ROSIE GRACE WARD – YIELD

Posted on 2019-04-29

A gothic landscape filled with superstition and residual chaos, Yield is a manifestation of the base metaphysical horror of our contemporary moment: that, as Mark Fisher states in Capitalist Realism, “not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it.”
Merging medieval feudal aesthetics with cyberpunk fiction, Rosie Grace Ward forges a world where hopes for a future are eroded into the faintest possibilities. Dreams of a life beyond the current system are dwindling and futures of our past, born in moments of great technological change and environmental catastrophe, are exhumed and re-packaged. The position Rosie Grace Ward presents in Yield is a ghostly yet insurgent reminder of the sociocultural non-place of 21st century neoliberalism, a world of international monocultures, ambiguous foodstuffs and palm oil.

Opposite – Installation view

Exhibition runs through to May 18th, 2019

Hannah Barry Gallery
4 Holly Grove
Peckham, London
SE15 5DF

www.hannahbarry.com

  

FELIPE BAEZA – LA EMERGENCIA DE HACER MEMORIA

Posted on 2019-04-29

This marks Baeza’s first solo exhibition in New York, as well as the release of his first artist’s book, Gente del Occidente de Mexico published by Fortnight Institute in a limited edition. The works in the exhibition are created through a fragmented process of reworking and reusing of materials, mostly images found in books, that integrate collage and monotype printing techniques. Through this practice, Baeza’s work becomes a palimpsest of memories. As the title suggests, there is an urgency, a need and desire, for memories to be created, collected and kept within the inner and outer substance of being. The pieces become vessels for ancestral histories to be contained in. Stated in the introductory quote above is the idea that divine power and energy can only be contained by an object. At the root of Nahua philosophy, is Teotl, the belief that there exists a sole, dynamic, vitalizing, perpetually self-generating and self-regenerating sacred power, energy or force. The Nahua people are a native group of central Mexico that included the Aztecs of pre-conquest Mexico.

Exhibition runs through to June 3rd, 2019

Fortnight Institute
60 East 4th St.
NYC 10003

fortnight.institute

  

HERMANN NITSCH

Posted on 2019-04-22

The focus of the Innsbruck exhibition is on painting. In coordination with the big Hermann Nitsch exhibition at the Vienna Albertina, which opens on May 16, 2019, and dedicates no less than twenty rooms to the artist’s paintings, Galerie Elisabeth & Klaus Thoman Innsbruck presents multi-coloured works, e.g. from the 70th action performance, which took place at our Vienna gallery in 2014. As a smaller revision of the museum exhibition, the Innsbruck show concentrates on painting in acrylics, while the Albertina also includes earlier works in oil. At a closer view, a thin grounding in a reddish brown hue can be made out beneath the paint in some of the works in both mediums. This colour film is reminiscent of the traces that the blood leaves on the canvas which is another integral part of the artist’s technical repertoire, and especially in the Orgien Mysterien Theater is generously deployed. Moreover, in the production of his paintings, the artist resorts to ritual acts. It is not by chance that the pastose application, the pouring and splashing of paint evokes associations with a sacrificial ceremony. The ritual is of greater importance than the result, as it were. Nitsch’s painting is firmly rooted in actionism, performance, in multi-mediality.

Opposite – Schüttbild, 2018

Exhibition runs through to June 1st, 2019

Galerie Elisabeth & Klaus Thoman
Maria-Theresien-Straße 34
6020 Innsbruck
Austria

www.galeriethoman.com

  

ARIN DWIHARTANTO SUNARYO – ARGO

Posted on 2019-04-22

Arin is first and foremost a painter, dedicated to pushing the medium’s boundaries with innovative techniques. His dynamic compositions are inspired as much by his homeland, as by Japanese manga, comic books and science fiction. Arin’s broad and far reaching interests, inspirations and techniques have resulted in a diverse body of work – the common thread is a proud celebration of and dedication to the medium and act of painting.

Argo, which translates from Javanese to ‘mountain’, is the culmination of Sunaryo’s most recent experience and exploration of the mountains of Indonesia. The mountainous region of Bandung where the artist also lives and works, is a significant feature of the landscape of the country, symbolising Javanese culture, spirit and identity.

Opposite – Ajanabh, 2019

Exhibition runs through to June 1st, 2019

Simon Lee Gallery
12 Berkeley Street
W1J 8DT
London

www.simonleegallery.com

  

TUNGA

Posted on 2019-04-22

Tunga was one of the most important and influential Brazilian artists of his generation, and he expressed himself through an extremely eclectic variety of media and artistic languages, ranging from drawing to sculpture, to installation, photography, performance, film, video, and writing. The works on show in this exhibition are of great symbolic impact. Some of them have never been exhibited before and are being presented for the first time. The focus is on the processes and references that were most dear to the artist, and on the works he created during the later years of his career, prior to his untimely death. They range from the more intimate scale of drawings and small sculptures to the power and majesty of a large installation of vast scope.

Opposite – Untitled (Morphological), 2014

Exhibition runs through to June 20th, 2019

Galleria Franco Noero
Piazza Carignano 2
10123 Torino
Italy

www.franconoero.com

  

CHRIS MARTIN – THE EIGHTIES

Posted on 2019-04-15

Featuring both paintings and works on paper, and including many works that have never before been exhibited, the show provides a window into a seminal period in the Brooklyn-based artist’s 40-year career.

The Eighties charts Chris Martin’s transformation from a painter of slow, heavily worked canvases into a radical figure willing to invite the widest possible range of materials and experiences into the studio. If he entered this period as a strictly abstract painter, he emerged as one who employed abstraction as methodology rather than an end result, and who became increasingly interested in infusing his work with archetypal symbols, found materials, and other vivid remnants of lived experience. Some works are truly composite objects: large-scale paintings constructed from multiple canvases, with their geometric formalism slipping into recognizable imagery.

Opposite – Stoned…, 1981

Exhibition runs through to April 27th, 2019

David Kordansky Gallery
5130 W. Edgewood PL.
CA. 90019
Los Angeles

davidkordanskygallery.com