the-solo-project 2010 catalogue

SOLO SHOWS BY SELECTED GALLERIES Basel 2010

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solo shows by selected galleries St Jakobshalle Basel June 16-20 2010 St Jakobshalle Basel Br端glingerrstrasse 19-21 4052 Basel Switzerland www.the-solo-project.com

Wednesday June 16: VIP Preview: 10 AM - 12 NOON General Admission: 12 NOON - 8 PM Thursday-Saturday June 17-19: General Admission: 10 AM - 7 PM Sunday June 20: General Admission: 10 AM - 5 PM

Tram 14 takes you in 15 min. from Messeplatz to St Jakobshalle.

A free shuttle-bus connects the-solo-project with Art 41 Basel.

Special thanks to: the Invitation Committee the Advisory Committee Mr. Michael Bertram Mr. Kris Castelein Baselarea the FIT the PMV our Partners the Artists the Galleries the Visitors for their kind support.

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Index 6-123 124 125 126-127

the-solo-project Index by Galleries Index by Artists Galleries

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the-solo-project

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14-1 GALERIE presents

Thomas Lehnerer 14-1 GALERIE, Breitscheidstrasse 48, 70176 Stuttgart, Germany, phone: +49 711605584, mobile +49 17620824894, info@14-1-galerie.de, www.14-1-galerie.de

THOMAS LEHNERER (1955 Munich – Munich 1995) “However much my artistic work deals with ethical, moral or philosophical reflections it is, on the other hand, only a sort of research to me. With my hands, I explore both sculpturally and artistically, how something vital emerges through the interplay of the most varying of productive forces. The wonder of something coming to life interests me. The basic questions of my artistic research are: How does something come to life? How does an image come about? What is it that makes a good image? […]

How a picture comes about doesn’t only depend on my idea, my concept and my intention. Many other factors play a part: For example, the material which I use to form my figures, the performance of my hands and arms, or also my emotions and feelings, which I don’t all have consciously and deliberately under control in my hand. It also depends on the chance associations and thoughts that I have whilst making the figures, or also on outside influences. This means that there are a lot of forces at play when a figure comes into being.

The person who creates with technical precision suppresses all other possible energies and tries, with control and force, only to use the means that lead exactly to his goal. The artistic process as I understand it, and which I practice, is the complete opposite of such technically calculated utilitarianism. I want to let all the other energies have their go. These energies are not incidental but have their own logic and mode of direction and each of them respectively wants to express quite specific things in itself. Because disparate energies are at play, the result, seen as a whole is completely free and uncertain. So one could say: random, by chance. Chance isn’t just arbitrary but also something that works out well independently.” (“Homo Pauper – A conversation between T. Lehnerer and J. Stückelberger”, p. 37 et sqq.)

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sculptures, overall view “untitled” (B91-6b), 1994, bronze, 64 x 12 x 7 cm “untitled” (B94-81), 1994, bronze, dead-mold casting, 9 x 7,5 x 6 cm

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sculptures, overall view, detail sculptures, overall view, detail “untitled” (Z93-130), 1993, watercolour and ballpen on paper, 29 x 20 cm “Drei Köpfe” (Three heads), (Z93-98), 1993, watercolour and ballpen on paper, 29 x 20 cm

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ARTHOBLER presents v

Jakub Nepras

ARTHOBLER LISBON, LX Factory, Ed.g.03, Rua Rodrigues Faria 103, 1300-501 LISBON, Portugal, phone: +351 965865186, lx@arthobler.com ARTHOBLER OPORTO, Rua Miguel Bombarda, 624, 4050-379 OPORTO, Portugal, phone: +351 226084448, or: +351 965865185, info@arthobler.com www.arthobler.com v

Jakub Nepras, born 1981 in Prague, Czech Republic, uses new media in his work as a device facilitating the reconstruction or the creation of functional units. His main fascination is with the system as the dynamic structure of a unit and its translation into visual form; something that, across surfaces, space and even time, encompasses a particular situation or – in reproduced form – a model process. v Nepras is creating complex works, which play out in two polarities. While he examines what functional units are like, at the same time he creates individual structural elements of various kinds that are equally capable of standing alone as independent objects.

The video-images, recorded from real life, are projected onto a painted undercoating, three-dimensional objects, or other chosen materials and serve as a synthetic view examining the manifestations of the formation and destruction of matter as they occur in organic and inorganic nature. The life of matter converted into the artificial “life of technology” is a small miracle made possible by the author’s sharp imagination, his feeling for experimentation, and the chosen configurative medium. Such “organism” can be interpreted in various ways – as an information flow, a stream of emotions, a symbol of civilization, a time-interval memory graph, an ecosystem, and so on. By synthesizing the tested v practices of visual culture, Nepras obtains a new morphology that is flexible towards manifestations of current global civilization.

The artist says about his work “My work is a study of the metamorphosis of values and priorities in life”.

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“Reactor”, 2008, video-sculpture, projection on acryl, 130 x 130 x 30 cm, loop 8 min., edition of 3

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ARTHOBLER presents

Sabhan Adam ARTHOBLER LISBON, LX Factory, Ed.g.03, Rua Rodrigues Faria 103, 1300-501 LISBON, Portugal, phone: +351 965865186, lx@arthobler.com ARTHOBLER OPORTO, Rua Miguel Bombarda, 624, 4050-379 OPORTO, Portugal, phone: +351 226084448, or: +351 965865185, info@arthobler.com www.arthobler.com

Sabhan Adam, born 1972 in Al-Hassaka, Syria is breaking with traditional conventions of beauty. His central subject is the expression of the face (often a self portrait), the eyes and the defragmentation and distortion of the body. There is something strangely compelling about these misshapen and distorted creatures, a compulsion that removes the limitations of someone’s judgments of beauty in others and ourselves. What are these conventions anyway and is it true beauty that we see or merely the influence of our cultural milieu?

Traditionally, Middle Eastern portraiture has been concerned with the aggrandizement or idealization of the subject and liberally used as a tool for propaganda. Adam radically inverts this convention, choosing to depict the ugly or diminished. By draping his creatures in scarlet robes, or gold and sequins – as he often does - hiding the misshapen form behind grand accoutrements or playful elements, the artist comments on man’s superficial nature.

Whether these beasts appear malformed or transformed to the viewer, by forcing him to question preconceptions of beauty, cruelty and the temporary body, Adam is asking to reflect on spiritual, individual and cultural identity.

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“without title”, 2008, mixed media on canvas, 143 x 247 cm

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artON presents

Martin Noël artON, Rheinallee 69, 53173 Bonn, Germany, phone: +49(0)228 9108911, mobile: +49 (0)1754106606 kontakt@arton-art.de, www.arton-art.de

Born in Berlin in 1956 Martin Noël is constantly on the lookout for tracks and traces. His attention is devoted to things seemingly incidental, for example, cracks in walls, splits in asphalt streets, children’s scribblings, scratches and other random traces that form his optical departure point in his sensitive structures of lines and forms. Thus, when he is out and about, he often takes parchment paper along so that he can record traces he finds, imprinting them in his pictorial memory. Later these fragments he has found are entered as drawings into his picture compositions, becoming part of his picture cosmos.

Connoisseurs of Noël’s oeuvre consider him above all to be a ‘drawing’ painter and artist of linoleum and woodcuts. They associate Martin Noël’s art with nearly monochrome color surfaces, which hold their own against the lines that have been written into them, something that leads to the works’ rich intensity.

Martin Noël’s wood works have emancipated themselves from their original function as printing blocks to become independent picture carriers. They occupy an important place among the artist’s works. Often more relief than picture, it is difficult for viewers not to succumb to the spatial presence and balance they radiate.

Martin Noël applies layers and layers of paint. Over the course of time, sediment collects over sediment. These are not homogenous color surfaces, but rather islands and structures of color, which group themselves around a golden formation of lines. During the painting process, the canvas glows in strong constellations of color, hues of red and orange alternating with dark colors and rather delicate pastel tones. The size of the work plays no role in this. The concentrated painting effects on a postcard are just as great as they are on a large-format canvas.

Ultimately, the works reveal a white, light surface, consisting of 24 different shades of white. The color surfaces underneath emerge in varying intensities.

Here and there we find traces of earlier colors in the white. Because of the diverse layers, the painting on top, the many nuances of reflecting white, has great depth, pulling our view into the picture.

Dr. Ute Bopp-Schumacher Source: Catalogue Martin Noël Malerei Hölzer Zeichnungen Druckgraphik, Haus Beda, Bitburg, 2009

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“On The Road”, Series, 2010, acrylics and graphite on postcard, 15,5 x 11 cm

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“On The Road”, Series, 2010, acrylics and graphite on postcard, 15,5 x 11 cm “On The Road”, Series, 2010, acrylics and graphite on postcard, 15,5 x 11 cm

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BARTHA CONTEMPORARY presents

Mike Meiré and Clay Ketter BARTHA CONTEMPORARY, 136b Lancaster Road 1st Floor, W11 1QU London, United Kingdom phone: +44 (0)20 79850015, mobile: +44 (0)7949636527, info@barthacontemporary.com www.barthacontemporary.com

Mike Meiré describes his work as a continued investigation into life’s evolutionary processes, which the artist interprets in three phases, birth, biography and death. Central to all of Meiré’s work is a delicate interplay between highly refined against mundane everyday materials. The intriguing juxtaposition of organic often sexually explicit or gender-orientated objects with anodyne geometric elements play an increasingly important role in Meiré’s work.

These evoke a sense of ambivalence towards modernity.

Within Meiré’s continuing work as a creative director, he has for many years navigated and in some cases deliberately trespassed the boarders between Advertising, Design and Fine Art. Within this capacity as a designer Meiré’s has worked on several installation-based projects, which were commissioned by a variety of commercial companies as subversive means of product placement. More recently Meiré has clearly defined his practice as an independent artist. As one line of work continues to inform the other Meiré’s art-works reveal a profound understanding of popular culture. It is this knowledge, which allows the artist to explore the deep-rooted neurotic’s that inhibits today’s societies and in turn challenge these through his work.

Clay Ketter was first recognized for his “Wall Paintings“ (1992–2000), plasterboards with Spackle over screws and joints. They were both strikingly beautiful abstract paintings and fabricated ready-mades, less finished than the wall they were hung on. Trace Paintings (1995–) is another series of paintings that resemble wall surfaces being redecorated. Traces of wallpaper, shelves and electric wiring evoke a sense of uncertainty in the onlooker as to whether this is a real wall or a painting of a wall.

