Anton Funck, Ellen Siebers, Muzae Sesay @ pt. 2 Gallery, Oakland

Anton Funck, Ellen Siebers, Muzae Sesay

pt. 2 Gallery, Oakland

November 12 - December 16, 2022

pt. 2 Gallery presents a group exhibition featuring work by Anton Funck, Ellen Siebers and Muzae Sesay. Though disparate in technique and resulting outcome, the trio of artists each create works that touch on themes of landscape, our built environment and a fascination with the natural world, all the while sharing in the pleasures of materiality and the act of painting itself.

Based in Copenhagen, Danish artist ANTON FUNCK builds dense compositions of hatched lines, dots and negative space to create metaphysical otherworldly landscapes. Through the humble means of watercolor on heavyweight paper, Anton Funck creates undulating fields of color that upon closer inspection reveal densely repeated strokes of slight variations on a given hue. The minute scale and intricacy of Anton Funck’s mark making lends the compositions a sense of vastness, as if we the viewer are looking upon an unfolding landscape, horizons, seas and celestial bodies all intimated through subtle shifts in color and line direction. With titles such as Hiding and A Shimmering Moment of Sorrow, the artist’s suggested landscapes are never overtly defined, the paintings instead reveling in their own complex ambiguity.

Hudson, New York based painter ELLEN SIEBERS creates intimately scaled paintings that encase a series of worlds within. Presenting a range of square paintings on panel, each piece no longer than a foot on either side, Ellen Siebers weaves dreamlike brushy compositions that oscillate between landscape and abstraction, each interspersed with a hovering crop of a contrasting image. Within Lemons in September, deep fields of rich black are interspersed by scuttling brushstrokes in red, viridian and umber earth tones, all immediately cut through by a small rectangular crop of a bowl of lemons painted in heavily contrasting warm ochres and yellows–a break of light hovering above the dark background. The effect is one of visual and conceptual intrigue as our eyes bounce back and forth, questioning the relation of the layered images. The paintings feel equally reverent to a history of painting and our digital contemporary and the prevalence of the screen within a screen experience. 

Oakland-based painter MUZAE SESAY’s latest works continue the artist’s exploration of how we negotiate space and architecture through a unique hybrid of drawing and painting, simultaneously touching on the oddities within our built environment and the joy of art making in all its inherent materiality. Within House of Flags, a moody composition realized with a pared-down palette of mustard yellow, black and white, Sesay creates a spindly structure composed of thin black verticals, bisecting diagonals and sagging connections, each carrying a series of small triangular flags. The tent-like structure, contrasted by a brushy yellow background painted directly over the dark black creates an elegant push pull of foreground and background, a thin white crescent moon and a white rectangle break up the space. Yet the structure sits eerily vacant, suggesting a circus tent completely devoid of the accompanying jovial atmosphere one might assume. Muzae Sesay’s other work, Two 5G Radio Towers, sees a pair of vertical structures verging on naturalistic, tapering trunks and palm like leaves, each broadcasting a radiating waveform realized in a dark colored pencil over a dirty tan background, a vertical bar of deep mahogany running up the left of the canvas. Sesay extracts a poetic beauty from utilitarian structures while also hinting at the uncanny strangeness in the convergence of natural and technological worlds. 

Written by Nick Makanna

pt. 2 Gallery

1523b Webster Street, Oakland, CA 94612

www.part2gallery.com

______________

Ekin Kee Charles - Han Nefkens Foundation - Loop Barcelona Video Art Production Grant 2022

Ekin Kee Charles

Han Nefkens Foundation - Loop Barcelona Video Art Production Grant 2022

EKIN KEE CHARLES

EKIN KEE CHARLES (Malaysia, 1996) is the winner of the Han Nefkens Foundation - Loop Barcelona Video Art Production Grant 2022, in collaboration with the Fundació Joan Miró, MoCA TAIPEI; ILHAM, Kuala Lumpur, Center d’Art Contemporain, Genève; Art Hub Copenhagen and Inside-Out Art Museum, Beijing.

Ekin Kee Charles - “Being born and brought up in the inland area of Sabah has been the biggest blessing in my life. No matter where I am in life I will always be the village girl that I am. Growing up, I have always wanted to leave my village but now I want nothing more than to go back. The personality, the environment, the community has made such an impact on me and I only realised that when I left. The land that has shaped me has so much character and stories and I wish to share the beauty that I see with others. This opportunity given by The Han Nefkens Foundation to showcase the beauty that I see is a big milestone. It means that more people from different dynamics will be able to appreciate the life that is rarely shined upon and I am very thankful and honoured. I want more people to appreciate where they come from, similar to how I appreciate my community and tradition through the works that I make.”

Established in 2018, the Han Nefkens Foundation - LOOP Barcelona Video Art Production Grant 2022 in collaboration with Fundació Joan Miró has established itself as a tool for increasing contemporary artistic production in the video art field. The Grant involves the production of a video art work. Ekin Kee Charles will receive $15,000 for the production of a new work to be completed by the end of November 2023 and to be presented at the Fundació Joan Miró in Barcelona in 2024, during LOOP Festival. At a later stage, the new production will also be presented at MoCA TAIPEI; ILHAM, Kuala Lumpur, Center d’Art Contemporain, Genève; Art Hub Copenhagen and Inside-Out Art Museum, Beijing. The Han Nefkens Foundation will receive a long-term loan of the produced artwork for presentation at art institutions worldwide with whom the Foundation collaborates with. In order to consolidate the candidates’ career, the Grant appraises emerging promising artists, who are 40 years old or less, of Asian nationality or living in Asia and who have established a solid trajectory, but have not had the opportunity to exhibit extensively. To achieve this, ten internationally recognized art critics and curators (nominated by all the partner institutions) carry out the scouting process. Through this exercise, the curators will expand the selected artist’s network of contacts as well as discover and get closer to lesser-known video art works and thus, promote this discipline.

Han Nefkens - "I was touched by the sensitivity of Ekin's work. It's clear that what she shows us is close to her heart. I am therefore delighted that, together with the six art institutions that participate in this grant, we will work with this young and promising artist from the periphery who is firmly on her way to develop her unique voice."

