Galeria Magda Bellotti-Madrid,Spain

Galeria Magda Bellotti

Madrid,Spain

www.magdabellotti.com



La Galería Magda Bellotti se funda en Algeciras (Cádiz) en 1982; en 2001 se traslada a Madrid, donde abre nuevo espacio en el llamado triángulo de oro, entre el Museo Thyssen, el Prado y el Reina Sofía.La nueva galería madrileña consta de cuatro espacios diferenciados; dos salas que se encuentran a nivel de la calle, y otros dos espacios en un semisótano; uno de los espacios llamado Sala Algeciras es un "guest room"; un espacio dedicado a proyectos específicos e intercambios con artistas de otras galerías. Por todo ello, se exhiben dos exposiciones al mismo tiempo.La galería desde su fundación ha querido acercar el arte contemporáneo, fundamentalmente español, al público, y generar un coleccionismo entonces inexistente en España.Desde un primer momento la galería ha prestado un especial interés a los artistas jóvenes, a los que ha promocionado con exposiciones, edición de catálogos, publicidad, así como asistiendo a ferias nacionales e internacionales. Muchos de los artistas que comenzaron a trabajar en la galería son referentes indispensables en el panorama artístico nacional.Los artistas que representa la galería son:Ángeles Agrela, Evaristo Bellotti, Paloma Gámez, Alfredo Igualador, Paco Lara-Barranco, Santiago Mayo, Paloma Peláez, Gabriela Kraviez, Manolo Quejido, Fernando Renes, Antonio Sosa, Chema Cobo, Mercedes Carbonell, Javier Casaseca, Luis Gordillo, Teresa Lanceta, Mario Martín Crespo, Marysol, Fram Ramírez, Laia Solé y Baltazar Torres. Un grupo de artistas que trabajan en distintas disciplinas artísticas: pintura, escultura, dibujo, fotografía y vídeos, instalación y animación; algunos son artistas con una sólida trayectoria artística a sus espaldas y otros son jóvenes artistas.

Andrew Bae Gallery

Andrew Bae Gallery
Chicago,il
presents

July 13 — August 11, 2007Opening reception: Friday July 13, 5 - 8 PM
The Andrew Bae Gallery will proudly present recent work by Korean photo-sculptor, Myungkeun Koh. Koh`s complex constructions of photographic laminates combine sculpture and photography, yet establish an independent medium of their own.
In these wondrous “boxes”, as the artist casually calls, a sense of architectural depth intersects with that of the two-dimensional picture plane. Translucent photographic images repeat, overlap and resonate through the constructed space of variously shaped boxes. These illusionary and illusionistic sculptures dream a dream of surface. Violating but also appropriating the principles of two-dimensional photographic representation as well as the spatial manipulation of sculpture, the surface claims space and the image breathes life. The greater charm of the artist’s luminous boxes is, however, not to be found in his innovative method alone, but in the classicism of the themes the artist has incorporated. Natural elements like water, fire, air and soil; the outer walls of abandoned buildings; old windows and doors, all have been captured by the artist’s camera. This summer, Andrew Bae Gallery especially focuses on the artist’s new theme, the Stone Body. Koh isolates the surface of the human form in stone sculptures from the 5th century B.C. through the 19th century and preserves this surface in high-resolution laminated film gels. The weight of stone is denied and multiple iterations of human form are suspended in pattern. Captured in moments, the fleeting image resembles in its transparency the transience of our vulnerable life and reminds us how beautiful our mortal body is.
Myungkeun Koh was born in 1964 in Korea and educated both at Seoul National University and at Pratt Institute in Brooklyn, New York. His works have been shown in Cologne, at the Sorbonne in Paris, in Hong Kong, Tokyo, Seoul, New York and San Francisco. After his introduction to a Chicago audience at the Museum of Contemporary Photography at Columbia College in 1998, this exhibition is Koh`s first solo show at Andrew Bae gallery. Currently, Myungkeun Koh is a professor at Kookmin University of Fine Art in Seoul.

