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.
José Angel Vincench
Holguín, Cuba, 1973.
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,
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.
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.
APT Studios. Londres, Inglaterra. (Marzo-mayo 1999)
Fordsburg Artists’ Studios. Johannesburgo, Sudáfrica. (Julio-septiembre 1999)
Cuban Artists Found. New York, 2004.
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.
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.
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
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)
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
December 2 – 6, 2015
CONTEXT Art Miami Pavilion | Midtown Miami – Wynwood
2901 NE 1st Avenue | Miami, FL 33137
BOOTH CTX 41
October 1 – November 25, 2015
For his first solo show at 532 gallery Danny Rolph presents a new body of work made over the last year. The visual impact of Rolph’s works engages the viewer’s senses in a delicious ferment. The high velocity color and fractured narratives explored in these recent paintings show an uncompromising commitment to explore the compositional potential on all the canvases and triplewall plastic that he works upon. Many references populate these new works. The influence of Pop Art as well as Vermeer’s studio narratives and Tiepolo-like skies are located in the sharp, delicate, clean, irregular and emotive compositions he employs. They are spatially indulgent and adhere to a vocabulary indebted to the power of visual discovery.
Rolph has an MA in painting from the Royal College of Art, London and was awarded the Rome Scholarship at the British School at Rome. He is a professor of Fine Art at Bucks New University and is a visiting lecturer at the Royal Academy Schools, London. Rolph’s recent solo exhibitions include ‘Paradiso’, Barbara Davis Gallery, Houston 2014; ‘Atelier’, E.S.A.D. Valence, France 2013; ‘kissing balloons in the jungle’, Poppy Sebire gallery, London 2012 and ‘ten minutes from now’, Eden Rock Gallery, St.Barths, Caribbean 2011. His work is represented in many international collections including the Metropolitan Museum of Art, New York and the Tate Gallery, London.
Suburban Scenes, Poetic Paintings and Apocalyptic Art
Jessica Rohrer, Darrell Nettles and Jorge Tacla in this week’s Fine Art
Darrell Nettles’s paintings, gallery press materials say, “are ergodic in the deepest and most satisfying sense of the word.” Ergodic is a math/physics term indicating a system that operates over both time and space. Applied to the handsome, elegantly ordered letter-and-word pictures of Mr. Nettles (b. 1948), it seems to mean that the viewer is intended to appreciate them both spatially as paintings and sequentially, as texts to be read.
In terms of the former, the artist does a fine—actually, a refined—job. “When You Look at Me” (2014), at 82 by 60 inches one of the two big paintings in the show, is as dignified as a diplomat’s three-piece suit. Two smaller near-abstractions with partial letter shapes incised in thick white or black paint are more vigorously arresting.
The exhibition slumps a little in the midsize panels (about 3 feet high by 2 feet across) with sprayed-and-masked-off whole words. In them, the painting quotient is less, the poetry part greater. The poetry is conventionally abstruse, but not much more than that.
June 4 – July 3, 2015
The paintings by Darrell Nettles in Broken Verse are ergodic in the deepest and most satisfying sense of the word: although they require a great deal of effort to unlock their secrets, the engagement they demand makes an encounter with them a rich and rewarding experience. Nettles’ linguistic impressionism employs the gravid ambiguity of language to reveal its deeper treasures; his visual meditations on the images and sounds of human communication owe as much to Klee and Kandinsky’s conflations of visual and musical composition as they do to the playful semantic games championed by the wordsmiths of Dada, Fluxus, and Pop.
Broken Verse is anchored by a series seven-foot-tall canvases arrayed edge to edge with dense pseudo-cryptographic patterns of thin block letters that are tightly juxtaposed and overlapped on soft-edged crossword puzzle grids. Elements have been added, effaced, and replaced into dense palimpsests; words emerge and sounds arise as the eye follows its own course. An underlying architectonic uniformity hints at a clandestine dialogue between the canvases. They speak from their own side with the compelling but exasperating self-assertion found in ancient cyphers and obscure old alchemical engravings.
