Author Archive
Tanja Selzer
Tanja Selzer draws her motifs from the daily media-related flood of images as components of human sceneries, figures in wild natural scenes or single persons and animals in front of or inside a natural background. She changes these images by composition, shift of colour and an ease of paint application, so they appear in the guise of a pretended, mostly idyllic scene.
1993-1999 studies at the University of Applied Sciences, Department of Design, Hamburg, Germany
2003-now lives and works in Berlin, Germany
Solo Exhibitions
2012 September 8th – October 13th, janinebeangallery, Berlin
2011 „Keine Tränen für die Kreaturen der Nacht“, janinebeangallery, Berlin
„Sabotage“, art.ist Galerie, Castrop-Rauxel, Germany
Galerie Mühlfeld+Stohrer, Frankfurt a. M., Germany
2010 „Gib mir dein Rot“, janinebeangallery, Berlin
„Nothing Happened“, Galerie Mühlfeld+Stohrer, Frankfurt a. M., Germany
2009 „Surface“, Verve Gallery, Berlin
2007 „New Works“, Galerie Andreas Engler, Berlin
2006 „Full Coverage“, Galerie Andreas Engler, Berlin
Group Exhibitions
2012 „KREATUREN“, painting, photography, video and sculpture, Tanja Selzer, Sabine Wenzel, Sevrina Giard, Kerstin Grimm, janinebeangallery, Berlin
„Eros und Thanatos“, April 28th – May 26th, Collection SØR Rusche Berlin/Oelde, Baumwollspinnerei, Leipzig, Germany
2011 „SATT“, Kunstverein artmx.eV, during Lange Nacht der Museen, Cologne, Germany
532 Gallery Thomas Jaeckel, New York City, USA
„Röhrender Hirsch“, Galerie Karin Sutter, Basel, Switzerland
„HotSpot Berlin – Eine Momentaufnahme“, Georg Kolbe Museum, Berlin, featuring a benefit auction with Simon de Pury
„WANTED“, janinebeangallery, Berlin
„Kreaturen“, Kunstverein Lemgo, Germany
„Kreaturen“, Galerie Bernau, Germany
2010 „NORDSCHAU 4 – Neue Blicke in die Kunstsammlung der HSH Nordbank“, Hamburg, Germany
Café Endlager, curated by Ralf Schmerberg, Stuttgart, Germany
2009 „Idyllic Abysses“, Lucas Carrieri Gallery, Berlin
„8 Years Gallery“, Galerie Mühlfeld+Stohrer, Frankfurt a. M. , Germany
„NORDSCHAU 1 – Blick in die Kunstsammlung der HSH Nordbank“, Hamburg, Germany
2008 „artmx cologne vol.01“, Cologne, Germany
3rd prize at the Members Art Award 2008, ART FAIR 21, Cologne, Germany
2005 „Electric Ladyland“, Umformwerk Bewag, Berlin
Art Fairs
2012 Art Karlsruhe 2012, Germany, featured by janinebeangallery
Art Wynwood, Miami, USA, featured by 532 Gallery Thomas Jaeckel
2011Aqua Art Fair Miami, USA, featured by 532 Gallery Thomas Jaeckel
Scope Basel 2011, Switzerland, featured by janinebeangallery
Scope New York 2011, USA, featured by janinebeangallery
2010 Scope Basel 2010, Switzerland, featured by janinebeangallery
Kunst 10 Zürich 2010, featured by Galerie Mühlfeld+Stohrer
art fair 21, Cologne, Germany, featured by Galerie Mühlfeld+Stohrer
Art Karlsruhe 2010, Germany, featured by Galerie Mühlfeld+Stohrer
2006 Art Zürich, Switzerland, featured by Galerie Artdirekt
2005 Berliner Kunstsalon, Berlin, Germany, featured by Galerie Andreas Engler
Collections (selection)
Familly Schneider collection, Greieich, Germany
Rusche SØR Collection, Berlin/Oelde
Museum am Dom, Würzburg
HSH Nordbank, Hamburg
Sammlung Schirm, Berlin
Birthe Blauth
Video Still
The conceptual video works and installations explore the conflict between the individual stands and his limitations. I explore the subjective perceiption and thinking and the effort individuals undertake to relate themselves to their surroundings. How do biological and social limitations and rules force us into certain schemes? And what do these schemes look like and how can they change? Connected to this field I am thinking about how we perceive our live, the passing of time and our transience.
born in Munich. M.A. and doctorate in Chinese Studies, Ethnology and European Art History at Ludwig-Maximilians-University, Munich
lives and works in Munich.