Galerie Nordenhake - Berlin

Galerie Nordenhake
www.nordenhake.com

MARJETICA POTRÈRURAL STUDIO: THE LUCY HOUSE TORNADO SHELTERAPRIL 27, 2007
Galerie Nordenhake is very pleased to present an exhibition by the Slovenian artist Marjetica Potrè, an architect turned sculptor who works at the interface of art, architecture and social science, exploring local innovations in the built environment. For the exhibition, Potrè has installed a site-specific structure that evolved from her case study of the Lucy House in Greensbro, Alabama, designed by the Rural Studio in 2002 for Anderson and Lucy Harris and their three children. Rural Studio is a program founded in 1992 by Samuel Mockbee for architecture students at Auburn University in Hale County, Alabama, one of the poorest regions in the United States.
Potrè’s work negotiates with the gaps in knowledge that result when urban planners and architects insist on creating order. Notably, Potrè is interested in what architects and planners cannot predict. Notions such as homelessness, the shantytown, outsider communities, and the role of imagination are united in Potrè’s work with an architecture of immediate, personal response.
The ‘Lucy House Tornado Shelter’ is an organic, ‘living’ structure based on the metaphor of the human body’s spontaneous and unplanned behavior. The house includes a built-in tornado shelter topped with a ‘crumpled’ dome. This dome is not the actual shelter; rather, it is protecting the structure underneath. Potrè’s design takes into consideration her work with Buckminster Fuller’s tensegrity domes, which she encountered while at the Burning Man Festival. A tensegrity dome involves a coordination of pressure and release, push and pull. The dome is built by adjoining segments at different angles together so that in the overall structure an equilibrium of push and pull occurs between segments weighed on and those weighing.
Potrè’s study evolved out of her interest in architecture that emphasizes ‘self-reliance’ and ‘individual empowerment.’ This is accomplished through the usage of alternative, environmentally sustainable construction materials, combined with little money and much creativity. She investigates how to improve relations between society and the individual, asking what sort of space is available to us for freedom. Transforming scrap material and ‘junk’ into a solid, sturdy structure, Rural Studio’s work has provided the opportunity for many underprivileged families living in substandard housing to move into a house that is not only a home, but a shelter for the soul.
The Lucy House’ unites residential architecture with an emergency provision, the permanent need with the temporary necessity. As with her previous projects, Marjetica Potrè is continuously exploring fundamental human needs: community, safety, and shelter. In addition to the house, Potrè will also exhibit new drawings that are somewhere between an architectural plan and a mental association chart. These drawings give insight into her idiosyncratic process of thinking about urgent problems in urban architecture.
Marjetica Potrè was born in 1953 in Ljubljana, Slovenia. She has an upcoming exhibition at the end of May at the Barbican Arts Center in London. Her work has been exhibited extensively throughout Europe and the Americas, including at the Sao Paolo Biennial (1996 and 2006), the Venice Biennial (2003), and Manifesta 3 (2000). She has had solo exhibitions at the Guggenheim Museum (New York, 2001), Max Protetch Gallery (New York, 2002 and 2005), Galerie Nordenhake (Berlin, 2003), PBICA (Lake Worth, Florida, 2003), the List Visual Arts Center at the Massachusetts Institute of Technology (2004), and at the De Appel Foundation for Contemporary Art (Amsterdam, 2004). Her many on-site installations include Dry Toilet (Caracas, 2003), Balcony with Wind Turbine (the Liverpool Biennial, 2004) and Genesis (2005), which is on permanent display at the Nobel Peace Center in Oslo. Potrè has published a number of essays on contemporary urban architecture. In 2005, she was a visiting professor at the Center for Advanced Visual Studies at the Massachusetts Institute of Technology. She has been the recipient of numerous grants and awards, most notably the prestigious Hugo Boss Prize (2000) and recently an IASPIS artist residency in Stockholm, Sweden (2006).

Slater Bradley

Slater Bradley

Slater Bradley
Slater Bradley's Doppelganger Trilogy (2001–04) conjures up three pop icons from the collective unconscious of our mass-mediated culture. All fallen heroes—two by suicide and one by a protracted descent into disrepute—these figures are perceived through the distancing lens of desire and memory. Each of the three videos is fashioned as a recording of a faux concert performance, using a technique reminiscent of what would have been employed to capture the event when it purportedly took place.Factory Archives imagines Ian Curtis, lead singer of the short-lived punk band Joy Division, through the grainy haze of aging video stock. As if retrieved from the vaults of Factory Records, this fragment depicts an elusive performer just before the dawn of MTV, when the choreographed music video would forever change how culture consumes its rock 'n' roll. Phantom Release rehearses this cultural phenomenon as well as the ubiquitousness of the personal camcorder, offering an ersatz, "amateur" recording of Kurt Cobain playing the guitar. Its studied casualness and raw ambience evoke the countless bootleg videos that can be downloaded from any number of Web sites devoted to all things Nirvana. In Recorded Yesterday Michael Jackson is seen performing his signature dance moves on an otherwise empty stage. The black-and-white, Super-8 film footage of this lone figure appears to be disintegrating as it plays, creating a ghostly, retro atmosphere that reflects the melancholic reality of a once brilliant career spiraling out of control. Each chapter of the trilogy appears worn and overexposed, as if distorted by age. The effect is one of a vaguely remembered image, a dream dimly recalled at the break of day.Bradley's "restagings" of these imagined performances reference specific moments in his own life when he first encountered the work of Joy Division, Nirvana, and Michael Jackson, and through them, the seduction of abandonment, the lure of celebrity, and the erotics of fan worship. His trilogy—and its related photographs and collages—compellingly complicates the autobiographical element by the involvement of the artist's "doppelganger." Since 1999 Bradley has been collaborating with Benjamin Brock, his veritable double, in a series of works that explore the psychologically charged space between one's self and mirror image. In myth and literature, the doppelganger is an apparition that portends one's own death, but its form has mutated over time to include the notion of double identity. In the trilogy Brock performs as Bradley playing the roles of Curtis, Cobain, and Jackson. Transformed by costume and posture, and further masked by the deteriorating stock on which he is seen, the doppelganger is at once everyone and no one. What emerges is a triangulation of reflections, an endless hall of mirrors that leads nowhere but to the recesses of the unconscious mind.

