DESIGN: WWW.HAUSER-SCHWARZ.CH

THURSDAY MARCH 3RD – SUNDAY MARCH 6TH 2011 / 7W 34TH STREET, NEW YORK, NY GEORGE KUCHAR ADA GALLERY, RICHMOND

VOLTA NY 2011 | BOOTH NUMBER C1

ADA GALLERY: GEORGE KUCHAR

WEBSITE George Kuchar and his twin, Mike, began shooting film when they were 12. Their www.adagallery.com breakout occurred when the 21 year olds began regularly showing their films at Ken E-MAIL Jacob’s apartment in the early 60’s, joining others like Jack Smith, Stan Brakhage, [email protected] Andy Warhol, Rauschenberg and Oldenburg. Village Voice critic Jonas Mekas attend-

PHONE ed these film nights and was an early champion of the Kuchar’s. The Village Voice +1 804 301 1550 ranked this film one of 100 Best Films of the 20th Century. Having seen the Kuchar’s

CONTACT NAME films as a teen, John Waters cites them as his “biggest influence… more than Ken- John Pollard neth Anger, The Wizard of Oz.” Other fans of George’s include Todd Solondsz, Gus Van Sant, David Lynch, Guy Maddin. George has now shot over 200 films & videos.

The Kuchar’s life as illustrators and painters began at the Manhattan School of Art REPRESENTED ARTISTS Morgan Herrin and Design – now The School of Industrial Art – where they were trained in com- Kirsten Kindler mercial art. One of George’s first jobs was drawing illustrations for the weather Ann Magnuson segments of the local NBC television. When he took a job at The San Francisco Art Jimmy Trotter Institute in 1972, he became involved in underground comics through friends, Art Jeremy Drummond Spiegelman, Bill Griffith and Robert Crumb. George regularly submitted his artwork to the famous underground comic, Arcade.

COVER George’s drawings joined his films and videos with his inclusion in The 6th Berlin George Kuchar Biennale in 2010. Over the years his films and videos have screened at The Museum Sustenance and Bumpy Heavens 2009 of Modern Art, The Pompidou Center, San Francisco Museum of Modern Art, Los video stills from “Vault of Vapors” Angeles Country Museum of Art, and The Philadelphia Museum of Art, among oth- 32 × 18 inch / each ers. George has received grants from The NEA, A Ford Foundation Fellowship, The INSIDE Worldwide Video Festival First Prize Award, The Frameline Award, The Cinevegas George Kuchar Vangaurd Award, The Los Angeles Film Critics Award, The prestigious Maya Deren H.P. Lovecraft Award for Independent Film and Video Artists from the AFI, and one of Kuchar’s 1977 watercolor on paper latest major work, Secrets of the Shadow World, was funded by the Rockefeller 9 × 12 inch Foundation. Recently, George and Mike’s films were 9 of the first annual National Film Preservation Foundation Avant-Garde Masters Grant, along with Kenneth An- RIGHT George Kuchar ger’s. George’s 2D work is represented by ADA gallery & Mulherin Pollard Projects. Thundercrack 1975 ink on paper 14 × 22 inch JORGE PERIANES GALERIA ADHOC, VIGO

VOLTA NY 2011 | BOOTH NUMBER B1

GALERÍA ADHOC: JORGE PERIANES

WEBSITE A STAND THAT SLEEPS, 2010 www.adhocgaleria.com It is no longer possible to ignore some of the symbols that almost undoubtedly, will E-MAIL mark our times and will define our age in the future: the fragment, the cut out, the [email protected] vacuum and emptying. Perhaps the need for emptying, a need to see afterwards…

PHONE After the Fair perhaps. +34 98 622 8656 Taking pleasure in the ruins, in the remains, in the small and insignificant. Wishing CONTACT NAME to see the truth, that which is hidden behind the lights and the stage set, the show: Inés Román the before but especially the afterwards.

No more dialogues or metadiscourse: let the small talk, the symbols, nature in the REPRESENTED ARTISTS last resort. It is this that will finally take over the space and the world with its mosses, Xoán Anleo lichens, bacteria, insects and breeding grounds. Jasmina Cibic Suso Fandiño A kind of peculiar Piranesian tribute: romantic and yet crude, romantic but without Enrique Lista being grandiose or exalted. Romantic and melancholic…yes! Perhaps that is the Rubens Mano word – melancholia. Carme Nogueira Manuel Ocampo Reflection, in the last case, on time (Ubi sunt?), and a type of modern vanitas. What Jorge Perianes remains of …the swan song, a desire for redemption and a new page…without Manuela Ribadeneira discourse.

A stand alone, immobile, transparent, inexistent, where, to quote Georges Perec, COVER one can “look at the works exhibited […] as if they were pieces of the wall […], and Jorge Perianes the walls […] as if they were canvasses in which one follows tirelessly the dozens, Untitled 2009 the thousands of paths which always begin again, inexorable labyrinths, text which installation view in gallery adhoc no-one will know how to decipher, faces in decomposition.” during his exhibition a mi la la luz me da sueño Here I present, basically, a stand that the fair has already passed by, a post stand, dimensions variable with its dirt, remains of food and materials, papers littering the floor, the frame of the

INSIDE paintings have already been withdrawn, the nails have no function, there are stains Jorge Perianes of all kinds, the torn posters are half down, with the already imminent appearance Patios and plants deceive by of moss and small plants that erode even more the small cracks etc., and especially promising what they do not give with the appearance of the kings of decline: insects. 2010 site specific intervention in It is an attempt to show what could remain after the exhibitions. Cordoba by Jorge Perianes LEFT Jorge Perianes Untitled 2009 knife, wood and acrylic painting 22 × 37 × 5 cm

RIGHT Jorge Perianes Untitled 2004 wood, clay and acrylic painting 27 × 45 × 40 cm TRINE SØNDERGAARD MARTIN ASBÆK GALLERY, COPENHAGEN

VOLTA NY 2011 | BOOTH NUMBER G9

MARTIN ASBÆK GALLERY: TRINE SØNDERGAARD

WEBSITE Martin Asbæk Gallery was established in 2005 by Martin Asbæk and focuses on www.martinasbaek.com Scandinavian as well as international artists who work in a wide range of media.

E-MAIL At VOLTA NY Martin Asbæk Gallery presents a solo show with the Danish photogra- [email protected] pher Trine Søndergaard (b.1972). Søndergaard is one of the most significant figures PHONE in contemporary Danish art photography. At VOLTA NY the gallery presents the se- +45 3315 4045 ries STRUDE, 2008 –10. A strude is a traditional head covering or hood for women CELL of the Danish island of Fanø. Until the 1960’s women were wearing the dresses and +45 4075 8616 head covering while they were working. Today it is only worn on special occasions, +45 2681 2887 but it was both an important protection from wind and weather. CONTACT NAMES Martin Asbæk The series STRUDE shows the people dressed in their very best, and both with and Julie Quottrup Silbermann without the hood the traditional costume’s presentation of the wearer is quite clear. However, in this sequence of images the subjects look away – downwards, or out of the picture, and only rarely do they even appear aware of the photographer’s pres- REPRESENTED ARTISTS ence, let alone of us as observers. They shy away from the exploration of the gaze Elina Brotherus Berta Fischer and seem at once to be anachronistic or historical, almost as if posed artificially. Nicolai Howalt Eva Koch TRINE SØNDERGAARD Martin Liebscher Trine Søndergaard graduated from Fatamorgana, The Danish School of Art Photog- Paul McDevitt John O’Connor raphy in 1996. Her works range from documentary and diary sketches to concep- Matt Saunders tual photography. In recent years she has focused primarily on the landscape and Trine Søndergaad portrait. In 2000 she received the Albert Renger Patzsch Award and has since re- Ebbe Stub Wittrup ceived numerous grants and fellowships, including a three-year working grant from The Danish Arts Foundation. Søndergaard’s work has been featured in numerous solo and group exhibitions around the world, and is represented in major public and COVER Trine Søndergaard private collections including MUSAC Museo de Arte Contemporáneo de Castilla y STRUDE#2 Leon, Spain; The Museum of Fine Arts, Houston, USA; The Hasselblad Foundation, 2008 – 2010 Sweden; The Israel Museum, Jerusalem; and The Danish Arts Foundation, Denmark. Analog c-print In addition, she has completed public commissions for both museums and cultural 100 × 100 cm Edition of 5 institutions. Søndergaard collaborates with the photograph Nicolai Howalt on the series How to Hunt, 2005 –10, TreeZone, 2008 among others. INSIDE Trine Søndergaard STRUDE#5 2008 – 2010 Analog c-print 100 × 100 cm Edition of 5

RIGHT Trine Søndergaard STRUDE#11 2008 – 2010 Analog c-print 60 × 60 cm Edition of 5

STRUDE#1– #30 2008 – 2010 Analog c-print 30 × 30 cm edition of 5 60 × 60 cm edition of 5 100 × 100 cm edition of 5 MARTIN GALLE ASPN, LEIPZIG

VOLTA NY 2011 | BOOTH NUMBER F10

ASPN PRESENTS MARTIN GALLE

WEBSITE Martin Galle began his artistic pursuits as a graffiti sprayer, tagging urban geography www.aspngalerie.de throughout Germany. His works embody a dynamism and swiftness of rare quality, E-MAIL enabling him to create unique authenticity and presence with just a few strokes of [email protected] chalk or acrylic. Two additional years as a Masterstudent at the Academy improved

PHONE his technical skills, but he did not let academic seriousness take over. Street life +49 (0)341 960 0031 and classic art history he both calls home.

CELL +49 (0)179 660 8085 DELPHINE COURTILLOT [*1972. Painting. Amsterdam] CONTACT NAME Arne Linde FAMED Sebastian Matthias Kretzschmar / Kilian Schellbach / Jan Thomaneck [*1978 / *1971 / *1974. Conceptual Works. Leipzig / Berlin] COVER Martin Galle HOLMER FELDMANN Kleiner Sommeridiot I & II [*1967. Painting / Installation. Berlin] 2010 oil on canvas GRIT HACHMEISTER each 40 × 30 cm [*1979. Photography, Drawing. Leipzig]

INSIDE MATTHIAS HAMANN Martin Galle Return Of The Mac [*1974. Photography. Leipzig / Berlin] 2010 ALEXANDER HEMPEL oil on canvas 230 × 300 cm [*1976. Installation. Leipzig]

LEFT JOCHEN PLOGSTIES Martin Galle [*1974. Painting. Leipzig] Tusch 2010 ANNA REINERT oil on canvas [*1975. Painting. Gdansk/PL] 20 × 20 cm MATTHIAS REINMUTH RIGHT Martin Galle [*1974. Painting. Berlin] Beast From The East DANIEL RODE 2010 oil on canvas [*1971. Conceptual Works. Dresden / Kairo / ET] 20 × 20 cm ROBERT SEIDEL [*1983. Painting. Leipzig]

KATSUTOSHI YUASA [*1978. Woodcut. London / GB, Tokyo / J]

ARTHUR ZALEWSKI [*1971. Installation, Conceptual Works. Leipzig]

JOHANNES ROCHHAUSEN [*1981. Painting. Leipzig] DIEGO SANTOMÉ GALERÍA BACELOS, VIGO

VOLTA NY 2011 | BOOTH NUMBER B4

GALERÍA BACELOS: DIEGO SANTOMÉ

WEBSITE The work of Diego Santomé is multifaceted, spanning film to installations, sculpture, www.bacelos.com performances and drawings. From this wide variety of actions, Santomé generates E-MAIL a dialogue between daily life and art in such a way that its artistic practice devises [email protected] innumerable layers of documentary and fiction. It redefines its defining parameters

PHONE in the constant search of restructuring current aesthetic conventions. +34 98 622 4785 All these elements form a connecting thread for the interpretation of his works, CONTACT NAMES which always seem to create a certain initial dissonance with the “corpus” of his Pepa Gómez Montesinos earlier work. Susana Montesinos The basic premise of this project is to cause the transition from appearance to con- cept through the use of designation systems (words and shapes), where the solu- REPRESENTED ARTISTS tion is always a mental operation. In this sense it codifies and distills the message Pablo Alonso to which the viewer must face as something without conclusion. Lynne Cohen Victoria Diehl Five neon phrases in three different colors form the wall sculptures, taking us back Ángel Núñez to a recreational aesthetic of the seventies with a historic charge associated with Ana Teresa Ortega Miguel Palma minimal and conceptual art. At the same time they satirize the quality “site-specific” Sebastian Romo work, since they adapt to any kind of wall that receives them thanks to the conclud- Iñigo Royo ing words of their respective phrases: (for this Wall). Baltazar Torres Manuel Vilariño Using just neon and text, the artist’s intention is to transmit a clear and convincing idea with the minimum possible effort, with the target of exploring the nature of art and leading it to its dematerialization. COVER Diego Santomé Derecho a la pereza (Right to laziness) 2010 Neon on wall 175 × 18 × 5 cm

INSIDE Diego Santomé Manuscrito, copiar el libro de Simón Marchán Fiz: Del arte objetual al arte de concepto. (Manuscript, copying the book of Simon Marchant Fiz: From objectual art to the art of the concept. 2010 Pen on paper and wood, 985 pages DIN-A4 95 × 60 × 45 cm

RIGHT Diego Santomé Rocking chair (provisional frame) 2010 Wood and steel 90 × 80 × 70 cm THEO BOETTGER GALERIE BAER, DRESDEN

VOLTA NY 2011 | BOOTH NUMBER V9

GALERIE BAER: THEO BOETTGER

WEBSITE In his pictures Theo Boettger visualises the excluded, which he balances at the www.galerie-baer.de boundary, the boundary of failure, the one of despair and emotional explosion: a E-MAIL pandemonium of modern life at the edge. Free, with a lack of distance and brutally [email protected] open, dark people are banished on the canvas surface, some are angry and tat-

PHONE tooed, and others seem to be in the process of falling or are pictured at the edge +49 173 564 1211 of society: drawn with a lot of black and little colour, painted with abrasive strokes,

CONTACT NAME aggressive, excessive and authentic. Patrick-Daniel Baer Meanwhile the individual fortunes of the portrayed are becoming increasingly syn- onyms and symbols of an ill society: a world which is artificial and mainly to be ex- perienced through media. It is a fake reality of everyday madness. REPRESENTED ARTISTS Hannes Broecker Aspirin_Kein Land (no land)_big hope_burn out_No Exit_Kill_Druck_call the police_ Jan Brokof egoshooter_Grüße von der Ersatzbank (Greetings from the reserve bench)_Monster Stefanie Busch Eckehard Fuchs der Verjüngung (monster of the rejuvenation)_Ruhe vor dem Sturm (quietness before Sebastian Hempel the storm)_we are the world_Sumpf (marsh)_credit_Sie haben mich ruiniert (they Andreas Hildebrandt have ruined me)_I need you now_Goodbye_we love Freedom_we got the power_ Stefan Krauth mess up reality_the end_can’t wait anymore_sold out information_anti collapse_you Stefan Kübler Stefan Lenke are not on this planet anymore_no control … Martina Wolf Those image titles, fragments of sentences and pieces of words which are spit out by the protagonists comic-like are placed on canvas so drastically that the viewer has the feeling the problems of the others, the unknown, could become their own COVER Theo Boettger ones. The thought is forced upon the viewer that the human is a passive individual Information who is sentenced to failure in between the all or nothing. Now. During an instant 2009 moment. The scenario of the end of time is getting closer; the point of return has acrylic and varnish on canvas been crossed a long time ago. 114.17 × 78.74 inch / 290 × 200 cm

INSIDE Theo Boettger Point of no return (exhibition view) 2010

RIGHT Theo Boettger sweeper (Kehrer) 2010 mixed media 51.57 × 54.72 × 39.37 inch / 131 × 139 × 100 cm YEVGENIY FIKS BARBARIAN ART GALLERY / BY NATASHA AKHMEROVA ZURICH

VOLTA NY 2011 | BOOTH NUMBER G10

BARBARIAN ART GALLERY: YEVGENIY FIKS

WEBSITE AMERICAN COLD WAR VETERANS ASSOCIATION www.barbarian-art.com This project is a series of portraits of members of the American Cold War Veterans E-MAIL Association, a non-government association of American servicemen and women [email protected] who served in the US Army and the US Navy between 1945 and 1991. Members of

PHONE the Association identify as victors and veterans of the “Cold War.” +41 44 280 45 45 The goal of the Association is to seek equal status and recognition of Cold War vet- CONTACT NAME erans in rights and benefits with veterans of other US wars, including WWII, Korean, Natasha Akhmerova and Vietnam Wars. In addition, the organization also seeks for all Cold War veterans to receive an official governmental Cold War Victory medal. To date, the American Cold War Veterans Association remains a marginal organization that operates as COVER Yevgeniy Fiks a grassroots initiative without any support from the government or the Pentagon. American Cold War Veterans The Association has several dozen members nation-wide, none of whom are high- Association, no. 4 ranking US Army or Navy officers. 2009 oil on canvas This project utilizes a traditional formula of war veteran portraiture, who is usu- 30 × 40 inch ally depicted against a national flag and wearing attributes of military service (i.e. INSIDE military medals and other type of decoration). Traditionally, portraiture of veterans Yevgeniy Fiks documents and personifies history and pays honor and respect to its subjects. The American Cold War Veterans “problem” of these portraits is that the subjects are veterans of the war that never Association, no. 5 2009 took place – for the Cold War was mainly a war of propaganda and the media. In the oil on canvas case of my portraits of American Cold War veterans, there is a tension between the 30 × 40 inch genre of the “portrait of a veteran” and the fictitious nature of the war in question.

RIGHT American Cold War Veterans today appear no less marginal than members of the Yevgeniy Fiks American Cold War Veterans American Communists Party, USA – both groups are left behind by the mainstream Association, no. 6 narrative of American society. My subjects, the living and breathing remnants of the 2009 Cold War, are also subjects of the history that their own government wants to forget. oil on canvas 30 × 40 inch If the Cold War was really a war in media and propaganda, what should we do with these veterans? If the Cold War was a fiction, who are these people? Does the existence of Cold War veterans prove that the Cold War really happened? What does it tell us about American society if it marginalized American Communists and American Cold War Veterans indiscriminately, blurring the difference between them today in 2009? ANDY LELEISI’UAO BCA GALLERY, RAROTONGA

VOLTA NY 2011 | BOOTH NUMBER V10

BCA GALLERY: ANDY LELEISI’UAO

WEBSITE In Ufological City, Andy Leleisi’uao explores enigmatic new imagery and iconogra- www.gallerybca.com phy. Evolving from three prior exhibitions, Areatures of the Arctaur People (2009, E-MAIL BCA, Rarotonga, Cook Islands), Asefeka of the Unmalosa (2009, Kips Gallery, Chel- [email protected] sea, New York) and Wandering through Pandemonium Quiet (2010, COCA, Christ-

PHONE church, New Zealand) – eleven new works will be presented for VOLTA NY, including +682 21939 four canvases, framed back to back and suspended diagonally across the booth +682 55012 space. Nine smaller works will complete the presentation. CONTACT NAME These new paintings are impressive in their visual architecture. A powerful teal sky Ben Bergman framed by large black mountains dominates the work. The viewer is immediately drawn into a densely populated fantasy-scape of rainbolic esoteric figures, part hu-

REPRESENTED ARTISTS man, part animal, part alien. Racism, consumerism, pop culture and social inequity Reuben Paterson are subliminally addressed and discarded in this inventive construct, the beguiling Michel Tuffery fairground settings free of the traditional human paradox. Loretta Reynolds Yazmany Arboleda Early in his career, Leleisi’uao, born of Samoan heritage, was profoundly affected Mark Cross by the treatment of Polynesian migrants within New Zealand society, particularly the Tim Buchanan infamous dawn raids that specifically targeted the Samoan community of Auckland. Kay George His highly eruptive style of painting at the time soon morphed into his renowned, intricately detailed series of ‘ufological’ paintings upon which this new series is par-

COVER tially based. In 2008, he introduced a new style of work that experienced a rapid Andy Leleisi’uao stylistic transition beginning with a series of large Janus Heads and comprehen- Untitled (detail) sive ‘creature-scapes’ through to his mesmerizing, and most recent ‘line’ paintings. Acrylic on Canvas 38 × 18 inch Leleisi’uao’s work is not overtly political nor does it speak to a beleaguered cultural

INSIDE proviso. Rather, this artist offers a universal overview and alternative to the human Andy Leleisi’uao experience. Leleisi’uao has delved deep into his subconscious to create and ex- Sunday plore an alternative world, populated by new beings with a new language and an 2007 idealistic culture – part faux mythology, part sci-fi – a secular kaleidoscopic moment. Acrylic on Canvas 14 × 11 inch

LEFT Andy Leleisi’uao Saturday 2007 Acrylic on Canvas 14 × 11 inch

RIGHT Andy Leleisi’uao Moanati Village 2007 Acrylic on Canvas 14 × 11 inch FLORIAN HEINKE GALERIE ANITA BECKERS, FRANKFURT

VOLTA NY 2011 | BOOTH NUMBER G2

GALERIE ANITA BECKERS: FLORIAN HEINKE

WEBSITE Roads are the arteries of our cities. www.galerie-beckers.de They are the lifelines of communication between mankind. They serve to keep us E-MAIL alive. They facilitate trade, are the subject of speeches, and enforce relationships. [email protected]

PHONE Via Appia, Champs Elysees, Fifth Avenue – just its name triggers a variety of images +49 69 7390 0967 and memories: delivery-vans with fresh vegetables, a romantic stroll, shop windows full of unfulfilled dreams. CONTACT NAME Anita Beckers And suddenly stones fly, cars burn, people get hit on the head. The basic element Yvonne Boy Liliana Rodrigues of the road, the paving stone, turns into a weapon. The road, just shortly before a means of communication gets demolished. Stone by stone. Gets demolished to hurtle pieces through the air. REPRESENTED ARTISTS Maria José Arjona The result turns into a whole new scenario. Deprived of its channels, communica- Teresa Diehl tion is no longer the same. Fragments are left behind. Roads which you should have Anton Corbijn Kota Ezawa rather perpetrated are now literally down-and-out. Destroyed, forcing the change Tamara Grcic of a condition. Bjørn Melhus Yves Netzhammer The arteries of our cities become wounds and yet wounds heal every day. Julia Oschatz Cornelia Renz Leaving visible scars… Scars which are apparently needed to keep us alive. Vee Speers Scars which seem to remain invisible to us in the creative process…

COVER Florian Heinke Black diamond 2010 Installation with paving stones, black lack dimensions variable

INSIDE Florian Heinke Riots#37 2010 Acrylic on canvas 30 × 40 cm

RIGHT Gallery installation view from the exhibition “Anton Corbijn – Inwards and Onwards” WILLEM ANDERSSON GALLERY NIKLAS BELENIUS, STOCKHOLM

VOLTA NY 2011 | BOOTH NUMBER G1

GALLERY NIKLAS BELENIUS: WILLEM ANDERSSON

WEBSITE In the picture world of Willem Andersson the viewer is drawn into various emotionally www.niklasbelenius.com charged spaces. We find the characters in a kind of absurd theatre where human E-MAIL existence loses its purpose and all communication falls apart. A seductive calm be- [email protected] yond time and place appears in the silence and in the act of waiting for something [email protected] you know never will happen. The averted, shaded and hidden glances convey an PHONE abiding sense of loneliness and isolation. +46 8 662 82 07 In Andersson’s painting the expected structure is broken down and leaves behind CONTACT NAMES an entire world of associations. The classical idiom of the portrait with focus on Niklas Belenius Li Erlandsson accurate depiction becomes the starting point for a reflection over a general ques- tioning of our identity, and where a literal need for invisibility cast a pale haziness over the depicted. But the dreamlike fogginess does not cast a shadow over the REPRESENTED ARTISTS memory of the past where the individual identity finally reveals that all the perceived Aids-3D (Kosmas & Keller) differences are similar for all of us. Carl Michael von Hausswolff Johan Strandahl John Duncan GALLERY NIKLAS BELENIUS established in 2006, is a young contemporary art Leif Elggren gallery based in Stockholm. From the onset the key objective has been to form an Miriam Bäckström intergenerational program supporting emerging as well as more established artists Navin Rawanchaikul of all media including sound, film, mixed media, photography, painting, sculpture Sten Hanson Ivana Franke and installation. Loulou Cherinet Though the work is diverse in presentation the artists are linked by a commitment to continuously reassess the position of artistic practices within their wider cultural, social and political frameworks. The programme includes solo and thematic exhi- COVER bitions and the space also invites guest-curated projects. Over the last four years Willem Andersson the gallery has developed into a vibrant location for performances and exhibitions General II 2010 in different forms. Oil on panel 19,5 × 16 cm

INSIDE Willem Andersson Svinfångsten 2009 Ink, oil on paper 50 × 65 cm

RIGHT Willem Andersson Detail 2008 Oil on canvas MAURICIO MIRANDA GALERÍA BICKAR, SAN JOSÉ, COSTA RICA

VOLTA NY 2011 | BOOTH NUMBER E7

GALERÍA BICKAR: MAURICIO MIRANDA

WEBSITE PLUSVALÍA (ADDED VALUE) www.betsybickar.com Performance accompanied by preserved tattooed skin and contract

E-MAIL CONCEPT: [email protected] The piece arises from an insistence on being able to generate resources to produce PHONE my work. I see my work as a gesture as participation in an informal economy in which +506 2203 4542 actions obtain funding; the gesture is an artwork in its own right. In this piece I sell CELL fragments of my skin as an action of speculation about the acquisition of works of art. +1 917 771 1729 The project becomes a process of waiting for what I may be worth. In case of sale, +506 8729 8948 the fragments will not be released to the purchaser(s) until the time of my death. The CONTACT NAME collector who wishes to acquire a fragment shall assume the terms of the contract. Betsy Bickar PROCESS: 1. Performance: tattooing a grid of 50 × 20 cm onto the artist’s back. The grid is di- REPRESENTED ARTISTS vided into ten squares, each 10 × 10 cm. Each square will be numbered and released Sebastián Vallejo under a contract. The contract is a vital component of the artwork. The performance W (Paz Ulloa and Vinico Jiménez) Lauren Gibbes will be documented in video and photographs. John LaMacchia 2. Exhibition which will promote the sale of skin fragments via empty archival boxes Michael Hall Paul Sunday on display. The boxes are placeholders for the preserved skin fragments, which will Mark Masyga be mounted posthumously. The piece will be accompanied by a typical catalogue published by galleries to promote the sale of works in an exhibition.

3. If a collector is interested in purchasing one of the squares, he/she must sign COVER galería bickar, San Jovsé, the contract which stipulates the procedure to be followed and the rights of both Costa Rica parties, as well as the return of the empty acrylic box for his or her purchase with photo: Inirida Gómez-Castro a copy of the contract upon the event of the artist’s death.

INSIDE 4. (Postmortem). In the event that the artist’s cause of death does not prevent the Mauricio Miranda Plusvalía (Added Value) extraction of skin fragments, they will be removed, subjected to a leather tanning 2011 process and mounted in the archival boxes, at the collector’s expense. Performance

LEFT Mauricio Miranda GALERÍA BICKAR is based in San José, Costa Rica. Our goal is to promote the Nadie se resiste a un buen chorizo work of Latin American artists outside of Latin America and vice versa. The con- (No one can resist a good chorizo) temporary art market in Latin America, while certainly robust, remains exceptionally 2006 Performance documented with discrete and even fragmented. Central America, in particular, has limited museum photographs acquisitions, government control of museum funding, and scarce opportunity to present work in galleries with international exposure. The art scene is exploding, and RIGHT Mauricio Miranda the art itself has much more in common with currents of international contemporary Población Flotante (Floating artmaking than does the structure that supports it in many of these countries. We population) believe that the future of art in this region lies in erasing some of the barriers and 2009 allowing a freer flow of information, and ultimately, funding. Installation, Costa Rica biennial DANIEL ROZIN BITFORMS GALLERY, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER D5

BITFORMS GALLERY: DANIEL ROZIN

WEBSITE New York based Daniel Rozin (b. 1961, Israel) creates interactive installations and www.bitforms.com sculptures that have the unique ability to change and respond to the presence of E-MAIL a viewer. In most of his pieces the viewer takes part, actively and creatively, in the [email protected] performance of his art. Known for his longstanding investigation of image creation –

PHONE be it in response to woven fabric, stone mosaics or today’s pixel – Rozin studies +1 212 366 6939 the very nature of modern structure.

