VOLTA NY catalogue 2015

DESI G N : WWW. HAUSER - S C HWAR Z . C H

T h ur sday – Sun day, 5TH – 8TH M ARCH 2 0 1 5 / P i er 9 0 , New York

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313 AR T PR OJE C T, S E O U L

KIWON PARK

31 3 A RT PROJ ECT: KIWON PARK WEBS I T E www.313artproject.com E- M A I L bkwak313 @ gmail.com PHO N E +82 2 3446 3137 CEL L +82 10 2766 4538 CONTA C T N A M ES Bonaventure Kwak

R EPR E S E N T E D AR T IST S Sophie Calle Ralph Fleck Youngjin Jo Jon Kessler Atta Kim Heryun Kim Insook Kim Wan Lee Ena Swansea Xavier Veilhan

COV E R Kiwon Park Width 102 (detail) 2009 Oil on Korean traditional paper 214 × 150 cm INS I D E Kiwon Park SPHÉRES 7, Les Moulins Installation view 2014 B AC K Kiwon Park Width 2007–2008 Oil on Korean traditional paper 214 × 150 cm (each)

Kiwon Park is Korea’s representative installation artist whom by interconnecting the use of an ordinary object with distinctiveness of its space applies the spatiality directly to the work’s materiality and subject. Having been awarded “Korea Artist Prize,” as the 13th artist of the year 2010 by National Museum of Modern and Contemporary Art, Korea, he has opened up a new prospect in the field of installation art. Park was deeply influenced by post minimalism which focuses on the pure property of matter and represents his work in simple form throughout various insitu installations. He even pays attention to the history possessed inside the place as well as the interrelationship with surrounding environment ultimately brining the work, the part of its space.

Since its opening in 2010, 313 ART PROJECT, located in the centre of Seoul’s fashion and art hub, Do-San Park in Gangnam, has been actively engaged to introduce and support the works of emerging and significant domestic and foreign contemporary artists of all media.

313 ART PROJECT has given some of the most highly respected contemporary artists their solo debuts in Korea including Xavier Veilhan, Sophie Calle, Ena Swansea, Ralph Fleck, Teresita Fernandez, etc. It has also highlighted young and midcareer Korean artists of substantial ability including Wan Lee, Atta Kim, Kiwon Park, Heryun Kim, Insook Kim, Youngjin Jo. The gallery is committed to presenting their works on an international scale and to firmly establishing their contributions to art history of our time.

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ADA GALLER Y, R IC HMO ND , VA

BRIAN NOVATNY

A D A G A LLERY: BRIAN NOVATNY WEBS I T E www.adagallery.com E- M A I L john @ adagallery.com PHO N E +1 804 644 0100 CEL L +1 804 301 1550 CONTA C T N A M E John Pollard

R EPR E S E N T E D AR T IST S Jakob Boeskov Ryan Browning Jared Clark Daniel Davidson Michelle Forsyth Kirsten Kinder Derek Larson Jimmy Trotter Bruce Wilhelm

COV E R Brian Novatny An Exquisite End (detail) 2014 Oil on canvas 60 × 50 in INS I D E Brian Novatny Going Under 2014 Oil on canvas 24 × 30 in B AC K ( L E FT ) Brian Novatny Channel Crossing 2014 Oil on shellacked paper 12.25 × 18 in B AC K ( R I G H T) Brian Novatny Collapsed 2014 Oil on shellacked paper 10 × 11 in

Novatny’s work explores the tempestuous, storm-tossed seas of historical tumult, war, and disasters both private and public in a manner that simultaneously reflects the full sweep and powerful grandeur of their subject matter as well as reveals the astonishingly intricate and painstakingly rendered gradations of his stark palette, comprised mostly of a rich tonal fluctuation of black, white, and quiet grays, as well as muted earth tones.

His figures are like fragments of the past and present struggling to remain whole against the devouring waves and foreboding atmospheres exploding forth at the compositional centers of his pictures, themselves surrounded by the uncertainty of a blank white void. His solemn portraits of human fragility at times recall the spectral disquiet and mystery of 19th century photography or the peace and profound silence of an undisturbed sea torn asunder in paroxysms of exploded, and explosive, catharsis. His pictures depict a floating, gravitation-less fictive space where his subjects exist as lost, dislocated figures caught in forgotten human dramas at once distant yet universal and hauntingly familiar — a place where the fervent echoes and shadows of time resound over the immensity and vast stretches of a dark and mute world.

Brian Novatny was born in Wadsworth, OH in 1964. He earned his MFA at the Yale University School of Art in New Haven, CT in 1990 and his BFA at the Columbus College of Art and Design in Columbus, OH in 1987. His work has appeared widely in solo and group shows– both in the US and abroad. Recent exhibits include Sailor’s Diary, a solo show at Mulherin + Pollard in NYC in 2014 followed by his inclusion in the UNTITLED Contemporary Art Fair MIami Beach 2014 with ADA gallery and an exhibit at the Inside Out Art Museum, Beijing, China. He’s been featured at and in the collections of the Mississippi Museum of Art, the Columbus (OH) Museum of Art, the Layton Gallery at the Milwaukee Institute of Art & Design, the Center on Contemporary Art (Seattle, WA), the Knoxville Museum of Arts, and the Central Academy of Fine Arts in Beijing. He is currently represented by ADA Gallery in Richmond, Virginia and lives in Brooklyn, NY.

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ADA GALLER Y, R IC HMO ND , VA

BRIAN NOVATNY

A D A G A LLERY: BRIAN NOVATNY WEBS I T E www.adagallery.com E- M A I L john @ adagallery.com PHO N E +1 804 644 0100 CEL L +1 804 301 1550 CONTA C T N A M E John Pollard

R EPR E S E N T E D AR T IST S Jakob Boeskov Ryan Browning Jared Clark Daniel Davidson Michelle Forsyth Kirsten Kinder Derek Larson Jimmy Trotter Bruce Wilhelm

COV E R Brian Novatny An Exquisite End (detail) 2014 Oil on canvas 60 × 50 in INS I D E Brian Novatny Going Under 2014 Oil on canvas 24 × 30 in B AC K ( L E FT ) Brian Novatny Channel Crossing 2014 Oil on shellacked paper 12.25 × 18 in B AC K ( R I G H T) Brian Novatny Collapsed 2014 Oil on shellacked paper 10 × 11 in

Novatny’s work explores the tempestuous, storm-tossed seas of historical tumult, war, and disasters both private and public in a manner that simultaneously reflects the full sweep and powerful grandeur of their subject matter as well as reveals the astonishingly intricate and painstakingly rendered gradations of his stark palette, comprised mostly of a rich tonal fluctuation of black, white, and quiet grays, as well as muted earth tones.

His figures are like fragments of the past and present struggling to remain whole against the devouring waves and foreboding atmospheres exploding forth at the compositional centers of his pictures, themselves surrounded by the uncertainty of a blank white void. His solemn portraits of human fragility at times recall the spectral disquiet and mystery of 19th century photography or the peace and profound silence of an undisturbed sea torn asunder in paroxysms of exploded, and explosive, catharsis. His pictures depict a floating, gravitation-less fictive space where his subjects exist as lost, dislocated figures caught in forgotten human dramas at once distant yet universal and hauntingly familiar — a place where the fervent echoes and shadows of time resound over the immensity and vast stretches of a dark and mute world.

Brian Novatny was born in Wadsworth, OH in 1964. He earned his MFA at the Yale University School of Art in New Haven, CT in 1990 and his BFA at the Columbus College of Art and Design in Columbus, OH in 1987. His work has appeared widely in solo and group shows– both in the US and abroad. Recent exhibits include Sailor’s Diary, a solo show at Mulherin + Pollard in NYC in 2014 followed by his inclusion in the UNTITLED Contemporary Art Fair MIami Beach 2014 with ADA gallery and an exhibit at the Inside Out Art Museum, Beijing, China. He’s been featured at and in the collections of the Mississippi Museum of Art, the Columbus (OH) Museum of Art, the Layton Gallery at the Milwaukee Institute of Art & Design, the Center on Contemporary Art (Seattle, WA), the Knoxville Museum of Arts, and the Central Academy of Fine Arts in Beijing. He is currently represented by ADA Gallery in Richmond, Virginia and lives in Brooklyn, NY.

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DANIELLE AR NAU D , LO ND O N

SARAH WOODFINE

D A N I ELLE A RN A U D: SARAH WOODFINE WEBS I T E www.daniellearnaud.com E- M A I L danielle @ daniellearnaud.com PHO N E +44 20 7735 8292 CEL L +44 78 0148 1727 CONTA C T N A M ES Danielle Arnaud Rosanna Puyol

R EPR E S E N T E D AR T IST S Suky Best David Cotterrell Nicky Coutts Louisa Fairclough Tessa Farmer Polly Gould Oona Grimes Kathleen Herbert Karin Kihlberg & Reuben Henry Helen Maurer

COV E R Sarah Woodfine How to grow an apple tree 2014 plant stand, plant pot, pencil on Saunders Waterford paper 150 × 32 × 32 cm INS I D E Sarah Woodfine How to grow an apple tree (detail) 2014 plant stand, plant pot, pencil on Saunders Waterford paper 150 × 32 × 32 cm B AC K ( L E FT ) Sarah Woodfine Untitled 2014 Pencil on paper on 33 vinyl B AC K ( R I G H T) Sarah Woodfine Untitled 2014 Pencil on paper on 33 vinyl

‘According to the philosopher Gaston Bachelard, ‘the miniscule, a narrow gate, opens up an entire world’ (The Poetics of Space, 1969). In the case of Sarah Woodfine, Bachelard’s maxim is entirely apt. Woodfine’s drawings, often contained within specially constructed structures that act both as frames and as physical extensions of the drawing itself, operate as miniature worlds, self-contained systems through which a series of vignettes are staged for the viewer’s careful consideration.

The deceptive, intense surface of Woodfine’s drawings is one point of attraction; a second stage of intensification and of bringing into focus is enacted by Woodfine’s elaborate framing. One may therefore regard these ambivalent drawing-objects as a bi-part lens through which one may view a corner, fragment or snapshot of another universe. The environment presented may be regarded as a translation or transformation of selected aspects of the world we frequently take for granted. Woodfine’s practice involves the directing attention, of looking and causing the viewer to look in an active, highly interested and consistently insistent way.’ — Peter Suchin

Sarah Woodfine was born in 1968 in Poole, England and studied at Liverpool School of Art (1988-1991) and at the Royal Academy Schools, London (1992-1995).

She trained as a sculptor, and this is evident in her approach to landscape, architecture and optical illusion, which are recurrent themes in her work. Her drawings are often constructed as self-contained three-dimensional worlds reminiscent of architectural models and of children’s toys such as cut-out card castles and toy theatres.

Each element is drawn in pencil with a precision and clarity that suggest a perfectly observed reality, but also conjure up the obsessive hallucinatory character of a dream or fantasy. Accessible and intimate, this scene is made up of fragments and clues which invite viewers to invent their own stories.

Sarah Woodfine won the prestigious Jerwood Drawing Prize in 2004 and her work is held in various public or private collections including the Victoria & Albert Museum, London; Middlesbrough Art Gallery; Ha Gamle Prestegard, Norway, as well as private collections in England, USA, Norway, The Netherlands, Switzerland, Hawaii and Spain.

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ARNDT, B ER LIN | S ING A P O R E

JIGGER CRUZ

A RN D T: J I GGER CRUZ WEBS I T E www.arndtberlin.com E- M A I L info @ arndtberlin.com PHO N E +49 30 206 138 70 CEL L +49 176 1010 5698 CONTA C T N A M E Tobias Sirtl

R EPR E S E N T E D AR T IST S Jumaldi Alfi Sophie Calle Gilbert & George Geraldine Javier Jitish Kallat Heinz Mack Eko Nugroho Agus Suwage Rodel Tapaya Entang Wiharso

COV E R Jigger Cruz Metaphorical Suffocation 2014 Oil Painting and Resin 176 × 140 × 78 cm INS I D E Jigger Cruz Between Planes and Parallels 2014 Triptych, Oil on canvas on wood 61.5 × 154.5 cm B AC K Jigger Cruz The Fall of Chromatic Sunrise 2014 Oil on canvas and wood 86 × 45 cm

Jigger Cruz (born 1984, Manila, Philippines; lives and works in Manila) explores the primitive memory of the figurative in contemporary painting. His paintings rework many of the stylistic quirks and formal concerns of classical painting, employing their basic composition and approximating their processes. The figures from classical paintings that appear beneath Cruz’s works remind the viewer of both the laborious painting activity as well as the art historical baggage of the contemporary painter.

Jigger’s artistic approach plays with ideas of defacement and vandalization. The traditional painted landscapes that are visible underneath Cruz’s layers of impasto oil and spray paint give the impression that an Old Master painting having been destroyed. The destruction of these figures becomes integral to our aesthetic understanding of the piece. His paintings become assemblages of recognizable objects and obscure shapes which interlace, envelope and unfurl within one another.

Jigger Cruz studied Fine Arts at Far Eastern University in the Philippines, and Design at De La Salle-College of St. Benilde. Selected exhibitions include “Depth Circus” at West Gallery, Quezon City, Philippines (2013); “Glitch Habitation” at Primae Noctis Gallery, Lugano, Switzerland (2012); “Swing” at the Blanc Art Space, Makati City, Philippines (2008); and “Pink Fumes” at the Pablo Gallery, Cubao, Araneta Center, Quezon City, Philippines (2007).

ARNDT was established in 1994 as one of the first contemporary art galleries with an international profile in former East Berlin. The gallery expanded its operations to the vibrant art landscapes of Asia — particularly the Southeast-Asian and Pacific regions. In its premises in Berlin and Singapore, ARNDT presents its international and Asian programmes through solo exhibitions and curated shows of established and emerging artists.

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AR TLAB AFRIC A , NA IR O B I

PETERSON KAMWATHI

A RTLA BA FRI CA : PETERSON KAMWATHI WEBS I T E www.artlabafrica.com E- M A I L lavinia @ artlabafrica.com PHO N E +25 470 644 2740 CONTA C T N A M E Lavinia Calza

R EPR E S E N T E D AR T IST S Merikokeb Berhanu Miriam Syowia Kyambi James Muriuki Paul Onditi Gor Soudan Arlene Wandera

Peterson Kamwathi is part of a generation of young African artists whose break with the colonial tutelage that for decades defined the region’s art has afforded the exploration of topics both deeply rooted in Africa’s cultural background and engaged with global contemporary issues.

Peterson’s highly codified, conceptual works distance themselves from the usual patterns of reception of figurative art from Kenya. Rendered in thick layers of charcoal, pastel, watercolor, stencils and collage, Peterson’s figures are anonymous, static, almost abstract, a physical presence powerfully pushed to the forefront of the picture plane and the viewer’s attention. His practice, fostering the idea of art as a process-based and time-based project, often creates encapsulated visual archives by exploring contemporary themes in series and in layers, with each group of works exploring social, political, personal and institutional structures through the depiction of the human figure.

COV E R Peterson Kamwathi Untitled (Positions VI) (detail) Signed and dated 2015 on the reverse Charcoal, stencil, watercolor and collage on paper 91.5 × 75 cm Executed in 2015

Positions, the series of works presented in New York, came about as a reaction to the rising tension between different religions all over the world. Increasingly fascinated by prayer, Peterson began to explore hidden convergences and open differences in the expression of the fundamental ritual of prayer within the world’s main religions. The structure and anatomy of prayer is at the core of this new group of works. Shying away from literal connotations the figures that build up the compositions are generic, anonymous, collaged into skewered and organized shapes. Each figure is individually drawn and cut out, expressing the intimate, personal nature of prayer and exposing human vulnerability, whilst the assembling and overlapping of the collaged forms physically reflects the contradicting power found in the collective act of organized prayer.

INS I D E Peterson Kamwathi Untitled II (Positions) Signed and dated 2014 on the reverse Charcoal, stencil, watercolor and collage on paper 91.5 × 75 cm Executed in 2014

Established in 2013, ARTLabAfrica is a new cultural platform focused on developing experimental art in East Africa and connecting with an international audience.

Operating in a region where the paucity of infrastructure hinders the artistic recognition of the talent and art produced, ARTLabAfrica provides a framework for artists to exhibit their work outside the region, further fostering curatorial practice and creating new dialogues with curators, collectors, museums and cultural producers throughout the world.

B AC K Peterson Kamwathi Untitled (Positions, Study I) Signed and dated 2014 on the reverse Charcoal, collage, stencil and pastel on paper 57 × 77.5 cm Executed in 2014

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BACKS LAS H GALLE R Y, PA R IS

RERO

BA CK SLA SH G A LL ERY: RERO WEBS I T E backslashgallery.com E- M A I L inf o @b acksl as h g al l ery .co m PHO N E +33 9 8139 6001 CEL L +33 6 6360 1448 +33 6 6707 6160 CONTA C T N A M ES Séverine de Volkovitch Delphine Guillaud

R EPR E S E N T E D AR T IST S France Bizot Charlotte Charbonnel Fahamu Pecou Luc Schuhmacher Sergen Sehitoglu Boris Tellegen Xavier Theunis Clemens Wolf Michael Zelehoski

COV E R Rero Untitled (OFF LINE...)

2013 Cut and burnt wood 120 × 100 cm INS I D E Rero Untitled (SORRY BUT YOU ARE LOOKING FOR SOMETHING THAT IS NOT HERE...)

2014 Book and vinyl letters under resin 61.5 × 84.5 cm B AC K Rero Untitled (ERROR: TRANSMISSION PERMISSION DENIED...)

2014 Old photograph and vinyl letters under resin 41.5 × 51.5 cm

Backslash Gallery is proud to present a solo booth show by French artist Rero, featuring a selection of his latest works on a variety of surfaces, including charred wood, cast busts and vintage photographs, where his signature phrases crossed out with a stark black line reveal his obsession with image negation.

Born in 1983, Rero’s famous crossed out words are instantly recognizable as his distinctive visual style and are often seen in public spaces, including the façade of the Pompidou Centre in Paris. A multi-disciplinary artist, he challenges the codes governing ownership of intellectual property and images, from technology and consumerism to language and obsolescence. Negation, self-censorship and distortion are the keywords that characterize his work.

Using crossed out phrases such as This image is not available, Error 404 or Your entire life is online — always in the same Verdana font — the artist seeks to confuse viewers, forcing them to make multiple interpretations: each of us sees a double meaning in the negation of these words.

Continually stretching the boundaries of his artistic mediums, Rero frequently questions art, society and history, notably with a bust of Geta, the joint Roman emperor murdered so that his brother Caracalla could rule alone. Geta’s face is asphyxiated by a plastic tarpaulin beneath which can be read the crossed out words Clear Brother History.

Rero’s work has been shown at major venues including the Pompidou Centre and Grand Palais in Paris. His work also appears in a variety of other countries, including Brazil, the USA and throughout Europe. Numerous publications of his works have appeared, including a monograph published by Editions Gallimard, Paris.

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GALERIE ANITA B ECKER S, FR A NKFU R T

CHRISTIANE FESER

G A LERI E A N I TA BEC KERS: C HRISTIANE FESER WEBS I T E www.galerie-beckers.de E- M A I L info @ galerie-beckers.de PHO N E +49 697 390 0967 CEL L +49 171 120 1505 CONTA C T N A M E Anita Beckers

R EPR E S E N T E D AR T IST S Anton Corbijn Teresa Diehl Norbert Frensch Achim Hoops Jürgen Klauke Clare Langan Dierk Maass Annegret Soltau Peter Weibel Liat Yossifor

COV E R Christiane Feser Partition 25 2014 Archival inkjet Pigment Print 140 × 100 × 2 cm INS I D E Christiane Feser Partition 24 / Modell Konstrukt 95 2014 / 2015 Archival inkjet Pigment Print 110 × 80 × 2 cm 60 × 42 × 3 cm

In the truest sense of the word, Christiane Feser has identified new facets to the question of what we actually see in a photograph. At first glance, her series Latente Konstrukte shows repetitive, multi-faceted geometric structures that repeat in gridlike manner; rectangles and triangles that partially bulge out in relief, but on the whole remain contained within a rhythmic surface pattern. These works are based on paper models the artist alters through bending and folding and then photographs, whereupon she reworks the photographs in plastic manner, rephotographs them, and so on. Only the original respective photograph has been taken digitally; all further alterations are made to the prints. The method, literally multi-layered and complex, is not immediately clear in the finished work. What initially seems like the photograph of an arrangement of real objects is, however, a careful “construct” that required up to five steps to fabricate. These constructs present spatial situations that would have been as impossible in reality as the motifs of the Dutch artist M. C. Escher. When Escher’s 1955 lithograph Convex and Concave is compared to Christiane Feser’s Konstrukt 42, the difference becomes immediately clear, beyond the various levels of abstraction. Escher presents a structure of stairs and buildings that is possible as a mathematical construction, but impossible in physical reality. While the systematically constructed “errors” are readily apparent to the naked eye, in the case of Feser’s work a trained eye is required, i.e. of the exact technique of the lighting and corresponding shadows, to understand the “breaks” that make a true unity of the black squares, joined together in partial relief, impossible.

Her images are not abstract, but rather portray something that represents abstraction. But nothing is being represented here, because while something built in reality forms the departure point, it never existed in that form; what we see only “exists” in the picture. Thus, image and motif are intertwined like the two sides of a Mobius strip, a “finite, curved surface in three-dimensional space that possesses neither ‘top’ nor ‘bottom.’” August Ferdinand Möbius, the Leipzig professor for astronomy and mechanics, constructed this figure in 1858. A visible model of a surface of this kind can be made by taking a long rectangular strip of paper, twisting one of the two ends around 180°, and then gluing the two ends together.” For her models, Christiane Feser also glues strips of paper together that she then introduces into a paradoxical, Mobius Strip-like process. The artist herself speaks of the “stacked time” in her images. But the stacks are glued together in a way that approaches error and cannot be taken away again independently of one another. Much like the holes and cracks in Kertész’s photographic plate that have become an inseparable part of the motif, even more levels are inextricably connected in Christiane Feser’s pictures — creating a labyrinth in which only those who can follow many threads simultaneously can find their way.

— Ludwig Seyfarth

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BEERS CONTEMPOR AR Y, LO ND O N

SEBASTIAN SCHRADER

BEERS CON TEMPORARY: SEBASTIAN SC HRADER WEBS I T E www.beerscontemporary.com E- M A I L info @ beerscontemporary.com PHO N E +44 207 502 9078 CONTA C T N A M E Kurt Beers

R EPR E S E N T E D AR T IST S ATOI Austin Ballard Jonny Green Pablo Griss Clinton Hayden Lucia Pizzani Tony Romano Andrew Salgado Pawel Sliwinski Leonardo Ulian

COV E R Sebastian Schrader Dreamin’ Man 4 2014 Oil on canvas 150 × 160 cm INS I D E Sebastian Schrader Interns 2013 Oil on canvas 190 × 250 cm

Beers Contemporary is based in London with an exhibition programme dedicated to the exploration of relevant issues through progressive, contemporary art. Since our inception in 2008 and relocation to London in 2010, we have worked with emerging and established artists to explore exciting paths and trends in contemporary art.

Our exhibitions offer a diverse array of thematic, aesthetic, and political concepts, highlighting an exciting approach to contemporary art that is both progressive and thought-provoking.

In 2014, Director Kurt Beers authored 100 Painters of Tomorrow published by the UK’s leading fine-art publishing house Thames & Hudson, which showcases some of the most exciting emerging painters at work around the world. Other collaborative ventures include the documentary, ‘What makes a Masterpiece’ with Channel4; collaborations with a number of universities and educational institutions; and a multidisciplinary programme that includes a notable international art fair presence in London, New York, Toronto, Basel, Miami and Zurich. We also present an annual adjudicated open-call exhibition, entitled ‘Contemporary Visions’.

S E BA S TIA N S CHRA D E R Schrader’s practice is strongly reminiscent of the old European masters as he intentionally references both the Renaissance and Baroque periods while also radiating a bold and contemporary approach that is uniquely his own. Lucid in form, color and intention, Schrader’s artistic identity is representational and abstract in equal measure, creeping along the line between reality and imagination. His compositions are often characterized by lingering protagonists surrounded by scattered forgotten objects; crumpled wrapping paper, sheets, clothing and empty containers. Recurring motifs of anti-heroes, daydreamers, narcissists and clown figures, offer an insight into the artist’s perception of today’s culture of individualism — namely, a preoccupation with the self and the ability (or lack thereof) to participate constructively in society. His characters appear to be waiting, locked within the frame in limbo, and rejecting the hectic rhythm and notion of time altogether.

In fact, Schrader’s unique painterly language is the true protagonist within his paintings. At times it is silent and undefined and other times it narrates stories that are characterized by a deafening stillness, and yet, his paintings encompass a peaceful void that is marked by hints of playful elements throughout — entirely free of catharsis. Schrader’s work gives a definite nod toward classical paintings that draw upon a wealth of myths and art historical motifs in an attempt to probe the viewer in an intensified way and most importantly, offer an altered experiential value in its ironic refraction of references and painterly precision.

Schrader received his Diploma in painting from the Weissensee School of Art Berlin in 2006. Schrader has exhibited in several group exhibitions in Germany and in Europe. His previous solo exhibitions include Black Field, maerzgalerie, Berlin, 2013; telling time, with Jorma Puranen. maerzgalerie, Leipzig, 2012; Sebastian Schrader - In Between, Gesellschaft für Bildende Kunst, Trier, 2010.

Sebastian Schrader lives and works in Berlin, Germany.

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BETA PICTORI S / MAUS CONTEMPOR AR Y, B IR MING HA M, A L

TRAVIS SOMERVILLE

BETA PI CTORI S / MAUS: TRAVIS SOMERVILLE WEBS I T E www.MausContemporary.com E- M A I L betapic @ MausContemporary.com PHO N E +1 205 413 2999 CEL L +1 205 413 2999 CONTA C T N A M E Guido H. Maus

R EPR E S E N T E D AR T IST S Willie Cole Clayton Colvin Mark Flood Barbara and Michael Leisgen Charles Lutz Eugene James Martin Bayeté Ross Smith Leslie Smith III Taravat Talepasand Melissa Vandenberg

COV E R Travis Somerville Well Division (detail) Photograph by Chris Warner INS I D E Travis Somerville Well Division 2009 Acrylic on vintage porcelain drinking fountains and panels, auto paint on metal drinking fountain, copper pipes, running water Ca. 73.5 × 318 × 14 in Ca. 187 × 808 × 36 cm Photograph by Chris Warner B AC K Travis Somerville Historical Blindness 2014 Oil on vintage cotton picking sack Ca. 68 × 25 in Ca. 173 × 63.5 cm

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 VOLTA 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 VOLTA 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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RE NA BRANSTEN PROJECTS , S AN FR A NC IS C O

MARCI WASHINGTON

REN A BRA N STEN : MARC I WASHINGTON WEBS I T E www.renabranstengallery.com E- M A I L info @ renabranstengallery.com PHO N E +1 415 982 3292 CEL L +1 415 652 3486 CONTA C T N A M E Jenny Baie

R EPR E S E N T E D AR T IST S Ruth Asawa Dawoud Bey Edward Burtynsky Tony DeLap Candida Höfer Hung Liu Vik Muniz Tracey Snelling Henry Wessel Fred Wilson

COV E R Marci Washington The Castle 2013 Watercolor, gouache on paper 35 × 26 in INS I D E Marci Washington From the Tomb 2013 Watercolor, gouache on paper 18 × 23 in B AC K Marci Washington The Nightmare 2013 Watercolor, gouache on paper 29 × 32 in

“Once upon a time, in a time both past and present, there lived an ancient castle upon a rock — surrounded on all sides by a dark and churning sea and only accessible at low tide. Over this castle a spell has descended, a spell of sleep — rendering the inhabitants somnambulists trapped halfway between life and death and forced to walk in languid nightmares. From the castle and into the woods, two sisters have fled. From their makeshift shelter they try every day to craft a spell to break the spell — to awaken the inhabitants and set them free.” Evocative of gothic tropes and imagery culled from contemporary fashion, Marci Washington’s watercolors lead the viewer through this tale of enchantment.

Washington grew up in the Bay Area and received her BFA and MFA from the California College of the Arts in Oakland, CA. She has been the recipient of awards from both the Anderson Ranch Foundation and the San Francisco Foundation. Recent exhibitions include Secret Drawings at the Palo Alto Art Center, Palo Alto, CA in 2010, The Blood is the Life: Vampires in Art & Nature at the Everhart Museum, Scranton, PA, as well as a solo show at Leeds College of Art, Leeds, Yorkshire, UK in 2013. “Marci Washington: Selected Works 2005 – 2013” with an essay by Nathaniel Rich was published in 2014.

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BRAVINLEE PR OGR AMS , NE W Y O R K

THOMAS NOZKOWSKI

BRAV I N LEE PRO GRAMS: THOMAS NOZKOWSKI WEBS I T E bravinlee.com E- M A I L info @ bravinlee.com PHO N E +1 212 462 4404 CEL L +1 646 522 3665

Breaking the Postmodern Creed: Thomas Nozkowski’s Unimaginable Paintings and Drawings by John Yau (This is part 1 of John Yau’s 5-part essay which appeared in Hyperallergic, March 3, 2013) I. By 1974, Thomas Nozkowski had made two decisions — he would paint on widely available, 16 x 20-inch, prepared canvas boards, and everything he painted would come from personal experience.

CONTA C T N A M ES John Lee Karin Bravin

His reference to personal experience, as he stated in an interview I did with him in 2010, was meant in “the broadest possible way. Events, things, ideas — anything.

Objects and places in the visual continuum, sure, but also from other arts and abstract systems.”

R EPR E S E N T E D AR T IST S Philip Akkerman Jeffrey Beebe Elektra KB Douglas Florian Judith Henry Laura Krifka Fabian Marcaccio Jennifer Reeves Charles Ritchie Halley Zien

On the face of it, Nozkowski’s decisions didn’t seem radical, but they were, and continue to be. Since at least the 1980s, the art world has repeatedly and predictably equated challenging acts with spectacle and theatricality. Applying oil paint to modest-sized, inexpensive canvas boards didn’t qualify on that account, except to generations of younger artists who took cues from Nozkowski’s fiercely independent stance of making the modest into something ambitious.

COV E R Thomas Nozkowski Untitled (8-44) (detail) 2003 Oil on canvas board 16 × 20 in INS I D E Thomas Nozkowski Untitled (7-16) 1993 Oil on canvas board 16 × 20 in B AC K ( L E FT ) Thomas Nozkowski Untitled (7-139) 2000 Oil on canvas board 16 × 20 in B AC K ( R I G H T) Thomas Nozkowski Untitled (3-81) 1980 Oil on canvas board 16 × 20 in

Nozkowski’s decisions enabled him to develop the variety of visual conundrums animating his work. His paintings are both representational and abstract. We intuitively know that his paintings are of something, but we usually have no idea of what.

In the Museum of Modern Art’s current show, Inventing Abstraction, 1910–1925: How a Radical Idea Changed Modern Art, the curator Leah Dickerman begins the exhibition with Pablo Picasso’s “Femme à la mandoline” (“Woman With Mandolin”) (1910), where the subject is impossible to detect. As we all know, Picasso backed away from abstraction and even denied its existence. Nozkowski comes at this demarcation from the opposite direction — he pushes toward representation, probing its borders, but never completely crosses the line.

At the same time, the modest scale of his paintings allowed Nozkowski to scrutinize the relationship between the events in the painting and its framing edge. On a literal level, he could always see exactly what he was working on, conscious of the painting’s physical limits. Unlike some of his contemporaries, who were also working on a modest scale, he wasn’t harkening back to early American modernists, such as Albert Pinkham Ryder and Arthur Dove because, frankly, he was not nostalgic nor was he interested in carrying someone else’s torch.

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BRUNNHOFER G ALLE R Y, LINZ

KATHARINA KARNER

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

R EPR E S E N T E D AR T IST S Lucia Dellefant Lorenz Estermann Indra Ronald Kodritsch Thomas Kühnapfel Jennifer Nehrbass Anton Petz Andrew Phelps Elisabeth Sonneck Bernd Zimmer

COV E R Katharina Karner Das innere Kind – Baby’s Nightmare (detail) 2014 Oil, acrylic on canvas 180 × 120 cm INS I D E Katharina Karner Himmelfahrt – Selbstportrait als Heilige Katharina als Minnie-Maus verkleidet (Himmelfahrt – Self-Portrait as Saint Catherine dressed as Minnie-Mouse) 2013 Oil, acrylic on canvas

150 × 200 cm B AC K Katharina Karner Super Seller – Sex 2013 Oil, gold-leaf on wood 50 × 117 cm

Katharina Karner, “Looks like gold. Smells like shit” To create a project solely for one event is always a thrilling opportunity to either implement something that has been on your mind for a long time or to see artists of your own gallery in a perfectly new light. Our project for this year’s VOLTA NY is somehow a combination of both. Katharina Karner has been working with our gallery since her years of study. Since then, we were able to show a lot of her work at exhibitions in our gallery space as well as at some fairs in Germany. Now is the time, to go a step further and show this young talented artist to the rest of the world-starting with VOLTA NY. And that is the perfect opportunity for Karner, to create an installation that is solely made for VOLTA NY, with ideas she had in mind for a long time.

