Volta New York 2016 catalogue

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the INVITATIONAL SO LO PRO JECT FAIR FOR CONTEM PORARY ART Wednesday – S atur day | Mar c h 2– 6 | 2016 | Pier 90 | N ew Yo rk

Cu rate d Se ct i o n b y D e r r i ck Adams

C ur at ed S ec ti o n   |   Vo lta NY 2016

Something I Can Feel

EVENTS Wednesday, March 2 Vernissage Andria Morales: Beatpacks Friday, March 4, 5 pm Shaun Leonardo: I Can’t Breathe Workshop and Performance

Floorpla n II

— Dr. LeRonn P. Brooks





Curator and art consultant for The Bronx Council on the Arts, and Contributing and Advisory Editor for Callaloo: A Journal of African Diaspora Arts and Letters

Sunday, March 6, 11 am Mini B.A.R. NYC: Artist Talks, brunch and discussion ­f eaturing Torkwase Dyson and Duron Jackson, produced by Darwin F. Brown, Valerie Piraino, and other artist collaborators.


S o me t hing I C a n Fe e l C u r at e d Se c t i o n

Derrick Adams (b. 1970, Baltimore, Maryland) is an interdisciplinary New York-based artist and former Curatorial Director of Rush Arts Gallery (New York, 1999 – 2009) who explores self-image and its forward project with a focus on the fragmentation and manipulation of structure and surface. Adams received a BFA from Pratt Institute (Brooklyn) and an MFA from Columbia University (New York). He is a Skowhegan and Marie Walsh Sharpe alumni and a recipient of a 2009 Louis Comfort Tiffany Award and the 2014 S.J. Weiler Award. Adams has exhibited widely nationally and internationally, including at MoMA PS1, New York; CAMH, Houston; Walker Art Center, Minneapolis; on numerous occasions at The Studio Museum in Harlem, New York; as well as at Performa 05, 13, and 15. His work is in the permanent collections of the Metropolitan Museum of Art, Studio Museum in Harlem, Virginia Museum of Fine Arts, and the Birmingham Museum of Art; and can be seen at Tilton Gallery, New York; Rhona Hoffman Gallery, Chicago; Galerie Anne de Villepoix, Paris; and online at derrickadams.com.


Something I Can Feel is an exhibition of eight contemporary artists who explore the idea of the body as a site of reckoning, transformation and departure. Each artist creates forms which reference the body as transitional and ambiguous in its ties to cultures, and histories as well as forms of longing, intuition and sensation. Another way of saying this is that bodies perform responses to experience. The artwork here examines those visceral dispatches. This exhibition is not intended to tell a single story nor is it tied to a singular idea of truth, to history, to a body, a particular system of knowledge or way of being known. Instead, curator DERRICK ADAMS is facilitating an important conversation between eight contemporary artists exploring the idea that bodies are sites of tension and provocation. The essential proposition here is that bodies are artifacts of the exchange between memory and flesh. And the artwork at the intersection of this crossing, this evocation, suggests the idea that we, as the performers of experience, can be felt, broken-down, built-up, (mis)understood, lived with, around and in, and, most importantly, made new.



I Doreen Garner Cindy Rucker Gallery

V Brandon Coley Cox Rush Arts Gallery

Oshun Layne, olayne@rushphilanthropic.org

Cindy Rucker, info@cindyruckergallery.com

II Hugh Hayden Postmasters Gallery

VI Leonardo Benzant Dexter Wimberly Projects

Dexter Wimberly, dexter.wimberly@gmail.com

Paulina Bębecka, paulina@postmastersart.com

III Balint Zsako The Proposition

VII Ibrahim Ahmed Gallery Nosco

Ronald Sosinski, info@theproposition.com

IV Kate Clark Dexter Wimberly Projects

VIII Shaun Leonardo BRIC & Mighty Tanaka

Dexter Wimberly, dexter.wimberly@gmail.com

Elizabeth Ferrer, contemporaryart@bricartsmedia.org Alex Emmart, alex@mightytanaka.com

For sales inquiries, please contact representing galleries or institutions

Cyril Moumen, contact@gallerynosco.com

S o me t hing I C a n Fe e l C u r at e d Se c t i o n Kate Clark

SHAUN LEONARDO d ­ econstructs the performance of masculine ­h yper-identity in popular cultures. The performance of manhood is the performance of prescribed actions. Leonardo isolates these actions within contexts in which their performance can be seen as such. The artist challenges normative behavior as it is lived through the body as a matter of social ritual and routine. In his Andria Morales multimedia practice, the artist isolates specific moments within performances of the male body in states of competition and bravado to examine the ways identity is a constructed through social activities. In this way, Leonardo turns normalized ­a ctivity (­ competitive wrestling, for example) into strange actions by creating i­ ntersections within these performances of “manhood.” The idea of how a man performs heteronormativity no longer has authority but is instead the performance of a socially constructed idea. Where Leonardo explores the facade of masculinity, KATE C LARK’s zoomorphic figures examine the pretense of mankind as a species ­w ithout ties to the possibilities of emotional realities shared with ­o ther species. If the creation of hyper-masculine cultures is a response to ­s ocial anxiety then the vulnerability expressed by Clark’s hybrid ­c reatures is itself the kind of felt response to the shared anxieties that join h ­ umans to the natural as animals. In the work of each, b ­ odies ­b ecome ­c atalysts for strange and ­ u nfamiliar worlds of possibility and feeling. Like Clark, H U G H H AY DEN ’s mixedmedia sculptures reveal the tensions between civilization and nature. His different uses of natural elements (such as agricultural products, feathers and fur) places these materials in states of integration and contention with commercial products and cultural trends. This integration is never seamless and often suggests the end of the taming of the natural world as such. The question of change is also evident in the work of ANDRIA MORALE S. ­Morales is a multidisciplinary artist whose work has dealt with the documentation of gender transitioning, and specifically, the notion of gender identity as something that can be easily interpreted and

consumed by the viewer’s assumptive gaze. H ­ owever, her subjects are the protagonists of their own stories no one should assume to know. Bodies can also be the sum of d ­ esires: the desire to own, the desire to harm, the desire to be felt as well as the desire to deny objectification. ­DOREEN G ARNER ’s sculptures, v­ideos, and Hugh Hayden ­p erformances, position the black ­f emale body as a site of troubling ­h istories where themes of condemnation, deviance, fetishization, and beauty ­intersect. The artist’s work suggests that the black body’s r­ elationship to Western history is an uncomfortable one. The work is raw. The ­m aterials are abundant with loaded meaning. The artist uses a range of materials — such as glass, ­p olyester fiber, Swarovski crystals, condoms, hair weave, pearls, glitter, beads and petroleum jelly — to suggest that bodies can be comprised of what they consume and be undone by the urge to be desired. The effect is a grotesque beauty informed by material cultures and subsumed by the psyche. The work defies objectification, seeking to own the viewer instead. Similarly, BRANDON C OLE Y C OX ’s multimedia sculptures challenge the viewer’s assumption that he or she knows what they’re looking at. Cox makes use of the tensions between the historical meaning and ­m ystical associations of materials, from street posters, to crystals Shaun Leonardo

Doreen Garner

S o me t hing I C a n Fe e l C u r at e d Se c t i o n Balint Zsako

and steel. The artist transforms these materials — steel sheets into shavings, c ­ rystals into powder — to ultimately form objects that are so curious they defy the viewer’s expectations of those materials. The result is artwork that is paradoxical as it questions man’s ­relationship to the cosmos; the cosmos’ connection to the Earth, and the assumption that racial, cultural and gender identities are also social constructions. Ibrahim Ahmed IBRA H IM A H MED ’s mixed-media sculptures express the feeling of losing a nation as well as one’s identity and culture. Before i­mmigrating to Freehold, New Jersey, the artist had lived in the Kingdom of ­Bahrain, Egypt and Kuwait. The feeling of being between nations carries with it the uneasy pressures of being between cultures and histories. Through his work, Ahmed makes deft uses of cultural symbols and forms of language. The resulting work is of curious objects loaded within deep cultural meanings between translations of languages and political ­c ircumstances. Liminality does not mean status. The feeling of the work is of dislocation and change. This is to say that his work is as unsettling and dynamic as anything that is successively in motion.

Leonardo Benzant

Brandon Coley Cox

And lastly, both LEONARDO BENZ ANT and BALINT Z S AKO make work that suggests states of shamanistic ecstasy. Where Benzant’s sculptures communicate very personal interpretations of ancestral histories, systems of beliefs and ritualistic practices from the African diaspora, Zsako’s vibrant paintings explore a deeply personal netherworld between mind and spirit. Both artists express simultaneous states of sensation, making use of visionary characters and symbols that resonate with emotional energy, color and a vibrant eccentricity. In this way, Something I Can Feel is a collective re-imagining of the body as a vital spaces of radiant activity and activism with radical potential.

Im a ges Andria Morales, Untitled profile pic (on all fours with red Beatpack), 2015, digital image, Beatpacks – modified hard shell backpack, custom speaker components, paracord. Image courtesy of the artist. Doreen Garner, Not only had Sims to close the natural openings in the ravaged vaginal tissues; he had to make the edges of these openings knit together. He opted to abrade or “scarify” the edges of the vaginal tears every time he attempted to repair an opening. He then closed them with sutures and saw them become infected and reopen, painfully, every time (detail, in progress), 2016, Mixed media, Image courtesy of the artist Hugh Hayden, Toga, 2016, Successivesized American Apparel t-shirts laminated with Aquaresin, 26 × 16 × 37 in Balint Zsako, Series 2 (#25 and #28), 2015, Watercolor and ink on paper, 12 × 18 in total (12 × 9 in each) Shaun Leonardo, Champ (Mike Tyson), 2014, Charcoal on paper, 25.5 × 66 in, Image courtesy of the artist

Leonardo Benzant, Paraphernalia Of The Urban Shaman M:5 (installation view, detail), 2012 – 2014, Clothes/textiles, cardboard tubes, leather, caucasian baby doll, chicken bone, brown barbie doll, horse hair, glitter, coins, powderedcharcoal, saliva, earth, cigar-ash, coffeegrinds, vija/ashiote, powdered-egg-shell, string, wire, monofilament, various plantbundles, matte-medium, acrylic-ink, rabbit-skin-glue, rice glue, glass seed beads, rum, and miscellaneous, variable dimensions Brandon Coley Cox, M-B (G)riot or If Y’all Really Knew, 2014, Handmade paper, string, glitter, acrylic, mica flakes, brown glittery mesh fabric, flashe, acrylic dispersions and powdered tires on goldcoated black linen, 53 × 55 in Kate Clark, Charmed (detail), 2015, Springbok hide, horns, clay, foam, thread, pins, rubber eyes, steel and wood base, printed canvas, 72 × 40 × 23 in Ibrahim Ahmed, Are El Lewa #10, 2015, mixed media, 4 × 4 feet (approx)

Continuing a working collaboration, New York-based design firms Eskayel x Dane Co. introduce the Flat-Found Stool (Limited Edition) for Something I Can Feel. Description: Half-round Profiles / Eskayel Patterned Leather Seat Tops / Exposed Joinery  |  Wood: American Hard Maple with a tobacco, hand-rubbed oil and wax finish  | Leather: Premium, upholstery-grade leather with a plum, blemish-free and buffed finish, featuring printed art by Eskayel  |  Price: $1,275 For sales inquiries, please contact danecocollab@eskayel.com


es pa c e d ’a r t c o nt em po ra in 1 4° N 6 1 ° W, F o r t- de - F r an c e   |  Ro n al d C YRILLE  |   Vo lta N Y 2016 , B o o th d 8

14°N 61°W, Fo r t- de -Fran c e Ro na ld C YR I LLE

Ronald Cyrille (b.1984) is a painter living and working in Guadeloupe in the Caribbean. He puts on canvas his memories and observations, through a sieve or under a magnifying glass with humour and a dash of art history. His flying fish, hybrids, two-headed dogs, monsters and other demons from his imagination have already appeared in pieces like The Fall of the Rebel Angels by Pieter Bruegel (1562) or work by the mastermind behind The Garden of Earthly Delights, Jérôme Bosch who also created The Temptation of St. Anthony (around 1502). In our Caribbean environment, this artist undoubtedly relates to the work of Wifredo Lam and Jean-Michel Basquiat and questions his generation by creating a syncretic world and plastic repertoire. Ronald’s pieces are a series of summons or prayers reminiscent of one of his favourite quotes by Césaire: “We are sacred men. I am uninitiated, I am initiated by poetry, if you will, and I believe I am a sacred man. The sacred Martinique, sacred Antilles, it does exist, of course, it was tarnished, it was disguised, it was ignored and sometimes terribly distorted to the extent that the Antilleans themselves either didn’t understand it or misjudge it, but I believe it’s there, fundamentally.” This sacred Caribbean is mixed with the profane, his American Indian ancestry and the many postcolonial issues at the heart of an imagination which strives for solutions “in a time of universal deceit,” when “telling the truth is a revolutionary act,” in the words of George Orwell. Dispersion, differences of scale, hybridisation and odd couples are resources for this artist for whom the hand — which paints, draws and spray paints — and thought are but one and the same. The use of bright colour is reminiscent of aggressive publicity, a real visual pollution infesting our island territories and some fragile minds just like the mutant figures at the heart of Ronald Cyrille’s art. You can see it as a road movie, a short life journey in today’s world seen through the eyes of a Caribbean artist who’s barely turned 30. – Nathalie Hainaut (art critic)

Represented Artists: Jean-Baptiste Barret, Ronald Cyrille, Robert Charlotte, Jean-Ulrick Desert, Gilles Elie-Dit-Cosaque, Norville Guirouard-Aizee, Sébastien Mehal, Ricardo Ozier-Lafontaine, Sentier Website: www.14n61w.org  | E-Mail: 14n61w @ gmail.com Facebook: quatorze.soixanteun  | Phone: +59 659 697 1887  | Cell: +59 669 698 3650 Contact: Caryl Ivrisse Crochemar Image: Ronald Cyrille, Happy Selfie, 2015, acrylic paint on canvas, 200 × 147  cm

A mer i ca n M edi um , Br o o k ly n  |   B r en na Mu rp h y  |   Vo lta N Y 2016 , B o o th x 1

Ame r ic a n Me diu m, B r oo klyn B r e nna M u rph y

Brenna Murphy weaves trans-dimensional labyrinths with the use of personal recording devices, computer graphics programs and digital fabrication. Her work is an ongoing meditation on the psychedelic composition of sensory experience across physical and virtual realms. She also collaboratively creates sculptural analog synthesizers, interactive sound installations and rituals with Birch Cooper under the collective name MSHR. Brenna has produced recent solo exhibitions at Upfor, Portland; American Medium, NYC; Sorbus Gallery, Helsinki; Yerba Buena Center for the Arts, San Francisco; Kunstverein Dusseldorf, Dusseldorf. She is a Rhizome commission recipient. MSHR has recently exhibited and performed at Les Urbaines, Lausanne; PICA’s Time Based Arts festival, Portland; Kunsthaus Langenthal, Langenthal; Live Arts Week, Bologna; Musee des Arts Creteil, Creteil; Cell Project, London; Transmediale, Berlin and at Paula Cooper Gallery, New York. They were 2014 Artists in Residence at Eyebeam Art and Technology Center, NYC.

American Medium is a contemporary gallery space located in ­B rooklyn, New York. The gallery focuses on emerging and mid-­c areer artists whose practice deals both directly and indirectly with how technology and the everyday presence of the internet has influenced ­s ocietal, political, and aesthetic worlds. The gallery began as an itinerant project space and production house in 2012. After hosting several pop-up exhibitions in New York and working with represented artists on exhibitions internationally, notably producing Jon Rafman’s installation during the 2013 Venice Biennale, American Medium put down permanent roots in Brooklyn, opening a 1000 square foot storefront gallery space in May of 2014. Muffy,the inaugural exhibition at the gallery, was the first New York solo exhibition for Los Angeles based performer, writer, and artist Ann Hirsch.

Represented Artists: Harm van den Dorpel, Ann Hirsch, Brian Khek, Kareem Lotfy, Brenna Murphy, Jaakko Pallasvuo Website: www.americanmedium.net  | E-Mail: info @ americanmedium.net Facebook: American Medium  | Instagram: @ americanmedium  | Twitter: @ amedium Phone: +1 201 396 7642  | Contact: Travis Fitzgerald, Daniel Wallace Image: Brenna Murphy, CavernCoordinator, 2016, Digital Archival Print on Hahnumuhle Rag Satin Paper, mounted on Dibond, 25 × 36 in

Ga ler ie Mi k ael An de r se n, Co pe nha g e n  |  To m A n h o lt   |   V o lta N Y 2016 , B o o th D 2

Ga le ri e Mikae l Ande r s e n, Co p e n h ag e n To m Anh o lt

Throughout the twenty-five-year history of Galerie Mikael Andersen, the gallery has put great emphasis on supporting young artists, in particular young painters. The gallery’s close cooperation with German artists such as Günther Förg (1952-2013) led to a strong connection to the German art scene culminating in the opening of a gallery in Berlin between 2007-2014. Here Galerie Mikael Andersen began to work with several young, Berlin based artists such as the British painter, Tom Anholt (b. 1987). At VOLTA NY, we are proud to present a series of new paintings by ­Anholt and paintings by Förg, together representing both the history and current program of Galerie Mikael Andersen. In his recent series of works, entitled ‘Jacob’s Journey’, TOM ANHOLT explores his family history. In the 16th century, the first known ancestor of the Anholts, Jacob Sjoesjan, led his maltreated Jewish family through deserts and across mountains while they were heading to Europe on similar routes to the ones of today’s refugees. Presumably he wouldn’t have managed to save anything of material value during their escape, but he doubtlessly brought permanent memories of the shapes and colours of his homeland. A couple of centuries later, Anholt tries to trace the tracks of those memories in his own psyche, at the point where it reaches into the collective unconscious mind. He draws his inspiration from actual pictures from the Orient but doesn’t seek historical accuracy. Working on his new paintings, Anholt is out to understand the cultural boundaries in the depths of his identity, to find out what is hidden inside of him and to gradually make it visible through patiently battling with the canvas. Tom Anholt (b. 1987, UK) studied at the Chelsea College of Art and Design in London, graduating in 2010. Anholt’s works have been exhibited internationally, including Berlin, Copenhagen, London and Basel. His paintings are represented in the Hort Family Collection, New York, The Carole Server Frankel & Oliver Frankel Collection, New York and The Ole Faarup Collection, Copenhagen. Anholt lives and works in Berlin.

Represented Artists: Fritz Bornstück, Jesper Christiansen, Leonard Forslund, Signe Guttormsen, Eske Kath, Robert Lucander, Mustafa Maluka, Ernest Mancoba, Julia Oschatz, Lucy Teasdale Website: www.mikaelandersen.com  | E-Mail: cph @ mikaelandersen.com Facebook: galeriemikaelandersen  | Instagram: @ galeriemikaelandersen Phone: +45 3333 0512  | Cell: +49 157 7471 0386  | Contact: Johanne Kristensen Image: Tom Anholt, Jacob’s Journey II (Lovestory), 2015, oil on linen, 150 × 130  cm

Ga ler ie Mi k ael An de r se n, Co pe nha g e n  |   G ü nt h er F ö r g  |   V o lta N Y 2016 , B o o th d 2

Ga le ri e Mikae l Ande r s e n, Co p e n h ag e n G ü nt her Fö rg

Throughout the twenty-five-year history of Galerie Mikael Andersen, the gallery has put great emphasis on supporting young artists, in particular young painters. The gallery’s close cooperation with German artists such as Günther Förg (1952-2013) led to a strong connection to the German art scene culminating in the opening of a gallery in Berlin between 2007-2014. Here Galerie Mikael Andersen began to work with several young, Berlin based artists such as the British painter, Tom Anholt (b. 1987). At VOLTA NY, we are proud to present a series of new paintings by ­Anholt and paintings by Förg, together representing both the history and current program of Galerie Mikael Andersen. GÜNTHER FÖRG was one of the most prominent German artists of his generation. He began his artistic career in the 1970s with a series of monochrome paintings which have since then expanded into classic mediums: painting, sculpture, ceramics and photography. Förg often combined materials and media; in his architectural photographs he nurtured an aesthetic inspired by Bauhaus while his monochrome and lead paintings reflects on art in general. The abstract paintings presented at VOLTA NY — two of which have never been shown before — were painted in the studio house of Galerie Mikael Andersen in Vejby, north of Copenhagen where also Anholt has worked. The works are inspired by American abstract painting. Förg used this influence to emphasise a certain connection to art history itself, making his grand and engaging paintings more than just objects. Förg’s abstract paintings work like commentary on both modernist aesthetics, artistic ideals and the role of art within postmodernism. Förg (b. 1952 in Füssen, Germany; d. 2013 in Freiburg, Germany) studied from 1973 until 1979 at the Academy of Fine Arts in Munich with Karl Fred Dahmen. From 1992 until 1999, he taught at the Staatliche Hochshule für Gestaltung in Karlsruhe. From 1999 on he was a professor in Munich. Förg’s work is represented in several public collections including MoMA, New York, MOCA, L.A., Tate Modern, London, Stedelijk Museum, Amsterdam, Essl Museum, Vienna, Pinakothek der Moderne, Munich, Hamburger Bahnhof, Berlin, Städel, Frankfurt/Main, Louisiana Museum of Modern Art, Humlebæk, Denmark and Arken Museum of Modern Art, Ishøj, Denmark.

Represented Artists: Fritz Bornstück, Jesper Christiansen, Leonard Forslund, Signe Guttormsen, Eske Kath, Robert Lucander, Mustafa Maluka, Ernest Mancoba, Julia Oschatz, Lucy Teasdale Website: www.mikaelandersen.com  | E-Mail: cph @ mikaelandersen.com Facebook: galeriemikaelandersen  | Instagram: @ galeriemikaelandersen Phone: +45 3333 0512  | Cell: +49 157 7471 0386  | Contact: Johanne Kristensen Image: Günther Förg, Untitled, 2001, oil on canvas, 150 × 130  cm

Da n i elle A rn au d, L o nd o n   |  Oon a Gr im es   |   V o lta N Y 2016 , B o o t h b 13

Danie lle Ar na u d, L o n do n Oo n a G ri me s

CHARACTER RECO G NITION 2 00 6 – 20 07 Confronted with an up swell of bigotry both personal and public, I was forced to ask myself, what do people see when they look at me. Am I nothing but black? Is that skin tone enough to describe my nature and expectation in life? Do my strong teeth make me a strong worker? Does my character resonate louder than my skin tone? Using a photographic process linked to the times of ethnographic classification, I repeatedly explore my ethnic features in Character Recognition. The lessons learned are haunting and frightening in these modern times. — MG SELF PORTRAITS 2 00 2 – 20 04 In this series of contemplative portraits, I experimented with photographic techniques to create a random patterning and destruction of the photographic ideals of clarity and precision. While murky, these images reward with the revelation of something, my body and my presence. The body is cropped and photographed as mass. When transformed by process, the body and skin transform into layers of sensibility and emotion. — MG Myra Greene (b. 1975 New York City,NY) received her B.F.A. from Washington University in St. Louis and her M.F.A. in photography from the University of New Mexico. She currently resides in Chicago IL, where she is an Associate Professor of Photography at Columbia College Chicago. Greene’s work has been featured nationally in galleries and museums including The New York Public Library (2012), Art Museum of the Americas in Washington. D.C. (2012), Spelman College Museum of Fine Art in Atlanta (2009), Museum of the African Diaspora in San Francisco (2008), Yuma Art Center Museum in Yuma Arizona (2008), Wadswoth Museum in Hartford CT (2006) and Sculpture Center in New York City (2003). Her work is in the permanent collections of the Museum of Contemporary Photography Chicago, Museum of Fine Arts in Houston, The National Gallery of Art in Washington D.C., the Nelson-Atkins Museum of Art, Kansas City and The New York Public Library.

Represented Artists: Suky Best, David Cotterrell, Nicky Coutts, Louisa Fairclough, Tessa Farmer, Neville Gabie, Helen Maurer, Kathleen Herbert, Karin Kihlberg & Reuben Henry, Sarah Woodfine, Gerry Smith, Polly Gould, Paulette Philips, Marie-France & Patricia Martin Website: www.daniellearnaud.com  | E-Mail: danielle @ daniellearnaud.com Facebook: Danielle Arnaud Gallery  | Instagram: @ daniellearnaudgallery Twitter: @ daniellearnaud  | Phone: +44 20 7735 8292  | Cell: +44 78 0148 1727 Contact: Danielle Arnaud Image: Oona Grimes, eye things lumpy, 2015, clay and mixed media, dimensions variable, Photograph by Peter White, Cour tesy of the ar tist and Danielle Arnaud

ARTCO URT Ga ll ery, O sak a   |  Tom ok o Tak a gi   |   V o lta N Y 2016 , B o o t h c 7

ARTCOURT G a lle r y, O saka To mo ko Takagi

What is perceived visually? Starting with this question, I paint the interstice between motif (meaning-content and space) and image (color and matter) in a painting. Focusing on these two phenomena’s reciprocal restraint as elements that also create each other, I probe the differences in recognition that waver at a plane’s surface. The relationships of things that someone has decorated, that someone has chosen — this is my main motif. Objects that are found in small shop windows or one’s own garden have all been collected and arranged according to the preferences of ‘someone’, each with its own presence and appearance. I locate a pleasant comfort in that sense of distance of not being able to comprehend everything, and this becomes my starting point each time I paint. Transparent layers created by alkyd resins and oil paints blend together, and blobs of paint pushed and spread by the brush extend onward and overlap. The brush texture that pursues the motif, and what the motif itself is, are simultaneously expressed by the paint and impeded by the paint’s stickiness and color. Both these aspects have an allure I cannot let go of, and when I paint there are always many things that get left out. That there are shapes, objects and colors that are missing is an important factor in my work. The act of repeatedly confirming, and daubing all around, with an absolute sense of distance with regard to the orderings and formations contained within the objects, is itself ‘painting’. — Tomoko Takagi Biography 1989 Born in Chiba, Japan 2015 M.F.A. in Painting, Kyoto City University of Arts Lives and works in Kyoto. Awards 2015 Yomiuri Prize – Celebrating 400 Years of the Rimpa School of Japanese Painting up-and-coming exhibition, The Museum of Kyoto 2014 Mayor’s Prize and Kyoto Municipal Museum of Art Prize – Kyo Ten 2014, Kyoto Municipal Museum of Art 2013 Mayor’s Prix – Kyoto City University of Arts Annual Exhibition 2012, Kyoto City University of Arts 2012 Selected for The 11th Gunma Biennale for Young Artists, The Museum of Modern Art, Gunma Public Collectio n Kyoto Municipal Museum of Art Represented Artists: Yasuyoshi Botan, Tsuyoshi Higashijima, Norio Imai, Taiyo Kimura, Shiro Matsui, Hiroshi Mizuta, Kozo Nishino, Hitoshi Nomura, Yasuaki Onishi, Chihiro Yoshioka Website: www.artcourtgallery.com  | E-Mail: info @ artcourtgallery.com Facebook: ARTCOURT Gallery  | Phone: +81 6 6354 5444 Gallery Director: Mitsue Yagi Image: Tomoko Takagi, Beppu 23, 2015, oil on canvas, 162 × 194  cm

ARTLabAf r ic a , N ai ro bi   |  Pa ul O nd it i   |   V olta N Y 2016 , B o o t h D 9

ARTL a bAfr ic a , N ai ro bi Pa u l Ondi t i

Born in Kenya in 1980, Paul Onditi is part of a generation of young ­African artists whose break with colonial imagery and issues that for decades defined the region’s art has afforded the exploration of concepts increasingly engaged with global contemporary practice. Onditi rapidly gained recognition for his work the Tower of Babel upon his return to Nairobi from Germany in 2010. Conceived as a continuous interactive installation, the Tower of Babel explored similarities and differences in our global human existence. The concept of the Tower, a mythical building constructed by an ethnically homogeneous people speaking the same language, heightened in the artist’s mind current divisions and tensions based on the same differences that have plagued our collective existence since time immemorial. First employed in the Tower of Babel series, digital polyester inkjet plates have become Onditi’s medium of choice, a canvas that allows the artist to layer ever more complex images onto each other without losing the transparent, dream-like quality of much of his work. Filmstrips, prints, transferred images, pared down layers of pigment, caustic acid and thick layers of oil paint are patched together in meticulous ways to visualize an imaginative world that on careful observation has startling references to the present. Onditi’s current “scapes” blur an ever-present isolated and enigmatic figure into disparate, exploratory backgrounds that blend graphic, abstract elements with imagery drawn from nature, and play with the notion that our only reality is a world of ideas and personal imagery. The works are x-rays, anagrams and stories at once, reflecting the mystery of the human mind. Constantly evolving in his practice, the backgrounds in this group of works have abandoned the intricate, brightly coloured mapping of a rapidly urbanizing city, with its look-alike contemporary buildings, loss of green space and increasingly polluted air that characterized previous paintings. The language connector is now the similarity of the lives we are living across the globe: access to the same food, fashion, music, brands, living in architecturally homogeneous dwellings, and having similar aspirations driven by 21st Century consumerism that is not only rapidly engulfing individual cultural practices and beliefs but also resulting in severe environmental degradation.

Represented Artists: Merikokeb Berhanu, Peterson Kamwathi, Syowia Kyambi, James Muriuki, Paul Onditi, Gor Soudan, Arlene Wandera, Beatrice Wanjjiku Website: www.artlabafrica.com  | E-Mail: lavinia @ artlabafrica.com Facebook: ARTLabAfrica  | Instagram: @ artlabafrica  | Phone: +254 706442740 Cell: +44 7789 871094  | Contact: Lavinia Calza Image: Paul Onditi, Confronting realities, 2015 (signed WUDG and dated), mixed media on digital polyester inkjet plate, 64.7 × 51 cm

M ar ti n A sbæ k Ga l l ery, C op en h ag en   |  Ma ri a Rub i n ke  |   Vo lta N Y 2016 , B o o th d 17

M ar t in As bæk G a lle r y, Co p e n h ag e n Ma r i a R u bin ke

Solo presentatio n Maria Rubink e ( b . 1985, DK ) Martin Asbæk Gallery is proud to present a solo presentation with works by ceramic artist Maria Rubinke. Rubinke’s porcelain figures are reminiscent of the illogical compositions of surrealism transforming the character of what are traditionally charming and passive objects into expressions of more taboo feelings that oscillate between desire and sadism. For the exhibition at VOLTA NY 2016 the gallery has planned to showcase different sculptures interpreting the triptych “Garden of earthly ­d elights” by Hieronymus Bosch dated from 1490 and 1510, with heaven, earth and hell as their focal source of inspiration. In a dramatic way, Rubinke exposes little innocent porcelain figurines to pain and suffering through different variations of sculptures. The symbolic language is powerful throughout the exhibition where ­Rubinke uses classic symbols like the lamb, an apple and the snake from the Garden of Eden as a reference to the Creation and the Fall of Man. Like the Surrealists, Rubinke thematizes the complexity of the human psyche and works in a formal idiom all her own. She refers to surrealism and tries to reproduce the mental state of mind, with a personal symbolism. The sculptures are all very detailed and meticulously executed. For the art fair the works will be displayed on specially made pedestals of wood and steel placed in a themed order around the booth without the classic glass showcase. All the sculptures are unique pieces and created specially for VOLTA NY. Maria Rubinke has been working with the classic porcelain figure since her graduation from the School of Glass and Ceramics on Bornholm in 2008. She allows the incomprehensible and chaotic in the human subconscious to rise to the surface in her sculptures. The pure white porcelain surface attracts the gaze of the viewer, but at the same time distorts our presuppositions when the small porcelain girls are slowly broken down and subjected to contrast-filled madness.

Represented Artists: Astrid Kruse Jensen, Clare Woods, Ebbe Stub Wittrup, Eva Koch, Hans Hamid Rasmussen, Maria Rubinke, Martin Liebscher, Matt Saunders, Nicolai Howalt, Trine Søndergaard Website: www.martinasbaek.com  | E-Mail: gallery @ martinasbaek.com Facebook: Martin Asbaek Gallery  | Instagram: @ martinasbaekgallery Phone: +45 3315 4045  | Cell: +45 40758616  | Contact: Martin Asbæk, Frederikke West Image: Maria Rubinke, Peace Of Mind, 2015, Porcelain, 75 × D. 55 × 68 cm (+ small podium on the side) Unique

ASPN, Lei p zi g  |   J o c h en Pl o g st ie s  |   Vo lta NY 2016 , B o o t h e 2

ASP N , L e i pzig J o c he n P log st i e s

From the delta to source and back again, Jochen Plogsties swims up the stream of art history, putting in the process the skepticism of Western cultural circles as regards adaptations, copies and repetitions up for debate. Cindy Sherman? Da Vinci? An LP cover? The viewer of ­Plogsties’s work is often overcome by the sense that he is already familiar with the motifs he is looking at, could call them up from his own visual memory. But memory is deceived: Size and detail are radically varied at times, categorically addressing the theme of the sources from which Plogsties draws his models. The detail of a reproduction of a picture by Hieronymus Bosch is for example the same one used in a catalogue. In other cases he produces an enormous enlargement of a photograph by Edgar Leciejewski and also includes the white space surrounding a reproduction of Bronzino’s Maria de Medici in his painting. With the tools of a millennia-old history of painting in his bag, the conditions of a contemporary flood of images weighing on his shoulders, Plogsties starts composing his works. In the process, however, the application of paint, the materials and the sizes are similarly decidedly contemporary and Plogsties’s own painting style unmistakable and fascinating. A strong focus he places on the search for patterns and principles of composition, the discovery of topologies in his artistic models. Plogsties generates new pictures, focuses our perception on the supposedly familiar, only to then irritate it again. As impartially and alertly Plogsties approaches his subject matter, the viewer must also become just as free, enter into the new painting, pursue thoughts and memories and not be ensnared but to swim freely and trust one’s eyes. Sources become oceans. Jochen Plogsties (*1974) lives in Leipzig, Germany. He studied at the Academy of Visual Arts, Leipzig and recieved several grants and residencies in the recent years, such as a 6-month stay in New York (KdfS, 2009), won the renowned art price of the Leipziger Volkszeitung and showed a major solo exhibition at kestenrgesellschaft Hannover in 2015.

Represented Artists: Benjamin Appel, Famed, Grit Hachmeister, Jochen Mühlenbrink, Jochen Plogsties, Johannes Rochhausen, Maya Schweizer, Robert Seidel, Katsutoshi Yuasa, Arthur Zalewski Website: www.ASPNgalerie.de  | E-Mail: linde@ASPNgalerie.de  |  Facebook: ASPN Instagram: @ aspn_leipzig  | Phone: +49 341 960 0031  | Cell: +49 179 660 8085 Contact: Arne Linde Image: Jochen Plogsties, 24_14 (Eichhörnchen), 2014, oil on canvas, 46 × 36 cm

BEERS LONDON  | SØ REN SEJ R  |  Vo lta NY 2 01 6, B o o t h A 6


SØREN SEJR Sejr’s stark, confident compositions are chaotic and at times extremely compact but maintain an effortlessness and distinctive style which nods to Modernist sculpture and architecture. It is at once a rather brutalist, quite masculine style which maintains a constant desire for a perfect composition similar to those ideals favored by Kandinsky; yet as a contemporary artist, Sejr’s work also exhibits a tendency toward freneticism, and a playful incorporation of color and negative space. It is a recognizable unadorned aesthetic, almost lackadaisical or folkloric, of balance and harmony, housing an asymmetry and tension that allows the work to reverberate from within their frames. His pieces are known to follow a picturesque tradition with subtle twists as well as a strong sense of spaciousness and presence but with a clear sense of urgency in color as well as composition. Sejr graduated with a BFA from Aarhus Art Akademi in Denmark and currently lives and works in Aarhus. BEERS LONDON Since 2010, Beers has worked with emerging and established artists to explore a diverse exhibition programme dedicated to thematic, aesthetic, and political concepts, highlighting an approach to contemporary art that is both progressive and thought-provoking. Through continued collaboration with artists and organizations, the goal of Beers continues to strive to celebrate, share, and exhibit contemporary art in London and worldwide. In autumn 2014, Director Kurt Beers authored 100 Painters of Tomorrow, published by Thames & Hudson, which was adjudicated by a panel of prominent figures in the arts in search of some of the world’s most exciting emerging painters working today. In summer 2015, Beers’ annual guest curated exhibition, entitled, ‘The Fantasy of Representation’, included works by Francis Bacon, Gary Hume, and Hurvin Anderson. Additionally, Beers’ open exhibition, Contemporary Visions, currently in its sixth year, has garnered a reputation for exhibiting some of the most exciting emerging and mid-career artists found internationally. In 2015, Beers was listed in Blouin Media’s ‘500 Best Galleries Worldwide’; Director Kurt Beers was included in ArtLyst’s ‘Alternative Power 100’. In Summer 2016, Kurt Beers will be a guest lecturer at The International Summer Academy for Fine Arts & Media in Venice, Italy.

