Tag Archives: gallery

AUDEMARS PIGUET AT ART BASEL 2016

AUDEMARS PIGUET AT ART BASEL 2016

 Audemars Piguet at ART Basel 2016
AUDEMARS PIGUET AT ART BASEL 2016
Audemars Piguet presented a new series of moving image and photographic works by Dan Holdsworth at the Audemars Piguet booth, designed by Sebastian Errazuriz, in the Collectors Lounge at Art Basel (16 – 19 June 2016).
As already mentioned, the lounge is designed by Chilean born, New York-based artist and designer Sebastian Errazuriz. The theme of the stand is based on ‘Water and Ice’. And when I asked him what was behind the idea of the design he answered:
“whats incredible, because of the snow and the ice Le Brassus for long time it has always been isolated. so for six to nearly eight months a year they were blocked out. so this notion that you are completely isolated was actually what gave them the time to develop their technology. they had nothing else to do. so this problem becomes actually something benefitial for them and for us. why not bringing back that driving force as a concept. Originally we wanted a qiant slab of ice inside this space. Audemars Piguet was interested, Art Basel was like: no way it is happening. so we started thinking how do we symbolize this idea in a more economically responsible way.”
The result of his idea is what you can see in the photos below. Sebastian created the design of the booth around the theme of ice, water and winter in the Vallée de Joux. I personally like the ice tank that you can see in the first photo the best. I can stare at it forever!
AUDEMARS PIGUET AT ART BASEL 2016
Another thing that I found out at the press conference was, that the design is inspired by one of Sebastian’s childhood memories. The memory of water dripping into a bucket and the distinct natural rhythm that this caused. Taking inspiration from the visual design codes of ice formations and the beautiful snowed winters in Le Brassus and the Vallée de Joux, the new collectors lounge features a more spacious and luminous design language that resonates with contemporary creative energy. The design reflects the clean purity of nature and the presence of time.

AUDEMARS PIGUET AT ART BASEL 2016

I really like the new Audemars Piguet booth and I could relate very much to the ideas behind the design by Sebastian Errazuriz. Above and below you can see the art deco inspired lamps that fit perfectly into the whole design of the lounge.

AUDEMARS PIGUET AT ART BASEL 2016

WHO IS SEBASTIAN ERRAZURIZ?

Artist, designer and activist Sebastian Errazuriz has received international acclaim for his original and provocative works on a variety of areas and disciplines. Tackling everything from political artworks to giant public art projects, experimental furniture to product design and women’s shoes to motorcycles, Sebastian’s work is always surprising and compelling, inviting the viewer to look again at realities that were often hidden in front of their own eyes.

in case you did not know about him you should def check his website and see his amazing design pieces. one of my favorite is the soup plate that does not need to be tilted to get the last couple of spoons of soup. another cool piece, that I like a lot, is the chop stick that has a fork on one end and can be either used as a fork or broken into chopsticks. besides these he designed really cools shoes but have a look for yourself >> http://www.meetsebastian.com

AUDEMARS PIGUET AT ART BASEL 2016 AUDEMARS PIGUET AT ART BASEL 2016

Inside the booth designed by Sebastian Errazuriz there were a very limited amount of watches in display and the beautiful art works by Dan Holdsworth. Unfortunately I did not have time to visit the gallery in ZH but I did see some of his work online and inside the collectors lounge.
ABOUT DAN HOLDSWORTH AND HIS ARTWORK

The details of a new series of photographic works by Dan Holdsworth has been premiered on the Audemars Piguet booth in the collectors lounge at Art Basel’s show in Basel. 
These photographic pieces explore the unique geological formations found in Audemars Piguet’s home, the Vallée de Joux in the Jura Mountains. By referencing the epic timescales by which these rock formations were formed, the works will invite the viewer to reimagine their relationship with time.
Holdsworth’s new moving image work will be accompanied by photographic pieces exploring the unique geological formations found in Audemars Piguet’s home at le Vallée de Joux. In parallel with the new works presented by Audemars Piguet in Basel, Holdsworth’s solo show, A Future Archeology, will open at SCHEUBLEIN + BAK, Zurich on 1 June, running until 2 September 2016. The exhibition will premiere new works from his Continuous Topography and Spatial Objects series, exploring the landscape of the Mont Blanc glacier using the same pioneering technologies to map out the fine detail of the region.

