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Leon Underwood International 01 Art Exhibitions 2015 International 09.01.2015 > 07.02.2015 Art Exhibitions 2015 1 Sanya Kantarovsky Sky Alliance 2015 Gushers 2 Status Anxiety Marc Foxx Gallery Foxx Marc Marc Foxx is pleased to present Gushers, 2015 an exhibition of new work by Sanya 3 Kantarovsky, in the second solo Blue Agency exhibition with the gallery by the UCLA 2015 MFA graduate, Russian-born, New York 4 City based artist. Gushers 2015 Gushers are rectangular shaped snacks 5 made from sugar and fruit juice, with Squeeze small amounts of other ingredients. 2015 These may include – but are not limited 6 to – embarrassment, thwarted plans, Wet Hands swollen glands, unpleasant sexual 2015 encounters, arrests, indifference in the 7 face of disaster, childish tastes, wet Orange Inspection hands and questionable intentions. 2015 Los Angeles Los 1 | 2 3 4 6 Surrounded by a chewy gelatinous Laden with confectionary history, the sugar coating, the centre of the Gusher Gusher is burdened with the impossible is a thick, sweet, content-rich liquid. task of conveying sweetness in a bitter When one bites into the saccharine world, a world overwhelmed with snack, the liquid inside ‘gushes’ out – familiar pictures of unfamiliar people. hence the name. Yet the full impact is Each Gusher packs a memory of itself, achieved in the sequence of gushes, staining the tongue with saturated conveying meaning, as with the colour, issuing a syrupy nostalgia for Kuleshov Effect in film editing, through gushiness itself – abated only by the 5 the course of juxtaposition. hope that some still remain in the pack. 7 www.marcfoxx.com International 16.01.2015 > 14.02.2015 Art Exhibitions 2015 Opposite page Untitled (Black Necklace) 2014, Gouache and coloured pencil on paper 1 Graham Little 37.6 x 27.6 cm Alison Jacques Gallery Jacques Alison For his fourth solo exhibition at Alison Jacques Gallery, Graham Little presents a selection of intricate gouaches completed over the past two years. This exhibition focuses on the language of painting and a subjects relationship to a specific environment. Each of the paintings depicts a single female figure in a distinct yet ambiguous surrounding. Frozen in a moment of contemplation these women appear completely immersed in their various activities, yet somehow aware of the fact that they are being watched. Whilst their clothing or accessories allude to one era their surroundings often suggest another, abstractly referring to an overarching narrative which is impossible to define. It is the artist’s purposeful ambiguity that allows his narratives to expand in a London variety of ways, based on a viewer’s familiarity or affinity with a particular environment, fabric, or colour. 2 Little’s play with different languages is Over the past thirty years the artist has All images: 1 not only articulated with his various accumulated an extensive archive of Courtesy Alison Jacques Gallery, London Untitled (Reflections) painting styles, but also the source of imagery. Photographs of women and Copyright the artist 2014, Gouache on paper imagery he employs. clothing from health and lifestyle, Photos: Michael Brzezinski 26 x 37 cm fashion and beauty publications are 2 merged with historical landscapes and Untitled (Sleeping) 1970s table spreads. His delicate, precise 2014, Gouache on paper brushstrokes disregard the hierarchy of 29.3 x 47.4 cm objects as he renders dresses and land- 3 scapes with the same incredible detail Untitled (Office) he employs when painting a bracelet 2013, Gouache and or a stapler. Little entrances us with his coloured pencil on paper sensitivity and ability to create narra- 42.3 x 32.3 cm tives that will become even more 4 fascinating with time. Untitled (Parlour) 2014, Gouache, egg Graham Little was born in Dundee in tempera and colour 1972 and graduated with an MA from pencil on paper 34Goldsmiths College, London in 1997. 43.2 x 36.4 cm www.alisonjacquesgallery.com International 28.01.2015 > 03.03.2015 Art Exhibitions 2015 Faisel Laibi Sahi 1 Agony and Recreation Meem Gallery Faisel`s œuvre spans fifty years and demonstrates the artist’s continuing commitment to the ancient, traditional, modern and contemporary culture of Iraq. His vividly coloured paintings of individuals and group portraits display ostensibly harmonious scenes of leisure, as demonstrated in his Coffee House series and portraits of fruit, textile, shoe shine and laundry vendors. Faisel renders the works in a stylized realism, the iconography simple and Dubai easy to decode, or so it seems. 