MARC-ANTOINE FEHR – NOCTURNE

Posted on 2016-12-26

Galerie Peter Kilchmann is pleased to present the second solo exhibition by Marc-Antoine Fehr. On view are new large- to small-format oil paintings as well as gouache works on paper.

The main emphasis, in contrast to the previous gallery exhibition in 2014, is on the human figure. Only in one of the four main works – the one with masks lying on an ice field – Fehr chose to use a substitute for human heads. Otherwise it would have came across too dramatic and pathetic. In spite of the gloomy and apocalyptic mood evoked by the theme,the work resonates a certain playfulness,even if grotesque and puppet play-like. Although it is very bright and almost colourless, the title of the exhibition ,“Nocturne”, also applies as the title of this work.

Opposite – The Kingdom of Death, 2016 (detail)

Exhibition runs through to February 18th, 2017

Galerie Peter Kilchmann
Zahnradstrasse 21
CH-8005
Zurich
Switzerland

www.peterkilchmann.com

  

RÓISÍN FOGARTY / SUZY WILLEY

Posted on 2016-12-26

Turps Gallery presents ‘In Conversation’, an exhibition showing the work of two painters, Róísín Fogarty and Suzy Willey. Recently they have had the opportunity to come together through the expanded network of Turps to establish a dialogue about their respective painting practices. Both painters rely on modules or units of vivid colour to form patterns which serve to push recognisable imagery in and out of the paintings at different times in the making of the work.

Opposite – Suzy Willey, Paintwork (detail)

Exhibition runs through to February 25th, 2017

Turps Gallery
Unit 11, Taplow
Thurlow Street
London
SE17 2UQ

www.turpsgallery.co.uk

  

MIGUEL ÁNGEL CÁRDENAS

Posted on 2016-12-26

For his first solo exhibition in Chicago, Brendan Fernandes will continue his ongoing exploration into the physical act of falling through new works in glass sculpture, installation, photography and performance, offering an extended metaphor for contemporary queer politics. Beginning with an opening night performance, Fernandes will take over the entire gallery, including a timely new installation piece as part of the gallery’s on the wall exhibition space: forty-nine handmade crystal coat hangers, symbolizing the forty-nine victims of the Orlando massacre. This project will continue inside the gallery, along with new blown glass sculptures evoking ghostly bodies, created during his recent residency at the Museum of Glass, Tacoma, WA. Unique photographic compositions comprising dancers’ limbs and African artifacts printed using the chine-collé method will accompany the sculptures. Presented together, these bodies of work will illuminate Fernandes’ ongoing occupation with the falling form, suggesting contemporary notions of desire and loss through bodily movement.

Opposite – Green and yellow lovers, 1964

Exhibition runs through to February 4th, 2017

Andrea Rosen Gallery
525 West 24th Street
NY 10011
New York

www.andrearosengallery.com

  

BRENDAN FERNANDES – FREE FALL

Posted on 2016-12-19

For his first solo exhibition in Chicago, Brendan Fernandes will continue his ongoing exploration into the physical act of falling through new works in glass sculpture, installation, photography and performance, offering an extended metaphor for contemporary queer politics. Beginning with an opening night performance, Fernandes will take over the entire gallery, including a timely new installation piece as part of the gallery’s on the wall exhibition space: forty-nine handmade crystal coat hangers, symbolizing the forty-nine victims of the Orlando massacre. This project will continue inside the gallery, along with new blown glass sculptures evoking ghostly bodies, created during his recent residency at the Museum of Glass, Tacoma, WA. Unique photographic compositions comprising dancers’ limbs and African artifacts printed using the chine-collé method will accompany the sculptures. Presented together, these bodies of work will illuminate Fernandes’ ongoing occupation with the falling form, suggesting contemporary notions of desire and loss through bodily movement.

Opposite – They, 2014

Exhibition runs through to January 28th, 2017

Monique Meloche Gallery
2154 W. Division
Chicago, IL
60622

moniquemeloche.com

  

DEBORAH OROPALLO – BELL THE CAT

Posted on 2016-12-19

Bell the Cat draws inspiration from fairy tales like Snow White and Little Red Riding Hood as iconic texts that have shaped how we relate to “femininity“ in our culture. Since the 2016 presidential election, however, the work has taken on another resonance as women’s rights and progressive causes have come increasingly under attack. Additional layers of paint and photomontage begin to distort the images beneath, gesturing to the contstant disruption of pop-ups and consumer advertisements. Oropallo’s aggressive interplay between media and images offers a startling proposition that in a new political era where misinformation can influence an election, cultural texts – however seemingly innocuous – are volatile. In conjunction with these unique mixed media works on canvas, Catharine Clark Gallery is pleased to debut Oropallo’s first video work, White as Snow, as a complement to her gallery presentation.

Opposite – 45, 2016

Exhibition runs through to February 18th, 2017

Catharine Clark Gallery
248 Utah Street
San Francisco, CA
CA 94103
California

cclarkgallery.com

  

GORDON MATTA-CLARK

Posted on 2016-12-19

Gordon Matta-Clark’s (1943–1978) training as an architect exerted a crucial influence on his work: in the late 1960s he defied the conventions of his discipline while examining its relationship with sculpture. He began to produce his first architectural performances in interior spaces, before going on to expand his practice and reflection on “structure” and to consider each place as an object. Matta-Clark’s building cuts allowed him to rethink the notion of space, the function of the artist operating in the public sphere, and ultimately to create ephemeral works without constructing or adding any elements.

“I feel my work intimately with the process as a form of theater in which the working activity and the structural changes to and within the buiding are the performance. I also include a free interpretation of movement as gesture, both metaphoric, sculptural, and social into my sense of theater, with only the most incidental audience – an ongoing act for the passer-by just as the construction site provides a stage for busy pedestrians in transit.”

Opposite – Graffiti Photoglyph (detail), 1973

Exhibition runs through to January 19th, 2017

Marian Goodman Gallery
79 rue du temple
75003 Paris
France

www.mariangoodman.com