In her work, she is coping with “the beauty” and “harmony” as terms of art, art history and collective knowledge. As she is dealing with the idea of harmony and beauty not only in an aesthetical but also in a social way, her works do take up different traces of narrative moments and different materials of presentation. Multimedia — Video etc.

For the installation Looks like gold. Smells like shit, she is dealing with the iconic figure as a representation of an appreciation of beauty that is easily driven into kitsch on the one hand as well as the maintenance of harmony and beauty in domestic homes through trompe l’oeil or the modern version of it as photo wallpaper. Both issues are accompanying Karner since her very first works of art.

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CES GALLER Y, LOS ANG E LE S , C A

IRA SVOBODOVÁ

CES G A LLERY: I RA SVOBODOVÁ WEBS I T E www.carlesmithgallery.com E- M A I L ces @ carlesmithgallery.com PHO N E +1 949 370 0554 CONTA C T N A M E Carl E. Smith

R EPR E S E N T E D AR T IST S Doty / Glasco Lola Dupré Stephen Eichhorn Ashkan Honarvar Robert Larson Mike Parillo Dan Peterka Zin Helena Song Stephen Vasquez Lopez

COV E R Ira Svobodová Papercut 8 (detail) 2015 Acrylic on linen 31.5 × 23 in 80 × 60 cm INS I D E Ira Svobodová Papercut 3 2015 Acrylic on linen 78.5 × 55 in 200 × 140 cm B AC K Ira Svobodová Swallow Acrylic on linen 19.5 × 15.5 in 50 × 40 cm

Blending spatial dimensions; Playing with possibilities and impossibilities; Hidden anticipation only partially uncovered. These are common themes of Czech painter Ira Svobodová’s two new bodies of work, Noir and Papercut. In each series there is a shift in her painting from her earlier works. The new direction is balanced yet unsettling — implementing optical deceptions that teeter on the edge of abstract and recognizable, between two- and three-dimensional spaces.

The Noir series departs from her previous exterior views and plunges into the depths of idealized spaces, looking from the outside in. She draws the viewer into black and white pieces, creating an image of mysterious interiors that appear to be real space. They are clearly defined and subtly complicated by metallic-toned 3-D lines, and at the same time, imply a precarious openness. It is up to the viewer to decide to cross the threshold of the known world presented, even at the risk of falling into a black hole.

The Papercut series layers sheets of paper as representational layering of personal conditions such as emotions, thoughts, knowledge and experiences. Earlier works draw from concrete structures, while the new iterations shift to more fragile ephemeral forms and materials. There is a tenderness and softness emphasized by the choice of colors, yet dramatic tension activates the pieces. While making this work, Svobodová intensively listened to the music of Antonin Dvorak, capturing his lyricism and alternating rhythms during the process. The minimalist stacked bent paper alludes to origami, but at the same time they could conceivably be writing paper—waiting to be written upon, and structured to swallow messages.

Together these bodies of work reveal that it is sometimes better to stay in a realm of uncertainty, groping between what appears to be a reality, what seems physically touchable, yet where any attempt to grasp suddenly escapes.

Adapted from original text by: PhDr. Tereza Bruthansová English Rhetoric Consultant and Copy Editor: Leora Lutz

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CHAR LIE S MITH LO ND O N

TOM BUTLER

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

R EPR E S E N T E D AR T IST S Emma Bennett Kiera Bennett Sam Jackson Eric Manigaud Wendy Mayer Alex Gene Morrison Gavin Nolan Dominic Shepherd John Stark Gavin Tremlett

COV E R Tom Butler Geoeb (detail) 2014 Gouache on Albumen print 16.5 × 10 cm INS I D E ( LE F T ) Tom Butler Oehren 2014 Gouache on Albumen print 16.5 × 10 cm INS I D E ( R I G H T) Tom Butler Bacon 2014 Gouache on Albumen print 16.5 × 10 cm B AC K ( L E FT ) Tom Butler Nims 2014 Gouache on Albumen print 16.5 × 10 cm B AC K ( R I G H T) Tom Butler Meonckton 2014 Gouache on Albumen print 16.5 × 10 cm

Tom Butler is recognised for his ongoing series of painted calling cards. Used widely from the mid-19th century after the invention of albumen prints by Louis Désiré Blanquart-Evrard, the cabinet card remains a familiar visual object. Butler relentlessly collects these cards and works over the surface in immaculately rendered gouache. His unique and technically consummate approach makes him a leading proponent in this genre.

Balanced delicately between beauty and the grotesque, Butler works seamlessly over the faces of the sitters, where they become overtaken by hair; feathered or mottled surfaces; bandages; geometric patterns; or flowers. Occasionally features of the subject remain unpainted, asserting the presence of the subject from beneath some parasitic growth that appears to emanate from within. There are clear allusions to a visualisation of the unconscious where the monstrous becomes apparent.

Contemporaneous to the use of cabinet cards were the psychoanalytical theories of Freud and the high point of public interest in freak shows, and Butler recalls these areas of interest simultaneously.

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CHRISTINGER DE MAY O , Z U R IC H

YVES NETZHAMMER

CH RI STI N GER D E MAY O: Y VES NETZHAMMER WEBS I T E www.christingerdemayo.com E- M A I L office @ christingerdemayo.com PHO N E +41 44 252 08 08 CEL L +41 76 577 30 69 CONTA C T N A M ES Andrea Hinteregger De Mayo Damian Christinger

R EPR E S E N T E D AR T IST S Adán Vallecillo Cat Tuong Nguyen Clare Goodwin Felipe Mujica Michael Günzburger Johanna Unzueta Justin Hibbs Monica Ursina Jäger Oscar Gardea Duarte Estate Rafael Pérez

COV E R Yves Netzhammer Tage ohne Stunden / Days Without Hours 2014 Projection, wood, textile, stencil and paint Video installation INS I D E Yves Netzhammer Peripheries of Bodies 2012/2015 Video installation Steel, textile 17:10 loop B AC K ( L E FT ) Yves Netzhammer The Subjectivisation of Repetition (MONA, Museum of Old and New Art, Tasmania) 2012 Room installation with wall paintings 6 video projections 42:24 loop B AC K ( R I G H T) Yves Netzhammer The Present Searches Its Mouth in the Reflection of the Soup Videostill from the installation 26 × 24 × 3.5 m 36 projections, objects made from wood and textile

Yves Netzhammer, born in 1970, studied Visual Design at the Zurich College of Art and Design. Since 1997, he has been working on a widely ramified, poetic cosmos of imagery. His video installations, objects, slide shows and drawings fascinate through their bodily charisma and their formal clarity. The playful recombination of elements which seemingly can not be combined leads to the threshold of our existence’s dark side: soothing aspects interlock with displeasing ones, the dead melts with the alive into creatures never seen before, and the depicted scenarios run from microscopic to giant scales.

Solo exhibitions include MONA, Tasmania (2013), Minsheng Art Museum Shanghai, China (2013), Kunstmuseum Bern, Switzerland (2012), Liverpool Biennial, SFMOMA (2010), San Francisco (2008), Venice Biennale (2007), Karlskirche Kassel (supporting program documenta 12, 2007), Museum Rietberg, Zürich (2006), Kunsthalle Bremen (2005) and Helmhaus Zürich (2003). Yves Netzhammer lives and works in Zurich.

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ETHAN COHEN, NE W Y O R K

ABOUDIA

ETH A N COH EN N EW Y ORK: ABOUDIA WEBS I T E www.ecfa.com E- M A I L ecfa @ ecfa.com PHO N E +1 212 625 1250 CONTA C T N A M ES Ethan Cohen Liliana Gao

R EPR E S E N T E D AR T IST 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 Cubist Mouth (detail) 2014 Mixed media on canvas 70 × 56 in 177.8 × 142.3 cm

INS I D E Aboudia Le Regard du Chien 2014 Mixed media on canvas 78.8 × 118.1 in 200 × 300 cm

B AC K Aboudia Nouchi City 2014 Mixed media on canvas 78 × 78 in 198 × 198 cm

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

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

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

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CONNERSMITH, WAS HING TO N, D C

ERIK THOR SANDBERG

CON N ERSMI TH : E RIK THOR SANDBERG WEBS I T E www.connersmith.us.com E- M A I L info @ connersmith.us.com PHO N E +1 202 588 8750 CONTA C T N A M ES Leigh Conner Jamie Smith

R EPR E S E N T E D AR T IST S Barry X Ball Janet Biggs Zoë Charlton Patricia Cronin Maria Friberg Ali Miller Katie Miller Julie Roberts Leo Villareal Wilmer Wilson IV

COV E R Erik Thor Sandberg Mask – Sweet 2015 Oil on panel 20 × 16 in INS I D E Erik Thor Sandberg Toehold 2015 Oil on panel 36.25 × 71.25 in

Erik Thor Sandberg, known for his masterful representations of the human figure and landscape, has created a new series of Magical Realist oil paintings with inventive imagery ranging from panoramic to intimate.

Sandberg delves into mysteries underlying our connections to each other, and to the material world we inhabit, in the large figural landscapes that anchor his current body of work. The artist designed concave panels to envelope us in sweeping vistas where the human psyche confronts itself and the powers of nature in the present day. As the picture planes bend, so do the meanings that play out across them in near and far views, pushing and pulling the ideas evoked by the breathtaking details of Sandberg’s imagery. Diverting our thoughts from a predetermined arc of linear progression toward elusive possibilities, these extensive topographies assert that our personal and collective journeys lack sure directions and fixed outcomes.

Sandberg’s own brand of Sachlichkeit (objectivity) animates his smaller format panels with everyday objects, including piercings and pop culture toys, which he provocatively stages with people and wild animals. His unerring brush conjures single figures, pairs, or small groups of imagined characters. Each faces a nebulous force or mysterious defining element, which is seemingly unreal, or oddly improbable.

The artist imbues his subjects’ internal dilemmas and interpersonal dynamics with unnerving humor in these fantastic miniature worlds.

In this latest suite of small and large panels, Sandberg pushes the skillful illusionism of master painting to the contemporary edge of Magic Realism.

Erik Thor Sandberg (b. Quantico, VA 1975) lives and works in Washington, D.C. His works have been exhibited at public and private venues internationally, including the Baltimore Museum of Art, Baltimore, MD, and is in numerous private collections.

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CURATOR’S OFFICE, WAS HING TO N, D C

JEFFERSON PINDER

CU RATOR’S O FFI C E: JEFFERSON PINDER WEBS I T E www.curatorsoffice.com E- M A I L andrea.pollan @ gmail.com PHO N E +1 202 360 2573 CONTA C T N A M E Andrea Pollan

R EPR E S E N T E D AR T IST S Dawn Black Charles Cohan Cliff Evans Simon Gouverneur (Estate) J.W. Mahoney Jiha Moon Nicholas & Sheila Pye Eduardo Santiere Andy Moon Wilson

COV E R Jefferson Pinder Permanence (Grill 2) (detail) 2014 Screenprint, gesso, ink, gold leaf on paper edition of 4 + 1 AP 30 × 22 in INS I D E Jefferson Pinder Stellar Mass Monument 2014 Black ink and glitter on hardwood panel and ceramic, shelf 48 × 74 × 8 in installed

Jefferson Pinder, a noted American performance and multi-media artist, wrestles with issues of contemporary blackness, identity, masculinity, and strength in American culture and the African diaspora. His experimental videos feature performances that reference music videos, ritual, and physical theatre. Pinder uses hypnotic music, surreal performances, and sculptural objects to underscore themes of Afro-Futurism, physical endurance, and blackness.

His work has been featured in numerous group shows including exhibitions at The Studio Museum in Harlem; the Wadsworth Athenaeum Museum of Art in Hartford, Connecticut; The High Museum in Atlanta; and the Zacheta National Gallery in Warsaw, Poland. Although he considers his work to have a regional style and flavor, he stresses the universality of his themes and travels around the globe to seek inspiration. Pinder has spent time in Dakar, Mexico City, Khartoum, and Hanoi working on projects that deal with race, identity, and social mobility. Pinder’s work was featured at the Smithsonian’s National Portrait Gallery exhibition Recognize. In the spring of 2012 his performance piece Ben-Hur was presented by the Corcoran Gallery of Art. His work is included in the Smithsonian American Art Museum, Washington, DC; The High Museum of Art, Atlanta, GA; The Studio Museum in Harlem, New York, NY; The Yale University Art Gallery, New Haven, CT; U.S. State Department Art in Embassies Program, Washington, DC; The University of Massachusetts, Amherst, MA; The University of Maryland, College Park, MD; and The David Driskell Collection, College Park, MD; among numerous other prominent private collections.

Jefferson Pinder received his BA in Theatre from the University of Maryland and studied at the Aslo Theatre Conservatory in Sarasota, FL. In 2000, Pinder returned to the University of Maryland to receive his MFA in Mixed Media. Currently he is an Associate Professor in the Contemporary Practices department at the School of the Art Institute of Chicago.

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LUIS DE JES US , LO S A NG E LE S

NATHAN GLUCK

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

R EPR E S E N T E D AR T IST S Chris Barnard Kate Bonner Matthew Carter Zackary Drucker Chris Engman Ken Gonzales-Day Masood Kamandy Molly Larkey Josh Reames Federico Solmi

COV E R Nathan Gluck Bug Doctor 2004 Collage 10.5 × 8 in INS I D E Nathan Gluck Saluting Miss Tomato 1996 Collage 10.5 × 8 in

Nathan Gluck achieved acclaim as Andy Warhol’s principle studio assistant from the early 1950s through the mid-1960s. They met through mutual friends in 1950 and were employed in the same world of window design that fueled Warhol’s early reputation. During this time they also exhibited together at the Loft Gallery. Two years later Gluck went to work for Warhol in the top-floor railroad flat on Lexington Avenue that the artist shared with his mother, Julia Warhola. Over the next dozen years Gluck played an instrumental role in helping to shape and create many of Warhol’s most famous drawings, ads and designs. He also assisted with his early Pop pieces (1960-63) before The Factory was established.

Throughout the course of 70 years Gluck produced hundreds of original collages in which the classical, modern and commercial worlds collide, capturing a fresh, witty and joyous youthfulness that belies his age. His earliest collages, created in the 1930s, pay homage to Max Ernst and Picasso, while those produced from the mid 1990s through 2008 display the finely honed sensibility, originality and confidence of an artist completely at ease with his skills and a lifetime of knowledge.

“Composed of a staggering variety of printed ephemera collected by the artist and his friends, and combining a range of printed detritus — matchbook covers, wine and shipping labels, ticket stubs, fruit stickers, club flyers, photos and newspaper ads, to name just a few — from around the world and the past several decades, these works play on words, forms, colors and, above all, on styles. Their vintage is sometimes Belle Èpoque, sometimes the swinging 60s and sometimes the dubious fin de siècle, as well as the very playful and satirical use of more recent imagery from the age of cell phones and the Internet.”

— Roberta Smith, chief art critic, The New York Times

“Nostalgia is a risk in collage, but Gluck’s ironic sense of humor prevents them from ever becoming cloying. Camp they indeed are. The verbal humor of the printed word (check out the titles) constantly comes into play. Above all, Gluck’s work is fastidious.

The scraps of paper are meticulously arranged on the sheet — his color is fearless.”

— Graham Shearling, art critic, The Pittsburgh Tribune

Nathan Gluck’s first solo exhibition (since the 1940s) — titled “Ephemeral Musings” — was held in 1997 at the Reinhold Brown Gallery, New York. In 2001, “Nathan Gluck: Collages” opened at The Andy Warhol Museum. His last solo exhibition, “Limited Time Offer”, was held September-November 2008 at the Athenaeum of Music and Arts Library, La Jolla, CA. He died at the age of 90 on September 27, 2008 in San Diego.

Nathan Gluck (1918 – 2008) attended the Art Students League and the Cooper Union in Manhattan, and the Pratt Institute, in Brooklyn, NY. His work is included in the permanent collections of The Museum of Modern Art; The Andy Warhol Museum; Denver Art Museum; Athenaeum of Music & Arts Library, La Jolla, CA; and numerous private collections worldwide.

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LUIS DE JES US , LO S A NG E LE S

JOSH REAMES

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

R EPR E S E N T E D AR T IST S Chris Barnard Kate Bonner Matthew Carter Zackary Drucker Chris Engman Ken Gonzales-Day Masood Kamandy Molly Larkey Josh Reames Federico Solmi

COV E R Josh Reames Coke Loan Shark 2014 Acrylic on canvas 72 × 60 in INS I D E Josh Reames #PAINTING installation view 2014 Luis De Jesus Los Angeles B AC K ( L E FT ) Josh Reames Bad Habits (detail) 2013 Acrylic on canvas 40 × 36 in B AC K ( R I G H T) Josh Reames Old and Older 2013 Acrylic on canvas 24 × 20 in

Josh Reames’ work considers abstraction and painting in relation to the internet and is informed by the strange, new space where a majority of viewership takes place online through blogs and websites. In his new paintings, depth, dimension, and the artist’s hand are lost in translation from object to image, allowing the information to exist as it might appear on a digital screen.

Reames’ conceptual framework functions as a kind of filtration device, literally flattening disparate images and references and thereby removing their hierarchy. In this temporal space a compendium of signs, text and symbols (emoji, letters, text, and numbers — doubling as marks, sprayed or squeezed), objects (cigarettes, fried eggs, bombs, tennis balls), and cultural icons (Gumby, Snoopy) are all flattened to the same-level composition.

Reames’ stream of metadata abstraction could be translated in this way: #relativity #IRL #girl #animation #zztop #cruisin #sports #abstraction #URL #emoji #warhol #instagood #iphonesia #L.A. #simpsons #breakfast #figurepainting #XXX #chat #bones #paper #gardening #vacation #gumby #dialogue #blogspot #wildwest #academia #millenial #agentorange #tropix #yellow #tbt #shopping #psychedelics #sextme #aliens #mine #bigbiz #okay #overexposure #nudes #startrek #summer #joerogan #escapism #punksnotdead #A.I. Thus content in Reames’s paintings can be understood in the same way one would understand a Google image search — a field in which images and forms are constantly shifting and any authoritative meaning is nearly impossible to pin down. This approach constitutes a way of viewing reality that is synonymous with our contemporary experience of spending nearly 24 hours per week (the current average for American adults) blog-surfing or scrolling through the web.

Josh Reames (b. 1985, Dallas, Texas) earned his MFA (2012) from the Art Institute of Chicago and BFA (2007) from University of North Texas. He has exhibited in a number of institutions and galleries, including Annaruma Gallery, Naples, IT; LVL3, Devening Projects, Andrew Rafacz, Hyde Park Art Center, and the Union League Club, Chicago; The Hole, Muelensteen, and Monya Rowe Gallery, New York; Circuit 12 Contemporary, Dallas; and Dittrich & Schlechtriem, Berlin, among others. In 2012, Reames was artist-in-residence at Ox Bow (funded by Joan Mitchell Foundation) in Saugatuck, Michigan.

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GALERIE ANNE DE VILLE P O IX, PA R IS

YASHUA KLOS

G A LERI E A N N E D E VILLEPOIX: YASHUA KLOS WEBS I T E www.annedevillepoix.com PHO N E +33 1 4278 3224 CEL L +33 6 1412 1935 CONTA C T N A M E Anne de Villepoix

R EPR E S E N T E D AR T IST 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 Yashua Klos Face on Plane 2014 Collage of woodblock prints on Archival Paper 34.5 × 51.5 in 87.5 × 131 cm INS I D E Yashua Klos Worktable 2014 Collage of woodblock prints on Archival Paper 120 × 71 in 305 × 181 cm B AC K Yashua Klos Pass Through This 2014 Collage of woodblock prints on Archival Paper 34.5 × 51.5 in 87.5 × 131 cm

In our socio-political world, Yashua Klos views the black body as being in a state of deconstruction. Klos explores this concept formally through a technique of collage and printmaking, where breaking and layering shapes create forms that appear multi-faceted and fragmented. Collage, in this sense, allows the visual ‘building’ or ‘construction’ of the ontological as a ‘form’. Through depicting broken cinderblocks, splintered 2x4’s, and bricks the artist can orient this ‘form’ of existence within areas of urban abandon.

“Growing up on the South Side of Chicago, I was taught by friends how to both hide from and resist threats. There were times when confronted by police or by other young black men that we had to shift from being invisible to being strong, and back again.

“The black body in America exists in-flux — resisting and hiding — shape shifting as a survival strategy. To shift one’s shape is to mask, posture, camouflage, and otherwise ‘perform’ a state of being that can both fight and hide.”

Throughout Klos’ practice he’s explored the figure throughout varied stages of abstraction. Like Analytic Cubism, he often employs abstraction as a multi-perspectival experience where the viewer is witness to a kind of ‘animation’.

Here conceptually, there is a re-orientation of abstract art toward its African art roots, where representation functions as a vehicle for animism, and where the exterior form is the by-product of a ‘live’ shifting interior state.

Yashua Klos received his BFA from Northern Illinois University and his MFA from Hunter College.

Klos’ works have been reviewed in the NY Times, and he’s been awarded residencies at Skowhegan, Bemis, and The Vermont Studio Center. Most recently he is the recipient of a 2014 Joan Mitchell Grant and a 2015 NYFA Grant.

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GALERIE JAN DHAE S E , G HE NT

LEE RANALDO

G A LERI E J A N D H AESE: LEE RANALDO WEBS I T E www.jan.dhaese.be E- M A I L jan.dhaese @ telenet.be PHO N E +32 477 43 77 94 CEL L +32 477 43 77 94 CONTA C T N A M E Jan Dhaese

R EPR E S E N T E D AR T IST S Pavel Braila Hedwig Brouckaert Annelies de Mey Jennifer Deplu Marthe Ramm Fortun Remus Grecu Sebastian Moldovan Max Razdow Emerald Whipple LG White

COV E R Autobahn Drawings July 2012 xxiii 2012 Pencil on paper 14 × 11 in 35.4 × 28.4 cm INS I D E To Bloomington, IN 052613 A 2013 Marker on paper 12 × 9 in 30.4 × 22.8 cm B AC K Iowa 101813 3 2013 Marker on paper 12 × 9 in 30.4 × 22.8 cm

L O S T HIG HWAY D RAW INGS From “Lost Highway” to Highway 61 Revisited, from On The Road to Siddhartha, Two Lane Blacktop to Weekend, songs, films, images and stories have romanticized the allure and transformative qualities of the road, as metaphor but also as actual hard fact, ‘…with miles to go before I sleep’. An iconic image of modernity, certainly, but dating back to the earliest dirt paths the road was a symbol of movement and freedom. To get from here to there; from New York to L.A.; to get away from something; to find something; to move towards freedom or away from responsibility — dreams, thoughts and emotions hung on the image of an open road.

For a traveling musician the qualities of the highway are further reinforced by the amount of time spent staring at it on the way from one gig to the next. The Lost Highway series of drawings are my attempts to capture the landscape as it rolls past the windshield at 60 miles per hour. Gestural responses, simple skeins of lines following the horizon; trying to scratch out some record of the places we’ve traveled through. Certain curves in the road, views through breaks in the trees, are seen over and over again. The road, like the river, is ever different and ever the same.

These drawings began in earnest in 2012, as I set out on concert tours with my band The Dust across North and South America, Europe and points beyond. A series done from the passenger seat of a Mercedes Sprinter Van as we traveled on the Autobahn across Germany, and into Denmark was followed by another done while rolling through the Eastern United States, from Connecticut to Virginia, New York City to Maine. Later sketches track travels in Nova Scotia, Canada, on the route from Halifax to Cape Breton, through Spanish deserts, along the west coast from Vancouver down to San Diego, and in the far northeast of India.

— Lee Ranaldo, New York City

VOLTA N Y 2015 | B OOT H N UMBE R B 9

DITTRICH & SCHLECHT R IE M, B E R LIN

ANDREJ DÚBRAVSKÝ

D I TTRI CH & SCH LEC HTRIEM: ANDREJ DÚBRAVSKÝ WEBS I T E www.dittrich-schlechtriem.com E- M A I L info @ dittrich-schlechtriem.com PHO N E +49 30 24 34 24 62 CEL L +1 914 623 2097 CONTA C T N A M ES André Schlechtriem Owen Clements

R EPR E S E N T E D AR T IST S Stefan Behlau Nicky Broekhuysen Bernhard Brungs Asger Carlsen Julian Charrière Klaus Jörres Robert Lazzarini Dennis Loesch Hugo Markl Tyra Tingleff

COV E R Andrej Dúbravský Content Removal 2014 Acrylic on canvas 183 × 85 cm INS I D E Andrej Dúbravský Man With Two Fully Functional Penises Answers All Your Questions 2014 Acrylic on canvas 150 × 270 cm B AC K Andrej Dúbravský You May Have To Register Before U Post 2014 Acrylic on canvas 180 × 195 cm

The works of Andrej Dúbravský (b.1987) “indeed hark back to earlier expressive worlds, a century ago, of an artistic revolution inhabited by Egon Schiele and Oskar Kokoschka in Vienna, and Ernst Ludwig Kirchner and Otto Mueller in Dresden, the latter two part of the groundbreaking group of artists based around 1910 in Dresden and known collectively as Die Brücke or the Bridge. In so far as a sense of place is important in art, and it is, one can indeed observe that Bratislava lies halfway between Vienna and Dresden. The best paintings done in that now seemingly quite distant past were invariably filled with naked bathers and other scenes of subjective sexuality and tension that reflect the transgressive obsessions of that age. Although there are human constants in the representation of sexuality, there is also that intangible thing known as the zeitgeist that reflects in both style and content the particular nuances that characterize a time, its freedoms and its repressions and a genius that lies in a place.“ Above excerpt, Norman Rosenthal, On The Work of Andrej Dúbravský, TVTOR 2014.

“With his distinctive affection for the abysses of the soul, he also quotes the pathos formulas of landscape painting, where naked bodies have been draped in Arcadian bucolic sceneries since the Renaissance to mark the God-given naturalness of human flesh. Some of his works recall the airy and dainty landscapes of Watteau or Fragonard, a few others are reminiscent of the powdered cult of nature in Gainsborough or Stubbs, and yet others bring Monet’s water lilies or classical Japanese watercolors to mind. But almost all sweetness has been drained from Dúbravský’s idylls; the outward perfection of their compositional beauty barely veils the eerily beautiful subtext of menace. These landscapes are scenes of transmutation and a dissolution of the self. “ Above excerpt, Daniel Schreiber, Landscapes With Symptom, 2014

VOLTA N Y 2015 | B OOT H N UMBE R C 15

GALERIE DUKAN, PAR IS | LE IP Z IG

OLIVIER MASMONTEIL

G A LERI E D U K A N : OLIVIER MASMONTEIL WEBS I T E www.galeriedukan.com E- M A I L sam @ galeriedukan.com PHO N E +33 9 81 34 61 83 CEL L +33 6 61 93 49 29 CONTA C T N A M E Sam Dukan

R EPR E S E N T E D AR T IST S Josef Bolf Folkert De Jong Dimitri Horta Bayrol Jimenez John Kleckner Yigal Ozeri Jean-Xavier Renaud Richard Stipl Alexander Tinei Rosa Maria Unda Souki

COV E R Olivier Masmonteil Untitled 2014 Oil on canvas 80 × 65 cm INS I D E Olivier Masmonteil Untitled 2014 Oil on canvas 100 × 130 cm B AC K ( L E FT ) Olivier Masmonteil Untitled 2015 Oil on canvas 55 × 65 cm B AC K ( R I G H T) Olivier Masmonteil Untitled 2014 Oil on canvas 40 × 40 cm

Olivier Masmonteil’s new paintings are scenes from the hushed, contemporary ambiences of restaurants, hotels, film sets and hospitals. Into them he slips various props and characters: a couple kissing, a military helicopter, the skeleton of a dinosaur. Some of them stand out clearly centre-stage, like inlays, while others seem absorbed into the ambient scenery.

The painter has not really chosen these settings and motifs; rather, they are dictated by the constant flood of images we are subjected to. Whether from the movies, the Internet or magazines, they come to painting ready-prepared, complete with all the sophistication that has gone into making them. The painter’s task, then, is to turn them into art.

Masmonteil proceeds by successive layers. First comes the uninhabited setting, seemingly waiting for something as it triggers a sense of déjà vu in the spectator.

With their pronounced play on perspective, these highly geometrical spaces open onto night-dark windows or part-open rooms: secret, oppressive yet breathable atmospheres that invite mental wanderings.

These meanderings take concrete form as beings and objects hovering in these places like fantasies and dreams. They too are drawn from our glutted visual environment, and set up interaction with the initial decors. Overpaintings, erasures, transparencies, overlays: it is now that these images cease to live their own lives and become part of the interplay of painting.

The effects created by these settings and props are above all the actual language of painting. Their underlying logic hinges on the patch of colour that suddenly adds density to an area of the picture, or the dot of light placed just where it is going to catch the eye. A painter’s goal, after all, is not to play around with images, but to make paintings — and to do this by ensuring that these images are transformed and transcended.

In this resort to contemporary visual culture Olivier Masmonteil is pitting himself not against the images themselves, but first and foremost against painting’s greats. The Renaissance masters shaped their pictorial world from scratch, but today’s painter works with the images we are so relentlessly bombarded with. And if he succeeds in turning them into something so enriching for the senses that the viewer feels himself breathe anew, he has truly created a masterpiece.

— Anne Malherbe

VOLTA N Y 2015 | B OOT H N UMBE R C 4

GALLERI CHRISTOFFER EGELUND, C O P E NHA G E N

IDA KVETNY

G A LLERI CH RI STOFFER EGELUND: IDA KVETNY WEBS I T E christofferegelund.dk E- M A I L info @ christofferegelund.com PHO N E +45 3393 9200 CEL L +45 2627 w2871

The blazing landscapes and apocalyptic worlds of Ida Kvetny set the scene for the ecstasies and tragedies of human life — in, with, and against nature — to unfold.

Endless micro cosmoses, simultaneous incidents and dream-like iconography occur in the artist’s quest for an archetypical alphabet. Faces, roots and bolt nuts encounter abstract elements to form a parallel reality where intermingling lines of thought transcends cultures, ages and universes and sometimes even the surface of the painting. The paintings utilizes the concept of scientific imagination to allow the impossible to appear possible.

CONTA C T N A M ES Christoffer Egelund Christian Klintholm

Among desperate mothers searching for something lost and bodies in decay, beauty is found in the unity of all things when all elements merge together and the forces of nature take over. Time, space and colors turn into strange events, opening up to a world beyond the one we know.

R EPR E S E N T E D AR T IST S Armando Marino Christoffer Jørgensen Jason Jägel Crystel Ceresa Louise Hindsgavl Ghost of a Dream Maria Torp Thierry Feuz Michael Johansson Yuichi Hirako

In Kvetny’s most recent work we encounter an ongoing struggle between spacecreating and space-disintegrating elements. In the large painting Seven Setting Suns we are facing a barren lunar landscape. The piece mimics the composition of a traditional landscape painting with a horizontal line dividing the picture plane into foreground, middle and background. In this scenario the sun has fallen into the underground and is contemplating whether to rise or set.

COV E R Ida Kvetny Meteorite (detail) 2015 Mixed-media on canvas 203 × 127 cm INS I D E Ida Kvetny Fembot 2015 Mixed-media on paper 42 × 59 cm B AC K Ida Kvetny REM 2015 Mixed-media on paper 30 × 30 cm

The painting Drilling for Shale Gas presents a copper, maroon and orange coloration. Between notes of cool azure blues and lavender we discover the main story of the piece: four organic constructions with pointed drills on a vital race through the canvas. They are, perhaps, racing against the center of the earth, or they are steering towards a chaotic inner world.

Kvetny’s art can be seen not only as strange alien worlds but as a manifestation of a chaotic inner life, a visual representation of the mish-mash of impressions, people and objects; all the things we encounter in our daily lives.

