LISTE 16 by LAB

LISTE 16 â&#x20AC;&#x201C; The Young Art Fair in Basel

See you next year at LISTE 17! June 12 to 17, 2012

galleries * special guests * artists performances * art prices * information Main Sponsor for 15 years E. Gutzwiller & Cie, Banquiers, Basel

Information Information Messe Fair

Katalog Catalog

LISTE, The Young Art Fair in Basel Im Werkraum Warteck pp Burgweg 15, CH-4058 Basel T: +41 61 692 20 21 F: +41 61 692 20 18 info@liste.ch, www.liste.ch

Informationen zu den Galerien, Kunstschaffenden, Sondergästen und der Messe Information about the galleries, artists, special guests and the fair CHF 15.–

Öffnungszeiten Open Hours

Mittwoch–Sonntag, 15 Uhr Wednesday–Sunday 3 p.m. Unkostenbeitrag/Costs: CHF 10.–/5.–

Dienstag, 14. bis Samstag, 18. Juni, 13–21 Uhr Sonntag, 19. Juni, 13–19 Uhr Tuesday, June 14 to Saturday, June 18, 1–9 p.m. Sunday, June 19, 1–7 p.m. Vernissage Opening Reception

Montag, 13. Juni, 17–22 Uhr Die Vernissage ist öffentlich und alle sind herzlich eingeladen. Monday, June 13, 5–10 p.m. The Opening Reception is open to the public and everyone is welcome. Vernissage Party Opening Reception Party

Ab 22.00 Uhr im NT/Areal from 10 p.m. in NT/Areal Erlenstrasse 21/23, Basel Eintrittspreis Admission

Einmaleintritt/Single Entry CHF 20.– Reduziert/Reduced CHF 10.– Ab 20.00 Uhr/After 8 p.m. CHF 6.– Ab 20.00 Uhr, Schüler+Studenten: Eintritt frei After 8 p.m., free admission for students

Führungen Guided Tours

Performance Project

– Monday, June 13, 4 p.m. and 7 p.m.: Matthew Lutz-Kinoy, US – Tuesday, June 14, beginning at 1 p.m.: Lili Reynaud Dewar, FR, – Wednesday, June 15, 3 p.m., 5 p.m. and 7 p.m.: Ruth Buchanan, NZ – Thursday, June 16, 6 p.m. Bonny Poon, CA – Friday, June 17, beginning at 1 p.m.: Stéphane Querrec, FR – Saturday, June 18, beginning at 1 p.m.: Jeanne-Salomé Rochat, CH – Sunday, June 19, beginning at 1 p.m.: Udio, DE Performances gezeigt von Galerien Performances shown by galleries

Permanent performance, booth 1/5/1, Exile, The Eye Balled Walls by FORT, DE – Monday, June 13, 1 p.m. to 5 p.m.: fair building, Johan Berggren Gallery, Per-Oskar Leu, NO – Tuesday, June 14, 8 p.m.: booth 2/5/1, Galeria Stereo, Wojciech Bakowski, PL – Wednesday, June 15, 8 p.m.: booth 2/5/1, Galeria Stereo, Wojciech Bakowski, PL – Wednesday, June 15, 1 p.m. to 6 p.m.: booth 0/10/9, LABOR, Adam Kleinman, US – Friday, June 17, 4 p.m.: Main Entrance, Supportico Lopez, Franziska Lantz, CH

193

Herzliche Gratulation zum Doppeljubiläum! Warmest congratulations on your double anniversary!

15 Jahre unser Hauptsponsor und 125 Jahre E. Gutzwiller & Cie, Banquiers Basel!

15 Years as our main sponsor and 125 years of E. Gutzwiller & Cie, Banquiers Basel!

Lieber Stéphane und François Gutzwiller, lieber Lorenz von Habsburg, lieber Peter Handschin

Dear Stéphane und François Gutzwiller, dear Lorenz von Habsburg, dear Peter Handschin

Was für eine wunderbare gemeinsame Geschichte durften wir in den vergangenen 15 Jahren erleben! Ihr hattet den Mut und den guten «Riecher» auf eine damals noch unbekannte Messe zu setzen. Mit eurer wertvollen ideellen und materiellen Unterstützung sind wir gross und erfolgreich geworden. Einen so überaus loyalen und treuen Partner und Freund zu haben, ist «Gold» wert.

What a wonderful history we’ve shared over the past 15 years! You had courage and the right «nose for future trends» when you chose those many years ago to support a then unknown art fair. With both your tangible and intangible support, your ideas and your financial contributions, we have developed into a large and successful fair. As a deeply loyal and abiding partner and friend, you are worth your weight in «gold».

Ihr wisst es und ich sage es überaus gerne: Grossen und herzlichen Dank für euer Engagement an der LISTE, unseren Galerien und ihren jungen Kunstschaffenden.

You already know, but I am so pleased to say: Our deepest and warmest thanks for your dedication and commitment to LISTE, our galleries and our young artists.

Ich freue mich auf die weitere gemeinsame Zukunft! Happy Birthday! 125 Jahre Bank E. Gutzwiller und Happy Birthday 15 Jahre Hauptsponsor! In Freundschaft und Dankbarkeit.

I am looking forward to our continuing down our path together! Happy Birthday! 125 years of Bank E. Gutzwiller and Happy Birthday – 15 years as our main sponsor!

Peter Bläuer

In friendship and gratitude. Peter Bläuer

Inhalt Content Galerien/Galleries A

Dank/Acknowledgment 7

Altman Siegel, San Francisco 42 Ancient & Modern, London 44

Sondergäste/Special Guests

Museum Haus Konstruktiv, Zurich 14 House of Electronic Arts, Basel 16 Kaskadenkondensator, Basel 18

Balice Hertling, Paris 46 Berggren, Malmö 48 BolteLang, Zurich 50 Bugada & Cargnel, Paris 52 Bureau, New York 54

Marcelle Alix, Paris 112 Mary Mary, Glasgow 114 Mezzanin, Vienna 116 Mihail, Bucharest 118 Minini, Milan 120 Monitor, Rome 122

Circus, Berlin 56 Corty, Paris 58 Croy Nielsen, Berlin 60

Neue Alte Brücke, Frankfurt a.M. 124 NoguerasBlanchard, Barcelona 126

Office Baroque, Antwerp 128

Dallas, Glasgow 62 Dee, New York 64

Kunstpreise/Art Prizes

Nationale Suisse, Basel 20 redtoo Art Prize, Reinach 22 Film 24

E Performance Project 32

Exile, Berlin 66 F

Zeitschriften/Magazines 36 Inserate/Advertisements 170 Messe Information/ Fair Information 193

Fluxia, Milan 68 Fonti, Naples 70 Foxy Production, New York 72 Freedman, London 74 Fuentes, New York 76 G

Gaudel de Stampa, Paris 78 Gitlen, New York 80 H

Herald St, London 82 Hopkinson Cundy, Auckland 84 Hotel, London 86 Huber, Vienna 88 K

Kadel Willborn, Karlsruhe 90 Karma International, Zurich 92 Kaufmann Repetto, Milan 94 Kisterem, Budapest 96 KOW, Berlin 98 Krobath, Vienna/Berlin 100

Lentz, Rotterdam 106 Limoncello, London 108 Lüttgenmeijer, Berlin 110

Vorwort/Foreword 5

Peres, Berlin 130 Plan B, Cluj/Berlin 132 Platform China, Beijing 134 Platteau, Bruxelles 136 R

RaebervonStenglin, Zurich 138 Renwick, New York 140 S

Schleicher + Lange, Paris 142 Schubert, Berlin 144 Sommer & Kohl, Berlin 146 Stereo, Poznan 148 Stigter, Amsterdam 150 Supportico Lopez, Berlin 152 T

T293, Naples 154 The Breeder, Athens 156 Tufnell, London 158 Tulips & Roses, Brussels 160 V

van Zomeren, Amsterdam 162 W

Wallspace, New York 164 Wolff, Paris 166

Labor, Mexico D.F. 102 Lautom, Oslo 104

Zinger, Amsterdam 168 3

Vorwort Foreword Herzlich Willkommen zur 16. Ausgabe der LISTE und herzlich Willkommen in der Kunststadt Basel!

Wecome to the 16th edition of LISTE and welcome to Art City Basel!

Schon wieder feiern wir ein Jubiläum!

Once again we are celebrating an anniversary!

Nachdem wir im letzten Jahr 15 erfolgreiche LISTE Jahre feierten, können wir in diesem Jahr 15 Jahre Hauptsponsor: E. Gutzwiller & Cie Banquiers, Basel feiern!

Last year we celebrated 15 successful years of LISTE, and this year we are celebrating 15 years with our main sponsor: E. Gutzwiller & Cie Banquiers, Basel!

In diesen 15 Jahren hat sich mit unserem Hauptsponsor eine wunderbare und wertvolle Partnerschaft und Freundschaft entwickelt. Mit ihrem grossen finanziellen Engagement ermöglichen sie unseren Galerien zu günstigen Konditionen in Basel dabei zu sein. Einen ganz grossen und herzlichen Dank! Die LISTE 16 stellt ihnen in diesem Jahr 64 Galerien aus 19 Ländern vor. So hat unsere Fachjury aus 350 Bewerbungen 64 Galerien ausgewählt. 10 Galerien stellen wir ihnen dieses Jahr neu vor und 8 Galerien kehren nach erfolgreichen Statements auf der Art Basel an die LISTE zurück. Unsere Sondergäste sind in diesem Jahr das Museum Haus Konstruktiv, Zürich, der Kaskadenkondensator, Basel und das Haus für elektronische Künste Basel. Die Versicherung Nationale Suisse verleiht zum achten Mal ihren Kunstpreis an eine Diplomandin oder einen Diplomanden einer Schweizer Fachhochschule im Bereich «Bildende Kunst und Medienkunst». Ebenso verleiht das IT Unternehmen redtoo aus Reinach zum zweiten Mal seinen Kunstpreis. Dieser Preis geht an die überzeugendste Newcomer-Galerie ausgewählt von einer Fachjury. Ergänzt wird die Messe erneut durch unser Performance-Projekt, welches täglich wechselnde internationale Performerinnen und Performer präsentiert.

Over the past 15 years, a wonderful and valuable partnership and friendship with our main sponsors has developed. With their strong financial commitment to our fair, they have made it possible for our galleries to participate in LISTE at reasonable terms and conditions. A big and warm-hearted thank! LISTE 16 will present 64 galleries from 19 countries. Our jury of experts selected these galleries from among 350 applicants. 10 galleries are new and 8 will be returning to LISTE after successful Statements at Art Basel. Our special guests this year are the Museum Haus Konstruktiv, Zurich, Kaskadenkondensator, Basel and the House of Electronic Arts Basel. For the eighth time, the Nationale Suisse Insurance Company will award its art prize to a graduate of a Swiss art college who has majored in «visual art and media art». The IT firm redtoo, Reinach, will award its art prize for the second time. The prize will be awarded to the most outstanding newcomer gallery, chosen by an international jury of experts. Once again our fair will be enriched by the Performance Project, which will present a daily-changing schedule of international performance artists. I would like to wish you all of a wonderful time in Basel. Peter Bläuer, Director

Ihnen allen wünsche ich eine spannende Zeit in Basel. Peter Bläuer, Direktor

Dank Acknowledgment

Einen sehr herzlichen Dank!

A very heartfelt thanks!

Einen besonderen Dank an nachfolgende Unternehmen und Institutionen, welche unseren Katalog dank Ihrem Inserat finanziell ermöglichen.

A special thank you to the following companies and institutions whose purchase of advertising has provided the financial support needed to publish our catalogue.

_ Atelier für Arbeiten mit Stein & …, Stefan Eisele, Basel _ Bodega zum Strauss, Basel _ Buchner Bründler AG, Architekten BSA, Basel _ Cargo Bar, Basel _ Cartoonmuseum, Basel _ Chefs on Fire, Basel _ Egeler Lutz AG, Baugeschäft, Basel _ Fachhochschule Nordwestschweiz, Hochschule für Gestaltung und Kunst, Basel _ Forum Würth, Basel _ Gasthof zum Goldenen Sternen, Basel _ Hot Lemon, Basel _ IACCCA, Paris _ Kunsthalle Basel _ Kunsthalle Bern _ Kunsthalle Zürich _ Kunstmuseum Bern _ Kunstmuseum Solothurn

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Lüdi Coiffeur, Basel Mezger AG Uhren & Bijouterie, Basel Migros Museum für Gegenwartskunst, Zürich Museum für Gegenwartskunst, Basel Nationale Suisse, Basel Parkett Verlag AG, Zürich Restaurant Brauerei & Enothek, Weinloft GmbH, Basel Restaurant Matisse, Basel Restaurant Rubino, Basel Ricola AG, Laufen SAB Architekten, Basel S AM Schweizerisches Architekturmuseum, Basel Schaulager, Basel Set & Sekt, Basel Tanja Klein, Basel Tweaklab, Basel Warteck pp, Basel

Dank Acknowledgments Ganz herzlichen Dank!

A very warm thank you!

Jedes Jahr ist es für mich ein schönes Erlebnis mit welch grosser Unterstützung und Hilfe von ganz unterschiedlicher Seite unsere Messe mitgetragen wird.

Each year, it is a thrill for me to see how generously the fair is supported from the most varied sources.

Grossen Dank der Hausdame: dem Werkraum Warteck pp; unserem Hauptsponsor, E. Gutzwiller & Cie, Banquiers, Basel; der Steudler Press, Basel; Onitsuka Tiger; Campari; Judith Keller; Daniele Vecchio Lopez; Goldenen Sternen, Basel; Blumen Eric GmbH, Basel; den Kunstpreisvergebern: der Nationale Suisse, Basel und redtoo, Reinach; der Warteck Invest AG, Basel; den Behörden der Stadt Basel; im speziellen dem Baudepartement und Polizeidepartement; der Kulturabteilung, Basel; den Museumsdiensten, Basel; den Museen der Region Basel; dem Team der Art Basel; unserer Grafikerin, Ute Drewes, Basel; den Nachbarinnen und Nachbarn; den Galeristinnen und Galeristen; den Zeitschriften; den Medienschaffenden; dem Museum Haus Konstruktiv, Zürich; dem Kaskadenkondensator, Basel; dem Haus für Elektronische Künste Basel; den Helferinnen und Helfern vor und hinter den Kulissen; den Beraterinnen und Beratern; dem Auswahlkomitee; den Bar- und Restaurantbetreibern; den wertvollen Mitarbeiterinnen und Mitarbeitern; den Bauleuten und den Freundinnen und Freunden. Und einen ganz speziellen Dank meinem grossartigen Team: Jacqueline Uhlmann, Alexandra Stähli, Tina Stork, Maja Wismer, Fabienne Blanc, Neyl Aragon und Fabian Nichele.

Many thanks to the host, the Werkraum Warteck pp; our main sponsor, E. Gutzwiller & Cie, Banquiers, Basel; the sponsors: Steudler Press, Basel; Onitsuka Tiger; Campari; Judith Keller; Daniele Vecchio Lopez; Goldenen Sternen, Basel; Blumen Eric GmbH, Basel; the firms awarding art prizes: Nationale Suisse and redtoo, Reinach; Warteck Invest AG, Basel; Department of Culture, Basel; the various authorities of the city of Basel, especially the Construction and Police Departments; the Department of Cultural Affairs, Basel; Museum services, Basel; the museums in the greater Basel area; the team from Art Basel; our grafic designer Ute Drewes, Basel; neighbors; the gallerists; the magazines; journalists; Museum Haus Konstruktiv, Zurich; Kaskadenkondensator, Basel; House of Electronic Arts Basel; those who have helped out front and behind the scenes; consultants and advisors; the selection committee; the bar and restaurant operators and our friends; our highly valued co-workers; the construction workers; our friends. And very special thanks to my fantastic team: Jacqueline Uhlmann, Alexandra Stähli, Tina Stork, Maja Wismer, Fabienne Blanc, Neyl Aragon and Fabian Nichele. To all of you our heartfelt thanks! Peter Bläuer

Ihnen allen ein grosses Dankeschön! Peter Bläuer

Dank Acknowledgments Lieber Herr Steiner, lieber Herr Steudler

Dear Mr. Steiner, dear Mr. Steudler

Herzlichen Dank für die wunderbare Zusammenarbeit! Wir freuen uns immer über die hohe Qualität der Druckerzeugnisse und die professionelle Arbeit.

Heart-felt thanks for our terrific collaboration! We are always so pleased by the high quality of our printed material and your professional work.

Lieber Herr Napoletano

Dear Mr. Napoletano

Grossen Dank für die Bekleidung – mit dem unverkennbaren Logo – für unsere Mitarbeiterinnen und Mitarbeiter.

Many thanks for the clothing – with the well known label – for our employees.

Liebe Frau Balzert

Dear Ms. Balzert

Besten Dank für den Prosecco und den Campari um unseren Gästen einen spritzigen Apero offerieren zu können.

Many thanks for the Prosecco and Campari so that we can offer our guests sparkling refreshments.

Sondergast | Special Guest Museum Haus Konstruktiv 2/4/1

Museum Haus Konstruktiv

T: +41/44/2177080, F: +41/44/2177090

Selnaustrasse 25, CH-8001 Zürich

info@hauskonstruktiv.ch, www.hauskonstruktiv.ch

Coup De Cœur

The Zurich museum Haus Konstruktiv is particularly pleased to be a guest at this year’s LISTE – The Young Art Fair in Basel, because in 2011, the Foundation for Constructive, Concrete and Conceptual Art (the foundation which supports this museum) is celebrating its 25th anniversary: For several years, the museum Haus Konstruktiv, which emerged from Zurich’s history of concrete art, has addressed the cross-generational dialog between artistic positions of the past and their continuation in the present. Thus, the presentation «Coup De Cœur» is about the twofold artistic ability to organize and to simultaneously seduce. The central observation is that in recent years, a new visual interest in clarity, reduction and systematics has developed, because if we just zap through the world, through art colleges, museums and art galleries, we encounter invigoratingly diverse forms of a new minimalism everywhere: Reduction is in again! ZERO is undergoing a major revival internationally, key op-art artists are being rediscovered and young galleries with a contemporary program are exhibiting significant conceptual artists of the 1960s and 70s. And with many young artists addressing issues of a reductionist nature, we can already speak of a new generation of «neoconceptualists». In short: constructivist, concrete and conceptual topics are in the forefront once more and totally contemporary.

And this is actually no surprise, because the search for a universalistic overall concept, as offered by the systems of geometry and mathematics, the analytical and emotional research of pure artistic means, creates timeless freedom. One might almost speak of a new concrete and conceptual movement which has assimilated the experiences, insights and findings of the whole 20th century and now, at the beginning of the 21st century, has an altered selfconfidence – one that does not assert itself through dissociation, but rather by means of a particular form of faith in artistic assertion itself. In the presentation «Coup De Cœur», we are exhibiting works by Elias Crespin (*1965 in Caracas, Venezuela; lives in Paris), Natalia Stachon (*1976 in Katowice, Poland; lives in Berlin), Tobias Madison (*1985 in Basel; lives in Basel and Zurich) and Mai-Thu Perret (*1976 in Geneva, lives in Geneva; winner of the «Zurich Art Prize» 2011, Haus Konstruktiv 2011). In addition, we are presenting Natalia Stachon’s new catalog «Matter Shifted», ed. by Haus Konstruktiv and published by DISTANZ Verlag Berlin. Natalia Stachon Dorothea Strauss, Director Haus Konstruktiv

RAJ, 2010 Polished copper sheet, DIN A4 Edition of 30 + 5AP

Sondergast | Special Guest House of Electronic Arts Basel -1/1/1

House of Electronic Arts Basel

T: +41/61/2836050

Oslostrasse 10, CH-4023 Basel/Münchenstein

info@haus-ek.org, www.haus-ek.org

Be with me

«After receiving information on the situation in Egypt every 5 seconds through my SINA microblog, and after reading the article from Slavoj Žižek commenting on WikiLeaks I have become very aware that we have entered an era of information explosion, which leaves me confused about the nature of true information and truth as such.

