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532 Thomas Jaeckel ------------------------------------ C26 ADN ---------------------------------------------------------------------------------------------------- A9 A N N A NOVA --------------------------------------------------------------- C28 ALARCÓN CRIADO ------------------------------------------- B 3 ARANAPOVEDA -------------------------------------------------------- C8 ASBÆK, Martin -------------------------------------------------------- B12 ASPN ------------------------------------------------------------------------------------------- A16 ATHR ------------------------------------------------------------------------------------------------- A1 BALZERARTPROJECTS ---------------------- C27 BASTEJS -------------------------------------------------------------------------------- C9 BIANCHI, Federico ----------------------------------------------- C7 BINDER, Andreas ---------------------------------------------- C33 BRANDL, Sebastian ---------------------------------------- A17 BRANSTEN, Rena ------------------------------------------------- C5 BRUNDYN + GONSALVES --------------- C15 BRUNNHOFER ------------------------------------------------------------ A5 BULIAN, Laura --------------------------------------------------------- C16 CHAPLINI ------------------------------------------------------------------------------ C3 COHEN, Ethan -------------------------------------------------------------- B2 CONNERSMITH. ------------------------------------------------------ B7 DILLON --------------------------------------------------------------------------------- C34 DUKAN ---------------------------------------------------------------------------------- C35 EB&FLOW -------------------------------------------------------------------------- A12 EGELUND, Christoffer ------------------------------ C20 ESPACIO MÍNIMO --------------------------------------------- B17 ESPAIVISOR -------------------------------------------------------------------- B 8 FERRARA, Jonathan ------------------------------------ A 21 FLEISCH, Marie-Laure ---------------------------------- B 4 FORTLAAN 17 ---------------------------------------------------------- C19 FROSCH&PORTMANN ---------------------------- A10 GARNATZ, Julia ----------------------------------------------------- C13 GUÉPIN, Muriel ------------------------------------------------------ C30 GUERRERO, Enrique -------------------------------------- B5 H.A.N. ---------------------------------------------------------------------------------------- C18 HEIDE, Patrick ---------------------------------------------------------- A13 HELSINKI Contemporary ---------------------- B11 HILGERBROTKUNSTHALLE ------- C25

HOLE -------------------------------------------------------------------------------------------- A11 INTERNATIONAL 3 ---------------------------------------------- A8 JARMUSCHEK --------------------------------------------------------- C22 KLEINDIENST ----------------------------------------------------------- B10 KRUPIC KERSTING || KUK ----------- B16 KUDLEK, Martin -------------------------------------------------------- C6 LARM --------------------------------------------------------------------------------------------- B9 LARSEN, Christian ------------------------------------------ C23 LAV, Peter ------------------------------------------------------------------------------ B 6 LÉ N A & ROSELLI -------------------------------------------- C32 MA2 ------------------------------------------------------------------------------------------------ A18 MANDOS, Ron -------------------------------------------------------------- A3 MAZZOLI, Mario ------------------------------------------------------- C2 P74 ------------------------------------------------------------------------------------------------- C14 PABLO’S BIRTHDAY --------------------------------------- A 2 POULSEN -------------------------------------------------------------------------- C11 PRO ----------------------------------------------------------------------------------------------- C17 PURDY HICKS -------------------------------------------------------- A 22 RISLEY, David ---------------------------------------------------------------- A6 ROLLINS, Tyler ------------------------------------------------------------ C 4 RUBICON -------------------------------------------------------------------------- B14 SECCI, Eduardo --------------------------------------------------------- C1 SKAPE ------------------------------------------------------------------------------------- C24 SLAG ------------------------------------------------------------------------------------------ B15 SMAC ---------------------------------------------------------------------------------------- C12 SMITH, Charlie -------------------------------------------------------- C21 SPECTA -------------------------------------------------------------------------------- B13 STENE Projects ----------------------------------------------------------- A4 SVESTKA, Jiri ------------------------------------------------------------- A14 TEAPOT ---------------------------------------------------------------------------------- A15 TEZUKAYAMA ----------------------------------------------------------- C31 TINT ---------------------------------------------------------------------------------------------- C29 V1 ------------------------------------------------------------------------------------------------------------ A7 VANE ------------------------------------------------------------------------------------------------ B1 VERNON ------------------------------------------------------------------------------ C10 WHATIFTHEWORLD ------------------------------------ A 20 WIDMER +THEODORIDIS ------------------- A19

VOLTA 9 S TA FF Artistic Director Amanda Coulson

Managing Director Chris De Angelis Project Manager Kerstin Herd Project Coordinator Rachel Mijares Fick Press Manager Brian Fee Production Assistant Yorick Tanner info @ Founders Kavi Gupta Uli Voges Friedrich Loock



Viva VOLTA9! 74 international exhibitors — representing Europe and the Americas, plus the Middle East, South Africa, and East Asia — light up the industrial Dreispitz Areal this June, with 58 galleries returning from previous V O LTA editions. Hamish Fulton (espaivisor – Galería Visor, Valencia) has created a signature Limited Edition for VOLTA9. The London-based “Walking Artist” has participated in numerous museum and gallery exhibitions throughout his illustrious career, including Ends of the Earth (M O CA , Los Angeles, touring to Haus der Kunst, Munich) in 2012, and A Trip From Here to There, currently on view at MoMA, New York. In Fulton’s own words: “my self-imposed rule is: I only make art about the particular walks that I have experienced. This means: every artwork I make must include a walk text. Why words? Words can exist in any size and are independent of any one medium or language. Walks are the kilometre stones of my life. Each walk marks the flow of time between birth and death”. The Schaulager, Münchenstein/Basel’s open-warehouse contemporary art museum designed by renowned Swiss architectural firm Herzog & de Meuron, reopened in March with British video artist and filmmaker Steve McQueen’s expansive mid-career survey. A 10-minute walk from Dreispitzhalle on Ruchfeldstrasse, the Schaulager signals another must-see destination for V O LTA 9 visitors. Plus, literally around the corner from V O LTA (on Oslostrasse) are a corridor of creative spaces: O SL O 8 hosts the solo exhibition From the Island for Czech photographer Jiri Makovec; British artist duo Semiconductor stage their video works and complex installations in Let There Be Light at Haus für elektronische Künste, their debut solo show in Switzerland; and the talented artists of international exchange program iaab participate in Going Places, with a special reception until 8 pm on Wednesday, June 12. Finally, we would like to thank our partners for their continued support, particularly our Official Media Partner GalleryLOG, who enthralled V O LTA N Y visitors with their aesthetic acumen and smartly edited videos, and our ‘mind and body’ sponsor Aesop. For those of you who have been been with us these great nine years and for first-time visitors to Basel — and for the many, many of you who fall somewhere in between — thank you! We are thrilled for the high level of talent assembled by our gallery family this year, and we are confident that you will love what you see.

Enjoy the show! Amanda Coulson and Team

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53 2 GA LLERY TH OMAS JAEC KEL WEBS I T E E- M A I L info @ PHO N E +1 917 701 3338 CEL L +1 917 701 3338 CONTA C T N A M E Thomas Jaeckel

EXHI B I T E D A R T IS T S Armando Mariño Nadja Marcin OTH E R R E P R E S ENT ED AR T IST S Per Adolfsen Peggy Bates Tatjana Busch Diana Copperwhite Gerrard Ellis Ian Hughes John A Parks Hendrik Smit Stefan Szczesny Rachel Valdes

COV E R Armando Mariño Havana Riders 2012 Oil on Canvas 60 × 108  in INS I D E Armando Mariño I am Free 2013 Oil on paper 30 × 40 in B AC K Nadja Marcin Last Mohican 2013 C-print 50 × 60 in

“Once again, I am playing with the symbolic status of painting and its capacity to, at once, monumentalize and trivialize human drama.” — Armando Mariño The ethical dilemma implied by the aestheticization or domestication of a violent event — from the moment it becomes “breaking news” and is converted into art through painting — constitutes the axis of Armando Mariño, one of the most prominent Cuban artists from his generation. Mariño lives and works in New York. Works in Public Collections include: Deutsche Bank Collection USA; 21cMuseum, Kentucky; Shelley and Donald Rubin Private Collection, New York; Howard Farber Collection, New York; Centro Wifredo Lam, Havana; ART/OMI Residency, New York; ASU Art Museum, Arizona; University of Virginia Art Museum; Rijskakademie van beeldende kunsten, Amsterdam; Museo Nacional de Bellas Artes. Havana; Stichting Oce Kunstbezitp. Venlo; Arttoteek Den Haag, Holland. Nadja Verena Marcin is a New York-based German performance artist. Internationally recognized as a premiere emerging New Genre artist, she focuses on human behavior, elemental emotions, and psychological responses linked to role-playing through video, performance and photography. MFA from Columbia University, New York after graduating with honors from Academy of Fine Arts, Münster. Marcin’s creations are exhibited in museums, art spaces/galleries and distinguished collections worldwide: ZKM- Center for Art and Media, 2012; DAAD, New York, 2011; “Qui Vive?” Moscow International Biennale for Young Art, Moscow MOMA, 2010; ARTWORK international, Inc. Grant, 2010; Salon/Screening, ICA Philadelphia, 2010; Uncontrollable Flesh, Berkley Art Museum, 2010; Short-Term Deviation, Elizabeth Foundation for the Arts, New York; Kaunas Biennale, National Museum, 2009; Videonale 11 & 10, Kunstmuseum, Bonn; Mediations Biennale, Poznan, 2008; Models of Self-Reflection, AZKM, Muenster, 2008; FIFA-Festival pour Film sur L’Art, Montreal, 2008; EJECT-Ex teresa arte actual, Mexico City; Fulbright Award, 2007; and Jumpnights, Ludwig Museum, Cologne, 2007.




A D N GA LERÍ A WEBS I T E E- M A I L info @ PHO N E +34 934 510 064 CEL L +34 68 752 8625 CONTA C T N A M E Miguel Angel Sánchez

EXHI B I T E D A R T IS T S Carlos Aires Abdelkader Benchamma Mounir Fatmi Adrian Melis OTH E R R E P R E S ENT ED AR T IST S Virginie Barré Tobias Bernstrup Santiago Cirugeda DEMOCRACIA Igor Eškinja Daniel & Geo Fuchs Chus García-Fraile Núria Güell Eugenio Merino Bruno Peinado

COV E R Carlos Aires De Natura Deorum (detail) 2013 Installation 140 × 150  cm aprox. INS I D E Mounir Fatmi Noir sur Noir 2013 Photography 50 × 70 cm B AC K ( LE F T) Adrian Melis The Value of Absence 2009 – 2013 Installation 96 × 55 × 80 cm aprox. (table), 10'20" (video duration) B AC K ( R I G H T) Abdelkader Benchamma Maquette jumelle 2012 Drawing 130 × 90 cm

A D N Galería proposes a selection of artworks by the artists Carlos Aires (b. 1974, Spain), Abdelkader Benchamma (b. 1975, France), Mounir Fatmi (b. 1970, Morocco) and Adrian Melis (b. 1985, Cuba). The proposal shows three different methodological approaches: semiotic reactivation and symbolic shift (Aires and Fatmi); literary (Benchamma); social ethnography and analysis of production dynamics (Melis). Aires and Fatmi give a seman­t ic turn to established icons, values and meanings by recontextualizing ready-made raw material. Benchamma recreates a personal narrative inspired by literature, so­c iology and theories of astrophysics and cosmology. He internalizes issues about matter and its transformation, the nature of objects and their evolution, the human condition in the natural medium. Contrarily, Melis’ practice expands to the exte­r ior, involving common people in the development of his projects. Melis converts his artistic role of creator to a sort of conductor. The final outcome strictly depends on the participation of “actors” where the artist controls and directs the different phases of the realization process. A D N Galería was founded as a hybrid platform between commercial mediation and cultural contribution aiming at promoting current artistic ideas and trends. The pro­ gram focuses on content-based productions that work as a semantic reflection of the contextual dynamics in which they emerge. Transcending our role in the market, we commit to the artists to build international networks of appreciation and to make possible a strong backing for their careers, thanks to an active policy of media coverage, on-line communication and participa­ tion at art fairs. Our policy of collaborative work with intellectuals and profession­ als of the art world allows us to improve our program and the promotion of current practices in the field of visual arts. We contribute to create and give support to new collectors through professional and in-depth counseling. In June 2013 A D N Galería will inaugurate ADN Platform, consolidating the cultural contribution of the gallery as a platform for exhibition projects generated by an open call for curators, performances, public programs exploring the rapport between art and society as well as artists residencies.




A LA RCÓN CRI A D O WEBS I T E E- M A I L info @ PHO N E +34 954 22 16 13 CEL L +34 657 18 15 95 CONTA C T N A M ES Carolina B. Alarcón Julio Criado

EXHI B I T E D A R T IS T S Alejandra Laviada José Guerrero Nicolas Grospierre OTH E R R E P R E S ENT ED AR T IST S Clara G. Ortega Emilio Gañan François Bucher Jorge Yeregui Julie Rivera Martín Freire Simón Zabell

COV E R Nicolas Grospierre 3D-2D (from the W70 project) 2007 Three-dimensional photographic wallpaper 240 × 230 × 220 cm INS I D E José Guerrero Monument Valley 2011 7 Photographs (set). Archival pigment prints 43 × 56 cm / 17 × 22 in each B AC K Alejandra Laviada Galaxia. Forest Interventions. 2012 Inkjet print on luster photographic paper 140 × 110  cm

A L E J A N D R A L AV I A D A (b. 1980, México) examines the processes of construction-destruction in Mexico City. She constructs and photographs ephemeral installation-sculptures that she creates on site in abandoned buildings, using the ordinary objects left behind. Laviada leads us to modify our perception of reality; objects lacking in conceptual or formal identity serve to relate object (memory of the place), sculpture (the transformation of these elements into the mere disposition of themselves), and image (that is the final visual basis which remains through the medium of photography). In Forest Interventions, in which her reflection on the image and its relation to similar disciplines abandons interiors in order to develop a dialogue with nature. JOSÉ GUERRERO (b. 1979, Spain) The formal question from which his work derives is the expression of human action in urban border areas, looking into the process of urban expansion and the seasonal cycles that these processes change. His work is structured in thematic series of signs that have to do with toponymy. Despite the singularity of the artist’s visual scheme, constant unfixed readings arise among his works, so that they ultimately suggest a kind of neutral space, devoid of identity, impossible to clearly associate with a specific geographic context. He presents his last work To Come Back. N I C O L A S G R O S P I E R R E (b.1975) is a French and Polish citizen. His university education focused on political and social sciences, which bears a strong influence on his work. Grospierre´s work that will be on display at VOLTA is 2D-3D, originally part of the W-70 project, an exhibition that “focused on concrete block housing as one of the gravest consequences of Modernist architectural thought”, and its embodiment in Poland. Using the photographed prefabricated modules as “raw material”, he created visual and spatial situations where the viewer could appreciate the concrete blockhouses from different perspectives (literally and metaphorically).

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S TA S BA G S Bath (installation for Sculpture Space 3)

E- M A I L info @

The major role in molding Stas Bags’ artistic view is graffiti, which the artist has been engaged in for 12 years. Afterwards, his interest switched from graffiti’s dynamic art to technological installations. His top priority tasks became the principal method of Milk and Vodka art group, organized by Bags in 2002. As a graduate of Human Physiology and Anatomy Faculty, there is an aspiration to dissect everything that evokes creative interest. Frequently that brings the artist to recreate new constructions from reduced parts.

PHO N E +7 812 275 9762 CONTA C T N A M ES Anna Barinova (owner) Marina Vinogradova (art director)

EXHI B I T E D A R T IS T S Stas Bags Denis Patrakeev OTH E R R E P R E S ENT ED AR T IST S Alexander Dashevskiy Jury Alexandrov Bob Koshelokhov Ivan Plusch Petr Shvetsov Haim Sokol Art group SOAP Vlad Kulkov Andrey Kuzkin Irina Drozd

COV E R Denis Patrakeev Untitled (detail) 2012 Lightbox 60 × 60 cm INS I D E Stas Bags Bath 2013 Installation variable

In the installation Bath, Bags makes a whole unique space, part of which exist separately from one other in their own line, while at the same time supplementing each other. Bags’ general idea is the creation of a state lasting in time. But this is not a chase of lost time, nor is it an attempt to reflect simultaneity or contemporaneity. In many projects, the time-capsule effect is achieved by the juxtaposition of life and death categories. This is seen in monochromatic paintings, and in handling the objects that provoke patho-anatomical connotations: freezing cameras, ovens, barrows. D E NIS PATRA K E E V Untitled (lightboxes from the series Reconstructor) “In my work I use sacred things such as: milk, dental moulds, blood, light, concrete; these materials make me quiet, I’ m losing my ‘ego’, and at the same time I’m telling a very private story (I grew up in a family of dentists so I used to play with dental moulds, dentures when I was a child). This unique balance is maintained by the image of a museum-temple, where the foundations of a crossroad are, the third path are laid, so there’s a possibility not to fit into the suggested format, but to go your own way” — Denis Patrakeev




A RA N A PO V ED A GALLERY WEBS I T E E- M A I L contacto @ PHO N E +34 91 389 6073 CEL L +34 69 998 5324 CONTA C T N A M ES Juan Arana Christina Poveda

EXHI B I T E D A R T IS T S Ignacio Bahna Susanne S.D. Themlitz Rosana Antolí OTH E R R E P R E S ENT ED AR T IST S Grimanesa Amorós Javier Arcenillas Ignacio Llamas Guillermo Martin Bermejo Rita Magalhaes Rebeca Menendez Felipe Ortega Regalado Gema Ruperez

COV E R Susanne Themlitz Oh! 2013 Acrylic and graphite on offset engraving reproductions, oil on paper, glass, magnifying glasses, and table 16 × 90 × 50 cm INS I D E Ignacio Bahna Onda Expansiva 2012 Assembled different woods 220 × 70 × 70 cm B AC K Rosana Antolí Polyptych 2013 Graphite and ink on paper 180 × 90 cm

A RA NA P O V E D A since 2010, internationally confronts established contemporary artists with emerging positions. Our artists are in major private and institutional collections and museums. Our goal is to provide a new setting of contemporary art and deliver the finest international artists’ messages to a wide audience of new and established collectors. The curatorial project presented at V O LTA contrasts Susanne Themlitz (2012 Brocense Art Award winner) with Chilean Ignacio Bahna (first time shown in Basel) and stop-motion and graphite works by young Rosana Antolí (currently featured at the DA2 Museum curated by Paco Barragán). Susanne S.D. Themlitz (b. 1968, Germany) presents parallel worlds, landscapes populated by strange, straying creatures. In the vastness of this fantastic landscape, creatures, hydrocephaly, organs, snails, mosquitoes, cactuses, and mushrooms create mystifying relations. The images echo Hieronymus Bosch or Max Ernst’s visionary spaces. Realistic graphical forms appear side by side with formless color fields. The point of view is continuously displaced. The coherence of the perspective is shattered. The colors become autonomous, like color excrescences and clusters, or break free in a multitude of shades. Themlitz brings drawing into the realms of collage and painting with great ingenuity. Rosana Antolí’s (b. 1981, Spain) work is about the inherent lack of feeling in her generation, which she expresses through painting, drawing and stop-motion videos, ephemeral and fragile materials like graphite and paper. “Avoidance” as a fundamental part of human condition, portraits of “the eternal youth” of her generation, representing “players”, characterized by bringing “the game” to every aspect of their life, in a journey into our animal or irrational impulsions, the regression away from civilized habits, a reflection of her own life. Ignacio Bahna (b. 1980, Chile). Geographical and social damages, affecting all those who inhabit the planet is one of the fundamental pillars of his work. It is an aesthetic appropriation of the environment to a morphological cohesion through the use of wood in all of his artworks. Objectively aesthetic and conceptual, based on the use of “pure” materials, more than 20 different types of wood are at the origin of his sculptures.

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MA RTI N A SBÆK GALLERY WEBS I T E E- M A I L gallery @ PHO N E +45 33 15 40 45 CEL L +45 2681 2887 (Julie) +45 4075 8616 (Mar tin) CONTA C T N A M ES Julie Ouottrup Silbermann Martin Asbæk

EXHI B I T E D A R T IS T S Cathrine Raben Davidsen Nicolai Howalt Tjorg Douglas Beer OTH E R R E P R E S ENT ED AR T IST S Elina Brotherus Berta Fischer Astrid Kruse Jensen Eva Koch Martin Liebscher Sofie Bird Møller Matt Saunders Trine Søndergaard Ebbe Stub Wittrup Clare Woods

COV E R Tjorg Douglas Beer Aufklärung threatened by dark powers 2013 Acrylic paint, marker, ink on canvas 50 × 40 cm INS I D E ( L E FT) Tjorg Douglas Beer Riding on your Chakra 2013 Acrylic paint, marker, lacker, ink on canvas 150 × 120  cm INS I D E ( R I G H T) Tjorg Douglas Beer Black Swan 2013 Different materials, paint, copies, cardboard on aluminum 80 × 60 cm

B AC K Cathrine Raben Davidsen The Curtain 2013 Charcoal on paper 135 × 135  cm

The presentation will be a total installation consisting of large-scale charcoal drawings mounted directly on the wall, handmade lace head-covering next to acrylic and mixed materials on canvas and finally new photographs. Cathrine Raben Davidsen (b. 1972, DK) is known for her painterly personifications where she balances minutely detailed line drawing with dissolved, blurred contours and intense patches of colour. She draws on a wide range of literature and art historical references, narratives and mythological material. Her works for VOLTA will be intense, dramatic charcoal and ink drawings that will give a contrast to Tjorg Douglas Beer’s more unpredictable, spontaneous and profoundly original an unique expression. The idiom of Beer’s works is colourful and raw, with both figurative and abstract elements. Tjorg Douglas Beer (b.1973, DE) is one of the most striking talents of his generation, and his artistic expression ranges wide. Installation projects, sculptures and especially work with painting in an expanded field are explored. Both Beer and Davidsen’s works are a personal sampling of impression from everyday life with inspiration from popular culture, social and political aspects and many everyday impressions from Berlin, Hamburg and Copenhagen. The third artist Nicolai Howalt (b.1970, DK) recently visited the Medical Museion in Copenhagen to research for a new project — out came this photographic series Light Break. The series is about light as a healing effect. With an outset in Nobel laureate Niels Finsen’s light therapy, Howalt examines visual traces from the ultraviolet rays that a patient was treated with. By leading the light rays through rock crystal prisms, Finsen and his team treated a number of otherwise incurable diseases. To follow the progress of the patients, there were made a moulage of their face. These masks are saved at the museum and now photographed by Howalt.

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A SPN WEBS I T E E- M A I L linde @ PHO N E +49 341 960 00 31 CONTA C T N A M ES Arne Linde Carolin Nitsche

EXHI B I T E D A R T IS T S Jochen Mühlenbrink Johannes Rochhausen OTH E R R E P R E S ENT ED AR T IST S Benjamin Appel FAMED Grit Hachmeister Edgar Leciejewski Jochen Mühlenbrink Jochen Plogsties Matthias Reinmuth Robert Seidel Katsutoshi Yuasa Arthur Zalewski

COV E R Jochen Mühlenbrink Coast to coast (NOSW Mittelformat) 2012 Oil and acrylic on wood 170 × 140  cm INS I D E Johannes Rochhausen 1486 Atelier Edgar Leciejewski. 2012 Crayon, charcoal, ink on paper 150 × 200 cm B AC K Jochen Mühlenbrink Malerkoffer 2012 Oil on canvas, 7 parts, hinges 170 × 220 cm

In recent years Johannes Rochhausen has been painting barely any other subject than his own studio. Through the repeated close scrutiny of the same space and the continued invention of new answers and compositions, it becomes apparent how preliminary and dependent on the given perspective these answers remain in terms of perception. As a thesis of artistic practice, functionally closed spaces are immanent to the production of art in general. Yet in a slightly more abstract sense, the circumstances of material and approach within contemporary reality illustrate that any artistic action is shaped by its contexts. On the level of production, in particular in the sense that any artistic work requires a point of departure, neither the “picture as such”, nor an interest without preconditions do exist. To a high degree, the works of Rochhausen focus on precisely this hypothetical closeness of the subject of interest, thus raising questions about the elementary meaning of artistic work in general. Jochen Mühlenbrink is known for his figurative paintings of everyday objects and situations, in which disasters, accidents or the threat of emergency occur. Mühlenbrink utilises elements of minimalism and surrealism to paint our perception of modern times. Both the perception of time as well as pictorial themes are important subject matters for Mühlenbrink. In his new conceptual works, Mühlenbrink’s trompe-l’oeils play a subtle game with art history and painting culture in particular. What we see are a series of paintings from behind — we see the stretchers and staples at the edge of the canvas. This work flirts with modernist minimal art by focussing on the monochrome gaps between the tape and the tape itself (also an important tool in minimal art). Finally, there’s a series of sculptures and painted cardboard boxes that are taped shut. Post packages, sent around the world — a series harking back to Christo and the legacy of surrealism.