RISD MFA PAINTING 2012
July 11, 2012- July 26, 2012
Reception: July 10, 6:00 pm – 8:00 pm
Hilary Doyle, Anthony Giannini, Rachel Klinghoffer, Francisco Moreno, Kimo Nelson, Arthur Pena, Michelle Rawlings, Astrid Toha, Page Whitmore, Bruce Wilhelm
RISD MFA Painting 2012 … It is often said that the brightest stars are not stars at all, but planets. In this exhibition we present 10 rising stars whose bright light and way-out orbit challenge easy categorization. The paintings of HILARY DOYLE make a world most fluid where there is much fact and little friction … but wait! … we can hear that little rhyme that kids say as they pull the petals off a daisy one by one. There stirs here in its early days a new imagined world never before seen and a new way to paint it. We see before us -Trompe Doyle! Characteristic of the most recent paintings of ANTHONY GIANNINI is a great press forward like the surge of a crowd toward the stage. The noise and the urgency are inescapable. These works can be maverick or can define forward-looking for us all – or do both. RACHEL KLINGHOFFER paintings like the flying buttresses outside the walls of the Temple of Earthly Delights create a space for elegance and lift. As they serve the beauty inside and can themselves be frightening, these paintings separate blossom from bloom, bosom from boom. Between the territory of Outside-looking-in and Inside-looking-out FRANCISCO MORENO travels so easily as to be more or less borderless. An observer whose strategic acquiescence and stubborn resistance crossover in collaborative self-definition…significantly Francisco collaborates with Moreno. The only paintings that could lower sea levels and restore the polar ice caps are here in the work of KIMO NELSON. Not because of ‘cool’ though they bring that, but because they are a most hopeful map of possibilities. Nelson is a chaos-tician studying complex systems. Vexingly chimerical, but wonderfully alchemical, one could say that ART PEÑA’s paintings have an Ionic soul in a Doric body. Like fulgurites (ZAP!) he presents mysterious compounds from outer space made of familiar elements in unknown proportions. Familiar elements in unknown proportions propel LAUREN MICHELLE RAWLINGS protean and quixotic adventures in self-portraiture. Subject and object switch roles back and forth in self or any portraiture making them necessarily motion pictures. So it is with Rawlings’ mercurial installation. Our Bard said the Land of Milk and Honey has become the land of money. PAGE WHITMORE sees this as an historian of the Future and her paintings move from the quotidian to an imagined world ahead where deception is employed with both humor and critical consequence. BRUCE WILHELM can be called a Master of Disguise, but only if properly seen as all “Master”, much “guise”, and no “Dis”. His studio is a research lab producing more tower than tunnel. That is, we don’t dig deep in critique, we build up high for vista. Channeling and funneling light ASTRID TOHA works with light’s leaking fluidity to create a kind of visual glissando in her resplendent prints and projections … And … Yes, dear, you will be in her headlights! – Dennis Congdon
ENDLESS SUMMER
KASIA DOMANSKA
June 8 – July 3, 2012
532 Gallery Thomas Jaeckel is pleased to announce an exhibition of paintings by Kasia Domanska. This is her first solo exhibition in New York.
„I look out on a summer’s day, a beach where we can daydream freely, where we look at the sky and we notice more than we do in everyday life. Everything seems easy, light and pleasant. We contemplate.“
The Artists’ works speak of the affirmation of life and it’s fleeting beauty: the sunshine, sparkling bright light bringing out the color intensity, suggesting thoughts of the eternal but often forgotten union between man and nature.
With fairy-tale like colors contrasting and blending into one another, the artist creates a work of purity and balance which does not give rise to worry or confusion, but peace and calm. The compositions give us moments of silence and stillness while transforming her pictures into living forms, pulsating with vital energy, life-giving, like a salty summer breeze, the sound of waves crushing on to the beach, a place where everything is go with the flow, forgetting schedules, rushing and stress, uniquely capturing reality at its most fleeting and temporary. The force and the power in her work is the light, it plays a decisive role in the theme as do the mood and balanced composition. It is brightness, joy, day and life, creating an idyllic climate.
The affirmation of nature and life becomes the background for a symbolic celebration of emotions, moods and reflections. Behind the literal meaning there is another, hidden meaning, which the artist allows to speak freely. Her paintings are testaments to a passion for beauty in all its forms, from the sublime to the everyday. Get ready for an endless summer.
IAN HUGHES
IAN HUGHES
APRIL 26 – MAY 26, 2012
Gallery 532 Thomas Jaeckel is pleased to present the paintings of Ian Hughes in his second one-man show at the gallery.
In this new body of work, Hughes brings to full fruition the investigation of color, space, and form that has been underway for nearly two decades. The new paintings continue to probe an artistic vein that runs from the eye to the brain and terminates in the viscera. The color field is repurposed as a visual staging area upon which organic forms, vascular and sinuous, shape-shift and commingle. The luminous color space of the background is simultaneously flat and volumetric, like a cloudless sky; it is a resolutely abstract space that asserts the two dimensional nature of painting and creates a dynamic contrast to the illusion of volume in the foreground.
In two related works, Yellow Curtain and Strands (Pink Curtain), the background color acts like a light box, illuminating the transparent forms from behind, analogous to an x-ray image. The reference to curtains has multiple meanings, most literally to the vertical strands hanging from the top and arranged across the picture plane like a beaded curtain (though admittedly, maybe more like flayed meat hanging on a drying rack.) But the transparency of the forms also suggests a diaphanous veil through which the viewer must pass to reach the other side, where lies another world–the world of metaphor and myth. Art historical references also abound, perhaps most poignantly to Morris Louis, whose name Hughes readily invokes as a source of inspiration.
Hughes’ technique is deceptively straightforward. Water is the medium; pigment dispersions and acrylic polymer yield color and form. Together they are poured, floated, and brushed onto the prepared surface; the dance between intent and accident, consciousness and unconsciousness, is set into motion. For Hughes, technique is purely a means to an end. Most important is the degree to which the technique serves the desire to create a state of visual and interpretive flux.
In this endeavor, Hughes aligns himself squarely within the tradition of painters like Paul Klee and Wassily Kandinsky, whose groundbreaking ideas gave rise to a main branch of contemporary American abstraction which espouses the possibility of conveying the full range of human experience through the raw materials of paint and renders moot the distinction between abstraction and figuration.
Please contact the gallery for further information.
Spring Group Show
Per Adolfsen, Tatjana Busch, Christiane Draffehn, Kristina Girke, Armando Marino, Nadja Marcin, John Alexander Parks, Stefan Szczesny.
