May / June 2017
LAST PICTURE SHOW
“there is no harm in repeating a good thing” Plato
An exhibition of work which posits the idea that creativity exists in not knowing, maybe the answer is “I can’t go on, I’ll go on”? Risk is imperative, but we still know very little about the potential of what works and why? The pendulum has always swung between abjection and elation. Qualities such as tenderness and humour connect this ensemble, a conversation often overlooked in favour of what can be read or justified. An exhibition showing a particular group of artists, who look to possess these qualities, inhabit new and old at the same time? History is apparent in a show like this but so is the future through the prism of the present?
The title refers to the Peter Bogdanovich film of 1971 “The Last Picture Show” which was shot entirely in black and white, harking back to an earlier time (again old and new) populated with a soundtrack of pop songs and presenting actors including Cybil Shepherd and Cloris Leachman at different stages of their respective careers in dialogue together. There seems no reason for the town they inhabit in the film (set in 1951) to exist, but the directness and simplicity of the depiction creates a space which allows for dialogue and a kind of transgression to occur?
Diana Copperwhite, Elio Rodriguez, Mary Heilmann, Vanessa Jackson, Jill Levine, Chris Ofili, Danny Rolph, Rebecca Smith
Diana Copperwhite, Confucious Confused 2016
( Detail) oil on canvas, 12″ x 16″
CONTEXT ART MIAMI
Maria Magdalena Campos-Pons
New CONTEXT Art Miami Pavilion
November 29 – December 4, 2016
Midtown Miami | Wynwood
118 NE 34th Street | Miami, FL 33127
Professor at Miguel Hernández University, Fine Arts Campus, Altea, Spain, since 2003
2012 Fine Arts PHD Miguel Hernández University, Elche, Spain.
2007 D.E.A. (Advance Studies Award), Miguel Hernández University, Elche, Spain.
1997 Graduated in Print at Polytechnic University in Valencia, Spain.
1996 Graduated in Sculpture at Polytechnic University in Valencia, Spain.
1992 1st Course of Artistic Excellence at Ceramic´s School in Manises, Valencia, Spain. 1991 2º Curse at School of Fine Arts and Craftiness in Alicante.
2008 Workshop ‘Tácticas contra la destrucción del Territorio’, runs by Eva Lootz. CAM. Alicante, Spain.
Collage Workshop, “Recortar” with Sean Mackaoui, Culture´s Institute Juan Gil Albert. Alicante, Spain.
2006 Workshop ‘Ceci est mon corps…ceci est mon logiciel. Orlan y la experiencia de la carne’ runs by Orlan, Cendeac Institute. Murcia, Spain.
2005 Workshop of Arts’ Critic “la Consulta”. Miguel Hernández University, Elche, Spain.
Workshop ‘Performance Body’, runs by Marina Abramovic, Cendeac. Murcia, Spain.
2003 Workshop Arte y Naturaleza. Art Critics Association of Valencia, Alicante, Spain.
Ferrography Workshop runs by José Manuel Guillém, Institute Juan Gil Albert. Alicante, Spain.
Workshop de Experimental Graphics runs by Fernando Bellver, Fuendetodos. Zaragoza, Spain.
2001 III University of Sculpture. Foundation Eduardo Capa in collaboration with Miguel Hernández University, Elche, Spain, Castle of Santa Bárbara, Alicante, Spain.
2009 Fellowship. Project LLP-Erasmus. Accademia Belle Arti di Macerata, Italia.
2004 Fellowship from Artists Residency in Lithography at Münchner Kúnstlerhaus. Munich, Germany.
2003 Ceramic Fellowship LABORATORIO DE FORMA. Empresa Grupo Sargadelos, Cervo, Lugo.
2002 Fellowship ‘Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, runs by Gilberto Aceves Navarro.
2000 Fellowship ‘Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, National School of Fine Arts, México.
1997 Fellowship PROMOE, Universidad Nacional Autónoma de México, Centro de Extensión Taxco, Guerrero, México.
1995 Fellowship ERASMUS en la Anotati Scholi Kalin Tehnon, Atenas, Grecia.
2013 LECHE NEGRA. MANANTIAL DE MUERTE. Las Cigarreras Contemporary Art Center, Alicante, Spain.
PARA LLAMAR A LAS FUERZAS. Punto Rojo Gallery, Granada, Spain.
