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DESIGN: WWW.HAUSER-SCHWARZ.CH

MONDAY JUNE 11 TH – SATURDAY JUNE 16 TH 2012 / DREISPITZHALLE MON 11 – SAT 16 JUNE 2 012 DAILY 10 AM – 6 PM PUBLIC ART SPACES

SHOW OFFICE EXIT B13 B15 B17 B18 B19

June) BACKSLASH LARM JARMUSCHEK ZIMMERMANN UNION KRATOCHWILL B26 June) KUK

B12.5 BIANCHI 1– 16 1– 16 (1 B27

8 pm ( 1 VERNON pm B6 B12 B14 B16 CRISTEA HENNINGSEN FERRARA POST BOX

June) B28 BRANDL June)

1– 16 B7 B9 B11 WHATIFTHE- ALARCÓN GARNATZ B25 1– 16 WORLD CRIADO B29

pm ( 1 KALHAMA & 7pm, Sun 10 am – 5 BALZERART- PIIPPO PROJECTS pm ( 1 6 pm, Thu & Sat noo n – B5 B20 B21 LETHERT B24 HEINO �� B30 10 am – BRUNN- KLEINDIENST HOFER KAVANAGH HENNINGSEN �� B12

Sat noo n – 6 Sat 2 – 6 Sat B8 B2 B10 JARMUSCHEK + PARTNER �� B17 SEBIRE KATZ VANE DE JESUS, Luis �� C11 KALHAMA & PIIPPO �� B25 Wed & Fri noo nWed – B4 B22 B23 KATZ Contemporary �� B2 SCOTT SULLIVAN + ASBÆK B33 B32 B31 B30 KAVANAGH, Kevin �� B24 STRUMPF BROTKUNST- LAWRIE DEÁK HEINO HALLE SHABIBI KLEINDIENST �� B21 B3 B1 KRUPIC KERSTING // KUK �� B12.5 Alternative, radio station (in Basel on 94.5 MHz) art and culture Dakota – Neue Fotograﬁen show: Christian Vogt: Current Opening Hours: Mo n – Show: Going Places Current Hours: Mo n – Show: Jusqu’ici tout va bien Current Opening Hours: Mo n – Show: Gateways. Art and Networked Culture. Current Opening Hours: Mo n – RADIO X OSLO8 IAAB / ARTISTS’ STUDIOS OSLO10 HOUSE OF ELECTRONIC ARTS CHAPLINI TINT KUDLEK VAN DER GRINTEN �� C4 LARMgalleri �� B15 K7 LAV, Peter �� C18 SHOWROOM LAWRIE SHABIBI �� B32 LETHERT, Christian �� B5 K2 K3 K4 K5 K6 LOOCK �� A16 GUER- FROSCH& H’ART METRO MAGROROCCA RERO PORTMANN MA2 �� A13 MAGROROCCA �� K6

K8 TERRACE MANDOS, Ron �� A17 GALLERIST MARINE Contemporary �� C6 K1 FOUNDATIONTM MAZZOLI, Mario �� C19 BAER LOUNGE METRO �� K5 CATERING BY BESCHLE GALLERIES NUSSER & BAUMGART �� A2 PH-PROJECTS �� A4 401contemporary �� A4 POST BOX �� B16 A9 A10 A12 A14 A17 C20 C21 C22 C23 C1 ADN �� C1 PROGRAM Gallery �� C7 GÜNTNER VALENZUELA ROLLINS V1 MANDOS HEIDE EGELUND STENE EB&FLOW ADN AKINCI �� C12 RISLEY, David �� A7 KLENNER ALARCÓN CRIADO �� B9 ROLLINS, Tyler �� A12 ASBÆK, Martin �� B23 RÖPKE, Stefan �� A15 C19 C18 C17 C16 ASPN �� A8 SCOTT, Sue �� B4 MAZZOLI LAV FRED C2 BACKSLASH �� B13 SEBIRE, Poppy �� B8 A16 STRELOW A11 A13 A15 LOOCK BAER �� K1 ŠKUC �� A11 ŠKUC MA2 RÖPKE BALZERARTPROJECTS �� B29 SPECTA �� C10 A8 C13 C14 C15 CONNER ASPN TEAPOT VALLE ORTÍ FORMATO- BECKERS, Anita �� A3 STENE PROJECTS �� C22 A6 A5 COMODO FARIA ESPAIVISOR BIANCHI, Federico �� B26 STRELOW, Heike �� C2 C3 �� TURNER BRANDL, Sebastian B28 SULLIVAN + STRUMPF �� B22 BROTKUNSTHALLE �� B33 SVESTKA, Jiri �� A1 C11 C10 BRUNDYN + GONSALVES �� C8 TEAPOT �� C13 A7 DE JESUS SPECTA �� RISLEY BRUNNHOFER B20 TINT B1 A3 A2 CHAPLINI �� B3 TURNER, Steve �� C3 BECKERS NUSSER & C4 BAUMGART KUDLEK VAN CONNER Contemporary �� C16 UNION �� B19 C8 C9 DER GRINTEN BRUNDYN + WIDMER + CRISTEA, Ana �� B6 V1 �� A14 GONSALVES THEODORIDIS AKINCI C12 DEÁK, Erika �� B31 VALENZUELA KLENNER �� A10 A1 �� SVESTKA DEANESI, Paolo Maria C5 VALLE ORTÍ C14 A4 C5 EB&FLOW �� C23 VANE �� B10 401 DEANESI CONTEMPORARY C7 C6 EGELUND, Christoffer �� C21 VERNON �� B27 PH-PROJECTS OFFICE PROGRAM MARINE ESPAIVISOR – VISOR �� A5 WHATIFTHEWORLD �� B7 EXIT FARIA, Henrique �� A6 WIDMER + THEODORIDIS �� C9 FERRARA, Jonathan �� B14 ZIMMERMANN KRATOCHWILL � B18 MAIN ENTRANCE FORMATOCOMODO �� C15 FRED �� C17 FROSCH & PORTMANN �� K3 GARNATZ, Julia �� B11 PARTNERS GUERRERO, Enrique �� K2 GÜNTNER, Mathias �� A9 FOUNDATION TM �� K8 B20 H’ART �� K4 GALLERIST �� K8 BUS STOP DIRECT TO / FROM HEIDE, Patrick �� C20 SHOWROOMBASEL �� K7 ART BASEL AND LISTE VOLTA 8 STAFF It would be appropriate to call Basel’s Dreispitz neighborhood a cultural lightning rod. Artistic Director The former warehouse district has totally transformed into an artistic destination, Amanda Coulson with VOLTA becoming its concentrated, creative center each June. Managing Director Chris De Angelis VOLTA 8’s curatorial board—Amanda Coulson (Artistic Director of VOLTA and

Project Director Director of The National Art Gallery of The Bahamas); Christoph Doswald (Chairman Albertine Kopp of the Working Committee for art in public places in Zurich); Ulrich Voges (Art historian, economist and co-founder of VOLTA); and David Risley (Director of David Project Manager Kerstin Herd Risley Gallery, Copenhagen, and founder of Zoo Art Fair, London)—have assembled a potent roster of 81 international exhibitors, with 67 returning from earlier fair Press Manager Brian Fee iterations. Riding on the strong buzz from this year’s VOLTA NY—the stateside solo-artist invitational—and coupled with VOLTA7’s overwhelming acclaim last year, Production Assistant Jürgen Buchinger approximately 75 percent of VOLTA 8’s galleries will showcase solo artists or two or three artists in dialogue. [email protected]

Founders Jason Gringler (showing with Stefan Röpke, Cologne) delivers his own New York vibe Kavi Gupta to Basel with this year’s signature Limited Edition, two sets of 10 uniquely spray- Uli Voges painted editions printed on reflective paper, recalling his show-stopping mirrored Friedrich Loock wall installation at VOLTA NY this past March.

And while you are at the Dreispitz visiting VOLTA, remember that the neighborhood offers plenty more to see beyond the fair. The House of Electronic Arts features the 2012 CURATORIAL BOARD Amanda Coulson show Gateways, a selection of works that were shown at the Kumu Art Museum in Art Critic and Curator, Tallinn as a summer highlight of the European Capital of Culture Tallinn 2011. The Nassau / The Bahamas public is invited to participate actively in the projects and to take part in unusual Christoph Doswald perceptual experiences. On June 13 from noon to 2pm Sabine Himmelsbach, its Art Critic and Curator, Zurich Ulrich Voges artistic director, will host a welcoming reception and offer a guided tour of the exhi- Art Historian, economist bition (in English). The independent art space OSLO10 will open with a group show and VOLTA Co-Founder, including Beni Bischof, Daniel Jackson, Toril Johannessen, Marcellvs L., Riccardo Nassau / The Bahamas Previdi; OSLO8 will present new works by renown Swiss photographer Christian David Risley Gallerist, Copenhagen Vogt; and the talented artists of the international exchange program iaab will display their works in the exhibition Going Places, curated by Alexandra Blättler.

Finally, we would like to thank our partners for their continued support, and we wish SPONSORS to particularly thank our returning sponsors Gallerist.com and Aesop.

We also encourage you to take the VOLTA experience home with you: the VOLTA 8 online platform created by Gallerist.com will remain accessible for two weeks after the fair and will allow you to virtually come back for that one piece that caught your eye from the comfort of your home.

Whether this is your first time visiting VOLTA or whether you have not missed a single edition in the past eight years, we sincerely hope the art on display in 2012 PARTNERS will surprise, touch, move, and inspire you—we feel the galleries and artists on show have truly outdone themselves once again.

Enjoy the show! Amanda Coulson and Team 401CONTEMPORARY BERLIN

VOLTA 8 | BOOTH NUMBER A4

401CONTEMPORARY

WEBSITE Ralf Haensel started 401contemporary in Berlin in March 2009, driven by two moti- www.401contemporary.com vations: to provide young artists with rooms in which to exhibit, a “spatial” platform, E-MAIL but also to offer them a “time” platform, a possibility to discover a connectedness [email protected] with other artists across the boundaries of time.

PHONE At VOLTA 8 we present Adolf Luther (b. 1912), Nadja Frank (b. 1980), Stuart Bailes +49 30 473 777 83 (b. 1985), Jakob Mattner (b. 1946), Manuele Cerutti (b. 1976) and Maurizio Nannucci CONTACT NAME (b. 1939). Dr. Ralf-Otto Hänsel Not satisfied with the visible and the given, these artists linger on the boundaries, explore and break through. They are “Other Siders”. They experience the pull to- EXHIBITED ARTISTS ward unchartered territories: Luther into the realm of the visualization of light and Stuart Bailes space; Bailes on his photographic “walks”, morphing experience and history; Frank Manuele Cerutti by exploring landscapes and matter to enter “sous and sur face”; Cerutti by con- Nadja Frank Adolf Luther templating the function of the object and its shadow. Although 40 years lie between Jakob Mattner Luther’s work and the works of Bailes, Frank and Cerutti, their will to pass onto a Maurizio Nannucci truth beyond the here and now establishes a discourse on a visual, philosophical, and artistic level. The presentation will be supplemented by Nannucci’s light instal- OTHER REPRESENTED ARTISTS lation What It Is Is What It Does. Thomas Feuerstein Fernanda Gomes Of all the German artists who turned away from panel painting at the start of the Katharina Otto 1960s, Adolf Luther was one of the most decisive. He made a radical departure Christoph Rütimann from the painted image and responded to a wavering perception of reality. With his Peter Weibel light and mirror objects and his spatial creations, Luther breaks through the traditional notions of a closed, rigid and empty space and provides an experience in

COVER which light acts as a moving element, creating a world of continuity and variability. Nadja Frank The photographs of Stuart Bailes are crisply present and vaguely ungraspable—all Mesquite Flat II (detail) 2012 at once. Their imagery and their title leave ample space for meandering and con- Inkjetprint on alu dibond templation. Pausing is as essential here as trying to get somewhere. 120 × 90 cm Courtesy by the artist and Nadja Frank focuses on reversibility and transfiguration, on processes of continu- 401contemporary ous change, repetition and play that lead to the gradual discovery of the self. Frank

INSIDE transforms inherent aspects of desert life into an existence that can survive—that Adolf Luther only survives—in a closed, interior space. Adolf Luther’s studio view 1969 In his paintings, Manuele Cerutti continuously walks a fine line between the pictorial Courtesy by Adolf-Luther-Stiftung representation of an object and its narration. Language itself overlies the work with and 401contemporary an enigmatic structure and as such determines its complex intelligibility.

LEFT Jakob Mattner: “In the fans of the night everything is bright and clear. To give back Stuart Bailes Excavation Point the magic. It is easy.” 2012 B/W fibre-based print 101 × 122 cm Courtesy by the artist and 401contemporary

BACK Manuele Cerutti Three Logs in a Corner (detail) 2011 Oil on canvas 41 × 63 cm Courtesy by the artist and 401contemporary Photo: Christina Leoncini ADN GALERÍA BARCELONA

VOLTA 8 | BOOTH NUMBER C1

ADN GALERÍA

WEBSITE For VOLTA 8, ADN Galería presents the works of Carlos Aires, Bruno Peinado and www.adngaleria.com Federico Solmi, who articulate distinct ways to questioning the boundaries between E-MAIL reality and fiction, pragmatism and fantasy, the familiar and the uncanny. [email protected] Carlos Aires addresses our way of perceiving reality and tries to emphasize the set PHONE of cultural, religious or sexual heritage shaping it. His work is fueled by references +34 934 510 064 to Spanish culture. In his installation Visceral, the archetypical figure of the bull is CELL associated with a voyeuristic video showing extracts of pornographic movies of the +34 687 52 86 25 70s. Aires’ work juxtaposes conflicting affects, showing the hidden ramifications CONTACT NAMES between love and hate, desire and violence, ecstasy and death. Also presented in Miguel Ángel Sánchez VOLTA 8 are the photographic installation In the glass darkly and the banknotes Susanna Corchia composition El jardín de las delicias.

The work of Bruno Peinado follows a principle of contamination and cultural mix. EXHIBITED ARTISTS He blurs the distinction between the so-called “high” culture, reserved to the elite, Carlos Aires and a popular culture spread through communication means, cultural industry and Bruno Peinado Federico Solmi advertizing. He assembles eclectic elements coming from distinct temporalities, cultural and disciplinary fields and doesn’t hesitate to use motives apparently trivial OTHER REPRESENTED ARTISTS Virginie Barré like, for instance, iconic figures of smiley in Sans titre. Les trois princes de Seren- Abdelkader Benchamma dip. His work is an exhilarating claim for creolization and a multi-sourced culture, Tobias Bernstrup open and mobile. Santiago Cirugeda Democracia Federico Solmi addresses our present environment from a dystopian perspective, Igor Eškinja depicting the evilness and the vices affecting contemporary society. He does so Daniel & Geo Fuchs with a singular mix of images culled from the video-game industry, pop culture and Núria Güell Adrian Melis the Internet. In his last video A Song of Tyranny, Confessions of a ruthless dictator, Eugenio Merino Solmi combines traditional hand-drawn animation with digital models; he investigates the self-destructive nature of mankind through the examples of political dic- tatorships and authoritarian behaviors. COVER Federico Solmi A Song of Tyranny, Confessions of a ruthless dictator (from the Chinese Democracy series) 2012 DVD, 5'

INSIDE Carlos Aires Visceral 2011 Stuffed bullhead, polyester, screen, electronics, wood 140 × 125 cm

BACK Bruno Peinado Sans Titre, Les trois princes de Serendip 2011 Aludibond, painting, neon lights, sequencer 60 cm (each) AKINCI AMSTERDAM

VOLTA 8 | BOOTH NUMBER C12

AKINCI

WEBSITE Gluklya (Natalia Pershina Yakimanskaya) works within different collective and re www.akinci.nl search projects combining performance, environmental works, situationist action, EMAIL video and direct contact. Her main focus is working with women and minority groups [email protected] (migrants, unemployed people, veterans etc.) in Russia and recently in other coun

PHONE tries which results in performances, actions and films. Together with Olga Egorova +31 20 638 0480 (Tsaplya) Gluklya founded “The Factory of Found Clothes” in 1995. In 2002, they

CELL wrote their manifesto: “The place of the artist is at the side of the weak”. Since +31 65 136 1983 2003 Gluklya is also part of the artist group Chto Delat?, a platform that investi

CONTACT NAMES gates possibilities for the “repolitisation of the Russian intellectual culture” in ac Leylâ Akinci tivism, art and theory. Niki Lischow In her recent project, Gluklya focuses on migrants who come to Russia from the former Soviet Union. Migrants are often used as unskilled and lowpaid workers,

EXHIBITED ARTIST as a rule displaced to the periphery of the society. This closure is determined by Natalia Pershina Yakimanskaya the deprived and often illegal status of migrants, as well as by the culture and lan (Gluklya) guage difference. At VOLTA 8 Gluklya will present parts of her project “Ballerinas

OTHER REPRESENTED ARTISTS and Migrants Unite”. This project has the goal to unite Dancers and Migrants during Stephan Balkenhol a process of creation. The project questions the gap between art and life, trying to Broersen & Lukács overcome this by creating a specific situation of a temporary laboratory where people Cevdet Erek Axel Hütte from different social groups can create a performance together in order to change Miguel Angel Rios their social situation and evaluate a utopian realism as a strategy to change reality. Andrei Roiter Imogen Stidworthy Gluklya studied at the Mukhina Academy of Art and Design, St. Petersburg. Selec Esther Tielemans tion of shows: MUMOK, Vienna (upcoming); MUSAC, Spain 2011; Kunsthalle Baden Anne Wenzel Baden (chto delat), 2011/12; Shedhalle, Zürich, 2011; Museo Reina Sofia, Madrid, Edwin Zwakman 2011; Kunsthalle, Vienna, 2011; ICA, London (chto delat), 2010; Van Abbemuseum, Eindhoven (chto delat), 2009; National Centre for Contemporary Art, Moscow, 2006.

COVER Gluklya The snake of the multiculturalism 2012 Mixed techniques on paper 30 × 42 cm

INSIDE Gluklya Strangers never give up 2011 Mixed media Dimensions variable

BACK Gluklya Utopian Unemployment Union 2006 Video, 14 min. ALARCÓN CRIADO SEVILLE

VOLTA 8 | BOOTH NUMBER B9

ALARCÓN CRIADO

WEBSITE Alarcón Criado Gallery develops for VOLTA 8 a specific project talking about time. www.alarconcriado.com Time understood as a collateral event in the study of change. The different ways E-MAIL to measure and conceptualize it show a specific solution to make an explanation [email protected] about the idea of changes that happen around our ephemeral condition. Alarcón

PHONE Criado bases the project on two artists who investigate different strategies to con- +34 954 22 16 13 ceive a new visual way to materialize our concept of time. The idea of transition is

CELL often seen in the selected works. +34 67 67 99 447 The work of Daniel Palacios (b. 1981, Córdoba), an artist educated in sciences who CONTACT NAMES graduated with a degree in Fine Arts, develops by applying the relations of art, sci- Carolina Barrio de Alarcón ence and technology to space and the perceptual systems as a result of the artist’s Julio Criado Moreno postgraduate studies, which he completed with Master degrees in Art and Tech- nology and Art in the Public Sphere. Palacios is resident at Künstlerhaus Bethanien

EXHIBITED ARTISTS (Berlin, Germany), where he develops research about the material perception of Daniel Palacios something as intangible as the time going by. Clara G. Ortega

OTHER REPRESENTED ARTISTS WAVES Martín Freire In Waves, a long piece of rope represents three dimensionally a series of waves Emilio Gañan floating in space, as well as produces sounds from the physical action of their move- Nicolas Grospierre José Guerrero ment: the rope which creates the volume also simultaneously creates the sound by Alejandra Laviada cutting through the air, making up a single element. Due to its particular features, a Rosa Muñoz space has a way of relating with sound, understanding sound as a series of com- Julie Rivera pressions and decompressions which move through the air, so that the geometry of Ana Soler Jorge Yeregui the space itself and the elements in it will influence the movements of the sound and Simón Zabell finally our perception of the sound; adding to this entire stationary system a chaos of infinite variables from the most minimal movement on our part.

COVER RECEPTIVE ENVIRONMENTS Daniel Palacios A receptive environment is that one we can affect, that one which is listening to us Receptive Environments and accepts our presence, it changes, it adapts itself to us. Unknowingly modeled 2011 Wood by us. Measuring the surrounding environment of EnBW in Berlin, that information 90 × 28 × 17 cm is used to develop sculptures, engraved pictures on birch sheets and real time visu-

INSIDE alizations, however the representations are far away from the digital imaginary but Clara G. Ortega closer to something as natural as vegetal growth patterns. The visual conclusions 20/04/2011. Sky Study: Rome of the measures is “Receptive Environments”, a drawing series made artificially by 2011 a machine connected to a software program that performs the measures in images Photograph RC color on dibond 255 × 110 cm with the appearance of natural motives. It can be understood as a sophisticated visual graphic, as a conclusion of the measures taken in a specific situation.

Clara G. Ortega (b. 1982, Málaga; lives and works in Madrid, Spain), works on a scientific photographic process, investigating and representing minimal changes that happen beyond our attention. She presents Color Chart, 2010, and her last work, Sky’s study, 2011, which is a photography project conceived as a new visual way to materialize time, being at the same time a study of change. She was awarded the Spanish Academy of Rome residence during 2011, Resident Grants from the Aca- demia Española, M.A.E. During her residence in Rome she started a project titled Sky study: Rome, consisting of taking a scientific capture of the sky in Rome, put- ting it into a specific geographical and temporal context. This project resulted into big size minimal photographs to confront climatically situations in consecutive days. MARTIN ASBÆK GALLERY COPENHAGEN

VOLTA 8 | BOOTH NUMBER B23

MARTIN ASBÆK GALLERY

WEBSITE Martin Asbæk Gallery was established in 2005 and presents today 23 artists. It’s www.martinasbaek.com a diverse group of national and international artists all working in different media E-MAIL but with a common wish to express a content and expose their work on the art [email protected] scene. The gallery has since the establishment participated in several art fairs in [email protected] Europe and USA. PHONE +45 3315 4045 At VOLTA 8 the gallery presents photographs by Nicolai Howalt and acrylic works by Sofie Bird Møller. CELL +45 4075 8616 The Danish artist Sofie Bird Møller (b. 1974) is best known for the series Interferences +45 2681 2887 and Interactions, which makes use of advertisements from exclusive fashion maga- CONTACT NAMES zines and journalistic periodicals and posters, which have been exposed in the city Martin Asbæk spaces and have interacted with the passers-by. The posters and advertisements Julie Quottrup Silbermann have been modified and painted over with precision and controlled spontaneity using a brush or her body, so that the female models appear evocative and abstract. Only the slightly crumpled surfaces of the posters reveal that they have been dis- EXHIBITED ARTISTS Nicolai Howalt played in the urban space. This patina gives the works a raw look and is a quite Sofie Bird Møller deliberate device from the artist.

OTHER REPRESENTED ARTISTS In the series Endings, Nicolai Howalt (b. 1970) has studied death in the form of the Elina Brotherus ashes that remain after the cremation of a human being. An investigation of how Jesper Carlsen Cathrine Raben Davidsen one quite specifically ends up after death. In the photographs of ashes one can Berta Fischer experience a number of dust landscapes consisting of particles in black, white and Astrid Kruse Jensen grey-brown nuances. The particles form a distinctive substance and texture in the Paul McDevitt picture surface which is characteristic of all the photographs and creates a serial Gerold Miller Matt Saunders totality. But although the photographs function as a study and an abstraction of Trine Søndergaard death, the viewer is not guided forward to a conclusion on what death is, or a sense Ebbe Stub Wittrup of shock. The trace of death has been observed and presented—not exposed and furnished with interpretative directional signals.

COVER Sofie Bird Møller Interaktionen (detail) 2012 Acrylic on mounted poster 170 × 120 cm

INSIDE Nicolai Howalt Endings#9 (detail) 2011 C-print 210 × 180 cm / 63 × 50 cm Edition of 5

BACK Nicolai Howalt Endings#1 (detail) 2011 C-print 210 × 180 cm / 63 × 50 cm Edition of 5 ASPN LEIPZIG

VOLTA 8 | BOOTH NUMBER A8

ASPN

WEBSITE Robert Seidel downscales the city. Miniatures of streets stretch across the canvas, www.ASPNgalerie.de individual houses stand out, drop into two-dimensionality and gain the appearance E-MAIL of pictograms. What Robert Seidel paints seems to turn prototypical—cola bottles, [email protected] standing in line before gradients of grey, overemphasise their brand, a fish truck

PHONE almost seems to turn into a fish itself. He arranges fragments of popular culture +49 341 960 0031 and local history, village architecture and the soberness of industrial estates into a

CELL novel, reduced order. In late 2011 Robert Seidel began to work with human figures +49 179 660 8085 for the first time. He constructs them in the same meticulous manner that he had

CONTACT NAMES previously employed for buildings and landscapes. But no matter how flawless the Arne Linde construction turns out to be, the surfaces of the paintings remain imperfect: the Carolin Nitsche paint looks aged, at times even exfoliated; often he will carve wounds into all too even areas. His solemnly composed paintings thus gain an incredible liveliness and a note of ironic zest. EXHIBITED ARTISTS Robert Seidel The artist group Famed—consisting of Sebastian M. Kretzschmar, Kilian Schellbach FAMED and Jan Thomaneck—have been working exclusively in this constellation since 2003.