Represented Artists: ATOI, Adam Lee, Peter Matthews, Jenny Morgan, Benjamin Murphy, Tony Romano, Andrew Salgado, Søren Sejr, Leonardo Ulian, Jonathan Zawada Website: www.beerslondon.com  | E-Mail: info @ beerslondon.com Facebook: Beers London  | Instagram: @beerslondon   | Twitter: @beerslondon Phone: +44 207 502 9078  | Contact: Kurt Beers Image: Søren Sejr, Alice in the Circus, 2016, Acrylic, Oilstick and Glitter on Canvas, 160 × 115  cm

beta pi c t ori s ga l l ery /  Mau s Co nt em po ra ry, B i r m i n g h am , AL  |  Man u el C aei r o   |   Vo lta N Y 2016 , B o o t h A 3

be ta pict o r is  / Ma u s , B ir ming ham, AL Ma nu e l C ae i ro

Manuel Caeiro (b. 1975 in Évora, Portugal; lives and works in Lisbon) studied at the Gabriel Pereira College of Arts, Évora and the University of Fine Arts in Lisbon. His work has been exhibited at the Modern Art Museum in Rio de Janeiro, Brazil; the Barrié de la Maza Foundation in La Coruña, Spain; and the Contemporary Art Museum, La Coruña, Spain; among others. His work is in the collections of the Culturgest and the PLMJ Foundation, both in Lisbon; and the Banco Sabadell in Barcelona; as well as in private collections in the US, Portugal, Spain, Germany, Turkey, and Belgium. A biography on the artist is forthcoming in the summer of 2016. Caeiro’s first US exhibition, titled * M I K A D O *, opens on March 18 at beta pictoris gallery in Birmingham, AL, and recent solo exhibitions include Briefing Room at Ponce+Robles in Madrid; Totem at Galeria Lurixs in Rio de Janeiro; and YellowMetric at Galeria Mário Sequeira in Braga, Portugal. Manuel Caeiro has recently made a transformative shift from complex paintings of architectural spaces to increasingly abstract compositions that insert imagery from his previous work into the void. Planes and other geometric shapes are the subjects of these highly-refined pictures, which imply man-made spaces, but without specific reference. In his newest body of work, this imagery hangs in the air, suggesting an imaginary space, or a void. These compositions appear to focus on painter’s spaces rather than architectural spaces, alternately resembling crowded rows of canvases, artist’s loft storage with the room subtracted, or paintings falling like a tumbling house of cards. These works are allegories for the life of a painter, who must contend symbolically and physically with his or her own creations. Caeiro’s use of color planes resembles the vivid, monochrome geometric works of Minimalist sculptors like Donald Judd. Caeiro’s interpretations, however, manipulate the plane, folding it upon itself and appropriating it. This bold move claims the Specific Object as fodder for painting. Caeiro’s works make a powerful argument for the primacy of painting; other fields like architecture and sculpture are easily subsumed into imagery for the painter. Caeiro has shown extensively in his native Portugal as well as Spain and Brazil, and has recently begun to gain recognition beyond the Portuguese and Spanish-speaking world. The work of this exciting midcareer painter has revelatory implications for the continued struggle between painting and sculpture. Represented Artists: Clayton Colvin (US), the Estate of Yoshishige Furukawa (Japan), Irene Grau (Spain), Barbara and Michael Leisgen (Germany), the Estate of Eugene James Martin (US), Bayeté Ross Smith (US), Leslie Smith III (US), Travis Somerville (US), Taravat Talepasand (US), Melissa Vandenberg (US) Website: www.MausContemporary.com  | E-Mail: betapic@MausContemporary.com Facebook: beta pictoris gallery  | Instagram: @UrPersonalGuido Twitter: @UrPersonalGuido  | Phone: +1 205 413 2999  | Contact: Guido H. Maus Image: Manuel Caeiro,top: 360°, 2016, acrylic on canvas, 67 × 53 in / 170 × 135  cm, bottom: Four Sticks Between Orange, 2016, acrylic on canvas, 67 × 57 in / 170 × 145  cm

beta pi c t ori s ga l l ery /  Mau s Co nt em po ra ry, B i r m i n g h am , AL  |  L e sl i e S m i th III  |   Vo lta N Y 2016 , B o o t h A 3

be ta pict o r is  / Ma u s , B ir ming ham, AL Le s li e S mi t h I I I

Leslie Smith III was born in 1985 in Maryland and grew up in metropolitan Washington, D.C., graduated with a BFA degree in Painting from the Maryland Institute College of Art (MICA) in 2007, and obtained an MFA degree in Painting and Printmaking from Yale University in 2009. Since then his work has been included in exhibitions in the US and Europe, such as a solo exhibition at the Madison Museum of Contemporary Art in Madison, Wisconsin; and the Valérie Cassel Oliver curated exhibition Black in the Abstract, Part 2: Soft Curves/Hard Edges at the Contemporary Arts Museum Houston in Houston, Texas. His recent solo exhibitions include As I remembered at beta pictoris gallery in Birmingham, AL; and Living In The Flat Land at Ponce+Robles in Madrid. A biography on the artist is forthcoming in the summer of 2016. Smith explores both the complexity of the non-representational and the expansiveness created by working on non-traditional supports. Not content with being confined by the linearity of the rectangle or the square, Smith explodes the confines of geometry with custom designed shaped canvas supports that would seem accidental were they not so absolutely intentional, their soft edges falling away, drifting, challenging viewers’ expectations and creating tensions that are almost unimaginable. Smith uses this tactic in works of varying scales. His paintings are filled with tension, their surfaces arrayed with the gestures of his markmaking, their curved edges rolling away, exploring new spaces. Studies in tone and texture, filled with chiaroscuro, subtle plays of both stillness and motion. Smith’s understanding of pictorial space in abstraction come roaring forward in the new paintings shown at VOLTA NY: A Better Mouse Trap and Sweet Dreams and Flying Machines (both shown on the front page) continue this exploration, their surfaces filled with subtle geometric shapes, the paintings literally feel as if they could leap off the wall. Forms seem as if they could reflect, veil and reveal at precisely the same moment as Smith pushes viewers away, holds them close and pulls them through. The artist understands the complexities of abstraction and he uses both the surfaces and the structures of his works to create tensions that are palpable. This oscillation between abstraction and the use of concrete forms creates and even more discernible tension within each work.

Represented Artists: Clayton Colvin (US), the Estate of Yoshishige Furukawa (Japan), Irene Grau (Spain), Barbara and Michael Leisgen (Germany), the Estate of Eugene James Martin (US), Bayeté Ross Smith (US), Leslie Smith III (US), Travis Somerville (US), Taravat Talepasand (US), Melissa Vandenberg (US) Website: www.MausContemporary.com  | E-Mail: betapic@MausContemporary.com Facebook: beta pictoris gallery  | Instagram: @UrPersonalGuido Twitter: @UrPersonalGuido  | Phone: +1 205 413 2999  | Contact: Guido H. Maus Image: Leslie Smith III, top: A Better Mouse Trap, 2016, acrylic on shaped canvas, 63 × 66 in / 160 × 168  cm, bottom: Sweet Dreams And Flying Machines, 2016, oil on shaped canvas, 75 × 115 in. / 190.5 × 279.5 cm

GALLERY ANDREAS BINDER, M UNICH  |   Y I G AL OZERI  |   V o lta N Y 2016 , B o o th c 19


Galerie Andreas Binder presents Monochrome, a series of new oil paintings by New York City based Israeli artist Yigal Ozeri. Ozeri is best known for his large-scale cinematic portraits of young women in vast transcending landscapes. His near photo-realistic oil paintings convey the spirit of his subjects in a grand array of natural settings: from abundant rain forests to dreary deserts. Thousands of tiny brushstrokes animate his lifelike paintings, giving way to a remarkable realism, distinct beauty, and seductive power. Ozeri seizes fleeting moments and gives them life. As a result, the viewer is compelled to gaze into the allegorical domain between reality and fantasy. This series of paintings explores portraits of young women posed alone and framed by landscape. Many appear like film still, caught, unawares, unselfconsciously laughing, or moving through the backgrounds. Others gaze directly at the viewer in a somewhat challenging and unsettling manner. In some, all that is visible are fragments of the girls’ body — faces, limbs, richly textured garments. In every painting, Ozeri captures the vulnerability of the girl’s faces, at the transitional age between youth and maturity. Ozeri begins his process for these paintings by bringing a photographic crew to verdant landscapes in which he places the young women within the final composition in order to get precisely the results he is seeking. After choosing among the resulting images, he takes these and begins the painting process. The results are cinematic portraits of almost photographic realism. Their carefully staged, conceptual installations reflect the high-definition realism that today pervades media including television and movies; while their almost invisible brushstrokes, in the manner of traditional trompe l’oeil painting, play on concepts of perception and illusion. Ozeri has shown extensively around the world including solo exhibits in Bologna, Barcelona, Los Angeles, Toronto, Hong Kong, Amsterdam, France, Denmark, and Munich. His work is included on the cover and in the book Photorealism and the Digital Age. He is currently in a traveling show titled 50 Years of Hyperrealistic Painting that was showcased in a number of venues including: Museum Thyssen-Bornemisza in Madrid, Birmingham Museum & Art Gallery, and Museo de Bellas Artes in Bilbao.

Represented Artists: Jan Davidoff, Hadrien Dussoix, Izima Kaoru, Anna Krammig, Philipp Lachenmann, Eugene Lemay, Matthias Meyer, Anna Navasardian, Dieter Rehm, Julio Rondo Website: www.andreasbinder.de  | E-Mail: info @ andreasbinder.de Facebook: Galerie Andreas Binder Phone: +49 89 21939250  | Cell: +1 347 749 4966  | Contact: Andreas Binder, Veronika Jeric-Binder Image: Yigal Ozeri, Untitled (Monochrome), 2015, Oil on canvas, 40 × 60 in

Ga ler ie Si m on Bl a is , M on t r éa l   |   J es s ica P et e rs  |   V o lta N Y 2016 , B o o th A 14

G ale r ie Simo n B la is , M on t ré al J e s s ic a P e t e rs

Originating in numerous depictions of architectural elements, precise outlines, and a very rich material rendering of images and planes, ­J essica Peters’ paintings show deserted spaces that call to mind vestiges of structures in a fictional universe. For some time now she has mainly been interested in using figurative elements to create works whose ambiguity makes them oscillate between representations of schematized architectural structures and geometric abstractions; increasingly, she has been exploring various ways of falsifying space in them. Her most recent paintings stem from the notion of showing spaces that, on initial viewing, seem quite real, but that only prove to be illusory, the product of a number of visual tricks. The worlds introduced in her current work result from, on the one hand, the deconstruction of space related to the visual phenomenon of reflection and, on the other, working with the deceptive effects created by the medium itself. The work of Jessica Peters is rooted in the place in which she lives and inspired by how the passage of time is reflected in landscape. Using fragments of contemporary locations, as well as certain elements telling us about past places and structures, her paintings portray the arrangement of space and landscape. Through them she carefully examines the conflicting relationship between a space in the present and in the past, enabling the coexistence of several perceptions of the same place and thus creating a number of formal paradoxes; leading viewers to question what is real and what is reflected in the spaces depicted. Subjected to numerous masking, sanding, impasto and scraping techniques, the surfaces of her works bear the weight of their medium and reveal the evocative power of colour and texture. Born in Saint-Jérôme in 1986, Jessica Peters lives and works in Brownsburg-Chatham. Situated in Montreal’s hip and colourful Mile-End neighborhood, ­G alerie Simon Blais is one of the city’s mainstay commercial gallery. The ­g allery was founded in 1989 and initially specialized in works on paper and contemporary abstract prints. Today, the gallery represents both emerging and established artists working in diverse media such as painting, drawing, sculpture, prints and photography.

Represented Artists: Michel Campeau, Serge Clément, Louis-Philippe Côté, Jean-Sébastien Denis, Éliane Excoffier, Alexis Lavoie, Julie Ouellet, Yann Pocreau, Marc Séguin, Irene F. Whittome Website: www.galeriesimonblais.com  | E-Mail: info @ galeriesimonblais.com Facebook: Galerie Simon Blais  | Twitter: @GalerieSimonB  | Phone: +1 514-849-1165 Contact: Simon Blais, François Babineau Image: Jessica Peters, Convergence, 2015, acrylic and spray paint on canvas, 48 × 35 in / 122 × 89 cm

Ru tg er Br an dt G al l ery, A m st erd am   |  Natal ia O sse f  |   Vo lta N Y 2016 , B o o th D 22

Ru tge r B r andt G a lle r y, Ams t e rdam Nata li a O sse f

Ru t ger Brandt G a l l e ry The gallery’s mission is to showcase contemporary art by emerging young artists as well as established international artists in a multi-generational program. We aim for a long-term commitment in developing the artists’ career and the gallery acts as a liaison with other galleries outside The Netherlands. One of the connecting factors, how varied the outcome may be, is socially committed and narrative art to be found in various disciplines. Political, social actuality and individualism are key ingredients to reflect the spirit of this age. Confronted with the many aspects of human relations, especially those of alienation, isolation, absurdum and the raw side of life, these works call for self-reflection. Our exhibition program is dedicated to aesthetic, progressive and thought-provoking shows. Natalia Ossef ( Syria , 1983) “ Por t rait of a M e m o ry ” Cultural identity and memories of her native country play a central role in the paintings, watercolors and drawings of Natalia Ossef. Based on found photographs and postcards she reshapes a past in an abstracted figuration in light pastel tones where faces and identity disappear. Distancing herself from her own background and its values she seeks to regain her past through her works and reshapes her memories. The pictures seem recognizable as if we are looking at family-portraits without detailed facial features in which we can project memories of our own. Each work can be read as a chapter in a travel story that pull certain places and moments from oblivion. Natalia began by drawing people at a young age. She was inspired to develop painting while attending the art academy in Utrecht (HKU) in 2007, The Netherlands. Natalia received her BFA degree with honours in painting in 2011. In 2012, and 2014 she received two grants from the Mondriaan Fund for emerging artists in order to focus on her career as a visual artist. The Centraal Museum, Utrecht recently acquired 9 works for the permanent collection of the museum.

Represented Artists: Emmanuel Barcilon, Georg Brückmann, Alain Delorme, Enrico Freitag, Fabian Glass, Luca Grimaldi, Rune Guneriussen, Patrick Jacobs, Sander Meisner, Yigal Ozeri Website: www.brandtgallery.com  | E-Mail: rutger @ brandtgallery.com Facebook: brandtgallery  | Phone: +31 651 549 996 Contact: Rutger Brandt (Gallery Director), Gustaaf Dekking Image: Natalia Ossef, Harvest, 2015, Oil on canvas, 65 × 75 cm

c a rri a ge t ra de, B r oo kly n  |  Si mo n L in k e  |   Vo lta N Y 2016 , B o o t h x 10

car r ia ge t r a de , B r o o klyn Simo n Linke

Slightly smaller than one of Artforum’s full page ads, Simon Linke’s 10 x 10 inch paintings corrupt the clean graphic layout of their source through a full-on indulgence in an excess of oil paint. Replicating the ads as faithfully as possible while wrangling a robust, fluid material within an almost comically limiting surface area, Linke’s paintings e ­ xist as a near-perfect contradiction between boldly expressed market confidence and an artist’s potential alienation resulting from the pressures to produce a consistent product. Arresting Artforum’s iconic monthly bulletins announcing the “new” in a relief of thickly applied paint, Simon Linke’s paintings express the ideal of stability where there is none, flipping the temporal nature of an e ­ xhibition notice on its head. Focusing largely on recognizable blue chip artists and galleries, the paintings’ compact size and precise articulation offer an ironic contrast to the overwhelming scale and volume of the contemporary art market from which their subjects are derived. When looked at as a decades long project which functions as an informal archive, these paintings inject a refreshing sense of historicism often lost in the collective pressure to focus on the “next big thing”, ­r efocusing our attention on the staging mechanisms of contemporary art that are often hidden in plain sight.

Represented Artists: David Baskin, J ennifer Bolande, Louise Bourgeois, Antoine Catala, Jef Geys, Dan Graham, Diane Nerwen, Virginia Overton, Louise Lawler, John Schabel Website: www.carriagetade.org  | E-Mail: pscott @ carriagetade.org Facebook: carriage trade gallery  | Phone: +1 718 483 0815  | Contact: Peter Scott Image: Simon Linke, Alice Neel, 2015, oil on linen, 10.43 × 10.43 in / 26.5 × 26.5 cm

CES, Los A ng el es   |  D o t y G l a sco   |   V olta N Y 2016 , B o o t h d 24

CES , Lo s Ang e l e s Do t y G l asc o

CES Gallery is pleased to present Valley of the Sun, a new body of work by the collaborative artist team Doty Glasco. Doty Glasco uses photography, collage, and sculpture to explore the relationship of photography to constructed notions of time, truth, nature, identity, and history, with a particular focus on the history of American landscape photography. Valley of the Sun utilizes a near complete archive of Arizona Highways magazine to explore the relationship between image-making, the landscape, and American cultural identity. If grandiose early American landscape paintings were the original advertisements for America that encouraged many to conquer their way west, then Arizona Highways is its post-war equivalent, re-branding the same individualistic nationalism for the atomic age of family road trips. Specific pages from the archive are scanned like negatives, resulting in a double exposure that overlaps iconic landscapes. This doubling reverberates the psychological echoes of what these icons represent, allowing the viewer to contemplate the complexity of how these images function within the context of Arizona Highways as a myth building vehicle. These layered landscapes, metaphorically conveying heaviness, stability, and geologic time, are transgressively printed onto silk, giving them a ghostly and fragile quality. Doty Glasco uses silk’s formal properties as a destabilizing lens to consider the image’s original context, allowing the viewer to contemplate the process of image-making and the constructs of photography. A grid of singular Arizona Highways imagery distills these concepts into singular images. While combing through their archive, Doty Glasco categorized the landforms and natural imagery, grouping visually similar photographs. These typologies can be viewed as re-performances of photographs taken by different photographers over a century — any variations within reveal individual photographers’ hands and become clues to deconstructing myth. Doty Glasco’s typology grid allows the viewer to unpack aesthetic strategies employed by Arizona Highways and landscape photography in general. This documentarian impulse, like all of Doty Glasco’s work, disrupts the mythic quality of the archived images and reclaims landscape photography as a powerful aesthetic tool for critical investigations of larger power structures.

Represented Artists: Scott Anderson, Doty Glasco, Ashkan Honarvar, Robert Larson, Easton Miller, Kenton Parker, Zin Helena Song, Ira Svobodová Website: www.carlesmithgallery.com  | E-Mail: info @ carlesmithgallery.com Facebook: cesgallery  | Instagram: @ cesgalleryla  | Twitter: @ cesgalleryla Phone: +1 213 880 5474  | Contact: Carl E. Smith (Director), Meghan Gordon (Manager) Image: Doty Glasco, Toroweap Point May 1957, 2016, Archival pigment print on silk, pine and acrylic medium, 12 × 9 × 1.5  in

CHARLIE SMITH LONDON  |   F l o ri a n He in k e  |   V olta N Y 2016 , B o o t h b 10

CHARLIE SMITH LON DO N Flo r i a n H e in ke

Florian Heinke is a contemporary German artist. Born in Frankfurt am Main in 1981, he was educated at Johannes Gutenberg University Mainz and Städelschule, Frankfurt. Heinke is represented in three countries and has exhibited globally. His work is housed in numerous prominent private collections. Heinke is known for his distinctive monochromatic paintings where he paints with only one colour: black. Expertly using subtle shifts in tonality and application, Heinke makes as much use of the raw, unprimed canvas as he does the painted form. Light emanates from the untouched ground as figure, landscape and text are built from light and dark, positive and negative. Heinke’s canvases investigate contemporary and modern politics; popular culture; celebrity; glamour; beauty and decay. He is known for aggressive statements and uncompromising subject matter that is underpinned by the poetic and contemplative. Heinke seduces the audience with adroitly sourced imagery and idiosyncratic slogans in English and German that immediately impact upon the audience, but which also provide a gateway into a complex, ironic, individualist worldview. His recurring term ‘Paradise Overdosed’ can be considered an overriding them within his practice. Heinke might be seen to celebrate his subjects, or perhaps more appropriately he can be read as a commentator who is asking us to ask what lies beneath, or after. Going further, Heinke’s compositions contain juxtapositions — set up during his initial process of assembling collages — that question reality, or suggest unreality, or vice versa. His recent and ongoing series ‘When Time Sleeps’ invites us into an imaginative world of loss and longing. Mostly female protagonists are located in luxuriant interiors, caught in an enchanted moment, dreamlike and meditative. This still point suggests a narrative, a before and after, an event that might, or can, or did happen. The artist himself, like his subjects, offers us a glimpse of time and place before retreating into the nothingness.

Represented Artists: Emma Bennett, Kiera Bennett, Tom Butler, Sam Jackson, Eric Manigaud, Wendy Mayer, Alex Gene Morrison, Dominic Shepherd, John Stark, Gavin Tremlett, Website: www.charliesmithlondon.com  | E-Mail: direct @ charliesmithlondon.com Facebook: charlie.smithlondon  | Instagram: @CHARLIESMITHldn Twitter: @CHARLIESMITHldn  | Phone: +44 20 7739 4055  | Cell: +44 7958 931 521 Contact: Zavier Ellis, Rosanna Dean Image: Florian Heinke, Minutes in spring, 2016, Acrylic on untreated canvas, 90 ×70 cm

CHARLIE SMITH LONDON  |   G av in N ol a n   |   V olta N Y 2016 , B o o t h b 10


Gavin Nolan is a contemporary Welsh artist. Born in Aberdare, he was educated at Loughborough University and Royal Academy Schools, London. After graduating from the RA he went on to become one of the founding members of Rockwell Gallery in Hackney, London, which was from 2002-2007 an influential artists’ run space. He has had solo exhibitions in London and Los Angeles and continues to show internationally. His work is housed in prominent private collections globally. Nolan’s recent paintings depict versions of historical figures. Combining hyper-realism with materially abstract painting, the work reveals the heroic and fragile nature of his subjects and meditates on language, legacy and obsolescence. Focusing on figures found towards the fringes of society, Nolan’s current work examines his own relationship with the past. His interest in the inception of political, cultural and intellectual movements leads to an examination of their subsequent effects; and the echoes of an individual’s thoughts and actions that have moulded civilisation. The non-linear appreciation of time afforded to us through the liminal space of painting allows Nolan to reinterpret historical facts, half-truths and lies, presenting them to the viewer simultaneously. Pictorial content, abstraction and language vie for supremacy where the hyper-real masquerades as fact and the abstract plays the role of the unknown or intangible. Nolan asserts via painterly language that truth is elusive and information is filtered or deliberately skewed. Engaging with this slippage, Nolan searches out new myths, new traditions and reveals an alternative version of events where history’s winners and losers are not clearly defined. The painting as object becomes its own peculiar, temporal fact. Referencing his own early work, the figures inhabiting his recent paintings are phantasmal or undead; haunting our present, and fading in and out of being. By imagining characteristics and simultaneously projecting himself onto his subjects, the paintings in themselves might be considered a mirror, and we the audience find ourselves between two mirrors infinitely reflecting each other: the painter and the painting. This projection, or indeed the absorption of others into oneself, is revealing but also affirms that while elements of an artist’s life and work are universal, there is also much that is fleeting and fugitive.

Represented Artists: Emma Bennett, Kiera Bennett, Tom Butler, Sam Jackson, Eric Manigaud, Wendy Mayer, Alex Gene Morrison, Dominic Shepherd, John Stark, Gavin Tremlett, Website: www.charliesmithlondon.com  | E-Mail: direct @ charliesmithlondon.com Facebook: charlie.smithlondon  | Instagram: @CHARLIESMITHldn Twitter: @CHARLIESMITHldn  | Phone: +44 20 7739 4055  | Cell: +44 7958 931 521 Contact: Zavier Ellis, Rosanna Dean Image: Gavin Nolan, Bleakest Cut Me, 2016, Oil on linen, 18 × 24 cm

C loc k to w er P rod u ct i on s , Ne w Y o rk   |   Vo lta N Y 2016 , B o o t h x 11

Clo c kt o we r Pr o duc t i o n s N e w Yo rk

Clocktower Productions is a non-profit art institution working in the visual arts, performance, music, and radio. Founded in 1972 in Lower Manhattan by MoMA PS1 Founder Alanna Heiss, Clocktower is the oldest alternative art project in New York, and its radio station, Clocktower Radio, was founded in 2003 as one of the first all-art online museum radio stations in the world. The institution functions as a laboratory for experimentation, working closely and collaboratively with artists, musicians, curators, writers and producers to develop, realize and present innovative and challenging work in all media, ranging from installation to performance and from experimental music to radio theater. By engaging both the physical resources of its partner organizations and Clocktower Radio’s access to a broad and international online audience, ­Clocktower disseminates experimental work to numerous communities, and promotes a rich cultural and social dialogue between artists, audiences, and institutions worldwide. Clocktower produces multidisciplinary art projects all over the city through creative collaborations with Pioneer Works in Red Hook, Knockdown Center in Queens, Times Square Arts, and Jones Day in Manhattan. These spaces host Clocktower exhibitions, performances, residencies, radio, and administrative activities. Clocktower Radio’s fulltime radio production and broadcast studio is located at Pioneer Works. Clocktower Radio features a 24/7 radio stream, as well as an online audio archive featuring over 6,000 hours of indexed content, including experimental music, live in-studio performances, DJ sets, audio art, interviews, poetry readings, historic audio, radio theater, and numerous sonic surprises. For VOLTA NY 2016, Clocktower Radio streams live from the fair floor, drawing from over a decade of recordings featuring VOLTA artists including Dread Scott, Derrick Adams, Hrafnhildur Arnardóttir aka Shoplifter, and Doreen Garner of Clocktower Radio’s hit program #trashDAY, among many others.

Website: clocktower.org  | E-Mail: info @ clocktower.org Facebook: ClocktowerNYC  | Instagram: @ clocktower_nyc  | Twitter: @ clocktower_nyc Phone: +1 212 233 1096  | Contact: Alanna Heiss, Joe Ahearn Image: Logo designed by Lawrence Weiner

C obu rn P roj ec t s, N ew Y o r k  |   Ja s on Du ss a ult   |   Vo lta N Y 2016 , B o o th f 4

Co bu r n Pr o je c t s , N e w Yo rk J a s o n D ussau lt

SELF–CENTERED Does art imitate life or vice versa? One truth is that art is a reflection of ego, a mirror that projects one’s creative process onto the world. Throughout history, whether etched by the hand of an individual or by the hands of many, art tells personal or collective stories. Those seeking to express emotion they hope that another recognizes their voice and conjoins with recognition. Others might deny their creation to be forged for anything but thought provocation, yet, the understanding of struggle is the opposite of denial. Hence, we are left with the core, self-awareness, and what better medium than the self-portrait to engage ego, pride, fear and doubt? Once these contradictions take center stage we truly position ourselves in defense of our vulnerability. Jason Dussault has tackled this ancient set of complexities by putting his triumphs and shortcomings on display. In this new project, Self–Centered, the artist brings all his dynamic emotions to a focal point that orbits around self. Jason began this series of works by looking inward first and by addressing the demons that ride on the shoulders of his creativity. He realized that time, consideration, and thoughtfulness are all subject to the driving force of artistic output and they all suffer for it at some point. By etching quotes and phrases into aluminium using a knife, one of the most rudimentary tools of expression, Jason uses language to inspire his latest instalment of mosaic pieces. Beginning with powerful scripture, he then applies the fractured ceramics around the carefully set letters, all the while leaving a void space for self-reflection. Jason Dussault lives and works between New York and his hometown Vancouver. Jason re-envisioned one of the most primitive yet connected mediums in art history, the mosaic. Coburn Projects collaborates and works with major art collections, artists, galleries and corporate brands, seeking to bring to fruition contemporary art related endeavors on a global scale. Coburn Projects develops and manages the entire project successfully producing high quality presentations and exhibitions.

Website: www.coburnprojects.com  | E-Mail: info @ coburnprojects.com Facebook: Coburn Projects  | Instagram: @ brandoncoburn  | Cell: +1 646 856 9807 Contact: Brandon Coburn Image: Jason Dussault, Pablo, 2016, glazed ceramic, 36 × 48 in

ETHAN COHEN NE W Y ORK  |  A BO U DIA  |   Vo lta NY 2016 , B o o t h b 7


Aboudia’s multi-layered paintings offer a simultaneity of images and meanings that conduct a continuous discourse with each other and with the viewer. In any glance the eye takes in one or other layer which is soon overcome by the next. We are aware of the vivid, brutal pageant of contemporary Africa weaving before us like a fabric of consciousness — soldiers, skulls, African fetishes, flashes of street life — expressed with a naif vitality. The surfaces deploy fragments, cuttings, from bits of comic strips, magazine ads, newspaper images, set into the paintings’ overall compositions so as to suggest current events cohering through the imagination into a troubled and troubling vision. In the end though, the artist’s gift of cohesion transforms chaos into vitality, painful events to esthetic redemption, so one is able to see the whole as a changeable tide forever renewing hope.

Represented Artists: Aboudia, Armand Boua, Gonçalo Mabunda, Greg Haberny, Hans Breder, Huang Yan, Lan Zhenghui, Shi Chong, Qi Zhilong, Zhang Dali Website: www.ecfa.com  | E-Mail: ecfa @ ecfa.com Facebook: ETHAN COHEN NEW YORK  | Instagram: @ ethancohennyc Twitter: @EthanCohenArt  | Phone: +1 212 625 1250  | Contact: Ethan Cohen Image: ABOUDIA, Enfants de Côte d’Ivoire, 2016, Mixed media on canvas, 36.5 × 60 in

ETHAN COHEN NE W Y ORK  |   G ON ÇALO MABU NDA  |   Vo lta N Y 2016 , B o o t h b 7


The residual bric-a-brac of war are the found objects that G ­ onçalo Mabunda recycles as his medium of expression. His country of ­Mozambique, like many in Africa, had lived through a devastating civil war when he embarked on gathering shards of national memory in the form of discarded weapons fragments, piecing them together into sculptures. Out of that he forged a fantastical iconography derived from African fetish traditions rendered in rusting steel. He welds together menacing instruments of death, bullets, pistols, parts of Kalashnikovs, into disarming objects, deceptively esthetic, fused to suggest a multiplicity of meanings, not least to suggest alternate uses, and indeed alternate visions of how his culture might have otherwise employed itself with ambient materials. The objects simultaneously invite and repel, obtruding from the universe of child soldiers whose toys they once were.

Represented Artists: Aboudia, Armand Boua, Gonçalo Mabunda, Greg Haberny, Hans Breder, Huang Yan, Lan Zhenghui, Shi Chong, Qi Zhilong, Zhang Dali Website: www.ecfa.com  | E-Mail: ecfa @ ecfa.com Facebook: ETHAN COHEN NEW YORK  | Instagram: @ ethancohennyc Twitter: @EthanCohenArt  | Phone: +1 212 625 1250  | Contact: Ethan Cohen Image: Gonçalo Mabunda, My new way to think, 2014, Metal and recycled gun parts, 31 × 24 × 7 in / 78.7 × 61 × 17.8 cm

CONNERSMITH., Wa sh i ng t o n DC  |   J us t in e O tt o  |   Vo lta N Y 2016 , B o o th c 8

CO NNERSM ITH., Wa s hing t o n DC J u s t ine O t t o

Justine Otto was born in Zabrze, Poland in1974. She currently lives and works in Hamburg, Germany. Ms. Otto creates layered imagery in oil paint with loose, vibrant brushwork. Drawing inspiration from films and vintage photographs, she paints single figures, or groups, immersed in mysterious activities. The artist’s enigmatic narratives are edgy, captivating, and often humorous. Ms. Otto’s complexly integrated scenes evoke vestiges of histories, memories and dreams. Superimposing multiple portraits on single figures, or coalescing patterns from disparate time periods, she invents visions, which, though unexpected, seem strangely familiar. Handling her medium with energy and assurance, Ms. Otto deconstructs surfaces and forms. As she deftly builds visual tension between figuration and abstraction, the artist fluidly negotiates the polarities of individuality and social identity. Justine Otto’s works are featured in the permanent collection of The Phillips Collection, Washington, DC, and in numerous private collections in the U.S. and Europe. She has had solo exhibitions in many museums and public venues including: Kunsthalle der Sparkassenstiftung Lüneburg, Lüneburg, Germany; Kunstverein Duisburg, Duisburg, Germany; Städtische Galerie Neunkirchen, Neunkirchen, Germany; Museum Franz Gertsch, Burgdorf, Switzerland; Städtische Galerie Eichenmüllerhaus, Lemgo, Germany; Städtische Galerie Fürth, Fürth, Germany; Kunstverein Aurich, Aurich, Germany; and Museum Schloss Gifhorn, Gifhorn, Germany.

Represented Artists: Barry X Ball, Janet Biggs, Zoë Charlton, Maria Friberg, Susan MacWilliam, Erik Thor Sandberg, Sheldon Scott, Federico Solmi, Leo Villareal, Wilmer Wilson IV Website: www.connersmith.us.com  | E-Mail: info @ connersmith.us.com Facebook: CONNERSMITH.  | Instagram: @CONNERSMITHDC Twitter: @CONNERSMITHDC  | Phone: +1 202 588 8750  | Contact: Leigh Conner, Jamie Smith Image: Justine Otto, Blu ties, 2015, oil on linen, 59.06 × 47.24 in, Copyright Justine Otto, courtesy CONNERSMITH.

ED CROSS FINE ART, LONDON  |  Már io M ac i l au  |   V o lta N Y 2016 , B o o t h e 1

ED CROSS FINE ART, LON DO N Má r io M ac i l au

Mário Macilau: Growing in Darkness Mozambican photographer Mário Macilau is a leading figure from an outstanding new generation of African photographers. This is his first exhibition in New York City. Macilau started taking pictures in 2003 on the streets of the capital Maputo. His acclaimed series Growing in Darkness captures the lives of children across the city growing up unsupervised in abandoned structures, in a world he knows well having spent ten years on the streets himself as a youth. “My aim was to go where everyone advised me not to go. I entered their private spaces: bridges and abandoned buildings where they live and sleep, that is, where they camp. These places were very dark, damp and dangerous.” Growing in Darkness is as much about hope, beauty and the resilience of his subjects as it is about a world that fails children. It is rooted in a determination to honour the lives of his subjects without judgement and without pity but with candour and humanity. This series was part of the Vatican Pavilion’s exhibition at the 56th Venice Biennale in 2015 which centred around the theme “In the beginning there was the Word…the Word became flesh”. Curator Marie Angela Schroth: “With the art of Macilau we see a new beauty and a new hope for humanity through the creative image.” Works from his Moments in Transition series are currently on view at The Guggenheim Bilbao as part of their Making Africa exhibition. Macilau has been the recipient of numerous awards, most recently The FP Magazine’s Global Thinkers award. He was a finalist in the Unicef Photo of the Year in 2009. His work has featured regularly in numerous solo and group exhibitions, both in his home country and abroad, including: Making Africa, Vitra Design Museum and The Guggenheim Bilbao, 2015-2016; Pangaea: New Art from Africa and Latin America, The Saatchi Gallery, 2014 and The 56th Venice Biennale, Pavilion of the Holy See, 2015. Ed Cross Fine Art, established in London in 2009, specializes in visual arts from the African continent and its diaspora.