A MÍLAS FUERZAS. El Tragaluz Gallery, Granada, Spain.
FESTIVAL MIRADAS DE MUJERES. Las Cigarreras Contemporary Art Center, Alicante, Spain.
2011 A MI LAS FUERZAS. El Viajero Alado Gallery, Lebrija, Sevilla, Spain.
2009 PARA LLAMAR A LAS FUERZAS. Atrio de los Bambús Gallery, Palau de la Música, Valencia, Spain.*
2008 EL ALIENTO. Fundación ARTSUR, Madrid, Spain.
2006 DIE STÄRKEE; LAS FUERZAS. Deposito 14 Gallery, Madrid, Spain.
LAS FUERZAS. Elche Contemporary Art Museum, Spain.*
2005 NO SE SI CORTARME LA CABEZA. Espacio BOP Gallery, Madrid, Spain.
LOS LEONES BLANCOS NUNCA ATACAN. Aural Gallery, Alicante, Spain.
2004 DIE STÄRKEE, Kunstlerhaus, Munich, Germany*.
¡NO ME CORTES LA CABEZA!, CAM, Elche Alicante , Spain *.
¡NO ME CORTES LA CABEZA!, Charpa Gallery, Valencia, Spain.
DE CÓMO CRECIERON LAS ESPINAS. Hotel Prince Park, Benidorm, Alicante
2003 Congress Palace of Elche, Elche, Alicante, Spain.
2002 NARICES CORTAS, CHISMES MUCHOS, CHILES SECOS, MENTIRAS BRILLOSAS. Punto y Línea Gallery, Oaxaca, México.
DE CÓMO CRECIERON LAS ESPINAS. Municipal Art Center of Mislata, Valencia, Spain.*
CÓMO TE GUSTARÍA QUE FUERA TU CAMA?. Centro 14 Gallery, Alicante, Spain.*
2001 INAUGURACIÓN. Gallery Aural. Alicante, Spain.
A MI CAMISÓN LE CRECIERON ESPINAS. Gallery Dipósit 19, Alicante, Spain.
2000 MI CAMA. Casa del Lago del Bosque de Chapultepec Gallery, México D.F.
MI CAMA EN MEZQUITE 7. Casa Borda, Taxco de Alarcón, Guerrero, México.
1999 DELICIAS 23; MI CAMA. Cultural Center Alfas del Pi, Alicante, Spain.
MI CAMA. Cultural Center C.M. de las Dehesillas, Leganés, Madrid, Spain.
1998 DELICIAS 23. Cultural Center, Casa Borda, Taxco de Alarcón, Guerrero, México.
1997 DELFOS. Cultural Center U.D.E.S. de B.B.A.A. Atenas, Greek.
1996 MI CAMA. Gallery Tintorera, Jávea, Valencia, Spain.
COLLECTIVES SHOWS (selection)
2016 ART SOUTHAMPTON 2016. 532 Thomas Jaeckel Gallery, New York.
BIENAL DEL DISEÑO DE LA HABANA, Havana, Cuba.*
ART NEW YORK CONTEXT FAIR, 2016. 532 Thomas Jaeckel Gallery, New York.
PÓRTATE BIEN. Fábrica del Arte Cubano, Havana, Cuba.*
MADRID DOS GENERACIONES Y MEDIA. Gallery Odalys, Madrid, Spain.
ES – + ES – - ES + + ES +. Foundation Frax, el Albir, Alicante, Spain.
2015 EUSEBIO SEMPERE EN LA CASA BARDÍN. HOMENAJE. Casa Bardín, Institute of Culture Juan Gil Albert, Alicante, Spain.*
ARTE CISORIA. Casa Bardín, Institute of Culture Juan Gil Albert, Alicante, Spain.*
2014 DES DE DINS. ART CONTEMPORANI DES D´ALACANT. Museum of Alicante University (MUA), Spain.*
ARTE CISORIA. Art Center Gallery Taller d´Ivars de Benissa, Spain.*
REVELACIONES. Container Art, Sevilla, Spain.