OTHER REPRESENTED ARTISTS The point of departure for the various exhibition projects they have realised in re- Holmer Feldmann cent years is always a fundamental examination of the psychical, social and politi- Martin Galle cal dimensions of specific sites. In reaction to a given situation, Famed create site Grit Hachmeister Matthias Hamann and context specific works that combine architectonic-sculptural, textual-visual and Jochen Plogsties cinematic-performative approaches. The resulting works are intended as dialogues Anna Reinert that attempt to develop alternative ways of access to issues such as identity and Matthias Reinmuth productivity, presence and absence, visibility and presentation as well as critical Daniel Rode Katsutoshi Yuasa positions and the tendencies to neutralise them. Arthur Zalewski

COVER Robert Seidel Nie wieder dritte Liga (detail) 2011 Mixed technique on paper 70 × 100 cm

INSIDE FAMED Untitled [Unsaid, Unseen, Forgotten] 2011 Mixed media, neon Size variable, outdoor installation

BACK Robert Seidel Dirty Reggae 2011 Egg on canvas 93 × 110 cm BACKSLASH GALLERY PARIS

VOLTA 8 | BOOTH NUMBER B13

BACKSLASH GALLERY

WEBSITE Backslash Gallery is proud to present a booth project featuring two of its major backslashgallery.com artists, Boris Tellegen and Rero. The roots of both artists are to be found in the E-MAIL emerging street art scene, and their two individual visions of artistic expression on [email protected] walls have moved beyond the bounds of the urban movement to forge new aspects

PHONE of conceptual art. +33 981 396 001 Dutch artist Boris Tellegen, better known by his pseudonym DELTA, has been one of CELL the linchpins of the urban art movement since the early 1980s, known the world over +33 667 076 160 (Delphine) for his unique letter style. In recent years, he has devoted his eye-catching talents to +33 663 601 448 (Séverine) more traditional media such as major installations, sculpture and collage. His work CONTACT NAMES remains underpinned by forces in competition: flatness with relief, immobility with Séverine de Volkovitch Delphine Guillaud movement, landscape with abstraction. It informs us of the chaos that lies within order, the order within chaos. Tellegen seeks to bring construction into his art. His complex three-dimensional constructivist works play with light and line. Further di- EXHIBITED ARTIST mensions emerge from shadow, the trompe l’oeil causing viewers to question anew Boris Tellegen the evidence of their eyes. The artist’s aesthetic demonstrates his fascination with Rero technical precision and his obsession with complex logic. OTHER REPRESENTED ARTISTS Charlotte Charbonnel Rero is a multi-disciplinary French artist whose work challenges the codes govern- Astrid Kruse Jensen ing ownership of intellectual property, images, and computer code, crossing them Mathilde Lavenne out with a denunciatory thick black line. Jean-Michel Basquiat once said: “I cross Frédéric Léglise out words so you will see them more. The fact that they are obscured makes you Fahamu Pecou Luc Schuhmacher want to read them”. Negation, self-censorship and distortion are the keywords of Xavier Theunis his work. Using crossed out expressions such as “Trade my mark”, “Error 404” and “This image is free copyright”, the artist is seeking to confuse the viewer, who is

COVER forced into multiple interpretative responses. Each of us sees a double meaning in Rero the negation of these words, which could as easily turn into total nonsense. Untitled (THE INSTALLATION FAILED...) 2012 Mixed media 120 × 120 cm

INSIDE Boris Tellegen Exothermic 2010 Mixed media Variable dimensions

BACK Boris Tellegen Beneath, the seam coal fire continued for over 40 years 2012 Acrylic paint on several layers of birch wood 142 × 107 cm GALERIE BAER DRESDEN

VOLTA 8 | BOOTH NUMBER K1

GALERIE BAER

WEBSITE Anne Wenzel and Hannes Broecker show destroyed pictorial worlds, broaching the www.galerie-baer.de issue of fading and the powerlessness regarding violence. The artists’ objects are E-MAIL installations and fragments. [email protected] Wenzel’s landscapes seem like illustrations of Cormac McCarthys The Street. Her PHONE pictorial worlds seem to mirror apocalyptical visions of the future as well as roman- +49 351 646 5033 tic pictorial conceptions—brutal and beautiful at the same time. Through the aura CELL of ceramic, current topics from the media of catastrophes such as car accidents, +49 173 564 1211 bombing attacks, and tsunamis of our time seem engrossed, entangled in fairytale- CONTACT NAMES like contexts. Patrick-Daniel Baer Claudia Baer Broecker’s works tell stories of different milieus, unpreserved, brutal and real. In Tilman Bruhn the images, backyard scenes show the destroying fury and power that the original models were exposed to and make them painfully perceptible. The artist is not only interested in sign language and the aesthetics of public space. He translates and EXHIBITED ARTISTS abstracts predominant classification systems and urban structures, working with Hannes Broecker Anne Wenzel common materials such as wood, glass and concrete.

OTHER REPRESENTED ARTISTS Theo Boettger Jan Brokof Stefanie Busch Sebastian Hempel Franka Hörnschemeyer Andreas Hildebrandt Peter K. Koch Stefan Krauth Stefan Lenke Martina Wolf

COVER Hannes Broecker entweder ihr seid für mich, oder ihr seid gegen mich 2011 Installation View in studio

INSIDE Anne Wenzel Bright Solitude 2011 Ceramic, platinum luster Exhibition view in galerie baer 2011

BACK (LEFT) Hannes Broecker Hallo Minimalismus 2011 Installation, mixed media 230 × 250 × 40 cm / 90 ½ × 98 ½ × 15 ¾ in

BACK (RIGHT) Anne Wenzel Bright Solitude (medal #5) 2010 Ceramic, platinum luster 17 × 20 × 12 cm / 6 2/3 × 7 ¾ × 4 ¾ in BALZERARTPROJECTS BASEL

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BALZERARTPROJECTS

WEBSITE The past two decades of art making were characterized by an experimentation www.balzer-art-projects.ch with all different kinds of modernist strategies. Results were a wide display of anti- E-MAIL materialist positions marked by continuous conceptualization. At the same time, [email protected] the objectification and materiality of art stand in the foreground of many artistic

PHONE strategies. Nicole Schmid (b. 1975, Switzerland) and Andreas Bauer (b. 1981, Ger- +41 (0)61 222 2152 many) question the process of objectification, yet establish their own objectified,

CELL aesthetic presence. +41 (0)79 229 3306 Andreas Bauer’s current work is largely paper-based. He builds sculptures with CONTACT NAME architectural magazines, fantasy fiction comics and cartoon books. While creat- Isabel Balzer ing surreal urban landscapes, he redefines space / environment / landscape / human surroundings by dissecting the human and urban matrix. His latest projects involve the re-definition of metropolitan subway maps. Furthermore, he experiments and EXHIBITED ARTISTS Andreas Bauer tests his architectural concepts with children’s toys such as building blocks, action Nicole Schmid figures, and puzzles. The resulting 2D and 3D work are intricate, vertical labyrinths of wild narratives and fantasy scenarios—they function as inquiries into the way we OTHER REPRESENTED ARTISTS Tom Fellner live, interact and shape our urban and sub-urban environments. Georgine Ingold Nici Jost Nicole Schmid is a conceptual artist from Zürich. Her work revolves around complex Sebastian Mejia intellectual models while maneuvering freely between media. The artist contem- Mimi von Moos plates, hypothesizes and researches big topics, which translate into video, sculp- Ulla Rauter ture, performance, drawings and photographs. These are largely based on rather Angelika Schori Taro Shinoda unspectacular objects/models, but crucial to our daily existence. Schmid “demate- rializes” them and takes them “ad absurdum”. Most of her work delicately balances notions of stability and instability, construction and destruction.

COVER Schmid’s positions are statements in a continuous process of development and Nicole Schmid search in the relationship between viewer and the work. She plays with the audi- Gehilfe 2012 ence’s expectation regarding the work’s functionality—most often, the viewer is Silicon thrown off by the lack of operational reliability of the piece. This is especially ap- 94 × 64 × 3 cm parent in a silicon cast version of a “walker”, entitled Gehilfe, a pun of the German INSIDE word for helper, and two others, entitled Verhinderung (Interception). Schmid’s visual Andreas Bauer statements offer a bittersweet reminder of the temporality of the artistic gesture. Total Fluidity 2012 balzerARTprojects: Since its founding in 2010, one of the key premises of balzer- Scan on Aludibond 4mm ARTprojects is to accomplish an interaction between art and its audience, to foster 140 × 122 cm interest and discussions about contemporary art among a growing audience. The BACK (LEFT) gallery is especially committed to presenting socially and culturally relevant exhibi- Nicole Schmid tions while seeking positions, which challenge our cultural frameworks, aesthetic Untitled 2012 assumptions and artistic strategies. Fine Art Print 50 × 70 cm

BACK (RIGHT) Andreas Bauer Profile 2012 Architecture Magazine 34 × 40 × 7 cm GALERIE ANITA BECKERS FRANKFURT AM MAIN

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GALERIE ANITA BECKERS

WEBSITE Christiane Feser’s work Latent Constructs can be placed within the long tradition www.galerie-beckers.de of abstract photography, in which the photographic process is split up into its el- E-MAIL ements and structures. Alvin Coburn, Man Ray, Lazlo Moholy Nagy and Gottfried [email protected] Jäger are well known for this artistic approach.

PHONE Feser regards her work as an experimental research into the visual structure of +49 69 7390 0967 photography itself. She focuses on light and shadow, the materiality of the paper, CONTACT NAME and lens distortions or chromatic aberrations. However, Feser´s work does not only Anita Beckers deal with this kind of old school themes, but uses the photograph itself in a material sense. Within each image—in a complex production process—many single exposures are meshed together thus creating photographs of photographs of pho- EXHIBITED ARTIST Christiane Feser tographs.

OTHER REPRESENTED ARTISTS The printing process of a photograph serves as a base for the next step in which, Maria José Arjona for example, further paper fragments are added or the image is cut. The resulting Anton Corbijn construction is again photographed, printed and reworked. In this sense Feser’s Teresa Diehl Kota Ezawa work questions the boundary between photography and object art. Niklas Goldbach Jürgen Klauke Clare Langan Bjørn Melhus Yves Netzhammer Cornelia Renz

COVER Christiane Feser Konstrukt #26 2011 Pigment print 60 × 42 cm

INSIDE Christiane Feser Constellation: “Konstrukt #26, Konstrukt #22, Variable (Stock), Raumtest1, Konstrukt #38” 2011 Pigment prints Dimensions variable FEDERICO BIANCHI CONTEMPORARY ART MILAN VOLTA 8 | BOOTH NUMBER B26

FEDERICO BIANCHI CONTEMPORARY ART

WEBSITE Federico Bianchi Contemporary Art (founded in 2006) promotes and represents art- www.federicobianchigallery.com ists by working with them. It organizes only individual shows, financing the whole E-MAIL project. The gallery also sponsors activity in public spaces and exhibitions in mu- [email protected] seums in Italy and throughout Europe.

PHONE The shows are site-specific, created purposely for the gallery. Moreover, Federico +39 02 3954 9725 Bianchi Contemporary Art encourages collaboration with other Italian and foreign CONTACT NAME institutions. The works presented by the artists are widely different: installations, Federico Bianchi painting, photography, etc.

Since the beginning of its activity, the gallery has been involved in sustaining, pro- EXHIBITED ARTISTS moting, and bringing out new artists that work in line with the concepts of the gal- Giuseppe Armenia lery. Moreover, it also follows artists whose careers are already strengthened (such Tony Just as Bert Theis, Radomir Damnjan). Jacopo Mazzonelli Domenico Piccolo Giuseppe Armenia (b. 1965, Switzerland) lives and works in Turin. His works have Magda Tóthová appeared in public spaces both in Italy and Europe (Prague, Wien, Budapest, Zu- OTHER REPRESENTED ARTISTS rich, Hamburg, Tirana, and Berlin). He was also a finalist at The Cairo’s Award 2005 Marc Bijl in the “Permanente di Milano” space. Installation is his favourite way of expression. Radomir Damnjan Paola Di Bello His work is based on the ephemerality of time. Zuzanna Janin Tony Just (b. 1969, Maryland) lives and works in Berlin and New York. He has shown Anna Orlikowska Jacopo Prina in several important private galleries around the world, including New York, Berlin, Clement Rodzielski Paris, Milan, Zurich, Los Angeles, and London. He took part Greater New York 2005 Bert Theis at MoMA PS1. Painting is his favourite way of expression. Johannes Vogl Alexander Wolff Jacopo Mazzonelli (b. 1983, Italy) uses installation and sculpture as his medium of expression. He combines elements of music, philosophy, and art history to create his works. He is considered a young, promising Italian artist and has already ex- COVER hibited in various public spaces, including a solo show at Galleria Civica of Trento. Domenico Piccolo ST 07 Domenico Piccolo (b. 1961, Turin) lives and works in Turin. He took part in the exhibi- 2006 tion Impresa Pittura at Castle Genazzano in Rome about the last 20 years of Italian Acrylic on plexiglas painting, and in the Prague Biennale in 2009. He is essentially involved in paintings. 94.5 × 117.5 cm His favourite themes are the alienated individuals and those who live beyond the INSIDE boundary of psychological disease. Magda Tóthová What if-yellow Magda Tothova (b. 1979, Bratislava/Slovakia) lives and works in Wien. She has 2008 shown in many private and public spaces in Europe and in the USA, such as the Tate Mixed media and college on paper 50 × 70 cm Modern in London, the Kunsthalle in Wien, and the Biennial Exhibition in Bratislava. She primarily works with videos, installations and photographs. BACK (LEFT) Jacopo Mazzonelli Coro 2011 lecterns, tomes, video screens, glass Variable dimensions

BACK (RIGHT) Tony Just from the series Paint Noir 2011 Mixed media on canvas 100 × 80 cm SEBASTIAN BRANDL COLOGNE

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SEBASTIAN BRANDL

WEBSITE The composition of the abstract-geometrical works by Timo Behn (b. 1973) is made www.sebastianbrandl.com up of invariably squared, geometric basic forms that are in each case defined by only E-MAIL one colour. The artist partially accentuated the edges where two colours converge [email protected] by using a third colour as a contour. By emphasizing the linear aspect, the works

PHONE attain a constructivist, architectural bias. In many cases the colour fields overlap +49 221 2229 9793 each other; sometimes these intersections remain transparent, with opaque layers

CELL appearing elsewhere. +49 178 925 2198 Inconsistent with the controlled and austere formal arrangement is the flow of the CONTACT NAMES individual colour application and the visual movement and dynamic which emanates Sebastian Brandl from the works. Due to the perspective effect of bright and dark, cold and warm Alexandra Espenschied colours, the viewer‘s eye organizes the formal proposition obtaining virtual fragments of space. As a result a constant tilting, shying backwards, pressing forward

EXHIBITED ARTISTS of single parts evolves. Not only through his working process, that comprises an Timo Behn anew adaptation of a finished work, does Behn therefore reject the ultimate image. Julia Bünnagel Thus his paintings function according to his definition of reality: as simulated con-

OTHER REPRESENTED ARTISTS structs that continuously deny access. Christian Berg Franz Burkhardt Kerstin Fischer Julia Bünnagel’s (b. 1977) fascination with basic lattice structures as well as with Sven Fritz Hee Jung Kang the construction principles of reality—as connecting factor to the examination of Vincent Michéa space in the social context of architecture and urbanity—lies at the base of the (new) Manfred Schneider works like Get Lost in Abstract Thoughts. The artist started out with a basic modular Jan Stieding diagram of aluminium rods punctured with holes at equal intervals. From this lattice Birgit Verwer grid she developed a tilted fitting and expanded the possible connections that cul- minate, for the time being, in the presented work. It is, however, not an explosive body but rather an imagined form that cannot be closed. COVER Julia Bünnagel Bünnagel manages to generate space with simple elements. With lines, four-sided Get Lost in Abstract Thoughts 2011 aluminium rods, and tilted surfaces the artist creates a virtual volume that is never- Aluminium, wood, lacquer, theless present. The works she develops are models—open systems that she de- polystyrene velops, shapes, and presents. 249 × 210 × 240 cm (dimensions variable)

INSIDE Timo Behn Im Garten Deiner Lüste 1–78 2011/2012 Acrylic, lacquer, bitumen, silicone on canvas Each 40 × 30 cm

BACK Julia Bünnagel Somewhere 2011 Wood, neon lacquer 20 × 50 × 20 cm BROTKUNSTHALLE VIENNA

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BROTKUNSTHALLE

WEBSITE HUMAN BEINGS ON THE EDGE OF SOCIETY www.brotkunsthalle.com A pending issue that is being dealt with in the contemporary art scene—a cutting E-MAIL edge topic referring to everyday problems and their social and cultural meanings. [email protected] A seemingly simple solution to an impossible problem, on various levels such as po- PHONE litical and philosophical. Our artists—Russian photographer Anastasia Khoroshilova, +43 1512 5315 Spanish photographer Ángel Marcos, and South African sculptor/drawer Cameron CELL Platter—all try to address these matters in their works but decide to use different +43 664 340 4728 approaches and ways to express themselves artistically. However, the core of these CONTACT NAMES works is the same. The gap between what is right and what is wrong in a modern Ernst Hilger society needs to be questioned and deconstructed by all means. Michael Kaufmann Cameron Platter (b. 1978, Johannesburg) makes stories, pictures, and objects that are documents of contemporary morality; exploring a reality stranger than fiction, EXHIBITED ARTIST(S) through fantasy, satire and subculture, using themes appropriated from the universal Anastasia Khoroshilova concerns of sex, love, violence, beauty, advertising, food, battle scenes, pornogra- Ángel Marcos Cameron Platter phy, writing, politics, religion, crime, dancing, lust, greed, things falling apart, and spaceships. The young, struggling South African generation is facing difficult times, OTHER REPRESENTED ARTISTS Asgar / Gabriel doing their best to break free from traditional and inbuilt structures. Cameron Plat- Daniele Buetti ter is one of them. Recent exhibitions include Impressions From South Africa, 1965 Clifton Childree to Now, Museum of Modern Art, New York, 2011; and Recontres Internationales, Oliver Dorfer Centre Pompidou, Paris, 2010. Babak Golkar Brian McKee Ángel Marcos (b. 1955, Medina del Campo, Valladolid) is fascinated by life. It is as Leila Pazooki if he could look right into people, sceneries, structures of power and loss—as if Sara Rahbar Michael Scoggins he sensed some enormous truth in them. In his photography and installations he Miha Strukelj captivates an existential melancholy that provides a connection to the conditio hu- mana that is connected to the understanding that life is accompanied by change. His series La mar negra & La mirada blanca on the other hand are First World/Third COVER World clash of cultures and problems that arise because of social gap related. It feels Anastasia Khoroshilova like the dictionary definition of horrendous emptiness is being depicted in the most Starie Novosti / Old News beautiful way. Recent exhibitions include Rabos de Lagartija, Museo Vasco de Arte (installation view at the 54th Biennale di Venezia) Contemporáneo, Vitoria-Gasteiz, 2011; and Chinaz Camacho, MUSAC, León, 2007. 2011 Mixed media Anastasia Khoroshilova (b. 1978, Moscow) creates fine and sensitive photo-portraits Dimensions variable of people that live outside of their cultural world and who have temporarily changed their home for a united living. She is especially interested in people that have grown INSIDE (LEFT) Cameron Platter up in between two different cultures—just like the artist herself, who grew up both Endless Pleasure Love Vibes in Russia and in Germany. She pursues a simple, subjective, documentary style Lover G in order to visualize her own world. Recent exhibitions include Starie Novosti (Old 2012 News), a collateral event at the 54th Venice Biennale; and La Leçon de L’Histoire, Silicon, resin 125 × 70 × 34 cm Palais de Tokyo, Paris, 2010.

INSIDE (RIGHT) The works by these three outstanding artists are all based on the struggle of dealing Ángel Marcos with the downsides of everyday life, portraying either people who are considered La Mirada Blanca / The White outcasts or seemingly outlandish places. Furthermore they all deal with questions of Glance #6 2011 morality, tradition and society structures as means of regulation. If everyone could Inkjet print on paper, light boxes know what everyone felt, human beings would be more careful with each other and Dimensions variable would try to speak the language of their feelings which is what our artists are trying to express on an artistic level. BRUNDYN + GONSALVES CAPE TOWN

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BRUNDYN + GONSALVES

WEBSITE ONE PEARL OF GREAT PRICE www.brundyngonsalves.com With this latest body of work, Matthew Hindley’s subjects find themselves displaced E-MAIL from the sanctum of their hermetic studio space into a richer, heavily layered exte- [email protected] rior world. The transition has not been a peaceful one: this exterior is fraught with

PHONE suspense and an ambiguous sense of unrest. Facilitating this passage is a marked +27 21 424 5150 maturation and increased sophistication within Hindley’s visual language. There is an

CELL undoubtedly filmic quality to the paintings, the dramatic tension causing them to be +27 83 277 2062 read strongly as film stills, or rather isolated moments from a larger unfolding nar-

CONTACT NAMES rative. This narrative impression is itself multi-layered, and there is a distinct sense Elana Brundyn that while the primary focus is on the events unfolding within the desolate terrain of Fiona Mauchan the abandoned parking lot, an even greater discord lies beyond.

Informing the visual content of the paintings are fragmented cinematic allusions

EXHIBITED ARTIST drawn from a wide range of media, whether it be classical literature, African news Matthew Hindley stories or art history. In this series of paintings we see the incorporation of the thematic device of three tenacious female figures reminiscent of the Wyrd sisters from OTHER REPRESENTED ARTISTS Sanell Aggenbach Shakespeare’s Macbeth, but, in contrast to the explicit evil within the Wyrd sisters, Beth Armstrong the intentions of Hindley’s enchantresses are less clear. Saviours, mischief-makers, Tom Cullberg or sirens, it is left up to the viewer to decide. “Fair is foul and foul is fair” they fa- Paul Emsley mously declared in Macbeth’s opening scene, referring to the potential of appear- Stephan Erasmus Liza Grobler ances to be misleading. Thus while the central female figure in Hindley’s painting Carla Liesching may resemble the maternal tenderness of Michelangelo’s Pietà, the implications are Mohau Modisakeng that her purpose is less than forthright. Zwelethu Mthethwa Jan van der Merwe The majority of Hindley’s work is comprised of large paintings and drawings. How- ever, in a gesture coherent with the shifting of the content into an exterior environment, Hindley’s personal archive of source material, preparatory sketches, refer- COVER ence photographs and prints from the past few years will be undertaking a similar Matthew Hindley diaspora into the great beyond. A floor installation occupies the exhibition space, One Pearl of Great Price 2012 here viewers are encouraged to sift through the substantial record of Hindley’s stu- Mixed media dio processes, locating a keepsake to take with them. This is a gesture akin to Fé- Dimensions variable lix González-Torres albeit with each object being unique; indelible dog-eared, paint INSIDE splattered remnants of the artist’s studio. Matthew Hindley Study I 2012 Charcoal and chalk pastel on Cartiere Magnani Italia 100 × 70 cm

BACK (LEFT) Matthew Hindley Study II 2012 Charcoal and chalk pastel on Cartiere Magnani Italia 100 × 70 cm

BACK (RIGHT) Matthew Hindley Study II (detail) 2012 Charcoal and chalk pastel on Cartiere Magnani Italia 100 × 70 cm BRUNNHOFER GALERIE LINZ

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BRUNNHOFER GALERIE

WEBSITE Lucia Dellefant analyzes the relationship of the individual to current social and po- www.brunnhofer.at litical topics. This she transacts with paintings as well as with talks, installations E-MAIL and performative projects. Just like cultural and social phenomena, her multilayered [email protected] works ask the present time simultaneously as it invites the future. Her works have

PHONE been featured in public spaces and shows all over Europe and China. +43 732 77 83 21 Aurelia Gratzer de-structures the gaze of the spectator. With her multi-perspective CELL and diffuse-patterned paintings of real architecture and design, a new Precisionism +43 664 38 18 104 is found. With this noticeable style, the young painter already won the Strabag Art CONTACT NAMES Award, was among the Ten-Finalist-Winners of the West Collection Award and was Stefan Brunnhofer nominated for the Anton-Faistauer-Award. Elisabeth Brunnhofer Thomas Kühnapfel makes his enormous steel and aluminum sculptures with air- and water pressure, deforms them as if they were made of paper. He lends them organic EXHIBITED ARTISTS structure—it is like breathing in. Energy forms matter, inventing it new every time, Lucia Dellefant acting with the radicalism of a thought and bringing it to a huge materiality. In his Aurelia Gratzer Thomas Kühnapfel education he has been Title-winning student of Tony Cragg, and his sculptures are Jennifer Nehrbass well placed all over Europe. Yukihiro Taguchi Jennifer Nehrbass unites hyper realistic protagonists and objects with a seemingly OTHER REPRESENTED ARTISTS surrealistic environment. In her paintings, Nehrbass deals with the issues of gender Moritz Götze INDRA and women´s psychology, yet in a very personal and not strictly “theoretical” way. Ronald Kodritsch Her hyperreal form catches glances, whilst her surrealistic scenery gives room for Oliver Kropf thoughts. Skilled in NY and New Mexico, she is now featured in shows all over Eu- Anton Petz rope, Australia, and USA. Andrew Phelps Elisabeth Sonneck The Brunnhofer Galerie was founded in 1997 by Elisabeth and Stefan Brunnhofer. Paul Kranzler From the very beginning, the aim has been to support young contemporary art. The Christoph Schirmer Martin Schnur gallery wants to give auspicious young talents the chance, to be represented by a serious gallery, throughout the world.

To get the needed and aimed internationality for their artists, they collaborate with COVER galleries in the USA, Germany, Denmark, and Portugal, and participate in fairs all Thomas Kühnapfel animal (detail) over the world—Basel, Berlin, Cologne, L.A., London, and Miami. 2009 With this strategy, Brunnhofer Gallery has been able to celebrate great success with Steel 160 × 50 × 110 cm its young artists. They are in important institutional and private collections, spread all over the world, win awards and grants and get known to a snowballing public. INSIDE Aurelia Gratzer Land in Sicht 2012 Acrylic / canvas 85 × 125 cm

BACK (LEFT) Lucia Dellefant risk 2011 Aluminum / powder coated 39 × 120 cm

BACK (RIGHT) Jennifer Nehrbass On the Banks of the Rhine 2011 Oil / canvas 96.5 × 76.2 cm CHAPLINI COLOGNE

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CHAPLINI

WEBSITE Max Frintop (b. 1982) is a scholar at the Lepsien Art Foundation who lives and works www.chaplini.com in Düsseldorf. He studied Fine Art at the Kunstakademie Düsseldorf and graduated E-MAIL in 2009 as a Master student. [email protected] The central topic of his new works is the spatial effect of painting, which can be ex- PHONE perienced through the directness of his ductus during painting and his exact choice +49 221 1791 9688 of colours. Heavy brushstrokes locate themselves in relation to each other based CELL on their colorfulness. Flat areas change into volume and suddenly new possibilities +49 151 2403 4477 become apparent for the development of three dimensional space through paint- CONTACT NAME ing. Plastic positions on canvas are being developed, time and again the viewer of Berthold Pott these works gets into the unexpected, virtually into moments of surprise between flat areas and space.

EXHIBITED ARTIST Chaplini is a gallery located in the heart of Cologne’s gallery district exhibiting con- Max Frintrop temporary art from young artist in an area of 180 m². The gallery exhibits innovative OTHER REPRESENTED ARTISTS movements in art from all genres and has identified itself as a public space in which Ralf Dereich art reveals the power and meaning of subjectivity to an open-minded audience. Behrang Karimi Nadja Nafe Uwe Schinn

COVER Max Frintrop Ricochet No17 2012 Oil on canvas 190 × 140 cm

INSIDE Max Frintrop Ricochet No15 2012 Oil on canvas 150 × 190 cm

BACK Max Frintrop o.T. 2012 Oil on canvas 30 × 45 cm CONNER CONTEMPORARY ART WASHINGTON DC VOLTA 8 | BOOTH NUMBER C16

CONNER CONTEMPORARY ART

WEBSITE Relentlessly pushing the realist technique toward hyper-realism, Katie Miller creates www.connercontemporary.com artistic characterizations of the consumer-driven hype that fuels the commercial E-MAIL sexualization of children. The artist orders her toddler subjects according to hier- [email protected] atic compositions seen in Renaissance masterpieces by Hans Holbein the Younger

PHONE and Albrecht Dürer, among others, employing geometric principles from that pe- +01 202 588 8750 riod to instill her figures with the authority of holy, royal or mythological beings. The

CONTACT NAMES anachronistic formats interact with Miller’s exacting rendering of the children’s fea- Leigh Conner tures and flesh, giving them an otherworldly quality. The youngsters that confront Jamie Smith us in these paintings appear disarmingly knowing and self-possessed. This effect is amplified by their attributes, belly button rings and “bling-bling-binky” pacifiers, inspired by Bratz Babyz dolls, and other widely marketed children’s products. Their EXHIBITED ARTISTS precarious beauty figures the challenges of balancing childhood with forced adult- Katie Miller Leo Villareal hood in today’s consumer culture.

