2013 / Dreispitzhalle Mon 10 – Sat 15 June 2 013 Daily 10 Am – 7Pm Public Art Spaces

DESIGN: WWW.HAUSER-SCHWARZ.CH

MONDAY JUNE 10 TH – SATURDAY JUNE 15TH 2013 / DREISPITZHALLE MON 10 – SAT 15 JUNE 2 013 DAILY 10 AM – 7PM PUBLIC ART SPACES

C12 C14 C16 C19 C20 C21 C29 OFFICE P74 BULIAN FORTLAAN 17 EGELUND CHARLIE OSLO8 SMITH

OSLO10 TINT RADIO X SMAC

C30 GUEPIN C6 C13 C15 C17 KUDLEK GARNATZ BRUNDYN + PRO C18

IAAB / ARTISTS’ STUDIOS GONSALVES C18 C31 SCULPTURE TEZUKAYAMA HOUSE OF ELECTRONIC ARTS C7 C9 C11 H.A.N. BIANCHI BASTEJS POULSEN C27 C28 C32 BALZER- NOVA LÉNA ROSELLI C5 ART BRANSTEN C22 C23 JARMU- LARSEN C26 C28 SCHEK 532 SCULPTURE THOMAS C8 C2 C10 JAECKEL ARANA- MAZZOLI VERNON C23 POVEDA SCULPTURE C4 C24 C25 ROLLINS SKAPE HILGER- C35 C34 C33 PARTNERS BROT- DUKAN DILLON BINDER KUNST- COFFEE C3 C1 HALLE BAR GalleryLOG CHAPLINI SECCI SHOWROOMBASEL UNGUIDED BASEL SHOWROOM GALLERIES

532 Thomas Jaeckel ------C26 HOLE ------A11 ADN ------A9 INTERNATIONAL 3 ------A8 CATERING ANNA NOVA ------C28 JARMUSCHEK ------C22 BY BESCHLE UNGUIDED ALARCÓN CRIADO ------B3 KLEINDIENST ------B10 ARANAPOVEDA ------C8 KRUPIC KERSTING || KUK ------B16 ASBÆK, Martin ------B12 KUDLEK, Martin ------C6 ASPN ------A16 LARM ------B9 B17 B5 B4 B3 B2 A14 A13 A12 A11 A10 A9 ATHR ------A1 LARSEN, Christian ------C23 ESPACIO GUERRERO FLEISCH ALARCÓN COHEN SVESTKA HEIDE EB&FLOW THE HOLE FROSCH& ADN MÍNIMO CRIADO PORTMANN BALZERARTPROJECTS ------C27 LAV, Peter ------B6 BASTEJS ------C9 LÉNA & ROSELLI ------C32 BIANCHI, Federico ------C7 MA2 ------A18 BINDER, Andreas ------C33 MANDOS, Ron ------A3 B16 B1 A15 A16 A17 A18 A19 A8 KRUPIC B13 B6 ASPN BRANDL MA2 INTER- BRANDL, Sebastian ------A17 MAZZOLI, Mario ------C2

VANE DIS KERSTING SPECTA LAV NATIONAL 3 BRANSTEN, Rena ------C5 P74 ------C14 KUK A21 A20 BRUNDYN + GONSALVES ------C15 PABLO’S BIRTHDAY ------A2 TEAPOT FERRARA WHATIFTHE- WIDMER+ THEODORI - BRUNNHOFER ------A5 POULSEN ------C11 B12 B7 WORLD ASBÆK CONNER- BULIAN, Laura ------C16 PRO ------C17 B15 SMITH. A7 SLAG V1 CHAPLINI ------C3 PURDY HICKS ------A22 PURDY COHEN, Ethan ------B2 RISLEY, David ------A6 A22 HICKS ------A2 A3 CONNERSMITH. B7 ROLLINS, Tyler C4 B11 B8 PABLO’S MANDOS DILLON ------C34 RUBICON ------B14 B14 HELSINKI ESPAIVISOR BIRTHDAY A6 DUKAN ------C35 SECCI, Eduardo ------C1 RUBICON RISLEY EB&FLOW ------A12 SKAPE ------C24 EGELUND, Christoffer ------C20 SLAG ------B15

V9 EDITION A1 A4 ESPACIO MÍNIMO ------B17 SMAC ------C12 OLYMPUS ATHR STENE PROJECTS ESPAIVISOR ------B8 SMITH, Charlie ------C21 B10 B9 A5 ------KLEINDIENST LARM BRUNN- FERRARA, Jonathan A21 SPECTA B13 HOFER FLEISCH, Marie-Laure ------B4 STENE Projects ------A4 EXIT ONLY OFFICE TICKETS / INFO FORTLAAN 17 ------C19 SVESTKA, Jiri ------A14 FROSCH&PORTMANN ------A10 TEAPOT ------A15 GARNATZ, Julia ------C13 TEZUKAYAMA ------C31 C12 SMAC ENTRANCE GOH / VIP GUÉPIN, Muriel ------C30 TINT ------C29 GUERRERO, Enrique ------B5 V1 ------A7 H.A.N. ------C18 VANE ------B1 ------C25 HEIDE, Patrick A13 VERNON C10 SCULPTURE HELSINKI Contemporary ------B11 WHATIFTHEWORLD ------A20 HILGERBROTKUNSTHALLE ------C25 WIDMER +THEODORIDIS ------A19

BUS STOP DIRECT TO / FROM ART BASEL AND LISTE VOLTA 9 STAFF Viva VOLTA9! 74 international exhibitors — representing Europe and the Americas, Artistic Director plus the Middle East, South Africa, and East Asia — light up the industrial Dreispitz Amanda Coulson Areal this June, with 58 galleries returning from previous VOLTA editions. Managing Director Chris De Angelis Hamish Fulton (espaivisor – Galería Visor, Valencia) has created a signature Limited

Project Manager Edition for VOLTA9. The London-based “Walking Artist” has participated in numer- Kerstin Herd ous museum and gallery exhibitions throughout his illustrious career, including Ends of the Earth (MOCA, Los Angeles, touring to Haus der Kunst, Munich) in 2012, and Project Coordinator Rachel Mijares Fick A Trip From Here to There, currently on view at MoMA, New York. In Fulton’s own words: “my self-imposed rule is: I only make art about the particular walks that I Press Manager Brian Fee have experienced. This means: every artwork I make must include a walk text. Why words? Words can exist in any size and are independent of any one medium or lan- Production Assistant Yorick Tanner guage. Walks are the kilometre stones of my life. Each walk marks the flow of time between birth and death”. [email protected]

Founders The Schaulager, Münchenstein/Basel’s open-warehouse contemporary art museum Kavi Gupta designed by renowned Swiss architectural firm Herzog & de Meuron, reopened in Uli Voges March with British video artist and filmmaker Steve McQueen’s expansive mid-career Friedrich Loock survey. A 10-minute walk from Dreispitzhalle on Ruchfeldstrasse, the Schaulager signals another must-see destination for VOLTA9 visitors. Plus, literally around the corner from VOLTA (on Oslostrasse) are a corridor of creative spaces: OSLO8 OFFICIAL MEDIA PARTNER hosts the solo exhibition From the Island for Czech photographer Jiri Makovec; British artist duo Semiconductor stage their video works and complex installations in Let There Be Light at Haus für elektronische Künste, their debut solo show in Switzerland; and the talented artists of international exchange program iaab partici- SPONSOR pate in Going Places, with a special reception until 8 pm on Wednesday, June 12.

Finally, we would like to thank our partners for their continued support, particularly our Official Media Partner GalleryLOG, who enthralled VOLTA NY visitors with their aesthetic acumen and smartly edited videos, and our ‘mind and body’ sponsor Aesop.

For those of you who have been been with us these great nine years and for first-time visitors to Basel — and for the many, many of you who fall somewhere in between — thank you! We are thrilled for the high level of talent assembled by our gallery family this year, and we are confident that you will love what you see.

Enjoy the show! Amanda Coulson and Team 532 GALLERY THOMAS JAECKEL NEW YORK VOLTA 9 | BOOTH NUMBER C26

532 GALLERY THOMAS JAECKEL

WEBSITE “Once again, I am playing with the symbolic status of painting and its capacity to, www.532gallery.com at once, monumentalize and trivialize human drama.” E-MAIL — Armando Mariño [email protected] The ethical dilemma implied by the aestheticization or domestication of a violent PHONE event — from the moment it becomes “breaking news” and is converted into art +1 917 701 3338 through painting — constitutes the axis of Armando Mariño, one of the most promi- CELL nent Cuban artists from his generation. +1 917 701 3338 Mariño lives and works in New York. Works in Public Collections include: Deutsche CONTACT NAME Thomas Jaeckel Bank Collection USA; 21cMuseum, Kentucky; Shelley and Donald Rubin Private Collection, New York; Howard Farber Collection, New York; Centro Wifredo Lam, Havana; ART/OMI Residency, New York; ASU Art Museum, Arizona; University of EXHIBITED ARTISTS Virginia Art Museum; Rijskakademie van beeldende kunsten, Amsterdam; Museo Armando Mariño Nacional de Bellas Artes. Havana; Stichting Oce Kunstbezitp. Venlo; Arttoteek Den Nadja Marcin Haag, Holland. OTHER REPRESENTED ARTISTS Per Adolfsen Nadja Verena Marcin is a New York-based German performance artist. Internation- Peggy Bates ally recognized as a premiere emerging New Genre artist, she focuses on human Tatjana Busch behavior, elemental emotions, and psychological responses linked to role-playing Diana Copperwhite through video, performance and photography. Gerrard Ellis Ian Hughes MFA from Columbia University, New York after graduating with honors from Academy John A Parks of Fine Arts, Münster. Marcin’s creations are exhibited in museums, art spaces/gal- Hendrik Smit Stefan Szczesny leries and distinguished collections worldwide: ZKM- Center for Art and Media, 2012; Rachel Valdes DAAD, New York, 2011; “Qui Vive?” Moscow International Biennale for Young Art, Moscow MOMA, 2010; ARTWORK international, Inc. Grant, 2010; Salon/Screening, ICA Philadelphia, 2010; Uncontrollable Flesh, Berkley Art Museum, 2010; Short-Term COVER Deviation, Elizabeth Foundation for the Arts, New York; Kaunas Biennale, National Armando Mariño Museum, 2009; Videonale 11 & 10, Kunstmuseum, Bonn; Mediations Biennale, Havana Riders 2012 Poznan, 2008; Models of Self-Reflection, AZKM, Muenster, 2008; FIFA-Festival pour Oil on Canvas Film sur L’Art, Montreal, 2008; EJECT-Ex teresa arte actual, Mexico City; Fulbright 60 × 108 in Award, 2007; and Jumpnights, Ludwig Museum, Cologne, 2007.

INSIDE Armando Mariño I am Free 2013 Oil on paper 30 × 40 in

BACK Nadja Marcin Last Mohican 2013 C-print 50 × 60 in ADN GALERÍA BARCELONA

VOLTA 9 | BOOTH NUMBER A9

ADN GALERÍA

WEBSITE ADN Galería proposes a selection of artworks by the artists Carlos Aires (b. 1974, www.adngaleria.com Spain), Abdelkader Benchamma (b. 1975, France), Mounir Fatmi (b. 1970, Morocco) E-MAIL and Adrian Melis (b. 1985, Cuba). [email protected] The proposal shows three different methodological approaches: semiotic reactiva- PHONE tion and symbolic shift (Aires and Fatmi); literary (Benchamma); social ethnography +34 934 510 064 and analysis of production dynamics (Melis). Aires and Fatmi give a semantic turn to CELL established icons, values and meanings by recontextualizing ready-made raw mate- +34 68 752 8625 rial. Benchamma recreates a personal narrative inspired by literature, sociology and CONTACT NAME theories of astrophysics and cosmology. He internalizes issues about matter and Miguel Angel Sánchez its transformation, the nature of objects and their evolution, the human condition in the natural medium. Contrarily, Melis’ practice expands to the exterior , involving common people in the development of his projects. Melis converts his artistic role EXHIBITED ARTISTS Carlos Aires of creator to a sort of conductor. The final outcome strictly depends on the partici- Abdelkader Benchamma pation of “actors” where the artist controls and directs the different phases of the Mounir Fatmi realization process. Adrian Melis ADN Galería was founded as a hybrid platform between commercial mediation and OTHER REPRESENTED ARTISTS Virginie Barré cultural contribution aiming at promoting current artistic ideas and trends. The pro Tobias Bernstrup gram focuses on content-based productions that work as a semantic reflection of Santiago Cirugeda the contextual dynamics in which they emerge. DEMOCRACIA Igor Eškinja Transcending our role in the market, we commit to the artists to build international Daniel & Geo Fuchs networks of appreciation and to make possible a strong backing for their careers, Chus García-Fraile thanks to an active policy of media coverage, on-line communication and participa Núria Güell Eugenio Merino tion at art fairs. Our policy of collaborative work with intellectuals and profession Bruno Peinado als of the art world allows us to improve our program and the promotion of current practices in the field of visual arts. We contribute to create and give support to new collectors through professional and in-depth counseling. COVER Carlos Aires In June 2013 ADN Galería will inaugurate ADN Platform, consolidating the cultural De Natura Deorum (detail) contribution of the gallery as a platform for exhibition projects generated by an open 2013 call for curators, performances, public programs exploring the rapport between art Installation and society as well as artists residencies. 140 × 150 cm aprox.

INSIDE Mounir Fatmi Noir sur Noir 2013 Photography 50 × 70 cm

BACK (LEFT) Adrian Melis The Value of Absence 2009 – 2013 Installation 96 × 55 × 80 cm aprox. (table), 10'20" (video duration)

BACK (RIGHT) Abdelkader Benchamma Maquette jumelle 2012 Drawing 130 × 90 cm ALARCÓN CRIADO SEVILLE

VOLTA 9 | BOOTH NUMBER B3

ALARCÓN CRIADO

WEBSITE ALEJANDRA LAVIADA (b. 1980, México) examines the processes of construc- www.alarconcriado.com tion-destruction in Mexico City. She constructs and photographs ephemeral in- E-MAIL stallation-sculptures that she creates on site in abandoned buildings, using the [email protected] ordinary objects left behind. Laviada leads us to modify our perception of reality;

PHONE objects lacking in conceptual or formal identity serve to relate object (memory of +34 954 22 16 13 the place), sculpture (the transformation of these elements into the mere disposi-

CELL tion of themselves), and image (that is the final visual basis which remains through +34 657 18 15 95 the medium of photography). In Forest Interventions, in which her reflection on the

CONTACT NAMES image and its relation to similar disciplines abandons interiors in order to develop Carolina B. Alarcón a dialogue with nature. Julio Criado JOSÉ GUERRERO (b. 1979, Spain) The formal question from which his work derives is the expression of human action in urban border areas, looking into the process of

EXHIBITED ARTISTS urban expansion and the seasonal cycles that these processes change. His work is Alejandra Laviada structured in thematic series of signs that have to do with toponymy. Despite the José Guerrero singularity of the artist’s visual scheme, constant unfixed readings arise among his Nicolas Grospierre works, so that they ultimately suggest a kind of neutral space, devoid of identity, OTHER REPRESENTED ARTISTS impossible to clearly associate with a specific geographic context. He presents his Clara G. Ortega last work To Come Back. Emilio Gañan François Bucher NICOLAS GROSPIERRE (b.1975) is a French and Polish citizen. His university Jorge Yeregui education focused on political and social sciences, which bears a strong influence Julie Rivera Martín Freire on his work. Grospierre´s work that will be on display at VOLTA is 2D-3D, originally Simón Zabell part of the W-70 project, an exhibition that “focused on concrete block housing as one of the gravest consequences of Modernist architectural thought”, and its em- bodiment in Poland. Using the photographed prefabricated modules as “raw ma- COVER terial”, he created visual and spatial situations where the viewer could appreciate Nicolas Grospierre the concrete blockhouses from different perspectives (literally and metaphorically). 3D-2D (from the W70 project) 2007 Three-dimensional photographic wallpaper 240 × 230 × 220 cm

INSIDE José Guerrero Monument Valley 2011 7 Photographs (set). Archival pigment prints 43 × 56 cm / 17 × 22 in each

BACK Alejandra Laviada Galaxia. Forest Interventions. 2012 Inkjet print on luster photographic paper 140 × 110 cm ANNA NOVA ART GALLERY SAINT PETERSBURG

VOLTA 9 | BOOTH NUMBER C28

ANNA NOVA ART GALLERY

WEBSITE STAS BAGS www.annanova-gallery.ru Bath (installation for Sculpture Space 3)

E-MAIL The major role in molding Stas Bags’ artistic view is graffiti, which the artist has been [email protected] engaged in for 12 years. Afterwards, his interest switched from graffiti’s dynamic art PHONE to technological installations. His top priority tasks became the principal method +7 812 275 9762 of Milk and Vodka art group, organized by Bags in 2002. As a graduate of Human CONTACT NAMES Physiology and Anatomy Faculty, there is an aspiration to dissect everything that Anna Barinova (owner) evokes creative interest. Frequently that brings the artist to recreate new construc- Marina Vinogradova (art director) tions from reduced parts.

In the installation Bath, Bags makes a whole unique space, part of which exist EXHIBITED ARTISTS separately from one other in their own line, while at the same time supplementing Stas Bags each other. Bags’ general idea is the creation of a state lasting in time. But this is Denis Patrakeev not a chase of lost time, nor is it an attempt to reflect simultaneity or contempo- OTHER REPRESENTED ARTISTS raneity. In many projects, the time-capsule effect is achieved by the juxtaposition Alexander Dashevskiy Jury Alexandrov of life and death categories. This is seen in monochromatic paintings, and in han- Bob Koshelokhov dling the objects that provoke patho-anatomical connotations: freezing cameras, Ivan Plusch ovens, barrows. Petr Shvetsov Haim Sokol Art group SOAP DENIS PATRAKEEV Vlad Kulkov Untitled (lightboxes from the series Reconstructor) Andrey Kuzkin Irina Drozd “In my work I use sacred things such as: milk, dental moulds, blood, light, concrete; these materials make me quiet, I’ m losing my ‘ego’, and at the same time I’m telling a very private story (I grew up in a family of dentists so I used to play with dental COVER moulds, dentures when I was a child). This unique balance is maintained by the im- Denis Patrakeev age of a museum-temple, where the foundations of a crossroad are, the third path Untitled (detail) are laid, so there’s a possibility not to fit into the suggested format, but to go your 2012 Lightbox own way” — Denis Patrakeev 60 × 60 cm

INSIDE Stas Bags Bath 2013 Installation variable ARANAPOVEDA GALLERY MADRID

VOLTA 9 | BOOTH NUMBER C8

ARANAPOVEDA GALLERY

WEBSITE ARANAPOVEDA since 2010, internationally confronts established contemporary www.aranapoveda.com artists with emerging positions. Our artists are in major private and institutional col- E-MAIL lections and museums. Our goal is to provide a new setting of contemporary art [email protected] and deliver the finest international artists’ messages to a wide audience of new and

PHONE established collectors. +34 91 389 6073 The curatorial project presented at VOLTA contrasts Susanne Themlitz (2012 Bro- CELL cense Art Award winner) with Chilean Ignacio Bahna (first time shown in Basel) and +34 69 998 5324 stop-motion and graphite works by young Rosana Antolí (currently featured at the CONTACT NAMES DA2 Museum curated by Paco Barragán). Juan Arana Christina Poveda Susanne S.D. Themlitz (b. 1968, Germany) presents parallel worlds, landscapes populated by strange, straying creatures. In the vastness of this fantastic landscape, creatures, hydrocephaly, organs, snails, mosquitoes, cactuses, and mushrooms cre- EXHIBITED ARTISTS ate mystifying relations. The images echo Hieronymus Bosch or Max Ernst’s vision- Ignacio Bahna ary spaces. Realistic graphical forms appear side by side with formless color fields. Susanne S.D. Themlitz Rosana Antolí The point of view is continuously displaced. The coherence of the perspective is shattered. The colors become autonomous, like color excrescences and clusters, OTHER REPRESENTED ARTISTS Grimanesa Amorós or break free in a multitude of shades. Themlitz brings drawing into the realms of Javier Arcenillas collage and painting with great ingenuity. Ignacio Llamas Guillermo Martin Bermejo Rosana Antolí’s (b. 1981, Spain) work is about the inherent lack of feeling in her Rita Magalhaes generation, which she expresses through painting, drawing and stop-motion videos, Rebeca Menendez ephemeral and fragile materials like graphite and paper. “Avoidance” as a funda- Felipe Ortega Regalado mental part of human condition, portraits of “the eternal youth” of her generation, Gema Ruperez representing “players”, characterized by bringing “the game” to every aspect of their life, in a journey into our animal or irrational impulsions, the regression away from civilized habits, a reflection of her own life. COVER Susanne Themlitz Ignacio Bahna (b. 1980, Chile). Geographical and social damages, affecting all Oh! 2013 those who inhabit the planet is one of the fundamental pillars of his work. It is an Acrylic and graphite on offset aesthetic appropriation of the environment to a morphological cohesion through the engraving reproductions, use of wood in all of his artworks. Objectively aesthetic and conceptual, based on oil on paper, glass, magnifying the use of “pure” materials, more than 20 different types of wood are at the origin glasses, and table 16 × 90 × 50 cm of his sculptures.

INSIDE Ignacio Bahna Onda Expansiva 2012 Assembled different woods 220 × 70 × 70 cm

BACK Rosana Antolí Polyptych 2013 Graphite and ink on paper 180 × 90 cm MARTIN ASBÆK GALLERY COPENHAGEN

VOLTA 9 | BOOTH NUMBER B12

MARTIN ASBÆK GALLERY

WEBSITE The presentation will be a total installation consisting of large-scale charcoal draw- www.martinasbaek.com ings mounted directly on the wall, handmade lace head-covering next to acrylic and E-MAIL mixed materials on canvas and finally new photographs. [email protected] Cathrine Raben Davidsen (b. 1972, DK) is known for her painterly personifications PHONE where she balances minutely detailed line drawing with dissolved, blurred contours +45 33 15 40 45 and intense patches of colour. She draws on a wide range of literature and art his- CELL torical references, narratives and mythological material. Her works for VOLTA will +45 2681 2887 (Julie) be intense, dramatic charcoal and ink drawings that will give a contrast to Tjorg +45 4075 8616 (Martin) Douglas Beer’s more unpredictable, spontaneous and profoundly original an unique CONTACT NAMES expression. The idiom of Beer’s works is colourful and raw, with both figurative and Julie Ouottrup Silbermann Martin Asbæk abstract elements. Tjorg Douglas Beer (b.1973, DE) is one of the most striking talents of his generation, and his artistic expression ranges wide. Installation projects, sculptures and espe- EXHIBITED ARTISTS cially work with painting in an expanded field are explored. Both Beer and Davidsen’s Cathrine Raben Davidsen Nicolai Howalt works are a personal sampling of impression from everyday life with inspiration from Tjorg Douglas Beer popular culture, social and political aspects and many everyday impressions from

OTHER REPRESENTED ARTISTS Berlin, Hamburg and Copenhagen. Elina Brotherus The third artist Nicolai Howalt (b.1970, DK) recently visited the Medical Museion Berta Fischer Astrid Kruse Jensen in Copenhagen to research for a new project — out came this photographic series Eva Koch Light Break. The series is about light as a healing effect. With an outset in Nobel lau- Martin Liebscher reate Niels Finsen’s light therapy, Howalt examines visual traces from the ultraviolet Sofie Bird Møller rays that a patient was treated with. By leading the light rays through rock crystal Matt Saunders Trine Søndergaard prisms, Finsen and his team treated a number of otherwise incurable diseases. To Ebbe Stub Wittrup follow the progress of the patients, there were made a moulage of their face. These Clare Woods masks are saved at the museum and now photographed by Howalt.

COVER Tjorg Douglas Beer Aufklärung threatened by dark powers 2013 Acrylic paint, marker, ink on canvas 50 × 40 cm

INSIDE (LEFT) Tjorg Douglas Beer Riding on your Chakra 2013 Acrylic paint, marker, lacker, ink on canvas 150 × 120 cm

INSIDE (RIGHT) Tjorg Douglas Beer Black Swan 2013 Different materials, paint, copies, cardboard on aluminum 80 × 60 cm

BACK Cathrine Raben Davidsen The Curtain 2013 Charcoal on paper 135 × 135 cm ASPN LEIPZIG

VOLTA 9 | BOOTH NUMBER A16

ASPN

WEBSITE In recent years Johannes Rochhausen has been painting barely any other subject www.ASPNgalerie.de than his own studio. Through the repeated close scrutiny of the same space and the E-MAIL continued invention of new answers and compositions, it becomes apparent how [email protected] preliminary and dependent on the given perspective these answers remain in terms

PHONE of perception. As a thesis of artistic practice, functionally closed spaces are imma- +49 341 960 00 31 nent to the production of art in general. Yet in a slightly more abstract sense, the

CONTACT NAMES circumstances of material and approach within contemporary reality illustrate that Arne Linde any artistic action is shaped by its contexts. On the level of production, in particular Carolin Nitsche in the sense that any artistic work requires a point of departure, neither the “picture as such”, nor an interest without preconditions do exist. To a high degree, the works of Rochhausen focus on precisely this hypothetical closeness of the subject of inter- EXHIBITED ARTISTS est, thus raising questions about the elementary meaning of artistic work in general. Jochen Mühlenbrink Johannes Rochhausen Jochen Mühlenbrink is known for his figurative paintings of everyday objects and sit- OTHER REPRESENTED ARTISTS uations, in which disasters, accidents or the threat of emergency occur. Mühlenbrink Benjamin Appel utilises elements of minimalism and surrealism to paint our perception of modern FAMED times. Both the perception of time as well as pictorial themes are important subject Grit Hachmeister Edgar Leciejewski matters for Mühlenbrink. In his new conceptual works, Mühlenbrink’s trompe-l’oeils Jochen Mühlenbrink play a subtle game with art history and painting culture in particular. What we see Jochen Plogsties are a series of paintings from behind — we see the stretchers and staples at the Matthias Reinmuth edge of the canvas. This work flirts with modernist minimal art by focussing on the Robert Seidel Katsutoshi Yuasa monochrome gaps between the tape and the tape itself (also an important tool in Arthur Zalewski minimal art). Finally, there’s a series of sculptures and painted cardboard boxes that are taped shut. Post packages, sent around the world — a series harking back to Christo and the legacy of surrealism. COVER Jochen Mühlenbrink Coast to coast (NOSW Mittelformat) 2012 Oil and acrylic on wood 170 × 140 cm

INSIDE Johannes Rochhausen 1486 Atelier Edgar Leciejewski. 2012 Crayon, charcoal, ink on paper 150 × 200 cm

BACK Jochen Mühlenbrink Malerkoffer 2012 Oil on canvas, 7 parts, hinges 170 × 220 cm ATHR GALLERY JEDDAH

VOLTA 9 | BOOTH NUMBER A1

ATHR GALLERY

WEBSITE After having lived and studied abroad for a number of years, Sami Al Turki made the www.athrart.com decision to return and settle in his home country of Saudi Arabia, a desert country E-MAIL that mainly consists of nothing but empty land. [email protected] During the main move from nomadic living to urbanisation during the 70’s, an en- PHONE tire generation of people built their homes on empty land. This tradition of building +966 2 284 5009 your dream home continues to this day and the cities are littered with house upon CELL house of every different style of architecture imaginable, some might resemble the +966 56 865 8888 White House and others a space ship, all testaments to a land where your home CONTACT NAME constitutes the realisation of your fantasy. The majority of ones life will be spent Maya El Khalil within those walls.