ARTE CISORIA. Archeologic and History Museum of Elche (MAHE), Elche, Spain.*
TRAZAS. Art Cultural Center of El Carmen, Valencia, Spain.*
MULIER, MULIERIS. VIII CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2013 IMAGINACIÓN Y DESEO. Rector Gallery of Miguel Hernández University at Elche, Spain.*
MULIER, MULIERIS. VII CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2012 IN FRAGANTI. ESPACIO TRAZA, Alicante, Spain.
CONVOCATORIA DE ARTES PLÁSTICAS Y FOTOGRAFÍA 2012. Alicante City Hall, Spain.*
2011 CARTOGRAFÍAS DE LA CREATIVIDAD. 100% VALENCIANOS. Center of Development of Visuals Arts de La Habana, Cuba.*
2010 CARTOGRAFÍAS DE LA CREATIVIDAD. 100% VALENCIANOS. Modern Art Museum of Santo Domingo, Dominican Republic.*
EFEMMERAS. Cervantes Institute at Tanger, Marroco.*
MEMORIA PERCIBIDA. Contemporary Art Museum of Guatemala.*
I BIENAL DE ARTE PÚBLICO de Navacerrada, Madrid, Spain.*
XXXIII PREMIO BANCAJA DE PINTURA, ESCULTURA Y ARTE DIGITAL. City Hall Museum, Madrid, Spain.
FM3. México Institute in Spain, Madrid, Spain.*
WHEN IMAGES…BECOME OBJECTS. Arte y Naturaleza Gallery, Madrid, Spain.
MIEJSCA PRZEKLETE, MIEJSCA SWIETE. Kazni Nowej, Cracovia, Polonia.
9ª BIENAL DE LA HABANA. Luz y Oficios Gallery, Havana, Cuba.
ESTAMPA 2005. Artsur Art Fair, Madrid, Spain.
ART FAIRE. Depósito 14 Gallery. Colonia, Germany.
VALENCIA IN MOMENTO. Villa Serena, Bolonia, Italy.
EL GRUPO, Gallery of Technical Superior School of Nautica, Santander, Spain.*
CORPOMODAMENTE. Planetario Gallery, Serre di Villa Rivoltella, Trieste, Italy.*
XX CONCURSO DE DISEÑO GRÁFICO, CARNAVAL 2006. San Vicente del Raspeig cultural Center, Alicante, Spain *.
PREMIO NACIONAL DE GRABADO MARBELLA 2004. Foundation Spanish Contemporary Print Museum of Marbella, Spain.
PREMIO NACIONAL DE GRABADO MARBELLA 2003. Foundation Spanish Contemporary Print Museum of Marbella, Spain.
AGUA. Museo el Chamizal, Juárez City, Mexico
2003 ROT ROSTIG ROT. Haus der Kunst, Munich, Germany.
2002 FUERA DE REGISTRO. Oaxaca, Mexico.
UNA GOTA DE AGUA. Manzanillo University Gallery, México.*
DES DE L´ALTRA RIBA. Contemporary Art Museum of Ibiza, Spain.*
11 MUJERES, 11 MIRADAS. Rigoberta Menchú, Leganés, Madrid, Spain.
IX PREMIO NACIONAL DE GRABADO Y ARTE GRÁFICO. National Chalcography, Fine Art Royal Academy of San Fernando, Madrid, Spain/ National Chalcography Gallery, Madrid, / Pontevedra Museum/ Extremeño and Ibero-american Contemporary Art Museum, Badajoz/ Iglesia de las Francesas, Valladolid, Spain.*
PREMIO NACIONAL DE GRABADO MARBELLA 2001. Spanish Contemporary Print Museum of Marbella, Spain.*
VI BIENNAL INTERNACIONAL DE GRAVAT JOSEP DE RIBERA. Xàtiva cultural Center, Valencia, Spain*.