Galeria Trama -Madrid

Galeria TRAMA - Madrid

Galeria Trama
Madrid . Barcelona

http://www.galeriatrama.com/

Galería TRAMA abrió sus puertas en Noviembre de 2002, con la firme intención de promocionar el arte contemporáneo, difundiendo la obra de artistas emergentes, nuevas promesas y figuras consolidadas del panorama español e internacional. Su propósito es el de acercar más el arte contemporáneo a las nuevas generaciones, vivir de cerca la emoción y el placer de las nuevas creaciones artísticas y tejer una relación más intensa entre el coleccionismo y las nuevas tendencias. Se define por la reunión de ideas, estilos y generaciones distintas, reflejando de este modo la variedad y riqueza de las propuestas formales de nuestro tiempo.
Desde el pasado mes de mayo cuenta con un nuevo espacio: TRAMA – ESPACIO II, ubicado en el mismo edificio de la plaza de Alonso Martínez número 3 y con acceso desde la planta baja.
En él se presenta una programación independiente de la que se desarrolla en la galería y muestra tanto la obra de carácter más emergente o experimental, como proyectos específicos a cargo de artistas que la galería ya presenta en su programación habitual.
La promoción de los artistas representados por la Galería se realiza principalmente a través de exposiciones individuales y colectivas en nuestros espacios, en otras galerías, en la participación en Ferias de prestigio como ARCO y en la colaboración con relevantes instituciones, museos y universidades
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Established in 1991, Galeria Trama is dedicated to promoting contemporary art. It is a platform to foster young, emerging and established artists. In November 2002 Trama opens a new gallery in the centre of Madrid, which has lead to the broadening of its activity. Each gallery has its own program of exhibitions that allows to offer some of the best artists living in different Spanish regions.
Trama is defined by the gathering together of different style, ideas and generations. The diversity of languages coming from them has been broadened due to the recent incorporation of new artists working on multidisciplinary proposals. Artists represented by Trama usually have their works periodically exhibited in the gallery premises. Other shows are organized through the gallery collaborations with other Spanish and international galleries as well as institutions, museums and universities.

John Connely presents

John Connely presents

www.johnconnellypresents.com


John Connelly presents
Augusto ArbizoTauba AuerbachJeff ElrodKim FisherDana FrankfortDaniel HesidenceAlex KwartlerCarrie MoyerElizabeth NeelRaha RaissniaWendy WhiteMichael Zahn
Late Liberties - on view from July 12 through August 24, 2007 - presents an inclusive survey of recent abstract painting, works on paper, and sculpture by a dozen of artists – including seven women painters – from New York, Los Angeles, and San Francisco. Works in this thematic exhibition include soft and hard-edge paintings, gestural and ‘expressionistic’ abstractions, as well as shaped and chromatically engaged ‘painted’ sculpture. Late Liberties is organized by artist and curator Augusto Arbizo in collaboration with John Connelly.
For a young artist to be making work at this moment in what could be called an abstract or non-representational manner, be it vaguely gestural, lyrical, or geometric in mode, is consciously or not, a highly personal and political act. With few exceptions, the history of the last 15 years has largely shunned modes of abstraction. Much maligned and critiqued – and often used as strategy for conceptually based work – it has been largely banished to the sidelines by an art world enthralled by photography, installation, animation and romantic figuration.
But modes are cyclical and thus a younger generation of artists has found that the more outmoded the approach, the more dangerous – and exciting – a territory it becomes. It is a loaded terrain that offers fissures and openings for freedom and personal manifestation – from the seemingly clinical and sedate to the unabashedly seductive. The works in this exhibition range from computer derived to text and design based to nature inspired, running the gamut from geometric compositions to loosely brushed fields of color. Disparate ideas concerning technology, fashion, art theory, wildlife and science, and pop culture, among others, inform the work. Furthermore, a commitment to the refined and handpainted becomes obvious, whether painstakingly cut, stenciled and ‘constructed’ or intuitively brushed and dripped. All the artists will be creating new work specifically for this exhibition and each one will be given his / her own wall. Looking at abstraction today makes it clear that it is a completely different exercise than it was for earlier generations. Ezra Pound’s famously quoted mandate to ‘make it new’ apparently still fits the bill, but for today’s artists it is a risky, perilous and rousing proposition – offering Late Liberties.