While land remains a plentiful commodity, it has become an almost entirely inac- EXHIBITED ARTIST cessible one. Anywhere else in the world, land is acquired for the purposes of de- Sami Al Turki velopment. However, in Saudi Arabia, land is being traded as a commodity in itself; OTHER REPRESENTED ARTISTS people only buy land in order to sell it again for a significant profit. Ayman Yossri Daydban Ahmed Mater In Barzakh, an Arabic word that alludes to a state of in-between, Al Turki depicts Nasser Al Salem unfinished architectural structures that are suspended amidst the clouds; an hom- Jowhara Al Saud age to a dream that is drifting farther and farther, not just out of his reach, but out Basmah Felemban of the reach of an entire generation and class of people. While appearing as a fan- Hazem Harb Ibrahim Abumsmar ciful gesture, the work can also be seen as a stark depiction of mankind’s capacity Sara Abdu for greed, the artist suggests that if it were possible to own the sky and build walls Saddek Wasil declaring that ownership, mankind would do so. Raouf Rifai By removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all

COVER our earthly wealth and possessions, these things will not accompany us into the Sami Al Turki hereafter, thus putting into perspective the absurdity of fighting over grains of sand Barzakh 08 from the Barzakh series in a land of abundance and where land is abundant. 2013 Framed photographic enlargement on archival paper 121 × 131 cm

INSIDE Sami Al Turki Barzakh 03 from the Barzakh series 2013 Framed photographic enlargement on archival paper 120 × 180 cm

BACK Sami Al Turki Barzakh 05 from the Barzakh series 2013 Framed photographic enlargement on archival paper 120 × 180 cm BALZERARTPROJECTS BASEL

VOLTA 9 | BOOTH NUMBER C27

BALZERARTPROJECTS

WEBSITE balzerARTprojects presents a collaborative enterprise of Nici Jost, Andreas Bauer, www.balzer-art-projects.ch and Nicolas Kerksieck focusing upon the dichotomy between reality and fiction in E-MAIL architecture. Chronologically and culturally, the project harks back to individual and [email protected] collective memories, stressing a critical analysis of traditional values, contemporary

PHONE urbanism and individual lifestyles. Key is the contemplation upon architectural and +41 61 222 2152 natural environments, aimed to work with utopian solutions to urban architectural

CELL dilemmas. +41 79 229 3306 The project deals with architecture and space as phenomena of power. The result CONTACT NAME is a solution-oriented narrative without proposing concrete solutions as it centers Isabel Balzer upon proposing strategies, which can be developed further by the viewer. In this project, the artists generate a continuum between our here and now, our space and time and the time and space of others. EXHIBITED ARTISTS Andreas Bauer Andreas Bauer (b. 1980) questions the process of objectification, yet establishes his Nici Jost own objectified/aesthetic presence. In his photographic work, a bridge is built be- Nicolas Kerksieck tween photography, sculpture and performance. While creating surreal urban land- OTHER REPRESENTED ARTISTS scapes, he redefines space/environment/landscape/human surroundings by dis- Tom Fellner Sarah Frost secting the human and urban matrix, aiming at a “deconstruction of urban spaces”. Georgine Ingold The essential element of Nici Jost’s (b. 1984) work is the exploration of the sublime Vera Isler Sebastian Mejia tensions between technology and nature, space and perception, identity and image. Mimi von Moos Questions are provoked about the broader, often disquieting, implications of our Angelika Schori ever-accelerating technological evolution and the position of the individual within. Jost pushes the boundaries between reality, fantasy and fiction, making the viewer re-evaluate his natural and conceptual reference models, as he enters imaginary, COVER yet surprisingly real worlds with intense colors and surreal perspectives. Nici Jost Under the Green Grass Nicolas Kerksieck (b. 1977) works in several different areas: in the public space as 2012 action, interferences and interventions. He also explores the “traditional process Audiovisual Installation 40 × 48 × 44 cm of building sculptures” that is, he questions the sculptural process and its inherent fallacies. Thematically, he explores topics of identity and existence. His investiga- INSIDE (LEFT) tive processes often lead the performer/investigator/artist – and consequently, the Andreas Bauer Steilvorlage viewer – into absurdity and excesses of self-questioning. He encourages the viewer 2012 to physically seek confrontation with his work while establishing an emblematic and Dry Wall multifaceted investigation into the nature of art. Installation

INSIDE (RIGHT) Nicolas Kerksieck Heimwerkerkathedrale 2011 Wood 160 × 80 × 280 cm

BACK (LEFT) Nici Jost Behind Hedges 2013 Video Object with Sound 30 × 14 × 12 cm

BACK (RIGHT) Andreas Bauer Eat Drink Shop 3 (detail) 2013 Scan of Book Cut-Out 140 × 120 cm GALLERY BASTEJS RIGA

VOLTA 9 | BOOTH NUMBER C9

GALLERY BASTEJS

WEBSITE Gallery Bastejs (Riga, Latvia) has focused on the cultural exchange between Baltic www.bastejs.com States, representing artists from Estonia, Latvia and Lithuania. The gallery works E-MAIL closely with its represented artists, providing artworks for the collectors and insti- [email protected] tutions, and also organizing various cultural events. [email protected] Ritums Ivanovs is a Latvian painter whose practice uses precise hyperrealist de- PHONE +37 167225050 piction of the real and bright polychromatism typical of OP Art. Working in his self- invented linear technique, he paints portraits and nudes on large size canvases. CELL The artist uses a photo as basis for his work but painting itself is hand-made. The +37 129136840 main subjects of Ivanovs’ work are human emotions, the different emotional states. CONTACT NAMES In his artwork he portrays people from personal life, photographic images from Baiba Morkane Krisjanis Morkans printed material — such as art history books, show business advertisements, and even material from erotic magazines.

Symbol of Illusion is a body of work where Ivanovs plays with the concept behind EXHIBITED ARTIST the commonly used skull within art. Ritums Ivanovs

OTHER REPRESENTED ARTISTS Art is fascinated by death. Juri Arrak Death is fascinated by art. Peeter Allik Jaan Elken From the symbols used in today’s society, skull is a recent one. The use of skull in Helena Heinrihsone 17th century Netherlands still life vanitas, was a romanticized symbol of death but Ivars Heinrihsons Franceska Kirke it wasn’t the main subject of interest in the particular works. Ieva Kraule Today’s art is fascinated by death, artists creating work around the concept of the Anita Meldere Janis Nedela skull. My interest with this subject came from observing portraits and figures in to- Kalvis Zalitis day’s art. “My personal realization of the symbolic meaning of the skull is this — it is the illusion of life and death in one. To me death means everything, in a way the death is life”. COVER Ritums Ivanovs Nowadays the use of this symbol is vague, especially in popular culture, it gets City girl oversimplified neglecting its real meaning.“ In this body of work I want to connect 2012 the ideas of symbol and illusion, hence the title of this show “Symbol of Illusion”. Oil on canvas (Ritums Ivanovs) 60 × 45 cm

INSIDE Ritums Ivanovs A collage of Symbol of Illusion paintings 2012 Oil on canvas variable

BACK Ritums Ivanovs Kiss x-rayed 2012 Oil on canvas 115 × 151 cm FEDERICO BIANCHI CONTEMPORARY ART MILAN VOLTA 9 | BOOTH NUMBER C7

FEDERICO BIANCHI CONTEMPORARY ART

WEBSITE This project is based on contemporary facets of abstraction: to represent through www.federicobianchigallery.com different media the opportunity to create abstract art: from Jacopo Mazzonelli act- E-MAIL ing on a surface modified with a circular rotary motion, to Alexander Wolff’s fabric [email protected] paintings, through Radomir Damnjan’s classic acrylic on linen, to Tony Just’s “street”

PHONE abstract art, to the possibility of abstracting an architectural structure in the paint- +39 02 39 549 725 ings of Domenico Piccolo, to Giuseppe Armenia’s sculptures of newspapers.

CONTACT NAME Giuseppe Armenia (b. 1965, lives and works in Turin). He exposed his works in Federico Bianchi public spaces throughout Europe (Prague, Wien, Budapest, Zurich, Hamburg, Ti- rana, Berlin). He was also a finalist at The Cairo’s Award 2005 in the “Permanente di Milano” space. Installation is his favourite way of expression. His work is based EXHIBITED ARTISTS Giuseppe Armenia on ephemeral time. Radomir Damnjan Radomir Damnjan (b.1936, lives and works in Belgrade and Milan). He has partici- Tony Just Jacopo Mazzonelli pated in the Venice Biennale, Documenta Kassel, Biennale of San Paolo (1st prize Domenico Piccolo 1963), Biennale of Sydney, Quadriennal of Rome. His works are included in many Alexander Wolff museums, including Centre Pompidou in Paris; SFMOCA; Museum of Modern Art, OTHER REPRESENTED ARTISTS Belgrade; Guggenheim NY. Paintings, performance and sculpture are his favorite Paola Di Bello means of expression. Zuzanna Janin Anna Orlikowska Tony Just (b. 1966, lives and works in Berlin and New York. He exposed his works Jacopo Prina in several important private galleries around the world: New York, Berlin, Paris, Mi- Clement Rodzielski lan, Zurich, Los Angeles, London. He took part in Greater New York 2005 at PS1. Bert Theis Magda Tothova Jacopo Mazzonelli (b. 1983, Italy) He uses installation and sculpture as his medium Johannes Vogl of expression, and he combines elements of music, philosophy and art history to cre- Venera Kastrati ate his works. He is considered the young promise of Italian art and he has already exhibited in various public spaces including a solo show at Galleria Civica of Trento.

COVER Domenico Piccolo (b. 1961, lives and works in Turin). He took part in the exhibition Jacopo Mazzonelli “Impresa Pittura” at Castle Genazzano in Rome about the last 20 years of painting in Apocalisse 2011 Italy, and in the 2009 Prague Biennale. His favourite themes are alienated individuals blackboard slate, wood, and those who live beyond the boundary of psychological disease. magnets, rotary engine 128 × 92 × 25 cm Alexander Wolff (1976, lives and works in Berlin and Los Angeles). He has participated in numerous exhibitions in Europe and the United States, including Made in INSIDE Alexander Wolff Germany 2, and he has exhibited in solo exhibitions in museums in Munster and Installation view Lübeck. He expresses primarily through painting and assembly of fabrics. 2010 wall drawing / collage / paintings on fabrics site-specific

BACK (LEFT) Radomir Damnjan Drawing 1968 / 1978 Ink on paper 70 × 100 cm

BACK (RIGHT) Domenico Piccolo Ogni Giorno n.14 2009 acrylic and oil on photo paper mounted on a wooden 24.5 × 18.5 cm GALERIE ANDREAS BINDER MUNICH

VOLTA 9 | BOOTH NUMBER C33

GALERIE ANDREAS BINDER

WEBSITE HADRIEN DUSSOIX www.andreasbinder.de The world of the media and its influence on Swiss artist Hadrien Dussoix (b. 1975) E-MAIL forms the basis of an art that concerns itself with boundaries, inconsistencies and [email protected] poetry. Looking at the world around him, including films and TV, the young artist

PHONE picks up bold and simple messages with succinctly provocative and lyrical content +49 89 21939250 – messages which he then adapts in his paintings. Each message is written in large

CELL letters, occupies the entire expanse of the canvas and becomes the central sub- +49 171 4326335 ject while acquiring its own autonomy and going beyond the pure meanings of the

CONTACT NAMES words. The written content becomes a painting, and a painting turns into a piece Andreas Binder of writing. Dussoix’s works enter into dialogue with the viewer in a variety of ways, Veronika Binder for instance when Dussoix composes varnished letters on the canvas, as in “Your best body ever”, “Lips into your hips”, “More bass more riff”, “Bull dogs bull shit” where, because of the material nature of the painting, viewers see themselves mir- EXHIBITED ARTISTS rored and thus become part of the work. Hadrien Dussoix Anna Navasardian ANNA NAVASARDIAN OTHER REPRESENTED ARTISTS Navasardian’s work utilizes the language of portraiture and the tradition of figure Jan Davidoff Izima Kaoru painting to obscure the bounds that separate personal and constructed identity. Dy- Philipp Lachenmann namic subjects are drafted from sources that include Soviet era family photographs, Matthias Meyer vintage periodicals, and live models. The resulting characters expose hidden truths Yigal Ozeri and buried layers narrated through vigorous brush strokes and an animated palette. Dieter Rehm Julio Rondo Navasardian develops themes of identity, adolescence, growth, and memory in Thomas Stimm Rolf Walz creating compositions that explore the multilayered nature of reality. In the Garden Paul Winstanley series, vibrant palette marks function as fleeting thoughts surrounding a family. The thoughts dissolve in and out of the physical environment, blending into the shrub- bery at one point and melting into a woman’s dress pattern at another. In this way, COVER Navasardian employs the visceral quality of paint to illuminate the invisible elements Hadrien Dussoix that surround us. Burn More Fuel 2010 Mixed-media, Installation ca. 170 × 100 cm

INSIDE Hadrien Dussoix Installation View Art Cologne 2011 2011 Mixed-media, Installation 200 × 200 cm

BACK Anna Navasardian Boys 2010 Oil and acrylic on canvas 122 × 152 cm SEBASTIAN BRANDL COLOGNE

VOLTA 9 | BOOTH NUMBER A17

SEBASTIAN BRANDL

WEBSITE The new-old bunk installation with furniture, chairs, tables and cupboards by Franz www.sebastianbrandl.com Burkhardt gives off the nostalgic charm of a dim interior fitting. Handiwork and home E-MAIL craft via hardware and do-it-yourself stores do have their effect: building a room of [email protected] one’s own probably emanates from the need to stage a defined order at the sight of

PHONE existing boundless disorder. The artist’s drawings are on the walls; the artist copies +49 221 222 99 793 from old black and white photographs (like from the ’50s), which he uses as masters.

CELL Their presentation in different frames emphasizes their staged decorative, well-nigh +49 178 9252198 furnishing character. The models of trivially appearing spaces created by Burkhardt

CONTACT NAMES can be regarded as instruments of exploring time and specific reality, as they sug- Sebastian Brandl gest the possibility of a distanced scheme of a facultative fragment of this reality. Alexandra Espenschied Gerhard Rühm: to my musical mood images the musikalische Stimmungsbilder that have arisen continuously since 2003 can

EXHIBITED ARTISTS be traced back to four thematically related works from 1972, which formally differ Franz Burkhardt distinctly from the later paper works. although collages from almost three decades Gerhard Rühm later are based on similar material templates — decorative single releases of popular

OTHER REPRESENTED ARTISTS music from the first half of the past century — compared to the loosely improvised Timo Behn “Stimmungbilder”, they show a much more systemic style: shortened parts of the Christian Berg title page are cut in longitudinal stripes and punctuated in normalized distances with Julia Bünnagel Kerstin Fischer minimalist note and text quotes from the issues’ inner sheets. the resultant con- Sven Fritz tent creates an irritating effect, but it evokes an overall enclosed impression with Hee Jung Kang each individual rhythm — especially emphasized through the sequence of multiple Vincent Michéa sheets. the nostalgic attraction of an illustrated subject and the often bizarre and Manfred Schneider Jan Stieding fragmented calligraphy create the characteristic “stimmung” in the individual works. Birgit Verwer

COVER Franz Burkhardt The artist’s kitchen in Montzen (Belgium) 2012 Framed drawings 2012 / 2013; pencil, gouache, indian ink, print on paper Size variable

INSIDE Gerhard Rühm Musikalische Stimmungsbilder 2006 / 2004 Collage on cardboard 40 × 30 cm each

BACK Franz Burkhardt sans majonäse s.v.p. 2013 Pencil, indian ink, PU-lacquer on paper 16.5 × 19 cm RENA BRANSTEN GALLERY SAN FRANCISCO, CA

VOLTA 9 | BOOTH NUMBER C5

RENA BRANSTEN GALLERY

WEBSITE While the works of Bovey Lee, Ron Nagle, and Marci Washington appear disparate www.renabranstengallery.com in both form and content, they are all bound by the artists’ obsessive processes. E-MAIL Viewers are immediately arrested by Lee’s complex cut paper drawings, the vivid [email protected] colors and combination of textures in Nagle’s sculptures, and the intense tone-on-

PHONE tone layers in Washington’s watercolors — but equally arresting are the techniques +1 415 982 3292 involved.

CONTACT NAMES Bovey Lee uses hand cut Chinese rice paper mounted on silk to form intricate nar- Trish Bransten ratives exploring the tension between man and the environment in the context of Jenny Baie power, sacrifice, and survival. Updating ancient landscape paintings, Lee cuts away paper to create scenes of cooperation between natural and un-natural forces in

EXHIBITED ARTISTS unimaginable detail. The intricacies of her lace-like paper pieces boggle the mind Bovey Lee especially when one recalls this fine work is cut by hand. Ron Nagle Marci Washington Ron Nagle is a master of the ceramic medium, working in an intimate scale where a sense of power is informed by his choice of color, shape, and surface. Nagle’s fa- OTHER REPRESENTED ARTISTS Ruth Asawa mously laborious fabrication process, which sought to achieve the perfect balance John Bankston of organic and hard-edge abstraction, has recently been augmented by a plastic Tony DeLap medium. New works feature glazed ceramic elements on a modeled then cast plas- Matthias Hoch tic base that allows for luminosity not possible even after thirty glaze firings in his Candida Höfer Jun Kaneko early ceramic works. Nagle’s work is included in the 55th International Art Exhibi- Vik Muniz tion at the Venice Biennale. Amparo Sard Tracey Snelling Drawing from literature, film, fashion photography, and historical events, Marci Henry Wessel Washington builds a fictional narrative. What is riveting about her dark dramas besides the pallid characters, ominous lighting, and mysterious clues, is the intensity of her palette — many layers are required to build the pitch black that envelops each COVER scene. Her tight rendering of shadows, blades of grass, and light also demonstrate Bovey Lee her consummate control of a medium that relies on light from the white ground to Atomic Jellyfish 2007 define content. Chinese rice paper 52 × 34 in

INSIDE Marci Washington The Captive 2011 Watercolor, gouache on paper 30 × 44 in

BACK Ron Nagle Topbana 2013 Mixed media 4 ½ × 5 × 3 in BRUNDYN + GONSALVES CAPE TOWN

VOLTA 9 | BOOTH NUMBER C15

BRUNDYN + GONSALVES

WEBSITE Sanell Aggenbach’s work deals primarily with the intersection of history and pri- www.brundyngonsalves.com vate narratives by considering the process of recall and interpretation. Her work E-MAIL presents a haunting ambiguity characterized by her materially multifarious nature [email protected] as she moves comfortably between the various disciplines of painting, printmak-

PHONE ing and sculpture. +27 21 424 5150 Crossfire: Crest (2012) portrays a mountainous landscape painted in a subdued CELL palette. The canvas has been noticeably pierced with aluminum arrows that spread +27 83 277 2062 into the area surrounding the work. While these over-sized arrows appear comical CONTACT NAMES at first, the sombre undertone of inherent violence soon becomes apparent. This is Elana Brundyn a space fraught by the aftermath of an evident mêlée, an allegorical attack on one’s Igsaan Martin own established beliefs and ideologies. Aggenbach’s exploration of ‘distressed’ landscapes in the South African context is further extended in a series of new

EXHIBITED ARTIST monoprints, underlined with issues of ownership, violence, fantasy and obscurity. Sanell Aggenbach

OTHER REPRESENTED ARTISTS Carla Liesching Chad Rossouw Gina Heyer Kevin Brand Liza Grobler Matthew Hindley Mohau Modisakeng Paul Emsley Tom Cullberg Zwelethu Mthethwa

COVER Sanell Aggenbach Crossfire: Crest 2012 Wood, aluminium, industrial foam and oil on canvas 108 cm diameter, Installation dimensions variable

INSIDE Sanell Aggenbach Crossfire: Crest (detail) 2012 Wood, aluminium, industrial foam and oil on canvas 108 cm diameter, Installation dimensions variable

BACK Sanell Aggenbach Olympus Mons 2013 Monotype on Hahnemühle Copperplate 300gsm 88.5 × 81 cm BRUNNHOFER GALLERY LINZ

VOLTA 9 | BOOTH NUMBER A5

BRUNNHOFER GALLERY

WEBSITE THE ARTISTS www.brunnhofer.at Aurelia Gratzer de-structures the gander of the spectator. With her multi-perspective E-MAIL and diffuse-patterned paintings of real architecture and design, a new Precisionism [email protected] is found. With this noticeable style, the young painter already won the Strabag Art

PHONE Award, was among the Ten Finalist Winners of the West Collection Award, and was +43 732 77 83 21 nominated for the Anton Faistauer Award.

CELL Andrew Phelps is an American photographer who has lived in Europe since 1990. +43 664 38 18 104 His work is influenced by the cross-cultural lifestyle he now leads, dividing his time CONTACT NAMES between the deserts of Arizona and the Alps of Austria. His construed-seeming (yet Stefan Brunnhofer only seeming) photographs are documentations of transformations and cultural de- Elisabeth Brunnhofer construction that would mostly stay hidden if there wasn’t his eye for the special.

EXHIBITED ARTISTS THE GALLERY Aurelia Gratzer The Brunnhofer Galerie was founded in 1997 by Elisabeth and Stefan Brunnhofer. Andrew Phelps From the very beginning, the aim has been to support young contemporary art. The

OTHER REPRESENTED ARTISTS Gallery wants to give auspicious young talents the chance to be represented by a Lucia Dellefant serious gallery, throughout the world. Moritz Götze Indra. To get the needed and aimed internationality for their artists, they make collabora- Ronald Kodritsch tions with galleries in the USA, Germany, Denmark and Portugal, and participate in Paul Kranzler fairs all over the world: Basel, Berlin, Cologne, L.A., London, Miami, and New York. Oliver Kropf Thomas Kühnapfel With this strategy, Brunnhofer Gallery has been able to celebrate great success with Jennifer Nehrbass its young artists. They are in important institutional and private collections, spread Diana Rattray Christoph Schirmer all over the world, win important awards and grants and get known to a snowball- Martin Schnur ing public. Elisabeth Sonneck

COVER Andrew Phelps out of the series Baghdad Suite 2008 C-Print 40 × 50 cm (edition 7)

INSIDE Aurelia Gratzer Dome 2013 Acrylic on canvas 100 × 150 cm

BACK Andrew Phelps out of the series 720 (Two Times around) 2010 C-Print 100 × 127 cm (edition 5) and 50 × 60 cm (edition 8) LAURA BULIAN GALLERY MILAN

VOLTA 9 | BOOTH NUMBER C16

LAURA BULIAN GALLERY

WEBSITE The Kazakh installation and performance artist Said Atabekov (1965), one of the www.laurabuliangallery.com most important artists in Central Asia, began his artistic activity in 1993 as a member E-MAIL of the Red Tractor group, the first artists collective set up in Southern Kazakhstan [email protected] after the Perestroika. His works have been exhibited in important museums, insti-

PHONE tutions and Bienniales, and he was featured in the 2011 Venice Biennale (Central +39 02 48 008 983 Asian Pavilion), Ostalgia at the New Museum (New York, 2011) and Migrasophia at

CELL the Maraya Art Center (Sharjah, 2012). +39 335 60 400 70 “One of Atabekov’s recent projects, Korpeshe-Flags, includes a photo cycle in which CONTACT NAME the traditional cushion used in central Asian yurts is transformed into a western Laura Bulian national flag. The topographical and symbolic location is once again the Kazakh steppe: its flat, low desert horizon, the absence of traces, the empty, open sky.