AUDEMARS PIGUET AT ART BASEL 2016

thank you Audemars Piguet for inviting me and organizing my interview with Sebastian Errazuriz. It was a pleasure to feature your booth on my blog. Llike every year it was a blast to be at Art Basel and get the chance to see so many nice things. thank you all! X
http://www.meetsebastian.com
http://www.danholdsworth.com
http://www.audemarspiguet.com
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SPENCER BROWNSTONE GALLERY

VOLTA11 VOLTA11 VOLTA11

SPENCER BROWNSTONE GALLERY new york
www.spencerbrownstonegallery.com

FRED EERDEKENS (*1950 Hasselt, BE)
he is perhaps most well known for his shadow text work in copper and aluminum. these quiet and poetic installations combine a viruosic use of materials with simplicity that both subverts and elevates language. beyond just the simple metal phrases and sentences, Eerdekends has worked with such diverse mundane materials as discarded clothing and artificial trees, transformed by the simple application of light. by utilizing the physical nature of his medium, he creates art that blurs the line between reality and perception. his installations have been shown extensively at museums and galleries worldwide, and is featured in major collections such as MUHKA Antwerp / SMAK Brussels / Museo d’Arte Moderno Bolzano and FRAC Languedoc-Rousillon, among others. as well, he has completed a number of large, site specific installations, for important public and private spaces.

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Svend-Allan Sørensen via SPECTA at VOLTA11

specta

THOREAU (henry david thoreau, 1817-1862)
american philosopher, poet, political dissident, man of nature etc.

specta

TURGENEV (ivan sergeyevich turgenev, 1818-1883)
russian writer and hunter.

specta

BOGANIS (wilhelm dinesen 1845-1895)
danish officer, hunter, writer and politician. boganis was a pseudonym, which dinesen got from an american indian tribe at mole lake wisconsin in the years 1871-72.

HOW IS IT DONE
“printing, then copying and scanning digital images until a point where I felt that they possesed a certain graphic look, I wanted. the end result is then scanned at a very high resolution, printed by laser printing in an A3 size, the largest format available at the time , and later transferred to the lithographic stone by rubbing it with acetone. the back of the paper is slightly moistened with acetone, which releases the tones to get stuck on the stone, and finally it is possible to print it in the classic lithographic manner.”

SPECTA GALLERY
COPENHAGEN DENMARK

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BACKSLASH GALLERY PARIS

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BACKSLASH GALLERY PARIS

exhibited artists

Charlotte Charbonnel
Rero
Sergen Sehitoglu
Boris Tellegen
Xavier Theunis
Michael Zelehoski
Jules & Pierre
France Bizot
Fahamu Pecou
Luc Schuhmacher
Clemens Wolf

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PLUGS and FUSES

LIZ JAFF
ROBERT HENRY CONTEMPORARY
BROOKLYN at VOLTA11 liz jaff liz jaff

about LIZ JAFF
Liz Jaff is a native of New York City and received her BFA from The Rhode Island School of Design in 1989. Her work has been exhibited nationally and internationally, including The Art Complex Center of Tokyo, Japan and Momenta Art, Brooklyn, NY. She maintains her studio in Bushwick, Brooklyn.

about her WORK
“Paper’s versatility is what attracted me to it as my primary medium. Its structural and aesthetic possibilities reveal themselves through my continuous experimentation. I am in love with paper.
I have been folding paper for 15 years. I like repetition and rhythm. My first paper piece was conceived during a stay in Las Vegas and made with hotel stationary: The project folded up and stowed away in the bottom of my suitcase. At that time I began working more abstractly as a way of representing my impressions of places and recollections.  Paper became the perfect material to convey ephemeral experience and the ultimate intangibility of memory.

Transforming a two-dimensional surface into a three dimensional shape offers a variety of arrangements for the play of light and shadow on different flat planes.

I use folding to investigate these opportunities, and the circle acts as a character to reveal and conceal form. When repeated, these forms are my substitute for the geometric grid, my response to the squares of Sol Lewitt and Carl Andre and homage to Agnes Martin’s rectangles.”

 

 

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Sebastian Weggler at TEN HAAF PROJECTS – VOLTA11

