James Hoff: I’m Already a Has-Been exhibition / VI, VII, Oslo
August 31 — December 5, 2012

For his first exhibition at VI, VII, American artist, writer and editor James Hoff presents two groups of paintings based around language, and abstraction as a culture-bound illness.

One set of paintings tries to imagine a visual counterpart for syndromes that enter language through specific geographic contexts as the outcome of locally existing phenomena and paranoia—Nigerian ‘Brain Fag’ syndrome for example—formulating abstraction as a cultural malady that is linguistically spread.

A second set of works is based on drawings found at stationary stores in cities like Oslo and New York, casually and communally scribbled onto notepads when customers were testing their pens.

In these works, the scratch pad functions as a surrogate for abstraction illustrating the collective pathos of the community from which they were born. All of this, of course, goes back to Freud and can be traced through the Dadaist affinity with automatic writing and the very imperfect science of twentieth century gestalt theory which used mark-making as a way to determine cognitive skills, sanity and mental health.

In preparing this exhibition, the artist chose to include new works not previously addressed in this press release. The works were composed by means of flocking the areas left exposed after a first-pass tearing away at the shrink wrap around pre-fabricated canvases, freezing with small colored fibers set into wet paint, the exact moment the canvas is about to be freed to be painted on. In this sense each of these partially flocked works is a still life, soft to the touch, that documents the innate and every everyday activity of unwrapping a package. (via Contemporary Art Daily)

Images courtesy of VI, VII, Oslo. Photos by Jon Benjamin Tallerås.

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Reviving the light: Zsolnay Ceramic Design / ILIAD, New York

Reviving the light: Zsolnay Contemporary Ceramics, ILIAD, New York
Zsolnay Contemporary Ceramics, ILIAD, New York - Work by Zsuzsa Fuzesi

Reviving the light: Zsolnay Ceramic Design / ILIAD, New York
October 17 - November 30, 2012

Opening reception: Wednesday, October 17, from 6 - 8 pm

Works by Eva Zeisel, Julia Kunin, Zsuzsa Füzesi, Viktor Erdei, Sándor Dobány, Edina Andrási.
Curators: Julia Kunin and Andrea Megyes

Balassi Institute New York and ILIAD are proud to present the exhibition Reviving the Light: New Zsolnay Eosin Ceramics, featuring contemporary designs by a select group of Hungarian and American artists prepared at the Zsolnay porcelain factory in Pécs, Hungary. The exhibition opens on October 17, 2012 at ILIAD and will be on view until November 30. The Zsolnay Porcelain Manufacturing Company, founded in the 1850’s, has been known to produce the finest in Hungarian ceramics, particularly during its “golden age” in the Art Nouveau and Secession periods at the turn of the 19th and early part of the 20th century. To revive old traditions lost during the Second World War and the Soviet occupation, six artists participated at a workshop held at the Siklós Ceramics Arts Center in southern Hungary in summer 2011. The aim of the workshop was to produce objects that would highlight Zsolnay’s traditional role in producing high-end ceramics and demonstrate the compatibility of techniques like eosin glaze with contemporary art and design. An express goal of the symposium: the presentation of those works in a special showing in New York City.The exhibition testifies to the unique reservoir of traditional techniques safeguarded at Zsolnay while showcasing the innovative potential for contemporary design highlighted by these iridescent and luminous glazes. Of special interest are a series of vases by Eva Zeisel, which she contributed to the Siklós symposium in 2011. These were originally designed for Royal Stafford, and now enriched with iridescent glazes. Re-contextualizing some of her late-career trademark designs, on view will be examples of select forms designed by her in 1983 when she was invited to collaborate with the Zsolnay factory. These designs for eosin-glaze pieces were first executed in 1998 in a limited number.

Artists include Viktor Erdei, a young designer at the  Zsolnay factory, whose works re-imagine Art Nouveau in their invocations of natural forms. Sándor Dobány is an expert in architectural ceramic design, and creates fantastical porcelain objects painted with surreal imagery. Zsuzsa Füzesi’s Whimsical Vessels series in eosin glaze investigate the geometries of structure and matter, and Edina Andrási’s experimental deconstructions of historical Zsolnay vases create objects that are both evocative of and radically different from their original sources.

Finally, New York-based artist Julia Kunin’s recent pieces explore concepts of excess, growth, and decay, often bringing to mind memento mori. The works incorporate iridescent glazes, which change constantly with the light, creating psychedelic surfaces on the baroque forms. Apart from her contribution as artist, Kunin both proposed the show to New York City partners and co-curated the exhibition.

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Francesco Ardini: Porcelain Skin, 2012, Porcelain mixed with paper, Organic reagent, Plastic structure with tie rods, 1300°C

Francesco Ardini: Porcelain Skin, 2012, Porcelain mixed with paper, Organic reagent, Plastic structure with tie rods, 1300°C

Robert Montgomery: Echoes of Voices in the High Towers

The project is supported by mono.kultur, who will soon publish three books on Robert Montgomery with funds raised on Kickstarter.

CHANCE ENCOUNTERS IN THE STREETS
"Robert Montgomery is a fine artist based in London, whose work we first discovered a few years ago. Robert writes poems – but instead of publishing them in books, he sends them out into the public space in the form of large light installations or billboards in between advertising.

Robert never signs his work – so when you come across one if his billboards in the streets, you don’t really know where the message came from, but you immediately know who it is addressed to: it is addressed to you – to all of us. His work is not only breathtakingly beautiful, but it also conveys the sense of a very sincere and personal investment – it raises fundamental questions about the world we live in, and how we live in it.

Robert has an amazing way with words. You can instantly relate to his general unease with our modern life – but his works are also open-ended enough for you to bring in your own emotions and experience. They never preach, but rather want to communicate with you – to make you stop in your tracks, and to look at things in a different light.”

mono.kultur is an independent interview magazine based in Berlin, Germany. Their concept is as simple as it is beautiful: one issue, one artist, one conversation – no more, no less. And so every issue is dedicated entirely and exclusively to one artist from different genres – in the past seven years, they have been lucky enough to work with some amazing personalities, such as Tilda Swinton, Ryan McGinley, Ai Weiwei, The Wu-Tang Clan, Miranda July and many, many more.

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David Gallagher: Neo Directional Night Light, 2011, Translucent Cast Porcelain, Digital Processor, LEDs, Acrylic Rod, Wood

David Gallagher: Neo Directional Night Light, 2011, Translucent Cast Porcelain, Digital Processor, LEDs, Acrylic Rod, Wood

Francesco Ardini: Porcelain Skin, 2012, Porcelain mixed with paper, Organic reagent, Plastic structure with tie rods, 1300°C

Francesco Ardini: Porcelain Skin, 2012, Porcelain mixed with paper, Organic reagent, Plastic structure with tie rods, 1300°C

Francesco Ardini: Organic Mutation, 2012, Ceramic, Light grey and Eletric blue matt glaze mixed with sand (990°C), Vase H65 cm.

Francesco Ardini: Organic Mutation, 2012, Ceramic, Light grey and Eletric blue matt glaze mixed with sand (990°C), Vase H65 cm.

Francesco Ardini: VASEBOOK (Communication), 2012, Ceramic, glazes, Tall H40,5 x D20,5 cm, Big H38,5 x D28 cm, Bowl H17 x D30,5 cm, Mini H9 x D15 cm.

David Gallagher
Data interpretation 5, 2011, Plotter Drawing (first image).
Note: This series of drawings were made from original hand drawings of data that were then photographed, processed through software and then output through a plotting machine.

This Land is Your Land, 2011, Digital Image from photographs, 3D Rendering and Thermal Image (second image).