VOLTA11 // JUNE 15–20, 2015

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

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voltA 11 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 tN er

PAr tN e r s

our decade edition in Basel last year, coupled with our return to Markthalle in the city center, was a golden occasion: from the galleries assembled and art on view to the majestic venue itself. so as the dust settled and the walls came down on voltA10, we thought to ourselves: where to take this next? Not a location change: Markthalle will be ours going forward. But rather, the direction of voltA itself. over ten years on, we have built and refined our identity as Basel’s renowned art fair for new and emerging art, as we navigate the malleable terrain between the ultra blue�chip gal� leries exhibiting at Art Basel (including an ever�growing list of voltA “alumni”) and the ultra�young galleries plucked away by lIste.

As this is our eleventh Basel edition, our mission was clear: follow Nigel tufnel’s ad� vice in classic rockumentary This Is Spinal Tap and “Go to ele veN!” We challenged prospective Basel exhibitors with this command, and the 69 inter� national galleries here have delivered and then some. What this means — “go to eleven!” — is over 20 solo�artist presentations, ranging from young artists enjoying their first (true) solo show in switzerland, to mid�career artists with enviable mu� seum exhibitions and biennial participation in their Cvs. Add to this nearly 20 dual� artist booth dialogues, and the majority of voltA11 presentations more closely re� semble our New York fair’s strict solo focus than ever before — and this has been accomplished entirely organically, by galleries believing in our brand and delivering the bold goods. several exhibiting artists this year are featured in the 56th venice Biennale, from curator okwui enwezor’s Main Pavilion “All the World’s futures” to major National Pavilion participation and exhibition in official Collateral events throughout venice.

As well, an array of thoughtfully curated group conversations and several major site�specific installations and participatory presentations round out our compelling eleventh Basel fair.

We are not reinventing the wheel, nor ourselves as a fair. Collectors and guests know what to expect from us, and we do not wish to disappoint. rather, we are “amping it up”, showcasing compelling projects from artists across the globe while return� ing the art fair focus back to its most crucial — and most obvious — component: the art itself. Welcome to voltA11!

Cu ltu r A l PA r tN ers

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B a r c e lo na

ADN GAleríA

aDn G a lerí a We B S I Te www.adngaleria.com e-m A I L info @ adngaleria.com PhOn e +34 934 510 064 CeL L +34 687 528 625 COnTA C T n Ame miguel Angel Sánchez

e xh I B I Te d A r T IS T S Carlos Aires mounir fatmi Kendell Geers eugenio merino Avelino Sala OTh e r r e Pr eS enT ed Ar T IST S marcos Ávila Forero Virginie Barré Abdelkader Benchamma Tobias Bernstrup demOCrACIA núria Güell Bouchra Khalili Adrian melis Bruno Peinado Federico Solmi

Carlos Aires gives a semantic turn to established icons and values by recontextualizing ready-made raw material. his work plays ironically with popular icons and mass media, pointing out his critical position towards contemporary neo-liberal society.

The work of Carlos Aires talks about an uncomfortable reality through beautiful and attractive productions, leading the spectator to a multi-level lecture to discover a perturbing and politically incorrect lecture beyond the appearance. mounir fatmi constructs visual spaces and linguistic games. his work deals with the desecration of religious object, deconstruction and the end of dogmas and ideologies. his videos, installations, drawings, paintings and sculptures bring to light our doubts, fears and desires. mounir Fatmi’s work offers a look at the world from a different glance, refusing to be blinded by the conventions.

Kendell Geers’ work formulates a critical and iconoclast standpoint almost atypical in the contemporary artistic landscape. The notion of power comes out in representations that deal directly or metaphorically with issues like violence, religion and spirituality, moral, sex and body, discipline and fear. Geers undermines the system of values set by our Western society and harshly reveals some aspects that are usually left in the dark: struggles for power, racism, injustice, feigned Puritanism. eugenio merino’s work wavers between belief and disbelief, paradox and equality, 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. Through sculptures and drawings he denounces a world based on the frenetic consumption of images and media representations. The works switch between causticity and satire; they play with real, complex situations, turning the dramatic into sarcasm and vice versa.

Avelino Sala’s work has led him to question the cultural and social reality from a late romantic perspective, with a continuous exploration of the social imaginary.

COV e r Kendell Geers Cultural Evolution 69 (detail) 2011 Indian ink on paper 65,5 × 102 cm In SI d e Carlos Aires Retablo (detail) 2015 wooden frame, stucco, 24 karats polished gold leaf, digital print 150 × 120 × 4 cm BAC K mounir fatmi Brainteaser for a moderate Muslim 2009 digital prints 50 × 50 cm

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Ams te r d A m

AKINCI

A K I N CI We B S I Te www.akinci.nl e-m A I L info @ akinci.nl PhOn e +31 20 63 80 480 CeL L +31 626 946 383 COnTA C T n AmeS renan Beunen Leyla Akinci

eXhI B I T e d A r T IS T S Cevdet erek esther Tielemans OTh e r r e Pr eS enT ed Ar T IST S Stephan Balkenhol melanie Bonajo Persijn Broersen & margit Lukács Gluklya Thomas huber Axel hütte Andrei roiter Stéphanie Saadé Albrecht Schnider Anne Wenzel

COV e r esther Tielemans Pedestal Painting 2015 acrylic on plywood 200 × 32 × 32 cm In SI d e Cevdet erek Day (Yellow) 2014 16 × 160 Led display 3 modules.

1 module = 12 × 121 cm BAC k esther Tielemans installation view, Wolvecamp prize (photo by Peter Cox) 2014

The link between the working practice of Cevdet erek and esther Tielemans can be found in the focus on scale and spatial and rhythmic elements. Both artists tend to evoke synergistic effects that go beyond the means they use within their work.

Ce V d e T ere k (1974, Turkey) is renown for his spatial and rhythmic interventions as seen in his show Week at kunsthalle Basel (2011), his installation and performance Room of Rhythms at dOCumenTA (13), his total architectural proposal Alt Üst at Spike Island, Bristol (2014) and in A Room of Rhythms — Curva at the mAXXI museum rome (2014).

Being trained as an architect and sound engineer, erek made his first art works in 2000 and developed his focus on temporal and spatial compositions during his training at the rijksakademie Amsterdam (2005/2006). his work is in private and museum collections, a.o. the Stedelijk museum Amsterdam, Istanbul modern, Vehbi koç Foundation, Sharjah Foundation and museum maxxi rome. At VOLTA11 erek presents works that build a conceptual link between temporal, visual and auditory elements. e S The r TI e Le m A n S (1976, netherlands), who studied at the rijksakademie in Amsterdam (2001/2002) and has shown her work internationally in Switzerland, Germany, new York, hong kong and Istanbul, concentrated right from the start of her career on repetitive abstract elements made of plywood with bright coloured painterly surfaces, which are kept mat and in some cases are glazed with epoxy.

The epoxy surfaces mostly have a strategic function, as they mirror the surrounding bright coloured paintings. In recent years Tielemans enhanced the degree of abstraction within her works, with the emphasis on the memories of experience of landscape in connection to the experience of space. Tielemans’ works are in private and museum collections, a.o. the Van Abbemuseum eindhoven, Stedelijk museum Schiedam and the Caldic Collection, rotterdam. In 2014 Tielemans was awarded with the Wolvecamp prize. her work is currently on view at the Van Abbemuseum in eindhoven.

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S E VILLE

ALARCÓN CRIADO

A LA RCÓN CRI A D O We B S I Te www.alarconcriado.com e-m A I L info @ alarconcriado.com PhOn e + 34 954 221 613 CeL L + 34 676 799 447 COnTA C T n AmeS Julio Criado Carolina B. Alarcón

e xh I B I Te D A r T IS T S François Bucher nicholas Grospierre José Guerrero Alejandra Laviada OTh e r r e Pr eS enTeD Ar T IS T S Bernardo Ortiz emilio Gañan Dénes Farkas Jorge Yeregui Julie rivera martín Freire mira Bernabeu mP&mP rosado Simon Zabell

COV e r François Bucher The form of Venus. The duration of the present. Notes on frequency. (detail) 2013 Vinyl 110 × 110 cm In SI D e nicolas Grospierre The Bank. The Safe.

2009 Photographic object; Lambda prints, aluminium, Plexiglas, lamps, lightbox, mirrors 60 × 60 × 90 cm BAC k ( L e FT ) Alejandra Laviada Circles Wood 2014 Pigment print on hahnemühle cotton paper 76.2 × 94 cm BAC k ( r I G h T) Alejandra Laviada After Jasper 2014 Pigment print on hahnemühle cotton paper 76.2 × 94 cm

FrAnÇOIS BuCher (Colombia, 1972) his work and research covers a wide range of interests and means, initially focused on issues relating to ethical and aesthetic questions raised by film and television, which have been central themes in his written and artistic projects. until 2008 his work was conceptually and politically orientated. Since then, Bucher´s ideas about the world have taken an abrupt turn and his new production could be described as multidimensional. his works are interrelated; each virtual splice creating multiple circuits of unpublished meaning, dimensions of thought that underlie the whole field. nICOLAS GrOSPIerre (Poland, 1975) is a photographer of mostly architecture, and an artist working in the expanded field of photography. On the one hand, his work as has been focused on documentary projects. These projects often explore the collective memories and the hopes linked to modernist architecture — now that the utopic dreams linked to them have faded away. On the other, his more conceptual photographic works tend to emphasize mind games, whilst displaying attractive, sensual images or installation.

JOSÉ GuerrerO (Spain, 1979) educated in technical architecture, works in the field of photography. Concerned with the expression of human action in populated urban spaces, he examines the ever-growing expansion of cities and the temporary circles that these processes leave, like sediments, in the environment. his works are structured into thematic series of local signs; regardless of the cohesion of the author’s visual concept, they allow constant arbitrary communication between them, in a way that presents a class of neutral places, devoid of identity, undefined by a specific geographical context.

ALeJAnDrA LAVIADA (méxico, 1980) examines the processes of construction/ destruction in mexico City. She constructs and photographs ephemeral sculptural installations, created on site in abandoned buildings, using the everyday debris left behind by previous occupants. She leads us to modify our perception of reality; objects lacking in conceptual or formal identity serve to relate object (memory of the place), sculpture (the transformation of these elements into the mere disposition of themselves), and image (the final visual basis which remains through the medium of photography). She explores the intersection between painting, photography and sculpture stretching photography’s potential to construct an image that could not exist in reality.

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C o p e nha g e n

Galerie Mikael andersen

g a leri e Mi k a el a ndersen We B S I Te www.mikaelandersen.com

Galerie mikael Andersen is proud to present an installation with a new series of small, intensely worked paintings on panel by British artist Tom Anholt (born 1987).

e-m A I L cph @ mikaelandersen.com

Anholt’s concept for VOLTA11 is to create a tranquil environment within the art fair setting that allows time and intimacy for viewing his small scale figurative paintings.

In the inner space of the booth, a series of panels are displayed at various heights; a stool placed in front of the work invites the viewer to sit down and delve deeper into the image.

PhOn e +45 3333 0512 CeL L +49 157 7471 0386 COnTA C T n AmeS Bea Fonnesbech, Gallery Director Johanne Kristensen, VOLTA contact

e xh I B I Te D A r T IS T Tom Anholt OTh e r r e Pr eS enTeD Ar T IS T S Fritz Bornstück Jesper Christiansen Leonard Forslund Günther Förg Signe Guttormsen eske Kath robert Lucander ernest mancoba Julia Oschatz Lucy Teasdale

COV e r Tom Anholt The Storm (detail) 2015 Oil on Panel 60 × 50 cm In SI D e Tom Anholt Fresh Start (detail) 2015 Oil on Panel 30 × 35 cm BAC K Tom Anholt Persian Town (detail) 2015 Oil on Panel 60 × 50 cm

The process of painting for Anholt is one of discovery; the works evolve during this process, reaffirming the artist’s concern with the physical act of painting. The result is layered paintings that contain traces of their production, like scars from a battle.

Within his paintings, Anholt creates a sense of the mythical and dream-like whilst simultaneously anchoring them within a sober, lucid everyday. Tom Anholt often depicts a heightened, fantastical world that is convincing in its consistency and familiarity. his paintings range from small, attic window in scale, to large, open vistas. The figures and scenarios he portrays seem familiar, although just a little too far away to be identified precisely.

By creating these compelling environments, Anholt encourages the viewer to be transported into the dreamlike narratives of his painted world. The installation at VOLTA11 should create the perfect condition for his small works to be viewed.

Anholt graduated from Chelsea College of Art and Design in 2010. he lives and works in Berlin, Germany.

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Mu r c ia

Art Nueve GAllery

art N u eve G a llery We B S I Te www.artnueve.com e-m A I L galeria @ artnueve.com PhOn e +34 968 242 430 CeL L +34 607 751 477 COnTA C T n Ame mª Ángeles Sanchez rigal

e xh I B I Te D A r T IS T S Julia Calvo Sergio Porlán OTh e r r e Pr eS enTeD Ar T IS T S Lawrence Corby Alejandra Freymann Pablo Genovés mark hosking Prudencio Irazábal Damien meade Javier Pividal Gonzalo Puch Carlos Schwartz rainer Splitt

COV e r Sergio Porlán Half of pouring landscape 2015 Acrylic on PVC Variable sizes In SI D e Julia Calvo Monochrom Malerei 2014 mixed-media, digital print 200 cm × 80 cm. ( Variable) BAC k ( L e FT ) Sergio Porlán Black Stone 2015 Sculpture, natural stone painted and methacrylate Variable sizes BAC k ( r I G h T) Julia Calvo Untitled 2012 Installation 84 × 85 × 33 cm

The program and the philosophy of Art nueve Gallery revolves around a conception of art as an instrument that sets out the central problems of the contemporary subject. The proposals of our artists share common procedures that allude to the enigma, the subtlety and to an objectual physicality, without sacrificing the expressiveness of formal and expressive power. They invent new codes on doing and thinking to address the question of communication through art. The objectives of the gallery are: the diffusion and support of the projects from the artists we represent, starting with a specific attention to each of his works. We are committed with the latest new contemporary culture trends and the construction of a cultural network.

Our artists are of different generations, emerging and acclaimed sharing all a way of working, in a fruitful and inter-generational dialogue.

W O rL D V Ie W A LTe rATIO n S .

Sergio Porlán and Julia Calvo These artists have in common a subjective vision of the contemporary scene, an exposition that suggests an eminent and artificially constructed scenery. They generate worlds from the artificial construction of the same ones, which redound to its physicality like plastic pieces that simultaneously refer to the culture, the nature or the history are ideas fundamental to this project.

S e rG IO P O rL Á n With paintings on metal and elements of light, Sergio Porlán proposes a reinterpretation of the contemporary landscape, where art us penetrates in the recondite, to reach inaccessible and suggestive, impossible places without these procedures. It is also a work of references. Where the sublime experience present in the Baroque and the romanticism tradition is also present.

J uL IA CA LV O Julia Calvo presents an installation with a sculptural character based in the artistic decontextualisation of everyday objects. In this project the objects she redefines are prohibition signs (“Do not enter”) through a cognitive use of color. In “monochrom malerei” every signal is denied. There is a gap between the signal and the color codes we all recognize, this disruption introduces the spectator in a new conceptual and ludic order altering our meaning of the contemporary landscape.

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O s a ka

ARTCOURT GAlleRy

aRTCO U RT Ga lleRy We B S I Te www.artcourtgallery.com e-m A I L info @ artcourtgallery.com PhOn e +81 6 6354 5444 COnTA C T n Ame mitsue Yagi

e xh I B I Te d A r T IS T Taiyo Kimura OTh e r r e Pr eS enT ed Ar T IST S Yasuyoshi Botan Tsuyoshi higashijima norio Imai Genta Ishizuka Shiro matsui hiroshi mizuta hitoshi nomura Yasuaki Onishi Akira Yanagisawa Chihiro Yoshioka

COV e r Taiyo Kimura Feel Your Gravity 2005-2006 magazine 29.7 × 46.5 cm In SI d e Taiyo Kimura Hatarake Hatarake 2005 mixed media 30 × 16 × 40 cm BAC K Taiyo Kimura Haunted By You 2010 Performance video 4 min 22 sec

Ar TCOur T Gallery presents a solo exhibition of Taiyo Kimura (b. 1970) at VO LTA11. he is an internationally acclaimed energetic Japanese artist who has been presenting works around the world including Germany, uK, uSA and Turkey.

Kimura’s work encompasses various media including sculpture, video and installation; however, his expression is always consistent. he takes everyday objects and/ or settings that are familiar to many of us as his raw material, he then draws out uneasiness or negative phenomenon in our daily life with his characteristic humor and keenness, and pulls out intuitive reaction from the viewers.

The voice of people chatting and laughing coming out of earphones that are stitched all over the surface of the cute teddy bear, for example, the sculpture composed of alternating bird cages and mice traps, the myriads of eyes over a page from a fashion magazine … Some viewers laugh unintentionally while others express their rejection when they see the repulsiveness Kimura’s work displays, its provocative tricks, and appearances. To dig the physiological sensations and complex emotions that one might experience from Kimura’s work will make them aware of the hidden ideology, hypocrisy, and indifference in the society, which will lead to re-validate their own nerves that have become dull in the everyday life.

Kimura produces works by using his instinctive senses to pick up irrationality within himself as well as in this world. Body, which is the foundation for all experiences, and physiological interaction, which comes with the experience, are his core subject that has appeared in his work as direct expression, often radically.

We guarantee that our display at VOLTA not only attracts the viewers with the evocative and sinister aura Kimura’s work releases but also provides a ground to sharpen the awareness one might have towards our society’s and individual’s internal conflicts.

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C o p e nha g e n

Martin asbĂŚk Gallery

Ma rti n asbæk gallery We B S I Te www.martinasbaek.com e-m A I L gallery @ martinasbaek.com PhOn e +45 3315 4045 CeL L +45 4075 8616 COnTA C T n AmeS martin Asbæk Julie Quottrup Silbermann

e xh I B I Te D A r T IS T nicolai howalt OTh e r r e Pr eS enTeD Ar T IS T S Tjorg Douglas Beer elina Brotherus Astrid Kruse Jensen Trine Søndergaard Clare Woods ebbe Stub Wittrup hans hamid rasmussen matt Saunders marina rubinke nicolai howalt Søren martinsen martin Liebscher Jesper Carlsen eva Koch Lisa Strömbeck niels Bonde Berta Fischer Sofie Bird møller Paul mcDevitt Cornelius Quabeck

COV e r LightBreak wavelength #611 2015 Analogue c-print Photogram 28 × 23,6 cm framed in plexi box In SI D e Medical Object #2 2014-15 Silver gelatin print 160 × 135 cm BAC K Light Institute #1 2014-15 Silver gelatin print 54 × 65 cm

The Danish artist nicolai howalt’s fundamental interest in the sun and in light as a material is pivotal to works from Light Break — Photography / Light Therapy, in which photography, science and visual art clash in a visual exploration and visualization of light and the power of the sun.

Light Break — Photography / Light Therapy takes its point of departure in the medical use of phototherapy by the Danish physician and nobel Laureate niels Finsen at the end of the nineteenth century. niels Finsen used the beams of the sun and special lenses to cure severe skin diseases such as lupus (tuberculosis of the skin). For an extended period medicinsk museion in Copenhagen has made its extensive archive of Finsen’s work available to the artist. From the museum howalt has used lenses, archive material, photographs and medical equipment with which he has worked in his photographic pieces. Inspired by Finsen’s method, howalt has captured the beams of the sun and passed them through coloured filters and rock crystal lenses, then down on to photosensitive paper. This unique photographic work visualizes the invisible part of the colour spectrum, the part that we normally cannot see when we look at the sun. Almost subjectless, colourful photograms of the sun and light itself are mixed with black-and-white images of medicaments and other objects.

In his work with the series howalt has used large-format analog cameras and old photographic techniques. All pictures in the exhibition are thus hand-copied and chemically developed during several periods in the darkroom. nicolai howalt (b. 1970) works with photography. his practice has its starting point in the world of reality. With a conceptual, abstract approach in the works, howalt explores and researches a variety of subjects, often existential, and at the same time challenges the boundaries of the photographic medium. Despite the various themes in howalt’s works they always retain a feeling of duality — the abstract and the material, life and death, horror and fascination, the finite and the infinite. howalt’s works are amply represented in public collections such as The Israel museum, Jerusalem; muSAC, Spain; maison européenne de la Photographie, France; The museum of Fine Arts, houston, uSA; the ny Carlsberg Foundation: The Danish Arts Foundation; esbjerg Art museum.

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Le ip z ig

ASPN

A SpN We B S I Te www.ASPngalerie.de e-m A I L linde @ ASPngalerie.de PhOn e + 49 341 960 00 31 CeL L + 49 179 660 80 85 COnTA C T n AmeS Arne Linde (Director) Carolin nitsche

e xh I B I Te D A r T IS T S FAmeD Jochen Plogsties robert Seidel Arthur Zalewski OTh e r r e Pr eS enTeD Ar T IS T S Benjamin Appel Grit hachmeister matthias hamann Jochen mühlenbrink matthias reinmuth Johannes rochhausen maya Schweizer Katsutoshi Yasa

COV e r FAmeD Go West 2013 Video #7, 7:35 min (Videostill) variable In SI D e robert Seidel Humourous 2015 Oil on canvas 85 × 85 cm

Famed produce their work site specific. Physical, social and political aspects are considered and transformed into pieces that manifest in a variety of media and often combine architectural/sculptural, textuall and musical approaches. They analyse productivity, presence and absence, visibility and the possibility of representation in the context of contemporary art and society.

In 2015 Famed will realize art in public in Birmingham, uK and a huge light installation in the city centre of Leipzig. Shows in L40 Kunstverein Berlin and in Vienna and Cologne are planned. robert Seidel downscales the city. miniatures of streets stretch across the canvas, individual houses stand out, drop into two-dimensionality and gain the appearance of pictograms. What robert Seidel paints seems to turn prototypical — cola bottles, standing in line before gradients of grey, overemphasise their brand; a fish truck almost seems to turn into a fish itself. he arranges fragments of popular culture, musical icons, village architecture and the soberness of industrial estates into a novel, reduced order.

In 2015 robert receives the reknowned marianne-Defet-Stipendium for painting, shows in Bruxelles, Berlin and a solo exhibition at Insitut für moderne Kunst, nuremburg.

In terms of media and content, Arthur Zalewski rather circumscribes his themes than takes them in direct focus: paintings have no subjects, photographs from various cities highlight the blurred and uni¬versal aspects of contemporary urban space.

Cities such as Beijing and Warsaw reveal their similarities. The development of postsocialist countries, phenomena of globalisation as well as artistic authorship form the matrix of his interests.

In 2015 teaches as a deputy professor for photography at Academy of Visual Arts, Leipzig Jochen Plogsties re-enacts iconographic images of pop culture and art history. he filters reproductions of paintings by rembrandt, Stubbs and Cranach from catalogues and takes images of record covers from the internet, appropriates them and retransfers them into oil on canvas. he explores questions of reproducibility, artistic roots and visual strategies of the present.

In 2014 / 2015 Jochen Plogsties shows a solo show in Kestnergesellschaft, hannover and published his first monographic catalogue, in 2015 he is a resident artist in Bad Gastein, Austria.

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Pa r is

BACKSLASH GALLery

BaCK sLa sH G a LL ery We B S I Te www.backslashgallery.com e-m A I L info @ backslashgallery.com PhOn e + 33 981 396 001 CeL L + 33 663 601 448 + 33 667 076 160 COnTA C T n AmeS Séverine de Volkovitch Delphine Guillaud

eXhI B I T e D A r T IS T S Charlotte Charbonnel rero Sergen Şehitoğlu Boris Tellegen Xavier Theunis michael Zelehoski Jules & Pierre OTh e r r e Pr eS enTeD Ar T IS T S France Bizot Fahamu Pecou Luc Schuhmacher Clemens Wolf

COV e r michael Zelehoski Chutes and Ladder (detail) 2013 Assemblage with ladder and found wood 114 × 78 cm In SI D e Sergen Şehitoğlu km180214 2014 Archival pigment print on Fine Art paper 123 × 111 cm BAC k ( L e FT ) Charlotte Charbonnel Concretio 8 (detail) 2014 Salt and rope 8 × 27 × 9 cm BAC k ( r I G h T) rero Untitled (EYES WIDE OPEN...)