EXHIBITED ARTIST Fabric as the sign of State apparatus contrasts with the infinite space, limitless in Said Atabekov every direction that is a feature of the steppe. The flag’s closed rectangle forces OTHER REPRESENTED ARTISTS itself on a space which is open and decentered in its very constitution. Here we do Elisabetta Di Maggio not only find the times of ‘before’ and ‘after’ (monochrome red is also a symbolic Gulnara Kasmalieva & sign of the past), we also find an idea of mobility that is typical in nomad culture, Muratbek Djumaliev Alimjan Jorobaev a space in continuous variation, in contrast with the concept of sedentary space Anastasia Koroshilova which assigns fixed roles so as to be governed. The originally plain space appears Taus Makhacheva as though captured between the weaving and texture of a streaked space. Marat Raiymkulov Andrei Roiter In Said Atabekov the masks of the past never cease to return. But with no intention Eve Sussman of returning or reassuring an identity to the various individualities of that which has David Ter-Oganyan been. A cot for newborn babies (Besik), a shaman’s equipment, ancient stone idols, Yeleva Vorobyeva & Viktor Vorobyev felt, a pile of korpeshe on top of a trunk, kokpar — a popular game on horseback, Kyzyl Traktor, the Kalashnikov, the remains of the days of Soviet collective farming, the red star, the American flag, etc. There is a sort of carnival of time on every oc- COVER Said Atabekov casion that Atabekov goes on show. Steppenwolf 2011 On the one hand, everything returns as though it had been lost, emptied: such are Giclée print on canvas the traditional Kazakh jackets lined inside with military camouflage. But on the other 107 × 70 cm hand, uncovered rituals, unqualified skills, local knowledge that has just resurfaced

INSIDE never cease to erode or tarnish any claim to uniqueness in an absolute, definitive, Said Atabekov dominant discourse.” (Marco Scotini, 2011) Korpeshe Flags #05, #07,#12, #04 2011 C-print 67 × 100 cm

BACK (LEFT) Said Atabekov Welcome to the American sector #02 2009 C-print 60 × 90 cm

BACK (RIGHT) Said Atabekov Way to Rome #02 2007 C-print 50 × 65 cm CHAPLINI COLOGNE

VOLTA 9 | BOOTH NUMBER C3

CHAPLINI

WEBSITE Philip Seibel (b. 1980 in Hagen, lives and works in Düsseldorf) began his educa- www.chaplini.com tion with a luthier apprenticeship from 2000 to 2003. Until 2011 he studied art at E-MAIL Kunstakademie Düsseldorf, Germany. In 2012 he received the „EHF-Stipendium“ [email protected] from the Konrad-Adenauer-Stiftung in Berlin.

PHONE Solo Exhibitions (Selection) +49 221 17919688 2013: „Totale 06“, Maschinenhaus Essen; 2012: „Erkennung eines Lächelns“, with CELL Lukas Schmenger, Collection Philara e.V., Düsseldorf; 2011: „Die Lügnerin“, with +49 151 24034477 David Ostrowski, Format:C, Düsseldorf. CONTACT NAME Berthold Pott Main Group Exhibitions (Selection) 2013: “Viola Bittl, Stef Heidhues, Philip Seibel”, Eigen+Art Lab, Berlin, Germany (September); „Bischoff, von Monkiewitsch, Seibel“, CHAPLINI, Cologne, Germany; EXHIBITED ARTIST „Modern and Compact Atmosphere“, studio1.1, London, UK; 2012: „Forget the Philip Seibel words“, Numberthirtyfive / Cindy Rucker Gallery, New York, USA; „Ein Überblick“, OTHER REPRESENTED ARTISTS Adenauer Stiftung, Berlin, Germany; „Ich wittere Morgenluft“, KIT, Düsseldorf, Ger- Ralf Dereich many; „No.1“, McKinsey & Company, Düsseldorf, Germany; 2011: „Schöne Wah- Max Frintrop rnehmung“, curated by Gertrud Peters, Temporary Gallery, Cologne, Germany Behrang Karimi Nadja Nafe With his series of wooden panels, Philip Seibel (born 1980) transforms pictures into Uwe Schinn objects. Coming from painting, Seibel creates a symbiosis with sculpture. His ob- Johanna von Monkiewitsch jects feature polished, high-gloss surfaces layered over partially lacquered veneers. The grain of the veneer serves as a painterly base and thus raises the question if the visibility of the interventions is necessary to perceive a picture as a painting. COVER Philip Seibel Seibel’s sculptures and panels are bound neither to a specific time nor a specific Tafel Nr. 8 (detail) 2013 place. They seem at times like “diamonds from outer space”, or awakened from MDF, wooden veneers, lacquer a deep slumber from times gone by. Any attempt at categorization is immediately 140 × 90 cm deflected by the objects’ polished surfaces. Ornamental structures glimmer gro-

INSIDE tesquely on the faces of amorphous formations. Radiating from amber-colored Philip Seibel lacquer panels is the glow of colliding stars that implode within the picture’s core. Rolle mit Band 2012 Plastic, wooden veneers, lacquer, belt strap 24 × 11 cm

BACK Philip Seibel Tafel Nr. 7 2013 MDF, wooden veneers, lacquer 70 × 50 cm CHARLIE SMITH LONDON LONDON

VOLTA 9 | BOOTH NUMBER C21

CHARLIE SMITH LONDON

WEBSITE DAS UNHEIMLICHE www.charliesmithlondon.com In 1919 Sigmund Freud published his essay The Uncanny, which led on from Ernst E-MAIL Jentsch’s 1906 text On the Psychology of the Uncanny. Beginning with a linguistic [email protected] appraisal of the uses of the words heimlich and unheimlich in the German language,

PHONE Freud outlines the roots and meaning of the terms. Heimlich, we are told, means the +44 20 7739 4055 familiar, the homely. Its antonym unheimlich means unease, fear, horror, eerie or the

CELL uncanny. But importantly heimlich can also be read to mean concealed or hidden. +44 7958 931 521 And herein lies the key to the uncanny – it is something that is strange but familiar;

CONTACT NAME hidden but apparent, otherwise termed as cognitive dissonance. Zavier Ellis The selection of artists that we are presenting at VOLTA9 is based on the strong and underlying sense of the uncanny within their work. Combining painting, drawing, sculpture and video, the presentation is curated in order to create an experi- EXHIBITED ARTISTS Tom Butler ence for the audience that is simultaneously compelling and unsettling, where the Eric Manigaud familiar is employed in order to unlock the peculiar. Wendy Mayer Alexis Milne John Stark Gavin Tremlett

OTHER REPRESENTED ARTISTS Emma Bennett Kiera Bennett Sam Jackson Sarah McGinity Alex Gene Morrison Gavin Nolan Dominic Shepherd

COVER Wendy Mayer Duck Rabbit (Rabbit) 2012 Mixed media 78 × 48 × 21 cm

INSIDE Eric Manigaud Klinikum #8 2011 Pencil & graphite powder on paper 137 × 180 cm

BACK (LEFT) John Stark Interior View 2013 Oil on wood panel 31 × 35 cm

BACK (RIGHT) Gavin Tremlett Amusement 10 2010 Oil, charcoal & graphite on paper 49 × 39 cm ETHAN COHEN NEW YORK NEW YORK

VOLTA 9 | BOOTH NUMBER B2

ETHAN COHEN NEW YORK

WEBSITE GLOBAL DOMESTICITY www.ecfa.com Here we will show three different artists from three different cities with three different E-MAIL art practices. The visual idiom in each artist’s practice is unique – one artist deals in [email protected] fabric, one paints, and one works in wood. Distinct, yet all share a common thread

PHONE in dealing with the environment that surrounds them. +1 212 625 1250 Michael Zelehoski comes from Beacon, NY. Michael focuses on collapsing 3D ob- CONTACT NAME jects and structures into the picture plane. These found, utilitarian objects are Ethan Cohen deconstructed and cut into sometimes hundreds of fragments before being reas- sembled two-dimensionally. “I am able to create works that are picture, relief, and object in one.” EXHIBITED ARTISTS Orly Cogan Liu Xiaohui lives and works in Beijing. His work celebrates the domesticity of life, and Michael Zelehoski seemingly ordinary situations. He creates large, asymmetrical grids of vignettes, and Liu Xiaohui in creating so many on one piece, the mundane and overlooked become fascinat- OTHER REPRESENTED ARTISTS ing. A woman preparing dumplings in her kitchen becomes a story and vacuuming John Aslanidis Joseph Ayers a living room is epic. Mina Cheon aka Kim Il Soon Orly Cogan resides and works in NYC. Her work delves into the mythologies of Fang Lijun Huang Yan her memory, and in doing so depicts ordinary relationships and commonalities in Qi Zhilong fantastical ways. Cogan works with embroidery on vintage and painted fabrics, a Qin Feng traditionally female art form. She subverts the idea of Angel in the House by stitch- Ushio Shinohara ing nude self-portraits while vacuuming, or presenting herself nude and pregnant Tang Hui Aya Uekawa above a home surrounded by a floral motif. A work called Saturday shows Cogan sitting nude on a vacuum while holding a mug and plate.

Despite the difference of sex, nationality, media, and studio environment, Zelehoski, COVER Liu and Cogan’s portrayals of the mundane have given us a fresh eye in which to Orly Cogan Saturday experience their lives’ surroundings. We offer a visual conversation of Global Do- 2006 mesticity. embroidery thread on fabric 27 × 19 in ETHAN COHEN NEW YORK specializes in emerging contemporary art, with a sub-specialty in contemporary Chinese art. The gallery has two new locations in INSIDE Michael Zelehoski Chelsea, NYC and Beacon, NY. Loveseats 2010 assemblage with deconstructed chairs and painted plywood 24 × 37 in

BACK Liu Xiaohui Holiday 2011 acrylic on canvas 20.87 × n18.11 i CONNERSMITH. WASHINGTON, DC

VOLTA 9 | BOOTH NUMBER B7

CONNERSMITH.

WEBSITE Leo Villareal is internationally known for creating large scale site specific works — www.connersmith.us.com such as The Bay Lights (2013), the world’s largest LED light sculpture, which spans E-MAIL the 1.8 mile Bay Bridge in San Francisco; and the 200-foot interior installation, [email protected] Multiverse (2008) in the permanent collection of the National Gallery of Art, Wash-

PHONE ington, DC — as well as more intimate light sculptures — such as Field (2007), in +1 202 588 8750 the permanent collection of the Museum of Modern Art, New York, and Scramble

CONTACT NAMES (2011), which was recently acquired by the Phillips Collection, Washington, DC. Leigh Conner Jamie Smith Villareal introduces temporal actions of light into traditional abstract imaging, using LEDs (light emitting diodes), custom software and sequencing. With these new me- EXHIBITED ARTIST dia the artist explores, in single digital sculptures, extensive frameworks produced in Leo Villareal serial paintings, such as the colorful concentric squares in Frank Stella’s Scramble OTHER REPRESENTED ARTISTS series. Villareal activates familiar static forms, changing their color, definition, inten- Janet Biggs sity, and duration. His imagery unfolds gradually, as if revealing the live application Zoe Charlton Mary Coble of pigments, a process that color painters of the 1950s and 60s concealed in their Maria Friberg canvases. As Villareal reconsiders post-painterly forms and colors, he re-concep- Katie Miller tualizes the art historical category of abstraction and updates the modern aesthetic Julie Roberts with digital color-field imaging. Lisa Ruyter Erik Thor Sandberg Koen Vanmechelen Wilmer Wilson IV

COVER Leo Villareal Invisible Hand (detail) 2012 light emitting diodes, mac mini, custom software, circuitry, wood, plexiglas 34 × 34 × 6 in, ed: 5

INSIDE Leo Villareal Scramble (2’) 2012 light emitting diodes, microcontroller, custom software, circuitry, wood, plexiglas 24 × 24 in, ed: 10

BACK Leo Villareal Little Bang 2008 200 light emitting diodes, microcontroller, circuitry and anodized aluminum 24 in diameter, ed: 5 DILLON GALLERY NEW YORK

VOLTA 9 | BOOTH NUMBER C34

DILLON GALLERY

WEBSITE DILLON GALLERY www.dillongallery.com Devoted to the representation of international contemporary artists in a variety of E-MAIL mediums, the gallery exhibits established, mid career, and young emerging artists [email protected] whose works convey our approach to visual content. Formalism and structure car- [email protected] ries through the various styles and mediums we present with an overall interest in [email protected] the personal content behind the artists’ aesthetics. Our Asian “Nihonga” program [email protected] is one approach by the gallery to highlight artists working within their cultural en- PHONE vironments. Be it a young Norwegian artist, an African American photographer, or +1 212 727 8585 Chinese and Japanese Nihonga painters, Dillon Gallery continues to act as a forum CONTACT NAMES for regional voices across the artistic landscape. Valerie Dillon Diana Lee Originating in SOHO in 1994, Dillon Gallery is now located on West 25th Street Alexander Brown in New York City, occupying the ground floor space in a converted 19th century Alvaro Pérez Miranda warehouse.

Nacho Rodriguez Bach (b. 1966, Mexico City) uses unorthodox mediums to cre- EXHIBITED ARTISTS ate light and sonic installations, or what the artist refers to as “experiential art.” He Nacho Rodriguez Bach takes inspiration from seemingly disparate disciplines such as astronomy, philoso- Steven MacIver Ultra Violet phy, folk arts, and linguistics.

OTHER REPRESENTED ARTISTS Steven MacIver’s (b. 1979, Orkney Islands, Scotland) research and practice focuses Cristina De Middel on developing the linguistics of drawing and its role in the mediation of communi- Per Fronth cation between the artist and the viewer, evoking real, remembered and imagined Makoto Fujimura Maurizio Galimberti environments. Masatake Kouzaki Ultra Violet (b. 1935, Grenoble, France) re-configures the trope of self-portraiture Christophe Laudamiel Brian Rose through her Self Portrait mirror series. By using colored mirror surfaces with mirrored Silke Schoener letters that read “Auto Port Rait” or “Self Portrait,” Ultra Violet takes the conventional Michel Tabori self-portrait and challenges its ideas, presumptions, and blind spots. Her art often Asami Yoshiga addresses topics of consumerism, narcissism, and violence by using the very icons that stand for those ideas, making her work visually and conceptually provocative.

COVER Steven MacIver Nexus 2012 6 miles of gold and silver yarn, metal hooks, wood 10.6 × 10.6 × 10.6 ft

INSIDE Nacho Rodriguez Bach Psychedelic Patio 2012 Monitors, animation Size variable

BACK Ultra Violet Self Port Rait 2012 Baroque frame in transparent crystalline plastic with mirror and mirrored self portrait letters Edition of 7, 25 × 25 in GALERIE DUKAN PARIS

VOLTA 9 | BOOTH NUMBER C35

GALERIE DUKAN

WEBSITE The grotesque is a game with the absurd, in the sense that the grotesque artist plays, www.galeriedukan.com half laughingly, half horrified, with the deep absurdities of existence. E-MAIL Wolfgang Kayser [email protected] The grotesque is the art of the extravagant contradictions. It fuses opposing aes- PHONE thetics — beauty and ugliness, refinement and vulgarity, horror and humour, tragedy +33 9 81 34 61 83 and comedy — and forces to coexist antithetical archetypes. It is a fundamentally CELL ambivalent thing, as a violent clash of opposites, and hence, in some of its forms at +33 6 61 93 49 29 least, as an appropriate expression of the problematical nature of existence. CONTACT NAME Sam Dukan The grotesque is a kind of chiaroscuro fact, an art of extreme light and shadow, and it is an underground art.The word itself is rooted in the sixteenth century Italian ex- cavation of ancient palaces and villas such as Nero’s Domus Aurea in Rome, and the EXHIBITED ARTISTS discovery of a fantastical decorative style in the underground chambers called grotte. Folkert de Jong Bayrol Jimenez John Kleckner Alicia Paz Richard Stipl Alexander Tinei

OTHER REPRESENTED ARTISTS Josef Bolf Nicholas Di Genova Nina Fowler Arturo Hernández Alcázar Olivier Masmonteil Yigal Ozeri Johan Tahon Narcisse Todoir Craig Wylie

COVER Folkert de Jong The Immortals 2012 Polyurethane, foam, wood, metal, spray paint 191 × 100 × 80 cm

INSIDE Richard Stipl Block Sabbath 2005 Resin, pigments, oil paint, found objects 55 × 95 × 40 cm (each figure 50 × 14 × 9 cm) / Ed 4 (of 4)

BACK John Kleckner Untitled (detail) 2009 Ink and watercolour on paper with hand-painted passe-partout 47 × 37 cm EB&FLOW LONDON

VOLTA 9 | BOOTH NUMBER A12

EB&FLOW

WEBSITE EB&Flow provides a platform to exhibit and support contemporary artists in London. www.ebandflowgallery.com The gallery occupies a converted print works across two floors in the heart of E-MAIL Shoreditch. [email protected] Neil Ayling (b. 1983) lives and works in London. He graduated from Winchester PHONE School of Art, Sculpture, and then the Royal College of Art, graduating in 2010 (MA +44 20 7729 7797 Fine Art Sculpture). He has worked in Anish Kapoor and Antony Gormley’s studios CELL and currently combines studio work for Sir Anthony Caro with his own practice. +44 7725039580 William Bradley (b. 1984) graduated with a Masters from Wimbledon College of CONTACT NAMES Margherita Berloni the University of the Arts London in 2008, selling out his end of year show. He was Robin Mann selected for FutureMap 08 and the Catlin Art prize 2009 and 2011.

Artists Anonymous are a Berlin and London based collective, working across disciplines from film and installation, to both painting and photography, coining their own EXHIBITED ARTISTS Chris Aerfeldt method of paint based image and afterimage. Their work is included in the Deutsche Briony Anderson Bank collection, Advaney Collection, and has been shown at major institutions like Gemma Anderson Hamburger Bahnhof. Artist Anonymus: L’Oisaeu Neil Ayling Mike Ballard (b. 1972) graduated from St. Martins in 2007 with an MA in Fine Art. Mike Ballard Now working from his London studio, he continues to exhibit regularly, specialising William Bradley in creating immersive installations. OTHER REPRESENTED ARTISTS Ross M Brown Briony Anderson (b. 1982) studied at The University of Edinburgh and Edinburgh Sue Corke College of Art (MA Hons 2005), now lives and works in London. Anderson’s signatur e Alinka Echeverria works are turbulent landscape paintings alive with loose, expressive brushwork. Nicholas Mcleod Steve Sabella Gemma Anderson (b. 1981) lives and works between London and Cornwall. Katie Louise Surridge She attended Falmouth College of Art (BA) and the Royal College of Art, London (MA). Anderson is currently Artist in Residence at Imperial College Mathematics Department and was awarded a studentship at University College Falmouth to com- COVER plete a practise based PhD in Comparative Morphology and Drawing. William Bradley Untitled Graduating from Chelsea School of Art, Australian painter Chris Aerfeldt (b. 1958) 2013 depicts larger than life women, obliquely self referenced portraits, where the Oil on canvas 110 × 90 cm glorification of the ‘female form’ is translated into a terrifyingly surreal vision of what ultimately might become. INSIDE Artists Anonymous L’oiseau 2012 Oil on canvas / photographic afterimage 40 × 30 cm / 80 × 60 cm

BACK Neil Ayling Concrete Candy 2013 Printed vinyl on brass 30 × 25 × 37 cm GALLERI CHRISTOFFER EGELUND COPENHAGEN VOLTA 9 | BOOTH NUMBER C20

GALLERI CHRISTOFFER EGELUND

WEBSITE At VOLTA9 we are pleased to present YOU AND I ARE NOT SO DIFFERENT, an www.christofferegelund.dk installation of new works by Christoffer Joergensen. The cinematic title resonates E-MAIL with the artist’s narrative style and his ability to create intriguing fields of tension, for [email protected] instance between rigid, almost Cartesian grids and a blurry complexity or between

PHONE abstract patterns and photographic subject matter. +45 33 939 200 For his Grogram images, the artist manually cuts two different photographs into thin CELL strips and then weaves them together to form a new image. Details of photographs +45 26 272 871 of unrelated people and circumstances are united in this way. Once interwoven, CONTACT NAMES the two images influence and to an extent veil each other. The people in them loose Christoffer Egelund their individuality and become types. Chris Handberg Meanwhile, in his Eurospheres series Joergensen digitally mirrors triangular fragments of his photographs of plenary halls to form hexagonal patterns reminiscent of EXHIBITED ARTIST honeycombs or kaleidoscopes. Dotted around these hexagonal cells are tiny politi- Christoffer Joergensen cians listening, writing or reading the papers. On the one hand, the two elements of OTHER REPRESENTED ARTISTS the sphere and the pattern conjure a symbolically loaded atmosphere. On the other, Crystel Ceresa (CH) one is overcome by a distinct sense of absurdity when looking at the works up close. Ghost Of A Dream (US) Jason Jägel (US) Faced with the image tsunami and the general acceleration of existence, Joer- Maria Torp (DK) gensen has opted for slower, more long term projects, creating works that speak Christoffer Joergensen (CH) Michael Johansson (SE) to us about our alienation, our chaotic times and about our need to find meaning Morten Steen Hebsgaard (DK) and some structure within them. Theis Wendt (DK) Thierry Feuz (AU) Christoffer Joergensen is born in Denmark but lives and works today in Zurich. Yuichi Hirako (JP) During 2002-2004 he graduated with an MA in photography from the Royal Col- lage of Art in London. Joergensen has participated in several exhibitions at Galleri Christoffer Egelund and is today one of the gallery’s permanent artists. He has also COVER been represented at Charlottenborg´s Spring Exhibition and he has had several solo Christoffer Joergensen exhibitions in Europe. Memory Portrait (detail) 2013 C-print on Duraclear, meshwork 60 × 80 cm

INSIDE Christoffer Joergensen Eurosphere 1 (detail) 2013 C-print, Diasec 150 cm diameter

BACK Christoffer Joergensen Eurosphere 1 2013 C-print, Diasec 150 cm diameter ESPACIO MÍNIMO MADRID

VOLTA 9 | BOOTH NUMBER B17

ESPACIO MÍNIMO

WEBSITE The work of Juan Luis Moraza is inseparable of his understanding of art as essen- www.espaciominimo.es tially linked to its historical situation. In ARULES series, rulers, triangles, calipers, E-MAIL templates and models of measurement and pattern taken from different contexts [email protected] (architecture, tailoring, academia, nautical science, etc.) are twisted creating unique

PHONE folds, producing the paradoxical situation of a universal anormativity. +34 91 467 61 56 Bene Bergado’s sculptural practice is part of a long tradition of iconic sculpture. CELL that reformulates for the present the experience of representation. Habitats series +34 619 794 624 present sculptures in micro contexts that are both reflection and origin from the CONTACT NAMES quotidian: fragmented spaces created as environments where the life of beings that José Martínez Calvo personify human emotions is displayed. Luis Valverde Espejo Felipe Cortés’ starting point for Compound Works is a research and conceptual study of the concept of collage and the work of Kurt Schwitters. From the specific- EXHIBITED ARTISTS ity of the object, the works try to suggest possible relations between the different Bene Bergado elements that compose them: from the proper materials to the different changes of Anne Berning Felipe Cortés status that will affect them or had affected them. Miguel Ángel Gaüeca Anne Berning’s works consider the viewer’s point of view. The paintings are not ex- Juan Luis Moraza hibited in a traditional way and the spectator begins to search for explanations for OTHER REPRESENTED ARTISTS that. They are all references towards a false reality which actually does not exist for Manu Arregui Nono Bandera behind its appearance of reality. What the artist is portraying does not exist. Apart Liu Ding from a few of the objects, most of them are invented. Philip Jones Enrique Marty Employing clichés, the construction of sexual identity or art world roles as starting Antonio Montalvo points, Miguel Ángel Gaüca has developed a discourse around how these themes Manu Muniategiandikoetxea operate in the current social context. Conversation proposes a reflection around Neil Farber and Michael Dumontier how form and shape giving have been constructed according to market interest, Erwin Olaf Liliana Porter generating aprioristic identifications that automatically match a particular form with a political position.

COVER Juan Luis Moraza ARULES (modelo social 144) (detail) 2013 Plastic rulers and glass 259 × 259 × 40 cm

INSIDE Bene Bergado Casa de fieras (serie Hábitats naturales) (detail) 2010 Polyurethane, wood and objects 203 × 120 × 82 cm

BACK Felipe Cortes C W. Mansportret 2012 Used magazines, romantic weekly novel, magnets, fold back clips 12 × 30.5 × 27.5 cm ESPAIVISOR – VISOR GALLERY VALENCIA

VOLTA 9 | BOOTH NUMBER B8

ESPAIVISOR – VISOR GALLERY

WEBSITE In the late ‘60’s Braco Dimitrijević began his interventions in the urban environment www.espaivisor.com involving the participation of people on the street. In Accidental Sculpture (1968), E-MAIL Accidental Drawing (1968) and Sculpture by Tihomir Simcic (1968), the artist set [email protected] the initial situation completed by the casual action of passersby.

PHONE With his idiomatic wit Dimitrijević places these discreet effects of everyday urban +34 963 922 399 dynamics under beaux-arts categories. In one occasion the artist installed a heap of CELL plaster of Paris on the road, waiting with a camera. When a car passed by, the cloud +34 628 881 245 produced was photographed and entitled Accidental Sculpture (1968). Dimitrijević CONTACT NAMES insisted that, despite its short life which lasted until the cloud fell or dispersed, this Mira Bernabeu work had all the traits of sculpture — it was made from the most common sculptural David Serrano Miriam Lozano material and had perceptible volume. Painting by Krešimir Klika (1969) is a key work from this period. Dimitrijević installed a milk carton on the street, waiting for a car to run it over. He stopped the driver EXHIBITED ARTISTS and asked his judgment of the milk splash. If the driver assessed the white stain Joan Fontcuberta Hamish Fulton as art, he would be asked to sign it directly on pavement. At the moment the driver Braco Dimitrijević agreed to sign the milk splash, the authorship shifted from Dimitrijević, who set up Nil Yalter the situation, to the person who accomplished the action. Simultaneously to Roland OTHER REPRESENTED ARTISTS Barthes’ essay on “The Death of the Author” we witness the birth of Kresimir Klika, Sanja Iveković the artist and the spectator in one. Oswaldo Maciá Joan Fontcuberta “In these series of works the artist only arranges the initial situation, the develop- Eulalia Valldosera ment of which depends of chance, understanding and approval of other persons. Miguel Ángel Rojas When entering a gallery a visitor is prepared to see works of art. I have tried to chose Alberto Baraya Esther Ferrer people at random, without knowing whether they have an affinity for art and make Lynne Cohen them not only the spectators, but persons who cooperate with the ‘arranger’, i.e. Juan Fernando Herrán create. They have thus been included in the act of creating and the dividing line that Carlos Leppe formerly existed between artist and non-artist has been removed”.