PREMIO INTERNACIONAL ELISA DE ESCULTURA. Palau Albert, Barcelona, Spain.
2000 ENCUENTROS DE ARTE CONTEMPORÁNEO 2000. Museum of Contemporary Art at Elche, Alicante, Spain.*
DI-VERSO. Museo Del Fuego Nuevo, Iztapalapa, Mexico D.F.
XIII JORNADAS ALARCONIANAS .Casa Borda, Taxco de Alarcón. Guerrero, Mexico.*
X ANIVERSARIO, MUSEO VIRREINAL, Casa Humboldt, Taxco. Guerrero, Mexico.
ARTE. Tixtla, Guerrero, Mexico.
CERTAMEN DE PINTURA SALVADOR SORIA- VILA DE BENISSA 2000. Cultural Center at Benissa, Spain *.
TODOS AL ARTE. Theater Mª Luisa Ocampo, Chilpancingo, Guerrero, México.
II PREMIO NAVARRA. Navarra Museum.*
POR MI RAZA HABLARÁ EL ESPÍRITU, Taxco Cultural Center, Autonomic Nacional University of Mexico.*
LA LUNA PUDO DETENERSE AL FIN. Homage to Federico García Lorca, International Center of India, Nueva Delhi, India. Installation and video (‘cada ver vivo’).*
II BIENAL DE ESCULTURA VILA DE MISLATA. Mislata Cultural Center Gallery, Valencia, Spain *.
AWARDS / SELECTIONS
2013 Selected. MULIER, MULIERIS. VII CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2012 Acquisition. Fine Arts Contest 2012. Alicante City Hall, Spain.
Selected. MULIER, MULIERIS. VI CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2011 Selected. XXXVII PREMIO BANCAJA DE PINTURA, ESCULTURA Y ARTE DIGITAL2011. Valencia, Spain.*
Selected. MULIER, MULIERIS. V CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
Selected MIRADAS desde la Fotografía: ARQUITECTURA ALICANTINA. Alicante Institute of Culture Juan Gil-Albert, Spain.
Selected. Fine Arts Contest 2011. Alicante City Hall, Spain.
2010 Selected. MULIER, MULIERIS. IV CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2009 Selected. MULIER, MULIERIS. III CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
Selected. CORPÓREA. REPRESENTACIONES DEL CUERPO EN LA CONTEMPORANEIDAD. , Museum of Alicante University, Spain.*
2008 Acquisition. Certamen Galería 2007 Fine Arts Contest. Miguel Hernández University, Elche, Alicante, Spain.
Selected. I BIENAL DE ARTE PÚBLICO de Navacerrada, Madrid, Spain.*
2007 Selected. . Fine Arts Contest 2007. Alicante City Hall, Spain.
2006 Selected. IX Mostra Internacional Unión Fenosa, Spain.
Selected. XXXIII Premio Bancaja de Pintura, Escultura y Arte Digital, Spain.
2005 Finalist. ‘5 Award ARTIFICE de Pintura sobre papel’, Loja, Granada, Spain.
2003 Selected. Gallery Edgar Neville. Season 2004/2005. Valencia, Spain.
‘Premio CORZON’, Print National Award Marbella 2003, Foundation Spanish Contemporary Print Museum of Marbella, Spain.
2002 Award ´El Catalejo Gallery’. National Print Award Marbella 2001, Foundation Spanish Contemporary Print Museum of Marbella, Spain.
2001 Selected. Fine Arts Contest ‘Propuestas’, Centro 14 Gallery, Alicante, Spain.
Finalist. ‘International Award of Sculpture Elisa’, Barcelona, Spain.
Accésit. Hogueras Experimentales 2001. Alicante, Spain
Selected.’Propuestas artísticas para la sala de exposiciones’. Mislata, Valencia, Spain.
2000 Finalist. ‘Premio de Escultura Fray Luis de León’, Plasencia. Spain
Selected en el ‘Certamen de Jóvenes Creadores’ del Instituto Juan Gil Albert, Alicante, Spain.
