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.