Combining consistency and innovation, Ketter has continued to produce works at the junctures of architecture, sculpture and painting. The variation between media, including painting, photography and sculpture, establishes layers of complexity but the terse composition of his works are always visually arresting. He falls within an American painterly tradition that started in abstract expressionism and developed into minimalism. !!Although the formal aspects are central in Ketter’s work, social and human issues are equally important. In his later series these have become more visual.

In Gulf Coast Slabs (2007) photographic objects show traces of homes swept away by the hurricane Katrina that hit the American Gulf Coast in 2006. The series develop in his aesthetic somewhere between abstraction and realism or even fake ready-mades, both brutal and poetic. The traces of architecture are this time also loaded with morally more difficult content than in his earlier works.

Ketter’s latest work equally questions’ some of the fundamental notions of human habitation in a modern world. The first works in this suite of digital photographic objects are concentrically designed, at first these works may appear to be inspired by oriental carpets or mandalas. However on closer inspection they reveal their true nature as a contemporary folly, which surround Malls, Country-clubs or are laid out as a satanic all absorbing Leviathan.

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Mike Meiré - “Fremdkörper”, 2010, ceramic, 28 x 12 x 5 cm

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Mike Meiré - “Suicide” triptych, 2010, lacquer-paint on newspaper Mike Meiré - “The Flame Of Attention”, 2010, lacquer-paint on newspaper

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Clay Ketter - “Spider Woods”, 2010, Diasec, Light-Jet c-print, 180 x 243 cm, edition 2 of 3 Clay Ketter - “Two Moon Compound”, 2006, Masonite, Diasec mounted photo, paper, oil paint, glass and plywood, wood frame, 186 x 176 cm

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GALLERI BRANDSTRUP presents

Bjørn Båsen GALLERI BRANDSTRUP, Tjuvholmen allé 5, 0252 Oslo, Norway, phone: +47 22545454, galleri@brandstrup.no www.brandstrup.no

“I am Providence” is a collection of drawings inspired by the fusion between the life and work of the writer H. P Lovecraft. Lovecraft was one of the early pioneers of the sci-fi genre.

He created a personal mythology based on a set of extraterrestrial “gods poesque” characters in a fictitious New England backdrop.

The drawings portray Lovecraft´s home in Providence, room by room. Like an advent calendar, small windows open on the drawing-surface to reveal an alternative view of the interiors: simple furnishing and wallpapers are replaced by the maritime features of the alien octopus-god Cthulu, one of Lovecraft’s major inventions. The author’s puritanical, noneventful life contrasts greatly to his weird and surreal writing, and form the basis for the study of the cult-author’s mythology.

“Taffel (deconstructed)” is a series of oil paintings, depicting still-lifes of porcelain objects. The paintings play on the tradition of porcelain as bourgeois, luxury items paired with the horrible scenes depicted in the novel “The Kindly Ones”. The book, written by Jonathan Littell, follows the life of an SS-officer during World War II, and combined with broken cups and saucers; the grotesque scenes portrayed in the book gives the glossy porcelain-world an underlying friction. The paintings depict scenarios of cracked porcelainobjects where the decor and shadows refer to scenes in the book, and quotes from the text are laid as relief under the paint.

Artist Statement: The subculture, whether contemporary or past, gives the opportunity to remove yourself from the common world and immerge into a society that suits your needs better.

The subculture can be everything from the urban underground-life in the mega-cities of today to the secret life of the aristocratic society of old Europe.

My work introduces the concept of subculture into a personal mythology both visually and thematically. A mythology based on a decadent and deteriorating world, in which I treat the ceremonies and extravaganza of the nobility and bourgeois-society of Old Europe.

I wish to tell this through an aesthetic inspired by the sexualised cuteness you find in Japan and the masters of late 18th century painting such as Watteau and Boucher.

By introducing a shiny surface or luxurious materials I use the Wagnerian trick of seduction to lure the viewer to accept the tangy content. To me kitsch is a source to sample from rather than to react against. Through the means of kitsch I wish to create scenarios and sculptures in the twilight between the honest and the ironic. The work often take the shape of an interior installation, a scenery of seemingly authentical objects put together of components to give the impression of being taken from a place of historic and cultural origin slightly off-track of our own time. This iea can take the shape of installations, paintings and sculptures.

The element of the handmade object is important in the work. It gives it a tactile quality as well as carrying the personal touch from the artist. The quality also links it back to an old tradition of craftsmanship that ties the pieces into a historical tradition centred around the object as something precious. Materials such as brocade, golden ribbons and fur and indulging into the detail-making of the objects, gives the illusion of being made for a distinct purpose, but without providing the answer to this.

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“February”, 2010, marker and pastel on paper “February”, 2010, marker and pastel on paper “Taffel (Deconstructed)”, 2009, oil on canvas

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“Taffel (Deconstructed)”, 2009, oil on canvas “Taffel (Deconstructed)”, 2009, oil on canvas “Taffel (Deconstructed)”, 2009, oil on canvas

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GALLERI BRANDSTRUP presents

Fredrik Raddum GALLERI BRANDSTRUP, Tjuvholmen allé 5, 0252 Oslo, Norway, phone: +47 22545454, galleri@brandstrup.no www.brandstrup.no

About Fredrik Raddum’s art WHEN NATURE RHYMES WITH CARICATURE The relationship between man and nature is what Fredrik Raddum’s art is focussed on.

It can be experienced in his sculptures when the adventurous and rash arrogance of man and the consequent helplessness is exposed to hilarity and reflection.

Whether it is sculptures, installations, photographs or disturbing road signs in the public space, it is nature and culture on a collision course that is thematised and taken to the furthest extremes. The collisions are violent, grotesque and above all, comical.

There is no sign here of the pathos of nature characteristic of Norwegian Golden Age art, or the fresh optimism of modern outdoor man. If they do appear, then they consciously and ironically emphasise that the notion of man’s reunion with nature is illusory.

In his art, Fredrik Raddum takes on several issues like fear of the unknown, power, responsibility, destruction and unfulfilment.

Raddum’s imagery is often leaning towards the absurd. This gives it a playful and humoristic tone that helps the viewer to identify with the work. Through all this, Raddum is bringing attention to a great dilemma; the way we as humans distance ourselves from nature which we all are a part of. This results in the ultimate search for identity, individual and collective. Raddum has the ability to communicate with his surrounding world in a language viewers of many generations are able to understand. He expresses an object based world and many of his symbols originate from his childhood room as a boy in Norway in the 70ies and 80ies. The objects may strike you as odd and a little naïve, but that is if they are left uninvestigated. A closer look exposes the deeper ideas behind the humoristic schein, and initiates us into mysteries of life and death, of struggle and suffering, of stagnation and apathy.

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“Scandinavian Apparition”, 2010, spray painted polyester “Paper Bag Boy”, 2010, spray painted polyester “The Fountain”, 2010, spray painted polyester “Custom made Axe”, 2008, stainless steel “Custom made Camp Fire”, 2008, stainless steel “Custom made Tree Trunk”, 2008, stainless steel

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E105 presents

So-Young Park and Michael Sistig E105, Endenicherstrasse 105, 53115 BONN, Germany, phone: +49 2284297769 opening new Gallery space 18.09.2010: Heidestr. 50, BERLIN, Germany kunst@E105.de, www.E105.de

E105 considers itself to be an experimental platform and innovative complement to the established art market. Promoting Art with international cooperations E105 combines the contemporary international project approach with a rather classical gallery concept. At SoloProject E105 shows with most recent works of So-Young Park and Michael Sistig that there is still more to be expected of contemporary figurative painting.

So-Young Park (born 1971 in Seoul, Southkorea) graduated in June 2009 at UdK Berlin, Meisterschülerin of Daniel Richter/Robert Lucander, finds herself immersed in a European culture rife with its own classical idea of art - she is caught between two worlds on a precipice, exposed to a wider panorama of the world. Her art, taking on the flavor of both German and Korean cultures, erupts into a life of crossover philosophy, thought and notion and we are flung into a different world.

Michael Sistig (born 1982 in Bonn, Germany) graduated in January 2009 at Kunstakademie Düsseldorf, class of Peter Doig. While studying painting Sistig is still helping out in his father’s business to work as a stonemason. The combination of both influences transforms his artwork into something very special. He considers himself to be an archaeologistis, digging deeply in the structure of his elaborately prepared canvases to discover his versions of old myths.

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So-Young Park - “To Much Thanks”, 2010, 175 x 220 cm, photo: Bernd Zöllner So-Young Park - “Jungle Shake”, 2010, 120 x 150 cm, photo: Bernd Zöllner

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So-Young Park - “325-331”, 2009, 230 x 280 cm, photo: Bernd Zöllner Michael Sistig - “Last Exit To World”, 2009, bronze, 88,8 x 70 x 41 cm, photo: Bernd Zöllner

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Michael Sistig - “äther”, 2009, mixed media on canvas, 200 x 180 cm, photo: Bernd Zöllner Michael Sistig - “Dioskuren”, 2009, mixed media on canvas, 200 x 160 cm, photo: Bernd Zöllner

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GALERIE f5,6 presents

John Gossage and Brian Ulrich GALERIE f5,6 - Nicole Stanner & Florence Baur, Ludwigstrasse 7, 80539 Munich, Germany, phone: +49 8928675167 mobile: +49 17623215157, info@F56.net, www.f56.net

Gallery f5.6, Munich proudly presents two renowned photographers from the United States from two different generations. John Gossage (b. 1946, New York), is one of the most important masters of American contemporary photography, whose work is perhaps most well known by series such as “The Pond” (1983) and „Berlin at the Time of the Wall“ (2004).

Brian Ulrich (b. 1971, NY), a generation younger, received the Guggenheim Fellowship in 2009 for his 10 year and ongoing project focusing on American Consumer Culture.

John Gossage‘s project on his very singular neighbourhood of ambassadorial residencies in Washington D.C. - politicians‘ lavish private homes - began with the arrival of a new neighbour - Donald Rumsfeld, the then secretary of defense under the Bush administration.

In turning to color, John Gossage, who has since the 60‘s worked in black and white most importantly asks the question - What role does color play for an image? Embedded in the documentary style photography of John Gossage‘s contemporaries like Stephen Shore, Lewis Baltz, or William Eggleston, Gossage‘s images though always transcend into a subjective layer. From 1974 - 1990 Gossage showed with the Leo Castelli Gallery in New York. In 1973, 1974 and 1978 Gossage received the prestigious National Endowment for the Arts photography fellowship grants. From 1990 John Gossage concentrated almost exclusively upon publications. He produced 17 different books and boxes on specific bodies of photographic work. His work is in collections such as the Museum of Modern Art, New York; the Museum of Contemporary Photography, Chicago, the Los Angeles County Museum of Art, Los Angeles, the Bibliothèque Nationale, Paris; the Sprengel Museum, Hannover and Fotomuseum Winterthur, Schweiz.