OTHER REPRESENTED ARTISTS Janet Biggs Zoë Charlton Mary Coble Patricia Piccinini Nathaniel Rogers Erik Thor Sandberg Federico Solmi Koen Vanmechelen Leo Villareal Wilmer Wilson IV

COVER Katie Miller Portrait of Fair Young Fia as Licensed Royalty 2011 Oil on panel 61 × 45.7 cm

INSIDE Katie Miller Portrait of Duke as Pacifier Punk 2011 Oil on panel 27.9 × 35.6 cm

BACK Katie Miller Portrait of Sweet Orange Blaze as the Littlest Predator 2011 Oil on panel 50.8 × 40.6 cm ANA CRISTEA GALLERY NEW YORK

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ANA CRISTEA GALLERY

WEBSITE Since opening in October 2009, Ana Cristea Gallery has established a strong inter- anacristeagallery.com national program showcasing some of the most interesting and promising artists E-MAIL to emerge in recent years from Europe. These artists include Razvan Boar (Roma- [email protected] nia), Zsolt Bodoni (Hungary), Alexander Tinei (Republic of Moldova), Michel Ceulers

PHONE (Belgium), Caroline Walker (UK), Daniel Pitin (Czech Republic), Nicola Samori (Italy), +1 212 904 1100 Christian Schoeler (Germany) and others. Each artist was first introduced to a New

CELL York audience by the Ana Cristea Gallery. +1 347 248 1549 Zsolt Bodoni (b. 1975), a Hungarian artist who grew up in Romania, has become CONTACT NAME well-known for his beautifully-painted and highly dramatic canvases that wrestle Ana Cristea with the legacy of Communist rule. In 2009, he was included in Flash Art’s list of “Top 100 Emerging Artists.” Bodoni’s work has recently been included in the 2011 Prague Biennale. He had solo exhibitions in New York (USA), Los Angeles (USA), EXHIBITED ARTIST(S) Razvan Boar London (UK), Milan (Italy) and others. Zsolt Bodoni Razvan Boar’s (b. 1982) drawings, paintings, and collages have a fragmented qual- Caroline Walker ity, reflecting the confusion and dislocations of what can sometimes feel like a dis- OTHER REPRESENTED ARTISTS solving world. Boar lives and works in Bucharest and is currently completing his Michiel Ceulers Daniel Pitin PhD in painting at the National University of Art in Bucharest. He is one of the most Nicola Samori promising and original talents emerging from a new generation of painters in Ro- Alexander Tinei mania, a country which has recently produced an important movement in contem- Bogdan Vladuta porary painting.

Caroline Walker’s (b. 1982, Scotland; lives and works in London) work beckons the

COVER (TOP) viewer into a strange world somewhere between the real and the virtual; the scenes Caroline Walker she creates open up, turn around and delve behind the surfaces of mirrors. Caroline Woman at Her Toilet Walker studied at the Glasgow School of Art and the Royal College of Art. In 2009, 2010 she was the recipient of the RCA’s Valerie Beston Trust Prize. Her work has been Oil on board 16.5 × 14 inch / 42 × 36 cm exhibited in London, Glasgow, New York, Berlin, Bucharest, and Turin. Recently she has been included in the 2011 Prague Biennale. COVER (BOTTOM) Caroline Walker Double Entry 2011 Oil on board 19.5 × 16 inch / 50 × 40 cm

INSIDE (LEFT) Zsolt Bodoni Night 2011 Acrylic and oil on canvas 77 × 55 inch / 195 × 140 cm

INSIDE (RIGHT) Razvan Boar Nebula 2 2010 Acrylic and oil on canvas 86.5 × 63 inch / 220 × 160 cm

BACK Zsolt Bodoni The Dance – Studying S A 2012 Acrylic and oil on canvas 75 × 105 cm ERIKA DEÁK GALLERY BUDAPEST

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ERIKA DEÁK GALLERY

WEBSITE Erika Deák Gallery was founded in 1998. www.deakgaleria.hu

E-MAIL [email protected]

PHONE +36 361 201 3740

CELL +36 70 360 2253

CONTACT NAMES Erika Deák Pál Sándor Tóth

EXHIBITED ARTISTS Vitaly Pushnitsky Attila Szűcs Alexander Tinei

OTHER REPRESENTED ARTISTS Menno Aden Andras Böröcz József Bullás Marcin Cienski EIKE Tom Fabritius Péter Forgács Zsuzsa Moizer Muntadas Ryan Schneider

COVER Alexander Tinei Dream 2012 Oil on canvas 32 × 28 cm

INSIDE Attila Szűcs Class 2012 Oil on canvas 190 × 240 cm PAOLO MARIA DEANESI GALLERY ROVERETO VOLTA 8 | BOOTH NUMBER C5

PAOLO MARIA DEANESI GALLERY

WEBSITE 11 – 13 JUNE: ARMANDO LULAJ – SOLO SHOW www.paolomariadeanesi.it Writer of plays, texts on risk territory and film author, producer of conflict images, E-MAIL Armando Lulaj (b. 1980, Tirana; lives and works in Tirana) is a lucid and disrespectful [email protected] analyst of the dispositive and mechanisms of power hidden backstage of the inter-

PHONE national claimed forms. He has no desire to vindicate the context of local belong- +39 046 443 9834 ing; rather, he is orientated toward accentuating the border between economical

CELL power, fictional democracy and social disparity in a global context. In 2003, Lulaj +39 348 233 0764 founded the Debatikcenter of Contemporary Art in Tirana, as a center for discussing

CONTACT NAME and examining the country’s social changes. The Debatikcenter is currently a film Paolo Maria Deanesi production center, led by the artist and his sister Anola Lulaj. He has participated in many international exhibitions, including: Prague Biennial (2003 and 2007), Tirana Biennial (2005), Albanian Pavilion, 52nd Venice Biennale (2007), Gothenburg Bien- EXHIBITED ARTISTS nial 4 (2007), Baltic Biennial of Contemporary Art 8, Szczecin, Poland (2009), and Armando Lulaj the 6th Berlin Biennial (2010). Dacia Manto

OTHER REPRESENTED ARTISTS 14 – 16 JUNE: DACIA MANTO – SOLO SHOW Arnold Mario Dall‘O Dacia Manto’s (b. 1973, Milan; lives and works in Bologna) work transfers her obser- Antonio De Pascale Igor Eškinja vation of nature and the landscape onto a level of formal research, using a dual ap- Robert Gschwantner proach combining science (via the re-elaboration of technical data) and the senses. Diango Hernández Manto’s installations are thus the product of the union of the objective analysis of Jacopo Mazzonelli reality and the intimate reworking of it, in an attempt to achieve deep understanding Federico Pietrella Simone Racheli of the elements that compose it. As in the case of her installations, the drawings also Tonel prefigure free development in physical space unconditioned by nature, for the lines Ulrich Vogl are assimilated by the vegetation and vice versa. Dacia Manto has exhibited in many public spaces (MART Rovereto, PAV Turin, MAR Ravenna, PAC Milan, GCAC Mon- COVER falcone, PECCI Prato, MAGA Gallarate, MAM Saint Etienne, La Strozzina Florence) Armando Lulaj and private in Italy and abroad. In 2011 she won with the video Planizaria the EcoArt US (detail) 2011 Prize ACEA in Rome and with the video Asterina the Aletti Prize at ArtVerona Fair. Steel, oxide, wood 174 × 40 × 40 cm Ed. 3 + pa

INSIDE Dacia Manto Wood Seer (exhibition view) – Asterina (on the left) 2009 Color video, 15'

BACK Armando Lulaj Back news / Flying News 2011 Digital c-print 94 × 140 cm Ed. 5 + 2pa EB&FLOW LONDON

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EB&FLOW

WEBSITE EB&Flow provides a platform to exhibit and support contemporary artists in London. www.ebandflowgallery.com The gallery occupies a warehouse across two floors in the heart of Shoreditch. Es- E-MAIL tablished by Margherita Berloni and Nathan Engelbrecht, at the core of EB&Flow’s [email protected] ethos is the aim to build long term relationships with artists from a formative stage

PHONE in their career and as their practice develops. +44 207 729 7797 Briony Anderson’s practice ranges from studio-based work to collaborative projects CELL and frequently investigates the visual tradition of landscape representation. Her +44 772 503 9581 current series is composed from the landscape aspects of historical paintings. In CONTACT NAMES each instance Anderson removes any human trace from the original source, so the Margherita Berloni resulting paintings are limited solely to the landscape background of each image. Nathan Engelbrecht By repurposing the background in this way Anderson shifts the focus of the work to engage the viewer with what is withheld from vision, encouraging a reassessment of

EXHIBITED ARTISTS landscape as less a representation of a memorable scene in nature but as an idea Briony Anderson and as a mechanism for forgetting or erasing history. Gemma Anderson William Bradley Gemma Anderson’s distinctive line drawings have evolved into life-size etchings, Nicholas McLeod which are drawn directly onto the plate and elaborated upon afterwards in the stu- Cristian Zuzunaga dio. Etchings on this scale are rare and it is rarer still to find etchings drawn directly OTHER REPRESENTED ARTISTS onto copper from life. Anderson’s recent work draws on source material from the Neil Ayling key collections held by the Natural History Museum, University College London and Ross M. Brown Kew Gardens. Anderson juxtaposes different species groups delicately interweav- Shannah Bupp Sue Corke ing them in intricate drawings through which she questions established taxonomies Dylan Culhane and systems of classification. Alinka Echeverria Katie Louis Surridge William Bradley’s work is both abstract art and about abstract art. Viewing the idea of the pure abstract language as made problematic by its lack of communication from artist to viewer, Bradley builds in a more communal language of references

COVER or quotes from abstract art history. William Bradley’s paintings distort art historical William Bradley references deconstructing the role of abstraction in both modernism and contem- Make It Snappy porary art practice. Bradley defies previous notions of abstract art history by recy- 2011 cling past formulas from Abstract Expressionist artists such as Rothko, de Kooning Oil on Canvas 90 × 60 cm and Motherwell. As Vincent Honoré, Director of the David Roberts Art Foundation, claims “William Bradley is a perverse Abstract Expressionist”. INSIDE Cristian Zuzunaga Nicholas McLeod is intrigued by abandoned places, wastelands and crime scenes Rhythmic Skyline which he gathers from films, documentaries and the internet as source material for 2006 Letterpress on Paper his work. Taking the ambiguity and banality in them as a starting point, his painted 61 × 43 cm landscapes indicate that some event has taken place, or is just about to, but nothing is explicitly revealed. McLeod creates tension by flicking, pouring and throwing paint at images to disrupt the image and enhance the visual tension and unease. “I see the poured paint as a kind of curtain or veil,” he explains, “which acts as a device by which the forms are hidden, distorted and bleached out.”

Since 2004, Cristian Zuzunaga has been looking at the city as a metaphor, a living organism that evolves and changes in a way that reflects our own evolution. His work deals with gravity, abstraction, randomness, repetition, time and space. Us- ing architecture and the way global cities such as Barcelona, London, New York, or Shanghai are constructed inspires and gives form to his versatile visual vocabulary. GALLERI CHRISTOFFER EGELUND COPENHAGEN VOLTA 8 | BOOTH NUMBER C21

GALLERI CHRISTOFFER EGELUND

WEBSITE Louise Hindsgavl’s (b. 1973) fascination with mutants that are part human, part ani- www.christofferegelund.dk mal does not spring from a love of science fiction or interest in new experimenta- E-MAIL tion in inter-special transplantation. She is bringing to the forefront people’s sec- [email protected] ond nature—the side of human nature governed by pure instinct that lurks behind

PHONE a polished surface unchecked by the conscious self. +45 33 93 92 00 She uses exaggeration as an effective way of making us laugh. Thus her figurines CELL not only hold a place in ceramic circles of popular culture, they also relate to popular +45 26 27 28 71 storytelling and cartoons. The author Marina Warner tells us in her book, “Fantas- CONTACT NAMES tic Metamorphoses, Other Worlds” that stories about animals that become human Christoffer Egelund and humans that become animals are transitional stories that express conflict and Chris Handberg insecurity. The characters in these stories reveal poisonous truths about themselves as do her figurines. The essence of the story that she is telling with porcelain can

EXHIBITED ARTISTS perhaps be summarized with the word burlesque. This word is French and means Louise Hindsgavl extravagant, comical, untamed, fantastic and rude. Ida Kvetny Hindsgavl mainly works in porcelain. Her works have a distinctly narrative expres- OTHER REPRESENTED ARTISTS sion, both when she works with one-off pieces and with more utilitarian items. She Mikkel S. Andersen Crystel Ceresa wants us to experience the multiplicity of ceramics through her work, while at the Thierry Feuz same time stimulating our imaginations. She feels that we often let the pre-deter- Ghost Of A Dream mined images of others dictate our taste. She wants to change that tradition and Yuichi Hirako to this end her works often have surrealist undertones, where she produces a form Jason Jägel Michael Johansson of alternative reality for the viewer to enter. Morten Steen Hebsgaard Her works are represented at several museums including the National Museum in Maria Torp Theis Wendt Stockholm, Victoria and Albert Museum in London, Danish Museum of Decorative Art, Trapholt Museum of Modern Art, Röhska Museum, Carlsberg Art Fondation, Applied Art and Muse Ariana in Geneva.

COVER In Ida Kvetny’s (b. 1980) installations, juxtaposed paintings, drawings and sculptures Ida Kvetny Tell Tale Heart all contribute to the same investigation of the limitations of painting. Her cut-out 2011 drawings mirror the stencils that her paintings have been spraypainted through. Only Acrylic, spray and pencil on canvas they are negations: the cut-out removes what the spraypaint adds. The figurative 200 × 150 cm elements in the paintings have been cast to sculptures whose shadows are thrown INSIDE onto the projection of drawings. Tiles, spraypainted through stencils, become sculp- Louise Hindsgavl tural drawings as they cover floors or form walls. I Found a Gun That Can Really Fire 2011 The paintings are an explosion of vibrant colors. Twisting and interlacing lines. Spac- Porcelain, Unique es that overlap. Techniques that succeed one another. Acrylic, marker, spraypaint, 24 × 35 ×26 cm water, metallic and neon colors. Layered or side by side. Like one big chain reaction. Elements that lead to something else. Unhierarchic processes like the forces of nature, represented here by roots, trees and intestines. The surreal and grotesque figures, the mix of figuration and abstraction and the working process itself is that of the automatic drawing that allows subconscious ideas to develop.

Ida Kvetny graduated from Funen Art Academy in 2004, Edinburgh College of Art in 2006 and received her MA from Saint Martin’s College of Art and Design in 2007. She has exhibited in Brandts, ARKEN Modern Museum of Art, Seoul National Uni- versity in Korea, Kunsthal Charlottenborg and Holstebro Museum of Art etc.. She has received prestigious grants such as The Maclaine Medal, Young Artist Of The Year Award, Aage and Yelva Nimb honorary grant and most recently Niels Wessel Baggers Honorary Award at Louisiana. ESPAIVISOR – GALERÍA VISOR VALENCIA

VOLTA 8 | BOOTH NUMBER A5

ESPAIVISOR – GALERÍA VISOR

WEBSITE NIL YALTER, EGYPT-TURKEY, 1938 www.espaivisor.com She was born in Cairo in 1938. Having completed her studies in Istanbul, she went E-MAIL to Paris where she worked on painting, sculpture, installations and media for many [email protected] years. She gave several courses on video arts at Sorbonne University for 1980–

PHONE 1995. She currently lives in Paris since 1965. Yalter is an artist who addresses ethnic +34 963 922 399 problems, cultural identity and women’s issues, incorporating various materials and

CELL media into her work often. She concentrates on ethnic approaches and social situ- +34 628 881 245 ations relating to migration, cultural identity and women’s problems. Photography,

CONTACT NAMES documents, computer-video or performance are all used to reach audiences with Mira Bernabeu work about human rights in an interactive way. It is said that the first real Turkish Miriam Lozano interactive artwork has been made by Nil Yalter. Her art works have been exhibited David Serrano in Europe, Turkey, Taiwan and America. Some of them are in the permanent collections of Centre Georges Pompidou and Long Beach Museum of Art, California.

EXHIBITED ARTISTS Alberto Baraya Hamish Fulton Sanja Ivekovic Nil Yalter

OTHER REPRESENTED ARTISTS Miguel Ángel Rojas Lynne Cohen Esther Ferrer Joan Fontcuberta Daniel García Andujar Luis Gonzalez Palma Carlos Leppe Oswaldo Maciá Tatiana Parcero

COVER Nil Yalter Turkish Immigrants #2. Three girls 1977 Detail. Unique piece Triptych: 3 pieces made with 3 diptych: one drawing and one photographs each one

INSIDE Nil Yalter Turkish Immigrants #5. Two Women and Child 1977 Detail. Unique piece Triptych: 3 pieces made with 3 diptych: one drawing and one photographs each one HENRIQUE FARIA FINE ART NEW YORK

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HENRIQUE FARIA FINE ART

WEBSITE Alessandro Balteo Yazbeck’s work is informed by historic conceptual art. His ap- www.henriquefaria.com proach highlights the notion of collaborative authorship by explicitly quoting, incor- E-MAIL porating or making reference to the works of others. His productions have been [email protected] shown internationally since the mid-nineties and are represented in institutional and

PHONE private collections. +1 212 517 4609 Balteo Yazbeck (b. 1972, Caracas) is based in Berlin, Germany, from where he works CELL also in between New York, Caracas and now São Paulo; establishing collaborations +1 917 378 0667 with other authors. His work has been internationally exhibited since the 1990s and CONTACT NAMES recently in shows like: Chronoscope 1951, Galerie Martin Janda, Austria (2012), Henrique Faria Liberalis, Kunst+Projekte, Lütze-Museum, Germany (2011); Untitled (12th Istanbul Aimé Iglesias Lukin Eugenia Sucre Biennial), Turkey (2011); Cultural Diplomacy: An Art We Neglect, Henrique Faria Fine Art, USA (2010); 31º Panorama da Arte Brasileira, Museu de Arte Moderna de São Paulo, Brazil (2009); A little bit of heaven, Carpenter Center, Harvard University, USA EXHIBITED ARTISTS (2008); The Prisoner’s Dilemma, Cisneros Fontanals Art Foundation, USA (2008). Alessandro Balteo Yazbeck in collaboration with Media Farzin His coming project, entangling politics and art history, will be featured in the coming group exhibition When Attitudes Became Form, Become Attitudes, opening OTHER REPRESENTED ARTISTS Álvaro Barrios in September at the CCA, Wattis Institute for Contemporary Arts, San Francisco, Emilio Chapela USA (2012). José Gabriel Fernández Anna Bella Geiger Media Farzin is a New York-based art historian. She has a BA in Fine Arts from Carlos Ginzburg Tehran University, an MA in Modern Art History / Curatorial Studies from Columbia Michael Gitlin University, and is currently a PhD candidate at the City University of New York. Her Leandro Katz research looks at language-based art in the 1960s and 70s in relation to perfor- Marta Minujín Osvaldo Romberg mance. She is a lecturer at the City College of New York and an instructor at the Pedro Terán Museum of Modern Art. Horacio Zabala

COVER Chronoscope, 1951, 11pm 2009 – 2011 Single channel HD video installation (incl. screenplay booklets and furniture) 24:49 min. Installation, dimensions variable

INSIDE Detail of Alexander Calder’s performing mobile Orange Fish (1946) at the Tehran Museum of Contemporary Art. (installation view) 2008 Installation, framed C-print, vinyl lettering, wall label with narrative text. 177 × 160.5 cm

BACK Didactic Panel and Model of Alexander Calder’s Vertical Constellation with Bomb, 1943 (installation view) 2007 – 2009 Face-mounted C-print, plastic model of original Calder sculpture, wall label with narrative text; pedestal and vinyl lettering. 200 × 200 cm Dimensions variable JONATHAN FERRARA GALLERY NEW ORLEANS VOLTA 8 | BOOTH NUMBER B14

JONATHAN FERRARA GALLERY

WEBSITE Gina Phillips is a mixed-media, narrative artist who grew up in Kentucky and has www.jonathanferraragallery.com lived in New Orleans since 1995. Her work is influenced by the imagery, stories and E-MAIL characters of both regions. She started her career as a painter, but over the years, [email protected] has increasingly incorporated fabric and thread into her work. She begins a piece

PHONE with a simple underpainting in acrylic paint on canvas or muslin… then finishes the +1 504 522 5471 piece by appliquéing fabric and thread on top. Phillips uses a communal gather-

CONTACT NAMES ing process to source her fabrics, as neighbors, friends, family often donate to her Jonathan Ferrara artistic process. Her sewn work hover between two and three dimensionality and Matthew Weldon Showman often the backs of her pieces are as interesting as the front sides. The most com- Jean Kennedy Burgess mon narrative characteristic that runs through her work is tragicomedy. The people and/or animals that tell the story often embody a magical realism.

EXHIBITED ARTIST Gina Phillips has a BFA from University of Kentucky and an MFA from Tulane Uni- Gina Phillips versity’s Newcomb College. Her work has been exhibited in galleries and museums OTHER REPRESENTED ARTISTS across the country including at Pepperdine University, Tulane University and most Brian Borrello recently at Ballroom Marfa. In addition, her work was recently featured at Pulse LA David Buckingham and will also be a part of the gallery’s presentation at Pulse Miami. Phillips’ work Skylar Fein Tony Fitzpatrick has been featured in Art in America, The Times-Picayune and her recent solo exhibi- Justin Forbes tion this past March was reviewed in ARTNews. Phillips is scheduled for major solo Generic Art Solutions (G.A.S.) exhibitions at the Ogden Museum of Southern Art in 2013 and at the Birmingham Marcus Kenney Museum of Art in 2014. She was chosen as one of twenty-seven international art- Adam Mysock Dan Tague ists featured in the recent Prospect.2 Biennial of Contemporary Art in New Orleans . Paul Villinski Her work is in numerous collections including University of Kentucky, Lexington; NASA; New Orleans Museum of Art; Ogden Museum of Southern Art; 21c Museum, KY; the Drake Hotel, Toronto; The Frederick R. Weisman Art Foundation; Tulane COVER Gina Phillips University and House of Blues (various locations across US.) Italian Travis Gina Phillips lives and works in New Orleans, LA and is represented by Jonathan 2011 Fabric, thread, synthetic hair, paint Ferrara Gallery. 55 × 24 inch

INSIDE Gina Phillips Ross Karsen 2011 Fabric, thread, paint 53 × 22 inch

BACK Gina Phillips Mabel On Her Way to Mass 2011 Fabric, thread, ink, paint 54 × 30 inch FORMATOCOMODO MADRID

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FORMATOCOMODO

WEBSITE The gallery is now pleased to present Guillermo Mora’s solo project a menudo siem- www.formatocomodo.com pre (often always). Mora’s sculptures catapult us into the stage of uncertainty. They E-MAIL operate in the space conscious of their physicality: tired, lazy, as a beginning of [email protected] something, but also close to being nothing. In the words of Teresa Macrì, “they have

PHONE the most intimate and almost playful will to recline on their own Self and inquire into +34 91 429 3448 their own sense of inadequacy, of unease and suspicion which, reluctantly, coagu-

CELL lates with the state of global indeterminateness”. +34 676 723 819 This specific project for VOLTA 8 invites us to give a new meaning to each of the CONTACT NAMES volumes that form it. Each piece is presented as a personal archaeological remain Pilar & Mayte Castellano so we can engage in a post-structuralist sculptural experience marked by the re- construction and renovation of formats done through the causal experimentation of trial and error. EXHIBITED ARTIST Guillermo Mora Guillermo Mora (b. 1980, Alcalá de Henares, Spain) has a BFA from Universidad OTHER REPRESENTED ARTISTS Complutense de Madrid and an MFA from the Universidad Europea de Madrid. He Ingrid Buchwald received grants to study at The School of the Art Institute of Chicago and obtained Hisae Ikenaga the Grant for Postgraduate studies of La Caixa Foundation in 2008 and the Fel- Omar Maufoudi Guillermo Mora lowship of the Royal Academy of Spain in Rome 2010. Recent exhibitions include: Ana Roldan (in collaboration) El Ranchito, Matadero, Madrid (site-specific project); Quizás mañana haya desa- Paula Rubio Infante parecido, Galería Extraspazio, Roma; Viaje largo con un extraño, Galería CASA Teresa Solar Abboud TRIÂNGULO, Sao Paulo.

FORMATOCOMODO opened in 2007. Since then, its main goal has been to promote

COVER contemporary art in Spain with a special interest in making Spanish artists to be Guillermo Mora known internationally. The range of works the gallery deals with is focused on new Uno casi tres tendencies, specially sculpture, photography, video and installation. During these 2011 five years it has been focused in producing and showing site-specific installations Layers of acrylic paint tied with rubber bands in its particular space located in the center of Madrid. Dimensions variable

INSIDE Guillermo Mora A veces 2012 Mixed media on fragments of wooden stretchers, metal hinges Dimensions variable

BACK Guillermo Mora D=I=V=I=S=O 2011 Acrylic plaster, acrylic and tempera paint on paper, elastics and wood 8 × 69 × 14 cm FRED [LONDON] LIMITED LONDON

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FRED [LONDON] LIMITED

WEBSITE Alexandra Makhlouf lives and works in her native South Africa. During 2007 and fred-london.com 2008, Alexandra suffered with only 10% vision. Literature took on a new meaning E-MAIL for her: the words and pages became foggy mysteries between stabs of light and [email protected] physical pain. And audio-books were important to her during this time.

CELL She continues to listen to them while working. She uses washes of ink to give a +44 (0) 797 019 8123 “spectrality” to the work; and creates a palimpsest where nothing is hidden—unless CONTACT NAMES it is deleted with blackness. The ink’s bleeding and pooling brings her back to the Fred Mann physicality painting from the story’s narrative, and her own subjectivity. She listens Robin Page mainly to Magical Realism, Fantasy and Science Fiction novels by authors including Adolfo Bioy Casares, Calvino and recently, Philip Pullman.

EXHIBITED ARTIST Alexandra says “while I don’t think the subject-matter is directly influenced by the Alexandra Makhlouf stories, perhaps certain elements of storytelling are present (particular to reading a OTHER REPRESENTED ARTISTS book). Some of the images are small and detailed—the type of relationship that an Joseph Bertiers author (or even narrator) has with a viewer or reader—at once intimate while also Nayland Blake Ansuya Blom being quite removed. For me this strange relationship is so deliciously conspirato- Kate Davis rial; a narrator telling you, just you, the words they’re made of and they’re allowed Godfried Donkor to come live in your head and maybe become entwined with bits of you for a while”. David Huffman Matthew McCaslin Alexandra’s protagonists are silently terrified, silently screaming and silently dis- Jakob Roepke appearing. She says “the iodine, a volatile element, oxidizes or sublimates quite Athi-Patra Ruga quickly—it can take a few months depending on the paper, exposure to sunlight etc. Susanne Simonson This erasure of information can be connected with current issues in South Africa concerning the implementation of the proposed Protection of Information Bill, the

COVER loss of voices. It is a return to blankness where the only trace of anything, any kind Alexandra Makhlouf of action, is in the quiet folds and bends and crumples in the paper”. 25 2012 Ink on paper 13.7 × 14.2 cm

INSIDE Alexandra Makhlouf 26 2012 Ink on paper 15.3 × 21.2 cm

BACK Alexandra Makhlouf 27 2012 Ink on paper 12.5 × 15.5 cm FROSCH&PORTMANN NEW YORK

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FROSCH&PORTMANN

WEBSITE Dear Robert Yoder, www.froschportmann.com The device is subtle: camouflaged in the “deficiency of being”, thumbing its nose E-MAIL at empirical determinism, your painting becomes somehow a permeable transi- [email protected] tion; even as a known solid object, it could yield under slow and steady pressure, PHONE immersing the hand and then the arm and then whatever else fit. To see the rect- +1 646 820 9068 angle—to see art—in this way is to move past the wall—beyond the wall—treat- CELL ing the painting kind of like the mouth of an aberrant pore in the skin of a “known” +1 646 266 5994 material continuum. CONTACT NAMES Eva Frosch Your engagement with collage provides an opportunity to cement some kind of “nar- HP Portmann rative” angle. Your collages for the past couple of years take to wrenching recogniz- able fashion magazine models, accessories and their attendant interiors from their already disguised contexts of separateness and lack: the unattainable (or unhealthy) EXHIBITED ARTIST body, enviable personal significance, the necessary home, the hyper-real, etc., and Robert Yoder then, in a reverse anthropomorphosis, mangling these things through a grab bag OTHER REPRESENTED ARTISTS grafting process. These hybrids fight the frames they inhabit, typically sliding off to Raffaella Chiara the edges, creeping from off-camera into blank space. I’ve always thought these Steve Greene Julia Kuhl looked like pages from a Vogue guest-designed by David Cronenberg. The people Vicki Sher underneath these mutations, however, are either oblivious to your sadism or bear Hooper Turner their surgery with detachment as only hopelessly vain creatures can.

