Vincent Leroy / Galerie NeC nilsson et chilglien, Hong Kong

Vincent Leroy exhibition Galerie NeC nilsson et chilglien, Hong Kong

Vincent Leroy exhibition / Galerie NeC nilsson et chilglien, Hong Kong
March 15 - April 27, 2013

Opening reception with the artist: March 14, 2013, from 6 pm.

Moving under the influence of Japanese pop culture and New Realism. Kinetic artist Vincent Leroy forms poetry with his technology. Movement and repetition redefine natural order and commanded creation. Electric Flowers absorbs a haunting and fascinating rhythm that reinforces the endless repetition of motifs. Thus this field of mechanical flowers whose petals turn tirelessly on their rolling pins becomes an unlikely ode to the fragility of nature.

Born in 1968, into a farming family in Avranches, in France’s Normandy region, Vincent Leroy graduated from the Ecole Nationale Superieure de Creation Industrielle in 1995. In his work as an industrial engineer, he maintains an overall perspective on the manufacturing process slecting shapes, materials, colors and technical properties. Active on the international contemporary art scene, Vincent Leroy is among those artists who refuse to be categorized.

"Creating an object usually starts with finding the right materials, but the starting point for my work is kinetics. I play around with the speed and the way actions have casting effects. Movement was the basis for my piece I created in London for The Sketch, the restaurant and gallery space developed by Mourad Mazouz. I installed a flexible geometrical shape powered by two large motors between two mirrored walls. The material used is made to ripple, and the movement is reflected infinitely in The mirrors. Similarly, in Berlin I showed three balls made of translucent material that were made to move completely independently. I installed a tiny camera inside one of them, to give visitors a random, unimpeded perspective, with no vertical reference points, a little like astronauts in the weightlessness of space, when they’re moving around the shuttle. I wanted to let the public experience the phenomenon with just the bare minimum of technological resources.

Simple movements still remain the basis of my work. Ten years ago my sculpture was more mechanically focused, the technology was present, more visibly a subject matter. Today the movement in my work is more fluid, and natural. I’m at a happy medium with this balance of nature verses machine, or nature as machine. We must come to mix and not oppose. My creative process is driven by a natural need to experiment. To question, guess, try, play, solve, function. Even if it is as basic as a piece of cardboard, glue and a toolbox. I am always surprised with the magic that emerges from these unexpected moments.

I think my audience is primarily people who are on top of the latest trends in art and in music, who are found in major cities. It’s also companies like Arkema and Renault, Nissan and Canal+ I’ve had the opportunity to work with. In many cases it’s an audience that doesn’t judge the work on the basis of whether it’s consistent with some artistic movement. They’re people who are capable of being won over or astonished by what they see. It gives me great pleasure to be able to reach such a wide audience.” Vincent Leroy

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Theaters - Yves Marchand & Romain Meffre

In the early 20th century, following the development of the entertainment industry, hundreds of theaters were built across North America. Major entertainment firms and movie studios commissioned specialized architects to build grandiose and extravagant auditoriums. From the 60’s, TV, multiplexes and urban crisis made them obsolete. During the following decades, these theaters were either modernized, transformed into adult cinemas or they closed, one after the other; many of them were simply demolished. Those which remain, escaping this fate, have been converted to serve varied purposes. Now, many are reused as churches, retail space, flea markets, bingo halls, discos, supermarkets or warehouses. Some others just sit abandoned. (via)

(Source: artchipel)

Yin&Yang Parisienne Mix for Ceramics Now, December 2012

“Meant To Happen” is the title of the third mix in a series of specially crafted mixes for Ceramics Now Magazine readers. Made by Yin&Yang Parisienne, the sets are available to listen in our Connections page and on her Mixcloud page. Enjoy it!

Download the mix / Yin&Yang Parisienne on Facebook

Tracklist:
01. The Cinematic Orchestra - Arrival Of the Birds (Yinyues Remix) (00:00)
02. Module Module - An Interlude (03:16)
03. Celine Dion - My Heart Will Go On (M - Rain Version) (07:23)
04. Scullious - Girl (12:22)
05. Phaeleh - Taking It Back (17:02)
06. Pika - World (22:17)
07. Pále - Ghosts (26:34)
08. Hiatus - Contrail (32:30)
09. Krishan Vadivelu - Melodiam Somnia (33:43)
10. Papercut - Morning Blues (37:33)
11. Guy Furious -  All I Wanted (41:03)
12. Temporal & FREnchfire - Don’t You Believe (47:05)

Yin&Yang Parisienne Mix for Ceramics Now, November 2012

"This Time…" is the title of the second mix in a series of specially crafted mixes for Ceramics Now Magazine readers. Made by Yin&Yang Parisienne, the sets are available to listen in our Connections page and on her Mixcloud page. Enjoy it.