Represented Artists: Nathalie Mba Bikoro, Kimathi Donkor, Lovemore Kambudzi, Wole Lagunju, Mário Macilau, Eric Pina, Charles Sekano Website: www.edcrossfineart.com  | E-Mail: ed @ edcrossfineart.com Facebook: edcrossfineart  | Instagram: @ edcrossfineart  | Twitter: @ edcrossfineart Phone: +44 750 706 7567  | Contact: Ed Cross Image: Mário Macilau, Stairs of Shadows (Growing in Darkness series), 2012 – 2015, Archival pigment on cotton rag paper, 31.5 × 47.2 in (Edition of 6 + AP)

Cueva s T i llea rd, N ew Y or k  |  S e ba st i an Va l l ej o   |   V o lta N Y 2016 , B o o th x 7

Cu e va s Tille a r d, N e w Yo rk Se ba s t ia n Val l e j o

Sebastian Vallejo’s paintings reflect on the rare and expansive qualities that exist in nature. All his paintings in some way reflect the light of his Puerto Rican homeland. His work sets as a starting point patterned polychrome fabrics that carry visual and cultural allusions to the tropics of the Caribbean. Vallejo uses this fabric either directly — incorporating the material itself onto the canvas — or through a painterly transfer of the fabric’s saturated floral patterns. From here the work is layered with paint applied directly with the artist’s hands and fingers. The seemingly haphazard gestures yield a striking and spontaneous visual ode to color and mark making. Removing the brush, Vallejo is able communicate directly with the canvas — physically feeling the paint move across the image plane. Vallejo’s approach to painting plays on the universal language of experimentation so important to abstract art. Influenced by the classic Apollonian and Dionysian split — Vallejo pays special attention to the relationship between opposing forces. He works to refine order and capture chaos; he breaks down method with the looseness of chance. The fabrics used in his paintings are just the tangible starting point to his unique method of madness. Sebastian Vallejo is a Brooklyn-based artist born in San Juan, Puerto Rico. He received his BFA from University of Puerto Rico in 2004 and MFA in Painting and Drawing from The School of Art Institute of Chicago in 2009. His works have been exhibited widely including shows at Cuevas Tilleard, New York; Lehmann Maupin, New York; Abryant Gallery, Chicago; The Green Gallery, Milwaukee. Vallejo is a Second Prize recipient from Union League Civic and Art Foundation in Chicago, IL. Later this year he will be the subject of a solo exhibition at El Museo del Arsenal de la Puntilla in Old San Juan, Puerto Rico.

Exhibited Artists: Andrea Bergart, Rob Davis, Alex Ebstein, Benjamin Edmiston, Sarah Faux, Jordan Kasey, Emma Kohlmann, Tracy Thomason, Sebastian Vallejo, Anne Vieux Website: www.cuevastilleard.com  | E-Mail: info @ cuevastilleard.com Facebook: Cuevas Tilleard  | Instagram: @ cuevastilleard  | Phone: +1 917 868 1225 Contact: Caroline Tilleard, Anna Maria Cuevas Image: Sebastian Vallejo, Rue St. Jean, 2014, oil paint, spray paint, and fabric on canvas, 55 × 45 in

LUIS DE J ESU S LOS AN G ELES  |  E d it h B ea uc ag e  |   Vo lta N Y 2016 , B o o th b 8

LUIS DE J ESUS LOS A N G ELES Edit h B e a u c ag e

Edith Beaucage’s Skipper paintings invite you to follow a young swashbuckler couple, Petula and Gud, in a topside adventure. Petula is a young sailor who sold all of her belongings and now navigates the big salty. Her sea legs took her to the South Pacific. A femme of high spirits, she enjoys great conversations with aged tequila in her sailboat boudoir. She loves to be top free on the island, surrounding herself with quiet plants. She spends most of her time talking with her lover and shipmate, a philosopher from Denmark named Gudbjorn (whom she calls Gud). Gud loves cutting wood, making wood ornaments and thinking about how the world’s population is exponentially growing. Every afternoon Petula swims. Gud takes pictures of Petula day and night; they plumb the depths together. In parallel to Roland Barthes’ S/Z and his search for openness of interpretation in literature, Edith Beaucage organized her current body of work to allow for a loose-leaf narrative. Beaucage brings about this reversibility in this presentation by creating a series of paintings that mixes the “plot” in a non-linear fashion. The viewer will discover the paintings by looking through sculptures and paintings within the installation. Multicolor trees and freestanding painted characters are installed on the gallery floor to produce a deep focus space. The inclusion of the three levels of foreground, middle ground and background objects will create for the viewer a similar effect to a depth of field composition in cinematography, allowing the viewer to focus on both close and distant planes. Edith Beaucage (b. Quebec, Canada) lives and works in Los Angeles, California. She received her MFA from Otis College of Art and Design in 2010 and BA from Bishop’s University in Lennoxville, Quebec, Canada. She also studied at Palazzo Spinelli, Centro per L’arte e Il Restauro, Florence, Italy. Beaucage has presented solo exhibitions at CB1 Gallery, Creative Artists Agency CAA, and Bolsky Gallery at Otis College of Art And Design, all in Los Angeles. Previous group exhibitions include UNTITLED Miami with Luis De Jesus Los Angeles; On the Cusp at LAWA, Los Angeles; Miami Project Art Fair; Piasa, Paris, France; Chinese American Museum, Los Angeles; Armory Center for the Arts, Los Angeles; 2A Gallery, Los Angeles; Appeals Gallery, Amsterdam, Netherlands; Woodbury University, Los Angeles and the Colburn Music School, Los Angeles.

Represented Artists: Josh Reames, Zackary Drucker, Kate Bonner, Matthew Carter, Federico Solmi, Chris Engman, Masood Kamandy, Margie Livingston, Bryan Zanisnik, Edith Beaucage Website: www.luisdejesus.com  | E-Mail: gallery @ luisdejesus.com Facebook: Luis De Jesus  | Instagram: @ luisdejesuslosangeles Twitter: @LuisDeJesusLA  | Phone: +1 310 838 6000  | Cell: +1 858 205 2729 Contact: Luis De Jesus Image: Edith Beaucage, Top Free Petula, 2015, Oil on canvas, 40 × 30 in

Ga ler ie Ja n Dh ae s e , G h en t  |  E m e ra l d Ro se Wh i ppl e   |   Vo lta N Y 2016 , B o o th d 4

G ale r ie J a n Dha e s e , G h e n t Eme r a ld Ro s e Wh i ppl e

The Beginning 1. In the beginning God created the heavens and the earth. 2. Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters. 3. And God said, “Let there be light,” and there was light. — Genesis The painting series “Genesis” Let there be Light’ by the artist Emerald Rose Whipple explores the relationship of the soul and the Sun, embodied by the subject of modern youth. Emerald Whipple’s portrait painting series on display epitomizes New York’s Lower East Side avant-garde cult society. The series conveys the anthropology of young people; specifically the artist’s close friends and their coming of age. Every painting, meticulously executed and teeming with adolescent attraction, is derived from Whipple’s own experiences. The lustrous youths portrayed are famous but obscured in Whipple’s decadent and ravishing interpretation. The androgynous faces guise the wild romanticism, spontaneity, and sentiment of her generation while Whipple’s work explores the fundamentals of youth and the beginnings of romance, light and the soul. This universal desire is vividly brought to life and playfully documented in the adventure of each individual portrait. “At the centre of all things resides the sun. Could we find a better place in this most beautiful of all temples, from whence this light illuminates all things at once? Rightly is it called the lamp, the spirit, the ruler of the universe… Thus, the sun sits on its royal thrown and guides its children, which circle it. ‘’ – N. COPERNICUS, De Revolutionibus Orbio Ceaelestium 1543 AD The series avoids traditional portrait photography and allows Whipple to intimately engage with the subject in a collaborative editorial process in curating the image selection. The process begins with a dialogue between the artist and subject and culminates in the recollection and longing return to the moment the image was captured. In this regard the series is a product of the modern media, fashion, popular culture and styling.

Represented Artists: Dolores Bouckaert, Pavel Braila, Hedwig Brouckaert, Kobe De Peuter, Remus Grecu, Christophe Malfliet, Lee Ranaldo, Max Razdow, Kristof Van Heeschvelde, LG White Website: www.jandhaese.be  | E-Mail: jan.dhaese @ telenet.be  |  Facebook: Jan Dhaese Instagram: @ jdhaese  | Twitter: @ galjdhaese  | Cell: +32 477 437 794 Contact: Jan Dhaese Image: Emerald Rose Whipple, Megan Marie Dodge & Hanne Gaby Odiele, Cheers, 2016, oil on canvas 20 × 28 inches

Ga ler ie D iv is i on , M on t r ea l  /  Tor o n to   |  An Te L i u  |   V o lta N Y 2016 , B o o th A 5

Gale r ie Divis io n, Mo nt r e a l / Toro n t o An T e Li u

An Te Liu’s sculpture and print-based work are ruminations on memory and timelessness. In an expansive series of works begun in 2013, Liu has crafted an evolving assembly of objects that suggest the fossilized remnants of present-day material production. Domestic items and polystyrene packaging, intended to protect goods in transit, provide a point of departure for sculptures that are reminiscent of artifacts found in anthropology museums. Modernist sculpture is often thought of as embodying a sense of permanence and the ability to assimilate vast cultural references. Liu’s work resonates with these influences and positions them at the centre of a larger conversation on how reinvention and continuity overlap in paradoxical ways. Working with bronze, ceramic and concrete — the material language of endurance — Liu mines the idioms of ancient and modern sculpture to challenge how we perceive value and time in physical form. In the Tropos works, a disposable form designed to fill negative space is recast and multiplied to provide the basis for a series of delicately balanced orders. Part Endless Column, part abstract totem, the Tropos works speak to aspiration and precarity as oppositional, yet productive, forces. Addressing nuances of memory within contemporary culture, Obsolete Figure in Space is cast from a honed fragment of packing foam from a late model iMac, while Untitled (Units I – VI) is a series of photocollages in which planar views of out-moded computer equipment are reconfigured to echo brutalist architecture. Liu complicates perceptions around culture — as both a system and product — while revealing the fine line which separates an artifact from an item which has simply outlived its importance. As an ensemble, these works compel us to consider how ways of seeing and knowing shape our relationship to objects, across cultures and time.

Represented Artists: Nicolas Baier, Paul Butler, Patrick Coutu, Michel de Broin, Neil Farber & Michael Dumontier, Karel Funk, Sarah Anne Johnson, An Te Liu, Scott McFarland, Chloe Wise Website: www.galeriedivision.com  | E-Mail: info @ galeriedivision.com Facebook: galerie division  | Instagram: @ galeriedivision  | Phone: +1 514 938 3863 Cell: +1 514 971 7156 (Dominique Toutant)  | Contact: Dominique Toutant (Montreal), Gareth Brown-Jowett (Toronto) Image: An Te Liu, Obsolete Figure in Space, 2014, Cast Bronze with Patina, 9 3/4 × 4 3/4 × 14 3/8  in

Tam a r Dres dn e r A r t P ro je ct s / L i tvak C o nt em po r ary, T e l Av i v  |  E l ad K o pl er   |   Vo lta N Y 2016 , B o o t h d 13

Tam ar Dre sdne r / Lit vak Co nt e mp o r a r y, T e l Av i v Ela d K o pl e r

The shades of pink, green and light blue that dominate Elad Kopler’s paintings from the past year seem to have been taken from the palette of Henri Matisse. It looks as if this landscape picture, ensconced in an exotic colorfulness, has adopted the displacement of the painted place into the “no-place” or the utopian site to which the Fauvist painting had exiled itself a long time ago. Kopler executes the paint layers with quick and lean brush-marks, thus aligning himself with contemporary painting, which identifies with the concrete givens of its language, both textual and contextual, the chosen print tones and the schematic structure of the composition betraying his affinity with applied graphics and media products: with their synthetic, non-materiality and flat twodimensionality. Kopler’s painting does not only find the median between the cradle of modernism and contemporary art, but also alludes to moments in early modernism that tried to unite conflicting and clashing drives: on the one hand, avant guard trends attracted to the abstract, the non-real and the text’s autonomist economy and on the other hand past fixations still trapped in the dictates of mimesis and wading in landscapes and interiors. These memories of utopian landscapes from the beginning of modernism dissolve or crumble into an avalanche of shards, covered in a fall out of shreds, strewn with demolished houses whose ruins are scattered everywhere. Moment by moment, another element in the illusion that anchors the painting in a stable syntax and in significant milestones in the history of modernism shatters, and thus it also becomes clear that these anchors are hooked into the mother stations of modernism only in an external way. The patchy juxtaposition of the brushstroke marks is not backed up by any matrix or strategy, except the tendency to present a paintingtexture of bits and pieces a moment before, or a moment after, the entire space has been torn into shreds. Images that for a blink of an eye looked like houses or buildings planted in the landscape appear a moment later as hollow structures and as accumulations or assemblages of disconnected walls. Kopler’s landscapes are both utopian and dystopian, but not because they offer moments of destruction and building at one and the same time, but because each of them encompasses both hope and despair. — Sarit Shapira (edited text from Tel Aviv museum catalogue) Represented Artists: Yair Barak, Gil Desiano Biton, Tal Frank, Tsibi Geva, Gaston Zvi Ickowicz, Batia Shani E-Mail: tamari21 @ gmail.com  |  Facebook: tamar dresdner art projects Instagram: @ tamar_dresdner_art_projects  | Phone: +97 254 460 0293 Contact: Tamar Dresdner Website: www.litvakcontemporary.com  | E-Mail: info @ litvak.com Facebook: Litvak contemporary  | Instagram: @ litvakcontemporary Twitter: @ litvak_contempo  | Cell: +97 237 163 897  | Contact: Orit Ephrat Moscovitz Image: Elad Kopler, Untitled, 2016, acrylic on canvas, 70 × 56 in

Ga ler ie Du k an , Pa ri s  /  L ei p zi g  |  K ar in e R o ug ie r  |   V o lta N Y 2016 , B o o th d 16

G ale r ie Du ka n, Pa r i s   /  Le i pzig Ka r ine R o u gi e r

Opened in 2006 in Marseille, Galerie Dukan moved to Paris in 2011 in the galleries’ district Le Marais. Opening up to an international dimension, a new gallery space was recently launched inside the Spinnerei in Leipzig, Germany. After one year spent in a project space in 2014, Dukan gallery (Paris/Leizpig) opened a new 200m2 space on 1st May 2015, on the occasion of the 10th anniversary of the Spinnerei. The “Spinnerei” which was one century ago the biggest cotton-spinning industrial site of mainland Europe has turned progressively into a crucial address for contemporary art. With more than 100 artists studio, 11 galleries and difference places dedicated to creation and the arts, the Spinnerei is now seen as what the “Guardian” called “One of the hottest places on Earth”. This former industrial site attracts each year more than 300 000 visitors from all around the world. In Paris, the Dukan gallery is undergoing relocation and will open a new space at the end of the first quarter 2016. Karine Rougie r — Eyes wide open shut In her most recent works, Karine Rougier gets back to historical surrealism; indeed, we find Tanguy’s limbic landscapes, Magritte’s flying rocks and even kachinas dolls seen in André Breton’s famous photo in his office. It’s undoubtedly the changeover from drawing to painting that drains and recalls these references even if this new universe is still very closed to the paper works one. In her travels, she randomly collects a big part of her documentation; we find a drawing on a label of a Mexican fairy dust, a rare bird on a Moldavian stamp, an illustrated tutorial on a ripped on the feet corn medicine packaging from Thailand. Those combined figures get animated like a Lilliputian people during a magic trance, adoring colored bubbles or a giant hand descended from Heaven. These slippery figures on these fluid backgrounds from khaki to ochre-orange sometimes remind me of those small retinal ghosts which wander between the eyelid and the cornea just after a glare when we continue to see with the eyes closed.

Represented Artists: Josef Bolf, Folkert de Jong, Olivier Masmonteil, Josef Ofer, Alicia Paz, Jean-Xavier Renaud, Karine Rougier, Lionel Scoccimaro, Alexander Tinei, Miriam Vlaming Website: www.galeriedukan.com  | E-Mail: sam @ galeriedukan.com Facebook: galeriedukan  | Instagram: @ galerie_dukan  | Cell: +33 6 61 93 49 29 Contact: Sam Dukan Image: Karine Rougier, Sous nos pieds (detail), 2016, oil on wood, 27 × 35 cm

Du nd ee C on t em po r ary A r t s, Du n dee   |  Lucy S kaer   |   V o lta N Y 2016 , B o o th x 6

Dund e e Co nt e mp o r a r y Ar t s , D u n de e Lu c y S kae r

Dundee Contemporary Arts is a world-class centre for the development and exhibition of contemporary art and culture. We work with national and international artists to create a diverse programme across our galleries, cinema, print studio and editions programme. Opened in 1999, DCA has gained a reputation for showing internationally renowned artists early in their careers. We work directly with artists selected through this curatorial programme who develop collectable limited edition artists’ prints with us in our print studio. All proceeds from the sales of editions directly support our future activity. We are pleased to present a series of prints by Lucy Skaer following her residency in our Print Studio. Skaer’s Hogarth Reprinted series began with her own photographs of first-edition books produced by Virginia and Leonard Woolf at their Hogarth Press, a self-publishing initiative born from their rejection of the dominance of commercial printing, and a desire to reclaim the means of production. Through experimentation with different printing methods Skaer has reconstructed a ‘ghost image’ of each book cover, creating new prints that project some quality of the books’ original appearance. By displacing the book covers from their original function and removing their titles, Skaer creates works that are rich in art historical nuance. The relationship between the original stories and the altered book covers evokes considerations of form versus content, the semiotic relationship between the sign and the signified and the long-held discussion of the aesthetic experience versus historical context. Lucy Skaer was born in Cambridge, England in 1975 and lives and works in Glasgow, Scotland. From 1997 Skaer co-founded the collaborative group Henry VIII’s Wives, and worked at Transmission Gallery in Glasgow, where she had her first solo show in 2000. In 2003 Skaer was short-listed for the art prize Becks Futures and exhibited at the first Scottish presentation at the Venice Biennale. Skaer’s solo presentations include a mid-career retrospective at the Fruitmarket Gallery in Edinburgh, a major show at Kunsthalle Basel in 2009 for which she was nominated for the Turner Prize, Tulips & Roses, Brussels, and Kunsthalle Wien, 2012, Tramway, Glasgow, 2013 and Musée gallo-romain de Lyon Fourvière in 2015. She is represented by Murray Guy, New York and Peter Freeman, Inc, New York.

Represented Artists: Martin Boyce, Julia Dault, Mark Dion, Jonathan Horowitz, Jutta Koether, Maripol, Manfred Pernice, Hiraki Sawa, David Shrigley, The Yes Men Website: www.dca.org.uk  | E-Mail: sandra.derycker @ dca.org.uk Facebook: DCA.Dundee  | Instagram: @DCAdundee  | Twitter: @DCAdundee Phone: +44 1382 909255  | Contact: Sandra De Rycker Image: Lucy Skaer, Hogarth Reprinted: First Poems, 2014, Four-colour screenprint mounted by chine-collé (Edition of 10), 44 × 30 in / 112 × 76 cm

C at h eri n e Ede lm a n Ga l l ery, C hic a go   |   G re g o ry S c o t t   |   Vo lta N Y 2016 , B o o th c 15

Cat he r ine Ede lma n G a lle r y, C h i c ag o G r e go r y S c o t t

Gregory Scott has always blurred the lines between painting and photography, incorporating paintings he made of himself, or his body, back into his photographs. The resulting images were both humorous and odd, challenging the viewer’s perception of photographic truth. Then, at the age of 49, Scott decided to go to graduate school to strengthen his knowledge of art history and study video editing. In 2008, upon graduation, Scott stunned the art world with his mixed-media video works that combined installation, photography, performance, video and painting. As more and more artists blur the lines between media, Scott has taken the idea to a whole new level, presenting video-based wall pieces that are humorous and poignant, contemplative yet accessible. Scott builds sets in his studio that serve as his subject. In these sets, he records himself performing a variety of scenarios that are then edited into 6-10 minute videos. The sets are then photographed, and the resulting wall piece is a mounted photograph with a cut out for a monitor on which a video plays, and a painted element appears on the photographic surface. In each video, he shows how he constructed the set that he photographed, breaking down the barrier between maker and viewer. All of the hardware is attached to the inside of the frame, making his works self-contained. Gregory Scott was born in Ann Arbor, Michigan in 1957 and received his Bachelor degree from the Institute of Design at IIT in Chicago in 1979 and his Master of Fine Art from Indiana University in 2008. His work can be found in numerous collections worldwide including The Columbus Museum of Art (Columbus, OH), The Chazen Museum of Art (Madison, WI), Fundación Privada Sorigué (Lleida, Spain), The West Collection (Oaks, PA) among others. He currently resides in Cleveland, Ohio, and is exclusively represented by Catherine Edelman Gallery, Chicago.

Represented Artists: Daniel Beltrá, Julie Blackmon, Clarissa Bonet, Jess T. Dugan, Michael Kenna, Sandro Miller, Lori Nix, Robert & Shana ParkeHarrison, Gregory Scott, Joel-Peter Witkin Website: www.edelmangallery.com  | E-Mail: info @ edelmangallery.com Facebook: CatherineEdelmanGallery  | Instagram: @ edelmangallery Twitter: @ edelmangallery  | Phone: +1 312 266 2350  | Contact: Catherine Edelman, Juli Lowe Image: Gregory Scott, Many Shades of Richter, 2015, pigment print, oil on panel, and HD video, 33 × 43¼ in

Es pa c i o Va lv erde , M ad ri d  |  R o ber t F er r er I M ar t o r el l   |   V o lta N Y 2016 , B o o th A 2

Es pa c io Va lve r de , M adri d Ro be r t Fe r r e r I M a rt o re l l

Robert Ferrer I Martorell (Valencia, 1978) is a young geometry-inclined artist who works with different materials (acrylic, paper, aluminium) to produce very complex geometric sculptures and installations. His early works started as an abstraction of Valencia’s crop areas and farmland, but they have gradually separated from any clear figurative reference into a pure language of geometrical relations and events. In his last works and installations, Ferrer creates an order that is somehow disturbed or fractured, thus creating a sort of frozen catastrophe. He also manages to bend and manipulate acrylic so that light and space becomes a fundamental aspect of the artwork. We present an installation and the last artworks of the series “Fragments of the invisible”, where different geometrical relations appear or melt when the spectator looks (and moves around) the artwork. All artworks are hand-made by Ferrer himself and are always evolving in a very coherent, organic and meticulous way.

Represented Artists: Alejandro Botubol, Alfredo Rodríguez, Elena Alonso, Hugo Bruce, Jorge Diezma, Luis Asin, Luis Vassallo, Robert Ferrer Website: www.espaciovalverde.es  | E-Mail: info @ espaciovalverde.com Facebook: Espacio Valverde  | Instagram: @ espacio_valverde Twitter: @ espaciovalverde  | Phone: +34 91 522 6668  | Cell: +34 609572226 Contact: Jacobo Fitz-James Stuart, Asela Pérez Becerril Image: Robert Ferrer I Martorell, Series Fragments/evolució no.2, 2016, Paper, aluminium, reflective vinyl, luminescent methacrylate on wood, 81 × 80 × 16  cm

Ga ller i Fa ger st edt, S to ckh o l m   |  P e r K es se l m ar   |   Vo lta N Y 2016 , B o o th e 6

G alle r i Fa ge r s t e dt, St o c kh o l m Pe r K e s se l mar

“I want to remind us that we actually live in this sublime reality” Per Kesselmar must be regarded as one of the most interesting upcoming painters in the minimalist genre. The inspiration from American minimalist artists like Robert Ryman and Agnes Martin is present but also connotations from more romantic color-field painters such as Mark Rothko or older times misty and diffuse landscape painters as, for example, William Turner. Kesselmar paints exclusively with the white color on metal plates. He mixes the white paint in an infinite number of shades and works with several extremely thin layers, beginning from darkness and paints towards light. His paintings are in optical oscillatory motion: they can appear to vibrate, to verge in the background wall or penetrate into the room. Kesselmar’s installations with steel sticks and a mixture of natural and artificial shadows sharpens our sight and spatial experience with very small gestures and expressions. For the VOLTA NY soloshow we present paintings with white oil paint on steel, with several thin layers of white paint in different nuances of white and installations with steel sticks, aquarelle paint and natural shadows as an important part of the piece. All together the pieces appears to be stretched in time and space. The works appeals as much to be about color and light as well as about shadow and darkness. With extremely simple and poetic mediums, the artist creates visual impressions and experiences at the painting’s outer limits, artworks that occur temporarily on the retina at the moment here and now in a sublime way. The works of Kesselmar interact with and challenge our sight, and visions will emerge gradually for those who observe carefully.

Represented Artists: David Svensson, Fredrik Helander, Hyun-Jin Kwak, Jårg Geismar, Lisa Strömbeck, Lone Larsen, Monica Höll, Niels Bonde, Per Hüttner, Per Kesselmar Website: www.gallerifagerstedt.se  | E-Mail: info @ gallerifagerstedt.se Facebook: Galleri Fagerstedt  | Instagram: @ elisabethfagerstedt Twitter: @ fagerstedt  | Cell: +46 70 628 78 85  | Contact: Elisabeth Fagerstedt Image: Per Kesselmar, Manipulated Shadows (installation view), 2015, steel sticks, aquarelle paint

JONATHAN FERRARA GALLERY, Ne w O rl e an s   |  SKY LAR F EIN  |   Vo lta N Y 2016 , B o o th d 23


Skylar Fein was born in Greenwich Village and raised in the Bronx. He has had many careers including teaching nonviolent resistance under the umbrella of the Quakers, working for a gay film festival in Seattle, stringing for The New York Times and as pre-med student at University of New Orleans where he moved one week before Hurricane Katrina hit. Fein is best known for his large-scale installations, including Remember the Upstairs Lounge, an exhibit during Prospect.1 Biennial that threw a spotlight on a little-known chapter of history. The 1973 arson fire at a gay bar in the French Quarter is still the deadliest attack against gay people on record. But here, the artist turns to something on a more intimate level. Fein says of the “Giant Metal Matchbooks” series… Why matchbooks? It reflects the artist’s love of pop culture, its vibrancy and also its accidental depth and poignancy. “A common object is a perfect meeting place.” That’s a Claes Oldenburg quote, and it’s still true — the most banal objects, aren’t. Obviously Oldenburg’s giant sculptures are forerunners, along with a dash of Warhol’s Brillo boxes and a side of “Honey, I Shrunk the Kids.” The aluminum matchbooks open up, revealing — yes, giant wooden matches, with realistic (rubber) match heads. Do they light? Not exactly. But they burn. Skylar Fein was the recipient of a 2009 Joan Mitchell Foundation Award and his work is in several prominent collections including The Whitney Museum of American Art, The Brooklyn Museum, The Frederick R. Weisman Art Foundation, The Louisiana State Museum, The Birmingham Museum of Art, the New Orleans Museum of Art, curators Dan Cameron and Bill Arning, and collectors Beth Rudin DeWoody, Lance Armstrong, Lawrence Benenson, Brooke Garber-Neidich, Stephanie Ingrassia and Thomas Coleman. Fein lives and works in New Orleans, LA and is represented by JONATHAN FERRARA G ALLERY.

Represented Artists: Mel Chin, Margaret Evangeline, Bonnie Maygarden, Adam Mysock, Michael Pajon, Gina Phillips, Nikki Rosato, Marna Shopoff, Sidonie Villere, Paul Villinski Website: www.jonathanferraragallery.com  | E-Mail: info @ jonathanferraragallery.com Facebook: JonathanFerraraGallery  | Instagram: @ jonathanferraragallery Twitter: @ jferraragallery  | Phone: +1 504 522 5471  | Cell: +1 504 343 6827 Contact: Jonathan Ferrara, Matthew Weldon Showman Image: Skylar Fein, Black Flag for Guy Debord, 2012, acrylic on plaster and wood, 68 × 114.5  in

Fi eld P ro jec ts , N ew Y o r k  |  R o bi n Ka n g  |   Vo lta N Y 2016 , B o o t h x 2

Fie ld Pr o je c t s , N e w Yo rk Ro bin K ang

Field Projects is pleased to present the work of Robin Kang. Drawing connections between the history of the textile industry and the development of technology, Kang weaves tapestries that combine computer related imagery, digital mark making, and symbolism from historical textiles. After researching early computer hardware, Kang discovered the earliest memory storage hardware included both hand-woven copper wires and hand-drawn solder lines. Finding inspiration from this link between old and new technologies, she uses a Jacquard handloom, itself a contemporary version of the first binary computer, to depict motherboard hardware, symbols from ancient weaving traditions, and Photoshop brush strokes with woven interlocking threads. Originally from Texas, Robin Kang received her MFA at the School of the Art Institute of Chicago and currently lives in Brooklyn, NY. Her textiles, sculptural installations, and video work have been exhibited throughout the US, Canada, Spain, and recently at the Essl Museum in Vienna, Austria. She has participated in artist residencies in Texas, Michigan, and Beijing. Robin is the founder and director of Carousel Space Project, an alternative arts space in Chicago, and PENELOPE, a project space in Ridgewood, Queens. Field Projects is an artist-run project space and online venue dedicated to emerging and mid-career artists. Centered on long-term curatorial projects, Field Projects presents monthly exhibitions at their Chelsea location in addition to participating in pop-up exhibitions and art fairs. Field Projects was founded by artists Jacob Rhodes and Keri Oldham in 2011 and is currently run by artists Jacob Rhodes, Rachel Frank, and Jason Mones, and curator Blair Murphy.

Website: www.fieldprojectsgallery.com  | E-Mail: info @ fieldprojectsgallery.com Facebook: Field Projects  | Instagram: @ fieldprojects  | Twitter: @FieldProjects Cell: +1 323 633 5764  | Contact: Jacob Rhodes, Rachel Frank, Jason Mones, Blair Murphy Image: Robin Kang, Phantasmic Data Dawn, 2015, Hand jacquard woven cotton, wool, synthetic fiber, plastic, metal rod, 56 × 98 in

Fi rs t Flo or G al l e ry Ha ra re   |   W y c l iffe Mu nd o pa  |   Vo lta N Y 2016 , B o o th x 8

Fir s t Flo o r G a lle r y H arare Wyc liffe M u n do pa

As a painter, Wycliffe Mundopa is a griot, with a mission to ensure that lives of his contemporaries are recorded for posterity. While Harare does not as yet speak with voice audible on a global scale, the metropolis is the crucible in which the aspirations of today’s Zimbabwean are forged. It is the stage-set for the country’s march through historical drama of independence, which is spelled out in lofty principles but is lived out in the extraordinary circumstances of ordinary lives in the city. For Mundopa, Harare is an inevitable and an imperative muse. A city he finds hard to love and impossible not to. Mundopa’s Harare is a woman, self-conscious and seductive, a proud custodian of tradition despite every colonial effort to defeat and oppress her and rising up to meet every challenge that daily life presents, failing, compromised but undefeated. Paying homage to the history of painting in composition, his subjects throw us almost recklessly into drama and turmoil of the lives of Harare denizens living outside the limelight. Using symbols, which translate into urban slang and traditional proverbs, enables him to create surreal narratives where motherhood meets prostitution, childhood meets responsibility amid suffocatingly complex social relationships. He attacks his daily realities with dark humour and compassion, immersing us in the passions of the city, which will shape the view of Harare forever.

Represented Artists: Gresham Tapiwa Nyaude, Richard Butler Bowdon, Lauren Webber, Troy Makaza, Julio Rizhi, Miro Mwandiambira, Tendai Mupita, Mavis Tauzeni, Thomas Muziyirwa Website: www.firstfloorgalleryharare.com  | E-Mail: firstfloorgalleryharare @ gmail.com Facebook: First Floor Gallery Harare  | Instagram: @ firstfloorgalleryharare Twitter: @FFGHarare  | Cell: +263 775 709031  | Contact: Valerie Kabov Image: Wycliffe Mundopa, Paradise of Vice, 2015, oil, acrylic and ink on canvas, 132.6 × 187.5  cm

Fole y Ga llery, N ew Y or k  |   Jo se ph D e sl e r C os ta  |   V o lta N Y 2016 , B o o th c 17

Fo le y G a lle r y, N e w Yo rk J o s e p h De s le r C o sta

The title of this body of work, Extreme Learning Machine, draws inspiration from learning devices designed to replicate artificial learning techniques and biological learning mechanisms. Based on algorithms of human nervous systems, ELM has infinite learning capacity and captures the intuitive efficiency of brain learning. Costa’s photographs physically mimic this digital and retouched reality by using in-camera techniques, cut paper, and studio constructions rather than the modern tools of Photoshop. The analog reconstruction as a proxy to the real world reflects a condition in which identity, space, and desire are fluid from one moment to the next. Compositions recreate a reality where the digitally constructed and altered image imposes itself on our notions of space, place, intimacy, and self. Costa uses masculine signifiers and manufactured objects and re-contextualizes them so that they shift seamlessly between a physical reality and fabricated illusions. Objects, symbols and logos of mass production and consumption become vehicles for transcendence, as they are rendered and abstracted to be simultaneously melancholic and sublime. Costa’s practice is very much a processed-based labor. Works absorb, mimic and inevitably humanize the visual language made possible by machine and imaging software. Compositions attempt to recreate the texture of a reality that has widened and opened via our ever-present screens and devices. Temporal experience now unfolds in a state of constant flux, shifting between a physical reality, and the seduction and distraction of the more desirable illusions and versions constantly presented, fabricated and delivered through our screens. Costa lives and works in Brooklyn, NY and Florence, Italy. He holds degrees from the University of Colorado at Boulder (BA) as well as ICP Bard College (MFA).

