SA T URDA YJ UNE 20 T H 2 0 15 / M AR Kt HA Ll EB ASE L

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MONDAY June 15 th – SATURDAY June 20 th 2015 / Markthalle Basel ADN �� B4 Beers �� B27 De roussAN �� D4 Guerrero, enrique �� C14 KleINDIeNst �� B26 PABlo’s BIrtHDAY �� B6 soloMoN, Mindy �� A3 AKINCI �� C12 BetA PICtorIs / MAus �� De vIllePoIx, Anne �� B9 H.A.N. �� D2 KoGure �� A2 PoNCe+roBles �� C4 sPeCtA �� A1 AlArCóN CrIADo �� B22 �� C1– C3 DresDNer, tamar �� C8 HeIDe, Patrick �� B7 KorNfelD �� C10 reCIo, sandra �� D12 stANDING PINe �� B8 ANDerseN, Mikael �� D8 BjørN, jacob �� B25 DuKAN �� A7 HeMPel, jochen �� B10 KuDleK, Martin �� C6 rICHArD �� D1 tABACAru, Catinca �� B17 Art Nueve �� D9 BroWNstoNe, spencer � B2 esPACIo vAlverDe �� D3 HilgerBrotKunsthalle �� B12 lArM �� C9 rIsleY, David �� B14 teN HAAf �� C22 ArtCourt �� C16 BruNNHofer �� A5 ferrArA, jonathan �� B15 HoflAND, Gerhard �� B20 MA2 �� B21 roBert HeNrY �� C23 teZuKAYAMA �� C15 EMERGENCY EXIT GALLERIES AsBæK, Martin �� C17 BulIAN, laura �� C21 the flAt �� A8 the Hole �� B13 MANDos, ron �� B1 rollINs, tyler �� C24 v1 �� B11 AsPN �� B16 CHArlIe sMItH �� C13 fresH WINDoW �� D10 jArMusCHeK+Partner �� B19 MIKHAIl, Patrick �� C11 roYAle �� A6 WolfstæDter �� D7 BACKslAsH �� C19 CoHeN, ethan �� C5 frosCH&PortMANN �� B23 jeCZA �� C18 MIlo, Yossi �� B5 sANtos, rosa �� C20 YoD �� D5 BAños, Ángeles �� D6 CoNrADs �� B18 GuéPIN, Muriel �� A4 KAvANAGH, Kevin �� B24 P74 �� D11 slAG �� B3 ZIlBerMAN �� C7

B26 B27 C24 KLEINDIENST BEERS ROLLINS RESTAURANT

B25 B24 B23 C21 C22 C23 BJØRN KAVANAGH FROSCH& BULIAN TEN HAAF ROBERT PORTMANN HENRY B20 B21 B22 C20 C19 C18 B19 HOFLAND MA2 ALARCÓN SANTOS BACKSLASH JECZA JARMUSCHEK+ CRIADO PARTNER

A8 THE FLAT D10 FRESH WINDOW A7 B16 B17 B18 B12 C11 C17 C16 C15 DUKAN ASPN TABACARU CONRADS HILGER- MIKHAIL ASBÆK ARTCOURT TEZUKAYAMA BROT- D11 KUNST- P74 HALLE B15 B14 B13 C12 C13 C14 D12 FERRARA RISLEY THE HOLE AKINCI CHARLIE GUERRERO RECIO A6 SMITH ROYALE D8 D9 ANDERSEN ART NUEVE CAFE

A5 D7 D6 BRUNNHOFER B10 B11 B5 C5 C10 C9 WOLFSTÆDTER BAÑOS HEMPEL V1 MILO COHEN KORNFELD LARM D1 RICHARD

A1 B7 B6 C6 C7 A4 SPECTA HEIDE PABLO’S BIRTHDAY KUDLEK ZILBERMAN D2 GUÉPIN B9 DE C8 H.A.N. VILLE- DRESDNER A2 POIX D2 KOGURE ESPACIO VALVERDE A3 B3 B4 C1– C3 C4 D4 D5 SOLOMON DE YOD SLAG ADN BETA PICTORIS / PONCE+ROBLES ROUSSAN MAUS B8 STANDING PINE B2 SHOW BROWN- OFFICE STONE B1 MANDOS

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TRAM 1, 2, 8 MARKTHALLE ENTRANCE TRAM 2 FROM ART BASEL CHAMPAGNE BAR SHUTTLE SERVICE TO 3 MINUTE WALK AND FROM ART BASEL TO BASEL SBB TUE – SAT, 12 – 6 PM TRAIN STATION voltA 11 stAff our decade edition in Basel last year, coupled with our return to Markthalle in the city Artistic Director: center, was a golden occasion: from the galleries assembled and art on view to the Amanda Coulson majestic venue itself. so as the dust settled and the walls came down on voltA10, Managing Director: we thought to ourselves: where to take this next? Not a location change: Markthalle Chris De Angelis will be ours going forward. But rather, the direction of voltA itself. over ten years Project Manager: on, we have built and refined our identity as Basel’s renowned art fair for new and Kerstin Herd emerging art, as we navigate the malleable terrain between the ultra blue�chip gal�

Project Coordinator: leries exhibiting at Art Basel (including an ever�growing list of voltA “alumni”) and rachel Mijares fick the ultra�young galleries plucked away by lIste.

Press Manager: As this is our eleventh Basel edition, our mission was clear: follow Nigel tufnel’s ad� Brian fee vice in classic rockumentary This Is Spinal Tap and “Go to eleveN!” Production Assistant: ralph jon Murray We challenged prospective Basel exhibitors with this command, and the 69 inter� national galleries here have delivered and then some. What this means — “go to [email protected] eleven!” — is over 20 solo�artist presentations, ranging from young artists enjoying founders: their first (true) solo show in switzerland, to mid�career artists with enviable mu� Kavi Gupta uli voges seum exhibitions and biennial participation in their Cvs. Add to this nearly 20 dual� friedrich loock artist booth dialogues, and the majority of voltA11 presentations more closely re� semble our New York fair’s strict solo focus than ever before — and this has been accomplished entirely organically, by galleries believing in our brand and delivering offICIAl MeDIA PArtNer the bold goods.

several exhibiting artists this year are featured in the 56th venice Biennale, from curator okwui enwezor’s Main Pavilion “All the World’s futures” to major National Pavilion participation and exhibition in official Collateral events throughout venice.

PArtNers As well, an array of thoughtfully curated group conversations and several major site�specific installations and participatory presentations round out our compelling eleventh Basel fair.

We are not reinventing the wheel, nor ourselves as a fair. Collectors and guests know what to expect from us, and we do not wish to disappoint. rather, we are “amping it up”, showcasing compelling projects from artists across the globe while return� ing the art fair focus back to its most crucial — and most obvious — component: the art itself. Welcome to voltA11!

CulturAl PArtNers ADN GAleríA Barcelona

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aDn Galería

WeBSITe Carlos Aires gives a semantic turn to established icons and values by recontextual- www.adngaleria.com izing ready-made raw material. his work plays ironically with popular icons and mass e-mAIL media, pointing out his critical position towards contemporary neo-liberal society. [email protected] The work of Carlos Aires talks about an uncomfortable reality through beautiful and PhOne attractive productions, leading the spectator to a multi-level lecture to discover a +34 934 510 064 perturbing and politically incorrect lecture beyond the appearance. CeLL +34 687 528 625 mounir fatmi constructs visual spaces and linguistic games. his work deals with the desecration of religious object, deconstruction and the end of dogmas and ideolo- COnTACT nAme miguel Angel Sánchez gies. his videos, installations, drawings, paintings and sculptures bring to light our doubts, fears and desires. mounir Fatmi’s work offers a look at the world from a different glance, refusing to be blinded by the conventions. exhIBITed ArTISTS Kendell Geers’ work formulates a critical and iconoclast standpoint almost atypical Carlos Aires mounir fatmi in the contemporary artistic landscape. The notion of power comes out in repre- Kendell Geers sentations that deal directly or metaphorically with issues like violence, religion and eugenio merino spirituality, moral, sex and body, discipline and fear. Geers undermines the system Avelino Sala of values set by our Western society and harshly reveals some aspects that are OTher rePreSenTed ArTISTS usually left in the dark: struggles for power, racism, injustice, feigned Puritanism. marcos Ávila Forero Virginie Barré eugenio merino’s work wavers between belief and disbelief, paradox and equality, Abdelkader Benchamma taste and distaste, respect and offense. The artist often assumes the role of a cynic Tobias Bernstrup engaged in showing naked truths and unveiling uncomfortable views of contempo- demOCrACIA núria Güell rary societies. Through sculptures and drawings he denounces a world based on Bouchra Khalili the frenetic consumption of images and media representations. The works switch Adrian melis between causticity and satire; they play with real, complex situations, turning the Bruno Peinado dramatic into sarcasm and vice versa. Federico Solmi Avelino Sala’s work has led him to question the cultural and social reality from a late romantic perspective, with a continuous exploration of the social imaginary. COVer Kendell Geers Cultural Evolution 69 (detail) 2011 Indian ink on paper 65,5 × 102 cm