“After all,” Catherine Millet wrote on Dimitrijević’s artistic strategy, “this voluntary COVER self-cancellation of the artist is a fitting strategy for making obvious the necessity Braco Dimitrijević of his action in a society that no longer knows what place to allot the artist. In the This Could Be A Place eighties, during which this place, unlike the seventies, was so well defined that it was Of Historical Interest 1973 – 76 made banal, we saw a certain number of artists going back to this model of disap- Photography pearance and hiding behind pseudonyms, initials, or enigmatic company names.” 50 × 35 cm each In 1971 Dimitrijević began the photographic series This Could be a Place of His- INSIDE torical Importance. The artist took pictures of randomly selected locations, varying Braco Dimitrijević from a romantic corner of the countryside to a monumental staircase, from an ordi- Accidental Painting. Accidental Sculpture. Accidental Drawing. nary house facade to an interior, and equipped them with this subtitle. He used this 1968 – 69 conditional statement both for places of unquestionable importance and for totally Photography anonymous sites. There is a considerable suggestive power in this simple sentence: 90 × 70 cm each it can trigger the imagination, which will make some bush in the park into the scene of a mysterious affair or even a murder. The sentence can mean at least two things; that any place can in the future become the stage of an important event, or that some event has already taken place there, but its importance is still to be recognized. It implies that all places are of potential historical interest and simultaneously calls into question the category of ‘historical importance’ as such. JONATHAN FERRARA GALLERY NEW ORLEANS VOLTA 9 | BOOTH NUMBER A21

JONATHAN FERRARA GALLERY

WEBSITE “Telling stories is a part of human nature; it’s how we relate to one another. The www.jonathanferraragallery.com stories we have in common help us create sincere connections to our neighbors E-MAIL and our surroundings. What’s more, storytelling — for better or worse — typically [email protected] involves hyperbole. We tend to exaggerate; we tend to lie.

PHONE As a painter, I’m preoccupied by the undeniable role that the image plays in creating +1 504 522 5471 this acceptance of the fictional. A painting has the authority to make the intangible CONTACT NAMES concrete, and a series of them has the ability to authenticate a fabrication in our Jonathan Ferrara collective memory. When I begin a piece, I typically start with preexisting images, Jean Kennedy Burgess Matthew Weldon Showman artifacts from this collective remembrance. I look for images that shape my pictorial consciousness, that are hard to question because when I first saw them they were presented as the truth. From them, I’m given my task – I have to “disrepair” EXHIBITED ARTIST them. I have to consolidate an earlier world of historical and cultural visual-fact with Adam Mysock an evolving understanding of subtlety and gradation. I find that the discrepancies I OTHER REPRESENTED ARTISTS discover between the absolute and the nuanced inspire me most. Brian Borrello David Buckingham Mysock says of his new suite of work for VOLTA9, “I’m told that long ago our an- Hannah Chalew cestors spent a great deal of time looking up at the night sky, bonding with the Skylar Fein celestial lights that passed overhead, and relating those distant forms to the my- Generic Art Solutions (G.A.S) thology of their time.” Michael Pajon Gina Phillips It’s noteworthy, however, that after generations of dreaming about those astronomi- Dan Tague cal bodies, after generations of yearning to visit our celestial neighbors, something Paul Villinski Monica Zeringue happened after we made it to the moon. We lost interest; once the inaccessible became accessible, it lost its luster. Since the last man walked on the lunar surface more than 40 years ago, we’ve lived in an age of declining fascination. Somehow, it COVER seems, we spoiled the mystique of the heavens by visiting the moon. Adam Mysock The Title Lock That’s precisely where the visual conversations in my most recent work begin. 2013 Throughout the paintings, I examine the motivations, rewards, and realities of ex- Acrylic on panel ploration and ambition. Whether transforming the moon into the characters of an 5 × 4 in elusive narrative or veiling Space Race illustrations as a means of measuring past INSIDE enterprise against present inquiry, each piece tests the perspective from which we Adam Mysock progress. Looking backward, inward, outward, and forward, the work quietly asks Ponce de Leon Discovering the Fountain of Youth where we are and what we’re going to do about it.” 2012 Acrylic on panel 10.5 × 23.5 in

BACK (LEFT) Adam Mysock Forever Looking Out 2013 Acrylic on panel 5 × 5.9 in

BACK (RIGHT) Adam Mysock So Abram departed, as the LORD had spoken unto him; and Lot went with him: and Abram was seventy and five years old when he departed out of Haran. 2011 Acrylic on panel 14 × 16 in GALLERIA MARIE-LAURE FLEISCH ROME VOLTA 9 | BOOTH NUMBER B4

GALLERIA MARIE-LAURE FLEISCH

WEBSITE Galleria Marie-Laure Fleisch presents three artists whose production centres on www.galleriamlf.com drawing as a cognitive instrument to investigate reality and to perceive objects.

E-MAIL The works of Sergio Breviario (b. 1974, Bergamo, Italy) are the product of a studied [email protected] mix of elements meticulously taken from art history tradition to which he applies PHONE natural and artificial objects with the deliberate intent of creating an alienating ef- +39 06 68 89 19 36 fect. To this, he adds an installation format which helps the viewers in their precise CONTACT NAME interpretation of the work. The result is a metaphysical vision which highlights his Marie-Laure Fleisch powerful, balanced style and the carefully studied harmony of his compositions.

Maya Zack’s (b. 1977, Tel Aviv, Israel) creative research investigates humankind’s EXHIBITED ARTISTS obsessive desire to catalogue, manifested by attempts to classify and order reality Sergio Breviario by applying codes and parameters. In her work, video-installations accompanied by Nikolaus Gansterer drawings, the protagonists are depicted as meticulous, maniacal surveyors inces- Maya Zack santly engaged in measuring their surroundings. Zack attributes a double role to OTHER REPRESENTED ARTISTS drawing: in her videos it is a practical tool used by her protagonists to measure and Etti Abergel Yifat Bezalel apply their formulae and graphs, her paper-based works accompanying her video Sergio Breviario help the viewer in registering, documenting and fixating the conceptual mechanisms Claudia Comte which are developed as the video progresses. Chiara Dynys Nina Fischer & Maroan El Sani Nikolaus Gansterer (Klosterneuburg, Austria 1974) is deeply involved in investigat- Nikolaus Gansterer ing the link between drawing, thought and action. In his visual work, he focuses on Jorinde Voigt mapping those processes which emerge from cultural and scientific networks, thus Maya Zack revealing their inherent, interconnected structures. By rejecting any strict differen- tiation of these two areas, and with his combination of methods from both fields, he

COVER demonstrates distinct lines of connection and division which question the imaginary Sergio Breviario threshold between nature and culture, art and philosophy. Come quando fuori piove (detail) 2011 Drawing on tracing paper glued on mirror 23 × 32 cm

INSIDE Nikolaus Gansterer Thinking-Drawing-Diagram (from Drawing a Hypothesis) 2011 Book 15 × 22 cm

BACK Maya Zack Black and White Rule (video still) 2011 One channel HD video 17:45 min GALERIE FORTLAAN 17 GHENT

VOLTA 9 | BOOTH NUMBER C19

GALERIE FORTLAAN 17

WEBSITE Manor Grunewald’s (b. 1985, Ghent) work is composed primarily of painting and www.fortlaan17.com collage drawings. He is looking for new possibilities to challenge and expand the E-MAIL classical constraints of the canvas. He wants to break with the rules and structures [email protected] inherent in this medium.

PHONE Grunewald received several prizes in the field of painting and installations. In 2008 he +32 9 222 00 33 received the ‘Gaverprijs’, Waregem, in 2011 he won the ‘BNP Paribas Fortis Young CELL Ones Award’, Brussels and he was selected for the ‘Young Belgian Painters Award’ +32 475 55 01 77 and exhibited at BOZAR, Brussels. In 2012 he was nominated for the ‘Provinciale CONTACT NAME Prijs Beeldende Kunst Oost-Vlaanderen’, Ghent. Ischa Tallieu His residencies include “Kulturbunker”, Frankfurt am Main in 2010, Frans Masereel Centrum, Kasterlee in 2013 and now he is planning his residency at the International EXHIBITED ARTIST Studio and Curatorial Program (ISCP) in New York for 2014. Manor Grunewald In September 2013 he will present his third solo exhibition ‘Life’s a beach and then OTHER REPRESENTED ARTISTS you die’ at Galerie Fortlaan 17. Jacques Charlier Christoph De Boeck He currently lives and works in Ghent and exhibits internationally. Stief Desmet Aernoudt Jacobs ‘One day she hears her voice calling her to the attic’ Lawrence Malstaf Pieter Laurens Mol The title refers to the cult horror movie Do not look in the attic. The horror mystery Hermann Nitsch is set within the threatening atmosphere of an attic. The characters in this film are Eva Schlegel lured there by an uncontrollable compulsion. Kiki Smith Lotte Van den Audenaeren The project One day she hears her voice calling her to the attic is also a reference to the historical and stereotypical idea of tormented artists with a studio practice in a small attic. This specific setting of the studio atmosphere invites collectors to COVER have a closer look at the process of an oeuvre. Studio Manor Grunewald 2013 Manor Grunewald brings a banal small surface of wood, a piece of his artist stu- Photo: Sarah Eechaut dio, back to life through a displacement of context. This piece is marked by many INSIDE years of paint-traces linked to the production of former work and shows traces of Studio Manor Grunewald destruction as well as large gaps, caused by pulling and dragging while removing 2013 the wooden floor from the artists’ studio. Photo: Sarah Eechaut The context of an art fair is of importance for this specific installation as it is in- BACK (LEFT) Manor Grunewald tended to be an interaction between the collectors and the artist by reconstructing No one was privileged a studio visit within the fair. 2013 Oil, acrylics, spraypaint, silkscreen on wood 53 × 80 cm

BACK (RIGHT) Manor Grunewald This time no loopholes (I could be an art student) 2013 Oil, collage on canvas 50 × 60 cm FROSCH&PORTMANN NEW YORK

VOLTA 9 | BOOTH NUMBER A10

FROSCH&PORTMANN

WEBSITE FEMMES FATALES? www.froschportmann.com Our booth at VOLTA9 is a women-only cabinet. Gallery artists Julia Kuhl, Eva Lake E-MAIL and Hooper Turner draw, cut-and-piece together or paint female characters. [email protected] Eva Lake’s fragmented faces of unknown beauties play with the concept of incom- PHONE pleteness. The Anonymous Women series is the Portland-based artist’s most recent +1 646 820 9068 work; cut-up and taken out of context — busted out of the box where they’re too CELL often shoved into — Lake puts her women where you least expect them to be: They +1 646 266 5994 are the sky, the ocean, the Pantheon, the mirror or the carpet you step on. In her CONTACT NAMES Targets series, Lake combines images of starlets and models with shooting targets Eva Frosch and thus subverts the notion of the male gaze. hp Portmann NY based artist Julia Kuhl casts herself in the roles of iconic female characters, re- interpreting them in the process. She begins by taking photographs of herself with EXHIBITED ARTISTS props, and then uses the photographs to create intricately detailed and sensitively Julia Kuhl rendered watercolor drawings. She depicts an Ophelia not entirely resigned to her Eva Lake Hooper Turner fate, Electra as a reluctant shadow-boxer, and Amelia Earhart, whose tragic end is foreshadowed by the fragility of her paper toy. With these drawings, Kuhl examines OTHER REPRESENTED ARTISTS Raffaella Chiara the archetypes she herself has absorbed and internalized. Seth Michael Forman Hooper Turner’s meticulous paintings of female beauties reflect his interest in mass- Steve Greene Vicki Sher produced ephemeral printed material. His women appear to be lost in reverie either Robert Yoder alone or with other women. They are absorbed in their own private world, contem- plating their physical and emotional environment and don’t engage the viewer at all. Turner has a conflicted relationship with advertising. By “remaking” commercial COVER imagery, he confronts and questions his and the viewers’ desire for these elusive Julia Kuhl products and lifestyles. Electra (Series) 2012 The women shown are beautiful, some are self-absorbed, some seem fragile and Watercolor on paper insecure, others powerful and strong; but they all seduce and fascinate in their very 14 × 11 in own way. INSIDE Hooper Turner Femmes Fatales? The viewer decides. Backstage (Three Women) 2011 Oil on canvas 30 × 24 in

BACK Eva Lake Anonymous Woman #58 2012 Collage 10 ¼ × 10 ½ in GALERIE JULIA GARNATZ COLOGNE

VOLTA 9 | BOOTH NUMBER C13

GALERIE JULIA GARNATZ

WEBSITE Portraits, individual or group portraits are Ramona Schintzel’s genre. For her mostly www.juliagarnatz.com small to medium-sized paintings and drawings, the artist uses photographic material E-MAIL from friends and acquaintances, or from the own family album. Schintzel’s images [email protected] are untitled. The people depicted remain nameless, they are children, adults and

PHONE elderly people, mostly in classical portraiture-pose, occasionally captured as by a +49 221 340 62 97 snapshot. They originate from images, typical for a family photo album: The proud

CELL grandmother with grandchild, the finely trimmed first communicant, the family with +49 170 186 28 55 dog, best friends, clerical dignitaries, the winner of a competition. We get an intimate

CONTACT NAME glimpse into bourgeois, Catholic, German families. People and moments seem to Julia Garnatz be captured here which we want to remember. But the first, so familiar sight tilts. Discomfort arises, looking at the faces of the people portrayed.

Predominantly frontal and sometimes almost physically intrusive, Ramona Schintzel EXHIBITED ARTIST Ramona Schintzel sets her models in scene. They almost importunate on the viewer, appearing ob- stinate and inhibited or with distorted grin, like grotesque faces, prematurely aged. OTHER REPRESENTED ARTISTS Supposedly familiar things become alien. The first perceived closeness turns into Siegfried Anzinger Gina Lee Felber distance and kinship becomes threatening. Johanna Freise Robert Haiss How much middle-class idyll is really beautiful? When does it turn into compulsion Ilona Herreiner or even grotesque? The artist leaves the question unanswered. Without drifting into Marie Luise Lebschik a mere caricature Schintzel succeeds in transforming the sitters from their originals Katarina Lönnby and gives them a new identity. Seemingly self-critical they confront the viewer and Adrian Norvid Vanessa Oppenhoff keep the subtle balance between normality and complete insanity. Janet Werner

COVER Ramona Schintzel Untitled 2012 Mixed media on paper 20.8 × 27.9 cm

INSIDE Ramona Schintzel Untitled 2011 Oil on canvas 60 × 70 cm

BACK Ramona Schintzel Untitled 2010 Pencil on paper 30 × 40 cm MURIEL GUÉPIN GALLERY NEW YORK

VOLTA 9 | BOOTH NUMBER C30

MURIEL GUÉPIN GALLERY

WEBSITE Well-regarded in Europe for his projects in public spaces and UNESCO protected www.murielguepingallery.com sites, Joanie Lemercier presents unique light performances and installations that E-MAIL question one’s perception of space. [email protected] Stepping away from standard setups and techniques, Lemercier animates his own PHONE drawings and sculptural works using video mapping technology — a new technol- +1 347 244 1052 ogy that he has been developing since its inception. Lemercier’s abstractive works CELL dwells on the objective details of his subjects: light, organic forms, geometrical +1 347 244 1052 shapes and colors. In his recent light canvases (LC) and light paper works (LP), CONTACT NAME drawings and static surfaces of an origami wall sculpture installation transform into Muriel Guépin animated movements. With light wandering through the surface and at times being projected at precise points onto the artwork, the viewer is plunged into a hypnotiz- ing experience of minimalist beauty. EXHIBITED ARTISTS Gabriel Barcia-Colombo Gabriel Barcia-Colombo’s work focuses on memorialization and, more specifically, Joanie Lemercier the act of leaving one’s imprint for the next generation. While formally implemented OTHER REPRESENTED ARTISTS by natural history collections (which find their roots in Renaissance era “cabinets of Matthew Conradt curiosity”), this process has grown more pointed and pervasive in the modern-day Isabel Brito-Farre Patrick Carrara obsession with personal digital archiving and the corresponding growth of social Beatrice Coron media culture. His video sculptures play upon this exigency in our culture to chron- Beth Dary icle, preserve and wax nostalgic, an idea which Barcia-Colombo renders visually by Anne Geoffroy “collecting” human beings (alongside cultural archetypes) as scientific specimens. Inger Johanne Grytting Michiyo Ihara Time is a constant theme in Barcia-Colombo’s work, particularly in terms of engag- Joan Lurie ing the viewer with our modern culture’s increasing tendency for nostalgic wander- Iviva Olenick Audrey Stone ings, and the obsessive need for digitized, personal chronicling. Robert Szot

COVER Gabriel Barcia-Colombo A Point Just Passed 2011 Mixed-media interactive video sculpture, 10 videos of 10 minutes loop each 11 × 24 × 11 in

INSIDE Joanie Lemercier Light Canvas III 2012 Sintra print, high-resolution video, 2.5 minutes loop 31 × 79 in

BACK Gabriel Barcia-Colombo Animalia Chordata 2006 / 2013 Mixed-media interactive video sculpture, 6 videos of 4 minutes loop and 6 videos of 6 minutes loop 24 × 17 × 10 in GALERIA ENRIQUE GUERRERO MEXICO CITY VOLTA 9 | BOOTH NUMBER B5

GALERIA ENRIQUE GUERRERO

WEBSITE GALERIA ENRIQUE GUERRERO was established in 1997 as the result of an in- www.galeriaenriqueguerrero.com tense decade of collaboration between prestigious cultural institutions. The gallery E-MAIL represents a select group of young artists that explore the diverse medias of the [email protected] visual arts: painting, sculpture, photography, video, performance and installation.

PHONE Annual exhibition programs and activities in its facilities and international forums, +52 (55) 52 80 29 41 as well as through the intense promotion labor, allows a successful development of CONTACT NAMES the artist´s careers by this consolidated avant-garde gallery. Enrique Guerrero Miguel Guerrero Quirarte+Ornelas explore the materiality of objects through their work, approaching Cristina Sandoval them through a variety of possibilities apart from their ordinary function. Bringing together several media into the conception of their pieces, they develop and investigate taking the object to its material state, fragmenting and reconstructing it into new EXHIBITED ARTISTS structures in which form transcends function, a cycle which refers to the sculpture Quirarte+Ornelas Miler Lagos process, bringing it all together through painting, drawing, objects and installation. Daniela Edburg and Richard Stipl While working in a variety of materials and media and pushing the boundaries of OTHER REPRESENTED ARTISTS figurative expression in sculpture, Richard Stipl arrives at a crossroads where each Felipe Ehrenberg avenue leads back to the original departure point and we are constantly reminded Hector Falcon Adela Goldbard of the circular and labyrinthine nature of his artistic pursuits. Pablo Helguera Miler Lagos (b. 1973, Bogotá) works with various media including video, installa- Yui Kugimiya Miguel Angel Madrigal tion and sculpture. One of his main goals is to provide a lesson to the viewer, re- Mauro Piva membering that things are not always as they appear, creating balloons filled, not Carolina Ponte of air but of cement, wood logs that are actually made of printed paper, or jewelry Tony Solis made of traditional Colombian sweets. Lagos proposes the decontextualization of Pedro Varela Beatriz Zamora his work, as well achieving to deceive the spectator with his meticulous technique and rigorous conceptual structure.

COVER Miler Lagos The Northern Hemisphere of Celestial Globe – from the series Cimiento 2013 Carved piled paper 58 × 60 × 39 cm

INSIDE Quirarte+Ornelas Copper Structure 1 2013 Watercolor on paper 78 × 106.5 cm

BACK Richard Stipl Yes, No, Maybe, Never 2012 Fired clay and wax 33 × 34 × 35 cm GALLERY H.A.N. SEOUL

VOLTA 9 | BOOTH NUMBER C18

GALLERY H.A.N.

WEBSITE Myungil Lee is talking about the human world of mind with anxiety. www.gallery-han.com His works of mental part has a human’s samsara, he seems to be interesting about E-MAIL instinctive desire of ‘what’ and ‘what is it’. His works feel like a self-psychological [email protected] circumstance. PHONE +82 2 737 6825 He says “I always want to remain live also I want to see my inspiration.”

CELL Maybe he want to be glamorous color of material more than others, the human that +82 10 9108 5529 is hidden in a behind brutal instinct and desire, besides stimulate the instinct of the CONTACT NAME narcissus, it seems to bring us into the works inside. Sungwon Lee Jeongyun Choi’s sword realize the land value also spread. It means that trace related origin and basically productive function.

EXHIBITED ARTISTS His works is the sculpture in which he carve one by one the unnecessary meaning Myungil Lee in the large mess, the sculpture attached little by little the meaning which is new to Jeongyun Choi the existing meaning. The meanings added to by new interpretation of him are vari- OTHER REPRESENTED ARTISTS ous shapes of sculpture again. Kyung-Ja Rhee Hwang Hur Just the imagination unlimited of the artist visiting the past and future often is the Youngwon Kim same as time travel. The formative language which he make while two times coex- Eungki Kim Kijoo Han ist in one thing. Sangmo Koo Bongchae Jeong Dongsu Lee Sungil Son

COVER Myungil Lee To Exist, or To Sustain? (detail) 2012 Mixed media on paper 29 × 20.9 cm

INSIDE Jeongyun Choi The Flesh of Passage (in time) 2013 Salt Installation view

BACK Myungil Lee To Exist, or To Sustain? 2012 Mixed media on paper 29 × 20.9 cm (each) PATRICK HEIDE CONTEMPORARY ART LONDON VOLTA 9 | BOOTH NUMBER A13

PATRICK HEIDE CONTEMPORARY ART

WEBSITE At VOLTA, PHCA presents three artists — Kàroly Keserü, Hans Kotter & Sarah www.patrickheide.com Bridgland — who on different levels and through different media communicate what E-MAIL is one main feature of the gallery program: abstract drawing. [email protected] An inquiry into the continuation of modernism and its significance in the digital age PHONE lay at the base of Hungarian artist Kàroly Keserü’s oeuvre. Keserü’s paintings and +44 20 7724 5548 drawings are first and foremost visually engaging with the basic forms of the grid CONTACT NAMES and the dot defining the artist’s always expanding vocabulary. More recent works Patrick Heide are gridless, the dots forming cloud like formations of alternating density. The works Martina Fortuni on paper range from methodical, geometric compositions and flowing line patterns to text pieces, felt- tip pen compositions reminiscent of fabric and punched and

EXHIBITED ARTISTS folded collages. Sarah Bridgland Berlin based artist Hans Kotter’s quest in art is to give shape to light and even “draw” Kàroly Keserü Hans Kotter with light either in space or within his light objects. Kotter’s objects are constructed from mirrored Perspex boxes and investigate spatial illusion. Different geometric OTHER REPRESENTED ARTISTS Isabel Albrecht shapes of light are endlessly reflected within a confined space, and shift with the David Connearn viewer’s changing perspective while looping through colour schemes. Kotter’s light Ina Geissler objects can be read as abstract drawings of contemporary urban landscapes and Alex Hamilton create a desire to submerge and loose oneself in the fluctuation of light – reminis- Thomas Kilpper Minjung Kim cent of modern night skylines or skyscraper facades. Yuliya Lanina Part of the gallery’s Breeder program, Sarah Bridgland works mainly with three- Thomas Müller Francesco Pessina dimensional collage. The Royal College of Art in London graduate combines cut- Susan Stockwell outs from books and old magazines with drawn imagery and found objects to create intimately scaled paper sculptures. Ideas of deconstruction and collaging from pre-war art movements and post-war architecture are fused with the playfulness of COVER contemporary mixed media installations or even origami. Bridgland’s imagery plays Kàroly Keserü with our visual memory, recomposing its tracks and traces in a kaleidoscopic man- Untitled (1211201) (detail) 2012 ner, seemingly chaotic mini-mindscapes of our disjointed universe. Ink on book page 28 × 20 cm

INSIDE Sarah Bridgland Stopftwist Staple Box (Black, White and Red) 2010 Paper, enamel paint, found cotton box, glue 14.8 × 8.9 × 7 cm

BACK Hans Kotter Spring and Windows (Installation shot) 2012 Mirror, Plexiglas, LEDs colour change, remote 100 × 100 cm each HELSINKI CONTEMPORARY HELSINKI

VOLTA 9 | BOOTH NUMBER B11

HELSINKI CONTEMPORARY

WEBSITE Miikka Vaskola works with large scale, even monumental paintings. He reworks the www.helsinkicontemporary.com canvas sometimes heavily while he at other times leaves a sense of blankness into E-MAIL the painting. For Vaskola the abstract painting is a slow place — a place for reflec- [email protected] tion. His works may at first sight seem spontaneous and even fast, but Vaskola’s

PHONE painting process is actually very long. He works persistently, investigating how dif- +358 9 278 5301 ferent materials react with the canvas.