ATH R G A LLERY WEBS I T E E- M A I L info @ PHO N E +966 2 284 5009 CEL L +966 56 865 8888 CONTA C T N A M E Maya El Khalil

EXHI B I T E D A R T IS T Sami Al Turki OTH E R R E P R E S ENT ED AR T IST S Ayman Yossri Daydban Ahmed Mater Nasser Al Salem Jowhara Al Saud Basmah Felemban Hazem Harb Ibrahim Abumsmar Sara Abdu Saddek Wasil Raouf Rifai

COV E R Sami Al Turki Barzakh 08 from the Barzakh series 2013 Framed photographic enlargement on archival paper 121 × 131  cm INS I D E Sami Al Turki Barzakh 03 from the Barzakh series 2013 Framed photographic enlargement on archival paper 120 × 180  cm B AC K Sami Al Turki Barzakh 05 from the Barzakh series 2013 Framed photographic enlargement on archival paper 120 × 180  cm

After having lived and studied abroad for a number of years, Sami Al Turki made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land. During the main move from nomadic living to urbanisation during the 70’s, an entire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, some might resemble the White House and others a space ship, all testaments to a land where your home constitutes the realisation of your fantasy. The majority of ones life will be spent within those walls. While land remains a plentiful commodity, it has become an almost entirely inaccessible one. Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. In Barzakh, an Arabic word that alludes to a state of in-between, Al Turki depicts unfinished architectural structures that are suspended amidst the clouds; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind’s capacity for greed, the artist suggests that if it were possible to own the sky and build walls declaring that ownership, mankind would do so. By removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.

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BA LZ ERA RTPRO J EC TS WEBS I T E E- M A I L info @ PHO N E +41 61 222 2152 CEL L +41 79 229 3306 CONTA C T N A M E Isabel Balzer

EXHI B I T E D A R T IS T S Andreas Bauer Nici Jost Nicolas Kerksieck OTH E R R E P R E S ENT ED AR T IST S Tom Fellner Sarah Frost Georgine Ingold Vera Isler Sebastian Mejia Mimi von Moos Angelika Schori

COV E R Nici Jost Under the Green Grass 2012 Audiovisual Installation 40 × 48 × 44 cm INS I D E ( L E FT) Andreas Bauer Steilvorlage 2012 Dry Wall Installation INS I D E ( R I G H T) Nicolas Kerksieck Heimwerkerkathedrale 2011 Wood 160 × 80 × 280 cm B AC K ( LE F T) Nici Jost Behind Hedges 2013 Video Object with Sound 30 × 14 × 12  cm B AC K ( R I G H T) Andreas Bauer Eat Drink Shop 3 (detail) 2013 Scan of Book Cut-Out 140 × 120  cm

balzerARTprojects presents a collaborative enterprise of Nici Jost, Andreas Bauer, and Nicolas Kerksieck focusing upon the dichotomy between reality and fiction in architecture. Chronologically and culturally, the project harks back to individual and collective memories, stressing a critical analysis of traditional values, contemporary urbanism and individual lifestyles. Key is the contemplation upon architectural and natural environments, aimed to work with utopian solutions to urban architectural dilemmas. The project deals with architecture and space as phenomena of power. The result is a solution-oriented narrative without proposing concrete solutions as it centers upon proposing strategies, which can be developed further by the viewer. In this project, the artists generate a continuum between our here and now, our space and time and the time and space of others. Andreas Bauer (b. 1980) questions the process of objectification, yet establishes his own objectified/aesthetic presence. In his photographic work, a bridge is built between photography, sculpture and performance. While creating surreal urban landscapes, he redefines space/environment/landscape/human surroundings by dissecting the human and urban matrix, aiming at a “deconstruction of urban spaces”. The essential element of Nici Jost’s (b. 1984) work is the exploration of the sublime tensions between technology and nature, space and perception, identity and image. Questions are provoked about the broader, often disquieting, implications of our ever-accelerating technological evolution and the position of the individual within. Jost pushes the boundaries between reality, fantasy and fiction, making the viewer re-evaluate his natural and conceptual reference models, as he enters imaginary, yet surprisingly real worlds with intense colors and surreal perspectives. Nicolas Kerksieck (b. 1977) works in several different areas: in the public space as action, interferences and interventions. He also explores the “traditional process of building sculptures” that is, he questions the sculptural process and its inherent fallacies. Thematically, he explores topics of identity and existence. His investigative processes often lead the performer/investigator/artist – and consequently, the viewer – into absurdity and excesses of self-questioning. He encourages the viewer to physically seek confrontation with his work while establishing an emblematic and multifaceted investigation into the nature of art.




G A LLERY BA STEJ S WEBS I T E E- M A I L bastejs @ baiba.morkane @ PHO N E +37 167225050 CEL L +37 129136840 CONTA C T N A M ES Baiba Morkane Krisjanis Morkans

EXHI B I T E D A R T IS T Ritums Ivanovs OTH E R R E P R E S ENT ED AR T IST S Juri Arrak Peeter Allik Jaan Elken Helena Heinrihsone Ivars Heinrihsons Franceska Kirke Ieva Kraule Anita Meldere Janis Nedela Kalvis Zalitis

COV E R Ritums Ivanovs City girl 2012 Oil on canvas 60 × 45 cm INS I D E Ritums Ivanovs A collage of Symbol of Illusion paintings 2012 Oil on canvas variable B AC K Ritums Ivanovs Kiss x-rayed 2012 Oil on canvas 115 × 151  cm

Gallery Bastejs (Riga, Latvia) has focused on the cultural exchange between Baltic States, representing artists from Estonia, Latvia and Lithuania. The gallery works closely with its represented artists, providing artworks for the collectors and institutions, and also organizing various cultural events. Ritums Ivanovs is a Latvian painter whose practice uses precise hyperrealist depiction of the real and bright polychromatism typical of OP Art. Working in his selfinvented linear technique, he paints portraits and nudes on large size canvases. The artist uses a photo as basis for his work but painting itself is hand-made. The main subjects of Ivanovs’ work are human emotions, the different emotional states. In his artwork he portrays people from personal life, photographic images from printed material — such as art history books, show business advertisements, and even material from erotic magazines. Symbol of Illusion is a body of work where Ivanovs plays with the concept behind the commonly used skull within art. Art is fascinated by death. Death is fascinated by art. From the symbols used in today’s society, skull is a recent one. The use of skull in 17th century Netherlands still life vanitas, was a romanticized symbol of death but it wasn’t the main subject of interest in the particular works. Today’s art is fascinated by death, artists creating work around the concept of the skull. My interest with this subject came from observing portraits and figures in today’s art. “My personal realization of the symbolic meaning of the skull is this — it is the illusion of life and death in one. To me death means everything, in a way the death is life”. Nowadays the use of this symbol is vague, especially in popular culture, it gets oversimplified neglecting its real meaning.“ In this body of work I want to connect the ideas of symbol and illusion, hence the title of this show “Symbol of Illusion”. (Ritums Ivanovs)




FED ERI CO BI A N CHI C ONTEMPORARY ART WEBS I T E E- M A I L info @ PHO N E +39 02 39 549 725 CONTA C T N A M E Federico Bianchi

EXHI B I T E D A R T IS T S Giuseppe Armenia Radomir Damnjan Tony Just Jacopo Mazzonelli Domenico Piccolo Alexander Wolff OTH E R R E P R E S ENT ED AR T IST S Paola Di Bello Zuzanna Janin Anna Orlikowska Jacopo Prina Clement Rodzielski Bert Theis Magda Tothova Johannes Vogl Venera Kastrati

COV E R Jacopo Mazzonelli Apocalisse 2011 blackboard slate, wood, magnets, rotary engine 128 × 92 × 25 cm INS I D E Alexander Wolff Installation view 2010 wall drawing / collage / paintings on fabrics site-specific B AC K ( L E FT ) Radomir Damnjan Drawing 1968 / 1978 Ink on paper 70 × 100 cm B AC K ( R I G H T) Domenico Piccolo Ogni Giorno n.14 2009 acrylic and oil on photo paper mounted on a wooden 24.5 × 18.5 cm

This project is based on contemporary facets of abstraction: to represent through different media the opportunity to create abstract art: from Jacopo Mazzonelli acting on a surface modified with a circular rotary motion, to Alexander Wolff’s fabric paintings, through Radomir Damnjan’s classic acrylic on linen, to Tony Just’s “street” abstract art, to the possibility of abstracting an architectural structure in the paintings of Domenico Piccolo, to Giuseppe Armenia’s sculptures of newspapers. Giuseppe Armenia (b. 1965, lives and works in Turin). He exposed his works in public spaces throughout Europe (Prague, Wien, Budapest, Zurich, Hamburg, Tirana, Berlin). He was also a finalist at The Cairo’s Award 2005 in the “Permanente di Milano” space. Installation is his favourite way of expression. His work is based on ephemeral time. Radomir Damnjan (b.1936, lives and works in Belgrade and Milan). He has participated in the Venice Biennale, Documenta Kassel, Biennale of San Paolo (1st prize 1963), Biennale of Sydney, Quadriennal of Rome. His works are included in many museums, including Centre Pompidou in Paris; SFMOCA; Museum of Modern Art, Belgrade; Guggenheim NY. Paintings, performance and sculpture are his favorite means of expression. Tony Just (b. 1966, lives and works in Berlin and New York. He exposed his works in several important private galleries around the world: New York, Berlin, Paris, Milan, Zurich, Los Angeles, London. He took part in Greater New York 2005 at PS1. Jacopo Mazzonelli (b. 1983, Italy) He uses installation and sculpture as his medium of expression, and he combines elements of music, philosophy and art history to create his works. He is considered the young promise of Italian art and he has already exhibited in various public spaces including a solo show at Galleria Civica of Trento. Domenico Piccolo (b. 1961, lives and works in Turin). He took part in the exhibition “Impresa Pittura” at Castle Genazzano in Rome about the last 20 years of painting in Italy, and in the 2009 Prague Biennale. His favourite themes are alienated individuals and those who live beyond the boundary of psychological disease. Alexander Wolff (1976, lives and works in Berlin and Los Angeles). He has participated in numerous exhibitions in Europe and the United States, including Made in Germany 2, and he has exhibited in solo exhibitions in museums in Munster and Lübeck. He expresses primarily through painting and assembly of fabrics.

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G A LERI E A N D REA S BINDER WEBS I T E E- M A I L info @ PHO N E +49 89 21939250 CEL L +49 171 4326335 CONTA C T N A M ES Andreas Binder Veronika Binder

EXHI B I T E D A R T IS T S Hadrien Dussoix Anna Navasardian OTH E R R E P R E S ENT ED AR T IST S Jan Davidoff Izima Kaoru Philipp Lachenmann Matthias Meyer Yigal Ozeri Dieter Rehm Julio Rondo Thomas Stimm Rolf Walz Paul Winstanley

COV E R Hadrien Dussoix Burn More Fuel 2010 Mixed-media, Installation ca. 170 × 100  cm INS I D E Hadrien Dussoix Installation View Art Cologne 2011 2011 Mixed-media, Installation 200 × 200 cm B AC K Anna Navasardian Boys 2010 Oil and acrylic on canvas 122 × 152  cm

HA D RIE N D U S S O IX The world of the media and its influence on Swiss artist Hadrien Dussoix (b. 1975) forms the basis of an art that concerns itself with boundaries, inconsistencies and poetry. Looking at the world around him, including films and TV, the young artist picks up bold and simple messages with succinctly provocative and lyrical content – messages which he then adapts in his paintings. Each message is written in large letters, occupies the entire expanse of the canvas and becomes the central subject while acquiring its own autonomy and going beyond the pure meanings of the words. The written content becomes a painting, and a painting turns into a piece of writing. Dussoix’s works enter into dialogue with the viewer in a variety of ways, for instance when Dussoix composes varnished letters on the canvas, as in “Your best body ever”, “Lips into your hips”, “More bass more riff”, “Bull dogs bull shit” where, because of the material nature of the painting, viewers see themselves mirrored and thus become part of the work. A NNA NAVA S A RD IA N Navasardian’s work utilizes the language of portraiture and the tradition of figure painting to obscure the bounds that separate personal and constructed identity. Dynamic subjects are drafted from sources that include Soviet era family photographs, vintage periodicals, and live models. The resulting characters expose hidden truths and buried layers narrated through vigorous brush strokes and an animated palette. Navasardian develops themes of identity, adolescence, growth, and memory in creating compositions that explore the multilayered nature of reality. In the Garden series, vibrant palette marks function as fleeting thoughts surrounding a family. The thoughts dissolve in and out of the physical environment, blending into the shrubbery at one point and melting into a woman’s dress pattern at another. In this way, Navasardian employs the visceral quality of paint to illuminate the invisible elements that surround us.

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SEBA STI A N BRA N DL WEBS I T E E- M A I L info @ PHO N E +49 221 222 99 793 CEL L +49 178 9252198 CONTA C T N A M ES Sebastian Brandl Alexandra Espenschied

EXHI B I T E D A R T IS T S Franz Burkhardt Gerhard Rühm OTH E R R E P R E S ENT ED AR T IST S Timo Behn Christian Berg Julia Bünnagel Kerstin Fischer Sven Fritz Hee Jung Kang Vincent Michéa Manfred Schneider Jan Stieding Birgit Verwer

COV E R Franz Burkhardt The artist’s kitchen in Montzen (Belgium) 2012 Framed drawings 2012 / 2013; pencil, gouache, indian ink, print on paper Size variable INS I D E Gerhard Rühm Musikalische Stimmungsbilder 2006 / 2004 Collage on cardboard 40 × 30 cm each B AC K Franz Burkhardt sans majonäse s.v.p. 2013 Pencil, indian ink, PU-lacquer on paper 16.5 × 19 cm

The new-old bunk installation with furniture, chairs, tables and cupboards by Franz Burkhardt gives off the nostalgic charm of a dim interior fitting. Handiwork and home craft via hardware and do-it-yourself stores do have their effect: building a room of one’s own probably emanates from the need to stage a defined order at the sight of existing boundless disorder. The artist’s drawings are on the walls; the artist copies from old black and white photographs (like from the ’50s), which he uses as masters. Their presentation in different frames emphasizes their staged decorative, well-nigh furnishing character. The models of trivially appearing spaces created by Burkhardt can be regarded as instruments of exploring time and specific reality, as they suggest the possibility of a distanced scheme of a facultative fragment of this reality. Gerhard Rühm: to my musical mood images the musikalische Stimmungsbilder that have arisen continuously since 2003 can be traced back to four thematically related works from 1972, which formally differ distinctly from the later paper works. although collages from almost three decades later are based on similar material templates — decorative single releases of popular music from the first half of the past century — compared to the loosely improvised “Stimmungbilder”, they show a much more systemic style: shortened parts of the title page are cut in longitudinal stripes and punctuated in normalized distances with minimalist note and text quotes from the issues’ inner sheets. the resultant content creates an irritating effect, but it evokes an overall enclosed impression with each individual rhythm — especially emphasized through the sequence of multiple sheets. the nostalgic attraction of an illustrated subject and the often bizarre and fragmented calligraphy create the characteristic “stimmung” in the individual works.




REN A BRA N STEN GALLERY WEBS I T E E- M A I L info @ PHO N E +1 415 982 3292 CONTA C T N A M ES Trish Bransten Jenny Baie

EXHI B I T E D A R T IS T S Bovey Lee Ron Nagle Marci Washington OTH E R R E P R E S ENT ED AR T IST S Ruth Asawa John Bankston Tony DeLap Matthias Hoch Candida Höfer Jun Kaneko Vik Muniz Amparo Sard Tracey Snelling Henry Wessel

COV E R Bovey Lee Atomic Jellyfish 2007 Chinese rice paper 52 × 34 in INS I D E Marci Washington The Captive 2011 Watercolor, gouache on paper 30 × 44 in B AC K Ron Nagle Topbana 2013 Mixed media 4 ½ × 5 × 3 in

While the works of Bovey Lee, Ron Nagle, and Marci Washington appear disparate in both form and content, they are all bound by the artists’ obsessive processes. Viewers are immediately arrested by Lee’s complex cut paper drawings, the vivid colors and combination of textures in Nagle’s sculptures, and the intense tone-ontone layers in Washington’s watercolors — but equally arresting are the techniques involved. Bovey Lee uses hand cut Chinese rice paper mounted on silk to form intricate narratives exploring the tension between man and the environment in the context of power, sacrifice, and survival. Updating ancient landscape paintings, Lee cuts away paper to create scenes of cooperation between natural and un-natural forces in unimaginable detail. The intricacies of her lace-like paper pieces boggle the mind especially when one recalls this fine work is cut by hand. Ron Nagle is a master of the ceramic medium, working in an intimate scale where a sense of power is informed by his choice of color, shape, and surface. Nagle’s famously laborious fabrication process, which sought to achieve the perfect balance of organic and hard-edge abstraction, has recently been augmented by a plastic medium. New works feature glazed ceramic elements on a modeled then cast plastic base that allows for luminosity not possible even after thirty glaze firings in his early ceramic works. Nagle’s work is included in the 55th International Art Exhibition at the Venice Biennale. Drawing from literature, film, fashion photography, and historical events, Marci Washington builds a fictional narrative. What is riveting about her dark dramas besides the pallid characters, ominous lighting, and mysterious clues, is the intensity of her palette — many layers are required to build the pitch black that envelops each scene. Her tight rendering of shadows, blades of grass, and light also demonstrate her consummate control of a medium that relies on light from the white ground to define content.

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BRU N D YN   +  G ON SALVES WEBS I T E E- M A I L info @ PHO N E +27 21 424 5150 CEL L +27 83 277 2062 CONTA C T N A M ES Elana Brundyn Igsaan Martin

EXHI B I T E D A R T IS T Sanell Aggenbach OTH E R R E P R E S ENT ED AR T IST S Carla Liesching Chad Rossouw Gina Heyer Kevin Brand Liza Grobler Matthew Hindley Mohau Modisakeng Paul Emsley Tom Cullberg Zwelethu Mthethwa

COV E R Sanell Aggenbach Crossfire: Crest 2012 Wood, aluminium, industrial foam and oil on canvas 108 cm diameter, Installation dimensions variable INS I D E Sanell Aggenbach Crossfire: Crest (detail) 2012 Wood, aluminium, industrial foam and oil on canvas 108 cm diameter, Installation dimensions variable B AC K Sanell Aggenbach Olympus Mons 2013 Monotype on Hahnemühle Copperplate 300gsm 88.5 × 81 cm

Sanell Aggenbach’s work deals primarily with the intersection of history and private narratives by considering the process of recall and interpretation. Her work presents a haunting ambiguity characterized by her materially multifarious nature as she moves comfortably between the various disciplines of painting, printmaking and sculpture. Crossfire: Crest (2012) portrays a mountainous landscape painted in a subdued palette. The canvas has been noticeably pierced with aluminum arrows that spread into the area surrounding the work. While these over-sized arrows appear comical at first, the sombre undertone of inherent violence soon becomes apparent. This is a space fraught by the aftermath of an evident mêlée, an allegorical attack on one’s own established beliefs and ideologies. Aggenbach’s exploration of ‘distressed’ landscapes in the South African context is further extended in a series of new monoprints, underlined with issues of ownership, violence, fantasy and obscurity.




BRU N N H O FER G ALLERY WEBS I T E E- M A I L art @ PHO N E +43 732 77 83 21 CEL L +43 664 38 18 104 CONTA C T N A M ES Stefan Brunnhofer Elisabeth Brunnhofer

EXHI B I T E D A R T IS T S Aurelia Gratzer Andrew Phelps OTH E R R E P R E S ENT ED AR T IST S Lucia Dellefant Moritz Götze Indra. Ronald Kodritsch Paul Kranzler Oliver Kropf Thomas Kühnapfel Jennifer Nehrbass Diana Rattray Christoph Schirmer Martin Schnur Elisabeth Sonneck

COV E R Andrew Phelps out of the series Baghdad Suite 2008 C-Print 40 × 50 cm (edition 7) INS I D E Aurelia Gratzer Dome 2013 Acrylic on canvas 100 × 150  cm B AC K Andrew Phelps out of the series 720 (Two Times around) 2010 C-Print 100 × 127 cm (edition 5) and 50 × 60 cm (edition 8)

THE A R TIS TS Aurelia Gratzer de-structures the gander of the spectator. With her multi-perspective and diffuse-patterned paintings of real architecture and design, a new Precisionism is found. With this noticeable style, the young painter already won the Strabag Art Award, was among the Ten Finalist Winners of the West Collection Award, and was nominated for the Anton Faistauer Award. Andrew Phelps is an American photographer who has lived in Europe since 1990. His work is influenced by the cross-cultural lifestyle he now leads, dividing his time between the deserts of Arizona and the Alps of Austria. His construed-seeming (yet only seeming) photographs are documentations of transformations and cultural deconstruction that would mostly stay hidden if there wasn’t his eye for the special. THE G A L L E RY The Brunnhofer Galerie was founded in 1997 by Elisabeth and Stefan Brunnhofer. From the very beginning, the aim has been to support young contemporary art. The Gallery wants to give auspicious young talents the chance to be represented by a serious gallery, throughout the world. To get the needed and aimed internationality for their artists, they make collaborations with galleries in the USA, Germany, Denmark and Portugal, and participate in fairs all over the world: Basel, Berlin, Cologne, L.A., London, Miami, and New York. With this strategy, Brunnhofer Gallery has been able to celebrate great success with its young artists. They are in important institutional and private collections, spread all over the world, win important awards and grants and get known to a snowballing public.

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LA U RA BU LI A N GALLERY WEBS I T E E- M A I L laurabulian @ PHO N E +39 02 48 008 983 CEL L +39 335 60 400 70 CONTA C T N A M E Laura Bulian

EXHI B I T E D A R T IS T Said Atabekov OTH E R R E P R E S ENT ED AR T IST S Elisabetta Di Maggio Gulnara Kasmalieva &  Muratbek Djumaliev Alimjan Jorobaev Anastasia Koroshilova Taus Makhacheva Marat Raiymkulov Andrei Roiter Eve Sussman David Ter-Oganyan Yeleva Vorobyeva & Viktor Vorobyev

COV E R Said Atabekov Steppenwolf 2011 Giclée print on canvas 107 × 70 cm INS I D E Said Atabekov Korpeshe Flags #05, #07,#12, #04 2011 C-print 67 × 100  cm B AC K ( LE F T) Said Atabekov Welcome to the American sector #02 2009 C-print 60 × 90 cm B AC K ( R I G H T) Said Atabekov Way to Rome #02 2007 C-print 50 × 65 cm

The Kazakh installation and performance artist Said Atabekov (1965), one of the most important artists in Central Asia, began his artistic activity in 1993 as a member of the Red Tractor group, the first artists collective set up in Southern Kazakhstan after the Perestroika. His works have been exhibited in important museums, institutions and Bienniales, and he was featured in the 2011 Venice Biennale (Central Asian Pavilion), Ostalgia at the New Museum (New York, 2011) and Migrasophia at the Maraya Art Center (Sharjah, 2012). “One of Atabekov’s recent projects, Korpeshe-Flags, includes a photo cycle in which the traditional cushion used in central Asian yurts is transformed into a western national flag. The topographical and symbolic location is once again the Kazakh steppe: its flat, low desert horizon, the absence of traces, the empty, open sky. Fabric as the sign of State apparatus contrasts with the infinite space, limitless in every direction that is a feature of the steppe. The flag’s closed rectangle forces itself on a space which is open and decentered in its very constitution. Here we do not only find the times of ‘before’ and ‘after’ (monochrome red is also a symbolic sign of the past), we also find an idea of mobility that is typical in nomad culture, a space in continuous variation, in contrast with the concept of sedentary space which assigns fixed roles so as to be governed. The originally plain space appears as though captured between the weaving and texture of a streaked space. In Said Atabekov the masks of the past never cease to return. But with no intention of returning or reassuring an identity to the various individualities of that which has been. A cot for newborn babies (Besik), a shaman’s equipment, ancient stone idols, felt, a pile of korpeshe on top of a trunk, kokpar — a popular game on horseback, Kyzyl Traktor, the Kalashnikov, the remains of the days of Soviet collective farming, the red star, the American flag, etc. There is a sort of carnival of time on every occasion that Atabekov goes on show. On the one hand, everything returns as though it had been lost, emptied: such are the traditional Kazakh jackets lined inside with military camouflage. But on the other hand, uncovered rituals, unqualified skills, local knowledge that has just resurfaced never cease to erode or tarnish any claim to uniqueness in an absolute, definitive, dominant discourse.” (Marco Scotini, 2011)




CH A PLI N I WEBS I T E E- M A I L info @ PHO N E +49 221 17919688 CEL L +49 151 24034477 CONTA C T N A M E Berthold Pott

EXHI B I T E D A R T IS T Philip Seibel OTH E R R E P R E S ENT ED AR T IST S Ralf Dereich Max Frintrop Behrang Karimi Nadja Nafe Uwe Schinn Johanna von Monkiewitsch

COV E R Philip Seibel Tafel Nr. 8 (detail) 2013 MDF, wooden veneers, lacquer 140 × 90 cm INS I D E Philip Seibel Rolle mit Band 2012 Plastic, wooden veneers, lacquer, belt strap 24 × 11  cm B AC K Philip Seibel Tafel Nr. 7 2013 MDF, wooden veneers, lacquer 70 × 50 cm

Philip Seibel (b. 1980 in Hagen, lives and works in Düsseldorf) began his education with a luthier apprenticeship from 2000 to 2003. Until 2011 he studied art at Kunst­a kademie Düsseldorf, Germany. In 2012 he received the „EHF-Stipendium“ from the Konrad-Adenauer-Stiftung in Berlin. Solo Exhibitions (Selection) 2013: „Totale 06“, Maschinenhaus Essen; 2012: „Erkennung eines Lächelns“, with Lukas Schmenger, Collection Philara e.V., Düsseldorf; 2011: „Die Lügnerin“, with David Ostrowski, Format:C, Düsseldorf. Main Group Exhibitions (Selection) 2013: “Viola Bittl, Stef Heidhues, Philip Seibel”, Eigen+Art Lab, Berlin, Germany (September); „Bischoff, von Monkiewitsch, Seibel“, C H APL I N I, Cologne, Germany; „Modern and Compact Atmosphere“, studio1.1, London, U K ; 2012: „Forget the words“, Numberthirtyfive / Cindy Rucker Gallery, New York, USA; „Ein Überblick“, Adenauer Stiftung, Berlin, Germany; „Ich wittere Morgenluft“, KI T, Düsseldorf, Germany; „No.1“, McKinsey & Company, Düsseldorf, Germany; 2011: „Schöne Wahrnehmung“, curated by Gertrud Peters, Temporary Gallery, Cologne, Germany With his series of wooden panels, Philip Seibel (born 1980) transforms pictures into objects. Coming from painting, Seibel creates a symbiosis with sculpture. His objects feature polished, high-gloss surfaces layered over partially lacquered veneers. The grain of the veneer serves as a painterly base and thus raises the question if the visibility of the interventions is necessary to perceive a picture as a painting. Seibel’s sculptures and panels are bound neither to a specific time nor a specific place. They seem at times like “diamonds from outer space”, or awakened from a deep slumber from times gone by. Any attempt at categorization is immediately deflected by the objects’ polished surfaces. Ornamental structures glimmer grotesquely on the faces of amorphous formations. Radiating from amber-colored lacquer panels is the glow of colliding stars that implode within the picture’s core.