Represented Artists: Thomas Allen, Richard Barnes, Amy Casey, Wyatt Gallery, Lauren Henkin, Ina Jang, Martin Klimas, Henry Leutwyler, Casey Ruble, Simon Schubert Website: www.foleygallery.com  | E-Mail: info @ foleygallery.com Facebook: Foley Gallery  | Instagram: @ foleygallery  | Twitter: @ foleygallery Phone: +1 212 244 9081  | Cell: +1 646 729 8117  | Contact: Michael Foley (Director), Jamie Russell (Contact) Image: Joseph Desler Costa, Cyan Palm Pass Through, 2015, Dye Sublimation on Aluminum, 48 × 32 in

“T h e Ga llery”, N ew Y o rk   |   F r ank l i n Co l l ec ti v e  |   V o lta N Y 2016 , B o o th c 13

“The G a lle r y” , N e w Yo rk Fr a nklin C o l l e c t i v e

Franklin Collective’s “The Gallery” is a living sculpture, one intended to offer a critical contemplation of the contemporary gallery model and the meaning of value in art. “The Gallery” initiates discussion, while pushing for an informed and engaged public. This is achieved by implementing an immersive, multi-faceted institutional critique dwelling in both offline and online realms. “The Gallery” aims to empower the viewer with the political and practical framework of gallery as institution. With documents and environment embodied, the viewer can confront, negotiate, and resolve significant issues in a familiar space. Like any institution, “The Gallery” functions through a series of subsidiaries, reminding the viewer that the overall structure of any aspect of commerce remains the same — whether it is an art gallery, a department store, or a mobile phone contract. Through “The Gallery” products, value is considered in the aspect of aura, branding, and the ability to purchase access to culture. In “The Gallery”, the viewer is placed at the highest level of importance. Franklin Collective provides a setting whereby the structure becomes human through the viewer’s engagement. The viewer is drawn out of a passive role and made active. Viewer as work. Work as viewer. Both, then, travel together. The Collective seeks to build a setting in which difficulty overpowers ease, bespoke overpowers automatic, signature overpowers autofill, touch overpowers gaze. “The Gallery” constructs its image by providing its shadow. This shadow exists both online and in brick and mortar installations. It exists in the specific language used in official documents, the interoffice correspondence, the public voice of “The Gallery” through its online identity, legally binding agreements, and the chatter around an electrical outlet. Franklin Collective believes that art should be used as a force for positive political, social, and economic change. “The Gallery” is dedicated to unpacking the various assumed rules and roles within the art world, thus identifying the non-negotiables of a contemporary art gallery and giving space to what can be reconsidered. Guests of “The Gallery” shred, charge, drink, spritz, tweet, share, cry, steal, leak, invade and become entangled in our network as sculpture. It’s ... “interesting” Franklin Collective invites you to look, flirt, and even touch* *not the interns.

Website: www.thegallery.gallery  | E-Mail: thegallery @ thegallery.gallery Facebook: thegallery.gallery  | Instagram: @ thegallerynyc  | Twitter: @ thegallerynyc Phone: +1 347 815 5653  | Contact: Franklin Collective Image: Franklin Collective, The Gallery, Dossier, 2015, laser toner on paper, 8.5 × 11  in

fro s ch &p or tm an n , Ne w Y o rk   |  H oo pe r Tu rn er   |   Vo lta N Y 2016 , B o o th c 14

fr o s ch& p o r t ma nn, N e w Yo rk Ho o p e r T u rn e r

Hooper Turner has a conflicted relationship with advertising. The artist’s meticulous paintings of expensive bone china and Gucci-wearing beauties reflect his interest in mass-produced ephemeral printed material. By “remaking” commercial imagery, he confronts and questions his and the viewers’ desire for these elusive products and lifestyles. With the series “Typeforms”, found imagery is again a significant factor and is used more literally, as Turner paints directly onto the various supports, be they art auction catalogs, fashion ads, or publicity photos of celebrities and models. Using the widely used sans-serif typeface Helvetica for its association with rationality and corporate logos, the artist paints letters and numbers on these preexisting images and thus creates various interactions and readings — sometimes the underlying imagery almost disappears completely, other times the simple painted form emphasizes its presence and power. By painting over his sources rather than simply referencing them, Turner points to the conversation and struggle of the individual artist working within the canon of art history. Like his earlier paintings, these works reference the conflict of maintaining a unique material presence in a time of mass-dissemination and commodification. The artist’s most recent black and white works on paper are reflections on New York, the forms of this great city. New York’s alright. It’s alright because the City is a living, messy abstraction. But nothing is really abstract in New York. Here are drawings and collages, pictures of those lovely Art Deco foyers, street grids and the Queensborough Bridge. So look closely at New York and always feel connected and alive as it slowly, powerfully transforms you. Born in Charlotte, NC, Hooper Turner lives and works in New York. He received his B.F.A. from the University of North Carolina at Asheville and his M.F.A. from the University of Georgia at Athens.

Represented Artists: Raffaella Chiara, Seth Michael Forman, Steve Greene, Eva Lake, Julia Kuhl, Hooper Turner, Vicki Sher, Robert Yoder Website: www.froschportmann.com  | E-Mail: eva @ froschportmann.com Facebook: frosch&portmann  | Instagram: @ froschportmann Twitter: @ froschportmann  | Phone: +1 646 820 9068  | Contact: Eva Frosch, hp Portmann Image: Hooper Turner, #129, 2013, oil on catalog page, 12 3/4 × 9 7/8 in

Ga ler ie Th o ma s F u ch s, S t u tt ga r t   |   J oc h en He i n   |   Vo lta N Y 2016 , B o o th A 7

Gale r ie Tho ma s Fu c hs , S t ut t g art J o c he n H e in

Over the last few years German artist Jochen Hein (*1960 Husum, DE) has caused quite a stir with several museum exhibitions and a book on his work that was published by Hatje Cantz in 2013. With his seemingly realistic paintings, the Hamburg based artist dupes the viewer. Hein plays with the effect of the visual appearance of his works from a distance and from close-by. What seems like a nearly realistic seascape or park scenery dissolves into pure painting-material as the viewer comes closer to the canvas. Over many years Hein developed his unique technique: with a skidding movement of his hand holding the brush he brings the color onto the canvas and thus, for example, creates the glitter on many of his seascapes. As he can’t control where exactly the color-spots will find their position in the painting one could speak of some kind of controlled accident. About his technique and its correlation to the content of his work Jochen Hein says: “My painting is a mixture of accident and necessity, that means I indeed have a plan but in detail the uncontrollable has to interfere in order to give the motifs their appropriate complexity. Creation isn’t fun without mutations! By the way, this is the process in which life, evolution developed. How else should nature be depicted appropriately? And the tension between the visual appearance of the paintings from the distance and their banal material character from close-by reflects the tension that lies between expectation and reality. I want to show that we don’t realize what we see: even illusion is an illusion. A painting first seems successful to me, when I don’t know myself how I got there. I develop my technique further for every painting. Here accidents are the most precious fortuities to attain new possibilities of painting. The combination of glazes of fluid acrylic and sculptural foundations, application and removal of the colors with all kinds of instruments and self-circumvention makes it my painting. For me the beach is already a border to the other world, less the horizon. Despite what others think, I do not love the water. Rather I am afraid of it, stand in awe of it. For me it is the expression of a primeval aggregation state which we come from and were we eventually end up.

Represented Artists: Patrick Angus, Mona Ardeleanu, Steven Black, Winston Chmielinski, Rudy Cremonini, Rainer Fetting, Sebastian Gumpinger, Vivian Greven, Bertram Hasenauer, Jochen Hein Website: www.galeriefuchs.de  | E-Mail: info @ galeriefuchs.de Facebook: GalerieThomasFuchs  | Instagram: @ galeriefuchs  | Twitter: @ galeriefuchs Phone: +49 711 933 42415  | Cell: +49 157 850 94470  | Contact: Thomas Fuchs, Andreas Pucher Image: Jochen Hein, Ocean Surface XXVI, 2015, acrylic on cotton, 39.4 × 56 in

Luc y G ar c ía Ga l l ery, S a nt o D om ing o  |   J o rg e P i n e da  |   Vo lta N Y 2016 , B o o th d 10

L ucy G ar cía G a lle r y, Sa nt o D oming o J o r g e Pine da

A few year ego, at some point, I was unsure on how to integrate the form and the concept while maintaining my style in order to have my work being recognizable from the first sight. I started getting bored from this ever-returning subject of style. That really was a battle with my ego, and I got the following conclusion: if the extraordinary gift of contemporary art is a total freedom of concept and form, why to waste time looking for a style, when my style could be not having one at all. I decided that all I need is to be honest to the work and to myself, which is how the real truth of the work is revealed. So I started listing to and observing my own ideas, carefully evaluating the materials and the format I was using to express a particular idea. The materials I use in my work have a direct, immediate and strict relationship with the work’s idea; sometimes they represent the concept itself. Artists, we create worlds. And these worlds have their own rules. Some of those rules are designed by us. Sometimes it may happen that those worlds establish their own rules. Then we need to be modest enough to recognize it, let go and to allow it. We give some clues to the viewers to get into those worlds. During the creative process we have to know the rules and to act according to them in order to understand that delicate and fragile organism we call a piece of art. It must be held with love until it is able to get out and to be seen by the public. — Jorge Pineda

Represented Artists: Daltón Gata, Hanna Parr, Jorge Pineda, José Miura, Pepe Mar, Quisqueya Henríquez, Raquel Paiewonsky Website: lucygarciagallery.com  | E-Mail: art @ lucygarciagallery.com Facebook: Lucy García Contemporary Art  | Instagram: @ lucygarciagallery Twitter: @Lucy Garcia Gallery  | Phone: +1 809 697 5825  | Contact: Lucy García Image: Jorge Pineda, Superego, 2016, Red ink pen on 300 grams Arches paper, 56 × 76 cm

GE Ga leri a , Mo n t er r ey /  Ne w Y o rk   |  Mar in a Var g as  |   V o lta N Y 2016 , B o o th c 6

G E G ale r ia, Mo nt e r r e y / N e w Yo rk Ma r ina Varg as

“ Neither Anim a l no r A ng e l ” By Marina Vargas “Neither Animal nor Angel” is one of my latest projects recently shown at the Contemporary Art Centre (CAC) at Malaga, Spain. For my involvement with GE Galería for VOLTA NY, we have selected three pieces that are closely related and very representative of this project. These pieces reflect on the new visions of inherited knowledge, beauty, and the concept of liberation. The main drive of this project is to destroy and question the classical canon: to bring outside what is inside, and inside what is outside — as if the sculpture returns to its original form — creating a new idea of anatomy that takes a more primitive approach. In this way, the titles of the artwork are related to the concept of the body that Paracelsus conceived as an internal relationship between the material or animal body, the astral body and the luminous body. Of all the pieces that make up this project, there is one image that opens and closes the meaning of this art show. It is a self-portrait in which I embrace one of the most enigmatic works of art history: the torso of Belvedere. This image comes as a gesture of reconciliation with the concept of the female nude in classical culture, as it appeared later and in a more modest way. In the past, women who wished to pursue art careers could enter the art world only as models in male artists’ studios or in convents, in order to fully devote themselves to their mission. This work, called “The model and the artist”, is nothing more than a gesture of reconciliation and poetic claim. A fragile gesture from where strength arises. My past sculptural intervention arises from this photo-performance: Torso de Belvedere (Aurum potábile) or Torso of Belvedered (Liquid Gold) is a result of my bodily relation with the sculpture. Therefore, the polyurethane in the sculpture flows as an eventful amatory fluid which impregnates the torso. The association with the term “Paracelsus” (liquid gold) is the supreme elixir of the life that transforms the human body. I am not an animal, and I am not an angel, but I swear on the dialogues of the opposites, even though the passion (pathos) entices me more than the norm (ethos). Balancing these dualities is the result of my work because, as André Bretón said: “Beauty will be convulsive, or will not be”.

Represented Artists: Sergio Belinchon, Erika Harrsch, Lluis Lleo, Antonio Mesones, Yigal Ozeri, James Rielly, Juan Miguel Pozo, Ray Smith, Marina Vargas, Santiago Ydañez Website: www.gegaleria.com  | E-Mail: nt @ gegaleria.com  |  Facebook: GE GALERIA Instagram: @ gegaleria  | Twitter: @ gegaleria  | Phone: +1 477 1367 Cell: +1 917 403 4904  | Contact: Brenda Gutierrez (Latin América), Nina Turudic (USA) Image: Marina Vargas, El Modelo y la artista, 2015, Digital Print on cotton paper, 100 cm × 80 cm

Fred Gi a mp i etr o G al l ery, Ne w H av en   |   B e cca L o w ry  |   V o lta N Y 2016 , B o o th A 12

Fre d G iampie t r o G a lle r y, N e w H av e n B e c c a L o w ry

These pieces are built to protect. They are shields, force fields, and talismans, each custom-made to safeguard against a particular threat: One will ward off an impending storm, another will scatter daemons, a third will hold tight to your heart while you do something ridiculously, recklessly brave. These shields tend not to be combative — the pointy edges are more like the decorative fringe of a rug than they are the point of a spear. I think, instead, they’re meant to hold a person up, to bolster strength and resolution in a moment of great uncertainty. And then, when the coast is most certainly clear, they are meant to be hung, quietly, carefully, back on the wall. If I could make a shield for everyone in the world I would. And if these shields actually worked — if, like Spiderman’s suit, they fused to the body of the vulnerable and awakened superhuman strength and courage, — if there were actually something that I could build to give a kid wings, to amplify a small voice, to distill anger into forgiveness, then I would be obliged, and you would be obliged, to stop whatever it is we’re doing right now and mass-produce these things.

Represented Artists: John Benicewicz, Power Boothe, Celia Johnson, Jilaine Jones, Zachary Keeting, Will Lustenader, Loren Myhre, Jana Paleckova, Peter Ramon, Becky Yazdan Website: www.giampietrogallery.com  | E-Mail: fredgiampietro @ gmail.com Facebook: FRED.GIAMPIETRO  | Instagram: @GiampietroArt  | Twitter: @GiampietroArt Phone: +1 203 777 7760  | Cell: +1 203 415 8713  | Contact: Fred Giampietro Image: Becca Lowry, Phasers on Stun, 2015, Mixed media on carved wood, 24.5 × 18.5  × 4 in

M ar in a Gi s i c h G al l e ry, Sai n t P et ers bu r g  |  K er i m R ag i m o v  |   V o lta N Y 2016 , B o o th c 11

M arin a G is ich G alle r y, Sa int Pe t e r sb u rg Ke r im R agimo v

Marina Gisich Gallery was founded in 2000 by Marina Gisich. One of the oldest galleries in St. Petersburg and one of the leading contemporary art galleries in Russia at the moment, the gallery is focused on contemporary art of the Russian origin. The list of artists includes authors who started their work during Perestroika time in Russia and now are well-established in the international art scene, and a young generation of Russian artists shaped in the last 5 – 8 years. The gallery willingly promotes contemporary art both locally and internationally. Lately several successful projects have been brought to life under the gallery’s curatorial oversight: Ural Vision Gallery (Russia); “Crystallizations” project, WAM Museum (Finland), Galerie Musee Kums (Belgium) etc. At VOLTA NY 2016 Marina Gisich Gallery presents “Human project” by Kerim Ragimov (b. 1970) — one of the key artists whom the gallery has been working with for 15 years. In 1994 Ragimov started working under several projects that reflect his interest in photo-based art. Although he uses painting as the predominant technique in his work, Ragimov does not consider his canvases to be independent works in their own right. He conceives his work in terms of conglomerations — series, cycles, projects. Thus, one of the main series, “Human Project”, remains unfinished to this day and continues to have new works added to it. The artist defines this project as a work in progress. If pop artists, by trying to turn a banal object into a consumer icon, are presenting it as something that is unique and exclusive, then Ragimov, by working in the context of the information society as opposed to the consumer society, is, on the contrary, attempting to present the most varied (including the most exclusive) things in a single series of balanced media symbols. Participant of Shanghai Biennial (2004, “Human project” series); listed in 100 Contemporary Artists – Ice Cream by Phaidon (2007); participant of European Biennial of Contemporary Art Manifesta 10 (parallel program) (2014). Works and lives in St. Petersburg, Russia. Selected collections: MuHKA Museum (Antwerp), Art Philein Foundation (Lugano), Mudima Foundation (Milano), Sirius Foundation (Italy), Beyaz Muzayede Auction House (Istanbul), Novy Museum (St. Petersburg), Cultural Foundation “Ekaterina” (Moscow), large private collections in the USA, European countries and Russia. Represented Artists: Marina Alexeeva, Vladimir Kustov, Kerim Ragimov, Peter Belyi, Vitaly Pushnitsky, Kirill Chelushkin, Evgeny Yufit, Gregori Maiofis, Tanya Akhmetgalieva, Ivan Gorshkov Website: www.gisich.com  | E-Mail: marina.gisich @ gmail.com Facebook: MarinaGisichGallery  | Instagram: @ marinagisichgallery Twitter: @ marina_gisich  | Phone: +78123144380  | Cell: +79046405573 Contact: Marina Gisich Image: Kerim Ragimov, Human project. Episode #42, 2010, Oil on canvas, 200 × 258 cm

Go rdo n Ga llery, T e l Av iv  |  A mi r H . Fal l a h   |   V o lta N Y 2016 , B o o t h b 2

G o r do n G a lle r y, T e l Av i v Amir H . Fal l ah

Since its establishment in 1966, Gordon Gallery has held hundreds of exhibitions and published dozens of catalogues and art books. The gallery is known for its collection of fine Israeli art, one of the largest of its kind, as well as for representing today’s leading Israeli artists. In 1977 the Gordon Gallery founded Israel’s first auction house, which became one of the corner stones of the Israeli art market. The gallery and auction house played an instrumental part in building some of the most prestigious collections of Israeli art, both in Israel and abroad. In 2012 Gordon Gallery 2 opened as a sister gallery to the established Gordon Gallery. Gordon Gallery 2 focuses on contemporary art from Israel and abroad and on the next generation of artists, with an emphasis on international exhibitions and collections. Working with this new generation of artists, enables both galleries to represent a comprehensive view of art today, with the perspective gained from decades of exhibiting leading contemporary art. In 2016 Gordon Gallery will open its third space, its first in south Tel Aviv. Amir H. Fallah, B. 1979 Amir H. Fallah’s approach to art making is akin to the process of an archaeological dig. He begins by assuming the role of an analytical historian, investigating his subjects’ lives through the analysis of their personal belongings. Investigation of these objects slowly reveals the lives of the subjects, a history that becomes a complex mixture of facts and symbolism. Fallah’s work is interdisciplinary, but is clearly rooted in the canon of portraiture. He visits his subjects’ homes, and assembles a collection of their belongings that allude to their stories and identities. He becomes the arbiter of these individuals’ histories, curating found elements into contemporary portraiture. Through this process he does not attempt to beautify or flatter his subjects, and focuses on integral points of their lives that subsequently shaped who they were as individuals. In direct opposition to the history of portraiture, he hides the true identity of his subjects by cloaking them in vivid, patterned fabrics found amongst their belongings. The viewer is forced to craft an identity for his subjects through their own interpretation of the curated elements he has presented.

Represented Artists: Larry Abramson, Yaacov Dorchin, Ruthi Helbitz Cohen, Ohad Meromi, Michal Na’aman, Michel Platnic, Sasha Serber, Khen Shish, Russell Tyler, Gal Weinstein Website: www.gordongallery.co.il  | E-Mail: gordongl @ netvision.net.il Facebook: Gordon Galleries  | Instagram: @ gordongalleries Phone: +97 235 240 323  | Cell: +97 252 632 2262  | Contact: Amon Yariv, Michal Freedman Image: Amir H. Fallah, Reclining Muse, 2015, acrylic, colored pencil and collage on paper mounted to canvas, 6 × 4 feet

Mu ri el Gué p in G al l e ry, Ne w Y o rk   |  Keu n Y o un g Par k  |   Vo lta N Y 2016 , B o o th d 15

M u r ie l G u é p in G a lle r y, N e w Yo rk Ke u n Y o u ng Park

Keun Young Park depicts the body in a state of transformation. Her works on paper show floating figures, faces, draped arms and cupped hands, which appear to be disintegrating and reforming at once. The artist begins her process with original photographs keyed to various evocative hues. The images are shredded by hand into thousands of tiny pieces that are then reassembled. Between the pasted pieces are thin, white, vein-like lines that reveal the texture of the paper’s edge. Park’s practice has a relationship to the precision of Pointillism, the uniformity of Benday dots and the repetition of digital pixilation but her works retain a tactile, hand-made quality through the irregularly shaped elements from which they are formed. Keun Young Park was born in 1977 and educated in Seoul, South Korea. She received BFA and MFA Degree in Sculpture at Seoul National University. Since 2005, Park has lived and worked in New York and New Jersey. Park has had numerous solo and group exhibitions at galleries and art fairs in the United States, Europe and Asia. Her work is in museum and private art collections from all over the world.

Represented Artists: Laurent Chehere, Matthew Conradt, Treasure Frey, Yongjae Kim, Joanie Lemercier, James Minden, Numen / For Use, Paula Overbay, Keun Young Park, Robert Szot Website: www.murielguepingallery.com  | E-Mail: contact @ murielguepingallery.com Facebook: Muriel Guepin gallery  | Instagram: @ murielguepingallery Cell: +1 347 244 0152  | Contact: Muriel Guépin Image: Keun Young Park, Mina (Red Face), 2016, micro mosaic collage, torn and pasted photo on paper, 40 × 32 in

HA FEZ G ALLERY, J EDDAH  |  Mo ham me d Al G h am di   |   V o lta N Y 2016 , B o o th c 5

HAFEZ G ALLERY, JEDDAH Mo ha mme d A l G h amdi

Born in Al Baha, Saudi Arabia in 1959, Mohammed Al Ghamdi recycles the refuse of our changing society, shaping them into a new definition of value and beauty, fossilizing into eternity moments we thought obsolete. His experience with art long precedes his engineering qualifications but drew on it with his knowledge of materials. Al Ghamdi has participated in over 50 group exhibitions around Saudi Arabia, including: the Saudi Center for Formative Arts since 1991, General Presidency of the Youth Welfare Exhibitions in Jeddah and Riyadh, Formation House Exhibitions from 1993-1998, Al- Janadriyah Cultural Festival in 2000 as well as the Atelier Jeddah. He also participated in numerous international exhibitions, including, Cairo Biennale (2001) Saudi Cultural Week in Tehran (2002) and Nabat Exhibition in Shanghai (2010). Al Ghamdi held 7 solo exhibitions in Jeddah between 1996 and 2009 at The Saudi Center and Atelier Jeddah. He is a recipient of many awards such as 2nd Prize in Al Janadriyah Festival in Riyadh (2000) and First Prize in Drawing and Painting from Sharjah Biennale (2001). Al Ghamdi published many articles about art and culture in newspapers, and his artwork is included in both private and public collections.

Represented Artists: Sara Al Abdali, Raeda Ashour, Mohammed Al Ghamdi, Awdah Al Zahrani, Ibrahim El Dessouki, Maha Mallouh, Mounirah Mosly, Ahmed Nawar, Filwa Nazer, Taha Sabban Website: www.hafezgallery.com  | E-Mail: info @ hafezgallery.com Facebook: hafezartgallery  | Instagram: @ hafezgallery  | Twitter: @ hafezgallery Phone: +96 612 613 4111  | Cell: +96 655 551 7000 Contact: Salma Enani (Manager), Qaswra Hafez (Director) Image: Mohammed Al Ghamdi, Untitled, 2014, Mixed Media On Wood, 100 × 150  cm

HA FEZ G ALLERY , J EDDAH  |  IBRAHIM EL DESSO UKI  |   V o lta N Y 2016 , B o o th C 5


Born in Cairo, Egypt in 1969, Ibrahim El Dessouki descends from a family of artists, as his father Fahmi El Dessouki and mother Atyat Sayed were well-known and established Egyptian expressionist painters and free-thinking intellectuals, and both greatly influenced the artist that Ibrahim had become. Dessouki’s painting style is defined by his unique treatment of paint, which concentrates on his ability to create subtle changes in its texture; his unusual use of negative space; and his deft manipulation of shadow and light. While the artist’s painting genres encompass portraiture, landscape and still life, Dessouki’s subject matter is very much Egypt-centric, capturing his own unique and hypnotic perspective of the soul and essence of Egypt. Dessouki is famous for his paintings of women; some of those paintings express his nostalgia for the women who strolled in his neighborhood when he was a child with their ample bodies hardly covered with a graceful shawl. His paintings of women are simple yet rich with grace and softness; his style is as pleasing to the eye and elegant as his subject matter. Graduated from Helwan University with a BA in Fine Arts in Cairo 1992, obtained MA on “The London School and British Painting since 1945” in 1997 and a PhD on “Dynamics in painting” in 2003, Dessouki has exhibited widely in both the Middle East and Europe, including an exhibition at Bousheri Gallery (Kuwait, 2012), Institut du Monde Arabe (Paris, 2008) and Casa Arabe (Madrid, 2014). His work was also featured in Cairo International Biennale, and included in the collections of the Egyptian Museum of Modern Art and the Arab Museum of Contemporary Art in Qatar.

Represented Artists: Sara Al Abdali, Raeda Ashour, Mohammed Al Ghamdi, Awdah Al Zahrani, Ibrahim El Dessouki, Maha Mallouh, Mounirah Mosly, Ahmed Nawar, Filwa Nazer, Taha Sabban Website: www.hafezgallery.com  | E-Mail: info @ hafezgallery.com Facebook: hafezartgallery  | Instagram: @ hafezgallery  | Twitter: @ hafezgallery Phone: +96 612 613 4111  | Cell: +96 655 551 7000 Contact: Salma Enani (Manager), Qaswra Hafez (Director) Image: Ibrahim El Dessouki, Building N3, 2015, Oil On Canvas, 200 × 75 cm

H a in es G allery, Sa n F ra nci s co   |  Ma ur iz io A nz er i   |   Vo lta N Y 2016 , B o o th d 1

Haine s G a lle r y, Sa n Fr an c i sc o Ma u r iz i o Anze ri

Artist Maurizio Anzeri (b. 1969 in Loano, Italy; lives and works in London, UK) intricately embroiders onto vintage photographs with colored thread, producing unforgettable, otherworldly portraits and landscapes that are as surreal as they are sublime. In Anzeri’s portraits, serious-looking children, sophisticated adults, and prim newlyweds are all utterly transformed by the artist’s threadwork. In each piece, Anzeri’s vivid, precise filigree of embroidery obscures the subjects’ faces, yet these masks seem to amplify something inherent in each sitter. Sometimes, the people pictured all but disappear underneath the artist’s obsessive process, peering back at the viewer through a peephole surrounding a solitary eye. In Anzeri’s deft hands, what was once a portrait is something else entirely: a formal, sculptural, diagrammatic artwork in which identity and expression are both camouflaged and revealed, engaging viewers in a sustained conversation. As Anzeri has remarked on his uncanny creations, “As long as something creates a reaction, it’s alive.” Similarly, the artist’s landscapes, often comprised of multiple panels of crisp, black-and-white photographs, may evoke scenes from an Alpine holiday, but these peaceful environs are ruptured by Anzeri’s mysterious emanations. The angled colored threads suggest the tracing of recurring, unseen phenomena, such as magnetic fields or paranormal activity. Yet Anzeri’s interventions into natural scenes — bursts of activity cutting across the surface of a mirrored lake or laureled around the trunks of trees — can just as easily promote an underlying sense of serene harmony. Anzeri completed his MFA at the Slade School of Fine Art in London in 2005. Since then, his work has been exhibited in group and solo exhibitions at venues that include the Victoria and Albert Museum, London, UK (2015); the National Museum of Art, Architecture and Design, Oslo, Norway (2015); Pier 24 Photography, San Francisco, US (2014); Chapter Arts Centre, Cardiff, UK (2013); the Baltic Centre for Contemporary Art, Gateshead, UK (2011); and the Photographer’s Gallery, London, UK (2009).

Represented Artists: Ai Weiwei, Maurizio Anzeri, John Chiara, Binh Danh, Kota Ezawa, Monir Farmanfarmaian, Won Ju Lim, Aime Mpane, Leslie Shows, Zhan Wang Website: www.hainesgallery.com  | E-Mail: catie @ hainesgallery.com Facebook: Haines-Gallery  | Instagram: @ hainesgallery  | Twitter: @HainesGallery Phone: +1 415 397 8114  | Cell: +1 917 589 2852  | Contact: David Spalding, Catie Patton Image: Maurizio Anzeri, Couple, 2015, Embroidery on Found Photograph, 17.5 × 23 in

H i lger BROTKun st h a l l e, Vi en n a  /   J e rs ey Ci t y  |  C am e r o n P l at t e r   |   Vo lta N Y 2016 , B o o th c 2

Hil ger B ROTKu ns t halle , Vie nna  / J e r s e y Ci t y Ca me r o n P l at t e r

Cameron Platter was born in 1978 in Johannesburg. He graduated with a BFA in painting from the Michaelis School of Fine Art, Cape Town, in 2001. His interdisciplinary work examines consumption, excess, detritus, discord and conflict within a fragmented South African identity, and fills the ordinary and marginal, with incendiary new meaning. Working from everyday experience with subjects overlooked or considered delinquent, sordid and lowbrow, he reconsiders notions and concepts on the outside fringes of South Africa’s popular culture. Platter’s work acts as a locus, documenting a dysfunctional contemporary reality. Recent exhibitions include Public Intimacy: Art and Other Ordinary Acts in South Africa, SFMOMA, San Francisco; Imaginary Fact, Contemporary South African Art and the Archive, 55th Venice Biennale; De Leur Temps, Musee des Beaux-arts de Nantes; Impressions from South Africa, 1965 to Now, Museum of Modern Art, New York; Les Rencontres Internationales, Palais de Tokyo (2014) and The Centre Georges Pomidou (2010), Paris; Le Biennale de Dakar 2010, Dakar, Senegal; Coca- Colonization, Marte Museum, El Salvador; and Absent Heroes, Iziko South African National Gallery. His work has been highlighted in The New York Times, The Wall Street Journal, Vice Magazine, The Guardian, NKA Journal of Contemporary African Art, The BBC, Utflukt, Art South Africa, and Artforum. He lives and works in Cape Town and KwaZulu Natal, South Africa. Public collections (selection): MoMA (Museum of Modern Art) New York Margulies Collection, Miami Sagamore Collection, Miami Iziko South African National Gallery, Cape Town FRAC Centre, Orleans Sammlung Sanziany & Palais Rasumofsky, Vienna The New Church Collection, Cape Town The Zeitz Foundation, Cape Town

Represented Artists: Daniele Buetti, Clifton Childree, Oliver Dorfer, Shepard Fairey, Anastasia Khoroshilova, Angel Marcos, Julie Monaco, Leila Pazooki, Deborah Sengl, Simon Vega Website: www.hilger.at  | E-Mail: michael.kaufmann @ hilger.at Facebook: Hilger BrotKunsthalle  | Phone: +43 1 512 53 15  | Cell: +43 650 27 39 650 Contact: Michael Kaufmann, Ernst Hilger Image: Cameron Platter, Fuckface, 2013, crayon pencil on paper, 180 × 240 cm

HIONAS G ALLERY, Ne w Y o rk   |   J o an Walt em at h  |   Vo lta N Y 2016 , B o o th d 18

HIONAS G ALLERY, N e w Yo rk J o a n Wa lt e mat h

Joan Waltemath grew up on the Great Plains and now lives and works in New York City. Her abstract paintings focus on constructing spatial voids using harmonic progressions and nontraditional, reflective pigments in oils that create an awareness of how the body’s sensory perception works through movement. Drawing has long been at the root of her artistic practice, serving as a means of thinking through spatial constructions. Her works on mylar and paper use diverse wet and dry materials. Shown in New York, Philadelphia, Baltimore, Boston, Portland, Omaha, London, Bonn, Basel and Cologne, her work is in the collections of the Harvard University Art Museums, the National Gallery of Art, the Hammer Museum and the Museum of Modern Art among others. She is the recipient of numerous grants including Creative Capital, and the Pollock Krasner award. She has written extensively on art and has served as an editor-at-large of the Brooklyn Rail since 2001. Waltemath taught at the IS Chanin School of Architecture of the Cooper Union from1997 to 2010 and at Princeton University. She is currently the Director of MICA’s LeRoy E. Hoffberger School of Painting. Joan Waltemath is Represented in New York City by HIONAS GALLERY.

Represented Artists: Siri Berg, Karlos Carcamo, Dennis Hollingsworth, Alain Kirili, Jill Levine, Guillermo Pfaff, David Rhodes, Rebecca Smith, Joan Waltemath Website: hionasgallery.com  | E-Mail: info @ hionasgallery.com Facebook: Peter Hionas  | Instagram: @ peterhionas  | Twitter: @ peter_hionas Phone: +1 646 559 5906  | Cell: +1 917 974 1703  | Contact: Peter Hionas Image: Joan Waltemath, Black Rain, 2001–2006, Oil and fluorescent pigment on honeycomb aluminum panel, 17 15/16 × 10 5/16  in

K ri s ti n Hjellegj er d e G al l e ry, L o nd on   |  D aw i t Abe b e  |   V o lta N Y 2016 , B o o th A 4

K ri st in Hj e lle gje r de G a lle r y, L o n do n Dawit Abe b e

Dawit Ab ebe With an interest in the realm of technology and its impact on human behaviour, Abebe has long examined the role that belief systems, as well as mankind’s propensity to search for knowledge, have played on society – particularly in the fields of privacy, alienation and materiality. As technologies advance and develop to bigger and better levels of sophistication, Abebe’s interest has lain in the impact these technologies have not only on the environment, but also on human behaviour. The most apparent evidence of this, to his eyes, has been the way in which social interaction has begun to move out of the public sphere and into the technological one through computers and mobile phones. Previously, Abebe explored the ways in which rural communities (such as Ethiopia, Madagascar or Kenya) have been affected by advances in technology — predominantly as a signifier of wealth — and, in turn, the way it has impacted on behaviour. The Background 2 series takes the analysis a step further to question our ability to convey history when books make way for texting and television. Ethiopia, like many developing countries, has struggled with the impact of technology and modernisation and its place within a long and rich local heritage and culture. It is the demarcation at which the two meet that interests Abebe. Kristin Hj elle gj e rd e G a l l e ry Kristin Hjellegjerde opened her gallery in June 2012, pioneering a new district of art in blossoming south west London. Named one of Blouin’s 500 Best Galleries Worldwide in 2015 and The Londonist’s Independent Gallery of the Year in 2014, the gallery quickly gaining recognition for showing a roster of innovative, international artists, both emerging and established, with strong theoretical and aesthetic bases. Kristin Hjellegjerde Projects opened in February 2016, a new space that will show work by up and coming artists alongside exhibitions through out the year.

Represented Artists: Dawit Abebe, Chris Agnew, Andrea Francolino, Sebastian Helling, Martine Poppe, Richard Schur, Soheila Sokhanvari, Richard Stone, Sinta Tantra, Muhammad Zeeshan Website: www.kristinhjellegjerde.com  | E-Mail: kristin @ kristinhjellegjerde.com Facebook: Kristin Hjellegjerde Gallery  | Instagram: @ kristinhjellegjerdegallery Twitter: @KHjellegjerde  | Phone: +44 20 8875 0110  | Cell: +44 77 9101 0766 Contact: Kristin Hjellegjerde Image: Dawit Abebe, No.2 Background 40, 2016, Acrylic and collage on canvas, 240 × 200 cm

GERHARD HO FLAND , A ms t e rda m   /  L ei p zi g  |  K o en D el ae r e  |   V o lta N Y 2016 , B o o th e 5

G ERHARD HOFLA ND, Ams t e r da m  /  Le i pzig Ko e n D e l ae re

Koen Delaere was born in Bruges Belgium in 1970. He graduated at the Academy for Visual Education where he studied Art and Philosophy. He was a De Pont Foundation grant awardee. He exhibited at Van Horn Gallery (Düsseldorf), who also represents him, as well as at RH Contemporary NY; De Vleeshal Middelburg; Ana Cristea NY; Anonymous Gallery NY; Peter Makebish NY; Gebr. Lehmann Gallery (Dresden); Tatjana Pieters Gallery (Ghent); MIS Sao Paulo Brasil; and Centraal Museum Utrecht, among many others. In 2015 he was a resident at the CCA Andratx Mallorca. Later in 2016, Delaere will have a duo solo show with Wendy White at Van Horn Galleries. In 2017 Delaere will have a solo shows at Mike Weiss Gallery NY and The Cabin in Los Angeles, and in the summer he will be a resident at the La Brea Studios in Los Angeles. Delaere lives and works in Tilburg. Koen Delaere paints with a colourful palette, with the paint itself forcing a physical and geometric path on his highly textured canvases. The flat surface is constantly challenged by the repetition of these layers of colour matter, as new paint hides the previous arrangement of colour and shape. His works thus enclose the power of time, that continually creates and destroys. Delaere often uses a method that portrays mirrored surfaces of the pieces at the time a painting is created. Work is reflected one against the other, creating a shared dynamic signifying this change over time. The results are lively and rebellious explosions of form and alteration, that despite this always achieve harmony.