CELL In addition to abstract works Vaskola also paints realistically created figures. Both +358 40 740 4901 the figurative imagery and the abstract worlds in Vaskola’s body or work take the CONTACT NAME viewer deep into the past times but at the same time they are anchored in the cur- Mikaela Lostedt rent moment. The human figures presented in the works are intriguing and mesmer- izing. The viewer is confronted with something that is hard to understand, but the paintings holds us and won’t let us go away untouched. These are paintings that EXHIBITED ARTIST Miikka Vaskola ask only and solely for that one thing: can you look for one more moment, and a little longer — and then come back again. OTHER REPRESENTED ARTISTS Saara Ekström The slowness produced by the long working progress is central for understanding Hannaleena Heiska Vaskola’s paintings. The works offer a chance for lingering reflection and open up as Pekka Jylhä Sanna Kannisto time goes by. The subtle paintings — masterly in their sense of material — let the eye Jukka Korkeila wander on large surfaces. From the surface the gaze dives deep into the work where Liisa Lounila new traces or references are found and produced by the viewer’s own associations. Ville Löppönen Rauha Mäkilä MIIKKA VASKOLA was born in Helsinki, Finland and graduated from the Finnish Heli Rekula Academy of Fine Art in 2008. Vaskola has exhibited in solo shows at the Turku Art Maiju Salmenkivi Museum (2008), Gallery Kalhama&Piippo Contemporary (2010), Galleri 21 in Malmö Sweden (2011) and Helsinki Contemporary (2013). Vaskola has also participated in numerous group exhibitions in Scandinavia, including the Nordic Art Triennial at COVER Eskilstuna Art Museum in Sweden (2010) and East of the Sun, West of the Moon at Miikka Vaskola Listener (detail) Växjö kunshalle (2012). 2013 Ink, acrylic, charcoal, chalk, iron oxide on canvas 250 × 190 cm

INSIDE Miikka Vaskola Untitled (detail) 2012 Ink, acrylic, charcoal, iron oxide, chalk on canvas 200 × 250 cm

BACK Miikka Vaskola Ask him why yelling don’t reach his mind 2013 Ink, acrylic, charcoal, chalk, iron oxide on canvas 240 × 192 cm HILGER BROT KUNSTHALLE VIENNA

VOLTA 9 | BOOTH NUMBER C25

HILGER BROT KUNSTHALLE

WEBSITE TRANSITORY NATURE OF THINGS www.hilger.at This exhibition presents a common theme in the practices of Asgar/Gabriel, Leila E-MAIL Pazooki and Simon Vega. All explore the transitory nature of things with unique in- [email protected] dividual approaches. Asgar/Gabriel examine the transience of being and the struc- [email protected] tures of society. Pazooki deconstructs society’s values by re-contextualizing icons PHONE like European old masters’ paintings. In this particular project the mind is set free, +43 1 512 53 15 beyond orthodox frameworks of perception, to establish a dialectical relationship CELL between present and absent entities. Vega uses disregarded technical appliances +43 650 27 39 650 to form artworks which reference historical milestones. These artists have observed CONTACT NAMES and respond to the basic human need to touch, hold and feel most things — even Ernst Hilger works of art — instead of being intimidated by their sanctity. Michael Kaufmann They are globetrotters with diverse ethnical backgrounds. Vega is from El Salvador, Asgar/Gabriel an artist duo from Vienna/Tehran and Pazooki was born in Tehran but EXHIBITED ARTISTS lives and works in London. Asgar / Gabriel Leila Pazooki Asgar/Gabriel (1975/74, Tehran/Vienna) Simón Vega 2014 tba, Torrance Art Museum, Los Angeles Cameron Platter 2013 tba, Museo Nacional de Arte Moderno, Buenos Aires OTHER REPRESENTED ARTISTS 2011 Under The Paving Stones, The Beach, Kunsthallen Brandts, Odense Daniele Buetti 2011 Aufloesung der Oekonomie, Mannheimer Kunstverein, Mannheim Ian Burns Clifton Childree Leila Pazooki (1977, Tehran) Oliver Dorfer 2012 Come Invest In Us. You’ll Strike Gold, Hilger BROT Kunsthalle, Vienna Peterson Kamwathi 2011 The Global Contemporary Art Worlds After 1989, ZKM, Karlsruhe Anastasia Khoroshilova Ángel Marcos 2009 Iran Inside Out, Chelsea Art Museum, New York Pors & Rao Simón Vega (1972, San Salvador) Michael Scoggins Nives Widauer 2013 National Representative of El Salvador, Latin American Pavilion, 55th Venice Biennale 2011 Coca-Colonization, Marte, Museo Nacional de Arte de El Salvador COVER 2006 9th Havana Biennale Simón Vega Panopticam Cluster ADVERTISING TOMBSTONE WALL (NO. 3, TELL ME EVERYTHING) 2013 The sculpture is based on paper pamphlets advertising doctors, sangomas, and Ink on paper traditional healers; all supposedly able to cure any ailment, trouble or disease. It 17 × 14 cm signifies that South African society seems to be more concerned about getting a INSIDE bigger dick than addressing some of its gaping societal problems… Asgar / Gabriel We are hungry, in fact very hungry Cameron Platter (1978, Johannesburg) (studio view) 2013 Contemporary South African Art and the Archive, South African Pavilion, 2013 55th Venice Biennale Oil on cardboard 100 × 360 cm 2011 Impressions From South Africa, 1965 To Now, MoMA, New York 2010 Recontres Internationales, Centre Pompidou, Paris BACK (LEFT) Cameron Platter Advertising Tombstone Wall (no. 3, Tell Me Everything) 2013 Carved jacaranda wood 250 × 200 × 30 cm

BACK (RIGHT) Leila Pazooki Empty space in your mind 2012 Mixed media Size variable THE HOLE NEW YORK

VOLTA 9 | BOOTH NUMBER A11

THE HOLE

WEBSITE PROCESS-DRIVEN ABSTRACTION www.theholenyc.com For VOLTA9 The Hole presents two very different New York-based abstract artists E-MAIL who use new ways to make an abstract “painting”, or something that challenges [email protected] what a painting could be. Both focus on their process and often take a hands-off

PHONE approach where the logic and causality behind making the work is allowed free reign +1 212 466 1100 to create whatever it creates, with minimal artist interference. Both blend conceptual

CONTACT NAMES approaches to painting with beautiful and subtle aesthetic concerns, incorporating Kathy Grayson (Owner / Director) performative or ritualistic elements visually apparent in the final result. Amanda Schmitt (Assistant Director) Jon Link (Director of Operations) Holton Rower (b. 1962 New York NY, lives and works in New York City) Holton Rower delves into the physics of acrylic paint to make it do extraordinary things. Rower’s “Pour paintings” debuted at The Hole NYC last May with a survey of EXHIBITED ARTISTS the diverse results achieved through the innovative and deceptively simple process Holton Rower of pouring hand-made acrylic paints over wood. In his current show (through June Kadar Brock 20), Rower introduces new “Focus paintings”, simple in construction and complex OTHER REPRESENTED ARTISTS in effect. How did the artist achieved these seemingly “out of focus” paintings — Evan Gruzis poured over a curved support, doused with urethane, or dried on a vibrating surface? Holton Rower Kadar Brock Their method of construction remains Rower’s secret; the viewer can focus on the Kembra Pfahler visual effect produced and their quizzical relationship to historic abstraction. Like Lola Montes Schnabel the pours that are no more like Morris Louis than Lynda Benglis, the focus paintings Matthew Stone are superficially somewhere in between Richter and Hirst, or perhaps even earlier. Sayre Gomez FriendsWithYou Both series originate from a true “chemist of paint”, a sculptor of paint more than Jaimie Warren a traditional abstract painter. Ben Jones Kadar Brock (b. 1980 New York NY, lives and works in Brooklyn) Kadar Brock is known for painting process-driven abstraction that can’t help but

COVER feel psychological. He takes his old, bright geometric paintings, what he deemed a Holton Rower “failed” series, and after having them hanging around the studio and bringing him Untitled (detail) down, he covered them over with layers and layers of paint and then attacked them 2012 with a sander and a razor blade to produce perfectly smooth and perforated ab- Acrylic on wood 81 × 69 in / 205.7 × 175.3 cm stract paintings. In our booth he debuts a new series where Brock takes the residue from his sanded and shaved works and adheres the debris into a positive painting INSIDE that literally came off of the other work. These slices and dusty piles of paint swirl Kadar Brock deredemisreubii together to evoke a new kind of “history” painting. 2009 – 2012 Oil, acrylic, flashe, house paint and spray paint on canvas 96 × 72 in / 243.8 × 182.9 cm

BACK Holton Rower Untitled 2013 Acrylic on wood 49.5 × 39 × 1 in / 125.7 × 99.1 × 2.5 cm THE INTERNATIONAL 3 MANCHESTER

VOLTA 9 | BOOTH NUMBER A8

THE INTERNATIONAL 3

WEBSITE For VOLTA9, The International 3 brings together the work of Rachel Goodyear and www.international3.com Rafal Topolewski in a curated booth presentation that combines new works of paint- E-MAIL ing, drawing, sculpture and animation. [email protected] Topolewski’s ongoing exploration is the role of image making in the contemporary PHONE world. Recognising that computers, mobile phones and digital photography have +44 161 237 3336 rapidly changed the way we produce and receive images, Topolewski’s interest lies CELL in the role of the painting and the painter within this. For Goodyear, it is the medium +44 7981 389 591 of drawing that is her field of enquiry. Considered by the artist as being at the core CONTACT NAMES of her practice, Goodyear’s drawings have in recent years begun to move off the Paulette Terry Brien page into animation and sculpture. Laurence Lane This dynamic juxtaposition of content and form coheres around the artists shared interest in questioning the boundaries of their chosen ‘traditional’ mediums and in EXHIBITED ARTISTS both artists’ mature technique. Rachel Goodyear Rafal Topolewski Born in Grudziadz (Poland) in 1983, Topolewski graduated in 2012 with a first class

OTHER REPRESENTED ARTISTS BA Hons Fine Art degree from Manchester Metropolitan University. Topolewski was Brass Art one of the four finalists of The Saatchi Gallery and Channel 4’s New Sensations Prize Stuart Edmundson 2012 and was recently invited by the Zabludowicz Collection to take part in ‘Test- Josephine Flynn ing Ground: Master Class’. His first solo show took place at The International 3 in Pat Flynn Alison Erika Forde May 2013. His work is held in a number of private collections and in The Saatchi Andrew McDonald Collection. Topolewski will begin an MA at The Royal Academy Schools, London in Sean Penlington September 2013. Daniel Taylor (associate artist) Born in Oldham (U.K.) in 1978, Goodyear graduated from her BA Hons Fine Art degree at Leeds Metropolitan University in 2000. Goodyear has exhibited widely within COVER the U.K. and internationally and her work is held in a number of public, private and Rachel Goodyear corporate collections. Her next solo show, ‘Artificial Night’ will open at The Inter- Fiddler national 3 on June 28th 2013. (detail from larger work Valley) 2013 The International 3 is an exhibition and project space located in Manchester U.K. Pencil, watercolour, collage We produce a year round programme of new commissions, solo shows, group ex- 204 × 134 cm (Valley) hibitions and events both on and off-site. We also work with a core group of artists, INSIDE exhibiting and selling their work. The International 3 is also the curatorial co-ordina- Rafal Topolewski tor for The Manchester Contemporary art-fair. The International 3 is a not for profit Untitled (palm tree) 2013 limited company directed by curators Paulette Terry Brien and Laurence Lane. Our Oil on canvas activity is in part funded by Arts Council England and from support received through 220 × 175 cm our newly launched Patrons Scheme. BACK (LEFT) Rachel Goodyear Fiddler (detail from larger work Valley) 2013 Pencil, watercolour, collage 204 × 134 cm (Valley)

BACK (RIGHT) Rafal Topolewski Aerial Landscape Modification No. 2 2012 Oil on canvas 33 × 41 cm JARMUSCHEK + PARTNER BERLIN

VOLTA 9 | BOOTH NUMBER C22

JARMUSCHEK + PARTNER

WEBSITE At VOLTA9 in Basel, Jarmuschek + Partner presents recent works of Patrick Cier- www.jarmuschek.de pka, Carina Linge and Nika Neelova.

E-MAIL They all reflect the emergence of subjective perception and memory and about the [email protected] connection between the physical and emotional experience. The aspect of caducity PHONE of the experienced — whether acted from the outside on a person or moved from +49 30 2859 9070 the inside — plays a central part. CELL +49 17 9512 9068 Patrick Cierpka’s pictorial worlds on canvas seem to flicker in the viewers eye. Ap- plying one layer of paint upon the other, the artist creates opulently colourful tree CONTACT NAMES Kristian Jarmuschek crowns of great spatial depth, in which the contemplator searches in vain for clear Stefan Trinks outlines. It strikes him that the thicket and branches are veiled by the brightness of the sun. The painting suggests that the challenged eye lets us hesitate in an in- stant of blindness. EXHIBITED ARTISTS Patrick Cierpka At first glance the pictures of Carina Linge appear familiar. The artist deals with Carina Linge themes of Renaissance and Baroque painting and of art up to the nineteenth Cen- Nika Neelova tury. Looked at more closely, her photographies contain something that irritates, that OTHER REPRESENTED ARTISTS opens a new pictorial dimension — a threatening detail, an unexplained gesture or an Sabine Banovic object which draw us back into the present. Linge uses our knowledge of allegories Marc Fromm and symbols as a tried and tested method of telling us something, which gets to Oliver Gröne Dieter Lutsch the heart of the subject. Her works absorb the viewer in memories and the history- Harding Meyer charged human thoughts of relationships and feelings, evanescence and death. Martha Parsey Markus Putze The space-consuming installations by Nika Neelova are inspired by places she has Jakob Roepke lived in and lost. She handles the experience of missing something, which can’t Carsten Weitzmann be retrieved, but go on living in the memory and is exaggerated or distorted by the Jürgen Wolf years which have passed. Neelova’s materials are as inconsistent as human memories: wood, wax, glass and charcoal. The deployed fragments have lost their original function, are broken, twisted, weather-beaten, ripped, burnt or decayed. In a certain COVER Nika Neelova way, they are ruins of places of the past. Burning Meteors Leave no Dust 2013 Cast concrete, aircraft cable Dimensions variable Photo: Courtesy Vigo Gallery, London

INSIDE Carina Linge Stilleben mit Zauberwürfel 2013 C-Print on Aludibond 40 × 60 cm ed. 3+2 ap

BACK Patrick Cierpka blackholesun 2012 Acrylic and oil on canvas 150 × 210 cm GALERIE KLEINDIENST LEIPZIG

VOLTA 9 | BOOTH NUMBER B10

GALERIE KLEINDIENST

WEBSITE Back in the day Gießen on the Lahn was a place where you’d either flip off a pass- www.galerieKleindienst.de ing patrol car or you’d shoot a tracer after it.

E-MAIL Then, the Gießen left was a big shot in the German republic. Unlike the Frankfurters [email protected] who were always just talking. PHONE +49 34 1477 4553 Then, the girls from Hamburg travelled to Gießen in droves to be fucked by the Gießen Redskins. CELL +49 17 0808 5816 He’d buried a gun in the forest, so he’d be prepared when things went off. CONTACT NAMES Slightly right of the RAF, is what they used to say — just a fingerbreadth right of Matthias Kleindienst Christian Seyde the RAF. All the hate and all the denial would be impossible to remove from him, Heino told me this one particular night in Gießen, while he was winning one schnapps after the EXHIBITED ARTISTS other in a game of dice against the barkeeper. One for himself and one for me. And Julius Hofmann Anett Stuth then he gave me a ride on his scooter, the 100 meters to my sleeping place. Heino Carsten Tabel isn’t, won’t ever be and has never been my friend, except for this one evening when

OTHER REPRESENTED ARTISTS I listened to the lifestory and the doubts of the man Heino, who is fighting with his Tilo Baumgärtel hands and feet to avoid that his fire dies down, that the numbing normality ends the Henriette Grahnert radical times in which he grew up. Tom Fabritius Rosa Loy He insisted that although people kept telling him, it wasn’t true, times weren’t Corinne von Lebusa changing, it just wasn’t true, there was no reason to slow down. That they were all Sebastian Nebe just hiding behind their desks and in their lecture halls. That meanwhile he was left Christoph Ruckhäberle Nadin Maria Rüfenacht behind with his fire, and the fire left him behind, and made him lonely. Sebastian Stumpf The others call Heino a psychopath, nothing more, somebody who can’t control Anett Stuth Steve Viezens himself and you won’t control him either. And I held onto him, on his scooter, and I would have ridden anywhere with him, absolutely anywhere. (Carsten Tabel, Teribble Eyes, Text, 2013) COVER Julius Hofmann Larissa 2013 Acrylic on canvas 300 × 200 cm

INSIDE Anett Stuth unvollkommen und unvollendet 2013 C-print, diasec 180 × 250 cm

BACK Carsten Table Easy 2013 Installation view 140 × 230 × 290 cm KRUPIC KERSTING GALERIE // KUK COLOGNE VOLTA 9 | BOOTH NUMBER B16

KRUPIC KERSTING GALERIE // KUK

WEBSITE krupic kersting gallery presents a two artist show featuring Robert Kunec and Tobias www.kukgalerie.de Sternberg. Their conceptual objects and collages ironically react to the absurdity E-MAIL of the outside world. [email protected]

PHONE ROBERT KUNEC (B. 1978, SLOVAKIA/ GERMANY) +49 176 4930 8831 “Robert Kunec is a political artist who is not afraid to take on edgy societal subjects

CONTACT NAMES and he is a sculptor who finds three dimensional images that direct our sensibilities Emira Krupic toward the heart of these themes” (1). Robert Kunec is working in the context of Markus Kersting political plastics, a “toxic waste site of the visual arts” (2). This debate polarizes — but yet: “Once again art is a politically explosive force” (3).

EXHIBITED ARTISTS (1) Prof. Dr. Eugen Blume in: Robert Kunec, artist catalogue, Kunststiftung des Robert Kunec Landes Sachsen-Anhalt, 2011 Tobias Sternberg (2) Dr. Johannes Stahl, (curator) OTHER REPRESENTED ARTISTS (3) Dr. Noemi Smolik, (curator & art critic) Baptiste Debombourg Kristina Leko TOBIAS STERNBERG (B. 1973, SWEDEN/ GERMANY) Pierre Courtin Before moving to London in 2002 to study art at Goldsmith’s College he had time Irena Eden & Stijn Lernout to study a bit of philosophy, history and creative writing and to pursue work as a Damir Radovic Claudia Marcela Robles carpenter to finance his artistic and philosophical experiments. Jon Shelton Along with his conceptual work on sculpture, Tobias Sternberg is engaged in de- Alma Suljevic veloping a large body of collage work. The choice of collage as a medium is an exercise in creativity as a spontaneous activity, where the artist is making associative jumps that reconnects and reorders the given, instead of artfully planning and pro- COVER Tobias Sternberg ducing a meaning. Recently Tobias Sternberg conducted workshops in Edinburgh Blooming Telescopes and Glasgow named “The Contemporary Art Repair Shop” where he is transforming 2011 broken daily life objects into something “new” — www.artrepairshop.com Collage 30 × 40 cm

INSIDE Robert Kunec To live out one’s suitcase 2011 Suitcase, base 80 × 55 × 20 cm

BACK (LEFT) Robert Kunec Twelve (detail) 2010 Mixed media, acrylic boxes 335 × 110 × 32 cm (variable hanging)

BACK (RIGHT) Tobias Sternberg Bad Box 2010 Metal, paint 46 × 23 × 14 cm GALERIE MARTIN KUDLEK COLOGNE

VOLTA 9 | BOOTH NUMBER C6

GALERIE MARTIN KUDLEK

WEBSITE Galerie Martin Kudlek is presenting a curated four artist show for VOLTA9. The artis- www.kudlek.com tic dialogue between Jonathan Callan, Angela Glajcar, Alexander Gorlizki and Sofie E-MAIL Muller focusses on various aspects of sculpture and paperworks. [email protected] Jonathan Callan often works with thematically charged found objects like books or PHONE photographs, the surfaces and body of which he transforms by destructive interven- +49 221 729 667 tions. These two- and three-dimensional objects are deconstructed, their original CELL meaning erased or re-encrypted, providing them with new levels of interpretation. +49 172 243 0099 Angela Glajcar forms abstract relief- and sculptural- objects by tearing sheets of pa- CONTACT NAME Martin Kudlek per. She transforms this material which is often seen as light and fleeting into works of grand presence. Her additive paper objects hover around states of equilibrium; our gaze is led into the object by the interplay of light and shadow.

EXHIBITED ARTISTS Gorlizki’s paintings on paper embrace both the traditions of western and eastern Jonathan Callan Angela Glajcar (especially Indian) art. While his conceptual approach is totally western the tech- Alexander Gorlizki nique he employes is Indian. His unique pictorial language embraces elements of Sofie Muller both cultures on all kinds of levels reaching from the banal to the spiritual.

OTHER REPRESENTED ARTISTS Sofie Muller makes works on paper and sculpture. Her smoke drawings seem to Lucie Beppler Hella Berent capture transient moments of human existence while her sculptural work reaches Thomas Böing deep into the very psyche of this same existence. Eyal Danieli Ellen Keusen Heiko Räpple Frances Richardson Nora Schattauer Niels Sievers Martin Willing

COVER Jonathan Callan From N to O 2012 Paper, Wood, Steel Pins 58 × 44 × 9 cm

INSIDE Sofie Muller Brandt 2011 Patinated Bronze, Burnt Wood 130 cm height Edition: 3/5

BACK (LEFT) Alexander Gorlizki Half a Mule 2011 Pigment and Gold on Book Print 25.5 × 19 cm

BACK (RIGHT) Angela Glajcar Terforation IX 2009 Paper, Metal, Plastic 140 × 100 × 26 cm LARMGALLERI COPENHAGEN

VOLTA 9 | BOOTH NUMBER B9

LARMGALLERI

WEBSITE Discovering Kaspar Oppen Samuelsen’s works is like entering an utopian fairy-tale- www.larmgalleri.dk like dream filled with whimsical and humorous figures coming together in a fantasy E-MAIL world full of colour and mixed materials. The works are often precisely detailed and [email protected] part of an associative universe. The figures are presented in a simple narration with

PHONE a political, satiric twist. There are clear references to antiquity in his works — span- +45 2991 4657 ning a wide range of media from paper-works to video installation — and also to

CELL Dutch and Italian renaissance, including Piero della Francesca, Leonardo da Vinci +45 2680 9230 and Pieter Bruegel the Elder.

CONTACT NAMES Hartmut Stockter’s art inspires us with thoughts of progress, of machines to aid Louise Rahbek mankind. We are eager to consider progress and new machines as a positive, evo- Lars Rahbek lutionary development. But there is something markedly old fashioned, almost al- chemic and phantasmagorical about Stockter’s apparatuses. It might be that the

EXHIBITED ARTISTS artist’s devices should have stayed on the drawing board: they do not assist us in Hartmut Stockter (DK) our journey to the stars or to the centre of the Earth; they do not revolutionize the Kaspar Oppen Samuelsen (DK) infrastructure of the state, providing us with eco-friendly public transport; they do Oana Farcas (DK) not make us healthier; they are not even environmentally correct. What these ma- OTHER REPRESENTED ARTISTS chines do is revive our imaginations. Christian Achenbach Ditte Ejlerskov At the heart of Oana Farcas’ practice is portraiture: women, men and children, real Moritz Schleime and fictionalised, parade across her boards and canvases. Ranging in size from Nicola Samori the diminutive world of the miniature, to large scale crowd scenes, Farcas’ work delivers a colourful ensemble of characters. Farcas’ world could be described as being between the visible and invisible. What she feels and ‘sees’ in her mind’s eye COVER is combined by seen and felt experiences in reality. Who is to say that one is less Kaspar Oppen Samuelsen Untitled (detail) real than the other when both can be translated into memories, and after both are 2013 re-born and co-existent within the grounds of her paintings? Farcas’ paintings cer- Gouache on Paper tainly have a dream-like quality about them. Yet amidst the soft, misty environs she 90 × 65 cm creates, there is a tangible physicality. The figures are robust, passionate creatures INSIDE awash with emotions and often depicted mid action. The notion of observing a figure Hartmut Stockter who is seemingly unaware, lends a voyeuristic quality to the work. Wiesenpfad Menschenrad 2009 Mixed media 200 × 200 × 70 cm

BACK Oana Farcas Untitled 2013 Oil on canvas 70 × 110 cm CHRISTIAN LARSEN GALLERY STOCKHOLM

VOLTA 9 | BOOTH NUMBER C23

CHRISTIAN LARSEN GALLERY

WEBSITE The pictorial universe of the young Swedish artist Bo Christian Larsson (b. 1976, www.christianlarsen.se Sweden) has its fulcrum in an archaic dream world, a sort of “non-place”, domi- E-MAIL nated by mythic elements and archetypal characters drawn from the collective [email protected] unconscious. Larsson works with drawing, sculpture and performance, often al-

PHONE lowing these to relate to each other. His performances serve as a catalyst for the +46 8 30 98 30 permanent works, which sometimes appear like surviving archaeological finds. Typi-

CELL cally, Larsson’s sculptures are made up of a combination of both recognizable and +46 347 925 8845 symbol-saturated everyday items. Hats and books appear, for instance, in atypical

CONTACT NAMES combinations with various materials and objects, such as candle wax, feathers, iron Erik Jönsson chains and light bulbs. Emil Bertz If Larsson’s work springs out of a kind of otherworldliness, the work of Viktor Ros- dahl (b. 1980, Sweden) deals very concretely with the social realism of his native

EXHIBITED ARTISTS Sweden. Hailing from the country’s southern city of Helsingborg, Rosdahl grew up Bo Christian Larsson with a passion for graffiti, still evident in his intuitive approach to surface and media. Viktor Rosdahl He will execute his pieces with minute detail on materials ranging from bridal silk to

OTHER REPRESENTED ARTISTS synthetic leather, all of which are likely to have been found by the artist in a back Atelier van Lieshout alley somewhere. Rosdahl successfully combines the visual language of traditional Christian-Pontus Andersson Western art with burning cultural issues of today – his industrial landscapes and run Max Book Mad Gamdrup down housing projects serving as reminders of the modern utopian project’s demise. Charlotte Gyllenhammar Christian Larsen is one of Scandinavia’s leading galleries showing Nordic and in- Jeannin / Schuurmans Katy Kirbach ternational contemporary art. Founded in 2007, the gallery is located in central John Körner Stockholm on the short street of Hudiksvallsgatan, home to no less than nine of Daniel Lergon Sweden’s top tier galleries. The annual program is comprised of 7 exhibitions as Lilibeth Cuenca Rasmussen well as participation in international art fairs.