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CH A RLI E SM I TH LONDON WEBS I T E E- M A I L direct @ PHO N E +44 20 7739 4055 CEL L +44 7958 931 521 CONTA C T N A M E Zavier Ellis

EXHI B I T E D A R T IS T S Tom Butler Eric Manigaud Wendy Mayer Alexis Milne John Stark Gavin Tremlett OTH E R R E P R E S ENT ED AR T IST S Emma Bennett Kiera Bennett Sam Jackson Sarah McGinity Alex Gene Morrison Gavin Nolan Dominic Shepherd

COV E R Wendy Mayer Duck Rabbit (Rabbit) 2012 Mixed media 78 × 48 × 21 cm INS I D E Eric Manigaud Klinikum #8 2011 Pencil & graphite powder on paper 137 × 180  cm B AC K ( LE F T) John Stark Interior View 2013 Oil on wood panel 31 × 35 cm B AC K ( R I G H T) Gavin Tremlett Amusement 10 2010 Oil, charcoal & graphite on paper 49 × 39 cm

D A S U NHE IM L ICHE In 1919 Sigmund Freud published his essay The Uncanny, which led on from Ernst Jentsch’s 1906 text On the Psychology of the Uncanny. Beginning with a linguistic appraisal of the uses of the words heimlich and unheimlich in the German language, Freud outlines the roots and meaning of the terms. Heimlich, we are told, means the familiar, the homely. Its antonym unheimlich means unease, fear, horror, eerie or the uncanny. But importantly heimlich can also be read to mean concealed or hidden. And herein lies the key to the uncanny – it is something that is strange but familiar; hidden but apparent, otherwise termed as cognitive dissonance. The selection of artists that we are presenting at VO LTA9 is based on the strong and underlying sense of the uncanny within their work. Combining painting, drawing, sculpture and video, the presentation is curated in order to create an experience for the audience that is simultaneously compelling and unsettling, where the familiar is employed in order to unlock the peculiar.




ETH A N COH EN N EW Y ORK WEBS I T E E- M A I L ecfa @ PHO N E +1 212 625 1250 CONTA C T N A M E Ethan Cohen

EXHI B I T E D A R T IS T S Orly Cogan Michael Zelehoski Liu Xiaohui OTH E R R E P R E S ENT ED AR T IST S John Aslanidis Joseph Ayers Mina Cheon aka Kim Il Soon Fang Lijun Huang Yan Qi Zhilong Qin Feng Ushio Shinohara Tang Hui Aya Uekawa

COV E R Orly Cogan Saturday 2006 embroidery thread on fabric 27 × 19  in INS I D E Michael Zelehoski Loveseats 2010 assemblage with deconstructed chairs and painted plywood 24 × 37 in B AC K Liu Xiaohui Holiday 2011 acrylic on canvas 20.87 × 18.11 in

G L O BA L D O M E S TICITY Here we will show three different artists from three different cities with three different art practices. The visual idiom in each artist’s practice is unique – one artist deals in fabric, one paints, and one works in wood. Distinct, yet all share a common thread in dealing with the environment that surrounds them. Michael Zelehoski comes from Beacon, N Y. Michael focuses on collapsing 3D objects and structures into the picture plane. These found, utilitarian objects are deconstructed and cut into sometimes hundreds of fragments before being reassembled two-dimensionally. “I am able to create works that are picture, relief, and object in one.” Liu Xiaohui lives and works in Beijing. His work celebrates the domesticity of life, and seemingly ordinary situations. He creates large, asymmetrical grids of vignettes, and in creating so many on one piece, the mundane and overlooked become fascinating. A woman preparing dumplings in her kitchen becomes a story and vacuuming a living room is epic. Orly Cogan resides and works in N Y C . Her work delves into the mythologies of her memory, and in doing so depicts ordinary relationships and commonalities in fantastical ways. Cogan works with embroidery on vintage and painted fabrics, a traditionally female art form. She subverts the idea of Angel in the House by stitching nude self-portraits while vacuuming, or presenting herself nude and pregnant above a home surrounded by a floral motif. A work called Saturday shows Cogan sitting nude on a vacuum while holding a mug and plate. Despite the difference of sex, nationality, media, and studio environment, Zelehoski, Liu and Cogan’s portrayals of the mundane have given us a fresh eye in which to experience their lives’ surroundings. We offer a visual conversation of Global Domesticity. E T H A N C O H E N N E W Y O R K specializes in emerging contemporary art, with a sub-specialty in contemporary Chinese art. The gallery has two new locations in Chelsea, NYC and Beacon, N Y.




CON N ERSMI TH . WEBS I T E E- M A I L info @ PHO N E +1 202 588 8750 CONTA C T N A M ES Leigh Conner Jamie Smith

EXHI B I T E D A R T IS T Leo Villareal OTH E R R E P R E S ENT ED AR T IST S Janet Biggs Zoe Charlton Mary Coble Maria Friberg Katie Miller Julie Roberts Lisa Ruyter Erik Thor Sandberg Koen Vanmechelen Wilmer Wilson IV

COV E R Leo Villareal Invisible Hand (detail) 2012 light emitting diodes, mac mini, custom software, circuitry, wood, plexiglas 34 × 34 × 6 in, ed: 5 INS I D E Leo Villareal Scramble (2’) 2012 light emitting diodes, microcontroller, custom software, circuitry, wood, plexiglas 24 × 24 in, ed: 10 B AC K Leo Villareal Little Bang 2008 200 light emitting diodes, microcontroller, circuitry and anodized aluminum 24 in diameter, ed: 5

Leo Villareal is internationally known for creating large scale site specific works — such as The Bay Lights (2013), the world’s largest LED light sculpture, which spans the 1.8 mile Bay Bridge in San Francisco; and the 200-foot interior installation, Multiverse (2008) in the permanent collection of the National Gallery of Art, Washington, DC — as well as more intimate light sculptures — such as Field (2007), in the permanent collection of the Museum of Modern Art, New York, and Scramble (2011), which was recently acquired by the Phillips Collection, Washington, DC.

Villareal introduces temporal actions of light into traditional abstract imaging, using LEDs (light emitting diodes), custom software and sequencing. With these new media the artist explores, in single digital sculptures, extensive frameworks produced in serial paintings, such as the colorful concentric squares in Frank Stella’s Scramble series. Villareal activates familiar static forms, changing their color, definition, intensity, and duration. His imagery unfolds gradually, as if revealing the live application of pigments, a process that color painters of the 1950s and 60s concealed in their canvases. As Villareal reconsiders post-painterly forms and colors, he re-conceptualizes the art historical category of abstraction and updates the modern aesthetic with digital color-field imaging.

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D I LLO N GA LLERY WEBS I T E E- M A I L valerie @ diana @ alexander @ alvaro @ PHO N E +1 212 727 8585 CONTA C T N A M ES Valerie Dillon Diana Lee Alexander Brown Alvaro Pérez Miranda

EXHI B I T E D A R T IS T S Nacho Rodriguez Bach Steven MacIver Ultra Violet OTH E R R E P R E S ENT ED AR T IST S Cristina De Middel Per Fronth Makoto Fujimura Maurizio Galimberti Masatake Kouzaki Christophe Laudamiel Brian Rose Silke Schoener Michel Tabori Asami Yoshiga

COV E R Steven MacIver Nexus 2012 6 miles of gold and silver yarn, metal hooks, wood 10.6 × 10.6 × 10.6 ft INS I D E Nacho Rodriguez Bach Psychedelic Patio 2012 Monitors, animation Size variable B AC K Ultra Violet Self Port Rait 2012 Baroque frame in transparent crystalline plastic with mirror and mirrored self portrait letters Edition of 7, 25 × 25 in

D IL L O N G A L L E RY Devoted to the representation of international contemporary artists in a variety of mediums, the gallery exhibits established, mid career, and young emerging artists whose works convey our approach to visual content. Formalism and structure carries through the various styles and mediums we present with an overall interest in the personal content behind the artists’ aesthetics. Our Asian “Nihonga” program is one approach by the gallery to highlight artists working within their cultural environments. Be it a young Norwegian artist, an African American photographer, or Chinese and Japanese Nihonga painters, Dillon Gallery continues to act as a forum for regional voices across the artistic landscape. Originating in SOHO in 1994, Dillon Gallery is now located on West 25th Street in New York City, occupying the ground floor space in a converted 19th century warehouse. Nacho Rodriguez Bach (b. 1966, Mexico City) uses unorthodox mediums to create light and sonic installations, or what the artist refers to as “experiential art.” He takes inspiration from seemingly disparate disciplines such as astronomy, philosophy, folk arts, and linguistics. Steven MacIver’s (b. 1979, Orkney Islands, Scotland) research and practice focuses on developing the linguistics of drawing and its role in the mediation of communication between the artist and the viewer, evoking real, remembered and imagined environments. Ultra Violet (b. 1935, Grenoble, France) re-configures the trope of self-portraiture through her Self Portrait mirror series. By using colored mirror surfaces with mirrored letters that read “Auto Port Rait” or “Self Portrait,” Ultra Violet takes the conventional self-portrait and challenges its ideas, presumptions, and blind spots. Her art often addresses topics of consumerism, narcissism, and violence by using the very icons that stand for those ideas, making her work visually and conceptually provocative.

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G A LERI E D U K A N WEBS I T E E- M A I L sam @ PHO N E +33 9 81 34 61 83 CEL L +33 6 61 93 49 29 CONTA C T N A M E Sam Dukan

EXHI B I T E D A R T IS T S Folkert de Jong Bayrol Jimenez John Kleckner Alicia Paz Richard Stipl Alexander Tinei OTH E R R E P R E S ENT ED AR T IST S Josef Bolf Nicholas Di Genova Nina Fowler Arturo Hernández Alcázar Olivier Masmonteil Yigal Ozeri Johan Tahon Narcisse Todoir Craig Wylie

COV E R Folkert de Jong The Immortals 2012 Polyurethane, foam, wood, metal, spray paint 191 × 100  × 80 cm INS I D E Richard Stipl Block Sabbath 2005 Resin, pigments, oil paint, found objects 55 × 95 × 40 cm (each figure 50 × 14 × 9 cm) / Ed 4 (of 4) B AC K John Kleckner Untitled (detail) 2009 Ink and watercolour on paper with hand-painted passe-partout 47 × 37 cm

The grotesque is a game with the absurd, in the sense that the grotesque artist plays, half laughingly, half horrified, with the deep absurdities of existence. Wolfgang Kayser The grotesque is the art of the extravagant contradictions. It fuses opposing aesthetics — beauty and ugliness, refinement and vulgarity, horror and humour, tragedy and comedy — and forces to coexist antithetical archetypes. It is a fundamentally ambivalent thing, as a violent clash of opposites, and hence, in some of its forms at least, as an appropriate expression of the problematical nature of existence. The grotesque is a kind of chiaroscuro fact, an art of extreme light and shadow, and it is an underground art.The word itself is rooted in the sixteenth century Italian excavation of ancient palaces and villas such as Nero’s Domus Aurea in Rome, and the discovery of a fantastical decorative style in the underground chambers called grotte.




EB& FLO W WEBS I T E E- M A I L info @ PHO N E +44 20 7729 7797 CEL L +44 7725039580 CONTA C T N A M ES Margherita Berloni Robin Mann

EXHI B I T E D A R T IS T S Chris Aerfeldt Briony Anderson Gemma Anderson Artist Anonymus: L’Oisaeu Neil Ayling Mike Ballard William Bradley OTH E R R E P R E S ENT ED AR T IST S Ross M Brown Sue Corke Alinka Echeverria Nicholas Mcleod Steve Sabella Katie Louise Surridge

COV E R William Bradley Untitled 2013 Oil on canvas 110 × 90 cm INS I D E Artists Anonymous L’oiseau 2012 Oil on canvas / photographic afterimage 40 × 30 cm / 80 × 60 cm B AC K Neil Ayling Concrete Candy 2013 Printed vinyl on brass 30 × 25 × 37 cm

EB&Flow provides a platform to exhibit and support contemporary artists in L ­ ondon. The gallery occupies a converted print works across two floors in the heart of Shoreditch. Neil Ayling (b. 1983) lives and works in London. He graduated from Winchester School of Art, Sculpture, and then the Royal College of Art, graduating in 2010 (MA Fine Art Sculpture). He has worked in Anish Kapoor and Antony Gormley’s studios and currently combines studio work for Sir Anthony Caro with his own practice. William Bradley (b. 1984) graduated with a Masters from Wimbledon College of the University of the Arts London in 2008, selling out his end of year show. He was ­s elected for FutureMap 08 and the Catlin Art prize 2009 and 2011. Artists Anonymous are a Berlin and London based collective, working across disciplines from film and installation, to both painting and photography, coining their own method of paint based image and afterimage. Their work is included in the Deutsche Bank collection, Advaney Collection, and has been shown at major i­nstitutions like Hamburger Bahnhof. Mike Ballard (b. 1972) graduated from St. Martins in 2007 with an MA in Fine Art. Now working from his London studio, he continues to exhibit regularly, specialising in creating immersive installations. Briony Anderson (b. 1982) studied at The University of Edinburgh and Edinburgh College of Art (MA Hons 2005), now lives and works in London. Anderson’s s­ ignature works are turbulent landscape paintings alive with loose, expressive brushwork. Gemma Anderson (b. 1981) lives and works between London and Cornwall. She attended Falmouth College of Art (BA) and the Royal College of Art, London (MA). Anderson is currently Artist in Residence at Imperial College Mathematics ­D epartment and was awarded a studentship at University College Falmouth to complete a practise based PhD in Comparative Morphology and Drawing. Graduating from Chelsea School of Art, Australian painter Chris Aerfeldt (b. 1958) depicts larger than life women, obliquely self referenced portraits, where the ­g lorification of the ‘female form’ is translated into a terrifyingly surreal vision of what ultimately might become.

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G A LLERI CH RI STOFFER EGELUND WEBS I T E E- M A I L info @ PHO N E +45 33 939 200 CEL L +45 26 272 871 CONTA C T N A M ES Christoffer Egelund Chris Handberg

EXHI B I T E D A R T IS T Christoffer Joergensen OTH E R R E P R E S ENT ED AR T IST S Crystel Ceresa (CH) Ghost Of A Dream (US) Jason Jägel (US) Maria Torp (DK) Christoffer Joergensen (CH) Michael Johansson (SE) Morten Steen Hebsgaard (DK) Theis Wendt (DK) Thierry Feuz (AU) Yuichi Hirako (JP)

COV E R Christoffer Joergensen Memory Portrait (detail) 2013 C-print on Duraclear, meshwork 60 × 80 cm INS I D E Christoffer Joergensen Eurosphere 1 (detail) 2013 C-print, Diasec 150 cm diameter B AC K Christoffer Joergensen Eurosphere 1 2013 C-print, Diasec 150 cm diameter

At V O LTA 9 we are pleased to present Y O U AN D I AR E N O T SO DI F F ER E N T, an installation of new works by Christoffer Joergensen. The cinematic title resonates with the artist’s narrative style and his ability to create intriguing fields of tension, for instance between rigid, almost Cartesian grids and a blurry complexity or between abstract patterns and photographic subject matter. For his Grogram images, the artist manually cuts two different photographs into thin strips and then weaves them together to form a new image. Details of photographs of unrelated people and circumstances are united in this way. Once interwoven, the two images influence and to an extent veil each other. The people in them loose their individuality and become types. Meanwhile, in his Eurospheres series Joergensen digitally mirrors triangular fragments of his photographs of plenary halls to form hexagonal patterns reminiscent of honeycombs or kaleidoscopes. Dotted around these hexagonal cells are tiny politicians listening, writing or reading the papers. On the one hand, the two elements of the sphere and the pattern conjure a symbolically loaded atmosphere. On the other, one is overcome by a distinct sense of absurdity when looking at the works up close. Faced with the image tsunami and the general acceleration of existence, Joergensen has opted for slower, more long term projects, creating works that speak to us about our alienation, our chaotic times and about our need to find meaning and some structure within them. Christoffer Joergensen is born in Denmark but lives and works today in Zurich. During 2002-2004 he graduated with an MA in photography from the Royal Collage of Art in London. Joergensen has participated in several exhibitions at Galleri Christoffer Egelund and is today one of the gallery’s permanent artists. He has also been represented at Charlottenborg´s Spring Exhibition and he has had several solo exhibitions in Europe.

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ESPA CI O M Í N I M O WEBS I T E E- M A I L galeria @ PHO N E +34 91 467 61 56 CEL L +34 619 794 624 CONTA C T N A M ES José Martínez Calvo Luis Valverde Espejo

EXHI B I T E D A R T IS T S Bene Bergado Anne Berning Felipe Cortés Miguel Ángel Gaüeca Juan Luis Moraza OTH E R R E P R E S ENT ED AR T IST S Manu Arregui Nono Bandera Liu Ding Philip Jones Enrique Marty Antonio Montalvo Manu Muniategiandikoetxea Neil Farber and Michael Dumontier Erwin Olaf Liliana Porter

COV E R Juan Luis Moraza ARULES (modelo social 144) (detail) 2013 Plastic rulers and glass 259 × 259 × 40 cm INS I D E Bene Bergado Casa de fieras (serie Hábitats naturales) (detail) 2010 Polyurethane, wood and objects 203 × 120 × 82 cm B AC K Felipe Cortes C W. Mansportret 2012 Used magazines, romantic weekly novel, magnets, fold back clips 12 × 30.5 × 27.5 cm

The work of Juan Luis Moraza is inseparable of his understanding of art as essentially linked to its historical situation. In ARULES series, rulers, triangles, calipers, templates and models of measurement and pattern taken from different contexts (architecture, tailoring, academia, nautical science, etc.) are twisted creating unique folds, producing the paradoxical situation of a universal anormativity. Bene Bergado’s sculptural practice is part of a long tradition of iconic sculpture. that reformulates for the present the experience of representation. Habitats series present sculptures in micro contexts that are both reflection and origin from the quotidian: fragmented spaces created as environments where the life of beings that personify human emotions is displayed. Felipe Cortés’ starting point for Compound Works is a research and conceptual study of the concept of collage and the work of Kurt Schwitters. From the specificity of the object, the works try to suggest possible relations between the different elements that compose them: from the proper materials to the different changes of status that will affect them or had affected them. Anne Berning’s works consider the viewer’s point of view. The paintings are not exhibited in a traditional way and the spectator begins to search for explanations for that. They are all references towards a false reality which actually does not exist for behind its appearance of reality. What the artist is portraying does not exist. Apart from a few of the objects, most of them are invented. Employing clichés, the construction of sexual identity or art world roles as starting points, Miguel Ángel Gaüca has developed a discourse around how these themes operate in the current social context. Conversation proposes a reflection around how form and shape giving have been constructed according to market interest, generating aprioristic identifications that automatically match a particular form with a political position.




ESPA I VI SOR  –  VI SOR GALLERY WEBS I T E E- M A I L info @ PHO N E +34 963 922 399 CEL L +34 628 881 245 CONTA C T N A M ES Mira Bernabeu David Serrano Miriam Lozano

EXHI B I T E D A R T IS T S Joan Fontcuberta Hamish Fulton Braco Dimitrijević Nil Yalter OTH E R R E P R E S ENT ED AR T IST S Sanja Iveković Oswaldo Maciá Joan Fontcuberta Eulalia Valldosera Miguel Ángel Rojas Alberto Baraya Esther Ferrer Lynne Cohen Juan Fernando Herrán Carlos Leppe

COV E R Braco Dimitrijević This Could Be A Place Of Historical Interest 1973 – 76 Photography 50 × 35 cm each INS I D E Braco Dimitrijević Accidental Painting. Accidental Sculpture. Accidental Drawing. 1968 – 69 Photography 90 × 70 cm each

In the late ‘60’s Braco Dimitrijević began his interventions in the urban environment involving the participation of people on the street. In Accidental Sculpture (1968), Accidental Drawing (1968) and Sculpture by Tihomir Simcic (1968), the artist set the initial situation completed by the casual action of passersby. With his idiomatic wit Dimitrijević places these discreet effects of everyday urban dynamics under beaux-arts categories. In one occasion the artist installed a heap of plaster of Paris on the road, waiting with a camera. When a car passed by, the cloud produced was photographed and entitled Accidental Sculpture (1968). Dimitrijević insisted that, despite its short life which lasted until the cloud fell or dispersed, this work had all the traits of sculpture — it was made from the most common sculptural material and had perceptible volume. Painting by Krešimir Klika (1969) is a key work from this period. Dimitrijević installed a milk carton on the street, waiting for a car to run it over. He stopped the driver and asked his judgment of the milk splash. If the driver assessed the white stain as art, he would be asked to sign it directly on pavement. At the moment the driver agreed to sign the milk splash, the authorship shifted from Dimitrijević, who set up the situation, to the person who accomplished the action. Simultaneously to Roland Barthes’ essay on “The Death of the Author” we witness the birth of Kresimir Klika, the artist and the spectator in one. “In these series of works the artist only arranges the initial situation, the development of which depends of chance, understanding and approval of other persons. When entering a gallery a visitor is prepared to see works of art. I have tried to chose people at random, without knowing whether they have an affinity for art and make them not only the spectators, but persons who cooperate with the ‘arranger’, i.e. create. They have thus been included in the act of creating and the dividing line that formerly existed between artist and non-artist has been removed”. “After all,” Catherine Millet wrote on Dimitrijević’s artistic strategy, “this voluntary self-cancellation of the artist is a fitting strategy for making obvious the necessity of his action in a society that no longer knows what place to allot the artist. In the eighties, during which this place, unlike the seventies, was so well defined that it was made banal, we saw a certain number of artists going back to this model of disappearance and hiding behind pseudonyms, initials, or enigmatic company names.” In 1971 Dimitrijević began the photographic series This Could be a Place of Historical Importance. The artist took pictures of randomly selected locations, varying from a romantic corner of the countryside to a monumental staircase, from an ordinary house facade to an interior, and equipped them with this subtitle. He used this conditional statement both for places of unquestionable importance and for totally anonymous sites. There is a considerable suggestive power in this simple sentence: it can trigger the imagination, which will make some bush in the park into the scene of a mysterious affair or even a murder. The sentence can mean at least two things; that any place can in the future become the stage of an important event, or that some event has already taken place there, but its importance is still to be recognized. It implies that all places are of potential historical interest and simultaneously calls into question the category of ‘historical importance’ as such.

