Tuesday, November 30, 2010

Master Class Neo Rauch at Kunstverein Wilhelmshöhe in Ettlingen, Germany

It’s a tradition at Kunstverein Wilhelmshöhe in Ettlingen, Germany, to present each year a class of a German Fine Art Academy. This year, it’s the Master Class of the renowned German painter and principal artist of the New Leipzig SchoolNeo Rauch. The artists are Stefan Guggisberg, David O’Kane, Sebastian Burger, Carolin Knoth, Robert Seidel, Kristina Schuldt, Mandy Kunze. They all have in common that they work 2-dimensional, in painting and drawing, and in the figurative tradition that made the Leipzig School famous. VernissageTV attended the opening of the exhibition.
Meisterklasse Neo Rauch – Der ehemalige Norden. Master Class Neo Rauch at Kunstverein Wilhelmshöhe Ettlingen / Germany. Opening reception, November 19, 2010.

Thursday, November 25, 2010

Ciprian Muresan at Mihai Nicodim Gallery October 30- December 4, 2010

Ciprian Muresan
October 30 – December 04, 2010
Mihai Nicodim Gallery is pleased to announce the second solo show in the US of artist Ciprian Muresan. The artist’s practice is not confined to a specific medium. He is commenting on art’s historical values through works in a multitude of media from drawing to photography to video. This exhibition is built around “Auto-da-fe”, the artist’s seminal work first presented in 2008 at Art Basel Statements, Switzerland and at Venice Biennale 2009.

“A few pages from Elias Cannetti’s “Die Blendung / Auto-da-fe” (1932) are graffitoed throughout the cities of Romania. The text acquires a monumental quality, while the processes of subjective dissolution it describes are embedded into the monumental. The resonance of each sentence, it’s persistent attempts to locate and rearrange the flotsam of a disintegrating subjectivity, are set against the immobility of walls and enclosures. The rambling monologue that Cannetti’s protagonist addresses to his library has been interpreted by literary critics as a significant document of the “end of modernism”, shattered utopias and fragmented beliefs.

The artist’s strategy of dispersing the text replicates to an extent the destructive acceleration written by Cannetti into modern urban space. But the painstakingly recomposing the text from its scattered bits, Ciprian Muresan also engages the transition between modernism and its post-modernities as a historical point where the monumental needs to be re-evaluated. Between the detritus of modernism and post-modern equivocation, Muresan’s ambivalent monument to Cannetti, to alienating spaces and to the capacity of speech of defining and holding together a subjectivity, embodies the experience of those evacuated, disposed of their right to the city and pushed to the very margins of social life.”
Mihnea Mircan

The two drawings representing bodies lying on the ground, a recurring theme in Ciprian Muresan’s work, reference Eastern European performance art as well as the reminiscences of the casualties from the 1989 revolution in Romania from the media footage. The sequence created by the two slightly different positions of the still bodies, introduces the viewer to a dynamic tension specific to the state of being in the presence of victims.

Another process used by Muresan is to place the work of famous artists like Vermeer or Martin Kippenberger through a filter created by copying in pencil of some of their catalogues which include reproductions, therefore amplifying the confusion between original and reproduction. Ciprian Muresan has shown extensively throughout US and Europe, at Venice Biennale in 2009, in “The Generational: Younger then Jesus” at the New Museum, NY, 2009, Sydney Biennale 2010, Renaissance Society, Chicago 2010, NBK Berlin, “Promises of the Past” at Centre Pompidou, Paris 2010 and Galeria Plan B, Berlin.

Mihai Nicodim Gallery
3143 S. La Cienega Blvd, Unit B
Los Angeles, CA 90016
Entrance on Blackwelder
T: 310-838-8884
Gallery Hours:
Tuesday – Saturday
11 – 6 pm

Tom Allen "Summerlands" at Richard Telles Fine Art

OCTOBER 30 – NOVEMBER 27, 2010

Tom Allen’s paintings combine a personal response to the legacy of Romanticism with an enduring interest in the occult. In his recent paintings, the artist has turned his attention to the remains of once-living things (trees, an abalone)that have taken on a new life, transformed by processes of excoriation and decay. Anchored by Summerlands, a suite of four identically formatted driftwood "portraits," this exhibition is the artist's most focused to date.

