Matias Faldbakken
Matias Faldbakken
“Shocked Into Abstraction”
The National Museum of Art, Architecture and Design, Oslo
28.05.-20.09.2009
Josh Smith
“Josh Smith”
Centre d’Art Contemporain, Geneva
29.05.-16.08.2009
SELF-PORTRAITS
SELF-PORTRAITS
BY CONTEMPORARY URBAN ARTISTS FROM 4 CONTINENTS
D-FACE / ANTON UNAI / JR / JAYBO AKA MONK / JEFF SOTO / JUDITH SUPINE / XOOOOX / KILLPIXIE / DTAGNO / CHARLIE ISOE / :PHUNK / STEFAN HIRSIG / AARON ROSE / MAROK / DALE GRIMSHAW OSKAR / BEST EVER / NOMAD / WORD TO MOTHER / MYMO / STEFAN STRUMBEL / SOPHIE REINHOLD / RUTGER TERMOHLEN
The idea of this exhibition is to approach the historical theme of self-portraits and to bring it into a contemporary art context. A self-portrait is a representation of an artist, drawn, painted, photographed, or sculpted by the artist. Although self-portraits have been made by artists since the earliest times, it is not until the Early Renaissance in the mid 1400s that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work. With better and cheaper mirrors, and the advent of the panel portrait, many painters, sculptors and printmakers tried some form of self-portraiture… In this respect it will be an interesting and new experience to show the vision of the “self-portrait” by contemporary urban artists from all over the world. curated by Johann Haehling von Lanzenauer
DREAMING THE MAINSTREAM
DREAMING THE MAINSTREAM
30 MAY – 28 JUNE 2009
OPENING FRIDAY 29 MAY, 6:30 – 8:30 PM
WILLIAM DANIELS
MEGAN FRASER
NINA KÖNNEMANN
SAM LEWITT
VICTOR MAN
NICK MAUSS
MEUSER
MARK TITCHNER
MARKUS SELG
MICHAEL STEVENSON
DREAMING THE MAINSTREAM (A FANTASY) by Mark A. von Schlegell
“Some still shelter behind those shards left standing, but, if they look, they will see that the traffic is moving freely in both directions.”
Peter Nicholls, “Mainstream Writers of Sf.” The Encyclopedia of Science Fiction. New York: St. Martin’s Griffin, 1995. 770.
We laugh today at how the Saturnites once misjudged the Martian rebellion, but how greater our own delusion as it rises to fill from
one end to the other all that we can see? How wide the great reaches of intergalactic space. How enormous the beast that can fill it up.
The deepest origins are necessarily dark. But in primordial time a monkey on the shores of Gondwanaland watched a monster arise
from the surface of a sea. The monkey could not yet phrase the question: What beast has arisen whose comprehension is darker,
colder, more glittering and eldridge than this great monster?
There came then the mainstream, a milk and honey-rich way. For megaannua the beast bathed free in a literal, not figural, Garden of
Eden near Gobekli Tepe between the Tigris and Euphrates Rivers. The beast’s pleasure at this time was personal. As it indulged, it
looked away from itself. The monkey screamed.
Instantly, religion, mysticism and poetry rose up and by means of agriculture covered over the Tigris Euphrates Valley. They buried
the mainstream and reported it dead. The monkey now beheld the monster occupying a space not much larger than the eye of a needle.
Still, on what were now the shores of New Zealand, the monkey screamed.
And while it did the monster fed. Eventually it came to satire. Of all it tasted it liked satire the best. Through satire the beast gained
direct access to delectibles that layered out the mainstream in seemingly endless depth.
Though invisible, the monster grew so large via satire that two philosophers, David Hume and Jean-Jacques Rousseau, actually
remarked on its existence. Those following resolved that they didn’t actually believe the beast was real, but were forced to proceed
as if they did so that they could kill it.
“But you just can’t kill the beast.”
The monster discovered the nation. It liked nations even more than satire. It made many nations and dined upon them even while they
fed on one other’s myths atop its nu-rock table. An experimental architecture project gone awry encrusted the whole earth in an aperiodic
quasicrystal. Via nations the monster reached the moon.
And there, in free space, the beast encountered the grid of art, which is neither real nor not-real. In art the beast saw itself. It saw itself
seeping into science through gaps, cracks in enormous buildings and dried paint, through frames and walls of infinitely scalable
modules — the sparkle of math-dust announcing the edges of portals.
The gazing monkey fell silent and, by recourse to taste, paid homage. On a desert stage of pure math the monster would dream the
mainstream again, athwart the Milky Way.
SUMMERTIME 09
WE CORDIALLY INVITE YOU TO A
PRIVATE VIEW
THURSDAY MAY 28 I FROM 16-19
In keeping with tradition, Galleri Christoffer Egelund is presenting its big annual group exhibition Summertime 09. The idea is to show the expressive variations within contemporary art and promote new young talents. We are proud to announce that we have this year specially invited many new emerging artists from the international and national art scene.
The gallery is excited to present new works by this year’s invited guests: Michael Norre, Per Ahlmann, Julian Lee (UK), Frank Hoffman (DE), Mikkel S. Andersen, Nicki MacCubbing (UK), David Dellagi, Rustica Giuditta (IT) and Richard Meaghan (UK). We are also very excited to show works by our permanent artists: Anders Brinch, Crystel Ceresa (CH), Christian Finne, Maria Torp, Theis Wendt, Morten Steen Hebsgaard, Anders W.Ø. Larsen, Melou Vanggaard, Thierry Feuz (AU).
Susan Graham
Compound Editions is a collaborative fine art multiples publishing venture between Schroeder Romero and Winkleman Galleries.
Compound Editions is very pleased to announce the release of our fourth multiple, Vessel for Safekeeping (Survivalism), by New York-based artist Susan Graham. Each piece is a hand-sculpted and hand-glazed porcelain lacy box containing miniature scissors and credit card. The box is glazed a smoky white, and the scissors and credit card have pewter and blue glazes. **All of the pieces have variations due to the fact that they were made individually by hand and that the firing process is organic.
While the edition was inspired by the idea of erasure, the piece Graham ended up making is an enduring representation of financial identity.
We are pleased to announce that Christopher Gaillard is now the official advisor for Compound Editions!
Christopher Gaillard is an art consultant and appraiser based in New York. Prior to establishing his own business, Mr. Gaillard was Vice President and Head of Contemporary Prints at Sotheby’s New York, and was responsible for record-breaking auctions, including the Kenneth Tyler and Tyler Graphics Collection of Contemporary Prints, which is the most successful single-owner auction of post-war prints to date. Mr. Gaillard was also responsible for establishing the world record auction price for post-war prints, when Barnett Newman’s 18 Cantos sold at Sotheby’s for over $2 million in May 2008. Mr. Gaillard is a board member of the International Print Center of New York, and Momenta Art in Brooklyn. He is also an auctioneer, and regularly presides over charity auctions throughout the United States.
Susan Graham has been included in numerous exhibitions in the United States and Europe including recent shows at the Tucson Museum Of Art, John Michael Kohler Arts Center in Sheboygan, Michigan; the Hudson River Museum in Yonkers, the Sherman Gallery at Boston University, Hunter College Leubsdorf Gallery, New York; the Musee d’art et d’industrie de Saint-Etienne, and the Musee International des Arts Modestes, Sete, France.
