VOLTA10 // June 16-21, 2014

D E S I G N : W W W. H A U S E R - S C H W A R Z . C H

M O N D AY J U N E 16 T H – S AT U R D AY J U N E 21 S T 2014 / M A R K T H A L L E B A S E L

D A I LY 12 – 8 P M

MON 16TH – SAT 21ST JUNE 2014

GALLER I ES

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SHOW OFFICE

B23

B24

TEAPOT

B22

B 16

ASP

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B21

B20

B18

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BULIAN

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ALARCON CRIADO

A7

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B13

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COAT CHECK

TRAM 1, 2, 8 MARKTHALLE TRAM 2 FROM ART BASEL

ENTR

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FROSCH& PORTMANN MAZZOLI

C11

MIKHAIL

21

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THE HOLE

C15

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D16

D11

D12

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C14

BERLONI

KUDLEK

C12

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CHARLIE SMITH

TEZUKAYAMA

C5

COHEN

C10

C9

KLEINDIENST

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C7

HILGERBROTKUNSTHALLE

GUERRERO

STRAUS

C3

BRUNDYN+

D7

NA

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PO RO NCE BL + ES

STANDING PINE

NA

L3

D3

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C4

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BETA PICTORIS / MAUS

D1

SP

C6

BEERS

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C13

PABLO’S BIRTHDAY

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TICKETS VIP PRESS

ANCE

3 MINUTE WALK TO BASEL SBB MAIN STATION

VOLTA 10 S TA F F

Artistic Director: Amanda Coulson Managing Director: Chris De Angelis Project Manager: Kerstin Herd Project Coordinator: Rachel Mijares Fick Press Manager: Brian Fee Production Assistant: Ralph Jon Murray info @ voltashow.com Founders: Kavi Gupta Uli Voges Friedrich Loock

OFF I C I A L M E D IA PA R T NER

SPO N S O R S

CU LTU R A L PAR T NERS

It’s a common stereotype that all great companies were founded in a garage. Bars also have a role uniting shared dreams amongst good friends. Beginning as it would become, VOLTA set a course not totally unlike others, but with a specific flair that would remain in its DNA .

In the fall of 2004, a group of gallerists, collectors, and curators sat at a long beer table during Art Cologne, a time when that prestigious behemoth of an event was struggling to preserve its relevance within a rapidly changing art world, when the first auspicious spark was ignited. Everyone around the table got enormously ­e xcited when Friedrich Loock, of the then-titled Wohnmaschine gallery, came up with the daring thought of starting something new in the sacred grounds of Basel.

That e ­ vening, we all blamed our enthusiasm on the Kölsch, but next morning it still remained a brilliant idea and the first “VOLTAshow” started to take shape.

The aim was to implement a platform for galleries that were already too mature for LISTE and still too young for Art Basel. To create a fair that represented emerging artists — or mature artists overlooked by “the market” — presented in an equal setting to the major fairs: solid walls, excellent lighting, not relegated to a funky “off-space”, a tent, or any kind of haphazard arrangement. At the time, there was nothing like this.

Kavi Gupta, Uli Voges and Friedrich Loock brought the experience and aspirations of gallerists to the table — and the early VOLTAshows were branded as a fair “by galleries for galleries”. The concerns of the dealers were always priority, before the concerns of the organization. Amanda Coulson, meanwhile, added the insight of a curator and art critic to it, encouraging the galleries to think outside the usual ­p arameters of the traditional booth concept.

The first VOLTA took place in June 2005 in the Voltahalle at Basel’s Voltaplatz — hence the name. It was just like the name suggested: energetic, vibrant and electrifying… 23 galleries came together in a spirit of camaraderie and all pitched in, from loading crates to hanging banners. This feeling of community gave the first VOLTA a relaxed and friendly air that was unlike many endeavours at the time, where competition was the order of the day. So we were all taken aback by the first year’s huge crowds and the project’s enormous success that followed. We installed a rotating curatorial selection committee to meet the extremely high demand from galleries wishing to participate. Like the fair itself, these early selection groups coalesced through ties of friendship, and most meetings involved long weekends with a lot of good food, often at the Frankfurt home of Voges and Coulson, so that the feeling of a common endeavour or a family spirit was always evident.

The list of participating galleries over the decade is too long to reprint — and ­includes many who have attained a sought-after booth at the big fairs — but we can at least thank publicly the curators who contributed their time and energy to VOLTA (alphabetically): Adam Budak, Jacopo Crivell Visconti, Christoph Doswald, James Elaine, Mami Kataoka, Francesco Manacorda, Chus Martinez, Abaseh Mirvali, Tom Morton, J­ asper Sharp, Kitty Smith, and Francesco Stocchi.

As VOLTA saw many galleries and advisors come and go, the core team stayed close together, led by Chris De Angelis, who joined as an intern between college studies and is now the Managing Director for both operations in Basel and also New York — the second annual event and solo-project fair that opened in 2008.

Together with Kerstin Herd, Rachel Mijares Fick, and Brian Fee, we have a small, passionate team who strives to make every VOLTA a great experience for exhibitors and collectors alike.

Ten years on, we’ve grown, but the spirit remains the same.

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B A R C E LO NA

ADN GALERÍA

A D N GA LERÍ A WEBS I T E www.adngaleria.com E- M A I L info @ adngaleria.com PHO N E +34 934510064 CEL L +34 687528625 CONTA C T N A M E Miguel Angel Sánchez

CA RL O S A IRE S addresses an uncomfortable reality through beautiful and attractive productions, leading the spectator to a multi-level interpretation to discover a perturbing and politically incorrect view beyond the appearance.

Aires has recently exhibited in solo shows at the Centro de Arte de Alcobendas, at the Museo de Bellas Artes de Santander and at CAC, Centro de Arte Contemporáneo de Málaga. In June 2014 selected works will be part of the show “Colonia Apócrifa” at the MUSAC Museum in León. His works have been exhibited at: MIAC, Museo Internacional de Arte Contemporáneo de Lanzarote; Artium Foundation in Álava; Maison Particulière in Belgium; Museum of Contemporary Art in Canada; Fotomuseum Winternthur, Switzerland; Museum of Contemporary Art in Málaga, Archeological Museum of Murcia; and at the Bucharest Biennial.

EXHI B I T E D A R T IS T S Carlos Aires Marcos Ávila Forero Adrian Melis Eugenio Merino

The works of M A RCO S ÁV IL A F O R ER O are immersed in the complex and sometimes violent reality of political and social situations he presents. Each work is based on an encounter with a unique story, an individual, or an event, expressed as an empathetic performance, video or installation using often humble, everyday materials.

OTH E R R E P R E S ENT ED AR T IST S Virginie Barré Abdelkader Benchamma Tobias Bernstrup Santiago Cirugeda DEMOCRACIA Igor Eskinja Mounir Fatmi Daniel & Geo Fuchs Núria Güell Bruno Peinado

Ávila Forero won in 2013 the prestigious prize “Découverte des Amis du Palais de Tokyo” exhibiting there with a solo show and the residency price Hermès. He has recently exhibited in Japan and Korea in the group show “Condensation” at the Fondation d’Entreprise Hermès. He also participated at the screenings “Raw Material — Arte-Sur.org” at the Centre Georges Pompidou, and at the 43rd Salon Nacional de Artistas — Museo de Arte Moderno in Colombia. His artworks are part of important institutional and private collections such as the Fonds Régional d’Art Contemporain en Aquitaine, Bordeaux and the Fondation d’entreprise Hermès.

COV E R Marcos Ávila Forero Zuratoque 2013 Installation of handweaved sandals made of jute bag yarns and photographs 140 × 100 cm INS I D E Adrian Melis Production plan of dreams for State-run companies in Cuba 2014 Installation of documents, wooden boxes Variable size

The work of Cuban ADRIAN MELIS questions the relationship between a framework constituted by sociopolitical, legal or economical structures and the strategies invented by individuals in order to elude or undermine such strict norms. Directly influenced by the conditions of life in Cuba and his own experience in Spain, the artist explores the tension between different regimes of productivity and unproductiveness.

Melis has been recently awarded with the prestigious grant Rijksakademie for residencies of investigation. He won the Art Nou Prize for the best exhibition in 2013 with Time to Relax and the GAC prize in 2012 in a commercial gallery for New ­S tructures of production. Melis is the youngest artist who had a solo show at the Kunsthalle in Basel (2013) and at the Museum of Bellas Artes of Santander (2012); he has recently participated at group shows at Le Grand Café Centre Contemporain Saint — Nazaire, France, at The Museum of Modern Art in Warsaw, Poland and at the Queens Museum of Art, New York.

EUGENIO MERINO’s work wavers between belief and disbelief, paradox and logic, taste and distaste, respect and offense. The artist often assumes the role of a cynic engaged in showing naked truths and unveiling uncomfortable views of contemporary societies. His works switch between causticity and satire; they play with real, complex situations, turning the dramatic into sarcasm and vice versa.

Merino has recently had the solo show Election Time in New York and Celebrating Destruction in Milan, Italy. He has exhibited in several private and institutional collective shows in the United States, in Spain, Switzerland, Germany, Belgium, France, Holland, Latvia, Finland, Mexico and Italy.

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AMS TE R D A M

AKINCI

A K I N CI WEBS I T E www.akinci.nl E- M A I L info @ akinci.nl PHO N E +31 20 63 80480 CEL L +31 6 51 36 1983 CONTA C T N A M ES Leyla Akinci Renan Beunen

EXHI B I T E D A R T IS T S Melanie Bonajo Persijn Broersen & Margit Lukács OTH E R R E P R E S ENT ED AR T IST S Stephan Balkenhol Roger Cremers Cevdet Erek Moyna Flannigan Gluklya Andrei Roiter Zbigniew Rogalski Albrecht Schnider Thomas Huber Anne Wenzel

COV E R Melanie Bonajo Thought in Sense (detail) 2007 C-print 60 × 40 cm INS I D E Persijn Broersen & Margit Lukács Les Zones Terrestres 2013 Printed on plywood 4,30 × 3,10 × 2,8 cm B AC K Melanie Bonajo Manimal 2012 HD video one-channel projection 4:28 minutes

The artist-couple Persijn Broersen & Margit Lukács and Melanie Bonajo have a mutual theme: Nature as a historical reference to understand the sources of our contemporary visual culture (Broersen & Lukács) and Nature as a reference to find methods to understand and alter personal and social behaviour (Bonajo).

BRO E RS E N & L U K Á CS examine layers of depersonalization and re-interpretation and demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society.

M E L A NIE BO NA J O examines through photographs, performances and films the individual’s relationship to progress. Captivated by concepts of the divine, she explores the spiritual emptiness of her generation, examines peoples’ shifting relationship with nature and tries to understand existential questions by looking at our domestic situation.

Margit Lukács (1973) & Persijn Broersen (1974) live and work in Amsterdam and Paris. They studied at the Sandberg Institute and at the Rijksacademie in Amsterdam (2008, 2009). Their films, installations and graphic work have been shown internationally, including: Sydney Biennial, Centre Pompidou, the World Expo Shanghai, the Mukha in Mechelen, Kunstmuseum Magdenburg and several times at the Stedelijk Museum Amsterdam. Their films have been shown at festivals including LAForum in Los Angeles, Experimenta Media Arts Biennal in Australia, New York Underground Film Festival & International Film Festival Rotterdam, IDFA, Amsterdam.

Melanie Bonajo (1978) studied at the Gerrit Rietveld Academie (1998 – 2002) and the School of Visual Arts, NYC (2000). She completed a Masters course in Religious Science – Hermetica; Mysticism and Western Esotericism at the University of Amsterdam (2006 – 2007). Residencies: ISCP, NYC (2014), Künstlerhaus Bethanien, Berlin (2011), New Zero Art Space, Yangon, Myanmar (2011) and Rijksacademie van Beeldende Kunsten, Amsterdam (2009 – 2010). Solo shows: Museum de Pavijoens, Almere (2013); PPOW Gallery, NYC (2013, 2009); Center for Contemporary Art Ujazdowski Castle, Warsaw (2013); Dutch Protest Museum; International Festival of Activist Art, Moscow (2013); Museum of Modern Art, Arnhem (2013); Miami Basel with PPOW gallery (2012) etc.

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S E VILLE

ALARCÓN CRIADO

A LA RCÓN CRI A D O WEBS I T E www.alarconcriado.com

François Bucher Cali, Colombia, 1972. Lives and works in Berlin, Germany.

E- M A I L info @ alarconcriado.com

Bucher’s artwork is developed within a wide range of interests who initially have focused on aesthetic and ethical questions that arise from the world of film and image.

Until 2008 his work was conceptually positioning focused on political and social.

Since then, Bucher’s ideas about the world took a turn towards a new production where it comes into dialogue with matters closer to interdimensional approaches.

Everything in the work of this artist is related, the different works are associated with each other, and form multiple sutures, which in turn produce new meanings unpublished.

PHO N E +34 954221613 CEL L +34 67 6799447 CONTA C T N A M ES Julio Criado Carolina B. Alarcón

EXHI B I T E D A R T IS T S François Bucher Nicolas Grospierre Jorge Yeregui OTH E R R E P R E S ENT ED AR T IST S Martín Freire Emilio Gañán José Guerrero Alejandra Laviada Clara G. Ortega Julie Rivera Mp & Mp Rosado Simón Zabell

COV E R Nicolás Grospierre The never-ending corridor of books 2006 – 2014 2 lightboxes framed in mirrors and a Venetian mirror 160 × 100 × 90 cm INS I D E François Bucher Second and Half Dimension.

2010 Wallpaper Installation project B AC K Jorge Yeregui Quay (Grid) [Tudela] Work in Progress Photographic Installation Variable dimensions

Nicolas Grospierre Geneva, Switzerland, 1975. Lives and works in Warsaw, Poland.

Nicolas Grospierre is a photographer of architecture mainly, and an artist working in the expanded field of photography. His work as a photographer has been focused on documentary projects and conceptual works. His documentary projects have often been exploring the collective memories and the hopes linked to modernist architecture, now that the utopias linked to them have faded away. On the other hand, his conceptual photographic works tend to emphasize mind games, while at the same time displaying attractive, sensual images or even installation.

Jorge Yeregui Santander, Spain, 1975. Lives and works in Seville.

Our interpretation of the landscape has evolved as man’s relationship with his surrounding has progressed and currently the most notable transformation is taking place in the way of seeing, in the transition from discovery to recognition, to the point that it is almost impossible to see with an innocent gaze. Yeregui explores this way of constructing and representing the landscape and proposes a reflection on perception and the way our knowledge of our surrounding environs is constructed.

His projects transcend the aesthetic of landscape and mine the confluence of the natural, cultural and social factors that condition it.

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LE IP Z IG

ASPN

A SPN WEBS I T E www.ASPNgalerie.de E- M A I L linde @ ASPNgalerie.de PHO N E +49 341 960 00 31 CONTA C T N A M ES Arne Linde Carolin Nitsche

EXHI B I T E D A R T IS T Grit Hachmeister OTH E R R E P R E S ENT ED AR T IST S Benjamin Appel FAMED Jochen Mühlenbrink Jochen Plogsties Matthias Reinmuth Johannes Rochhausen Maya Schweizer Robert Seidel Katsutoshi Yuasa Arthur Zalewski

COV E R Grit Hachmeister Armani (from the series Die Nackten) 2013 China ink and acrylic on canvas 125 × 80 cm INS I D E Grit Hachmeister Mein Leben passt mir 2014 China ink on paper 21 × 30 cm B AC K Grit Hachmeister Gucci (from the series Die Nackten) 2013 China ink and acrylic on canvas 100 × 150 cm

Grit Hachmeister is host to various models from glossy advertisements: women and men seductively spread across the canvas, reduced to thin black outlines. Sparkling jewelery and fashionable shoes still adorn their ears and feet, but they are stripped of the expensive fabrics, naked. Media images, bodies, strange creatures — Hachmeister holds a mirror up to grotesque reality. She unveils the strategies of staging in ubiquitous advertising, isolates weird figures from the full-colour pages of small town newspapers and paints absurd companions for them. She creates a world from collage that laughs cheerfully into the face of reality. It is a fantastic world in the literal sense — besides models, mascots and bizarre characters in general often animals or creatures from fairytales are featured as protagonists in her photographs, paintings and installations.

Political discourse is only a blink of an eye away: the integrity of one’s own body in the light of debates about common ideas of gender stereotypes and intersexuality, an examination of art history and advertising images concerning male and female iconographies, as well as an artistic analysis of the production and exploitation of images in the media provides the framework in which Hachmeister operates. Her most powerful weapons are her sensitivity for human vulnerability and her humour: it always hurts a little to discover a part of yourself in Hachmeister’s works, but she never leaves anyone out in the cold — in the end the absurdity of life turns us all into fools; jacks-of-all-trades and zany characters on the stage of a surreal puppet play.

In 2014, Hachmeister received a one-year grant by the renowned Pollock-Krasner Foundation, New York.

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BASEL

BALZER ART PROJECTS

BA LZ ER A RT PRO JEC TS WEBS I T E www.balzer-art-projects.ch E- M A I L info @ balzer-art-projects.com PHO N E +41 61 222 2152 CEL L +41 79 229 3306 CONTA C T N A M E Isabel Balzer

EXHI B I T E D A R T IS T S Georgine Ingold Sebastian Mejia Angelika Schori OTH E R R E P R E S ENT ED AR T IST S Andreas Bauer Brian Duggan Sarah Frost Jens Hanke Nici Jost Nicolas Kerksieck Mimi von Moos Sunyoung Park Katharina Wackermann

COV E R Sebastian Mejia Viktoria H. 2014 Permanent Marker on Plastic Foil 175 x100 cm INS I D E ( L E FT ) Georgine Ingold New Work, various 2014 Oil on Cotton Studio Installation

INSIDE (RIGHT TOP) Angelika Schori No End in Sight 2013 Acrylic on Canvas Installation 305 × 100 cm INS I D E ( R I G H T BO T T O M) Angelika Schori Gefaltet (Folded) 2012 Acrylic on Canvas 40 × 32 cm

G E O R G I N E I N G O L D ’ S paintings display a very specific mixture of realism and conceptualism. Her reference is 19th Century Modernism which she processes through contemporary artistic and cultural lenses — it is evidence of a new kind of painting that bridges the gap between art and life, the personal and the popular, private and public. Ingold is fascinated by the abstract power of painting. Her broad brushstrokes and their sudden shifts work independent from her subjects, her diverse painting techniques function as agents of abstraction. Ingold captures a complexity of reality by simultaneously representing feelings and perspectives within her genres. Her paintings intercept the discourse of the poetic and the pragmatic, but her stories are hidden — a seemingly archivist interest motivates her gaze. She works with her own photographs, which are of utmost personal importance: she chooses subjects with deep personal associations. Meaning and illustration stand in a dialectic relationship to each other and one fails to attach an easily readable narrative. Ingold’s works appropriate an aura of mysteriousness — while deduced from a photograph and never painted from real-life models, all of her paintings are bearers of the sublime.

A NG E L IK A S CHO RI is not a painter in the traditional “painterly” sense. While literally turning the canvas around, displaying the back of the stretcher, she challenges the viewer’s sense of comfort and artistic anticipation in the exhibition space. She also physically brings her canvases into unexpected terrains, such as the outdoors, hangs them between door frames and into wall crevices. Schori’s work depends quite directly upon its immediate environs. “Why is art still hiding the source of its production/creation? Why is it confined in a dialectic corset?” Schori creates an ­e ntirely new experience for the viewer; one that would make the viewer keenly aware of process of painting, its history and tradition. While painting in general physically excludes the viewer and remains a 2D, rather than a 3D experience, Schori ­q uestions that traditional relationship and involuntarily involves the viewer in her work. Art historically, Schori’s work can reluctantly be coined “poetic minimalism.”

In creating a dialogue between the environment and the work, she challenges the exhibition space, turning the architectural environment into interactive paintings and painterly installations.

S E BA S TIA N M E J IA is interested in the dissemination of visual information in different cultures; he is especially fascinated by the dichotomy between European and Latin-American traditions. In his analysis and subsequent visual implementation, the artist does not differentiate between seemingly innocuous subjects, such as a ­m useum gallery containing “masterpieces” in massive gilded frames, and politically more problematic subjects, such as equestrian sculptures celebrating victorious military leaders. He concentrates on the Western canon, traditions of cultural and artistic excellence and imperialist histories. His aesthetics of ambiguity and a ­ nalytic attitude help to build a bridge between the historical realities of colonialism and the political reality of contemporary economic, political and cultural frameworks. Most recently, Mejia demonstrated this in his project Mensch-Objekt-Jaguar at the ­H umboldt Lab, Museen Dahlem, Berlin. There, he contrasted colonial cultural appropriation pattern, their historical political reality with the contemporary dissemination of information in an education institution, such as a museum.

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BEERS CONTEMPORARY

BEERS CON TEMPORARY WEBS I T E www.beerscontemporary.com E- M A I L kurt @ beerscontemporary.com PHO N E +44 207 502 9078 CEL L +44 781 703 1766 CONTA C T N A M ES Kurt Beers Beca Laliberte

EXHI B I T E D A R T IS T S Anthony Goicolea Selma Parlour Evren Sungur OTH E R R E P R E S ENT ED AR T IST S Andrew Salgado Blake Daniels Dan Voinea Janneke Van Leeuwen Jørgen Craig Lello & Tobias Arnell Leonardo Ulian Lucia Pizzani Pawel Sliwinski Scott Carter Tomáš Libertíny

COV E R Selma Parlour Ensemble 2013 Oil on linen 76 × 61 cm INS I D E Anthony Goicolea Temporary 2013 C-print 104 × 101 cm B AC K Evren Sungur Untitled 2012 Oil on canvas 250 × 200 cm

Beers Contemporary (London, UK) has an exhibition program dedicated to the exploration of relevant issues through progressive, contemporary art. Our exhibitions offer a diverse array of thematic, aesthetic, and political concepts, highlighting an exciting approach to contemporary art that is both progressive and thought-provoking. In 2014, Director/author Kurt Beers will release a book, entitled, 100 ­P ainters of Tomorrow with the publishers Thames & Hudson: which includes 100 of the most exciting emerging painters at work today internationally.

Anthony GOICOLEA obtained an MFA in Sculpture and Photography from the Pratt Institute of Art (1996). Goicolea has shown extensively internationally gaining notable group exhibitions in France, Germany, Switzerland, Canada, Spain, New Zealand, Korea, China, UK, Scandinavia and the USA (2000-2013). Selected recent solo exhibitions include Permanent Marker, Galeria Ron Mandos, Amsterdam (2013); ­W andering Wild, La Galeria Particular, Paris (2013) and Domesticated, Galeria ­S enda, Barcelona, Spain (2012).

Selma PARLOUR holds a PhD in Art from Goldsmiths (2013). Parlour’s work has been acquired by Saatchi Gallery and the Creative Cities Collection, Beijing, and has been included in group exhibitions including; Creative Cities Collection & Exhibition, The Barbican, London (2012), Selma Parlour & Yelena Popova, Horton Gallery, New York (2012) and Bloomberg New Contemporaries, S1 Artspace, Sheffield & ICA, London (2011). Parlour has also been selected for inclusion in 100 Painters of Tomorrow.

Evren SUNGUR holds a BA in Fine Arts from the Mimar Sinan Fine Arts University (2007) as well as a BA in Engineering-Architecture from Yeditepe University (2002).

Solo exhibitions include Tour De Force, Galeri Zilberman, Istanbul (2012), Istanbul Summer Exhibition, Sanat Limani, Istanbul (2011) and Volume I, Galeri Espas, Istanbul (2010). Fair participation includes; Contemporary Istanbul (2011), Marrakech Art Fair, (2011) and Berliner Liste, (2011). Sungur is also one of the artists included in 100 Painters of Tomorrow.

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BERLONI

BERLON I WEBS I T E www.berlonigallery.com E- M A I L info @ berlonigallery.com PHO N E +44 20 7580 1480 CEL L +44 7725479826 CONTA C T N A M ES Margherita Berloni Robin Mann

B E R L O N I provides a platform to exhibit and support contemporary artists in ­L ondon. The gallery occupies a three story space spread across two buildings in the heart of Fitzrovia.

Established by Margherita Berloni in 2011 under the name EB&Flow, B E R L O N I relocated in October 2013 to 63 Margaret Street. At the core of B E R L O N I ’s ethos is the aim to build long-term relationships with artists from a formative stage in their career and as their practice develops. March 2014 has seen the inaugural Artist in Residence Programme — with English painter Edward Coyle occupying the top floor of the rear building at 63 Margaret Street. Coyle will spend 12 months working from the studio, with full studio and materials costs supported and provided for by BE RL O NI — culminating with a solo exhibition at the gallery in 2015.

Exhibited at V O LTA 10, BE RLO N I presents:

EXHI B I T E D A R T IS T S Steven Allan William Bradley Carl Randall Steve Sabella OTH E R R E P R E S ENT ED AR T IST S Neil Ayling Silvina Arismendi Chris Aerfeldt Edward Coyle Sue Corke Hani Zurob Briony Anderson

CA RL RA ND A L L — won the 2012 BP Travel Award, awarded by The National Portrait Gallery, London, and consequently exhibited the paintings at the NPG. He has work in numerous private and museum collections in the UK and Japan, and has exhibited and sold with various galleries internationally: The Mall Galleries, London, The National Portrait Gallery, London; Tokyo Metropolitan Museum of Arts.

S TE V E S A BE L L A — Palestinian photographer Sabella’s artworks have been collected by the British Museum in London, Mathaf: Arab Museum of Modern Art in Doha, Ars Aevi Museum in Sarajevo and leading collectors in the Middle East including The Samawi Collection, Cuadro Fine Art (Dubai), Salsali Private Museum (Dubai) and Barjeel Art Foundation (Sharjah) — a monograph on the artist will be published

by Hatje Cantz in September 2014.

