Art Rotterdam 2017 GRIMM

Page 1

ART ROTTERDAM BOOTH 34

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FEBRUARY 08 - 12

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CHARLES AVERY 1973, Oban (UK)

Since 2005, Charles Avery has employed drawings, sculptures and texts to describe an imaginary Island, every feature of which embodies a philosophical proposition, problem, or solution. One of the most striking locations on the Island is a municipal park in its capital city of Onomatopoeia, known as the Jadindagadendar. These public gardens are formed not from living botanical specimens, but rather from artificial trees, flowers and shrubs, which the Island’s inhabitants understand as a refutation of Nature, and an expression of human Will. The garden is commonly a place where nature is transformed into culture; a place where knowledge is gained, innocence is lost and found, and troubles begin and end: the verdant grove in which Plato founded his Academy, the Eden of the Book of Genesis, and the fertile plot where Voltaire’s Candide finishes up at the conclusion of his worldly trials. The Jadindagadendar continues this tradition of the garden as a philosophical testing ground.

Charles Avery, Untitled (Design for Jadindagadendar), 2014, detail


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REGARDING THE HATS In matters of doubt the Islanders are perfectly divided; - objectivity is seen as weak-minded and unphilosophical. This is so for all the great questions, which is why they remain questions: Does the world have two sides? Is there a Noumenon and if so can it be caught? Is the world one thing or does it have ultimate constituents? The two main creeds are the Empiricists (for whom the hunters are heroes) and the Rationalists (who deride them). Within these two main categories there are many subsets and factions, which form a gamut of philosophical opinion, from logic to mysticism. The various positions are expressed through The Eternal Dialectic, a debate that rages through the streets and bars and nights and days of Onomatopoeia, without conclusion. The phenomenon of the Dialectic is one of the main tourist attractions on the Island. Each creed is embodied by a Dook, being the most charismatic and eloquent proponent of their particular position. Some of these characters are big celebrities and are often identified with certain bars where they and their cronies drink gratis – and sometimes even draw a stipend – because of the tourism they attract. These salons vary greatly, from the weekly meetings of the Empiricists at the eponymous, and opulently appointed Charles Avery, Untitled (Dualist), 2010, detail


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CHARLES AVERY 1973, Oban (UK)

Untitled (Dialogue 2)

2010 - 2013, Mixed media, dimensions variable


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café’s, to the peripatetics, that change location every week in order to stay one step ahead of the tourists, thus retaining their credibility, to the guerilla salons that spring up on the streets, and that darkest and most silent of all, the Metas who have renounced the dialectic in favour of violence – as the purest form of expression - and who have appropriated the original symbol of Onomatopoeia to signify their ends, and who roam the streets with hurtful intent. An unofficial guide may be obtained detailing the various venues and times of these meetings, although they are often unreliable, or simply made up. Surreptitious individuals may approach you on the pier and, estimating you to have the appearance of an intellectual and a cognoscente, will offer to lead you to the latest location of one of the more Esoteric salons, for a fee. They will take you to the door of some murky establishment and then invent some pretext by which it is not possible for them to enter there, and wish you good luck, and upon entering you may find not the Dialectic but a bunch of drunks arguing – though sometimes those are one and the same. And the hats…. The hat denotes an individual’s particular allegiance within the system of the Dialectic, although not everybody wears them: only the Dooks and their immediate circle, or the tourists, who often have no grasp of their significance and who render themselves legitimate targets for the Metas by doing so. Charles Avery, Untitled (Atomist Conceit), 2012, detail

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CAROLINE WALKER 1983, Dunfermline (UK)

Couch 2016 Oil on board 42 x 52 cm | 16.5 x 20.5 in

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ADRIANO AMARAL 1982, RibeirĂŁo Preto (BR)

Untitled 2017 Aluminium, prosthetic rubber, aluminium powder, iron sulphide, magnets 150 x 28 x 8 cm | 59 x 11 x 3.2 in


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ERIC WHITE

Ann Arbor, MI (US), 1968

In his witty take on album art from the glorious, pre-digital era, White mixes up both their original content and meaning. Through surgically executed painting, he forces us to look and to re-interpret those images that are so embedded in our visual and collective memory. In A Silent Way, recorded in 1969 at CBS 30th Street Studio in New York City, marks Miles Davis’ break with tradition by starting the use of electric instruments. Initially met with criticism, the album is widely recognized as one of Davis’ finest most influential works. “These are exercises in both loving fidelity to their widely-revered sources, and cheeky impertinence in the face of fading cultural legacies.” - Marc Newton, 2015


ERIC WHITE 1968, Ann Arbor, MI (US)

In A Silent Way

2016 Oil on panel 30.5 x 30.5 cm | 12 x 12 in

ERIC WHITE 1968, Ann Arbor, MI (US)

Me Myself an Eye

2013 Oil on panel 30.5 x 30.5 cm | 12 x 12 in

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DANA LIXENBERG 1964, Amsterdam (NL)

united states: Delta Phi Epsilon Sorority, Columbus, OH 1999 1999 C-Print 75 x 96 cm | 29.5 x 37.8 in

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MATTHEW DAY JACKSON Panorama City, CA (US), 1974

American artist Matthew Day Jackson (US, 1974) is represented at Art Rotterdam with a core work from his oeuvre; Lumpenproletariat (Alive). This life-size sculpture in wood and synthetic resin is both a self-portrait as an astronaut and a reference to the leitmotiv in his work: technology, progress and the effects they have on man-kind; balancing between ‘horror’ and something ‘beautiful’, or the ‘horriful’ as the artist defines it.

