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19.11.16

ADAM STRAUS | NOHRA HAIME GALLERY


Nohra Haime Gallery presents Adam Straus

Adam Straus, Glitch at the Edge of Antarctica, 2016. Oil on canvas in lead with oil and brass leaf. 41 x 61 x 2
inches (104.1 x 154.9 x 5.1 cm).

Adam Straus
A Retrospective

in collaboration with Adelson Galleries
November 23, 2016–January 14, 2017
Nohra Haime Gallery
730 5th Ave
New York, NY 10019
The work of Adam Straus, spanning a three and a half decade career, will be on view at Nohra Haime Gallery and Adelson Galleries from November 23, 2016 through January 14, 2017. The two exhibitions at 730 Fifth Avenue will showcase paintings, works on paper, sculpture, and photography. Straus is known for his majestic and luminous depictions of the sublime, which are often saturated with a deep concern about social and environmental issues. His penetrating dark humor can transport the viewer to post-apocalyptic worlds and often offers a wry observation on how humans have altered the natural landscape. The exhibitions coincide with the publication of a new monograph (Gli Ori, Italy, November 2016). An opening reception will be held on Tuesday, November 22, from 6 to 8pm.
With more than 40 works, the exhibition at Nohra Haime Gallery will survey Straus’s oeuvre from 1979 to 2016. While the focus will be on paintings and works on paper, Straus’s little-known photography and sculpture from the early 1980s will provide context for his later transition to painting. A number of the works are from private collections and will be on public view for the first time. At Adelson Galleries, the exhibition will focus on 16 paintings from 2011 to 2016, many of which, in a witty and irreverent manner, refer to how technology alters our view of nature.
As Amei Wallach writes in the essay for the book, “Think of the sheer pigheaded guts it took for as serious and ambitious an artist as Adam Straus to become a landscape painter in the 1980s. A century had passed since Cézanne torqued his trees into astringent meditations on the nature of painting; decades since the Abstract Expressionists swallowed the genre whole. The tradition into which Straus dared to tread… was sorely in need of reanimation. His disruptions in the years since have unsettled received assumptions as much through dark humor and bravura painting as through offering a reassessment of what it means to paint the beauty of nature in ugly times. It is important to him that his paintings are accessible… But that is only the first, skin-deep level, and it is animated by compound subterranean layers of passionate conviction, cosmic yearning, and comedy.”
Among the highlights at Nohra Haime Gallery will be McStop, 1993, in which a tiny depiction of the golden arches of McDonald’s dots an otherwise pristine evening setting. The painting was inspired by a view on a cross-country road trip in the American Midwest.
A 2000 painting framed in lead, A Line Drawn in the Sand, depicts a vast desert stretching out to a blue sky with a line scratched in the middle. As Straus writes in the book, “It was inspired by the bellicose comments by so many of the politicians in the ’90s about the Middle East… They would say ‘We really have to draw a line in the sand,’ as if that really was a strategy.” Painted the same year, Toxic Run-Off: The Calm Before the Storm was inspired by the 19th century American Luminist and Hudson River School painters such as John Kensett and William Trost Richards. Framed in lead with the paint dripping out of the picture, the peaceful seascape is both alluring and disturbing.
Summit: Melting, 2001, joins two wood panels together horizontally. The top panel is covered in canvas, the bottom in sheet lead. Straus notes in the book, “The image of the snow-covered mountain is painted on the top panel with the white paint of the snow allowed to drip over the bottom lead-covered panel…the drip is used to suggest something outside the aesthetic of the drip—in this case the melting of snow. I had read an article, at the time, about how the melting caused by climate change was decreasing the height of Mount Everest. There had also been numerous reports of the glaciers in the Andes melting at a much faster rate than usual.”
The Instagram-inspired Shared Air, 2014, painted on rough jute, combines elements of seascape, air, and water with the symbols, words, and designs familiar to social media users. As Straus explains in the book, “I was interested in the garbage-can delete symbol, the back arrow, and the words “share” and “save” in terms of looking at our environment. The air and water that China and the United States pollute is shared all over the planet.”
In mid-2016, Straus began working on a series of paintings entitled “Glitch,” which will be on view at Adelson Galleries. Using an app that “glitches” up a photograph of one of his paintings, Straus would repaint a scene with abstract imagery based on the patterns created by the Glitch app. His subject matter, cold and remote regions of the world including icebergs in Antarctica, is inaccessible to most people, and therefore there are few eyewitness to the devastation caused by climate change.
Book
A new monograph on the work of Adam Straus will be published by Gli Ori, Italy, in November 2016. The book will include text by Adam Straus, edited with an essay by Amei Wallach, the award-winning filmmaker, art critic, journalist, and curator. Straus writes about childhood experiences, fascinating moments with collectors and how a move to the North Fork of Long Island from Brooklyn in 2003 inspired many of his works.
Press contact:
Nicole Straus Public Relations, T 631 369 2188, T 917 744 1040, nicole@nicolestrauspr.com
Margery Newman, T 212 475 0252, margerynewman@aol.com