COV E R Carl Randall Tokyo Portrait (detail) 2013 Acrylic on Canvas 182 × 227 cm

W IL L IA M BRA D L E Y — English born painter Bradley graduated with a Masters degree from Wimbledon College of the University of the Arts London in 2008, selling out his end of year show. He has since been selected for FutureMap 08 and the Catlin Art prize 2009 and 2011, staged solo exhibitions in both London and New York in 2013/14, and Paris set for 2015. His work is included in several major collections, including the Hort Family Collection and The David Roberts Arts Foundation.

INS I D E Steve Sabella Euphoria 2010 Lambda print + diasec mount – edition of 6 + 2 AP 155 × 127 cm

Also exhibited at V O LTA 10 are Scottish painters ST E V E N AL L AN (shown at Saatchi Gallery, and included in the Franks Suss Collection) and B R I O N Y AN DER SO N (recently selected for the Dublin Fire Station Residency in Summer 2014), as well as sculptor NE IL AYL ING who recently unveiled his first public commission at Kings Cross, London.

B AC K ( L E FT ) BERLONI gallery (ground floor) view — London B AC K ( R I G H T) William Bradley Nudge Nudge, Wink Wink 2013 Oil on Canvas 60 × 90 cm

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B IRMING HA M, A L

BETA PICTORIS GALLERY

BETA PI CTORI S GALLERY WEBS I T E www.mauscontemporary.com E- M A I L betapic @ mauscontemporary.com PHO N E +1 205 413 2999 CONTA C T N A M E Guido H. Maus

EXHI B I T E D A R T IS T S Clayton Colvin Eugene James Martin (the Estate of) Odili Donald Odita Leslie Smith III OTH E R R E P R E S ENT ED AR T IST S John Bankston Jarrod Beck Steve Bindernagel Willie Cole Mark Flood Charles Lutz Bayeté Ross Smith Travis Somerville Susanna Starr Melissa Vandenberg

COV E R Eugene James Martin (1938 – 2005) Untitled (detail) 1975 pencil and marker on paper 28 × 21.5 cm INS I D E ( L E FT ) Clayton Colvin Leap Across The Centuries 2014 acrylic, pigment, charcoal, and ink on linen ca. 72 × 54 cm INS I D E ( R I G H T) Leslie Smith III Exposed 2014 oil on shaped canvas ca. 68 × 68 cm B AC K ( L E FT ) Odili Donald Odita Give Me Shelter 2007 acrylic latex wall paint, colored pigment on wall at The 52nd Venice Biennale, curated by Robert Storr 6.01 × 17.9 × 18.06 m B AC K ( R I G H T) Odili Donald Odita Sail 2004/05 gouache, pastel, and charcoal on paper ca. 30 × 42 cm

O D IL I D O NA L D O D ITA was born 1966 in Enugu, Nigeria, and has been included in exhibitions in Africa, North America and Europe, such as DAK’ AR T 2 0 0 4 , the D A K A R BIE NNIA L O F CO NT E M PO R ARY AR T and the 5 2 N D I N T ER N AT I O N AL A R T E X H I B I T I O N AT T H E 2 0 0 7 V E N I C E B I E N N A L E . Odita brings aspects of African, European, and American cultures into play, and his hard-edged abstract paintings explore contemporary notions of space and the confluence of personal memory and cultural history.

CL AYTO N CO LV IN‘ s work has been reviewed in AR T I N AM ER I C A as well as on Artforum.com. The paintings selected for VOLTA highlight Colvin’s complex yet intimate new works on linen, often combining charcoal, graphite, pigment and acrylic in a painterly field of incredible richness and depth. Colvin’s subtlety and dexterity comes from a decade-long interrogation of the practices and processes of drawing and painting, and L E A P A CR O SS T H E C E N T UR I E S (shown on left in this catalogue’s middle section) is a perfect example of the artist’s work: laying what seems to be the process on the surface, with visible brushstrokes, but revealing how they have been constructed only upon close inspection.

L E S L IE S M ITH III‘ s work has been included in exhibitions in the US, such as Valérie Cassel Oliver’s curated exhibition Black in the Abstract, Part 2: Soft Curves/ Hard Edges at the CO NTE M PO R ARY AR T S M USEUM H O UST O N in Houston, TX, and a solo exhibition at the M ADI SO N M USEUM O F C O N T EM PO R ARY AR T IN M A D IS O N, WI. Smith explores both the complexity of the non-representational and the expansiveness created by working on non-traditional supports. Not content with being confined by the linearity of the rectangle or the square, he explodes the confines of geometry with custom designed shaped canvases, their soft edges falling away, drifting, and challenging viewers’ expectations. EX PO SED (shown on right in this catalogue’s middle section), continues this exploration, its surface filled with subtle geometric shapes, pushing viewers away, yet holding them close. Smith understands the complexities of abstraction and he uses both the surfaces and the structures of his works to create tensions that are palpable.

EUGENE JAMES MAR TIN (1938-2005) called many of his works both abstract and representational, or “satirical abstracts”. His work is included in numerous private and Museum collections, including the H I G H M USEUM O F AR T, Atlanta, GA; the S T O W I T T S M U S E U M A N D L I B R A RY in Pacific Grove, CA; the S C H O M B U R G CENTER FOR RESEARCH IN BLACK CULTURE, NY; the PAUL R. JONES COLL E CTIO N O F A F RICA N A M E R I C AN AR T, University of Delaware; the SH E L DO N M U S E U M O F A R T, Lincoln, NE; the O H R - O ’ KEEF E M USEUM O F AR T, Biloxi, MS; and the M U NICH M U S E UM O F M O DER N AR T, M UN I C H , G ER M AN Y.

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SPENCER BROWNSTONE

SPEN CER BRO WNSTONE WEBS I T E spencerbrownstonegallery.com E- M A I L info @spencerbrownstonegallery.com PHO N E +1 212 334 3455 CONTA C T N A M E Spencer Brownstone

EXHI B I T E D A R T IS T S Olivier Mosset Fred Eerdekens OTH E R R E P R E S ENT ED AR T IST S Skip Arnold Tessa Farmer Jeff Gabel Anna Galtarossa Lori Hersberger Ariel Orozco Jaime Pitarch Jane South Martin Wöhrl

COV E R Olivier Mosset Untitled (Black Star) (detail) 2013 Polyurethane on canvas 72 in ø INS I D E Fred Eerdekens It disappeared and then it was gone the space was left empty 2013 Copper, light 76 × 8 × 7 in

Olivier Mosset, (*1944, Bern, CH) has been creating provocative, minimalist commentaries on the state of painting since his involvement in the group, B M PT with Daniel Buren, Michel Parmentier and Niele Toroni in Paris of 1966. Their aim was to eliminate the hand of the artist from painting, instead using repetitive methods to create their art. While BM PT would cease to exist within a year, its fundamental concept of the “degree zero” in painting has continued to inform Mosset’s work in the decades since.

Olivier Mosset has exhibited extensively internationally and his work is held in major collections throughout the world. He has had solo presentations at venues such as the Kunsthalle Bern, Palais de Tokyo, M AC Lyon, Kunsthalle Zurich, and the Musée Régional d’Art Contemporain Languedoc-Rousillon, which hosted a major retrospective of his work last year. He represented Switzerland in the 1990 Venice Biennale and will participate in this year’s upcoming Manifesta, in St Petersburg, where he will exhibit a new suite of large-scale monochrome paintings.

Fred Eerdekens, (*1951, Hasselt, BE) is perhaps most well known for his shadow text work in copper and aluminum. These quiet and poetic installations combine a virtuosic use of materials with a simplicity that both subverts and elevates language.

Beyond just the simple phrases and sentences, Eerdekens has worked with such diverse mundane materials as discarded clothing and artificial trees, transformed by the simple application of light. By utilizing the physical nature of his medium, he creates art that blurs the line between reality and perception.

Fred Eerdekens’ installations have been shown extensively at museums and galleries worldwide, and is featured in major collections such as M UH KA, Antwerp; SM AK, Brussels; Museo d’Arte Moderno, Bolzano; and FRAC Languedoc-Rousillon, among others. He was recently featured in the Sharjah Calligraphy Biennial, UAE , with a solo presentation of his work, “Sliding from one state into another.”

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LINZ

BRUNNHOFER GALLERY

BRU N N H O FER G ALLERY WEBS I T E www.brunnhofer.at E- M A I L art @ brunnhofer.at PHO N E +43 732 77 83 21 CEL L +43 664 38 18 104 CONTA C T N A M ES Stefan Brunnhofer Elisabeth Brunnhofer

EXHI B I T E D A R T IS T S Lorenz Estermann INDRA. OTH E R R E P R E S ENT ED AR T IST S Irene Andessner Lucia Dellefant Aurelia Gratzer Moritz Götze Ronald Kodritsch Thomas Kühnapfel Jennifer Nehrbass Andrew Phelps Elisabeth Sonneck Bernd Zimmer

COV E R INDRA. Sturm im Schrank 2012 Acrylic on canvas 100 × 80 cm (cutout) INS I D E Lorenz Estermann Exit City (installation view) 2012 painted wood variable dimensions B AC K INDRA. Teaceremony 2013 mixed media on canvas 130 × 160 cm

LORENZ ESTERMANN, lives and works in Linz and Vienna, Austria.

INDRA., lives and works in Karlsruhe, Germany.

BO O TH CO NCE P T: “FA NTAST I C H O USI N G ” Housing concerns everyone, either you rent a flat, live on the streets, own a house, speculate with properties or dream of your own little kingdom.

It is an issue of our own psychological wellbeing as well as a dimension of general economy. The different traces, where housing concerns us, do overlap at some very individual points. We may take housing as something given — we plan them as places where we can rest and feel comfortable; until some kind of circumstances demand changes.

These circumstances could be anything; from getting a partner or getting children to losing the job, changing the lifestyle or feeling attracted to a new design. Every single one of us has been affected by some changes, that let us rethink our idea of housing on different plains, whether on a subjective private or even on a scientific urbanism.

Just think about the “housing bubble” in recent times. That kind of breakdown seems to hint us in Estermann’s lonesome skyscrapers as well as in a very different, nearly fun way in some of INDRA.’s paintings of lives full of fantasy.

INDRA. displays housing from an inner perspective of perception. It’s more the cognition she is affected to. With her playful and surrealistic themes, two worlds get opened: on the one hand a fantastic dreamland, where illusionist residences offer ranges of possible conducts of lives. On the other hand it opens a very emotional and subjective inner story, which every viewer assertive falls into when digging too far into the narrative moment.

Estermann’s lonesome models do seem to go into confrontation with this dreamy world. They seem to display a dystopia, a world without any beings, rotten and sordid. Thinking oneself in it ends in an oppressive feeling, thinking the story behind it ceases in sad narrations. And yet such clones of “Ghost-towns” are more reality than the ostensible happy individual worlds could ever be.

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C A P E TO WN

BRUNDYN+

BRU N D YN + WEBS I T E www.brundyn.com E- M A I L info @ brundyngonsalves.com PHO N E +27 21 424 5150 CEL L +27 83 277 2062 CONTA C T N A M E Elana Brundyn

EXHI B I T E D A R T IS T S Bofa da Cara Khanyisile Mbongwa Mocke J van Veuren and Theresa Collins Mohau Modisakeng OTH E R R E P R E S ENT ED AR T IST S Sanell Aggenbach Kevin Brand Tom Cullberg Alex Emsley Matthew Hindley Khanysile Mbongwa Mohau Modisakeng Jody Paulsen Chad Rossouw Chris van Eeden

COV E R Mohau Modisakeng Untitled 2014 Inkjet print on Epson UltraSmooth 150 × 200 cm INS I D E Mocke J van Veuren and Theresa Collins Minutes 2010: time/bodies/rhythm/ Johannesburg 2010 3 channel video installation with stereoscopic projection Continuous cycle ~15:00 mins Images courtesy of the artists B AC K Bofa da Cara My African Mind 2010 Single Channel Video (Edition of 6) 6:12 mins Images courtesy of © Bofa da Cara // Pere Ortín and Nástio Mosquito.

BRU ND YN+ is pleased to present an exhibition of video works by Bofa da Cara, K hanyisile Mbongwa, Mocke J van Veuren and Theresa Collins, and ­ ­ M ohau ­M odisakeng.

K HA NYIS IL E M BO NG WA (b. 1984) is a performance artist and poet. Her strong passion for youth development has formed a focus in her career. In 2006 she was amongst the founding members of the Gugulective, an arts collective that focuses on performance-based practices that reimagine the psychological and physical spaces of the township.

MOCKE J VAN VEUREN (b.1976) is an independent artist, experimental filmmaker, researcher and educator based in Johannesburg. THERESA COLLINS (b.1973) obtained her MA Fine Art degree (2003), and an advanced diploma in Fine Arts and Digital Arts (2005) from the University of the Witwatersrand. They have collaborated on the Minutes project for 8 years using time-lapse photography to engage with a selection of spaces in Johannesburg. It has been exhibited at Rencontres ­I nternationales Paris/Berlin/Madrid, Paris (2011), the Sao Paulo Architecture Biennale (2007), the Venice Architectural Biennale (2006), and the 9th Havana Biennale (2006).

MOHAU MODISAKENG (b. 1986) is a Cape Town-based artist. In 2009 he completed his BA FA at the Michaelis School of Fine Art, Cape Town, where he also worked towards his M FA . He was awarded the SASOL New Signatures Award in 2011 and has exhibited at VOLTA NY, New York (2013, 2014), Saatchi Gallery, London (2012); Dak’Art Biennale, Dakar (2012); Focus 11, Basel (2011) and Stevenson, Cape Town (2010). His work is included in public collections such as the Johannesburg Art Gallery, IZIK O South African National Gallery, Cape Town and Gallery, London as well as significant private collections such as Zeitz.

Have an idea. Make sure that idea is nurtured amongst food, drink, cigarette smoke... coffee, tee and long, long, long hours exchanging Godly atheist ever consequent perspectives. Build up, glue up, and merge up idea creation to material tangible possibility. Perspectives become perspective and consequent love object, objects, products that feel always more then... the WE in I. Us. We think, therefor we must, will, do participate. When we are dead death will not have a laugh... but maybe, just maybe you will...This is BO FA DA C AR A.

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MILA N

LAURA BULIAN GALLERY

LA U RA BU LI A N GALLERY WEBS I T E www.laurabuliangallery.com E- M A I L laura @ laurabuliangallery.com PHO N E +39 02 48008983 CEL L +39 335 60 400 70 CONTA C T N A M E Laura Bulian

EXHI B I T E D A R T IS T S Vyacheslav Akhunov Alimjan Jorobaev OTH E R R E P R E S ENT ED AR T IST S Said Atabekov Elisabetta Di Maggio Gulnara Kasmalieva & Muratbek Djumaliev Anastasia Khoroshilova Taus Makhacheva Marat Raiymkulov Andrei Roiter Eve Sussman David Ter-Oganyan Yelena Vorobyeva & Viktor Vorobyev

COV E R Vyacheslav Akhunov Party Line. Mantra USSR. Mantra: we will come to the victory of Communism! (detail) 1979 Collage on paper, pencil, tempera 30 × 42 cm INS I D E Alimjan Jorobaev Mirages of the Communism #1 1994 B/W print 60 × 100 cm B AC K ( L E FT ) Vyacheslav Akhunov Party Line 1975 – 2008 Tempera, pencil on paper 30 × 42 cm B AC K ( R I G H T) Alimjan Jorobaev Mirages of the Communism #7 2004 B/W print 60 × 40 cm

Vyacheslav Akhunov’s art, connected to the experience of 1970s Moscow Conceptualism, witnesses the Soviet era and its conflict between the individual and the collective. On the other hand, Alimjan Jorobaev, belonging to the post-Soviet period, investigates through photographs the contrasts of nowadays in cultural, social and political fields since the fall of socialism.

Vyacheslav Akhunov (1948, Och, Kyrgyzstan) establishes a social critic of soviet realities and uses the typical iconography of Socialist propaganda, subverting the dominant ideology through the manipulation of propagandistic images. Akhunov believes that while meaning becomes vague in language, significance is found in symbols. Political slogans are deconstructed in Mantras, 1979 and in the manner of a Sufi ritual, layers of descending text whirl closer and closer together, until eventually they meld into one impenetrable mass, losing all meaning, yet imbued with an inexplicable magical aura. In his series of drawings Abandoned Pedestals (The Empty Pedestals Intended for Monuments of Leaders), 1975-76, Akhunov also predicted the future death and destruction of the socialist era.

Since the fall of socialism, photographer Alimjan Jorobaev (1962, Bishkek, Kyrgyzstan) has collected the signs and traces of contaminated stories, mixing archaic remnants with present-day conflicts, vestiges of communism with forms of neonationalism, a return to religious identity with new ways of surviving. This atlas of incongruity that Jorobaev collects and captures, and likewise the narrative that is sparked by each individual image, are nothing other than a faithful mirror of the passage of time, of the continuous economic and political changes under way in the central Asian region.

A well-known photo by Jorobaev Mirages of the Communism #2, 1995, shows a domestic interior in black and white, like a still life: a gas cooker with four rings set between some drawers and a fridge covered in ornamental wallpaper, a pile of unwashed dishes covering the hob. On the same top there is an official portrait of Lenin, the canvas turned upside-down, a clear reference to 1989 and the theme of iconoclasm in the eastern block. But this is not the usual image of a statue that has been ripped from its pedestal. In a most original manner this image questions how symbols weave their way through both the political and private spheres, caught where they are least expected, in mute signs and day-to-day gestures.

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LO ND O N

CHARLIE SMITH LONDON

CH A RLI E SM I TH LONDON WEBS I T E www.charliesmithlondon.com E- M A I L direct @ charliesmithlondon.com PHO N E +44 20 7739 4055 CEL L +44 7958 931 521 CONTA C T N A M E Zavier Ellis

EXHI B I T E D A R T IS T S Sam Jackson Eric Manigaud Alex Gene Morrison Gavin Nolan Dominic Shepherd John Stark OTH E R R E P R E S ENT ED AR T IST S Emma Bennett Kiera Bennett Tom Butler Wendy Mayer Sarah McGinity Gavin Tremlett

COV E R Eric Manigaud Mummy (of a) Bearded Man (detail) 2014 Pencil & graphite powder on paper 110 × 120 cm INS I D E John Stark The Atonement (detail) 2013 Oil on wood panel 122 × 150 cm B AC K Sam Jackson Born to Fast (detail) 2014 Oil on board 26 × 23.2 cm

CULTUS D EO R UM The term cultus deorum was defined by Roman philosopher and polymath Cicero as ‘the cultivation of the gods’. Approximately four hundred years before Emperor Constantine the Great’s conversion to Christianity, this would refer specifically to pagan polytheism. Cultish codes have been a central component of all belief systems throughout history, manifesting themselves in various ritualistic guises. Prayer, sacrifice, offerings and ceremonial actions in relation to symbolic signs, dates and places, compounded by repetition, come to define any individual cult by its most essential process, that of worship.

Each artist in this presentation investigates the cult drive as an important component within their general practice. S A M J A C K S O N makes psychological portraits that employ religious signs and symbols in the form of graffiti or tattoos.

E RIC ­M A NIG A U D makes large scale pencil drawings that offer a touchstone into important events and developments throughout history, including the devastating results of the Nazi cult, and more recently mummification. ALEX GENE ­M ORRISON works across media including painting, collage and animation. He employs archetypal motifs drawn from contemporary notions of the primitive and references the occult. GAVIN ­N OLAN is known for his ongoing series of portraits and self-portraits which draw on religious cults including Judaism and Catholicism; political cults such as Nazism; and the modern cult of celebrity. DO M I N I C ­SH EPH E R D investigates the occult and English folk traditions in his complex paintings of interwoven pattern and figuration. J O H N ­S TA R K has been concerned with philosophies of religion, spirituality and the occult throughout his career, his interests resulting in beguiling oils on panel.

In combination this presentation offers a survey of some of the best technical painters and draughtsmen currently working in London and France, but who also engage with the most fundamental subjects of the human age.

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NE W Y O R K

ETHAN COHEN NEW YORK

ETH A N COH EN N EW Y ORK WEBS I T E www.ecfa.com E- M A I L ecfa @ ecfa.com PHO N E +1 212 625 1250 CEL L +1 917 854 1308 CONTA C T N A M ES Ethan Cohen Zhu Ceng Jessica Wong Liliana Gao

EXHI B I T E D A R T IS T S Aboudia Michael Zelehoski Feng Qin OTH E R R E P R E S ENT ED AR T IST S Andrew Rogers Jin Cai Yan Huang Goncalo Mabunda Daiyun Li Xiaohui Liu Hans Breder Zhilong Qi Feng Qin Chong Shi

COV E R Aboudia Nouchi Dreams: Blue, Red, Orange (detail) 2014 mixed media on canvas 124.5 × 198.1 cm INS I D E Aboudia Nouchi Dreams (detail) 2014 mixed media on canvas 198.1 × 391.2 cm B AC K Aboudia Reminiscence 2012 mixed media on canvas 118.1 × 138.4 cm

In kinetically painted canvasses redolent of Jean-Michel Basquiat and graffiti art, Aboudia Abdoulaye Diarrassouba depicts fevered landscapes and street scenes populated by child-like figures. His collage paintings powerfully showcase his trademark “nouchi” style, drawn from the street culture of children in his home city of Abidjan, Ivory Coast. The work is informed by their ubiquitous graffiti around Abidjan and free-form street language, known as nouchi, as a form of dreamscape in response to privation. Rendered in oil sticks, acrylics and collage, his works are noted for brutal lines of color applied to heavily-layered background collages, details of newspaper and magazine cutouts ingeniously encircled by drawings fall in and out of focus. The resulting composition suggests current events cohering through the imagination into a provocative vision.

Mural-like canvases make his statement monumental but delicate, incorporating collage and word play in a deliberate evocation of children’s encounters with a wartorn world. Refusing categorization as a war painter, Aboudia instead emphasizes the vitality of dreams and language rendered in the nouchi street art style. This style situates Aboudia uniquely in Abidjan, while a range of global influences is articulated in collage and paint. His incomparable expression of lost innocence and enduring childhood dreams exemplifies currents in African contemporary art and its peaking international relevance.

Aboudia’s energized portrayal of the street culture of urban Africa creates a powerful synthesis of historic and current events, propelling Aboudia to the forefront of global contemporary art.

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NE W Y O R K

ETHAN COHEN NEW YORK

ETH A N COH EN N EW Y ORK WEBS I T E www.ecfa.com E- M A I L ecfa @ ecfa.com PHO N E +1 212 625 1250 CEL L +1 917 854 1308 CONTA C T N A M ES Ethan Cohen Zhu Ceng Jessica Wong Liliana Gao

EXHI B I T E D A R T IS T S Aboudia Michael Zelehoski Feng Qin OTH E R R E P R E S ENT ED AR T IST S Andrew Rogers Jin Cai Yan Huang Goncalo Mabunda Daiyun Li Xiaohui Liu Hans Breder Zhilong Qi Feng Qin Chong Shi

COV E R Michael Zelehoski The Hawk 2014 Assemblage with found wood and painted plywood 73.66 × 53.34 cm INS I D E Michael Zelehoski Bridal Sweet 2014 Assemblage with found wood and painted plywood 99.1 × 142.2 cm B AC K Michael Zelehoski Projection 2014 Assemblage with found wood and painted plywood 76.2 × 58.4 cm

The work of Michael Zelehoski involves the literal collapse of three-dimensional objects and structures into two-dimensional space. He strategically disassembles actual found objects and cuts them into sometimes hundreds of abstract fragments before incorporating them partially or completely into the picture plane. The negative space is then filled with carefully fitted pieces of painted wood, creating a solid plane in which the object is trapped in a parody of its former perspective. Objects that begin in spatial continuity with the viewer recede into illusory space, while others appear fully dimensional when they are in fact no more than a relief. Although the sometimes violent process of collapse, fragmentation and recontextualization that these objects undergo negates them on a functional level, they may become more active and productive on the level of our experience. This ongoing dialogue between the deconstruction of the object and the construction of form results in works that are picture, relief and object in one.

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NE W Y O R K

DCKT CONTEMPORARY

D CK T CON TEMPORARY WEBS I T E www.dcktcontemporary.com E- M A I L kt @ dcktcontemporary.com PHO N E +1 212 741 9955 CEL L +1 917 846 7349 CONTA C T N A M ES Ken Tyburski Dennis Christie

EXHI B I T E D A R T IS T S Matthew Craven Brion Nuda Rosch Russell Tyler OTH E R R E P R E S ENT ED AR T IST S Helen Altman Oliver Boberg castaneda/reiman Exene Cervenka Sophie Crumb Lia Halloran Ryan Humphrey Maria E. Pineres Timothy Tompkins Michael Velliquette

COV E R Brion Nuda Rosch Side Portrait on Half Plinth 2014 Acrylic on paper and wood 61 × 18 × 7 in INS I D E Matthew Craven YELLOW JUNGLE: new(Landscapes) 2014 Found images on found book pages on found paper 40 × 31 in B AC K Russell Tyler YAJA 2014 Oil on canvas 24 × 24 in

The three artists exhibited are each influenced by history and its impact on our future. They embrace today by working with materials and processes that seem to forgo current trends and technologies in art.

In M AT T H E W C R AV E N S ’s work, archaeological remains and ruins act as backdrops for forming crypto-historical collages and drawings. Images from lost cultures, relics and landscapes both well-known and extremely ambiguous create the patterns within the works. The results are compositions that highlight a new connection to our past in an aesthetic that is intended to be both cinematic in scope and visionary in perspective. As a civilization, we are left with a puzzle of strange pieces. Craven’s work combines these puzzle pieces into a new framework to view our combined history.