InSIde Carlos Aires Retablo (detail) 2015 wooden frame, stucco, 24 karats polished gold leaf, digital print 150 × 120 × 4 cm

BACK mounir fatmi Brainteaser for a moderate Muslim 2009 digital prints 50 × 50 cm AKINCI AmsterdAm

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AKINCI

WeBSITe The link between the working practice of Cevdet erek and esther Tielemans can be www.akinci.nl found in the focus on scale and spatial and rhythmic elements. Both artists tend e-mAIL to evoke synergistic effects that go beyond the means they use within their work. [email protected] CeVdeT erek (1974, Turkey) is renown for his spatial and rhythmic interventions PhOne as seen in his show Week at kunsthalle Basel (2011), his installation and perfor- +31 20 63 80 480 mance Room of Rhythms at dOCumenTA (13), his total architectural proposal Alt CeLL Üst at Spike Island, Bristol (2014) and in A Room of Rhythms — Curva at the mAXXI +31 626 946 383 museum rome (2014). COnTACT nAmeS renan Beunen Being trained as an architect and sound engineer, erek made his first art works in Leyla Akinci 2000 and developed his focus on temporal and spatial compositions during his training at the rijksakademie Amsterdam (2005/2006). his work is in private and museum collections, a.o. the Stedelijk museum Amsterdam, Istanbul modern, Ve- eXhIBITed ArTISTS hbi koç Foundation, Sharjah Foundation and museum maxxi rome. At VOLTA11 Cevdet erek erek presents works that build a conceptual link between temporal, visual and au- esther Tielemans ditory elements. OTher rePreSenTed ArTISTS Stephan Balkenhol eSTher TIeLemAnS (1976, netherlands), who studied at the rijksakademie in melanie Bonajo Amsterdam (2001/2002) and has shown her work internationally in Switzerland, Persijn Broersen & margit Lukács Germany, new York, hong kong and Istanbul, concentrated right from the start of Gluklya Thomas huber her career on repetitive abstract elements made of plywood with bright coloured Axel hütte painterly surfaces, which are kept mat and in some cases are glazed with epoxy. Andrei roiter The epoxy surfaces mostly have a strategic function, as they mirror the surround- Stéphanie Saadé ing bright coloured paintings. In recent years Tielemans enhanced the degree of Albrecht Schnider Anne Wenzel abstraction within her works, with the emphasis on the memories of experience of landscape in connection to the experience of space. Tielemans’ works are in private and museum collections, a.o. the Van Abbemuseum eindhoven, Stedelijk museum

COVer Schiedam and the Caldic Collection, rotterdam. In 2014 Tielemans was awarded esther Tielemans with the Wolvecamp prize. her work is currently on view at the Van Abbemuseum Pedestal Painting in eindhoven. 2015 acrylic on plywood 200 × 32 × 32 cm

InSIde Cevdet erek Day (Yellow) 2014 16 × 160 Led display 3 modules. 1 module = 12 × 121 cm

BACk esther Tielemans installation view, Wolvecamp prize (photo by Peter Cox) 2014 ALARCÓN CRIADO SEVILLE

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ALARCÓN CRIADO

WeBSITe FrAnÇOIS BuCher (Colombia, 1972) his work and research covers a wide range www.alarconcriado.com of interests and means, initially focused on issues relating to ethical and aesthetic e-mAIL questions raised by film and television, which have been central themes in his writ- [email protected] ten and artistic projects. until 2008 his work was conceptually and politically orien-

PhOne tated. Since then, Bucher´s ideas about the world have taken an abrupt turn and his + 34 954 221 613 new production could be described as multidimensional. his works are interrelated;

CeLL each virtual splice creating multiple circuits of unpublished meaning, dimensions of + 34 676 799 447 thought that underlie the whole field.

COnTACT nAmeS nICOLAS GrOSPIerre (Poland, 1975) is a photographer of mostly architecture, Julio Criado and an artist working in the expanded field of photography. On the one hand, his Carolina B. Alarcón work as has been focused on documentary projects. These projects often explore the collective memories and the hopes linked to modernist architecture — now that exhIBITeD ArTISTS the utopic dreams linked to them have faded away. On the other, his more concep- François Bucher tual photographic works tend to emphasize mind games, whilst displaying attrac- nicholas Grospierre tive, sensual images or installation. José Guerrero Alejandra Laviada JOSÉ GuerrerO (Spain, 1979) educated in technical architecture, works in the

OTher rePreSenTeD ArTISTS field of photography. Concerned with the expression of human action in populated Bernardo Ortiz urban spaces, he examines the ever-growing expansion of cities and the temporary emilio Gañan circles that these processes leave, like sediments, in the environment. his works Dénes Farkas are structured into thematic series of local signs; regardless of the cohesion of the Jorge Yeregui Julie rivera author’s visual concept, they allow constant arbitrary communication between them, martín Freire in a way that presents a class of neutral places, devoid of identity, undefined by a mira Bernabeu specific geographical context. mP&mP rosado Simon Zabell ALeJAnDrA LAVIADA (méxico, 1980) examines the processes of construction/ destruction in mexico City. She constructs and photographs ephemeral sculptural installations, created on site in abandoned buildings, using the everyday debris left COVer behind by previous occupants. She leads us to modify our perception of reality; ob- François Bucher jects lacking in conceptual or formal identity serve to relate object (memory of the The form of Venus. The duration of place), sculpture (the transformation of these elements into the mere disposition of the present. Notes on frequency. (detail) themselves), and image (the final visual basis which remains through the medium 2013 of photography). She explores the intersection between painting, photography and Vinyl sculpture stretching photography’s potential to construct an image that could not 110 × 110 cm exist in reality. InSIDe nicolas Grospierre The Bank. The Safe. 2009 Photographic object; Lambda prints, aluminium, Plexiglas, lamps, lightbox, mirrors 60 × 60 × 90 cm

BACk (LeFT) Alejandra Laviada Circles Wood 2014 Pigment print on hahnemühle cotton paper 76.2 × 94 cm

BACk (rIGhT) Alejandra Laviada After Jasper 2014 Pigment print on hahnemühle cotton paper 76.2 × 94 cm Galerie Mikael andersen Copenhagen

VOLTA 11 | BOOTh numBer D8

galerie Mikael andersen

WeBSITe Galerie mikael Andersen is proud to present an installation with a new series of www.mikaelandersen.com small, intensely worked paintings on panel by British artist Tom Anholt (born 1987). e-mAIL Anholt’s concept for VOLTA11 is to create a tranquil environment within the art fair [email protected] setting that allows time and intimacy for viewing his small scale figurative paintings. PhOne In the inner space of the booth, a series of panels are displayed at various heights; +45 3333 0512 a stool placed in front of the work invites the viewer to sit down and delve deeper CeLL into the image. +49 157 7471 0386 The process of painting for Anholt is one of discovery; the works evolve during this COnTACT nAmeS Bea Fonnesbech, Gallery process, reaffirming the artist’s concern with the physical act of painting. The result Director is layered paintings that contain traces of their production, like scars from a battle. Johanne Kristensen, VOLTA contact Within his paintings, Anholt creates a sense of the mythical and dream-like whilst simultaneously anchoring them within a sober, lucid everyday. Tom Anholt often depicts a heightened, fantastical world that is convincing in its consistency and exhIBITeD ArTIST familiarity. his paintings range from small, attic window in scale, to large, open vis- Tom Anholt tas. The figures and scenarios he portrays seem familiar, although just a little too OTher rePreSenTeD ArTISTS far away to be identified precisely. Fritz Bornstück Jesper Christiansen By creating these compelling environments, Anholt encourages the viewer to be Leonard Forslund transported into the dreamlike narratives of his painted world. The installation at Günther Förg VOLTA11 should create the perfect condition for his small works to be viewed. Signe Guttormsen eske Kath Anholt graduated from Chelsea College of Art and Design in 2010. he lives and robert Lucander works in Berlin, Germany. ernest mancoba Julia Oschatz Lucy Teasdale