CONTACT NAME Mirrors are central themes in Rozin’s current body of work. His explorations of me- Steven Sacks diated self-perception include the vocabulary of generative animation, in addition to instantaneous reflection. Placing deliberate emphasis on the way motion passes through coordinates in a grid, the movement in these pieces is psychologically REPRESENTED ARTISTS Daniel Canogar charged and deliberately paced. U-Ram Choe Through July 2011, Rozin is featured in a solo show at the Chrysler Museum of Art, R. Luke DuBois Claudia Hart Norfolk. His work is also part of Fracturing the Burning Glass: Between Mirror and Lynn Hershman Meaning at the ICA Portland, Maine, through April 10 and on view at The Peabody Yael Kanarek Essex Museum, Salem, through June 19. Tim Knowles Rafael Lozano-Hemmer Past solo exhibitions include the Israel Museum in Jerusalem; The Exploratorium, Manfred Mohr San Francisco; John Michael Kohler Art Center, Wisconsin; and bitforms gallery Lincoln Schatz in New York and Seoul. His has exhibited in New York at MoMA, Lincoln Center, Björn Schülke Threadwaxing Space, Markle Foundation, Jamaica Center for the Arts, Lehman Col- lege Art Gallery and New York University and elsewhere at the Reina Sofia Museum,

COVER Madrid; Central Academy of Fine Arts Museums, Beijing; V&A, London; Milwaukee Daniel Rozin Art Museum; Taiwan National Museum of Fine Art, Taipei; MUSAC, Castilla y León; Time Scan (detail) CU Art Museum, Boulder; Sundance Film Festival; Itaú Cultural Institute, São Paulo; 2004 Ars Electronica; Brooklyn Academy of Music; Taubman Museum of Art, Roanoke; video camera, custom software, computer, screen display or InterCommunication Center in Tokyo; Center for Performance Research, Brooklyn; projector Art Interactive, Cambridge; Daelim Contemporary Art Museum, Seoul; Papalote dimensions variable Museo del Nino, Mexico City; The American Museum of the Moving Image; 5MM, INSIDE Eindoven; SIGGRAPH. Daniel Rozin Trash Mirror No. 3 Rozin’s artwork is part of many public and private collections including Fundación 2011 Privada Sorigué, AT&T, Fidelity Investments, Borusan, SK Corporation, MUSAC Fun- 500 discarded objects, motors, dación Siglo, Sprint, The Capital Group Companies, W Hotel Seoul, Ark Investment video camera, wood, control Partners, NYU, Radio Shack, and Pearl Lam, among others. He has also received electronics, custom software 76 × 76 × 6 inch / numerous awards including the Prix Ars Electronica, I.D. Design Review, Chrysler 193 × 193 × 15,2 cm Design Award and the Rothschild Prize.

LEFT BITFORMS GALLERY Daniel Rozin Engaged in a contemporary focus on the visual discourse of new media culture, Time Scan 2004 bitforms gallery nyc supports mid-career figures and launches emerging artists. The video camera, custom software, gallery’s focus draws upon a diverse range of disciplines and perspectives. Open- computer, screen display or ing its doors to Chelsea in 2001 as a commercial establishment, bitforms gallery projector regularly exhibits a roster of artists in addition to special projects. dimensions variable

RIGHT Daniel Rozin Trash Mirror No. 3 (detail view) 2011 500 discarded objects, motors, video camera, wood, control electronics, custom software 76 × 76 × 6 inch / 193 × 193 × 15,2 cm MANFRED SCHNEIDER SEBASTIAN BRANDL, COLOGNE

VOLTA NY 2011 | BOOTH NUMBER B3

SEBASTIAN BRANDL: MANFRED SCHNEIDER

WEBSITE The œuvre by Manfred Schneider is composed of collage, large format drawings, oil www.sebastianbrandl.com paintings and sculptures or rather installations and materials such as coal, varnish, E-MAIL wax, sepia and pencil, oil, plaster, iron, cardboard, aluminum and wood. The works [email protected] present crude, archaic, sometimes drastic and gloomy scenarios.

PHONE By way of their richness of detail and their mysteriousness they challenge the behold- +49 221 222 99 793 er to decipher it. But at last they are unsolvable. The continuous embedding of words CONTACT NAME and sentences accompanies the images like a kind of subliminal mutter of voices. Sebastian Brandl Images from fairytales, dreams, nightmares and visions that – just like haunting theater scenes – one can only look upon but cannot describe. At first they appear REPRESENTED ARTISTS as highly subjective, individual mythologies but shortly after their interference with Timo Behn collective myths shimmers through. German peculiarities and German history is Christian Berg dealt with here – the forest and the inwardness of Romanticism, wooden pieces of Julia Bünnagel Franz Burkhardt furniture with carved heart-shapes, Hansel and Gretel, old braids, Volkswagen lo- Kerstin Fischer gos, Mercedes-stars, Gothic print, sentimentality and rigour, orders and obedience. Sven Fritz Especially social groupings and political ideologies of the 60ies to this day, as they Andrew Frost are mirrored in slogans, logos and passwords, are compiled by Schneider. He acts Hee Jung Kang Vincent Michéa as a chronicler, just in order to turn these slogans and logos into subjects of irony Jan Stieding and to break their forced earnestness.

Manfred Schneider also repeatedly reflects his role as an artist and art or rather painting – one finds allusive hints to Beuys, Viennese Actionism, German Roman- COVER Manfred Schneider ticism etc. Especially the latest works in 2009/2010 are decidedly devoted to the unfinished transformed constantly topos of art. broke 2010 CV Charcoal, pencil, enamel on paper 75 × 55 cm Manfred Schneider, b. 1959 in Munich, lives and works in Berlin 1990 – 1996 studies of Fine Arts Staatliche Hochschule für Bildende Kunst/Städel- INSIDE Manfred Schneider schule, Prof. Thomas Bayrle, Prof. Martin Kippenberger Collector’s Hobby 2008 Collage, charcoal, enamel on paper 150 × 110 cm

RIGHT Manfred Schneider Brigade Hänsel und Gretel 2010 Charcoal, pencil on paper 75 × 55 cm JOYCE HINTERDING BREENSPACE, SYDNEY

VOLTA NY 2011 | BOOTH NUMBER D1

BREENSPACE: JOYCE HINTERDING

WEBSITE THE PENCIL OF ENERGETIC NATURE www.breenspace.com Joyce Hinterding’s Loops and Fields are startlingly elemental. Induction drawings, E-MAIL she calls them, exist at the crossroads of objects and energies in a way that seems [email protected] like it should have happened a long time ago. It is as though a new element had

PHONE been added to the artistic table of elements, not a rare and over-determined one +61 2 9690 0555 [but] a common and pervasive one, like carbon. Induction drawings trade object and

CONTACT NAMES energy because graphite, a common carbon, is an electrical conductor that hap- Sally Breen pens to form the core of pencils. The lines drawn with this conductor attract ambi- Anthony Whelan ent electromagnetic fields and waves into the drawings. The way in which they are drawn folds energies in, inducing them into voltages, that are then returned to the surrounding space in the perceptible energy we know as sound. Her drawings are REPRESENTED ARTISTS constantly circulating electromagnetic and acoustical energies. Each will return dif- Gary Carsley Simryn Gill ferent sounds depending upon the minutest details of their configuration and execu- David Haines tion – her hand can be heard – and upon the changes in the energetic environment. Janet Laurence Dani Marti Seemingly still and austere, they actually vibrate and oscillate with the dynamic, Kate Murphy fluctuating, energies that surround them. […] Once we know that they do, the envi- Nike Savvas ronment we share with them scintillates; it becomes energetic. They are drawings Tim Silver in two senses of the word: drawings that draw energy from the environment. Their Sally Smart Emma White lines are not merely traces, not residues of past actions; they are also receptors and conduits, acting in the present. Most art works on the wall stay there, the interven- ing space becoming a scene of sentience, whereas Hinterding’s induction drawings COVER are environmental works. Their lines enfold space. Joyce Hinterding Aura She began as a sculptor who, becoming aware of “the most extraordinary concept… 2009 that everything is active; all materials are active,” sought vibrancy in sound and elec- graphite and gold on paper, tromagnetism. Aeriology, 1995, one of the masterworks of the 1990s, circulates speakers, sound deck, tables, through incarnations to the present day. A shimmering presence of 20 – 30 km of cables installation view at BREENSPACE, copper wire wrapped around the columns of a former marine warehouse, it forms a November 2009 big beautiful antenna that gathers enough energy to power the sound of the signals

INSIDE it culls from the electromagnetic environment. The Oscillators, 1995, was the first Joyce Hinterding work where she used graphite to draw a circuit diagram: a phase shift oscillator. Ulam VLF array (graphite) Unlike Atsuko Tanaka’s circuit drawings, the circuits function as circuits. Driven by 2010 gallery lights shining upon a solar panel, the piece renders the energy of its own il- graphite on paper 29.9 × 44.9 inch / 76 × 114 cm lumination audible. Loops and Fields differ because they are not fed by a separate power source. What we see transforms what we cannot sense into what we hear.

Most of the history of art has taken place in that tiny patch of the electromagnetic spectrum we can perceive unaided: visible light. Despite its insignificant size it at- tracts an inordinate amount of attention because it is filled with a rainbow. This should not distract us from the fact that most of the energy in the cosmos, and that includes the rooms we share with drawings, exists on either side of infrared and ultraviolet. The electromagnetic energy of light was chemically attracted to surfac- es where drawings had historically taken place. The pencil of nature, it was called, when the silver of photographic processes replaced the carbon of pencils. It was an odd nature because the sun existed for William Fox Talbot only as an indistinct backdrop subservient to the task of representation. Lady Eastlake was closer to the source when she wrote that photographic images are drawn by a “solar pencil”. Hinterding reinstates the pencil as a means of drawing energy.

Joyce Hinterding has been curated into international biennales and exhibitions in- cluding Istanbul Biennial; Bienal de Sao Paulo; Biennale of Sydney; Biennial of San Jose and MCA Taiwan. Douglas Kahn is research professor at National Institute for Experimental Arts, UNSW, Sydney, and author of Noise Water Meat: A History of Sound in the Arts.

by Douglas Kahn MARK JENKINS CARMICHAEL GALLERY, LOS ANGELES

VOLTA NY 2011 | BOOTH NUMBER A1

CARMICHAEL GALLERY: MARK JENKINS

WEBSITE “My route into public art wasn’t a clear one. I didn’t study art. It was more a com- www.carmichaelgallery.com bination of experiences. For example, as a kid, my father had some fake twenty- E-MAIL dollar bills, and we’d drop them on the street to see what people would do. It was [email protected] a prank, but the varied reactions were interesting to me. Later I saw the work of

PHONE Juan Muñoz and it got me thinking about architecture and space and the ability of +1 323 939 0600 an object to alter these through installation. In 2003, while living in Brazil, I started

CONTACT NAMES the project of making sculptures from tape. The idea to put them on the street was, Seth and Elisa Carmichael for me, the logical next step.

The Embed Series installations with the hyper realistic figures tend to have the most interesting response. They turn the city into a stage. My favorite was one in Sweden REPRESENTED ARTISTS Simon Birch where I installed a figure with balloons coming out of his back floating face down in Boogie the canal and a pink, bear-headed girl figure watching from the bridge. It was sur- Boxi real and even more so when a rescue unit arrived and a diver swam out to save the Guy Denning sculpture. Some say it was careless to do this installation, but I thought I’d made Claudio Ethos Gregor Gaida it surreal enough to defuse the reality of it. That said, (the viewers’ response) does Aakash Nihalani become part of the art. Sixeart Slinkachu The installation’s geographic/cultural setting can cause things to play out differ- Dan Witz ently. In more tense climates, this sort of work hits harder. In Palestine, a pair of legs sticking out of a dumpster generated a mob of people shouting at me. In DC, a COVER figure rummaging through the garbage with a polar bear head shut down the metro Mark Jenkins and an elementary school. But in London, people see something like this and love Storker Project it. Even the cops take photos. 2005 mixed media I’m still exploring figurative symmetry and my sense of humor continues to dominate dimensions variable a lot of the work. Certain characters like the Trashers, Hoodies and Blondes have INSIDE a strong foothold in the thread, while the Embeds are like members of the family. Mark Jenkins There is a projected warmth in these pieces that makes them very comfortable to One Leg Up 2010 live with. I like where I’m at with these projects. It doesn’t feel contaminated.” mixed media by Mark Jenkins (b. 1973, Washington DC) 36 × 52 × 33 inch / 91,5 × 132 × 84 cm

RIGHT Mark Jenkins Embed #1 2006 mixed media dimensions variable FREDRIK HOFWANDER STENE PROJECTS, STOCKHOLM

VOLTA NY 2011 | BOOTH NUMBER G4

STENE PROJECTS: FREDRIK HOFWANDER

WEBSITE In the future to come Stene Projects thinks it is necessary for a gallery to be more www.steneprojects.com business minded, transparent and flexible. Key words are social and economic du- E-MAIL rability. The ambition with Stene Projects is to make an attempt to widen the possi- [email protected] bilities of what a platform for contemporary art can be. Stene Projects is very much

CELL inspired by Chris Anderson (The Long Tail), Linux (software) and the social impact +46 76 898 6495 from new technology.

CONTACT NAME Jan Stene FREDRIK HOFWANDER Looking at the works of Fredrik Hofwander, let your eye be caressed by the graph- ite, which, like watered silk and polished steel, creates seductive surfaces. The thin REPRESENTED ARTISTS lines are so close that they become hard to distinguish. Above the dark valleys of Per Wizén graphite the blank paper appears to rise as white banks. These are sublime graphite EvaMarie Lindahl Sylvan Lionni paintings, serious and playful at the same time. You may remain a viewer but you Glen Rubsamen may also choose to enter into them with your own experience, in order, perhaps, to Suzannah Sinclair come out on the other side. Or you will stay there – stuck in the physical materiality Noah Lyon of the graphite – eternally engrossed. Maja Rohwetter Jone Kvie Luke Stettner

COVER Fredrik Hofwander The Subatomic Heart of It 2011 graphite on paper 90 × 128 cm

INSIDE Fredrik Hofwander Double Shadow 2006 graphite on paper 82 × 125 cm

RIGHT Fredrik Hofwander Black Forest Gateau 2011 graphite on paper 90 × 128 cm CHRISTINA BENZ THE CYNTHIA CORBETT GALLERY, LONDON

VOLTA NY 2011 | BOOTH NUMBER C2

THE CYNTHIA CORBETT GALLERY: CHRISTINA BENZ

WEBSITE The works of Benz are visual statements that engage with the nature of today’s so- www.thecynthiacorbettgallery.com ciety. Benz deals with the expectations – of the viewer as well as the protagonist – E-MAIL embedded in the actions of her characters. Trapped and driven are short, silent [email protected] pieces played on a loop. The strong, bright images and unusual perspectives at-

PHONE tract the viewer only to unsettle them through their repetition. This becomes almost +44 20 8947 6782 sinister in trapped as the protagonist is eternally constrained under water – what

CELL first appears to be a game becomes a struggle for escape. Above the viewers heads +1 773 600 7719 plays driven. A video projection shows a man past his prime, dressed in swimming +44 793 908 5076 trunks and swimming glasses. He strikes several poses and prepares to jump. Benz CONTACT NAMES purposely creates short works to meet the time and consumption constraints of Cynthia Corbett today’s society however the audience is compelled to repeatedly view the repeated Celia Kinchington actions. This notion is disturbing in itself as not only is the protagonist trapped but so is the viewer. Much of Benz’s works purvey such minimal scenarios with dark, humorous undertones. REPRESENTED ARTISTS Lluís Barba Christina Benz studied Fine Art at Central Saint Martins College of Art and Design, Charlotte Bracegirdle University of the Arts, London from 2001 – 2004 and completed a Masters degree in Andy Burgess Cecile Chong Fine Arts at Zurich University of the Arts (ZHdK) 2008 – 2010. Benz’s work has been Anne Françoise Couloumy selected for solo positions at several international art fairs including ARCO, Artissima Ghost of a Dream and VOLTA 6, Basel LIGHTBOX presented by The Cynthia Corbett Gallery. In 2005, Hector de Gregorio her piece ‘numbered’ was nominated for the illy prize Present Future, Turin. Her Fiona Hepburn Tom Leighton video installations have been exhibited in galleries in Zurich, London, Barcelona and Boyarde Messenger Brussels and are currently featured at the Centre for International Light Art in Unna, Klari Reis Germany. Collections include Fundación Centro Ordóñez/Falcón de Fotografía of Nicolas Saint Gregoire San Sebastian, Okolje Consulting d.o.o, Celje, Slovenia, Charles-Antoine Bodson and Frédéric de Goldschmidt, Belgium and WMG Limited, Photography Foundation, London. Christina Benz lives and works in Zurich. COVER Christina Benz The Cynthia Corbett Gallery, an international contemporary art gallery represents driven emerging and newly established artists and is a regular exhibitor at major interna- 2008 video projection onto a board tional art fairs, curates exhibitions presenting an innovative programme of solo and underneath the ceiling, DVD, themed projects in a variety of media with a particular emphasis upon emerging 7'26" loop, silent video art. In 2009 the Gallery launched the biennial Young Masters Art Prize, spon-

INSIDE sored by AXA UK. In 2010 the Gallery launched TITAN CORBETT Art Consultancy. Christina Benz trapped 2006 video projection onto a circular panel on the floor, DVD, 1' loop, silent

RIGHT Christina Benz lake-split 2003/04 video, DVD, 4'48" loop, sound by George Tsioutsias CULTURE SHOCK MARKETING VIMEO NEW YORK VOLTA NY 2011 | BOOTH NUMBER A9

CULTURE SHOCK MARKETING (CSM) AND VIMEO

WEBSITE PROJECTiON: the process or technique of reproducing a spatial object upon a www.cultureshockmarketing.com plane or curved surface; a transforming change; the act of throwing or thrusting for- www.vimeo.com ward; the forming of a plan; the attribution of one’s own ideas, feelings, or attitudes E-MAIL to other people or to objects; the display of motion pictures by projecting an image [email protected] from them upon a screen; an estimate of future possibilities based on a current trend. PHONE +1 347 463 9023 CSM and Vimeo are proud to present a curated series of contemporary moving image digital artworks selected from Vimeo.com for VOLTA NY. Curated by CSM, CELL selected works include experimental film, computer animation and visual effects. +1 917 363 6027 PROJECTiON presents the bleeding edge of contemporary digital image works CONTACT NAME in a fine art context. ‘Digital’ or ‘New Media’ art (computer graphics or animation; Debra Anderson the Internet, interactive technologies; Generative, Information or Video art; Robot- ics and Bio technologies) is often defined through its opposition to ‘Old Media’ art

EXHIBITED ARTISTS (traditional painting, sculpture etc). Paddy Jolley The PROJECTiON initiative presents work that has undergone computer/human Glenn Marshall Hugh McGrory interaction processes in direct lineage to its cultural predecessors, showing that Scott Pagano an expanded digital toolset can lead to an expansion of formal concerns and im- J.G. Zimmerman pulses that can be traced back throughout the canon of art history. Just as Pixar OTHER REPRESENTED ARTISTS revolutionized the film industry in the 90s, digital art allows creators the freedom to Damon Johnson imagine new realities in step with a cultural and social landscape that is evolving Paul D. Miller (aka DJ Spooky) at breakneck speed. The medium is not the message. Digital is not the end but the Friso Spoelstra 101love means. It is the word processor vs. the typewriter, the calculator vs. the abacus. We interact externally with machines. Nanotechnology imagines a reality where the machines become internalized, provoking questions at the most basic level: Who

COVER or what are we? Why are we here? Where are we going? From cave paintings to Glenn Marshall generative code the impulse is the same. It is a search for beauty, for meaning, for Music is Math purpose … for reality. Computer animation, processing The curated series provides an opportunity for VOLTA NY patrons to experience INSIDE Hugh McGrory these moving image fine art works in different contexts and environments. Works Maze will be screened in multiple elevators taking visitors to the VOLTA NY show, on the Super8 film, photography exhibition floor and in VOLTA shuttle buses.

CSM – Culture Shock Marlketing is a boutique New York City-based 21st Century media agency, focused on serving creative communities. We are a multipurpose team, engaged synchronously in the creation and distribution of ideas and asstes. We believe that innovation happens when things that are separate get mixed.

VIMEO – From the beginning Vimeo was created by filmmakers and video creators who wanted to share their creative work, along with intimate personal moments of their everyday life. As time went on, like-minded people came to the site and built a community of positive, encouraging individuals with a wide range of video interests. KRISTOPHER BENEDICT GALLERY DIET, MIAMI

VOLTA NY 2011 | BOOTH NUMBER D7

GALLERY DIET: KRISTOPHER BENEDICT

WEBSITE CAT IN THE CLOUDS www.gallerydiet.com Much of Kristopher Benedict’s work can be seen as an exploration of the act of E-MAIL representation, as the paintings fluidly range from figuration to abstraction with [email protected] many stops in between. The body of work being presented at VOLTA NY, Cat in the

PHONE Clouds: A Romantic Comedy, creates a narrative sequence that follows the rules of +1 305 571 2288 the romantic comedy genre in film. The Cat in the Clouds is a symbol of imaginative

CELL free association, representation, childhood and the question of belief. Each of the +1 305 978 3692 paintings is an interpretation of a film still from a romantic comedy – When Harry Met

CONTACT NAME Sally, Annie Hall, Sleepless in Seattle, Knocked Up, etc. This group of works contin- Nina Johnson ues Benedicts interest in a multivalent approach to painting. Although the series is designed to be read as a narrative, the “story” will not be played out solely on the surface of the works, but also through a slower accounting of formal relationships. REPRESENTED ARTISTS Charley Friedman Kristopher Benedict has exhibited at Gallery Diet in Miami, Florida twice since 2009. Christy Gast He graduated from Columbia University’s MFA program in 2002 and has exhibited Richard Höglund in numerous group and solo exhibitions including After Matisse/Picasso at P.S.1/ Abby Manock MOMA, and Audacity in Art at the Orlando Museum in Florida. Kristopher also exhib- Daniel Milewski its his work with Sue Scott Gallery. His works are included in the public collections of the Orlando Museum of Art, the RISD Museum of Art and the Flint Institute of Arts.

COVER GALLERY DIET is a contemporary gallery located in the Wynwood district of Miami, Kristopher Benedict Florida. Since opening in 2007 the gallery has hosted over 25 exhibitions by artists Drawing for Cat in the Clouds #3 (Huggers) from around the world and represents Charley Friedman, Christy Gast, Richard Hö- 2010 glund, Abby Manock, and Daniel Milewski. Mixed media 14 × 7 inch

INSIDE (LEFT) Kristopher Benedict Drawing for Cat in the Clouds #4 (Wall-E) 2010 Mixed media collage 14 × 7 inch

INSIDE (RIGHT) Drawing for Cat in the Clouds #2 (Couple with Dog) 2010 Mixed media collage 14 × 7 inch

RIGHT Kristopher Benedict Mountain Bridge 2007 Oil on canvas 52 × 70 inch DARREN FOOTE DODGEGALLERY, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER D6

DODGEGALLERY: DARREN FOOTE

WEBSITE Foote’s solid, balanced sculptures behave like mirages forming familiar shapes, dodge-gallery.com claiming particular references, then shift to evade easy association. The abstract E-MAIL forms are in fact derived from specific memories, often extending back to the artist’s [email protected] childhood in rural Idaho. Barbed wire, a broken fence, hoof prints, circling birds, vast

PHONE skies, and jagged rocks are vestiges from Foote’s past that inspire relationships be- +1 212 228 5122 tween materials and forms. Wood is prevalent, identifying rigid, angular forms, and

CONTACT NAMES often partnered with other deliberate materials including glass, enamel, cowhide, Kristen Dodge or foam. His process mirrors the workings of memory, starting with a specific time, Patton Hindle place or object, and then slowly breaking down, deteriorating, combining, and re- inventing. Foote’s objects remind us that our own consciousness is structured by memory which itself dilates amongst the disjointed paraphernalia of the given world. REPRESENTED ARTISTS Autobiographical and formal, Foote’s work taps into a universality that derives from Rebecca Chamberlain Dave Cole the specificity of material and palpable recollections contained within each piece. Environmental Services Foote is a Rhode Island School of Design Sculpture MFA Candidate, Spring 2011. Sheila Gallagher Daniel Phillips He has been granted several scholarships and awards including the Jeanne Stahl- Lorna Williams Webber Sculpture Scholarship, RISD Graduate Studies Grant Award, and S.L.Y. Herman Scholarship. Foote received his BA from Pacific Lutheran University in Ta- coma, Washington. He has exhibited at international art fairs in Miami, New York, COVER and Basel, Switzerland. In 2009, Foote exhibited at the judi rotenberg gallery, Bos- Darren Foote ton, for which he was awarded the critic’s pick best sculpture exhibition by the Untitled (Statuette) 1 2010 New England Art Awards. His work is currently on view and in the collection of the found wood, gypsum cement, Museum of Fine Arts, Boston. portland cement, plywood 11.5 × 11.5 × 54.5 inch

INSIDE Darren Foote Concatenated Exterior 2010 salvaged lumber and mirror 56 × 54 × 74 inch

RIGHT Darren Foote Owyhee 2010 wood and mirror 12 × 29 × 29 inch NATASHA KISSELL ELEVEN, LONDON

VOLTA NY 2011 | BOOTH NUMBER F6

ELEVEN: NATASHA KISSELL

WEBSITE Based on the dynamic modern day architecture of New York City, Reborn in Arca- www.elevenfineart.com dia is a series of new paintings by Natasha Kissell. The use of the word ‘modern’ E-MAIL in architecture refers to being of the moment. However, it is this contemporary la- [email protected] bel that immediately dates a structure and consigns a building to history. In an era

PHONE where the urban skyline is masked with cranes and scaffolding, indicative of new +44 20 7823 5540 buildings going up at a constant rate, nothing is ever new for long. Reborn in Arca-

CONTACT NAMES dia introduces the most outstanding New York City buildings into whimsical archaic Charlie Phillips landscapes, expressing the notion that even the most brilliant new buildings join Susannah Haworth the lexicon of all buildings that have ever been built. With crumbling ruins of a clas- sical past scattered around the paintings, Kissell depicts an Arcadian renaissance where idyllic landscapes forged by civilisations becomes the new resting place for REPRESENTED ARTISTS these new monuments to seek to break with the past. Ben Turnbull Gerry Fox Kissell avoids the overly familiar New York landmarks and instead opts for new Harry Cory Wright buildings which have strong design and sculptural qualities to create curious jux- Jonathan Yeo Kent Christensen tapositions of angular shapes of modern architecture set against the organic forms Marius Bercea in the natural world. Kissell embraces an altered reality, her paintings function like Martha Parsey psychedelic visions inviting viewers into a dream-like space as she uses the land- Natasha Law scape to trigger memories and a sense of familiarity. She re-invents the traditional Olly & Suzi Rick Giles landscape painting through visually injecting pieces of the past that lead to the Roland Hicks present day states of her magical worlds.

Inspired by Caspar David Friedrich’s Romantic allegorical landscapes and Peter Doig’s energetic painterly approach, Kissell appropriates elements from numerous COVER Natasha Kissell eras of art history to depict her sublime worlds. In one painting, the Ground Zero Island in the Sky construction site floats up above the earth like a spirit of a place in need of healing 2010 and a new identity while two doves hover symmetrically above it to bring a mes- Oil on canvas sage of hope. In another painting the IAC headquarters designed by Frank Gehry 48 × 42 inch is magically transported to a world of mystical valleys, removed from its Chelsea INSIDE home and imposed into a fantastical environment. Natasha Kissell Road to Nowhere The landscapes are largely informed by the Catskills in upstate New York; fusing all 2010 of the radiant splendour of New York from remnants of city architecture to majestic Oil on canvas 60 × 72 inch mountains rising from the earth. Kissell creates a form of New York Utopia through bringing the canon of history to the present while simultaneously relegating the present to the past.

Natasha Kissell was born in 1978 and lives in Brighton, England. Her work is in the collections of, amongst others, HSBC, Deutsche Bank, the Saatchi Collection, the Ovitz Family Collection and Knoxville Museum of Art, Tennessee. Her work was in- cluded in the exhibition Painting the Glass House: Artists Revisit Modern Architecture which was shown at the Aldrich Contemporary Art Museum, Yale School of Architec- ture Gallery and Mills College Art Museum, California. Her work was recently included in the exhibition No New Thing Under the Sun at the Royal Academy of Art, London. TATIANA PARCERO ESPAIVISOR – VISOR GALLERY, VALENCIA

VOLTA NY 2011 | BOOTH NUMBER V14

ESPAIVISOR – VISOR GALLERY: TATIANA PARCERO

WEBSITE Tatiana Parcero entitles her series of constructed self portraits Cartografía interior www.espaivisor.com (Interior Cartography) in order to frame her practice as a form of personal mapping, E-MAIL a quest for knowledge about the self, seen through the prisms of history, culture, [email protected] and geography. Employing photographs of her own body overlaid with maps and

PHONE other historic documents, she has created an eloquent body of work that merges +34 96 392 2399 a poetic process of introspection with creative revelation.