Tom Allen on the Summerlands series:
I think of these paintings almost as images of statues, or ghosts. I was aiming for a kind of sublimated figuration; I wanted them to operate more through suggestion than depiction. The title refers to the American Spiritualist Andrew Jackson Davis. In his writing, he described the ‘Summer Land,’ an ‘inhabited belt of solid spiritualized matter,’ a celestial zone populated by transfigured souls who had passed away on Earth. This seemed appropriate for my portraits of what were once trees, bodies in which insides had become outsides. The Summer Land of Andrew Jackson Davis seemed to me a place that could also correspond to the space of painting itself - a place simultaneously ethereal and material, forever continuous with, and yet somehow also outside of, the present. This is Tom Allen’s fifth solo exhibition with Richard Telles Fine Art. Allen’s previous solo shows also include Galerie Michael Janssen, Berlin in 2005 and 2008. He has also participated in group exhibitions at China Art Objects and Angles Gallery in Los Angeles, Andrea Rosen Gallery and Marianne Boesky Gallery in New York, and at Miliken Gallery, Stockholm, Sweden. Allen received an MFA from Art Center College of Design, Pasadena in 2001. He lives and works in Pasadena.

For more information, please contact 323.965.5578 or info@tellesfineart.com.
Gallery hours are Tuesday through Saturday, 11 am – 5 pm, and by appointment.
Richard Telles Fine Art
7380 Beverly Blvd,
Los Angeles, CA 90036
T: 323.965.5578
F: 323.965.5579

Friday, November 19, 2010

Design Lounge by Florian Borkenhagen / Cologne Fine Art & Antiques / Interview

With the 2010 edition Cologne Fine Art & Antiques introduced a new sector to the fair: contemporary design. One of the highlights is the Design Lounge that was conceived by the German designer and artist Florian Borkenhagen (represented by Gabrielle Ammann Gallery, Cologne). For the fair, he created some kind of Luna Park centered around a carousel that invites visitors to relax from the excitement of the fair. In this video, Florian Borkenhagen talks about his career, the concept of the Design Lounge, and upcoming projects.

Design Lounge by Florian Borkenhagen / Gabrielle Ammann Gallery, Cologne Fine Art & Antiques / Interview with Florian Borkenhagen, November 16, 2010.

Tuesday, November 16, 2010

2010 California Biennial: Interview with Alexandra Grant

Mario Vasquez October 4 at 8:40am
Thanks for doing this interview with me. I want to begin by talking about your beginnings. How did you become an artist?

Alexandra Grant October 11 at 8:48pm
A good question. I don't know if I ever wasn't an artist. My mother recently found a school project of mine from ages 7 or 8. The teacher had assigned us to write a newspaper article. I decided to make an entire newspaper.  I enlisted my best friend as a journalist and she wrote several articles. I came up with the rest, designed the mast-head, and had my mother drive to a photocopy shop in Mexico City that could print the whole thing on newsprint. I'll never forget the teacher's reaction when I handed her the project. My answer, I suppose, is that since I was a child I've  imagined the entire "symphony" first and then the melodies. As an adult, art is the platform, the bigger project, the symphonic or newspaper space that allows me to explore all the ideas -- both literary and plastic -- that I'm interested in.

Mario Vasquez October 12 at 9:08pm
I remember seeing your work for the first time at your solo show at the Museum of Contemporary Art, Los Angeles. Your paintings and sculpture was both text and image in a way we see text such as Lawrence Weiner or Jenny Holzer. Can you elaborate on how you approached the language and image in your work?

