Welcome to the opening of the exhibition SONG HONG by Pham Ngoc Duong (VN), Le Huy Hoang
(VN), TSC Tempest (AUS), Karoline H. Larsen (DK) , Henrik L. Jørgensen (DK), Ursula
Nistrup (DK), Bettina Camilla Vestergaard (DK), Daniel Svarre (DK).
HANOI FUTURE ART
HOUSE 64. LANE 310. NGHI TAM. TAY HO. HANOI.
Open from 4. – 18. September 2009.
Wednesday to Saturday 14:00 – 18:00.
FINE LINES – NEW WORKS BY COPE2
FINE LINES
The tag, also referred to as handstyle, urban calligraphy or ‘writing’, is a personal statement or signature: an expression of identity. The work of many artists starts and ends with the tag. For some the tag represents the basis from which they developed their style into less abstract art forms. For many of these artists tagging is a relevant part of their work, others’ entire message is contained within their tag. Reaching across culture, class and age, the tag is a global art form: a pure form of self expression and style. Originating in Philadelphia in the 1960s and New York in the early 1970s, other isolated styles also developed independently including the pixação style in São Paulo. The tag has, for the most part, been either ignored or openly reviled yet for decades it has laid the foundation for a number of related art forms which have developed from the streets to galleries worldwide.
Join us at Skalitzers as we present the first in a diverse series of shows exploring the role of tagging within the world of contemporary art.
COPE2
One of New York’s most prolific writers, Cope2 has achieved international recognition over the past decade for his distinctive style. Born in the South Bronx he began writing in 1978. He developed his style in the subways and streets of the Bronx throughout the 1980s and 1990s, becoming a legend on the street both in New York and internationally. Cope2 crosses between art world, mainstream and street culture alike. Since first putting pen to canvas in 2000 as part of the historic Guernsey’s ‘Graffiti at Auction’ event his art has gone on to be exhibited in galleries and museums both in the US and Europe. In recent years Cope2 has been commissioned by Time Magazine and designed shoes for Converse and Adidas. His work has even crossed into the virtual realm with appearances in video games ‘Getting up’ and ‘Grand Theft Auto IV’.
This is his first solo show in Europe.
COPE2 (NEW YORK)
Born 1968, Bronx, New York
Lives & works in the Bronx, New York
SELECTED EXHIBITIONS & AUCTIONS
2009
‘TKid x Cope2’, M2 Gallery, New York
‘Graffiti – Street Art’, Millon & Associés Auction, Paris
‘Street Art’, Artcurial Auction, Paris
‘TAG au Grand Palais’, Gallizia Collection, Paris
‘All that Glitters is Gold’, McCaig Welles Gallery, New York (Guest Curator)
‘The Sharpie Show’, Crewest Gallery’, Los Angeles
2008
‘Top of the Line’, The Showroom Gallery, New York (Guest Curator)
2007
‘The Walls Belong to Us’, New York
2005
‘Weapons of Mass Destruction’, Fifty24SF Gallery, San Francisco
2004
‘Cope2’, Defiance Gallery, Chicago (Solo exhibition)
‘Tag the system’, The Showroom NYC, New York
2000
Guernsey’s, ‘Graffiti at Auction’, New York
Sneak view from Rødland..
Standard
We are pleased to announce our forthcoming, third exhibition with artist duo Elmgreen & Dragset. In addition to their award winning presentation as both artists and curators of the Danish and Nordic Pavilions at the 53rd International Art Exhibition – la Biennale di Venezia, London and Berlin based Michael Elmgreen and Ingar Dragset’s recent solo exhibitions include MUSAC, Leon (2009), Malmö Konsthall, Sweden (2007) The Serpentine Gallery, London (2006) and the Tate Modern, London (2004). Recent group exhibitions include the Louisiana Museum of Modern Art, Denmark (2009), the Yokohama International Triennale of Contemporary Art (2008) and Skulptur Projekte Münster (2007). In 2008, Elmgreen & Dragset’s national memorial to gay victims of the Nazi regime was inaugurated in Berlin. In addition to Yokohama, the artists have presented their work within Japan at the Mori Art Museum, CCA Kitakyushu and as part of the Echigo-Tsumari Art Triennial
SUPERMODELS is comprised of a series of playful semi-abstract sculptures accompanied by a series of editioned photographic works. In a combination of Western modern abstract sculpture and pop cultural cartoon shapes the sculptures propose in a humorous manner some new ideal body types. The Supermodel sculptures will be dressed by a wide range of prominent fashion designers and photographed by Muga Miyahara in various real-world settings and subsequently presented alongside their photographic representations within the space of the gallery. Each sculpture will be dressed in clothing specifically designed for the project by established and emerging fashion designers including Rei Kawakubo (COMME des GARÇONS), Yasuko Furuta (TOGA), Tamae Hirokawa (SOMARTA), London based Malaysian born Han Chong, and Yusuke Takahashi, recipient of 83rd Soen prize and Bunka Fashion Graduate University student .
