conimaestri vetrai di Berengo Studioa Murano.
Organizzato da Fondazione Berengo, GLASSTRESS è stato ospitato all’interno di importanti musei e istituzioni di tutto il mondo, inclusi Boca Raton Museum of Art in Florida, London College of Fashione The Wallace Collection a Londra, The Museum
Riga Boursea Riga, Millesgården Museum a Stoccolma, Museum of Arts and Design (MAD) a New York e Beirut Exhibition Center(BEC)a Beirut.
FONDAZIONE BERENGOFondazione Berengoè un’istituzione culturale fondata da Adriano Berengonel 2014 con lo scopo di consolidare e potenziare il legame tra la tradizione vetraria di Murano e l’arte contemporanea. La Fondazione persegue il raggiungimento di questo obiettivo attraverso iniziative educative e programmi interdisciplinari proponendo mostre e progetti speciali che coinvolgono artisti, designer e architetti acclamati.
ADRIANO BERENGO Adriano Berengoè nato a Venezia nel 1947 e vive tra Venezia e Beirut. Si Laurea in Lingue Straniere presso l’Università Ca’ Foscari di Venezia e in Letteratura Comparata presso la State University di New York.
Adriano Berengo è la mente ideatrice che si cela dietro Fondazione Berengo, GLASSTRESS e la fornace Berengo Studio 1989. Seguendo l’esempio di Egidio Costantini e Peggy Guggenheim, responsabili di averintrodotto importanti artisti dell’epocaquali Pablo Picasso e Marc Chagallalmondo del vetro, Adriano Berengo ha il merito di aver promosso per quasi 30 anni l’utilizzo di questo materialecome mezzo espressivocontemporaneo coinvolgendo nel proprio Studio oltre 300 artisti.


Palazzo Cavalli Franchetti
9 MAY – 26 NOVEMBER 2017

San Marco 2847 / Campo Santo Stefano
30124 Venedig / Italien


Berengo Galleries
Fondamenta Manin 68/A
30141 Murano Venice

Berengo Studio 1989 s.r.l.
Fondamenta Vetrai 109/A
30141 Murano Venice
cf/pi IT03554480271



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Tess JarayAleppo


Marlborough Fine Art
Tess Jaray: Aleppo and Thorns
Opening Reception:
Wednesday, 24. May 2017 | 6- 8 pm
Exhibition: 25 May – 17 June 2017
6 Albemarle Street, London W1S 4BY




Tess Jaray, Aleppo – The Light Surrounded, 2016, paint on panel, 194 x 200 cm, copyright Tess Jaray, 2017. All rights reserved. Courtesy of Karsten Schubert and Marlborough Fine Art, London

Marlborough Fine Art is pleased to present an exhibition of new and early works by British painter Tess Jaray, organised in collaboration with Karsten Schubert.

With a career spanning over five decades, Jaray has continually explored geometry, colour, pattern and repetition, often inspired by architectural structures. Unlike the certainties of mathematical geometry, Jaray focuses on what she describes as the ‘geometry of human relationships’, challenging the viewers’ perception and relationship with the space surrounding us.
On display are large-scale paintings on the theme of Aleppo and a series of small vibrant works from recent years, as well as drawings from throughout her career. Taking inspiration from Islamic tiling, non-Western ancient structures, and Renaissance architecture, Jaray creates works that explore the enigmatic relationship between space, form and colour. The artist states, ‘My use of geometry has more to do with the relationships between people or things, rather than anything mathematical’.


Tess Jaray, Borromini’s Balustrade Red & Green, 2014, acrylic on metal panel, 24 x 43 cm, copyright Tess Jaray, 2017. All rights reserved. Courtesy Karsten Schubert and Marlborough Fine Art, London

In recent years, Jaray experimented with scale to create impactful, smaller works and sometimes replaces the canvas for a surface that is laser cut. This new technique provides optimum precision, which is evident in work such as Borromini’s Balustrade Red & Green, 2014. Intricate, clean lines washed with vibrant colour offer a misleading air of simplicity and encourage the viewer to take a closer look.
Throughout the nineties, Jaray focused much of her practice on monumental-scale site-specific public commissions. Working with an array of materials including brick, metal and stone, Jaray introduced her exploration of space and perspective to the public domain, transforming Victoria Station, London, The Cathedral Precinct, Wakefield and The British Embassy, Moscow.