CELL Parcero calls the body “the container that holds everything”; thus, it is the perfect +34 62 888 1245 starting point for a search encompassing ancestral origins, cultural history, geog- CONTACT NAMES raphy, and the psyche. In titling this series Cartografía Interior, Parcero points to Mira Bernabeu the possibility of re-envisioning the exterior, visible body, as a site of pure mean- Miriam Lozano ing. Flesh becomes an expression of the subconscious, the face and eyes reflect the intellect. She displays an essential self, stripped of the clothing or the material

REPRESENTED ARTISTS accoutrements that would provide a cultural or temporal framework. In contrast, Hamish Fulton this essential self is bound to history, to a cultural landscape that transcends the Ana Teresa Ortega here and now. Lynne Cohen Valentín Vallhonrat To produce these works, the artist collected and photographed such documents Luis González Palma as pre-Columbian codices, ancient maps, cosmological charts, and anatomical en- Marta Soul gravings. She prints this subject matter onto transparent acetate and then superim- Tatiana Parcero Flor Garduño poses this imagery over photographs of the human form. At first glance, the imagery Miguel Trillo layered over skin may appear as bodily adornment or intricate tattoos. But for the Monika Anselment artist, these elements metaphorically fuse with the body; they become inseparable Immo Klink to her being. When a fragment of a pre-Columbian codex is visible upon the body, Alberto Baraya David Ferrando Guiraut she acts to summon the memory of an ancient past that is held deep within. Paulo Nozolino Parcero always employed her own body in this project, never using models, a way Eulàlia Valldosera Daniel García Andújar of suggesting that all history is ultimately personal. It is felt, remembered, and is Joan Fontcuberta reflected in thought, action, and appearance. To underscore this point she has re- vealed her body with startling intimacy. Parcero depicts not only her face and hands, but also the soles of her feet, her open mouth, her pregnant belly. When display- COVER ing the palm of her hand, she merged it with an image of an ancient map delineat- Tatiana Parcero ing paths and waterways. These forms take on the appearance of veins of blood, Cartografía interior #44 1996, printed on 2011 signaling Parcero’s desire to lay bear the private, interior self. In other works, she Acetate and Lambda print covered her skin with anatomical illustrations, giving literal expression of the funda- 40 × 60 inch mental dichotomies that mark human existence – between the private and public, 3/5 + 2 A/C the intellectual and corporal, the lived and remembered. INSIDE Tatiana Parcero The first known maps were not of the earth – they charted the heavens. Many an- Nuevo Mundo #16 cient cultures understood that humankind’s place in the world could only be com- 1998, printed on 2011 prehended by measuring it against something much vaster than the individual, or Acetate and Lambda print one’s territory. In Cartografía interior, Tatiana Parcero employed her body in a com- 20 × 24 inch 2/10 + 2 A/C plementary search – to map the body in relation to time and place, science and thought. Body acts as both matter and metaphysics; Parcero’s use of documents to mark her flesh activates the corporal, sparking connections far beyond the mo- mentary and physical self. In these images the body becomes apotheosis, a deep repository for meaning and for boundless poetic expression.

by Elizabeth Ferrer, Director of Contemporary Art, BRIC Arts CHE LOVELACE ZAK OVE FAS CONTEMPORARY, LONDON VOLTA NY 2011 | BOOTH NUMBER F9

FAS CONTEMPORARY: CHE LOVELACE & ZAK OVE

WEBSITE CHILDREN OF SAGABOY by Toby Clarke www.fascontemporary.com To absorb Che Lovelace and Zak Ové it is important to understand the influence of E-MAIL Carnival, the single most important creative outlet in Trinidad. Friends since child- [email protected] hood, both with highly-regarded creative parents, Lovelace has always lived in Trini-

PHONE dad whereas Ové has oscillated between there, London and New York. Lovelace +44 20 7318 1895 runs the esteemed Studio Film Club with his friend Peter Doig and has a studio in

CELL the same building. His work has been shown more often in Biennales and regional +44 77 7190 7069 museums, such as his 2004 solo show at the National Museum of Trinidad and To-

CONTACT NAME bago, than in galleries, so for many VOLTA NY will be the first opportunity to dis- Toby Clarke cover his work. Like Ové, Lovelace is interested in the annually recurring Carnival characters though, primarily a painter, he is as interested in pushing the medium as in the subject matter. Elements of chance and the material’s idiosyncrasies play an REPRESENTED ARTISTS important role and the paintings show their history and revisions. Figures emerge Emma Biggs and Matthew Collings from non-deliberate sources, in a sort of rough alchemy. Melanie Comber Dan Coombs “The painting that keeps me intrigued and in pursuit of more is the one in which, af- Leonardo Drew ter it is all done, I still cannot really say how I put it together”. Stephen Goddard Tony Heywood Ové goes deeper into the history and origins of Carnival, aiming to reignite and rein- Henry Krokatsis terpret lost culture using new world materials, while paying tribute to past and future Penny Lamb Oliver Marsden spiritual and artistic African identity. His works are born from documentation and Fernando Mastrangelo anthropological interest in Tribalism and African history, specifically that explored through Trinidadian Carnival. This, in turn, is filtered through his cultural roots, with a black Trinidadian father and white Irish mother. To understand Ové’s sculpture it COVER is instructive to start with his photography and filmmaking. Last year, his video ‘A Zak Ove Land So Far’ was shown in Afrodesia, curated by Chris Ofili at TATE Britain, The Invisible Man 2010 Fine Art Society, and the Freies Museum. Cast resin In Carnival, fantasy and imagination run riot as the participants fall deeper into their 122 × 122 × 20 cm Edition of 3 ‘characters’ and ‘play mas’. Ové portrays the emancipation of personal existence through incarnation with another self, focusing on the disappearing traditional char- INSIDE acters, whose costumes and personalities portray the complex intercultural history Che Lovelace Glint of the island. Personas such as ‘Blue Devil’ and ‘Midnight Robber’ reify common 2005 folklore, parody law and order and mock social stratification. In defiance of the Oil on wood history of slavery and colonial rule, this role-playing has authenticated a perpetual 63 × 46 cm elevated existence for many. Ové describes it as ‘wealth without money.’ The par- ticipants are majestic and free, blurring self with character in personal re-invention. The photographs capture the vitality and emotional transience of the individual’s experience and have been exhibited at Bamako Biennial, Fotomuseum (Antwerp), and Johannesburg Art Gallery. His sculptures take off where his photographs and films pause. Playing with a Eurocentric sense of colonial heritage and our own res- ervations or prejudices about African or black art, they often employ traditional Af- rican techniques or bastardizations of such, whilst introducing found objects from markets including Victoriana, children’s toys, black dolls and even airplane parts. In mixing all these seemingly clashing elements, Ové reiterates the power of play to emancipate an individual from the contained experience of the ‘self’. In celebrating and understanding our differences – be they cultural, social, sexual or monetary – through play, parody and masking, we do not only understanding who we are, but also lay the groundwork for re-inventing our lives. The work begs for understanding between cultures and religions, celebrating and embracing difference.

These artists relate to each other in terms of source and one can see that several of Lovelace’s paintings relate to a character called ‘White Devil’ who features in Ové’s film. These are potent subjects and inevitably interest creative people who fall un- der their spell. Whilst the links are numerous, their work is very different and offers a unique introduction to the feel and essence of their environments. DAN TAGUE JONATHAN FERRARA GALLERY, NEW ORLEANS

VOLTA NY 2011 | BOOTH NUMBER V7

JONATHAN FERRARA GALLERY: DAN TAGUE

WEBSITE “The appeal and power of money are the issues at the core of this series. In a capi- www.jonathanferraragallery.com talist society cash rules everything. Society teaches us that you can buy love, happi- E-MAIL ness, and status through possessions. You can even right wrongs by taking away a [email protected] bit of someone’s happiness through fines and lawsuits. Politicians buy votes through

PHONE claims of lowering taxes, in other words letting us hold on to a little more of sta +1 504 522 5471 tus… upper, lower, upper-lower class. Income tax, sales tax, and property tax all

CONTACT NAME fund the war on terror, war on drugs, war on poverty, war on morality, etc. In fact Jean Burgess our consumer pursuit of happiness is the cause and solution for all of these wars.”

by Dan Tague

COVER “Every gun that is made, every warship launched, every rocket fired signifies in the Dan Tague final sense, a theft from those who hunger and are not fed, those who are cold and Love And Hate (detail) are not clothed. This world in arms is not spending money alone. It is spending 2010 archival inkjet print the sweat of its laborers, the genius of its scientists, the hopes of its children. This 45 × 35 inch is not a way of life at all in any true sense. Under the clouds of war, it is humanity

INSIDE hanging on a cross of iron.” Dwight Eisenhower Dan Tague Dan Tague has an MFA in Studio Arts from The University of New Orleans, and is Live Free Or Die 2010 a multi-media artist, curator, and activist whose work has been exhibited both na- archival inkjet print tionally and internationally. He is the recipient of several awards and residencies in- 44 × 60 inch cluding grants from The Joan Mitchell Foundation and Pollock Krasner Foundation, RIGHT and has been an artist-in-residence at the Santa Fe Art Institute, Lower Manhattan Dan Tague Cultural Council, and the La Napoule Art Foundation in France. The American Idol 2010 Tague’s work has been exhibited across the US including Exit Art, DUMBO Arts Cen- archival inkjet print ter, Frederieke Taylor, LMCC, Bronx River Arts Center and Cuchifritos in New York; × 36 37 inch The Soap Factory in Minneapolis; Weisman Museum of Art at Pepperdine University; Florida Atlantic University and Gallery Camino Real in Florida and the Southeastern Biennial at SECCA in North Carolina.

Tague’s work is in numerous public and private collections including The Whitney Museum of Art, New Orleans Museum of Art, The Frederick R. Weisman Art Foun- dation, collector Beth Rudin DeWoody, curator Dan Cameron and The Louisiana State Museum. Dan Tague lives and works in New Orleans, LA and is represented by Jonathan Ferrara Gallery. AMADEO AZAR NORA FISCH ARTE CONTEMPORÁNEO, BUENOS AIRES

VOLTA NY 2011 | BOOTH NUMBER E4

NORA FISCH PRESENTS AMADEO AZAR

WEBSITE Nora Fisch Arte Contemporáneo opened in May of 2010 and quickly established www.norafisch.com itself as one of the focal points within Buenos Aires’ lively arts scene, showcasing E-MAIL some of its most interesting and thought provoking emerging and mid-career artists. [email protected] The gallery is presenting the work of Amadeo Azar, an artist committed to painting PHONE as a medium, although he has also explored installation and photography. He was +54 11 4824 5743 born in 1976 in Mar del Plata, a seaside city, and moved to Buenos Aires five years CELL ago. While still living in his home town, he founded and directed MOTP, an alterna- +54 9 11 6235 2030 tive exhibition space that was crucial to the evolution of contemporary art locally. CONTACT NAME In recent years his works have been selected for the main prizes given in Argentina, Nora Fisch including the 2010 Premio Andreani and the 2011 Premio Fundación Banco Itau.

Amadeo Azar’s paintings, influenced by his avid film watching, are mise-en-scènes REPRESENTED ARTISTS informed by interconnected thoughts and reflections. These include memories of Esteban Alvarez growing up in Mar del Plata (site of President Peron’s experiments in socialized mass Fabiana Barreda tourism during mid-century, which were later abandoned leaving large empty struc- Marcelo Galindo Cynthia Kampelmacher tures behind); the acute feeling of boredom he recalls as prevalent in his early youth, Lux Lindner despite living in a resort town; the texture of its middle-class lifestyle; the many Leonel Luna tactics he attempted to be released from tedium. Also the sensation of impending Gastón Pérsico failure that lurks beneath the everyday experiences of many Argentineans, given the Tiziana Pierri Cristian Segura country’s rocky recent decades which have alternated between quasi-booms and Julián Terán depressions, providing its inhabitants with an ongoing sense of unrealized poten- tial; the way Modernism’s failures have overlapped local ones; and the conflicted position of the Argentinean artist, torn between idealization, rebellion or indifference COVER towards the cultural production of the main international centers. Amadeo Azar farenheit 451 The imagery which appears in his works are derived from a variety of sources includ- 2010 ing film stills, postcards, Modernist architecture in Argentina, books and magazines, Oil on Canvas and it is often combined with disparate references to subjects such as contemporary 120 × 150 cm art stars (whose works sometimes appear as wall decorations in the interiors Azar INSIDE paints), brand names for anti-anxiety drugs, or words alluding to moods or com- Amadeo Azar monplace idioms. His subjects are treated through the filter of a sense of humor, Soma (Project for an intervention on facade of Eva Peron General and he often chooses watercolor because of the way its transparency and luminos- Hospital) ity counterbalance the subject matters implied in his work. 2010 Watercolor on Paper 120 × 150 cm

RIGHT Amadeo Azar Disorder 2010 watercolor on paper 100 × 150 cm SUSANNE SIMONSON FRED [LONDON] LIMITED

VOLTA NY 2011 | BOOTH NUMBER D4

FRED [LONDON] LIMITED: SUSANNE SIMONSON

WEBSITE Simonson’s paintings are of traditional subjects, both of portraits and still-lives; her fred-london.com work references traditional genres, motifs and techniques. Her confident composi- E-MAIL tions grow from both preparatory and underlying drawings. She uses a limited pal- [email protected] ette of browns turning to violets, ochres, rose red and petrol green.

PHONE The faces of her sitters are suggested and the details are blurred, rapidly fading, like +44 20 8981 2987 old film, or a memory. They are more poetic than surreal. Simonson is not making CONTACT NAME paintings that pin-down, or encapsulate a fleeting image, but rather expresses an at- Robin Page mosphere. Perhaps her painting is turning back towards something of the medium’s origins. It is a little bit like Matisse, Rodin, and classical sculpture however there is no direct strategy in these beautiful works but an opportunity to take a deep breath. REPRESENTED ARTISTS Ansuya Blom Simonson has recently had solo exhibitions in New York, Stockholm and London. Conrad Botes She is represented in collections worldwide. Kate Davis Godfried Donkor Don Joint Matthew McCaslin Brian Montuori Zanele Muholi Guy Richards Smit Athi-Patra Ruga

COVER Susanne Simonson The Strophe II 2010 Oil on Panel 48 × 46 inch

INSIDE Susanne Simonson Above the River 2010 Oil on Panel 46 × 46 ¼ inch

RIGHT Susanne Simonson The Storyteller 2010 Oil on Panel 32 × 30 inch BERTRAM HASENAUER FRUEHSORGE CONTEMPORARY DRAWINGS, BERLIN

VOLTA NY 2011 | BOOTH NUMBER A3

FRUEHSORGE PRESENTS BERTRAM HASENAUER

WEBSITE Fruehsorge Contemporary Drawings was founded in 2003 as the only commer- www.fruehsorge.com cial gallery in Germany that is exclusively focused on the presentation and pro- E-MAIL motion of that particular medium. Since 2006, we are situated in the gallery area [email protected] in Heidestrasse, next to the Hamburger Bahnhof contemporary art museum. The

PHONE gallery provides a vital platform for the presentation of and reflection on contem- +49 30 2809 5282 porary drawing practice and is involved in numerous projects, academic research

CONTACT NAME and conferences, including the publication of several catalogues. We maintain a Jan-Philipp Fruehsorge network with the most important graphic collections in Germany and international institutions, curators, critics and artists.

Bertram Hasenauer (b. 1970) was awarded the prestigious Georg-Eisler-Prize for REPRESENTED ARTISTS Frank Badur painting in 2008 and later in 2010 had a major solo show at the Museum of Modern Irina Baschlakow Art in Salzburg in his native Austria. Hasenauer’s works are supposedly easy to read, Claude Heath appearing as entirely figurative – portraits, studies of vegetation or, more recently, Charlotte McGowan Griffin also as text images. While Hasenauer frequently focuses on photographs of his ob- Ulrich Kochinke Astrid Köppe jects, still his creations do not come across as ‘realistic’ or even ‘photo-realistic,’ Ben Kruisdijk and therefore prove to be far more complex than they first appear – especially in in- Thomas Müller terplay with other works. The first thing the viewer sees is ‘portraits’ of young people Mark Sheinkman as heads, busts, knee-length portraits or full figures and small landscape paintings – Katrin Ströbel seemingly the subjects of classical genre painting since the Renaissance – and yet they are confusing, with views from the back or with coverings, which suggest only

COVER the face of the person portrayed behind a hairdo or hood. The viewer’s perception Bertram Hasenauer can also be uncertain due the mirroring, the symmetrical doubling or the variable All instant things are fading multiplication of a head or bust. Despite the perfect modeling of the fine details 2010 of the ‘portraits,’ heads, bodies and even trees are silhouetted against a neutral Colored Pencil on Paper 39 × 31 cm monochrome background. Recently, motionless semi-profiles, profiles and so-called lost profiles, as with negatives, are set against a background that appears indigo- INSIDE Bertram Hasenauer colored, almost black, whereby the pictorial elements, such as hairdos or clothes, Untitled emphasize the gender or individuality of the one portrayed and merges into them. 2010 The ‘landscape studies,’ too, are subject to these methods: treetops are dramati- Colored Pencil on Paper cally silhouetted against a light background or as delicately lifting branches against 30 × 42 cm an indefinable dark background that cannot be fathomed. Figures accentuated by LEFT strong colors – like a royal blue shirt or a bright red head covering – alternate with Bertram Hasenauer grisaille style or sepia toning, similar to photographs taken with a soft focus, and are Untitled 2010 reminiscent of a virtual album of hard-to-date black and white or color photographs. Colored Pencil on Paper 50 × 40 cm

RIGHT Bertram Hasenauer Untitled 2010 Colored Pencil on Paper 65 × 50 cm ERIKA HARRSCH GE GALERÍA, MONTERREY

VOLTA NY 2011 | BOOTH NUMBER E5

GE GALERÍA: ERIKA HARRSCH

WEBSITE “Reality and value as mutually independent categories through which our concep- www.gegaleria.com tions become images of the world”, Georg Simmel

E-MAIL Cash Cube alludes to volatile currency markets, capital circulation and migration. [email protected] The relationship between art and the ludic aspect derived from free-play, the inter- PHONE play associated with games of chance and the desire to possess. +52 81 1477 1367 My interest in games of chance began after observing the impact of the game and CONTACT NAME Gabriel Elizondo the fortune factor in my interactive installation, United States of North America, where the artwork became the play and game. Audience participants were invited to spin a prize wheel for the chance to win a fictitious passport, an ironic act con- REPRESENTED ARTISTS noting the lottery visas and the chance nature of illegal entry into the United States. José Bedia The reaction of each individual and their written answers on the passport applica- Alfredo De Stefano tion survey, gave the piece a whole new dimension. Gretel Joffroy Jésica López “Play is a mode of being of the work of art itself”, Hans-Georg Gadamer Oscar Lozano Ubay Murillo Games and play have been masterfully analyzed in Johan Huizinga’s Homo Ludens Víctor Rodríguez and in Roger Caillois’ Man, Play and Games. Caillois sees many of the structures in Ray Smith society as elaborate forms of games and many behaviors as forms of play. Vargas Suarez Universal Santiago Ydáñez I intend to create a parallel reality where banknotes flutter, specimen-prints of in- ternational currency as Lepidoptera, circulating inside the glass cube with an air blower. The fragile beauty, like flying butterflies in a conservatory, becomes the de- COVER sired object. Who plays inside is part of the game and the game itself, immersed Erika Harrsch Cash Cube (Project Design) for a limited time and being watched. The player is seduced by the possibility of 2011 accumulation and catching the winning specimen-banknote. The subject becomes Money machine cabin with air an object of contemplation from which we derive pleasure, essential features of blower and printed die-cut butterfly aesthetic enjoyment. bills 96 × 116 × 240 cm / approx. In order to play, participants must complete a survey in which both the questions INSIDE and answers reflect the money equivalent of personal “value” or “values”. The rules, Erika Harrsch survey, and prizes of the game can be changed in response to context, location Specimen-banknotes and participant speculations. 2011 Archival ink on rag paper, by Erika Harrsch individually hand cut-out, mounted in entomological boxes 20 × 15 cm / each

RIGHT Erika Harrsch Either/Or 2010 Archival ink on rag paper 65 × 50 cm SINTA WERNER NETTIE HORN, LONDON

VOLTA NY 2011 | BOOTH NUMBER F5

NETTIE HORN PRESENTS SINTA WERNER

WEBSITE Sinta Werner’s works stem from a wish to shift and manipulate our perceptions www.nettiehorn.com through meticulously planned constructions or transformations. Misleadingly play- E-MAIL ing with the limits of our perception, of reality and its grey areas, she exploits the [email protected] interaction between what we see and what we imagine.

PHONE With her in-situ installations and 3-D constructions, Werner aims to create illusions of +44 208 980 1568 flatness in space as well as illogical and dematerialised stage-sets or scenes in order CONTACT NAME to deceive and confuse the viewer’s senses – and ultimately leading to a destruc- Danielle Horn tive moment in which control is lost. Playing with the architectural qualities of her surroundings, the architectonic installations deconstruct and fragment the space – creating optical illusions and even elaborate fictitious environments through which REPRESENTED ARTISTS Antti Laitinen the viewer’s perception is misled by wrong-footed expectation and disorientation. Gwenael Belanger Werner produces her stage sets for her games of illusion in an almost painterly man- Debbie Lawson Marko Maetamm ner, devising similarities without wanting to simulate perfection. Her practice deals Yudi Noor with the concept of “optimal point of view” and more commonly of one-point-per- Oliver Pietsch spective from which the space appears flat and pictorial. This interest in the interval Kim Rugg state between picture and space is influenced by principles taken from the theatri- Bjorn Veno cal stage and thus she engages with the tradition of illusionistic painting. With her variations on deception and loss of realities, Werner repeatedly evokes this kind of

COVER moment of (re)cognition in the viewers, turning them into protagonists who enter her Sinta Werner stage-like rooms and fall prey to its illusions, but then become detectives or explor- The 3rd Floor ers, exposing the tricks and decoding the constructions and illusions. 2008 Duraclear, glass, steel Extract from Spaces of Disillusion by Paul Carey-Kent: “Over the past few years, the

INSIDE young German artist Sinta Werner has become known for her site-specific and site- Sinta Werner responsive installations made across Europe. They reconfigure spaces to provide Double Reduction spectators with one coherent and momentarily straightforward view, only for that to 2010 collapse into myriad alternatives when the viewer moves. The effect is typically of large format slides, glass, mirror 8 × 10 inch slides each trompe l’oeil in reverse: instead of a two dimensional illusion of three dimensions, Werner conjures a 3D illusion of two dimensions. It’s an entertainment in itself when RIGHT the spectator’s shift reveals the mechanisms of the deception, but that also brings Sinta Werner Grey Areas a fresh focus to the gallery space, exposes the differences between classical and 2008 modern understandings of the world, and provides a post-modern illustration of how Installation made from Wood multiple points of view undermine any expectation of objective truth.” and paint ALBERTO BOREA GALERÍA ISABEL HURLEY, MALAGA

VOLTA NY 2011 | BOOTH NUMBER G5

GALERÍA ISABEL HURLEY: ALBERTO BOREA

WEBSITE Galería Isabel Hurley opened in November 2007 with the aim of promoting con- www.isabelhurley.com temporary art by advocating emerging, mid-career and established national and E-MAIL international artists. It also serves as an important open forum for debating and re- [email protected] flecting upon current artistic creation. To that end, the gallery also works with other

PHONE institutions and centres and takes part in international art fairs. The plurality of its +34 952 223 895 concept allows a platform for every media though special attention is accorded to

CONTACT NAME new technologies. Furthermore, the gallery has started a new collaboration with Isabel Hurley universities in order to stay connected to the youth, organising art workshops with gallery artists and receiving practical students from different European universities.

REPRESENTED ARTISTS ALBERTO BOREA María Cañas Alberto Borea’s work is developed around the difficult and dramatic relationship be- David Escalona Fernando Gutiérrez tween cultures and histories; the coexistence of past and present with an approach Janelle Iglesias that can go from the particular to the general and vice versa, weaving his life expe- Walter Martin & Paloma Muñoz rience with the spaces where this experience was developed. Paloma Navares Marina Núñez Borea makes a personal mapping exercise with different formats and media, around Santiago Picatoste certain places and spaces. He expresses himself in a language that combines the Elena Rendeiro international of the contemporary with the personal of his environment, a practice Santiago Ydañez that reveals the overcoming of cultural colonialism and the aura of the exotic linked to vernacular civilizations. The map as a symbol of identity by an individual, people

COVER and culture, with the demand of a proper place and at the same level. In addition, Alberto Borea his collages are the way in which he attempts to arouse a social consciousness The Real state / Harlem about migratory movements from his origin background to those geographical ar- 2010 eas that can offer a better quality of life, such as the US, where he lives and works. Collage on Paper 27.6 × 21 inch The choice of the map as a symbol of identity by an individual, people and culture is INSIDE common, with the demand of a proper place and at the same level, among almost Alberto Borea all the artists of his generation and area. His proposal is committed to a conciliatory The Mountains of America – From speech, a mediator in the conflict of coexistence between past and present and the Negro Series 2011 between the vernacular and the foreign of his eventual environment, overcoming Video Installation cultural, ideological, racial, social and economic barriers. Duration: 3'15"

RIGHT Alberto Borea The city is in my head 2011 Installation 7.9 × 5 × 1.8 inch KAMEN STOYANOV INDA GALLERY, BUDAPEST

VOLTA NY 2011 | BOOTH NUMBER G7

INDA GALLERY: KAMEN STOYANOV

WEBSITE Since 2006, the Inda Gallery, supported by the work of curators, is engaged in www.indagaleria.hu investment consulting, as well as the marketing, managing and popularization of E-MAIL contemporary classics, talented young painters, sculptors, graphic artists, and art- [email protected] ists creating in the field of new media. The Inda Gallery also begins and organizes

PHONE international art exchange programs in order to contribute to the communication of +36 1 413 1960 Hungarian and foreign artists.

CELL In the first place, we would like to help widen the contacts of contemporary Hun- +36 70 316 4472 garian artists. In addition to this, we would invite foreign exhibitiors to Budapest, +36 30 565 3253 +36 20 513 4093 whose presence may influence the Hungarian cultural and artistic life. The develop- ment of the international contacts of the gallery may also significantly promote the CONTACT NAMES Ágnes Tallér contacts of a segment of the contemporary Hungarian artistic life to the European Brigitta Muladi Union in the long run.

KAMEN STOYANOV REPRESENTED ARTISTS born in 1977 Rousse, Bulgaria, works and lives in Vienna, Austria and in Sophia, Lajos Csontó Bulgaria. He participated on 17th Biennale of Sydney, Songs of survival in a pre- Márta Czene Judit Fischer carios age, Sydney 2010, and on Aichi Triennale, Nagoya, Japan 2010. On MANI- Jovián György FESTA 7, the European Biennial of Contemporary Art, Trentino Italy, 2008. One of Henrik Martin his first show was Blut & Honig, Zukunft ist am Balkan, Essel Collection, Vienna, Krisztián Sándor 2003, curator: Harald Szeemann. Kamen Stoyanov Ádám Szabó Kamen Stoyanov often deals with the questions of identity, migration, historical Zsófia Szemző definition, social and cultural communication in his works by gathering first-hand Agnes von Uray experiences of the social, artistic and cultural relations of the given country as a scholarship-holder. He uses the urban public places and the architectural environ-

COVER ment as exhibition spaces, themes of photography and contrasts them with the Kamen Stoyanov current or inherited cultural relations, habits. The real participants of cultural life Guys, this is not L.A. but it’s and he himself pose in his provocative and ironic works. He uses and mixes the a cool place too! genres freely, he is familiar with drawing, photography and video as well. In Hungary 2009 c-print and also in Bulgaria there is the central problem of the transition from socialism to 120 × 80 cm capitalism. The “daily knowledge” about the contradictions of both systhems ilicits resignation from the citizens, and from the artists who realize and tell the day-to- INSIDE Kamen Stoyanov days stories with humour. Synchronisation 2010 light box 80 × 120 cm

RIGHT Exhibitions installation of Kamen Stoyanov INDA Gallery 2009 SABINE BANOVIC JARMUSCHEK + PARTNER, BERLIN

VOLTA NY 2011 | BOOTH NUMBER V11

JARMUSCHEK + PARTNER: SABINE BANOVIC

WEBSITE “I draw the thing which makes a musician contort his face while playing music.[…] www.jarmuschek.de the emotional content of the line, the relationships which are developed and then E-MAIL dissolved in the interplay between these impressions; all of this reflects a form of [email protected] contemplation.”