Brian Ulrich‘s series „Dark Stores“, began in May 2008 and still ongoing, is part of Ulrich‘s larger project „Copia“, which, since 2001, explores not only the everyday activities of shopping, but the economic, cultural, social, and political implications of commercialism and the roles we play in self-destruction, over-consumption, and as targets of marketing and advertising. The analytical nature of Brian Ulrich‘s work has garnered much of its reception through a desire to gain an understanding of our contemporary moment. Brian Ulrich‘s work is in collections such as the Art Institute of Chicago, the Museum of Fine Arts, Houston, J. Paul Getty Museum, CA, the Museum of Contemporary Photography, Chicago, the Akron Art Museum, the LaSalle Bank / Bank of America, Chicago, the Margulies Collection, Miami, the Larry Fields Collection, Chicago, IL.

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Brian Ulrich - “Circuit City", 2008, archival pigment print, 101,6 x 127 cm, edition 7

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Brian Brian Brian Brian

Ulrich Ulrich Ulrich Ulrich

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“Circuit City", 2008, archival pigment print, 101,6 x 127 cm, edition 7 “Pep Boys”, 2009, archival pigment print, 101,6 x 127 cm, edition 7 “Value City”, 2008, archival pigment print, 101,6 x 127 cm, edition 7 “Toys ‘R’Us”, 2008, archival pigment print, 101,6 x 127 cm, edition 7

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John Gossage edition 10 John Gossage edition 10 John Gossage edition 10 John Gossage edition 10 John Gossage edition 10

- “recent item #6, The 32" inch Ruler/Map of Babylon”, 2008, archival pigment print, 84 x 56 cm, - “recent item #1, The 32" inch Ruler/Map of Babylon”, 2008, archival pigment print, 84 x 56 cm, - “recent item #3, The 32" inch Ruler/Map of Babylon”, 2008, archival pigment print, 84 x 56 cm, - “recent item #4, The 32" inch Ruler/Map of Babylon”, 2008, archival pigment print, 84 x 56 cm, - “recent item #2, The 32" inch Ruler/Map of Babylon”, 2008, archival pigment print, 84 x 56 cm,

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FELIX RINGEL GALERIE presents

Stephan Kaluza FELIX RINGEL GALERIE, Heinrich-Heine-Allee 15, 40213 Dusseldorf, Germany, phone: +49 2116029900 mobile: +49 172 2138889, art@felixringel.com, www.felixringel.com

ON THE PHOTOGRAPHIC PROJECTS OF STEPHAN KALUZA Stephan Kaluza’s projects are based on the idea of photographically condensing complex physical and “spiritual” objects horizontally, so that they can be experienced visually. What Kaluza defines as ‘complex objects’ are phenomena of a spatially/culturally concentrated magnitude that are not usually visible for the (-human-) eye in this form; these include e.g. landscapes as well as processes and actions. Horizontal condensation refers to the use of several thousand photographic images per object, which are subsequently strung together into a seamless single photograph. – For example, the artist walked along the full length of both the Rhine River and the Thames and took a photo every minute. In both cases, the result was an image that respectively depicted the entire river from its source to the river’s mouth. Kaluza has also similarly portrayed the now non-existent Berlin Wall.

Previous projects: “The Rhine Project (complexe 1)”, published by the Verlag der Buchhandlung Walther König, Cologne / DuMont Verlag, Cologne, “The Thames Project (complexe 2)“, Thames & Hudson Ltd, London, “Ko Phi Phi Don - Project (complexe 8)”, “Tunnel (complexe 9)”, “The Wall Project (complexe 16)”, published by the DuMont Verlag, Cologne. In his “Bildstücke” (image-pieces), Stepahn Kaluza explores narrative image sequences. Each Bildstück is made up of several thousand photographic images of a theatrical plot, which are subsequently strung together to a seamless strip.

The starting point for every Bildstück is a textual and visual concept. The protagonists’ dialogue is composed like a theater piece and the scenery and theatrical space realized in the same way. During the subsequent actual stage performance, a centrally positioned camera photographs the action once every second. The methodology of creating these pieces may seem cinematic, but the final result is something entirely different. – It is a composition of a single visual space, in which the individual scenes of the action interlock.

– By taking away the horizontal margins of the individual photos, the temporal limitation of each singular photograph is also lifted - in favor of a unity of time & space of the overall image.

Although the photos are made at different points in time and likewise document the chronology of the action, the static overall image can nevertheless be viewed “at a single glance” in an exhibition space. In this sense, the action visible in the photos evolves into a –form– in the context of the Bildstück. – For example, the sequence of protagonists acting on stage conveys an impression of rhythm, while simultaneously the constant horizontal repetition of the theatrical aesthetic creates the effect of a huge (meta-) stage. The principle of cinematic art lies in stringing together an enormous number of images at high speed. In contrast, the individual images in the “Bildstücke” are viewed simultaneously. Thus, the idea behind these pieces is not to replace the spoken word with images, but instead to create an overall conceptual composition of a visual narrative.

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Cages (detail) Cages (detail)

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FRUEHSORGE CONTEMPORARY DRAWINGS presents

Bertram Hasenauer and Astrid Köppe FRUEHSORGE CONTEMPORARY DRAWINGS, Heidestrasse 46-52, 10557 Berlin, Germany phone: +49 30 280 95282, mobile: +49 175 275 1210, mail@fruehsorge.com, www.fruehsorge.com

In Basel we are presenting the two Berlin based artists Bertram Hasenauer and Astrid Köppe.

Bertram Hasenauer °1970 is this year having a major solo-show in the Museum of Modern Art in Salzburg in his home country Austria. The Artist was rewarded with the Georg-Eisler-Prize and received the scholarship for a studio in Paliano near Rome.

The distinctive, strong gestures of his portraits are showing individuals constantly on the brink between de-personalized figures and self-contained, strong personalities. Via simple surfaces they are being stylized, whereby it’s hard to distinguish between countenance and mask. Yet the intense gaze and the self-sufficing characters brake with this perception.

In the discrepancy to reality the individuals are shown in total isolation. They are referring to a melancholic depth and invite the viewer, who is participating in this distance universe. The essence of these drawings conveys a detachment from reality. The secluded figures appear to resemble a memory or a dream.

Astrid Köppe °1974 is this year presented in not less than two solo-exhibitions: In galerie carolyn heinz in Hamburg with `1a Flachware´ and later with the show `It’s a flat world´ in our premises. Last year she was nominated for the prestigious art-prize from the Kunsthalle Recklinghausen `junger Westen 2009´, and forthcoming she will attend a Residency in Malaysia.

Astrid Köppe works in media of drawing and large scale enamels. Her objects awaken the feeling of acquaintance and irritation at the same time. They seem familiar, but instantly they blur into the unrecognisable. Her Items might at first remind of organic animalcules or fluffy creatures. They very self-conciously convey the impression, as if everybody knows what gets loomed in front of their eyes: But already in the way of development we start to question it again. Referring to a somehow biological microcosm, the forms remain poetical in their independent existence.

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“Ewe”, 2009, colored pencil on paper, 50 x 40 cm “Untitled”, 2010, colored pencil on paper, 70 x 50 cm “Untitled”, 2010, colored pencil on paper, 70 x 50 cm “Untitled”, 2010, colored pencil on paper, 65 x 50 cm

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“O.T. #63”, 2008, Emaille auf Stahl/ enamel on steel, 180 x 140 cm “O.T.” (Z10_089), 2009, Tusche und Bleistift auf Papier / ink and pencil on paper, 29,7 x 21 cm “O.T.” (Z10_077), 2009, Tusche und Bleistift auf Papier / ink and pencil on paper, 29,7 x 21 cm “O.T. #69”, 2008, Emaille auf Stahl/ enamel on steel, 180 x 140 cm

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GOODEN GALLERY presents

Séan Branagan GOODEN GALLERY, 25A Vyner Street, E2 90G London, United Kingdom, phone: +44 (0)2089811233 office@goodengallery.com, www.goodengallery.com

“Depicting half a body in a painting.....say a portrait of someone from the waist up, at a time when only whole figures were the norm, might have provoked the bewildered response: ‘You can’t do that, where’s the rest of him?’ It’s an extreme example, but it strikes me that the kind of ‘double-take’ prompted by an encounter with something unfamiliar, enables us to be virtuous and pure in our reactions. It is the ensuing process of recognising gaps in our knowledge and finding ways to plug them in order to achieve understanding that is so enjoyable. The irony is that those gaps exponentially diminish every time we close one up!

In our very eagerness to understand, we groom ourselves as visual conformists.”

Sean Branagan.

Sean Branagan’s practice has an itinerant and uncommon engagement with the realms of painting, sculpture, architecture and moving image. He roams rebelliously in his endeavours, forcing collisions between these diverse realms; and on his travels exposes the complexities of perception that arise.

A visual fusion of painting, sculpture and moving image is created in Peepshow, 2009 where small dabs of white paint on a Perspex box float on the transparent surface. Sections of the projection not collected by these ‘mini-screens’ find an alternative location behind the picture plane, as they fall between the dabs of paint. The result is a unified field of partial, twitching body parts that interconnect rhythmically across the surface of the picture plane as well as physically inside, at the rear of the Perspex box. In Lobster, 2009 a light-ridden naked woman locked into a slightly awkward pose, stares out of her black, void-like environment. It is one in a series of pieces where figures inhabit a slice of space and time that we can’t quite figure out; the glitch in our comprehension is intriguing and it is as if the work needs to ‘fail’ just enough for us to experience that necessary ‘double take’.

The latest pieces, presented at the Solo Project, employ LCD screens, Perspex sheeting and paint. By eliminating the projector, Branagan has determined that ‘light’ is inherent rather than externally applied. These pieces adopt a tighter, radical relationship between the act of filming and the final work. For example in Constructs in the Mind of a Sceptic, 2010 drawing is both conventionally applied (as a painter would apply it to his canvas - but in this case the material is Perspex) and unconventionally applied at the filming stage, as part of the model’s pre-existing world. Consequently as she moves, lines that are attached to her body also move. There is a perverse synchronicity between subject and object, illusion and truth – as though Einstein has turned up with his rubber and slightly adjusted the laws of physics to appease the artist’s deliberate and unreasonable mis-management of reality.

