December 3 – 8, 2013
The CONTEXT Art Miami Pavilion
Midtown | Wynwood Arts District
3201 NE 1st Avenue
Miami, FL 33137
Middle Gate Geel ‘13, Belgium, September 29- December 22, 2013.
Middle Gate Geel ’13 is an international art event, curated by a renowned curator Jan Hoet and exhibited at numerous historical locations throughout the city of Geel. The exhibition, displaying the work of more than fifty artists from around the world, tries to come to grips with the complex and multi-layered interaction between myths, psychiatry and the arts. Rather than pinpointing the differences, the exhibition undertakes to reveal the connections and links, commonplaces and parallels of these phenomena. The historic and present-day context of the city of Geel, world-famous for its unique psychiatric care system based on home nursing, adds an extra dimension to this exhibition, so much so that the interaction between Geel and this exhibition will be palpable and visible in every aspect.
Middle Gate Geel ‘13 concentrates on three main categories: myth, psychiatry, and art. More specifically, it sets out to analyse the mutual interaction between mythical or magic-religious art, outsider art and art-as-art, ignoring differences and focussing instead on connections and links, affinities and parallels with respect to these three phenomena. This exhibition wants to do more than just “compile” a number of works that somehow refer to the three main phenomena. It has no intention of providing clear-cut answers—it merely wants to disorder and disturb what we thought we knew. Through the combination of myths with psychiatry and art, this exhibition seeks to create a mental space capable of yielding insights about the assumption of what art is—or could be.
Middle Gate Geel ‘13 is obviously not the first exhibition that zooms in on the relationship between psychiatry, myths and art, yet through its intrinsic link with the city of Geel, it acquires a uniquely rich dimension. Geel’s “foster homes” have been welcoming psychiatric patients of the Public Psychiatric Nursing Centre (OPZ) ever since the 13th century. This integration has contributed to the inclusion of patients in families’ daily lives and in the city’s activities. Geel’s home nursing system still enjoys a special status in the field of caring for the mentally disturbed. The integration of psychiatric patients in families used to be frowned upon. Today, home nursing is considered a monument (so much so that the official psychiatric term is now “rehabilitation”). This approach has aroused interest the world over—even Michel Foucault wrote about it. Geel’s home nursing system is considered a valuable model with a special ethical value. Dialogues and shared experiences of patients and non-patients abound in Geel. Middle Gate Geel ‘13 capitalises on this context and attempts to continue and intensify this dialogue.
October 26 – November 30, 2013
532 Gallery Thomas Jaeckel is proud to present the first U.S. solo show of performance artist Nadja Verena Marcin. This exhibition is held concurrently with the landmark fifth biennial of Performa in New York City.
A highlight of the show will be the world premiere of Triple F, a video of a turbulent future society where the relationships of mind and body are out of control. Inspired by the 1976 science-fiction cult film Logan’s Run, Triple F explores a world ruled by three women through their thoughts. It was shot in Germany at the neo-Renaissance Rheda castle, ’70s shopping mall Marler Stern, and historical brewery Dortmunder U. Its production was supported by Film and Media Foundation NRW, Düsseldorf.
The 532 Gallery show will also feature Zero Gravity, a stunning piece of performance art that imaginatively combines art and science. Floating weightless in a plane over Florida, Marcin revisits Friedrich Nietzsche’s Die Fröhliche Wissenschaft, going beyond the assertion that ”God is dead” to explore the deep emotional quality of the text: “What were we doing when we unchained this earth from its sun? Whither is it moving now? Whither are we moving? Away from all suns? Are we not plunging continually? Backward, sideward, forward in any direction? Are we not straying as through an infinite nothing?” Zero Gravity is a work of art that takes the audience to a new level of consciousness of both body and mind. It is sponsored by Aurora Aerospace, Florida,and WARP, Belgium.