Spring has arrived—at last—and with it comes an exciting group show of gallery artists at 532 Gallery Thomas Jaeckel. The exhibit focuses on what might be, rather than what is, in a Surrealist-inspired showing of paintings, photographs, and sculpture. John Alexander Parks, an English painter, takes us to London in a freely painted street scene that distorts space and makes the viewer wonder where he or she is standing. Nadja Marcin, presents a large-scale photograph that ere-defines the word “pastoral” in a somewhat frightening way. Christiane Draffehn mixes visual metaphors–earthly, heavenly, and hellish. She has created an image that is reminiscent of the work of Magritte, or even Dali. Tatjana Busch, an abstract sculptor from Germany, combines aluminum, photographic imagery, and sound, displacing our sense of what sculpture is, and leading us to new ideas about what sculptural space can become. Kristina Girke combines academic drawing with startling ranges of color, transporting viewers from their comfortable notions of what painting is, to a broader, more inclusive view of where the brush can go. Several other international artists are represented in this show. Each one brings us closer to fresh ideas about art. Ideas fresh as spring.
Art Wynwood
Art Wynwood 2012, President’s Day Weekend
Per Adolfsen, Anna Borowy, Peggy Bates, Joergen Geerds, Ian Hughes, Nadja Marcin, Armando Marino, John A. Parks,Tanja Selzer.
John A. Parks
For more images and information :
http://johnaparks.com/NewWork
New York Times review by Roberta Smith
Born 1952 in Leeds, England
1973 – 76 M.A.(R.C.A.) in Painting, Royal College of Art. London, England.
1970 – 73 B.A. in Fine Art, Hull College of Art. Hull, England.
Awards
National Endowment for the Arts Grant. 1985
British Institute Award for Figurative Painting. 1974
Scholarship to Skowhegan School of Art, Maine. 1974.
Fullbright Travel Grant. 1974
Solo Exhibitions
2008 Southern Vermont Arts Center, Manchester VT
2005 Allan Stone Gallery, New York
2005 Mabbettsville Gallery, New York
2002 Cricket Hill Gallery, New York
2002 Paul Smith, New York
1992 Coe Kerr Gallery, New York.
1991 Louis Newman Gallery, Beverly Hills.
1990 Coe Kerr Gallery, New York.
1987 Allan Stone Gallery, New York.
1984 Allan Stone Gallery, New York.
1982 Allan Stone Gallery, New York.
1979 Segal Gallery, Boston.
1977 Allan Stone Gallery, New York.
Selected Group Exhibitions
2012 Art Wynwood, International Contemporary Art Fair, Miami
2011 Made in the UK. Contemporary British Art from the Richard Brown Baker Collection Museum of the Rhode Island School of Design. 2008 Chicago International Art Fair
2007 Art Basel Miami Beach
2006 Art Basel Miami Beach
2006 Armory Show, New York
2004 “Group” Allan Stone Gallery, New York
2000 ”Forty Years” Allan Stone Gallery, New York.
2000 ”New Realism” Jenkins-Johnson Gallery, San Francisco.
1999 “Landscapes” Allan Stone Gallery, New York. Exhibition including work by de Kooning, Wayne Thiebaud, Franz Kline, Richard Estes and others.
1998 ”London/Paris/New York” at the Beadleston Gallery, New York. An exhibition of cityscapes including work by Monet, Pissaro, Bonnard, Stuart Davis and others.
1996 Allan Stone Gallery, New York.
1995 Allan Stone Gallery.
1994 Hollis Taggart Gallery, Washington DC.
1993 Gerold Wunderlich Gallery, New York.
1988 Chicago International Art Exposition.
1987 Duke University, Durham, NC.
1983 Kornblee Gallery, New York.
1972 Royal Academy, London.
Collections
Victoria and Albert Museum, London.
Royal College of Art, London.
Oklahoma City Museum of Art.
Museum of the Rhode Island School of Design.
Numerous private collections.
Reviews and articles on the work
Arts Magazine, September and November 1978
New York Times. May 30th 1982. John Russell.
ArtSpeak. February 1984. “John Parks at Allan Stone.”
American Artist. May 1992. Major article with reproductions by Jane Cottingham.
Pulse Magazine. June 2005. Interview
New York Sun. June 30th 2005. Review of the exhibition at Allan Stone Gallery
Passport Magazine. Winter 2005-6. Major article with reproductions.
Teaching
Teaching at the School of Visual Arts, New York, NY since 1979 as well as various visiting assignments.
The Other Side
Joergen Geerds
January 26 – March 3, 2012
Through five panoramic photographs, artist Joergen Geerds explores the interconnections of space and community, humans and habitats, inside and out, self and other.
Start anywhere and you’ll quickly slip into Geerds-vision: Central Park is a space for enjoying grass and trees, inviting the warmth of the wilderness into the heart of the city. But the other side of the Park is its persistent emptiness (it is literally a hole in a field of skyscrapers), signalled here by a field of snow. This Park is not a lonely place, but very much an outside that has been invited in—a vampire of sorts, both awing and terrifying.
Astoria’s other side is its past: Here, a working class neighborhood was transformed into New York’s most diverse, becoming an anchor point in Robert Moses’s plan to transform the city. Geerds has lived in Astoria for many years; it cannot hide from him. In his image of historical Astoria, he catches an older building in the act of growing an enchanted hedge around itself—protection against a change that is inevitable, already creeping into the frame.
The Astoria pool, emptied of humans, also betrays its other side: It is an outdoor space, even when it’s treated as a private room. It is an outdoor space, yet it feels like an aqueous family den walled in by two bridges and the New York skyline. The pool, like the Park, is not lonely, but re-exteriorized… The sushi restaurant at the Esplanade, just south of the World Trade Center site in Battery Park, hints at a warm interior—only to have this warmth dragged out, in neon, into the empty street… The East River Park is caged by the installation above, but brought back outdoors by the fact it’s used only as a dog-run…
Geerds highlights here not a dissociating modern city, but its underlying structures and spaces, which—temporarily scrubbed free of people by the power of the camera—allow for unity, for community. Geerds’s alchemy shows us that the city is not so much a succession of insides and outsides as it is a plastic network of other sides.