2014 Old photograph and adhesive letters under resin 25,5 × 25,5 cm

Backslash Gallery is delighted to present a booth where an intimate atmosphere conducted the choice of the works, in the meanings of these as much as in the scenography of the booth.

The visitor first sees large scale works including a photograph by Sergen Şehitoğlu revealing the privacy of a lady who sells hers charms on Internet. A large-scale work

by Xavier Theunis invites the visitor to enter a room, designed to represent a small interior, and reveals an atmosphere of a house comfort while paying tribute to the famous Brazilian designers humberto and Fernando Campana. Then two works by michael Zelehoski suggest the connection between this first space, which could be seen as the hall of a house, and a smaller room that is filled with intimate artworks.

The design of the booth then lets appear a space organized like a curiosity cabinet with a table and chairs’ set of young designers the gallery has chosen to invite, Jules & Pierre. It reconstructs the idea of privacy, secret room, as well as the notion of global fine arts including architecture and design. Small artworks by Charlotte Charbonnel, rero and Boris Tellegen, are displayed on a shelf and underneath it, giving to the visitor the impression that he enters a real private room in a house, the hidden place of a collector where he gathers all his treasures. Books on contemporary art market dropped off on the shelf contributes to create the idea of a connoisseur’s home.

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Badajoz

Galerﾃｭa ﾃ］Geles Baﾃｱos

GaLERÍ a Á N GELES BaÑoS We B S i T e www.galeriaangelesb.com e-m A i L info @ galeriaangelesb.com PhOn e +34 924 235 538 ceL L +34 606 08 89 65 cOnTA c T n Ame Ángeles Baños

e xh i B i T e D A r TiST S Susanne S.D. Themlitz Andrés Pachón OTh e r r e Pr eS enTeD Ar Ti S T S Andrés Pachón Antonio xoubanova carlos Lobo Daniel martín corona ignacio Bautista Juan carlos Bracho Jesús zurita Laura González cabrera manuel Antonio Dominguez ricardo cases ruth morán

cOV e r Susanne S.D. Themlitz There was a table set out under a tree in front of the Hare’s and the Hatter’s house 2014 Painted steel, plastic stool, jutecoated wire, ceramic vase, oil paint on plate, precious stone, wood, acrylic glass, enamel-coated pot, white clay 140 × 50 × 45 cm inSi D e Andrés Pachón Tropologías I (del studio de Fernando Debas) S.T. 02, S.T. 04 2013 canvas print 250 × 200 cm

S u S A nne S . D The m L i T z A childlike spirit of discovery underlies all the work of Susanne S.D Themlitz. executed in a variety of media, including drawing, sculpture, ceramics, photography and video, her work playfully ignores the distinction between genres.

A panorama of interwoven happenings is the delicate result of her created world — a world which moves seamlessly from the sculptural to the pencil-drawn realm. The household and industrial objects that she utilises in her sculptural works take on an unexpectedly lifelike quality as ruinous fragments of our everyday are arranged to form tenuously balanced assemblages. These assemblages subsequently embark on an intense dialogue with her drawings. Through her works’ on going and anarchic relationship to proportion — literally big in relation to small, she encourages us to look at our surroundings afresh. We as the viewer are invited to partake in her systematic daydreaming — prompting renewed scrutiny of our own dreams and illusions.

The hatter and the hare are trying to put the dormouse into the teapot.

This may be their route to freedom.

— Katja Davar, 2014 A nD ré S PA chó n in the late nineteenth century Fernando Debas, photojournalist and photographer, made a series of portraits of Filipinos brought to madrid in 1887 on the occasion of the exhibition of the Philippines, one of many colonial exhibitions were developed with great success in those years. in “Tropologías i (del estudio de Fernando Debas)”, Pachón does a number of changes in the actual content of the images and the support thereof, which show the difficulty to contextualize the “reality” of anthropological images. There is a mix of romantic staging and decontextualization of spaces. This work proves that the issue is far from photographic objective truth which is presupposed from its inception, questioning its value as evidence support.

Pachón performs infographic interventions on photographic documents and original videographic. The resultant images are exhibited as a new document which function is to disclose the fantasy and fiction behind those supposed veridical studies. his visual interventions want to disclose the fantasy contained in the european imaginary of an exotic and tribal world. in the last year he has developed his theoretical and artistic research with the photographic material of the Anthropology national museum Documentation Department in madrid, resulting in his Tropologías i-V series, which questions the eurocentric outlook that contain such images, mainly with the Spanish colonial imaginary nineteenth and early twentieth centuries.

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Lo nd o n

Beers

Beers Lo n d on We B S I Te www.beerslondon.com e-m A I L info @ beerslondon.com PhOn e +44 20 7502 9078 COnTA C T n Ame Kurt Beers

e xh I B I Te D A r T IS T Andrew Salgado OTh e r r e Pr eS enTeD Ar T IS T S ATOI Austin Ballard elizabeth Corkery Clinton hayden Janneke Van Leeuwen Peter matthews Tony romano Pawel Sliwinski Leonardo ulian Jonathan Zawada Adam Lee

COV e r Andrew Salgado Orpheo (detail) 2015 oil, pastel, and collage on canvas 200 × 200 cm In SI D e Andrew Salgado Disney 2015 Oil and oil pastel on canvas 250 × 250 cm BAC K ( L e FT ) Andrew Salgado Ping Pong 2015 Oil and oil pastel on canvas with collage 200 × 200cm BAC K ( r I G h T) Andrew Salgado Oh! 2015 Oil and oil pastel on canvas 200 × 200 cm

AnDreW SALGADO (b. 1982, regina, Canada) has situated himself as one of the eminent emerging painters in both the uK and north America. he has been listed

by Saatchi as “one to invest in today” (Sept 2013), lauded by esteemed critic edward Lucie Smith as a “dazzlingly skillful advocate” for painting, and been openly endorsed by Tony Godfrey (author of Phaidon’s Painting Today).

Salgado has exhibited in the united Kingdom, Germany, Scandinavia, Australia, Venezuela, Thailand, Korea, South Africa, Canada, and the uSA. Forthcoming solo exhibitions include This is not the Way to Disneyland and Youth in Trouble, both solo presentations for Art Basel Week, (June & December 2015), as well as his much anticipated fourth solo exhibition at Beers (October 2016).

Salgado is featured in 100 Painters of Tomorrow, published by Thames & hudson (2014); he is subject of a 2015 documentary, entitled Storytelling — which followed the artist over 4 months while he created a body of work — to debut at international film festivals in 2015. he is curating an exhibition, The Fantasy of representation, which includes work by Josef Albers, David hockney, Gary hume and hurvin Anderson for Beers (July 2015); and he is recipient of Canada’s SK Lieutenant Governor’s Arts Award (2013).

Previous solo exhibitions include Storytelling, Beers, London (2014); Variations on A Theme, One Art Space, new York City, (2014); enjoy the Silence, Christopher møller, Cape Town, SA, (2014); his first museum-based exhibition, The Acquaintance, Art Gallery of regina, Canada (2013); and The misanthrope, Beers, London, (2012). his paintings have been included in the merida Biennale of Contemporary Art (2010), the nordArt Carlshutte Biennale (2012); and he has been featured maclean’s (Canada), The Globe and mail (Canada), The Independent, The evening Standard, Shortlist, Yatzer, metro, and more, including the nBC mini-series The Slap, starring uma Thurman. he frequently donates to charitable associations worldwide, including the Terrence higgins Trust, macmillan Cancer Support, and others, and his work garnered the highest-bid ever auctioned at Canada’s esteemed ‘Friends For Life Annual Charity Auction’ (2011). In 2013, he was commissioned to create a brand new series of large-scale works to adorn the windows of the luxurious uKretailer, harvey nichols.

Salgado currently lives and works in London, uK.

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B irming ha m, a L

beta pictoris Maus conteMporary

Beta pi ctori s / m aus c ontemporary We B S I Te www.mausContemporary.com e-m A I L betapic @ mausContemporary.com PhOn e +1 205 413 2999 COnTA C T n Ame Guido h maus

e xh I B I Te D A r T IS T S Travis Somerville (C3) Taravat Talepasand (C1) Leslie Smith III (C2) OTh e r r e Pr eS enTeD Ar T IS T S Willie Cole Clayton Colvin mark Flood Irene Grau Barbara and michael Leisgen Sharon Louden eugene James martin Sonja rieger Bayeté ross Smith melissa Vandenberg

COV e r Travis Somerville Beautiful Landscape 2006 Acrylic on paper ca. 127 × 96.5 cm (50 × 38 inches) In SI D e ( L e F T) Travis Somerville Old Pal of Mine 2012 Oil and collage on canvas ca. 223 × 205 cm (88 × 81 inches) In SI D e ( r I G h T) Travis Somerville The Debate 2015 Graphite on cotton picking sacks, India ink on flag, rope ca. 259 × 182 cm (ca. 102 × 72 inches) BAC K Travis Somerville T.K.A.M. 2015 Oil, gesso, acrylic, and collage on canvas ca. 122 × 91 cm (48 × 36 inches)

Travis Somerville (American, born 1963) has garnered critical attention in numerous publications including The Washington Post, Art in America, FlashArt, and The Los Angeles Times. his work is included in numerous museum collections, including the San Francisco museum of modern Art in San Francisco, California; the museum of Contemporary Art San Diego in San Diego, California; the 21c museum in Louisville, Kentucky; the Laguna Art museum in Laguna Beach, California; the San Jose museum of Art in San Jose, California; the Birmingham museum of Art in Birmingham, Alabama; and the Walker Art Center in minneapolis, minnesota.

The tumultuous history of race relations in the South has been, in large part, buried and left to fester in the years since the Civil War. While culture is intangible and abstract, its artifacts are available as evidence of its existence. Born in Atlanta, Georgia and raised throughout the South, Somerville unapologetically picks at these old wounds by exposing the popular objects and iconography of Southern culture. his use of imagery is complex and shaped by his personal relationship to it. his work functions as a craft of anti-nostalgia and critical memory, and the artist’s work presented at VOLTA11 showcases his sharp and creative insistence on how images and material objects are never merely inanimate relics of a past far removed from our presents or our futures. he compels us to reconsider and repudiate the standard measure of America’s history of white supremacy and racism as a progressive narrative that has seemingly ended on an utopian note of post-race.

The work shown at VOLTA11 demonstrates a scripting of American history that forgoes this progressive wish fulfillment, a rhetoric of non-culpable hope. Instead, Somerville’s work intermingles visual and verbal references to the semiotics of the Civil War, reconstruction, Jim Crow, the Civil rights movement, and the Age of Obama. Somerville himself points out that his work complicates the sense of a collective memory about how race has shaped the political, historical, cultural, and social contours of America: “As I attempt to navigate the terrain between autobiography, history, and art, all sorts of collisions take place. It is these interesting moments and the inconsistencies that inform them that I try to capture in my work.”

Through the restaging of old advertisements and newspapers, vintage money bags and cotton sacks, and the poignant juxtaposition of his drawing and painting against found photos, Somerville brilliantly entices the viewer to marvel over the aesthetic power of American culture’s everyday brutality and myopia.

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B irming ha m, a L

beta pictoris Maus conteMporary

Beta pi ctori s / m aus c ontemporary We B S I Te www.mausContemporary.com e-m A I L betapic @ mausContemporary.com PhOn e +1 205 413 2999 COnTA C T n Ame Guido h maus

e xh I B I Te D A r T IS T S Taravat Talepasand (C1) Leslie Smith III (C2) Travis Somerville (C3) OTh e r r e Pr eS enTeD Ar T IS T S Willie Cole Clayton Colvin mark Flood Irene Grau Barbara and michael Leisgen Sharon Louden eugene James martin Sonja rieger Bayeté ross Smith melissa Vandenberg

COV e r Taravat Talepasand Dokhtare Bahar (Girl of Spring) 2011 graphite and pigment on paper ca. 101.5 × 76 cm (40 × 30 inches) In SI D e ( L e F T) Taravat Talepasand Westoxicated 2015 egg tempera and gold leaf on linen ca. 168 × 91.5 cm (66 × 36 inches) In SI D e ( r I G h T) Taravat Talepasand Khomeni 2015 egg tempera on linen ca. 122 × 91 cm (48 × 36 inches) BAC k Taravat Talepasand Andarooni Birooni (Insider Outsider) 2015 egg tempera and gold leaf on linen ca. 112 × 76 cm (44 × 30 inches)

“To create art, it is imperative for me to be vulnerable. Torment and twist — extract the truth from issues with which I need to deal. However, I believe that art has to possess an element of courage in order to provoke change — socially, intellectually, and morally, most notable, in a world where ideas of culture, political, and intellectual activities are evolving, but not without conflicts affecting generations to come.”

— Taravat Talepasand Taravat Talepasand was born 1979 of Iranian parents in the uS, retaining close family and artistic ties to Iran, esfehan, where she was trained in the challenging discipline of Persian miniature painting. Paying attention to the cultural taboos identified by distinctly different social groups — gender, race and socioeconomic position — her work reflects the cross-pollination, or lack thereof, in our “modern” society, drawing on realism to bring a focus on an acceptable beauty and its relationship with art history under the guise of traditional Persian painting. “Since I myself am considered a taboo in that I am a conglomerate of equal, yet irreconcilable cultural forces, my work challenges plebeian notions of acceptable behavior”. As an Iranian woman living in America, Talepasand uses her work to explore how women navigate the myriad boundaries between east and West. Women’s bodies become surfaces imprinted with the uncertainties left by social and political upheaval, using the human figure as a treacherous place between narrative and introspection. She reflects on the impossibility of reconciling words, images, and objects as subjects. The works shown at VOLTA11 develop a dialogue between artist and viewer questioning the contortions of cultural associations and how they cross boundaries, what is tolerable and taboo, and the fine line between what is real and imagined.

She holds an mFA from the San Francisco Art Institute and a BFA from the rhode Island School of Design. her works can be found in the permanent collections of the Fine Arts museums of San Francisco, the de Young museum of Art, San Francisco, CA, the Orange County museum of Art, Orange County, CA, as well as a number of private collections. She was awarded the 2010 richard C. Diebenkorn Fellowship.

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B irming ha m, a L

beta pictoris Maus conteMporary

Beta pi ctori s / m aus c ontemporary We B S I Te www.mausContemporary.com e-m A I L betapic @ mausContemporary.com PhOn e +1 205 413 2999 COnTA C T n Ame Guido h maus

e xh I B I Te D A r T IS T S Leslie Smith III (C2) Travis Somerville (C3) Taravat Talepasand (C1) OTh e r r e Pr eS enTeD Ar T IS T S Willie Cole Clayton Colvin mark Flood Irene Grau Barbara and michael Leisgen Sharon Louden eugene James martin Sonja rieger Bayeté ross Smith melissa Vandenberg

COV e r Leslie Smith III Only a Paper Moon (detail) 2015 Oil on shaped canvas ca. 131 × 132 cm (51.5 × 52 inches) In SI D e ( L e F T) Leslie Smith III Tall Tales 2015 Oil on shaped canvas ca. 77.5 × 62 cm (30.5 × 24.5 inches) In SI D e ( r I G h T) Leslie Smith III Only a Paper Moon 2015 Oil on shaped canvas ca. 131 × 132 cm (51.5 × 52 inches) BAC k Leslie Smith III Ready or Not 2014 Oil on shaped canvas ca. 75 × 66 cm (29.5 × 26 inches)

Leslie Smith III was born 1985 in maryland and grew up in metropolitan Washington, DC, graduated with a BFA degree in Painting from the maryland Institute College of Art (mICA) in 2007, and obtained an mFA degree in Painting and Printmaking from Yale university in 2009. Since then his work has been included in exhibitions in the uS, such as a solo exhibition at the madison museum of Contemporary Art in madison, Wisconsin, and in the Valérie Cassel Oliver curated exhibition “Black in the Abstract, Part 2: Soft Curves/hard edges” at the Contemporary Arts museum houston in houston, Texas.

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, Smith explodes the confines of geometry with custom designed shaped canvas supports that would seem accidental were they not so absolutely intentional, their soft edges falling away, drifting, challenging viewers’ expectations and creating tensions that are almost unimaginable.

Smith uses this tactic in works of varying scales. his paintings are filled with tension, their surfaces arrayed with the gestures of Smith’s markmaking, their curved edges rolling away, exploring new spaces, questioning the dictate of the rectangle and scuare. Studies in tone and texture, filled with chiaroscuro, subtle plays of both stillness and motion. Smith’s understandings of pictorial space in abstraction come roaring forward in a new work shown at VOLTA: Only A Paper Moon (shown on right in this catalogue’s middle section), continues this exploration, its surface filled with subtle geometric shapes, the painting literally feels as if it could leap off the wall. Its forms seem as if they could reflect, veil and reveal at precisely the same moment as Smith pushes viewers away, holds them close and pulls them through in the same moment. The artist understands the complexities of abstraction and he uses both the surfaces and the structures of his works to create tensions that are palpable.

This oscillation between abstraction and the use of concrete forms creates and even more discernable tension within each work.

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A A r hu s

Galleri Jacob bJørn

G A LLErI J A CO B BJØrN We B S I Te www.jacobbjorn.com e-m A I L mail @ jacobbjorn.com PhOn e +45 2324 5664 COnTA C T n Ame Jacob Bjørn

e xh I B I Te D A r T IS T Ted Gahl OTh e r r e Pr eS enTeD Ar T IS T S Jan S. hansen nick Theobald Søren Sejr

COV e r The Lonely Writer (Twain’89) 2014 Acrylic, graphite and enamel on canvas 214 × 152 cm In SI D e Twain ’89 (Three Sloops) 2014 Acrylic, graphite and enamel on canvas 214 × 152 cm BAC k The Commuter (Nightcap) 2015 Acrylic, oil, graphite and enamel on canvas 214 × 152 cm

Galleri Jacob Bjørn was founded in 2014 and comprises two large exhibition spaces in Aarhus, Denmark. We work with emerging artists and present and develop them in an international context. Our primary focus is artists from Scandinavia and uS. We’re proud to present the American artist Ted Gahl: Ted Gahl (b. 1983) first got attention in the uS a couple of years ago. Gahl’s work is mainly abstract but he often adds a layer of faint figuration, seemingly with no relation to the aggressive and expressive abstract background. The figurative elements are naïve and merely outlined human characters that are repeated through a series of paintings, thus inviting the viewer into a strange world of association, allusion and myth. Some paintings show a house painter with bucket and brush. Others show a commuter, his briefcase and his pipe. The works can thus be seen as reconstructions of personal childhood memories as well as broader myths and historical figures.

Gahl states: “Figures, such as a looming homage to mark Twain, are present in an abstracted environment, creating a vague sense of familiarity. Focusing on these hybrid pictures, I’m delving through the process of mining old images and reconstructing them through new applications.”

The gallery will present a solo exhibition with Ted Gahl this fall.

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Ne w Y o r k

Spencer BrownStone Gallery

SpeN cer Bro wNStoNe GallerY We B S I Te www.spencerbrownstonegallery.com e-m A I L info @ spencerbrownstonegallery.com PhOn e +1 212 334 3455 COnTA C T n Ame Spencer Brownstone

e xh I B I Te D A r T IS T S Ariel Orozco Fred eerdekens OTh e r r e Pr eS enTeD Ar T IS T S Skip Arnold Fred eerdekens Tessa Farmer Jeff Gabel Lori hersberger Olivier mosset Ariel Orozco Jaime Pitarch Jane South martin Wöhrl

COV e r Ariel Orozco Gato Nero (still) 2014 80, 35mm slides, projector dimensions variable In SI D e Fred eerdekens And then he said something everybody thought was true 2015 Copper, light 18 × 175 × 14 cm BAC K Fred eerdekens Shadow Painting #5 2015 Wood, canvas, steel and acrylic 75 × 95 × 40 cm

Ariel Orozco (*1975, Sanctus Spiritus, Cu) received his mFA from the Instiuto Superior de Arte in havana. his work has been shown at galleries and museums worldwide and is included in such collections as Colección Jumex, the Zabludowizc Collection and the museo de Arte moderno, méxcio among others.

Orozco works within a diverse array of mediums, moving seamlessly between performance, painting and installation in his conceptually driven practice. his work, often taking the form of interventions or actions, reflects on those overlooked interactions of everyday life by providing a new or alternative perspective. encompassing the deeply personal to the completely public, he nevertheless imbues his work with an all-encompassing compassion. Always seeking to give his audience an awareness of the people and things that surround us, his artwork provides moments of contemplation to reflect on the vagaries and marvels of life. Deeply symbolic and startlingly simple, Orozco’s work speaks a universal language accessible to all.

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 metal 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. his installations have been shown extensively at museums and galleries worldwide, and is featured in major collections such as muhKA, Antwerp; SmAK, Brussels; museo d’Arte moderno, Bolzano; and FrAC Languedoc-rousillon, among others. As well, he has completed a number of large, site-specific installations, for important public and private spaces.

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Linz

Brunnhofer Galerie

Bru n n h o fer G aL erie WeB s i T e www.brunnhofer.at e-m A i L art @ brunnhofer.at phOn e +43 7327 783 210 ceL L +43 6643 818 104 cOnTA c T n Ames stefan Brunnhofer elisabeth Brunnhofer

e xh i B i T e D A r Tis Ts Oliver Kropf Thomas Kühnapfel elisabeth sonneck OTh e r r e p r e s enTeD Ar T is Ts Lucia Dellefant Lorenz estermann indra Katharina Karner ronald Kodritsch paul Kranzler Jennifer nehrbass Anton petz Andrew phelps Bernd Zimmer

cOV e r Oliver Kropf Lady sig sig futnig (Im Wendekreis der Karawanken) 2014 mixed media 45 × 24 × 22 cm ins i D e Thomas Kühnapfel muscle 2012 stainless steel (hand-polished) 160 × 50 × 120 cm BAc K elisabeth sonneck Antiphon – Schwarzlicht 2013 oil on canvas 140 × 140 cm

OLiVer KrOpf’s works are structured in innumerable layers. The start might be a coloured coating of the canvas to prime it with a ground. he works on this grounding systematically, places his figures on the expressively physical painted background.

The finished picture has a mystical effect, in part even sombre, the way the figures merge into this landscape and yet mostly seem out of place. The brushstrokes he sets testify to a power and strength but at the same time also to the sheer joy of painting. The newest series of works seems to depict grotesque sceneries of protestors or parties. Like his brushwork he seems to add a bit horror. plus, the painting is becoming a sculpture as well — Kropf lets his figures crawl out of the 2D picture and become a sculpture made out of the original fabric of clown-trousers or toilet paper.

ThOmAs KühnApfeL: Just as colour, “air” can be hardly described as material: it has no haptically relevance; it tends to leave and expand and is therefore not good to be formed. it seems to be plainly immaterial. nevertheless, it is relevant as an artistic material since the 1950s. Air on its own is the paragon of invisibility. Therefore, art tends to show air through its impact on material. Otto pienne for example showed the lack of air, the impact of vacuum on a fly, in his Vacuumbell as well as the presence of air in his rainbow installation made out of plastic. Kühnapfel seems to refine these works, playing with the materiality of air, although again, it is the immateriality of air that he is using to create an effect on something. he is forming one of the heaviest materials we know by using air:vsteel. e L i s A B e T h s O n n e c K ’ s installations shift between material and immaterial worlds. All of the works in the artist’s oeuvre give credit to a nearly neo-platonic idea of colours. nevertheless, she is using the synergy of different layers of colour and different materials in way more artistic-aesthetical aspiration. in the end, the substantial world of colours is what matters the most to her, not the idea behind the colour. saying that, in sonneck´s work, the colour(s) are standing for themselves; they are no longer a tool for arts. her work is a rejection of the representation, towards the presentation of colour. To present the colours in all possible coping ways, the use of material for the presentation has a broad range: murals, paper installations, canvas, acrylic... and mostly in-situ.