TEN HAAF PROJECTS
VOLTA ART FAIR 2015 BOOTH C22

Sebastian Weggler

I.
Delighted we take a step closer. Art: carefree and radiant as it draws us in. Ah, linger on, thou art so fair! My obtrusiveness is of the type that demands nothing of you, but a quick flash of your life before your eyes showing your entertainment, which does not cost you anything. Instead, it is life- enhancing. Come and step even closer. Now is where it may get precarious. You should know that not every harmless work of art is as harmless as it may seem. It may in fact belong to a rather perfidious genre. One could even call these the Venus flytraps of art. The works done by Sebastian Weggler pertain to this insidious sort.
II.
At first glance, Weggler’s work appears to be full of wit, variation and an abundance of ideas. This is seen in both it’s content and the material that has been used, which enables the viewers’ curiosity to draw them closer without any inhibitions. The array of media that has been used ranges from oil on canvas, with the utilization of postage stamps as a colour carrier and the application of felt, to video art. In this context, one can speak of a dissimilar consequence. As different as the individual media may appear, their choice is stringent. Based on the seemingly classic oil painting, at least the related implications of it, Sebastian Weggler developed material realms that are connected with mass-production. He transfers them into art and thus into singularity. His work addresses the tension between the industrial manufacture and working by hand. These then touch on the challenges of the industrial revolution. Art is still haunted by this today, without having to push with all vehemence to the fore. It is this approach that gives the work done by Weggler such great quality. The viewer is attracted by the material used and the topics that evoke a degree of familiarity between the viewer and the work itself. It in turn exceeds the realm of art. The combination of the visibly enticing discoveries and simple surfaces of his work silently reveal a deeper level of meaning. The viewer can then probe this of their own accord. Where other artists insist on the arti- stic character or the industrial production of their work, Weggler sub- mitted oscillation, where there are no either nor proposals. He turns everything into art.
III.
The question of what came first, the medium and its possibilities or what is being depicted, has proven to be secondary in the work of Sebastian Weggler. The concept that is persued in the medium is also extended into the area of visual perception. In the history of art, felt is known as being the material used for carpets. When one looks beyond this, its connection to every day life will come to the fore. At an upstream level, this type of presentation marked a sphere of influence for art. This ambivalence continues into the individual work and allows for various associations to be made. It allows for the content level of various themes, with very “manly” connotations, to be recognized. They may be identified with hunting, meat and death and in the first instance, the way in which they are displayed suggests a broad-minded naivety. This enables
the viewer to indulge in its humour. At the same time the work can be understood as a modular construction system. The time and again new com- bination of the individual set pieces creates cohesion and difference. A Weggler is always a Weggler and this should be taken literally. One can simply see this by the inflation of Sebastian Weggler’s Self-Portrait work. This kind of branding is self-promotion taken to the extreme and in its mass it overcomes itself. The artist, who is in the picture multiple times with a scenery that is both mundane and eye-catching, sells himself a carpet. As an artist, he also shows the viewer a carpet. The means in which Weggler’s work echoes the traditional tapestry has led him to being a hero of his own work. This hero is however, one who eats a piece of bread with “Blutwurst” on it. He establishes himself through duplication of his unselfconsciousness seen by his viewers, in that the character of the artist becomes a replacement for those who disappear into themselves.
IV.
The humour intertwined into the work done by Weggler is established on two levels. When describing the first level, a strong defining level of individual work owed to its barefacedness, as being witty, you should also imply it with the mind. The second level, which clearly comes to the surface when the view-point is placed on various works, as well as the shop situation that is presented by Sebastian Weggler. This can then be called humour. Another example is Weggler’s video work. Here he not only touches on video games and thus on the modified, but also the distinctly leisure behaviour of his generation. To a greater degree he ci- tes the cliché of art videos, which is done by a demonstration of the manifestation of their maddening slowness and lack of action. In com- bination with the extreme increase of self-representation, there is an honest and caring critique dispute between the art and the commercialisation structure. They always operate on an equal footing and the reason for the dispute is never ridiculed. Its absurdity leads the viewer to repeatedly see it with subtle humour.
V.
You should therefore not find it troubling if someone recommends get caught in the sticky teeth of a Venus flytrap, as it may very well be a Weggler flytrap. If it is one, you’re bound to instantly recognize the next one you see. You won’t be able to free yourself from the first Weggler and thus are bound to walk with great delight into the next one. A Weggler is after all, a Weggler.

(text: Julia Gerber – translation: Kelly Robinson-Treutler)

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ETHAN COHEN at VOLTA11

unnamedBroken Television, mixed media on wood, 50 x 40 x 7 inches, 2015

GREG HABERNY

Lives and works in New York, NY

Influenced by his background in filmmaking, New York based artist Greg Haberny’s goal for his installations is to transform the gallery space into an all-encompassing experience of sight and sound.  The production and direction of installations echoes his personal background in filmmaking while allowing strong personal expression and freedom with all forms of artistic medium.  With cultural iconography and a sardonic sense of humor, Haberny’s installations engulf and challenge viewers, exaggerating the circus-like frenzy of media and marketing of fear in contemporary American society.

Haberny produces individual pieces that he then incorporates into larger installations.  His process involves cutting, scraping, and affixing painted and found elements including vintage comics, pin-up girls, and advertisements to create heavily worked pieces that retain the evidence of damage or trauma.  Thus his works evoke the pained physicality of bruises and broken bones, which reflects the shattered cultural makeup of our contemporary wasteland.

unnamed(1) volta11_locationhttp://www.ecfa.com/#!greg-haberny
voltashow.com

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LIZ MARKUS

LIZ MARKUS
@ NATHALIE KARG GALLERY

41 GREAT JONES STREET
NEW YORK, NY 10012
TUESDAY – SATURDAY
11:00 AM – 6:00 PM . (212) 563-7821

what a dress! I just got an email from Nathalie Karg Gallery announcing the last week of Liz Markus’ work. for my NYC followers/readers 🙂

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RENA BRANSTEN

RENA BRANSTEN gallery (SAN FRANCISCO USA) – seen at VOLTA9 – presenting BOVEY LEE – hand cut Chinese rice paper mounted on silk to form intricate narratives exploring the tension between man and the environment in the context of power, sacrifice and survival.

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