PHONE As a student who attended the master classes of the Japanese artist Leiko Ikemura, +49 30 285 99 070 Sabine Banovic’s work is reminiscent of the brush painting of the Far East in which CONTACT NAMES lines and the sequence of brush strokes are crucial in the development of the visual Kristian Jarmuschek space. The filigree lines, tracery, nodules and spots which form and at the same Claudia Barthoi time dissolve the bodies and landscapes in Banovic’s work take us, as we become immersed in her large scale drawings, into mystical parallel worlds and forms of

REPRESENTED ARTISTS thought.The dimensions dance between proximity and distance. Troels Carlsen Sabine Banovic (b. 1973 Jena / Germany) lives and works in Berlin. Patrick Cierpka Grauberg Carina Linge Dieter Lutsch Harding Meyer Berit Myrebøe Martha Parsey Markus Putze Jakob Roepke Jan Vormann Markus Weis Carsten Weitzmann Jürgen Wolf

COVER Sabine Banovic Held (detail) 2007 pigment-marker and ink on canvas 79 × 59 inch

INSIDE Sabine Banovic Geheimnis (detail) 2010 pigment-marker and ink on canvas 79 × 106.5 inch

RIGHT Sabine Banovic Lawine (detail) 2010 pigment-marker and ink on canvas 79 × 55 inch JENNIE OTTINGER JOHANSSON PROJECTS, OAKLAND

VOLTA NY 2011 | BOOTH NUMBER F7

JOHANSSON PROJECTS: JENNIE OTTINGER

WEBSITE As busy as life is, there remains a well-placed priority on reading classic literature johanssonprojects.com with equal import applied to an overwhelming number of contemporary books and E-MAIL other worthy leisure pursuits. Trying to keep up with all the books, music, movies, [email protected] etc. that interest us can incite mild panic. It can bring up issues of mortality by re-

PHONE minding us that there is a finite amount of time in which to digest all of the cultural +1 510 444 9140 treasures available. It also addresses expectations we have of ourselves and that

CONTACT NAME others have of us and the disappointment and fear of falling short. Kimberly Johansson Using the casual parlance of our time I summarize the greatest hits of classic lit- erature, the plot and character descriptions boiled down to their essences. I glue together the pages of hard cover books and cut out the center of the blocks of REPRESENTED ARTISTS Misako Inaoka pages and place the hand printed synopses in the empty space. The covers are Jennifer and Kevin McCoy re-designed and drawn in verisimilitude so that they can be used for fooling fellow Kristina Lewis commuters or co-queue-ers. They present a quick fix to becoming familiar with Barry Underwood these books and indeed might be all we have time for. David Trautrimas Josh Short Eric Petitti EXCERPT FROM INVISIBLE MAN Homer Flynn “One night, walking around, he watches as an elderly couple are forcibly evicted from Jill Gallenstein their home. Not cool! Narrator is pissed. He’s had it up to the proverbial here. He Anna Fidler Tadashi Moriyama speaks to the gathered crowd in defense of the couple and attracts the notice of a Michael Meyers political group called “The Brotherhood”. He joins and is given a new name and an Katy Stone apartment. Just like a fraternity but less singing. Jana Flynn Jim Campbell Narrator soon grows suspicious of The Brotherhood. He falls from grace and is transferred out of Harlem to work on women’s issues. He’s annoyed to be relegated to women’s issues, not that there’s anything wrong with that. His friend Tod goes COVER missing until one day the narrator spots him selling Sambo dolls on the street. As Jennie Ottinger the narrator watches on, a police officer guns Tod down. Narrator organizes a fu- Soldiers (a scene from War and Peace) neral march for his friend. 2010 After being denounced by The Brotherhood, our narrator has what Oprah calls an Oil on panel 16 × 12 inch a-ha moment: he has allowed himself to be used by others. Like tofu, he takes on the qualities of those around him.” INSIDE Jennie Ottinger Stack of books 2010 Books, paper, gouache sizes vary

RIGHT Jennie Ottinger Invisible Man 2010 Book, paper, gouache 9 × 6 inch RYAN SCHNEIDER PRISKA C. JUSCHKA FINE ART, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER D9

PRISKA C. JUSCHKA PRESENTS RYAN SCHNEIDER

WEBSITE Ryan Schneider’s work investigates the human condition from a personal point of www.priskajuschkafineart.com view. While he paints scenes from everyday life, is interest is in the unseen and un- E-MAIL spoken as he comments on the state of our personal existence. Giving viewers a [email protected] glimpse into Schneider’s practice and perspective, the gallery has recreated the art-

PHONE ist’s studio space. The booth consists of works of all sizes, from large-scale paintings +1 212 244 4320 to small portraits, along with reference images and notations used while creating the

CONTACT NAME work. Mimicking an actual studio visit, Schneider will be present at times during the Priska C. Juschka fair to engage with his visitors, encouraging the public to contribute their thoughts and to participate in a dialogue with the artist in a studio setting.

“I create paintings from my experiences and observations, portraying moments of be- REPRESENTED ARTISTS Romain Bernini wilderment, tension, exhilaration, and fatigue as I encounter them. The act of trans- Stefano Cagol ferring these moments onto canvas is important to my process – by fleshing them Rosemarie Fiore out in paint, I better understand the reality of these events. Each painting allows the Debra Hampton viewer to look in on intensely private situations and interactions between characters. Dana Melamed Almagul Menlibayeva The figures in my work are in the midst of a self-created revelation. They are caught Nicky Nodjoumi in a climax that is the culmination of lives too carefully, and too carelessly, lived. Dannielle Tegeder These are the situations that I move through in life. These are the people and things Jade Townsend around me. The physical act of painting drives the work; putting the brush to the Pawel Wojtasik canvas is exceptionally powerful for me. I intuitively respond to color, composition, form, and surface throughout my process, allowing the painting to grow organically.”

COVER by Ryan Schneider Ryan Schneider Self-Portrait as Missing Ryan Schneider was born in Indianapolis, IN and lives in Brooklyn, NY. He holds a 2009 Oil on canvas BFA from the Maryland Institute College of Art, Baltimore, MD. Schneider is cur- 72 × 60 inch / 183 × 152 cm rently part of the Workspace residency program run by the Lower Manhattan Cul-

INSIDE tural Council. He has been in numerous solo and group exhibitions in the U.S. and Ryan Schneider abroad. Recent shows include Run and Tell That!: New Work from New York, Syra- Snowed Out Snowed In cuse University Art Galleries, Syracuse, NY; and Playing Fields at the School of Fine 2009 Art Gallery, Indiana University, Bloomington, IL. Schneider co-curated the group Oil on canvas 72 × 96 inch / 183 × 244 cm exhibition BIG PICTURE at Priska C. Juschka Fine Art which was reviewed in the October 2010 issue of Modern Painters. RIGHT Ryan Schneider When I Go Missing 2010 Oil on canvas 55 × 75 inch / 140 × 191 cm PAUL NUGENT KEVIN KAVANAGH, DUBLIN

VOLTA NY 2011 | BOOTH NUMBER G11

KEVIN KAVANAGH PRESENTS PAUL NUGENT

WEBSITE Paul Nugent’s works are influenced by photographic reproductions of eighteenth www.kevinkavanaghgallery.ie century paintings from art history books. Each painting painted in blue has the ap- E-MAIL pearance of a print maker’s printing plate or of the early photographic process of [email protected] cyanotypes. The photographic references are inverted through the painting process

PHONE into negative images creating a kind of visual representation of the subconscious. +353 1 475 9514 This recalls Freud’s analysis of the photographic process of the negative plate being

CELL like the sub-conscious and the positive image the conscious. Like images from a +353 86 396 2248 storybook they show figures in conversation or preoccupied in their own thoughts.

CONTACT NAMES The backdrops from which the figures emerge are painted in layers of transpar- Kevin Kavanagh ent Prussian blue, transforming these woodland environments into graceful inte- Lourdes Viso rior worlds. That which is opened to us for viewing has the character of a dream or memory evoking what the biologist and theorist Gerald Edelman called the re- membered present, “as if perception and conscious flourish only in the hazy light of REPRESENTED ARTISTS memory”. Paul Nugent’s work has always explored notions of history, symbolism, Robert Armstrong Paul McKinley time, perception and memory. Michael Boran Nugent has recently exhibited at The Irish Museum of Modern Art, Dublin, 2010; Sinéad Ní Mhaonaigh Mark O’Kelly Kerava Art Museum, Finland, 2009; Kevin Kavanagh, Dublin, 2009; Centre Culturel Vanessa Donoso López Irlandais, Paris 2007; Art Gallery of Newfoundland and Labrador, Canada, 2005; Ulrich Vogl Shanghai Gallery of Modern Art & the Millennium Monument Museum, Beijing, Chi- Diana Copperwhite na, 2004; University of Virginia, U.S.A.; and his work features in numerous private Oliver Comerford Gary Coyle and public collections, including the Office of Public Works and Irish Museum of Modern Art.

COVER KEVIN KAVANAGH Paul Nugent Kevin Kavanagh is one of Ireland’s premier galleries showing Irish and international Seance (detail) contemporary art. Founded in 1998, in 2008 the gallery moved to a 135m² space 2009 on Chancery Lane in Dublin city centre. It represents both established and emerg- acrylic & oil on acrylic primed panel 31 × 41 cm ing artists from Ireland and abroad. The gallery’s annual programme consists of 10 solo and 2 curated group exhibitions as well as special events, screenings, per- INSIDE formances and participation at international art fairs. Since 1998 the gallery has Paul Nugent Installation View of Seance published over 30 books. 2010 We would like to acknowledge the support received from culture ireland | cultúr éireann slide projectors, music stands promoting Irish arts worldwide | cur chun cinn ealaíona na hÉireann ar fud na cruinne dimensions variable

RIGHT Paul Nugent Engagement 2010 oil on acrylic primed panel 48 × 66 cm ROBERT KUNEC KRUPIC KERSTING GALERIE//KUK, COLOGNE

VOLTA NY 2011 | BOOTH NUMBER A5

KRUPIC KERSTING GALERIE//KUK: ROBERT KUNEC

WEBSITE After September 11 contemporary art tried, in almost inflationary ways, to analyze www.kukgalerie.de this incomparable event with its artistical means, while it had already been aestheti- E-MAIL cicsed through the extensive live broadcast on TV. [email protected] Robert Kunec’s work, which refers to the phenomenon of suicide attacks, creates PHONE a convincing autonomy. To visualize the phenomenon of this inner mechanism, he +49 (0)221 2988 2888 found a striking image reflecting the subject, which has been totally overtaken by CELL ideological and manipulative indoctrination. The work questions the role played by +49 (0)176 4930 8831 a uniformed individual in a religiously motivated fight. Kunec’s imagery oscillates CONTACT NAME between a tool kit and an explosive device, both mechanical, both discussing the Emira Krupic complex question of subjectivity in a inter-cultural context on the basis of this most extreme example. The human being either as a toy, absolved of its willpower, or as a determined being, itself sacrificing in terms of its faith. REPRESENTED ARTISTS Tobias Sternberg Kunec examines the multilayers of this militant victim’s demeanor – which belonged Irena Eden & Stijn Lernout during WWII to the most common “weapons,” in Japan as well as in Germany and Claudia Marcela Robles Alma Suljevic Russia – now in the light of their acute media reflection. He also focuses on the Damir Radovic propagandistic use by the “authorities,” as well as the often wrongly enlightenments Pierre Courtin of their wetsern opponents. Kunec urges to look closely at the undoubtelty still- Ervin Babic existing human being underneath, acting like a toy covered by a uniform. The most Damir Niksic Baptiste Debombourg devastatioing experience is the empty shell, the demotion of a universal individual into an involuntary toy, which can be arbitrarily assembled.

Excerpt: Prof. Dr. Eugen Blume, Director Hamburger Bahnhof, Berlin COVER on Robert Kunec’s sculpture Suicide Bomber 1/1 Robert Kunec Flag Day 2005 Installation (Iron and Flag) 68.9 × 110.2 × 7.9 inch

INSIDE Robert Kunec We confess 2011 Presidential pult (Edition of 3) 30,7 × 24,4 × 7,9 inch

RIGHT Robert Kunec The Twelve / (here:John) 2010 Sculptures (12 Objects): total size: 43.3 × 131.9 × 12.6 inch & 12 C-Print: Edition of 5 (dimensions variable) SHAY KUN LAMONTAGNE GALLERY, BOSTON

VOLTA NY 2011 | BOOTH NUMBER F1

LAMONTAGNE GALLERY: SHAY KUN

WEBSITE Shay Kun is a New York-based artist with a B.F.A. from Bezalel Academy of Art www.lamontagnegallery.com and Design in Jerusalem (1998) and an M.F.A. from Goldsmiths College in London, E-MAIL England (2000). Kun’s experience of showing both nationally and internationally has [email protected] culminated in his acute awareness for his place in today’s visual culture – some-

PHONE where between the historical concept of fine art and the contemporary digital and +1 617 464 4640 electronic imagery central to his generation’s experience.

CONTACT NAME Kun’s current series of works is a hybrid of absurdities, drawing on the sublime in Russell LaMontagne western culture and capturing the grandeur of nature. These works juxtapose nature with its human invaders, who appear as adventurers. The contrast between these characters and their stylized environment is an abrupt and offensively inadequate REPRESENTED ARTISTS Gil Blank substitute for the noble bearing found in paintings of past centuries. Still, the visi- Dana Frankfort tors leave only their traces; they have not overwhelmed the environment and its Andrew Mowbray magical possibilities. Jeff Perrott Aaron Spangler SHAY KUN’S CURRENT SERIES In this newest series of paintings from 2010, Kun has inversed the relationship be-

COVER tween natural and artificial. There is no time/space continuum in the background Shay Kun but the foreground remains anchored in the literal world of the hot air balloon. As Myths of the Near Future we drift into the atmosphere, would the earth look warped? The paintings also ref- 2010 erence the paradigm shift brought about by Columbus and other explorers that the Oil on canvas 80 × 30 inch earth is actually round, not flat. But as we dig deeper into the archeology of knowl- edge, to borrow a phrase from post-modernity, we realize that Ptolemy the Greek INSIDE geographer and mathematician of 150 C.E. amassed knowledge from the Alexandria Shay Kun Now Wait For Last Year library that the earth was in fact spherical. This knowledge came to be lost and in 2010 medieval times people thought the world was flat again. How did something that is Oil on canvas a universal truth come to be lost during history? These paintings may describe the 60 × 48 inch intellectual thought of when humans rediscovered the earth was flat. If they had RIGHT risen in a hot air balloon high enough and looked down, they may have believed that Shay Kun the earth looked like one of the quadrants of these paintings. This relativity towards Chemical Gardens 2010 knowledge and time fashions Kun’s work. There are no absolute answers or truths. Oil on canvas They are all just theories, some of which are better than others. 40 × 30 inch by Dustin Adam Stein OANA FARCAS LARMGALLERI, COPENHAGEN

VOLTA NY 2011 | BOOTH NUMBER V1

LARMGALLERI: OANA FARCAS

WEBSITE As humans we are constantly storing visual information, ideas and emotions, without www.larmgalleri.dk an immediate urgency to consume them or place them in our daily routine. My work E-MAIL is my imaginary museum, my own private collection of bits and pieces of recycled [email protected] memories and visual information. There is a constant play between reality and its

PHONE logic. The works are part of an unapparent narrative, a fragmentary and ambiguous +45 2680 9230 analysis on thoughts, sensations and images that become accessible to conscious-

CONTACT NAME ness only in certain contexts. Lars Rahbek

REPRESENTED ARTISTS Oana Farcas Jiri Geller Christian Achenbach Kaspar Oppen Samuelsen Moritz Schleime Petri Ala-Maunus Henriette Camilla Hansen

COVER Oana Farcas Youth miniatures in variable sizes 2010 oil on wood 2 × 2 cm – 3,6 – 5,6 cm

INSIDE Oana Farcas You Can’t Run 2010 oil on canvas 80 × 60 cm

RIGHT Oana Farcas 2010 oil on canvas 30 × 30 cm NELLEKE BELTJENS GALERIE CHRISTIAN LETHERT, COLOGNE

VOLTA NY 2011 | BOOTH NUMBER V5

GALERIE CHRISTIAN LETHERT: NELLEKE BELTJENS

WEBSITE Founded in August 2006, Galerie Christian Lethert pursues a clear concept of re- www.christianlethert.com duced and abstract positions in Contemporary Art, referring to painting, sculpture E-MAIL and photography. Besides working with an internationally established generation of [email protected] artists like Imi Knoebel, Katharina Sieverding or Jill Baroff, Galerie Christian Lethert

PHONE also focuses on fine and distinguished, contemporary European positions such as +49 221 356 0590 Jorinde Voigt, Daniel Lergon or Gereon Krebber. Five to six times a year the gallery

CONTACT NAME presents interesting single and group exhibitions, combined with a supporting pro- Christian Lethert gram of lectures and controversy.

From 1997 to 2006 Christian Lethert (b. 1981) assisted at Galerie Klein in Bad Mün- stereifel (formerly in Bonn). Having coached a multitude of exhibitions in the gallery REPRESENTED ARTISTS Jill Baroff and presentations on international art fairs, Christian Lethert became familiar with Nelleke Beltjens both classical positions of the 1960s and 1970s and contemporary art trends. In Fergus Feehily 2004 he assisted at Griffin Contemporary in Los Angeles where he curated exhibi- Lutz Fritsch tions with Joseph Beuys and Richard Tuttle. While opening his own gallery space in Imi Knoebel Gereon Krebber Cologne in August 2006 Christian Lethert also graduated in business administra- Daniel Lergon tion with a thesis about business start-up in art market. Since May 2007 Christian Kai Richter Lethert has been on the board of directors of the German gallery alliance (BVDG). Katharina Sieverding Max Sudhues Jorinde Voigt ARTIST STATEMENT Nelleke Beltjens’ subtle and delicate drawings try to visualize the complexity of the world. Coming from a rather minimal approach in sculpture, Beltjens realized the COVER borders of the sculptural genre and since 2003 has been turning towards drawing. Nelleke Beltjens The fine lines of her works appear to be floating clouds from the distance but reveal Cluster Series (detail) to be made of thousands of little strokes from a closer perspective. 2010 114 × 305 cm

INSIDE Nelleke Beltjens Overlap #2 (detail) 2010 Ink on paper 140 × 221 cm JIM HOUSER JONATHAN LEVINE GALLERY, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER V6

JONATHAN LEVINE GALLERY: JIM HOUSER

WEBSITE Jonathan LeVine Gallery proudly presents new works by Jim Houser for VOLTA NY, www.jonathanlevinegallery.com 2011, where the artist will incorporate a new series of paintings, collages and sculp- E-MAIL tures into a site-specific installation. Additionally, the artist will compose a score of [email protected] original instrumental music to accompany the exhibition, complementing the tone

PHONE and rhythm of the work. +1 212 243 3822 Houser’s collages become visual poems through which he cathartically communi- CONTACT NAME cates his most private thoughts and emotions with surprising candor. By cataloging Alix Frey his experiences and feelings through a unique pictorial language, the artist creates his own brand of curative iconography. Houser’s signature aesthetic often mixes stylized figures, hand-drawn typography and geometric shapes, creating quilt-like REPRESENTED ARTISTS AJ Fosik collages in a cohesive color palette. Layering acrylic on wood, fabric and found ob- Alex Gross jects, he blurs the lines between collage and sculpture. Once combined, it becomes Andy Kehoe clear that all of his works are associative and directly related. This deceptively di- Doze Green mensional quality is further highlighted when the pieces are assembled into one of Gary Baseman Invader the artist’s elaborate installations, adding to the complexity of each individual piece Jeff Soto by emphasizing a greater inter-connectivity to the body of work as a whole. Ray Caesar Souther Salazar JIM HOUSER was born in 1973 in Philadelphia, Pennsylvania, the city where he WK currently resides. He is a self-taught artist and an honorary member of the Philly- based artist collective Space1026. Houser’s installations create a mapping system, cataloguing his psychological states over the course of a particular period of time. COVER His work explores the cadence of speech, science and science fiction, sickness Jim Houser and disease, plants and animals, time travel, ghosts, the art of children, secrets, Unseen 2009 radio, codes and code breaking, words that sound beautiful and mean something acrylic, collage and mixed media terrible, and words that sound horrible but mean something wonderful. Houser’s on canvas and wood collages, paintings and installations have been exhibited in museums and galleries × × 28.25 14 2.125 inch / throughout the United States, Europe, Australia and Brazil. His work is included in 71,8 × 35,6 ×5,4 cm the permanent collection of the Philadelphia Museum of Art. INSIDE Jim Houser JOANATHAN LEVINE Gallery exhibits a genre of work influenced by illustration, Signal to Noise comic book and street art, graffiti and pop culture imagery. Established in 2005, the 2009 gallery is located at 529 W. 20th Street, in Chelsea, Manhattan, NY. Fiberglass, steel, polyurethane 36 × 48 inch / 91,44 × 121,92 cm

RIGHT Jim Houser Make Room For The Emptiness 2009 solo exhibition, Jonathan LeVine Gallery, installation view TIM OKAMURA LYONS WIER GALLERY, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER C7

LYONS WIER GALLERY: TIM OKAMURA

WEBSITE Born in Edmonton, Canada, painter Tim Okamura earned a B.F.A. with Distinction www.lyonswiergallery.com at the Alberta College of Art and Design in Calgary, Canada before moving to New E-MAIL York City to attend the School of Visual Arts in 1991, earning an M.F.A. in Illustration [email protected] as Visual Journalism. A recipient of the 2004 Fellowship in Painting from the New

PHONE York Foundation for the Arts, Okamura resides and works in Brooklyn, New York. +1 212 242 6220 Okamura has had several solo exhibitions in New York City and throughout Cana- CELL da. His paintings have been included in many prominent group exhibitions, includ- +1 646 267 1374 ing After Matisse / Picasso at MoMA P.S.1 in Queens, N.Y. and “The Gentrification CONTACT NAMES of Brooklyn: The Pink Elephant Speaks” at The Museum of Contemporary African Michael Lyons Wier Diasporan Arts in Brooklyn, NY. Additionally, Okamura’s work has been selected Deanne Shashoua eight times to appear in the prestigious BP Portrait Awards Exhibition at London’s National Portrait Gallery.

REPRESENTED ARTISTS In 2006, Okamura was short-listed as a candidate to paint Queen Elizabeth by the Andres Basurto Royal Surveyor of the Queen’s Pictures. Mary Henderson David Lyle Okamura’s paintings have been featured in major feature films such as Pieces of April Fahamu Pecou (InDiGent), School of Rock (Paramount), Jersey Girl (Miramax), and most prominently James Rieck Vadis Turner in Prime (Universal), a romantic comedy about a young New York painter starring Laura Ortiz Vega Uma Thurman and Meryl Streep. Okamura’s work is also notable in Ethan Hawke’s Martin Wittfooth screen adaption of the novel The Hottest State.

Tim Okamura’s art is on display in the permanent collections of The Alberta Foun-

COVER dation for the Arts, the Toronto Congress Center, the Hotel Arts in Calgary, Canada, Tim Okamura and Standard Chartered Bank in London, England and in the private collections of Work Shirt celebrity clients such as Uma Thurman, musician Ahmir “Questlove” Thompson (The 2011 Roots), director Ben Younger, and actors Bryan Greenberg, Vanessa Marcil, Anna- Oil, mixed media on canvas 76 × 56 inch bella Sciorra, and Ethan Hawke.

INSIDE Tim Okamura Secret Self 2010 Oil and spray-paint on canvas 80 × 88 inch

RIGHT Tim Okamura Hats and Scarves 2009 Oil and spray-paint on canvas 80 × 88 inch KEN MATSUBARA MA2GALLERY, TOKYO

VOLTA NY 2011 | BOOTH NUMBER B11

MA2GALLERY: KEN MATSUBARA

WEBSITE Ken Matsubara uses photos, movies, objects and collages to awaken the depths www.ma2gallery.com of people’s memories. While roaming through time and space, a sea of memories E-MAIL float to the surface. [email protected] In his works, there is a liberation from everyday reality as he explores the possibility PHONE that memories could continue through generations. +81 3 3444 1133 This time Ken Matsubara exhibits images and objects that appear in the crystal ball CONTACT NAME Masami Matsubara in Buddha’s hand and mirror box as well as Ken Matsubara’s individual experiences and recollections of dreams.

Born and live in Tokyo, Japan REPRESENTED ARTISTS Aki Eimizu Akihiro Higuchi Asami Yoshiga 2010 Archetype of Photography. Froese, Matsubara, Przyborek, Ine Izumi The Laznia Centre for Contemporary Art, Gdansk, Poland Kanako Sasaki Koto Bolofo 2009 The Portrait of Fruits MA2Gallery, Tokyo, Japan Mikiya Takimoto Biennale fotografii Poznan, Poland Nobuaki Onishi Timothy Greenfield-Sanders 2008 A Knife in the Water solo exhibition eN arts, Kyoto,Japan Tamotsu Fujii Yasuyoshi Botan 2006 Sleep Walker solo exhibition MA2Gallery, Tokyo,Japan 1997 Transmission, Congulation, Reflection Gallery aM, Tokyo, Japan

COVER 1993 Center for Photography at Woodstock, Woodstock, New York, U.S.A. Ken Matsubara 1992 Jayne H. Baum Gallery, New York, U.S.A. Winter Dreams – Cloud 2010 1990 Vertical and Horizontal, PS Gallery, Tokyo, Japan Mixed Media 35 × 26,5 × 6 cm 1988 Picture Photo Space, Osaka.

INSIDE Twisted Perspective, PS Gallery, Tokyo, Japan Ken Matsubara Jayne H. Baum Gallery, New York, U.S.A. Winter Dreams – Ebbing Tide 2010 1987 Light Gallery, New York, U.S.A. Fiberglass, steel, polyurethane Studio 666, Paris, France 25 × 15 × 15 cm Polaroid Gallery, Tokyo, Japan

RIGHT (1) Ken Matsubara Winter Dreams – Cloud 2010 Mixed Media 35 × 26,5 × 6 cm

RIGHT (2) Ken Matsubara Winter Dreams – Table 2010 Mixed Media 23 × 14,5 × 5,5 cm PAUL CHIAPPE MADDER139, LONDON

VOLTA NY 2011 | BOOTH NUMBER D10

MADDER139: PAUL CHIAPPE

WEBSITE Based on found images, Paul Chiappe’s meticulous drawings function like memory www.madder139.com itself: the scale changes, faces are blurred, details vanish, the compositional hier- E-MAIL archy shifts. What was important becomes insignificant, what was minor is given [email protected] precedence. To remember is to reinvent – and Chiappe reinvents his sources, open-

PHONE ing them up to fictional narratives. +44 (0) 207 490 3667 Chiappe’s visual vocabulary also embraces one of the main signifiers of the idea of CONTACT NAME memory: the black and white photograph. And indeed many of his works could be Debbie Carslaw mistaken for photographs at a glance. Yet his technique is the opposite of photo- graphic instantaneity. His drawings, sometimes vastly diminished in size compared to their original source, take months to make and are executed by hand without the REPRESENTED ARTISTS GL Brierley aid of projections, grids or a magnification. Michael Lisle-Taylor Chiappe’s mastery of sharpness and blur (again redolent of photography) gives Richard Moon Nessie Stonebridge clear focus to his work and reaches a peak with the Yearbook series (2011). Each Rachel Thorlby of these sixty postcard-size drawings is a take on a ’60s or ’70s headshot from Frances Young that ubiquitous staple of the American high school experience. Sourced on Google, the images are reworked to obtain the desired level of pictorial imprecision. On the final pieces, the faces’ features are barely recognizable, hidden away (it seems) by COVER the thick fog of forgetfulness. Tapping into collective memories of school imagery, Paul Chiappe Untitled 48 Chiappe wilfully transforms his subjects into anonymous individuals. They become 2007 nebulous vessels for our projections and remembrances. ‘This one could have been Pencil on Paper her, or him’, we may think. Each one of them holds the potential to revive a time we × × 3,4 3,6 cm / 1.3 1.4 inch might have thought gone forever. INSIDE Paul Chiappe Costumes and masks often also crop up in Chiappe’s work. Untitled 47 (2010) has Yearbook (detail) a man with a rabbit head and his small companion standing out so dramatically 2010 – 2011 from their faded background that they seem to be detached from it, to belong to a Pencil on Paper different reality. The two bunny-masked kids in Untitled 48 (2010) have something RIGHT of an uncanny pair of doppelgängers. These costumes and masks are sometimes Paul Chiappe added, as in Untitled 47, sometimes taken from the source. But all of them encap- Untitled 47 sulate the world of childhood while underlying the flaws of images attempting to 2007 Pencil on Paper capture it – a stance not dissimilar to the conceptual core of the Yearbook series. 5,35 × 3,3 cm / 2.1 × 1.3 inch Haunting and haunted, Chiappe’s graphite characters call on a past too remote to be fully remembered, or perhaps, that never really was. JILL SYLVIA MAGROROCCA, MILAN

VOLTA NY 2011 | BOOTH NUMBER V3

MAGROROCCA: JILL SYLVIA

WEBSITE MAGROROCCA is a contemporary art gallery, opened in 2003 by Rosanna Magro www.magrorocca.com and Massimiliano Rocca. The program of the gallery is innovative and multidisci- E-MAIL plinary, spanning photography, installation, painting, video and sculpture. [email protected] JILL SYLVIA’s medium is ledger paper, traditionally used to record the financial PHONE transactions of a business or individual. She employs this paper in an attempt to +39 02 2953 4903 understand our need to quantify our transactions. The artist uses a drafting knife CONTACT NAMES to individually remove tens of thousands of boxes from the paper, leaving behind Rosanna Magro the lattice of the grid intended to separate the boxes. This stringent routine aims to Massimiliano Rocca make time and labor palpable while communicating its loss. She is concerned with the manner in which this material is recontextualized by way of process, (and con-

REPRESENTED ARTISTS sequent futility) and how the resulting voids suggest “that the methods we employ Alejandra Alarcòn to arrange our world provide more insight into ourselves than that which we seek to Kristian Burford organize.” The skeletal pages drape and accumulate, demarcate the time spent in Omar Chacon their creation, and become the buildings for which they have laid the groundwork. Floria Gonzalez Francesco Merletti Grids are reconstructed using the excised boxes to create a new sense, a new David Gremard Romero value. The boxes become the units of the picture plane, the medium of color fields. With each piece, the notion of “value” is called into question – be it the value of our quotidian pursuits, the relative value of labor, or the implicit values of economic ad- COVER vancement. Jill Sylvia was born in Plymouth, Massachusetts in 1979, and currently Jill Sylvia lives and works in San Francisco, California. Untitled (Vertical Installation) 2010 Hand-Cut Ledger Paper Dimensions Variable, approx. 81 × 28 × 18 inch

INSIDE Jill Sylvia Untitled (Reconstruction Color Study) 2009 Hand-Cut Ledger Paper and Matte Board 7 × 7 inch

RIGHT Jill Sylvia Detail: Untitled (Vertical Installation) 2010 Hand-Cut Ledger Paper Dimensions Variable, approx. 81 × 28 × 18 inch BRADLEY CASTELLANOS MARX & ZAVATTERO, SAN FRANCISCO

VOLTA NY 2011 | BOOTH NUMBER V12

MARX & ZAVATTERO: BRADLEY CASTELLANOS

WEBSITE Deep in the northern woods mysterious figures sit around a fire in front of a hunt- www.marxzav.com ing cabin. They appear and vanish. They are silhouettes or ghostly inhabitants who E-MAIL are consumed by the surrounding landscape. Deer hang eviscerated, a gruesome [email protected] sacrifice for sustenance and survival. A figure communes with nature, a flight pat-

PHONE tern takes place, and foliage mutates revealing colors that are more synthetic than +1 415 627 9111 natural. Trees appear to be infected and the ground opens. Nature is conquered

CONTACT NAMES and claimed like a trophy hung from a tree, while at the same time it is someplace Heather Marx to retreat to for solace and rejuvenation. Humanity collides with nature; the relation- Steve Zavattero ship is out of balance, at odds with itself.

