Chelsea, New York: 532 Gallery Thomas Jaeckel is pleased to present "Fall Breeze", a collaborative group exhibition of recent works from several of our mainstay artists, on view through November 7, 2020. The exhibition brings together a diverse array of evocative works. Featuring works from Alberto Alejandro Rodriguez, Brian Cirmo, Carlos Rodriguez Cardenas, Danny Rolph, Diana Copperwhite, Electric Coffin, Elio Rodriguez, Jose Angel Vincench, Lennart Rieder, Lien Truong, Per Adolfsen, Piers Secunda, Sky Kim, & Susana Guerrero.
Chelsea NYC: 532 Gallery Thomas Jaeckel is back open with our group exhibition “Summer Loving”, on view through September 19, 2020. The exhibition brings together a diverse array of evocative works drawn from the object-based practices of 22 of our favorite contemporary artists: Alberto Alejandro Rodriguez, Bernard Ammerer, Brian Cirmo, Carlos Rodriguez Cardenas, Danny Rolph, Darcie Abbatiello, Diana Copperwhite, Electric Coffin, Elio Rodriguez, Ian Hughes, John Parks, Julie Langsam, Jose Angel Vincench, Karl Petion, Lien Truong, Lennart Rieder, Lynn Stern, Marlon Portales, Paco Marcial, Per Adolfsen, Sky Kim, Susana Guerrero.
Alberto Alejandro Rodriguez, Bernard Ammerer, Brian Cirmo, Carlos Rodriguez Cardenas, Danny Rolph, Darcie Abbatiello, Diana Copperwhite, Electric Coffin, Elio Rodriguez, Ian Hughes, John Parks, Jose Angel Vincench, Lien Truong, Lennart Rieder, Lynn Stern, Marlon Portales, Paco Marcial, Per Adolfsen, Susana Guerrero, Sky Kim.
"Hughes’ central images are like disembodied viscera which seem to continue living apart from the entire bodily system. It’s as if they have, like separatist protesters, decided that they are the core or essential aspect of the body and that other systems are just not worth supporting. These viscera must have their independence. [Hughes’ paintings] are desire embodied as biological conduits, showing that bodily desire is never consummated fully, which is in contrast to our belief that spiritual desire can be consummated fully and finally, leading to eternal bliss." -- Daniel Gauss, Arte Fuse
"My paintings represent a longstanding belief in the possibility of translating human experience and feeling through the raw materials of painting. For quite some time I have been probing an artistic vein in which naturalistic forms shape-shift on top of an abstract color space. Regardless of what form they take, the images are rooted in the human body and more specifically, the psychological and emotional link between brain and viscera. I think this also explains my preference early on for working large scale, usually on the floor. The physicality of working large allows the body to override the brain. Only then does the door open to serendipity. Ultimately, what matters most is that, when successful, the imagery and the materials are psychologically charged and form a kind of connective tissue with the viewer." -- Ian Hughes
Destruktion is a project presenting painting, sculpture, and artist books by Alberto Alejandro Rodríguez all centered on the different forms that ruins can take in modern society. Not simply as partially or completely destroyed architecture but as a changing structure woven into the urban fabric, a byproduct of indifference as humans reflexively think and interact with the space around them. The series of works in Destruktionhighlight the consequences for today’s society, both negative from a practical point of view and positive from a poetic point of view.
“Destruktion” a term coined by Heidegger that influenced Jacques Derrida’s philosophy of Deconstruction, refers to dismantling a phenomenon in order to analyze and comprehend it. Every concept has a deconstructable metaphysical aspect.
Chelsea, New York: 532 Gallery Thomas Jaeckel is pleased to announce Gray Matters, an exhibition of new paintings by Brian Cirmo. This is the artist’s first exhibition with the gallery and his first New York solo exhibition. Like a novelist working in paint, Brian Cirmo invites the viewer to witness his characters’ moments of tenderness and turmoil. Reading books or looking at photographs, or sitting with eyes closed, perhaps thinking or dreaming, the people in his interiors can be miles apart emotionally, but we still sense their need to be near each other. These large-scale paintings envelop the viewer in the visceral worlds Cirmo creates, while smaller scale portraits in the exhibition, set in snowy landscapes or on moon-lit beaches, offer moments of reflection. In Gray Matters, the color gray figures in many of the works, even those ablaze with luminous color, but Cirmo also asks viewers to think about the gray areas that we navigate in our relationships or in solitude.
Brian Cirmo (b. 1977, Utica, NY) received his MFA in Painting and Drawing from the University at Albany, and his work has been exhibited in Boston, Sonoma, New Orleans, and Washington DC. His residencies include the Elizabeth Murray Artist Residency, Granville, NY; and Salem Art Works Residency, Salem, NY. Cirmo lives and works in Albany, NY, and is Assistant Professor of Painting and Drawing at SUNY Onondaga, Syracuse, NY.