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Mila n

Laura BuLian GaLLery

la u ra Bu li a n Gallery We B S i T e www.laurabuliangallery.com e-m A i L info @ laurabuliangallery.com CeL L +39 335 604 0070 COnTA C T n Ame Laura Bulian

e xh i B i Te d A r TiST S nikita Kadan marat raiymkulov OTh e r r e Pr eS enT ed Ar Ti S T S Vyacheslav Akhunov Said Atabekov elisabetta di maggio G.Kasmalieva & m.djumaliev Alimjan Jorobaev Anastasia Khoroshilova Andrei roiter eve Sussman yelena & Viktor Vorobyev

COV e r marat raiymkulov Ratbay 2009 ink on paper imbued with tea inSi d e nikita Kadan Fixing 2010 light boxes

The key element in the work of the two young artists belonging to the same generation, nikita Kadan (1982, ukraine) and marat raiymkulov (1984, Kyrgyzstan) is the investigation of the role and effect of political and social power on Post Soviet societies. niKiTA KAdAn is member, since 2004, of r.e.P. (revolutionary experimental space) artists group and co-founder (2008) and a member of hudrAdA (Artistic committee) curatorial and activist group.

Through installation, graphics, painting, mural drawings and performances he investigates the complex panorama of his country where, as he reports, abuse of power, violence and conspiracy of silence are a reality. he draws from both the current socio-political reality in ukraine and from the socio-cultural heritage of the Soviet union.

Kadan’s structural critique addresses the abuse of power in contemporary ukraine, as in the project Procedure Room (2009-2010), derived from the images of the Popular medical encyclopedia from Soviet times, and at the same time from social research. The project includes a set of souvenir plates where illustrations of the ukrainian police’s torture methods are drawn in the style of Soviet medical textbooks. This project has been exhibited in the show The Desire for Freedom. Art in Europe Since 1945, at mOCAK, Krakow, Poland (2013), Palazzo reale, milan, italy (2013) and German historical museum, Berlin, Germany (2012).

Kadan won the PinchukArtCentre Prize in 2011. his work has been exhibited internationally in important museums and institutions, such as: museo Pecci, Prato, italy (2007), Kumu museum, Tallinn, estonia (2010), mOmmA, moscow, russia (2011), 54 Venice Biennale, italy (2011), First Kyiv Biennale of Contemporary Art Arsenale, curated by ekaterina degot, Kyiv, ukraine, (2012), German historical museum, Berlin, Germany (2012), moscow biennial, russia (2013), Palazzo reale, milan, italy (2013). in 2015 Kadan’s work will be presented in a group show at Kunsthaus Zurich, at the 56th Venice Biennial and the istanbul Biennial. m A rAT rA iym K u L O V, through small sized works on paper and disturbing video animations, exposes the traditional structure of the patriarchal family, analogies with the social power of capital, the technocratic divisions of class, the ideologies of “productivity”, the exploitation of the earth and of women, and the inadequacies of logico-linguistic tools in interpreting both reality and the aims of the artwork.

Faced with such spectacular control, his characters are captured in blank observation and projections of impotence are professed in their fragility and existential nakedness. Thus, the prevailing sentiment is one that cannot be named: finding oneself outside of the powers structure as nomad subjects, perceived only by echoes and fragments.

The only available course of action against the dictatorship of vision is to set free reasons that have been deprived of their foundations, where the language of art ceases to merely signify and returns to being a murmur of exhaustion, a game of the absurd and real anarchic struggle. his work has been exhibited at Laura Bulian Gallery, milan (2012), at Central Asia Pavilion of 54 Venice Biennale (2011) and in many public institutions in Central Asia.

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Lo nd o n

CHARLIE SMITH LONDON

CH A RLI E SM I TH London We B S I Te www.charliesmithlondon.com e-m A I L direct @ charliesmithlondon.com T WITT e r @ charliesmithldn PhOn e +44 207 739 4055 CeL L +44 795 893 1521 COnTA C T n Ame Zavier ellis

e xh I B I Te D A r T IS T S emma Bennett Kiera Bennett Tom Butler eric manigaud Wendy mayer Gavin nolan Claire Partington John Stark OTh e r r e Pr eS enTeD Ar T IS T S Sam Jackson Sarah mcGinity Alex Gene morrison Dominic Shepherd Gavin Tremlett

COV e r eric manigaud Trachoma pannus keratitis, 1916 (detail) 2014 Pencil & graphite powder on paper 150 × 125 cm In SI D e John Stark No Man’s Land 2014 Oil on wood panel 122 × 180 cm BAC K ( L e FT ) Gavin nolan Clamber at Us 2015 Oil on canvas 18 × 24 cm BAC K ( r I G h T) Gavin nolan Soo Bawls (Mr Banal Donor) (detail) 2015 Oil on canvas 30 × 24 cm

each of these artists is engaged with the history of the cultural object. representing a dominant tendency in contemporary art, these artists look to the past in order to configure the current, embracing the histories of painting, photography and object making within their practice. Their assimilation illustrates a progression away from the ironic and cynical towards the affirmative. emma Bennett appropriates still life elements directly from Dutch and Italian masters. These motifs are rendered in fine oil paint against monochromatic grounds, thus fusing historical and modernist tropes to investigate the memento mori, beauty and the void.

Kiera Bennett makes abstract paintings that begin with the everyday life of the artist. recalling early 20th century modernism, Bennett makes drawings and paintings in repetition that allude to, for example, smoking, lounging, being hung over and the act of painting itself.

Tom Butler collects 19th century cabinet cards, working delicately over the original photograph with beautifully fine gouache. The original subject is overtaken or inhabited by fur, flowers or geometric patterns, alluding to the unconscious fears and desires of the individual. eric manigaud makes impeccable photo-realist drawings after found transparencies and sourced historical images. Working in series, manigaud explores fundamental subjects that are pertinent to the modern era: asylums, war, disease, occult and forensic photography.

Wendy mayer works from found family photographs and collectable reborn dolls in order to make her uncanny figure sculptures. Demonstrating superlative sculptural and painterly techniques, mayer’s bizarre figures displace the past for the present and toy with intimate familial relationships.

Gavin nolan’s recent paintings depict versions of historical figures. Combining hyperrealism with material painting at a small scale, nolan reveals simultaneously the heroic and fragile nature of his subjects, and meditates on celebrity, legacy and tragedy.

Claire Partington makes exceptional ceramic works that focus on narrative and the retelling and misinterpretation of stories. Inspired by european applied art and design styles from the 1600’s onwards, Partington employs traditional techniques that reference a panoply of historical and contemporary sources.

John Stark deploys outstanding technique to render fine oil paintings on board. Stark draws on Italian, Dutch, and German historical painting in combination with popular contemporary visual culture to make paintings that are underpinned by complex mythological, religious, philosophical and political notions.

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NE W Y O R K

ETHAN COHEN NEW YORK

ETH A N COH EN N EW Y ORK We B S I Te www.ecfa.com e-m A I L ecfa @ ecfa.com PhOn e +1 212 625 1250 COnTA C T n AmeS ethan Cohen Liliana Gao

e xh I B I Te D A r T IS T ABOuDIA OTh e r r e Pr eS enTeD Ar T IS T S Greg haberny Feng Qin Zhenghui Lan Goncalo mabunda Daiyun Li hans Breder Yan huang Chong Shi Ligang Wei Andrew rogers

COV e r ABOuDIA Untitled Street Kids 2015 mixed media on canvas 71 × 55 in.

(180.3 × 139.7 cm) In SI D e ABOuDIA Jazz Gallery 2014 mixed media on canvas 78.8 × 118.1 in.

(200 × 300 cm) BAC k ABOuDIA Dream IV 2015 mixed media on canvas 40 × 60 in.

(101.6 × 152.4 cm)

A BO u D IA In kinetically painted canvases 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 We B S I Te www.ecfa.com e-m A I L ecfa @ ecfa.com PhOn e +1 212 625 1250 COnTA C T n AmeS ethan Cohen Liliana Gao

e xh I B I Te d A r T IS T Greg haberny OTh e r r e Pr eS enT ed Ar T IST S ABOudIA Feng Qin Zhenghui Lan Goncalo mabunda daiyun Li hans Breder yan huang Chong Shi Ligang Wei Andrew rogers

COV e r Greg haberny Something’s Cooking 2015 Ashes from previous artist’s work, burnt wax crayons, aluminum pots, mounted on wood 62 × 53 in (157.5 × 134.6 cm) In SI d e Greg haberny Matchbox 2015 Tire, wooden matches, dirt, house paint, aluminum foil, ashes, burnt crayons 39 × 33 in (99 × 84 cm) BAC k Greg haberny Paper Towel Tube 2015 Cardboard paper towel tube, ash, matches dirt and acrylic mounted on paper and wood 11 × 13.5 in (28 × 34.3 cm)

G re G hA Be rny Influenced by his background in filmmaking, new york based artist Greg haberny’s goal for his installations is to transform the gallery space into an all-encompassing experience of sight and sound. The production and direction of installations echoes his personal background in filmmaking while allowing strong personal expression and freedom with all forms of artistic medium. With cultural iconography and a sardonic sense of humor, haberny’s installations engulf and challenge viewers, exaggerating the circus-like frenzy of media and marketing of fear in contemporary American society.

Greg haberny produces individual pieces that he then incorporates into larger installations. his process involves cutting, scraping, and affixing painted and found elements including vintage comics, pin-up girls, and advertisements to create heavily worked pieces that retain the evidence of damage or trauma. Thus his works evoke the pained physicality of bruises and broken bones, which reflects the shattered cultural makeup of our contemporary wasteland.

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D 端 s s e lDo r f

CONRADS

CoNr A D s We B S I Te www.galerieconrads.de

This year’s focus is on herman de vries, who represents the netherlands at the Venice Biennale thru november 2015.

e-m A I L mail @ galerieconrads.de

From its inception, COnrADS’ list of artists and exhibition program present both, new and mid-career artistic positions, creating a dialog between different generations of artists of different cultural backgrounds working with all media. Though form and focus of these artists’ work varies significantly, their practices overlap in a number of key areas: an engagement with general and fundamental themes that culture has historically dealt with, an interest in aesthetics and a willingness to engage with the poetic as well as the critical and the political.

PhOn e +49 211 323 07 20 CeL L +49 177 323 07 20 COnTA C T n AmeS Walter Conrads helga Weckop-Conrads

e xh I B I Te D A r T IS T S herman de vries Julie Cockburn Pius Fox Anna Vogel OTh e r r e Pr eS enTeD Ar T IS T S Blaise Drummond mounir Fatmi Jana Gunstheimer marcia hafif Gabi hamm rosemary Laing Boris mikhailov Brigitte Waldach Sascha Weidner Beat Zoderer

COV e r herman de vries calamgrostis epigejos coll 10.8.1979 eschenau 1979 preserved natural plant on paper 163 × 50 cm In SI D e herman de vries journal from a trip to immessouane 2011 natural objects of different origin 18 par ts à 35 × 25 cm BAC k ( L e FT ) Pius Fox installation view Galerie Conrads 2015 watercolor on paper / oil on canvas BAC k ( r I G h T) Julie Cockburn The Bear 2014 collage on altered found photograph 24.5 × 19.5 cm

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PA R IS

GALERIE DE ROUSSAN

G A LERI E D E ROU SSAN We B S I Te www.galeriederoussan.com PhOn e +33 981 289 059 CeL L +33 616 460 110 COnTA C T n AmeS Anne Bourgois Jeanne Lepine

e xh I B I Te D A r T IS T S Lily hibberd Stéfane Perraud Claire Trotignon OTh e r r e Pr eS enTeD Ar T IS T S Gregory Cumins Petra Koehle & nicolas Vermot Petit Outhenin François mazabraud Lukas hoffmann Juliette mogenet

COV e r Lily hibberd Polar Time: a year in six minutes, one sunrise 2012 Digital Video 6:26 min Soundtrack © The Knife ‘This is now’ 2004 In SI D e Stéfane Perraud Fragment #3 (letter to Gilgamesh) 2013 Tinos marble, palladium, LeDs Variable dimensions BAC K Claire Trotignon Explosion #1 2014 Collage of engravings 29 × 23 cm

From the mid 20th century, (natural or artificial) light has become one of the most favorite materials of various contemporary art experiences. The light has obviously always been a strong object of symbolic representation tied to the power of God and /or the king. however, if the light has the ability of revelation, it enlightens the world and makes it visible.

For VOLTA Basel, de roussan gallery is pleased to present a booth about the reflexion of light as a condition of the artwork by Lily hibberd, Stéfane Perraud and Claire Trotignon. With a selection of various luminous works, the exhibition takes the light up as a medium used for its values and its own esthetical potential.

Since may 2011, Galerie de roussan has the ambition to enlight gazes of breakthrough artists and renowned artists on the world. no medium is favored; the idea is to create a space for expression where everyone’s personality can freely express itself (performance, painting, sculpture, installations, drawings, sound, video…)

Willing to pluralize the points of view, the gallery promotes an international program and invites curators from various sectors of contemporary art one or twice a year: artists (J.J. Lebel — 21x29,7, 2012), university professors, publishing (revue monstre: Les partitions s’affichent, 2012).

It asserts its artistic line through strong curatorial projects such as nouvelles Vagues, Palais de Tokyo 2013, nuit Blanche 2013, Choices week-end galleries 2015, and many art fairs (Drawing now, Paris Photo Los Angeles, FIAC OFFICIeLLe...)

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Pa r is

Galerie anne de Villepoix

We B S I Te www.annedevillepoix.com e-m A I L info @ annedevillepoix.com PhOn e +33 142 783 224 COnTA C T n AmeS Anne de Villepoix Dorian Dogaru

e xh I B I Te D A r T IS T S Omar Ba Caetano de Almeida Jean Denant xie Lei OTh e r r e Pr eS enTeD Ar T IS T S Derrick Adams Omar Ba Caetano De Almeida melvin edwards Yashua Klos Sven Kroner xIe LeI Senga nengudi richard nonas Wolf Vostell

COV e r Omar Ba You Can See After (detail) 2014 oil, gouache, ink and pencil on corrugated carton 215 × 165 cm framed In SI D e Caetano De Almeida A Violonista 2014 acrylic on canvas 220 × 170 cm

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Te l Aviv

Tamar DresDner arT ProjecTs

TAmA r D resD n er ArT Projec Ts WeB s i T e www.facebook.com/pages/ Tamar-Dresdner-Art-Projects e-m A i L tamari21 @ gmail.com PhOn e +972 74 701 7764 CeL L +972 54 460 0293 COnTA C T n Ame Tamar Dresdner

e xh i B i T e D A r Tis T Batia shani

COV e r Untitled, Dress 2014 Army uniform, fabric, embroidery 60 × 35 cm ins i D e Afraid to Become Prisoner of War 2015 embroidery on an envelope 18.5 × 10.5 cm

Tis s u e — BATi A s h Ani Tissue, Batia shani’s installation echoes the unstable political situation in the middle east & deals with recurring themes in her work of anxiety & fears. One of Tissue’s translations in hebrew is embroidery. shani, who has been doing needlework since she was a child, holds a degree from the royal school of needlework in London. As a child to holocaust survivors the act of needlework, which evokes joining but also stabbing and wounding, is a childhood memory, taking the artist back to a safe place but at the same time awakening terrors & pain. The reality of war has always been present in her life. shani’s father, husband & son fought in several wars, while she herself was a soldier during the 1973 Yom Kipur war. Later she became a social worker dealing with families of fallen israeli soldiers, until she left the profession in the 80’ to become a full time artist. The installation consists of handmade miniature dresses, made out of fabric scraps and pieces of male army uniforms. some of The dresses were made in the summer of 2014 during Operation Protective edge, which took place in the Gaza strip. Others were made more recently in view of what is happening in the middle east, especially in Yemen, syria & iraq. These dresses are a visualization of the absent. They may be perceived as a perpetual state of simultaneous absence and presence. On the one hand the installation overcomes the absence and the emptiness. On the other hand, it is a simulacrum that emphasizes the absence and brings about an anxietyprovoking situation with a constant potential for a breakdown. The incorporation of male army uniforms, associated with army and with war, within the feminine dresses, creates a sense of confusion. it is a mixture of masculinity and femininity, representing a shift of identities, an exploitation of authority which is a common phenomenon in the army and the potential for violence against women, all recurring motifs in shani’s work. shani also embroiders her fears on envelopes. “Afraid to become prisoner of war”, “i’m afraid of them knocking on my door” resonate the time she worked for the ministry of Defence. The engagement in anxiety is directly portrayed in those hung envelopes, which are an act of releasing and disposing of her fears, while at the same time writing those fears validates them. mistakes, additions and disruptions appear in parts of the embroidered texts. The disruption of words expresses the anxiety, which threatens to disintegrate the existing order. moreover it demonstrates shani’s interest in an anxiety that rattles normality, and in the constant tension between the urge to break through barriers and the tendency towards a quiet peaceful routine. Few of the envelopes are hung backwards, a move that transforms the text into an abstract combination of symbols, thus rendering meaningless. The decision to display both sides of the envelopes, allows the backside to expose the uncontrollable & unpredictable aspect of the work. Post-structuralist linguistics looks at the text as texture, a material woven out of many threads. According to Jacques Derrida, a text is etymologically linked to textile and texture, hence characterized by the same multifaceted materiality of fabric.

— Tamar Dresdner

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Par is / Le iP z ig

Galerie Dukan

gaL eri e D u k a n We B S I Te www.galeriedukan.com

It is my ambition to bring the art of making the surreal a part of the real world to perfection.

e-m A I L sam @ galeriedukan.com

Whereas I fathom the frontiers of the possible on my quest for new ideas it is always inspiration that finds me.

PhOn e +33 981 346 183 CeL L +33 661 934 929 COnTA C T n Ame Sam Dukan

e xh I B I Te D A r T IS T Dimitri horta OTh e r r e Pr eS enTeD Ar T IS T S Josef Bolf Folkert de Jong Bayrol Jimenez John Kleckner Olivier masmonteil Yigal Ozeri Jean-xavier renaud richard Stipl Alexander Tinei rosa maria unda Souki

COV e r Dimitri horta Untitled 2015 Oil and mixed media with cast resin on wood 189 × 158 cm In SI D e Dimitri horta Rhino 2015 Oil on canvas 180 × 260 cm BAC K Dimitri horta Tinto 2015 Oil and cast resin on wood 189 × 158 cm

The manifestation of this inspiration crystallises — among others — in a baublery with materials and flows of colours, in paintings of bizarre grace, that transubstantiates the contemplator’s earnestness into a lightness of being in which not the comprehension powers the fantasy to undreamt heights but the perpetual amazement.

«A sense of humour is not a gift of the mind, it is a gift of the heart.» This bon mot of the German journalist, theatre- and cultural critic Juda Löb Barauch makes quite a good approach to the core of my art to create art. For I look at things of life and life itself with an exquisite sense of humour. nothing lasts. everything goes by. Perfection in particular. Therefore, my paintings as well are perfection and its transientness at the same time. Their destruction perfectly stage-managed by their creator.

Whereupon, what is being destroyed is being preserved just by this destruction.

This dichotomy that forms the frame of my oeuvre goes along also to and through the subjects of my paintings. What holds the gift and the lightness to fly becomes heavy and gets stuck to the earth. What particularly tends to be the subject of newton’s Law of Gravitation becomes light as a feather and escapes the earth’s gravitational force. Fear becomes carefreeness, put to flight by a sense of humour.

But it is not words that characterise my work the best. Instead, I would rather let my paintings do the talk. They say something to everybody — and to everybody they say something different. What do they say to you?

— Dimitri horta

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Ma d r id

Espacio ValVErdE

Espa ci o Va lV ErdE We B S I Te www.espaciovalverde.com

We present the works of elena Alonso (madrid 1981), Luis Vassallo (madrid 1981) and Alejandro Botubol (Cádiz 1979).

e-m A I L info @ espaciovalverde.com

The primary focus of elena Alonso’s work is drawing, that she interrelates with other disciplines such as architecture, topography, handicraft and design, paying particular attention to issues related to affectivity with the environment.

PhOn e +34 915 226 668 CeL L +34 609 572 226 COnTA C T n AmeS Jacobo Fitz-James Stuart Asela Pérez Becerril Sara G. Arjona

e xh I B I Te D A r T IS T S elena Alonso Alejandro Botubol Luis Vassallo OTh e r r e Pr eS enTeD Ar T IS T S Luis Asin hugo Bruce Jorge Diezma robert Ferrer Alfredo rodríguez

COV e r elena Alonso Quicio 1 2015 mixed media on paper 74 × 56 cm In SI D e elena Alonso Casa Leibniz 2015 mixed media various sizes BAC k elena Alonso Untitled 1 2015 mixed media on paper 30 × 21 cm

She has taken drawing to a weird level of abstraction creating a universe that is at the same time familiar and uncertain. elena’s imagination is in touch with the platonic coordinates of drawing as a tool of orientation, mapping and design, but she is able to free this tool from a univoque, literal use, so that the observer has to find his own use and meaning of the compositions.

Alejandro is mainly a painter, but he also builds simple installations and light experiments that serve as material for his artworks. During his stay at ISCP in new York, Alejandro got in touch with the works of James Turrell, richard Tuttle and matt Connors and he was deeply impressed by them. he started to work with the interpretation of natural and artificial lights, engaging a dialogue between europe and America.

The aesthetic ideas in Luis Vasallo’s work are organized in axes that confront opposing concepts, as ends of the same rope: idealism and realism, rupture and continuity, detachment and surrender, society and the individual…

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Ne w O r le a Ns

JONATHAN FERRARA GALLERY

J ON aTH aN Ferrara G allerY We B S I Te www.jonathanferraragallery.com e-m A I L info @ jonathanferraragallery.com PhOn e +1 504 522 5471 CeL L +1 504 343 6827 COnTA C T n AmeS Jonathan Ferrara matthew Weldon Showman

e xh I B I Te D A r T IS T S Sidonie Villere Paul Villinski OTh e r r e Pr eS enTeD Ar T IS T S mel Chin Skylar Fein Generic Art Solutions Bonnie maygarden Adam mysock michael Pajon Gina Phillips nikki rosato Dan Tague monica Zeringue

COV e r Sidonie Villere Untitled 2015 acrylic, gauze, net, string, cord and nails on plywood 18 × 14 × 3 inches In SI D e Paul Villinski Cirrus 2015 powder coated steel, found aluminum cans, wire, blue Flashe sizes variable L: 31 × 65 × 8 inches m: 21 × 49 × 7 inches S: 16 × 35 × 6 inches BAC K ( L e FT ) Sidonie Villere Untitled (diptych) 2015 acrylic, spray paint, plaster, nails and muslin on plywood each 18 × 14 × 3 inches BAC K ( r I G h T) Sidonie Villere Untitled 2015 acrylic, plaster, net and muslin on gessoboard 12 × 9 × 2.5 inches

Sidonie Villere (new Orleans, LA; b.1976) has a BFA in Ceramics from The newcomb School of Art at Tulane university and an mFA in Ceramics from The university of massachusetts, Dartmouth.

As an artist her work has been exhibited across the united States and is in permanent collections of several museums including The new Orleans museum of Art and The Ogden museum of Southern Art, as well as Saks Fifth Avenue Department Stores in new York, Boston, Phoenix, San Francisco, Beverly hills and most recently Chicago.