1999 Acquisition de la obra en la ‘Convocatoria de Artes Plásticas 1999’, Alicante City Hall, Spain.
Selected. ‘II Premio Navarra de Escultura’. Pamplona, Navarra, Spain.
Selected. ‘Certamen de pintura puerto de la Luz’. Art Center La Regenta, Las Palmas de Gran Canaria, Spain.
1998 Selected. LXI CONCURSO NACIONAL DE PLATERÍA. Virreinal Museum, Taxco de Alarcón, Guerrero, México
1997 First Award. ‘National Sculpture Contest Villa de Leganés 1997’, Leganés. Madrid, Spain (public sculpture)
Acquisition. ’Convocatoria de Artes Plásticas 1997’. Alicante, Spain.
Selected. ‘XXIV Premio Bancaja de Pintura y Escultura’. Valencia, Spain.
Selected. ‘VII Bienal de Escultura de Mislata”, Mislata. Valencia, Spain.
1995 Mention of Honor. ‘VI Premio de Artes Plásticas de Viguer’. Valencia, Spain
1994 Mention of Honor. ’V Premio de Artes Plásticas de Viguer’. Valencia, Spain.
Kunstlerhaus, Múnich, Germany.
Instituto Mexicano de Cooperación Internacional, México.
Universidad Nacional Autónoma de México.
City Hall of Alicante, Spain.
City Hall of Leganés, Madrid, Spain.
City Hall of Elche, Alicante, Spain.
Instituto de Cultura Juan Gil Albert, Alicante, Spain.
Universidad de Cantabria, Spain.
Foundation Spanish Contemporary Print Museum of Marbella, Spain.
Universidad Miguel Hernández, Elche, Spain.
Palau de la Música. Valencia, Spain.
2010 Printing workshop. University of Pittsburgh, PA, USA.
Lecture. University of Pittsburgh, PA, USA.
Workshop La pantalla serigráfica como un lienzo: la técnica de la pantalla abierta. Miguel Hernández University. Altea, Spain.
2009 Lecture. Accademia Belle Arti di Macerata, Italy.
2008 Lecture at I.S.A. (Higher Institute of Art) Habana, Cuba.
2007 Printing workshop. University of Pittsburgh, PA, USA.
2002 Workshop. Exposición ¿cómo te gustaría que fuera tu cama?. Centro 14 Gallery, Alicante.
2000 Workshop ‘la Conceptualización en el Arte’. Instituto de Cultura de Morelos, Morelense Arts Center, Cuernavaca, México.
‘La cama de José’. Sculpture Museum of Leganés City, Madrid, Spain.
Through January 28, 2017
Thomas Jaeckel Gallery is pleased to present Diana Copperwhite’s “Depend on the Morning Sun”
The exhibition features new large oils on canvas. This is the artist’s third solo exhibition at the gallery.
The exhibition effectively extends the continuum of abstractions in color that have engaged the artist in recent years. Fusing schematic shapes and fragments, her apparent abstractions recall a flash of connections through time, or maybe a glimpse of switching of identities, or the way an interior, or an external, space may be seen via moving digitized images. We are drawn by the vivid light and color of her paintings and are left with a test in our bringing an identification of her imagery.
The exhibition is accompanied by new monograph ‘Fake New World’ with an essay by Gail Levin.
“Diana Copperwhite makes big bold oil paintings that excite and stir our twenty-first-century perceptions. Her compelling images are both complex and energetic. She is never at a loss for the impulse to paint, though she is coy about revealing her concerns, often throwing the viewer just a few clues and leaving a lot of room for the imagination. She creates an exquisite tension between abstraction and figuration or representation of any kind. She appears to tease out this tension to hold our interest, as we both take in the visual splendor of her paintings and try to fathom what they are about.”
Excerpts from Essay. Gail Levin PhD, Professor of Art History, American Studies, and Women Studies at Baruch College and the Graduate Center of CUNY.