A Social Intervention, Activism or Media Art Survey from China with Aaajiao, Chen Dongfan, Cheng Ran, Double Fly Group, Fang Wei, Zheng Yunhan. Concept/Curator: Li Zhenhua

The new House of Electronic Arts Basel is the successor of [plug.in], Art & New Media (2000–2010), and the new home for Shift – Electronic Arts Festival (est. 2007). It presents contemporary art and music that applies and addresses electronic media. At LISTE, it presents a guest project with young artists from China, curated by Li Zhenhua. In cooperation with Qingying, Hangzhou, Artlinkart, Shanghai, LAB, Beijing. Supported by Pro Helvetia, Shanghai/Zurich

This is the moment that provides us with the opportunity of testing information tools such as Twitter, YouTube, Facebook, Google Earth and the many other means that link us together. This project addresses social media, but does not stay restricted to the online realm, as it engages with the interrelations of art, the human body, and social intervention. What are the challenges that we face as the real-life and online realms evolve parallel to each other?» Li Zhenhua Aaajiao, anti-cybernetics, 2010 Interactive installation

Zheng Yunhan, Zheng Yunhan’s

Poor Coffee, 2011

Sondergast | Special Guest Kaskadenkondensator 2/2/3

Kaskadenkondensator, Chris Regn, Axel Töpfer,

T/F: +41/78/8222157, M: +41/78/8222157

Marcel Schwald, Nicole Boillat, Burgweg 7, CH-4058 Basel

info@kasko.ch, www.kasko.ch

Zur LISTE präsentiert der Kaskadenkondensator das Kuratorenkollektiv «the forever ending story», welche den Hamburger Maler Christian Rothmaler zeigen.

Zudem veranstalten wir Spaziergänge als Performances von «Collectif Inouite».

Christian Rothmaler Sieh! Der Entsteher 2010 Öl auf Leinwand 180 x 130 cm Collectif inouite max & bruce : keep on the beast 2011 Performance

the forever ending story

Als Kuratorenkollektiv ohne eigenen Ausstellungsraum zeigt «the forever ending story» seit Ende 2009 junge künstlerische Positionen und organisiert bzw. kuratiert regelmässig Ausstellungen im In- und Ausland. Als heterogenes und interdisziplinäres Kollektiv, bestehend aus zwei Künstlern, einem Kunsthistoriker und einem Designer, entfaltet das Projekt Synergien und eine verstärkte kreative Dynamik. 18

collectif inouite

Während der LISTE16 zeigt «the forever ending story» eine Einzelausstellung des Hamburger Malers Christian Rothmaler (*1982), in einem von «JMPS» entworfenen Raum. www.theforeverendingstory.com

Das collectif inouite (Lucie Kohler und Anna Nitchaeff) arbeitet mit Appropriation, Clichés und Unterhaltungskultur. Durch ihre Performances, Videos, monumentalen Wandzeichnungen und Skulpturen versuchen sie relevante Kommentare zur Kunstszene und zur Hassliebe unserer Gesellschaft zum Kitsch anzubieten. Die inouite wurden 2010 als Kollektiv geboren.

Im Rahmen ihres Performanceprojekts «Max & Bruce : keep on the beast», welches sich parasitär bei Kunstereignissen entwickelt, wird das collectif inouite in der Liste als Maskottchen der Kunst Spaziergänge organisieren und verschiedene Aktionen aufführen. http://collectifinouite.blogspot.com

Kunstpreis | Art Prize Nationale Suisse 2/1/4

Nationale Suisse, Kunstpreis

kunstpreis@nationalesuisse.ch

Steinengraben 41, CH-4003 Basel

www.nationalesuisse.ch

Nationale Suisse congratulates the 2011 prize winner Josse Bailly, Haute Ecole d‘Art et de Design Geneva

Josse Bailly Rocket Engines Burning Fuel so Fast, 2011 Oil on canvas

The Nationale Suisse Encouragement Prize for graduates of Swiss colleges of visual arts and media is given annually to a young artist at the start of his career. The Art Prize includes a monetary award of CHF 15 000 and a curated exhibition at the LISTE. The Encouragement Prize affirms and expands the longstanding commitment of Nationale Suisse to art production in Switzerland.

Josse Bailly (*1977) is a graduate of the Geneva Uni-

30 x 40 cm

versity of Art and Design. His drawings and smallformat paintings are based in his obsessive exploration of the aesthetic of 1960s and 70s hard rock and heavy metal. Assimilating this past, Bailly constructs an unmistakable visual world of his own. What looks at first glance like naïve painting proves, on closer inspection, to be a playful and complex handling of references from the history of painting, from Max Bill to Philip Guston and the comic strip.

Courtesy of SAKS gallery

The jury that awarded this year’s Art Prize was made up of: Nikola Dietrich (Museum für Gegenwartskunst Basel), Bernard Fibicher (Musée cantonal des BeauxArts Lausanne), Olivier Kaeser (Centre culturel Suisse de Paris), Madeleine Schuppli (Aargauer Kunsthaus, Aarau), Jacqueline Uhlmann (LISTE Basel), Andreas Karcher and Nathalie Loch (Nationale Suisse).

Josse Bailly Pierre Doigt, 2011 Oil on canvas 55 x 45 cm Courtesy of SAKS gallery

Josse Bailly Motorzzy, 2010 Oil on canvas 70 x 50 cm Courtesy of SAKS gallery

Kunstpreis | Art Prize redtoo

redtoo Art Prize, redtoo ag

T: +41/61/7167070, F: +41/61/7167071

Nenzlingerweg 2, CH-4153 Reinach

info@redtoo.com, www.redtoo.com

redtoo, der innovative IT Full Service Provider der Nordwestschweiz, vergibt an der LISTE 16 zum zweiten Mal den «redtoo Art Prize» an die überzeugendste Newcomer Galerie an der Messe.

redtoo, the innovative IT Full Service Provider in Northwest Switzerland, will for the second time award the «redtoo Art Prize» to the most outstanding newcomer gallery at LISTE 16.

Der redtoo Art Prize

redtoo Art Prize

Zum zweiten Mal wird an der LISTE, The Young Art Fair in Basel, mit dem im letzten Jahr neu geschaffenen «redtoo Art Prize» die überzeugendste Newcomer Galerie des Jahres ausgezeichnet. Der Preis richtet sich an Galerien, die zum ersten Mal an der LISTE ausstellen. Eine internationale Jury beurteilt die Standpräsentation sowie das Gesamtkonzept der Galerie. Der «redtoo Art Prize» wird alljährlich an der LISTE vergeben.

For the second time at LISTE, The Young Art Fair in Basel, the fair’s most outstanding newcomer gallery will receive the «redtoo Art Prize», an award newly created last year. The prize is open to galleries presenting for the first time at LISTE. An international jury assesses each gallery’s stand presentation as well as its overall concept. The «redtoo Art Prize» is presented annually at LISTE. Commitment to Art with a Future

Das Kunstengagement mit Zukunft

Der «redtoo Art Prize» wurde von der redtoo ag mit dem Ziel geschaffen, neue Galerien und junge, talentierte Kunstschaffende zu fördern, ihren Bekanntheitsgrad zu steigern und ihnen den Einstieg in die internationale Kunstszene zu erleichtern. Da Galerie und Künstler gleichermassen unterstützt werden sollen, besteht der «redtoo Art Prize» aus zwei Teilen: Zum einen werden die Standkosten der preistragenden Galerie übernommen – zum anderen erwirbt die redtoo ag ein Kunstwerk eines durch die Galerie vertretenen Künstlers, welches anschliessend an einem der Firmenstandorte in Reinach, Basel oder Bern ausgestellt wird. Mit dem Werkankauf legt redtoo den Grundstein für eine eigene Kunstsammlung.

The «redtoo Art Prize» was created by redtoo ag with the goals of promoting emerging galleries and young talented artists, increasing their recognition, and facilitating their entry into the international art scene.

Die Werke von Shannon Ebner im Sitzungszimmer der redtoo an der Voltastrasse 98 in Basel.

As redtoo ag seeks to support both gallery and artist in equal measure, the «redtoo Art Prize» is composed of two parts: Firstly, the stand costs of the winning gallery will be assumed by redtoo; secondly, redtoo ag will acquire a work by one of the artists represented by the gallery which will then be displayed at one of the firm’s locations in Reinach, Basel or Berne. By purchasing a work of art, redtoo will be laying the foundation for its own art collection.

Jury 2011

Members of the jury of the redtoo Art Prize for this year: _ Mirjam Varadinis, Curator Kunsthaus Zurich _ Dr. Matthias Mühling, Head of Departement Collections/Exhibitions/Research, Städtische Galerie im Lenbachhaus und Kunstbau, München _ Christian Karstedt, Director of redtoo ag, Reinach

Film 0/8/1

LISTE – The Young Art Fair in Basel und der Werkraum Warteck pp Ein Dokumentarfilm von Edith Jud / A documentary by Edith Jud

Die LISTE – The Young Art Fair in Basel ist vom kulturellen Leben der Stadt Basel nicht mehr wegzudenken. Der Werkraum Warteck pp – der Ort an dem die LISTE alljährlich stattfindet – gehört zur LISTE wie auch die LISTE zum Werkraum Warteck pp. So kehrt die LISTE seit 16 Jahren immer wieder ins prägnante Gebäude der ehemaligen Brauerei Warteck zurück. Weniger bekannt ist, dass die rund 40 Mieterinnen und Mieter des Warteck’s jeweils für die Messewoche aus ihren Räumlichkeiten ausziehen und dass ein Teil von ihnen während dieser Zeit für die Messe arbeitet – einer der typisch untypischen Tatsachen.

One can no longer imagine the cultural life of Basel without LISTE – The Young Art Fair in Basel. The workshop community Warteck pp – where LISTE takes place each year – is a part of LISTE just as LISTE is a part of the workshop community Warteck pp. And so for the past 16 years, LISTE has returned again and again to the distinctive building that was home to the former Warteck brewery. Less well-known is the fact that approximately 40 individuals renting at the Warteck vacate their spaces and that a number of them also work for the fair during that time – one of many typically untypical facts.

In den vergangenen 16 Jahren sind viele Geschichten, Eindrücke und unvergessliche Momente entstanden. Wir freuen uns sehr, dass wir diese Momente, die Geschichte des Werkraum Warteck und der LISTE und ihre spezielle Beziehung in einem Dokumentarfilm festhalten durften. Realisiert hat der Film Edith Jud, die unter anderem den Dokumentarfilm über Dieter Roth, sowie zahlreiche Künstlerbeiträge (Mirjam Cahn, Hannah Villiger und Pipilotti Rist) produziert hat.

Over the past 16 years there have developed many stories, impressions and unforgettable moments. We are very pleased that we have been able to record those moments, the history of the workshop community Warteck pp and LISTE and their special relationship in a documentary. The film was realized by Edith Jud, who has produced, for example, a documentary on Dieter Roth as well as numerous artistic contributions (Mirjam Cahn, Hannah Villiger and Pipilotti Rist).

Der Film wird während der LISTE im Raum 0/8 gezeigt. Die DVD wird für CHF 12.– erhältlich sein.

The film will be shown during LISTE in room 0/8. The DVD will be available at the fair office for CHF 12.–.

Film 0/8/1

Der Film konnte nur realisiert werden dank grossz端giger, finanzieller Unterst端tzung von / The making of this film was possible by generous financial support from:

Ringier AG; Diener & Diener Architekten; F. Hoffmann-La Roche AG, Basel; Maureen Paley, London; Jan Mot, Brussels; Giti Nourbakhsch, Berlin; Galerie Nicolas Krupp, Basel; Foksal Gallery Foundation, Warschau; kurimanzutto, Mexico; Galerie Eva Presenhuber, Z端rich; und allen Geldgebern, die nicht genannt werden m旦chten / and those who donated but would prefer to remain anonymous.

Performance Project

Occurring daily and during the opening Information available at the fair entrance

Curated by Maja Wismer

Matthew Lutz-Kinoy

Lili Reynaud Dewar

Kim Seob Boninsegni

Ruth Buchanan

*1984 in New York, based in Amsterdam Production still from «Vaseline», 2010

*1975 in La Rochelle, based in Paris «Performance for 7», 2011 Photocopied text, wood, paint, fabric, book, plastic mirror, dimensions variable Courtesy the artist and Galerie Kamel Mennour, Paris

*1980 Te Ati Awa / Taranaki, based in Berlin The way a hand touches an alphabet in threedimensions, still of broadcast made 13th of May 1980, in New Zealand.

A crucial element of Matthew Lutz-Kinoy’s approach to performance is the defining of space through the introduction and translation of daily activities. He uses formal repetition in his choreography to develop the stage as a social and historical space, thereby referencing the experimental practices of the choreographers and dancers of the Judson Dance Theater at Judson Memorial Church in New York City and Allen Ginsberg’s «lecture performances». In his various works, the experience of space and the shifting role of sculptures, props and bodies via constantly changing perspectives delimits the physicality of the individual entities themselves. Lutz-Kinoy extends his phenomenological enquiries to the physical dimension of film and music as well. He uses these mediums to explore his interest in social space through the deployment of bodies against a background of art-historically and socially shaped expectations. In the live dance performance «Donna Haraway’s Expanded Benefits Package», 2011, which he and music producer SOPHIE will present in Basel, Lutz-Kinoy takes as his starting point fragmented representation and partial perception, as understood by the field of structural film, and transforms them into an aesthetic experience in the sense of expanded cinema. Music and catwalk in this setting function as allusions to pre-produced desires and established stereotypes, as well as to the objects that physically structure the stage.

The performer is a blond woman with a powerful presence. She wears a white shirt and a black tie, trousers in an eccentric fabric depicting some hair salon accessories (hair dryers, combs, curlers), no shoes. She moves slowly and awkwardly, she is not comfortable with an audience, she can't look at the audience. She turns her back to it, facing the 7, and looks at herself in the small mirror. After a short moment she starts applying black make-up on her face. Her hands are very white and soon her fingers are covered with makeup. She takes her time, applying layer after layer, until her face is completely black. When she's finished, she examines her make-up carefully. She leaves the mirror on the floor, close to her. She grabs the 7 firmly, leaving black finger prints on its edges, and leans it against the floor. She starts applying black make-up on the visible side of the 7, bending on her knees, nearly walking on them sometimes, moving around the 7 as if to embrace it with her whole body. She uses water from a little black ceramic cup to melt the makeup and make it more fluid, taking her time, until the surface of the 7 is completely black.

Over the past decade, Kim Seob Boninsegni has engaged in a complex practice that does not distinguish between the production of art objects, curating, publishing, networking, teaching and observing. At Theâtre de l’Usine, in Geneva, he recently staged «Passage(s)», 2011, a theater play conceived by the artist (and realized in collaboration with numerous contributors) that explores the precariousness and fragility of the transition from adolescence to adulthood. For the opening of his solo show at the exhibition space New Jerseyy, in Basel, Seob Boninsegni will perform «Perfect Vehicles», 2011, a piece developed in collaboration with the choreographer Olivia Ortega. The performance will take place at New Jerseyy, located at Hüningerstrasse 18, near Voltaplatz, and is a co-production between New Jerseyy, Basel, and the Performance Project.

Ruth Buchanan often employs language as choreography, using speech to guide her audience through spaces defined by settings for objects or groups of ideas – as such, she proposes a different approach toward the character of a site. Her choreographed spatial compositions influence the potential of communication between the different components that «act» within the scenario; this potential to communicate between several registers is at the core of Buchanan’s interest in performance. At LISTE 16, the staged situation of the art fair acts as the departure point for Buchanan’s contribution to the Performance Project, «A Wayward Punctuation», 2011.

Performance Project

Occurring daily and during the opening Information available at the fair entrance

Bonny Poon

Stéphane Querrec

Jeanne-Salomé Rochat

Udio

*1987 in Vancouver, based in Frankfurt am Main «Mid-Career Retrospective: The Only Way Is Up», 2011

*1979 in Biarritz, based in Berlin «The Divided Stage», 2011 Photography by Pierre Lapeyronnie © Stéphane Querrec

*1986 in Geneva, based in Berlin and London «The Way Things Wait», 2010 © Elvira Belafonte

Founded in Leipzig, Germany, in 2006 Johanna Bieligk, Anke Dyes, Roman Graneist, Alexander Hempel, Andrea Legiehn, Inka Meißner, Stefanie Pretnar Udio Fine Arts, Maternity Ward at Frankfurt University Hospital Photography by Stefanie Pretnar

Did something just close? A door? A feeling? Stéphane Querrec just getting to be too much. Most people feel they began when their bodies began and that they will end when their bodies die. But now I feel like im running through a maze with no hope of finding the end. Everybody has noticed that im not so good at hiding it anymore. this feeling is just getting to hard to hide though. I feel like im useless these days and i just want to crawl in a hole and never come out. I know im a dissapointment these days but im beginning to feel like im standing on the edge of a cliff and every day is like one more step closer to just walking off. The smallest things make me lose control. simple things have me flipping out and yelling, or crying, or just shutting down entirely. My 2 kids have noticed. They walk on egg shells around me even as small as they are. I feel like all i do is yell at them anymore and thats not fair that they are getting yelled at because mommy just cant handle life anymore. 34

The publisher and choreographer Jeanne-Salomé Rochat works mainly with text and film as well as performance. Applying an integrated approach to movement, her pieces combine the performative dimension of images with compositional detail and concern for analyzing ways and means of representation, while gaining motivation from narcissistic, voyeuristic and fetishistic mechanisms. Her contribution to LISTE is the new version of a performance conceived as a group of interdependent situations or figures connected by, and interacting through, motion performed by only four dancers, for the first time. «None Of Them», 2011 is the activation of movements and the succession of their patterns. In it, choreography becomes a step-by-step problem-solving process, in which each constellation of bodies conditions the possibilities of the next movement. While there will be no improvisation per se, a new score is defined according to each location. In Basel the piece will be performed by Franziska Aigner, Tuur Marinus, Gabriel Schenker and Stav Yeini of the Belgian contemporary dance collective Busy Rocks, dressed by the New York based designer Johanna Bloomfield.

