VNY 2012 Catalog 3 Low

D E S I G N : W W W. H A U S E R - S C H W A R Z .
C H
THURSDAY MARCH 8TH SUNDAY MARCH 11TH 2012 / 7W 34TH STREET, NEW YORK, NY
AURE US CONTEMPORARY, PR OVIDE NC E / B A S E L
KARIM HAMID
VOLTA N Y 2012 | BO OT H NU MBE R B 3
A U REU S CON TEMPORARY: KARIM HAMID

WEBS I T E www.aureus-contemporary.com E- M A I L info @ aureus-contemporary.com CEL L +1 401 783 6632 CONTA C T N A M ES Kevin Havelton Andreas Kuefer
Karim Hamids paintings display a complete faith in the ability to couple together two very different, almost opposing elements. On one side: the very strong commitment to the technical craft of paintingthe process of building a visual totality, paying tribute to a long and rich tradition of European painting. On the other side: an equally strong fascination with the contemporary world of superficial imagery and mindless consumerism. Hamids challenge is to find a cohesive structure by which both of these elements can support the other. As can be witnessed in much of his work, the artist achieves so by allowing the high art technicality of the method and the thin veneer of the subject matter to clash, creating a tension further enhanced by the almost invasive focus he gives to the subject matter, often represented by an observed female. Hamids paintings function as an intense psychic response to an unconvincing onslaught of media superficiality mixed with the pervasive objectification of the female form in art history. Hamids work not only references the classic representation of the female form. He works to update that visualization of the idealized female form through an invasive distortion and transformation of the human body. Focusing strongly on the psychic condition of the subject observed, Hamid attempts to extract something meaningfulno matter how meaningless the subject matter or how elusive the character of the person being portrayed may appear. While the imagery is often distorted or exaggerated in my work, I also expect my work to express itself within its own polemical and painterly distortion of that distortion. It is as much about the subject being observed, as about the method of being observed.
R EPR E S E N T E D AR T IST S Sara Carter Peter Buechler Jeremy Dean Jeff Depner Hiroyuki Hamada William Immer Cara Phillips Claire Shegog Yi-Hsin Tzeng Chad Wys
COV E R Karim Hamid Double Portrait 2009 Oil on Board 36 36 inch INS I D E Karim Hamid ggw33 2010 Oil on Board 16 16 inch R IGH T Karim Hamid Prom Princess 2011 Oil on Board 12 16 inch
STEFAN KRAUTH
GALER IE B AE R , D R E S D E N
VOLTA N Y 2012 | B OOT H NU MB ER V 9
G A LERI E BA ER: ST EFAN KRAUTH

WEBS I T E www.galerie-baer.de E- M A I L kontakt @ galerie-baer.de PHO N E +49 351 646 5033 CEL L +49 173 564 1211 CONTA C T N A M E Patrick-Daniel Baer
The subjects of Stefan Krauths images are made-up, fantastic, mystical, strange. The portrayed places seem like crime-scenes of past times. He is reminded of stories of well-known pirates, distraught people who have chosen Wales as their adopted country, lost cities. Often people are missing from the artists photographs, but still the images leave a lot of room for fantasies about those missing peoples fears, their feelings, their yearnings. The uncanny, the fairytale-like sensibility in the pictures of Stefan Krauth lies not in the motif of the images themselves but in their stylized artificiality, thanks to the staging of the chosen part of the image and the use of light and reflexes full of facets. Linda Sullivans journey therefore seems like a trip from film still to film still, far away from a real starting point.
R EPR E S E N T E D AR T IST S Theo Boettger Hannes Broecker Jan Brokof Stefanie Busch Sebastian Hempel Andreas Hildebrandt Franka Hrnschemeyer Peter K. Koch Stefan Lenke Anne Wenzel
COV E R Stefan Krauth In Afghanistan 2011 Inkjet-print 70,86 47,24 inch / 180 120 cm INS I D E Stefan Krauth The Spot 2009 Inkjet-print 23,23 33,46 inch / 59 85 cm R IGH T Stefan Krauth The night in orient 2010 Inkjet-print 14,96 22,83 inch / 38 58 cm
BALZERAR TPR OJE C TS , B A S E L
AO TAJIMA
VOLTA N Y 2012 | B OOT H NU MB ER A 9
BA LZ ERA RTPRO J EC TS: AO TAJIMA

WEBS I T E www.balzer-art-projects.ch E- M A I L info @ balzer-art-projects.ch CEL L +41 79 229 3306 CONTA C T N A M E Isabel Balzer
balzerARTprojects presents Japanese artist Ao Tajima (b. 1979). She predominantly works with unexpected juxtapositions of everyday objects, furniture and clothing. Items are extracted from a home or family context and subversively stress gender and power hierarchies, without being overtly explicit. A critical analysis of global/ transnational economic and cultural developments is reiterated in Tajimas work. In Rain and Chair, Waiting she installs parallel worlds by juxtaposing unlikely, but not uncommon companions: a chair without a seat in front of a curtain made of a surrealistically deconstructed mans winter coat; a table standing on mens legs clad in formal trousers and shoes. Her installations provoke reactions ranging from different levels of discomfort, to fear, amusement and disbelief. There are different conceptual layers to be explored, as the artists positions are preoccupied with how life is sustained by a logic that explicitly surpasses the realm of individual experiences, but emphasizes the biographies of the everyday (a.k.a. the anonymous). Although she captures the seemingly uneventful, the superfluous and unnoticed, objects receive their intrinsic value through the reference to their very own biographies. Time plays an important role in her work, real and fictional. This is highlighted in another series entitled Thank you, goodbye: it consists of collages of tens of thousands of cash register receipts. For this project, she only uses thermal paper, an ephemeral printing surface. Here, Tajima elaborates upon the time in which the work has been produced not only to dissolve into the time it is being shown, but also the work itself dissolves over time, leaving the viewer with only the footprints of a supposedly priced art work. What remains is the concept, not the object. Tajimas work is marked by an ironic take on social conventions and artistic norms. It is counter-intuitive and counter-institutional. Most often self-referential, her positions critique the materiality of the art object. Tajima explores the ambiguity of art production, the market, historiography and analysis and navigates carefully between parody and sincerity.
R EPR E S E N T E D AR T IST S Andi Bauer Tom Fellner Nici Jost Sebastian Mejia Mimi von Moos Claudia Waldner
COV E R Ao Tajima Chair, Waiting 2011 Chair, Clothes, Iron 150 70 220 cm INS I D E Ao Tajima The Third Fold (Die dritte Falte) 2011 Blanket, Wood, Toothpicks 150 200 cm LEFT Ao Tajima Rain 2011 Wood, Shoes, Trousers, Metal 180 80 80 cm R IGH T Ao Tajima Thank you, goodbye (Danke, auf Wiedersehen) 2011 Thermal paper, Cash Register Receipts 24 30 cm
TREVOR GUTHRIE
BARBARIAN AR T GALLE R Y, Z U R IC H
VOLTA N Y 2012 | B OOT H NU MB ER F 1
BA RBA RI A N A RT GALLERY: TREVOR GUTHRIE

WEBS I T E www.barbarian-art.com E- M A I L info @ barbarian-art.com PHO N E +41 44 280 4545 CEL L +41 76 330 4011 CONTA C T N A M ES Natasha Akhmerova Alessandra Ruggieri
TRE V O R G U THRIE Zurich-based artist Trevor Guthrie was born in Scotland before emigrating to Canada. He attended the Victoria College of Art, earning his B FA in 1989. These days he is known for his large scale charcoal works that combine rigorous detail with intelligent wit. He draws on found imagery from photographs and film to create work that mines the collective experience. Direct, elegant and cerebral while simultaneously striking notes of insouciant humor, Guthries work is a balance act of painstaking technique and sardonic but acute content. Guthries drawings morph proportion so as to play with the viewers eye and often one must walk around his work to find the proper perspective. Black humor, art historical references, and political commentary can all be found in his work. Guthrie often critiques the media presentation of world events, operating under the axiom that those who dont learn history are doomed to repeat it. The artist credits Francis Bacon as a major influence as well as Velasquez and Caravaggio. Described as a contemporary Edward Hopper, Guthrie persisted in representing the figure when it was not popular to do so. Guthries works have been exhibited in important museums and galleries and are represented in prestigious private collections. Worth mentioning is his participation in the group exhibition The End of History and the Return of History Painting, curated by Paco Barragan, which has been shown at the Museum Domus Artium, Salamanca and at the Museum v. Modern Art, Arnhem, Holland in 2011. BA RBA RIA N A R T G A L L E RY The Barbarian Art Gallery by Natasha Akhmerova is an international Contemporary Art Gallery located in Zurich and Moscow. Our main mission has been to bring wider recognition to underappreciated master artists of the post-Soviet period and the desire to bridge the gap between the markets and mentalities of Western and Eastern European Art. The gallery position itself as a forum for the exchange of artistic and humanitarian ideas between West and East. As a result of this we have been collaborating with important institutions, such as the Hermitage and the Cabaret Voltaire, with renowned curators, such as Nadim Samman, Viktor Misiano, Olesya Turkina, Viktor Mazin, Oksana Maleva, Steve Piccolo, Adrian Notz, Mario Lscher and Paolo Bianchi, as well as with well known Swiss and Zurich based Artists, such as Jso Maeder, Hannes Brunner, Trevor Guthrie, Kaspar Toggenburger, Rolf Schroeter, Andres Bosshard, Com&Com and M A RCK , a.o.
R EPR E S E N T E D AR T IST S Vladimir Arkhipov Yevgeniy Fiks Yuri Kalendarev Marc Vincent Kawarga Dmitry Kawarga Gregori Maiofis Oksana Mas Alesander Ponomarev Igor Thishin Leonid Tishkov
COV E R Trevor Guthrie Trionfo dellinnocuo 2011 Charcoal on paper 126 96 cm INS I D E Trevor Guthrie Black Hole (Event Horizon) 2011 Charcoal on paper 66 86 cm LEFT Trevor Guthrie Terms of Endearment 2011 Charcoal on paper 66 76 cm R IGH T Trevor Guthrie Dearly Beloved 2011 Charcoal on paper 60 60 cm
BATTAT CONTEMPOR AR Y, MO NTR E A L
SOPHIE JODOIN
BATTAT CO N TEMPORARY: SOPHIE JODOIN

WEBS I T E www.battatcontemporary.com E- M A I L info @ battatcontemporary.com PHO N E +1 514 750 9566 CONTA C T N A M ES Grier Edmundson Daisy Desrosiers
R EPR E S E N T E D AR T IST S John Ancheta Marion Wagschal
Since 2004, Sophie Jodoin has worked exclusively in black and white, combining elements of collage, painting, photography and masterful draftsmanship. These elements evolve into austere, minimalist installations composed of large series of works that are often accompanied by video. Within these installations Jodoins work presents itself like an unsettling dream, delving into our common psyche and taunting us to relate to its experience. From objects and architecture made oppressive and paradoxically impenetrable, to fragmented figures partially drowned out, disconnected, eclipsed. Her images are filled with an uncomfortable tension between beauty and the grotesque, trash and fetish, presence and absence, skill and debauchery. The viewer cannot help but to identify with the latent concerns and fears that Jodoins work evokes. Sophie Jodoin studied Visual Arts at Concordia University in Montreal. Her work has been presented in individual and group shows in the United States, Europe, and Canada, most recently at Battat Contemporary, Centre Clark, and O B O R O , Montreal; Mount Saint Vincent University Art Gallery, Halifax; Galerie Bertrand Grimont, Paris; and at the Muse dart de Joliette, Qubec. She has been the recipient of grants from the Canada Council and le Conseil des arts et des lettres du Qubec. Her works are in a number of public and private collections. She currently lives and works in Montreal. Founded in 2009, Battat Contemporary is best described as a synthesis between a commercial gallery and a privately funded project space. Based in Montreal, Quebec, the function of the gallery is two-fold: providing opportunities to local, national and international artists to exhibit their work and helping to expand the cultural landscape of Montreal by bringing these artists to the attention of the public. Rather than subscribing to a specific mandate or focusing on artists who are at a specific point in their career, Battats aim is to bring forward work that has not been seen. Within this framework we are allowed the space to work on a wide range of projects such as a solo exhibition by an emerging artist or curated exhibitions featuring the likes of Picabia, Tiepolo and William Kentridge.
COV E R Sophie Jodoin Remnant 2 2011 Black gesso on magazine page 8 6 inch / 20 15,5 cm INS I D E Sophie Jodoin Installation view from I felt a cleaving in my mind, at the gallery space 2011 Charcoal and pastel on fabriano paper 76 59 inch / 193 150 cm (each) R IGH T Sophie Jodoin Hybrid 6 2011 Charcoal and pastel on artprint paper 29,5 35 inch / 75 89 cm
MICHEL TUFFERY
BCA GALLER Y, R A R O TO NG A
BCA G A LLERY: M I C HEL TUFFERY

WEBS I T E www.gallerybca.com E- M A I L benb @ oyster.net.ck PHO N E +682 21939 CEL L +682 55012 CONTA C T N A M ES Ben Bergman Luke Brown
For V O LTA 2012, Tuffery presents First Contact a digital installation shown with an evolving series of sculpture and paintings. Tuffery delivers a contemporary Polynesian viewpoint as he questions this epic period in human discovery, utilising material recorded by scientists and artists from the three voyages of the English navigator Captain James Cook to the South Pacific during the 18th century. Tuffery delves within the mindset of the historical characters, involved, including, the perception of artwork executed by the renowned Polynesian navigator Tupaia aboard Cooks first voyage (1768 71). Central to Tufferys exploration is the historical figure Mai, the first Polynesian to travel to England. The impact of Mais visit to eighteenth century London was enormous. Tuffery investigates how both of these Polynesian personalities influenced the (then) contemporary psyche of Western culture and provides renewed perspective to the inevitable interaction of divergent ideologies. Positioning himself within the continuum of historical interaction, Tufferys work reflects the intricacy of fundamental discovery in human first contact. World Public Collections: The British Museum, London, England; The National Gallery of Australia (NG A ), Canberra, Australia; The Queensland Art Gallery, Brisbane, Australia; The Frankfurt Art Museum, Frankfurt, Germany; The Sydney Maritime Museum, Sydney, Australia; The Auckland Art Gallery, Auckland, N Z ; The Museum of New Zealand, Te Papa Tongarewa, Wellington, N Z ; The Christchurch Art Gallery, Christchurch, N Z ; The Machida Museum, Japan; Pataka Museum of Arts and Culture, Porirua, NZ.
R EPR E S E N T E D AR T IST S Tungane Broadbent Tim Buchanan Mark Cross Kay George Nanette Lelaulu Andy Leleisiuao Sylvia Marsters Reuben Paterson Loretta Reynolds
COV E R Michel Tuffery First Contact 2011 Digital Projection / DVD Dimensions Variable INS I D E Michel Tuffery Cookie in the Cook Islands *Collection of the British Museum 2008 Acrylic on Canvas 20 30 inch R IGH T Michel Tuffery New Zealand Man in the Cook Strait Va Sa 2009 Acrylic on Canvas 12 12 inch
FED ERI CO BIANCHI CONTEMPOR AR Y A R T, MILA N
DOMENICO PICCOLO
FED ERI CO BI A N CHI: DOMENIC O PIC C OLO

WEBS I T E www.federicobianchigallery.com E- M A I L info @ federicobianchigallery.com PHO N E +39 02 3954 9725 CEL L +39 34 5047 0917 CONTA C T N A M E Federico Bianchi
R EPR E S E N T E D AR T IST S Giuseppe Armenia Radomir Damnjan Paola Di Bello Zuzanna Janin Tony Just Jacopo Mazzonelli Bert Theis Magda Tthov Johannes Vogl Alexander Wolff
COV E R Domenico Piccolo Untitled 2011 Acrilics on canvas 30 20 cm INS I D E Domenico Piccolo Untitled 2011 Oil and enamel on paper 30 42 cm LEFT Domenico Piccolo Untitled 2011 Oil and enamel on paper 30 40 cm R IGH T Domenico Piccolo Untitled 2010 Inks on paper 30 21 cm
Here I am therefore in front of this geography of madness painted by Domenico Piccolo. A map of pain and solitude, fragile and mysterious. A thin pattern of events and situations where the doubt over realitys nature is already intrinsic in the portrayed subject. We are before uncertainty to the nth degree. And through this double-track of a painting, researching the essence of the real and portraying what lost its sense at least the conventionally shared featureswe attain an unexpected reflection over the world and our place in it, but not less than what the painting can show us. The impression is everything inside these paintings is mute. Mute people, mute children and ill people, mute items and settings. Its like the sounds were held by the monochrome of the painting, which creates an insulating gap between our space and that of the representation. Suddenly it is clear that the meaningful element, the one bringing to essence this reality of reclusion and inflicted pain to diversity, is the silence itself. Definitely little portrayable and pictorial, silence becomes instead the main character in Piccolos representation, adding on itself all of the silences, which for various purposes and in various ways, make this state of things possible. The core of reality that appears sudden and mandatory under our eyes is made by the causes that determinate this narrow-minded violence, this submission and consequent loss of dignity, and that are not as far as we like to imagine from the normality of our healthy everyday life. Those causes are indeed ascribable, in a wider but not less concrete sense, to the explicit claim of the powers (and the plural is not a mistake) to give from time to time a clear and univocal meaning to reality, which one must match, being isolated otherwise. In the silence toward these compulsory impositions lies the cause of mental subjugation, the behaviour of which we are all quietly responsible. This is what Piccolos painting talks about. Looking at these small and delicate painted surfaces, all the power of deep rebellion, of indignation accompanied by that pietas which belongs to our deepest and most necessary humanity comes out. But not everything is lost. Thats for sure. If art and painting manage to give us a revelatory signal of the true meaning of the reality were living in, not everything is lost for sure, despite precise appearances. by Raffaele Gavarro
RACHEL BEACH
BLACKS TO N, NE W Y O R K
BLA CK STON : RA CHEL BEAC H

WEBS I T E blackstongallery.com E- M A I L info @ blackstongallery.com PHO N E +1 212 695 8201 CEL L +1 646 729 4175 CONTA C T N A M ES Rhiannon Kubicka Theodore Blackston
Blackstons program focuses on generating new critical perspectives on processoriented art-making. The gallery works with emerging and mid-career artists, showing a range of media, with a primary focus on painting, sculpture, drawing and photography. At V O LTA this year we are pleased to present new work by New York-based artist Rachel Beach. In her sculpture, Beach employs rigorous engineering along with painted representation of form to create a challenging perceptive experience. Beach examines the relationship between sculptural and painted spaces and the impact of structure and illusion on perception and experience. At the core of the artists work is an exploration of the dissonance between the concrete, physical, logical, structural and more illusive cultural beliefs of meaning and value in perception. I try to make my objects off-kilter or duplicitous, tinkering with the characteristics of symmetry/asymmetry, negative space, shape, edge, perspective, perception and objectness. If I can make a contrary relationship believable and interesting, the object holds in it the idea that meaning is not singular or authoritative, but is instead contingent upon context and reading. Beachs sculptures evoke a Minimalist sensibility invigorated with archeological and architectural reference. Her work imbues the pure logic of physical form with humanism and narrative. Rachel Beach is originally from Waterloo ON, Canada. She received an MFA from Yale University and BFA from the Nova Scotia College of Art and Design. Recent awards and grants include a Socrates Sculpture Park Fellowship, a Residency at the LES Printshop and a Canada Council for the Arts grant. Her work has been exhibited at Blackston, Lennon Weinberg and Mixed Greens in New York and Art Gallery of Nova Scotia and PlugIn Institute of Contemporary Art in Canada. Reviews of her work have appeared in The New York Times, Art in America and The Brooklyn Rail.
R EPR E S E N T E D AR T IST S Justin Adian Reuben Cox Pia Dehne Christina Hejtmanek Patrick Keesey Glynnis Mcdaris Franck Salzwedel Joe Sola Katja Stuke Frank Webster
COV E R 1 Rachel Beach Molt 2010 Screenprint and enamel on plywood 76 29 12 inch COV E R 2 Rachel Beach Capture 2011 Oil and acrylic on plywood 77 13 7 inch INS I D E Rachel Beach Gather 2011 Oil and acrylic on plywood, reclaimed beam 101 79 61 inch R IGH T Rachel Beach Survey 2011 Oil on reclaimed plywood 30 15 8 inch
BLYTHE PROJECTS , LO S A NG E LE S
JAMES CLAR
VOLTA N Y 2012 | B OOT H NU MB ER C 5
BLYTH E PROJ ECTS : JAMES C LAR

WEBS I T E www.blytheprojects.net E- M A I L hillary @ blytheprojects.net PHO N E +1 323 272 3642 CEL L +1 310 990 3501 CONTA C T N A M E Hillary Metz
Media artist James Clar fuses technology and popular culture in order to explore their effects on the ways in which people behave, interact, and communicate, as well as the implications these may have for the individual and society. His works often control and manipulate lightthe common element of all visual mediums. Transcending traditional assumptions, Clar employs innovative materials and systems to access new visual, emotional, and perceptual recesses. His works may startle with intimacy, or hint at danger; they may throw doubt into institutional architectures we take for granted. Clar builds upon accepted behavior patterns, playing with the unspoken boundaries that dictate the proper distance between artwork and audience. As an American living in Dubai since 2007, Clars recent work also explores deeper conceptual themes of nationalism, globalism and the medias effect on popular cultureoften analyzing the discrepancies between information relayed by Western and Middle Eastern media sources. Clar relocated to New York in January 2012. James Clar (b. 1979, Wisconsin) received his BA in Film from New York University in 2001 and his MFA in Media Art, also from New York University, in 2003. In early 2011 he launched Satellite, a warehouse studio space in Dubai that allows for large-scale experimentation and production. Clar also holds one United States patent (and two pending patents) for engineering systems developed while creating his light sculptures. He was an artist in residence at Eyebeam Atelier in New York, Fabrica in Italy, and the FedEx Institute of Technology/Lantana Projects in Memphis. His artwork has been included in the Chanel Mobile Art exhibition (Tokyo), The New Museum of Contemporary Arts (New York), The Chelsea Art Museum (New York), The Somerset House (UK), Museum on Seam (Jerusalem), and Louis Vuitton Gallery (Hong Kong). Clar is represented by Blythe Projects in Los Angeles and Carbon 12 in Dubai.
R EPR E S E N T E D AR T IST S David Buckingham Siri Kaur Troy Morgan Larry Mullins Dias Sardenberg Mark Schoening Michael Salvatore Tierney Ben White Meeson Pae Yang
COV E R James Clar Ball & Chain 2010 Car headlights, chain and LED lighting 35 35 35 inch / 89 89 89 cm INS I D E James Clar Global English (Arabic) 2012 Acrylic, L E D & lightbox 39 10 4 inch / 100 25 10 cm R IGH T James Clar Untitled (Magnetic Field) 2012 Fluorescent tube lights, color filters and steel tube 86 inch / 218 cm in diameter
ASGAR / GABRIEL
BROTKUNS THALLE , VIE NNA
BRO TK U N STH A LLE: ASGAR / GABRIEL

WEBS I T E www.hilger.at E- M A I L ernst.hilger @ hilger.at michael.kaufmann @ hilger.at PHO N E +43 1 512 53 15 CEL L +43 650 27 39 650 +1 305 302 2027 (during VOLTA) CONTA C T N A M ES Ernst Hilger Michael Kaufmann
Asgar/Gabriel are like Poussin for the rave generation. Instead of Herms and Bacchus, they have burnt out cars and chemical gods, but like Poussin they evoke the sacred transcendence to be found in the everyday ecstasies of our lives. I love these paintings because they are so of their time and timeless. As Francis Bacon once said there is only voluptuousness all the rest is a falling away! Marc Quinn 2011
R EPR E S E N T E D AR T IST S Daniele Buetti Clifton Childree Oliver Dorfer Anastasia Khoroshilova ngel Marcos Brian McKee Cameron Platter Sara Rahbar Michael Scoggins Miha Strukelj
The artistic duos pictorial inventions force a dialectic elevating normative difference through aesthetic adaptation, thus canceling its fall: High and low, the serious and the entertaining, avant-garde and kitsch, masculinity and femininity, information and originality. It is not about depicting ones own surroundings, but about a dtournement of the (model) picture, about recognizing the pictorial medium itself as a utopian entity, the iconicity of which has an arbitrary connection to social reality and ideology, because it can be filled with a new content and absorbed over and over again, but manifests itself within an ideologically occupied frame that always limits the artificialin Asgar/Gabriels work synonymous with the paintedthat is to be occupied. Synne Genzmer 2011 (curator at Kunsthalle Wien, Vienna)
COV E R Asgar/Gabriel Kunst ist Anarchie (detail) 2011 Oil on canvas 300 760 cm INS I D E Asgar/Gabriel oh and ah! 2011 Oil on canvas 220 250 cm R IGH T Asgar/Gabriel ...if maintaining a subject position requires ones product conform objectification, then one only differs from another in the same way Coke differs from Pepsi and ones thoughts, feelings, and doings remain essentially inconspicuous and commensurable... 2011 Oil on canvas 150 190 cm
Elisabeth Gabriel (1974) and Daryoush Asgar (1975) born in Vienna and Teheran studied Philosophy (MA) and Art (MFA); they have collaborated artistically since 2005. Highly active over the last years, Asgar/Gabriels work has been exhibited in solo exhibitions and numerous group shows around the globe. Recent solo exhibitions include Under the paving stones, the beach at Kunsthallen Brandts (Denmark) 2011, Auflsung der konomie, Mannheimer Kunstverein (Germany) 2011, The disciplining time stands still, no activity, no automobiles, no angst, Annarumma Gallery (Italy) 2011 and The Loves of the Plants, hilger contemporary (Austria) 2010.
CARMICHAEL GALLER Y, LO S A NG E LE S
AAKASH NIHALANI
CA RMI CH A EL G A L LERY: AAKASH NIHALANI