Born in Old Trafford, England, Branagan studied for his BA at BIAD (Birmingham City University). He has received the Salford City Arts Bursary, 1st Prize; a studio practice grant from The Pollock Krasner Foundation, New York and an ‘Art for Architecture’ grant from the Royal Society of Arts. Branagan has exhibited nationally and internationally. In June 2010 he is in Physicology, a moving image exhibition in London with Yael Schmidt and Cecile Wesolowski. He has a forthcoming solo show in September 2010 at GOODEN GALLERY LONDON. A B C D

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“Peepshow”, 2009, paint, perspex unit, wall mounted projector, projector bracket and moving image, 30 x 30 cm “Lobster”, 2009, paint, canvas and moving image on DVD, 1 metre x 1 metre, (private collection) “Edifice”, 2010 (detail), wall mounted LED screen, perspex sheet, paint, pen and moving image “Constructs in the Mind of a Sceptic”, 2010, wall mounted LED screen, perspex sheet, paint, pen and moving image

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GOODEN GALLERY presents

Simon Morse GOODEN GALLERY, 25A Vyner Street, E2 90G London, United Kingdom, phone: +44 (0)2089811233 office@goodengallery.com, www.goodengallery.com

Simon Morse’s work explores the contingencies and ambivalences in the creation and usage of ideas, words and objects. His love of language, its disclosures and concealments, its twists and knots, is forged from the same syntactical and etymological inquisitiveness and love of musicality as found in the literature of James Joyce and Samuel Beckett or the comedy of Spike Milligan. This enjoyment of language and history’s elasticity carries over into his works’ formal referencing of hard-edge abstraction, minimalism, early 1970s conceptualism and Arte Povera, rendering them as light-industrial versions of themselves.

Indeed, Morse’s work suggests an approach to the art object as a decidedly functional entity, a stoical determinant. The implication is that these are the real building blocks, the supporting structure, of our advanced society.

The major wall pieces Fluellen National Arc N833 Placeholder, 2008 and Rohwell Mercury, Two Users, 2009 demonstrate precisely Morse’s fascination with the journey language, both verbal and visual, takes on the way to its intended functional terminus, and how he sees this not as an end but as a new starting point for the enjoyment of the eddies of absurdity created in its wake.

Morse’s most recent objects, such as Lean Moments of Quiet Arbitration, 2009 and A Groat, a Groat, 2009 could be considered as prototypes, theatrical props or relics. Their ‘purpose’ isn’t obvious, but they seem somewhat familiar: the kinds of things one might find on a wall, at the end of a corridor, silently ‘on’ and functioning as low-key agents of some greater cause or idea, quietly performing tasks of vital importance. The objects’ surfaces are replete with intent: knobs and dials, lights and labels, all indicating some comically (perhaps cosmically) unknowable function.

As with many of Samuel Beckett’s characters, Morse’s objects stand at the midpoint of some great existential fog; unsure of where they came from or where they’re going, but bearing indications of both, and certain of their own fleeting but somehow eternal selfhood.

What they ‘say’, the ‘text’, is ultimately not the primary issue - indeed the ‘translated into twenty tongues at once’ nature of many of the words that appear on them points away from the words themselves, and towards the formation of those words; away from the object, or the system it might be part of, and towards the ideas and impulses that brought it into being in the first place.

The apparently ad-hoc, cobbled-together nature of Morse’s devices - seemingly waiting for the next policy change, theoretical upgrade or personnel reshuffle - addresses the way in which the historically or culturally ‘solid’ is so often built from innumerable uncertainties all harnessed together into one significant moment. As Willem de Kooning famously said, ‘Content is a glimpse’. Morse’s work re-emphasizes the importance of that glimpse, and sees it as the opportunity to peer beyond its edges and go eyeball-to-eyeball with whatever can be found there.

Born in Swindon, UK, Morse studied for his BA at Liverpool Polytechnic and his MA at Chelsea College of Art. He has exhibited widely in the UK, the US, Germany, the Netherlands, Ireland, Italy and Spain.

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“A Goat, A Groat”, 2009, dials, cardboard and transfers on aluminium unit, 10 x 7,5 x 5 cm

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“Little Bastards”, 2009, dial, LED, switch, vinyl, acrylic and transfers on aluminium unit, 20,5 x 5,5 x 3 cm “Lean Moments Of Quiet Arbitration”, 2009, dials, switch, LED, vinyl and transfers on aluminium unit, 10 x 8 x 5cms Installation shot featuring the “Rohwell Mercury 12 Two Users”, 2008, plastic, rubber, Dymo stickers, Brother labelling stickers, inkjet prints and card on aluminium, 195 cm x 135 cm x 1,5 cm (other objects variable)

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GALERIE JONES presents

Sven Lison GALERIE JONES, Am Rinkenpfuhl 55, 50676 Cologne, Germany, phone: +49 22127747966 mobile: +49 16093720067, caren@galerie-jones.com, www.galerie-jones.com

Sven Lison’s work try to establish appearance as he focuses on that moment where an image becomes apparent, when uncertainty sets in as the image is not necessarily what it seems but what it recalls within us.

In his works he searches for pure clarity, erasing, modifying, adding and reworking images. Starting point is our experience looking at images, the history of looking at artworks and the imagery of the works itself. He uses the inexhaustible amount of memory from our personal or wider social experience of looking at photography, film, and artworks registered and connected in our consciousness.

The question asked whether the hidden agendas might be the most obvious in an attempt to release visual power on a graphic level to create works that show the so-called world entirely or not at all.

Sven Lison, born 1976 in Duisburg, studied Photography at the Essen University, currently lives and works in Berlin.

Sven Lison had his first solo show at Galerie Jones in Cologne in spring 2010 after showing new works in a group show TELL IT LIKE IT IS in 2009.

In 2006 he won the Epson Art Photo Award, which was presented at the Art Cologne, followed by presentations of his work in Italy (Galeria Grazia Neri, Mailand, 2007), United States (Zhou B. Center, Chicago, 2007) and the Goethe Institute in Singapur.

He had also shown his work in group exhibitions in Stuttgart ( Ziegler Temporary 2008), Oldenburg (Kunstverein, 2007), Amsterdam und Wien (2006).

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“FNLQD”, 2007, c-print on aluminium, 87 x 129 cm, Edition of 4 “MSHQN”, 2007, c-print on aluminium, 65 x 97,5 cm, Edition of 4 “NYYMP”, 2008, c-print on aluminium, 88 x 140 cm, Edition of 4

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GALERIE JONES presents

Volker Saul GALERIE JONES, Am Rinkenpfuhl 55, 50676 Cologne, Germany, phone: +49 22127747966 mobile: +49 16093720067, caren@galerie-jones.com, www.galerie-jones.com

The drawing is at the heart and beginning of each work by Volker Saul. Either drawn straight from the tube or recently carried out with ink-marker in extreme precision, the line is the start of a process of digital mastering, form-finding and translating ideas into various forms.

The result are works of paper, drawings in their own right, taken one step further into colourful paper-cuts simulating an additional dimension, leading to sculptures, installations and in situ wall-paintings. All works share a slightly mysterious but still recognisable repertoire of organic forms somewhere between abstraction and a hint of figuration.

The new works presented at The Solo Project suggest a space between inner and outer landscape filled with estranged items found in comics, heraldry or ornament.

Volker Saul, born 1955 in Dueren, studied in Cologne, Germany, where he now lives and works.

The wall paintings shown here in the catalogue were both executed in 2009, when he was showing new works with Chuck Webster, New York, at Galerie Jones in Cologne (C) and for a one-man-exhibition at the Kunstverein Moenchengladbach (D).

Wall paintings were also shown alongside drawings and sculptures at a solo show at Galerie City Art Rooms in Auckland, New Zealand and Devening Projects, Chicago (both 2007) as well as Rheinisches Landesmuseum Bonn and Japanisches Kulturinstitut Cologne (both 2005).

Earlier drawings were transformed onto walls in Aachen at the Raum fuer Kunst (2005) and the Kunstraum Paraplufabriek in Nimwegen in 2004.

Most exhibitions mentioned here were accompanied by a fully illustrated catalogue to assure that images remain of the otherwise only temporary art work of a wall painting.

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ink on paper, 2010, 29,5 x 21 cm ink on paper, 2010, 29,5 x 21 cm wallpainting, Gallery Jones, Cologne, 2009 wallpainting, Kunstverein Mรถnchengladbach, 2009

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KUSSENEERS GALLERY presents

Jo Hormuth KUSSENEERS GALLERY, De Burburestraat 11, 2000 Antwerp, Belgium, phone: +32 (0)32572400 mobile +32 (0)475651109, info@kusseneers.com, www.kusseneers.com

Jo Hormuth's work swings between the coolly elegant and the flat out funny, enlisting a diversity of means and media while employing simple conceptual strategies to decidedly poetic ends. Individual works range from video and photography to sculpture and installation.

Much of her work involves the transformation and/or re-contextualization of a familiar thing (i.e.: a skirt, a baseball, a pansy). This "shift" has the potential to unlock meaning latent within the object. She transforms “the familiar” to create situations that become springboards for the viewer to consider many relationships, contradictions and possibilities.

Concepts of repetition, similarity and difference are directly engaged as well as scale changes, unlikely materials, use and context. Humor is embraced, and she believes, as Man Ray did, that it is the best communicator. Formalism is undermined by subjective content and apparent contradictions abound in the work in terms of materials or presentation.

Jo aims to work the gap where everyday life and culture overlap.

Jo Hormuth °1955, lives and works in Chicago, USA. John Phillips

MASSAGE THERAPIST FRAMES Hormuth instructed massage professionals to execute various strokes into wet clay, which she subsequently cast and painted in shiny monochrome enamel. Each piece hangs on the wall as an empty frame and registers one type of stroke repeated around the perimeter like an ornamental pattern. The works are variously pock-marked, squeezed, smeared, fingered or pinched into their form according to each specialized massage gesture. They ask us to pay attention rather than instructing us to relax.

Hormuth disengages the connection a painting habitually affirms between touch and expression.

The hole at the center of Hormuth’s frames, the blank wall, stands for all artworks in their role as a place to project our imaginings.

David Humphrey Excerpt from the book “Blind Handshake” 2009

WINK 2007 The size of these pieces is based on a 15" monitor and has connotations with bubble gum Chiclets. The cast pieces are stacked in a standard bond brick pattern and appear to float against the wall.