Villere is a multi-faceted artist using self-preservation and its contradictions as a common theme in her work. As a sculptor, her ceramic works often use geology to shape metaphorical self-portraits. As a painter, her ethereal works use multiple mediums to achieve layering and subtle depth that produce a painterly effect but maintain a sculptural aesthetic.

She has had solo exhibitions in miami, nashville and new Orleans and been featured in numerous group exhibitions in Atlanta, miami, new York and new Orleans.

As a curator, she has organized national ceramic exhibitions in new Orleans and Portland, Or. Additionally, her large-scale works were featured in The P.1 Projects satellite exhibition at the Prospect.1 Biennial Welcome Center in 2008. Villere’s work is also included in the publication, 500 Ceramic Sculptures: Contemporary Practice, Singular Work, by Glen Brown, 2009. In 2011, her work was selected by collector/ curator Beth rudin DeWoody for the January White Sale, an international group exhibition in Chelsea and at Cynthia Volk Gallery new York during Asia Week. In 2015, Villere’s work will be exhibited at the Contemporary Arts Center new Orleans in reverb, a survey of works marking the ten-year anniversary of hurricane Katrina. In 2016, Villere will be featured in a group exhibition at Galerie Jochen hempel in Berlin.

I believe our purpose is connection.

I also believe we can not have connection without being vulnerable.

With my work I rely on contradictions created by self-preservation.

These differences, produced by our need to connect as well as protect ourselves, spur dichotomies. Through creating my self portraits with three dimensional, abstract, ceramic sculptures and multi media paintings I am able to explore and edit these dichotomies so that the viewer is left with a minimal physicality.

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Mila n

THE FLAT – MASSIMO CARASI

TH E FlaT — M a SSiMO C aRaSi We B S I Te www.carasi.it e-m A I L carasi-massimo @ libero.it PhOn e + 39 258 313 809 CeL L + 39 333 215 532 5 COnTA C T n AmeS massimo Carasi Daniela Barbieri

e xh I B I Te D A r T IS T S michael Bevilacqua Paolo Cavinato Leonardo ulian OTh e r r e Pr eS enTeD Ar T IS T S emanuelle Antille Filippo Armellin edward del rosario Greta Frau michael Johansson Patte Loper Asuka Ohsawa michaelangelo Penso Ward Shelley

COV e r michael Bevilacqua installation view of solo show “Electric Chapel: The Spiritual in Art” 2014 In SI D e ( L e F T) Paolo Cavinato Protection #2 2015 varnished aluminium 300 × 272 × 220 cm In SI D e ( r I G h T) Leonardo ulian Technological mandala 30 — inner chamber 2015 electric components, copper wire, wood frame, Plexiglas 122 × 122 cm BAC k michael Bevilacqua Erased Memory (Gold Standard) 2014 Spray paint on canvas 101 × 101 cm

michael Bevilacqua (1966 uSA) The mish/mash of high and popular culture in his paintings once again becomes the driving force, interposing logos, phrases, songs and intellectual quotes. With this new body of works, the topic of the sacred in art comes into view, thanks to a deliberate collision between the work of mark rothko and the lyrics to the pop music of Lana Del rey, whose use of bibliographic references mixed with quotes from Walt Whitman fascinates the artist.

Bevilacqua re-affirms his ability as a refined colourist: his unpredictable combination of colours and shades return to characterise this cycle, to which he adds the tactile sensuality of a velvety surface dusted with spray paint.

Paolo Cavinato’s (1975 Italy) works begins with space, necessarily includes time, and aims to reach the so-called fifth dimension, that of the spirit and infinity.

The space contained is a mental space, while the objects that compose it are abstractions of real artifacts. nothing is as it appears, everything is constantly questioned, set in limbo.

These non-places provoke a sense of expectation, of suspense. everything tends towards the infinite, towards an absolute, metaphysical dimension in which the “I” becomes eternal and embraces the true essence of being. The matter creates a flow that opens itself to time and expands in view of the infinite.

Leonardo ulian (1974 Italy, lives in London) uses patterns, microchips and circuits of electronic devices to weave a web of connections that resemble Tibetan mandalas or precious fractal forms. mathematics, science and spirituality thus form the basis of his research.

The mandala is a spiritual symbol drawing in sand and destroyed after it is created.

This practice establishes a sacred space, which is ulian’s technological web can be a metaphor for.

Through Atlas series, ulian underlines the contraposition between analogue and digital: books and microchips — elements that similarly contain information/date — are wrapped with wire that makes the content inaccessible.

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B r o o kly n, ny

Fresh WindoW

Fresh Wi n d oW weBS i T e www.freshwindow.org

S hA D O w / L ig hT Susanne hofer, Colin O’Con, and helmut Smits

e-m A i L info @ freshwindow.org

Light and shadow are at the foundation of visual perception. Light is the reason we see art, as much as anything else. Shadows, themselves made of light, vibrate with color, emotion and the passing of time. The interplay of shadow and light is an everyday miracle, a reason to look, linger and think.

PhOn e +1 718 417 0783 COnTA C T n Ame Alma egger

e xh i B i T e D A r TiST S Susanne hofer Colin O’Con helmut Smits OTh e r r e Pr eS enTeD Ar Ti S T S marc egger Lisa Fairstein Jennifer gustavson Alexa hoyer wei xiaoguang

COV e r Susanne hofer Structural Survey: Cable 2014 Digital C-Print 16 × 20 inches (40 × 60 cm) inSi D e Colin O’Con Untitled (Hole Mountain) 2012 Acrylic on canvas 38 × 58 inches (96.5 × 147.5 cm) BAC k helmut Smits The Real Thing 2014 A distilling installation that turns Coca-Cola back into clean drinking water made in collaboration with martien würdemann 19 ¾ × 27 ½ × 65 inches (50 × 70 × 165 cm)

Shadow/Light features a compact, yet wide-ranging selection of works in all media.

Their distinctive use of natural and artificial light (and the shifting real/fake, holy/ profane, serious/facetious events it brings forth) engages three emerging artists in Fresh window’s roster in a conversation that feels as effortless as it is felicitously orchestrated. everything is moving in Shadow/Light, suspended as it is between cooling breezes and warm glows, reflection and revelation. The physical objects in this exhibition and the images and ideas they project are equally vibrant with form and content, alluding to each other, illuminating what’s near and pointing out to narratives and further links beyond immediate reach.

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Ne w Y o r k

frosch&portmann

fro sch & po rtm aNN WeB s i T e www.froschportmann.com

A s e rie s Of s iL e nT re m Ar ks. raffaella Chiara and magnolia Laurie

e-m A i L eva @ froschportmann.com

A series of silent remarks combines the work of two female artists, Bern (switzerland) based raffaella Chiara and magnolia Laurie (Baltimore, mD). Chiara’s often largescale drawings and Laurie’s paintings on panel share an aesthetic of architectural landscapes; their geometric systems combined with organic structures result in a whole new universe. strong, defined lines energize the surreal compositions, subtle coloring adds a touch of calm.

PhOn e +1 646 820 9068 CeL L +1 646 266 5994 COnTA C T n Ames eva frosch hp Portmann

e xh i B i T e D A r Tis Ts magnolia Laurie raffaella Chiara OTh e r r e Pr esenTeD Ar T isTs seth michael forman steve Green Julia kuhl eva Lake Vicki sher hooper Turner robert Yoder

COV e r magnolia Laurie Installation image 2014 Oil on panel / wooden structure variable ins i D e raffaella Chiara Phone call 1 2015 Pencil and color pencil on paper 11.5 × 16.5 inches BAC k magnolia Laurie a rumor, a murmur of what was and what’s next 2014 Oil on panel 10 × 18 inches

The installation directs the viewers attention to the adaptable yet accountable weight and mass of the paintings and drawings themselves. Chiara’s surreal compositions succeed in creating an entire cosmos with a few pencil lines and gentle coloring. her drawings are shown on the walls while magnolia Laurie’s paintings on panel occupy custom-made wooden structures that bring the works off the wall and into an active and insistent space that wanders in a non-committal manner between sculpture, billboard, and furniture. Our sense of space and how we acknowledge and engage with it will be called into question, as architecture gives way to sculpture, sculpture echoes painted gesture and paintings stand forth from the walls. raffaella Chiara lives and works in Bern and Thun, switzerland. she was awarded the swiss Art award and the kanton solothurn honored her oeuvre in 1993, 2008 and in 2012. Collections include, among others, schweizerische nationalbibliothek, kunstmuseum solothurn, kanton Bern, kunstmuseum Thun, Credit suisse and uBs Art Collection. Currently, her drawings are on view in Bellinzona (Castello sasso, somewhere between the lines, until August 2).

Born in hyannis, mA, magnolia Laurie lives and works in Baltimore, mD. she received her m.f.A. from mount royal school of Art, maryland institute College of Art, Baltimore, mD. her work has been included in numerous exhibitions all over the united states. her latest grant includes The Belle foundation for Cultural Development, san Jose, CA. most recently, Laurie was announced as one of the finalists for the prestigious Janet & Walter sondheim Prize.

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Ne w Y o r k

Muriel GuĂŠpin Gallery

Mu ri el G u épi N GallerY We B S I Te www.murielguepingallery.com

Founded in 2009 and initially located in Brooklyn, the muriel Guépin Gallery moved to the Lower east Side in 2013.

e-m A I L contact @ murielguepingallery.com

The gallery represents both established and emerging artists and displays a variety of works and mediums with a special interest for artists who embrace innovative art practices and non-traditional mediums.

PhOn e +1 347 244 1052 CeL L +1 347 244 1052 COnTA C T n Ame muriel Guépin

e xh I B I Te d A r T IS T S emerson Cooper Fabiana Viso Keun Young Park matthew Conradt numen / For use OTh e r r e Pr eS enT ed Ar T IST S davy & Kristin mcGuire Gabriel Barcia-Colombo Joan Lurie Joanie Lemercier Laurent Chehere Paula Overbay robert Szot

COV e r Keun Young Park Joanne Face (detail) 2015 micro collage, torn and pasted photograph on paper 32 × 40 inches In SI d e matthew Conradt Like Wonders Much Reduced (detail) 2014 mixed media on mylar 27 × 72 inches BAC K ( L e FT ) danny Fabiana Viso Rooftop #20 2014 Gelatin silver print with emulsion removed 11 × 14 inches BAC K ( r I G h T) emerson Cooper Song of Love 2007-2010 mixed media on albumen print 4.5 × 6 inches

unique to the gallery are the special projects, talks and studio tours, as we highly believe in making art more accessible to our community and building a strong relationship with our collectors. Our clientele ranges from individuals who are beginning to make their first art purchases, to more mature and institutional collectors who appreciate our “eye” for new talents.

The muriel Guépin Gallery‘s ambition is to be a reference for viewing art of exceptional quality and more precisely to be a pioneer in encouraging the use of new technology in art.

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Me xic o city

GALERIA ENRIQUE GUERRERO

G A LeRi A e N RiQU e GUeRReRo We B S I Te galeriaenriqueguerrero.com e-m A I L info @ galeriaenriqueguerrero.com PhOn e +52 55 5280 2941 CeL L +521 55 4454 7773 COnTA C T n AmeS enrique Guerrero miguel Guerrero

e xh I B I Te d A r T IS T S richard Stipl Josef Zlamal Beatriz Zamora daniela edburg Pablo helguera OTh e r r e Pr eS enT ed Ar T IST S Felipe ehrenberg hector Falcon Adela Goldbard daniel Gomez Yui Kugimiya miguel Angel madrigal mAnGLe mauro Piva Carolina Ponte Pedro Varela

COV e r Beatriz Zamora El negro 2014 mixed media 50 Ă— 60 cm In SI d e richard Stipl and Josef Zlamal everything is true but nothing is real 2015 installation view variable BAC K daniela edburg Civilized Moss 2014 archivalink print 110 Ă— 76 cm

enrique Guerrero Gallery presents a new booth project by Czech artists richard Stipl and Josef Zlamal. Stipl`s foray into carved wooden sculpture marks a new creative phase which passes into monumentality and resonates with the precise drawings and wallpaper installations of Zlamal. The coexistence of these, at first glance incompatible woks, has its origins in longterm cooperation born out of a trans-generational creative dialogue.

Their dedication to media and material functions as a starting point to a platform for the analysis of the human condition. In their work they turn to a cocktail of distorted beauty, disgust and obscenity not as a means of criticism or inflicting violence on their viewers but rather point inward where the duality of humanity and monstrosity become one.

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Seoul

gallery h.a.n.

G a llery h .a .n .

We B S I Te www.gallery-han.com e-m A I L hangallery55 @ naver.com PhOn e +82 2 737 6825 CeL L +82 10 9108 5529 COnTA C T n Ame Sungwon Lee

e xh I B I Te D A r T IS T S myungil Lee Kyeongsig Yang OTh e r r e Pr eS enTeD Ar T IS T S Kyung-Ja rhee hwang hur Youngwon Kim eungki Kim Sangmo Koo

COV e r Kyeongsig Yang History... Self Existence 2014 mixed media 110.5 × 80 cm (detail) In SI D e myungil Lee To Exist, or To Sustain?

2015 Acrylic on canvas 162 × 112 cm

What is human existence? how do our emotions take shape? What are the images of desires that we feel? What are the differences between which are seen and which are felt?

Permanence of existence has an inseparable relation with impermanence. So is the relation between existence and non-existence. I find motifs of my works in the story of my own life as I strive to find value of human existence expressed in human desires such as in my mundane life and immanent world of emotions etc.

As nietzsche pointed out, reason, body and desires are all integral parts of human existence. And I find inspiration of my works in Buddhist’s Samsara, i.e. continual repetitive cycle of birth and death: all human beings are born, live the course of their lives and die; and we exist by living and sharing our own lives in organic relations with other existences. human existence cannot be fixed like something permanent as we are always bound to seek progress, betterment and empowerment. And as we commit a specific act to exist, desires that belong to the physical domain of human existence cannot be separated from our actions. hence, my works are results of certain choices and actions of mine; as I seek to stay spiritually alert thus see the outcome of my inspiration displayed in my works.

I make efforts to weave such stories of organic human life in my works, hoping that they would reflect human existence, how they are maintained, how our basic instincts are expressed, how these essential elements coexist in harmony and communicate one another.

In these works of mine, I tried not to use figurative forms, so that they can be perceived as something abstract that can trigger viewers’ curiosity and visual imagination.

Sometimes I work with objects (stainless steel) to express organic compositions of empty spaces and forms that I perceive, as reflections of intricate relations of all the elements in the world.

As for colors and forms, which are essentially codes of perceptions widely agreed upon, I try to stay away from commonly accepted boundaries, repeated cliché and prejudices, while constantly trying to go beyond the walls that I have built within myself so as to push the envelope into a new realm.

Our lives, emotions and values change from yesterday, today and tomorrow, and this is the very reason that I do my works: it is the purpose of my life and the very reason that I ever exist, and it is a journey to grope my way forward to find identities of human beings that include myself.

— by myungil Lee All objects communicate with one another. no matter whether they are organic or inorganic or whether they have the so-called “reason” or not, all objects in the universe have some means of ‘communication’ for themselves or to relate to one another.

The work pursued by Kyeongsig Yang is talking about these ‘symbols’, the form of communication and the source of forces that build relationships between people and other people and other people, objects, and everything else that exists in the world.

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Lo nd o n

Patrick Heide contemPorary art

Patri ck H ei d e contemPorary a rt We B S I Te www.patrickheide.com

At VOLTA Basel 2015 Patrick heide Contemporary Art presents four artists from the gallery’s core program:

e-m A I L info @ patrickheide.com

Kàroly Keserü, reinoud Oudshoorn, Thomas müller and Kate Terry communicate through abstract language in distinctly different media. Keserü through painting; müller solely through drawing; Oudshoorn and Terry through sculpture and installation. All four work process based, each highly individual in their scope. All four address issues of space and beauty while questioning our habits of perception and take modernist and post-war language and concepts to new and challenging levels.

PhOn e +44 207 724 5548 COnTA C T n AmeS Patrick heide Clara Andrade Pereira

e xh I B I Te D A r T IS T S Károly Keserü Thomas müller reinoud Oudshoorn Kate Terry OTh e r r e Pr eS enTeD Ar T IS T S maría Isabel Arango Sarah Bridgland David Connearn Pius Fox Alex hamilton Thomas Kilpper minjung Kim hans Kotter Dillwyn Smith Susan Stockwell

COV e r Thomas müller Untitled (detail) 2014 pencil and Indian ink on paper 29.7 × 21 cm In SI D e reinoud Oudshoorn Untitled 2010 iron (2 elements) 70 × 169 × 70 cm BAC K ( L e FT ) Károly Keserü Untitled (1401191) (detail) 2014 ink and graphite on paper 30 × 21 cm BAC K ( r I g h T) Kate Terry Series IX (no.3) 2014 powder coated steel, painted wood and plywood 190 × 50 × 50 cm

Kàroly Keserü (b.1962, Budapest, hu), reaches out into the realms of conceptual and digital art. Keserü’s art arises from the considerations of primitive art and modernism, yet overcomes these roots and further expands their vocabulary.

Inspired by geometrical and concrete art as well as music, folk art and even textiles, Keserü searches for an equilibrium between modern and contemporary, Western and eastern philosophy, system and chance, 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.

The constructions with frosted glass symbolise the contemplative and mysterious, atmospherically reminiscent of the muffled silence of mist. Oudshoorn manufactures every sculpture and designs them to possess the same vanishing point, suggesting an endlessness in the space that surrounds us, an infinity of mind.

“A work must produce more space than it consumes” as the artist explains.

Thomas müller (b. 1959 Stuttgart, D) lets drawing develop in any direction in an attempt to capture its essence.

Blue and purple ballpoint pen drawings of dense thin parallel lines are created next to motifs of organic weaving in black crayon and then opposed to almost imperceptible doodles in graphite or colour pencil. müller’s typical installation method in rows of A4 drawings hung in open grid groupings allows the eye to wander, extend and contract. The drawings develop different trajectories and loop in and out of dialogue with each other.

London artist Kate Terry (b. 1976 Ontario, CA) usually works with large-scale sitespecific installations made entirely from thread. rows of coloured threads tied to pins placed on the walls horizontally or vertically, travel across the room in intertwining waves, following as well as softly breaking up the architectural structure.

Yet the British artist also works with sculptural combining the thread with industrial materials such as wood or concrete in a closed construction. Terry’s installations and sculptures are architectural intervention, spatial drawing and ephemeral object at the same time.

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Lei p zig / B e r Lin

Galerie Jochen hempel

gaL eri e J och en hempeL We B S I Te www.jochenhempel.com e-m A I L info @ jochenhempel.com PhOn e +49 341 960 0054 CeL L +49 179 108 1523 COnTA C T n Ame Jochen hempel

e xh I B I Te d A r T IS T S Tilo Schulz natalia Zaluska Peter Krauskopf Stephan Balkenhol OTh e r r e Pr eS enT ed Ar T IST S Joe Amrhein Benjamin Bergmann hartwig ebersbach Carsten Fock Schirin Kretschmann Sven Kroner esko männikkö Jong Oh ulf Puder Beat Streuli

COV e r Tilo Schulz Untitled (detail) 2015 work in progress In SI d e natalia Zaluska Untitled 2014 mixed media, collage 190 × 160 cm BAC K Peter Krauskopf “Z”, B 250315 2015 Oil on canvas 210 × 150 cm

Peter Krauskopf works with pereceptual phenomena, playing with our capacity for memory building. Thus his images are also concerned wtih remembrance and disappearance. In time, the motivation to define something in an abstract form evolves automatically through the process of painting, and the material-immanent nature oft he paint. Krauskopf gives something while simultaneously taking something back. he offers information and simultaneously negates it by painting over or scratching off parts oft he image and so modifying both acts to create fresh information.

Krauskopf’s images have no story to tell but a lot to say. They speak of risks and of a struggle: here, they do not share all that could be said. But in the mode of painting, nonetheless, it becomes clear that the artist is searching for a way to make the incomprehensible comprehensible. not that this stops him from interpreting the visible signs, however.

Working across a variety of media including sculpture, drawing, painting, and installation, Tilo Schulz is highly convincing on the grounds of his multifaceted and scrupulous artistic oeuvre. As an artist who is also known to work as a curator, Schulz’s attention is focused equally on the spatial configurations and visual axes constituting the exhibition layout, as well as on the observer who plays an active part within the artist’s stagings.

Ascetic canvases of natalia Zaluska express the poetry of form and thoughfulness of artistic gesture. As studies of perception, they are inquiries into spatial and temporal qualities that define the painting and guide the spectator’s gaze. The artist disturbs the painting’s monochromatic silence by a radical cut into the surface’s fabric, thus activating the planes and generating a sensual polylogue between the layers. Simultaneously nonchalant and controlled, her work is both smooth and violent, still and conversational, minimal and neobaroque.

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Vienna / Je r s e y C ity

Hilger BrOTKunsTHalle

a sG a r/G aBri eL WeB s i T e www.hilger.at e-m A i L ernst.hilger @ hilger.at michael.kaufmann @ hilger.at PhOn e +43 1 512 53 15 218 CeL L +43 650 27 39 650 COnTA C T n Ames ernst hilger michael Kaufmann

eXhi B i T e D A r T is T AsgAr/gABrieL OTh e r r e Pr esenTeD Ar T isTs Daniele Buetti Clifton Childree Faile shepard Fairey Peterson Kamwathi Anastasia Khoroshilova Ángel marcos Cameron Platter michael scoggins simón Vega

COV e r AsgAr/gABrieL untitled 2014 acrylic and oil on wood 90 × 80 × 180 cm ins i D e ( L e F T) AsgAr/gABrieL object I 2014/15 acrylic and oil on wood 45 × 50 × 45 cm BAC K ( r i g h T) AsgAr/gABrieL object II 2014/15 acrylic and oil on wood 40 × 40 × 45 cm

Cut canvasses, disjointed shapes and sprawling painting installations increases A s g Ar/ g A Brie L s ’ deviation from linearity, adding to an already sublime expression. in this way A s g Ar/ g A B r i eL create an experience that activates the exhibition as an environment, placing the viewer, quite literally, amidst the drama. By adopting a Dadaist sensibility, it can be argued that their work is proof that painting has become, ironically, anti-art. (Claire Breukel in AsgAr/gABrieLs’ Autonomous universe…and other such Anti-Art gestures) in the recent sculptural painting-objects Asg A r / g AB r i eL undermine certain expectations that evoke traditional painting. The artists transport motion into the static relation between observer and the painting, because our objects can only be captured by being surrounded. They intervene into the context of image with monochrome color spaces, overpainting and style-pluralism, which refers to modernism as well as post-modernism. With this tools the artists try to break through traditional viewing habits.