The Jury for the 2022 edition of the Grant was chaired by Han Nefkens and consisted of Emilio Alvarez, Founder LOOP Barcelona; Marko Daniel, Director Fundació Joan Miró, Barcelona; Carol Yinghua Lu, Director Inside-Out Art Museum, Beijing; Hua-Tzu Chan - Deputy Supervisor of Research Department, MoCA TAIPEI; Jacob Fabricius, Director, Art Hub Copenhagen; Rahel Joseph, Director, ILHAM, Kuala Lumpur and Andrea Bellini, Director, Centre d’Art Contemporain, Genève. The judging took place in the presence of: Hilde Teerlinck, General Director of the Han Nefkens Foundation and Alessandra Biscaro, Coordinator of the Han Nefkens Foundation. The Jury stated:

"We were delighted to select Ekin Kee Charles. Her profound video works explore in an unassuming way the societal pressures that women face every day. We all agreed that her work speaks clearly of a specific place and moment, while at the same time transcending - by virtue of its deep connection with the local - any particular culture, region or country. Her works combine this universality with a sensitive and poetic approach, offering a space for critical contemplation. We look forward to following her next steps."

EKIN KEE CHARLES is a young filmmaker from Kota Marudu, Sabah in Malaysia. She graduated from Universiti Malaysia Sarawak with a bachelor in Cinematography in 2019. Upon graduating, she ventured into the filmmaking industry to sharpen her filmmaking skills. Ekin has set the goal to tell stories coming from her community, to share what life is like in her suburban area and the love she feels for her community. Ekin Kee Charles is an alumnus of an exchange program for film students in Japan held by The Japan Foundation Asia Center under the program ....and Action! Asia 4 (2018) where she directed and co-wrote a short film ‘Your Shirt, My Socks’. The short film was a part of the SEAShorts |Next New Wave (Malaysia) under the program Love Letter from Japan. Your Shirt, My Socks also won the Best Short Film award at the 14th Mini Film Festival (Malaysia). In 2019, she took home the Grand Prize Winner Award of the 13th Edition BMW Shorties with her winning short film ‘PACE’, thus making her the youngest Grand Prize winner, at the age of 23 and the first East Malaysian director that has won the title to date. She also won the Best Editing Award and was nominated for Best Screenplay and Best Director. ‘PACE’ was also a part of several film festivals such as Minikino Bali Film Week and was in Cinebah 2021, a program that showcases a new wave of Sabahan filmmakers. Her latest short film credited as director & writer, ‘Rama-Rama’ funded by BMW Shorties has been a part of Clermont Ferrand Short Film Market Pick 2022 (France), 14th Cinema Rehiyon 2022 (Philippines) and Next New Wave | SEAShorts 2022 (Malaysia).

The initial selection of ten artists formally presented to the jury was made by the following scouts: Boliang Shen; Christina Li; Hyo Gyoung Jeon; Yee I-Lann; James Luigi Tana; Sau Bin Yap; Seolhui Lee; Sherith Arasakulasuriya; Shuang Li; Vanini Belarmino; Xue Tan.

The shortlist of seven artists, whose proposals were then shared and discussed by the final jury was:

- Boloho (collective), China

- Bo Wang, 1982, China

- Ekin Kee Charles, 1996, Malaysia

- Rui An Ho, 1990, Singapore

- Tao Hui, 1987, China

- Yoonsuk Jung, 1981, South Korea

- Zuqiang Peng, 1992, China

Fundació Joan Miró

Parc de Montjuic, 08038 Barcelona

www.fmirobcn.org

Gladys Nilsson @ Garth Greenan Gallery, NYC - New Works in Watercolor

Gladys Nilsson: New Works in Watercolor

Garth Greenan Gallery, New York

November 3 – December 17, 2022

Gladys Nilsson

A Stretch Too Far, 2021

Watercolor, gouache, and pencil on paper, 41 3/4 x 71 inches

© Gladys Nilsson, Courtesy of Garth Greenan Gallery

Garth Greenan Gallery presents Gladys Nilsson: New Works in Watercolor, an exhibition of works on paper at 545 West 20th Street. The exhibition features a selection of the artist’s recent watercolors, all painted between 2021 and 2022.

Gladys Nilsson has always been fascinated by close inspections and careful depictions of human interactions – celebrating the small things that go along with getting through the day, and eying the awkward and unconscious things people do to themselves when they do not think anyone is looking. In Wheee (2021), a sizable woman perched on a tree branch cranes her neck downward, inspecting a diminutive man at the base of the tree, like a scientist discovering some new, curious species. Nilsson, in all her work, displays a great and admirable affection for human eccentricities and goofiness. Through frame after frame, she explores satiric and sympathetic peculiarities of simple human life. The awkwardness of such looming bodies, with her comical approach to simple existence and interaction, becomes a celebration of seeing others and being seen, of the musings of display and spectatorship.

A Stretch too Far (2021) features Gladys Nilsson’s winding, playful imagery. Over a dozen major and minor characters partake in the festivities—peering at, touching, bumping noses, and grabbing at each other. A mischievous green man pulls a woman’s fleshy pink leg into the second frame. A row of swimmers forms a frieze at the bottom of the composition, unaware of the drama unfolding above. To the left and the right of the work, various figures wrap themselves around the swaying trees. The work indexes her stylistic hallmarks, as she playfully resurrects canonical painting conventions—the diptych, hierarchical scale, horror vacui, and continuous narrative—while assigning new functions and meanings to each within her idiosyncratic graphical style.

Gladys Nilsson first came to prominence in 1966, when she joined five other recent School of the Art Institute of Chicago graduates (James Falconer, Art Green, Jim Nutt, Suellen Rocca, and Karl Wirsum) for the first of a series of group exhibitions called the Hairy Who. The artists’ styles were assertively idiosyncratic, but most had trained with professors Kathleen Blackshear and Paul Wieghardt and adapted some of their respective Surrealist and German Expressionist tendencies.Gladys Nilsson skillfully integrates elements of both in her playful investigations into human sexuality and its inherent contradictions. Gladys Nilsson was the first member of the Hairy Who—and one of the first women in history—to have a solo exhibition at the Whitney Museum of American Art in 1973. In 1990, Gladys Nilsson joined the faculty at the School of the Art Institute of Chicago, where she continues to teach today.                  