Your surfaces generally show a depraved gloss—a plasticity verging on rubber wear. Motifs in your paintings emerge from a sticky arctic soup: here, the image COVER Robert Yoder of an open-ended shape resembling a fluffed penis or there, the abrupt darkness Bird of Paradise (detail) of an orifice. Like the preliminary stab of a horizon or a head, these baggy cocks 2010 and pockets seem to be starting points, roots from which to build compositions Collage but ultimately to cover, not so much obliterating as partially concealing. The visual 12.5 × 10 inch pairing of your panels with other treated objects sets up a dialectic in which familiar INSIDE sexual cues move toward the stock of their formal construction—shapes, hues and Robert Yoder Teenage Donna (Flaccid) linkages—while a baser hedonism simmers underneath the sterility of everything. 2012 These ensembles mete out verdicts on prefab identity’s impotence—its fleshy bait Graphite, Acrylic, Collage on Paper and switch. The painted-white tile becomes a sloppy censor—a wad of wet toilet 24 × 19 inch paper above a urinal. As the presumably illicit image beneath seeps through, the rendering remains just barely identifiable as a picture of something intimate and shudderingly familiar. It’s not lost on the present work that paint and skin are both containers, organs that mediate inter-permeation. Skin registers the permutations of being through modulations in complexion, seeking out and broadcasting the unseemly nuances of the unconscious. There’s a distinct kind of shame in an unfiltered, full-spectrum view on the body’s sexuality and vulnerability. It’s a shame cut with relief that for all to which we’re bound in social congress, we’re still afforded the right to total self-exploit. If nothing else good comes of shame, at least there’s the privacy of multivariate emotion.

Yours truly,

D.W. Burnam GALERIE JULIA GARNATZ COLOGNE

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GALERIE JULIA GARNATZ

WEBSITE The paintings by Robert Haiss represent fleeting glimpses of everyday and ubiq- www.juliagarnatz.com uitous situations in an en passant manner, conveying a mere extract of the bigger E-MAIL picture of reality. Haiss’ depictions are marginal notes of a close observer, who [email protected] brings to attention seemingly unspectacular details such as door-frames, corners

PHONE of houses, sidewalk steps and fissures in walls. Places without defined placement, +49 221 340 6297 they overcome their particular situation and become instead universal as common-

CELL places, opening up imaginary spatial and narrative possibilities. Without revealing an +49 170 186 2855 ultimate truth behind things, Robert Haiss instead grants insights into niches rather

CONTACT NAME than disclosing panoramic scenarios. Through interstices and voids, like blind-spots Julia Garnatz in the painting, the beholder searchingly sees.

EXHIBITED ARTIST Robert Haiss

OTHER REPRESENTED ARTISTS Siegfried Anzinger Gina Lee Felber Johanna Freise Ilona Herreiner Marie Luise Lebschick Katarina Lönnby Adrian Norvid Vanessa Oppenhoff Ramona Schintzel Janet Werner

COVER Robert Haiss Untitled 2012 Oil on cotton 100 × 45 cm

INSIDE Robert Haiss Untitled 2011 Oil on cotton 45 × 60 cm

BACK Robert Haiss Untitled 2011 Oil on cotton 55 × 60 cm GALERIA ENRIQUE GUERRERO MEXICO CITY VOLTA 8 | BOOTH NUMBER K2

GALERIA ENRIQUE GUERRERO

WEBSITE Kill der Popen Fuhrer is an allegorical sculptural composition combining the now www.galeriaenriqueguerrero.com almost destroyed Basel Totentanz, the Basel Monument to Rudolf Ludwig von Jen- E-MAIL ner and the image of contemporary art world’s pope—the Swiss born super-curator [email protected] Hans Ulrich Olbrist.

PHONE This piece is a first installment in an ongoing series inspired by my visit to the Histo- +52 (55) 52 80 29 41 risches Museum Basel, Barfüsserkirche. The historical museum located in a church CONTACT NAME and avoided by most art tourists houses the remaining fragments of a fresco once Enrique Guerrero spanning the 2 meter high and 40 meter long outside wall surrounding the Basel cemetery painted in 1440. Most of it was destroyed during an iconoclastic rage a century later. The Totentanz is a genre of medieval memento mori allegory on the EXHIBITED ARTISTS Richard Stipl universality of death, no matter one’s station in life, the Dance of Death unites us Ricardo Rendón all. The Dance itself consists of personified death summoning representatives from

OTHER REPRESENTED ARTISTS all walks of life to dance along to the grave, typically with a pope, emperor, king, all Fernanda Brunet the way to the pauper. They were produced to remind people of the fragility of their Manuel Cerda lives and how vain were the glories of earthly life. Daniela Edburg Héctor Falcón It was during the visit of the museum that I first came up with the idea to supplant Adela Goldbard the medieval hierarchy system with that of contemporary art world. It has been said Pablo Helguera that at the very top of this pyramid stands the unchallenged Hans Ulrich Olbrist as Yui Kugimiya Jésica López its pope. The other stations of the pecking order, other than curator, to follow are: Quirarte + Ornelas Death and the Museum Director, Collector, Gallery Owner, Art Professor, Connois- Tony Solís seur, Artist, Assistant, etc.

Formally the piece is a reinterpretation of the Neoclassical funerary sculpture housed

COVER in another of Basel’s Historical Museums—Haus zum Kirschgarten. Modelled in ter- Ricardo Rendón racotta by the German sculptor Sonnenschein in 1806 the Memorial for Ludwig Ru- Muro abierto dolf von Jenner also serves as a commemoration of a tragic rock avalanche in the 2010 Swiss Alps in which close to five hundred people lost their lives. The well-born hiker Modified drywall and wood construction Jenner was one of them. According to opinions of the day funerary art was not to 145 × 185 × 30 cm show a skeleton but should follow ancient works in depicting one of the twin sons of Night, Hypnos or Thantalos with a lowered torch. Thus in the piece Kill der Popen INSIDE Richard Stipl Fuhrer, we see the victim of the rock slide as Hans Ulrich Olbrist accompanied by Kill der Popen Fuhrer his protegee and artist Philippe Parreno as the sleeping son of Night. 2012 Clay, oil paint and display case Richard Stipl 80 × 50 × 45 cm

Ricardo Rendón proposes an epic that assaults architectures and objects equally. It is a query on the work and its sense by means of the experience. Gathering different materials and including multiple formal solutions, the works of Rendón act as a complex diary where the actions are registered, documented and accumulated. His works are an appendix of construction or destruction practices that enunciate the moment where things happen, forms that propose the action as leitmotiv.

Galeria Enrique Guerro was established in 1997 as the result of an intense decade of collaboration between prestigious cultural institutions. The gallery represents a selected group of young artists that explore the diverse medias of the visual arts: painting, sculpture, photography, video, performance and installation. Through annual exhibitions programs and activities in its facilities and international forums, as well as through the intense promotion labor, it permits a successful development of the artist´s careers and is considered a consolidated avant-garde gallery. GALERIE MATHIAS GÜNTNER HAMBURG

VOLTA 8 | BOOTH NUMBER A9

GALERIE MATHIAS GÜNTNER

WEBSITE For years Thorsten Brinkmann (b. 1971, Herne, Germany) has collected ordinary www.mathiasguentner.com objects, rubbish of civilization and everything the city is offering of things that be- E-MAIL came useless. This mass of materials has been used for a diverse oeuvre that moves [email protected] between the genres of photography, sculpture, performance and installation art.

PHONE His photographs explore the subject of “still life” with fresh eyes. As in his self- +49 40 4191 9590 portraits, in which the artist functions as an actor, director and photographer and CELL in which he transforms himself into anonymous sculpture figures that allude to +49 179 121 6034 compositions by old masters, they engage in an associative play on art historical CONTACT NAMES references. In his images the objects’ original function is frequently obscured from Mathias Güntner identification. Their meaning has shifted ground. The link between signifier and sig- Ana Siler nified is presented as a fragile, brittle conjunction.

Thorsten Brinkmann received the Finkenwerder Art Prize in 2011, among whose for- EXHIBITED ARTIST mer laureates were Neo Rauch, Daniel Richter and Candida Höfer. Thorsten Brinkmann Current solo exhibition at Museo National de San Marcos, Mexico City (Mexico). He OTHER REPRESENTED ARTISTS is the artist-in-residence at Andy Warhol Museum, Pittsburgh (USA). Boran Burchhardt Christoph Faulhaber SOLO SHOWS (SELECTION) Bernhard Frue 2012 Amanecer, Museo Nacional de San Carlos, Mexico City, Mexico Joachim Grommek 2011 Extradosis, Kunsthalle zu Kiel, Kiel, Germany Jan Köchermann Inge Krause 2010 Studiomove, Georg Kolbe Museum, Berlin, Germany Alexandra Ranner 2008 GEM Museum voor Actuelle Kunst, Den Haag, Netherlands Jörg Rode Gerold Tagwerker GROUP SHOWS (SELECTION) Christina Zurfluh 2012 Alice in the Wonderland of Art, Hamburger Kunsthalle, Hamburg, Germany 2012 Factory Direct, The Warhol Museum, Pittsburgh, USA 2011 Schnitte im Raum, Museum Morsbroich, Leverkusen, Germany COVER 2010 Das Fundament in der Kunst, Arp Museum, Remagen, Germany Thorsten Brinkmann Rose la Nuit 2009 Dresscode, ICP New York, New York, USA 2012 2009 Spotlight, Museum of Modern Art Salzburg, Austria C-Print, framed, museum glass 200 × 150 cm

INSIDE Thorsten Brinkmann Finger, Dogs & Dellen (Exhibition view) 2011 Kunsthaus Hamburg, Kunstprice Finkenwerder 2011

BACK Thorsten Brinkmann Les Yeux van Back 2012 C-Print, framed, museum glass 40 × 30 cm H’ART GALLERY BUCHAREST

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H’ART GALLERY

WEBSITE H’art Gallery opened in late 2002 as the second portfolio private-run gallery in Ro- www.hartgallery.ro mania. Its main goal is to promote young contemporary art and to consolidate the E-MAIL art market environment. The focus is on the generation of artists educated after the [email protected] fall of the Communist regime in 1989. Gili Mocanu, Florin Ciulache, Anca Mureşan,

PHONE Alexandru Paul, Roman Tolici, Raul Cio, Ana Bănică, Arantxa Etcheverria, Michele +40 213 108 339 Bressan, Suzana Dan, and Ion Bârlădeanu are some of the most active artists that

CELL H’art Gallery proudly represents. +40 722 248 744

CONTACT NAME Dan Popescu

EXHIBITED ARTISTS Raul Cio Arantxa Etcheverria Gili Mocanu Anca Mureşan

OTHER REPRESENTED ARTISTS Ion Bârlădeanu Michele Bressan Florin Ciulache Nicolae Comănescu Suzana Dan Tets Ohnari Adrian Preda Roman Tolici Ştefan Triffa Ecaterina Vrana

COVER Anca Mureşan Untitled 1999 Oil on canvas 230 × 190 cm

INSIDE Gili Mocanu Untitled 2009 Acrylic on canvas 150 × 200 cm

BACK (LEFT) Raul Cio Untitled 2008 Crayon on handmade paper 88 × 116 cm

BACK (RIGHT) Arantxa Etcheverria Circle noir 2011 Newspaper cuttings on board 193 cm diameter PATRICK HEIDE CONTEMPORARY ART LONDON VOLTA 8 | BOOTH NUMBER C20

PATRICK HEIDE CONTEMPORARY ART

WEBSITE KÁROLY KESERÜ www.patrickheide.com Károly Keserü’s art has always been open to a wide array of interpretations and E-MAIL speculations. The method of creation, though obsessive, incredibly crafted and me- [email protected] ticulous, is fairly straight forward, yet the levels of meaning are endless—and can

PHONE be as profound as the artist once put it: +44 207 724 5548 “Twentieth century science of quantum physics has discovered that an infinite num- CONTACT NAMES ber of parallel universes exist. This…is not restricted only for the sub-atomic world Patrick Heide …it applies to everything and everyone. The numbers of strategies in life are truly so Martina Fortuni much endless that the possibilities are in fact beyond our comprehension.

This is what I try to illustrate in my art: an approximation of conception of infinity. EXHIBITED ARTISTS …Horizontal and vertical lines running parallel to create a fine grid and tiny dots in Károly Keserü their myriads filling the identical squares. By introducing colours increasing com- Kate Terry plexity can be obtained. Tones, hues and shades combined with density, shapes, OTHER REPRESENTED ARTISTS and intangible forms looking both organic and electronic.” Isabel Albrecht Ina Geissler Alex Hamilton KATE TERRY Thomas Kilpper Kate Terry: “The mainstay of my practice are site-specific installations that utilise Minjung Kim ordinary thread and pins to transform and delineate spaces. My installations recall Hans Kotter Yuliya Lanina the rigorous regularity of Minimalism, whilst simultaneously drawing on the basic Thomas Müller tenets of ‘symmography’, the craft of string art popularised in the 1970’s. Respond- Francesco Pessina ing to architectural features and spatial idiosyncrasies as my starting point, I aim Susan Stockwell to subtly manipulate the viewers’ perception of space, creating a new experiential architectural space with each installation. I construct the installations by meticulously pinning threads to opposing surfaces and then guiding them as they twist COVER Kate Terry and turn in diaphanous, web-like veils that occupy a whole space, leaving it neither Thread Installation #14 full nor empty.” 2006 Shibboleth, Dilston Grove, Threads & Pins Dimensions variable

INSIDE Kate Terry Plan for HH 2009 Pencil and coloured pencil on paper 60 × 75 cm

BACK Károly Keserü Untitled (1109131) 2011 Acrylic on canvas 102 × 92 cm GALLERIA HEINO HELSINKI

VOLTA 8 | BOOTH NUMBER B30

GALLERIA HEINO

WEBSITE IC-98 (founded in 1998) are Patrik Söderlund and Visa Suonpää. IC-98 is interested www.galleriaheino.com in events which did not take place, fantastic connections between things, heresies E-MAIL and pure systems of thought, the presence of history in everyday life; the body [email protected] politic, social formations and architectural constructions, control mechanisms and

PHONE techniques of escaping them. +35 8967 2678 The medium of choice always follows the context, its history and the present situa- CONTACT NAME tion, and the objectives in question. IC-98 does a lot of research, both empirical and Rauli Heino archival. Traditional research is combined with intuitive and personal considerations. The final works—drawings, animated films, books or installations—are ambiguous mashups constructed from diverse sources of information. They are stagings, a EXHIBITED ARTISTS IC-98 (Visa Suonpää & theatre where the world according to IC-98 is played out. All IC-98 projects can be Patrik Söderlund) characterized as narrative constructs, blueprints of the possible or scripts for ac-

OTHER REPRESENTED ARTISTS tion, which act as condensations of diverse fluxes, both linguistic and affective. In Axel Antas general, what IC-98 is after, is the virtual. Lauri Astala Elina Brotherus OIKOUMENE Miklos Gaál Hanna Haaslahti The name Oikoumene refers to the distinction the ancient Greeks made between the Susanna Majuri known and the unknown worlds. The known world, Oikoumene, was surrounded by Topi Ruotsalainen river Okeanos, later for ocean. The work depicts a fortress-like island in the middle Pekka Sassi of this ocean. The walls are built in concentric circles, creating an onion-like system Kim Simonsson Mika Taanila of closures and openings surrounding an empty centre. Looking at the installation as a whole, the observer can adopt two opposite points of view: a direct aerial perspective of the ideal architecture or an indirect, low pan- COVER orama view circling the perimeter of the structure, transmitted through the real time IC-98 Oikoumene (sketch) camera and manipulated with CGI effects. The two “suns” on the wall correspond 2012 with this dichotomy: a golden disc etched with the map of the known world and its Mixed media: custom made black negative, an incomplete frottage replication. rotating table (maple, electric motor); architectural model (laser cut steel); real-time HD video with cgi-effects (camera, computer, lcd-screen); double vitrine frame (laser etched copper, frottage print) ∅: 190 cm, height: 75 cm (tabletop), 50 cm (model)

INSIDE IC-98 Oikoumene (table, sketch) 2012 Mixed media: custom made rotating table (maple, electric motor); architectural model (laser cut steel); real-time HD video with cgi-effects (camera, computer, lcd-screen); double vitrine frame (laser etched copper, frottage print) ∅: 190 cm, height: 75 cm (tabletop), 50 cm (model)

BACK IC-98 Little Adding Machines for Theses on the Body Politic (In the Labyrinth) 2008 / 2010 Mixed media: custom made sliding puzzle table (maple, laminate, steel, glass, offset prints) 115.5 × 88.5 × 75 cm HENNINGSEN GALLERY COPENHAGEN

VOLTA 8 | BOOTH NUMBER B12

HENNINGSEN GALLERY

WEBSITE THE PRESENCE OF ABSENCE www.henningsengallery.com Exclusively showing works by Mikkel Carl (DK), Rasmus Høj Mygind (DK), Emil Salto E-MAIL (DK) HENNINGSEN gallery have chosen to focus on three different ways to pres- [email protected] ent (the absence of) meaning.

PHONE Mikkel Carl’s work T10 comprises 10+9+8+7+6+5+4+3+2+1 bottles of Bottega Gold +45 8882 6605 prosecco arranged in an equilateral triangle directly upon the floor. Produced by CELL the company especially for display purposes the bottles are actually empty, and +45 4077 7005 so the work further complicates the sculptural mantra of Carl Andre; “A thing is a CONTACT NAME hole in a thing it is not”. In an eponymous work the phrase Ceci n’est pas presents Andreas Henningsen itself in neon lights. But une pipe is missing, as is the image of the pipe, which it is not—according to the surrealist Magritte. So what does “this is not” actually mean?

EXHIBITED ARTISTS In his new on-going series of untitled Vacuumed Paintings Rasmus Høj Mygind de- Mikkel Carl lineate his “motives” simply by vacuum cleaning the canvases only afterwards fix- Emil Salto ating whatever dry pigment is left untouched. The dry colour pigment is smeared Rasmus Høj Mygind onto the raw canvas, then retouched using the vacuum cleaner, which is hereby OTHER REPRESENTED ARTISTS introduced as a new and crucial artistic tool. The results are saturated and dusty Troels Aagaard Christoffer Munch Andersen abstract paintings containing the traces of their own creation. Anders Bülow Through photographic processes and performative actions Emil Salto creates visual Jeanette Hillig Kristofer Hultenberg spaces that employ a kind of “poetic formalism” as they strive to uncover hidden Lea Porsager matters and point to parallel realities—e.g. in the tripartite shadow play created in the film piece Doppel Acht. The work shows the artist’s shadow as he is engaged in moving a square object. His arm is fully extended and the object is held in his COVER outstretched hand. The footage was recorded by means of the “double 8mm” film Mikkel Carl format which allows you to run a 16mm film though an 8mm camera twice, thereby T10 creating two parallel exposures. During playback one set of footage will be shown 2011 55 bottles of Bottega Gold normally while the other will be shown backwards and upside down. (Prosecco) Dimensions variable

INSIDE Emil Salto Doppel Acht 2010 Double projection, 8 mm transferred to video, Endless Loop, Edition 3 + 1 A.P Dimensions variable

BACK Rasmus Høj Mygind Untitled (Hipster black) 2012 Color pigment on canvas and MDF 122 × 91 cm JARMUSCHEK + PARTNER BERLIN

VOLTA 8 | BOOTH NUMBER B17

JARMUSCHEK + PARTNER

WEBSITE At this years VOLTA 8 in Basel, Gallery Jarmuschek + Partner presents recent works www.jarmuschek.de of Sabine Banovic, Patrick Cierpka and Marc Fromm. The artists join the reflection E-MAIL about realities, the engagement in the authenticity of images and the will to call [email protected] for the viewers contemplation. However, the realisation of these superior subjects

PHONE could not be more different. The glimmering and oppulently colourful pictorial worlds +49 302 859 9070 captured on canvas by Patrick Cierpka form a striking contrast to the multilayered

CELL narrations, which are produced on the canvases of Sabine Banovic. Marc From on +49 179 512 9068 the other hand carves his realities in wood.

CONTACT NAMES The artworks of Sabine Banovic call for the viewers attention and ask for contem- Kristian Jarmuschek plation and involvement. They seem to be unreadable, because the artist creates Stefan Trinks dense clouds of calligraphy signs, entangles different pictorial worlds, expresses new ideas, connects them and finally dispels everything in a diffuse fog. With ap-

EXHIBITED ARTISTS parently simple tools—ink and pigmentary marker on canvas—a new painterly im- Sabine Banovic pression is produced, that originates in the dynamic change of black and white, Patrick Cierpka light and shadow, depth and surface. Marc Fromm Patrick Cierpkas pictorial worlds on canvas seem to flicker in the viewers eye. The OTHER REPRESENTED ARTISTS Oliver Gröne artist creates in his pictures opulently colourful landscapes, in which the contem- Carina Linge plator seaches in vain for clear outlines. The thicket of a park, the falling leaves of a Dieter Lutsch tree or the swinging dress of a woman can be identified, but are veiled by the bright- Harding Meyer ness of the sun. The overchallenged eye lets us hesitate in an instant of blindness. Nika Neelova Martha Parsey In his installations and reliefs Marc Fromm plays with realities, images and stereo- Markus Putze types. Viewing a beautiful wafting, but long time passed female pharaoh draging Jacob Roepke Carsten Weitzmann a flat wolf behind herself, the onlooker inevitably asks about the present reality, Jürgen Wolf which exactly is questioned in the wooden installations and reliefs. Especially for the VOLTA 8 Marc Fromm dealt with the antic Barberini Faun at the Glyptothek in Munich and will present this work at the show. COVER Sabine Banovic Nachhall 2012 Marker and ink on canvas 210 × 170 cm

INSIDE Patrick Cierpka Zoom 2011 Oil and acylic on canvas 150 × 230 cm

BACK Marc Fromm Faun 2012 160 × 60 × 50 cm LUIS DE JESUS LOS ANGELES LOS ANGELES VOLTA 8 | BOOTH NUMBER C11

LUIS DE JESUS LOS ANGELES

WEBSITE Hugo Crosthwaite’s most recent series, Tijuanerias, pays homage to Goya’s www.luisdejesus.com “ Caprichos” with its depiction of grotesque figures and themes executed in an in- E-MAIL formal, sketch-like style. Allowing the act of drawing to organically dictate his com- [email protected] positions, his figures—the everyday men, women and children that populate his na-

PHONE tive city of Tijuana—are presented in a non-idealized documentary style that allows +1 310 838 6000 them to appear in their humble familiarity and authenticity. Crosthwaite alternates

CONTACT NAMES between mythological subjects and contemporary ones, often combining the two. Luis De Jesus Francisco Goya, Eugene Delacroix, Gustave Doré, Jose Guadalupe Posada, and Ar- Jay Wingate nold Böcklin are among the many artists that have inspired his work. He also includes an exploration of modern abstraction in his compositions, which he approaches in a totally improvisational manner. The joining of abstraction with classically-rendered EXHIBITED ARTISTS imagery creates a feeling of spontaneity and vagueness; each work becomes an Hugo Crosthwaite Martin Durazo enfoldment of personal vision in which reality, history, and mythology collide as he explores the complexities of human expression. OTHER REPRESENTED ARTISTS David Adey Hugo Crosthwaite earned a BA in Applied Arts from San Diego State University. His Chris Barnard 10 × 25 ft epic mural, “Death March”, is currently on view in Morbid Curiosity: The Mara De Luca Zackary Drucker Richard Harris Collection at the Chicago Cultural Center (thru July 8, 2012). Recent Chris Engman exhibitions include Tijuanerias at Luis De Jesus Los Angeles; Brutal Beauty: Draw- Abel Baker Gutierrez ings by Hugo Crosthwaite, a solo at San Diego Museum of Art; El Grito/The Cry for Margie Livingston Freedom, at University of Arkansas, Little Rock, AK. Heather Gwen Martin Christopher Russell Federico Solmi Martin Durazo’s multi-media artwork is born out of rebellion against the status quo and is located in a “grungy aesthetic of the illicit”—contemporary society’s addictions COVER and vices fueled by popular culture and mass media—combined with the polish of Hugo Crosthwaite high-design. Raised in Los Angeles during the seminal years of the L.A. punk rock Tijuanerias #38 scene, Durazo references this fetish sub-culture and situational narcissism in his 2011 Ink and ink wash, white out, on Points of Entry series. It is an exploration of the symbiotic relationship between the Canson paper sacred and the profane, the taboo and the socially acceptable. In Plata o Plomo he 8.5 × 5.5 in / 21.5 × 14 cm explores the connection between the illegal drug trade and the “legal” pharmaceu-

INSIDE (LEFT) tical drug economy. In these works Durazo arouses the sensation of the popular- Hugo Crosthwaite ized rave and drug culture, and explores society’s desensitized attitude toward the Tijuanerias (AK-47) drug phenomenon—juxtaposed with spiritual symbolism and notions of transcen- 2012 dence. Both of these projects investigate how people manage their emotional and/ Graphite and ink on acid-free rag board or physical pain and the works take the form of collages, paintings, and reflective 100.5 × 77 in / 255 × 195.5 cm surfaces (chrome, stainless steel, mirrors) layered with prints of ephemeral imag-

INSIDE (RIGHT) ery, screen-printed and spray painted abstraction, punctured works on paper, and Martin Durazo multi-textured sculpture. SOMA 01 2012 Martin Durazo holds an MFA from UCLA and a BA from Pitzer College. His work Mixed media on panel was recently presented in the 2011 SUR Biennial (Rio Hondo College, LA) and NADA 20 × 16 in / 50.8 × 40.6 cm Hudson 2011 (Martin Durazo: The Romance of Enigmatic Escape) in Hudson, NY. Durazo is the recipient of a 2012 C.O.L.A. Individual Artists Fellowship from the Los Angeles Municipal Art Gallery and a 2011 California Community Foundation Award. In 2010, he was Artist-in-Residence at the 18th Street Arts Center in Santa Monica. GALLERY KALHAMA&PIIPPO CONTEMPORARY HELSINKI VOLTA 8 | BOOTH NUMBER B25

GALLERY KALHAMA&PIIPPO CONTEMPORARY

WEBSITE In his works, Ville Löppönen examines the possibility of combining the systems of www.kalhamapiippo.com Western values and the personal spirituality of the individual. The themes of Löp- E-MAIL pönen’s skillful, photorealistic paintings have their roots in both popular imagery [email protected] and the tradition of painting, as well as the narratives of Christian art. The precise

PHONE and intensive depiction of manhood challenges the viewers to examine their own +35 892 785 301 inner world.