I have always had a strong connection to the land. How I approach and interpret

REPRESENTED ARTISTS life has been greatly influenced by literature, traditional landscape painting, and Michael Arcega contemporary art and issues. I see the physical landscape as a reflection of an in- Libby Black dividual’s interior landscape and as a manifestation of a society’s history, values, James Gobel and direction. I am interested in the relationship between people and land: how we David Hevel Yoon Lee navigate through it, engage with it, depend upon it, love and destroy it. It is through Liséa Lyons the interest in relationships that are simultaneously harmonious, yet full of tension Andrew Schoultz and contradictions that I have arrived at my painting process. William Swanson Taravat Talepasand Painting and photography are at odds with one another. I see painting as a warm Patrick Wilson medium; it invites the viewer to investigate the surface and contemplate how the palette and paint application inform subject and content. My paintings often have painterly moments that are thick and gestural. Sometimes I use a palette knife to COVER apply and scrape away while in other areas the handling can be brushy, or soft and Bradley Castellanos Retreating (detail) blended. Initially one may think this style does not lend itself to the cool mechanical 2009 qualities of the photograph but the camera and photograph become my sketch- oil, acrylic, photo collage, pad and painting surface. I set out in pursuit of a subject, but instead of sketching & resin on panel a particular vista or scene I use a large format camera to document. I create and 61 × 48 inch manipulate a scene prior to shooting and then alter it further in Photoshop. In my INSIDE works the painterly passages meet and coexist with the crisp imagery of the pho- Bradley Castellanos South Gate (detail) tograph and its cut edge. The paint will come onto the photograph, eroding and 2010 consuming the line between the two, while in other areas the photograph will rise oil, acrylic, photo collage, above the paint. It is in this interplay between the two mediums, in this tension, & resin on panel that my work surfaces. 61.5 × 96 inch

SELECTED SOLO EXHIBITIONS: 2011 VOLTA NY, presented by Marx & Zavattero, San Francisco, CA 2010 North Woods, Marx & Zavattero, San Francisco, CA 2009 The Divide, Caren Golden Fine Art, New York, NY 2008 Hollow Ground and False Guidance, Mogadishni Gallery, Aarhus, Denmark 2006 Deadland, Caren Golden Fine Art, New York, NY

SELECTED GROUP EXHIBITIONS: 2012 Paper Landscapes, Indianapolis Museum of Art, Indianapolis, IN (curated by Lisa Freiman) 2011 Alumni Invitational 3, The Tang Museum, Saratoga Springs, NY (curated by Ian Berry) 2010 Lives of the Hudson, The Tang Museum, Saratoga Springs, NY 2008 Nightmares and Dreamscapes, Alberto Peola Gallery, Torino, Italy (curated by Umbretto Agro) Future Tense: Reshaping The Landscape, Neuberger Museum of Art, Purchase, NY AARON JOHNSON MiTO, BARCELONA

VOLTA NY 2011 | BOOTH NUMBER B9

MiTO: AARON JOHNSON

WEBSITE Aaron Johnson’s reverse-painted acrylic-polymer-peel paintings inhabit the realms www.mitobcn.com between the erotic-catastrophic/ecstatic-psychotic/comic-tragic, fusing diverse vo- E-MAIL cabularies into his own distinctive breed of Americana-grotesque, all rendered ob- [email protected] sessively with tender brutality. Johnson’s painted universe overflows with Roman-

PHONE tic beauty and sexual violence twisted into demonic tales of a world gone berzerk, +34 93 217 9012 monstrous musings on the absurdity of war and religion, and a gooey biomorphic

CONTACT NAME dialogue with the Old Masters and pop culture. Johnson is fearless about diving into Joaquim Tugas the psychological deep end to submit himself to the exposure and loss of self in the work, while directly engaging the viewer’s gaze in seduction and repulsion. He digs down into the primal “dream work” to reveal images of the psyche’s struggle with REPRESENTED ARTISTS the body, sex, desire, death and mortality. We could call him a post-irony Romantic: Anthony Gayton his works are unrestrained and exuberant. Johnson continually creates surprising Antony Crossfield Brian Dettmer and unpredictable images that haunt us with recognitions and wonder. Chambliss Giobbi Aaron Johnson has been in many exhibitions in New York, Los Angeles, Washing- Christian van Minnen Erik Mark Sandberg ton DC, London, Berlin, Barcelona, Copenhagen, Oslo and major art fairs. Roberta Javier Velasco Smith, who reviewed Johnson’s shows twice in The New York Times, has called his Luis Vidal works “visceral, beautiful and flamboyantly timely, which is saying a lot.” Born 1975, Miss Van Aaron Johnson has an MFA from Hunter College, and lives and works in Brooklyn, NY. Santiago Giralda Steve Gibson

MiTO’s program is mostly committed to promote the latest trends in figurative visual

COVER arts, free from conventionalism and stereotypes and in turn committed to innova- Aaron Johnson tion, and support their role and arguments against the need for a representational I Dreamed I Painted Flowers All depiction of the real in a post-digital era. Over Your Naked Body... 2010 Special attention is paid to international emerging and up-and-coming artists who Acrylic on polyester knit mesh use non-conventional media and techniques as a means of expression and com- 73 × 46 inch munication. Curatorial projects that encourage alternative readings to codified sub- INSIDE jects are also favoured. Aaron Johnson Now We Hunt Hippopotamus 2009 Acrylic on polyester knit mesh 66 × 88 inch

RIGHT Aaron Johnson Jungle Love 2010 Acrylic on polyester knit mesh 65 × 74 inch MARY TEMPLE MIXED GREENS, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER G6

MIXED GREENS: MARY TEMPLE

WEBSITE CURRENCY mixedgreens.com For ten years, I’ve filtered ideas of veracity and empiricism through the practices of E-MAIL drawing and site-specific installation. As I move forward, regardless of my medium, [email protected] themes of trust, transparency, and truthfulness remain in tact.

PHONE Since Mahmoud Ahmadinejad’s visit to Columbia University in 2007, I’ve been com- +1 212 331 8888 pelled to draw a world leader’s portrait every day. My goal in the beginning was CONTACT NAMES to concentrate on one event at a time – to try to grasp a minuscule portion of the Heather Bhandari barrage of information in a 24-hour news cycle. As my research and drawings ac- Monica Herman Steven Sergiovanni cumulated, news events marked my own personal history and delineated a (biased) global timeline.

The title, Currency, references my endeavor to keep abreast of world events, and REPRESENTED ARTISTS to bear witness to the actions of powerful individuals. It also refers to the scale of Kim Beck Sonya Blesofsky the portraits, which evoke a bank note – the image of power and money entwined. Howard Fonda MIXED GREENS represents US-based artists that specialize in conceptually driven Joan Linder Adia Millett and figurative work in a diversity of media. We currently represent nineteen artists Coke Wisdom O’Neal who are at varying stages of their careers. Mixed Greens was originally conceived Stas Orlovski during the late ’90s to support emerging artists. By promoting them online and Joseph Smolinski through other non-traditional means, such as experimental spaces in locations Julianne Swartz Mary Temple across the country, Mixed Greens built a reputation of approachability and inven- tiveness. The goal was to make contemporary artists accessible to the public and

COVER vice versa. Mixed Greens became known as a gallery where emerging artists are Mary Temple given their first solo shows in New York City. Now, the artists are vibrant and recog- Currency, 1.10.10 – 1.16.10 (detail) nized members of the contemporary art dialogue. Due to the success of its artists 2007 – present and its recognition within the collecting and curating communities, Mixed Greens archival digital ink jet print on Hahnemühle paper developed organically from its revolutionary inception into a traditional gallery. To- 7 pages, each measuring day we continue in the same spirit as we did in 1999, and strive to show work that 16.5 × 13 inch is not only of contemporary interest, but will be of lasting art historical significance. INSIDE Mary Temple Currency, 6.13.10 – 6.19.10 (detail) 2007 – present archival digital ink jet print on Hahnemühle paper 7 pages, each measuring 16.5 × 13 inch

RIGHT Mary Temple Currency, 1.24.10 – 1.30.10 (detail) 2007 – present archival digital ink jet print on Hahnemühle paper 7 pages, each measuring 16.5 × 13 inch ANDREY KLASSEN HAMISH MORRISON GALERIE, BERLIN

VOLTA NY 2011 | BOOTH NUMBER F11

HAMISH MORRISON GALERIE: ANDREY KLASSEN

WEBSITE Andrey Klassen creates a distinctive, dramatic world. Many of his images seem to www.hamishmorrison.com evoke the cityscapes of post-Communist Russia: empty playgrounds with tenement E-MAIL blocks looming behind them, or derelict and broken streets with factory chimneys [email protected] belching inky smoke in the near-distance. But there is something unsettlingly generic

PHONE about them too – they could be locations in any post-industrial city. In other works, +49 30 2804 0577 he plays more surreal games, as the spirits of people and animals haunt lonely fig-

CELL ures late at night. And then there are rural, frozen landscapes through which anony- +49 151 1151 9907 mous men struggle. The men seem vaguely militaristic, accompanied by dogs and

CONTACT NAME occasionally carrying guns, their hoods raised to hide their faces. But while they Hamish Morrison could be soldiers, they could just as easily be hunters or explorers

Whichever the figure it is inhabiting this world of Klassen’s paintings, it is usually that of a shadow. These shadows often present only the bare essentials, a reduced REPRESENTED ARTISTS Ronald de Bloeme silhouette with an outer boundary as the sole defining information. The undefined Mikala Dwyer inner and the clearly defined outline takes on a mysterious effect. The shadow Gabriela Fridriksdottir profile seems to hold some evidence for the immutability of an individual person, Judy Millar country or environment. In a way, the fixing of a silhouette retains the memory of Paul Pretzer Sophia Schama those now absent. Han Schuil Klassen’s images seem to evoke his own background, growing up on the far edge of the Soviet Union as it collapsed. But they also hint at a shared European experi- ence – a continent of broken landscapes, eerie stories and faceless winter ghosts. COVER Andrey Klassen Andrey Klassen was born in Irkutsk, Russia in 1984. From 2005 to 2010 he studied Dreckige Rutsche at Dresden’s Hochschule für Bildende Künste, and recently completed his Masters 2010 Ink on Paper under Professor Ralf Kerbach. In 2009, he received the DAAD Prize for outstand- 160 × 80 cm / 5,25 × 2,62 ft ing achievement by an international student. He has already exhibited extensively in his native Russia, including a solo museum exhibition in Irkutsk in 2007. His first INSIDE Andrey Klassen solo show in Berlin was at Hamish Morrison Galerie in December 2010. He lives Erster Haltepunkt and works in Dresden. 2010 Ink on Paper 100 × 130 cm / 3,28 × 4,24 ft

RIGHT Andrey Klassen Spielplatz 2009 Ink on Paper 45 × 64 cm / 1,48 × 2,01 ft SABINE GROSS MAGNUS MÜLLER TEMPORARY, BERLIN

VOLTA NY 2011 | BOOTH NUMBER B6

MAGNUS MÜLLER TEMPORARY: SABINE GROSS

WEBSITE What Carl Andre writes about his Squares, created in the 1960s, is taken word for www.magnusmuller.com word by Sabine Gross in her extensive floor-piece Found (2008). From the minimalist E-MAIL metal plates that fit together in Andre’s work to form a spacious square, here there [email protected] remain only rusted fragments with flaws and jagged edges. Or so it seems. The art-

PHONE work is in disarray, having lost its ideal form, and all that is left is a remnant, a frag- +49 30 3903 2040 ment in which time itself has left its mark. If we trust this outer appearance then Carl

CONTACT NAME Andre´s works comprise exactly what Sabine Gross so drastically implements in her Sönke Magnus Müller sculptures, “the work becomes its own record of everything that’s happended to it.”

Sabine Gross ventures into new territory with Found, a sculpture that appears de- stroyed and condemned to decay. She proposes the idea that a contemporary art REPRESENTED ARTISTS Christoph Draeger work of historical significance is being discovered in a new cultural context at some Ellen Harvey time in the future and presented as an archaeological find. The question arises as to Chris Larson whether the alienated object still corresponds to what we ascribe to it and to what J. MAYER H. extent our own perception changes in the process. Jenny Rosemeyer While Duchamp was concerned with transforming an object of utility into an exhibit in order to make it visible as a work of art, Sabine Gross fragments this art object, COVER which for us has already become an icon, and pretends to return it to ist original Sabine Groß context of mundane plumbing. Ultimately, the object reveals itself to be an artistic Drama #1 2009 production, thus proving that it is a construction just as the idealised from itself. acrylic resin, lacquer With her art that looks at art’s reception, Sabine Gross formulates a remarkably 80 × 73 × 49 cm confident and critical treatment of established artistic positions, which meanwhile INSIDE include radical, antimodernist statements such as Dada and Anti-Form. This stance Sabine Groß Found reveals a very current, contemporary perception of art that considers the artwork’s 2008 myth to be construction and portrays it as such. Acrylic Resin, Glaze, Wax 66.9 × 6.8 inch Sabine Gross succeeds with her sculptures in holding our glance and making it sensitive to the mechanisms of art history that clothe artworks in a myth that su- RIGHT Sabine Groß perimposes and naturalises their actual statement and creation. Untitled by Andrea Jahn 2008 Lambda print on aluminium, UV protection sheet 18.5 × 35.4 inch WINNIE TRUONG KATHARINE MULHERIN CONTEMPORARY ART PROJECTS MULHERIN POLLARD PROJECTS, TORONTO / NEW YORK

VOLTA NY 2011 | BOOTH NUMBER A6

KATHARINE MULHERIN PRESENTS WINNIE TRUONG

WEBSITE Winnie Truong’s larger-than-life portraits feature a cast of characters displayed in www.katharinemulherin.com all their hairy, heroic, glassy-eyed, gap-toothed glory. Executed with pencil crayon E-MAIL on paper, this work generates a dialogue on the beautiful and the beastly amidst [email protected] contemporary concerns of the continued relevance of figurative art and portraiture,

PHONE hyperrealist sculpture, and the impact of ornamentation. +1 416 993 6510 The inspiration for the portraits is taken from magazine images. Reinventing the fig- CONTACT NAME ure from a position of ambivalence and imagination, Truong adapts the sharp con- Katharine Mulherin trasts and vivid colouring of the printed source. By planting her characters onto the page, stripped of the details of their mise en scène, exaggerated hair replaces the narrative authority of pose, dress and environment. REPRESENTED ARTISTS Dean Baldwin At once anthropomorphic, expressive, and self-ornamenting, hair becomes a signifi- Mike Bayne cant extension of character. Manes are overgrown in unexpected places, causing Michael Caines Oscar de Las Flores its wiry, coarse unkemptness, to elicit a sense of the grotesque. On the other hand Eric Doeringer when the hair waves, curls and cascades, not unlike a powdered wig, it evokes ex- FDF pressions of elegance and majesty. Truong exploits the non-verbal communicative Krisjanis Kaktins-Gorsline power of hair, socio-historically loaded as it is with notions of identity, gender, and Kris Knight Allyson Mitchell social status. Her monumental exaggeration of both the portrait and hair produces Winnie Truong images that are mostly human while evoking animalistic associations.

This work has developed itself in stages, each new portrait informs its predecessor, contributing to the discourse of the whole. Whether contour or cross hatch, the COVER Winnie Truong incremental layering of line produces evidence of time and labour. The marks are Ornament and Correction visibly meticulous and repetitive gestures. In this sense, hair is not just an extension 2010 of the depicted ‘body’ within Truong’s work; its physical relationship with drawing is pencil crayon on paper also important. To render form in meticulous strokes is to treat every mark as an act 72 × 48 inch of insertion. The endless repetition of line creates the dimensionality of the drawing. INSIDE Winnie Truong Hung in conversation with another, Truong’s monumental drawings are character- A Good Disguise ized by their imposing presence. Yet, however decorated their visage or nuanced 2010 in their expression, they are ambiguous characters. They act within a private round pencil crayon on paper 72 × 48 inch table discussion, a tête-à-tête-à-tête-à-tête of monumental heads in conversation with one another, collaborating on their own ideas of the beautiful and the beastly. LEFT Winnie Truong Glamour and Absces BIOGRAPHY 2010 Winnie Truong lives and works in Toronto, and is a recent graduate of the Ontario pencil crayon on paper College of Art & Design’s drawing and painting program. Producing large-scale, 48 × 36 inch labour-intensive drawings using only pencil crayon and chalk pastel on paper, her RIGHT portraits exploit the drawn line to manipulate hair, flesh and blemish, exploring no- Winnie Truong tions of beauty and discomfort. Winnie is the recipient of numerous awards, including Vision of Clarity 2010 this year’s W.O. Forsythe award, the 401 Richmond Career Launcher prize, and is pencil crayon on paper the Ontario prize winner of the BMO Financial Group 1st Art! Invitational Art Award. 14 × 11 inch GEREON KREBBER NUMBER 35 GALLERY, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER C8

NUMBER 35 GALLERY: GEREON KREBBER

WEBSITE Even for those practiced in viewing art, an encounter with Gereon Krebber’s world numberthirtyfive.com of sculptural objects and ideas can be counted among those experiences that are E-MAIL as memorable as they are disturbing. In his shows, one meets with pieces of blue [email protected] spaghetti hung up to dry over a free standing metal frame, or a wobbly, bright or-

PHONE ange wedge of gelatin snuggling up against a step, like an oversized gummy bear; +1 212 388 9311 or hollow forms resembling fonts filled with Coca-Cola.

CONTACT NAMES Krebber enthusiastically transgresses classic sculpture’s dogma regarding material. Cindy Rucker In visualizing his artistic ideas he prefers to use unconventional materials, which are Brad Silk a severe test for some viewer’s understanding of art. Yet Krebber’s inventiveness in selecting his materials seems inexhaustible. The artist’s ability to create articulate

REPRESENTED ARTISTS sculpture is formed by his use of trash bags, tape, toothpaste, adhesive dots, sugar, Keith Anderson silicon, gelatin, clothes hangers, concrete, glycerin, cable ties, plastic sheets, bal- Christopher Daniels loons, and other organic and artificial materials that impressively demonstrate the Charles Dunn entire spectrum of ordinary, everyday materials available. Adam Hayes Frederick Hayes By employing certain materials and their many associations, Krebber allows memo- Hannes Kater ries of entities from the everyday world we perceive to proliferate. They disturb, ir- Miyeon Lee Gary Rough ritate and make one question one’s view of the world. Krebber plays with physical Martin Schwenk growths consisting of a variety of mental associations that are deliberately intended to disturb one’s sense of “good taste”. They touch the viewer, like things or creatures from another world, and the closer they come to one’s own experience of reality, the COVER more they derive their forms from it, the more intense their effect. Gereon Krebber Bean It is precisely these dominant material qualities in his sculptures that allow one to 2009 perceive the artist’s overall intention of finding new ways of working with classic Acrylic resin, styrofoam, steel themes of sculpture. Krebber’s unconventional artistic procedures aim to counteract H: 16 m Commission for University the sculptor’s traditional tasks – which are based on concepts such as lightness and of Cologne “Biozentrum”, heaviness, mass and void, transparence and opacity, balance, stability and linearity – Schneider&Sendelbach Architects, in order to level the way for more expressive potential. The desire for provocation Cologne Germany is also part and parcel of his work. Krebber deliberately creates a sense of disquiet INSIDE and discomfort, intentionally walking a fine line between attraction and revulsion, Gereon Krebber fascination and rejection – annoyances included. W.Y.S.W.Y.G 2009 Colored tape L: 10 m Studio Pferdestall, Bremerhaven

RIGHT Gereon Krebber Burnt Hut 2010 Timber H: 3,6 m × L: 6,5 m × D: 4 m Kunstmuseum Bonn, Germany HERBERT NAUDERER NUSSER & BAUMGART, MUNICH

VOLTA NY 2011 | BOOTH NUMBER F4

NUSSER & BAUMGART: HERBERT NAUDERER

WEBSITE Herbert Nauderer (b. 1958, Fuerstenfeldbruck, Germany) developed a new con- www.nusserbaumgart.com ception of draughtsmanship. Some of his works reveal bottomless chasms: black E-MAIL is dominant and an aggressive, wild, highly-charged erotic quality informs some [email protected] representations. Nauderer’s materials of choice – grease crayons and charcoal –

PHONE are a palpably sensuous medium for drawing and, therefore, perfectly correspond +49 89 221 875 with the above qualities, functioning in just the opposite way to the fragile delicacy

CONTACT NAMES of pencil, pen or ink. Nauderer’s works look like snapshots of profound emotions, Susanne Baumgart dream sequences, confrontations, anxieties, lust and delight. The impact made by Gregor Nusser these sheets matches the spontaneity which only the medium of drawing allows.

DRAWING AND RHYTHM REPRESENTED ARTISTS Herbert Nauderer usually works in series or rather cycles, which may embrace days, Benjamin Bergmann Tom Früchtl weeks or just a single night. The individual cycles of works are rhythmically articu- Frank Gerritz lated within themselves. In these works, line is – due to the artist’s self-imposed Haubitz + Zoche time limitation – quick and forceful, with conscious intellectual control deliberately Daniel Man subordinated to a rhythmic personal idiom and structuring. The sequence of indi- Pietro Sanguineti Thomas Weinberger vidually paraphrased configurations ranges from elaborately worked-out faces to Albert Weis sketchy formulations which may occasionally be transformed into something ges- Michael Wesely tural or even assume an aggressive, almost destructive quality. In his series of indi- Winter / Hörbelt vidually executed drawings, the works are autonomous and can be understood and perceived as such. Nonetheless, they invariably fit into a larger whole.

COVER In his works Nauderer creates a story-telling world entirely his own. It is not, how- Herbert Nauderer ever, narrative in the sense that it presents stories in pictures. On the contrary, his Vollgas (nothing personal) #1 works seem to flash a momentary, glaring light on individual sequences, thus leav- 2009 graphite / collage / paper ing the viewer broad scope for association: the recreation or, in many cases, fresh 7.48 × 14.96 inch creation of something which has been seen, suspected, subliminally perceived, which did not, as a fleeting detail of life, seem important at all. This is what makes INSIDE Herbert Nauderer his drawings so powerful. They allow the viewer to wander at will and linger in his Installation view Rembrandt-Ballett, or her peculiarly own, familiar world of intimate thoughts. Kunsthalle Schweinfurt 2010 “Drawings often bypass prevailing trends. The kind of status report they represent is just what I like. It’s something timeless and is a law unto itself.” LEFT Herbert Nauderer by Herbert Nauderer Rembrandt-Ballett #22 2009 graphite on paper 8.27 × 5.91 inch

RIGHT Herbert Nauderer Rembrandt-Ballett #27 2009 graphite on paper 8.27 × 5.91 inch IDA KVETNY HELENE NYBORG CONTEMPORARY, COPENHAGEN

VOLTA NY 2011 | BOOTH NUMBER A2

HELENE NYBORG CONTEMPORARY: IDA KVETNY

WEBSITE Ida Kvetny’s works are characterized by their strong energy and powerful visual lan- www.helenenyborg.com guage. The paintings and drawings overflow with ornaments, clues and meanings, E-MAIL which produces a continuous transformation of the motif. The encounter between [email protected] numerous forms and characters, that move in a constant flow between figuration

PHONE and abstraction is a reoccurring theme in Kvetny’s works. It seems as if the images +45 3023 2307 are split into a variety of colors, layers and fragments. Joint tracks and complex

CONTACT NAME meanings, pointing in different directions indicate a wealth of associations and in- Helene Nyborg terpretations that challenge the viewer.

Kvetny is, among others, inspired by the computer games she played as a child. By watching her sculptures, drawings and paintings long enough, it virtually feels like REPRESENTED ARTISTS Tommy Stöckel being led to the “next level”. It works as a limbo with no start or ending, but which Peter Rune Christiansen involves the viewer in a lavish visual landscape that leads into new areas and opens Keisuke Yamamoto for new understandings. Perhaps this is how visual arts respond to literature’s stream Asmund Havsteen-Mikkelsen of consciousness? It is the journey of the subject and not the details of the motif Yuji Watabe that is in focus. It is as if the artist places the viewer in a riddle with clues in all di- rections, revealing no apparent meaning and leading everywhere. But what might

COVER seem chaotic at first glance is composed by figurative and narrative elements that Ida Kvetny are slowly deciphered when looking at the motif. Memories 2010 The references to graffiti and computer games, as well as elements of nature, can be Plaster, paint seen as an attempt to navigate through a complex identity where nature and modern Height: 22,5 cm culture meet. Questions about identity are also found in the new works showed at INSIDE VOLTA NY which explore the meeting between work and viewer. The understand- Ida Kvetny ing of Ida Kvetny’s works are neither bound to the motif nor the title, but evolves Close to Final as part of the chain of associations that sets off from the canvas and continues in 2010 Acrylic on canvas the viewer’s imagination. × 125 195 cm Ida Kvetny (b. 1980 in Denmark) holds an MFA from Central St. Martins College RIGHT in London. She exhibited recently at Kunsthal Charlottenborg, Copenhagen (DK), Ida Kvetny Arken Museum of Contemporary Art, Ishøj (DK), Kunsthallen Brandts, Odense (DK), Hiding in the Night VEGAS Gallery, London (UK), Chausseestrasse, Berlin (G), The Purple Pineapple 2007 Acrylic, gel-pen, pastel on paper Projects, L.A. (US) and Raid Projects (US). She received grants from the Danish 30 × 30 cm Arts Council, Knud Højgaard Art Foundation, Ellen Battell Stoeckel Fellowship Grant, Framed Yale University and The New Carlsberg Foundation. KWON KYUNGHWAN ONE AND J. GALLERY, SEOUL

VOLTA NY 2011 | BOOTH NUMBER G8

ONE AND J. GALLERY: KWON KYUNGHWAN

WEBSITE For the presentation at VOLTA NY, we offer the work of Kwon Kyunghwan. Kwon www.oneandj.com recently had his first solo show in Korea in 2009 but has participated in numerous E-MAIL group exhibitions including the 2010 Busan Biennale, Young Korean Artists show [email protected] at the National Museum of Contemporary Art, and group shows at the Ecole Na-

PHONE tionale Beaux-Arts, Total Museum, Seoul Museum of Art, and Ilmin Museum of Art. +82 2 745 1644 Kwon received his MFA and BFA from the Korean National University of Arts. Born

CONTACT NAMES in 1977, Kwon currently lives and works in Seoul. Won Jae Park Kwon’s work spans multiple media platforms include painting, drawing, video and Patrick Lee sculpture. His recent series of black and white drawings depicts cataclysmic sce- narios involving comic characters and combat scenarios. He continues his explo-

REPRESENTED ARTISTS ration of mass media imagery on the subject of countless deaths as the object of Kang Hong Goo fear, taboo and the satisfaction of our voyeuristic desire to witness such events. He Kim Jongku standardizes such imagery in repeated formats creating works of people dancing, Kim Suyoung standing in line or flowers as a commentary on the overflowing imagery bombard- Kim Yunho Lee Jung ing us and perceived by a public that only skim the surface. Much as in his works Nikki S. Lee on paper that create beautiful imagery of war and cartoons that we have grown ac- Jina Park customed to. The presentation for VOLTA includes drawings, painting and sculpture. Shin Soohyeok Suh Dongwook ONE AND J. Gallery was founded in 2005. The gallery focuses on the works of Yum Joongho emerging contemporary Korean artists and has quickly established a reputation as one of the leading contemporary art galleries. From its inception, the gallery has participated in renown international art showcases including the Gwangju Biennale, COVER Busan Biennale, Singapore Biennale, Asia-Pacific Triennial, Platform Seoul and Kwon Kyunghwan Untitled Echigo-Tsumari Triennial. Recent exhibitions include: Jina Park at Sunggok Muse- 2007 um; Kim Jongku at the Spencer Museum; Chaotic Harmony (Museum of Fine Arts Acrylic and Color Pencil on Paper Houston); and ONE AND J. at Pierre Koenig (Japanese and Korean contemporary art × 71 54 cm and design in Los Angeles). The gallery has participated in group shows at the Nam INSIDE June Paik Center; Mori Museum; National Museum of Contemporary Art; House of Kwon Kyunghwan World Cultures (Berlin); Artsonje; MOCA Shanghai; Samsung Museum; St. Etienne Untitled 2007 Museum of Art; Passage de Retz (Paris); Aspex (Portsmouth); and Officina Asia. Acrylic and Color Pencil on Paper Works by gallery represented artists are in the collections of the National Museum 71 × 108 cm of Contemporary Art; Mori Museum; Queensland Museum of Art; Seoul Museum of

RIGHT Art; UBS; Fidelity Investments; and Bank of America. Kwon Kyunghwan Untitled 2007 Acrylic and Color Pencil on Paper 71 × 54 cm XISCO MENSUA VALLE ORTÍ, VALENCIA

VOLTA NY 2011 | BOOTH NUMBER B2

VALLE ORTÍ PRESENTS XISCO MENSUA

WEBSITE NO RETURN www.valleorti.com No return is a polyptych of twelve drawings. If you read it as a text, the first image E-MAIL in the set bears the words: “No return”. Departing from there, as if building a narra- [email protected] tive, and ordered in three rows of four drawings, characters, scenes and landscapes

PHONE depicted in ink, follow each other on paper. Photographic images and stills taken +34 96 392 3377 from films by Tarkovsky, Pasolini, Antonioni and Rosellini reference the world of cin- +34 69 213 1867 ema. By virtue of belonging to a complex cultural field, drawings that refer to other CONTACT NAME images are vehicles of meaning; the visible, not as a reality but as what we choose Nacho Valle or decide to see. Meta-images, as much as visual representations, are exhibited in order to be subjected to scrutiny; at the same time, they serve as representations of something else. In this way the medium of drawings is conducive to the mutable REPRESENTED ARTISTS and definitively unique qualities of the image. This speaks of a technical paradox Chema López Fermín Jiménez Landa that allows us to leave the image, and then return to it critically. From photograph Javier Piñón of film to drawing: the translation of images from one medium to the next empha- Juan Olivares sizes the polysemy of visual motifs. Matias Sanchez Máximo González The hope of revelation, the clarification of mystery, and the promise of sense survive Mira Bernabéu this shift of medium and increase throught it. The invitation to decipher is immedi- Nelo Vinuesa ate, the search in the registers of memory, the search through our mental archives Regina De Miguel Troels Carlsen and sense of unease with regards to the meaning of the work, accompany a feeling Txuspo Poyo of déjà vu. Although the phrase written on the first image lends a clue, no herme- Vanessa Pastor neutical key offers to reveal the meaning of the relationship between the darwings. Xavier Arenós The phrase “No return” mainly refers to the inexorable passage of time and the in- Xisco Mensua evitable drama of death and absence, but also, at the same time, to the aesthetic and philosophical links that allow us to observe then, and to visual technologies of

COVER representation and their ability to capture time. Xisco Mensua In a sense, two nostalgias are expressed here simultaneously, in an obvious way the O chansons foregoing (detail) 2008 work refers to “the way of life beings who, by definition, have no reverse gear”, to Ink on paper “a more or less unitary story whose theme is memory and that always involves the

INSIDE affirmation of a loss” (Xisco Mensua), but also hides the suspicion of the positivist Xisco Mensua illusions of modernity by expressing the crisis of two radically modern disciplines No Return with complex interrelationships: Wittgenstein said: “Films are very much like dreams 2010 and Freudian ideas are very easily applied to them”. But films deliver narratives that Ink on paper 60 × 80 cm each manifest the vicissitude of subjective desire while psychoanalysis, on the other hand, pints to the impossibility of constructing definitive histories.

