EXPO CHICAGO 2016 BOOTH 324
SEPTEMBER 22 - 25
ATELIER VAN LIESHOUT
Established by Joep van Lieshout, (NL) 1963 SELECTED FOR EXPO INSITU
In his new body of work CryptoFuturism Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.
Joep van Lieshout, 2016
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
The Beginning of Everything 2016 Foam, paint, wood, paverpoll 230 x 73 x 67 cm | 90.6 x 28.7 x 26.4 in
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
Mother Earth Constructivist 2015 Arcylic resin, wood 280 x 70 x 70 cm | 110.2 x 27.6 x 27.6 in
De Gelaste 2015 Steel 73 x 62 x 26 cm | 29 x 24 x 10 in Edition of 3 +2AP
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
Henri (Le Brutalist #1) 2015 Fiberglass 65 x 72 x 136 cm | 25.6 x 28.4 x 53.5 in
Carl (Le Brutalist #6) 2015 Fiberglass 75 x 140 x 70 x cm | 29.5 x 55.1 x 27.6 in
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
MATTHIAS WEISCHER Elte, DE (1973)
Two almost identical paintings, Camp 1 and Camp 2, that Matthias Weischer has made specifically for EXPO Chicago 2016 not only show the artist’ outstanding skills, but are also exemplary for his unique blend of classical interior painting infused with abstraction. The painted space seems to exist only by the grace of its beholder’s imagination; with fading lines, inimitable perspective and lush (art)historical references that allure to both the mind and eye.
Matthias Weischer , Camp 1 , 2016, Oil on canvas, 91 x 63.5 x 3 cm | 35.8 x 25 x 1.2 cm FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
MATTHIAS WEISCHER 1973, Elte (DE)
Camp 2 2016 Oil on canvas 91 x 63.5 x 3 cm | 35.8 x 25 x 1.2 in
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
MICHAEL RAEDECKER 1963, Amsterdam (NL)
dimension
2016 Acrylic, thread, collage on cotton 204 x 120 cm | 80.3 x 47.3 in
“Chairs, curtains, pot plants, a floor lamp: the objects depicted in Michael Raedecker’s new paintings are familiar things. Mute witnesses of our daily lives - the countless hours we’ve forgotten, the split seconds we will remember forever - they have the quality of stage props in an unending domestic saga. We might imagine them absorbing time like a flower absorbs sunlight, or a rag absorbs a stain.”
– Tom Morton, 2016
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
GER VAN ELK
Amsterdam, NL (1941-2014)
Ger van Elk’s often rebellious as well as witty and playful expressions, rests on the premise that art is simultaneously a real and fictional construct. “What I want is a realistic representation of non-realistic situations”, Van Elk once said. This tension between reality and imagination, between presence and absence, is one of the leitmotifs behind Van Elk’s oeuvre. Another reoccurring element is the reference to the art-historical canon and combining the classical artistic techniques of painting with the latest technical possibilities re-classifying the traditional categories. Dating from 2012, his work ‘Portrait, As is, as was’. is one of the very last works Van Elk made before his passing in 2014. It can be read as an anthology of his work; a combination of two and three dimensions, to be regarded as a photograph, painting or sculpture and above all as the impressionistic meditation on the eternal feminine, sometimes appearing then disappearing.
GER VAN ELK 1941-2014, Amsterdam (NL)
Portrait - As is as was 2012 C-print ra 4 on Duraclear film between Plexiglas, Plexiglas suspension 44 × 45 × 24 cm | 17.3 x 17.7 x 9.5 in
MATTHEW DAY JACKSON Panorama City, US (1974)
Matthew Day Jackson’s monumental August 6, 1945 series all share the same title; a reference to the day the world changed forever with the dropping of a nuclear bomb on Hiroshima. Matthew Day Jackson doesn’t view this act as a singular event, but rather an action that has changed humanity forever and one that echo’s into the future of mankind. The aerial view images taken above Hiroshima soon after the impact of the bomb were long hidden from view to the general public directly after WWII, causing a shock wave once it became know how much damage the bomb had actually caused. Jackson appropriated these aerial images and used them on a variety of city’s to show that this event could happen anywhere at any time while at the same time questioning the goals of our technological advancement. The resulting works are made using scorched wood and lead and cities such as Hamburg, Paris, Amsterdam and Toronto have been included in the series so far. The latest work in the series is based on the city of Chicago. Jackson highlights a part of the city that was destroyed by The Great Chicago Fire of 1871. At the time a four square mile area was completely destroyed by a blaze some believe was started by a meteor shower, however no one knows for sure. In both Hiroshima and Chicago, death and destruction came by fire. Matthew Day Jackson, August 6, 1945 (Chicago), 2016, detail
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
MATTHEW DAY JACKSON 1974, Panorama City, CA (US)
August 6, 1945 (Chicago)
2016 Scorched wood and lead on panel, stainless steel frame 247.7 x 165.7 x 14 cm | 97.5 x 65.3 x 5.5 in
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
DANA LIXENBERG Amsterdam, NL (1964)
SELECTED FOR EXPO INSITU