By deconstructing or rearranging the commonplace, B R I O N N UDA R O SC H’s collage and sculptural works heighten awareness, jarring the viewer out of an object’s or photograph’s sense of embedded context. Mundane materials such as found book pages, wood, concrete and recycled house paint are slightly or humbly altered.

Small adjustments, such as additions or subtractions to found book pages, create seemingly impossible situations. The collaged images dictate and negate form and content and the monumental and un-monumental. Sculptures employ rugged materials and abbreviated painting as anthropomorphic stand-ins. Rosch’s processbased works are monuments for the everyday.

RU S S E L L TYL E R is influenced by the crude digital landscapes of outdated 8-bit graphics and the utopian visions of 1960s and 1970s science fiction films. Tyler’s paintings speak to the influence of the fantastic promises of the once newly born Space Age and the glittering, unrealized premises of science fiction. The digital chunkiness of 8-bit imagery finds its analogue in Tyler’s heavily impastoed, geometric constructions, suggesting the use of technologies after their heyday and the nostalgic references which failed to deliver.

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LO S A NG E LE S

LUIS DE JESUS LOS ANGELES

LU I S D E J ESU S LOS ANGELES WEBS I T E www.luisdejesus.com E- M A I L gallery @ luisdejesus.com PHO N E +1 310 838 6000 CEL L +1 858 205 3739 CONTA C T N A M E Luis De Jesus

EXHI B I T E D A R T IS T S Zackary Drucker & Rhys Ernst Chris Engman Masood Kamandy OTH E R R E P R E S ENT ED AR T IST S Chris Barnard Miyoshi Barosh Kate Bonner Hugo Crosthwaite Mara De Luca Martin Durazo Ken Gonzales Day Michael Kindred Knight Margie Livingston Marcos Ramirez Erre Federico Solmi

COV E R Zackary Drucker and Rhys Ernst Relationship, #31 2008 – 2013 Digital C-print 20 × 13.3 in INS I D E (clockwise from upper left) Chris Engman; Inverse Negative; 2010; Digital pigment print; 38 × 48 in; Permeation; 2012; Digital pigment print; 38 × 48 in; Relocation; 2013; Digital pigment print; 30 × 36 in; The Disappearance; 2006; Digital pigment print; 20 × 16 in; Abandoned Crates; 2009; Digital pigment print; 38 × 48 in B AC K Masood Kamandy Tin Foil, Holes, Light 2013 Digital C-print 45 × 36 in

ZA CK A RY D RU CK E R A ND R H Y S ER N ST ’s Relationship is a series of personal snapshots that depicts the arc of their real-life love story. Featured in the 2014 Whitney Biennial, The New York Times describes Relationship as “an especially provocative photographic diary that chronicles the couple’s five-and-a-half year relationship, in which one transitioned from female to male, and the other from male to female. Until now, this had been a private journal.” The photographs (2008–2013) are an intimate voyeuristic view into their private relationship and convey a specific time and place — the sexuality of two people in love and living in Los Angeles, who have opted for a non-operative transition into an altered gender existence on hormones. As both subjects and creators of these images, Drucker and Ernst engage varying elements of self-fashioning, representing themselves in the midst of shifting subjectivities and identities and making images that are both unguarded as well as performative.

C H R I S E N G M A N’s photographs are documentations of sculptures and installations as well as records of elaborate processes. The works takes the human condition as its central theme and examines the most fundamental of issues: the inexplicable fact of our existence, the ungraspable experience of time, and the illusive and unknowable nature of reality. It calls attention to our misperceptions: the gulf that exists between how we see and how we think we see, and the inconstant and constructed nature of memory. The images are visualized expressions of ways of ordering the world in which an illusion is created and shattered in such a way as to allow the viewer to reconstruct the entire process. “Logic,” he says, “is a beautiful thing built upon nothing at all.”

An interdisciplinary artist, MASOOD KAMANDY’s studio practice explores mediums that involve the ‘technical image’, photographic representation, and image dispersion. Kamandy, who was featured in dO C UM EN TA (13) in Kassel, Germany and Kabul, Afghanistan, writes computer programs to manipulate his digital images, a process that encourages a new level of interaction with the photograph’s fundamental numeric elements, treating this raw material in the same manner analog photography manipulates filters and chemicals. Experimental in nature, his practice is not about breaking down or atomizing photography, but rather acknowledging that photography is a slippery and indefinable reality unto itself.

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BUDAPEST

ERIKA DEÁK GALLERY

ERI K A D EÁ K G A LL ERY WEBS I T E www.deakgaleria.hu E- M A I L info @ deakgaleria.hu PHO N E +36 36 1 2013740 CONTA C T N A M ES Páli Sándor Tóth Erika Deák

EXHI B I T E D A R T IS T S Éva Magyarósi Attila Szücs Alexander Tinei OTH E R R E P R E S ENT ED AR T IST S Imre Bak József Bullás EIKE Gergö Kovách Svatopluk Mikyta Zsuzsa Moizer Muntadas Márton Nemes Gábor Pintér Vitaly Pushnitsky

COV E R Alexander Tinei Yellow hand (detail) 2013 Oil on canvas 100 × 70 cm INS I D E Attila Szücs Death and the Maiden 2014 oil on canvas 140 × 200 cm B AC K Éva Magyarósi Hubert Family 2012 Glassprint 42 × 60 cm

The Erika Deák Gallery was founded in 1998. The gallery has developed a reputation for showing emerging and established artists from Hungary and abroad.

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KY IV

DYMCHUK GALLERY

D YM CH U K GA LLERY WEBS I T E www.dymchuk.com E- M A I L info @ dymchuk.com kateryna @ dymchuk.com PHO N E +38 044 379 12 70 CONTA C T N A M E Anatoly Dymchuk Kateryna Filyuk

EXHI B I T E D A R T IS T S Igor Gusev Vasiliy Tsagolov Arsen Savadov OTH E R R E P R E S ENT ED AR T IST S Aleksander Roytburd Bondero Illya Chichkan Kirill Golovchenko Leonid Voitsekhov Les Podervyanskyi Maksim Mamsikov Yuri Solomko

COV E R Vasiliy Tsagolov Natasha (detail) 2013 oil on canvas 237 × 200 cm INS I D E Igor Gusev Peter, where is the iPhone?

2013 oil on canvas 110 × 150 cm B AC K Arsen Savadov Donbas-Chocolate series 1997 C-print 160 × 100 cm

In 2006, prior to establishing the Gallery in Kyiv, Anatoly Dymchuk founded ­D ymchukArtPromotion concentrated on promoting not only visual art, but literature, music and theatre. As a result the organization has published a number of books and catalogues, has supported theatrical productions and maintained an active exhibition program at NT-Art Gallery (Odessa).

Dymchuk Gallery was found in Kyiv in 2008 and is committed to showing the best of contemporary Ukrainian art, with a focus on the art movements of Ukrainian New Wave and Ukrainian Transavantgarde. In our 200 m² space, we present monthly solo and group exhibitions, alternating exhibitions of new work with rigorous critical presentations. Over the last few years, we have published more than 10 fully illustrated catalogues for selected shows. In the choice of works to be exhibited there is no prejudice as to the style or materials employed (with caution that oil on canvas medium is still predominates in Ukrainian Art). The sole criteria is innovation of concept and maturity of technique.

Prominent Ukrainian artists represented during this period include Igor Gusev, ­Vasiliy Tsagolov, Arsen Savadov, and Illya Chichkan. We consider the Gallery as a commercial space with a public conscience. Spacious facility of the Gallery doesn’t allow maintaining expanded exhibitions introducing large-scale works and dramatic installations, thus the Gallery initiates these projects on other exhibition sites (museums, art-centers, galleries). Last year Dymchuk Gallery launched the big traveling exhibition “Odessa school. Tradition and actuality”, which has already been shown in Kyiv, Donetsk and Dnepropetrovsk.

Dymchuk Gallery presents three prominent Ukrainian artists with their latest output. Vasiliy Tsagolov documents the growing strains in Ukrainian society. He has been working since 2012 on a series of monumental paintings called “The Specter of Revolution” exhibited just a month before the unrest began at his solo show in Dymchuk Gallery. Igor Gusev visually identifies the moment when the perceptible Symbol was created in an opposite process of disbandment, transformation and metamorphosis. Arsen Savadov’s series “Donbas-Chocolate” depicts miners from the Eastern industrial region of Ukraine.

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G IJ Ó N

ESPACIO LIQUIDO

ESPA CI O LI QU I D O WEBS I T E www.espacioliquido.com

Our proposal consists of a duo show with two artists from different generations José Manuel Ballester and Juan Baraja.

E- M A I L liquido @ espacioliquido.net

J O S É M A NU E L BA L L E S TE R (Madrid, born in 1960), painter and photographer, degree in Fine Arts in 1984 from the Universidad Complutense of Madrid, Spanish Photography Award 2010.

PHO N E +34 985175053 CEL L +34 653977320 CONTA C T N A M E Nuria Fernández Franco

EXHI B I T E D A R T IS T S José Manuel Ballester Juan Baraja OTH E R R E P R E S ENT ED AR T IST S Chechu Álava Miguel Aguirre Juan Baraja José Manuel Ballester Gerardo Custance Ingo Giezendanner Ellen Kooi Fran Meana Rebeca Menéndez Amparo Sard

COV E R Juan Baraja Composition of photos from the series “Aguas Livres” 2013 Photography 110 × 142 /110 × 142 / 40 × 50 cm INS I D E José Manuel Ballester Variaciones a partir de Mondrian 2 2013 Digital print on Canvas 115 × 186 cm B AC K ( L E FT ) Juan Baraja ST _14. Serie Aguas Livres 2013 Photography 25 × 30 cm B AC K ( R I G H T) José Manuel Ballester Variaciones a partir de Mondrian 6 2013 Digital print on canvas 115 × 186 cm

He began his artistic career with paintings focusing on the techniques of the Italian and Flemish Schools of the 15th and 18th centuries. Starting in 1990 he began to combine painting and photography. Among his numerous expositions include “Lugares de Paso” (Valencia 2003), “Setting Out (New York 2003), and “Habitación 523” (Museo Nacional Centro de Arte Reina Dofia, Madrid 2005). Together with other artists he participated in numerous exhibitions such as AR C O , AR T C H I C AG O , AR T FORUM GERMANY and PARISPHOTO and cities such as Dallas, Miami, Sao Paolo, Dubai, Peking, Shanghai, Toronto, and many others.

In 1999 he was awarded the Spanish Etching Award. In 2006 he received the Goya Award for Painting of Villa de Madrid and later in 2008 he was awarded the ­P hotography Award of the Comunidad de Madrid. Lately, he received the Spanish Photography Award 2010 on 10 November of the past year from the Ministry for Culture. The jury voted him because of his personal history, his very peculiar interpretation of architectural space and light and his outstanding renovation of photographic techniques. His artworks are part of the collections of M N C AR S, Marugame Museum for Contemporary Spanish Art in Japan, I VAM Valencia, Art Museum ­M iami and Cisneros Fontanals Art Foundation Miami, Central Academy of Fine Arts of ­P eking, Patio Herreriano, 21 Century Museum of Kentucky, Würth Museum, Telefónica Foundation, Banco Espiritú Santo and Coca Cola Foundation among others.

On the other hand, JUAN BARAJA shows a personal view of a representative building in Lisboa, Aguas Livres. He is a promising artist who has been selected in the show “Contexto crítico. Fotografía española siglo X X I ” curated by Museology with a selection of the most representative Spanish photographers currently building a new horizon for this medium.

Juan Baraja shows his series “Aguas Livres” as a mosaic composed with a set of photographs in different sizes where the composition of lines, the architectural details, light, and especially colour, offer a meticulous landscape which sometimes makes us forget the building itself to pay attention to the small details, in their forms and subsequent developments.

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NE W O R LE A NS

JONATHAN FERRARA GALLERY

J ON ATH A N FERRARA GALLERY WEBS I T E www.jonathanferraragallery.com E- M A I L info @ jonathanferraragallery.com PHO N E +1 504 522 5471 CONTA C T N A M ES Jonathan Ferrara Matthew Weldon Showman

EXHI B I T E D A R T IS T S Monica Zeringue and Michael Pajon OTH E R R E P R E S ENT ED AR T IST S David Buckingham Hannah Chalew Mel Chin Skylar Fein Generic Art Solutions Adam Mysock Gina Phillips Nikki Rosato Dan Tague Paul Villinski

COV E R Michael Pajon They Sing and Drill and Work 2014 mixed media collage on antique book cover 14 × 17 in INS I D E Monica Zeringue Shewolf 2012 Graphite on primed linen 30 × 40 in B AC K ( L E FT ) Michael Pajon A Beat of the Heart, A Flick of the Tongue 2014 Mixed media collage on antique book cover 17 × 14 in B AC K ( R I G H T) Monica Zeringue Glisten 2011 Graphite and hand-sewn Swarovski crystals on primed linen 22 × 30 in

M O N I C A Z E R I N G U E creates ethereal and spellbinding works that are abound with references to mythology. Adaptations of the artist’s self-portrait recur in varying configurations throughout her canvases, often bound together by knots and masses of hair. Her fluid graphite drawings are typically drafted on heavily primed linen, occasionally incorporating embroidery and other mixed media embellishments.

The artist’s own image serves as the agent to move the viewer into her musing allegorical landscapes.

Employing imagery from ancient Greek and Roman tales particularly the trials of Hercules, I weave a new mythology with myself as the center. The symbols become something completely new in this totally different context, but still recall goddesses, monsters and mortals struggling for survival, power and a place in the world. I am tracing my struggles with identity, trying on new ones; a beast, a savior, a nurturer, frightened and then frightening. The hope is that as I become braver in the making of art, I will become braver in my life. The open, empty space in the drawings play off of the finely rendered images to create a timeless dream-like space, where only certain information is given in exquisite detail but the rest must be imagined.

MICHAEL PAJON’S whimsical and narrative collages are meticulously created from hand-cut materials including antique scrapbooks, book covers, matchbooks, handwritten letters and ledgers, lithographs, maps, siding samples and old photographs.

All of his materials come from the golden age of printed matter from the late 1860’s to the 1940’s, to which the artist adds his own hand-drawing in order to connect a new narrative from the elements of nostalgia.

Collage is a scavengers’ medium, and though collected from the discarded, this work is not meant to be nostalgic. These bits of bone and sinew are not unlike a memento mori — a remembrance of ones mortality — in a state of reanimation.

These maps, postcards, children’s book illustrations, matchbooks, sheet music, and calling cards are the guts and gristle of common things people collected over a life, spared the fate of being buried in the rubble and shadows of once prosperous towns, of the work of the grass. By collaging these elements amidst drawings and other media, I create small relationships to arrive at a whole image. Like delicate strands of DNA, these tiny pieces in combination hold the key to unique identity — the common as well as the fantastic.

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MILA N

THE FLAT – MASSIMO CARASI

TH E FLAT – M A SSI MO C ARASI WEBS I T E www.carasi.it E- M A I L carasi-massimo @ libero.it PHO N E +39 2 58313809 CEL L +39 3332155325 CONTA C T N A M ES Massimo Carasi Daniela Barbieri

EXHI B I T E D A R T IS T S Paolo Cavinato Michael Johansson OTH E R R E P R E S ENT ED AR T IST S Filippo Armellin Guido Bagini Michael Bevilacqua Edward del Rosario Greta Frau Asuka Ohsawa Michelangelo Penso Dmitry Teselkin Ward Shelley Leonardo Ulian

COV E R Paolo Cavinato Interiors #5 2014 Wood, fluorocarbon wire, acrylic, aluminium 152 × 152 × 22 cm INS I D E ( L E FT ) Michael Johansson Ghost V 2011 Various media (Installation at The Flat – Massimo Carasi, solo show “Familiar abstraction”) 2.1 × 7 × 1.5 m INS I D E ( R I G H T) Paolo Cavinato Interior Projection #11 2014 Wood, iron, fluorocarbon wire, acrylic, Plexiglas 77 × 77 cm B AC K Installation view at The Flat – Massimo Carasi, 2014: Michael Johansson, Assorted Garden Assembly-II / Paolo Cavinato, Interiors #6

Paolo Cavinato (1975, Mantova, Italy), through a variety of expressive styles, creates multi-sensory spaces in which images of reality converge as rational constructions and emotive projections. The artist’s research begins with the portrayal of physical rooms in the attempt of recreating hypothetical absolute forms so that the viewer is invited to look at those as probable realities. In some works one finds synaesthetic spaces that can be lived or travelled through: spaces in which one’s senses are incited, superimposed or amplified. In others, one enters into a sort of limbo that bridges both the finite and infinite realm. Thus space becomes a continual evolution, a Void. From that which can be transformed, suspended, eternally transient, Cavinato arrives at a representation of the absolute through a kind of infinitesimal mantra.

Michael Johansson (1975, Trollhättan, Sweden), as well as a things-finder, is a contemporary “archeologist”, searching objects that can give useful — at times surprising — information/advices on times we are living/current times. He makes his discoveries at flea markets or storage spaces, then he assembles all with careful strictness/accuracy, “forcing” these objects in a geometric cohabitation to form/ shape new sculptures. In a renewed context, they obtain new visibility. Things we recognized as “familiar”, make up new harmonic systems; they are piled/stacked on blocks, following definite criteria of sculptural design, with order and eye for colors.

Each item, although alien from its own primary/original context, doesn’t appear unrelated to the composition; even better gain new value, under its position/ranking in an unusual scenery, no matter the material of which it is made. Johansson struggles against space and obstruction of neglect, removes any velleity of good design from the objects, with the aim to show their function depriving from their functionality.

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LO S A NG E LE S

HONOR FRASER

H O N OR FRA SER WEBS I T E www.honorfraser.com E- M A I L info @ honorfraser.com PHO N E +1 310 837 0191 CEL L +1 310 801 9711 (Angela Robins) CONTA C T N A M ES Laura Watts Angela Robins

EXHI B I T E D A R T IS T S Brenna Youngblood Sarah Cain Alexis Smith OTH E R R E P R E S ENT ED AR T IST S Jeremy Blake Rosson Crow Tomoo Gokita Glenn Kaino Tillman Kaiser Annie Lapin Meleko Mokgosi Kaz Oshiro David Ratcliff Mario Ybarra Jr.

COV E R Brenna Youngblood diamond lane 2013 Mixed media on canvas 60 × 72 × 2 in Photo: Brian Forrest

INS I D E ( L E FT ) Brenna Youngblood; Untitled; 2013; Mixed media on panel; 19 ¾ × 16 in (detail) Photo: Farzad Owrang

INS I D E ( R I G H T) Brenna Youngblood; M.I.A.; 2011; Tree; 48 × 48 × 48 in Collection of the Los Angeles County Museum of Art, Purchased with funds provided by AHAN: Studio Forum, Art Here and Now Purchase (M.2012.82) Photo: Joshua White

B AC K ( L E FT ) Sarah Cain Freedom is a Prime Number 2012 Installation view Photo: Joshua White

B AC K ( R I G H T) Alexis Smith Femme Fatale 2009 Mixed media collage 28 × 23 × 2 in Photo: Joshua White

Honor Fraser Gallery represents emerging and established artists who work across mediums and with varying approaches, from process-driven to object-focused strategies. Presenting work that is aesthetically surprising and intellectually rigorous, the artists we represent create exhibitions that challenge artistic and social conventions. For VOLTA10 Basel, we are presenting new paintings by Brenna Youngblood.

Working in a dynamic hybrid of abstraction and collage, Youngblood’s often monochromatic works derive their subtle coloration from their intensely textured surfaces: her compositions are achieved by layering and removing materials on canvas or panel. Embedding fragments of mundane items that are often overlooked but which are intimately connected with her daily life (food wrappers, wallpaper, wood paneling, and photographic images of clocks and light switches, for instance), Youngblood is committed to the potential for common objects to communicate personal experience and participates in the ongoing conversation on collage and found materials initiated by artists such as Robert Rauschenberg, Noah Purifoy, and Betye Saar.

This presentation of Brenna Youngblood’s work includes her recent sculpture ­R evolver (2013). Made of found and altered doors that turn on a central axis, R­e volver is a portal leading from the open space of the fair into a smaller inner room where art viewing is a more intimate experience.

In this second room, we are presenting works by Sarah Cain and Alexis Smith. To varying effects, Cain, Smith, and Youngblood use the techniques of assemblage, bricolage, and collage as modes of address. As a formal device, collage has a rich history as a vehicle for the type of social commentary for which Alexis Smith is known. At turns humorous and poetic, Smith’s work incorporates images, objects, and text fragments from sources like advertising, Hollywood cinema, literature, poetry, and pop music. Sarah Cain’s approach to painting involves a constant line of questioning of the limits of painting, sculpture, and installation. From her diminutive works on paper to her immersive, site-specific installations, Cain’s work explores the potential of moving beyond the boundaries of painting, as well as within them: in addition to paint on canvas, she often attaches found elements such as beads, feathers, clothing, and plastic bags in a direct challenge to the conventions of painting.

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NE W Y O R K

FROSCH&PORTMANN

FRO SCH & PO RTM ANN WEBS I T E www.froschportmann.com

From punk aesthetic over trashy-chic to minimal elegance — new works by Robert Yoder, Hooper Turner, and Christian Frosch.

E- M A I L eva @ froschportmann.com PHO N E +1 646 820 9068 CEL L +1 646 266 5994 CONTA C T N A M ES Eva Frosch hp Portmann

EXHI B I T E D A R T IS T S Christian Frosch Hooper Turner Robert Yoder OTH E R R E P R E S ENT ED AR T IST S Raffaella Chiara Seth Michael Forman Steve Greene Julia Kuhl Eva Lake Vicki Sher

COV E R Hooper Turner #112 (detail) 2012 Oil on chromogenic print 20 × 14 3/8 in INS I D E Robert Yoder Teenage Donna (Turning Heads) 2012 Enamel, acrylic, graphite, and marker on paper 22 × 26 in B AC K Christian Frosch Panta Rhei #11 2010 Mixed media 13 × 13.5 × 15 in

Seattle-based RO BE R T YO D ER has recently introduced large amounts of black into his paintings. The density of these works creates a roughness and adds a punk/ S&M aesthetic to the overall collection. Paint goes directly from the tube onto the canvas or paper, with simple transfer processes. His new works are graphic, hard and unapologetic with their subject matter and intent. The paintings are ultimately grave markers. They are heavy and object-like; time-worn granite and marble, barely legible inscriptions and the overarching desire to respect are concerns when Yoder paints. Imagery is vague and faded; it offers information, but only to those who slow down and take time to look.

In his new body of work, the Typeforms, H O O PER T UR N E R paints directly onto various found supports, be they art auction catalogues, fashion ads or publicity photos of celebrities and models. The artist paints letters and numbers on these preexisting images, creating various interactions and readings — sometimes the underlying imagery almost disappears completely, other times the simple painted form emphasizes its presence and power. Like his earlier paintings, these works reference the conflict of maintaining a unique material presence in a time of massdissemination and commodification.

German artist CHRISTIAN FROSCH refers to his studio as his laboratory; a formally trained artist, Frosch disengaged himself from actively working with brush and pencil. At the beginning of his artistic process stands an idea and the material — seeking no specific outcome or end-product. The act is minimal; for “Panta Rhei” (everything flows), Frosch fills a plastic cup on a white pedestal with a certain brand of boats paint, then he waits. The chemical reaction between plastic and paint leads to the shrinkage of the cup and eventually the paint flows out. Again, more time passes, the paint dries, and the sculpture reaches its final state.

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C O LO G NE

GALERIE JULIA GARNATZ

G A LERI E J U LI A G ARNATZ WEBS I T E www.juliagarnatz.com E- M A I L info @ juliagarnatz.com PHO N E +49 221 3406297 CEL L +49 170 1862855 CONTA C T N A M E Julia Garnatz

EXHI B I T E D A R T IS T S Ilona Herreiner René Kemp OTH E R R E P R E S ENT ED AR T IST S Siegfried Anzinger Armin Chodzinski Gina Lee Felber Johanna Freise Robert Haiss Marie Luise Lebschick Katarina Lönnby Adrian Norvid Ramona Schintzel Janet Werner

COV E R Ilona Herreiner mit Rankhilfe 2013 Alder wood 210 × 45 × 43 cm INS I D E René Kemp Lyrichoerd 2013 Ink on paper 142 × 187 cm B AC K ( L E FT ) Ilona Herreiner Cliff Swimmer 2014 Lime-tree wood 75 × 42 × 22 cm B AC K ( R I G H T) René Kemp I’m fluent in German 2014 Ink on paper 150 × 150 cm

RE NÉ K E M P, born in 1982 in Cologne, studied from 2008-2011 media art at Kunsthochschule für Medien in Cologne. Since 2011 he studies visual art with Marcel Odenbach at Kunstakademie Düsseldorf. Kemp lives and works in Cologne.

Kemp’s media are works on paper and on canvas. Both working hand in hand, almost causing each other and being equally important in his oeuvre. The fundaments of media art stay visible most of the time as Kemp often derives his imagery from printed media such as magazines, music covers, books, cartoons or similar.

In order to approach Kemp’s enigmatic art, one also has to take account of Kemp’s studies of German language and literature. Language, the written word plays an important role. Often literary quotations or aphorisms are found in his paintings and drawings, expecting a well educated or at least a quite awake onlooker. Kemp’s art is challenging and never gives its final intention away. It is an art of quiet dialogue, perhaps even provocation that sometimes ends in Remis (draw), sometimes in mate.

IL O NA HE RRE INE R, born in 1970 in Bavaria, was master pupil of John Bock and received notable awards such as the scholarship Else-Heiliger-Fond of the KonradAdenauer-Stiftung, Berlin. She lives and works in Augsburg.