CELL Löppönen introduces a new body of work that draws influences from religious +35 840 740 4901 symbolism and icon paintings of the Orthodox Christian Church. Löppönen’s work CONTACT NAME transform the Christian concepts of passion and resurrection into personal stories. Mikaela Lostedt According to the artist, the works arise from the acceptance of guilt and serve as a starting point on the way to the liberation. The transfiguration undergone by a figure on the path through suffering, hatred and sorrow, mirrors the events in the EXHIBITED ARTIST Ville Löppönen Passion of Christ. The subjects of the paintings move in an immaterial landscape, as if between the worldly and the transcendental. OTHER REPRESENTED ARTISTS Marcus Eek Löppönen considers his works primarily as religious paintings rather than icon art. Saara Ekström Unlike icon art, his works not only depict the hereafter, but also the processes of Lukas Göthman Hannaleena Heiska “herebefore”: the cathartic journey through one’s everyday life. Villu Jaanisoo “The grief turns into blessing, death into resurrection. Painting is like a confession Sanna Kannisto Jukka Korkeila for me. It is a contemplative act that ends in praise”, he says. Liisa Lounila Ville Löppönen (b. 1980, Savonlinna) graduated from the Department of Painting in Rauha Mäkilä Heli Rekula the Finnish Academy of Fine Arts in the year 2007 and had his debut exhibition at the Gallery Kalhama&Piippo the following year. Löppönen has participated in group exhibitions in Finland and abroad, for example at the Nordic Darkness exhibition,

COVER held at the Kristinehamns konstmuseum on summer 2011. During the Art Copen- Ville Löppönen hagen art fair last autumn, Kalhama&Piippo’s and Löppönen’s entity of work was Sistine Chapel raised to the Top 5 of the most interesting sights by the Politiken-magazine. Löp- 2010 Oil on board pönen’s work is represented by various Finnish art collections such as the Museum 33 × 20 cm of Contemporary Art Kiasma and Turku Art Museum.

INSIDE (LEFT) Ville Löppönen Walk in Closet V 2009 Acrylic and oil on board 15 × 15 cm

INSIDE (RIGHT) Ville Löppönen Crimson Sheet 2011 Oil on board 24.5 × 23 cm KATZ CONTEMPORARY ZURICH

VOLTA 8 | BOOTH NUMBER B2

KATZ CONTEMPORARY

WEBSITE Katz Contemporary was founded and initiated by Frédérique Hutter in 2008. The www.katzcontemporary.com gallery is located on the ground floor of a building called “Haus zur Katz” in the heart E-MAIL of Zurich and concentrates primarily on contemporary art. [email protected] The gallery is presenting a selection of new paintings by the Swiss artists Florian PHONE Bühler (b. 1983), Christoph Hüppi (b. 1976) and Léopold Rabus (b. 1977) and the +41 44 212 22 00 German artists Steffen Lenk (b. 1976) and Leif Trenkler (b. 1960). CONTACT NAME Frédérique Hutter Florian Bühler’s work is based on drafts of different sorts: His pieces function as pictures of subjects—ultimately formulated in clear shapes and surfaces. Starting off with the visual basic draft the piece ends up as an over-the-top interpretation. EXHIBITED ARTISTS Bühler thereby creates a distance while simultaneously subverting reality and cel- Florian Bühler ebrates the illusion and therefore the genre of painting per se. Christoph Hüppi Steffen Lenk The first thing that strikes one about the paintings of Christoph Hüppi is their orig- Léopold Rabus inality—a meticulously painted background and an array of three-dimensional dots Leif Trenkler laid down with obsessive precision and inexhaustible patience. The fact that the OTHER REPRESENTED ARTISTS dots possess sculptural form and are not illusory creations of the brush gives to the Luc Andrié work the air of playful quirkiness. Selina Baumann Nino Baumgartner Steffen Lenk exhausts the possibilities of oil painting to its full extent. Lenk uses ele- Clarina Bezzola ments of contemporary pop culture in a humorous and profound way, everyday mo- Elger Esser Beate Gütschow tives—inspired by the 1950’s and 1960’s—as well as historical images that stand out Elisabeth Llach through an almost aggressively extensive range of colour. Lenk cleverly confuses our Tomás Ochoa usual way of seeing with surprising combinations and their artistic transformations. Martina von Meyenburg Stéphane Zaech The focus was on banal rooms in the earlier works of Léopold Rabus—unspectacular landscapes figure as a stage for paradoxical human constellations in the recent works. An explosive mixture of inscrutability and romance are immanent. Rabus COVER manages to describe the big questions—the origin and the destiny, free of moral- Steffen Lenk izing judgments. Untitled 2009 Leif Trenkler’s precise choice of colour and barely traceable brushstrokes result in 24k Gold and oil crayon on canvas closed compositions, painted almost exclusively on wooden surfaces. The use of 30 × 24 cm both light and shadow and water reflections blur the boundaries of time and space INSIDE in Trenkler’s work, the space is open to possibility and pure visibility is the theme. Leif Trenkler Biblische Fischerszene am J.F. By dissolving spatial boarders, a new space is created. It is this quality that continu- Kennedy Airport (New York) ally suceeds in captivating the viewer when observing the works. 2010 Oil on wood 270 × 116 cm

BACK (LEFT) Léopold Rabus Untitled 2004 Oil on canvas 200 × 175 cm

BACK (RIGHT) Christoph Hüppi Stammzellen 2011 Acrylic on canvas 50 × 50 cm KEVIN KAVANAGH DUBLIN

VOLTA 8 | BOOTH NUMBER B24

KEVIN KAVANAGH

WEBSITE Kevin Kavanagh is one of Ireland’s leading galleries showing established and emerg- www.kevinkavanaghgallery.ie ing Irish and international contemporary artists. In 2008 the gallery moved to a 135m² E-MAIL space on Chancery Lane designed by architect Philip Crowe of MCO Projects. The [email protected] gallery’s annual program consists of nine solo and one curated group show, as well

PHONE as special events, screenings, performances, artists talks and participation at in- +35 314 759 514 ternational art fairs.

CELL Ulrich Vögl’s work comes across as bewilderingly heterogeneous in form, material +35 386 396 2248 and content, such as: pencil drawings on paper, animated film, sculptural installa- CONTACT NAME tions made from recycled cardboard packaging and readymade objects, cardboard Kevin Kavanagh cut-outs, photographic collage, wall drawings, and painted glass. Each of his projects is underwritten by a strong conceptual basis, as if he chooses to realise each in the most appropriate manner, whatever that might be. But there are also persuasive EXHIBITED ARTISTS Diana Copperwhite consistencies to what he does, suggesting a concerted engagement with certain Sinéad Ní Mhaonaigh core and processes and media. Ulrich Vögl Mark Swords Diana Copperwhite’s work focuses on how the human psyche processes information, Paul Nugent and looks at the mechanisms of how we formulate what is real. She is fully aware Sonia Shiel that such realities may only hold validity for an instant, and that we are constantly OTHER REPRESENTED ARTISTS processing and changing what we logically hold as experience and memory. Layer- Gemma Browne ing fragmented sources that range from personal memory to science, from media Elaine Byrne and internet to personal memory, Her canvases become worlds in which the real is Oliver Comerford Amanda Coogan unreal and this unreality is in a constant state of reforming. Gary Coyle In Sinéad Ní Mhaonaigh’s work the seductive attraction of the painting lies in their Stephen Loughman Nevan Lahart extroverted, taciturn quality, in which the gutsy, even aggressive application of co- Vanessa Donoso Lopez lour is countered by the sensitive – even delicately tentative – scoring of the paint Paul McKinley in all its precise and potent hues. Rare is it to see paint being worked so sensually Mick O’Dea and yet often so brutally.

Paul Nugent’s works are influenced by photographic reproductions of eighteenth

COVER century paintings from art history books. Each painting painted blue has the ap- Ulrich Vogl, pearance of a print maker’s printing plate or of the early photographic process of Teleskop VII cyanotypes. The photographic references are inverted through the painting process 2011 White ink and glitter on fabric, into negative images creating a kind of visual representation of the subconscious. on board In Mark Swords’ work the handmade aspect is clearly evident, and together with the 29.7 × 21 cm materials, forms and use of colour, relay a sense of curiosity and workmanship. The INSIDE works are finely executed, apparent in the artist’s self-learning and even re-learning Diana Copperwhite through his engagement with materials, such that a piece of work may result from An Island from the Day Before 2011w the solving of a self-imposed problem. Utilising often-overlooked materials, including carpet, tent fabric, and string, and without attempting to hide the processes of making, the strength of Swords’ work resides in its fragility and careful informality.

Sonia Shiel’s installations, often composed of paintings, sculptures and videos, explore the propensity of art to be effective in the real world, while pitching mankind’s most earnest endeavors against their odds. GALERIE KLEINDIENST LEIPZIG

VOLTA 8 | BOOTH NUMBER B21

GALERIE KLEINDIENST

WEBSITE After studies in geography, philology and art history, Claudia Angelmaier (b. 1972, www.galeriekleindienst.de Göppingen, Germany; lives and works in Leipzig and Berlin) attended the Academy E-MAIL of Visual Arts Leipzig, where she studied photography in the class of Prof. Timm [email protected] Rautert between 2001 and 2008.

PHONE The play with the images of art and their history is at the heart of Angelmaier’s work, +49 341 477 4553 whereby particular focus lies on the pictures and their mechanical reproduction, ma- CELL terial image, and contextual situation. The protagonists of Angelmaier’s large-scale +49 170 808 5816 photographic works are books, postcards or transparencies and slides, which show CONTACT NAMES copies of “the masterpieces of art history”. At VOLTA she presents new works from Matthias Kleindienst a series called “Text”. In this work she is extending her own appropriation approach Christian Seyde from “art about art” to “art about writing about art”.

Nadin Maria Rüfenacht (b. 1980, Burgdorf, Switzerland; lives and works in Leipzig EXHIBITED ARTISTS and Bern) studied photography at the Academy of Visual Arts Leipzig in the class Nadin Maria Rüfenacht of Prof. Timm Rautert between 1999 and 2008. Claudia Angelmaier

OTHER REPRESENTED ARTISTS Rüfenacht knows her art history. She is a master of photography, the art of paint- Tilo Baumgärtel ing with light. She knows how to use materials skillfully to create desired effects, Christian Brandl for instance the impression of velvet. Her imagination is rich enough to transform Falk Gernegroß inspiration from the study of old masters in impressive and unique ways. Objects Henriette Grahnert Julius Hofmann become protagonists. The space, the lightning, the perspective convey the unique Rosa Loy stylistic approach of the photographer. Florian Rossmanith Christoph Ruckhäberle In her new collages, she is combining her own photographs with anthropological, Steve Viezens art historical, and encyclopedic illustrations. In these works space and time appear Corinne von Lebusa to form a wonderful symbiosis. The subject matter of the images is located between the past and the future, the transient and the eternal, between death and life. She is investigating the mysteries of life and brings the hidden into view. COVER Nadin Maria Rüfenacht nice try 2011 Collage 30 × 25 cm

INSIDE Claudia Angelmaier Text II 2012 C-print 180 × 130 cm

BACK Nadin Maria Rüfenacht doubtful pleasure 2012 Collage 125 × 182 cm KRUPIC KERSTING GALERIE // KUK COLOGNE VOLTA 8 | BOOTH NUMBER B12.5

KRUPIC KERSTING GALERIE // KUK

WEBSITE AGGRAVURE IV www.kukgalerie.de Baptiste Debombourg zitiert in seiner Aggravure IV mit den apokalyptischen Reitern E-MAIL eine der stärksten Gewaltszenen Dürers (…). Die Technik (des Tackerns) stellt eine [email protected] ikonische Verbindung zwischen Dürer und modernen Gewaltformen her, wie sie jeden

PHONE Tag in den Medien reproduziert werden. Das ist selbst eine gewaltförmige Technik: +49 221 2988 2888 zweihundertvierzigtausend Male schlagen die Metall-Krampen wie Geschosse in

CELL das Trägermaterial – und bilden Form. Eine metallisch schimmernde Form, die vom +49 176 4930 8831 weiten die Anmutung einer Tapisserie gewinnt (…). Es ist ein Paradox: die Personen

CONTACT NAME und Dinge gewinnen Form durch eben jene Gewalt, der sie ihr Erscheinen verdan- Emira Krupic ken. Indem der Künstler diese entsetzliche Gewalt in die Kunst selber aufgenom- men, sogar zu ihrer schöpferischen Kraft gemacht hat, entsteht ein Werk, worin die Gewalt nicht nur nicht verleugnet oder ästhetisiert, sondern vielmehr durch Form EXHIBITED ARTIST und ästhetische Technik beherrscht und integriert wird. Baptiste Debombourg Hartmut Böhme OTHER REPRESENTED ARTISTS Ervin Babic Auszug a. d. Rede zur Ausstellung Ars Apocalipsis. Kunst und Kollaps, Kunstverein Pierre Courtin Gütersloh, 2011 Irena Eden & Stijn Lernout Robert Kunec Kristina Leko ABOUT DEBOMBOURG’S WORK Damir Radovic French sculptor Baptiste Debombourg (b. 1978) post-graduated at the Ecole Natio- Claudia Marcela Robles nale Supérieure des Beaux-Arts in Paris. Jon Shelton Tobias Sternberg In France he is “one of the most outstanding young artists of his generation” (Daniel Alma Suljevic Strehli, Le Figaro).

With his sculptures Debombourg thematizes the throwaway society and the be-

COVER quests of consumerism. His works are the result of poetic transformations. They tell Baptiste Debombourg of the deconstruction of the depleted and its interpretation on a new level. Using Aggravure IV reclaimed and scrapped materials the artist creates reshaped sculptures which are 2011 240.000 staples on wood in a state of transition negate functional aesthetics and reduce the original purpose 185 × 300 cm of the material to absurdity.

INSIDE Baptiste Debombourg Aérial Abbey Brauweiler (Cologne), 2012 Installation, broken glass on wooden construction 4 × 15 m

BACK Baptiste Debombourg La Redoute Printemps-été 2010 Cut paper sculpture: la Redoute catalogue, acrylic glass frame KUDLEK VAN DER GRINTEN GALERIE COLOGNE VOLTA 8 | BOOTH NUMBER C4

KUDLEK VAN DER GRINTEN GALERIE

WEBSITE This artistic dialogue between Alexander Gorlizki and Niels Sievers presents very www.kudlek-vandergrinten.de different approaches to painting. Sievers is a young German painter working with E-MAIL oil and spray paint on canvas. He can be seen as a very contemporary “neo ro- [email protected] mantic” artist whose origins are well embedded in the history of western, especially

PHONE German art. +49 221 729 667 Gorlizki works on an international level and can be labeled a mid-career artist. In CELL stark contrast to Sievers, he works in a miniature style on paper. His work embraces +49 172 243 0099 both the traditions of western and eastern (especially Indian) art. While his concep- CONTACT NAME tual approach is totally western the technique he employes is Indian. His unique Martin Kudlek pictorial language embraces elements of both cultures on all kinds of levels reach- ing from the banal to the spiritual.

EXHIBITED ARTISTS Sievers’ landscapes are devoid of people. Everything is covered in a subtle veil Alexander Gorlizki of mist that softens the contours without retracting from the emotional tension in Niels Sievers these images. Classical painting genres are innovatively employed: a very low an- OTHER REPRESENTED ARTISTS gled perspective on the woods make them appear huge, sometimes threatening, Lucie Beppler and reduces the importance of the human being in relation to nature. The horizons Thomas Böing Jonathan Callan often lie so low that the works virtually consist of sky only which draws the viewer Robert Currie into the depth of the picture. The painting media employed by Sievers ranges from Izima Kaoru elements of graffiti to the techniques of the old masters. The surfaces he paints on Ellen Keusen also range from canvases to record covers. Together with a choice of occasionally Heiko Räpple Simon Schubert unusual picture formats, these factors set his landscapes apart from the known and Hans Schulte ordinary. Fine graduations in the mainly dark, subdued tones are so finely nuanced Rebecca Ste that a rich colour scheme unfolds to the viewer. One needs time and an attentive gaze to appreciate all the nuances of what is unfolding in his painting.

The urge towards infinity as it is formulated in Romanticism makes itself felt along COVER Alexander Gorlizki with the wish for sublime self-reflection by one’s own interaction with nature. But in Terms and Conditions Apply stark contrast to the nostalgic landscapes of the 19th century, the atmosphere here 2011 is much more sombre. The uprooted human being in the context of his own limita- Pigment and Gold on Bookprint tions and condemned to being left to his own devices becomes the theme of Siev- 29 × 21.5 cm ers’ works even though he—the human being—never appears as a concrete figure. INSIDE Niels Sievers The Flight 2012 Oil and spray paint on canvas 200 × 170 cm

BACK Alexander Gorlizki We are Union 2011 Pigment and Gold on Photograph 27 × 35 cm LARMGALLERI COPENHAGEN

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LARMGALLERI

WEBSITE The corporeality of the body as skin and scourged paint structure (literally écorché), www.larmgalleri.dk realised in terms of marks and memory as material “trace”, is central to the ap- E-MAIL proach to painting undertaken by Nicola Samori. His works express the inner life [email protected] of painting both as a process and a material extension, and in so doing reveal his

PHONE unique technique for revivifying the possibilities offered by traditional image-making. +45 2680 9230 In a work called Hans Holbein Ecorché (estasi) (2010), the surface is quite literally a +45 2991 4657 flayed space that has been materially transformed from its source image. The use CONTACT NAMES of the term “ecstasy” (in the philosophical sense of “outside-of-itself”) connotes at Lars Rahbek the same time the idea of a transformation that is both emotional and material. In Louise Rahbek this work, executed on a sheet of copper, Samori has used the material references of past painting practices, while completely revivifying them in relation to the aesthetic painting realities of the present, comprising an increasingly self-reflexive and EXHIBITED ARTISTS Christian Achenbach analytical understanding of what constitutes the conditions of picture-making. Nicola Samorí (A part of the essay ”Under the Skin” written by the English curator and art critic Kaspar Oppen Samuelsen Mark Gisbourne in the catalogue SOLO, presented by AMC Collezione Coppola)

OTHER REPRESENTED ARTISTS Christian Achenbach seems to possess an ability to see the things existing beyond Ditte Ejlerskov Oana Farcas immediate appearances—an ability enabling him to depict a scene as it is felt and Jiri Geller experienced, not simply visually perceived. Hazes of colours and brushstrokes give Andreas Golder form to the formless and indescribable mood we often describe as the atmosphere Henriette Camilla Hansen or the ambiance of a given situation. Achenbach creates a momentary materialisa- Moritz Schleime tion, an ectoplasm, of the things and states of mind that normally aren’t possible to systematize and to give shape: that which can be determined as the irrational or extra-rational, the ephemeral and immaterial aspects of lived experience. COVER Christian Achenbach Discovering the works of Kaspar Oppen Samuelsen is like entering an utopian fairy- Vanitas Fair 2011 tale-like dream filled with whimsical and humorous figures that come together in Oil on canvas a fantasy world full of colour and mixed materials. The works are often precisely 250 × 200 cm detailed and part of an associative universe. The figures are presented in a simple

INSIDE narration with a political and satiric twist. In his works, which span from a wide Kaspar Oppen Samuelsen range of media from paper-works to video installations, you see clear references to N.T. antiquity, but also to Dutch and Italian renaissance with artists such as Piero della 2012 Francesca, Leonardo da Vinci and Pieter Bruegel the Elder. Furthermore similarities Gouache on paper 130 × 200 cm to the Danish artists Arne Ungermann and Bjørn Wiinblad can be traced.

BACK Nicola Samorí Apotosi del vago 2012 Oil on copper 100 × 100 cm PETER LAV GALLERY COPENHAGEN

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PETER LAV GALLERY

WEBSITE Adam Jeppesen’s latest works, The Flatlands Camp Project, were recorded on his www.plgallery.dk journey from the Arctic through North and South America to Antarctica. For 487 days E-MAIL Jeppesen travelled in solitude, and from this long journey a series of melancholic, [email protected] evocative landscape pictures has emerged.

PHONE There is something fundamentally romantic about The Flatlands Camp Project. +45 2880 2398 Jeppesen went as a solitary traveler on an exhausting journey through wastelands, CELL where the cultural markers of modern society grew distant and the traditional sense +45 2880 2398 of time faded away. CONTACT NAME Peter Lav Therefore, the images Jeppesen shot daily were needed to confirm his impressions and experiences. Only his pictures could tell that the moment had actually taken place. But although the pictures bear traces of personal impressions and experi- EXHIBITED ARTIST ences, they are not merely private photographic records and the individual works Adam Jeppesen do not resemble traditional travel photography much. Rather, they speak beyond OTHER REPRESENTED ARTISTS the personal and into a universal experience as basic indications that the world Torben Eskerod exists. Or rather: that the world existed in precisely that way in that very moment. Jakob Hunosøe Thus the project also refers to the point of origin of photography—to capture and Jakob Jensen Hyun-Jin Kwak fixate the world in an instant. Ville Lenkkeri The detailed documentary expression mixed with an enigmatic, melancholic atmo- Michael Mørk Taiyo Onorato & Nico Krebs sphere is a distinct feature in Jeppesen’s work. The Flatlands Camp Project is also Michael Reisch located in a space somewhere between dream and documentary, but here he also Clare Strand experiments with unconventional techniques in the printing process. Some images are scratched by grit that coincidentally has found its way into the box of negatives during the journey. COVER Adam Jeppesen Most photographers would discard pictures with flaws like that, but instead Jeppe- xcopy V sen uses flaws in a conscious aesthetic manner to add an aura of something fleet- 2011 ing and unfinished to the pictures. In that way he challenges the value of the image Xerography, assembled from 4, A4 pieces of paper, framed in oak itself as a document and commemorative material. 42 × 51 cm Adam Jeppesen is one of the greatest talents in contemporary Danish photography. INSIDE He distinguished himself internationally with the Wake series, which was published Adam Jeppesen as a book on the renowned publishing house Steidl in 2008. Untitled (from installation of 27 works) (Text by The National Museum of Photography, Denmark, 2012.) 2011 Xerography, assembled from 4, A4 pieces of paper, framed in oak 42 × 51 cm each LAWRIE SHABIBI DUBAI

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LAWRIE SHABIBI

WEBSITE Founded in March 2011, Lawrie Shabibi is a contemporary art gallery housed in a www.lawrieshabibi.com 3000 square foot warehouse in Dubai’s Al-Quoz industrial area. The gallery’s mis- E-MAIL sion is to promote the works of relevant, innovative contemporary artists primarily [email protected] from the Arab world, Iran, North Africa, Turkey and South Asia.

PHONE Marwan Sahmarani and Shahpour Pouyan both draw on the past to demonstrate the +97 143 469 906 timeless and cyclical nature of violence, weaving historical and cultural influences CELL into their work to explore contemporary notions of power, war, and death. Pouyan +97 150 467 0272 looks at the culture and traditions of his own country—Iran. Sahmarani relates his +97 150 946 5125 work to art history, especially that of the Western Renaissance and Late Gothic pe- CONTACT NAMES riod, but also blending Islamic and Mesopotamian art and iconography. Asmaa Al-Shabibi William Lawrie Starting from 2006 and in response to the Israeli bombardment of Beirut in July that year, Sahmarani drew on self-consciously medieval imagery for his series Huroub (Battles), combining Christian icons, Mongol warriors and Crusaders, while also in- EXHIBITED ARTISTS spired by the recurrent conflicts between Arabs and Persians in medieval history. Shahpour Pouyan Marwan Sahmarani Shahpour Pouyan’s Projectiles are sculptures of intricately decorated armour and an- OTHER REPRESENTED ARTISTS tique-style military helmets, produced by close association with traditional armourers Sama Alshaibi and metal-smiths in Tehran. Pouyan’s Projectiles are meticulously adorned with tra- Asad Faulwell ditional calligraphy, whilst the fins are emblazoned with classical eastern ornament. Selma Gürbüz Nadia Kaabi-Linke Marwan Sahramani (b. 1970, Lebanon) currently lives and works in Beirut. He left Nabil Nahas Lebanon in 1989 to study at l’École Supérieur d’Art Graphique in Paris. He has had Driss Ouadahi Gazelle Samizay solo exhibitions in Beirut, London, Montreal, Zurich and Dubai and group exhibitions Yasam Sasmazer in Beirut, London, Turin, Washington and Mexico. Selected group shows include Adeel uz Zafar Told / Untold / Retold at Mathaf, Doha (2010), All about Beirut at Kunsthalle white- BOX, Munich (2010) and The Feast of the Damned at the Museum of Art and De- sign, New York (2010). In 2010 Sahmarani was a recipient of the Abraaj Capital Art COVER Prize and his work The Feast of the Damned was showcased at Art Dubai that year. Shahpour Pouyan Projectile 6 Shahpour Pouyan (b. 1979, Isfahan, Iran) is currently studying for an MFA at Pratt 2012 Institute in Brooklyn, New York. Pouyan has an MFA from Tehran University and a Iron, brass and gold 180 cm high BFA from the University of Science and Culture. He was a recipient of the Tehran Contemporary Museum of Art’s grant of residence at International Cite Des Artes, INSIDE Paris, and has exhibited in various solo and group exhibitions in Tehran, Dubai, Paris, Marwan Sahmarani Huroub New York, Beirut, Canada and Serbia. 2012 Mixed media on paper 150 × 200 cm

BACK (LEFT) Marwan Sahmarani Huroob (detail) 2012 Mixed media on paper 150 × 200 cm

BACK (RIGHT) Shahpour Pouyan Projectile 6 (detail) 2012 Iron, brass and gold 180 cm high GALERIE CHRISTIAN LETHERT COLOGNE VOLTA 8 | BOOTH NUMBER B5

GALERIE CHRISTIAN LETHERT

WEBSITE At VOLTA 8 Galerie Christian Lethert presents a selection of its program including www.christianlethert.com works by Rana Begum, Joe Fyfe, Imi Knoebel and Daniel Lergon.

E-MAIL Rana Begum (b. 1977) lives and works in London, a metropolis that has a strong [email protected] impact on Begum’s minimalist work, inspired by the urban environments, looking at PHONE color, line, form, and how they collide in the city. +49 221 356 0590 Berlin based abstract painter Daniel Lergon (b. 1978) makes use of water diluted CONTACT NAMES Christian Lethert metal pigments he applies on the paper with large brushes. Contrary to his light Merle Reker reflecting paintings on retro reflexive material this body of metal pigment drawings seems to absorb the light completely.

New York based artist and art-critic Joe Fyfe (b. 1952) concerns himself with the EXHIBITED ARTISTS Rana Begum principles of contemporary Vietnamese art which he constantly researches and ab- Joe Fyfe sorbs in Southeast Asia. For years he has been exhibiting his work in Vietnam and Imi Knoebel has been collaborating with Vietnamese artists. His subtle collages and drawings on Daniel Lergon rice paper, felt, cloth or wood have a strong focus on the material and its qualities. OTHER REPRESENTED ARTISTS Jill Baroff German artist Imi Knoebel (b. 1940) has been attempted the possibilities of abstract Nelleke Beltjens art from the 1960s until today. At VOLTA 8 Galerie Christian Lethert presents recent Fergus Feehily work of aluminum or concrete by the Düsseldorf-based artist. Lutz Fritsch Gereon Krebber Founded in August 2006, Galerie Christian Lethert pursues a clear concept of re- Kai Richter duced and abstract positions in contemporary art, referring to painting, drawing, Katharina Sieverding sculpture and photography. Besides working with an internationally established Max Sudhues Jorinde Voigt generation of artists like Imi Knoebel and Katharina Sieverding, Galerie Christian Lethert focuses on fine and distinguished, contemporary positions such as Rana Begum, Jorinde Voigt or Daniel Lergon. COVER Gereon Krebber Unter diesen Umständen (detail) 2012 Polyurethane, spray paint, epoxy resin Height 208 cm

INSIDE Joe Fyfe Sundar Kotta 2009 / 2011 Acrylic and gold enamel paint on felt 190 × 240 cm

BACK Daniel Lergon Untitled (detail) 2011 Metal pigments on paper 140 × 100 cm LOOCK GALERIE BERLIN

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LOOCK GALERIE

WEBSITE loock-galerie.de

E-MAIL [email protected]

PHONE +49 30 3940 96850

CELL +49 151 193 25981

CONTACT NAMES Friedrich Loock Heinrich Carstens Virág Imrics

EXHIBITED ARTISTS Ivan Grubanov Anton Henning Michael Kalmbach Takehito Koganezawa Rei Naito Peter Rösel Alec Soth Natalia Stachon Yoshihiro Suda Gavin Tremlett

OTHER REPRESENTED ARTISTS Leiko Ikemura Callum Innes Holly Zausner York der Knoefel Miwa Yanagi Kaoru Usukubo Charlie White

COVER Rei Naito human 2011 Wood, acrylic paint 4.9 × 1.5 × 0.9 cm

INSIDE Alec Soth 2006_08zL0045 (light bulb in woods) 2006 Archival pigment print 81.3 × 101.6 cm MA2GALLERY TOKYO

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MA2GALLERY

WEBSITE AKIHIRO HIGUCHI “COLLECTION” www.ma2gallery.com He starts working on a piece, even before considering what the message in the piece E-MAIL might be. The material or motif that he uses comes to him naturally and he feels [email protected] the motif already has a message itself even before he begins. His work portrays the

PHONE excesses of human desire with humor and irony using moth specimens,taxidermy +81 334 441 133 animal forms and damaged statues etc. as important components.