COVer Tom Anholt The Storm (detail) 2015 Oil on Panel 60 × 50 cm

InSIDe Tom Anholt Fresh Start (detail) 2015 Oil on Panel 30 × 35 cm

BACK Tom Anholt Persian Town (detail) 2015 Oil on Panel 60 × 50 cm Art Nueve GAllery Murcia

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art Nueve Gallery

WeBSITe The program and the philosophy of Art nueve Gallery revolves around a concep- www.artnueve.com tion of art as an instrument that sets out the central problems of the contemporary e-mAIL subject. The proposals of our artists share common procedures that allude to the [email protected] enigma, the subtlety and to an objectual physicality, without sacrificing the expres-

PhOne siveness of formal and expressive power. They invent new codes on doing and think- +34 968 242 430 ing to address the question of communication through art. The objectives of the

CeLL gallery are: the diffusion and support of the projects from the artists we represent, +34 607 751 477 starting with a specific attention to each of his works. We are committed with the

COnTACT nAme latest new contemporary culture trends and the construction of a cultural network. mª Ángeles Sanchez rigal Our artists are of different generations, emerging and acclaimed sharing all a way of working, in a fruitful and inter-generational dialogue. exhIBITeD ArTISTS Julia Calvo WOrLDVIeW ALTerATIOnS. Sergio Porlán Sergio Porlán and Julia Calvo

OTher rePreSenTeD ArTISTS These artists have in common a subjective vision of the contemporary scene, an Lawrence Corby exposition that suggests an eminent and artificially constructed scenery. They gen- Alejandra Freymann Pablo Genovés erate worlds from the artificial construction of the same ones, which redound to its mark hosking physicality like plastic pieces that simultaneously refer to the culture, the nature or Prudencio Irazábal the history are ideas fundamental to this project. Damien meade Javier Pividal Gonzalo Puch SerGIO POrLÁn Carlos Schwartz With paintings on metal and elements of light, Sergio Porlán proposes a reinterpre- rainer Splitt tation of the contemporary landscape, where art us penetrates in the recondite, to reach inaccessible and suggestive, impossible places without these procedures. It is also a work of references. Where the sublime experience present in the Baroque COVer and the romanticism tradition is also present. Sergio Porlán Half of pouring landscape 2015 JuLIA CALVO Acrylic on PVC Julia Calvo presents an installation with a sculptural character based in the artistic Variable sizes decontextualisation of everyday objects. In this project the objects she redefines are InSIDe prohibition signs (“Do not enter”) through a cognitive use of color. In “monochrom Julia Calvo malerei” every signal is denied. There is a gap between the signal and the color codes Monochrom Malerei we all recognize, this disruption introduces the spectator in a new conceptual and 2014 mixed-media, digital print ludic order altering our meaning of the contemporary landscape. 200 cm × 80 cm. (Variable)

BACk (LeFT) Sergio Porlán Black Stone 2015 Sculpture, natural stone painted and methacrylate Variable sizes

BACk (rIGhT) Julia Calvo Untitled 2012 Installation 84 × 85 × 33 cm ARTCOURT GAlleRy Osaka

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aRTCOURT GalleRy

WeBSITe ArTCOurT Gallery presents a solo exhibition of Taiyo Kimura (b. 1970) at VOLTA11 . www.artcourtgallery.com he is an internationally acclaimed energetic Japanese artist who has been present- e-mAIL ing works around the world including Germany, uK, uSA and Turkey. [email protected] Kimura’s work encompasses various media including sculpture, video and installa- PhOne tion; however, his expression is always consistent. he takes everyday objects and/ +81 6 6354 5444 or settings that are familiar to many of us as his raw material, he then draws out COnTACT nAme uneasiness or negative phenomenon in our daily life with his characteristic humor mitsue Yagi and keenness, and pulls out intuitive reaction from the viewers.

The voice of people chatting and laughing coming out of earphones that are stitched exhIBITed ArTIST all over the surface of the cute teddy bear, for example, the sculpture composed Taiyo Kimura of alternating bird cages and mice traps, the myriads of eyes over a page from a OTher rePreSenTed ArTISTS fashion magazine … Some viewers laugh unintentionally while others express their Yasuyoshi Botan rejection when they see the repulsiveness Kimura’s work displays, its provocative Tsuyoshi higashijima tricks, and appearances. To dig the physiological sensations and complex emotions norio Imai Genta Ishizuka that one might experience from Kimura’s work will make them aware of the hidden Shiro matsui ideology, hypocrisy, and indifference in the society, which will lead to re-validate hiroshi mizuta their own nerves that have become dull in the everyday life. hitoshi nomura Yasuaki Onishi Kimura produces works by using his instinctive senses to pick up irrationality within Akira Yanagisawa himself as well as in this world. Body, which is the foundation for all experiences, Chihiro Yoshioka and physiological interaction, which comes with the experience, are his core subject that has appeared in his work as direct expression, often radically.

COVer We guarantee that our display at VOLTA not only attracts the viewers with the Taiyo Kimura evocative and sinister aura Kimura’s work releases but also provides a ground to Feel Your Gravity sharpen the awareness one might have towards our society’s and individual’s in- 2005-2006 magazine ternal conflicts. 29.7 × 46.5 cm

InSIde Taiyo Kimura Hatarake Hatarake 2005 mixed media 30 × 16 × 40 cm

BACK Taiyo Kimura Haunted By You 2010 Performance video 4 min 22 sec Martin asbæk Gallery Copenhagen

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Martin asbæk gallery

WeBSITe The Danish artist nicolai howalt’s fundamental interest in the sun and in light as www.martinasbaek.com a material is pivotal to works from Light Break — Photography / Light Therapy, in e-mAIL which photography, science and visual art clash in a visual exploration and visual- [email protected] ization of light and the power of the sun.

PhOne Light Break — Photography / Light Therapy takes its point of departure in the medical +45 3315 4045 use of phototherapy by the Danish physician and nobel Laureate niels Finsen at the CeLL end of the nineteenth century. niels Finsen used the beams of the sun and special +45 4075 8616 lenses to cure severe skin diseases such as lupus (tuberculosis of the skin). For an COnTACT nAmeS extended period medicinsk museion in Copenhagen has made its extensive archive martin Asbæk of Finsen’s work available to the artist. From the museum howalt has used lenses, Julie Quottrup Silbermann archive material, photographs and medical equipment with which he has worked in his photographic pieces. Inspired by Finsen’s method, howalt has captured the exhIBITeD ArTIST beams of the sun and passed them through coloured filters and rock crystal lenses, nicolai howalt then down on to photosensitive paper. This unique photographic work visualizes the invisible part of the colour spectrum, the part that we normally cannot see when OTher rePreSenTeD ArTISTS Tjorg Douglas Beer we look at the sun. Almost subjectless, colourful photograms of the sun and light elina Brotherus itself are mixed with black-and-white images of medicaments and other objects. Astrid Kruse Jensen Trine Søndergaard In his work with the series howalt has used large-format analog cameras and old Clare Woods photographic techniques. All pictures in the exhibition are thus hand-copied and ebbe Stub Wittrup chemically developed during several periods in the darkroom. hans hamid rasmussen matt Saunders nicolai howalt (b. 1970) works with photography. his practice has its starting point marina rubinke in the world of reality. With a conceptual, abstract approach in the works, howalt nicolai howalt Søren martinsen explores and researches a variety of subjects, often existential, and at the same martin Liebscher time challenges the boundaries of the photographic medium. Despite the various Jesper Carlsen themes in howalt’s works they always retain a feeling of duality — the abstract and eva Koch the material, life and death, horror and fascination, the finite and the infinite. Lisa Strömbeck niels Bonde howalt’s works are amply represented in public collections such as The Israel mu- Berta Fischer seum, Jerusalem; muSAC, Spain; maison européenne de la Photographie, France; Sofie Bird møller Paul mcDevitt The museum of Fine Arts, houston, uSA; the ny Carlsberg Foundation: The Danish Cornelius Quabeck Arts Foundation; esbjerg Art museum.

