Month: June 2009

Steinle Contemporary

Story without a Name”, curated by Blair Taylor

Carol Bove, Andrew Lord, Terence Koh, Dash Snow

June 20 ˆ August 15, 2009

Opening: Saturday, June 20, 2009, 7 ˆ 10 p.m.

Javier Peres is pleased to announce “Story without a Name,” a group exhibition curated by Blair Taylor. The exhibition includes film and collage by Dash Snow, and sculpture by Carol Bove, Terence Koh and Andrew Lord. All four of these artists currently live and work in New York City.

At the onset of the Great Depression in the 1930s, Joseph Cornell took work designing textiles and selling appliances door-to-door to support his family and his habit of collecting ephemera with which to make artwork. He later referred to this period as “a golden age ˆ one of white magic without which I don’t know where I would be today.” It was during this time that Cornell created a series of collages titled “Story without a Name ˆ for Max Ernst,” from which the present exhibition takes its name and mission.

Like Ernst’s own “collage novels” of the same period, Cornell’s collages forego narrative in favor of a kind of subjective helix. The collage materials were often taken from pre-photography penny novels (with heavily popular themes), but recombined to off-putting effect in a way we broadly categorize now as Surrealist.

Here, bracketed by disquieting figurative collage and film by Dash Snow, sculptures by Andrew Lord, Carol Bove and Terence Koh anthropomorphize to resemble an eerie gathering (social, Neopagan, alien or otherwise) at the center of the gallery space. The material range ˆ from Super 8 film to ceramics to painted bronze to peacock feathers ˆ provokes a sensual suspension as that between synapses, a realm where dreamscape and corporeality fold together.

Carol Bove was born in 1971 and raised in Berkeley, CA. Bove’s work is also currently on view at Tate St. Ives, UK. Previous museum shows include the Whitney Biennial 2008 in New York City as well as solo exhibitions at the Kunsthalle Zurich, Kunstverein Hamburg and ICA Boston.

Beijing-born artist Terence Koh’s work is currently included in the 53rd Venice Biennale. He has had solo exhibitions at the Schirn Kunstalle, Museo de Arte Contemporaneo de Castilla y Leon, Kunsthalle Zürich, Secession, Vienna and Whitney Museum of American Art.

Born in 1950 in Whitworth, England, Andrew Lord has been exhibiting ceramic sculptures since the late 1970s, most recently in a solo exhibition at Barbara Gladstone Gallery in New York. Lord’s works have also been shown at international institutions such as Art & Project, Amsterdam, The Carnegie Museum of Art in Pittsburgh, PA, Camden Arts Center, London, and Rijksmuseum Twenthe, Enschede.

Dash Snow has lived in New York City since his birth in 1981. His work is also featured in a current exhibition at the Institut Valencia d’Art Modern in Spain. Snow has also been included in group exhibitions at the Pergamon Museum, Berlin, Royal Academy of Arts, London and the Whitney Biennial 2006.

Peres Projects/a>

Esbjerg Kunstmuseum 12/6 2009

Funky::::…
Museum Shop

Stux Gallery

Taka Ishii Gallery

UMLAUT

ANDREW HAYWARD, KERRI MEEHAN, PAUL MILLHOUSE-SMITH, STUART MORRISON, YADZ ODEDINA, LEONARDO ULIAN, LABAN UNDERHILL AND THOMAS WRIGHT

Hales Gallery is pleased to present Umlaut, an exhibition curated by Stuart Morrison. This is the forth in a series of summer shows where the gallery branches out from it’s regular exhibition programme and provides the opportunity for young independent curators, and artists to develop and present work. Umlaut includes the work of nine artists who have all made works specifically for the show; Andrew Hayward, Kerri Meehan, Paul Millhouse-Smith, Stuart Morrison, Yadz Odedina, Leonardo Ulian, Laban Underhill and Thomas Wright.

The Umlaut (ü) is a diagrammatic mark used to indicate a shift in a spoken language. It is the altering from an initially identifiable letter or sound to that which is of a specific time, country or region. An Umlaut exists as a symbol for our relationship to the curious and unusual; a notation for a formless familiarity.