CELL +81 904 220 2985 KEN MATSUBARA “THE SLEEPING WATER — MELTING FROZEN MEMORIES.”

CONTACT NAME Ken Matsubara dissolves our sleeping memories just as they are frozen at the bot- Masami Matsubara tom of our hearts. His works are made of antique objects, photographs and videos imprinted with people’s memories. He thinks that memories are inherited from human to human through the DNA of microorganisms, and that people can reach EXHIBITED ARTISTS their common memories that cross over races and generations if we can awaken Akihiro Higuchi our own memories. Human beings are tied together by common memories, and we Ken Matsubara Tsunao Okumura will cross over those boundaries by sharing our memories. TODO TODO “BOOK SERIES” OTHER REPRESENTED ARTISTS Yasuyoshi Botan The unique of each region, e.g. history, climate, culture and religion derives from lo- Aki Eimizu cal communities. In order to focus on their origin, their meanings to him and to our Timothy Greenfield-Sanders world today, and their influences on the future, He picks up materials, e.g. stones, Mats Gustafson bricks, architectural fragments, furniture, books, magazines, plants, etc., from vari- Kyotaro Hakamata Yasuko Iba ous locations to make his artworks. In other words, He considers such materials Keisuke Kondo accumulate information and energy intrinsic to the place where they originally ex- Nobuaki Onishi isted, i.e. a tort of DNA. Naoko Sekine

COVER Ken Matsubara The Sleeping Water — Storm in a Glass 2012 Video, mixed media

INSIDE (LEFT) TODO Book Series Book cover, laminated glass

INSIDE (RIGHT) Akihiro Higuchi Collection 2012 Paint on moth spacimen 200 × 200 cm

BACK Tsunao Okumura KOKESHI san 2010 – 2012 Japanese Wood Doll MAGROROCCA MILAN

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MAGROROCCA

WEBSITE Accounting may seem like a boring subject for art, but American artist Jill Sylvia (b. www.magrorocca.com 1979, Massachusetts) makes its use worthy of attention. Adopting balance sheets E-MAIL and official ledgers as her medium and an X-ACTO knife as her tool, she excises [email protected] the entry boxes from these papers. She works by hand with stunning and obses-

PHONE sive precision, carving the pages that are meant for (or have already been filled with) +39 022 953 4903 hand-written numbers and symbols. The resulting pieces are delicate works that

CELL have a lace-like quality despite their business origins. Sylvia also makes use of the +39 339 291 1810 boxes that have been removed by rearranging and affixing them in the mosaics of

CONTACT NAMES her “reconstructions.” The artist considers the way that we understand and quantify Rosanna Magro something in a re-contextualized form. The sculptural, empty grids and the planes of Massimiliano Rocca the re-created grids vary in hue, while the steadiness and lightness of the process by which they are generated gives rise to a visual poetry.

EXHIBITED ARTIST MUSEUMS AND INSTITUTIONS Jill Sylvia Public Collections: de Young Museum, Anderson Collection, Fidelity Corporate Col- OTHER REPRESENTED ARTISTS lection, Maxine and Stuart Frankel Foundation for Art. Alejandra Alarcòn Kristian Burford Selected Exhibitions: San Jose Institute of Contemporary Art, San Jose, CA, 2012; Omar Chacon University of California, Santa Cruz, Santa Cruz, CA, 2012; Reed Whipple Cultural Floria Gonzalez Center, Las Vegas, NV. 2010; Oakland University Art Gallery, Detroit, MI, 2010; San David Gremard Romero Tamara Kostianovsky Francisco State University, San Francisco, CA, 2010; Traffic Zone Center for Visual Francesco Merletti Art, Minneapolis, MN, 2009; Headlands Center for the Arts, Sausalito, CA, 2008; Institute of Visual Arts, University of Wisconsin, Milwaukee, Wisconsin, 2007; Uni- versity of California, Davis, Davis, CA, 2005; San Francisco Art Institute, CA, 2004; COVER Lacoste Ecole des Arts, Provence, France, 2001. Jill Sylvia Untitled Vertical green and red 2010 AWARDS AND HONORS Hand-Cut Ledger Paper Finalist & Recipient of “Special Mention” Co.Co.Co Contemporary Contest, Spazio Dimensions variable (approx: Natta, Como, Italy, 2011; Visiting Artist & Lecturer, San Francisco State University, 10 × 28 × 18 cm) 2010; M.A. Curatorial Practices Class Studio Visit, California College of Arts, 2009; INSIDE Ella King Torrey Award for Excellence and Innovation in the Arts, San Francisco Art Jill Sylvia Institute, 2005; Stanley Landsman Scholarship Award, Bard College, 2000. Untitled (American Book) 2010 Hand-Cut Ledger Paper Dimensions variable (approx: 10 × 43 × 5 cm) GALERIE RON MANDOS AMSTERDAM

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GALERIE RON MANDOS

WEBSITE Origin of the Beginning is a series of installations, photographs and videos in which www.ronmandos.nl Levi van Veluw’s (b. 1985) draws from his own childhood memories to thematically E-MAIL and narratively develop his own brand of self-portraiture. [email protected] The artist has created 3 “rooms” covered with more than 30.000 wooden blocks, PHONE balls and slats respectively. Each “room” is executed as a life-size installation +31 203 207 036 (4 × 2.5 × 2.5 m) together with photographs and videos—without digital manipulation. CONTACT NAME Ron Mandos On the one hand, these works present themselves as a continuation of van Veluw’s formal approach to self-portraiture, with their preoccupation for materiality, pattern and texture. Yet they are simultaneously very personal pieces. The repetitive struc- EXHIBITED ARTISTS tures seemingly express a “horror vacui”, recalling his youth and obsessive attempts Levi van Veluw to gain control on his life by gaining control of his surroundings. The meticulous OTHER REPRESENTED ARTISTS craftsmanship and high-quality material with which every last nook and cranny is Artists Anonymous covered result in a series of works that are also highly aesthetic. Daniel Arsham Hans op de Beeck These installations are inspired by different aspects of van Veluw’s boyhood bed- Oliver Boberg room, where he spent many solitary hours between the ages of 8 and 14. Anthony Goicolea Geert Mul Renato Nicolodi Jacco Olivier Christian Schoeler Hans Wilschut

COVER Levi van Veluw Origin of the Beginning 1.3 2011 Lambda print on Dibond with non-glare Perspex 60 × 50 cm & 120 × 100 cm

INSIDE Levi van Veluw Origin of the Beginning 1.2 2011 Lambda print on Dibond with non-glare Perspex 100 × 50 cm & 210 × 105 cm

BACK Levi van Veluw Origin of the Beginning 3.1 2011 Installation made from wood 420 × 250 × 250 cm MARINE CONTEMPORARY VENICE CA

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MARINE CONTEMPORARY

WEBSITE PLASTIC SPACE CONCRETE SPACE www.marinecontemporary.com “The interesting thing about political posters is that they explicitly establish a rela- E-MAIL tionship between the organization of society and the plastic surface (écran). Through [email protected] these posters we should be able to establish a correlation between the effective

PHONE treatment of the plastic surface and the desired treatment of social space. We +1 310 399 0294 propose the following hypothesis: beneath the articulated signification and iconic

CELL meaning, the poster’s plastic form (plastique) has its own value as a symptom of a +1 310 804 2011 political unconscious.”—Lyotard, Jean-Francois, 1985

CONTACT NAMES Los Angeles artist Christopher Michlig presents a group of collages and sculptures Claressinka Anderson deconstructing and reconstructing ubiquitous forms of public communication. De- Emily Sills rived primarily from street posters printed by the notorious Colby Poster Printing Company, Michlig’s practice interprets the striated urban space of Los Angeles

EXHIBITED ARTIST through an analysis, highlighting and erasure of the architecture of public commu- Christopher Michlig nication as presented in cheaply produces merchant posters. This project not only emphasizes Michlig’s interest in the détournement of public objects, but also the OTHER REPRESENTED ARTISTS Ricky Allman desire to draw a concrete connection between the ways in which such materials are Kelly Barrie reflective of the urban space they occupy and vice-versa. Wendy Heldmann Tom Hunter Each collage takes as a starting point a detail of the original poster—a particu- Jow lar word, the underlying typographic “architecture”, its background color—and re- Dennis Koch sponds by radically altering each posters’ content. Employing such composition littlewhitehead Robert Minervini fundamentals as overlapping, intersection, gravity and erasure, Michlig reconfigures Stephanie Pryor each poster according to a single organizing principle. Whereas these posters origi- Debra Scacco nally presented clear information related to a particular cultural event, the final collages minimize legible content, isolating and amplifying their secondary, idiosyncratic aesthetic qualities. While this process sometimes results in the original proportions COVER being preserved, Michlig also freely joins collages into seamless diptychs, subdivides Christopher Michlig original formats, and overlays multiple posters to create stellated configurations. Man Man Man 2008 Accompanying sculptures reiterate the communicative disorientation of the collages Installation view as a collection of discombobulated forms, similarly framing compromised content. INSIDE Redacted panels atop vigorous supports, toppled signposts, jumbled typography, Christopher Michlig and crumpled, paper-esque aluminum forms shift language from communicative to Negations 2008 poetic, broadening the horizon of interpretability. While these sculptures reference Installation view the objects in the built environment that typically orient us, Michlig uses them as

BACK (LEFT) an opportunity to engage language as a site of contestation and latent possibility. Christopher Michlig Transitional 2009 Unique silkscreen prints, chairs, clothespins 46 × 76 × 243 cm

BACK (RIGHT) Christopher Michlig 323-393-5699 2012 Found poster collage 28 × 36 cm GALERIE MARIO MAZZOLI BERLIN

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GALERIE MARIO MAZZOLI

WEBSITE Pe Lang creates kinetic systems that control and put physical forces in action with www.galeriemazzoli.com a captivating elegance. His machines obey a stringent constructive optimization in E-MAIL which each element can be deciphered with respect to its functionality. Nothing [email protected] about them seems ornamental or arbitrary. Their syntax is dominated by precision

PHONE and control as the framework for sophisticated aleatorics where order and chaos are +49 30 7545 9560 brought into a fragile balance. The movements of the sculptures are visual events

CELL that lead back to themselves on an aesthetic level and, like a magic trick, also con- +49 176 6168 6491 tain an illusionistic moment, which, in the second step, evokes questions about the

CONTACT NAMES principles of action. Pe Lang doesn’t hide anything, yet at the same time, his works Mario Mazzoli are baffling in their formal beauty, as, for example, in the magical choreography of Augusto Mazzoli small metal cylinders, that float on and off between copper plates (moving objects Tania Tonelli – nº 502 – 519). A subtle interplay of disclosure and secret is at the basis of the effect of these machines in an artistic context.

EXHIBITED ARTIST The physical phenomena are frequently based on magnetism, or also on the effects Pe Lang of inertia, friction and gravitation, which Pe Lang himself explores in sophisticated

OTHER REPRESENTED ARTISTS series of experiments. Often, he duplicates the same constructive starting situation Serge Baghdassarians/ Boris wherein the possibility of kinetic variation unfolds in many places simultaneously. Baltschun (duo) This serial moment is as dedicated to minimalism as the hermetic iconography of Guido Canziani Jona material is to the devices, which cannot be linked to everyday object experiences. Douglas Henderson Shingo Inao Pe Lang (b. 1974, Sursee) lives and works in Zurich and Berlin. He has shown his Christina Kubisch Robin Minard works internationally in various exhibitions at museums, galleries and festivals in- Kristoffer Myskja cluding: the Centro de Arte Santa Museum Mónica, Barcelona; Galerie Mario Mazzo- Donato Piccolo li, Berlin; Transmediale, Berlin; Elektra, Montreal; Sonic Acts XII Amsterdam; bitforms Roberto Pugliese Gallery, New York; ISEA, Singapore; Netherlands Media Art Institute, Amsterdam; Spazio Visivo (duo) Cybersonica, London; San Francisco Art Institute; Kunsthalle, Lucerne; Artotheque Gallery & City Hall, Caen, France; SONM Murcia, Spain; Gift_lab Gallery, Tokyo; Kun- COVER sthaus L6, Freiburg, Germany; National Taiwan University of Arts; Great North Mu- Pe Lang moving objects – nº 824 – 827 seum-Hatton Gallery, Newcastle; AV Festival, Newcastle; Växjö Kunsthalle, Sweden; (detail) Tabakalera, San Sebastian, Spain; Diapason Gallery, New York; Kunsthalle, Berne. 2012 Actuators, cables, silikon, paper, Selected Awards and Residency Fellowships: Sitemapping/Mediaprojects Award various mechanical parts (2011, 2008 and 2005), Swiss Art Award (2009 and 2010), and artists-in-labs resi- 3 objects each 200 × 100 cm dency, Center for Electronics and Microtechnology (2007). Marc Wellmann INSIDE Pe Lang moving objects – nº 502 – 519 2011 18 Gearmotors, qube magnets, ring magent, 18 solid copper block 63 × 54 × 10 cm GALERIE METRO BERLIN

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GALERIE METRO

WEBSITE Diana Artus’ work consists of experimentation with photographic material depicting www.metro-berlin.net architectural bodies with an uncertain status, such as veiled buildings, buildings in E-MAIL construction, decaying or with a function not evident. Artus forms and deforms the [email protected] photographic supporting material to reveal these constructions, creating thus a dia-

PHONE logue between the two- and three-dimensional status of images as well as between +49 30 4171 7871 their visual and material aspects.

CELL Vanessa Henn often works with stair rails, forming them as frames and sculptures +49 157 7613 1617 or rearranging them to deconstruct concepts of use and space. In this transforma- CONTACT NAMES tion, the literal grip of her working material dissolves in the interaction with the forms Hannah Beck-Mannagetta and images she creates with it this way opening a space of reflection to the viewer. Kai Schupke

EXHIBITED ARTISTS Diana Artus Vanessa Henn Markus Leitsch Ellen Lehmann

OTHER REPRESENTED ARTISTS Stephan Dill Francis Hunger Ines Lechleitner André Marose Daniel Rode Markus Wirthmann

COVER Diana Artus without Titel 2012 sculptured photography 80 × 60 cm

INSIDE Vanessa Henn Foyer 2003 Stair rail 70 cm (each) NUSSER & BAUMGART MUNICH

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NUSSER & BAUMGART

WEBSITE BENJAMIN BERGMANN (*1968) www.nusserbaumgart.com “My works rely very heavily on the question of potential and the viewers’ imagination. E-MAIL Whenever we experience something very intensive, it also manifests itself physical- [email protected] ly. Conversely, we mentally try to assimilate what we have experienced physically.

PHONE That’s the level that interests me when we are caught in an inner dialogue—when +49 89 221 875 the body does not want to let go of the mind, or the mind the body.”

CONTACT NAMES Susanne Baumgart TOM FRÜCHTL (*1966) Gregor Nusser Concepts of traditional art history fall short when regarding Früchtl’s work: trompel’oeil; readymade; objet trouvé; illusionism; minimalism; representational art; conceptual art. Früchtl calls his pieces “Painting Objects”. Reality is less hidden EXHIBITED ARTISTS behind deceptive appearances than it is teased out into full recognition by gentle Benjamin Bergmann processes of displacement and alienation. In the microcosm of Früchtl’s oeuvre, it Tom Früchtl is spectacular to see the macrocosm of paintings unspectacularly laid open before Julius Heinemann our eyes. Michael Wesely

OTHER REPRESENTED ARTISTS JULIUS HEINEMANN (*1984) Yehuda Altmann Faivovich & Goldberg Heinemann initially studied photography at the Folkwang Hochschule in Essen, Frank Gerritz from 2008 he continued his studies at the Hochschule für Graphik und Buchkunst Daniel Man in Leipzig and is currently completing his MA of Sculptures at the Royal College of Herbert Nauderer Art in London. In his photographies, videos and installations the artist focuses on Pietro Sanguineti the incongruity of spatial and temporal processes and thereby reveals the relativ- Peter Schlör Thomas Weinberger ity of both factors. Albert Weis Winter / Hörbelt MICHAEL WESELY (*1963) et al. Michael Wesely does not attempt to interpret what is actually visible. In lieu of this, he allows a paradoxical autonomy of ambiguity to emerge. Technical and material as- cription becomes the explicit subject: traces—either from light or color—are layered COVER and/or superimposed in a complex manner. These images, which are no longer pic- Benjamin Bergmann torial, evoke a dense and sensuous experience that is as analytical as it is aesthetic. Einbein (unileg) 2011 Plaster, steel, wood 113 × 33 × 22 cm Photo: Walter Bayer

INSIDE Julius Heinemann Untitled (Monotype) 2011 Monotype 140 × 97 cm each

BACK Michael Wesely Jewish Cemetery, Berlin (January 13, 2011 – January 13, 2012) 2012 C-Print, on aluminium, framed Approx. 130 × 165 cm © Michael Wesely / VG Bild-Kunst, Bonn 2012 PH-PROJECTS BERLIN

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PH-PROJECTS

WEBSITE Ulla von Brandenburg works with different materials in different mediums: from www.ph-projects.com drawings, silhouettes, watercolour drawings, wall paintings, and works with fab- E-MAIL rics. to performances and films. Very often her works refer to elder conventions of [email protected] presentation, in which expressivity and theatricality are formulated: tarot cards and

PHONE early photographs as well as so-called tableaux vivants and carnival sensations. +49 302 021 5465 The artist adopts the poses and gestures, or sort of theatrical quality, of these forms CELL of presentations mentioned and measures the relation of appearance and reality. +49 163 294 7680 Oftentimes her tableaux vivants are recorded as films in historic interiors designed CONTACT NAMES Luise Nagel by the artist herself. The presentations of the films are usually set in elaborate in- Peter Sander stallations, that largely resemble medieval tents, or are hidden behind labyrinth-like Gideon Modersohn curtains.

Ribbons are a central reoccurring theme in the artist’s work. They symbolize the

EXHIBITED ARTIST tradition of using ribbons in connection with farewells as well as their function as a Ulla von Brandenburg form linking things together.

OTHER REPRESENTED ARTISTS After numerous exhibitions in renowned institutions (Tate Modern, London; Palais Tjorg Douglas Beer de Tokyo, Paris; Kunsthalle Zurich; Stedelijk Museum, Amsterdam; Irish Museum Christoph Blawert Bernhard Brungs of Modern Art, Dublin; Collezione Re Rebaudengo, Turin; Hamburger Kunsthalle), Michael Conrads Ulla von Brandenburg has been invited to exhibit at Herzliya Museum Tel Aviv in Volker Hueller February next year. Monika Michalko Malte Urbschat Hoda Tawakol

COVER Ulla von Brandenburg 5 folded Curtains 2008 Red cotton curtains, wooden floor 550 × 1174 × 610 cm

INSIDE Ulla von Brandenburg Tanz 2011 Watercolour and paper cut on an old map 72.8 × 102.4 cm

BACK (LEFT) Ulla von Brandenburg Mamuthones 2011 Film 16 mm, 3min 6sec, black & white, sound Dimensions variable

BACK (RIGHT) Ulla von Brandenburg Karneval, Sardinien III 2011 Paper cut made on an old map 51.8 × 46 cm POST BOX GALLERY LONDON

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POST BOX GALLERY

WEBSITE Alastair Levy quietly subverts the function and form of materials that he encounters www.postboxgallery.com within the context of the everyday. Combining the activities of archiving, interven- E-MAIL tion and mark-making he seeks to transform the mundane and the ordinary into [email protected] something worthy of attention. He is interested in the aesthetics of the default, the

PHONE potency of found combinations, choosing the wrong tool for the job, recording un- +44 207 630 0472 wanted information, the accidental, the pleasure of the purely functional, experiment,

CONTACT NAMES the power of the gesture, the peripheral, creating averages and defining midpoints. James Pyner He is as concerned with the process of making as with the final form that results. Gerardo Contreras Alastair Levy graduated from the Royal College of Art in 2008. Recent shows include Subject/Matters at Galerie du Quai, Brussels (2012); Circa 1960 at Guest Projects,

EXHIBITED ARTISTS London (2012); The Geometry of the Object Being Plated at Trove, Birmingham (2011) Be Andr and Definitely Not Untitled at Post Box Gallery, London (2011). His work is held by Alastair Levy the Zabludowicz Collection. He lives and works in London.

OTHER REPRESENTED ARTISTS Be Andr’s work has linked up with the traditions of conceptual art and visual poetry; Joanna Bryniarska Kathrin Kur between image and writing. Be Andr treat words and numbers as image material, Gonzalo Lebrija questioning what happens when our intuition oscillates between reading something Nicola Lopez as an image and looking at it as a text. He is interested in the inexplicable moment Kate McLeod when our intuition unconsciously makes a judgment. Laurence Owen Sarah Pickering Be Andr (b. 1978) lives and works in London. Recent exhibitions include Numerator Alejandro Pintado & Denominator, Herzliya Museum of Contemporary Art, Israel, curated by Zali Francisco Ugarte Gurevitch, Tsibi Geva, Dalia Levin and Tal Bechler, and Centro Cultural Andratx, Spain Third Thoughts curated by Barry Schwabsky and Carol Szymanski.

COVER Alastair Levy Chris a #2 (detail) 2012 painter and decorator’s polo shirt on stretcher frame 51 × 41 cm

INSIDE Be Andr And Or 2012 Vinyl lettering on aluminium 180 × 140 cm

BACK Be Andr A Dirty Judd 2012 Silver coated foamex 78 × 180 cm PROGRAM GALLERY FOUNDATION FOR PROMOTING CONTEMPORARY ART WARSAW

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PROGRAM GALLERY

WEBSITE Foundation for Promoting Contemporary Art is a place of presentation and promo- www.fpsw.org tion of contemporary art, a place of the dissemination of its dynamic, current im- E-MAIL age, a place open to explore new methods of communication, to the experimenting, [email protected] commenting and involved socially art. Foundation’s activities includes organization

CELL of exhibitions, screenings, lectures, workshops, publications, education and popu- +48 511 176 563 larization of the research in the field of contemporary art. Program Gallery—since

CONTACT NAME 2001 has organized over 80 exhibitions. Collaborates with artists young and middle Aneta Marcinkowska-Muszyńska generation.

Mariusz Tarkawian usually creates series of drawings reflect in on the condition of contemporary art. These are hundreds of drawings in pencil on paper. For instance, EXHIBITED ARTISTS Bartłomiej Górny the cycle Looking for Art itself contains about 2300 drawings and the work is still in Maess progress. Certain Metaphor is the first work from the cycle POV. It is based on the Mariusz Tarkawian video art Negroisation by Tomasz Kozak, where the mythologized models of reli- OTHER REPRESENTED ARTISTS gion, history and sexuality undergo ironic revaluation. As a result, a subversive and Aleksandra Czerniawska ambivalent vision of Polish and, further, of Western culture, is created. The elapsing Marcin Łuczkowski set of moving images has been replaced by Tarkawian with the story drawn as the Michał Szuszkiewicz answer to the questions he had posed.

Maess explores the topic of emergence as motifs to describe the idea of cyber-in- COVER tuitive space. Using multilayered loops, non-linear narratives, and interactive struc- Maess tures as patterns, Maess creates drawings that explores raw data sets derived from united networks 2012 sources such as professional network connections, airline destinations, demograph- Pen on paper ics, Facebook mentions, and others. Through algorithmic manipulation, the data 42 × 29 cm generates intricate patterns of inter-connectivity that translates into lines and nodes

INSIDE of varying thickness and color. Mariusz Tarkawian Bartłomiej Górny graduated in 2011 at the PD of Fine Arts in Krakow in an inter- Certain Metaphor, comic book covers disciplinary studio. Works in various media with details of paintings, drawings and 2009 – 2012 sculptures. Ink on paper 15 × 21 cm (each)

BACK Bartłomiej Górny Nude 2010 Installation, varius materials 80 × 85 × 45 cm DAVID RISLEY GALLERY COPENHAGEN

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DAVID RISLEY GALLERY

WEBSITE David Risley Gallery was founded in London in 2003. Having re-instigated the Zwem- www.davidrisleygallery.com mer Gallery, David left to open his own gallery. Concurrently, he curated Bloomberg E-MAIL Space and founded ZOO Art Fair. The gallery was established in London’s East End [email protected] with a large space on Vyner Street, and works with international emerging and mid-

PHONE career artists. In 2009, David Risley Gallery relocated to Copenhagen, Denmark. +45 3220 3810 This has given the opportunity to work with more established artists in a different

CELL context, alongside our existing programme. +45 2250 1060 Currently: Dexter Dalwood, Orientalism. Until June 23rd. +45 2616 3671

CONTACT NAMES Upcoming: Solo shows with Graham Dolphin (September 2012) Ryan Gander (Oc- Naja Rantorp tober 2012) and James Aldridge (January 2013) David Risley

EXHIBITED ARTISTS James Aldridge Anna Bjerger Dexter Dalwood Graham Dolphin Thomas Hylander Henry Krokatsis Robert McNally

OTHER REPRESENTED ARTISTS Jonathan Allen Eri Etoi Helen Frik James Hyde Masakatsu Kondo Charlie Roberts Michael Simpson Jorge Sosa Keith Tyson Charlie Woolley

COVER James Aldridge Wall of Sleep (detail) 2012 Acrylic on canvas 250 × 200 cm

INSIDE Robert McNally 208 Lacrimosa Street (detail) 2011 Graphite on paper 240 × 160 cm

BACK Thomas Hylander Museum huddle (krogerup) 2011 Acrylic on canvas 40 × 50 cm GALERIE STEFAN RÖPKE COLOGNE

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GALERIE STEFAN RÖPKE

WEBSITE The work of Jordi Alcaraz is full of duality and contradictions. Each work confronts www.galerie-roepke.de you with one idea only to be presented its opposite within the very same work. E-MAIL Perhaps we can call them paintings, but they could be very easily be considered [email protected] sculptures as well. Spatially, what may seem to be the front could very well be the

PHONE back as well, and what might be inside might really be outside. Up and down, solid +49 221 255 559 and liquid, heavy and light…contrasts and contradictions that are part of the theme

CELL of each of the works. +49 172 230 3329 Light and shadow play an equal role as paint, rocks, and graphite, because the frame CONTACT NAMES and protective glass of the work are integral parts of the work itself. There is a lot of Stefan Röpke humor in the work, but also a very serious curiosity about the way we see and the Alejandro Zaluskowski Sabrina Tesch way art is made. And what may be the most interesting duality about Jordi´s works is how the final product of each artwork is as much about experiencing, through imagination, the process of its creation. EXHIBITED ARTIST Jordi Alcaraz

OTHER REPRESENTED ARTISTS Edward Burtynsky Aleksandar Duravcevic Jason Gringler Sharon Harper Robert Mapplethorpe Julie Oppermann Max Neumann Aitor Ortiz Bernardi Roig Keisuke Shirota

COVER Jordi Alcaraz Paisatge 2010 Cardboard, resin and methacrylate 40.2 × 49.8 in / 102 × 126.5 cm

INSIDE Jordi Alcaraz Discussió entre astrònoms (II) 2010 Paint on cardboard and methacrylate 32.1 × 40.2 in / 81.5 × 102 cm TYLER ROLLINS FINE ART NEW YORK

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TYLER ROLLINS FINE ART

WEBSITE Araya Rasdjarmreansook is recognized as one of the leading video artists from trfineart.com Southeast Asia. Her works have a meditative, ritualistic quality, and, like many of E-MAIL humanity’s important rituals, they are often focused on the idea of communication [email protected] between different realms. In her most recent video series, Araya has placed framed [email protected] reproductions of iconic Western artworks in settings that are radically different from PHONE the art museum, specifically in rural villages, markets, and Buddhist temples, where +1 212 229 9100 she films groups of Thai farmers or working class people discussing the artworks. CONTACT NAMES While issues of class and cultural differences, exoticization of the “other,” etc., are Tyler Rollins invoked, these videos also convey a sense of curiosity, humor, and joy that empha- Nicholas Cohn size a common humanity. Araya represented Thailand at the 51st Venice Biennale Molly Nutt (2005) and was featured in the Sydney Biennale (1996 and 2010), the Nanjing Bi- ennale (2010), Carnegie International (1994), and the Asia Pacific Triennial (1993).