Since 1966, Gladys Nilsson’s work has been the subject of more than 50 solo exhibitions, including 16 at Phyllis Kind Gallery (1970–1979, 1981–1983, 1987, 1991, and 1994, Chicago and New York), two at The Candy Store (1971 and 1987, Folsom, California), and one at Hales Gallery (2019, London). Her work has also been featured in many important museum exhibitions, such as Human Concern/Personal Torment (1969, Whitney Museum of American Art, New York); Who Chicago? (1981, Camden Art Center, London); Parallel Visions: Modern Artists and Outsider Art (1992, Los Angeles County Museum of Art); Chicago Imagists (2011, Madison Museum of Contemporary Art, Wisconsin); and What Nerve! Alternative Figures in American Art, 1960 to the Present (2014, Museum of Art, Rhode Island School of Design, Providence). Most recently, Nilsson’s work appeared in The Candy Store (2018, Parker Gallery, Los Angeles), Hairy Who? 1966–1969 (2018–2019, School of the Art Institute of Chicago), Chicago Imagists from the Phyllis Kind Collection (2019, Rhona Hoffman Gallery, Chicago), and How Chicago! Imagists 1960s–1970s (2019, Goldsmiths Centre for Contemporary Art, University of London).               

Gladys Nilsson’s work is featured in the collections of major museums around the world, including the Art Institute of Chicago; the Los Angeles County Museum of Art; the Madison Museum of Contemporary Art, Wisconsin; the Milwaukee Art Museum; the Morgan Library, New York; the Museum Moderner Kunst, Vienna; the Museum of Contemporary Art, Chicago; the Museum of Modern Art, New York; the Pennsylvania Academy of the Fine Arts, Philadelphia; the Philadelphia Museum of Art; the Smithsonian American Art Museum, Washington, D.C.; the Whitney Museum of American Art, New York; and the Yale University Art Gallery, New Haven, Connecticut.                   

Garth Greenan Gallery represents Gladys Nilsson.

GARTH GREENAN GALLERY

545 West 20th Street, New York, NY 10011

www.garthgreenan.com

Louise Fishman @ Locks Gallery, Philadelphia - Soliloquy

Louise Fishman: Soliloquy

Locks Gallery, Philadelphia

October 28 – December 23, 2022

LOUISE FISHMAN

Coda di Rospo, 2017

Oil on linen, 70 x 88 inches

© Estate of Louise Fishman, courtesy Locks Gallery

LOUISE FISHMAN, Artist’s studio, c. 2015

© Estate of Louise Fishman, courtesy Locks Gallery

Locks Gallery presents Louise Fishman: Soliloquy, which marks the late artist’s second solo exhibition with the gallery. The show features paintings from the past twenty years, which highlight several important canvases and drawings made surrounding her third, and final, residency in Venice, Italy from 2016 to 2017.

LOUISE FISHMAN’s (1939–2021) paintings are layered upon an improvised structural grid assembled out of strokes, skeins, and slashes of oil paint, applied with large serrated trowels and scrapers, along with more traditional paint brushes—and sometimes, her hands. Her dynamic surfaces are often intensified by their scale, she excelled at working big and many of her canvases measure over seven feet. While her work is rooted in the AbEx tradition celebrating process and materiality, Louise Fishman always drew upon personal experience informed by her identity as a Jewish, lesbian feminist.

Louise Fishman embarked on several residencies at the Emily Harvey Foundation in Venice: during the Fall of 2011 and 2013, and at the end of 2016, and many of her works from the past decade were inspired by these periods. Louise Fishman had a deep understanding and appreciation of art history, from her family background (her mother and aunt were both artists and studied at the Barnes Foundation), and her education at Tyler School of Art in Philadelphia, and University of Illinois in Champaign. Being in Venice was a powerful experience. She highly anticipated it (for years, due to it being postponed several times). While in Venice, Louise Fishman limited her studio practice to drawing and watercolor, reveling in small scale work including Japanese style fold out books and note card sized watercolors. When she returned to her studio in New York, the effects of the residency became pronounced in her work. The theatricality that comes from the grandness of opera, the drama of the old masters paintings (Titian was a favorite) imbued her paintings. 

As put in the 2014 Whitney Biennale: “The melding of order and chaos that she encountered while touring the city’s famous blue-green canals and labyrinthine alleyways aligned with the direction her painting has taken since the early 1990s. Artworks that Fishman made during this period reveal her efforts to resolve the two apparently opposing tendencies she has worked through as an abstract painter since the mid-1960s - the hard-edge objectivity of the grid and the gestural subjectivity of expressionism.”

Born in 1939 in Philadelphia, Louise Fishman, lived and worked in New York. Louise Fishman’s work is in the collections many public institutions, including the National Academy of Art and Design, NY; the Metropolitan Museum of Art, NY; the Art Institute of Chicago, Chicago, IL; the Carnegie Museum of Art, Pittsburg, PA; the High Museum of Art, Atlanta, GA; the Jewish Museum, NY; the Neuberger Museum of Art, Purchase, NY; the Krannert Art Museum, Champaign, IL; the Hood Museum of Art, Hanover, NH; and the Museum of Contemporary Art, San Diego, CA. She was the recipient of three National Endowment for the Arts grants, a New York Foundation for the Arts Fellowship, and a Guggenheim Fellowship, among others.

Widely shown for the past five decades, Louise Fishman’s first group show was at the National Drawing and Print Exhibition at the Pennsylvania Academy of Fine Arts in 1961. Her first solo exhibit was at the Philadelphia Art Alliance in 1963. Fishman was included in three Whitney Biennials: 1973, 1987, and 2014 (the last biennial at the Breuer building). In 2016, the Neuberger Museum of Art organized the artist’s first retrospective, curated by Helaine Posner and accompanied by a monograph; the retrospective traveled to the Weatherspoon Art Museum, University of North Carolina at Greensboro in 2017. In Fishman’s hometown of Philadelphia, the Institute of Contemporary Art held a concurrent exhibition of her small-scale work, Paper Louise Tiny Fishman Rock, curated by Ingrid Schaffner. The Krannert Art Museum at the University of Illinois presented an exhibition of Louise Fishman’s drawings in 2021.

