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Context Art Miami Nov 29 – Dec 4, 2016

 

Diana Copperwhite,  Confucious Confused 2016
( Detail) oil on canvas, 12″ x 16″

CONTEXT ART MIAMI 

Booth #203

Works by
Bernard Ammerer
Maria Magdalena Campos-Pons
Susana Guerrero
Ian Hughes
Les Joynes
Julie Langsam
Nadja Marcin
Armando Marino
John Parks
Elio Rodriguez
Piers Secunda
Tanja Selzer
Jose Vincench

New CONTEXT Art Miami Pavilion
November 29 – December 4, 2016
Midtown Miami | Wynwood
118 NE 34th Street | Miami, FL 33127

for directions click here

preview work on artsy click here

 

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Susana Guerrero

 

Professor at Miguel Hernández University, Fine Arts Campus, Altea, Spain, since 2003

ACADEMIC BACKGROUND

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.

TRAINING

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.

FELLOWSHIP

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.

SOLO SHOWS

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 *.

(*) Catalog

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.

COLLECCIONS

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.

LECTURES

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.

PUBLIC SCULPTURES

‘La cama de José’. Sculpture Museum of Leganés City, Madrid, Spain.

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Diana Copperwhite: Depend on the Morning Sun

 

Thomas Jaeckel Gallery is pleased to present Diana Copperwhite’s “Depend on the Morning Sun”.  27 October through 17 December, 2016.
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 will be accompanied by a monograph 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.

Visit our stand #203 at Context Art Miami Nov 29 – Dec 4, 2016
 

 

 

 

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Susana Guerrero: Anatomy of a Myth

 


 

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.

Through her inventions, Susana Guerrero is set upon taking up themes of mythology and utopia (mythopia), bringing together a genealogy of the materials, an anthropology of human experience, guided by the murmur of a dream.  She allows a perceptual interpretation of a different kind.

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.

 

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Artnet News

Piers Secunda Unleashes the Horrors of War at the Duke House

by Anthony Haden-Guest, July 13, 2016

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Art Southampton

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Diana Copperwhite at Royal Hibernian Academy

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Bernard Ammerer “Interface”


Bernard Ammerer

Interface
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.

Ammerer’s pointed and ironic titles often hint at the somber thread of disaffection that ties these works together. Interface—a six-foot-square canvas depicting a constellation of nondescript young men in jeans and t-shirts frozen mid-leap in a white void—is most notable for the palpable lack of physical and psychological interaction among its inhabitants. Fulfillment Problem—that bland euphemism from the realm of online commerce that so often signifies corporate ineptitude and consumer frustration—is paired with the image of a cloudy yellowish sky overrun with a chaotic, maze-like swarm of identical running figures lifted from a Children At Play traffic safety sign. The infantile and perpetually unsatisfying urge toward instant gratification that’s satirized here is subtly underscored by Boyhood, which presents the sad and wistful disembodied head of a child floating alone in a dark, nebulous space. It’s the only place in these works where an actual face can be seen, and its stark difference from the other canvasses hints at an irrevocable loss of naive serenity that no hoard of shiny toys, transient pleasures, or wanderlust can amend. The moral—for Ammerer’s oblivious protagonists as well as us—is perhaps best embodied in Home, with its ghostly white house at the end of a blank path in a barren field: far too often, our ill-considered quests away from ourselves in pursuit of the Next Perfect Thing leave us alone and exhausted before a hollow apparition.

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 info@532gallery.com

Preview works here

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BBC: Palmyra’s Arch of Triumph recreated in London

One of the most visually striking pieces at the gallery is by British artist Piers Secunda, who creates moulds of bullet holes made by so-called Islamic State militants and casts them in replicas of ancient reliefs.
http://www.bbc.com/news/uk-36070721
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Art New York & CONTEXT New York Reveal 2016 Subway Series

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CONTEXT NY Booth C28

 

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Elio Rodriguez: “On Guard” April 8- May 30th; Hutchins Center, Cambridge

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Vincench Caligrafia del Silencio

El Diario NY March 10

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Puzzled

Elio Rodriguez

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

Elio experiments with the construction of the intimacy of interior and exterior spaces, all things carnal and decorative, functional and artistic, manufactured and native.  His soft sculptures reimagine familiar forms using, in abundant measure, plant and carnal shapes, juxtaposed against sundry objects, metal screws, lace corsets, chains, belts, wire, filament, pins — with results that are pictorial equivalents of familiar concepts and concerns.