Diana Copperwhite, born 1969, lives and works in Dublin. Copperwhite has exhibited widely in Ireland and other countries in Europe. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin, 2016, A Million and One Things Under the Sun, Kevin Kavanagh, Dublin, 2015, Shadowland, Thomas Jaeckel, New York, 2014, solo presentations at PULSE NY, 2015 where she was nominated for the PULSE prize and at Volta NY, 2013. Copperwhite was awarded the AIB Art Prize in 2007 and her work is held in many important public collections, including the Office of Public Works, the Irish Museum of Modern Art, the Arts Council of Ireland, Limerick City Gallery of Art, Dublin Institute of Technology as well as private collections in Ireland, across Europe and in the United States.
Susana Guerrero: Anatomy of a Myth
September 15 – October 22, 2016
We are pleased to present Susana Guerrero’s first US solo exhibition, Anatomy of a Myth in New York.
Many of Guerrero’s artworks evoke a contemporary mythology that puts on the same plane the visible physical reality, the substance of dreams and the subconscious, the hidden reality.
There’s a kind of reformulation of ancient mythologies, constituting personal thoughts of the sacred through mythical stories, traditions and legends, superstitions and intuitive revelations.
In the process of making the artwork, Guerrero reveals a binding ritual. The choice of every material, the configuration of every shape, of every element, brings a poetic meaning and symbolism to her artwork.
Indications of imaginary blood and path through veins and arteries, active heart, organs out of place yet connected to a life system. Guerrero may posit a relatively fractured or whole woman, or a person in different bodily states. As she makes the crisply graphic work, more figurative forms are mixed with unspecifiable shapes or abstracted forms in parts of her composition.
Her most vivid construction would be derived from a varying “mythopia”. The result is formed with features that may be confrontational or bacchanal. Parts of it may be supposed to urge identification or resist it. In this case, the filling of the space often places a situation akin to a breaking out, a way of purifying the spirit and getting to new ideas.
Susana Guerrero is a Fine Arts PHD, Miguel Hernandez University, Elche, Spain (2012). She received an Advanced Studies Award (D.E.A.), Miguel Hernandez University, Elche (2007), and graduated Sculpture and Print, Polytechnic University in Valencia, Spain (1996-1997). She was granted Fellowships from: Project LLP-Erasmus, Academia Belle Arti di Macerata, Italia (2004); Artist Residency in Lithography at Münchner Kunstlerhaus, Munich, Germany (2004); Ceramic Fellowship LABORATORIO DE FORMA, Empresa Grupo Sargadelos, Cervo, Lugo (2003); Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, run by Gilberto Aceves Navarro (2002); Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, National School of Fine Arts, México (2000); PROMOE, Universidad Nacional Autonoma de Mexico, Centro de Extension Taxco, Guerrero, Mexico (1997); ERASMUS Anotati Scholi Kalin Tehnon, Athens, Greece (1995).
She is a professor at Miguel Hernandez University, Fine Arts Campus, Altea, Spain, since 2003. Guerrero’s work is in several institutional collections, including: Kunstlerhaus, Munich, Germany; Instituto Mexicano de Cooperacion Internacional, Mexico; Universidad Nacional Autonoma de Mexico; City Hall of Alicante; City Hall of Leganes, Madrid; City Hall of Elche; Alicante Instituto de Cultura Juan Gil Albert; Universidad de Cantabria; Foundation Spanish Contemporary Print Museum of Marbella; Universidad Miguel Hernandez, Elche; Palau de la Musica, Valencia.
by Anthony Haden-Guest, July 13, 2016
May 19 – June 30, 2016
A woman races from nowhere to nowhere through an indistinctly rendered forest. A loose scattering of young men hovers in a strange white space, suspended in time. Solitary wanderers traverse barren plains toward destinations that loom invitingly in the distance, yet fade into disheartening insubstantiality upon arrival. At every turn, there is the sense of something forever sought but never seized.
