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m a zzo cc a | co n t e m p o r a ry pa i n t i n g s


m a zzo cc a | co n t e m p o r a ry pa i n t i n g s


Selected artworks by Emiliano BAIOCCHI page 6

Laurence GRAVE page 16

Keiko KIMOTO page 28

Gonzalo REYES ARAOS page 40

Kwanyoung JUNG page 52

Ruprecht DREHER page 66

Alain RIVIĂˆRE page 78

David FERRY page 86

Elsa SALONEN page 98

Kerstin HELLER page 108


| Emiliano BAIOCCHI |

Italy 1979 As well as light inflections in the far distance, the paintings of Emiliano Baiocchi immediately appear like a Fata Morgana: 'an unusual and complex form of superior mirage that is seen in a narrow band right above the horizon'. Despite the high degree of abstraction, what intrudes and calls out most is the impression of a landscape, and especially urban landscapes, where architectures often seem to be reflected in a water-like movement. Global fragmentary forms complete the ornamental character of the picture, while the subtle chromaticity brings it to a certain floating space. Emiliano Baiocchi studied architecture in Florence. He draws and paints as a self-taught since more than 20 years.

Threat n. 1 2012 acrylic on canvas 90x100cm

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City 20 (danse macabre) 2011/12

acrylic on canvas 90x120cm

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City 9 2008 acrylic on canvas 140x270cm (tryptic) 10

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Untitled 2012 acrylic on canvas 100x150cm

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Untitled 2012 acrylic on canvas 100x150cm

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Untitled 2011 oil on canvas 140x180cm (dyptic)


| LAURENCE GRAVE |

France 1970 To Laurence Grave, the choice of colours is essential in her work. It is their paradoxical closeness that creates suspense and dynamic. To avoid mere contrast effects, she raises the specific subtle intensity of certain tones. Using mainly two vivid colours, she creates paintings which are based on the entanglement of form and background. Whereas in some former series, she reduces the variation of forms trying to let them linger over the ground and generating suspense. Laurence Grave's artworks, including figurative elements, are often combined with monochrome paintings in order to reach a tension between the perspective of a figuration and its abstract shape. This connection is also a way to enhance the loneliness and silence of the figure.

UNTITLED 2009 acrylic on canvas 2x100x70cm

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Left: UNTITLED 2009 acrylic on canvas 60x80cm Right: UNTITLED 2009 acrylic on canvas 140x120cm

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Various 2008-2009 acrylic on canvas


Triptychon 2009

acrylic on canvas 3x200x160cm

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Left: GrossMutter 2009 acrylic on canvas 2x160x130cm Right: UNTITLED 2009 acrylic on canvas 2x150x100cm

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BARKE 2009 acrylic on canvas 2x120x160cm


| KEIKO KIMOTO |

Japan 1977 The starting point of her paintings and objects are informed by observations and memories of starkly gestural, particular moments. Her work is often based on nature - in her paintings and drawings one sees trees, flowers, grass, wind, boats, clouds, sunshine, moonbeams, butterflies, cats, fairy-like people, imagined landscapes - and it is physical. Her energetic drawings appear to be explorations in capturing a split-second of being; her mostly stark, sometime delicately drawn lines are full of movement. Much time is given to observation, the first marks on paper and canvas are quick, then once again thought is given as the subject emerges and is given form. Keiko Kimoto achieved her Masters in Fine Arts at the Universit채t der K체nste, Berlin in 2006, with Professor Lothar Baumgarten.

Kranischausapfel 2011 acrylic, ink, charchoal on paper 100x70cm

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Wirsindananas 2011

acrylic, ink, charchoal on paper 100x70cm WASSERMELONE 2011

acrylic, ink, charchoal on paper 100x70cm

Senobi 2010

ink, acrylic on paper 100x70cm EINFLUSS 2011

acrylic, ink, charchoal on paper 100x70cm

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TAUBE 2011 acrylic, ink, charchoal on paper 70x100cm


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NACHBARN 2011 acrylic, ink, charchoal on paper 100x70cm

KAMELIE 2011 acrylic, ink, charchoal on paper 100x70cm


Nochkeintietel 2011 acrylic, ink, charchoal on paper 70x100cm

View from the exhibition "Falling Levitation" Nov 2011 Berlin

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Schwalbe 2011 acrylic, ink, charchoal on paper 100x70cm

Hutokorode 2011 acrylic, ink, charchoal on paper 100x70cm


| GONZALO REYES ARAOS |

Chile 1980 According to quantum physics, an entity can exist in several dimensions simultaneously. Gonzalo Reyes Araos experiments the use of a 'pictorial cell'. It represents a unit which, unified with another, forms a major entity as well as the pixel, the atom or the human being. In his series of work, the pictorial cells are also cells of time. Here, time is fractured and then reconstructed by merging different moments and spaces. Gonzalo Reyes Araos questions issues of perception through time elements and makes the complexity of our human beings visible through different stages of life. Gonzalo Reyes Araos obtained his master degree at the school of fine arts of Valparaiso in 2005. He lives and works in Europe since 2006, mainly between Lausanne, Brussels and Berlin.