Through methods of manipulation, Umlaut seeks to explore uncanny instances in which the proverbial and foreign exist in duality. Seating the representational in unfamiliarity both secures and intensifies the created fictions. Due to this inclusion of recognisable material, references to potential histories and narratives are born, building new relationships between object, environment and artist.

Andrew Hayward
Andrew Hayward’s Self-portrait is a majestic cross gender reinvention of the artist as a female torso, immobile except for a wheel mounted plinth. It displays the ambivalence of aspirations to idealised masculinity and fears of artistic impotence.

Kerri Meehan
Kerri Meehan creates collages, negotiating images from autobiographical snapshots of precarious social scenes and various pulp media sources in order to create darkly humorous narratives. Through the juxtaposition of domestic scenes and cinematic visuals, Meehan produces an ironic dystopian reality.

Paul Millhouse-Smith
In his work Paul Millhouse – Smith explores the notions and ideals of freedom. By creating ‘other spaces’ he eludes to the possibility of adventure within our known surroundings.

Stuart Morrison
Stuart Morrison’s work seeks to relate disparate subject matters through the pastiche of identifiable material. His work tests the boundaries in which we understand realities and fictions by merging unrelated stimuli resulting in what must act as a cipher for the viewer’s imagination.

Yadz Odedina
Yadz Odedina’s work is the display of a magical and whimsical fall of man. Odedina’s fantastical explosions of the body act as a dramatic residue of heroic audacity rendered in throw away, domestic materials.

Leonardo Ulian
Leonardo Ulian’s work describes the relationship between artist and environment. The result is a well-organized system of objects, sounds and light that affect the surrounding space and neighbouring work.

Laban Underhill
Mark Laban and Elizabeth Underhill’s collaborative practice experiments with site specific work, informed by the study of institutional frameworks. Laban Underhill aims to question the nature and specificity of artistic practice, production and the etiquette of collaboration.

Thomas Wright
Thomas Wright’s supernatural Arcadias confuse tranquillity with unease through the caricaturing of fantasy and decorative art. Garish compositions balance kitsch predictability with fastidious elegance to provoke uncertainty.

Save the date: Thursday 2nd July – In association with Timeout’s ‘First Thursdays’, Hedydd Dylan and Benjamin Copeman provide an evening of explorative performance to accompany the Gallery’s exhibition.

Hales Gallery

DUNK! / HENNINGS PRESENNING
An exhibition by Ellen Hyllemose, Camilla Nørgård og Lise Nørholm.

DUNK! is now ready with a total summer delux special.
DUNK! proudly presents a stunning collaborational project.
DUNK! is handing over the stage to HENNINGS PRESENING.
HENNINGS PRESENING is sophisticated girl power.
HENNINGS PRESENING is restricted to a collective choice of standard colours.
HENNINGS PRESENING is yellow, green, orange, black, white and gray.
HENNINGS PRESENING goes into a dialog with the space, the window and the view.
HENNINGS PRESENING is a collective and social intervention in progress.

HENNINGS PRESENING is the third collaboration between Ellen Hyllemose,
Camilla Nørgård og Lise Nørholm.

Kunstdk.dk/Ellen Hyllemose
Kunstdk.dk/Camilla Norgard
Kunstdk.dk/Lise Noerholm
Dunk

Javier Peres is pleased to present new works by John Kleckner and Mark Flood. Never has defacement been so unabashedly stabby and consumer-culture critical as with Houston-based artist Mark Flood, nor as minutely crafted as with the Berlin-based American artist John Kleckner. Mischief-maker, identities specialist and sub-lingual alchemist Mark Flood layers various media and signs to render their meaning highly problematic, often ascorbic, sometimes bitingly astute; street signs are literally defaced with phrases, often conciously misspelled, that speak to the deepst subconscious desires of humans and consumers; celebrity posters mangled to leave little recognizable in these public icons. John Kleckner employs a draftsman’s scalpel of detailed incision upon every fold, crease, tear or slough of flesh of his characters, whom his meticulous ink drawings present in various stages of metamorphosis, framed by and often entangeld in menacing and magical nature-scapes. His minute lines, magnificent detail and portentous symbolism evoke 15th-century etchings and yet take as their core the present-day tortures of the psyche: Modern-day zombies, obviously staged Horror-movie gore, and bruised superheros are some of the defaced humanoid forms that people his compositions.

Peres Projects