COVer LightBreak wavelength #611 2015 Analogue c-print Photogram 28 × 23,6 cm framed in plexi box

InSIDe Medical Object #2 2014-15 Silver gelatin print 160 × 135 cm

BACK Light Institute #1 2014-15 Silver gelatin print 54 × 65 cm ASPN Leipzig

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ASpN

WeBSITe Famed produce their work site specific. Physical, social and political aspects are www.ASPngalerie.de considered and transformed into pieces that manifest in a variety of media and of- e-mAIL ten combine architectural/sculptural, textuall and musical approaches. They analyse [email protected] productivity, presence and absence, visibility and the possibility of representation

PhOne in the context of contemporary art and society. + 49 341 960 00 31 In 2015 Famed will realize art in public in Birmingham, uK and a huge light instal- CeLL lation in the city centre of Leipzig. Shows in L40 Kunstverein Berlin and in Vienna + 49 179 660 80 85 and Cologne are planned. COnTACT nAmeS Arne Linde (Director) robert Seidel downscales the city. miniatures of streets stretch across the canvas, Carolin nitsche individual houses stand out, drop into two-dimensionality and gain the appearance of pictograms. What robert Seidel paints seems to turn prototypical — cola bottles, standing in line before gradients of grey, overemphasise their brand; a fish exhIBITeD ArTISTS truck almost seems to turn into a fish itself. he arranges fragments of popular cul- FAmeD ture, musical icons, village architecture and the soberness of industrial estates into Jochen Plogsties robert Seidel a novel, reduced order. Arthur Zalewski In 2015 robert receives the reknowned marianne-Defet-Stipendium for painting, OTher rePreSenTeD ArTISTS shows in Bruxelles, Berlin and a solo exhibition at Insitut für moderne Kunst, nurem- Benjamin Appel burg. Grit hachmeister matthias hamann In terms of media and content, Arthur Zalewski rather circumscribes his themes than Jochen mühlenbrink takes them in direct focus: paintings have no subjects, photographs from various matthias reinmuth Johannes rochhausen cities highlight the blurred and uni¬versal aspects of contemporary urban space. maya Schweizer Cities such as Beijing and Warsaw reveal their similarities. The development of post- Katsutoshi Yasa socialist countries, phenomena of globalisation as well as artistic authorship form the matrix of his interests.

COVer In 2015 teaches as a deputy professor for photography at Academy of Visual Arts, FAmeD Leipzig Go West 2013 Jochen Plogsties re-enacts iconographic images of pop culture and art history. he Video #7, 7:35 min (Videostill) filters reproductions of paintings by rembrandt, Stubbs and Cranach from cata- variable logues and takes images of record covers from the internet, appropriates them and

InSIDe retransfers them into oil on canvas. he explores questions of reproducibility, artistic robert Seidel roots and visual strategies of the present. Humourous 2015 In 2014 / 2015 Jochen Plogsties shows a solo show in Kestnergesellschaft, han- Oil on canvas nover and published his first monographic catalogue, in 2015 he is a resident artist 85 × 85 cm in Bad Gastein, Austria. BACKSLASH GALLery Paris

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BaCKsLasH GaLLery

WeBSITe Backslash Gallery is delighted to present a booth where an intimate atmosphere www.backslashgallery.com conducted the choice of the works, in the meanings of these as much as in the e-mAIL scenography of the booth. [email protected] The visitor first sees large scale works including a photograph by Sergen Şehitoğlu PhOne revealing the privacy of a lady who sells hers charms on Internet. A large-scale work + 33 981 396 001 by Xavier Theunis invites the visitor to enter a room, designed to represent a small CeLL interior, and reveals an atmosphere of a house comfort while paying tribute to the + 33 663 601 448 famous Brazilian designers humberto and Fernando Campana. Then two works by + 33 667 076 160 michael Zelehoski suggest the connection between this first space, which could be COnTACT nAmeS seen as the hall of a house, and a smaller room that is filled with intimate artworks. Séverine de Volkovitch Delphine Guillaud The design of the booth then lets appear a space organized like a curiosity cabinet with a table and chairs’ set of young designers the gallery has chosen to invite, Jules & Pierre. It reconstructs the idea of privacy, secret room, as well as the notion eXhIBITeD ArTISTS of global fine arts including architecture and design. Small artworks by Charlotte Charlotte Charbonnel rero Charbonnel, rero and Boris Tellegen, are displayed on a shelf and underneath it, Sergen Şehitoğlu giving to the visitor the impression that he enters a real private room in a house, Boris Tellegen the hidden place of a collector where he gathers all his treasures. Books on con- Xavier Theunis temporary art market dropped off on the shelf contributes to create the idea of a michael Zelehoski Jules & Pierre connoisseur’s home.

OTher rePreSenTeD ArTISTS France Bizot Fahamu Pecou Luc Schuhmacher Clemens Wolf

COVer michael Zelehoski Chutes and Ladder (detail) 2013 Assemblage with ladder and found wood 114 × 78 cm

InSIDe Sergen Şehitoğlu km180214 2014 Archival pigment print on Fine Art paper 123 × 111 cm

BACk (LeFT) Charlotte Charbonnel Concretio 8 (detail) 2014 Salt and rope 8 × 27 × 9 cm

BACk (rIGhT) rero Untitled (EYES WIDE OPEN...) 2014 Old photograph and adhesive letters under resin 25,5 × 25,5 cm Galería ÁnGeles Baños Badajoz

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GaLERÍa ÁNGELES BaÑoS

WeBSiTe SuSAnne S.D ThemLiTz www.galeriaangelesb.com A childlike spirit of discovery underlies all the work of Susanne S.D Themlitz. ex- e-mAiL ecuted in a variety of media, including drawing, sculpture, ceramics, photography [email protected] and video, her work playfully ignores the distinction between genres.

PhOne A panorama of interwoven happenings is the delicate result of her created world — +34 924 235 538 a world which moves seamlessly from the sculptural to the pencil-drawn realm. The ceLL household and industrial objects that she utilises in her sculptural works take on an +34 606 08 89 65 unexpectedly lifelike quality as ruinous fragments of our everyday are arranged to cOnTAcT nAme form tenuously balanced assemblages. These assemblages subsequently embark on Ángeles Baños an intense dialogue with her drawings. Through her works’ on going and anarchic relationship to proportion — literally big in relation to small, she encourages us to look at our surroundings afresh. We as the viewer are invited to partake in her system- exhiBiTeD ArTiSTS Susanne S.D. Themlitz atic daydreaming — prompting renewed scrutiny of our own dreams and illusions. Andrés Pachón The hatter and the hare are trying to put the dormouse into the teapot. OTher rePreSenTeD ArTiSTS This may be their route to freedom. Andrés Pachón Antonio xoubanova — Katja Davar, 2014 carlos Lobo Daniel martín corona AnDréS PAchón ignacio Bautista Juan carlos Bracho in the late nineteenth century Fernando Debas, photojournalist and photographer, Jesús zurita made a series of portraits of Filipinos brought to madrid in 1887 on the occasion of Laura González cabrera the exhibition of the Philippines, one of many colonial exhibitions were developed manuel Antonio Dominguez with great success in those years. ricardo cases ruth morán in “Tropologías i (del estudio de Fernando Debas)”, Pachón does a number of changes in the actual content of the images and the support thereof, which show the difficulty to contextualize the “reality” of anthropological images. There is a mix cOVer of romantic staging and decontextualization of spaces. This work proves that the Susanne S.D. Themlitz There was a table set out under a issue is far from photographic objective truth which is presupposed from its incep- tree in front of the Hare’s and the tion, questioning its value as evidence support. Hatter’s house 2014 Pachón performs infographic interventions on photographic documents and original Painted steel, plastic stool, jute- videographic. The resultant images are exhibited as a new document which function coated wire, ceramic vase, oil paint is to disclose the fantasy and fiction behind those supposed veridical studies. his on plate, precious stone, wood, visual interventions want to disclose the fantasy contained in the european imagi- acrylic glass, enamel-coated pot, white clay nary of an exotic and tribal world. 140 × 50 × 45 cm in the last year he has developed his theoretical and artistic research with the photo- inSiDe graphic material of the Anthropology national museum Documentation Department Andrés Pachón in madrid, resulting in his Tropologías i-V series, which questions the eurocentric Tropologías I (del studio de outlook that contain such images, mainly with the Spanish colonial imaginary nine- Fernando Debas) S.T. 02, S.T. 04 2013 teenth and early twentieth centuries. canvas print 250 × 200 cm Beers London