CONDORCORBEAUHOMME 2011

acrylic, watercolour on paper and wood 61x61cm

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His paintings are the result of different ways of decomposing and recomposing the image to achieve an answer, in the same way as the workings of a mathematical formula. Drawings are made to be deconstructed into pictorial cells and are finally reconstructed into one entity. The process and the exploration of temporal elements define the final image.

INSIDE OUTSIDE 2011 acrylic on paper 45x45cm

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INTERIOR TOWER 2012 acrylic on paper 60x60cm

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OUTER TOWER 2012 acrylic on paper 60x60cm

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Left: Gaviotas 1 2012 acrylic on paper on wood 30x30cm Right: Gaviotas 2 2012 acrylic on paper on wood 30x30cm

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Left: View from the exhibition 'Transmutation-Rencontre' Brussels Feb 2011 Right: CHAMOIS ET HOMME - CORBEAU ET CERCLE - CONDORE ET HOMME 2011

graphite, watercolour on paper and wood 21,5x18,5cm

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COMMUNICATION II 2012

acrylic on paper 75x75cm

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| KWANYOUNG JUNG |

South Korea 1974 The pictures of Kwanyoung Jung are a silent and forceful means of penetrating and knowing the world. His decelerated gaze finds its place within hurtling modernity in his own labyrinths of lines, which tells how life can look in the expectation of intrusion into its structures. Stringently and as if it could be no other way, they penetrate the strata of time, softly elapsing, floral, in a complex order and with the greatest possible simplicity. Through the abstraction of the results, Kwanyoung Jung follows a representational way of thinking. The titles of his works also bear witness to this; they carry on a dialog with what is real and what is seen. The only question is where the artist is at one particular moment - in the micro - or the macro perspective ? Kwanyoung Jung, who studied in Halle (Germany), paints and draws details of the world, thereby creating moods. Nuances of hue, responsible for what is idyllic and anti-idyllic and tied to the earth, reeds, or stone, stimulate the tightrope walk between accessibility and inaccessibility.

Rauch 2011 ink and acrylic on canvas 35x40cm

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Left: Bikini Island 2010 ink and acrylic on canvas 140x180cm Right: Untergang 2007 oil on canvas 150x90cm

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Left: Bikini Island 2010 ink and acrylic on canvas 24x30cm Right: schwarz BaĚˆume se1 2012 ink and acrylic on canvas 40x35cm

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Left: schwarz BaĚˆume se2 2012 ink and acrylic on canvas 40x35cm Right: EROSION SE1 - EROSION SE2 2011 ink and acrylic on canvas 40x35cm


Previous page: Huegel 2009 ink and acrylic on canvas 150x260cm Left: Steilwand 2008 ink and acrylic on canvas 210x120cm Right: Steilwand 2008 ink and acrylic on canvas 130x200cm

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KĂœste 2010

ink and acrylic on canvas 140x180cm

When Kwanyoung Jung works on his pictures, it is a strict, quiet, monological procedure. The artist turns to himself. Sometimes one has the impression that Kwanyoung Jung is the visionary monk by the sea, that enigmatic man in Caspar David FriedrichĂ­s painting (1810) who stands in a salient position on a deserted beach. He turns his back to us and looks out into the depths of the universe. If he were to see something we don't see, he would communicate it to us only in a whisper. 64

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| ruprecht dreher |

Germany 1951 At first glance, it´s just a mass of lines and colours which identify Ruprecht Dreher´s work. At second glance, however, the surface of the pictures is not quite what it seems. How do colours function together and within themselves? How can a single colour change everything? For Ruprecht Dreher, it is not simply a colour, but an object. 'Without Mondrian there would not be me' says the artist, who studied during seven years in the Academy of Arts of Düsseldorf with Pr. Joseph Beuys. If there was a point in the middle between Piet Mondrian's paths in his self declared Neoplastizismus and Mil Schumacher's art, co-founder of the abstract art in Germany whose works mainly consists of colour, then Dreher might claim he is the one. He lives and works in Berlin since 1978, and his numerous exhibitions on a national and international level take him around the world. Ruprecht Dreher succeeds in filling a gap between object and picture and between colour and form.