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JONATHAN FERRARA GALLER Y, NE W O R LE A NS

NIKKI ROSATO

J ON ATH A N FERRARA GALLERY: NIKKI ROSATO WEBS I T E www.jonathanferraragallery.com E- M A I L info @ jonathanferraragallery.com PHO N E +1 504 522 5471 CEL L +504 343 6827 CONTA C T N A M ES Jonathan Ferrara Matthew Weldon Showman

R EPR E S E N T E D AR T IST S Mel Chin Skylar Fein Generic Art Solutions Bonnie Maygarden Adam Mysock Michael Pajon Gina Phillips Dan Tague Paul Villinski Monica Zeringue

COV E R Nikki Rosato Elyse: Falmouth, MA 2014 Hand cut road map 20 × 16 in INS I D E Nikki Rosato Untitled (Self Portrait) 2013 Hand cut road map 16 × 16 × 14 in B AC K ( L E FT ) Nikki Rosato Connections No. 2 2012 Hand cut road map 11 × 12 in B AC K ( R I G H T) Nikki Rosato Untitled (Connections) 2014 Hand cut road map 9 × 6.25 in

Nikki Rosato (Boston, MA, b. 1986) earned her MFA from the School of the Museum of Fine Arts, Boston in 2013. Prior to studying at SMFA, Rosato received a Bachelor of Arts degree in Studio Art and Art History from the University of Pittsburgh. Rosato’s work has received multiple awards, including the 2008 A.J. Schneider Award.

Her work has been exhibited nationally, internationally, as well as at numerous art fairs including VOLTA10 in Basel, Switzerland for Art Basel, artMRKT San Francisco, Texas Contemporary, and Miami Project for Art Basel Miami Beach.

In 2013, Rosato’s work was featured in Lovin’ it, Symbol and Contradiction at the Bromer Art Collection in Roggwil-Kaltenherberg, Switzerland as well as Mapping the Way at Walford Mill Crafts in London. Her work has been featured in numerous publications, including The Boston Globe, Harvard Review, Canadian Geographic, The Pittsburgh Tribune Review and Hi-Fructose New Magazine.

S TATE M E NT Our physical bodies are beautiful structures full of detail, and they hold the stories that shape our lives. The lines on a road map are fascinatingly similar to the lines that cover the surface of the human body.

In my work involving maps, as I remove the landmasses from the silhouetted individuals I am further removing the figure’s identity, and what remains is a delicate skin-like structure. Through this process, specific individuals become ambiguous and hauntingly ghost-like, similar to the memories they represent.

VOLTA N Y 2015 | B OOT H N UMBE R F 6

GALLER I FLACH, S TO C KHO LM

LISA D MANNER

G A LLERI FLA CH : LISA D MANNER WEBS I T E www.galleriflach.com E- M A I L info @ galleriflach.com eva-lotta @ galleriflach.com james @ galleriflach.com PHO N E +46 8 661 13 99 CEL L +46 70 750 16 70 CONTA C T N A M ES Eva-Lotta Holm Flach James Flach

R EPR E S E N T E D AR T IST S Kristina Bength Mohamed Camara Jessica Faiss Johan Furåker Andreas Johansson Kiripi Katembo SIku Ville Lenkkeri Pauliina Pietilä Jorma Puranen Fredrik Wretman

COV E R Lisa D Manner Attic 2015 Oil on panel 40 × 30 cm INS I D E Lisa D Manner Greenhouse 2015 Oil on panel 40 × 30 cm B AC K Lisa D Manner Cooler 2015 Oil on panel 40 × 30 cm

Galleri Flach is proud to show the Swedish artist Lisa D Manner in a solo presentation at VOLTA NY 2015, including 11 paintings, entitled Drifting. The collage-like paintings depict motifs that mix images from different eras and places. The murals in Livia’s villa in Rome are for instance fused with the play of shadows on walls from the artist’s own residential district in Malmö, Sweden. In a warm afternoon light, the paintings produce dreamy and imaginative environments and landscapes through a technically very skillful and precise workmanship. Lisa D Manner was born in 1979 in Malmö and graduated from Umeå University College of Art in 2007. She has attracted much attention in Sweden and Scandinavia for her intriguing and meticulous paintings. She enters a world that borders on reality and dream, painting and drawing. She describes her paintings as “collages” in which she assembles scenes and images from many different environments.

Lisa D Manner: “The starting point for my paintings is my archive of sketches and photographs. I am interested in urban environments and social structures. In my paintings memory fragments are interwoven with historical references. The logic of dreaming is my tool for joining separate parts into a whole, where time and space are allowed to meet. I examine the limit where contrasting conditions such as indoor/outdoor and private/public meet and dissolve. I see these meetings as dense breakpoints that load the composition. The paintings consist of a cluster of place, time, dream and reality. For me the collages represent a state of mind where the future and the memory can meet.”

Galleri Flach was founded in 1999 and is located in the major gallery district in Stockholm. The gallery works with Scandinavian and international contemporary art. Besides our regular exhibition program with 7-8 exhibitions per year, we also include project-based collaborations with artists, connecting artists from Scandinavia and non-European regions, such as West Africa.

VOLTA N Y 2015 | B OOT H N UMBE R D 21

THE FLAT – MAS S IMO C AR A S I, MILA N

LEONARDO ULIAN

TH E FLAT – M A SS IMO C ARASI: LEONARDO ULIAN WEBS I T E www.carasi.it E- M A I L carasi-massimo @ libero.it PHO N E +39 2 5831 3809 CEL L +39 33 3215 5325 CONTA C T N A M ES Massimo Carasi Daniela Barbieri

R EPR E S E N T E D AR T IST S Filippo Armellin Guido Bagini Michael Bevilacqua Paolo Cavinato Edward Del Rosario Greta Frau Michael Johansson Asuka Ohsawa Michelangelo Penso Ward Shelley

COV E R Leonardo Ulian Technological mandala #31 (detail) 2014 Electric components, copper wire, wood frame, Plexiglas 47 × 47 in 120 × 120 cm INS I D E ( L E FT ) Leonardo Ulian Atlas 03 – Contemporary reliquary 2014 Books, copper wire, microchips, piezo transducer 71.25 × 14.25 × 16.25 in 181 × 36 × 41 cm INS I D E ( R I G H T) Leonardo Ulian Technological mandala #51 2014 Electronic components, copper wire, wood frame 40 × 40 in 100 × 100 cm B AC K (LEFT) Leonardo Ulian Tesla Remixed 2014 Installation view at The Flat – Massimo Carasi, Milan

The work of Leonardo Ulian originates in the dismantling and observation of patterns and circuits found in electronic devices. In his approach, there is an affinity with the work of an anatomist who researches the mechanisms of life or that of the childlike curiosity of those who break into the bodies of objects in order to examine the internal components for the mere pleasure of the discovery. Ulian uses these elements to weave a web of connections that resemble Tibetan mandalas or a golden store of precious fractal forms.

Mathematics, science and spirituality thus form the basis of his research. The essential binder that connects or relates these circuits consists of tin solder, which binds the parts and radiates energy throughout the whole. Energy, in all of its forms, is a dominant theme of our time, and in his recent Milanese début, Ulian has paid tribute to the legendary figure of Nikola Tesla, the scientist and inventor who first realized the potential of a wireless transmission of electricity, which would make free energy accessible to the entire world. In 2012 Ulian began the Mandala series.

His pieces don’t neatly adhere to the geometric tradition of mandala diagrams (“It’s got super-strict rules,” he says), and are more improvisational, with symmetrical patterns radiating outward from a center. The Hindu and Buddhist religions use mandala charts during meditation. Tibetan Buddhists will make them out of colored sand, and ceremoniously destroy them later—which is why Ulian compares his pieces to mandalas.

“In a way technology is kind of ephemeral. It’s always evolving, you’re always looking for a new phone or a new computer, so it’s like mandala. They extinguish, and they can’t be permanent,” Ulian says. “My circuits do not activate lights or do other complicated function, but they simply function as stimulus to produce simple questions like: what will happen if a real electric current flows through the Circuit/Mandala?” (b. Gorizia 1974, lives and works in London)

VOLTA N Y 2015 | B OOT H N UMBE R C 16

FOLE Y, NE W Y O R K

SIMON SCHUBERT

FO LEY: SI MON SC HUBERT WEBS I T E www.foleygallery.com E- M A I L michael @ foleygallery.com PHO N E +1 212 244 9081 CEL L +1 646 729 8117 CONTA C T N A M E Michael Foley

R EPR E S E N T E D AR T IST S Thomas Allen Amy Casey Lauren Henkin Ina Jang Martin Klimas Henry Leutwyler Alexandre Orion Casey Ruble Sage Sohier Ilona Szwarc

COV E R Simon Schubert Samuel Beckett 2014 Paper 70 × 50 cm INS I D E Simon Schubert Untitled (light in room with piano) 2014 Paper 70 × 100 cm B AC K Simon Schubert Untitled (light on stairs) 2014 Paper 70 × 70 cm

The walls of our booth are covered with crisp, white paper that has been carefully worked by folding and creasing. Our floors are a similar shade of soft and supple white. Wainscoting and paper picture frames emerge from the interior walls.

Schubert’s original paper sculptures are tipped into those frames, each displaying an interior not far removed from the one you are currently standing in.

There is no color, no evidence of ink or graphite. There was none to begin with.

Warm overhead light casts delicate shadows of mid-tone grays, bringing Schubert’s scenes to life.

The details in Schubert’s interiors are inspired by the late 19th century Danish painter, Vilhelm Hammershoi. In his paintings, Hammershoi employed low-key tones of neutral grays to create a somber but relaxed interior environment. Schubert references Hammershoi, casting stunning illusions of natural light through windows and manipulating ambient light to cast shadows that play on his paper floors and walls.

Schubert, who mentions authors Samuel Beckett and Edgar Allan Poe as his biggest influences, evokes existential and fundamental questions. Engulfed in the beauty and accomplishment of these works, we hear our own whispers, our searching through the occasional loneliness of existence. We step into these interiors — both meditative and haunting — embracing their elegance while searching for meaning and a sense of belonging in the world.

Simon Schubert was born in 1976. He graduated from the academy of Fine Arts Kunstakademie Düsseldorf, where he studied sculpture under the direction of Professor Irmin Kamp.

He currently lives and works in Cologne, Germany.

VOLTA N Y 2015 | B OOT H N UMBE R D 10

F RED.GIAMPIETRO GALLER Y, NE W HAVE N

CLINT JUKKALA

FRED .GI A MPI ETRO GALLERY: C LINT JUKKALA WEBS I T E www.giampietrogallery.com E- M A I L fredgiampietro @ gmail.com PHO N E +1 203 777 7760 CEL L +1 203 415 8713 CONTA C T N A M E Fred Giampietro

R EPR E S E N T E D AR T IST S Melissa Brown Elizabeth Gilfilen Clare Grill Zachary Keeting Richard Lytle Loren Myhre Peter Ramon Enrico Riley Joe Wardwell Becky Yazdan

COV E R Clint Jukkala Galactico 2014 Oil on canvas 14 × 12 in INS I D E Clint Jukkala Doppio 2015 Oil on canvas 36 × 42 in B AC K Clint Jukkala Body Response 2014 Oil on canvas 14 × 12 in

At once reflective and irreverent, Clint Jukkala’s paintings explore perception and the relationship between image and abstraction. Combining modernist elements and a basic pictorial language, Jukkala’s work hovers on the edge of nameable things.

Circular forms evoke eyes, goggles, or periscopes and frame our view into suggested landscape spaces. Jukkala’s paintings invite us to look in while they gaze out at us in return. Through the act of looking, we become aware of our own seeing and thinking as we search to orient ourselves in a geometric cartooned world.

Originally from Montana, Clint Jukkala lives and works in Philadelphia, PA. Recent solo exhibitions include Fred Giampietro Gallery (New Haven, CT), BravinLee Programs (New York, NY), and Finalndia University (Hancock, MI). His work has been featured in group exhibitions at Feature Inc. and Brian Morris Gallery in New York, Tiger Strikes Asteroid and Pentimenti Gallery in Philadelphia, and The Decordova Museum and Sculpture Park in Lincoln, MA. Jukkala received his MFA from the Yale School of Art and has been awarded residencies at Yaddo and the MacDowell Colony.

VOLTA N Y 2015 | B OOT H N UMBE R D 10

F RED.GIAMPIETRO GALLER Y, NE W HAVE N

JONATHAN WATERS

FRED .GI A MPI ETRO GALLERY: JONATHAN WATERS WEBS I T E www.giampietrogallery.com E- M A I L fredgiampietro @ gmail.com PHO N E +1 203 777 7760 CEL L +1 203 415 8713 CONTA C T N A M E Fred Giampietro

R EPR E S E N T E D AR T IST S Melissa Brown Elizabeth Gilfilen Clare Grill Zachary Keeting Richard Lytle Loren Myhre Peter Ramon Enrico Riley Joe Wardwell Becky Yazdan

COV E R Jonathan Waters Sea Reach 2014 mixed media and collage on paper 12 × 8 in INS I D E Jonathan Waters Installation view B AC K Jonathan Waters Sculpture Quarry Studio Summer No. 3 2014 Steel and oil paint 8 × 8 × 3.5 in

“For several years in the 1970’s, I lived and worked on a small Coastal freighter over in Jersey City and Staten Island. I found the ship in Canada and brought it to New York to use as living and studio space. The ship was painted red, black and tan and at 160’ I was in way over my head. I eventually sold it and moved away holding on to the navigation charts of the vessels’ travels, carrying freight around the world.

“This series includes steel sculptures and collage. The collages incorporate the backs of these nautical charts. Color is informed by the memory of the ship and harbor. Titles of the work reference the places visited by the vessels’ trade. The collages are spatial visually and pursue a common sensibility with the sculptures, eluding to a sense of place, activating the space around the artwork. The surfaces of both the sculpture and the collages speak to history and time and the record of their making. These are tidbits of space and time, past and present, light and dark, in and out, fragile in paper . . . forever in steel.”

Jonathan Waters received his MFA from Yale University in 1977. While living in NYC, he was an assistant to sculptors Mark di Suvero, Charles Ginnever and Richard Serra. Waters has exhibited extensively throughout the Northeast. Recent largescale projects include new work at the Governors’ Residence and Bushnell Plaza in Hartford, Connecticut and The Samuel Chester French Estate in Stockbridge, Mass.

VOLTA N Y 2015 | B OOT H N UMBE R E 2

FROSCH&POR TMANN, NE W Y O R K

DAVID HAYWARD

FRO SCH & PO RTM ANN: DAVID HAY WARD WEBS I T E www.froschportmann.com E- M A I L eva @ froschportmann.com PHO N E +1 646 820 9068 CEL L +1 646 266 5994 CONTA C T N A M ES Eva Frosch hp Portmann

R EPR E S E N T E D AR T IST S Raffaella Chiara Seth Michael Forman Steve Greene Julia Kuhl Eva Lake Vicki Sher Hooper Turner Robert Yoder

COV E R David Hayward Untitled (1.14) (detail) 2014 Oil on panel 15 × 18 in INS I D E David Hayward Untitled (2.15) 2015 Oil on panel 15 × 18 in B AC K David Hayward Untitled (1.15) 2015 Oil on panel 15 × 18 in

NE W PA INTING S BY D AV ID H AY WAR D David Hayward’s small-scale paintings are dominated by a single image or form put in the middle of space. The artist’s vocabulary evokes the elegant simplicity of archetypes such as the shape of a heavy water drop or the irregular structure of cells; like a specimen, this straightforwardness and isolation allows for a more direct relationship or study.

The paintings suggest various interpretations, while simultaneously avoiding signifying one specific meaning; this is the result of a process, a search to find or locate based on emotional and instinctual decisions rather than proving a single idea or concept. The works are clearly fought for and evidence a history of constant reworking, neglecting and approving; the pursuit to understand the visual workings of this complex and multilayered formation is what is most intriguing and rewarding about Hayward’s oeuvre.

“My paintings result from an intuitive process of constant reworking. Ideas arrive and I move towards eventual resolution as elements are added, shifted, and subtracted. I want the image I create to resonate in a way that is familiar yet unknown.

A picture of something to be looked at and considered.”

— David Hayward David Hayward lives and works in New York City and Washington D.C. He received his BFA from Washington University, St. Louis, MO. His awards include a matching scholarship from Skowhegan School of Painting and Sculpture and Washington University, St. Louis (1995) and the Maryland State Arts Council Individual Artist Award (2013).

VOLTA N Y 2015 | B OOT H N UMBE R E 4

LUC Y GARCÍA GALLER Y, S ANTO D O MING O

JORGE PINEDA

LU CY G A RCÍ A G A L LERY: JORGE PINEDA WEBS I T E www.lucygarciagallery.com E- M A I L art @ lucygarciagallery.com PHO N E +1 809 697 5825 CONTA C T N A M E Lucy García

R EPR E S E N T E D AR T IST S Quisqueya Henríquez Pepe Mar Citlally Miranda José Miura Raquel Paiewonsky

COV E R Jorge Pineda OH! Taschen Taschen Taschen, Volumen III: Santiago Sierra 2013 Drawing, polyptych, (Work in progress, 144 artist’s portraits), graphite drawing fake and real diamonds 20.5 × 20.5 cm each INS I D E Jorge Pineda Oro sobre jardín (Gold on garden) 2014 Drawing blue ink pen, gold leaf on paper Khadi (hand made paper) 70 x 102 cm each B AC K ( L E FT ) Jorge Pineda Trampas de la fe II: La Gallina de los huevos de oro 2013 Collage 50 × 50 cm B AC K ( R I G H T) Jorge Pineda Trampas de la fe II: Deseo 2013 Collage 50 × 50 cm

Jorge Pineda’s work spans a number of disciplines. Influenced by his architecture studies, his drawings of simple but forceful strokes are freighted with social criticism and irony. Through a peculiar and distinctive drawing style, using mostly pens, he criticizes the political and social world that surrounds us. One the issues that have been haunting his discourse is the relation between art and power. The relation between the estates that shape the Art world and the artist, and how the artists deals with these issues, and tries to find a balance between his personal life, ethical thoughts and his personal world. Many times this conversation ends for conquering and bringing them to a very dangerous and risky zone. But Pineda mocks himself in this process and creates a dialogue full of humor, as we can see it in the collage/drawings of the series Trampas de la Fé (Trap of the Faith), in which he satirizes the icons of the artistic creation in the 20th century and his influence in the contemporary creators, including him. Ore as also occurs in the series, OH! Taschen, Taschen, Taschen: volume III, where the portraits of the assumed master artists of this century, are taking from the small photos that represent them, in the pages of the book of the famous editorial Taschen, Pineda draws theirs faces with a graphite pencil, a kind of coal that turns into the false diamonds that cover the eyes of the subjects. With these pieces and with a series of sculptures called Other Traps, which the artist appropriates buildings such as the Guggenheim, using the shapes of sculptures he casts in aluminium, and that are turned into one small trap, like the ones used to catch small animals. These buildings /boxes, will be cover in their interior with 24-carat gold foil.

In 2008, he created the collective QUINTAPATA, exhibiting the video installation DNA at the Venice Biennale; where Pineda´s work was also exhibited in 2009. He was selected by the Davidoff Art Initiative to participate in a residency at the Kunstlerhaus Bethanien in Berlin. His work have been exhibited in Museum of Contemporary Art of Castilla and Leon (MUSAC), Brooking Museum, Collection Patricia Phelps de Cisneros, Valenciano Institute of Modern Art (IVAM) and the Museum of Contemporary Art of Salamanca. His works have been reviewed in newspapers such as Spain’s ABC, El País and recently in the cover of Le Monde, during the last edition of FIAC in Paris.

VOLTA N Y 2015 | B OOT H N UMBE R B 6

DENIS GARDARIN GALLER Y, NE W Y O R K

RUDOLF POLANSZKY

D EN I S GA RD A RI N GALLERY: RUDOLF POLANSZKY WEBS I T E www.denisgardarin.com E- M A I L info @ denisgardarin.com PHO N E +1 646 298 4602 CONTA C T N A M ES Denis Gardarin Elli Gotlieb

R EPR E S E N T E D AR T IST S Geraldo De Barros Mathieu Mercier Ryan Mosley

COV E R Rudolf Polanszky Reconstructions (detail) 2009 Mixed media (bitumen, foils, Plexiglas, pigments on canvas) 51 × 46 in 130 × 116 cm INS I D E Rudolf Polanszky Reconstructions 2009 Mixed media (bitumen, foils, Plexiglas, pigments on canvas) 51 × 46 in 130 × 116 cm

Rudolf Polanszky was born in Vienna in 1951. In 1976 he launched his career with the film On a Semiology of the Senses and his first conceptual works-Lard Drawings.

Observing diverse artistic procedures and strategies of negotiating how behavior is unconsciously guided or in Polanszky’s words “externally directed” developed these early works. Polanszky restricted himself to certain methods as a means of examining and formulating the structures of “process-dependent” results. Alongside these quasi-scientific experiments, he created multi-media works on super8 film and video. Italian curator Francesco Stocchi has referred to Polanszky as “a philosopher disguised as an artist” who knows well enough that “productive answers are to be found in the questions.” The terms introduced in Polanszky’s work are therefore complex and are only unpacked physically in the work: transformation, non-linearity, symmetries, “ad hoc syntheses” etc.

Polanszky’s work has been exhibited at Kunstraum Messner/Vienna, Galerie Jahn/ Munich, Kunsthandel/Wunderlich/Munich, Galerie Borkowski/Hannover, “Loft”/ Munich, Kunsthalle/Vanrobeyes/Gent, Modern Art Galerie/Vienna, Galerie Cosmos/ Vienna, Galerie Kalb/Vienna, Galerie Hohenlohe/Vienna, Kunstraum Fröhlich/Vienna, Gallery Watkins/Palm Desert, Galerie Thoman/Innsbruck, 11Lijnen/Oostende, Mot Gallery/London, Centro Atlántico/La Palma, Venice Biennale 2007/“Hamsterwheel,” Printemps de Septembre/Tolouse, Museo Modern Art/Barcelona, Museum Malmö, Galerie Konzett/Vienna, Frithstreet Gallery/London, Ancient & Modern/London, Musee de Monaco, Newbridge Space/Newcastle, Transition Gallery/London with Film and video presentations at the Museum of Modern Art/N.Y., Centre Pompidou/ Paris, Museum of Fine Arts Boston, Carnegie Museum of Art Pittsburgh and the Sao Paulo Bienniale/Brazil.

Denis Gardarin Gallery was founded in 2014 to engage with the cultural shift in art production and reception in this era of globalization. Conceived principally as a platform for artists, the gallery interrogates the notion of physical site through a migrating program that mounts museum-quality exhibitions in an international context.

Denis Gardarin Gallery focuses on comprehensive investigations of artists, who are leaders across disciplines, movements, and eras initially focusing on the practices of conceptual artist Mathieu Mercier, Geraldo de Barros, early leader of Brazilian concretism, figurative painter Ryan Mosley and Rudolf Polansky.

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GE GAL ERÍA, MONTERREY / INVALIDEN1 GALE R IE , B E R LIN

SERGIO BELINCHÓN

SERGI O BELI N CH ÓN WEBS I T E www.gegaleria.com www.invaliden1.com E- M A I L info @ gegaleria.com info @ invaliden1.com PHO N E +52 81 1477 1367 (GE Galería) +49 30 8092 4878 (Invaliden1) CONTA C T N A M ES Brenda Gutierrez Llaguno (GE Galería) Gabriel Elizondo Garza (GE Galería)

R EPR E S E N T E D AR T IST S (GE GALERÍA)

Alfredo de Stefano Erika Harrsch Ubay Murillo Juan Miguel Pozo Ray Smith Marina Vargas Santiago Ydañez Jesus Zurita

COV E R Sergio Belinchón Venus Grotto 2014 Installation with 3 slide projects, 3 color slides and prints Variable dimensions INS I D E Sergio Belinchón Venus Grotto 27 2014 Inkjet print on cotton paper 100 × 125 cm (Ed. 3 + 2 AP) B AC K Sergio Belinchón Venus Grotto 06 2013 Inkjet print on cotton paper 100 × 130 cm (Ed. 3 + 2 AP)

Towards the end of the nineteenth century, King Ludwig II of Bavaria ordered an artificial cave to be built at his Linderhof Palace. The cave was turned into a grotto that featured a lake illuminated by coloured lights to create a rainbow-like effect.

His grotto was complete with handcrafted stalactites that drew upon the geological formations of the Grotta Azurra in Capri. Sergio Belinchón used the fascinating architecture of the Venus Grotto, located on the grounds of Linderhof Palace, as the basis of his eponymous exhibition. Belinchón presents photographs of numerous caves that have been adapted to the needs of mass tourism. The pictures are reminiscent of man’s manipulation of nature and the construction of artificial environments, a recurring theme in Sergio Belinchón’s work.

This series of photographs unites a number of ideas Sergio Belinchón has been working on for some time, including tourism as a key factor in the artificialisation of natural spaces; the manipulation of nature, and man’s mark on particular environments. The artificial lighting used during visits to these natural spaces results in pictures that resemble colour-saturated early twentieth-century photographs that were coloured by manually applying dyes and anilines and skilfully create powerful dreamlike imagery.

These are contrasted with the nocturnal pictures of mountainous landscapes that stand in opposition to the colourful and elaborate underworld; they act as a reflection of the gloomy reality that Ludwig II was attempting to escape in his grotto.

Belinchón’s photographs produce connotations of a world of fantasy and unreality. They reflect on the thin line between reality and fiction and allude to a pictorial abstraction of surprising plasticity. Aesthetically, his photographs resemble the shapeless materiality of not knowing what we are seeing. Sergio Belinchón returns the natural elements of these architectural spaces and their manipulated geology to us in their natural form, without filters.

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HAINES GALLER Y, S AN FR A NC IS C O

MONIR FARMANFARMAIAN

H A I N ES G A LLERY: MONIR FARMANFARMAIAN WEBS I T E www.hainesgallery.com E- M A I L diane @ hainesgallery.com PHO N E +1 415 397 8114 CEL L +1 908 591 2445 CONTA C T N A M ES Cheryl Haines David Spalding

R EPR E S E N T E D AR T IST S Ai Weiwei Taha Belal Pierre Cordier Kota Ezawa Andy Goldsworthy Won Ju Lim David Maisel Aimé Mpane Darren Waterston Zhan Wang

COV E R Monir Farmanfarmaian First Family – Square (detail) 2010 Mirror, reverse glass painting, plaster and natural glue on wood 33.5 × 33.5 × 5 in INS I D E Monir Farmanfarmaian Nonagon & Decagon 2009 Mirror and reverse glass painting on plaster and wood 39.5 × 63 × 3.25 in B AC K ( L E FT ) Monir Farmanfarmaian Based on Hexagon 2012 Ink, mirror and reverse-painted glass on paper 30 × 42 × 2.75 in (framed) B AC K ( R I G H T) Monir Farmanfarmaian Octagon Sculpture 2013 Mirror, reverse glass painting, plaster and natural glue on wood 24 × 28 × 28 in

Iranian, b. 1924; lives and works in Iran.

On the eve of artist Monir Farmanfarmaian’s major traveling retrospective at the Guggenheim Museum in New York, Haines Gallery is pleased to spotlight the artist’s talents at VOLTA with a solo display of kaleidoscopic sculptures of mirrored glass, intricate works on paper, and rarely exhibited early work. This presentation coincides with the launch of her newest publication, Monir Shahroudy Farmanfarmaian: Works on Paper, an illustrated interview by Hans Ulrich Obrist and others.

Now at the height of her career, Farmanfarmaian has spent the last half-century articulating her singular vision through reverse-painted glass and mirrored objects that recall both Qajar-era Persian interior decoration and modernist abstraction of the 20th century. Having lived in New York during the 1940s and 1950s — first as an art student, and later as a fashion illustrator for the department store Bonwit Teller, where she worked alongside Andy Warhol — Farmanfarmaian absorbed the development both of Pop Art and Abstract Expressionism. This unique perspective, combined with her existing awareness of the arts and crafts throughout the ancient cities of her native Iran, produced a singular aesthetic fusion of Persian pictorial language and pristine geometry.

Farmanfarmaian first received significant attention in 1958, when she was awarded a gold medal for her work in the Iranian Pavilion at the Venice Biennale, leading to major exhibitions in Tehran, Paris, and New York. Due to the Islamic Revolution of 1979, however, she was forced to leave Iran and took refuge in New York. She returned to Tehran in 2000, where she reestablished a vibrant studio practice, resulting in an immense international resurgence of support for her work.

Farmanfarmaian’s artwork has been exhibited at major institutions and exhibitions worldwide, including the 29th Bienal de Sáo Paolo, Brazil (2009), the 53rd Venice Biennale (2009), and the 6th Asia Pacific Triennial of Contemporary Art, Queensland, Australia (2010), and Prospect 3, New Orleans (2014). She is the subject of a substantial monograph on the artist’s life and work, Monir Shahroudy Farmanfarmaian: Cosmic Geometry, completed by Hans Ulrich Obrist of the Serpentine Gallery, London. Recent acquisitions of Farmanfarmaian’s work include: Tate Modern, London, U.K.; Museum of Fine Arts, Boston, MA; Guggenheim Museum, New York, NY; and Metropolitan Museum of Art, New York, NY.

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PATRI CK HEIDE CONTEMPOR AR Y AR T, LO ND O N

ALEX HAMILTON

PATRI CK H EI D E: A LEX HAMILTON WEBS I T E www.patrickheide.com E- M A I L info @ patrickheide.com PHO N E +44 20 7724 5548 CEL L +1 646 797 7386 CONTA C T N A M ES Clara Andrade Pereira Patrick Heide

R EPR E S E N T E D AR T IST S David Connearn Pius Fox Károly Keserü Thomas Kilpper Minjung Kim Hans Kotter Sharon Louden Thomas Müller Reinoud Oudshoorn Susan Stockwell

COV E R Alex Hamilton Wave drawing with Slipstream (detail) 2014 Pitt pen on photocopy on canson watercolour paper 41.4 × 54 cm INS I D E Alex Hamilton Bruni 2015 Pen and ink, charcoal pencil, pastel, airbrush, pitt pen, gouache on photocopy on 180 Grm watercolour paper 39.5 × 58.8 cm B AC K Alex Hamilton Victor Harbour 2015 Pen and ink, charcoal pencil, pastel, airbrush, pitt pen, gouache on photocopy on 180 Grm watercolour paper 41.5 × 50 cm

Buildings and landscapes disintegrate; waves sneakily take over an Australian harbour view or a South London street corner: in Alex Hamilton’s latest works the flowing lines lead your eye into an ambivalent architectural landscape that constantly shifts between structure and dissolution. The artist challenges the conventional reading of space through the interplay of a myriad of unexpected and unpredictable lines, waves and shadows with a set of recognisable anchor images. A palm tree -lined flyover turns futuristic; in the new Masters series, Hamilton explores in different stages the materiality of a retail chain building.

Space is reinvented and reinterpreted through Hamilton’s trademark technique of photocopying photographs onto watercolour paper and then manipulating the images with a variety of drawing materials and techniques. The possibilities of these interventions are endless; no work resembles the next, since each image is carefully constructed by a unique assembly of partly erased and partly drawn areas. In the body of work exhibited, the imagined takes over the documented, as Hamilton increasingly emphasizes the drawing aspect of his creative process. The blocks of colour seen in previous works have now given way to subtle tonal accents, which guide the eye through the labyrinth of lines, where the boundaries between the photographic starting point and the layers of charcoal, pen and airbrushed colour are gradually blurred.

By asking us to re-orientate ourselves amidst the ordered chaos of the familiar and the imagined, Hamilton’s works open our tired eyes to the wonder of a distorted reality, a constant reminder of how subjective our perception is.

Alex Hamilton was born in Adelaide (Australia) in 1958. He has widely exhibited in the UK, Australia and the US. His work is part of several high profile collections such as the Saatchi Collection, the Victoria and Albert Museum, the Baltimore Museum and the Denver Museum of Contemporary Art.

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RI CHARD HELLER GALLER Y, LO S A NG E LE S

MICHELLE GRABNER

RI CH A RD H ELLER GALLERY: MIC HELLE GRABNER WEBS I T E www.richardhellergallery.com E- M A I L art @ richardhellergallery.com PHO N E +1 310 453 9191 CEL L +1 310 866 1653 CONTA C T N A M E Richard Heller

R EPR E S E N T E D AR T IST S Corey Arnold Firelei Báez AmyBennett NeilFarber DavidJien PacoPomet CharlieRoberts ZackSmith MaxSnow Devin Troy Strother

COV E R Michelle Grabner Untitled (detail) 2014 Silverpoint on panel 36 × 36 in INS I D E LE F T Michelle Grabner Untitled 2014 Flasche and black gesso on canvas 36 inches in diameter INS I D E R I G H T Michelle Grabner Untitled 2010 Gold and gesso on canvas 36 inches in diameter

Wisconsin-born Michelle Grabner works in a variety of mediums including drawing, painting, video, and sculpture. She is most widely known for her abstract metalpoint works and her paintings of textile patterns appropriated from everyday domestic fabric. Incorporating writing, curating, and teaching with a studio practice grounded in process and productivity, she has created a multi-faceted and dynamic career.