Born in Germany, Marcin received her MFA from Columbia University, New York after graduating with honors from Academy of Fine Arts, Münster. Marcin’s creations are exhibited in museums, art spaces/galleries and distinguished collections worldwide. Her work has been selected for grants, global biennials and film festivals, including: Middle Gate Geel ‘13, Belgium, Kunsthuis Yellow Art, 2013; Coup de Ville, 2013 Belgium; VOLTA9, Basel, Switzerland 2013; Hudson Valley Contemporary Art Center, 2013; ZKM- Museum for Art and Media, 2012; DAAD, New York, 2011;’Qui Vive?’ Moscow International Biennale for Young Art, Moscow MOMA, 2010; ARTWORKinternational, Inc. Grant, 2010; Salon/Screening, ICA Philadelphia, 2010; Uncontrollable Flesh, Berkley Art Museum, 2010; Short-Term Deviation, Elizabeth Foundation for the Arts, New York; Kaunas Biennale, National Museum, 2009; Videonale 11& 10, Kunstmuseum, Bonn; Mediations Biennale, Poznan, 2008; Models of Self-Reflection, AZKM, Muenster, 2008; FIFA-Festival pour Film sur L’Art, Montreal, 2008; EJECT-Ex teresa arte actual, Mexico City; Fulbright Award, 2007; and Jumpnights, Ludwig Museum, Cologne, 2007
Born 1976 in Santo Domingo, Dominican Republic.
National School of Fine Arts and the Universidad Autónoma de Santo Domingo.
2011 Selected to be part of the “S-Files”, the 6th edition of the El Museo del Barrio Biennial in NY.
2008-07 Three awards of Excellence by The Society of News Design
2007 IX edition of the Cuenca International Biennial, Ecuador.
Nassau County Museum of Art, NY, The IDB Cultural Center
The Mexican Cultural Institute in Washington, D.C.
National Biennial of Visual Arts
XX edition of the E. León Jimenes Art Contest (Biennial), where he received the Prize for painting, both in the Dominican Republic.
2007 “Sarmiento Public Art Project” in public areas of the city of Santo Domingo.
VOLTA NY, Scope, Pinta and Arte BA.
Museum of Latin American Art in Long Beach, CA
Fundación para la Pintura, Canaria, Spain
Museum of Contemporary Drawing and the Museum of Modern Art in Santo Domingo
The Dominican Congress and in private collections in New York, London, Miami, Spain, Panamá, Venezuela, Puerto Rico and Santo Domingo.
Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin. In 2012 she was a resident artist at the Josef Albers Foundation Connecticut, USA. She was a finalist in the Guasch Coranty Fundacio Painting Prize, Centre Cultural Metropolita Tecia Sala, Barcelona (2008) and was winner of the AIB Art Prize (2007). Her work is in public collections including: Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Mariehamn Stadbiblioteque, International Red Cross Netherlands, and private collections in the USA, Australia and Europe.
1999-2000 Winchester School of Art and Design, Barcelona, MA European Fine Art
1992-94 National College of Art & Design, BA Hons painting
1987-92 Limerick School of Art & Design, NCEA Diploma Painting
2014 Two Person show with Danny Rolph, Kevin Kavanagh, Dublin
2013 Loose Ends, 532 Gallery Thomas Jaeckel, New York
2013 Solo Booth at VOLTANY , New York
2011 An Island from the day before, Kevin Kavanagh, Dublin 2009 perfect near miss, Kevin Kavanagh, Dublin
2011 Eclipse of a title, Highlanes Municipal Art Gallery, Drogheda
2008 Eclipse of a title, Centre Culturel Irlandais, Paris, eclipse of a title, West Cork Arts Centre
2007 BLIND SPOT, Limerick City Art Gallery * 2006 In a certain light, Kevin Kavanagh , Dublin * 2005 Midnight, Kevin Kavanagh, Dublin
2001 Galleri Kakelhallen, Aland, Finland *
2000 Panorama Gallery, Winchester School of Art, Barcelona
1998 Rubicon Gallery, Dublin
1996 Temple Bar Gallery, Dublin
Into the Light, The Arts Council-60 Years of Supporting the Arts
Crawford Art Gallery, Cork*