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J ON ATH A N FERRARA GALLERY WEBS I T E E- M A I L info @ PHO N E +1 504 522 5471 CONTA C T N A M ES Jonathan Ferrara Jean Kennedy Burgess Matthew Weldon Showman

EXHI B I T E D A R T IS T Adam Mysock OTH E R R E P R E S ENT ED AR T IST S Brian Borrello David Buckingham Hannah Chalew Skylar Fein Generic Art Solutions (G.A.S) Michael Pajon Gina Phillips Dan Tague Paul Villinski Monica Zeringue

COV E R Adam Mysock The Title Lock 2013 Acrylic on panel 5 × 4 in INS I D E Adam Mysock Ponce de Leon Discovering the Fountain of Youth 2012 Acrylic on panel 10.5 × 23.5 in B AC K ( LE F T) Adam Mysock Forever Looking Out 2013 Acrylic on panel 5 × 5.9 in B AC K ( R I G H T) Adam Mysock So Abram departed, as the LORD had spoken unto him; and Lot went with him: and Abram was seventy and five years old when he departed out of Haran. 2011 Acrylic on panel 14 × 16  in

“Telling stories is a part of human nature; it’s how we relate to one another. The stories we have in common help us create sincere connections to our neighbors and our surroundings. What’s more, storytelling — for better or worse — typically involves hyperbole. We tend to exaggerate; we tend to lie. As a painter, I’m preoccupied by the undeniable role that the image plays in creating this acceptance of the fictional. A painting has the authority to make the intangible concrete, and a series of them has the ability to authenticate a fabrication in our collective memory. When I begin a piece, I typically start with preexisting images, artifacts from this collective remembrance. I look for images that shape my pictorial consciousness, that are hard to question because when I first saw them they were presented as the truth. From them, I’m given my task – I have to “disrepair” them. I have to consolidate an earlier world of historical and cultural visual-fact with an evolving understanding of subtlety and gradation. I find that the discrepancies I discover between the absolute and the nuanced inspire me most. Mysock says of his new suite of work for VO LTA9, “I’m told that long ago our ancestors spent a great deal of time looking up at the night sky, bonding with the celestial lights that passed overhead, and relating those distant forms to the mythology of their time.” It’s noteworthy, however, that after generations of dreaming about those astronomical bodies, after generations of yearning to visit our celestial neighbors, something happened after we made it to the moon. We lost interest; once the inaccessible became accessible, it lost its luster. Since the last man walked on the lunar surface more than 40 years ago, we’ve lived in an age of declining fascination. Somehow, it seems, we spoiled the mystique of the heavens by visiting the moon. That’s precisely where the visual conversations in my most recent work begin. Throughout the paintings, I examine the motivations, rewards, and realities of exploration and ambition. Whether transforming the moon into the characters of an elusive narrative or veiling Space Race illustrations as a means of measuring past enterprise against present inquiry, each piece tests the perspective from which we progress. Looking backward, inward, outward, and forward, the work quietly asks where we are and what we’re going to do about it.”





Galleria Marie-Laure Fleisch presents three artists whose production centres on drawing as a cognitive instrument to investigate reality and to perceive objects.

E- M A I L info @

The works of Sergio Breviario (b. 1974, Bergamo, Italy) are the product of a studied mix of elements meticulously taken from art history tradition to which he applies natural and artificial objects with the deliberate intent of creating an alienating effect. To this, he adds an installation format which helps the viewers in their precise interpretation of the work. The result is a metaphysical vision which highlights his powerful, balanced style and the carefully studied harmony of his compositions.

PHO N E +39 06 68 89 19 36 CONTA C T N A M E Marie-Laure Fleisch

EXHI B I T E D A R T IS T S Sergio Breviario Nikolaus Gansterer Maya Zack OTH E R R E P R E S ENT ED AR T IST S Etti Abergel Yifat Bezalel Sergio Breviario Claudia Comte Chiara Dynys Nina Fischer & Maroan El Sani Nikolaus Gansterer Jorinde Voigt Maya Zack

COV E R Sergio Breviario Come quando fuori piove (detail) 2011 Drawing on tracing paper glued on mirror 23 × 32 cm INS I D E Nikolaus Gansterer Thinking-Drawing-Diagram (from Drawing a Hypothesis) 2011 Book 15 × 22 cm B AC K Maya Zack Black and White Rule (video still) 2011 One channel HD video 17:45 min

Maya Zack’s (b. 1977, Tel Aviv, Israel) creative research investigates humankind’s obsessive desire to catalogue, manifested by attempts to classify and order reality by applying codes and parameters. In her work, video-installations accompanied by drawings, the protagonists are depicted as meticulous, maniacal surveyors incessantly engaged in measuring their surroundings. Zack attributes a double role to drawing: in her videos it is a practical tool used by her protagonists to measure and apply their formulae and graphs, her paper-based works accompanying her video help the viewer in registering, documenting and fixating the conceptual mechanisms which are developed as the video progresses. Nikolaus Gansterer (Klosterneuburg, Austria 1974) is deeply involved in investigating the link between drawing, thought and action. In his visual work, he focuses on mapping those processes which emerge from cultural and scientific networks, thus revealing their inherent, interconnected structures. By rejecting any strict differentiation of these two areas, and with his combination of methods from both fields, he demonstrates distinct lines of connection and division which question the imaginary threshold between nature and culture, art and philosophy.

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G A LERI E FO RTLA AN 17 WEBS I T E E- M A I L galerie @ PHO N E +32 9 222 00 33 CEL L +32 475 55 01 77 CONTA C T N A M E Ischa Tallieu

EXHI B I T E D A R T IS T Manor Grunewald OTH E R R E P R E S ENT ED AR T IST S Jacques Charlier Christoph De Boeck Stief Desmet Aernoudt Jacobs Lawrence Malstaf Pieter Laurens Mol Hermann Nitsch Eva Schlegel Kiki Smith Lotte Van den Audenaeren

COV E R Studio Manor Grunewald 2013 Photo: Sarah Eechaut INS I D E Studio Manor Grunewald 2013 Photo: Sarah Eechaut B AC K ( LE F T) Manor Grunewald No one was privileged 2013 Oil, acrylics, spraypaint, silkscreen on wood 53 × 80 cm B AC K ( R I G H T) Manor Grunewald This time no loopholes (I could be an art student) 2013 Oil, collage on canvas 50 × 60 cm

Manor Grunewald’s (b. 1985, Ghent) work is composed primarily of painting and collage drawings. He is looking for new possibilities to challenge and expand the classical constraints of the canvas. He wants to break with the rules and structures inherent in this medium. Grunewald received several prizes in the field of painting and installations. In 2008 he received the ‘Gaverprijs’, Waregem, in 2011 he won the ‘BNP Paribas Fortis Young Ones Award’, Brussels and he was selected for the ‘Young Belgian Painters Award’ and exhibited at BOZAR, Brussels. In 2012 he was nominated for the ‘Provinciale Prijs Beeldende Kunst Oost-Vlaanderen’, Ghent. His residencies include “Kulturbunker”, Frankfurt am Main in 2010, Frans Masereel Centrum, Kasterlee in 2013 and now he is planning his residency at the International Studio and Curatorial Program (ISCP) in New York for 2014. In September 2013 he will present his third solo exhibition ‘Life’s a beach and then you die’ at Galerie Fortlaan 17. He currently lives and works in Ghent and exhibits internationally. ‘One day she hears her voice calling her to the attic’ The title refers to the cult horror movie Do not look in the attic. The horror mystery is set within the threatening atmosphere of an attic. The characters in this film are lured there by an uncontrollable compulsion. The project One day she hears her voice calling her to the attic is also a reference to the historical and stereotypical idea of tormented artists with a studio practice in a small attic. This specific setting of the studio atmosphere invites collectors to have a closer look at the process of an oeuvre. Manor Grunewald brings a banal small surface of wood, a piece of his artist studio, back to life through a displacement of context. This piece is marked by many years of paint-traces linked to the production of former work and shows traces of destruction as well as large gaps, caused by pulling and dragging while removing the wooden floor from the artists’ studio. The context of an art fair is of importance for this specific installation as it is intended to be an interaction between the collectors and the artist by reconstructing a studio visit within the fair.




FRO SCH & PO RTM ANN WEBS I T E E- M A I L eva @ PHO N E +1 646 820 9068 CEL L +1 646 266 5994 CONTA C T N A M ES Eva Frosch hp Portmann

EXHI B I T E D A R T IS T S Julia Kuhl Eva Lake Hooper Turner OTH E R R E P R E S ENT ED AR T IST S Raffaella Chiara Seth Michael Forman Steve Greene Vicki Sher Robert Yoder

COV E R Julia Kuhl Electra (Series) 2012 Watercolor on paper 14 × 11  in INS I D E Hooper Turner Backstage (Three Women) 2011 Oil on canvas 30 × 24 in B AC K Eva Lake Anonymous Woman #58 2012 Collage 10 ¼  × 10 ½  in

F E M M E S FATA L E S ? Our booth at V O LTA 9 is a women-only cabinet. Gallery artists Julia Kuhl, Eva Lake and Hooper Turner draw, cut-and-piece together or paint female characters. Eva Lake’s fragmented faces of unknown beauties play with the concept of incompleteness. The Anonymous Women series is the Portland-based artist’s most recent work; cut-up and taken out of context — busted out of the box where they’re too often shoved into — Lake puts her women where you least expect them to be: They are the sky, the ocean, the Pantheon, the mirror or the carpet you step on. In her Targets series, Lake combines images of starlets and models with shooting targets and thus subverts the notion of the male gaze. NY based artist Julia Kuhl casts herself in the roles of iconic female characters, reinterpreting them in the process. She begins by taking photographs of herself with props, and then uses the photographs to create intricately detailed and sensitively rendered watercolor drawings. She depicts an Ophelia not entirely resigned to her fate, Electra as a reluctant shadow-boxer, and Amelia Earhart, whose tragic end is foreshadowed by the fragility of her paper toy. With these drawings, Kuhl examines the archetypes she herself has absorbed and internalized. Hooper Turner’s meticulous paintings of female beauties reflect his interest in massproduced ephemeral printed material. His women appear to be lost in reverie either alone or with other women. They are absorbed in their own private world, contemplating their physical and emotional environment and don’t engage the viewer at all. Turner has a conflicted relationship with advertising. By “remaking” commercial imagery, he confronts and questions his and the viewers’ desire for these elusive products and lifestyles. The women shown are beautiful, some are self-absorbed, some seem fragile and insecure, others powerful and strong; but they all seduce and fascinate in their very own way. Femmes Fatales? The viewer decides.




G A LERI E J U LI A G ARNATZ WEBS I T E E- M A I L info @ PHO N E +49 221 340 62 97 CEL L +49 170 186 28 55 CONTA C T N A M E Julia Garnatz

EXHI B I T E D A R T IS T Ramona Schintzel OTH E R R E P R E S ENT ED AR T IST S Siegfried Anzinger Gina Lee Felber Johanna Freise Robert Haiss Ilona Herreiner Marie Luise Lebschik Katarina Lönnby Adrian Norvid Vanessa Oppenhoff Janet Werner

COV E R Ramona Schintzel Untitled 2012 Mixed media on paper 20.8 × 27.9 cm INS I D E Ramona Schintzel Untitled 2011 Oil on canvas 60 × 70 cm B AC K Ramona Schintzel Untitled 2010 Pencil on paper 30 × 40 cm

Portraits, individual or group portraits are Ramona Schintzel’s genre. For her mostly small to medium-sized paintings and drawings, the artist uses photographic material from friends and acquaintances, or from the own family album. Schintzel’s images are untitled. The people depicted remain nameless, they are children, adults and elderly people, mostly in classical portraiture-pose, occasionally captured as by a snapshot. They originate from images, typical for a family photo album: The proud grandmother with grandchild, the finely trimmed first communicant, the family with dog, best friends, clerical dignitaries, the winner of a competition. We get an intimate glimpse into bourgeois, Catholic, German families. People and moments seem to be captured here which we want to remember. But the first, so familiar sight tilts. Discomfort arises, looking at the faces of the people portrayed. Predominantly frontal and sometimes almost physically intrusive, Ramona Schintzel sets her models in scene. They almost importunate on the viewer, appearing obstinate and inhibited or with distorted grin, like grotesque faces, prematurely aged. Supposedly familiar things become alien. The first perceived closeness turns into distance and kinship becomes threatening. How much middle-class idyll is really beautiful? When does it turn into compulsion or even grotesque? The artist leaves the question unanswered. Without drifting into a mere caricature Schintzel succeeds in transforming the sitters from their originals and gives them a new identity. Seemingly self-critical they confront the viewer and keep the subtle balance between normality and complete insanity.

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MU RI EL G U ÉPI N GALLERY WEBS I T E E- M A I L contact @ PHO N E +1 347 244 1052 CEL L +1 347 244 1052 CONTA C T N A M E Muriel Guépin

EXHI B I T E D A R T IS T S Gabriel Barcia-Colombo Joanie Lemercier OTH E R R E P R E S ENT ED AR T IST S Matthew Conradt Isabel Brito-Farre Patrick Carrara Beatrice Coron Beth Dary Anne Geoffroy Inger Johanne Grytting Michiyo Ihara Joan Lurie Iviva Olenick Audrey Stone Robert Szot

COV E R Gabriel Barcia-Colombo A Point Just Passed 2011 Mixed-media interactive video sculpture, 10 videos of 10 minutes loop each 11 × 24 × 11  in INS I D E Joanie Lemercier Light Canvas III 2012 Sintra print, high-resolution video, 2.5 minutes loop 31 × 79 in B AC K Gabriel Barcia-Colombo Animalia Chordata 2006 / 2013 Mixed-media interactive video sculpture, 6 videos of 4 minutes loop and 6 videos of 6 minutes loop 24 × 17 × 10  in

Well-regarded in Europe for his projects in public spaces and UNESCO protected sites, Joanie Lemercier presents unique light performances and installations that question one’s perception of space. Stepping away from standard setups and techniques, Lemercier animates his own drawings and sculptural works using video mapping technology — a new technology that he has been developing since its inception. Lemercier’s abstractive works dwells on the objective details of his subjects: light, organic forms, geometrical shapes and colors. In his recent light canvases (LC) and light paper works (LP), drawings and static surfaces of an origami wall sculpture installation transform into animated movements. With light wandering through the surface and at times being projected at precise points onto the artwork, the viewer is plunged into a hypnotizing experience of minimalist beauty. Gabriel Barcia-Colombo’s work focuses on memorialization and, more specifically, the act of leaving one’s imprint for the next generation. While formally implemented by natural history collections (which find their roots in Renaissance era “cabinets of curiosity”), this process has grown more pointed and pervasive in the modern-day obsession with personal digital archiving and the corresponding growth of social media culture. His video sculptures play upon this exigency in our culture to chronicle, preserve and wax nostalgic, an idea which Barcia-Colombo renders visually by “collecting” human beings (alongside cultural archetypes) as scientific specimens. Time is a constant theme in Barcia-Colombo’s work, particularly in terms of engaging the viewer with our modern culture’s increasing tendency for nostalgic wanderings, and the obsessive need for digitized, personal chronicling.




G A LERI A EN RI QU E GUERRERO WEBS I T E E- M A I L info @ PHO N E +52 (55) 52 80 29 41 CONTA C T N A M ES Enrique Guerrero Miguel Guerrero Cristina Sandoval

EXHI B I T E D A R T IS T S Quirarte+Ornelas Miler Lagos Daniela Edburg and Richard Stipl OTH E R R E P R E S ENT ED AR T IST S Felipe Ehrenberg Hector Falcon Adela Goldbard Pablo Helguera Yui Kugimiya Miguel Angel Madrigal Mauro Piva Carolina Ponte Tony Solis Pedro Varela Beatriz Zamora

COV E R Miler Lagos The Northern Hemisphere of Celestial Globe – from the series Cimiento 2013 Carved piled paper 58 × 60 × 39 cm INS I D E Quirarte+Ornelas Copper Structure 1 2013 Watercolor on paper 78 × 106.5  cm B AC K Richard Stipl Yes, No, Maybe, Never 2012 Fired clay and wax 33 × 34 × 35 cm

G A L E RIA E NRIQ U E G U E RR ER O was established in 1997 as the result of an intense decade of collaboration between prestigious cultural institutions. The gallery represents a select group of young artists that explore the diverse medias of the visual arts: painting, sculpture, photography, video, performance and installation. Annual exhibition programs and activities in its facilities and international forums, as well as through the intense promotion labor, allows a successful development of the artist´s careers by this consolidated avant-garde gallery. Quirarte+Ornelas explore the materiality of objects through their work, approaching them through a variety of possibilities apart from their ordinary function. Bringing together several media into the conception of their pieces, they develop and investigate taking the object to its material state, fragmenting and reconstructing it into new structures in which form transcends function, a cycle which refers to the sculpture process, bringing it all together through painting, drawing, objects and installation. While working in a variety of materials and media and pushing the boundaries of figurative expression in sculpture, Richard Stipl arrives at a crossroads where each avenue leads back to the original departure point and we are constantly reminded of the circular and labyrinthine nature of his artistic pursuits. Miler Lagos (b. 1973, Bogotá) works with various media including video, installation and sculpture. One of his main goals is to provide a lesson to the viewer, remembering that things are not always as they appear, creating balloons filled, not of air but of cement, wood logs that are actually made of printed paper, or jewelry made of traditional Colombian sweets. Lagos proposes the decontextualization of his work, as well achieving to deceive the spectator with his meticulous technique and rigorous conceptual structure.

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Myungil Lee is talking about the human world of mind with anxiety.

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His works of mental part has a human’s samsara, he seems to be interesting about instinctive desire of ‘what’ and ‘what is it’. His works feel like a self-psychological circumstance.

PHO N E +82 2 737 6825

He says “I always want to remain live also I want to see my inspiration.”

CEL L +82 10 9108 5529 CONTA C T N A M E Sungwon Lee

EXHI B I T E D A R T IS T S Myungil Lee Jeongyun Choi OTH E R R E P R E S ENT ED AR T IST S Kyung-Ja Rhee Hwang Hur Youngwon Kim Eungki Kim Kijoo Han Sangmo Koo Bongchae Jeong Dongsu Lee Sungil Son

COV E R Myungil Lee To Exist, or To Sustain? (detail) 2012 Mixed media on paper 29 × 20.9 cm INS I D E Jeongyun Choi The Flesh of Passage (in time) 2013 Salt Installation view B AC K Myungil Lee To Exist, or To Sustain? 2012 Mixed media on paper 29 × 20.9 cm (each)

Maybe he want to be glamorous color of material more than others, the human that is hidden in a behind brutal instinct and desire, besides stimulate the instinct of the narcissus, it seems to bring us into the works inside. Jeongyun Choi’s sword realize the land value also spread. It means that trace related origin and basically productive function. His works is the sculpture in which he carve one by one the unnecessary meaning in the large mess, the sculpture attached little by little the meaning which is new to the existing meaning. The meanings added to by new interpretation of him are various shapes of sculpture again. Just the imagination unlimited of the artist visiting the past and future often is the same as time travel. The formative language which he make while two times coexist in one thing.

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PATRI CK H EI D E CONTEMPORARY ART WEBS I T E E- M A I L info @ PHO N E +44 20 7724 5548 CONTA C T N A M ES Patrick Heide Martina Fortuni

EXHI B I T E D A R T IS T S Sarah Bridgland Kàroly Keserü Hans Kotter OTH E R R E P R E S ENT ED AR T IST S Isabel Albrecht David Connearn Ina Geissler Alex Hamilton Thomas Kilpper Minjung Kim Yuliya Lanina Thomas Müller Francesco Pessina Susan Stockwell

COV E R Kàroly Keserü Untitled (1211201) (detail) 2012 Ink on book page 28 × 20 cm INS I D E Sarah Bridgland Stopftwist Staple Box (Black, White and Red) 2010 Paper, enamel paint, found cotton box, glue 14.8 × 8.9 × 7 cm B AC K Hans Kotter Spring and Windows (Installation shot) 2012 Mirror, Plexiglas, LEDs colour change, remote 100 × 100  cm each

At V O LTA , P H C A presents three artists — Kàroly Keserü, Hans Kotter & Sarah Bridgland — who on different levels and through different media communicate what is one main feature of the gallery program: abstract drawing. An inquiry into the continuation of modernism and its significance in the digital age lay at the base of Hungarian artist Kàroly Keserü’s oeuvre. Keserü’s paintings and drawings are first and foremost visually engaging with the basic forms of the grid and the dot defining the artist’s always expanding vocabulary. More recent works are gridless, the dots forming cloud like formations of alternating density. The works on paper range from methodical, geometric compositions and flowing line patterns to text pieces, felt- tip pen compositions reminiscent of fabric and punched and folded collages. Berlin based artist Hans Kotter’s quest in art is to give shape to light and even “draw” with light either in space or within his light objects. Kotter’s objects are constructed from mirrored Perspex boxes and investigate spatial illusion. Different geometric shapes of light are endlessly reflected within a confined space, and shift with the viewer’s changing perspective while looping through colour schemes. Kotter’s light objects can be read as abstract drawings of contemporary urban landscapes and create a desire to submerge and loose oneself in the fluctuation of light – reminiscent of modern night skylines or skyscraper facades. Part of the gallery’s Breeder program, Sarah Bridgland works mainly with threedimensional collage. The Royal College of Art in London graduate combines cutouts from books and old magazines with drawn imagery and found objects to create intimately scaled paper sculptures. Ideas of deconstruction and collaging from pre-war art movements and post-war architecture are fused with the playfulness of contemporary mixed media installations or even origami. Bridgland’s imagery plays with our visual memory, recomposing its tracks and traces in a kaleidoscopic manner, seemingly chaotic mini-mindscapes of our disjointed universe.

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H ELSI N K I CON TEMPORARY WEBS I T E E- M A I L info @ PHO N E +358 9 278 5301 CEL L +358 40 740 4901 CONTA C T N A M E Mikaela Lostedt

EXHI B I T E D A R T IS T Miikka Vaskola OTH E R R E P R E S ENT ED AR T IST S Saara Ekström Hannaleena Heiska Pekka Jylhä Sanna Kannisto Jukka Korkeila Liisa Lounila Ville Löppönen Rauha Mäkilä Heli Rekula Maiju Salmenkivi

COV E R Miikka Vaskola Listener (detail) 2013 Ink, acrylic, charcoal, chalk, iron oxide on canvas 250 × 190  cm INS I D E Miikka Vaskola Untitled (detail) 2012 Ink, acrylic, charcoal, iron oxide, chalk on canvas 200 × 250 cm B AC K Miikka Vaskola Ask him why yelling don’t reach his mind 2013 Ink, acrylic, charcoal, chalk, iron oxide on canvas 240 × 192  cm

Miikka Vaskola works with large scale, even monumental paintings. He reworks the canvas sometimes heavily while he at other times leaves a sense of blankness into the painting. For Vaskola the abstract painting is a slow place — a place for reflection. His works may at first sight seem spontaneous and even fast, but Vaskola’s painting process is actually very long. He works persistently, investigating how different materials react with the canvas. In addition to abstract works Vaskola also paints realistically created figures. Both the figurative imagery and the abstract worlds in Vaskola’s body or work take the viewer deep into the past times but at the same time they are anchored in the current moment. The human figures presented in the works are intriguing and mesmerizing. The viewer is confronted with something that is hard to understand, but the paintings holds us and won’t let us go away untouched. These are paintings that ask only and solely for that one thing: can you look for one more moment, and a little longer — and then come back again. The slowness produced by the long working progress is central for understanding Vaskola’s paintings. The works offer a chance for lingering reflection and open up as time goes by. The subtle paintings — masterly in their sense of material — let the eye wander on large surfaces. From the surface the gaze dives deep into the work where new traces or references are found and produced by the viewer’s own associations. M IIK K A VA S K O L A was born in Helsinki, Finland and graduated from the Finnish Academy of Fine Art in 2008. Vaskola has exhibited in solo shows at the Turku Art Museum (2008), Gallery Kalhama&Piippo Contemporary (2010), Galleri 21 in Malmö Sweden (2011) and Helsinki Contemporary (2013). Vaskola has also participated in numerous group exhibitions in Scandinavia, including the Nordic Art Triennial at Eskilstuna Art Museum in Sweden (2010) and East of the Sun, West of the Moon at Växjö kunshalle (2012).