Daryoush AsgAr & elisabeth gABrieL, graduated in Art (mFA) and Philosophy (mA), live and work in Vienna s O L O e XhiB i T i Ons : 2014. Armed with Fever and good health,Torrance Art museum, Los Angeles; Zone1, Viennafair, hilger next, Vienna; 2012. we are hungry, in fact very hungry, hilger contemporary, Vienna; VOLTA nY, BrotKunsthalle, new York; 2011. under the paving stones, the beach, Kunsthallen Brandts, Odense; Auflösung der Ökonomie, mannheimer Kunstverein, mannheim; the disciplining time stands still, Annarumma gallery, naples; 2009. Bucolica Obscura, mark moore gallery, Los Angeles; 2007. sweet safari or how We Desire The Wild, Lyons Wier Ortt gallery, new York; low clouds, high spirits and the island, hilger contemporary, Vienna g rO uP e XhiB i T i Ons ( s e L e C T i On ) : 2014. Painting iii, Frissiras museum, Athens; 2013. curated by — The re-construction of a mosaic, hilger next, Vienna; The Colour of Landscape — A Tribute to Joe goode, BrotKunsthalle, Vienna; menagerie, Kunsthalle Würth, schwäbisch-hall; Ask for haydn, Blicke aus der gegenwart, Landesgalerie Burgenland, eisenstadt; A.e.i.O.u. — Österreichische Aspekte in der sammlung Würth, museum Würth, Künzelsau; 2012. The Kids Are All right, Kunsthal rotterdam, rotterdam; The impossible heap, galerie8, London; sex, Dui’s and Videotape, Brotkunsthalle, Vienna; 2011. The istanbul summer exhibition, Port of Art, istanbul; 2010. The Promise of Loss, Arario gallery, new York; Don’t worry, be happy, mAmA showroom, rotterdam; 2009. The Promise of Loss, BrotKunsthalle, Vienna; get connected, Künstlerhaus, Vienna; 2008. The new Force of Painting, Frissiras museum, Athens; Central europe revisited ii, schloss esterhazy, eisenstadt A r T in P u BL iC s PA C e : 2009. Vienna stripe, museum in Progress, Vienna CO L L eCTi O ns (s e L eCTi O n ) : museum Wuerth (ger); sammlung esterhazy (AuT); marc Quinn private-collection (London); Collection nadour (Paris); Frank gallipoli Foundation (usA); Carla&Bruno Brown Collection (BeL); sammlung sanziany & Palais rasumofsky (Vienna); uni Credit Art Collection (iTA); siemens Art Foundation (ger); sTrABAg Collection (AuT); JaLima Collection (ger)

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Vienna / Je r s e y C ity

Hilger BrOTKunsTHalle

J U Li e MOn a CO

CeL L +43 650 27 39 650

Since 2001, one of the main thematic aspects of my work has been the digital generation of images via the structures of fractals/surfaces (renderings) in dialogue with analogue elements. The focus is on researching options for the depiction of fractal structures via specific rendering software capable of this task. The works are artificial, digitally created images that are no reflection of any found “real”; the original source material is numerical codes. The interplay between computer-generated signs and manually applied gestures of drawing, as well as their respective mediarelated relocation into the materiality of gelatin silver prints or C-prints constitute the intersection of my work.

COnTA C T n AmeS ernst hilger michael Kaufmann

JuLIe mOnACO (b. 1973), 2002 mFA (with distinction) of the university of Applied Arts, Vienna, Transmedia art with Brigitte Kowanz, lives and works in Vienna

e xh I B I Te D A r T IS T Julie monaco

Solo exhibitions (selection): 2015 “ChemICAL PLATeS”, Galerie Traklhaus Salzburg; 2014 “ChemICAL PLATeS”, Galerie hilger, Vienna; Factory der Kunsthalle Krems, Krems; 2011 19972011, hilger BrOTKunsthalle, Vienna; 2009 _957, Galerie hilger contemporary, Vienna; _957, La Citta, Verona; 2006 “21”, Galerie hilger contemporary, Vienna; 2003 Focused Daily. hyperrealistic Landscapes, DAm Gallery, Berlin.

We B S I Te www.hilger.at e-m A I L ernst.hilger @ hilger.at michael.kaufmann @ hilger.at PhOn e +43 1 512 53 15 218

OTh e r r e Pr eS enTeD Ar T IS T S Daniele Buetti Clifton Childree Faile Shepard Fairey Peterson Kamwathi Anastasia Khoroshilova Ángel marcos Cameron Platter michael Scoggins Simón Vega

COV e r Julie monaco #902 (detail) 2008 silver gelatin print on aluminum, framed, ed. 4+2 175 × 110 cm In SI D e Julie monaco VV_6146_#F//z (detail) 2014 Chemical metallic plate Kodak on aluminum, framed, ed. 1+1 AP 123 × 185 cm BAC K Julie monaco R_AI #8 2010 c-print on aluminium, diasec, ed.

4+2 125,5 × 157 cm

G r O u P e x h I B I T I O n S ( S e L e C T I O n ) : 2015 Vienna for arts sake, archive Austria / contemporary art, Winterpalais Belvedere, Vienna; “Landscape in my mind” Landschaftsfotografie heute. Von hamish Fulton bis Andreas Gursky, Bank Austria Kunstforum, Vienna; 2013 Fragile, BAWAG Contemporary, Vienna; 10 Jahre Lentos, Lentos Kunstmuseum Linz, Linz; Young Austrian Photography, Lockheed martin Gallery, manison at Strathmore, maryland; 2012 Young Austrian Photography, L2 Lounge, Washington DC; 2010 Story behold, story be told, Kunsthistorisches museum, Vienna; You never know what happen next, Lentos Kunstmuseum Linz, Linz; 2009 Stark bewölkt, muSA museum of the city of Vienna, Vienna; 2008 Central europe revisited, esterházy Contemporary, eisenstadt; 2006 Visum et repertum, Stella Art Foundation, moskau; 2004 Wolkenbilder, Alte nationalgalerie, Berlin.

CO L L eCTIO n S ( S e L eCTIO n ) : Sammlung Sanziany & Palais rasumofsky (AuT); uni Credit Art Collection (ITA); Collection of the state of Austria (AuT); Lentos museum (AuT); Collection Lelong (FrA); museum Angerlehner (AuT); Benrubi Collection (uSA)

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Ams te r d A m

Gerhard hofland

G erh Ard h oflA nd We B S I Te www.gerhardhofland.com e-m A I L mail @ gerhardhofland.com PhOn e +31 20 4121772 CeL L +31 629 023 933 COnTA C T n Ame Gerhard hofland

e xh I B I Te D A r T IS T S Koen Delaere Johan Tahon OTh e r r e Pr eS enTeD Ar T IS T S Wolfgang Flad Simon hemmer michael Kirkham rik meijers Jochen mühlenbrink malin Persson Jan van der Ploeg Thom Puckey robert Seidel Jens Wolf

COV e r Koen Delaere Untitled (detail) 2015 oil, acrylic on linen 180 × 125 cm In SI D e Johan Tahon Z, I & II 2014 glazed ceramics 47 × 28 × 87 cm

K O e n De L A e re more interested in the aftereffects of his creative endeavours than an intended product, Koen Delaere’s dynamic methods and quick pace offer the viewer a defiantly performative take on the grid. As he juxtaposes painterly mistakes against the rigidity of the grid, we witness a form develop content. rather than struggle against the limitations of time, he works within the time constraints that his choice of paint and method proffer. The heavy relief of the grid functions as a way to capture the act of painting as a photographic object or a performance-document. Koen Delaere (b. 1970, Bruges, Belgium) lives and works in the netherlands. In 1996, he received his Bachelor in Painting at the Akademie voor Beeldende Vorming, Tilburg. he has recently exhibited at Cell Project Space, Londen; Van horn Gallery, Düsseldorf; Autocenter, Berlin; Gerhard hofland, Amsterdam; Ana Cristea, new York; rh Contemporary, new York; Peter makebish, new York; and Galerie Gebr. Lehmann, Dresden.

J O h A n TA h O n Johan Tahon was born in menen (Belgium) in 1965. he lives and works in munkzwalm (Be) and in Istanbul (Tr). he studied sculpture at the Ghent royal Academy of Fine Arts (Be).

Since 1994 Tahon exhibits his work on a regular basis in Belgium as well as abroad.

In 1996, he caught the attention of Belgium’s most influential curator and museum director Jan hoet (e.g. Documenta 9), who made it possible for Tahon to interact with world level artists in the internationally renowned exhibition De rode Poort in the Ghent museum of Contemporary Art (with a.o. Luc Tuymans, Vito Acconci and Sam Taylor-Wood). From then on Tahon got the full support of hoet and Tahon started exhibiting his work at different galleries and in prominent museums across europe, solo or combined with works of a.o. Ilya Kabakov, Günther Förg, Tony Cragg and Stephan Balkenhol. he took part in major exhibitions like Beaufort (Ostend, Be) and Lustwarande (Tilburg, nL) and showed his sculptures at places like the ministry of Finance (The hague, nL); the Gerhard marcks haus (Bremen, De); the Academia Belgica (rome, IT); the courtyard of the Topkapi Palace (Istanbul, Tr); the Kennedy Center for the Performing Arts (Washington DC, uSA); and the Istanbul Biennial (Tr).

Tahon’s sculptures also make part of important public and private collections like S.m.A.K. (Ghent, Be), m hKA (Antwerp, Be); Stedelijk museum (Amsterdam, nL); Gem and Gemeentemuseum (The hague, nL); mArTa (herford, De); the Vanhaerents Art Collection (Brussels, Be); the collection of Sybil Sabanci (Istanbul, Tr); and the Collection of the Dutch house of royals (Amsterdam, nL).

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Ne w Y o r k

The hole

Th e h ole We B S I Te www.theholenyc.com e-m A I L poke @ theholenyc.com PhOn e +1 212 466 1100 COnTA C T n AmeS Kathy Grayson (Owner, Director) Krysta eder (Director)

e xh I B I Te D A r T IS T matthew Stone OTh e r r e Pr eS enTeD Ar T IS T S Kadar Brock JIm JOe KATSu Gabriel Pionkowski evan robarts holton rower Lola montes Schnabel Kasper Sonne Jaimie Warren eric Yahnker

COV e r matthew Stone The Seed Splits (detail) 2015 Digital print and acrylic on linen 60 × 48 in / 152.4 × 121.9 cm In SI D e matthew Stone Installation View: Dance Instruction (left) & Lower World Energy Source (right) 2015 Digital print and acrylic on linen 60 × 48 in each / 152.4 × 121.9 cm each BAC K matthew Stone The Seed Splits 2015 Digital print and acrylic on linen 60 × 48 in / 152.4 × 121.9 cm

matthew Stone’s new works for VOLTA11 oscillate between painting, photography, figuration and abstraction to create a dynamic visual language that encourages new notions of media and medium in his compositions. These lush digitally printed paintings are first hand-painted by the artist onto glass and then the resulting composition is photographed. These high-resolution details are then digitally intensified and retouched to remove subjective imperfections, such as dust and hairs. The paint is then printed onto the raw linen canvas. The resulting works employ photography and digital printing as part of an extended artistic process that furthers the visual and practical potential of paint, rather than as an objective or documentarian means to an end.

These new works represent a continuation of the works shown at Stone’s most recent exhibitions, but engage more fully in conversation with the history of perspective in painting. By introducing a heightened three-dimensionality to the brushstokes, Stone makes them appear to truly float in free space. much like the figures that fly in trompe l‘oeil ceiling painting, Stone’s paintstrokes seem to hover above the surface of the canvases and give us that same sense of depth as if looking upwards in space.

Stone’s paint gestures mimic the movements and colors of renaissance painting and sculpture and suggest the punchy thrusts and flair of dancers in motion or joyful movement. Their genuine love of color and movement draw the viewer in and celebrate the eye and its joys in the realm of paint. While ostensibly resembling a scaling of the “masterful” brushwork of motherwell or de Kooning, the final works, perhaps like Lichtenstein’s spoofy quoted strokes, live as flattened snapshots of captured and ephemeral moments. matthew Stone was born in 1982 in London where he currently lives and works. recent solo exhibitions include emotional manipulation at V1 Gallery, Copenhagen, Cosmic Flesh at union Gallery, London, and unconditional Love at The hole, new York.

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B e r lin

JARMUSCHEK+PARTNER

J A rMU SCH eK + PArT ner We B S I Te www.jarmuschek.de e-m A I L mail @ jarmuschek PhOn e +49 30 285 99 070 CeL L +49 179 512 9068 COnTA C T n AmeS Kristian Jarmuschek Stefan Trinks

e xh I B I Te d A r T IS T Carina Linge OTh e r r e Pr eS enT ed Ar T IST S Sabine Banovic Patrick Cierpka marc Fromm Oliver Gröne elmar haardt Petra Lottje harding meyer nika neelova Jürgen Wolf majla Zeneli

COV e r Judith (Monodram No. III) (detail) 2014 C-Print on Aludibond 100 × 70 cm In SI d e Studien (detail) 2014 C-Print on Aludibond 80 × 120 cm BAC K Häschen (Monodram No. I) (detail) 2014 C-Print on Aludibond 20 × 29 cm

Jarmuschek+Partner presents recent works by the Leipzig-based artist Carina Linge.

In her new series „Theatrum mundi“, she portrays a generation of people free to move around the globe and with infinite education opportunities — but whose confusion, fears and unfulfilled longings reflect the downside of the freedom this worldwide modernity offers the individual. To gain insight into our present age, Linge looks back to times of change ranging from the Baroque period to the enlightenment, a time, in which the parameters of our social constitution have been defined. She has created metaphoric and symbolic images at historic locations such as the Goethe Theatre in Bad Lauchstädt, showing both the outer representation and the hidden emotional world of the protagonists. The photographies thus reveal subtle insights into these two different worlds of the persons portrayed, unleashing a fragile balance between sensuality and passion, emptiness, loss, morality within the existential realm of experience as it is lived by modern individuals. recently, Linge has been chosen to take part in the european month of Photography Berlin for the third time. The realization of her new photographies has been kindly supported by the art foundation of Saxony-Anhalt and the Kloster Berge foundation. At VOLTA11 Basel, the gallery shows the complete new series of works for the first time.

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Timis o a r a

Jecza Gallery

J ecz a G a llery We B S I Te www.jeczagallery.com e-m A I L jecza @ jeczagallery.com PhOn e +40 256 482 056 CeL L +40 722 666 445 COnTA C T n Ame Andrei Jecza

e xh I B I Te d A r T IS T Genti Korini OTh e r r e Pr eS enT ed Ar T IST S michele Bressan roman Cotosman radu Cioca Alain Feliu Constantin Flondor Peter Jecza dan maciuca Vlad Olariu Veres Szabolcs doru Tulcan

COV e r Genti Korini The Monument (detail) 2014 oil on canvas 210 × 120 cm In SI d e ( L e F T) Genti Korini The Model 2015 oil on canvas 50 × 40 cm In SI d e ( r I G h T) Genti Korini FORMA 1 2015 oil on canvas 130 × 90 cm BAC K Genti Korini Building X 2008 digigraphie 50 × 70 cm

Jecza Gallery, based in Timişoara, romania, mainly presents romanian contemporary art from the 1970s and 1980s. Particular emphasis is also given to young artists, with an express interest in abstraction such as Genti Korini. ever since its opening in 2000, first as a foundation, and later in 2011, as a commercial gallery, it has increasingly supported the contemporary art scene, not only as an exhibition space, but also as an important publishing house and research centre. The gallery’s constant endeavour is to introduce such artists as Constantin Flondor, Peter Jecza, Paul neagu, Liviu Stoicoviciu or mihai Olos to the international art scene. The gallery’s current focus is to present artistic practices which reconcile “unofficial” art from the Communist era to a wider audience, by showcasing the work of artists who pioneered video installation, land art, happening and performance art during the 70s.

Genti Korini’s painting draws inspiration from the post-communist architecture that took over his city, Tirana, after 1990. The tensions between past and present are ubiquitously present in the chaotic nature of urban development and the conflicting mix of styles associated with the period of transition. Albania’s ‘anything goes’ architecture corresponds, however, to a postmodern neo-eclecticism defined by forms and materials conceived through novel design methodologies based on complex algorithmic techniques and fabrication technologies. Korini has integrated the generative coding in his own painting practice, creating geometric, abstract forms that echo the utopian visions of the Constructivist movement, whilst preserving a strong painterly aspect that stresses the medium specificity. This hybrid quality of his painting, referencing the discontinuity of the landscape that informs it, prompts us to see the world as a place of endless possibilities performed by an idea-code, as in nature, where space, time and light morph relentlessly into unexpected configurations and narratives.

— text by Simona nastac

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D u b lin

Kevin Kavanagh

K evi n K ava n a g h We B S I Te www.kevinkavanagh.ie

Kevin Kavanagh is pleased to present new work by four Irish artists: Diana Copperwhite, Sinéad ní mhaonaigh, Geraldine O’neil and Tadhg mcSweeney.

e-m A I L info @ kevinkavanagh.ie

“Copperwhite’s work focuses on how the human psyche processes information, and looks at the mechanisms of how we formulate what is real...Layering fragmented sources that range from personal memory to science, from media and internet to personal memory, Copperwhite’s canvases become worlds in which the real is unreal and this unreality is in a constant state of reforming.”

PhOn e +353 147 595 14 CeL L +353 863 962 248 COnTA C T n Ame Kevin Kavanagh

e xh I B I Te D A r T IS T S Diana Copperwhite Sinéad ní mhaonaigh Geraldine O’neill Tadhg mcSweeney OTh e r r e Pr eS enTeD Ar T IS T S Amanda Coogan elaine Byrne michael Boran mick O’Dea Paul nugent robert Armstrong Sean Lynch Sonia Shiel ulrich Vogl Vanessa Donoso López

COV e r Geraldine O’neill Tweet Tweet (detail) 2012 oil on canvas 130 × 160 cm In SI D e Tadhg mcSweene Edifice Complex installation shot 2013 n/a n/a BAC K Diana Copperwhite Fake New World 2015 oil on canvas 100 × 100 cm

“every painter recapitulates the history of painting in his or her own way,” wrote Gilles Deleuze in his Francis Bacon study...Geraldine O’neill works through the history of painting rather like a dancer who goes hill-walking on everest and discovers a panoramic base camp peopled by artists, scientists and philosophers. It is about time. About space too. Above all, it is about painting from the skin, meaning that technique matters and that craft must be conceptualised before it appears as art.”

“Kant split his concept of the sublime into three categories, the petrifying sublime, sometimes accompanied with a certain dread or melancholy; the noble sublime inspiring quiet wonder; the splendid sublime, pervaded with beauty. One need only gaze at ní mhaonaigh’s paintings — packed complex, luxurious, transfixing — to see a simultaneous evocation of not one but all these facets of the sublime, held perpetually in tension and in unison.”

“True, there are paintings on the wall, and several sculptural pieces distributed throughout the space, but when you look more carefully at any of them you’re likely to become less sure about what you’re looking at...mcSweeney likes making things that invite recognition and then cancel the invitation at the last minute. his work is not exactly a rejection of what has gone before, of artistic or aesthetic conventions, but a bid to figure out how one can make something with the remains, the residue of what has gone before.”

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Le ip z ig

Galerie Kleindienst

gaL eri e K Lei n d i enst We B S I Te www.galeriekleindinest.de e-m A I L kontakt @ galeriekleindienst.de PhOn e +49 341 477 4553 CeL L +49 170 808 5816 COnTA C T n AmeS matthias Kleindienst Christian Seyde

e xh I B I Te d A r T IS T S Susanne Kühn Christoph ruckhäberle nadin maria rüfenacht OTh e r r e Pr eS enT ed Ar T IST S Claudia Angelmaier Tilo Baumgärtel Peter Busch Christian Brandl henriette Grahnert Julius hofmann Tobias Lehner rosa Loy Sebastian nebe Anette Schröter Sebastian Speckmann Carsten Tabel Steve Viezens Corinne von Lebusa

COV e r Susann Kühn Splash 2011 Paperwork 76 × 57.5 cm In SI d e Christoph ruckhäberle Untitled 5 2014 oil on canvas 200 × 290 cm BAC K nadin maria rüfenacht Le roi se meurt / Maitress 2015 diasec 34 × 50 cm

Christoph ruckhaberle’s leisurely scenes operate like dysfunctional stage plays.

Cribbed from all the best bits of art history, he imbues his paintings with a contemporary newness of vivid patterns and design colours. his elaborate sets are backdrops of static energy against which his cast nonchalantly mingles: placid and bored, unaware of their own interaction with an expectant audience. This sense of waiting is the delight in ruckhaberle’s work. Charmed by the pure casualness of it all, his paintings offer the possibility of getting lost in a moment, a luxuriating pause where visual harmony is appreciated as inert ideal. ruckhaberle approaches figurative painting from a purely formalist standpoint. his elaborate configurations don’t strive to depict narrative, but rather offer perverse pleasure in the idiosyncrasy of their construction. ruckhaberle’s avant gardist compositions break down into absurd abstractions: contorted bodies, silhouetted trees, tea pots and parasols become intriguing excuses to render complex systems of repetitive circles, squares and interlinking patterns. ruckhaberle’s folksy style gives a casual air to his balanced formal tension, consciously understating his wry visual humour, and clever citation of matisse and Beckmann. ruckhaberle’s work instils a sense of isolation and detachment: his figures are frozen in self-contained realms of thought, their painterly existence derived solely for the pleasure of creating visual suspense. Through this precarious balance of psychological intimacy, and cool, stylised aesthetics, ruckhaberle contrives a soothing comfort through which an underlying anxiety passes almost unnoticed.

— written by Patricia ellis

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To ky o

GALLERY KOGURE

G A LLERy k o GU RE We B S I Te www.gallerykogure.com e-m A I L info @ gallerykogure.com PhOn e +81 3 5215 2877 COnTA C T n Ame hiroshi Kogure

e xh I B I Te D A r T IS T Takahiro hirabayashi Taiichiro Yoshida OTh e r r e Pr eS enTeD Ar T IS T S Atsuko Goto Fuco ueda Fuyuki maehara Futaro mitsuki hidenori Yamaguchi Keita Tatsuguchi Kenichiro Ishiguro michiyo miwa Takahiro Yamamoto Takato Yamamoto

COV e r Takahiro hirabayashi potalaka (detail) 2013 mixed media 53 × 40.9 cm In SI D e Taiichiro Yoshida encroach 2014 Wood, Copper, Silver 6 × 33 × 14 cm BAC K ( L e FT ) Takahiro hirabayashi phantom pain 2014 mixed media 53 × 41 cm BAC K ( r I G h T) Taiichiro Yoshida firebird 2014 Wood, Copper, Brass, Phosphor bronze, Bird’s skull 12 × 23 × 10 cm

This year marks the 400th anniversary of the birth of the rimpa School of Painting.

GALLerY KOGure present two Japanese artists, faithful to the rimpa tradition but sensitive to innovativeness.

The rimpa School of Painting was launched 400 years ago in Kyoto by honami Koetsu and Tawaraya Sotatsu. The school is defined by spectacular and rich decoration and designing. It covers a wide ranging realms of art, centered on painting and extending to calligraphy and handicraft. It has been passed down to this day, affecting the impressionists and global product design.

Takahiro hirabayashi has pursued modern female figures in the traditional Japanese painting style. his works shed spotlight on “the backside“ of fashionable young women.

One of the defining features of his works is sophisticated use of gold and silver foil, serving as a symbol of rimpa. he never attempts to exaggerate the brilliance of foil.

Instead, he bakes it to create the feel of austerity, adds cracks to produce marble patterns, or pastes it to the back of paper so that the drawing on the surface looks as though it illumines elegantly. All these techniques add mysterious and radiant smiles to women in the paintings. Glamorous hair, neat and clean fashion items, and the sense of old-fashioned and hidden gracefulness that drift over the entire work symbolize the sensitivity unique to the Japanese as seen in rimpa. The rimpa style is far from superficial glory, however. Seductive power lying in the refined design never stops capturing the hearts of viewers.

Taiichiro Yoshida exploits the traditional Japanese “metal carving” techniques, combines countless flower petals built to delicate extremities, and creates three-dimensional works of dynamic living things.Tiny flowers that sustain the life of birds and small animals set the cycle of new life being passed down from death to birth. he takes advantage of decent and innate designing skills and admirable handiwork.

What is most noteworthy is his coloring techniques. he heats many kinds of metal, finds out the way the metal changes its colors, and cools it all of a sudden to freeze the color. During the process, he never adds any color. Yoshida is the only artist in the world who can use this technique. Japan has never had such an artist in the past. With his light-touch decorative metal expressions, he might well be called the successor of the modern rimpa School of Japanese Painting.

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B e r lin

Galerie Kornfeld

G a leri e K orn fel d We B S I Te www.galeriekornfeld.com/en

On the special occasion of VOLTA11, Galerie Kornfeld’s booth presents the work of hubertus hamm and Alexander Kroll.

e-m A I L galerie @ galeriekornfeld.com

Trained as a photographer, hubertus hamm has departed from the beaten track of classical photography, and has shifted his practice to sculpture and installation.

