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BASEL SOCIAL CLUB

BASEL SOCIAL CLUB

It’s that time of the year again: ART BASEL 2022 week and somehow it feels like the last Art Basel has just been a couple of months ago, and in fact, that’s actually the case. The last two years have been very different and have affected us all in many ways. Hardly any events, limited gatherings etc.. That’s why I am thrilled to share with you this years BASEL SOCIAL CLUB, a place to sit back, relax, reflect and enjoy! 

BASEL SOCIAL CLUB

 

The BASEL SOCIAL CLUB draws inspiration from time-honored institutions such as The Arts Club (1863) in London or the National Arts Club (1898) in New York, and offers a venue for professional exchange and conversation; inviting visitors to spend time with and around artwork, to meet friends and colleagues, or to simply relax by the pool during the busy week. A public program of performances and other events will take place daily. 
The opportunity to get together and exchange ideas is enriched by varied gastronomic offerings. Squadra Ravioli serves coffee, drinks and tacos by the pool and in the garden during the day and in the early evenings.
Every night from 6 p.m. onwards, Peng restaurant invites guests to dine on modern Chinese cuisine and selected wines on the second floor. Cocktails will be served on the ground floor by Gentleman‘s Gin.

Gastronomy
Squadra Ravioli
, by the pool, from 2 pm, www.squadravioli.com,
Peng, 1st flfloor, from 6 pm, www.peng-dumplings.ch, reservation necessary via info@baselsocialclub.com

THE BEVERLY HOLZ

 

The BASEL SOCIAL CLUB is a membership club for guests from the professional art world. Daily and weekly tickets are available on site for all non-members. Detailed information about the program, the exhibiting artists and participating galleries can be found at www.baselsocialclub.com. 

Opening hours
Monday – Saturday: 2 – 10 pm Sunday: 2 – 6 pm
No entry after 9 pm

Lisa Alvarado (Bridget Donahue, New York)
Markus Amm (Galerie Karin Guenther, Hamburg)
Anna-Sophie Berger (Faltpavillon, Basel)
Bernadette Corporation (Greene Naftali, New York)
Miriam Cahn (Meyer Riegger, Karlsruhe/ Berlin/ Basel)
Mariana Castillo (Mendes Wood DM, Sao Paulo/ NY/ Brussels)
Monster Chetwynd (Sadie Coles HQ, London)
Dadamaino (Galerie Knoell, Basel)
Michael Dean (Mendes Wood DM, Sao Paulo/ New York/ Brussels)
Jeremy Deller (The Modern Institute, Glasgow)
Koenraad Dedobbeleer (Clearing, Brussels/ New York)
Daniel Dewar & Grégory Gicquel (Clearing, Brussels/ New York)
David Douard (Rodeo, London / Athens)
Claudia Dyboski (Cordova, Barcelona)
Sam Falls (Franco Noero, Turin)
Irene Fenara (ZERO…, Milan)
Gina Folly (Ermes Ermes, Rome)
Raque Ford (Greene Naftali, New York)
Gina Fischli (Sandy Brown, Berlin)
Jasmine Gregory (Cordova, Barcelona)
Charlotte Herzig (Wilde, Geneva/ Basel)
Karl Holmqvist (Galerie Neu, Berlin)
Judith Hopf (Kaufmann Repetto, Milan/ New York)
Cooper Jacoby (Fitzpatrick Gallery, Paris)
Kentaro Kawabata (High Art, Paris)
Emil Michael Klein (Francesca Pia, Zürich)
Adriana Lara (Aguirree, Mexico City)
Klara Lidén (Galerie Neu, Berlin)
Matthew Lutz-Kinoy (Fitzpatrick Gallery, Paris)
Bill Lynch (The Approach, London)
Amaka Madumere (Cherish, Geneva)
Arthur Marie (Queer Thoughts, New York)
Lou Masduraud (Cherish, Geneva)
Rene Matić (Arcadia Missa, London)
Jacopo Mazzetti (Fitzpatrick, Gallery)
Hedi Mertens (Galerie Mueller, Basel)
Jill Mulleady (Fitzpatrick Gallery, Paris)
Claudia & Julia Müller (Galerie Karin Guenther, Hamburg)
SAGG Napoli (Champ Lacombe, Biarritz)
Shahryar Nashat (Rodeo, London/ Athens)
Meret Oppenheim (Galerie Knoell, Basel)
A.R. Penck
(Galerie Knoell, Basel)
Greg Parma Smith (Francesca Pia, Zürich)
Evelyn Plaschg (Layr, Vienna)
Lukas Quietzsch (Schiefe Zähne, Berlin)
David Rappeneau (Queer Thoughts, New York)
Dorian Sari (Wilde, Geneva/ Basel)
Sergio Sarri (Fitzpatrick Gallery, Paris)
Louise Sartor (Crèvecoeur, Paris)
Will Sheldon (Heidi, Berlin)
Alan Shields (Galerie Bernhard, Zürich)
Soil Thornton (Galerie Neu, Berlin)
Richard Sides (Schiefe Zähne, Berlin)
Lucie Stahl (Queer Thoughts, New York)
Vivian Suter (Karma International, Zürich)
Ulla von Brandenburg (Meyer Riegger, Karlsruhe/ Berlin/ Basel)
Jan Vorisek (Arcadia Missa, London)
Marilola Wili (Amore, Basel)
Zhang Yibei (BANK, Shanghai)
Sun Yitian (BANK, Shanghai)
Mie Yim (Simone Subal, New York)
Urban Zellweger (Karma International, Zürich)
Bruno Zhu (Cordova, Barcelona