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.

 

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ArtDaily.com

 

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pulse nyc 2016

Pulse NYC 2016, VIDEO 60 SEC

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PULSE NYC March 3 – 6, 2016

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.

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In Acts of Resistance, Artists and Scholars Digitally Reconstruct the Past

 

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The Weight of Words

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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Winter Salon

   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.

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Jose Angel Vincench

José Angel Vincench 

Holguín, Cuba, 1973.

STUDIES ESTUDIOS

1992-1997 Instituto Superior de Arte (ISA), La Havana, Cuba.

1988-1992 Escuela de Nivel Medio Superior de Holguín, Cuba.

1985-1988 Escuela Elemental de Artes Plásticas de Holguín, Cuba.

SOLO SHOWS EXPOSICIONES PERSONALES

2016 The Weight of Words. Thomas Jaeckel (532) Gallery New York

2015 Cuestión de tiempo. Antonio Vidal – José Vincench. Galería Acacia. Havana.

2012 Open Studio. Havana.

2011 Vincench Vs Vincench. Galería Virginia Miller. Miami.

La luz y la oscuridad. Havana Gallery, Zurich, Suiza.

2010 Estudio abierto. Estudio-Galería, La Havana, Cuba.

2009 Obra reciente. Estudio-Galería, La Havana, Cuba.

2007 Lo que te puedo decir. Galería 23 y 12, La Havana, Cuba.

Rogación de cabeza. Casa Iberoamericana, Holguín, Cuba.

Behind the abstract.  Axis Contemporary Art, Calgary, Canadá.

2006 Realidades mágicas. Havana Gallery, Zurich, Suiza.

Social y Religioso. Intervención en el estudio del artista, La Havana, Cuba.

2005 Una imagen vale más que mil palabras. Intervención en la casa del     artista, La Havana, Cuba.

2003 Una cosa lleva a la otra. Galería Habana, La Havana, Cuba.

2002 Freezing Memories. dpm arte contemporáneo, Guayaquil, Ecuador.

2001 J. A. Vincench, MAM Gallery. Douala, Camerún.

2000 Ni es lo mismo ni es igual, Galería Habana. La Havana, Cuba.

Desde el interior de la tierra, Havana Gallery. Zurich, Suiza.

Desde el interior de la tierra, Centro Cultural de España. La Havana, Cuba.

Desde el interior de la tierra, Galería Juan David. La Havana, Cuba.

1998 Obsesiones. Hacer de lo privado lo público, Centro Wifredo Lam. La Habana, Cuba.

1997 Acerca de lo privado y lo público, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

1996 Trabajo reciente. Raúl Cordero (fotografías) / José Ángel Vincench (instalaciones), Galería 23 y 12. La Havana, Cuba.

1992 Deconstrucción, Centro de Arte. Holguín, Cuba.

MAIN GROUP SHOWS PRINCIPALES EXPOSICIONES COLECTIVAS

2015 Context Art Miami. Thomas Jaeckel (532) Gallery, New York

2014 Hacerse el Chino. Havana Gallery, Zurich.

2013 Puente. Helen Day Art Center. Vermont.

The Silent Shout: Voices in Cuban Abstraction / El grito silencioso: Voces en la abstracción cubana. Virginia Miller Gallery.

New Acquisitions. Paul and Lulu Hilliard University Art Museum. Lafayette, Louisiana.

Waiting for the Idols to fall. The 8th Floor, New York.

2012 Message from La Habana: Six Contemporary Cuban Artists. Zane Bennett Gallery, Santa Fe, Nuevo México.

Bienal de Liverpool. Inglaterra.

11 Bienal de la Habana. Havana.

2011 Cuban Visions. Metropolitan Pavillon Gallery. New York.

Art Bo. Bogotá. Colombia.

Siniestros. Galeria Habana. Havana.

Caminos. Sala Villena. Uneac. Havana.

Rastros. Galería Ecoh. México.

