See more works by Panos Tsagaris here.
See more works by Panos Tsagaris here.
Comme beaucoup d’enfants j’aimais et j’aime encore après avoir regardé le soleil en face fermer les yeux très fort et laisser s’imprimer sur les paupières les couleurs qui subsistent suite à cet éblouissement. Faire remonter à la surface du tableau les sensations colorées de ces choses vues ou tout juste aperçues à travers le pare-brise de la voiture, ou en levant la tête au cours d’une marche. Restituer ces brefs émerveillements du quotidien, c’est mon désir de peintre.
En quelque sorte une « mémoire d’aveugle » comme le dit Jacques Derrida.- Gérard Traquandi
See more artworks by Gérard Traquandi here.
It’s not worth it, says Allen. And it might not be worth for Lebrija either, whose dark Mexican humour and metaphysical bent continues a great tradition of artists and writers. Bittersweet and lucid nihilists, who, despite the impending shadow of failure, never cease in their quest to find the answers to those questions. – Lorena Muñoz-Alonso
See more artworks by Gonzalo Lebrija here.
Intense moments of perception with the subtleties and grandeur of nature—and they are often one and the same—are among the most potent and lasting archetypes of Beauty and Transcendence which we, citizens of the post-industrial world, still experience. These moments—a small flower blossoming, a spider web, a chrysalis, the arousal from sleep of hidden faunae, a call from an unseen and unknown animal in the distance, the scent of coming rain, among countless others—offer an inexhaustible source of inspiration.
Forests & Boutonnières is a large-scale project that looks for new social possibilities between spectators and artworks. I will base the project on the essence of the primeval forest and the sharpness with which the urban shaman must confront it. It will draw on the tension between human and natural history. The works will explore ideological projections onto landscape and how they shape our experience of the beautiful and transcendent. As do all artworks grounded in reference to nature, the rebirth of shadowy zones, forgotten tales, and vestigial histories will impact the process and the images which result. One counterpoint is inevitable. Human history is cyclical; peace and war, oppression and freedom, the reign of collective and individual values, reign of worldly and spiritual ideals—these recurrences find their parallels in the cycles of nature across seasons as well as millennia.
The project will honor Monet’s Nymphéas, a large-scale oval installation at Musée de l’Orangerie in Paris while keeping a contemporary perspective and approach. The project consists of different works around the subject of the primeval forest and the city jungle, but one piece in particular will consist of four large-scale paintings measuring 2 meters high (6.5 feet). Two of the canvases will measure 3 meters wide (9.8 feet) and two others will be assembled to form a 9 meter wide painting (29.5 feet). They will form an octagon in which the spectator will be immersed.
A l’occasion de la Commémoration du Centenaire du Génocide Arménien, la galerie Sobering organise la soirée exceptionnelle 100 YEARS – 100 ARTISTS le jeudi 29 octobre à 19h30 à l’Hôtel de l’Industrie à Paris, et propose une vente aux enchères d’œuvres d’art contemporain au profit de l’association ARAM (Association pour la Recherche et l’Archivage de la Mémoire Arménienne) et un concert organisé par Adam Barro, baryton-basse, accompagné de Fanny Crouet (soprano colorature), Anne Quéré (piano) et Pierre Bedrossian (doudouk).
Programme de la soirée:
La vente aux enchères se déroulera le jeudi 29 octobre 2015 dans la Salle Lumière de l’Hôtel de l’Industrie à partir de 19h30
et sera organisée en quatre temps:
• La première partie de la vente aux enchères, de 19h30 à 20h30
• Un concert organisé par Adam Barro, baryton-basse
Il sera accompagné de Fanny Crouet (soprano colorature), Anne Quéré (piano) et Pierre Bedrossian (doudouk), de 20h30 à 21h
• La seconde partie de la vente aux enchères, de 21h à 21h45
• Un cocktail, à partir de 21h45
L’intégralité de la soirée se déroulera à l’Hôtel de l’Industrie, 4, Place Saint-Germain-des-Près, 75006 Paris
La galerie Sobering organise une vente aux enchères de 100 œuvres d’artistes internationaux et émergents. Seront présentées à la vente des œuvres de Lawrence Weiner, Mounir Fatmi, Jonathan Monk, Olivier Mosset, Paul Winstanley, Tania Mouraud… L’intégralité des fonds récoltés sera reversée à l’association ARAM.
