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International Art Exhibitions 2017.01 International 01 Art Exhibitions 2017 International 07.01.2017 > 12.03.2017 Art Exhibitions 2017 Philippe Cognée Crowds Galerie Daniel Templon Templon Galerie Daniel Opposite page Foule sous le soleil 2014, Wax painting on canvas 200 x 200 cm Photo : B.Huet-Tutti 1 Crowd (fusion 1) 2016, Wax painting on canvas 150 x 150 cm 2 Solar Crowd 2016, Wax painting on canvas 150 x 150 cm 3 1 Tower of Babel 2 2016, Wax painting on canvas French artist Philippe Cognée returns 175 x 153 cm to Paris and Galerie Templon for the first 4 time in four years with an exhibition Cellular Tower 2 devoted to his new series of paintings of 2016, Wax painting on canvas crowds. With these works, he continues 150 x 125 cm Paris to explore the individual and the collective, the visible and invisible, the place of the real and the place of art. Figures emerge then dissolve into compact, hazy throngs within composi- tions that at first sight appear abstract. 2 Faced with such extreme pictorial Philippe Cognée was born in 1957 and density, one can no longer distinguish studied at the Ecole des Beaux Arts in the image as figure from the material: Nantes, where he lives and works. One ‘That which is enclosed within this layer of the leading artists of his generation, of paint, within the crowd itself, is the a Villa Médicis prize winner in 1990 and individual.’ nominee for the 2004 Marcel Duchamp Prize, he taught at the Ecole Nationale Cognée’s blurred crowds are redolent of Supérieure des Beaux Arts in Paris until visions provided by new technologies 2015. and satellites, at once implacable yet imprecise. In the face of this prolifera- His work has been the subject of numer- tion of degraded images, he responds ous solo exhibitions and is featured in with the power of painting, unique in its many prominent collections, including ability to transcend the movement of at the Centre Pompidou and Fondation 4 swarming humanity within a landscape Cartier in Paris, and the Museum Ludwig 3 that is at times dreamlike. in Cologne. www.danieltemplon.com International 11.01.2017 > 10.02.2017 Art Exhibitions 2017 Valerio Adami The Narrative Line RECENT PAINTINGS & SKETCHES The Mayor Gallery Mayor The 1 L’aquila e il coniglio 2014, Graphite on paper 47.5 x 36 cm 2 L’aquila e il coniglio 2014-16, Acrylic on canvas 116 x 89 cm 3 Gente che passa 2014, Graphite on paper 47.5 x 36 cm 4 Gente che passa 2014, Acrylic on canvas 130 x 97 cm 5 London Il cervo volante 135 7 2014, Graphite on paper 47.5 x 36 cm Valerio Adami is primarily a draughts- In this exhibition The Mayor Gallery 6 man and colourist. After realising as a presents a selection of recent paintings Il cervo volante young man he wanted to paint, he went and their accompanying preliminary 2014, Acrylic on canvas to the Accademia di Brera in Milan in sketches which fascinatingly reveal the 130 x 97 cm 1951 where he studied under Achille tedious process of working and 7 Funi. Then in 1955 he went to Paris, re-working on paper before the work’s Studio per il ponte where he met and was influenced by the final realisation on canvas. 2016, Acrylic on canvas artists Roberto Matta and Wifredo Lam. 65 x 147 cm The fruit tree adapts to the seasons 8 Adami developed a highly stylised and resists wind and frost. All of my Incontro manner of painting featuring regions of drawings stand between Drawing 2014-16, Acrylic on canvas flat colour bordered with bold black and my Life like road signs; a draw- 116 x 89 cm lines. The bright, flat finish links Adami ing today, a new one tomorrow… to the world of Pop-Art, however, unlike Valerio Adami the superficial nature of much of the genre, Adami’s works are much more Drawing is a literary business. complex. Addressing difficult and often I don’t leave the drawing until I can dark subjects such as Politics, Mortality write the word ‘end’… I would like it 246 8 and Mythology, his narrative paintings if in painting one could use the are filled with symbolism and the terms prose and poetry as well, so Valerio Adami was born in 1935 in subjects themselves are often portray- that I could define my work as Bologna in Italy. Currently, he lives ed in an uncomfortable manner, forcing painting in prose. The narrative between Paris, Monaco and Meina in the viewer to question the narrative in impulse is essential… Italy. the work. Valerio Adami www.mayorgallery.com International 12.01.2017 > 25.02.2017 Art Exhibitions 2017 In Labyrinthine Gardens 1 The Work of Gregor Hildebrandt Almine Rech GalleryAlmine The expression tous les coups sont Opposite page permis (no holds barred) is as true of Möchte ich dich berühren Gregor Hildebrandt’s Berlin studio as 2016, VHS tape and acrylic that other old adage about everything on canvas in love and war. The ancient war game 97 x 92 cm of chess neatly makes the point that Photo: Roman März there are always rules demarcating a 1 field of endless possibilities, rules that Installation view provide the necessary basis for all Photo: Rebecca Fanuele subsequent progress and development. 