Represented Artists: Wolfgang Flad, Simon Hemmer, Michael Kirkham, Joost Krijnen, Jochen Mühlenbrink, Jan van der Ploeg, Daniel Schubert, Johan Tahon, Robert Seidel, Jens Wolf Website: www.gerhardhofland.com  | E-Mail: mail @ gerhardhofland.com Facebook: AschenbachHoflandGalleries  | Instagram: @ gerhardhoflandamsterdam Phone: +31 629 023 933  | Cell: +31 629 023 933  | Contact: Gerhard Hofland Image: Koen Delaere, left: untitled (substance), 2015, acrylic, enamel, gouache on canvas, 215 × 150  cm, right: untitled (us kids swim of a grey pier), 2015, acrylic, enamel, oil on canvas, 215 × 150  cm

H VERFISGALLERI, R e y kj av ik   |  Sh o pl i f t e r  /  Hr af n h i l du r A r n ar dó t t i r   |   Vo lta N Y 2016 , B o o th c 18

HVERFISG ALLERI, R ey kj av i k Sh o plift e r  / H r a fnhildu r Ar n a r dó t t i r

Shoplifter / Hrafnhildur Arnardóttir is an Icelandic artist living in New York. She has worked for several years exploring the use and symbolic nature of hair, and its visual and artistic potential. In her work, ­Arnardóttir addresses the history of our obsession with hair and how it is an ongoing manifestation of creativity in contemporary culture. Her work is interwoven with performance on many levels where she often plays with the allure of the excessive. She has been working with synthetic and natural hair, creating sculptures and wall murals, ranging from decorative and beautiful to haunting and horrific, to strictly abstract geometry looking human hair murals and site specific installations. Together with a.v.a.f. she was commissioned by MoMA in 2008 to create a large window installation in New York and she represented Iceland, alongside Hrafnkell Sigurðsson, at the Liverpool Biennial in UK in September 2010. She received The Nordic Award in Textiles 2011 and was that same year awarded The Prins Eugen Medal for artistic achievement from the King and Royal Crown of Sweden. The headpiece she created for Björk on her album cover of Medúlla in 2004 was on view at the Museum of Modern Art, MoMA in New York as a part of the Björk retrospective. In summer 2015 Arnardottir had a large signature hair installation, a commissioned work, at the Momentum Biennial in Moss, Norway. Artnet recently named Shoplifter one of 50 most exciting artists in Europe in 2015. For more information please visit: www.shoplifter.us instagram: @Sshoppy facebook: Shoplifter / Hrafnhildur Arnardottir HVERFISGALLERI is a Reykjavik based gallery focused on presenting diverse and ambitious works reflecting the current ethos of art. Founded in early year 2013, the gallery works with contemporary artists both emerging and established.

Represented Artists: Asdis Sif Gunnarsdottir, David Orn Halldorsson, Georg Gudni, Gudjon Ketilsson, Gudny Rosa Ingimarsdottir, Harpa Arnadottir, Hildur Bjarnadottir, Jeanine Cohen, Kristinn E. Hrafnsson, Magnus Kjartansson, Rakel McMahon, Sigga Bjorg Sigurdardottir, Sigtryggur Bjarni Baldvinsson, Tumi Magnusson, Thor Sigurthorsson, Sigurdur Arni Sigurdsson Website: www.hverfisgalleri.is  | E-Mail: info @ hverfisgalleri.is  |  Facebook: hverfisgalleri Instagram: @ hverfisgalleri  | Phone: +354 537 4007  | Cell: +354 615 1834 Contact: Aldis Snorradottir Image: Hrafnhildur (Shoplifter) Arnardóttir, Nebula, 2016, Synthetic hair and mesh on circle wood panel, 2.5 feet diameter

jARMUSCHEK+ PARTNER , Ber l in   |  Ma j l a Z en el i   |   Vo lta N Y 2016 , B o o th d 20

jARMUSCHEK+PART NER, Be rl in Ma j la Z e n e l i

The Albanian-born artist Majla Zeneli encountered mezzotint, a classic printmaking technique, during her studies in the Academy of Fine Arts in Wrocław, Poland. This remote modus operandi allows her to perfectly attain, by manually scraping, sculpting and drawing with a sharp blade, a motive upon a copper plate in a full tonal range. The prints are afterwards pulled in low edition by an intaglio printing press. Landscapes Landscapes comprise a series of works started in 2010 and which is ongoing. In these pieces the artist tends towards geometric abstraction. What inspires her is the horizon, the closed/open space and the way the rays of light breath shape into objects by revealing them from darkness. Despite the strong reduction of the formal and the insistent deprivation of narrative, it is still open to the viewer to decipher parts of a larger whole from an interior or landscape. Incisions The process in the series of collages resembles a complete circuit, as the arisen editions are destroyed in order to create unique works. The purpose of reusing the prints in compound combinations is to create emotional states, or to picture consequences of an aftermath or stories, although it isn’t stories Zeneli’s collages tell. Pictorial injuries reiterate the viewer reflections about firsthand perceptions like vulnerability, infirmity, polarity and hesitance. They amplify the awareness towards hidden feelings and illumine the dark fabric of human’s complex nature. The source of Zeneli’s collages is found footage. In them she conceives the idea of working with as little material as possible. Diminutive but meaningful changes are made on the primary images. For Zeneli, dealing with objet trouvé means reaching for already existing beauty captured in expression, posture and habitus, while the incisions she applies to the portraits alternate the content suggestively. The missing features and shifted facial axes motivate the beholder to imagine the hidden or reconstruct the lost. Jean Dubuffet says*: “To recognize a portrait as a satisfying one it must be a portrait only to some extent. On the verge of not being it at all.” Majla Zeneli’s portraits don’t show specific character traits, but the melancholic impression of arrested in stills lives. They are less portraits of individuals, rather those of a generation. * Extract from Jean Dubuffet, “Causette”, 1947

Represented Artists: Sabine Banovic, Patrick Cierpka, Marc Fromm, Oliver Gröne, Carina Linge, Petra Lottje, Harding Meyer, Nika Neelova, Moritz Schleime, Jürgen Wolf Website: www.jarmuschek.de  | E-Mail: mail @ jarmuschek.de Facebook: jarmuschek.gallery  | Instagram: @ jarmuschekpartner Phone: +49 30 28599070  | Cell: +49 179 512 9068  | Contact: Kristian Jarmuschek, Stefan Trinks Image: Majla Zeneli, THERE WAS NO LIGHT COMING FROM THE OPENING IN THE CEILING ABOVE, 2015, Mezzotint, 10 × 8 cm

JECZA GALLERY, T i m iso ar a  |   G en ti K or in i   |   V olta N Y 2016 , B o o t h A 1

JECZA G ALLERY, Timi so ara G e n t i K o rini

Albanian artist Genti Korini (b.1979) sets himself an ambitious and nearly impossiblegoal: he reinterprets painting in its most reflexive and lofty version, that of modernist abstraction. Abstract painting is rooted in the urge to conquer or overcome as fundamental illusions art in general and painting in particular. This idea is a product of modernity and comes laden with the energy and drive for modernization typical of that age. The key to understanding Korini’s art is the practice of artistic production itself. Up until the mid 20th century an artist’s work was rooted in the sacrosanct handicraft conventions and their basic elements: canvas, pigments and brush, an artist’s emblematic tool that had come to embody this tradition. The architecture of Albanian capital, Tirana, is the major visual inspiration behind Korini’s work, in which the new architecture emerges as a kind of symptomatology for the rapidly evolving ideology. Decorative aspects of buildings, urban spaces and the new architecture itself are now conceived of as a visual facet of the larger language of expression, which is intrinsically connected to the imaginary dimension of power (its dream-space or virtual space). He is particularly interested in the metamorphoses of the visual idiom “spoken” by ideologies and by the architectural materializations of these metamorphoses, since he believes that architecture is the most expressive and obvious tool that a government has at its disposal. Korini is prompted to ask: how does ideology manifests itself through form? This question reverberates through his paintings and his research projects in photography; it has come to carry particular significance for Albania. He talks about the exoticizing, “othering” lens through which the West regards Albania and its art. He believes in the importance of establishing a dialogue with the modernist tradition that has been forcefully and artificially interrupted in his country. Korini goes to great lengths studying and reconstructing the modernist agenda of image and medium. His abstractions appear to be figurative while remaining abstract. They bear an uncanny resemblance to architecture, while being painterly in essence. They hint at the presence of material objects while simultaneously destroying the construction of space that can potentially contain an object within it. His painterly forms, surfaces and structures mobilize and challenge the viewers’ imagination, but do not provide them with ready-made answers. (Text published by Christina Steinbrecher-Pfandt, Vienna 2014.)

Represented Artists: Michele Bressan, Constantin Flondor, Peter Jecza, Iosif Kiraly, Genti Korini, Dan Maciuca, Paul Neagu, Vlad Olariu, Liviu Stoicoviciu, Doru Tulcan Website: www.jeczagallery.com  | E-Mail: jecza @ jeczagallery.com Facebook: JeczaGallery  | Instagram: @ jecza_gallery  | Twitter: @ jeczagallery Phone: +40 256 482 056  | Cell: +40 722 666 445  | Contact: Andrei P. Jecza Image: Genti Korini, Portret nr.3., 2016, oil on linen, 120 × 90 cm

K evi n Kava n a gh , Dub l i n  |  Si né ad Ní M hao nai g h   |   V o lta N Y 2016 , B o o th f 2

Ke vin Kava na g h, D u b l in Siné a d Ní M ha o n aig h

Speaking recently about the power of painting, the American art critic Peter Schjeldahl noted: “… there’s something irreducible about a rectangular surface covered with marks that are all absolutely on purpose and made of physical stuff like we are. When it’s good, it demands — and allows — the highest degree of refinement of our feelings and perceptions.” His words seem to apply directly to Sinéad Ní Mhaonaigh’s paintings, for her works extol both the dynamism and complex subtleties of her medium, and get us thinking about the world around us in entirely new ways. Wielding a palette primarily comprised of black, white, pinks and yellow-greens she creates resolute compositions that yield a potent optical charge and induce distinct moods in viewers. Moreover, a powerful sense of physicality adds to their impact. The way she brushes on, dabs, scratches into and scrapes away paint not only delivers striking juxtapositions of colour, texture, pattern and shape, but also impart tactile qualities that intensify each work’s presence. Ní Mhaonaigh’s solidly structured pictorial statements hover somewhere between abstraction and representation. Referencing landscape, various types of structures and natural phenomena, the compositions range from the visually dense to austerely minimal and come in closed and open formats – with or without a painted surround that can intimate a window frame, proscenium stage, or the border of a television screen, Instagram image or story board. But what the pictures truly convey is open to interpretation. On one hand her scenes propose fleeting glimpses, fragmented memories and discontinuous narratives; on the other the application and manipulation of paint appears to be their focus. One cannot easily skim over her work. At heart, something elemental resides in her blurred vistas, fluffy vehicles and off kilter constructions, call it a force or tension, which captivates. Its vigour demands protracted engagement and, by necessity, viewing turns out not only to be durational; it also becomes a highly personal experience. — John Gayer

Represented Artists: Robert Armstrong, Elaine Byrne, Diana Copperwhite, Amanda Coogan, Nevan Lahart, Sean Lynch, Paul McKinley, Tadhg McSweeney, Paul Nugent, Ulrich Vogl Website: www.kevinkavanagh.ie  | E-Mail: info @ kevinkavanagh.ie Facebook: kevinkavanaghgallery  | Instagram: @ kevinkavanaghgallery Twitter: @ kevkavgallery  | Phone: +353 1 475 9514  | Cell: +353 86 396 2248 Contact: Kevin Kavanagh, Benjamin Stafford Image: Sinéad Ní Mhaonaigh, Diptych, 2015, oil on canvas, 90 × 90cm each

K ayr oc k Sc re enp ri nt ing , Bro ok ly n   |  K r ist en S c h i el e  |   Vo lta N Y 2016 , B o o th x 3

Kayr o ck Scr e e np r int ing , B r o o klyn Kr is t e n S c h i e l e

Dividing her time between New York and Berlin, Kristen Schiele is a wonderfully agile and gifted collage artist and “sculptural painter”, who weaves poetic tableaux from the fabric of pop and movie culture. ‘Through a Glass Darkly’ is how she views nostalgia, mass-media culture, and the past; in her prints and works on paper she frequently employs a layer of pattern in front of collaged or painted material to emphasize this effect. Paintings and works on paper are treated as constructions; cut and assembled with holes, serving as theatrical pop-up boxes, maquettes of a larger stage replete with human and animal marionette imagery. Other works are straight canvases, epic and magisterial in their beauty. The work is a medley of gorgeous opposites: punk and elegant, refined and dorky, brutal and playful, neon and subtle, classical and burlesque, high and low culture, old world and new. Schiele welcomes and seduces the viewer to join her on this brilliant, mind-expanding journey.

Website: www.kayrock.org  | E-Mail: kayrockscreenprinting @ gmail.com Facebook: kayrockscreenprinting  | Instagram: @ kayrockscreenprinting Twitter: @ aka_kayrock  | Phone: +1 718 963 2020  | Cell: +1 646 236 8542 Contact: Karl LaRocca, Mary Rynasko Image: Kristen Schiele, Fake Euro, 2016, silkscreen & acrylic on board, 32 × 22 in

K lei n di en st, Le ip z ig  |   J ul i us Ho f m an n   |   V o lta N Y 2016 , B o o t h b 6

Kle indie ns t, L e i pzig J u liu s H o f mann

Julius Hofmann is a child of the media, yet as a painter he practices the import of images considered to be obsolete back to the canvas. Thus painting also represents a memory of databased images, not as an archive for them but as their reflection. And when HD technology makes for optimum screen definition, then Hofmann very recently responds with increasingly dough-like forms, as might occur with glass slide projections: in the heat buildup, Newtonian rings join poor focus, which coalesces the motifs in a soft, psychedelic play of color. Hofmann can operate sure-footedly in the field of electronic media. While doing so, in order to document his confident treatment of the same, his processing mode is infantilization, a form of spirited ego demonstration that ignores the professional aspect as well as the “courtesy” in social intercourse. The formation of identity in this attitude toward work indicates distance to the popular medium and the corresponding user codex. The playful aspect dominates the instructions for use and user control. As his opposite, the easel demands more creative as well as physical power of Hofmann than the mouse click. And when Hofmann moreover confesses that for him painting is like dancing with a women, then this may be a ruptured romantic projection, because there is always a threatening weapon between the artist and his dancing partner. Yet as long as such a dancing, dynamic image moves Hofmann when standing at his easel, the bizarre time and again finds its way into new painting. — Hans-Werner Schmidt, Museum of Fine Arts, Leipzig

Represented Artists: Claudia Angelmaier, Tilo Baumgärtel, Falk Gernegroß, Henriette Grahnert, Tobias Lehner, Rosa Loy, Christoph Ruckhäberle, Sebastian Stumpf, Steve Viezens, Corinne von Lebusa Website: www.galeriekleindienst.de  | E-Mail: kontakt @ galeriekleindienst.de Phone: +49 341 477 4553  | Cell: +49 170 808 5816  | Contact: Christian Seyde, Matthias Kleindienst Image: Julius Hofmann, German Romanticism, 2014, 290 × 190 cm, acrylic on canvas

K n ig h t W ebb Gal l e ry, L o nd o n   |   J ul i ane Hund e r t m ar k  |   V o lta N Y 2016 , B o o th f 9

Knig ht We bb G a lle r y, L o n do n J u lia ne Hu n de rt mark

Juliane Hund e r tm a rk Berlin painter Juliane Hundertmark’s work presents surprising parallels with visionary artists such as William Blake and Henry Fuseli. Her strange figures and their ghost-like alter egos, appear to us like the devilish imp in Fuseli’s ‘The Nightmare’. Whilst yielding many interpretations, Fuseli’s work is predominantly seen as relating to traditional folklore or prefiguring late nineteenth-century psychoanalysis. Hundertmark’s scenes are reminiscent of Germany’s forests teaming with dark tales and folklore. Her imagery is an improvised dance in the subconscious, conjuring old figures out of childhood memories and placing these strange fellows in strange relationships. Juliane paints with genuine pathos and natural emotion. Her paintings sometimes present historical and religious themes. The relationship between people and animals in her work is compelling and sensitive. Her use of animal mimicry delves into a full range of emotions. “The paintings I saw by Juliane Hundertmark were all rather mysterious and even disturbing in places, such as the collaged eyes in one and lips in another, yet also with beautifully painted sections such the detailed clothing of one figure and the mere black outline of another. That enigmatic “otherness” and open-ended quality combined with different painting styles, some realism and some minimal painterly effects, is very exciting and makes the works fresh and innovative. A unique style unlike any other painters working today.” — Barbara Bloemink, ph.D, Museum Director & Curator Knight Webb G a l l e ry Knight Webb Gallery is a contemporary art space in Brixton, London. The gallery’s identity has grown along with its Brixton locality and the artists who thrive in this unique and culturally diverse community. An open door policy for artists to present portfolios has introduced us to surprising talents from the locality, and has kept us abreast of the spectrum of art practice in London. The artists we represent are diverse, not just in provenance but in style; their works range from the African roots expressionism of Masimba Hwati to the solemn, Avant-garde monochrome paintings of Anders Knutsson. The programme selects artists who have a profound and intimate relationship with their medium.

Represented Artists: Christain Furr, Simon Gaiger, Lesley Hilling, Juliane Hundertmark, Masimba Hwati, Anders Knutsson, Douglas McDougall, Tomas Nemec, Adjani Okpu-Egbe, Karen Silve Website: www.knightwebbgallery.com  | E-Mail: rufus @ knightwebbgallery.com Facebook: KnightWebbGalleryBrixton  | Instagram: @Knight Webb Gallery Twitter: @KW_Gallery  | Phone: +44 7939 530 326  | Cell: +44 7712 270 797 Contact: Rufus Knight-Webb, Sunita Knight-Webb Image: Juliane Hundertmark, Butterfly, 2016, Mixed media on canvas, 160 × 140  cm

GALLERY KOGU RE, TOK Y O / NE W Y ORK  |  To sh i ya M asu da  |   V o lta N Y 2016 , B o o th e 7

G ALLERY KO G URE , TOKY O / N E W YORK To s hiya M asu da

Toshiya Masuda VOLTA NY — Yin and Yang — GALLERY KOGURE proposes a solo show of Toshiya Masuda, a Japanese ceramic artist, at VOLTA NY 2016. Masuda is a ceramic artist who was born in Osaka in 1977. He uses porcelain cubic pixel blocks as his language, and by flattening various phenomena and conventional wisdom shaped by existing objects and ideas, expresses the contemporary world symbolically. His work has two pillars: “Low pixel CG” series that deals with daily life with commodities or typical designer brand goods, and “pop icon” series that deals with masterpieces of the past. The theme of “low pixel CG” series is some events created in certain situations, or some conventional wisdoms. As an example, the image of a Louis Vuitton bag with leek and a skillet visualizes his funny question, “what if there is someone who likes brand-name goods so much that she uses them for shopping bags”, and took a theme of buying up or selling out designer brand products that are likely situations in the contemporary world. “Pop icon” series iconifies the symbols of ceramic art such as national treasure pieces that can be seen only through the glass, and by exhibiting them in the acrylic cases; it combines the sense of viewing masterpieces through the glass, and sense of looking at images in the monitor to create the double image. All have cool and smooth texture of porcelain china, and the perfect form created by the assembled cubic blocks with outstandingly accurate 90-degree corners, and above all, the painting technique by glaze that is beautifully coloring the enormous numbers of cubic blocks is impeccable without a slightest protrusion from the blocks. The objects with the inorganic ensemble of straight lines, and the coloring delicately balanced between cleanliness and human warmness must be regarded as outstanding pieces of ceramic art with full of originality. At VOLTA NY 2016, we intend to present a solo show of his work with the theme of iconifying the emotions and shapes under the title of “Yin and Yang”. The skull that represents human emotions and mind, fire and water that can never be grasped, a gun that symbolizes violence; it goes a step beyond his realistic themes of the past, and iconifies the shapeless things. It would be an exhibition that signals new expression of ceramic art beamed from a center of ceramic art, Japan.

Represented Artists: Asuka Sakuma, Fuco Ueda, Futaro Mitsuki, Hidenori Yamaguchi, Keita Tatsuguchi, Kenichiro Ishiguro, Takahiro Hirabayashi , Takahiro Yamamoto, Takato Yamamoto, Taiichiro Yoshida Website: www.gallerykogure.com  | E-Mail: info @ gallerykogure.com Phone: +81 352 152 877  | Contact: Hiroshi Kogure Image: Toshiya Masuda, Low pixel CG「GAME OVER (Angry)」, 2016, Ceramic, 23 ×18 ×18.5 cm

GA LLERY K OGU RE, T OK Y O / NE W Y O RK   |   T o sh i ya M a su da  |   V olta N Y 2016 , B oot h e 7

G ALLE R Y KO G U R E , T O KY O  / N E W YO RK T os hiya M a su da

Toshiya Masuda VOLTA NY — Yin and Yang — GALLERY KOGURE proposes a solo show of Toshiya Masuda, a Japanese ceramic artist, at VOLTA NY 2016. Masuda is a ceramic artist who was born in Osaka in 1977. He uses porcelain cubic pixel blocks as his language, and by flattening various phenomena and conventional wisdom shaped by existing objects and ideas, expresses the contemporary world symbolically. His work has two pillars: “Low pixel CG” series that deals with daily life with commodities or typical designer brand goods, and “pop icon” series that deals with masterpieces of the past. The theme of “low pixel CG” series is some events created in certain situations, or some conventional wisdoms. As an example, the image of a Louis Vuitton bag with leek and a skillet visualizes his funny question, “what if there is someone who likes brand-name goods so much that she uses them for shopping bags”, and took a theme of buying up or selling out designer brand products that are likely situations in the contemporary world. “Pop icon” series iconifies the symbols of ceramic art such as national treasure pieces that can be seen only through the glass, and by exhibiting them in the acrylic cases; it combines the sense of viewing masterpieces through the glass, and sense of looking at images in the monitor to create the double image. All have cool and smooth texture of porcelain china, and the perfect form created by the assembled cubic blocks with outstandingly accurate 90-degree corners, and above all, the painting technique by glaze that is beautifully coloring the enormous numbers of cubic blocks is impeccable without a slightest protrusion from the blocks. The objects with the inorganic ensemble of straight lines, and the coloring delicately balanced between cleanliness and human warmness must be regarded as outstanding pieces of ceramic art with full of originality. At VOLTA NY 2016, we intend to present a solo show of his work with the theme of iconifying the emotions and shapes under the title of “Yin and Yang”. The skull that represents human emotions and mind, fire and water that can never be grasped, a gun that symbolizes violence; it goes a step beyond his realistic themes of the past, and iconifies the shapeless things. It would be an exhibition that signals new expression of ceramic art beamed from a center of ceramic art, Japan.

Represented Artists: Asuka Sakuma, Fuco Ueda, Futaro Mitsuki, Hidenori Yamaguchi, Keita Tatsuguchi, Kenichiro Ishiguro, Takahiro Hirabayashi , Takahiro Yamamoto, Takato Yamamoto, Taiichiro Yoshida Website: www.gallerykogure.com  |  E-Mail: info @ gallerykogure.com Phone: +81 352 152 877  |  Contact: Hiroshi Kogure Image: Toshiya Masuda, Low pixel CG「GAME OVER (Angry)」, 2016, Ceramic, 23 ×18 ×18.5 cm

Ga ler ie Ko rn fel d, B e rl i n  |   W i l l iam Bra dl e y  |   V o lta N Y 2016 , B o o t h A 9

G ale r ie Ko r nfe ld, Be rl in Willia m B radl e y

William Bradley’s work is both abstract art and about abstract art. Viewing the idea of the pure abstract language as problematised by its lack of communication from artist to viewer, Bradley builds in a more communal language of references or quotes from abstract art history, from Abstract Expressionism and artists such as John Hoyland, Sandra Blow and Eduardo Chillida. William Bradley’s paintings distort art historical references deconstructing the role of abstraction in both modernism and contemporary art practice. Whilst his work continues to look at the painted depiction of codes, his new body of work looks increasingly to photoshop as a tool for the manipulation of these signifiers. He digitally modifies scans of his watercolours in order to create a new plan, which moves yet another step away from the immediacy of the original authorial mark. The resultant painting may reference gestural marks or codes from the history of abstraction but this is coloured by its digital pre-planning. Thus the gestural elements of the work are less about the intuitive use of paint and more a device concerned with fusing source material and reference. William Bradley graduated with a Masters degree from Wimbledon College of the University of the Arts London in 2008, selling out his end of year show. He has since been selected for FutureMap 08 and the Catlin Art prize 2009 and 2011. He has had several solo exhibitions in Europe and the U.S.A. and was an artist in residence at Hooper Projects in Los Angeles in 2015. His work is included in the Nelimarkka Museum in Finnland, the collection of the University of the Arts London, the David Roberts Art Foundation and numerous private collections in Europe, United Kingdom and USA such as Susan and Michael Hort’s collection and Carol Server and Oliver Frankel’s collection. William Bradley lives and works in London and Los Angeles.

Represented Artists: Maliheh Afnan, Stéphane Coutourier, Robert Fry, Hubertus Hamm, Natela Iankoshvili, Franziska Klotz, Alexander Polzin, Susanne Roewer, Hubert Scheibl, Leonardo Silaghi, Jan Tichy, Sonny Sanjay Vadgama Website: www.galeriekornfeld.com  | E-Mail: ballantyne @ galeriekornfeld.com Facebook: GalerieKornfeld  | Phone: +49 30 889 225 890  | Cell: +49 157 3751 5827 Contact: Alfred Kornfeld, Julia Ballantyne-Way Image: William Bradley, Boundless Ocean, 2015, oil on canvas, 200 cm × 175 cm / 79 × 69 in

Ga ler ie Ko rn fel d, B e rl i n  |  So nn y S anj ay Va dg am a  |   V o lta N Y 2016 , B o o th A 9

G ale r ie Ko r nfe ld, Be rl in So nny Sa njay Vadg ama

The narratives in Sonny Sanjay Vadgama’s work are influenced by philosophy and politics, but rather than carrying bold messages or statements they unfold in sensitive observations and subtle questions. His recent projects have focused on photography and print in tandem with video and holography (video sculpture). Having worked as a production assistant for the BBC and later at various post-production facilities, where he specialised in editing and motion graphics before starting his career as an artist, his background has clearly influenced his work and granted him an in depth understanding of film and video as a medium. Interested in taking film beyond the confines of the screen, he started treating video as a malleable material that could be given depth, scale and dimension and ‘sculpted’ accordingly. Using projections he realized large scale projects that saw his work projected across various buildings such as the Reichstag and the façade of the Fitzwilliam Museum in Cambridge. Sonny Sanjay Vadgama graduated from Central St Martins in 2009, selling out his work on the first day of his degree show. He was selected for FutureMap 09 in 2009 and the Catlin Art prize in 2010. He has had numerous international shows, most recently a solo show at the University of Cambridge and the Fitzwilliam Museum in Cambridge. He was included in the 2011 Sharjah Biennale and has participated in large scale public exhibitions at institutions such as The London Science Museum. Upcoming projects include a large scale commission to create a public work for the University of Cambridge Judge Business School in collaboration with Stanton Williams Architects in 2016. In April 2016 he will commence a three month residency at CCI Fabrika in Moscow. His work is in a number of private and public collections including the Cartier Foundation (Paris), the Devi Foundation (Delhi) and the University of Cambridge.

Represented Artists: Maliheh Afnan, Stéphane Coutourier, Robert Fry, Hubertus Hamm, Natela Iankoshvili, Franziska Klotz, Alexander Polzin, Susanne Roewer, Hubert Scheibl, Leonardo Silaghi, Jan Tichy, Sonny Sanjay Vadgama Website: www.galeriekornfeld.com  | E-Mail: ballantyne @ galeriekornfeld.com Facebook: GalerieKornfeld  | Phone: +49 30 889 225 890  | Cell: +49 157 3751 5827 Contact: Alfred Kornfeld, Julia Ballantyne-Way Image: Sonny Sanjay Vadgama, Void P, 2015, Giclée print on Super Heavyweight Matte, 41.5 × 31.5cm / 16 1/3 × 12 1/2 in, unique

GEOR G E LAW SON GALLERY, SAN F RANCISCO  |   Ju st i n e F r i sc h m an n   |   Vo lta N Y 2016 , B o o th b 11

GEORG E LAWSON G ALLERY, SAN FRAN C I SCO J u s t ine Fr i s c h mann

Painter Justine Frischmann is a British expatriate now based in the San Francisco Bay Area. She straddles quite polarized worlds with the light she explores. In the energy and immediacy of her gesture, she seems to be seeking contemporary visual equivalencies to the punk ethic she knew so well from the London of the ‘90s, a moment in which her muchheralded band Elastica played a significant role. Through the use of a kind of refraction involving oil paint, acrylic spray enamel, and repurposed photographic imagery, she counter-balances urban and natural ambiances, captures an aura somewhere between limelight and inner light, and unsheathes a benevolent glare in the process. Frischmann paints on back-framed aluminum panels that float off the wall and seem to heighten the tension between the corporeal and ephemeral elements in her approach. She juxtaposes gesture and architecture, mass tone and prismatic translucence, improvisation and a considered physicality, all in the service of an art of threshold states traversed.

Represented Artists: Stephen Beal, Judith Belzer, Sara Bright, Alan Ebnother, Tama Hochbaum, Erin Lawlor, Estate of John Meyer, Susan Mikula, John Millei, Gary Stephan Website: www.georgelawsongallery.com  | E-Mail: info @ georgelawsongallery.com Facebook: George Lawson Gallery  | Instagram: @ georgelawsongallery Twitter: @ georgelawsonsf  | Phone: +1 415 704 4400  | Cell: +1 415 370 3489 Contact: Julia McEvily (Director), George Lawson (Principal) Image: Justine Frischmann, Lambent 74 (detail), 2015, oil and acrylic spray enamel over sublimation print on aluminum panel, 30 × 30 in / 76.2 × 76.2 cm

T he Lodg e Ga ll ery, N ew Y or k  |  Pa ul B r ain a rd  |   V o lta N Y 2016 , B o o th x 9

The Lo dge G a lle r y, N e w Yo rk Pa u l B rainard

Paul Brainard’s works are made up of portraits of friends, family and people from his life, imagery from advertising, the internet, celebrity culture, celebrity counter-culture and American puritanical religious imagery. Recurring themes throughout Paul’s work express a cynically dark sensibility that stems from existential and absurdist philosophies. Formally, the drawings are rendered in a state of constant fluctuation, as elements are woven together combining moments of expressive discharge with carefully calculated precision. There is an overt rebelliousness in both the execution and the subject matter of his work that services the viewers imagination with recollections of a kid in the back of a high school classroom, clad in a leather motorcycle jacket, carving away his frustrations and his fantasies into a desktop with a switchblade. “The sculpture, titled Detention, is a school desk with leather jacket, and addresses the function of art in American society from the viewpoint of a rebellious student expressing dissent. The high school desk represents structure and conformity and the act of drawing upon, carving, and transforming that structure is at the heart of the work is all about. The desk can be interpreted as the state or the institution and the transformation or vandalization of the desktop can be interpreted as a symbol of the individual struggling to retain a sense of independence through the creative/destructive process. The leather jacket hanging over the back of the chair is an extension of this expression and is employed as a kind of armor.” – Paul Brainard Born in Pittsburgh, PA, Paul Brainard currently lives and works in Brooklyn, NY and has exhibited extensively throughout North America and Europe.

Represented Artists: Paul Brainard, Peter Daverington, Matt Hansel, Elizabeth Livingston, Levan Mindiashvili, Sirikul Pattachote, Ted Riederer, Ulrike Theusner, Frank Webster Website: www.thelodgegallery.com  | E-Mail: info @ thelodgegallery.com Facebook: lodgegallery  | Instagram: @ lodgegallery  | Twitter: @ thelodgegallery Phone: +1 917 478 7513  | Cell: +1 917 531 5330  | Contact: Jason Patrick Voegele, Keith Schweitzer Image: Paul Brainard, Bad Paulus, 2014, Pencil on paper, 25.25 × 17.25  in

LVL3 , Ch i c a go  |  Co dy Tu m bl i n   |   Vo lta NY 2016 , B o o t h x 12

LVL3, C h i c ag o Co dy T u mb l in

Cody Tumblin currently lives/works in Nashville, Tennessee. He received a BFA from the School of the Art Institute of Chicago. Recent solo shows include Tell Tale at devening projects + editions in Chicago, a two person show with Jaime Angelopoulos at LVL3 titled Awkward Dimensions; Bits and Pieces at The Packing Plant in Nashville, TN; and in 2014, Forlorn Luck, a solo show at Lunchmoney Gallery in Aarhus, Denmark. Recent group exhibitions include asperity economy asymmetry austerity intimacy curated by Kate Sierzputwoski at The Franklin, Chicago, IL; I Wish I Felt This Way at Home curated by Ann Catherine Carter and Zack Rafuls at Torrance Shipman in New York; Seers, Signs curated by Dan Devening at 57W57 Arts in New York; PRTY PPL curated by Josh Reames at Circuit 12 in Dallas; and SHIT IS REAL at devening projects + editions. In 2016, Tumblin will be included in Come as You Are at Gallery Annarumma in Naples, Italy, and an upcoming group show with SPF15 in San Francisco, curated by Morgan Mandalay. LVL3 is an exhibition space in Chicago, IL. LVL3 is dedicated to supporting collaborative work and group shows of all mediums to foster connections between emerging and established artists from around the world. LVL3 Media is an online platform of uniquely curated content that promotes contemporary artists, designers, writers, performers, and creative entrepreneurs. Conceived as a result of the success of LVL3 Artist of the Week, LVL3 Media seeks to share the creative work of others from around the world through writing, informal interviews, and artistic imagery. LVL3 encourages the sharing of its content in order to help promote the work of its subjects and individuals.