In his most recent paintings, Nettles has gravitated toward texts that are more immediately legible on first glance, yet ultimately no less mysterious. Snippets of conversation torn from everyday life run from top to bottom in a font that recalls hand-stenciled shop signs; disjunctions and deliberate sidetracks are the mortar that holds them together. Phrases are stacked, clashed, amputated, and sometimes ripped apart and scattered chaotically. The resulting bits of quasi-proclamation and pseudo-communication are both sinister and amusing by turns, calling to mind the gentle snark of Ed Ruscha’s late-1970s word pastels: “drug allergy fake” loiters just far enough from “radical wonton” to establish plausible deniability. Ghostly snippets of text murmur faintly in the background like a mildly sarcastic chorus, echoing, multiplying, and subverting surface meanings (is that “permit tonight” or “hermit night”?). Behind the chatter’s misdirection is the nagging sense of a deeper significance that awaits excavation and exegesis. Nettles’ works dare us to acknowledge the primal and sometimes neurotic need we have to make sense of it all, and the magical ability that language has to both fulfill and thwart that need.
Pictured: Darrell Nettles When You Look A t Me, 2014 Acrylic on canvas, 82″ x 60″
For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at firstname.lastname@example.org
As he wraps up a fellowship at Harvard, the artist reflects on the experience and what comes next
Steven Heller in conversation with John A. Parks on his new paintings and show In New York.
New Paintings by Julie Langsam
April 30 – May 30 2015
In addition to the on-going ‘landscape’ series, Langsam continues to introduce new structures to her body of architectural scenes. Small brightly-colored paintings of floor plans assert the abstract qualities of the architectural blueprint, a two-dimensional depiction of a three-dimensional space. A large collaged floor piece made out of carpet depicts the floor plan of the Director’s Housedesigned by Walter Gropius in Dessau, Germany for the Bauhaus school. Color in these works is chosen through a random system.
In a series of drawings presented in a grid, walls are redacted and covered, [parts of buildings and the adjacent landscape] are replaced with a field of graphite gray. This [simultaneous veiling and overlay] conveys an absence, a void to be filled, but also embodies a curious push/pull effect: the graphic blocking and blotting out of surfaces serves as an intermediary screen that disrupts a structural coherence in reading these pictures. Gray squares, rectangles, trapezoids jump from drawing to drawing. While these images appear historically distant, they are also reanimated.
Langsam’s work playfully negotiates and questions the legacy of modernism on contemporary culture. Representations of toxic landscapes reference the painterly sublime, serving as the ground for modernist architectural marvels, structures that evoke notions of failed utopias. Her work is rendered in a curious flatness, where edges of iconic formalist, modernist paintings are flanked against photographic representations of the building. For Langsam, the canon appears less as a ‘barricade to storm than a ruin to pick through. The works presented suggest an attempt to navigate multiple legacies at once negotiating personal memory with art historical and institutional history.
February 20th, 1966. Ciudad Habana, Cuba
Lives in Spain
1989 Higher Institute of Art (ISA), Ciudad Havana, Cuba.
1984 “San Alejandro” Art Academic, Ciudad Havana, Cuba.
2015 Visiting Fellow Hutchins Center, Harvard, Cambridge, MA, USA
2010 Artist in Residency Mattress Factory Art Museum, Pittsburgh. PA, EUA.
2003 Artist in Residency. El Museo Diego Rivera & Francisco Oller, Buffalo, NY, USA.
2002 Guest Professor. Tufts University, Medford, Massachusetts, USA.
Guest Artist. Ceramic Workshop. Harvard University. Boston, USA.
Museo Nacional de Artes, Cuba.
Jersey City State University, USA.
Cuban Embassy, China.
Foundation AMBA, Brazil
Hainaut City Hall, Belgium.
Museo del Humor, San Antonio de los Baños, Cuba.
Bratton Gallery, New York, N.Y., USA.
Southside Gallery, Oxford, MS, USA.
La Boheme Fine arts Gallery, Miami, FL, USA.
Cinque Gallery, New York, N.Y., USA.
Center for Cuban Studies, New York, NY, USA.
Arte y Naturaleza, Madrid, Spain
Peggy Crafitz Collection, Washington DC, USA.
Chris Von Christierson Collection, London, UK.
Shelley and Donald Rubin Collection, New York, NY, USA.