LOCKS GALLERY

600 Washington Square South, Philadelphia, PA 19106

www.locksgallery.com

Pinta Miami 2022 - Galleries - Artists - Artworks - Main Section

Pinta Miami 2022

The Modern & Contemporary 

Latin American Art Show

The Hangar in Coconut Grove, Miami

November 30 - December 4, 2022

Pinta Miami celebrates its sixteenth anniversary venturing into a brand new concept: this year the most important Latin American contemporary art fair presents a blend format that combines top-notch technology with the glamour of meeting in person. A team of ten internationally recognized curators develops innovative proposals for the different sections of the fair. A series of prestigious prizes will award and support important artists at different stages of their career. Tradition and innovation coexist in this edition, through a tribute to the great Ides Kihlen, and the novelty of the first ever exhibition in the Metaverse. These are just some of the forefront proposals that Pinta Miami presents this year, opening its new headquarters at The Hangar in Coconut Grove.

In line with Pinta's commitment as an international platform to stimulate and disseminate Ibero-American modern and contemporary art, this year's edition presents an artistic program that includes diverse and interdisciplinary exhibitions, and sections carefully articulated by the curators Omar-Pascual Castillo, Mario Gioia and José Antonio Navarrete for the Main Section; Oscar Roldán-Alzate in the Solo-Duo Projects and Main Section sections; Felix Suazo for Special Projects; Florencia Portocarrero in NEXT; Gean Moreno for Intersections; Pascal Tarabay for the Pinta Design section; Veronica Santalla for the Media Point section and curator architect Daniel Fischer for the design and spatial distribution of the fair.

Pinta Miami seeks to support artistic practice and encourage collecting, through new and established awards. In its twelfth edition, the EFG Latin America Art Award, sponsored by our main supporter, encourages the production of emerging Latin American artists, pre-selected through a jury at contemporary art fairs in Latin America throughout the year. On the other hand, the NEXT Prize will be awarded for the first time, for the stand that achieves the most cohesive and comprehensive dialogue of the practices of the artists represented. As a crowning note, Pinta Miami will present a series of seven Private and Public Collections Awards, from important and prestigious Ibero-American collectors, from both sides of the Atlantic.

In this new edition there is also a place for tributes. With the Aina Nowack Gallery, Pinta Miami celebrate Ides Kihlen, who turned 105 in 2022, with a tribute exhibition at the National Museum of Fine Arts in Buenos Aires and with the Lifetime Achievement Award from the National Academy of Fine Arts. 

Finally, in a completely disruptive and innovative approach, and seeking to create a link between the physical and virtual worlds, Pinta is the first major art fair to present an exhibition in the Metaverse, together with edigital.art, the Ella Fontanals Cisneros collection and the Museum District of Decentraland.

 

Pinta Concept thus becomes an exceptional showcase that not only highlights the outstanding quality of Latin American art, but also combines exclusivity and prestige to enhance the voice of artists and their social, cultural and ecological concerns. Fusing the face-to-face with the virtual, and connecting art lovers with its creators, Pinta is more than a fair: it is a concept.

Curated by Omar-Pascual Castillo, Mario Gioia and José Antonio Navarrete, the main section of Pinta Miami presents an international selection of galleries where various contemporary axes converge and share a gene rooted in Ibero-American culture.

Ides Kihlen 

Sin Título (T093), 2000 

Edición única. Acrílico sobre cartón, 30 x 34.9 cm

Presented by Aina Nowack / AAC Galeria de Arte, Madrid, Spain

Alfredo Quiroz

Arde, 2022. 

Fotografía digital. 30 x 30 cm. Ed 5 PA 2

Presented by +GALLERyLABs, New Haven, CT, USA

+GALLERyLABs also exhibits Emilia Cunliffe, Mono Giraud, José Gurvich, Adolf Albers, Miguel Trelles, Indira Urrutia, Norberto Estrin, at Pinta Miami 2022.

Martin & Sicilia

Presented by Artizar, La Laguna, Tenerife, Spain

René Pena

Dad, 2016 

Ed.10. Fotografía, 61 x 80 cm

Presented by Artizar, La Laguna, Tenerife, Spain

Artizar also exhibits Roberto Diago, Carlos Nicanor, Raul Cordero, Marco Alom, at Pinta Miami 2022.

Rolando Pena

#121-TI 

The Seven Vanishing Points, 1979

Photo-collage with photomaton and illustration from 

Hans Vredeman de Vries. Perspective, 1604-1605, 17 x 14 in.

Presented by Artmedia Gallery, Miami, FL, USA

Artmedia Gallery also exhibits Claudia Ammirata, Rainy Silvestre, Alberto Sisso, Magüi Trujillo, at Pinta Miami 2022.

Ana Teresa Barboza

Diente de León. 2022

Tejido de cáñamo con urdimbre de algodón y estructura de bronce, 140 x 78 cm

Presented by Espacio Liquido + La Gran, Gijon, Asturias, Spain

Espacio Liquido also exhibits Mercedes Elizalde, Samuel Sowatey, at Pinta Miami 2022.

Fernando Botero

Nanny and children, 2019

Grafito y acuarela sobre lienzo, 127 x 98 cm

Presented by Galeria El Museo, Bogota, Colombia

Galeria El Museo also exhibits Adriana Duque at Pinta Miami 2022.

Alejandro Vega Beuvrin

Barricada 9alt BP L200, Unique, 2019

Bronze. 200 x 140 x 90 cm / 78.74 X 55.11 X 35.4 in

Presented by GBG Arts, Miami, USA / Caracas, Venezuela

GBG Arts also exhibits Carlos Cruz-Diez, Jesús Rafael Soto, Carlos Medina, Gianna Pollarolo, Michelle Prazak, Ricardo Benaim, at Pinta Miami 2022.