 

Location
The Beverly Holz
Bruderholzallee 195
4059 Basel

Switzerland

 

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ESPAI

VOLTABASEL19

VOLTA will be back in Basel during the Art Basel week for its 15th time and this year I have amazing news for you all. There is a PROMO CODE to get FREE TICKETS to VOLTABASEL19
It’s super easy just use the code isawsomethingnice on www.voltashow.com/tickets for a general admission ticket (max 2 tickets per booking). FYI the Vernissage is on June 10th from 12-7 pm and is free for everyone so you can get yourself some free tickets to see the fair from June 11th to June 15th 2019!

#VOLTABASEL19 #isawsomethingnice
VOLTA, Basel’s art fair for new international positions, debuted in 2005 as a collaboration between dealers and friends. The aim was to secure a platform for international galleries beyond young art stalwart Liste and market heavyweight Art Basel. Concerns and aspirations of the exhibiting gallerists have been first and foremost since VOLTA’s inception; in combination with the curatorial mind of Artistic Director Amanda Coulson, eclectic and dynamic presentations with a strong focus on solo presentations find a stage as refined as at the main fair.
FLATThe Flat – Massimo Carasi (Milan)Inma FemeníaIn Tension no.412019, UV print on manipulated aluminium and natural rubber, 188 x 200 x 34 cm. Presented by The Flat – Massimo Carasi (Milan)
Noted for being a “space for discovery”, VOLTA returns to the former COOP distribution center as the newest cultural hub in Basel. Located across from the Novartis Campus at Elsässerstrasse 215, just 9 minutes away from the main fair and within the neighborhood of the very first venue at Voltaplatz. VOLTA sets the tone and plants its (artistic) flag as the first major event within the space.
VOLTA assembles 79 galleries across four continents and 25 nations to showcase compelling artist projects. This year my friend Annelien Kers will be present with KERS GALLERY and I am so happy to share with you some information about her gallery and her featured artist/s soon.
#voltabasel19

ESPAI

LOCATION:
ELSÄSSERSTRASSE 215, BASEL
DATES
:
MONDAY, JUNE 10 – SATURDAY, JUNE 15
TIMES
:
PREVIEW:
MONDAY, JUNE 10, 10 AM – 2 PM
 BY INVITATION ONLY
PUBLIC VERNISSAGE:
MONDAY, JUNE 10, 2 – 7 PM
 FREE ADMISSION
REGULAR HOURS:
TUESDAY, JUNE 11 – SATURDAY, JUNE 15
 10 AM – 7 PM
CLOSED ON SUNDAY

I am looking forward to seeing you during the Art Basel week. Have a lovely day and dont forget to use hashtag #voltabasel19 for your posts on social media.
PHOTOS:
-Set Espai d’Art (Valencia)Arancha GoyenecheMedium Landscape no.72018, Adhesive vinyl, PVC, aluminum, 50 x 50 cm. Presented by Set Espai d’Art (Valencia)
-The Flat – Massimo Carasi (Milan)Inma FemeníaIn Tension no.412019, UV print on manipulated aluminium and natural rubber, 188 x 200 x 34 cm. Presented by The Flat – Massimo Carasi (Milan)

