FRIEZE NEW YORK ONLINE MAY 8-15, 2020
GRIMM
installation view | Frieze New York, 2020 | GRIMM Van Baerlestraat 80 | Amsterdam (NL)
installation view | Frieze New York, 2020 | GRIMM Van Baerlestraat 80 | Amsterdam (NL)
WILLIAM MONK
Untitled 2020
Oil on canvas Each 45 x 35 cm | 17 3/4 x 13 3/4 in
WILLIAM MONK 1977, Kingston upon Thames (UK) | Lives and works in London (UK)
William Monk’s scenographic works tap into the rich tradition of painting. Monk paints enigmatic and vibrant works, using starkly divisional compositions and often works in extensive series that gradually evolve over time. The canvases carry irregular intensities of detail, line, foreground and background, a sense of repetition breaks down the figuration, creating visual mantras. Monk received his BA at Kingston University, London (UK) in 2000 and completed his studies at De Ateliers in Amsterdam (NL) in 2006. Monk’s work has been exhibited at Fries Museum, Leeuwarden (NL); Kunstmuseum, The Hague (NL); Van Gogh Museum, Amsterdam (NL); GRIMM, Amsterdam (NL) and New York, NY (US); PACE Gallery, London (UK); James Cohan Gallery, New York, NY (US); Norwich University, Norwich (UK); PSL, Leeds and Summerfield Gallery, Cheltenham, London (UK). His work can also be found in the collections of the Kunstmuseum, The Hague (NL); Akzo Nobel Foundation, Amsterdam (NL); David Roberts Art Foundation, London (UK); Fries Museum, Leeuwarden (NL); ING, Amsterdam (NL), and in many private collections. Monk will have an upcoming exhibition at GRIMM’s Keizersgracht location in Amsterdam, opening in October of 2020.
studio view | Untitled, 2020 | Untitled, 2020
LUCY SKAER 1975, Cambridge (UK) | Lives and works in Glasgow and London (UK)
Lucy Skaer’s process is deeply engaged with the significance of materials, both as objects of personal importance, and as they fit into a larger historical narrative. She classifies and transforms familiar objects and images through interventions of remaking or recontextualizing her subject matter. Form, meaning and value in her work are determined by both formal characteristics and intrinsic – often art historical and mythological– motives. Skaer questions the definitive nature of artworks, forms and meanings and sees each moment of contemplation as just one phase in a continuous process of content-related shifts and material transformations. Lucy Skaer graduated from the Glasgow School of Art with Bachelor’s degree in Fine Art in 1997. In 2009, Skaer was a Turner Prize finalist, and in 2007 she represented Scotland at the 52nd Venice Biennale. Skaer’s recent solo exhibitions include: Future Sun (together with Rosalind Nashashibi), S.M.A.K., Ghent (BE); Heavy Weather, with works by Carol Rhodes & Hanneline Visnes, GRIMM, Amsterdam (NL); The Green Man, Talbot Rice Gallery, Edinburgh (UK); Sentiment, Peter Freeman Inc., New York, NY (US); Available Fonts, Kunsthalle, Salzburg (AT); La Chasse, Kunstverein, Salzburg (AT); Available Fonts, KW Institute for Contemporary Art, Berlin (DE); Una Casa Más Pequeña (The Smaller House), Museo Tamayo, Mexico City (MX); La Chasse, Musée Régional d’Art Contemporain, Serignan (FR); Past Shows, GRIMM, Amsterdam (NL). Lucy Skaer’s work is included in the collections of Centre Georges Pompidou, Paris (FR); EKARD collection; FRAC, Marseille (FR); Glasgow Women’s Library, Glasgow (UK); Government Art Collection, British Consulate General, New York (US); Musée Régional d’Art Contemporain Occitanie / Pyrénées-Méditerranée, Sérignan (FR); Museum of Modern Art, New York, NY (US); Tate, London (UK); The Metropolitan Museum of Art, New York, NY (US); UBS Art Collection, Zürich (CH) and many private collections.
Time travellers 2019 Ceramic 47 x 16 x 8 cm | 18 1/2 x 6 1/4 x 3 1/8 in
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LUCY SKAER
Time travellers 2019
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Ceramic variable dimensions (approx) 50 x 15 x 10 cm | 19 3/4 x 5 7/8 x 4 in
TJEBBE BEEKMAN 1972, Leiden (NL) | Lives and works in Amsterdam (NL)
Tjebbe Beekman’s loaded canvases are abstract, realistic, and expressive at the same time, bleeding over the edges and disorienting any sense of space or depth. The artist uses imagery derived from various sources which he translates into paint, sand, plaster and other materials, layered onto the canvas with a brush, palette knife or his fingers, to later be scraped away or built up into relief. The robust and material structure of Beekman’s paintings underlines the layered meaning of his work. Tjebbe Beekman attended the KABK: Royal Academy of Art in The Hague (NL) from 1993 to 1997, followed by the Rijksakademie van Beeldende Kunsten in Amsterdam (NL) from 2003 to 2004. Awards and nominations include the Wolvecamp Prize (NL), Buning Brongers Prize (NL), and the Royal Painting Prize (NL). Beekman’s work has been included in exhibitions at Hudson Valley Museum of Modern Art, New York, NY (US); Kunstmuseum, The Hague (NL); Stedelijk Museum, Schiedam (NL); Singer Museum, Laren (NL); Museum De Fundatie, Zwolle (NL) and Dordrechts Museum, Dordrecht (NL), among many others. Beekman’s work can be found in various public, private and institutional collections including ABN Amro Art Collection, Amsterdam (NL); Akzo Nobel Art Foundation, Amsterdam (NL); Straus Family Collection, New York, NY (US); EKARD Collection; ING Art Collection, Amsterdam (NL); Kunstmuseum, The Hague (NL); Museum Voorlinden, Wassenaar (NL); Stedelijk Museum, Amsterdam (NL); Stedelijk Museum, Schiedam (NL). Tjebbe Beekman will have an upcoming solo exhibition opening at GRIMM New York on in the fall of 2020.