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Installation view of 6 unique Massage Therapist Frames, 1999-2009, cast epoxy resin, painted or gold leafed 24 karat gold, from left to right: “First Twist” - 62,2 x 41,9 cm, “Myofascial-elbow” - 43,2 x 33 cm, “Trigger Point” - 30,5 x 55,9 cm, “Pincer Compression” - 54,6 x 45,7 cm, “Myofascial-Elbow” - 43,2 x 33 cm, “Thumb Over Thumb-Effleurage” - 43,2 x 83,8 cm Installation view of 3 unique Massage Therapist Frames, 1999-2009, cast epoxy resin and enamel, from left to right: “Pincer Compression” - 54,6 x 45,7 cm, “First Twist” - 62,2 x 41,9 in, “Trigger Point” - 30,5 x 55,9 cm

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“Wink”, cast epoxy, flashe acrylic, dimensions variable, 20 units - each unit ± 25,4 x 33 x 16,5 cm “Cabrini-Green 3/26/06”, 2006, photograph printed with pigment ink on archival paper “Tower”, cast epoxy, flashe acrylic, dimensions variable, 10 units - each unit ± 25,4 x 33 x 16,5 cm

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KUSSENEERS GALLERY presents

Curtis Mann KUSSENEERS GALLERY, De Burburestraat 11, 2000 Antwerp, Belgium, phone: +32 (0)32572400 mobile +32 (0)475651109, info@kusseneers.com, www.kusseneers.com

A photograph is supposed to be a moment captured in time, perhaps a stark depiction of truth. However, as Mann modifies the photograph, he literally highlights the ambiguity and inexorable complexities of being able to understand, and sift through the myriad things we hear and believe about what goes on in the Middle East. In this sense, Mann is blurring the lines between what we may know, and what we will never understand.

This negotiation between fact and fiction is something Mann grapples with in both his images, and his general understanding of the Middle East. Mann explains, “My work is an outlet for research and investigation on what I know little about. This has become a way to erase what I thought I knew, and understand with an open mind.”

The modifications accentuate the sway between fact and fiction, and what Mann hopes will make the viewer look longer and look deeper, ultimately questioning the photograph both formally and conceptually. As Mann does literally, the viewer should peel away parts of the image. It is not simply a photograph anymore, but an exploration into both the medium of photography and the way in which we understand images and information presented.

Everything is at stake in Mann’s work; his art slowly reveals to the viewer the intricate, complex and vulnerable layers embedded in the possibilities and limits of photography and truth.

Kristen Carter (text extracted from full article in Jettison Magazine, Chicago)

Curtis Mann (°1979, Dayton, Ohio) lives and works in Chicago.

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installation “Untitled, Foldings (Guided Tour, Golan Heights)”, 2010, clear acrylic varnish on 22 bleached chromogenic prints, each 12,7 x 17,8 cm (5 x 7 in) and shelf detail of the installation “Untitled, Foldings (Guided Tour, Golan Heights)”, 2010 one of the 22 photographs from the installation “Untitled, Foldings (Guided Tour, Golan Heights)”, 2010

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“After The Dust, Second View (Beirut), 2009, clear acrylic varnish on bleached chromogenic prints, 167 x 390 cm (65 3/4 x 153 1/2 in), on view until May 30, 2010 at the Whitney Biennial 2010, Whitney Museum of American Art, New York

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KUSSENEERS GALLERY presents

Jon Thompson KUSSENEERS GALLERY, De Burburestraat 11, 2000 Antwerp, Belgium, phone: +32 (0)32572400 mobile +32 (0)475651109, info@kusseneers.com, www.kusseneers.com

For many years, Thompson has been profoundly affected by the written and recorded work of the great Canadian pianist and theorist, Glenn Gould. He draws many parallels between Gould’s approach and his own or, more precisely, Gould’s understanding of musical expression and his own understanding of the business of painting.

Gould’s idea of repetition through translation – the building of an imaginal entity capable of taking passage from the inside to the outside – followed by the translation of mental ‘stuff’. ‘the music itself’, into a perceivable form, is not one unfamiliar to painters… Colour, mood, atmosphere, sense of place are all factors which come to exist in my mind’s eye in an utterly compelling and extremely precise form.

Colour, mood, atmosphere, sense of place – these are the flesh, blood and bones of Thompson’s remarkable paintings.

There is a very real sense in which the great pianist recomposes the work as he plays it.

And you can hear the tension that must exist between the pianist as composer and the pianist as performer – the maker and the listener – at work, stretching phrases to breaking point, making breathless the silences, delaying and sometimes thickening, deepening and drawing out sounds as he strives to ‘resurrect’ the work into new meaning; strives to match the continuum which is playing endlessly in his mind: ‘the music itself’. Precisely the same kind of things occur in the act of making a painting except that in the case of painting, each action and each judgment is made against the presumption of a final simultaneity; ‘the thing itself’.

Jon Thompson (°1936) is an artist, curator and academic, he lives and works in the U.K.

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“The Toronto Cycle #6 - Northern Lights, Red”, 2009, oil on canvas, 175 x 150 cm

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“The Toronto Cycle #2 - The Beach - Midday Sun”, 2008, oil on canvas, 175 x 150 cm installation view Kusseneers Gallery, Antwerp

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LOCUSLUX GALLERY presents

Pascal Danz LOCUSLUX GALLERY, Oude Graanmarkt 57, 1000 Brussel, Belgium, phone: +32 (0)2 5121311 mobile: +32 (0)476480213, info@locuslux.com, www.locuslux.com

Existing photographs, primarily images sourced from the internet, are the starting point for Pascal Danz’ engagement with images. His visual investigation is driven by disturbance: Danz often deliberately selects images distributed by different media that he finds troubling and irritating because of doubtful quality, overexposure or the crude choice of frame. Exactly these faulty images that annul the validity of the so-called objectivity of photography trigger the artist’s interest.

“Pascal Danz is concerned with empty spaces and subjectivity, with an engagement with the media of reproduction and with painting itself. The fact that subjectively representations can be absolutely right is conveyed through his paintings, whose impetus is motifs from films and photographs that attract and, over a period of time, sustain his interest. At the same time it´s an examination of personal memories and experiences. The hostage taking in 1972 and the series of nuclear experiments in the late 60s/early 70s, to which he has dedicated other studies and paintings, are incidences whose presence in the media Danz remembers, even though they are threatened with being leveled out by an overabundance of other images. Avoiding the obvious, he restores through painting the representativeness of repeatedly reproduced media images.” (excerpt of catalogue text by Kerstin Stremmel) Opposed to this consciously applied strategy of searching for images is the painterly process in itself: To appropriate that blemished, objectively wrong image by painting it to a subjectively correct image – vigorously, led by intuition, indulging in color, blending in spots of colour into landscapes, interiors and bodies.

Pascal Danz lives and works in Zurich.

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“Nuclear Tourist (2)”, 2010, 70 x 80 cm, oil on canvas

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“Timewarp 4”, 2009, 200 x 140 cm, oil on canvas “Timewarp”, 2009, 160 x 300 cm, oil on canvas “Interior”, 2009, 160 x 300 cm, oil on canvas

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“Zürich (Winter 2)”, 2010, oil on canvas, 140 x 400 cm “Nuclear Tourists (3)”, 2010, oil on canvas, 140 x 200 cm

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GALLERI MAGNUS ÅKLUNDH presents

David Svensson GALLERI MAGNUS ÅKLUNDH, Monbijougaton 17 G, 2tr, 211 53 Malmö, Sweden, phone: +46 (0)40972650 mobile: +46 (0)706606040, info@aklundh.se, www.aklundh.se

A BEGINNING Based in a past, heading towards a future, all promise. When David Svensson slices the opening dedication pages from discarded books, and reassembles them along a shared horizon, the resulting mosaic of faded pinks, tans and grays holds powerful messages that allude to life, death, memory, history, care and love. Though these opening dedications appear somber, like epitaphs on tombstones, they not only honor a past but also herald a future; they fulfill some kind of debt, respond to some deeply felt emotion and proffer a significant achievement. These are important pages, framing the forthcoming text—apologia, declaration, homage. Beginnings grow out of the past. They have to start somewhere. David Svensson sees the depth of meaning in these forgotten, pages, turned over, passed by.

Detritus becomes readymade by his sensitive eye and delicate touch.

STORIES The blank pages that lead and follow texts in books, again tinted by age, gently marked with pentimenti from inserted notes and clippings, are far from mute. Svensson is interested in the stories they hold. The very life of the book is imprinted into these fragile pages. The book is the vehicle for transporting the story; the blank page is in fact not blank at all. The support for the story tells a story. Story is both noun and verb. As a verb, it means to decorate something with images of scenes from history or legend or to tell a story. These blank pages story.

AN END Stories don’t ever end. They reverberate. The elongated black teardrop of glass is perpetually at the tense moment before release, never ending. This image, when tattooed by the eye, announces death, either perpetrated by the bearer of this mark or mourned by the bearer—conflicted meanings. Beginning with the glass ceiling lamp GLÒ, designed by Danilo de Rossi in 2002, Svensson covers it with black high-gloss enamel auto paint. No longer a source of light, its convex surface now reflects the world it inhabits. Is this an emblem of the death of modernism, of our mourning this passing? If this is the case, there is so much yet ahead. Based in a past, heading towards a future, all promise.

Judith Hoos Fox May 2010

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“Dedicated”, 2009, collage, book pages, 75 x 93 cm “Absent Stories”, 2009, collage, book pages, 75 x 93 cm “Absent Stories”, 2009, collage, book pages, 93 x 122 cm

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“Black Tear (Lágrima Negra)”, 2005, car enamel, glas, height 270 cm, diameter 16 cm “Black Tear (Lágrima Negra)”, detail, 2005, car enamel, glas, height 270 cm, diameter 16 cm “Never trust the teller, trust the tale”, 2005, car enamel, metal, 26 x 36 cm

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MEGUMI OGITA GALLERY presents

Karin Kamijo and Yoshimasa Tsuchiya MEGUMI OGITA GALLERY, B1 2-16-12 Ginza, Chuo-ku, 104-0061 Tokyo, Japan, phone +81 (0)332483405 info@megumiogita.com, www.megumiogita.com

MEGUMI OGITA GALLERY presents two young Japanese artists, Karin Kamijo and Yoshimasa Tsuchiya to introduce a new direction of the contemporary art in our country.

Karin Kamijo paints by filliping brushes with fingers and sputtering the paint particles onto a canvas surface. The layers of sputtered paints create a unique color effect without leaving a single bush trace. As a result, a paint surface appears bleary like an old photograph evoking false memories from the viewers. Although her works are seemed as classic still life paintings, they take you into the world between reality and fiction where the sense of time distorted.

Yoshimasa Tsuchiya appropriates Japanese cypress and crystals to his sculptures based on the techniques of traditional Buddha carving. He creates mysterious and unusual creatures that ideas are derived from Eastern mythologies and what he dreams of. The creatures have the translucent eyes on their peaceful faces and daintily curved, smoothly polished bodies as if they were inhered the calmness of the ancient Japanese spirituals.