W.E.B. Du Bois Institute for African and African American Research, Harvard University, MA, USA
2016 Upcoming Jaeckel Gallery New York City
2015. Presión Contenida Charpa Gallery, Valencia, Spain
2014 Corridas y Venidas. Breese Little Gallery, London, United Kingdom.
2012 Cannival / Carnival. Elio Rodríguez and Douglas Pérez. Bresse Little Gallery, London, UK.
Selva en las Paredes. Pumps Project, Las Cigarreras, Alicante, Spain
2009 Ceiba Negra Contemporary Art Center L ́Escorxador, Elche, Alicante, Spain.
2007 Remakes Frick Fine Arts Gallery. University of Pittsburgh, Pittsburgh, PA. USA.
2006 Elio Rodríguez/Mayra Alpizar. Cervantes Institute. London, United Kingdom.
Ceiba (with artist Susana Guerrero) IX Havana Biennial. Provincial Center of Art Gallery, Havana City, Cuba.
2005 Remakes Gallery 23 y 12, Havana City, Cuba.
2003 Quilts & co. Open Studio, VII Havana Biennial. Casa Gaia, Teniente Rey # 157, H. Vieja, Havana City, Cuba.
2001 El Macho: Made in Cuba El Museo Diego Rivera & Francisco Oller, Buffalo, NY, USA.
2000 Vogue Ludwig Foundation of Cuba, Havana City, Cuba.
Elio Rodríguez UNEAC/ Nicolás Guillén Foundation, Havana City, Cuba
Elio Rodríguez/René Peña Galerie Winance-Sabre, Tournai, Belgium 1999 Mulatisímas “La Casona” Gallery, FCBC, Havana City, Cuba.
1997 La Gran Salsa “23 y 12” Gallery, VI Havana Biennial Havana City, Cuba.
1996 Las Perlas de tu Boca Gallery Serigraphy Workshop, Havana City, Cuba.
1995 Paladares Alternative Gallery “Espacio Estudio”, Havana City, Cuba
Paladares Student Union Gallery, Jersey City State University, NJ, USA.
1994 Tropical Gallery House of Young Creator, V Havana Biennial, Havana City, Cuba.
Recent Works Arts Space Gallery, Jersey City State University, NJ, USA.
1993 Morboutopías Center for Development of Visual Arts, Havana City, Cuba.
1991 El Macho Centro Provincial de Arte, Havana City, Cuba.
¿Mami, qué será lo que quiere el negro? Art Faculty Gallery, Havana University, Havana City, Cuba
Harvard University, Thompson Room, Barker Center, Cambridge, MA, USA (Feb 2015)
Du Bois Institute for African and African American Research, Harvard University, MA, EUA (feb. 2012) New York University, New York, NY, USA. (oct, 2010)
CUNY. Graduate Center. New York University, NYC. USA. (Nov. 2007)
Connecticut University, Hartford, Connecticut. USA. (Oct. 2007/Oct. 2010)
Pittsburgh University, Pittsburgh. USA. (Oct. 2007/Oct 2010)
Centro Provincial de Artes Plásticas y Diseño, Habana, Cuba (March. 1997)
Centre of Development of Visual Arts, Havana City, Cuba (Sept. 1998)
Massachusetts College of Art, Boston, Massachusetts, USA. (Oct. 2001)
University at Buffalo, State University of New York, USA (Nov. 2001/Oct. 2002/Nov 2007)
Hunter College, New York, NY, USA (Sept. 1995)
Rutgers State University, Newark, NJ. USA. (March. 1996)
Jersey City University, Jersey City, NJ, USA (1995/96/97/2000/2002)
Mississippi University, Oxford, MS, USA (1998)
Tufts University, Medford, Massachusetts, USA. (Oct. 2001)
Sumei Interdisciplinary Arts Center, Newark, NJ, USA (1995/1996)
Arts University “Miguel Hernández”, Altea, Alicante, Spain. (Oct. 2005)
2015 En Voz Alta Thomas Jaeckel Gallery, New York, NY,
Bodegón Fabrica de Arte Cubano, Havana, Cuba
Drapetomania Cooper Gallery, Cambridge, MA, EUA
2014 Iconografias de la Desobediencia Punto Gallery, Valencia, Spain
Manipulación Mediática en el Arte Cubano Contemporaneo Center of Development of Visual Arts, Havana City, Cuba
Drapetomania Diáspora Museum, San Francisco, LA, EUA
Consonantes. Serigrafías del Taller Christian Walter Fundacion Antonio Gala, Cordova,
Drapetomania The 8th Floor Gallery, New York, NY, USA
2013 Citizens of the World. Cuba in Queens. Queens Museum, New York, NY, USA.
Drapetomania. Center of Development of Visual Arts, Havana City, Cuba.