Ya sé leer. Texto e Imagen en el Arte Latinoamericano. Centro Wifredo Lam.

2010 The Von Christierson Collection. Without Mask. Johanesgurg Art Gallery (JAG).

2009 Libros y grabados de artistas cubanos 1985-2008. Exhibition Itinerary:

Grolier Club of Manhattan, New York.

Charlotte and Philip Hanes Gallery, Wake Forest University, Winston-Salem, North Carolina.

Robert Hull Fleming Museum, Burlington, Vermont.

Latino Arts, Inc, Milwaukee, Wisconsin.

XX Años no son nada. Centro de Desarrollo de las Artes Visuales, La Havana

Mama’s little girl. Art Baselita. Miami.

Fuerte es el morro, who I am?. Aglutinador-laboratorio, Cuba.

Cathryn Griffith & J.A.Vincench, Obra reciente. Maqueta de Miramar, Colateral a la 10 Bienal de la Havana, Cuba

Perra subasta. Aglutinador-laboratorio, Cuba.

10 años de Havana Gallery. Zurich. Suiza.

2008 Surrounded by water. Boston University Art Gallery.

Isla in Continente. Bienal del Istmo Centroamericano, Galería Nacional de Arte, Tegucigalpa, Honduras.

¡¡Curadores, go home!! . Espacio Aglutinador, Cuba.

Visiones desde una isla. Arte contemporáneo de Cuba. Espacio Arte Actual, FLACSO,

Quito, Ecuador.

Cuba: Artists Experience Their Country. Hunterdon Museum of Art,New York.

Terapia de grupo. Galería Fernando Pradilla, Madrid.

2007 Domesticación. Espacio Aglutinador, Cuba.

Espacios multiplicados. Centro de Desarrollo de las Artes Visuales, Cuba.

Killing time Exit Art – New York. Mayo- Agosto 2007.

Monstruos devoradores de energía. Casa América, Madrid, España.

Monstruos devoradores de energía. Gran Palais de Paris, Francia.

Devoradores de energía. Trienal Bosiva, Milán, Italia.

Beyond boundaries. FourbyFive, Gallery of photography, Calgary. Canadá.

2006  Waiting List (Lista de espera) Tiempo y Proceso en el Arte Cubano Contemporáneo.

Mestna Galerita. Ljubljana – Slovenia. Diciembre 2006.

Sombras que solo yo veo, Galería L, La Havana, Cuba.

Manual de Instrucciones, Cencrem, Colateral a la 9 Bienal de La Havana, Cuba.

2005 4to Salón de Arte Contemporáneo. Centro de Desarrollo de las Artes Plásticas. La Havana, Cuba.

2004 50×70, Havana Gallery. Zurich, Suiza.

Just on time, Galería Habana. La Havana, Cuba.

Barro América, 5ta edición. San Felipe, Venezuela.

Cuba hoy, Galería entre aguas. Madrid, España.

2003 Anden 10, Universidad Católica de Ecuador. Ecuador / Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

4 Artistas Holguineros, Havana Gallery. Zurich, Suiza.

Doble Seducción. (Videos a la carta), Sala Amadís del Injuve. Madrid, España / Centro Cultural de España. La Havana, Cuba.

Maneras de inventarse una sonrisa, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Octava Bienal de la Habana. La Havana, Cuba.

2002 Dak’ ART Biennale de L’art Africain Contemporain. Senegal.

From a Black Hole, Son Space, Pals. Girona, España / Christian Dam Gallery. Copenhague, Dinamarca.

El museo crece, Museo de Bellas Artes. La Havana, Cuba.

2001 Visiones y transgresiones, Galería Nacional Museo de los niños. Costa Rica.

Arte Cubano, Entre el lienzo y el papel, Sala Miro, sede de la UNESCO. Paris, Francia.

Arte Contemporáneo Cubano, Centro Cultural Metropolitano. Quito, Ecuador.

Fotografía Contemporánea Cubana, Fototeca de Cuba. La Havana, Cuba.

ABC-CUBA Gráfica Contemporánea, Galería Habana. La Havana, Cuba.

III Salón de Arte Contemporáneo, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

2000 Una mano… y las dos?, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Mitos en el Caribe, Galería Haydee Santamaría. La Havana, Cuba.