Website: lvl3gallery.com, lvl3media.com  | E-Mail: info @ lvl3gallery.com Facebook: lvl3gallery  | Instagram: @ lvl3media  | Phone: +1 312 469 0333 Contact: Vincent Uribe, Anna Mort Image: Cody Tumblin, Drooping, 2015, Dye, watercolor, and acrylic on discharged, sewn cotton, 22 × 30 in

Lyo n s W i er G al l e ry, Ne w Y o rk   |  An th o ny A dc o c k  |   V o lta N Y 2016 , B o o th A 11

Lyo ns Wie r G a lle r y, N e w Yo rk Ant ho ny A dc o c k

I have taken a minimalistic route with trompe l’oeil painting that has led me to create frameless paintings that function similarly to the original objects the paintings mimic. The paintings resemble common flat surfaces, including dusty planks of wood, rusty sheets of steel, concrete slabs, and other commonly used building materials found on construction sites. The surfaces retain indexical information accumulated from hours or years of labor, use, and reuse. This information, created by individual workers, obstructs the surface. This obstruction causes the paintings to seem depthless, reducing the surface to an abstraction of marks. The neutral and depthless surfaces allow the paintings to live in both hyper-representational and minimal worlds. The illusionistic quality allows the paintings to be viewed as sculptures, which brings the viewer to consider the work as found objects or ready-mades. Instead of highlighting facture, the representational paintings question authorship and production, leaving the viewer to question the significance and function of the perceived objects. The installation of the work is relatively site-specific, as it varies with the functionality of the paintings and the aesthetics of the space. For example, a painting of a wooden surface may be installed on a wall, set on the floor for viewers to walk on, or used in any other way that mimics the properties and uses of wood. The painting then becomes a usable material, instead of a mere reflection of that material. The paintings may require hundreds of hours of work only to be passed over by viewers, mistaking them for non-art objects. Similarly, highrise buildings require years of work by hundreds of workers, with little credit given to individual workers. Working professionally as an artist and previously as a Local One Ironworker, I struggle to understand why authorship is acknowledged in one case and not the other. — Anthony Adcock, 2016

Represented Artists: Anthony Adcock, Alex Couwenberg, James Gortner, Valeri Larko, David Lyle, Cobi Moules, James Austin Murray, Fahamu Pecou, James Rieck, Cayce Zavaglia Website: www.LyonsWierGallery.com  | E-Mail: Gallery@LyonsWierGallery.com Facebook: Lyons Wier Gallery  | Instagram: @ lyonswiergallery  | Twitter: @ lwgallery Phone: +1 212 242 6220  | Contact: Michael Lyons Wier, Deanne Shashoua Image: Anthony Adcock, The Bulkhead, 2015, Oil on aluminum, 40 × 32 in / 101.6 × 81.3 cm

PATRICK MIKHAIL, MONTREAL  / OTTAWA  |  AM Y SCHISSEL  |   V o lta N Y 2016 , B o o th b 4


AMY SCHISSEL confronts the current anxieties about the role of painting in the Internet and Information Age through the development of immersive painting and video installations. Schissel’s long-term project has been to navigate through a constant technological presence in a data-driven, media-saturated culture — developing work that hybridizes painted and digital languages, while addressing contradictions of identity in geo-political relationships. As the world of new media and digitization continue to develop, and our sense of space and the radical new ways we move through it change, Schissel’s projects also change and evolve to address these new spaces, our movement through them, and the resultant changing cultural identity and consciousness. For VOLTA NY 2016, she has created DOUBLE STANDARD, an immersive, site-specific installation that blurs the lines between printmaking, drawing, painting, installation, video, and sculpture. Schissel maintains her professional practice in Pittsburgh, Pennsylvania where she is an Assistant Professor of Painting at West Virginia University. Her work is in the collections of the Canada Council Art Bank, Foreign Affairs Canada, Ottawa Public Art Collection, Free University of Brussels, Gotland Museum of Fine Art, and numerous private international collections. She has a BFA and an MFA from the University of Ottawa. In 2012, she was a finalist in the prestigious RBC Canadian Painting Competition, and has received numerous awards and residencies including the 2013 RBC Emerging Artist Award. She has exhibited internationally, including exhibitions at: VOLTA NY 2013; VOLTA10 Basel; University of Brussels Gallery; Art Gallery of Alberta; The Power Plant Toronto; 2015 SECAC Juried Exhibition (curated by Jessica Beck of the Andy Warhol Museum), Carnegie Mellon University Project Space, Pittsburgh. In 2016/2017, she presents new projects in a number of U.S. venues including: Olin Fine Art Gallery, Jefferson and Washington College, Washington, Pennsylvania; HERE to THERE, Huntington Museum of Fine Arts, Huntington, WV; Convergence, Paul Mesaros Gallery, West Virginia University. PATRICK MIKHAIL GALLERY has presented solo projects at VOLTA NY 2013, 2014, 2015, and VOLTA10 and VOLTA11 in Basel. The gallery is a member of the Art Dealers Association of Canada (ADAC) and the Association des galeries d’art contemporain (AGAC).

Represented Artists: Sara Angelucci, Jessica Auer, Joe Becker, Scott Everingham, Thomas Kneubühler, Jennifer Lefort, Natasha Mazurka, Oliver Pauk, Michael Vickers, Andrew Wright Website: www.patrickmikhailgallery.com  | E-Mail: gallery @ patrickmikhailgallery.com Facebook: PATRICK MIKHAIL GALLERY  | Instagram: @PATRICKMIKHAILGALLERY Twitter: @PATRICKMIKHAILGAL  | Phone: +1 514 439 2790  | Cell: +1 613 276 3243 Contact: Patrick Mikhail Image: Amy Schissel, Double Standard (detail), 2016, acrylic, oil, gesso, graphite, ink on paper, 114 × 114  in

Mu se um o f C on t e m p or ary Af ri can Di a spo ra n A r t s, B r o o kly n   |  Kam eel ah J an an R ash eed  |   Vo lta NY 2016

Mo CADA , B r oo klyn Kame e la h J a na n R ash e e d

HOW TO SUFFER POLITELY (and Other Etiquette) is a large format print series by Brooklyn-based artist Kameelah Janan Rasheed that examines how expressions of anger and resistance to racialized violence are regarded as “impolite” in order to maintain social order. Informed by etiquette guides that advise one to prioritize the needs of others before one’s own, these satirical sayings command the performance of exceptional self-control under traumatic circumstances. In the wake of recent uprisings in Baltimore, Ferguson, and beyond, this series considers the inappropriateness of respectability in a state of emergency. A VOLTA Special Project presented by MoCADA

Website: www.mocada.org  | E-Mail: info @ mocada.org  |  Facebook: MoCADAmuseum Instagram: @ mocada_museum  | Twitter: @MoCADA  | Phone: +1 718 230 0492 Contact: Allison Davis Image: Kameelah Janan Rasheed, Low the Pitch of Your Suffering from the series How to Suffer Politely (and Other Etiquette), 2016, Vinyl Print, 8.7 × 10.5 feet

Mu se um o f C on t e m p or ary Af ri can Di a spo ra n A r t s, B r o o kly n   |  Tsc h ab al al a S el f  |   Vo lta N Y 2016 , Boot h x 5

Mo CADA , B r oo klyn Ts c ha ba lal a S e l f

Tschabalala Self is a New York City-based painter and printmaker. She received her B.A. from Bard College in 2012 and her M.F.A. from the Yale School of Art in 2015. “My current body of work is concerned with the iconographic significance of the Black female body in contemporary culture. My work explores the emotional, physical and psychological impact of the Black female body as icon, and is primarily devoted to examining the intersectionality of race, gender and sexuality. Collective fantasies surround the Black body, and have created a cultural niche in which exists our contemporary understanding of Black femininity. My practice is dedicated to naming this phenomenon. The fantasies and attitudes surrounding the Black female body are both accepted and rejected within my practice, and through this disorientation, new possibilities arise. I am attempting to provide alternative, and perhaps fictional explanations for the voyeuristic tendencies towards the gendered and racialized body; a body which is both exalted and abject. I hope to correct misconceptions propagated within and projected upon the Black community in regard to Black femininity. Multiplicity and possibility are essential to my practice and general philosophy. My subjects are fully aware of their conspicuousness and are unmoved by their viewer’s gaze. Their role is not to show, explain, or perform but rather “to be.” In being, their presence is acknowledged and their significance felt. My project is committed to this exchange, for my own edification and of the edification of those who resemble me.”

Website: www.mocada.org  | E-Mail: info @ mocada.org  |  Facebook: MoCADAmuseum Instagram: @ mocada_museum  | Twitter: @MoCADA  | Phone: +1 718 230 0492 Contact: Allison Davis Image: Tschabalala Self, Bodega Run, 2015, Oil, pigment, and flashe on canvas, 30 × 44 in

GALLERY M oMo , T o ky o   |  To mo yas u Mu rata   |   V olta N Y 2016 , B o o t h e 11

G ALLERY Mo M o , T o ky o To mo ya s u M u rata

Tomoyasu Murata (b. 1974) began his work on producing puppet animations after being inspired by the traditional Japanese puppet theatre, Bunraku. Murata employs puppet animation in an expressive way, allowing viewers to experience it with their eyes, ears, sense of touch and even in the air. He has consistently strived to express the idea of Mujo or impermanence in English, which is a very beautiful concept to the Japanese. In one of his early series entitled “Road”, Murata described one of the aspects of Mujo that translates to “absence”. Through small gestures of the puppets’ hands and eyes, he expressed things that are not words and are indeed impossible to put into words. The video works were titled: “The Picture Book of an Ancient Forest” and “The Ablation Narrative” which described the heart surgery his twin brother underwent. Murata used these works in the exhibition tiled “2”, in which the videos, picture books and sculptures were displayed in such a way to avoid any sequential narration. In a 2008 instillation entitled: “The Barbershop Suzuran”, Murata undertook the challenge of chronicling the rapid aging of an old town by recreating the town with miniature sets. Throughout the work, he emphasized the importance of chronicling key events, because memories so easily disappear with the passage of time. In the fair, Murata is going to show two puppet animations: Forest this flower bloom that Murata was led to produce in the wake of the nuclear plant accident in Fukushima, Japan, and Okinamai, which is a Japanese traditional dance that prays for agricultural prosperity and used to chronicle the convulsions of nature. For the Japanese, who have a deep connection to their land through agriculture, dairy husbandry and via the fishing industry, that accident in which the local people lost so many things, such as their land, also knocked away their spiritual pillar and set the stage for reconsidering their identity as Japanese. Through these two works, Murata presents the fluctuating Japan with the earthquake and the nuclear accident as a jumping off point. This is the first work of a series that will consist of five puppet animations, portraying the view of Mujo on the subjects of prayer, chronicling and faith. Here he represents the beauty of “impermanence” in the form of video works and installations utilizing 3D scans.

Represented Artists: Yoshiko Fukushima, Katsumi Hayakawa, Yosuke Kobashi, Jaye Moon, Naomi Okubo, Chika Osaka, Tokuro Sakamoto, Ai Shinohara, Ryoko Takahashi, Shinosuke Yoshida Website: www.gallery-momo.com  | E-Mail: info @ gallery-momo.com Facebook: gallerymomo  | Instagram: @ gallery_momo  | Twitter: @GalleryMoMo Phone: +81 3 3621 6813  | Cell: +81 80 4937 0131  | Contact: Ryuhei Sugita, Momo Sugita Image: Tomoyasu Murata, Forest this flower bloom, 2014, HD Video / Stereo sound 9 min 31 sec

M org a n Le hm an G al l e ry, Ne w Y o rk   |   B ri ttan y N el so n   |   V o lta N Y 2016 , B o o th A 15

M or gan Le hma n G a lle r y, N e w Yo rk B r it ta ny N e l so n

The work of Brittany Nelson is an ongoing photographic material study; an investigation and a general misuse of photographic chemistry and 19th century photographic techniques. Nelson manipulates the tintype, a wet plate collodion process that was the foremost technological advancement in photography of the 1850’s. This involves coating metal plates in a colloid, and then sensi­t izing the plate in silver nitrate. The result is a unique surface of metallic silver that appears differently depending on the angle of view. Nelson’s contemporary approach to these materials is divorced from their traditional applications, while still remaining rooted in the history of photography. Today, photography’s biggest achievements have to do with accuracy of representation through technological advancement. However, Nelson seeks to investigate the material itself and discover what integrity it may possess as a purely formal material. Through rigorous tests likened to a chemistry lab, the elements of photography become not an additive but the primary level of hierarchy in a piece. While the tintype process has been integral in the technological development of photography, it has always been utilized in the same way. In the face of the material either disappearing completely or being resurrected preserved from the grave, Nelson divorces the material from its traditional application. Nelson believes that like painting, abstraction in photography should be a directed politic, unlike pure light-based abstraction photography or investiga­t ions that literally and metaphorically scratch at the surface. By using traditional methods and materials, Nelson is essentially using photography’s own tools against itself to critique the implementation of the process while showcasing and altering the historic photographic material to speak about the future. Brittany Nelson earned her BA at Montana State University and MFA at Cranbrook Academy of Art. Nelson was awarded the Fish/Pearce Award for Excellence in Process Based Work from the Print Center (Philadelphia, PA), a Theo Westenberger Foundation Grant, and in 2015 a Creative Capital Grant for her work on this innovative project. She has been commissioned by the Cranbrook Science Museum and is in the permanent collections of the Cranbrook Art Museum and the Virginia Museum of Fine Arts.

Represented Artists: David S. Allee, Laura Ball, Emilie Clark, Nicole Cohen, Kysa Johnson, Nancy Lorenz, Sharon Louden, Kim McCarty, Amy Park, David Rathman, Katia Santibañez, Paul Villinski, Paul Wackers, Aaron Wexler Website: www.morganlehmangallery.com  | E-Mail: art @ morganlehmangallery.com Facebook: Morgan Lehman Gallery  | Instagram: @ morganlehmangallery Twitter: @ morganlehmangal  | Phone: +1 212 268 6699  | Contact: Sally Morgan Lehman, Jay Lehman Image: Brittany Nelson, Monolith #3, 2016, Tintype photograph on powder coated formed aluminum, 24 × 20 × 5.5 in

N ew A r t P ro jec t s, L o n do n  |  L au ra Bru ce   |   Vo lta N Y 2016 , B o o t h c 4

Ne w Ar t Pr o je c t s , L o n do n La u r a Bru c e

Laura Bruce makes work about the relationships between nature and myth. Her paintings, drawings and sculpture represent transitions between the real world and another plane. They morph between reality and fantasy through he use of abstraction her “Drips dropping, spinning, and evaporating”. Her images burst with blobs and the bubbles that break down the barriers between the landscape and another imaginary world. In her series of highly worked drawings nature has a complete life of its own, a type of parallel life that we are not aware of. She explores nature as a protagonist. They are also an exploration of drawing in itself, concentrating on the basics of black and white and everything in between. Her large paintings take this further, here Bruce creates layers, working on large wood panels. She likes the hard surface and the way the brushes “scratch” more, allowing her to draw with paint. The addition of an amazing colour palette enhances the fantasy element of her landscapes, and a virtual kingdom, on the edge of abstraction is explored. Her sculptures have a childlike “model” quality, a roughly hewn approach to narrative. Like immature “toy” sets for a play we have never seen, the objects are painted and cluster on work-horse like trestles and tell a linear story, like a Chinese scroll. Bruce studied sculpture at the Slade, and throughout her works structure and narrative, and a fascination with linear objects prevails. Alongside her paintings, drawings and sculptures, Bruce will exhibit a series of “over-painted works” using old prints that depict a romanticized idea of nature, Bruce places a Disney-like or cartoonified layer on top of the very serious and history-laden images. Here Disney meets Casper David Friedrich, Mickey Mouse meets the Young Werther.

Represented Artists: Fergus Hare, Geraldine Swayne, Jakob Roepke, James E. Crowther, James Rielly, Kadie Salmon, Matthew Mccaslin, Sarah Sparkes, Zacharai Logan Website: www.newartprojects.com  | E-Mail: fred @ newartprojects.com Facebook: New Art Projects London  | Instagram: @ newartprojects Twitter: @ newartprojects  | Phone: +44 207 249 4032  | Cell: +44 7712 183690 Contact: Fred Mann Image: Laura Bruce, Sleep House, 2012, Oil on Panel, 175 × 125  cm

Nun u Fi n e A r t, Ta i pe i   |  Ch e- Y u H s u  |   Vo lta NY 2016 , B o o t h e 12

Nu nu Fine A r t, Tai pe i Che -Yu H su

Nunu Fine Art was established in 2014. Its Mandarin name is adapted from the IT equipment “router”, representing the gallery’s vision to act as a platform for converging and sharing information, just as the device does, gathering the cream of essence of European, North American and Southeast Asian contemporary art. Nunu Fine Art not only represents internationally recognized artists, but also mid-career artists from Taiwan, Southeast and Northeast Asia. Taiwanese artist Che-Yu Hsu is one of the promising talents that have been discovered. Hsu’s artworks are mostly adapted from news, history, or personal memory, from which he creates animated models to play as the main characters in different stories. The inspiration is originally from a Taiwanese media company called “Apple Daily”,which represents news in exaggerated animation so the audience could easily absorb the content. Although it does attract audience, the content is actually not true to reality, causing an opposite effect from the initial purpose. Nowadays, while watching the animated news representing a murder or rape, viewers are expecting “entertainment” instead of Truth. In the 5-channel video “Perfect Suspect”, Hsu had included stories that he found on news. He gone back to each crime scene and shot the stories again with his models, who are also the artist’s close friends, acting as the main characters. Through transferring viewpoints between the character in reality, the fictitious models, and creator himself, Hsu had built a landscape of contemporary media. Meanwhile, in another video “Microphone Test”, the anonymous models still play the main roles, but the stories are adapted from their own memory stories. Hsu had tried to balance the double viewpoints from his two identities — as the camera holder and as a friend who shares the memory. The intention of showing “Perfect Suspect” and “Microphone Test” simultaneously is an emphasis on this kind of paradox.

Represented Artists: Alfredo & Isabel Aquilizan, Thordis Adalsteinsdottir, Brad Darcy, Rodney Dickson, Che-Yu Hsu, Maya Hewitt, Yi-Ju Hsieh, Eddi Prabandono, Rose Wylie, Peter Zimmermann Website: www.nunufineart.com  | E-Mail: gallery @ nunufineart.com Facebook: Nunu Fine Art  | Instagram: @ nunufineart  | Phone: +886 233 226 207 Cell: +886 979 355 065  | Contact: Nunu Hung Image: Che-Yu Hsu, Casting a Pair of breasts, 2015, Digital Print on Cotton Paper, 130 × 118  cm

P i erre-Fr a nç o i s Ou el l et te ar t c on t e mp o r ain , M o n t r eal  /  To r o n t o   |  K en t M o n km an   |   Vo lta NY 2016 , Boot h D 6

Pier re -Fr anç o is Ou e lle t t e , Mo nt r e a l / Toro n t o Ke nt M on kman

Kent Monkman explores historical precedents and themes of First Nations peoples in Europe. Since the arrival of Europeans in the Americas, Indigenous peoples traveled to Europe as ambassadors for their own people, captives, performers and as specimens for human zoos, popular in the 19th century. Both Buffalo Bill’s Wild West Show and George Catlin’s Gallery of the North American Indian featured Native American performers. Monkman constructs a back story for Miss Chief who began her own career as an artist and performer with her nemesis George Catlin before launching her own Taxonomy of the European Male. This new series of video paintings expands Miss Chief’s reversal of gaze in which the Europeans become subjects of her scrutiny. The Human Zo o Framed 46” HD monitor, file on SD card, Media player, Wall mount, 2015, Duration: 5:05 minutes, Edition of 5 Exuberant showman George Catlin has staged part of his gallery on the street in a German city. He announces that a grand performance will soon begin and urges the townspeople to gather around. An unimpressed Miss Chief Eagle Testickle refuses to ready herself for the performance as Catlin begins to drum for her Corn Dance. Catlin nudges her out of her fur coat and pressures her to begin her performance. She reluctantly begins her dance but becomes increasingly more enthusiastic and energized by the applause of the delighted audience who cheer and toss coins into Catlin’s top hat. When the dance concludes, Catlin collects the coins, giving nothing to Miss Chief as she resentfully puts her fur coat back on. Source painting: Rear view of the Houses at Schloßfreiheit by Eduard Gaertner (1855) The Immoral W o m a n Framed 46” HD monitor, file on SD card, Media player, Wall mount, 2015, Duration: 6:37 minutes, Edition of 5 A young cardinal is tempted by Miss Chief Eagle Testickle in St. Peter’s Square. Representing the plural sexuality and gender variance (two spirit traditions) of the Americas, Miss Chief tests the mores and hypocrisy of the Christian mantra – Let he who is without sin cast the first stone…Source painting: View of the Colonnade, St. Peter’s Square in Rome by C.W. Eckersberg (1813 – 16) Also presented at VOLTA NY are The Transfiguration and The S ­ ymposium. Kent Monkman is a Canadian artist of Cree ancestry who works with a variety of mediums, including painting, film/video, performance, and installation. Represented Artists: Mark Clintberg, Luc Courchesne, Karilee Fuglem, Adad Hannah, Dil Hildebrand, Maskull Lasserre, John Latour, Roberto Pellegrinuzzi, Ed Pien, Chih-Chien Wang Website: www.pfoac.com  | E-Mail: info @ pfoac.com  |  Facebook: PFOAC Phone: +1 514 395 6032  | Contact: Pierre-François Ouellette Image: Kent Monkman, The Immoral Woman, 2015, Framed 46” HD monitor, file on SD card, Media player, Wall mount, 6:37 minutes, ed of 5

Pab lo’s Bi r t h day, Ne w Y o rk   |  Pi us F o x   |   V olta N Y 2016 , B o o t h b 9

Pablo ’ s B ir t hday, N e w Yo rk Piu s Fo x

Pius Fox moves between painting and drawing, between form and content, always on the verge of the non-objective. Compositions venture into various configurations of spatial expression created by the superimposition of layers of paint, while subject matter originates from the interior of his studio, windows, doors, curtains, facades — introspective in atmosphere, yet formally looking outwards. Firmly rooted in modernism departing from constructivism and cubism, Fox branches out into more painterly styles reminiscent of Diebenkorn and Hockney while evolving his very personal language. Pius Fox was born in 1983 and graduated from UdK (University of the Arts) in Berlin with a BA under professor Frank Badur and a master class under professor Pia Fries in 2010. The Berlin painter has had solo exhibitions in Paris, New York, London, and Berlin, and is featured in many international collections across Europe and the US.

Represented Artists: Christian Eisenberger, Eckart Hahn, Frank gerritz, Henrik Eiben, Karsten Konrad, Marc Lueders, Angelika Schori, Pius Fox, Thorsten Brinkmann Website: www.pablosbirthday.com  | E-Mail: info @ pablosbirthday.com Facebook: pablo’s birthday  | Instagram: @ pablosbirthday  | Phone: +1 212 462 2411 Cell: +1 917 450 5354  | Contact: Jimi Billingsley, Arne Zimmermann Image: Pius Fox, Untitled, 2015, Oil on canvas, 24 × 17  cm

PAPILLION ART, L os An g el e s  |  D ere k F o rdj ou r   |   Vo lta N Y 2016 , B o o th e 3

PAP ILLION ART, Lo s Ang e l e s De r e k Fo r dj o u r

Derek Fordjour’s images draw upon a variety of sources, including sporting imagery, board and card games, carnival motifs, and the circus to explore ideas of vulnerability. He uses the economic, political and psychosocial implications of games to discuss the power structure that exists around rewards and sanctions, merit and punishment, for both the player within the game and as an allegory for the broader human experience. Team dynamics that evoke the tension of an individual situated within a collective effort, convey the seductive sense of the risks and rewards that are inherent in the drama of both games and life.

Represented Artists: Andre D. Wagner, Andy Roberts, Derek Fordjour, Kenturah Davis, Lakwena Maciver, Lauren Halsey, Samuel Levi Jones, Suné Woods Website: www.papillionart.com  | E-Mail: art @ papillionart.com Facebook: papillionart  | Instagram: @ papillionart  | Twitter: @ papillionart Phone: +1 323 642 8402  | Contact: Michelle J. Papillion Image: Derek Fordjour, Box Out, 2015, Wood, terra cotta clay, and bituminous coal, 18 × 12  × 10  in

PATRON, C h i c a go  |  My r a G re e ne   |   V o lta N Y 2016 , B o o t h f 3

PATRON , C h i c ag o Myr a G re e n e

CHARACTER RECO G NITION 2006 – 2007 Confronted with an up swell of bigotry both personal and public, I was forced to ask myself, what do people see when they look at me. Am I nothing but black? Is that skin tone enough to describe my nature and expectation in life? Do my strong teeth make me a strong worker? Does my character resonate louder than my skin tone? Using a photographic process linked to the times of ethnographic classification, I repeatedly explore my ethnic features in Character Recognition. The lessons learned are haunting and frightening in these modern times. — MG SELF PORTRAITS 2002 – 2004 In this series of contemplative portraits, I experimented with photographic techniques to create a random patterning and destruction of the photographic ideals of clarity and precision. While murky, these images reward with the revelation of something, my body and my presence. The body is cropped and photographed as mass. When transformed by process, the body and skin transform into layers of sensibility and emotion. — MG Myra Greene (b. 1975 New York City, NY) received her B.F.A. from Washington University in St. Louis and her M.F.A. in photography from the University of New Mexico. She currently resides in Chicago Il, where she is an Associate Professor of Photography at Columbia College Chicago. Greene’s work has been featured in nationally in galleries and museums including The New York Public Library (2012), Art Museum of the Americas in Washington. D.C. (2012), Spelman College Museum of Fine Art in Atlanta (2009), Museum of the African Diaspora in San Francisco (2008), Yuma Art Center Museum in Yuma Arizona (2008), Wadswoth Museum in Hartford CT (2006) and Sculpture Center in New York City (2003). Her work is in the permanent collections of the Museum of Contemporary Photography Chicago, Museum of Fine Arts in Houston, The National Gallery of Art in Washington D.C., the Nelson-Atkins Museum of Art, Kansas City and The New York Public Library.

Represented Artists: Daniel G. Baird, Kadar Brock, Alex Chitty, Myra Greene, Mika Horibuchi, Samuel Levi Jones, Brittany Nelson, Bryan Savitz, Liat Yossifor Website: www.patrongallery.com  | E-Mail: info @ patrongallery.com Facebook: patrongallery  | Instagram: @PATRONGallery  | Twitter: @PATRONGallery Phone: +1 312 846 1500  | Cell: +1 847 651 6785  | Contact: Julia Fischbach, Emanuel Aguilar Image: Myra Greene, Untitled (Ref. #10) from Character Recognition, 2006 –2007, black glass ambrotype, 2 15/16 × 3 7/8 in /  7.5 × 9.9 cm

P lan t h ou se, N e w Y o r k  |  P hil i p Ta a ffe  |   V o lta N Y 2016 , B o o t h x 4

Pla nt ho u s e , N e w Yo rk Phi li p Taaff e

Founded in 2013 by Katie Michel and Brad Ewing, Planthouse Gallery is a project space located on 28th Street in New York City. Planthouse took its namesake from its original home located on the storied block between Sixth and Seventh Avenues that represents the vibrant center of the city’s flower district. The Floral Gho s t By Susan Orlean and Philip Taaffe This one-of-a-kind collaboration between acclaimed author Susan Orlean and celebrated artist Philip Taaffe unites the literary and the visual, the nostalgic and the optimistic, and brings greenery to your bookshelf. Taking inspiration from the rapidly dwindling “flower district” of New York City, Orlean and Taaffe offer tandem musings on the conceit of “the floral ghost.” Orlean’s essay, one of her first botanically themed writings since she penned the widely lauded The Orchid Thief, reflects on a poignant moment when she first visited the district in its resplendent heyday. Her text is accompanied by Taaffe’s colorful silkscreen monotypes — a bouquet of paper and ink recalling the unique yet universal nature of time passing and petals fading. An evocative rendering of both the memories of youth and the ephemeral nature of the cityscape, The Floral Ghost makes an elegant gift for every aspiring writer, artist and dreamer who moves to a city to make their mark or who admires its mutable glory from afar.

Exhibited Artists: Anders Bergstrom, Grayson Cox, Victoria Haven, Juliet Jacobson, Martha Lewis, Ruth Lingen, Martin Mazorra, Jamisen Ogg, Naho Taruishi, Chuck Webster Website: www.planthouse.net  | E-Mail: kplusb @ planthouse.net Facebook: Planthouse  | Instagram: @ planthousegallery  | Twitter: @PlanthouseNY Phone: +1 212 564 5502  | Contact: Katie Michel, Brad Ewing Image: Philip Taaffe, Project for Planthouse, 2014, Silkscreened monotypes on Durotone archival newsprint paper, 13 ½ × 13 ½ in each

P op op s tu di os , Na ss au  |  Tes s a Wh i te he ad   |   Vo lta N Y 2016 , B o o t h b 11

Po p o p s t u dio s , N assau Te s s a Whi t e h e ad

Tessa Whitehead’s explorations of objects examine the connection between journey, landscape, love and loss. She objectifies symbols, and symbolizes objects which while anonymous are also universal, and play with the tension between the disrupted forms and the strong emotional and physical connotations we attach to them. The works draw from the act of looking at the landscape as a way to describe the introspective self: as lovers, as conquerors, as adventurers, as passive observers or active viewers. Born in The Bahamas (1985), Whitehead received her MFA from The Slade School of Fine Art, UCL, London. Recent exhibitions include Paintings 2008 – 2013, Popopstudios, Nassau (2015); Nassau Calling (with Heino Schmid), curated by Amanda Coulson and Uli Voges, HilgerBROTKunsthalle, Vienna, Austria; A Call For Drawings (with Heino Schmid), project by Klaas Hoek, BAK, Utrecht; Showoff (with Heino Schmid), curated by LeandaKateLouise, London, UK. Whitehead was awarded the Chisenhale Studio4 Residency (2014), her work was shortlisted for the Wells Art Contemporary, Well’s Museum, UK (2013), the Threadneedle Prize, Mall Galleries, London (2012) and she was awarded the William Coldstream Memorial Prize for which her work acquired by the University College London collection (2009). Established in 2008, Popopstudios International Center for the Visual Arts is an independent art studio and gallery dedicated to the preservation and advancement of alternative visual culture in The Bahamas.

Represented Artists: John Cox, Kendall Hanna, Heino Schmid, Tessa Whitehead Website: www.popopstudios.com  | E-Mail: info @ popopstudios.com Facebook: popopgallery  | Phone: +1 242 322 7834  | Contact: John Cox, Heino Schmid Image: Tessa Whitehead, Rainbow Of Stars (detail), 2014 – 2016, Plywood with rope, Dimensions variable

P ro jec t:ARTs pac e , Ne w Y o rk   |  A ar on Zu l po   |   V o lta N Y 2016 , B o o t h d 7

Pr o je c t:ART s pa c e , N e w Yo rk Aa r o n Z u l po

Aaron Zulpo is a Brooklyn-based artist. He received his BA in fine arts from The Rhode Island School of Design (RISD). Aaron’s works depict multiple scenes that are segmented by artificial or natural barriers. The division of space in his works creates a sense of a non-linear narrative that invokes popular culture, and allows the viewer to expand on the scene and advance the story with his or her own imagination or reality. Aaron’s use of easily accessible imagery, in combination with bright colors, divided spaces and multiple patterns, creates scenes with varying degrees of activity to delight the viewer. The images offer a relatable and whimsical, yet sophisticated, experience. Aaron has been producing his works on a series of private commissions, which have taken him to clients throughout the U.S. and parts of East Asia. His first solo show was exhibited in 2012 at Project: ARTspace (then known as 308at156 Project Artspace), and his works have been included in several group exhibitions.

Represented Artists: Auguste Garufi, Leslie Kirby, Michael Kukla, Amy Lincoln, Michael Strasser, Kevin Sudeith, Aaron Zulpo Website: www.projectartspace.com  | E-Mail: michaelyi @ lacwk.com, 308at156 @ gmail.com  |  Facebook: 308at156  | Instagram: @ project.artspace Phone: +1 646 267 0696  | Cell: +1 312 497 0869  | Contact: Michael M. Yi Image: Aaron Zulpo, Rooftop Pool, 2014, oil on canvas, 52 × 48 in

Lyle O. Rei t zel G a l l e ry, San t o Do mi n go  /  N ew Y o r k  |  Sc h e r ez ade G ar c í a  |   Vo lta N Y 2016 , B o o th c 9

Lyle O. R ei t ze l, Sant o Do ming o  / N e w Yo rk Sc he r e z a de G arc í a

Scherezade García is an interdisciplinary artist, dedicated to explore the immigrant’s quest for finding home. Her artwork’s origin is the island where she was born, but her own migration meant changes appreciated in the way she builds her images; using various layers of light and objects in overlapped transparencies. This is migration as aesthetic proposal, inspired at large by her interaction with the Dominicans who have made New York City her home. The artist is a significant figure of Latin American art in the United States, included currently in numerous collective exhibitions in institutions such as Lehamn College Art, Mary Anthony Gallery, Leonora Vega Gallery (NY); and The Jersey City Museum (NJ). She has also participated in the Havana and Santo Domingo Biennales. Her artwork is in the permanent collection of the Smithsonian Museum of Washington D.C. and New York’s Museo del Barrio, the last one for their DominicanYork Graphic Project. García has recently been commissioned a mural for The Miriam and Ira D. Wallach Art Gallery at Columbia University. García, born in the Dominican Republic (Oct 1966) has lived in New York since arrived to study in 1986 to attend Parsons School of Design with a full scholarship based in the quality of her portfolio. Scherezade is an adjunct faculty at Parsons The New School of Design in NYC. Received her BFA from Parsons School of Design, NYC, and MFA from City College of NYC. Since 1995, Lyle O. Reitzel Gallery opens its doors in Santo Domingo and focuses its efforts in supporting the new artistic tendencies of the Dominican Republic, Latin America, the Caribbean and USA. For nearly two decades, being Santo Domingo its main platform, faithful to its aesthetic proposal supporting the new, strange and extravagant, it has organized a series of exhibitions in galleries and museums in the great capitals of the world, while also taking part in several prestigious international art fairs.

Represented Artists: Carlos Estevez, Edouard Duval-Carriè, Firelei Baez, Gerard Ellis, Gustavo Acosta, Gustavo Peña, Hulda Guzmán, Ignacio Iturria, Katja Loher, Inés Tolentino, José Bedia, José García Cordero, Luis Cruz Azaceta, Milton Becerra, Nina Surel, Raúl Recio, Ray Smith, Scherezade García, Tania Marmolejo, Victor Rodriguez Website: lyleoreitzel.com  | E-Mail: galeria.lyle @ gmail.com, lorgallery @ gmail.com Facebook: Lyle O. Reitzel Gallery  | Instagram: @ lorgallery  | Twitter: @LORGallery Phone: +1 809 227 8361  | Cell: +1 305 510 2833  | Contact: Lyle O. Reitzel, Marcelle Reitzel Image: Scherezade García, Las Terrenas I, 2015, Acrylic, pigments, charcoal, collage and ink on canvas, 72 × 48 in

Lyle O. Rei t zel G a l l e ry, San t o Do mi n go  /  N ew Y o r k  |  Raúl R e c i o   |   Vo lta N Y 2016 , B o o th c 9

Lyle O. R ei t ze l, Sant o Do ming o  / N e w Yo rk Raúl Recio

Raúl Recio, baptized as “The Terrible Infant” and also spearhead of the 80’s generation, is an irreverent artist that reinvents himself in every piece. The tales of the narcos, corruption, prostitution and power emerge from the shadows like goths ready to embrace us. These visual stories are told with irony and sarcasm in his irreverent discourse. Recio has been awarded with the Gold Medal at the 2nd Biennale of the Caribbean and Central America, Museum of Modern Art, Santo Domingo; The “X Award” in the Biennale of Grabado, San Juan, Puerto Rico; as well as various recognitions in the Visual Arts National Biennale of Santo Domingo during the 90’s. He has participated in numerous international biennales, such as the Biennale of the Habana, Biennale of Cuenca, Ecuador, among others. His works have been exhibited at prestigious institutions: the America’s Society in New York and The Bass Museum in Miami Beach, Florida, during the exhibition “Modern and Contemporary Art of The Dominican Republic”, subject of a column in the New York Times. His “Invisible Landscape” series was featured in the Guggenheim Museum blog, with a video directed by Rita Indiana. Since 1995, Lyle O. Reitzel Gallery opens its doors in Santo Domingo and focuses its efforts in supporting the new artistic tendencies of the Dominican Republic, Latin America, the Caribbean and USA. For nearly two decades, being Santo Domingo its main platform, faithful to its aesthetic proposal supporting the new, strange and extravagant, it has organized a series of exhibitions in galleries and museums in the great capitals of the world, while also taking part in several prestigious international art fairs.