Herreiner learned professional wood carving before she studied fine art at the art academy in Karlsruhe. Typical for Herreiner are work cycles, each work being carved in one piece. The groups of sculptures vary in size and number, depending on the size of the tree they come from, as each work cycle is usually coming from the same trunk. The surface of the work is alternately rough and smooth and reveals the work process of chainsaw, axe, or chisel. Fabric and color is cautiously applied, always maintaining the overall wooden appearance.

Herrreiner’s figures rarely have an obvious, main frontal view. They force the viewer to move around the sculpture, to bend, or strain and to discover unexpected, odd scenarios.

The interpretation levels for Herreiner’s complex works are multilayered. In her sculptures the real merges with the fantastic as we are brought into the cipher like, encoded seeing of the artist. Transformations of the human figure, aspects of mythology, fable, spirit and the child’s world are characteristic for her work, as well as the argument of mankind, its physiognomy, its inadequacy and state of mind.

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D U B LIN

GREEN ON RED GALLERY

G REEN ON RED GALLERY WEBS I T E www.greenonredgallery.com E- M A I L info @ greenonredgallery.com PHO N E +353 1 671 3414 CEL L +353 87 245 4282 CONTA C T N A M ES Jerome O Drisceoil Marysia Wieckiewicz-Carroll

EXHI B I T E D A R T IS T S Gerard Byrne Caoimhe Kilfeather Caroline McCarthy Bridget Riley OTH E R R E P R E S ENT ED AR T IST S John Cronin Damien Flood Tom Hunter Mark Joyce Alice Maher Niamh McCann Ronan McCrea Bea McMahon Dennis McNulty Niamh O’Malley

COV E R Bridget Riley Rose Rose 18 (detail) 2011 Oil on linen 45 × 32.9 cm INS I D E Gerard Byrne A country road. A tree. Evening.

Route à la Campagne, avec Arbre. Soir. À coté du Hameau ‘Le Sage’ au Nord-Est de Roussillon, faisant face au Pie de Boeuf et au Vergilas.

2005 – 2007 Fuji crystal archive print 88 × 110 cm B AC K ( L E FT ) Caroline McCarthy Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday.

2014 Acrylic paint on canvas 30 × 40 × 4 cm B AC K ( R I G H T) Caoimhe Kilfeather Thin Swells 2014, unique Two painted cast iron objects 12 × 11 × 12 cm

Gerard Byrne (b. 1969, Dublin) works primarily in film and photography which he presents as ambitious large-scale installations to question how images are constructed, transmitted and mediated. Influenced by literature and theatre, Byrne’s work consistently references a range of sources from popular magazines of the recent past to iconic modernist playwrights like Brecht, Beckett, and Sartre. He represented Ireland at the Venice, Gwangju, Lyon and Istanbul Biennales. Most recent solo shows include: FRAC, Carquefou, France, Baltimore Museum of Art, USA, Praxes Centre for Contemporary Art, Berlin, The Whitechapel Gallery, London.

Caoimhe Kilfeather’s work is predominantly sculptural, and is informed by a range of material, formal and art historical interests. Recent exhibitions include: Before It Stirs the Surface, Oonagh Young Gallery, The Line of Beauty, IMMA, What Lies Beneath at Green On Red Gallery, Dublin, Into the light, Crawford Art Gallery, Cork and Space of the Present, Leipzig Kunstverein. Kilfeather (b. 1979) lives and works in Dublin.

Caroline McCarthy (b. 1971, Dublin) is based in London since completing an MA in Fine Art at Goldsmiths College in 1998. Her works are included in the collection of Irish Museum of Modern Art, Allied Irish Bank, Arts Council of Ireland, ­Z abludowicz Collection and many private collections. Solo exhibitions include Hoet Bekaert Gallery, Ghent (2008); Gimpel Fils Gallery, London (2008); Galerie Bugdahn und ­K aimer, Düsseldorf (2007); and most recently a permanent installation for the C ­ icely ­S aunders Institute, commissioned by King’s College London in association with the Contemporary Art Society (2010).

Bridget Riley (b. 1931, London) is one of the originators of Op Art. Her 1960s black and white, geometric paintings are now iconic. She is the recipient of 2012 Sikkens Prize, Rubens Prize and 2003 Praemium Imperiale Prize, Japan Arts Association.

Recent solo shows include: David Zwirner, London, 2014, Max Hetzler, Berlin, 2013, Bridget Riley: Paintings and Related Work (2010-2011), the National Gallery, London and Bridget Riley: From Life, The National Gallery, London, 2010. Bridget Riley is represented by the Green On Red Gallery since her first exhibition there in 1995.

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ME XIC O C ITY

GALERIA ENRIQUE GUERRERO

G A LERI A EN RI QU E GUERRERO WEBS I T E www.galeriaenriqueguerrero.com E- M A I L info @ galeriaenriqueguerrero.com PHO N E +52 55 5280 2941 CEL L +52 55 5280 5183 CONTA C T N A M E Enrique Guerrero

EXHI B I T E D A R T IS T S Beatriz Zamora Daniela Edburg Daniel Gómez MANGLE Miler Lagos Quirarte+Ornelas Richard Stipl OTH E R R E P R E S ENT ED AR T IST S Adela Goldbard Carolina Ponte Felipe Ehrenberg Hector Falcon Manuel Cerda Mauro Piva Miguel Angel Madrigal Pablo Helguera Pedro Varela Yui Kugimiya

COV E R Daniela Edburg Civilized Goat 2014 Digital print 110 × 73 cm INS I D E Richard Stipl Mirabilia 2014 Wood and silver leaf 80 × 90 x10 cm B AC K Daniel Gómez Poscolombinos 2014 Gold Life size

G A L E RIA E NRIQ U E G U E RR ER O was established in 1997 as the result of an intense decade of collaboration between prestigious cultural institutions. Nowadays the gallery is considered as one of the most important gallery in Mexico due to their constant effort to support young talent. The gallery has carried more than 100 exhibitions among their facilities and has participated in more than 70 international fairs during his 15 years of career.

Today’s gallery represents a group of young artists who are part of the emerging art scene in Latin America. All of them developing a strong contemporary vision that manages to explore all the disciplines that currently comprise the visual arts: painting, sculpture, photography, video, installation and digital media.

Although its vocation is contemporary art, Galeria Enrique Guerrero features Latin American Masters such as José Clemente Orozco, David Alfaro Siqueiros, Carlos Mérida, Leonora Carrington, and Francisco Toledo. The intense outreach and advocacy has led to the successful development and recognition of the artists it represents confirming its own reputation as a consolidated gallery.

RICHA RD S TIP L . While working in a variety of materials and media and pushing the boundaries of figurative expression in sculpture, Stipl arrives at a crossroads where each avenue leads back to the original departure point and we are constantly reminded of the circular and labyrinthine nature of his artistic pursuits.

M IL E R L A G O S , born in Bogotá in 1973, works with various media including video, installation and sculpture. One of his main goals is to provide a lesson to the viewer, remembering that things are not always as they appear, creating balloons filled, not of air but of cement, wood logs that are actually made of printed paper,or jewelry made of traditional colombian sweets. Lagos proposes the decontextualization of his work, as well achieving to deceive the spectator with his meticulous technique and rigorous conceptual structure.

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SEOUL

GALLERY H.A.N.

G A LLERY H .A .N .

WEBS I T E www.gallery-han.com

S HO R T INTE R V IE W A BO U T M Y UN G I L L EE’ S WO R KS Q. You usually use pink color, why pink color?

E- M A I L hangallery55 @ naver.com

A. Pink color is very colorful, on the other hand, I think this color can express a ­h uman’s hidden instinct and desire.

PHO N E +82 2 737 6825

Q. What is your subject?

CEL L +82 10 9108 5529

A. As you know, the title talks about the human world of mind with anxiety. So I ­a lways want to remain mentally alive besides I would like to see my inspiration.

CONTA C T N A M E Sungwon Lee

Q. What is the meaning of stainless steel?

A. We live together many people on the network also connect relation, form, culture and rule etc. Our lives are in contact with everything. That’s what I mean.

EXHI B I T E D A R T IS T S Myungil Lee Kyeongsig Yang OTH E R R E P R E S ENT ED AR T IST S Kyungja Rhee Eungki Kim Sangmo Koo Kijoo Han Hwang Hur Youngwon Kim

S HO R T INTE R V IE W A BO U T KY EO N G SI G YAN G ’ S WO R KS Q. What is the meaning of the book?

A. I think of books as resources of truth. What is existence of each individual person in the social structure? I want to seek the answer and truth through my works.

Q. What is the trace of holes in the book? What type of mark are the holes?

A. These mark shots in the book and disassemble or tear a piece of paper.

Q. It looks like a battle scene, what is meaning the toy soldiers in the holes?

COV E R Kyeongsig Yang History… Self-Existence (detail) 2013 Mixed media detail INS I D E Myungil Lee Untitled 2013 Acrylic on canvas 145.5 × 97 cm B AC K Keyongsig Yang History… Self-Existence 2013 Mixed media 70 × 50 × 12 cm

A. They are victims in our society between progress and development. Finally, it seems to be everyone including me……

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LO ND O N

PATRICK HEIDE CONTEMPORARY ART

PATRI CK H EI D E CONTEMPORARY ART WEBS I T E www.patrickheide.com E- M A I L info @ patrickheide.com PHO N E +44 207 724 5548 CONTA C T N A M ES Patrick Heide Clara Andrade Pereira

EXHI B I T E D A R T IS T S Reinoud Oudshoorn Károly Keserü OTH E R R E P R E S ENT ED AR T IST S Sarah Bridgland David Connearn Pius Fox Ina Geissler Alex Hamilton Thomas Kilpper Minjung Kim Hans Kotter Thomas Müller Susan Stockwell

COV E R Károly Keserü Untitled (1211141) 2012 Acrylic & Thread on linen 70 × 60 cm INS I D E Reinoud Oudshoorn Untitled (detail) 2010 Frosted glass and iron 112 × 50 × 13 cm B AC K ( L E FT ) Károly Keserü Untitled (1005211) 2010 Ink and graphite on paper 30 × 21 cm B AC K ( R I G H T) Reinoud Oudshoorn Untitled 2014 Frosted glass and iron 72 × 51 × 19 cm

At VOLTA Basel 2014 Patrick Heide Contemporary Art presents two gallery artists, Kàroly Keserü, who has been represented by the gallery since the beginning and Reinoud Oudshoorn, whose first solo show in the gallery was in July 2013.

Reaching out into the realms of conceptual and digital art, Hungarian artist, Kàroly Keserü (b.1962, Budapest, HU), communicates an essential message of the gallery program: pushing the boundaries of non-figurative drawing and works on paper.

Keserü’s art arises from the considerations of Modernism and primitive art, yet challenges their roots and further expands their vocabulary. His paintings and drawings are meticulous yet expansive, minimal yet playful, they are an inquiry into the continuation of Modernism and post-Modernism and its significance in the digital age.

Indirectly inspired by constructivism, geometrical and concrete art as well as music, folk art and even textiles, Keserü searches for an equilibrium between modern and contemporary, system and chance, Western and Eastern philosophy and ultimately between the physical and the metaphysical.

Reinoud Oudshoorn (b.1953, Ommen, NL) takes the illusionary language of painting and applies it to sculpture to form a bridge between the spatial illusion of a flat surface and the concrete reality of a physical object.

Created on the basis of precise technical drawings Oudshoorn’s sculptures are designed to all possess the same vanishing point, which is usually set at 1,65 meters.

Originating from the revolutionary ideas of the Renaissance, the vanishing point alludes to the invisible world that lies behind the point where all lines converge. In Oudshoorn’s sculptures it suggests an endlessness in the space that surrounds us, an infinity of mind and sphere.

The Dutch sculptor personally assembles and manufactures every sculpture, whether made from frosted glass, wood, steel or iron. The constructions with frosted glass refer to the contemplative and mysterious, atmospherically reminiscent of the muffled silence of mist. The wood or iron sculptures are inspired by shapes of nature and organisms. Oudshoorn wishes to create visual images that trigger one’s own imagination: “A work must produce more space than it consumes” as the artist explains.

Both artists work on the boundaries of the formal and the metaphysical, both use art history as a source and transform it into striking new visions. And both conjure up images in our minds that originate from the spheres of our subconscious.

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LE IP ZIG | B E R LIN

GALERIE JOCHEN HEMPEL

WEBS I T E www.jochenhempel.com E- M A I L info @ jochenhempel.com PHO N E +49 341 960 00 54 CEL L +49 179 108 15 23 CONTA C T N A M E Jochen Hempel

EXHI B I T E D A R T IS T S Stephan Balkenhol Ulf Puder Peter Krauskopf Esko Männikkö Carsten Fock Matthias Weischer OTH E R R E P R E S ENT ED AR T IST S Joe Amrhein Benjamin Bergmann Hartwig Ebersbach Oliver Kossack Schirin Kretschmann Jong Oh Tilo Schulz Andreas Schulze Beat Streuli Rebecca Wilton

COV E R Stephen Balkenhol Kleine Figurensäule (Mann auf Treppe) 2013 Painted wawa wood 158 cm INS I D E Ulf Puder Ryder’s House 2014 Oil on canvas 50 × 50 cm

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VIE NNA

HILGER BROTKUNSTHALLE

H I LG ER BRO TK U NSTHALLE WEBS I T E www.hilger.at

“A U S TRIA N PA INTING – F R O M R EAL I SM T O AB ST R AC T I O N ”

E- M A I L ernst.hilger @ hilger.at michael.kaufmann @ hilger.at

The Austrian artists A S G A R/ G AB R I EL , Gunter DAM I SC H , Oliver DO R F E R and Andreas L E IK A U F have different approaches to the topic of abstraction and the figurative. The juxtaposition of their work is of further interest, as all are painters who employ very different painting techniques and address divergent subject matters.

PHO N E +43 1 512 53 15 218 CEL L +43 650 27 39 650 CONTA C T N A M ES Ernst Hilger Michael Kaufmann

EXHI B I T E D A R T IS T S Asgar/Gabriel Andreas Leikauf Oliver Dorfer Gunter Damisch OTH E R R E P R E S ENT ED AR T IST S Daniele Buetti Clifton Childree Faile Shepard Fairey Peterson Kamwathi Anastasia Khoroshilova Ángel Marcos Cameron Platter Michael Scoggins Simón Vega

COV E R Asgar/Gabriel In Case (detail) 2014 Collage, acrylic, oil on canvas 270 x170 cm INS I D E Andreas Leikauf Meet me where the money is …

2014 Acrylic on Molino 100 × 140 cm B AC K ( L E FT ) Oliver Dorfer Pulpproject/oceania 2 2013 Acrylic behind acrylic glass 200 × 200 cm B AC K ( R I G H T) Gunter Damisch Blauer Weltfeldübergang 2012 Oil on canvas 130 × 140 cm

Andreas LEIKAUF (b. 1966) recycles words and phrases, which he takes from magazines and newspapers. He combines these with figurative scenes and unmasks empty catch phrases and images known from high-gloss magazines.

The Iranian-Austrian artist duo ASGAR/GABRIEL (b. 1974/1975) known for colourful fully composed figurative paintings with quotes of phi­losophers, political texts or reference works of art. With their new paintings they take us on an exploration in to the techniques and consciously absurdist world of Dadaism. Now, using collage, assemblage, abstraction, Cubism and reductionism in their repertoire of technical references, the artists create progressively abstract dioramas that emote a sense of seduction and imminent despair in increasingly tactile ways.

In Oliver D O RF E R’s (b. 1963) large format acrylic works, the figurative and the abstract seem to fluctuate. When seen from afar, figures, faces and objects can be discerned coming out of an abstract background. But when approached, these figurative elements disappear and converge with the abstract. This fluctuation between abstraction and figuration is employed by the artist to point out and criticize the overkill of visual inputs in today’s society.

Gunter D A M IS CH (b. 1958), rose to fame as part of the ‘Neue Wilde’ movement — a group of young artists that responded to the proclaimed ‘end of painting’ in the 1980s, with expressive and colourful works. Damisch has developed a unique iconography and mythology over the years, and in many mediums: oil paintings, sculptures, woodcuts and collages.

CO L L E CTIO NS (S E L E CTIO N ): A S G A R / G A B R I E L : Marc Quinn private collection (U K ); Frank Gallipoli Foundation (U S A ); Carla & Bruno Brown Collection (B E L ); Siemens Art Foundation (G ER ) Gunter D A M IS CH: Museum Würth (G E R ); Albertina (AUT ) Oliver D O R F E R : Margulies Collection (U S A ); Bloom Collection (U S A ); Museum Würth (G E R); E P O – Collection (G E R ) Andreas L E IK A U F : Museum Angerlehner (AUT ); STRABAG Collection (AUT ); Collection of the ministry for art and culture (AUT )

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NE W Y O R K

THE HOLE

TH E H OLE WEBS I T E www.theholenyc.com E- M A I L krysta @ theholenyc.com PHO N E +1 212 466 1100 CONTA C T N A M ES Kathy Grayson Krysta Eder

EXHI B I T E D A R T IS T S Kadar Brock Ayan Farah Gabriel Pionkowsi Evan Robarts Kasper Sonne Graham Wilson OTH E R R E P R E S ENT ED AR T IST S JIM JOE Kembra Pfahler Miski Kawai Holton Rower Lola Montes Schnabel Matthew Stone Jaimie Warren

COV E R Kasper Sonne Borderline (new territory) No. 50 (detail) 2014 Industrial paint, fire, water and fixative on canvas in aluminum frame 152.4 × 121.9 cm INS I D E Kasper Sonne TXC54 2014 Industrial paint and chemicals on canvas in aluminum frame 152.4 × 121.9 cm

We are a contemporary art gallery in New York City representing emerging artists run

by Kathy Grayson, a curator and writer as well as a former director at Deitch Projects.

Kathy has put together numerous art exhibitions both at Deitch and at galleries and museums around the world while also making books, essays, art reviews, ­p arties, performances and interdisciplinary art activities. “Filling a hole in the downtown community” is our goal. In our 4000 sq. ft. Bowery space, we present monthly solar and group exhibitions– often two separate exhibitions simultaneously– including artists from the very emerging to the established in our thematic shows. In between exhibitions we host events and special projects that cater to other emerging and creative industries, and compliments our philosophy of collaboration across the arts.

Our booth features the work of six artists whose temporal and indeed systemically structured approach to abstraction favors personal history, traces, residues and chance. Varying in their methods and materials, the artists are all connected through their own unique process based abstraction.

K A S P E R S O NNE work revolves around conceptual strategies, invoked with a certain sense of poetics, melancholia and doubt. His chemical burn paintings, fire burn painting and a chain installation that visitors have to walk through to enter explore how individual and cultural references influence the way we read the world around us, and how meaning is determined by the viewer’s own active construction. Sonne works within the parallel practices of creation and destruction. Methodically creating the perfect monochrome painting then setting it on fire, pouring chemicals with strong bases and acids to corrode and change the color of the industrial paint, or installing a sculpture that must be pushed around and moved through to navigate the booth interior are ways that this is manifest.

E VA N RO BA R TS includes found materials into his conceptual framework in a web of memory, history and cultural forces. The discarded balls woven into reclaimed fences from dog parks or back yards in Robarts work evokes a certain nostalgia in palette and ghost of past activity.

AYA N FA R A H , K A D A R B R O C K , G R A H A M W I L S O N all create process-driven abstraction that includes serendipitous destruction and creation operating within the systems they have created. Farah works with natural processes like light, heat, earth, wind and water to make “forensic” paintings without paint and composed by forces larger than the artist’s hand. Brock creates his own “ecosystem” of paint where works are scraped and sanded, paint is collected in chips or vacuumed as dust and reworked into the lifecycle of his paintings and sculpture. Wilson creates a lattice of variously sized and oriented turpentine soaked canvas strips, repurposed from his earlier paintings. The intricate matrices of faded and bleeding pigments with texturally rich surfaces reveal only faint traces of the texture, color, and tone of the previously existing paint, and present a new and visually complex painting.

G A BRIE L P IO NK O W S K I begins by de-threading the canvas completely, painting the deconstructed canvas, then re-weaving the threads together to create a completely new and reconstructed canvas. Pionkowski exhibits weaverly tendencies through the destruction of the weave simultaneous to the order it provides, injecting an entropy and disruption into the fixed grid of the weave to make space for emotion and poetry.

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B ER LIN | S ING A P O R E

MICHAEL JANSSEN

MI CH A EL J A N SSEN WEBS I T E www.galeriemichaeljanssen.de E- M A I L berlin @ galeriemichaeljanssen.de PHO N E +49 30 259 272 50 CEL L +49 172 655 3444 CONTA C T N A M ES Michael Janssen Nina Borgmann Dane Reinacher

EXHI B I T E D A R T IS T S Stijn Ank Monique van Genderen OTH E R R E P R E S ENT ED AR T IST S Meg Cranston Lili Dujourie Thomas Grünfeld Ho Tzu Nyen Joris Van de Moortel Christoph Steinmeyer Eddy Susanto Jeremy Sharma Aiko Tezuka Peter Zimmermann

COV E R Monique van Genderen Untitled (detail) 2014 Enameled Ceramic 20 × 30 cm INS I D E Stijn Ank Vector, Installation view Casino Luxembourg 2014 On-site plaster cast, acrylic B AC K Installation view, Meg Cranston & John Baldessari For Aunt Cora, Michael Janssen Berlin 2013

After a twelve-year gallery career in Cologne that included over eighty exhibitions, Michael Janssen relocated to Berlin in the spring of 2007. In September 2012, he opened a second branch in the Gillman Barracks — an up-and-coming center for contemporary art in Singapore. In Berlin the gallery is located on Potsdamer Strasse; in the neighborhood of the Neue Nationalgalerie as well as several other prominent art galleries.

The gallery hosts a contemporary program that features North American, European as well as Asian artists. In addition to the longtime collaboration with artists such as Thomas Grünfeld and Peter Zimmermann, the gallery strives to constantly introduce upcoming artists such as Aiko Tezuka, Joris Van de Moortel and Assaf Gruber. The gallery also focused on rediscovering established artists such as Lynda Benglis, Lili Dujourie and Gianfranco Baruchello. In Singapore the gallery exhibited young South East Asian artists, such as Eddy Susanto, Ho Tzu Nyen and Jeremy Sharma, but also staged exhibitions with Ai Wei Wei, Meg Cranston & John Baldessari and Peter Zimmermann.

For VOLTA10 the Belgium artist Stijn Ank is planning an in situ sculpture and ­C alifornian painter Monique van Genderen will show new paintings.

Stijn Ank: b. 1977 in Belgium. Lives and works in Brussels, Belgium. Solo exhibitions include: Casino Luxembourg — Forum d‘art contemporain, Luxembourg; ­G alerie ­M ichael Janssen, Berlin; S.M.A.K. Ghent, Belgium; C I AP art center, H ­ asselt, Belgium.

Monique van Genderen: born in Vancouver, Canada. Lives and works in Los Angeles, CA. Solo exhibitions include the Hammer Projects, UC L A Hammer Museum, Los Angeles, CA; Kunstverein Heilbronn, Heilbronn, Germany; Wexner Center for the Arts, Columbus, Ohio; Pennsylvania Academy of the Fine Arts, Philadelphia; D’Amelio Gallery, New York, NY; Michael Janssen Gallery, Berlin; and Chinati Foundation, Marfa, TX.

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D U B LIN

KEVIN KAVANAGH

K EVI N K AVA N A G H WEBS I T E www.kevinkavanagh.ie E- M A I L info @ kevinkavanagh.ie PHO N E +35 31 475 9514 CEL L +3353 863962248 CONTA C T N A M E Kevin Kavanagh

EXHI B I T E D A R T IS T S Mark Swords Paul McKinley Sinéad Ní Mhaonaigh Robert Armstrong.

OTH E R R E P R E S ENT ED AR T IST S Amanda Coogan Dermot Seymour Sean Lynch Nevan Lahart Elaine Byrne Diana Copperwhite Sonia Shiel Stephen Loughman Ulrich Vogl Geraldine O’Neill

COV E R Mark Swords Veil (detail) 2014 Oil on linen 37 × 24 cm INS I D E Paul McKinley Gacaca 2014 Oil on canvas 180 × 150 cm B AC K Sinéad Ní Mhaonaigh Untitled II 2014 Oil on canvas 50 × 50 cm

This booth will contain a unique show with four Irish contemporary painters Robert Armstrong, Sinéad Ní Mhaonaigh, Mark Swords and Paul McKinley. The paintings will focus on landscape, architecture, object orientated philosophy and theology.

S INÉ A D NÍ M HA O NA IG H (b. 1977). Contours at Kevin Kavanagh, Dublin, Farmleigh (forthcoming); Paintings; Centre Culturel Irlandais, Paris; Paintings, Highlane’s Municipal Art Gallery, Drogheda, Ireland; Paintings, Kevin Kavanagh; Paintings, The Living Room Gallery, New York; Selective Perspectives, Kevin Kavanagh; Last, Douglas Hyde Gallery, Dublin; UN B UI L DI N G , Mermaid Arts Centre, Co. Wicklow.

M A R K S W O R D S (b. 1978). Hinterlands, Kevin Kavanagh; Flying crooked, Kevin Kavanagh; Mark Swords, Kevin Kavanagh; Mark Swords, John Martin Gallery, London; Mark Swords, Ashford Gallery, R H A Gallery, Dublin; I won’t say I will see you tomorrow, Mermaid, Wicklow; Periodical Review, Pallas Projects, Dublin; Making Familiar, TBG+S Dublin; Painting Now, Ron Mandos, Amsterdam.

PAUL MCKINLEY (b.1973). RHA Gallery, Dublin; Operation Turquoise, Kevin Kavanagh; Palisade, Third Space Gallery, Belfast; CANADA, Kevin Kavanagh; Under The Bluebells, The L A B, Dublin; Farewell Chestnut Avenue, Nissan Art Project, Royal Hibernian Academy, Dublin; So long and thanks for all the snow, Old Museum Arts Centre, Belfast; 6th Annual Art Salon, Matt Roberts Gallery, London, UK; Interlude, The Douglas Hyde Gallery, Dublin.