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H I LG ER BRO T K U NSTHALLE WEBS I T E E- M A I L ernst.hilger @ michael.kaufmann @ PHO N E +43 1 512 53 15 CEL L +43 650 27 39 650 CONTA C T N A M ES Ernst Hilger Michael Kaufmann

EXHI B I T E D A R T IS T S Asgar / Gabriel Leila Pazooki Simón Vega Cameron Platter OTH E R R E P R E S ENT ED AR T IST S Daniele Buetti Ian Burns Clifton Childree Oliver Dorfer Peterson Kamwathi Anastasia Khoroshilova Ángel Marcos Pors & Rao Michael Scoggins Nives Widauer

COV E R Simón Vega Panopticam Cluster 2013 Ink on paper 17 × 14  cm INS I D E Asgar / Gabriel We are hungry, in fact very hungry (studio view) 2013 Oil on cardboard 100 × 360 cm B AC K ( LE F T) Cameron Platter Advertising Tombstone Wall (no. 3, Tell Me Everything) 2013 Carved jacaranda wood 250 × 200 × 30 cm B AC K ( R I G H T) Leila Pazooki Empty space in your mind 2012 Mixed media Size variable

TRA NS ITO RY NATU RE O F T H I N G S This exhibition presents a common theme in the practices of Asgar/Gabriel, Leila Pazooki and Simon Vega. All explore the transitory nature of things with unique individual approaches. Asgar/Gabriel examine the transience of being and the structures of society. Pazooki deconstructs society’s values by re-contextualizing icons like European old masters’ paintings. In this particular project the mind is set free, beyond orthodox frameworks of perception, to establish a dialectical relationship between present and absent entities. Vega uses disregarded technical appliances to form artworks which reference historical milestones. These artists have observed and respond to the basic human need to touch, hold and feel most things — even works of art — instead of being intimidated by their sanctity. They are globetrotters with diverse ethnical backgrounds. Vega is from El Salvador, Asgar/Gabriel an artist duo from Vienna/Tehran and Pazooki was born in Tehran but lives and works in London. Asgar/Gabriel (1975/74, Tehran/Vienna) 2014 tba, Torrance Art Museum, Los Angeles 2013 tba, Museo Nacional de Arte Moderno, Buenos Aires 2011 Under The Paving Stones, The Beach, Kunsthallen Brandts, Odense 2011 Aufloesung der Oekonomie, Mannheimer Kunstverein, Mannheim Leila Pazooki (1977, Tehran) 2012 Come Invest In Us. You’ll Strike Gold, Hilger BROT Kunsthalle, Vienna 2011 The Global Contemporary Art Worlds After 1989, ZKM, Karlsruhe 2009 Iran Inside Out, Chelsea Art Museum, New York Simón Vega (1972, San Salvador) 2013 N  ational Representative of El Salvador, Latin American Pavilion, 55th Venice Biennale 2011 Coca-Colonization, Marte, Museo Nacional de Arte de El Salvador 2006 9th Havana Biennale A D V E R TIS ING TO M BS TO NE WAL L ( N O . 3 , T E L L M E EVERY T H I N G ) The sculpture is based on paper pamphlets advertising doctors, sangomas, and traditional healers; all supposedly able to cure any ailment, trouble or disease. It signifies that South African society seems to be more concerned about getting a bigger dick than addressing some of its gaping societal problems… Cameron Platter (1978, Johannesburg) 2013 C ontemporary South African Art and the Archive, South African Pavilion, 55th Venice Biennale 2011 Impressions From South Africa, 1965 To Now, MoMA, New York 2010 Recontres Internationales, Centre Pompidou, Paris

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TH E H OLE WEBS I T E E- M A I L poke @ PHO N E +1 212 466 1100 CONTA C T N A M ES Kathy Grayson (Owner / Director) Amanda Schmitt (Assistant Director) Jon Link (Director of Operations)

EXHI B I T E D A R T IS T S Holton Rower Kadar Brock OTH E R R E P R E S ENT ED AR T IST S Evan Gruzis Holton Rower Kadar Brock Kembra Pfahler Lola Montes Schnabel Matthew Stone Sayre Gomez FriendsWithYou Jaimie Warren Ben Jones

COV E R Holton Rower Untitled (detail) 2012 Acrylic on wood 81 × 69 in / 205.7 × 175.3  cm INS I D E Kadar Brock deredemisreubii 2009 – 2012 Oil, acrylic, flashe, house paint and spray paint on canvas 96 × 72 in / 243.8 × 182.9  cm B AC K Holton Rower Untitled 2013 Acrylic on wood 49.5 × 39 × 1 in /  125.7 × 99.1 × 2.5 cm

P RO CE S S -D RIV E N A BS TRAC T I O N For V O LTA 9 The Hole presents two very different New York-based abstract artists who use new ways to make an abstract “painting”, or something that challenges what a painting could be. Both focus on their process and often take a hands-off approach where the logic and causality behind making the work is allowed free reign to create whatever it creates, with minimal artist interference. Both blend conceptual approaches to painting with beautiful and subtle aesthetic concerns, incorporating performative or ritualistic elements visually apparent in the final result. Holton Rower (b. 1962 New York NY, lives and works in New York City) Holton Rower delves into the physics of acrylic paint to make it do extraordinary things. Rower’s “Pour paintings” debuted at The Hole NYC last May with a survey of the diverse results achieved through the innovative and deceptively simple process of pouring hand-made acrylic paints over wood. In his current show (through June 20), Rower introduces new “Focus paintings”, simple in construction and complex in effect. How did the artist achieved these seemingly “out of focus” paintings — poured over a curved support, doused with urethane, or dried on a vibrating surface? Their method of construction remains Rower’s secret; the viewer can focus on the visual effect produced and their quizzical relationship to historic abstraction. Like the pours that are no more like Morris Louis than Lynda Benglis, the focus paintings are superficially somewhere in between Richter and Hirst, or perhaps even earlier. Both series originate from a true “chemist of paint”, a sculptor of paint more than a traditional abstract painter. Kadar Brock (b. 1980 New York NY, lives and works in Brooklyn) Kadar Brock is known for painting process-driven abstraction that can’t help but feel psychological. He takes his old, bright geometric paintings, what he deemed a “failed” series, and after having them hanging around the studio and bringing him down, he covered them over with layers and layers of paint and then attacked them with a sander and a razor blade to produce perfectly smooth and perforated abstract paintings. In our booth he debuts a new series where Brock takes the residue from his sanded and shaved works and adheres the debris into a positive painting that literally came off of the other work. These slices and dusty piles of paint swirl together to evoke a new kind of “history” painting.




TH E I N TERN ATI O NAL 3 WEBS I T E E- M A I L ptb @ PHO N E +44 161 237 3336 CEL L +44 7981 389 591 CONTA C T N A M ES Paulette Terry Brien Laurence Lane

EXHI B I T E D A R T IS T S Rachel Goodyear Rafal Topolewski OTH E R R E P R E S ENT ED AR T IST S Brass Art Stuart Edmundson Josephine Flynn Pat Flynn Alison Erika Forde Andrew McDonald Sean Penlington Daniel Taylor (associate artist)

COV E R Rachel Goodyear Fiddler (detail from larger work Valley) 2013 Pencil, watercolour, collage 204 × 134 cm (Valley) INS I D E Rafal Topolewski Untitled (palm tree) 2013 Oil on canvas 220 × 175 cm B AC K ( L E FT ) Rachel Goodyear Fiddler (detail from larger work Valley) 2013 Pencil, watercolour, collage 204 × 134 cm (Valley) B AC K ( R I G H T) Rafal Topolewski Aerial Landscape Modification No. 2 2012 Oil on canvas 33 × 41 cm

For V O LTA 9, The International 3 brings together the work of Rachel Goodyear and Rafal Topolewski in a curated booth presentation that combines new works of painting, drawing, sculpture and animation. Topolewski’s ongoing exploration is the role of image making in the contemporary world. Recognising that computers, mobile phones and digital photography have rapidly changed the way we produce and receive images, Topolewski’s interest lies in the role of the painting and the painter within this. For Goodyear, it is the medium of drawing that is her field of enquiry. Considered by the artist as being at the core of her practice, Goodyear’s drawings have in recent years begun to move off the page into animation and sculpture. This dynamic juxtaposition of content and form coheres around the artists shared interest in questioning the boundaries of their chosen ‘traditional’ mediums and in both artists’ mature technique. Born in Grudziadz (Poland) in 1983, Topolewski graduated in 2012 with a first class BA Hons Fine Art degree from Manchester Metropolitan University. Topolewski was one of the four finalists of The Saatchi Gallery and Channel 4’s New Sensations Prize 2012 and was recently invited by the Zabludowicz Collection to take part in ‘Testing Ground: Master Class’. His first solo show took place at The International 3 in May 2013. His work is held in a number of private collections and in The Saatchi Collection. Topolewski will begin an MA at The Royal Academy Schools, London in September 2013. Born in Oldham (U.K.) in 1978, Goodyear graduated from her BA Hons Fine Art degree at Leeds Metropolitan University in 2000. Goodyear has exhibited widely within the U.K. and internationally and her work is held in a number of public, private and corporate collections. Her next solo show, ‘Artificial Night’ will open at The International 3 on June 28th 2013. The International 3 is an exhibition and project space located in Manchester U.K. We produce a year round programme of new commissions, solo shows, group exhibitions and events both on and off-site. We also work with a core group of artists, exhibiting and selling their work. The International 3 is also the curatorial co-ordinator for The Manchester Contemporary art-fair. The International 3 is a not for profit limited company directed by curators Paulette Terry Brien and Laurence Lane. Our activity is in part funded by Arts Council England and from support received through our newly launched Patrons Scheme.

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At V O LTA 9 in Basel, Jarmuschek + Partner presents recent works of Patrick Cierpka, Carina Linge and Nika Neelova.

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They all reflect the emergence of subjective perception and memory and about the connection between the physical and emotional experience. The aspect of caducity of the experienced — whether acted from the outside on a person or moved from the inside — plays a central part.

PHO N E +49 30 2859 9070 CEL L +49 17 9512 9068 CONTA C T N A M ES Kristian Jarmuschek Stefan Trinks

EXHI B I T E D A R T IS T S Patrick Cierpka Carina Linge Nika Neelova OTH E R R E P R E S ENT ED AR T IST S Sabine Banovic Marc Fromm Oliver Gröne Dieter Lutsch Harding Meyer Martha Parsey Markus Putze Jakob Roepke Carsten Weitzmann Jürgen Wolf

COV E R Nika Neelova Burning Meteors Leave no Dust 2013 Cast concrete, aircraft cable Dimensions variable Photo: Courtesy Vigo Gallery, London INS I D E Carina Linge Stilleben mit Zauberwürfel 2013 C-Print on Aludibond 40 × 60 cm ed. 3+2 ap B AC K Patrick Cierpka blackholesun 2012 Acrylic and oil on canvas 150 × 210 cm

Patrick Cierpka’s pictorial worlds on canvas seem to flicker in the viewers eye. Applying one layer of paint upon the other, the artist creates opulently colourful tree crowns of great spatial depth, in which the contemplator searches in vain for clear outlines. It strikes him that the thicket and branches are veiled by the brightness of the sun. The painting suggests that the challenged eye lets us hesitate in an instant of blindness. At first glance the pictures of Carina Linge appear familiar. The artist deals with themes of Renaissance and Baroque painting and of art up to the nineteenth Century. Looked at more closely, her photographies contain something that irritates, that opens a new pictorial dimension — a threatening detail, an unexplained gesture or an object which draw us back into the present. Linge uses our knowledge of allegories and symbols as a tried and tested method of telling us something, which gets to the heart of the subject. Her works absorb the viewer in memories and the historycharged human thoughts of relationships and feelings, evanescence and death. The space-consuming installations by Nika Neelova are inspired by places she has lived in and lost. She handles the experience of missing something, which can’t be retrieved, but go on living in the memory and is exaggerated or distorted by the years which have passed. Neelova’s materials are as inconsistent as human memories: wood, wax, glass and charcoal. The deployed fragments have lost their original function, are broken, twisted, weather-beaten, ripped, burnt or decayed. In a certain way, they are ruins of places of the past.

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Back in the day Gießen on the Lahn was a place where you’d either flip off a passing patrol car or you’d shoot a tracer after it.

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Then, the Gießen left was a big shot in the German republic. Unlike the Frankfurters who were always just talking.

PHO N E +49 34 1477 4553 CEL L +49 17 0808 5816 CONTA C T N A M ES Matthias Kleindienst Christian Seyde

EXHI B I T E D A R T IS T S Julius Hofmann Anett Stuth Carsten Tabel OTH E R R E P R E S ENT ED AR T IST S Tilo Baumgärtel Henriette Grahnert Tom Fabritius Rosa Loy Corinne von Lebusa Sebastian Nebe Christoph Ruckhäberle Nadin Maria Rüfenacht Sebastian Stumpf Anett Stuth Steve Viezens

COV E R Julius Hofmann Larissa 2013 Acrylic on canvas 300 × 200 cm INS I D E Anett Stuth unvollkommen und unvollendet 2013 C-print, diasec 180 × 250 cm B AC K Carsten Table Easy 2013 Installation view 140 × 230 × 290 cm

Then, the girls from Hamburg travelled to Gießen in droves to be fucked by the Gießen Redskins. He’d buried a gun in the forest, so he’d be prepared when things went off. Slightly right of the RA F, is what they used to say — just a fingerbreadth right of the RA F. All the hate and all the denial would be impossible to remove from him, Heino told me this one particular night in Gießen, while he was winning one schnapps after the other in a game of dice against the barkeeper. One for himself and one for me. And then he gave me a ride on his scooter, the 100 meters to my sleeping place. Heino isn’t, won’t ever be and has never been my friend, except for this one evening when I listened to the lifestory and the doubts of the man Heino, who is fighting with his hands and feet to avoid that his fire dies down, that the numbing normality ends the radical times in which he grew up. He insisted that although people kept telling him, it wasn’t true, times weren’t changing, it just wasn’t true, there was no reason to slow down. That they were all just hiding behind their desks and in their lecture halls. That meanwhile he was left behind with his fire, and the fire left him behind, and made him lonely. The others call Heino a psychopath, nothing more, somebody who can’t control himself and you won’t control him either. And I held onto him, on his scooter, and I would have ridden anywhere with him, absolutely anywhere. (Carsten Tabel, Teribble Eyes, Text, 2013)

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K RU PI C K ERSTI N G GALERIE / / KUK WEBS I T E E- M A I L info @ PHO N E +49 176 4930 8831 CONTA C T N A M ES Emira Krupic Markus Kersting

EXHI B I T E D A R T IS T S Robert Kunec Tobias Sternberg OTH E R R E P R E S ENT ED AR T IST S Baptiste Debombourg Kristina Leko Pierre Courtin Irena Eden & Stijn Lernout Damir Radovic Claudia Marcela Robles Jon Shelton Alma Suljevic

COV E R Tobias Sternberg Blooming Telescopes 2011 Collage 30 × 40 cm INS I D E Robert Kunec To live out one’s suitcase 2011 Suitcase, base 80 × 55 × 20 cm B AC K ( L E FT ) Robert Kunec Twelve (detail) 2010 Mixed media, acrylic boxes 335 × 110 × 32 cm (variable hanging) B AC K ( R I G H T) Tobias Sternberg Bad Box 2010 Metal, paint 46 × 23 × 14 cm

krupic kersting gallery presents a two artist show featuring Robert Kunec and Tobias Sternberg. Their conceptual objects and collages ironically react to the absurdity of the outside world. RO BE R T K U NE C ( B. 1978, SL O VAKI A/ G E R M AN Y ) “Robert Kunec is a political artist who is not afraid to take on edgy societal subjects and he is a sculptor who finds three dimensional images that direct our sensibilities toward the heart of these themes” (1). Robert Kunec is working in the context of political plastics, a “toxic waste site of the visual arts” (2). This debate polarizes — but yet: “Once again art is a politically explosive force” (3). (1) Prof. Dr. Eugen Blume in: Robert Kunec, artist catalogue, Kunststiftung des Landes Sachsen-Anhalt, 2011 (2) Dr. Johannes Stahl, (curator) (3) Dr. Noemi Smolik, (curator & art critic) TO BIA S S TE RNBE RG ( B. 19 7 3 , SWE DE N / G ER M AN Y ) Before moving to London in 2002 to study art at Goldsmith’s College he had time to study a bit of philosophy, history and creative writing and to pursue work as a carpenter to finance his artistic and philosophical experiments. Along with his conceptual work on sculpture, Tobias Sternberg is engaged in developing a large body of collage work. The choice of collage as a medium is an exercise in creativity as a spontaneous activity, where the artist is making associative jumps that reconnects and reorders the given, instead of artfully planning and producing a meaning. Recently Tobias Sternberg conducted workshops in Edinburgh and Glasgow named “The Contemporary Art Repair Shop” where he is transforming broken daily life objects into something “new” —




G A LERI E MA RTI N KUDLEK WEBS I T E E- M A I L art @ PHO N E +49 221 729 667 CEL L +49 172 243 0099 CONTA C T N A M E Martin Kudlek

Galerie Martin Kudlek is presenting a curated four artist show for VOLTA9. The artistic dialogue between Jonathan Callan, Angela Glajcar, Alexander Gorlizki and Sofie Muller focusses on various aspects of sculpture and paperworks. Jonathan Callan often works with thematically charged found objects like books or photographs, the surfaces and body of which he transforms by destructive interventions. These two- and three-dimensional objects are deconstructed, their original meaning erased or re-encrypted, providing them with new levels of interpretation. Angela Glajcar forms abstract relief- and sculptural- objects by tearing sheets of paper. She transforms this material which is often seen as light and fleeting into works of grand presence. Her additive paper objects hover around states of equilibrium; our gaze is led into the object by the interplay of light and shadow.

EXHI B I T E D A R T IS T S Jonathan Callan Angela Glajcar Alexander Gorlizki Sofie Muller

Gorlizki’s paintings on paper embrace both the traditions of western and eastern (especially Indian) art. While his conceptual approach is totally western the technique he employes is Indian. His unique pictorial language embraces elements of both cultures on all kinds of levels reaching from the banal to the spiritual.

OTH E R R E P R E S ENT ED AR T IST S Lucie Beppler Hella Berent Thomas Böing Eyal Danieli Ellen Keusen Heiko Räpple Frances Richardson Nora Schattauer Niels Sievers Martin Willing

Sofie Muller makes works on paper and sculpture. Her smoke drawings seem to capture transient moments of human existence while her sculptural work reaches deep into the very psyche of this same existence.

COV E R Jonathan Callan From N to O 2012 Paper, Wood, Steel Pins 58 × 44 × 9 cm INS I D E Sofie Muller Brandt 2011 Patinated Bronze, Burnt Wood 130 cm height Edition: 3/5 B AC K ( LE F T) Alexander Gorlizki Half a Mule 2011 Pigment and Gold on Book Print 25.5 × 19  cm B AC K ( R I G H T) Angela Glajcar Terforation IX 2009 Paper, Metal, Plastic 140 × 100  × 26 cm




LA RM GA LLERI WEBS I T E E- M A I L galleri @ PHO N E +45 2991 4657 CEL L +45 2680 9230 CONTA C T N A M ES Louise Rahbek Lars Rahbek

EXHI B I T E D A R T IS T S Hartmut Stockter (DK) Kaspar Oppen Samuelsen (DK) Oana Farcas (DK) OTH E R R E P R E S ENT ED AR T IST S Christian Achenbach Ditte Ejlerskov Moritz Schleime Nicola Samori

COV E R Kaspar Oppen Samuelsen Untitled (detail) 2013 Gouache on Paper 90 × 65 cm INS I D E Hartmut Stockter Wiesenpfad Menschenrad 2009 Mixed media 200 × 200 × 70 cm B AC K Oana Farcas Untitled 2013 Oil on canvas 70 × 110  cm

Discovering Kaspar Oppen Samuelsen’s works is like entering an utopian fairy-talelike dream filled with whimsical and humorous figures coming together in a fantasy world full of colour and mixed materials. The works are often precisely detailed and part of an associative universe. The figures are presented in a simple narration with a political, satiric twist. There are clear references to antiquity in his works — spanning a wide range of media from paper-works to video installation — and also to Dutch and Italian renaissance, including Piero della Francesca, Leonardo da Vinci and Pieter Bruegel the Elder. Hartmut Stockter’s art inspires us with thoughts of progress, of machines to aid mankind. We are eager to consider progress and new machines as a positive, evolutionary development. But there is something markedly old fashioned, almost alchemic and phantasmagorical about Stockter’s apparatuses. It might be that the artist’s devices should have stayed on the drawing board: they do not assist us in our journey to the stars or to the centre of the Earth; they do not revolutionize the infrastructure of the state, providing us with eco-friendly public transport; they do not make us healthier; they are not even environmentally correct. What these machines do is revive our imaginations. At the heart of Oana Farcas’ practice is portraiture: women, men and children, real and fictionalised, parade across her boards and canvases. Ranging in size from the diminutive world of the miniature, to large scale crowd scenes, Farcas’ work delivers a colourful ensemble of characters. Farcas’ world could be described as being between the visible and invisible. What she feels and ‘sees’ in her mind’s eye is combined by seen and felt experiences in reality. Who is to say that one is less real than the other when both can be translated into memories, and after both are re-born and co-existent within the grounds of her paintings? Farcas’ paintings certainly have a dream-like quality about them. Yet amidst the soft, misty environs she creates, there is a tangible physicality. The figures are robust, passionate creatures awash with emotions and often depicted mid action. The notion of observing a figure who is seemingly unaware, lends a voyeuristic quality to the work.

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CH RI STI A N LA RSEN GALLERY WEBS I T E E- M A I L info @ PHO N E +46 8 30 98 30 CEL L +46 347 925 8845 CONTA C T N A M ES Erik Jönsson Emil Bertz

EXHI B I T E D A R T IS T S Bo Christian Larsson Viktor Rosdahl OTH E R R E P R E S ENT ED AR T IST S Atelier van Lieshout Christian-Pontus Andersson Max Book Mad Gamdrup Charlotte Gyllenhammar Jeannin / Schuurmans Katy Kirbach John Körner Daniel Lergon Lilibeth Cuenca Rasmussen

COV E R Viktor Rosdahl When the New Deal Arrived 2012 Blueberry juice, walnut oil, various ink and oil on synthetic canvas 180 × 200 cm INS I D E Bo Christian Larsson The New World With An Old Boat Part 1 2011 Mixed media 140 × 100  × 65 cm B AC K Viktor Rosdahl In i de dype skogernas favn (Into the Embrace of the Deep Forests) 2012 Acrylic, ink and lacquer on canvas 150 × 150  cm

The pictorial universe of the young Swedish artist Bo Christian Larsson (b. 1976, Sweden) has its fulcrum in an archaic dream world, a sort of “non-place”, dominated by mythic elements and archetypal characters drawn from the collective unconscious. Larsson works with drawing, sculpture and performance, often allowing these to relate to each other. His performances serve as a catalyst for the permanent works, which sometimes appear like surviving archaeological finds. Typically, Larsson’s sculptures are made up of a combination of both recognizable and symbol-saturated everyday items. Hats and books appear, for instance, in atypical combinations with various materials and objects, such as candle wax, feathers, iron chains and light bulbs. If Larsson’s work springs out of a kind of otherworldliness, the work of Viktor Rosdahl (b. 1980, Sweden) deals very concretely with the social realism of his native Sweden. Hailing from the country’s southern city of Helsingborg, Rosdahl grew up with a passion for graffiti, still evident in his intuitive approach to surface and media. He will execute his pieces with minute detail on materials ranging from bridal silk to synthetic leather, all of which are likely to have been found by the artist in a back alley somewhere. Rosdahl successfully combines the visual language of traditional Western art with burning cultural issues of today – his industrial landscapes and run down housing projects serving as reminders of the modern utopian project’s demise. Christian Larsen is one of Scandinavia’s leading galleries showing Nordic and international contemporary art. Founded in 2007, the gallery is located in central Stockholm on the short street of Hudiksvallsgatan, home to no less than nine of Sweden’s top tier galleries. The annual program is comprised of 7 exhibitions as well as participation in international art fairs.