Drapetomania. Art Provincial Center, Santiago de Cuba, Cuba.
2012 El Deporte, Derecho del Arte (parte I) Gallery Espacio Abierto, Havana, Cuba.
Queloides. Race and Racism in Cuban Contemporary Art W.E.B. Du Bois Institute for African and African American Research, Harvard University, MA, USA
2011 Ya se Leer Wifredo Lam Center, Havana City, Cuba.
Cuban Gold. Contemporary Cuban Prints London Print Studio, London, United Kingdom.
Queloides. Race and Racism in Cuban Contemporary Art 8th Floor Gallery. NYC, EUA 2010 Without Masks Johannesburg Art Gallery, Johannesburg, Sudafrica.
Queloides. Race and Racism in Cuban Contemporary Art Mattress Factory Art Museum, Pittsburgh. PA, EUA.
2009 Queloides. Race and Racism in Cuban Contemporary Art Centro Wifredo Lam, Havana City, Cuba
X Bienal de la Habana. Genero (Trans)Genero y los Degenerados. Centro Cultural Bertold Berth. Havana City, Cuba
Diana Copperwhite, an Irish painter living and working in Dublin, deserves more attention than she currently receives. Her “Shadowland,” a colossal, color-filled expressionist work humming with energy, brings to mind Richter and others from the new European school.
John A. Parks
New York Paintings
March 26 - 6 pm through April 25, 2015
Once again it is a great pleasure to exhibit new paintings by John Alexander Parks and most especially because he has recently been making paintings about New York, his adopted home for more than three decades. For much of this time Parks has painted subjects that bear on English life using his vantage point as a British exile. Those pictures are often at once nostalgic and gently ironic. Parks brings a new energy, lively wit and considerable poignancy to his very personal vision of New York.
A gifted colorist, sensitive draftsman and delightful handler of paint, Parks mixes whimsical humor and enormous sympathy for his subjects. His works are inviting, accessible and entertaining but their full import can take time to sort out and fully savor. They are the paintings of an artist who is thoroughly and wonderfully engaged with the world around him.
Although he has kept a modest profile as an artist Parks has accrued some serious critical acclaim over the years. Writing in the New York Times as long ago as 1982, the great critic John Russell described Parks as “…a true poet in paint and something of a find.” In December of 2012 Roberta Smith, the current chief art critic of the Times, described Parks’ painting as “…a treat to discover.”
Parks was born in Leeds, England in 1952, and studied at the Royal College of Art in London. He has lived in and around New York since 1976 and was represented for many years by Allan Stone, the legendary art dealer and gallerist. He is a member of the faculty of the School of Visual Arts in New York where he teaches drawing and painting. He recently authored a general introduction to the world of art entitled “Universal Principles of Art,” Rockport Publishing, 2014. His work is in the collection of the Victoria and Albert Museum, London, the Museum of the Rhode Island School of Design and many others.
February 27 – March 21, 2015
Opening Reception, Thursday February 26, 6-8pm
Curated by Rachel Weingeist
We are pleased to present En Voz Alta (Aloud), an exhibition of works by twelve Cuban-born artists: María Magdalena Campos-Pons, Alberto Casado, Duvier del Dago, Meira Marrero & José Toirac, Liudmila & Nelson, Yunier Hernandez, Joseph Michael Lopez, Armando Mariño, Douglas Pérez Castro, Reynerio Tamayo, Carlos Rodríguez Cárdenas, and Elio Rodríguez – seven living in Havana, four in the United States and one in Europe.
The steady erosion of the United States embargo against Cuba, since 2009, has given hope to many there and abroad that normalization between the two countries is possible. On the island, opportunity, or the perception of it, are more plentiful than ever. Many Cubans are celebrating the potential bounty, hoping that electronic connectivity and open trade are now or soon will be within reach.
The educational system in Cuba has produced prolific and undeniable talent whose artwork is now being lauded by art critics, curators and collectors as the best-kept secret in the art market today. The process of passing on a lineage under the Cuban system of student to artist to professor is as persistent and durable as Cuban culture itself.
En Voz Alta “gives sudden voice to an easy coupling of artists,” according to Rachel Weingeist, the curator, who wanted to respond to “the emotions that Cuban artists are expressing – generated by the recent political shifts.”