VOLTA | APPLICATIONS ON LINE

VOLTA: applications online for NY's 10th and Basel's 13th edition
Courtesy of VOLTA NY and VOLTA13.

Applications online

VOLTA NY
Pier 90
New York

VOLTA13
Markthalle
Basel
VOLTA NY, the premiere invitational solo project fair for contemporary art, celebrates its decade edition in New York at Pier 90 this March. VOLTA, Basel’s art fair for new international positions, returns to Markthalle for its 13th edition in June. Applications are now open for both fairs, and for the first time VOLTA NY will accept proposals from serious inquiring galleries. 
VOLTA NY
Wednesday, March 1–Sunday, March 5, 2017
VOLTA NY marks ten years of solo focus at its decade edition, March 1 through 5, 2017, exemplifying its commitment to emerging voices with a global reach as a viable and exciting alternative, now lately an irresistible programming element for even the largest art fairs.
In honor of the tenth anniversary, and for VOLTA NY 2017 only, the invitational fair will open its application for the one edition to submissions from galleries beginning November 18. Describing the process, VOLTA Artistic Director Amanda Coulson said, “While the consistency of our invited list throughout these past nine years is commendable, we do sometimes ‘get in our grooves’ and miss something exciting and superlative happening elsewhere. No matter my team’s travels across the globe, no matter the other fairs we scout at or the vast networks of former exhibitors we trove from—no one is entirely omniscient, and thus I have instituted this drive to seek out exciting proposals in addition to what we’ve come to expect and love from our invited contingent.”

Spaces are necessarily limited at the 2017 New York fair. Coulson added, “This decade edition is as much an opportunity to look forward and identify exciting contacts for the future, as much as it is a time to look back at what we have achieved and discovered thus far.” Applications are due by December 9, 2016.
VOLTA13
Monday, June 12–Saturday, June 17, 2017
VOLTA returns to Markthalle for its 13th Basel edition from June 12 through 17, 2017. In addition to coinciding with Art Basel as usual, this coming year marks a certain “alignment of the stars”: the concurrent exhibitions for documenta 14 (Athens, opening April 8 and Kassel, opening June 10); the 57th Venice Biennale (Venice, opening May 9); and the fifth Skulptur Projekte Münster (Münster, opening June 9). 
Positioned as a platform for renowned international galleries beyond young art stalwart Liste and art market heavyweight Art Basel, and under curatorial direction of Amanda Coulson, VOLTA has for years exhibited consistently eclectic and dynamic presentations with a focus on solo projects and two or three artists in dialogue. All applications are due by January 27, 2017.

Submit your application

For further questions, please contact us at info@voltashow.com.

VOLTA: applications online for NY's 10th and Basel's 13th edition

18.11.16

FOLLOW THE WHITE CUBE | HONOLD FINE ART


Honold Fine Art is pleased to present Follow the White Cube, the second pop up show of the gallery in Ubud, Bali from 26 November to 15 December 2016. The exhibition brings together painting, collage, sculpture, and installation work of eight artists: Jumaldi Alfi, Ashley Bickerton, Marco Cassani, Fendry Ekel, Bepi Ghiotti, Yusra Martunus, Filippo Sciascia and Narcisse Tordoir.

According to its modus operandiHonold Fine Art choses a new context where to locate the gallery: an artist’s studio. During the period of the exhibition the artworks are displayed inside the studio of one of the gallery’s Bali based artists.