For further information or to schedule an interview with the artist, please contact us at 532 Gallery Thomas Jaeckel by e-mail at email@example.com
An overview of Lynn Stern’s work, this exhibition features prints from 18 of her 24 series of photographs, tracing the increasing abstraction of her imagery. From the interior spaces of the early Interior Light series in which she thinks of “the architectural planes as vehicles that make the light reverberate,” to the in-progress Mystic Light series, her goal is to “make the light palpable.” Since the mid-80s Stern has been working in the studio with backlit translucent scrims of white or black fabric, sometimes creating pure abstractions of light and shadow, sometimes combining the scrims with objects – most notably skulls, both human and animal. The latter are highly charged, the skulls’ expressiveness made more dramatic by their interaction with the scrim’s gestural folds of light and dark. Since the late 80s Stern has also become increasingly interested in the form of the circle as a fraught symbol that can convey either a sense of oneness and harmony or “the black hole of an endless abyss.” While rigorously formal, Stern’s work is always charged with emotion.
Opening Reception: Thursday, September 5th, 6 – 8 PM
Artist will be in attendance
Chelsea, New York: Marlon Portales’s first solo show in the U.S., The Voyeur, brings together a series of medium and large format paintings portraying spectators in different New York museums. The artist observes viewers in a museum space and their expressions. In the intimacy of the studio, he reinterprets those impressions in painting. The Voyeur analyzes art spectators, converts them into models and places them at the center of artistic discourse. The reception of works of art, the pleasure and the impact that they produce in the subject, captivates Portales; he wishes not only to contemplate it but also to represent it.As they view his paintings of other people viewing art, Portales’s audiences are invited to think about their own roles as spectators.
Marlon Portales (Cuba, 1991) graduated with the highest honor for his academics and professional achievements from the Superior Institute of Arts (ISA 2018). Portales is a multidisciplinary artist, working with several media, including painting, performance, installation and video. His political and ideological worldview results in works that pose sociological and philosophical questions, creating dialogues that invite universal reflection. Portales has been included in several group exhibitions and solo shows in Cuba, the United States, Spain, Germany, and Italy. He has participated in residencies such as Art OMI at OMI International Art Center, Ghent, New York (2015); Illy & UNIDEE in Citta del Arte – Fundazione Pistoletto, Biella, Italy (2016); and Fountainhead Residency, Miami, Florida (2018).
Amy Wilson, Electric Coffin, Elio Rodriguez, Lennart Rieder
July 2 – August 1, 2019
Chelsea, New York:On the Edge of the Wilds, a new exhibition of works at 532 Gallery Thomas Jaeckel, features five artists who each make use of a distinct set of materials, methods, and artistic concerns to create works that reflect a sense of ambivalence about modern culture and our relation to nature at a time when both are in a precarious state of flux.
Seattle-based collaborative duo Electric Coffin (artists Duffy de Armas and Stefan Hofmann) have fabricated four works that look something like gigantic stickers peeled from the deck of a gargantuan hipster’s skateboard.
Amy Wilson presents four new knit and crochet pieces that reference traditional women’s crafts, political manifestos, and the general doom, gloom, and uncertainty of 2019.
In a set of four recent oil paintings that include the aptly-titled Jungle and three floral still lifes embedded within undulating, wavelike backgrounds, German artist Lennart Rieder seems to point toward the profound gulf between humanity and the natural matrix from which we once emerged.
Cuban artist Elio Rodríguez returns to Jaeckel Gallery with a selection of his wall-mounted monochromatic soft sculptures.
Chelsea, New York: 532 Gallery Thomas Jaeckel presents In the Shadow of a Vessel, an exhibition of paintings by Lien Truong, opening June 6th. This is Truong’s first solo exhibition with the gallery.
Lien Truong’s recent paintings layer different times. Situated between the past and the future, they represent significant events in American history, pointing to an ambiguous present that conflates defiance with prejudice and moral risk. Alluding to America’s legacy of perpetual war, Truong melds a soft, painterly palette with references to symbols that overflow with historical meaning.
Part of Truong’s technique involves reference to historic Asian silk painting. Patterns of cloth seem to absorb the lineage of violence in the collective American psyche. In a work like “A Delicate History between the Harpy and an Angel” (2019) fabrics are set vertically, and between them cartoon nooses have been interposed. These modernized cartoon nooses emotively comment on the silk prepared and painted by the artist, in cropped, dark, figurative narrations. In “The Neurosis of Blood and Stone” (2019) strips of fabric seem to burst from the belly of a severed horse—a beast of burden too often used in wars. In both paintings, the physicality of the body becomes a ghost-like abstraction.
Vessels, like any other object that contains space within itself, can be broken; they can spill over. In the Shadow of a Vessel refers to, on the one hand, objects, figures, and persons ravaged by war and other affronts to personal autonomy. On the other hand, the paintings themselves are vessels, setting in relief historical indignities suffered by individuals at the hands of the state. In this latter sense, the paintings ensheath specific histories along with a retroactive desire for justice. The vessels on view give rhythm and shape to people and places whose histories have been all but erased.