WEBS I T E www.carmichaelgallery.com E- M A I L elisa @ carmichaelgallery.com seth @ carmichaelgallery.com PHO N E +1 323 939 0600 CEL L +1 917 863 8414 CONTA C T N A M ES Elisa Carmichael Seth Carmichael
My street work consists mostly of isometric rectangles and squares. I selectively place these graphics around New York to highlight the unexpected contours and elegant geometry of the city itself. For however briefly, I am trying to offer people a chance to step into a different New York than they are used to seeing, and in turn, momentarily escape from routine schedules and lives. We all need the opportunity to see the city more playfully, as a world dominated by the interplay of very basic color and shape. I try to create a new space within the existing space of our everyday world for people to enter freely, and unexpectedly disconnect from their reality. Im not trying to push a certain highbrow logic or philosophy or purposefully communicate through the esoteric medium of art. I work instinctively, trying to follow my gut about the sensation of color and space, and have fun doing it. People need to understand that how it is isnt how it has to be. My work is created in reaction to what we readily encounter in our lives, sidewalks and doorways, buildings and bricks. Im just connecting the dots differently to make my own picture. Others need to see that they can create too, connecting their own dots, in their own places. by Aakash Nihalani
R EPR E S E N T E D AR T IST S Simon Birch Boogie Krystian Truth Czaplicki Gregor Gaida Simon Haas Mark Jenkins Eriberto Oriol Estevan Oriol Sixeart Dan Witz
COV E R Aakash Nihalani Stack 2011 Site-specific installation INS I D E Aakash Nihalani Aalign 2011 Painted wood 67 50 0,25 inch R IGH T Aakash Nihalani Pop Out I 2011 Archival digital print on canvas 52 52 1,5 inch
RALF DEREICH
CHAPLINI, C O LO G NE
VOLTA N Y 2012 | B OOT H NU MB ER E 1
CH A PLI N I : RA LF DEREIC H
WEBS I T E www.chaplini.com E- M A I L info @ chaplini.com PHO N E +49 221 1791 9688 CEL L +49 151 2403 4477 CONTA C T N A M ES Berthold Pott Bettina Kraus
Ralf Dereichs abstract oil paintings extend blurrily and without defined outlines across the canvas in an all-over manner. The pictorial architecture, which is composed of simple elements, directs attention towards the materiality and expression of color and line. Mainly, the expressive capability of pure painting, the belief in painting itself is of central importance. This, above all, appears noteworthy when you take a look at his contemporaries work: with his art-for-arts-sake approach, centered around the individual artist, Dereich creates a jumping-off point from the treadmill of the postmodern view of art. He aims at having the picture in his grasp from the very beginning. The creamy texture of the paint is noticeable and this impression is underlined through the pastel colors. Dereich says his work is the sound of eye and mind as parable of the people in the world. The artist was born in 1976 and lives and works in Berlin. Chaplini is a gallery located in the heart of Colognes gallery district, exhibiting contemporary art from young artists. The gallery exhibits innovative movements in art from all genres and identifies itself as a public space where art reveals the power and meaning of subjectivity to an open-minded audience.
R EPR E S E N T E D AR T IST S Oliver Flssel Max Frintrop Behrang Karimi Nadja Nafe Uwe Schinn
COV E R Ralf Dereich NoT 023 2011 Oil on canvas 220 170 cm INS I D E Ralf Dereich NoT 015 2011 Oil on canvas 220 170 cm LEFT Ralf Dereich NoT 022 2011 Oil on canvas 220 170 cm R IGH T Ralf Dereich Loose 8 2011 Oil on canvas 220 170 cm
CONNER C ONTEMPORARY AR T, WAS HING TO N D C
WILMER WILSON IV
VOLTA N Y 2012 | B OOT H NU MB ER B 7
CONNER CONTEMPORARY ART: WILMER WILSON IV

WEBS I T E www.connercontemporary.com E- M A I L info @ connercontemporary.com PHO N E +01 202 588 8750 CONTA C T N A M ES Leigh Conner Jamie Smith
R EPR E S E N T E D AR T IST S Janet Biggs Zo Charlton Mary Coble Katie Miller Patricia Piccinini Nathaniel Rogers Erik Thor Sandberg Federico Solmi Koen Vanmechelen Leo Villareal
CA M O U F L A G E & A RM O R, WH O L E SAL E . VO LTA N Y C 2 0 1 2 Wilmer Wilson IV appropriates objects common to his socio-economic experience, manipulating their original intention to absurd degrees. For the three durational performances mounted at V OLTA N Y, the artist creates a second skin by sculpturally covering his entire body with stickers. Wilson then flays his skin of stickers in an intensive act of self-immolation. Employing printed materials endorsed by the American government or political system, the performances engage issues surrounding freedom, authenticity, and vulnerability. Voted uses I Voted stickers, typically handed out after a citizen has cast a ballot; Legalize uses legal notary seals; and Henry Box Brown (Proto) uses postage stamps. The Self Portrait photographs, which document the performances, add further depth through their sensitivity to body language and ego. P E RF O RM A NCE S : Thursday, March 8th: 11am 7pm Friday, March 9th: 11am 7pm Saturday, March 10th: 11am 7pm
COV E R Wilmer Wilson IV Self Portrait as a Model Citizen C-Print 40 30 inch INS I D E Wilmer Wilson IV Still 3 (from Study for Bandage) C-Print 9 14 inch R IGH T Wilmer Wilson IV Still 2 (from I Voted) 2011 C-Print 9 14 inch
THE CYNTHIA CORBETT GALLE R Y, LO ND O N
JEREMY DEAN
TH E CYN TH I A CORBETT GALLERY: JEREMY DEAN

WEBS I T E www.thecynthiacorbettgallery.com E- M A I L info @ thecynthiacorbettgallery.com PHO N E +44 20 8947 6782 CEL L +1 773 600 7719 +44 7939 085 076 CONTA C T N A M ES Cynthia Corbett Celia Kinchington
American artist Jeremy Dean (b. 1977) has built a reputation for exploring issues critical to society through his work. Deconstructing and re-contextualizing iconic symbols of power and wealth, his work addresses social, political, economic and cultural issues and questions the notion of modernity and human progress. Recall his Futurama Project, consisting of a H UM M ER H 2 converted into a working horse drawn stagecoach, pulled through Central Park or the Miami Design District by a team of horses. The artist now follows up the success of Futurama with a new series of works, smaller in size but equally powerful in artistic and cultural relevance, works that are centered around the de- and reconstruction of the American flag. For VOLTA, Dean will present his largest flag deconstructions to date with striking new compositions, creating a rich and layered metaphor for these complex and uncertain times. Collections include the New York Public Library, 21c Kentucky and various private collections including the Pritzker Family Collection. The Cynthia Corbett Gallery is an international contemporary art gallery that represents emerging and newly established artists. It is a regular exhibitor at major international contemporary art fairs, plus has an annual programme of exhibitions that take place throughout the year in London and New York. corbettPROJECTS launched in 2004, focusing on presenting curated projects that address contemporary critical practice and works with emerging curators and artists. corbettPROJECTS presents an innovative programme of events in a variety of media with a particular emphasis on video art. The Cynthia Corbett Gallery has previously presented at VOLTA NY Ghost of a Dream (2010) and video by Christina Benz (2011). In 2009 the Gallery launched The Young Masters Art Prize sponsored by AXA UK. The Young Masters Art Prize 2012 will be launched in Spring 2012 as a not-for-profit initiative presented by The Cynthia Corbett Gallery.
R EPR E S E N T E D AR T IST S Llus Barba Christina Benz Charlotte Bracegirdle Andy Burgess Cecile Chong Ghost of a Dream Tom Leighton Christiane Pooley Klari Reis Nicolas Saint Gregoire
COV E R Jeremy Dean Ill fix this town (detail) 2011 Mixed media monoprint with American flag and needles 21 31 inch INS I D E Jeremy Dean The Compromise 2011 Mixed media monoprint with American flag and needles 21 31 inch R IGH T Jeremy Dean Flag Graph 2010 Mixed media monoprint with American flag and needles 28 33 inch
ANA CRISTEA GALLERY, NE W Y O R K
RAZVAN BOAR
VOLTA N Y 2012 | B OOT H NU MB ER D 8
A N A CRI STEA GA L LERY: RAZVAN BOAR

WEBS I T E www.anacristeagallery.com E- M A I L info @ anacristeagallery.com PHO N E +1 212 904 1100 CEL L +1 347 248 1549 CONTA C T N A M E Ana Cristea
Razvan Boar (b. 1982, Romania) is one of the most promising and original talents emerging from a new generation of painters in Romania, a country which has recently produced an important movement in contemporary painting. At first sight, Boars characters might appear deliciously seductive. However, once our gaze has lingered on a particular painting, we are drawn into the scenario the artist imagines for us. Initially, these scenarios might appear quite straight forward, even familiar, but the works familiarity is not merely rooted in commonplace contemporary imagery; it springs from Boars attentiveness to Arts great past masters. The one constant of Boars work is that no matter what the dress, social status, or position of his sitters, their humanity burns out from the work; it is confrontational and unavoidable. Razvan Boars works, meticulously rendered paintings and drawings, withhold themselves. They are oblique in their exploration of social or political change in the lives of their protagonists. Things are happening, but somewhere in the middle distance. His subjects are indifferent to our gaze, fully absorbed in their own worlds, as we, through looking, become absorbed in ours. It is perhaps this area, where the image breaks down into its effects, that the artist is exploring altogether. Boar lives and works in Bucharest, Romania and was featured in his first US solo show at the Ana Cristea Gallery in May 2011. Other recent shows include Portraits of Ambiguity at Ana Cristea Gallery and Portraits and Selfportraits curated by Liliana Popescu at Knoll Galerie as part of the project E AST by SO UT H WEST, curated by_vienna 2011. During 2011 Boar was awarded the Constantin Brancusi fellowship at Cite Internationale des Arts in Paris by the Romanian Cultural Institute. He is currently receiving his PhD from the National University of Arts in Bucharest.
R EPR E S E N T E D AR T IST S Zsolt Bodoni Michiel Ceulers Nicola Samori Alexander Tinei Bogdan Vladuta Caroline Walker
COV E R Razvan Boar Somewhere between 0 and 1000 2011 Oil on canvas 77 61 inch / 197 155 cm INS I D E ( LE F T) Razvan Boar Rumors to the Contrary 2011 Oil on canvas 44 58.5 inch / 112 149 cm INS I D E ( R I G H T ) Razvan Boar In Theory 2011 Oil on canvas 88 63 inch / 225 160 cm R IGH T Razvan Boar The cave 2011 Oil on canvas 76.7 51 inch / 195 130 cm
ZACKARY DRUCKER
LUIS DE JES US LO S A NG E LE S
LUIS DE JESUS LOS ANGELES: ZACKARY DRUCKER

WEBS I T E www.luisdejesus.com E- M A I L gallery @ luisdejesus.com PHO N E +1 310 838 6000 CEL L +1 858 205 3739 CONTA C T N A M ES Luis De Jesus Jay Wingate
G O L D S TA ND A RD Drawing from feminist and queer theoretical discourse, Zackary Druckers work addresses sexual exploitation, transgender representation, and drag performance in order to explore relationships that facilitate queer/countercultural lineage. Interested in obliterating language obstacles, pulverizing identity disorders and revealing dark subconscious layers of outsider agency, Druckers work reinvents and redistributes traditionally-held binary formulas and power relationships between spectacle and voyeur, dominator and subjugated, and the domesticated and exoticized. Keeping normative culture on the periphery, Drucker focuses instead on readinga subcultural dialect of resistance, and uses her body to illicit desire, judgment, and voyeuristic shame from her viewer. Filmed at the peak of autumn in a rural Midwestern locale, Druckers provocative video Lost Lake posits beauty and fear as inextricable from the psyche of the American landscape. Contemplative moments and stunning vistas are jarringly punctuated with the vocabularies of witch-hunts, hate crimes and psychological violence. Light boxes from the series Dont Look At Me Like That employ a range of house-hold props and tableaus that strive toward the portrayal of bodily identityinfused with acute, masochistic emotional compulsions. The photo essay Distance is where the heart is, home is where you hang your heart combines elements of personal history, performance documentation, and exhibitionism. Executed over a snowed-in Christmas weekend at Druckers childhood home, the images veer between classically sleek fashion editorials to the sexed-up fetishism of Pierre Molinere, the sitespecific body works of Ana Mendieta, and the transgressive body-as-target performances of Chris Burden. Distance is a visual free-for-all that plays with sexuality, female subjection, power, wealth, vulnerability, victimization, family, comfort, safety, secretsa perfect balance of voyeur and aesthete. Zackary Drucker earned an M FA from the California Institute of the Arts in 2007 and a BFA from the School of Visual Arts in 2005. Upcoming exhibitions include the Hammer Museum 2012 Biennial Made in LA and the 5th Moscow Biennial in 2013. She has performed and exhibited her work in venues including the 54th Venice Biennale; Curtat Tunnel, Lausanne, CH; Lucca Center of Contemporary Art, Lucca, IT; Centre Georges Pompidou, Paris; R E D C AT and L A C E , Los Angeles; Yerba Buena Center for the Arts, San Francisco.
R EPR E S E N T E D AR T IST S Miyoshi Barosh Hugo Crosthwaite Martin Durazo Chris Engman Abel Baker Gutierrez Margie Livingston Heather Gwen Martin Christopher Russell Federico Solmi
COV E R Zackary Drucker and Amos Mac Distance is where the heart is, Home is where you hang your heart, #1 2011 Digital pigment print 36 54 inch / 91 137 cm INS I D E Zackary Drucker and Manuel Vason This is the Way I Want to Remember You 2010 Duratrans on L E D lightbox, #1 37 28 inch / 94 71 cm LEFT Zackary Drucker and Amos Mac Distance is where the heart is, home is where you hang your heart, #20 2011 Digital pigment print 16 24 inch / 41 61 cm R IGH T Zackary Drucker Lost Lake 2010 Digital video, color, 8 min
SHEILA GALLAGHER
DODGEGALLER Y, NE W Y O R K
VOLTA N Y 2 0 12 | BO OT H N UM BER E4
D O D GEG A LLERY: SHEILA GALLAGHER

WEBS I T E www.dodge-gallery.com E- M A I L info @ dodge-gallery.com PHO N E +1 212 228 5122 CEL L +1 917 288 9009 CONTA C T N A M ES Kristen Dodge Patton Hindle
R EPR E S E N T E D AR T IST S Rebecca Chamberlain Dave Cole Environmental Services Darren Blackstone Foote Ted Gahl Jason Middlebrook Daniel Phillips Lorna Williams
A hybrid practitioner known for exhibitions of disparate materials, laborious inventive processes, and strong conceptual bookends, Sheila Gallaghers new work displays rigor and delight in material juxtapositions and manipulations. Her latest series of plastic paintings are made with hundreds of melted plastic objects from Gallaghers life, including bottle caps, toothbrushes, toys, prescription pill bottles, lawn furniture and credit cards. Her carefully selected compositions of gardens are gathered from photographic and art historical sources, some of which are her own images. In this series, Gallagher draws upon garden imagery associated with different faith traditions including Buddhism, Islam and Christianity, to create painterly mash-ups of the scared and the profane. Acting like time capsules, the plastic paintings are, in a sense, material biographies of Gallaghers life, as well as encapsulation of objects from this particular moment in our culture, endowing the works with a kind of pedestrian historicism. The pieces have been culled, melted, and distorted with parts missing or obliterated, to create saturated gardens of junk. Grounded in the quotidian, yet framed by a wider view of historical events, Gallaghers work asks us to explore how objects define us and to be awake to their shifting literal, symbolic, and poetic relationships. Inspired by Ann Carlsons translations of Sapphos fragments, the conscious gaps in Gallaghers work point to incomplete knowledge and the inexhaustibility of interpretation, welcoming the viewer to draw connections and be aware of what is absent.
COV E R Sheila Gallagher Deute 2011 Melted plastic mounted on armature 96 108 inch INS I D E Sheila Gallagher Deute 2011 Melted plastic mounted on armature 96 108 inch R IGH T Sheila Gallagher Deute 2011 Melted plastic mounted on armature 96 108 inch
ALINKA ECHEVERRA
EB &FLO W, LO ND O N
EB& FLO W: A LI N K A EC HEVERRA

WEBS I T E www.ebandflowgallery.com E- M A I L info @ ebandflowgallery.com PHO N E +44 207 729 7797 CEL L +44 758 124 4539 CONTA C T N A M ES Margherita Berloni Nathan Engelbrecht
Alinka Echeverra (b. 1981, Mexico City) is a visual artist whose photography and video work lies at the crossroads between documentary and fine art. Inspired by the real world, she uses the tools of visual anthropology and documentary practice, and then challenges these through experimental processes to create conceptual series. Her working background in development and visual communication projects in East Africa, India, Mexico and Cuba deeply informs her practice. Her work is enriched by the treatment of her subject, as she weaves concepts of place, collective memory, ritual and identity. These concepts of man and his some times spiritual surroundings instil in the work a wonder, a presence and ultimately a longing that pushes Echeverras work into a new sphere of documentation. She sheds the pre conceived notions of documentary, anthropology, fine art, investigative journalism, and compounds these into a new form, a conceptual documentary. Echeverra is a graduate of The International Center of Photography in New York and has an M.A in Social Anthropology from The University of Edinburgh. Her work has been featured in over thirty exhibitions worldwide, notably the 52nd Venice Biennale of Contemporary Art (2007), Pingyao Photo Festival in China (2008), The New York Photo Festival (2010), Steven Kasher Gallery in New York (2010), Flash Forward Festival in Toronto (2010), Galerie Rverbre in Lyon (2011), Galerie Baudoin Lebon in Paris (2011), Maison de la Photographie in Lille (2011), Maison European de la Photographie in Paris (2011), The Royal College of Art in London (2011), the National Portrait Gallery in London (2011), Bibliothque Nationale de France Franois Mitterrand (2011) and Fototeca Nacional del INAH in Mexico (2011). In 2011 she was the recipient of the HS BC Prix pour la Photographie and a participant of World Press Photos Joop Swart Masterclass. Over recent years she has been awarded by PX3 Prix Pour la Photographie, CENTER, Magenta Foundation, American Photo and A S M P among others. Publications include G E O , Liberation, Le Monde Magazine, Le Monde, The Wall Street Journal, The British Journal of Photography, The Sunday Times Magazine, NPR, Times Lightbox, Visura Magazine, PH O T O , Ogoniok and Foam.
R EPR E S E N T E D AR T IST S Gemma Anderson Briony Anderson Neil Ayling William Bradley Ross Brown Sue Corke Nicholas McLeod Katie Louise Surridge
COV E R Alinka Echeverra Untitled (Road to Tepeyac) 2010 Archival pigment print hanemuhle fine art paper 60 46 cm INS I D E ( LE F T) Alinka Echeverra Untitled (Road to Tepeyac) 2010 Archival pigment print hanemuhle fine art paper 60 46 cm INS I D E ( R I G H T ) Alinka Echeverra Untitled (Road to Tepeyac) 2010 Archival pigment print hanemuhle fine art paper 60 46 cm
KENT CHRISTENSEN
ELE VE N, LO ND O N
ELEVEN : K EN T CHRISTENSEN
WEBS I T E www.elevenfineart.com E- M A I L info @ elevenfineart.com PHO N E +44 207 823 5540 CEL L +44 (0) 797 327 3011 CONTA C T N A M ES Charlie Phillips Susannah Haworth
Kent Christensens works explore how we live: our obsessions, addictions and pleasures. He playfully satirises modern life, where indulgence is the new god. Icons were once the exclusive domain of religion and royalty, but today they are everywhere and provide the visual backdrop to our world. Christensen applies an iconic status to his oversized ice-cream cones, milkshakes and candy that emerge from landscapes to become absurd, surreal objects. Typical of his style, his paintings include elements of social satire, nostalgia, and autobiography and take us on a witty, wise and subtle journey through art history, religious iconography and cultural politics. In their tongue-in-cheek embrace of iconic American sugar-based foods, his paintings pay homage to altarpieces, advertising, Pop Art, and minimalism among other themes. There is a sense of familiarity in the way common objects are imposingly presentedlike billboards that line stretches of the American highways. They are designed to demand your attention. They also emphasise how the unhealthy habit of pleasure eating and overindulgence have become part of the American landscape. In Sundance Drumstick (2011) a giant drumstick ice cream floats over a mountain landscape like an object lifted from a roadside billboard. Typical of his Magritte-inspired works, the image takes on sensational, devotional and supernatural qualities and is both beautiful and puzzling. The ubiquitous nature of food in our time has led to a health crisis in most developed countries, but especially the United States and United Kingdom. Their obesity levels have spiked in recent years and efforts have been made to re-educate and re-direct people as to their eating habits and lifestyles. The colourful and alluring qualities of candy and other sugar based foods make them enticing visual subjects, masking their true unhealthy nature, and provide a vivid visual metaphor for our times. In one sense, Christensen comes to this material naturally, having witnessed a lifetime of food rituals run amok in his native Mormon culture, where sugar has served as a substitute vice for generations. Mormons indulge in ice cream, soda, candy and baked goods rather than tobacco and strong drinks, an indulgence so zealous that the artist has playfully dubbed sugar; Mormon Heroin. Christensens work has always been rooted in art history, spanning modern and classical references to inform his contemporary paintings. Pie in the Sky (2011) looks like something Georgia OKeefe might have painted if she painted pies ( la Wayne Thiebaud) suspended over her desert landscapes instead of bones. On closer inspection, the familiar landscape of Hollywood becomes apparent, and other associations about illusory dreams, warped values and far-fetched promises soon follow. The excessiveness that often comes with abundance and wealth needs to be more carefully considered as more often than not a darker reality lurks beneath the shiny surface. Driven by chasing satisfactions that can never be fulfilled, Christensens work employs an inescapable decadence of consumerist culture.
R EPR E S E N T E D AR T IST S Rick Giles Gerry Fox Roland Hicks Natasha Kissell Natasha Law Jennie Ottinger Martha Parsey Ben Turnbull Harry Cory Wright Jonathan Yeo
COV E R Kent Christensen Liberty Cone (detail) 2012 Oil on panel 36 22 inch / 92 56 cm INS I D E Kent Christensen Pie in the Sky 2012 Oil on linen on panel 24 24 inch / 61 61 cm
HARRY CORY WRIGHT
ELE VE N, LO ND O N
ELEVEN : H A RRY CORY WRIGHT

WEBS I T E www.elevenfineart.com E- M A I L info @ elevenfineart.com PHO N E +44 207 823 5540 CEL L +44 (0) 797 327 3011 CONTA C T N A M ES Charlie Phillips Susannah Haworth
Harry Cory Wright is an artist whose work explores our fundamental attraction to place, and the very physical process of being in landscape. His photographs range from the intimate nature of his fathers bench beside a stream (Beneath Alders) to the stark grandeur of the rock face on the island of Staffa (Dark Cliff) . Often it is the very physicality of a place to which Cory Wright is drawn; a feeling for the scale of things, their mass and volume. The vivid and immaculate nature of these large format works convey a real sense of being there. These photographs are firsthand accounts of landscapes to which we are all witness. Bringing together works from his Place in Mind (2011) series and Journey Through the British Isles (2006) these selected works explore the notion of what might be termed as a certain thereness; a desire to seek out what humanises landscape, what energises it with a sense of the prospect, and ultimately separates it from wilderness. He often spends several days in each location, becoming engrossed in the natural world around him, familiarising himself with the light, atmosphere, and selecting the perfect vantage point. Cory Wright draws on Eugne Atgets matter of fact approach with keen attention to the ambiance of a place and the unique spirit of the location. In a digital age where photographic imagery is widely disseminated and easily captured, Cory Wright applies a methodical approach using his large and cumbersome view camera. The slow process, restriction of one exposure per scene and meticulous hand-printing charge the final work with a sense of hard-fought serenity and calm. Cory Wright uses a large format 8 10 inch wooden Gandolfi plate camera to produce negatives of astonishing clarity and detail. His printer in London, Jean Lippett, works closely with him to create the 20 16 inch prints that start to reveal the information from the negative. Grieger, in Germany, then enlarges the photographs and it is at this point that the incredible level of detail really starts to appear. Each photograph is a hand printed C-type print.
R EPR E S E N T E D AR T IST S Rick Giles Gerry Fox Roland Hicks Natasha Kissell Natasha Law Jennie Ottinger Martha Parsey Ben Turnbull Jonathan Yeo
COV E R Harry Cory Wright Dark Cliff 2010 C-Print 58 71 inch Edition of 3 INS I D E Harry Cory Wright Alders 2006 C-Print 63 79 inch Edition of 3 R IGH T Harry Cory Wright The Greenaway 2006 C-Print 63 79 inch Edition of 3
ENVOY ENTER PR IS E S , NE W Y O R K
ERIKA KECK
EN V OY EN TERPRI SES: ERIKA KEC K

WEBS I T E envoyenterprises.com E- M A I L office @ envoyenterprises.com PHO N E +1 212 226 4552 CEL L +1 216 650 3954 CONTA C T N A M ES Anthony J Udofia Jamie Sterns
I largely make my pieces from personal necessity to create. The urge to create something over and over again to only then go back and reconstruct what I have created. Lately, Ive been doing my best to work through impulse and counter the need to overanalyze. Working through personal boundaries makes the process feel exciting and challenging. I prefer to create pieces that promote feeling my way through the painting. Its important to let my inside do the talking when it comes to art. My work has an amazing capacity to express my emotions and feelings, which are never clear or logical. I like art that is contradictory and confusing, which my work represents; it continues to command your attention inescapably.
R EPR E S E N T E D AR T IST S Winston Chmielinski Thomas Dozol David Alexander Flinn Brandon Herman Robert Knoke Slava Mogutin Micki Pellerano Aude Du Pasquier Grall Alex Rose Desi Santiago
COV E R Erika Keck American Fags 2011 Acrylic paint, stretcher bars 64 20 7,5 inch INS I D E Erika Keck Dear diary, you know what I mean? 2010 Acrylic and oil paint on canvas 29 35 inch R IGH T Erika Keck Something Precious To Love 2011 Oil paint on board 12 12 2 inch
E SPAIVISOR VISOR GALLE R Y, VA LE NC IA
SANJA IVEKOVI
ESPA I VI SOR V I SOR GALLERY: SANJA IVEKOVI

WEBS I T E www.espaivisor.com E- M A I L info @ espaivisor.com PHO N E +34 96 392 23 99 CEL L +34 628 88 12 45 CONTA C T N A M ES Mira Bernabeu Miriam Lozano
Sanja Ivekovi (b. 1949, Zagreb) graduated from the Academy for Fine Arts, in Croatia. Her art production has spanned a range of media such as photography, performance, video, installations and actions in the public domain since the 1970s. She belong to the artistic generation which emerged after 68 and was raised in Socialist Federal Republic of Yugoslavia whose post-object art was usually covered by the umbrella term New Art Practice . Ivekovis work is marked by the critical discourse with the politics of images and body. The analysis of identity constructions in media as well as political engagement, solidarity and activism belong to her artistic strategies. In the Yugoslav/Croatian art scene she was the first woman artist to express a clearly feminist attitude. In 1973 she started to work with video. In the late eighties she was a founder and a member of a number of womens non-guvernment organizations in Croatia such as Elektra- Womens Art Centre, The Centre for Womens Studies, B.a.B.ethe womens human rights group. Her work from the 1990s deals with the collapse of socialist regimes and the consequences of the triumph of capitalism and the market economy over living conditions, partucularly of women. THE RIG HT O NE ( THE P E A R L S O F T H E R E V O L UT I O N ) , 20 07/2011 The new work The Right One (Pearls of the Revolution) synthesizes a number of issues characteristic of Ivekovis work. She deals with the tension between past and present, between emancipatory politics and todays market economy, focusing on the double-bind position of women. The final work will consists of 10 photos and on each one the same photo of 2 Yugoslav partisans (attached) will be placed on the models left eye. So in a way its a play about the originalOn a content level here I am being an agitprop artist dealing with the emancipatory politics (of past antifascist and/or socialist/communist resistant movements) and the loss the memory about it in todays wild capitalism. Of course again I focus on women, representation, media, etc...but this is all for the viewer to discover while looking for the right one. What I find interesting is that the revolutionary gesture was inaugurated in Spain (look at the photos I find) and then it was used at the beginning of Yugoslav antifascist movement. My parents were both partisans. Theres more to talk about
R EPR E S E N T E D AR T IST S Alberto Baraya Carlos Leppe Daniel Garcia Andujar Esther Ferrer Hamish Fulton Joan Fontcuberta Lynne Cohen Oswaldo Maci Rene Green Sanja Ivekovi
COV E R Sanja Ivekovi Womens House (Sunglasses) Sonia. 2002 2004 Photography 48 67 cm each INS I D E Sanja Ivekovi The Right One (The Pearls of the Revolution) 2007 2011 Photography 112 112 cm each LEFT Sanja Ivekovi Personal Cuts 1982 Video 3'43" R IGH T Sanja Ivekovi Personal Cuts 1982 Video 3'43"
S A NJ A IV E K O V I: S W E E T VI O L E N C E Museum of Modern Art (MOMA), New York, 18. 12. 2011 26. 3. 2012
ANDREAS JOHANSSON
GALLER I FLACH, S TO C KHO LM
G A LLERI FLA CH : ANDREAS JOHANSSON