Xisco Mensua references the film not only using stills from it, but also by representing a sequential storyboard unit. But the continuity is ironic – there is no return, and no future either, only a sum of moments, a fleeting present. Film as memory is another failed attempt to stop the unstoppable course of life. The sequential nature of film appropriated here is returned to in a rhetorical exercise. After the images from their state of becoming, the drawings are re-arranged in a sequential structure, but their relationship is strictly dialectical. Mensua disposses the film of its explicit status, the relationship between the images suggesting something that is inextricable, the unseen and the unrepresentable. Speaking of absences, of the unspeakable, the unequivalent or the odd, draws together the non-positivist aspect of film with psy- choanalysis, but especially in what is not displayed, in the spaces between each picture, on the borders of every image the suspicion is built that something remains hidden, revealing both the power of images to fascinate and how little we know about them, our eyes as impotent as ever. DIL HILDEBRAND PIERRE-FRANÇOIS OUELLETTE ART CONTEMPORAIN MONTREAL

VOLTA NY 2011 | BOOTH NUMBER G14

PIERRE-FRANÇOIS OUELLETTE: DIL HILDEBRAND

WEBSITE SHAMUS AND SHAMAN: www.pfoac.com THE PAINTERLY STRATAGEMS OF DIL HILDEBRAND E-MAIL In his recent work, Dil Hildebrand struts his stuff with an elegant, balletic abandon. [email protected] But painting, like chess, is a mind game. The casual authority that marks his maneu-

PHONE vers across the chessboard radius of painting is remarkable in itself. Add a tactual +1 514 395 6032 quality and a retinue of tasty painting licks and you have a foretaste of painting’s

CONTACT NAMES future. When looking long and hard at one of his works, it often seems that we are Pierre-François Ouellette looking at something dismantled and prismatically reconstituted with the empha- Simon Nakonechny sis on the current state of its genesis: the now of making. Think Hans Holbein and Edward Maloney anamorphism – where the paint matter is the skull and the skull is the paint matter – but updated in real time care of Gerhard Richter, Russian math whiz Andrei Markov and Jacques Derrida. REPRESENTED ARTISTS Marc Audette Hildebrand constructs space in beguilingly daredevil ways. He uses paint itself as the Alexandre Castonguay wholly porous aperture through which his representational vignettes are glimpsed. Luc Courchesne His works are more like a GPS than a ‘peephole’ insofar as they locate the artist Jérôme Fortin and his studio with unerring finesse. As for the extravagant insides of his paintings, Karilee Fuglem Adad Hannah the game of chess is only one of several useful analogies. I think both game and Marie-Chrystine Landry painting can be represented as a state absorbing Markov chain. (In mathematics, Maskull Lasserre a Markov chain is a random process with the Markov property, i.e. the property John Latour that the next state depends only on the current state and not on the past.) How Kent Monkman Marie-Jeanne Musiol does this property relate to Hildebrand’s paintings, you may ask? The process is Roberto Pellegrinuzzi stochastic. A “discrete-time” random process means a system (i.e. the process of Ed Pien painting) that is in a certain state at each “step”, with the state changing randomly Chih-Chien Wang between steps or stages. The event of transition in one of his paintings is indepen- dent of past states and always anchored in the present tense of process. I think of painter Hildebrand effortlessly in command of Markov chains inside his work. Thus, COVER Dil Hildebrand his mastery of painting strategies is synonymous with having a handle on transi- Studio C (detail) tion probabilities inside his generative system of painting. He is like a chess player 2010 who, having made his opening moves, has the ability to look ahead three moves or oil on canvas more. He investigates possibilities with a formal inventiveness that is his alone and 213,5 × 183 cm / 84 × 72 inch he rolls his dice with a high probability of coming up sixes. INSIDE Hildebrand offers us a window upon the physicality of pigment, the present tense of Dil Hildebrand process and the phenomenology of perception. His paintings are rogue chameleons, installation view, Peepshow Pierre-François Ouellette art unrepentant extremophiles, radically without precedent. They have no truck with contemporain, September 2010 painting’s past. They do not trade on extant late Modernist mythologies or tropes,

LEFT but are rooted in the living folklore of the moment where painting finds itself now, Dil Hildebrand morphing on the cusp of a still unfolding future tense. Studio E 2010 James D. Campbell oil on canvas 213,5 × 183 cm / 84 × 72 inch

RIGHT Dil Hildebrand Pane E 2010 oil on canvas 30,5 × 26 cm / 12 × 10.25 inch SBD P74 GALLERY, LJUBLJANA

VOLTA NY 2011 | BOOTH NUMBER V8

P74 GALLERY: SBD (SMALL BUT DANGERS)

WEBSITE MATEJA ROJC, 1977; SIMON HUDOLIN-SALČI, 1977 www.zavod-parasite.si Small but Dangers does not mean anything: it is an intentionally misspelled and para- E-MAIL phrased expression “Small, but Mighty” (sitan, ali dinamitan), used in the context [email protected] of the south-eastern Europe to denote a singular rebellious and powerful subject,

PHONE capable of confronting and winning over an enemy who is usually much better con- +38 64 037 0199 solidated. This expression, typical for the misfit-mentality of a Balkan man/woman,

CONTACT NAME has become an operative term and a personal artistic brand of Mateja Rojc & Simon Uroš Legen Hudolin-Salči, a couple from a tiny Slovenian village of Cerkno.

http://smallbutdangers.cerkno.net/

REPRESENTED ARTISTS SELECTED SOLO EXHIBITIONS Tadej Pogačar – June, July 2009: Small but dangers, Mizzart, Metelkova mesto, Ljubljana. Polonca Lovšin Tomaž Furlan – March 2009: Paintings – Small but dangers, P74 Center and Gallery, Ljubljana. Uroš Potočnik – January 2008: exhibition of Small but dangers in Kulturni dom Deskle – August 2007: exhibition of Small but dangers at Alter art festival, Črni orel, Idrija COVER (first presentation of project Človek čebula česen (Man onion garlic)) SBD (Simon Hudolin-Salči) – May 2006: exhibition of Small but dangers in galery Mestna knjižnica in čitalnica Li - Mun Idrija (Idrija City Library) – paintings and project Mangart 2010 mixed media on paper – June, 2004: first exhibition of the duet Small but dangers (Mateja Rojc & Simon 64 × 36,5 cm Hudolin-Salči), galery “Če na bi blu to zaflikanu, bi bla to lukne”, Cerkno

INSIDE SELECTED GROUP EXHIBITIONS SBD (Simon Hudolin-Salči) Whale on a beach – July, September 2010: 255.804 km2, Mestna galerija Ljubljana. 2010 – June, September 2010: U3 – 6th Triennial of Contemporary Slovenian Art; An oil and oil pastel on canvas Idea for Living – Realism and Reality in Contemporary Slovenian Art, Museum of 63,5 × 88 cm Modern Art, Ljubljana RIGHT – June, July 2009: Jump into the summer – Exclusive tender of books and art SBD (Mateja Rojc) works, Kapsula, Ljubljana. Untitled (working title) – May 2008: exhibition of finalists for OHO group Award, Center and gallery P74, 2010 mixed media Ljubljana 40 × 50 cm – October 2008: Rad bi bil normalen festival, KUD ZORA, Ravne – June, July, August, September 2007: Vsak človek je kustos – Every man is a curator, Moderna galerija, Ljubljana. BGL PARISIAN LAUNDRY, MONTREAL

VOLTA NY 2011 | BOOTH NUMBER E2

PARISIAN LAUNDRY: BGL

WEBSITE bgl creates installations, sculptures and prints that invite an active, strategic and www.parisianlaundry.com physical viewership. Often using humor and exploring themes such as death, truth, E-MAIL and the role of art, bgl playfully explores the contradictions of the material and natu- [email protected] ral worlds, creating self-referential in-situ artworks that disrupt predictable narratives

PHONE and question the values of society. +1 514 989 1056 The trio aims to make the viewer fascinated and uncomfortable at the same time, CONTACT NAME unhinging the limits of the art-viewing process, prompting one to take the time to Jeanie Riddle watch for details and surrender fixed notions on the boundaries between art and life.

The resulting installations and interventions speak directly to contemporary culture REPRESENTED ARTISTS and the nostalgia of memory. And this, in fact, is exactly what bgl engages with – David Armstrong Six a recycling and reusing of materials all restaged and (re)framed in an art context. Valérie Blass Jennifer Lefort Rick Leong KEEP IT ART Kalup Linzy A cultural destination in the only uniquely French city in the Americas, Parisian Laun- Adrienne Spier dry is an unparalleled industrial 3 storey commercial exhibition and project space that Justin Stephens represents living Canadian and non-Canadian artists and rotates solo presentations Janet Werner of their current and actual practices. Situated in the historically blue collar neighbor- hood of St. Henri in Montréal, the gallery took over the 15 000 sq feet space in 2001

COVER and after four years of intensive restorations transformed the former commercial bgl laundry into a unique exhibition space. Visitors encounter concrete floors, massive Jouet d’adulte hardwood beams, steel and glass. Floor to ceiling windows flood the two exhibition 2005 floors with natural light making the spaces ideal to showcase artists’ works. The all-terrain vehicule, arrows, black epoxy paint gallery’s pièce de résistance is the former mechanical room; a two storey concrete 120 × 180 × 100 cm ‘Bunker’, an ideal space for media works and projections as well as site-specific Collection: The Montreal Museum installation, sculpture and sound projects. of Fine Arts Conceptually interested in the inter section of real / artificial and this slippage in INSIDE bgl the visual arts, director Jeanie Riddle joined Parisian Laundry in August 2005, and, Art Contemporain, 2006, Québec since then, has shaped an identity for Parisian Laundry, positioning it as a primary lilly flower symbol coat, 5/5 platform for contemporary art in Canada. Art Contemporary, 2006, Canadian maple leaf symbol coat, 5/5 Riddle, actively seeks out artists that challenge and excite collectors and arts pro- fessionals. Programming is divided throughout the 3 exhibition spaces with rotating LEFT bgl group salon show complimenting 2 concurrent solo or curated projects. Meatball / tribute to the group of seven 2009 Plexiglass fluorecent, grill and cans 80 × 110 × 90 cm Collection Granite Club, Toronto

RIGHT bgl Born again 2007 Darth Vader helmet, aluminium, paint, epoxy paint 120 × 190 × 0,4 cm MEGAN MURPHY PDX CONTEMPORARY ART, PORTLAND

VOLTA NY 2011 | BOOTH NUMBER V2

PDX CONTEMPORARY ART: MEGAN MURPHY

WEBSITE A QUIET NORMAL LIFE www.pdxcontemporaryart.com Megan Murphy is a conceptual artist living in Sun Valley, ID. Murphy’s work uses E-MAIL historical events and locations to construct an understanding of how our contem- [email protected] porary selves and culture are informed by the subjectivity of recorded history. These

PHONE themes are emulated in her unique artistic practice which employs the combined +1 503 222 0063 elements of film/video, digital art, painting and the impression of the written word.

CONTACT NAME Her painting process is one of addition and subtraction, functioning both physically Jane Beebe and metaphorically to illuminate history through the reflection of time.

Murphy’s installation, A Quiet Normal Life, at VOLTA NY 2011 includes four large paintings on low iron glass and mirror. The images for these pieces were taken on REPRESENTED ARTISTS Storm Tharp the Canadian border of Idaho in the middle of an old growth cedar forest. Murphy Nancy Lorenz applied between twenty and forty layers of paint and text on the top layer. The final Arnold J. Kemp surface is created by what is left behind rather than what is applied as the artist Adam Sorensen employs a repetitive process of painting, stenciling text and sanding away. The end James Lavadour Marie Watt effect is an image that is very still, faintly seen with lines of horizontal text. Masao Yamamoto The text is a combination of poetry and essays on time that include works from Cynthia Lahti Anna Gray & Ryan Wilson Paulsen St. Thomas’ inquiry into silence, Wallace Stevens’ poems Final Soliloquy of the In- terior Paramour and A Quiet Normal Life with excerpts from In the Wilderness by Kim Barns. Each of these pieces of text examines presence through silence and COVER place. The effect of standing in front of these works is to be literally figured into the Megan Murphy image, its reflection returning a gaze from deep within the faded layers of history. A Quiet Normal Life 2010 PDX CONTEMPORARY ART is a gallery of accomplished individuals. Each artist digital transparency, mirror, glass, has a distinct and unique way of seeing the world and executes their vision with a oil paint high level of facility. PDX stands as the primary exhibitor for all of the artists rep- 45 × 54 inch each resented. INSIDE Megan Murphy Located in Portland, Oregon, the gallery space was designed by award winning ar- A Quiet Normal Life chitect Brad Cloepfil of Allied Works. The contemporary layout makes use of natural 2010 light and the building’s historic character to reflect the gallery’s philosophy of rec- digital transparency, mirror, glass, oil paint ognizing the past, living in the present and looking to the future. × 45 54 inch PDX has recently expanded its square footage and programming through the addi- tion of PDX Across the Hall while still retaining the long-running PDX Window Project.

Artists represented by PDX Contemporary Art have been selected for competitions and received awards, national fellowships and grants. Among other accolades, they have been recognized by the highly competitive Contemporary Northwest Art Awards, the Whitney Biennial and have been purchased by national and international museums and institutions, including the Albright-Knox Art Gallery and the Cleve- land Museum. Megan Murphy is included in the collection of the Yale Art Museum.

PDX participates in national and international art fairs. Shows are reviewed in na- tional publications such as the New York Times, artNews, Art in America, Modern Painters and Art Forum in addition to the local press.

Artists represented by PDX “are among the best, brightest and most interesting that Portland has to offer,” (D. K. Row, art critic for The Oregonian). LAURINA PAPERINA PERUGI ARTECONTEMPORANEA, PADUA

VOLTA NY 2011 | BOOTH NUMBER C4

PERUGI PRESENTS LAURINA PAPERINA

WEBSITE www.perugiartecontemporanea.com

E-MAIL [email protected]

PHONE +39 049 880 9507

CONTACT NAME Andrea Peruggi

REPRESENTED ARTISTS Francesco Fonassi Miguel Monroy Neil Farber Begona Morales Kensuke Koike

COVER Laurina Paperina Beuys coyote 2010 Mixed media on paper, post it 3.93 × 5.9 inch

INSIDE Laurina Paperina Untitled 2010 Installation with 30 works, mixed media on paper, canvas, cardboard dimensions variable

RIGHT Laurina Paperina Stupid Girl 2010 Mixed media on wood 7.87 × 7.87 inch THE FOURTH HEIGHT + URS BIGLER POBEDA GALLERY, MOSCOW VOLTA NY 2011 | BOOTH NUMBER A4

POBEDA: THE FOURTH HEIGHT + URS BIGLER

WEBSITE POBEDA gallery presents photographic work by a talented group of internationally www.pobedagallery.com acclaimed artists and also gives first solo shows to young emerging artists. POBEDA E-MAIL presents established contemporary figures and Russian photography scene starting [email protected] from ’60 –’70s. The gallery was opened in 2007 and is located in Moscow, Russia, [email protected] at the Red October Chocolate factory, one of the most important cultural venues. PHONE POBEDA has participated in Paris Photo, VOLTA, Art Moscow, 3rd Moscow inter- +7 495 644 0313 national biennale of contemporary art, Moscow photographic biennale, Moscow In- CONTACT NAMES ternational Biennale for Young Art, among others. Some of the young gallery artists Nina Gomiashvili were shortlisted for the most important art award in Russia, the Kandinsky Prize, Julia Tarasyuk and were chosen for Pla(T)forma 2010 at Fotomuseum Winterthur.

The Fourth Height is a group of three Russian artists Dina Kim, Katya Kameneva REPRESENTED ARTISTS and Gala Smirnskaya founded in 1992 in Moscow. Their work reflects mass cul- Alexey Titarenko ture through irony and fantasy. Raising post-War and feminist issues through the Julia Kissina aesthetics of fashion and the iconography of sex and femininity, FH addresses the Michael Kenna Masao Yamamoto Soviet past and Capitalist present. Violence and aggression may mislead us into a shallow reading, but the subjects raised go deeply into Russia’s history and folklore. The artists live and work in different countries and execute work very rarely due to COVER the research-based nature of their projects. Their best- known series’ The Deed, The Fourth Height in collaboration The Taste of Victory and Gene Pool – are already in the Tretyakov Gallery, Russian with Urs Bigler Museum and Moscow Museum of Modern Art collections. The Crown series, Russia 2010 SOMEWHERE IN RUSSIA…ASIA MEETS EUROPE. Their current project The Crown archival inkjet print is a mythical novel of love and heroism between three main characters Russia, Eu- 100 × 80 cm edition of 5 rope and Asia-Panda. The battle between Good and Evil based on Asian and Europe folklore takes place in the middle of Russia. In Russian folklore, the rebellion of the INSIDE The Fourth Height in collaboration “Three Knights” (Tri Bogatirya) is a prime epic story often associated with the Rus- with Urs Bigler sian mentality. The artists bring a critical and playful aesthetic approach to provide The Crown series, Teatime a new interpretation for the nature of heroism. Here they once again re-examine 2010 impulsive heroic gestures often associated with femininity. archival inkjet print 100 × 135 cm The Crown project was made in collaboration with Swiss photographer Urs Big- edition of 5 ler and is the photographer’s first working experience with an art group in Russia. RIGHT The Fourth Height in collaboration with Urs Bigler The Crown series, Asia-Panda 2010 archival inkjet print 65 × 85 cm edition of 12 FABIO VIALE THE POOL NYC

VOLTA NY 2011 | BOOTH NUMBER G3

THE POOL NYC: FABIO VIALE

WEBSITE Fabio Viale adopts marble, an old material, emotionally, but above all conceptually. www.thepoolnewyorkcity.com He manipulates, fluidifies, caresses it, giving it a new meaning. He obtains a “new,” E-MAIL dynamic material, capable of absorbing in its rosy hues, the new trends in the chang- [email protected] ing art scene. He also extends environmental spaces that combine images, serial

PHONE sounds, symbols, archetypes, smells and even emotions. +1 212 367 7520 We are reminded of the work “Infinito”, two acrobatically sculpted tires intertwined so CELL as to form a figure eight. The tread’s texture is perfectly engraved recalling the noise +1 347 210 8831 tires make on the pavement of the street. Or we may smell the perfume of heated +1 347 25 74 103 +39 335 62 51 723 rubber. These works offer a communicative exchange that is actually misleading: the undeniable reality of matter is never separated from the curved spirituality of “infinity.” CONTACT NAME Viola Romoli Viale knows that art is an illusion. Consequently, sometimes he resorts to conveying his own creative motivations through a vital impulse that destroys logic and ratio- nality in the name of spontaneity or even discretion. Through the skillful, playful use REPRESENTED ARTISTS of media, he gives his works an extraordinary ability to grow, to know. But, then he Eteri Chkadua Daniel Glaser / Magdalena Kunz restores them to the value of reality, to the aesthetic feeling of things which take a Patrick Jacobs new shape, challenging witticism with a smile. Kika Karadi Tania Pistone Fabio Viale’s work plays on juxtaposition. He shapes the marble as if it were “many Andrea Salvatori different materials, ”thus managing to represent different objects: an antique stat- Fabio Viale ue, a kernel of popcorn, a tire or a boat. These works are a concrete challenge to technical perfection.

COVER A six meter white slab of marble rests on two points which support its full weight. Fabio Viale The viewer suspects that it is a flat line, but it is not actually flat. The distinctive work Gioconda of this Italian artist is hard to comprehend at first sight. The slab actually curves in- 2009 wards at the center as if giving way under its own weight ironically flexing in the mid- White marble 77 × 40 × 60 cm dle. At first, the combination of the object represented – a crude horizontal beam – and the material from which it is made achieve a sense of stability in the observer. INSIDE Fabio Viale This then undergoes a metamorphosis that makes the work fluid and articulated Par avion as it loses its battle against gravity. The action which breaks the visual balance is 2005 almost a mental one. White marble 50 × 140 × 35 cm Viale explores all the possibilities of marble. He exploits and yet respects its physi- cal nature. A subtle irony runs through all his work. RIGHT Fabio Viale Infinito 2004 Black Marble 42 × 53 × 78 cm NICKY BROEKHUYSEN POOL GALLERY, BERLIN

VOLTA NY 2011 | BOOTH NUMBER C3

POOL GALLERY: NICKY BROEKHUYSEN

WEBSITE “From the sweltering heat and chaos of the primordial soup emerged a single bacte- www.pool-gallery.com rium. Multiplying to initiate substance, this bacterium transformed itself into a criti- E-MAIL cal mass, finally enacting a purpose, a mission, and then another. The construction [email protected] of form, an order (perhaps arbitrary; can bacteria distinguish between right and

PHONE wrong?) was completed, and from this initial shapeless potential, a structured world +49 30 2434 2462 was eventually created – all that we see, smell and feel around us.

CONTACT NAME “Nicky Broekhuysen’s work embodies this moment: the transition from chaos to or- Jordan Nassar der; by removing it from its temporal frame, it is thereby rendered abstract. In her series and project based work, she invokes this original metaphor. Her 1’s and 0’s are the 21st century bacteria – the digital code of which our society is constructed. REPRESENTED ARTISTS Ruby Anemic Individually, like each bacterium, the forms are without meaning, but en masse they Cum* are set into motion, forwards and back, and take on their intended form only to be James Gallagher once again deconstructed. Engaging with the natural tendency to value the mass James Gortner over the individual, the particles, 1 and 0, explore entanglement, participation and Mercedes Helnwein Oliver Kroll the interconnectivity of group behaviors. Within each of these particles a piece Mike Mills of information is stored that can only become comprehensible when multiplied…” Andreas Mühe [Excerpt from “Particles” by Roni Ginach] Parra Benjy Russell At VOLTA NY 2011, pool gallery proudly presents Nicky Broekhuysen’s Flocks, a Amy Stein single work comprised of 10 parts. The cross, a form rich in symbolism and represen- tative of the many constructed systems within society that allow us to find a sense of meaning within the context of our existence, is depicted in a state of transforma- COVER tion. Constructed from 1’s and 0’s, the form’s building blocks slowly break free of Nicky Broekhuysen Flock (1) their rigid structure to form a chaotic pile. Flock (6), the pivotal turning point in the 2008 series, depicts this pile in all its chaos yet filled with the potential of what can come. Ink stamped on paper As the progression continues, the binary numbers rise up, a flock of birds, a single × 100 70 cm form that by definition is composed of innumerable individual parts, cohesive and INSIDE flexible as it shifts and adapts to its environment. Nicky Broekhuysen Flock (2 – 9) In conjunction with Flocks, pool gallery will also unveil a more recent project of 2008 Broekhuysen’s, adding a third dimension to her technique while exploring a variety Ink stamped on paper of themes stemming from and related to Flocks. each 100 × 70 cm

RIGHT Nicky Broekhuysen Flock (10) 2008 Ink stamped on paper 100 × 70 cm ALEXANDRE JOLY GALERIE RÖMERAPOTHEKE, ZURICH

VOLTA NY 2011 | BOOTH NUMBER D11

GALERIE RÖMERAPOTHEKE: ALEXANDRE JOLY

WEBSITE The artist Alexandre Joly, born in 1977 (postgraduate studies at HEAA-HES, Ge- www.roemerapotheke.ch neva, graduated in 2003), explores potential interactions between material and tone E-MAIL through construction, reconstruction and deconstruction, operating on different lev- [email protected] els. On his kaleidoscopic exploratory trips, he samples issuing and receiving staging

PHONE options. He makes his way into new dimensions through the unmasking of realities +41 43 317 1780 and, in the process, takes us along into imaginary landscapes. In earlier works, he

CONTACT NAME moved from the Microscopic to the Macroscopic, from the Technological to the Nat- Philippe P. Rey ural. In his last three exhibitions, “Polyphonie animale” (Musée des Beaux-Arts, Le Locle 2009), “Paysage transvasé” (Ferme-Asile, 2010) and “Sham Shui” (Shanghai, 2010), he invited visitors to take a walk in the imaginary world of his works – simi- COVER lar to a forest walk. Flora and fauna are very present in his work. At best, one ap- Alexandre Joly proaches his exhibitions in an instinctive, tactile and spontaneous way. In this way, untitled 2010 going back and forth builds a network – a system of connections which becomes glass cover, peanuts, carrageen, ever greater with time. If you are open, still curious and capable of recognizing a link rock crystal, glitter between squirrels, frog songs, stuffed crows, processed cowhides, music, filigree INSIDE drawings and piezoelectric loudspeakers, wonderful art worlds will open up for you. Alexandre Joly untitled Awards and grants: 2009 studio scholarship in Chengdu (China). Confederation 2009 prize, Le Locle Print Triennal. 2008 working grant from the City of Geneva. 2007 coat of cow, black tincture, epoxi Swiss Federal Art Prize. Kiefer Hablitzel scholarship. Picker scholarship. 2006 prize resin, fibreglass, cord winner of the artist competition to design the parc des Ouches in Geneva. Kiefer 290 × 217 × 59 cm Hablitzel scholarship. Studio scholarship, Usine, 2007-2009 scholarship from the LEFT Simon I. Patino Foundation, residence at the Cité Internationale des Arts (Interna- Alexandre Joly Marie-Antoinette tional Arts City), Paris. 2005 Berthoud scholarship, DAC, GE. Start-up grant, DAC, 2007 GE. 2004 studio collaboration in the Grütli art gallery, 2005-2006. 2003 start-up padded ermine, artificial diamond grant, DAC, GE. 2000 prize winner of the Cantonal award for visual art, GE. 200 × 200 cm Publications: Bernard Fibicher: “La vache” (in “Like animals: bear, cat, pigs & co”), RIGHT Musée cantonal des Beaux Arts Lausanne, 2010. “Shanshui – both ways”, Swiss Alexandre Joly fish skin artists in labs, Shanghai, 2010. “Ecosystemes – Biodiversité et art contemporain”, 2009 Université de Provence, Marseille, 2010. Bernard Stéphane Guex “Alexandre Joly, loudspeaker, piano strings, sound- Polyphonie animale” (exhibition catalogue Musée des beaux-arts, Le Locle), 2009. composition, amplifier Eric Corne, “States of Non-Ordinary Reality”, Blou, Monografik Editions, 2008. Toni Installation Stooss / Dolores Denaro: “Under 30 Young Swiss Art”, Centre Pasqu’Art, Bienne, 2007. “Alexandre Joly: Le coup du lapin” (exhibition catalogue, Palais de l’Athénée, Geneva), 2005 SUMMER WHEAT SAMSØN, BOSTON

VOLTA NY 2011 | BOOTH NUMBER D3

SAMSØN PRESENTS SUMMER WHEAT

WEBSITE Samsøn creates and presents programs that explore the diversity of cultures and www.samsonprojects.com voices that continually shape contemporary art and ideas today, introducing and E-MAIL presenting emerging, mid-career and under-recognized artists as well as estab- [email protected] lished artists.