In his first solo show in the United States at 532 Gallery Thomas Jaeckel, Bernard Ammerer depicts a private domain of desolate landscapes and vaguely restless figures that would border on the surreal if it didn’t feel so eerily familiar. Across the exhibition’s dozen canvases—all from this year and last—we see small cliques of physically and psychologically isolated people at uneasy rest or in frantic motion; cloud-filled skies looming serenely over flat, featureless, stark-white plains; and lone travelers in obscure territories that are shrouded in fog, reduced to cartoonish black silhouettes, or completely replaced with generic words—Wood, Field—that diminish nature to a worthless and empty abstraction.
Bernard Ammerer (1978) lives and works in Vienna. He graduated University für angewandte Kunst, Wien in 2010 and is the recipient of the Strabag Art Award.
Recent exhibitions include “Vorher Nachher” Galerie Frey Wien (solo), Dagong Art Museum, Qingdao (group), ”Subjects” Galerie Drees, Hannover, (group) “A Better Place” Galerie Frey, Salzburg,(solo) “You Choose” Berlin Art Projects, Berlin(group)
For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at email@example.com
Preview works here
April 1 – May 14, 2016
Elio Rodriguez’ first solo exhibition in New York City is comprised of large scale soft sculptures and will be on view at 532 West 25th Street until May 9, 2016. Coinciding with his exhibition On Guard, at Harvard University’s Hutchins Center for Afro-Latin Studies and Context Art New York, Pier 94, May 4-8, 2016.
An opening reception for the artist will be held Thursday, March 31 from 6 to 8 p.m
In his stuffed, massive soft sculptures, loaded messages about stereotypes, sexual or racial or otherwise, are hidden within exaggerated, provocative rendering of the mysteries of organic, invasive fauna, entangled in space by which a far-out untamed nature is introduced. Lush, ritualistic, magical, multiple perspectives serve as metaphors for the state of his own Afro-Cuban-ism coalesced with the state of the female, as might be interpreted through the popular discourse in our modern times.
Elio’s work may veer into a kind of kitsch, but he does so magnificently in the most unlikely, playful, witty, voluptuous, sensory, sensual ways.
Elio Rodríguez (Havana, 1966) graduated from Havana’s Higher Institute of Art (ISA) in 1989 and quickly became one of the leading figures in the new Afro-Cuban cultural movement that emerged in Cuba during the 1990s. He has had solo and group shows in Latin America, Europe and the US. In 2015, Elio was the Cohen Fellow at the Du Bois Research Institute and the Afro-Latin American Research Institute, Hutchins Center for African & African American Research. His artworks are part of important public and private collections, including National Arts Museum of Cuba; Von Christierson Collection, London; Shelley & Donald Rubin Collection, New York; Peggy Cooper Crafritz Collection, Washington DC; W.E.B. Du Bois Institute, Harvard University.
Pulse Play Selection (1 of 3): Les Joynes, Shapeshifter (2014) video 2:30 min.
In Shapeshifter, New-York based, Les Joynes recontextualizes Joseph Beuys’ I Like America and America Likes Me (1974) during his journey to the Khovsgol Province in Northern Mongolia.
Exploring nomadic identity, Les Joynes performs this shamanic ritual expanding his Selfhood in the adaptation of the Other.
Pulse Projects Selection: Armando Marino, Narcissus (2016) oil/ canvas
Inspired by the classic Greek mythology and today’s youth culture, Armando Marino’s large scale Narcissus is part of a series of his major oil paintings
that would reflect his romantic commentary on the growing prevalence around us of taking smartphone “selfies”. Narcissism is alive and well.
THE WEIGHT OF WORDS
José Angel Vincench
February 26 – March 26, 2016
Thomas Jaeckel and Rachel Weingeist are pleased to announce recent works by Cuban artist, Jose Vincench in The Weight of Words, an exhibition of painting and sculpture. Works by the artist will be exhibited concurrently in Jaeckel Gallery and at the Pulse New York art fair (Booth A209, March 3-6) and the University of Tampa’s Scarfone Hartley Gallery, FL (March 4-18).
A key figure in Cuban contemporary art, Vincench is identified in his latest works with visually aseptic, abstract imagery that is largely heir to the legacies of concrete abstraction, conceptualism, and language-based art. His work often reflects an underlying process of deconstruction meant to express his experience within the social-political actuality of Cuba today, especially the use of rhetoric as a means of symbolic domination and referencing the sometimes tragic aftermath of resistance and dissent. Thus Vincench positions himself within a still central dichotomy of art-making in post-revolutionary Cuba: between the inner search for beauty, self-awareness, and art for art’s sake, and the more outward-facing urge to reflect on, criticize, or attempt to transform social reality by activism. (David Horta)
In works on canvas from his ongoing series, Vincench uses the geometry of highly charged Spanish-English cognates, such as Autonomia (Autonomy), Gusano (Worm aka Traitor), Exilo (Exile). Stacking the letters on top of each other using a personalized iconic geometry, Vincench builds his own vocabulary and meaning. Today it is the Gusanos (Traitors) who are able to provide capital to reinvest in their motherland, ironically.
Gold leaf works on canvas and Action Paintings (Pintura de action), splattered gold illuminations depict rarely documented and often not reported incidents of paint thrown at the houses of Cuban dissidents. An appropriation of these little known, low resolution Cuban image files, pixelated and distorted, are sweetened by the artist’s decorative gold interpretations.
Vincench: “Gold leaf provides me a seductive, poetic and lyrical old world craft material. I am intentionally creating a decorative product, ironic historical reality of yesterday and today, where we can forgive and reconcile. My abstraction starts with photos, testimony of the violence of the government on the dissidents, but more than a political statement I prefer to talk about the silence in the civil society and art. The artworks absorb the cynicism of this society, they are ironically based on the human drama found in images and words.”
Vincench’s paintings and sculptures are simultaneously intellectually challenging and conceptual works with resplendent minimal appeal.
A respected Professor at the infamous graduate program of the Instituto Superior de Arte in Havana, Cuba, Vincench’s work is a part of numerous private and public international collections including: Museo Nacional de Bellas Artes, La Havana, Cuba; Pizzuti Collection; CIFO Collection, Miami, FL; Frost Museum, Florida International University, Miami; Perez Collection, Miami; Shelley and Donald Rubin, New York, NY; Chris von Christierson, London, UK; Estrella Brodsky, New York, NY.
through feb 22
Jaeckel Gallery is pleased to present a winter group show. This show features many returning artists to our gallery, as well as a few artists showing with us for the first time. The works on view include smaller scale works in a variety of mediums.
To highlight just a few. Text-based “Witt” drawings by Alastair Noble, a meditation on Wittgenstein’s “Remarks on Colour”, communicate the colors mentioned and the content in Wittgenstein’s text about the ambiguities of light and color. John Parks’s delicately painted “Garden with Soldier” presents a wistful and very gently ironic vision of his English heritage. Holger Keifel’s photograph of Louise Bourgeois ‘Hand with Clay’ exists in a hidden message or puzzle. Kathy Bruce’s eclectic signature mix of collage and drawing takes a more classical turn in her “Adaptive Behavior” series. Abstract paintings by Jac Lahav evoke the philosopher’s stone, magical talismans, his youth by the Mediterranean. Ilyan Ivanov’s “Self Portrait” paintings explore the ambivalence between geometric structure and free brush strokes, reflecting one’s own personal conflicts between convention and spontaneity. In Kylie Heidenheimer’s “Carnival”, she twists and wrests space via “drawn” line and intentionally placed marks. Marcy Brafman’s “Cents Rubbing Bestine” is a meditation on the magnetic field where the invisible runs the show, a place half remembered.
Each of the artists featured in the show speaks in a distinctive voice.
Featuring: Per Adolfsen, Marcy Brafman, Kathy Bruce, Diana Copperwhite, Marie-Dolma Chophel, Jeffrey Cyphers, Kylie Heidenheimer, Ian Hughes, Ilyan Ivanov, Holger Keifel, Jac Lahav, Julie Langsam, Darrell Nettles, Alastair Noble, John Parks, Danny Rolph, Elio Rodriguez, Jean Karl Petion, Piers Secunda, Tanja Selzer.
“Winter Salon” opens this Friday, 5 February and continues until 22 February, 2016.