In this critique of city spaces, Geerds’s photography recalls the maximal, place-focused interrogation of industry practiced by Allan Sekula and Noël Burch in The Forgotten Space. But—odd for a New York artist—Geerds does not bring a politics of exchange into his work.
If anything, he empties New York of its value as a site of exchange. He flattens the New York of capital (snowy parks, busy restaurants, bright streets) with the New York of snow and streets.
This attention to the elemental is what makes Geerds’s images so arresting: Are these photographs dark comments on a New York underneath, around, and above us all the time, hiding from us, shaping our lives?
Or are they agnostic, or even stoic works—intended to ask us questions about our city, yes, but also intended to question the spaces themselves, to bring them, in answering, into concert with one another, in the not-quite-dark of the long-exposure night?
Regardless of how we interpret or are questioned by Geerds’s many-sided New York, we can’t help but look at it, and look again.Text by Wythe Marschall
The Shadows Of The Fire In My Mind
BIRTHE BLAUTH
December 9 – January 21, 2012
532 Gallery Thomas Jaeckel is pleased to present four new works by Birthe Blauth, in her first solo show in the US.
Plato likens the restricted nature of human perception and recognition to being in a cave. Humans are trapped, chained down, and see nothing but the shadows of the outside world projected onto the walls of rock by the fire behind them. We are prisoners of our own neurological and biological structures, but also of our cultural and biographic backgrounds. We are unable to perceive the “real” world. We have no way of doing so. But still we strive to see beyond the limits of our own mental caves.
Birthe Blauth’s conceptual video works and installations explore the conflict between the individual stands and his limitations. Her interest is divided equally between two areas. On the one hand, she focuses on subjective perception. On the other, she explores the subjective thinking and effort individuals undertake to relate themselves to their surroundings. Her precise, pared-down works appear simple at first. But as soon as the observer takes the time to open up to them, their complexity and effectiveness unfold. Her works are meditative and “unhurried”. Her approach to time is more at home in the cultures of the Far East. Often, the boundaries between fiction and reality, between art and the observer, between art and non-art become dissolved.
M.A. and doctorate in Chinese Studies, Ethnology and European Art History at Ludwig-
Maximilians-University, Munich. Specialist area: iconology, mythology, religious anthropology
Lives and works in Munich.
WORKS IN PUBLIC COLLECTIONS AND BUILDINGS
2011 Kunstmuseum Bonn/Germany
2011 Johanneshouse Saarbrücken/Germany, acquisition of the archbishopric Trier
PRIZES AND AWARDS
2011 City of Munich, studio sponsorship
2011 Winner of the competition of the archbishopric Trier about the best art concept for the lobby Johanneshouse in Saarbrücken.
2011 Bavarian Studio Sponsorship
2010 BundesGEDOK Kunstpreis, Dr. Theobald Simon Preis
2010 International Studio & Curatorial Program (ISCP), New York
2010 City of Munich, extra studio sponsorship
2010 Galerie Bezirk Oberbayern, catalogue sponsorship
2009 Prinzregent-Luitpold-Foundation, Munich, project sponsorship
2005 Rotbuchen Award, second prize
2005 Andreas Art Award
2004 HausderKunstAward, Munich
Armando Marino
Born in Cuba
Lives and works in New York. USA
1980-1987 Escuela Provincial de Arte “Joaquín Tejada”. Santiago de Cuba.
1987-1992 Facultad de Educación Artística del Instituto Superior Pedagógico
“Enrique José Varona”. Havana. Cuba.
2004-2005 Rijksakademie van beldeende kunsten. Amsterdam .Holland
SELECTED SOLO EXHIBITIONS
1993 “Arqueología de la Simulación”. Centro de Arte 23 y 12. Havana. Cuba.
1996 “Nostra Nusquama”. Galería Espacio Estudio. Havana. Cuba.
“Des-Colon-izando el entorno”. Centro Wifredo Lam. Havana. Cuba.
1997 Obra Reciente. Galería Ángel Romero. Madrid. Spain.
1998 Obra Reciente. Sala de Exposiciones Palacio de Abrantes. Salamanca.Spain
1999 Recent Works. Gary Nader Fine Art. Miami. (USA)*
ROPA USADA. “Para los otros del tercer mundo”. Galería Ángel Romero. Madrid
2000 “Más Allá”. Centro Wifredo Lam. Havana. Cuba.
Recent paintings. International Art Studio Valjevo. Yugoslavia
2001 Más Allá”. Museo Iberoamericano de Arte contemporáneo.(MEIAC)Badajoz. Spain.
La angustia de las influencias”. Galería Theredoom. Barcelona. Spain.
“In utero”.Gary Nader Fine Art.Miami.USA.*
2002. Arte en las Venas.Sala Rivadavia. Fundacion de la Diputacion Provincial de Cadiz.
Spain
Arte en las Venas. Museo Cruz Herrera. La Linea de la Concepción. Cadiz. Spain.
From my bathtub. Galeria RAY GUN. Valence. Spain.
Con permiso de mi antropólogo. Galeria Ad Hoc. Vigo .Spain.
2003. Esteticamente correcto. Fernando Pradilla Gallery. Madrid. Spain.
2004 Paintings..Project Room East. Rijsakademie van beeldende kunsten. Amsterdam. NL
2005 Beautiful World. Project Room. Rijksakademie van Beeldende Kunsten. Ámsterdam.NL
Recent Paintings. Fernando Pradilla Gallery. Madrid. Spain.