Grabner holds an MA in Art History and a BFA in Painting and Drawing from the University of Wisconsin–Milwaukee and an MFA in Art Theory and Practice from Northwestern University. She joined the faculty of the School of the Art Institute of Chicago in 1996, and became Chair of its prestigious Painting and Drawing Department in the Fall of 2009. She is also a senior critic at Yale University in the Department of Painting and Printmaking. Her writing has been published in Artforum, Modern Painters, Frieze, Art Press, and Art-Agenda, among others. She co-curated the 2014 Whitney Biennial at the Whitney Museum of American Art along with Anthony Elms and Stuart Comer.

I Work From Home, Michelle Grabner’s first comprehensive solo museum exhibition at the Museum of Contemporary Art, Cleveland, organized by David Norr, opened in October of 2013 and was on view through February 2014. Grabner will be the subject of a forthcoming solo exhibition at the Indianapolis Museum of Art curated

by Tricia Paik in May 2015. Solo exhibitions of Grabner’s work have also been held at James Cohan Gallery, New York; INOVA, Milwaukee; University of Wisconsin, Milwaukee; Ulrich Museum, Wichita; and University Galleries, Illinois State University. Grabner’s work is included in the permanent collection of Walker Art Center, Minneapolis; MoCA, Chicago; MUDAM, Luxemburg; Milwaukee Art Museum, Wisconsin; Madison Museum of Contemporary Art, Wisconsin; Daimler Contemporary, Berlin; Smithsonian American Art Museum, Washington DC and the Victoria and Albert Museum, London.

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RI CHARD HELLER GALLER Y, LO S A NG E LE S

DUSTIN YELLIN

RI CH A RD H ELLER GALLERY: DUSTIN Y ELLIN WEBS I T E www.richardhellergallery.com E- M A I L art @ richardhellergallery.com PHO N E +1 310-453-9191 CEL L +1 310-866-1653 CONTA C T N A M E Richard Heller

R EPR E S E N T E D AR T IST S Corey Arnold Firelei Báez AmyBennett NeilFarber DavidJien PacoPomet CharlieRoberts ZackSmith MaxSnow Devin Troy Strother

COV E R Dustin Yellin Untitled (small figure #38) 2014 Glass, acrylic and collage 35 × 13.75 × 7.75 in INS I D E ( L E FT ) Dustin Yellin Untitled (small figure #50) 2015 Glass, acrylic and collage 13.75 × 35 × 7.74 in INS I D E ( R I G H T) Dustin Yellin Psychogeography #43 2014 Glass, acrylic and collage 72 × 27 × 15 in B AC K Dustin Yellin The Triptych (detail) 2013 Glass, acrylic and collage

Dustin Yellin is a contemporary artist living in Brooklyn, New York, who is best known for his sculptural paintings. Multiple glass layers, each individually embellished, create a unified intricate, three-dimensional collage. His art is notable both for its massive scale and its fantastic, dystopian themes.

The work displays Yellin’s surreal romance with the detailed genius of the natural world and humankind’s dubious efforts to improve it. Yellin displays a ready willingness to experiment with forms and materials, using bizarre found objects, eccentric clippings from diverse sources, computer-generated images, acrylic, and glass.

Born in California and raised in Colorado, Yellin now resides in Brooklyn, New York where he founded the non-profit organization Pioneer Works, Center for Art and Innovation. He’s had solo exhibitions at James Fuentes Project Space, New York; Robert Miller Gallery, New York; Patricia Faure Gallery, Los Angeles; and 20 Hoxton Square Projects, London.

Yellin’s massive 12-ton, three-paneled, monumental work The Triptych made its museum premiere at the SCAD Museum of Art in Savannah, Georgia in early February 2014 and this year, from January to mid-March the sculpture will be displayed at S2, the New York gallery attached to worldwide auction house Sotheby’s. In this composition, with clippings, acrylic, and glass, Yellin perverts the view of nature displayed by the soaring landscapes of 19th-century romantics like Frederic Edwin Church. The preternatural scene recalls the orgiastic, aberrant violence of Hieronymus Bosch, with the wickedly sunny garden recast as an ominous, roiling sea.

From January 20th until March 1st, Yellin will exhibit an ensemble of fifteen Psychogeographies at Lincoln Center, part of the New York City Ballet’s annual Art Series initiative.

In March of 2015, Rizzoli will publish Dustin Yellin: Heavy Water, a detailed study of his most recent compositions.

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HILGER BROTKUNS TH ALLE , VIE NNA

DANIEL LEIDENFROST

H I LG ER BROTK U NSTHALLE: DANIEL LEIDENFROST WEBS I T E www.hilger.at E- M A I L michael.kaufmann @ hilger.at PHO N E +43 1 512 53 15 CEL L +43 65 0273 9650 CONTA C T N A M ES Ernst Hilger Michael Kaufmann Katrin-Sophie Dworczak

R EPR E S E N T E D AR T IST S Asgar/Gabriel Daniele Buetti Clifton Childree Faile Peterson Kamwathi Anastasia Khoroshilova Ángel Marcos Julie Monaco Cameron Platter Michael Scoggins

COV E R Daniel Leidenfrost Playground II (detail) 2014 C-print, ed. 2+1 40 × 60 cm INS I D E Daniel Leidenfrost Playground III 2014 C-print, ed. 2+1 40 × 60 cm B AC K Daniel Leidenfrost Playground III / Scholle 2014 Mixed media 17 × 22.5 × 18.5 cm

The series of works by Daniel Leidenfrost contain in their original composition two of the main topics of artworks in general: the forms of representation and the things and topics they present or stand for — things that are shown or should be shown.

Leidenfrost builds architectural and landscape models that he also uses as subjects for his photographs. In the process the photograph turns into a discrete piece of art, while the model remains an integral component yet becomes more elusive and harder to explore. In that setting, the structures and circumstances of production are radically put on display. Production, questions of verisimilitude, the materiality and the functions of media are reflected in Leidenfrost’s work.

What is remarkable in this process of production is the way that moods and emotions are transferred: the models have the character of handcrafted works and are reminiscent of lonely evenings in some railway workshop. The photographs evoke impressions of unfamiliar and at the same time well-known places in the viewer — strange and familiar, almost as in a dream.

Leidenfrost’s work takes on questions of truth, the construction of truth and the relation between perception and knowledge.

Daniel Leidenfrost, b. 1979 in Oberndorf next Salzburg. Graduated in 2008 with Diploma in Fine Art at the Academy of Fine Arts, Vienna. Grants: 2009 Studio grant of Salzburg, Cite des Arts, Paris; 2011 Nomination for the Kardinal König Kunstpreis, Salzburg, Vienna. Exhibitions (selection): 2010, November, Projektraum Viktor Bucher, Vienna; Dunst, Galerie 5020, Salzburg; 2012, Scheidungsgrund Architektenhaus, bb15, Linz; Hotel, Projektraum Viktor Bucher, Vienna; Europäischer Monat der Fotografie, MuSa, Vienna, Berlin, Paris; 2013, some Roads to somewhere, HilgerBrot Kunsthalle, Vienna; 2014, Rooming-In, Fotoforum Braunau. Collections (selection): Collection of city of Vienna; Collection of the state Austria; Collection of the federal state Salzburg; Collection Lenikus, Vienna.

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HILGER BROTKUNS TH ALLE , VIE NNA

SIMÓN VEGA

H I LG ER BRO TK U NSTHALLE: SIMÓN VEGA WEBS I T E www.hilger.at E- M A I L michael.kaufmann @ hilger.at PHO N E +43 1 512 53 15 CEL L +43 65 0273 9650 CONTA C T N A M ES Ernst Hilger Michael Kaufmann Katrin-Sophie Dworczak

R EPR E S E N T E D AR T IST S Asgar/Gabriel Daniele Buetti Clifton Childree Faile Peterson Kamwathi Anastasia Khoroshilova Ángel Marcos Julie Monaco Cameron Platter Michael Scoggins

COV E R Simón Vega Burned Toast Temple 2014 Wood, cardboard, plastic, found objects, paint 63 × 25 × 25 cm INS I D E Simón Vega Imperial Slum Ship 2013 Wood, plastic, light, found objects 80 × 90 × 260 cm + trail B AC K ( L E FT ) Simón Vega TRASH WARS 2014 Box of 6 signed prints Lithograph on paper, edition of 50 30 × 30 cm B AC K ( R I G H T) Simón Vega TRASH WARS 2014 Box of 6 signed prints Lithograph on paper, edition of 50 30 × 30 cm

Simón Vega creates drawings, ephemeral sculptures and installations inspired in the informal, self-made architecture and vendor carts found in the streets and marginal zones of El Salvador and Central America. These works, assembled with wood, cardboard, plastic and found materials often parody famous Modernist and mythological buildings and cities, surveillance systems as well as high-tech robots and satellites developed by NASA and the Soviet Space Program during the Cold War, creating an ironic and humorous fusion between first and third world, while commenting on the effects of that conflict in today’s Central America. In his latest installation (on view at Ernst Hilger @ MANA Contemporary, Jersey City) the artist uses generic transportation objects such as wooden pallets, plastic boxes, buckets, etc. along with colourful cloth and plastic mantels, live plants, light, sounds, small T.V. monitors and flea market objects to construct a flexible, temporary sculptural lounge-space inspired in street vendor stands from El Salvador and Central America. Combining elements from Modernist domestic architecture, Mesoamerican pyramids marketplaces and street vending displays from El Salvador. His works present different subjects, from historical, to archaeological to political & economic along with creative examples to everyday survival situations in Central America.

Gallery Ernst Hilger has been working with Salvadorian artist Simón Vega since 2011.

The gallery has the exclusive representation of his work in Europe since 2012.

Born in San Salvador, El Salvador in 1972, Simón Vega graduated in Fine Arts at the University of Veracruz in Mexico in 2000 and received a Master´s degree in Contemporary Arts from the Complutense University of Madrid in Spain in 2006.

He has exhibited his work extensively in Europe, the United States and Latin America, including the 55th Venice Biennial, the IX Havana Biennial, the Museo del Barrio’s “The S-Files” show in New York in 2011 and at the Bronx River Art Center in 2008, both in New York City, as well as at the BROT Kunsthalle and Gallery Hilger Next in Vienna, Austria (2010 & 2012). He currently works and lives in El Salvador.

Collections (selection): Perez Art Museum Miami, Miami; MARTE Museo Nacional del Arte, San Salvador; Collection Sanziany @ Palais Rasumofsky, Vienna; Artphilein Foundation, Lugano; Cassinelli Collection, Barcelona; Lodeveans Collection, London.

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HIONAS GALLERY, NE W Y O R K

GUILLERMO PFAFF

H I O N A S G A LLERY: GUILLERMO PFAFF WEBS I T E www.hionasgallery.com E- M A I L info @ hionasgallery.com PHO N E +1 646 559 5906 CEL L +1 917 974 1703 CONTA C T N A M E Peter Hionas

R EPR E S E N T E D AR T IST S Marina Adams Siri Berg Karlos Carcamo Dennis Hollingsworth Jill Levine Burton Machen Guillermo Pfaff David Rhodes Rebecca Smith Joan Waltemath

COV E R Guillermo Pfaff Inside-Out Painting (detail) 2014 Enamel on stretcher bars, Oil on linen 68 × 53 in INS I D E Guillermo Pfaff Inside-Out installation view October 17 – November 16 2014 Hionas Galler y, New York B AC K Guillermo Pfaff Space Painting 2014 Bleach and oil on canvas 26 × 21 in

Guillermo Pfaff (b. 1976, Barcelona) completed his formal art studies in 1999 and began exhibiting commercially. Although at the time he worked in various media, painting soon became his most recurrent language. The decision to focus on painting involved a certain degree of self criticism: the artist conceptualized the pictorial process in search of an approach that suited his circumstances. From 2002 to 2005 he left Spain to live in Paris and then Berlin. He returned to Barcelona the following year and produced a number of works at Hangar, the art production center, establishing links with the Association of Visual Artists of Catalonia (AAVC). In 2009 Pfaff recieved a grant to become a resident artist at Hangar for two years. In 2011 Pfaff recieved a grant with residence at Yokohama’s art Triennial, Japan. Pfaff has exhibited in various group and solo exhibitions throughout Europe, Russia and Japan since 1999. In 2014 Hionas Gallery, NYC presented Inside-Out; Pfaff’s inaugural Exhibition in the United States of America. Followed by a presentation of Guillermo Pfaff’s Paintings at the 2014 installment of Untitled Art Fair Miami.

AaPFAFF is the artistic project of Guillermo Pfaff. The aim is to reflect the concept of painting in the 21st Century through painting itself in relation to the circumstances and what it should represent.

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THE HOLE , NE W Y O R K

GABRIEL PIONKOWSKI

TH E H OLE: G A BRIEL PIONKOWSKI WEBS I T E www.theholenyc.com E- M A I L poke @ theholenyc.com PHO N E +1 212 466 1100 CEL L +1 917 698 3235 (Kr ysta Eder) CONTA C T N A M ES Kathy Grayson Krysta Eder

R EPR E S E N T E D AR T IST S Kadar Brock Evan Gruzis Misaki Kawai KATSU Taylor McKimens Evan Robarts Lola Montes Schnabel Kasper Sonne Matthew Stone Jaimie Warren

COV E R Gabriel Pionkowski Untitled 2012 Deconstructed, hand-painted and woven canvas, acrylic, red fir, maple, metal clips 91 × 18.5 × 6 in

231.14 x 97.79 × 15.24 cm (variable) INS I D E Gabriel Pionkowski Untitled 2013 Deconstructed, hand-painted and woven canvas, acrylic, red fir, artist’s frame, nails, aluminum clip. screws 72 × 48 in 182.88 × 121.92 cm B AC K ( L E FT ) Gabriel Pionkowski Untitled 2011 Deconstructed, hand-painted and woven canvas, acrylic, pine, gesso 50 × 27 in 127 × 68.58 cm B AC K ( R I G H T) Gabriel Pionkowski Untitled 2014–2015 Deconstructed, hand-painted and woven canvas, acrylic, pine, nails and staples 91 × 18.5 × 6 in

231.14 × 97.79 × 15.24 cm

For VOLTA NY the Hole will present a solo booth by artist Gabriel Pionkowski (b.1986) Pionkowski reimagines painting by delving deeper into the idea of canvas stretched over wood and covered with paint. Instead he de-threads the canvas, paints onto the threads and then re-weaves the threads into a new “painted canvas.” In these laboriously hand-made artworks for which he doesn’t use assistants, Pionkowski exhibits a variety of works that highlight different aspects of the technique and provoke different feelings. The largest work in the booth features a piece with wide draping painted threads, woven only along the borders with the stretchers visible.

This piece looks like the warp was removed from the weft of the canvas and the painting sagged into obscurity. Whereas the work on the opposite wall features two layers of de-threading and reweaving and is more about drawing: after the canvas is rebuilt from painted threads, a line drawing is painted on the surface before the new painting is further cut into strips and woven a second time. This integration of painting onto the surface adds a double depth to the piece in content and structure.

Other works on our outside walls are more deconstructed; in one, the slats used to hold the weave are left in the piece and the half-woven work is draped over a pole. in a second, flaps of weaving fold out or drape in a piece reminiscent of a tailor’s shop. All works in the booth large to small force us to re-imagine what we think of when we think of a painting.

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MARIANE IB R AHIM, S E ATTLE

MAÏMOUNA GUERRESI

MA RI A N E I BRA H I M: MAÏMOUNA GUERRESI WEBS I T E www.marianeibrahim.com E- M A I L info @ marianeibrahim.com PHO N E +1 206 467 4927 CEL L +1 602 463 1169 +1 206 734 6440 CONTA C T N A M ES Mariane Ibrahim-Lenhardt Emma McKee

R EPR E S E N T E D AR T IST S Jim Chuchu Soly Cisse Scarlett Coten Negar Farajiani Ayana V. Jackson Sofie Knijff Fabrice Monteiro Jean-Claude Moschetti Malick Sidibe Kimiko Yoshida

COV E R Maïmouna Guerresi Supha 2008 Resin and fabric 85 × 60 × 47 cm + 400 cm fabric INS I D E Maïmouna Guerresi Black Oracle (Cosmo) 2009 Lambda print on plexiglass (16 circular pieces) 80 × 80; 50 × 50; 48 × 48; 38 × 38; 31 × 31; 27 × 27; 22 × 22; 18 × 18; 15 × 15; 11.5 × 11.5; 10 × 10;

7 × 7; 5 × 5; 5 × 5; 3 × 3; 3 × 3 cm B AC K ( L E FT ) Maïmouna Guerresi M-Eating, White Rubber Tire First Lesson 2014 Lambda Print on dibond 100 × 41 cm each (x 4 piece) + 3 cm space Total encumbrance 100 × 173 cm B AC K ( R I G H T) Maïmouna Guerresi Surprise 2010 Lambda Print 100 × 63 cm

Maïmouna Patrizia Guerresi is a photographer, sculptor, installation artist who lives between Italy and Senegal. Her work originates from conceptual experimentations inspired by the 1970s Body Art. Guerresi, early in her career, in 1982 and 1986 was invited to participate in the Venice Biennale as well as Documenta K18 in Kassel, Germany in 1987.

In 1991, Guerresi travelled to various Muslim African countries. This journey marked her new identify and the direction of her body of work. She adopted the name Maïmouna and focused on recurring themes about multicultural symbolism and feminine spirituality.

In 1999, Guerresi presented her first set of white resin sculptures, Bui Bui: veiled women sitting in a circle, accompanied by her remarkable video ‘The Virgin of the Rocks’. Various shows associated with this theme followed in Italy, Spain, Africa and the USA. For the 2006 Winter Olympics in Turin, she presents her large-scale ‘Light Signs’ sculpture, a year later in collaboration with the Arterra Museum, she exhibits two photographic works and a video at the Faccia Lei exhibition, at the Venice Biennale.

Her search of the ‘mystic body’ entices her to create a new form of language constituted from traditional iconographic references such as Saints or Virgin Mary’s. In her “Giant” series, the artist depicts the floating bodies as a metaphor of the soul, constantly blurs the gender of her subjects and marks a white line on their faces to form a balance of body and soul. Guerresi’s work is linked both to Western cultures and Sufi philosophy; her recent works, M-Eating (meeting+eating) reflect a fusion of cultural and religious influences and present the status of contemporary man and his relation-ship to society. An almost meditative and contemplative reflection where the protagonists interrelate and seem to expect the spiritual voice that will save humanity.

For over twenty years, Guerresi’s poetic work has been about empowering women, bringing together individuals and cultures in an appreciation for a context of shared, humanity beyond psychological, cultural and political borders.

Guerresi’s powerful and authentic work has been widely curated, exhibited at internationally acclaimed fairs and biennales. Her artwork has been collected by private and public collections.

VOLTA N Y 2015 | B OOT H N UMBE R D 18

INDA GALLERY, B U D A P E S T

BALÁZS KICSINY

I N D A GA LLERY: BALÁZS KIC SINY WEBS I T E www.indagaleria.hu E- M A I L info @ indagaleria.hu PHO N E +36 1413 1960 CEL L +36 307 304 230 CONTA C T N A M ES Zsolt Kozma Agnes Taller

R EPR E S E N T E D AR T IST S Marianne Csáky Lajos Csontó Márta Czene Kim Corbisier Róza El-Hassan Judit Fischer Endre Koronczi Judit Navratil Kamen Stoyanov Ádám Szabó

COV E R Balázs Kicsiny Epilogue to the Anthem 2013 Textile, billiard balls, wood, varnish 200 × 120 × 50 cm INS I D E Balázs Kicsiny Ordination series, 1.

2013 Gouache on paper 21 × 29.5 cm B AC K Balázs Kicsiny The State of Play 2013 Looped video

With a long list of solo shows, participations and lecturing across Europe and the US in his backpack, 2005 Venice Biennale participant Balázs Kicsiny is now back in New York at the booth of Inda Gallery. This time, he presents sculpture, painting and video, all connected to Carambole, a game of the billiard family. For Kicsiny, this game is a performative expression of coincidence, determination and destiny.

The sculptural piece of the show is Epilogue to the Anthem (2013), an object assemblage, a combination of a billiard table and a coffin. This object ignores gravity by standing upright, leaning against the wall, with three billiard balls, two white and one red, on its green surface.

The second work is The State of Play, a looped video that depicts a billiard table, filmed from above in a way that the table fits the screen’s edges. The burning billiard balls, beauteous and dramatic, are also destructive with their flames as they roll across the table. Kicsiny’s video has reminiscences of Jean Pierre Melville’s film Le Cercle Rouge (1970). “…Le Cercle Rouge was basic to this work, as was the fact that somehow I had got fascinated with billiards. I took classes, and wanted to know everything about the game. I did some research on the Internet, and found that a famous player had died shortly before. This related the themes of death and billiards, the game and irreversibility for me... this was how the billiards table became a coffin, with the burning balls leaving those irreversible marks…”

The paintings in the show continue the subject of the absurd billiard game. Here, the player interacts with the billiard table through impossible maneuvers, like balancing, laying or kneeling on the three billiard balls, under a coffin-lamp, a special kind of lighting for this game of balance and control. www.balazskicsiny.com The book Balázs Kicsiny: Killing Time, Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2014, is available at the booth.

VOLTA N Y 2015 | B OOT H N UMBE R B 13

JEN KINS JOH NSON G ALLERY, SAN FR ANCIS CO

NE W Y O R K

KENYATTA A.C. HINKLE |

JENKINS JOHNSON GALLERY: KENYATTA A.C. HINKLE WEBS I T E www.jenkinsjohnsongallery.com E- M A I L sf @ jenkinsjohnsongallery.com PHO N E +1 415 677 0770 CONTA C T N A M E Karen Jenkins-Johnson

R EPR E S E N T E D AR T IST S Ben Aronson Lalla Essaydi Tim Etchells Julia Fullerton-Batten Scott Fraser Annie Kevans Gordon Parks Patricia Piccinini Melanie Pullen Timotheus Tomicek

COV E R Kenyatta A.C. Hinkle Traditional Attire of the Asheentee Healing People of Central Kentifrica 2014 Cotton, synthetic fiber, deerskin, pigment, beads, mirrors, thread dimensions variable INS I D E Kenyatta A.C. Hinkle The Bastion 2015 Gouache, cotton paper, India ink, collage on wood panel 8 × 10 in B AC K ( L E FT ) Kenyatta A.C. Hinkle The Baracas: An Ancient Kentifrican Instrument that tracks the orbits of distant planets, re-created with Kevin Robinson and Eugene Moon for the Ethnomusicology of the Kentifrica project.

2012 Wood, silver, pigment

18 × 6 in B AC K ( R I G H T) Kenyatta A.C. Hinkle Tituba Siphons Up Her Spectators in Order to Feed Her Young 2013 India ink and compressed charcoal on paper 48 × 48 in

All images copyright Kenyatta A.C. Hinkle

Kenyatta A.C Hinkle is an interdisciplinary visual artist, writer, and performer who integrates cultural criticism, personal narrative, social practice, and historical research to interrogate structures of power concerning race and representation. Hinkle questions how these structures influence ideas of self through drawing, painting, collage, video, and performance. Hinkle conducts extensive experimentation and play to form several bodies of work simultaneously.

Her work was shown in The Studio Museum in Harlem’s Fore exhibition, and she was the youngest participant in the Made in LA 2012 biennial at the Hammer Museum in Los Angeles. She was listed on The Huffington Post’s “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know.” Her artwork and performances have been reviewed by Artforum, The New York Times, The Washington Post, and the Los Angeles Times, among others. She was a finalist for the 2013 Los Angeles Artadia Award. Ms. Hinkle will be featured in an upcoming article in Transition Magazine, a Harvard University Publication. Hinkle is currently working on the following two projects: The Uninvited Series, started 2008: Through drawing and painting interventions, Hinkle reconstructs narratives of late 19th and early 20th century West African ethnographic photography taken by French colonialists that were heavily distributed throughout Europe as postcards to enforce the construction of the African (and black) female body as exotic, hypersexual, and primitive. By drawing and painting on top of these photos, Hinkle uses the metaphor of disease as colonialism to represent the ramifications of colonial conquest.

The Kentifrica Project, started 2010: Kentifrica is the continent of Hinkle’s ancestral origins that has a mélange of cultures and influences from Kentucky and parts of West Africa. Kentifrica is meditation on what can and cannot be mapped when dealing with constructions of cultural identity. Within the project Hinkle takes on the roles of an auto-ethnographer, performer and museum director. She adopts various forms of presentation: essays, interviews, storytelling artifacts, drawings, and video to embody a Kentifrican consciousness. The Kentifrican Museum of Culture is a diasporic museum/social practice project that involves collaborations with artists and people who do not formally identify as artists in order to examine Kentifrican identity.

VOLTA N Y 2015 | B OOT H N UMBE R D 7

KEVIN KAVANAG H, D U B LIN

ROBERT ARMSTRONG

K EVI N K AVA N A G H : ROBERT ARMSTRONG WEBS I T E www.kevinkavanagh.ie E- M A I L info @ kevinkavanagh.ie PHO N E +353 1 475 9514 CEL L +353 86 396 2248 CONTA C T N A M E Kevin Kavanagh

R EPR E S E N T E D AR T IST S Elaine Byrne Diana Copperwhite Nevan Lahart Vanessa Donoso Lopez Sean Lynch Sinéad Ní Mhaonaigh Paul Nugent Sonia Sheil Mark Swords Colm Tóibín Ulrich Vogl

COV E R Robert Armstrong Wandering Cloud 2014 Oil on linen 30 × 40 cm INS I D E Robert Armstrong Sigiriya 2015 Oil on linen 90 × 120 cm B AC K Robert Armstrong The Problem of Rain 2013 Oil on linen 40 × 50 cm

‘One of the hallmarks of Armstrong’s talent is his tact. While his work depends for some of its strength on his reading of the work of painters from the past, and his thinking about the history and process of painting, it also depends on a sort of controlled spontaneity, a sense of free gesture, quick mark, brave addition. There is something distinctly anti-heroic in how he approaches the making of an image.

Thus he will take a small section of an earlier painting rather than its entire import; he will almost playfully extract a colour or an image, and then see what will happen as he lets this merge with his own concern with making new images which are open-ended and suggestive, which come from the mind and from dreams, or which come from some set of imaginative resources which lie at the heart of his talent, a talent which is both considered and ready, as he paints, to surprise us and himself.’

— Colm Tóibín Robert Armstrong (b. 1953, Ireland) lives and works in Dublin. Recent shows include Assumptions, Kevin Kavanagh (2014), New Connections, Rua Red (2011), Blimp on the Horizon, Kevin Kavanagh (2009). He is a founder member of Temple Bar Gallery and Studios, and Head of Painting at the National College of Art and Design.

Kevin Kavanagh is one of the Ireland’s premier galleries showing Irish and international contemporary art. Founded in 1998, in 2008 the gallery moved to a custom-built 135m² space in the centre of Dublin. It represents both established and emerging artists from Ireland and abroad. The gallery’s annual programme consists of 8 solo and 2 curated group shows as well as special events, screenings, performances, artist’s talks and participation at international art fairs. The gallery has published over 30 books on art.

VOLTA N Y 2015 | B OOT H N UMBE R A 4

GALERIE KLEINDI E NS T, LE IP Z IG

TILO BAUMGÄRTEL

G A LERI E K LEI N D I ENST: TILO BAUMGÄRTEL WEBS I T E www.galeriekleindienst.de E- M A I L kontakt @ galeriekleindienst.de PHO N E +49 341 477 4553 CEL L +49 170 808 5816 CONTA C T N A M ES Matthias Kleindienst Christian Seyde

R EPR E S E N T E D AR T IST S Peter Busch Christian Brandl Henriette Grahnert Julius Hofmann Tobias Lehner Rosa Loy Nadin Maria Rüfenacht Christoph Ruckhäberle Annette Schröter Corinne von Lebusa

COV E R Tilo Baumgärtel Untitled (detail) 2014 Charcoal on paper 140 × 220 cm INS I D E Tilo Baumgärtel Untitled 2014 Charcoal on paper 140 × 220 B AC K Tilo Baumgärtel Motivation 2009 Charcoal on paper 120 × 200 cm

Baumgärtel thinks in filmic and theatrical terms, and his staged spaces have an extraordinary unity as painterly compositions. Within his complex pictorial arrangements, his figures are exposed in their isolation. They are shown in interior and exterior spaces, frozen mid-step as they realize that they have entered at the wrong time. They wait on staircases and in hallways, on beaches and wharfs; they meditate at writing desks or pianos or blow their psychoplasm pensively at the moon, always with unmoved faces (some reveal their dreams and yearnings, floating above their heads in the kind of speech bubbles found in comics). The pictorial spaces that Baumgärtel creates are like memories and fantasies torn from their proper homes, offering visions of incipient decay or a looming downfall — we can’t help but feel we are looking at the visualization of someone’s worst-case scenario. This unsettling world is one of beguiling possibilities — of the dark, of threatening incidents, or of the menace of something unforeseen that enshrouds the figures in their postcatastrophic surroundings. Baumgärtel’s paintings have considerable affinity with the great decades of the late nineteenth and early twentieth centuries — the spirit of Max Klinger; Arnold Böcklin and Edvard Munch with a leavening of Giorgio de Chirico. The contemporary relevance of his work is anchored in his respect for tradition and in a sense of rootedness within it. He has thrown the window of memory wide open and made the past contemporary.

(Excerpt of Christoph Tannerts: Tilo Baumgärtel, Vitamin P2. New perspectives in painting, 2011, Phaidon, 48-49.)

VOLTA N Y 2015 | B OOT H N UMBE R F 5

GALLER Y KOG U R E , TO KY O

FUYUKI MAEHARA

G A LLERY K OGU RE: FUY UKI MAEHARA WEBS I T E www.gallerykogure.com E- M A I L info @ gallerykogure.com PHO N E +81 3 5215 2877 CONTA C T N A M E Hiroshi Kogure

R EPR E S E N T E D AR T IST S Atsuko Goto Fuco Ueda Hidenori Yamaguchi Keita Tatsuguchi Kenichiro Ishiguro Ryo Shiotani Takahiro Hirabayashi Takahiro Yamamoto Takato Yamamoto Taiichiro Yoshida

COV E R Fuyuki Maehara Spiral Man 2014 Japanese horse-chestnut, Oil 6 × 28 × 3 cm INS I D E Fuyuki Maehara Ikkoku 2014 Magnolia Obovata, Box tree, Oil, Traditional ink 72 × 16 × 10 cm B AC K Fuyuki Maehara A crab 2006 Tsuge, Oil 9.5 × 4.5 × 2.3 cm (crab) 12.2 × 7.5 × 2 cm (marble)

Please see this sculpture. This is a wooden sculpture by Fuyuki Maehara. For several months, he carved one log without compromise by the blade remodeled by him to be thinner. And in the next several months he paints it with oil for completion. Maehara’s biography is unique. Although he loved to create objects, he did not like art classes at school. After high school, he tried to be a professional boxer and changed jobs frequently. However, when his fellow workers passed an entrance exam for a college, Maehara started to sit for entrance exams for art colleges. After several rejections,he passed the examination for Oil Painting Department of Tokyo National University of Fine Arts and Music in 32 years old. Even so, he did not devote himself into continuously piling up the oil paints for a picture but chiseling away the material for a sculpture. Maehara taught himself carving techniques, and concentrated on the subtracting process of sculpturing. The ethos of removal leads him to find the elegance of forgotten sceneries or the moment an object has surpassed its prime.

It is easy to be distracted by his technique such as sculpting from one log, or reproducing the model as is. However, I emphasize his essence does not stay there. We must see the spirituality as the most significant aspect of his work. After experiencing different lives, Maehara has reached to the stage to observe continuously his own loneliness. This makes him feel through his skin impermanence of any things (which is the basic teaching of Buddhism), and find simple and modest beauty within. As he works meticulously, Maehara can’t produce many works in a year. In addition, the structure of his sculpture is so delicate that it is rare to exhibit his work in numbers. In the contemporary art, many voices have shouting matches with glitter and concept with C. In contrast, the world of Maehara is quiet. His work discloses the beauty of simple existence, which is the most atypical and avant-garde nowadays.

VOLTA N Y 2015 | B OOT H N UMBE R B 4

GALER IE KOR NFE LD , B E R LIN

ROBERT FRY

G A LERI E K ORN FEL D: ROBERT FRY WEBS I T E www.galeriekornfeld.com

Recently listed among the ‘100 Painters of Tomorrow’, British artist Robert Fry presents a selection of mixed media on canvas and etchings.