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TAFETA SCOPE BASEL 2017

TAFETA SCOPE BASEL 2017

TAFETA SCOPE BASEL 2017
TAFETA SCOPE BASEL 2017
Niyi Olagunju b. 1981, Sagamu, Nigeria Lives & works in London
Adeniyi ‘Niyi’ Olagunju holds a National Diploma in General Art from Yaba College of Technology, Lagos and a BA Fine Arts (Hons) degree from St. Anne’s College, University of Oxford, UK with concentrations in Art History, Studio Art and Visual Theory. He was one of the privileged few to benefit from the Oxford University Scholarship between 2006 – 2009. He then went on to Texas Christian University (“TCU”) in Fort Worth, Texas, USA where he obtained a MA Fine Arts with specialisation in Sculpture.
Prior to his degree in Oxford, Niyi served with the British Army from 2002-2006, with service postings in Basra, Iraq & Northern Ireland. A practicing studio artist with exhibitions accross three continents, from 2011 to late 2015, he served as a Special Assistant to the Honourable Minister of State, FCT, Nigeria where he was tasked with the responsibility of formulating and implementing Social Development initiatives to strengthen the FCT’s Arts & Culture commitment.
TAFETA SCOPE BASEL 2017

TAFETA SCOPE BASEL 2017

I was at SCOPE art fair in Basel and saw Niyi’s artwork EKPIRI inside the TAFETA gallery booth and had to know more about it. I am so happy that I can share his story and work with you.
Ekpiri
“the first time I saw ekpiri seeds was during the Ofala festival in Onitsha. Dancers and performers would use them as percussion instruments during the annual celebrations.
I’ve always loved the art of joining one thing to another or of creating something new from objects that had a different function or purpose. The vision for my latest series is to take something small—the ekpiri seed pods —and create a piece that’s over 8 feet tall. It’s an ongoing investigation into the connection between culture and visual art. How Igbo traditional musical instruments fit into my artistic conversation.”
Adeniyi Olagunju February, 2017
TAFETA SCOPE BASEL 2017

TAFETA SCOPE BASEL 2017

Adeniyi ‘Niyi’ Olagunju’s CV
1981 Sagamu, Nigeria

Education
2011 MFA, Texas Christian University, Fort Worth, Texas, USA
2009 BFA Fine Art, University of Oxford
2000 National Diploma in General Art, Yaba College of Technology, Lagos Nigeria

Selected Exhibitions
2017 1:54 Contemporary Art Fair, New York NY
2017 Niyi Olagunju | Newish
2016 1:54 Contemporary Art Fair, Somerset House, London
2016 African Art: The Market Now, JP Morgan, Canary Wharf, London
2016 Enwonwu & Olagunju, TAFETA, London UK
2016 1:54 Contemporary Art Fair, Pioneer Works, Brooklyn New York NY
2011 MULTIPLE BARTER: The house has fallen, Gallery at TCU, Fort Worth TX
2011 The Hand That Feeds Me: TCU/MFA/500X, 500X Gallery, Dallas, Texas
2010 Africa Art Now: Contemporary Art from Africa and the African Diaspora, London
2010 Structures of Trade, FRED London
2010 “Transmission”, Fort Worth Contemporary Arts, Fort Worth, Texas, USA.
2009 Showdown, 414, Fort Worth Texas, USA
2009 Degree Show, Oxford, UK.
2008 20 Eventi, Poggio Moiano, Sabina, Italy
2008 Box Ladder, Modern Art Oxford, UK.
2007 My Culture, Morgan Stanley HQ, London,UK.
2007 The journey so far, Mary Ogilvie Gallery, Oxford, UK
1999 ADSA 99, Yusuf Grillo Gallery, Yaba College of Technology, Lagos, Nigeria

Awards/Achievement
2011 Outstanding Student Achievement in Contemporary Sculpture Award, ISC, New Jersey 2007 Outstanding Achievement in photography, International Society Photographer
2006 Winner of the Oxford University Photography Societys annual Competition.
2004 Military Medal: OSM Northern Ireland Medal 2004
2003 Military Medal: ODM Iraq Medal
2003 Membership and Affiliation
Nigeria Leadership Initiative (Associate) Society of Nigerian Artists (S.N.A) Royal Engineer Association

TAFETA SCOPE BASEL 2017

TAFETA SCOPE BASEL 2017

FOR FURTHER INFORMATION
Ayo Adeyinka // TAFETA
47 – 50 Margaret Street London W1W 8SB
+44 7811 435 626
ayo @ tafeta.com
www.tafeta.com

 

Have a look at my previous posts in the category ART.
>> click here >>

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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.FacebooktwittermailFacebooktwittermail

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 DENMARKFacebooktwittermailFacebooktwittermail

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 WolfFacebooktwittermailFacebooktwittermail

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)FacebooktwittermailFacebooktwittermail

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
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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 🙂FacebooktwittermailFacebooktwittermail