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Beers London

WeBSITe AnDreW SALGADO (b. 1982, regina, Canada) has situated himself as one of the www.beerslondon.com eminent emerging painters in both the uK and north America. he has been listed e-mAIL by Saatchi as “one to invest in today” (Sept 2013), lauded by esteemed critic ed- [email protected] ward Lucie Smith as a “dazzlingly skillful advocate” for painting, and been openly

PhOne endorsed by Tony Godfrey (author of Phaidon’s Painting Today). +44 20 7502 9078 Salgado has exhibited in the united Kingdom, Germany, Scandinavia, Australia, COnTACT nAme Venezuela, Thailand, Korea, South Africa, Canada, and the uSA. Forthcoming solo Kurt Beers exhibitions include This is not the Way to Disneyland and Youth in Trouble, both solo presentations for Art Basel Week, (June & December 2015), as well as his much anticipated fourth solo exhibition at Beers (October 2016). exhIBITeD ArTIST Andrew Salgado Salgado is featured in 100 Painters of Tomorrow, published by Thames & hudson OTher rePreSenTeD ArTISTS (2014); he is subject of a 2015 documentary, entitled Storytelling — which followed ATOI the artist over 4 months while he created a body of work — to debut at international Austin Ballard film festivals in 2015. he is curating an exhibition, The Fantasy of representation, elizabeth Corkery Clinton hayden which includes work by Josef Albers, David hockney, Gary hume and hurvin An- Janneke Van Leeuwen derson for Beers (July 2015); and he is recipient of Canada’s SK Lieutenant Gov- Peter matthews ernor’s Arts Award (2013). Tony romano Pawel Sliwinski Previous solo exhibitions include Storytelling, Beers, London (2014); Variations on Leonardo ulian A Theme, One Art Space, new York City, (2014); enjoy the Silence, Christopher Jonathan Zawada møller, Cape Town, SA, (2014); his first museum-based exhibition, The Acquain- Adam Lee tance, Art Gallery of regina, Canada (2013); and The misanthrope, Beers, London, (2012). his paintings have been included in the merida Biennale of Contemporary Art

COVer (2010), the nordArt Carlshutte Biennale (2012); and he has been featured maclean’s Andrew Salgado (Canada), The Globe and mail (Canada), The Independent, The evening Standard, Orpheo (detail) Shortlist, Yatzer, metro, and more, including the nBC mini-series The Slap, star- 2015 ring uma Thurman. he frequently donates to charitable associations worldwide, oil, pastel, and collage on canvas including the Terrence higgins Trust, macmillan Cancer Support, and others, and 200 × 200 cm his work garnered the highest-bid ever auctioned at Canada’s esteemed ‘Friends For Life Annual Charity Auction’ (2011). In 2013, he was commissioned to create a InSIDe Andrew Salgado brand new series of large-scale works to adorn the windows of the luxurious uK- Disney retailer, harvey nichols. 2015 Oil and oil pastel on canvas Salgado currently lives and works in London, uK. 250 × 250 cm

BACK (LeFT) Andrew Salgado Ping Pong 2015 Oil and oil pastel on canvas with collage 200 × 200cm

BACK (rIGhT) Andrew Salgado Oh! 2015 Oil and oil pastel on canvas 200 × 200 cm beta pictoris Maus conteMporary Birmingham, aL VOLTA 11 | BOOTh numBer C3

Beta pictoris / maus contemporary

WeBSITe Travis Somerville (American, born 1963) has garnered critical attention in numerous www.mausContemporary.com publications including The Washington Post, Art in America, FlashArt, and The Los e-mAIL Angeles Times. his work is included in numerous museum collections, including the [email protected] San Francisco museum of modern Art in San Francisco, California; the museum of

PhOne Contemporary Art San Diego in San Diego, California; the 21c museum in Louisville, +1 205 413 2999 Kentucky; the Laguna Art museum in Laguna Beach, California; the San Jose mu-

COnTACT nAme seum of Art in San Jose, California; the Birmingham museum of Art in Birmingham, Guido h maus Alabama; and the Walker Art Center in minneapolis, minnesota.

The tumultuous history of race relations in the South has been, in large part, buried and left to fester in the years since the Civil War. While culture is intangible and ab- exhIBITeD ArTISTS Travis Somerville (C3) stract, its artifacts are available as evidence of its existence. Born in Atlanta, Geor- Taravat Talepasand (C1) gia and raised throughout the South, Somerville unapologetically picks at these old Leslie Smith III (C2) wounds by exposing the popular objects and iconography of Southern culture. his OTher rePreSenTeD ArTISTS use of imagery is complex and shaped by his personal relationship to it. his work Willie Cole functions as a craft of anti-nostalgia and critical memory, and the artist’s work pre- Clayton Colvin sented at VOLTA11 showcases his sharp and creative insistence on how images mark Flood Irene Grau and material objects are never merely inanimate relics of a past far removed from Barbara and michael Leisgen our presents or our futures. he compels us to reconsider and repudiate the stan- Sharon Louden dard measure of America’s history of white supremacy and racism as a progressive eugene James martin narrative that has seemingly ended on an utopian note of post-race. Sonja rieger Bayeté ross Smith The work shown at VOLTA11 demonstrates a scripting of American history that melissa Vandenberg forgoes this progressive wish fulfillment, a rhetoric of non-culpable hope. Instead, Somerville’s work intermingles visual and verbal references to the semiotics of the Civil War, reconstruction, Jim Crow, the Civil rights movement, and the Age of COVer Travis Somerville Obama. Somerville himself points out that his work complicates the sense of a col- Beautiful Landscape lective memory about how race has shaped the political, historical, cultural, and 2006 social contours of America: “As I attempt to navigate the terrain between autobiog- Acrylic on paper raphy, history, and art, all sorts of collisions take place. It is these interesting moca. 127 × 96.5 cm (50 × 38 inches) ments and the inconsistencies that inform them that I try to capture in my work.” Through the restaging of old advertisements and newspapers, vintage money bags InSIDe (LeFT) and cotton sacks, and the poignant juxtaposition of his drawing and painting against Travis Somerville Old Pal of Mine found photos, Somerville brilliantly entices the viewer to marvel over the aesthetic 2012 power of American culture’s everyday brutality and myopia. Oil and collage on canvas ca. 223 × 205 cm (88 × 81 inches)

InSIDe (rIGhT) Travis Somerville The Debate 2015 Graphite on cotton picking sacks, India ink on flag, rope ca. 259 × 182 cm (ca. 102 × 72 inches)

BACK Travis Somerville T.K.A.M. 2015 Oil, gesso, acrylic, and collage on canvas ca. 122 × 91 cm (48 × 36 inches) beta pictoris Maus conteMporary Birmingham, aL VOLTA 11 | BOOTh numBer C1

Beta pictoris / maus contemporary

WeBSITe “To create art, it is imperative for me to be vulnerable. Torment and twist — extract www.mausContemporary.com the truth from issues with which I need to deal. However, I believe that art has to e-mAIL possess an element of courage in order to provoke change — socially, intellectually, [email protected] and morally, most notable, in a world where ideas of culture, political, and intellec-

PhOne tual activities are evolving, but not without conflicts affecting generations to come.” +1 205 413 2999 — Taravat Talepasand COnTACT nAme Guido h maus Taravat Talepasand was born 1979 of Iranian parents in the uS, retaining close family and artistic ties to Iran, esfehan, where she was trained in the challenging discipline of Persian miniature painting. Paying attention to the cultural taboos identified by exhIBITeD ArTISTS distinctly different social groups — gender, race and socioeconomic position — her Taravat Talepasand (C1) work reflects the cross-pollination, or lack thereof, in our “modern” society, draw- Leslie Smith III (C2) ing on realism to bring a focus on an acceptable beauty and its relationship with art Travis Somerville (C3) history under the guise of traditional Persian painting. “Since I myself am considered OTher rePreSenTeD ArTISTS a taboo in that I am a conglomerate of equal, yet irreconcilable cultural forces, my Willie Cole Clayton Colvin work challenges plebeian notions of acceptable behavior”. As an Iranian woman mark Flood living in America, Talepasand uses her work to explore how women navigate the Irene Grau myriad boundaries between east and West. Women’s bodies become surfaces im- Barbara and michael Leisgen printed with the uncertainties left by social and political upheaval, using the human Sharon Louden eugene James martin figure as a treacherous place between narrative and introspection. She reflects on Sonja rieger the impossibility of reconciling words, images, and objects as subjects. The works Bayeté ross Smith shown at VOLTA11 develop a dialogue between artist and viewer questioning the melissa Vandenberg contortions of cultural associations and how they cross boundaries, what is toler- able and taboo, and the fine line between what is real and imagined.