On show at our booth will be his molded mirrors, razor-thin, stainless steel sheets, surface treated to be highly reflective and then deformed by a hammer. hanging on the wall thus deceptively suggesting the two-dimensionality of painting and photography, these bodies take up and shape the surrounding space with authority.

PhOn e +49 30 889 225 890 COnTA C T n AmeS Julia Prezewowsky Giovanni De Sanctis

e xh I B I Te D A r T IS T S hubertus hamm Alexander Kroll OTh e r r e Pr eS enTeD Ar T IS T S José m. Ciria Stephane Couturier robert Fry natela Iankoshvili Franziska Klotz Tamara Kvesitadze Alexander Polzin Susanne roewer Leonardo Silaghi hubert Scheibl Sonny Sanjay Vadgama

COV e r Alexander Kroll Math and Shadow (detail) 2014 Flashe, Acrylic and Spray Paint on Canvas 150 × 120 cm, 60 × 48 in In SI D e hubertus hamm Molded Mirror No. 21 (detail) 2014 Stainless Steel 125 × 125 cm, 49 × 49 in BAC K Alexander Kroll Alexej 2014 Oil, Flashe and Acrylic on Linen 210 × 180 cm

The works of hubertus hamm are exhibited worldwide, including at the Pinakothek der moderne in munich or the Juan Art museum in Beijing (2015). Permanent installations by hubertus hamm can be admired in such places as the Allianz Arena in munich, the Acatech, the national Academy of Science and engineering in munich. rolling, dropping, smearing, erasing, layering, collaging and risking, Alexander Kroll constructs his canvasses through a fearless, uninhibited projection of movement and wonder. his art investigates painting’s limits. Kroll’s works are profoundly psychological, a map of the weather for the past 100 years, collapsed geometric blocks and scaffolding, blobs of time drifting by; the artist is attempting to paint the world. As much as the paintings document time and human passage, they also feel psychic or even the opposite — prehistoric and prequel. Contradiction and accommodation make Kroll paintings alluring and quizzical.

Alexander Kroll’s work has been extensively shown throughout the u.S.A. in galleries such as Fredric Snitzer, miami, James harris, Seattle and Jessica Silverman, San Francisco and was recently presented in Berlin at 68Projects.

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C o lo g ne

Galerie Martin KudleK

g a leri e Ma rti n KudleK We B S I Te www.kudlek.com

Galerie martin Kudlek shows international young to mid-career artists focussing on sculpture / objects, painting and drawing.

e-m A I L art @ kudlek.com

For VOLTA11 Galerie martin Kudlek is presenting works by the gallery artists: Jonathan Callan, Alexander Gorlizki, Ioana Iacob, ellen Keusen, niels Sievers and Veres Szabolcs.

PhOn e +49 221 72 96 67 CeL L +49 172 24 300 99 COnTA C T n Ame martin Kudlek

e xh I B I Te d A r T IS T S Jonathan Callan Alexander Gorlizki Ioana Iacob ellen Keusen niels Sievers Veres Szabolcs OTh e r r e Pr eS enT ed Ar T IST S Lucie Beppler Thomas Böing Katrin Bremermann Sylvie de meerleer Angela Glajcar ellen Keusen Sofie muller heiko räpple Frances richardson

COV e r niels Sievers for 2015 Oil, Varnish, egg Tempera on Canvas 170 × 130 cm In SI d e Jonathan Callan Journals 1940-43, The Future of Freedom, The Fountainhead 2014 Paper, Wood 64 × 95 × 1,5 cm BAC K Ioana Iacob Spoons in Spain 2015 Paper 57,5 × 30 × 3,5 cm

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C o p e nha g e n

LARMgALLeRi

LaRM ga LLeRi We B S I Te www.larmgalleri.dk e-m A I L galleri@larmgalleri.dk PhOn e +45 268 092 30 CeL L +45 299 146 57 COnTA C T n AmeS Lars rahbek Victoria Christiansen

In collaboration with curator Oliver Gustav, LArmgalleri presents a wunderkammer installation featuring a variety of paintings and sculptures by selected artists from the gallery.

The man went mad, prompted by the fact that no human being can live with the whole truth. And for this reason, the fragment became my law and my bodies (sculptures) obey this law, they are worn down by violence: fragmented and uncompounded. unlike the modernist artists (ex. Giacometti) I am not harbouring any wish to gather the fragments and assemble them into a whole. On the contrary. I want to underline the fragment as an unavoidable experience, for nothing lends itself to being healed or repaired: the frame of mind is irretrievable.

— Kaare Golles

e xh I B I Te d A r T IS T In collaboration with curator Oliver Gustav, LArmgalleri presents a wunderkammer installation featuring a variety of paintings and sculptures by selected artists from the gallery.

COV e r Kaare Golles AS A WEASEL SUCKS EGGS 2013 – 14 mixed media 40 × 25 × 20 cm In SI d e Kaare Golles AS A WEASEL SUCKS EGGS 2013 – 14 mixed media installation view

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To ky o

MA2GAllery

MA 2GA llery We B S I Te www.ma2gallery.com

mA2Gallery presented three Japanese artists, Aki eimizu, mituso Kim and Ken matsubara.

e-m A I L ma2 @ ma2gallery.com

Young painter Aki eimizu does not weaken inner light but actually strengthens it as much as possible. At the same time, no matter how intricately the surface is manipulated, these paintings never get close to the condition of being nothing but physical matter. The painting plan takes on ambivalent depth, making it into a special entity that seems to emit light. Viewers find themselves gazing at fine dots and curved lines that appear from a place beyond the canvas while bathing in the light they emit.

These hazy, faint images might be described as signs. Because of the nature of the images, the viewed will not read a narrative in them. This is the sort of painting that may lend itself to association with personal memories that have been forgotten.

PhOn e +81 3 344 411 33 CeL L +81 904 220 29 85 COnTA C T n Ame masami matsubara

e xh I B I Te D A r T IS T S Aki eimizu mitsuo Kim Ken matsubara nobuaki Onishi OTh e r r e Pr eS enTeD Ar T IS T S Akihiro higuchi Keisuke Kondo Kyotaro hakamata mats Gustafson mikiya Takimoto naoko Sekine nobuaki Onishi Tamotsu Fujii Tomotaka Ysui Yasuko Iba

COV e r Aki eimizu Clue — Drawing 2014 tracing paper, acrylic color 25.6 × 36.2 cm In SI D e mitsuo Kim row — tile #2 2014 paraffin wax, screen printing, ligh tbulb installation BAC K Ken matsubara Paper in the Wind 2014 movie, Japanese vintage book, projector, mixed media 37 × 26.5 × 6 cm

Kim mitsuo has received a lot of attention as an emerging artist in Asia. his uses silk-screen techniques on a thin layer of paraffin wax on a board, he transfers an ink image to the wax. Then he exposes the surface to heat and melts the wax. The ink portions that melt along with the wax return to an unfigured state and remain as spaces of emptiness.

Kim’s works capture the transitions between solid and liquid, foreshadowing possible destruction, a two-dimensional work. Kim states that he found a human quality in these characteristics of paraffin. If we see the subject and his struggle reflected in the material, we might see it as a expressing a performative identity. however, Kim is not concerned with action that leaves things loose and unformed. he operates the burner skillfully, reconstructing the relationship between the image and material.

Coming from photography, Ken matsubara creates mixed-media works and installations that combine videos and objects. Thematically his works revolve around repetition and memory. matsubara states:“my works attempt to explore the possibility of melting memories that reside deep within one’s consciousness. These works are composed of recollective photographs and videos that consist antique objects embodied with memories. I believe motion images have the ability to call forth and express the fluctuating manner of recollective properties. recollections, I presume, are genetically inherent in our DnA that contains vast knowledge from the past since antiquity. Furthermore these share a collective memory that extends beyond individual self and interpenetrates between the past and the present era. If we can recollect such memories, then I believe there is a potential for our future to ascend past the boundaries of cultural, historical, and social notions of individuality. Thus we are fluctuating between the past and the future in a state of repetition, ceaselessly inquiring its means without an end.”

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Ams te r d A m

Ron Mandos

ro n m A n d o s We B S I Te www.ronmandos.nl e-m A I L info @ ronmandos.nl PhOn e +31 203 207 036 CeL L +31 629 392 722 COnTA C T n AmeS ron mandos Fenna Lampe Frederik Schampers

e xh I B I Te d A r T IS T Krištof Kintera OTh e r r e Pr eS 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 Krištof Kintera My Light is Your Life (model: Shiva Samurai 15kw/ 50Hz) 2013 Old lamps, cabels, electro variable sizes In SI d e Krištof Kintera Nervous Trees 2013 electromechanical sculpture 320 × 185 × 150 cm BAC K Krištof Kintera Praying wood 2014 Silver coated wood 65 × 28 × 30 cm

Krištof Kintera (1973) is probably today’s most challenging and respected artist working in the Czech republic. his works mainly explore the boundaries of contemporary sculpture. Kintera’s practice unfolds from public installations to small kinetic devices. What makes his work special is that he despite this obvious catchiness; he is able to make sharp, often intuitive decisions that produce a far more multilayered experience. This results in poetic images and an ambiguity, notably in his sculptures, in their engagement with main topics of our times.

The artist oeuvre is rooted in the ‘after the wall’ period of the 90’s, a decade of wild capitalisation in Central and eastern europe accompanied by aggressive advertising campaigns in the public space. In this period Kintera produced his now famous Appliances series. These beautiful products, sculptures slickly enclosed in commercial packaging have no other goal than to seduce you. These absurd household appliances clearly illustrate the artist’s ability to create sculptures that are iconic works by engaging with the materiality of objects and with issues of ecology and consumption.

After his residency at the rijksakademie van beeldende kunsten in Amsterdam, The netherlands Kintera’s work has become increasingly communicative and energized, producing pieces that talk, smoke, move, bang and buzz. Simultaneously a shift has taken place in his choice of materials. The materials of his sculptures maintain their physical presence and identity while now being penetrated by other objects.

In Kintera’s world, fragile trees move nervously, affected by the global issues of our time. he avoids this through playful, creative and direct communication with the audience, as well as paradoxical and ambiguous elements in the work.

The works by Krištof Kintera are included in many private and public collections. his work is exhibited worldwide; he had numerous museum shows included solo exhibitions like I am not you at Tinguely museum, Basel, Switzerland (2014) and Your Light is My Life at Kunsthal rotterdam, The netherlands (2015).

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MONTR É AL / O TTAWA

PATRICK MIKHAIL

PATRI CK MI K H A I L We B S I Te www.patrickmikhailgallery.com e-m A I L gallery @ patrickmikhailgallery.com PhOn e +1 514 439 2790 CeL L +1 613 276 3243 COnTA C T n Ame Patrick mikhail

e xh I B I Te D A r T IS T Jennifer Lefort OTh e r r e Pr eS enTeD Ar T IS T S Sara Angelucci Jessica Auer Scott everingham Thomas Kneubühler natasha mazurka Amy Schissel Cindy Stelmackowich Andrew Wright michael Vickers

COV e r Jennifer Lefort DIRE OUI (SAY YES) 2015 InSTALLATIOn VIeW | PATrICK mIKhAIL mOnTrÉAL In SI D e Jennifer Lefort DIRE OUI (SAY YES) 2015 InSTALLATIOn VIeW | PATrICK mIKhAIL mOnTrÉAL

Québec artist Jennifer Lefort works in painting, drawing, and sculpture. In her work, she navigates the ambiguous terrains of abstraction and blurs the lines between formalism and expressionism, color field and pattern, structure and disorder, and accidents and intuition. With a particular interest in how color and gesture can substitute as a form of language in abstract work, Lefort aims to create unexpected yet poetic relationships between those elements in her paintings and sculptures.

Lefort’s personal experience and daily intake of urban culture have been a starting point for her work. her paintings and sculptures become a combination of reality and fantasy information. She is fascinated with how the human condition reacts and finds its place within urban culture; more specifically, how it finds room to escape, to belong, to contemplate, and to move. urban centers have the capacity to change on multiple levels all at once: architecturally, demographically, financially, and emotively. There is something about this type of change that is intangible yet palpable, inexistent yet real, forward moving yet terribly uncertain. This appears to Lefort to be deeply at the core of most experiences: fundamentally ephemeral, visceral, and fleeting in nature.

Jennifer Lefort completed an honours BFA at Concordia university in montréal in 2002. She received her mFA from York university in Toronto in 2006, and was awarded the Graduate Development Fund and the Ontario Graduate Scholarship Award in 2005. She is the recipient of the prestigious Joseph Plaskett Foundation Award, which she used to further her research in Berlin, Germany. She was also a finalist in the 2007 rBC Canadian Painting Competition. her work can be found in a variety of international collections, and she has been presented at numerous international art fairs including VOLTA new York, VOLTA11 Basel, Art Toronto, Toronto’s Feature Contemporary Art Fair, and montréal’s Papier.

PATrICK mIKhAIL is committed to launching new and relevant bodies of work through its program of exhibitions, curatorial and academic collaborations, off-site projects, and international art fairs and festivals. Through its vital relationships with museums, institutions, corporate collections, arts professionals, and consultants, the gallery has placed works in the national Gallery of Canada, Canadian museum of Contemporary Photography, 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, national Portrait Gallery, and numerous international corporate collections. The Gallery has previously exhibited at VOLTA nY 2013, 2014, and 2015, and VOLTA10 BASeL. Its artists have received or been nominated for numerous awards including the Swiss Arts Award, Sobey Art Award, rBC Canadian Painting Competition, Karsh Award, Canadian Centre for Architecture Prize, and mois de la photo Award. essays, reviews, and critical discourses have appeared in Artforum, Canadian Art, Border Crossings, Camera Austria, C magazine, Afterimage, and next Level.

PATrICK mIKhAIL is a member of the Art Dealers Association of Canada (ADAC) and l’Association des galeries d’art contemporain (AGAC).

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Ne w Y o r k

Yossi Milo GallerY

Yossi M i lo Ga ll erY We B S I Te www.yossimilo.com e-m A I L info @ yossimilo.com PhOn e +1 212 414 0370 COnTA C T n AmeS Yossi milo Alissa Schoenfeld

e xh I B I Te D A r T IS T S matthew Brandt marco Breuer Alison rossiter OTh e r r e Pr eS enTeD Ar T IS T S mike Brodie John Chiara Pieter hugo Simen Johan Sze Tsung Leong Loretta Lux Chris mcCaw Lorenzo Vitturi nevet Yitzhak Kohei Yoshiyuki

COV e r matthew Brandt From the series Lakes and Reservoirs Grays Lake, ID BW A1 2013 Gelatin Silver print soaked in Grays Lake water 42 1/4 × 60 inches (107.3 × 152.4 cm) In SI D e marco Breuer Untitled (C-1573) 2014 Chromogenic Paper, embossed/ folded/burned/scraped 28 1/16 × 21 1/16 inches (71.3 × 53.5 cm) BAC K ( L e FT ) Alison rossiter Nepera Chemical Company Carbon Velox, shipped from works November 8, 1897, processed 2014 2014 Two Gelatin Silver Prints 8 × 5 inches (20.3 × 12.7 cm) each element BAC K ( r I G h T) marco Breuer Untitled (C-1504) 2014 Chromogenic Paper, embossed/ folded/burned/scraped

Yossi milo Gallery is pleased to present the works of marco Breuer, matthew Brandt and Alison rossiter — three artists who push the limits of the photographic medium by experimenting with photo paper in unconventional ways. marco Breuer (German, b. 1966) consistently challenges the conventions of photography by eschewing the use of camera, film and negative in favor of directly interacting with material and process. Breuer coaxes a vivid range of colors and textures from photographic paper with hand manipulation. The results are abstract, one-of-a-kind photographs that record their evolution through an accumulation of physical marks. These images are the outcome of heavy reworking and layering of several subtractive processes, including burning, folding, scratching, sanding and scraping the surface of the material. matthew Brandt (American, b. 1982) creates his work using physical elements from the depicted subject. Inspired by landscape photography of the American West and alternative photograph processes, he blurs the line between the photograph and the photographed. Throughout his many series, Brandt explores vastly different photographic technologies and finds common ground between the medium and the subject. For his series Lakes and Reservoirs, he photographs lakes and reservoirs, and then submerges each resulting print in water collected from the subject of the photograph. Prints are soaked for days, weeks, or even months, impacting the layers of color that comprise the image.

Alison rossiter (American, b. 1953) activates unused, long-ago-expired gelatin silver paper by pouring or pooling photographic developer directly onto the surface or by dipping the sheets into the liquid. The embedded histories of these papers are then reawakened, revealing the unique characteristics of each sheet. rossiter’s recent works are her most ambitious to date. These minimal images are made by dipping 24” x 20” photo paper from the 1950s into developer at varying angles. The artist brings out the paper’s unique blacks and mid-tones, leaving the white areas untouched. Four sheets are then carefully assembled to create a strong, balanced composition with extraordinary sculptural qualities.

All three artists are currently included in the exhibitions Light, Paper, Process: Reinventing Photography at the J. Paul Getty museum, Los Angeles; and The Memory of Time: Contemporary Photographs at the National Gallery of Art, Washington, DC.

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Lju b Lj a na

P 74 Gallery

P 74 G a LLery We B S I Te www.zavod-parasite.si e-m A I L p74info @ zavod-parasite.si PhOn e +386 40 370 199 CeL L +386 40 370 199 COnTA C T n Ame uroš Legen

e xh I B I Te D A r T IS T S Tadej Pogačar Tomaž Furlan OTh e r r e Pr eS enTeD Ar T IS T S Balint Szombathy Dalibor martinis jože Barši mladen Stilinović Polonca Lovšin Sanja Iveković SBD uroš Potočnik

COV e r Tadej Pogačar Travelling Globes 1990 photo 30 × 30 cm In SI D e Tomaž Furlan WEAR XV. 2013 sculpture/object 180 × 80 × 110 cm

T O m Až F u rL A n, TA D e j P O g A č A r Tomaž Furlan deals specifically with the uncompromising disclosure of the pathological conditions of modern and contemporary society and its behaviour. Consequently, all of these bizarre objects and machines of his are also nonsensical and self-serving. he creates these machines in the outpouring of experiences and findings from observing our society, and uses them to caricature society itself.

In their function and composition, Furlan’s machines are driven to the extreme possible, absurd limits. And with this, the artist focuses on the elements that define this key set of nonsense: a monotonous and infinitely-many repetition of one and the same order of different tasks and movements, where it is impossible to perceive any final logical goal.

Tomaž Furlan has participated in numerous exhibitions in Slovenia and internationaly, among others: at 3,14 gallery, Bergen, norway (2008); Parkingallery in collaroboration with Azad gallery, Tehran, Iran (2009); Washington uSA (2010); manifesta 9, genk, Belgium (2012); u3 — 7th Triennial for Slovenian Contemporary Art, mSum, Ljubljana, Slovenia (2013), mSum (2014), rochechouart museum of Contemporary Art, rochechouart, France (2015). Tomaž Furlan is recipient of the »OhO Award 2012«, dedicated to young, progressive visual artist.

Tadej Pogačar has examined indeterminacy and transformation within social systems since 1993 when he established the P.A.r.A.S.I.T.e. museum of Contemporary Art, a virtual parallel institution.

Pogačar’s black globes (in his project “Travelling globes”) without the outlines of any territories or continents are unmarked, open signs that relate to outside worlds.

The two globes anticipate P.A.r.A.S.I.T.e. museum’s flexible nesting in existing organisms. The locations where the two globes travel to are only weakly pre-coded in cultural terms; they are wild places (e.g., backyards and natural landscapes).

“Twenty Palm Trees of Santa Cruz de Tenerife” discusses the economy of colonialism. Tenerife served the europeans as a jumping off point and laboratory for the conquering of new continents. They represented an intermediary stop in the continuing colonisation of and penetrations into the southern continents. The majority of the palms were imported, although some indigenous varieties also exist. The lush vegetation we admire today has been “artificially” raised and is a side effect of the brutal european colonial history. most recently, his work was exhibited at the garage mOCA moscow, moderna Art gallery Ljubljana, mSu Zagreb, espaiVisor Valencia, gagosian gallery, new York, galeria Luisa Strina, Sao paulo, gallery for Contemporary Art in Leipzig, the ZKm — Centre for Art and media in Karlsruhe. his work has been included in major exhibits and biennials such as those in Venice, São Paulo, Istanbul, Prague, Tirana, and at manifesta 1.

Tadej Pogačar is the recipient of many awards, grants, and residencies, including györgy Kepes Fellowship grant for Advanced Studies and Transdisciplinary research in Art, Culture and Technology (mIT, Boston, 2012–2013), the jakopič Prize, Slovenia’s main national award for visual art (2009), the Shrinking Cities grant (Leipzig, 2004), the Franklin Furnace grant for Performance Art (new York, 2001), the AIr_port residential program Forum Stadtpark in graz (2003), and an Austrian Cultural Forum residency in London (2003).

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New Y o r k C itY

Pablo’s birthday

Pa blo’s b i rth d aY We B S I Te www.pablosbirthday.com e-m A I L info @ pablosbirthday.com PhOn e +1 212 462 2411 CeL L +1 917 519 4100 COnTA C T n Ame Arne Zimmermann

e xh I B I Te d A r T IS T S Tim Berresheim Thorsten Brinkmann eckart hahn OTh e r r e Pr eS enT ed Ar T IST S henrik eiben Christian eisenberger Frank Gerritz Karsten Konrad marc Lueders Angelika Schori Pius Fox

COV e r eckart hahn Portrait of a Bird 2015 Acrylic on Canvas 170 × 120 cm In SI d e ( L e FT ) Tim Berresheim Author of Victim of Change 2015 ultrachrome on Paper 170 × 130 cm In SI d e ( r I G h T) Thorsten Brinkmann Hakon del Plume 2012 C-Print 170 × 130 cm

Pablo’s Birthday will present 3 artists at VOLTA11. each artist has created portraits specifically for this booth. While all of these artworks might share a similar theme, their conceptual approaches and techniques are completely different.

Tim Berresheim (1975, heinsberg, Germany) is a digital artist who creates his works with the computer. he does not use the computer as a painting tool, but instead communicates to the computer about what to create.

In his self-portraits, Thorsten Brinkmann (1971, herne, Germany) takes on different personalities by disguising and staging himself with an array of found objects. eckart hahn’s (1971, Freiburg, Germany) paintings can be seen as a stage upon which the artist let’s a surreal story unfold by combining found images during his painting process.

All works are portraits of a similar size. By taking away the “formal” differences the art fair visitor is invited to look behind the first impression and to understand the individual concepts of each artist. It is a invitation into a dialogue between three different artists and the observer.

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Ma d r id

PONCE + ROBLES

PON CE+ r OBLES We B S I Te www.poncerobles.com e-m A I L info @ poncerobles.com PhOn e + 34 914 203 889 CeL L +34 619 757 100 COnTA C T n AmeS José robles raquel Ponce

e xh I B I Te D A r T IS T S manuel Caeiro Irene Grau raúl Díaz reyes Leslie Smith III Françoise Vanneraud OTh e r r e Pr eS enTeD Ar T IS T S Aggtelek ricardo Calero Álex Bodea José hidalgo-Anastacio maíllo Ignacio navas esther Pizarro Avelino Sala

COV e r manuel Caeiro Series Briefing Room 2014 Patinated iron 82 × 82 × 150 cm

In SI D e Françoise Vanneraud Travesía 2014 Tiles, markers Site Specific (variable measures) BAC k ( L e FT ) Irene Grau Series Colorfield 2014 ulthracrome on baritated paper 35 × 60 cm BAC k ( r I G h T) Leslie Smith III Toeing the Water Line 2014 Oil on Canvas 122 × 122 cm

We present in this edition of VOLTA five artists whose work investigates the subject of landscape in contemporary art practices. The appropriation of the nature by humans, the use of it in the work developed by the artists playing with colors and shapes has been constant throughout the history of art.