2006 Crash/Clash. Hof & Huyser Gallery .Ámsterdam. The Netherlands
The Night inside of the painter’s house. Galerie Jean Brolly. Paris France
2007 Tervuern’s Tales . Grusenmeyer Art Gallery Deurle. Belgium.
Interiors. Fernando Pradilla Gallery. Madrid. Spain.
2009 Drilling America. Pan American Art Projects. Miami. FL. USA
2012 Recent Paintings from the Year of the Protester. 8th Floor Space. New York NY USA
The Waste Land. 532 Gallery Thomas Jaeckel New York NY. USA
SELECTED GROUP EXHIBITIONS
1990 El Objeto esculturado”. Centro de Desarrollo de las Artes Visuales. Havana. Cuba.
1994 “Los dados de medianoche”. Galería Espuela de Plata. Centro de Desarrollo de las.
Artes Visuales. Havana. Cuba
Salón Provincial de Dibujo de Ciudad de la Habana. Centro Provincial de Artes.
Plásticas y Diseño. Havana. Cuba
1995 Primer Salón Nacional de Arte Contemporáneo Cubano. Castillo de la Fuerza y
Palacio de Bellas Artes. Havana. Cuba.*
1996 Río Almendrales. Ni fresa ni chocolate. CENCREM. Havana. Cuba.*
Tercera Bienal de Pintura del Caribe. Museo de Arte Moderno. Santo Domingo.
Dominican Republic. *
1997 Cuatro Artistas Cubanos”. Exposition Identification. Salle Allende. Université Libre de
Bruxelles. Bruselas. Bélgium.
VI Bienal de La Habana. Casona del Fondo Cubano de Bienes Culturales. Havana. Cuba.
“Inside”. International Art Exhibition. Kassel. Germany.
1998 Hidden Art of Revolution. Contemporary Cuban Art. Toronto. Ontario. Canada.*
“Caribe, exclusión, fragmentación y paraíso” M.E.A.C. (Museo Extremeño e
Iberoamericano de Arte Contemporáneo. Badajoz. Spain.*
XXXe Festival internacional de la Peinture. Château-Musée Grimaldi. Cagnes sur Mer.
France.*
1999 Internacional Exhibition. ART/OMI Residency. New York. USA.
Heterotopias. Project rooms-Cambres d’art. INTERART 99’. Valence. Spain.*
2000 The Young Ones. Gary Nader Fine Art. Miami. USA.
Paraíso Cero. Eventa 5. Contemporary Art Biennial . Uppsala. Sweden. *
2002 Itinerarios.VII Convocatoria Becas de Artes Plasticas Marcelino
Botin. Marcelino Botin Foundation. Santander. Spain *
Decada de los 90.The Berardo Modern Art Collection. Museo de Sintra .Portugal.
2002 Atravezados. Fundación Telefónica.MADRID.ESPAÑA*
Show y Basura.Foro Sur. Caceres. Extremadura. Spain
DerGlobalKomplex. OK. Centrum fur Gegenwartskunst. Linz. Austria.
Premio L’Oreal de Arte Contemporáneo. XVIII Edition. Madrid
Erased Border. Contemporary Fair. Project Room. Miami FL. USA
2003 Centimetro a centimetro Fernado Pradilla Gallery. Madrid .Spain
Catastrofe Minime. Museo de Nuoro. Cerdana.Italy.
La Colección. Espacio Camargo. Cantabria. Spain.
VIII Bienal de la Habana. La Cabaña.Havana .Cuba.
2004 Inside/outside. Contemporary Cuban Art. Charlotte and Phillp Hanes Art Galllery. Wake
Forest University. Florida.USA.
Collective. Galeria METTA, Madrid .Spain.
Open Ateliers. Rijskakademie van beeldende kunsten. Amsterdam. Holland.
Affirming a Legacy .Art from Robert E. Holmes Collection H.C. Taylor Gallery of the
Dudley Building. North Carolina .USA
2005 Contemporary Paintings of Latin-America. The DeVos Museum. Northern Michigan.
Mi Cuerpo ,Mi Pais. Cuban Art Today. U.V.A Art Museum. University of Virginia.USA
Open Ateliers. Rijskakademie van beeldende kunsten. Amsterdam. Holland.
Berezdivin Collection. Espacio 1414 .Opening Exhibition. San Juan .Puerto Rico
Winter Show. Hof & Huyser Gallery. Ámsterdam. Holland
Young Painters. Grusenmeyer Art Galerie. Deurle. Belgium.
New Paintings. Group show Hof & Huyser Gallery. Ámsterdam. Holland
New adquisitions. The Nederlandsche Bank. Ámsterdam
2006 New Acquisitions. CBK Ámsterdam.Holland
Looking Back, Looking Black African-American, African, and Latino Images from the
Robert E. Holmes Collection. The Kansas African-American Museum .Kansas USA.
More than Meet the Eyes. Perspectives from The Robert E Holmes Collection California
Africa-American Museum Los Angeles USA
2007 Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection
Harn Museum of Art, Florida USA
Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection
Ringling Museum. Tampa Florida. USA
Restos. Estudio Arteologico. Muestra tematica de la coleccion permanente.
Contemporary Art Museum of Puerto Rico. San Juan. Puerto Rico.
2008 Deconstruct. Hof & Huyser Gallery. Amsterdam .Holland
Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection. Jordan
Schnitzer Museum of Art. California. USA
Visiones Publicas .Pasiones Privadas. Contemporary Art Museum of Vigo.Vigo. Spain
Something and Something Else .Exhibition Oce Art Foundation in Museum Van Bommel
van Dam.Venlo Holland
2009 Peregrinatio. Arte en las Ermitas de Sagunt. Sagunt. Valence. Spain.
Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection.