It is apparent that both artists’ works are discrete from the mainstream of the Japanese contemporary art that is the miscellaneous of palpable and provocative images. Their works are supported by the highly skilled techniques descended from the traditional art and craft practices in every detail. At the same time they succeeded in forming the worlds that nobody has seen before that are calm and avant-garde.

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Karin Kamijo - “Old Girl (#4)”, 2010, oil on cotton on panel, 53 x 45,5 cm Karin Kamijo - “Old Girl (#3)”, 2010, oil on cotton on panel, 53 x 45,5 cm Karin Kamijo - “Color Variation (#2)”, 2008, oil on cotton on panel, 53 x 65,2 cm

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A Yoshimasa Tsuchiya - "Private Myth" 2010, woodcarving, polychrome, crystal, 41 x 21 x 11 cm B Yoshimasa Tsuchiya - “Fossil Fish”, 2010, woodcarving, polychrome, crystal, 24 x 45 x 24 cm C Yoshimasa Tsuchiya - "Unicorn”, 2010, woodcarving, polychrome, crystal, 33 x 51 x 13 cm Photographer's credit: Hiroyuki Takenouchi

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GALERIE MICHAEL STURM presents

Carolin Jörg GALERIE MICHAEL STURM, Werastrasse 24, 70182 Stuttgart, Germany, phone: +49 7116159568 mobile: +41 767512267 (during the-solo-project), mail@galerie-sturm.de, www.galerie-sturm.de

Carolin Jörg (*1977) Changing between figuration and abstraction Carolin Jörg assimilates her environment in a kind of visual diary. Her artworks seem to be sympathic and close in a curious way. But they leave a reverberation that gives a feeling of insecureness to the viewer: the truth is, that Jörg’s artworks are more than intractable, right at that moment when we are giving them blind trust.

Her point of origin is always the line, which is not only making a figure’s outline, but which is also detaching herself from the bare object’s describing for getting the mainobject herself.

The narrative indentations are kept hold on different kinds of papers: new and old ones, crumbled, disrupted, blotched – every one is telling an own story, the past is shining trough the paper like a water-mark.

For Jörg not only the act of drawing and the theme are important, but also the paper as an object itself. The material’s meaning gets especially clear in the way Jörg is presenting her artworks on the wall: fine needles give a distance between paper and wall and let the drawings get floating in front of their background. In an other kind of her artwork Jörg uses the walls for her Thread-Installations. Her drawing is weaven on it’s background, with small needles and threads, is carryed over to a new dimension and is getting a nearly sculptural character through expansion into the space.

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Exhibition Installation, Gallery Michael Sturm, 2008, Different Papers, Colours, Pins Exhibition Installation, Gallery Michael Sturm, 2008, Threads, Pins

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“O.T.”, 2008, Ink on Paper, 29,7 x 21 cm “O.T.”, 2009, Ink on Paper, 29,7 x 21 cm

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GALERIE MICHAEL STURM presents

Brigitte Stahl GALERIE MICHAEL STURM, Werastrasse 24, 70182 Stuttgart, Germany, phone: +49 7116159568 mobile: +41 767512267 (during the-solo-project), mail@galerie-sturm.de, www.galerie-sturm.de

Brigitte Stahl (*1964) Brigitte Stahl uses founded objects- things that have been casted away, discarded things, disused things- and simple, prepared materials. With those she creates new objects whose brittle charm is waking a memory in the viewers mind that is too abstract to be realized. Her early Installations, Objectsculptures and Paperworks pointed in dispensed strain on a higher interrelation.

In contrast to that her latest artworks are autonomic formations of an excited dynamic which is in a precarious balance between tectonic movement and flighty instability.

Brigitte Stahls methode, working with finds, is known in art for very long time. But the way she is working with them poses old questions on the object, the art and the object as art again and makes them to new questions.

In her artworks especial the objects without any material worth are getting the mystery of an existence. Stahl displaces them of their original function and openes them to a complex consideration. The recovering of an aesthetic form in the already existing is an aspect which can be found in all of Stahl’s artwork. Chary but with emphasis she guides the viewers attention on the worlds of hidden things and their aesthetic quality beyond the usage.

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Exhibition Installation, Gallery Michael Sturm, 2008 “O-08.4, O.T.”, 2008, Wood, Varnish, Hinges, 3 parts, 92 x 62 x 39 cm “BS1-126, O.T.”, 2010, Different Metall, Colours, 32 x 12,5 x 18 cm

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NUSSER & BAUMGART presents

Thomas Weinberger NUSSER & BAUMGART, Steinheilstrasse 18, 80333 Munich, Germany, phone: +49 89221875 mobile: +49 1702151337, info@nusserbaumgart.com, www.nusserbaumgart.com

Weinberger positions his camera in city spaces and industrial areas. He also selects unusual viewpoints which are unappreciated by our everyday perception. Through an absence of people, the pictures possess a strange emptiness and stillness. Their indefinable gray-blue skies and unclear lighting conditions make it impossible to discern what time of day the images were made. Using a classic, large-format camera, the artist takes two analog images of the same motive at different times, one during the day and one at night. The two are then laid over one another with the help of a computer. The resulting image is a reality of impossible visual experience in which the light conditions of day and night are compressed into a permanent picture. This process requires utmost precision. In between takes, the camera must remain in the same position in order to allow the exact superimposition of the individual images. Only in this way can the synthesis of the two moments in time result in an image marked by simultaneity.

For his solo exhibition at the gallery Nusser & Baumgart, Munich in 2008 Weinberger chose the title “Operational Reality”. This refers to the provisional action of physicists who adopt operative models in the mathematical completion of ununderstood phenomena in quantum physics. Not only in the field of science but also in everyday life, people are continuously impelled to interact operationally with their surrounding reality. But neither can this reality be fully grasped nor is the total resolution of its contrariness possible. In this sense, Weinberger understands his day-night photographs as models for capturing space and time. They throw into question an everyday reality experienced as a linear continuum.

With the first public recognition of his work in 2005, former architect Thomas Weinberger has achieved rapid international acclaim. His work has been exhibited in the Palais des Beaux Arts in Brüssel (2007), the Australian Centre for Photography in Sydney (2007), and the Centre Culturel Calouste Gulbenkian in Paris (2008) and may also be found in private and and public collections worldwide. Currently his Dubai series is part of the show “Dreamlands” at the Centre Pompidou, Paris.

Thomas Weinberger 1964 born, lives in Munich

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“Hurlyburly”, 2008, C-Print, on aluminium, glass, framed, 180 x 266 cm

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“History Rising”, 2006, C-Print, on aluminium, glass, framed, 125 x 149 cm “Marina Dubai”, 2006, C-Print, on aluminium, glass, framed, 125 x 150 cm “Zone 30”, 2004, C-Print, on aluminium, glass, framed, 68,5 x 86 cm “Zone 60”, 2003, C-Print, on aluminium, glass, framed, 125 x 157 cm

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GALERIE TANIT presents

Herbert Hamak GALERIE TANIT, Maximiliannstrasse 45, 80538 Munich, Germany, phone: +49 89292233, mobile: +49 1728518000, info@galerietanit.com, www.galerietanit.com

Herbert Hamak has developed a special process binding pigments in synthetic resin and wax. The resulting liquid mass is then being poured into a particular shape. Wood-framed canvasses which serve as carriers are then immersed into this mass. The results are mostly monochrome picture objects of incredible beauty and color density, displaying extremely sensitive reactions to changing light effects.

Multi-layered is the best way to describe these bodies of color extending into surrounding space; various shapes of solid strength and weight which at the same time, owing to their transparent surface, appear to be light and immaterial. Hamak is paying particular attention to his choice of pigments which give his works their unique luminescence and increase their three-dimensional effect. The interplay of shape and color in Hamak’s work suggests a concept of space the limits of which cannot be clearly defined. The remnants of canvas visible at the edge of these bodies of color have to be taken as a clear hint: Hamak does not think of his works as sculptures but as space-conquering paintings.

Herbert Hamak lives and works in Hammelburg, Germany. His works are part of many international museums and collections. Earlier this year he had an exhibition at the Museum Haus Lange in Krefeld, Germany.

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Installation view Espace Kettaneh Kunigk (Tanit), Beirut, 2009 Installation view Espace Kettaneh Kunigk (Tanit), Beirut, 2009

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“Untitled” (H 381 N), 2001, Pigment and binder on canvas, 16 x 205 x 20 cm “Untitled”, 2002, Pigment and binder on steel base, 216 x 18 x 18 cm, Private collection Italy

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GALERIE TANIT presents

Adrian Schiess GALERIE TANIT, Maximiliannstrasse 45, 80538 Munich, Germany, phone: +49 89292233, mobile: +49 1728518000, info@galerietanit.com, www.galerietanit.com

Central to all of Adrian Schiess’s painting is the subject of time. He understands painting as a continuing process, subject to constant change. He seeks to manifest color’s dependence on light and shade on the surface of his paintings.

We will present two of his “flat works”, part of a group of works which have helped make Adrian internationally recognized. The plates of compound aluminum covered in extremely shiny varnish places the relationship of picture and space firmly at its centre. The pieces are presented lying on the ground, consciously integrating the surrounding space, asking for interaction. This effect is heightened by the reflecting surfaces, causing the picture to transcend its physical limits.

This principle continues in Schiess’s latest works, all canvasses which show an interplay of atmospherically charged fields of color. The canonized shape of pictures is broken by the works’ irregular formats, again transcending traditional ideas of painting. Again central role is assigned to an extension of the physical space taken up by the picture; viewers are confronted with a surprising and fascinating interaction of colors.

Adrian Schiess lives and works in Zurich, Switzerland and Mouans-Sartoux, France.

His works were part of larger shows at the Kunsthalle Aargau, at the Venice Biennnale and at the documenta IX. His works are found in numerous public collections such as the Kunsthaus Zürich, ZKM Museum für Neue Kunst, Karlsruhe, MK Museum für Moderne Kunst, Frankfurt, Fudação de Serralves/Museu de Art Contemporãneo, Porto, Albright-Knox Gallery Buffalo, New York, Indiannapolis Museum of art and Musée d’Art Moderne de la Ville de Paris.

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“Septemberbogen”, 2007, Acrylic on nylon, 75 x 117 cm “Vollmond”, 2008, Acrylic on canvas, 200 x 180 cm Installation view Galerie Tanit, München, 2010

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TMproject presents

Président Vertut TMproject, 37, rue des Bains, 1205 Genève, Switzerland, phone: +41 (0)223209903, mobile: +41 (0)796580426 naomi@tmproject.ch, www.tmproject.ch

Président Vertut (France, 1978-) lives and works in Geneva. 2008 graduated from Geneva University of Art and Design (HEAD), 2009 Geneva City Arts Council Creation Grant.