Anna Bjerger, Diana Copperwhite and Oliver Comerford, Kevin Kavanagh, Dublin
Painting Now, Ron Mandos, Amsterdam
Making Familiar; Temple Bar Gallery, Dublin, curated by James Merrigan and
Group show and Symposium: Temple Bar Gallery
VOLTA 8 Basel, Switzerland
Askeaton Contemporary Arts, Temporary public Art Commission*
The Mind was Dreaming, the world was its Dream, Diana Copperwhite, Michael Kalmbach & Hiraki Sawa, Curated by Jacqui McIntosh, Solstice Art Centre, Navan, Ireland *
The Fold, Visual Centre for Contemporary Art, Carlow*
New Works Visiting Artists, Graphic Studio Gallery, Dublin
Graphic Studio: 50 Years in Dublin, Irish Museum of Modern Art, Dublin *
Collecting the New: Recent Acquisitions to the IMMA Collection, Irish Museum of Modern Art, Dublin Regarding Painting, Kevin Kavanagh, Dublin
The Marianbad Palace, Haroon Mirza, Diana Copperwhite, Laura Buckley, Jorge de la Garza, Alicja Kwade and Ian Monroe, Highlanes Gallery and Driochead Arts Centre, Drogheda Arts Festival,
curated by Jacqui McIntosh
Abundance, Limerick City Gallery of Art
Above the Fold, Kevin Kavanagh, Dublin
Alchimie – Multiples – Papiers, Françoise Besson, Lyon, curated by Michael Woolworth, Lyon Biennale * Visiting Artists, Graphic Studio Gallery
To Have & Have Not, curated by Gemma Tipton, Kinsale Arts Week, Cork *
Group Therapy, Kevin Kavanagh, Dublin
Winter Salon, Temple Bar Gallery, Dublin
International Painting Prize, Guasch Coranty Fundacio, Tecla Sala, Barcelona *
Presence, Limerick City Gallery of Art
The Big Store, curated by Alan Butler & Rayne Booth, Temple Bar Gallery, Dublin. Group show, curated by Martin Gale Fenton Gallery, Cork
Invited artist, RHA Annual Exhibition, Gallagher Gallery, Dublin *
Other Visions, curated by Aidan Dunne, Art Critic, The Irish Times, Purdy Hicks Gallery, London
A Moment In Time, Temple Bar Gallery
Reality Show, curated by Gemma Tipton, Siamsa Tíre, Tralee
Group Show, From the Liberties to Parramatta, University of Western Sydney, Australia
Aqui/alli, Can Felipe, Poblenou Barcelona
E+va, Exhibition of Visual Art, curated by Jeanne Greenberg, Limerick City Gallery of Art * Fantastic Overload, Rubicon Gallery Dublin
Havana Biennale 2012
Installation on the Malecon
Rachel Valdés Camejo, born in Havana CUBA, on November 10, 1990.
2006-2010 National Academy of Fine Arts of San Alejandro Cuba; Golden Diploma
2008 Painting Course in Da Vinci Academy (Barcelona, Spain)
1999-2003 Painting School belonging to the Center García Lorca
Awards and Exhibitions:
2012 PINTA New York
2012 Havana BIENNIAL, Project “Behind the wall”. Work: “Happily Ever After”
2012 Havana BIENNIAL, Project “in bad shape”
2012 Group exhibition at Villa Manuela Gallery “They talk”
2011 ART AMERICA, Madrid
2011 ART in MIAMI, United States
2011 PINTA New York
2011 Scholarship for Photography in New York, sponsored by Coke & Co.
2010 Academy graduation Exhibition of Fine Arts San Alejandro
2010 Portugal Lisbon Biennale
2010 Exhibition-conference at the National Academy of Fine Arts San Alejandro
2009 Participation in Manu Chau Mural Project on the steps of the University of Havana
2009 Havana Biennial ANGEL project
2008 Group exhibition of paintings “natural landscape”
2008 Participation in the auction of part of Lot Habanos Partagas
2007 Simphosium Award in bronze sculptures of small dimension Grediaga
2007 Group exhibition 190th anniversary of the Academy of Fine Arts of Cuba.
2007 Group exhibition of paintings, with subject (communication) in SA Academy.
Participation in Art History Conference
2006 Award in the group exhibition natural drawing at the Academy of Fine Arts San Alejandro
Participation in studio and internal events in engraving art schools and ceramics.