EXHIBITED ARTISTS Her works have been included in numerous international museum exhibitions on five Araya Rasdjarmrearnsook continents. This year, she is participating in dOCUMENTA (13). Sopheap Pich Sopheap Pich is widely considered to be Cambodia’s most internationally promi- OTHER REPRESENTED ARTISTS nent contemporary artist. Working primarily with locally sourced, natural materials Tiffany Chung Fx Harsono (rattan, bamboo, burlap from rice bags, beeswax, and mineral pigments gathered Jalaini Abu Hassan around the country), he creates sculptural forms that reference social and political Tracey Moffatt issues in Cambodia. The artist’s childhood experiences during the genocidal con- Manuel Ocampo ditions of the Khmer Rouge period (1975 – 79) had a lasting impact on his work, Jimmy Ong Pinaree Sanpitak which evokes issues of survival, family, and basic human togetherness. Pich has Jakkai Siributr been extremely active internationally in recent years, presenting work at the Fukuo- Agus Suwage ka Triennale (2009), the Asia Pacific Triennial (2009), the Asian Art Biennial (2011), Ronald Ventura and the Singapore Biennale (2011). He was given his first solo museum show in the United States at the Henry Art Gallery, Seattle (2011), and in 2012 is included in an exhibition at MASS MoCA. For our booth, he presents a group of abstract, geo- COVER metric works that relate to his installation currently on view at dOCUMENTA (13). Araya Rasdjarmrearnsook Village and Elsewhere: Jeff Koons’ Untitled, Cindy Sherman’s Untitled, and Thai Villagers 2011 Single channel video 14:25 minutes

INSIDE Araya Rasdjarmrearnsook Village and Elsewhere: Jeff Koons’ Wolfman at Pakoitai Market 2011 Single channel video 9:00 minutes

BACK (LEFT) Sopheap Pich Wall Relief 2011 Bamboo, rattan, wire, burlap, encaustics 81 × 62 × 8 cm

BACK (RIGHT) Sopheap Pich Floor Relief 2011 Bamboo, rattan, wire, burlap, encaustics 81 × 62 × 8 cm SUE SCOTT GALLERY NEW YORK

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SUE SCOTT GALLERY

WEBSITE Sue Scott Gallery is committed to strong curatorial programming. For VOLTA 8, www.suescottgallery.com we are pleased to present four artists that indicate the range and diversity of our E-MAIL program, which crosses the normative divides between genres, studio practices, [email protected] and sensibilities.

PHONE Franklin Evans’s approach to painting is investigative and can be subversive. His +1 212 358 8767 environments evoke the studio experience as a way to examine how art is made and CELL where ideas are generated. By democratizing such tools as the lowly artist’s tape, +1 646 413 4920 Evans carefully renders his material as trompe l’oeil representations, placing it on +1 718 809 6789 par with paint and canvas. These standalone paintings are in a sense the residue CONTACT NAMES of process—his past and present. Sue Scott Ian Cofre Paola Ferrario searches for surprising details in the urbanized landscape and in cultural artifacts that have been subjected to the wear and tear of weather and us- age. Arranging her accidental still lifes in rows and grids, she delights in visual co- EXHIBITED ARTISTS incidence. Playful and often humorous, Ferrario’s layered and brilliantly chromatic Franklin Evans Paola Ferrario images rescue their endlessly varied subjects from banal neglect. Tom McGrath Tom McGrath’s paintings utilize a range of themes in which point-of-view is intrin- Sheila Pepe sic to his subject matter and may contain views through venetian blinds, chain link OTHER REPRESENTED ARTISTS fences, fog, and forest scenes. These diverse subjects function as disruptive, semi- Kristopher Benedict Suzanne McClelland porous barriers that one looks through into an obscured space. He plays with this Kirsi Mikkola alternately privileged or obscured perspective to evoke an unspecified sense of David Shapiro place for both viewer and view, referencing landscape tropes from the “Claudian” Elisabeth Subrin to the “Lynchian,”

Sheila Pepe is known for large-scale, site-specific sculptures that conflate draw- COVER ing, craft and installation. She meticulously weaves her sculptures using high/low Sheila Pepe materials including silk thread, plastic, and shoelaces with a technique she calls A Mutable Thing (detail) “improvisational crochet.” Her recent installations and objects return craft to a do- 2011 Crocheted string and fabric mestic scale as a way to celebrate the new normal. Dimensions variable

INSIDE Paola Ferrario Generator 2012 Digital print with archival inks 91.4 × 59.7 cm

BACK Tom McGrath Untitled 2011 Oil on canvas 50.8 × 76.2 cm POPPY SEBIRE LONDON

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POPPY SEBIRE

WEBSITE Roger Andersson’s watercolours and sculptures are made from recycled materials: www.poppysebire.com the rust of an old saw he has renovated or furniture parts that have been discarded. E-MAIL Andersson’s subjects appear to be innocuous portraits of the natural world, how- [email protected] ever there is something darker lurking underneath as if a kind of decay is permeat-

PHONE ing the beauty. +44 207 928 3096 Tom Dale takes the familiar and makes it strange. Making work that forces an inter- CONTACT NAME pretation as well as a consciousness of that process is one of the principal motiva- Poppy Sebire tions of his multi-disciplinary practice, producing an immediate physical impact that in turn demands a series of ideological and existential questions.

EXHIBITED ARTISTS Paul Housley’s human portraits are ambiguous: their faces frequently smeared and Roger Andersson obscured, they take on the opacity of objects. A recurring character is the artist Tom Dale himself, though often in the guise of another artist. Housley’s self portraits as Pi- Paul Housley Boo Ritson casso or Velasquez are self referential without being ironic, humorous yet with a sense of humility. OTHER REPRESENTED ARTISTS James Aldridge Boo Ritson has turned her attention to the American landscape with a series of im- Georgie Hopton ages that investigate the relationship of identity and representation to place. She has Lee Maelzer Danny Rolph constructed an artificial environment using the visual languages of video-gaming, photography, collage and landscape painting. This multi-layered process echoes

COVER the convoluted and fragmented nature of identity. Paul Housley Poppy Sebire is located in a stunning, high-ceilinged, vaulted Victorian church hall Sleepwalker 2012 in one of London’s most creatively vibrant and historically fascinating areas. The Oil on found object focus of the gallery is to exhibit and represent the work of emerging and mid-career 15 × 10 cm artists and to help promote them to new audiences.

INSIDE Boo Ritson Ocean 2012 Digital C-type print 90 × 135 cm

BACK Tom Dale Divining Rods 2010 Wood, concrete and waxed string 90 × 90 × 25 cm ŠKUC GALLERY LJUBLJANA

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ŠKUC GALLERY

WEBSITE Because of the specific status of Škuc Gallery, which is not a commercial gallery— www.galerija.skuc-drustvo.si although it operates internationally in the commercial market—we seek to develop E-MAIL the concept presentations for fairs and other commercial activities together with [email protected] Škuc Gallery artists. Sometimes, the result is only the set-up of a booth, but in the

PHONE context of special projects, we always try to develop a close collaboration between +38 612 516 540 Škuc Gallery artists and curators. In this way, we seek to realise our goal of establish-

CELL ing close, long-term collaboration between the gallery and the artists it represents, +38 651 310 957 which we complement with semi-artistic projects presented at fairs. For VOLTA 8,

CONTACT NAMES we developed a project together with Igor Grubić, Alban Muja and Sašo Sedlaček, Joško Pajer which focuses on the artists’ views and tries to establish dialogue between them. Tevž Logar All three artists have one common denominator: they make critical statements within their individual artistic practice which, when viewed together, combine to pose questions about contemporary society. Croatian artist Igor Grubić raises the question of EXHIBITED ARTISTS political issues and capital through personal intimacy. On the other hand, with a little Igor Grubić Alban Muja touch of humour Alban Muja, a young emerging artist from Kosovo, detects geo- Sašo Sedlaček political changes and specifics, but tries to focus more on the issue of symbolism and the roles of symbols and references, also touching slightly on the art system. OTHER REPRESENTED ARTISTS Art Fun Club The set-up is completed by Slovenian artist Sašo Sedlaček, whose work is more Jasmina Cibic socio-politically engaged, and thus provides a comment and critique of the wider Nemanja Cvijanović social context, and also tries to reflect on the effects that political decisions have Vuk Ćosić & Matej Andraž Vogrinčič on society. The VOLTA 8 set up is an attempt to organize a non-linear view and to Alen Floričič Ivan Moudov identify some core issues, processes and connections which have captured the at- Marko Peljhan tention of artists represented by Škuc Gallery. In a way, the exhibition is conceived Carina Randløv as a mosaic, with the works creating a space of their own by combining visual, au- son:DA dio, spatial and other elements. Miha Štrukelj

COVER Alban Muja Catch me 2008 Photography (c-print) 180 × 120 cm

INSIDE Sašo Sedlaček iSmoke2 2011 Interactive installation Real dimensions

BACK Igor Grubić Micro museum of revolutionary heritage Unique Forms of Continuity in Context of Revolution 2006 Mixed media 160 × 88 × 40 cm SPECTA COPENHAGEN

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SPECTA

WEBSITE Andreas Schulenburg deals with disturbing topics of our time: uncontrollable pol- www.specta.dk lution, extinction of species, genetic engineering, consumerism, racism, and many E-MAIL others. Using bright colors and an immediacy to the reading of the works, Schulen- [email protected] burg mimes the everyday flickering imagery of the mass media. But in his toy-like

PHONE colorful felt sculptures compounded with fantastical elements, his ceramic figurines +45 3313 0123 resembling a child’s school project, or his crudely executed watercolor works one

CELL often finds an absurd tale. By adding elements which are out of context Schulenburg +45 2041 6733 leaves his viewers in a state of doubt and disturbance. This focus on the absurd and +45 2963 5594 the irrational links Schulenburg’s works to the Dada movement, with its disbelief in CONTACT NAMES authorities and the ruling codes of communication. His emphasis on revealing the Else Johannesen absurdity of our world is—as with the Dadaists—a way to deal with our anxieties Gitte Johannesen and our collective guilt.

Andreas Schulenburg (b. 1975, Hamburg, lives and works in Copenhagen) was EXHIBITED ARTIST educated from the Royal Academy of Fine Arts in Copenhagen in 2005. He has Andreas Schulenburg participated in numerous shows nationally as well as internationally, and he is rep-

OTHER REPRESENTED ARTISTS resented in public and private collections such as New Carlsberg Foundation; the Thordis Adalsteinsdottir Penny McCall Foundation, USA; AROS Museum of Art in Aarhus, DK and the APEC Lars Arrhenius Naru Parc in Busan, Korea. Maj-Britt Boa Eva Steen Christensen SPECTA represents a selected group of Scandinavian and International artists. The Peter Holst Henckel gallery focuses on artists working persistently with their individual artistic position, Ellen Hyllemose Jette Hye Jin Mortensen involving a conceptual approach to topic or genre and an original use of media Nina Saunders and material. The gallery arranges six to seven exhibitions per year, solo as well as Daniel Svarre curated group shows, presenting a large variety of media, including photography, Svend-Allan Sørensen sculpture, painting, installation, video, sound and drawing.

COVER Andreas Schulenburg NEIN 2012 Felt, polystyrene, ed. 6 diam. 13 cm, total length 27 cm

INSIDE Andreas Schulenburg Sword Fight (Installation view from Kronborg, Elsinore, DK) 2010 Felt, polystyrene 350 × 350 × 30 cm

BACK Andreas Schulenburg Oil-burn-scape 2011 Felt (framed) 101 × 156 cm STENE PROJECTS STOCKHOLM

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STENE PROJECTS

WEBSITE John E Franzén (b. 1942) is one of the most renowned contemporary artists in Swe- www.steneprojects.com den. He studied at The University College of Arts and at the Royal Academy of Art in E-MAIL Stockholm in the ’60s, where he later taught painting as professor for seven years. [email protected] He is a member of the Royal Academy of Free Art since 1989. Since 1991, Franzén

PHONE lives and works in the south of Sweden in Tommarp, Skåne. +46 852 789 120 His paintings feature motorcycles, American cars, urban environments, landscapes CELL and portraits, and are often made from photographic originals. His name is associ- +46 768 986 495 ated with striking and grand single works, because of their uncompromising nature CONTACT NAME and disregard for controversy. Some of Franzén’s paintings have instantaneously Jan Stene made art history, notably the portrait of the Swedish royal family (1984 – 85), and The Truth about Texas Rose (1963), a piece that embodies Swedish pop art.

EXHIBITED ARTIST Franzéns most known piece, Hell’s Angels of California (1966 – 69), was made upon John E Franzén the return from a longer stay in Los Angeles. The work was immediately acquired for OTHER REPRESENTED ARTISTS Moderna Museet’s collection by Pontus Hultén. Throughout his career Franzén has Anne Finney maintained his affinity with California and artists like Ed Ruscha and Andrew Wyeth. Mats Hjelm Fredrik Hofwander Through his oeuvre, Franzén has provoked attention, debate, and strong reactions. Jone Kvie Above all his art has stretched the boundaries of traditional motifs. There is a feel- Sylvan Lionni ing of emptiness and desolation in his pieces, where the American dream is opened Gustaf Nordenskiöld Glen Rubsamen to the viewer’s projections and beliefs. In recent years, his work 2 Paintings – Twi- Suzannah Sinclair light and The Jesus Painting focuses more on spirituality and existential values in Luke Stettner a digitalized and globalized world. The new series The Visitor is a prolonging and Per Wizén development of 2 Paintings.

REPRESENTED: COVER Modern Museum of Art, Stockholm John E Franzén 2 Paintings – Twilight & Göteborg Art Museum, Göteborg The Jesus Painting Malmö Art Museum, Malmö (installation view, Stene Projects, The National Public Art Council, Sweden 2011, private collection) The National Portrait Collection, Gripsholm Castle 2005 – 2011 Oil on canvas Gävleborg Regional Museum, Gävle 160 × 240 cm each Lund University

INSIDE John E Franzén Hells Angels of California, United States of America (Modern Museum of Art, Stockholm) 1966 – 1969 Oil on canvas 165 × 213 cm

BACK John E Franzén The Visitor Nr 1 2009 – 2012 Oil on canvas 48 × 72 cm GALERIE HEIKE STRELOW FRANKFURT AM MAIN

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GALERIE HEIKE STRELOW

WEBSITE Igor Sacharow-Ross’ practice is strongly marked by a holistic world-view and mirrors galerieheikestrelow.de interrelations within different fields of knowledge. The methodic approach in merging E-MAIL visual arts, science, economy and politics allows a multi-faceted exploration of new [email protected] modes in the production of knowledge. As a logical consequence, Sacharow-Ross

PHONE operates with a wide range of media. Every single element forms a statement and +49 694 800 5440 can be read at the same time in a larger context of man and nature.

CONTACT NAME Mathias Kessler is interested in concepts of landscape and natural reality within Heike Strelow the boundaries of media representation. He creates photographs, video works and installations that compel the beholder to take a closer look on today’s notions of nature while playing ingeniously with our longing for the seemingly untouched one. EXHIBITED ARTISTS Jáchym Fleig In a subtle manner, Kessler exposes human interventions in the natural environ- Mathias Kessler ment and unmasks the mechanisms of idealization as just another myth of the last Igor Sacharow-Ross two centuries.

OTHER REPRESENTED ARTISTS Whereas Kessler and Sacharow-Ross deal with issues concerning content, Jáchym Fides Becker Nin Brudermann Fleig’s architectural approach to living environments and organic forms functions on Marco Evaristti a formal level. He is interested in invasive and extensive processes of biomorphic Özlem Günyol & Mustafa Kunt structures as well as in a tactile experience of the material. Fleig’s constructions Julie Hayward made out of concrete and plaster evoke associations of proliferation or organic de- Eva-Maria Kollischan Astrid Korntheuer composition. With these abstract organic forms Fleig fathoms spaces and things, Gerhard Mantz literally occupying them. George Steinmann Katrin Ströbel Distinctive for the exhibited artists is the deep interest in artistic and scientific research as a constituting parameter in creative processes and cultural production. Their engagement with biological processes, relationships between man and envi- COVER ronment, common notions of nature and their cultural connotation enables a stimu- Jáchym Fleig lating dialogue between the presented artistic positions. Verbund 2009 Two-component polyurethane, industrial dolly 168 × 188 × 182 cm

INSIDE Igor Sacharow-Ross Untitled (Installation view Kunst- museum Bonn) 2006 Graphite, plastic, acrylic 122 × 6 cm, 3 pieces

BACK Mathias Kessler Cueva de Charles Brewer D001 (detail) 2009 Digital C print 70 × 177 cm SULLIVAN+STRUMPF SYDNEY

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SULLIVAN+STRUMPF

WEBSITE Sam Leach’s current body of work is underpinned by his ongoing exploration of the www.ssfa.com.au history of science, technology and philosophy and how this has shaped the way E-MAIL humans have perceived their surrounding environment. [email protected] This exhibition, The Civilizing Process, consists of an interconnected series of me- PHONE ticulous oil and resin on wood paintings and large canvases. Specifically, the proj- +61 296 984 696 ect aims to connect the aesthetic legacy of early humanism found in Cornelius van CELL Dalem’s 16th century artwork Landscape with the Birth of Civilsation with the anti- +61 400 840 032 humanism theories of Jakob von Uexhall and the notion of the umwelt (the world CONTACT NAMES perception on non-human animals). Ursula Sullivan Joanna Strumpf Leach assesses how reality has been perceived and produced historically, contest- ing ontological hierarchies. By questioning the culture of science and the modern dualist philosophy of man vs. nature in particular, Leach invokes a discourse about EXHIBITED ARTIST how new scientific knowledge constantly changes the relationship between humans Sam Leach and non-human animals. OTHER REPRESENTED ARTISTS Tony Albert Sam Leach (b. 1973) completed a Master of Fine Arts and Bachelor of Fine Arts Sydney Ball (Hons) at RMIT University, Melbourne (2004 & 2009), a Bachelor of Economics, Penny Byrne Adelaide University (1993) and is currently completing a PHD in Fine Art. Solo ex- eX de Medici hibitions include The Ecstasy of Infrastructure, Tarrawarra Museum of Art, Victo- Juan Ford Sam Jinks ria, 2012, We Have Never Been Modern, ARTHK11, and Cosmists, 24HR ART NT, Laith McGregor Northern Territory Centre of Contemporary Art, Darwin, 2010. Leach was included Judy Millar in a group show at Xin Dong Cheng Space for Contemporary Art, Beijing, 2011, part Alexander Seton of the invitational, First Life: A Residency Project in Landscape, in conjunction with Darren Sylvester 24HR ART NT. Group shows include Imagining the Future, RMIT Gallery, Victoria (2011), Neo Goth: Back in Black, University of Queensland Art Museum, Brisbane (2008) and Contemporary Australia: Optimism, Queensland Gallery of Modern Art, COVER Sam Leach Brisbane (2008). In 2010 Leach won both Wynne and Archibald Prizes at the Art Flight and Display Gallery of New South Wales. 2012 Oil and resin on wood 45 × 35 cm

INSIDE Sam Leach The Umwelt Builders 2012 Oil on canvas 210 × 150 cm

BACK Sam Leach Happy Beast on Peregrine 2012 Oil on wood 80 × 80 cm JIRI SVESTKA GALLERY PRAGUE / BERLIN

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JIRI SVESTKA GALLERY

WEBSITE The Jiri Svestka Gallery was established in December 1995 by the art historian and www.jirisvestka.com curator Jiri Svestka. Over the years the gallery has organised more than fifty exhibi- E-MAIL tions of international and Czech Contemporary and Modern art. Our 900m² gallery [email protected] space in a converted factory building in the heart of Prague has become an impor-

PHONE tant art center and a meeting point of the young art scene. In September 2009 we +42 022 231 1092 opened a new branch, Jiri Svestka Berlin with an exhibition by the young Romanian

CELL sculptor Ioana Nemes. +42 060 236 7601 The Jiri Svestka Gallery’s mission is to promote international contemporary art in CONTACT NAME the Czech Republic and to introduce young Czech, Slovak, and East European art- Jiri Svestka ists to the international audience. Besides exhibitions, the gallery also organises performances, lectures and discussions with artists. This program contributes to the development of art and the art market in this region. EXHIBITED ARTISTS Stefan à Wengen Andrej Dubravsky Jiri Franta / David Böhm Kristof Kintera Maki Na Kamura Ioana Nemes Katerina Vincourova

OTHER REPRESENTED ARTISTS Adela Babanova Rafal Bujnowski Tony Cragg Dan Graham Lukas Jasansky / Martin Polak Jan Kotik Katharina Poliacikova Hans Rath Miroslav Tichy Leonid Tiskov

COVER Kristof Kintera Memorial of the One Thousand and One Nights 2011 Epoxy, pillows, metal structure 75 × 450 × 85 cm

INSIDE Jiri Franta / David Böhm XXL drawing 2011 – 2012 Pencil on paper 410 × 275 cm

BACK Maki Na Kamura GiL XVI 2011 Oil and water on canvas 60 × 45 cm TEAPOT COLOGNE

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TEAPOT

WEBSITE TEAPOT, founded in 2008, represents controversial international contemporary art www.weareteapot.com positions and is named after an idea by mathematician and philosopher Bertrand E-MAIL Russel (1872 – 1970). [email protected] “If I were to suggest that between the Earth and Mars there is a china teapot revolving PHONE about the sun in an elliptical orbit, nobody would be able to disprove my assertion +49 221 7894 0398 provided I were careful to add that the teapot is too small to be revealed even by CELL our most powerful telescopes. But if I were to go on to say that, since my assertion +49 177 580 9048 cannot be disproved, it is an intolerable presumption on the part of human reason to CONTACT NAMES doubt it, I should rightly be thought to be talking nonsense. If, however, the existence Lutz Göbelsmann of such a teapot were affirmed in ancient books, taught as the sacred truth every Petra Martinetz Sunday, and instilled into the minds of children at school, hesitation to believe in its existence would become a mark of eccentricity and entitle the doubter to the atten-

EXHIBITED ARTISTS tions of the psychiatrist in an enlightened age or of the Inquisitor in an earlier time.” Oliver Czarnetta Bertrand Russel Is there a God? Christian Eisenberger Robert Knoke Thomas Palme

OTHER REPRESENTED ARTISTS Zhivago Duncan Amir Fattal Helge Hommes Joshua Abram Howard Christian Keinstar Rolf A. Kluenter Susanne Rottenbacher Rob Scholte Tina Schwarz Ward Shelley

COVER Oliver Czarnetta Haus im Haus im Haus 2012 Concrete Approx. 54 cm

INSIDE Robert Knoke G&G (detail) 2012 Mixed media on paper 280 × 400 cm

BACK (LEFT) Christian Eisenberger w.T. (sausage dog) 2009 Mixed media Dimensions variable

BACK (RIGHT) Thomas Palme Deer 2011 Graphite on paper 150 × 120 cm TINT GALLERY THESSALONIKI

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TINT GALLERY

WEBSITE Since 2002, TinT gallery has been under a new name and management with the www.tintgallery.gr aim of promoting and presenting trends in contemporary art, focusing on concep- E-MAIL tually based works by young artists. Since 2003, TinT gallery has collaborated with [email protected] other cultural institutions such as the Macedonian Museum of Contemporary Art,

PHONE the Museum of Cinematography and the Museum of Photography etc, organizing +30 2310 235 689 off site projects and large-scale cultural events.

CELL In 2004, the gallery launched its Project room, a specially designated exhibition +30 694 450 5258 space, where young artists are given the opportunity to experiment with in situ CONTACT NAME installations within a non-profit gallery setting. Since 2007, together with group Andromachi Pesmatzoglou exhibitions undertaken by independent curators, the gallery has accommodated several autonomous teams of artists. The outcome has been a series of highly in- triguing exhibitions. EXHIBITED ARTISTS Christos Delidimos Ever since its opening, TinT gallery’s motivation has been to create a supportive and Christos Venetis encouraging environment for young artists to work. OTHER REPRESENTED ARTISTS Elias Kafouros Through his paintings, Christos Delidimos creates a transcendental and metaphysi- Thanos Klonaris cal world. Anything he paints acquires a symbolic dimension. Data taken from nature Nikos Papadimitriou and the imagination are interlaced in a single composition. Landscapes, forests, Artemis Potamianou plants, animals and a human presence usually amidst, compose a purely psycho- Rania Rangou Vassiliea Stylianidou logical landscape that has the morphology of a fairytale. Primordial instincts, dark Eleni Theofilaktou and unconscious aspects of human nature are the field of his inquiry. Chryse Tsiota Ulrich Vogl In his work, Christos Venetis draws by playing a game between the motion and writ- Yiorgis Yerolymbos ing of the images, their reading and interpretation. Lined up in a row, his “animated” drawings, albeit fragmented, create a lively narrative. The act of recording these

COVER drawings gives Veneti’s “anemic documents” a more precise and monumental di- Christos Venetis mension. Both the subjects of ‘bare life’ he chooses to design and the bare backs Anemic Archives of books, i.e. the point where the content is violently removed for the sake of flow 2012 Pencils on book covers and union of the “film”, intensify the cognitive lawlessness of Veneti’s images and Dimensions variable add drama to his narration.

INSIDE Christos Delidimos I love Frida 2012 Mixed media 75 × 74 cm

BACK Christos Venetis Anemic Archives 2012 Pencils on book covers Dimensions variable STEVE TURNER CONTEMPORARY LOS ANGELES VOLTA 8 | BOOTH NUMBER C3

STEVE TURNER CONTEMPORARY

WEBSITE Steve Turner Contemporary will debut at VOLTA with Five Card Stud, an exhibition www.steveturnercontemporary.com featuring the work of five young Los Angeles-based artists whose diverse practices E-MAIL reflect the city’s dynamic art scene. With a dozen MFA programs in the region and [email protected] many artists moving to the city from elsewhere, Los Angeles has as many working

PHONE artists as any other city in the world. Every imaginable form of art has been produced +1 323 931 3721 in Los Angeles, but for the five artists here, the legacy of Ed Kienholz’s assemblage-

CELL based work is especially strong. Other recent influences on the group include Helter +1 310 994 4613 Skelter, the 1992 exhibition organized by the Museum of Contemporary Art, which

CONTACT NAMES featured Mike Kelly, Chris Burden, Charles Ray, Paul McCarthy and Lari Pittman; Steve Turner and Thing: New Sculpture from Los Angeles, the 2005 exhibition organized by the Lucy Chinen Hammer Museum. Mélanie Badalato Though their motivations and output differ significantly, the five artists in the exhibition—Joshua Callaghan, Michael Decker, Morgan Wells, Rowan Wood, and Jemima EXHIBITED ARTISTS Wyman—have all made sculpture, collage or assemblage often made of disparate Joshua Callaghan found material. Beyond material, their works share an attitude that unites them. Michael Decker Their voice is that of the proletariat, protestor, occupier, and at times, trickster. They Morgan Wells Rowan Wood question authority. They study history and remix it. They have agendas. They are not Jemima Wyman afraid to bet on themselves. To use the poker term, they are all in.