Président (CEO) Vertut, the artist’s businessman-like alter ego, plays with the codes of minimalism and conceptual art to produce a stunning summary of the past 50 years of Art History. By appropriating emblematic works from the 60’s to our days and coating them with original narratives, Président Vertut questions the recent intertwinings of art and market.

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“CHF 3.200.--CHF320.-”, from the serie “Time Is Money”, 2007-2009, Liquitex on canvas, 25,5 x 33 cm each “Let’s Take A Shower Together”, installation view, 2010 “Sans Titre (Le cul c’est fini.)”, 2006, mixed media, 75 x 88 x 113 cm images courtesy TMproject

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TMproject presents

Lalit Wisutthisophon TMproject, 37, rue des Bains, 1205 Genève, Suisse, phone: +41 (0)223209903, mobile: +41 (0)796580426 naomi@tmproject.ch, www.tmproject.ch

Lalit Wisutthisophon (Thailand, 1984-) lives and works in Bangkok. 2007 graduated from King Mongkut’s Institute of Technology. 2008 Young Thai Artist Award (Photography Prize).

Through staged photography, the artist explores social and behavioral evolution induced by global media and acculturation. She creates a colorful and cheeky « Polit-Pop » fighting on all fronts: sex, money, religion, politics. Her work finds an unexpected echo in the latest chaotic developments in her country.

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“Metal Buffalo”, 2008, Lambda print on PVC box 59 x 88 x 6,5 cm “Evolution”, 2009, Lambda print on PVC box, 75 x 112,5 x 6,5 cm “Thai Boxing”, 2009, Lambda print on PVC box, 93 x 61,5 x 6,5 cm images courtesy TMproject

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GALERIE VAN DE WEGHE presents

Martin Assig GALERIE VAN DE WEGHE, Museumstraat 4, 2000 Antwerp, Belgium, phone: +32 (0)478258044 galerie.vandeweghe@skynet.be, www.galerievandeweghe.be

The power of Assig’s obstinate, mysterious, self-willed and defiant paintings reveals itself already in the unusual technique of encaustic. Wax mixed with pigment is applied on wood panel. Recently he used existing canvases of amateur painters, which he partly painted over with encaustic. His drawings are made in charcoal on transparent paper, on which liquid wax is subsequently applied.

The work of Martin Assig has often been connected to religion, and without doubt his art is a quest for the sense of this world. However Assig’s paintings show both sacral and trivial aspects. In his earlier work details of orthodox inscriptions, relic shrines and floor plans of sacral buildings were combined with the infernal structures of our time : Auschwitz and Buchenwald. In more recent paintings a combination of corporality and spirituality is noticeable; the body is represented as the vulnerable house of the soul. In a series of drawings Assig made last year, the motif of the crying man appeared. Heads are represented in broad lines, in a schematic almost primitive way. The faces are totally covered with hair, the eyes are closed and the mouths held wide open. Sometimes words have been written on the teeth.

Martin Assig was born in 1959. He lives and works in Bradikow and Berlin. His work is present in international collections as the MoMA, New York; Museum of Fine Arts, Boston; Museum für Gegenwartskunst, Basel; National Galerie, Berlin; CAB, Burgos; SMAK, Gent; Museum Weserburg, Bremen.

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“Person”, 2010, encaustic on wooden panel, 49 x 37 cm “Das Innerste”, 2010, encaustic on wooden panel, 210 x 185 cm “Mysterien”, 2010, encaustic on wooden panel, 185 x 136 cm “St-Paul, drawing #17”, 2010, pastel and wax on paper, 39,3 x 30,5 cm

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GALERIE VAN DE WEGHE presents

Johan Tahon GALERIE VAN DE WEGHE, Museumstraat 4, 2000 Antwerp, Belgium, phone: +32 (0)478258044 galerie.vandeweghe@skynet.be, www.galerievandeweghe.be

Johan Tahon's work demonstrates the possibilities of contemporary sculpture. His oeuvre has developed in the footsteps of Rodin, Brancusi, Lehmbruck, Giacometti, Beuys and minimalism. Tahon creates sculptures in plaster, ceramics, bronze and polyester. His sculptures start their life with visibly great expectations, they are large, sometimes disproportionate, inordinate, the product of epic gestures and heroic desires, they stand authoritatively erect, head high, staring ahead, or sometimes down on the spectator.

Jan Hoet :"Every time I see Johan's work, divergent, conflicting impressions force them selves upon me all at the same time. The main one is that almost ominous feeling of stillness to which his sculptures compel me, a purity, reaching for the absolute. On the other hand the sculptures also give the powerful impression of a painful, laborious struggle with the traditional conditions in which they are made (…) Johan Tahon's strength lies in his stubborn attitude, whereby he wants to keep on showing the traces of his struggle which is often only visible and tangible - and always no less than total - in the artist's studio."

Recently Tahon started working with ceramics. He compares the application of white glaze with a ritual bath, giving the sculptures fertility and enhancing the emotional impact.

Ultimately, these white ceramic "beings" refer to the universal innermost perception of man.

Johan Tahon, born in 1965, works and lives in Oudenaarde (Belgium) and Iznik (Turkey).

His works are present in international collections, including SMAK, Gent; M HKA (Antwerp); Beelden aan Zee (Scheveningen); Gemeentemuseum and GEM (The Hague) and Stedelijk Museum (Amsterdam). From June 2010 Johan Tahon will exhibit in Kunstverein, Schwerte and from September 2010 in Gerhard Marcks Haus, Bremen and Aya Irini (Istanbul).

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“Speno”, 2010, ceramic, 71 x 37 x 27 cm

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“Untitled”, 2010, ceramic, 46 x 23 x 20 cm “Panos”, 2010, mixed media, 64 x 20 x 15 cm

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GALERIE VOSS presents

Claudia Rogge GALERIE VOSS, Mühlengasse 3, 40213 Düsseldorf, Germany, phone: +49 211134982, mobile: +49 1713484734 voss@galerievoss.de, www.galerievoss.de

°1965, Düsseldorf The core topic of Claudia Rogge’s works is the relationship between mass society and individualism, two seemingly paradoxical and contrasting phenomena in the era of globalisation. Our society, which has deeply integrated the value of individuality and selfdetermination, stands diametrically opposed to the world globalized by mass media, mass tourism and bulk commodities. How can we be certain of our singularity, when we are affected both in content/mentally and formally/externally by the mass media? Am I Me, or am I the carrier of a role or function?

In her works, Claudia Rogge traces these polarizing phenomena and pushes the opposition of the mass and the individual ad absurdum, by recognizing and depicting the individualist himself as the exponent of role concepts. Claudia Rogge has explored her subject matter in different ways and with diverse strategies. At a retrospective exhibition at the MMOMA (Moscow Museum of Modern Art) in 2009, she presented an extensive overview of her photography as well as of her previous installations. Claudia Rogge choreographs images, which appear as a single shot, yet her composed masses are a result of a wide variety of individual single images.

Her most recent work series "ISO" and "The Paradise of the Onlookers" remain consistent with her previous works from her work groups "Rapport", "UNIFORM", "Dividium" and "Chorelation" created in the years 2005 to 2009. While the series "Rapport" still focused on the formal aspect of this theme, this view changed with time and moved into a more contextual direction. The represented persons no longer function as mere basic ornamental forms, instead they have become characters. They interact with each other, form specific groups, involve each other or ostracize themselves. What led to the new series "The Paradise of the Onlookers" are reflections on an accelerated, racing society which, Sisyphus-like, tirelessly attempts to reach goals in order to achieve gratification. However, this fulfilment turns out to be exceedingly volatile, as achieved goals always prove to be no more than intermediate objectives. The series "ISO" analyses the way people judge their vis-à-vis and how they put everything into categories. In this context, Claudia Rogge puts together rough evaluation criterions such as “young/old”, “ugly/beautiful”, “successful/failure” in a manner that is comparable with speed dating. The protagonists have been branded; or rather have branded each other with these original patterns, until they ultimately “clean” themselves with a purification ritual.

(Translation: Leonie Kürten, Düsseldorf/Germany)

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“Rapport 220705”, Lambda on Alu-Dibond, 2005, 150 x 200 cm

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“Taktile II”, Lambda on Alu-Dibond, 2007, 150 x 200 cm “Battlefield II”, Lambda on Alu-Dibond, 2009, 150 x 200 cm “ISO-100130”, Lambda on Alu-Dibond, 2010, 150 x 200 cm

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GALERIE VOSS presents

Masaharu Sato GALERIE VOSS, Mühlengasse 3, 40213 Düsseldorf, Germany, phone: +49 211134982, mobile: +49 1713484734 voss@galerievoss.de, www.galerievoss.de

°1973 Oita, Japan In the asian region, the Masaharu Sato' s work has already been exhibited and repeatedly awarded, for instance with the special award of the renowned Japanese "Taro Okamoto Award for contemporary art".

Having studied oil painting in Japan, the artist soon turns towards digital techniques.

Based on photographs, he draws the motifs with a so-called digital pen by tracing the images. Afterwards, the original photo data is erased. The artist's highly developped technique and the fact that the digital painting does indeed not show any brush strokes or other traditional painterly characteristics, makes it impossible to distinguish exactly between photography and painting, whereas the blurred line between the painterly and the photographic is throughly intended.

Masaharu Sato's images depict situations from everyday life, although the well known scenes are often disturbed by small, irritating details. A young adolescent is reading a book and flames are licking at the pages, a naked couple is sitting on the sofa in the lobby of a grand hotel, a wig creeps out a plastic bag that is lying on the street. The often surreal details are disquieting, and they may indicate, that we do not participate in everyday's life, but rather in a dream.

In his series "Avatar 11", Sato has added an animation to his drawings. Portraits of his friends, each and one in different surroundings, are shown on eleven screens.

Synchronically, they are looking at first to the side, slowly turn towards the viewer and then turn their head away again; these sequences are being constantly repeated. The title "Avatar" refers mainly to the Hindu mythology, which calls incarnated gods avatars. Masaharu Sato finds such incarnations in everybody, regardless what origin, looks or mind. He chooses the different scenarios in a way, that the bodies of the depicted people are always hidden by any kind of requisites. Reduced to the head bearing neutral mimics, the viewer is dependent on the surrounding to reveal the people's characters.