WEBS I T E www.galleriflach.com E- M A I L info @ galleriflach.com PHO N E +46 70 750 16 70 CEL L +46 70 750 17 70 +46 70 731 99 17 CONTA C T N A M ES James Flach Eva-Lotta Holm Flach
From where the sun now stands (2011) is the title of Andreas Johanssons pop-up books, which are presented at VOLTA NY. In these fascinating books appear a worn but magical skateboard environment in the guise of a classic childrens book with pop-up images. The artist has long worked with collages in which photographs are cut apart and joined together to form new evocative places that are both familiar and strange. Its about being young and drifting around, but also discovering what is meaningful and creative in derelict sites. Through a highly skilled craftsmanship the artist re-creates fascinating landscapes that are both fateful and full of undiscovered possibilities. The title alludes that we never know when something is about to happen. Andreas Johansson is a young and talented artist who in a fairly short career already has taken a big step within the Nordic contemporary art scene. He graduated from Malmo Art Academy, Sweden in 2006 and has since then participated in exhibitions in Europe and been granted scholarships at I ASPI S, Swedish Visual Arts Funds international programme. G A L L E RI F L A CH Galleri Flach is located at the major gallery district in Stockholm, Sweden, and was founded in 1999. Galleri Flach works with Swedish and international contemporary art, with both emerging and established artists. In the past, the gallery had a certain focus on artists working with painting in an innovative and groundbreaking way, although always including all kinds of contemporary media. Today the gallery represents a wide range of artists and artistic medias. Besides our regular exhibition programme with 7 8 exhibitions per year, we also include project-based collaborations with artists. In these we have a special focus on innovative working methods connecting artists from the Nordic countries with artists from non-european regions, recently with West Africa.
R EPR E S E N T E D AR T IST S Kristina Bength Hillevi Berglund Mohamed Camara Ville Lenkkeri Monika Marklinger Patrick Nilsson Johan Furker Twan Janssen Jorma Puranen Fredrik Wretman
COV E R Andreas Johansson From where the sun now stands 2011 Paper and glue 59 44 88 cm Ed. 6/6 INS I D E Andreas Johansson From where the sun now stands 2011 Paper and glue 59 44 88 cm Ed. 6/6 R IGH T Andreas Johansson From where the sun now stands 2011 Paper and glue 59 44 88 cm Ed. 6/6
LOTTE VAN DEN AUDENAEREN

GALERIE FOR TLAAN 17, G HE NT
FO RTLA A N 17: LOTTE VAN DEN AUDENAEREN

WEBS I T E www.fortlaan17.com E- M A I L galerie @ fortlaan17.com PHO N E +32 9 222 00 33 CEL L +32 475 55 01 77 CONTA C T N A M E Ischa Tallieu
LV D A The site-specific installations, urban interventions, neon sculptures, word images and ephemeral works of Lotte Van den Audenaeren revolve around the determination of place and content. Van den Audenaeren shifts presence, use and context. She explores and unfolds multiple-layered perception by simple de- and re-construction of visual representation. The interventions, additions and deletions organized by Van den Audenaeren have a minimal or limited materiality, but they cause a drastic impact on their environment. Her works have a tendency to appear barely present or in the process of disappearinglike light, shadows or apparitions. V O LTA Lotte Van den Audenaeren is an artist in the residency program of the International Studio & Curatorial Program (I SC P) New York, 2012. New York City is her current habitat for new urban installations that question visual language, transcription and transient appearance. At V O LTA , Van den Audenaeren presents recent projects and work in progress on generating interference, disturbance and distinct, present absence. She transfers presence and appearance in multiple figures and perspectives. BIO Lotte Van den Audenaeren (b. 1979) lives and works in Brussels, Belgium. She graduated from Sint-Lukas University College of Art and Design, Brussels and the Faculty of Fine Arts of the University College Ghent, Belgium. She participated in the Erasmus program at Fontys University of Applied Sciences & Arts in Tilburg, The Netherlands. Van den Audenaeren received the Award Legacy Franciscus Pycke and became Coming People laureate at S.M.A.K. City Museum for Contemporary Art, Ghent. Recent solo shows include Extramuros , Strombeek, Cultural Centre Strombeek, Brussels; paper planes , Nadine, Brussels; some pictures and things i left behind , New York City, USA. Recent group shows include Melancholy is not enough...* , Unicredit Pavillon, Bucharest, Romenia; SCULPTURE , Galerie Fortlaan17, Ghent.
R EPR E S E N T E D AR T IST S Jacques Charlier Stief Desmet Manor Grunewald Lawrence Malstaf Pieter Laurens Mol Hermann Nitsch Eva Schlegel Kiki Smith Erica Svec Zachary Wollard
COV E R Lotte Van den Audenaeren refractor 2011 INS I D E Lotte Van den Audenaeren little black mess 2008 Photograph on dibond 100 75 cm R IGH T Lotte Van den Audenaeren blanco 2008 Neon, aluminium 85 40 14 cm
MATTHEW MCCASLIN [ ]
FR ED LOND O N LIMITE D
FRED [ LO N D ON ] L IMITED: MATTHEW MC C ASLIN

WEBS I T E www.fred-london.com E- M A I L info @ fred-london.com PHO N E +44 20 8981 2987 CEL L +44 77 1218 3690 CONTA C T N A M E Fred Mann
F RE D [London] is pleased to present a solo exhibition of New York artist, Matthew McCaslin. He has exhibited extensively in the United States and Europe in the last twenty years and is internationally acclaimed for his sculpture and installation work. The booth includes wall pieces, which fuse the ephemeral qualities of photography and light with prosaic everyday household objects and building materials. He explores the experience of naturethe world outside our contemporary walled and wired existencemanipulated to maximize visual pleasure. McCaslins work explores our paradoxical relationship with the natural environment, a relationship which is often mediated by technology. Matthew McCaslin (b. 1957) lives and works in Brooklyn, New York. He received a B.F.A. from Parsons School of Art. Recent exhibitions included Musee dArt Moderne, St. Etienne; Weserburg Museum fur Moderne Kunst, Bremen; Museum fur Moderne Kunst, Frankfurt; F RA C Bourgogne, Dijon; Le Magasin, Grenoble.
R EPR E S E N T E D AR T IST S Joseph Bertiers Nayland Blake Ansuya Blom Kate Davis Peter Davis Godfried Donkor Don Joint Matthew McCaslin Athi-Patra Ruga Susanne Simonson
COV E R Matthew McCaslin David Smith 2009 Light fixture, metal conduit tubes, cabling, electrical hardware, porcelain light socket, light bulb Dimensions variable INS I D E Matthew McCaslin Bite the Bullet 2009 Photograph mounted on aluminium, chewing gum 29 41 1 inch R IGH T Matthew McCaslin He or She and She or He (diptych) 2009 Flexible electrical conduit, porcelain light sockets, mirrored light bulbs, electrical hardware 74 34 11 inch and 66 24 13 inch
G UI DI &SCHOEN CONTEMPOR AR Y AR T, G E NO A
PUGLIESE / REPETTO
G U I D I & SCH OEN : PUGLIESE / REPETTO

WEBS I T E www.guidieschoen.com E- M A I L info @ guidieschoen.com PHO N E +39 010 2530557 CONTA C T N A M ES Guido Guidi Chico Schoen
Were used to considering the white cube of the art gallery as a neutral space to be filled in with new signs every time there is a new exhibition. But the most conscious artists realise that the gallery is itself a medium, a space to be moulded to open a door onto what lies on the other side of the mirror: reality, the living. When they visited Guidi&Schoen gallery, Roberto Pugliese and Tamara Repetto were attracted by what waited beyond the threshold of the spaces made available to them, in a city made up of thresholds, in which a single step is enough to go from strong light to darkness, from big piazza to claustrophobic lane, from a sparklingabove to a dark, corrupt, noisy but entirely human below. Sight is not enough to represent complex reality when most things happen outside the light of the sun. Other senses take over: touch, smell and hearing. After all, awareness of the senses that the pre-eminence of sight has made secondary in importance in western culture (to the point that some might find an art made up of sounds, flavours and smells quite revolutionary) is one of the factors that has inspired these two artists coming from very different places and backgrounds to work together on a number of occasions. Sounds and odours are of primary importance in Inside Outside , their exhibition project for Guidi&Schoen in 2011. The installation consists of seventy blown glass balls of different sizes, each of which contains the black cone of a speaker. The balls hang from the ceiling, each at a different height, on clear nylon wire, letting the big black wires that take the sound to the speakers fall onto the floor. This installation turns things around in a curious way: as we visit the installation, we do not find ourselves looking at the glass balls hanging from the ceiling, but at the jungle of alien flowers rising out of the floor, supported by thin black stems, with their single organ watching us and talking to us at the same time. They tell us about the street, about the tirelessly teeming city outside, and about the fact that we rush to them to see what they have to say. The sounds conveyed by the speakers are gathered in real time by a microphone outside the gallery and sampled by a computer which directs them to the glass balls in eighteen separate channels. The result is a sort of chit-chat which is both familiar and alien at the same time: familiar, because it is built on the basis of the sounds in the environment we left behind us when we entered the gallery; and yet alien, because this familiar sound (which we rarely listen to ) is isolated, drawn to our attention, multiplied, spatially distributed in different areas and subjected to the tiny variations produced by the interaction of the cone with the glass ball, which becomes its sounding board. Dialogue between interior and exterior creates an effect like that of Russian dolls, which never becomes an intellectual exercise but seems natural due to the strong emotional impact and immediate communicative power of the projects, and becomes an invitation to reflect on the porosity of these two realms, traditionally seen as opposites. Technology does not show off its muscles or astound us with special effects, but becomes the shortest and, paradoxically, the most natural way of knocking down the walls of the exhibition space and opening the doors to what the artists are most interested in: life, and our ability to understand and represent it. by Domenico Quaranta (abstract)
R EPR E S E N T E D AR T IST S Olivo Barbieri Matteo Basil Daniele Buetti Andrea Chiesi Vania Comoretti Giacomo Costa Richard Kern Alessandro Lupi Massimo Vitali Corrado Zeni
COV E R Pugliese / Repetto Inside Outside 2011 Glass balls, speakers, cable, pc, software, audio card, amplifier, microphone, sound track Dimensions variable (detail) INS I D E Pugliese / Repetto Inside Outside 2011 Glass balls, speakers, cable, pc, software, audio card, amplifier, microphone, sound track Dimensions variable (total view)
HALSEY MCKAY GALLER Y, EAS T HA MP TO N
PATRICK BRENNAN
H A LSEY M CK AY GALLERY: PATRIC K BRENNAN

WEBS I T E www.halseymckay.com E- M A I L hilary @ halseymckay.com ryan @ halseymckay.com PHO N E +1 631 604 5770 CEL L +1 646 431 7467 +1 917 568 5271 CONTA C T N A M ES Hilary Schaffner Ryan Wallace
Patrick Brennan creates charismatic pictures that operate just outside the notion of paintings convention and expectations. Layering paint alongside everyday objects such as popsicle sticks, discarded fabrics, scraps from his studio floor and detritus from the workplace, the artists paintings float between beauty and an awkward chaos. Making a seemingly strident introduction, these works on wood panel and canvas subvert this greeting with a subtle knowledge of their place in history, as well as on the wall. The pedestrian materials and variety of handling taken at first glance give way to reveal the earnest and playful sophistication driving the artists choices and approaches. Operating between the bravado of Abstract Expressionism, juxtapositions of the Combine and the casual nature of contemporary abstraction, Brennans paintings exude humility as well as confidencea most beautiful aggregate. MIR R O R S F O R EYES , a monograph of Mr. Brennans paintings along with an interview by artist Amy Sillman was published by the gallery in December of 2011. Patrick Brennan (b. 1975, Syracuse, NY) now resides in New York City. He studied at Munson Williams Proctor Art Institute and received a BFA in Painting and Video Art from Alfred University in 1998. Brennans recent solo exhibition, There is an Ocean , was held in May of 2011 at Halsey Mckay Gallery. Mr. Brennans work has also recently been exhibited at MOMA / PS1, Nicole Klagsbrun, Monya Rowe Gallery, Zieher Smith, Edward Thorpe Gallery, Artist Space and Clifton Benevento in New York. Brennan has been awarded residencies at Atlanta College of Art, Atlanta GA, Burren College of Art (Ireland), and The Experimental Television Center Owego, NY. Halsey Mckay Gallery was founded in 2011 by curator Hilary Schaffner and artist Ryan Wallace. Located in the town of East Hampton, New York, the gallery serves as a forum for emerging artists and provides a relaxed environment for visitors to view contemporary art. Contributing to the areas rich history and support for the arts, Halsey Mckay looks to make introductions between exciting artists and the community. Exhibitions scheduled for 2012 include Ben Blatt, Ryan Travis Christian, David Kennedy Cutler, Elise Ferguson, Joseph Hart, Andrew Kuo, Denise Kupferschmidt, Lauren Luloff, Sara Greenberger Rafferty and Matt Rich.
R EPR E S E N T E D AR T IST S Glen Baldridge Ben Blatt Louisa Chase Chris Duncan Sally Egbert Elise Ferguson Ted Gahl Joseph Hart Lauren Luloff Matt Rich
COV E R Patrick Brennan Fade & Flow 2011 Mixed media on canvas 72 48 inch / 182.9 121.9 cm INS I D E Patrick Brennan Installation , There is An Ocean, Halsey Mckay Gallery Pictured, L: Brief Architectures , R: Get Free (Pink) 2011 Mixed media on canvas Pictured, L: 12 12 inch / 30.5 30.5 cm, R: 48 36 inch / 121.9 91.4 cm R IGH T Patrick Brennan Coward 2011 Mixed media on canvas 49 49 inch / 124,5 124,5 cm
H ENNINGSEN GALLER Y, C O P E NHA G E N
EMIL SALTO
H EN N I N GSEN G A L LERY: EMIL SALTO

WEBS I T E www.henningsengallery.com E- M A I L info @ henningsengallery.com PHO N E +45 8882 6605 CEL L +45 4077 7005 CONTA C T N A M E Andreas Henningsen
Emil Saltos practice centers on visual spaces that point to parallel realities and temporalities. Through film and photography, the artist explores the myth about the passage or portal between this and other spaces and realitiesas explored by for example Jorge Luis Borges in Aleph (1949). Saltos investigation of hidden matter is grounded in the materiality of the various media he works in, and often in the physicality of his own body in the artistic process. If Salto insists on a certain formalism in his work, heightened by the consistent use of only various grades of black, white and grey, he does so in the attempt to give a more concrete form to the immaterial and intangible, more often explored in a fictional space.
R EPR E S E N T E D AR T IST S Troels Aagaard Tim Ayres Anders Blow Mikkel Carl Jeanette Hillig Kristofer Hultenberg Rasmus Hj Mygind Christoffer Munch Andersen Lea Porsager Malene Landgreen
COV E R Emil Salto Hypercube 2011 Unique photogram on baryta paper 9,5 12 inch INS I D E Emil Salto Hypercube 2011 Unique photogram on baryta paper 9,5 12 inch LEFT Emil Salto Hypercube 2011 Unique photogram on baryta paper 9,5 12 inch R IGH T Emil Salto Hands 2011 8mm black and white film transferred to HD, Silent, dur. 3:30 min, loop Dimensions variable
MANOR GRUNEWALD
HIGHLIGHT GALLER Y, S AN FR A NC IS C O
H I G H LI GH T GA LLERY: MANOR GRUNEWALD

WEBS I T E www.highlightgallery.com E- M A I L info @ highlightgallery.com PHO N E +1 415 529 1221 CEL L +1 650 400 9432 CONTA C T N A M E Amir Mortazavi
Manor Grunewald is an autodidactic artist. His path towards paper and canvas is defined by painting and drawing, by the action itself rather than by the technical approach. His solo exhibition at V O LTA, called Knock, knock whos there?, refers to the question of who is fooling who? Is it the painter or the collector? His experience with different art collectors in the past has been of them wanting to make studio visits. They desire to acquire more knowledge about his oeuvre. Thus, he has re-created the studio-environment by transforming the walls of his booth into a replica of his studio walls. He has been inspired by all of the painting-marks on the walls of his studio and their origin within the process of making new work. These marks are recreated within his booth, as are the paintings whose process created the marks. The painting subject matter plays with the concept of reproduction of original images from art history as well as advertisement. Manor Grunewald has had solo shows at Highlight Gallery (San Francisco), Galerie Fortlaan 17 (Gent, B), ARCO (Madrid), The SECONDroom (Antwerp, B), the Beursschouwburg (Brussels, B) among others. He has had group shows at the Hermitage Museum (Amsterdam, NL), the Bozar (Brussels, B), The Hypnotic Defence (Tokyo), Kulturbunker (Frankfurt, Germany), and Gallery Chappe Montmarte (Paris, Fr). He has been selected for the Young Belgian Painters Award, has won the B N P Paribas Young Talent Award, and has been nominated for the Provinciale Prijjs Beeldende Kunst Oost-Vlaanderen. Highlight Gallery presents contemporary art curated by country. The artists it represents have had gallery, institutional and print exposure in their home country and abroad. For Year One, Highlight Gallery features Belgium and shows works in a variety of media from the countrys contemporary artists. Highlight Gallery will feature another country and its art each year, while still promoting and exhibiting the artists whom it represents.
R EPR E S E N T E D AR T IST S Christophe Coppens Filip Dujardin Charif Benhelima Nick Ervinck Anneke Eussen Renato Nicolodi Benoit Plateus
COV E R Manor Grunewald Pulp and Paper Profits 2011 Collage of Oil, Plastic, Linseed Oil on Paper 19,7 25,6 inch / 50 65 cm INS I D E Studio View 2011 R IGH T Manor Grunewald Chaos is Good for What Ails You 2011 Oil, Acrylic, Spray Paint on Canvas 78,75 118,1 inch / 200 300 cm
MARIANNE CSKY
INDA GALLERY, B U D A P E S T
I N D A GA LLERY: M ARIANNE C SKY

WEBS I T E www.indagaleria.hu E- M A I L info @ indagaleria.hu PHO N E +36 1 413 1960 CEL L +36 70 316 4472 CONTA C T N A M ES gnes Tallr Brigitta Muladi
Marianne Csky is a Hungarian-born artist currently living and working in Budapest and Brussels. She spent longer periods of time in Korea and in China as a resident artist exhibiting her work, teaching at universities, and holding presentations. She works with different media: photo, video, painting, sculpture, embroidery, and installation, and trained in arts as well as cultural anthropology and literature. After completing her M.A., she studied multimedia design/development and video art. Since the very start of her career, Csky has been known for her non-mainstream forms of expression, and her unconventional and provocative images. Csky has exhibited widely, and her work is represented in various collections, including the collection of Lila and Gilbert Silverman (Detroit, USA), Yoko Ono (New York, USA) and Arturo Schwarz (Milan, Italy). History and personal memory, body and representation, desire and subjectivity, and the most basic and intimate spheres of the soul, mind and body in a sociological, historical and theoretical context are the focus of her interest. She wants to reveal how all these factors work together in defining and redefining our position in the world, the different roles as individuals, members of society and subjects of history and also makers of history. What is the role of our memories, and how the re-written memories and shifting desires construct the self of a person. The essential part of her project about history and memory is filming and photographing the same scenes in different places with local people with different personal background. She started this project in Budapest, and then continued the work in Seoul, South Korea, then in China. The source material is an old European (Hungarian) home movie. She re-shot some sequences and stills of this movie in Kunming, in January 2010, asking her Chinese colleagues and friends to perform the original scenes in their interpretation. Her aim is to experiment with the way we construct ourselves and our vision of the world.
R EPR E S E N T E D AR T IST S Lajos Csont Mrta Czene Zsfia Fskerti Zsolt Ferenczy Judit Fischer Gyrgy Jovin Kamen Stoyanov dm Szab Lilla Szsz Zsfia Szemz
COV E R Marianne Csky Dream my Dream 2011 Light jet print 45 135 cm INS I D E Marianne Csky Jangtze 1 2 2011 Sheet films, glass 51 17 cm LEFT Marianne Csky Delete 2011 Video animation, installation 3'07", Sounds: TGNoize
JARMUSCHEK
CARINA LINGE +
PARTNE R , B E R LIN
J A RMU SCH EK + PARTNER: C ARINA LINGE

WEBS I T E www.jarmuschek.de E- M A I L mail @ jarmuschek.de PHO N E +49 302 859 9070 CEL L +49 179 512 9068 CONTA C T N A M ES Kristian Jarmuschek Stefan Trinks
Carina Linges current group of works is titled ber das Begehren (About Desire). The works function as an assembly of photographs, objects and texts that have been installed at the wall so they work as an image themselves. The central topic of the works is desire. Similar to her previous works, the artist goes back to the allegoric picture language of the renaissance and baroque, but all the same time she points towards the present. There are imprints, shadows or the residual heat of people or things that are depicted in the images of Carina Linge. In her works the artist refer to the past, things that have never been there, are missed by someone or desired, the stand still, death, loss, something that is not present anymore or has never existed. The absent or the blank position is meant to be filled with knowledge and remembrance by the viewer or to be imagined. It is the imagination itself that lurks with desire; hence also in the work titled Infrathin. Carina Linge (b. 1976, Cuxhaven) studied Fine Arts at Bauhaus University Weimar and currently lives and works in Leipzig, Germany. Her work can be found in public and private art collections such as Anger Museum Erfurt, and the well-known collection SR Rusche, Oelde/Berlin. Recent institutional group shows include the Max-Pechstein-Frderpreis, Kunstsammlungen Zwickau; Vom Labor zum Projekt, Neues Museum Weimar; Unter Helden. Vor-Bilder in der Gegenwartskunst, Kunsthalle Nrnberg; the Fotosommer Stuttgart Award Show, Wrttembergischer Kunstverein; and Face to Face: German Contemporary Photography, at Dong-Gang Museum of Photography in Korea. Her most recent solo shows were presented at Gallery Jarmuschek + Partner in Berlin, at the Kunsthalle Weimar and the Kunsthalle Erfurt in Germany.
R EPR E S E N T E D AR T IST S Carlsen Troels Patrick Cierpka Grauberg Dieter Lutsch Harding Meyer Berit Myrebe Martha Parsey Markus Putze Jakob Roepke Markus Weis
COV E R Carina Linge Kfig 2011 C-Print on Aludibond 29,5 19,7 inch INS I D E Carina Linge Infrathin 2011 C-Print on Aludibond 31,5 47,2 inch R IGH T Carina Linge Stilleben C.L. 2011 C-Print on Aludibond 18,3 13,8 inch
TIMOTHEUS TOMICEK
JENKINS JOHNSO N G A LLE R Y NEW YOR K / S AN FR A NC IS C O
J EN K I N S J O H N SON: TIMOTHEUS TOMIC EK

WEBS I T E www.jenkinsjohnsongallery.com E- M A I L nyc @ jenkinsjohnsongallery.com PHO N E ( N E W YO RK) +1 212 629 0707 PHO N E ( S A N F RANCISCO ) +1 415 677 0770 CONTA C T N A M ES Karen Jenkins-Johnson David Carmona Karen Gilbert
Often, when we pose our gaze to an art image, we have the forthright sensation of a paradox. What reaches us immediately and straightaway is marked with trouble, like a self-evidence that is somehow obscure. Whereas what initially seemed clear and distinct is, we soon realize, the result of a long detour -a mediation. [] We can embrace it, let ourselves be carried away with it; we can even experience a kind of jouissance upon feeling ourselves alternately enslaved and liberated by this braid of knowledge and not-knowledge, of universality and singularity, of things that elicit naming and things that leave us gaping. by Georges Didi-Huberman Contemporary Viennese artist, Timotheus Tomicek, forces us to re-examine our expectations of the familiar through his juxtaposition of movement and stillness, thematic dissociation, and references to traditional photorealism, Dutch genre paintings, and the Renaissance. Using photography, video and installation, Tomicek composes subtle, uncanny, and haunting visual architecture. At first glance his works seem inactive, vaguely familiar, even referential; however, as the viewer becomes engaged the true complexity of the works delicate movements surface and moments of uncertainty unravel. For V O LTA NY Jenkins Johnson Gallery presents a series of Tomiceks installations. Some works reference historical painting and photography. Predominant figures such as Vermeer, Magritte, and Balthus, as well as more contemporary artists such as Gehart Richter or William Eggleston, are contextually imputed and visually recycled by Tomicek, providing a new frame of reference for their works. Other works exhibit a more detached snapshot feel and act as singular elements, parts of a larger whole or universe, as referred to by Tomicek. Composed much like a haiku, this assemblage of diverse genres, media, scale and modes of representation, purposively disparate, delivers new meaning and reality to us with poignancy and reverence. Timotheus Tomicek lives and works in Vienna, Austria. He studied photography, film and visual art in Vienna and earned his Masters Degree from the Universitt fr Musik und darstellende Kunst Wien. He has been exhibited internationally, including a 2011 solo show at C/O Editions in Berlin. He was awarded the 15th Welde Art Prize in Photography, and was a 2010 Finalist for the Arte Laguna Prize, Venice, Italy.
R EPR E S E N T E D AR T IST S Nicolas Africano Ben Aronson Meghan Boody Melissa Cooke Nathaniel Donnett Lalla Essaydi Tim Etchells Julia Fullerton-Batten Zak Ove Felandus Thames
COV E R Timotheus Tomicek One More 2010 Video Installation INS I D E Timotheus Tomicek Glass Girl 2011 Video Installation R IGH T Timotheus Tomicek Sophia Revant 2011 C-print
GALLERY KALH AMA&PIIPPO CONTEMPOR AR Y, HE LS INKI
LIISA LOUNILA
K A LH A M A & PI I PPO : LIISA LOUNILA

WEBS I T E www.kalhamapiippo.com E- M A I L info @ kalhamapiippo.com PHO N E +35 892 785 301 CEL L +35 840 533 4070 CONTA C T N A M E Pilvi Kalhama
Liisa Lounila made her international debut at the Venice Biennale in 2003. Already at this time the young artist representing Finland made an impression with her distinct nostalgic aesthetic. Liisa Lounila is a Helsinki-based artist who has worked for several periods of time in New York. In addition to her internationally acclaimed video pieces Lounila is also known as a versatile and multidisciplinary artist. The gloomy and industrial-inspired aesthetics typical for Lounila is present in her newest glitter paintings and palladium sculptures. The works express passing and grasping of fleeting moments. The dazzle and aesthetication is a part of the mood that Lounila skillfully captures in her art. Lounilas object based works communicate lifes small, forgotten details that symbolize the emotional state of expectation and excitement, fulfillment and longing. G A L L E RY P RO F IL E Gallery Kalhama&Piippo Contemporary was founded in the fall of 2007. Due to its ambitious program it has quickly gained a position as one of the leading galleries in the Nordic art scene. The Helsinki-based gallery relocated to a new space in September 2011. The gallery has a strong curatorial emphasis. The artistic profile is run by art historian and former independent curator, Pilvi Kalhama. Kalhama&Piippo shows both thematic group exhibitions and solo shows of younger generation and mid-carreer Scandinavian and international artists. The gallery program includes contemporary art in all various media in order to challenge the traditional genres of art. Emphasis is on creating international networks between artists, curators and galleries. In addition to the ambitious exhibition program, the gallery publishes artist books, organizes artist talks and seminars.
R EPR E S E N T E D AR T IST S Marcus Eek Saara Ekstrm Lukas Gthman Hannaleena Heiska Villu Jaanisoo Sanna Kannsto Jukka Korkeila Ville Lppnen Rauha Mkil Heli Rekula
COV E R Liisa Lounila Untitled #3 2006 Glitter, acrylic medium and Swarovski crystals on M D F 47,2 34,5 inch INS I D E Liisa Lounila Two Sugars Would Be Great (not exactly Bar Italia but will do) 2011 Palladium on take-away coffee set, glass vitrine 7,8 13,7 13,7 inch R IGH T Installation view from gallery during Liisa Lounilas exhibition Just Cant Get Enough of Last Night, October 2011.
STEPHEN LOUGHMAN
KEVIN KAVANAG H, D U B LIN
K EVI N K AVA N A G H : STEPHEN LOUGHMAN