Symbiosis IV 2019 Acrylic, sand and plaster on canvas mounted to wood panel 202.9 x 103 cm | 79 7/8 x 40 1/2 in
TJEBBE BEEKMAN
3 Symbiosis III 2019 Acrylic, sand and plaster on canvas mounted to wood panel 202.9 x 103 cm | 79 7/8 x 40 1/2 in
TJEBBE BEEKMAN
5 Luxuria 2020 Acrylic, sand and plaster on canvas mounted to wood panel 82.5 x 64.4 cm | 32 1/2 x 25 3/8 in
MATTHEW DAY JACKSON 1974, Panorama City, CA (US) | Lives and works in Brooklyn, NY (US) and Jackson Hole, WY (US)
Matthew Day Jackson’s Study Collection XII, is part of an ongoing series of sculptural installations intermixing an array of objects and ideas through scientific specimens, artifacts, and artworks. In previous iterations, Jackson’s Study Collections were comprised of found objects and studio experiments; the resulting works were developed through subconscious streams of thought. The artist’s new Study Collection is a conscious stream of thought, a culmination of a decade worth of ideas coming together in one work. American Manifest Destiny is challenged and mocked, however there is a serious and spiritual undertone in this work. The branches and nerves comprising the abstracted body are linked to higher spiritual ambition and progress, while the inclusion of the thistle (a non-native plant brought by pioneers) signals the the impact of Western European settlers on the evolution of the American landscape. These objects can be correlated to an anatomical structure, a model defining the development of humankind. Moreover, although the context of each element may not be known the viewer, together they form a visual narrative. This latest work, Study Collection XII, relates to Jackson’s earlier work, Study Collection #2 (Body) from 2009, which is included in the Zabludowicz Collection.
Study Collection XII 2020 Bronze, plastic, ceramic, epoxy, fiberglass, acrylic paint, stainless steel shelves 243.8 x 152.4 x 30.5 cm | 96 x 60 x 12 in
Matthew Day Jackson received his BFA at the University of Washington, Seattle, WA (US), and his MFA at the Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ (US). His work is included in many private and public collections such as the Whitney Museum for American Art, New York, NY (US); Stedelijk Museum, Amsterdam (NL); Pinault Collection, Paris (FR); MAMBO Museo d’Arte Moderna, Bologna (IT); Zabludowicz Collection, London (UK); Kunstmuseum, The Hague (NL) and High Museum of Art, Atlanta, GA (US). Jackson’s recent solo exhibitions include: Maa, Gösta Serlachius Museum, Mänttä (FI); Pareidolia, GRIMM, Amsterdam (NL); Van Gogh Inspires Matthew Day Jackson, Van Gogh Museum, Amsterdam (NL); Pathetic Fallacy, Hauser & Wirth, Somerset (UK); New Landscape, Qiao Space, Shanghai (CN); Still Life and the Reclining Nude, Hauser & Wirth, London (UK); Gunshot Plywood Bronze Works, GRIMM Amsterdam (NL) and There Will Come Soft Rains, Savannah College of Art and Design, Atlanta, GA (US).
detail | Study Collection XII, 2020
MATTHIAS WEISCHER 1973, Elte (DE) | Lives and works in Leipzig (DE)
Matthias Weischer is interested in the historical perspective of painting; both the medium as well as the classical system of representation. His interest in the process of building a composition and searching for the equilibrium of chaos and harmony finds expression in collage-like interiors and the landscapes. Weischer gradually builds thick layers of pigment on the canvas, creating surfaces that are alive with rich texture. His technique serves to both contrast and unite areas of intricate detail and emptiness. From 1995 to 2000 Matthias Weischer studied at the Leipzig Academy (DE) where he received his master’s degree in 2003. Weischer was the protégé of British artist David Hockney through the Rolex Mentor & Protégé Arts Initiative. In 2005 Weischer participated in the Prague Biennale and the 51st Venice Biennale. Weischer’s work is included in numerous institutional and private collections, such as The Museum of Contemporary Art, Los Angeles, CA (US); Kunstmuseum, The Hague (NL); The Rubell Family Collection, Miami, FL (US); Museum Voorlinden, Wassenaar (NL); Museum of Modern Art, Arken (DK); G2 Kunsthalle, Leipzig (DE); and Museum für Moderne Kunst (MMK), Frankfurt am Main (DE) among many others. Weischer has an upcoming exhibition at GRIMM New York, opening on June 23rd, 2020, and he will have a solo exhibition at the Drents Museum in Assen (NL) in 2021.