E- M A I L galerie @ galeriekornfeld.com

Much of Fry’s work features the human body. His intricate, complex figures stand, either in groups or pairs, naked, exposed and dominate the canvas. Fry’s work simultaneously reveals and conceals a lot about his subjects. He uses the male body as a means to unlock complex, inner psychological processes and sensations.

PHO N E +49 30 889 225 890 CEL L +49 157 3751 5827 CONTA C T N A M ES Julia Prezewowsky Alfred Kornfeld

R EPR E S E N T E D AR T IST S Jose’ M. Ciria Stephane Couturier Natela Iankoshvili Franziska Klotz Tamara Kvesitadze Alexander Polzin Susanne Roewer Hubert Scheibl Leonardo Silaghi Sonny Sanjay Vadgama

COV E R Robert Fry Unique Self Etching 2013 Etching, hand colored 16 × 12 in 42 × 30 cm INS I D E Robert Fry Red 11 2012 Acrylic, Oil, Enamel on Canvas 78 × 112 in 198 × 285 cm B AC K Robert Fry Colored Diptych Part 1 2013 Etching on zinc plate 30 × 45 cm

The cycle of life is at the heart of Fry’s work. There is a deeply spiritual element to his practice, which can be read as a perfect symbiosis of thinking, suffering, pain and expectation. Fry engages with the issues surrounding relationship and succession.

In the implementation of his themes, Fry has achieved his own distinctive visual language, one that is strongly embedded in the tradition of British painters and can be seen as further development of the intellectual and stylistic heritage of Francis Bacon and Lucian Freud. Robert Fry seems to share his predecessors’ concerns with not only depicting the figure in space, but also attempting to point to the essence of what it means to be human.

Robert Fry (London, *1980) was nominated for the prestigious John Moore Contemporary Painting Prize. Recently he has been listed among the ‘100 Painters of Tomorrow’. His works have been shown at the Hermitage Museum of St.Petersburg, in LA and extensively throughout Europe. He is represented in prominent collections worldwide, including the Saatchi Collection, the Museum of Modern Art Moscow and the collection of Mario Testino.

VOLTA N Y 2015 | B OOT H N UMBE R C 20

LYNCH THAM, NE W Y O R K

QUISQUEYA HENRÍQUEZ

LYN CH TH A M : QU ISQUEYA HENRÍQUEZ WEBS I T E www.lynchtham.com E- M A I L info @ lynchtham.com PHO N E +1 212 387 8190 CEL L +1 917 327 3580 CONTA C T N A M ES Florence Lynch Bee Tham

R EPR E S E N T E D AR T IST S Tiong Ang Carolina Raquel Antich Leonard Bullock Pedro Calapez Guglielmo Achille Cavellini Carlo Ferraris Quisqueya Henriquez Greg Kwiatek Walter Robinson

COV E R Quisqueya Henríquez Frederick Hammersley And Ellsworth Kelly (detail) 2014 Collage on Ink Jet Print on Hahnemuhle paper mounted on Dibond (Frame inside a frame) 36 ¾ × 60 in INS I D E Quisqueya Henríquez Lothar Schreyer / Donald Judd 2014 Collage on Ink Jet Print on Hahnemuhle paper mounted on Dibond (Frame inside a frame) 36 ½ × 55 in B AC K ( L E FT ) Quisqueya Henríquez Ana Mendieta / Morris Louis 2013 Digital Collage on Hahnemuhle paper 10 × 12 in B AC K ( R I G H T) Quisqueya Henríquez Piero Manzoni / Georgia O’Keeffe 2013 Digital Collage on Hahnemuhle paper 10 × 12 in

In 2013 Quisqueya Henríquez did an Artist in Residence program at the Bronx Museum. Her idea was to work with something related to the city, but within the context of her work. The resulting works linked the idea of eliminating blank spaces, working with shapes and color saturated surfaces to somehow break the continuity of the white cube. Her first influence in this genre was the architect Arne Jacobsen.

Her first pattern, for Art Positions in 2008, Art Basel Miami, was a recreation of one of his fabric illustrations, and in years follow, she have created other patterns with images from works of art, architectural fragments, geometric forms and any other items that caught her attention.

The works presented at VOLTA consist of two aspects: the patterns and the photographs of the collages made from recognizable works of arts.

Of significance, and considering MoMA as one of the central icon of culture in New York, she used images of pieces in the institution’s collection that are available on its website. After selecting and printing the pieces, she builds small sculptures of photographic paper. Some are works by Ellsworth Kelly, Jackie Winsor, Dorothea Rockborne, and Carmen Herrera, among others. After building the collages/sculptures, she photographed them. The last step ends up being a picture of the original collage, which is framed and then goes into the framed pattern. The pattern is the backdrop where the collage will hang. The final result is a mesmerizing display of patterns and colors.

Quisqueya Henríquez, a leading figure among Caribbean artists, was born in 1966 in Havana, Cuba, and raised in Dominican Republic where she currently lives. She graduated from the ISA, Instituto Superior de Arte, Havana, Cuba, in 1992 and have since developed a distinguish career, exhibiting in well-known institutions include the Perez Museum, Miami; Miami Art Museum, The Bronx Museum, Brooklyn Museum, Institute of Visual Arts, Milwaukee, Contemporary Art Museum, Baltimore, Museo Rufino Tamayo, Mexico City. Exhibition reviews and articles were published in Art in America, Artforum, Frieze Magazine, ARTnews, Sculpture Magazine, The New York Times, Art Papers, among others. Artist Residencies include Mattress Factory, Pittsburgh, Pennsylvania; French Academy in Rome at Villa Medici, Rome, Italy; Inova, Institute of Visual Arts at The University of Wisconsin in Milwaukee; McColl Center for Visual Arts, Charlotte North Carolina; Bronx Museum of the Arts, Bronx, NY. Henríquez was the commissioned artist under the program Davidoff Art Initiative, for the first Davidoff Limited Art Edition cigar boxes featuring original commissioned artwork by the artist. The editions launched in 2014 at Art Basel Hong Kong and were presented in the Davidoff Collectors’ lounge at Art Basel Miami beach, 2014.

VOLTA N Y 2015 | B OOT H N UMBE R D 2

MA2GALLE R Y, TO KY O

NOBUAKI ONISHI

MA 2GA LLERY: N OBUAKI ONISHI WEBS I T E www.ma2gallery.com E- M A I L ma2 @ ma2gallery.com PHO N E +81 3 3444 1133 CEL L +81 80 1132 3353 CONTA C T N A M ES Masami Matsubara Meiko Kobayashi

R EPR E S E N T E D AR T IST S Akihiro Higuchi Ken Matsubara Keisuke Kondo Kyotaro Hakamata Mats Gustafson Mikiya Takimoto Naoko Sekine Tamotsu Fujii Tomotaka Yasui Yasuko Iba

COV E R Nobuaki Onishi Denkyu 2014 Acrylic, mixed media 6 × 6 × 15 cm Cord size variable Unique INS I D E Nobuaki Onishi Chen 2014 Paint on resin Size variable Unique B AC K Nobuaki Onishi Yushitessen (part) 2014 Paint on resin 20 × 20 × 3.5 cm Unique

Nobuaki Onishi creates objects by casting transparent resin into molds made out of objects found in our daily life. He then skillfully paints parts of his work, replicating a realistic look, which leads his work to become a unique piece of art. He makes art that is hard to tell if it was real at first sight. He is interested to see how viewers respond to the superficial appearance of the objects and how they distinguish the artificial objects from the real.

A R TIS T S TATE M E NT This is something that happened to my mother in the past. Someone witnessed her in a completely different place from where she as a person exists. I had no sense of fear or curiosity of the occult towards this so-called doppelganger effect, but the fact that the presence was there at all felt more real to me then my mother who actually spoke and breathed.

My work consists mostly of using casting and woodblock printing techniques with resin, scraping off the object surface, transitioning it to a different material through the application of colors indistinguishable from the real thing. For example, in using glass as the motif in my work titled garasu, it has a surface that is as close to glass as one could achieve, and yet is an object that exists as a completely different entity from glass, torn apart between these two bodies. The clearer the glass, the clearer the images of the scene opposite transferred to this side, and vice versa with equally clear images of the scene on this side. In other words, it is a unique object that exists in an ambiguous territory, in which the more transparency there is, the more tension there is.

Glass attains its most elevated material texture when it cracks, shatters into smithereens, or occasionally cuts my hand. Superbly accurate work lies in extracting only the surface details of the glass and nothing more. That surface is not converted into something else, nor is there any verbal sharing of emotions or a theme for making the right judgment. However, there is no denying the fact that the exact same surface as the glass is present, along with the dissimilarities.

When the object is transformed into another object, with all of its human relationships severed even while retaining the same surface as glass, its presence becomes “nothing.” Because it no longer exists as something this or something that, it becomes more powerful, engaging the humanistic senses and memories, as if to become a container for all kinds of consciousness to flow into. Just like the Japanese sense of nature, things lying around like rocks or shards of glass at times become the memory of weightiness, at times become humor, and at times become paranormal entities.

This could be described as the doppelganger transformation of all things and facts.

— Nobuaki Onishi

VOLTA N Y 2015 | B OOT H N UMBE R D 1

MAKEB IS H, NE W Y O R K

ADRIAN TONE

MA K EBI SH : A D RI AN TONE WEBS I T E www.petermakebish.com E- M A I L peter @ petermakebish.com PHO N E +1 917 741 0077 CONTA C T N A M E Peter Makebish

COV E R Adrian Tone Untitled 2014 Acrylic on watercolor paper 48 × 96 in INS I D E Adrian Tone Untitled 2014 Acrylic on watercolor paper 48 × 96 in B AC K ( L E FT ) Adrian Tone Untitled 2014 Acrylic on watercolor paper 48 × 96 in each B AC K ( R I G H T) Adrian Tone Untitled 2014 Acrylic on watercolor paper 48 × 96 in

Adrian Tone makes big pictures that are meant to seem quick and intuitive, like sketchbook drawings. He is attracted to the freedom to experiment that comes so naturally when working small and wants to bring the same sense of immediacy into the large works. It is important they don’t look contrived. They are a flash snapshot.

The pictures are 4 x 8 feet, a standard sheet of material. They are made with acrylic, pigment, and paper which can then be directly attached to an aluminum sheet.

Making them involves painting, printmaking, and photographic mounting processes.

One of the reasons they are vertical is because he wants them to be looked at, not landscapes to be looked into. While they are associative (plastic bags, dead skin, transparent veils) it is important they look as an object, as a thing, as a piece of material first. They are both what they are and a representation of themselves at the same time. They talk about how they are made: torn, dislodged, washed up and patched up.

VOLTA N Y 2015 | B OOT H N UMBE R D 17

PAT RI CK MIKHAIL GALLERY, OTTAWA | MO NTR E A L

NATASHA MAZURKA

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

R EPR E S E N T E D AR T IST S Sara Angelucci Jessica Auer Scott Everingham Jay Isaac Thomas Kneubühler Jennifer Lefort Amy Schissel Cindy Stelmackowich Andrew Wright Michael Vickers

COV E R Natasha Mazurka Hydra (detail) 2015 Design for Cut Vinyl Pattern 108 × 72 in INS I D E Natasha Mazurka Index II, Set Two 2015 Hand Embossed Parchment Paper 12 × 17 in

For VOLTA NY 2015, PATRICK MIKHAIL GALLERY and Natasha Mazurka have created Generate/Regenerate, a site-specific installation of embossed drawings, paintings, and cut-vinyl patterns that investigates the design and expression of pattern systems as a means to connect with other living systems. By engaging visual syntax from assorted disciplines and eras, Mazurka explores how the designs we create are shape-shifting and regenerative — a reflection of ourselves in contact with the external world.

A biomorphic whiplash motif marks the starting point of Generate/Regenerate; the iconic symbol of Art Nouveau and a potent emblem of fin-de-siècle fusions between industry and design, natural science and art. The year 2015 marks the centennial of Art Nouveau’s demise and its approach to industrial modernity, which was ripe with fantasy, science fiction, mythology and subjectivity, and rich in patterns inspired by nature, industry and Japanese design. The installation draws on this past era of regeneration to engage with the broader processes of regenerative systems and the nature of pattern languages, which rely on limited means to continuously map the world around us. Mazurka’s art practice investigates the communicative potential of pattern and addresses the role of pattern systems as sites that order experience with both trans-cultural and trans-disciplinary histories.

Mazurka earned an Honors BA from McMaster University, and an MFA from Concordia University where she was the recipient of the J.W. McConnell Fellowship.

Recent exhibitions include Recombinant, Prince Takamado Gallery, Tokyo, Japan; Papier Contemporary Art Fair, Montreal; Still Light, Karsh-Masson Gallery, Ottawa, Canada; and Natural Motif, Ottawa Art Gallery, Ottawa. Her work is held in numerous collections including Foreign Affairs Canada; City of Ottawa Fine Art Collection; Canadian Fine Art Collection of Gotland, Sweden. She has participated in residencies including the Brucebo Fine Art Fellowship and Residency, Gotland, Sweden; the Vermont Studio Center Painting Fellowship and Residency, Johnson, VT; and a Media Arts Creation Residency from DAïMON, Gatineau, Québec.

PATRICK MIKHAIL GALLERY 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 and 2014, and VOLTA 10 BASEL, and its artists have recieved 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 GALLERY is a member of the Art Dealers Association of Canada and l’Association des galeries d’art contemporain.

VOLTA N Y 2015 | B OOT H N UMBE R B 12

MIXED GR EENS , NE W Y O R K

RUDY SHEPHERD

MI X ED G REEN S: RUDY SHEPHERD WEBS I T E mixedgreens.com E- M A I L info @ mixedgreens.com PHO N E +1 212 331 8888 CONTA C T N A M ES Heather Bhandari Steven Sergiovanni

R EPR E S E N T E D AR T IST S Kim Beck Sonya Blesofsky Howard Fonda Joan Linder Adia Millett Mark Mulroney Stas Orlovski Rudy Shepherd Julianne Swartz Mary Temple

COV E R Rudy Shepherd The Healer 2014 Glazed ceramic 13 × 9.5 × 4 in INS I D E Rudy Shepherd Portraits 2007-2015 Watercolor on paper Each 12 × 9 in B AC K Rudy Shepherd Healing Devices, No. 4 2012 Glazed ceramic 5.5 × 6 × 5 in

Since 2007, Rudy Shepherd has focused on how people are visually represented and the often problematic way mass media illustrates its stories through sensationalized, but seemingly definitive, depictions of criminals and victims. A slow accumulation of drawn and painted portraits quickly escalated into a practice including near-daily drawings of the people Shepherd sees in the news. Through his lens, the news is filtered, sorted, and complicated. Heroes, villains, tragedies, and triumphs hang together. By rendering portraits of individuals who are sensationalized or even demonized by the media, Shepherd invites us to contemplate and pay homage to their complexity as human beings as well as the multifaceted nature of the stories and issues they represent.

In an attempt to counter the tragedy, conflict, and misunderstanding that pervade the work’s source material, Shepherd also produces objects with the power to heal personal and social ills. Although he proposes no solution, his sculptures, including ceramic healing devices and shaman-like idols, feel ceremonial and key to the eradication the world’s negative energy.

Rudy Shepherd received an MFA from the Art Institute of Chicago. Solo exhibition venues include Carnegie Mellon University, Wake Forest Univeristy, and Location One in NYC. Group show venues include The Studio Museum in Harlem; The Warehouse Gallery, Syracuse, NY; Triple Candie, NYC; the Swiss Institute, NYC; PS1 Contemporary Art Center, Queens, NY; the Contemporary Museum, Baltimore, MD; the Bronx Museum of Art; and the Queens Museum of Art. He received a fellowship from Socrates Sculpture Park and was a resident artist at the PS1 International Studio Program, the Jacob Lawrence Institute for the Visual Arts, and LMCC. He lives in NYC and State College, PA. His work is currently on view in When the Stars Begin to Fall currently traveling from The Studio Museum in Harlem to the Museum of Art, Ft. Lauderdale, FL, and the ICA in Boston, MA.

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GALLER Y MO MO , TO KY O

KATSUMI HAYAKAWA

G A LLERY MOM O: KATSUMI HAYAKAWA WEBS I T E www.gallery-momo.com E- M A I L momo @ gallery-momo.com PHO N E +81 3 3621 6813 CEL L +81 08 4937 0131 CONTA C T N A M ES Ryuhei Sugita Momo Sugita

R EPR E S E N T E D AR T IST S Yoshiko Fukushima Yosuke Kobashi Jaye Moon Tomoyasu Murata Naomi Okubo Chika Osaka Tokuro Sakamoto Ai Shinohara Ryoko Takahashi Shinnosuke Yoshida

COV E R Katsumi Hayakawa Reflection (detail) 2014 Paper and mixed media 1.8 × 89.8 × 46.5 in INS I D E Katsumi Hayakawa Fata Morgana 2014 Paper and mixed media 25.6 × 119.7 × 40.7 in B AC K Katsumi Hayakawa Composition 3 2010 Paper and mixed media 33 × 46.4 in

The recent works of Katsumi Hayakawa (b. 1970, Japan) are three-dimensional installations and wall works made out of paper and glue. The pieces are initially read as a whole — a pulsating arrangement of regular shapes and volume — then as an assemblage of individual components that make up the holistic sculpture, systems of patterns and motifs emerge from the collective.

Painstakingly handcrafted piece-by-piece, he play with the compositional idea of void vs. solid in the careful presentation of work. While examining the impression of architectural density, the pieces maintain the delicate nature of the material at hand.

In his early works, Hayakawa applies many layers with different paints and chips away at the layers with a power drill. In this manner, the artist succeeded to express perspective and neo-futuristic spaces. Since 2009, he has developed the active motif and the stereoscopic plane expression by making the perspective in his paper works. The works seem like that we look down at the urban constructions.

The Reflection series is made of about 15000 pieces of mirrors and paper cubes on which various lines and signs are printed. Each mirror is neatly placed facing each other so that they create diffused reflection and give the viewers a visionary illusion. The viewers cannot recognize if they see the actual printed sign or a reflection in the mirror. This is my study of uncertainty of the way of seeing and ambiguity of recognition.

G A L L E RY M oM o GALLERY MoMo was established in 2003 at Roppongi, Tokyo and opened a new, larger, space in 2008 at Ryogoku, Tokyo. In 2013, GALLERY MoMo at Roppongi reopened GALLERY MoMo Projects with the idea of finding new young Japanese and international artists and curators.

The mission of the gallery is to introduce international artists who have unique concepts and original styles to Japan, and Japanese artists to other countries.

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MO RGAN LEHMAN GALLER Y, NE W Y O R K C ITY

RUBENS GHENOV

MORGA N LEH M A N GALLERY: RUBENS GHENOV WEBS I T E www.morganlehmangallery.com E- M A I L sally @ morganlehmangallery.com PHO N E +1 212 268 6699 CEL L +1 860 480 8595 CONTA C T N A M ES Sally Morgan Lehman Jay Lehman

R EPR E S E N T E D AR T IST S Laura Ball Emilie Clark Nancy Lorenz Sharon Louden Kim McCarty John Salvest Katia Santibañez Paul Villinski Paul Wackers Aaron Wexler

COV E R Rubens Ghenov Aftersung, /I (detail) 2015 Acrylic on Linen 20 × 16 in INS I D E Rubens Ghenov O Caracol e o Cais 2015 Acrylic on Linen 20 × 16 in B AC K Rubens Ghenov Ob verse, dusk 1 (detail) 2014 Acrylic on Linen 20 × 16 in

The work of Rubens Ghenov lies at the intersection of fact and fiction. For the past two years Ghenov has been working solely with the unpublished poet Angelico Morandá (b. Spain, 1940 – d. Portugal, 2006), a fictive construct of the artist. Ghenov uses painting and storytelling to procure a form of poetry where the interests collide, and the familiar assimilates and decomposes into the abstract. Ghenov’s compositions, scale, and color are immersed in the life and obscure meditative rituals of the poet, while painting and fiction reciprocally provide fodder for each other.

Rubens Ghenov was born in São Paulo, Brazil and immigrated to the US in 1989.

He holds a Bachelor of Fine Arts from Tyler School of Art (1999) and his Master of Fine Arts from Rhode Island School of Design (2010). Ghenov has shown nationally in both solo and group exhibitions at Geoffrey Young Gallery (MA), TSA Brooklyn (NYC), Woodmere Art Museum (PA), and the Philadelphia Museum of Art. In 2013, he co-curated with Dona Nelson the 72nd Annual Juried Exhibition at the Woodmere Art Museum. Ghenov has been featured in The Village Voice, Title Magazine, Bomb Magazine, and The Philadelphia Inquirer. He currently works in Philadelphia, PA.

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MO RGAN LEHMAN GALLER Y, NE W Y O R K C ITY

DAVID RATHMAN

MORGA N LEH M A N GALLERY: DAVID RATHMAN WEBS I T E www.morganlehmangallery.com E- M A I L sally @ morganlehmangallery.com PHO N E +1 212 268 6699 CEL L +1 860 480 8595 CONTA C T N A M ES Sally Morgan Lehman Jay Lehman

R EPR E S E N T E D AR T IST S Laura Ball Emilie Clark Nancy Lorenz Sharon Louden Kim McCarty John Salvest Katia Santibañez Paul Villinski Paul Wackers Aaron Wexler

COV E R David Rathman How Many More Seasons You Got? (detail) 2014 Watercolor and Ink on Canvas 30 × 38 in INS I D E David Rathman She’s Still All Over You Hank (detail) 2009 Ink on Paper 26 × 37 in B AC K David Rathman Long Division 2014 Watercolor and Ink on Canvas 18 × 24 in

David Rathman’s paintings and works on paper explore the stories told by everyday objects and experiences. Rathman makes paintings that impart subjective and personal scenarios that depict fleeting narratives extracted from larger stories. He often captions his work, collecting quotes from writers such as Samuel Beckett, popular song lyrics, and overheard conversations. Rathman pairs these with the artwork that he feels will result in the most intriguing story or will most disrupt the tone and visual narrative. Despite being predominantly monochromatic palettes, his modestly scaled works result in dramatic atmospheric landscapes that create vivid and poignant vignettes.

Rathman’s paintings of forlorn basketball hoops, junked cars, cowboys, and rock ‘n’ roll detritus are animated by his belief that “all objects, spaces, and people are connected to great amounts of energy,” resonating with the idea that there is beauty and meaning to be found in our ordinary day-to-day life and surroundings. Rathman has focused his efforts on expressing those energies, and to conveying the vulnerability and possibilities to be found in these iconic American images.

David Rathman lives and works in Minneapolis, Minnesota. He earned his Bachelor of Fine Arts degree from the Minneapolis College of Art and Design in 1982. Rathman’s work has been featured in group and solo exhibitions in galleries and museums worldwide, and his work is held in numerous public and private collections including the Walker Art Center (MN), the Whitney Museum of American Art (NY), the New Museum of Contemporary Art (NY), and the Art Institute of Chicago (IL), among others.

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MULHERIN, TOR ONTO | NE W Y O R K

MEGAN WHITMARSH

MU LH ERI N : MEG AN WHITMARSH WEBS I T E www.katharinemulherin.com E- M A I L info @ katharinemulherin.com PHO N E +1 347 406 3690 CONTA C T N A M E Katharine Mulherin

R EPR E S E N T E D AR T IST S Mike Bayne Oscar De Las Flores Winnie Truong Kris Knight Michael Caines Dean Baldwin Balint Zsako Heather Goodchild Annie Macdonell

Megan Whitmarsh’s current works explore a magnetic constellation of women artists and their archival presence from the era of second wave feminism. Acting as both homage and kaleidoscopic re-inventions of the past, the work integrates these histories within a present day dialogue. By fitting together past ephemera with modern and personal icons the work confers a rich sense of the periodicity of thought and culture. Whitmarsh works primarily in textiles, borrowing the gestures of painting, drawing and collage. The humility of the materials remove the works slightly from their painted and sculpted colleagues. Though grounded by precedent this medium still seems to offer surprise. Whitmarsh’s work admits to past history while seeking to create anew.

“My work examines and re-frames personal and communal history, putting forth new configurations of past postures. Discovering (or fabricating) new connections makes manifest the intuitive leaning towards integration that I believe is the subtext beneath our rational thinking. I source familiar references prompting a certain kind of reaction and then work to re-present them. Recent work includes a series of fictionalized past covers of art magazines featuring women artists who I think should have had covers (but never did), and a series of handmade T-shirts re-contextualizing feminist messages from the past with the hopes of projecting them into the future.”

— Megan Whitmarsh

COV E R Megan Whitmarsh Phases and Stages 2015 Cotton, iron on, embroidery thread 60 × 40 in INS I D E Megan Whitmarsh Untitled (detail) 2015 Cotton, iron on, embroidery thread 30 × 40 in

CO M M E NTS O N THE W O RK : “Megan Whitmarsh puts copying to her own ends. Her enlarged fabric versions (iron-on appliqué and embroidery) of art magazine covers from the 1960s and ’70s aren’t copies at all. They are imagined, handmade revisions, which all feature female artists in both image and cover lines..... The images are all so cover-worthy that it takes a minute to realize that they never existed as such. Had they, Ms. Whitmarsh might be doing something else entirely.”

— Roberta Smith, NY Times, March 2014 “The process that Whitmarsh uses is particularly interesting. The expressive gestures she uses come from a technique that is usually exploited for its immediacy.

Abstract expressionist paintings are supposed to be fast. Instead, the artist uses an approach that is slower and more tedious. In doing so she creates a style that is uniquely her own.”

— Noé Gaytán, Platinum Cheese, September 2012 M E G A N W HITM A RS H Los Angeles-based artist Megan Whitmarsh works predominantly in textiles, using hand embroidery and fabric to create wall pieces and sculptural works which make reference to both contemporary and past cultural history. She has worked with curators Robert Wilson, Todd Oldham, Dean Daderko, and Adi Nachman among others and has had projects commissioned by Art Basel Miami (Wolfsonian Museum), Mtv and the Watermill Center. She has shown in galleries and museums internationally including recent exhibitions in New York, Los Angeles, Amsterdam, Brussels, Zurich, Valencia, Malmo, and Tokyo.

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MARISA NEWMAN PR OJECT S , NE W Y O R K

ADLER GUERRIER

MA RI SA N EWMA N PROJEC TS: ADLER GUERRIER WEBS I T E www.marisanewman.com E- M A I L contact @ marisanewman.com PHO N E +1 212 274 9166 CONTA C T N A M E Marisa Newman

COV E R Adler Guerrier Orchids and Boutonnieres 2010 Watercolor, graphite, solvent transfer and paper collage 30 × 22 in INS I D E Adler Guerrier Untitled (seventh st nw) 2012 Chromogenic print 11 × 14 in B AC K Adler Guerrier Untitled 2012 Chromogenic print 11 × 14 in

For Adler Guerrier, the very particular trajectory he traces through the world is the locus for a series of imbricated investigations of personhood, culture, image-making and art history. The path his practice tracks continually spirals outwards and away from the self. There are ideas to circulate, neighborhoods to traverse, histories to plumb. This narrative operates as a tool to order his archive of images, to pack, unpack and repack abstractions.

Guerrier produces layers upon layers. He moves freely between mediums, employing photography, drawing, collage, and sculpture. A stencil becomes a drawing. A discarded sign becomes a sculpture. A backyard becomes a jungle. This is imagemaking in the urban landscape.

Guerrier’s site-specific installation for VOLTA is an abstract proposal for ways of thinking about what makes a place matter. His work is deeply grounded in Miami, his adopted home. Tropical foliage from Guerrier’s suburban Miami backyard appears as wallpaper, accompanied by a series of photographs and drawings. The photographs function not as documents but narrators, beginning the dialogic play between images, marks, words, and place. Home here becomes the lever with which to address the world.

Diana Nawi curated Adler Guerrier’s recent solo exhibition Formulating a Plot, a fifteen year survey of his multi-disciplinary practice at The Pérez Art Museum Miami.

Notable group exhibitions include Freestyle at The Studio Museum of Harlem, New York, The Whitney Biennial, and Afro-Modernism: Journeys through the Black Atlantic at Tate Liverpool, UK.

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NOMAD GALLERY, B R U S S E LS

LAVAR MUNROE

N O M A D G A LLERY: LAVAR MUNROE WEBS I T E www.nomadgallery.be E- M A I L walter @ nomadgallery.be CEL L +1 30 5 49 6 33 5 6 PHO N E +32 475 219 250 CONTA C T N A M E Walter De Weerdt

R EPR E S E N T E D AR T IST S Hector Acebes ruby onyinyechi amanze Jean-François Boclé Jeanine Cohen Kay Hassan Satch Hoyt Aimé Mpane Duhirwe Rushemeza Shoshanna Weinberger

COV E R Lavar Munroe Something Strange This Way Comes 2014 Acrylic, spray paint, latex house paint, buttons, ribbon, string, stickers, and found fabric on cut canvas 74 × 96 in INS I D E Lavar Munroe On Deaf Ears 2013 Acrylic, latex house paint, spray paint, and shivs on cut canvas 46 × 72 in B AC K Lavar Munroe Before His Time 2014 Acrylic, spray paint, latex house paint, 100% wool, shiv, felt, faux leather, and found fabric on cut canvas 56 × 66 in

Nomad Gallery is pleased to present an exhibition of new works by Bahamian born artist Lavar Munroe. Munroe has established a multi-faceted and energetic practice that manifests itself through a wide variety of media that include painting, drawing, sculpture and performance.

Exploring the realms of history, anthropology, and sociology, Munroe thematically explores ideas inspired by the nineteenth century phenomena of the “human zoo”.

In embarking on this investigation, Munroe is particularly interested in how this phenomena fits into the discourse of history, which in many ways, dictates how societies behave and are governed today.

Through the manipulation of imagery sourced from ethnologic illustrations, advertisements, and sideshow banners, Munroe creates an “elsewhere” that examines narratives, exhibits and fascinations that resulted from such displays. In much of the work from this series, the ‘exotic human ‘other’ is often paired with animal counterparts. This was true to many of the human zoo exhibits.

Munroe creates a “lost paradise” of sorts while simultaneously referencing the systematic representation of human difference that occurred during the phenomena of the “human zoo” and arguably occurs today in other forms and disguises. He introduces us to an alternate history that readdresses the then popular craze for monstrosity through displays and commercialization of human difference in order to justify superiority of Western, mostly Caucasian exhibitors.

The process of destruction and rebuilding of Munroe’s surface is meant to further charge the narrative in these works. Through cutting, tearing, stitching, stapling and ‘nursing’ his surfaces Munroe points to the history of exploitation and cruelty that was, and still is faced by the underrepresented body within the larger framework of society.

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PABLO’S B IR THDAY, NE W Y O R K

KARSTEN KONRAD

PA BLO’S BI RTH D AY: KARSTEN KONRAD WEBS I T E www.pablosbirthday.com E- M A I L info @ pablosbirthday.com PHO N E +1 212 462 2411 CEL L +1 917 450 5354 CONTA C T N A M ES Jimi Billingsley Arne Zimmermann

R EPR E S E N T E D AR T IST S Frank Gerritz Henrik Eiben Eckart Hahn Christian Eisenberger Marc Lueders Angelica Schori Pius Fox Thorsten Brinkmann

COV E R Karsten Konrad Jeuxjaune 2014 Formica, wood, metal 180 × 80 × 10 cm INS I D E Karsten Konrad Spirit of 65’ 2013 Mixed Media, Wood, Metal, Rubber 29 × 30 × 15.5 in B AC K Karsten Konrad Tag me i’m yours 2012 Formica, spray paint, aluminum 180 × 90 × 10 cm

Karsten Konrad is a sculptor from Berlin whose work has been exhibited in museums and institutions through out Europe, North America, and Asia. Konrad’s process involves collecting wood, metal, and other formed material from the streets of the city, various second hand stores, and flee markets, then, while studying the eclectic shapes and colors, he comes into “conversation” with these objects, initiating a process of deconstruction and reconstitution of these base and discarded materials into elegantly gestural sculptures. With geometries crossing through one another in architectural articulations marked by a generous expressiveness, these daring sculptures convey kinetic tension and balance. Far from base, Konrad describes the streets as an artists “paradise” with a “superfluidity of materials” where any material can play a part, and “dissolve into the wholeness of the form”.

Having studied in Berlin and London both under sculptor David Evison and performance artist Marina Abramović, his reoccurring themes are “Identity and Memory”, “Material and History”, as well as “Urbanity and Urbanism”.