Represented Artists: Carlos Estevez, Edouard Duval-Carriè, Firelei Baez, Gerard Ellis, Gustavo Acosta, Gustavo Peña, Hulda Guzmán, Ignacio Iturria, Katja Loher, Inés Tolentino, José Bedia, José García Cordero, Luis Cruz Azaceta, Milton Becerra, Nina Surel, Raúl Recio, Ray Smith, Scherezade García, Tania Marmolejo, Victor Rodriguez Website: lyleoreitzel.com  | E-Mail: galeria.lyle @ gmail.com, lorgallery @ gmail.com Facebook: Lyle O. Reitzel Gallery  | Instagram: @ lorgallery  | Twitter: @LORGallery Phone: +1 809 227 8361  | Cell: +1 305 510 2833  | Contact: Lyle O. Reitzel, Marcelle Reitzel Image: Raúl Recio, From the „Las Chapeadoras“ Series, 2015, Ink on paper, 22 × 30 in

ro ber t h en ry co n t e mp o r ary, B r oo kly n  |   J e rry Wal de n   |   Vo lta N Y 2016 , B o o th f 1

r ob er t he nr y co nt e mp o r a r y, B r o o klyn J e r r y Wal de n

Jerry Walden’s work fluctuates between the major influences of his artistic education, Abstract Expressionism and Minimalism. This oscillation produces work that is neither one nor the other but a combination of these two influences. By the mid-1960s the influence of de Kooning gave way to early Frank Stella, which continued through his graduate studies and into the establishment of his first professional studio in 1971. His work evolved in roughly 10 – 12 year periods beginning with hard edged minimal paintings on one extreme to mixing geometric abstraction, the figure (often his own), to expressionistic pools of transparent paints to impasto laden assemblages on the other extreme, always maintaining his interest in color. After surviving cancer in 2012 Walden reassessed his studio practice and began repainting old work he found no longer artistically valid by painting stripes of color over previously finished paintings. This process also led to the discovery of studies from 1971 forgotten in an old flatfile of hard-edged geometric paintings that were never made. He combined stripes of color with the geometries of the older work to produce a completely new body of work that reinvigorated his studio practice. After visiting Isaac Newton’s birthplace (Newton invented the first color wheel and thus the beginning of color theory) Walden was inspired to begin using the seven colors of Newton’s wheel, red, orange, yellow, green, blue, violet and indigo. He says, “Since I was starting over, why not start at the beginning?” This led to his current body of work. Newton’s Pri s m Walden plans each composition using Newton’s seven colors in sequence. He begins with ruled lines on gessoed canvas or paper that reveal the structure and geometry of the format. The first layer of color is chosen at random, and the second layer of color is carefully chosen for its visual characteristics as it harmonizes and contrasts with the existing colors on the canvas. Bound by the rational geometry of his working format, Walden uses the Formalist compositional elements of color, line, pattern and direction in an improvisational, expressionistic manner. He adds and subtracts colors, and this process is repeated until the overall composition reaches a logical conclusion where no one element can be removed without fundamentally altering the whole painting.

Represented Artists: Patty Cateura, Mike Childs, Richard Garrison, Liz Jaff, Colin Keefe, Robert Lansden, Sharon Lawless, Derek Lerner, Pancho Westendarp, Duane Zaloudek Website: www.roberthenrycontemporary.com  | E-Mail: info @ roberthenrycontemporary. com  |  Facebook: Robert Henry Contemporary  | Instagram: @ roberthenrycontemporary Twitter: @ rhcontemporary  | Phone: +1 718 473 0819  | Contact: Henry Chung, Robert Walden Image: Jerry Walden, Hundred Sixty Six (Glory Be) (detail), 2015, Acrylic on Canvas, 65 × 50 in / 1.65m × 1.27m

ROCKELMANN & , B erl i n   |   J effr e y Te u to n  |   Vo lta N Y 2016 , B o o t h f 8

ROCKELMA NN & , Be rl in J e ffr e y T e u t o n

Jeffrey Teuton’s installation is focused on the quest to understand ‘the void’, the study of intention vs. perception and their parallel meaning, it is an account of the toll of a specific lifestyle. The installation gives a glimpse into Teuton’s reality, composed of a stack of notebook pages, bundle of balloons, totem pole, mirrors filled with heart stickers and color block paintings. One may not understand Teuton’s pieces easily, or gain a full understanding at first glance, but the elements in this installation will be pieces to the puzzle. ROCKELMANN& is a gallery for innovative contemporary art, whose focus lies in curated conceptual, installations and new media productions. The ampersand (&) indicates and allows the gallery to recognize its collaborators.

Represented Artists: Fred Fleisher, Florian Japp, Jeffrey Teuton, Klaus Pichler, Kathleen Vance, Marnie Bettridge, Megan Stroech, Sebastian Biskup, Yasmin Alt Website: rockelmann-and.com  | E-Mail: info @ rocklemann-and.com Facebook: ROCKELMANNand  | Instagram: @ rockelmann_and Twitter: @ROCKELMANNand  | Phone: +49 30 863 841 34  | Cell: +49 178 52 30 833 Contact: Alexandra Rockelmann, Geo Gonzalez Image: Jeffrey Teuton, Totem to a Year of Self Destruction, 2015, Mixed Media, 54 × 20 × 12  in

SAMSØÑ , BOSTON  |   G AB RIEL MARTINEZ  |   Vo lta N Y 2016 , B o o t h d 12


Samsøñ is proud to present works from GABRIEL MARTINEZ’s landmark exhibition Bayside Revisited. Debuted as part of the Philadelphia Print Center’s Centennial programming, Bayside Revisited investigated the archives of the William Way LGBT Community Center in Philadelphia, utilized photographs taken by the artist in 2014 and 2015 at Fire Island in New York, and drew on experiments in the photography, manipulation and projection of an original reel of Wakefield Poole’s iconic art-film Boys in the Sand. Artworks on view include editioned photographs, digital collages, sculptures, and installations that historicize and respond to queer culture in New York and Philadelphia in the 1970’s. “Gabriel Martinez’s elegiac exhibition Bayside Revisited invokes the historic potency of Fire Island, New York, as a gay fantasy space and safe haven. By integrating archival materials related to the community into new prints and an installation, Martinez augments the current historical canonization of queer culture…” – Becky Huff Hunter, Artforum, 2015 A forthcoming catalog for Bayside Revisited will be released by the Philadelphia Print Center, with an essay by Scottish artist, critic and curator Darren Jones. Gabriel Martinez (b. 1967, US) is a Cuban-American artist and Miami native, based in Philadelphia, PA, working in photography, performance and installation. He received his M.F.A. from the Tyler School of Art at Temple University in 1991, and his B.F.A. from the University of Florida in 1989. He has participated in several artist-in-residence programs including the Skowhegan School of Painting and Sculpture in 2003 (Skowhegan, ME); Rosenbach Museum and Library and the Fabric Workshop and Museum (both in Philadelphia, PA); Atlantic Center for the Arts (New Smyrna Beach, FL); MacDowell Colony, (Peterborough, NY); Yaddo (Saratoga Springs, NY); Fountainhead (Miami, FL); and will be participating in the Joan Mitchell Foundation artist residency in 2016 (New Orleans, LA). He has recently exhibited in his first institutional solo exhibition, Bayside Revisited, at the Philadelphia Print Center (Philadelphia, PA), and will be presenting a multi-media installation at the Prince Street Project Space organized by the Leslie-Lohman Museum of Gay and Lesbian Art, on view March 11th – 13th. His work has been covered in ArtForum, Art Critical, The Art Blog, and Posture.

Represented Artists: Carlos Jiménez Cahua, Nicole Cherubini, Mark Cooper, Craig Drennen, Gabriel Martinez, Steve Locke, Todd Pavlisko, Matt Rich, Beverly Semmes, Lisa Sigal, Suzannah Sinclair, Aaron T. Stephan Website: samsonprojects.com  | E-Mail: samson @ samsonprojects.com Facebook: Samsøñ  | Instagram: @ samsonprojects  | Twitter: @ samsonprojects Phone: +1 617 357 7177  | Contact: Camilo Alvarez (Owner/Director), Sam Toabe (Assistant Director), Silvi Naci (Assistant Director) Image: Gabriel Martinez, BITS (Bayside 5), 2015, archival inkjet, silkscreen, palladium leaf on paper, 42 × 19.75 in / 107 × 50 cm, edition of 1 with 1 AP, Courtesy: Wakefield Poole

SEASON , Se at tl e   |  Mik e S i mi   |   V olta N Y 2016 , B o o t h c 1

SEASO N , S e at t l e Mike Si mi

TENDERNESS AND ROT Mike Simi was born in Newberry, a small town in the Upper Peninsula of Michigan, USA. The outcome of his living in such a remote location was the creation of a strong ability to self-entertain. This, combined with a loving but offbeat family, has given Mike a keen sense of dark humor. His artwork is creatively simple and subtly subversive and allows for his sculptures to become troublemakers, denying themselves their original functions while barely able to operate with their new identity. Although confused, these objects continue to push on, working towards a new unknown purpose. A schizophrenic respect for all things exists side-by-side with a harmless disregard towards everything. The common denominator in his work is a smart and incisive commentary on the trappings of self-representation by way of class and economy. Recent ink drawings show a naive urgency to communicate. Half earnest, half tongue-in-cheek, these drawings often reveal a truth wrapped in humor. Mike recognizes the conflict hidden within his works, and believes that conflict can be a form of beauty and a place of honest communication. Mike studied ceramics at Northern Michigan University and received his MFA at the University of Washington in 2007, where he studied with Akio Takamori and Jamie Walker. While there, his studies lead him into advanced computer robotics that dealt with the dual representation of a social persona and a private persona. Recent shows include exhibitions in London, Kuwait City, New York City, Chicago and Seattle, with residencies at Pilchuck Glass, Stanwood, Washington, and S12 Glassworks, Bergen, Norway. Mike Simi lives and works in Chicago, Illinois.

Represented Artists: Andy Heck Boyd, Sharon Butler, Dawn Cerny, Seth David Friedman, Juliet Jacobson, Elisabeth Kley, Allison Manch, Dylan Neuwirth, Michael Ottersen, Peter Scherrer Website: www.season.cz  | E-Mail: robert @ season.cz  |  Facebook: Season Instagram: @ season.cz  | Twitter: @ seasoncz  | Cell: +1 206 679 0706 Contact: Robert Yoder Image: Mike Simi, Sad Mac, 2015, permanent ink on paper, 15 × 11  in

Ga ler ía S en da , Ba rc el o na  |  An t ho ny G o ic o l e a  |   V o lta N Y 2016 , B o o th A 10

G ale r ía Se nda , B a r ce l o n a Ant ho ny G oi c o l e a

Anthony Goicolea, born in Atlanta, USA, 1971 Lives and works in New York, USA Anthony Goicolea is an American born artist of Cuban origin. Known internationally for his photographs, drawings, paintings, sculptural installations, and films, Anthony works across mediums creating a selfreferential visual language that explores identity, migration and transition, displacement and alienation, as well as assimilation and group dynamics. He utilizes the architecture of the human body and constructed landscapes to create worlds predicated on fantasy but based in reality. Since 1991, we have actively performed gallery work, and from now on we expand our actions towards other art services. It is important for us to continue the collaboration with artists that trust our labor as well as, develop mediation with the community and young art researchers, curators, universities both from the local scene and abroad. We will support and participate in their creative process that their new projects may come to light, inside and outside our gallery space and to equally serve as support to institutions or third parties with their artistic endeavors.

Represented Artists: Anna Malagrida, Anthony Goicolea, Glenda León, Isabel Rocamora, James Clar, Jordi Bernadó, Ola Kolehmaninen, Oleg Dou, Peter Halley, Yago Hortal Website: www.galeriasenda.com  | E-Mail: info @ galeriasenda.com Facebook: galeriasenda  | Instagram: @ galeriasenda  | Twitter: @ galeriasenda Phone: +34 934 87 67 59  | Contact: Carlos Durán, Andrea Fiore Image: Anthony Goicolea, Anonymous Self-Portrait, 2015, Graphite and Turpentine Oil on Mylar with Paint Mounted to Board, 55 × 42 in

S h in G alle ry, Ne w Y o rk   |  Keu nm in L e e   |   V o lta N Y 2016 , B o o t h b 5

Shin G a lle r y, N e w Yo rk Ke u n min L e e

Shin Gallery is honored to show a selection of works from emerging Korean artist Keunmin Lee at VOLTA NY 2016. Following a string of solo exhibitions, the artist’s latest Do I Wake or Do I Sleep received an overwhelmingly positive analysis in Artforum. Each titled Refining Hallucinations, the wealth of works produced during the show will be exhibited at VOLTA as vibrant demonstrations to the extent Lee’s work oscillates between sublime nightmare and surreal beauty. “Keunmin uses art to assimilate the diabolic in himself and, in so doing, makes his hallucinations universal.” – Donald Kuspit (Artforum) At first glance, what appears as an abstract haze of muted earth tones quickly transforms into a miasma of torment and suffering. Working with rapacious pace that gives way to nefarious brutes, the artist’s method is where early Surrealists located the unconscious. Constructing the gallery as a makeshift, continuous studio for Do I Wake, the unceasing work of the mild-mannered, diligent artist makes unmistakable clear the continuous psychological dramas and turmoil that can rest behind the neatly masked individuals that surround us everyday. While the avant-garde has a long history of Hallucinations in art, the unique psycho-cultural weight Lee grants to his apparitions both sets him apart in his ambitions to refine such characters. To continually live, refine, and transform these hallucinations of pain is for Lee something of an olive branch. As to exist as a poorly formed chimera denotes an alienated social state, by continually humanizing the grotesque, castaway freaks from the shadowy recesses of lucidity, Lee grants these figures a dignity by caring for them with a profound love. Here Lee’s work not only confronts the ghouls that drip from his sleep to his wake through paint and pen, but also urges his viewers to stare into the nomans-land abyss of his fleshy fogs, conjure up the monsters in their head, and work to live peacefully with their daemons. Since 2013 Shin Gallery has been poised to stage elaborate exhibitions with the ambition to shift how individuals interact with art. Shin Gallery looks to historical cultural sources that have altered conventional perception of aesthetics, value, and the world by a transforming the idea of interaction, expression, and community.

Represented Artists: Hyon Gyon, Keunmin Lee, David Raffini, Johnny Miller Website: www.shin-gallery.com  | E-Mail: info @ shin-gallery.com Facebook: Shin Gallery  | Instagram: @Shin_gallery  | Twitter: @ shin_gallery Phone: +1 212 375 1735  | Contact: Hong Gyu Shin Image: Keunmin Lee, Do I Wake or Do I Sleep, 2016, Solo Exhibition, Shin Gallery NYC

S lag Ga llery, B r oo kly n  |  ADAM B RENT  |   V o lta N Y 2016 , B o o t h c 3

Sla g G a lle r y, B r o o klyn ADAM BRE N T

Adam Brent’s sculptures and installations combine technology, raw materials, and found objects in exploration of the sentiment found in all things. Brent’s assemblages and sculptures are domestic and psychological portraits that loosely develop until each work feels complete. Recent work strives for a composite space where dark optimism is built out of a cast of assembled parts, color, and kitsch elements. Spanning from the very small object to large-scale installations and collapsible structures, each work carries the balance between a narrative, history, form, space and material. For VOLTA NY, Brent presents a selection of sculpture and assemblage made from a combination of manipulated found ceramic objects, wood, metal, and printed plastic along with a malleable installation of polished linoleum floor tiles. In many of the darkly humorous sculptures, the printed plastic often becomes a visual foil and serves to obscure the complete image. With each sculpture in the series, Brent draws on the constant construction and repair that goes into both making a home and keeping a family together in all of its emotional and physical complexity. Adam Brent’s work has been exhibited at such notable museums, institutions and galleries as The Islip Art Museum, The Bronx Museum for Contemporary Art, The Aldrich Museum For Contemporary Art, The Mattatuck Museum, The New Museum’s Festival of Ideas, Aljira Center for Contemporary Art, Artists Space New Haven, Auxiliary Projects, Apex Art, Margaret Thatcher Projects, Gathering of The Tribes, Wave Hill, BRIC Rotunda, The New York Department of Transportation’s Urban Art Program, and The 2012 Venice Architecture Biennale, US pavilion. Brent will have public works exhibited in Wave Hill, NY and Jamaica Flux, NY in 2016.

Represented Artists: Tirtzah Bassel, William Buchina, Adam Brent, Avital Burg, Dumitru Gorzo, Dan Gratz, Tim Kent, Steve Mc Clure, Naomi Safran-Hon, Dan Voinea Website: www.slaggallery.com  | E-Mail: irina @ slaggallery.com Facebook: Slag Gallery  | Instagram: @ slaggallery  | Twitter: @SLAGgallery Phone: +1 212 967 9818  | Cell: +1 917 977 1848  | Contact: Irina Protopopescu Image: Adam Brent, Almost there, 2016, Printed plastic, ceramic, wood, aluminum, acrylic paint, epoxy resin, 25.5 × 23 × 4.5 in

S lag Ga llery, B r oo kly n  |  TIM KENT  |   Vo lta NY 2016 , B o o t h c 3

Sla g G a lle r y, B r o o klyn T IM KE N T

Tim Kent’s pieces cultivate unease, but remain beautifully rendered in spite of their fatalistic character, reflecting upon doomed utopias, condensed power structures, and the inherent irony of “progress.” Kent integrates the rules of architectural draftsmanship with thickly painted abstracted passages to scaffold constantly evolving constructions, often slicing through barren landscapes with the threat of encroaching expansion. He captures a way of viewing the earth through the lens of industry, projecting eerie premonitions of ghostly matrices over his scenes of ordered deconstruction. Struck at first by the possibility of what could be an exercise in science fiction, Kent leaves the viewer wondering if this is already the destiny we have made manifest for ourselves. Augmenting the oppositional relationships highlighted by his work, Kent deploys a variety of palettes — from natural olives, browns, and grays to more vibrant hues like traffic-cone orange and sulfuric yellow — in loose abstractions, from which depth and space slowly emerge. The signposts of architectural drafting are added along with easily identified formal elements in a process that both grounds the work in a tangible reality and turns the painting into a locus of the surreal. In short, Kent’s work deals in paradox. He offers the viewer frozen constructions that are at the same time full of dynamic power. One is drawn into the work by recognizable objects, only to look further and discover that they are caught in impossible spaces. Perspective is imposed by the artist only to be undermined over and over again by each viewer’s unique perceptions. In this series the vectors of the precise and the intangible, the serious and the absurd, intersect in an aesthetic playground that is as visually engaging as it is thought provoking.

Represented Artists: Tirtzah Bassel, William Buchina, Adam Brent, Avital Burg, Dumitru Gorzo, Dan Gratz, Tim Kent, Steve Mc Clure, Naomi Safran-Hon, Dan Voinea Website: www.slaggallery.com  | E-Mail: irina @ slaggallery.com Facebook: Slag Gallery  | Instagram: @ slaggallery  | Twitter: @SLAGgallery Phone: +1 212 967 9818  | Cell: +1 917 977 1848  | Contact: Irina Protopopescu Image: Tim Kent, The Interference (detail), 2015, oil on linen, 100 × 70 in

M in d y So lom on Ga l l ery, M ia m i  |  L i nd a L o p ez   |   Vo lta N Y 2016 , B o o th e 10

Mindy So lo mo n G a lle r y, Miami Linda L o pe z

Linda Lopez (b. 1981 Visalia, California) received a BFA in ceramics and BA in art education from California State University of Chico, and an MFA in ceramics from the University of Colorado at Boulder. ­Lopez has exhibited her work in New Zealand and throughout the United States including Robischon Gallery, Denver; Jane Hartsook Gallery at Greenwich House Pottery, New York; The Clay Studio, Philadelphia and the Center for Emerging Visual Artists, Philadelphia. She has been an artist in residence at The Clay Studio and the Archie Bray Foundation, and was included in the State of the Art Exhibition at Crystal Bridges Museum of American Art. Established in 2009, Mindy Solomon Gallery specializes in contemporary emerging and mid-career artists and art advisory services. The gallery represents artists working in painting, sculpture, photography, and video in both narrative and non-objective styles, and was named one of the Top 500 Galleries Worldwide in Louise Blouin Media Modern Painters 2013 and 2014 annual guides. The gallery serves as an incubator for dynamic artists establishing their creative voices and exploring a broad range of exhibition possibilities. Represented artists include: Scottish photographer Muir Vidler, LA photographer and writer Scot Sothern, Korean sculptural artist Kang Hyo Lee, Mexican mixed-media artists the de la Torre brothers, New Yorkbased painter James Kennedy, and an array of national and international talent. Mindy Solomon Gallery participates in global art fairs including Art Miami, Zona Maco, VOLTA BASEL, VOLTA NY, PULSE, Moving Image, and Shanghai Contemporary. Always interested in the intersection of art and design, Mindy Solomon and her staff work closely with designers, advisors, consultants, and curators to inform and integrate fine works of art into every aesthetic environment.

Represented Artists: Jeremy Chandler, Einar and Jamex de la Torre, David Hicks, Ezra Johnson, James Kennedy, Kang Hyo Lee, Lauren Mabry, Scot Sothern, Muir Vidler, Christina West Website: www.mindysolomon.com  | E-Mail: info @ mindysolomon.com Facebook: mindysolomongallery  | Instagram: @ mindysolomon Twitter: @ mindysolomongallery  | Phone: +1 786 953 6917  | Cell: +1 727 409 9113 Contact: Mindy Solomon Image: Linda Lopez, Objects, 2015, ceramic, dimensions variable

MARC STRA US , NEW Y ORK  |  Ch ri s Jo ne s  |   V o lta N Y 2016 , B o o t h A 8

MARC STRAUS, N E W YORK Chr i s Jo n e s

British sculptor Chris Jones’ three-dimensional relief collaged artworks unlock vistas to extraordinary universes. Through his assembling of found and scavenged paper images from magazines and old books he invents structures where each exposed unit provides its own narrative; windows into pockets of existence that are around us at all times but often hidden just beyond the limits of perception. Apartment buildings, cars, motorcycles, and even a full size horse and carriage are some of the monumental constructions. There are no limits to Jones’ creative grandeur. In the Sunday NY Times review of Jones’ 2008 solo museum exhibition at The Hudson Valley Center for Contemporary Art (HVCCA), Ben Genocchio wrote, “No reproduction can convey the experience of encountering this work. It creates its own environment, inspiring a sense of enchantment and awe, and the feeling persists the longer you hang around.” Chris Jones (b. 1975) earned an MFA from Central Saint Martin’s College of Art and Design, London in 2002. He was awarded an artist residency at the Hudson Valley Center for Contemporary Art in Peekskill, New York in 2008 followed by a solo exhibition at the museum. Recent museum presentations include The Oakland University Art Gallery, Michigan (2014), Knoxville Art Museum (2014), Prague Biennial (2013), Manchester Art Gallery (2012). Chris Jones is represented by MARC STRAUS, New York.

Represented Artists: Emil Alzamora, Thomas Bangsted, Jeffrey GIbson, Chris Jones, Marin Majic, Martha Mysko, John Newsom, Hermann Nitsch, Jong Oh, Paul Pretzer, Ulf Puder, Antonio Santin, Zlatan Vehabovic, Entang Wiharso Website: www.marcstraus.com  | E-Mail: info @ marcstraus.com Facebook: marcstrausllc  | Instagram: @ marcstrausgallery  | Twitter: @ marcstrausllc Phone: +1 212 510 7646  | Contact: Timothy Hawkinson, Ken Tan, Karen Gilbert Image: Chris Jones, After They Had Left, 2015, Book and magazine images, board, polymer varnish, 63 × 44 × 1 in / 160 × 110  × 2.5 cm

MARC STRA US , NEW Y ORK  |  Pa ul P ret ze r   |   V o lta N Y 2016 , B o o t h A 8

MARC STRAUS, N E W YORK Pa u l P re t ze r

Berlin based Estonian artist Paul Pretzer’s paintings are distinctive for their tragicomedy — viewers are left teetering between amusement and unease. His quirky, playful works combine odd protagonists and abstract landscapes with swirls of color and brushstrokes that recall Guston and early Rothko. At VOLTA, Pretzer introduces new characters who yield great intensity. Sad donkeys wail into the void, a goofy horse donning a heroic cape pounces into action, a stoic cat smokes a cigarette while the grinder churns out mysterious meat. Like fairytales, these characters become an accessible lens for the inquiry of human behavior. They are almost all flawed or even outright dismal. These surrealistic works always have tension between narrative subject matter and formal compositional concerns. Single objects possess the gravitas to bind entire planes of abstraction, like lonely ships amidst Turner’s turbulent seas. Replacing decorative patterns or mountainous terrains, the colorful backgrounds are made up of vibrant and vivid brushwork. In some works monochromatic bands span the bottom, alluding to Newman’s zips. These serve as optical respites before the eye jumps back into the fields of action. The deceptively uncomplicated paintings are in fact culminations of trained technical methods. A skilled draughtsman with an experienced painterly hand, he easily convinces us of the impossible — logic collapses in the narratives, beckoning various interpretations. Paul Pretzer (b. 1981) completed his MFA in 2007 at the Hochschule für Bildende Künste in Dresden, Germany. He has exhibited in numerous international venues, including solo shows in Basel, Berlin, Düsseldorf, and New York. His work is in numerous private and public collections such as Städtische Galerie, Dresden, Stadtgalerie Kiel, The Rubell Family Collection and the Sør Rusche Collection. Paul Pretzer is represented by MARC STRAUS, New York.

Represented Artists: Emil Alzamora, Thomas Bangsted, Jeffrey GIbson, Chris Jones, Marin Majic, Martha Mysko, John Newsom, Hermann Nitsch, Jong Oh, Paul Pretzer, Ulf Puder, Antonio Santin, Zlatan Vehabovic, Entang Wiharso Website: www.marcstraus.com  | E-Mail: info @ marcstraus.com Facebook: marcstrausllc  | Instagram: @ marcstrausgallery  | Twitter: @ marcstrausllc Phone: +1 212 510 7646  | Contact: Timothy Hawkinson, Ken Tan, Karen Gilbert Image: Paul Pretzer, Lichter, 2015, Oil on canvas, 17 × 13 in / 43 × 33 cm

Ga ler ie He ik e S t r el ow, F ra n kfu r t am Ma i n  |  Il - J i n At em C h o i   |   V o lta N Y 2016 , B o o th c 16

Galer ie He ike St r e lo w, Fr a nkfu r t a m M ain Il- J in At e m C h o i

Il-Jin Atem Choi began as a teenager to spray his artist name “Atem” in public space around the region of Ruhr in Germany, before moving to Maastricht to pursue International Business Studies and to subsequently in 2012 start his art studies at the Staedelschule in Frankfurt/ Main in the class of professor Tobias Rehberger. His artistic practice emerges somewhere between the freedom and anonymity of the public space, the power and control of the marked and the aesthetical regime of art. Switching from one reality into the other has equipped Atem Choi with knowledge and abilities of adaptation, that have served him develop his artistic language. Aware of the present dependency of humanity on commodities and as a critical response to this, Atem Choi works with a limited number of materials and facilities: paper, spray, ink, cardboard, canvas and ultimately spaces. His interventions in form of graffiti in public spaces, aim at defining, outlining and marking the given, creating points of reference. While his works on paper, canvas and interior spaces aim at undefining, liberating and deconstructing the given, creating moments of detachment. Galerie Heike Strelow was established by curator and art historian Heike Strelow in Frankfurt/Main. The gallery focuses on contemporary artistic positions, examining socio-political constructions and their relevance for the present. Most of the represented artists, work formally as well thematically on cross and trans-cultural matters, on territorial questions as well on personal and social identities. Gallery’s program consisting of exhibitions, talks, publication and other events, aims in rising questions about the notion of the culture landscape, the public space as well as the individual and social relations between human and environment. The gallery works and supports the visibility of emerging and established positions, active in the institutional field and the art market.

Represented Artists: Khaled Barakeh, Monika Brandmeier, Nin Brudermann, Wiebke Grösch/Frank Metzger, Florian Heinke, Mathias Kessler, George Steinmann, Katrin Ströbel, Winter/Hoerbelt, Hendrik Zimmer Website: www.galerieheikestrelow.de  | E-Mail: info @ galerieheikestrelow.de Facebook: galerieheikestrelow  | Phone: +49 6948005440 Contact: Heike Strelow-Meister Image: Il-Jin Atem Choi, Untitled, 2015, Spraypaint and ink on canvas, 230 × 140  cm

S tu di o1 0, Br oo kly n   |  E l an a He rz o g  |   Vo lta NY 2016 , B o o t h d 3

St u dio 10, B r o o klyn Ela n a H e rzo g

Elana Herzog’s work incorporates processes of making and unmaking; of making through unmaking. “As she pulls apart commercially produced bedspreads, clothing, and carpets, she reverses the effects of the mechanization of people and economy, returning the industrial to the handmade.” (Rebecca Pristoop) Accumulations of staples, like sutures, ornament and distress the surfaces to which they are attached. There is a tension in Herzog’s work that arises from the close relationship between destruction, repair and transformation. Elana Herzog lives and works in New York City. Her work is currently on view in Devotion/Destruction: Craft Inheritance, curated by Rebecca Pristoop, at Dorsky Projects in Long Island City. Her solo exhibition, SHIFT; The Angel of History, was recently at Studio 10 in Bushwick, New York. and a major project, Valence, was at The Boiler (Pierogi), in Brooklyn in 2014. Herzog has had solo exhibitions at the Sharjah Art Museum, Sharjah, United Arab Emirates, Lmak Projects in New York City, the Aldrich Museum of Contemporary Art in Connecticut; Smack Mellon in New York; the Herbert F. Johnson Museum at Cornell University; Morgan Lehman Gallery, New York City. De-Warped and UnWeft, a survey of Herzog’s work since 1993, was at the Daum Museum of Contemporary Art in Missouri in 2009. Her work has been exhibited internationally in Norway, Sweden and Iceland, Canada, Chile and the Netherlands, and she has participated in numerous group shows at institutions such as the Tang Museum in Saratoga Springs, New York, the Weatherspoon Museum in Greensboro, North Carolina, The Kohler Museum in Sheboygan, Wisconsin, David Castillo Gallery in Miami, and at The Brooklyn Museum and The Museum of Arts and Design New York City.

Represented Artists: Michele Araujo, Tom Butter, Matt Freedman, Richard Garet, Susan Silas, Adam Simon, Tim Spelios, Jude Tallichet, Kate Teal, Audra Wolowiec Website: www.studio10bogart.com  | E-Mail: studio10bogart @ gmail.com Facebook: Studio 10  | Phone: +1 718 852 4396  | Cell: +1 718 908 4253 Contact: Larry Greenberg, Brittany Prater Image: Elana Herzog, Untitled; from Civilization and its Discontents, 2003, mixed media, 60 × 108  in

S tu di o1 0, Br oo kly n   |  Meg Hi t ch c oc k   |   Vo lta N Y 2016 , B o o t h d 3

St u dio 10, B r o o klyn Me g Hit c h c o c k

Meg Hitchcock cuts individual letters from holy books, reconfiguring them to create new images that often become the text from a different religion. Letters from these texts shed their rigid meanings and gain a more physical presence as they are reformed like sand into shapes reminiscent of waves, mandalas, or architectural adornments of a time past. For Hitchcock, the creative act is a form of meditation as well as a process of self-inquiry. By deconstructing sacred texts and emphasizing their interrelationships she disputes long-held claims of religious exclusivity, opening them to a more inclusive interpretation. Meg Hitchcock is an artist living and working in Brooklyn, New York. She received her BFA in painting from the San Francisco Art Institute and studied classical painting in Florence, Italy. Her work with sacred texts is a culmination of her lifelong interest in religion, literature, and psychology. Hitchcock’s work has been shown in New York, Los Angeles, San Francisco, Chicago, London, and Berlin, and reviewed in Art in America, ArtCritical, The New Criterion, Huffington Post, Hyperallergic, and The Daily Beast.

Represented Artists: Michele Araujo, Tom Butter, Matt Freedman, Richard Garet, Susan Silas, Adam Simon, Tim Spelios, Jude Tallichet, Kate Teal, Audra Wolowiec Website: www.studio10bogart.com  | E-Mail: studio10bogart @ gmail.com Facebook: Studio 10  | Phone: +1 718 852 4396  | Cell: +1 718 908 4253 Contact: Larry Greenberg, Brittany Prater Image: Meg Hitchcock, Heart Sutra, 2016, Letters cut from sacred text, 14 × 14  in

STU X G allery, N e w Y o rk   |  Aa ro n J oh n so n   |   V o lta N Y 2016 , B o o t h d 14

STUX G a lle r y, N e w Yo rk Aa r o n J oh n so n

Aaron Johnson holds an MFA from Hunter College, 2005, and lives and works in Brooklyn, New York. His work is in permanent collections at such institutions as the Museum of Modern Art, the Fundacion Mehr, and the Weisman Foundation. His work has been included in museum exhibitions at The Museum of Modern Art, NY; The Hudson Valley Center for Contemporary Art; The Knoxville Museum of Contemporary Art; The Katzen Center at American University; and MASS MoCA, MA. He is the recipient of many awards, including The MacDowell Colony Fellowship, The Corporation of Yaddo Residency, The Marie Walsh Sharpe Space Program, and the VCCA Fellowship. Johnson’s work has been reviewed in numerous publications including The New York Times, The Huffington Post, The Village Voice, ArtNews, and ArtForum. Johnson has created two distinctive and wildly innovative approaches to painting. His well-known “reverse-painted acrylic polymer peel” paintings place the artist behind the picture plane, opposite from the viewer. Johnson builds these works layer upon layer in reverse to submerge the viewer into the depths of the surface. His newest series of “sock paintings” were presented for the first time in February 2015 at Stux’s new 57th Street location in the solo exhibit Pisockophilia. The two bodies of work exist in counterpoint; meticulous Indian-miniaturesque details in his reverse-paintings starkly juxtapose the swashbuckling brushstrokes created by a clunky impasto of flung socks. A selection of Johnson’s sock paintings are currently on view at MASS MoCA, where he recently completed a site-specific, monumentally scaled mural made of crowd-sourced socks, on view through May 30, 2016. Uniting his two modes of work is Johnson’s inimitable style, a painterly madness flowing forward from his influences of Goya, Peter Saul, Picasso, Ensor, Llyn Foulkes, and the Hairy Who. Johnson’s paintings are a delight of seductive surface, garish color, and entangled flesh.

Represented Artists: Thordis Adalsteinsdottir, Sokari Douglas Camp, Wei Dong, Ruud van Empel, Aaron Johnson, Halim al Karim, Eugene Lemay, Kathy Ruttenberg, Linda Stojak, Michael Zansky Website: www.stuxgallery.com  | E-Mail: andrea @ stuxgallery.com Facebook: STUX Gallery  | Instagram: @ stux_galllery  | Twitter: @ stux_gallery Phone: +1 212 352 1600  | Cell: +1 917 306 6303  | Contact: Andrea Schnabl, Stefan Stux Image: Aaron Johnson, Turkey Pistol Dinner, 2015, Acrylic and socks on linen, 71 × 93 × 6 in / 181 × 237 × 16 cm

C at i n c a Tab a ca r u G a l l ery, N ew Y or k  |   Jo e Br i t tai n   |   V o lta N Y 2016 , B o o th d 5

Cat inca Tabaca r u G a lle r y, N e w Yo rk J o e Bri t tain

Catinca Tabacaru Gallery is pleased to present a solo booth of new works by Joe Brittain for VOLTA NY 2016. In his new series of sculptures and works on paper, Brittain continues his aesthetic and poetic investigation into non man-made materials, inherent patterns in nature, and the anthropomorphic overlay of language on all things. With this new body of work, Brittain works alongside his materials and guides them to enunciate their own inherent, meaning-laden properties. Lacking a standard operating procedure or prioritized material, the results of his practice are behavioral situations in which the viewer draws connections between the elements and together they performs the function of a poet, each becoming an element of a larger prose. The work is not about one thing in particular; instead, it makes us feel something, whatever that may be is an open-ended question. Exotic, mysterious, and sometimes hidden materials such as black diamonds, gold, crystal balls, magnetic sand, and dried flowers, point outward beyond confining white walls, past the immediate moment, out to the natural world and a deeper sense of time. Conversely and concurrently they point inward to the inherent and universal, inner emotional life of people and things. To see and hear the echo of similarity between the two situations is the alchemic power of his work. Brittain presents us with objects and surfaces that are always windows, doors and mirrors — modes of transportation to new places. ABOUT THE ARTIST Joe Brittain was born and raised in Arcade, New York. He studied Art History and Visual Art at SUNY University at Buffalo. He has attended several residencies and in 2011 was awarded a NYFA Fellowship in sculpture. He has shown at galleries throughout the United States. Brittain lives and works in Brooklyn. Ab out CATINCA TA BACAR U G ALLERY Catinca Tabacaru Gallery opened its brick and mortar space on the Lower East Side of New York City in 2014. Interested in authenticity, a universal language and the geopolitical environment, the themes of identity, gender and time run deep throughout the gallery’s program. The gallery’s activities are collaborative at their core. True to its roots of curating and branching out into multidisciplinary projects, the Gallery created an Artist Residency in Zimbabwe this Summer 2015; a project which is evolving parallel to its space-driven program.