COVer She holds an mFA from the San Francisco Art Institute and a BFA from the rhode Taravat Talepasand Island School of Design. her works can be found in the permanent collections of the Dokhtare Bahar Fine Arts museums of San Francisco, the de Young museum of Art, San Francisco, (Girl of Spring) 2011 CA, the Orange County museum of Art, Orange County, CA, as well as a number of graphite and private collections. She was awarded the 2010 richard C. Diebenkorn Fellowship. pigment on paper ca. 101.5 × 76 cm (40 × 30 inches)

InSIDe (LeFT) Taravat Talepasand Westoxicated 2015 egg tempera and gold leaf on linen ca. 168 × 91.5 cm (66 × 36 inches)

InSIDe (rIGhT) Taravat Talepasand Khomeni 2015 egg tempera on linen ca. 122 × 91 cm (48 × 36 inches)

BACk Taravat Talepasand Andarooni Birooni (Insider Outsider) 2015 egg tempera and gold leaf on linen ca. 112 × 76 cm (44 × 30 inches) beta pictoris Maus conteMporary Birmingham, aL VOLTA 11 | BOOTh numBer C2

Beta pictoris / maus contemporary

WeBSITe Leslie Smith III was born 1985 in maryland and grew up in metropolitan Washington, www.mausContemporary.com DC, graduated with a BFA degree in Painting from the maryland Institute College e-mAIL of Art (mICA) in 2007, and obtained an mFA degree in Painting and Printmaking [email protected] from Yale university in 2009. Since then his work has been included in exhibitions

PhOne in the uS, such as a solo exhibition at the madison museum of Contemporary Art +1 205 413 2999 in madison, Wisconsin, and in the Valérie Cassel Oliver curated exhibition “Black in

COnTACT nAme the Abstract, Part 2: Soft Curves/hard edges” at the Contemporary Arts museum Guido h maus houston in houston, Texas.

Smith explores both the complexity of the non-representational and the expansive- ness created by working on non-traditional supports. not content with being con- exhIBITeD ArTISTS Leslie Smith III (C2) fined by the linearity of the rectangle or the square, Smith explodes the confines of Travis Somerville (C3) geometry with custom designed shaped canvas supports that would seem acciden- Taravat Talepasand (C1) tal were they not so absolutely intentional, their soft edges falling away, drifting, chal- OTher rePreSenTeD ArTISTS lenging viewers’ expectations and creating tensions that are almost unimaginable. Willie Cole Clayton Colvin Smith uses this tactic in works of varying scales. his paintings are filled with ten- mark Flood sion, their surfaces arrayed with the gestures of Smith’s markmaking, their curved Irene Grau edges rolling away, exploring new spaces, questioning the dictate of the rectangle Barbara and michael Leisgen and scuare. Studies in tone and texture, filled with chiaroscuro, subtle plays of both Sharon Louden eugene James martin stillness and motion. Smith’s understandings of pictorial space in abstraction come Sonja rieger roaring forward in a new work shown at VOLTA: Only A Paper Moon (shown on right Bayeté ross Smith in this catalogue’s middle section), continues this exploration, its surface filled with melissa Vandenberg subtle geometric shapes, the painting literally feels as if it could leap off the wall. Its forms seem as if they could reflect, veil and reveal at precisely the same moment as Smith pushes viewers away, holds them close and pulls them through in the same COVer Leslie Smith III moment. The artist understands the complexities of abstraction and he uses both Only a Paper Moon (detail) the surfaces and the structures of his works to create tensions that are palpable. 2015 This oscillation between abstraction and the use of concrete forms creates and even Oil on shaped canvas more discernable tension within each work. ca. 131 × 132 cm (51.5 × 52 inches)

InSIDe (LeFT) Leslie Smith III Tall Tales 2015 Oil on shaped canvas c a. 77.5 × 62 cm (30.5 × 24.5 inches)

InSIDe (rIGhT) Leslie Smith III Only a Paper Moon 2015 Oil on shaped canvas ca. 131 × 132 cm (51.5 × 52 inches)

BACk Leslie Smith III Ready or Not 2014 Oil on shaped canvas ca. 75 × 66 cm (29.5 × 26 inches) Galleri Jacob bJørn AArhus

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GALLErI JACOB BJØrN

WeBSITe Galleri Jacob Bjørn was founded in 2014 and comprises two large exhibition spaces www.jacobbjorn.com in Aarhus, Denmark. We work with emerging artists and present and develop them e-mAIL in an international context. Our primary focus is artists from Scandinavia and uS. [email protected] We’re proud to present the American artist Ted Gahl: PhOne +45 2324 5664 Ted Gahl (b. 1983) first got attention in the uS a couple of years ago. Gahl’s work is mainly abstract but he often adds a layer of faint figuration, seemingly with no rela- COnTACT nAme Jacob Bjørn tion to the aggressive and expressive abstract background. The figurative elements are naïve and merely outlined human characters that are repeated through a series of paintings, thus inviting the viewer into a strange world of association, allusion and exhIBITeD ArTIST myth. Some paintings show a house painter with bucket and brush. Others show a Ted Gahl commuter, his briefcase and his pipe. The works can thus be seen as reconstruc- OTher rePreSenTeD ArTISTS tions of personal childhood memories as well as broader myths and historical figures. Jan S. hansen nick Theobald Gahl states: “Figures, such as a looming homage to mark Twain, are present in an Søren Sejr abstracted environment, creating a vague sense of familiarity. Focusing on these hybrid pictures, I’m delving through the process of mining old images and reconstructing them through new applications.” COVer The Lonely Writer (Twain’89) The gallery will present a solo exhibition with Ted Gahl this fall. 2014 Acrylic, graphite and enamel on canvas 214 × 152 cm

InSIDe Twain ’89 (Three Sloops) 2014 Acrylic, graphite and enamel on canvas 214 × 152 cm

BACk The Commuter (Nightcap) 2015 Acrylic, oil, graphite and enamel on canvas 214 × 152 cm Spencer BrownStone Gallery New York VOLTA 11 | BOOTh numBer B2

SpeNcer BrowNStoNe GallerY

WeBSITe Ariel Orozco (*1975, Sanctus Spiritus, Cu) received his mFA from the Instiuto Supe- www.spencerbrownstonegallery.com rior de Arte in havana. his work has been shown at galleries and museums worldwide e-mAIL and is included in such collections as Colección Jumex, the Zabludowizc Collection [email protected] and the museo de Arte moderno, méxcio among others.

PhOne Orozco works within a diverse array of mediums, moving seamlessly between perfor- +1 212 334 3455 mance, painting and installation in his conceptually driven practice. his work, often COnTACT nAme taking the form of interventions or actions, reflects on those overlooked interactions Spencer Brownstone of everyday life by providing a new or alternative perspective. encompassing the deeply personal to the completely public, he nevertheless imbues his work with an all-encompassing compassion. Always seeking to give his audience an awareness exhIBITeD ArTISTS Ariel Orozco of the people and things that surround us, his artwork provides moments of contem- Fred eerdekens plation to reflect on the vagaries and marvels of life. Deeply symbolic and startlingly

OTher rePreSenTeD ArTISTS simple, Orozco’s work speaks a universal language accessible to all. Skip Arnold Fred eerdekens (*1951, hasselt, Be) is perhaps most well known for his shadow Fred eerdekens Tessa Farmer text work in copper and aluminum. These quiet and poetic installations combine a Jeff Gabel virtuosic use of materials with a simplicity that both subverts and elevates language. Lori hersberger Beyond just the simple metal phrases and sentences, eerdekens has worked with Olivier mosset such diverse mundane materials as discarded clothing and artificial trees, trans- Ariel Orozco Jaime Pitarch formed by the simple application of light. By utilizing the physical nature of his me- Jane South dium, he creates art that blurs the line between reality and perception. his instal- martin Wöhrl lations have been shown extensively at museums and galleries worldwide, and is featured in major collections such as muhKA, Antwerp; SmAK, Brussels; museo d’Arte moderno, Bolzano; and FrAC Languedoc-rousillon, among others. As well, COVer he has completed a number of large, site-specific installations, for important public Ariel Orozco Gato Nero (still) and private spaces. 2014 80, 35mm slides, projector dimensions variable