2002 First Prize in the National Drawing Competition “I know my rights”
2001 First Prize at the Jose Marti National Drawing
Armando Marino presented at VOLTA 9, Basel
The axis of Armando Mariño’s recent work flows from the ethical dilemma implied by aestheticizing or domesticating a violent event — from the moment it becomes “breaking news” and is then converted into art through painting. He appropriates images whose authorship and authority become less important and more “everyday”, to which the public has instance access to via the web or print media, and from these Mariño launches a new kind of neo-historicism.
click on cover to view the book online free:
September 10 – October 19, 2013
We are pleased to announce Diana Copperwhite’s first US solo show in collaboration with Kevin Kavanagh Gallery, Dublin. This follows on from her succesful solo presentation at VOLTA NY earlier this year, and her residency at the Josef Albers Foundation in December 2012.
“Whose afraid of Red, Yellow and Blue” asked Barnett Newman in the sixties amid the era’s monikers of post-painterly abstraction and colour field painting. His answer, and indeed the answers of his compatriots at the time, seem to us now as stately as they are staid. They sit comfortably into the art historical narrative -the progressive imperative of Modernism. The paintings of Diana Copperwhite deliver us back into the maelstrom of colour resurrecting the fear that such charged tints and hues can conjure. Copperwhite’s colours misbehave, taunting and mocking our narrow appreciation of their emotional potential”.
-Patrick T. Murphy, Director of Royal Hibernian Academy Dublin.
Former Director of the Institute of Contemporary Art, at the University of Pennsylvania.
“Diana Copperwhite constantly mentions a musical logic and a sense of musical notation and tonality as she describes the act of painting. But, on the other hand, she insists that she does not pre-structure, that she allows one colour to suggest another, that the element of gesture and chance is essential as is the flash of insight and the swift ability then to structure it, to carry it out.”
1985 Queens College, CUNY, MFA
1983-84 Pratt Institute, Graduate Fine Arts Program 1983 Purchase College, SUNY, BFA
New York Health & Hospitals Corporation The Cleveland Clinic
B&F Capital Markets
Numerous Private Collections
Joseph F. Motto Endowed Chair, Cleveland Institute of Art, 2007-2009
Faculty Development Award, Cleveland Institute of Art, 2007
Northern Ohio Live Award for Excellence in Arts Programming, Kacalieff Lecture Series, 2006 Faculty Development Award, Cleveland Institute of Art, 2007
Pollock-Krasner Foundation Grant, 1994
Teaching Fellowship, Queens College, 1984-85
2013 Julie Langsam: Now(here), 532 Gallery Thomas Jaeckel, New York, NY
2013 Buildings & Blueprints, Espai 8, Barcelona, Spain
2012 Floor Plan Prototypes, Reykjavik Art Gallery, Reykjavik, Iceland
2008 Of Other Spaces, Frederieke Taylor Gallery, New York, NY (catalogue)
2005 From Here to Modernity, Michael Steinberg Fine Art, New York, NY
2002 Julie Langsam: House Paintings, Cleveland Center for Contemporary Art/MOCA Cleveland, Cleveland, OH
1999 Recent Work, Acme Art Co., Columbus, OH
1997 Julie Langsam, Clementine Gallery, New York, NY
1993 Recent Work, Brownson Art Gallery, Manhattanville College, Purchase, NY 1991 Julie Langsam: Recent Work, Fairleigh Dickinson University, Rutherford, NJ
SELECT GROUP EXHIBITIONS