Since its founding in 2006, Udio has produced myriad performances and video works. The group’s productions arise from brief spurts of intense collaboration and manifest as collective collages of all the participants´ ideas and state of minds. In this process, a variety of presentation formats are tried out repeatedly; within the framework of those formats, the participants respond to the circumstances and expectations related to their specific surroundings. Since 2011, Udio Fine Arts has been a guest at the maternity ward of Frankfurt University Hospital. From January to December of this year, the hospital’s hallways, waiting rooms and delivery rooms are serving a purpose beyond their usual function: They are being used for exhibitions that change on a quarterly basis. The exhibition is open 24 hours a day and can be viewed by appointment. For further information please contact: mail@udiofinearts.de

The Performance Project is supported by: Alfred Richterich Stiftung

Futurum Stiftung

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Altman Siegel 3/1/1

Altman Siegel, Claudia Altman-Siegel

T/F: +1/415/5769300, M: +1/917/6744239

49 Geary Street 4th Floor, US-San Francisco, CA 94108

info@altmansiegel.com, www.altmansiegel.com

Will Rogan Vedaland Plans (etc) 2011 Erased magazine page 11 1/4 x 8 1/4

Shown at LISTE 16 Shannon Ebner, US, 1971 Devin Leonardi, US, 1981 Will Rogan, US, 1975 Emily Wardill, UK, 1977 42

Other artists of the gallery Chris Johanson, US Matt Keegan, US Shinpei Kusanagi, JP

Will Rogan Vedaland Plans (Over Turned) 2011 Erased magazine page 11 1/4 x 8 1/4

Sara VanDerBeek, US Trevor Paglen, US Garth Weiser, US

Ancient & Modern 3/7/1

Ancient & Modern, Bruce Haines, Emily LaBarge

T/F: +44/207/2534550, M: +44/79/89413387

201 Whitecross Street, GB-London EC1Y 8QP

mail@ancientandmodern.org, www.ancientandmodern.org

Raphael Hefti has a practice that implicates a kind

Raphael Hefti,

of alchemy, whether he be forming steel poles as fragile as glass, growing mushrooms in the gallery or illuminating entire mountainsides. It is his exploration of the aesthetic potential of chemical processes and technical procedures that are the starting points of Lycopodium (2010/2011). Large format monochrome and color photograms are exposed through burning pollen spores of the Lycopodium plant, used as medicine in homeopathy and known as «witch powder» in the Middle Ages, due to its high inflammability. Their compositions are largely as accidental as the action paintings of Amercian Expressionism or Warhol’s «Piss Paintings» (1977–78). Hefti graduated from the Slade School of Art, London in 2011. Recent solo exhibitions include «327 Different Sounds», Raum für zeitgenössische Fotografie, Winterthur and «Beginning with the first thing that comes that comes to mind», Fluxia, Milan (2011). Group exhibitions include «How to Work» and «How to Work Less», Kunsthalle Basel (2011); «Bloomberg New Contemporaries», ICA, London (selected by, Gabriel Kuri, Mark Leckey and Dawn Mellor, 2010); «The Sun is the Tongue, the Shadow is the Language» (with Lourdes Castro, Ernst Caramelle, Li Yuan-chia, Luca Frei), Ancient & Modern, London; Kunstpreis ZKB, Kunstmesse Zurich, Switzerland (2008), and Regeneration, Aperture Gallery, New York (2006).

Lycopodium, 2010

Solo show at LISTE 16 Raphael Hefti, CH, 1978

Des Hughes, GB Paul Johnson, UK Alan Kane, GB Audrey Reynolds, GB Rudolf Polanszky, AT Norbert Prangenberg, DE

Other artists of the gallery Eva Berendes, DE Matthias Dornfeld, DE Volker Eichelmann, DE Jane England, GB Melissa Gordon, US

Photograms on photographic color paper using the gently burning spores of the moss-plant Lycopodium 105 x 160 cm, unique copies

Balice Hertling 3/3/1

Balice Hertling, Daniele Balice, Alexander Hertling

T: +33/1/40334726, F: +33/1/40334736, M: +33/6/42442263

47 rue Ramponeau, FR-75020 Paris

gallery@balicehertling.com, www.balicehertling.com

Neïl Beloufa lives and works in Paris. He studied at the Ecole Nationale Supérieure des Beaux Arts and Ecole Nationale Supérieure des Arts Décoratifs Paris, France, Cooper Union, New York and California Institute of the Arts, Valencia, USA.

For LISTE 16 the artist presents Define Maybe : a 3-channel video installation including sculptures and images, both constructing and denying its collective meaning. The installation plays with and explores the definition of singularity and the authority of each of the elements constituting it, furthermore it is concerned with the meaning of singularity in a larger sense. The characters in the film construct and spontaneously invent their individuality and personas. Objects and images oscillate between their function and autonomy. Through the different potential meanings suggested in the context of the show and their relation to other works in the show they redefine one another. The base of the installation consists of 3 identical modules that serve to display the video projections. The modules become sculptures on their own according to the way they are installed, cut and forced to fit into a space they were not designed for.

Solo show at LISTE 16 Neil Beloufa, FR/DZ, 1985

«Sayre And Marcus» 2010 is a 3-channel video.

The video shows a group of young Americans in a television studio sitting in a circle in discussion, no specific scenery surrounding them. The scene is recorded with hypnotic circular movement shots. The group seeks to uncover a culprit responsible for an undefined murder. There is no script, no specific directions were given to the participants who are not professional actors. During the discussion, the participants are drinking alcohol; this intensifies the suspense and tension between the characters and the situation. During the course of their investigation, the participants spontaneously take on «roles», adding to the video the sense of a pseudo-sociological experiment on democracy, thus investigating the influence of imagination on our behaviour. Unexpected and disconnected topics appear in the video, some related to «the war in Iraq» or to actor’s schools or to furniture construction. They also appear in the images that are part of the installation around the film projection, but none of the elements take over and redefine the context of the show. It’s a closed circuit. This chaos of images, functional objects, volumes, sounds, and meanings, united in an off-shaded aesthetic coherence, makes it seem as if each detail is participating in a dissociative design and plunges viewers into a haze of interpretations. It blurs meanings in order to open understanding.

Other artists of the gallery Kerstin Brätsch, DE Isabelle Cornaro, FR Luca Frei, CH Nikolas Gambaroff, DE K8 Hardy, US

Falke Pisano, NL Reto Pulfer, CH Samuel Richardot, FR Oscar Tuazon, US Stephen Willats, UK

Neïl Beloufa Sayre And Marcus, 2010 3-channel video

Berggren -1/2/4

Johan Berggren Gallery, Johan Berggren

T: +46/706/116034, M: +46/706/116034

Ehrensvärdsgatan 8, SE-212 13 Malmö

jb@johanberggren.com, www.johanberggren.com

For its second presentation at LISTE, Johan Berggren Gallery has chosen to do a solo-presentation with Fredrik Værslev (NO, 1979). Last year, at LISTE 15, Værslev presented a series of Shelf paintings where he investigated a coherent aesthetic through collaboration and developed painting as a socio-aesthetic practice, evoking questions about the sheer forming of a decorative, spatial order as well as issues relating to authorship.

tischistic point. These conditions form a sort of basic palette while the effects of sunfading, natural painting drip from various facade renovations and other age related effects are sometimes enhanced to serve a specific aesthetic obsession. Though monochrome in terms of one unifying color, the sun fading, drips of paint, or un-even amounts of layer of paint in the different panels give some of them a sense of color field paintings.

This year, Værslev chooses to present a new painting project called Garden paintings. It’s a solo project but like the recent Terrazzo project there are still collaborative perimeters present. The new works oscillate from being ready-made by nature into being carefully planned to serve a structural and aesthetic purpose set out by Værslev.

The oldest parts of the wood date back to the late 1980s and add a both sentimental, caring and humorous aspect. Aspects enhanced further by the nurturing act of adding arrangements of plants, thus proposing a potential shift from the monochrome to the coloristic. The plants are like collaborative agents that, regardless of its nature or color, will make the final brushstroke and relieving Værslev from the task. The arrangements aren’t left to the chances but could be seen as final, unifying and harmonizing high-end painting strokes linking the works to an arthistorical context as much as pinpointing Værslev’s own aesthetic sensitivity and integrity.

Fredrik Væerslev Shelf Paintings (Studio Værzahl @ Casa Romantica, Basel), 2010 (Decorations by Fredrik Værslev and Øyvind Zahl) Spray paint on pine plywood, stickers, acrylic markers, acrylic paint, brass hinges, plexiglass 76 x 42 x 14 cm

The wood panels used for the paintings have endured the hard Norwegian weather conditions over the past ten months, strategically placed around Værslev’s garden to mature over time. The rough treatment and the haphasard, pre-existing conditions and effects of the materials used, interest Værslev to an almost fe-

Solo show at LISTE 16 Fredrik Værslev, NO, 1979

Other artists of the gallery Nicolas Ceccaldi, CA, Yngve Holen, NO Allison Katz, CA Andrei Koschmieder, DE

Fredrik Væerslev Untitled (Terrazzo Painting), 2010 Spray paint, house paint, corrosion protective spray, lacquer and white spirit on canvas 165 x 112 cm

Veit Laurent Kurz, DE Per-Oskar Leu, NO Thomas Sauter, CH

BolteLang 1/1/1

BolteLang, Anna Bolte, Chaja Lang

T: +41/44/2730010, F: +41/44/2730012

Limmatstrasse 214, CH-8005 Zürich

info@boltelang.com, www.boltelang.com

Vanessa Billy, Alice Channer and Jill Spector all

use materials very deliberately, with a deep interest in their intrinsic qualities. In their works specific components often precede the concept of the final piece. The use of plaster, photography, fabric and found elements in Jill Spector’s case; concrete, found objects and imagery, paper and metal in Vanessa Billy’s work; and fabrics, paper, and marble in Alice Channer’s oeuvre guarantee an array of materials and a visual cacophony in a presentation uniting these three artists. This is enhanced by their very different approaches to making work. Channer’s work

is precisely organised and preconceived and often concerns itself with architecture and human dimensions. Spector shares her interest in the human body, but it is less its static form that is important to her, but rather the body in motion. All her sculptural work is made in a way that it encourages the viewer to walk around it and engage with it as if it were a performer or dancer. Billy, in contrast, has the most formal approach. Her individual works are often the result of endless experimentation with found materials, until they remerge in new constellations.

Vanessa Billy Rock to Road, 2010 Granite, mud, asphalt and mud from the Red Sea 55 x 23 x 24 cm

Jill Spector Leg Piece, 2007/2010 Colour photocopies, wood, paint, b/w inkjet prints, colour inkjet prints 220 x 182 x 100 cm

Alice Channer Kools, 2010 Cast and powder coated aluminium 30 x 15 cm

Shown at LISTE 16 Vanessa Billy, 1978, CH/UK Alice Channer, 1977, UK Jill Spector, 1976, USA 50

Other artists of the gallery Daniel Gustav Cramer, DE Florian Germann, CH

Dagmar Heppner, DE/CH Swantje Hielscher, DE

Bugada & Cargnel 0/10/7

Bugada & Cargnel, Claudia Cargnel, Frédéric Bugada

T: +33/1/42717273, F: +33/1/42717200, M: +33/6/07686592

7–9, rue de l‘Équerre, FR-75019 Paris

contact@bugadacargnel.com, www.bugadacargnel.com

Nick Devereux’s paintings are based on an old

Nico Vascellari I Hear a Shadow, 2011 Bronze, iron, acids, three slideprojections (160 slides), sound system Variable dimensions, monolith: 430 x 210 x 117 cm Installation view at Bugada & Cargnel, Paris

A major actor on the Italian art scene, both an artist and a musician, Nico Vascellari combines sculptural installations with sound performances. Inspired by punk and experimental music, spiritualism and nature, he maps spaces, energies and sounds. I Hear a Shadows is a monumental monolith, the bronze cast of the detonated top of a marble mountain, played as a resonance chamber in collaborative performances. The monolith is illuminated by three projectors, which project alternately 160 slides reproducing as many collages made from magazines in which the artist cuts each page to keep only the monochromatic areas, creating multi-layers and multi-colored abstract compositions. In a kaleidoscopic effect, light and colors shroud the sculpture in as many sunsets, and draw the mountains’ shadow on the wall.

technique, used for example by Diego Vélasquez in Las Meninas, which doesn’t aim at creating a «photo reality» but focuses on information perceived by the human eye, ie essentially volumes and light, hence offering an original answer to the conceptual question of representation. Devereux applies this technique not to human beings or objects, but to small sculptures he makes from scraps of fabric and pieces of glass; non-figurative, these sculptures, when drawn with the technique described above, get animated with unsuspected life. The sculpture from which Ivo is based on, is a reconstruction of Matta Clark’s «Conical Intersect» based on the photo montage of the destroyed work arranged following the composition and chiaroscuro of Tiepolo’s frescos, which transform the spatial distortions of the photo montage back into three dimensions. With a strong visual impact, Devereux’s drawings stand on the edge between figuration and abstraction.

Nick Devereux Ivo, 2011 Oil on canvas 170 x 170 cm

Étienne Chambaud Contre-Histoire de la Séparation (Documents Seuls), Fragment 5 2011 Inkjet prints, frame 79 x 136 x 6,5 cm 31.10 x 53.54 x 3.24 inches Unique Courtesy Galerie Bugada & Cargnel, Paris © Rebecca Fanuele

Étienne Chambaud carries out a persistent exploShown at LISTE 16 Étienne Chambaud, FR, 1980 Nick Devereux, UK, 1978 Cyprien Gaillard, FR, 1980 Nico Vascellari, IT, 1976

Other artists of the gallery Haluk Akakçe, TK Wilfrid Almendra, FR Vanessa Beecroft, IT/UK Marc Bijl, NL Pierre Bismuth, FR

Mat Collishaw, UK Piero Golia, IT Annika Larsson, SE Gianni Motti, IT Iris van Dongen, NL

ration on the nature of a work of art: its relation to other works, its contexts, and the way artworks are used. Chambauds work never functions in isolation but finds its sense or its interest in a permanent dialogue with other works. They grow mutually rich, while gradually drawing the vague contours of a constellation made of common references. They work

as palimpsests, which guard the trace of a former work while proposing a new composition, thus oscillating endlessly between inescapable repetition and continuous new horizons. With Counter-History of Separation, Étienne Chambaud question the notion of the «Beheaded Museum», a museum of objects that are always and already written, a museum that is as much an exhibition than an exclusion space. 53

Bureau 0/9/2

Bureau, Gabrielle Giattino

F: +1/212/2272783, M: +1/917/8619300

127 Henry Street, US-New York, NY 10002

office@bureau-inc.com, www.bureau-inc.com

Tom Holmes’s latest sculptures and works on paper show a continued

Tom Holmes

interest in proposals for contemporary funerary monuments. The works easily transcend any explicit use value, however, revealing Holmes’s deep investment in form, color and composition. Often borrowing the language and motifs of popular advertising, Holmes takes on a staggering array of references, themes and techniques in works that deliver a mixture of hard-edged and frenzied abstraction combined with zany graphic design from pop culture.

Shroud (orange flavor), 2010 Fleece, yarn, plywood, pipe cleaner, nylon mesh, silver lamé, Nerf ball, superman underoos, steel wire 88 x 36 x 5 inches 2.24 m x 91.44 cm x 12.70 cm

With an omnivorous appetite for material drawn from fine art and the wider visual culture, Holmes has developed a unique aesthetic sensibility. Vernacular images are abstracted into strange amalgams, as his mixture of photography, drawing, painting, and collage resists the hierarchy of medium. His attention is often focused on the works’ supports, which germinate from diverse substrates: from vintage textiles, and newsprint posters, to wooden bulletin poles and painted cinderblocks. The mingling of minimalist and popular culture referents conflates icons of mass media with the solemnity of funerary markers. Soft sculpture takes on the appearance of textile shrouds. Abstract, rectilinear forms function as proposals for concrete or stone grave markers while thin, bent metal torques may support complex floral arrangements and commemorative wreaths. He builds the singular elements of such readymade forms – cereal boxes, ikebana floral arrangements, car chassis – into supports upon which he enacts a fusion of highly-keyed abstraction and the anxiety of the inevitable.

Solo show at LISTE 16 Tom Holmes, US, 1975

Other artists of the gallery Erica Baum, US Ellie Ga, US

Viktor Kopp, SE Justin Matherly, US Lionel Maunz, US 55

Circus 3/5/2

CIRCUS, Silvie Jo Buschmann

T: +49/30/25800667

Obentrautstrasse 21 Haus 17, DE-10963 Berlin

gallery@circusberlin.de, www.circusberlin.de

«Özlem Altin looks at the shifts that make the drama possible: the writing of the script, rehearsals and memorizations, so that in that dreamlike space that connects filmed, photographed or performed visual and textual references to past bodies the lived body eventually begins to solidify, like the weight of a pen pressing against a sheet of paper.» Francesco Ventrella

Özlem Altin (1977, Goch, Germany) graduated from Piet Zwart Institute, Rotterdam. She has shown internationally including solo exhibitions at Fondazione Morra Greco, Naples (2010) and at MMK Arnhem (2008) as well as in group exhibitions at David Roberts Art Foundation, London (2011); Kunstraum Innsbruck, Innsbruck (2011) and TENT, Rotterdam (2009). She is founding publisher of Orient Press.

Özlem Altin dangling, 2011 B/W Litho print 52 x 40 cm

Solo show at LISTE 16 Özlem Altin, DE, 1977

Other artists of the gallery Sophie Bueno-Boutellier, FR Fredrik Værslev, NO Katarina Zdjelar, RS 57

Corty -1/2/1

Lucile Corty

T: +33/1/44789114, M: +33/6/64337978

2, rue Borda, FR-75003 Paris

info@lucilecorty.com, www.lucilecorty.com

We Are The Painters is the egalitarian work of a team in which the

We Are The Painters

artists complement each other, and it is not for us to know which one exactly does what. Obstinate, physical and reckless, WATP does not follow any one else’s rules, following their own invented path with a great energy.

Sans titre, 2011 Gouache on digital print 21 x 29.7 cm

Among WATP first works are portraits of colourful well-turned out rather coquettish women, an evolving and long-term work that has already drawn a lot of attention and bigger scale works, both romantic and epic, combining photographs of landscapes and paint. Meditative but strengthful videos also shows WATP at work where several sets, scales as well as frames and settings and their reverses are in evidence.

Simultaneously to LISTE 16, WATP present a solo exhibition at Confort Moderne, Poitiers – FR

Solo show at LISTE 16 We are the Painters, FR, 1981

Other artists of the gallery Roxane Borujerdi, FR Marlie Mul, NL Emilie Pitoiset, FR

Aurélien Porte, FR Thomas Schmidt, FR Pavel Strnad, CZ

Croy Nielsen 3/7/2

Croy Nielsen, Oliver Croy, Henrikke Nielsen

T/F: +49/30/68077976, M: +49/179/5155321

Weydingerstrasse 10, DE-10178 Berlin

info@croynielsen.de, www.croynielsen.de

Andy Boot ke bond-s, 2010 Watercolour on canvas 80 x 60 cm

Shown at LISTE 16 Nina Beier, DK, 1975 Andy Boot, AU, 1987 Thomas Kratz, DE, 1972 60

Other artists of the gallery Martin Erik Andersen, DK Judith Hopf, DE Jacob Dahl Jürgensen, DK

Marie Lund, DK Benoît Maire, FR Roman Schramm, DE Mandla Reuter, DE 61

Dallas 0/7/1

Sorcha Dallas

T: +44/141/5532662

5–9 St Margaret’s Place, GB-Glasgow G1 5JY

info@sorchadallas.com, www.sorchadallas.com

Sophie Macpherson Stripy Wild-Boys Vests; White Shirt; Blue Sweatshirt, all 2010 Primark Classic vests, felt-tip pen; altered Gucci shirt; altered sweatshirt, coathangers Installation view, Sorcha Dallas, Glasgow, 2011

Alex Frost’s beguiling and detailed works delicately haggle with a compromised minimalist ideal. In essence, this anti-macho perspective engages processes historically relegated to craft. Frost orients himself by working in infinitely vacillating series. The work presented by Frost for Liste 2011 is a conflation of some seemingly distinct strands of his practice. The drawings and sculpture were all made as gifts or exchanges and are in effect on loan from their owners’ for the duration of Liste. In the context of an art fair this is intended as both a generous and playful gesture. On the one hand giving provenance to the owners’ work and on the other presenting works that are not for sale in the context of the art market.