1999 La huella múltiple, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Mind the gap, APT Studios. Londres, Inglaterra.

Trabajando Pa’l Ingle, Concourse Gallery, Barbican Centre. Londres, Inglaterra.

While Cuba Waits: Art in the Nineties, Track 16. Santa Mónica, Los Ángeles, Estados Unidos.

Temporal Visions, Fordsburg Artists’ Studios. Johannesburgo, Sudáfrica.

1998 Nuevos y sinceros, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

La  imagen y el laberinto. España.

La fuerza viene de todos, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Trabajo reciente, Havana Gallery. Zurich, Suiza.

Maferefún Cuba, The Metropolitan Pavillon Gallery. Estados Unidos.

Dibujo, Havana Gallery. Zurich, Suiza.

II Salón de Arte Contemporáneo Cubano, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

1997 Los que ya no están, Centro de Arte. Holguín, Cuba.

Arte Contemporáneo del Caribe y Suecia, Galería Latinoamericana. La Havana, Cuba / Galería Mar Blanco. Suecia.

El ocultamiento de las almas, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Pinturas del silencio, Galería La Acacia. La Havana, Cuba.

Trabajo por cuenta propia, Universidad de La Habana. La Havana, Cuba.

Feria de Arte de Guadalajara. Guadalajara, México.

V Salón de Dibujo de Santo Domingo. Santo Domingo, Republica Dominicana.

El arte que no cesa, Centro Wilfredo Lam. La Havana, Cuba.

1996 Las otras escripturas, Galería Luz y Oficios. La Havana, Cuba.

Proyecto Río Almendares: ni fresa ni chocolate, Centro Nacional de Conservación, Restauración y Museología. La Havana, Cuba.

Los héroes de la plástica cubana, Galería San Antonio Abad. Islas Canarias, España.

Giro de tuerca, Taller de Serigrafía. La Havana, Cuba.

1995 El Rápido, Galería ISA. La Havana, Cuba.

Arte Abstracto Cubano, Galería Habana. La Havana, Cuba.

La idea pura, Galería Teodoro Ramos. La Havana, Cuba.

Salón Juan Francisco Elso, Museo Nacional de Bellas Artes. La Havana, Cuba.

Pinturas del silencio, Centro de Arte. Holguín, Cuba.

Salón de Arte Contemporáneo Cubano, Museo Nacional de Bellas Artes. La Havana, Cuba.

El oficio del arte, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

1994 No valen guayabas verdes, Galería ISA. La Havana, Cuba.

Salón de la Ciudad de Dibujo, Centro de Artes Plásticas y Diseño. La Havana, Cuba.

1992 Todos abstractos, Centro de Arte. Holguín, Cuba.

AWARDS PREMIOS

1998 Mención especial V Salón de Dibujo de Santo Domingo, República Dominicana.

1995 II Premio I Salón de Arte Contemporáneo Cubano. Museo de Bellas Artes, La Havana.

1994 I Premio Salón de la Ciudad de Dibujo. Centro de Artes Plásticas y Diseño, La Havana.

AUCTIONS AND ART FAIR SUBASTAS Y FERIAS DE ARTE

 

2015 Context-Art Miami, Thomas Jaeckel (532) Gallery New York
2013 Art Pulse, New York. Galeria La Acacia.
2011 Art Bo, Colombia.
2007 Subasta de Juannio, Ciudad de Guatemala.
2006 Art Americas Fair, Bourbon-Lally Gallery. Miami, USA.
2005 Toronto International Art Fair, Galería Servando. Canadá.
2004 Off the Main, Bourbon-Lally Gallery. New York, USA.
Art Bassel. Havana Gallery. Zurich, Suiza.
2003 Scope Art Fair, Bourbon-Lally Gallery. Miami, USA.
Feria de Arco. Madrid, España.
Subasta Habana, Club Habana. La Havana, Cuba.
2002 Subasta online, Museo del Ron. La Havana, Cuba.
2000 International Young Art 2000. Tel Aviv, Israel / Chicago, USA / Vienna, Austria.
1999 Art Paris, Galeria Habana. Carrousel del Louvre. Paris, Francia.
1998 Feria de Arco. Madrid, España.
1997 Feria de Arco. Madrid, España.