Everyone wants to know what is next in Cuba’s future. Perhaps artist duo Meira Marrero and José Toirac’s tarot card deck, bound in leather of 24 cards, titled Profile, will shed light. This work is charged with symbols inspired by the iconic interview that resulted in One Hundred Hours with Fidel, the infamous tell-all in the words of the Revolutionary himself, published in 2006.
In this exhibition, as art often manifests, humor and the realities of daily routine are intertwined. All of the artists in this show are influenced by current and recent political events: Douglas Perez’s painting, December 17th in the White House, refers to President Obama’s announcing the restoration of a diplomatic relationship with Cuba, and we witness Michelle and Barack Obama dancing on a banquet table, dishes flying in celebration. Duvier del Dago, well known for his light and string drawings, positions a larger-than-life nude Cubana at a podium set in a futuristic public square, orating to a raucous and fictional crowd. María Magdalena Campos-Pons, revered for her sensual imagery, offers Unspeakable Sorrow, a ceremonial black-on-black portrait of despair, loss and abandonment, a howl, in which the flowering Amaryllis is the only trace of life or color.
Rachel Weingeist is a contemporary curator and cultural advisor who has curated over twenty-five Cuban exhibitions that range in theme and scale. Over the last five years, Weingeist built the largest private Cuban art collection to date and created the first contemporary Cuban video archive, which has traveled widely. She is a member of the Harvard Cuban Studies Advisory Board and actively participates internationally in cultural and political dialogue.
Image: Duvier del Dago, The Story Belongs to the One Telling It, 2014 Watercolor & Ink on Paper 28 x 39 inches
PULSE NEW YORK
125 West 18th Street New York, NY 10011
Diana Copperwhite Skanner Darkly 2015
Oil on canvas, 72 x 96 inches
Danny Rolph JV3 2014
Oil on Canvas, 84 x 72 inches
2015 ’Recollection’, Jaeckel Gallery New York, USA
January 17 – February 14, 2015
532 Gallery Thomas Jaeckel presents an exhibition of work by Ira Richer.
Including recent paintings and earlier works in Formica that were shown at Nosei Gallery.
When describing the work Anthony Haden-Guest writes:
These pieces combine deft materiality and wit. As with the hammer, the magnet, the exclamation point, the scribbled title in “Gulf”. So too the paintings. Richer’s palette inclines to early summer and isn’t scared of black. Note the shadow in “The Yellow Cave”. His line can be at once elegant and muscular as in the “Massage”Painting in a way reminiscent of early Hockney – and there’s nothing whatsoever wrong with that – but where Hockneys are purposefully allusive, something anecdotal, these are simply what they are. A fully-formed figure is often a presence, as dominant as in Munch or Dubuffet, but as with these artists, they are not borrowed from elsewhere. The picture-plane is the petri dish in which they exist. Nothing decorative, every form has meaning, but it is often enigmatic.
An engaging shape that is central to two canvases looks somewhat like a tuber or – it is pinkish – might it be a human organ? It doesn’t matter. Richer’s form happens to be based on a female figure, bending. Behind her, on one canvas is the table at which Cezanne’s card players are seated and the other seems to sport black shoes and gloves. Hamlet, toying with Polonius, says: Do you see yonder cloud that’s almost in shape of a camel? Decoding forms is a natural function of the brain.
So the paintings in the show look kind of radical in a period of when so much that floats its seemingly critic-proof way through the market looks strategic rather than felt. “When I think of Munch’s Scream. I think how lucky he was to have a pier to scream on above Oslo, by himself all alone.” Ira Richer says, “Man has become a species whose land is reduced to a table top. His existence is engineered and contorted by others. And the last indignity- is- we have to hold our smile”. I see fugitive signs that the times may be a-changing though.
These paintings are such signs of life.
Ira Richer studied at Cooper Union (BFA) and at Yale University (MFA). Ira is a Professor of Drawing and Advanced Painting at the School of Visual Arts, New York. His work is in the collection of the Vincent van Gogh Foundation Arles, France; the Bob Blackburn Collection/Smithsonian Institute; the J.Patrick Lannon Foundation; the Francisco Pellizzi collection; the collection of Lucien, Yolande and Ann Clergue among others.
Armando Marino, The Raft ( La Patera) 2014 , Bronze, 50x 23×20 inches
The CONTEXT | Art Miami Pavilion Midtown |
Wynwood Arts District 2901 NE 1st Avenue
Miami, FL 33137 www.contextartmiami.com