RO BE R T A RM S TRO NG (b.1953). New Connections, Red Rua, Dublin; The Horse Show, Kinsale Arts Festival.

Kevin Kavanagh is one of Ireland’s premier galleries showing Irish and international contemporary art. The gallery’s annual programme consists of 10 solo shows and 2 curated group exhibitions as well as special events, screenings, performances and participation at international art fairs. Since 1998 the gallery has published over 20 books on Irish art.

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LE IP Z IG

GALERIE KLEINDIENST

G A LERI E K LEI N D I ENST WEBS I T E www.galeriekleindienst.de E- M A I L kontakt @ galeriekleindienst.de PHO N E +49 3414 774 553 CEL L +49 1708 085 816 CONTA C T N A M ES Matthias Kleindienst Christian Seyde Lisa Offermann

EXHI B I T E D A R T IS T S Claudia Angelmaier Nadin M. Rüfenacht Henriette Grahnert OTH E R R E P R E S ENT ED AR T IST S Tilo Baumgärtel Julius Hofmann Rosa Loy Sebastian Nebe Christoph Ruckhäberle Sebastian Stumpf Anett Stuth Carsten Tabel Steve Viezens Corinne von Lebusa

COV E R Nadin Maria Rüfenacht Pinguicula 2013 C-print 74 × 52 cm INS I D E Claudia Angelmaier David II 2013 C-print 104 × 135.5 cm B AC K Henriette Grahnert Sometimes you seem very abstract to me 2011 Oil on canvas 170 × 190 cm

Rüfenacht is a master of photography, the art of painting with light. She knows how to use materials skilfully to create desired effects, for instance the impression of velvet. Her imagination is rich enough to transform inspiration from the study of old masters in impressive and unique ways. Objects become protagonists. The space, the lighting, the perspective convey the unique stylistic approach of the photographer. Space and time appear to form a wonderful symbiosis. There are no horizons. The subject matter of the images is located between the past and the future, the transient and the eternal, between death and life. The subjects realise well-established visual languages of the Renaissance, Baroque, Surrealism, in the medium of photography.

Angelmaier’s pictures conceptually mediate between the two great lines of tradition represented by the history of art and the reproduction and/or distribution of art. In terms of the reception of her photographic works, Angelmaier, on the one hand, stands as a representative of a current artistic development which, in is discourse, picks up and applies the “appropriation art” of the 1980s only to rework it for the purposes of contemporary artistic practice. On the other hand, the work she has hitherto produced also functions as an ingenious coexistence of the development strands of the history of art and photography which, since their first correlation in André Malraux’s “imaginary museum”, have come to stand for the intervisual relations between a work of art and its reproduction, relations that extend beyond the act of representation.

Grahnert does humorous Bad Painting in the field of abstraction. Her intentionally disfigured and smeared paintings show, that “shattered-painting” not always leads to a cool picture. The big gesture of inundate and the void idea often only result in an average, boring painting. In this way Grahnert undermines expectations.

Her compositions, sometimes provided with figurative pieces, remind the viewer of Neo-Geo-ironizations of John M. Armleder, but they are painted much worse on purpose. The partly very funny titles show the ironic aspect in the tradition of Kippenberger and Oehlen.

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TO KY O

GALLERY KOGURE

G A LLERY K OGU RE WEBS I T E www.gallerykogure.com E- M A I L info @ gallerykogure.com

In March 2006, GALLERY KOGURE opened in Tokyo with director Hiroshi Kogure, who had been trained in a Tokyo art gallery for 18 years prior. In January 2009, he opened his second gallery LOWER AKIHABARA. Participating art fairs are extended to 10 countries.

PHO N E +81 3 5215 2877 CONTA C T N A M E Hiroshi Kogure

EXHI B I T E D A R T IS T Kenichiro Ishiguro OTH E R R E P R E S ENT ED AR T IST S Atsuko Goto Atsushi Suwa Fuco Ueda Hidenori Yamaguchi Keita Tatsuguchi Takahiro Yamamoto Ryo Shiotani Takahiro Hirabayashi Takahiro Sanda Takato Yamamoto

COV E R Kenichiro Ishiguro MA○○ ● MA○ ● I○○○○○○-Desnudo Ver.- .

2011 – 2012 Oil on canvas 145.5 × 35.0 cm INS I D E Kenichiro Ishiguro Sexual Experiment 2009 – 2010 Silver point, pencil, color pencil, acrylic, oil on panel and canvas 162 × 112 cm

K E NICHIRO IS HIG U RO Ishiguro is one of the most promising young artists in Japan’s realism painting world.

He was born in Shizuoka prefecture in 1967, and completed his studies at Tama Art University’s graduate program. In 2001, he was recommended for an artist-inresidence overseas training program by the Japan Agency for Cultural Affairs, and studied for 3 years at Madrid “Artium Pena,” where he interacted with Antonio Lopez Garcia (1936 –) and Gustavo ISOE (Tsuyoshi Isoe 1954 – 2007), and was strongly influenced by their works. He possesses unparalleled technique in realism painting.

Many people think of realism as a competition to paint subjects as faithfully as possible, but it’s really an attempt to understand the subject from the inside out. The true essence of realism is a faithful representation of the true nature of an object which cannot be seen, and Ishiguro is one of a small group of artists that have truly achieved this. Although he doesn’t typically discuss the theory or reasoning behind his works, the earnest attitude he takes toward his art has a depth to it that’s beyond other artists. At this time, there are even some pieces he has been working on for more than 10 years.

Concept of Realism Painting and the Animation Collaboration Series I always pursue the concept of sublimities, trying to find what we usually cannot grasp and fully control out of missing fragments of daily life. My production develops with the most importance placed on deep knowledge, rather than visual recognition, of the object.

I place value on the existence as an objet d’art for any small section of a painting. I believe that, with this notion in mind, I can produce a painting solider than ever as a physical existence. Visual similarity between an object and a painting is not because the painting is based on observation of the details of the object, but because the object and the painting share their material structures. A painting is created by its object as a consequence, both sharing the structures of commonplace materials. Each detail of a painting reflects the significance of reality for the existing, most meaningless theme. And any part of a painting is always trying to show all, trying to present the whole like a part of the painting.

In recent years, seeing subcultures under Japan’s social circumstances as one of the constituents of myself, a must in my production, and necessary in my expressions, I have published experimental works, mainly of persons, getting ideas from articles suggestive of animation.

VOLTA 10

B E R LIN

GALERIE KORNFELD

G A LERI E K ORN FEL D WEBS I T E www.galeriekornfeld.com E- M A I L desanctis @ galeriekornfeld.com galerie @ galeriekornfeld.com PHO N E +49 30 889 225 890 CEL L +49 172 8511 999 CONTA C T N A M ES Alfred Kornfeld Mamuka Bliadze

EXHI B I T E D A R T IS T Claudia Chaseling OTH E R R E P R E S ENT ED AR T IST S José Ciria Stephane Couturier Robert Fry Natela Iankoshvili Tamara Kvesitadze Franziska Klotz Ralf Peters Alexander Polzin Susanne Roewer Hubert Scheibl Leonardo Silaghi Sonny Sanjay Vadgama

COV E R Claudia Chaseling This is All 2013 Egg Tempera and Oil on Canvas 280 × 170 × 330 cm INS I D E Claudia Chaseling Canola 2013 Egg Tempera, Aluminium and Oil on Canvas 200 × 450 cm B AC K Claudia Chaseling Omen, exhibition view “Mutative Perspective Paintings” at Galerie Kornfeld 2014 Egg Tempera, Aluminium on wall, floor and ceiling 400 × 660 × 260 cm

Pivotal in Claudia Chaseling’s work, the juxtaposition of the canvas within the wider architectural surrounding, becomes the key to reinterpret the intermingling relation between positive and negative space. Concision, geometrical framing, structures are overtaken. For this special occasion, wall paintings will only be intended as component of an ensemble that reaches out far beyond traditional frames, in fact exceeding its edges inundating the surrounding surfaces.

Chaseling’s often colorful motifs lure the beholder on a sensorial level, cleverly engaging with tridimensional embracing perspective. The viewer tendency to look at traditional shapes is teased, our capability to feel at ease in the presence of loose perimeters is at stake too. Chaseling’s practice disperses the gaze of the spectator into different and often competing points of view. Reflections and refractions of dreams, memories, and concrete places are layered on the canvas and form complex configurations in deliberate breach of the laws of physics or optics.

Her technique of combining egg tempera paint and dry colour pigments, partly over layered with oil paint creates a transparency of the layered surfaces. This transparency enables the viewer to venture into the work, to explore unknown dimensions, reemerge, and again disappear diving below the surface. Chaseling’s work appears without beginning or end, constantly subverting the discourses constructed around it, and always eluding final fixation in one or another determinate frame.

Claudia Chaseling (*1973, Munich) holds a Master in Visual Arts from the Universität der Künst in Berlin and one from the Australian National University. Her work has been exhibited worldwide including New York, Australia and extensively throughout Europe where she has also been presented with numerous solo shows in public institutions. In 2014 Chaseling will be Artist in Residency at the ISCP in New York.

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C O LO G NE

GALERIE MARTIN KUDLEK

G A LERI E MA RTI N KUDLEK WEBS I T E www.kudlek.com

Galerie Martin Kudlek is presenting works by five gallery artists: Jonathan Callan, Angela Glajcar, Alexander Gorlizki, Sofie Muller and Niels Sievers for VOLTA10.

E- M A I L art @ kudlek.com

Jonathan Callan often works with thematically charged found objects such as books or photographs, the surfaces and body of which he transforms by destructive interventions. These two- and three-dimensional objects are deconstructed, their original meaning erased or re-encrypted, providing them with new levels of interpretation.

PHO N E +49 221 729667 CEL L +49 172 2430099 CONTA C T N A M ES Martin Kudlek Janika Weber

EXHI B I T E D A R T IS T S Jonathan Callan Angela Glajcar Alexander Gorlizki Sofie Muller Niels Sievers OTH E R R E P R E S ENT ED AR T IST S Lucie Beppler Thomas Böing Eyal Danieli Ellen Keusen Heiko Räpple

COV E R Sofie Muller HH002 2014 Magnets, Polyurethane, Smoke, PU Varnish, Scissor Variable Dimensions INS I D E Jonathan Callan Art around Mythology around Global Strategy 2014 Paper 100 × 98 × 1 cm B AC K Niels Sievers Untitled 2013 Oil and Spray Paint on Canvas 130 × 170 cm

Angela Glajcar forms abstract relief- and sculptural-objects by tearing sheets of paper. She transforms this material, which is often seen as light and fleeting into works of grand presence. Her additive paper objects hover around a state of equilibrium — our gaze is led into the object by the interplay of light and shadow.

Gorlizki’s paintings on paper embrace both the traditions of western and eastern (especially Indian) art. While his conceptual approach is totally western the technique he employs is Indian. His unique pictorial language embraces elements of both cultures on all kinds of levels reaching from the banal to the spiritual.

Sofie Muller makes works on paper and sculpture. Her smoke drawings seem to capture transient moments of human existence while her sculptural work reaches deep into the very psyche of this same existence.

Niels Sievers’ painting media ranges from elements of graffiti to the techniques oft the old masters. Fine graduations in the mainly dark, subdued tones are so finely nuanced that a rich colour scheme unfolds to the viewer.

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C O P E NHA G E N

LARMGALLERI

LA RM GA LLERI WEBS I T E www.larmgalleri.dk E- M A I L galleri @ larmgalleri.dk PHO N E +45 29 91 46 57 CEL L +45 26 80 92 30 CONTA C T N A M ES Louise Rahbek Lars Rahbek Sine Bepler

EXHI B I T E D A R T IS T S Christian Achenbach Joseph Beuys Peter Callesen Ditte Ejlerskov Oana Farcas Keith Haring Tony Matelli Nicola Samori Kaspar Oppen Samuelsen Hartmut Stockter Moritz Schleime Gavin Turk OTH E R R E P R E S ENT ED AR T IST S Christian Achenbach Ditte Ejlerskov Oana Farcas Nicola Samori Kaspar Oppen Samuelsen Moritz Schleime Hartmut Stockter Gavin Turk

COV E R A twenty-first century Wunderkammer With Christian Achenbach, Joseph Beuys, Peter Callesen, Ditte Ejlerskov, Oana Farcas, Keith Haring, Tony Matelli, Nicola Samori, Kaspar Oppen Samuelsen, Hartmut Stockter, Moritz Schleime, Gavin Turk and others.

Hosted by Poul Gernes 2014 Mixed media various dimensions INS I D E A twenty-first century Wunderkammer With Christian Achenbach, Joseph Beuys, Peter Callesen, Ditte Ejlerskov, Oana Farcas, Keith Haring, Tony Matelli, Nicola Samori, Kaspar Oppen Samuelsen, Hartmut Stockter, Moritz Schleime, Gavin Turk and others.

Hosted by Poul Gernes.

2014 Mixed media various dimensions

L A RM galleri is pleased to present A twenty-first century Wunderkammer With Christian Achenbach, Joseph Beuys, Peter Callesen, Ditte Ejlerskov, Oana Farcas, Keith Haring, Tony Matelli, Nicola Samori, Kaspar Oppen Samuelsen, Hartmut Stockter, Moritz Schleime, Gavin Turk and others. Hosted by Poul Gernes.

Poul Gernes (1925–1996) is considered to be one of Scandinavia’s most significant artists and has recently been rediscovered as a wanderer on the boundaries of Concept/Minimal/Pop of the 1960s and ‘70s who combined these styles with a social revolutionary impetus.

Gernes worked intensely with public art and for years he devoted himself to a largescale project, the “colour radiation of Copenhagen,” among which projects are a number of cabinets designed for a public school. At VO LTA1 0 , L AR M galleri is delighted to present these original colourful cabinets. Poul Gernes cabinets literally work as a point of departure for the display of other artists’ work; like a modern form of Wunderkammer mixing various genres and media and thereby creating new unexpected encounters. Whilst the cabinets do have an air of industrial production, the artist’s personal signature could not be avoided entirely when applying the paint. The luminous colours now surround the works of other, younger painters work like Oana Farcas, Christian Achenbach, Ditte Ejlerskov and Moritz Schleime, and envelop experiments by Tony Matelli, Gavin Turk and others. Gernes himself was well acquainted with the European and American avant-garde and moved easily between genres and traditions. He infused two- and three-dimensional images with human experience, curiosity and passionate convictions about how society should be built by and with art. His cabinets now containing vibrant works by other artists could be envisioned as Gernes’ dream come true. Gernes’ system of believe was based on collaboration and communism and his practice was far from the ideas of ­l ’art pour l’art. Instead, Gernes practiced a relational aesthetic in a quest to combine art and life. Today, this profound believe is mirrored in his cabinets containing a selection of like-minded artists.

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B E R LIN

LOOCK GALERIE

LO OCK GA LERI E WEBS I T E www.loock.info E- M A I L info @ loock.info PHO N E +49 3039 4096 850 CEL L +49 1705 269 808 CONTA C T N A M ES Katia Reich Miriam Jesske

EXHI B I T E D A R T IS T S Jonathan VanDyke Natalia Stachon OTH E R R E P R E S ENT ED AR T IST S Ivan Grubanov Anton Henning Callum Innes Takehito Koganezawa Noguchi Rika Alec Soth Yoshihiro Suda Gavin Tremlett Charlie White Ulrich Wüst

COV E R Jonathan VanDyke Darkroom (Berlin) #1 (detail) 2014 Gelatin silver print 50,8 × 35,56 cm Edition of 4 INS I D E ( L E FT ) Jonathan VanDyke Rumspringa 2014 Brad and David performance canvases, session 6 / fluid drop and flagellation sequences; with overdyed canvas and linen 190 × 160 cm INS I D E ( R I G H T) Jonathan VanDyke The Pregnancy 2014 Archival pigment print 60,96 × 40,64 cm Edition of 3 B AC K Jonathan VanDyke Darkroom (Berlin) #2 2014 Gelatin silver print 35,56 × 50,8 cm Edition of 4

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TO KY O

MA2GALLERY

MA 2GA LLERY WEBS I T E www.ma2gallery.com E- M A I L ma2 @ ma2gallery.com PHO N E +81 3 3444 1133 CEL L +81 90 4220 2985 CONTA C T N A M E Masami Matsubara

In contemporary society, everything moves ahead so fast day by day, and from this people are forced to busy themselves. I am fascinated by a certain atmosphere created when those busy people stop and stand still. The atmosphere lasts just for an instant, in comparison with the almost eternal timespan of the universe, but it has power to make me feel the moment is indeed contiguous with both the distant past and future.

Every passing moment in “now”, which appears and disappears according to the law of nature, is just like human life itself. With my work, perpetually asking what the universe is all about, I try to express the essence of nature through the calm spatiality generated by still people.

— Tomotaka Yasui

EXHI B I T E D A R T IS T Tomotaka Yasui OTH E R R E P R E S ENT ED AR T IST S Akihiro Higuchi Ken Matsubara Keisuke Kondo Kyotaro Hakamata Mats Gustafson Mikiya Takimoto Naoko Sekine Nobuaki Onishi Tamotsu Fujii Yasuko Iba

COV E R Tomotaka Yasui calm Japanese lacquer, linen, mother of pearl, mineral pigment, glue, obsidian, amber, marble, etc h161 × w58 × d31 cm INS I D E Tomotaka Yasui Exhibition view “Meguro Address – Artist in Urban Life” Meguro Museum of Art / Tokyo B AC K Tomotaka Yasui unusable Japanese lacquer, mother of pearl, metal, etc. h11 × w14 × d22 cm

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O TTAWA

PATRICK MIKHAIL GALLERY

PATRI CK MI K H A I L GALLERY WEBS I T E www.patrickmikhailgallery.com E- M A I L gallery @ patrickmikhailgallery.com PHO N E +1 613 746 0690 CEL L +1 613 276 3243 CONTA C T N A M E Patrick Mikhail

EXHI B I T E D A R T IS T Amy Schissel OTH E R R E P R E S ENT ED AR T IST S Jessica Auer Colin Muir Dorward Josée Dubeau Scott Everingham Adrian Göllner Kristopher Karklin Thomas Kneubühler Jennifer Lefort Andrew Morrow Andrew Wright

COV E R Amy Schissel Alto Terra 3 (detail) 2014 Plaster, Acrylic, Ink, Graphite, Paper on Wood 20 × 24 in INS I D E Amy Schissel Animate Grounds 2014 Mixed Media variable

Amy Schissel’s professional practice analyzes the role of painting/drawing in the Information Age. It responds to a technological presence in a data-driven, mediasaturated culture, and examines the contradictions of identity in geo-political relationships: how being surrounded by media shapes our understanding of personal and collective history, engendered by digitization. Schissel addresses the progressively dematerialized quality of digital society by visualizing and mapping information flows that cut through time and space, seemingly negating the need of geographical location for human interaction. She reinvents our contemporary landscape, fostering a sense of civic legibility where the World Wide Web calls us to be everywhere yet nowhere at once.

For VOLTA10, Schissel has created Animate Grounds, which depicts the evolution of an optic, pictorial space into an emergent, contextual environment. She reconfigures painting/drawing into an associational matrix — emphasizing a culturally-coded zone of focus, with painterly features suggesting themselves as interfaces between our physical geography and virtual presence. The work asserts a bodily awareness of the invisible intersections and networks penetrating our environment. It explores a hybrid relationship between the languages of painting and digitization by subscribing to digital architecture, interaction design, and mapping processes, with the aim of reappraising the traditional language of abstract painting.

Amy Schissel was a finalist in the 2011 RBC Canadian Painting Competition. She has exhibited across Canada, U.S., and Europe in numerous venues including: The Power Plant; Art Gallery of Alberta; Carleton University Art Gallery; and art fairs including VOLTA NY and Papier 14. Her work is in numerous collections including: Canada Council Art Bank; Foreign Affairs Canada; Free University of Brussels; New Zealand Consulate; and Gotland Museum of Fine Arts. She holds an MFA from the University of Ottawa.

Since 2006, PATRICK M IK HA I L G AL L E RY has emphasized a complete engagement in its artists’ professional practices, and a commitment to launching new and significant bodies of work. The gallery has placed works in collections including those of the National Gallery of Canada, Canadian Museum of Contemporary Photography, the Musée national des beaux-arts du Québec, Foreign Affairs Canada, Canada Council Art Bank, City of Ottawa Collection, Ottawa Art Gallery, Nova Scotia Art Bank, and National Portrait Gallery. The gallery’s artists have been the recipients of a wide range of prestigious awards, grants, scholarships, residencies, and public art commissions, and have included numerous winners and nominees for awards such as the Swiss Arts Awards 2012, Sobey Art Award, the B M W Contact Photo Prize, the RBC Canadian Painting Competition, R B C Emerging Artist Award, the Karsh Award, Canadian Centre for Architecture Prize, Mois de la Photo a Montreal Prize, Ontario Association of Art Galleries Award, Magenta Foundation Flash Forward Awards, and Santa Fe Prize for Photography. Essays, reviews, and critical discourses have appeared in AR TFORUM , Canadian Art, Border Crossings, CV Photo, ESSE, BlackFlash, Vie des Arts, Prefix Photo, Camera Austria, C Magazine, Afterimage, Next Level (UK), and E YE M AZ I N G magazine. The gallery has presented solo projects at Volta NY 2013 and 2014 and is a member of the Art Dealers Association Of Canada (A D A C) and the Association des galeries d’art contemporain (AG AC ).

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AMS TE R D A M

RON MANDOS

RO N M A N D O S WEBS I T E www.ronmandos.nl E- M A I L info @ ronmandos.nl PHO N E +31 20 320 7036 CEL L +31 6 29 392 722 CONTA C T N A M ES Ron Mandos Fenna Lampe Frederik Schampers

EXHI B I T E D A R T IS T S Peter Feiler Ryan McGinness OTH E R R E P R E S ENT ED AR T IST S Daniel Arsham Hans Op de Beeck Anthony Goicolea Inti Hernandez Isaac Julien Renato Nicolodi Jacco Olivier Rik Smits Renie Spoelstra Levi van Veluw

COV E R Peter Feiler Omnes Redeunt ad Origines (detail) 2013 – 2014 Acrylic, varnish, crayon, pencil, papier mâché, indian ink on paper 4.6 × 3 m INS I D E Peter Feiler Omnes Redeunt ad Origines 2013 – 2014 Acrylic, varnish, crayon, pencil, papier mâché, indian ink on paper 4.6 × 3 m B AC K Ryan McGinness Installation shot Everything is Everywhere 2014 Galerie Ron Mandos, Amsterdam

P E TE R F E IL E R, Lives and works in Berlin, Germany “I am not a missionary. I don’t want to change people. But maybe I can make them uneasy with the provocation and remember something good inside them.”

Dark scenes are revealed on the unconventional coloured pencil or ink drawings and paintings of the young Berlin artist Peter Feiler. Composed of single narrative factors and plots, whole world vision of atrocities that men can do to each other, surging from a claustrophobic constriction unfold through his delicate hatchings. In the negative, the abysmal, in perversion, Feiler seeks the floating borders between the visible world and that of thought and imagination.

The latent aggression in the protagonists’ gestures and mimics is put into perspective by the works’ mellow colours and fragile execution, luring the viewers into their worlds and lulling them in false safety only to hit them with the full impact of the brutality that resides in the very darkest places of the human soul: abuse, violation, torture and child rape, sometimes merely alluded, sometimes in blatant obviousness.

RYA N M CG INNE S S , Lives and works in New York, USA “I’m trying to communicate complex and poetic concepts with a cold, graphic, and authoritative visual vocabulary. I concentrate on shape, line, color, and composition to communicate within simplified picture planes. As such, the work resides somewhere between abstraction and representation.”

Ryan McGinness’s work consists of an amalgam of icons and symbols. Drawing from his background in the design industry, McGinness’s work resolves the clinical graphic aesthetics of media as vast, contemplative fields of intimate meditation.

It incorporates strong social commentary on iconography, language, and historical and contemporary symbolism. His graphic drawings and personal iconography are replicated, decontextualized, and materialized infinitely throughout his densely layered paintings

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B E R LIN

GALERIE MARIO MAZZOLI

G A LERI E MA RI O MAZZOLI WEBS I T E www.galeriemazzoli.com E- M A I L info @ galeriemazzoli.com PHO N E +49 30 75459560 CEL L +49 176 61677839 CONTA C T N A M ES Mario Mazzoli Augusto Mazzoli Tania Tonelli

EXHI B I T E D A R T IS T Kristoffer Myskja OTH E R R E P R E S ENT ED AR T IST S Celeste Boursier-Mougenot Christina Kubisch Donato Piccolo Douglas Henderson Edgardo Rudnitzky Michele Spanghero Pe Lang Roberto Pugliese Roberto Paci Dalò Spazio Visivo

COV E R Kristoffer Myskja Covering Up Gold (detail) 2012 Gold, cotton strings, various other materials 65 × 128 × 50 cm INS I D E Kristoffer Myskja Smoking Machine 2007 Cigarettes, various metals, filament, motor 23 × 15 × 20 cm B AC K ( L E FT ) Kristoffer Myskja Governors 2013 Various metals, rubber belts, motor 4h × 30 × 10 cm B AC K ( R I G H T) Kristoffer Myskja Splitting the Mercury Drop in Order to Maintain Balance 2013 Mercury, glass, plastics, motor, magnet, steel 45h × 22 × 26 cm

Kristoffer Myskja creates kinetic sculptures of tremendous technical complexity. His intent, however, is not that of producing brute exercises of technical dexterity, but rather that of delivering an acute social message. Indeed, Myskja’s work might be read as a reminder of the fact that the machine is still there, a way of making us think about our increasingly machine-dependent existence. In a way Myskja is a kind of Bertold Brecht of technological experience: he breaks the illusion of the theatre of our everyday life. Behind our activities, he says, the machines are running. He also underlines this by leaving the contemporary smooth, miniature, technology, and opting for a retro-style, full-sized. While computers and cell-phones tend to shrink, Myskja’s machines are not diminished in size. He also opts for a brass design, which might have been made 300 years ago. Myskja’s objects operate in a time-span, one is inclined to think, which transcends both contemporary machines and art.