InSIDe Fred eerdekens And then he said something everybody thought was true 2015 Copper, light 18 × 175 × 14 cm

BACK Fred eerdekens Shadow Painting #5 2015 Wood, canvas, steel and acrylic 75 × 95 × 40 cm Brunnhofer Galerie Linz

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Brunnhofer GaLerie

WeBsiTe OLiVer KrOpf’s works are structured in innumerable layers. The start might be a www.brunnhofer.at coloured coating of the canvas to prime it with a ground. he works on this grounding e-mAiL systematically, places his figures on the expressively physical painted background. [email protected] The finished picture has a mystical effect, in part even sombre, the way the figures phOne merge into this landscape and yet mostly seem out of place. The brushstrokes he +43 7327 783 210 sets testify to a power and strength but at the same time also to the sheer joy of ceLL painting. The newest series of works seems to depict grotesque sceneries of protes- +43 6643 818 104 tors or parties. Like his brushwork he seems to add a bit horror. plus, the painting is cOnTAcT nAmes becoming a sculpture as well — Kropf lets his figures crawl out of the 2D picture and stefan Brunnhofer become a sculpture made out of the original fabric of clown-trousers or toilet paper. elisabeth Brunnhofer ThOmAs KühnApfeL: Just as colour, “air” can be hardly described as material: it has no haptically relevance; it tends to leave and expand and is therefore not good exhiBiTeD ArTisTs to be formed. it seems to be plainly immaterial. nevertheless, it is relevant as an Oliver Kropf artistic material since the 1950s. Air on its own is the paragon of invisibility. There- Thomas Kühnapfel fore, art tends to show air through its impact on material. Otto pienne for example elisabeth sonneck showed the lack of air, the impact of vacuum on a fly, in his Vacuumbell as well as OTher represenTeD ArTisTs the presence of air in his rainbow installation made out of plastic. Kühnapfel seems Lucia Dellefant to refine these works, playing with the materiality of air, although again, it is the im- Lorenz estermann materiality of air that he is using to create an effect on something. he is forming one indra Katharina Karner of the heaviest materials we know by using air:vsteel. ronald Kodritsch paul Kranzler eLisABeTh sOnnecK’s installations shift between material and immaterial Jennifer nehrbass worlds. All of the works in the artist’s oeuvre give credit to a nearly neo-platonic Anton petz idea of colours. nevertheless, she is using the synergy of different layers of colour Andrew phelps and different materials in way more artistic-aesthetical aspiration. in the end, the Bernd Zimmer substantial world of colours is what matters the most to her, not the idea behind the colour. saying that, in sonneck´s work, the colour(s) are standing for themselves; they are no longer a tool for arts. her work is a rejection of the representation, to- cOVer Oliver Kropf wards the presentation of colour. To present the colours in all possible coping ways, Lady sig sig futnig the use of material for the presentation has a broad range: murals, paper installa- (Im Wendekreis der Karawanken) tions, canvas, acrylic... and mostly in-situ. 2014 mixed media 45 × 24 × 22 cm insiDe Thomas Kühnapfel muscle 2012 stainless steel (hand-polished) 160 × 50 × 120 cm

BAcK elisabeth sonneck Antiphon – Schwarzlicht 2013 oil on canvas 140 × 140 cm Laura BuLian GaLLery Milan

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laura Bulian Gallery

WeBSiTe The key element in the work of the two young artists belonging to the same gen- www.laurabuliangallery.com eration, nikita Kadan (1982, ukraine) and marat raiymkulov (1984, Kyrgyzstan) is e-mAiL the investigation of the role and effect of political and social power on Post Soviet [email protected] societies.

CeLL niKiTA KAdAn is member, since 2004, of r.e.P. (revolutionary experimental space) +39 335 604 0070 artists group and co-founder (2008) and a member of hudrAdA (Artistic commit- COnTACT nAme tee) curatorial and activist group. Laura Bulian Through installation, graphics, painting, mural drawings and performances he investigates the complex panorama of his country where, as he reports, abuse of exhiBiTed ArTiSTS power, violence and conspiracy of silence are a reality. he draws from both the nikita Kadan current socio-political reality in ukraine and from the socio-cultural heritage of the marat raiymkulov Soviet union. OTher rePreSenTed ArTiSTS Vyacheslav Akhunov Kadan’s structural critique addresses the abuse of power in contemporary ukraine, Said Atabekov as in the project Procedure Room (2009-2010), derived from the images of the elisabetta di maggio Popular medical encyclopedia from Soviet times, and at the same time from social G.Kasmalieva & m.djumaliev research. The project includes a set of souvenir plates where illustrations of the Alimjan Jorobaev Anastasia Khoroshilova ukrainian police’s torture methods are drawn in the style of Soviet medical text- Andrei roiter books. This project has been exhibited in the show The Desire for Freedom. Art in eve Sussman Europe Since 1945, at mOCAK, Krakow, Poland (2013), Palazzo reale, milan, italy yelena & Viktor Vorobyev (2013) and German historical museum, Berlin, Germany (2012).

Kadan won the PinchukArtCentre Prize in 2011. his work has been exhibited inter- COVer nationally in important museums and institutions, such as: museo Pecci, Prato, italy marat raiymkulov (2007), Kumu museum, Tallinn, estonia (2010), mOmmA, moscow, russia (2011), Ratbay 54 Venice Biennale, italy (2011), First Kyiv Biennale of Contemporary Art Arsenale, 2009 ink on paper imbued with tea curated by ekaterina degot, Kyiv, ukraine, (2012), German historical museum, Ber- lin, Germany (2012), moscow biennial, russia (2013), Palazzo reale, milan, italy inSide nikita Kadan (2013). in 2015 Kadan’s work will be presented in a group show at Kunsthaus Zu- Fixing rich, at the 56th Venice Biennial and the istanbul Biennial. 2010 light boxes mArAT rAiymKuLOV, through small sized works on paper and disturbing video animations, exposes the traditional structure of the patriarchal family, analogies with the social power of capital, the technocratic divisions of class, the ideologies of “productivity”, the exploitation of the earth and of women, and the inadequacies of logico-linguistic tools in interpreting both reality and the aims of the artwork.

Faced with such spectacular control, his characters are captured in blank observa- tion and projections of impotence are professed in their fragility and existential na- kedness. Thus, the prevailing sentiment is one that cannot be named: finding one- self outside of the powers structure as nomad subjects, perceived only by echoes and fragments.

The only available course of action against the dictatorship of vision is to set free reasons that have been deprived of their foundations, where the language of art ceases to merely signify and returns to being a murmur of exhaustion, a game of the absurd and real anarchic struggle.

his work has been exhibited at Laura Bulian Gallery, milan (2012), at Central Asia Pavilion of 54 Venice Biennale (2011) and in many public institutions in Central Asia. CHARLIE SMITH LONDON London

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CHARLIE SMITH London

WeBSITe each of these artists is engaged with the history of the cultural object. representing www.charliesmithlondon.com a dominant tendency in contemporary art, these artists look to the past in order to e-mAIL configure the current, embracing the histories of painting, photography and object [email protected] making within their practice. Their assimilation illustrates a progression away from

TWITTer the ironic and cynical towards the affirmative. @charliesmithldn emma Bennett appropriates still life elements directly from Dutch and Italian mas- PhOne ters. These motifs are rendered in fine oil paint against monochromatic grounds, +44 207 739 4055 thus fusing historical and modernist tropes to investigate the memento mori, beauty CeLL and the void. +44 795 893 1521 Kiera Bennett makes abstract paintings that begin with the everyday life of the art- COnTACT nAme Zavier ellis ist. recalling early 20th century modernism, Bennett makes drawings and paintings in repetition that allude to, for example, smoking, lounging, being hung over and the act of painting itself. exhIBITeD ArTISTS Tom Butler collects 19th century cabinet cards, working delicately over the origi- emma Bennett Kiera Bennett nal photograph with beautifully fine gouache. The original subject is overtaken or Tom Butler inhabited by fur, flowers or geometric patterns, alluding to the unconscious fears eric manigaud and desires of the individual. Wendy mayer Gavin nolan eric manigaud makes impeccable photo-realist drawings after found transparencies Claire Partington and sourced historical images. Working in series, manigaud explores fundamental John Stark subjects that are pertinent to the modern era: asylums, war, disease, occult and OTher rePreSenTeD ArTISTS forensic photography. Sam Jackson Sarah mcGinity Wendy mayer works from found family photographs and collectable reborn dolls in Alex Gene morrison order to make her uncanny figure sculptures. Demonstrating superlative sculptural Dominic Shepherd and painterly techniques, mayer’s bizarre figures displace the past for the present Gavin Tremlett and toy with intimate familial relationships.