Sculpture for Karsten Konrad, is an unerring instrument of analysis for examining and inspecting our reality. Archaeologically he digs out the buried hopes and modernist utopias inscribed in discarded commodities, furniture, machines, and architectures; thus, surveying them for their contemporary capability.

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PDX CONTEMPOR AR Y AR T, P O R TLA ND

ARNOLD J. KEMP

PD X CO N TEMPO RARY ART: ARNOLD J. KEMP WEBS I T E www.pdxcontemporaryart.com E- M A I L info @ pdxcontemporaryart.com PHO N E +1 503 222 0063 CONTA C T N A M E Jane Beebe

R EPR E S E N T E D AR T IST S Anne Appleby Victoria Haven James Lavadour Nancy Lorenz D.E. May Wes Mills Jenene Nagy Adam Sorensen Marie Watt Masao Yamamoto

COV E R Arnold J. Kemp WHAT ACTUALLY HAPPENS (SEE BLUE SAY WHITE) (detail) 2012 Archival pigment on Somerset paper in artist’s frame 22 × 18.5 × 1.5 in INS I D E Arnold J. Kemp WHEN WILL MY LOVE BE RIGHT 2013 Galvanized welded and riveted steel, leather, brass, copper, and seashell 26 × 40.5 × 25 in B AC K Arnold J. Kemp WHAT ACTUALLY HAPPENS (SEE BLACK SAY RED) 2012 Archival pigment on Somerset paper in artist’s frame 43.125 × 35 × 1.5 in

Arnold Joseph Kemp is of the generation of pacesetting artists who became known in New York through participation in the Studio Museum in Harlem’s groundbreaking Freestyle exhibition of 2001. Kemp’s work functions as an indicator of one of the varied directions artists are taking in deploying references to black culture. At the center of the presentation Kemp has placed a hauntingly, enigmatic sculpture titled WHEN WILL MY LOVE BE RIGHT that is made of objects that look found but are actually made by the artist. Accompanying this work are several of Kemp’s photographic images of “aluminums” that speak with a paradoxical coolness of the conflict between competing needs to mask and to express the self that is an aesthetic stance familiar from African art and American jazz. Kemp’s work displays a certain mastery of and irreverence toward history that allows him to move like a jazz musician who plays with the confidence to push blackness into a higher level of abstraction, to push it into silence and poetry.

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POPOPS TUDIO S , NA S S A U

KENDAL HANNA

POPO PSTU D I O S: KENDAL HANNA WEBS I T E www.popopstudios.com E- M A I L heinoschmid @ gmail.com PHO N E +1 242 322 7834 CEL L +1 242 557 5800 CONTA C T N A M ES Heino Schmid John Cox

R EPR E S E N T E D AR T IST S Jason Bennet Dede Brown Charles Campbell Blue Curry Michael Edwards Marlon Griffith Kendal Hanna Toby Lunn Dylan Rapillard

COV E R Kendal Hanna Faces 1991 Acrylic on canvas 14 × 11 in INS I D E Kendal Hanna Rorschach Painting IV 1985 Acrylic on paper 14 × 17 in B AC K ( L E FT ) Kendal Hanna Mr. Dillette V 2011 Ink on paper 24 × 18 in B AC K ( R I G H T) Kendal Hanna Circle [X] 2008 Mixed media on wood 48 × 48 in

Popopstudios is an independent art studio and gallery dedicated to the preservation and advancement of alternative Bahamian visual culture. The goal is to educate, promote, expose, and defend new and challenging developments in contemporary art. Popopstudios exists to harbor both seasoned and developing artists interested in new media and mixed media processes, while projecting these efforts to a national and international audience. Resident artists form a supportive community that organizes projects and acts as a hub for contemporary art creation and discussion. The gallery is open to artists from within the community, resident artists and international artists to exhibit; and artist-in-residence studio is available for visit international artists.

Kendal Hanna (b. 1936, Nassau) is one of the forerunners of abstract painting in The Bahamas. In his fifty plus years in art, Hanna has consistently challenged form and content in both his paintings and sculptures. As a young man, he always dreamed of being “trained in art” and left for New York City to study but had to return home to look after his ailing mother and therefore never completed art school. Although he worked at the post office, Hanna’s practice matured through an apprenticeship at Chelsea Pottery—a functioning pottery and informal art school founded by British ex-pats in the late ’50s—and a creative hub for early Bahamian modernism.

Diagnosed with schizophrenia in the same period, he underwent electric shock therapy for treatment; during this time he went from painting mostly in black-andwhite to a strong use of colour and he credits much of his recovery to his artistic practice. Hanna is also a sculptor, using metal and found objects and he is currently working on integrating his painting and sculpture.

Hanna moved into Popopstudios in 2007 where he is a permanent artist-in-residence. In 2011, Hanna’s retrospective was at The National Art Gallery of The Bahamas (NAGB), curated by Dr. Erica M. James, currently assistant professor at Yale University, which exhibited over 170 works. Hanna was also featured in the “Master Artists of The Bahamas” exhibition, which traveled to Waterloo Center for the Arts in Iowa, the Museum of Fine Arts in Tallahassee, Florida, and the NAGB in 2012, and he is represented in many of the key private collections in The Bahamas, as well as the National Collection. He has exhibited at the Inter-American Development Bank, in Washington D.C., among other venues within the United States and The Bahamas.

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ANDREW R AFAC Z, C HIC A G O

ROBERT BURNIER

A N D REW RA FA CZ : ROBERT BURNIER WEBS I T E www.andrewrafacz.com E- M A I L info @ andrewrafacz.com PHO N E +1 312 404 9188 CEL L +1 312 404 9188 CONTA C T N A M ES Andrew Rafacz Emma Robbins

R EPR E S E N T E D AR T IST S Samantha Bittman Jeremy Bolen Cody Hudson John Knuth Jason Lazarus Rachel Mason John Opera Daniel Shea Philip Vanderhyden Wendy White

COV E R Robert Burnier Iota 2013 Primer on aluminum 24 × 31 in INS I D E Robert Burnier Tera Desegna 2014 Copper and rubber 41 × 41 × 4 in B AC K Robert Burnier Vojo 2013 Acrylic laquer on aluminum 11 × 18 × 15 in

Robert Burnier’s work concentrates on the manipulation of systems and structures, investigating the potential beauty inhered in their disruption. Created within what he describes as an “anti-maquette” process, he aims to emphasize the non-linear, unpredictable relationship between starting forms and ending results. Materials offer resistance, producing a push back when manipulated, forcing the artist to often navigate previously unknown territory through each object’s creation.

As the artist states: “By creating hurdles, U-turns, dead ends and gaps, I separate the production of each piece into discontinuous stages. Estranging one outcome by its redirection toward another deepens what I can do. Structures become something I can interact with and find alternatives to. Different materials have different limitations. Their specific nature and pre-configuration becomes a historical fact I have to deal with.”

For titling the work, Burnier makes use of L. L. Zamenhof’s utopian language of Esperanto, developed in the late 19th Century. Esperanto borrowed from existing linguistic traditions, hoping to bridge communications. This organic approach appeals in its attempt at universality without erasure, without requiring a blank slate mentality, just as Burnier begins with a set structure of material. As well, it speaks to the exploration of what combinations are available to us with and also outside a given discourse or architecture. “I dwell on the ideas of a ‘not-quite utopia’ and the impossibility of communion with the absolute,” says Burnier. “I treat these not only as religious or philosophical questions, but as practical ones. It can be damaging to try to reach toward them. But we have to continue somehow.”

ROBERT BURNIER (American, b. 1969) lives and works in Chicago. He will receive his M.F.A. from the School of the Art Institute in Painting and Drawing in 2015. He also holds a B.S. in Computer Science from Shippensburg University of Pennsylvania (1991). He was included in the Evanston and Vicinity Biennial 2012, curated by Shannon Stratton, and Some Dialogue at the Illinois State Museum, Chicago, 2012.

Recently, he was included in Ghost Nature, curated by Caroline Picard, at Gallery 400, Chicago, IL and La Box, Bourges, France. He is also included in the recently opened exhibition, The Chicago Effect: Redefining the Middle at the Hyde Park Art Center, Chicago, IL. His work has been exhibited at art fairs in Miami, New York, and Chicago. He is included in numerous private and public collections.

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LYLE O. REITZEL ARTE CONTEMPORÁNEO, S ANTO D O MING O

HULDA GUZMÁN

LYLE O . REI TZ EL: HULDA GUZMÁN WEBS I T E www.lyleoreitzel.com E- M A I L galeria.lyle @ gmail.com PHO N E +1 809 227 8361 CEL L +1 305 510 2833 CONTA C T N A M ES Lyle Reitzel Montserrat Elias

R EPR E S E N T E D AR T IST S Edouard Duval Carrié Gerard Ellis Gustavo Peña Raúl Recio José Bedia José García Cordero Katja Loher Luis Cruz Azaceta Tania Marmolejo Scherezade García

COV E R Hulda Guzmán I Said Not On The Face (detail) 2014 Acrylic on canvas 48 × 48 in INS I D E Hulda Guzmán Portrait 2014 Acrylic on canvas 48 × 48 in

“Another reference that is essential in the production of this series, is the expressionism, it leans towards the preservation of intuitive art, giving priority to the expression of feelings rather than the objective description of what is known as reality.

“Having dedicated so much time to the practice of thorough work, I suddenly feel the need to investigate the free and spontaneous gesture, because expressionism search for the essence of an image, as abstraction does.”

HU L D A G U ZM Á N CO ND E Born on February 15, 1984, in the city of Santo Domingo, Dominican Republic.

E D U CATIO N 2002 – 2004 Fine Arts and illustration at the Altos de Chavón School of Design, (Rep. Dominicana) affiliated to Parsons, School of Design (NY) ; 2002 – 2003 Two scholarship courses of anatomic drawing given by Melanie Reims, at Altos de Chavón, School of Design; 2003 One scholarship semester at Altos de Chavón, School of Design; 2004 Scholarship for bachelors degree at Parsons, School of Design, New York; 2004 – 2006 Bachelors degree in Visual Arts at the National School of Arts (EN AP) Mexico, DF Specialty in painting and photography.; 2009 Awarded the painting prize at the “25th National Biennial of Visual Arts 2009”, Museum of Modern Art, Santo Domingo, RD. E XHIBITIO NS 2013 – In Joy (Solo Show), Zona Colonial, Lyle O. Reitzel Gallery, Santo Domingo, RD; 27th National Biennial of Visual Arts, Museum of Modern Art, Santo Domingo, RD; Ultraviolet Project, Museum of Contemporary Art and Design, Costa Rica; Under Construction, William Road Gallery, London; On Common Ground, Museum of the OEA, Washington, DC; Avant Garde, La Castilla, Santo Domingo, RD; 2012 – Award winner at the XIV Biennial of Art, Eduardo León Jimenes. Santiago, RD; 2011 – Mayami Son Machín, Ultraviolet Project Gallery Diet, Miami, Fl; 2010 – Aesthetic Sold (16th anniversary), Lyle O. Reitzel Gallery, Santo Domingo, RD; 2010 – XIII Art Biennial at Eduardo León Jimenes. Santiago, RD; Scope New York 2010 booth Lyle O. Reitzel Gallery, Lincoln Center Damrosch Park, New York, NY; 2009 XXV Visual Arts National Biennial, second place. 2009 Borderless Generation: Contemporary Art of Latin America. Korea Foundation Cultural Center; 2008 – Dominican Power & Solid Friends During Art Basel Miami Beach; Lyle O. Reitzel Gallery, Wynwood Art District, Miami, Fl ; Starting Over, Lyle O. Reitzel, Miami, Florida ; Urgente: Arte Emergente: Hulda & Gustavo, Lyle O. Reitzel Gallery, Santo Domingo, RD; Double Glazed, New York ; 2007 – Arte Urbano Sarmiento. Santo Domingo, RD ; 2006 – Shower, El Encuentro Artesanal. Santo Domingo, RD; 2004 – Galería Altos de Chavón. La Romana, RD.

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RO BERT HENRY CONTEMPOR ARY, B R O O KLY N

DEREK LERNER

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

R EPR E S E N T E D AR T IST S Mike Childs James Cullinane Elise Engler Richard Garrison Liz Jaff Robert Lansden Sharon Lawless Jerry Walden Pancho Westendarp Duane Zaloudek

COV E R Derek Lerner Asvirus 55 (detail) 2014 Ink on paper 63 × 42 in INS I D E Derek Lerner Asvirus 54 (detail) 2014 Ink on paper 59 × 98 in B AC K Derek Lerner Asvirus 51 (detail) 2014 Ink on paper 26 × 20 in

Derek Lerner obsessively explores dualities and conflicting ideas about both his urge to create and its effects on the environment. Through thousands of lines rendered in pen and ink on paper the micro/macro qualities of his drawings never allow for a certainty of place, offering a visual representation of this conflict through the shifting perspective.

As Lerner’s fictional landscapes meander across the paper, growing outward as layer upon layer is applied, they depict a co-mingling of human-made and natural systems and the tensions between those forces. The elements of each composition multiply and attach themselves to one another or consume others like fungi, cancer or suburbs encroaching on open land. He coalesces questions about over-consumption and over-population into ironically beautiful visual metaphors that reference mapping, satellite photography, microscopic imagery, radial irrigation systems as well as signs, symbols and the random marks, scrapes and scratches found on the streets of major metropolitan areas.

Although not intended to be taken literally as viruses or cancers, the symbols and map-like forms that grow out of his process do impose their presence but are incomplete. The constituent lines trail off and fade away around the edges of each, seemingly built, coagulation of forms. This incompleteness compels us to wonder are we seeing something (biological or human constructions) represented as half complete or half destroyed and is a second representation of his doubts and convictions about his participation in the degradation of the planet.

Looking both biological and man-made, his lyrical compositions embody dualities that reflect Lerner’s conflicted feelings about his own role and impact on our environment, “…while in many ways my work is a reaction to over-consumption and environmental politics, the drawings themselves are yet another ‘thing’ added to the world, made no less with materials that are potentially damaging to the environment.”

VOLTA N Y 2015 | B OOT H N UMBE R B 10

R YAN LE E , NE W Y O R K

PAUL HENRY RAMIREZ

RYA N LEE: PA U L HENRY RAMIREZ WEBS I T E www.ryanleegallery.com E- M A I L info @ ryanleegallery.com PHO N E +1 212 397 0742 CONTA C T N A M ES Mary Ryan Jeffrey Lee

R EPR E S E N T E D AR T IST S Tim Braden Bradley Castellanos Seong Chun Josh Dorman Mariam Ghani Martín Gutierrez Sangbin IM Jiha Moon Katy Stone Stephanie Syjuco

COV E R Paul Henry Ramirez CHUNK 17 (detail) 2009 Acrylic on canvas 72 × 72 in INS I D E Paul Henry Ramirez PLAYCONICS 8 2011 Acr ylic on canvas 66 × 66 in B AC K ( L E FT ) Paul Henry Ramirez PLAYCONICS 7 2011 Acr ylic on canvas 66 × 66 in B AC K ( R I G H T) Paul Henry Ramirez PLAYCONICS 3 2011 Acr ylic on canvas 66 × 66 in

Paul Henry Ramirez creates biogeomorphic abstract paintings, which combines smooth delicately curving line-work with bright colored bold forms. His figuralbased abstractions are often exhibited in dialog with architecture and architectural elements through site-specific installations. Over the past two decades Ramirez has developed and created site-specific installations, which combine his drawings, paintings, objects and sculpture with music, dance and furniture in dialog with architectural space and architectural elements. Ramirez’s site-specific installations were first featured in New York City’s alternative exhibition spaces: the Drawing Center, Clock Tower Gallery and Franklin Furnace.

Ramirez has shown throughout the United States and Europe. He has had five oneperson museum exhibitions including the Contemporary Arts Center in Cincinnati; the Whitney Museum at Philip Morris; and the Newark Museum. Ramirez’s work has been reviewed in The New York Times, Art in America, ArtForum and many others.

His works are in many permanent collections, including the Smithsonian American Art Museum, the Whitney Museum, the Hammer Museum, the Corcoran Gallery of Art and many private collections. Ramirez’s Going Up. Up. Up., a public art project commissioned by the Percentage for Art, New York, NY, is included in the published book Public Art for Public Schools, Michele Cohen (Author).

Ramirez’s commissioned site-specific installation Eccentric Stimuli is featured in the Beauty Reigns: A Baroque Sensibility in Recent Painting exhibition at the Akron Art Museum, January 24 – May 3, 2015 (travel/catalogue). The site-specific installation for Beauty Reigns was first commissioned by the McNay Art Museum, San Antonio, TX and has been re-conceived as a different site-specific installation for the Akron Art Museum. His work is featured in the Smithsonian’s Our America: The Latino Presence in American Art, traveling to the Utah Museum of Fine Art in Salt Lake City, February 6 – May 17, 2015 (national tour/catalogue).

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S AMSØ Ñ, B O S TO N

LISA SIGAL

SA M SØÑ : LI SA SI GAL WEBS I T E www.samsonprojects.com E- M A I L samson @ samsonprojects.com PHO N E +1 617-357-7177 CONTA C T N A M ES Camilo Alvarez Julia Lavigne

R EPR E S E N T E D AR T IST S Carlos Jiménez Cahua Nicole Cherubini Craig Drennen Victoria Fu Jeffrey Gibson Steve Locke Todd Pavlisko Beverly Semmes Suzannah Sinclair Summer Wheat

COV E R Lisa Sigal Home Court Crawl (3131 Hamilton) (detail) 2014 Archival digital print on Tyvek 22.5 × 38 in 57 × 96.5 cm INS I D E Lisa Sigal Home Court Crawl (2124 Marigny) 2014 Archival digital print on Tyvek 23 × 34 in 58.5 × 86 cm B AC K ( L E FT ) Lisa Sigal Home Court Crawl (4701 Mark Twain) (detail) 2014 Archival digital print on Tyvek 23 × 9 in 58.5 × 23 cm B AC K ( R I G H T) Lisa Sigal Hinged Painting (City of Vernon) 2013 Paint and digital print on Tyvek paper on mounted wall section, spray paint on window screen 106 × 48 × 18 in 269.24 × 121.92 × 45.72 cm

Home Court Crawl, is a series of works by Lisa Sigal recently exhibited at Prospect.

3: Notes for Now, New Orleans. The works taken together represent the text of a one act play from playwright Suzan-Lori Parks’ 365 Days/365 Plays (2002–3). The images enact relationships between voices and houses, a dance between space and representation, from the page to an actual place. Home Court Crawl, presented by Samsøñ in VOLTA NY 2015, is the counterpart to the public art installation across four distinct neighborhoods in New Orleans, a sprawling script inscribed on vacant houses.

Home Court Crawl became the first phase of Blights Out enterprise, founded in June of 2014 by Lisa Sigal, local New Orleans artist Carl Joe Williams, and Prospect New Orleans curator Imani Jacqueline Brown. Blights Out is a collaborative and creative approach to neighborhood development using visual art, architecture, and performance to see, experience, and act on issues of blight, divestment, and housing.

Blights Out experiential method of “performing architecture” asks: “what are the sensibilities of place; where is the soul of a home?”; “what is community; what inspires people to unite in action?”; and “how do we meet the needs of a neighborhood outside of a profit-driven framework?” The newly established properties become a functional social sculpture: a multipurpose community learning, cultural, and resource center that will empower others to shape the destiny of their neighborhoods.

Lisa Sigal B. 1962, Philadephia, PA. Recent awards include a Creative Capital Grant (2012), Art Matters Grant (2012), Guggenheim Fellowship (2011). Recent exhibitions include Prospect. 3: Notes for Now, 2014 (New Orleans, LA), Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond, Brooklyn Museum, 2014 (Brooklyn, NY), Shifting Horizon, Samsøñ, 2013 (Boston, MA), Riverbed, LA>< Art, 2013 (LA,CA), The Whitney Biennial, Whitney Museum of American Art, 2008 (NY, NY), Six Degrees, The New Museum, 2008 (NY,NY), Orpheus Selection, MoMA P.S. 1, 2007 (NY, NY), A House of Many Mansions, the Aldrich Contemporary Art Museum, 2005, (Ridgefield, CT). Sigal received an MFA from Yale in 1989. She is currently curating Open Sessions, an artist centric program, at the Drawing Center in New York.

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SCARAMOUCHE / THE POOL NYC , NE W Y O R K

ERIC MISTRETTA

SCARAMOUCHE / THE POOL NYC: ERIC MISTRETTA WEBS I T E www.scaramoucheart.com www.thepoolnewyorkcity.com E- M A I L info @ scaramoucheart.com info @ thepoolnewyorkcity.com PHO N E +1 212 228 2229 (Scaramouche) +1 646 244 9783 (The Pool NYC) CONTA C T N A M ES Lorin Prince Viola Romoli

R EPR E S E N T E D AR T IST S (SCA R A M O U CHE)

Michael Bühler-Rose Igor Eskinja Zoi Gaitanidou Dmitry Gutov Seher Shah Jonathan VanDyke

R EPR E S E N T E D AR T IST S (T H E P O O L N YC)

Eteri Chkadua Patrick Jacobs Jonathan Rider Andrea Salvatori Bianca Sforni Fabio Viale

COV E R Eric Mistretta Reminder 2015 Vinyl letters on plastic tablecloth and PVC tube 107 × 53 in INS I D E Eric Mistretta Happy, Healthy, You and Yours 2015 Awning, shoes, socks and resin Dimensions variable B AC K Eric Mistretta Pale Fire 6 (detail) 2014 Stockings on canvas 24 × 18 in

Eric Mistretta finds a rich source of inspiration in seemingly conflicting feelings such as optimism in the face of despair, or sincerity undermined by naiveté. For Mistretta, comedy and tragedy demand each other in a very dynamic way, a relationship the artist seeks to articulate through paintings, sculptures and installations.

Mistretta incorporates language and recognizable cultural imagery in his work, often fusing disparate elements to create visual hybrids that elicit both a feeling of familiarity and a sense of absurdity. With Pale Fire, a series of canvases constructed with multiple layers of stretched pantyhose, Mistretta plays with the ambiguous role of the undergarment, which conceals as much as exalts the body it is meant to cover.

In repurposing a woman’s wardrobe staple, the artist explores its rich materiality creating mysterious textures and intricate linear patterns that are at once elegant but also exude intimations of lust and violence.

In Happy, Healthy, You and Yours, a disused Italian restaurant awning tramples over a pair of cast legs fitted with black-and-white striped socks. Through this uncanny encounter, Mistretta references The Wizard of Oz and American popular culture, while creating a romantic slow-dance between the ordinary and the absurd. The viewer is left to explore a very familiar, yet ultimately unlikely place.

Eric Mistretta (b. 1985, Queens, NY) received his M.F.A. from the School of Visual Arts (2012) and a Bachelor of Science in Visual Arts from SUNY New Paltz (2007).

Mistretta’s work was featured in “The Virgins Show” curated by Marilyn Minter, the inaugural exhibition of Massimiliano Gioni and Maurizio Cattelan’s gallery project Family Business, New York. His work has been exhibited internationally most recently at F_AIR Gallery, Florence, Italy and MonChéri, Brussels, Belgium. In January 2015, Scaramouche presented “Scenes From An Italian Restaurant,” Mistretta‘s first solo-exhibition in New York.

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S EASO N, S E ATTLE

PETER SCHERRER

SEA SO N : PETER S C HERRER WEBS I T E www.season.cz E- M A I L robert @ season.cz PHO N E +1 206 679 0706 CEL L +1 206 679 0706 CONTA C T N A M E Robert Yoder

R EPR E S E N T E D AR T IST S Sharon Butler Dawn Cerny Seth David Friedman Elisabeth Kley Allison Manch Philip Miner Dylan Neuwirth Michael Ottersen Glenn Rudolph Mike Simi

COV E R Peter Scherrer Snake Rock (detail) 2013 Watercolor 22.5 × 20 in INS I D E Peter Scherrer Pocket Knife (detail) 2013 Oil on canvas 60 × 75 in B AC K Peter Scherrer Sticks Eyes 2014 Oil on burlap on panel 16 × 20 in

“I get much of the inspiration for my work from the people and the landscape in this particular region... After growing up here, I was privileged to leave and go to art school, and now that I’m back my experience away has lent me a different point of view — I’ve been able to connect to this place somewhat as a stranger while still being an insider, a person who is from here and knows this place intimately.”

— Peter Scherrer Born and raised in Washington state, Peter brings a delicate, native understanding to his paintings to create imagined landscapes of impossible lushness that radiate with chaos, hostility, and humor. Working in both watercolor on paper and oil on canvas, he manages to expand and further complicate our views on nature — by loosely considering Romanticism, our history of exploration and settlement, hippie idealism, and his own personal experiences growing up in the region, Peter confronts our flawed relationship with the nature world. By combining equal measures of terror and kooky humor, his work demands we reconsider our often messy, sometimes well-intentioned attempts to make the natural world known.

Bellingham sits just 17 miles south of the US-Canada border — tucked up into the furthermost corner of the United States, it’s a last stop kind of place, the end of the line, where journeys halt and then either drift out into the Pacific Ocean or cross over into Canada’s sprawl. There is an undeniable Americanness to it; there’s a palpable wildness to the land, a riot of growth and density in the trees, the bushes, the grasses, and too many hues of green to count. A real pioneer-like spirit seems apparent amongst most of its people, a rough and readiness, a rare mix of stoicism and vulnerability that is somewhat rooted in withstanding long dark winters, isolation, and countless days of rain. And there is a shabbiness, too, a bruised history — especially in some of the smaller towns — that hints at struggling economies, fractured communities, unfulfilled possibilities…

This text was adapted from an originally published studio visit with Peter ­S cherrer on In The Make. To see more studio visits with West Coast artists go to www.inthemake.com

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SHIN GALLER Y, NE W Y O R K

HYON GYON

SH I N G A LLERY: H Y ON GY ON WEBS I T E www.shin-gallery.com E- M A I L info @ shin-gallery.com PHO N E +1 212 375 1735 CEL L +1 631 889 6194 CONTA C T N A M E Hong Gyu Shin

R EPR E S E N T E D AR T IST S Hamjin Kenny Rivero Keunmin Lee

COV E R Hyon Gyon Provocateur 2013 Satin and Silicone on Canvas 56 × 80 in INS I D E Hyon Gyon Hyon Gyon in her studio 2014 B AC K Hyon Gyon Nonlinear 2013 Digital C-Print 39.3 × 51.2 in 100 × 130 cm

Hyon Gyon’s early work draws inspiration from the Korean shamanistic ritual of Gut (Exorcism) in which negativity is exorcised. The belief behind the ritual is that obsessions and fears tend to stubbornly latch and accumulate like a parasite, debilitating one’s condition. Only by exorcising these inner demons can this negativity transcend into a purified, benevolent state.

Hyon Gyon constructs her mixed media artwork by arranging pieces of traditional Korean satin onto a canvas. She melts the fabric with a soldering iron to create dynamic compositions, conveying a discourse among moods with her hypnotic, ebullient hues and figures shamefully enshrouded by wild tendrils of hair. Emotions are captured at their saturation point, protruding from the figures in a metamorphic climax that blurs the dichotomy of good and evil. Hyon Gyon’s art asks the viewer to confront the grotesque with humor and sympathy because the phantasmal forms mirror the shape of humanity.

Influenced by her transition to New York, Hyon Gyon’s present works mark a change within her own internal reflections. These abstract self-portraits portray her frustrations with imperfection, demonstrated by erratic patterns of hurled candle wax and distressed shapes of pillow cotton dipped in modeling paste. She acknowledges and confronts these explosive emotions in hopes of facilitating constructive, internal change.

Hyon Gyon (b. 1979, S. Korea) is based in New York, U.S.A. She received her B.A. from Mokwon University in South Korea and her M.A. and Ph.D. from Kyoto City University of Arts in Japan. She had solo and group exhibitions at the Museum of Kyoto in 2006; Museum of Contemporary Art, Tokyo, in 2007 and 2010; and Kyoto Art Center in 2012. She debuted in the Asian Art Museum of San Francisco. Since then the Brooklyn Museum, High Museum of Art in Atlanta, Frederick R. Weisman Art Foundation, Kyoto Municipal Museum of Art, and Kyoto City University of Arts have acquired her works.

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SHULAMIT GALLER Y, LO S A NG E LE S

MIRI CHAIS

SH U LA M I T GA LLERY: MIRI C HAIS WEBS I T E www.shulamitgallery.com E- M A I L renee @ shulamitgallery.com PHO N E +1 310 281 0961 CONTA C T N A M ES Renée Fox Shula Nazarian

R EPR E S E N T E D AR T IST S David Abir Pooya Afshar Gary Baseman Jonas N.T. Becker Carol Es Shahab Fotouhi Orit Hofshi Galia Linn Elham Rokni Tal Shochat

COV E R Miri Chais Enter-Mind 2014 Mixed-media on canvas 68 × 37 in INS I D E Re:Mind, USC Fisher Museum exhibition installation view B AC K Miri Chais Prisamyd 3 2014 Plexiglas, radiant film, and silicone rubber 2 × 24 × 25 in

Miri Chais’ most recent exhibit We Are The Hollow Men references T. S. Eliot’s famous poem, written on the cusp of an earlier wave of modernization, which interpreted the “new order” as a dehumanizing force, robbing individuals of their potency, will, and sense of self. Like Eliot, Chais senses “something gone terribly wrong” in contemporary life as a result of technology’s pervasive presence. Something has gone missing: our privacy, our agency, our spirit, our identity. All over again, we are fast becoming Eliot’s “hollow men… the stuffed men / Leaning together / Headpiece filled with straw. Alas!” In Eliot’s poem, those forces, which had given human existence definition and vitality – whether it was religion, ideology, or even sexual potency — are all lost. Chais’ installations feature combinations of individual pieces including paintings, video, unique sound compositions, sculpture and new media works. This exhibition is an extension of Miri’s recent show at Shulamit Gallery, and explores many of the same themes regarding the effects of technology on contemporary society. Working in a post-internet era, Chais makes work that deals with the bombardment of electronic imagery and our absorption into social media channels that have become so second nature that they are already a part of us.

This thematic blend of symbols and icons, both ancient and modern are projected through the lens of technology-driven mass media in search of a future aesthetic.

Miri Chais has exhibited internationally in Israel, Japan, and Germany. VOLTA NY 2015 is her New York debut. Since moving to Los Angeles in 2013, she has had a solo show Re:Mind at USC Fisher Museum and We Are The Hollow Men, an installation at Shulamit Gallery’s project space. Her installations have also been curated into several group exhibitions in Los Angeles. Chais’ Re:Mind was well received in the Los Angeles art community and was covered by publications such as ArtLtd, Huffington Post and KCET.

VOLTA N Y 2015 | B OOT H N UMBE R D 20

SHULAMIT GALLER Y, LO S A NG E LE S

SANAZ MAZINANI

SH U LA M I T GA LLERY: SANAZ MAZINANI WEBS I T E www.shulamitgallery.com E- M A I L renee @ shulamitgallery.com PHO N E +1 310 281 0961 CONTA C T N A M ES Renée Fox Shula Nazarian

R EPR E S E N T E D AR T IST S David Abir Pooya Afshar Gary Baseman Jonas N.T. Becker Carol Es Shahab Fotouhi Orit Hofshi Galia Linn Elham Rokni Tal Shochat

COV E R Sanaz Mazinani Together We Are (detail) 2014 Photograph mounted on Di-bond 40 × 40 × 7 in INS I D E Sanaz Mazinani Blue Angel 2013 Photograph mounted on Di-bond 47.5 × 110.5 × 10 in B AC K Sanaz Mazinani Blue Angel (detail) 2013 Photograph mounted on Di-bond 47.5 × 110.5 × 10 in

Sanaz Mazinani mines images from the Internet to create large photographic collages. Her work reflects on the digital revolution and the condition of living in the computer age. Utilizing news media images, repeating and refracting them, she explores the relationship between perception and representation by drawing on concepts such as censorship, scale, and the body as a site of action or violence. In the series Frames of the Visible (2011-2014) Mazinani mined images from the Internet to frame questions on the representation of conflict. Her large photographic collages use images relating to the destabilizing effects of war to dissect and puncture our normative experience of the original source. For example, in the piece Together We Are, she combines an image commonly used in news articles on female suicide bombers with popular culture’s infamous media darling, Paris Hilton. By collocating the image of a famous American media personality with that of an unidentified female suicide bomber from Afghanistan, the nature of the physical acts embodied in the deceptively mirrored gestures of these two figures are exaggerated and critiqued.

Here again, our visual vocabulary has been affected by the repetitive onslaught of mass media images.