Myskja moves in a machinic tradition in art that starts with the kinetic sculptures of Marcel Duchamp, like the Bicycle Wheel (1913) and continues with the self-destructive sculptures of Jean Tinguely and the gravity- or wind-driven sculptures by Alexander Calder. But while kinetic artists usually work in abstract terms, Myskja tends to isolate human activities and integrate them in a machinic time and logic, like smoking in Smoking machine and ageing in Machine that use a thousand years to turn itself down. While an artist like Rebecca Horn prolongs the human body, to investigate it, Myskja severs it from itself producing autonomous, or semi autonomous, structures. The idea of the machine is one of the most human metaphors imaginable but through his projects it becomes an aggregate for analyzing sequences of human actions.

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NE W Y O R K

MORGAN LEHMAN GALLERY

MORGA N LEH M A N GALLERY WEBS I T E www.morganlehmangallery.com E- M A I L kelly @ morganlehmangallery.com PHO N E +1 212 268 6699 CEL L +1 714 345 1495 (Kelly) CONTA C T N A M ES Sally Morgan Lehman Kelly Freeman

EXHI B I T E D A R T IS T Frohawk Two Feathers OTH E R R E P R E S ENT ED AR T IST S David S. Allee Emilie Clark Nicole Cohen Kysa Johnson Nancy Lorenz Kim McCarty David Rathman Paul Villinski Paul Wackers Aaron Wexler

COV E R Frohawk Two Feathers Mea Culpa (detail) 2014 Acrylic, ink, coffee, tea on paper 76.2 × 55.9 cm INS I D E Frohawk Two Feathers Ramiro, New Lieutenant of the Company Cazador 2013 Acrylic, ink, coffee, tea on paper 111.8 × 77 cm B AC K Frohawk Two Feathers La Mort D’Anibal 2014 Acrylic, ink, coffee, tea on paper 101.6 × 132.1 cm

In his most recent body of work, Frohawk Two Feathers has retold and illustrated Shakespeare’s Titus Andronicus, bending the tragedy of revenge to expound upon his well-known macro-narrative of the invented European super power “Frengland”.

The bloody tale begins on the island of Hispaniola at the close of a long, bitter world war. Titus, a decorated soldier in the Frenglish Empire, has returned to his home on the island when a plot hatched by a devious general frames Titus for the murder of the King. Titus is further betrayed by his former military commander, Saturninus, and forced to become a gladiator on his island of pleasure. Saturninus and his wife vow to destroy Titus’ life, beginning with the rape and murder of his wife and the mutilation of his daughter. Titus’s son Lucius somehow escapes their wrath and vows to avenge his family.

Two Feathers’ presentation is an overview of the tragedy’s main characters with maps of related regions and a depiction of life on Saturninus’ pleasure island. Parallels are drawn between the corrupt and “throw away” nature of the depicted Roman culture and our modern era’s practices of gross corruption, consumption, sensory overstimulation, and moral decay. In addition to the original cast, Two Feathers has integrated new characters to bring the play into his much larger narrative, developing a racial dynamic absent from the original text.

Two Feathers’ heroes and heroines may exist in the past, but their essences are a blend of 18th century imperialism and classic Roman society melded with contemporary urban street culture, influenced greatly by Two Feathers’ background as a hip hop artist. This juxtaposition of new and old, historical and contemporary, raises a myriad of questions for the viewer, primarily in how we reconcile the historical sins of excess, greed, and revenge with the sins of today.

Frohawk Two Feathers was born in 1976 in Chicago, Illinois, and currently lives and works in Los Angeles, California. Recent solo exhibitions include the Wellin Museum of Art in New York, the Visual Arts Center of New Jersey, the Nevada Museum of Art, and the Museum of Contemporary Art Denver. His work is in the collections of the Brooklyn Museum, the Santa Barbara Museum of Art, the Progressive Collection, the 21C Museum, the Nevada Museum of Art, and the Wellin Museum of Art, among others.

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B R U S S E LS

NOMAD GALLERY

N O M A D G A LLERY WEBS I T E www.nomadgallery.be E- M A I L walter @ nomadgallery.be PHO N E +32 475 219 250 CEL L +1 305 496 3356 CONTA C T N A M E Walter De Weerdt

EXHI B I T E D A R T IS T Aimé Mpane OTH E R R E P R E S ENT ED AR T IST S Hector Acebes Jean-François Boclé Jeanine Cohen Kay Hassan Satch Hoyt Duhirwe Rushemeza Shoshanna Weinberger Guy Woueté

COV E R Aimé Mpane Le Délire Urbain (detail) 2012 installation, wood, serigraphies, text, coloured wood dreads variable dimensions INS I D E Aimé Mpane Black and White Series 2014 Paint on carved wood panels 30 × 31 × 5 cm each B AC K Aimé Mpane Regards Sombres et Blancs (detail) 2014 paint on carved wood panel 30 × 31 × 5 cm

The work of Aimé Mpane (1968, born in Kinshasa, D.R.Congo) is charged with his¬tory and emotions and touches us at different levels. It acts as a reminder, a tool of collective empowerment and a quest for individual memory. The artist plays with the tactility of each material, following its nature and highlighting its expressive poten¬tial. The exploration of the material (an investigation carried out beyond the surface of the painting) allows Mpane to enter the psyche and emotional locus of the peo¬ple and, more broadly, it enables the artist to narrate the history of an entire place.

Collections include: The Brooklyn Museum, Brooklyn, NY; Fondation Francès Senlis, France; National Museum of African Art, Smithsonian Institution, Washington, DC; Palm Springs Art Museum, Palm Springs, CA; The Phillips Collection, Washington DC; Tiroche DeLeon Collection, Gibraltar.

N O M A D is the first Belgian gallery to showcase and represent emerging artists from the African continent and the Diaspora. After traveling widely throughout the African continent for over 15 years, the Brussels gallery is now sharing its experience in Contemporary African Art. NOMAD also promotes artists who engage in a dialogue with the African context.

The gallery has participated in the Bamako Photo Biennale, during the Dakar Art Biennale, Kunsthal Rotterdam, Eurantica Brussels, Art Brussels, the Emerge Art Fair DC, Scope Miami, Scope NY, Scope Basel, Art Miami and VOLTA NY.

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NE W Y O R K

PABLO’S BIRTHDAY

PA BLO’S BI RTH D AY WEBS I T E www.pablosbirthday.com E- M A I L info @ pablosbirthday.com PHO N E +1 212 462 2411 CEL L +1 917 519 4100 CONTA C T N A M E Arne Zimmermann

EXHI B I T E D A R T IS T S Henrik Eiben Thorsten Brinkmann Karsten Konrad OTH E R R E P R E S ENT ED AR T IST S Thorsten Brinkmann Henrik Eiben Christian Eisenberger Pius Fox Frank Gerritz Eckart Hahn Karsten Konrad Kristian Kozul

COV E R Karsten Konrad African Queen 2011 Wood, Cardboard, Plastic 38 × 22 × 18 in INS I D E Henrik Eiben Voyager 2013 Mixed Media 150 × 180 × 25 cm B AC K Thorsten Brinkmann Untitled 2014 C-Print 40 × 30 cm

This year, Pablo’s Birthday’s booth features three artists: Thorsten Brinkmann, Henrik Eiben, and Karsten Konrad. All three artists are in their own sense dealing with sculpture. Karsten Konrad deconstructs found objects and using this as raw material, re-constructs his sculptures. He uses the “material” unaltered as he finds it and marries these discreet parts into new expressive sculptures. Thorsten Brinkmann works as well with found objects — one could say he gives a “new life” to these objects, and that by using them in a completely new context, these objects take on a different meaning or “purpose”, i.e., a curtain rod becomes a weapon, a tin bucket becomes a head, and a trunk, the body of a dragon. Brinkmann solves his sculptures mostly as photographs and often in his portraits the artist appears, disguised by his object trouves, in the photos to ask the general question; what is needed for a ‘self-portrait’ and how to change easily into another personality? Henrik Eiben’s sculptures interact directly with the sculptures of the other two artists since they are all about shape, color and material. But opposed to the other artists he specifically researches materials based on surfaces and color. This “material” is used for his sculptures which deal with light and “non-light” and are “alive” day and night.

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BR O O KLY N, NY

PIEROGI

PI ERO GI WEBS I T E www.pierogi2000.com E- M A I L info @ pierogi2000.com PHO N E +1 718 599 2144 CEL L +1 917 348 8093 CONTA C T N A M ES Joe Amrhein (Co-Owner/Director) Susan Swenson (Co-Owner)

EXHI B I T E D A R T IS T S Nadja Bournonville Kim Jones Patrick Jacobs David Scher Andrew Ohanesian OTH E R R E P R E S ENT ED AR T IST S Dawn Clements Darina Karpov William Lamson Mark Lombardi Ati Maier John O’Connor Jonathan Schipper Ward Shelley Jim Torok Daniel Zeller

COV E R David Scher Case I 2014 Flashe and ink on Arches paper 200.03 × 116.84 cm INS I D E Kim Jones Untitled 1971 – 1972 / 2013 Acrylic and ink on paper 57.15 × 72.39 cm B AC K ( L E FT ) Patrick Jacobs Gold Cap Cluster #3 2013 Styrene, acrylic, cast neoprene, paper, ash, talc, starch, polyurethane foam, acrylite, vinyl film, wood, steel, lighting, BK7 glass 5 cm lens Interior box dimensions: 29 × 37 × 24 cm B AC K ( R I G H T) Nadja Bournonville A Collection of Small Grey Stones 2012 Analog C-print, Ed. Of 3 73.9 × 58.93 cm

Pierogi, founded in 1994, is located in Brooklyn, NY, vital because of its concentration of artists and its innovative gallery scene. Pierogi’s reputation for a unique unconventional approach is grounded in our development in this community. We represent the work of emerging, mid-career, and established artists developing diverse, conceptually driven, process oriented work in a wide range of media. The BOILER, Pierogi’s additional exhibition location opened March 2009, is a more expansive, industrial space that allows us to mount large-scale sculpture, painting, and installation exhibitions. It is a former factory boiler room with 33-foot ceilings where we also hold performances, screenings, and other events. Pierogi’s innovative Flat Files house portfolios of original works by 850+ artists.

Nadja Bournonville is a photographer who was born in Sweden and currently lives and works in Berlin. Her recent body of work focuses on the act of transformation, the spectacle, the making of a scene, the attempted photographic documentation and mapping of the body. Her work is currently on view in “Gute Aussichten,” a traveling exhibition of work by young German photographers.

Kim Jones drawings “…show an exquisite facility that is a seductive combination of Goya and Daumier.” (Richard Flood) His work was included in “Connecting_Unfolding (NMoCA, Seoul); “Pacific Standard Time” (Geffen Contemporary, LA); “Compass In Hand…” (MoMA, NYC); “Collage: The Unmonumental Picture” (New Museum, NYC); and the “52nd Biennale di Venezia” (Venice). He was born in California and currently lives and works in New York City.

Patrick Jacobs intentionally blurs boundaries between painting, sculpture, and photography. At the same time his dioramas, viewed through glass lenses, present the viewer with a spatial and perceptual conundrum; we are drawn into a space at once determinate and infinite, natural and contrived, prosaic and otherworldly. His work was included in “American Dreamers: Reality and Imagination in Contemporary American Art, Strozzina” (Italy) and “Otherworldly” (MAD, NYC) David Scher’s work is included in the permanent collections of MoMA, the Whitney Museum of American Art (NYC) and others. His approach consists of establishing fields where multiple things occur in proximity. These are familiar fields including walls, tabletops, stages, shores, and pages. His work is composed within these constructs using diverse mediums and instruments as the subject demands.

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FLO R E NC E

POGGIALI E FORCONI

POGGI A LI E FORC ONI WEBS I T E www.poggialieforconi.it E- M A I L info @ poggialieforconi.it PHO N E +39 055 287748 CEL L +39 338 3903825 +39 348 7735828 CONTA C T N A M ES Lorenzo Poggiali Marco Poggiali

EXHI B I T E D A R T IS T S Zhivago Duncan Luca Pignatelli OTH E R R E P R E S ENT ED AR T IST S Enzo Cucchi Giovanni Frangi David LaChapelle Youssef Nabil Gilberto Zorio J&PEG

COV E R Luca Pignatelli Sculture (detail) 2013 Mixed Media on canvas backed paper 112 × 82 cm INS I D E Luca Pignatelli Sculture 2014 Mixed Media on canvas backed paper 152 × 262 cm B AC K Zhivago Duncan Relaxions of moral 2013 Wood, Ceramic 35 × 35 x130 cm

The P O G G IA L I E F O RCO NI G AL L E RY is situated in the heart of Florence.

It has a long-standing policy of inviting both internationally established and emerging young artists to create special projects for the gallery, always producing books and catalogues to mark the occasion, frequently in collaboration with prestigious publishers.

It works with Enzo Cucchi, Luigi Ontani, Gilberto Zorio, Youssef Nabil, Zhivago Duncan, David LaChapelle and Luca Pignatelli.

For VOLTA Basel, the gallery proposes a double one-man show by L ­ UCA ­P IGNATELLI and ­Z HIVA G O ­D U NCA N. Luca Pignatelli (Milan, 1962) has displayed with the Poggiali e Forconi gallery from the very start of his career. He has just completed a one-man show at the Museo di Capodimonte in Naples, in the wake of Bill Viola, Julien Schnabel and William Kentridge. His works will enter the permanent collections of the museum after Kounellis, Burri, Daniel Buren, Mario Merz and Joseph Kosuth.

Apropos Pignatelli, we should at least mention his attendance at the Venice Bienniale, the MaMac Museum in Nice and the Archaeological Museum of Naples, in a cycle of shows that comprised the projects of Damien Hirst, Francesco Clemente and Richard Serra.

Pignatelli’s poetics has always hinged on a poignantly threatened world and on retrieval of the collective memory, so much so that he works on period railway tarpaulins and layers of paper the lived experience of which is an integral part of the work.

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MA D R ID

PONCE+ROBLES

PON CE+ RO BLES WEBS I T E www.poncerobles.com E- M A I L info @ poncerobles.com PHO N E +34 914203889 CEL L +34 619757100 CONTA C T N A M ES Raquel Ponce José Robles

EXHI B I T E D A R T IS T S Manuel Caeiro Raúl Díaz Reyes Irene Grau OTH E R R E P R E S ENT ED AR T IST S Avelino Sala José Hidalgo-Anastacio Aggtelek Maíllo Esther Pizarro Françoise Vanneraud Rui Calçada Bastos Noé Sendas Ignacio Navas Álex Bodea

COV E R Raúl Díaz Reyes Afterlife 2014 Spray painted aluminum and zinc 75 × 33 × 30 cm INS I D E Irene Grau Enamel on stretcher in landscape 2014 Ultrachrome print on baryta paper 28 × 45 cm (each, 8 pieces total) B AC K Manuel Caeiro S/T 2014 Acrylic on canvas 150 × 100 cm

These three artists we are presenting face the challenge of using technique as a concept, not as a tool. In their works they use photography to paint, painting to sculpt and sculptures to draw. Like many contemporary painters, MANUEL CAEIRO (Évora, Portugal, 1975) questions painting starting from the repetition of forms. Each line insists on the achieving of an idea, and its multiplication, its sequence, generates the definitive rhythm. He works the modular detail as that which unleashes each new image, and he always does it starting from memory or recall of what is constructed, seeking a new order. Thus his strategy is that of unfolding or propagating a reality that is reconstructed and therefore fictitious, which is born out of the most traditional of mediums — painting — to the one that possesses the most historical charge and which at the same time to all appearances processes a weaker contemporary condition or at least one that is more questioned, with its mental state being a continuous reason for debate. Over the last year, R AÚL DÍ AZ R EY ES (Madrid, Spain, 1977) has created pieces that combine the use of spray and conventional painting, often involving the support itself — photographs printed on aluminium, pedestals, wooden constructions. In doing so, he seeks to objectualise drawings and paintings, rethinking their language and linking it to the processes of change and renovation he observed in New York City during a residency with the Lower Manhattan Cultural Council. IRENE GRAU (Valencia, Spain, 1986) works on a borderline space through a series of games of hiding and visibility. Hers is a painting that is formalized through the construction of experience, Shadows, transparencies, projections, pixilations, etc., allude to a relationship between the physical and the perspective, working on the Duchampian concept of the ultra-lite as a minimal presence. It is a question of generating new spaces and projecting or revealing the potential of a given place, something that we could easily contextualize through artists like Daniel Buren who work with transparencies.

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C O P E NHA G E N

DAVID RISLEY GALLERY

D AV I D RI SLEY GA L LERY WEBS I T E www.davidrisleygallery.com E- M A I L info @ davidrisleygallery.com PHO N E +45 29802956 +45 26163671 CONTA C T N A M ES Louise Birch Sørensen David Risley

EXHI B I T E D A R T IS T S James Aldridge Anna Bjerger Alex Da Corte Charlie Roberts Michael Simpson Keith Tyson OTH E R R E P R E S ENT ED AR T IST S Dexter Dalwood Graham Dolphin Helen Frik James Hyde Thomas Hylander Henry Krokatsis Robert McNally Charlie Woolley

COV E R James Aldridge Eye (detail) 2013 Oil on Canvas 200 × 175 cm INS I D E Michael Simpson Study #6 (installation view from David Roberts Art Foundation, April – May 2014) B AC K Alex Da Corte Open Window (Cake Stand Hex) 2013 3M reflective adhesive vinyl, rubber, velvet, felt Jack O Lantern grin, sequin pins, anodized metal frames 145 × 145 cm

David Risley Gallery was founded in London in 2003. Having reinstigated the Zwemmer Gallery, David left to open his own gallery. Concurrently he curated Bloomberg Space and founded ZOO Art Fair. The gallery was established in London’s East End with a large space on Vyner Street working with emerging and mid career artists internationally. In 2009 David Risley Gallery relocated to Copenhagen, Denmark.

This has given the opportunity to work with more established artists in a different context, alongside our existing programme.

Currently: Alex Da Corte – Delirium 1. Until June 28rd.

Upcoming: Solo show with Keith Tyson, August 2014.

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BR O O KLY N, NY

ROBERT HENRY CONTEMPORARY

RO BERT H EN RY CONTEMPORARY WEBS I T E www.roberthenrycontemporary.com E- M A I L info @ roberthenrycontemporary.com PHO N E +1 718 473 0819 CONTA C T N A M ES Robert Walden (Co-Director) Henry Chung (Co-Director)

EXHI B I T E D A R T IS T S Jerry Walden Richard Garrison OTH E R R E P R E S ENT ED AR T IST S Patty Cateura Mike Childs James Clark James Cullinane Elise Engler Liz Jaff Colin Keefe Robert Lansden Sharon Lawless Pancho Westendarp

COV E R Jerry Walden Hundred Twenty Four (Les Demoiselles d’Avignon) 2013 Acrylic on canvas 4 canvases: 249 × 30.4 × 8.3 cm each, arranged 8.3 cm apart (detail) INS I D E Richard Garrison Circular Color Scheme: Walmart, December 29, 2013 – January 4, 2014, Pages 1-4. “Save Big and Stock Your Pantry for the New Year” 2013 – 2014 Watercolor, gouache and graphite on paper 101.6 × 101.6 cm (detail) B AC K ( L E FT ) Richard Garrison Product Packaging/Square Color Schemes (Garrison Household, December 2012 – March 2014) 2014 Product packaging cardboard and graphite on paper 101.6 × 101.6 cm (detail) B AC K ( R I G H T) Jerry Walden Hundred Twenty Five (Earth, Sun, Air, Water and Turner Homage) 2013 Acrylic on canvas 6 canvases: 121.9 × 30.4 × 8.3 cm each, arranged 8.3 cm apart (detail)

CO L O R TW ICE, CO L O R TW I C E J E RRY WA L D E N Jerry Walden’s hardedge abstractions are a collection of colors reminiscent of events and places in his daily life. Lately, this includes the paintings of other artists who have had a significant impact on his studio practice. His choice of color is not based in fact but in the fuzzy gray arena of memory. The undulating diagonals and shards in his paintings, derived from the structure of the painting stretcher, are like the fractured, kaleidoscopic nature of memory itself. Waving back and forth, moving, concave and convex, his compositions and very careful choice of color relationships are an exercise in looking. His additive process of painting, looking, reacting, and repainting, looking and repainting again results in obsessively precise yet elegantly constructed memories and impressions that are structured but not planned. He is using the austere visual language of Minimalism in an Abstract Expressionistic manner to explore the nature of seeing and memory.

RICHA RD G A RRIS O N Richard Garrison explores the color in advertising, product packaging and the landscape of his suburban American life. His Circular Color Schemes deconstruct the color in Sunday sales circulars that most of us discard before we read the newspaper and then he repaints them into color wheel-like compositions with the products, prices and sale slogans annotated. The Product Packaging series uses the actual cardboard from products he and his family consume arranged in compositions resulting from puzzle-like systems that Richard develops. The Circular Color Schemes reflect the colors of products marketed to him and his family and the Product Packaging series is evidence of the colors associated with products he actually consumes. His work also includes observations of color usage in strip malls, drive-thru window signage and other ubiquitous aspects of contemporary American suburbia.

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B O S TO N

SAMSØÑ

SA M SØÑ WEBS I T E www.samsonprojects.com E- M A I L samson @ samsonprojects.com PHO N E +1 617 357 7177 CEL L +1 917 494 5411 CONTA C T N A M ES Camilo Alvarez Julia Lavigne

EXHI B I T E D A R T IS T S Nicole Cherubini Craig Drennen Todd Pavlisko Matt Rich Steve Locke OTH E R R E P R E S ENT ED AR T IST S Carlos Jiménez Cahua Mark Cooper Jeffrey Gibson Gabriel Martinez Rune Olsen Suzannah Sinclair Summer Wheat Victoria Fu

COV E R Todd Pavlisko Docent Photograph Portfolio 2014 INS I D E (image from left to right) Nicole Cherubini; Green Farm; 2014; Ear thenware, gla ze, pine and acr ylic; 73.6 × 58 × 8.9 cm; Hepta Septa; 2014; Earthenware, terracotta, and pine; 53.3 × 53.3 × 7.6 cm; Pink Poppy; 2014; Earthenware, glaze, spray paint and pine; 47 × 52 × 7.62 cm B AC K ( L E FT ) Steve Locke you don’t deserve me 2005 – 2013 Oil on panel with collage with stained wood attached to wood base with latex, stain, acrylic and collage with stripped and painted poles, connectors, and flanges 179 × 76 × 56 cm B AC K ( R I G H T) Matt Rich Amp 2 2014 Acryla gouache on arches 26 × 18 cm

N I C O L E C H E R U B I N I has received an NEA Travel Grant and the Louis Comfort Tiffany Foundation Award. Selected solo exhibition include the Perez Art Museum (forthcoming), Tracy Williams LTD, PS1, D’Amelio Terras, the Institute of Contemporary Art Philadelphia and the Santa Monica Museum of Art. Her works have been exhibited at the Museum of Art & Design, the Walker Art Center, Sculpture Center, La Panadería (Mexico City), PS1/MoMA, and the Rose Art Museum. Her work is in the collection of the Museum of Fine Arts, Boston, the Rose Art Museum and MIT. In 2008, CRA IG D RE NNE N organized his practice around the Shakespearean play Timon of Athens. Selected solo exhibitions include Saltworks, Degree Zero (Beijing) and Brooklyn Fireproof. His works have been exhbited at PPOW, the High Museum of Art, the Atlanta Contemporary Arts Center, Portable (Toronto), the Montenegrin Center for Contemporary Art, the Museum of Contemporary Art Vojvodina, White Columns and the Frederieke Taylor Gallery among others. His work is in the permanent collection of the High Museum of Art. M ATT RICH has had solo exhibitions at the Suburban, Samsøñ, Emerson Dorsch, Halsey McKay, Holly Johnson, devening projects and Project Row Houses. His work has been exhibited at the Columbus College of Art & Design, Los Angeles Contemporary Exhibitions, NoMinimo Espacio Cultural, Tufts University Gallery and the Institute of Contemporary Art, Boston, His work is in the collection of the Kemper Museum of Contemporary Art, the Longview Museum of Fine Art and MIT. S TE V E L O CK E ’s recent solo exhibition, there is no one left to blame, traveled from the Institute of Contemporary Art, Boston to the Museum of Contemporary Art, Detroit. He has had solo exhibitions at Mendes Wood (Sao Paolo), Samsôn, the Mills Gallery and the Artists’ Foundation, In 2014, he received a Pollock-Krasner Grant and the Louis Comfort Tiffany Award.

For TO D D PAV L IS K O ’s solo exhibition at the Cincinnati Art Museum titled Crown, the artist was granted permission from the City Council of Cincinnati and the museum to create a work within the museum with a sniper firing into a site specific sculpture. At V O LTA 10, Samsøñ will debut a photographic portfolio of that action.

His work has been included in exhibition at the Bass Museum (forthcoming), the Robert Miller Gallery, the Museum of Art & Design and the Cincinnati Contemporary Art Center. His work is in the collection of the Museum of Art & Design and the Museum of Fine Arts, Boston

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VA LE NC IA

ROSA SANTOS

RO SA SA N TOS WEBS I T E www.rosasantos.net E- M A I L info @ rosasantos.net PHO N E +34 96 392 64 17 CEL L +34 659 06 60 54

ROSA SANTOS GALLERY was inaugurated in 2003 with a site-specific installation by Spanish conceptual artist VALCÁRCEL MEDINA. The space of the gallery is formed by two exhibition spaces, an office and a storage room, all integrated in a refurbished building located in the Old Quarter of Valencia City.

