LIONEL SABATTÉ - Artwork zipzarup-illustration Text Photos HFG TOMBOLA & LOTTERIEDies ist meine Arbeit, die man am heutigen Abend (04.02.14) in der Eingangshalle der HfG Offenbach ab 20.00 Uhr gewinnen kann.Diese Aktion ist als Auftakt konzipiert, den Eingang der HfG als Sozialraum neu zu beleben und zu erleben; in ihm Empfang, Orientierung und Aufenthalt zu ermöglichen und dazu anzuregen, über mögliche alternative Gestaltungen und Gebrauchsweisen nachzudenken. Photos NIMMERLAND Du kannst nach Nimmerlnad, so oft du willst aber wenn keiner an ihn glaubt kann s auch nicht klappen. Jedenfalls ist Hoffnung, ein gutes Frühstück, aber ein schlechtes Abendbrot und wenn wir schon untergehen, dann wenigstens tanzend. Photos UNENDLICHE KURZGESCHICHTENllustrationsreihe. handzeichnung. schwarzer fineliner & weiße acrylfarbe. ökopapier. Photo RAVEBOTTAauftragsillustration für das DJ Kollektiv Ravebotta aus ffm.
Massinissa Selmani - DAK'ART 2014 English français Souvenir du vide (Remembrance of Emptiness): animations screened on paper cubes made of paper press, 128 x 112 x 16 cm, 2014, courtesy Massinissa Selmani. Massinissa Selmani draws. Born in Algiers in 1980, Massinissa Selmani lives and works in France. View online : www.massinissa-selmani.com Joëlle Tuerlinckx | Frieze The Invention of Morel (1940), by Adolfo Bioy Casares, tells the story of an outcast on an island said to be cursed and rife with disease. The story’s narrator, however, is preoccupied with the island’s ghostly inhabitants, who re-enact the same scenario each day: a woman watches the sun set, men and women listen to the phonograph – yet no one reacts to the tormented narrator, who is caught in the position of both voyeur and witness. But the figures that so fascinate the narrator are simply copies from the past, created by Morel’s ‘Invention’, a machine that gives eternal life to whatever it records and then plays on a loop, while killing its original subject. Copies – true and false copies, sterile and endless reproductions – are at the core of Joëlle Tuerlinckx’s minimal installations, sculptures and drawings. Tuerlinckx’s work can initially seem scientific, even mathematical, in its basic tone.
~ Mr bingo ~ +44(0)7966 280431 sarah kaliski 340 × 262 - fine-arts-museum.be 300 × 300 - fatamorgana.fr 1581 × 1920 - aml-cfwb.be 1000 × 1086 - lamaisondulivre.be 1000 × 750 - lamaisondulivre.be JORINDE VOIGT Codification of Intimacy: Works on Nikolas Luhmann | The Brooklyn Rail “A work of art which did not begin in emotion is not art.” —Paul Cézanne It is a curious matter when an exhibition engages the mind with dexterity and arouses an emotional response not at all. Jorinde Voigt, “Einbeziehung der sexualität [The Incorporation of sexuality] (Niklas Luhmann / Liebe als Passion / Einbeziehung der sexualität [Love as Passion/The Incorporation of sexuality]) XXXVI,” 2014 Ink, gold leaf, pencil, pastel and crayon on paper, 82 11/16 × 55 1/8 ̋ Courtesy of David Nolan Gallery. The suite takes its inspiration from Love as Passion: The Codification of Intimacy (1982), a monograph by German sociologist Niklas Luhmann. In the sequence “A Difference that Makes a Difference” (2013 – 14), four of which are featured in Codification, two forms, one in gold leaf, one in ink (in shades at times as deep as sapphire, at others azure) spread across the canvas with caprice, one shadowing the near-kinetic motions of the other. This union is less exhilarating than it might be.
2012 : Greg Eason Block universe at 18 Hewett Street Metamorphosis 2012 Pencil on paper 12 x 16'' Knee 5 2012 Pencil on paper. 33 x 45'' The Beginning Of The End 2012 Pencil on paper 15.4 x 22.2 Knee - White Skull II 2012 Screen print & varnish / Plastic 18 x 24'' Knee - White Skull II (detail) Knee - Black Skull Screen print & varnish / Plastic 18 x 24'' Knee - Black Skull (detail) Untitled II 2012 Pencil on paper 8.1 x 4.8" Rhinoderma Darwinii 2012 Pencil on paper 20.3 x 48'' Heaven and Hell 2 x Acrylic on canvas 11.6 x 15.7''
Kara Walker’s New Show at Sikkema Jenkins & Co. Was a Sensation Before It Even Opened Enter the New York City art gallery Sikkema Jenkins & Co. sometime between today and October 14, and you will encounter a world just as chaotic and dark and discombobulating as the one in which we live. That Chelsea space is where the Brooklyn artist Kara Walker—she of the massive and massively celebrated 2014 Domino Sugar factory installation—has mounted her latest work. Walker’s subject matter is, and always has been, racism and misogyny and the way that America’s original sin of slavery continues to rot our country from the inside out. Her work, long before we elected a black president, long before we elected a white president single-mindedly intent on erasing the legacy of our black president, has served as an active, pointed rebuke to notions of a post-racial United States. First there were her silhouetted cutouts that packaged the nightmarish violence of everyday antebellum life in a jaunty, reductive, old-timey visual vernacular. The press release created its own momentum.
Ben Patterson, Cornerstone of Fluxus and Experimental Art, Dies at 82 Patterson performing A Penny for Your Thoughts at Performa in New York in 2013. Ben Patterson, the artist, composer, and double bassist who played with classical orchestras, helped found the Fluxus movement, took a nearly 20-year break from performance to live what he termed “ordinary life,” and returned to art-making as an assemblage artist, died on Saturday at his home in Wiesbaden, Germany, according to friends and collaborators. He was 82. In the early 1960s, Patterson was among a small group of outré artists, including La Monte Young, John Cage, and Yoko Ono, who pushed music and performance to profound, radical extremes. His 1960 Paper Piece called for audience members to fold, rip, and wave paper through the air. Patterson, Variations for Double-Bass and Duo for Voice and a String Instrument, performed during Kleinen Sommerfest/Après John Cage, Galerie Parnass, Wuppertal, June 9, 1962, 1962. Patterson, The Great Switch, 1990.
spongiculture John Miller - 2017 — PRAZ DELAVALLADE Praz-Delavallade is pleased to announce the fourth exhibition in Paris by New York and Berlin-based artist John Miller. In this body of work, Miller presents five silkscreen paintings, ten coffee mugs, and a digital slide show, all of which refer to how people inhabit public spaces. He has drawn inspiration from Michel de Certeau’s chapter « Walking in the City » from his acclaimed book, The Practice of Everyday Life, published in 1980. The silkscreen paintings derive from drawings that Miller made based on photographs he has shot in different locations such as Warsaw, Munich and Palma de Mallorca. Put simply, these are sketches of ordinary scenarios that one might find in many cities. The center of the space will feature an arrangement of coffee cups. In the third part of the show, Miller examines contemporary urban space via an eight-minute PowerPoint slideshow.