OPENING: November 26, 2016 at 5 pm
Studio Filippo Sciascia
Jalan Nyuh Kuning 9, Ubud, Gianyar
Bali
+62 821-4533-7545
+62 341-971114

visit by appointment only!

info@honoldfineart.com
www.honoldfineart.com

15.11.16

NOME | NAVINE KHAN-DOSSOS


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Navine G. Khan-Dossos, Expanding and Remaining, 2016. Goauche on panel, 25 x 35 x 1.5 cm. Courtesy NOME.

Navine G. Khan-Dossos
Command: Print

November 19, 2016– February 10, 2017

Opening: November 18, 6pm

NOME
Dolziger Straße 31
10247 Berlin
Hours: Tuesday–Saturday 3–7pm

info@nomeproject.com

www.nomeproject.com
Facebook
NOME is pleased to open Navine G. Khan-Dossos's first solo show Command: Print on November 18.

Navine G. Khan-Dossos's practice of contemporary aniconism—the absence of figuration in art—bridges her rich training in Islamic art and the geometric abstractions of digital aesthetics.

In Command: Print  Khan-Dossos presents two series of work, the "Printer Paintings" (2013) and "Remaining and Expanding" (2016), both of which foreground gridded colour studies, printing and digital technologies through a subtractive approach to painting.

The "Printer Paintings" are composed from the principal tones of colour printing—CMYK and grey. Superimposed rectangular elements represent printer cartridges, with one of the four ink colours taken in turn as the main hue of each panel. Coloured units are contrasted with dazzling white in an almost moiré, chequered design.

"Remaining and Expanding" comes out of the artist's ongoing research into Islamic State propaganda, and in particular its online magazine Dabiq. 36 panel paintings are constructed from the design and layouts of page-spreads from one issue; transformed—in the absence of their controversial contents—into pure form and colour so the viewer can consider the structures rather than content of propaganda. The palette is made up of CMYK and RGB, moving from the printed image to the screen image. The installation of the series in the gallery imagines the issue before publication, as a set of mock-ups in some unknown editorial office or bunker.

In these works, the matteness of gouache paint translates the qualities of screen resolution into an analogue surface. "The paint is never trying to compete with the perfect reproduction qualities of a pixelated screen," the artist comments, "rather it is there to draw you into the work, to see the edges, the failures, the human hand making the mark."

Navine G. Khan-Dossos (b. 1982, London) is a visual artist based in Athens. Her interests include Orientalism in the digital realm, geometry as information and decoration, and image calibration. She has exhibited and worked with institutions including Serpentine Galleries (London), the Museum of Islamic Art (Doha), Witte de With (Rotterdam), the Van Eyck Academie (Maastricht), the Delfina Foundation (London), Leighton House Museum (London), the Benaki Museum (Athens), and the A.M. Qattan Foundation (Ramallah).

NOME
Founded in 2015, NOME operates between art, politics, and technology. By exploring the nodes of entanglements between these fields, NOME aims to raise critical awareness of the crucial issues facing our age.

For further information and sales inquiries, please contact Luca Barbeni or Manuela Benetton at info@nomeproject.com.
For press and media inquiries, please contact Tabea Hamperl at press@nomeproject.com.

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LAWRIE SHABIBI | OLIVER CLEGG

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Oliver Clegg. Don’t You? Don’t You?. Acrylic, steel, electric motor, pin spots, and wood. 77.5 x 45.7 x 45.7 cm. Courtesy Lawrie Shabibi and the artist.

Oliver Clegg  
Everything Should Be OK

Through January 5, 2017

Private preview: Sunday, November 13, 6–9pm

Lawrie Shabibi  
Unit 21, Alserkal Avenue
Al Quoz
Dubai

T +9714 (0) 346 9906

info@lawrieshabibi.com

lawrieshabibi.com

Lawrie Shabibi is pleased to announce Everything Should Be OK a solo exhibition by New York-based British artist Oliver Clegg, who works between two and three-dimensional disciplines using a diverse range of materials and methods. Delving into the complexities of modern life, Clegg wittily presents a narrative that oscillates between the tragic and comic revealing a broad set of interests that touch upon opposing notions of life such as birth and death, joy and sorrow, childhood and aging.