COVER Viktor Rosdahl When the New Deal Arrived 2012 Blueberry juice, walnut oil, various ink and oil on synthetic canvas 180 × 200 cm

INSIDE Bo Christian Larsson The New World With An Old Boat Part 1 2011 Mixed media 140 × 100 × 65 cm

BACK Viktor Rosdahl In i de dype skogernas favn (Into the Embrace of the Deep Forests) 2012 Acrylic, ink and lacquer on canvas 150 × 150 cm PETER LAV GALLERY COPENHAGEN

VOLTA 9 | BOOTH NUMBER B6

PETER LAV GALLERY

WEBSITE Adam Jeppesen (b. 1979) has recently started working with photogravure for the www.plgallery.dk first time. Like in his earlier works, Jeppesen is interested in seeing how far the E-MAIL photographic medium can be pushed. The images for Jeppesen’s gravure-works [email protected] stem from his long journey from the Arctic through the Americas to Antarctica in

PHONE 2009-2010. For 487 days Jeppesen travelled in solitude and from his long journey +45 2880 2398 a series of melancholic evocative landscapes has emerged. The special aesthetics

CELL of photogravure brings out this melancholy in a new and strong way, giving form to +45 2880 2398 a new body of work and adding another chapter to his journey at the same time.

CONTACT NAME Julie Boserup’s artwork in the media of drawing, collage and photography record Peter Lav the contradictions of everyday life. Making use of various image sources such as travel guides, CCTV footage and own snapshots of the immediate surroundings, Boserup operates on a low-tech threshold between collage and drawing, and be- EXHIBITED ARTISTS Adam Jeppesen (DK) tween digital and analogue techniques. Through her elaborate graphic process, the Hyun-Jin Kwak (KOR/SWE) known landscape becomes destabilised, and the viewer is invited into a negotiation Anna Strand (SWE) between that which is seen and that which is overlooked, that which is worth see- Julie Boserup (DK) ing and that which is not. OTHER REPRESENTED ARTISTS Taiyo Onorato & Nico Krebs (CH) The Nagoya Notebook series by Anna Strand are made during her stay in Japan in Clare Strand (UK) spring 2012. Strand had long wanted to visit Japan, regarding it as a place with a Michael Reisch (GER) wide range of cultural expressions, which are connected with some of the recur- Jakob Hunosøe (DK) rent themes she works with, for example suppressed emotions, control and ritual Torben Eskerod (DK) Ville Lenkkeri (SWE) behaviour. A form of fictive notebook from her journey, the series is called Nagoya Notebook. In the series, different approaches to photography — both found photographs, staged photographs and photographic objects — are presented

COVER In her series ”The Island — A Case Study of a Collectors Mind”, Hyun-Jin Kwak Julie Boserup (KOR/SWE, b. 1974) explores an old Venetian palace. The palace looks abandoned Fifteen Years series (detail) 2010 at first sight, but turns out to be inhabited by an old man and his family. The old Framed, collage on photographs man has dragged all kinds of stuff inside the house, while forgetting to take care 16.5 × 22 cm, each unique of the house itself. Refusing to get rid of things that others would consider nothing INSIDE but junk, the house has deteriorated over the last 20 years. Kwak makes an inves- Adam Jeppesen tigation of the history of the house, the family’s biography and the perception of the Untitled house as a deviation from the norm. 2013 Photogravure 63 × 57 cm ABOUT PETER LAV GALLERY Inaugurated in January 2006, Peter Lav Gallery is a relatively new gallery. Our focus is on contemporary art photography and the gallery sees it as its task to promote and further the careers of younger, emerging artists that explore the boundaries of the photographic media.

Peter Lav Gallery is the first gallery in Copenhagen which focuses exclusively on contemporary photography. All artists represented by Peter Lav Gallery have previ- ously had had their work shown in galleries, museums and exhibitions in Scandina- via and throughout Europe. LÉNA & ROSELLI GALLERY BUDAPEST

VOLTA 9 | BOOTH NUMBER C32

LÉNA & ROSELLI GALLERY

WEBSITE Léna & Roselli Gallery, founded in 2008, is an international contemporary gallery. www.lenaroselligallery.com In 2009 the gallery started a project called BudArtPest. The aim of this project is to E-MAIL create cultural bridges and connections between Hungarian and International con- [email protected] temporary art galleries and artists.

CELL +36 30 435 7443 CSABA FÜRJESI / VISUAL ARTIST

CONTACT NAME Csaba Fürjesi’s human figures and objects referring to human existence dwell in an Léna Ilona Orosz emptied, metaphysical space, a kind of surreal conceptual matrix. The boundaries between reality and imagination — in the middle-age scholastic sense of the term — are blurred in this virtual world. His figures, looking inward in silent meditation EXHIBITED ARTISTS mostly gaze at regions unfathomable, ones that we may suspect at best. They re- Attila Mata call the Neo-Platonic tradition articulated by Plotinus and later by St Augustine, in Csaba Fürjesi which the realm beyond our senses can be known through the intellectual vision OTHER REPRESENTED ARTISTS –visio intellectualis. Ramón Pereira Oleg Kulik László Lakner ATTILA MATA / SCULPTOR István Nádler I always wanted to make sculptures accepted by nobody. Not even by myself. Botond Részegh Ivan Lardschneider These works do not reflect my taste. One must not always love one’s subject but Ágnes Verebics we wish to survive these few years and one must tell and produce what one feels, Katalin Verebics otherwise thorns will remain in you. If some of them come out, new ones in turn. Ferenc Veszely Julia Winter But we would like to live somehow independently of this: my absolute form of existence, for me this is a great adventure.

COVER Attila Mata Golem 2005 Bronze 96 × 76 × 31 cm

INSIDE Csaba Fürjesi Eastern College 2013 Oil on canvas 100 × 150 cm

BACK (LEFT) Attila Mata Female 2008 Bronze and aluminum 30 × 24 cm

BACK (RIGHT) Csaba Fürjesi Trial-Loneliness 2012 Oil on canvas 100 × 120 cm MA2 GALLERY TOKYO

VOLTA 9 | BOOTH NUMBER A18

MA2 GALLERY

WEBSITE Ken Matsubara dissolves our sleeping memories just as they are frozen at the bot- www.ma2gallery.com tom of our hearts, in his works made of antique objects, photographs and videos E-MAIL imprinted with people’s memories. [email protected] He thinks that memories are inherited from human to human through the DNA of PHONE microorganisms, and that people can reach these common memories that cross +81 3 34441133 over the world’s various races and generations if we can awaken our own memo- CELL ries. Human beings are tied together by common memories, and we will cross over +81 90 42202985 those boundaries by sharing our memories. CONTACT NAME Masami Matsubara Matsubara installs old compact TVs, which were produced by SONY and other Japanese companies in the late ‘70’s and 80’s, as a dry stone garden landscape. These products were the symbol of Japanese high technology and the strong econ- EXHIBITED ARTIST omy. He puts his memory in these containers with psychological overlap. Viewers Ken Matsubara see the memory though sinking TV in the land surface. OTHER REPRESENTED ARTISTS Ai Kitahara Akihiro Higuchi Keisuke Kondo Kyotaro Hakamata Mats Gustafson Mikiya Takimoto Naoko Sekine Nobuaki Onishi Tamotsu Fujii Yasuko Iba

COVER Ken Matsubara TV on the Seashore 2013 Movie, mixed media Variable dimensions

INSIDE Ken Matsubara TV on the Seashore (detail) 2013 Movie, mixed media Variable dimensions

BACK Ken Matsubara TV on the Seashore (detail) 2013 Movie, mixed media Variable dimensions GALERIE RON MANDOS AMSTERDAM

VOLTA 9 | BOOTH NUMBER A3

GALERIE RON MANDOS

WEBSITE The fictional architecture and urban scenes of Rik Smits are imbued with the sense www.ronmandos.nl of what seems an idealised future. Smits’ imagined metropolis testifies to mankind’s E-MAIL drive to material improvement. Inspired by Modernist architecture, his city is littered [email protected] with skyscrapers and architectural icons designed to impose and impress. Human

PHONE spirituality also has a strong presence in the form of colossal religious temples and +31 20 320 70 36 monoliths that occupy prominent positions within the urban layout.

CONTACT NAMES But despite the imposing way these commercial and religious buildings stand out Ron Mandos in the skyline they also embody the marks of decay and desertion hinting that the Toby Robinson state of spiritual wellbeing in this ambitious society may not be is as sound as it first seems.

EXHIBITED ARTIST Rik Smit’s Capital 1, especially produced for VOLTA, will for the first time see the Rik Smits execution of his urban vision in the form of a spectacular large format scale model. OTHER REPRESENTED ARTISTS In addition to this, Smits has created a series of 15 new drawings, which will ac- Artists Anonymous company the piece. Daniel Arsham Anthony Goicolea Isaac Julien Renato Nicolodi Jacco Olivier Hans Op de Beeck Renie Spoelstra Ron van der Ende Levi van Veluw

COVER Rik Smits The Old Chesterson Pharmaceutical Company (detail) 2012 Pencil on paper 21 × 29 cm

INSIDE Rik Smits Capital 1 (detail) 2013 Styropor foam, wood, cardboard 225 × 366 cm

BACK Rik Smits Monument Rock Island 2012 Pencil on paper 240 × 350 cm GALERIE MARIO MAZZOLI BERLIN

VOLTA 9 | BOOTH NUMBER C2

GALERIE MARIO MAZZOLI

WEBSITE The German duo Serge Baghdassarians / Boris Baltschun is known for producing www.galeriemazzoli.com audio and visual installations with various techniques and media.

E-MAIL Their basic methodology consists of recontextualizing professional tools and objects [email protected] in order to transform them into living artifacts. The intent of their creations is some- PHONE times that of glorifying the erroneous, emphasizing phenomena that are normally +49 30 7545 9560 considered transient or secondary, or at times that of transforming everyday prac- CELL tices and commonplace devices into artistic endeavors. In both cases, however, an +49 176 6168 6491 higher order of purpose emerges: a reflection on what we consider banal or not even +49 176 6167 7839 worthy of attention, and how that can instead be manipulated into a compelling form. CONTACT NAMES Mario Mazzoli This goes beyond the idea of the objet trouvé, as they do not stop at an alternative Augusto Mazzoli presentation of the object itself, but rather focus on its behavior. The question is Tania Tonelli what is the inherent potential, the capability of the object when in use, rather than in its idle state. For this reason they often realize time-based installations — to give life to the objects, and allowing to reuse them for a different purpose from that which EXHIBITED ARTISTS Serge Baghdassarians / they were designed for. The minimal and concentrated design of their installations Boris Baltschun reinforces the idea that the viewer should expect elaborate rearrangements that fo-

OTHER REPRESENTED ARTISTS cus on the sensorial effect, on how the devices actually behave. Guido Canziani Jona Baghdassarians and Baltschun imbue their task with a sense for irony and a dose Douglas Henderson Shingo Inao of playfulness, often by using tools related to their practice as electronic musicians. Pe Lang In a work such as memory palace, for instance, a set of guitar tuners is arranged in Kristoffer Myskja Roberto Paci Daló a circle, and deprived of its original function as a tuning device. Indeed, its display Donato Piccolo is completely reprogrammed to create a dance of light — a film — that refers to the Roberto Pugliese mnemonic of the standard guitar tuning: “eddy ate dynamite good by eddy”. This Michele Spanghero mutates the necessary but at times tiring practice of tuning an instrument, a quasi- Spazio Visivo (Paolo Cavinato / Stefano Trevisi) nightmare and definite nuisance for every musician, into a playful reflection on how our memory functions. With the method of loci, the so-called memory palace, things to be remembered are associated with specific locations. In the aforementioned COVER film this memory palace is, metaphorically speaking, constantly built and blown up Serge Baghdassarians / again, leading to an ultimately cathartic effect. Boris Baltschun Volume Serge Baghdassarians (1972) and Boris Baltschun (1974) live and work in Berlin. 2010 They have collaborated since 1999 and have exhibited and performed at places Speakers, amplifier, wood, such as the Sonic Acts Festival, Amsterdam; singuhr hoergalerie, Berlin; Kid Ai- infra sound 100 × 76 × 5 cm lack Hall, Tokyo; Sao Paulo Biennal — Mobile Radio, Sao Paulo; Moderna Museet, Photo: studio baghdassarians / Stockholm; Musee d’art moderne et contemporain, Strasbourg; Beyond Baroque, baltschun, private collection Los Angeles; and Diapason Gallery, New York. Last year they were awarded the

INSIDE “Karl-Sczuka-Preis” for radio art for their piece Bodybuilding and next summer they Serge Baghdassarians / will be Artists-in-Residence at Villa Aurora in Los Angeles. Boris Baltschun memory palace 2012 Modified pedal tuners 125 × 125 × 5 cm Audio: 7 minutes Photo: studio baghdassarians / baltschun P74 GALLERY LJUBLJANA

VOLTA 9 | BOOTH NUMBER C14

P74 GALLERY

WEBSITE Tadej Pogačar has examined indeterminacy and transformation within social sys- www.zavod-parasite.si tems since 1993 when he established the P.A.R.A.S.I.T.E. Museum of Contempo- E-MAIL rary Art. [email protected] In his art practice he engages in interventionist logic, institutional critique, and criti- PHONE cal research on social and political issues as well as participatory and collabora- +386 5 9714887 tive projects. CELL +386 40 370 199 School’s Out was originally conceived in 1997 as a participatory site-specific project in which the students of the Šentvid Gymnasium in Ljubljana were active partici- CONTACT NAME Uroš Legen pants. Discreet installations (featuring teaching materials, instructional aids, everyday objects, etc.) were set up in a number of classrooms; they problematized the issues of knowledge, student–teacher relations, instruction, discipline, and control.

EXHIBITED ARTISTS The School’s Out series of works (1997–present) were created out of a desire to Tadej Pogačar SBD (smallbutdangers) explore the modern history of schoolteaching through subjective visual memory. They use local archival images from the 1940s, 1960s, and 1970s, which depict OTHER REPRESENTED ARTISTS Balint Szombathy the processes of school instruction, discipline, control, in juxtaposition with objects Dalibor Martinis and collages. These objects are educational tools and aids that point clearly to the Dejan Habicht time of their origin, the period of socialism and the common state of Yugoslavia; the Mladen Stilinović collages thematize classifications, visual structures, colour systems, and the like. Polonca Lovšin Sanja Iveković Most recently, his work was exhibited at the Gagosian Gallery, New York, Galeria Uroš Potočnik Luisa Strina, Sao paulo, Gallery for Contemporary Art in Leipzig, the ZKM Centre for Tomaž Furlan Art and Media in Karlsruhe. His work has been included in major exhibits and biennials such as those in Venice, São Paulo, Istanbul, Prague, Tirana, and at Manifesta 1.

COVER He is the recipient of many awards, grants, and residencies, including György Kepes SBD (smallbutdangers) Fellowship Grant for Advanced Studies and Transdisciplinary Research in Art, Cul- The wishing table 2011 ture and Technology (MIT, Boston, 2012–2013), the Jakopič Prize, Slovenia’s main Oil on canvas national award for visual art (2009), the Shrinking Cities grant (Leipzig, 2004), the 60 × 50 cm Franklin Furnace Grant for Performance Art (New York, 2001), the AIR_port resi-

INSIDE dential program Forum Stadtpark in Graz (2003), and an Austrian Cultural Forum Tadej Pogačar residency in London (2003). School’s Out (Bagat) 2008 SBD (smallbutdangers) are using media of drawing, painting, action and perfomance Collage to reflect complexity of contemporary media; they are projecting their own intimate 48.5 × 54.5 cm and poetic — sometimes also rough and provocative — understanding of everyday and put possibility of manipulation in the core of their interest. SBD are questioning visual regimes of our time. Red thread in their artistic praxis is visual play with no fixed rules. Found objects usually entitled “still life” or “natura morta” are not about a magic, hiding behind the surface.

It is about the surface, which makes reading possible.

SBD (smallbutdangers) does not mean anything: it is an intentionally misspelled and paraphrased expression “Small, but Mighty”, used in the context of the south- eastern Europe to denote a singular rebellious and powerful subject, capable of confronting and winning over an enemy who is usually much better consolidated. This expression, typical for the misfit-mentality of a Balkan man/woman, has become an operative term and a personal artistic brand of Mateja Rojc & Simon Hudolin – Salči, a couple from a tiny Slovenian village of Cerkno. Recently, their works were exhibited at P74 Gallery, Ljubljana, City Gallery Ljubljana, Brot Kunsthalle, Vienna, Škuc Gallery, Ljubljana. PABLO’S BIRTHDAY GALLERY NEW YORK

VOLTA 9 | BOOTH NUMBER A2

PABLO’S BIRTHDAY GALLERY

WEBSITE ECKART HAHN, BEAUTEOUSNESS, 2011 www.pablosbirthday.com The “painters tools” enter the stage luminously reflecting gold. A noble fur here plays E-MAIL the role of drop cloth, a luxurious rabbit pelt the kingly painters cloth. Not least of [email protected] which, the left behind shoes of the painter are themselves gold as well.

PHONE These pure and innocent objects have been besmirched during the process of paint- +1 212 462 2411 ing the word “Beauty” on in black paint on the wall. CELL +1 917 519 4100 The principle of using profane objects for a higher goal — which are getting used, dirtied or at the end even dissipated during the art process — is without question CONTACT NAMES Arne Zimmermann tolerated in art and is turned in this work upside down. Jimi Billingsley The attempt to achieve Beauty is juxtaposed through the painful consciousness that it can be lost during the way to achieve it.

EXHIBITED ARTISTS In this work the paradox is that the process and the result are turned around, in Thorsten Brinkmann contradistinction with our relationship to Beauty, which is solely oriented on the pure Henrik EIben result without questioning the price we have to pay for it. Frank Gerritz Eckart Hahn Eckart Hahn is a sculptor and painter who lives and works in Reutlingen, Germany. OTHER REPRESENTED ARTISTS Christian Eisenberger Karsten Konrad Kristian Kozul Marc Lueders

COVER Thorsten Brinkmann L’Alberling Quell (detail) 2013 C-print, mounted on aludibond wooden frame, mirogard museum glass Edition 7 + 2AP, 97 × 73 cm

INSIDE Eckart Hahn Beauteousness 2011 Mixed Media 500 × 140 × 200 cm

BACK Henrik Eiben Voyager (Blue) 2012 Fabric, Wood, Glass, Paint, Gypsum 148 × 98 × 16 cm GALLERY POULSEN COPENHAGEN

VOLTA 9 | BOOTH NUMBER C11

GALLERY POULSEN

WEBSITE In Debra Hampton’s art, beauty can be seen as both armor and weapon. In the dra- www.gallerypoulsen.com matic booth installation with historical references, Hampton poses critical questions E-MAIL about consumer culture and society’s continual focus on the body and our desire [email protected] for youthful perfection. She assembles her heroines from fragments of magazine

PHONE advertisements and other ephemeral material, creating powerful female figures as +45 3333 9396 contemporary warriors evolved from the absurdity and abundance of luxury items,

CELL beauty products, mechanical parts and coveted weapons. The questions and cri- +45 4015 5588 tiques inspired by her collages are relevant and ongoing as we navigate times of

CONTACT NAME economic hardship and one should think post-consumerism. However the quest Morten Poulsen for eternal youth, power and the promotion of unethical consumption is showing no signs of slowing down. Are we in a time of denial rather than facing the facts that there are more substantial concerns at stake? EXHIBITED ARTIST Debra Hampton (US) Hampton’s work spans various unconventional media and process to investigate issues of commodity, identity and appropriation. She is best known for mixed me- OTHER REPRESENTED ARTISTS Aaron Johnson (US) dia, mash-up collage portraits created from 1000s of magazine cutouts, splattered Alfred Steiner (US) ink, and intricately stippled shapes. Accompanying the portrait series are sculpted Barnaby Whitfield (US) objects such as a talisman and a full-size suit of armor. Daniel Davidson (US) Eric White (US) The armor reflects the warrior-like attitude of the portraits and offers a variety of Jade Townsend (US) conceptual interpretations that cross-relate. Selections from the Arms and Armor Jean-Pierre Roy (US) Collection at the Metropolitan Museum of Art as well as royal portraits including Mi Ju (US/KOR) Rainer Hosch (US/AUS) elaborate paintings of Queen Elizabeth were sources of inspiration in this series. Tom Sanford (US) The armor is made exclusively from post-waste, recycled plastic, which was ripped, cut, and assembled, in a similar fashion to the collages. Using discarded plastic is an important component in understanding the armor as it allowed Ms. Hampton to COVER address one of her utmost political and social concerns- the continued disregard Debra Hampton for environmental harm and unsustainable consumer choices. Royal Hot Mess 2012 The talisman is a unique, delicate piece which includes luxuriously valuable elements Magazine cut out, archival prints, like Swarovski crystals, environmentally and culturally significant objects such as adhesive, ink, and watercolor on bone and stone beads, and more personal items such as discarded Xacto blades Somerset paper 104 × 81.7 cm used to create the collages, cut-out backings as well as beads from a necklace worn by the artist’s deceased maternal grandmother. INSIDE Debra Hampton According to Elizabeth Grady, Debra Hampton’s ”women are clearly capable of vio- Emblems of Empire (Diptych) lence, but whether that violence is practiced offensively or defensively is left uncer- 2011 Magazine cut out, archival print, tain. The theme is also picked up in her Suits of Armor sculpture. Sharing an iconic adhesive, and ink on paper presence with the collages, they seem at once to be relics from some uncertain mounted on panel past, and a necessary tool for embracing a dangerous future. Like her figures, the 178 × 229 cm suits of armor stand ready for action.

Conversely, like the armor, the figures in the collages seem strangely uninhabited by personalities, their blank eyes rendering the faces mask-like. Thus they can hide the wearer, empower them, or allow them to willingly adopt an alternate identity. Are we meant to imagine ourselves wearing these masks, hybrid but capable creatures bravely facing the future?”

Debra Hampton is included in the Museum of Modern Art Permanent Drawing Col- lection, NY, the Frederick R. Weisman Art Foundation, CA and the Trierenberg Hold- ing AG Corporate Art Collection, Austria. PRO GALLERY (PONCE ROBLES RUIZ) MADRID VOLTA 9 | BOOTH NUMBER C17

PRO GALLERY (PONCE ROBLES RUIZ)

WEBSITE Almudena Lobera (b. 1984, Spain, lives and works in Madrid) www.progallery.es Almudena Lobera’s work delves deeply into the notion that the image is not always E-MAIL visible or accessible in nature. She explores its different states as part of the ex- [email protected] perience of perception within an artistic context as she reflects on different “ways

PHONE of seeing”. The unseen, the invisible, the unknown, mental processes, the virtual, +34 420 3889 the inaccessible are all present; everything that lacks visuality and materiality takes

CELL shape in her recent works. She gives expression to her ideas using different ma- +34 61 975 7100 terials: installations, video-installations, drawings, photographs, objects or mixed

CONTACT NAMES techniques. Space and action are also important for the artist, who considers the Raquel Ponce work-viewer experience key. José Robles Eva Ruiz Raúl Díaz Reyes (b. 1977, Spain, lives and work between Madrid and Sao Paulo) A sense of humor, irony, cynicism and melancholy are all present in the way he works with drawing and painting. Raúl Díaz Reyes highly personal universe is built on the EXHIBITED ARTISTS foundations of appropriated references culled from various sources — symbolism, Almudena Lobera underground comic, science-fiction film or the history of art — which he uses to Raúl Díaz Reyes focus his attention on specific contexts, like outsider art or the study of paranormal Alex Bodea phenomena, from a marginal angle at odds with the hegemonic.