David Kordansky Gallery is pleased to announce its first solo exhibition of new work by Elad Lassry. The opening reception will be held on Saturday, September 12 from 6 to 9pm, and the exhibition will be on view through October 24, 2009. Elad Lassry’s films and photographs draw from hauntingly familiar aspects of visual culture to create a matrix of non-linear narratives, illuminating a nuanced topography of image-making.
Lassry treats appropriation and archive research as tools among many others, and is just as likely to hire a crew and shoot a new film based on archival images as he is to physically manipulate a purchased headshot into a one-off photographic readymade and place it in a matching-colored frame. While there are affinities between Lassry’s work and that of the artists of the Pictures generation, he is less concerned with vagaries of social critique and ironic distance, adapting instead an almost anthropological approach to the question of why a particular image gets made. By placing moving, still, and found images in direct conversation with each other, Lassry focuses attention on the basic tenets of still and moving photography (inclusive of the larger cultural institutions and systems that surround the production of images) and brings attention to the catalogue of articulations (cut, montage, crop, mask) brought about by editing.
Whereas one found image might require an additive process (such as silkscreen or collage), the creation of a new image might hinge upon a subtractive one (such as the removal of one of its subjects). Lassry views these seemingly contradictory techniques as differences of degree, revealing that all images are not only mediated but that they might in fact begin with mediation. In his deliberate approach to the framing of still photographs, Lassry’s frames are at times painted a color chosen from a dominant hue within the image. This act of optical detournement reinforces the physical immediacy of an image and recontextualizes it in the visual economy of other images on view.
Throughout the work, the driving concerns are an exploration of the materiality of photographs versus the materiality of images and an investigation of how images are given historical ‘addresses’ or indexes in the greater culture. All images exhibited are of the same scale so that these concerns are brought to the forefront. Lassry’s films are projected according to dimensions similar to the still images on view, allowing them to be seen in the context of the basic photographic image of which each frame is finally composed; in addition, the films are not converted into a digital format and are always presented in their original form.
Untitled, a 16mm film on view in the exhibition, reconsiders photographic documentation and production stills from the rehearsal of Jerome Robbins’ 1955 made-for-TV production of Peter Pan. Lassry has cast actors to play Robbins (Eric Stoltz) and Mary Martin (Merett Miller) and recreated sequences from the rehearsal, revealing the places where cinematic and structuralist approaches to the image meet and diverge. Due to the questions associated with its notation and recording, as well as its complicated relationship to cinema, dance has provided Lassry with a rich source of material.
Other recurring sources are Life-style photo essays, animal photography, headshots, textbooks, greeting cards, advertising and instructional imagery. Rather than pay heed to notions of high and low, Lassry isolates the moment before such a distinction is even made, thereby adapting the rigorously pioneering spirit of early photography and film for a contemporary, image-saturated environment.
Since 2008 Elad Lassry has had solo exhibitions at the Whitney Museum of American Art and the Art Institute of Chicago. In 2010 he will be the subject of a one-person exhibition at the Kunsthalle Zurich. He has recently participated in Younger Than Jesus at the New Museum and in the 2008 California Biennial at the Orange County Museum of Art. This fall he will be included in Dance With Camera at the Institute of Contemporary Art in Philadelphia. Born in Tel Aviv, Lassry lives and works in Los Angeles.
The Jancar Jones Gallery is pleased to announce its second solo exhibit of the work of San Francisco-based artist, Sean Talley. The exhibit will consist of a number of works on paper, as well as three-dimensional works in plaster and Masonite.
Building on concepts from his previous exhibit, in which the subject was presented as the object rather than a representation of itself, his new body of work thus brings materiality to the fore, focusing his efforts on the surface and presence of each piece. Using common materials, such as graphite and plaster, he creates simple hard-edged forms, using slight gestures to “let the materials present themselves.” The pieces impart a quiet potential, an action that is not physically present but addresses the objecthood of each form. As in his rectangular forms, with one corner cut off, Talley’s choice to remove one corner as opposed to another comes to signify a singular subjective action, standing in contrast to the “purity” of form and material. Likewise, through his use of plaster (the resulting forms moving into three-dimensional space) he addresses the assigned values within each composition through the conscious manipulation of geometric volume. With a nod to Kelly, his work is a meditation on the Minimalist canon yet with the assertion of his own critical consideration of the process and production of such a restrained aesthetic.