Fernanda Piamonti 

Sin fondo II, 2022

Papel fotográfico pintado con tintas alquitranadas, 

laqueado, maruflado sobre tela y rasgado. 1,96 x 1,00 m

Presented by Imaginario, Buenos Aires, Argentina

Imaginario also exhibits Ana Zorraquin, Ángeles Pereda, Maitemazz, Charo Zapater, Arbissone, Alexandra Fuchs, Gerardo Feldtein, Lelo Freixas, Luz Iriarte at Pinta Miami 2022.

Andrey Guaiana Zignnatto

Sin titulo, Blanket series, 2022

Ceramic, cement, epoxy putty and iron

Presented by Janaina Torres Galeria, Sao Paulo, Brazil

Mariana Rodrigues

 It is in the depths that I dwell and make myself home, 2022

Acrylic, oil pastel chalk, oil stick and markers on canvas, 138 x 100 cm

Presented by Janaina Torres Galeria, Sao Paulo, Brazil

Janaina Torres Galeria also exhibits Antonio Oloxedê, Liene Bosquê, Marina Caverzan, Paula Juchem, Ricardo Siri, Sandra Mazzini, at Pinta Miami 2022.

Juan Ranieri

Quest for Water, 2022 

Graphite on paper, 48 x 46 in.

Presented by Julia Baitalá - Arte Contemporáneo, Buenos Aires, Argentina

Julia Baitalá - Arte Contemporáneo also exhibits Estela Mydlarski, Marcelo Toledo, Sarana Juarez Estrada, Irina Rosenfeldt, Ximena Giraudi, Sergio Castiglione, Iliana Rigueiro, at Pinta Miami 2022.

Avelino Sala

The End, 2021

Lacquered book. 20,5 x 13 x 6 cm

Presented by Llamazares Galería, Gijon, Asturias, Spain

Llamazares Galeria also exhibits María Jesús Rodríguez and Maite Centol at Pinta Miami 2022.

Jennifer Basile

Launce Site Coot Bay Pond, 2021

Presented by LnS Gallery, Miami, FL, USA

Natalia Garcia-Lee

Standard Model, 2022

Oil on canvas, 60 x 144 inches

Presented by LnS Gallery, Miami, FL, USA

LnS Gallery also exhibits Gustavo Acosta, Carlos Alfonzo, T. Eliott Mansa, William Osorio, Tony Vazquez-Figueroa, at Pinta Miami 2022.

Paula Senderowicz 

Amada la mar, 2019

Acrílico y óleo sobre lienzo y madera. 165 x 200 cm

Presented by OdA art gallery, Buenos Aires, Argentina

OdA art gallery also exhibits Andrea Alkalay, Fabiana Barreda, José Marchi, Josefina Robirosa, Mónica Fierro, at Pinta Miami 2022.

Manuel Mendive

Fragmento de un paisaje 1, 2017

Mix media, acrylic on canvas, 90.5 x 55.9 in.

Presented by Onate Contemporary Art, Miami FL, USA

Onate Contemporary Art also exhibits Antonio Segui, Javier Ampudia, Jorge Varona, Osley Gil, at Pinta Miami 2022.

Luis Cruz Azaceta

On the Road, 2010 

Acrylic, charcoal, enamel on canvas 

76h x 116w in / 193.04h x 294.64w cm

Presented by Lyle O. Reitzel Gallery, Santo Dominguo

Lyle O. Reitzel Gallery also exhibits Edouard Duval Carrié, José García Cordero, Ignacio Iturria, at Pinta Miami 2022.

Vicky Neumann

Tortuga / Turtle, 2019

Bordado sobre lino / Embroidery on linen, 150 x 167 cm

Presented by MAP - Montenegro Art Projects, Bogota, Columbia

MAP - Montenegro Art Projects also exhibits Liliana Angulo, Laura Maier, Nicole Mazza, Aimée García, Alejandro Tobón, José Ángel Vincench, at Pinta Miami 2022.

Paula Otegui

Mounstruo, 2022

Acrílico sobre tela, 200 x 150 cm

Presented by Pabellón 4 Arte Contemporáneo, Buenos Aires, Argentina

Pabellón 4 Arte Contemporáneo also exhibits Perla Benveniste, Dino Bruzzone, Jimena Fuertes, Andrea Tregear, Ale Jordao, at Pinta Miami 2022.

Deborah Wasserman

Drifting Apart. Where Landscapes Fuse, Where Landslides Peruse, 2021 

Oil on panel

Presented by Plataforma ArtBase, Montréal, QC

Plataforma ArtBase also exhibits Juan Fontanive, Dulce Pinzón, Diego Moreno, Emilio Rangel, Jun Olman, at Pinta Miami 2022.

Gregorio Vardanega 

Untitled, 1970-1974 

Plexiglas, 20 h x 19.75 w x 5.75 d in. / 51 x 50 x 15 cm

Presented by Prima Galeria, Santiago, Chile

Prima Galeria also exhibits Mario Morales, Victor Vasarely, Rogelio Polesello, Alberto Biasi, Julio Le Parc, Jesús Soto, Francisco Sobrino, Roberto Matta, at Pinta Miami 2022.

Gaston Ugalde 

Untitled, 2017 

Inkjet print on cotton paper, 63 x 43

Presented by Salar Galeria de Arte, La Paz, Bolivia

Carmelo Arden Quin 

Rythme 3, 1995

Acrylic on plastic panel. 93 h x 62 w cm / 36.61 h x 24.41 w in.

Presented by Sammer Gallery, Miami, FL, USA

Sammer Gallery also exhibits Pablo Atchugarry, Jose Pedro Costigliolo, Maria Freire, Mariano Carrera, Sebastian Barrandeguy, Carlos Carnero, Romulo Aguerre, at Pinta Miami 2022

Julio Le Parc 

Serie Conmemoración. Génesis americana 

Pochoir, 50 x 65 cm, 1 en 15, 1991

Presented by SASHA D espacio de arte, Cordoba, Argentina

Hernan Salvo

Heptagono de luz, 2022

Madera e iluminacion, 30 x 30 cm

Presented by SASHA D espacio de arte, Cordoba, Argentina

SASHA D espacio de arte also exhibits Eduardo Moisset de Espanes, Lorena Faccio, Matias Amici, at Pinta Miami 2022.

