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Adam and Eve

ADAM and EVE

 yesterday at the preview day at VOLTA12 I met Anca and Cristina from Anca Poterasu gallery and I fell in love with Zoltan Bela’s work ADAM and EVE. I am fascinated by the faces that he cut out of an ordinary object and how young and old versus new and used is shown in this work. I really like the fact that they can not be seperated. the pieces are only sold together, Adam only comes with Eve and vice versa.
Adam and EveAdam and Eve
Adam and Eve
Zoltán Béla (b. 1977) is a widely-known contemporary artist, especially through his paintings. He graduated from the University of Arts and Design in Cluj, and he presently lives and works in Bucharest. Zoltán Béla is mid-through his career in painting, installations and object-making, which are imbued in historical and metaphysical references inspired by his personal biography and from the recent historical timeline of Eastern Europe.
Zoltán’s most recent work returns to his first love Antoni Tapies, in his latest experiments in object-making, with a focus on the materiality of details in painting, where the figurative taunts the abstract without ever fully giving in to it.
Selected Solo Shows: L’Espace Ventriloque (2016), Anca Poterașu Gallery (RO); Participare în programul “Arta la fereastră” (2016), as guest artist at Simeza Gallery (RO); Installation (2014 – 2015), Anexa The National Museum of Contemporary Art (RO); Traces (2012), Anca Poterașu Gallery (RO) ; In meditation: Feeling the Silence (2011), Anca Poterașu Gallery (RO), A certain time, a certain place, a certain state (2010), Little Yellow Studio (RO); Self Reflecting 30 (2009), Point Contemporary Gallery; Transition Icons(2009), Carini & Donatini Gallery (IT).
Selected group shows: Extension.RO (2016), Triumph Gallery, Moscow (RU); Vom Allmächtigen zum Leibhaftigen (2016), curator: Tom Beege, Kunsthaus Apolda Avantgarde, Apolda/Thuringia (DE); BB6 (Bienala Bucharest 6), 2014, (RO); Curators Network (2012), Muzeul Bruckenthal (RO); The New Figurative (2011), Victoria Art Centre (RO); Coloring the Grey (2011), The 4th Moscow Biennale of Contemporary Art (RU); I Am a Romanian: The Bucharest – Tel Aviv Route (2011), The Romanian Cultural Institute in Tel Aviv (IL); Out Of Sacred (2010), Arezz (IT); Police the Police(2010), The fourth biennial for young artists (RO); The Berlin Wall (2010), Promenade Gallery, Vlore (AL).
www.ancapoterasu.com
56 Plantelor Street, Bucharest, Romania
+40744 342 944
VOLTA12 booth A3
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Bonnie Maygarden

MORE ABOUT BONNIE MAYGARDEN

as I have already told you before this years VOLTA I am going to focus on Bonnie Maygarden and her works. yesterday it was the Preview Day of VOLTA12 at Markthalle and I got to visit Bonnie Maygarden ‘s gallery where she also had some of her work on display in addition to her sticker works for AESOP in the city center. I had the chance to ask Bonnie some questions and am very happy to share everything with you.
more about Bonnie Maygarden
1. What was the idea behind the artwork for AESOP?    
“I knew I wanted to create something that is conceptually in line with my current work, but would also work to draw people to the VOLTA Art Fair and the AESOP Store. In early discussions of the project what felt most interesting was creating an installation of paintings on the storefront rather than the typical digitally printed reproductions of artworks. I painted directly onto adhesive vinyl using the same process I use to create my works on canvas and paper.
I am fascinated by the role of painting in the digital age, and the way this project unexpectedly uses paintings to replace something that would usually be created digitally is conceptually consistent with with my current work. The works themselves are also meant to reference digital imagery with the use of bright colors, gradients, floating geometric shapes, trompe l’oeil, and photorealism. Playing with traditional modes of painting in a language that visually references technology allows me to explore what our expectations of contemporary images are in a digital world.”
2. How do you approach your art, meaning where do you get your inspiration from?
“I think, like many painters, that I’m inspired equally by the past and the present, and, like many painters, I am essentially making paintings about painting. I am inspired by movements in art history such as Minimalism, Photorealism, and Op Art, as well as how the visual narrative of painting has generally evolved over time. I am also interested in processes and imagery that feel seamless to our current digitally dependent culture, and I mimic elements of those aesthetics using painting.  I look at stock photography, advertisements, graffiti, photoshop filters, and the digital screen as inspiration for my work.”
more about Bonnie Maygarden
3. Do you like the AESOP products, and if so which one is your favorite?
(my favorite one is their hair and scalp rose masque.)
“I love the Fabulous Face Oil and Parsley Seed Facial Cleansing Oil.  A couple of years ago I discovered how amazing oils are as cleansers and moisturizers, these two really are fabulous!”
Bonnie Maygarden s AESOP favorites
4. Would you be interested to put your artworks on fabric and combine your art with fashion?
“Absolutely, if the right situation came along. The theme of the trompe l’oeil crumpled surfaces that runs throughout my work is meant to hit on a history of drapery in painting as well as natural phenomena of light and color.  A the same time it is also something that people want to somehow interact with. People always want to touch the paintings to understand them. The playfulness of something that is a flat pattern but looks three-dimensional is something I could certainly see being exciting to wear.”
5. Do you have a favorite fashion designer?
“I absolutely love Céline, Stella McCartney, and Alexander Wang. I am always looking to innovation in fashion and design for artistic inspiration. However, I tend to dress much more subdued than my work, lots of black and white- I leave color for paintings!”
read my previous blogpost about Bonnie Maygarden:
www.isawsomethingnice.ch/bonnie-maygarden
Bonnie Maygarden
thank you so much Bonnie for answering all my questions, too bad we could not meet in person but I am looking forward to seeing you in the US or another year in Basel.
in case you are in Basel you should come by at VOLTA12 BASEL NACHT and get your free ticket here https://www.microspec.com/tix123/eTic.cfm?code=VOLTA1216 by entering the code: SOMETHINGNICE – see you on Thursday June, 16, 2016 at 5 PM at Markthalle. X
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Bonnie Maygarden