2013 Oblique Strategies, curated by Emmy Mikelson, Peter Fingesten Gallery, Pace University, New York, NY 2012 Dirt Tongue, CCA Andratx, Andratx, Mallorca, Spain
2011 Put Up or Shut Up, New York Academy of Art, New York, NY
Hudson Valley Center for Contemporary Art Benefit Show, Robert Miller Gallery, New York, NY
2010 Paper Jam 2, Neuberger Museum, Purchase, NY
Tenth Anniversary Invitational Part II, curated by Beth Rudin de Woody, Frederieke Taylor Gallery, New York, NY
Chautauqua: A Continuum of Creativity, Denise Bibro Fine Art, New York, NY 2009 Social Structures, Art Gallery, Cleveland Clinic, Cleveland, OH
Future Tense: Reshaping the Landscape, curated by Dede Young, Neuberger Museum, Purchase, NY
2007 A House Is Not A Home, curated by Beth de Woody, Caren Golden Fine Art, New York
Michael Steinberg Fine Art, New York, NY
Momenta Art Benefit Show, White Columns, New York, NY
2006 Heaven Is A Place Where Nothing Ever Happens…Charlotte Becket & Julie Langsam, Heights Arts, Cleveland Heights, OH
Process & Promise, curated by Amei Wallach, Milton J. Weill Art Gallery, New York, NY (catalogue) Dreaming Of A More Better Future, curated by Stuart Horodner & Saul Ostrow,Reinberger Galleries, Cleveland, OH
T-Zone, curated by Peter Dudek, SmackMellon, Brooklyn, NY2004 In Polytechnicolor, Michael Steinberg Fine Art, New York, NY Spring Show, Edward Tyler Nahem Fine Art, New York, NY Drawing Faculties, Tri-C Galleries West, Cleveland, OH
2003 Group Exhibition, Institut Franco-Americain, Rennes, France, traveled to Espace Melanie, Riec Sur Belon, Brittany, France, Fondation Mona Bismarck, Paris, France
2002 25th Anniversary Exhibition, The Drawing Center, New York, NY Five, Superior (An Exhibition Space), Cleveland, OH
Out of Place, The Cleveland Foundation, Cleveland, OH
2000 Space Invaders, Clementine Gallery, New York, NY
1998 Julie Langsam, Annabeth Rosen, University Gallery of Fine Art, Ohio State University, Columbus, OH
1996 This Ain’t Phony!!!, Art Initiatives, New York, NY
The Jack or Jill Show, Fourth World, Art Without Walls, New York, NY Momenta Art Benefit Show, Ronald Feldman Fine Arts, New York, NY Momenta Art Benefit Show, Momenta Art, Brooklyn, NY
Gotcha!, curated by Odili Donald Odita, Acme Art Co., Columbus, OH
1995 Works for a Funhouse, ES Vandam Gallery, New York, NY
Gotcha!, curated by Odili Donald Odita, Momenta Art, Brooklyn, NY
1994 Split Image, Westminster Gallery, Bloomfield College, Bloomfield, NJ Organic Transgressions, Rome Art Center, Rome, NY
1991 Fabricant, Langsam, McGiff & Wright, curated by Robert Berlind, Visual Arts Gallery, Purchase College, Purchase, NY 1987 Selections 35, The Drawing Center, New York, NY
2007 Langsam, Julie, catalogue essay, The Big Bang, curated by Julie Langsam, The Cleveland Institute of Art 2004 Cohen, Joanne, & Langsam, Julie, catalogue essay, It’s A Wonderful Life: Psychodrama In Contemporary
Painting, curated by Joanne Cohen & Julie Langsam, SPACES
2002 Langsam, Julie, catalogue essay, Arte Povera American Style: Funk, Play, Poetry & Labor, curated by Julie Langsam & Bruce Checefsky, The Cleveland Institute of Art
Hilmarsdottir, Lara, “Faest vith byggingarlist landslag og haleita fegurth,” Morgunbladid, 25 July, 2012 Tocci, Elora; “Impossibililty of Perfection…” The Chautauquan Daily, July 29, 2011
Gilmore, Jonathan; “Reviews; Julie Langsam at Frederieke Taylor”, Art in America, March, 2009 Carrier, David; “Pic of the Day” Artcritical.com, Dec 8, 2008
Ostrow, Saul; “Interview w/ Julie Langsam”, Julie Langsam: Of Other Spaces (catalogue) 2008