Adriana Gonzalez Brun 

Caja Bronce, 2022 

Bronce a la cera perdida. Medidas Variables

Presented by ViedmaArte, Asuncion, Paraguay

ViedmaArte also exhibits Veronica Viedma at Pinta Miami 2022.

Marcos Benitez

Serie: ao/ proyecto herbolario, 2023.

Impresión de corteza de árboles nativos con tierra,

 minerales y pigmentos vegetales sobre tela de fibra natural.  

Instalacion. Soporte: tela de ao poi (fibra natural) 1.00m x 3.00m

Presented by Artística - espacio de arte, Asuncion, Paraguay

Artística - espacio de arte also exhibits Osvaldo Pitoe and Julia Isidrez at Pinta Miami 2022.

Other exhibiting galleries in the main section of Pinta Miami 2022: Alex Slato (Miami) and Jackie Shor Project (Sao Paulo).

Pinta Miami 2022 | New Location

The Hangar in Coconut Grove

3385 Pan American Drive,

Coconut Grove, Miami FL 33133

miami.pinta.art

Jennifer Guidi @ David Kordansky Gallery, Los Angeles - In the Heart of the Sun

Jennifer Guidi: In the Heart of the Sun

David Kordansky Gallery, Los Angeles

November 5 – December 17, 2022

David Kordansky Gallery presents In the Heart of the Sun, an exhibition of new work by JENNIFER GUIDI at its Los Angeles gallery. The show features paintings, works on paper, and sculptures. 

Jennifer Guidi brings meditative vision, methodical practice, and a nuanced perceptual understanding of light, color, and landscape to works that are as immersive as they are finely detailed. Radiating networks of small marks, saturated hues, and tactile surfaces, generated through Guidi’s use of sand, have become characteristic components of a vocabulary in which an expansive sense of scale exists in large and small works alike. In the Heart of the Sun features a group of painted bronze sculptures installed in a rock-garden-like setting, new Universe Mandala and Sand Mandala paintings, and focused works on paper in which experiments with color and pattern reveal an endlessly shifting array of moods and inner vistas. Throughout the exhibition, Guidi shows how each individual mark, gesture, composition, and artwork—indeed, each observable phenomenon in the natural world—is part of an encompassing totality that is always in the process of creating itself anew.

Jennifer Guidi’s approach is both methodical and fluid. Her works arise from a rigorous attention to process even as she makes space for emotion and intuition to suffuse each aspect of their making. The South gallery is dedicated to new sculptures, for instance, that begin as actual rocks and crystals before undergoing several stages of casting, enlargement, and painting. The early stages of their development require heightened precision as naturally occurring mineral forms are subjected to industrial transformation. Guidi then engages in an open-ended state of experimentation, applying colors and optical patterns that alter the way their bronze surfaces receive and reflect light, and revisits modes of feeling and non-linear observation that guided her to choose these particular forms in the first place. The installation of the finished works in a large rectangular garden of dark pebbles allows viewers to encounter them with a sense of spaciousness, and to reflect on ways in which particles—whether grains of sand, dots of paint, or actual pebbles—come together to constitute unified visual fields.

Each of the Universe Mandala paintings on view in the North gallery also foreground relationships between the whole and its parts. Characterized by notable painterliness and a balance between order and organic freedom, these works are the results of several additions Jennifer Guidi has made to her technical repertoire. They are made with the canvas hanging on the wall, rather than on the floor, using handheld brushes as opposed to the stick-mounted ones she sometimes employs. Sand frequently plays an important textural role in the ground that supports subsequent gestures, though in the new Universe Mandalas, Jennifer Guidi cultivates a lightness of touch that evokes a broadened array of light- and color-based effects, as well as an associated range of other naturally occurring phenomena, like the movement of air through plants and flowers, or the way the sun reflects off rippling water at different times of day.

As the exhibition’s title suggests, Jennifer Guidi is interested not only in the centrality of light in painting, but also in exploring how the center of any given experience can be defined. If each sculpture, painting, and work on paper in the show represents its own light-emitting center, so, too, each mark or each shift in hue can be seen as a center around which every other element can be said to orbit. The works on paper in particular find Guidi focusing on intimate compositions that constitute both discrete worlds and units of an expansive, overarching solar system of images. Here too, marks arranged in mandala-like patterns orient the gaze while complex combinations of colors and surprising foreground-background relationships resist easy categorization. As viewers move from one work to the next, the familiar and the new appear to repeatedly exchange places.

This effect can be found throughout In the Heart of the Sun, which functions in many ways as a single immersive statement. Major new Sand Mandala paintings on view, however, serve as reminders that individual works are themselves immersive experiences in which perception of the world can be transformed. In one large-scale work, over six feet tall and twelve feet wide, Guidi has placed an encompassing white rectangle—one that echoes the format of the black rock garden in the adjacent gallery—atop a prismatic field of color whose rainbow-like luminosity becomes a vivid frame. Unlike the majority of her previous mandala works, in which the mandala’s center can be found to the upper left of center, here the geometrical center of the canvas is the point from which the indented marks radiate. Metaphorical possibilities abound as light is shown to be the heart of color, and color emerges as a life-giving symbol for feeling, imagination, and change.

Jennifer Guidi has been the subject of solo exhibitions at the Long Museum West Bund, Shanghai (2022); Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy (2017); and LAXART, Los Angeles (2014). Recent group exhibitions include A Possible Horizon, de la Cruz Collection, Miami (2020); One Day at a Time: Manny Farber and Termite Art, Museum of Contemporary Art, Los Angeles (2018); Generations: Female Artists in Dialogue, Part I, Sammlung Goetz, Munich (2018); NO MAN’S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington, D.C. (2016) and Rubell Family Collection, Miami (2015); and The Afghan Carpet Project, Hammer Museum, Los Angeles (2015). Her work is in the permanent collections of the San Francisco Museum of Modern Art; Dallas Museum of Art; Los Angeles County Museum of Art; and Guggenheim Museum, New York, among other institutions. Jennifer Guidi’s book 11:11, documenting the artist’s 2019 solo presentation at FIAC (Foire Internationale d’art Contemporain), was published in 2020 by David Kordansky Gallery. Jennifer Guidi lives and works in Los Angeles.