PETER LAV GA LLERY WEBS I T E E- M A I L info @ PHO N E +45 2880 2398 CEL L +45 2880 2398 CONTA C T N A M E Peter Lav

EXHI B I T E D A R T IS T S Adam Jeppesen (DK) Hyun-Jin Kwak (KOR/SWE) Anna Strand (SWE) Julie Boserup (DK) OTH E R R E P R E S ENT ED AR T IST S Taiyo Onorato & Nico Krebs (CH) Clare Strand (UK) Michael Reisch (GER) Jakob Hunosøe (DK) Torben Eskerod (DK) Ville Lenkkeri (SWE)

COV E R Julie Boserup Fifteen Years series (detail) 2010 Framed, collage on photographs 16.5 × 22 cm, each unique INS I D E Adam Jeppesen Untitled 2013 Photogravure 63 × 57 cm

Adam Jeppesen (b. 1979) has recently started working with photogravure for the first time. Like in his earlier works, Jeppesen is interested in seeing how far the photographic medium can be pushed. The images for Jeppesen’s gravure-works stem from his long journey from the Arctic through the Americas to Antarctica in 2009-2010. For 487 days Jeppesen travelled in solitude and from his long journey a series of melancholic evocative landscapes has emerged. The special aesthetics of photogravure brings out this melancholy in a new and strong way, giving form to a new body of work and adding another chapter to his journey at the same time. Julie Boserup’s artwork in the media of drawing, collage and photography record the contradictions of everyday life. Making use of various image sources such as travel guides, CCTV footage and own snapshots of the immediate surroundings, Boserup operates on a low-tech threshold between collage and drawing, and between digital and analogue techniques. Through her elaborate graphic process, the known landscape becomes destabilised, and the viewer is invited into a negotiation between that which is seen and that which is overlooked, that which is worth seeing and that which is not. The Nagoya Notebook series by Anna Strand are made during her stay in Japan in spring 2012. Strand had long wanted to visit Japan, regarding it as a place with a wide range of cultural expressions, which are connected with some of the recurrent themes she works with, for example suppressed emotions, control and ritual behaviour. A form of fictive notebook from her journey, the series is called Nagoya Notebook. In the series, different approaches to photography — both found photographs, staged photographs and photographic objects — are presented In her series ”The Island — A Case Study of a Collectors Mind”, Hyun-Jin Kwak (KOR/SWE, b. 1974) explores an old Venetian palace. The palace looks abandoned at first sight, but turns out to be inhabited by an old man and his family. The old man has dragged all kinds of stuff inside the house, while forgetting to take care of the house itself. Refusing to get rid of things that others would consider nothing but junk, the house has deteriorated over the last 20 years. Kwak makes an investigation of the history of the house, the family’s biography and the perception of the house as a deviation from the norm. A BO U T P E TE R L AV G A L L ERY Inaugurated in January 2006, Peter Lav Gallery is a relatively new gallery. Our focus is on contemporary art photography and the gallery sees it as its task to promote and further the careers of younger, emerging artists that explore the boundaries of the photographic media. Peter Lav Gallery is the first gallery in Copenhagen which focuses exclusively on contemporary photography. All artists represented by Peter Lav Gallery have previously had had their work shown in galleries, museums and exhibitions in Scandinavia and throughout Europe.

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LÉN A  &  ROSELLI GALLERY WEBS I T E E- M A I L lena @ CEL L +36 30 435 7443 CONTA C T N A M E Léna Ilona Orosz

EXHI B I T E D A R T IS T S Attila Mata Csaba Fürjesi OTH E R R E P R E S ENT ED AR T IST S Ramón Pereira Oleg Kulik László Lakner István Nádler Botond Részegh Ivan Lardschneider Ágnes Verebics Katalin Verebics Ferenc Veszely Julia Winter

COV E R Attila Mata Golem 2005 Bronze 96 × 76 × 31 cm INS I D E Csaba Fürjesi Eastern College 2013 Oil on canvas 100 × 150  cm B AC K ( LE F T) Attila Mata Female 2008 Bronze and aluminum 30 × 24 cm B AC K ( R I G H T) Csaba Fürjesi Trial-Loneliness 2012 Oil on canvas 100 × 120  cm

Léna & Roselli Gallery, founded in 2008, is an international contemporary gallery. In 2009 the gallery started a project called BudArtPest. The aim of this project is to create cultural bridges and connections between Hungarian and International contemporary art galleries and artists. CS A BA F Ü RJ E S I  /   V IS U A L AR T I ST Csaba Fürjesi’s human figures and objects referring to human existence dwell in an emptied, metaphysical space, a kind of surreal conceptual matrix. The boundaries between reality and imagination — in the middle-age scholastic sense of the term — are blurred in this virtual world. His figures, looking inward in silent meditation mostly gaze at regions unfathomable, ones that we may suspect at best. They recall the Neo-Platonic tradition articulated by Plotinus and later by St Augustine, in which the realm beyond our senses can be known through the intellectual vision –visio intellectualis. ATTIL A M ATA   /   S CU L P TO R I always wanted to make sculptures accepted by nobody. Not even by myself. These works do not reflect my taste. One must not always love one’s subject but we wish to survive these few years and one must tell and produce what one feels, otherwise thorns will remain in you. If some of them come out, new ones in turn. But we would like to live somehow independently of this: my absolute form of existence, for me this is a great adventure.

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MA 2 GA LLERY WEBS I T E E- M A I L ma2 @ PHO N E +81 3 34441133 CEL L +81 90 42202985 CONTA C T N A M E Masami Matsubara

EXHI B I T E D A R T IS T Ken Matsubara OTH E R R E P R E S ENT ED AR T IST S Ai Kitahara Akihiro Higuchi Keisuke Kondo Kyotaro Hakamata Mats Gustafson Mikiya Takimoto Naoko Sekine Nobuaki Onishi Tamotsu Fujii Yasuko Iba

COV E R Ken Matsubara TV on the Seashore 2013 Movie, mixed media Variable dimensions INS I D E Ken Matsubara TV on the Seashore (detail) 2013 Movie, mixed media Variable dimensions B AC K Ken Matsubara TV on the Seashore (detail) 2013 Movie, mixed media Variable dimensions

Ken Matsubara dissolves our sleeping memories just as they are frozen at the bottom of our hearts, in his works made of antique objects, photographs and videos imprinted with people’s memories. He thinks that memories are inherited from human to human through the DN A of microorganisms, and that people can reach these common memories that cross over the world’s various races and generations if we can awaken our own memories. Human beings are tied together by common memories, and we will cross over those boundaries by sharing our memories. Matsubara installs old compact T V s, which were produced by S O N Y and other Japanese companies in the late ‘70’s and 80’s, as a dry stone garden landscape. These products were the symbol of Japanese high technology and the strong economy. He puts his memory in these containers with psychological overlap. Viewers see the memory though sinking T V in the land surface.




G A LERI E RO N M A NDOS WEBS I T E E- M A I L info @ PHO N E +31 20 320 70 36

The fictional architecture and urban scenes of Rik Smits are imbued with the sense of what seems an idealised future. Smits’ imagined metropolis testifies to mankind’s drive to material improvement. Inspired by Modernist architecture, his city is littered with skyscrapers and architectural icons designed to impose and impress. Human spirituality also has a strong presence in the form of colossal religious temples and monoliths that occupy prominent positions within the urban layout.

CONTA C T N A M ES Ron Mandos Toby Robinson

But despite the imposing way these commercial and religious buildings stand out in the skyline they also embody the marks of decay and desertion hinting that the state of spiritual wellbeing in this ambitious society may not be is as sound as it first seems.

EXHI B I T E D A R T IS T Rik Smits

Rik Smit’s Capital 1, especially produced for VO LTA, will for the first time see the execution of his urban vision in the form of a spectacular large format scale model. In addition to this, Smits has created a series of 15 new drawings, which will accompany the piece.

OTH E R R E P R E S ENT ED AR T IST S Artists Anonymous Daniel Arsham Anthony Goicolea Isaac Julien Renato Nicolodi Jacco Olivier Hans Op de Beeck Renie Spoelstra Ron van der Ende Levi van Veluw

COV E R Rik Smits The Old Chesterson Pharmaceutical Company (detail) 2012 Pencil on paper 21 × 29 cm INS I D E Rik Smits Capital 1 (detail) 2013 Styropor foam, wood, cardboard 225 × 366 cm B AC K Rik Smits Monument Rock Island 2012 Pencil on paper 240 × 350 cm





The German duo Serge Baghdassarians / Boris Baltschun is known for producing audio and visual installations with various techniques and media.

E- M A I L info @

Their basic methodology consists of recontextualizing professional tools and objects in order to transform them into living artifacts. The intent of their creations is sometimes that of glorifying the erroneous, emphasizing phenomena that are normally considered transient or secondary, or at times that of transforming everyday practices and commonplace devices into artistic endeavors. In both cases, however, an higher order of purpose emerges: a reflection on what we consider banal or not even worthy of attention, and how that can instead be manipulated into a compelling form.

PHO N E +49 30 7545 9560 CEL L +49 176 6168 6491 +49 176 6167 7839 CONTA C T N A M ES Mario Mazzoli Augusto Mazzoli Tania Tonelli

EXHI B I T E D A R T IS T S Serge Baghdassarians /  Boris Baltschun OTH E R R E P R E S ENT ED AR T IST S Guido Canziani Jona Douglas Henderson Shingo Inao Pe Lang Kristoffer Myskja Roberto Paci Daló Donato Piccolo Roberto Pugliese Michele Spanghero Spazio Visivo (Paolo Cavinato / Stefano Trevisi)

COV E R Serge Baghdassarians /  Boris Baltschun Volume 2010 Speakers, amplifier, wood, infra sound 100 × 76 × 5 cm Photo: studio baghdassarians /  baltschun, private collection INS I D E Serge Baghdassarians /  Boris Baltschun memory palace 2012 Modified pedal tuners 125 × 125 × 5 cm Audio: 7 minutes Photo: studio baghdassarians /  baltschun

This goes beyond the idea of the objet trouvé, as they do not stop at an alternative presentation of the object itself, but rather focus on its behavior. The question is what is the inherent potential, the capability of the object when in use, rather than in its idle state. For this reason they often realize time-based installations — to give life to the objects, and allowing to reuse them for a different purpose from that which they were designed for. The minimal and concentrated design of their installations reinforces the idea that the viewer should expect elaborate rearrangements that focus on the sensorial effect, on how the devices actually behave. Baghdassarians and Baltschun imbue their task with a sense for irony and a dose of playfulness, often by using tools related to their practice as electronic musicians. In a work such as memory palace, for instance, a set of guitar tuners is arranged in a circle, and deprived of its original function as a tuning device. Indeed, its display is completely reprogrammed to create a dance of light — a film — that refers to the mnemonic of the standard guitar tuning: “eddy ate dynamite good by eddy”. This mutates the necessary but at times tiring practice of tuning an instrument, a quasinightmare and definite nuisance for every musician, into a playful reflection on how our memory functions. With the method of loci, the so-called memory palace, things to be remembered are associated with specific locations. In the aforementioned film this memory palace is, metaphorically speaking, constantly built and blown up again, leading to an ultimately cathartic effect. Serge Baghdassarians (1972) and Boris Baltschun (1974) live and work in Berlin. They have collaborated since 1999 and have exhibited and performed at places such as the Sonic Acts Festival, Amsterdam; singuhr hoergalerie, Berlin; Kid Ailack Hall, Tokyo; Sao Paulo Biennal — Mobile Radio, Sao Paulo; Moderna Museet, Stockholm; Musee d’art moderne et contemporain, Strasbourg; Beyond Baroque, Los Angeles; and Diapason Gallery, New York. Last year they were awarded the “Karl-Sczuka-Preis” for radio art for their piece Bodybuilding and next summer they will be Artists-in-Residence at Villa Aurora in Los Angeles.

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P7 4 GA LLERY WEBS I T E E- M A I L p74info @ PHO N E +386 5 9714887 CEL L +386 40 370 199 CONTA C T N A M E Uroš Legen

EXHI B I T E D A R T IS T S Tadej Pogačar SBD (smallbutdangers) OTH E R R E P R E S ENT ED AR T IST S Balint Szombathy Dalibor Martinis Dejan Habicht Mladen Stilinović Polonca Lovšin Sanja Iveković Uroš Potočnik Tomaž Furlan

COV E R SBD (smallbutdangers) The wishing table 2011 Oil on canvas 60 × 50 cm INS I D E Tadej Pogačar School’s Out (Bagat) 2008 Collage 48.5 × 54.5 cm

Tadej Pogačar has examined indeterminacy and transformation within social systems since 1993 when he established the P.A.R.A.S.I.T.E. Museum of Contemporary Art. In his art practice he engages in interventionist logic, institutional critique, and critical research on social and political issues as well as participatory and collaborative projects. School’s Out was originally conceived in 1997 as a participatory site-specific project in which the students of the Šentvid Gymnasium in Ljubljana were active participants. Discreet installations (featuring teaching materials, instructional aids, everyday objects, etc.) were set up in a number of classrooms; they problematized the issues of knowledge, student–teacher relations, instruction, discipline, and control. The School’s Out series of works (1997–present) were created out of a desire to explore the modern history of schoolteaching through subjective visual memory. They use local archival images from the 1940s, 1960s, and 1970s, which depict the processes of school instruction, discipline, control, in juxtaposition with objects and collages. These objects are educational tools and aids that point clearly to the time of their origin, the period of socialism and the common state of Yugoslavia; the collages thematize classifications, visual structures, colour systems, and the like. Most recently, his work was exhibited at the Gagosian Gallery, New York, Galeria Luisa Strina, Sao paulo, Gallery for Contemporary Art in Leipzig, the ZKM Centre for Art and Media in Karlsruhe. His work has been included in major exhibits and biennials such as those in Venice, São Paulo, Istanbul, Prague, Tirana, and at Manifesta 1. He is the recipient of many awards, grants, and residencies, including György Kepes Fellowship Grant for Advanced Studies and Transdisciplinary Research in Art, Culture and Technology (MIT, Boston, 2012–2013), the Jakopič Prize, Slovenia’s main national award for visual art (2009), the Shrinking Cities grant (Leipzig, 2004), the Franklin Furnace Grant for Performance Art (New York, 2001), the AIR_port residential program Forum Stadtpark in Graz (2003), and an Austrian Cultural Forum residency in London (2003). SBD (smallbutdangers) are using media of drawing, painting, action and perfomance to reflect complexity of contemporary media; they are projecting their own intimate and poetic — sometimes also rough and provocative — understanding of everyday and put possibility of manipulation in the core of their interest. SBD are questioning visual regimes of our time. Red thread in their artistic praxis is visual play with no fixed rules. Found objects usually entitled “still life” or “natura morta” are not about a magic, hiding behind the surface. It is about the surface, which makes reading possible. SBD (smallbutdangers) does not mean anything: it is an intentionally misspelled and paraphrased expression “Small, but Mighty”, used in the context of the southeastern Europe to denote a singular rebellious and powerful subject, capable of confronting and winning over an enemy who is usually much better consolidated. This expression, typical for the misfit-mentality of a Balkan man/woman, has become an operative term and a personal artistic brand of Mateja Rojc & Simon Hudolin – Salči, a couple from a tiny Slovenian village of Cerkno. Recently, their works were exhibited at P74 Gallery, Ljubljana, City Gallery Ljubljana, Brot Kunsthalle, Vienna, Škuc Gallery, Ljubljana.




PA BLO’S BI RTH D AY GALLERY WEBS I T E E- M A I L arne @ PHO N E +1 212 462 2411 CEL L +1 917 519 4100 CONTA C T N A M ES Arne Zimmermann Jimi Billingsley

EXHI B I T E D A R T IS T S Thorsten Brinkmann Henrik EIben Frank Gerritz Eckart Hahn OTH E R R E P R E S ENT ED AR T IST S Christian Eisenberger Karsten Konrad Kristian Kozul Marc Lueders

COV E R Thorsten Brinkmann L’Alberling Quell (detail) 2013 C-print, mounted on aludibond wooden frame, mirogard museum glass Edition 7 + 2AP, 97 × 73 cm INS I D E Eckart Hahn Beauteousness 2011 Mixed Media 500 × 140 × 200 cm B AC K Henrik Eiben Voyager (Blue) 2012 Fabric, Wood, Glass, Paint, Gypsum 148 × 98 × 16  cm

E CK A R T HA HN, BE A U TE O U SN ESS, 2011 The “painters tools” enter the stage luminously reflecting gold. A noble fur here plays the role of drop cloth, a luxurious rabbit pelt the kingly painters cloth. Not least of which, the left behind shoes of the painter are themselves gold as well. These pure and innocent objects have been besmirched during the process of painting the word “Beauty” on in black paint on the wall. The principle of using profane objects for a higher goal — which are getting used, dirtied or at the end even dissipated during the art process — is without question tolerated in art and is turned in this work upside down. The attempt to achieve Beauty is juxtaposed through the painful consciousness that it can be lost during the way to achieve it. In this work the paradox is that the process and the result are turned around, in contradistinction with our relationship to Beauty, which is solely oriented on the pure result without questioning the price we have to pay for it. Eckart Hahn is a sculptor and painter who lives and works in Reutlingen, Germany.

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G A LLERY POU LSEN WEBS I T E E- M A I L info @ PHO N E +45 3333 9396 CEL L +45 4015 5588 CONTA C T N A M E Morten Poulsen

EXHI B I T E D A R T IS T Debra Hampton (US) OTH E R R E P R E S ENT ED AR T IST S Aaron Johnson (US) Alfred Steiner (US) Barnaby Whitfield (US) Daniel Davidson (US) Eric White (US) Jade Townsend (US) Jean-Pierre Roy (US) Mi Ju (US/KOR) Rainer Hosch (US/AUS) Tom Sanford (US)

COV E R Debra Hampton Royal Hot Mess 2012 Magazine cut out, archival prints, adhesive, ink, and watercolor on Somerset paper 104 × 81.7 cm INS I D E Debra Hampton Emblems of Empire (Diptych) 2011 Magazine cut out, archival print, adhesive, and ink on paper mounted on panel 178 × 229 cm

In Debra Hampton’s art, beauty can be seen as both armor and weapon. In the dramatic booth installation with historical references, Hampton poses critical questions about consumer culture and society’s continual focus on the body and our desire for youthful perfection. She assembles her heroines from fragments of magazine advertisements and other ephemeral material, creating powerful female figures as contemporary warriors evolved from the absurdity and abundance of luxury items, beauty products, mechanical parts and coveted weapons. The questions and critiques inspired by her collages are relevant and ongoing as we navigate times of economic hardship and one should think post-consumerism. However the quest for eternal youth, power and the promotion of unethical consumption is showing no signs of slowing down. Are we in a time of denial rather than facing the facts that there are more substantial concerns at stake? Hampton’s work spans various unconventional media and process to investigate issues of commodity, identity and appropriation. She is best known for mixed media, mash-up collage portraits created from 1000s of magazine cutouts, splattered ink, and intricately stippled shapes. Accompanying the portrait series are sculpted objects such as a talisman and a full-size suit of armor. The armor reflects the warrior-like attitude of the portraits and offers a variety of conceptual interpretations that cross-relate. Selections from the Arms and Armor Collection at the Metropolitan Museum of Art as well as royal portraits including elaborate paintings of Queen Elizabeth were sources of inspiration in this series. The armor is made exclusively from post-waste, recycled plastic, which was ripped, cut, and assembled, in a similar fashion to the collages. Using discarded plastic is an important component in understanding the armor as it allowed Ms. Hampton to address one of her utmost political and social concerns- the continued disregard for environmental harm and unsustainable consumer choices. The talisman is a unique, delicate piece which includes luxuriously valuable elements like Swarovski crystals, environmentally and culturally significant objects such as bone and stone beads, and more personal items such as discarded Xacto blades used to create the collages, cut-out backings as well as beads from a necklace worn by the artist’s deceased maternal grandmother. According to Elizabeth Grady, Debra Hampton’s ”women are clearly capable of violence, but whether that violence is practiced offensively or defensively is left uncertain. The theme is also picked up in her Suits of Armor sculpture. Sharing an iconic presence with the collages, they seem at once to be relics from some uncertain past, and a necessary tool for embracing a dangerous future. Like her figures, the suits of armor stand ready for action. Conversely, like the armor, the figures in the collages seem strangely uninhabited by personalities, their blank eyes rendering the faces mask-like. Thus they can hide the wearer, empower them, or allow them to willingly adopt an alternate identity. Are we meant to imagine ourselves wearing these masks, hybrid but capable creatures bravely facing the future?” Debra Hampton is included in the Museum of Modern Art Permanent Drawing Collection, NY, the Frederick R. Weisman Art Foundation, CA and the Trierenberg Holding AG Corporate Art Collection, Austria.




PRO GA LLERY ( PONC E ROBLES RUIZ ) WEBS I T E E- M A I L info @ PHO N E +34 420 3889 CEL L +34 61 975 7100 CONTA C T N A M ES Raquel Ponce José Robles Eva Ruiz

EXHI B I T E D A R T IS T S Almudena Lobera Raúl Díaz Reyes Alex Bodea

COV E R Almudena Lobera Superficial reading 2013 Mixed Media Variable dimensions INS I D E Raúl Díaz Reyes Sandra Cinto’s Folder 2011 / 2013 Composition of drawings on paper and books Variable dimensions B AC K Alex Bodea Vision notes 2013 Furniture and drawings on paper Variable dimensions

Almudena Lobera (b. 1984, Spain, lives and works in Madrid) Almudena Lobera’s work delves deeply into the notion that the image is not always visible or accessible in nature. She explores its different states as part of the experience of perception within an artistic context as she reflects on different “ways of seeing”. The unseen, the invisible, the unknown, mental processes, the virtual, the inaccessible are all present; everything that lacks visuality and materiality takes shape in her recent works. She gives expression to her ideas using different materials: installations, video-installations, drawings, photographs, objects or mixed techniques. Space and action are also important for the artist, who considers the work-viewer experience key. Raúl Díaz Reyes (b. 1977, Spain, lives and work between Madrid and Sao Paulo) A sense of humor, irony, cynicism and melancholy are all present in the way he works with drawing and painting. Raúl Díaz Reyes highly personal universe is built on the foundations of appropriated references culled from various sources — symbolism, underground comic, science-fiction film or the history of art — which he uses to focus his attention on specific contexts, like outsider art or the study of paranormal phenomena, from a marginal angle at odds with the hegemonic. Alex Bodea (1981, Romania, lives and works in Berlin) Alex Bodea pursued an early interest in drawing and writing. One experience could have helped in stimulating such an interest: the few attempts of imitating writing, while still an illiterate child. The result was a (now lost) collection of ‘homemade hieroglyphs’ and the realization that writing and drawing are one. Bodea simultaneously graduated from the University of Agricultural Science Cluj while enrolling in the painting department of the University of Arts and Design Cluj, in 2007. It was in the last year of bachelor arts studies (2009) that drawing and writing became again reunited as the main focus. Since then, Bodea continuously explores the complex relation between words, images and signs. The acute desire is to test what drawing can do as a tool of prospecting reality, and how words can help in building one.

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PU RD Y H I CK S G A L LERY WEBS I T E E- M A I L contact @ PHO N E +44 207 401 9229 CEL L +44 778 732 1556 CONTA C T N A M E Rebecca Hicks

EXHI B I T E D A R T IS T Bettina von Zwehl OTH E R R E P R E S ENT ED AR T IST S Chan-Hyo Bae Jonathan Delafield Cook Susan Derges Ralph Fleck Tom Hunter Andrzej Jackowski Sandra Kantanen Claire Kerr Alice Maher Jorma Puranen

COV E R Bettina von Zwehl Made up love song part 10 2011 C-type Image diameter 5.8 cm, framed size 16.5 × 16.5  cm INS I D E Bettina von Zwehl Made up love song part 7 2011 C-type Image diameter 5.8 cm, framed size 16.5 × 16.5  cm B AC K Bettina von Zwehl Made up love song part 34 2011 C-type Image diameter 5.8 cm, framed size 16.5 × 16.5  cm

Bettina von Zwehl continues to explore the form of photographic portraits. Her early works were often defined by the exacting conditions she imposed on her subjects. Recently she has reprised the tradition of the painted portrait miniature and its lesser-known 18th Century sub-genre, the eye miniature, inspired while Artist in Residence at the Victoria & Albert Museum, London. Work emerging during that time presented significant departures for the artist, particularly in that her use of flash made way for a new appreciation of north facing natural light. Each image in Made up Love song 2011 (a series of 34 miniature profiles) is characterized by certain fixed formal elements, so that on the surface each image is strikingly similar to the next — yet this project marked an important shift in von Zwehl’s practice; a profound and engaged relationship with one sitter. Working with Sophia, a Gallery Assistant at the V & A, she photographed her in the same pose, at the same location two or three times a week. An ongoing process of repetition and refinement, each session would be inflected with a slightly different expression to the last. The work was not an attempt to reveal the ‘truth’ of the sitter – more a contemplation of her being in the moment, a celebration of the here and now. In Ruby’s Rom 2013, von Zwehl’s new approach combines a sense of lightness and spontaneity with the texture, poise and stillness of her previous images. Her methodology also reveals a deepening interest in the politics and the possibilities around the dialogue between artist, sitter and viewer Bettina von Zwehl (b. 1971, Munich) lives and works in London, where she studied photography at the Royal College of Art. Her work is held in numerous public collections, including The Solomon R. Guggenheim Museum New York; The Victoria & Albert Museum, London; and The Rubell Family Collection Miami.