Sanaz Mazinani is an artist, curator, and educator based in San Francisco, CA and Toronto, ON who holds an undergraduate degree from Ontario College of Art & Design University, and a Masters in Fine Arts from Stanford University. Her work has been exhibited internationally in Ontario and Switzerland. Last year, she was invited to create the public art installation U.S.A.I.R.A.N., 2014, through Washington, DC’s 5x5 Project. She has been published in Artforum, Border Crossings, Nuva Luz, NOW Magazine, San Francisco Chronicle, and Dide and recently received grants from the Canada Council for the Arts and San Francisco Arts Commission.

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S IM GALE R IA, C U R ITIB A

RODRIGO TORRES

SI M GA LERI A : RO DRIGO TORRES WEBS I T E www.simgaleria.com E- M A I L info @ simgaleria.com PHO N E +55 41 3322 1818 CONTA C T N A M ES Guilherme Assis Laura Assis

R EPR E S E N T E D AR T IST S Carlos Huffmann Delson Uchôa Eliane Prolik Isidro Blasco Jules Spinatsch Juliana Stein Miguel Palma Paolo Ridolfi Rafael Alonso Romy Pocztaruk

COV E R Rodrigo Torres Geographic Misinformation System (detail) 2015 Colour print, cotton paper, pencil Variable dimensions INS I D E Rodrigo Torres Geographic Misinformation System (detail) 2015 Colour print, cotton paper, pencil Variable dimensions

SIM Galeria was founded in 2011 in Curitiba, Brazil, intended as a space for disseminating and divulging Contemporary Art, showing Brazilian and international artists who perform their artistic researches in the most varied materials and techniques, such as: painting, photography, sculpture and video.

Since the gallery’s opening many solo and group exhibitions have been organized by guest curators, accompanied by publications, also it’s program includes study groups and talks opened to general public.

RO D RIG O TO RRE S | G E O G R APH I C M I SI N F O R M AT I O N SY ST EM Through this project, Rodrigo Torres aims to create a large 3D map through a collage of pictures using satellite images, as well as close up photographs of the ground made by the artist himself. The title refers to the GIS (Geographic Information System). However these images collected from around the globe will be combined to form a new terrain, in other words, we will have a map that does not indicate location but creates a place.

“At a time in which GPS and Google Maps became our contemporary compasses, situating us in space by means of flattened, two-dimensional images without revealing volumes, Torres uses satellite images to restore the topography of the geographical features of the landscape. The appeal of reactivating the three-dimensionality of the landscape occurs, through the use of two-dimensional images, photographs.

Torres appropriates low resolution images to form a large file on which he “carves” the volume using collages. High-tech satellite technology comes to life in the lowtech gesture of cutting and pasting, referring to when this term implied the use of non virtual scissors and glue. In the exhibition space, *”Fotopografia” (Phototopography — the title of this series of photographic terrains”. (text by Eder Chiodetto, “ Generation 00 — The new Brazilian photography”).

Rodrigo Torres lives and works in Rio de Janeiro. Graduated in Painting from the School of Fine Arts (EBA) of UFRJ in 2003, the artist produced by combining different techniques such as painting, cutting and collage, photo printing, and the use of various objects, thus achieving their own outcomes.

In 2013 he received the Foreign Ministry Prize for Contemporary Art having entered their work in the collection of the library of the Ministry of Foreign Affairs. Also in 2013 joined the German publication “The Age of Collage: Contemporary Collage in Modern Art.” Among his exhibitions, the following can be highlighted: Frestas – Mostra Trienal de Artes, SESC Sorocaba, Sao Paulo, Brazil (2014); Parque das Transgressões, SIM Galeria, Curitiba, Brazil; Grana Extra, Paço das Artes, Sao Paulo, Brazil (2012); O Elogio da Vertigem, Maison Européenne de la Photographie, Paris, France (2012); Art Basel, Basel (2012); Projeto solo U-Turn, Feira de Arte de Buenos Aires, Argentina (2011); Geração 00 A Nova Fotografia Brasileira, SESC Belenzinho, Sao Paulo, Brazil (2011); Arquivo Geral, Centro Cultural Hélio Oiticica, Rio de Janeiro, Brazil (2010); Crossing Borders, Building Bridges, Modified Arts, Phoenix, AZ, USA (2010).

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SLAG GALLER Y, B R O O KLY N

NAOMI SAFRAN-HON

SLA G GA LLERY: NAOMI SAFRAN-HON WEBS I T E www.slaggallery.com E- M A I L irina @ slaggallery.com PHO N E +1 917 977 1848 CONTA C T N A M E Irina Protopopescu

R EPR E S E N T E D AR T IST S Avital Burg Tirtzah Bassel Hannah Cole Dumitru Gorzo Ioana Joa Tim Kent Serkan Ozkaya Naomi Safran-Hon Molly Stevens Dan Voinea

COV E R Naomi Safran-Hon Wadi Salib: Hole in The Wall 2014 Archival ink jet print, lace, pigment, acrylic and cement on canvas and fabric 42 × 72 in INS I D E Naomi Safran-Hon Wadi Salib: 3 Windows and a Door 2014 Archival ink jet print, lace, pigment, acrylic and cement on canvas 42 × 72 in B AC K Naomi Safran-Hon Wadi Salib: Red and Blue (detail) 2014 Archival ink jet print, lace, pigment, acrylic and cement on canvas 42 × 72 in

Naomi Safran-Hon’s new body of work is far from an over-politicalized statement on Israeli–Palestinian relations or simple ruin porn. Rather, through her process, SafranHon’s pieces challenge the viewer to reconsider preconceptions about materials, the notion of home as a physical locus, and the role of destruction as a negative force.

The duality of household items and refuse, the suggestion of livable spaces and the reality of abandoned buildings, is mirrored in the connection between the beauty of the works themselves and the destructive process used to create them.

In the end, these pieces reveal the fragility of human experience and the complicated nature of one’s home. Destruction — both intentional, at the hands of the artist, and incidental, as the result of time and desertion — recasts the viewer’s notion of “hard times,” in terms of geopolitical conflict, irresolvable nostalgia, and the personal struggle to find one’s place in the world, both physical and psychological.

Naomi Safran-Hon received a Masters of Fine Arts degree from Yale University in 2010 and a Bachelor of Arts degree in Studio Art and Art History from Brandeis University in 2008. She is also a 2012 Skowhegan Residency alumnus.

Selected 2012 – 2016 exhibitions: Brooklyn Museum; “Heimat: Chronicle of Absentees”, Brandt Gallery, Amsterdam, Netherlands; “Salmat Beton va-Melet Gown of Concrete and Cement”, Hartford, CN; “Two Times Gray”, Slag Contemporary, NY “Centaurs and Satyrs”, Asya Geisberg Gallery, New York, NY; “Discourse on Plants”, RH Gallery, New York, NY. “Faux Sho”, at Islip Art Museum October 2014; “In Between”, Kleindienst Gallery, Leipzig/Cologne, September 2014; “Visions of Place: Complex Geographies in Contemporary Israeli Art”, Delaware Center for Contemporary Art, Delaware, 2015; solo exhibition, Silber and Rosenberg Art Galleries, Baltimore, Maryland, 2016.

VOLTA N Y 2015 | B OOT H N UMBE R C 8

SLAG GALLER Y, B R O O KLY N

DAN VOINEA

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

R EPR E S E N T E D AR T IST S Avital Burg Tirtzah Bassel Hannah Cole Dumitru Gorzo Ioana Joa Tim Kent Serkan Ozkaya Naomi Safran-Hon Molly Stevens

COV E R Dan Voinea Smooth 2014 Oil on canvas 130 × 120 cm INS I D E Dan Voinea Close encounter IV 2014 Oil on canvas 150 × 160 cm B AC K Dan Voinea Close encounter V (detail) 2014 Oil on canvas 160 × 150 cm

Romanian artist Dan Voinea exhibits the past and present in dreamlike paintings that are at times alienating, at times disorienting, and at times foreboding — but always powerfully rendered.

The subjects of his work, all anonymous, are mostly blue-collar characters: urban laborers, craftsmen, farm hands. These everymen are cast in tones at once industrial and rustic — ashy grays, ruddy browns — and strike highly readable poses loaded with social symbolism. Voinea’s penumbral paint handling — sometimes light and fluid, sometimes dense and deliberate — renders his subjects in an ethereal pseudo-clarity. Details can leap out of the paintings — individual veins, evocative facial expressions — while others — a mustachioed figure in the background, the hinges on a barber’s chair — can be felt creeping out from the haze.

There is a Kafkaesque sensibility to Voinea’s work — in his fragmented reality apparitional figures wrestle with ambiguous bodies in dense shadow, or affix the viewer with seemingly pained, near-accusatory sentiment for reasons unknown. The foreboding images manifest the fragmented, inconsistent nature of dreams, and combine precise realistic detail with contemporary abstraction and absurdity. Here, figures appear doubled, translucent, or vague, melting into one another in a pained crisis of identity, the hopelessness and absurdity darkly emblematic of existentialist anxiety.

In this series, Voinea interrogates understandings of consciousness and phenomenology, utilizing a technique of disconcertion and disorientation to channel the psychological toll of labor on the worker. Reading like snapshots from a meatpacker’s hallucinatory dream, Voinea captures themes and archetypes of alienation with physical and psychological brutality, melding the two into a rugged surreal narrative of gritty industry and atemporal struggle.

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SPINELLO PR O JE C TS , MIA MI

SINISA KUKEC

SPI N ELLO PRO J EC TS: SINISA KUKEC WEBS I T E www.spinelloprojects.com E- M A I L info @ spinelloprojects.com PHO N E +1 786 271 4223 CONTA C T N A M E Anthony Spinello

R EPR E S E N T E D AR T IST S Farley Aguilar Aramis Gutierrez Kris Knight Sinisa Kukec Cheryl Pope Manny Prieres Santiago Rubino Naama Tsabar Agustina Woodgate Antonia Wright

COV E R Sinisa Kukec VITRUVIANSLUTS (Blue) (detail) 2014 Acrylic mirror, red cedar, danish oil 29 × 48 × 2 in INS I D E Sinisa Kukec VITRUVIANSLUTS (Blue) 2014 Acrylic mirror, red cedar, danish oil 29 × 48 × 2 in B AC K Sinisa Kukec ZENITHSLUTS (in gold) a gravitywell (detail) 2014 Acrylic mirror, red oak, danish oil 84 × 46 × 3 in

Spinello Projects presents a solo project by Sinisa Kukec for VOLTA NY 2015.

Kukec seeks to create an installation that invokes the simple, subliminal power of the “primary” as in space time. Through the use of reflection, heat, gravity, color, geometry, and a word who’s ultimate origin is unknown (red, yellow, and blue / square, circle, and triangle / slut). Kukec draws from Leonardo da Vinci’s Vitruvian Man, a work based on the correlations of ideal human proportions with geometry, by the ancient Roman architect Vitruvius, who described the human figure as being the principal source of proportion among the Classical orders. Alongside this ideal, Kukec places a word who’s ultimate origin is unknown; sluts or “slut,” which first appeared in Middle English in 1402, with the meaning “a dirty, untidy, or slovenly woman” (and in time men). However, Kukec refers to the word as ‘non gender (human) greed.’

This new work is a tangent of an ongoing body of work by Kukec called GRAVITYWELL, an investigation of the invisible forces in the universe (whether it be gravity or human ideology) that can influence an experience seemingly confined only to the sense of ones own being.

Kukec harbors a profound curiosity towards gravity, indeterminacy, the elusive nature of consciousness and how their mysterious behaviors affect our place in the universe. Kukec’s work is produced through an intensive studio practice, consistently experimenting with differing materials and methodologies; all the while, maintaining cross-disciplinary interests in applied sciences and philosophy. Kukec, in his own words, ‘cast(s) pataphysical doubt on the insane belief systems of the masses...a ‘bottoms up’ approach, an attempt to reinvent how humans think and feel.’

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

VOLTA N Y 2015 | B OOT H N UMBE R D 6

STENE PROJECTS , S TO C KHO LM

PER FHAGER

STEN E PROJ ECTS : PER FHAGER WEBS I T E www.steneprojects.com E- M A I L info @ steneprojects.com CEL L +46 768 986 495 CONTA C T N A M E Jan Stene

R EPR E S E N T E D AR T IST S Cecilia Edefalk (SE) Matthew Benedict (US) Sylvan Lionni (US) Gustaf Nordenskiöld (SE) Julia Peirone (SE) Suzannah Sinclair (US) Ulrika Sparre (US) Luke Stettner (US) Per Wizén (SE) Kristoffer Zetterstrand (SE)

COV E R Per Fhager Field studies (Sonic the Hedgehog 3) 2015 Needle point / double gobelin stitch, wool 98 × 85 cm INS I D E Per Fhager Field studies (installation view, 4 out of 6) 2015 needle point / double gobelin stitch, wool 98 × 85 cm B AC K ( L E FT ) Per Fhager Kirby´s Dreamland 2012 Needle point / double cross stitch, wool 116 × 128 cm B AC K ( R I G H T) Per Fhager Legend of Zelda Link´s Awakening 2014 Needle point / tent stitch, wool 22.5 × 20.5 cm

P E R F HA G E R, 1980 Crafts has taken a predominate role in the perspicuous world of art. The crafts ability to communicate, as well as emphasize on the skill that lays beneath the works of art makes them into artworks. There is a beauty and tension between the attractive and dissociation that contemporary art and then especially craftsmanship can take and use in its idiom as well as choice of material.

Per´s choice of material, technique and color gives us a perfect example of how traditional crafts can receive a new expression and context in the modern world.

The embroideries differs largely in texture, technique and color density, these differences are important in the process of producing the needle point works. The handmade pictures arrives from video game stills where composition, narrative and memory plays its role.

The gaming industry is still in its youth though very soon to become the dominating genre in popular culture. Video games has quickly created its own subculture and codes, this very much in relation to the fast growing industry and especially to people born during the 70:s who grew up with the first generation of consoles 25 years ago, as Nintendo NES, Commodore 64 and Sega Megadrive. The combination of technical progress parallel with cultural baggage is an interesting socio economical aspect for understanding the work of Per Fhager. Per creates something permanent from a transient movement.

Stitched stills from digital fantasy worlds also relates to the historical genre of naturalistic and romantic paintings from the 1900 century. It´s beautiful and intriguing, at the same time as we almost experience the expression as superficial and shallow.

Though we know that both Markus Larsson, Robert Zünd and their fellow collegues today are important figures that represent a time very often forgotten. A time when nature and nostalgia may played a different role than today. Per Fhager helps us to recapture this feeling in a new time with a different language.

VOLTA N Y 2015 | B OOT H N UMBE R A 12

MARC S TR AUS , NE W Y O R K

SAM JINKS

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

R EPR E S E N T E D AR T IST S Emil Alzamora Thomas Bangsted Birgit Brenner Jeffrey Gibson Kristjan Gudmundsson Chris Jones Marin Majić Martha Mysko John Newsom Jong Oh Paul Pretzer Ulf Puder Antonio Santin Zlatan Vehabovic Entang Wiharso

COV E R Sam Jinks Standing Pieta 2014 Silicone, pigment, resin and human hair 63 × 23 3/4 × 23 3/4 in 160 × 60 × 60 cm INS I D E Sam Jinks Untitled (Kneeling Woman) 2015 Silicone, pigment, resin, human hair 11 3/4 × 28 1/2 × 11 in 30 × 72 × 28 cm B AC K Sam Jinks Untitled (Babies with Frogs) 2014 Silicone, pigment, resin, human hair 15 3/4 × 15 3/4 × 7 3/4 in

20 × 40 × 40 cm

Sam Jinks (b. 1973, Australia) is a leading figurative sculptor. Working with such material as silicone, resin, pigment and human hair, Jinks has pushed the technical achievements of the genre to new heights. He is known for his amazing attention to detail and quiet focus on deep emotional content.

Jinks’ works are frozen in their briefest and often most private moments. Emotional vulnerability is both the subject and result of his work, allowing the audience a rare opportunity to examine in close proximity the ordinary, imperfect and non- idealized body reduced to its purest form of expression. With a fold of skin, a wrinkle, a pose, a sign of the times, Jinks achieves a fragile sense of intimacy with the viewer Jinks’ recent sculpture, Untitled (Kneeling Woman) was five years in the making.

The sculpture is modeled at two-thirds life size, an adjustment of scale which adds poignancy to the work. The second work is of two babies and references his seminal 2012 sculpture. Here, the two babies are surrounded by a multitude of frogs, adding an element of playfulness.

Sam Jinks lives and works in Melbourne, Australia. His work has been exhibited internationally at La Biennale di Venezia, Palazzo Bembo (2013); McClelland Gallery and Sculpture Park, Langwarrin (2011); National Portrait Gallery, Canberra (2006/2007).

Museum collections include The Kiran Nader Museum of Art, Dehli; Museo Escultura Figurativa Internacional Contemporaenea (MEFIC); the Royal Melbourne Institute of Technology Collection, Victoria; McClelland Gallery + Sculpture Park, Victoria; Shepparton Art Gallery, Victoria; Shepparton Art Museum, Shepparton.

Currently, his works are on view in exhibitions at the National Portrait Gallery,Canberra, Australia and the Libieghaus Sculpture Museum, Frankfurt, Germany. Jinks’ first solo-exhibition in the United States will open at MARC STRAUS in March 2015. He is represented by MARC STRAUS, New York and Sullivan + Strumpf, Sydney.

VOLTA N Y 2015 | B OOT H N UMBE R A 12

MARC S TR AUS , NE W Y O R K

MARIN MAJIĆ

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

R EPR E S E N T E D AR T IST S Emil Alzamora Thomas Bangsted Birgit Brenner Jeffrey Gibson Kristjan Gudmundsson Chris Jones Marin Majić Martha Mysko John Newsom Jong Oh Paul Pretzer Ulf Puder Antonio Santin Zlatan Vehabovic Entang Wiharso

COV E R Marin Majić Father and Son 2013 Oil on Linen 14 × 11 in 36 × 28 cm INS I D E Marin Majić The Third House from the Left 2012 Oil on Linen 63 × 88.5 in 160 × 225 cm B AC K Marin Majić Untitled 2015 Acrylic and oil on linen 94.5 × 86.5 in 240 × 220 cm

Marin Majić creates paintings that present a vision of unsettling idyll. His imagery is drawn from varied sources — magazines, screen shots, film stills — creating plausible but unlikely combinations of scenery, faces and activities that with painstaking deliberateness, acquire a cache of familiarity in spite of (or due to) their uncanny subject matter.

Upon close inspection of Majić’s work, something is always awry. An adoring mother bids her son farewell, but at second glance it is revealed that their relationship is charged. Traditional viewpoints are reversed. Large trees obscure brick homes, adding an element of suspense and unease to what would otherwise would be a common landscape. In his most recent work, Majić continues to focus on the landscape. An enormous mound of children’s play things take over the entirety of a large canvas.

The illuminated point of focus and absence of central figuration is particularly jarring.

The key to these works is Majić’s extraordinary mastery of painting, which holds the viewer enrapt despite the sharp edge of the subject matter. There is a push and pull between narrative and style, a struggle between the viewer’s desire to inspect the lush, expertly painted scenery and their simultaneous hesitation at the unexpected content. In one moment each painting in the exhibition can change from enchanting to disconcerting; consequently each viewer comes back again and again with renewed interest and even amusement.

Marin Majić was born in 1979 in Frankfurt, Germany and lives and works in Berlin.

He received his MFA from the Academy of Fine Arts in Zagreb, Croatia. He was a finalist in the 45th Zagreb Salon and Salon of Young Art, Zagreb, both in 2010. He has been included in several museum exhibitions in the United States including After the Fall, at the Hudson Valley Center for Contemporary Art and The Knoxville Museum (2010–11). He is represented by MARC STRAUS in New York and ARNDT Gallery in Berlin

VOLTA N Y 2015 | B OOT H N UMBE R B 8

G ALERIE HEIKE STRELOW, FR ANKF U R T A M MA IN

HENDRIK ZIMMER

G A LERI E H EI K E STRELOW: HENDRIK ZIMMER WEBS I T E www.galerieheikestrelow.de E- M A I L hst @ galerieheikestrelow.de PHO N E +49 694 800 5440 CEL L +49 172 676 9613 CONTA C T N A M ES Heike Strelow Adela Demetja

R EPR E S E N T E D AR T IST S Monika Brandmeier Nin Brudermann Il-Jin Atem Choi Grösch/Metzger Florian Heinke Mathias Kessler George Steinmann Katrin Ströbel Herbert Warmuth Winter/Hoerbelt

COV E R Hendrik Zimmer Untitled (detail) 2015 Mixed media on canvas 119 × 85 cm INS I D E Hendrik Zimmer Untitled 2015 Mixed media on canvas 185 × 135 cm B AC K ( L E FT ) Hendrik Zimmer Untitled (Goldrausch) 2012 Papier colle, decollage, oil & acrylic on canvas 120 × 120 cm B AC K ( R I G H T) Hendrik Zimmer Untitled (Warsaw Road) 2014 Papier colle, decollage, oil & acrylic on canvas 100 × 80 cm

Hendrik Zimmer paintings and installations are both informed by the context of socalled “institutional critique” that the medium has faced since the 90`s and the Internet impact on culture at large and its distribution. Belonging to the Post-Internet Art generation and experiencing the changes brought from a long-since digital age and the network ideology, Zimmer develops his paintings concerned particularly with their materiality and their ways of presentation and dissemination in the physical and digital space. His paintings enable us to follow the production process and it becomes clear that Zimmer`s “pictures” exist in three different stages. He appropriates found fragments of posters, images and writing used in advertising in order to incorporate these pre-existing commodified and digitally reproduced images, in the canvas. On the incorporated advertisement images Zimmer intervenes by pouring, brushing, and scrubbing extensive fields of colour, stripping away layers of glued paper and painting them over again experimenting with Décollage strategies. The multilayered Décollage paintings institute a new “picture” and the second stage of Zimmer’s work. However his work can only be finalized in the exhibition space where the appropriate installations display of the paintings and other elements can be arranged. Only in the exhibited condition can Zimmer works accomplish their final “picture” in which they are to be understood, documented and reintroduced and distributed again (as digital images probably much more than the original object) in the network from where they originated. In this sense we can say that Zimmer’s paintings embody and visualize the network, interrupting the representation of a static object and becoming a transitive painting what David Joselit urges for this medium in contemporary times to be.

Zimmer’s Décollage paintings reconcile figurative elements in the form of a photographic image taken from a poster or magazine and the expressionist abstract painted gestures. Most times the introduced elements are parts of human figures, faces, hands or other parts of the body and fully integrated in the composition. Just as artists in the 1960´s addressed the endless mechanical reproduction of images in their work, Zimmer’s paintings evoke and reflect a contemporary moment of medialized globalization defined by the infinite reproducibility and mutability of digital images and objects.

VOLTA N Y 2015 | B OOT H N UMBE R F 3

S TUDIO10, B R O O KLY N

JUDE TALLICHET

STU D I O 1 0 : J U D E TALLIC HET WEBS I T E www.studio10bogart.com E- M A I L studio10bogart @ gmail.com PHO N E +1 718 852 4396 CEL L +1 718 908 4253 CONTA C T N A M ES Larry Greenberg Annelie McGavin

R EPR E S E N T E D AR T IST S Michele Araujo John Avelluto Caroline Cox Matt Freedman Richard Garet Meg Hitchcock David Schafer Adam Simon Tim Spelios Kate Teale

COV E R Jude Tallichet Untitled (Shoe) 2012 Bronze 13 × 5 × 5 in INS I D E Jude Tallichet Bear Rug 2005 Aluminum 96 × 70 × 69 in B AC K Jude Tallichet Small Monuments 2014 Bronze 2.5 × 4.5 in

Jude Tallichet’s sculptures guide the viewer in a strange meditation on loss and desire. The cast aluminum bear rug, the bronze iPhones and discarded personal items emerge out of intention, accident and critical response in her studio. The casting process is used not to simulate the object but rather to imbibe it within a continuum of signification. Jude Tallichet lives and works in Queens, NY. Tallichet’s recent solo exhibition, titled “U-Turn” was at STUDIO 10. She has had six solo exhibitions at Sara Meltzer Gallery, NYC, since 2000. She has exhibited nationally and internationally in venues including the Konsthallen in Gothenburg, Sweden, The Shanghai Biennial in China, The Busan Biennial in Korea, The Tirana Biennial in Albania, the “Officina America” exhibition in Bologna, Italy, at Periogi Gallery in Brooklyn, and Liepzig, Germany. She participated in the inaugural Greater New York Show at PS1 MOMA, the “Treble” exhibition at Sculpture Center, and the “Brooklyn Next” exhibition at the Brooklyn Museum of Art. She has had solo shows at Robert Miller Gallery in 2014, the Santa Barbara Contemporary Arts Forum and the Burnet Gallery in Minneapolis, Minnesota. She was a featured performer in the Iron Artist Event at PS1 MOMA, organized by Cabinet Magazine. Jude spent a year in Brazil as a Senior Fullbright Fellow and has received fellowship grants in sculpture from the National Endowment for the Arts and the New York Foundation for the Arts. She has received residencies at the Rosa de la Cruz Collection, the MacDowell Colony, the Millay Colony and at the Civitella Ranieri Center in Umbertide, Italy. She is Professor and Chair of the Sculpture Department at the Tyler School of Art, where she has taught since 1987. Jude was a founding member of the rock band Ultra Vulva and has collaborated on video and performance projects with a diverse collection of artists and musicians, including Jeanine Antoni, Kristin Lucas, Doug Henderson, John Harbison and Henry Threadgill.

VOLTA N Y 2015 | B OOT H N UMBE R B 16

CATIN CA TABACARU GALLER Y, NEW Y O R K C ITY

RACHEL MONOSOV

CATI N CA TA BA CA R U: RAC HEL MONOSOV WEBS I T E www.catincatabacaru.com E- M A I L info @ tincaart.com PHO N E +1 212 260 2481 CEL L +919 475 8407 CONTA C T N A M ES Catinca Tabacaru Tiffany Jin

R EPR E S E N T E D AR T IST S Joe Brittain Jasmin Charles Greg Haberny Tamara Mendels Rachel Monosov Shinji Murakami Yapci Ramos Xavier Robles de Medina Justin Orvis Steimer Gail Stoicheff

COV E R Rachel Monosov Animal Side 1 and 2 2014 Inkjet print on innova soft white cotton mounted on dibond 47.25 × 40.75 in 120 × 103.5 cm Edition of 3 + AP INS I D E Rachel Monosov Exotic? (pentaptych) 2015 Inkjet print on Canson Infinity Platine Fiber Rag paper 8 × 5.5 in; 13 × 9 in; 31 × 22 in 21 × 14 cm; 33 × 22 cm;

79 × 56 cm 3 Variations B AC K Rachel Monosov Installation view: Effects of Displacement 2015 Catinca Tabacaru Gallery, New York, NY

Catinca Tabacaru Gallery is proud to present Israeli artist Rachel Monosov. Bridging photography, video and sculpture, Monosov delves into cultural notions of alienation, territorial belonging, gender and identity. Nature serves as a source for Monosov’s imagery and objects, which can be interpreted as both symbolic and indexical. While many of her works are autobiographical and steeped with a desire to grapple with her personal history, the collection as a whole reflects a rootless present rife with broader social implications.

Monosov’s 2015 solo exhibition, Effects of Displacement, mounted a four meter long cascading photograph, the idea of an infinite landscape, but riddled with notions of seen and unseen boundaries; a faux hair extension simultaneously calling to stereotypical kitsch accessories and modifiable personal identities; and a video work, The Visitor, filmed in Jerusalem and the Judaean Desert channeling Monosov’s return to her homeland and the feelings of re-encountering one’s native country as a foreigner. The exhibition underscored Monosov’s struggle with an in-between present, tackling themes of faith and identity in a strange, yet familiar space.

Monosov received her BFA in Photography from the Bezalel Academy in Jerusalem, Israel in 2010, and her MFA from The Royal Academy of Fine Arts in Ghent (KASK), Belgium in 2014.

A BO U T CATINCA TA BA CA R U G AL L E RY Founded in 2010 by Catinca Tabacaru, the gallery opened its brick and mortar space on the Lower East Side of Manhattan in May 2014. Interested in authenticity, a universal language and the geopolitical environment, the themes of identity, gender 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.

VOLTA N Y 2015 | B OOT H N UMBE R D 19

F RE DERIEKE TAYLOR GALLERY, NE W Y O R K

[ dNASAb ]

FRED ERI EK E TAYLOR GALLERY: [d NASAb ] WEBS I T E www.frederieketaylorgallery.com E- M A I L info @ frederieketaylorgallery.com PHO N E +1 646 230 0992 CEL L +1 917 402 4881 CONTA C T N A M E Frederieke Taylor

R EPR E S E N T E D AR T IST S Long-Bin Chen Mel Chin Jackie Ferrara Peter Hutchinson Rachel Maulwurf Meredith Monk Kristen Nelson Christy Rupp Pauline Wertz Marion Wilson

COV E R [dNASAb] Untitled 2014 Archival Pigment Print 60 × 40 in Edition of 7 INS I D E [dNASAb] Sculpting Life A re-contextualization of the living marine reef ecosystem #2 / BLOOMBERG AQUASCAPING PROJECT 2014 Thermal formed plastics, hand cast archival images, 40 living corals, cast clear plastic 3D fiber optic nodes,120 LEDs, acrylic, fiber optics, reclaimed/recycled plastics, aquatic resin, live rock, and a full marine ecosystem.

Variable dimensions

[dNASAb]’s most recent body of work evokes the forms, textures, and colors of the living coral reef as well as the biodiversity of ocean life. [dNASAb]’s dynamic sculptures, photographs and installations are the result of intense observation of the living marine reef ecosystem. The artist maintains a full blown reef ecosystem in his studio in which he nurtures and propagates dozens of species of living corals as well as the subsequent ecosystems needed for them to thrive. This reef aquarium, or “studio tank” acts a site of research into developing living sculptures. [dNASAb] conducts research utilizing new materials, species integration, and optical systems in an effort to re-contextualize the reef environment.

In his Aquascaping Project series, the artist reproduces the shifting organic growth of the reef by allowing living invertebrates to fasten to the work, making the sculpture part of the living coral it seeks to mimic. In this way the sculpture, like the reef and its inhabitants, transforms over time. Employing plastics, LEDs, fiber optics, and other media, [dNASAb] makes the connection between the rich biodiversity of the reef and the accelerating social and cultural evolution of the world we inhabit on land. Colorful abstracted hanging sculptures and photographs reflect the artist’s continued exploration between art, technology and nature.

The underwater world has always been a source of inspiration for the artist but it’s this daily interaction with the pristine system of the “studio tank” that informs the new works in these series. Utilizing the same intense observation, the artist has turned his eye to the natural environments that are the foundations for a healthy reef. What the artist has found and reclaimed on the beaches, in the Oceans, and strewn through the mangrove nurseries is horrifyingly inspirational.

“Like an Ocean gyre, a vortex of artifacts of a consumption based contemporary society such as; plastic bottles and bags, fishing nets, and helium balloons become ensnarled with driftwood, dead coral, and seaweed creating a grotesque amalgamation of disparate materials which remarkably can still harbor life and be a sculptural framework for life to grow. I aim to develop work that embodies this contemporary conundrum [dNASAb].”

BIO G RA P HY [dNASAb] works and lives in Brooklyn. He received a BFA in Sculpture and Mixed Media at Florida State University, Tallahassee, FL and was the 2006 Artist in Residence at the Institute for Electronic Arts, Alfred University, NY. He has exhibited widely both in the United States and Europe. Most recently he installed a permanent commission at the Bloomberg NY Headquarters on Lexington Ave, NYC 2014, entitled “Sculpting Life, A Recontextualisation of the living marine reef ecosystem”.

Some of his more recent exhibitions include “Hotter than July” at Studio Gallery, LES, in 2014 and “Separation Anxiety” at WALLPLAY Gallery. In 2013 he participated in CYBERFEST 2013 in St. Petersburg, Russia, the Redhook International Film and Video Film Festival and the Mykonos Biennale. Recent shows include: “SHOOT” at Lesley Heller Workspace, VOLTA NY 2011, “Science Fiction” at Storefront Gallery and “dataclysmic” at Frederieke Taylor Gallery in 2010. [dNASAb]’s work is included in numerous collections, both corporate and private, including the Microsoft Bloomberg collections.