The Winnipeg Art Gallery. Winnipeg Canada.
2010 Without Mask. Contemporary Afro-Cuban Art. Johannesburg Art Gallery. Johannesburg.
South Africa
Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection.
Lowe Art Museum. University of Miami. FL.USA
Keloids. Centro Wifredo Lam. Havana. Cuba.
Keloids. Mattress Factory. Pittsburg. USA
Sinergias. Latin-American Art in Spain. MEIAC. Badajoz. Spain.
Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection.
Katonah Art Museum. New York .USA.
Open Studios ISCP .Brooklyn New York. USA
2011 Sinergias. Latin-American Art in Spain Macuf Contemporary Art Museum
Union Fenosa. Coruna. Spain
Open Studios ISCP .Brooklyn New York. USA
2011 Keloids. Race and Racism in the Cuban Contemporary Art .The 8th Floor.
Shelly and Donald Rubin Foundation. New York. USA
Buy what you love 2011.The Rema Hort Mann Foundation.
Marianne Boesky Gallery. New York.
The Museo’s Biennal (S) Files. Museo del Barrio. Rotunda Gallery Brooklyn, New York.
2012 Building Identities. Contemporary Cuban Art from the Shelly and Donald Rubin Private
Collection. Cleveland Clinic’s Art Program Arts & Medicine Institute. OH USA
Skyline Adrift. Cuban Art and Architecture. Art Omi Sculpture Field Park. NY. USA
PUBLIC COLLECTIONS
Deutsche Bank Collection USA
21cMuseum.Kentucky.USA
Shelley and Donald Rubin Private Collection. New York. USA
Howard Farber Collection. New York .USA
Centro Wifredo Lam. Havana. Cuba.
ART/OMI Residency. Nueva York. USA
ASU Art Museum: Arizona. USA
Colección Berardo Museo de Arte Moderna.. Sintra. Portugal
Museo Extremeño Iberamericano de Arte Contemporáneo. MEIAC.
Marcelino Botín Foundation.Spain
National Museum of Valjevo. Yugoslavia.
Espacio C. Camargo. Cantabria. Spain.
Diputación Provicial de Cadiz .Sala Rivadavia. Cadiz. Spain
Coca Cola Foundation.Spain
CEGAM.Centro Gallego de Arte Contemporaneo.Galicia .Spain
University of Virginia Art Museum. Virginia. USA
Rijskakademie van beeldende kunsten . Amsterdam. Holland.
Museo Nacional de Bellas Artes. Havana . Cuba.
Stichting Oce Kunstbezitp. Venlo. Holland
De Nederlandshe Bank. Holland.
Arttoteek Den Hagg. Holland
PRIZES AND AWARDS
Segundo Premio I Salón Nacional de Arte contemporáneo Cubano.
Castillo de la Fuerza y Palacio de Bellas Artes. Havana. Cuba.1997
Mención de Honor XXXe. Festival International de la Peinture. Château-Musée Grimaldi. Cagnes sur Mer. Francia 1998
RESIDENCIES/Fellowships/stipends.
Artist Studio in Residency Bronx Museum 2011
Chashama Studios. Brooklyn. New York 2011
The Pollock–Krasner Foundation Grant. New York. 2011
The Christopher Reynolds Foundation. New York. 2010
Mattress Factory Residency Programs. 2010
ISCP. Brooklyn. NY.USA 2010 \ 2011
Raid Project. Los Angeles California.2009
Dutch Ministry of Foreing Affairs, DCO/IC.2005
Dutch Ministry of Foreing Affairs, DCO/IC.2004
Rijksakademie van beeldende kunsten/Dutch Ministry of Education,Culture and Science,2004- 2005
Fundación Marcelino Botín 2000.España
ART/OMI Residency. Nueva York. USA. Julio de 1999.
SELECTED BIBLIOGRAPHY
Catalogues,magazines and newspapers.
La resurrección del símbolo. José Manuel Noceda. Palabras al catálogo de la exposición Des-Colon-izando el Entorno. C. Wilfredo Lam. 1996. La Habana. Cuba.
Catálogo de la Sexta Bienal de La Habana. Lupe Álvarez. Mayo/ junio 1997. La Habana. Cuba.
Fuga en espejo de Armando Mariño. Carino Pinos Santo. Revista Revolución y Cultura Nº2/97 año36.
La Habana. Cuba.
Art exhibit provides glimpse into Cuba. Christopher Hume. What’s on. Thursday, May 15, 1997. Toronto. Canadá.
Textualidad y dialogismo en la pintura de Armando Mariño. Rufo Caballero. Revista Unión, 29/1997. La Habana. Cuba.
Analyse d’une oeuvre”. Monique Mirabel, Valérie John, Mathilde Titina. Revista Arthéme Nº4. Septiembre 1999, Martinica.
Mariño, la modernidad y la jungla. José Marín-Medina. El Cultural. 26.12.99. El Mundo. Madrid. España.
SELECTED BIBLIOGRAPHY (continued)
Andanzas de un negro. Fernando Castro Flores. ABC Cultural. 8 de enero de 2000. Madrid. España.
El Caribe una identidad de diferencias. Santiago B. Olmo. Art Nexus Nº31. Enero/marzo. Miami. Colombia.
Armando Mariño”. Exposiciones. Santiago B. Olmo. Revista Lápiz, Nº 160. Año XIX. Madrid. España.