DAVID KORDANSKI GALLERY

5130 W. Edgewood Pl., Los Angeles, CA 90019

www.davidkordanskygallery.com

_____________

William Kentridge @ The Broad, Los Angeles - William Kentridge: In Praise of Shadows - Exhibition + Catalogue

William Kentridge: In Praise of Shadows

The Broad, Los Angeles

November 12, 2022 - April 9, 2023

William Kentridge

And When He Returned, 2019

Hand-woven mohair tapestry 

118 x 187 in. (300 x 475 cm) 

Collection of the Artist

© William Kentridge

William Kentridge

The Shrapnel in the Woods, 2013

India ink on Crabb's Universal Technological Dictionary 1826

82 5/8 x 86 5/8 in. (210 x 220 cm)

© William Kentridge

The Broad presents landmark exhibition William Kentridge: In Praise of Shadows surveying 35 years of the celebrated South African artist's work.

Born in Johannesburg in 1955 and living there his entire life, William Kentridge has dedicated much of his five-decade-long career to creating works that explore the social and political conditions of his home country’s transition from Apartheid to democracy. Spanning his well-known charcoal drawings and animated films to prints, bronze sculptures, tapestries, and theater models, the exhibition uses the paradoxes of light and shadow to directly engage with the aftermath of colonialism, the recording and memory of historical narratives, and how the artist’s studio can disrupt the certainties of long-held belief systems. The exhibition coincides with the release of a catalogue published by the museum in collaboration with DelMonico Books and will feature essays and interviews by William Kentridge, Ann McCoy, Zakes Mda, Walter Murch, and The Broad’s Curator Ed Schad.

“For decades, William Kentridge has looked at history–who writes it, what gets recorded by it, and what about it allocates power inside of societies–with an eye towards de-centering and unsettling what we think we know,” said The Broad Founding Director Joanne Heyler. “His viewpoint comes from the important and vital story of South Africa’s struggle for democracy, and it is a viewpoint that is able to look out at the wider world in an effort to show how fragile and ongoing that struggle remains.”

“The work of William Kentridge is a celebration of making, grounded in the cultural fabric of Johannesburg,” said The Broad Curator Ed Schad. “One encounters South African voices and histories, which are turned outwards to look at the wider world. In Kentridge’s collaborations, one feels the richness and energy of a workshop spirt which is defined by openness to unusual ideas, off-kilter points of view, and material disruptions which upends what we think we know.”

For the presentation in Los Angeles, all 18 works from the Broad collection join substantial loans from across the United States and South Africa. Organized both thematically and chronologically throughout the museum’s first-floor galleries, a highlight of the exhibition is The Broad collection’s 30-minute five-channel video installation The Refusal of Time (2012). One of Kentridge’s most celebrated, complex, and immersive works, incorporating elements of sound, sculpture, and moving image, The Refusal of Time is a rich contemplation on colonization and the standardization of time imposed by European interests on the rest of the world. At the core of the installation is a breathing machine the artist refers to as the “elephant” with rhythmic moving bellows, referencing the Dickens’ novel Hard Times, in which machines move “like the head of an elephant in a state of melancholy madness.”

In addition to key drawings, sculptures, prints, and tapestries, the artist’s 11 Drawings for Projection films are on view, as well as a series of films that reflect on early cinema, including 7 Fragments for Georges Méliès, Day for Night, and Journey to the Moon (all 2003), a suite of nine short films that prominently feature the artist himself and celebrate the artist’s studio as a site of experimentation and associative play. Many recent drawings will be shown that were created for his monumental performance project The Head & the Load (2018), which unearth the neglected histories of Africans and Africa in World War I. Earlier works such as Art in a State of Grace, Art in a State of Hope, Art in a State of Siege (all 1988), and early films like Monument (1990) and Mine (1991), show Kentridge’s long-lasting political engagement, upholding artistry and the creative act as its own form of transformative knowledge.

Surveying 35 years of the celebrated South African artist’s practice, William Kentridge: In Praise of Shadows features more than 130 works in an engaging and interactive design by Belgian designer Sabine Theunissen. Originated by The Broad, the exhibition will be traveling to Museum of Fine Arts, Houston in 2023.

William Kentridge: In Praise of Shadows

Clothbound Hardcover

10.5"H x 8.25"W - 288 Pages

© William Kentridge

The exhibition is accompanied by a monograph catalogue, published by The Broad in collaboration with Delmonico Books. The 288-page, book features William Kentridge’s well-known Drawings for Projection films, early prints, drawings, and sculptures, as well as major bodies of work made after 2012–including the monumental installation The Refusal of Time (2012)–which serve as an extended meditation on Kentridge’s studio practice. The volume is organized chronologically and thematically, starting with William Kentridge’s artistic beginnings in the 1970s and 1980s, leading into his destabilization of South African and global narratives through an openness to uncertainty, the generative power of the artist’s studio, and perpetual change, all as conditions for illuminating repressed and silenced voices in historical records. An essay by The Broad Curator Ed Schad is presented along with illustrations and analysis of William Kentridge’s work, joining essays by artist and writer Ann McCoy and renowned novelist and thinker Zakes Mda. Notably, the volume includes conversations between Kentridge with revolutionary film and sound editor Walter Murch. The catalogue is available at The Shop at The Broad and online for $65.