Carrier, David; “Julie Langsam’s Architectural Surrealism”, Julie Langsam: Of Other Spaces (catalogue) 2008
Genocchio, Ben; Today’s Landscape’s, Tomorrow’s Dystopia, NY Times, June 1, 2008
ArtWorks, Cameron, Dan; Lewis, Toby; Morrison, Tony, DAP, 2007
The Collector As Curator:Beth Rudin DeWoody , Saatchi Gallery Online, www.saatchi-gallery.co.uk/quick- critique/index.php?show_id=The+Collector+as+Curator–Beth+Rudin+DeWoody&
Process & Promise, curated by Toni Greenbaum, Edward Lebow,Margaret Matthews-Berenson & Amei Wallach, Milton J. Weill Art Gallery, NYC, full color catalogue
Henderson, Stephen, “Out of the Shadows” House Beautiful, February, 2005
Johnson, Ken, “Weekend Arts”, The New York Times, Dec 2, 2005
Utter, Doug, “Lonely At the Top” The Plain Dealer, October 28, 2005
George, Ben; Jones, Jeff, P., “From the Editors”, Fugue, University of Idaho, Summer 2005, Vol. 29
Keats, Jonathan, “The Art of Architecture” Dwell, September, 2003
Ostrow, Saul, “Julie Langsam” Bomb, Spring, 2003
Mansour, Judith, “Bring In the Funk”, Cleveland Magazine, Dec 2002
Bracken-Sparks, Amy, “Mélange, American Style” Northern Ohio Live, Nov 2002
Litt, Steven, “Art: House Plans…”, The Plain Dealer, Nov 9, 2002
“Interview with Dee Perry” Applause, WVIZ-TV & WCPN, aired Nov.14,16,17,2002
Litt, Steven, “Exhibits Focus on Lewis, Gehry … Unique Collaboration”, The Plain Dealer, Oct 6, 2002
Tranberg, Dan, “House: Case Study Cleveland” The Plain Dealer, June 5, 2002
Kalm, James, “ Reviews: Space Invaders @ Clementine”, NY Arts International , Feb 2000
Litt, Steven, “Gallery Reviews” , The Plain Dealer, Nov 24, 1998
“Interview with Dee Perry”, Around Noon, WCPN, aired Nov 25,1997, Cleveland, OH
Dailey, Meghan, “Stephen DiCillo & Julie Langsam @ Clementine Gallery, NY”, Art Net Magazine, Feb, 1997
Schoenfeld, Alissa, “Julie Langsam at Clementine Gallery” Critical Review, Jan 1997
Gallery Beat, episode# 016, aired Jan 18, 1997, New York, NY
The New York Times, Dec 22, 1996, reproduction- Arts & Leisure Guide
Litt, Steven, “Art Review”, The Plain Dealer, Nov 14, 1996
Gallery Beat, episode # 002, aired May 26, 1996, New York, NY
Davis,Caren, “Portrayals of Women” Brooklyn Woman, July 1996
“Acme Leaps Into February” Columbus Alive, Jan 31- Feb 6, 1996
Jacques, Geoffrey, “Gotcha! Momenta Art” Cover Magazine,Vol.10, No.1 Holidays, 1996
Gallery Beat episode #79, aired Sept 18, 1995, New York, NY
Chapman, Frances, “Momenta Art” Waterfront Week, Vol.5.19, Sept 21- Oct 4, 1995
Watkins, Eileen, “Art” New Jersey Star Ledger, March 22, 1991
May 17 -June 30, 2013
May 30 – July 11, 2013
A painter and draftsman by calling and choice, Gerard Ellis establishes an interesting dichotomy between the practice of painting and social critique. His pictorial work is highly expressive and vigorous for those who directly or indirectly participate in the multiple strata of the contexts of which this artist speaks. The violence, corruption and lack of willpower characteristic of our times are central topics of his meticulous pictorial work. There is a studied connection and interdependence between what is his work and what constitutes his life experiences, which translates into a certain underlying politicization of life’s experience. Self-referential and sometimes autobiographical, his dynamic yet intensely personal and authentic compositions serve on dual levels; not only are they effective in presenting the viewer with truncated iconoclastic narratives, but they also possess a strong visual vocabulary of technical styles.