Matthew Day Jackson, Lumpenproletariat (Alive), 2010, Wood, plastic, 243.8 x 73.7 x 73.7 cm | 96 x 29 x 29 in


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MATTHEW DAY JACKSON 1974, Panorama City, CA (US)

Montreal Burning 2016 Screenprint on space blanket, mounted on canvas, framed 217.2 x 142.2 cm | 85.5 x 56 in

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NICOLAS PROVOST 1969, Ronse (BE)

Exodus

2016, Lambaprint, 73 x 100 cm | 28.7 x 39.4 in


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LUCY SKAER

Cambrigde (UK), 1975

Specially for Art Rotterdam, Lucy Skaer produced a new edition of Harlequin’s Ingots (2012), a floor-filling installation consisting of 24 solid cast ingots. Their shape is derived from the original gold bar, but by slicing them diagonally, the ingots form a pattern of diamonds and triangles, when stacked. With this motive Skaer refers to the Harlequin, a character derived from the Commedia dell’arte; the popular Italian folk theatre from the 16th century. On stage, the Harlequin was directly recognizable from its colorful costume, decorated with diamonds and triangles. The Harlequin brought satire to the theater, but has also become an important motive in art, immortalized in paintings by Cézanne and Picasso. The Harlequin is not looking for fame or fortune, but is the embodiment of passion and romance.

Lucy Skaer, Harlequin’s Ingots, 2012, detail


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LUCY SKAER 1975, Cambridge, (UK)

Harlequin’s Ingots

2012 Copper, 24 parts Each: 5 x 5 x 34 — 51 cm | 2 x 2 x 13.4 — 20 in

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CIARÁN MURPHY 1978, Mayo (IR)

Hands

2017 Oil on canvas 35 x 45 cm | 13 3/4 x 17 3/4 in


CIARÁN MURPHY 1978, Mayo (IR)

L 12

2017 Oil on linen 70 x 80 cm | 27 1/2 x 31 1/2 in

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“Making things is a process by which to explore a universe out of reach, from within the limitations of our finite form.” - Jonathan Marshall.

JONATHAN MARSHALL 1981, Morgantown, WV, (US)

The Origin of the Universe ‘40’ 2016 Acrylic, tracing paper, Elmer’s glue, wood glue, birch panel 76.2 x 53.3 cm | 30 x 21 in


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DESIREE DOLRON 1963, Haarlem, (NL)

Xteriors XV 2001-2015 Kodak Endura print 75 x 58 cm | 29.5 x 22.8 in Edition 5 of 8 + 2 AP

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WILLEM WEISMANN 1977, Eindhoven (NL)

During the weekend, GRIMM’s presentation will mainly focus on the work of Willem Weismann (NL, 1977). Working in a tradition of cartoon realist artist like Philip Guston and Robert Crumb, Weismann’s paintings feature absurd scenarios that stem directly from his imagination. Executed in a bright color palette and often infused with a dose of dead-pan humor, they offer bold reflections on present day society and the ways in which we try to organize the urban landscape. One of the works on view is Primordial Accumulation (2016), one of three paintings that was specially conceived for Weismann’s solo presentation at the Zabludowicz Collection in London. The spatial and narrative devices that Weismann employed for these works, reference comic books, adventure games and cinema, in particular extensive panning shots as pioneered by Orson Welles in films such as Touch of Evil (1958). Street with Holes (2010) counterbalances Weismann’s fascination with excess and waste and “the chaos or mess that is hidden underneath the relatively smooth surface of our pavements and lawns” with an inventive and well-considered way of composition making. Willem Weismann is the winner of the East London Painting Prize 2015

Willem Weismann, Street with Holes, 2010, detail

Willem Weismann, Lay of the Land, 2013, detail


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Verbrand atelier 2014 Oil on canvas 50 x 60 cm | 19 3/4 x 23 5/8 in

Shadow Theatre 2008 Oil on canvas 210 x 160 cm | 82 5/8 x 63 in


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Primordial accumulation | 2016

Oil on canvas | 180 x 240 cm | 70 7/8 x 94 1/2 in KEIZERSGRACHT 241 +31 (0) 20 675 24 65 INFO@GRIMMGALLERY.COM

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Turfschilderij (rood) 2013 Oil on canvas 55 x 65 cm | 21 5/8 x 25 5/8 in


Where the sidewalk ends 2010 Oil on canvas 80 x 95 cm | 31 1/2 x 37 3/8 in

Froth 2013 Oil on canvas 55 x 65 cm | 21 5/8 x 25 5/8 in FRANS HALSSTRAAT 26 1072BR AMSTERDAM

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Painting for Tired Eyes 2013 Oil on canvas 210 x 160 cm | 82 5/8 x 63 in

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