Artist: Zak Kitnick

Venue: Off Vendome, Düsseldorf

Date: May 16 – June 21, 2013

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Off Vendome, Düsseldorf

Press Release:

Act so that there is no use in a centre.

Red…………………………………………………………….Reputation
Pink………………………………………………..…………Relationship
White…………………………………….………………………Creativity
Grey…………………………………………………..……………….Travel
Black………………………………………………………………….Career
Blue…………………………………………………………………Wisdom
Green…………………………………………………………………Family
Purple………………………………………………..…………Prosperity

A whole centre and a border make hanging a way of dressing.

Heaven******************************************Heaven
Wind**********************************************Wind
Water********************************************Water
Mountain*************************************Mountain
Earth*********************************************Earth
Thunder***************************************Thunder
Fire*************************************************Fire
River**********************************************River

If the center has the place then there is distribution.
Almost very likely there is no seduction, almost very likely there is no steam, certainly very likely the height is penetrated, certainly certainly the target is cleaned.

Link: Zak Kitnick at Off Vendome

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Artist: Zak Kitnick

Venue: Ribordy Contemporary, Geneva

Date: May 2 – June 29, 2013

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Ribordy Contemporary, Geneva. Photos by Annik Wetter and Andres Ramirez.

Press Release:

Link: Zak Kitnick at Ribordy Contemporary

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Artist: Zak Kitnick

Venue: Clifton Benevento, New York

Date: March 23 – May 25, 2013

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Clifton Benevento, New York

Press Release:

Link: Zak Kitnick at Clifton Benevento

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Artist: Dan Walsh

Venue: Fondation Speerstra, Apples

Exhibition Title: Tables of Contents

Date: March 17 – May 26, 2013

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Full gallery of images and link available after the jump.

Images:

Images courtesy of Annik Wetter and Fondation Speerstra, Apples

Link: Dan Walsh at Fondation Speerstra

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Artist: Dan Walsh

Venue: Elvira Gonzalez, Madrid

Date: April 11 – May 25, 2013

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Cuauhtli Gutiérrez and Galeria Elvira Gonález, Madrid 

Press Release:

Dan Walsh belongs to the post minimalist artistic generation, and his work is based on repeating forms that play with progressive complication or simplification. Walsh brings an architectural sensibility to his treatment of the space and background of his paintings, often treating them as if they were architectural friezes. His main references can be found in works from artists such as Peter Halley, Donald Judd, Sol Lewitt and Philip Guston, while his use of repetitive prints laid out in hierarchical compositions is indebeted to sources as diverse as Tibetan mandalas, indigenous textiles and folk art.

For Walsh, the creative process is fascinating and it is in fact as important as the final result of the work. It is this same process which generates the images of his paintings and which, as he himself acknowledges, provides unexpected results. He knows perfectly well how his work will start but he does not know how and when it will end, so that the final result is unknown. Walsh himself states that his painting is a vehicle to contemplate a place where the retinal meets the symbolic.

Dan Walsh (Philadelphia, US, 1960) studied at the Philadelphia College of Art and at the Hunter College in New York, where he currently lives and works. Hiswork has been exhibited at the P.S.1 Contemporary Art Center in Long Island, the New Museum of Contemporary Art in New York (US), the Centre National d’Art Contemporain in Nice,the Denme Synagogue (France), the CCNOA (Art + Architecture) Centre in Brussels (Belgium) and the Kunstverein Medienturm in Graz (Austria). In addition, Walsh has made numerous artist´s books that have been exhibited at the Gabinet des Estampes at the Musée d’Art et d’Histoire in Geneva (Switzerland).

His work has been included at the Biennial in Ljubljana (Slovenia) and the Biennial in Lyon (France). Between 17 March and 26 May 2013, the artist will have a retrospective exhibition at the Fondation Speestra in Apples (Switzerland), under the title of Table of contents

Uta Barth interview by George Stolz. May 2012

GEORGE STOLZ: I want to ask you first about how you work — your routine, not your work as object. How do you work?

DAN WALSH:I always say that the painting I am working on now was taken from my last painting. I famously don’t do drawings and it’s not out of any great principle. I’d rather just see it on the canvas.

How do I work? What you wouldn’t know about me is that I’m not exactly a brush fetishist, but I have a major commitment to my brushes. My ability with the brushes is key to how these paintings look.

How did I end up painting like this, with these little elemental kind of building blocks? How that happened is because years ago I was so – not embarrassed but I was really kind of feeling awkward about how I can put the paint on canvas. Everyone, every painter likes put paint on canvas, but there was this time – and we’re talking about the 80s or earlier – when everyone was living under the guise or the theater of another movement, like abstract expressionism. You had to adjust somebody else’s gesture. No authorship, no authority.