WEBS I T E www.kevinkavanaghgallery.ie E- M A I L info @ kevinkavanaghgallery.ie PHO N E +353 1 475 95 14 CEL L +353 86 396 2248 CONTA C T N A M ES Kevin Kavanagh Lourdes Viso
Stephen Loughmans new series The Fishermans Widow takes its name from a print found on the wall of the room of one of Jack the Rippers victims. Loughman is interested in the notion of an artwork as witness to a crime. Each painting takes as its source a grab from a film (Dressed to Kill, Klute and From the Life of the Marionettes) . These images come preloaded with associations embedded within the narrative of the films from which they are taken. In this case the common narrative thread is the prelude to a violent act. For Loughman, the act of painting these images functions as a distilling method which slows down and fetishises what is only a few seconds of film time. The titles of the works are taken from the scripts of the respective films. Stephen Loughman (b. 1964, Dublin) lives and works in Dublin. His shows include Collecting the New: Recent Acquisitions to the I M M A Collection; I M M A , Dublin (2010); Our Victory, Kevin Kavanagh, Dublin (2009); Contemporary Art from Ireland, European Central Bank, Frankfurt (2005); New Territories, ARCO 05, Madrid (2005), (curated by Enrique Juncosa); Stephen Loughman, 26th Sao Paulo Bienal, Brazil (2004), En direct de Dublin, Centre Culturel Irlandais, Paris (2003). He has received numerous Arts Council of Ireland bursaries and his work is in public collections, including: Irish Museum of Modern Art, The Arts Council of Ireland, AX A Insurance & The Office of Public Works and private collections. Kevin Kavanagh is one of Irelands premier galleries showing Irish and international contemporary art. Founded in 1998, the gallery moved in 2008 to a 135m space on Chancery Lane in Dublin city centre. The gallerys annual programme consists of 10 solo and 2 curated group exhibitions as well as special events, screenings, performances and participation at international art fairs. Since 1998, the gallery has published over 30 books.
R EPR E S E N T E D AR T IST S Oliver Comerford Margaret Corcoran Gary Coyle Nevan Lahart Sean Lynch Mick ODea Geraldine ONeill Dermot Seymour Sonia Shiel Ulrich Vogl
COV E R Stephen Loughman Pilgrim 2011 Oil on canvas 70 50 cm INS I D E Stephen Loughman Magic Mirror 2010 Oil on canvas 35 45 cm R IGH T Stephen Loughman Morlock 2009 Oil on canvas 40 60 cm
JENS SCHUBERT
GALERIE KLEINDI E NS T, LE IP Z IG
G A LERI E K LEI N D I ENST: JENS SC HUBERT

WEBS I T E www.galeriekleindienst.de E- M A I L kontakt @ galeriekleindienst.de PHO N E +49 341 477 4553 CEL L +49 170 808 5816 CONTA C T N A M ES Matthias Kleindienst Christian Seyde
In my work I deal with the creation of symbols of the old eternal archetypes. An interesting aspect for me is that symbols convey narration without being narrative itself. Its shapes, colours and arrangements contain information, stories and meanings, which are not immediately revealed. Meanings of common symbols are legible for more people and are faster apparent. Personal, private symbols are only intelligible for oneself. In this way my work contains common symbols, which are well-known, as well as my own personal ones, which represent certain periods, exams or experiences. Thus hybrids arise from already existing symbols and new own ones. Pictures emerge, which resemble coats of arms or emblems. Maybe they are. Because they represent a story, too. And again it is narration without being narrative. The pictures lie open for the viewer like a mirror of lived through adventures. Not readable, but as a kind of diary. They are cult images, which revolve around stories, assumptions and connotations. They collect energies and meanings, generate mysteries and evoke emotions. The pictures hide the precise reference, but deep inside they have the archetypal core, which makes them tangible and thus vague classifiable. by Jens Schubert
R EPR E S E N T E D AR T IST S Claudia Angelmaier Tilo Baumgrtel Peter Busch Christian Brandl Falk Gernegro Tobias Lehner Nadine Maria Rfenacht Christoph Ruckhberle Sebastian Stumpf Corinne von Lebusa
COV E R Jens Schubert Cat mask 2011 Lino cut 63 47 inch INS I D E Jens Schubert Art and Insanity 2010 Lino cut 39 27,5 inch LEFT Jens Schubert Smart alec 2011 Lino cut 63 47 inch R IGH T Jens Schubert Zoster 2011 Lino cut 39 27,5 inch
TERRY HAGGERTY
KUTTNER S IE B E R T, B E R LIN
K U TTN ER SI EBERT: TERRY HAGGERTY

WEBS I T E www.kuttnersiebert.de E- M A I L info @ kuttnersiebert.de PHO N E +49 30 2804 2290 CEL L +49 179 291 6497 CONTA C T N A M ES Tobias Kuttner Mathias Siebert
R EPR E S E N T E D AR T IST S Erika Hock Olaf Quantius Gregor Schmoll Judith Schwinn Stefan Sehler Wolfgang Stehle
Terry Haggerty creates artworks of extraordinary intensity. It is the structure of painted lines whose extremely precise execution and dynamism challenge the beholder and his visual capacity to the utmost. The representation of lines that run in parallel over long stretches awakens an impression of plasticity through their abrupt change in direction. In particular, it is the extraordinary precision that causes a disturbance, because the otherwise standard traces of the executing artists hand in the course of layers of painting, repeated rubbing, and the canvas robbed of its structure are no longer visible under the varnish-covered layers. Instead, the surface is flat and homogenous in its composition, so that the impression of a mechanical perfection overlays the lack of an original trace of the artist. In this way, the image undergoes a shift to the object, and this straddling between the artistic media signifies at the same time an expansion by way of the notion of minimal art and its categorical characteristics. With Terry Haggerty, the expression abstraction takes on new dimensions, by the fact that the painting process is no longer in the foreground and the viewer can no longer be sure of the intentionality. In this case, abstraction is not defined exclusively by the picture, but finds itself at the same time in the process of its creation. Haggerty has in recent years become known to a wide audience, due to numerous exhibitions and his spectacular wall installations, most recently at the Dallas Cowboys new stadium, CCNO A in Brussels, or Hammer Museum in Los Angeles. Not only does the object character naturally come to the forefront in the wall-filling works, a dynamism develops that achieves a quick change in the perception of forms. The beholder is once again challenged to separate the various possibilities of perception in a fraction of a moment, between foreground and background, and to follow the lines that wind through the space.
COV E R Terry Haggerty Installation view at Hammer Projects, Los Angeles 2007 INS I D E Terry Haggerty Installation view at C C N O A , Brussels 2009 138 470 inch R IGH T Terry Haggerty Two Minds Installation view at Dallas Cowboys Stadium, Dallas, 2009
LAMONTAGNE GALLE R Y, B O S TO N
JEFF PERROTT
LA M ON TA GN E G A L LERY: JEFF PERROTT

WEBS I T E www.lamontagnegallery.com E- M A I L russell @ lamontagnegallery.com PHO N E +617 464 4640 CONTA C T N A M E Russell LaMontagne
R EPR E S E N T E D AR T IST S Gil Blank Tory Fair Kim Faler Dana Frankfort Shay Kun Andrew Mowbray Daniela Rivera Alexia Stamatiou Joe Wardwell Michael Wetzel
The Random Walk paintings employ chance, arbitrariness, and intuition as a method to suggest indeterminate, uncertain, and incomplete states of being. They raise questions about abstractions will to power and its intentionality, as well as the importance to the audience of the artists signature and intentionality. What is the difference between intuition and chance, intention and arbitrariness? Is a painted mark ever truly willed, or pre-conditioned? A simple game spinner is used to develop a random walka continuous line iterated in the picture plane as a torus. Every shift in direction indicates a new spin; every change in coloration is an intuitive response to that shift. The hand moves forcefully, lazily, dumbly, brightly, developing or shifting mood and momentum. That movement and color are additive, expansive, not reductive, responsive to a moment-to-moment shift in thought.
COV E R Jeff Perrott RW73 (Honeydripper) (detail) 2011 Oil on linen 72 60 inch INS I D E Jeff Perrott RW75 (The View From Nowhere) 2011 Oil on canvas 96 202 inch R IGH T Jeff Perrott RW80 (Nonplus) 2011 Oil on linen 36 34 inch
NICOLA SAMORI
LARMGALLER I, C O P E NHA G E N
LA RM GA LLERI : N I C OLA SAMORI

WEBS I T E www.larmgalleri.dk E- M A I L lars @ larmgalleri.dk PHO N E +45 2680 9230 CEL L +45 2680 9230 CONTA C T N A M ES Louise Rahbek Lars Rahbek
Nicola Samoris works often refer to Italian 17th century painting, by the selection of motives as well as by his painting technique. Still lifes, portraits, devotional paintings and landscapes develop through enormous technical skills over a long span of time and through numerous layers of paint on copper, wood or canvas. But Samori withholds the imaginary finished painting from us and reverses the process of origin drastically. He purposely destroys the image surface, attacks selected parts with a palette-knife, with diluent, or with his bare hands, until he tears off the (oil-)skin from his painted figures. Physicalness and the body are most important for Samoris paintings, and the process of skinning stresses this importance. Samori builds up his body of work with an abundance of art-historical references and masses of paint just to forcefully destroy them. By focusing on the materiality and artificiality of the image, Samori negates classical representation and questions painting itself.
R EPR E S E N T E D AR T IST S Christian Achenbach Ditte Ejlerskov Oana Farcas Jiri Geller Andreas Golder Henriette Camilla Hansen Kaspar Oppen Samuelsen Moritz Schleime
COV E R Nicola Samori Sensa Titolo 2011 Oil on wood 8,3 4,7 inch INS I D E Nicola Samori Seer 2011 Oil on wood 41,7 36,2 inch R IGH T Nicola Samori Seer (detail) 2011 Oil on wood
CHRISTA JOO HYUN DANGELO

GALERIE S UVI LEHT INE N, B E R LIN
SU VI LEH TI N EN : C HRISTA JOO HY UN D ANGELO

WEBS I T E www.galerielehtinen.com E- M A I L info @ galerielehtinen.com CEL L +49 176 3240 6673 CONTA C T N A M ES Suvi Lehtinen Nicole Rodriguez
Christa Joo Hyun DAngelos work seduces viewers using the slick language of advertising and its serial appeals to purchase. Focusing on the presence of commodity fetishism in our collective cultural consciousness, her process deconstructs our insatiable visual appetite by appropriating and altering mass-circulated images from commercial branding, fashion and celebrity culture. These manic alterations, appropriations and installations of collage, prints, readymade books and faux-advertisement reveal the structure of commercial allure by obscuring its main characters; models, products, sex and luxury. DAngelos hand is certainly the protagonist in her compulsively worked pieces, and is the vehicle through which her critique of pop-culture machinery is most clearly elucidated. The artists most recent work has heavily featured audience interaction and participation, encouraging viewers to engage in carefully crafted scenarios. DAngelo ponders the various vices of advertising and popular media, and encourages critical reflection and even reproach. A CO L L E CTIV E E NTE RP RIS E In October 2010 Galerie Suvi Lehtinen opened its doors in the heart of Berlin-Mitte with an interest in young Berlin-based artists whose conceptual work is consciously situated within the contemporary artistic, social and political discourses. As a collective enterprise, the gallery maintains a collaborative relationship with its own artists, guest curators and outside publications, reflecting the non-hierarchical perspective of Berlins art scene. This attitude informs the gallerys manifold approach to producing exhibitions, acting as a platform that supports and encourages creative curatorship.
R EPR E S E N T E D AR T IST S Aleesa Cohene Eemil Karila Janne Risnen Olli Piippo
COV E R Christa Joo Hyun DAngelo Surround Sound 2011 C-Print 4,5 5 inch Edition 20 INS I D E Christa Joo Hyun DAngelo Reverie 2010 Custom made book (Melanie Megassa & Christa Joo Hyun DAngelo collaboration) 11 6 inch / 27 15 cm R IGH T Christa Joo Hyun DAngelo Let Them Eat Cake 2011 Digital C-Print 10 11 inch / 25 17 cm
LIVINGSTONE GALLER Y, THE HA G U E
RYAN MENDOZA
LI VI N GSTON E G A L LERY: RYAN MENDOZA

WEBS I T E www.livingstonegallery.nl E- M A I L livingstone @ livingstonegallery.nl PHO N E +31 70 360 9428 CEL L +31 654 711 701 CONTA C T N A M E Jeroen Dijkstra
Ryan Mendoza is one of the protagonists of a renewed interest in painting. His work moves between realism and expressionism in the constant retrieval of historical references, which comprise Lucian Freud, Chuck Close and Alex Katz. In painting he combines distant models with original aesthetic stimuli drawn from everyday experiences. He depicts scenes that traverse intimate dreads and reveal humanitys hidden obsessions. Mendoza successfully embraced an artistic career after devoting himself to literature and photography. His subjects are taken from old photos of strangers, newspaper clippings or TV stills. They animate works conceived by a superimposition of past and present and speak the language of childhood. Drawings and words are combined in a figurative prose that narrates and destabilizes. His brushstrokes entrap events and figures with strong signs and dense colors, between dark, oppressive tones, and gradations of counterpoint. Men, women and children move on film sets or appear like the nostalgia for a disturbing dream. by Anna Luigia de Simone (From the catalogue for the exhibition The Possessed at the M ADR E Museo dArte Contemporanea Donnaregina, Naples in 2010)
R EPR E S E N T E D AR T IST S James Brown Daniele Galliano Raquel Maulwurf Arnulf Rainer Cornelia Schleime Manfred Schneider Hugo Tieleman Birgit Verwer Roger Wardin Jan Wattjes
COV E R Ryan Mendoza We will never leave again (detail) 2011 Oil on canvas 250 190 cm INS I D E Studio Berlin with model 2011 R IGH T Ryan Mendoza Work in progress / hommage to Marina Abramovich (detail) 2011 Oil on canvas 140 170 cm
Ryan Mendoza (b. 1971, New York) studied painting at the Parsons School of Art and Design in New York and Paris, and began to travel, moving between Munich, Berlin, Paris and Rome. He now lives and works in Naples and Berlin. Selected solo exhibitions: 2013 Gemeentemuseum The Hague (forthcoming), 2012 V O LTA NY (Livingstone gallery), 2010 F R I EZ E London (Galleria Massimo Minini), 2010 M A D RE Museo dArte Contemporanea Donnaregina, Naples, 2009 Galerie Lelong, Paris, 2008 Livingstone gallery, The Hague, 2006 Akira Ikeda Gallery, Berlin, 2004 Jiri Svestka Gallery, Prague, 2002 White Cube, London.
KEN MATSUBARA
MA2GALLE R Y, TO KY O
MA 2GA LLERY: K EN MATSUBARA

WEBS I T E www.ma2gallery.com E- M A I L ma2 @ ma2gallery.com PHO N E +81 3 3444 1133 CEL L +81 904 220 2985 CONTA C T N A M E Masami Matsubara
THE S L E E P WATE R M e l t i ng F ro z e n M e m o r ie s . Ken Matsubara dissolves our sleeping memories just as they are frozen at the bottom of our hearts, in his works made of antique objects, photographs and videos imprinted with peoples memories. He thinks that memories are inherited from human to human through the DNA of microorganisms, and that people can reach these common memories that cross over the worlds various races and generations if we can awaken our own memories. Human beings are tied together by common memories, and we will cross over those boundaries by sharing our memories. M E K O NG D E LTA The video for this work was shot at the Mekong River Delta in Vietnam. 5 children are floating in the muddy river just as if they are rising up to heaven. They are visible through an original, specially crafted, translucent mirror, glass dome. This work is dedicated to and mourns for the death of children in the many wars and disasters around the world.
R EPR E S E N T E D AR T IST S Yasuyoshi Botan Koto Bolofo Aki Eimizu Tamotsu Fujii Timothy Greenfield-Sanders Yasuko Iba Akihiro Higuchi Nobuaki Onishi Mikiya Takimoto Asami Yoshiga
COV E R Ken Matsubara Mekong Delta 2012 Mixed media INS I D E Ken Matsubara Mekong Delta 2012 Mixed media R IGH T Ken Matsubara Mekong Delta 2012 Mixed media 20 9,5 9,5 cm 25 9,5 9,5 cm 30,5 15 15 cm
WALTER MACIEL GALLER Y, LO S A NG E LE S
DEAN MONOGENIS
WA LTER M A CI EL GALLERY: DEAN MONOGENIS

WEBS I T E www.waltermacielgallery.com E- M A I L info @ waltermacielgallery.com PHO N E +1 310 839 1840 CEL L +1 415 336 3292 CONTA C T N A M E Walter Maciel
Through my work I explore situational relationships of otherwise incongruous elements. An example would be a high-rise at the foot of a glorious mountain, or a new construction condo spawning out of an isolated field of vegetation. I paint these settings as utopias or fantasy environments. Noticeably, the more I scour the internet or document my travels for source material, the more I find that some of these imagined scenarios already exist. In such cases, my work becomes a commentary on globalization or expansion, which are inevitable. While this may be true, I am not making an indictment. Instead, I am more interested in exploring the awkward beauty inherent in development and decay. The concept of transformationin theory and practicehas a firm place in my painting. Though my work looks highly rendered, I employ an active process of editing. Normally, I paint on wood or plastic panels employing customized stencils. Utilizing the dialogue established between different painting techniques, these stencilapplied graphic elements are integrated with areas that I paint freehand. Line, edge, and texture are very important to me as well. To accentuate these formal concerns I often paint things like the sky last, which creates a shallow, imbedded quality to the painted imagery underneath. The effect works to maximize the visual tension on the painted surface, challenging the logic of what naturally should be in front and behind. As the picture develops there inevitably comes a point for revision, that I achieve by sanding and reworking areas to bring them back to a zero state. This ability to erase allows me to maintain precision without forfeiting spontaneity and improvisation. by Dean Monogenis, 2011
R EPR E S E N T E D AR T IST S John Bankston Rebeca Bollinger Margarita Cabrera Carolyn Castao Freddy Chandra Cynthia Ona Innis John Jurayj Hung Liu Maria E. Pieres Robb Putnam
COV E R Dean Monogenis The Nearest Faraway Place (detail) 2011 Acrylic on wood panel 60 72 inch INS I D E Dean Monogenis The Seas Between Us 2011 Acrylic on wood panel 40 50 inch R IGH T Dean Monogenis One Year 2011 Acrylic on wood panel 36 48 inch
FRANCESCO MERLETTI
MAGR OR O C C A , MILA N
MA G ROROCCA : FR ANC ESC O MERLETTI

WEBS I T E www.magrorocca.com E- M A I L info @ magrorocca.com PHO N E +39 022 953 4903 CEL L +39 339 291 1810 CONTA C T N A M ES Rosanna Magro Massimiliano Rocca
Hieratic and austere as modern Madonnas, Francesco Merlettis icons are suspended in the void of monochromatic backgrounds. As a director the artist chooses the interpreter, he creates the character and puts the actress in a mise en scne. In the last set of works, the artist proposes the same ambiguous female figure. The face is always the same, the same model, in different clothing, soft fur, sophisticated headgear, who in each case interprets different roles. His paintings are different acts of performances, as the cues of a character, the indispensable cadences to create the whole story. Watching our contemporaneousness, the artist examines every single situation, and by mixing art and theater he shows us the common human fraility in a society increasingly fragile.
R EPR E S E N T E D AR T IST S Alejandra Alarcn Kristian Burford Omar Chacon Floria Gonzalez David Gremard Romero Tamara Kostianovsky Jill Sylvia
COV E R Francesco Merletti Piccola e cattiva 2004 Oil and acrylic on canvas 70,9 47,3 inch / 180 120 cm INS I D E Francesco Merletti Per la felicit manda baci (detail) 2011 Oil and enamel on canvas 27,6 31,5 inch / 70 80 cm R IGH T Francesco Merletti grande sconforto (detail) 2011 Oil and enamel on canvas 27,6 31,5 inch / 70 80 cm
WILLIAM SWANSON
MARX & ZAVATTER O, S AN FR A NC IS C O
MA RX & Z AVATTERO: WILLIAM SWANSON

WEBS I T E www.marxzav.com E- M A I L info @ marxzav.com PHO N E +1 415 627 9111 CONTA C T N A M ES Steve Zavattero Heather Marx
Fabricated from exploding painterly passages, Bay Area artist William Swansons new series of acrylic on panel paintings presents a thrilling departure from his previous work. Utilizing his signature arresting palette, play between light and beauty, structure and fissure, Swanson creates dynamic painted landscapes that are dense and luminous. Pushing each work to the point of saturation, Swansons lovely passages of poured diluted paint spawn new found terrains that mimic geological strata, waterways, and toxic spills against a backdrop of landscape and manmade imagery. This process yields ruinous, yet beautiful paintings that set the stage for either a pre- or postapocalyptic scene, showing liminal space of incessant rebirth. Increasingly saturated with information, Swansons new paintings compress layer upon layer of paintsuggesting stratified geologic specimenscontrasting with architectural forms that function like windows, circuitry, or video screens, providing depth and perspective that hints entirely of other worlds. Swanson has earned great critical praise over the last several years with reviews in Art in America, ArtNews, The Los Angeles Times, The San Francisco Chronicle, Anthem, Artweek, The LA Weekly , and art ltd. His 2011 solo exhibition at Marx & Zavattero was acclaimed as one of the Top Ten Painting Shows in the U.S. on The Huffington Post . Swanson has had solo exhibitions at DC KT Contemporary, New York, and Walter Maciel Gallery, Culver City. Group exhibitions include Future Tense: Reshaping the Landscape, The Neuberger Museum of Art, Purchase, NY; I Want to Feel at Home Here, Milepost 5, Portland, OR; and Built Against Site, Paragraph, Kansas City, MO. His work was also featured in Bay Area Now 3 at Yerba Buena Center for the Arts, San Francisco. Swanson received his B FA from the Rhode Island School of Design in 1992 and currently lives and works in Oakland, California.
R EPR E S E N T E D AR T IST S Michael Arcega Libby Black Bradley Castellanos Matt Gil James Gobel Yoon Lee Lisa Lyons Andrew Schoultz Taravat Talepasand Patrick Wilson
COV E R William Swanson Open Land Projection 2011 Acrylic on panel 47 74 inch INS I D E William Swanson Understory Expanse 2011 Acrylic on panel 33 30 inch R IGH T William Swanson Lower Spectrum 2011 Acrylic on panel 20,5 20,5 inch
JULIANNE SWARTZ
MIXED GR EENS , NE W Y O R K
MI X ED G REEN S: JULIANNE SWARTZ

WEBS I T E mixedgreens.com E- M A I L info @ mixedgreens.com PHO N E +1 212 331 8888 CONTA C T N A M ES Heather Bhandari Steven Sergiovanni Monica Herman
I am interested in harnessing and sculpting something completely noncorporeal. Light is my primary material because it instills presence without physicality. It can be easily taken for granted, yet when contemplated, light becomes a sense provoking opportunity for thought. I use commonplace lamps and hardware to create events with light. The contrast between the mechanisms and the images they produce explores the possibility of coexisting oppositions such as beautiful and banal, fugitive and accessible, mysterious and apparent. I make sculptures to create a situation where the wondrous and the mundane can occur simultaneously. I take photographs to capture that experience within a daily context. Im looking for the instant when light in its changing forms makes the ordinary remarkable.
R EPR E S E N T E D AR T IST S Kim Beck Sonya Blesofsky Howard Fonda Kimberley Hart Joan Linder Adia Millett Mark Mulroney Rudy Shepherd Joseph Smolinski Mary Temple
COV E R ( 1) Julianne Swartz Close (Ken) 2010 Digital C-Print 16 21,5 inch COV E R ( 2) Julianne Swartz Close (Yellow T-shirt) 2010 Digital C-Print 16 23,25 inch COV E R ( 3) Julianne Swartz Close (Pink Ball Two) 2010 Digital C-Print 16 23,25 inch INS I D E Julianne Swartz Close (Two Arms) 2010 Digital c-print 16 23 inch R IGH T Julianne Swartz Camera-Less-Video for Norridgewock 2009 Stainless steel, optical lenses, Plexiglas, hardware, view 20 12 8 inch
Julianne Swartz received her M FA from Bard College and currently lives and works in Kingston, NY. Her work has been widely exhibited throughout the United States and Europe at venues including the Tate Museum, Liverpool, England; the Whitney Museum of American Art, NYC (biennial exhibition 2004); the New Museum, N Y C ; the Delaware Center for Contemporary Art, Wilmington, DE; the Aldrich Museum, Ridgefield, CT; P.S.1 Contemporary Art Center, L I C , N Y; SculptureCenter, L I C , N Y; The Jewish Museum, NYC; Artists Space, N Y C ; The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College; and the Palm Beach Institute of Contemporary Art, F L . She is the recipient of the 2010 Academy Award in Art from the Academy of Arts and Letters, a 2008 Joan Mitchell Foundation Award, and a 2005 NYFA fellowship in sculpture. Swartz has a large-scale permanent installation at the Indianapolis Museum of Contemporary Art and a large-scale public sound installation installed on New Yorks High Line. A mid-career survey of her work, How deep is your, will open at the deCordova Museum during the fall of 2012 and travel to the Scottsdale Museum of Contemporary Art in 2013.
CHRISTIAN PATTERSON
ROBE RT MORAT GALER IE, HAMBU R G / B E R LIN
RO BERT M ORAT GALERIE: C HRISTIAN PATTERSON

WEBS I T E www.robertmorat.de E- M A I L kontakt @ robertmorat.de PHO N E +49 403 287 0890 CEL L +49 172 411 5069 CONTA C T N A M E Robert Morat
Christian Patterson (b. 1972) is an American artist based in New York. His work is exhibited, collected and published internationally and is in the Libraries of the Museum of Modern Art, the Whitney Museum of American Art and the New Orleans Museum of Art. His first book, Sound Affects, was published in 2008. Redheaded Peckerwood, his second monograph, was published by M A C K in 2011 and was named Best Photobook of 2011 by numerous critics and publications. Redheaded Peckerwood is a series of photographs, documents and objects with a tragic underlying narrativethe story of 19-year-old Charles Starkweather and 14-year-old Caril Ann Fugate, who murdered ten people including Fugates family during a three-day killing spree across Nebraska in 1958. Pattersons work is not merely documentary; it includes images made through forensic study, archival digging, appropriation, reenactment and staging. It challenges photographic truth and representation and deliberately mixes fact and fiction as it presents, re-presents and ultimately fragments a true crime story. Photographs are the heart of this work but they are complemented and informed by documents and objects that belonged to the killers and victims. In book form, the work is presented as a visual crime dossier with pieces of paper evidence inserted into the book. The images and inserts serve as cues and clues within a visual puzzle; in this way, the work is presented to the viewer as a mystery to be solved. RE V IE W S Patterson displays a knack for synecdoche and his images teeter between delicacy and violence. Sarah P. Hanson, Modern Painters Redheaded Peckerwood contests the fixed interpretation of an event and provides new ways to access a story. Karen Irvine, Curator, Museum of Contemporary Photography A kind of impressionist visual narrative whose subtext is Pattersons own obsession. Sean OHagan, The Guardian Christian Patterson is working out something that hasnt been done much before, if ever: a kind of subjective documentary photography of the historical past. Luc Sante, Author
R EPR E S E N T E D AR T IST S Jessica Backhaus Peter Bialobrzeski Thekla Ehling Joakim Eskildsen Peter Granser Andrew Phelps Richard Renaldi Simon Roberts Bertien van Manen Robert Voit
COV E R Christian Patterson Storm Cellar 2011 Archival Inkjet Print 8 10 inch INS I D E Christian Patterson Prairie Grass Leak 2009 Archival Inkjet Print 40 50 inch R IGH T Christian Patterson Ray of Light 2006 Archival Inkjet Print 24 36 inch
PETER BUECHLER
MORGEN CONTEMPOR AR Y, B E R LIN
MORGEN CON TEMPORARY: PETER BUEC HLER