PHONE It is our mission to act as an interdisciplinary laboratory for the convergence of film, +1 617 357 7177 video, performance, music, design and visual art. CONTACT NAME Camilo Alvarez null/empty Set; there is no solution to the question or argument; not zero and not infinite. A condition: there is no question or argument that can support an answer. For every element of ø the property holds (vacuous truth); There is no element of ø REPRESENTED ARTISTS for which the property holds. Nicole Cherubini Davis Cherubini SUMMER WHEAT Craig Drennen Jeffrey Gibson I don’t describe my work as “abstract painting.” I see it as failed representational Steve Locke sculpture, and I love its failure. How can I make paint three-dimensional? How can Gabriel Martinez I depict a subject matter that is more than its form? These are the impossible ques- Rune Olsen tions that push me to abuse the purity of paint and uplift the awkward moments in Matthew Rich Suzannah Sinclair human life. My paintings are full of messy human content: dorkiness, disappoint- Henry Taylor ment, humor and loss. They are impersonations in which the emotional content overwhelms the physical. Fascinated by vulnerability, I exalt in the incomplete.

COVER Summer Wheat Skull 2010 acrylic and oil on canvas 96 × 72 inch

INSIDE Summer Wheat Scratchpad 2010 acrylic and oil on canvas 72 × 96 inch

LEFT Summer Wheat Rotting-LimbDangler 2010 acrylic and oil on canvas 16 × 20 inch

RIGHT Summer Wheat Rancid Skullcracker 2010 acrylic and oil on canvas 16 × 20 inch CHRISTIAN SCHOELER SCHUEBBE PROJECTS, DÜSSELDORF

VOLTA NY 2011 | BOOTH NUMBER D8

SCHUEBBE PROJECTS: CHRISTIAN SCHOELER

WEBSITE ABOUT GENDER AND TEMPORALITY IN CHRISTIAN SCHOELER’S WORK www.schuebbeprojects.com By Alice Pfeiffer

E-MAIL Nietzsche once described the human being as “das noch nicht festgestellte Tier”, the [email protected] unfinished creature, one in a constant state of learning and transience. “There are no PHONE natural men, because we live in a cultural world,” he wrote, suggesting that this very +49 (0)211 328 985 process of learning is one dictated by exterior norms rather than an inborn essence. CELL +49 (0)171 272 6063 As a child grows up, he learns to say ‘I am a boy’ as well as ‘I am three’: because one’s experience of time is an embodied one, time and gender become inseparable CONTACT NAME Christa Schübbe and mutually validating; our passing through life is dictated and fragmented by a gender-time normativity – which can often be in discordance with the inherent self and personal development.

REPRESENTED ARTISTS Masculinity, growing up into a sexualized adult self, and the clash between the natu- Christian Schoeller Franz Burkhardt ral and the cultural is at the core of Christian Schoeler’s work. Yukako Ando Schoeler starts by creating a de-temporalized space, both in content and in style: Nashun Nashunbatu Per Adolfsen He chooses models that are purposely far from contemporary stereotypes of mas- Tianhong Sheng culine beauty. He then places them in a non-urban environment, one that the viewer cannot date nor situate, such as the countryside or an intimate space. This choice of scenery is not only a reference to 19th century academic portraiture à la John INSIDE Christian Schoeler Singer Sargeant; it is also a symbolic removal of the subject from society. The clas- Benedikt I sical style, far, far from hip contemporary art, as well as the naked surroundings (Detail shot from artist studio) contribute to creating a time-less space, a paradigm about the inner self that might 2010 ring true to all males. Mixed media and oil on canvas mounted on wood The models always seem captured in an intimate moment: rather than an official × 100 185 cm sit-down portrait, Schoeler captures a moment gone by in a second, that one might miss. In grand oil paintings, or airy watercolours that feel like a breath on piece of paper, he depicts the frail, transient space between teenage years and adulthood. By depicting a metaphorical secret garden, he encourages the viewer to focus on one’s inner self, away from a social ‘diktat’.

Whilst the boys appear effeminate and gentle, this a reminder that masculinity doesn’t necessarily entail normalized macho behavior – and that many men, if shielded from social obligations would be less inclined to expose hunter-gatherer masculinity.

It is important to note that Schoeler’s work is in no way of a sexual origin. Whilst the portraits are of the models they certainly aren’t about them – rather, they are used as means of self-analysis by the painter, a projection of his inner struggle growing up in a conventionalized adulthood.

Whilst increasingly today, Schoeler’s name is associated with barrier-breaking gay artists such as David Hockney and Rainer Fetting, the former differs in one radical way: he is a gender artist, not a homosexual artist. His battle lies in the defeating the obligation to conform to standardized masculinity.

“The body itself is a construction, as as the myriad of bodies that constitute the domain of gendered subjects.” wrote Judith Butler, the matron all gender turmoil, “gender is a relation.” ELISABETH SUBRIN SUE SCOTT GALLERY, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER F3

SUE SCOTT GALLERY: ELISABETH SUBRIN

WEBSITE Elisabeth Subrin’s Shulie: film & photographs explores the residual impact of the www.suescottgallery.com 1960’s through portraiture and reclamation, while challenging the parameters of E-MAIL historical evidence and material. Slipping between past and present as well as fact [email protected] and fiction, Subrin’s film (1997, 37:00, 16mm/video) is a shot-by-shot remake of

PHONE an obscure documentary about radical ’60s feminist Shulamith Firestone. Author of +212 358 8767 the treatise The Dialectic of Sex: The Case for Feminist Revolution, Firestone was a

CONTACT NAME student at the School of the Art Institute of Chicago in 1967 when four male direc- Steven Stewart tors selected her as a subject for a film about the so-called Now Generation. Shot in the style of direct cinema, the original Shulie features Firestone discussing the limitations of motherhood, as well as racial and class issues in the workplace. The REPRESENTED ARTISTS directors also filmed her enduring a humiliating critique by her art school professors. Kristopher Benedict Thirty years later, Subrin painstakingly recreated Shulie using actors in many of the Franklin Evans Paola Ferrario original locations. The resulting film is a nostalgic and somewhat cynical reflection Suzanne McClelland on the legacy of second-wave feminism. Tom McGrath Kirsi Mikkola The newly created Digital C-Prints (24 × 30 inch, 2010) extend the investigation of Shulie as “a powerful and original exploration of a woman as political and intellec- tual object – an anarchic and unintentional pinup.” (The New Yorker, November 10, COVER 2010). These color photographs not only allow the viewer to focus on thematic and Elisabeth Subrin symbolic details of the protagonist’s activities and world, but also formal details Shulie Looking Back (from Shulie, including Super 8 and 16mm film grain, analog video scanlines and subtle digital 1997, Super-8/16mm/video, sound) detail artifacting. Similar to the way Subrin’s film inhabits the fuzzy area between reality 2010 and myth, the highly mediated printing methods involve a complex layering of ana- Digital C-Print, Edition of 6 log and digital techniques. Unlike the many reenactment projects in contemporary × × 22 30 inch / 55,9 76,2 cm photography, which generally cite narrative film and popular culture, Subrin’s stills INSIDE uniquely investigate the tropes, gestures and iconography of a non-fiction form – a Elisabeth Subrin haunting performance of a fake document. Shulie Photographing Trash (from Shulie, 1997, Super-8/16mm/video, sound) 2010 Digital C-Print, Edition of 6 22 × 30 inch / 55,9 × 76,2 cm

RIGHT Elisabeth Subrin Shulie Speaking (from Shulie, 1997, Super-8/16mm/video, sound) 2010 Digital C-Print, Edition of 6 22 × 30 inch / 55,9 × 76,2 cm CARLOS IRIJALBA GALERÍA JUAN SILIÓ, SANTANDER

VOLTA NY 2011 | BOOTH NUMBER B10

GALERÍA JUAN SILIÓ: CARLOS IRIJALBA

WEBSITE UNWILLING SPECTATOR www.juansilio.com Take the most usual spot in our everyday practice, the room, say, that one grew up E-MAIL in over the course of 14 years, observe the sparse experience that has been gleaned [email protected] from it, and this will graphically reveal how limited our subjective spatial circuit is:

PHONE from the door to the bed, from the bed to the wardrobe, from the wardrobe to the +34 94 221 6257 table… This sparsity becomes yet more evident if we transfer this exercise to the

CELL sphere of contemporary public space. The real experience of the Atlantic Ocean +34 60 040 0386 on a Madrid-New York flight is 8 hours of pressurised cabin, a long shout from any

CONTACT NAME connotation associated with that huge mass of water. Juan Silió On an intermediate scale, the circuit of interurban connections and spaces materi- alises in our everyday practice as a kind of distancing of the real, making adjacent spots ultradistant: like the simultaneous experiencing of the same point on a mo- REPRESENTED ARTISTS Chema Alvargonzalez torway, between a workman sweeping the hard shoulder and another person pass- Sergio Belinchón ing in a car at 120 Km/h. Joan Fontcuberta Abraham Lacalle Unwilling Spectator details these relative mechanisms of time and experience, with Antonio Mesones the support of parameters such as inertia or tempo. It takes the shape of an inter- Michael Najjar vention upon one of those small gardened spaces set within a motorway ring road. Darío Urzay A space that’s been encircled a thousand times by the circuit that defines it but has never been approached. A location whose experience is residual or null.

COVER The first part of the intervention consisted of journeying every day over a number of Carlos Irijalba weeks to the Laiguangying intersection on the 5th Ring Highway of Beijing in order Unwilling Spectator 12 to reconnoitre these spaces between roads and study how they are constructed so 2010 C-Print as not to be experienced. The incongruity of their scale in relation with one’s own, 100 × 70 cm (detail) their layout, their tempo… Having placed the subject dimensionally against the place, it was decided as a second step to produce some spatial permutation by establish- INSIDE Carlos Irijalba ing a small bonsai forest within the isle the ring road encircles. A situation of syn- Unwilling Spactator ecdoche of the spot is thereby generated, where the radically contrasting tempos 2010 of both elements are dissolved and their absolute characters become more relative. C-Print 40 × 60 cm (detail) Through this presence and the accompanying documentation that took place over

RIGHT the next month, a new sense of the distance between the circumscribed element Carlos Irijalba and its host was set in play. Negative action over the next year and beyond opens Unwilling Spectator 7 up the object of this intervention to the degree of irrelevance that the place lends it 2010 and what happened in a location that is not its own gives way, unattended, to the C-Print 100 × 245 cm (detail) previous continuum of excluding realities. by Carlos Irijalba, Beijing 2010

Carlos Irijalba (Pamplona, 1979) graduated in 2002 at the Fine Arts Basque Country University and studied at UDK Berlin with professor Lothar Baumgarten. Awarded by the Generación 2006 and 2009 art Prize among others, also received several Art Grants as the Guggenheim Bilbao in 2003 or the Marcelino Botín Foundation in 2007/08. Also shown at international Art Museums, including the CCCB Barcelona and Jeu de Paime Paris. JOOHYUN KIM GALLERY SIMON, SEOUL

VOLTA NY 2011 | BOOTH NUMBER C6

GALLERY SIMON: JOOHYUN KIM

WEBSITE JOOHYUN KIM creates sculptures in which modules are repeatedly combined ac- www.gallerysimon.com cording to mathematical laws and reveal a certain form and structure. She was born E-MAIL in 1965 in Seoul, Korea. She majored in sculpture at Seoul National University and [email protected] graduated from Hochschule fur Bildende Kunste Braunschweig, Germany. She has

PHONE held 11 solo exhibitions since 1993. She participated in the residency program at +82 2 549 3031 Rockefeller Foundation Bellagio Center in 2009. By visualizing various thoughts

CONTACT NAME of contemporary science such as fractal theory, chaos, and complexity theory, Kyungmin Lee Joohyun Kim attempts to extend the range of contemporary art.

Also noteworthy in Kim’s work is that the artist aestheticizes her femininity in such a way that the artist conforms to her physical, spiritual, and emotional needs, and REPRESENTED ARTISTS Hae-sun Hwang challenges male-centric minimalism prevalent in art history, expressed through a Airan Kang self-contained and non-referential formalism, through both her sculptures, which are Ja-young Ku interrelated and relation-oriented, and her statement on the web of life in her work. Yong-rae Kwon Beom Moon GALLERY SIMON, founded in 1994, has been at the forefront in representing the Sang-kyoon Noh most current and significant tendencies in Korean and international contemporary art. Today, Gallery Simon continues to preserve the aesthetic quality of contempo- rary artwork that the gallery had founded since its establishment. Also, the gallery COVER remains to play an important role in developing the domestic art market, promoting Joohyun Kim Warping-Web Korean artists as well as raising Korean art audience’s awareness of the interna- 2010 tional art scene. Copper wire and LED 79 × 79 × 118 inch As part of Gallery Simon’s ongoing self-evaluation and improvement, we encourage artists’ active participation in exhibitions while discovering young artists with new INSIDE Joohyun Kim vision. To remain as the foremost foundation of its field, Gallery Simon continuously 22000 Pieces of Hinges engages with various collectors as well as a wide range of art communities of both 2005 Korea and overseas. Our desire is to continuously work as a mediator between Hinges made of sheet zinc artists and collectors, seeking for renowned artworks to be shown to a variety of 79 × 315 × 12 inch audiences. Above and beyond that, Gallery Simon’s three missions are: to retain RIGHT enthusiasm for the contemporary art, to have the sense of duty to promote it, and Joohyun Kim to inspire the audiences with its passion for contemporary art. Gallery Simon will Warping-Torus 2010 keep pursuing its missions to become the most prolific gallery in Korea. Aluminum and LED 32 × 35 × 39 inch DANIEL SVARRE SPECTA, COPENHAGEN

VOLTA NY 2011 | BOOTH NUMBER B5

SPECTA: DANIEL SVARRE

WEBSITE SPECTA represents a select group of Scandinavian and International artists. The www.specta.dk gallery arranges six to seven exhibitions per year, solo as well as curated group E-MAIL shows, presenting a large variety of media, including photography, sculpture, paint- [email protected] ing, installation, video, sound and drawing. SPECTA focuses on artists working

PHONE persistently with their individual artistic position, involving a conceptual approach +45 33 130 123 to topic or genre and an original use of media and material.

CELL +45 29 63 55 94 DANIEL SVARRE +45 20 41 67 33 The artistic project of Daniel Svarre derives from an interest in the aesthetic and CONTACT NAMES psychological consequence of belonging or not belonging to a group and how this Gitte Johannesen relationship is constructed visually. His work reflects on the one hand the SENSE Else Johannesen OF belonging, closeness and intimacy in a group, and on the other hand the fear of dissolution of the group and of what is outside the well known. Additionally his works deal with feelings of desire and anxiety, relating to the stereotype ideas of REPRESENTED ARTISTS Thordis Adalsteinsdottir ”I”, ”We” and ”The Others”. Defining the group raises a number of contradictions, for Lars Arrhenius example when the group is in opposition to the surroundings, and when the private Maj-Britt Boa is appearing in the public space. Daniel Svarre works in a cross-over between the Eva Steen Christensen society and what is personal, allowing his works to be interpreted both ways as a Marianne Grønnow Peter Holst Henckel critical contribution to our ideas, images and prejudices inherited in our understand- Ellen Hyllemose ing of ”Us” and ”Them”. Clay Ketter Nina Saunders Daniel Svarre (b. 1976, Denmark) is educated at the Malmö Academy of Art in 2006. Svend-Allan Sørensen He has exhibited solo in SPECTA, at Skaanes Konstforening in Malmö, Sweden, and at Overgaden Institute for Contemporary Art in Copenhagen. He has participated in a number of exhibitions, e.g. The U-turn Quadriannal of Contemporary Art in Copen- COVER hagen (showing the installation Group30), and at Hanoi Future Art in Vietnam. Lately Daniel Svarre Svarre has been both curator and exhibitor in the exhibition UPDATE, opening show Totem at Kunsthal Nord in Aalborg, Denmark. He is represented in private collections, as 2010 spray painted jesmonite well as at the Danish Arts Agency. H 210 cm, Dia 80 cm

INSIDE Daniel Svarre Give Me Shelter 2007 installationview

RIGHT Daniel Svarre Sons I (from a series of six photos) 2009 light jet photography 70 × 70 cm FREDRIK HOFWANDER STENE PROJECTS, STOCKHOLM

VOLTA NY 2011 | BOOTH NUMBER G4

STENE PROJECTS: FREDRIK HOFWANDER

WEBSITE In the future to come Stene Projects thinks it is necessary for a gallery to be more www.steneprojects.com business minded, transparent and flexible. Key words are social and economic du- E-MAIL rability. The ambition with Stene Projects is to make an attempt to widen the possi- [email protected] bilities of what a platform for contemporary art can be. Stene Projects is very much

CELL inspired by Chris Anderson (The Long Tail), Linux (software) and the social impact +46 76 898 6495 from new technology.

CONTACT NAME Jan Stene FREDRIK HOFWANDER Looking at the works of Fredrik Hofwander, let your eye be caressed by the graph- ite, which, like watered silk and polished steel, creates seductive surfaces. The thin REPRESENTED ARTISTS lines are so close that they become hard to distinguish. Above the dark valleys of Per Wizén graphite the blank paper appears to rise as white banks. These are sublime graphite EvaMarie Lindahl Sylvan Lionni paintings, serious and playful at the same time. You may remain a viewer but you Glen Rubsamen may also choose to enter into them with your own experience, in order, perhaps, to Suzannah Sinclair come out on the other side. Or you will stay there – stuck in the physical materiality Noah Lyon of the graphite – eternally engrossed. Maja Rohwetter Jone Kvie Luke Stettner

COVER Fredrik Hofwander The Subatomic Heart of It 2011 graphite on paper 90 × 128 cm

INSIDE Fredrik Hofwander Double Shadow 2006 graphite on paper 82 × 125 cm

RIGHT Fredrik Hofwander Black Forest Gateau 2011 graphite on paper 90 × 128 cm KATRIN STRÖBEL GALERIE HEIKE STRELOW, FRANKFURT

VOLTA NY 2011 | BOOTH NUMBER G13

GALERIE HEIKE STRELOW: KATRIN STRÖBEL

WEBSITE The strolling Katrin Ströbel is a collector of all the various signs and things compos- www.galerieheikestrelow.de ing our postmodern cityscapes. As an international artist travelling around the globe E-MAIL she has been able to develop an artistic practice of perceptive walking comparative [email protected] to the Parisian writers of the 19th Century. In her drawings and installations she

PHONE adheres the multilayered and cultural diverse influences of our daily experiences. +49 69 4800 5440 Arabian characters, multinational ads, quotes of literature and other artists as well as

CONTACT NAME postcolonial and globalized realities get interlaced to a grid of urban fragments and Heike Strelow individual live styles. With her sensitive exposure Ströbel is outlining the particular esprit of the details and hence showing us the ironic, gloomy or as the case may be existential stories. At VOLTA NY the German artist concentrates on multicultural mat- REPRESENTED ARTISTS ters and migration, such as disorientation and the ambivalence in the confrontation Fides Becker of the well known and the other. She is an observer of our time. Various drawings on Marco Evarissti Florian Haas airy plastic bags are reflecting the visual and social experience of Ströbel in particu- Özlem Günyol & Mustafa Kunt lar while her residency in Paris, though it draws a picture of cosmopolitan cities all Mathias Kessler over the world. With this subtle approach the ironic and cross-linked dimensions of Eva-Maria Kollischan her latest works – a series of water-coloured bumper stickers – becomes apparent. Gerhard Mantz Rémy Marlot George Steinmann GALERIE HEIKE STRELOW With the presentation of the works of Katrin Ströbel at VOLTA NY 2011 we display an artistic position which is representative for the gallery programme. COVER Katrin Ströbel The thematic focus of the gallery is devoted to artistic approaches which are exam- Displaced ining existential questions and constructions. These are positions which concen- 2008 trate on migration, cultural diversities or territorial questions as well as personal or Pen on paper (2-parted series) social identities. Originally, the gallery focussed on positions which are redefining each 29,7 × 21 cm the meaning of nature and landscape. Furthermore the presented artists build a INSIDE thread from cultural landscapes to art related questions within the public as well as Katrin Ströbel to works that explore the individual and social relations between human, body and “border collie / women are veterans” From the series “car park water environment. All presented artists are following formally and thematically an inno- colors” vative, sustainable approach. 2010 24 × 32 cm

RIGHT Katrin Ströbel Misbollah vs. Guy Debord 2008 Pen on Paper (2-parted series) each 29,7 × 21 cm [dNASAb] FREDERIEKE TAYLOR GALLERY, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER V13

FREDERIEKE TAYLOR GALLERY: [dNASAb]

WEBSITE [dNASAb] is known for creating new-media video work, utilizing consumer electron- www.frederieketaylorgallery.com ics and complex sculptural systems. The artist sees these technologies as raw ma- E-MAIL terials for the creation of his work which have a distinct aesthetic, capturing velocity, [email protected] direction, and evolutionary motion. His work creates a dynamic inter-play between

PHONE the illuminated three-dimensional sculptural components and the self-referential, +1 646 230 0992 two-dimensional animated video images, creating a new natural landscape of eco-

CONTACT NAME systems growing around our technologies, emerging as reality. Frederieke Taylor The video sculptures combine biomorphic forms with new technology to create a An Hoang new living organism; incorporating technology such as HD televisions, iPods, video projectors, and media players are fused with plastics, hand-blown glass, welded

REPRESENTED ARTISTS steel, LED’s, fiber optics, phosphorescent silicon, and video. His photographic Olive Ayhens works are energetic abstractions, uniquely combining his mixed media sculpture Long-Bin Chen with the unpredictable elements of nature. Mel Chin Jackie Ferrara [dNASAb] has exhibited frequently in the United States, and his work has been ex- Julie Langsam hibited internationally in various locations including galleries in Paris, Basel Switzer- Mary Lum land, South Korea, and Istanbul. He was recently awarded an Artist in Residence Raquel Maulwurf Kirsten Nelson for the “Institute for Electronic Arts”, at Alfred University, received an Educational Christy Rupp Scholarship from “Harvestworks” and was an “Artist Honoree” for the 2010 BRIC Contemporary Art Gala “Brooklyn Art:Work”. His works are included in numerous private and corporate collections. COVER [dNASAb] LCDblossom_dataFrenzy 2008 9" LCD screens,fiber optics, plastics, resin, enamel, acrylic,airbrush paints,12v led’s, custom audio/video dimensions variable

INSIDE [dNASAb] dataclysmic_ LED3DTV #3 2010 19" LED HD 720p screen, Digital Media Player, LED’s, welded steel,resin, phosphorescent silicon, plastic, fiber optics, 1 of 1 720p HD video 32 × 28 × 58 inch

RIGHT [dNASAb] dataclysmic_ LED3DTV #2 2010 19" LED HD 720p screen, Digital Media Player, LED’s, welded steel,resin, phosphorescent silicon, plastic, fiber optics, 1 of 1 720p HD video 29 × 26 × 52 inch TINA SCHWARZ TEAPOT, COLOGNE

VOLTA NY 2011 | BOOTH NUMBER F2

TEAPOT: TINA SCHWARZ

WEBSITE “What constitutes the identity of a person? www.weareteapot.com What is it, that we don’t see yet feel / know it might be essential for getting the ‘whole E-MAIL picture’? I try to play with a corporal presence as well as with abstractions and [email protected] ‘wipe-outs’. Giving assumptions domiciled in reality / literature / history and allusions PHONE aimed at the viewers own imagination. Portraits of humans in all their awkwardness +49 221 7894 0398 and longing for diversity / individuality while at the same time acting extremely of- CONTACT NAMES ten like some of these gregarious animals running in the direction where we hope Lutz Goebelsmann getting most with minimal efforts. It’s a chase of one’s own tail and of course at Petra Martinetz frequent times sad, ironic and gruesome but for me as an artist utterly intriguing.”

by Tina Schwarz REPRESENTED ARTISTS Amir Fattal Christian Eisenberger Thomas Palme Rob Scholte Tina Schwarz Susanne Rottenbacher Rolf Kluenter Seung Wook Sim Robert Knoke Martin Dessecker

COVER Tina Schwarz lavierung(skull) 2010 bistre, oil and masking laquer on paper 42 × 29,8 cm

INSIDE Tina Schwarz no title / portrait boy 2008 detail of a work on brown paper 90 × 100 cm

RIGHT Tina Schwarz happy heretic hoods (detail) 2009 oil on linen 200 × 170 cm DEBORAH GRANT STEVE TURNER CONTEMPORARY, LOS ANGELES

VOLTA NY 2011 | BOOTH NUMBER E3

STEVE TURNER CONTEMPORARY: DEBORAH GRANT

WEBSITE THE PROVENANCE AND CROWNING OF KING WILLIAM www.steveturnercontemporary.com Based on the life and work of William H. Johnson, THE PROVENANCE AND E-MAIL CROWNING OF KING WILLIAM is Deborah Grant’s newest series and it will make [email protected] its debut at VOLTA NY 2011. It is part of Random Select, an ongoing project that

PHONE Grant has worked on over the last ten years, wherein she deconstructs and reas- +1 323 931 3721 sembles visual, historic, and literary material from sources to create her own non-

CONTACT NAME linear narratives in painting, collage and drawing. In appropriating the artworks of Steve Turner famous male artists including Picasso, Basquiat, Bacon and Traylor, Grant has re- made images to address her own life experience and identity.