D AV I D RI SLEY GA L LERY WEBS I T E E- M A I L info @ PHO N E +45 32 20 38 10 CEL L +45 26 16 36 71 CONTA C T N A M ES David Risley Christian Foghmar

EXHI B I T E D A R T IS T S Helen Frik Michael Simpson Alex DaCorte Dexter Dalwood Robert McNally OTH E R R E P R E S ENT ED AR T IST S James Aldridge Anna Bjerger Graham Dolphin James Hyde Thomas Hylander Henry Krokatsis Charlie Roberts Charlie Woolley

COV E R Dexter Dalwood Resist 2013 Oil on canvas 150 × 207 cm INS I D E Michael Simpson The Leper Squint No. 10 2013 Oil on canvas 152 × 92 cm




TYLER RO LLI N S FINE ART WEBS I T E E- M A I L info @ PHO N E +1 212 229 9100 CEL L +1 570 401 2313 CONTA C T N A M ES Tyler Rollins Lee Smith Molly Nutt

EXHI B I T E D A R T IS T S Patricia Eustaquio Sopheap Pich OTH E R R E P R E S ENT ED AR T IST S Arahmaiani Tiffany Chung FX Harsono Tracey Moffatt Manuel Ocampo Araya Rasdjarmrearnsook Pinaree Sanpitak Jakkai Siributr Agus Suwage Yee I-Lann

COV E R Patricia Eustaquio Untitled 2013 Oil on canvas 152.5 × 81 cm / 60 × 32 in INS I D E Sopheap Pich Lichens and Moss (detail) 2012 bamboo, rattan, wire, burlap, plastics, beeswax, damar resin, earth pigment, charcoal, oil paint 120 × 120 × 8 cm / 47 × 47 × 3 in

Sopheap Pich (b. 1971 in Battambang, Cambodia; lives and works in Phnom Penh, Cambodia) is widely considered to be Cambodia’s most internationally prominent contemporary artist. His work has been featured in numerous international museum exhibitions and biennials in Asia, Europe, Australia, and the United States. He participated in Documenta (13) last year with an installation of his grid-like Wall Reliefs, and he is currently featured in a solo exhibition at the Metropolitan Museum of Art, New York, entitled Cambodian Rattan: The Sculptures of Sopheap Pich (through July 7, 2013). Working primarily with thin strips of rattan and bamboo, Pich creates sculptural forms that address issues of time, memory, and the body, often relating to Cambodia’s history, particularly with regard to his recollections of life during the Khmer Rouge period (1975-79), and its culture, both its ancient traditions and contemporary struggles. Pich’s work stands out for its subtlety and power, combining refinement of form with a visceral, emotive force. After receiving his BFA and MFA in the United States, Pich returned to Cambodia in 2002, where he began working with local materials – bamboo, rattan, burlap from rice bags, beeswax and earth pigments gathered from around Cambodia – to make sculptural forms that reference social and political conditions in Cambodia. His childhood experiences during the genocidal conditions of late 1970s Cambodia had a lasting impact on his work, informing its themes of survival, family, and basic human togetherness. Patricia Eustaquio (b. 1977 in the Philippines; lives and works in Manila, the Philippines) is one of the leading Filipino artists of her generation, noted for her work in a wide variety of media, including painting, sculpture, and installation. Informed by the vocabulary of craft and design, her work explores the vanity of artistic and cultural constructs, referencing the histories and processes related to different materials by crafting highly decorative objects and then excising various elements, thereby creating a stark contrast between what is present what is absent. Eustaquio’s first solo exhibition in the United States will take place at Tyler Rollins Fine Art from September 12 – October 19, 2013. She will present paintings and sculptures that are part of a new body of work developed for her upcoming solo exhibition at the Jorge B. Vargas Museum in Manila, the Philippines (July 23 – August 24, 2013). Tyler Rollins Fine Art focuses primarily on solo exhibitions by leading contemporary artists based in seven countries in the Southeast Asia region, in addition to the United States and Australia. It is the only gallery in the United States with a primary focus on cutting edge contemporary art from throughout Southeast Asia, and indeed one of the few outside of Asia. We work closely with artists over the long term, with a particular emphasis on developing museum exhibitions and institutional projects.

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RU BI CON PRO J EC TS WEBS I T E E- M A I L info @ PHO N E + 353 1 670 8055 CEL L +353 86 811 4271 +353 86 239 3819 CONTA C T N A M ES Josephine Kelliher Cate Kelliher

EXHI B I T E D A R T IS T S Patrick Michael Fitzgerald Liam O’Callaghan OTH E R R E P R E S ENT ED AR T IST S Stephen Brandes Maud Cotter Blaise Drummond Anita Groener Marie Hanlon Martin Healy Ronnie Hughes Eithne Jordan Nick Miller Tom Molloy

COV E R Patrick Michael Fitzgerald September / Gathering (detail) 2012 Oil and Collage on Linen 160 × 180  cm INS I D E Liam O’Callaghan From the series Companion Structures 2013 Hahnemühle Fine Art paper, archival pigment print, UV sprayed (L-R) 60.5 × 40.5 cm /  40.5 × 27 cm / 40.5 × 27 cm

Patrick Michael Fitzgerald & Liam O’Callaghan both engage with elements of the everyday; they each address objects, experiences and memories from their immediate environment that might be regarded as inconsequential. These artists independently highlight the transgressive and dynamic aspirations of art, adapting conventional objects and sensations to create interventions with the familiar. Patrick Michael Fitzgerald’s work is influenced by the phenomenological, he considers small details of his day-to-day life: his routines, relationships and surroundings, as source for his painting and drawing. He uses ordinary materials; colored pencil, ink, oil and collage and yet the images are taut and fresh, brimming with awareness that the act of seeing is a construction, at once fluid and disrupted. “The everyday can have a blind weight to it; the challenge is how to open it up, break it open even. The marvelous is always close at hand and often overlooked” he states that “objects in themselves tend to get lost in the world of things, the image tends to get lost in itself. This getting lost in itself is what interests me though it is dependent on the physical qualities of painting.” Liam O’Callaghan is an alchemist in how he redefines and transforms things we are accustomed to seeing. His images are assemblages of discarded workaday objects; the individual elements reconfigured and manipulated to create new meanings and entirely new experiences. O’Callaghan’s sculptures, photographs and sound pieces expose the methods or mechanics of their construction, yet within that apparent disorder, the aesthetic of a unique object emerges. His process is lead by necessity, the function of each component of his installations is clear, and no attempt is made to hide the methods and materials used to make the work operate the way O’Callaghan wants. His work embraces fragility, failures and obsolescence with optimism, humour and an acknowledgement of the inherent beauty of the ordinary. Patrick Michael Fitzgerald (b. 1965, Ireland) is based in Spain since 1990. Educated at Chelsea School of Art London where he gained his BA, 1987 & MA, 1988 in Fine Art Painting. Recent solo shows: Drawings, Guest Room, Brussels, 2010; Bihotz, Rubicon Gallery Dublin, 2010; Paintings and Drawings, Centre Culturel Irlandais, Paris, 2008. Selected group shows: O Brave New World, Rubicon Projects Brussels & VIII Premio Nacional de Pintura Parlamento de la Rioja, Logroño (La Rioja), Spain 2013; Twenty, Irish Museum of Modern Art, Dublin 2011; Informal Relations, Indianapolis Museum Of Contemporary Art (curator Scott Grow), USA, 2010; Alpha, Drei Raum für Gegenwartskunst Cologne, 2010. Liam O’Callaghan (b. 1968, Ireland) is based in Dublin; he studied at Dun Laoghaire Institute of Art, Design and Technology. Recent solo shows: Bit Symphony, Temple Bar Gallery Dublin 2011; RascheRipken Gallery Berlin, 2009; Made to Make do, Rubicon Gallery Dublin, 2008; Royal Hibernian Academy Dublin, 2006; I’m a Success, Belfry Gallery Aalst, 2002. Selected group shows: O Brave New World, Rubicon Projects Brussels, 2013; Terrible Beauty, Dublin Contemporary 2011; Listen with your Eyes, MoranoKiang Gallery Los Angeles, 2011; Twenty, Irish Museum of Modern Art Dublin & Redefine:Readymade, Kunstverein Schwerin, 2011; Holding Together, Douglas Hyde Gallery Dublin & Reduxdelux-Small Sculptures, Parkhaus Project Space Berlin, 2010; Zombie Kunsthalle, The Talent Agency Berlin, 2009.




ED U A RD O SECCI CONTEMPORARY WEBS I T E E- M A I L gallery @ PHO N E +39 055 0517157 CEL L +39 331 1400702 CONTA C T N A M ES Eduardo Secci Ottavia Sartini

EXHI B I T E D A R T IS T Roberto Pietrosanti OTH E R R E P R E S ENT ED AR T IST S Paolo Grassino Francesco Sena Bernardi Roig Mrdjan Balic

COV E R Roberto Pietrosanti Sphere (detail) 2012 Patinated copper Diameter 60 cm INS I D E Roberto Pietrosanti Untitled (white) 2013 Mixed media on plywood 125 × 110  cm B AC K Roberto Pietrosanti Untitled (Red) 2006 Mixed media on plywood 125 × 110  cm

Eduardo Secci Contemporary is a dynamic young enterprise operating in the art world with the fundamental mission of promoting young artists that share a common research expressed through different media; their work pivots on the study of human existence, on the quest for the self and for the other. Roberto Pietrosanti, a painter and sculptor of sophisticated lines as well as a refined intellectual, is one of the leading artists of Eduardo Secci Contemporary. Despite his monochromatic rigour Pietrosanti succeeds in immediately setting up a direct rapport with the architecture that he addresses. From environment to installation, he integrates the object he acts upon with consummate mastery, bringing it to life beyond the space and within it, introducing different planes, altering colour and dimensions. In a fractal vision of breadth Pietrosanti goes beyond the interior space to which the works of the Masters are substantially destined. Shining examples of this are the urban installation set at the top of the steps of the Museo dell’ Ara Pacis, designed by the architect Richard Meyer, the delicate operation in the interior of the Church of San Pietro alla Carità in Tivoli and the huge bronze sphere currently in the permanent collection of the IVAM of Valencia. Before the eyes of the observer, layered and coloured wood and paper transform the containing dimensions of walls, floors and ceilings, which morph into new and unexpected physical shapes, deforming the objects they come in contact with. The secret lies in the theatrical use of ancient materials to create futuristic scenes that are inserted within the classic or the contemporary, distorting and remoulding both the space itself and its consistency. This project, on the other hand, is conceived as an itinerant installation which will be taken to the Fiac 2013 in Paris and proposed in London, Berlin and New York as well as in one of the largest open-air spaces in Florence: Piazza Santa Croce. Between 2012 and the early months of 2013, Eduardo Secci Contemporary has presented the works of Pietrosanti to the greater public on the occasion of Art Basel Miami, the Armory Show New York and ArteFiera Bologna, achieving outstanding critical and public acclaim.

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G A LLERY SK A PE WEBS I T E E- M A I L ska @ PHO N E +82 2 747 4675 CEL L +82 10 5322 1047 CONTA C T N A M ES Kyung Ae Sohn Yunkyong Kim

EXHI B I T E D A R T IS T S Myeongbeom Kim // Yujung Chang OTH E R R E P R E S ENT ED AR T IST S Hyungkoo Lee Jihyun Jung Jungwook Kim Kyuchul Ahn Sodam Lim Suejin Chung Sungsoo Kim Youngho Yoo

COV E R Myeongbeom Kim Untitled 2010 Rope Dimension variable INS I D E Yujung Chang Eclipses (Installation view) 2012 Archival print on film, bulb Dimension variable B AC K Myeongbeom Kim Untitled 2011 Deer taxidermy, branch 130 × 130 × 130  cm

Lived Space (Espace Vecu) of Myeongbeom Kim and Yujung Chang, Gallery Skape Working principally on photography, Yujung Chang raises epistemological questions about perceiving spaces, as well as questions about the authenticity. Her creation starts from an analysis of the natural scenery that we consider as normal. To the spaces and circumstances that seem clear and rational in our eyes, Chang interferes, creating illusions. Chang, who likes the kind of scenery which seems two mirrors facing each other: endless expansion of space that seems to infinitely stretch out of walls, says that she was “questioning and transforming the natural scenery” in her own way to show significance and structure of existing scenery. The images of disoriented position, direction of gravity, scales transform the scenes, which our eyes are accustomed to into connections of irrationality and heterogeneity. The space and objects, which perceived by the artist are represented photographically through the process of mise-en-scene and the printed image drew sometimes by the artist. Myeongbeom Kim’s work disturbs generally accepted figurative orders and gives a rise to strange sentiments and perceptions. At first glance, one can easily trace the resemblance of objects, but we should not ignore the process of inferring occurred in the moment when different objects meet together. The hybridization of a violin and a tennis racket or of a crutch and a deer hoof allows the sharing and intercourse of the memories and emotions contained in each object. These woven objects extend the potential of mere ready-made objects. Kim’s works push the limits set by unity and clarity of daily objects and enhance the flexible metamorphosis of the contexts of the real. In his installation works that deconstruct the context of a daily life by re-displaying objects in the space, the notion of time seems to work as the main factor. Depending on each piece, he brings out time into the space or even transcends the time.

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SLA G GA LLERY WEBS I T E E- M A I L Irina @ PHO N E +1 212 967 9818 CEL L +1 917 977 1848 CONTA C T N A M E Irina Protopopescu

EXHI B I T E D A R T IS T S Dumitru Gorzo Hector Dionicio Mendoza Naomi Safran-Hon OTH E R R E P R E S ENT ED AR T IST S Avital Burg Ioana Joa Jason Clay Lewis Serkan Ozkaya Molly Stevens Mircea Suciu Toma Sergiu Shirley Wegner

COV E R Dumitru Gorzo Gulps, Hiccups and other Mores (detail) 2013 Archival inkjet print and acrylic on canvas 60 × 42 in INS I D E Naomi Safran-Hon Wadi Salib: Interior Garden (Hannah) (detail) 2013 Archival ink jet print, cement, lace and acrylic on canvas 40 × 72 in B AC K Hector Dionicio Mendoza BUDDHA DOME (detail) 2013 Mixed media: plastic found objects, rust, acrylic paint, spray paint, epoxy, glass, and screws 42 × 25 × 20 in

TE M P O RA L S TRATA Working in a range of mixed media practices and to meta-expressive ends now sociological, now environmental, now political, the artists featured by Brooklyn-based Slag Gallery — Dumitru Gorzo, Hector Dio Mendoza, and Naomi Safran-Hon — find common conceptual ground in notions of intersecting, overlapping and materially layered chronologies. Painting atop large prints of color, black and white or ambered photographs of people in either definitively urban or patently rural settings, Gorzo deploys bold colors and energetically sure, candid brushstrokes to create stratified picture planes in which figures portrayed photographically are partially obscured or reconfigured by abstractly painted interlopers, and in which mixed personal nostalgias — at times geographically immediate, at times temporally distant, at times allowing the personal to give way to the societal — feed into and off of one another’s images in uncompromisingly vivacious, profoundly revivified compositions. Bound to arrayed geographical localities as a result of incorporating found objects into the mix, Mendoza’s sculptures tend ultimately toward the geological. Like the readily legible chapters of time and terrestrial torque in metamorphic rock, the visual divisibilities and material morphings in Mendoza’s creations speak to change over time, environmental and technological alike, and to how one’s sense of self, substance and place might evolve and alter therewith. Sculpturally photographic and photographically sculptural, immediately curious in their delicate muscularity, the works of Safran-Hon are so rich in material and conceptual relief that they appear to cleave away from the dimensions that bind them, or from the frameworks that compositionally bound them. Incorporating deeply tactile photographs of dilapidated homes, peeling walls and domestic desuetude in Wadi Salib, in her hometown Haifa, with the rugged medium of cement and the fragile materiality of lace, the Brooklyn-based artist depicts structural spaces that quake with processes of destruction — that both suffer under the forces of conflict and heave back against them, much like the broader political context imbuing these works with historical relevance. — Paul D’Agostino

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SMA C A RT G A LLERY WEBS I T E E- M A I L info @ PHO N E +27 21 887 3607 (Stellenbosch) +27 21 422 5100 (Cape Town) CEL L +27 73 311 5832 CONTA C T N A M E Emma Vandermerwe

EXHI B I T E D A R T IS T Ed Young OTH E R R E P R E S ENT ED AR T IST S Abrie Fourie Anton Karstel Barend de Wet Georgina Gratrix Jake Aikman Johann Louw Richard Long Roger Ballen Willem Boshoff Uwe Wittwer

COV E R Ed Young My Gallerist Made Me Do It 2012 Nail, Socks, Silicone, Paint and Hair 79 cm high INS I D E Ed Young My Other Ride is Your Mom 2013 Wall Painting Dimensions variable B AC K Ed Young Wet Pussy 2011 Glitter on Paper 100 × 78 cm, Edition of 5

“Show me the Avant Garde and I’ll show you a good time” says Ed Young. With an emphasis on conceptualism, Ed Young is not afraid to take risks, expressed in his various irreverent and — at times deliberately — politically incorrect pieces. Threading throughout the work is a biting sense of humour, which becomes all the more disarming when coupled with a cynical seriousness. Like a Shakespearian fool, Young ultimately brings focus to major concerns through an unsophisticated wit. Refraining from ‘traditional’ media, Young’s practice is challenging and varied. This includes video, unorthodox performances, traditional African beadwork, hyper-real sculpture and text-based works. Previous shows include ¡Alptraum! in Berlin, Los Angeles and Cape Town in 2011; 1910 – 2010: From Pierneef to Gugulective at the IZIKO South African National Gallery in 2010; Grin & Bear It at the Lewis Glucksman Gallery, Cork in 2009; Hollywood Remix at the Hayward Gallery in London, 2008; and The Art of Failure at Kunsthaus Baselland, Basel in 2007, as well as the T1 – Triennale Turin at Castello di Rivoli d’arte Contemporanea di Torino, Turin, Italy in 2005. Young is currently working towards a solo exhibition the SMAC Art Gallery in Stellenbosch in 2013. This will be followed by an AiR Rote Fabrik residency in Zurich facilitated by Pro Helvetia. Operating since 2006, SMAC Art Gallery has firmly established itself by presenting critically acknowledged exhibitions, accompanied by catalogues, books and other publications. The gallery’s program is focused on promoting and representing the careers of established and younger, upcoming South African artists. The gallery also believes in encouraging and supporting international dialogue and exchange, by facilitating collaborative ventures with international artists, galleries and institutions. In 2011, SMAC opened a second gallery in central Cape Town, increasing its scope and flexibility to organize and host diverse projects.

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SPECTA WEBS I T E E- M A I L specta @ gitte @ PHO N E +45 3313 0123 CEL L +45 2963 5594 +45 2041 6733

CONTA C T N A M ES Gitte Johannesen Else Johannesen

EXHI B I T E D A R T IS T S Eva Steen Christensen Peter Holst Henckel Andreas Schulenburg OTH E R R E P R E S ENT ED AR T IST S Thordis Adalsteinsdottir (IS/USA) Lars Arrhenius (SE) Frances Goodman (ZA) Ellen Hyllemose (DK) Jette Hye Jin Mortensen (KOR/DK) Nina Saunders (DK/UK) Daniel Svarre (DK) David Svensson (SE) Svend-Allan Sørensen (DK) Camilla Thorup (DK)

COV E R Eva Steen Christensen Reversed Houses 2012 Iron 60 × 35 × 35 cm INS I D E ( L E FT) Andreas Schulenburg BrainDrain 2013 Felt, polystyrene, mdf app. 35 × 210 × 70 cm INS I D E ( R I G H T) Peter Holst Henckel Double Blind #3 2013 lambda photography, ed. 3+1 ap 104 × 72 cm B AC K Peter Holst Henckel Installation view, Specta at VOLTA7 2011

S P E CTA presents “HA BITAT”. Eva Steen Christensen (DK), Peter Holst Henckel (DK) and Andreas Schulenburg (D /DK ) introduce works which focus on the human habitat — the physical environment that surrounds, influences and is utilized by humans. The human habitat holds — unlike the habitat of other species — a psychological, emotional dimension which is essential for our well-being and definition of us as individuals. Eva Steen Christensen’s works refer in its imagery directly to something which we recognize from home; bricks — made of paper with gold thread, and a “house” —  where the contours of a familiar building typology is repeated, mirrored and rotated so that the simple form unfolds in a complex web of houses. Christensen breaks our usual perception of things we know. Peter Holst Henckel introduces a series of new photographic works where the motifs point to the habitat in a more abstract way. Henckel depicts the duality of home as a safe, well defined existential framework, which eventually becomes too limiting and does not fit anymore. The habitat holds the element of change, a condition which is at the same time both desirable and disturbing. In the felt works by Andreas Schulenburg this sense of inevitable change as a disturbing condition is clear as Schulenburg depicts a well known image from the ruins of the twin towers as a motif for a tourist platter. Undoubtedly this image represents a common sense of a moment where our definition of habitat undertook a significant change. On a more individual perspective Schulenburg also deals with the home as a constraining condition as it is outspoken in his felted remoulade where all contents are squeezed out of the tube and spells BrainDrain. Habitat offers a view on the human environment, with some of its complex corners of challenges and constraints.




STEN E PROJ ECTS WEBS I T E E- M A I L info @ PHO N E +46 8 527 891 20 CEL L +46 7 689 864 95 CONTA C T N A M ES Jan Stene Hedwig Edsforth

EXHI B I T E D A R T IS T S Johannes Heldén (SWE) EvaMarie Lindahl (SWE) Sofie Proos (SWE) OTH E R R E P R E S ENT ED AR T IST S Filippa Barkman (SWE) Matthew Benedict (USA) John E Franzén (SWE) Fredrik Hofwander (SWE) Jone Kvie (NOR) Sylvan Lionni (USA) Glen Rubsamen (USA) Suzannah Sinclair (USA) Luke Stettner (USA) Per Wizén (SWE)

COV E R EvaMarie Lindahl On Stage (detail) 2012 Graphite on paper 130 × 180  cm INS I D E Johannes Heldén First Contact 2011 Mixed media 35 × 25 × 5 cm B AC K ( LE F T) Sofie Proos Setting sail 2013 Oil on canvas 40 × 50 cm B AC K ( R I G H T) Sofie Proos The painter 2013 Oil on canvas 26 × 23 cm

THE NO V E L O F CO L O NIA L PO WE R AN D AEST H ET I C S In the end everything becomes a story. And if it is told over and over that story becomes true. For centuries the Western world sought to conquer the body and mind of all lands and its peoples. Methodically all of it was categorized, explained and mythologized. In doing so The Great Story of the World was created. It still echoes today, whenever cultures clash or nature and man come head-to-head. At the heart of this story, as in any story, is fiction. It is to a great extent a fantasy fueled by scientific evidence. A fantasy governed by the morals, taste and beliefs of the times. By re-examining these images the exhibition wants to create a new story – a novel of colonial power and aesthetics. S O F IE P RO O S ( B. 1974, S W E) These portraits look so familiar. It’s the kind of pictures we’ve seen at the national galleries in Stockholm, London, Paris and Berlin. No matter where in Europe it was produced, the style is the same: a crisp face looking at you in the centre of the image. It is the gaze of Enlightenment. But what we’re really looking at never existed. We are looking at ghosts for these images are entirely fictitious, created in the mind of Proos. Usually portraits like these are clear, like photographs painted in oil, but at the hand of Proos they are diffused watercolours. It is Reason turned into Romanticism. E VA M A RIE L IND A HL ( B. 19 7 6 , SWE) It is hard to believe that people exhibited people little over a hundred years ago. But they did. In 1904, Samuel P. Verner bought a pygmy to be shown at the St. Louis fair. Two years earlier, geishas were displayed in Copenhagen. And today? People are still put on display. As late as 2005 it happened in Augsburg’s Zoo, and in 2006 in Kolmården’s Wildlife Park. Lindahl has gone through the original articles, letters, posters, photographs and re-creates them by hand in graphite. It is a slow and painstaking process to understand how thirst for knowledge becomes inhumane. J O HA NNE S HE L D É N ( B. 19 7 8 , SWE ) In 1735 the Swedish botanist Carl von Linné published his work Systema Naturae, in which he categorizes all plants known in nature into a cohesive system. His tools were words and images in a book. These are the same tools that Heldén uses to take nature apart. Heldén lets nature spring from books, and the books become their own ecosystem. In his texts the words are disjointed to create new meanings. It is not anarchy, but an understanding that nature can not be limited to one system alone. (text by Anders Karnell)

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J I RI SV ESTK A G A L LERY WEBS I T E E- M A I L gallery @ PHO N E +420 222 311 092 (Prague) +49 30 3472 7642 (Berlin) CEL L +420 602 367 601 (Prague) +49 152 2488 2419 (Berlin) CONTA C T N A M ES Mikulas Nevan Orsolya Abraham Veronika Chvojkova

EXHI B I T E D A R T IS T S Andrej Dubravsky Petra Feriancova Jiri Franta / David Böhm Kristof Kintera Katarina Poliacikova Jan van der Pol Miroslav Tichy OTH E R R E P R E S ENT ED AR T IST S Stefan à Wengen Adela Babanova Rafal Bujnowski Tony Cragg Dan Graham Jitka Hanzlova Maki Na Kamura Ioana Nemes Marketa Othova Jan Vytiska

COV E R Andrej Dubravsky Olovrant (In the Forest) (detail) 2013 Acrylic on canvas 110 × 80 cm INS I D E Jiri Franta / David Böhm Untitled 2012 Pencil on paper 272 × 415 cm B AC K Kristof Kintera Bad News 2011 Sound track, movement mechanism, microchip controller, drum, horns, radio, clothes, etc. 120 × 150 × 250 cm approx.