OTHER REPRESENTED ARTISTS Joshua Callaghan creates humorous sculptures that embody some of the ubiquitous James Gobel and largely overlooked objects of everyday life—bollards, paperclips, utility poles Deborah Grant Camilo Ontiveros and cheap umbrellas. His fifteen-foot Two Dollar Umbrella was featured at Frieze Edgar Orlaineta New York in May 2012. Pablo Rasgado Michael Decker creates sculptures and installations that result from searching for, collecting, studying and indexing discarded objects that once were prized in various fads and consumer crazes that appear in pop culture. Originally sold in gift shops, COVER Rowan Wood these objects have descended in their retail journeys and are now found mainly in Left From Center 4 lowly thrift shops. Beanie Babies typify this phenomenon. In reconstituting such 2012 objects, Decker reverses their destiny, plunging them into an entirely new and un- Oil and acrylic on canvas expected market: the art world. His monumental sculptural installation, Old Growth, mounted to panel 84 × 36 in consisted of forty 1960s ironing boards, and was exhibited at VOLTA NY in 2010.

INSIDE Morgan Wells creates sculpture that revolves around a found work of art. He calls Michael Decker the series Possible Side Effects and he considers each work a consequence of the All The Unopened Things From serendipity of finding a discarded work of art by an unknown maker. My Studio 2012 Jemima Wyman creates paintings, collages and sculpture that are inspired by the Pegboard and various packaged clothing worn by revolutionary armies and protest movements. Her highly patterned products 28 × 48 in compositions can be associated with feminine patchwork quilts and/or masculine warfare camouflage.

Rowan Wood creates paintings and sculpture that refer to language in purely visual terms. He recycles imagery from one work to the next, making rules for himself that might be analogous to the grammatical rules of a given language. His work is formal and conceptual and is created with such subtly and sensitivity that it is nearly impossible to view them in pixilated versions on the Internet. They are best viewed in person from multiple vantage points and in varying amounts of light. UNION GALLERY LONDON

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UNION GALLERY

WEBSITE The latest groups of Charles Mason’s sculptures are fixed structures all about bal- www.uniongallery.com ance. Skeletal and muscular systems based on a strict organisation, they are ar- E-MAIL chitecture-worlds and balancing acts. They physically answer the problematic of [email protected] equilibrium, weightlessness with mutual support—theirs is a chic aesthetic posture.

PHONE They are the encounter of textural antinomies, through contact and collage: the metal +44 207 739 9119 plays against the mirror effect of the perspex, which plays against the concrete,

CELL which in turn plays against the mosaic. The meeting points are solid and secure, +44 785 007 9002 for should one component slip the whole edifice collapses.

CONTACT NAMES Minae Kim: “I question myself and the surroundings through my work. The structures Jari Lager might seem abstract, but are rather realistic, because they reflect actual space by Sunhee Choi being positioned in disregarded architectural gaps. The structure, that pretends to support the architecture or maintain an in-between space is, in fact, non-function-

EXHIBITED ARTISTS al. Attached handles or wheels emphasize absurdness of the structure due to their Charles Mason ironically inevitable usefulness.” Minae Kim Soonhak Kwon Soonhak Kwon: “History Of” is a series of photographs, that illustrate high-resolu- Haeri Yoo tion images of the gallery walls that used to hide behind artworks. This is, I visit an

OTHER REPRESENTED ARTISTS art exhibition after it has been taken down (eg. at the Victoria and Albert Museum, AVPD London) and record with permission of the venue with my camera the walls after all Anders Krisar art works have been previously removed. The resulting photographs make the space Richard Learoyd seem double layered as if two different spaces are coexisting once hung against Sea Hyun Lee Tobias Lehner the wall. The audience is surrounded by images of walls, which again surround it Mike Marshall by real walls that create the real space. This spatial relation with the audiences is Bernhard Martin reminiscent of Robert Morris’ concise statement on the relationship between art and Scott McFarland its situation within. – Robert Morris, “The Present Tense of Space” (1978) Matthew Stone Rose Wylie Haeri Yoo: “Like a child views the world, my work segregates and playfully mutates the realities present. Beauty and violence, light and dark are left in an inconclusive disharmonious impasse”, says Yoo. She explores “humor, sexuality, and the overt COVER and subtle relationships that haunt the space between beauty and violence”. The Haeri Yoo formal sensibility of her native Korea translates into sensitivity to negative space Room 2 2012 and mark-making, producing works that are “built up, painted, drawn, pasted and Acrylic and spray paint on canvas re-shaped from a large repository of smaller explorations”. 213 × 182.5 cm

INSIDE Charles Mason Backsliding 2010 Perspex, concrete, galvanised steel and rubber 203 × 430 × 500 cm

BACK (LEFT) Minae Kim Distant Stairway 2011 Wooden handrail, brass and steel 2780 × 150 × 690 cm

BACK (RIGHT) Soonhak Kwon History of Tenderpixel 2011 Giclee print on aluminium panel 120 × 125 cm V1 GALLERY COPENHAGEN

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V1 GALLERY

WEBSITE V1 Gallery was founded in 2002. The gallery represents a select group of emerg- www.v1gallery.com ing and established artists and is committed to introducing art, in all media, to an E-MAIL international audience. Seeing art as a profound and competent media for social [email protected] and political discourse, the gallery aspires to serve as a platform for art that inter-

PHONE acts with the surrounding society. V1 Gallery hosts 10 – 12 exhibitions annually and +45 3331 0321 curates exhibitions for several public and private art institutions.

CELL +45 2682 8166

CONTACT NAMES Jesper Elg Josephine Fity

EXHIBITED ARTISTS Troels Carlsen John Copeland Peter Funch Todd James Misaki Kawai Julie Nord Thomas Ovlisen Steve Powers Matthew Stone

OTHER REPRESENTED ARTISTS Søren Behncke Katherine Bernhardt Thomas Campbell Richard Colman Jesper Dalgaard Shepard Fairey HuskMitNavn Wes Lang Geoff McFetridge Andrew Schoultz

COVER Troels Carlsen Scene At The Ditch 2012 Acrylic on Canvas 140 × 110 cm

INSIDE John Copeland Sorry For The Pleasure We Had 2012 Graphite and Oil on Paper 56 × 76 cm

BACK (LEFT) Matthew Stone Veil 2011 Archival Inkjet on Wood and Fabric 183 × 122 cm

BACK (RIGHT) Julie Nord Unknown Relative (Hannah) 2012 Watercolor and Felt-tip Pen on Paper 58 × 45 cm VALENZUELA KLENNER GALERÍA BOGOTÁ VOLTA 8 | BOOTH NUMBER A10

VALENZUELA KLENNER GALERÍA

WEBSITE Valenzuela Klenner Gallery was founded in Bogotá in 1989, and focuses in the ex- vkgaleria.com hibition, promotion, and diffusion of contemporary art, particularly in those artistic E-MAIL practices that, within a critical sense and compromise, try to generate reflections [email protected] and questionings in the viewer.

PHONE The gallery exhibits and promotes Latin American art, with a special emphasis in art +57 1243 7752 produced within, and in response to, the Colombian context. Since its beginnings, CELL it has always maintained an open space for emerging artists whose work addresses +57 316 430 7117 and reflects upon social and political issues. CONTACT NAME Jairo Valenzuela H. Valenzuela Klenner is located in a three-story 1930’s building, with four exhibition areas: two main spaces, a project room dedicated to photography, video, and new media, and an outdoor patio for special projects. EXHIBITED ARTISTS Liliana Angulo Wilson Díaz Edwin Sánchez

OTHER REPRESENTED ARTISTS Elkin Calderón Raimond Chaves Víctor Escobar Lina González Juan Mejía Beltrán Obregón Lucas Ospina Mateo Pizarro José Alejandro Restrepo Nelson Vergara

COVER Liliana Angulo Black Power Pick (detail) 2011 Digital Photograph 105 × 70 cm

INSIDE Edwin Sánchez Insertion into Ideological Circuit (detail) 2010 Digital Photograph 100 × 150 cm

BACK Wilson Díaz Rebels of the South 2002 DVD 12 min. VALLE ORTÍ VALENCIA

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VALLE ORTÍ

WEBSITE Valle Ortí is committed to emerging art, in all of its multidisciplinary diversity, both www.valleorti.com from local and international artists, whose means of expression and criticism range E-MAIL from painting and drawing to photography, video, high- tech media, and installation [email protected] projects. The gallery aims to construct a joint identity, supporting the work of young

PHONE artists who, from their different viewpoints, are striving towards the same goal: to +34 963 923 377 show how different forms of artistic expression can provide a complex, multicultural,

CELL and multifaceted vision of society today. +34 692 313 867 Peter Callesen (Copenhagen, 1967) He takes his starting point in the A4 paper. It CONTACT NAME is a well-known object which you know and use every day and which is as close to Nacho Valle nothing as you can get in terms of value. This gives him as an artist a great liberty to create major dramas and get on to the really big subjects. For him the point lies in the relation between or in the transformation of the absent image or silhouette info a EXHIBITED ARTISTS Peter Callesen 3D figure. It is often a game, a contrast or suspense between these two dimensions. Troels Carlsen Troels Carlsen (Copenhagen, 1973) He works with 19th century precision while using Xisco Mensua 21st century language and media. The artwork he lays down on pages of old books OTHER REPRESENTED ARTISTS about anatomy and biology drives toward a personal reformulation of the raw image. Aleix Plademunt Chema López Using scientific illustrations, Carlsen adds his own scenes, attaching his painting as Javier Piñon a window for showing us other possible meanings, and in so doing, he involves us Juan Olivares in a new world of unusual anthropological images. Matías Sánchez Máximo González Xisco Mensua (Barcelona, 1960) refers to poetic, literary and philosophic sources Mira Bernabeu from the twentieth century, creating tableaus that mobilize transient layers of the Nelo Vinuesa historical imagination. The invitation to decipher is immediate, the search in the reg- Txuspo Poyo Xavier Arenós isters of memory, the search through our mental archives and sense of unease with regards to the meaning of the work, accompany a feeling of déjà vu.

COVER Troels Carlsen Measure a Thousand Times 2011 Acrylics on antique anatomy chart 158 × 105 cm

INSIDE Xisco Mensua Grabación. NY 1956 2011 Oil on canvas 130 × 195 cm

BACK Peter Callesen Little Roots of Heaven III 2011 Acid free 120 g/m² A4 paper, acrylic paint, glue and oak frame 47.5 × 37 × 7 cm VANE NEWCASTLE UPON TYNE

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VANE

WEBSITE Ranging from drawing to painting, installation to intricate objets d’art, Nick Fox’s www.vane.org.uk work is informed by eclectic reference points, including neoclassical painting, Victo- E-MAIL rian visual culture, literature, craft, pornography and subcultural codes. He is partly [email protected] inspired by floriography, a Victorian cultural phenomenon using flowers as tokens to

PHONE communicate hidden or forbidden pleasures. He playfully exploits and reconfigures +44 191 261 8281 this fin de siècle language, to construct double meanings and unsustainable uto-

CELL pias. These tropes are the vehicle through which Fox finds contemporary currency, +44 771 309 7852 personal symbol and cultural meaning of longing, seduction, desire and romance.

CONTACT NAMES Mirror-like panels and laboured drawings are built up through a lengthy layering of Paul Stone vaporous acrylic colour, sometimes over more than a year. This process results in Christopher Yeats Rebecca Huggan dense tondos or intricate hand-cut objects that mimic the preciousness of lace, with doily-like forms folded, draped or presented in vitrines.

Fox transforms the found taboo image and context into one of intimacy and emo- EXHIBITED ARTIST tive experience. Languorous male figures emerge from his sensual, craquelure sur- Nick Fox faces while overlaid botanical imagery fuses a symbolic role to his themes of desire, OTHER REPRESENTED ARTISTS longing and loss. These tantalising idylls and elusive narratives are often rendered Héctor Arce-Espasas Adam Burns in dark, overripe colour that, along with his painting process, create a toxic fog, an Kerstin Drechsel Eden after the fall where innocence has been banished. Jorn Ebner Nadia Hebson Nick Fox (b. 1972, Durban, South Africa) lives in London and Newcastle, UK. He stud- Simon Le Ruez ied at Liverpool John Moores University and Royal Academy Schools, London. Solo Jock Mooney shows include Phantasieblume, London and Phantasieblume Nachtlied, Norway. Michael Mulvihill A monograph, Phantasieblume, was published by Centre for Recent Drawing and Josué Pellot Flora Whiteley Art Editions North (2010). Fox was a prizewinner in the John Moores Painting Prize 2010, Walker Art Gallery, Liverpool and Jerwood Contemporary Painters 2007 (tour- ing). Public collections include Walker Art Gallery and David Roberts Foundation.

COVER Nick Fox Snare 2008 Cut out acrylic paint and ink 32 × 22 cm

INSIDE Nick Fox Harvest 2010 Acrylic paint and ink on panel 120 cm diameter

BACK Nick Fox in his studio in London VERNON GALLERY PRAGUE

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VERNON GALLERY

WEBSITE Vernon’s vision is to place world and Czech art side by side as equal partners and www.galerievernon.com look for links between the artists. The gallery’s almost 200 square meters of space is E-MAIL full of windows and is thus able to offer perfect light conditions for exhibiting works [email protected] of art. Vernon Gallery was founded by its director Monika Burian Jourdan in 2001.

PHONE Vernon Projekt is an atypical exhibition space for young artists that is located in the +420 777 155 593 display window of a former shop. This unorthodox exhibition space allows passers- CELL by to look inside the gallery at any time of day. +420 777 155 593 In her art, Jana Farmanova devotes herself solely to painting. She taps into the CONTACT NAME Monika Burian Jourdan collective memory of painting, but she makes distinctive choices of material. One theme “overflows” from one her paintings into the next, or from a prepared watercolour onto a canvas. This “overflowing” theme is framed by a temporal unfurling EXHIBITED ARTISTS and at the same time it reinforces the works’ strong narrative. The artist works with Jana Farmanova everyday themes (the family, private life, metaphors of home relating to the forma- Kit Reisch tion of interpersonal relations) using a language that adds magical poetics, dignity, Andrea Bianconi and communicability to serious themes. OTHER REPRESENTED ARTISTS Daniel Gonzalez Much of Kit Reisch‘s work over the last few years has been derived from the blind Daniel Hanzlík experience of a foreigner trying to adapt, successfully or otherwise, to his host cul- Grimanesa Amorós ture. His kinetic sculptures often act as stand-ins for aliens trying to adapt to their Jonathan Feldschuh Kirsimaria E. Törönen-Ripatti situation, placed in their spaces and forced to struggle to exist. A do-it-yourself Lluis Lleó aesthetic is an important component of Reisch’s machines, as he often prefers to Markéta Hlinovská leave the hardware and wires, which support his objects visible to the viewer. Petra Polifková Stefano Cagol Andrea Bianconi reconstructs the world by means of its very own ruins. His oeu- Tomáš Lahoda vre is an incessant wandering amidst dreams, obsessions, risks, surprises, and an endless roaming among the fragments of words and things. A spectacle that is both delirium and destruction, assemblage and disassemblage: all this in order to COVER reach an apparent reality: La Fantasy Ridge dell’Everest (as the artist himself calls Andrea Bianconi Traps for Clouds (2) it). More than a method, it’s an idea, the pathway of the imagination. In the piles 2012 of books, in the remains of living experience, in the cages—at once prisons and Iron, wood, lisle, black enamel shelters—in the cascades of poor commemorative objects, the artist establishes Dimensions variable temporary contiguity and unlikely proximity, reawakening the “demon of analogy”, INSIDE pushing beyond the confines of reality. Kit Reisch Cleansing Light 2011 Kinetic light installation with motor, electronics, shadows Dimensions variable, device: 210 × 70 × 280 cm

BACK (LEFT) Jana Farmanova From the Series on the Rails 2011 Watercolour 27 × 35 cm

BACK (RIGHT) Jana Farmanova Your Labyrinth 2010 Oil on canvas 90 × 90 cm WHATIFTHEWORLD / GALLERY CAPE TOWN

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WHATIFTHEWORLD / GALLERY

WEBSITE Working with collected ephemera, vintage encyclopedias, mass-produced consumer www.whatiftheworld.com goods and the detritus of consumer culture, Julia Rosa Clark creates a mesh and E-MAIL web of ideas. Overwhelming at times and intentionally experiential, Clark’s instal- [email protected] lations consist of two- and three-dimensional elements. Made up of a universe of

PHONE materials (from traditional to profane) the artworks reflect Clark’s continued pro- +27 218 023 111 cess-driven experiments and her work with space, analogy, accumulation, repeti-

CONTACT NAMES tion, and co-operation. Justin Rhodes Engaging with themes that span the historical, sociological, scientific, natural, and Ashleigh McLean industrial, Clark builds a schematic map of ideas. Her work is in part a commentary on information systems—the way knowledge is recorded, distributed and digested

EXHIBITED ARTIST and its manifestations in the world around us. Julia Rosa Clark Julia Rosa Clark (b. 1975) lives and works in Cape Town South Africa. She has taught OTHER REPRESENTED ARTISTS at various institutions for the past decade including recently the University of Stel- Peter Eastman lenbosch and Michaelis School of Fine Art (University of Cape Town). She obtained Pierre Fouché Dan Halter her MFA from the latter in 2004 and went on to have her first solo show, A Million Trasi Henen Trillion Gazillion later that year at Joao Ferreira Gallery. Daniella Mooney Andrzej Nowicki Works from A Million Trillion Gazillion traveled to Liste 05, Basel (2005) and MTN Cameron Platter New Contemporaries, Johannesburg Art Gallery (2006). Her next solo show, Hypo- Athi-Patra Ruga crite’s Lament (2007) was exhibited in Cape Town (Joao Ferreira Gallery), London Rowan Smith (Ferreira Projects) and at the first Johannesburg Art Fair. Fever Jubilee (2007/08) was Michael Taylor a month long intervention at Blank Projects Cape Town South Africa that sought to integrate process with public participation. Followed by her fourth solo exhibition COVER Julia Rosa Clark Paradise Apparatus at the Whatiftheworld/Gallery in 2010. Clark has been involved Holy Crap (Rosa) (detail) with in a number of group exhibitions including Dada South at Iziko South African 2012 National Gallery (2009/10) Found objects, paper, paint 56 × 155 cm Having recently presented her fifth solo exhibition Booty at Whatiftheworld/Gallery, Clark is currently working on a collaborative project Very Real Time with artists from INSIDE Julia Rosa Clark the Netherlands, United States and Britain and was recently in Art Review magazine Black Flag (Uhuru), and along side artists Nicholas Hlobo and William Kentridge. White Flag (Squall) Installation view 2012 Found objects, paper, paint, glitter 64 × 94 cm / 84 × 118 cm

BACK Julia Rosa Clark Captain Swagger (Whitie) 2012 Found objects, paper, paint 82.5 × 72 cm WIDMER+THEODORIDIS CONTEMPORARY ZURICH VOLTA 8 | BOOTH NUMBER C9

WIDMER+THEODORIDIS CONTEMPORARY

WEBSITE WIDMER+THEODORIDIS contemporary represents young artists focussing on www.0010.ch drawing, photography and new media. Particular attention is given to authentic E-MAIL and stirring tendencies in art. Installations and performances in the project-room [email protected] “Ehegraben” underline the concept of the gallery.

PHONE For VOLTA 8 the gallery has teamed up three artists with similar perception. Slow- +41 43 497 397 ness and the unspectacular beauty of the surrounding reality lie within them. CELL +41 792 931 852 Othmar Eder is the center point of the booth. His fine carbon drawings of landscapes +41 794 431 154 relate to the cinemascope format and correspond perfectly with the wooden minia-

CONTACT NAMES ture landscapes of Ernst Stark. While Eder’s the new works can reach up to three Jordanis Theodoridis meters wide, Stark has minimized the size of his landscapes to the size of just a Werner Widmer few centimeters. Matthew Cox’s x-rays works relate aesthetically and technically to Eder’s drawings and photography.

EXHIBITED ARTISTS In his work Eder appoints the origin of most motives but impedes a temporal de- Matthew Cox termination of this space. Mountains carry a huge and also slow temporality and Othmar Eder many traces on and under their surface. In these numerous and deep shifts, one may Ernst Stark read and observe earth history. He detaches what happens from time and ends the OTHER REPRESENTED ARTISTS temporality of his objects. In slow and multilayered processes, Eder re-assembles Erika Babatz these snapshots. Layer by layer he slowly exposes the picture using a hard pencil, Dimitris Douramakos Sabrina Friio carbon paper, egg tempera and pigments. Interrupted by pauses and movements Gian Michelle Grob of going closer or farer, Eder proceeds until the picture matches the photograph. Sybille Hotz Scanderbeg Sauer Stark explores rifts and contradictions, matters behinds things, the concealed be- Stefan Thiel neath the surface—and so often it is failure. He exposes images in a long and some- Nicolas Vionnet times laborious process that resembles the work of an archaeologist. His work tells Franz Wassermann us about big and sometimes not so big emotions, abysses and secrets. Nadine Wottke Matthew Cox embraces and joins a variety of media to produce several thematic series of work. Medical x-rays and embroidery, couture and crime, rubber stamps, COVER short-story prose and paint all layer toward a darkly comic and anachronistic im- Othmar Eder pression of the human condition in the twenty-first century. Grossglockner 2012 Carbon drawing on paper 74 × 238 cm

INSIDE Matthew Cox Zeus 2012 Hand-embroidered x-ray, using DMC cotton embroidery thread 58.5 × 78.8 cm

BACK Ernst Stark ohne Titel (Windschiefe Hütte) 2010 Wood and water color 7.5 × 13 × 8 cm ZIMMERMANN KRATOCHWILL GRAZ

VOLTA 8 | BOOTH NUMBER B18

ZIMMERMANN KRATOCHWILL

WEBSITE Galerie Zimmermann Kratochwill presents Poklong Anading, Lena Cobangbang, www.zimmermann-kratochwill.com and Jayson Oliveria.

E-MAIL The works of the artists presented here all coax uneasy propositions to the seem- [email protected] ing metaphysical burden of the quest for meaning within the jumble of the everyday PHONE throw-aways, from the unfiltered images and text that bombard virtual and actual +43 316 823 7540 surfaces. The slackened forms betray a desire for sincerity of value. The insignifi- CELL cant are re-tooled to become springboards of gravity-defying wonder, personal +43 664 131 7437 emblems re-appropriated as transposable re-possessed talismans that engender CONTACT NAME further myths about modern cults of brotherhood within the social milieu of art. They Birgit Zimmermann are especially incarnated in a defiance of the general apathy for what really constitutes an art that transgresses obligatory notions of transcendence, of demarcated geo-political identities, the limits and dictates of the mainstream market value, and EXHIBITED ARTISTS Poklong Anading the mundanity of merely just existing, which is both malaise and inspiration. Lena Cobangbang Lena Cobangbang’s (b. 1976, Manila) work is broad-ranging, moving across video, Jayson Oliveria installation, and found objects to embroidery, performance and photography. The OTHER REPRESENTED ARTISTS subject of her works are engagements with her own art practice within the larger Gaston Damag Sofia Goscinski backdrop of art history and art politics, and culture in general, conflating genres David Griggs and craft in manufacturing ideals of the sublime. Martin Krenn Robert Langenegger Poklong Anading (b. 1975, Manila) explores the metaphysics of meaning out of the Otto Muehl refuse and products of material consumption. Even intangible materials such as light, Manuel Ocampo time, gravity and the concept of space are explored in tangent with the medium Isa Rosenberger used for their documentation or presentation as an artist who uses video, sound, Gabriele Sturm MM Yu installation, and painting in his works. Jayson Oliveria (b. 1973, Manila) mines randomly the virtual and printed world in re- composited visual puns and word plays in a re-engagement of meaning in a cacoph- COVER ony of clichéd metaphors where every painting is an ellipsis rather than a sentence. Lena Cobangbang untitled 2012 Jacket, embroidery 78 × 60 cm

INSIDE Poklong Anading untitled (miracle healing and other hopeful things) 2011 Plastic dipper, stainless steel rod, bold, screw, resin, megapoxy, sand, cement 160 × 90 × 80 cm (approx.)

BACK Jayson Oliveria again painting series with 100 paintings (each 30 × 24 cm) 2011 Oil on canvas Dimensions variable VOLTA EDITION ARTIST JASON GRINGLER

VOLTA 8 | EDITION 2012

VOLTA 8 EDITION ARTIST: JASON GRINGLER

WEBSITE Born 1978 in Toronto, Canada www.voltashow.com My current practice is based on the limitations of specific materials. I use Plexiglas E-MAIL as a starting point for building on the history of abstraction, and although abstrac- [email protected] tion is a relatively young form, it is still burdened by the historic weight of painting, PHONE classical or otherwise. I use only a small Plexi knife to produce very limited shapes. +41 788 787 566 This simple and focused constraint forces my practice out of my habitual attempts CONTACT NAME at art making. Albertine Kopp Some recent thoughts about my work revolve around cultivating an aesthetic of violence as a formal device in my studio practice. This idea has historical roots in artists EDITION ARTIST such as Steven Parrino and Angela de la Cruz. But where Parrino and De La Cruz Jason Gringler transform the physical destruction of an object in to formal painting and sculpture, Represented by I translate the gesture of destruction in to a highly formal simulacrum of violence. Galerie Stefan Röpke

FORMER EDITION ARTISTS Plexiglas is reflective; the coupling of Plexiglas with broken mirrors allows the ar- Carlos Aires (sold out) chitecture (and viewer) from any space to become integrated with the work. The Troels Carlsen fragmented mirror acts simultaneously as a window as well as a painterly device. Zilvinas Kempinas (sold out) I have chosen a material that I find to be the antithesis of what painting tradition- Eduardo Sarrabia Melanie Schiff (sold out) ally represents. Martin Liebscher The work invariably begins with construction. I use the Brooklyn industrial environ- Ulf Puder (sold out) Takehito Koganezawa ment as source material for the development of structures and language within my painting practice. I find that there is a moment between looking and registry, between the recognition of an object’s existence, and the recognition of the associa- COVER tions that object holds; it is in this moment of flux that I experience the most affect- Jason Gringler ing changes applicable to my work. Collage 10 2012 A secondary but equally important part of my practice involves the cannibalization Acrylic, collage, spray enamel, of my larger works. Digital inkjet prints of the Plexiglas works are cut and remixed aluminum tape, photographs to create small collage pieces, which become the basis for new large scale works 21.6 × 28 cm / 8.5 × 11 in Edition of 10 with Plexiglas. I tend to copy myself in order to exhaust a particular composition that interests me. The source and the result simultaneously become the same and INSIDE Jason Gringler not the same. The original becomes lost as the language moves in a cyclical fashion. Collage 14 This allows for ongoing and evolving production within very specific parameters. 2012 Acrylic, collage, spray enamel, aluminum tape, photographs 21.6 × 28 cm / 8.5 × 11 in Edition of 10

PRICES (FRAMED) Single Piece: 350 Euro Two Pieces: 650 Euro Three Pieces: 950 Euro

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