Untitled 2007 canvas, acrylic, plexiglass 43x43x6cm

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Vollendetes Unvollendetes 2006-2009

Farbscheiblette 2011 mixed media 40x29cm

canvas, acrylic, plexiglass 72x113cm

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In his work, known as 'speaking surfaces', the foreground becomes the surface. 'A surface always refers to the fact that behind is an area whose matter is to discover, which gives us the most relevant information to decipher a picture', says the artist. The multi-layered artworks are mainly accomplished on canvas, wood, cardboard, acrylic, lacquer, water and a lot of colours, often including found objects from the streets. 69


Left: exekution 2004 acrylic, canvas 160x200cm Right: Atelier view, Berlin 2012

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Previous page: Untitled 2008 canvas, acrylic, plexiglass 76x145cm Left: Orientierung 2008 canvas, acrylic, plexiglass, steropor 204x144x6cm Right: Big Narration 2007 canvas, acrylic, plexiglass 94x146x6cm

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Colorboard#3 2011 acrylic, plexiglass 66x66x6cm

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Colorboard#4 2011 acrylic, plexiglass 66x66x6cm

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| alain riviĂˆre |

Paris, France Alain Rivière mainly dedicates his work to portraits. Inner and outer worlds of a human face are the subjects of research he carries on through the painted and the photographic image. In his pictorial field, Alain wishes to highlight the expression of lines, passages and unknown features which come across in every human face. Not far from Giacometti and Bacon portraits, his paintings also bring in question the visible and the invisible, the presence and the unexpected.

HEAD 2012 oil on paper 65x50cm

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Portraits 2008 acrylic on aquarellpaper 56x52cm

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Insides 2011 oil on canvas 40x30cm

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Visages 2007 acrylic on aquarellpaper 42x28cm

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| david ferry |

France 1975 David Ferry explores movement and speed to make the sonic matter visible, and to paint with sound frequencies. His work on sound patterns is based on a system which plays with the extremes, working beyond norms and frontiers. Feeling a continuous relationship of duality, the artist investigates the oscillation between minimal pulses and abstract linear patterns, especially with low specific frequencies, auditory canals and visual thresholds. The melody shapes volumes, which are revealed from the architecture of the matter into a model of lyric abstraction. The surface is converted into structure and the matter is given consistency.

Sonic 2008

glycerol, acrylic, analog and dripping programming on canvas 70x50cm

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Sonic 06 2008 varnish, acrylic, experimental dripping and electronics on canvas 100x81cm

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Adsr 2007 varnish, acrylic, microprocessing and digital programming on canvas 81x65cm

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transposition_sinus 2007

varnish, acrylic and accumulation of subbass frequencies on canvas 92x73cm Synthese fm 2007 varnish, acrylic and

FM Synthesis on canvas 92x73cm

Electron 2007 varnish, acrylic and

percussiv synthetiser on canvas 81x65cm Structures binaires 2007 varnish, acrylic

and analog synthetiser on canvas 100x81cm

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DensitĂˆ 2007 varnish, acrylic and electronics on canvas 81x65cm

Lfo 2007 varnish, acrylic and analog synthetiser on canvas 92x73cm


LIGHT (SERIES) 2012 watercolour painted with credit card on paper 36x48cm

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LIGHT (SERIES) 2012 watercolour painted with credit card on paper 36x48cm

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| elsa salonen |

Finland 1984 Based on an old Finno-Ugric belief, migrating birds fly as soul birds to Lintukoto, Vainajala (Kingdom Come) for winter. During the autumn of 2010 the artist followed the migrating birds’ flyway to south Mexico and Cuba, where she spent the following winter. There she worked on 'Souvenirs from the Winterland', a piece consisting of drawings and photo collages, which examines the migrating birds’ flyway in many different levels. Absence from the familiar standpoints and cultural environment that forms one’s identity, forces constantly to define the perception of yourself. Even though today we know the migrating birds fly somewhat closer than Lintukoto, the artist’s mind still navigated after the birds towards something incomprehensible. Elsa Salonen started to see the journey of the birds as eternal migration towards one’s self. As spiritual guides for this journey, she drew sages and shamans, figures whom she created based on many different, mostly Finnish or Mexican, stories of the past.

