KATRINE GIÆVER – WRAPPING YELLOW, BLUE AND BLACK

Posted on 2024-04-01

In her last exhibition with the gallery, Collecting Colors – Catch and Release in 2021, the ancient technique of mixing pigments in beeswax, poured on birch and poplar panels, was the main theme. These works are developed further in Wrapping Yellow, Blue and Black, with a new series of medium sized and large panels dense with saturated color and intricate organic shapes, as well as wispy tinted ponds of transparent epoxy floating on poplar veneer.
This exhbition introduces three new installations made from sizeable swaths of cotton canvas, which have been dyed, stained, scrubbed, scratched and crumpled. In the gallery space these works will find their temporary resting place and shape hanging from the ceiling and sprawling on the floor or stretched as a floating membrane in the room or bursting out of a wall. These fallen and molested drapes in spice-infuced orange, brigth blues and smoldering reds and blacks, add a surprising baroque note to the ensemble, and evoce a sense of impending collapse in the exhibition space.

Opposite – CC #3, 2023-2024

Exhibition runs through to May 18th, 2024

Galleri Riis
Arbins gate 7
NO-0253 Oslo
Norway

galleririis.com

  

CLAUDIA WIESER – THE AURATIC OBJECT

Posted on 2024-04-01

The exhibition title The Auratic Object can be read as a reference to Walter Benjamin and his famous essay The Work of Art in the Age of Mechanical Reproduction, published in 1936, in which the author defines aura as “the unique apparition of a distance, however near it may be,” only to immediately diagnose its “decay” as a result of its technical reproducibility through photography and film. Benjamin predicted a “testing” distraction as a new form of art perception. In this sense, Claudia Wieser’s woven images can perhaps be understood as an invitation to test one’s own sensory perception: haptically and visually. They open up a space of immense temporality where past, present, and future intertwine.

Opposite – Installation view

Exhibition runs through to May 11th, 2024

Sies + Höke Galerie
Poststrasse 2+3
40213 Düsseldorf
Germany

www.sieshoeke.com

  

MICHEL FRANÇOIS – FEUILLES, FLAQUES, ANNEAUX ET SÉDIMENTS

Posted on 2024-04-01

Is Michel François inviting us to an unnatural springtime of his own composition? And what different possible postures are we to discern as being at play in this season contre nature—adhering to it, counteracting its self-evidence with our gaze, making guesses at what it doesn’t say, overlaying it with artifice, delving into its sources… This question will be cleared up across several stages and places, all brought together here: “Feuilles, flaques, anneaux et sédiments” [Leaves, puddles, rings, and sediments].
These four series together play upon the strings of the subtle relationships humans maintain with the world. The coming and going of life in matter structures our everyday experience. It is enough to imagine the transformations undergone by fossilized bodies contained in plastic or having reverted to their primordial, calcareous state. The same is true of what happens to resin when it has burst from the tree bark, of paper, or of the skeletons (shells are one kind of skeleton) that bodies engender on their way to mineral solitude. And why not even of our own internal combustions and saline secretions. Such transformations are essential to us and often imperceptible. At the bottom of it all lies the embracing hold of human desire, which endlessly brings to light trajectories ultimately bound for the elements.

Opposite – Foot (tbc), 2023

Exhibition runs through to June 1st, 2024

Mennour
5, rue du Pont de Lodi
75006 Paris
France

mennour.com

  

ALBERT OEHLEN – NEW PAINTINGS

Posted on 2024-03-25

Oehlen’s images are divided, repeated, and distorted to conjure a new pictorial narrative. His original source is reimagined; it is at times decipherable, and at others annihilated. The subject of these paintings is, arguably, unimportant; it is the act of transferring images into a new state that is now significant. The result is sometimes a regular, repeated composition that follows from one section to the next. Yet in other paintings, he chooses much more irregular twists and turns, filled with different possible shapes and endings. There is no barrier between abstraction and figuration, improvisation and control, only the endless potential of the medium.

Opposite – Untitled, 2023

Exhibition runs through to May 11th, 2024

Gagosian
20 Grosvenor Hill
W1K 3Qd
London

gagosian.com

  

ZHANG YINGNAN – MELTING

Posted on 2024-03-25

This presentation is comprised of 11 new paintings, all made within the last year, showcasing the Beijing-based artist’s near-photorealist take on architecture of interior spaces, always devoid of human subjects. Melting, also known as erosion, is a process in which solid objects gradually change to liquid states. This process can occur in various different materials, such as melting icebergs, rocks, and metals. These processes are important parts of the natural cycle of matter and energy and have a significant impact on the formation and evolution of ecological systems as well as on the survival and development of both humans and nature.

Opposite – Dizziness

Exhibition runs through to April 12th, 2024

KÖNIG GALERIE
412 Apgujeong-Ro
Cheongdam-Dong
Gangnam-Gu Seoul
South Korea

www.koeniggalerie.com

  

MARY LOVELACE O’NEAL – HECHO EN MÉXICO—A MANO

Posted on 2024-03-25

A unique and dynamic force in American art since the 1960s, Lovelace O’Neal has developed a singular visual vocabulary that is at once acutely personal and profoundly political. Drawing on a broad range of influences—from Minimalism to Abstract Expressionism—Lovelace O’Neal parses worldly themes of race and gender while remaining fully immersed in conceptual and metaphysical investigations of joy, exuberance, nature, and the sublime. The artist’s body of work—which includes paintings, prints, and drawings—reconciles the intimate and the monumental, the minimalist and the expressionist, personal narrative and collective mythology. Often working on a grand scale, Lovelace O’Neal is renowned for her keen sensitivity to color and unexpected use of materials. Her practice moves fluidly between figuration and abstraction: the suggestion of figures and architecture often lurks just beneath vivid, painterly surfaces while enigmatic—often inscrutable—titles hint opaquely at narratives that are never revealed.

Opposite – LOOK OUT FOR ME FRANCIS, 2021-2023

Exhibition runs through to May 4th, 2024

Marianne Boesky Gallery
507 West 24th Street
NY 10011
New York

marianneboeskygallery.com