New art centre in Copenhagen
After 11 good years at Islands Brygge it is with great pleasure that Galleri Nicolai Wallner welcomes you in our new space at Ny Carlsberg 68 at an opening the 3rd of September 5 to 10 p.m.
Galleri Nicolai has on Ny Carlsberg Vej created a new nucleus for contemporary art in Copenhagen in a shared building with Nils Stærk, IMO, BKS Garage and Kopenhagen Publishing. To gather different galleries under one roof is exceptional in Scandinavia and will surely redefine and strengthen the Copenhagen art scene. The combination of already established, international galleries with new artist-run spaces is quite unique and it is our expectation that it will create an exciting and valuable synergy.
The 800m2 Galleri Nicolai Wallner will open with three separate exhibitions: One solo exhibition with the English post-conceptual artist Jonathan Monk and one solo exhibition with the German artist Christoph Ruckhäberle. Besides this the gallery will also show the exhibition I – Works from the Nicolai Wallner Collection with selected works by Olafur Eliasson, Elmgreen & Dragset, David Shrigley, Peter Land and Jonathan Monk.
Books & Posters – New Sculptures by Jonathan Monk
Jonathan Monk’s new series of sculptures consists of bronze casts of padded envelopes and cardboard tubes, used to send books and posters of importance to the artist. Through the obvious contrast between the poor and disposable quality of the wrapping material and the permanence of the bronze, Jonathan Monk explores and rethinks the creative process and the role of the artist. Monk challenges both art and his own authority through these sculptures that also play with the fact that access to the content they originally protected is impossible from the moment they are made permanent in bronze. A paradox that aptly describes Monk’s own way of relating to art and art history.
Jonathan Monk has had solo exhibitions at several North American and European art institutions. Last year Monk had a double show at Palais de Tokyo (Paris) and Musée d’Art Moderne de la Ville de Paris (Paris).
L’Emmerdeur Futuriste by Christoph Ruckhäberle
Christoph Ruckhäberle has during the last years received acclaim for his paintings and prints. His new exhibition will present a new series of drawings that in regard to his paintings, shows a more unrestrained and direct way of dealing with the figurative. Ruckhäberle’s style points to several places in the art of the 20th century in a very original and contemporary way. With his keen eye for colour and form, Christoph Ruckhäberle has created fifty individual creatures that dance, grin, make faces, and show teeth. The figures are composed from a continuous combination of geometric elements and exist in a cross between abstraction and realism. Opposed to Ruckhäberle’s earlier production these new works explore less the melancholic and the existential issues but draw more on a rich visual tradition for the theatrical.
Christoph Ruckhäberle is internationally renowned as one of his generations most interesting and innovative painters. His works are represented at MOMA (New York) and in numerous other public collections in the US and Europe. This summer he had a larger solo show at the Migros Museum (Zürich).
I – Works from the Nicolai Wallner Collection
This exhibition presents a selection of Nicolai Wallner’s private collection with a focus on art that deal with identity and reflection of self.
Opposite an early but seminal work by Olafur Eliasson, a mirror that reflects a burning candle, one finds Elmgreen & Dragset’s Powerless Structures, Fig 19, a piece that evolves around sexuality and identity. The exhibition also offers a view of Peter Land’s iconic video Peter Land d. 5. maj 1994, which with humorous but also existential and melancholic self-exposure influenced a great portion of the video art of the mid 1990s. Some of the same qualities one also finds in David Shrigley’s drawings with their simple but effective lines that present thoughtful ponderings on the human existence. Jonathan Monk is represented by Self-portrait (Where Abouts Unknown) that through its form makes the signature of the exhibition.
The exploration of the artist self formed the basis of many artworks made in the 1990s and accordingly a large part of the art that has been shown in Galleri Nicolai Wallner since the inauguration of the gallery in 1993. With works that span the period 1991 to 2003 the exhibition marks a place in art history but it also gives an image of the qualities and ambitions that drive our work today.
We look forward to inviting you to the opening of our exhibitions and the rest of the galleries and we wish to mark and celebrate this event and the unique collaboration that has been established between the galleries.
In connection with the opening there will be a musical performance by the band Asia Today featuring Andy Moss, Simon Fujiwara and Ingar Dragset of artist duo Elmgreen and Dragset.
The opening will have food from Thai restaurant Ranee’s and Den Økologiske Pølsemand. We will of course also offer a local beer, Carlsberg.
The opening will take place the 3rd of September 5 to 10 p.m. on Ny Carlsberg Vej 68. Everybody is welcome. We look forward to seeing you.
After the opening there will an after party from 11 p.m. on Karriere Bar, Flæsketorvet 57-67, København V.