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“Avatar “Avatar “Avatar “Avatar “Avatar “Avatar

No.6”, DVD-Videoinstallation, 2009, 50 x 50 cm No.10”, DVD-Videoinstallation, 2009, 50 x 50 cm No.1”, DVD-Videoinstallation, 2009, 50 x 50 cm No.2”, DVD-Videoinstallation, 2009, 50 x 50 cm No.4”, DVD-Videoinstallation, 2009, 50 x 50 cm No.5”, DVD-Videoinstallation, 2009, 50 x 50 cm

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VOUS ETES ICI presents

Lieven Hendriks and Scarlett Hooft Graafland VOUS ETES ICI, Lijnbaansgracht 314, 1017WZ Amsterdam, The Netherlands, phone: +31 (0) 206127979 mobile: +31 (0)624605644, vousetesici@xs4all.nl, www.vousetesici.nl

Lieven Hendriks I want to show things one already knows. But I want to do this in such a way that you see it anew, in a different way: the feast of recognition and the joy of surprise.

What I’m looking for is something that is “intellectually moving”, surprising perception at the level of thought.

Lieven Hendriks in: Starlet, 2006 published by VOUS ETES ICI

Scarlett Hooft Graafland Art is a thing of vanity. Once in a while I have to drop a plan. But when I am convinced it is a good idea, I want to persever. Not everyone understands you when you say your aim is to make a beautiful image, to invent and realise it all by yourself.

Scarlett Hooft Graafland in: Discovery, 2008 Published by VOUS ETES ICI

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Lieven Hendriks - Studio view, 2010 Lieven Hendriks - “Painted Sculpture #5”, 2006, acrylic on canvas, 90 x 70 cm

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Lieven Hendriks - “Mirror #5”, 2010, acrylic on canvas, 55 x 65 cm Lieven Hendriks - “Cold Reading (Map #3)”, 2009, acrylic on canvas, 90 x 110 cm

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Scarlett Hooft Graafland - detail “Marken”, 2009, c-print, sizes: 28,5 x 120 cm (edition 6), 38 x 160 cm (edition 6), 52 x 220 cm (edition 4) Scarlett Hooft Graafland - detail “Zwanen”, 2010, c-print, sizes: 28,5 x 120 cm (edition 6), 38 x 160 cm (edition 6), 52 x 220 cm (edition 4) Scarlett Hooft Graafland - detail “Camels in Dunes”, 2009, c-print, sizes: 28,5 x 120 cm (edition 6), 38 x 160 cm (edition 6), 52 x 220 cm (edition 4) Scarlett Hooft Graafland - detail “On Top Of The World”, 2009, c-print, sizes: 28,5 x 120 cm (edition 6), 38 x 160 cm (edition 6), 52 x 220 cm (edition 4)

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Index by Gallery 6-9 14-1 GALERIE

46-49 FRUEHSORGE CONT. DRAWINGS

92-95 NUSSER & BAUMGART

10-13 ARTHOBLER

50-55 GOODEN GALLLERY

96-101 GALERIE TANIT

14-17 artON

56-59 GALERIE JONES

102-105 TMproject

18-23 BARTHA CONTEMPORARY

60-71 KUSSENEERS GALLERY

106-111 GALERIE VAN DE WEGHE

24-29 GALLERI BRANDSTRUP

72-77 LOCUSLUX GALLERY

112-117 GALERIE VOSS

30-35 E105

78-81 GALLERI MAGNUS ÅKLUNDH

119-123 VOUS ETES ICI

36-41 GALERIE f5,6

82-85 MEGUMI OGITA GALLERI

42-45 FELIX RINGEL GALERIE

86-91 GALERIE MICHAEL STURM

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Index by Artist

Karin Kamijo MEGUMI OGITA GALLERI

82-8”

Masaharu Sato GALERIE VOSS

Martin Assig 106-107 GALERIE VAN DE WEGHE

Clay Ketter BARTHA CONTEMPORARY

18-23

Volker Saul GALERIE JONES

58-59

Bjørn Båsen GALLERI BRANDSTRUP

24-27

Astrid Köppe 46-49 FRUEHSORGE CONT. DRAWINGS

Adrian Schiess GALERIE TANIT

100-101

Séan Branagan GOODEN GALLLERY

50-51

Thomas Lehnerer 14-1 GALERIE

6-9

Michael Sistig E105

Pascal Danz LOCUSLUX GALLERY

71-77

Sven Lison GALERIE JONES

56-57

Brigitte Stahl 90-91 GALERIE MICHAEL STURM

John Gossage GALERIE f5,6

36-41

Curtis Mann KUSSENEERS GALLERY

64-67

David Svensson 78-81 GALLERI MAGNUS ÅKLUNDH

Herbert Hamak GALERIE TANIT

96-99

Mike Meiré BARTHA CONTEMPORARY

18-23

Johan Tahon 108-111 GALERIE VAN DE WEGHE

Bertram Hasenauer 46-47 FRUEHSORGE CONT. DRAWINGS

Simon Morse GOODEN GALLERY

52-55

Jon Thompson KUSSENEERS GALLERY

68-71

Lieven Hendriks VOUS ETES ICI

118-121

Jakub Nepras ARTHOBLER

10-11

Yoshimasa Tsuchiya MEGUMI OGITA GALLERI

82-85

Scarlett Hooft Graafland VOUS ETES ICI

118-123

Martin Noël artON

14-17

Brian Ulrich GALERIE f5,6

36-39

So-Young Park E105

30-35

Président Vertut TMproject

Carolin Jörg 86-89 GALERIE MICHAEL STURM

Fredrik Raddum GALLERI BRANDSTRUP

28-29

Thomas Weinberger NUSSER & BAUMGART

Stephan Kaluza FELIX RINGEL GALERIE

Claudia Rogge GALERIE VOSS

Sabhan Adam ARTHOBLER

Jo Hormuth KUSSENEERS GALLERY

12-13

60-63

42-45

v

112-115

Lalit Wisutthisophon TMproject

116-117

30-35

102-103

92-95

104-105

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Galleries

14-1 GALERIE Breitscheidstrasse 48 70176 Stuttgart Germany phone: +49 711605584 mobile +49 17620824894 info@14-1-galerie.de www.14-1-galerie.de

BARTHA CONTEMPORARY 136b Lancaster Road 1st Floor W11 1QU London United Kingdom phone: +44 (0)20 79850015 mobile: +44 (0)7949636527, info@barthacontemporary.com www.barthacontemporary.com

FELIX RINGEL GALERIE Heinrich-Heine-Allee 15 40213 Dusseldorf Germany phone: +49 2116029900 mobile: +49 172 2138889 art@felixringel.com www.felixringel.com

ARTHOBLER Arthobler Lisbon: LX Factory LISBON Ed.g.03, Rua Rodrigues Faria 103 1300-501 Lisbon Portugal phone: +351 965865186 lx@arthobler.com Arthobler OPORTO: Rua Miguel Bombarda, 624 4050-379 Oporto Portugal phone: +351 226084448, or: +351 965865185 info@arthobler.com www.arthobler.com

GALLERI BRANDSTRUP Tjuvholmen allĂŠ 5 0252 Oslo Norway phone: +47 22545454 galleri@brandstrup.no www.brandstrup.no

FRUEHSORGE CONTEMPORARY DRAWINGS Heidestrasse 46-52 10557 Berlin Germany phone: +49 30 280 95282 mobile: +49 175 275 1210 mail@fruehsorge.com www.fruehsorge.com

E105 Endenicherstrasse 105 53115 BONN Germany phone: +49 2284297769 opening new Gallery space 18.09.2010: Heidestr. 50 BERLIN, Germany kunst@E105.de www.E105.de

GOODEN GALLERY 25A Vyner Street E2 90G London United Kingdom phone: +44 (0)2089811233 office@goodengallery.com www.goodengallery.com

artON Rheinallee 69 53173 Bonn Germany phone: +49(0)228 9108911 mobile: +49 (0)1754106606 kontakt@arton-art.de www.arton-art.de

GALERIE f5,6 - Nicole Stanner & Florence Baur Ludwigstrasse 7 80539 Munich Germany phone: +49 8928675167 mobile: +49 17623215157 info@F56.net www.f56.net

GALERIE JONES Am Rinkenpfuhl 55 50676 Cologne Germany phone: +49 22127747966 mobile: +49 16093720067 caren@galerie-jones.com www.galerie-jones.com

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KUSSENEERS GALLERY De Burburestraat 11 2000 Antwerp Belgium phone: +32 (0)32572400 mobile +32 (0)475651109 info@kusseneers.com www.kusseneers.com

GALERIE MICHAEL STURM Werastrasse 24 70182 Stuttgart Germany phone: +49 7116159568 mobile: +41 767512267 (during the-solo-project) mail@galerie-sturm.de www.galerie-sturm.de

GALERIE VAN DE WEGHE Museumstraat 4 2000 Antwerp Belgium phone: +32 (0)478258044 galerie.vandeweghe@skynet.be www.galerievandeweghe.be

LOCUSLUX GALLERY Oude Graanmarkt 57 1000 Brussel Belgium phone: +32 (0)2 5121311 mobile: +32 (0)476480213 info@locuslux.com www.locuslux.com

NUSSER & BAUMGART Steinheilstrasse 18 80333 Munich Germany phone: +49 89221875 mobile: +49 1702151337 info@nusserbaumgart.com www.nusserbaumgart.com

GALERIE VOSS Mühlengasse 3 40213 Düsseldorf Germany phone: +49 211134982 mobile: +49 1713484734 voss@galerievoss.de www.galerievoss.de

GALLERI MAGNUS ÅKLUNDH Monbijougaton 17 G, 2tr 211 53 Malmö Sweden phone: +46 (0)40972650 mobile: +46 (0)706606040 info@aklundh.se www.aklundh.se

GALERIE TANIT Maximiliannstrasse 45 80538 Munich Germany phone: +49 89292233 mobile: +49 1728518000 info@galerietanit.com www.galerietanit.com

VOUS ETES ICI Lijnbaansgracht 314 1017WZ Amsterdam The Netherlands phone: +31 (0) 206127979 mobile: +31 (0)624605644 vousetesici@xs4all.nl www.vousetesici.nl

MEGUMI OGITA GALLERY B1 2-16-12 Ginza Chuo-ku, 104-0061 Tokyo Japan phone +81 (0)332483405 info@megumiogita.com www.megumiogita.com

TMproject 37, rue des Bains 1205 Genève Switzerland phone: +41 (0)223209903 mobile: +41 (0)796580426 naomi@tmproject.ch www.tmproject.ch

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partners

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Š 2010 the-solo-project, the Artists, the Galleries and the Authors.