Represented Artists: Joe Brittain, Greg Haberny, Rachel Monosov, Shinji Murakami, Terrence Musekiwa, Yapci Ramos, Xavier Robles de Medina, Duhirwe Rushemeza, Justin Orvis Steimer, Gail Stoicheff Website: www.catincatabacaru.com  | E-Mail: info @ catincatabacaru.com Facebook: Catinca Tabacaru Gallery  | Instagram: @ catincatabacaru Twitter: @CatincaTabacaru  | Phone: +1 212 260 2481  | Cell: +1 603 957 1354 Contact: Catinca Tabacaru, Raphael Guilbert Image: Joe Brittain, Untitled, 2015, Black and white photograph, 24 × 18  in

T en Ha a f P roj ec t s, A ms t e rda m   |  I nna L ev in s on   |   Vo lta N Y 2016 , B o o th f 6

Te n Haaf Pr o je c t s , Ams t e rdam Inna L e v inso n

Hunger Inna Levinson is a young fearless artist born in the Ukraine. While the artist works in many media (film, drawing and sculpture), this show will concentrate on her latest body of work: images made with colourful plasticine clay. A key motif that often leads Levinson in her work is that of desire. Desire can drive people to great things, but it can also cause destruction. Some works on display at VOLTA present Levinson’s version of classical scenes in European art. Taking already existing classical images, ­Levinson creates her own world. Her work shows us scenes of people gathering around in celebration, but also of war and suffering. Mythological figures and interpretations of religious tales are also depicted. Levinson also works on more contemporary subjects: for instance the refugee crisis in Europe: “Clubbing Divas” depicts western women and the immigrants who are not used to this freedom, and the tension this gives. Behind found window frames, diminutive clay scenes are constructed in beautiful colours. This gives the work an impression of a religious icon. Humour is evident in all her clay works, even her war scenes are merrier then suffering. Currently living and working in Berlin, Levinson was born in the Ukraine in 1984. Levinson has shown in group and solo exhibitions in Germany, The Netherlands, Japan, and at the Moscow Biennale of Contemporary Art. Her work is found in private and institutional collections. Gallery info rm atio n Ten Haaf Projects is an art gallery located in the center of Amsterdam. We focus on the work of promising contemporary artists, as well on the work of modern masters. We show, represent and support the work of a diverse group of artist in our 150-m2 gallery. Our mission is to be a platform for challenging national and international artists. Ten Haaf Projects internationally oriented team has an in depth knowledge of the art market. We advise, appraise and manage private and institutional collections.

Represented Artists: Andrew Gilbert, Luka Kurashvili, Inna Levinson, Mark Powell, Sebastian Weggler, Hiroki Tsukuda Website: www.tenhaafprojects.com  | E-Mail: info @ tenhaafprojects.com Phone: +31 204 285 885  | Cell: +31 648 916 190  | Contact: Justin Ten Haaf Image: Inna Levinson, Applaus für die Tanzenden, 2015, plasticine clay and wood, 42 × 52 cm

TEZU KAYAMA GALLERY, OSAKA  |  KAZ UMA KOIKE  |   V o lta N Y 2016 , B o o t h c 10


Kazuma Koike was born in 1980 in Kanagawa Prefecture, Japan, but he spent his boyhood in both Argentina and Barcelona, where he was influence by his unique and colorful surroundings. His style and incomparable sense of expression are what make Koike unique, and an important figure in Japan’s young, contemporary art scene. From 2015, Koike has been producing paintings and sculptures of icons covered by various flora and fauna, which hide the face of the icon, acting as a sort of vandalism or destruction. Sprawling from this destruction, Koike’s interest is in the tranquility, or what he calls “tense calm”. For example, when ivy is tangled around ancient ruins, he feels it is one of the best combinations of form. On the one hand we have a great ancient man-made artifact, and on the other hand, vegetation which has forms often better than people can imagine. Koike finds interest in the tense atmosphere created by involuntary conflicts. By placing the motif in front of patterned or uniform color backgrounds, there is an intention to try to some extent, strip the meaning from the image while also giving the sense of a portrait. Koike, through a variety of techniques and styles of painting, creates visuals that succeed in creating this “tense calm”, an indescribable sense of both uneasiness and tranquility. “In recent years, I have produced paintings and sculptures by limiting the motif. From this reproduction, icons are cut off from memory, and from that, ‘tranquility’ is born.”

Represented Artists: Yasuka Goto, Manabu Hasegawa, Kotatsu Iwata, Tomohiro Kato, Kazuma Koike, Hirohito Nomoto, Yoshiyuki Ooe, Daisuke Takakura, Satoru Tamura, Hiroko Uehara Website: www.tezukayama-g.com  | E-Mail: info @ tezukayama-g.com Facebook: TezukayamaGallery  | Instagram: @ tezukayama_gallery Twitter: @ tezukayama_g  | Phone: +81 6 6534 3993  | Contact: Chie Uchida, Shinpei Okada Image: Kazuma Koike, Kannon with Leaves, 2015, acrylic on canvas, 170 × 100  cm

T hi er ry G old berg G a l l ery, N ew Y or k  |  C ha s on M at t h am s  |   Vo lta N Y 2016 , B o o th e 9

Th i er r y G o ldbe r g G a lle r y, N e w Yo rk Cha s o n M at t h ams

Here is an artist happiest in the graveyard we call Google Images, promiscuous in his desire to absorb everything: stupid and brilliant, sickening and funny, banal and beautiful. Lots of people do this kind of looking now — gluttonous, glazed over, staring — and try making it into something. But few have the chops or intelligence to metabolize this modern habit into such febrile and gorgeously unhinged art. Chason Matthams can paint like a motherfucker. Or a fatherfucker — he doesn’t care. His pictures look like a synthesis of Ingres, Ub Iwerks, and Norman Rockwell, fed on a steady diet of GHB and Nickelodeon. They radiate a sinister, fraudulent light. Though fussed over and finessed within an inch of their lives, these paintings act out — they are nasty, irritating, visceral. It must have something to do with the temporal space one’s shunted into while in their thrall. The sweat equity involved in his careful and tender rendering of so much mass-cultural excreta — by his hand and no other — mesmerizes. Behold the cyclopean head of Miss Montag — Heidi, 2010, — orange as a new Birkin, scraped out of a Malibu afternoon and pasted onto a dead field of bluish gray, every bead of moisture around her collagenenhanced lips flashing like little knives on a face that got lifted beyond reason at twenty-three. She is weird, “sexy,” and hopelessly broken, a casualty of reality television and more than a little self hatred. Let’s blame it on Large Warm Playback, 2015, a creepy, sensuously detailed portrait of a high-definition studio camera aimed into a nethersphere of seedy purple light. It’s dead and alive simultaneously, as good paintings are, and exactly like us as we sit there, camera-like, vacant and watching. — Alex Jovanovich

Represented Artists: Tatiana Berg, John Dante Bianchi, Maya Bloch, Derek Franklin, Ben Grasso, Chason Matthams, Pierre Obando, Hiba Schahbaz, Tschabalala Self, Grace Weaver Website: thierrygoldberg.com  | E-Mail: info @ thierrygoldberg.com Facebook: ThierryGoldbergGallery  | Instagram: @ thierrygoldberg Twitter: @ thierrygoldberg  | Phone: +1 212 228 5730  | Contact: Ron Segev Image: Chason Matthams, Herakles, 2016, oil on linen, 48 × 36 in

Ga ler ie Tro i s P o in t s, M o nt réa l   |  Mi l ut in G ub ash   |   Vo lta N Y 2016 , B o o th e 4

G ale r ie Tr o is Po int s , M on t ré al Milu t in G u b ash

Although passionately anchored in the past, Milutin Gubash’s work is strongly oriented toward thinking about the future. The large photographic works from the Monuments to Communists series magnify landmarks commissioned under Tito in the former Yugoslavia during the years 1960 to 1980. These buildings served a double function: internally they were meant to invigorate interest and faith in the socialist experiment that had begun to waver as much as they expressed a desire to align Yugoslavia with the Western world. That duality, reflecting in those once idealized though now abandoned constructions, fascinates Gubash. His interest lies in the grand and innovative aesthetics — yet lack of any current function — these monuments possess. With the Lamps project, the artist created sculptures-with-lights inspired by modern lamp designs and made with found materials. Like the photographs, these handmade models reflect some of our utopian ideals. Gubash’s sketches of the essential features of each lamp/sculpture are sent to his aunt in Serbia, who hires a local taxi driver to help source the common domestic materials, which will be transports by the artist’s mother back to Gubash in Montreal for final assembly: in a final mimicry of contemporary global manufacturing practices performed in human-scale. These Lamps, as of the photographs, imagine the will to transcend the disappointing circumstances in life, to dream of something better, represented by a fantasized idea of the western world. Born in Serbia in 1969, Milutin Gubash lives and works in Montreal, Canada. He holds a MFA in photography, a BFA in photography and a BA in philosophy. Gubash’s work has been widely exhibited around the world since 2000 and he is looking at upcoming exhibitions at the National Gallery of Canada and at the Museum of Contemporary Art in Novi Sad (Serbia) in 2016 along with a six months residency in Paris. Located in the BELGO BUILDING since 1988, which host more than 20 exhibition spaces in the heart of Montreal’s art scene, Galerie Trois Points dares to present emerging artists, some some well renowned now in Canada and internationally. Emilie Grandmont Bérubé and JeanMichel Bourgeois took over the gallery in 2009 and have vivified the spirit of the gallery by positively and constantly inscribing themselves in the Canadian art scene.

Represented Artists: Elmyna Bouchard, Sylvain Bouthillette, Olga Chagaoutdinova, Michel Daigneault, Evergon, Clint Griffin, Anne-Renée Hotte, Mathieu Lévesque, Natascha Niederstrass, Natalie Reis Website: www.galerietroispoints.com  | E-Mail: egb @ galerietroispoints.com Facebook: GTPoints  | Instagram: @ galerietroispoints  | Twitter: @GTPoints Phone: +1 514 866 8008  | Cell: +1 514 576 0231 Contact: Emilie Grandmont Bérubé, Jean-Michel Bourgeois Image: Milutin Gubash, Ordinary Folk, (exhibition view), 2015, mixed media (lamps) and archival inket photographic print (photography), varied dimensions

VICTORI + MO, Bro o kly n   |   Bri a n Wi l l m o n t  |   Vo lta N Y 2016 , B o o t h A 13

VICTORI + MO, B r oo klyn B r ia n Wi ll mo n t

Brian Willmont, a Brooklyn-based artist who received his BFA with High Distinction from the Massachusetts College of Art, focuses on combining various painting techniques to explore graphic abstraction. His unique imagery combines aspects of trompe l’oeil, airbrush and classical symbolism that reference pop culture aesthetics, which permeate mainstream iconography. He utilizes symbols, such as roses and water droplets that suggest fragility and transient states, in an effort to address points of contention between the dark and hopeful ideas that embody each motif. By placing emphasis on the flatness of his work, illusions of space collapse as Willmont creates scenes that are phenomenological and atmospheric. This combination of foreground, background and all the visual planes in-between, comment on the simultaneous experience of history and the present. He amplifies this realm with a surprising palette of bright pastels, which echo a contemporary disposition and dynamic approach before coming into focus. Through this diverse use of imagery, Willmont effectively blends together the symbolic, decorative and abstract, contemplating on the history and nature of pictorial representation itself. Brian Willmont (b. 1983) received his B.F.A. with High Distinction from the Massachusetts College of Art. His work has been included in exhibitions at The Hole (NY), Steinsland Berliner (Sweden), Castor Gallery (NY), Victori + Mo (NY), Park Life (CA), The Torrence Art Museum (CA), and has had solo exhibitions at Driscoll Babcock (NY), Field Projects (NY), Receiver Gallery (CA), Space 1026 (PA), LaMontagne Gallery (MA), Boston Center for the Arts (MA), and Aviary Gallery (MA). Brian is also the director and owner of Greenpoint Terminal Gallery.

Represented Artists: Myles Bennett, Miriam Cabessa, Felix R. Cid, Langdon Graves, Peter Lapsley, Joe Nanashe, Nic Rad, Eric Standley, Brian Willmont, Frank Zadlo Website: www.victorimo.com  | E-Mail: info @ victorimo.com Facebook: VictoriContemporary  | Instagram: @ victorimo_gallery Twitter: @VictoriMo_Art  | Phone: +973 978 1447  | Cell: +201 913 9036 Contact: Celine Mo, Ed Victori Image: Brian Willmont, Untitled, 2016, Acrylic on panel, 20 × 16  in

W ei -Li ng Ga llery, Ku al a Lu m p ur  |  Iva n L am Wai H o e   |   V o lta N Y 2016 , B o o th d 19

We i- Ling G a lle r y, Ku a la L u mpu r Iva n La m Wai H o e

In Ivan Lam’s practice the concept of duality has been continuously present throughout his journey as an artist. The push and pull between what is present and what is absent, between black and white, between the seen and unseen, between the past and the present, between what is said and what is meant, between male and female, between young and old, between love and hate, between conditional and unconditional love… In this body of work, he explores the generational gap between himself and his daughters, and in turn that which existed between himself and his parents, and them with theirs-the persistent and ironic void that exists between our very own “flesh and blood”. Something that in some way, we can all relate to on some level. He also looks at the space between his daughters as human beings, although conceived from the same parents, the duality in their beings and their very existence.These are issues prevalent to all of us as human beings, who are capable of processing this idea of self. He initially grappled with this idea through “merging” the faces of his two daughters on a two dimensional surface, through the use of one inch stripes, where each daughter’s face is sliced and interspersed with the other’s, over 60 stripes. Almost in an attempt to do away with, and banish the gap that separates them. Through a painstaking process, of painting each face with a variation of black and white tones, to differentiate, yet link them, he found himself starting the work with a strong emotional connection to the subject matter, yet ironically in the process of making the work, became somewhat detached from it, as the work started to “take over”.

Represented Artists: Amin Gulgee, Anurendra Jegadeva, Chen Wei Meng, Chin Kong Yee, Chong Kim Chiew, Choy Chun Wei, Hamidi Hadi, Ivan Lam, Wong Chee Meng, Yau Bee Ling Website: www.weiling-gallery.com  | E-Mail: weilingcontemporary @ gmail.com Facebook: Weiling Gallery  | Instagram: @ weilinggallery  | Phone: +60 322 601 106 Contact: Wei-Ling Lim Image: Ivan Lam Wai Hoe, 24 cuts, 2015, Synthetic polymer paint on wood board, 150 × 120 × 7.6 cm

w i dmer th eo do ri di s, Es c hl ik o n  |  N ad ine Wo tt ke   |   V o lta N Y 2016 , B o o th f 7

widme r t he o do r idis , E s ch l i ko n Na dine Wo t t ke

Nadine Wottke’s porcelain objects have a saucy, burlesque appearance. And yet they scratch the smooth surface of how we appear in society. Fears and desires arise from her beautiful objects and disclose the inner most of our personality. “At first glance Nadine Wottke’s works seem to be pure provocation. However the dramatic display of sexual features and blatantly obvious poses suggesting typical compositions of sexuality and pornography are much more than an attack on shame and normal conventions. The artist consciously utilises ambiguously titillating compositions in her works in order to reveal deep social and psychological themes. The intended irritation, achieved through contrasts and contradictions, starts with external characteristics and attributes, which in some works are presented to the observer brutally and unembellished. In other works the motifs of sexual themes are concealed under a blanket of symbols of innocence and purity, revealed only after a second glance, but then all the more suddenly and brutally if the observer leaves the usual viewing angle and walks around the figure. Behind the external appearance, the façade, it is all very different. An unconcealed portrayal or insights in primarily hidden details attacking the genre picture, where the initial contrast is made clear.” – Miriam Krautwurst, Angermuseum Erfurt Nadine Wottke (born 1978) lives and works in Erfurt. She graduated from the Bauhaus-Universität, Weimar, Germany. Her artwork is mainly presented in Germany and has been exhibited, for example, in the Kunst­h alle Erfurt and the Neues Museum Weimar.

Represented Artists: Othmar Eder, Andreas Fux, Simone Kappeler, Sandra Kühne, Michael Schnabel, Sebastian Stadler, Ernst Stark, Stefan Thiel, Jim Verburg, Lydia Wilhelm Website: /www.0010.ch  | E-Mail: mail @ 0010.ch  |  Facebook: WIDMERTHEODORIDIS Phone: +41 71 971 3811  | Cell: +41 79 293 2680  | Contact: Jordanis Theodoridis, Werner Widmer Image: Nadine Wottke, Oxymoron, 2015, bone china, 26 × 37 × 30 cm /  10.24 × 14.57 × 11.81  in

MARK W OL FE CONTEMPORARY, San F ra n cis c o  |  PAUL M ULLINS  |   V o lta N Y 2016 , B o o th c 12


PAUL MULLINS American, b. 1970 in Charleston, West Virginia Lives and works in San Francisco Mullins’ work considers class, place and masculinity, focusing on their visual expression in the rural American South. This suite of works can be at once both enthusiastic and apprehensive about the imagery with which they are replete: iconography plundered from the cheapest of cultural sources, and associated with ways of life that contemporary coastal Americans should supposedly regard as less successful, if not outright undesirable. Mullins thinks a lot about our changing (or unchanging) social positions in the U.S. His own lived history as an Appalachian native combines with a curiosity and affection for art-making as an undertaking (described more and more as a business) that is (and always has been) concentrated in a few areas that are characterized by great wealth. Mullins loads his work with the populist images that powered the dreams of so many rural kids born around the same time he was. Yet it is also very evident that his work is the product of someone who has been looking at Art for a lifetime. MARK WOLFE CONTEMPORARY Founded in 2005, Mark Wolfe Contemporary exhibits emerging and mid-career artists working in all media, with a focus on California painters. The gallery‘s mission is to introduce works that compel viewers to adopt new modes of observing, processing, and decoding visual information that shape the ways they perceive and respond to the world around them. We take great pride in having mounted the first-ever shows of several now-established artists from across the US, Europe, and China, and in having introduced Bay Area artists to new audiences at art fairs in Miami, New York, Los Angeles, and Chicago. The gallery‘s artists have garnered critical praise in local and national publications and media, including art ltd, Artweek, KQED Public Television, New York Times, San Francisco Chronicle, San Francisco, 7 x 7, S.F. Weekly, S.F. Bay Guardian, Flash Art, and Village Voice, and have exhibited at the Oakland Museum, the Civic Gallery of Milan, the San Francisco Museum of Modern Art, and numerous other venues.

Represented Artists: Daniel Arnold, Francesca Berrini, Kim Keever, Todd Lanam, Ryan Martin, Paul Mullins Website: www.wolfecontemporary.com  | E-Mail: contact @ wolfecontemporary.com Facebook: wolfecontemporary  | Instagram: @ wolfecontemporary  | Twitter: @ mwca Phone: +1 415 369 9404  | Cell: +1 415 205 1479  | Contact: Mark Wolfe, Susan Anthony Image: Paul Mullins, Critical Assignment Arms (detail), 2015, Coloured pencil, acrylic, paper on panel, 183 × 183 cm / 72 × 72 in

W OL FSTÆDTER , F RANK F URT AM MAIN  |  Sel e na K im b al l   |   V o lta N Y 2016 , B o o th f 5


Selena Kimball’s recent large-scale collages are a meditation on intangible landscapes; parts of our physical environment that we can clearly see but never touch (the Milky Way, the visible spectrum, shadows cast by mountains or clouds). Kimball trained as a sculptor; the physical material is key to her process — a direct result of often timeintensive archival and narrative inquiry. She begins with researched photographic sources, documents of particular places and historical events. This printed source material is cut apart and physically reconfigured (collaged and/or re-photographed) into an imagined reckoning with the original subject. Kimball thinks of this work as “epic” collage — a photographic collection compressed into a single monumental image. The generative “rub” in the work is not only between two adjacent images (as one would expect from collage) but also the juxtaposition between what the piece looks like in dialogue with the photographic printed sources it is made from physically. The books and artifacts used as material for the work were originally printed at a scale that would be hand-held — you have to be close to the work to see these image fragments. Kimball is interested in the tension between the private act of reading and the public act of viewing. A “close reading” refers to other attributes: intimacy, privacy and immediacy, contradicting our expectations that a large-scale work can be taken in its entirety from a distance. Projects have included a reworking of photographic documents of the 1893 Chicago World’s Fair, John Stoddard’s 1894 photographic travelogue “Glimpses of the World”, Dore’s Illustrations of Dante’s Inferno, a 1914 scientific photographic account of a spiritualist medium, and most recently a reworking of night vision photographs taken by US soldiers in Afghanistan. Kimball sees in these photographs a distillation of the desire to document and understand something beyond — beyond life, beyond technological limits, beyond cultural boundaries. Her collages are a loose and often abstract search for connection to these found photographic histories. Selena Kimball is a research-based, interdisciplinary visual artist whose work examines visual perceptions of history. She is a recent recipient of the Pollock-Krasner award and the Jerome Foundation Travel grant, and is Assistant Professor of Contemporary Art Practice at Parsons.

Represented Artists: Petra Johanna Barfs, Andreas Exner, Thomas Kilpper, Selena Kimball, Erling Thor Valsson Klingenberg, Xue Liu, Michael Klipphahn, Josef Loretan, Benjamin Patterson, Sebastian Stöhrer Website: www.wolfstaedter.de  | E-Mail: info @ wolfstaedter.de Phone: +49 163 63 29 817  | Contact: Juergen Wolfstaedter Image: Selena Kimball, Untitled (Garden Varieties), 2015, collage, 33.5 × 102.36  in

Y G allery, New Y o r k  |  Migu e l Agu i rre   |   Vo lta N Y 2016 , B o o t h e 8

Y G a lle r y, N e w Yo rk Migu e l Agu i rre

The present works are part of Miguel Aguirre’s recent explorations on American Art History, especially the American abstraction that became one of the first movements that gained international recognition to New York as the world capital of art since the ‘40s. The portraits feature first and second generation artists that are known to be associated with American Abstract Expressionism. Aguirre appropriates black and white photos of the painters found on the Internet and reproduces them on same-sized zinc sheets. The portraits depict a handful of well-known figures of the movement, while a majority of the artists may relatively be unknown to the general public. More than just homage, this series tends to be also an analysis on the history of this movement and its formal achievements. In conjunction with this figurative series, Aguirre has also developed two works, “exercises,” taking into account some principles of Abstraction and combining them with one of the richest cultural heritages of his country of origin: the textile art of Peru. Miguel Aguirre (Lima, 1973) lives and works between Tarragona, Spain and Lima, Peru. He has received a B.F.A. at the Faculty of Arts at the Pontificia Universidad Católica del Perú, and the Advanced Diploma Studies (DEA) for the Faculty of Fine Arts at the University de Barcelona. His work has been shown in Europe and Latin America museums and institutions including Domus Artium 2002 -DA2, Salamanca, Spain; Fundación Lázaro Galdiano, Madrid; MEIAC, Badajoz, Spain; Museum voor Moderne Kunst-MMKA, Arnhem, Holland; Kunsthalle, Winterthur, Switzerland; Centro Cultural de España, Lima; Mexican Cultural Institute, Washington D.C.; Museo de Arte de Lima – MALI; Museo de Arte Contemporáneo de la Universidad Nacional Mayor de San Marcos, Lima; MALBA, Buenos Aires; Museo de Arte de Puerto Rico, San Juan; MACSI, Caracas; 3 Bienal do Mercosul, Porto Alegre; I Bienal Iberoamericana de Lima; II Bienal de Fotografía, Lima; among others.

Represented Artists: Alberto Borea, Alejandra Prieto, Alejandro Almanza Pereda, Artemio, Christoph Draeger, Elliot Lloyd, Eung Ho Park, G.T. Pellizzi, Irvin Morazan, Juanli Carrion, Manuela Viera Gallo, Mauricio Ianes, Miguel Aguirre, Monika Bravo, Norma Markley, Ryan Brown, Santiago Villanueva Website: www.ygallerynewyork.com  | E-Mail: info @ ygallerynewyork.com Facebook: YGalleryNewYork  | Instagram: @ ygallerynewyork  | Twitter: @YGalleryNY Phone: +2 212 228 3897  | Cell: +41 56360760  | Contact: Carlos Garcia Montero, Cecilia Jurado Image: Miguel Aguirre, Exercise no. 1, 2015, Sheep Wool, 58 1/4 × 62 1/2 in

Yello w P er il G a l l e ry, Pr o vi de nc e  |  R a qu e l Pai e w o n sky  |   Vo lta N Y 2016 , B o o th D 1 1

Y ello w Pe r il G a lle r y, Pr o v i de n c e Ra q u e l Pa i e w o n sky

Raquel Paiewonsky (b. 1969, Puerto Plata, Dominican Republic) works across a range of media, including painting, sculpture, installation and photography. She has presented 15 solo exhibitions in the Dominican Republic and the United States, group shows in South America and Europe, including the 53rd and 55th Venice Biennale in the Latin American Pavilion. “The predominantly feminine social body in Raquel Paiewonsky’s work addresses issues of gender politics, couple relationships, sexuality, maternity, ecology and other issues of a general nature, but it also alludes to hot-button issues in the Dominican context, such as prostitution,” notes Gerardo Mosquera, Chief Curator of the San Juan Poly/Graphic Triennial. “The artist uses the body as a kind of tropological platform from which to illuminate these issues in their own complexity and in the imaginal complexity of art, without falling into the prevailing literalness of socially critical art in her country. We are mistaken if we think that her artworks are about the body or sexuality. They are so only indirectly, because here the body is above all else a critical resource that drives the artist’s expression with great power.” Although seldom conveying violence explicitly, Paiewonsky’s work is very much concerned with the veiled but insidious violence that permeates the personal, social and political systems in which we live. “In recent years,” she stresses, “my work explores the relationship between our essence and our surroundings, the impact of stereotypes and cultural constructions, always taking as a reference our instinctual selves and the ways in which the primal component of our nature is affected by the new and ever changing contexts of contemporary life.” International collections include Daros-Latinoamérica, Zürich; The RISD Museum; Museum of Modern Art, Santo Domingo; Centro León, Santiago. Paiewonsky is the recipient the Gran Premio Eduardo León award in 2006, 2008 and 2012, and presented at XX and XXII editions of the National Visual Arts Biennial of Santo Domingo. In 2015, she was artist-in-residence at Künstlerhaus Bethanien in Berlin, supported by The Davidoff Art Initiative. Paiewonsky holds a BFA from Parsons School of Design and co-founded Quintipata, an internationally recognized art collective from the Dominican Republic that includes Pascal Meccariello, Jorge Pineda, and Belkis Ramirez.

Represented Artists: Kathryn Parker Almanas, Jennifer Avery, Joan Backes, Toby Barnes, Caleb Cain Marcus, Naomi Campbell, Ruth Dealy, Paul Myoda, Raquel Paiewonsky, Quintín Rivera Toro, Andrew Paul Woolbright Website: www.yellowperilgallery.com  | E-Mail: info @ yellowperilgallery.com Facebook: yellowperilgallery  | Instagram: @ yellowperilgallery  | Twitter: @ yellowperilart Phone: +1 401 861 1535  | Cell: +1 917 655 1497  | Contact: Vanphouthon Souvannasane Image: Raquel Paiewonsky, Wall, 2016, concrete blocks, hand embroidered fabrics (dimensions variable)

YOD Ga llery, OSAKA  |  A l f red o Es qu il l o J r   |   Vo lta N Y 2016 , B o o t h d 21

Y OD G a lle r y, OSAKA Alfr e do Es q ui l l o Jr

Alfredo Esquillo Jr is best known for works whose themes spring from faith and its icons. Introspective and immersive partly because of their unparalleled realism, his pieces strongly articulate the complexities that underlie the desire to believe in a greater force that is beyond human understanding. Many of his works pivot around this central question. They reference local settings, biblical narratives, and personas like Mang Lauro, a healer and local cult leader whose life he closely followed. Steeped in a distinct language, Esquillo’s art entwines the universal yearning that faith commands with vernacular understandings of the self that aspires towards it. His more recent works vividly articulate the ideas of “loob” (inner self), “labas” (outer world) and “lalim” (depths of existence): spheres that make the firmaments of faith. He aptly situates these realms within a moral world forged by struggles that shape local history. Esquillo’s referencing history and locale is greatly discerned in the juxtaposition of gravity and buoyancy in the manner he employs his mediums. He brings to life figures and settings through gossamer strokes that defy the viscosity of oil. While he typically works on synthetic rubber sheets, he has taken his brush to less conventional surfaces including canvas strips woven to resemble mats as well as piña fiber. Recent exhibitions had him working not only with paintings but also with mixed media pieces: assemblages, installations, videos and performances, altogether rendering his art greater fluency. His art has been shown in numerous exhibitions in the Philippines and abroad. These have been included in international exhibitions notably the “The American Effect: Global Perspectives on the United States 1990 – 2003” at the Whitney Museum of American Art in 2003 and “Beyond the Self” at the National Portrait Gallery Australia in 2011. In 2013, he collaborated with artist Renato Habulan for an exhibition at the National University of Singapore Museum. His pieces likewise have been shown in local and international galleries and art fairs. He has a Fine Arts degree in painting from the University of Santo Tomas Manila (1993). He won grand prizes for the Metrobank Painting Competition in 1993 and the Philip Morris ASEAN Art Awards in 1995. He received the Thirteen Artists Award from the Cultural Center of the Philippines in 2000.

Represented Artists: Agathe de Bailliencourt, Masashi Hattori, Eikoh Hosoe, Kosuke Kimura, Issay Kitagawa, Hideki Kuwajima, Ryuzo Satake, Toshiyuki Shibakawa, Takuro Sugiyama, Motonori Uwasu Website: www.yodgallery.com  | E-Mail: info @ yodgallery.com  |  Facebook: YOD Gallery Twitter: @ yod_gallery  | Phone: +81 6 6364 0775  | Cell: +81 80 5320 5329 Contact: Ryotaro Ishigami Image: Alfredo Esquillo Jr, WHISPER TO A SCREAM, 2014, Oil on ethylene-vinyl acetate (EVA) panel, 152.4 × 243.84 cm (diptych)

GALERI ZILBERMAN , ISTAN BUL  |   G UIDO CASARETTO  |   V o lta N Y 2016 , B o o th b 3


In Guido Casaretto’s work, the materialist and the representational dimensions of the image, haptical and optical perceptions confront each other on multiple levels. This confrontation should not be considered as a battle between two sides with definitively delineated borders and with an absolute result. Rather, we are talking about a conflict in which the sides are interwoven, constantly shifting their position, in which texture and detail encounter symbol and perspective, where the physical space meets optical illusion, constantly blurring their distinctions. This hybridity, one of the most typical qualities of contemporary images, is presented in Casaretto’s works as an artistic problematic. The object in front of us shares optical and haptical visuality at the same time. What we see is more of a “sculpture of painting” rather than a sea painting and it does not only appeal to the sensation of seeing, but triggers other perceptions as well. Sartre explains a similar notion as such: “In fact the lemon is extended throughout its qualities, and each of its qualities is extended throughout each of the others. It is the sourness of the lemon which is yellow, it is the yellow of the lemon which is sour. We eat the color of a cake, and the taste of this cake is the instrument which reveals its shape and its color to what we may call the alimentary intuition…The fluidity, the tepidity, the bluish color, the undulating restlessness of the water in a pool are given at one stroke, each quality through the others; and it is this total interpenetration which we call the this.” It is possible to interpret all the actions that the artist has realized as a specialized effort to remove figuration from the optical without abstract painting, attempting to make it belong to the material universe. We are living in a universe in which the resolution of the materials that hold the images are so small that we could not feel them, evoking a feeling of the images having lost their material dimension. In this eye-centered world, Casaretto’s presentation takes the idea of a position in relation to the object, touching and looking become more prominent. Poetically, this could be interpreted as an attempt to give body to ghosts.

Represented Artists: Heba Y. Amin, Selçuk Artut, Alpin Arda Bağcık, Janet Bellotto, Burçak Bingöl, Guido Casaretto, Antonio Cosentino, Ahmet Elhan, Extrastruggle, Zeren Göktan, Zeynep Kayan, Azade Köker, Şükran Moral, Walid Siti, Gülin Hayat Topdemir, Eşref Yıldırım Website: www.galerizilberman.com  | E-Mail: zilberman @ galerizilberman.com Facebook: GaleriZilberman  | Instagram: @ galerizilberman  | Twitter: @GaleriZilberman Phone: +90 212 251 12 14  | Cell: +90 537 895 29 29  | Contact: Moiz Zilberman Image: Guido Casaretto, As Far As I Recall / I-II, 2016, Charcoal on resin, 50 × 60 × 30 cm (each)

ZORZINI G alle ry, B uc har e st   |  D a n M a ciu că   |   Vo lta N Y 2016 , B o o t h b 1

ZORZ INI G a lle r y, B u c h are st Da n M ac i u c ă

The gallery: Zorzini Gallery opened in March 2012 in Bucharest, the capital city of Romania, at the initiative of Adina Zorzini, art critic and curator. Zorzini Gallery focuses on contemporary art and regularly displays Romanian or international initiatives, working with both established and emerging artists that correspond to the gallery’s aesthetic agenda, providing a strong platform for ambitious projects that focus on contemporary current trends and styles. With a deep sense of expertise and professionalism, while maintaining an experimental approach, Zorzini Gallery promotes a larger acceptance for projects that have something serious to say within the context of today’s art achievements. Situated in the historical center of Bucharest, Zorzini Gallery is the first gallery in the city located in an industrial space sheltered by the 19th century building of the former Fur Factory. The ar tist: Dan Maciucă, born in 1979, is a strong emerging and highly skillful Romanian artist descended from the Cluj School of Art, living and working in the same city; the artist perfectly masters all classical painting techniques and is also an Associated Professor at the University of Art and Design of Cluj, Painting Department. A special feature present in Maciucă’s art practice is the importance given to the abstract dimension; since the abstract expression does not have a strong historical background in the Eastern European history of art and representation, Maciucă differentiates himself by being one of the very few important representatives of the abstract approach in the most recent productions from Eastern Europe. Deeply preoccupied with re-structuring objective reality in a gestural manner, the artist is equally interested by the geometry of collision generated at the intersection of the complementary chromatic codes.

Represented Artists: Szabolcs Belenyi, Vlad Berte, Szilard Gaspar, Dan Maciuca, Ioan Popdan Website: www.zorzinigallery.com  | E-Mail: contact @ zorzinigallery.com Facebook: Zorzini Gallery  | Instagram: @ZorziniGallery  | Phone: +40 727890720 Cell: +40 727 890 720  | Contact: Adina Zorzini Image: Dan Maciucă, Urban landscape – Rothko I, 2015, Oil on canvas, 150 × 130  cm

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