Untitled 2020 Oil on canvas 30 x 40 cm | 11 3/4 x 15 3/4 in
MATTHIAS WEISCHER
Untitled 2020
Oil on canvas 38 x 46 cm | 15 x 18 1/8 in
LOIE HOLLOWELL 1983, Woodland, CA (US) | Lives and works in Brooklyn, NY (US)
Loie Hollowell makes paintings which are alive with sensual energy, fusing abstraction and figuration through symbolic forms. Her works reference the physical experiences of intimacy, childbirth, motherhood as well as imagining time, space and the metaphysical. Hollowell’s engaging visual language is built-up into three dimensional forms which protrude from the canvas, adding breadth to the artist’s alluring, playful forms. In Boob Wheel in red, brown and blue, the artist draws on the circle as a geometric form symbolic of the life cycle, carried forward by the life-giving power of the mother’s breast. Loie Hollowell’s work has been exhibited at FLAG Art Foundation, New York, NY (US); PACE Gallery, New York, NY (US); GRIMM, Amsterdam (NL); Crystal Bridges Museum of American Art, Bentonville, AR (US); The New Britain Museum of Art, CT (US), amongst others. Selected public collections include the Arts Council England, London (UK); Crystal Bridges Museum of American Art, Bentonville, AR (US) and Zentrum Paul Klee, Bern (CH), among others.
Boob Wheel in red, brown and blue 2020 Oil, acrylic medium, and high density foam on linen over panel 121.9 x 91.4 x 8.9 cm | 48 x 36 x 3 1/2 in
detail (left) | side view (right)
ELIAS SIME
Untitled 2019
Electrical wires and motherboard on carved wood 121.9 x 141 cm | 48 x 55 1/2 in
ELIAS SIME 1968, Addis Ababa (ET) | Lives and works in Addis Ababa (ET)
Elias Sime creates reliefs featuring repurposed materials including thread, electrical wires, organic materials, and computer detritus. Sime incorporates the refuse from consumer electronics, repurposing salvaged components such as circuits and keyboards to create abstract compositions. Sime is deeply involved in developing the Ethiopian art community and has established a research practice studying the ancient rituals of rural communities in the country. Together with his long-time collaborator, curator and anthropologist Meskerem Assegued, Sime founded and designed the ZOMA Contemporary Art Center which opened in Addis Ababa in 2019. Sime was the recipient of the 2019 Smithsonian African Art Award and he is nominated for the 2020 Hugo Boss Prize. His work is included in the permanent collection of the Metropolitan Museum of Art, New York, NY (US); The Israel Museum, Jerusalem (IL); North Carolina Museum of Art, Raleigh, NC (US); Toledo Museum of Art, OH (US); Perez Museum of Art, Miami, FL (US); Virginia Museum of Fine Arts, Richmond, VA (US); Detroit Institute of Arts, MI (US); Chrysler Museum of Art, Norfolk, VA (US); North Dakota Museum of Art, ND (US); Newark Museum, NJ (US); Pizzuti Collection, Columbus, OH (US); Harn Museum of Art, University of Florida, Gainesville, FL (US); Hood Museum of Art, Dartmouth College, NH (US); Ruth and Elmer Wellin Museum of Art, Hamilton College, Clinton, NY (US); Kemper Museum of Contemporary Art, Kansas City, MO (US); and the Carl and Marilynn Thoma Art Foundation, Santa Fe, NM (US), as well as in many private collections. Sime currently has a solo exhibition titled Tightrope at the Akron Art Museum, Akron, OH (US), which was previously on view at the Ruth and Elmer Wellin Museum of Art, Clinton, NY (US) and will travel to the Kemper Museum of Contemporary Art in Kansas City, MO (US) and the Royal Ontario Museum in Toronto (CA). He has an upcoming exhibition at GRIMM’s Keizersgracht location in Amsterdam, in the fall of 2020.
detail | Untitled, 2019
ELIAS SIME
Tightrope: Behind the Cloud (1) 2017
Reclaimed electronic components on panel 161 x 360 cm | 63 3/8 x 141 3/4 in
CAROLINE WALKER 1982, Dunfermline (UK) | Lives and works in London (UK)
Caroline Walker’s new painting continues an ongoing series depicting women at work through a documentary approach. Although the women she paints are anonymous, the viewer may infer information about their lives, bringing into question the assumptions we hold about those we observe, and about female-dominated work. These images serve as a social critique, as well as the overlooked or unnoticed beauty in moments of city life. The oil on panel presented in the online Frieze exhibition derives from a series set in London by night. Walker completed her MA at the Royal College of Art in London (UK) in 2009. Her work has been exhibited at GRIMM, Amsterdam (NL) and New York, NY (US); Victoria Miro Gallery, London (UK), Cambridge University Library, Cambridge (UK); Kettle’s Yard, Cambridge (UK), Space K, Seoul (KR); among other locations. Walker is represented in a number of public collections including, the National Museum Wales, Cardiff (UK); UK Government Art Collection, London (UK); Kistefos Museum, Jevnaker (NO); Akzo Nobel Art Foundation, Amsterdam (NL); ING Art Collection, Amsterdam (NL); and Shetland Islands Council (UK). Caroline Walker will have upcoming exhibitions at the Midlands Arts Centre, Birmingham (UK); GEM Museum for Contemporary Art, The Hague (NL); and Ingleby Gallery, Edinburgh (UK).
Threading 2020 Oil on boad 43 x 35 cm | 16 7/8 x 13 3/4 in
MICHAEL RAEDECKER
backtrack 2020
Acrylic, laser pigment transfers, dispersions, dyed fabric and threads on canvas 137 x 219 cm | 54 x 86 1/4 in
MICHAEL RAEDECKER 1963, Amsterdam (NL) | Lives and works in London (UK)
Chairs, curtains, potted plants, bungalow houses: the objects depicted in Michael Raedecker’s paintings are familiar. The works are 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. Raedecker’s approach to painting is to update traditional subject matter by using methods and procedures of picture making not usually associated with imagebased painting. Raedecker is best known for combining embroidery with paint and collage to create images of desolate environments. He exhibits new paintings in which he combines transfer and dye techniques with his trademark stitching process. Michael Raedecker received his BA in Fashion Design from the Gerrit Rietveld Academy, Amsterdam (NL), and continued his curriculum at the Rijksakademie van Beeldende Kunsten, Amsterdam (NL) from 1993-1994, and at Goldsmiths College, London (UK) from 1996-1997. In 2000, Raedecker was shortlisted for the Turner Prize. His work has been exhibited at Museum of Contemporary Art, Chicago, IL (US); the Museum für Gegenwartskunst, Basel (CH); Salzburger Kunstverein, Salzburg (AT); Knoxville Museum of Art, Knoxville, TN (US); Singer Museum, Laren (NL); Centro Nazionale per le Arti Contemporanee, Rome (IT); Sammlung Goetz, Munich (DE); Whitechapel Art Gallery, London (UK); Van Abbemuseum, Eindhoven (NL) and many more. Raedecker will have a solo show at GRIMM’s new Van Baerlestraat location opening on June 5, 2020
detail | backtrack, 2020
ARTURO KAMEYA 1984, Lima, (PE) | Lives and works in Amsterdam, (NL)
Arturo Kameya examines the narratives and myths that comprise different versions of history, with a distinct focus on the legacy of indigenous cultures. Kameya works in various media, including plaster, acrylic, film, and printmaking, often arranging works together to create larger installations. Objects are personified as witnesses of history and Kameya imbues them with a new life, beyond their existence as material evidence of the past. Kameya is a current resident of the Rijksakademie van Beeldende Kunsten, Amsterdam (NL) graduating in 2020, he attended the Pontifical Catholic University of Peru in Lima (PE) from 2002-2008. In 2012, Kameya was awarded second place at the ICPNA National Photography Show in Lima (PE). He has had solo exhibitons at Alliance Française, Lima (PE), Ginsberg Galeria, Lima (PE); Hotel Maria Kapel, Hoorn (NL); Wu Gallery, Lima (PE); Galería del Centro Cultural Británico de San Juan de Lurigancho, Lima (PE), among others. Kameya will have an upcoming solo exhibition at GRIMM’s Van Baerlestraat location in Amsterdam (NL), opening in July 2020
Laika 2020 Acrylic and Clayshay on wood 19 x 12.5 cm | 7 1/2 x 4 7/8 in
CLAUDIA MARTÍNEZ GARAY 1983, Ayacucho, (PE) | Lives and works in Amsterdam, (NL)
Claudia Martínez Garay is interested in how artifacts, cultural relics,
ARTURO KAMEYA and propaganda communicate the history and social-political memory 1984, Lima, (PE) | Lives and works inMultiple Amsterdam,interpretations (NL) of cultures.
of historical figures and artefacts are incorporated into the artist’s work, supplanting institutional narratives and the notions of stewardship. Arturo Kameya examines narratives and myths that comprise different versions of history, with a distinct focus on the legacy of The artist seeks to challenge persistence of colonialist indigenous cultures. Kameya works inthevarious media, including frameworks and official narratives informing our understanding plaster, acrylic, film, and printmaking, often arranging works together of the preColumbian cultures. The fractured forms in work signal stories to create larger installations. Objects are personified asher witnesses and identities that have been obscured through a of history and Kameya imbues them with a new life, beyondprocess their of erosion, metaphorical literal. existence as both material evidence and of the past.Martínez Garay reanimates the existing fragments of lost histories, underscoring the connections between whichresident can be salvaged and continued. Kameya is athat current of the Rijksakademie van Beeldende Kunsten, Amsterdam (NL) graduating in 2020, he attended the ClaudiaUniversity MartínezofGaray recently included in a group exhibition Pontifical Catholic Peru was in Lima (PE) from 2002-2008. of New Commissions of CIFO titled An Emphasis on Resistance at El In 2012, Kameya was awarded second place at the ICPNA National in NewHeYork, (US); Communities, 21st PhotographyMuseo Show del in Barrio Lima (PE). hasNY had soloImagined exhibitons at Contemporary Art Biennial Sesc_Videobrasil, São Paulo (BR); the Alliance Française, Lima (PE), Ginsberg Galeria, Lima (PE); Hotel Istanbul titledLima The Seventh Continent, curated by Nicolas Maria Kapel, 16th Hoorn (NL); Biennal Wu Gallery, (PE); Galería del Centro Bourriaud, Istanbul (TR); Immortality, 5th Ural Industrial Cultural Británico de San Juan de Lurigancho, Lima (PE), among Biennial of Contemporary Art, curated by Xiaoyu Weng, Ekaterinburg (RU) and others. Diplomacy at Yeh Art Gallery, St. John’s University, Queens, NY (US). Kameya will have an upcoming solo exhibition at GRIMM’s Van presentations include: inTaning Y/Our Passion, Aichi Baerlestraat Other locationrecent in Amsterdam (NL), opening July 2020 Triennial, Aichi (JP); Pro-Regress, curated by Cuauhtémoc Medina, the 12th Shanghai Biennial; and Triennial: Songs for Sabotage, New Museum, New York (US). Laika 2020 Acrylic and Clayshay wood Casa /on Home 19 x 12.5 cm | 72020 1/2 x 4 7/8 in Sold
Ceramics on painted base ceramic: 10 x 25 x 25 cm | 4 x 9 7/8 x 9 7/8 in
DAVE MCDERMOTT
le Déjeuner (the Hermit and the Monk) 2020
Oil, oil stick, pigment, 23k gold, vinyl paint on panel Two panels (unframed) Each 121.9 x 91.4 cm | 48 x 36 in
DAVE MCDERMOTT 1974, Santa Cruz, CA (US) | Lives and works in Brooklyn, NY (US)
Dave McDermott surveys the tropes we have inherited through story-telling and isolates characters and symbols from a range of cinematic and literary narratives. There is a Dadaist sense within McDermott’s work that nothing is sacred and being worshipped is the same as being the butt of a joke. Although his paintings are steeped in historical references, they eschew theoretical or moral positions, instead offering the viewer a cast of farcical personalities. Fragmented perspectives—obscured by fluctuating vantage points, and jigsaw-like arrangements— shift and roil on the canvas. Dave McDermott earned his BFA from the Academy of Art College in San Francisco, CA (US), and his MFA from Parsons School of Design in New York, NY (US). McDermott’s work has been the subject of solo exhibitions at GRIMM, New York, NY (US), Brennan & Griffin, New York, NY (US); GRIMM, Amsterdam (NL); Twig, Brussels (BE); Duve, Berlin (DE), and Royale, San Francisco, CA (US), among others. His work is included in various collections such as: Museum Voorlinden, Wassenaar (NL); Beth Rudin DeWoody Collection, West Palm Beach, CA (US); Zabludowicz Collection, New York, NY (US) and London (UK), among others. McDermott’s new solo exhibition West will open at GRIMM’s Keizersgracht location in Amsterdam (NL) on May 15, 2020.
A Smaller At Sea 2020 Oil, oil stick, map pins, Flashe, 23k gold, sizing lacquer on panel 158.4 x 121.9 cm | 62 3/8 x 48 in
ROSALIND NASHASHIBI 1973, Croydon (UK) | Live and works in London (UK)
Rosalind Nashashibi, who is currently in residence at the National Gallery in London (UK), looks at the relationship between intimate memories and the aging process of imagery, overlaying personal references and those from historic artworks. In one of the works on display, a large red pillar is painted in counterposition to figures who appear to be on a pilgrimage, pulling the viewer into an allusive, anachronistic setting. While in the painting, Untitled (PG) she probes the idea of artists’ mythologies, appropriating Paul Gauguin’s SelfPortrait Dedicated to Carrière (1888-1889) as a background on which she paints an image of the colonial dress worn by Gauguin’s young bride and model. Through this combination, she symbolically obscures the face of the artist.
Untitled (PG) 2020 Oil on canvas 40 x 50 cm | 15 3/4 x 19 3/4 in
Rosalind Nashashibi received her BA in Painting from Sheffield Hallam University, Sheffield (UK) in 1995, after which she attended the Glasgow School of Art, Glasgow (UK) where she received her MFA in 2000. As part of her Master’s degree, Nashashibi participated in a three-month exchange program in Valencia, California (US) at CalArts in 2000. Currently she is a Senior Lecturer in Fine Art at Goldsmiths University. She was a Turner Prize nominee in 2017, and represented Scotland in the 52nd Venice Biennale. Her work has been included in Documenta 14, Manifesta 7, the Nordic Triennial, and Sharjah 10. She was the first woman to win the Beck’s Futures prize in 2003. Nashashibi has had recent solo exhibitions at venues including, S.M.A.K., Ghent (BE); The High Line, New York, NY (US); Tate Britain, London (UK); Scottish National Gallery of Modern Art, Edinburgh (UK); The Art Institute of Chicago, Chicago, IL (US); Imperial War Museum, London (UK); and ICA, London (UK). Nashashibi has participated in group exhibitions at, Centre Georges Pompidou and Forum des Images, Paris (FR); Tate Britain, London (UK); Sculpture Center, New York, NY (US); Museo Tamayo, Mexico City (MX); Whitechapel, London (UK); Tate Modern, London (UK); Kunstverein, Frankfurt am Main (DE); UCLA Hammer Museum, Los Angeles, CA (US), among others. Nashashibi will have a forthcoming exhibition at GRIMM’s new Van Baerlestraat location in Amsterdam in October 2020.
Black Soil 2020 Oil on canvas 45 x 60 cm | 17 3/4 x 23 5/8 in
LETHA WILSON
3 Lava Ferns Concrete Fold (Slash) 2016 Emulsion transfer, cement 45.7 x 35.6 x 3.8 cm | 18 x 14 1/8 x 1 1/2 in
LETHA WILSON
5 Colorado Sunset Concrete Fold 2020 Unique C-print, concrete 35.6 x 27.9 x 4.4 cm | 14 x 11 x 1 3/4 in
LETHA WILSON 1976, Honolulu (US) | Lives and works in Hudson and Brooklyn, NY (US)
Letha Wilson expands the boundaries between photography and sculpture by questioning how a photography can be physically engaged. She trades the traditional confines of a photographic image by merging them with industrial materials like concrete, zinc, aluminum or steel. In doing so, she questions the duality between the natural landscape and our industrial, synthetic society. Wilson earned her BFA from Syracuse University, NY (US) in 1998, and an MFA from Hunter College, NY(US) in 2003. Recent solo exhibitions were organized by GRIMM, Amsterdam (NL) and GRIMM, New York, NY (US); the Center for Contemporary Art and Culture, Portland, OR (US) and the DeCordova Sculpture Park and Museum, Lincoln, MA (US). Wilson has participated in group exhibitions at the New York Public Library, New York, NY (US); MASS MoCA, North Adams, MA (US); MACRO Museo d’ Arte Contemporanea, Rome (IT); Essl Museum, Klosterneuburg (AT); Bemis Center for Contemporary Art in Omaha (US); Bronx Museum of the Arts, Bronx, NY (US), Socrates Sculpture Park in Long Island City, NY (US); and the Aldrich Museum of Contemporary Art, Ridgefield, CT (US). Wilson’s work is included in the Triennial for Photography and New Media at The Henie Onstad Kunstsenter in Høvikodden (NO), and will be on view at Rockefeller Plaza, NY (US) as part of Frieze Sculpture, July 1 – September 9, 2020.
detail | Colorado Sunset Concrete Fold, 2020
LOUISE GIOVANELLI 1993, London (UK) | Lives and works in Frankfurt am Main (DE)
Louise Giovanelli’s work investigates modes of looking, through a meticulous representational style influenced by the early Renaissance masters. For this presentation, each of her paintings offer distinct entry points, focusing on small details that might catch the viewer’s eye in passing. Her works imbue small characteristics with significance, synthesizing incredible detail and luminosity, with a sense of immutable ambiguity. Louise Giovanelli is pursuing her Master’s Degree at the Städelschule in Frankfurt Am Main (DE) with professor Amy Sillman. After earning a Bachelor’s Degree (B.A. Hons., Fine Art) at the Manchester Academy of Fine Arts, Giovanelli received solo presentations in the UK and Italy and various accolades including the Manchester Academy of Fine Arts Award and Special Commendation from the Contemporary British Painting Prize Jury. Recent exhibitions include GRIMM, New York, NY (US); Frutta Gallery, Rome (IT); Manchester Art Gallery, Manchester (UK); Workplace Foundation, Gateshead (UK); and others. Giovanelli’s work can be found in the Government Art Collection (UK); Sarow Gallery collection (DE); The University of Salford collection (UK); The Grundy Gallery collection (UK); Manchester Art Gallery Collection (UK); Manchester School of Art collection (UK); the Warrington Museum and Art Gallery collection (UK) and a number of private collections. Giovanelli will have a solo exhibition at GRIMM’s Van Baerlestraat location in November 2020, during Amsterdam Art Weekend.
Ether 2020 Oil on canvas 24 x 19 cm | 9 1/2 x 7 1/2 in
LOUISE GIOVANELLI
3 Dyer 2020 Oil on canvas 100 x 70 cm | 39 3/8 x 27 1/2 in
LOUISE GIOVANELLI
5 Axis 2020 Oil on canvas 24 x 19 cm | 9 1/2 x 7 1/2 in
LOUISE GIOVANELLI
Pool 2020 Oil on canvas 100 x 70 cm | 39 3/8 x 27 1/2 in
NICK VAN WOERT 1979, Reno (US) | Lives and works in Brooklyn, NY (US)
Nick van Woert’s practice is rooted in his architectural background and reflects on modern day society, technology, and progress. Van Woert works with contemporary materials that are ubiquitous in the environment around us, investigating the extreme polarity materials can traverse. Fascinated by the material language of art and what things consist of, he dismantles and strips down objects to examine what remains. Since his first solo exhibition in 2010, Van Woert has made typically large scale, mixed media sculptures, wall works, and paintings from quotidian materials. One can locate an approach to thinking and working in concert with the immediate environment, immediate materials, and considering his own contemporary urban landscape and the ubiquity of artificial materials. Nick van Woert received his MFA from Parsons School of Art and Design, New York, NY (US) in 2007 and completed residencies at Zabludowicz, in Sarvisalo (FI) and at The Edward Albee Foundation in Montauk, NY (US). His work has shown widely, both nationally and abroad, including museum exhibitions at the Kunstmuseum, The Hague (NL); Kunstenfestival, Watou (BE); Margulies Collection at the Warehouse in Miami, FL (US); MAMbo, the Museum of Modern Art in Bologna (IT); SCAD Museum of Art in Savannah, GA (US); The Zabludowicz Collection, London (UK); The Philip & Muriel Berman Museum of Art in Collegeville, PA (US); Katonah Museum in Westchester County, NY (US); Nevada Museum of Art in Reno, NV (US); and at Sheppard Contemporary Gallery at the University of Nevada, Reno, NV (US).
Partition’s Hand 2020 Steel, corian, joint compound, plywood 226.1 x 132.1 x 43.2 cm | 89 x 52 x 17 in
NICK VAN WOERT
Black Light 2012 Steel 139 x 89 x 30.5 cm | 54.7 x 35 x 12 in
VOLKER HÜLLER 1976, Forchheim (DE) | Lives and works in Brooklyn, NY (US)
Volker Hüller’s figures seem to have a timeless bearing, recalling modernist subjects on the fringes of society. Aspects of the landscape, along with abstract shapes and textures are interpolated in his floating busts, creating the sense that the figures are fusing with their surroundings. Hüller creates penetrating depictions of alienation and liberation through the intermixing of historical periods and styles. Fragmented compositions speak to the mental spaces between dreams, delirium, and daily life. While some works have a mystical quality, others veer into a darker territory inclined towards absurdity rather than moralization. These monolithic heads each look outward with a single eye. Reflected in every eye, palm trees are encircled by the setting sun. This small focal point represents a kind of island, symbolic of a remote location in the mind where we hold on to idealizations. Hüller prefers to keep this place at a distance, free of any impositions of the human experience: he reminds us that paradise is an abstraction, melancholic but nevertheless indispensable to maintaining sanity. Hüller studied under the late Norbert Schwontkowski at the Academy of Fine Arts, Hamburg (DE). Recent exhibitions include solo shows at GRIMM, New York, NY (US); Timothy Taylor, London (UK); Van Doren Waxter, New York, NY (US); Produzentengalerie, Hamburg (DE); 11R, New York (US); GRIMM, Amsterdam (NL); and group shows at Museum Weserburg, Bremen (DE); Saatchi Gallery, London (UK); and the Falckenberg Collection, Hamburg (DE). Hüller’s work is included in the collections of The Museum of Modern Art, New York, NY (US); The Dallas Museum of Art, Dallas, TX (US); Saatchi Gallery, London (UK) and the Israel Museum, Jerusalem (IL), as well as many private collections.
VOLKER HÜLLER
Blue Moon 2020 Oil on canvas 132.1 x 106.7 cm | 52 x 42 in
VOLKER HÜLLER
5 Burning flags 2020 Etching, watercolor and shellack on paper, framed 54.5 x 44.5 cm | 21 1/2 x 17 1/2 in
VOLKER HÜLLER
4 Under the Trees 2020 Etching, watercolor and shellack on paper, framed 65 x 68 cm | 25 5/8 x 26 3/4 in
Melancholy Sunset 2020 Oil on canvas 132.1 x 106.7 cm | 52 x 42 in USD 20,000
excluding taxes and shipping
VOLKER HĂœLLER
Melancholy Sunset 2020
Oil on canvas 132.1 x 106.7 cm | 52 x 42 in
VOLKER HÜLLER
3 Palm in the mist 2020 Etching, watercolor and shellack on paper, framed 46.5 x 36.5 cm | 18 1/4 x 14 3/8 in
VOLKER HÜLLER
5 Under the Trees II (red) 2020 Etching, watercolor and shellack on paper, framed 37 x 41.6 cm | 14 5/8 x 16 3/8 in
detail | Under the Trees II (red), 2020
SASKIA NOOR VAN IMHOFF
#+40.03 2019
Aluminum, neon 85.1 x 114.3 x 78.7 cm | 33 1/2 x 45 x 31 in
SASKIA NOOR VAN IMHOFF 1982, Mission (CA) | Lives and works in Amsterdam (NL)
Saskia Noor van Imhoff’s sculptures are conceived through a process of combining materials and appropriating elements which reference the exhibitions process, in unanticipated new combinations. Van Imhoff’s work #+40.04 (Two drawers in different time) is composed of plexiglass containers symbolizing drawers containing memories or fleeting moments. While in #+40.03, the artists explores the relationship between two components each made purely from a single material, neon, and aluminium, rendered in forms that balance a sense of the organic and artificial. Saskia Noor van Imhoff received her BA in Fine Art from the Gerrit Rietveld Academie in Amsterdam (NL) in 2008. She also studied at De Ateliers, Amsterdam (NL) in 2012, and Künsterlerhaus Bethanien, Berlin (DE) in 2014. Van Imhoff was awarded the ABN Amro Art Award (NL) in 2017, the same year she was nominated for the 2017 Prix de Rome (NL). She has had exhibitions at various notable venues including, the Arnulf Rainer Museum, Baden (AT); the 11th Gwangju Biennial (KR); Centre Georges Pompidou, Paris (FR); Frans Hals Museum | De Hallen, Haarlem (NL); Stedelijk Museum, Amsterdam (NL); De Appel, Amsterdam (NL) and the Moscow Biennial (RU). Van Imhoff’s works are included in the collections of the Stedelijk Museum, Amsterdam (NL); Museum Voorlinden, Wassenaar (NL); Verbeke Foundation, Kemzeke (BE); De Nederlandsche Bank, Amsterdam (NL); Akzo Nobel Art Foundation, Amsterdam (NL) and ABN Amro Art Collection, Amsterdam (NL) among many other public and private collections. Saskia Noor van Imhoff has an upcoming solo exhibition at GRIMM Van Baerlestraat 80 in Amsterdam, in September 2020.
detail | #+40.03, 2019
SASKIA NOOR VAN IMHOFF
3 #+24.04.01 2016 A1 c-print on aluminium, nutwood frame, plexiglass, bronze 135 x 60 cm | 53 1/8 x 23 5/8 in Edition of 2 plus 1 artist’s proof (#1/2)
SASKIA NOOR VAN IMHOFF
6 #+42.01 2020 neon, plaster 50 x 40 x 23 cm | 19 3/4 x 15 3/4 x 9 1/8 in
SASKIA NOOR VAN IMHOFF
#+40.04 (Two drawers in different time) 2019
Plexiglass, found plaster mould, neon 20.3 x 95.3 x 73.7 cm | 8 x 37 1/2 x 29
ERIC WHITE
North [1971 Ford Torino 500] 2018
Oil on canvas 213.4 x 365.8 cm | 84 1/8 x 144 1/8 in
ERIC WHITE 1968, Ann Arbor, MI (US) | Lives and works in Los Angeles, CA (US) and New York, NY (US)
Eric White’s works explore both collective and individual dimensions of the psyche. White’s paintings depict vivid cinematic moments that exist between American Realism and Surrealism. North [1971 Ford Torino 500] presents a Brutalist office building seen from the perspective of a mostly-empty parking lot through which White’s female protagonist walks barefoot. In an attempt to control and order her universe, she leaves occult offerings behind her in the lot; an allusion to the existential crisis of contemporary American society. White received his BFA from the Rhode Island School of Design (US) in 1990. In 2010, White received a Painting Fellowship from the New York Foundation for Arts (US). In 2015, Rizzoli released White’s first major monograph – an extensive survey of his work. White’s work has been featured in exhibitions in museums including the Laguna Art Museum, CA (US); The Long Beach Museum of Art in Los Angeles, CA (US); Museo de la Ciudad de Mexico, Mexico City (MX); De Bond Museum in Brussels (BE); MACRO Museum, Rome (IT); and The American Visionary Art Museum in Baltimore, MD (US). His work has also been exhibited extensively in galleries around the world including Copenhagen (DK), Brussels (BE), New York, NY (US), Miami, FL (US), Hamburg (DE), Los Angeles, CA (US) and Paris (FR). Eric White has an upcoming exhibition at GRIMM Keizersgracht opening in November 2020, during Amsterdam Art Weekend.
detail | North [1971 Ford Torino 500], 2018
ERIC WHITE
Nondestructive Testing 2020 Oil on canvas 7 paintings Overall: 61 x 96.5 cm | 24 x 38 in
“A collection of vignettes derived from 1970s television, recalling a time when the three or four available stations beamed a low-resolution orange and brown rainbow of dread directly into the collective subconscious— subduing and narrowing our imaginations, encouraging compulsive consumption, and programming our minds with misogyny, self-doubt, and a fear of others. And while these seemingly benign commercialized narratives were inflicting significant spiritual damage, behind the scenes a slow-motion corporate overthrow of our democracy was in its nascent stages.” - Eric White, Los Angeles, May, 2020
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