RESIDENCES RESIDENCIAS

APT Studios. Londres, Inglaterra. (Marzo-mayo 1999)

Fordsburg Artists’ Studios. Johannesburgo, Sudáfrica. (Julio-septiembre 1999)

Cuban Artists Found. New York, 2004.

 

COLLECTIONS COLECCIONES

Pizzuti Collection. Columbus, OH, USA.

Colección CIFO. Miami.

Frost Museum, Florida International University. Miami.

Paul and Lulu Hilliard University Art Museum. Lafayette, Louisiana.

Fundación Rubín. New York.

Museo Nacional de Bellas Artes, La Havana, Cuba.

Havana Gallery, Suiza.

Galerie MAM, Douala, Camerún.

Axis Contemporary Art, Calgary, Canadá.

Colección Chris von Christierson.

Colección Alina Pedroso. New York.

Colección Estrella Brodsky, New York.

Colecciones privadas en España, Suiza, Alemania, Sudáfrica, Camerún, Estados Unidos, Israel, Austria, Argentina, Ecuador, México, Canadá y Francia.

 

BIBLIOGRAPHY BIBLIOGRAFÍA

Alvarez, Lupe. Arte Abstracto Cubano. Galería Habana, febrero 1995 (Inédito).

Alvarez, Lupe. En catálogo La imagen y el laberinto, 1998.

Alvarez, Lupe. En catálogo While Cuba Waits: Art in the Nineties, 1999.

Arce, Yissel / Rodríguez, Ania. La otra mirada al culto. En revista Unión, julio-septiembre, 1999.

De la Nuez, Rubén. De la telaraña al pulgar. Gaceta No. 3, mayo-junio 1997.

Espinosa, Magaly. El espacio de lo cotidiano y el sabor del etnos: Estudios Culturales Latinoamericanos en la producción simbólica  de lo “diferente”. En Revista Arte Cubano, No 3, 2000.

Espinosa, Magaly. La crítica a la perturbación humana. En Revista Revolución y Cultura,  2000.

González-Mora, Magda Ileana. Obsesiones. En Revista Arte Cubano. 1/1999.

Hernández Erena. ¿Alivio o perturbación? (Inédito).

Hernández, Orlando. …hasta donde puedas. En catálogo Trabajando Pa’l Inglé, Barbican Centre, Londres, mayo 1999.

De la Hoz, Pedro. Un salón sin pasos perdidos. En Revista Arte Cubano, Enero 1996.

Martínez Bárbaro. Las palabras y los objetos. En catálogo Trabajo Reciente, julio 1996.

Pascual, Omar. La huella simbólica: (de) re-construcción y vaciado en J. A. Vincench. Septiembre 1995 (Inédito)

Pascual, Omar / Martínez, Bárbaro. Las ficciones verdaderas. En catálogo Trabajos Recientes, julio 1996.

Power, Kevin. En catálogo While Cuba Waits: Art in the Nineties, 1999.

Romeu Vivian. ¿Un signo que nunca miente? (inédito)

Romeu Vivian. Apuntes para una monografía. José A. Vincench. Revista Arte Cubano No. 2, 1999.

Romeu Vivian. La prudencia, estrategia para un triunfo. Revista Revolución y Cultura, La Habana, diciembre, 1998.

Romeu Vivian.  Pretextos estéticos para reflexionar sobre el compromiso estético-político del artista contemporáneo. Revista Afuera, Agosto 2009.

Block, Holly. En catálogo, ART CUBA. The New Generation, 2001.

Noceda, José Manuel. Más allá de la liturgia. En catálogo J.A.Vincench (1995-2002), 2003.

Noceda, José Manuel. Más allá de la liturgia. Revista de arte y pensamiento. Número especial Atlántica 41-42.

 

You Tube & Google. José Angel Vincench Barrera.

 

 

 

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Forget DiCaprio: These Are The Real Stars of Art Basel Miami Beach

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Piers Secunda

Born in London, 1976, lives and works in London and New York

Piers Secunda’s aim in life as an artist is to make records of the time in which he lives. Making a record of the violent attempts by ISIS (the Islamic State in Iraq and Syria) to erase our collective cultural heritage in the Middle East is a matter of real importance and urgency to him. For this reason he traveled to the front line of the war against ISIS in Iraq in 2015 to cast ISIS bullet holes.

“Occasionally a moment occurs in which it is worth taking the risk to travel to a dangerous place. This was one such moment.”

In Art Historical terms, Secunda’s work reminds me of Picasso’s “Guernica” and Goya’s “Los Desastres de la Guerra” — but in a Postmodern minimalist way.

1995-1998 BA Painting, Chelsea College Of Art, London

1994-1995 Foundation, Surrey Institute Of Art, Farnham

Selected exhibitions including solo projects 

2016                Pergamon Works. New York University, New York (Solo show)

2016                 Engines and Panoramas. Bermondsey Project Space, London. (Solo show +Catalogue)

2015                 Raw: Word And Image. Space 776, Brooklyn, New York

2015                 Community Hospital. WhyWhyArt. Shanghai

2015                 Tribeca Film Festival. Spring Studios, New York (work donated as best documentary award)

2015                 Archived Oil. David Krut Projects, New York. (Solo show)

2014                 The Rise Of Oil. Jessica Carlisle Gallery, London. (Solo show)

2014                 The Social Bases of Abstraction. UpDown Gallery, Ramsgate. Curated by Ben Weidel Kaufmann

2014                 Art Asia in London Fair. Guus Roell Fine Art, Maastricht.

2014                 War Stories. William Holman Gallery, NYC. Curated by Anthony Haden-Guest

2014                 Art14. UpDown Gallery, Olympia, London.

2013                 One. UpDown Gallery, Ramsgate.

2013                 Winter Exhibition. Small Works Gallery, Brisbane, Australia.

2013                 Piers Secunda: A Retrospective. UpDown Gallery, Ramsgate (Retrospective show +Catalogue)

2013                 Taliban Paintings. Kuub Kulture Space, Utrecht, Holland. (Solo show)

2013                 W-A-R. Jacob’s Island Gallery, London

2013                 Let Me Introduce… UpDown Gallery, Ramsgate

2012                 Black Gold. Vegas Gallery, London

2012                 The Materiality of Paint. Fine Art Society, London

2012                 Taliban Bullet Holes. Small Works Brisbane, Australia (Solo show)

2012                 Piers Secunda. Kuub Kulture Space, Utrecht, Holland (Solo show)

2012                 L&M Arts. Hong Kong Fair

2012                 Taliban Bullet Holes. YK Art, Moganshan Rd, Shanghai (Solo show)

2012                 Paradox, The Limits of Liberty. Castrum Peregrini, Amsterdam

2012                 No One To Hear You Scream. Saamlung Gallery, Hong Kong

2012                 Immortal Nature. Edel Assanti, London. Curated by Gordon Cheung

2011                 Taliban Reliefs and Crude Oil Silkscreens. Aubin Gallery, London (Solo show). (Catalogue)

2011                 Signal8. Cat Street Gallery, Hong Kong

2011                 The Great Alonso. Primo Alonso Gallery, London

2011                 The Nature of change: Hybridity and Mutation. HRL Contemporary, London (Catalogue)

2011                 Equisite Corpse. Zero Ten Gallery, London

2010                 The City Folding Out. Yong Kang Lu Art, Shanghai

2010                 Uber Collision: Epic Fail. Idea Generation, London

2010                 The Earth Draws It. Zero10 Gallery, London (Solo show)

2010                 Mob Remedies. Gallery Primo Alonso, London

2010                 Fakirs. Island6, Shanghai, China

2009                 Tate The Biscuit. Shoreditch Town Hall, London

2009                 Piers Secunda. Island 6, Shanghai, China

2009                 Paperview. John Jones, London (curated by Danny Rolph)

2008                 The Future Can Wait: New London School, (Catalogue) Truman Brewery, London

2008                 Mashups. DACS, London

2008                 Counterpoint, British Sculpture Now and Then. Robin Katz Fine Art, London. (with Anthony Caro. Eduardo Paolozzi, Conrad Shawcross, Barbara Hepworth etc.)