Alex Bodea (1981, Romania, lives and works in Berlin) COVER Alex Bodea pursued an early interest in drawing and writing. One experience could Almudena Lobera have helped in stimulating such an interest: the few attempts of imitating writing, Superficial reading 2013 while still an illiterate child. The result was a (now lost) collection of ‘homemade Mixed Media hieroglyphs’ and the realization that writing and drawing are one. Bodea simultane- Variable dimensions ously graduated from the University of Agricultural Science Cluj while enrolling in

INSIDE the painting department of the University of Arts and Design Cluj, in 2007. It was in Raúl Díaz Reyes the last year of bachelor arts studies (2009) that drawing and writing became again Sandra Cinto’s Folder reunited as the main focus. Since then, Bodea continuously explores the complex 2011 / 2013 relation between words, images and signs. The acute desire is to test what draw- Composition of drawings on paper and books ing can do as a tool of prospecting reality, and how words can help in building one. Variable dimensions

BACK Alex Bodea Vision notes 2013 Furniture and drawings on paper Variable dimensions PURDY HICKS GALLERY LONDON

VOLTA 9 | BOOTH NUMBER A22

PURDY HICKS GALLERY

WEBSITE Bettina von Zwehl continues to explore the form of photographic portraits. Her www.purdyhicks.com early works were often defined by the exacting conditions she imposed on her sub- E-MAIL jects. Recently she has reprised the tradition of the painted portrait miniature and [email protected] its lesser-known 18th Century sub-genre, the eye miniature, inspired while Artist

PHONE in Residence at the Victoria & Albert Museum, London. Work emerging during that +44 207 401 9229 time presented significant departures for the artist, particularly in that her use of

CELL flash made way for a new appreciation of north facing natural light. +44 778 732 1556 Each image in Made up Love song 2011 (a series of 34 miniature profiles) is charac- CONTACT NAME terized by certain fixed formal elements, so that on the surface each image is strik- Rebecca Hicks ingly similar to the next — yet this project marked an important shift in von Zwehl’s practice; a profound and engaged relationship with one sitter. Working with Sophia, a Gallery Assistant at the V & A, she photographed her in the same pose, at the same EXHIBITED ARTIST Bettina von Zwehl location two or three times a week. An ongoing process of repetition and refinement, each session would be inflected with a slightly different expression to the last. The OTHER REPRESENTED ARTISTS Chan-Hyo Bae work was not an attempt to reveal the ‘truth’ of the sitter – more a contemplation Jonathan Delafield Cook of her being in the moment, a celebration of the here and now. Susan Derges Ralph Fleck In Ruby’s Rom 2013, von Zwehl’s new approach combines a sense of lightness and Tom Hunter spontaneity with the texture, poise and stillness of her previous images. Her meth- Andrzej Jackowski odology also reveals a deepening interest in the politics and the possibilities around Sandra Kantanen the dialogue between artist, sitter and viewer Claire Kerr Alice Maher Bettina von Zwehl (b. 1971, Munich) lives and works in London, where she studied Jorma Puranen photography at the Royal College of Art. Her work is held in numerous public collections, including The Solomon R. Guggenheim Museum New York; The Victoria & Albert Museum, London; and The Rubell Family Collection Miami. COVER Bettina von Zwehl Made up love song part 10 2011 C-type Image diameter 5.8 cm, framed size 16.5 × 16.5 cm

INSIDE Bettina von Zwehl Made up love song part 7 2011 C-type Image diameter 5.8 cm, framed size 16.5 × 16.5 cm

BACK Bettina von Zwehl Made up love song part 34 2011 C-type Image diameter 5.8 cm, framed size 16.5 × 16.5 cm DAVID RISLEY GALLERY COPENHAGEN

VOLTA 9 | BOOTH NUMBER A6

DAVID RISLEY GALLERY

WEBSITE www.davidrisleygallery.com

E-MAIL [email protected]

PHONE +45 32 20 38 10

CELL +45 26 16 36 71

CONTACT NAMES David Risley Christian Foghmar

EXHIBITED ARTISTS Helen Frik Michael Simpson Alex DaCorte Dexter Dalwood Robert McNally

OTHER REPRESENTED ARTISTS James Aldridge Anna Bjerger Graham Dolphin James Hyde Thomas Hylander Henry Krokatsis Charlie Roberts Charlie Woolley

COVER Dexter Dalwood Resist 2013 Oil on canvas 150 × 207 cm

INSIDE Michael Simpson The Leper Squint No. 10 2013 Oil on canvas 152 × 92 cm TYLER ROLLINS FINE ART NEW YORK

VOLTA 9 | BOOTH NUMBER C4

TYLER ROLLINS FINE ART

WEBSITE Sopheap Pich (b. 1971 in Battambang, Cambodia; lives and works in Phnom Penh, www.trfineart.com Cambodia) is widely considered to be Cambodia’s most internationally prominent E-MAIL contemporary artist. His work has been featured in numerous international museum [email protected] exhibitions and biennials in Asia, Europe, Australia, and the United States. He par-

PHONE ticipated in Documenta (13) last year with an installation of his grid-like Wall Reliefs, +1 212 229 9100 and he is currently featured in a solo exhibition at the Metropolitan Museum of Art,

CELL New York, entitled Cambodian Rattan: The Sculptures of Sopheap Pich (through +1 570 401 2313 July 7, 2013). Working primarily with thin strips of rattan and bamboo, Pich creates

CONTACT NAMES sculptural forms that address issues of time, memory, and the body, often relating Tyler Rollins to Cambodia’s history, particularly with regard to his recollections of life during the Lee Smith Khmer Rouge period (1975-79), and its culture, both its ancient traditions and con- Molly Nutt temporary struggles. Pich’s work stands out for its subtlety and power, combining refinement of form with a visceral, emotive force. After receiving his BFA and MFA in the United States, Pich returned to Cambodia in 2002, where he began working EXHIBITED ARTISTS Patricia Eustaquio with local materials – bamboo, rattan, burlap from rice bags, beeswax and earth Sopheap Pich pigments gathered from around Cambodia – to make sculptural forms that reference social and political conditions in Cambodia. His childhood experiences during OTHER REPRESENTED ARTISTS Arahmaiani the genocidal conditions of late 1970s Cambodia had a lasting impact on his work, Tiffany Chung informing its themes of survival, family, and basic human togetherness. FX Harsono Tracey Moffatt Patricia Eustaquio (b. 1977 in the Philippines; lives and works in Manila, the Philip- Manuel Ocampo pines) is one of the leading Filipino artists of her generation, noted for her work in a Araya Rasdjarmrearnsook wide variety of media, including painting, sculpture, and installation. Informed by the Pinaree Sanpitak Jakkai Siributr vocabulary of craft and design, her work explores the vanity of artistic and cultural Agus Suwage constructs, referencing the histories and processes related to different materials by Yee I-Lann crafting highly decorative objects and then excising various elements, thereby creating a stark contrast between what is present what is absent. Eustaquio’s first solo exhibition in the United States will take place at Tyler Rollins Fine Art from Septem- COVER ber 12 – October 19, 2013. She will present paintings and sculptures that are part Patricia Eustaquio of a new body of work developed for her upcoming solo exhibition at the Jorge B. Untitled 2013 Vargas Museum in Manila, the Philippines (July 23 – August 24, 2013). Oil on canvas Tyler Rollins Fine Art focuses primarily on solo exhibitions by leading contempo- 152.5 × 81 cm / 60 × 32 in rary artists based in seven countries in the Southeast Asia region, in addition to the INSIDE United States and Australia. It is the only gallery in the United States with a primary Sopheap Pich Lichens and Moss (detail) focus on cutting edge contemporary art from throughout Southeast Asia, and indeed 2012 one of the few outside of Asia. We work closely with artists over the long term, with bamboo, rattan, wire, burlap, a particular emphasis on developing museum exhibitions and institutional projects. plastics, beeswax, damar resin, earth pigment, charcoal, oil paint 120 × 120 × 8 cm / 47 × 47 × 3 in RUBICON PROJECTS DUBLIN

VOLTA 9 | BOOTH NUMBER B14

RUBICON PROJECTS

WEBSITE Patrick Michael Fitzgerald & Liam O’Callaghan both engage with elements of the ev- www.rubicongallery.ie eryday; they each address objects, experiences and memories from their immediate E-MAIL environment that might be regarded as inconsequential. These artists independently [email protected] highlight the transgressive and dynamic aspirations of art, adapting conventional

PHONE objects and sensations to create interventions with the familiar. + 353 1 670 8055 Patrick Michael Fitzgerald’s work is influenced by the phenomenological, he consid- CELL ers small details of his day-to-day life: his routines, relationships and surroundings, +353 86 811 4271 as source for his painting and drawing. He uses ordinary materials; colored pencil, +353 86 239 3819 ink, oil and collage and yet the images are taut and fresh, brimming with awareness CONTACT NAMES that the act of seeing is a construction, at once fluid and disrupted. “The everyday Josephine Kelliher Cate Kelliher can have a blind weight to it; the challenge is how to open it up, break it open even. The marvelous is always close at hand and often overlooked” he states that “objects in themselves tend to get lost in the world of things, the image tends to get lost in EXHIBITED ARTISTS itself. This getting lost in itself is what interests me though it is dependent on the Patrick Michael Fitzgerald physical qualities of painting.” Liam O’Callaghan Liam O’Callaghan is an alchemist in how he redefines and transforms things we are OTHER REPRESENTED ARTISTS Stephen Brandes accustomed to seeing. His images are assemblages of discarded workaday objects; Maud Cotter the individual elements reconfigured and manipulated to create new meanings and Blaise Drummond entirely new experiences. O’Callaghan’s sculptures, photographs and sound pieces Anita Groener expose the methods or mechanics of their construction, yet within that apparent Marie Hanlon Martin Healy disorder, the aesthetic of a unique object emerges. His process is lead by neces- Ronnie Hughes sity, the function of each component of his installations is clear, and no attempt is Eithne Jordan made to hide the methods and materials used to make the work operate the way Nick Miller O’Callaghan wants. His work embraces fragility, failures and obsolescence with Tom Molloy optimism, humour and an acknowledgement of the inherent beauty of the ordinary.

Patrick Michael Fitzgerald (b. 1965, Ireland) is based in Spain since 1990. Educated COVER at Chelsea School of Art London where he gained his BA, 1987 & MA, 1988 in Fine Patrick Michael Fitzgerald Art Painting. Recent solo shows: Drawings, Guest Room, Brussels, 2010; Bihotz, September / Gathering (detail) Rubicon Gallery Dublin, 2010; Paintings and Drawings, Centre Culturel Irlandais, 2012 Oil and Collage on Linen Paris, 2008. Selected group shows: O Brave New World, Rubicon Projects Brus- 160 × 180 cm sels & VIII Premio Nacional de Pintura Parlamento de la Rioja, Logroño (La Rioja),

INSIDE Spain 2013; Twenty, Irish Museum of Modern Art, Dublin 2011; Informal Relations, Liam O’Callaghan Indianapolis Museum Of Contemporary Art (curator Scott Grow), USA, 2010; Alpha, From the series Companion Drei Raum für Gegenwartskunst Cologne, 2010. Structures 2013 Liam O’Callaghan (b. 1968, Ireland) is based in Dublin; he studied at Dun Laoghaire Hahnemühle Fine Art paper, Institute of Art, Design and Technology. Recent solo shows: Bit Symphony, Temple archival pigment print, UV sprayed Bar Gallery Dublin 2011; RascheRipken Gallery Berlin, 2009; Made to Make do, (L-R) 60.5 × 40.5 cm / 40.5 × 27 cm / 40.5 × 27 cm Rubicon Gallery Dublin, 2008; Royal Hibernian Academy Dublin, 2006; I’m a Suc- cess, Belfry Gallery Aalst, 2002. Selected group shows: O Brave New World, Ru- bicon Projects Brussels, 2013; Terrible Beauty, Dublin Contemporary 2011; Listen with your Eyes, MoranoKiang Gallery Los Angeles, 2011; Twenty, Irish Museum of Modern Art Dublin & Redefine:Readymade, Kunstverein Schwerin, 2011; Holding Together, Douglas Hyde Gallery Dublin & Reduxdelux-Small Sculptures, Parkhaus Project Space Berlin, 2010; Zombie Kunsthalle, The Talent Agency Berlin, 2009. EDUARDO SECCI CONTEMPORARY FLORENCE VOLTA 9 | BOOTH NUMBER C1

EDUARDO SECCI CONTEMPORARY

WEBSITE Eduardo Secci Contemporary is a dynamic young enterprise operating in the art www.eduardosecci.com world with the fundamental mission of promoting young artists that share a com- E-MAIL mon research expressed through different media; their work pivots on the study of [email protected] human existence, on the quest for the self and for the other. Roberto Pietrosanti, a

PHONE painter and sculptor of sophisticated lines as well as a refined intellectual, is one of +39 055 0517157 the leading artists of Eduardo Secci Contemporary.

CELL Despite his monochromatic rigour Pietrosanti succeeds in immediately setting up a +39 331 1400702 direct rapport with the architecture that he addresses. From environment to instal- CONTACT NAMES lation, he integrates the object he acts upon with consummate mastery, bringing it Eduardo Secci to life beyond the space and within it, introducing different planes, altering colour Ottavia Sartini and dimensions. In a fractal vision of breadth Pietrosanti goes beyond the interior space to which the works of the Masters are substantially destined. Shining exam-

EXHIBITED ARTIST ples of this are the urban installation set at the top of the steps of the Museo dell’ Roberto Pietrosanti Ara Pacis, designed by the architect Richard Meyer, the delicate operation in the interior of the Church of San Pietro alla Carità in Tivoli and the huge bronze sphere OTHER REPRESENTED ARTISTS Paolo Grassino currently in the permanent collection of the IVAM of Valencia. Francesco Sena Bernardi Roig Before the eyes of the observer, layered and coloured wood and paper transform Mrdjan Balic the containing dimensions of walls, floors and ceilings, which morph into new and unexpected physical shapes, deforming the objects they come in contact with. The secret lies in the theatrical use of ancient materials to create futuristic scenes that COVER are inserted within the classic or the contemporary, distorting and remoulding both Roberto Pietrosanti the space itself and its consistency. This project, on the other hand, is conceived as Sphere (detail) an itinerant installation which will be taken to the Fiac 2013 in Paris and proposed 2012 Patinated copper in London, Berlin and New York as well as in one of the largest open-air spaces in Diameter 60 cm Florence: Piazza Santa Croce. Between 2012 and the early months of 2013, Eduardo

INSIDE Secci Contemporary has presented the works of Pietrosanti to the greater public on Roberto Pietrosanti the occasion of Art Basel Miami, the Armory Show New York and ArteFiera Bologna, Untitled (white) achieving outstanding critical and public acclaim. 2013 Mixed media on plywood 125 × 110 cm

BACK Roberto Pietrosanti Untitled (Red) 2006 Mixed media on plywood 125 × 110 cm GALLERY SKAPE SEOUL

VOLTA 9 | BOOTH NUMBER C24

GALLERY SKAPE

WEBSITE Lived Space (Espace Vecu) of Myeongbeom Kim and Yujung Chang, Gallery Skape www.skape.co.kr Working principally on photography, Yujung Chang raises epistemological questions E-MAIL about perceiving spaces, as well as questions about the authenticity. Her creation [email protected] starts from an analysis of the natural scenery that we consider as normal. To the PHONE spaces and circumstances that seem clear and rational in our eyes, Chang interferes, +82 2 747 4675 creating illusions. Chang, who likes the kind of scenery which seems two mirrors CELL facing each other: endless expansion of space that seems to infinitely stretch out of +82 10 5322 1047 walls, says that she was “questioning and transforming the natural scenery” in her CONTACT NAMES own way to show significance and structure of existing scenery. The images of dis- Kyung Ae Sohn oriented position, direction of gravity, scales transform the scenes, which our eyes Yunkyong Kim are accustomed to into connections of irrationality and heterogeneity. The space and objects, which perceived by the artist are represented photographically through

EXHIBITED ARTISTS the process of mise-en-scene and the printed image drew sometimes by the artist. Myeongbeom Kim // Yujung Chang Myeongbeom Kim’s work disturbs generally accepted figurative orders and gives OTHER REPRESENTED ARTISTS a rise to strange sentiments and perceptions. At first glance, one can easily trace Hyungkoo Lee the resemblance of objects, but we should not ignore the process of inferring oc- Jihyun Jung Jungwook Kim curred in the moment when different objects meet together. The hybridization of Kyuchul Ahn a violin and a tennis racket or of a crutch and a deer hoof allows the sharing and Sodam Lim intercourse of the memories and emotions contained in each object. These woven Suejin Chung objects extend the potential of mere ready-made objects. Kim’s works push the lim- Sungsoo Kim Youngho Yoo its set by unity and clarity of daily objects and enhance the flexible metamorphosis of the contexts of the real. In his installation works that deconstruct the context of a daily life by re-displaying objects in the space, the notion of time seems to work

COVER as the main factor. Depending on each piece, he brings out time into the space or Myeongbeom Kim even transcends the time. Untitled 2010 Rope Dimension variable

INSIDE Yujung Chang Eclipses (Installation view) 2012 Archival print on film, bulb Dimension variable

BACK Myeongbeom Kim Untitled 2011 Deer taxidermy, branch 130 × 130 × 130 cm SLAG GALLERY BROOKLYN, NY

VOLTA 9 | BOOTH NUMBER B15

SLAG GALLERY

WEBSITE TEMPORAL STRATA www.slaggallery.com Working in a range of mixed media practices and to meta-expressive ends now so- E-MAIL ciological, now environmental, now political, the artists featured by Brooklyn-based [email protected] Slag Gallery — Dumitru Gorzo, Hector Dio Mendoza, and Naomi Safran-Hon — find

PHONE common conceptual ground in notions of intersecting, overlapping and materially +1 212 967 9818 layered chronologies.

CELL Painting atop large prints of color, black and white or ambered photographs of peo- +1 917 977 1848 ple in either definitively urban or patently rural settings, Gorzo deploys bold colors CONTACT NAME and energetically sure, candid brushstrokes to create stratified picture planes in Irina Protopopescu which figures portrayed photographically are partially obscured or reconfigured by abstractly painted interlopers, and in which mixed personal nostalgias — at times geographically immediate, at times temporally distant, at times allowing the personal EXHIBITED ARTISTS Dumitru Gorzo to give way to the societal — feed into and off of one another’s images in uncom- Hector Dionicio Mendoza promisingly vivacious, profoundly revivified compositions. Naomi Safran-Hon Bound to arrayed geographical localities as a result of incorporating found objects OTHER REPRESENTED ARTISTS into the mix, Mendoza’s sculptures tend ultimately toward the geological. Like the Avital Burg Ioana Joa readily legible chapters of time and terrestrial torque in metamorphic rock, the vi- Jason Clay Lewis sual divisibilities and material morphings in Mendoza’s creations speak to change Serkan Ozkaya over time, environmental and technological alike, and to how one’s sense of self, Molly Stevens substance and place might evolve and alter therewith. Mircea Suciu Toma Sergiu Sculpturally photographic and photographically sculptural, immediately curious in Shirley Wegner their delicate muscularity, the works of Safran-Hon are so rich in material and conceptual relief that they appear to cleave away from the dimensions that bind them, or from the frameworks that compositionally bound them. Incorporating deeply COVER tactile photographs of dilapidated homes, peeling walls and domestic desuetude Dumitru Gorzo Gulps, Hiccups and other Mores in Wadi Salib, in her hometown Haifa, with the rugged medium of cement and the (detail) fragile materiality of lace, the Brooklyn-based artist depicts structural spaces that 2013 quake with processes of destruction — that both suffer under the forces of conflict Archival inkjet print and acrylic on and heave back against them, much like the broader political context imbuing these canvas 60 × 42 in works with historical relevance. — Paul D’Agostino INSIDE Naomi Safran-Hon Wadi Salib: Interior Garden (Hannah) (detail) 2013 Archival ink jet print, cement, lace and acrylic on canvas 40 × 72 in

BACK Hector Dionicio Mendoza BUDDHA DOME (detail) 2013 Mixed media: plastic found objects, rust, acrylic paint, spray paint, epoxy, glass, and screws 42 × 25 × 20 in SMAC ART GALLERY STELLENBOSCH / CAPE TOWN

VOLTA 9 | BOOTH NUMBER C12

SMAC ART GALLERY

WEBSITE “Show me the Avant Garde and I’ll show you a good time” says Ed Young. www.smacgallery.com With an emphasis on conceptualism, Ed Young is not afraid to take risks, expressed E-MAIL in his various irreverent and — at times deliberately — politically incorrect pieces. [email protected] Threading throughout the work is a biting sense of humour, which becomes all the PHONE more disarming when coupled with a cynical seriousness. Like a Shakespearian fool, +27 21 887 3607 (Stellenbosch) +27 21 422 5100 (Cape Town) Young ultimately brings focus to major concerns through an unsophisticated wit.

CELL Refraining from ‘traditional’ media, Young’s practice is challenging and varied. This +27 73 311 5832 includes video, unorthodox performances, traditional African beadwork, hyper-real

CONTACT NAME sculpture and text-based works. Emma Vandermerwe Previous shows include ¡Alptraum! in Berlin, Los Angeles and Cape Town in 2011; 1910 – 2010: From Pierneef to Gugulective at the IZIKO South African National Gallery in 2010; Grin & Bear It at the Lewis Glucksman Gallery, Cork in 2009; EXHIBITED ARTIST Ed Young Hollywood Remix at the Hayward Gallery in London, 2008; and The Art of Failure at Kunsthaus Baselland, Basel in 2007, as well as the T1 – Triennale Turin at Castello OTHER REPRESENTED ARTISTS Abrie Fourie di Rivoli d’arte Contemporanea di Torino, Turin, Italy in 2005. Young is currently Anton Karstel working towards a solo exhibition the SMAC Art Gallery in Stellenbosch in 2013. Barend de Wet This will be followed by an AiR Rote Fabrik residency in Zurich facilitated by Pro Georgina Gratrix Helvetia. Jake Aikman Johann Louw Operating since 2006, SMAC Art Gallery has firmly established itself by presenting Richard Long critically acknowledged exhibitions, accompanied by catalogues, books and other Roger Ballen Willem Boshoff publications. The gallery’s program is focused on promoting and representing the Uwe Wittwer careers of established and younger, upcoming South African artists. The gallery also believes in encouraging and supporting international dialogue and exchange, by facilitating collaborative ventures with international artists, galleries and institutions. COVER Ed Young In 2011, SMAC opened a second gallery in central Cape Town, increasing its scope My Gallerist Made Me Do It and flexibility to organize and host diverse projects. 2012 Nail, Socks, Silicone, Paint and Hair 79 cm high

INSIDE Ed Young My Other Ride is Your Mom 2013 Wall Painting Dimensions variable

BACK Ed Young Wet Pussy 2011 Glitter on Paper 100 × 87 cm, Edition of 5 SPECTA COPENHAGEN

VOLTA 9 | BOOTH NUMBER B13

SPECTA

WEBSITE SPECTA presents “HABITAT”. Eva Steen Christensen (DK), Peter Holst Henckel www.specta.dk (DK) and Andreas Schulenburg (D/DK) introduce works which focus on the human E-MAIL habitat — the physical environment that surrounds, influences and is utilized by [email protected] humans. [email protected] The human habitat holds — unlike the habitat of other species — a psychological, PHONE +45 3313 0123 emotional dimension which is essential for our well-being and definition of us as individuals. CELL +45 2963 5594 Eva Steen Christensen’s works refer in its imagery directly to something which we +45 2041 6733 recognize from home; bricks — made of paper with gold thread, and a “house” — where the contours of a familiar building typology is repeated, mirrored and rotated CONTACT NAMES so that the simple form unfolds in a complex web of houses. Christensen breaks Gitte Johannesen our usual perception of things we know. Else Johannesen Peter Holst Henckel introduces a series of new photographic works where the motifs point to the habitat in a more abstract way. Henckel depicts the duality of EXHIBITED ARTISTS home as a safe, well defined existential framework, which eventually becomes too Eva Steen Christensen limiting and does not fit anymore. The habitat holds the element of change, a con- Peter Holst Henckel Andreas Schulenburg dition which is at the same time both desirable and disturbing.

OTHER REPRESENTED ARTISTS In the felt works by Andreas Schulenburg this sense of inevitable change as a dis- Thordis Adalsteinsdottir (IS/USA) turbing condition is clear as Schulenburg depicts a well known image from the ruins Lars Arrhenius (SE) of the twin towers as a motif for a tourist platter. Undoubtedly this image represents Frances Goodman (ZA) Ellen Hyllemose (DK) a common sense of a moment where our definition of habitat undertook a significant Jette Hye Jin Mortensen (KOR/DK) change. On a more individual perspective Schulenburg also deals with the home as Nina Saunders (DK/UK) a constraining condition as it is outspoken in his felted remoulade where all contents Daniel Svarre (DK) are squeezed out of the tube and spells BrainDrain. David Svensson (SE) Svend-Allan Sørensen (DK) Habitat offers a view on the human environment, with some of its complex corners Camilla Thorup (DK) of challenges and constraints.

COVER Eva Steen Christensen Reversed Houses 2012 Iron 60 × 35 × 35 cm

INSIDE (LEFT) Andreas Schulenburg BrainDrain 2013 Felt, polystyrene, mdf app. 35 × 210 × 70 cm

INSIDE (RIGHT) Peter Holst Henckel Double Blind #3 2013 lambda photography, ed. 3+1 ap 104 × 72 cm

BACK Peter Holst Henckel Installation view, Specta at VOLTA7 2011 STENE PROJECTS STOCKHOLM

VOLTA 9 | BOOTH NUMBER A4

STENE PROJECTS

WEBSITE THE NOVEL OF COLONIAL POWER AND AESTHETICS www.steneprojects.com In the end everything becomes a story. And if it is told over and over that story be- E-MAIL comes true. For centuries the Western world sought to conquer the body and mind [email protected] of all lands and its peoples. Methodically all of it was categorized, explained and

PHONE mythologized. In doing so The Great Story of the World was created. It still echoes +46 8 527 891 20 today, whenever cultures clash or nature and man come head-to-head.

CELL At the heart of this story, as in any story, is fiction. It is to a great extent a fantasy +46 7 689 864 95 fueled by scientific evidence. A fantasy governed by the morals, taste and beliefs CONTACT NAMES of the times. By re-examining these images the exhibition wants to create a new Jan Stene story – a novel of colonial power and aesthetics. Hedwig Edsforth

SOFIE PROOS (B. 1974, SWE)

EXHIBITED ARTISTS These portraits look so familiar. It’s the kind of pictures we’ve seen at the national Johannes Heldén (SWE) galleries in Stockholm, London, Paris and Berlin. No matter where in Europe it was EvaMarie Lindahl (SWE) produced, the style is the same: a crisp face looking at you in the centre of the Sofie Proos (SWE) image. It is the gaze of Enlightenment. OTHER REPRESENTED ARTISTS Filippa Barkman (SWE) But what we’re really looking at never existed. We are looking at ghosts for these Matthew Benedict (USA) images are entirely fictitious, created in the mind of Proos. Usually portraits like these John E Franzén (SWE) are clear, like photographs painted in oil, but at the hand of Proos they are diffused Fredrik Hofwander (SWE) watercolours. It is Reason turned into Romanticism. Jone Kvie (NOR) Sylvan Lionni (USA) Glen Rubsamen (USA) EVAMARIE LINDAHL (B. 1976, SWE) Suzannah Sinclair (USA) It is hard to believe that people exhibited people little over a hundred years ago. But Luke Stettner (USA) they did. In 1904, Samuel P. Verner bought a pygmy to be shown at the St. Louis Per Wizén (SWE) fair. Two years earlier, geishas were displayed in Copenhagen. And today? People are still put on display. As late as 2005 it happened in Augsburg’s Zoo, and in 2006 in Kolmården’s Wildlife Park. COVER EvaMarie Lindahl Lindahl has gone through the original articles, letters, posters, photographs and On Stage (detail) re-creates them by hand in graphite. It is a slow and painstaking process to under- 2012 Graphite on paper stand how thirst for knowledge becomes inhumane. 130 × 180 cm

INSIDE JOHANNES HELDÉN (B. 1978, SWE) Johannes Heldén In 1735 the Swedish botanist Carl von Linné published his work Systema Naturae, First Contact in which he categorizes all plants known in nature into a cohesive system. His tools 2011 were words and images in a book. These are the same tools that Heldén uses to Mixed media 35 × 25 × 5 cm take nature apart.

