MARIKA SEIDLER


MARIKA SEIDLER TOUCH

“Some years ago I visited a birds sanctuary in India. In the early morning at the entrance I would meet the local ornithologist guides hanging out waiting for visitors. The guides where holding hands, touching each other’s hair and killing time with a game of chess.
Later in the evening I would meet a group of ornithologists from England sitting by the fire enjoying themselves very quietly, making dinner – there was no physical contact. The British ornithologists had previously lived together for a whole year on a remote Island.
I was striken by the difference of group dynamics, the difference in touch and no touch, how masculinity
was shown and how the physical aspect of relationship was approached in both groups.”

(Marika Seidler)

TOUCH is a video installation with four projections about the physical expression of friendship in men in modern India. In a pre-arranged setting and public spaces, male actors in Mumbai explore how Indian men – regardless of social status and age – have a unique relationship with each other. The video installation portraits how Indian men are physical in ways very different from Northern Europe where touch among men lasting more than a brief hug generally is considered taboo. In the second room of the gallery Marika Seidler will be showing drawings inspired by the footage.

Marika Seidler (1972) is an acclaimed professional Danish artist. She has exhibited in established institutions in Denmark and abroad, and presented her projects in the Middle East, Russia, Japan, USA. At the moment she is also showing at Pori Art Museum in Finland.
The Danish Arts Council selected her as Artist-in-residence in Los Angeles in 2005. The Royal Danish Academy of Fine Arts Academy Counsel selected her to participate in The Gold medal competition 2004. She has over the years generously been supported with grants from The Danish Arts Foundation, as well from the Ministry of Foreign Affairs by way of DCCD.

Bendixen Art

Louise Holmgren


Louise Holmgren
Gør det nu. Det er over midnat
[Do It Now. It’s Past Midnight.]
March 6 – April 5, 2008

PL Gallery

ARMUT MITTE


Plain Gallery, Linnesgade 25 kld. 1361 K¯benhavn K. Opening the 3rd March @ 5.00
feat. DJ Pharphar. “Free form! Marvelous! (…)
Artists for the new age, sculptors for the new style and new money of the . . . Yah! low orders. The new sensibility (…) the new world, submerged so long, invisible, and now arising, slippy, shiny, electric – Super Scuba-man! – out of the vinyl deeps” (Tom Wolfe) NEUE ARMUT MITTE IS THE ART PROJECT OF THE MAN CALLED P0S10 A.K.A PETER HVID KROMANN. PEACE!

Jeppe Hein @ 303 Gallery New York City !


303 Gallery is proud to present our first solo exhibition of sculpture by Jeppe Hein that is minimal in execution and engages the viewer in potentially social interactions.

For his New York gallery debut, Danish-born artist Jeppe Hein tests visitors’ eyes. Instead of placing his works prominently in the gallery space, Hein works with more minimalist spatial interventions. All the works in this exhibition are installed in almost invisible places – in a corner, behind a column, at the end of a wall – so that the visitor does not notice them at first glance. The viewer is invited to take a close look around the gallery to search for the works and discover them. Hidden in a corner you find ‘Sugar Cube’, 2008, a white cube consisting of 36 small sugar cubes installed on a shelf. Towards the end of the exhibition the visitor walks into the ‘Spinning Ball’, 2008, a high polished steel ball that spins around its diagonal axis reorienting our experience of gravity.

Jeppe Hein activates the visitor’s relationship to space – turning the spectator into a participant. The viewer sees her/himself reflected in the surface of a neon piece which invites them to ‘PLEASE ENJOY RELAX STEAL DANCE TOUCH FLIRT SMOKE WONDER FEEL MUSE EAT SING LISTEN TALK ASK TOUCH NEON LOOK COMMUNICATE TOUCH EACH OTHER USE CAMERA FLASH.’ The dialectical opposition catalyzed by language is echoed in the dissociative sensation of seeing one’s own reflection behind instructive “rules” created for our own heeding.

In 2007 Jeppe Hein was included “The World as a Stage” at Tate Modern, London which will travel to the Institute of Contemporary Art, Boston. Last year Jeppe Hein also had solo exhibitions at the Sculpture Center, New York, Barbican Art Center, London and at the Carré d’Art – Musée d’art contemporain de Nîmes, which was accompanied by a catalogue. In 2008 will participate in an exhibition at the Museum of Contemporary Art Kiasma, Finland, as well as the Folkestone Triennial. In 2009 Hein will have a one-person exhibition at the AROS Kunstmuseum, Århus, Denmark accompanied by a public project and a solo exhibition at the Contemporary Art Gallery, Vancouver, Canada. The same year he will have a solo exhibition at the Indianapolis Museum of Art, Indiana. Jeppe Hein has previously exhibited at the Centre Georges Pompidou, Paris, Sprengel Museum, Hannover, Lenbachhaus Muenchen, Germany, and P.S.1, New York.

303 Gallery

Tomoo Gokita



Their success stems in part from his surprisingly large vocabulary of terse little doodles
and in part from the range of contrasts he coaxes from the black and white gouache.
It gives the piles a harsh, almost glittery light that catches the eye, communicating something
driven and serious.
Roberta Smith, New York Times

Taka Ishii Gallery is pleased to announce our first solo exhibition with artist Tomoo Gokita.
Born in Tokyo, Gokita has published and exhibited extensively within Japan as well as participated
in group and solo exhibitions in New York, Los Angeles and Berlin.

Tomoo Gokita’s work has had a strong presence within the world of contemporary culture internationally
for a number of years; however, it is only recently that his practice has been recognized within the
contemporary art world. A cult figure, Gokita’s earlier practice consisted primarily of works
executed in an off-hand manner, presented on paper within the context of an exhibition or, more
frequently, within the pages of a magazine for a creative or commercial project.

Gokita’s recent works mark a change; while retaining the tone and palette of pencil-on-paper as well as
his delight in found, marginal subject matter, Gokita’s recent paintings on canvas, executed in the
medium of gouache and gouache-based paints reveal a new interest in materiality. Gokita’s painted
figures exist as illustrated abstractions – this fact often made explicit by their deterioration
into non-representational painted swathes and blobs. As much “about“ the range of possibilities
inherent in varying shades of black and white, and the material flatness and contrastingly sharp
tones resulting from gouache applied to canvas, Gokita’s paintings are graphic re-presentations of
paintings.

Gokita continues to create works on paper; however, rather than stand-alone works (with the exception
of painted studies), new drawings are presented in a continually growing group which, by the time of their
presentation at Taka Ishii Gallery will number into the hundreds. Contradicting their status as parts amongst
a whole, Gokita’s drawings are each presented within their own frame.

Taka Ishii Gallery