Dana Lixenberg’s Imperial Courts (1993—2015) tracks the changing shape of a small, inner-city community from South Central Los Angeles through a combination of beautiful black and white photographs, and a series of videos made in the final years of the work. These photographs and videos result from Lixenberg’s familiarity with the neighborhood and community of Imperial Courts, and from her extended and collaborative relationship with its residents. The project comprises three hundred and ninety-three black and white photographs, compiled in a monograph published by ROMA Publications in 2015, and a sixty-nine minute three channel video projection. These cumulatively mark the generational passing of time as sons become grandfathers, daughters become mothers, and parents, neighbours and friends pass silently into the grave. Imperial Courts is a work that frames the continuity of community against the changelessness of an inner-city landscape—each of which we discover through Lixenberg’s tender, elegant and visceral work. Dana Lixenberg, Toussaint, 1993
Imperial Courts, 1993-2015
Gelatin silver print
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
DANA LIXENBERG
DANA LIXENBERG
1964, Amsterdam (NL)
1964, Amsterdam (NL)
Selena, 1993
Sa’Marra, 2012
Imperial Courts, 1993-2015 Gelatin silver print
Imperial Courts, 1993-2015 Gelatin silver print
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
DANA LIXENBERG
Imperial Courts, 2015
1964, FRANS HALSSTRAAT 26, 1072 BRThree channelTEL: video, with sound AMSTERDAM, +31(0)color, 206752465 Amsterdam (NL)INFO@GRIMMGALLERY.COM 69 minutes WWW.GRIMMGALLERY.COM loop
DANA LIXENBERG 1964, Amsterdam (NL)
Buddy, 2009
Imperial Courts, 1993-2015 Gelatin silver print
In 1992, Lixenberg travelled to South Central Los Angeles to photograph a magazine story on the riots that erupted following the acquittal of four LAPD officers filmed mercilessly beating Rodney King. What Lixenberg encountered there inspired her to revisit that part of the city, and eventually led her to the Imperial Courts housing project in Watts. Beginning in 1993, and continuing until the spring of 2015, Lixenberg gradually created an extensive portrait of this community over twenty-two years, electing to face away from the spectacle of destruction, and to look toward those whose lives typically receive public notice only in the event of calamity. Her portraiture addresses the individuated characteristics of the residents with delicacy and specificity, reflecting a series of individuals who collectively constitute an evolving community. In parallel with her black and white photographs, Lixenberg created a series of short videos within Imperial Courts beginning in 2012. These function as a series of vignettes that skip across three channels, adding color and continuity to the stillness of her black and white portraits. FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
DANA LIXENBERG 1964, Amsterdam (NL)
Tish’s Baby Shower, 2008 Imperial Courts, 1993-2015 Gelatin silver print
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
DANIEL RICHTER 1962, Eutin (DE)
Direktion Nichts 2016 Oil on canvas 189 x 150 cm | 74.4 x 59.1 in
“‘The tone of the new pictures is loud, almost aggressive. Figuration has been fragmented in favor of emotional moments. Moreover, parts of the bodies, which in any case are fragmented, are outlined expressively with black lines of crayon. The lines are clearly rapid, sudden, and even abrupt, always in danger of becoming too dense and too strong and thus destroying the flexibility of the subtle interplay between the surfaces and bringing it to an unexpected halt. Painting itself becomes a risk factor.’”
– Eva Meyer-Hermann
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
DESIREE DOLRON Haarlem, NL (1963)
SELECTED FOR EXPO VIDEO
Desiree Dolron is a unique and versatile artist. Her oeuvre ranges from documentary images and still lives to portraiture and architectural photography. While she chooses to adopt different photographic approaches depending on the body of work, her astonishingly technical application always results in a timeless, and almost painterly quality. For her first video work Desiree Dolron explored the meandering bayous and sloughs of Caddo Lake; a mysterious and intriguing Texas treasure, stretched across the Texas-Louisiana border. The lake is currently “under siege� by a fast-spreading, Velcro-like aquatic fern, the Salvinia molesta, that rapidly kills all life below the surface. It is not the narrative that is most important, but rather the mysteriousness and the subtle disorienting effect of the film that imprints itself in the viewers mind.
Desiree Dolron, TX, Uncertain, 2016, HD video loop with sound 35.4 x 50.3 x 7.6 cm | 13.8 x 19.7 x 2.8 in FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465
Desiree Dolron, TX, Uncertain, 2016, INFO@GRIMMGALLERY.COM HD video loop with sound WWW.GRIMMGALLERY.COM 35.4 x 50.3 x 7.6 cm | 13.8 x 19.7 x 2.8 in
ERIC WHITE 1968 Ann Arbor, MI (US)
Down in Front: No Other Dreamâ„¢ 2014-2016 Oil on canvas, 101.6 x 152.4 cm | 40 x 60 in
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
NICK VAN WOERT 1978, Reno, NV (US)
Untitled
2015 Aluminum 31 x 26 x 20.5 cm | 12.2 x 10.2 x 8.1 in
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FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
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NICK VAN WOERT 1978, Reno, NV (US)
Untitled
2015 Aluminum 31 x 38.5 x 28.5 cm | 12.2 x 15.2 x 11.2 in
View 1
View 2
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FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM
GRIMM
FRANS HALSSTRAAT 26, 1072 BR AMSTERDAM, TEL: +31(0) 206752465 INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM