FEB 06 - 09, 2020
VAN NELLEFABRIEK
BOOTH 38
installation view | Booth 38 | Art Rotterdam 2020 (NL)
GRIMM is pleased to participate in Art Rotterdam 2020. We will present a group exhibition with works by Charles Avery, Ger van Elk, Louise Giovanelli, Volker Hüller, Saskia Noor van Imhoff, Matthew Day Jackson, Arturo Kameya, Claudia Martínez Garay, Ciarán Murphy, Michael Raedecker, Elias Sime, Lucy Skaer, Caroline Walker, Matthias Weischer, Guido van der Werve, Letha Wilson, and Nick van Woert.
installation view | Booth 38 | Art Rotterdam 2020 (NL)
installation view | Booth 38 | Art Rotterdam 2020 (NL)
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 (1985-1990), continued his curriculum at the Rijksakademie van Beeldende Kunsten, Amsterdam (1993– 1994), and at Goldsmiths College, London (1996–1997.) In 2000, Raedecker was shortlisted for the Turner Prize. His work has been exhibited at Museum of Contemporary Art, Chicago (US); the Museum für Gegenwartskunst, Basel (CH); Salzburger Kunstverein, Salzburg (AT); Knoxville Museum of Art, Knoxville (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. enantiodromia
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2019 Acrylic, laser printer pigment transfers, acrylic dispersions, paper and thread on canvas 252 x 179 cm 99 1/4 x 70 1/2 in
2019 Acrylic, laser printer pigment transfers, acrylic dispersions, and thread on canvas 76 x 123 cm 29 7/8 x 48 3/8 in
CLAUDIA MARTÍNEZ GARAY 1983, Ayacucho (PE) | Lives and works in Amsterdam (NL)
Claudia Martínez Garay’s work dwells on Peruvian history through the life of cultural artifacts andvisual archives, and the multiple voices and meanings which are ascribed to these. She combines graphic iconography and abstraction in her paintings and ceramic sculptures to reflect on the idea of memory, life and after-life, invoking a strong identification with native American cultures of South America. With a focus on re-reading, remaking and interpreting the visual traditions, the artist presents installations that exists in a specific imaginary’s time and space. Underlying the arrangements, there is a drive to reanimate the existing fragments of lost and forgotten stories. Persistent and bittersweet, Martínez Garay’s work analyzes modernity as an inseparable component of colonialism. For Art Rotterdam, Martínez Garay has created a graphic installation, a mix of diverse images evoking oppression and insurrection, dictatorship and rebellion, in Latin American history. La naturaleza de la Labor / The Nature of Labor 2020 Acrylic and varnish on plywood 136.8 x 189.2 cm 53 7/8 x 74 1/2 in
“Already existing imagery is a fundamental trigger in my work, it’s a way of revisiting and questioning the past, and try to understand it for what it left, and speculate from what is absent or unknown. From this imagery I experiment different forms of reproduction, transformation and reinterpretation; this is made through processes of erasing, deconstruction or reconfiguration. This moment of (un) recognizing what you’ve already seen/know, in that specific moment of simultaneous contradiction is where I want to situate my work.” -Claudia Martínez Garay Martínez Garay studied printmaking at the Pontificia Universidad Católica of Peru (PE) and was a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam (NL) from 2016 to 2017. Her solo exhibition A las revoluciones, como a los árboles, se les reconoce por sus frutos / Revolutions, like trees, are recognized by their fruits is now on view at GRIMM Frans Halsstraat. Recent exhibitions include An Emphasis on Resistance at El Museo del Barrio in New York, NY (US); COMUNIDADES IMAGINADAS, 21st Contemporary Art Biennial Sesc_Videobrasil, São Paulo (BR); The 16th Istanbul Biennal: the Seventh Continent, curated by Nicolas Bourriaud, Istanbul (TR); Immortality, 5th Ural Industrial Biennial of Contemporary Art, curated by Xiaoyu Weng in Ekaterinburg (RU); Diplomacy at Yeh Art Gallery, St. John’s University, Queens (US); Aichi Triennial: Taming Y/Our Passion, Aichi (JP); The 12th Shanghai Biennial: Pro-Regress, curated by Cuauhtémoc Medina (CN); and Songs for Sabotage, New Museum Triennial, New Museum, New York (US). installation view | A las revoluciones, como a los árboles, se les reconoce por sus frutos / Revolutions, like trees, are recognized by their fruits, 2020 GRIMM Frans Halsstraat, Amsterdam (NL)
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Agave Americana about to bloom
2020 Sublimated print on aluminum, steel stand 190 x 75 cm 74 3/4 x 29 1/2 in
2020 Sublimated print on aluminum, steel stand 235 x 115 cm 92 1/2 x 45 1/4 in
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. From 1995 to 2000 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. Weischer’s work is part of institutional and private collections, such as The Museum of Contemporary Art, Los Angeles (US); Kunstmuseum, The Hague (NL); Museum Voorlinden, Wassenaar (NL); Arken Museum of Modern Art (DK); Museum der Bildende Künste, Leipzig (DE) amongst others. Untitled 2019 Oil on canvas 64 x 90 cm 25 1/4 x 35 3/8 in
LOUISE GIOVANELLI 1993, London (UK) | Lives and works in Frankfurt am Main (DE)
Louise Giovanelli has been drawing attention as a rising young painter for her luminous, delicate works, which inject vitality into deeply historical subjects from the canon of Western Art. Following solo exhibitions at the Manchester Art Gallery (UK) and Frutta Gallery (IT), the upcoming exhibition at GRIMM will be Giovanelli’s inaugural solo presentation in New York. At Art Rotterdam, she will show a selection of new works in continuation of her ongoing series, each threaded together by the graceful rendering of a single subject matter and counterpoised by varying intense hues. Working in multiple series, Giovanelli explores the fidelity of representational images, and turns our attention to the effect of color variations, bold use of lines, and fine detail through the repetition of otherworldly forms. Her subject matter is drawn from sources including the artist’s own staged photographs and film stills and spans female figures, foliage, classical sculptures, and architectural elements. Her interrogation of painting’s history, expressed with scratches, ‘glitches’, and smudges, interrupts the illusion of representation. She translates texture and light into a resemblance which is nearly wholly independent of its former meanings and associations. 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. At present the artist is pursuing her Master’s Degree at the Städelschule in Frankfurt Am Main (DE) with professor Amy Sillman. Calypso 2020 Oil on canvas 49.3 x 41.5 x 3 cm 19 3/8 x 16 3/8 x 1 1/8 in
Peeping Tom
Peeping Tom
2020 Oil on canvas 47.4 x 36.8 x 3 cm 18 5/8 x 14 1/2 x 1 1/8 in
2020 Oil on canvas 52.4 x 42.4 x 3 cm 20 5/8 x 16 3/4 x 1 1/8 in
Palisade 2020 Oil on canvas 180 x 140 cm 70 7/8 x 55 1/8 in
VOLKER HÜLLER 1976, Forchheim (DE) | Lives and works in Brooklyn, NY (US)
In Volker Hüller’s large-scale paintings, an inscrutable face appears in shifting perspective. 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. Among his subject matter in previous works, scenes and fragments from the artist’s life were often conflated with mythological symbols, such as in the appearance of snakes, skulls and semi-human forms. Hüller studied under the late Norbert Schwontkowski at the Academy of Fine Arts, Hamburg (DE). Hüller’s work is included in the collections of The Museum of Modern Art, New York (US); The Dallas Museum of Art, Dallas (US); Saatchi Gallery, London (UK) and the Israel Museum, Jerusalem (IL), as well as many private collections. His exhibitions include solo shows at Timothy Taylor, London (UK); Van Doren Waxter, New York (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). detail | Paradise Lost III, 2019
Paradise Lost III
Paradise Lost VI
2019 Oil, acrylic, pencil on canvas 199 x 144 cm 78 3/8 x 56 3/4 in
2020 Oil, acrylic, pencil on canvas 203.2 x 152.4 cm 80 x 60 in
ELIAS SIME 1968, Addis Ababa (ET) | Lives and works in Addis Ababa (ET)
Sime creates reliefs featuring repurposed materials including thread, electrical wires, organic materials, and computer detritus. The work presented at Art Rotterdam derives from the artist’s Tightrope series. The title refers to the precarious balance between the advancements that technology has made possible and their detrimental impact on the environment. 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. In 2002, he co-founded and designed the ZOMA Contemporary Art Center in Addis Ababa, working in cooperation with the founding director, curator and anthropologist Meskerem Assegued. The museumHis work has been exhibited at the Metropolitan Museum of Art, New York, NY (US); the Studio Museum in Harlem, NY (US); and in 2009, a retrospective of his work travelled from the Santa Monica Museum of Art, CA (US), to the North Dakota Museum of Art, ND (US). His new solo exhibition will be on view at the Akron Art Museum in Akron, OH, USA (February 29 – May 24, 2020), the Kemper Museum of Contemporary Art in Kansas City, MO, USA (June 11 – September 13, 2020), and the Royal Ontario Museum in Toronto, Canada (December 12, 2020 – April 18, 2021). Elias Sime is nominated for the 2020 Hugo Boss Prize. Tightrope: (15) While Observing... 2018 Reclaimed electronic components on panel 139.7 x 241.3 cm 55 x 95 in
Tightrope: Heart, 2017 Reclaimed electronic components on panel 210.2 x 161.3 cm | 82 3/4 x 63 1/2 in USD 100,000
excluding taxes and shipping
Tightrope: (20) While Observing... 2018 Reclaimed electronic components on panel 232.1 x 320 cm 91 3/8 x 126 in
Intermisson
Postcard home
2018 Watercolour, gouache, oil on paper 23.5 x 32.5 cm 9 1/4 x 12 3/4 in
2019 Oil on canvas 60 x 80 cm 23 5/8 x 31 1/2 in
CIARĂ N MURPHY 1978, Mayo (IE) | Lives and works in Callan (IE)
CAROLINE WALKER 1982, Dunfermline (UK) | Lives and works in London (UK)
Caroline Walker’s large-scale paintings and intimate drawings focus on women within psychologically charged public spaces such as hotels, resorts and beauty parlors. Intimate scenes build upon the language of city life with the pronounced quality of a voyeuristic gaze. Her quietly charged public spaces, frame half-told narratives that complicate traditional ideas of the woman as subject. The works explore femininity in our modern, image-conscious age. Walker creates a sense of cinematic narrative in her works. Her photographs, depicting women at work in various settings, serve as source of imagery for her technically virtuous paintings, the central theme being the human condition in a post-modern and de-sensitised world. The oil on paper presented at Art Rotterdam derives from a series set on a resort on the island of Sicily. Upcoming solo presentations include an exhibition at the Midlands Art Centre, Birmingham (UK) and Ingleby Gallery, Edinburgh (UK). Study for Aperitivo I 2019 Oil on paper 44.5 x 59.5 cm 17 1/2 x 23 3/8 in
ARTURO KAMEYA 1984, Lima (PE) | Lives and works in Amsterdam (NL)
Vortex 2020 Acrylic and Clayshay on wood 118 x 156 x 2 cm 46 1/2 x 61 3/8 x 3/4 in
LUCY SKAER 1975, Cambridge (UK) | Lives and works in Glasgow and London (UK)
Often assembling various source materials and presenting them as installations, her work deals with the meaning of reproduction and the influence of mass media. Skaer’s process is deeply engaged with the significance of materials as objects of personal significance and as they fit into a larger historical narrative. Skaer was nominated for the Prix Canson in 2016, the Turner Prize in 2009, and was awarded the Paul Hamlyn Foundation Award in 2016. Her work can be found in the collections of the Metropolitan Museum of Art, New York (US), Tate Modern, London (UK), Centre George Pompidou, Paris (FR), and the Arts Council Collection, London (UK) among others prominent private and public collections. Lucy Skaer currently has a solo exhibtion titled Future Sun, together with Rosalind Nashashibi at S.M.A.K. in Ghent (BE). Recent solo exhibitions include: Heavy Weather, GRIMM Amsterdam (NL) in 2019; The Green Man, Talbot Rice Gallery, Edinburgh (UK); Sentiment, Peter Freeman Inc., New York, NY (US); Available Fonts, Salzburger Kunsthalle, Salzburg (AT); La Chasse, Salzburger Kunsteverein, Salzburg (AT) all in 2018. In 2017, Available Fonts, KW, Berlin (DE); Una Casa Más Pequeña (The Smaller House), Museo Tamayo, Mexico City (MX); One Remove at Witte de With, Rotterdam (NL), 2016; Sticks & Stones at Murray Guy and , New York (US) and Musées GalloRomains, Lyon (FR), 2015; Random House at Peter Freeman, New York (US), 2015. installation view | Future Sun, 2019-20 | S.M.A.K. Ghent (BE)
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2019 Bronze, oil paint 85 x 12 x 15 cm 33 1/2 x 4 3/4 x 5 7/8 in
2019 Bronze 85 x 12 x 15 cm 33 1/2 x 4 3/4 x 5 7/8 in
2019 Bronze, oil paint 85 x 12 x 15 cm 33 1/2 x 4 3/4 x 5 7/8 in
2019 Bronze, oil paint 85 x 12 x 15 cm 33 1/2 x 4 3/4 x 5 7/8 in
CHARLES AVERY 1973, Oban (UK) | Lives and works in London and Mull (UK)
Since 2005, Charles Avery’s work has focused on a fictional island: an all-encompassing investigation of the fabric and mentality of another place. Through drawings, texts and objects the artist describes the inhabitants, architecture, philosophies, customs and idiosyncrasies of this imaginary territory. Several drawings provide a textural insight into life in, on, around and beyond the city wall of the Island’s port of Onomatopoeia; once the stepping off point of the pioneers who first arrived, turned colonial outpost, turned boom town, bustling metropolis, depression ravaged slum, and regenerated city of culture and ultimately tourist destination. Untitled (Drunk serenading Saltimbanques)
Untitled (Triste)
2020 Pencil, ink and acrylic mounted on linen on paper 84 x 115 x 5.5 cm 33 1/8 x 45 1/4 x 2 1/8 in
2018 White patinated bronze, plaster, acrylic 42 x 37 x 37 cm 16 1/2 x 14 5/8 x 14 5/8 in Edition of 1 + 1
The works presented at Art Rotterdam will be a preview of Avery’s upcoming solo exhibition The Taile of the One-Armed Snake, that will open at GRIMM Frans Halsstraat on February 29, 2020. His work will also be on view at the Fries Museum in Leeuwarden (NL), as part of the exhibition Other Worldly. Recent exhibitions include the 16th Istanbul Biennale (TR) titled The Seventh Continent, curated by Nicolas Bourriaud, the Royal Academy of Arts, London (UK) and the Scottish National Gallery of Modern Art, Edinburgh (UK). Avery’s work can be found in the collections of Tate, London (UK); Museum Boijmans van Beuningen, Rotterdam (NL); David Roberts Art Foundation, London (UK) and Kunstmuseum, The Hague (NL), amongst others.
Untitled (Design for one-armed snake insignia) 2020 Watercolour, gouache and acrylic on card 70 x 60 x 4 cm 27 1/2 x 23 5/8 x 1 5/8 in
Untitled (Design for a Poster: Assorted Fruits)
Untitled (Flower 3)
2020 Watercolour, gouache and acrylic on card 47 x 33.5 x 4 cm 18 1/2 x 13 1/4 x 1 5/8 in
2012 Acrylic, brass, hammarite and steel 55 x 60 x 70 cm 21 5/8 x 23 5/8 x 27 1/2 in Edition of 2 (#2/2)
Untitled (Flower 1) 2012 Brass, eggshell paint, hammarite, steel and tracong paper 74 x 38 x 37 cm 29 1/8 x 15 x 14 5/8 in Edition of 2 (#2/2)
GER VAN ELK 1941-2014, Amsterdam (NL)
Ger van Elk belonged to the avant-garde generation of conceptual artists that shaped the art of the late 1960s and ‘70s onwards. As an interdisciplinary artist averse to conventions, Van Elk’s multifaceted oeuvre contains installations, actions, photography, painting, sculpture and new media. The theoretical foundation underlining his career was the rejection of traditional views on the art object and a general criticism of the production of art in general. 