THE BROAD

221 S. Grand Avenue, Los Angeles, CA 90012

www.thebroad.org

Exposition ZEP : Titeuf, 30 ans de dessins @ Galerie Huberty & Breyne, Paris

ZEP : Titeuf, 30 ans de dessins

Galerie Huberty & Breyne, Paris

2 décembre 2022 - 21 janvier 2023

Zep - Autoportrait avec Titeuf 

Dessin -15,9 x 12,4 - 45678 

© Courtesy de l'artiste et de la galerie Huberty & Breyne 

Présentant des œuvres originales, exceptionnellement mises en vente par l'auteur, cette exposition vient marquer trois décennies de création du dessinateur de Titeuf, Zep.

À ce jour, plus de 20 millions d’albums de Titeuf ont été vendus dans le monde et ses aventures sont diffusées dans plus de 25 pays, dont la Chine. L’événement coïncide avec la publication aux Éditions Glénat de Titeuf, le livre d'or, 30ème anniversaire par Zep. L’aspect pédagogique de l’exposition est également remarquable : les enfants verront les étapes de création d’une histoire de Bande Dessinée : du crayonné synoptique à la planche originale encrée.

L'exposition réunit une sélection de 130 dessins illustrant l'ensemble du parcours graphique et la vie du célèbre héros de BD : crayonnés préparatoires, couvertures, planches originales et dessins promotionnels depuis 1993 - date de la création du personnage de Titeuf - à aujourd’hui. Cette sélection exceptionnelle permet de suivre les évolutions du dessin et de constater qu'au fil des albums, le trait de Zep s’est affirmé au service d’une narration graphique parfaite.

À l’occasion de l'exposition, la galerie Huberty & Breyne édite une affiche d’un dessin original inédit en deux tirages dont un de luxe. 300 exemplaires de Titeuf, le livre d'or publié aux éditions Glénat avec une jaquette inédite seront également proposés à la vente, dont certains seront dédicacés par Zep. 

Zep - Titeuf,  Le sens de la vie, Tome 12 

© Courtesy de l'artiste et de la galerie Huberty & Breyne 

Titeuf 

Depuis sa création en 1993, Titeuf enchante des générations de lecteurs dans le monde entier. C'est par hasard que Zep donna naissance à Titeuf , sur un carnet de croquis, alors qu’il dessinait des souvenirs d’enfance. En s’inspirant de sa vie personnelle, Zep a su créer un univers riche, drôle et émouvant dans lequel chacun est à même de se reconnaitre. Avec délicatesse et élégance, Titeuf  fait (re)vivre une vaste gamme d'émotions, allant du rire à la mélancolie, en passant par la tendresse, nous ramenant  à l’enfance. Ses chroniques en forme de gag ont souvent un goût doux amer, surtout lorsqu'elles traitent de sujets profonds comme le racisme ou le chôm​age... Mais quand il s'agit de la cour d'école et des amours naissantes, en revanche, les rires sont toujours au rendez-vous.

Zep - Titeuf, Le guide du zizi sexuel 

© Courtesy de l'artiste et de la galerie Huberty & Breyne 

Zep

Philippe Chappuis dit Zep est né le 15 décembre 1967 à Onex, dans le canton de Genève. Il est reconnu aujourd'hui comme un auteur majeur de la Bande Dessinée. En 2004, il a reçu le Grand Prix de la ville d’Angoulême pour l’ensemble de sa carrière. En donnant naissance à Titeuf, il ne se doutait pas qu’il allait créer un personnage iconique, véritable phénomène du monde de l’édition.

Avec Tébo, Zep lance en 2004 la série Captain Biceps, adaptée et diffusée sur France 3. Il renouvelle cette collaboration en 2008 avec la parution de Comment dessiner ? Il s’associe également en 2008 avec Stan et Vince pour le lancement de Chronokids, les aventures de deux enfants capables de remonter le temps. En 2011, pour le tome 3, la série a reçu le prix de la meilleure série Jeunesse au Festival International de la BD d’Angoulême.

En 2009, Zep publie chez Delcourt Happy Sex dans un registre plus adulte, suivi de Happy Girls et Happy Rock.

Il écrit et réalise Titeuf, le film, sorti en avril 2011.

En septembre 2013, avec la parution d’Une histoire d’hommes, Zep propose, dans un tout autre registre, un album au graphisme ouvertement réaliste dont la thématique dresse l’inventaire des passions et des désirs enfouis d’un groupe d’anciens musiciens. L’année suivante, Zep revient à l’humour et publie Happy Parents, un album drôle et touchant sur la relation parents-enfants, ainsi qu’un album spécial des Chronokids consacré aux grandes inventions de l’Histoire.

En 2014, outre le 14e tome de Titeuf : Bienvenue en adolescence !, Zep publie chez Glénat un ouvrage érotique dessiné par Vince : Esmera. Il poursuit ensuite son exploration de récits aux dimensions plus réalistes avec Un bruit étrange et beau, une œuvre qui s’apparente à une ode à la liberté et à la simplicité.

En 2018, il flirte avec la science-fiction et l’ésotérisme dans The End et l’année suivante, il scénarise Paris 2119 avec Dominique Bertail au dessin. En 2022, il signe Ce que nous sommes, un thriller transhumaniste qu’il scénarise et dessine. 

Zep - Titeuf - Nadia se marie, Tome10, 4e de couverture 

© Courtesy de l'artiste et de la galerie Huberty & Breyne 

TITEUF, LE LIVRE D'OR PAR ZEP

30e anniversaire

Éditions Glénat 

Collection Tchô !

160 pages. Format : 22,6 x 30,3 cm. Cartonné.

Prix public en France : 25 euros

En janvier 1993 sortait Dieu, le sexe et les bretelles, premier volume des aventures du légendaire personnage à la mèche blonde. Pour l’occasion, Zep et les éditions Glénat célèbrent ce remarquable anniversaire avec un magnifique Livre d’or qui vient retracer les grandes lignes de l'aventure Titeuf mais aussi fait découvrir des dessins jamais publiés. L’occasion de présenter dans un grand écrin, toute la beauté et l'évolution du dessin si singulier de Zep. 

Zep - Titeuf, La photo de classe 

© Courtesy de l'artiste et de la galerie Huberty & Breyne 

GALERIE HUBERTY & BREYNE

36 avenue Matignon, 75008 Paris

hubertybreyne.com