Ellis competes in a direct relation to the animal, this time, no longer domestic (an owl, a cybor-dog, among others) with the man and are constant companions to the figures in the paintings. Equipped with a dramatic quality, the plastic movement of each one of the works speaks of speed and stillness, paralysis and aggression, being the diachronic dichotomy of the mental movement of the spectator.
Born in Santo Domingo, Dominican Republic in 1976, he graduated from the National School of Fine Arts and the Universidad Autónoma de Santo Domingo. Selected to be part of the “S-Files”, the 6th edition of the El Museo del Barrio Biennial in NY, 2011. Has been recognized with three awards of Excellence by The Society of News Design, 2007-2008. In 2007 was invited to be part of the IX edition of the Cuenca International Biennial, Ecuador. His work has been exhibited in group shows in the Nassau County Museum of Art, NY, The IDB Cultural Center and The Mexican Cultural Institute in Washington, D.C. Selected to be part of the National Biennial of Visual Arts and the XX edition of the E. León Jimenes Art Contest (Biennial), where he received the Prize for painting, both in the Dominican Republic. He participated in the “Sarmiento Public Art Project, 2007” in public areas of the city of Santo Domingo.
International contemporary art fairs include: VOLTA NY, Scope, Pinta and Arte BA. His work is in the permanent collection of the Museum of Latin American Art in Long Beach, CA; Fundación para la Pintura, Canaria, Spain; the Museum of Contemporary Drawing and the Museum of Modern Art in Santo Domingo; The Dominican Congress and in private collections in New York, London, Miami, Spain, Panamá, Venezuela, Puerto Rico and Santo Domingo.
Avenues recent visits to the Paint and Memory exhibit by English painter John A. Parks was a fun experience with the children immediately responding to the finger paintings. They also toured the map paintings of London, pointing to places they knew or recognized by name.
In praise of the revolution May 4th, 2013
” I think Marino is one of the great artists of modern times. Look at the passion, the energy, the drive, the rage, the imagery: it’s magnificent.” Donald Rubin
June 10-15, 2013
We look forward to seeing you at Volta9 in Basel for the presentation of new works by Armando Marino and Nadja Marcin.
For additional information please contact the gallery.
Helsinki- Strasse 5
This exhibition features several recent paintings from Langsam’s long-running series of banded montages that set nearly monochromatic, tightly rendered views of iconic modernist buildings on top of a band of gridded abstract motifs inspired by classic modernist paintings and beneath ominously lit skies that invoke Romantic landscape painting. The skies are, in fact, loose renderings (rather than transcriptions) of skies from Hudson River landscape painting, but they also uncannily recall the pre-Romantic Baroque skies of Giovanni Lanfranco (1582-1647), who himself anticipated Goya in his St. Augustine cycle. This circuitous route of painterly iconography underscores Langsam’s own “passion” for painting and Modernism, where even Romanticism is revealed to be a construct with foundations appearing close to two centuries earlier than what is held to be its historical moment.
The three spaces in her paintings are thematically linked and illusionistically self-cancelling. The “landscape” is pure design, the “photographic” Corbusier or Neutra house refuses to be illuminated by either the pattern below or the ominous atmosphere above. Langsam has described this conflicted space as a “ ‘nowhere’ – which can only exist in the fiction/reality of painting.” For Langsam, this “nowhere” is symptomatic of our desire for unrealizable sublimities proposed by Modernist ideals. At the same time, she regards herself as just a susceptible to these same desires. A lapsing Modernist, Langsam trades a narrow purity for enriching irony, while refusing to relinquish an ambition for a formal beauty and movement. Painting, for Langsam is a visual site for negotiating with her faith and disappointment. Like a good nouveau realisme film, her paintings are funny, sad, and grand.