WEBS I T E www.morgen-contemporary.com E- M A I L kontakt @ morgen-contemporary.com PHO N E +49 306 630 9145 CEL L +49 173 673 4666 CONTA C T N A M E Angelika Watzl
Born in 1965, Peter Buechler has been living and working in Berlin, Germany since 1986. His intensive involvement with the method of newly defining motives through different-sized grids began almost 10 years ago with retouching auctioned oil paintings. Thereby, he entered an ever evolving and simultaneously refining adventure referring to both conceptual art and pop art. In Buechlers work, the simple and often rather unspectacular motives, landscapes and themes are the entrance to a multi-layered visual experience. They root in the digital archive consisting of the artists own snapshots as well as images found on the Internet. Peter Buechlers narratives open up to the viewer in a multi-faceted way, or close and develop into new ones. His complex and time-consuming painting method hugely contributed to this perception. By strictly geometrically dividing the canvas into three to four centimeter sized square-shaped color patches, aligning the chromaticity of the motive accordingly, he establishes a hitherto unwitnessed imaginative space between reality and a digital visual world. Of all things it is the sharp graphic delimitation of the color patches, producing a certain pictorial blur, which brings the themes and objects to oscillation and the viewer into the position of the storyteller. By applying a tool from journalismrendering specific parts of paintings unrecognizablehe tries to find connections between the visual contents and their perceivable appearance. The informational value is taken from the paintings and is being substituted by new information, which results from the painting. At this point the paintings are not clearly distinguishable any longer, but can only be accessed via the viewers mapped memory. Even if one believes to have identified the possible content displayed in the painting, the beholder is denied a clear and verifiable access to the paintings content. The paintings withdraw themselves over and over again from any definite reality. The object seen is closely tied to the beholder and can only be interpreted by him. Two different beholders see two different contents while the presented visual information remains the same. The threshold between seeing and recognizingin terms of a possible contentbecomes perceptible by moving in front of the paintings: they vary with the changing distance. When approached they almost dissolve into colored squares made of oil paint.
R EPR E S E N T E D AR T IST S H. P. Adamski John Breed Sabine Dehnel Niki Elbe Andy Harper Jens Lehmann Anna Lehmann-Brauns Simon Menner Alastair Thain
COV E R Peter Buechler Untitled 2011 Oil on canvas 200 150 cm INS I D E Peter Buechler Untitled 2011 Oil on canvas 220 300 cm LEFT Peter Buechler Untitled 2011 Oil on objet trouv, acrylic glass box 43,5 35,2 cm R IGH T Peter Buechler Untitled 2011 Oil on objet trouv 60 48 cm
MARTIN SCHWENK
NUMBER 35 GALLER Y, NE W Y O R K
N U MBER 35 GA LL ERY: MARTIN SC HWENK

WEBS I T E www.numberthirtyfive.com E- M A I L info @ numberthirtyfive.com PHO N E +1 212 388 9311 CEL L +1 646 382 4527 CONTA C T N A M ES Cindy Rucker Brad Silk
In The Language of Flowers of 1929, Georges Bataille assesses that the language of flowers is contradictory: the above-ground part of the plant distinguishes itself through purity and beauty, the opposite expresses itself in the root, its ugly dirtiness and proliferation. Bataille points out that because only the plants upper part would be included in civilization, its materiality becomes deceiving. If one wanted know the entire plant, one had to also understand its underground ugliness. Enter the vegetative sculptures of Martin Schwenk. The plants formed out of silicone, plaster or acrylic glass raise the ambivalence of the flower, to the principle they show the attractive and the depraved part of the plant alongside each other. While the artificial structure of Schwenks work address textbook artwork, the real sculpture settles in half way between nature and the museum. Its deviations from both create the specific eccentricity of Schwenks sculptures.
R EPR E S E N T E D AR T IST S Keith Anderson Christopher Daniels Charles Dunn Adam Hayes Hannes Kater Gereon Krebber Miyeon Lee Gary Rough
COV E R Martin Schwenk Ohne Titel 2001 Plexiglas 90 52 57 inch INS I D E Martin Schwenk Ohne Titel 2011 Acrylic glass, PU foam, Cord 87 31 20 inch LEFT Martin Schwenk Ohne Titel 2010 Acrylic glass, plaster, acrylic paint 51 71 45 inch R IGH T Martin Schwenk Ohne Titel 2008 Plexiglas, pigments, epoxy resin, plastic 34 27 21 inch
O'BORN CONTEMPOR AR Y, TO R O NTO
ALEX FISCHER
O' BO RN CO N TEMPORARY: ALEX FISC HER

WEBS I T E www.oborncontemporary.com E- M A I L natalie @ oborncontemporary.com PHO N E +1 416 413 9555 CONTA C T N A M E Natalie MacNamara
Artists must take responsibility for representing the time in which they live. The images of Beyond the Fall come from what has become the predominant firstworld interface: The personal computer and internet-capable device is now the primary filter by which broad swaths of people interact and know themselves. These technologies have the ability to snake our attentions, beliefs and desires, influencing cognition and our experience of the world. In order to represent these paradigm shifts, Alex Fischer reifies the low-culture of individualistic habits and persuasions to be in dialogue with the ripe philosophy of high art. His chosen medium of digital collage perfectly compliments his artistic process, by which he paints together images from a collection of digital sources. Each piece concedes to multiple interpretations due to Fischers choice to obscure the visual space of the image into near abstraction. The narratives encompass characters, scenes, and symbols with all of their ambiguity, insight, and metaphysical baggage on display. The content originates from their adaptations to and the impact of this current age. Alex Fischer (b.1986, Walkerton, ON) is an artist and empiricist living and working in Toronto, Canada. A sociologist of internet culture, Fischer mediates the visual and theoretical philosophies, which can be accessed through contemporary technology. This extraction and the resulting dissemination are essential to his approach to art-making, which is at once reactionary and projective. He composes his figures and landscapes by digitally assembling visual and conceptual sources in order to explore the syncretic effect of the digital-age. Fischers work has been featured in Backflash, Beautiful Decay and Rojo. He is the creator, editor and juror of Sync Resist, released in 2009 through York University. In 2010, Fischer produced his first artist book, Smarter Today published by O'Born Contemporary and Wassenaar.
R EPR E S E N T E D AR T IST S Liam Crockard Rafael Goldchain Jill Greenberg Kate McQuillen John Monteith Dominic Nahr Ed Ou Noel Rodo-Vankeulen Caitlin Rueter Public Studio
COV E R Alex Fischer Artists Image 2012 2079 2935 pixel digital image 22 30 cm Gicle INS I D E Alex Fischer Parrots 2011 14280 10200 pixel digital image 84 60 inch Gicle R IGH T Alex Fischer bow 2012 10677 8367 pixel digital image 60 47 cm Lightjet
PIERRE-FR ANOIS O U E LLE TTE ART CONTEMPOR AI N, MO NTR E A L
ED PIEN
PI ERRE- FRA N O I S OUELLETTE: ED PIEN

WEBS I T E www.pfoac.com E- M A I L info @ pfoac.com PHO N E +1 514 395 6032 CEL L +1 514 885 4956 CONTA C T N A M ES Pierre-Franois Ouellette Edward Maloney
R EPR E S E N T E D AR T IST S Alexandre Castonguay Luc Courchesne Adad Hannah Dil Hildebrand Maskull Lasserre John Latour Kent Monkman Marie-Jeanne Musiol Roberto Pellegrinuzzi Chih-Chien Wang
Ed Pien is a multidisciplinary artist based in Toronto. He has recently been selected by Artistic Directors Gerald McMaster (Curator, AG O ) and Catherine de Zegher (former Guest Curator, Department of Drawings, MoMA) to participate in the 18th Biennale of Sydney, and by Denise Markonish to present a new work at MassM O C A in 2012 for the exhibition Oh, Canada. Pien has exhibited nationally and internationally including the National Gallery of Canada, Ottawa; the Drawing Centre, New York; Museum of Art and Design, New York; Centro Nacional las Artes, Mexico City; the Goethe Institute, Berlin; Middlesbrough Art Gallery, UK; W139, Amsterdam; Contemporary Art Gallery, Vancouver; The Contemporary Art Museum in Monterrey, Mexico; Bluecoat, Liverpool; Art Gallery of Ontario, Toronto and La Biennale de Montreal 2000 and 2002. His ambitious large-scale installations, drawings and paper cuts are featured in the permanent collections of the Art Gallery of Ontario, the Montreal Museum of Fine Arts and the National Gallery of Canada, Ottawa. Piens featured participation in the 2012 Sydney Biennale solidifies the importance and influence of his work at an international level. Pien draws on sources both Eastern and Western to create his work, including Asian ghost stories, hell scrolls, calligraphic traditions and the works of Hieronymus Bosch and Francisco Goya, creating sensual, drawing-based installations using ink and translucent paper (like Earthly Delights in the collection of the Montreal Museum of Fine Arts). The spectator is invited to walk into these floor-to-ceiling environments and approach the half-human, half-animal monsters within. Continuing in the vein of light and dark and experiential worlds, this installation for VO LTA 2012 entitled Spectral offers a transformative and immersive environment, inviting visitors as witnesses and participants.
COV E R Ed Pien Revel (detail) 2011 Cut mylar, projection Dimensions variable INS I D E Ed Pien Twilight Game 2010 Ink on shoji paper 18,5 28 inch R IGH T Ed Pien Revel (detail) 2011 Cut mylar, projection Dimensions variable
MLADEN STILINOVI
P74 GALLER Y, LJU B LJ A NA
P7 4 GA LLERY: M LADEN STILINOVI

WEBS I T E www.zavod-parasite.si E- M A I L p74info @ volja.net PHO N E +38 640 370 199 CONTA C T N A M ES Uro Legen Tadej Pogaar Uros Potocnik
INS U LTING A NA RCHY I wanted to make an anarchical exhibition including works that differ stylistically and thematically, but no matter how I place the works, I always seem to get structure far from being anarchical. That is why this exhibition is entitled Insulting the anarchy. This title is of course an alibi for all of my insanities and impertinences, for my artistic freedom. My aim is to have many voices, not just one voice, but the main initiative comes from the love of garlic, bread and butter. Economy is a parody of economy. Media is a parody of media. Art is a parody of art. Etc is a parody of etc Parody can not be parodied. That is why there are so many obvious stupidities that are obvious stupidities and not a parody. S E L E CTE D S O L O E XHIBITI O N S Sing!, Mladen Stilinovi Retrospective, Ludwig Museum, Budapest, 2011 Mladen Stilinovi, Insulting Anarchy, Galerie Martin Janda, Vienna, 2011 I Have No Time, Muzeum Sztuki / Museum of Modern Art, Warsaw, 2010 VOX, centre de limage contemporaine, Monteral, Canada, 2010 Crvena Nit / Rec Thread, Gallery Nova, Zagreb, 2010 Insulting Anarchy Sold, With Old Films, P74 Gallery, Ljubljana, 2010 Mladen Stilinovi Artists Books, Index, The Swedish Contemporary Art Foundation, Stockholm, Sweden, 2010 Van Abbemuseum, Eindhoven, Nederland, 2008 Mladen Stilinovic White absence, Trafo House of Contemp. Art, Budapest, 2008 Galerie im Taxispalais, Innsbruck, Austria, 2 0 0 8 Mladen Stilinovi: On Money, Zeroes, etc, CCA, Centre for Contemp. Art, Glasgow I am Selling M. Duchamp, Austrian Cultural Forum, Prague, 2007 Platform Garanti, Istanbul, Turkey, 2007 Artist at Work, kuc Gallery, Ljubljana, 2005 The Cynism of the Poor, Museum of Contemporary Art, Zagreb, 2003 Grassstreet Gallery, Melbourne, 2001 Geometry of Cakes, Museum of Modern Art, Ljubljana, Slovenia, 1994 Sing!, Gallery of Contemporary Art, Zagreb, 1980 S E L E CTE D G RO U P E XHIBIT I O N S Ostalgia, The New Museum of Contemporary Art, NewYork, 2011 A Complicated Relation / Part I, Kalmar konstmuseum, Kalmar, 2011 Dialogue, Boris Cvjetanovi & Mladen Stilinovi, galerie frank elbaz, Paris, 2011 Particolare, Signum Foundation, Venice, 2011 Museum of Speech Extra City, Kunsthal Antwerpen, Antwerp, 2011 K O NTA K T Collection, Sofia Art Gallery, Sofia, 2011 Museo de las narrativas parralelas....., M AC B A, 2011 Les Promesses du pass, Centre Pompidou, Muse National dArt Moderne, Paris, 2010 Volume Collection, Fondazione Bevilacqua La Masa, Venice, 2010 Over the Counter Economy in Post-Socialist Art, Mucsarnok Kunsthalle, Budapest, 2010 In full bloom, Galleria Raffaella Cortese, Milano, 2010 Art Always Has Its Consequences, Muzeum Sztuki Lodz, Lodz, 2010 11th International stanbul Biennial, Istanbul, 2009 Take the Money and Run, de Appel arts centre, Amsterdam, 2009 Documenta 12, Documenta, Kassel, 2007 15th Biennale of Sydney, Sydney, 2006 50th International Art Exhibition Venice Biennale, Venice, 2003 Mladen Stilinovi (b. 1947, Belgrad) lives in Zagreb, Croatia.
R EPR E S E N T E D AR T IST S Toma Furlan Dejan Habicht Sanja Ivekovi Polonca Lovin Tadej Pogaar SBD Balint Szombathy
COV E R Mladen Stilinovi Untitled (nail) 1998 Collage (wooden plate) 6,3 8,1 inch INS I D E Mladen Stilinovi Insulting Anarchy (vrijeanje anarhije prodano) 2008 Collage 9,4 7,1 inch
PABLOS B IR THDAY, NE W Y O R K
HENRIK EIBEN
PA BLOS BI RTH D AY: HENRIK EIBEN

WEBS I T E pablosbirthday.com E- M A I L info @ pablosbirthday.com PHO N E +1 212 462 2411 CEL L +1 917 450 5354 CONTA C T N A M ES Jimi Billingsley Arne Zimmermann
Henrik Eibens work traces the intellectual-aesthetic lines of a narrative minimalism, via familiar references to the 1960s and 70s, into post-modernity and beyond. A possible way into it is certainly provided by the keyword formalism today, in view of the visual language of a younger generation of contemporary artists working in this context. Eiben shows a deliberate conjunction of narrative elements with a reduced formal language. Underlying Eibens work is a classical understanding of painting taken to its limitsrelated in this respect to minimalism, as this process is carried out with the possibilities of a formal aesthetic and the expansion of sculpture and installation into the pictorial space. Even in their first impression these works establish an extension of a formal expression whose hard-edge aesthetic recalls Frank Stellas shaped canvasesplus related to Ellsworth Kellys works, where monochrome canvases are placed one on top of the other to achieve a sculptural extension of painting in the contrast of colour and shadow at their edges. But in Eibens works this process is taken further: the canvases are neither differently coloured, nor are they placed one above the other. In their juxtaposition alone their surfaces and the tension produced by their vertical displacement bring about an extension of painterly depth into sculptural space. The insertion of coloured strips of fabric and glass clearly show where Eibens aesthetic realm of operation is situated: at the edge itself, at the boundary between reduction to formal principles and the extension of visual experience. From this standpoint a new, completely open realm of aesthetic experience is revealed voyager explores this space, in which it conveys to the viewer Eibens formal aesthetics. Henrik Eibens works take a stand within this matrix: there is a narrative minimalism at work in them that does not conceive of formal expression as a stand-out feature, and that has the potential, through subtle allusions, to turn the viewer into the knowledgeable discoverer of the works own points of reference.
R EPR E S E N T E D AR T IST S Christian Eisenberger Carla Gannis Frank Gerritz Eckart Hahn Matthias Koester Karsten Konrad Kristian Kozul Marc Lueders
COV E R Henrik Eiben The Way Side 2011 Tiffany glass, metal, silicon, wood 220 3 11 cm INS I D E Henrik Eiben Voyager 6, Desperado 2011 Styrofoam, fabric, glass, plaster, wood 65 145 15 cm LEFT Henrik Eiben Gimme Oho 2010 Wood, plexiglass, and paint 102 66 5 cm R IGH T Henrik Eiben NY 1 2010 Lacquer, acrylic, spraycolor, paper, on paper 65 50 cm
JANET WERNER
PARISIAN LAUNDR Y, MO NTR E A L
PA RI SI A N LA U N D RY: JANET WERNER

WEBS I T E www.parisianlaundry.com E- M A I L info @ parisianlaundry.com PHO N E +1 514 989 1056 CONTA C T N A M E Jeanie Riddle
R EPR E S E N T E D AR T IST S David Armstrong Six BGL Valrie Blass Paul Butler Alexandre David Jennifer Lefort Rick Leong Kalup Linzy Adrienne Spier Justin Stephens
Janet Werners work focuses on the invention of fictional characters based on found images from popular culture, including models, celebrities, dolls and figurines. The paintings operate within and against the genre of portraiture, taking anonymous female figures and imbuing them with fictional personalities. In her current work there is a shift in the proportions of the figures; an argument has erupted between beauty and the grotesque and the figure itself has become the site of contest. Folded, cut, occluded, or altered, with colors ranging from luminous to ashen and scale shifting from pixie to giant, these figures possess an otherworldly aspect. Mute and expectant, leaning into the frame, at once imposing and powerless, the characters embody conflict and contradiction. Wearing their complications like a crown, they confront the viewer with their big loneliness, beckoning like absurd clowns or sorcerers practicing a kind of rough magic. Janet Werner was born in Winnipeg and lives and works in Montreal. She received her BFA from the Maryland Institute College of Art in Baltimore and her M FA from Yale University, New Haven, C T. Werner has shown widely in Canada including Internationally, her work was presented at the Prague Biennale and will be featured in the upcoming survey exhibition Oh, Canada at M ASS MoCA, North Adams, M A. Parisian Laundry represents Canadian and international artists, rotating solo presentations of their current practices while maintaining a program of special project exhibitions for invited artists. Programming is divided throughout the three exhibitionspaces including the gallerys former mechanical room; a two storey concrete box known as the Bunker, an ideal space for new media works as well as sitespecific installation and sculpture. Recent and upcoming programming includes an installation and performance by New York based artist Haig Aivazian, an installation by Virginia based sculptor Michael Jones McKean, a screening of B AN D by New York based artist Adam Pendleton and live performances by New York City based artist Kalup Linzy. A commitment to invitational collaborations with important projects such as the Biennale de Montral, and The Mois de la photo have featured projects by Luis Jacobs / Noam Gonick, Eve Sussman and the Rufus Corporation. Parisian Laundry has recently presented critical and monumental solo exhibitions of Valrie Blass, Alexandre David, Janet Werner, and Rick Leong as well as a threefloor museum style retrospective of Qubec city based collective B G L . The gallery maintains a nomadic profile through our publication program as well as ongoing participation in international art fairs.
COV E R Janet Werner Untitled (stalker) (detail) 2012 Oil on canvas 108 78 inch INS I D E Janet Werner Untitled (drape) 2012 Oil on canvas 88 66 inch LEFT Janet Werner Genie 2010 Oil on canvas 87 66 inch R IGH T Janet Werner Sheila 2011 Oil on canvas 54 45 inch
STEFAN SEHLER
PARKER S B OX, NE W Y O R K
PA RK ERS BO X : STEFAN SEHLER

WEBS I T E www.parkersbox.com E- M A I L info @ parkersbox.com PHO N E +1 718 388 2882 CONTA C T N A M E Alun Williams
R EPR E S E N T E D AR T IST S Steven Brower Edith Dekyndt Simon Faithfull Jason Glasser Patrick Martinez Caroline McCarthy Bruno Peinado Tere Recarens Samuel Rousseau Joshua Stern
Stefan Sehler has developed the ability to position himself in an intriguingly precise juggling act, on the razors edge between opposing and complementary territories of painting. His negotiation of an evolving dynamic between representation and abstraction has given him a respected position in Europe, in relation to both the legacy of German painting, and the potential of its future. Sehlers reverse paint technique on Plexiglas panels links his thinking to both German traditions and contemporary currents, as does his strong relationship to both figurative and abstract mechanisms. At the same time, Sehler is unquestionably a pioneer, not a follower, and the risks he has taken in developing new techniques and ideas clearly bear witness to this spirit. In this way, Sehler is particularly preoccupied with the spectators relationship to the painted surface, and how this affects our perception of images. The most extraordinary (but logical) aspect of this is that he denies physical access to that very surface through his choice of technique. As Dr. Susan Canning has written: (Sehlers) process underlines the generative artistic act by pointing it out. The end result lets one see the materials, see the paint that retains its synthetic aspect Only desire on the part of the spectator makes the paint become its subject. In a similar way, the spectator desires the materiality of the paint and surface but can only guess at that experience. The Plexiglas perversely bolsters the works materiality by denying it, while at the same time being ironic- simultaneously protecting the act of representation and distancing the viewer from it. Stefan Sehlers work figures in numerous private, corporate and institutional collections, and he has exhibited in museums, contemporary art centers and galleries worldwide. His most recent museum exhibition was a double solo show with Robert Longo at the Museum of Modern and Contemporary Art in Nice, France (catalogue available at V O LTA ).
COV E R Stefan Sehler Untitled (detail) 2011 Oil, enamel and acrylic paint behind Plexiglas 80 61 inch / 205 155 cm INS I D E Stefan Sehler Untitled 2009 Oil, enamel and acrylic paint behind Plexiglas 80 159 inch / 205 405 cm R IGH T View of Stefan Sehler, New Paintings at Parkers Box, December 2007, from left to right: Untitled (Marsh II) and Untitled (Marsh III) both 2007 Oil, enamel and acrylic paint behind Plexiglas 86 62 inch / 219 158,2 cm
PDX CONTEMPOR AR Y AR T, P O R TLA ND
ADAM SORENSEN
PD X CO N TEMPO RARY ART: ADAM SORENSEN

WEBS I T E www.pdxcontemporaryart.com E- M A I L info @ pdxcontemporaryart.com PHO N E +1 503 222 0063 CONTA C T N A M E Jane Beebe
Drawing upon disparate vocational and popular traditions from across the world, Adam Sorensens paintings articulate a particular vision, tied deeply to the reality of landscape while imbued with enough imagination to make them otherworldly. The trail of aesthetic influence is not hidden in Sorensens work. Pulling equally from television and animation aesthetics, ukiyo-e traditions of Japanese woodcuts, the Hudson River School, and painters of the American West, Sorensen strikes an unbelievable balance between the terrific wonder of the sublime and the inaccessibility of an imagined place. The Romanticism of Caspar David Friedrich melds with the vivid sharpness of near digital vistas devoid of figures but not lacking in personal depth. Born in Chicago, Illinois and raised in Gettysburg, Pennsylvania, Adam Sorensen received a BFA from Alfred University in New York and a Post-Baccalaureate Certificate in painting from the Studio Art International, Florence, Italy. Sorensen lives and works in Portland, OR. He has shown frequently at museums and galleries throughout the Northwest, and his work resides in prominent private and corporate collections up and down the west coast. Portland, Oregons P D X Contemporary Art continues to expand and evolve while maintaining its original mission of facilitating and building artists careers. In 15 years of operation, P D X has consistently programing rigorous and compelling exhibitions and is widely admired for its independent spirit while maintaining a collaborative attitude and dialogue with artists, fellow dealers, publishers and institutions. Owner / Director Jane Beebe, a much revered member of the Portland art community, has served on the board of directors of the Portland Art Museum and Oregon College of Art and Craft. Beebe serves on long-range civic planning committees addressing art and culture, and has been a guest speaker at various Oregon institutions.
R EPR E S E N T E D AR T IST S Anna Gray + Ryan Wilson Paulsen Johannes Girardoni Arnold J. Kemp Cynthia Lahti James Lavadour Nancy Lorenz D.E. May Storm Tharp Marie Watt Masao Yamamoto
COV E R Adam Sorensen Croatoan (Detail) 2011 Oil on canvas 50 57 inch INS I D E Adam Sorensen Wellspring 2011 Oil on canvas 50 57 inch
PENTIMENTI GALLER Y, P HILA D E LP HIA
MARK KHAISMAN
PEN TI MEN TI G A LL ERY: MARK KHAISMAN

WEBS I T E www.pentimenti.com E- M A I L mail @ pentimenti.com PHO N E +1 215 625 9990 CONTA C T N A M E Christine Pfister
My works are pictorial illusions formed by light and shadow. Tape allows for images that communicate what Im interested to do in a very direct way. My medium consists of three elements: translucent packing tape, clear acrylic panels, and light. By superimposing layers of translucent tape, I play on degrees of opacity that produces transparencies highlighted by the color, shading, and embossment. There are some qualities of tape that make it unique for me as an art material: its banality, humbleness and its throwaway nature; its default settings of color and width limiting my freedom; its unforgiving translucencyno mistakes can be hidden; the cold and impersonal attitude that tape surface suggests. I apply a stripe of brown translucent tape on a clear backlit acrylic panel, and if I dont like it, I peel it off. If I peel off less frequently than apply, a chance is that an image emerges. The whole process is reminiscent to the red room photo development in the pre-digital era, in a way, as my hands do the job, and my mind is witnessing the appearance of the image, then the only concern becomes to not underor overdevelop it. My works are categorized mainly as portraiture and fall into two main groups: (1) real facesportraits derived from my own photographs, or classic art and (2) fictional charactersones derived from old movies or social media. I like to see these two themes as parallel. Together they interplay on real and projected self, individual and group identity, on latent pressure involved in being and playing human. Born in Kiev, Khaisman studied Art and Architecture at the Moscow Architectural Institute, Moscow, Russia. His recent exhibitions are: Science Museum, London, UK; Contemporary Istanbul Art Fair, Turkey; Berliner Liste 2011, Berlin, Germany; Wallingford Art Center and Woodmere Art Museum, Philadelphia, PA; Vitra Design Museum, Weil am Rhein, Germany; B Y U Museum of Art, Proto, UT; and more. He has been the recipient of many awards and works are found in the collections of: Vitra Design Museum, Germany; Annenberg Center Collection; British Airline Collection; Delaware Art Museum; West Collection; and more. Mark Khaisman is represented by Pentimenti Gallery, Philadelphia, PA.
R EPR E S E N T E D AR T IST S Steven Baris Kim Beck Cecilia Biagini Matthew Cox Kevin Finklea Judy Gelles Matt Haffner Joseph Hu Hadieh Shafie Jackie Tileston
COV E R Mark Khaisman Chair #2 2011 Packaging tape on plexiglas, steel box 48 36 inch INS I D E Mark Khaisman Frame #13 2010 Packaging tape on plexiglas, steel box 36 48 6 inch R IGH T Mark Khaisman Girl with Earring 2011 Packaging tape on plexiglas, translucent resin light box 20,5 27 6 inch
PATRICK JACOBS
T HE P O O L NY C
TH E PO OL N YC: PATRIC K JAC OBS