2 Just as it does in life, the next step in a Dora Diamant (detail) game of chess will always follow on 2016, Cut vinyl records, canvas from its precursor. And until the game on wood ends, its outcome remains uncertain. 130.5 x 98 cm Photo: Roman März 3 Dort wo die Linien sich verwirren Paris 2016, Magnetic VHS tape coating, adhesive tape and acrylic on canvas 229 x 192 cm Photo: Roman März 4 Schwarze Kassettenschall- platte mit gelbem Rädchen 2016, Cassette tape, cassette reel on wood, plexi cover Diameter 92 cm Photo: Roman März 2 3 5 Mäandern ins Blaue Hildebrandt’s paintings, sculptures and 2016, Start and end of audio installations draw on music, cinema and cassettes and acrylic on canvas underground cultures, arranging and 49 x 49 x 3 cm combining visual elements of sound Photo: Roman März recordings and various recording media such as magnetic tapes, vinyl records or All works compact disks. Throughout his poetic © Gregor Hildebrandt work, infused with both sound and Courtesy of the Artist and silence, Hildebrandt creates a wide Almine Rech Gallery range of subtly reflective compositions that invite the viewer to evolve in space 4 and grasp the beauty of things past. 5 www.alminerech.com International 13.01.2017 > 18.02.2017 Art Exhibitions 2017 Roy Colmer Lisson Gallery The exhibition will feature fifteen of the Opposite page artist’s early spray-gun paintings, most Untitled #118 of which have never been exhibited, 1968, Acrylic on canvas and a selection of late photo-collages. 127 x 127 cm Known primarily for his conceptual 1 photography and film projects, Roy Untitled #133 Colmer began creating his experimen- 1971, Acrylic on canvas tal, colour-intensive paintings in the 127 x 127 cm mid-1960s, upon moving to New York 3 after graduation from the Hochschule Untitled #57 für Bildende Künste in Hamburg, 1970, Acrylic on canvas Germany. Inspired by the shifting 177.8 x 127 cm artistic landscape created by the 3 New York introduction of electronic media, Canal Street Station, Colmer challenged the boundaries New York City between painting and film to develop 1993, Photo collage on foam core a new kind of perception. 38 x 97 cm 4 Colmer was able to connect the Jan 89, No 6 surfaces of his paintings to video by 1989, Photo collage on foam core using this spray technique and a careful 105 x 105 cm selection of colour, to suggest filmic effects such as movement, flicker, All works distortion, and as Colmer described, Courtesy Lisson Gallery ‘feedback’. 1 © The Estate of Roy Colmer He was interested in the immediacy and versatility of the spray gesture, and the ability to manipulate space and depth through colour and form, notions influenced by his Concretist mentors while studying in Hamburg. By the early 1970s, Colmer began to incorporate telegenic feedback directly into his practice, increasingly working in video and film. His exploration and manipu- 3 lation of electronic signals was aligned with a group of artists working in the A selection of photographic works same area, among them Nam June Paik from the 1980s, arranged in a grid, are and Bruce Nauman. Colmer stopped also included in the exhibition. Placed experimen- ting with paint entirely a together, the early paintings and late few years later and focused his atten- photo collages create striking contrasts tion on conceptual photography and and articulate his lifelong experiment 2 documentary projects. with colour, form, and technique. 4 www.lissongallery.com International 14.01.2017 > 09.04.2017 Art Exhibitions 2017 Two Centuries of American Opposite page John Frederick Peto Still-Life Painting The Writer’s Table – A Precarious Moment 1 THE FRANK & MICHELLE HEVRDEJS COLLECTION 1892, Oil on canvas Museum of Fine Arts Museum of Fine The exhibition traces the history of 1 American still-life painting in the United Raphaelle Peale States from the early 19th century to the Orange and Book present day. The majority of the works c1817, Oil on canvas on view, which come from this private 2 Houston-based collection, have never Donald Sultan before been seen by the public. The Rouge Poppies exhibition brings together sixty of the 2012, Conté crayon on paper most influential American luminaries of 3 the genre, including William Merritt Andrew Wyeth Chase, Georgia O’Keeffe, James Peale, Christina’s Teapot John F Peto, Wayne Thiebaud, Max 1968, Watercolour and pencil Weber, and Andrew Wyeth.
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