Above: Le Corbusier Landscape (Villa Stein)
Oil on canvas 72″x96″
Zum guten Schluss die Volta. In neuem Quartier auf der Mercer Street (ein Wechsel, der gut tat) schlug sich die Einladungsmesse wacker. Obwohl aus Soloshows bestehend, hatte man den Eindruck, dass die Volta so ist, wie die Independent es gern wäre. Großerfolg für die 532 Gallery Thomas Jaeckel, der dem artmagazine.cc sagte: „Fantastische Messe! Bei uns läuft es unglaublich gut. Wir haben viele Sammler schon in die Galerie mitnehmen können.“
February 21 – March 30, 2013
Tatjana Busch, “Fusion“ a synthesis of objects with light, sound, color and motion.
“It could be like this and it could also be like that…,” says Tatjana Busch. But not until we see her latest works in this exhibition, does her meaning become truly accessible. Conceptually, her earliest works appear even more tightly regulated by the obvious influences of the strict, geometric, coloured forms we know from the Bauhaus and Russian Suprematists. Their intuitive shapes continue to spring from Busch’s innermost world, just as they did years ago. Permeating her entire body, they are finally given material form in the outside world by her hands, seeming more carefully planned than they actually are. Her latest works, however, appear to break with any dependence whatsoever on art history. They free themselves even from the shackles of physics and burst forth into freedom and openness – a freedom and openness to which the observer must surrender himself if he is to appre- ciate the true dimensions of these works.
The light installation “Fusion” invites us to broaden our consciousness. It abducts us into a fully-fledged show that immerses the observer into a real-time synthesis of light, form, colour, sound and movement – a synthesis in which the observer loses himself, dissolving, then ultimately uniting with the artwork itself to create a common, new cos- mos.
Initially this bent, folded, silver-shining sculpture named “Fusion” consists merely of outer forms. But it also harbours an inner, hidden form, one that might be referred to as its “inner potential”. This reaches far beyond the visible. It is the energy, the attraction of this artwork, whose extended reach commands the space around it and seeks even to stretch beyond it. The extent of this becomes apparent through the movement of the rays of light that meet its sur- face and create dynamic light-paintings, light-clouds and light-worlds. As they do so, these rays consistently extend, modify and distort the sculpture’s external form. What had initially seemed so static and immutable is sounding out new frontiers all the time, revealing forms that flow and stream. The outer space suddenly consumes the observer, engulfing him to make him part of the artwork itself. The void is no longer a void. Everything hangs together, merges.
Although essentially two-dimensional, the “Goldbubble” and “Hushbubble” videos trick the observer into seeing three-dimensional, dancing, reflecting water worlds. Penetrated by magical clouds of energy, these are immersed in the meditative sound-worlds of composer and former Passport bass guitarist Wolfgang Schmid – worlds inhabited by light orbits and other light creati- ons before they sink into the depths of a planetary universe, worlds which at the same time echo the holistic notion to represent the depths of one’s own inner world.
And finally there are the Snapshots. Created from such kaleidoscopic movements, these still-life photographs of “Fu- sion”, “Goldbubble” and “Hushbubble” would have the observer believe that the ‘Now’ can be captured, that the eternal flow of time and spread of space can be halted.
But can they really? Could this be the way things are? Or could they equally well be different?
Our hopes for a conclusive answer to these questions will be in vain. With their claim to absolute freedom, these works categorically exclude any such possibility. After all, it is freedom that tells us things could be the way they are, but that they could equally well be different. The observer is left completely to his own devices.
Text: Kat Schütz, Sarasota
Translation: Melanie Gridlestone, Munich
Please join us for the Solo presentation of Armando Marino at VOLTA NY
“Marino is a romantic painter—his nature has the seductive abundance often found in traditional romantic landscape painting, as Tree of Life, 2012 makes clear—but he is an ironical romanticist, one might say a disappointed romanticist, as The Revolutionary, 2013 strongly suggests”
In 2011 Mariño was Artist in Residence at the Bronx Museum and recipient of the Pollock-Krasner Grant.