Born in South Carolina, William H. Johnson (1901–1970) overcame tremendous REPRESENTED ARTISTS Joshua Callaghan obstacles to become an artist. He escaped the segregated South, was denied a Michael Decker scholarship because of his race and survived with very little money throughout his James Gobel career. Having contracted syphilis as a young man, and having had no treatment Deborah Grant until it was too late, he spent the last twenty-three years of his life in a mental in- Pearl C. Hsiung My Barbarian stitution. He did not receive widespread recognition until after his death in 1970. Camilo Ontiveros For the provenance and crowning of King William, Grant has culled vast amounts Edgar Orlaineta of material from the many books on Johnson. She goes beyond his biography by Eamon Ore-Giron inventing a visual narrative of his years spent at the Central Islip State Hospital, a Pablo Rasgado Javier Rodriguez period during which Johnson is thought to have made no work. Grant’s 2009 series, BACON, EGG, TOAST IN LARD, was based on an imaginary conversation between the Dublin-born painter Francis Bacon and the Chitlin’ Circuit COVER comedienne Jackie “Moms” Mabley in which they speak in depth about humanity, Deborah Grant Golgotha war, sex, death, and time travel. Golgotha and Suicide Notes to the Self are part 2008 of this series. Archival ink and enamel on birch panel Grant received an MFA in painting from Tyler School of Art and did residencies at 70 × 34 ½ × 1½ inch the Studio Museum in Harlem and Skowhegan. She has had solo exhibitions at

INSIDE Roebling Hall, New York; Dunn and Brown Contemporary, Dallas; Steve Turner Con- Deborah Grant temporary, Los Angeles and The Matrix Gallery, University of California, Berkeley. Uneducated Authority Grant lives in New York. 2010 Photo paper, oil, acrylic and linen Established in 2007, Steve Turner Contemporary represents emerging and mid- on red painted birch panel career artists. 24 × 18 inch

RIGHT Deborah Grant Suicide Notes To The Self (detail) 2008 Oil, archival ink, paper, flashe paint and enamel on five birch panels 72 × 240 inch RICHARD COLMAN V1 GALLERY, COPENHAGEN

VOLTA NY 2011 | BOOTH NUMBER E1

V1 GALLERY: RICHARD COLMAN

WEBSITE V1 GALLERY was founded in 2002 by Jesper Elg and Peter Funch as a project space www.v1gallery.com for cutting edge contemporary art. Mikkel Grønnebæk joined the team, and V1 be- E-MAIL gan operating as commercial gallery dedicated to the same spirit it was founded on. [email protected] V1 Gallery represents a select group of emerging and established artists – Danish [email protected] as well as internationally renowned names. V1 is committed to introducing con- PHONE temporary art to a diverse and international audience. Seeing art as a progressive, +45 33 31 03 21 profound and competent media for artistic, social and political discourse, the gal- CELL lery has a desire to challenge both beholders, the norms and itself. V1 aspires to +45 26 82 81 66 create a platform demanding nothing but quality and nerve. The artists work in a CONTACT NAME variety of media. Jesper Elg V1 Gallery’s affiliated artists are represented in a number of public and private col- lections; The National Gallery, Copenhagen, ARKEN – Museum of Modern Art, Co-

REPRESENTED ARTISTS penhagen, ARoS – Aarhus Kunstmuseum, Denmark, MoMA, New York, Deste Foun- Asger Carlsen dation for Contemporary Art, Athens, Malmö Konstmuseum, Sweden, The National Jakob Boeskov Museum of Photography, Copenhagen, Brask Collection, Sender Collection, West John Copeland Collection, Djurhuus Collection, Aegidius Collection, Faarup Collection, Hoff Col- Kasper Sonne Peter Funch lection, Saatchi Collection, and Statoil Collection amongst others. Stephen Powers At Art Basel, 2010, V1 Gallery proudly accepted the European FEAGA Award (Fed- Thomas Campbell Todd James eration of European Art Galleries Association) for Outstanding Creativity and In- Troels Carlsen novation. Wes Lang CAN’T GET THERE FROM HERE, a solo presentation by Richard Colman (US) Richard Colman’ (b. 1975) explores the intricacies of every day life. Power struggles, COVER personal interactions and the relationships with our selves and the world around Richard Colman Untitled With Legs (detail) us often play key roles in his brightly hued landscapes. Monuments to nothing and 2010 an increasingly violent cast of characters illustrate mans need for meaning and his Acrylic and guoache on paper frustration with the world around him. Employing a number of narrative devices, mounted on wood cryptic symbolism and a bold use of color, Colman creates images, which beg to 92 × 122 cm be deciphered. His sceneries draw the viewer into a world alluding to a dark reflec- INSIDE tion of our own. His paintings, meticulously executed and constantly evolving serve Richard Colman as a reminder of the chaos and the wonder of existence in a contemporary society Four Become One 2008 where progress rules and one rarely finds the time to appreciate the small moments. Fiberglass and mixed media sculpture (Installation shot) 350 × 350 × 356 cm

RIGHT Richard Colman Strange Connections (detail) 2010 Acrylic and spray on paper 112 × 76 cm DIRK VANDER EECKEN GALERIE VAN DER MIEDEN, ANTWERP

VOLTA NY 2011 | BOOTH NUMBER B8

GALERIE VAN DER MIEDEN: DIRK VANDER EECKEN

WEBSITE Vander Eecken’s background as a graphic artist is essential to his art, even though www.vandermieden.com he has only later come to consequently apply the mechanical and reproductive E-MAIL aspect of this technique in his work. Fascinating in his early work –as seen from [email protected] the perspective of the urge for meaning as described above – is that his first grid

PHONE paintings invariably originated from a concrete, quasi-narrative impulse. A telling +32 3 231 7742 anecdote: one of the important early works was painted after a visit to the Antwerp

CONTACT NAME Zoo. In this work, Vander Eecken abstracted and accentuated the grid of the animal Diederik Van Der Mieden cages, as if to cloak (already then) the narrative content of what was happening in Dimitri Riemis those cages. In his early paintings which he made in Watervliet, he utilised the grid to bring an ‘order’ to the landscape, again a very direct incentive for using the grid. In the following years, Vander Eecken has remained almost exclusively involved in REPRESENTED ARTISTS the search for ways in which this grid can singularly define itself, independent of the ARPAÏS du bois Artemio painted image, and not seldom ‘at the expense’ of the potential visual meaning. He Hamish Fulton was able, in this respect, to rely on his background as a graphicist, which he used Ulrike Heydenreich to disconnect from painting, both in a material as well as in a content-related way. Jasper Krabbé The use of the grid became literal through the use of various perforated sheets and Gonzalo Lebrija Peter Lemmens templates, while the brush was replaced by the spray can. By mechanising both Caio Reisewitz the manual act (the painting itself) as the material aspect (the paint), Vander Eecken Sarah&Charles manages to skilfully block any possible meta-medium-based perception of painting, Kris Van Dessel for the simple reason that there hardly remains – or better: at least not in the first Steve Van Den Bosch place – any actual paint or painterly gesture.*

At a first viewing of Dirk Vander Eecken’s recent work, I was peripherally reminded COVER of the edition “Erster Blick” (2000) of the German artist Gerhard Richter. This simple Dirk Vander Eecken appropriation of a page from the Frankfurter Allgemeine Zeitung shows a photo with G.R. N°2010/07/21 “Dark Room” (detail) a text fragment of the first image of the inside of an atom, made by scientists at 2010 the University of Augsburg. It is an edition in which Gerhard Richter expresses his Lacquer on canvas fascination for what underlies the material world, or what it is made up of. Concrete × 180 150 cm reality is tipped over through a microscopic examination that creates a mysterious INSIDE image which evades all human control. Gerhard Richter also painted, after an ill- Dirk Vander Eecken ness, snow landscapes that conjure up a similar fascination with a landscape that S.P. N°2010/06/02 exists but is temporarily covered with a layer of white snow. In a similar way, the “Black Screen” (detail) 2010 oeuvre of Dirk Vander Eecken is an attempt at creating a continuum, an attempted Lacquer on canvas contemplation of “realities” that directly opposes the routinous perception of the 200 × 150 cm overpressurised rustling reality that surrounds us.**

* excerpt from “Previews of Afterimages” by Thibaut Verhoeven (curator S.M.A.K. Ghent, Belgium)

** excerpt from: “reflections on the observation of a recent series of paintings by Dirk Vander Eecken” by Luk Lambrecht NADIA HEBSON VANE, NEWCASTLE UPON TYNE

VOLTA NY 2011 | BOOTH NUMBER G12

VANE PRESENTS NADIA HEBSON

WEBSITE FROM FLEMISH PORTRAITURE TO CZECH CUBIST FURNITURE www.vane.org.uk Working in painting and installation Nadia Hebson appropriates from a diversity of E-MAIL seemingly unrelated sources, from Early Flemish portraiture to Czech Cubist fur- [email protected] niture. Her low tone paintings and environments discount clear narrative readings,

PHONE suggesting instead an underlying psychological intent. Employing references from a +44 191 261 8281 wide variety of historical sources including literature, psychoanalysis, interior design

CONTACT NAMES and painting, Hebson has developed an arcane, iconic vocabulary that gives rise Paul Stone to allusive, ambiguous and ultimately dysfunctional narratives. Many of her works Christopher Yeats evoke a particular kind of vieux monde atmosphere, lending her practice a distinc- tive fin de siècle air and a certain romantic angst.

REPRESENTED ARTISTS Hebson’s practice centres on an exploration of the ongoing currency of iconic art Héctor Arce-Espasas historical imagery, where the boundaries between private symbolism and collective Paul Becker meaning, truth and fiction, subject and object are explored. Memory as construct Kerstin Drechsel is returned to again and again. Drawing on a vast bank of collected images, Heb- Jorn Ebner Mark Joshua Epstein son’s selection and translation through an often negativised painting process serves Nick Fox to slow down the constant parade of imagery we are subject to. As a bricolage of Jock Mooney imagery develops – shipwreck next to portrait, next to stage set – and unexpected Stephen Palmer meanings and connections arise, the work evokes both past and present yet be- Josué Pellot Morten Schelde longs to neither. Instead we are presented with an open-ended proposition subject to the vagaries and vicissitudes of the viewer’s vision that serves to remind us of the complex continuum between past, present and future.

COVER Nadia Hebson (b. 1974, Romsey, UK) lives and works in Newcastle upon Tyne, Nadia Hebson Valser UK and Berlin, Germany. She studied at Central St Martins (1993 – 96) and Royal 2009 Academy Schools (1997– 2000), London. Solo exhibitions include Bergholzli, Vane, oil on linen Newcastle, Phantasmagoria, Chapter, Cardiff, and Perfect Lux, Transition, London. × × 174 195 cm / 69 77 inch Recipient of the Jerwood Contemporary Painters Award (2008), she has held many installed at Palazzo Doria Pamphlji, Rome, Italy scholarships and residencies, including The British School at Rome (2008), Durham Cathedral Residency (2008 – 9), and AIR Antwerpen (2010). In 2008 she was award- INSIDE Nadia Hebson ed the Sovereign European Art Prize 2008 – 09 by a panel of judges including Philly LT Adams, Saatchi Gallery, Tim Marlow, White Cube, Sir Peter Blake and Jarvis Cocker. 2010 oil on zinc 40 × 30 cm / 16 × 12 inch

RIGHT Nadia Hebson PT 2009 oil on copper 50 × 32 cm / 20 × 12.5 inch on Czech Stage Set, 2010 ANA TISCORNIA ALEJANDRA VON HARTZ GALLERY, MIAMI

VOLTA NY 2011 | BOOTH NUMBER B7

ALEJANDRA VON HARTZ GALLERY: ANA TISCORNIA

WEBSITE Ana Tiscornia was born in Montevideo, Uruguay in 1951 and has resided in New www.alejandravonhartz.net York since 1991. She studied Architecture at the Facultad de Arquitectura de la E-MAIL Universidad de la República in Uruguay. [email protected] Her pieces, discrete objects, sculptures, and collages, result from the manipula- PHONE tion of customary materials, intervention of tools, pieces of furniture, and other +1 305 438 0220 daily objects. CONTACT NAME Alejandra von Hartz Behind these obscure and familiar constructions she articulates paradoxes de- picting a sort of devastation through a language linked with architecture. These re- arrangements that seem the result of displacement and dislocation, entail a search REPRESENTED ARTISTS for a potential poetics that sets up a kind of cartography of social oblivion while Danilo Dueñas exposing and recovering scattered fragments of a utopian project. Jaime Gili Matthew Deleget Her work has been shown internationally in various installations and solo exhibitions, Horacio Zabala including Solo Projects at ARCO 09 in Madrid, On Location at Allegra Ravizza Art Karina Peisajovich Project in Milan, Noticias Breves at Centro Cultural Recoleta in Buenos Aires, and Artur Lescher Pablo Siquier Sin Aviso at Centro Cultural España in Montevideo. Additionally Tiscornia has par- David E. Peterson ticipated in group shows such as The Disappeared, a traveling exhibition organized Marta Chilindron by the North Dakota Museum; Entre Líneas at La Casa Encendida in Madrid; Pho- Henrique Oliveira tographic Memory & Other Shots in the Dark at Galería de la Raza in San Francisco; Fabian Burgos Heard Not Seen and September 11, 1973, both at ORCHARD in NYC; and Políticas de la diferencia, an exhibition organized in Valencia, Spain that travelled to the Fun-

COVER dacao do Patrimonio Historico e Artistico de Pernambuco in Brasil and the Museo Ana Tiscornia de Arte Latinoamericano de Buenos Aires in Argentina. The artist represented Uru- Situation With Blue guay in the II and the IX Bienal de La Habana, Cuba, and the III Bienal de Lima, Perú. 2010 Wood, sheetrock, insulation foam, Tiscornia is an Assistant Professor at State University of New York, College at Old paint Westbury. She writes for several specialized art publications and is a collaborator 33 × 18 × 13 inch for Brecha of Uruguay; Art Nexus of Colombia; and Altlantica Internacional of Spain. INSIDE Ana Tiscornia She is the author of the book, Vicissitudes of the Visual Imaginary: Between Utopia The Fact of the Matter and Fragmented Identity, published by White Wine Press in collaboration with Dis- 2010 trito Cuatro. Among recent curatorial projects she curated La Guerra que no hemos Cardboard visto, which debuted in 2009 at the Museo de Arte Moderno de Bogota and traveled dimensions variable in 2010 to the Museo de Antioquia in Medellin. RIGHT Ana Tiscornia Situation With Blue (detail) 2010 Wood, sheetrock, insulation foam, paint 33 × 18 × 13 inch ATHI-PATRA RUGA WHATIFTHEWORLD / GALLERY, CAPE TOWN

VOLTA NY 2011 | BOOTH NUMBER F8

WHATIFTHEWORLD / GALLERY: ATHI-PATRA RUGA

WEBSITE Exploring the border-zones between fashion, performance and contemporary art, www.whatiftheworld.com Athi-Patra Ruga makes work that exposes and subverts the body in relation to struc- E-MAIL ture, ideology and politics. Bursting with eclectic multicultural references, carnal [email protected] sensuality and a dislocated undercurrent of humor, his performances, videos, cos-

PHONE tumes and photographic images create a world where cultural identity is no longer +27 21 448 1438 determined by geographical origins, ancestry or biological disposition, but is increas-

CONTACT NAMES ingly becoming a hybrid construct. A Utopian counter-proposal to the sad dogma Ashleigh McLean of the division between mind and body, sensuality and intelligence, pop culture, Justin Rhodes craft and fine art, his works expresses the eroticism of knowledge and reconciles the dream with experience.

REPRESENTED ARTISTS Recent exhibitions include: Beauty and Pleasure in Contemporary South African Cameron Platter Art at the Stenersen Museum (Oslo, Norway); the Guangzhou Trienalle in China, Georgina Gratrix Ampersand at the Daimler Collection (Berlin, Germany); A Life Less Ordinary – Per- Dan Halter formance and Display in South African Art, (UK); For Those Who Live in It – Pop Michael Taylor Stuart Bird culture Politics and Strong Voices, MU (Eindhoven, Holland), Athi-Patra Ruga – The Julia Rosa Clark Works, Solo exhibition at Fred (London); dak’art – Biennale of African Contempo- Peter Eastman rary Art (Dakar, Senegal). Daniella Mooney Athi-Patra Ruga was also recently included in the Phaidon book ‘Younger than Je- sus,’ a directory of over 500 of the world’s best artists under the age of 33. His COVER works form part of private public and museum collections here and abroad, namely: Athi-Patra Ruga Museion – Museum of Modern and Contemporary art, Bolzano italy; CAAC – Pigozzi The body in question part IV Collection; The Wedge Collection, Iziko South African National Gallery. (La mamma morta) 2009 Film Still / Video Projection dimensions variable Edition of 5

INSIDE Athi-Patra Ruga Ilulwane...he’s not one of youz 2010 Wool and tapestry thread on tapestry canvas 89 × 136 cm

RIGHT Athi-Patra Ruga ...The Naivety of Beiruth 2007 Lightjet print 70 × 90 cm EVOL WILDE GALLERY BERLIN

VOLTA NY 2011 | BOOTH NUMBER E8

WILDE GALLERY BERLIN: EVOL

WEBSITE Berlin-based artist EVOL creates impossibly realistic paintings of architectural struc- www.wilde-gallery.com tures using stencils and spray paint, the typecast tools of graffiti writers. EVOL be- E-MAIL gan as a street artist, stenciling electrical boxes with windows and balconies. His [email protected] recent installation in an abandoned slaughterhouse in Dresden (coincidentally the

PHONE same slaughterhouse as in Kurt Vonnegut’s Slaughterhouse Five), resulted in a min- +49 30 2581 6258 iature, post-apocalyptic urban wasteland so realistic in its neurotic execution that

CONTACT NAME photographs documenting the piece invoke the same amazed bewilderment as a Peter Wilde work by Thomas Demand. And, similar to Demand’s paper models, the original in- Emilie Trice stallation was ultimately destroyed.

EVOL obsessively photographs familiar city scenes – empty balconies and deserted

REPRESENTED ARTISTS courtyards – and then digitally illustrates select images, isolating each color field to Stephen Andrews create his meticulously hand-cut stencils. He then builds layers upon layers of shad- BAAL ows, suggestions of urban neglect and occasional traces of anonymous inhabitants. John Brown Daniel González Painting predominantly on bits of salvaged cardboard, EVOL’s materials attest to Peter Heikenwälder his romantic preoccupation with the past and its untold stories. Small tears in the Richard Hollander cardboard, exposed bits of corrugation and texts such as “Fragile” are incorporated John Kissick Alexei Kostroma into his compositions as visual signifiers of both the decay beholden to his urban Patricia Reed subject matter and of his chosen material’s previous function. We use cardboard Antonio Santín to wrap up the byproducts of our lives, personal effects and tangible reminders of Drew Simpson our youth. In this same vein, EVOL views the facades he so painstakingly recreates Michael Stecky Madeline Stillwell as stoic testaments to the passing of time, concrete monuments whose mundane surfaces belie the dramatic trials of human emotion taking place within their walls.

EVOL’s imagery is derived predominantly from Berlin’s urban landscape. Consider- COVER ing the uniquely turbulent history of the city, the buildings he depicts assume an- EVOL Charlottenstrasse other layer of meaning: their shrapnel-scarred facades disclose the wartime carnage 2010 and political upheaval that they’ve somehow withstood. EVOL’s neighborhood of Spray paint and stencil on found Friedrichshain, a recurring motif in his work, has born witness to the rise of Fas- cardboard cism, the fall of Communism, a mass-exodus of residents and a more recent-influx 87 × 205 cm of artists, like EVOL, who saw opportunity in the abandoned buildings forsaken by INSIDE their tenants. EVOL Kreuzberg Backyard Today, two decades after the Wall fell, the city’s widespread refurbishment has 2010 erased much of its past. Scaffoldings and cranes are the new symbols of a reuni- Spray paint and stencil on found cardboard fied Berlin, Europe’s largest on-going construction site. EVOL’s work frames this 79 × 108 cm new iconography and the homogenizing effect it has on the cityscape and, by ex- tension, its residents. His work is both a eulogy for the individualism and inspira- LEFT EVOL tion suffocated by attempts at urban utopia and, at the same time, a celebration of Caspar-David-Friedrich-Stadt I the ordinary existences that inject meaning into otherwise lifeless slabs of concrete. 2009 C-Print of site-specific installation in defunct slaughterhouse, Dresden 60 × 80 cm Edition of 15

RIGHT EVOL BLOKK G1-25 (w/ Know Hope) 2010 Spray paint and stencil on found electrical box, Stavanger, Norway (Nuart Festival) dimensions variable JEREMY MORA WOLFE CONTEMPORARY ART, SAN FRANCISCO

VOLTA NY 2011 | BOOTH NUMBER V4

WOLFE CONTEMPORARY ART: JEREMY MORA

WEBSITE MARK WOLFE CONTEMPORARY ART www.wolfecontemporary.com Founded in 2003, Mark Wolfe Contemporary Art exhibits a range of local and inter- E-MAIL national art with an emphasis on emerging and mid-career artists. We are proud to [email protected] present a diverse roster of practitioners working in a wide range of media – from

PHONE painting to video art – all sharing a commitment to conceptual rigor and a firm com- +1 415 369 9404 mand of their craft. The gallery’s artists have garnered critical praise in local and

CONTACT NAME national publications and media, including art ltd, KQED Public Television, New York Mark Wolfe Times, San Francisco Chronicle, S.F. Bay Guardian, and Village Voice, and have exhibited at the Museum of Art and Design, SF MOMA, the Oakland Museum, and numerous other venues. REPRESENTED ARTISTS Jud Bergeron JEREMY MORA Sarah Hirneisen Ryan Martin Removed as they are from any real world context, Jeremy Mora’s miniatures serve as Wang Tiande little visual parables. His constructed scenes, made from materials such as concrete, Jacob Tillman lichen, graphite, and pourstone, have little grounding in reality and serve more as Danielle Giudici Wallis playful dystopian fables of man’s desire to control his surroundings. An overarching Gao Yuan theme in Mora’s work seems to be the figure’s relationship to the built environment as well as the inherent divide between nature and culture – one which, the artist

COVER believes, can only be overcome through ruin. Jeremy Mora Each work on show embodies these broader themes, yet remains a self-contained Relic 2009 microcosm with its own story. It is hard not to become absorbed in the details of Various media these little worlds – details sometimes so fine they practically demand that the viewer 40 × 3 ×3 inch get his/her nose to the art.

INSIDE Jeremy Mora A Fine Balance 2009 Various media 6 × 12 × 6 cm

RIGHT Jeremy Mora Welcome Home 2008 Various media 31 × 10 × 6 cm RYAN BROWN Y GALLERY, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER A7

Y GALLERY: RYAN BROWN

WEBSITE Ryan Brown presents an installation of sculptures and drawings that represent www.ygallerynewyork.com shelves of books as collective knowledge. The images and text that form the cov- E-MAIL ers are polemically charged but due to their diversity and abundance tell no linear [email protected] narrative. The space opened up amidst these polarized points is a silent space that

PHONE becomes anew through each personal encounter. +1 917 721 4539 A majority of the subject matter comes about through free association and is culled CONTACT NAME from Brown’s daily interactions, a novel, news article, television show or compel- Cecilia Jurado ling conversation. The online experience has also strongly influenced Ryan’s recent Yoab Vera work and it is both an inspiration as much as a medium. His work is a portrait of the meandering mind guided equally by intellectual interest and spontaneous desire.

REPRESENTED ARTISTS The path along this way is documented and represented through many historically Artemio recognizable faces appropriated from a wide array of sources; some new, some Miguel Aguirre old, some real, some imagined. Alberto Borea Christoph Draeger Norma Markley Eung Ho Park

COVER Ryan Brown Tristes Tropiques from Collection #1 (Borders) Ink, acrylic on paper over sealed book

INSIDE Ryan Brown Installation view of Collection #4 (Either Or) Graphite, ink, acrylic, watercolor on paper over wood

LEFT Ryan Brown Installation view of Collection #1 (Borders) Ink, acrylic on paper over sealed books

RIGHT Ryan Brown Anita Lava La Tina from Collection #3 (Open Veins) Ink, acrylic on paper over sealed book JUDI WERTHEIN Y GALLERY, NEW YORK

VOLTA NY 2011 | BOOTH NUMBER A7

Y GALLERY: JUDI WERTHEIN

WEBSITE Air of Stockholm, Air of Banja Luka, Air of Mexico, Air of Miami – despite its tender www.ygallerynewyork.com age, Judi Werthein’s work Cosa has already travelled from China to Scandinavia E-MAIL and via the Balkans to Mexico City, a behaviour symptomatic for this inflatable, [email protected] nondescript “thing”. In each place, the large body is charged with local air and

PHONE meaning, while retaining its great secret – an animal never reveals what it has seen, +1 917 721 4539 isn’t that so?

CONTACT NAME In several of her works, Judi Werthein has elaborated on topics such as social and Cecilia Jurado political taboos, mechanisms of repression and suppression, like in her film Secure Yoab Vera Paradise (2008), in which the artist visits a German community who fled Europe after the second World War and formed an isolated enclave in Chile.

REPRESENTED ARTISTS Cosa is a large, green object that seems to fit into every exhibition space and, at Artemio the same time, to none. It settles, breathes and lives again, but seems to resist be- Miguel Aguirre Alberto Borea ing measured and weighed. As viewers we move around the enormous, apparently Christoph Draeger formless, volume in futile attempts to fathom its form, both visually and conceptually – Norma Markley is there an elephant in the living room? Judi Werthein’s work brings together the im- Eung Ho Park age of the elephant as the unspeakable truth and as a metaphor for how contempo- rary global economy has lost all sense of proportion, or, as the artist puts it: “Most of the things, or ‘Cosas’, surrounding us in our daily life are formed and shaped by INSIDE Judi Werthein China. Chinese insertion in the new global economy becoming ‘the’ outsourcing Cosa manufacturing force (for America), has created a shock that American capitalism 2009 never contemplated in its original plan, in which all the American and most of the Air of New York in the shape of an European industry cannot compete in quality/price/time/amounts of production, elephant formed in China positioning China as main key player within the global economy not to mention the mass of wealth that is becoming the ‘factory’ (cause they produce but not consume the goods they manufacture) of the world brought to China.”

by Cecilia Widenheim, Director Iaspis

Cosa es un inflable gigantesco que impide el acceso y la visibilidad completa de la obra y del espacio. La presencia amenazante de esta escultura informe, que pare- ciese representar una forma animal u orgánica, es detenida en su crecimiento por el espacio arquitectónico de la sala. La obra de Werthein es presentada como una suerte de “carta escondida” cuya identidad es revelada solo parcialmente por la ficha de la pieza, cuestionando la capacidad semántica del objeto artístico.

by Javier Tellez C. L. SALVARO YBAKATU ESPAÇO DE ARTE, CURITIBA

VOLTA NY 2011 | BOOTH NUMBER E6

YBAKATU ESPAÇO DE ARTE: C. L. SALVARO

WEBSITE The YBAKATU ESPAÇO DE ARTE gallery began its activities in 1995, with the www.ybakatu.com.br purpose of exhibiting contemporary art. Initially it showed the work of local artists E-MAIL of the 1990s, but since then it has expanded its activities. [email protected] At present, the gallery features solo art exhibitions and curatorial projects by guest PHONE curators that include local, national and even some international productions, which +55 41 3264 4752 place the gallery in a privileged position in the national artistic scenario. In addition CELL to art exhibits and organization of special projects, other events like book signings +55 41 9917 9975 and video shows are also held. CONTACT NAME Tuca Nissel The gallery stands out in Brazil’s southern region thanks to its dynamic activities and to the high quality of the artists it represents in other regions of the country as well. It also plays an important role in the city through its first-class calendar, which REPRESENTED ARTISTS is committed to reflection on current art processes. Alex Cabral Alex Flemming For VOLTA NY the gallery is showing works by C. L. SALVARO (Cleverson Luiz C.L. Salvaro Salvaro, born in Curitiba, 1980. Lives and works in Curitiba / Brazil.) Debora Santiago Isaque Pinheiro C. L. SALVARO works interrelate freely, recapturing aspects they have in common. João Loureiro They go from the agglomeration of materials that form simple structures – intrinsic Rogério Ghomes to the object itself – to reconstructing the very exhibition space, by exposing the Sebastiaan Bremer manipulation of what has been discarded or already absorbed as common code, of Sonia Navarro Tatiana Stropp what goes unnoticed. Just like in the installation cross, where he explores the wall as a way of getting material for building a visual artifice, thus generating discomfort by distorting the actual image that is seen through a lens and displaces the per- COVER spective of anyone who passes in front of the object. C. L. Salvaro duto PUBLIC COLLECTIONS: 2008 Fundação Cultural de Curitiba fluorescent lamps and Museu de Arte Contemporânea do Paraná polyester strip dimensions variable

INSIDE C. L. Salvaro duto 2008 styrofoam, fluorescent lamps, plaster, aluminum dimensions variable

RIGHT C. L. Salvaro Cross 2010 sketch for the project dimensions variable PETER OPHEIM STEVEN ZEVITAS GALLERY, BOSTON

VOLTA NY 2011 | BOOTH NUMBER D2

STEVEN ZEVITAS GALLERY: PETER OPHEIM

WEBSITE LIFE AS WE KNOW IT: PETER OPHEIM, by Michael Wilson www.stevenzevitasgallery.com “These guys all have big personalities,” says Peter Opheim of his new figure paintings, E-MAIL “but they’re not a family.” Instead, he insists, each of the variously sized canvases is [email protected] an independent work, made with particular questions and aims in mind. “I thought

PHONE of giving them names,” he continues, “but it was too suggestive, though I still get +1 617 778 5265 people saying ‘oh, that looks like so-and-so.’ I also thought of titling them after the

CONTACT NAME people that they eventually go to, sort of like an adoption agency…” There is a life Steven Zevitas to these works – which have all ended up untitled – that encourages such thinking, but an initial desire to cuddle up to the brightly colored creatures they depict soon gives way to a more complex set of reactions. REPRESENTED ARTISTS Astrid Bowlby While the figures, based on small clay models pieced together by Opheim, have Chris Ballantyne a cartoonish appeal, they are less sugar-sweet than this description might imply. Michael Krueger There is, the artist admits, a “neutrality” to them resulting from a clash of differing David X. Levine expectations and effects. Many suggest animals but either omit key details or veer Andrew Masullo Jered Sprecher off into abstraction; they are true hybrids whose unique strangeness is underlined Ann Toebbe by both their isolation on the canvas and the fact that none is ever repeated. And Chuck Webster while his renderings are faithful up to a point, exhibiting a convincing solidity and reflecting the primary and pastel hues of the original material, they function too as arenas for painterly experiment in which facture still occasionally takes priority. COVER Peter Opheim This fusion of diverse elements is mirrored by a process that combines planning and Untitled improvisation. Opheim begins by choosing a scale at which to work, then thinking oil / canvas about the type of figure he wants to paint: “I might decide that one was going to 110 × 98 inch have, say, a really large head, with small feet, a small body, and big eyes.” Next, INSIDE he makes a clay model and works from it without intermediary drawings or photo- Peter Opheim Untitled graphs. (The quickly and intuitively produced models themselves are, for the artist, 2010 just mere stepping stones, and await an as yet indeterminate fate on a tabletop in oil / canvas the utilitarian confines of his SoHo studio.) “I like the fact that my subject matter 84 × 80 inch exits in the world,” he says. “It’s not completely made up.” LEFT Here too, it is the coming-together of seemingly incompatible parts that helps give Peter Opheim Untitled Opheim’s paintings their rough-edged vitality. His canvases reflect not only a cadre 2010 of ‘artistic’ influences (“the way that that usually works for me,” he explains, “is in the oil / canvas sense of ‘that person has done that, so I don’t need to’”) but also an immersion in 75 × 65 inch the hurly-burly of humanity at large. And while they reflect on physical, observable life, RIGHT they also have much to say about the workings of the imagination. Watched over by Peter Opheim a ‘monkey’ that isn’t a monkey and a ‘bear’ that isn’t a bear, Opheim suggests that Untitled 2010 these nameless entities might even, in their transcendence of simple combination, oil / canvas represent not a dysfunctional family but something closer to a new evolutionary stage. 75 × 65 inch