For this exhibition Clegg presents a selection of new and older paintings of discarded childhood toys and other household objects on used table tops, church floorboards and the scratched wooden backs of old small storage boxes. The wood that the artist chooses is always intentional: "The nostalgic nature of both the surfaces and the subjects are mechanisms for inspiring the viewer to consider his position in the present day with fictitious reconstructions of the past," says Clegg. In other paintings within this continuing body of work he has also worked with old church pews and school desks showing his ambivalence towards both institutions. The artist was brought up with a religious background and began making work just as the internet began its relentless advance. Old authority and the internet—two binary notions and how they fit together—inform much of Clegg's art making.

Clegg also presents two other works that highlight both the diversity of his materials and another major facet in his work—the question of self. References to cinema and music recur throughout his workIn Don't You? Don't You? (an installation that takes its title from the lyrics of "You're So Vain" by Carly Simon) Clegg suspends a disco ball in an oversized shipping crate, that reflects the words "me, me, me" around the space in thousands of multiples; meanwhile I HOPE WE NEVER DIE, SO DO I, DO YOU THINK THERE IS ANY CHANCE OF IT?takes a look at the question of self in the 21st century. A wall-based piece taking 81 birth certificates the artist bought over the course of a year using ebay, has laser cut into each an actual end title taken from a film from the year of that person's birth, an exercise reinforcing Thomas Fuller's melancholic assertion that "birth is the beginning of death."


About Oliver Clegg
With his erudite, surprising and striking repertoire, and his diverse materials and methods, British artist Oliver Clegg offers the viewer a complex, sometimes playful, other times moving journey into existential and ontological notions of objecthood and matter, images and signs, language and communication, creation and being.

Oliver Clegg has shown internationally since graduating in 2007 in Rome, Czech Republic, South Korea, Australia, London, New York, Hungary, Milan and has been included at the Prague, Busan and Venice Biennales. He has also been included in museum shows at the Reykjavik Museum of Modern art, Dox Centre for the Contemporary Art, The Saatchi gallery and The Busan Modern Art Museum. In 2013 he showed again at the Venice Biennale in a group show curated by the Hermitage Museum in Russia at the Palazzo Franchetti and in 2014 was included in a group show curated by collector Susanne Van Hagen at S|2 Gallery London. His work is included in many private and public collections including the Getty family, Anita and Poju Zabludowicz, David Roberts, Charles Riva, Fatima and Eskandar Maleki, Faisal and Sara Tamer, and Deutsche Bank.

About Lawrie Shabibi
Lawrie Shabibi is a contemporary art gallery housed in Dubai's Alserkal Avenue. The gallery supports the long-term development of the careers of young and mid-career international contemporary artists with a focus on those from the Middle East and North Africa. The gallery also works with an older generation of artists from the region and organizes art historical exhibitions.

Media contact
For more information, images or media enquiries contact Margaret Antelme:
margaret@lawrieshabibi.com / T +971 4 346 9906


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5.11.16

THE THIRD LINE | DUBAI

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(1) Laleh Khorramian, Alien (S4), 2016. Monotype and mixed media on polypropylene, 66 x 51 cm; (2) Laleh Khorramian, Guardian Pink, 2016. Ink, oil, collage on polypropylene, 107 x 158 cm; (3) Sherin Guirguis, Untitled (Hexagon), 2015. Mixed media on hand-cut paper, 101.6 x 117 x 5 cm; (4) Sherin Guirguis, Untitled (Beitana ll), 2016. Mixed media on hand-cut paper, 132 x 132 cm.

Laleh Khorramian: Saturns Neckless
Sherin Guirguis: El Beit El Kabir

November 2–December 10, 2016

Preview: November 2, 7pm

The Third Line
Al Quoz 1
Dubai
UAE

T +9714 3411 367

www.thethirdline.com
Facebook / Instagram

Gallery 1
Laleh Khorramian: Saturns Neckless
"Do you remember the future? What will remain from that time to come?
What happens when that future vision collapses with the past?"

The Third Line is very pleased to present Saturns Neckless, Laleh Khorramian's third solo show at the gallery. Laleh returns with a new body of work featuring dyed and painted fabrics, vestments, and monotype portraits of alien and guardian beings—symbolic of an untiring fascination with that which is otherworldly, the unnameable, and of a timeless inner territory. The exhibition is an homage to these beings—in their multiple forms as druids, seers, knowers, oracles, robots and space forms—and their proximity to alienation, anonymity and totemic divinity.