WEBS I T E www.thepoolnewyorkcity.com E- M A I L viola @ thepoolnewyorkcity.com luigi @ thepoolnewyorkcity.com PHO N E +1 212 367 7520 CEL L +1 347 257 4103 +39 335 625 1723 CONTA C T N A M ES Viola Romoli Luigi Franchin
Patrick Jacobs intentionally blurs boundaries between the traditional artistic media of painting, sculpture and photography in his works. At the same time, they present the viewer with a spatial and perceptual conundrum. We are drawn into a space at once determinate and infinite, natural and contrived, prosaic and otherworldly. Jacobs draws inspiration from sources as diverse as historical landscape painting and contemporary chemical companies home and garden pest control brochures, such as Chevons Ortho Books. Recalling the Claude glass, an optical device popular in the 18th century used to frame the picturesque, the lenses invoke the invisible eye of the wary homeowner searching an otherwise vacant domestic landscape for imagined interlopers. Ortho, Greek for correct, further alludes to the unending quest to control any divergence from the norm, as well as the manipulation of our sense of perspective. With such a fusion of influences, these quiet compositions offer a magical view of the mundane. Here, reality has been de-familiarized, and the uncanny has supplanted the commonplace. Each work consists of a meticulously constructed, three-dimensional diorama installed within the wall and viewed through a circular window of glass lenses. The combination of the negative focal length of the lenses and sculptural foreshortening creates the illusion of seemingly infinite depth within the limitations of a narrow space. The result is a distorted reality corrected only when seen through the lenses. Though artificial, these worlds are nevertheless strangely real and tactile. Whereas painters using the Claude glass sought highly picturesque moments, Jacobs dioramas tend to depict banal and subtle scenes, places often overlooked, such as a field with an anthill or the view out a window over a radiator. This exhibition will include four works from Jacobs interior series. In each, an imaginative birds eye view of the Gowanus Heights from the artists apartment in Brooklyn, NY produces a spatial progression from interior to exterior as well as the impossible effect of simultaneous close-up and distance.
R EPR E S E N T E D AR T IST S Gaia Carboni Eteri Chkadua Glaser/Kunz Kika Karadi Jonathan Rider Andrea Salvatori Fabio Viale
COV E R Patrick Jacobs Installation View 2011 Mixed media Dimensions variable INS I D E Patrick Jacobs Interior with View of Gowanus Heights 2011 Wood, extruded styrene, acrylic, paper, vinyl film, steel, lighting, glass 74 53 53 cm LEFT Patrick Jacobs Work in progress: Interior with View of Gowanus Heights 2011 Wood, extruded styrene, acrylic, paper, vinyl film, steel, lighting, glass 74 53 53 cm R IGH T Patrick Jacobs Window with View of Gowanus Heights 2010 Wood, extruded styrene, acrylic, paper, vinyl film, steel, lighting, glass 43 27 24 cm
PRISTINE GALER IE , MO NTE R R E Y
OREET ASHERY
PRI STI N E G A LERI E: OREET ASHERY

WEBS I T E www.pristinegalerie.com E- M A I L info @ pristinegalerie.com PHO N E +52 81 8218 9925 +52 81 8218 9926 +52 81 8315 2118 CEL L +52 81 8254 7277 CONTA C T N A M ES Alberto Leal Daniel Gonzalez Lozano
Oreet Ashery is a London-based, interdisciplinary artist. In her performances, photographs and videos as well as in her textual works, Ashery examines questions of cultural, political, and sexual identity. Her practice engages with socio-political paradigms and tends to include participatory and delegated elements. Frequently Ashery will produce work as a male character: Marcus Fisher (an orthodox Jewish man), a Norwegian postman, a large farmer, a false messiah and an Arab man. In her interventions she confronts her secular environment with the explicitly other, probing the limits of multicultural and multi-religious societies. In some of her more overtly political work, power structures are challenged through means other than gender. Oreets work has been shown recently at Tate Modern, Pompidou Centre, Brooklyn Museum, Whitstable Biennial, Freud Museum, OK Centre for Contemporary Art, Zentrum fr Kunst und Medientechnologie and Pristine Galerie. Pristine Galerie opened its headquarters in Monterrey, Mexico with a clear mission: to promote the creation of first-rate and emerging contemporary artists. The gallery has worked from its beginning as catalyst and vehicle of an interaction between Monterrey and international platforms of contemporary art, working with featured curators, who put together world-class art exhibitions at Pristine Galerie, making a statement on not being held captive to fear in the current national situation, remembering Picassos words on art as an offensive weapon in the defense against the enemy. Pristine Galerie presents for VOLTA NY Asherys newest project HAIROISM , which began with an interactive performance where Oreet Ashery used hair given by audience members to mimic public figures through hair: Moshe Dayan, Abu Marzook, Avigdor Lieberman, Yasser Arafat and Ringo Starr. The cover image is a detail from the last stage of this performanceOreet Ashery fully covered in hair, looking like some sort of creature.
R EPR E S E N T E D AR T IST S Shahram Entekhabi Enrique Garcia Saucedo Juan Carlos Granados Zachari Logan Emma McCagg Damian Ontiveros Miguel Rodriguez Sepulveda Riiko Sakkinen Svajone & Paulius Stanikas Abdul Vas
COV E R Oreet Ashery Hairoism (detail) 2011 Photograph 110 140 cm INS I D E Oreet Ashery Hairoism series: Avigdor Lieberman, Moshe Dayan, Yasser Arafat / Ringo Starr, Mousa Mohammed Abu Marzook 2011 Photographs 50 40 cm each R IGH T Oreet Ashery Hairoism series: Yasser Arafat / Ringo Starr 2011 Photograph 50 60 cm
TIONG ANG << <<

R EWIND , NE W Y O R K
< < REWI N D < < : TI ONG ANG

WEBS I T E www.rewind147.com E- M A I L rewind147 @ gmail.com PHO N E +1 917 327 3580 CONTA C T N A M E Florence Lynch
R EPR E S E N T E D AR T IST S Carolina Raquel Antich Raffi Asdourian Carlo Ferraris Steven Rose Gabriele Stellbaum Jeanne Susplugas
RE M O D E L L E D ( A N A F RICA N I N C H I N A) / 20 0 8 2012 Tiong Ang is a Dutch artist who works at the undefined borders of intercultural exchange and global polarisation, always with a deeply felt personal yet ambivalent engagement with his subject matter. He has worked and exhibited all over the world, often operating within a specific local context in projects that generate a broad range of ideas, methods and experiences. He works in painting as well as film/video, installation, photography and performative projects, generating veiled situations that gradually acquire unexpected depth while demonstrating a focus on everyday life and the role of chance. Balancing between documentary realism and mediatised fantasy, his work shifts conventional perspectives on interracial conflict, economic dependence or globalized pop culture into absurdic and slightly obscure images that are brought together in enigmatic constellations and installations. As an Indonesian-born Chinese, educated and working in the Netherlands, his chosen unstable position is both post-colonial, multiple and hybrid. This presentation concentrates on the remodeled African, displaced in contemporary Western or Oriental culture. Tiong Ang extends a multi-layered project he initially developed for Shanghai Biennale 2008 called Models for (the) People. Witnessing Chinas giant steps on the world stage from a close distance, Tiong Ang (whose mother lived in quite a different Shanghai as a young child) shot a new experimental film about an African merchant arriving in modern day Shanghai. The film explores different perspectives on the city, the site of the Biennale and western views on China, wherein the arrival of the African functions as a moment of absurdity and alternation. Paintings of horses, objects of commerce and textual slogans in different languages completed the presentation at the Biennale, and some reappear in this extended version. Tiong Ang has continued his explorations on the stereotype of the dislocated black man in Settlements (2011), a museum installation as a performative and filmic project inviting the same man Atone Niane from Senegal to act out as a narrator of stories of multiple migrations and the affects of derangement and confusion. He is placed within a dedicated pseudo set modelled after one of Sol LeWitts Incomplete Open Cubes. The storyteller is surrounded by silent onlookers, who help to move the set around the exhibition Unwanted Land at the Museum Beelden aan Zee in The Hague. Set in the heart of the Netherlands, a nation currently struggling with its political and democratic seizure, the lament of the black man is both urgent and strangely nocturnal. The striking black man is being re-modelled, and the African is presented as an exploration of a range of stereotypes of the Other, and likewise the idea of China is not to be confused with a particular nation but extends to more general concepts of another place, somewhere else, far away etc. Humour, absurdity and a subtle irony melt down within a geopolitical account of different realities, generating beautiful and haunting images. In all its disparate mediations Tiong Angs work can be witnessed as a portrayal and celebration of modern day angst and confusion. The presentation comprises of paintings, photographs and videos selected from the two original installations and new images from the archives.
COV E R Tiong Ang Models for (the) People 2008 Project for 7th Shanghai Biennale Production still INS I D E Tiong Ang One Man 2012 C-Print 39 59 cm
JORGE DAZ-TORRES
R ICA, S A N JU A N
RI CA : J ORGE D A Z-TORRES
WEBS I T E www.ricathegallery.com E- M A I L contact @ ricathegallery.com CEL L +1 787 697 1300 CONTA C T N A M E Roberto J. Nieves-Robles
Things as they are is the perspective we encounter as we appreciate Jorge DazTorres work. This artist is known for his sculptures made with materials such as papier-mch, ceramic and P V C , representing real objects with dramatic distortions and fragments of public space experience. Daz-Torres works with the outside space and picks it up with a constructive gesture. Diaz-Torres presents work at V O LTA N Y that belong to three different series. His recent work, Sudden Impact is a documentation of experiences that leave a mark on the city. Guardrails used to divide street lanes or create a perimeter for traffic are copied directly after been hit in car accidents. The result from this gesture is a sculpture showing the true and anonymous incident of somebody in the streets. In City Rock, the artist continues documenting stories of public space by representing a detail of another incident in which someone has stolen the tires of a car and leaves it on top of rocks and blocks. Anti-scavenger, on the other hand, makes visible the sense of insecurity for having the need of protecting these objects, such as an ice refrigerator, gas tanks and even security cameras. These objects determine the nature of the urban space; Referring that this is an anthropological study of certain areas of the city where the sense of security is poor or non-existent. Jorge Daz-Torres (b. 1974, San Juan) earned his B FA hon. in Sculpture from theEscuela de Arts Plasticas in San Juan, P.R. in 2010. Among his participation in group exhibitions are the Muestra Nacional de Artes Plsticas, 2009 and in 2010 at Galera Christopher Paschall in Bogot, Colombia. His recent solo exhibitions have been at the CIRCA Art Fair 2010, Impulse at the Pulse Miami Art Fair 2010, in which he earned the Pulse Prize and Sudden Impact at the Museo de Arte de Puerto Rico in 2011. His most recent solo show will be at the Museo de Arte de Ponce with Art in response in September 2012.
R EPR E S E N T E D AR T IST S Alex Rodriguez Fernando Pareja & Leidy Chavez Jason Mena Omar Velazquez Roberto Marquez Victor Sosa
COV E R Jorge Daz-Torres Sudden Impact 2011 Papier-mch, Wood, Acrylic & Enamel 15 264 72 inch INS I D E Jorge Daz-Torres Anti-Scavenger 2010 PVC, Ceramic, Spray paint, Steel, Matt board, Laminated wood, Electrical tape 68 58 35 inch R IGH T Jorge Daz-Torres City Rock 2011 Papier-mch, Ceramic, Plexiglas, Urethane & Spray paint 82 22 108 inch
JASON GRINGLER
GALERIE STEFAN R P KE , C O LO G NE
G A LERI E STEFA N RPKE: JASON GRINGLER

WEBS I T E www.galerie-roepke.de E- M A I L info @ galerie-roepke.de PHO N E +49 221 255 559 CONTA C T N A M ES Stefan Rpke Alejandro Zaluskowski
My current practice is based on the limitations of specific materials. I use Plexiglas as a starting point for building on the history of abstraction, and although abstraction is a relatively young form, it is still burdened by the historic weight of painting, classical or otherwise. I use only a small Plexi knife to produce very limited shapes. This simple and focused constraint forces my practice out of my habitual attempts at art making. Some recent thoughts about my work revolve around cultivating an aesthetic of violence as a formal device in my studio practice. This idea has historical roots in artists such as Steven Parrino and Angela de la Cruz. But where Parrino and De La Cruz transform the physical destruction of an object in to formal painting and sculpture, I translate the gesture of destruction in to a highly formal simulacrum of violence. Plexiglas is reflective; the coupling of Plexiglas with broken mirrors allows the architecture (and viewer) from any space to become integrated with the work. The fragmented mirror acts simultaneously as a window as well as a painterly device. I have chosen a material that I find to be the antithesis of what painting traditionally represents. The work invariably begins with construction. I use the Brooklyn industrial environment as source material for the development of structures and language within my painting practice. I find that there is a moment between looking and registry, between the recognition of an objects existence, and the recognition of the associations that object holds; it is in this moment of flux that I experience the most affecting changes applicable to my work. A secondary but equally important part of my practice involves the cannibalization of my larger works. Digital inkjet prints of the Plexiglas works are cut and remixed to create small collage pieces, which become the basis for new large scale works with Plexiglas. I tend to copy myself in order to exhaust a particular composition that interests me. The source and the result simultaneously become the same and not the same. The original becomes lost as the language moves in a cyclical fashion. This allows for ongoing and evolving production within very specific parameters. by Jason Gringler
R EPR E S E N T E D AR T IST S Jordi Alcaraz Edward Burtynsky Aleksander Duravcevic Sharon Harper Robert Mapplethorpe Max Neumann Julie Oppermann Aitor Ortiz Bernard Roig Keisuke Shirota
COV E R Jason Gringler Untitled (tim-hecker) 2011 Mixed media on plexi and mirror 48 42 inch INS I D E Studio View 2011
ARAYA RASDJARMREARNSOOK
TYLER ROLLINS FINE AR T, NE W Y O R K
TYLER RO LLI N S: ARAYA RASDJARMREARNSOOK

WEBS I T E www.trfineart.com E- M A I L info @ trfineart.com PHO N E +1 212 229 9100 CEL L +1 917 923 7982 CONTA C T N A M ES Nicholas Cohn Tyler Rollins
R EPR E S E N T E D AR T IST S Tiffany Chung FX Harsono Tracey Moffatt Manuel Ocampo Jimmy Ong Sopheap Pich Pinaree Sanpitak Jakkai Siributr Agus Suwage Ronald Ventura
Araya Rasdjarmrearnsook is universally recognized as one of the leading video artists from Southeast Asia. Her works have a meditative, ritualistic quality, andlike many of humanitys important ritualsthey are often focused on the idea of communication between different realms. Her earlier works, for example, have explored the connection between the living and the dead, between the insane and normal people, and between humans and animals. Over the past several years, Araya has focused on art itself and the way the viewer interacts with a work of art. In the videos she presents in our booth, Araya has placed framed reproductions of iconic Western artworks in settings that are radically different from the art museumspecifically in rural villages, markets, and Buddhist temples in Thailand, where she films groups of farmers or working class people discussing the artworks. These videos show the meeting of two different worlds: high art and everyday life; the personal and private spheres; elite vs. mass culture; art and commerce; East and West. While issues of class and cultural differences, exoticization of the other, etc., are invoked, these videos also convey a sense of curiosity, humor, and joy that emphasize a common humanity. Arayas work has been featured in biennials around the world. She represented her native Thailand at the Venice Biennale (2005) and was featured in the Sydney Biennale (2010 and 1996), the Nanjing Biennale (2010), the International Video Art Biennial in Tel Aviv (2010), the Ural Industrial Biennale of Contemporary Art (2010), the Incheon Women Artists Biennale (2009), the Taipei Biennial (2006), the Gwangju Biennale (2006), the Carnegie International (2005), the International Istanbul Biennial (2003), the Johannesburg Biennial (1995), and the Asia Pacific Triennial (1993). She was an artist-in-residence at Artpace, San Antonio (1998 1999). Her works have been shown in numerous international museum exhibitions on five continents, including the groundbreaking exhibition, Traditions/Tensions: Contemporary Art in Asia, organized by the Asia Society in New York (1996). In 2011 alone, her work was featured in group exhibitions at the Zentrum fr Kunst, Karlsruhe, Germany; the National Museum of Art, Osaka, Japan; the Muse de lObjet, Blois, France; the Changwon Asian Art Festival, Gyeongnam, South Korea; the Srlandets Kunstmuseum, Kristiansand, Norway; M DE 11, Medellin, Colombia; and the Singapore Art Museum. Later this year, the Walters Art Museum, Baltimore, will present Arayas first solo exhibition in a U S museum.
COV E R Araya Rasdjarmrearnsook Millets The Gleaners and the Thai Farmers (detail) 2008 Single channel video 15 minutes INS I D E Araya Rasdjarmrearnsook Village and Elsewhere: Jeff Koons Wolfman in Pakoitai Market and Sunday Market 2011 Single channel video LEFT Araya Rasdjarmrearnsook Village and Elsewhere: Artemisia Gentileschis Judith Beheading Holofernes, Jeff Koons Untitled, and Thai Villagers 2011 Single channel video 19:40 minutes R IGH T Araya Rasdjarmrearnsook Manets Luncheon on the Grass and the Thai Villagers 2008 Single channel video 16 minutes
JANA GUNSTHEIMER
GALERIE RMER APOTHE KE , Z U R IC H
G A LERI E R M ERAPOTHEKE: JANA GUNSTHEIMER

WEBS I T E www.roemerapotheke.ch E- M A I L gallery @ roemerapotheke.ch PHO N E +41 43 317 1780 CONTA C T N A M E Philippe Rey
What immediately strikes you about Jana Gunstheimers work is the amazing variety of artistic media, from drawings, paintings and photographs to huge installations, including fictitious frame narratives, which the artist combines into coherent total concepts. She creates visual narratives, not to shake our belief in reality, but to open the eyes of the viewer to reality. Occasionally provocative and dark, her works are often spiced with a pinch of humour. Far from being simple, beautiful pictures, Jana Gunstheimers creations are multi-layered works of art addressing social and political issues.
R EPR E S E N T E D AR T IST S Marcin Cienski Marcel Ghler David Hare Florian Heinke Vera Ida Mller Dieter Roth Caro Suerkemper Jrn Vanhfen Judit Villiger Christian Weihrauch
COV E R Jana Gunstheimer Niedere Gebiete 2011 Graphite on paper 60 50 cm INS I D E Jana Gunstheimer Niedere Gebiete 2011 Graphite on paper 50 71 cm R IGH T Jana Gunstheimer Methoden der Zerstrung 2011 Graphite on paper
MATT RICH
S AMS N, B O S TO N
SA M SN : M ATT RIC H
WEBS I T E samsonprojects.com E- M A I L samson @ samsonprojects.com PHO N E +1 617 357 7177 CEL L +1 917 494 5411 CONTA C T N A M E Camilo Alvarez
My paintings get rid of the canvas and its hired muscle, the stretcher bar. In their collaged construction, paper is flexible and malleable both as surface and structure. Paint is a literal material with weight, elasticity, volumeproperties typically aligned with sculpture and three-dimensional space. These pieces hang irregularly, almost quilt-like, on the wall, achieving a wholeness that is at once finished and yet irrevocably piecemeal. They posit a version of flatness that is experiential and in tension. by Matt Rich, November, 2011
R EPR E S E N T E D AR T IST S Nicole Cherubini Davis Cherubini Craig Drennen Jeffrey Gibson Steve Locke Gabriel Martinez Rune Olsen Todd Pavlisko Suzannah Sinclair Summer Wheat
Matt Rich (b. 1976, Boston, MA) currently has his second solo with Samsn on view. In 2010, he was a finalist for the James and Audrey Foster Prize at the Institute of Contemporary Art, Boston. His first solo with Samsn, I R E & I C E , was selected as one of the top ten exhibitions of 2009 by the Boston Globe. His work has been reviewed by ArtForum and Art Papers. He recently was commissioned to create a print for Ningyo Editions which was acquired for the collection of the Massachusetts Institute of Technology.
COV E R Matt Rich Cross 2010 Latex, acrylic and spray paint on cut paper 111 55 inch / 282 140 cm INS I D E Matt Rich Slash 2010 Latex and spray paint on cut paper and linen tape 38,5 41 inch / 99 104 cm R IGH T Matt Rich Ampersand 2011 Latex, acrylic and spray paint on laminated paper 86 73 inch / 200 180 cm
CARL EMANUEL WOLFF
SCHUEBBE PROJECTS , D S S E LD O R F
SCH U EBBE PRO J EC TS: C ARL EMANUEL WOLFF

WEBS I T E www.schuebbeprojects.com E- M A I L schuebbe @ aol.com PHO N E +49 211 328 985 CEL L +49 171 272 6063 CONTA C T N A M E Christa Schuebbe
Carl Emanuel Wolffs sculptures and installations focus on the question of the place of the ideological and the factual in contemporary art. The modernist striving for autonomy has apparently liberated the work of art from its utilitarian function, as well as from its mediating purposes, such as those of court and church. Since this process began, the responsibility for defining art and providing its basis of legitimation has increasingly been assumed by philosophy, aesthetic theory and criticism. However, the supposed free space of art, institutionalized by the museums and public collections, is not a space of disinterested contemplation; instead, it is becoming a kind of ghetto, a sealed-off area in which the artwork, neutralized by exhibition, is reduced to a commodity whose selection, presentation and production are entirely governed by the laws of the market. Wolff displays his works in mundane places, outside traditional exhibition contexts not just for the sake of using alternative settings, but as a means of exploring and radically questioning the ways in which the museum, and the everyday world, allow the artwork to be seen: complementing and integrating it, or suspending its effect. The artist uses places and situations in which the individuality of the goods on display creates an aesthetic surplus which appears identical to that of the artwork. The cigar, for examplethe product of a sophisticated culture of smokingserves as an artificial form or an art form in which content and image coincide, but which preserves the directness of sensuous perception, instead of imposing determinate meanings and interpretations. The same applies in the use of the fairytale or the game of snooker. Wolffs works establish open structures in which the conditions of perception depend directly on the willingness of viewers to engage with the work and complement it through personal involvement. This approach, whose origins lie in Romantic art criticism, is rendered all the more provocative and significant by the prevalent tendency to invert the perception of art and the work, placing it within a hermetic circle that provides enigmatic critical justifications for art which is in fact wholly subordinate to the logic of the market. The seemingly fictitious reality of the art work is shot through with strands of desire. Where it impinges on the reality of everyday life, or vice versa, the artificial divisions become transparent and permeable; in the work of Carl Emanuel Wolff, therefore, the arbitrary demarcations between art and life are dissolved and exactly inverted. Here, art becomes real and effective, to the extent that reality is recognized as an imaginary construction, entirely ruled by fictions. by Karin Stempel
R EPR E S E N T E D AR T IST S Per Adolfsen Yukako Ando Franz Burkardt Nashun Nashunbatu Malte Renz Christian Schoeler Tianhong Sheng Zhou Yunxia
COV E R Carl Emanuel Wolff Golfplayer 2006 Steel, Firecrackers 190 60 40 cm INS I D E Carl Emanuel Wolff Knallertier II 2005 Steel, Firecrackers 265 170 80 cm
GALLER Y SIMO N, S E O U L
SHIN IL KIM
G A LLERY SI MON : SHIN IL KIM

WEBS I T E www.gallerysimon.com E- M A I L mail @ gallerysimon.com PHO N E +82 2 549 3031 CEL L +82 10 3798 7599 CONTA C T N A M E Young Bin Kim
Shin Il Kim is interested in obscuring the borders of categories set by humans. This idea is well expressed through such media as videos, pressed line drawings, and sculptures comprising letters and characters. His videos mostly express images as lights, and by doing so tear down the boundary of each image. His colorless drawings pull down ideational preconceptions that we have about colors. His letter sculptures project vague limitations derived from the categorization processes of language that refer to things or emotions. Kim graduated from the Department of Sculpture of the Seoul National University College of Fine Arts and majored in media arts at the School of Visual Arts in New York. His works were exhibited at the Singapore Biennale 2006 and the fifth Seoul International Media Art Biennale, also known as the Media City Seoul 2008. His works are in the collections of the Gyeonggi Museum of Modern Art, the Kim Chong Yung Museum, the Queens Museum of Art of New York, and the New York New Museum of Contemporary Art among others. Gallery Simon, founded in 1994, has been at the forefront in representing the most current and significant tendencies in Korean and international contemporary art. Since its establishment, the gallery continues to preserve the aesthetic quality of contemporary artwork. Also, the gallery remains to play an important role in promoting Korean artists as well as raising Korean art audiences awareness of the international art scene. As part of Gallery Simons ongoing goal, we encourage artists active participation in exhibitions while discovering young artists with new vision. To remain as the foremost foundation of its field, Gallery Simon continuously work as a mediator between artists and collectors in Korea and overseas. It seeks for renowned artworks to be shown to a variety of audiences. Gallery Simon will strive to become the most prolific gallery in Korea.
R EPR E S E N T E D AR T IST S Sun-Myoung Choi Hae-sun Hwang Airan Kang Ja-young Ku Joohyun Kim Sowon Kwon Yong-Rae Kwon Sang-Kyoon Noh Beom Moon Ka-lim Yoon
COV E R Shin Il Kim Drawing the Beauty (detail) 2010 Pressed line drawing on transparent Polycarbonate, Epoxy 55 77 cm INS I D E Shin Il Kim Temporal Continuum Intuitively Known lan vital Operates Emptiness 2010 Hand-cut epoxy, polystyrene, video projector, DVD player 114 205 20,5 cm R IGH T Shin Il Kim Dividing Space (Dividing Space, Holding Air, As It Is, Thus Come) 2011 Wire-cut Aluminum, anodized in white 111,5 18,7 16,5 cm
DUMITRU GORZO
SLAG GALLERY, NE W Y O R K
SLA G GA LLERY: DUMITRU GORZO

WEBS I T E www.slaggallery.com E- M A I L irina@slaggallery.com PHO N E +1 212 967 9818 CEL L +1 917 977 1848 CONTA C T N A M E Irina Protopopescu
A R T IS P E RS O NA L IS P O L I T I C AL In his works, Gorzo takes the visual game for aesthetic and artistic experience to the extreme by expanding it to include individual personal and political positioning. Not shying away from issues of great controversy in his native Romania and Europe, he disallows a euphemistic look at his presentations. Gorzos artistic approach mirrors his reflective ingenuity, in that it has been both experimental and classicbe it working in large-scale painting experimenting with base coats in oil paintings as he did for the 11th Istanbul Biennale, in extensive installation or sensitive works on paper. His deceptively simple drawings of what he calls demons represent an intimate diary in which he indulges his inner whims. His recent work series HE A D S draws from such an exploration; however, carrying it further in investigating the actuality of what strikes the viewer as avant-garde approaches to expression. The crucial question emerges as to what extent transatlantic reception of art itself has lost nothing of its power in the process of cultural self-perception. Where they may appear as merely straight-forward, such whims demonstrate the amount of trust he musters, and requires, for the task of transporting personal references into an exhibition context. His conceptual sincerity is no more on display than when he dedicates his works to an unconditional plea for prioritized discursive desire. In the epilogue of his huge 2006 M NA C shows catalog in Bucharest, he says about himself that he was postilluminist rather than post-feminist, a statement to which his work soundly attests: Settling the question as to the disparity between intuitive and discursive discovery. by Benjamin D. Fellmann (Senior Editor of DAR E Magazine)
R EPR E S E N T E D AR T IST S George Anghelescu Max Dunlop Ioana Joa Dio Mendoza Serkan Ozkaya Naomi Safran-Hon Mircea Suciu Erik Swanson Sergiu Toma Stefan Ungureanu
COV E R Dumitru Gorzo HEAD III 2011 Acrylic and watercolor on paper 81 42 inch INS I D E Dumitru Gorzo HEAD I 2011 Acrylic and watercolor on plywood 96 48 inch R IGH T Dumitru Gorzo HEAD II (detail) 2011 Acrylic and watercolor on paper 78 42 inch
PETER HOLST HENCKEL
S PECTA, C O P E NHA G E N
SPECTA : PETER HOLST HENC KEL