Alexandra Grant October 16 at 12:43pm
Both Weiner and Holzer are people whose work I looked at (and continue to admire) intensely -- as well as Baldessari, Ruscha, Kruger, Kelley, Bochner. Each of these artists, in their own way, were looking at conceptual linguistic strategies and at the same time the language of advertising in magazines and television. (Think of early Baldessari paintings alongside the VW ads of the same period -- the mid-50's). Some of the questions I seek to address in my own practice, coming after all of those named above, are: what is the role of the hand (and handwriting) in image/text now? How are non-linear or networked systems of language represented/representable? How do the multiple dimensions of the internet impact our imagination of language? What is the role of literary, or poetic, text in a world where the image is frequently privileged over the word? How do we keep words alive and charged with meaning? Can a painter research and represent the work of writers who are working to keep language teeming with pathos, violence and tenderness? So my work is an investigation of the role of literary and networked texts (hypertexts) as source for images that are systems, maps, biological and social models, focusing on both the image of language as well as its specific meaning.

Mario Vasquez October 17 at 10:43am
Would you consider poetry a type of system in your work? There was a poet that was mentioned in the essays that the work at MOCA was based on.

Alexandra Grant October 19 at 8:34pm Report
Poetry, for this reader/painter, is written and read to stay alive. Sometimes poets write the most mediocre poetry in the same way that artists sometimes make the most timid art.  So I look for poetic writing that challenges what I think language is and can do, that rips open a seam and shosw a horizon where there wasn't one. Successful poetic texts are about rhythm, alliteration, repetition, imagery, metaphor... they remind us that language is the link to ideas and other people that keeps us sparking. Poems also lend themselves, because of their structure (and sometimes games), to mapping.

Mario Vasquez October 19 at 8:37pm
Final question. Tell me about your project for the biennial. Does it differ from the work at your recent show at Honor Fraser?

Fourth Portal (taste), 2010

Alexandra Grant October 19 at 10:22pm Report
The work I'm showing at the Biennial is part of my ongoing collaboration with Michael Joyce, a pioneer of hypertext fiction. While I dreamt of doing an original piece for the Biennial, the constraints of the exhibition and my own laborious process lead us to select pieces from a previous body of work, the Six Portals. The Portals are an exploration of six distinct language spaces. Based on texts by Joyce, the Portals investigate the five senses and the mind as image and text. The Body Portal, a reflection on the sense of touch (both the metaphoric and more profane aspects of that sense), lead to my recent work at Honor Fraser (a show called "bodies").

Second Portal (eye), 2010

First Portal (mind), 2010

Friday, November 12, 2010

Art in Downtown Los Angeles

This weekend is MOCA's gala for its latest showing of its permanent collection entitled "The Artist Museum." The exhibition features artists who live, work and who have been educated here in Los Angeles. It is an excellent show that deserves multiple visits. The exhibition is shown both at the Grand Ave. and Little Tokyo locations. For more information, please go to MOCA's website www.moca.org. This blog will have more posts regarding this show.

Topotek 1: Studio Visit: The Art of Landscape Architecture

Topotek 1 are not the typical landscape architects. Topotek 1′s mission is to expand the possibilities of landscape architecture. On the occasion of the inauguration of their latest projects and their work on the competition for the redesign of the Flughafen Tempelhof site, VernissageTV met with the Topotek 1 principals Martin Rein-Cano and Lorenz Dexler. In this interview at the offices of Topotek 1 in Berlin, Martin Rein-Cano and Lorenz Dexler talk about the beginnings of their career, how they met, their specific approach to lanscape architecture, their inspiration, how they select and develop projects, the stages of the design process in general, and their project Theresienhöhe railway cover in Munich, which they developed together with the German artist Rosemarie Trockel.

Frieze Los Angeles 2024 (Review)

Frieze Los Angeles 2024 was held again at Santa Monica Airport from February 29, 2024, to March 3, 2024. This year’s Frieze was remarkedly d...