Johann König, Berlin is pleased to present “sunrise”, American artist Justin Matherly’s second solo exhibition at the gallery.
An oscillation of proximity exists in Matherly's prodigious cast sculptures and large-scale photo work. At the furthest distance of the landscape, we see the sunrise; it rises towards us while appearing to retreat as we move towards the horizon line. Such constant, paradoxical shifting is allegoric of the kinetic nature in Matherly’s work: meaning and source are molten, and each degrades as the final composition takes form through a decidedly flexible casting process. An array of soft materials, such as malleable Treegators (slow release watering bags for foliage), allow for an additional element of chance in reference to the specificity of the carved form crafted from industrial Styrofoam.
For the first time, Matherly presents what appears to be a documentary photograph of a sunrise at an excavation site of the temple-tomb, Nemrud Dagi, in southeastern Turkey. It is a pointed departure from his other two-dimensional works, which endure a process of heavy abstraction from their source material. Here a photograph is presented seemingly unedited, captured by the artist on site. Yet a small instance recalls that representation is never without manipulation – collaged little blue flowers punctuate the bottom left corner of this. This addition is swathed in connotative lineages: among these, it is a recurring symbol in German Romanticism and a provocative emblem for the unreachable.
“Sunrise” dominates the gallery. Divinities Zeus and Apollo are depicted with the Hellenic King Antiochus I, as Matherly continues his investigation of dexiosis reliefs – in other words, right-handed clasps. An action of political alignment, it is both loaded and impoverished of meaning by its overuse and ubiquity. The ambulatory supports which recur in Matherly's works are central to the work, propping up the rising facade and revealing the hollowness and holes that belie the sculptures weight. It is ridden with pathos; the walkers and crutches seem to be in a perpetual state of exertion. Backing away from this piece, the pictorial handshake, the extended readymade arms and legs that support sunrise gives the work a humanistic corporeality – in essence, it is a gesture.
A more literal deconstruction exists in a small-scale sculpture propped against the wall. Clinical equipment, concrete, and a rock collected from the Turkish site compose a work that is not self-supportive, but relies instead on the gallery wall. It is a conjurer of fragmented histories and sources also, which lean on each other for context and support in contingent networks of meanings, however flexible. Sources are generated, then self-generating; Objects cycle along a mythic, twisting human narrative; Meanings shift ad infinitum somewhere between the sacred and the hollow.
Justin Matherly (born 1972) lives and works in Brooklyn. His sculpture “Sunrise” was presented in the Unlimited sector of Art Basel (2013). His work has been extensively exhibited in New York, at Paula Cooper Gallery (2013), with the Public Art Fund in City Hall Park (Common Ground, 2012), Bureau (2011), or the Sculpture Center, (2010). Justin Matherly’s next exhibition will be in February 2015 at Vienna Secession.
Lo Studio d'Arte Cannaviello presenta la mostra personale SP/15 di Pierluigi Pusole.
Una mostra/installazione di opere recenti, nuova fase produttiva per un’importante protagonista dell’arte contemporanea europea, di cui č una delle espressioni piů originali. Il suo linguaggio si č mosso tra concettualismo e pittura, alla ricerca di nuove forme capaci di spingere l’osservatore verso dimensioni sconosciute, misteriose. Forme che celebrano un “oltre” fuori del tempo e dello spazio per inseguire e fermare l’attimo, percezione dell’eterno.
I paesaggi sono caratterizzati da pochi tratti immersi in macchie di colori forti, resi lucidi da una patina trasparente che crea “allucinazioni visive”. L’osservatore si sente, quindi, trascinato nell’opera stessa, fino quasi a farne parte. Pusole definisce le sue immagini “antinaturali”, in quanto rappresentazione di una realtŕ che non viene da lui subita ma posseduta per essere ricreata. Quasi un “esperimento d’ingegneria genetica”.
Le opere presenti nella mostra sono acquerelli e acrilici, progettati come singole parti di un'unica grande opera, immaginati come finestre aperte su scenari rarefatti, ipnotici, in cui i soggetti “uomo” e “natura” si confrontano e si scontrano in un continuo processo di aggregazione e disgregazione che mira a sconfinare oltre il reale.
