Andrew Schoultz


WHILE THE GLACIERS MOVE AND THE TIDES CHANGE, MIRACLES WILL SURELY BE WORKED.

Andrew Schoultz returns to Denmark with his most ambitious exhibition project to date, revolving
around mighty structures, shattered dreams, holy hypocrites and heartfelt hope. The title of the show While the Glaciers Move and the Tides Change, Miracles Will Surely be Worked is as paradoxical as the themes explored. The events surrounding the election of the new American president intertwines with global politics, worldwide wars, the catastrophic climate changes and the complex world in general. As Schoultz says: “I am filled with hope upon this dawning Obama Presidency, but I also remain skeptical at the same time. It would be silly to believe that anyone, person or thing could reverse or fix the global damage that has been done, as a result of the Bush administration over the past 8 years. In fact it would be a Miracle.”
In While the Glaciers Move and the Tides Change, Miracles Will Surely be Worked Schoultz renders a magnificent mythological map of battles between hope and fear, history and future, enlightenment and ignorance. Recounting tragedies, myths and tales of the past, he reminds the present of the dark side that inevitably always accompanies the sunny side of the street. And he urges people to concentrate on the realities of the world instead of being lured by the golden calf’s siren song.

A penchant for signs and symbols still prevails in Schoultz’s art as he incorporates medieval maps,Mideastern miniature painting, biblical symbolism and re-interpreted folk art with national monuments,statues and tombs. His restless and chaotic energy prevails, but is now contrasted with a quiet, serene and calm tone leaving the viewer suspended in a dichotomy between Dionysus and Apollo. While the Glaciers Move and the Tides Change, Miracles Will Surely be Worked is a narrative installation with numerous individual works, some temporal, some tangible. In this way the viewer becomes as much a participant as an observer and the ephemeral element underlines the importance of the moment. Mixed media paintings on wood panels, works on paper, wall paintings and sculptural installations all tell stories as individual pieces and at the same time they work cohesively together to form a collective and whole experience for the viewer. The show embodies the micro and macro structures of the world. Schoultz pays respect to the renaissance tradition of mythology and narrative, while reflecting on the power of the individual and the collective mass in the civil world.

Andrew Schoultz has exhibited numerous places in the US e.g. at Morgan Lehman Gallery in New
York, Roberts and Tilton in LA and Boston Center for the Arts in Boston. His work was recently
acquired for the permanent collection of SFMOMA – the San Francisco Museum of Modern Art.
Andrew Schoultz will also be participating in the 2009 Havana Biennial in Cuba, and an upcoming
exhibition in the Hyde Park Center for Arts in Chicago.
Furthermore he is famous for his public projects, not least in the poverty stricken Mission District in San Francisco and his projects in Indonesia. Recently Gingko Press published a book on Andrew Schoultz’s artistic career entitled Ulysses – the artwork of Andrew Schoultz.

V1 gallery

S.A.S #2 :Smittekilde Arrogant Student


S.A.S #2 :Smittekilde Arrogant Student Mike Diana (US)

Smittekilde´s freshly opened modern rat exhibition space S.A.S is now ready to launch its second exhibition. This time with the brilliant American artist Mike Diana!
Mike Diana’s (born 1969) infamous cartoons were under the spotlight in 1994. He was thrown in jail for four days without bail on obscenity charges, for publishing, advertising and selling his zine BOILED ANGEL.

Mike Diana was the first person ever in the western world to be convicted of drawing comics, and since then he has been proclaimed an underground cartoon martyr.
15 years has passed since this absurd sensation and it can hardly be used to hype Mike Diana in this press release. His art on the other hand is still just as clever, and it is an honour for S.A.S to show some of his new work.

Mike Diana – thank god! – has preserved his unique, grotesque drawing style. His world is hopeless, trashed and full of crooked characters who challenge our understanding of what is wrong and right in a gallows humourous way. Mike Diana’s art portrays a completely degenerated sexuality mixed with an ultraviolent clash with authorities, directly from the dirty drawers of adolescence.

At the opening a limited silkscreen print by Mike Diana made for the occasion will be available.

Smittekilde

Matthew Barney “Ancient Evenings: Libretto”


Matthew Barney
“Ancient Evenings: Libretto”

Gladstone Gallery is pleased to announce an exhibition of new drawings by Matthew Barney from Ancient Evenings, a seven act opera loosely based on Norman Mailer’s 1983 Egyptian-set novel and currently in development by Barney and composer Jonathan Bepler.

Each act of the opera chronicles one of the seven stages that the soul passes through after the death of the body. Remaining true to the original theme of rebirth and reincarnation, Ancient Evenings recasts the central myth of Isis and Osiris in a contemporary industrial landscape. Barney has replaced the human body with the body of the 1967 Chrysler Imperial that was the central motif from his earlier film Cremaster 3. This exhibition will include drawings that explore the character and thematic development of the first two acts, entitled “Ren” and “Sekhem.” Obsessively drawn, Barney’s graphite drawings map the conceptual depths of each project rather than presenting storyboard-like narratives. Barney evokes his beautifully rendered imagery with the addition of non-traditional materials such as petroleum jelly and metal leaf, in addition to lapis dust and PCL, a plastic derived from crude oil. Alongside these drawings, Barney has taken seven copies of Mailer’s novel to create unique sculptures inside wall-mounted vitrines. Each piece contains one copy resting upon a bed of carved salt and opened to a spread that bears a drawing pertaining to one of the seven stages of the soul. In co-mingling Barney’s draftsmanship with passages that comprise the opera’s libretto, each book represents a different aspect of Barney’s new interpretation of Mailer’s novel.

Matthew Barney was born in 1967 and studied art at Yale University. He has received numerous awards including the Aperto prize at the 1993 Venice Biennale; the 1996 Hugo Boss Award; and the 2007 Kaiser Ring Award. He has been included in group exhibitions worldwide such as Documenta IX in Kassel, Germany; the Whitney Biennials of 1993 and 1995; and the groundbreaking “Post-Human” exhibition in 1992. His solo exhibition “The Cremaster Cycle,” organized by the Solomon R. Guggenheim Museum, New York, traveled to the Museum Ludwig, Cologne, and the Musée d’Art Moderne de la Ville de Paris. The large-scale exhibition of the entire “Drawing Restraint” series was organized by the 21st Century Museum for Contemporary Art, Kanazawa, and traveled to Leeum, Samsung Museum of Art, Seoul; San Francisco Museum of Modern Art; Serpentine Gallery, London; and Kunsthalle Vienna. A retrospective of the Cremaster and Drawing Restraint videos was presented by the Fondazione Merz, Torino, in 2008.

Gladstone Gallery