WEBS I T E www.specta.dk E- M A I L specta @ specta.dk PHO N E +45 3313 0123 CEL L +45 2041 6733 +45 2963 5594 CONTA C T N A M ES Else Johannesen Gitte Johannesen
Peter Holst Henckel places his artistic practice in the cross-field between aesthetics, politics and poetry. Often the works balance on the narrow line between a simple, lucid expression and a conceptually dense complex of meaning. The immediate, aesthetically attractive expression is intended as an open invitation to the observer to interact with the work and to contribute to the production of its meaning. To Peter Holst Henckel, there is no contradiction between form and content, aesthetics and meaning; on the contrary, the formal and social dimensions of the work continuously reflect each other, thereby creating new configurations, new meanings and new questions. Among other things, the encounter with the works invites its viewers to reflect on the relationship between aesthetics and its historical/political context. Inherent in this is the recognition that art is not an isolated world in itself, but rather one of many ways of being in the worldof understanding and relating to the world. Art becomes an interface between ourselves and the world around us. In the same way that the interface of a computer establishes a common language between the computers binary codes and us as users, art can create a common space which enables us to be in and relate to our common reality, in all its aspectsas a translation of individual problems into common questions. S P E C TA represents a selected group of Scandinavian and International artists. S P E CTA focuses on artists working persistently with their individual artistic position, involving a conceptual approach to topic or genre and an original use of media and material. The gallery arranges six to seven exhibitions per year, solo as well as curated group shows, presenting a large variety of media, including photography, sculpture, painting, installation, video, sound and drawing.
R EPR E S E N T E D AR T IST S Thordis Adalsteinsdottir Lars Arrhenius Maj-Britt Boa Eva Steen Christensen Ellen Hyllemose Jette Hye Jin Mortensen Nina Saunders Andreas Schulenburg Daniel Svarre Svend-Allan Srensen
COV E R Peter Holst Henckel Its About Time (Tick Tock) 2010 Wall installation; TV, wire, video 5:35, ed. 2 Dimensions variable INS I D E Peter Holst Henckel Its About Time (Waltz in D Flat Major) 2010 Lambda photography, ed. 3 (Detail) R IGH T Installation view from VO LTA 7 , Basel 2011
MARLENA KUDLICKA
S TEDEFR E U ND , B E R LIN
STED EFREU N D : MARLENA KUDLIC KA

WEBS I T E www.stedefreund-berlin.de E- M A I L faeser @ stedefreund-berlin.de CEL L ( A N N E F SER) +49 162 2488 641 CEL L ( A N N E GAT HMA NN) +49 157 8562 9843 CONTA C T N A M ES Anne Fser Anne Gathmann
In Marlena Kudlickas work, the objects are constructed on an underlying basis of counterpoints. The elements function on the verge of stability, creating a certain structure of dependency and irrationality. In dealing with space, the artist treats a given place like a canvas where weight, volume, colors, contours and edges are distributed across one continuum. The manner of display can be visually likened to the punctuation in a sentence. Kudlicka continues her interest in peripheral space and its incompleteness: holes, fragments, abandoned sites. While examining the aspects of such sites, she is interested how fragility activates space. For the artist, fragility indicates a chance to reconsider the whole in relation to its history, the past and the present. Like incompleteness, fragility acts as a counterpoint and is crucial to making space complete. Kudlicka uses quotes and elements of the avant-garde and re-evaluates their contemporary relevance. By doing so, she combines high material such as polished steel with low materials such as M D F, concrete, bitumen, roofing paper, wire, glass enamel. Her installations thus combine constructivist elegance with a certain D IY gesture. Marlena Kudlickas (b. 1973, Poznan) work has been the subject of solo shows around New York, Germany and Poland, and has also featured in numerous group shows. She has participated in residency programs at Swing Space L M C C N Y C 2008/09; International Studio & Curatorial Program NYC 2007/08; Akademie Schloss Solitude Stuttgart 2003/05; Location One N Y C 2004/05; Art Omi N Y 2003. Kudlicka received following grants: A. Mickiewicz Insitute PL 2010; Narodowe Centrum Kultury PL for ISCP NYC 2007/2008; Trust For Mutual Understanding New York 2004/2005; Akademie Schloss Solitude Stuttgart 2003 2004; Alfred Jurzykowski Foundation New York 2003 Stedefreund is a project by 12 Berlin artists who share the vision of a space used as a central hub for thematic and spatial interventions.
R EPR E S E N T E D AR T IST S Stefka Ammon Nicole Degenhardt Anne Gathmann Kerstin Gottschalk Rebecca Michaelis Uta Pffgen Marcel Prufert Katja Pudor Alexandra Schumacher
COV E R Marlena Kudlicka confidential confessions 2011 Vertical object: steel, wire, wood, enamel 200 165 8 cm INS I D E Marlena Kudlicka Archeology of Hole. Creating an Archive 2011 Steel powder coated, glass, plaster, enamel Site specific installation R IGH T Marlena Kudlicka one more than 1o (detail) 2010 Steel, empty plaster ball, wire, glass, wooden ball with steel, enamel, acrylic 500 600 200 cm
G ALERIE HEIKE S TR ELOW, FR A NKFU R T
ZLEM GNYOL & MUSTAFA KUNT
H EI K E STRELO W: ZLEM GNY OL & MUSTAFA KUNT

WEBS I T E www.galerieheikestrelow.de E- M A I L info @ galerieheikestrelow.de PHO N E +49 694 800 5440 CEL L +49 172 676 9613 CONTA C T N A M E Heike Strelow
In their works the artists concentrate on the interrelation between identity and social political systems and structures, as well as the constructions of social criteria like dignity and justice. They question the inner structure of cultural codes and constructions such as national identity and borderlines. The works show a precise composition of abstract and representational forms defined by an interplay of the visible and the invisible. The Turkish artist couple is influenced by minimal art as well as the structuralist issues of sign, meaning and entity. They transfer arts immanent questions into the field of politics, and vice versa. They confront the viewer with current issues of our societies in a way that is open for different interpretations, but on the other hand forces the viewer to take their own stand. Gnyol & Kunt, who both studied at the well-known Stdel School in Frankfurt, Germany, have shown their work at the Istanbul Biennial 2011, Istanbul,Turkey, the International Triennial of Contemporary Art, Izmir, Turkey, the Museum for Modern Art, Frankfurt, Germany. Recently they participated in the Artist in Residence program at the Temple Bar Dublin, Ireland and the New York Residency of Schloss Balmoral, Germany. G A L E RIE HE IK E S TRE L O W The gallery originally focused on positions which are redefining the meaning of nature and landscape and the relevance of human, body and environment. Its not limited to natural and geographic areas but includes cultural, medial or physical landscapes. Furthermore, the presented artists build a thread from social constructions to art related questions within the public as well as to the examination of the individual in political relations. Thereby the gallery keeps on working with artists that have dealt with socially relevant questions since the 1970s, but nevertheless focuses on contemporary positions.
R EPR E S E N T E D AR T IST S Fides Becker Nin Brudermann Marco Evaristti Jchym Fleig Javier Hinojosa Mathias Kessler Astrid Korntheuer Gerhard Mantz Igor Sacharow-Ross Katrin Strbel
COV E R zlem Gnyol & Mustafa Kunt Suspicious Activities 2011 Print on paper Dimensions variable INS I D E zlem Gnyol & Mustafa Kunt State Paintings (from a series of 25 pieces) 2008 Inkjet print on cotton paper 39,6 28,7 cm each R IGH T zlem Gnyol & Mustafa Kunt Persuation Exercices (detail) 2011 Print on paper 18 prints, 70 60 cm each
STEPHEN BUSH
SUTTON GALLER Y, ME LB O U R NE
SU TTO N GA LLERY: STEPHEN BUSH

WEBS I T E www.suttongallery.com.au E- M A I L art @ suttongallery.com.au PHO N E +61 394 160 727 CEL L +61 433 762 116 CONTA C T N A M ES Irene Sutton Elizabeth McDowell
Stephen Bush is an established, highly respected Australian painter whose practice over recent years has spanned from his masterful repeated portrayal of Babar the Elephant, to large scale works of drips, swirls and pours of free-flowing paint seeping throughout alpine vistas. Bush presents a seductive contrast in the pictorial realism of foreground motifs such as log cabins, beehives, potbelly stoves and lone wondering figures, against freeform pours of glossy oil and enamel. Colonial figures reminiscent of his earlier paintings reappear in his current body of work. There is a fluidity of these figures coming in: they frolic, saunter, charting these new lands, circumnavigating vivid terrains, or welding and tending a non-existent apiary. These scenes are free from overbearing narrative and it is the unexplainable about the inhabitants that drives the artist, which is extrapolated further when these colonial explorers are depicted as characterizations of himself. Bush has exhibited extensively in Australia and the USA since 1984. Highlights include participation in Future Tense: Reshaping the landscape, Neuberger Museum, NY; major solo exhibition S IT E Santa Fe, 2007 and a survey exhibition at The Ian Potter Museum, University of Melbourne, 2003. Bushs works are held in all Australias major collecting institutions, and numerous prestigious private collections including the Michael Buxton Collection, Melbourne; B H P Billiton, Melbourne; Wesfarmers Collection, Perth, Western Mining, Melbourne, the Commonwealth Bank Collection, Sydney, and also the Museum of Old & New Art (M O N A), Hobart. He is the only resident Australian painter featured in Phaidons current major publication Vitamin P2: New Perspectives in Painting. Stephen Bush takes up the prestigious Green Street Studio Residency, New York, January through to March 2012.
R EPR E S E N T E D AR T IST S Gordon Bennett Aleks Danko Elizabeth Gower Raafat Ishak Nicholas Mangan Rosslynd Piggott Peter Robinson David Rosetzky Jackson Slattery Simon Terrill
COV E R Stephen Bush Delivering Pinus Mugo 2010 Oil and enamel on linen 79 122 inch INS I D E Stephen Bush Rhodamine Mabel Bungaara 2011 Oil and enamel on linen 48 39 inch R IGH T Stephen Bush The Lure of Paris No.22 2002 Oil on linen 72 72 inch
ANDREJ DUBRAVSKY
JI RI SVESTKA GALLER Y, PR AG U E / B E R LIN
J I RI SV ESTK A G A L LERY: ANDREJ DUBRAVSKY

WEBS I T E www.jirisvestka.com E- M A I L gallery @ jirisvestka.com PHO N E +42 022 231 1092 +49 303 472 7642 CEL L +42 060 236 7601 CONTA C T N A M E Jiri Svestka
Andrej Dubravsky (b. 1987, Slovakia) represents the very young scene of the former socialist country. He is still studying at the Academy of Fine Arts and Design in Bratislava and is now mostly working in painting, dominated by unorthodox themes like self-gratification, homosexuality or intergenerational relationships. Taking his inspiration from old masters and actual social issues, his artistic gesture is subordinated to the acute need to find the right expression for the variety of feelings and (bittersweet) self-experiences of growing up. Mainly centered on the male body, his artistic interests match with the up-to-date rules of popular culture: narcissistic self-presentation and inquiries of the own identity. Dubravskys ultimate fetish is the bunny-mask, which he applies to a variety of portrayed persons, integrating them this way into his own world, which is dominated by the principle of pleasure and pain. Inspired by the myths of gay subculture, his playful bunny-dreaming transcends into a personal symbol, that makes each of his paintings complete. Becoming increasingly dominant, it takes a central position in the artists self-projection process, which transforms each of his paintings into a sort of self-portrait. J IRI S V E S TK A G A L L E RY A N D J I R I SVEST KA B ER L I N The Jiri Svestka Gallery was established in 1995 by the art historian and curator Jiri Svestka, becoming the leading gallery in the Czech Republic. Its mission in Prague is to introduce young Czech, Slovak and East European artists to the international audience. The Jiri Svestka Gallery is acting at the edge of the art world and does pioneering work on this field, not only in the Czech Republic, but also in the larger region of Central and Eastern Europe. Besides exhibitions, the gallery also organizes performances, lectures and discussions with artists. This program contributes to the development of art and the art market in this region. Therefore the profile of the gallery is not only concentrated on young artists, but also, especially in the case of foreign artists, on the older generation. In September 2009 a new branch, Jiri Svestka Berlin, opened in the thriving gallery district on Potsdamer Strasse. Jiri Svestka Berlin also focuses on Centre- and Eastern European artists. Here we are picking up new discoveries as well as historic positions from the beginning of the 20th century.
R EPR E S E N T E D AR T IST S Stefan Wengen Adela Babanova Petra Feriancova Dan Graham Jitka Hanzlova Kristof Kintera Petra Mala Miller Ioana Nemes Marketa Othova Katarina Poliacikova
COV E R Andrej Dubravsky Murky Wood (detail) 2012 Acrylic and oil on canvas 190 130 cm INS I D E Andrej Dubravsky Four (detail) 2011 Acrylic on canvas 190 130 cm LEFT Andrej Dubravsky Carnival 98 (detail) 2012 Acrylic on canvas 190 103 cm R IGH T Andrej Dubravsky Diet 2012 Acrylic on canvas 100 80 cm
F RE DERIEKE TAYLOR GALLERY, NE W Y O R K
RAQUEL MAULWURF
FRED ERI EK E TAYLOR: RAQUEL MAULWURF

WEBS I T E www.frederieketaylorgallery.com E- M A I L info @ frederieketaylorgallery.com PHO N E +1 646 230 0992 CEL L +1 917 402 4881 CONTA C T N A M E Frederieke Taylor
While Raquel Maulwurfs previous work dealt with the remnants and destruction of war, her new work captures our worlds chaos when hit by the forces of nature and ecological disasters; exploring the notion of whether nature is striking back at us for polluting its oceans, poisoning its air, burning down forests and turning the ground we walk on into radioactive wasteland. Making something evocative and beautiful from horrific events, these images, both destructive and monumental, are manipulated in such a way that only the essence of the event remains. The drawings no longer show what we see, but that which we know, making current events tangible, posing the question of why mankind is so eager to destroy. Drawing on thicker board allows the artist to brutalize the surface with sharp objects; depicting violence through violence by scratching, the artist is materializing destruction in both subject and process. BIO Raquel Maulwurf (b.1975, Madrid) lives and works in Amsterdam, The Netherlands. She studied at the Art Academy of Arnhem and the SAE International Technology College Amsterdam (multimedia). The artist has had a major solo exhibition with catalog at The Stedelijk Museum Schiedam in Holland. Her works have also been included in numerous international group museum exhibitions including Museo del Sannio Rocca dei Rettori, Italy, Muse dArt Moderne et dArt Contemporain, Belgium, Lahti Art Museum, Finland and the CODA Museum in Holland. The artists works are included in prominent public collections including: the Gemeentemuseum The Hague, the Prefectural Art Museum Nagasaki, Bonnefanten Museum Maastricht, Stedelijk Museum Schiedam, Museum van Bommel van Dam Venlo, Ministry of Foreign Affairs The Hague: Consulate-General New York, Erasmus University Rotterdam Art Collection and Progressive Art Collection, Columbus, Ohio. Her work is included in many private collections both in the United States and Europe.
R EPR E S E N T E D AR T IST S Antenna Design Olive Ayhens Long-Bin Chen Mel Chin [dNASAb] Jackie Ferrara Julie Langsam Mary Lum Kirsten Nelson Christy Rupp
COV E R Raquel Maulwurf Black sea II (detail) 2011 Charcoal/pastel on museum board 153 263 cm / 60,2 103,5 inch Photography: Bill Orcutt INS I D E Raquel Maulwurf Burning IX 2011 Charcoal/pastel on museum board 153 264 cm / 60,2 103,9 inch Photography: Peter Cox R IGH T Raquel Maulwurf Into the Trees / Schlacht im Hrtgenwald 1944 1945 2009 Site-specific wall drawing in charcoal on five walls at Frederieke Taylor Gallery, New York Dimensions variable Photography: Bill Orcutt
KERSTIN DRECHSEL
VANE, NEWCAS TL E U P O N TY NE
VA N E: K ERSTI N D R EC HSEL
WEBS I T E www.vane.org.uk E- M A I L info @ vane.org.uk PHO N E +44 191 261 8281 CEL L +44 771 309 7852 CONTA C T N A M ES Paul Stone Christopher Yeats
Kerstin Drechsels investigation of everyday culture, artistic production and individual taste is orientated towards the rhythms of popular music, film and daily occurrences. From transvestites to sex club devotees, office workers to nuclear protestors, Drechsel captures intimate personal moments, of individuals or sub-culture groups expressing or identifying themselves through their clandestine rituals or in the specific environments they create around themselves. Drechsel depicts her subjects everyday lives in all their oppressive reality, a reality that poignantly underlies their obsessions and aspirations. Often working on series of several oil canvases and gouaches at a time, her work draws on images taken from the internet, magazines and books, as well as her own snapshots, all presented in a pale, colourful, fluid style, transforming them into an archive of constantly recycled wishes, dreams and memories. Captured and adopted motifs combine in her paintings with the vague promises of desire, fulfilment and adventure. The characters in Drechsels paintingsoften of ambiguous sexual identity, denying the obvious pigeon-holing of gender stereotypesare not looking for their next kick, but rather devote themselves, totally self-absorbed, to their pleasures and passions. Kerstin Drechsel was born in Reinbek, Germany, in 1966, and lives in Berlin. Solo exhibitions include If you close the door , Vane, Newcastle (2012) and September, Berlin (2010), Jan-Holger , Vane, Newcastle (2008), and Mittelerde , September, Berlin (2007). Recent group exhibitions include those at Museo Internacional de Arte Contemporneo, Lanzarote, Contemporary Art Society, London, Museum Ludwig, Cologne, and Cit Internationale des Arts, Paris. Heat Storage Systems, a monograph of the artists work with texts by Birgit Effinger, Jack Halberstam, Angela McRobbie, Jutta von Zitzewitz, and a forward by Dieta Sixt, was recently published by Hatje-Cantz.
R EPR E S E N T E D AR T IST S Hctor Arce-Espasas Jorn Ebner Mark Joshua Epstein Nick Fox Nadia Hebson Jock Mooney Michael Mulvihill Josu Pellot Morten Schelde Flora Whiteley
COV E R Kerstin Drechsel If you close the door series Installation view INS I D E Kerstin Drechsel Untitled, from If you close the door series 2008 10 Oil on canvas 8,7 12 inch R IGH T Kerstin Drechsel Nein, from Daily Vol. 3 series 2011 Gouache and watercolour on paper 9,5 12,6 inch
MINDAUGAS LUKOAITIS
GALER IJA VAR TA I, VILNIU S
G A LERI J A VA RTA I : MINDAUGAS LUKOAITIS

WEBS I T E www.galerijavartai.lt E- M A I L galerija @ galerijavartai.lt PHO N E +37 052 122 949 CEL L +37 061 244 472 CONTA C T N A M ES Laura Rutkut Salvinija Kirvaitien
Mindaugas Lukoaitis invites the viewer to take an in-depth look at certain aspects of imagery, tendencies of human imagination, and strives to promote a responsible outlook on history. This investigation of visual constructs underscores a difficult yet well known topic. He uses a sketch-like manner in his drawings: the strokes are free and swift, yet acutely precise. His works are vibrant and energetic. Without any direct reference to archival material or photographs that would illustrate the topic, Lukoaitis substitutes documentary history with his own imagination. Ever since I was a child I was fascinated with the dream-like qualities of drawing. Through drawing I aim to discover the world in relation to myself, as opposed to escaping the reality or looking for external fulfilment. For me drawing is comparative to meditation, a conversation or a dialogue. (M.L.) Born in iauliai, Lithuania, in 1980, Mindaugas Lukoaitis lives and works in Vilnius.
R EPR E S E N T E D AR T IST S Ray Bartkus Jurga Barilait Laura Garbtien Ugnius Gelguda ilvinas Kempinas ilvinas Landzbergas Domas Noreika Kaido Ole Andrius Zakarauskas
S E L E CTE D E XHIBITIO NS So Paulo 26th Biennale (2004); Baltic Triennial of International Art, Vilnius (2005, 2009); Louisiana Museum of Modern Art, Humlebk, Denmark (2005, 2011); Contemporary Art Centre (CA C), Vilnius (2003, 2005, 2009, 2010); Kalmar Konstmuseum, Sweden (2007); IBID Projects, Vilnius/London (2005, 2007); Galerie Rdiger Schttle, Munich (2006); Galerie Fons Welters, Amsterdam; Frankfurter Kunstverein; Stedelijk Museum Amsterdam; The Museum of Contemporary Art, Oslo (2005); BA K , Utrecht; Centraal Museum, Utrecht; Cultuurcentrum Strombeek Grimbergen, Belgium (2004); Biennale for Young Art, Moscow (2003). S E L E CTE D BIBL IO G RA P HY 2 Show, CA C, Vilnius and Contemporary Art Museum, Riga (2003); Hajo Schiff: Geschichte der Ausstellung und Thesen des Kurators, Kunstforum (2004); VI TAM I N DNew Perspectives in Drawing, Phaidon (2005); Urban Stories The X Baltic Triennial of International Art, CA C, Vilnius (2009); Lithuanian Art 2000 2010: Ten Years, CA C, Vilnius (2010).
COV E R Mindaugas Lukoaitis House 2007 Pencil on paper 34 24 inch / 86 61 cm INS I D E Mindaugas Lukoaitis Object of Modern Art 2011 Pencil on paper 8,3 11,4 inch / 21 29 cm R IGH T Mindaugas Lukoaitis Body 2006 Pencil on paper 14,6 22 inch / 37 56 cm
VIGO GALLE R Y, LO ND O N
NEAL TAIT
VI GO GA LLERY: N EAL TAIT

WEBS I T E www.vigogallery.com E- M A I L info @ vigogallery.com PHO N E +44 207 491 1490 CONTA C T N A M E Toby Clarke
In Neal Taits paintings, images of everyday objects such as a piece of furniture or a birdhouse, are combined with ambiguous, embryonic forms that join together the uneasy space between physical reality and the subconscious mind. The result is an almost familiar world with an eerie dreamlike quality that impresses its unnerving mood upon the viewer. Taits works are based on found materials, photographs and images from the media which he distorts through the manipulation of scale and colour. He strips away the original meaning from these commonplace objects and figures, and mutates them into pure, self-contained forms. Influences include Philipp Otto Runge, Fernand Lger, and the psychoanalytical developments of Henri Michaux and Andr Breton. Tait was born in Edinburgh in 1965 and graduated from the Chelsea School of Art, and the Royal College of Art. Major solo exhibitions include Les Toits de Parise, White Cube (London, 2009) and Neal Tait: The Dressmaker Who Lived on The Outskirts, Tanya Bonakdar Gallery (New York, 2008). In 2009, Taits paintings formed part of the Turps Banana group shows at the Galleria Marabini in Bologna and Milan. More recently, his works were included in Tate Britains seminal Watercolour exhibition (London, 2011), alongside examples by J.M.W. Turner, Anish Kapoor and Tracey Emin. He is represented in numerous public and private collections, including the Zabludowicz Collection and the Kunsthalle Mannheim in Germany. V IG O G A L L E RY Vigo Gallery was formed in 2011 by art dealer Thomas Williams and former FAS Contemporary director Toby Clarke. Since its opening, the gallery has exhibited EnFace by Gavin Turk; new work by Leonardo Drew, winner of this years Joyce Alexander Wein Prize; and The Whole Earth by acclaimed collaborative artists Emma Biggs and Matthew Collings. An innovative series of shows is scheduled for 2012, including California!: Bay Area Artists from the 1960s and 70s, and a unique exhibition of paintings by Jason Martin hung alongside the works of Lucio Fontana, in the early autumn.
R EPR E S E N T E D AR T IST S Lars Elling Henry Krokatsis Che Lovelace Oliver Marsden Zak Ov Biggs and Collings Heywood and Condie
COV E R Neal Tait Untitled 2011 Oil on linen 122 112 cm / 48 44 inch INS I D E Neal Tait The way we try to do good, gone bad 2009 2011 Tempera and acrylic on canvas 122 162 cm / 48 63 inch
ALEJANDRA VON HAR TZ GALLE R Y, MIA MI
DAVID E. PETERSON
A LEJ A N D RA V ON HARTZ: DAVID E. PETERSON

WEBS I T E www.alejandravonhartz.net E- M A I L info @ alejandravonhartz.net PHO N E +1 305 438 0220 CEL L +1 305 322 6112 +1 305 333 5376 CONTA C T N A M ES Alejandra von Hartz Juan von Hartz
David E. Peterson (b. 1979 USA) is an abstract rule-based painter whose subject matter is informed by Product / Graphic Design and Modern Architecture. He creates a new system of rules for the subject based on a first observation. Through creative deconstruction, he analyzes the aesthetics of the original piece and reconstructs them into a new composition. The end result is a precise Art Object with its own system of rules. Order is the central imperative in David E. Petersons art. His system of rules challenges the theory of entropy. His goal is that of non-entropy, completing every artistic task with 100% accuracy. Petersons treatment of color follows suit. Although he uses a full range of color in his work, each is purposely pursued and pre-determined so as to know how it will react with the others, before mixed and applied to the surface. Peterson has exhibited his work throughout the United States and Europe. His work is included in the collections of the Museum of New Art (Detroit), Progressive Art Collection, The Related Group, amongst others. His work has been profiled on Forbes.com, CNN, and the Detroit Free Press. David holds a B FA from the Center for Creative Studies in Detroit, M I . For his Solo Project at V O LTA N Y 2012, David will be exhibiting work from both his Product and Puzzle Series.
R EPR E S E N T E D AR T IST S Soledad Arias Marta Chilindron Matthew Deleget Danilo Dueas Jaime Gili Silvana Lacarra Artur Lescher Karina Peisajovich Pablo Siquier Ana Tiscornia
COV E R David E. Peterson Plaid (Winter and Summer) Left panel 2012 Acrylic, mdf and uv resin 38 58 3 inch INS I D E David E. Peterson Jcrew Installation, Plaid (Winter and Summer), and Sock Table Installation view (sketch) R IGH T David E. Peterson Puzzle #9 2009 Acrylic, mdf, birch and uv resin (1) 5 7 2 inch (2) 5 20 2 inch
GALLERI JAN WALLMAR K, S TO C KHO LM
MATS PEHRSON
G A LLERI J A N WA L LMARK: MATS PEHRSON