Our Exhibition Programme focuses on Contemporary Visual Art, paying special attention to the latest tendencies in Painting, Sculpture and Drawing, as well as Photography, Video and Installations. The current purpose of the gallery is to expand our presence in international contexts and promote within these the work of our artists.

CONTA C T N A M E Rosa Santos

EXHI B I T E D A R T IS T S Andrea Canepa Greta Alfaro OTH E R R E P R E S ENT ED AR T IST S Xavier Arenós Pascual Arnal Mira Bernabeu Juanli Carrión Mavi Escamilla Alex Francés Xisco Mensua Joan Sebastian Rafael Tormo i Cuenca Enrique Zabala

COV E R Andrea Canepa Untitled 2014 Variable Variable dimensions INS I D E Greta Alfaro La disziplina e il lavoro di squadra sono buoni strumenti per affrontare la distruzione dell’opera d’arte.

2013 Collage 28 × 32 cm (unframed)

A ND RE A CA NE PA Lima, Perú, 1980 She studied Fine Art at the Polytechnic University of Valencia, where she also obtained an MA in Visual Art and Multimedia. In 2010 she won the third Drawing Prize at Swab, the International Contemporary Art fair of Barcelona, and the following year she was awarded the Pilar Juncosa & Sotheby’s Grant to complete a residency at the Slade School of Fine Art, University of London. In 2012, she won the second prize in the Franco-Peruvian Visual Arts Competition Pasaporte para un artista in Lima. During 2013, she was also an artist-in-residence at the Cité Internationale des Arts in Paris. The same year she received the Generación 2014 Grant from the Foundation Caja Madrid, Spain, the ENDESA Grant for the period 2013-2015, and the ARCO Award Community of Madrid for Young Artists 2014.

Her work combines drawing, sculpture and audiovisual installations that are unified in thematic blocks which tend to show daily scenes and behaviours. The conceptual turn of her works derives from her personal experiences, not always autobiographical, but easily understandable for the spectator, which identifies with the major part of her tales.

G RE TA A L FA RO Pamplona, Spain, 1977 Her work has garnered several distinctions, including the James Prize at the Moving Image Contemporary Video Art Fair in New York, the Genesis RCA Photography Scholarship from the Genesis Foundation in London and, most recently, the Generación 2014 Grant from Foundation Caja Madrid, Spain.

Her individual exhibitions include A very Crafty and Tricky Contrivance, held at the Fish and Coal Building, London, 2012; Invención, at the Museo Ex Teresa Arte Actual, Mexico City, 2012; Elogio de la Bestia, at Centro Huarte de Arte Contemporáneo, Pamplona, 2010, among others. She has also participated in a number of group exhibitions, most recently New Order: British Art Today, at the Saatchi Gallery, London, and Vanitas, at the Bass Museum of Art, Miami. Her video work has been shown in various film festivals and screenings, such as the Centre Pompidou, Paris, in the context of the Rencontres Internationales Paris/Berlin/Madrid, and at the International Film Festival Rotterdam.

Greta Alfaro creates situations that seem fantastic but that are made out of everyday materials and in overlooked locations. She is interested in bringing the mythical, historic, traditional and the paranormal to the contemporary. This juxtaposition allows for further reflection on current times and western identity. She works in different media, mainly video, installation and photography, but also collage and sculpture, with a growing interest in site-specific work and in exploring different ways of interacting with new contexts and environments.

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Z U R IC H

SCHEUBLEIN+BAK

SCH EU BLEI N + BA K WEBS I T E www.scheubleinbak.com E- M A I L info @ scheubleinbak.com PHO N E +41 43 888 55 10 CEL L +41 78 635 04 02 (Christina Scheublein) +41 79 699 07 74 (Georg Bak) CONTA C T N A M ES Christina Scheublein Georg Bak

EXHI B I T E D A R T IS T S Levente Baranyai Edward Burtynsky Andrea Heller Dan Holdsworth Damien Meade Michael Reisch Nikolai Winter OTH E R R E P R E S ENT ED AR T IST S Valentin Magaro Damien Meade Oskar Schmidt

COV E R Edward Burtynsky Cerro Prieto Geothermal Power Station, Baja, Mexico (detail) 2012 C-Print 122 × 163 cm (edition 2 of 6) INS I D E Dan Holdsworth Blackout 09 2010 C-Print 185 × 234 cm (1/3+2AP) B AC K ( L E FT ) Michael Reisch Landscape 7/033 2009 C-Print / Diasec 180 × 216 cm B AC K ( R I G H T) Levente Baranyai Mongolian National Circus 2012 Oil on canvas 155 × 232 cm

S CHE U BL E IN+BA K is based at Sihlberg Castle in Zurich and was founded in May 2011 by Christina Scheublein and Georg Bak. The gallery is dedicated to offer acclaimed as well as highly gifted emerging artists a platform to show their work in historic settings beyond the customary white-cube context. S ­ C H EUB L E I N + B AK is driven by a focus on curating and presenting extraordinary exhibitions with select artistic positions that reflect the cornerstones of the global discourse on contemporary art. By entering in a dialogue with architectures of the past, the exhibitions are designed to lend contemporary art a remarkable aura to radiate in, and to offer artists an innovative platform to market their work.

CU RRE NT E XHIBITIO N AT T H E G AL L E RY: E D WA RD BU R TYNS K Y – WAT ER 14 June – 24 July, 2014

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BR O O KLY N, NY

SLAG GALLERY

SLA G GA LLERY WEBS I T E www.slaggallery.com E- M A I L irina @ slaggallery.com PHO N E +1 212 967 9818 CEL L +1 917 977 1848 CONTA C T N A M E Irina Protopopescu

EXHI B I T E D A R T IS T S Dan Voinea Hannah Cole Tim Kent OTH E R R E P R E S ENT ED AR T IST S Tirtzah Bassel Avital Burg Dumitru Gorzo Jason Clay Lewis Hector Dio Mendoza Serkan Ozkaya Naomi Safran-Hon Molly Stevens Toma Sergiu

The three artists featured by Brooklyn-based Slag Gallery — Hannah Cole, Tim Kent and Dan Voinea — demonstrate a common interest in pushing wall-based works into the realm of the sculptural and pursue a similar kind of magic-in-the-mundane. The spirit is inherent in Cole, Kent and Voinea’s intellectual construction and the inner odyssey permeates their entire oeuvre.

“For New York City-based artist Hannah Cole, inspiration is found in the overlooked glimpses and fragments of everyday experience...The artist surveys her environment for subjects — defaced manhole covers, metal doors scarred with paint marks and tape residue, and the textured surfaces below our feet... Through her carefully framed and virtually hyper-realist depictions, she accentuates the geometric abstraction, rhythmic repetition and textural qualities of these observed surfaces.”

— George Kinghorn, Curator, University of Maine Museum of Art “Tim Kent’s paintings seem to capture the first few moments after waking, the transient state when vivid dreams fade, faces blur, and the details of your slumber become hazy...Kent presents deconstructed and reconstructed realities, a dance between dimensions, and a shifting of perspectives that leaves us as viewers utterly lost in his endless landscapes.”

— Elizabeth Devlin, New American Paintings “...Dan Voinea’s figurative paintings always veer towards the abstract and surreal, and there’s always something very, very unsettling about them, something like an existential threat, like a crack in what most people believe to be right and true.”

— Renko Heuer, Ladown Magazine (Berlin, Germany)

COV E R Dan Voinea Close Encounter II (detail) 2014 Oil on canvas 150 × 140 cm INS I D E Tim Kent Lowlands (detail) 2014 Oil on canvas 200 × 180 cm B AC K Hannah Cole Platform Edge (detail) 2014 Acrylic on linen 60 × 50 cm

“Voinea confronts the audience with highly constraint and claustrophobic set of scenes with a hidden narrative that leaves the viewer intrigued; not by what they are seeing, but by what they not. He pushes the boundaries between realism and surrealism. Exceptionally well-executed, they are a treat to watch.”

— Lorenzo Belenger, Huffington Post (London, UK)

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R O TTE R D A M

COKKIE SNOEI

COK K I E SN O EI WEBS I T E www.cokkiesnoei.com E- M A I L info @ cokkiesnoei.com PHO N E +31 10 412 92 74 CEL L +31 6 247 338 63 CONTA C T N A M E Cokkie Snoei

EXHI B I T E D A R T IS T Kim van Norren OTH E R R E P R E S ENT ED AR T IST S Bas Zoontjens Ben Merris Elza Jo Heike Kati Barath Marisa Rappard Norbert Bisky Pieter Hugo Pieter Kusters Pim Palsgraaf Tracey Snelling

COV E R Kim van Norren When attitude becomes form (text: Harald Szeemann), (detail) 2014 Acrylic on linen 70 × 50 cm INS I D E Kim van Norren It’s your firmament, Baby (text: The Tragically Hip) 2014 Acrylic on unprepared canvas 185 × 175 cm B AC K Kim van Norren You were a great you (text: The Tragically Hip) 2014 Acrylic on linen 40 × 40 cm

Rotterdam is not the first city that comes to mind when considering contemporary art. Cokkie Snoei is the only woman that comes to mind when discussing art and Rotterdam.

Established in 1989, her gallery specializes in contemporary art and maintains a unique inventory of twentieth-century vintage photography.

The gallery has built a reputation for its strong association with both established and unknown artists. Cokkie Snoei’s talent lies in mixing the experimental with the traditional, the glamorous with the conceptual, and style with attitude. Her exhibitions are humorous, erotic, surreal and sublime. Cokkie is cosmopolitan. You can find her at most of Europe’s serious art fairs, including Basel, Cologne, Paris, Stockholm and Madrid. But you can also find her in New York.

A frequent-flyer champion, our ebullient blonde matron of the arts is often in the company of one of the artists of her unique stable. They are sculptors, painters, designers, vidiots and photographers.

Her fin de siècle space is unmissable when visiting Rotterdam.

– A Cok k i e S n oe i f a n Cokkie Snoei has worked with young Dutch artist KI M VAN N O R R E N since September 2012.

Kim van Norren paints (and draws) in series. Almost all her works are based on a piece of (classical) music or lyrics and texts from contemporary music.

The lyrics emerge on canvas as if they were fragments or echoes, from times long gone. She is interested in how we experience great life events, regardless of time and background.

The basis of the VOLTA10 works is a classification of specific quotes in ‘light’ and ‘dark’. The light and the dark are abstract interpretations of that which, on the one hand, is light-hearted and not yet moulded into any known form, and on the other hand, that which is heavy and concrete.

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C O P E NHA G E N

SPECTA

SPECTA WEBS I T E www.specta.dk E- M A I L specta @ specta.dk PHO N E +45 3313 0123 CEL L +45 2963 5594 +45 2041 6733 CONTA C T N A M ES Gitte Johannesen Else Johannesen

EXHI B I T E D A R T IS T S Daniel Svarre Thordis Adalsteinsdottir OTH E R R E P R E S ENT ED AR T IST S Lars Arrhenius John M. Armleder Eva Steen Christensen Peter Holst Henckel Ellen Hyllemose Jette Hye Jin Mortensen Andreas Schulenburg David Svensson Svend-Allan Sørensen Camilla Thorup

COV E R ( U P P ER) Thordis Adalsteinsdottir Om’s Friend With Chained Cat 2014 Acrylic on canvas 50 x 40 cm COV E R ( LO W ER) Daniel Svarre Position (Group of One) 2014 Jeans, shirts, shoes, jesmonite H 95 × Ø 75 cm INS I D E Daniel Svarre Position (Wall) and Position (Corner) 2014 Jeans, shirts, shoes, jesmonite (Wall) H 55 × W 65 cm (Corner) H 165 × W 35 cm B AC K Thordis Adalsteinsdottir Blakim Is Surprised With A Birth Of Her Puppy From Water Bottle 2014 Acrylic on canvas 40 × 50 cm

THO RD IS A D A L S TE INS D O T T I R (IS/USA, 1975) depicts her immediate surroundings. Animals, battered people and people seemingly in existential crisis are introduced directly and confronting in graphically simple and beautiful paintings, which are extraordinary intimate and relevant. Adalsteinsdottir often builds her paintings as a two dimensional universe creating an atmosphere of eternity in time and space.

Simple main motifs, added much smaller elements from other scenes leave a sense of tension, and at times a dreamlike condition, where anything can happen. With only a few, but strong effects Adalsteinsdottir manages to create a depressing yet attractive balance between peace and conflict, satire and gravity. Adalsteinsdottir presents no conclusions in her paintings, nor does she reject her characters — she introduces a series of circumstances which indicate a story or a course of events without judging their justification. That question is for the viewer to reflect upon and relate to.

The artistic project of D A NIE L SVAR R E (DK, 1976) derives from an interest in the aesthetic and psychological consequence of belonging or not belonging to a group and how this relationship is constructed visually. His work reflects on the one hand the intimacy, closeness and belonging to a group, and on the other hand the fear of dissolution of the group and of what is outside the well known. Additionally his works deal with feelings of desire and anxiety, relating to the stereotype ideas of ”I”, ”We” and ”The Others”. Defining the group raises a number of contradictions, as when the group is in opposition to the surroundings, and when the private is occuring in the public space. Svarre works in a cross-over between the society and the personal, allowing his works to be interpreted both ways as a critical contribution to our ideas, images and prejudices inherited in our understanding of ”Us” and ”Them”.

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MIA MI

SPINELLO PROJECTS

SPI N ELLO PRO J EC TS WEBS I T E www.spinelloprojects.com

Spinello Projects is pleased to present a continuation of “The Veil”, a new series from Nicaraguan-born artist Farley Aguilar, for the 2014 edition of VOLTA10, Basel.

E- M A I L info @ spinelloprojects.com

Aguilar sources his paintings from antique photographs, in the style of pre-arranged group portraits. These images reference a period of American life now gone, primarily dating from the first half of the 20th century. The figures are always in disguise: masked, made up or rendered unrecognizable. Just as notions of history tend to, in the popular imagination, fetishize the ‘fixed’ event or collective series of events, the construction of the mask aims to invariably petrify emotion or gesture. While masks may emulate expressions of joy, horror, indifference or perhaps nothing at all, it obscures more than it reveals.

PHO N E +1 786 271 4223 CONTA C T N A M E Anthony Spinello

EXHI B I T E D A R T IS T Farley Aguilar OTH E R R E P R E S ENT ED AR T IST S Agustina Woodgate Antonia Wright Aramis Gutierrez Kris Knight Manny Prieres Naama Tsabar Santiago Rubino Sinisa Kukec TYPOE

COV E R Farley Aguilar 3 Children 2014 Ink on mylar 9.7 × 15.5 in INS I D E Farley Aguilar Two Daughters 2014 Ink on mylar 26 × 34.5 in B AC K Farley Aguilar Boy with Gun 2012 Ink on mylar 32 × 32 cm

For Aguilar, the mask is a threatening, separatist object that distances the subject from its audience. The comfortable space between viewer and subject becomes compromised: it is challenged by the confrontational, menacing stares of those keeping their secrets behind a mask. These long-dead figures act as sharp reminders of the broken, dysfunctional systems of empathy and communication they inhabited, and as we inhabit, ourselves. Thus, these characters place a barrier, a thin wall between us and them: The Veil.

Farley Aguilar is a self-taught artist widely recognized amongst the South Florida contemporary art community. His work communicates sensations of dread, danger and volatility filtered through vibrations of the ‘mob’ mentality. Aesthetic and critical influences include Elias Canetti (whose theories of crowds and ‘packs’ question the effectiveness and vanity of authority figures), Faust (who warned of the inherent self-destruction found in the quest for total enlightenment) and the German Expressionists. Aguilar incorporates elements of bold, almost frightening colors and mythic symbologies into his despairing, furiously passionate works. Aguilar lives and works in Miami.

Spinello Projects is a Miami-based contemporary art program founded in 2005 by Anthony Spinello. The gallery supports and promotes the work of artists with unorthodox and experimental practices. Its mission: to initiate fundamental changes in Miami’s visual landscape and to present new aesthetic challenges to a broader global viewership.

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NA G O YA

STANDING PINE

STA N D I N G PI N E WEBS I T E www.standingpine.jp E- M A I L info @ standingpine.jp PHO N E +81 52 203 3930 CEL L +81 90 5108 8879 CONTA C T N A M ES Takeshi Tatematsu

EXHI B I T E D A R T IS T Shinji Ogawa OTH E R R E P R E S ENT ED AR T IST S Mayumi Inukai Kenji Sugiyama Pe Lang Tomoaki Shitara Youki Hirakawa Masayuki Arai

COV E R Shinji Ogawa Prague 2014 Pencil on Paper 101.9 × 66.2 cm INS I D E Shinji Ogawa Uppsala-Kraków 2013 Pencil on Paper 101.8 × 66.5 cm B AC K Shinji Ogawa Venice1 2014 Pencil on Paper 57.6 × 76.5 cm

“I am interested in unreachable and faraway landscapes and people in the past.

They reach me, appearing in mediums such as old postcards and torn up photographs. By controlling the medium that is sometimes fragmental and deteriorated by noise, I create the model of another world and offer invisible construction and rule of the world in it.”

— SHINJI OGAWA With the theme of “Worlds’ Encounters”, we will present the “Symmetry/Asymmetry” and “Perfect World” series. Ogawa challenges a magnificent view in calm black and white space. All works are drawn in pencil on paper.

“Symmetry/Asymmetry” consists of two antagonistic concepts existing in a landscape. At first glance it seems that a simple landscape is drawn. However, in actuality the lower half is symmetric and the upper half is asymmetric. Two antagonistic concepts are represented in harmony.

In “Perfect World”, Ogawa attempts to perfect the world landscape by doubling identical objects, such as the church tower rising on both sides of Grand Canal in Venice. If identical objects are plural, paradox is created and the world of singularities that God created for his own game will be finished. Ogawa paradoxically refers this to as “Perfect World”.

In 1994, Ogawa started his work by a series named “Without You”, in which he deleted main characters from famous paintings, covering up the empty space with his imaginary space and controlling memories. Since then, he has continued to offer the concept effecting the world itself and the fundamental base supporting the self.

At his solo show “Repeating World” at Art Basel Hong Kong 2013, Ogawa was selected in Top Artist 10 by fair curators. He has had major solo shows at The National Museum of Art (Osaka, Japan); Bunkier Sztuki (Krakow, Poland); and Toyota Municipal Museum of Art (Aichi, Japan), plus group shows at Museum of Contemporary Art in Krakow (Krakow, Poland); The National Museum of Art (Osaka, Japan); Okazaki Mindscape Museum (Aichi, Japan); Tokyo Station Gallery (Tokyo, Japan); Meguro Museum of Art (Tokyo, Japan); Hope College DePree Art Center (Michigan, USA); and The Museum of Modern Art, Shiga (Shiga, Japan).

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NE W Y O R K

MARC STRAUS

MA RC STRA U S WEBS I T E www.marcstraus.com E- M A I L info @ marcstraus.com PHO N E +1 212 510 7646 CEL L +1 510 289 1466 CONTA C T N A M ES Marc Straus Tim Hawkinson

EXHI B I T E D A R T IS T S Jeffrey Gibson Marin Majic Entang Wiharso OTH E R R E P R E S ENT ED AR T IST S Thomas Bangsted Birgit Brenner Charles Hinman Sam Jinks Chris Jones Martha Mysko John Newsom Jong Oh Paul Pretzer Ulf Puder Antonio Santin Zlatan Vehabovic

COV E R Jeffrey Gibson Both Hands 2014 Found canvas punching bag, recycled wool blanket, artist’s own repurposed painting, glass beads, artificial sinew, tin jingles, nylon fringe 109 × 35 cm INS I D E Entang Wiharso The Other Dream – I Love You Too Much 2011 – 2012 Aluminum, resin, thread, color pigment 275 × 400 cm B AC K ( L E FT ) Marin Majic Meadow 2012 Oil on linen 180 × 225 cm B AC K ( R I G H T) Marin Majic Hundstag II 2012 Oil on linen 61 × 50 cm

J E F F RE Y G IBS O N (b. 1973) is a Native American whose works offer a dialogue between canonized modern geometric abstraction, by artists such as Albers and Stella, and traditional artworks of Native cultures. In May 2013 he was the subject of a full-page lead arts feature of the Sunday New York Times. He had solo shows in 2013 at ICA Boston at the National Academy, New York. Gibson’s work is in the collections of the Eiteljorg Museum, the Smithsonian Institution, the National Gallery of Canada, Nerman Museum, MFA Boston, and Denver Museum of Art, among others. Major presentations of his work in 2014 will be held at the New Orleans Museum of Art (as part of Prospect New Orleans) and at the Denver Art Museum.

MARIN MAJIC (b. 1979) makes paintings that present a vision of unsettling idyll. His expertly rendered figurative oil paintings have both the weight European old masters as well as recent contemporary art. They give a bucolic sense beauty, and yet once the subject matter is discerned the experience alters. The figures, often wearing nostalgic costumes, recall pictures from old Hollywood magazines. However, something is always awry. An adoring mother bids her son farewell, but at second glance their relationship is charged. Two smiling school girls stand side-by-side in a meadow, perfectly normal except for one crucial aspect. He rakes the subtle, unobserved, and odd pockets. Majic has been included in several museum exhibits in the US including After the Fall, at the Hudson Valley Center for Contemporary Art and The Knoxville Museum (2010-11). He earned an MFA from the Academy of Fine Arts in Zagreb, Croatia and has a studio in Berlin.

E NTA NG W IHA RS O (b. 1967) is one of Indonesia’s leading mid-career artists and was recently a representative of his country at The Venice Biennale. He is concerned with the difficulties of individuals and societies trying to communicate even as geographical boundaries become amorphous. He addresses the struggle of tradition finding a place in an increasingly globalized world. Wiharso’s grand metal sculptures, cast wall reliefs, and oil paintings are imbued with Indonesian pop iconography, contemporary political history, and references to reliefs found on local Hindu temples. The English words seen are coded and invoke thoughts of love, separation, distance and tragedy. He has been the subject of numerous one person museum shows in Asia, Europe and the US. His first solo exhibition at an American gallery will be at M A RC S TRA U S , September 2014.

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FR A NKFU R T

GALERIE HEIKE STRELOW

G A LERI E H EI K E STRELOW WEBS I T E www.galerieheikestrelow.de E- M A I L info @ galerieheikestrelow.de PHO N E +49 69 48 00 54 40 CONTA C T N A M E Heike Strelow

EXHI B I T E D A R T IS T S Martin Hoener Monika Brandmeier Herbert Warmuth Wiebke Grösch / Frank Metzger OTH E R R E P R E S ENT ED AR T IST S Nin Bruderman Il-Jin Choi Jáchym Fleig Julie Hayward Florian Heinke Mathias Kessler Astrid Korntheuer George Steinmann Katrin Ströbel Wolfgang Winter / Berthold Hörbelt

COV E R Wiebke Grösch / Frank Metzger Untitled 2012 Tinted glass sheets, concrete, metal chains variable INS I D E Installation View with works from Herbert Warmuth and Martin Hoener 2013 B AC K Monika Brandmeier See You 2014 Aluminium, galvanized wire, colour Variable

The expanded concept of art is central to the works of the five German artists presented at VOLTA10 in Basel. All of them investigate strategies of production by developing own aesthetic concepts and reflecting the role as an artist today.

The abstract painter Herbert Warmuth connects different concepts of painting in just one picture. Expressive gestures like chainsaw cuts combined with mannerist drapes reveal underlying layers in both in a literal and a metaphorical sense. The abstract image space becomes a reference to the artist himself.

Martin Hoener includes the performative act of painting in the final work. Internalized practices like the unconscious cleaning of brushes or colour test scales become visible and show the appropriation of the material.

The works of the artist couple Wiebke Grösch & Frank Metzger include strategies that engaged with the production of knowledge. The delicate ballence of dependencies that underlies life in society is shown in the installation of sheets of tinted glass only held by long concrete rots already broken in places.

Monika Brandmeier also uses everyday elements and objects that look like everyday objects. She presents them in a situation as it were on a stage. By simple constructions she enables the observer to understand matters in relation not only logically but also sensuously.

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NU R E MB E R G

GALERIE STURM

G A LERI E STU RM WEBS I T E www.galeriesturm.de E- M A I L mail @ galeriesturm.de PHO N E +49 176 780 916 35 CONTA C T N A M E Dr. Johannes Sturm

EXHI B I T E D A R T IS T S Christiane Bergelt Tobias Buckel OTH E R R E P R E S ENT ED AR T IST S Jude Griebel Ludwig Hanisch Peter Kalkhof Jochen Pankrath Jasmin Schmidt

COV E R Tobias Buckel Wallboard 2013 Oil on canvas 200 × 150 cm INS I D E Tobias Buckel Display 2014 Exhibition view at Galerie Sturm B AC K ( L E FT ) Christiane Bergelt am Tisch 2013 Oil on paper 23 × 31 cm B AC K ( R I G H T) Christiane Bergelt Mondverband 2013 Oil on paper 42 × 30 cm

CHRISTIANE BERGELT (b.1982) studied painting with Christine Colditz and Thomas Hartmann at the Academy of Fine Arts in Nuremberg. After a stay at the Sassari Academy of Fine Arts in Sardinia, she completed her studies as a “Meisterschüler” of Thomas Hartmann. In 2010, she received a Master of Arts in Fine Art from the Chelsea College of Art and Design in London. Bergelt is an alumna of the Studienstiftung des Deutschen Volkes (German National Academic Foundation). In 2014, she received a residency at Schloss Wiepersdorf from the Federal State of Brandenburg.