Download the mix / Yin&Yang Parisienne on Facebook

Tracklist:
1. Scrimshire - Alignment (00:00)
2. Delta - Moonove (LTR Remix) (05:20)
3. Tom Day - Echoes (09:04)
4. Bonobo - Ketto (15:45)
5. The XX - Fiction (Druid Cloak Blood Magick Remix) (20:46)
6. Mayer Hawthorne - A Long Time (Silly Pilly Edit) (26:05)
7. Woolfy vs. Projections - Nina (33:35)
8. Spleen United - Euphoria (featuring Sharin Foo) (38:34)
9. Trixie Whitley - Breathe You In My Dreams (42:44)
10. Yann Tiersen - Dark Stuff (Murdok Dubstep’s Remix) (46:56)
11. ID3 - Alone (featuring Jett) (49:44)
12. Purity Ring - Belispeak (Nacey Remix) (54:43)

Jannis Kounellis / Parasol unit foundation for contemporary art, London

Jannis Kounellis exhibition Parasol unit foundation for contemporary art, London

Jannis Kounellis / Parasol unit foundation for contemporary art, London
28 November 2012 – 24 February 2013

Preview: November 27, 2012, 6:30 – 9:00 pm.

Parasol unit foundation for contemporary art is delighted to present a solo exhibition of works by painter, sculptor and performance artist Jannis Kounellis from 28 November 2012 to 24 February 2013 (Private View, 27 November 2012).

Considered a protagonist of Arte Povera, an art movement that emerged in Italy during the 1960s, Kounellis embarked on his artistic career by creating some of the most radical art works of the time. Often combining the inanimate and animate, he boldly incorporated things such as propane torches, plants and animals as integral if not vital parts of his works. He also introduced the notion of performance within works of art, something that to this day continues to inspire artists around the world. In all these works Kounellis drew from his deep knowledge of and sensitivity to cultures of the past and his own heritage, in itself a spirited discussion between collective and personal experiences.

The exhibition at Parasol unit aims to consider Kounellis’s early works from the 1960s, 70s and 80s and his own response to them from today’s standpoint, which often culminates in a more recent and spontaneous work. This juxtaposition of works of art from the different decades should thus engender an arena for discussion. On show will be works, such as Untitled (Carboniera), 1967; Untitled (steel plate and braid),1969, on loan from Centre George Pompidou, Musée national d’art; Metamorphosis, 1984, and Untitled, 1977, an electric train moving on steel plates installed around one of the pillars of the Parasol unit gallery.

Born in 1936 in Piraeus, Greece, Kounellis moved to Rome in 1956, where he still lives and works. In recent years, Kounellis has had numerous solo exhibitions internationally, including, among others, at Neue Nationalgalerie, Berlin, 2007; National Centre for Contemporary Art, Moscow, 2011; Today Art Museum, Beijing, 2011; and Museum of Cycladic Art, Athens, 2012.

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Olaf Breuning: Human Nature / Pippy Houldsworth Gallery, London

Olaf Breuning: Human Nature exhibition Pippy Houldsworth Gallery, London

Olaf Breuning: Human Nature / Pippy Houldsworth Gallery, London
November 23, 2012 - January 12, 2013

Private View: Thursday 22 November, 6-8 pm.

Pippy Houldsworth Gallery is delighted to present a new commission for The Box by New York based Swiss artist Olaf Breuning. Breuning is known for his diverse and humorous explorations of the relationship between art, life and contemporary culture. Working across film, photography, sculpture and drawing, Breuning investigates the absurd and the surreal, creating perpetual punch lines and endless drama resulting from an instinctive relationship with language and materials. Here, Breuning creates a new installation for The Box, translating a new stick drawing into a precarious miniature metal sculpture. The Box is a micro project space consisting of a floating white cube set inside a black vertical opening. It is a unique architectural space through which the gallery facilitates new projects with important emerging and established artists. Previous commissions include Ai Weiwei, Martha Rosler, Ruth Claxton and Daniel Arsham.