Confidant 2009 pencil and oil pastel on pvc 13x15cm

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Migrating Birds 2009 pencil and oil pastel on pvc 18x21cm

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Old-age ceremony 2009 pencil and oil pastel on pvc 17x23cm

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Right: View from the exhibition 'I walk in the forest as in a temple part II' Berlin July 2012 Left: Singer of Secret Words 2011-2012 oil and spray on both side of acrylic glass 160x160cm

The following works study communities and locations in which spirituality is dominant within the culture and lives. The old Finnish folk religion knew the forest as a sacred place that taught immense value for nature and the sense of being one with it. Even today, many Finns feel a sense of togetherness with the forest.

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Right: Hunch of Oneness 2011 oil on both side of acrylic glass 160x160cm Left: View from the exhibition 'I walk in the forest as in a temple part II' Berlin July 2012

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Keeping the Ancestral Faith 2012

Four mystics 2012

oil and spray on both side of acrylic glass 160x160cm

oil and spray on both side of acrylic glass 160x160cm

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| KERSTIN HELLER |

Germany 1961 Kerstin Heller is not lead by the joy of discovery brought by the mark-making of the hand. The first accents are set by the underpainting of the canvas. Agitated germs of shapes that grow greater on the horizon: points and linear fragments. Plant-like forms emerge, broken by sharp angles, structural colour-forms ripen intuitively from these initial decisions. These are held in balance between movement and stability. Through decisive strokes of the palette, the colours grow from their pictorial ground, layer upon layer. Occasionally, flowing transparent colour is drawn across the canvas in a single stroke. Colour is force and emerging form, while fields of grids and oscillating lines are created. In the smaller pictures, a laconic punctuation rules, created by the coupling of scratchy lines and rounded forms. The slashes in the surface reveal the layers of colour beneath. Light-trails of visible energy rise from the nothingness of forlorn blackness. Perhaps her goal is the ever-present peacefulness in the composition, or the absorption in a desired space of emptiness.

Mirrors 2007 oil on canvas 50x55cm

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The internal workings of formulation are more important than decorative beauty. What has been achieved is constantly questioned, its forms erased and overpainted. All signs and shapes are kept simple, not to lose the inner richness of creation to the realm of the spiritual. The new picture thus created is the sum of destruction which proceeded it. The names of the paintings, some with Japanese or Tibetan sounding titles, occur first after the pictures are completed, not having a meaning necessarily. These paintings are vital pictorial inventions of the unintentional, balancing play and intensity in the creative flow. To come closer to the actual can mean 'to exist for itself alone' in these paintings of breath upon the surface.

Left: 10.3.2010 oil, paper on canvas 40x30cm Right: 9.2.2010 oil, paper on canvas 40x30cm 18.4.2010 oil, paper on canvas 40x30cm

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Zeitwind 2009 oil on canvas 110x105cm 112

Zwischen de FluĚˆssen 2010 oil on canvas 165x145cm 113


Asche I 2009 60 x 40 cm OĚˆl auf Leinwand 2

Left: Asche I 2009 oil on canvas 60x40cm Right: White Tara 2009 oil on canvas 150x130 cm

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Gavrinis 2011 oil, china-paper on canvas 95x85cm

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DSING 2007 oil on canvas 50x55cm

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page 6 Text by Dr. Stefanie Lucci Art mediator, critic and curator for the 'Kunsthalle Düsseldorf'

page 28 Text by Mareike Lee

page 52 & 65 Texts by Christoph Tannert Director at the House of Arts Bethanien, Berlin

page 66 & 69 Extract from a presstext by Dogenhaus , Leipzig

page 98 & 102 Text by ELSA SALONEN

page 108 & 110 Text by Dr. Roland März Curator at the Neue Nationalgalerie Berlin a.D. Translation Jon Evans

Cover Artwork by Kerstin Heller Drei mal Vier 2008 oil on canvas 130x70cm

Editor

m a zzo cc a | co n t e m p o r a ry pa i n t i n g s

Solmsstraße 8 10961 Berlin +49 171 9268 632 mail@galerie-mazzocca.com www.galerie-mazzocca.com

Graphic Design stefania tomasello

www.stefaniatomasello.com Printed in January 2013 © copyright: All rights reserved. Any reproduction of images and texts from this catalogue is strictly prohibited without written consent of its editor and featuring artists.


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Galerie Mazzocca | contemporary paintings