1 Born in Basra in 1947, Faisel studied at Opposite page the Institute of Fine Arts and Academy The Material Shop of Fine Arts in Baghdad. In 1974 he travel- 2013, Acrylic on canvas led to Paris to pursue his studies further 50 x 40 cm at the École Nationale Supérieure des 1 Beaux-Arts and Sorbonne Universités. The Cafe 2 In 1984, he moved to Florence, and after 2014, Acrylic on canvas four years there in 1988 he went to 124 x 315 cm Algeria to teach art. In 1991 he moved to 2 London where he lives and works today. The Watermelon Seller (Red & Sweet) Since 1966, Faisel Laibi Sahi has 2013, Acrylic on canvas exhibited his works internationally in 50 x 40 cm the Middle East, North Africa, the United 3 23 Kindom, Europe and the United States. The Tea Shop 2013, Acrylic on canvas Upon closer inspection, the repetition 50 x 40 cm of forms and figures throughout his 4 work leave a sense of the satirical on The Coffee Shop the viewer; and open discussion into 2013, Acrylic on canvas deeper concerns such as class structure 25 x 20 cm and political hierarchies of contempo- 5 rary Iraqi culture. Faisel is sardonic in The Waiter nature, something that is highlighted 2013, Acrylic on canvas not only in his art, but can be linked also 25.4 x 20.3 cm to his work with the periodical press in Iraq, and the publication of his London based satirical newspaper, ‘Al Meirasha’ (1992-2002). 45 www.meemartgallery.com International 31.01.2015 > 12.04.2015 Art Exhibitions 2015 Chantal Joffe 1 Beside the Seaside Jerwood GalleryJerwood Opposite page Self-Portrait with Esme in St Leonards Oil on board Courtesy of the artist and Victoria Miro Gallery, © Chantal Joffe 1 Installation view 2 Esme in a Checked Skirt 2014, Oil on board on aluminium frame 183 x 122 x 6 cm Courtesy of the artist and Victoria Miro Gallery, © Chantal Joffe Hastings 3 Megan in Spotted Silk Blouse 2 3 4 2014, Oil on Canvas Courtesy of the artist and Victoria Chantal Joffe was born in Vermont in Miro Gallery, © Chantal Joffe 1969, but grew up in London, where 4 she still lives and works. However, she Self Portrait with Esme spends a great deal of time in Hastings on the Promenade and St Leonards, towns on the East 2014, Oil on board Sussex coast in the south of England. 40 x 30 x 1 cm Courtesy of the artist and Victoria Joffe paints powerful portraits, mostly Miro Gallery, © Chantal Joffe of women and children, which have 5 astonishing insight, integrity and Vita by the Sea humour. She paints with expressive 2014, Oil on canvas fluidity, using large brush-strokes to 122 x 76 x 2 cm capture personality and a sense of Courtesy of the artist and Victoria movement. This year is very much Miro Gallery, © Chantal Joffe Chantal Joffe’s year, with shows in New 6 York and at the National Portrait Gallery. Moll on the Promenade It all begins with ‘Beside The Seaside’ , 2014. Oil on canvas which is the only show with a focusses Courtesy of the artist and Victoria on her Hastings beach portraits. 5 6 Miro Gallery, © Chantal Joffe Chantal Joffe has had major exhibitions the Delfina Studio Trust Award (1994), in Milan, Helsinki, Los Angeles and the Abbey Major Scholarship in London. She is an Elect member of the painting at the British School at Rome Royal Academy and has received many (1998) and the Royal Academy’s Charles awards throughout her career: including Wollaston Award (2006). www.jerwoodgallery.org International 07.02.2015 > 27.09.2015 Art Exhibitions 2015 Opposite page Hendrik Kerstens Black Cap 2006 1 Model & Muse 1 Installation view Museum of Photographic Arts Museum of Photographic Born in the Hague in 1956, Hendrik 2 Kerstens has for the last 20 years been Bag producing an ongoing body of work 2007 that explores some of the intersections 3 between painting and photography. Flange Using his daughter Paula as his only 2009 subject, Kerstens not only photographs 4 her in reference to Old Master Dutch Napkin painting but also in relation to her own 2009 life and the world we live in today. 5 Kerstens’ photographs address issues of Installation view seriality, time and identity, while 6 emotionally they speak to his love for his Book child and their ongoing collaboration. 2012 San Diego 2 3 4 A largely self-taught photographer, Kerstens became increasingly interested in combining the art of photographic portraiture with creating a conceptual and sometimes humorous dialogue between past and present. The titles give the game away. ‘Napkin’ looks like a maid’s bonnet. In ‘Bag’, a plastic bag is shaped to look like a lace hood. In other pictures no pretense is made to imitate 17th century clothing, but Paula’s face and Kerstens’ light turn a hoodie into a 5 classic and timeless garment. 6 www.mopa.org International 12.02.2015 > 13.09.2015 Art Exhibitions 2015 Ludwig 1 Goes Pop Museum Moderner Kunst Stiftung Ludwig Museum Moderner Kunst In this extensive overview, around one It was only with the 1964 Biennale di Opposite page hundred major works from six different Venezia and Documenta 4 (1968) in Roy Lichtenstein institutions associated with the Kassel that works of Pop Art were The Red Horseman Ludwigs will be brought together, shown to a broader European audience.
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