Breuning’s solo exhibitions include the Institute of Modern Art, Brisbane; Palais de Tokyo, Paris; Chisenhale Gallery, London; Migros Museum für Gegenwartskunst, Zurich; Centre d’Art Contemporain, La Chapelle de Geneteil, Mayenne; Kunstmuseum, Lucerne; and the New Stedelijk Museum, Amsterdam. Group shows include Museum of Contemporary Art, Kraków (MACAK); Saatchi Gallery, London; FLAG Art Foundation, New York; Museum of Contemporary Art, Miami; The Power Plant, Toronto; CCA Wattis Institute, San Francisco; 54th Venice Biennale; MoMA PS1, New York; MoMA, New York, Whitney Museum of American Art, New York; and S.M.A.K, Gent, Belgium. His work is represented in collections including Fonds National d’Art Contemporain; Grafische Sammlung des Museums für Gestaltung, Zürich; Kunsthalle Hamburg; Louisiana Museum, Copenhagen; Musée d’Art Moderne, Paris; UBS Collection and Saatchi Collection, London.

Above: Olaf Breuning, Smoke Bombs 2, 2011, C-print (1/6), 120 x 150 cm.

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Yin&Yang Parisienne Mix for Ceramics Now, October 2012

Fragile As Porcelain is the title of the first from a series of specially crafted mixes for Ceramics Now readers. Made by Yin&Yang Parisienne, the sets will be available to listen in our Connections page and on her Mixcloud page. One every month.

Download the mix / Follow Yin&Yang Parisienne on Facebook.

✖ Tracklist:
01. Hiatus - Foreigner (00:00 - 02:41)
02. Mazzy Star - Into Dust (Inertia Remix) (02:41 - 08:10)
03. Lamb - Angelica (08:10 - 11:37)
04. Bon Iver - Skinny Love (Das Kapital Rerub) (11:37 - 16:20)
05. BoyChild - Counting What Ifs (featuring Soundmouse) (16:20 - 20:27)
06. Baths - Iniuria Palace (20:27 - 24:44)
07. Jamie Woon - Wayfaring Stranger (Stitch Mix) (24:44 - 28:35)
08. Monarchy - You Don’t Want To Dance With Me (featuring Britt Love) (28:35 - 32:03)
09. Dusky - Grain (32:03 - 36:06)
10. Moby - Porcelain (36:06 - 40:04)
11. Cujo - Fatass Joint (40:04 - 45:48)
12. Jun Miyake - Lillies Of The Valley (45:48 - 51:15)

Anti-Utopias / Sabin Bors - EXTRA!, October 2012

EXTRA!, October 2012: Anti-Utopias / Sabin Borş

Anti-Utopias contemporary art platform

Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two

You hold functions such as curator, associate editor and columnist for different magazines, and you recently initiated a contemporary art platform titled Anti-Utopias. Since you don’t have any formal art education, how did you become interested in contemporary art?

Art has always been one of my main interests, ever since I was a kid, and though I did not follow any formal art education, I did follow an MA in philosophy and culture where some of the major topics we discussed have been Art, Institutions and Cultural Policies, The Artist’s Statute in Post-Modern Culture, or Contemporary Perspectives Upon Culture. I also follow a PhD with a thesis on the future of museums, in terms of art, policies, architecture. Throughout the years I’ve kept a close contact with art in my readings and references, and I think coming from the “outside” is actually an advantage because it allows me to view art in a broader context and integrate its discourse differently. At the same time, I am also aware of the two perils with philosophers discussing art: on the one hand, they run the risk of subsuming art to a philosophical speech; on the other hand, they can feed art with concepts that only deepen the dilemmas of contemporary art and thus contribute to its fractures. When I started Anti-Utopias, my main concern was to create a thematic platform bearing in mind these two perils precisely, but also the theoretical abundance where art in general claims itself from. 

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Carsten Nicolai - Unidisplay

“The installation unidisplay offers an examination of semiotics and the laws of perception. The work operates with a number of modules of different visual effects that interfere with the viewers’ perception, through optical illusion, jitter, flicker, after-image, movement, complementary colour effect, and so on. The installation unfolds against a long projection wall with two mirror walls on the side thus visually expanding like a universe. The basic visual, made up of sequences, motifs and graphic translations of various units of time measurement acts as a world clock and evokes the intertwining of time, between past, present and future. The installation is created with Derivatice’s TouchDesigner software which has been used for alva noto live performances with a triple-screen projection.” (via)

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(via rcruzniemiec-deactivated2013020)