L’association ARAM collecte, archive et sauvegarde des documents (livres, cartes, papiers, témoignages, photographies…) relatifs à la mémoire Arménienne.Les fonds récoltés à l’occasion de cette vente permettront de poursuivre la numérisation des documents du fonds et de créer une nouvelle plateforme en ligne où seront regroupés tous les documents numérisés. La plateforme sera disponible en libre accès.
Here is the link to our dedicated Facebook page:
Here is the link to the Facebook event:
Rudolf Stingel has made a career dancing around the idea of painting. He skirts its authority by looking at its components, its physical identity, its visual language and its history. – Michelle Grabner
See more artworks by Rudolf Stingel here.
From a distance the densely worked surfaces resemble the smoothness of enamel. Yet the painterly experiment of London-based German artist Silke Otto-Knapp could have taken quite a different turn: after all, it’s not so far from garden landscapes, atmospheric light, tangled leaves and teeming meadows to the Impressionist ideal. Otto-Knapp came to prominence as a painter of land- and cityscapes in which vegetation – rendered in heated colours and with an almost naive clarity – was rendered in a manner far removed from the often-clichéd illusionism of the landscape genre. – Catrin Lorch
See more by Silke Otto-Knapp here.
In the early 80s, Rosalind Krauss launched a theory about 70s art that seemed to say it all: 70s art was built on the photographic model, she said, it was indexical, tracing a ground rather than representing it. Had the work of the late Californian artist Robert Overby (1935-1993) been better known at the time, it might have served as a prime example of her theory – that is, in purely formal terms (the formal terms often lie in wait behind Krauss’ more explicit attacks on 50s formalism). – Ina Blom
The first piece in Robert Overby: Absence as Presence: Trace, Erasure, Eradication and Lack is an acrylic portrait John Lennon’s Head 16 May 1970. But the real question in this exhibition has to do with Robert Overby’s head. What was going on there? The show at Marc Selwyn Fine Art through April 11 will raise more questions than it will answer, which is exactly as Overby would have wanted it. – Hunter Drohojowska-Philp
The messy but magical nature of early photography fascinates the French artist Dove Allouche, whose first American solo has been beautifully installed in this gently renovated former factory, on Grand – By Karen Rosenberg
See more artworks by Dove Allouche here
in Sassen’s exhibition, the interplay between style and genre becomes something both conceptual and downright physical. Thus the formal galleries help to immediately assert what the exhibition text refers to a ‘museuological touch’ to Sassen’s depiction of a ‘fleeting fashion world’ – Annie Goodner
See more here
I combine painting with sculpture, and the made with the ready-made. Investigating colour, form and architectural and special arrangements in relationship to painting as a subject and discipline in and of itself. My new work is the result of a sustained interrogation of painting and process in relation to the found object.
A series of new ‘Found Paintings’ are examples of this new investigation. Carefully selected objects such as used and discarded scrap metal, table tops, dusty panels and lighting units are presented as paintings, challenging the viewer to look beyond speculation about former use and action, towards acceptance of each object and surface as aesthetically final and complete, a reclamation and assertion of Painting through the artistic legacy of the found object.
My work draws on influences from disparate sources, referencing the luxury of 50’s and 60’s interior design of West Coast America, the murder scenes of Helmut Newton, Colour Film Noir and the post-industrial landscape of North East England. Salvaged from local scrap yards these works lead a double life: both as autonomous objects and as Mise-en-scene. As such they imply an event or act that occurs outside the work ambiguous and substantiation except for the intimated luxury or seediness of material and colour the works become both sinister and erotic. – Paul Merrick, 2012
See more artworks by Paul Merrick here.
In an essay presented to the 16th Congress of the International Psychoanalytical Association in 1949 the French psychoanalyst Jacques Lacan located the formation of the self in the mirror reflection. Identity, as Lacan understood it, arose in the recognition of the image as oneself. For the most part the representation in art of the human form has followed the same model: by playing the role of the mirror, the art work re-enacts the moment of recognition in an exchange that ultimately reassures the viewer – Natalie Haddad
See more artworks by Victor Man here.
Kassay’s monochromes experiment with history. “I think that the work I’m doing could’ve been made sixty years ago. Everything I’m working with now was available then,” – Aimee Walleston
See more artworks by Jacob Kassay here.
In a not-so-secluded, but unforgiving room on the fourth floor of the San Francisco Museum of Modern Art, three of David Claerbout’s videos formed a claustrophobic horseshoe of exuberance and brutality – Eugenia Bell
See more artworks by David Claerbout here.
Consider the suggestive confusion between wonder and wander – as if getting lost and digression were at the root of amazement, of change, even of knowledge – Casey Kaplan
See more artworks by Anna Gaskell here.