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. The video Some Natural Aspects of Painting and Sculpture depicts the peculiarities involved in painting and sculpting oneself, that is to say, holding still, frozen for all time, as well as acting as the model. The drops of sweat that are clearly visible on Van Elk’s neck and chest, or even his trembling and shaking, imply that it is not only a question of the artist’s body of flesh and bones, seizing the ephemeral, restraining time’s inexorable passing. Van Elk studied at the Art and Design College in Amsterdam (now Rietveldacademie), where he became friends with Bas Jan Ader. He also studied Art History at the Immaculate Heart College in Los Angeles (US) and at the University of Groningen (NL). In 1969 Van Elk participated in the groundbreaking exhibition When Attitudes Become Form at Kunsthalle Bern (DE) and Op Losse Schroeven: Situaties en Cryptostructuren at the Stedelijk Museum Amsterdam (NL); the latter exhibition marked the introduction of conceptual art in the Netherlands. Some Natural Aspects of Sculpture 1970-2002 Harddisc, LCD screen, in oak frame 55 x 62 cm 21 5/8 x 24 3/8 in Edition of 7 (#1/7)
GUIDO VAN DER WERVE 1977, Papendrecht (NL) | Lives and works in Berlin (DE)
Guido van der Werve is best known for his documented performances in which he pushes his body to its physical limits; testing his endurance and perseverance. Van der Werve started out as a performance artist, but unwilling to perform live and more than once, he began to document his performances. In his work Nummer dertien, Effugio c, you’re only half a day away, we see the artist running circles around his home in Hassi, Finland, for twelve hours. In a seemingly endless loop, Van der Werve completes 2.5 marathons. As the day passes and breaks again, as birds go to sleep and then start chirping in the woods, the artist keeps running in circles without getting anywhere—he simply gets increasingly exhausted over time. The film is part of a triptych in which Van der Werve parallels physical exhaustion with the depletion of resources on an emotional level; not yet depression, emotional poverty refers to a limited range or depth of feelings, and an inability to process difficult circumstances. Van der Werve will have a solo exhibtion in SongEun Artspace in Seoul (KR), and his work will be part of upcoming group exhibitions at FOAM Photography Museum in Amsterdam (NL); Kunsthistorisches Museum, Vienna (AT) and Kunsthaus Zürich (CH). His work can be found in the collections of international museums and institutions, like the Museum of Modern Art in New York, NY (US); Sammlung Goetz in Munich (DE); Hirshhorn Museum and Sculpture Garden in Washington, DC (US); Stedelijk Museum in Amsterdam (NL); Museum Boijmans van Beuningen, Rotterdam (NL); Museum Voorlinden, Wassenaar (NL); Dallas Museum of Art, Dallas, TX (US); Zabludowicz Collection, London (UK); Galleria d’Arte Moderna e Contemporanea, Turin (IT) and others. Nummer dertien, Effugio c, you’re only half a day away 2011 HD video 12 hours Hassi Finland Edition of 5 plus 2 artist’s proofs (#3/5)
SASKIA NOOR VAN IMHOFF 1982, Mission (CA) | Lives and works in Amsterdam (NL)
Saskia Noor van Imhoff creates her work using a range of original and found objects, as well as texts, diagrams and images. Found both online and documented from previous exhibitions, these works subsequently form new ‘constellations’ in a system of itself. Two new sculptures will be exhibited at Art Rotterdam, consisting of antique plaster sculpture casts. The negative spaces created by the plaster objects bear a faint resemblance to human heads, limbs and bodies. The fragments recall both fossilized organic material and the eroded images of classical sculpture. Their worn shapes and curves are delineated by the blue neon lines, offering a point of departure for new readings. Van Imhoff’s installations negate any fixed perspective, they present ambiguous associations and inspire seemingly contradictory understandings. Van Imhoff was awarded the 2017 ABN Amro Art Prize (NL), the 2012 Walter Tielmann Prize for Book Design (DE) and the 2008 Gerrit Rietveld Academie Prize (NL). Selected recent exhibitions include GRIMM New York (US); Arnulf Rainer Museum, Baden (AT); 11th Gwangju Biennial (KR); Centre Pompidou, Paris (FR); Frans Hals Museum De Hallen, Haarlem (NL); Stedelijk Museum, Amsterdam (NL); De Appel, Amsterdam (NL) and the Moscow Biennial (RU).