Born in 1974 in Tehran, Iran, Khorramian lives and works in New York. She studied at the Rhode Island School of Design and received her undergraduate degree at the School of the Art Institute of Chicago, and her MFA at Columbia University, New York. Laleh's work is housed in several prominent collections including Saatchi Gallery, London, UK; Daman Collection, UAE and C-Collection, Principality of Liechtenstein.

Gallery 2
Sherin Guirguis: El Beit El Kabir
El Beit El Kabir is Sherin Guirguis' second solo show in Dubai. This new body of work, built in three parts over the past two years, incorporates a combination of sculptural forms, paintings and works on paper. Shown together for the first time, they continue an interplay between personal and public histories, more specifically taking cues from Sherin's Egyptian heritage and her experience as an Egyptian-American immigrant. Framed through the lens of her diasporic identity, the exhibition recreates the last vestiges of a connection with her homeland.

Sherin Guirguis was born in Luxor, Egypt in 1974 and lives in works in Los Angeles. She received her BA from the University of California, Santa Barbara in 1997 and her MFA from the University of Nevada, Las Vegas in 2001. In 2012 she was awarded the prestigious California Community Foundation Fellowship for Visual Artists. Sherin's work has been acquired by the Orange County Museum of Art, Newport Beach, CA; the Houston Museum of Fine Art, Houston, TX and the Las Vegas Museum of Contemporary Art, NV.

About The Third Line
The Third Line is a Dubai-based art gallery that represents contemporary Middle Eastern artists locally, regionally and internationally. In addition to this, The Third Line publishes books by associated artists and hosts non-profit, alternative programs to increase interest and dialogue in the region.

Represented artists include: Abbas Akhavan, Ala Ebtekar, Amir H. Fallah, Arwa Abouon, Babak Golkar, Farhad Moshiri, Fouad Elkoury, Golnaz Fathi, Hassan Hajjaj, Hayv Kahraman, Huda Lutfi, Joana Hadjithomas & Khalil Joreige, Laleh Khorramian, Lamya Gargash, Monir Shahroudy Farmanfarmaian, Pouran Jinchi, Rana Begum, Sahand Hesamiyan, Sara Naim, Sherin Guirguis, Shirin Aliabadi, Slavs and Tatars, Sophia Al-Maria, Tarek Al-Ghoussein, Youssef Nabil and Zineb Sedira.

Media contact 
Saira Ansari, Director of Communications: saira@thethirdline.com / press@thethirdline.com / T +9714 3411 367

1.11.16

THE CONTEMPORARY AUSTIN

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Images (clockwise from left): Artwork © Rodney McMillian. Image courtesy the artist and Susanne Vielmetter Los Angeles Projects. Photograph by Robert Wedemeyer; Artwork © Rodney McMillian. Image courtesy the artist, Aspen Art Museum, and Susanne Vielmetter Los Angeles Projects. Photograph by Tony Prikryl; Artwork © Rodney McMillian. Image courtesy the artist; Institute of Contemporary Art, University of Pennsylvania; and Susanne Vielmetter Los Angeles Projects. Photograph by Constance Mensh.

Suzanne Deal Booth Art Prize winner: Rodney McMillian

The Contemporary Austin
700 Congress Ave
Austin, TX 78701

www.thecontemporaryaustin.org

Rodney McMillian will receive an unrestricted award of 100,000 USD along with a solo exhibition and scholarly publication.

The Contemporary Austin is pleased to announce that artist Rodney McMillian is the winner of the first Suzanne Deal Booth Art Prize. In addition to receiving the award in the amount of 100,000 USD, he will receive a solo exhibition at the museum's downtown venue, the Jones Center, with the option to extend the exhibition to the museum's 14-acre outdoor site, the Betty and Edward Marcus Sculpture Park at Laguna Gloria. A publication and public programming will also accompany the exhibition, which is scheduled to open to the public on February 3, 2018.

McMillian has worked in a range of mediums and materials, including sculpture, painting, video, performance, and immersive environments, to explore themes of class, gender, race, social history, and culture. His work  integrates found and scavenged materials—what the artist has labeled "post-consumer objects"—as well as techniques of interactivity and performativity, resulting in unique forms with a deep relevance to their context and time. "An award such as this can enable an artist to reimagine what is possible for one's practice or one's self," says winner Rodney McMillian. "In some cases, it could actually be a lifeline. I am very honored and thrilled to be a recipient. Thank you to Ms. Booth, The Contemporary Austin, and the advisory committee."