The reopening of Fabrica de Pensule / Cluj-Napoca, Romania

The reopening of the Paintbrush Factory Fabrica de Pensule, Cluj-Napoca, Romania

The reopening of Fabrica de Pensule / Cluj-Napoca, Romania
October 5, 2012
- 7-10 PM


Contemporary art exhibitions:
SABOT
/ Paul Branca – L’origine de l’espace privée
Plan B / Alexandra Croitoru – Do not forget you are an artist!
Peleş Empire / Original/Copy III
Lateral Art Space / Adrian Sabău – In-lined
Baziş / Bandi Saşa – Persona non grătar
Baril / Constantin Flondor – Sifting
AltArt / Time’s Up (AT) – Unattended Luggage
Intact Space / Fake it! Limited Edition
Etaj III, corridor / Ana Adam – Drawings
open studio / Istvan Cîmpan (first floow)
open studio / George Crîngaşu (SABOT Residence Space, forth floor)

+ Divas at Sala Studio (8 pm). Directed by Ferenc Sinkó, GroundFloor Group.

The exhibitions are part of the Contemporary Art Factory project organized by The Paintbrush Factory (Fabrica de Pensule) and financed by the Administration of the National Cultural Fund (AFCN).

Fabrica de Pensule / The Paintbrush Factory is a collective space for contemporary arts in Cluj, Romania. The project started at the beginning of 2009, as an independent initiative to bring together ideas, events and projects of cultural organizations, galleries, producers and independent artists in Cluj and as a reaction to the local lack of production and exhibition spaces in the city.

The artists, galleries and organizations – active in the fields of theater, contemporary dance, visual arts, arts in public space, music – are jointly engaged into delivering relevant cultural content, both for the artistic community and the wide audience. Besides artist studios and production spaces, Fabrica de Pensule also hosts events of local and international partners. It acts as a major player in cultural and urban policies in the Romanian context.

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Anna Von Mertens - Portraits

"Odd avenues of knowledge and inquiry interest me. I research further and uncover phenomena in isolated fields of study that mirror information about my own private world. I then translate this empirical data into a subjective version to reflect the parallels I see.

I have tracked how energy is dispersed in a nuclear explosion and how energy is stored in a cell; exposed hidden topographies (of the human body, of the ocean floor); contrasted migration routes of birds to the migration routes of humans; and shown the stars exactly as seen above violent moments in American history.

These patterns reveal to me aspects of our existence, whether it is how we experience time and face the infinite - embedded in that is our own mortality - or how the boundary of the body is presented to others versus how it is felt internally.

I use the stitch to follow these trails, tracing the paths with my fingers. The dotted line of hand-stitching is a marker of uncertainty, a way of exploring. The time invested in making the work, allowing for contemplation and internalizing, becomes a part of how the work is viewed.

I see all of these elements as a form of mapping, reflecting the need to get my own bearings in this vast universe.” Anna Von Mertens (via)

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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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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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Tim Hawkinson - Mobius Ship, 2011

Tim Hawkinson was born in San Francisco, California, in 1960. A graduate of San Jose State University, he later earned his MFA at the University of California, Los Angeles, in 1989. Hawkinson is renowned for creating complex sculptural systems through surprisingly simple means. His installation, “Überorgan”—a stadium-size, fully automated bagpipe—was pieced together from bits of electrical hardware and several miles of inflated plastic sheeting. Hawkinson’s fascination with music and notation can also be seen in “Pentecost,” a work in which the artist tuned cardboard tubes and assembled them in the shape of a giant tree. On this tree, the artist placed twelve life-size robotic replicas of himself, and programmed them to beat out religious hymns at humorously irregular intervals. The source of inspiration for many of Hawkinson’s pieces has been the re-imagining of his own body, and what it means to make a self-portrait of this new or fictionalized body. In 1997, the artist created an exacting, two-inch-tall skeleton of a bird from his own fingernail parings, and later made a feather and egg from his own hair; believable even at a close distance, these works reveal Hawkinson’s attention to detail as well as his obsession with life, death, and the passage of time. Hawkinson has participated in numerous exhibitions in the United States and abroad, including the Venice Biennale (1999); Massachusetts Museum of Contemporary Art (2000); the Power Plant, Toronto (2000); the Whitney Biennial (2002); and the 2003 Corcoran Biennial, Washington, DC. Tim Hawkinson resides in Los Angeles with his wife. (via)

Tim Hawkinson on art21.

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(Source: likeafieldmouse)