#+41.00 2020 Ultrachrome print on EHM, laser engraved Plexiglass 140 x 170 cm 55 1/8 x 66 7/8 in Edition of 2 plus 1 artist’s proof (#2/2)
Tightrope: Heart, 2017 Reclaimed electronic components on panel 210.2 x 161.3 cm | 82 3/4 x 63 1/2 in USD 100,000
excluding taxes and shipping
#+42.02
#+42.01
2020 neon and plaster 100 x 70 x 14 cm 39 3/8 x 27 1/2 x 5 1/2 in
2020 neon and plaster 50 x 40 x 23 cm 19 3/4 x 15 3/4 x 9 1/8 in
NICK VAN WOERT 1979, Reno (US) | Lives and works in Brooklyn, NY (US)
For Nick Van Woert, the materials we use are a direct reflection of who we are. He references the ancient Roman figure the Haruspex, who determine the health of a location by inspecting the dissected entrails of animals found in that location, and the French entertainer Michel Lotito (1950-2007), or ‘Monsieur Mangetout’ which translates to ‘Mr. Eats All’, who was famous for consuming everyday objects such as bicycles, a Cesna aircraft, and a coffin, to reinforce this idea. If Monsieur Mangetout was dissected by the Haruspex, his entrails would quite literally reflect his environment. What would the Haruspex interpret from his entrails? This thought begins to suggest that the figure and the landscape are interchangeable. You are what you eat. Nick van Woert received his MFA from Parsons School of Art and Design, New York (US) in 2007 and completed residencies at Zabludowicz, in Sarvisalo (FI) and at The Edward Albee Foundation in Montauk, New York (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 (US); MAMbo, the Museum of Modern Art in Bologna (IT); SCAD Museum of Art in Savannah (US); The Zabludowicz Collection, London (UK); The Philip & Muriel Berman Museum of Art in Collegeville (US); Katonah Museum in Westchester County (US); Nevada Museum of Art in Reno (US) and at Sheppard Contemporary Gallery at the University of Nevada, Reno (US). Solo gallery exhibitions include GRIMM in Amsterdam (NL) and New York (US); Yvon Lambert in Paris (FR) and New York (US); L&M in Los Angeles, CA (US); Moran Moran in Los Angeles, CA (US); Patron Gallery, Chicago, IL (US). It Would Have To Include Everything I Have Ever Seen 2019 Mixed media 89.5 x 64 x 51 cm 35 1/4 x 25 1/4 x 20 1/8 in
MATTHEW DAY JACKSON 1974, Panorama City (US) | Lives and works in Brooklyn, NY and Jackson Hole, WY (US)
In this new series of mixed media paintings Matthew Day Jackson references Giuseppe Arcimboldo (1527-1593), the Italian master of Mannerism, best known for his imaginative heads made entirely of fruits, vegetables, flowers and other objects. To Jackson, these portraits are an exuberant expression of nature’s bounty and a visual manifestation of power, wealth and decay. Jackson’s paintings are entirely composed of Formica, lead, plywood and epoxy. Artificial and manufactured materials such as these, carry meaning as a meditation on the domestic environment, aspiration, class and impermanence, in addition to having a personal resonance for Jackson; they are imbued with memories from his past and the artist’s own ‘American experience’. Jackson’s work is included in many private and public collections such as the Whitney Museum for American Art, New York (US); Stedelijk Museum, Amsterdam (NL); Pinault Collection, Paris (FR); Museo d’Arte Moderna, Bologna (IT); Zabludowicz Collection, London (UK); Kunstmuseum Den Haag, The Hague (NL) and High Museum of Art, Atlanta (US). Winter 2019 Formica, acrylic paint on epoxy resin, fiberglass, lead on panel, stainless steel frame 63.6 x 47 cm 25 1/8 x 18 1/2 inn
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 photograph 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. Her free-standing photographic sculptures contain images from sites in the American west that Wilson has traveled to, such as Valley of Fire State Park in Nevada and Zion National Park in Utah. The photographs taken on site are later manipulated in the studio and printed on Corten steel. Some sculptures fluently mirror the lines of the pictured landscape, while others contain sharp geometric forms which produce an interplay of shadow and light on the images. The artist has implemented UV-printing which allows the works to be installed outside and engage directly with the elements and nature. As the patinas change over time due to various weather conditions, the natural world will act as a co-creative force on the form of these artworks. 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, PNCA, PO (US) and the DeCordova Sculpture Park and Museum, Lincoln, MA (US. Wilson’s work will be included in the upcoming Triennial for Photography and New Media at The Henie Onstad Kunstsenter in Høvikodden (NO), and is selected for Frieze Sculpture at Rockefeller Plaza, NY (US. Joshua Tree Granite Pierced 2019 UV prints on Corten steel 102.9 x 48.3 x 38.1 cm 40 1/2 x 19 x 15 in
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