WEBS I T E www.janwallmark.se E- M A I L info @ janwallmark.se PHO N E +46 82 20 922 CEL L +46 707 141 810 CONTA C T N A M E Jan Wallmark
CO NTE M P L ATIO N We live in a time with great uncertainty, in our politics, our economic policies and relations with countries around the globe. What will the future bring? In this new series of paintings Mats Pehrson depicts people, contemplating in empty surroundings, alienated. In an anonymous environment, together but disconnected, there is the one common denominatortheir shadowthe inseparable companion. His photographs of urban settings have been reduced in scale and erased of any reminder of city life. Replaced with painterly minimalistic settings, an unpredictable future. Part poet, part journalist, Mats Pehrson looks at the world with an eye towards lifes contradictions. While he can paint sublimely lovely scenes, he sets out instead to capture the tensions that teem all around us. His talent as a painter imbues his works with a lush fullness and rich color tonality. And Pehrsons understanding of pictorial space allows him to produce a striking sense of depth. While Pehrson may have strong social views, these are not message paintings; they are more riddles than aphorisms. This lack of resolve is by design. By granting room for individual interpretation, Pehrson seeks to provide viewers with the opportunity to deepen their response to a given subject. Seducing with cinematic splendor and painterly delight, Pehrson lures us towards a new appreciation of lifes complexity. His paintings remind us that experience itself is a collage of shifting fragments, held together by our own sense of beauty and order. Suzanne Ramljak is an art historian, writer, and curator.
R EPR E S E N T E D AR T IST S Caroline Af Ugglas Lisbeth Boholm Torbjorn Calvero Robert Hilmersson Pia Lindenbaum Anders Wallin
COV E R Mats Pehrson CONTEMPLATION 1 2011 Mixed media 10 16 inch / 25 40 cm INS I D E Mats Pehrson CONTEMPLATION 8 2011 Mixed media 10 16 inch / 25 40 cm R IGH T Mats Pehrson CONTEMPLATION 4 2011 Mixed media 10 16 inch / 25 40 cm
Mats Pehrson lives and works both in New York City (studio in the Financial District, Manhattan) and in Stockholm, Sweden. Having exhibited heavily in Sweden, Pehrson is making an effort to show more of his work in the United States, as he has been inspired by New York City for more than 20 years.
WH ATIFTHEWORLD / GALLER Y, C A P E TO WN
ROWAN SMITH
WH ATI FTH EWORLD / GALLERY: ROWAN SMITH

WEBS I T E www.whatiftheworld.com E- M A I L info @ whatiftheworld.com PHO N E +27 21 802 3111 CEL L +27 76 422 2387 CONTA C T N A M ES Ashleigh McLean Justin Rhodes
Rowan Smith (b. 1983, Cape Town, South Africa) completed his BA in Fine Art at the Michaelis School of Fine Art in 2007, with a body of work for which he was named the top graduate. He has most recently shown in Circulate, Exchange at the University of California Los Angeles. In 2008, Smith presented his debut solo show Future Shock Lost at Whatiftheworld to both critical and public acclaim. The artist was hailed as one of the countrys Bright Young Things in the continents leading art publication Art South Africa. In 2009, Smith presented his second solo show, If You Get Far Enough Away, Youll Be On Your Way Home. He is currently completing his MFA degree at the California Institute of the Arts. P O S T CU LTU RE A ND P E RP ET UAL T O UR I SM South Africas emergence from Apartheid in 1994 occurred in parallel to the digital revolution and the ubiquity of Internet culture. While this observation relies heavily on the economic constraints of any particular context, this digital meme as an ideology or modality far precedes the actual technology. Predominant symptoms of Internet culture and the digital age are the high-speed transfer of information and the shrinking of space. Often referred to under the blanket of globalization, this new set of cultural terms has given rise to the stretching out and thinning of cultural experience, and ultimately the disappearance of subculturesat least in the Hebdigien sense. Within a South African context, the simultaneous fall of Apartheid and rise of the Internet age has created a space within which the terms of culture and identity are in a constant state of redefinition. In his new body of work, Smith argues that this new set of cultural conditions forces one to experience culture in a state of perpetual tourism, like Lucy Lippard describes the tourists characteristics through seduction and hyperbole. Smiths work approaches cultural experience and the movement of cultural signs through a centre-periphery and import-export relationship, in an attempt to renegotiate the terms of cultural space.
R EPR E S E N T E D AR T IST S Julia Rosa Clark Peter Eastman Pierre Fouch Dan Halter Trasi Henen Daniella Mooney Andrzej Nowicki Cameron Platter Athi-Patra Ruga Michael Taylor
COV E R Rowan Smith Destroy All Speakers / DubulIbunu (Ayesaba Amagwala) Version 2012 8" speakers, wood, paper, amplifier, sound recording Dimensions variable INS I D E Rowan Smith Ad Inexplorata 2009 Cane, imbuia, walnut jelutong and acrylic on board Dimensions variable R IGH T Rowan Smith The Thrill of it All / Little Lies / The Misunderstanding 2011 Star Piano Co. upright piano 30,3 29,9 14,6 inch
ANDREW MASULLO
STEVEN ZEVITAS GALLE R Y, B O S TO N
STEV EN Z EV I TA S GALLERY: ANDREW MASULLO

WEBS I T E www.stevenzevitasgallery.com E- M A I L info @ stevenzevitasgallery.com PHO N E +1 617 778 5265 CEL L +1 617 834 8674 CONTA C T N A M ES Steven Zevitas Andrew Katz
If any trend is now detectable in the constantly shifting world of contemporary art, it is the resurgence of abstract painting. For nearly three decades, Andrew Masullo has ignored art world trends and produced a highly personal body of work that seems more relevant than ever. In a way, it seems as if the art world has finally caught up with him. Masullos hard-won paintings are notable for both their intimate scale and sophisticated use of color and composition. They are formed by what Masullo calls good, old-fashioned trial and error, making mistakes and figuring things out along the way. This way of working leaves some paintings unfinished for months or even years, with abandoned directions often visible in completed pieces. In his own words: Ive done my best to make paintings with no preconceived ideas or theories, no personal or outside references, no pictorial imagery, no agendas, and no gimmicks. Andrew Masullos paintings are currently on view in the Biennial at the Whitney Museum of American Art. His most recent solo shows have been at Steven Zevitas Gallery in Boston; Feature, Inc. in New York City; Daniel Weinberg Gallery in Los Angeles; Gallery Paule Anglim in San Francisco; and Texas Gallery in Houston. In 2011 he participated in twelve group exhibitions, including shows at Mitchell-Innes & Nash and Friedrich Petzel Gallery in New York City, and Rhona Hoffman Gallery in Chicago. In 2011 he was awarded a Fellowship from the John Simon Guggenheim Memorial Foundation.
R EPR E S E N T E D AR T IST S Chris Ballantyne Astrid Bowlby Michael Krueger David X. Levine Peter Opheim Jered Sprecher Taravat Talepasand Ann Toebbe Chuck Webster
COV E R Andrew Masullo 5014 (detail) 2008 Oil on canvas 16 20 inch INS I D E Andrew Masullo Gallery Installation 2011 Steven Zevitas Gallery, Boston, M A LEFT Andrew Masullo 5239 2010 Oil on canvas 16 20 inch R IGH T Andrew Masullo 5266 2010 11 Oil on canvas 24 20 inch
GALERIE ZIMMERMANN KR ATOCHWILL, G R A Z
MARTIN KRENN
VOLTA NY 2012 | BO OT H NU MBE R B 2
Z I MM ERMA N N K RATOC HWILL: MARTIN KRENN

WEBS I T E www.zimmermann-kratochwill.com E- M A I L office @ zimmermann-kratochwill. com PHO N E +43 316 823 7540 CEL L +43 664 356 7788 CONTA C T N A M ES Karl Zimmermann Rudolf Kratochwill
Martin Krenns work Memory in (Post-) Totalitarianism is a photographic journey to various places of history. By virtue of monuments and cenotaphs, archives, museums and memorials in Germany, Romania and Austria the evolution and alternation of the representation of history is scrutinized. Furthermore, the significance of memorials, films and historical novels within the creation of a collective and cultural memory is analyzed. Over a one-and-a-half year long research period, the artist visits official and unofficial memorials and examines the various strategies of presentation and intermediation of history. Krenn avoids the equalization of crimes in the totalitarian communistic past and in fascism as well as Nazism. He investigates the dissimilarities and analogies and deals with the intermediation of fascistic history in communistic and post-communistic societies. Krenn is interested in the aftermaths of political ideologies on subsequent generations and the influence of a totalitarian past in the formation of new political territories. In his 3-channel-audio-slide-projection Memory in (Post-) Totalitarianism, Martin Krenn incorporates film stills, book illustrations and screenshots and combines those with analog on-site photographs. The dialogues, spoken by actors, are based on interviews conducted with experts. Range and succession of photographs and texts build up a new narrative. By means of this meta-narrative the artistic approach, the artists position as interviewer and observer as well as complex history-politics of former political regimes are visualized. The image-text-reference is continued in the photographic part of the project. The black and white photographs are expanded with text-shields to direct the viewer at hidden or invisible information, immanent in the venue. Martin Krenn was born in Vienna in 1970 and currently lives and works in Vienna and Belfast. He works with different media such as photography, video and internet. In his work Martin Krenn examines and discusses sociopolitical topics.
R EPR E S E N T E D AR T IST S Poklong Anading Lena Cobangbang Gaston Damag Sofia Goscinski David Griggs Robert Langenegger Otto Muehl Hermann Nitsch Jayson Oliveria Isa Rosenberger
COV E R Martin Krenn Securitate Archives, Files Popesti-Leordeni (detail) 2010/2011 Black and white photography on paper, textshield 102 136 cm Edition: 3 INS I D E Martin Krenn Memory in (Post-) Totalitarianism Projection still, Buchenwald Memorial 2010/2011 3-channel-audio-slide installation, 27 min Edition: 3 R IGH T Martin Krenn Securitate Archives, Files Popesti-Leordeni 2010/2011 Black and white photography on paper, textshield 102 136 cm Edition: 3
ART/TREK NYC
VOLTA N Y 2012 | B OOT H NU MB ER P 5
A RT/TREK N YC
E- M A I L cjf@ tenspacesmedia.com PHO N E +1 212 929 8600 CONTA C T N A M E CJ Follini
Hanna Chung Matt Held Yeji Jun Elektra KB Lauren Matsumoto Jazz-minh MooreMoore Melissa Murray Melodie Provenzano Randal Wilcox Amy Wilson
Art/Trek NYC is a five borough quest to discover emerging artists in the new cable T V series premiering on N Y C Life (Channel 25). Traveling in the shows signature mobile art gallerya converted mobile home, nicknamed ArtVhost C J Follini is joined by an art world luminary from each borough serving as guest hosts as they meet artists hopeful of breaking into New York Citys competitive art scene. Each artist creates an impromptu show in the ArtV and invites neighbors to view the work and share their opinions on camera. One of the five artists will be selected during a live filming at VOLTA NY 2012 to have their first ever solo gallery show under written by the shows sponsor (described below) in the season finale. Each of our Season One artists are stand outs in their mediums. Staten Island features photographer Nicholas Fevelo. Bronx artist Christopher Smith takes on multimedia projects with paint, video, and found objects. Photographer Allison Kaufman resides in Manhattan. Brooklyn brings us performing and video artist Edoheart. Meanwhile, installation duo Peacock, Chris Attenborough and Sean Naftel, hatch their plans in Queens. Art/Trek NYC is brought to you by WelcometoCOMPANY.com, an online and offline community created for collectors, by collectors of emerging art. Our network provides art enthusiasts with a one-stop home to satisfy their obsession. This includes: the Art/Trek NYC TV-show; a website to network & curated secondary market; and monthly members-only meetups known as The Collector Series. WelcometoC O M PA N Y.com prides itself in discovering fresh, engaging artists, and sharing those artists with its members through multiple platforms such Art/Trek N Y C and Limited Edition prints. Welcome to C O M PAN Y !
COV E R Art/Trek NYC INS I D E Randal Wilcox Self-Portrait as a Pair of Art-Collectors 2011 Water Color, Graphite, and Acrylic on Paper 18 24 inch / 45 61 cm R IGH T Art/Trek NYC Featured Artists and Co-Hosts
ARTSPACE.COM
NE W Y O R K
A RTSPA CE.COM
WEBS I T E www.artspace.com E- M A I L chrisvroom @ artspace.com PHO N E +1 212 675 5804 CONTA C T N A M E Christopher Vroom
Artspace is the premier online marketplace for contemporary art, offering collectors and aspiring collectors the opportunity to discover, learn about and collect art by top contemporary artists from the worlds leading museums, cultural institutions, galleries and, directly from artists studios. Membership to Artspace is free, prices start at $200 and every sale of artwork on the site supports an artist, cultural institution or non-profit organization. For more information, visit Artspace.com. A S S U M E V IV ID A S TRO F O C US assume vivid astro focus (avaf) is an artist duo made up of Eli Sudbrack and Christophe Hamaide Pierson. Born in different parts of the world, sometime between the 20th and 21st centuries, the pair are nomads. Their explosive works are a chaotic, visually stimulating mash-up of references and have been exhibited at numerous international venues including the 2004 Whitney Biennial, the 2008 So Paulo Art Biennial, Deitch Projects in New York, and the Hiromi Yoshii Gallery in Tokyo, Japan. They are in the permanent collection of the Museum of Modern Art, New York. In just the last year, avaf was featured on the PB S series Art 21, produced a series of paintings and installations for Commes des Garons, designed the facade and interior of the Galeria Melissa store in So Paulo, and worked with Lady Gaga to create the very original and eccentric Gagas Holiday Workshop at Barneys New York. P E TE R D O IG Peter Doigs paintings capture moments of the everyday with a dream-like tranquility altered through the use of staining, dripping, stippling, and a vibrant range of electric, almost hallucinatory, colors. The artist began showing in pubs and bars in England in the early 1980s, catching the eye of mega-collector Charles Saatchi. In 1984, an exhibition of paintings held at Victoria Miro Gallery was short-listed for the prestigious Turner Prize. A major retrospective of Doigs work was presented by Tate Britain in 2008. S TE V E M IL L E R Miller is an artist whose knowledge of visual culture and technology allows him to create works that are both densely intellectual and aesthetically beautiful. Trained by silkscreen printers who worked with Andy Warhol, and inspired by artists like Robert Rauschenberg who boldly mixed imagery in his work, Millers photographs and paintings are uniquely wrought examinations of the systems that constitute our world.
COV E R assume vivid astro focus amour vivacit ardeur fantaisie 2011 Print 12 17 inch 12 40 inch INS I D E assume vivid astro focus annoyingly vulgar? amorously fatal? 2011 Print 12 17 inch 12 40 inch LEFT Peter Doig Untitled 2011 Print 29,3 23,2 inch R IGH T Steve Miller Law of the Jungle 2011 Photograph 12 17 inch
CULTURE SHOCK
NE W Y O R K
BOOM!: BOOMBOXES, IPADS, AUDIOVISUAL INTERFACES

WEBS I T E www.cultureshockny.com E- M A I L debra @ cultureshockny.com PHO N E +1 347 463 9023 CEL L +1 917 363 6027 CONTA C T N A M E Debra Anderson
Culture Shock presents BO OM ! , a good old-fashioned celebration of technology, creativity, physicality, and art. When input/output jacks were incorporated into boomboxes, allowing for the coupling of devices such as microphones and turntables, an explosion of creativity occurred. New forms of dance emerged, new forms of music, as cultural experimentation was taken to the streets. This installation pays homage to that energy. BO O M ! features Boomboxes from the personal collection of Lyle Owerko, Generative Animation iPad apps from Glenn Marshall, audio interfaces curated by Dave Hodge, and dance performances by Victor Kid Glyde Alicea and Melanie Aguirre. Innovation happens when things that are separated get mixed. V O LTA NY patrons are encouraged to touch the iPads, create with us, interact, smile, dance and be happy. Exactly when the term boombox hit the streets is not known for sure. In the United States, department stores apparently began using the term in marketing and advertising as early as 1983. Street slang linguists pin the term down at 1981, and define the boombox as a large portable radio and tape player with two attached speakers. Initially, it became identified with certain segments of urban society, hence the nicknames like ghetto blaster and beat box. And due to their size and relative portability, as the general public began to embrace these gargantuan creations of electronics, lights, and chrome-plated gadgetry, a new form of expression was born. by Lyle Owerko
EXHI B I T E D A R T IS T S Lyle Owerko Glenn Marshall Dave Hodge PERF O R M I N G AR T IST S Victor Kid Glyde Alicea Melanie Aguirre
COV E R ( TO P IMA G E) Glenn Marshall iPad art 2009 Digital media COV E R ( B O TT O M IMA G E) Lyle Owerko JVC RC-M70 2009 Photograph c/o CLIC Gallery NY
Culture Shock is a New York City-based media consultancy for creative industries. We are recognized for strategic and creative approaches to content creation, art curation, marketing, brand development and positioning in global, digital and local markets. LYL E O W E RK O Lyle Owerko is a photographer and filmmaker. Known for his perception and knowledge of urban movements, his instinctually crafted visual images have found an incredible place in the lexicon of popular culture, fine art and journalism. G L E NN M A RS HA L L Glenn Marshalls distinct style of abstract computer animation blends modern art, eastern mysticism, mathematics, nature and science. Glenn is a strong advocate of the digital artists necessity to be both artist and programmer. D AV E HO D G E Dave Hodge is an award-winning musician, music producer, composer and sound designer. Hes performed with some of the most critically acclaimed acts around the globe, including Basement Jaxx, Bran Van 3000, Macy Gray, Broken Social Scene, Feist and Brazilian Girls. V ICTO R K ID G LYD E A L IC E A Head of acclaimed NYC b-boy crew The Dynamic Rockers, Kid Glyde has appeared in numerous dance movies and won several prestigious b-boy titles. M E L A NIE A G U IRRE A native New Yorker, Malanie has been dancing since the age of 3, and brings a lifetime of artistic creativity and experience to the worlds of dance, film, & music.
GALLERIST
NE W Y O R K
G A LLERI ST
INNO VATING THE A R T E XP ER I E N C E Gallerist is an unique, interactive art platform that unifies the global art community from artists and dealers to galleries and collectors. U NITING CRE ATO RS , CO L L E C T O R S, AN D EVERY O N E I N - B E T WE E N Galleries Expand your reach with our world-class online experience. Manage your artist and client relationships, hold private appointments, and conduct sales anywhere in the world. Easily manage inventory on your iPad and select what you want to share with collectors and public buyers. Art Consultants & Private Dealers Securely manage your portfolio with a simple interface, and create custom private galleries for key clients. Provide guidance and insight from anywhere in the world. Collectors Art, information, and expertise from renowned specialists is just a click away. Browse the latest exhibitions, access show previews, and even try pieces in your home. When youre ready, interact with a dealer. From discovery to delivery, portfolio management has never been easier. Artists In partnership with your gallery, exhibit in a cutting-edge virtual gallery with stunning detail and scale and share your vision and inspiration with collectors. Art Shows Share your exhibition and invite visitors through a comprehensive portfolio featuring our intuitive, eye-catching platform. V IR TU A L IZING V O LTA ( A ND SH AR I N G I T WI T H T H E WO R L D) Gallerist is bringing the Volta experience to collectors all over the world via our Beta platform. Invitees enjoy a sample of the Gallerist experience through a show preview and can interact with participating galleries for more information and purchase options. Visit Voltas online exhibition until March 21. U P G RA D ING YO U R A CCE SS Discover more about Gallerist as we unveil select global art events. Gallerist Volta invitees who register will receive a complimentary 3-week pass to view the show online, and VIP invitations to future Gallerist openings and events. W HY W E O P E N O U R D O O R S We strive to envelop the world in art, and to make the experience memorable. We believe that technology is at the forefront of the art business evolution, and, with the growth of the art community in mind, we have worked to create a trusted, cosmopolitan art destination. Founded by a passionate group of private collectors and technology innovators, we believe in the development of meaningful relationships. While Gallerist is not yet open to the public, we encourage you to contact us at info@gallerist.com to explore partnership opportunities and learn more about our platform. We also believe that creating a community means empowering individual members to shape its development. If you have thoughts on how Gallerist can further enhance your art experience, please send a note to experience@gallerist.com.
THE HOMEBASE PROJECT
NEW YORK / B ER LIN / JE R U S A LE M
TH E H OM EBA SE PROJEC T
WEBS I T E www.homebaseproject.org www.ignatzbier. homebaseproject.org E- M A I L info @ homebaseproject.org PHO N E +1 917 714 1350 CONTA C T N A M ES Anat Litwin Bas Kools Mauricio Lizarazo
The HomeBase Project is a site-specific residency and research program, exploring the notion of home. Operating in the intersection of contemporary art and social change, HomeBase seeks to foster interconnectedness in society while experimenting in meaningful urban living. Each year HomeBase transforms vacant urban sites in neighborhoods undergoing change, into temporary multi-diciplinary homes which nurture outstanding artistic exploration, community cultivation, cross-cultural dialogue and educationoffered free and open to the public. The driving force behind the project is a growing group of outstanding international artists and social entrepreneurs, who reflect on home as the foundation of humanity and pursue a vision for a healthier society. The HomeBase Project was founded in N Y C in 2006 by artist and curator Anat Litwin as a nomadic, non-for-profit, artist-run innitiative. It has since traveled to five locations in NYC and Berlin in collaboration with over sixty international artists, acknowledged at volta 2009 as a New Model for Public Art and featured in notable venues and publications such as the New York Times, and Jerry Saltz Pick of the Week in the New Yorker Magazine. We are now establishing the HomeBase L AB the headquarters for HomeBase in Berlinand building our next project, HomeBase VI , marked for 2012 in Jerusalem. We are proud to launch at V O LTA N Y C our international art service and products a direct manifestation of our projects. A BO U T IG NATZ BIE R O U R # 1 PR O DUC T Ignatz Bier is a artisan craft pilsner, brewed by HomeBase artists, beer lovers, neighbors and social entrepreneurs at the historic Engelhardt Brewery, located at Thulestrasse 54, Pankow Berlin. Our beer was named after the first landlord of the buildingHerr Ignatz Nacher, a German-Jewish merchant, beer maker, director and main shareholder of the Engelhardt brewery. Nacher transformed Engelhardt brewery into one of the most successful breweries in Germany before it was taken over in the 1930s by the Third Reich, in what became one of the biggest cases of Nazi expropriation. Exactly 105 years after Ignatz Nacher launched the first Engelhardt Pilsner on site, HomeBase Project conducted together with the neighbors, an artistic resurrection of the breweryre apropriating the building into the HomeBase L AB an artistic residency and research center exploring the notion of home. The boutique bottles of Ignatz Bier carry a message of interconnectedness in society and function as a vehicle for realizing our vision. We are proud to offer to our supporters a unique collectors item: 99 limited signed editions of original Ignatz Bier, brewed on site on the historical dateMarch 5th, 2012, at the HomeBase L A B. Prost, Salute & Lechaim!
EXHI B I T E D P RO JECT USA Launch of Ignatz Bier The HomeBase Project Art Service & Products
COV E R HomeBase Project logo & mission statement INS I D E March 5th 1907 March 5th 2012 Re-staging of the historic Engelhardt photograph and celebrating the launch of Ignatz Biera community based product created by HomeBase artists, beer lovers and neighbors at the HomeBase LAB, Berlin.
Original Photograph: Launch of Engelhardt Pilsner under the management of Ignatz Nacher, March 5th, 1907, at the Engelhardt Brewery located Thulestrasse 54, Berlin, Photographed by Waldemar Titzenthaler.
* Other Products at the HomeBase booth: A limited edition of the re-staged Ignatz Bier Photographs, Prints, KunstKompost & more
NURTUREART
NE W Y O R K
N U RTU REA RT: D AVID SC HOERNER

WEBS I T E www.nurtureart.org E- M A I L gallery @ nurtureart.org PHO N E +1 718 782 7755 CEL L +1 646 549 1761 CONTA C T N A M E Marco Antonini
COV E R David Schoerner Montauk (detail) 2010 Digital C-Print 30 36,5 inch INS I D E David Schoerner Portrait of a Woman 2011 Digital C-Print 30 36,5 inch R IGH T David Schoerner August 1, 2006 5:51:37 PM (detail) 2011 Polaroid 4 5 inch (8 9 inch framed)
In his photographic work, David Schoerner develops conceptual and thematic threads that connect apparently disparate images. Each work stands out on its own while also being part of slightly suggested and sparsely detailed narratives. Romanticism goes hand in hand with candor and a certain restraint. Schoerners fascination with beauty and his penchant for troubled relationships and mixed feelings emerge in Portrait of a Woman , the project he presented to N UR T UR E arts 2011 Open Call. In this well curated series of photographs, we are exposed to a very personal email exchange between lovers, one of them being the artist himself. The images are captured on Polaroid film. In the artists own words, memory, or the idea of looking back on the past during the present, is apparent in the process of photographing a contemporary form of communication with an outdated one. The Polaroid has often been used as a private medium; just as these emails were written with one person in mind, the Polaroid allows them to exist as a unique print/object. Close by, a large photographic portrait of a slightly melancholic brunette tempts the viewer to identify her as Schoerners counterpart in the conversation fragments immortalized by the Polaroids. Two likewise romantic landscapes, a panoramic view of a wintry ocean and a slightly defocused image are both pervaded by a sense of ambiguous spatial and conceptual neutrality. Taken together, these images define an open narrative suspended on a fine line between reality and imagination. David Schoerner (b. 1984) lives and works in New York City. He received his Bachelor of Fine Arts at Montserrat College of Art in Beverly, Massachusetts in 2007 and has participated in group exhibitions in New York, Los Angeles, Hong Kong, Provincetown and Paris. NU R TU RE art Non-Profit Inc. is dedicated to nurturing contemporary art by providing exhibition opportunities and resources for emerging artists, curators, and local public school students. The unique synergy between N UR T UR Earts programs generates a collaborative environment for artistic experimentation. This framework, along with other far-reaching programming, cultivates a supportive artistic network and enriches the local and larger cultural communities.

VNY 2012 Catalog 3 Low

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VNY 2012 Catalog 3 Low

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D E S I G N : W W W. H A U S E R - S C H W A R Z .

AURE US CONTEMPORARY, PR OVIDE NC E / B A S E L

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A U REU S CON TEMPORARY: KARIM HAMID

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G A LERI E BA ER: ST EFAN KRAUTH

BALZERAR TPR OJE C TS , B A S E L

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BA LZ ERA RTPRO J EC TS: AO TAJIMA

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BA RBA RI A N A RT GALLERY: TREVOR GUTHRIE

BATTAT CONTEMPOR AR Y, MO NTR E A L

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BATTAT CO N TEMPORARY: SOPHIE JODOIN

R EPR E S E N T E D AR T IST S John Ancheta Marion Wagschal

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BCA G A LLERY: M I C HEL TUFFERY

FED ERI CO BIANCHI CONTEMPOR AR Y A R T, MILA N

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FED ERI CO BI A N CHI: DOMENIC O PIC C OLO

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BLA CK STON : RA CHEL BEAC H

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BLYTH E PROJ ECTS : JAMES C LAR

BROTKUNS THALLE , VIE NNA

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BRO TK U N STH A LLE: ASGAR / GABRIEL

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CA RMI CH A EL G A L LERY: AAKASH NIHALANI

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CONNER C ONTEMPORARY AR T, WAS HING TO N D C

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CONNER CONTEMPORARY ART: WILMER WILSON IV

THE CYNTHIA CORBETT GALLE R Y, LO ND O N

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TH E CYN TH I A CORBETT GALLERY: JEREMY DEAN

ANA CRISTEA GALLERY, NE W Y O R K

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A N A CRI STEA GA L LERY: RAZVAN BOAR

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LUIS DE JESUS LOS ANGELES: ZACKARY DRUCKER

D O D GEG A LLERY: SHEILA GALLAGHER

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EB& FLO W: A LI N K A EC HEVERRA

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HARRY CORY WRIGHT

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ELEVEN : H A RRY CORY WRIGHT

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EN V OY EN TERPRI SES: ERIKA KEC K

E SPAIVISOR VISOR GALLE R Y, VA LE NC IA

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ESPA I VI SOR V I SOR GALLERY: SANJA IVEKOVI

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G A LLERI FLA CH : ANDREAS JOHANSSON

LOTTE VAN DEN AUDENAEREN

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FO RTLA A N 17: LOTTE VAN DEN AUDENAEREN

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FRED [ LO N D ON ] L IMITED: MATTHEW MC C ASLIN

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G U I D I & SCH OEN : PUGLIESE / REPETTO

HALSEY MCKAY GALLER Y, EAS T HA MP TO N