McMillian was selected by an independent advisory committee made up of renowned curators and art historians from across the U.S. Led by Heather Pesanti, Senior Curator of The Contemporary Austin, this year's inaugural advisory committee included Stephanie Barron, Senior Curator and Head of Modern Art Department, Los Angeles County Museum of Art; Naomi Beckwith, Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago; Peter Eleey, Chief Curator, MoMA PS1; Hamza Walker, Executive Director, LAXART; and Heidi Zuckerman, Nancy and Bob Magoon CEO and Director, Aspen Art Museum.

"It's been an incredible learning experience to be part of laying the groundwork and process for the inaugural Suzanne Deal Booth Art Prize. The opportunity that the prize and its correlated resources present to the artist have the potential to be immeasurable and profound," states Senior Curator Heather Pesanti. "Rodney is at the perfect moment in his career for this prize, an artist who has been well exhibited and respected in the field, but for whom the resources provided through this opportunity will ideally be a catalyst for new paths in his work."

"In establishing this prize for The Contemporary Austin, my hope was to reinforce the museum's mission of transformation: first and foremost the Suzanne Deal Booth Art Prize intends to be transformative for the selected artist, but beyond that, for the institution and the community," says founder of the prize Suzanne Deal Booth. "The selection of Rodney McMillian reflects the guidance and decision of an exemplary advisory committee of curators from around the country who allowed us to broaden our reach. As the patron, I look forward to witnessing the project as it unfolds, and to seeing the dynamic possibilities that Rodney brings to the museum and the city of Austin."

"The Suzanne Deal Booth Art Prize brings both established and emerging talent—from the U.S. and abroad—to audiences here in Central Texas and visitors from around the world," says Louis Grachos, Ernest and Sarah Butler Executive Director and CEO of The Contemporary Austin. "When I joined The Contemporary in 2013, my goal was to bring in artists and exhibitions that added to the ongoing dialogue in the contemporary art world. We are so privileged to administer this prize—built through the forward-thinking generosity of Suzanne Deal Booth—which aligns with the institution's mission to reflect the spectrum of contemporary art through thoughtful exhibitions, commissions, and educational programs. On behalf of The Contemporary, I am very pleased to be working with Suzanne, Heather Pesanti, and our esteemed advisory committee to help realize and ultimately present McMillian's work in 2018."


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31.10.16

BEPI GHIOTTI | CASTELLO DI RIVARA


Bepi Ghiotti - Materia Prima  'i Bui' black paint, XVII-XVIII century painting, wood, gold. 2016




Bepi Ghiotti

MATERIA PRIMA

30.10 - 27.11.2016


Castello di Rivara 
Museo d'Arte Contemporanea
tel +39 0124 31122
P.zza Sillano 2,10080 Rivara, Torino.




Materia Prima could be seen as one of the many possible outcomes of Bepi Ghiotti's work
on the neobaroque space of Castle of Rivara. Only one of the possible results, reasonably,
determined by having to set a time limit to his tireless research. Yet, there is a moment
before, at the beginning of the artist's operation on the location, in whichtime has already
overwhelmingly taken its share as a raw material. Bepi's trained photographer eye
recognizes the majesty of time, which is manifested in the traces of life and art deposited in
the Castle's ambient by the passage of time. His work thus concentrates on an attempt to
resurface the essence of this space, almost sweeping away, one after the other, all the
layers of recent history.


Bepi Ghiotti - Materia Prima  '500W'  02 Kodak Carousel projector, loaders, wall. 2016

Bepi Ghiotti - Materia Prima  'Cianotipi'  Cyanotype on paper 122x82cm. 2016

Room after room, wall after wall, Ghiotti analyzes the geometries, listening to them breathe.
Like a chemist in an ancient laboratory, he captures the light coming through the windows in
different hours throughout the day. The light continuously changes, as does the perception
of the architectures, thus delivering an essential experience of the location, through the
artist's installation. The rooms of the neo-baroque villa, similar to living organisms, bring out
the primary elements of their physiology: the asynchronous pulse of the two projectors
beaming pure light, installed in the entryway; along the electromagnetic vibrations captured
with ancient gestures on the cyanotypes, in the partial views of faces and landscapes that
can only be imagined through scratches of light, torn away from the black of darkness, of
oblivion.