The Jiri Svestka Gallery was established in 1995 by the art historian and curator Jiri Svestka. Located in Prague, the gallery is acting in the developing regions of ­C entral and Eastern Europe and does pioneering work on this field. Besides e ­ xhibitions, the gallery also organizes performances, lectures and discussions with artists. This program contributes to the development of art and the art market in this region. Therefore the profile of the gallery is not only concentrated on young artists, but also, especially in the case of foreign artists, on the established generation. In September 2009 a new branch, Jiri Svestka Berlin, which is located in the thriving gallery district on Potsdamer Strasse was opened. The mission of Jiri Svestka Gallery and Jiri Svestka Berlin is to introduce young Czech, Slovak and East ­E uropean artists to the international audience by picking up new discoveries as well as historic positions from the beginning of the 20th century.

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TEA POT WEBS I T E E- M A I L info @ PHO N E +49 221 789 40398 CEL L +49 177 580 9048 CONTA C T N A M ES Lutz Göbelsmann Petra Martinetz

EXHI B I T E D A R T IS T S Christian Keinstar Susanne Rottenbacher Tina Schwarz OTH E R R E P R E S ENT ED AR T IST S Oliver Czarnetta Zhivago Duncan Christian Eisenberger Amir Fattal Helge Hommes Robert Knoke Thomas Palme Rob Scholte Ward Shelley René Stessl

COV E R Christian Keinstar Secondary Virgin 2013 Installation view at Christus Church, Cologne INS I D E Susanne Rottenbacher Freiheit 2012 Installation view at Christus Church, Cologne B AC K Tina Schwarz Kröne dich selbst, sonst krönt dich keiner 2013 Oil on canvas 100 × 80 cm

TEAPOT presents a two-person show by Berlin based artist Susanne Rottenbacher and Cologne based Polish artist Christian Keinstar plus one wall with small paintings by German painter Tina Schwarz on the outer wall. Susanne Rottenbacher works with light. Her work is based on L E D structures combined with wire, acrylic glass and acrylic paint. Her static sculptures interact with the surrounding light and are often specifically planned for certain places. Christian Keinstar uses industrial materials like lead, metal or power cable for his sculptural work. At V O LTA he will show framed lead works and a lead carpet everybody can leave his footsteps on at the booth. Tina Schwarz is a storyteller — but you will never get the whole story: Abstract patterns and empty canvas interacts with figurative painting.




TEZ U K AYA M A G A L LERY WEBS I T E E- M A I L info @ PHO N E +81 6 6534 3993 CEL L +81 90 3283 2232 (Ryoichi Matsuo) +81 80 3807 9669 (Ka zuhide Miyashita) +81 80 3817 3187 (Chie Uchida) CONTA C T N A M ES Ryoichi Matsuo Kazuhide Miyashita Chie Uchida

EXHI B I T E D A R T IS T Satoru Tamura OTH E R R E P R E S ENT ED AR T IST S Akiko Sumiyoshi Kaoru Soeno Yoshiyuki Ooe Hiroko Uehara Hirohito Nomoto Yasuka Goto Tomohiro Kato Misato Kurimune Mariko Noda Yuuki Tsukiyama

COV E R Satoru Tamura Heart machine #3 2012 Steel, chain, bearing, motor and others 29 × 15 × 30 cm INS I D E Satoru Tamura Point of Contact for Nagashima 2-4-20 2011 Mixed media Size variable (Courtesy of AIRS; Photo by Motoyuki Shitamichi) B AC K Satoru Tamura 2 kg Cow / Weight sculpture 2004 Casted cow, digital scale, aluminum and others 35 × 25 × 32 cm

Satoru Tamura (b. 1972, Ibaraki, Japan) is a multimedia artist who creates sculptures, kinetic arts, video works, and installations.
 His works are based on a theme:”The destruction of meaning”. He seeks to create artworks of pure idea detached of any phenomenological background. The destruction takes place lightly, never gravely. It may even bring laughter. In his artworks, he constructively destroys meaning or creates a situation where no meanings attach. He tries to stay liberated from meaning, establishment, or purpose of material and form. Perhaps he has doubts about them. For example, 2kg Cow (2004) from his Weight sculpture series is a sculpture of a 2000g cow. Its weight is adjusted to its title. The direct relationship between title and artwork is aggressively resolved by adjusting the sculpture’s weight to 2000g. This allows the artist to circumvent meaning altogether, and in this case the concept of weighing an object, or the meaning of the word cow or the number 2000. Point of contact series shows us intermittent blinks of light bulbs but the “point of contact” itself just causes the phenomenon. In the Machine series, essentially the machine consists of motors, gears, and chains that all have their functions but the machine itself does not. The chains just rotate making the shape of their title (heart,star). Perhaps the meaning, establishment, and purpose which stick to things are our common measurement to connect ourselves with a society. They melt into our mind before we know it. Tamura intentionally destroys or ignores meaning in his works. Destroying or escaping form, its meaning, establishment, and purpose, and presents the object stripped of meaning. When its meaning, establishment, and purpose are ignored or lost, the object really will only be “the object”.
 “What to make” — thought to be one of the most important decisions of an artist — is decided simply each time. However, maximum caution is given when making or presenting it only as it is.

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TI N T G A LLERY WEBS I T E E- M A I L tint @ PHO N E +30 2310 235689 CEL L +30 6944 505258 CONTA C T N A M E Andromachi Pesmatzoglou

EXHI B I T E D A R T IS T S Vangelis Gokas Maria Kriara Vassiliea Stylianidou Chryse Tsiota OTH E R R E P R E S ENT ED AR T IST S Christos Delidimos / GR Thanos Klonaris / GR Sotiris Panousakis / GR Nikos Papadimitriou / GR Artemis Potamianou / GR Tracey Snelling / US Eleni Theofilaktou / GR Christos Venetis / GR Ulrich Vogl / DE Yiorgis Yerolympos / GR

COV E R Vassiliea Stylianidou Warrooms 3 2010 Digital photo 34 × 23.5 cm INS I D E Vangelis Gokas Raum (detail) 2012 Oil on canvas 90 × 100  cm B AC K ( LE F T) Chryse Tsiota Travel blind 2009 Digital photo 100 × 162  cm B AC K ( R I G H T) Maria Kriara Untitled (detail) 2013 Pencil on paper 60 × 120  cm

TinT gallery has, since 2002, been under a new name and management with the aim of promoting and presenting trends in contemporary art, focusing on conceptually based works by young artists. Since 2003, TinT gallery has collaborated with other cultural institutions such as the Macedonian Museum of Contemporary Art, the Museum of Cinematography and the Museum of Photography etc, organizing off site projects and large-scale cultural events. In 2004, the gallery launched its Project room, a specially designated exhibition space, where young artists are given the opportunity to experiment with in situ installations within a non-profit gallery setting. Since 2007, together with group exhibitions by independent curators, the gallery has accommodated several autonomous teams of artists. The outcome has been a series of highly intriguing exhibitions. Ever since its opening, TinT gallery’s motivation was to create a supportive and encouraging environment for young artists to work. In his work V. Gokas appropriates images from photographs, which he disaffirms with the medium of painting. The real/virtual spaces are defined by an aura of vague mystery and allusive coverage. Even when he employs plain objects as themes, he replaces the everyday gaze with a “painting” intermediation, by inviting the viewer to reconstitute the image in association with subjective experiential references. In a self-limiting formation of a strict design-protocol — somewhere between mania, speaking to oneself and zen exercise — and by building on the images of encyclopedia and scientific manuals’ illustrations, M. Kriara explores the extreme limits of personally interpreting reality that can fertilise hypotheses about the coherence of the fractured and narrative load of the representations. Using language, voice, plasticine, light, photography and motion, V. Stylianidou explores through her videos and photographs the phenomenon of power, money and crisis in opposition to the natural dynamics of language as an experimental practice of the subject. C. Tsiota’s work attempts to revive the spectator’s ability to imagine a world of dreams, visions and everyday mythology. She is interested in exploring scenarios of truth versus fiction, the physiology of seeing, the visual habits of looking, stereotypes and clichés that people unconsciously take for granted. Photography, language, video, movement, writing, human voice and interaction, are the artistic materials she uses.




V1 GA LLERY WEBS I T E E- M A I L elg @ PHO N E +45 3331 0321 CEL L +45 2682 8166 CONTA C T N A M ES Jesper Elg Josephine Fity

EXHI B I T E D A R T IS T S Todd James Husk Mit Navn Geoff McFetridge Katherine Bernhardt John Copeland Anika Lori Wes Lang Jacob Holdt OTH E R R E P R E S ENT ED AR T IST S Andrew Schoultz Asger Carlsen Julie Nord Matthew Stone Misaki Kawai Peter Funch Shepard Fairey Thomas Campbell Thomas Øvlisen Troels Carlsen

COV E R Katherine Bernhardt Untitled 2008 Acrylic on canvas 91.4 × 61 cm INS I D E Jacob Holdt Untitled (from American Pictures) Printed in 2013, taken between 1970 – 75 Digital C-print on crystal archive paper. framed, edition of 7 + 2 ap 80 × 110  cm B AC K ( LE F T) John Copeland There Is Nothing For You Here 2012 Oil and acrylics on canvas 152 × 137  cm B AC K ( R I G H T) Todd James Dr. Dandilion 2012 Acrylic on canvas 122 × 92 cm

V1 Gallery was founded in 2002. The gallery represents a select group of emerging and established artists and is committed to introducing art, in all media, to an international audience. Seeing art as a profound and competent media for social and political discourse, the gallery aspires to serve as a platform for art that interacts with the surrounding society. V1 Gallery’s affiliated artists are represented in the following public and private collections: MoMA (NYC), MoMa (SF), The National Gallery (C PH), AR KE N – Museum of Modern Art – (CP H), ARoS – Aarhus Museum of Modern Art (AAR), The National Photo Museum (CPH, DK), Deste Foundation for Contemporary Art (G), Malmö Konstmuseum (S), Saatchi Collection (UK), Brask Collection (DK ), Sender Collection (US), West Collection (US), Djurhuus Collection (DK), Aegidius Collection (DK), Faarup Collection (D K ), Hoff Collection (N O), Statoil Collection (N O ), amongst others. In 2010 V1 Gallery received the F EAG A prize (Federation of European Art Galleries Association) at A R TBA S E L 41 for Outstanding Creativity and Innovation. The Gallery’s director Jesper Elg also works as an independent curator and is a member of The Danish Arts Councils Committee for International Art (2011 – 2014).




VA N E WEBS I T E E- M A I L info @ PHO N E +44 191 261 8281 CEL L +44 771 309 7852 CONTA C T N A M ES Paul Stone Christopher Yeats

EXHI B I T E D A R T IS T S Michael Mulvihill Stephen Palmer OTH E R R E P R E S ENT ED AR T IST S Héctor Arce-Espasas EC Davies Kerstin Drechsel Jorn Ebner Nick Fox Nadia Hebson Simon Le Ruez Jock Mooney Josué Pellot Flora Whiteley

COV E R Stephen Palmer Headline acts 2011 Graphite on paper 28.5 × 42 cm INS I D E Michael Mulvihill The End of History (Chicago 9) 2011 Graphite on paper 10 × 15.5  cm

Michael Mulvihill and Stephen Palmer both make highly finished, meticulously crafted drawings that share an obsession with the decay of contemporary culture and a sense of anxiety for the future. Michael Mulvihill’s drawings are weighted with a sense of menace; his landscapes, urban scenes and portraits are all potential harbingers of disasters waiting to happen. The sense of foreboding is exacerbated by his obsessive process: images are the result of heavily worked pencil on paper, built up through repeated erasure and overdrawing, leaving a series of ‘ghosted’ images below the finished drawing itself. This process creates visions of a world that is, in the artist’s own words, ‘in the process of dissolving’. In the drawing series The Pursuit of Happiness the tiny scale of the drawings refers to online thumbnails from where the images have been taken. Some depict explosions from Cold War nuclear tests. The increasing power of these weapons demonstrated the resolve with which each side pursued their respective ideologies and their own visions of society and happiness. Other drawings from this series are portraits of players in the game: some show Soviet cosmonauts, others show members of the RAND Corporation — the think tank formed to offer research and analysis to the United States armed forces — that devised strategies for fighting a nuclear war according to Game Theory. The drawings stand as game-markers attempting to unravel the ideas and motivations of the leaders that directed the history of the Cold War, a history that still resonates today. Stephen Palmer’s most recent drawings are based on newspaper clippings. The stories are not strictly ‘news’ but rather look to reanalyse historic events. Each clipping is rendered in precise detail, a transcription that has the effect of conferring worth to events that may otherwise appear of little importance. Whilst the selection of stories might at first appear random — UFOs, World War Two, a chess match, stamp collecting — the topics are those that attract a fanatical following. Newspapers have a particular value to obsessive collectors, who fill their homes with print, hoping perhaps that the information contained will impart knowledge, or offer up a form of control that is lacking in their lives. Some stories reference a recent news topic: the failing property market is juxtaposed with a fascination for spaces once inhabited by famous authors; the current European financial crisis is linked with reparation payments for events that happened during World War Two. In a group of obituary drawings, the deletion of text from the original leaves only a visual clue to the dead person’s story. A single image acts as a summation of a life and a reminder that our legacy may be based on a few memorable events. Palmer’s drawings can be viewed as an obituary to the printed page, but also a reminder that virtual means of delivery often come to coexist alongside the physical formats that they look to improve upon. Michael Mulvihill (b. 1973, Jarrow) lives in Gateshead, UK. His first solo exhibition for Vane, ‘The Pursuit of Happiness’, was in February-March 2013. He has exhibited recently in Durham, Cambridge, Berlin, Chicago, and New York. Stephen Palmer (b. 1967, Alton) lives in London, UK. His third solo exhibition for Vane, ‘The end has no end’, was in February-March 2013. He has exhibited recently in Glasgow, Edinburgh, Berlin, Prague, and New York.

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VERN O N GA LLERY WEBS I T E E- M A I L monika.burian @ PHO N E +42 773 915 510 CEL L +42 77 715 5593 CONTA C T N A M E Monika Burian Jourdan

EXHI B I T E D A R T IS T S Daniel Gonzalez Irena Jůzová Jan Mikulka Maria Pia Severi Simone Fugazzotto OTH E R R E P R E S ENT ED AR T IST S Daniel Hanzlík Grimanesa Amorós Jonathan Feldschuh Kit Reisch LLuis LLeo Markéta Hlinovská Petra Polifková Stefano Cagol Tomáš Lahoda

COV E R Jan Mikulka Bathtub (detail) 2013 Oil on canvas 120 × 80 cm INS I D E Simone Fugazzotto The Three of Life 2013 Oil on plexiglass and concrete board 50 × 100  × 10  cm B AC K Jan Mikulka Portrait of Mr.Hackel 2013 Oil on canvas 110 × 60 cm

Vernon’s vision is to place world and Czech art side by side as equal partners and look for links between the artists. The gallery has almost 200 square metres of space and is full of windows, thus able to offer perfect light conditions for exhibiting works of art. Vernon Gallery was founded by its director Monika Burian Jourdan in 2001. Jan Mikulka and Simone Fugazzotto’s artistic voice has been shaped throughout their experience around the world in a quest of unique identity already recognised by the art world. Mikulka was recently awarded the new SE L F prize created by the Royal Society of Portrait Painters and will go on to show at the Mall Galleries in London throughout May. Simone (b. 1983) started his relationship with visual art very young: a cartoonist as a child, a lover of art history in adolescence, a painter in the Academy. The brushworks becomes intense, strong, almost like a scratch, the canvas is an integral part of work, then comes the plexiglass and concrete. Figures of “sophisticated” humans in disparate situations are combined with the figure of monkey — out of point of origin, an example oft he harmony in which is possibility to co-exist with the nature, a model of simplicity and of integrity. Photorealist Mikulka, who has participated in an atelier of classical painting, led by professor Beran on Prague´s AVU, where his creativity spawned to develop significant talents, including the renaissance of figural painting. Jan also works from photos, but his interpretation holds personal tribute. It is not cold-blooded formalization of what you see, but try to go through physical ego of concrete man in every individual detail.

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WH ATI FTH EWORLD / GALLERY WEBS I T E E- M A I L info @ PHO N E +27 21 802 3111 CEL L +27 76 422 2387 CONTA C T N A M ES Ashleigh McLean (Gallery Curator) Justin Rhodes (Gallery Director)

EXHI B I T E D A R T IS T Dan Halter OTH E R R E P R E S ENT ED AR T IST S Athi Patra-Ruga Cameron Platter Frances Goodman John Murray Julia Rosa Clark Lyndi Sales Micheal Taylor Peter Eastman Pierre Fouché Rodan Kane Hart

COV E R Dan Halter Nervous Conditions (detail) 2012 Woven archival prints on Ivory Enigma paper 88 × 180 cm INS I D E Dan Halter Things Fall Apart 1 & 2 2012 Found plastic mesh bag, custom-made Tartan fabric 69 × 105 cm B AC K Dan Halter Necklace 2012 Found Tyre, Matches 60 × 14.5 cm

W HATIF THE W O RL D / G A L L ERY W HATIF THE W O RL D acts as a platform for a new generation of emerging South African contemporary artists, and was selected in 2007 by Contemporary Magazine (London) as one of the ‘Top 50 Emerging Galleries from Around the World.’ This fastrising young gallery has become a destination point for curators and collectors to experience innovative work, and to become acquainted with some new names. By giving voice to new talents, the gallery intends to grow public dialogue and critical debates within the contemporary art community, and to provide an alternative to the traditional art structures and institutions. WH AT I F T H EWO R L D has been firmly behind the careers of several rising stars on the South African contemporary art scene, and is committed to building and nurturing strong relationships with each artist to support their continuing professional development. The gallery has hosted a series of critically acclaimed solo and group exhibitions, and published numerous catalogues and artist monographs. D A N HA LTE R Dan Halter’s artistic practice is informed by his position as a white Zimbabwean living in South Africa. Using materials ubiquitous to South Africa and Zimbabwe, Halter employs the language of craft and curio as a visual strategy to articulate his concerns within a fine art context. Through this, as well as through photography and video, Halter addresses notions of a dislocated national identity and the politics of post-colonial Zimbabwe within a broader African context. Halter (b. 1977, Zimbabwe) completed his BFA at the Michaelis School of Fine Art in 2001. In addition to five solo exhibitions, Halter has participated in numerous group shows including US at the South African National Gallery, curated by Simon Njami; Zeitgenössiche aus Südafrika at the Neuer Berliner Kunstverein (NBK); VideoBrasil in São Paulo; and the 2009 Havana Biennale. He has completed three international residencies, in Zürich, Rio de Janeiro and Scotland. Recent exhibitions include the 7th Triennial of Contemporary Textile Arts (Tournai, Belgium) and Dan Halter / Mappa Del Mondo at the Nassauischer Kunstverein Weisbaden (Weisbaden, Germany).

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WI D MER + TH EO D ORIDIS C ONTEMPORARY WEBS I T E E- M A I L mail @ PHO N E +41 43 497 3970 CEL L +41 79 293 1852 +41 79 443 1154 CONTA C T N A M ES Jordanis Theodoridis Werner Widmer

EXHI B I T E D A R T IS T S Othmar Eder Nadine Wottke OTH E R R E P R E S ENT ED AR T IST S Erika Babatz Andreas Fux Sybille Hotz huber.huber Scanderbeg Sauer Michael Schnabel Ernst Stark Stefan Thiel Nicolas Vionnet Franz Wassermann

COV E R Nadine Wottke Hungry eyes 2012 Porcelain, silver plated 13 × 17 × 33 cm INS I D E Othmar Eder Zwerg 2013 Carbon drawing on paper 48 × 64 cm B AC K Nadine Wottke Extraordinary 2012 Porcelain, latex, carbon 36 × 36 × 17  cm

W I D M E R + T H E O D O R I D I S contemporary represents young artists focussing on drawing, photography and new media. Particular attention is given to authentic and stirring tendencies in art. For V O LTA9 the gallery has teamed up two different artists with similar perception. Stunning craftmanship and gentle low-key images that emphasise a deceptive superficial calm. In his work Othmar Eder appoints the origin of most motives but impedes a temporal determination of this space. Mountains carry a huge, but also slow temporality and many traces on and under their surface. In these numerous and sometimes deep shifts one may read and observe earth history. Eder references his work in many ways to it. Cut like he detaches what happens from time and ends the temporality of his objects. Photographs and findings that he collects from his hikes and forays build the foundation of his drawings and objects. Othmar Eder (b. 1955) lives and works in Stettfurt CH. He graduated from the Akademie der Bildenden Künste in Wien. He has received many prizes and honours, including the Thurgauer Förderpreis 2009. Many international exhibitors have presented his art work, such as Museum Bickel Walenstadt and Neue Galerie Innsbruck. Fantasies of our existential vulnerability and our hopes are mirrored in Nadine Wottke’s bone china figures. The man on the bull in I don’t want your freedom is revealing himself in a naked and passionate way: riding on a bull riding machine and leisurely blowing pink chewing gum. Wottke captures the short moment of insight when we stand naked in front of our inner eye and are able to recognise ourselves. Nadine Wottke (b. 1978) lives and works in Erfurt D. She graduated from the Bauhaus- Universität, Weimar Germany. Her artwork is mainly presented in Germany and has been exhibited in the Kunsthalle Erfurt and the Neues Museum Weimar.

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VOLTA   WEBS I T E E- M A I L info @

EDIT I O N A R T I ST Hamish Fulton Represented by espaivisor – Visor Gallery FOR M E R E D I T IO N AR T IST S Jason Gringler Carlos Aires (sold out) Troels Carlsen Zilvinas Kempinas (sold out) Eduardo Sarrabia Melanie Schiff (sold out) Martin Liebscher Ulf Puder (sold out) Takehito Koganezawa

COV E R Hamish Fulton Boulder II 2006 INS I D E ( T O P) Hamish Fulton exhibition view at art Cologne’s espaivisor booth INS I D E ( F R O M L EF T T O RIG HT) #1 11 pieces of cut ruler. For: An 11-day circular walk 10 nights camping. Wind River Range, Wyoming, September 1995.

#2  8 one-day walks and a guided climb to the summit of the Marmolada. Dolomites, Italy, 24 September to 2 October 2004. #3  Fujiyama – A 19-day coast to coast walking journey, Toyama Bay, Ontake Summit, Fuji Summit, Suruga Bay, Japan, early Summer 1988. #4  8 one-day walks and a guided climb to the summit of the Marmolada. Dolomites, Italy, 24 September to 2 October 2004. #5  21 pieces of cut ruler. For: A 21-day wandering walk 20 nights camping in the Beartooth Mountains, ending with the September full moon, Montana 1997.



THIS M E A NS : E V E RY A R TW O RK I M A K E M U S T INCL U D E A WA L K TE X T. Q. Why words? A. W  ords can exist in any size and are independent of any one medium or language

WA L K S A RE THE K IL O M E T ER ST O N E S O F M Y L I F E . E A CH WA L K M A RK S THE F L O W O F T I M E B E T WE E N B I R T H AN D DEAT H . By ignoring nature humans are destroying the world. Through education we need to respect the diverse life forms of the planet. Temporary scientific solutions will not save us. HA M IS H F U LTO N

S E L E CTE D P U BL IC CO L L E C T I O N S The Tate Gallery. Museum of Modern Art. The Brooklyn Museum. The Solomon R. Guggenheim Museum. Princeton Art Gallery. Philadelphia Museum of Art. Los ­A ngeles County Museum. Eastman House, Rochester. National Gallery of Canada. Metropolitan Museum. Victoria and Albert Museum. Australian National G ­ allery. ­S tedelijk Museum. Stedelijk Van Abbemuseum. Art Gallery of Ontario. National ­G allery of Scotland. British Council. Musée St. Pierre. FRAC. National Gallery of Iceland. University of Lethbridge.

VOLTA9 2013  
VOLTA9 2013  

VOLTA is a platform for presenting the vision of contemporary art galleries of global repute whose artists represent new and relevant positi...