For several years, Françoise Vanneraud’s (nantes, France 1984. Lives and works between nantes and madrid) work has revolved around the subjective perception of time and space through a questioning of the notions of exile, wandering, memory and lived time. Vanneraud forces us to walk on her work Travesía (Crossing) installed on the floor of the booth, and talks about the forces that landscape suffers; internal forces from inside the earth and the external produced by men. meanwhile, manuel Caeiro (Évora, Portugal, 1975. Lives and works in Lisbon) extends our horizon through his canvases with complex perspectives. Like many other contemporary painters, Caeiro questions painting starting from the repetition of forms. each line insists on the achievement of an idea, and its multiplication, or its sequence, generates the definitive rhythm. he works the modular detail, which unleashes each new image, and he always does it starting from memory or recall of what is constructed, seeking a new order. Irene Grau (Valencia, Spain 1986. Lives and works in Valencia) gives us the result of her travels looking for colors that she needs for her pictorial compositions with photographic technique within the nature and the landscape.

She develops her work from relationships between color and space. Leslie Smith III (maryland, uSA, 1985, works in Wisconsin and n.Y.) explores the confines of space, relinquishing conventional concepts of flatness and depth. In response to his broader thematic ideas, Smith’s irregularly shaped canvases duplicate and tessellate from one painting to the next. They infer narrative by representing the nuances found in everyday human experiences — they push, pull and contort space for the purpose of challenging the way pictorial space is experienced. raúl Díaz reyes’ (madrid, 1977, works between Sao Paulo and madrid) recent work explores contemporary urban planning, questioning how humans relate to their cities. They reflect upon the processes renovation and alteration occurring there. These works are constructed with different materials — aluminum, for example — as well as photographs and elements used in architectural models. Through materiality, he probes the limits of artistic language and its aesthetic value, exploring tri-dimensionality as a means of grasping fragmented realities.

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G e ne va

Studio Sandra recio

Stu d i o Sa n d ra rec io We B S i T e www.sandrarecio.com e-m A i L info @ sandrarecio.com PhOn e +41 22 548 02 42 CeL L +41 78 784 57 16 COnTA C T n Ame Sandra recio

e xh i B i T e D A r TiST S Benoît Billotte marlon de Azambuja OTh e r r e Pr eS enTeD Ar Ti S T S Johanna Abraham Yaima Carrazana Loris Cecchini Flavio Favelli Stéphane Kropf Florent meng Olga Titus Alexander Wolff

COV e r Benoît Billotte Château de sable 2012 / 2015 Sand drawing on wall Various dimensions inSi D e marlon de Azambuja Metaesquemas Genève 2013 Black ink on inject print 21 × 30 cm (each) BAC K ( L e FT ) Benoît Billotte Architectone 2011 Balsa Wood 11 × 7.5 cm (each)

BAC K ( r i G h T) marlon de Azambuja Libre Asociación 2012 Black marker on tracing paper 50 × 35 cm

Based in Geneva, the young gallery Studio Sandra recio has a dynamic and creative program, which includes exhibitions, commissions, panels and publishing. m A rL O n D e A ZA m B uJ A ( * 1 9 7 8 , ST. An T O n i O DA PAT r uL h A, B r AZ i L ) When concrete becomes city’s skin, wounds and scares appear… marlon de Azambuja’s project metaesquemas is inspired by long walks in different cities, such as madrid, Sao Paulo, Praha and his last destination Geneva, where he took photographs of peculiar metallic elements on the ground (lids, drains, crosswalks…). A system of black lines is drawn on the images, allowing a connexion between various elements, thereby creating new abstract images and structures. interpreted as a “scheme of scheme” and inspired by a group of works by helio Oiticica, marlon de Azambuja provokes a tension between geometrical elements by a misalignment of the painting’s surface. Azambuja questions permissible levels of representation in a bid to subvert artistic media, which is why he works from paper drawings to interventions in public space.

Graduated from the Centro de Arte Contemporânea edílson Viriato in Curitiba (Brazil), marlon de Azambuja holds an extensive list of both solo and group exhibitions in South America and europe, such as the 11th havana Biennal, the 8th Biennal of mercosul (Porto Alegre), the Centro Atlántico de Arte moderno (Las Palmas) and the Caixa Fundación in Galicia, Spain.

Be nO ÎT Bi L L O TTe ( * 1983, m e T Z , F r A n Ce ) Benoît Billotte’s artistic work mostly deals with the sweet propaganda forms of our contemporary world. he collects information and documentary resources, scientific or technical data, which he visually transcribes without being literal. For VOLTA11, Benoît Billotte shows a new project named by Jules Verne’s famous book The Black indies: a series of drawings based on an extensive iconographic and cartographic research on original maps from different mines. By playing with scale and deleting all keys and indexes from these black complex networks, Benoît Billote creates new obscure and secret worlds, mysterious labyrinths where the viewer can get lost.

Graduated from the ecole Supérieure d’Art in metz and the heAD in Geneva, Benoît Billotte has shown his work in multiply solo and group exhibitions in private and public institutions among the most important are the Centre Pompidou-metz, le muDAC Lausanne, le FrAC Basse-normandie, Swiss Art Award Basel et le FrAC Lorraine-metz.

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Ne w Y o r k

Galerie richard

G a leri e ri ch a rd We B S I Te www.galerierichard.com e-m A I L info @ galerierichard.com PhOn e +33 143 252 722 CeL L +33 650 244 234 COnTA C T n AmeS Jean-Luc richard Takako richard

e xh I B I Te D A r T IS T S Dionisio González Lauren marsolier OTh e r r e Pr eS enTeD Ar T IS T S Christophe Avella-Bagur Linda Besemer Sven-Ole Frahm norio Imai Shirley Kaneda Takesada matsutani Kiyoshi nakagami Olaf rauh David ryan Yang Yi

COV e r Dionisio González Trans-Acciones 2 (detail) 2014 Digital print on cotton paper on dibond 110 × 220 cm (43 5/16 × 78 ¾ inches) In SI D e Lauren marsolier View From Shelter 2011 Archival pigment print 60.9 × 91.4 cm BAC K ( L e FT ) Dionisio González Inter-Acciones 8 2013 Digital print on cotton paper on dibond 63 × 63 cm (24 13/16 × 24 13/16 inches) BAC K ( r I G h T) Lauren marsolier Landscape With White Chair 2011 Archival pigment print 76.2 × 76.2 cm (30 × 30 inches)

Dionisio González and Lauren marsolier expand the boundaries of photography with their deep conceptual understanding of digital virtuality. Digital virtuality expresses the potentiality for the mind to refer to an aspect of reality that is ideal, but nonetheless real. Our present way of life deals with constant states of transition between the real and the virtual.

González’s new series Inter-Acciones and Trans-Acciones relate to the relationship between nature, time and architecture and emphasize the importance of utopia in the creative process. he pays homage to American architects in the 50’s who envisioned new architectures through utopian perspectives. each work represents one single old futuristic building in a landscape in either Spain or Alabama. The Inter-Acciones works are much smaller than usual and in black and white, paving the way to a new sense of intimacy with the viewer. González continues to create virtual architectures between fantasy and reality, where they succeed in being considered plausible.

Dionisio González’s (Gijón, 1965) works are part of the Centre national d’Art et de Culture Georges-Pompidou in Paris, the InG Art Collection in Amsterdam, The margulies Collection in miami. The Inter-Acciones Series has been exhibited at Casino de la exposición in Sevilla and in Sala Canal de Isabel II in madrid in 2013 in Centro de Cultura Antiguo Instituto in Gijón in 2014.

Photographs by Lauren marsolier are deliberately deceptive and require from the viewer a prolonged period of time to enjoy them. She digitally manipulates her photographs to create a void of sun-drenched landscapes absent of any living beings, movement, or sound. The title Transition refers to the experience of moving from large metropolis to deserted areas, living a solitary transitional period during which we feel like a stranger in our new surroundings as much as the surroundings feel strange to us. The passage from an alienated real to an accepted one relates to the peculiar condition of 21st century human spending as much time facing digital screens as facing real surroundings.

French-born Lauren marsolier lives in Los Angeles. In 2014 her photos joined the collections of the Los Angeles County museum of Art in L.A., the Phoenix Art museum in Phoenix, the Center for Creative Photography in Tucson, and The William m. hunt Collection in new York.

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C o p e nha g e n

DaviD Risley GalleRy

D av i D Ri sley g a l leRy We B S I Te www.davidrisleygallery.com e-m A I L louise @ davidrisleygallery.com CeL L +45 2616 3671 +45 3131 7164 COnTA C T n AmeS David risley Louise Birch Sørensen

e xh I B I Te D A r T IS T S Frank Ammerlaan Anna Bjerger Jake & Dinos Chapman Alex Da Corte robert mcnally Charlie roberts Keith Tyson OTh e r r e p r e SenTeD Ar T IS T S James Aldridge Dexter Dalwood Graham Dolphin helen Frik James hyde Thomas hylander henry Krokatsis michael Simpson Charlie Woolley

COV e r Keith Tyson Unnatural portrait (detail) 2015 mixed media on aluminium 73 × 68 cm In SI D e robert mcnally Test Plane 2014 pencil on ultra-black light absorbing foil 14 × 20 cm BAC K Anna Bjerger Sketch 2015 Oil on aluminium 30 × 40 cm

David risley Gallery was founded in London in 2003 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: Frank Ammerlaan, The extended arms of the transom. until June 27th. upcoming: Solo show with ryan Gander as Spencer Anthony, August 2014.

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B r o o kly n

robert henry contemporary

ro Bert h en ry contemporary We B S I Te www.roberthenrycontemporary.com e-m A I L info @ roberthenrycontemporary.com PhOn e +1 718 473 0819 COnTA C T n AmeS henry Chung co-Director robert Walden co-Director

e xh I B I Te D A r T IS T Liz Jaff OTh e r r e Pr eS enTeD Ar T IS T S mike Childs James Cullinane elise engler richard Garrison robert Lansden Sharon Lawless Derek Lerner Jerry Walden Pancho Westendarp Duane Zaloudek

COV e r Liz Jaff Tick 2014 hand-cut paper on board 39 × 26 ½ × 1 inches (99 × 67 × 2.5 cm) In SI D e Liz Jaff Plugs and Fuses 2011-2015 hand-cut paper Dimensions variable BAC k Liz Jaff The Good Boy 2014 hand-cut paper 77 × 43 × 3 ½ inches (1.95 m × 1.1 m × 8.9 cm)

Liz Jaff explores the structural attributes and aesthetic qualities intrinsic to paper that she cuts and folds into highly formal compositions in both objects and largescale installations that reflect her personal impression of space and memory.

Jaff began folding paper over 16 years ago. Through abstraction and repetition of architectural and natural forms, she makes environments and objects that convey the specific feeling and character of a place or event from her everyday life. The ephemeral, transitory nature of paper gives Jaff the perfect medium to characterize the fleeting feelings of her memory of time and space.

Circles serve as an interesting metaphor for memory and are a recurring motif in her work. The events of her everyday life take Jaff from home to work to studio, etc and always complete a circle by returning home. These commomplace activities are recorded as abstractions of cut and folded paper often with whimsical titles, like Tumble, Fidgit or Giggle. Circles also allow her a formal tool to investigate the change of light and dark as two-dimensions are turned into three. When repeated these shapes constitute her reaction to the geometries of Sol Lewitt and Carl Andre and as an homage to Agnes martin.

Liz Jaff in a native of new York City and received her BFA from The rhode Island School of Design in 1989. She lives in manhattan and maintains her studio in Bushwick, Brooklyn.

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Ne w Y o r k

Tyler rollins Fine ArT

TYler r o lli N s FiNe ArT We B S i T e www.trfineart.com e-m A i L info @ trfineart.com PhOn e +1 212 229 9100 COnTA C T n Ame Tyler rollins

e xh i B i T e D A r TiST S Tiffany Chung heri Dono Sopheap Pich OTh e r r e Pr eS enTeD Ar Ti S T S Arahmaiani fx harsono Tracey moffatt manuel Ocampo Araya rasdjarmrearnsook Pinaree Sanpitak Jakkai Siributr Agus Suwage ronald Ventura yee i-Lann

COV e r Tiffany Chung the Gulf in a map of the Persian Empire by Mons. D’Anville (detail) 2014 ink & oil on vellum paper Size: 110 × 70 cm inSi D e ( L e f T) Sopheap Pich Brush Fires 2014 bamboo, rattan, wire, burlap, plastic, charcoal, beeswax, damar resin 160 × 120 × 10 cm inSi D e ( r i g h T) Sopheap Pich Red Echoes 2015 bamboo, rattan, wire, burlap, damar resin, beeswax, natural pigment, oil paint 160 × 121 × 10 cm BAC k heri Dono Shooting Nose (detail) 2014 acrylic on canvas 83 × 138 cm

T i f fA n y C h u n g (born 1969 in Danang, Vietnam; lives and works in Saigon, Vietnam) is one of Vietnam’s most prominent and internationally active contemporary artists. her cartographic and installation works examine urban development in relation to history and cultural memories, exploring the recovery and growth of specific cities that were war-torn or heavily damaged by natural disasters. She is currently featured in the Venice Biennale in the exhibition All the World’s Futures, curated by Okwui enwezor. he ri D O n O (born in 1960 in Jakarta, indonesia; lives and works in yogyakarta, indonesia) is perhaps indonesia’s most iconic contemporary artist; since his first showings in the early 1980s, he has exhibited extensively around the world, participating in numerous international biennials. he is currently representing indonesia in the Venice Biennale, presenting a large-scale sculptural installation for the indonesia Pavilion. The distinctive style of his paintings and sculptures take inspiration from Javanese puppet theatre, combined with the contemporary world of machines, robots, and television.

SOPheAP PiCh (born in 1971 in Battambang, Cambodia; lives and works in Phnom Penh, Cambodia) works with local Cambodian materials — primarily bamboo and rattan — to make sculptures inspired by bodily organs, vegetal forms, and abstract geometric structures. The works stand out for their subtlety and power, combining refinement of form with a visceral, emotive force. his works are collected by many major museums around the work and have been featured in a solo exhibition at new york’s metropolitan museum of Art (2013) and in Documenta (2012). his fourth solo exhibition with our gallery will open on October 29, 2015.

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Lo s A ng e Le s

ROYALE PROJECTS CONTEMPORARY ART

Ro YALe PRoJe CT s C onTeMPo RARY ART We B S I Te www.royaleprojects.com e-m A I L info @ royaleprojects.com PhOn e +1 760 742 5182 CeL L +1 213 446 5746 COnTA C T n AmeS rick royale (owner) Paige moss (owner) Lesley Oliver (assistant director)

e xh I B I Te D A r T IS T Phillip K. Smith III OTh e r r e Pr eS enTeD Ar T IS T S Kenneth Capps Alejandro Diaz Karen Lofgren Kristin mcIver David Allan Peters Liat Yossifor

COV e r Phillip K. Smith III Lucid Stead 2013 LeD lights, wood, mirror, custom electronic components (site-specific installation in Joshua Tree, CA) In SI D e Phillip K. Smith III Lozenge 6, (horizontal) 2014 acrylic, plywood, custom electronic components 72 × 12 × 8.5 inches BAC K Phillip K. Smith III Arced Line, Single Push / Pull 2014 painted fiberglass 23.80 × 117 × 16.77 inches

PhILLIP K SmITh III, born in Los Angeles CA (1972), received his Bachelor of Fine Arts and Bachelor of Architecture at the rhode Island School of Design. Drawing inspiration from the cold rigidity of the Bauhaus movement, the reductive geometries of minimalism, and the optic sensation of California’s Light & Space movement, Smith attempts to resolve the complex challenge of finding a natural state of life and spirit within these ideological, aesthetic constrictions.

Best known for ephemeral mOnumenTAL PrOJeCTS, including “Aperture”, an undulating wall of shifting color at the Palm Springs Art museum and “Lucid Stead” a radiant, mirrored shack in Joshua Tree, California. “Lucid Stead” became an international phenomenon, receiving tremendous attention both online and in print.

Following “Lucid Stead”, Smith’s colossal light installation, “reflection Field”, was commissioned for the Coachella music & Arts Festival in 2014. That December, “Bent Parallel” debuted in miami Beach, Florida. The sculpture induced perceptual planes of merging light and reflection and the media was quick to place Smith alongside the works of artist James Turrell.

Smith’s LIGhTWOrKS are conceived as circular “Torus” and oblong “Lozenge” forms. Specific color combinations penetrate ringed depths of acrylic, illuminating the objects and the ambient space around them. Over time the experience realigns one’s sensory priorities.

The LIGhT & ShADOW works are deceptively simple sculptures that strip away Smith’s hallmark technology and color, capturing the sublime purity of light and darkness, relying on the presence and absence of ambient light to render the forms.

Phillip K Smith III has recently been contracted to create a permanent, light-based installation for the City of West hollywood and completed the Artist residency Program at Dartmouth College in hanover CT, whose lineage includes some of the most innovative artists of the last century, including rauschenberg, Stella and Judd.

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Va le nc ia

Rosa santos

Ro sa sa n tos We B S I Te www.rosasantos.net e-m A I L info @ rosasantos.net PhOn e +34 963 926 417 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 Ame rosa Santos

magnificent Architectures.

e xh I B I Te D A r T IS T S Andrea Canepa maha maamoun

Between the fantasy architectures of the sci-fi future — Andrea Canepa’s series — and the monumental pyramids in Cairo — maha maamoun’s work, we present a booth to reflect on the representation of the city and the common desires in historical narratives and the past and present construction.

OTh e r r e Pr eS enTeD Ar T IS T S xavier Arenós Greta Alfaro mira Bernabeu Juanli Carrión mavi escamilla Alex Francés xisco mensua Joan Sebastian rafael Tormo i Cuenca enrique Zabala

COV e r maha maamoun Domestic Tourism II 2008 / 9 Video, Color, Sound 60 mins In SI D e Andrea Canepa Architectures of the future past 2015 Photography 82 pieces, variable dimensions

AnDreA CAnePA Lima, Peru, 1980.

Architectures of the future past aims to show the ways in which we have imagined the constructions of the future.

By means of the presentation of a file of architectural images (82 photos) extracted from science fiction movies from different eras, each image shows a frame of films set in the future, there is a conquest of the city and below is the year in which film is set.

The images are mounted side-by-side as a timeline while respecting the year in which the film was set regardless of the year in which the film was made.

From the order of reading of this file one can dislodge conclusions that allow us to understand the evolution of the idea of the “city of the future” and bring us clues to understand our past and present better. mAhA mAAmOun Cairo, egypt, 1972.

Languages of representation are a central interest in the works of maha maamoun.

Working with a wide range of sources, from sampling egyptian cinema and Youtube videos to drawing on sacred texts and pulp fiction, maamoun takes these multiple points of entry to reflect on the bonds and fissures in individual and national narratives.

Domestic Tourism II, presents a montage of screen-appearances of the pyramids of Giza in scenes from egyptian films from the 1950s till around 2006, and highlights the changing screen-roles these historical icons have played in contemporary egyptian history. maha maamoun’s work offers scenarios in which we look at the languages and objects of past and recent history, opening up the possibility for a renewed reading of individual and collective narratives of place and time.

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B R O O KLY N

SLAG GALLERY

SLA G GA LLERY We B S I Te www.slaggallery.com e-m A I L irina @ slaggallery.com PhOn e +1 212 967 9818 CeL L +1 917 977 1848 COnTA C T n Ame Irina Prototpopescu

e xh I B I Te d A r T IS T S Tirtzah Bassel Ben Godward Tim Kent OTh e r r e Pr eS enT ed Ar T IST S Avital Burg hannah Cole dumitru Gorzo hector dio mendoza Serkan Ozkaya naomi Safran-hon dan Voinea

COV e r Tirtzah Bassel BLACK DRESS II (detail) 2015 Oil on Canvas 22 × 28 inches In SI d e Tim Kent Glide (detail) 2015 Oil on Linen 108 × 72 inches BAC K ( L e FT ) Ben Godward Effect and Affect (detail) 2014 mixed media variable dimensions BAC K ( r I G h T) Ben Godward Party Beuys (detail) 2014 mixed media variable dimensions

Tirtzah Bassel brings her expressive, confident brushstrokes to the interrogation of the mundane spaces we at once are forced to endure and take for granted. her portraits of the seemingly interminable utilize bold color juxtapositions to realize the paradox of our modern day forced intimacies, and how we manage reconcile the strangeness of close physical proximity with studied mental distance. The incongruity and aloneness of scrolling through feeds of personal photos in public space is captured in Bassel’s confluence of deeply observed surroundings and the material exploration of the paint itself. her work, so texturally rich, is given life dually by the expressive brushstrokes and the harmony of reds, blues and yellows she employs in her exploration of overlooked moments and spaces.

Ben Godward tackles the vibrant toxicity of American consumerism with his neon, varicolored installations. Through the use of plastic, rubber, found objects and urethane foam, his large, bright sculptures reference the material exacerbations of our current commodity-driven culture. employing a marxist critique of material excess, imperial gluttony, and the division between labor, consumer and product, Godward devotes a chaotic exuberance to the destruction of the plastic environment of hyper-processed articles. Frolicking through anxieties of destruction and impersonal creations of consumer goods, pure carnival joy harmonizes unselfconsciously with commodity culture.

Tim Kent captures an increasingly fractured reality in his hazy, multi-dimensional cavernous interiors and endless industrial landscapes. his paintings seize upon atmospheres of detachment and isolation in their skillfully drafted, energetic abstractions, using the visual language of buildings — elevation lines, orthographic projections, and elements such as stairs, doors, and windows — to inject order into disordered spaces. Challenging hierarchies of perspectives, Kent’s works encourage viewers to reconsider the dialectical relationship between artist and viewer, between imaginary and tangible places, and between abstraction and formalism. In short, Kent’s work deals in paradox. he offers the viewer frozen constructions that are at the same time full of dynamic power. One is drawn into the work by recognizable objects, only to look further and discover that they are caught in impossible spaces.

Perspective is imposed by the artist only to be undermined over and over again by the unique perceptions of each viewer.

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Mia Mi

Mindy SoloMon Gallery

Mi n d y So loM on Gallery We B S I Te www.mindysolomon.com e-m A I L mindy @ mindysolomon.com PhOn e + 1 786 953 6917 CeL L + 1 727 409 9113 COnTA C T n Ame mindy Solomon

e xh I B I Te d A r T IS T Pierre mabille OTh e r r e Pr eS enT ed Ar T IST S Generic Art Solutions roberto Gomez James Kennedy Osamu Kobayashi dominique Labauvie Julian Lorber Kate macdowell Gary Petersen Brian rochefort Scot Sothern

COV e r Pierre mabille Untitled (series “São Paulo”) (detail) 2009 Acrylic on canvas 114 × 195 cm In SI d e Pierre mabille Untitled (detail) 2014 Acrylic on canvas 162 × 195 cm BAC K Pierre mabille Suite Bonnard 2012 Acrylic on canvas 25 paintings, variable dimensions

A BO u T The A r TIS T an anchovy, a chrysalis, an eyelid, a galaxy, a kayak, a lens, a love bite, a mandorla, a pebble, a rugby ball, a setting sun, a vulva, a wound, a zeppelin Pierre mabille, assisted by friends and acquaintances who continue to add to the list (and to send him photographs when they encounter the shape in their daily lives), has compiled more than 500 analogues for the curious shape which has recurred in his work since 1997. neither oval nor diamond, there does not seem to exist a word for it in French or english. Only in German — that most flexible language — can it be named by the term Spitzoval, or pointed oval. It’s impossible to tell, with mabille’s works, what is figure and what is ground. The overlapping planes of scalloped color present the viewer with contradictory sensations of both thickness and transparency. The painting vibrates back and forth on the canvas, but miraculously, also across time and back and forth from the viewer to the work. The repeated shape not only represents things seen by the artist, but also things yet to be seen. When the viewer next comes across this motif in real life, they see the painting in their mind’s eye. Pointing to the past and the future, mabille’s work contains multitudes within its deep simplicity. It represents a seriality of endless variation — within each pointed lozenge shape exists the variety of the world, and the rainbow spectrum of sublime and mundane.