BACK (LEFT) Heldén lets nature spring from books, and the books become their own ecosystem. Sofie Proos In his texts the words are disjointed to create new meanings. It is not anarchy, but Setting sail an understanding that nature can not be limited to one system alone. 2013 Oil on canvas (text by Anders Karnell) 40 × 50 cm

BACK (RIGHT) Sofie Proos The painter 2013 Oil on canvas 26 × 23 cm JIRI SVESTKA GALLERY PRAGUE / BERLIN

VOLTA 9 | BOOTH NUMBER A14

JIRI SVESTKA GALLERY

WEBSITE The Jiri Svestka Gallery was established in 1995 by the art historian and curator Jiri www.jirisvestka.com Svestka. Located in Prague, the gallery is acting in the developing regions of Central E-MAIL and Eastern Europe and does pioneering work on this field. Besides exhibitions, [email protected] the gallery also organizes performances, lectures and discussions with artists. This

PHONE program contributes to the development of art and the art market in this region. +420 222 311 092 (Prague) Therefore the profile of the gallery is not only concentrated on young artists, but +49 30 3472 7642 (Berlin) also, especially in the case of foreign artists, on the established generation. CELL In September 2009 a new branch, Jiri Svestka Berlin, which is located in the thriv- +420 602 367 601 (Prague) +49 152 2488 2419 (Berlin) ing gallery district on Potsdamer Strasse was opened. The mission of Jiri Svestka Gallery and Jiri Svestka Berlin is to introduce young Czech, Slovak and East European CONTACT NAMES Mikulas Nevan artists to the international audience by picking up new discoveries as well as historic Orsolya Abraham positions from the beginning of the 20th century. Veronika Chvojkova

EXHIBITED ARTISTS Andrej Dubravsky Petra Feriancova Jiri Franta / David Böhm Kristof Kintera Katarina Poliacikova Jan van der Pol Miroslav Tichy

OTHER REPRESENTED ARTISTS Stefan à Wengen Adela Babanova Rafal Bujnowski Tony Cragg Dan Graham Jitka Hanzlova Maki Na Kamura Ioana Nemes Marketa Othova Jan Vytiska

COVER Andrej Dubravsky Olovrant (In the Forest) (detail) 2013 Acrylic on canvas 110 × 80 cm

INSIDE Jiri Franta / David Böhm Untitled 2012 Pencil on paper 272 × 415 cm

BACK Kristof Kintera Bad News 2011 Sound track, movement mechanism, microchip controller, drum, horns, radio, clothes, etc. 120 × 150 × 250 cm approx. TEAPOT COLOGNE

VOLTA 9 | BOOTH NUMBER A15

TEAPOT

WEBSITE TEAPOT presents a two-person show by Berlin based artist Susanne Rottenbacher www.weareteapot.com and Cologne based Polish artist Christian Keinstar plus one wall with small paint- E-MAIL ings by German painter Tina Schwarz on the outer wall. [email protected] Susanne Rottenbacher works with light. Her work is based on LED structures PHONE combined with wire, acrylic glass and acrylic paint. Her static sculptures interact +49 221 789 40398 with the surrounding light and are often specifically planned for certain places. CELL +49 177 580 9048 Christian Keinstar uses industrial materials like lead, metal or power cable for his sculptural work. At VOLTA he will show framed lead works and a lead carpet CONTACT NAMES Lutz Göbelsmann everybody can leave his footsteps on at the booth. Petra Martinetz Tina Schwarz is a storyteller — but you will never get the whole story: Abstract patterns and empty canvas interacts with figurative painting.

EXHIBITED ARTISTS Christian Keinstar Susanne Rottenbacher Tina Schwarz

OTHER REPRESENTED ARTISTS Oliver Czarnetta Zhivago Duncan Christian Eisenberger Amir Fattal Helge Hommes Robert Knoke Thomas Palme Rob Scholte Ward Shelley René Stessl

COVER Christian Keinstar Secondary Virgin 2013 Installation view at Christus Church, Cologne

INSIDE Susanne Rottenbacher Freiheit 2012 Installation view at Christus Church, Cologne

BACK Tina Schwarz Kröne dich selbst, sonst krönt dich keiner 2013 Oil on canvas 100 × 80 cm TEZUKAYAMA GALLERY OSAKA

VOLTA 9 | BOOTH NUMBER C31

TEZUKAYAMA GALLERY

WEBSITE Satoru Tamura (b. 1972, Ibaraki, Japan) is a multimedia artist who creates sculptures, www.tezukayama-g.com kinetic arts, video works, and installations. His works are based on a theme:”The E-MAIL destruction of meaning”. He seeks to create artworks of pure idea detached of any [email protected] phenomenological background. The destruction takes place lightly, never gravely.

PHONE It may even bring laughter. In his artworks, he constructively destroys meaning or +81 6 6534 3993 creates a situation where no meanings attach. He tries to stay liberated from mean-

CELL ing, establishment, or purpose of material and form. Perhaps he has doubts about +81 90 3283 2232 them. For example, 2kg Cow (2004) from his Weight sculpture series is a sculpture (Ryoichi Matsuo) of a 2000g cow. Its weight is adjusted to its title. The direct relationship between title +81 80 3807 9669 and artwork is aggressively resolved by adjusting the sculpture’s weight to 2000g. (Kazuhide Miyashita) +81 80 3817 3187 This allows the artist to circumvent meaning altogether, and in this case the concept (Chie Uchida) of weighing an object, or the meaning of the word cow or the number 2000. Point of

CONTACT NAMES contact series shows us intermittent blinks of light bulbs but the “point of contact” Ryoichi Matsuo itself just causes the phenomenon. In the Machine series, essentially the machine Kazuhide Miyashita consists of motors, gears, and chains that all have their functions but the machine Chie Uchida itself does not. The chains just rotate making the shape of their title (heart,star). Perhaps the meaning, establishment, and purpose which stick to things are our common measurement to connect ourselves with a society. They melt into our mind EXHIBITED ARTIST Satoru Tamura before we know it. Tamura intentionally destroys or ignores meaning in his works. Destroying or escaping form, its meaning, establishment, and purpose, and presents OTHER REPRESENTED ARTISTS the object stripped of meaning. When its meaning, establishment, and purpose are Akiko Sumiyoshi Kaoru Soeno ignored or lost, the object really will only be “the object”. “What to make” — thought Yoshiyuki Ooe to be one of the most important decisions of an artist — is decided simply each Hiroko Uehara time. However, maximum caution is given when making or presenting it only as it is. Hirohito Nomoto Yasuka Goto Tomohiro Kato Misato Kurimune Mariko Noda Yuuki Tsukiyama

COVER Satoru Tamura Heart machine #3 2012 Steel, chain, bearing, motor and others 29 × 15 × 30 cm

INSIDE Satoru Tamura Point of Contact for Nagashima 2-4-20 2011 Mixed media Size variable (Courtesy of AIRS; Photo by Motoyuki Shitamichi)

BACK Satoru Tamura 2 kg Cow / Weight sculpture 2004 Casted cow, digital scale, aluminum and others 35 × 25 × 32 cm TINT GALLERY THESSALONIKI

VOLTA 9 | BOOTH NUMBER C29

TINT GALLERY

WEBSITE TinT gallery has, since 2002, been under a new name and management with the aim www.tintgallery.gr of promoting and presenting trends in contemporary art, focusing on conceptually E-MAIL based works by young artists. [email protected] Since 2003, TinT gallery has collaborated with other cultural institutions such as the PHONE Macedonian Museum of Contemporary Art, the Museum of Cinematography and +30 2310 235689 the Museum of Photography etc, organizing off site projects and large-scale cul- CELL tural events. In 2004, the gallery launched its Project room, a specially designated +30 6944 505258 exhibition space, where young artists are given the opportunity to experiment with in CONTACT NAME situ installations within a non-profit gallery setting. Since 2007, together with group Andromachi Pesmatzoglou exhibitions by independent curators, the gallery has accommodated several autonomous teams of artists. The outcome has been a series of highly intriguing exhibitions.

EXHIBITED ARTISTS Ever since its opening, TinT gallery’s motivation was to create a supportive and Vangelis Gokas encouraging environment for young artists to work. Maria Kriara Vassiliea Stylianidou In his work V. Gokas appropriates images from photographs, which he disaffirms Chryse Tsiota with the medium of painting. The real/virtual spaces are defined by an aura of vague OTHER REPRESENTED ARTISTS mystery and allusive coverage. Even when he employs plain objects as themes, he Christos Delidimos / GR replaces the everyday gaze with a “painting” intermediation, by inviting the viewer Thanos Klonaris / GR to reconstitute the image in association with subjective experiential references. Sotiris Panousakis / GR Nikos Papadimitriou / GR In a self-limiting formation of a strict design-protocol — somewhere between mania, Artemis Potamianou / GR speaking to oneself and zen exercise — and by building on the images of encyclo- Tracey Snelling / US Eleni Theofilaktou / GR pedia and scientific manuals’ illustrations, M. Kriara explores the extreme limits of Christos Venetis / GR personally interpreting reality that can fertilise hypotheses about the coherence of Ulrich Vogl / DE the fractured and narrative load of the representations. Yiorgis Yerolympos / GR Using language, voice, plasticine, light, photography and motion, V. Stylianidou explores through her videos and photographs the phenomenon of power, money COVER and crisis in opposition to the natural dynamics of language as an experimental Vassiliea Stylianidou practice of the subject. Warrooms 3 2010 C. Tsiota’s work attempts to revive the spectator’s ability to imagine a world of Digital photo dreams, visions and everyday mythology. She is interested in exploring scenar- 34 × 23.5 cm ios of truth versus fiction, the physiology of seeing, the visual habits of looking, INSIDE stereotypes and clichés that people unconsciously take for granted. Photography, Vangelis Gokas language, video, movement, writing, human voice and interaction, are the artistic Raum (detail) materials she uses. 2012 Oil on canvas 90 × 100 cm

BACK (LEFT) Chryse Tsiota Travel blind 2009 Digital photo 100 × 162 cm

BACK (RIGHT) Maria Kriara Untitled (detail) 2013 Pencil on paper 60 × 120 cm V1 GALLERY COPENHAGEN

VOLTA 9 | BOOTH NUMBER A7

V1 GALLERY

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

PHONE with the surrounding society. +45 3331 0321 V1 Gallery’s affiliated artists are represented in the following public and private col- CELL lections: MoMA (NYC), MoMa (SF), The National Gallery (CPH), ARKEN – Museum +45 2682 8166 of Modern Art – (CPH), ARoS – Aarhus Museum of Modern Art (AAR), The National CONTACT NAMES Photo Museum (CPH, DK), Deste Foundation for Contemporary Art (G), Malmö Kon- Jesper Elg stmuseum (S), Saatchi Collection (UK), Brask Collection (DK), Sender Collection Josephine Fity (US), West Collection (US), Djurhuus Collection (DK), Aegidius Collection (DK), Faa- rup Collection (DK), Hoff Collection (NO), Statoil Collection (NO), amongst others.

EXHIBITED ARTISTS In 2010 V1 Gallery received the FEAGA prize (Federation of European Art Galleries Todd James Association) at ARTBASEL 41 for Outstanding Creativity and Innovation. Husk Mit Navn Geoff McFetridge The Gallery’s director Jesper Elg also works as an independent curator and is a Katherine Bernhardt member of The Danish Arts Councils Committee for International Art (2011 – 2014). John Copeland Anika Lori Wes Lang Jacob Holdt

OTHER REPRESENTED ARTISTS Andrew Schoultz Asger Carlsen Julie Nord Matthew Stone Misaki Kawai Peter Funch Shepard Fairey Thomas Campbell Thomas Øvlisen Troels Carlsen

COVER Katherine Bernhardt Untitled 2008 Acrylic on canvas 91.4 × 61 cm

INSIDE Jacob Holdt Untitled (from American Pictures) Printed in 2013, taken between 1970 – 75 Digital C-print on crystal archive paper. framed, edition of 7 + 2 ap 80 × 110 cm

BACK (LEFT) John Copeland There Is Nothing For You Here 2012 Oil and acrylics on canvas 152 × 137 cm

BACK (RIGHT) Todd James Dr. Dandilion 2012 Acrylic on canvas 122 × 92 cm VANE NEWCASTLE UPON TYNE

VOLTA 9 | BOOTH NUMBER B1

VANE

WEBSITE Michael Mulvihill and Stephen Palmer both make highly finished, meticulously crafted www.vane.org.uk drawings that share an obsession with the decay of contemporary culture and a E-MAIL sense of anxiety for the future. [email protected] Michael Mulvihill’s drawings are weighted with a sense of menace; his landscapes, PHONE urban scenes and portraits are all potential harbingers of disasters waiting to hap- +44 191 261 8281 pen. The sense of foreboding is exacerbated by his obsessive process: images CELL are the result of heavily worked pencil on paper, built up through repeated erasure +44 771 309 7852 and overdrawing, leaving a series of ‘ghosted’ images below the finished drawing CONTACT NAMES itself. This process creates visions of a world that is, in the artist’s own words, ‘in Paul Stone the process of dissolving’. Christopher Yeats In the drawing series The Pursuit of Happiness the tiny scale of the drawings refers to online thumbnails from where the images have been taken. Some depict explo- EXHIBITED ARTISTS sions from Cold War nuclear tests. The increasing power of these weapons dem- Michael Mulvihill onstrated the resolve with which each side pursued their respective ideologies and Stephen Palmer their own visions of society and happiness. Other drawings from this series are por- OTHER REPRESENTED ARTISTS traits of players in the game: some show Soviet cosmonauts, others show members Héctor Arce-Espasas EC Davies of the RAND Corporation — the think tank formed to offer research and analysis Kerstin Drechsel to the United States armed forces — that devised strategies for fighting a nuclear Jorn Ebner war according to Game Theory. The drawings stand as game-markers attempting Nick Fox to unravel the ideas and motivations of the leaders that directed the history of the Nadia Hebson Simon Le Ruez Cold War, a history that still resonates today. Jock Mooney Stephen Palmer’s most recent drawings are based on newspaper clippings. The Josué Pellot Flora Whiteley stories are not strictly ‘news’ but rather look to reanalyse historic events. Each clip- ping is rendered in precise detail, a transcription that has the effect of conferring worth to events that may otherwise appear of little importance. Whilst the selection

COVER of stories might at first appear random — UFOs, World War Two, a chess match, Stephen Palmer stamp collecting — the topics are those that attract a fanatical following. Newspa- Headline acts pers have a particular value to obsessive collectors, who fill their homes with print, 2011 hoping perhaps that the information contained will impart knowledge, or offer up a Graphite on paper 28.5 × 42 cm form of control that is lacking in their lives.

INSIDE Some stories reference a recent news topic: the failing property market is juxtaposed Michael Mulvihill with a fascination for spaces once inhabited by famous authors; the current Euro- The End of History (Chicago 9) pean financial crisis is linked with reparation payments for events that happened 2011 Graphite on paper during World War Two. In a group of obituary drawings, the deletion of text from the 10 × 15.5 cm original leaves only a visual clue to the dead person’s story. A single image acts as a summation of a life and a reminder that our legacy may be based on a few memo- rable events. Palmer’s drawings can be viewed as an obituary to the printed page, but also a reminder that virtual means of delivery often come to coexist alongside the physical formats that they look to improve upon.

Michael Mulvihill (b. 1973, Jarrow) lives in Gateshead, UK. His first solo exhibition for Vane, ‘The Pursuit of Happiness’, was in February-March 2013. He has exhibited recently in Durham, Cambridge, Berlin, Chicago, and New York. Stephen Palmer (b. 1967, Alton) lives in London, UK. His third solo exhibition for Vane, ‘The end has no end’, was in February-March 2013. He has exhibited recently in Glasgow, Edinburgh, Berlin, Prague, and New York. VERNON GALLERY PRAGUE

VOLTA 9 | BOOTH NUMBER C10

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 has almost 200 square metres of space E-MAIL and is full of windows, 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 Jan Mikulka and Simone Fugazzotto’s artistic voice has been shaped throughout +42 773 915 510 their experience around the world in a quest of unique identity already recognised CELL by the art world. Mikulka was recently awarded the new SELF prize created by the +42 77 715 5593 Royal Society of Portrait Painters and will go on to show at the Mall Galleries in CONTACT NAME London throughout May. Monika Burian Jourdan Simone (b. 1983) started his relationship with visual art very young: a cartoonist as a child, a lover of art history in adolescence, a painter in the Academy. The brush- EXHIBITED ARTISTS works becomes intense, strong, almost like a scratch, the canvas is an integral part Daniel Gonzalez of work, then comes the plexiglass and concrete. Figures of “sophisticated” humans Irena Jůzová in disparate situations are combined with the figure of monkey — out of point of Jan Mikulka Maria Pia Severi origin, an example oft he harmony in which is possibility to co-exist with the nature, Simone Fugazzotto a model of simplicity and of integrity.

OTHER REPRESENTED ARTISTS Photorealist Mikulka, who has participated in an atelier of classical painting, led Daniel Hanzlík by professor Beran on Prague´s AVU, where his creativity spawned to develop sig- Grimanesa Amorós Jonathan Feldschuh nificant talents, including the renaissance of figural painting. Jan also works from Kit Reisch photos, but his interpretation holds personal tribute. It is not cold-blooded formal- LLuis LLeo ization of what you see, but try to go through physical ego of concrete man in every Markéta Hlinovská individual detail. Petra Polifková Stefano Cagol Tomáš Lahoda

COVER Jan Mikulka Bathtub (detail) 2013 Oil on canvas 120 × 80 cm

INSIDE Simone Fugazzotto The Three of Life 2013 Oil on plexiglass and concrete board 50 × 100 × 10 cm

BACK Jan Mikulka Portrait of Mr.Hackel 2013 Oil on canvas 110 × 60 cm WHATIFTHEWORLD / GALLERY CAPE TOWN

VOLTA 9 | BOOTH NUMBER A20

WHATIFTHEWORLD / GALLERY

WEBSITE WHATIFTHEWORLD / GALLERY www.whatiftheworld.com WHATIFTHEWORLD acts as a platform for a new generation of emerging South E-MAIL African contemporary artists, and was selected in 2007 by Contemporary Magazine [email protected] (London) as one of the ‘Top 50 Emerging Galleries from Around the World.’ This fast-

PHONE rising young gallery has become a destination point for curators and collectors to +27 21 802 3111 experience innovative work, and to become acquainted with some new names. By

CELL giving voice to new talents, the gallery intends to grow public dialogue and critical +27 76 422 2387 debates within the contemporary art community, and to provide an alternative to

CONTACT NAMES the traditional art structures and institutions. WHATIFTHEWORLD has been firmly Ashleigh McLean (Gallery Curator) behind the careers of several rising stars on the South African contemporary art Justin Rhodes (Gallery Director) scene, and is committed to building and nurturing strong relationships with each artist to support their continuing professional development. The gallery has hosted a series of critically acclaimed solo and group exhibitions, and published numerous EXHIBITED ARTIST catalogues and artist monographs. Dan Halter

OTHER REPRESENTED ARTISTS DAN HALTER Athi Patra-Ruga Dan Halter’s artistic practice is informed by his position as a white Zimbabwean Cameron Platter Frances Goodman living in South Africa. Using materials ubiquitous to South Africa and Zimbabwe, John Murray Halter employs the language of craft and curio as a visual strategy to articulate his Julia Rosa Clark concerns within a fine art context. Through this, as well as through photography and Lyndi Sales video, Halter addresses notions of a dislocated national identity and the politics of Micheal Taylor Peter Eastman post-colonial Zimbabwe within a broader African context. Pierre Fouché Rodan Kane Hart Halter (b. 1977, Zimbabwe) completed his BFA at the Michaelis School of Fine Art in 2001. In addition to five solo exhibitions, Halter has participated in numerous group shows including US at the South African National Gallery, curated by Simon Njami;

COVER Zeitgenössiche aus Südafrika at the Neuer Berliner Kunstverein (NBK); VideoBrasil Dan Halter in São Paulo; and the 2009 Havana Biennale. He has completed three international Nervous Conditions (detail) residencies, in Zürich, Rio de Janeiro and Scotland. Recent exhibitions include the 2012 7th Triennial of Contemporary Textile Arts (Tournai, Belgium) and Dan Halter / Mappa Woven archival prints on Ivory Enigma paper Del Mondo at the Nassauischer Kunstverein Weisbaden (Weisbaden, Germany). 88 × 180 cm

INSIDE Dan Halter Things Fall Apart 1 & 2 2012 Found plastic mesh bag, custom-made Tartan fabric 69 × 105 cm

BACK Dan Halter Necklace 2012 Found Tyre, Matches 60 × 14.5 cm WIDMER+THEODORIDIS CONTEMPORARY ZURICH VOLTA 9 | BOOTH NUMBER A19

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 and E-MAIL stirring tendencies in art. For VOLTA9 the gallery has teamed up two different art- [email protected] ists with similar perception. Stunning craftmanship and gentle low-key images that

PHONE emphasise a deceptive superficial calm. +41 43 497 3970 In his work Othmar Eder appoints the origin of most motives but impedes a temporal CELL determination of this space. Mountains carry a huge, but also slow temporality and +41 79 293 1852 many traces on and under their surface. In these numerous and sometimes deep +41 79 443 1154 shifts one may read and observe earth history. Eder references his work in many CONTACT NAMES ways to it. Cut like he detaches what happens from time and ends the temporality Jordanis Theodoridis Werner Widmer of his objects. Photographs and findings that he collects from his hikes and forays build the foundation of his drawings and objects.

Othmar Eder (b. 1955) lives and works in Stettfurt CH. He graduated from the Akad- EXHIBITED ARTISTS emie der Bildenden Künste in Wien. He has received many prizes and honours, Othmar Eder Nadine Wottke including the Thurgauer Förderpreis 2009. Many international exhibitors have presented his art work, such as Museum Bickel Walenstadt and Neue Galerie Innsbruck. OTHER REPRESENTED ARTISTS Erika Babatz Fantasies of our existential vulnerability and our hopes are mirrored in Nadine Andreas Fux Wottke’s bone china figures. The man on the bull in I don’t want your freedom is re- Sybille Hotz huber.huber vealing himself in a naked and passionate way: riding on a bull riding machine and Scanderbeg Sauer leisurely blowing pink chewing gum. Wottke captures the short moment of insight Michael Schnabel when we stand naked in front of our inner eye and are able to recognise ourselves. Ernst Stark Stefan Thiel Nadine Wottke (b. 1978) lives and works in Erfurt D. She graduated from the Bau- Nicolas Vionnet haus- Universität, Weimar Germany. Her artwork is mainly presented in Germany Franz Wassermann and has been exhibited in the Kunsthalle Erfurt and the Neues Museum Weimar.

COVER Nadine Wottke Hungry eyes 2012 Porcelain, silver plated 13 × 17 × 33 cm

INSIDE Othmar Eder Zwerg 2013 Carbon drawing on paper 48 × 64 cm

BACK Nadine Wottke Extraordinary 2012 Porcelain, latex, carbon 36 × 36 × 17 cm VOLTA EDITION ARTIST HAMISH FULTON

VOLTA 9 | EDITION 2013

VOLTA EDITION ARTIST: HAMISH FULTON

WEBSITE MY SELF-IMPOSED RULE IS: www.voltashow.com I ONLY MAKE ART ABOUT E-MAIL THE PARTICULAR WALKS THAT I HAVE EXPERIENCED. [email protected]

THIS MEANS: EDITION ARTIST EVERY ARTWORK I MAKE Hamish Fulton Represented by MUST INCLUDE A WALK TEXT. espaivisor – Visor Gallery

FORMER EDITION ARTISTS Q. Why words? Jason Gringler Carlos Aires (sold out) A. Words can exist in any size Troels Carlsen and are independent of any one medium or language Zilvinas Kempinas (sold out) Eduardo Sarrabia Melanie Schiff (sold out) Martin Liebscher WALKS ARE THE KILOMETER STONES OF MY LIFE. Ulf Puder (sold out) EACH WALK MARKS THE FLOW OF TIME BETWEEN BIRTH AND DEATH. Takehito Koganezawa

By ignoring nature humans are destroying the world.

COVER Through education we need to respect Hamish Fulton the diverse life forms of the planet. Boulder II Temporary scientific solutions will not save us. 2006

INSIDE ( TOP) HAMISH FULTON Hamish Fulton exhibition view at art Cologne’s espaivisor booth

INSIDE (FROM LEFT TO RIGHT) SELECTED PUBLIC COLLECTIONS #1 11 pieces of cut ruler. For: The Tate Gallery. Museum of Modern Art. The Brooklyn Museum. The Solomon An 11-day circular walk 10 nights camping. Wind River Range, R. Guggenheim Museum. Princeton Art Gallery. Philadelphia Museum of Art. Los Wyoming, September 1995. Angeles County Museum. Eastman House, Rochester. National Gallery of Canada.

#2 8 one-day walks and a Metropolitan Museum. Victoria and Albert Museum. Australian National Gallery. guided climb to the summit of the Stedelijk Museum. Stedelijk Van Abbemuseum. Art Gallery of Ontario. National Marmolada. Dolomites, Italy, Gallery of Scotland. British Council. Musée St. Pierre. FRAC. National Gallery of 24 September to 2 October 2004. Iceland. University of Lethbridge. #3 Fujiyama – A 19-day coast to coast walking journey, Toyama Bay, Ontake Summit, Fuji Summit, Suruga Bay, Japan, early Summer 1988.

#4 8 one-day walks and a guided climb to the summit of the Marmolada. Dolomites, Italy, 24 September to 2 October 2004.

#5 21 pieces of cut ruler. For: A 21-day wandering walk 20 nights camping in the Beartooth Mountains, ending with the September full moon, Montana 1997.