BONNIE MAYGARDEN

this years VOLTA I wanna focus very much on the works of BONNIE MAYGARDEN, a talented multimedia artist who received her MFA in Studio Arts from Tulane University and attended Pratt Institute in New York, where she received her Bachelor’s of Fine Arts.
Bonnie Maygarden
Grayscale II
when I heard that Bonnie Maygarden is going to be showing her work at the AESOP shop in BASEL and that I can write about it on the blog I felt very honored for two reasons. firstly its awesome to have the work of such a great young artist in Basel and secondly that I can interview Bonnie and ask her a bit more about the piece she is showing in Basel. so after this blogpost there will be a follow up where I can tell and show you more about the AESOP exhibition.
 Bonnie Maygarden
Pairing

MORE ABOUT BONNIE MAYGARDEN (*1987)

Bonnie Maygardens work has been featured in exhibitions both nationally and internationally in various museums, galleries and alternative venues including: Université Lumière Lyons (Lyons, France), Pratt Institute, Icosahedron Gallery (New York City), East Hall Gallery (Brooklyn), SALTWORKS (Atlanta), The Front (New Orleans) and New Orleans Creative Center for the Arts where she attended high school. several notable publications have featured Maygarden’s work; including, Gambit Weekly, NOLA DEFENDER, and INVADE NOLA. curator and art critic Tori Bush featured Maygarden’s Master’s thesis exhibition “Hyper Real” in her May 2013 artist spotlight. she also received an honorable mention for her work in UNO Visual Arts Leagues Juried Exhibition in 2013 from Miranda Lash, curator of Contemporary Art at the Speed Museum and former curator of Modern and Contemporary Art at the New Orleans Museum of Art. her work was reviewed in ArtForum and Burnaway for her inclusion in “Staring at the Sun” curated by Craig Drennan. Maygardens paintings were also featured in New American Paintings (No. 112, June/July Issue) concurrently with her premier solo exhibition at Jonathan Ferrara Gallery entitled “Desert of the Real”. she will also be featured in the forthcoming Issue No. 124. her work was selected for the Ogden Museum of Southern Art’s third annual LA Contemporary Juried Exhibition, juried by Jonathan P. Binstock of Citi Private Bank Art Advisory & Finance. she has been exhibited nationally at art fairs including: Pulse New York, Miami project for Art Basel Miami Beach, Texas Contemporary, Art Market San Francisco, and the Seattle Art Fair with an upcoming showcase at VOLTA12 Basel (Switzerland) this summer. following Volta, her work will also be featured in EXCHANGE, an international exhibition at Galerie Jochen Hempel, Berlin. also forthcoming, Maygarden has also been awarded a position at the Slade for the London Summer Intensive Residency Program 2016. her work appears in the collections of former LACMA curator and current Perez Art Museum director Franklin Sirmans (Miami), private collectors Lester Marks (Houston), Myrna Kaplan (Chicago) and Susan and Ralph Brennan (New Orleans), and corporate collections of Advantage Capital Management Corporation, RPM Casting and University Medical Center (New Orleans). Maygarden has been commissioned for Hollywood feature films by several production companies including: ABC Studios, Flashfire Productions, Danni Productions, Georgia Film Fund Seven, Abby Normal Pictures, Lamb Productions, Furlined, LLC and The Goats, LLC.
Bonnie Maygarden
Light and Air III
MAYGARDENS STATEMENT
“I create paintings without the aid of technology, yet I am interested in making works that are informed by and react to a culture defined by a digital experience. My work references familiar technology-created images, such as photography, x-rays, or Photoshop filters, yet are created only using the meticulous illusion of paint. Through referencing the digital image I am able to make paintings that walk the line between something and nothing, that both play to our expectations of the disposable contemporary image and the valued tradition of the handmade.”
Bonnie Maygarden
Surface 2016
as you just read in the text above, Maygarden is having a run. I really appreciate the color sensitivity in her artworks and am a huge fan of her patterns. the pieces that I am showing in this post have a great depth and an almost relief-like appearance. her work reminds me a lot of fabric and tissues. another impression that her artpieces leave on me is the feeling of nature and landscape, I somehow think of the swiss alps and the relief maps of them.
Bonnie MaygardenSaturation II
in case you are in Basel you should definately pass by the AESOP shop at Spalenberg 24 that is showing her art work in the window. (from now until end of VOLTA12). stay tuned for my next blogpost where I will tell you more about her works for AESOP.
Bonnie Maygarden
more about BONNIE MAYGARDEN here:

http://www.jonathanferraragallery.com/artists/bonnie-maygarden

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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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SLAG

SLAG SLAG SLAG SLAG SLAG

about BEN GODWARD

Ben Godward was born in Indianapolis, grew up in St. Louis, MO and received his B.F.A. at Alfred University and an M.F.A. in Sculpture from the University at Albany where he won the 2007 Outstanding Achievement in Contemporary Sculpture award. After Albany, Godward moved his studio to Brooklyn, where he currently lives. He has shown extensively in NYC including at Sardine, Fortress to Solitude Lesley Heller, Moti Hassan, The Laundromat Gallery, Pocket Utopia, Centotto, Famous Accountants Gallery, Way Out Gallery, NYCAMS, Norte Maar, Storefront Gallery and Factory Fresh among others. Ben has also completed large outdoor public art projects, in 2010 at Franconia Sculpture Park in MN and in 2011 at Socrates Sculpture Park in Queens, NY. Ben’s work has been featured in The L Magazine, The Brooklyn Rail, Sculpture magazine and on WNYC Radio. www.slaggallery.com

“The conscious mind may be compared to a fountain playing in the sun and falling back into the great subterranean pool of subconscious from which it rises.” – Sigmund Freud

 

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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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TIFFANY CHUNG

TIFFANY CHUNG
Tyler Rollins Fine Art

VOLTA11 tiffany chung

Tangier 1943 the international zone, the french capitulation in world war II, the moroccan communist party, the istiqlal party and the call for independence of morocco in 1944.

tiffany chung
tiffany chung

Tiffany Chung is one of Vietnam’s most prominent and internationally active contemporary artists. Based in Saigon (Ho Chi Minh City), she is noted for her cartographic drawings, sculptures, videos, photographs, and theater performances that explore spatial and sociopolitical transformations interwoven with the lingering resonances of historical trauma.

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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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host for BASEL NACHT at VOLTA 11

I have BIG news for all of you, especially for the one living in Basel or staying in Basel during ART BASEL week. I am the host of VOLTA 11 BASEL NACHT which happens on thursday from 5 to 7 PM. in case you want to enter for free use the promo code: SOMETHINGNICE. visit this link BASEL NACHT and register online for a free pass.

VOLTA11-isawsomethingniceVOLTA 11
BASEL, 15-20 JUNE 2015
voltashow.com

MARKTHALLE BASEL

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AESOP – Rind Concentrate Body Balm 

from the VOLTA press goodie bag – thank you so much again. It was such a good thing to have during the warm Art|Basel 44 week. The cooling effect is really nice and refreshing – visit your AESOP shop and try it yourself – I am sure you will love it…

Info about RIND CONCENTRATE BODY BALM

A fast-acting, refreshing moisturising balm for all skin types. This swiftly absorbed citrus-based formulation relieves dry skin and refreshes the senses. Invigorating botanicals soften, cool and revive skin; perfect for year-round use.

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