Marcel Duchamp a propósito del negro. Notas introductorias al objeto muerto de risa. Armando Mariño. Revista Cimal Arte Internacional Nº 52. 2000. España
El Negro (conceptual)de Armando Mariño. Denis Matos. Pagina
web.www.cubaencuentro.com. 8 marzo 20001
Armando Mariño. Galería Theredoom. Luis Francisco López. Revista Lápiz nº174. 2001.España
Change the Joke, Slip the Yoke. Franklin Sirmans. Catalogo de la exposición In útero. ”Galería Gary Nader Fine Art. Agosto.2001. Gary Nader EDITION.
Arte en las Venas. El artista o el extranjero.Una mirada que retorna. Javier Fuentes Feo.Catalogo de la Exposición Sala Rivadavia-Musep Cruz Herrera.Cadiz.Enero-Marzo.2002.España.
Armando Mariño.Parodist of the canon. Fernado Castro Flores. Catalogue.Der Global Komplex..OK.Centrum fur Gegenwartskunst.Linz Austria Jun-July.2002.
Armando Marino. Entrevista/Pintura.. Javier Diaz Guardiola. Blanco y Negro Cultural.El Cultural del MUNDO.11,Oct.2003.pag 27. Spain.
Inside/ outside. Contemporary Cuban Art. David Hart.
Exhibition catalogue. Wake Forest University. 2003.
Armando Marino. Review. Jose Jimenez. Artnexus.No.51 Volume 2003.
Octava Bienal de La Habana Bienal de La Habana.
Julia P Heizberg. Artnexus No 52,April 2004
The diffused diaspora. Dennys Matos. Magazine ARCO Contemporary Art. Number 30,winter 2003.Spain
Imagen y representacion. Dennys Matos. Exhibition catalogue. Arte y Naturaleza Centro de Arte.2004. Spain
Fighting spirit. Kay Hartenstein Saatchi. Art Review.Volume LIV. March 2004.
The Painting’s gesture. Ruben de la Nuez.Art Notes. International Art Magazine.12. 2006 Spain
Armando Marino. Abelardo Mena. Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection. Samuel P Harm Museum Of Art, Florida. Gainesville Florida.2007
El que no tiene de Congo tiene de Carabali. Sara Cooper. Essay Published by the STATE University of California Chico.2008.
Armando Marino, born manipulator. Fernando Castro Flores. Keloids. Catalogue Mattress Factory. Pittsburgh. USA 2010.
Channels
Peggy Bates
October 20 – November 26, 2011
Presenting new acrylic paintings on canvas by abstract artist Peggy Bates in an exhibition entitled Channels inspired by the artist’s recent observations of light and color in California’s Channel Islands. Although Bates’ experiences with the landscape and seascape in her frequent travels inspire her work, her oeuvre is not landscape painting per se. They seem to be painted from a different angle than traditional landscapes. Looking at her work is like experiencing the land and the sea from the sky, with the horizon outside of one’s point of view. Bates encourages viewers to look, not for the facts of landscape, but for a remembered sense of air, land and water. What we see in Channels is carefully constructed, non-objective painting based on memory of ocean and land. Bates revisits her memories by creating a robust iconography that has a charmingly lyrical feel to it. Vivid hues of poured blues, greens, and oranges contrast and interact with pale blue, lavender or grey grounds. In Bates’ work, the active synthesis of hard-edged shapes and pale, flat grounds is uncommon. This is not simple figure-ground painting, and the fields in the paintings are never static. Following Bates’ colors on their journeys through imagined space is a joyful experience. As our eyes wander about in one of her paintings, we become aware of the breadth and depth of Bates’ vision, and of her bold attempt at designing a new, non-art-historical, abstract painting.
Anna Borowy, Tanja Selzer
September 8 – October 15, 2011
Anna Borowy’s motifs are primarily human characters and moments, depicted portrait-style and manifesting particular events. The reduced appliance of outlines and forms connects the figures with the backgrounds and accompanied diaphane images of animals. The apparent youth and grace of the portrayed are distorted by flawed structures and sinister traits.
Technically remarkable is the soft, silhouette-like application of color. Though appearing like water colors, the applied paint is oil-based with a special consistency allowing the blending with water. The base white coat of the painting is not being colored completely by the artist but serves as a continuous bright background on which the paint is thoroughly arranged. Thus the figures of the paintings appear partly overexposed, corresponding to the overlapping of several transparent image elements. Since the resulting point of view, i.e. transparency normally can only be achieved by alternating perspectives, the effect in Anna Borowy’s paintings is one of particular dynamic. This way her works fulfill not only a spacial but also a temporal perspective.
Through the limited use of paint the white background is being conserved as a structure or matrix for content, causing lightness on the one hand expressing emptiness on the other. Emphasis on the later skillfully highlights and complements the manifested motifs and forms.
Repeatedly Anna Borowy joins animals with the human protagonists in her paintings. The expression of this fauna ranges from symbolic meaning to common gestures, but either way the affinity to humans is very imminent and perceivable. Humans and animals are not shown as counterparts, but as reciprocal allegories and impressions without their identities being merged Ovidian-style.
It is not easy nowadays to phrase legitimately a primarily positive aesthetic attraction. But Anna Borowy’s works succeed in generating genuine beauty and are capable of deriving from this constituent any other inanimate facet.
Tanja Selzer draws her motifs from the daily media-related flood of images as components of human sceneries, figures in wild natural scenes or single persons and animals in front of or inside a natural background. She changes these images by composition, shift of colour and an ease of paint application, so they appear in the guise of a pretended, mostly idyllic scene.
In the works of the series Gib mir dein Rot (Give me your red) Selzer additionally emphasizes the dynamics of her nature-bound protagonists and scenes to the point of fight-like confrontations and compositions. The idyllic backgrounds remain perceptible as bearings for the image as a whole but are not only contrasted by the drastic actions in the foreground but also are stirred up and involved in it. The alternating depiction of humans and animals also their interactions are an expression of their mirror-symmetric anima. Selzer stages this without psychological abstractions but with the genuine intensity of a direct line to the source of fables.