Bepi Ghiotti - Materia Prima -  'Cianotipi' - Cyanotype on paper 122x82cm. 2016

Through this intervention, which is almost an archaeological operation on the location,soaked in anthropological suggestions and ancient techniques, Bepi Ghiotti 
reveals the heart to the audience. The viewer is led to the “source” of the identity of those rooms from the Eighteen hundreds, recovered through the artist's tenacious experience inside the Caslte and that of all its physical and unworldly dwellers. Walking through those rooms, among objects revealing the essence, one has the clear feeling of being inside a fully developing process, deeply interconnected with the ponderously conquered relationship the artist has had with the Castle of Rivara, day after day, 
in the resounding loneliness of those huge, empty rooms.


Bepi Ghiotti - Materia Prima  '500W'  02 Kodak Carousel projector, loaders, wall. 2016


Bepi Ghiotti - Materia Prima  'Cianotipi'  Cyanotype on paper 122x82cm. 2016






Bepi Ghiotti - Materia Prima  'Cianotipi'  Cyanotype on paper 122x82cm. 2016

Bepi Ghiotti - Materia Prima  'i Bui'  black paint, XVII-XVIII century painting, wood, gold. 206

Bepi Ghiotti - Materia Prima  'i Bui' black paint, XVII-XVIII century painting, wood, gold. 2016
Bepi Ghiotti - Materia Prima  'i Bui' black paint, XVII-XVIII century painting, wood, gold. 2016









Castello di Rivara 
Museo d'Arte Contemporanea
tel +39 0124 31122
P.zza Sillano 2,10080 Rivara TO

30.10.16

ICEBERG PROJECTS | BROKEN FLAG

Iceberg Projects

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AA Bronson, White Flag #2, 2015. Rabbit skin glue, Champagne chalk, and raw honey on wool, cotton and metal grommet on linen, 112 x 181 cm. Work courtesy of the collection of Shelley Fox Aarons and Philip Aarons, New York. Image courtesy of the artist and Esther Schipper, Berlin. Photo: © Andrea Rossetti. 

Broken Flag

November 6–December 6, 2016

Opening: Sunday, November 6, 4–7pm
Closing: Sunday, December 4, 4–7pm

Iceberg Projects 
7714 N Sheridan Road
Chicago, IL 60626
Hours: Saturdays 11am–5pm

icebergchicago.com

Works by: AA Bronson, Art+ Positive, Sanford Biggers, Elijah Burgher, Zachary Cahill, Noah Davis, Paul Heyer, Jonathan Horowitz, Kerry James Marshall, William J. O'Brien, Cheryl Pope, Raymond Saunders, Patti Smith and David Wojnarowicz

Curated by Dr. Daniel Berger and Dr. Omar Kholeif


Not to hail a barren sky. Sifting cloth is weeping red
The mourning veil is waving high a field of stars and tears we've shed
In the sky a broken flag, Children wave and raise their arms
We'll be gone but they'll go on and on and on and on and on
"Broken Flag," Patti Smith (1979)

Broken Flag emerged out of a conversation about queer identity in an ever fractured and precarious American landscape. The flag has historically operated as an allegory in culture and in contemporary art (with Jasper Johns being the most obvious of examples)—but here the flag is stretched to new formal and imaginal limits. In this case, the flag becomes an emblem and an allegory for the possibility of a utopic future, one which we hope will not verge into teetering collapse. These pieces of fabric, glitter, and cloth represent an identity subsumed by late capitalism; they are meta-objects, remarking on histories, which are no longer visible (disappeared in the homogeneity of many an(other) identity). They speak to hopefulness and ebullience, as well as to collapse and hopelessness. Where shall we go? And shall we go together or alone?

This project explores states of being and ways of seeing. How do we devise a sense of identity if the muddy water before us continues to prescribe and define binaries that cannot contain us? Shall we create archipelagos that facilitate creolization: spaces to mend the cracked euphemism once denoted by our idols? On the verge of a new election, a new America, post-Orlando, post-Ferguson, what have we learned and what will emerge in this new world?

The artists herein are a cast of colorful characters—pleading and divergent souls, who welcome, greet and distort the visitor upon arrival.


Closing event: Further details to be announced.
A limited edition publication of 150 copies will be published alongside the exhibition.