Sophie Macpherson makes sculptures, drawings and

Alex Frost

garments which are often presented in close proximity, suggesting interrelated fictions or narratives. Her recent films unite all these forms and investigate the relation between movement and objects. Macpherson utilizes her sculptural works, and drawings thus recontextualising them in time and space, with figures interacting within these «sets» to animate them. These often repeated actions become ritualistic and theatrical, with the activity developing both within and outside of the camera frame. In 2011, Macpherson presented a solo show at Sorcha Dallas, Glasgow and will be creating a live performance with Clare Stephenson for Tramway, Glasgow. Her band «Muscles of Joy» members including Victoria Morton, Katy Dove and Anne Marie Copestake are due to release their first album this year.

Blind Drawing

Shown at LISTE 16 Raphael Danke, DE, 1972 Alex Frost, GB, 1973 Sophie Macpherson, GB, 1972

Other artists of the gallery Linder, GB Claire Barclay, GB Rob Churm, GB Kate Davis, NZ Graham Fagen, GB Alasdair Gray, GB

(Self Portrait Sleeping, 1), 2010 Enamel paint on paper 42 x 29.5 cm

Although the legacy of Surrealism is everywhere traceable in the collages, photography and sculptures of Raphael Danke, he wittily re-envisages that legacy in the context of the society of the spectacle. In a series of collages created by the artist from the pages of fashion magazines, the fashion industry is positioned as a mechanism for distorting and disembodying effects the model’s attire is referenced in the title of the work, but her face and figure are absent from the resultant collage, or only her bizarrely over-coiffed hair remains – crimped, curled, flat-ironed or blowing in an artificial breeze. Charlie Hammond, GB Duncan Marquiss, GB Craig Mulholland, GB Gary Rough, GB Clare Stephenson, GB Michael Stumpf, DE

Raphael Danke Untitled, 2010 Framed collage 32.5 x 27 x 3.5 cm

Dee 3/4/1

Elizabeth Dee

T: +1/212/9247545

545 West 20th Street, US-New York, NY 10011

info@elizabethdee.com, www.elizabethdee.com

Mark Barrow’s paintings revolve around the structure and geometries of weaving, both as material substrate and conceptual framework. Barrow paints on complex textiles hand-loomed by Sarah Parke, most apparent in the unprimed edges of each painting. Meticulously dotted layers of paint alternately reinforce or resist the loomed patterns and coalesce as a perceptual palimpsest of the underlying woven «map» unique to each painting. For Liste 16, Barrow presents a new series that follows increasingly dynamic logics, rendering patterns that at first adhere to the formal parameters of traditional textiles, only to slip away into randomized designs that run counter to them. More pronounced explorations of color correspond to the mathematical logistics of how a loom functions and are expressed not only through what is painted but also what is left unpainted in order to emphasize the fabric’s hues as an integral component of the finished surface.

Mark Barrow (textile by Sarah Parke) QDL, 2011 Acrylic on hand-loomed linen 30 x 25 inches / 76.2 x 63.5 cm Courtesy the artist and Elizabeth Dee, New York

Mark Barrow (1982) lives in Queens, New York. He graduated with an MFA from Yale in 2006. His paintings were first exhibited in New York at the 2007 White Columns Annual selected by Clarissa Dalrymple followed in 2008 by a White Columns White Room solo presentation under the direction of Matthew Higgs. Recent and upcoming exhibitions include a solo exhibition at Elizabeth Dee Gallery in 2010, a forthcoming solo exhibition at Galleria Zero in Milan (2012) and the 2011 Prague Biennial.

Solo show at LISTE 16 Mark Barrow, US, 1982

Other artists of the gallery Alex Bag, US Miriam Cahn, CH Eric Baudelaire, FR/US Philippe Decrauzat, CH Harry Dodge and Stayna Kahn, US Lizzie Fitch and Ryan Trecartin, US Renée Green, US

Miranda Lichtenstein, US Virgil Marti, US Ryan McNamara, US Josephine Meckseper, DE Carl Ostendarp, US Adrian Piper, DE/US Meredyth Sparks, US Ryan Trecartin, US 65

Exile 1/5/1

Exile, Christian Siekmeier, Robin John Berwing

T: +49/30/76233061

Köpenicker Str. 39, DE-10179 Berlin

info@thisisexile.com, www.thisisexile.com

The eye balled walls

FORT Fort Hatchery Works

The artist collective FORT, consisting of Anna Jandt, Jenny Kropp and Alberta Niemann, creates room installations and performances which vacillate on the threshold between art and everyday life. Their works mark points of simultaneity where fiction and reality merge. In blurring the boundaries between truth and pretense, sense continually withdraws from its definitive configuration. Sequences of repetitive actions stretch spatial and temporal dimensions in a precise choreography of life-like simulation. Fleeting and artificial, these spaces subtly encourage viewers to become mute spectators of the spectacle occurring around them. FORT develops a game between the stasis of establishment and the speculative prospects of what is yet to come.

2010 FHW Fernheizwerk Neukölln In cooperation with KW Institute For Contemporary Art

FORT Hotel Marienbad 2008 KW Institute For Contemporary Art

FORT At Night We Stay Awake Defending The Form Groupshow «Wystawa» 2010 Museum Of Modern Art Warsaw

Solo show at LISTE 16 FORT, DE, 1978/1982

Other artists of the gallery Stuart Brisley, GB Katharina Marszewski, DE Martin Kohout, DE

Jo-ey Tang, US Bob Mizer, US Kazuko Miyamoto, US

Fluxia 0/3/2

Fluxia, Angelica Bazzana, Valentina Suma

T/F: +39/2/45474021, M: +39/34/82826259, M: +39/39/26122939

Via Ciro Menotti, 9, IT-20129 Milan

info@fluxiagallery.com, www.fluxiagallery.com

Luca Francesconi Lupo Borgonovo Testa aquilina (Aquiline head), 2011 Bronze, iron 165 x 48 x 48 cm

Shown at LISTE 16 Lupo Borgonovo, IT, 1985 Andrea De Stefani, IT, 1982 Luca Francesconi, IT, 1979 Benjamin Valenza, FR, 1980 68

Figura prima del conflitto (Figure before the conflict), 2011 Oil and acrylic on canvas 150 x 100 cm

Other artist of the gallery Karina Bisch, FR

Fonti 0/10/5

Fonti, Giangi Fonti

T/F: +39/081/411409, M: +39/34/88210513

via Chiaia 229, IT-80132 Naples

info@galleriafonti.it, www.galleriafonti.it

Christian Flamm realized a new series of eight draw-

ings inspired by 15th century mural drawing «Basler Totentanz» (Dance of Death). The series at Basel was made famous through the copperplates that Matthäus Merian created in 1616–1649. Personifying death in that way, cheerful and in the mood for a dance, was a not common theme of art during that period.

The work of Christian Flamm reveals the false mechanism of images and ideas imposed by mainstream media. His point of view is the one from a critical distance, a sort of veto to adhesion or refusal. It’s a different understanding of history.

Nicola Gobbetto projected a site specific installa-

tion referred to Swan Lake, the ballet that Pyotr Ilyich Tchaikovsky composed in 1875–1876. The work is thought as a stage where two shapes evoke corps half humans and half animals. It concerns two dis-

tant realities connected on the basis of the common age between childhood and adulthood. This season of life is investigated by Nicola Gobbeto in his artistic production as metaphor of a material and spiritual condition.

Nicola Gobbetto Cigno Nero, 2011 Enamel on wood Christian Flamm

30 x 20 cm

Totentanz von Basel, (detail), 2011 Series of drawings, ink, gouache using melted snow on paper 58 x 100 cm each

Delia Gonzalez shows her last drawings that she

considers like musical compositions: «I think and feel in shapes and patterns so making drawings and making music is my way of expressing the feelings I cannot put into words: the visual sound of the unconscious.

My drawings are my way of integrating myself into life’s system, life’s biological order. In my drawings circles I also refer to the moon and represent birth, death, re birth: the endless cycle of life».

Delia Gonzalez Untitled, 2010 Drawing on paper

Shown at LISTE 16 Christian Flamm, DE, 1974 Nicola Gobbetto, IT, 1980 Delia Gonzalez, US, 1972

Other artists of the gallery Michel Auder, FR Marc Camille Chaimowicz, UK Peter Coffin, US Piero Golia, IT Delia Gonzalez and Gavin Russom, US Kiluanji Kia Henda, ANG Daniel Knorr, DE/RO

Fabian Marti, CH Birgit Megerle, DE Seb Patane, IT/UK Manfred Pernice, DE Giulia Piscitelli, IT Gavin Russom, US Lorenzo Scotto di Luzio, IT Eric Wesley, US

130 x 100 cm

Foxy Production 0/7/3

Foxy Production, Michael Gillespie, John Thomson

T: +1/212/2392758, F: +1/212/2392759, M: +1/646/5418735

623 W 27th Street, US-New York, NY 10001

info@foxyproduction.com, www.foxyproduction.com

In a series of spectral oil paintings, Sascha Braunig reimagines the studio portrait. With saturated colors and an hypnotic style, the works reflect upon illusion and surface. The artist produces uncanny atmospheres, where costume, make-up, and décor engulf the body. In dream-like scenes that foreground repetition and patterning, Braunig’s models emit an extrasensory glow. Flaring with reflected color, they are iridescent beings whose very skin seems to be a source of psychic power and fragility. Their markers of individuality – their faces, gender, even bodies – are masked, overshadowed or absent.

Sascha Braunig Coverage, 2010 Oil on canvas over panel 22 1/2 x 15 1/2 inches 57.2 x 39.4 cm

While Braunig’s paintings recall Magritte, they also evoke the spirit of performance artist Leigh Bowery whose startling costuming often encased his body. Like Bowery’s «looks», her baroque armors enigmatically reveal a dark yet playful wit within. Sascha Braunig currently lives and works in Portland, ME. She holds an MFA in painting from Yale University. Exhibitions include: Foxy Production, New York solo, 2011; Baker, Braunig, Gokita, Hopkins, Foxy Production, New York, 2010; The Crack-up, ATM Gallery, New York, 2009; Speed Limit, Lower Manhattan Cultural Council, New York; Flex Your Textiles, John Connelly Presents, New York, both 2006; and The Infinite Fill Show, curated by Cory and Jamie Arcangel, Foxy Production, New York, 2004.

Solo show at LISTE 16 Sascha Braunig, CA, 1983

Other artists of the gallery Hany Armanious, AU Jimmy Baker, US Michael Bell-Smith, US Olga Chernysheva, RU Simone Gilges, DE

Gabriel Hartley, GB Violet Hopkins, US David Noonan, AU Ester Partegàs, ES Sterling Ruby, US

Freedman 1/2/1

Carl Freedman Gallery, Carl Freedman, Robert Diament

T: +44/207/6848890, F: +44/207/6848889

44a Charlotte Road, GB- London EC2A 3PD

info@carlfreedmangallery.com, www.carlfreedmangallery.com

Ivan Seal takes an object from memory or simply a

series of words and begins by painting an immediate reaction, a process close to the idea of group improvisation in music. The results vary from Philip Gustonesque cartoonish mis-en-scenes, to thick impasto renderings, to soft-grey clay inventions. The absurd is always present, often accompanied by a

looming darkness. The paintings, however, avoid sinking into existential gloom through their sense of humour, expressed at times as a matter-of-fact dumbness.

Jess Flood-Paddock reanimates the vernacular

through sculptures which present alternative and failed versions of ordinary objects such as a raspberry, a pile of newspapers, or balls of wool. Some sculptures seem to represent «sculpture» itself – a public monument, a Neolithic stone – and some to represent the act of making – a swoop of the hand, a

crush of the fist. Made from unfired clay and partially painted, they have a rough and at times amateurish feel, though that doesn’t mask her serious intent. These are works shaped by the formative influences of Thek, Fischli & Weiss, Gober, Genzken and West, but still remain the expression of a very singular mind.

Ivan Seal raggottiss dalowlercist, 2011 Oil on canvas 52 x 42 cm

Jess Flood-Paddock Raspberry, 2007 Unfired clay, acrylic paint 16 x 17 x 17 cm

Shown at LISTE 16 Jess Flood-Paddock, GB, 1977 Ivan Seal, GB, 1973

Other artists of the gallery Armando Andrade Tudela, PE Tatiana Echeverri Fernandez, CR Michael Fullerton, GB Thilo Heinzmann, DE

David Brian Smith, GB Fergal Stapleton, GB Catherine Story, GB Pieter Vermeersch, BE

Fuentes 1/2/2

James Fuentes LLC

T: +1/212/5771201, F: +1/212/5771202, M: +1/917/3452473

55 Delancey Street, US-New York, NY 10002

info@jamesfuentes.com, www.jamesfuentes.com

Noam Rappaport Untitled (White), 2008 Acrylic, canvas and wood 88 x 39 cm

Shown at LISTE 16 Noam Rappaport, US, 1973 Brian DeGraw, US, 1974 John McAllister, US, 1973 David Benjamin Sherry, US, 1978 76

Other artists of the gallery Joshua Abelow, US Lizzi Bougatsos, US

Alejandro Cardenas, US Jessica Dickinson, US Jonas Mekas, US Agathe Snow, US

Gaudel de Stampa 2/3/1

Gaudel de Stampa, Denis Gaudel

T: +33/1/40213738, M: + 33/6/19555369

3, rue de Vaucouleurs, FR-75011 Paris

denis@gaudeldestampa.com, www.gaudeldestampa.com

Jessica Warboys Clan, 2011 Canvas, wood, paint 34 x 34 cm

Lina Viste Grønli

Jonathan Binet

Feminism & Selected Writings, 2010

La petite moitié, 2011

Installation view

Canvas, aerosol, spray can

Gaudel de Stampa

Shown at LISTE 16 Jonathan Binet, FR, 1984 Lina Viste Grønli, NO, 1976 Jessica Warboys, GB, 1977 78

140 x 140 x 20 cm

Other artists of the gallery Dove Allouche, FR Hildegarde Duane & David Lamelas, US

Ida Ekblad, NO Emil Michael Klein, CH Matthieu Laurette, FR

Gitlen -1/2/3

Laurel Gitlen

T: +1/212/2740761, F: +1/212/2740756, M: +1/503/4907255

261 Broome Street, US-New York, NY 10002

gallery@laurelgitlen.com, www.laurelgitlen.com

Corin Hewitt’s durational performances, sculptures and photographs confront the fixity of objects, cycling materials and images through various temporal and bodily states. Recent works foreground the studio space as both the location and subject of the work while a number of object/image reversals complicate divisions between subjects and grounds, the animate and inanimate. Hewitt lives and works in Richmond, VA. His work has been exhibited at the Whitney Museum, the Seattle Art Museum, the Astrup Fearnley Museum and the Wanas Foundation.

Corin Hewitt

Jessica Jackson Hutchins

Recomposed Monochrome (63, 46, 204), 2011

Over Come Over, 2010

Digital pigment print

Installation view, Laurel Gitlen, New York

30 x 22 1/2 inches 76.2 x 57.2 cm

Joseph Montgomery

Jessica Jackson Hutchins combines elements both

Surrogate One, 2011

bruised and beautiful in strangely evocative and robust assemblage sculptures. Familiar materials refer to everyday rituals (eating, reading, sex) but abstracted, the banal suggests transcendence. Ceramic vessels – stand-ins for the body – are located on top of furniture or eccentric pedestals, becoming something formal yet entirely human. Hutchins lives and works in Portland, OR. Her work was included in 2010: The Whitney Biennial, and will be in upcoming exhibitions at the Seattle Art Museum, the ICA Boston and the Lyon Biennial.

Oil on canvas 44 3/4 x 23 1/4 inches 113.7 x 59.1 cm

Joseph Montgomery is interested in the particular

Shown at LISTE 16 Corin Hewitt, US, 1971 Jessica Jackson Hutchins, US, 1971 Joseph Montgomery, UK/US, 1979 80

Other artists of the gallery Elizabeth McAlpine, UK Anissa Mack, US

Michael Patterson-Carver, US Will Rogan, US Allyson Vieira, US Jesse Willenbring, US

process of his paintings. Some works are built up over an extended period of time, accumulating traces of painterly gestures, layering paintings on top of paintings; while others are painted from photographic representations of extant paintings – simultaneously creating earnest objects and fabrications of paintings. Montgomery lives and works in New York and was recently included in the 2010 White Columns Annual and the first installment of Curating the Contemporary in Basel.

Herald St 0/4/1

Herald St, Ash Lâ&#x20AC;&#x2122;ange, Nicky Verber

T: +44/20/71682566, F: +44/20/76130009

2 Herald St, GB-London E2 6JT

mail@heraldst.com, www.heraldst.com

Pablo Bronstein Exhibition Design: 1000 Years of Islamic Culture in Spain, 2010 Ink and gouache on paper 10 parts, each: 56 x 77 cm / 22 x 35.5 inches (unframed)

Michael Dean

76 x 97 cm / 30 x 38.5 inches (framed)

out (working title), 2011 Digital c-print 72.5 x 54.5 cm / 28.5 x 21.5 inches framed

Shown at LISTE 16 Pablo Bronstein, UK, 1977 Michael Dean, UK, 1977 Nick Relph, UK, 1979

Other artists of the gallery Markus Amm, DE Alexandra Bircken, DE Josh Brand, US Peter Coffin, US Matthew Darbyshire, GB Ida Ekblad, NO Annette Kelm, DE Scott King, GB

Cary Kwok, HK Christina Mackie, CA Djordje Ozbolt, RS Oliver Payne, GB Tony Swain, NI Donald Urquhart, UK Klaus Weber, DE Nicole Wermers, DE

Hopkinson Cundy 0/9/3

Hopkinson Cundy, Sarah Hopkinson, Harry Cundy

T: +64/9/5511644, M: +64/212/442243

1/1 Cross Street, NZ-1010 Auckland

info@hopkinsoncundy.com, www.hopkinsoncundy.com

Nick Austin’s paintings and sculptures are concerned with the tools and detritus of one’s work habits. Often using paper as both material and subject, Austin’s work circles ideas of composition and contemplation, reflecting both the material and thought processes used in their making. The series of paintings presented at Liste 16 are formalist but made as if in an absurd, New Yorker cartoon-like situation. The works feature schematic pictures of to-be-written postcards, imagining the mail artist as a doodle-nothing correspondent.

Nick Austin Mail artist‘s block, 2011 Gesso, acrylic, pencil on card 325 x 420 mm

Nick Austin (b. 1979) lives in Auckland, New Zealand. Recent exhibitions include: «Not haiku», Hopkinson Cundy, Auckland; «Last Ride in a Hot Air Balloon: The 4th Auckland Triennial», Auckland Art Gallery, Auckland (2010); «Two Man Shoe», Peter McLeavey Gallery, Wellington (2010); «Retirement» (as part of Simon Denny’s «Deep Sea Vaudeo»), Galerie Daniel Buchholz, Cologne (2009); and «Austin & Petherick», Neon Parc, Melbourne (2009).

