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Matthew Antezzo Matthew Antezzo (Connecticut, USA, 1962) Lives and Works in Berlin

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Matthew Antezzo Matthew Antezzo (Connecticut, USA, 1962) Lives and Works in Berlin Matthew Antezzo Matthew Antezzo (Connecticut, USA, 1962) lives and works in Berlin. Matthew Antezzo's work consists mainly in retrieving and reprocessing images from the Western tradition through painting; “icons” looked for, and found in different sources: often illustrations published in magazines and newspapers, books of art or cinema history, photographs and more recently from the Internet. Shown as if original, these document “copies” reproduce the images together with their captions, thus facilitating the shift from one plane to another. The chosen images often refer to famous personalities (like those of conceptual artists taken during important exhibitions, or portraits of well-known protagonists of the world of scientific and cultural research) as well as still frames from well-known movies. By re-painting these images, Antezzo makes reference to his cultural, as well as visual, memory and creates his personal universe between painting and conceptual reflection, by also questioning even his role as artist between legitimation and autonomy. This process extending the field of painting to the world of technology and mass media hints at the power of suggestion in contemporary communication. In his work Out (1997), Antezzo uses an image of Pier Paolo Pasolini: the painted transposition of a photograph published in the magazine which giver the title to the work, and depicting the filmmaker during the shooting of his last film, Salò or the 120 days of Sodom (1975). The choice of a historical document aims at exalting the director's inner life as he is captured next to the camera at a moment of intense concentration. In this work, Antezzo orchestrates a multiple-level dialectics, by overlapping visual and verbal icons. On the one hand, the painted reproduction becomes an ambiguous icon within a space between photographic past, memory and present painting; on the other hand, the sentence used as a caption becomes a reference point for other images. The quotation sounds enigmatic, extrapolated from a longer remark that Pasolini had made on the film itself: "Salò is a Medieval mystery, a sacred representation, very enigmatic. Therefore it should never be understood, it would be terrible if it were understood”. Matthew Antezzo studied at the Parsons School of Design of New York and the University of Utah at Salt Lake City. He recently exhibited at ISCO of New York (2012), PSM Gallery and Klosterfelde Gallery in Berlin (2012), at Monterrey in Mexico (2011 and 2010), at Die Schute in Hamburg (2009), at Michele Maccarone Inc in New York (2005) and Sprüth Magers in Munich (2003). He participated in the exhibition “Mehr als zuviel” held at Handmade Berlin in 2012 and the exhibition “Painting as a Radical Form”, Collezione Maramotti, Reggio Emilia (2012), the exhibition “Oh how time flies” at the Kunsthalle of Bergen (2011), in 2006 he exhibited at the Whitney Museum of American Art of New York during the Whitney Biennial, and participated in “Ex Post Facto” at Galerie Georges-Philippe Vallois in Paris (2005) and in “Painting into Photography/Photography into Painting” at the Museum of Contemporary Art of Miami (1996). Kim Dingle Kim Dingle (Pomona, California, 1951) lives and works in Los Angeles. For more than twenty years Kim Dingle's art has explored the delicate boundary between childhood and adolescence and issues linked to American history also in its most critical developments, like racism, for example. Her mother and niece have been her inspiration for the creation of several painted series: the artist's beginnings were in fact characterized by paintings portraying her mother together with the portraits of historical figures like George Washington. Instead her niece Wadow has been the subject inspiring the artist to portray irreverent and mischievous little girls, and through them the artist ironically denounced the “bad behaviors” of American society. The artist even calls herself a “bad girl”; this self-image takes form in the creation of Priss, a half-adult half-child doll, the metaphorical representation of the artist: “All my work is based on my story, it is my identity” (Kim Dingle). Fatty and Fudge, as well, the protagonists of the painting Two Girls Standing Back to Back (1992) represent the artist's alter ego: the two girls bring back the painted and double version of the Priss sculpture. The work belongs to a series of paintings where the two little girls, sometimes allies and other times rivals, behave naughtily, doing mischief with aggressive and subversive actions. Their bodies stand out from a monochrome background, on a surface of unbleached linen, on which the artist has applied a palette of neutral colors, from beige to brown and white. The two girls stand together, one leaning on the other's back, mirror-like figures in their attitude, but differing from