Going Places
Thietmar Bachmann
June 28 – July 16, 2011 Summer hours: Tue – Fri 11- 6 pm, or by appointment
532 Gallery Thomas Jaeckel is showing a special Farewell exhibit for a dear friend and artist. His artworks brings together photography and painting on the same canvas, stimulating the eyes of the viewer and inviting to virtually “dive” into the pictures, going places around the world.
Thietmar Bachmann, was born in Coburg, Germany. His artistic interest focused first on painting, working both in oil and watercolor, as well as on etching, expanding to photography later on. Some of his work has been shown at the Federal Photography exhibit in 1983.
During the day Mr. Bachmann served as the Head of the Cultural Department of the German Consulate New York for the last three years, currently he is getting ready for a new posting in Europe.
Transatlantic Climate Change II, Oil on canvas 12×16 in.
Lumin-o-City: Joergen Geerds solo show in Portugal
Joergen Geerds is opening his first solo show in Europe in June 1st. 2011 at the Pousada de Palmela, about 30km south of Lisbon, Portugal.
He will be showing 15 of his large scale night panoramas until the end of August 2011. The show is open to the public.
More info at www.palmela2011.com/featured/lumin-o-city-a-panoramic-photography-exhibit-by-joergen-geerds
Robert Kunec
“WESTEND?” June 16th, 2011 http://www.mots.org.il/Eng/Exhibitions/west-end-info.asp
MUSEUM ON THE SEAM, JERUSALEM, ISREAL
“Krieg im Frieden” May 12th – 12th June 2011
KUNSTPAVILLION München
www.kunstpavillon.org/
Vincenzo LoSasso shows in Venice
Curator Vittorio Sgarbi invited the artist representing the Lombardia Region at the Italian Pavillion during the 54th BIENNALE VENICE
June 4th- November 27, 2011
PEARLESCENT
an exhibition of new paintings by Marcy Brafman,
May 31 – June 27, 2011.
Brafman’s second solo show at 532 Gallery with a new body of work employing a variety of tools and motifs that were only half realized in previous creations. The title “PEARLESCENT” comes from the exploration of specialty formulations of One Shot Oil Enamel, the glossy, viscous fluid pigment used by sign painters and employed here with spray paint. Pearlescent, Fluorescent, Krylon, Montana Paint, and sometimes melted Crayolas, take on a form which is both extremely engaging but sticks to the repertoire she has popularized, of taking invisible icons and making them very overt, stylizing them with the medium and gestures of painterliness bordering on graffiti. These are paintings born of Jackson Pollock, the end of nature, comic strips, cartoons, rock n roll, black ops insignia, John Singer Sargent and a long toxic immersion in the living billboard of electronic and digital life. They are also mashed up with urban street poetry and American highway.
PEARLESCENT continues the artist’s exploration into the way symbols, signifiers, and half remembered gestures of the media landscape make up our collective psyche. The paintings of Marcy Brafman can be considered portraits of situations which are inherently symbolic, sometimes taking on symbol as icon, and mining it for humanistic traits mired in narrative that exist outside of fine arts but not outside of the human condition. Another painter might spend time trying to re-insert the symbol into the category or scenario from which it first appeared. But this might possibly obscure the symbol, obfuscating the process of discerning its efficacy and its inevitability. Instead, Brafman restates the symbol itself as a central esthetic event, as evidence of a gesture and its philosophical importance.
Marcy Brafman donates work to Sculpture Center Benefit
Lucky Draw 2011
Wednesday, April 13, 2011
Lucky Draw – a one of a kind art raffle – guarantees that each and every ticket holder walks home with a work of art! This fast-paced one night event offers first time and seasoned collectors access to more than 180 artworks by top emerging and established talent. All proceeds benefit SculptureCenter.
Oil Enamel, Spray Paint on Canvas 20″ x 24″
Courtesy of 532 Gallery Thomas Jaeckel
In The Name Of
Robert Kunec
April 28 – May 28, 2011
FLAG DAY 2011 ( photo, 16″ x 24′ Edition of 3) IT’S NOT A BOMB (suitcase, 20″ x 28″ x 8″, unique)
Editorial Review: The New York Art World, May 2011
Robert Kunec’s work, which refers to the suicide attack, is of self-explanatory. Kunec creates an impressive picture of the interior mechanism of this event, also of the ideological, manipulative indoctrination. The sculpture deals with the totalitarian way of thinking, taking the subject as hostage. It is searching for the human role behind the uniform of a religiously motivated fight. The picture found by Kunec varies between a toolkit and an explosive device, both mechanical constructions. With this complex question about the subjectivity is raised in its intercultural context, on the basis of one of the most extreme examples in current debates. Humans as toys, as subjects, relieved of their own will, or as individuals driven by their faith.
Excerpt: Prof.Dr. Eugen Blume, Director Hamburger Bahnhof, Berlin
Terrorism. It affects everything. Though rarely contemporary art. The subject is too hot, too political, too dangerous perhaps. Despite this fact, one who does dare to seek out images of terror, a willingness to self sacrifice, fanaticism and religious delusion, is the young artist Robert Kunec. It’s a path that has taken him to the boundaries of the acceptable and the utterable.
Excerpt: – Dr. Noemi Smolik, (artnet magazine -Sept.2010)
Kunec was born in Slovakia in 1978. He first completed his training as a goldsmith, then later went on to study art at the Art Academy of Prague and finally at the School of Art and Design in Halle, Germany.