Solo show at LISTE 16 Nick Austin, NZ, 1979

Other artists of the gallery Andrew Barber, NZ Fiona Connor, NZ/US Daniel Malone, NZ/PL

Nicholas Mangan, AU Tahi Moore, NZ Kate Newby, NZ Joshua Petherick, AU 85

Hotel 3/6/2

HOTEL, Darren Flook, Christabel Stewart

T: +44/20/72478625, F: +44/20/72470894

77A Greenfield Road, GB-London E1 1EJ

email@generalhotel.org, darren@generalhotel.org, christabel@generalhotel.org, www.generalhotel.org

Solo show at LISTE 16 Anders Clausen, DK, 1978

Other artists of the gallery Michael Bauer, DE Juliette Blightman, GB Carol Bove, US Agnieszka Brzezanska, PL Duncan Campbell, IE Carter, US Steven Claydon, GB Keith Farquhar, GB Alistair Frost, GB

Richard Kern, US Alastair MacKinven, CA Alan Michael, GB David Noonan, AU Peter Saville, GB Torsten Slama, DE Alexis Marguerite Teplin, US Stefan Thater, DE Mark van Yetter, US

Untitled, 2011

Huber 1/4/1

Galerie Andreas Huber

T: +43/1/5860237, F: +43/1/586023712, M: +43/676/5807600

Schleifmühlgasse 6–8, 2nd floor, AT-1040 Vienna

art@galerieandreashuber.at, www.galerieandreashuber.at

The reoccuring themes in Dan Rees´ work are ideas surrounding conversation, diversion, translation, and compilation. In his «Plasticine Paintings» one cannot help thinking of Jackson Pollock´s «drippings», where the act of making can be seen to compete for privelege with the idea of composition.

At the heart of his investigation are the ambiguous yet simple gestures that make something «art», whilst crucially maintaining a conceptual distance from painting and sculpture. Corentin Hamel

Florian Schmidt Untitled (Community), 2011

Dan Rees Plasticine Painting, 2011

Mixed media

Plasticine, wood

33 x 27 cm

71 x 98 cm

Florian Schmidt´s work ceaselessly goes from sculpShown at LISTE 16 Leopold Kessler, AT, 1976 Dan Rees, GB, 1982 Florian Schmidt, AT, 1980

Other artists of the gallery Carla Åhlander, SE Kaucyila Brooke, US Josef Dabernig, AT Carola Dertnig, AT

Volker Eichelmann, DE Judith Hopf, DE Daniel Lergon, DE Gernot Wieland, AT

tural to pictorial and tends to explore three-dimensional acts within flat spaces. Elements from previous pieces of work are often reused in new ones, entertaining this dynamic. This transformation and cannibalization opens a dialogue with History of Art. Frames, canvases, collages, papier-mâché and plas-

ter are used as so many elements for construction, and make up a flexible typology. References to European «Avant-gardes» come out almost naturally as Florian Schmidt`s work explores by nature, construction, the founding elements of what constitutes a piece of work. Corentin Hamel

Kadel Willborn 1/3/1

Kadel Willborn, Iris Kadel, Moritz Willborn

T:+49/721/4672801, T: +49/721/47000607, F: +49/721/4672800

Hirschstr 45, DE-76133 Karlsruhe

info@kadel-willborn.de, www.kadel-willborn.de

Transitions, connections and changes between different places and times are characteristic of Matthias Bitzer’s work groups, which are based on his interest in the existential structures when constructing identity. Historical personalities, whose biographies are marked by contradictoriness and gaps, are frequently the protagonists of Matthias Bitzer’s research as Joseph Conrad (1857–1928) or Fernando Pessoa (1888– 1935). Matthias Bitzer is not concerned with the narrative illustration of the respective biographies, but is instead always interested in the subjective changeability of reality. He translates the fragility of meaning and content into abstract narrative codes: Thus, the installation of his paintings, sculptures, collages, and drawings sets them in narrative relations to each other and turns the existing exhibition space into a setting for new stories. Matthias Bitzer has shown his solo exhibition at Kunstverein Hannover and received the Otto Dix Award of City Gera in 2010. Further he has participated at group exhibitions as at Kunsthalle Krems (AU); Projects Arts Centre Dublin, IE and Marta Herford Museum (DE) where his works are part of the permanent collection. In 2011 he will show his 3rd solo exhibition at Galerie Kadel Willborn in Karlsruhe.

In Adrian Williams’ conceptually narrative works, explorations of spaces both literal and fictitious are presented as performance, film and works on paper. The physical and symbolic use of sound has been both a tool for and subject in her recent works. She invents fictional characters and embeds them in part in real situations. The work on paper «Up» is part of a new work complex that apparently combines documentary photographs associatively with prose-like texts handwritten by Adrian Williams. Often the spoken word only temporarily takes on a spatial presence, as in the performance «At Hand» (2010). The title alludes to something that is about to happen or is just taking place. «At Hand» sets a short story to music live with a composer, musicians and a noise maker. The piece portrays the suspenseful story of a fictional protagonist whose luggage goes missing at Frankfurt Airport. At Liste we present the LP record of this performance as a sound piece. Adrian Williams has shown solo presentations at Art Statements / Art Basel (2010), at Art Production Fund LAB, New York (2009) and at Nassauischer Kunstverein Wiesbaden (2007). She has been awarded with the artist-in-residency program «Art Space», San Antonio, Texas and has participated at group exhibitions at MMK Museum fur Moderne Kunst, Frankfurt and at Heidelberger Kunstverein.

Adrian Williams Up, 2010 Paperwork, 29.7 x 21 cm

Shown at LISTE 16 Matthias Bitzer, DE, 1975 Adrian Williams, US, 1979

Other artists of the gallery Shannon Bool, CA Katja Davar, UK Helmut Dorner, DE Benedikt Hipp, DE Myriam Holme, DE

Barbara Kasten, US Skafte Kuhn, DE Riccardo Previdi, IT Olaf Quantius, DE Mathilde Rosier, FR

Karma International 1/6/1

Karma International, Karolina Dankow, Marina Leuenberger

T/F: +41/43/5358591, M: +41/79/4577659, M: +41/76/3272278

Dufourstrasse 48, CH-8008 Z端rich

info@karmainternational.org, www.karmainternational.org

Ida Ekblad Bali Indonesia, 2011 Oil on linen Courtesy the artist and Karma International

Shown at LISTE 16 Agnieszka Brzezanska, PL, 1972 Ida Ekblad, NO, 1980 Tobias Madison, CH, 1985 Emanuel Rossetti, CH, 1987 92

Other artists of the gallery David Hominal, FR Thomas Julier, CH

Carissa Rodriguez, US Pamela Rosenkranz, CH Martin Soto Climent, MX

Kaufmann Repetto 1/6/2

kaufmann repetto, Francesca Kaufmann, Chiara Repetto

T: +39/02/72094331, F: +39/02/72096873, M: +39/32/72082844

Via di Porta Tenaglia 7, IT-20121 Milan

info@kaufmannrepetto.com, www.kaufmannrepetto.com

Thea Djordjadze’s installations and sculptures open

the stage on the curtains of memory: the memory of a process that appears still in the making and the memory of lived scenarios. Materials like plaster, wood and ceramic, along with fabric are assembled in what looks like an almost intuitive process, creating compositions that are often structured as architectural settings, in which the modernist language seems buried by the dust of time and repositioned within atemporal essentiality.

The practice of Matt Sheridan Smith often takes notions of subtraction, ellipsis and absence as its starting point. While investigating the processes and conditions of both making and experiencing art, the artist scrutinizes the complex ways that meaning and value are constructed in the world.

Shannon Ebner seeks to broaden her investigation of language to include the linguistic potential of the photograph itself, moving towards the construction of a mercurial visual system that includes images, objects, wallpaper, applications of text phrases and videos. Ebner’s work can be seen as an ongoing investigation of visual and photographic semiotics.

Shannon Ebner Gloria, 2010 Six chromogenic prints 160 x 122 cm each

The work of Latifa Echakhch is based on the deconstruction and representation of identity and cultural symbols. In her multimedia practice, including installation, sculpture, video, interventions and actions, the artist decontextualizes objects loaded with cultural and political saliency and repositions them within a minimalist language.

Shown at LISTE 16 Thea Djordjadze, GE, 1971 Shannon Ebner, US, 1971 Latifa Echakhch, MA, 1974 Matt Sheridan Smith, US, 1980

Other artists of the gallery Candice Breitz, ZA Pierpaolo Campanini, IT Gianni Caravaggio, IT Maggie Cardelùs, US Carlo Mollino, IT Yoshua Okon, MX

Adrian Paci, AL Eva Rothschild, IE Aïda Ruilova, US Lily van der Stokker, NL Billy Sullivan, US Pae White, US Thomas Zipp, DE 95

Kisterem 0/10/3

Kisterem, Margit Valkó

T/F: +36/126/70522, M: +36/309/601015

Képíró u. 5., HU-1053 Budapest

kisterem@kisterem.hu, www.kisterem.hu

In this system, Kokesch’s (art)objects can alter and vary their meaning, as, based on the signs and properties associated with them, our perception ascribes ever-newer meanings to them. In other words, objects can be perceived as always new and different things, while they do not necessarily need to change in terms of their physical compositions; it is enough to modify their range of signs. For this, however, it is not our mechanisms of perception that must be given a new basis; it is enough – for the artist – to inter-

vene in the process of sign-generation. In Kokesch’s case, the functions associated with the meanings of objects are merely imitated by the works, which operate as meanings. His artworks can easily be perceived as objects of everyday use without them having to actually fulfil their functions, as the objects merely examine the potential perceptibility of signs, patterns and schemes.

Tamás Kaszás. Contacts between members of dif-

ferent cultures can often produce misunderstandings. The phenomena called cargo cult is based also on such misunderstandings. Cargo cult is a religious practice that has appeared in many traditional tribal societies in the wake of interaction with technologically advanced cultures. The cult focuses on obtaining the material wealth (the «cargo») of the advanced

culture through magic and religious rituals and practices. These cultural differences are not exclusively the result of geographical separation but also being placed at another time-line. The artist designed a fictive anthropological object that could have been made out of nostalgia by a neo-primitive society after the collapse of our modern society

Aron Fenyvesi

Tamás Kaszás Ádám Kokesch

Future-ex, 2010

Installation, 2011

Wood, ply-wood, willow

Dimension variable

wicker, (basketwork)

Installation View at S.M.A.K, Ghent

110 x 60 x 45 cm

Shown at LISTE 16 Tamás Kaszás, HU, 1976 Ádám Kokesch, HU, 1973

Other artists of the gallery János Fodor, HU Barbara Follárd, HU György Jovánovics, HU Katalin Káldi, HU Tamás Körösényi, HU Little Warsaw, HU

Antal Lakner, HU Société Réaliste, HU/FR János Sugár, HU Kamilla Szíj, HU Júlia Vécsei, HU Gitte Villesen, DE/DK Anna B. Wiesendanger, CH 97

KOW 0/2/1

KOW BERLIN, Johanna Chromik, Alexander Koch, Nikolaus Oberhuber

T: +49/30/31166770, F: +49/30/31166771, M: +49/172/1900983

Brunnenstrasse 9, DE-10119 Berlin

gallery@kow-berlin.com, www.kow-berlin.com

KOW BERLIN, located in Brandlhuber’s building in

Berlin-Mitte’s Brunnenstraße no. 9, was founded in 2009. The gallery’s conceptual agenda is rooted in our conviction that the social dimension of artistic practices is what makes them helpful in understanding the conditions, and in influencing the modes, of our individual and collective lives. The curatorial formats of KOW’s exhibitions aim to present and qualify works of art as contributions to today’s cultural and political debates. For LISTE 16, we are bringing together three German artists of the same generation to whom «identity» is neither a given essence nor merely something to be constructed. Rather, identity appears as a fragile, uncertain, and performative state of relation to given social and spatial conditions without any guarantee that there is a reliable place or concept for one’s own position in the world.

Shown at LISTE 16 Mario Pfeifer, DE, 1981 Tina Schulz, DE, 1975 Tobias Zielony, DE, 1973

Other artists of the gallery Arno Brandlhuber, DE Alice Creischer, DE Barbara Hammer, US Chris Martin, US Frédéric Moser, Philippe Schwinger, CH/AT

Santiago Sierra, ES Michael E. Smith, US Clemens von Wedemeyer, DE Franz Erhard Walther, DE

Tobias Zielony The Cast, 2007 Raven C-Print 84 x 56 cm

Krobath 0/10/6

Krobath Wien/Berlin, Helga und Peter Krobath

Marienstrasse 10, DE-10117 Berlin, T: +49/30/28042670

Eschenbachgasse 9, AT-1010 Wien, T: +43/1/5857470, M: +43/676/5668644

office@galeriekrobath.at, www.galeriekrobath.at

Andreas Golinski gehört derzeit zu den interessantesten deutschen Nachwuchskünstlern. In Mailand und Essen lebend, vollzieht er einen Brückenschlag zwischen der italienischen Arte Povera und einem konzeptuell angelegten Minimalismus. Das radikal Neue in Golinskis künstlerischer Arbeit begründet sich in der Direktheit, mit der er mittels einer harten Materialsprache äußerst sensible Beschreibungen von der Zerbrechlichkeit der menschlichen Existenz entwirft.

Andreas Golinski is one of the most interesting emerg-

Friederike Nymphius

Exploring the blurred borders between memory, private and collective unconsciousness and architecture, the German artist succeeds in producing a poetic synthesis of contemporary spatiality, a continuum without friction designed by Deleuzian folds where space and time seem to touch one another, head and tail.

«Ich war etwa 14–18 Jahre alt, ich wusste nicht, dass ich vielleicht Kunst machte, denn es gab niemanden in meinem Umfeld, der sich damit auskannte. Ich habe in alten Essener Fabriken riesenhafte Eingriffe vorgenommen und hatte dennoch nie zuvor von Gordon Matta Clark gehört. Heute dagegen kenne ich viel, aber ich bin wenig davon beeinflusst.»

ing artists in Germany. He lives in Milan and Essen and connects the Italian Arte Povera with conceptual minimalism. What is radically new about Golinski’s artwork is the immediacy of his incredibly sensitive sketches conveying the fragility of human existence, and his use of a tough material language to achieve this. Friederike Nymphius

Francesco Garutti

Andreas Golinski

Andreas Golinski Exhibition view, Krobath Vienna Anbiederung an die Ewigkeit, 2010 7 sculptures, each 204 x 30 x 40 cm Wall installation with 7 rubber mats and 43 collages Dimensions variable, unique

Solo show at LISTE 16 Andreas Golinski, DE, 1979

100

Other artists of the gallery Michael Bauch, DE Thomas Baumann, AT Hannes Böck, AT Katrina Daschner, DE Judith Eisler, US Igor Eškinja, HR Berta Fischer, DE Max Frey, AT Maria Hahnenkamp, AT Isabell Heimerdinger, DE Šejla Kamerić, BA Jiří Kovanda, CZ

Brigitte Kowanz, AT Dorit Margreiter, AT Ursula Mayer, AT Anna Meyer, CH Gerold Miller, DE Julian Opie, GB Fritz Panzer, AT Florian Pumhösl, AT Ugo Rondinone, CH Esther Stocker, IT Despina Stokou, GR Sofie Thorsen, DK Otto Zitko, AT 101

Labor 0/10/9

LABOR, Pamela Echeverria

T/F: +52/55/52085579

Colima 55, MX-06700 México DF

info@labor.org.mx, labor.org.mx

For LISTE 16, LABOR will present the work of artists that are analyzing and transforming the ideas of taxonomy and archive; how the manipulation of informa-

tion creates different ideas of reality. The work of the following three artists will be presented: Erick Beltrán, Irene Kopelman and Jorge Satorre.

Jorge Satorre The Erratic. Measuring Compensation (detail), 2009–2010

«Modelling Standard» by Erick Beltrán and Jorge Satorre takes as a point of departure the radical historiographic turn introduced by Carlo Ginzburg in the 1970s who focused on localized, popular and disregarded micro-histories rather than universal, overarching versions. The title «Modelling Standard» references the scientific concept of the Standard Model used in physics to explain the almost invisible interactions occurring between subatomic particles.

On this occasion, the critic and curator Adam Kleinman will participate on behalf of the artists and in an almost theatrical manner take on the role of Satorre and Beltran, becoming a character in this web of relationships. He will explain some of the associations made by the artists while incorporating his own interpretations.

Erick Beltrán Ríndete (Give up), 2006 Installation and 1500 posters with instructions

3 drawings, diagram, piece of stone and plaster stone

In conjunction and with the intention of marking a difference, Irene Kopelman will present «Notes on the variety of potato». The proposal is based on a project that the artist started to develop in Peru, in

relationship with the biodiversity of the Andean potatoes. The project includes a series of drawings and small sculptures depicting and cataloguing the biodiversity of the local potato production.

Variable dimensions 84 x 59 inches each poster

Irene Kopelman 50 metros de distancia o más A, 2010 Oil on canvas 78.74 x 163.58 x 1.97 inches Irene Kopelman

Shown at LISTE 16 Erick Beltrán, MX, 1974 Irene Kopelman, AR, 1974 Jorge Satorre, MX, 1979 102

Other artists of the gallery Etienne Chambaud, FR Santiago Cucullu, AR Teresa Margolles, MX

Raphael Montañez Ortíz, US Pedro Reyes, MX Pablo Vargas Lugo, MX Hector Zamora, MX

For UBX Expression, 2008 120 drawings 3.15 x 3.27 inches each 25.43 x 54.33 inches framed

103

Lautom 1/1/2

LAUTOM contemporary, Randi Thommessen

T: +47/22/598484, M: +47/90/081685

Colletts gate 6, NO-0169 Oslo

mail@lautom.no, www.lautom.no

In the work «After Day and Night» by Ane Mette Hol, the relationship between original and drawn reproduction is at center. The work is based on a series of webcam images documenting a full day and night, the changing light and weather in the landscape outside of a window. Still images are reproduced as drawings, then scanned and put together as an animated film that reflects the slow objective reality already documented by the camera. A web-based 24 hours version of the film can be seen on www.anemettehol.com. Whereas much art today is inclined to pose as science, Toril Johannessen’s work often have the appearance of being the poetic surplus that remains from genuine research work. Her works uncover similarities in the way science and art are done, drawing one’s attention to the creative elements fundamental to the development of all knowledge.

Toril Johannessen Untitled (Wooden), 2010

Erlend Hammer

Sculpture, mahogany 50 x 80 x 100 cm

Kristin Nordhøy’s work is often a result of her exploration of the proper-

Unique

ties of the medium in question. She works with several different techniques where traces of the work process become a natural part of her works. It is the sculptural qualities of the medium in use that mainly concern Nordhøy and not the traces of the hand. Nevertheless, her works are hand crafted and carefully executed, and this contrast between the absence and the presence of the artist gives her work a new contemplative dimension.