their look: Fatty is white and bald and almost naked; Fudge is black and wears an elegant and flowing white dress. The only element they have in common is their shoes, in a representation where the artist points at the importance that race, gender and stereotypes linked to the definition of the body play in defining the identity of an individual. Kim Dingle graduated in 1988 at California State University, and later received a Master in Fine Arts at Claremont Graduate School. Her work has been exhibited in many museums and galleries, including for example the Otis College of Art in Los Angeles (1995-1996), the Renaissance Society at Chicago University (1996) and the Bell Gallery at Brown University, Providence, in 2000. Her works were exhibited at the Whitney Biennial in 2000 and participated in many group exhibitions, including “Sunshine and Noir: Art in L. A., 1960–1997”, a traveling exhibition in several European museum institutions, such as the Louisiana Museum of Modern Art in Copenhagen. Her works are present in the permanent collections of the San Francisco Museum of Modern Art, the Smithsonian American Art Museum, the Corcoran Gallery of Art in Washington D.C., the Los Angeles County Museum of Art, the Orange County Museum of Art and the Museum of Contemporary Art in San Diego. In 2000 the artist stopped her activity as painter to open a vegetarian restaurant in Los Angeles called “Fatty's & Co”. She started painting again in 2007 for a solo exhibition at the Sperone Westwater Gallery. Lalla Essaydi Lalla Essaydi (Morocco, 1956) lives and works in New York, Boston and Morocco. Lalla Essaydi's art explores the complex reality of Arab women starting from her personal experience. Many of the women portrayed in her images belong to her family and wear traditional dresses and are often decorated with Islamic texts made with henna through which the artist speaks about herself and the condition of Arab women, by opening a reflection on the issues of isolation and repression in their societies. Her paintings incorporate the orientalist imagery of the Western painting tradition and invite the viewer to reconsider the orientalist mythology: She takes over their structure with exotically decorated spaces, with the presence of female bodies “available” to the viewer's desire, but replacing the topos of the odalisque with that of a naked male hermaphrodite, thus deconstructing the false realism and the experiential falseness of an entire phase of Western painting. “I wish to present myself through multiple lenses - as artist, as Moroccan, as Saudi, as traditionalist, as Liberal, as Muslim. In short, I invite the viewer to resist stereotypes” (Lalla Essaydi). In Two Thousand and Two Nights (2002), a Moorish woman, fully covered by an overflowing vermillion dress, invites the viewer to enter the space inhabited by a naked hermaphrodite standing on top of a stack of art books. The setting is consistent with that of orientalist paintings, but here all the decorative and ethnographic details are eliminated in favour of a staged minimalism: the empty room is washed by the golden light coming from an open window, on the walls there is a frieze of Islamic calligraphy which does not compose any text. The only decoration is given by the mystical red of the Moorish dress and the necklace and bracelets worn by the hermaphrodite. Lalla Essaydi grew in Morocco and Saudi Arabia and later moved to the United States. She has worked with many media, including painting, video, film, installations and photography. Her works were exhibited at the Miller Yezerski Gallery in Boston (2013), Edwynn Houk Gallery in New York (2013), Jackson Fine Art of Atlanta (2011), La Casa Encendida in Madrid (2009), the Museum of Photographic Arts of San Diego (2005). More recently she participated in the exhibitions “She Who Tells a Story: Women Photographers from Iran and Arab World” at the Boston Museum of Fine Arts (2013), “Undercover: Performing and Transforming Black Female Identities” at the Spelman College Museum of Fine Art in Atlanta (2009), “Fire Walkers” at the Stefan Stux Gallery in New York (2008). Her works are exhibited in many collections, including the Art Institute of Chicago and the Fries Museum in Holland. Nicky Hoberman Nicky Hoberman (Cape Town, 1967) lives and works in London. Famous for her exploration of concepts such as isolation, identity and individuality, Nicky Hoberman makes figures with large faces which float freely in two-dimensional spaces against flat and densely colored backgrounds, somewhat inspired by Medieval paintings. The subjects share the same canvas and the same emotional space, without however truly inhabiting it. Her production is characterized by the frequent recourse to images of young girls or adolescents whom the artist says are her primary source of interest for the opportunity they offer to be modeled and shaped physically and psychologically (“the Marshmallow factor”). The young girls, often portrayed in their unripe femininity, look directly at the viewer with an “inner” gaze.
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