A BO u T The G A L L e rY mindy Solomon Gallery specializes in contemporary emerging and mid-career artists. represented works include painting, sculpture, photography and video in both narrative and non-objective styles. The gallery was named one of the top 500 Galleries Worldwide in Blouin media modern Painters 2013 and 2014 Annual Guides.

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C o p e nha g e n

SPECTA

SpeCTa WeB sI T e www.specta.dk e-m A I L specta @ specta.dk gitte @ specta.dk PhOn e + 45 3313 0123 CeL L + 45 2963 5594 +45 2041 6733 COnTA C T n Ames else Johannesen Gitte Johannesen

e xh I B I Te d A r T IsTs ellen hyllemose svend-Allan sørensen OTh e r r e Pr esenT ed Ar T IsTs Thordis Adalsteinsdottir John m Armleder Lars Arrhenius maj Britt Boa eva steen Christensen Frances Goodman Peter holst henckel heine Kjærgaard Klausen Andreas schulenburg daniel svarre david svensson Camilla Thorup

COV e r ellen hyllemose Split 2013 Chipboard, pencil, wood, wire, lycra 96 × 90,5 cm + two objects on the floor Ins I d e svend-Allan sørensen Twenty Five Notes On Birds 2012 etchings, ed. 5 each 52 × 43 cm + frame BAC K ellen hyllemose A Different Kind of Nature 2013 – 2014 mixed media dim. var.

e L L e n h yL L e m Os e : The landscape and the way we participate in it, hold a materiality and physicality, which I think is of fundamental importance to us all. This goes for different kinds of landscapes; the city, the countryside, in the apartment where I live my daily life. something basic which exists in all of us and which is linked to all sorts of situations in our daily lives. my works, both sculptures as well as paintings, make use of the landscape to reveal these several interpretations and kinds of landscapes. I use observations and records from my daily surroundings. The landscape, the open cultivated land, is what I grew up with, which I know inside out and thus have a familiarity with, for better and for worse. s V e nd -A L L A n sø re ns e n : I come from a small farm, stengården, outside the village of Bjerringbro in denmark.

Today I can see that this is where my work derives from. my work follows my interest in nature, in hunting and in shooting, although in a more radical way than before.

Partly in terms of approach, but also in size, form and content. my works are in a way radically un-funky. They are not street. They are fields and woods. They express my points of interest. And in that way they relate to present time, to the contemporary.

In recent years my work seems to have moved towards a return to the starting point, as if driving full speed ahead in reverse gear. That suits me fine. Therein lies the prospect of settlement for me.

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Na g o ya

STANDING PINE

STa N D I N g PI N E We B S I Te www.standingpine.jp e-m A I L info @ standingpine.jp PhOn e +81 52 203 3930 CeL L +81 90 5108 8879 COnTA C T n Ame Takeshi Tatematsu

e xh I B I Te d A r T IS T intext OTh e r r e Pr eS enT ed Ar T IST S Shinji Ogawa Kenji Sugiyama Pe Lang Tomoaki Shitara intext Youki hirakawa masayuki Arai mayumi Inukai

COV e r intext printed motion (dictionary) 2015 Silk screen on digital photo frame 468 × 288 × 38 mm In SI d e intext round flong 2014 paper diameter 250 mm BAC K intext reading of method (William Cobbett p 124, 125) 2011 paper, speaker, monitor Size: 579 × 470 mm

Standing Pine is pleased to present an exhibition of intext for the first time in Basel. intext is a team of graphic designers hiroshi Toyama, Yusuke mimasu, and a programmer Takehisa mashimo. Their interest is on redefining how words, languages and texts are written and read in graphic designs from their unique perspective.

Based on high techniques and broad expressions, they work on prints, videos, sounds, performances, and interactive works, never limiting themselves to fixed expressions. In this exhibition, with a theme of “released types,” intext will present works that make us reconsider about the meaning of “reading texts.”

In this globalizing world, words and languages, which are important factors when we recognize each culture, are complicatedly mixed up, and the usages are changing at a high speed. For an example of english, in this age, non-native english speakers exist more than 70% among all english speakers. This means that words and sounds of english must be obviously changing in this 50 years or more. In this process of languages merging and abstracting, some cultures might even be fading away. From their original perspective, intext redefines the way these words and languages are handled, clarifies the sensitive and primitive figures of them, and depicts the meanings and messages they contain. “reading of method” is a work which picks up a page from a certain book, and artificially pronounces out the page in an own specific rule. “round flong” plays a paper pattern of words on a record player, and leads the viewers to an unusual way of reading texts. “floating type” is a device which projects lights and sounds through words clipped off from a paper, and makes us feel the text physically.

These works rebuild new relationships between viewers and texts, release the words from culturally fixed grammars, and make us rethink about “reading texts.” They also rediscover a new sense of words and pronunciation, an origin of forming cultures, and a joy of “reading” itself.

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New Y o r k C itY

CatinCa tabaCaru Gallery

Cati N Ca ta ba C a r u GallerY We B S I Te www.catincatabacaru.com e-m A I L info @ tincaart.com PhOn e +1 212 260 2481 CeL L +1 919 475 8407 COnTA C T n Ame Catinca Tabacaru Tiffany Jin

e xh I B I Te D A r T IS T S Kenny rivero Justin Orvis Steimer Gail Stoicheff OTh e r r e Pr eS enTeD Ar T IS T S Joe Brittain Jasmin Charles Greg haberny Know hope Tamara mendels rachel monosov Shinji murakami Yapci ramos xavier robles de medina Duhirwe rushemeza

COV e r Justin Orvis Steimer Piacere (Currently on exhibition: Personal Structures, 56th International Venice Biennale, Palazzo mora, Venice) 2015 oil, acrylic and ink on 1940’s boat sail 68 × 52 inches (172.7 × 132.1 cm) In SI D e Gail Stoicheff Trans Figuration (detail) 2015 oil and dye on velvet and canvas 96 × 72 inches (243.8 × 182.9 cm) BAC K ( L e FT ) Kenny rivero Homage to the Three Three (detail) 2015 oil on canvas 44 × 49.75 inches (111.8 × 126.4 cm) BAC K ( r I G h T) Kenny rivero Getting Strong Now 2014 graphite and collage on salvaged paper 10.5 × 5.5 inches (26.7 × 14 cm)

Kenny rivero (b. 1981 new York City) through painting, drawing, and installation contemplates notions of socio-geographic solidarity, familial expectations, race, and gender roles. From the lens of his Dominican-American upbringing, anecdotal history and boyhood experiences are depicted in comic-like figures, cryptic numbers and architectural refuse. rivero received a BFA from the School of Visual Arts (2006) and an mFA from Yale university (2012). rivero has exhibited in venues including el museo del Barrio in new York City; the Pera museum in Istanbul, Turkey; and the Stedelijk museum in hertogenbosch, netherlands.

Justin Orvis Steimer (b. 1981 Colorado) is an American abstract painter who received his BFA from the university of Colorado at Boulder (2004). he works primarily on salvaged materials ranging from linen to boat sails, which he cuts and sews into canvases. When he paints, he focuses his attention on the space, the object, or the person the painting depicts, absorbing its energy and translating it into his ever-evolving abstract vocabulary. During the 56th Venice Biennale, Steimer will present a series of three paintings completed while residing in Venice, on view at the Palazzo mora for the 2015 Personal Structures exhibition.

Gail Stoicheff’s practice engages the human impulse of image-making while embracing the unpredictable nature of process. As traditions of painting meet her canvas manipulations, remnants of the process are allowed to coexist with intentional gestures. The resulting works are bountiful with visual texture and references—echoes of American post-war abstraction congress with surface, image and text, forgoing both practical and ontological labels of painting. Stoicheff (b. 1976 Pennsylvania) received her mFA from Bard College, Annandale-on-hudson, nY (2005). She was the recipient of robert motherwell’s prestigious Daedalus Foundation master of Fine Arts Fellowship in Painting as well as The elaine DeKooning Painting Award.

A BO u T CATIn CA TA BA CA r u G AL L erY Founded in 2010 by Catinca Tabacaru, the gallery opened its doors on the Lower east Side of manhattan in may 2014. Interested in authenticity, a universal language and the geopolitical environment, the themes of identity, spirit and time run deep throughout the gallery’s program. remaining true to its roots of curating and branching out into multidisciplinary projects, the gallery continues to organize events focused on building community and fostering dialogue.

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Ams te r d A m

Ten Haaf ProjecTs

ten H A A f Pro j ec ts We B S I Te www.tenhaafprojects.com e-m A I L info @ tenhaafprojects.com PhOn e +31 20 428 5885 COnTA C T n Ame Justin Ten haaf

e xh I B I Te D A r T IS T Sebastian Weggler OTh e r r e Pr eS enTeD Ar T IS T S Andrew Gilbert Bruce Gilden Iztok Klancar Luka Kurashvili hiroki Tsukuda Sebastian Weggler

COV e r Sebastian Weggler Ikea Stecksystem installation 2015 mixed media variable size In SI D e Sebastian Weggler Hail to the Artist installation 2015 mixed media variable size BAC K Sebastian Weggler The Coronation 2015 resin and oak wood 42 × 56 cm

Ten haaf Projects is an art gallery located in the center of Amsterdam. We focus on the work of promising contemporary artists, as well as on the work of modern masters. We show, represent and support the work of a diverse group of artists in our gallery. Our mission is to be a platform for challenging national and international artists. Ten haaf Projects internationally oriented team, has an in depth knowledge of the art market. We advise, appraise and manage private and institutional collections.

We are very pleased to present a solo presentation by German artist Sebastian Weggler (b.1983) on VOLTA Basel 2015.

The desire for eternity — broken, fragmented but still coherent — is carved in curd soap. Sebastian Weggler illustrates his own biography, as a monument to remain in our memory forever. he takes the role of Prometheus and other mythical figures, showing himself as the inventor of the wheel as well as the discoverer of fire, or — in modest humility — surrounded by angels descending from the sky.

Weggler is outstanding in turning everyday objects into unique pieces of art. he demonstrates exceptional skills in working with a wide range of media: for instance by painting over ordinary postal stamps, and transforming them into unique miniatures in his series “Briefmarkensammlung”. his Tapestries are another example of his skills to deal with diverse materials and techniques: Despite the similarity to bourgeois embroideries this work is highly ambiguous, which is typical for Weggler’s art.

One could go on, wisely phrasing some Duchamp quotes without comprehending Weggler’s intention at all: In his fly works, Weggler took the valiant little tailors´ credo “seven at one blow” more than literally. Small, black and dead, and floating above the canvas each needle reveals an impaled fly in this body of work.

What, a prima vista looks like humorous innocence, can be fraught with deepest sarcasm.

Sebastian Weggler lives and works in Düsseldorf Germany.

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O S A KA

TEZUKAYAMA GALLERY

TEZ U K AYA M A G A L LERY We B S I Te www.tezukayama-g.com/en e-m A I L info @ tezukayama-g.com PhOn e +81 665 343 993 CeL L +81 903 283 22 32 (ryoichi) COnTA C T n AmeS ryoichi matsuo (Gallery Director) Chie uchida (Assistant Director)

e xh I B I Te D A r T IS T manabu hasegawa OTh e r r e Pr eS enTeD Ar T IS T S Tomohiro Kato Kazuma Koike misato Kurimune hirohito nomoto Yoshiyuki Ooe Kaoru Soeno Satoru Tamura Yuuki Tsukiyama hiroko uehara Kohei Yamashita

COV e r manabu hasegawa Gold coin 2015 paper, colored pencil variable dimensions In SI D e manabu hasegawa M60 2014 – 2015 paper, pencil, colored pencil 145 × 55 × 55 cm BAC K manabu hasegawa M1911A1 2014 paper, pencil, colored pencil 40 × 30 × 7 cm

manabu hasegawa was born in 1973 in Tokyo and graduated from the print course at Tama Art university in 2000. he was greatly influenced by the Japanese “monoha” movement and it was during his time at university that he started to explore frottage as a technique. he was interested in the contrast between the beauty and clarity of the textured imprints from 2D surfaces, and the emptiness and ineffective imprints from 3D surfaces. removing the object after the rubbing is taken, hasegawa came to the realization that it is only a misshapen piece of paper. The element of 3D doesn’t work in favor of this rubbing technique. Therefore, hasegawa discovered a way in which to continue focusing on this technique but to create beautiful and realistic 3D paper objects.

In a country where the majority holds Shinto and Buddhist beliefs, hasegawa, in contrast, grew up in a Christian household. however, as a child he doubted the teachings. he studied Buddhism and Shinto and became interested in their philosophies. It was at this time that he first encountered “The Tale of the heike”. The concept of his series’ “A Spring night’s Dream” and “Dust Before the Wind” came from this tale, one of Japan’s most epic warrior tales. A tale about the Taira, or “heike” Clan, who, due to their own greed and pride, fell from glory. hasegawa extracted his titles from the opening of the tale.

The sound of the Gion Shōja bells echoes the impermanence of all things; the color of the sāla flowers reveals the truth that the prosperous must decline. The proud do not endure, they are like a dream on a spring night; the mighty fall at last, they are as dust before the wind. — (Chapter 1.1, helen Craig mcCullough’s translation) Within a beautiful woven sheet of silk, there exists two main elements; the warp, as a metaphor for Buddhist impermanence, and the weft, representing the soldiers in the tale. This contrast of elements is the basis for hasegawa’s thought. Just like a sheet of silk embodies two opposing elements becoming one, so too do hasegawa’s sculptures. hasegawa expresses the essence of this tale using elements from contemporary society. The vault and gold coins: a symbol of wealth and greed. The gun: a symbol of power and violence. These, in stark contrast with the fragility of their medium, create an exhibition that is deeply rooted in philosophical thought.

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C o p e nha g e n

V 1 Gallery

V1 ga llery We B S I Te www.v1gallery.com e-m A I L mail @ v1gallery.com PhOn e +45 333 103 21 CeL L +45 268 281 66 COnTA C T n AmeS Jesper elg Josephine Fity

e xh I B I Te d A r T IS T S Alicia mcCarthy John Copeland milosz Odobrovic rose eken Cali Thornill deWitt Geoff mcFetridge OTh e r r e Pr eS enT ed Ar T IST S Asger Carlsen Atelier Pica Pica Jacob holdt Julie nord matthew Stone Peter Funch richard Colman Shane Bradford Troels Carlsen Thomas Øvlisen Todd James Wes Lang

COV e r John Copeland A Perforated Parachute 2015 Oil on canvas 62.5 × 182.9 cm In SI d e milosz Odobrovic W006 2015 Spray paint, emulsion paint on canvas 120 × 120 cm BAC k Cali Thornhill dewitt Exit Music Investment Opportunities Wrong Answer 2015 Vinyl on corrugated plastic 46 × 61 cm

V 1 G A L L e ry 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 as an independent curator and is involved in various cultural endeavors.

S e Cre TS new works created for the occasion of VOLTA11 Basel 2015 from a group of artists that all work with an element of the subversive in their practice. From aesthetic trickery, over hidden meanings, to secret entries and visual codes, this group of artists creates work where there is always more to contemplate than apparently meets the eye. many of them use a formal cloak to disguise information that will be disclosed to the observant.

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FR A NKFU R T

WOLFSTÆDTER GALERIE

WO LFSTÆD TER G ALERIE We B S I Te www.wolfstaedter.de e-m A I L info @ wolfstaedter.de CeL L +49 163 63 29 817 COnTA C T n Ame Juergen Wolfstaedter

e xh I B I Te D A r T IS T Petra Johanna Barfs OTh e r r e Pr eS enTeD Ar T IS T S Andreas exner Thomas Kilpper Selena Kimball erling Thor Valsson Klingenberg michael Klipphahn Ins A Kromminga xue Liu Josef Loretan Benjamin Patterson Sebastian Stoehrer

COV e r Petra Johanna Barfs LANDSCHAFT II C.D.FRIEDRICH 2015 Collage 13.5 cm x19 cm In SI D e Petra Johanna Barfs PORTRAIT FISCHER 2014 Collage 25 × 39 cm

»Der Wille zur Schönheit, eine Floskel nietzsches, wird hier, auf den Bildern, die uns umgeben, gebrochen durch Fragen, die entstehen, wenn auf Gemeinplätzen von allmählich im Gedächtnis verrottenden Wirklichkeiten erzählt wird. es sind Wirklichkeiten, die unsere Geschichte ausmachen. Kunst ist nicht unbedingt barmherzig, sie muss genau sein. Genaugenommen steckt erfahrene heimat in den Bildern von Petra Johanna Barfs.« — Aus dem Katalogtext von Petra Johanna Barfs »erinnerung an die erinnerung« von Peter härtling Petra Johanna Barts studierte Interdisziplinäre Kunst an der Akademie minerva, Groningen, niederlande, an der hfG / Offenbach und an der Städelschule Frankfurt, Deitschland.

“The will of beauty, one of nietzsches phrases, are here in the images which surround us are broken by questions which arise when the commonplace gradually …

They are realities which influence history. Art is not necessarily merciful, it has to be exact. Strictly speaking, the experienced homeland is found in Petra Johanna Barfs’ images.”

— From the text “memory of a memory” about the work of Petra Johanna Barfs by Peter härtling.

Petra Johanna Barfs graduated from Akademie minerva, Groningen/netherlands and from hfG Offenbach, Städelschule Frankfurt / Germany.

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O s a ka

YOD GallerY

YOD Ga llerY We B S I Te www.yodgallery.com e-m A I L info @ yodgallery.com PhOn e +81 6 6364 0775 COnTA C T n AmeS ryotaro Ishigami maki matsuura

e xh I B I Te D A r T IS T hiroshi Shinno OTh e r r e Pr eS enTeD Ar T IS T S Agathe de Bailliencourt masashi hattori eikoh hosoe Kosuke Kimura Issay Kitagawa hideki Kuwajima natsuki machida ryuzo Satake Takuro Sugiyama motonori uwasu

COV e r hiroshi Shinno 2013.2.20, Daikanyama 2 2013 Synthetic resin, Acrylic, Brass 10 × 5 × 8 cm In SI D e hiroshi Shinno 2012.3.18, Kyoto 2012 Synthetic resin, Acrylic, Brass 32 × 12 × 12 cm, 56 pieces

YOD Gallery has been established with a mission to show a new sense of value and expression inside and outside of Japan positively with such promising artists.

We endeavor to search for a common sense of value all over the world from the thoughts of domestic and overseas artists and their works, since the art expression tends to be more globalised. We, as one of the primary galleries in Japan, also review our identity as Japanese afresh by finding artists and works that possess an independent artistic sense that can be exhibited worldwide and aim to grow up together with them. hiroshi Shinno: The concept behind the artwork hiroshi Shinno creates “Ikimono (life)” sculptures. The ideas behind his works are greatly influenced by the environmental concerns. he represents voices of the nature which mankind ignores easily or alters only for our convenience.

“Ikimono (life) sculpture” is a series of a single beetle-like creature, which reflects his love and ideals toward the nature. Shinno’s relationship with nature goes back to his childhood and it is the source of his creativity. Whether he is in the residential area or the countryside, he often walks around and picks up pieces of nature. naturally, the characteristics of Japanese climate, or any other climates are brought into his sculptures. The selected pieces, such as flowers, plants, seeds and leaves, are carefully cast using synthetic resin. Shinno constructs his sculptures with these small parts in order to embody his imagination in the form of “Ikimono” creatures.

One could say they are the embodiment of the real-world and fantasy by virtue of the unworldly beauty and precise craftsmanship in the artwork.

The form of “Ikimono” has further developed from a single creature to a collective entity of miniscule lives, which is becoming more abstract form, harder to identify with animals in the real-world. The experience of looking at a number of clusters floating in the air is more like seeing living cells under a microscope. motivated by the deep understanding of man’s involvement with nature, he started to pick up larger pieces of nature, too. his most recent work consists of casted pieces of driftwoods and they are laid on the floor. The way they are laid is in the shape of an animal, yet that is subtle, especially as the color is simplified, which became more complex in terms of understanding what one is looking at and gives viewers a space to wonder about the artwork.

Overall, Shinno’s view zooms in and out of the nature by picking up minuscule to large pieces. This represents his tenacious affection and ability to listen to the voice of ever changing form of nature. his presentation always has great atmosphere that occupies the whole space, yet there are full of details viewers can enjoy discovering. hiroshi Shinno Biography 1979 Born in Kyoto, 2003 Graduated from Kyoto university of Art and Design, 2008 Graduated from Akademie der bildenden Kunste Wien he was awarded “Art in the office 2012 CCC AWArDS” in Japan. his first solo exhibition is in 2008 in Austria. returning to Japan, he held solo exhibition constantly since 2010. his work was exhibited at Gunma museum of Art, Tatebayashi in 2014 as a part of group exhibition “Summer Vacation! Illustrated Book of Living Creatures”.

VOLTA 11 | B OOT h n umB er C 7

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Galeri Zilberman

G a lerI Z I lberman WeB sI T e www.galerizilberman.com e-m A I L zilberman @ galerizilberman.com PhOn e +902 122 511 214 COnTA C T n Ame moiz Zilberman

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COV e r extrastruggle Nothing Was Your Own Except The Few Cubic Centimeters Inside Your Skull* 2014 silver-plated purses and soldered coins 13 × 30 × 45 cm *george Orwell Ins I d e extrastruggle We Always Watched 2014 passport photographs soldered onto lead surface, dentures placed within a lens, toy fork and knife 16 × 18 × 35 cm BAC K ( L e FT ) extrastruggle Why Does Tragedy Give Pleasure 2013 Iron plates painted with car paint 0.3 × 70 × 120 cm BAC K ( r I g h T) extrastruggle Black Man 2015 digitally manipulated photography 27 × 31 cm

e x T r A s Tru g g L e I d O n’ T re m e m Be r extrastruggle’s presentation at VOLTA11 focuses on two deadly issues: the notorious diyarbakır Prison, one of the worst prisons in the world according to The Times, known for its practice of torture on inmates after the military coup of 1980, and the fact that there is still no national slavery museum in the united states in 2015. using the pseudonym “extrastruggle”, artist memed erdener searches for conscience in people’s genocide of animals, people and gods. The works under the heading “I don’t remember” hate the monotheist god, miss the forgotten ones, look for the mystery in the world of extinct animals and typography. The works try to look at letters of the alphabet like an illiterate person from the middle Ages looking at the pages of the holy scripture. These letters which cannot be read at once and require time to be understood offer us an opportunity of contemplation. The work that contains the phrase “I will drain your womb so you cannot bring more bastards into the world” — spoken by a torturer at the diyarbakır Prison towards female inmates — is today an “object of contemplation” as susan sontag states in her book “regarding the Pain of Others”. This typography suggests a method of looking at and reading others’ pain. Letters have peculiar aesthetics, but their main reason for invention is to calm and slow down today’s gluttonous viewers. g A L e rI ZIL Be rm A n galeri Zilberman was founded in 2008 to promote contemporary Turkish artists internationally and to introduce international artists to the local art scene. It stages 10-12 exhibitions a year in one gallery and a project space. The gallery represents both established and young generation of artists. The gallery has a strong presence in international art fairs, forging close relationships with collectors, curators and cultural thinkers. To that effect, galeri Zilberman collaborates with independent curators and hosts a regular series of artist talks, lecture performances, book presentations and round table discussions. Additionally, the gallery organizes Young Fresh Different, a selection of works chosen by an independent jury through a nationwide open call. The gallery also supports Zed Grant, an annual artistic research grant of 10 000 euro, open to art practitioners from all over the world.