Although a figurative reference is always present in her work, Bergelt deviates from narrative representations and instead traces a shadowy depth that opens up behind the familiar figurative elements. In smooth transitions, she plays with the limits of figuration and deliberately omits realistic elements.

TO BIA S BU CK E L (b.1978) studied painting at the Academy of Fine Arts in Nuremberg and is a “Meisterschüler” of Thomas Hartmann. With the support of a study grant from the German Academic Exchange Service (DAAD), he attended the Chelsea College of Art and Design in London, where he received a Master of Arts in Fine Art with distinction in 2011. In 2014, as a fellow of the Free State of Bavaria, he obtained a studio at the Cité internationale des Arts in Paris.

Starting from an interest in image space, Buckel developed a visual language that lies at the border between representation and abstraction. Through the superposition of motifs and the layering of surface and figure, he establishes clear and focused image compositions, which remain open despite their formal consciousness and thereby allow a variety of possible interpretations.

G A L E RIE S TU RM sees its main task in representing and promoting young academic artists with a focus on painting. Our gallery program is based on authenticity, artistic character and technical excellence of our artists. We love to show what intensive involvement painting is able to create.

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ME LB O U R NE

DIANNE TANZER GALLERY + PROJECTS

D I A N N E TA N Z ER GALLERY + PROJEC TS WEBS I T E www.thisisnofantasy.com E- M A I L info @ thisisnofantasy.com PHO N E +61 3 9416 3956 CEL L +61 411 599 952 CONTA C T N A M ES Dianne Tanzer Nicola Stein Jemma Clark

EXHI B I T E D A R T IS T S Marian Drew Jacqui Stockdale OTH E R R E P R E S ENT ED AR T IST S Abdul-Rahman Abdullah Natasha Bieniek Kevin Chin Michael Cook Juan Ford Neil Haddon Victoria Reichelt Yhonnie Scarce Valerie Sparks Amy Joy Watson

COV E R Jacqui Stockdale Rama-Jaara the Royal Shepherdess 2012 Type C Print 150 × 117 cm INS I D E Marian Drew Swamp Hen with Candle 2005 Digital image on German etching paper, archival pigments 112 × 140 cm B AC K Marian Drew Pelican with Turnips 2011 Pigment print on archival Hahnemuhle cotton paper 112 × 140 cm

Outland features two highly respected Australian artists who delve into Australia’s young history and narratives of colonisation. In very different and personal ways Marian Drew and Jacqui Stockdale reflect on notions of identity and place. Their works consider how art and objects shape history and cultural memory.

European still life painting, with its connotations of wealth and privilege, is referenced in Drew’s compelling photographs. Transferred to Australia with its odd assortment of animals and parched landscape, the European fabrics and tableware are loaded with melancholy and nostalgia, a sad reminder of a colonial attempt to imbue the new country with reminders of what was left behind.

In examining the clash between nature and culture, Drew alludes to momento mori and vanitas narratives. Since European colonization and settlement, Australia has had one of the highest rates of species extinction in the world. Its unique and fragile ecosystems eroded by the inevitable march of progress.

Jacqui Stockdale’s photographic portraits reflect on the role of history and cultural lineage in forging identity. Dressed in costumes and masks, her fanciful characters are layered with cross-cultural, mythological and personal references. They are at once comical, grotesque and beautiful. Her contemporary reworking of anthropological studies of the primitive and exotic re-image colonial discourse. In her world, ‘human darkness’ takes many forms.

Custom-created wallpaper of a reconfigured landscape by Valerie Sparks will form the panoramic backdrop to the works. Read as a whole the exhibition describes the cultural landscape of Australia and presents a unique interpretation of colonial vestiges.

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C O LO G NE

TEAPOT

TEA POT WEBS I T E www.weareteapot.com E- M A I L info @ weareteapot.com PHO N E +49 221 78940398 CEL L +49 177 5809048 CONTA C T N A M ES Lutz Göbelsmann Petra Martinetz

EXHI B I T E D A R T IS T S Albert Mayr Evamaria Schaller René Stessl OTH E R R E P R E S ENT ED AR T IST S Oliver Czarnetta Zhivago Duncan Christian Eisenberger Amir Fattal Christian Keinstar Robert Knoke Thomas Palme Susanne Rottenbacher Rob Scholte Tina Schwarz

COV E R Albert Mayr Walking (for Marcel) 2013 Tripods, Ladder, Paper variable INS I D E Evamaria Schaller Lift 2013 video still variable B AC K René Stessl Untitled 2013 Acrylic on canvas 145 × 150 cm

Though a small country, Austria has one of the most vibrant art scenes in the world.

With important artists in every decade and a rich cultural history Austria, and especially its capital Vienna, is outstanding and with an ongoing dialogue through the times: Kokoschka, Klimt, Schiele, Kogelik, Brus Brandl, Nitsch, Export all stand for political and radical art with a special “Vienna feeling” about their art. The idea, and the fastness in the foreground create the possibility of intellectual and straightforward art.

In this context TE A P O T presents Albert Mayr, 2013 scholarship holder of the Austrian Scholar for Fine Art. In an almost neo-Dadaistic way Mayr recycles the iconic fragments of our everyday common office surrounding: computer screens, cd-drives, networks of wires are all being turned into functional objects — gates, doors, fountains and showers, carpets, decorative canvases.

Evamaria Schaller, winner of several prizes in the last years, works with performance, video and recycled materials. Mostly place-bound, Schaller tries to examine architecture and people with all senses: rubbing floors nacked, licking walls and windows, smelling people or generating strange but possible sounds of a room: In extraordinary ways Schaller makes humans and things apperceptive.

In his abstract paintings Stessl works with speed and coincidence. The student of Erwin Bohatsch is often sitting hours in front of the canvas, the painting then takes place in seconds. The unconscious searched for in rapid movements, the secrecy or the decoupling of mind and body: Rene Stessl is always traveling beyond borders in search of new impressions.

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O S A KA

TEZUKAYAMA GALLERY

TEZ U K AYA M A G A L LERY WEBS I T E www.tezukayama-g.com/en/ E- M A I L info @ tezukayama-g.com PHO N E +81 66534 3993 CEL L +81 9032832232 (Ryoichi) CONTA C T N A M ES Ryoichi Matsuo Chie Uchida

EXHI B I T E D A R T IS T Tomohiro Kato OTH E R R E P R E S ENT ED AR T IST S Yasuka Goto Kazuma Koike Misato Kurimune Hirohito Nomoto Yoshiyuki Ooe Kaoru Soeno Satoru Tamura Yuuki Tsukiyama Hiroko Uehara Kohei Yamashita

COV E R Tomohiro Kato Steel Tearoom ‘TETTEI’ 2012 Steel and stainless 240 × 263 × 290 cm Courtesy of TARO OKAMOTO MUSEUM of ART INS I D E Tomohiro Kato Steel Tearoom ‘TETTEI’ 2012 Steel and stainless 240 × 263 × 290 cm Courtesy of TARO OKAMOTO MUSEUM of ART B AC K ( L E FT ) Tomohiro Kato Painting Shelter 2012 Steel 37.0 × 31.5 × 9 cm B AC K ( R I G H T) Tomohiro Kato Radiation Soup 2011 Acrylic spray on steel canvas 100.0 × 80.3 × 2.5 cm

Tomohiro Kato was born in Tokyo in 1981. He completed an MA from the Department of Craft at Tama Art University in 2006, which included the study of many traditional Japanese craft techniques in a variety of media. After graduating, whilst working in a metal processing company, Kato developed his technical skills of steelwork. All of his artwork is constructed using steel and he is constantly challenging perceptions and finding new potentials of this material. Either by making steel canvases or sculpting steel paintbrushes, he employs steel — a conventional material of our everyday life — in unconventional ways. He cleverly brings the ‘material’ of objects to our attention and opens up questions about the connections between ‘material and society’.

Since witnessing the Tohoku earthquake in 2011 and its impact on society, Kato became more conscious of his country. This revived his interest in traditional Japanese culture, the field he had kept distance from after his graduation. With this work ‘ TE TTE I’ , Kato recreates a quintessential part of Japanese traditional culture, the tea ceremony. The Japanese tea ceremony is an important element of traditional culture and the performance of the tea ceremony, until recent years, a powerful performing art. The entire set of equipment not only forms part of the overall physical structure but are works of art themselves. Kato’s steel tearoom consists of everything in a traditional Japanese tearoom, including: a tokonoma (alcove), a ­k akejiku (hanging scroll), a tea set and even traditional Japanese arrangements — all made of steel. A traditional tearoom reflects the eternal existence of the cosmos, reaching its culmination point at the moment of the performance of the tea ceremony.

Kato won the Taro Okamoto Award for Contemporary Art (first prize) with this work in 2012. This prize is the most prestigious that can be bestowed on a contemporary artist in Japan.

A R TIS T S TATE M E NT The most important thing about my work is that it is steel. We are under illusions that information like data and numbers fly around so fast and the world is covered by them. I feel a notion that material is becoming less important. Painting metal on metal is like mixing up the existence and reality of steel as material and the symbolism and imagination of two dimensional images. I think this twisted feeling awakens us and makes us rethink about the material ‘steel’, which is responsible for the world’s industrial development.

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S A LFO R D

THE INTERNATIONAL 3

TH E I N TERN ATI O NAL 3 WEBS I T E www.international3.com E- M A I L ptb @ international3.com PHO N E +44 7981 389 591 CEL L +44 7981 389 591 CONTA C T N A M ES Paulette Terry Brien Laurence Lane

EXHI B I T E D A R T IS T S Sean Penlington Rafal Topolewski OTH E R R E P R E S ENT ED AR T IST S Brass Art Stuart Edmundson Pat Flynn Josephine Flynn Alison Erika Forde Andrew McDonald

COV E R Rafal Topolewski Red Dress (detail) 2014 Oil on canvas 152.5 × 183 cm INS I D E Sean Penlington Cenoub 2013 Oil with acrylic, paper with charcoal and tape on canvas with inflatable rubber ball 100 × 164 × 64 cm B AC K ( L E FT ) Sean Penlington Problem Painting 2 2014 Acrylic with oil, beeswax, electrical tape on wood 100 × 91.4 × 6.2 cm B AC K ( R I G H T) Rafal Topolewski Boy 2014 Oil on canvas 174 × 200 cm

For VOLTA10, The International 3 creates a dialogue between the work of two young emerging artists and in doing so exposes and examines new tendencies within painting as an expanded field of practice. Rather than creating pictorial narratives that offer some replacement for reality, Sean Penlington and Rafal Topolewski produce works that focus on the materials, processes and experience of painting; conscious of the history they emerge out of and the present they work within. Whilst differing in their influences and style, their presentation at VOLTA10 coheres around a shared interest in examining both the seriousness and banality of painting and in creating visual puzzles that subvert familiar ideas with wit and charm.

Sean Penlington,(born 1987, Liverpool, U.K) graduated from Manchester Metropolitan University in 2010 with a first class BA (Hons) Fine Art and graduated from Chelsea College of Art and Design in 2013 with an MA Fine Art. Group exhibitions include Jealous Graduates at Saatchi Gallery (Edition and Print Gallery), London, The Creative Cities Collection at The Barbican Art Gallery, London and The Olympic Gallery, Beijing and Saatchi Gallery / Channel 4 New Sensations 2010. Sean’s first solo exhibition takes place at The International 3 in autumn 2014. His work is held in the V&A Print Collection, The Darbyshire Collection, Creative Cities Collection Beijing and in private collections.

Rafal Topolewski, (born 1983, Grudziadz, Poland) graduated in 2012 with a first class BA(Hons) Fine Art from Manchester Metropolitan University. In 2012 he was one of four finalists of Saatchi Gallery / Channel 4’s New Sensations and in 2013 he took part in the Zabludowicz Collection’s ‘Testing Ground: Master Class’. His first solo show took place at The International 3 in 2013. His work is held in private collections in the U.K. Europe and South Korea. In 2013 he began an MA Fine Art at The Royal Academy Schools, London.

The International 3 produces a year round programme of exhibitions and events on and off-site. We also work with a core group of artists exhibiting and selling their work. The International 3 is the curatorial coordinator for The Manchester Contemporary art fair and an invited member of NADA (New Art Dealers Alliance). The International 3 is a not for profit company directed by Paulette Terry Brien and Laurence Lane. The International 3 receives project funding from Arts Council England and is supported by a core group of Founder Patrons.

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NE W Y O R K

TYLER ROLLINS FINE ART

TYLER RO LLI N S FINE ART WEBS I T E www.trfineart.com E- M A I L info @ trfineart.com PHO N E +1 212 229 9100 CONTA C T N A M E Tyler Rollins

EXHI B I T E D A R T IS T S Tiffany Chung Jimmy Ong Agus Suwage OTH E R R E P R E S ENT ED AR T IST S Arahmaiani FX Harsono Tracey Moffatt Manuel Ocampo Sopheap Pich Araya Rasdjarmrearnsook Pinaree Sanpitak Jakkai Siributr Ronald Ventura Yee I-Lann

COV E R Jimmy Ong Gerry Gender 3 2012 Gouache and charcoal on paper 114 × 65 cm INS I D E Agus Suwage Untitled 2013 Watercolor on paper 56 × 76 cm B AC K ( L E FT ) Tiffany Chung 19th century European farm equipment and SiO2 #3 (detail) 2012 Image transfer and micro pigment ink on paper 42 × 30 cm B AC K ( R I G H T) Tiffany Chung Flower Rearrangement No. 1 2005 Paper collage 40.5 × 40.5 cm

A G U S S U WA G E (born in 1959 in Purworejo, Central Java, Indonesia; lives and works in Yogyakarta, Indonesia), a giant of Indonesian contemporary art, has exhibited extensively around the world in numerous international biennials, such as: Jogja Biennale, Yogyakarta, Indonesia (2013); Singapore Biennial (2006); Gwangju Biennial (2000); and Asia Pacific Triennial, Brisbane, Australia (1996). In 2009, Jogja National Museum, Indonesia presented a major retrospective of Suwage’s works. Recent exhibitions include: Beyond the East, Macro Museum, Rome (2011); B ­ eyond the Self, National Portrait Gallery, Canberra (2011); and Panorama: Recent Art from Contemporary Asia, Singapore Art Museum (2012). He will participate in the upcoming international biennial, Prospect New Orleans (October 25, 2014 – January 25, 2015).

J IM M Y O NG (born in 1964 in Singapore; lives and works in USA and Singapore) is one of Singapore’s iconic contemporary artists, known since the 1980s for his large-scale, figurative charcoal works on paper. His seminal exhibition, Sitayana (2010), exhibited at Tyler Rollins Fine Art, was acquired by the National Art Gallery of Singapore. In recent years, he has been working on ongoing projects in Yogyakarta, Indonesia, and presented his Makcik Project in conjunction with the 2013 Jojga Biennale. His work is currently on view at the National University of Singapore Museum through July 20, 2014.

TIF FA NY CHU NG (born in 1969 in Danang, Vietnam; lives and works in Saigon) is one of Vietnam’s most prominent and internationally active contemporary artists.

Her recent exhibitions in Europe include: Threads, Museum Arnhem, The Netherlands (2014); Tiffany Chung, Lieu-Commun, Toulouse, France (2014); and Disrupted Choreographies, Carré d’Art — Musée d’art contemporain de Nîmes, France (2014).

Chung was a featured artist in the California Pacific Triennial, Orange County Museum of Art, Newport Beach, CA (2013), and the Sharjah Biennial, Sharjah, UAE (2013), where she received the 2013 Sharjah Biennial Prize. Other group exhibitions include: Six Lines of Flight, San Francisco Museum of Modern Art, San Francisco, CA (2012); and The Map as Art, Kemper Museum of Contemporary Art, Kansas City, MO (2012-2013). Chung will have her fourth solo exhibition with Tyler Rollins Fine Art in April 2015.

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C O P E NHA G E N

V 1 GALLERY

V 1 GA LLERY WEBS I T E www.v1gallery.com E- M A I L mail @ v1gallery.com PHO N E +45 33310321 CEL L +45 26828166 CONTA C T N A M ES Jesper Elg Josephine Fity

EXHI B I T E D A R T IS T S Geoff McFetridge HuskMitNavn Jacob Holdt John Copeland Peter Funch Shepard Fairey Steve Powers Todd James Troels Carlsen OTH E R R E P R E S ENT ED AR T IST S Asger Carlsen Julie Nord Katherine Bernhardt Matthew Stone Misaki Kawai Richard Colman Shane Bradford Thomas Campbell Thomas Øvlisen Wes Lang

COV E R Peter Funch Burning Candle (From the series “Last Flight”) 2013 Photograph on pigment print, Edition of 5 + 2 AP 91.5 × 68.5 cm INS I D E John Copeland Cut You In Half, And Count The Rings 2014 Oil on canvas 183 × 244 cm B AC K Troels Carlsen The Central Themes Of Maturity #1, #2 and #3 2013 Acrylic on antique anatomy lithography 35 × 26 cm

V1 Gallery was founded in 2002 as a platform for contemporary art in Copenhagen.

In 2005 V1 Gallery started operating as a commercial gallery. The gallery represents a select group of emerging and established artists and is committed to introducing art, in all media, to an international audience. Seeing art as a profound and competent media for social and political discourse, the gallery aspires to serve as a platform for art that interacts with the surrounding society.

In 2014 V1 Gallery founded, Bad News, a new exhibition platform in New York.

V1 Gallery’s director, Jesper Elg, also works an independent curator and is involved in various cultural endeavours.

Since 2007 V1 Gallery has joined V O LTA in Basel every summer. For VO LTA’s 10th edition celebration, we have curated an exhibition featuring artists we have presented at V O LTA for the past 8 years. The exhibition features new work from Troels Carlsen, Todd James, Steve Powers, HuskMitNavn, John Copeland, Peter Funch, Shepard Fairey, Geoff McFetridge and Jacob Holdt.

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NEWCAS TLE U P O N TY NE

VANE

VA N E WEBS I T E www.vane.org.uk E- M A I L info @ vane.org.uk PHO N E +44 191 261 8281 CEL L +44 7713 097852 CONTA C T N A M ES Paul Stone Christopher Yeats

EXHI B I T E D A R T IS T Narbi Price OTH E R R E P R E S ENT ED AR T IST S Adam Burns EC Davies Kerstin Drechsel Jorn Ebner Nick Fox Simon Le Ruez Michael Mulvihill Jock Mooney Josué Pellot Flora Whiteley

COV E R Narbi Price Untitled Black Door Painting (304) 2013 Acrylic on canvas 122 × 91 cm INS I D E Narbi Price Untitled Canal Painting 2010 Acrylic on canvas 120 × 150 cm B AC K Narbi Price Untitled Car Park Painting (AC) 2012 Acrylic on canvas 91 × 122 cm

Narbi Price is interested in perceived histories of locations and how painting can question the understanding of architectural and pictorial space. He challenges the conventions of photographically derived painting in terms of paint application and composition, and in blurring the line between the figurative and the abstract. His paintings are based on photographs taken on trips to places that have witnessed a range of events, from murders to whimsical acts that have spawned folklore.

For example, Untitled Car Park Painting (AC) is from a series depicting the locations of the ‘Jack The Ripper’ murders of 1888 as they are today. The only acknowledgement of the site’s provenance is that the work’s title is suffixed with the victim’s initials.

Untitled Black Door Painting (304) shows the front door to the home of Joe Meek, pioneering record producer, most famous for the iconic Telstar by The Tornados.

Here in 1967, sunken into debt and depression, Meek shot and killed his landlady and himself.

Untitled Canal Painting depicts a beauty spot where a Victorian drunkard murdered his wife and where English soap opera star Pat Phoenix ran a popular pub close to a century later.

Untitled Well Painting shows a significant site in North East English folklore, celebrated in the song The Lambton Worm, claimed to be that of the Lambton Well where Lord Lambton threw the Wyrm (or Worm) before leaving to fight in the First Crusade.

Narbi Price was born Hartlepool, UK, in 1979 and lives and works in Newcastle upon Tyne, UK. He studied BA Fine Art at Northumbria University and MFA at Newcastle University. He has twice exhibited in the John Moores Painting Prize and was a prizewinner in 2012. He has exhibited recently in Manchester, London, Milan, Bologna, Berlin and New York. His solo exhibition, ‘Shan’t Quit’ was at Vane in 2013. Forthcoming solo exhibitions include GalleriaSIX, Milan, in September 2014.

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WHATIFTHEWORLD

WH ATI FTH EWORLD WEBS I T E www.whatiftheworld.com E- M A I L info @ whatiftheworld.com PHO N E +27 21 447 2376 CEL L +27 79 490 7293 CONTA C T N A M ES Justin Rhodes Ashleigh Mclean

EXHI B I T E D A R T IS T Athi-Patra Ruga OTH E R R E P R E S ENT ED AR T IST S Julia Rosa Clark Pierre Fouche Dan Halter Maja Marx John Murray Daniella Mooney Cameron Platter Lyndi Sales Rowan Smith Michael Taylor

COV E R Athi-Patra Ruga The Versatile Ivy in Exile 2014 Wool and Thread on Tapestry Canvas 200 × 200 cm INS I D E Athi-Patra Ruga The Night of the Long Knives III 2013 Archival Inkjet Print on Photorag Baryta 157 × 202 cm B AC K Athi-Patra Ruga Thud of a Snowflake 2013 High-density foam & artificial flowers 140 × 210 × 42 cm

W H AT I F T H E W O R L D is pleased to present a solo presentation of new work by Athi-Patra Ruga, one of South Africa’s most exciting young artists. Exploring the border-zones between fashion, performance and contemporary art, Athi-Patra Ruga makes work that exposes and subverts the body in relation to structure, ideology and politics. Bursting with eclectic multicultural references, carnal sensuality and a dislocated undercurrent of humour his performances, videos, Handworked tapestries and photographic images create a world where cultural identity is no longer determined by geographical origins, ancestry or biological disposition, but is increasingly becoming a hybrid construct. A Utopian counter-proposal to the sad dogma of the division between mind and body, pop culture, craft and fine art, his works expresses the eroticism of knowledge and reconciles the dream with experience.

Born in Umtata, South Africa in 1984 Athi-Patra Ruga currently lives and works in both Johannesburg and Cape Town. His work was recently included in Imaginary Fact, 55th La Biennale di Venezia RSA Pavilion 2013 and Public Intimacy, ­S FMOMA San Francisco 2014. His works form part of private, public and museum collections, namely: Museion — Museum of Modern and Contemporary Art, Bolzano Italy; CAAC — Pigozzi Collection, Zeitz MOCCA, 21C Collection Louisville Kentucky and the Iziko South African National Gallery. Upcoming exhibitions include African Odysseys at The Espace Culturel Louis Vuitton in Paris and Present Tense at the ­F undacao Calouste Gulbenkian in Lisbon.

A BO U T THE G A L L E RY Whatiftheworld / Gallery was founded in 2008 and is situated in a decommissioned synagogue in Woodstock, which forms part of Cape Town’s recent renewal of ­E dwardian industria. Originally the gallery identified a group of young contemporary Southern African artists whose practice was underpinned by both global and local contemporary art movements. These artists have to a large degree, gone on to transform the South African art landscape. Using their social and personal identities they have twisted the previous generation’s resistance and conceptual based practice into something beyond merely protest conceptualism, embracing both materiality and humour.

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WIDMERTHEODORIDIS

WI D MERTH EOD ORIDIS WEBS I T E www.0010.ch E- M A I L mail @ 0010.ch PHO N E +41 71 971 38 11 CEL L +41 79 293 18 52 +41 79 443 11 54 CONTA C T N A M ES Jordanis Theodoridis Werner Widmer

EXHI B I T E D A R T IS T S Michael Schnabel Scanderbeg Sauer Othmar Eder (cabinet) OTH E R R E P R E S ENT ED AR T IST S Erika Babatz Andreas Fux Sybille Hotz huber.huber Matthias Liechti Ernst Stark Stefan Thiel Nicolas Vionnet Franz Wassermann Nadine Wottke

COV E R Scanderbeg Sauer Tschierva 2013 Sketch 120 × 158 cm (size of C-print) INS I D E Michael Schnabel Weises Land Skizze #08 2008/2009 Photography 42 × 52 cm B AC K Michael Schnabel Sidelhorn 2003 Recom Ditone print on aluminium 100 × 140 cm

M ICHA E L S CHNA BE L Well-known German photographer Michael Schnabel has gone from black (Stille Berge) to white in Weisses Land. Exhausting the limits of photography during his nightly hikes has brought him broad recognition as a still and elegant observer of pristine nature. In Weisses Land he takes us to the technical limits of paper and lens based photography. Clean and ethereal white images of void land that look like drawings on paper create an almost ideal, imaginary vision of landscape.

S CA ND E RBE G S A U E R Andreana Scanderbeg and Alexander Sauer work together since 2005 focusing on corporate, people and industrial photography depending on their clients mandate.

Their artistic portfolio on the other hand consists of controversial portraits of the global industry and their impact on nature and civilization.

For VOLTA10 widmertheodoridis has selected one image from the new series showing the vanishing Tschierva glacier.

In order to reconstitute the landscape, a number of images were digitally processed and combined using manipulation of the applied perspective. On the one hand, the eyes sweep over the glacier forefield, where ice masses are brought within reach by using this novel view, while at the same time cliffs, massive rock-faces and towering mountain sides relegate to the background. This reconstructed landscape shows the observer a Tschierva glacier which, because of the increasing rate of retreat, will no longer exist in this form in the future. A computer model was used to produce a graphic comparison in perspective so as to present the real and the virtual picture.

S HO W CO NCE P T In presenting and combining these two artists in one booth widmertheodoridis juxtaposes two positions that converge visually but are opposite to each other. While Schnabel underlines the eternal beauty of untouched nature Scanderbeg Sauer aim to question the conquest of earth by mankind.