Ane Mette Hol After Day and Night (09:00:00–09:59:00), 2010 Single Frame (Original drawing) Pencil, black colored pencil and graphite on Chromacolour Archival Animation Paper 10.5 x 12.5 inches (apx. 27 x 32 cm)

Shown at LISTE 16 Ane Mette Hol, NO, 1979 Toril Johannessen, NO, 1978 Kristin Nordhøy, NO, 1977 104

Other artists of the gallery Ole John Aandal, NO Øystein Aasan, NO Kjetil Kausland, NO

Victor Lind, NO Sandra Norrbin, SE Annika Ström, SE

105

Lentz 2/2/1

Wilfried Lentz Rotterdam, Groot Handelsgebouw

T: +31/10/4126459, F: +31/10/4129313, M: +31/65/3446524

Stationsplein 45 unit C 1.140, Postbus, NL-132 3000 AC Rotterdam

office@wilfriedlentz.com, www.wilfriedlentz.com

The core of the presentation at Liste is the work of two young Italian artists, Giorgio Andreotta Calò and Rossella Biscotti. Calò is, amongst other things, interested in specific, strange objects he finds in the Laguna of Venice – his native city – and in their potentially symbolic meaning. These found objects, like mooring poles, skulls and bones are transformed in enigmatic and occult art works. Biscotti uses found

documents with a political or social content from a recent past. In some of their recent works both artists cast this found material for example in bronze, metal or concrete in order to create bigger installations from the casts. Both artists also orchestrate (public) performances in which social and political issues are used as subject matter.

Rossella Biscotti Three performances in Naples, 2010 Colour photograph of the third performance «Dalla stazione Marittima al Ministero del Lavoro e Politiche sociali», 50 x 75 cm

Shown at LISTE 16 Giorgio Andreotta Calò, IT, 1979 Rossella Biscotti, IT, 1978

106

Other artists of the gallery James Beckett, ZW/ZA Lonnie van Brummelen & Siebren de Haan, NL Josef Dabernig, AU Ulrik Heltoft, DK

Susanne Kriemann, DE Matts Leiderstam, SE Wendelien van Oldenborgh, NL Philippe Van Wolputte, BE And works by Hito Steyerl, DE

Giorgio Andreotta Calò Clessidra, 2010 Bronze sculpture (03), 137 x 24 cm

107

Limoncello 0/1/1

Limoncello, Rebecca May Marston

T: +44/207/7392363, M: +44/78/35112114

15a Cremer Street, GB-London E2 8HD

limoncello@limoncellogallery.co.uk, www.limoncellogallery.co.uk

For the past two years Sean Edwards has been resident in a semi-derelict modernist shopping centre, Maelfa, in a suburban Welsh community where he grew up. Edwards poignantly captured the failed aspirations and final life in the edifice which was once a bustling utility and pillar of utopian aspiration. LL: Why are forlorn themes of urban remains and human failure prevalent in your work? SE: To me it is in the detritus, the peripheries of life, that truths can be found. My interests are cited not in failure but in expectations that lead to failure and disappointment. It is in this minutiae that works can be teased out to piece together a past, present and a glimpse at future. LL: Is it fair to say there is a thread through your work in which the passion for formality overrules sentimentality towards the subject? Sean Edwards Notebook Page 17, 2010 Framed Gouache and Graphite on Paper Unique H 25 cm x W 19 cm Courtesy the artist and

SE: Yes of course. I’m drawn to the objects, images and situations I use because of their formality. The sentimentality of the subject forms the palate from which the works are found and developed. They are the small stories elicited secondarily by breathing in and out the formalities of shapes, colours, depths and forms.

Limoncello, London

Sean Edwards Four Windows, 2010 MDF, Hardboard, Surface Filler Unique Dimensions Variable, Each part: H 138 cm x W 253 x D 6 cm Courtesy the artist, Limoncello,

With thanks to Safle, Elephant Trust and Spike Island.

London, and Spike Island.

Sean Edwards

Solo show at LISTE 16 Sean Edwards, GB, 1980

108

Other artists of the gallery Vanessa Billy, CH/FR Lucy Clout, GB Josephine Flynn, GB The Hut Project, GB

Matthew Richardson, GB Matthew Smith, GB Jack Strange, GB Yonatan Vinitsky, IL

Maelfa, 2010 HD Single Channel Video, 25‘04‘‘ Edition of 3 + 2 Artist Proofs Courtesy the artist, Limoncello, London, and Spike Island. Photographer Jamie Woodley

109

Lüttgenmeijer 2/1/3

Lüttgenmeijer, Markus Lüttgen, Robert Meijer

T: +49/30/28045805, F: +49/30/28045806

Bartningallee 2–4, DE-10557 Berlin

mail@luettgenmeijer.com, www.luettgenmeijer.com

It does seriously look like a group of 12 year old boys all hopped up on Monster, RockStar and Red Bulls was given one night to come up with the graphical treatment … and he just resorted to copy & pasting window 7 elements and randomly scattering stuff on screen … What a clusterfuck of bad typography, poor spacing, wasted real estate and just ugly graphic elements. ----------11. Lie, cheat, steal, leave the toilet seat up. 12. When in doubt, insult: If you forget the other 11 rules, remember this one. At some point during your wonderful career as a flamer you will undoubtedly end up in a flame war with someone who is better than you. This person will expose your lies, tear apart your arguments, make you look generally like a bozo. At this point, there’s only one thing to do: insult the dirtbag!!! «Oh yeah? Well, your mother does strange things with vegetables.» From: *********** The twelve commandments of flaming************** Revision 1: Dec. 2, 1987 by Joe Talmadge

1997, an artist form Cameroon seized on Kelly, the House’s mascot, giving it a new face. Envisaging it. Embroidering it on rustic canvas using red, white and blue glass beads. Turning it into a character, with a handle for a nose, a strap for a smile. Bringing it to life, surrounded by the geometrical figures of traditional art. Cult of Nothing • Family Ties is a complex grouping of close tones that emerge out of the shadows. The colors in the half-light become de-saturated, creating a dreamy and tender softness. It is a portrait hidden in muted, dusky, oiled layers in shades that become indistinct and blend together. • Material stripped bare, absence and a lack of ornament, a discourse without digressions, strata added like the page of a book are the inspiration for Surprise of Being. We uncover a neutral range, mild and inexpressive, covered with oxygenated greens. Lunar is a cool understatement of grays that open up onto two secret worlds of wonder. Red energizes and shakes the calm. A soft, natural gold carries a hint of warmth and a glimpse of hope. SOCK PUPPET CLUSTERFUCK HONEYCOMB PAL

Solo show at LISTE 16 David Jablonowski, DE, 1982

110

Other artists of the gallery Erica Baum, US James Beckett, ZA Matt Connors, US Jason Dodge, US Chris Evans, GB Stefan Hablützel, CH

George Henry Longly, GB Ryan McLaughlin, US Gareth Moore, GB/CA Matthew Ronay, US Matthew Smith, GB Matt Stokes, GB Susanne M. Winterling, DE 111

Marcelle Alix 0/9/8

Marcelle Alix, Isabelle Alfonsi, Cécilia Becanovic

M: +33/6/32458047

4 rue Jouye-Rouve, FR-75020 Paris

demain@marcellealix.com, http://marcellealix.com, www.facebook.com/marcellealix

Numerous young artists today refer to older artists as role-models. It is important to question the position of the former in relation to the latter. Are they mere fans? Do they manipulate the aura of the older artist for their own purposes? Should «reference» automatically mean «reverence», a play on word which would reveal the vertical relationship between a master and his/her student?

Aurélien Froment A Soleri Bell (Cosanti Originals) Scottsdale, June 2002, 2011 Silkscreen print 160 x 120 cm

Marcelle Alix’s proposition for Liste 16 revolves around works by Mathieu K. Abonnenc, Charlotte Moth and Aurélien Froment in respective relation to Adrian Piper (1948–), Raoul Hausmann (1886–1971) and Paolo Soleri (1919–). In «For Adrian Piper (10 drawings of Pontus Hulten at 10000$/hour)», Abonnenc does more than pay a tribute to the African-American artist, he creates a community of thought with her and updates the relevance of her work, pointing out the politics of genre at stake in the portrait. Charlotte Moth’s new installation works, «Noting Thoughts», were produced in connection with Raoul Hausmann’s archive for her solo exhibition at Musée de Rochechouart in France (March 2011). Like her 2010 project around the architecture of Robert Mallet-Stevens, «Noting Thoughts» re-works the essence of the elder artist’s production. Aurélien Froment’s experience of Paolo Soleri’s architecture in Arcosanti (Arizona) has been fueling his work since 2002. Taken out of its original context, the image of the bell – designed by Soleri and sold as a souvenir in Arcosanti – acquires the status of a screen onto which we are invited to project our subjectivity. By questioning the content and impact of their elders’ works through a reworking of their reception context, Abonnenc, Froment and Moth shed a significant light on contemporary practices, which go beyond appropriation and «reverence». They blur a vertical, traditional relationship, to constitute trans-historical groups. MA

Shown at LISTE 16 Mathieu K. Abonnenc, FR, 1977 Aurélien Froment, FR, 1976 Charlotte Moth, UK, 1978 112

Other artists of the gallery Louise Hervé & Chloé Maillet, FR Ernesto Sartori, IT Marie Voignier, FR 113

Mary Mary 2/2/2

Mary Mary, Hannah Robinson

T: + 44/141/2262257, M: +44/77/30681415

Suite 2/1, 6 Dixon Street, GB-Glasgow G1 4AX

info@marymarygallery.co.uk, www.marymarygallery.co.uk

Nick Evans Organ, 2010 Fibre reinforced plaster, wood, screenprinted board 153 x 65 x 73 cm / Table 71.5 x 60 x 60 cm

Nick Evans Head First (detail), 2010 Fibre reinforced plaster, wood, screenprinted board 116 x 130 x 164 cm

Solo show at LISTE 16 Nick Evans, GB, 1976

114

Other artists of the gallery Sara Barker, GB Ernst Caramelle, AT Aleana Egan, IR Lotte Gertz, DE Iain Hetherington, GB Torsten Lauschmann, DE

Lorna Macintyre, GB Alan Reid, US Lili Reynaud-Dewar, FR Gerda Scheepers, ZA Alexis Marguerite Teplin, US Maximilian Zentz Zlomovitz, DE

115

Mezzanin 0/10/1

Galerie Mezzanin, Karin Handlbauer

T: +43/1/5264356, F: + 43/1/5269187

Getreidemarkt 14/Eschenbachgasse, AT-1010 Wien

office@galeriemezzanin.com, www.galeriemezzanin.com

Mandla Reuter

Christian Mayer

The Building (detail), 2011

untitled (Musa Banana) detail, 2009

I-beam, dimensions variable

Plant, Polaroid film 55 negatives, day light neon tubes

Installation view de Vleeshal,

Installation view Galerie Mezzanin, 2009

Middelburg 2011

Shown at LISTE 16 Christian Mayer, DE, 1976 Mandla Reuter, ZA, 1975

116

Other artists of the gallery Thomas Bayrle, DE Geta Bratescu, RO Bernhard Fruehwirth, AT Manuel Gorkiewicz, AT Michael Hakimi, DE Peter Kogler, AT Lisa Lapinski, US

Marzena Nowak, PL Michelangelo Pistoletto, IT Katrin Plavcak, DE Sturtevant, US Santos R. Vasquez, US Alexander Wolff, DE Christina Zurfluh, CH

117

Mihail 0/7/2

Andreiana Mihail Gallery

T: +40/722/650221, M: +41/76/2062884

Strada Vasile Alecsandri 16, Storck Museum, RO-Bucharest

info@andreianamihail.com, www.andreianamihail.com

«Ciprian Mureşan belongs to a generation who looks at the world from a twofold perspective: having witnessed an epoch when people learnt to chronically mistrust each other but when their lives were (or seemed to be) much easier in their structure, purpose and expectations, while at the same time having moved with young eyes to another epoch, fast in bringing on the shelves the material shape of any glamorous wish and even faster in revealing the conditionings which make that shape volatile and futile, this generation is critically nostalgic. Ciprian Mureşan

and his generational peers are not mourning for the past, but try to find the pillars still holding in a pile of wreckage. They do not seek to bluntly reject the inconsistencies of the present, but look for the multiple roots of the ideologies sold on the markets of the moment. They are also foretelling the future, with the detachment which allows for their prophecies to be taken with a grain of doubt, to be seen only as projections of things which have already happened.» Raluca Voinea, from the text «(De)liberated gestures. The works of Ciprian Muresan»

Ciprian Mureşan Untitled, 2011 Animation, 20 sec, loop 150 etchings, 14.7 x 11.5 cm each

Solo show at LISTE 16 Ciprian Mureşan, RO, 1977

118

Other artists of the gallery Matei Bejenaru, RO Razvan Botis, RO Tom Chamberlain, GB Eduard Constantin, RO Alexandra Croitoru, RO Katerina Drzkova, CZ

Ion Grigorescu, RO Mihai Iepure Gorski, RO Matei Lazarescu, RO Cristi Pogacean, RO Mona Vatamanu & Florin Tudor, RO

119

Minini 2/1/2

Francesca Minini

T: +39/02/ 26924671, F: +39/02/21596402

Via Massimiano 25, IT-20134 Milano

info@francescaminini.it, www.francescaminini.it

Alessandro Ceresoli draws his inspiration for this project from a six-months stay in Asmara where he reflected upon the history of one of the Italian ex-colonial territories. There he found himself surrounded by a new landscape, rationalist buildings of the colonial period of the 20’s and 30’s. Reinterpreting the space and bringing it to new perspectives, the artist has created there glass sculptures having strong referrals to Asmara’s urban Fascism architecture.

Giulio Frigo’s threads create geometrical shapes

floating in the space. It is scientifically tested that geometrical shapes satisfy both left and right brain sides, respectively the analytic and the emotional area. What makes these mental architectures so fascinating is their universality (they can be contemplated each time by anyone) and their timelessness (they are formally always valid and they don’t suffer the action of time). Giulio Frigo Impersonale, 2010 Installation view

Alessandro Ceresoli Linea Tagliero – Prototipo 06, 2009 Glass, mirror, white neon 102.7 x 54 x 41 cm

Shown at LISTE 16 Alessandro Ceresoli, IT, 1975 Giulio Frigo, IT, 1984 Mandla Reuter, DE, 1975

120

Other artists of the gallery Ghada Amer, ET Becky Beasley, GB Matthias Bitzer, DE Armin Boehm, DE Tobias Buche, DE Paolo Chiasera, IT Jan De Cock, BE Dan Graham, US

Ali Kazma, TR Jonas Lipps, DE Deborah Ligorio, IT Simon Dybbroe Møller, DK Gabriele Picco, IT Riccardo Previdi, IT Derek Rowleiei, KR Francesco Simeti, IT

Mandla Reuter reworks the usual relations with a given place turning them into protagonists of the artist’s work. The traditional distinction between single works and installations gives way so that everything that he inserts in the environment contributes toward altering the interpretation of that place. These new works show upside down views of the Los Angeles horizon and turn over the usual point of view of a landscape opening the gaze to infinite interpretations.

Mandla Reuter Prospect, 330 Waldon Pl., 2010 Framed chromogenic print 54 x 44 cm

121

Monitor 0/6/1

Monitor, Paola Capata

T: +39/063/9378024

Palazzo Sforza Cesarini, via Sforza Cesarini 43A-44, IT-00186 Rome

monitor@monitoronline.org, www.monitoronline.org

Antonio Rovaldi’s work moves around the relative themes and perceptions of spaces and landscapes, always showing the inter-relation between different mediums such as photography, video, sculpture and drawing. The distance between different spaces and the crossover between their physical and mental spheres – imaginary as they may well be – has

developed as the artist’s constant field of research. For the occasion of Liste 2011, Antonio Rovaldi presents a project based on the legendary figure of the swiss writer Robert Walser (Bienne, 1878 – Herisau, 1956) consisting in a series of photographs, drawings and a ceramic sculpture.

Through the use of painting collage, drawing, video and installation, Ian Tweedy’s work follows two main research lines: on the one hand the past and history as immense archives of images that have to be rescued and transformed, on the other hand the experience of Street Art and Graffiti as a form of creativity that must constantly deal with everyday life in a hectic urban reality.

The series of new works by Tweedy, «Mucha and Machine», inspired by the cult artist Alphonse Mucha, is composed of a number of equally sized poster/ study-like drawings, all drawn in a very classical dark Ingres-ish style, some unfinished, some super refined, some resembling simple traces, most drawn in different grades of oil paint.

Francesco Arena’s work combines a strong political element with a recovery of archaic crafts and traditions typical of southern Italy. Through his sculptures and installations the artist channels the memory of Italian and international historical events into works that frequently appear as monuments to some of the most dramatic episodes of our history.

The project «Parola», presented at Liste, involves the artist carving slabs of stone that are then placed in various locations. Each slab will have engraved on it a Morse code using a grinding machine, corresponding to a name chosen by the artist and not referred to any person in particular.

Shown at LISTE 16 Francesco Arena, IT, 1978 Antonio Rovaldi, IT, 1975 Ian Tweedy, US, 1982

122

Antonio Rovaldi A Roma domani nevica, 2010 Solo show‘s view at Monitor

Ian Tweedy Debris, 2011 Solo show‘s view at Monitor

Other artists of the gallery Adam Avikainen, US Bettina Buck, DE Radi Martino, IT Graham Hudson, UK Ursula Mayer, AU Nathaniel Mellors, UK

Francesco Arena Parola, 2010 50 x 70 cm pietra di Trani

Rober Orchardson, UK Alexandre Singh, FR Guido van der Werve, NL Nico Vascellari, IT Kostis Velonis, GR ZimmerFrei, ensemble founded in 1990, IT 123

Neue Alte Brücke -1/2/2

NEUE ALTE BRÜCKE, Mark Dickenson

T: +49/176/64226509, M: +49/176/64226509

Hafenstrasse 23, DE-60327 Frankfurt am Main

info@neuealtebruecke.com, www.neuealtebruecke.com

Tim Davies

Seth Pick

Gif, 2010

Magician, 2011

Cushion, wellington boot,

Oil on canvas

vitrine with lights

51 x 41 cm / 20 x 16 inches

70 x 50 x 50 cm / 28 x 20 x 20 inches

Unique

Shown at LISTE 16 Will Benedict, US, 1976 Simon Fujiwara, GB/JP, 1982 Seth Pick, GB, 1986 124

Other artists of the gallery Wolfgang Breuer, DE Nicolas Ceccaldi, CA Adam Chodzko, GB

Tim Davies, GB Morag Keil, GB Mandla Reuter, DE Florian Roithmayr, DE 125

NoguerasBlanchard 0/10/8

NoguerasBlanchard, Alex Nogueras, Rebeca Blanchard

T: +34/933/425721, F: +34/933/425722, M: +34/6/37777257

c/ Xuclá, 7, ES-08001 Barcelona

info@noguerasblanchard.com, www.noguerasblanchard.com

Everything and Nothing Both Wilfredo Prieto and Ignacio Uriarte use common objects to materialise their artistic ideas, in a conceptual approach that bares witness of the object’s poetic dysfunctionality in everyday life. Also, the philosophical or artistic contents of their works cannot escape a somewhat vernacular reading – thus its yearnings transcend the context and impregnate the works. Pens, breadcrumbs, matches, paper clips, etc. become objects of artistic importance (not like a ready made – as their sculptural quality is null – but closer to a povera approach emphasizing their material qualities): it is the catalogue of meanings inscribed in each of these objects what interests Prieto and Uriarte in order to give it another twist with a new title, or a new use. Following an exercise of synthesis made by both artists, the equation that underlies these works is: neat idea – formal simplicity – maximum significance.