I can accept that, but it’s not particularly something I wanted. It just didn’t feel right. I’d rather be earnest and a little bit clumsy and get it right and at least say, not necessarily that I did it, but that I didn’t have to go through someone else’s theater to do it, to tape it out. Peter Halle would be the model of the time, to either tape it out or use a certain kind of gesture.

So my joke early on about how to describe myself was “Phillp Guston paints an Agnes Martin.” A kind of a clumsy, flat-footedness, although looking at more transcendental subjects.So what do I do in a studio? I make small movements, discreet movements, and perfect movements, and I build a painting that way. They are very simple gestures. You could say I am marking time. That I am existing gracefully. But I do like to do a pass over painting, as a printmaker would.

GS: Do you make prints?

 DW: Yes, I make prints with Pace. I love printmaking and I like being around someone as inspiring as Joe Watanabe. I like the way he does things. I feel like we are kindred spirits in that way. There is a way of painting that is very much about the elemental, step-by-step methological commitment. Whereas color for me is exactly the opposite. I am hiding under a very methological approach and what many would say is programmatic. But what I am getting out of color is I think quite romantic and quite exploratory compared to the brush marks themselves. It’s how much transparency I use and the color combinations and the — I don’t want to say quirky color but I have been in some very unusual situations color-wise. And I think because of transparency and the formats I can get away with with certain kind of color situations that I would bet that a lot of other artists can’t handle. It’s because of my knitting, because of my process. I think that’s important to separate these two.

GS: I’ve seen you refer in an interview to aspiring ‘to exist in the middle of history and be stout.’ What do you mean by that, ‘to be stout’?

DW: It’s that you ate at the table, you digested history. Think about Guston again. You represent with responsibility — and now that’s a very complex subject too. In history. You don’t have to prove anything. You are there gracefully and strong and you understand what you choose to do and not to do. I choose to be more of the decorative color painter as opposed to being some kind of brooding Marxist. I choose that. It’s a matter of choices. And grace, certainly.

Link: Dan Walsh at Elvira Gonzalez

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Artist: Merlin Carpenter

Venue: dépendance, Brussels

Exhibition Title: POLICE

Date: April 20 – May 26, 2013

Note: A document accompanying this exhibition is available for download here: POLICE PDF

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Full gallery of images and link available after the jump.

Images:

Images courtesy of dépendance, Brussels

Link: Merlin Carpenter at dépendance

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Artist: Gunter Reski

Venue: Kunstverein Düsseldorf

Exhibition Title: Doctor Tomorrow Borrows New Sorrows

Date: March 9 – May 26, 2013

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Kunstverein Düsseldorf 

Press Release:

Image and text play an equally important role in the painting of Gunter Reski (born 1963). It is there also consequent when connections to the promotional techniques of visual communications (posters, murals, agitprop, pop and advertising aesthetics) are sought in the artist’s picture formats that often expand directly on the wall. Regardless of how eye-catching, in fact even low-brow Reski’s pictures appear at first glance, their primary characteristic is the demonstration of how imaginatively and diversely they again and again establish painting as their true theme, and even if it was only for the purpose of accusing it of possessing the intrinsically narrow horizon that comes about at the point where painting congeals into an institution, becomes a bank that, automated as it were, yields art dividends.

Reski became active as an artist, author and curator in the early 1990s. At that time, painting was anything but self-evident, particularly within the progressively situated artistic milieu. This is reflected in the openness of Reski’s artistic practice that was typical of that time, especially in the way it incorporates conceptual, theoretical and communicative working methods over and above painting. At the same time this does not remain without influence on the painterly work itself, thus making it highly significant today from an historical perspective.

It was the resistance against intellectual trends and the artistic zeitgeist that was then – and today still is – often the motivation for taking up the paintbrush of all things considering the many other instruments art makes available; but the applause that one can rightly expect for this reason alone does not necessarily come from the correct side. Doktor Morgen neue Sorgen borgen is the first institutional overview of Gunter Reski’s oeuvre.

Aside from the retrospective selection of paintings and works on paper dating from two decades, the exhibition at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf also features new pieces by the artist, including a wall painting developed especially for the foyer of the Kunstverein.

Link: Gunter Reski at Kunstverein Düsseldorf

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

Welcome to Week in Review, our Sunday round-up of the last 7 days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, and become a fan on Facebook.

We would like to take time to thank our sponsor, the Hunter College BFA Thesis Exhibition. The show takes place in New York from May 15 – June 15, 2013. You can find more information here.

