PÁDRAIG TIMONEY

Posted on 2019-10-14

At the core of Timoney’s practice is an ongoing inquiry into the mechanics of image-making, each canvas represents its own investigation into the ways images are constructed, or reconstructed through painting. Resisting a singular style, Timoney’s works are instead united in approach; each painting aims to seamlessly connect a chosen image with both material and process. Often inventing new processes as a result, the works function as an index or record of decisions made, while reveling in the shortcomings in the medium itself. By including the errors of translation and the faultiness of recognition, abstraction and figuration never seem too far apart, often appearing on the verge of collapsing into one another. Through these divergent modes, his exhibitions in turn document a specific duration of time and research in the studio, rather than a traditional artistic thesis.

Opposite – Not To Put Too Fine A Point On It… 7, 2019

Exhibition runs through to December 14th, 2019

Andrew Kreps Gallery
22 Cortlandt Alley
10013 New York
USA

www.andrewkreps.com

  

CALEB CONSIDINE – FOR ROLAND AND RAMONA

Posted on 2019-10-14

In his second solo exhibition at Galerie Buchholz, Caleb Considine continues his practice of observational painting in the studio and surrounding area. Scenes of daily life appear alongside literary and political fragments, formally integrated but open ended. The paintings register prolonged physical proximity to their subjects, but collectively suggest a dislocation and imagistic remove conventionally associated with photographic techniques that Considine eschews. While the figures are all inanimate strictly speaking, the range from topical to formal and personal subject matter offers snapshots of a life world.

Opposite – Window, 2019

Exhibition runs through to January 4th, 2020

Galerie Buchholz
Fasanenstraße 30
10719 Berlin
Germany

www.galeriebuchholz.de

  

ANNE COLLIER

Posted on 2019-10-07

Collier’s exhibition focuses on her ongoing series ‘Woman Crying (Comic)’ and ‘Tear (Comic)’: each based on imagery sourced from American romance comic books published between the 1950s and the 1980s. Exclusively marketed to an adolescent female readership, the comic books’ clichéd narratives paradoxically served to reinforce the notion of a subservient and eternally suffering female subject. Self-consciously acknowledging the early work of Roy Lichtenstein and the subsequent revisions of Lichtenstein’s iconography by both Richard Hamilton and Sturtevant as departure points, Collier’s ‘Woman Crying (Comic)’ and ‘Tear (Comic)’ consist of greatly enlarged and isolated images of women’s tear-filled eyes and graphic depictions of individual tears.

Opposite – Installation view

Exhibition runs through to November 2nd, 2019

Galerie Neu
Linienstraße 119 abc
10115 Berlin
Germany

www.galerieneu.net

  

PAUL KLEE – 1939

Posted on 2019-10-07

The exhibition focuses on Klee’s art from 1939, the year before he passed away, which marked one of the artist’s most prolific periods. Toward the end of 1933, in response to the suppression of avant-garde art practices by the newly empowered Nazi party, Klee left Germany, where he had primarily lived since 1906, and returned to his native city of Bern, Switzerland, residing there for the remainder of his life. From 1935 until his death in 1940, Klee continually struggled with illness, which at times impacted his ability to make art. Yet, in 1939, against the backdrop of immense sociopolitical turmoil and the outbreak of war, Klee worked with a vigor and inventiveness that rivaled even the most productive periods of his youth.
As Matthias Bärmann notes, “Klee seems to have derived a paradoxical vitality from the conscious, profound process of coming to terms with disease and the approach of death, a vitality that significantly transformed his art,” adding that: “Out of the physical and emotional suffering of his exile he took his art through a final metamorphosis, achieved one last pinnacle. Like only Matisse and Picasso among modern artists, Klee created a late work of singular rank.”

Opposite – es wurmt ihn (It Annoys Him), 1938

Exhibition runs through to October 26th, 2019

David Zwirner
537 West 20th Street
NY 10011
New York

www.davidzwirner.com

  

JOHN BOCK – LIGHT SCRIBBLE ON NECK MUSCLE

Posted on 2019-10-07

For the exhibition at Gió Marconi, John Bock has produced an installation that combines the artist’s typical elements of live action and self-made objects in a purpose-built space: a curve-shaped environment consisting of a large soft textile carpet, flanked by paintings on each side, prepares the stage for various groups of objects. Composed of everyday bric-a-brac and equipped with mechanical devices, the objects are brought to life by a fragmentary live lecture performed by Bock. Two movable surveillance cameras on top of a walking frame draw
attention to details displayed on small monitors glued to a dead television. While Bock’s live actions, projected onto a foldable, old-fashioned slide-screen, are executed in stop motion, a retro LP player delivers the soundtrack to the film. In this installation, everything is seemingly connected with everything else on both a mere material as well as a symbolic level.
The expansive installation is complemented and completed by a series of differently sized 3-D collages. The collage has always been an important and much-used medium for John Bock. With this new body of work he extends the classic collage into the third dimension. With wit and a large variety of found materials typical for the artist, Bock creates small scenic environments and miniature worlds of his own.

Opposite – Installation view

Exhibition runs through to November 14th, 2019

Giò Marconi
via Tadino 20
I-20124 Milan
Italy

www.giomarconi.com

  

FRIEZE LONDON 2019

Posted on 2019-10-03

The 17th edition of Frieze London closed on Sunday 6 October, having brought together more than 160 galleries from 35 countries, representing the fair’s most international edition to date and driving excellent sales across the fair. Frieze London 2019 saw record numbers of museum groups and curators from Europe, the US and beyond. Presented 3-6 October 2019 in The Regent’s Park, Frieze London continued to expand on its position as a vital platform for international contemporary art. Frieze London coincides with Frieze Masters and is supported for the 16th consecutive year by global lead partner Deutsche Bank.

Victoria Siddall, Global Director, Frieze Fairs said: ‘The atmosphere in London this week has been electric and visitors from all over the world have really seen it at its best – from the great works shown at Frieze London and Frieze Masters to the fantastic exhibitions and events at museums and galleries across the city. Frieze London this year was the most international fair we have ever staged, with galleries from 35 countries and visitors from all over the world, including a record number of curators and museum groups. This global spirit was further strengthened at Frieze London by curated sections Woven and Live, as well as by Frieze Sculpture. This strong international presence, coupled with major sales across both fairs, once again attests to London’s importance as a global centre for art and culture. It has been a fantastic week in the city and I am enormously grateful to everyone who contributed to its success.’

Frieze London and Frieze Masters will return 8–11 October 2020.

Photography Lo Harley

frieze.com