Tess Jaray, Aleppo at King’s Cross, Tapestry Building, King’s Cross, The King’s Cross Project, photo by Mark Blower. Copyright Tess Jaray, 2017 all rights reserved, courtesy Karsten Schubert. Right: Tess Jaray, Aleppo Dark and Light, 2016, paint on panel, 156 x 79 cm, copyright Tess Jaray, 2017. All rights reserved. Courtesy of Karsten Schubert and Marlborough Fine Art, London.

In March 2017, Jaray’s new twenty-foot high, permanent commission Aleppo at King’s Cross was unveiled in the Tapestry Building, as part of The King’s Cross Project, a three-year programme of public art commissions. The work is part of Jaray’s new Aleppo series, which also on display in the exhibition. Whilst visiting Syria shortly before the war, Jaray fell in love with the country and was inspired by the enchanting architecture of the Citadel, mosques and souks. The artist evokes the distinctive lintel and carved stone of the structures within her paintings, and was compelled to name the works after the city.  She explains,‘My painting has never been political but this is a tribute, in my own way, to the passing of old Aleppo. The impact on me of the colour of the life and mosques of Syria was profound and I needed to lament in my own way the destruction of the city.’

The exhibition is accompanied by a fully illustrated catalogue featuring an introduction which sees Jaray in conversation with fellow artist and friend John Stezaker.


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BENRUBI Gallery, New York
Opening Reception:
Thursday 20 April 2017 | 6-8pm
Exhibition: 20 April – 17 June 2017
521 West 26th Street, 2nd Floor, New York, NY 10001
Massimo Vitali, Piscina Das Marés, 2016, photograph,
courtesy the artist and Benrubi Gallery, New York
Disturbed Coastal Systems, the latest exhibition by internationally acclaimed photographer Massimo Vitali.

The subject of Vitali’s latest exhibition is the intersection of land and sea, the end of the terrestrial human habitat and the beginning of the aqueous. As is usual for Vitali, the pictures are heavily populated and feature an elevated, distant perspective that captures thousands of square meters in the frame, simultaneously magnifying the grandness of the landscape and multiplying the human presence. These are landscapes, but they’re also crowd scenes. Individuality is less important than the tribe, and the very idea of the frame is threatened by the enormity of the scenes they attempt to contain.

The tension between human habitat and the natural world is always present in Vitali’s work, yet is even more emphasized in the current pictures. In one, the massive Praia da Torre Fortress shadows a beach in Portugal; in another, the Praia do Moinho juts out into the water, less protective than glowering—though whether it menaces the ocean or the swimmers depends on your point of view. Concrete pools box off becalmed sections of water from adjacent rivers and seas, or a concrete pier juts out beyond a beach, its hard rectangular lines in unavoidable contrast—conflict?—with the sinews of sand and surf. What land is visible is often sere and forbidding: rock cliffs in which wispy shrugs have taken tentative hold, gravelly beaches, lumpy hills covered in dry grass.
It takes an act of will to turn these environments into playgrounds. And indeed, though some of Vitali’s human subjects revel in the surroundings—a girl turns a cartwheel here, a boy goes for a cannonball there—many of the human players stand with their gaze aimed
Massimo Vitali, Praia da Torre Fortress Europe, photograph, 2016,
courtesy the artist and Benrubi Gallery, New York
at the horizon as if keeping watch, for a storm, maybe, or a shark fin.
And as in so many Vitali pictures, there are always one or two people regarding the camera. In some cases the gaze is quizzical, if not downright suspicious; in others, it’s self-consciously boastful, as if subjects were bombing a gigantic selfie. Their gaze reinforces our sense of ourselves as voyeurs, but the smallness of each individual face amidst the vast sea emboldens us to step a little closer, stare a little harder. There is always an imminence in these vast scenes, as if, if the beachgoers wait long enough, something will happen. Yet the swimming and sunbathing and standing around are all that ever happens, and one can almost see the relief in the faces of those who are packing up or showering off in preparation to leave. Yet somehow one knows they’ll be back tomorrow.
Portrait of Massimo Vitali, courtesy the artist and Benrubi Gallery
Massimo Vitali (born in Como, Italy, 1944) studied photography at the London College of Printing. He worked as a photojournalist in the 1970s, but at the beginning of the 80s a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. He began working as a movie camera operator, before beginning a fine-art practice in 1995.  Vitali’s work has been collected in four monographs: Beach and Disco, Natural Habitats, Landscapes With Figures, andLandscapes With Figures 2. His photographs have been published in magazines, newspapers, and other periodicals around the world. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporaine in Paris, the Centre Pompidou in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris, and the Museo Luigi Pecci in Prato.


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