2008                 Space Now. Space, London. (with Yinka Shonibare, Mark Wallinger, Saskia Olde Wolbers, Hew Locke etc.)

2008                 Superscope. Lounge Gallery, London

2007                 Piers Secunda, Paint Assemblages. Nettie Horn Gallery, London (Solo show)

2007                 The Lucifer Effect. Gallery Primo Alonso, London (with Gordon Cheung, Boo Ritson, Anne Hardy etc)

2007                 Noel Forster and Piers Secunda: Paintings and Constructions. The University Of The Arts (Catalogue)

2005                 Secret. Royal College of Art, London

2005                 The Gentle Art of Making Enemies (Catalogue)

2005                 Salon Show. Hollow Gallery, London.

2005                 Yabadabadoo. Cell Project Space, London.

2003                 Paint In 2003. Century Gallery, London. (Catalogue)

2003                 10 Selected Works. Vogue House, Conde Nast, London.

2002                 Kiosk. The Kiosk Project, London.

2000                 Paint! Tivoli Arts Co-Op, Tivoli, New York.

1998                 The Temporary Museum. (with Chris Ofili, Gavin Turk, Peter Blake, Richard Long, Bob and Roberta Smith and Cornelia

Parker, London). (Catalogue)

1996                    Roll On-Roll Off. exhibition inside a Double Deck Bus, touring art

museums, London.

1995                 August Exhibition. Sotheby’s, London.

1994                 Nicholas Thorp Gallery, London.

Articles, Reviews and Essays and Radio Broadcasts

2012                 Vreihijd Magazine (Holland) Shot Into Paint, Catherine Somze

2012                 Randian Magazine, No One To Hear You Scream, Christopher Moore

2012                 Lust And Found magazine, Piers Secunda, January 2012.

2011                 The National, (UAE newspaper) Artist Puts Crude Oil To Use To Explore Materials History, Ben East 7th December 2011

2011                 Phaidon website, Piers Secunda’s Art Attack, November 2011

2011                 FX Magazine, Taliban Bullet Holes. Anna Lewis

2011                 Resonance FM, Taliban Bullet Holes, Half hour discussion broadcast on FM Radio in London, November 2011

2011                 The Independent, Piers Secunda’s Taliban Relief Paintings, 15th November

2011                 Six Pillars, discussion of the Taliban works. LBC FM radio, London

2011                 Time Out Magazine, Hybrids. 3rd March publication

2010                 The Independent, Anti Design, Daisy Bowie-Sell 21st September

2010                 Real Magazine, Design week and Art, November/December edition

2010                 Last FM, Uber Collision Epic Fail, 18th September 2010

2009                 CN Review, Fakirs, Kai Pan, published 4th January 2010

2008                 ID magazine, Mashups, Nate Lowman

2008                 The Future Can Wait: New London School, (Catalogue)

2008                 The London Paper, Mashups, August 19

2008                 Houston Press “Paydirt: Thames Mudlarks”, Troy Schulze (work illustrated)

2008                 Art Monthly “Superscope”, Cherry Smyth, March

2008                 Time Out “Rainbow Straightener” Martin Coomer
2008                 The Guardian Guide “Rainbow Straightener”
2007                 Fash’ N Riot May 2007 Edition (work Illustrated)

2007                 Jack Wakefield, Paint Sculpture (press release)

2007                 Martin Holman, Piers Secunda: No Tub To A Whale…(catalogue essay)

2007                 David Ryan, Noel Forster and Piers Secunda Paintings and Constructions (catalogue)

2003                 Dr. Tom Learner, Head Conservator, Tate. Modern Paint (catalogue)

2002                 James Bainbridge, Mobile Art, Guardian (work illustrated)

Collections

The University For The Arts (Chelsea College Of Art)

Aquest International, New York

The Weston Collection

Findlay Asset Management, New York

Howard Corporation, New York

Gottesman Collection, New York

Moore and Moore Arts

The Museum of Photography, University of Southern California.

McWilliams Collection, Santa Barbara, California

Borsetti Architecture, New York

Katz Fine Art, London

Dr. Michael Jacobs, New York

Sid Bass Collection, Texas
Guy Merison Collection, New York

Russel Toone, London
Ng Family Collection, London

Private Collections in the UK and US

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