This week’s featured exhibitions:

Jacques André at Catherine Bastide

William E. Jones at The Modern Institute

Stephen G. Rhodes at Overduin and Kite

Michael Dean at Herald St

Barbara Hammer at KOW

Marisa Merz at Barbara Gladstone

Nicolas Party at The Modern Institute

“Good Luck and Safe Journey” at T293

Lorenz Straßl at Christine Mayer

Tobias Kaspar at Apt. 302, Peter Kilchmann, and BAR Project

Llyn Foulkes at Hammer Museum

Lucie Stahl, Tom Humphreys at What Pipeline

Tom Burr, Linder at Modern Art

“Love in a Cold Climate” at S1 Artspace

Have an excellent week.

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

Artists: Anna Barham, Scott King, Liam Gillick, Jamie Reid, Mandla Reuter, Hannah Rickards, Edward Wadsworth

Venue: S1 Artspace, Sheffield

Exhibition Title: Love in a Cold Climate

Date: March 9 – May 4, 2013

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of S1 Artspace, Sheffield

Press Release:

With coal seams beneath it and water running through, Sheffield has a surfeit of energy. Historically this energy has produced stainless steel and electro pop. Love in a Cold Climate reflects the latent energies within the city – both industrial and social.

Works include post-Vorticist lithographs from 1919 by Edward Wadsworth depicting slag waste in the West Midlands and agit-prop designs by Jamie Reid produced during the 1973 Miner’s Strike and for the 1987 General Election. Reid’s posters were produced, respectively, to encourage people to support the miners by wasting rather than conserving electricity and on behalf of the Labour Party associated Red Wedge campaign.

Liam Gillick’s Discussion Island Preparation Zone is a residue left from mopping the gallery floor with a cocktail of vodka and glitter. The work might appear as a trace of David Bowie’s Ziggy Stardust concert tour that is documented with a wall drawing by  Scott King. The tour took Bowie to 43 venues across Britain in the summer of 1973 including Sheffield’s City Hall.

The exhibition is illuminated with works by Anna Barham and Mandla Reuter that both methodically work through different lighting configurations in abstract exercises.

Hannah Rickards’, Some people say they think it sounds like aluminium foil but aluminium foil to me is not the sound’ 2007, is an installation that follows a series of interviews with people who have perceived the Northern Lights as being accompanied by a sound.

The title of the exhibition Love in a Cold Climate is taken from George Orwell’s ‘Keep the Aspidistra Flying’, 1936. The phrase was later adopted as the title of Nancy Mitford’s novel of 1949.

Link: “Love in a Cold Climate” at S1 Artspace

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

Artists: Tom Burr, Linder

Venue: Modern Art, London

Date: April 17 – May 25, 2013

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of  Stuart Shave/Modern Art, London

Press Release:

Stuart Shave/Modern Art is pleased to announce a two-person show of new collages by Linder, and a group of new sculptures by Tom Burr. This is the first exhibition in Modern Art’s new gallery spaces at 6 Fitzroy Square.

Linder lives and works in Heysham. She was born in Liverpool in 1954. Recent solo exhibitions include FEMME/OBJET, Musée d’Art Moderne de la Ville de Paris, Paris, France, travelling to Kestnergesellschaft, Hannover, Germany (2013); The Hepworth Wakefield, Wakefield (2013); Tate St Ives, St Ives (2013); The Darktown Cakewalk, Celebrated House of Fame, Chisenhale Gallery, London and The Arches, Glasgow (2010); Pretty Girl. No.1, Baltic, Gateshead (2007); and PS1/Museum of Modern Art, New York, NY, USA (2007).

Tom Burr lives and works in New York, NY, USA. He was born in New Haven, Connecticut, USA, in 1963. His solo exhibitions to date have included Gravity Moves Me, FRAC Champagne-Ardenne, Reims, France (2011); Bonvicini/Burr, with Monica Bonvicini, Städtische Galerie im Lenbachhaus und Kunstbau, Munich, Germany; travelling to Kunstmuseum Basel Museum für Gegenwartskunst, Basel, Switzerland (2010); Addict – Love, Sculpture Center, New York, NY, USA (2008); Extrospective, Museé Cantonal des Beaux-Arts de Lausanne, Lausanne, France (2006); Deep Purple, Whitney Museum of American Art, New York, NY, USA (2002). His work has been included in the 12th Istanbul Biennial, Istanbul, Turkey (2011); and The Whitney Biennial, Whitney Museum of American Art, New York, NY, USA (2004).

Link: Tom Burr, Linder at Modern Art

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.