VOLTA N Y 2015 | B OOT H N UMBE R D 3

TEZUKAYAMA GALLE R Y, O S A KA

TOMOHIRO KATO

TEZ U K AYA M A G A L LERY: TOMOHIRO KATO WEBS I T E www.tezukayama-g.com E- M A I L info @ tezukayama-g.com PHO N E +81 6534 3993 CEL L +81 80 3817 3187 CONTA C T N A M ES Chie Uchida Shinpei Okada

R EPR E S E N T E D AR T IST S Yasuka Goto Kazuma Koike Misato Kurimune Hirohito Nomoto Yoshiyuki Ooe Kaoru Soeno Satoru Tamura Yuuki Tsukiyama Hiroko Uehara Kohei Yamashita

COV E R Tomohiro Kato Hidden Matter 2015 Steel 16.5 × 21 × 18 cm INS I D E Tomohiro Kato Sun & Steel Exhibition view (collaboration with Taro Okamoto) 2013 Steel Taro Okamoto Memorial Museum Courtesy of Xin Tahara B AC K Tomohiro Kato Painting Shelter #1 2012 Steel 37 × 31.5 × 10 cm

Tomohiro Kato was born in Tokyo in 1981. He completed an MA from the Department of Craft at Tama Art University in 2006, which included the study of many traditional Japanese craft techniques in a variety of media. After graduating, whilst working in a metal processing company, Kato developed his technical skills of steelwork.

Kato has been consistently utilizing steel as his medium. The material is the most important element for him when creating his work. By painstakingly creating objects which are not normally made of steel, or by utilizing the material in ways we are familiar with but for purposes which are unfamiliar, the meaning and the role of this material in our society is both highlighted and questioned. He also puts into question the complexities of today’s society of mass communication and information, and by contrast, consistently employing only one material, made from natural raw materials.

Kato has been working for the series’ “Painting Prison” and “Painting Shelter” since 2012. They are literarily “a cage for a painting”. Originally, he put other artist’s highly valued artwork inside his own steel enclosure and locked them inside. Kato has said there are several reasons for creating this work, including; “his inferiority complex to painting work”, his “aversion to the excessive adding of value to such works”, his “sense of superiority that the work can only be seen from behind the iron bars”, and most ironically, his own “prison as protection for the paintings” that have enslaved him in resentment.

The image of a “prison” has several connotations for Kato. His artistic expression is based on his metal processing technique and ability, and therefore he cannot escape from using steel. He also happens to share his full name with a well-known Japanese mass-murderer who remains in prison on death row. Additionally, Kato is interested in the connection of steel’s use in the making of weapons to kill people, and the purpose of a steel prison, as enslavement for those violent crimes.

VOLTA N Y 2015 | B OOT H N UMBE R C 5

T HIS I S NO FANTASY

DIANNE TANZE R G A LLE R Y ME LB O U R NE

PETRINA HICKS +

PETRI N A H I CK S WEBS I T E www.thisisnofantasy.com E- M A I L info @ thisisnofantasy.com PHO N E +61 3 9417 7172 CEL L +61 408 133 332 CONTA C T N A M ES Dianne Tanzer Nicola Stein Jemma Clark

R EPR E S E N T E D AR T IST S Abdul-Rahma Abdullah Natasha Bieniek Michael Cook Marian Drew Juan Ford Victoria Reichelt Yhonnie Scarce Valerie Sparks Jacqui Stockdale Lorene Taurerewa

COV E R Petrina Hicks Venus 2013 Pigment print, edition of 8 +AP 100 × 100 cm INS I D E Petrina Hicks New Age 2013 Pigment print, edition of 8 +AP 100 × 100 cm B AC K Petrina Hicks Ghostbite 2008 Pigment print, edition of 8 +AP 100 × 100 cm

Petrina Hicks’ large scale, hyper-real photographs are as beautiful as they are unsettling. Rendered so clearly and with such control they are reminiscent of advertisements. But with a series of subtle ruptures, Hicks subverts the process of seduction creating a tension between surface aesthetic and the ideas embedded within the image. Although loaded with symbolism her images deny a singular, clear message.

Hicks’ practice engages in debate about contemporary culture, femininity and the nature of photography. It draws attention to habitual ways of thinking and depicting, past and present. Rich in historical and cultural associations her images rephrase archetypal representations familiar through art history, challenging us to question if much has changed.

‘Hicks’ retrieval and reinterpretation of mythologies and social precedents suggests that history repeats. That Hicks engages with such themes in 2014 points to the folly of complacency...that she co-opts a visual language so often used to hock products and desires serves as the ultimate repost.’ (Dan Rule, Editor, Vault) Reflecting Hicks’ concern with the perfect form her subjects have a still-life quality nudging photography away from its two dimensional bonds and closer to sculpture.

BIO G RA P HY Hicks is one of Australia’s most significant contemporary photographers. She has exhibited widely in Australia and Internationally including at Biennal of Photography, Mexico; The Barbican, London; Fotoseptiembre, Mexico City; SESC_Videobrasil, Sao Paulo; Paris Photo; Pingyao International Photography Festival, China; and Internationall Konst Film Utstallning, Sweden.

Hicks has been recognized through many prestigious awards including 2014 Bowness Photography Prize, Josephine Ulrick Photography Award, ABN AMRO Artist Award, La Cité Paris Residency and an Akademie Schloss Solitude Fellowship, Germany. Her work is represented in all major Australian institutions and her images have appeared on the front covers of Eyemazing, Blink, Art Monthly Australia and Art Collector.

VOLTA N Y 2015 | B OOT H N UMBE R D 8

GALERIE TROIS POINT S , MO NTR É A L

ANNE-RENÉE HOTTE

G A LERI E TRO I S POINTS: ANNE-RENÉE HOTTE WEBS I T E www.galerietroispoints.com E- M A I L egb @ galerietroispoints.com PHO N E +1 514 866 8008 CEL L +1 514 576 0231 CONTA C T N A M ES Émilie Grandmont Bérubé Jean-Michel Bourgeois

R EPR E S E N T E D AR T IST S Elmyna Bouchard Sylvain Bouthillette Olga Chagaoutdinova Michel Daigneault Evergon Clint Griffin Milutin Gubash Mathieu Lévesque Alex McLeod Natalie Reis

COV E R Anne-Renée Hotte Martin et Kolya (detail) 2013 Inkjet print on archive paper 30 × 40 in Edition of 5 INS I D E Anne-Renée Hotte La marche 2014 Inkjet print on archive paper 30 × 40 in Edition of 5 B AC K Anne-Renée Hotte La lignée 2 (detail) 2013 Inkjet print on archive paper 32 × 48 in Edition of 5

In her practice, Anne-Renée Hotte reflects on greater notions of family – its role in society and the relationships between its members. Through her video and photographic work, she presents narratives that activate idealized fictional and timeless spaces. Vividly anchored in nature, these mises en scène disclose something about her characters’ explorations, as well as her own, revealing the delicate nature of group dynamics.

In her work, landscape becomes a symbol of both identity and time. Sublime, vast and empty, the land reveals a harder truth: as much as it functions as an inviting home, the landscape also isolates the characters within an infinite solitude. The family’s sense of lineage is therefore disrupted, as their relationships become rooted in a state of duality, vacillating between union and rupture. This fictional saga, in which the characters perform simple and enigmatic gestures, evokes the underlying complex connections within a group, a clan, a family.

Anne-Renée Hotte received a BFA from Concordia University (Montreal) and is currently pursuing her MFA at Université du Québec à Montréal. She has participated in several group exhibitions in Canada and Europe. Her work is part of several numerous and public collections; Concordia’s University’s, Art For Healing Foundation, Embassy of Canada in Indonesia, Cirque du Soleil Collection and the Stanley Mills Collection.

Since 1988, Trois Points dares to present emerging artists, and several of these artists are now well renowned in Canada. In 1994, Galerie Trois Points was one of the first institutions to invest in the BELGO BUILDING, located in downtown Montreal hosting more than 25 exhibition spaces in the heart of Montreal’s visual arts scene.

Emilie Grandmont Bérubé and Jean-Michel Bourgeois took over the gallery in 2009 and have vivified the spirit of the gallery by positively inscribing themselves in the Canadian art scene, while defending and pursuing Trois Points’ mission and heritage.

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TWO RAMS, NEW Y OR K CITY | LO ND O N

RYAN SCHNEIDER

TWO RA MS: RYA N SC HNEIDER WEBS I T E www.two-rams.com E- M A I L info @ two-rams.com PHO N E +1 646 864 1744 CEL L +1 917 701 5675 CONTA C T N A M E Brandon Coburn

R EPR E S E N T E D AR T IST S Lia Chavez Alexis Dahan Sam Fryer Juliet Jacobson

COV E R Ryan Schneider Total Increase (detail) 2014 Oil on canvas 84 × 72 in INS I D E Ryan Schneider Striding Lion 2014 Oil on linen 62 × 72 in

Two Rams is proud to present Brooklyn-based painter Ryan Schneider. Inspired by a summer spent wandering the deserts of Joshua Tree, Schneider’s work alerts the viewer to the truth found in shadows. Schneider’s canvases, activated by his quest to “hear what wants to be painted”, explore the mysteries within the desert’s silence and plunge into the unresolved conflict between the wild and of the manmade. The narrative gains momentum when we, as viewers, surrender our sense of structure and logic to the magic of disorder, mistake, and spontaneity.

Ryan Schneider was born in Indianapolis, Indiana in 1980. He received his BFA from the Maryland Institute, College of Art in 2002. Schneider has participated in numerous solo and group exhibitions worldwide. Recent shows include “Ritual for Letting Go”, a solo exhibition at Two Rams, NY; “Media” at Galleri Jacob Bjørn, Denmark; “Et Brask Spark” — selections from the collection of Jens Peter Brask, at the Munkeruphus Museum, Denmark; “Ritual Magic” at Greenpoint Terminal Gallery in Brooklyn; and “Schneids and Heids”, a two-person exhibition with Daniel Heidkamp at Bendixen Contemporary Art in Copenhagen. Schneider’s work has been featured in Whitewall Magazine, Modern Painters, The New Yorker, Art in America, The Brooklyn Rail, Artinfo, Artblog, New American Paintings, Art F City, Brask Art Blog, NYC Art Scene, and the cover of The Diner Journal, among other publications. Schneider lives and works in Brooklyn, NY.

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UNION GALLE R Y, LO ND O N

ROSE WYLIE

U N I O N GA LLERY: ROSE WY LIE WEBS I T E www.uniongallery.com E- M A I L sales @ uniongallery.com PHO N E +44 20 7739 9119 CEL L +44 78 5007 9002 CONTA C T N A M E Jari Lager

R EPR E S E N T E D AR T IST S Anders Krisar Bernhard Martin Kieran Moore Mike Marshall Scott Mcfarland Seahyun Lee Shane Bradford Soonhak Kwon Tobias Lehner Yu Jinyoung

COV E R Rose Wylie Korean Children Singing (detail) 2013 Oil on Canvas 183 × 254 cm INS I D E Rose Wylie Black Strap (Red Fly) 2014 Oil on Canvas 184 × 332 cm B AC K ( L E FT ) Rose Wylie Dead Wasp 2014 Watercolour Pen on Paper A4 (21 × 29.7 cm) B AC K ( R I G H T) Rose Wylie Lightening and Aeroplanes (Right Side) 2014 Ink and Collage on Paper A1 (59.4 × 84.1 cm)

For VOLTA NY 2015, UNION Gallery present the work of one of the most important artists working with painting today; Rose Wylie. Having her feature at VOLTA has been conceived as a celebration of the artist’s recent successes.

Earlier in 2014, Wylie was awarded the prestigious John Moores painting prize in the UK, as the grand prizewinner selected from a shortlist of fifty prominent artists and over 2,500 entrants. More recently, the Staedtische Galerie Wolfsburg opened her major solo show Pink Girls, Yellow Curls in Germany. These significant achievements have occurred in what has been a busy year for the artist, including exhibitions in Taipei, Amsterdam and New York. As if this extraordinary period did not already contain plenty of cause for celebration, it has also been the year in which this singular artist welcomed her eightieth birthday.

As such, UNION gallery has conceived a stand that emphasizes Wylie’s boundless energy, presenting a range of large-scale new paintings from her ongoing Nicole Kidman and the Black Strap series, standalone pieces featuring her irreverent take on pop-culture icons like Mickey Mouse and various film stars and new works on paper, produced in her signature style of multi-layered watercolour collage. These new works will be contextualized within the trajectory of Wylie’s career by the presence of a smaller, carefully-curated selection of older major works representing the various periods of the artist’s practice in which she has fixated on a specific subject matter.

Given Wylie’s fascination with the monarchy, the military, footballers, zoo animals, Nazis and much more besides, this approach makes for a lively, diverse presentation….perfect for celebrating the long-overdue recognition of this singular artist and her decidedly non-typical career.

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UPFOR , P O R TLA ND , O R

JACK FEATHERLY

U PFOR: J A CK FEATHERLY WEBS I T E www.upforgallery.com

The following text is excerpted from curator Josephine Zarkovich’s catalog essay and interview for Jack Featherly’s exhibition “Unpattern,” at Upfor in 2014.

E- M A I L welcome @ upforgallery.com

Jack Featherly’s work incorporates lush, vibrant colors, layering compositions that oscillate between flat geometry and painterly abstraction. Each large-scale canvas is rendered painstakingly by hand, layer by layer, but the eye is moved between the meticulous flatness of found images and the rougher texture of gestural color fields.

Each work feels like a negotiation between multiple visual inputs, suspended in a momentary and sometimes precarious balance that is not easily unraveled.

PHO N E +1 503 227 5111 CEL L +1 503 816 8402 CONTA C T N A M E Theo Downes-Le Guin

R EPR E S E N T E D AR T IST S Ben Buswell MSHR (artist collective) Brenna Murphy Ralph Pugay Jordan Rathus Katie Torn Rodrigo Valenzuela

COV E R Jack Featherly Unpattern4 2013 Oil paint and enamel on canvas 78 × 54 in 198 × 137 cm INS I D E Jack Featherly Installation view, left to right:

4126 2014 Oil paint and ink on canvas 66 × 42 in 167.6 × 106.6 cm Unpattern6 2014 Oil paint and enamel on canvas 67 × 42 in 170 × 106.6 cm Positive Trend 2014 Oil paint and ink on canvas 78 × 54.5 in 198 × 138.4 cm Unpattern7 2014 Oil paint and enamel on canvas 66 × 54 in 167.6 × 137 cm B AC K Jack Featherly Positive Trend 2014 Oil paint and ink on canvas 78 × 54.5 in 198 × 138.4 cm

Featherly gathers from a number of sources, most notably ASCII text art, an imagemaking technique that became popular on the internet in the early 90s before digital photographs were easily exchanged. From the first bulletin boards, to early AOL chat rooms, web users made use of a limited range of text characters to create ambitious, intricate images that were shared, collected and reposted. Using these digital artifacts, Featherly crops and embeds the text art within the paintings, further pushing them to the limits of legibility. Once placed, the images take on new meaning, becoming part of a greater landscape.

The painter writes, “Each painting develops organically through its individual history.

There is constant revision between distinct steps, where the goal is a totality. I rely on optical relationships that physically engage the viewers’ senses, rather than attempt to fool or lull them. The goal is to to, in a Buddhist sense, be in the moment with each painting as I work on it, allowing whatever is pushing me to dictate what I do.”

A BO U T THE A R TIS T Jack Featherly (b. 1966, Rolla, MO) makes paintings that are stylistically diverse and avoid presenting an “easy read,” but are nevertheless magnetic due to the meticulous craft and lack of obvious conceptual basis. Featherly’s solo exhibitions include Team Gallery, Christopher Henry, Jose Freire (New York), Rena Bransten (San Francisco), and Upfor Gallery (Portland). He has shown throughout the United States and in France, Germany, South Korea and Japan in two-artist and group exhibitions. His work is in the corporate collections of Progressive and Chase Bank and in various private collections. Featherly completed a BFA at Pacific Northwest College of Art (Portland, OR).

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VANE, NEWCAS TL E U P O N TY NE

STEPHEN PALMER

VA N E: STEPH EN PALMER WEBS I T E www.vane.org.uk E- M A I L info @ vane.org.uk PHO N E +44 191 261 8281 CEL L +44 771 309 7852 CONTA C T N A M ES Paul Stone Christopher Yeats

R EPR E S E N T E D AR T IST S Kerstin Drechsel Jorn Ebner Mark Joshua Epstein Nick Fox Simon Le Ruez Jock Mooney Michael Mulvihill Josué Pellot Narbi Price

COV E R Stephen Palmer Shaz Luvs Ya!!! (detail) 2014 Oil on canvas 14 × 14 in 35 × 35 cm INS I D E Stephen Palmer The end of the World Pt 1 (detail) 2014 Oil on canvas 14 × 14 in 35 × 35 cm B AC K ( L E FT ) Stephen Palmer The Lover (detail) 2012 Graphite on paper 15 × 15 in 38 × 38 cm B AC K ( R I G H T) Stephen Palmer The road to the village (detail) 2013 Graphite on paper 15.5 × 15 in 39 × 38 cm

Stephen Palmer’s most recent paintings feature second-hand copies of albums by iconic male singers. Palmer partially obscures the original cover artwork by placing the record’s inner sleeve over it so that little more than the face of the recording artist is visible. By highlighting the inner sleeves with their additions of personalised messages and texts, hand written by their one-time owners, Palmer creates a conversation between our idea of that artist and their work (whether it’s David Bowie, Leonard Cohen, or Frank Sinatra) and the ‘unknown’ person who once eagerly scrawled or carefully printed their thoughts thereon. Are they a serious ‘collector’ cataloguing works, a love-struck teenager, or a football fan declaring support for their favourite team as they listen to the album?

Other new paintings expand on an earlier series of drawings transcribing newspaper clippings, each rendered in painstaking detail, a process that confers value to events that may otherwise appear of little importance. In these earlier works, though the selection of stories seems random, the topics — such as ufology, war or obituaries — attract an obsessive following. Many reference more recent news. In The way to the village a story of wartime atrocities links to the current European financial crisis with reparation payments for events that happened more than fifty years ago. In The Lover, the deletion of a name from an obituary leaves only a visual clue to the dead person’s story, reflecting a filmic stereotype of male gender role.

The new paintings are, in part, a reaction against the earlier drawings. Produced in the same painstaking detail, the newspaper stories reflect on cultural, technological and scientific advances that have come to a more definitive end: the closure of Rupert Murdoch’s News of the World newspaper in The end of the World Pt 1; the last flight of the space shuttle in Shuttle’s last trip. Presented as if screwed up and discarded by the reader, the new works have a more sculptural feel than before.

Does the artist wish to move on and be rid of those earlier, more careful depictions?

Or does the discarding proclaim ‘this really is the end’?

Stephen Palmer (born 1967, Alton) lives in London, UK. His third solo exhibition for Vane, ‘The end has no end’, was in February-March 2013. He has exhibited recently in London, Berlin, Prague, and New York. His work is in the UK Government Art Collection and private collections in Australia, Denmark, UK and USA.

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WHATIFTHEW OR LD, C A P E TO WN

MICHAEL TAYLOR

WH ATI FTH EWORLD: MIC HAEL TAY LOR WEBS I T E www.whatiftheworld.com E- M A I L info@whatiftheworld.com ashleigh@whatiftheworld.com PHO N E +27 447 2376 CEL L +27 764 222 387 +27 494 907 293 CONTA C T N A M ES Ashleigh McLean Justin Rhodes

R EPR E S E N T E D AR T IST S Julia Rosa Clark Pierre Fouche Olaf Hajek Dan Halter Nico Krijno Michele Mathison Daniella Mooney Lakin Ogunbanwo Cameron Platter Athi Patra Ruga

COV E R Michael Taylor The Ball Boys (detail) 2015 Gouache and pencil on paper 150 × 150 cm INS I D E Michael Taylor Fountain of Youth 2015 Gouache and pencil on paper 150 × 150 cm B AC K Michael Taylor A Rake’s Progress 2015 Gouache and silkscreen on Paper 50 × 71 cm

A BO U T Michael Taylor (born 1979) is a South African artist who lives and works in Cape Town. He studied at Stellenbosch University, where he completed his Master’s Degree in Visual Art. Primarily working in the mediums of painting and drawing, his work explores notions around narrative art, absorbing ideas from illustration and abstract representation.

A R TIS T S TATE M E NT My work can be described as ironic, illustrative, and self-reflexive pictures. I draw comparisons between personal and cultural knowledge — themes and narratives that inform my everyday thinking. These interpretations are fundamentally concerned with image-text paradigms — the subtleties between visual thoughts and language.

I look at these relationships, particularly the interplay between an image and its adjoined title, as concepts for my work. And I am always interested in working with humour and ridicule, ways of communicating that are disarming, and those aspects pointing to being simply human. It’s these elements, I believe, that will make the viewer become aware of themselves when reading the image.

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WID ME RTHEODORIDIS, ES CHLI KO N | Z Ü R IC H

JIM VERBURG

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

R EPR E S E N T E D AR T IST S Bildstein I Glatz Othmar Eder Andreas Fux Gian Häne huber.huber Matthias Liechti Michael Schnabel Stefan Thiel Nicolas Vionnet Nadine Wottke

COV E R Jim Verburg Untitled (reflected/repeated #3) 2014 Archival inkjet print from mobile photograph 1 2 × 17 in INS I D E Jim Verburg Untitled (reflected/repeated #1 and #4) 2014 Oil based ink painted on glass — rolled, transferred and layered onto newsprint 24 × 36 in each B AC K Jim Verburg From the ongoing series: O/, Divided/Defined, Weights, Measures, and Emotional Geometry 2013 Folded photocopied circle 8 × 10 in folded

Jim Verburg’s multidisciplinary work aims to subtly mine the complexities of intimate relationships. Often working with minimal or abstract shapes and images to create an emotional topography, revealing the intricate layers that constitute intimacy and the harmonies and dissonances inherent in a personal or interpersonal dynamic.

He employs various techniques in the creation of this recent body of work. Ink is painted and rolled onto glass forms, transferred and layered — powdered graphite is rubbed into translucent tape and rearranged — placed black vinyl creates a new relationship between its reflective sides. These processes aren’t necessarily tied to conventional disciplines, they are rather the result of an artist engaging with different methods and materials to create layered dynamics of interplay & tension. The works reference a projection or photocopy, offering transparent layers that the viewer is invited to be absorbed by, or trapped in their opaque passages. Shapes and light patterns are photographed and formed, folded, cut, placed, reflected or repeated, providing a visual metaphor for personal reflection and introspection — exploring the subtle layers inherent in everyday thoughts, negotiations, and experiences.

Jim Verburg is a Dutch/Canadian artist based in Toronto. Recent exhibitions include More Than Two (Let It Make Itself) at The Power Plant (Toronto), Primeiro Estudo: Sobre Amor at Luciana Caravello (Rio de Janeiro) and Far Away So Close at Access Gallery (Vancouver). Solo exhibitions include One and Two, at Mois de la Photo à Montréal (2011), and Afterimage at Galerie Nicolas Robert (Montreal 2014). His film For a Relationship won the 2008 Jury Prize for the Best Canadian Short Film at the Insideout Film Festival, and was nominated for the Iris Prize (UK). His book O/ Divided/Defined, Weights, Measures, and Emotional Geometry, was awarded by Dazibao (2013 Montreal). Work from the publication was featured by Art Metropole at Art Basel Miami 2013.

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MARK W OLFE CONTEMPOR AR Y, S AN FR A NC IS C O

TODD LANAM

MA RK WOLFE CONTEMPORARY: TODD LANAM WEBS I T E www.wolfecontemporary.com E- M A I L contact @ wolfecontemporary.com PHO N E +1 415 369 9404 CEL L +1 415 205 1479 CONTA C T N A M ES Mark Wolfe Alexis Mackenzie

R EPR E S E N T E D AR T IST S Daniel Arnold Jud Bergeron Jordan Eagles Ryan Martin Sarah Thibault Jacob Tillman

COV E R Todd Lanam Isla Vista Hallway (detail) 2014 Oil on canvas 72 × 60 in INS I D E Todd Lanam Isla Vista Beach 2012 Oil on canvas 18 × 24 in B AC K Todd Lanam School Reflections (detail) 2014 Oil on canvas 72 × 60 in

TO D D L A NA M : BA CK TO IS L A VI STA With “Back to Isla Vista,” Lanam continues to explore the medium of painting as it relates to the cognitive process of memory formation and recall. The nominal subjects are interior and exterior spaces that remain prominent in the artist‘s memory.

The renderings of these spaces, however, reflect the constant shifting, omission, distortion, and re-creation of visual memories within the broader context of consciousness. They strive to highlight the inherently transient nature not only of actual places in the physical realm, but of our personal experiences of space that remain within us in constantly morphing memory.

Lanam received his BFA from the California College of the Arts in 2007 and MFA in Painting from San Francisco State University in 2011. In addition to solo shows at Wolfe Contemporary, his work has been exhibited at art fairs in Miami, New York, and San Francisco, and in a recent group show at Gallery Henoch in New York..

M A RK W O L F E CO NTE M P O R ARY Founded in 2003, Mark Wolfe Contemporary exhibits a range of local and international art with an emphasis on emerging and mid-career artists. We are proud to present a diverse roster of practitioners working in a wide range of media — from painting to video art — all sharing a commitment to conceptual rigor and a firm command of their craft. The gallery’s artists have garnered critical praise in local and national publications and media, including Art Forum, art ltd, KQED Public Television, New York Times, San Francisco Chronicle, S.F. Bay Guardian, and Village Voice, and have exhibited at the Museum of Art and Design, SF MOMA, the Oakland Museum, and numerous other venues.

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Y OD GALLE R Y, O S A KA

HIROSHI SHINNO

YOD GA LLERY: H I ROSHI SHINNO WEBS I T E www.yodgallery.com E- M A I L info @ yodgallery.com PHO N E +81 6 6364 0775 CONTA C T N A M E Ryotaro Ishigami

R EPR E S E N T E D AR T IST S Agathe de Bailliencourt Masashi Hattori Eikoh Hosoe Kosuke Kimura Issay Kitagawa Hideki Kuwajima Natsuki Machida Ryuzo Satake Toshiyuki Shibakawa Takuro Sugiyama Motonori Uwasu

COV E R Hiroshi Shinno 2013.2.20 Daikanyama 2 2013 Synthetic resin, acrylic, brass 3.2 × 2 × 4 in INS I D E Hiroshi Shinno Cluster of Life 2013 Synthetic resin, acrylic, stainless steel 5.5 × 5.5 × 5.5 in

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.

HIRO S HI S HINNO : THE CO N C E PT B E H I N D T H E AR T WO R K 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 single beetle-like creatures, which reflect his love and ideals toward 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.

BIO G RA P HY 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 has held solo exhibitions 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”.

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STEVEN ZEVITAS GALLER Y, B O S TO N, MA

FRANKLIN EVANS, ANN PIBAL

STEV EN Z EV I TA S GALLERY WEBS I T E www.stevenzevitasgallery.com E- M A I L info @ stevenzevitasgallery.com PHO N E +1 617-778-5265 CEL L +1 617-834-8674 CONTA C T N A M E Steven Zevitas

R EPR E S E N T E D AR T IST S John Dilg David X. Levine James Sterling Pitt Jered Sprecher Ann Toebbe Chuck Webster

COV E R Franklin Evans betweenmatisseandjudd (detail) 2014 Acrylic on canvas 74 × 74 in INS I D E Ann Pibal RBWCX3 2014 Acrylic on aluminum 29 × 40 in

F RA NK L IN E VA NS Franklin Evans presents fourpaintingstwowallsiowatonewyork, literally four paintings on two walls replete with references to the past, including of his graduate school time in Iowa. The VOLTA walls mimetically reflect the studio walls on which the paintings were made, exposing the interior thought and memory driving Evans’ practice. Evans’ recent obsessive explorations of 1913 Armory and Matisse’s Blue Nude in that exhibition, Robert Irwin’s 1960’s orange paintings about perception, and Evans’ own 2014 juddrules and juddpaintings exhibitions in Boston, commingle with his past relationship to the University of Iowa where fellow Zevitas artists John Dilg (Painting Professor at the university) and Ann Pibal (a classmate of Evans at Iowa). Typical to Evans’ practice, he flips between digital and material, process and object, thought and action, and the present and memory. Evans’ totalizing environment offers layers of context that simultaneously reveal and overwhelm through the abundance of visual data. Evans’ artwork occupies the field of painting/installation with the studio process and site as its subjects. His work embodies a contemporary conceptualization of networks: constant flux, absorption of other content, defocused experience of the present, rhizomic replication, and self-referentiality.

Franklin Evans was born in Reno, Nevada and lives and works in New York, NY. He has degrees from Stanford University and the University of Iowa. Evans has had sixteen solo exhibitions in the United States and Europe and has been included in numerous group exhibitions at, among others: MoMA PS1, NY; deCordova Sculpture Park and Museum, MA; DiverseWorks, TX; RISD Museum, RI; Weatherspoon Art Museum, NC; Futura, Prague, Czech Republic; El Museo del Barrio, NY; The Drawing Center, NY; Nevada Museum of Art, NV; Yerba Buena Center for the Arts, CA. Evans work is included in the public collections of Orlando Museum of Art, FL; El Museo del Barrio, NY; Weatherspoon Art Museum, NC; University of California, Riverside, CA; Pizzuti Collection, OH; The Progressive Art Collection, OH; Salomon Foundation, France.

A NN P IBA L Ann Pibal has experimented with geometric abstraction since the late 1990s, never repeating a single image, in order to build “an index of possible solutions, rather than an iconic ‘answer.’” Her work alludes to the robust history of abstract painting, architecture, and design. She is primarily interested in painting as a way of thinking; in all its facets, her work implies a certain shifting, non-settling, ongoing process.

Pibal lives and works in Brooklyn and North Bennington, Vermont. Her work has been exhibited widely at venues in the United States and Europe, including: MoMA PS1, Sikkema Jenkins & Co., Feature Inc., Max Protetch Gallery, Meulensteen, Paula Cooper Gallery, Rhona Hoffman Gallery and The Suburban in Chicago, Steven Zevitas Gallery in Boston, Slewe Gallery in Amsterdam, Petra Rinck Galerie in Düsseldorf, and dePury and Luxembourg in Zurich. Her work is included in many public collections, including: The Brooklyn Museum, The Museum of Fine Arts, Boston and The Hirshhorn Museum, Smithsonian Institution. Pibal has received awards from the Guggenheim Foundation, Tiffany Foundation, The Joan Mitchell Foundation, The New York Foundation for the Arts, The Pollock Krasner Foundation and others.

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G A L E R I Z I L B E R M A N , I S TA N B U L

BURÇAK BİNGÖL

G A LERI Z I LBERMAN: BURÇ AK BİNGÖL WEBS I T E www.galerizilberman.com E- M A I L zilberman @ galerizilberman.com PHO N E +90 212 251 12 14 CONTA C T N A M E Moiz Zilberman

R EPR E S E N T E D AR T IST S Selçuk Artut Alpin Arda Bağcık Ahmet Elhan Extramücadele Zeynep Kayan Azade Köker Şükran Moral Walid Siti Gülin Hayat Topdemir Eşref Yıldırım Guido Casaretto Zeren Göktan Aslı Torcu Janet Bellotto Fırat Neziroğlu

COV E R Burçak Bingöl Permeable II (detail) 2013 119 x 112 cm INS I D E Burçak Bingöl Cruise 2014 Ceramics 200 × 190 × 30 cm B AC K ( L E FT ) Burçak Bingöl Shift I 2014 Ceramics, metal 16 × 35 × 18 cm B AC K ( R I G H T) Burçak Bingöl Unforeseen Transformation #3 2011 Aluminum dibond diasec print 50 × 50 cm, Ed. 5+1 A.P.

Burçak Bingöl’s practice interrogates notions of belonging, culture, identity, decoration, and production by blurring the boundaries between these seemingly distinct notions. What constitutes an object of decoration? What is a replica? At what point does an object start being itself? Where does functionality lie in objects?

In her first solo exhibition with the gallery in 2011, Bingöl utilized the conceptual framework of the cabinet of curiosities to merge together her experiences and materials under the same rubric. In the second stage, Bingöl built on the fragmented identity of Turkey, highlighting the breaking from the Ottoman past without stepping into neither the East nor the West. This project, exhibited simultaneously at the gallery space in Istanbul and Art Basel Hong Kong 2014, revolved around the centerpiece of a life-size truck, cast in ceramics.

The third and final chapter of Bingöl’s work, which debuts at VOLTA NY, is a constructed museum, which consists of objects, documentation and visuals that blur the lines between fact and fiction, past and present, and personal and national. Literally deconstructing objects such as İznik tiles and re-combining and re-constructing them with her own works and pattern, Bingöl is aiming to re-think the notion of a museum and display. Thinking about the narratives of objects that are built by objects, her project takes the idea of an encyclopedic museum to its logical next step, personalizing and taking ownership of the very narrative.

G A L E Rİ ZİL 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.