Pierluigi Pusole č nato nel 1963 a Torino, dove vive e lavora. Ha iniziato la sua carriera nel 1986 esponendo nelle piů prestigiose Gallerie d’arte europee, nonché negli spazi pubblici della Biennale di Venezia, della Galleria Civica d’Arte Moderna di Bologna, del Castello di Rivoli, della Dumont Kunsthalle di Colonia, del Palazzo delle Esposizioni di Roma ed infine della Galleria d’Arte Moderna e Contemporanea di San Marino che gli ha dedicato una personale.
Ha esposto per la prima volta in questa Galleria nel 1994 con la mostra personale Super – Mondo.
Pékin Fine Arts is pleased to host our first solo exhibit of artist Zhang Xiaotao. Zhang Xiaotao’s video animation works Sakya (2010-2011)
and The Adventures of Liang Liang (2012-2013) were exhibited in the 55th Venice Biennale (June – Nov 2013), in the China National
Pavilion’s group exhibit “Transfiguration” curated by Wang Chunchen, head of curatorial research at Beijing’s Central Academy of Fine
Arts Museum and adjunct curator at the Broad Art Museum at Michigan State University (the Broad MSU). Zhang Xiaotao graduated
from the oil painting department of the Sichuan Fine Arts Academy, starting his career as an oil painter. He co-founded the Sichuan
Fine Arts Academy’s New Media Studies Department in 2010 where he works today not only as professor advocating increased support
for new media art, but also as pioneer artist working at the cutting edge of innovating with new media art production. Professor Zhang
also organizes international academic and scholarly symposiums and exhibits in China’s art institutions and museums, focused on the
topic of new media art studies. Zhang Xiatao is earning a doctoral degree from Beijing’s Central Academy of Fine Arts, with Xu Bing as
his Phd advisor. Zhang Xiaotao lives and works in Chongqing and Beijing.
Zhang’s exhibit at Pékin Fine Arts is the first time all three of Zhang Xiatao’s full-length video animation works will be presented together
in one venue, along with photo stills from the video works, with the aim of highlighting common themes throughout Zhang’s multi-media
In Sakya, (2010-2011) Zhang Xiaotao’s first video animation film, his focus is most direct, depicting the struggle to retain spirituality and
religious devotion (Buddhism) within the context of China’s all consuming push to modernize. Using sci-fi stylized computer gaming 3-D
video imagery, the artist attempts to illustrate meditative states of Tibetan Buddhism. The video’s imagery moves easily – and this is the
crux of why it is disturbing – from computer software generated on-line gaming animation iconography to Buddhist sutra and ritualized
prayer exercises. Sakya – and each of Zhang’s videos since - seek to prove, like an experiment in human behavioral science, that all
experiences whether gaming or meditative exist simultaneously, with equal meaning, intersecting and regenerating each other in
perpetuity, at once both ancient and modern.
In The Adventures of Liang Liang (2013), the artist looks to the language of a child for spiritual meaning, literally animating his son’s drawings,
with the aim of bridging the gap between father and son/adult and child, to illustrate the multi-layered, multi-spatial understandings
and communications in every day existence.
Finally, in the most recent, Three Thousand Worlds (2014), Zhang Xiaotao returns to his Buddhist questioning, experimenting with contemporary
visualization of the Buddhist notion of orientation of the self. A self, according to Buddhist precepts, that exists at once in at least
three realms or the “three thousand worlds”, a multi-level, multi-spatial existence of heart and universe as one. According to Zhang,
“Our ancient people had a simple consciousness of relativity, that there is a kind of superior meaning between the macroscopic and
the microcosmic, and there is a channel between “heart” and “yu zhou（the universe）”, so the heart is literally connected to the “yu
zhou”. “Yu” refers to the world around us while “zhou” the past, present and future. The “yu zhou” is a collective concept of time and
space. Our ancient people’s views of time and space possess similarities to modern ideas about the universe and the study of quantum
physics. Each universe has its independent time and space. Quantum physics helps us to observe the existence of a multi-layered,
multi-dimensional universe as well as a personal state of being in that universe….”
Zhang’s practice today relies heavily on contemporary visual language and specifically video animation software, to reconcile fundamental
and traditional Buddhist precepts with modern life and its material demands. His personal exploration and struggle to find meaning
is rendered as public art world display, through the deceptively “easy” and “accessible” world of video gaming software iconography.
Implicitly positing a new question: “Indeed, does computer (animation) software, after all, help to unlock questions of the meaning of
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