Wilfredo Prieto Eclipse, 2011 Coins 2.5 x 3 cm

In any case, both artists seek a state of reflection by altering these objects and situations to the point of denaturalization. It is the conceptual approach to the use of common objects that draws a difference between the artists’ practice: Prieto may address transcendental matters from a more playful and visceral point of view, whereas Uriarte appeals to a process of seriousness and thorough meditation. Also, their subject matters vary in scope – from Wilfredo’s use of organic, edible materials to Uriarte’s fixation with office supplies.

Shown at LISTE 16 Wilfriedo Prieto, CU, 1978 Ignacio Uriarte, ES, 1973

126

Other artists of the gallery Rafel G. Bianchi, ES Anne-Lise Coste, FR Leandro Erlich, AR Marine Hugonnier, FR Michael Lin, TW

Juan López, ES David Maljkovic, KR Fran Meana, ES Ester Partegàs, ES Shimabuku, JP

Ignacio Uriarte 25 clips, 2010 Piezo print on Hahnemule photorag 44.5 x 30.5 cm

127

Office Baroque 0/9/4

Office Baroque Gallery, Marie Denkens, Wim Peeters

M:+32/484/599228

Lange Kievitstraat 48, BE-2018 Antwerpen

info@officebaroque.com, www.officebaroque.com

Leigh Ledare Untitled (Fucker), 2008 Silver Gelatin Print 74.6 x 73 cm / 29 3/8 x 28 3/4 inches

Leigh Ledare Fur is Fabulous, 2003 Gelatin Silver Print 33 x 22.9 cm / 13 x 9 inches

Shown at LISTE 16 Leigh Ledare, US, 1976 Davis Rhodes, CA/US, 1983 Margaret Salmon, US/UK, 1975

128

Other artists of the gallery Becky Beasley, UK Matthew Brannon, US Mathew Cerletty, US David Diao, CN/US

Tamar Halpern, US David Hominal, CH Owen Land, US Daniel Sinsel, DE/GB

Leigh Ledare Mother with Cop, 1968 5 Unique Snapshots 50.8 x 40.6 cm / 20 x 16 inches

129

Peres 0/7/4

Peres Projects, Javier Peres, Margherita Belaeif, Nick Koenigsknecht

Schlesische Str. 26, DE-10997 Berlin

Grosse Hamburger Str. 17, DE-10115 Berlin

T: +49/30/61626962, M: +49/176/24875943, M: +49/171/6289817

T: +49/30/275950770, F: +49/30/61627066

berlin@peresprojects.com, www.peresprojects.com

Dan Attoe’s oil paintings recall the great American experience, the

Dean Sameshima’s silk-screens on canvas and pho-

frontier and the life of the introspective, hard working man who uses his confidence, hard work and tenacity to make it in the world. Drawing heavily upon his life moving around the Mid West and North West, Attoe creates unique narratives which allow the viewer to experience his paintings and sculptures as if they where diary entries loaded with imagery, text and symbolism.

tographs are continued investigation into a world of maleness, nostalgia, desire and fetish. This body of work references the punk rock and DIY movements that have surrounded and informed the artist since his teens and expands on his Warholian practice

Dan Attoe

Dean Sameshina

Accretion # 40, 2010

Though the Story is Not Without

Oil on canvas

Darkness, 2011

120 x 150 cm

Photograph, C-print

Courtesy of Peres Projects

71.5 x 91.5 cm / 28.15 x 36.02 inches

of silk-screening using images with multiple coded meanings. While not always explicitly tied to the artist’s own history and often calling to mind societal attitudes towards «the other», Sameshima’s work also functions in a framework of internal struggles between social normatively and feelings of alienation.

Framed, Ed. 2 + 1 AP Courtesy of Peres Projects

Shown at LISTE 16 Dan Attoe, US, 1975 Dean Sameshima, US, 1971 Pete Wheeler, NZ, 1978

130

Other artists of the gallery assume vivid astro focus, BR Antonio Ballester Moreno, ES Joe Bradley, US Dan Colen, US Amie Dicke, NL Kaye Donachie, UK Mark Flood, US John Kleckner, US

Bruce LaBruce, CA Terence Koh, US Paul Lee, US Kirstine Roepstorff, DK Agathe Snow, FR Dash Snow, US SSION, US Mark Titchner, UK

Berlin based painter Peter Wheeler’s large-scale oil paintings present scenes in which modern male archetypes like the rocker, the biker and the loaner duke it out in a nonlinear narrative which spans Wheeler’s practice. These masterly crafted works celebrate outlaws who are shown in the midst of racing their cars, drinking beers, smoking, often with their backs turned to the viewer but always with a strong sense of purpose. At the same time these accepted archetypes of toughness are subverted by both introspection and sensibility. Pete Wheeler has exhibited extensively in New Zealand and Australia as well as in Europe and the United States.

Pete Wheeler When I roll, I roll deep, 2011 Oil on linen 250 x 200 cm / 98.4 x 78.7 inches

131

Plan B 2/1/1

Plan B, Mihai Pop, Mihaela Lutea

Heidestrasse 50, DE-10557 Berlin

Str. Henri Barbusse 59–61, RO-400616 Cluj

M: +49/172/3210711, contact@plan-b.ro, www.plan-b.ro

Decisively and mysteriously, Adrian Ghenie’s paintings are about history: its low-resolution images and inconclusive data, the vulnerability and distrust it leaves in its wake, a procession of victims and culprits walking side by side. The works register how historiographic discourse derails in complicated images, via awkward postures of figures half-obscured, between the props of historical unfolding – the pedestals or sarcophagi behind which its more or less evident protagonists lurk. With nothing in its right place, the paintings amass an incomplete iconography of obsolescence, haunted by shadowy intuitions of the grotesque, of a farce waiting to return as tragedy. The moments and episodes Ghenie re-orchestrates for his paintings are not the inevitable outcome of their past, nor are we their future confirmation: they are the incongruous sediments of time past.

Perhaps the most striking feature of Gabriela Vanga’s work is its temerity in addressing concerns that could not be more unfashionable; furthermore, to do so on a tone that does not eschew or downplay the gravity of these questions, and via operations that very often verge on the symbolic, a stylistic device with which recent art has a profoundly ambivalent relationship. Life, education, death, the contours and unrest of contemporary subjectivity – construed as the agonic prey of so many antagonisms – are recuperated as «stills from an infinite movie» (as an older exhibition title stated), as freeze-frames from a continuous projection of society trudging towards its collective destination. Mihnea Mircan

Mihnea Mircan

Istvan Laszlo Star, 2011 Video loop, 3‘6‘‘ Courtesy of the artist and Plan B Cluj/Berlin

Shown at LISTE 16 Adrian Ghenie, RO, 1977 Istvan Laszlo, RO/IR, 1981 Gabriela Vanga, RO, 1977

132

Other artists of the gallery Alexandra Croitoru, RO Victor Man, RO Ciprian Muresan, RO Navid Nuur, NL

Miklos Onucsan, RO Cristi Pogacean, RO Cristian Rusu, RO Serban Savu, RO

Istvan Laszlo believes that the most important role of art is its power to reshape our understanding of history and the contemporary world, he investigates our relationship with reality through this lens. In his work, Laszlo is not limited by any one technique, he carefully chooses the most appropriate media for his artistic concepts. As a consequence we face a variety of media, from sculpture to drawing, photography and video, these he ties together with one important

element: duality. Laszlo’s work deals with opposites or contrasting elements and raises questions of how we relate to visual references stored deep in our collective consciousness. His work, often tinged with black humor, evolved directly from the artist’s background, his childhood experiences of 80’s communist Romania and the countries transition period. Mihnea Mircan

133

Platform China 0/9/7

Platform China, Sun Ning, Chen Haitao

T: +86/10/64320091, F: +86/10/64320169, M: +86/136/01006060

319-1 East End Art Zone A, Caochangdi, Village, Chaoyang District

info@platformchina.org, www.platformchina.org

CN-100015 Beijing

Li Ming XX, 2009

Zhou Yilun I am ready to Die 1, 2011

Single channel video 5'19"

Chen Wei

42 x 30 cm

A Lighthouse was Winking

Paper, acrylic and pigments

in the Distance, 2010 Archival Inkjet Print

Zhou Yilun

100 x 120 cm

I am ready to Die 2, 2011

Jin Shan

41.5 x 30 cm

Desperation, 2011

Paper, acrylic

Mixed Media Installation 46.5 x 11 x 10 cm Electric wire 4 m

Li Ming works primarily with video. In his early age,

he has already differentiated himself for his pure and innocent way of entering the very personal sphere of our sensorial perception. His videos are in fact timeless and space-less narratives, where he subtlety seduces the audience through portrayal of sometimes-fastidious sometimes-absurd situations.

Shown at LISTE 16 Chen Wei, CN, 1980 Jin Shan, CN, 1976 Li Ming, CN, 1986 Zhou Yilun, CN, 1983

134

Jin Shan realizes works in different media, from painting to video, photo and installation, whose common message aims at exploring, expressing and recording one individual’s self-experience. He highlights the conflicting dialogue between real life and artistic creation, playing with his audience, who is often triggered, amused and confused by the allegories of his artistic composition.

Other artists of the gallery Bi Jianye, CN Chen Zhou, CN Huang Liang, CN Jia Aili, CN Lin Tianmiao, CN

Shi Jinsong, CN Sun Xun, CN Wang Gongxin, CN Xiao Bo, CN Zhang Yuan, CN

Chen Wei is creating an imaginary scenery often based on a collection of memories or an archive of everyday objects. He realizes life-size settings, which he takes photographs of, using a high definition or analogical camera. His fable-like compositions not only portray physical and mental spaces but are also an invitation to enter labyrinth-like narratives.

Zhou Yilun Spokesperson of a younger generation

The House of Bees This project has been especially conceptualized on the occasion of LISTE and in accordance with the peculiar nature and architecture of the space. Reviving the labyrinthine asset of the Warteck building in Basel, the show «House of Bees» design a similar

structure to present practices of four Chinese artists Platform China work with. The image of the house of bees, or as we will call it beehive, stands here as a visual metaphor as well as a physical language for the anthology of artistic ideas and attitudes these artists stem out for.

of artists in China, through his pictorial compositions, Zhou Yilun criticizes and satirizes problems such as human intervention in the environment, the twisted eroticism and the collision of violence with very personal approaches. Characterized by strong brushstrokes and quite sensational titles, the content of his bold compositions provokes the viewer’s senses and challenges the aesthetic experience in a very uncommon way.

135

Platteau 0/9/1

Elisa Platteau & Cie Galerie, Elisa Platteau, Patrick Vanbellinghen

T: +32/2/2191611, F: +32/2/2191655, M: +32/48/5142365, M: +32/47/1592851

Rue de Laeken 86 Lakensestraat, BE-1000 Brussels

info@elisaplatteaucie.com, www.elisaplatteaucie.com

For their presentation at Liste 16, The Young Art Fair in Basel 2011, Elisa Platteau and Patrick Vanbellinghen have invited one of their gallery artists – Valérie Mannaerts. Valérie Mannaerts first rose to international prominence through her presentation in the Belgian Pavilion at the 2003 Venice Biennial, where she exhibited together with Sylvie Eyberg. Mannaerts’ work in the extended field of drawing, installation and video has been exhibited extensively in Belgium – most recently in an ambitious survey show of Brussels’ flourishing arts scene at Wiels Contemporary Art Centre, named Un-Scene – as well as in 2010 at Extra City (Kunsthal Antwerp) and a solo show in de appel (Arts Centre Amsterdam). Abroad her work has been seen in art centres and galleries in Canada, the Netherlands, Spain and Germany. In 2007 she was the central featured artist in a Documenta special issue published by monographic Belgian art magazine A Prior. Mannaerts has been active in a wide array of media, but in recent years has concentrated most of her efforts on the question of sculpture and sculptural form. Her current forays into sculptural abstrac-

Solo show at LISTE 16 Valérie Mannaerts, BE, 1974

136

tion raise age-old questions with regards to the medium’s limits and liminal possibilities: do draperies, pedestals and similarly contextualizing «belong» to a sculpture? Can an artwork be fully autonomous, or is it anchored instead in its connection to the world? Her recent solo shows abroad and her exhibition at the gallery form the basis for Valérie Mannaerts’ first monograph published by Sternberg Press and her solo project for Liste 16. Written by Dieter Roelstraete for Elisa Platteau & Cie Galerie

Other artists of the gallery Danai Anesiadou, BE/GR Thorsten Brinkmann, DE Eva Berendes, DE Jeffrey Clancy, US

Valérie Mannaerts Blood Flow 2010, Extra City Kunsthal Antwerp, Belgium Exhibition view Photography Kristien Daem

Anne Daems, BE Kenneth Andrew Mroczek, US Michael Van den Abeele, BE Pieter Vermeersch, BE Peter Wächtler, DE 137

RaebervonStenglin 0/10/4

RaebervonStenglin, Beat Raeber, Matthias von Stenglin

T: +41/43/8182100, M: +41/76/4415550, M: +41/76/2005420

Pfingstweidstrasse 23, Welti-Furrer Areal, CH-8005 Zürich

info@raebervonstenglin.com, www.raebervonstenglin.com

Karsten Födinger

Sofia Hultén

David Keating

Kilian Rüthemann

Cantilever, 2011

1 : 100 000, 2011

Sequence and descending II, 2010

Installation view: «Displaced

Formwork for floor slab,

Wrecking ball, nail made out of

Steel, rope, acrylic

Fractures», Migros Museum für

reinforced concrete

metal from the ball

192 x 50 x 56 cm

Gegenwartskunst, 2010

407 x 1500 x 700 cm

Wrecking ball: ca. 60 x 60 x 60 cm

Installation view: «Cantilever»,

Nail: 0.4 x 12 x 12 cm

Photo: Stefan Altenburger

Palais de Tokyo, Paris. 2011 Photo: F. Gousset

Shown at LISTE 16 Karsten Födinger, DE, 1978 Sofia Hultén, SE, 1972 David Keating, AU, 1977 Kilian Rüthemann, CH, 1979 138

Other artists of the gallery Saâdane Afif, FR Susanne Kriemann, DE

Manuela Leinhoß, DE Ivan Seal, UK Alexander Wagner, DE

139

Renwick 0/3/1

Renwick, Leslie Fritz

T: +1/212/6093535, leslie@renwickgallery.com

45 Renwick Street, US-New York, NY 10013

www.renwickgallery.com

Talia Chetrit’s photographs rely on the inherent deception of photography to play with contradictions, oppositions and impossibilities. Chetrit’s practice is specific to her studio and is often a performative or intuitive conversation between the objects and the artist. Using traditional photographic props and subjects such as hands, vases and the female nude, Chetrit’s images question, expand upon and collapse the historical methods of photography. The formal qualities of these objects and interactions supersede their literal reading, yet this should not read as a reduction. Chetrit aims to emphasize the contradictions and impossibilities of our expectations, ultimately revealing the edges of how a viewer engages with the visual world.

Shown at LISTE 16 Talia Chetrit, US, 1983 Jose Davila, MX, 1974 Jason Loebs, US, 1981 Valerie Snobeck, US, 1980 140

Talia Chetrit Hand/Sculpture (Modular), 2011 Silver gelatin print 24 x 20 inches / 61 x 50.8 cm Edition of 4

Other artists of the gallery Meredith Danluck, US Drew Heitzler, US

141

Schleicher + Lange 0/1/2

galerie schleicher + lange, Julia Schleicher, Andreas Lange

T: +33/1/42770277, F: +33/1/42770272, M: +33/6/60709022

12, rue de Picardie, FR-75003 Paris

info@schleicherlange.com, www.schleicherlange.com

Underpinning Diogo Pimentao’s work is his use of drawing as a form of contact between material and surface by means of a repetitive – and at times blind – gesture. His drawings are the result of a process that involves a pre-determined «choreography», which the artist sometimes stages as performances during his exhibitions. These lead to abstract series of imprints, marks, lines and pencil strokes. Paper is often crumpled, folded and unfolded or cut up to create additional surfaces and lending it volume. At the boundary of sculpture and image, Diogo Pimentao’s drawings are enigmatic in terms of how they have been produced. Often those that look as if they have been fashioned with the help of mechanical processes have actually been made by hand, and vice versa.

Graphite, either in its solid or dust form, is the recurring source of numerous drawings. The trace of a carefully prepared gesture, or the imprint of the artist’s moving body, cling to a surface. Furthermore, raw graphite itself is used by Pimentao to create sculptural objects. They are made to resemble the flint tools knapped by prehistoric man, or arranged into ritual-like necklaces. In his most recent work, the artist inscribes objects, such as pieces of found chipped flint, eggshells and even earth with minimal gestures typically associated with drawing. The objects are used both as an extension of surface and in a bid to find diverse drawing tools. They are often displayed on work tables where books, words, drawn lines and objects’ traces, together, create new meanings.

Diogo Pimentão Polymonochromo, 2011 Paper and graphite Photo: Aurélien Mole

Solo show at LISTE 16 Diogo Pimentão, PT, 1973

142

Other artists of the gallery Chris Cornish, GB Franziska Furter, CH Krištof Kintera, CZ Maria Loboda, DE/PL

Gintaras Makarevičius, LT Alison Moffett, US Laurent Montaron, FR Timo Nasseri, DE/IR Evariste Richer, FR 143

Schubert 1/6/4

Micky Schubert

T/F:+49/30/49808487, M: +49/177/8640173

Bartningallee 2â&#x20AC;&#x201C;4, DE-10557 Berlin

info@mickyschubert.de, www.mickyschubert.de

Daniel Sinsel Untitled, 2009 Oil on canvas 32 x 27.1 x 2.5 cm

Shown at LISTE 16 Marieta Chirulescu, RO, 1974 Daniel Sinsel, DE, 1976 Maximilian Zentz Zlomovitz, DE, 1983

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Other artists of the gallery Thea Djordjadze, GE Graham Fagen, GB Manuela Leinhoss, DE Carolin Leszczinski, DE

Barry Macgregor Johnston, US Alan Michael, GB Gerda Scheepers, ZA Stephen Sutcliffe, GB Mark van Yetter, US 145

Sommer & Kohl 1/1/3

Sommer & Kohl, Patricia Kohl, Salome Sommer

T: +49/30/23005581, M: +49/163/8806538, M: +49/179/4781478

Kurfürstenstrasse 13, DE-10785 Berlin

info@sommerkohl.com, www.sommerkohl.com

Die Arbeiten der Serie «Content is a Glimpse» – ein Zitat von de Kooning – basieren auf Abgüssen von Vögeln, die ich tot vorgefunden habe, weil sie gegen die Scheiben meiner Atelierfenster geflogen sind. Für mich ist ihr Schicksal unter anderem eine Metapher für das Dilemma des Malers. Diese Vögel starben, weil sie an eine Illusion glaubten. Ich habe sie so abgiessen lassen, dass die bizarren Formen der Gusskanäle erhalten blieben, sodass es jetzt ausschaut, als würden sie wieder auf den Ästen von Bäumen sitzen.

The works from the series «Content is a Glimpse» – which is a quote from de Kooning – are based on casts from birds I found dead after they had flown into the windows of my studio. To me their fate is, amongst others, a metaphor for the painter’s dilemma. These birds died because they believed in an illusion. I had them cast in such a way that the bizarre forms of the sprues were retained, so that now they look as if they are again sitting on tree branches. Andreas Eriksson in conversation with Eva Badura-Triska

Andreas Eriksson im Gespräch mit Eva Badura-Triska

Andreas Eriksson Content is a Glimpse 22, 2008 Bronze 25 x 13 x 7.5 cm Unique

Shown at LISTE 16 Eva Berendes, DE, 1974 Andreas Eriksson, SE, 1975 Deborah Ligorio, IT, 1972 Adrian Lohmüller, DE, 1977 146

Other artists of the gallery Beni Bischof, CH Alexandre da Cunha, BR Knut Henrik Henriksen, NO Jeroen Jacobs, NL

Tony Just, US Adrian Lohmüller, DE Paul McDevitt, GB Riccardo Previdi, IT Kara Uzelman, CA 147

Stereo 2/5/1

galeria stereo, Zuzanna Hadryś, Michał Lasota

M: +48/50/9099786, M: +48/50/3178965

ul.słowackiego 36/1, PL-60-825 Poznań

galeriastereo@gmail.com, www.galeriastereo.pl

Wojciech Bąkowski’s works, apart their formal fi-

nesse and original artistic choices, are extremely honest and based on an existential experience. Reality is tangible, concrete, and at first of all audible. The city generates sounds, which Bąkowski uses in turn to talk about the city using wide range of artistic tools, from performance, audio-plays, sound objects and installations to animated movies and videos. His most significant achivement is a cycle of «Spoken movies», which arise consecutively in numbered parts, the terrain in which Bąkowski tests ways of combining animation and spoken word. In every movie he shifts the gravity in different way, applies different formal solutions and also exercise language testing it’s clearness.

Iza Tarasewicz focuses on the human being in his or her biology. The experience of the body is here the source of principal reflection and emotion. The artist concentrates on those fields of human life that are connected with mapping out private space and constructing identity, as well as constructing and protecting physical autonomy and integrity. Sculpture is another prominent area of interest for Tarasewicz; she uses diverse media and techniques in order to play with the positive-negative relation, choosing a minimalist reduction or a performer’s gesture. She analyzes states of social pathology, mental illness, states of extreme pain and fatigue. The materials she uses are, for instance, leather, steel, ash, concrete, clay, animal fat, and plasticine.

Wojciech Bąkowski

Iza Tarasewicz

Waiting and Remembering, 2011

Little man, 2009

Installation

Sculpture

Piotr Bosacki composes closed systems of symmet-

Shown at LISTE 16 Wojciech Bąkowski, PL, 1979 Piotr Bosacki, PL, 1977 Iza Tarasewicz, PL, 1981 148

Other artists of the gallery Mateusz Sadowski, PL Magdalena Starska, PL

rical structures so as to show, by reworking the configurations they potentially offer, their inner complexity and their potential of inherent combinations, only to return to the starting point eventually. In «Dracula» the narrator freely combines existential observations with knowledge of physics and biology and a personal confession. The intellectual construction of the film is based on the narrator’s particular, intimate and bodily experience. Bosacki is a storyteller, capable of conveying condensed philosophical reflection within succinct narrations. The artist himself treats his «literary movies» as educational talks, where he conveys to the viewers his observations as if in a private conversation. Piotr Bosacki Dracula, 2011 Animated film

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Stigter 0/6/2

Diana Stigter, David van Doesburg

T: +31/20/6242361, F: +31/20/6242362

Elandsstraat 90, NL-1016 SH Amsterdam

mail@dianastigter.nl, www.dianastigter.nl

A Venn diagram is a mathematical illustration used to describe group dynamics and logical relations of inclusion and exclusion. During the period of dictatorship in Argentina in the 1970â&#x20AC;&#x2122;s, citizens were not allowed to gather in groups larger than 8 people, as this was considered a threat to the government. At the same time group mathematics and Venn diagrams were banned from primary school programs as they provided a model for subversive thought. Caption which is part of the work

Amalia Pica Venn diagram, 2006 Drawings, colour ink on paper 45.5 x 61 cm each

Shown at LISTE 16 Nathaniel Mellors, UK, 1974 Amalia Pica, AR, 1978 Maaike Schoorel, NL, 1973 Pilvi Takala, FL, 1981

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Other artists of the gallery Tariq Alvi, UK Tjebbe Beekman, NL Sema Bekirovic, NL Martha Colburn, US Amie Dicke, NL Elspeth Diederix, NL Iris van Dongen, NL Irene Fortuyn, NL Tom Gidley, UK

Thomas Helbig, UK Aukje Koks, NL Rannva Kunoy, FO Andrew Mania, UK Saskia Olde Wolbers, NL Jimmy Robert, FR Sue Tompkins, UK Sara van der Heide, NL Helen Verhoeven, NL

Amalia Pica Venn diagram, 2006 Drawing, colour ink on paper 45.5 x 61 cm

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Supportico Lopez 0/10/10

Supportico Lopez, Gigiotto Del Vecchio, Stefania Palumbo

T/F: +49/30/31989387, M: +49/157/78504627, M: +49/163/9298810

Graefestr. 9, DE-10967 Berlin-Kreuzberg

info@supporticolopez.com, www.supporticolopez.com

Michael Dean. «Take our daily permanence to the impermanence of a permanence that intention has given into since.» «Since made soon with every days distance from the intention of then and by now given into this imminence.» «Our throats to our shoulders and the impermanent order of hand made moraine fallen from once controlled stone for these histories of imminence.» «This physical imitation.» «Take emotional indentation for meteorological attention.» «Abilities in tears to subject to rain.» «Returning touches to rock.» «Returning permanence.» «To the look of touch.» Michael Dean (Untitled), 2010

J. Parker Valentine’s work is deeply connected to, and rooted in, draw-

J Parker Valentine

ing. While her diverse practice spans film, photography, collage, and clay and fabric sculptures, her distinctive mark registers throughout. Developing narrative through abstraction is key for Valentine (b. 1980 in Austin, Texas); on her delicately balanced MDF panels, her drawings (and simultaneous erasure) might suggest the fragments of a figure or form, but it is the visibility of process that steers our encounter. Valentine seems to constantly pursue a definition of form while at the same time avoiding it. The non-resolution of her system of creation shifts our perception from a bidimensional surface to a sculptural level where innumerable composite concepts take form.

Untitled, 2010

Shown at LISTE 16 Michael Dean, GB, 1977 Giulio Delvè, IT, 1984 Franziska Lantz, CH, 1975 J. Parker Valentine, US, 1980

Marius Engh, NO Jan Peter Hammer, DE Christina Mackie, GB

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Other artists of the gallery Danilo Correale, IT Maria Adele Del Vecchio, IT

Photograph

Graphite, chalk, ink, tape, fabric, paper, mdf, wood, metal Oil paint on paper

Franziska Lantz Night falls, 2010 Performance/installation detail FormContent, London

Franziska Lantz. Building, Drawing, Growing, Slowing, Shifting, Drifting, Lifting, Falling, Composing, Breaking, Planning, Hiding, Mapping, Dancing, Tracking, Saying, Setting, Living, Thing. Appearance, Disappearance, Handmade, Moody, Beats, Marks, Colour, Darks.

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T293 3/6/1

T293, Paola Guadagnino, Marco Altavilla, Antoine Levi

T: +39/81/295882, F: + 39/81/2142210

Via Tribunali 293, IT-80138 Naples, Via dei Leutari, 32, IT-00186 Rome

info@t293.it, www.t293.it

As continuation of his recent research, Pennacchio Argentato presents a series of works dealing with apparent fake and authenticity. The duo addresses the ideas of cloning and characterization, injecting a sequence of rectangular concrete forms with distinctly colorful tunes. With a unique, self-made aesthetics, the sculptures give a sensuous and tangible shape to an inner nature which is potential or possible. In the absence of certainty, real is committed to shifting colors which are performed on rectangular units and whose degree of suppleness turns their rugged strength into passivity. Thus, when reference is made to gender interaction, to perception of difference in repetition, of alterity in identity, the works penetrate to the core of perception.

Pennacchio Argentato Slab#8, 2010 Concrete, enamel acrylic, plywood 198 x 89 x 3.5 cm

Solo show at LISTE 16 Pennacchio Argentato, IT, 1977/1979

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Other artists of the gallery Sonia Almeida, PT James Beckett, ZW Simon Denny, NZ Patrizio Di Massimo, IT Gregory Fong, US Claire Fontaine, FR John Henderson, US

Keller/Kosmas (Aids-3d), US Helen Marten, UK Dan Rees, GB Martin Soto Climent, MX Alberto Tadiello, IT Tris Vonna-Michell, UK Jordan Wolfson, US

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The Breeder 0/9/5

The Breeder, George Vamvakidis, Stathis Panagoulis, Nadia Gerazouni

T: +30/210/3317527, F: +30/210/3317527, M: +30/694/4646800

Iasonos 45, GR-10436 Athens

gallery@thebreedersystem.com, www.thebreedersystem.com

Like a seasoned composer, Stelios Faitakis orchestrates mountains of aesthetic and conceptual references to the past, present, and the future in compositions that bear the weight of the world like the Byzantine paintings that adorn Greek Orthodox churches from which he takes inspiration. «What interested me are the inner similarities I found in many old religious art forms.» he explains- one of the common characteristics being the use of the color gold. «The use of gold as a means to signal a transcendental reality is common in Byzantine iconography, Persian miniature painting, Japanese painting, and Medieval German painting, to name just a few styles. Other common characteristics are complexity, a high level of detail, and the use of repeating patterns and elements. I was fascinated by those similarities in suggesting the presence of the divine. I consider this to be the core of my work.» Openly satirical, Faitakis’ paintings often present an aggressive social commentary, casting terrorists as saints and priests as sinners. Simultaneously, they convey a serene, sorrowful acceptance of human nature. Choosing paint over Molotov cocktails to express dissatisfaction with the status quo, Faitakis has become a painter of today’s godless world, where morals seem to fluctuate with the financial markets that partly define them. Clear and easily decipherable motifs allow viewers to enter into his visual allegory. He forsakes academic high-mindedness for simple communication storytelling – though the historical and theoretical influences are evident. Stephanie Bailey, Stelios Faitakis – Finding Divinity in Human Nature, Art Papers, Jan–Feb 2010

Stelios Faitakis Queue, 2008 Oil, acrylic, latex, egg-tempera, metallic paint,

Solo show at LISTE 16 Stelios Faitakis, GR, 1976

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Other artists of the gallery Markus Amm, DE Athanasios Argianas, GR Marc Bijl, NL Vlassis Caniaris, GR Matt Connors, US Iris van Dongen, NL Stef Driesen, BE Uwe Henneken, DE Kalup Linzy, US Ryan McGinley, US Irini Miga, GR

Scott Myles, GB Angelos Papadimitriou, GR Ilias Papailiakis, GR Shirana Shahbazi, IR Mindy Shapero, US Daniel Sinsel, DE Gert & Uwe Tobias, RO Scott Treleaven, US Alexandros Tzannis, GR Jannis Varelas, GR Vangelis Vlahos, GR Gabriel Vormstein, DE

spraypaint, collage on board 100 x 124 cm

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Tufnell 0/5/1

Rob Tufnell

mail@robtufnell.com, www.robtufnell.com

1 Sutton Lane, GB-London EC1M 5PU

In his paintings, prints and ceramics, Peter Linde Busk employs a cast of characters to figure states of melancholia, dejection and failure. His celebration of the antagonist is inspired by playing cards, literature and popular culture, tending towards portrayals of those who sit high: Kings and knights prevail, their stature betrayed by their audacious attire. Violently patterned, his images draw on the starkly direct marks of Art Brut. Busk’s drive to fill space to excess means that the figure is often decorated to the point of parody, rudely mutated by his riches. Across his work Busk sets up moments of suspension. Recalling the ruptured landscapes of Casper David Friedrich, his semi-figurative ceramic objects undulate on the threshold between viscous mass and emerging detail, almost freezing a moment of alchemical change. Elsewhere graphic line «just» holds against the ballistic daubs gathering beneath and threatening a complete un-doing. The antagonist’s uniform becomes a buttress, a desperate attempt at keeping the body raised sky-wards. Busk’s chorus perhaps figure the agony of reaching an impasse. Having elevated themselves to the top, these former regents, now ridiculous, have nowhere left to go but down. But strangely, this moment of falling seems also affirmative. Bearing in mind that these are self-portraits, perhaps this moment becomes a fable for the positivity of the «un»; an ode to catastrophe’s liberating potential. Gili Tal, 2011 Peter Linde Busk Desperado, 2010

Peter Linde Busk

Woodcut on paper

Early Relief, 2010

80.5 x 58 cm

Acrylic and crayon on canvas 65 x 50 cm

Solo show at LISTE 16 Peter Linde Busk, DK, 1973

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Other artists of the gallery David Burton, GB Joel Croxson, GB Ruth Ewan, GB

Stephen Sutcliffe, GB Humphrey Spender, GB

Peter Linde Busk The Midnight Mechanic, 2010 Glazed ceramic 25 x 36 cm approx

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Tulips & Roses 3/5/1

Tulips & Roses, Jonas Žakaitis, Aurimė Aleksandravičiūtė

T: +32/23/255431, M: +32/491/071045

Rue de la Clé 19, BE-1000 Brussels

info@tulipsandroses.lt, www.tulipsandroses.lt

«Let us say we have chosen to speak nothing but the truth. Immediately, there is a Freudian problem: should we just speak the truth as it is, or should we first take into account the circumstances and the audience to which we are speaking? There is a great difference. If we just indicate the reality, we risk of being eaten by the wolf, just like this boy from Aesop’s fable who screamed for help but whom nobody would believe because of certain previous misadventures. If we go for the second option, we risk of losing the literal meanings of words. Communication of truth becomes something of a strategical activity. You have to know how words will be heard before you even start using them. Imagine trying to convince your psychoanalyst that you are finally healed! Wouldn’t it be like speaking with language itself instead of speaking within it? (…)»

Liudvikas Buklys Untitled (Architecture of the Exhibition «A Thing Spins a Leaf by the Wind»), 2010 Wood 33 x 22 x 5 cm

An excerpt from an exhibition text (Liudvikas Buklys, Study, 2010)

Solo show at LISTE 16 Liudvikas Buklys, LT, 1984

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Other artists of the gallery Jesse Ash, UK Gintaras Didžiapetris, LT

Martijn in‘t Veld, NL Juozas Laivys, LT Rosalind Nashashibi, UK 161

van Zomeren 0/9/6

Martin van Zomeren

T/F: +31/20/4208129, M: +31/6/11370211

Prinsengracht 276 hs, NL-1016 HJ Amsterdam

contact@gmvz.com, www.gmvz.com

Katja Mater Density Drawings, 2011 Multiple moments during the making of the acrylic drawing Courtesy the artist and Martin van Zomeren, Amsterdam

Shown at LISTE 16 Jean-Baptiste Maitre, FR, 1978 Katja Mater, NL, 1979 Navid Nuur, NL, 1976

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Other artists of the gallery Adam Avikainen, US Matt Bryans, GB Andrew Lewis, GB/FR Alexandra Leykauf, DE Joep van Liefland, NL

Nick Oberthaler, AT Wilfredo Prieto, CU Cornelius Quabeck, DE Maurice Sheltens, NL Praneet Soi, IN/NL Lucy Stein, GB 163

Wallspace 1/6/3

Wallspace, Janine Foeller, Jane Hait

T: +1/212/5949478, F: +1/212/5949805, M: +1/917/3559635

619 West 27th Street, US-New York, NY 10001

info@wallspacegallery.com, www.wallspacegallery.com

Daniel Gordon Portrait with a Yellow Window, 2011

Shown at LISTE 16 Walead Beshty, US, 1976 Shannon Ebner, US, 1971 Martha Friedman, US, 1975 Daniel Gordon, US, 1980 164

Other artists of the gallery Ron Amstutz, US Kate Costello, US Gaylen Gerber, US Jiri Kovanda, CZ

Brad Phillips, CA Laura Riboli, US Helen Verhoeven, NL Donelle Woolford, US Mark Wyse, US 165

Wolff 3/4/2

Galerie Jocelyn Wolff, Jocelyn Wolff, Sandrine Djerouet

T: +33/1/42030565, F: +33/1/42030546, M: +33/6/73899028

78, rue Julien-Lacroix, FR-75020 Paris

info@galeriewolff.com, www.galeriewolff.com

Katinka Bock MOT, 2011 Oak, brass, bluestone 100 x 30 x 25 cm Photo: K.Bock

Christoph Weber

Elodie Seguin Incision pour un livre, 2009

Heap, 2008

Print on paper, kraft paper, wood

16 aluminium plates

131 x 112 x 3 cm

49 x 66 cm each

Photo: Elodie Seguin

Photo: Christoph Weber Courtesy Galerie Jocelyn Wolff

Courtesy Galerie Jocelyn Wolff

Shown at LISTE 16 Katinka Bock, FR/DE, 1976 Elodie Seguin, FR, 1984 Christoph Weber, AT, 1974

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Other artists of the gallery Miriam Cahn, CH Valérie Favre, DE Guillaume Leblon, FR Isa Melsheimer, DE Frédéric Moser & Philippe Schwinger, CH

Ulrich Polster, DE Prinz Gholam (Wolfgang Prinz & Michel Gholam), DE Hans Schabus, AT Franz Erhard Walther, DE Clemens von Wedemeyer, DE

For LISTE 16, Galerie Jocelyn Wolff has the pleasure of presenting an ensemble of recent sculptures by three young positions in the gallery programm: Elodie Seguin, Christoph Weber, Katinka Bock.

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Zinger 0/10/2

ZINGERpresents, Steven van Grinsven

T: +31/20/3317161, M: +31/6/24939047

Gerard Doustraat 154, NL-1073VZ Amsterdam

info@zingerpresents.net, www.zingerpresents.net

Through the flaws of the human condition, Brunen seeks to reconnect with the world and its forces in his performative practice. In his film Plot (2009) we find that spiritual elevation might equally be found in the absence of clarity. It’s through his time-based works that we are made aware of the refractions of time that may or may not lead to a phenomenal disclosure; a state of grace obtained through the release of the self and an embrace of the unknown.

Shown at LISTE 16 Derek Brunen, CA/NL, 1974 Mike Cooter, UK, 1978 168

Derek Brunen

Mike Cooter

Plot, (Production Still), 2009 Colour stereo 16:9

Steel, concrete, Australian Palm

Running time 6:15 mins Edition of 3 + 1 AP

Other artists of the gallery Graham Hudson, GB Sebastian Nebe, DE

Lapidarium, Concrete, 2011 Dimensions Variable Unique

Markus Vater, DE Julie Verhoeven, GB/NL

Reference to Franco Albini’s exhibition architecture coupled with Marcel Broodthaers take on museology provides certain focus to Cooter’s Lapidarium sculptures. Apparently alien sources blend with one another, both assuming and challenging connotations about their own existence in an installation where sculptural and natural forms become entwined and their co-dependency emphasised. The installation of sculptures as a whole becomes a place where the thoughtful merges with the thought up, where nature defies the nurtured and where the Pillar of the flagellation of Christ can be denounced to comparative matter.

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Impressum Redaktion/Editorial work: Alexandra Stähli, LISTE – The Young Art Fair Grafik/Graphics: Ute Drewes, Basel Druck/Printing: Steudler Press AG, Basel

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