Gavin nolan’s recent paintings depict versions of historical figures. Combining hyper- COVer realism with material painting at a small scale, nolan reveals simultaneously the hero- eric manigaud ic and fragile nature of his subjects, and meditates on celebrity, legacy and tragedy. Trachoma pannus keratitis, 1916 (detail) Claire Partington makes exceptional ceramic works that focus on narrative and the 2014 retelling and misinterpretation of stories. Inspired by european applied art and de- Pencil & graphite powder on paper sign styles from the 1600’s onwards, Partington employs traditional techniques that 150 × 125 cm reference a panoply of historical and contemporary sources.

InSIDe John Stark deploys outstanding technique to render fine oil paintings on board. Stark John Stark draws on Italian, Dutch, and German historical painting in combination with popu- No Man’s Land lar contemporary visual culture to make paintings that are underpinned by complex 2014 Oil on wood panel mythological, religious, philosophical and political notions. 122 × 180 cm

BACK (LeFT) Gavin nolan Clamber at Us 2015 Oil on canvas 18 × 24 cm

BACK (rIGhT) Gavin nolan Soo Bawls (Mr Banal Donor) (detail) 2015 Oil on canvas 30 × 24 cm ETHAN COHEN NEW YORK NEW YORK

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ETHAN COHEN NEW YORK

WeBSITe ABOuDIA www.ecfa.com In kinetically painted canvases redolent of Jean-michel Basquiat and graffiti art, e-mAIL Aboudia Abdoulaye Diarrassouba depicts fevered landscapes and street scenes [email protected] populated by child-like figures. his collage paintings powerfully showcase his trade-

PhOne mark “nouchi” style, drawn from the street culture of children in his home city of +1 212 625 1250 Abidjan, Ivory Coast. The work is informed by their ubiquitous graffiti around Abi-

COnTACT nAmeS djan and free-form street language, known as nouchi, as a form of dreamscape in ethan Cohen response to privation. rendered in oil sticks, acrylics and collage, his works are Liliana Gao noted for brutal lines of color applied to heavily-layered background collages, details of newspaper and magazine cutouts ingeniously encircled by drawings fall in and out of focus. The resulting composition suggests current events cohering through exhIBITeD ArTIST the imagination into a provocative vision. ABOuDIA

OTher rePreSenTeD ArTISTS mural-like canvases make his statement monumental but delicate, incorporating Greg haberny collage and word play in a deliberate evocation of children’s encounters with a war- Feng Qin torn world. refusing categorization as a war painter, Aboudia instead emphasizes Zhenghui Lan the vitality of dreams and language rendered in the nouchi street art style. This style Goncalo mabunda Daiyun Li situates Aboudia uniquely in Abidjan, while a range of global influences is articulated hans Breder in collage and paint. his incomparable expression of lost innocence and enduring Yan huang childhood dreams exemplifies currents in African contemporary art and its peaking Chong Shi international relevance. Ligang Wei Andrew rogers Aboudia’s energized portrayal of the street culture of urban Africa creates a power- ful synthesis of historic and current events, propelling Aboudia to the forefront of global contemporary art. COVer ABOuDIA Untitled Street Kids 2015 mixed media on canvas 71 × 55 in. (180.3 × 139.7 cm)

InSIDe ABOuDIA Jazz Gallery 2014 mixed media on canvas 78.8 × 118.1 in. (200 × 300 cm)

BACk ABOuDIA Dream IV 2015 mixed media on canvas 40 × 60 in. (101.6 × 152.4 cm) ETHAN COHEN NEW YORK NEW YORK

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ETHAN COHEN NEW YORK

WeBSITe GreG hABerny www.ecfa.com Influenced by his background in filmmaking, new york based artist Greg haberny’s e-mAIL goal for his installations is to transform the gallery space into an all-encompassing [email protected] experience of sight and sound. The production and direction of installations echoes

PhOne his personal background in filmmaking while allowing strong personal expression +1 212 625 1250 and freedom with all forms of artistic medium. With cultural iconography and a

COnTACT nAmeS sardonic sense of humor, haberny’s installations engulf and challenge viewers, ex- ethan Cohen aggerating the circus-like frenzy of media and marketing of fear in contemporary Liliana Gao American society.

Greg haberny produces individual pieces that he then incorporates into larger instal- exhIBITed ArTIST lations. his process involves cutting, scraping, and affixing painted and found ele- Greg haberny ments including vintage comics, pin-up girls, and advertisements to create heavily

OTher rePreSenTed ArTISTS worked pieces that retain the evidence of damage or trauma. Thus his works evoke ABOudIA the pained physicality of bruises and broken bones, which reflects the shattered Feng Qin cultural makeup of our contemporary wasteland. Zhenghui Lan Goncalo mabunda daiyun Li hans Breder yan huang Chong Shi Ligang Wei Andrew rogers

COVer Greg haberny Something’s Cooking 2015 Ashes from previous artist’s work, burnt wax crayons, aluminum pots, mounted on wood 62 × 53 in (157.5 × 134.6 cm)

InSIde Greg haberny Matchbox 2015 Tire, wooden matches, dirt, house paint, aluminum foil, ashes, burnt crayons 39 × 33 in (99 × 84 cm)

BACk Greg haberny Paper Towel Tube 2015 Cardboard paper towel tube, ash, matches dirt and acrylic mounted on paper and wood 11 × 13.5 in (28 × 34.3 cm) CONRADS DüsselDorf

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CoNrADs

WeBSITe This year’s focus is on herman de vries, who represents the netherlands at the Ven- www.galerieconrads.de ice Biennale thru november 2015. e-mAIL From its inception, COnrADS’ list of artists and exhibition program present both, [email protected] new and mid-career artistic positions, creating a dialog between different genera- PhOne tions of artists of different cultural backgrounds working with all media. Though +49 211 323 07 20 form and focus of these artists’ work varies significantly, their practices overlap in CeLL a number of key areas: an engagement with general and fundamental themes that +49 177 323 07 20 culture has historically dealt with, an interest in aesthetics and a willingness to en- COnTACT nAmeS gage with the poetic as well as the critical and the political. Walter Conrads helga Weckop-Conrads

exhIBITeD ArTISTS herman de vries Julie Cockburn Pius Fox Anna Vogel

OTher rePreSenTeD ArTISTS Blaise Drummond mounir Fatmi Jana Gunstheimer marcia hafif Gabi hamm rosemary Laing Boris mikhailov Brigitte Waldach Sascha Weidner Beat Zoderer

COVer herman de vries calamgrostis epigejos coll 10.8.1979 eschenau 1979 preserved natural plant on paper 163 × 50 cm

InSIDe herman de vries journal from a trip to immessouane 2011 natural objects of different origin 18 parts à 35 × 25 cm

BACk (LeFT) Pius Fox installation view Galerie Conrads 2015 watercolor on paper / oil on canvas

BACk (rIGhT) Julie Cockburn The Bear 2014 collage on altered found photograph 24.5 × 19.5 cm GALERIE DE ROUSSAN PARIS

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GALERIE DE ROUSSAN

WeBSITe From the mid 20th century, (natural or artificial) light has become one of the most www.galeriederoussan.com favorite materials of various contemporary art experiences. The light has obviously PhOne always been a strong object of symbolic representation tied to the power of God +33 981 289 059 and /or the king. however, if the light has the ability of revelation, it enlightens the

CeLL world and makes it visible. +33 616 460 110 For VOLTA Basel, de roussan gallery is pleased to present a booth about the reflex- COnTACT nAmeS ion of light as a condition of the artwork by Lily hibberd, Stéfane Perraud and Claire Anne Bourgois Trotignon. With a selection of various luminous works, the exhibition takes the light Jeanne Lepine up as a medium used for its values and its own esthetical potential.

Since may 2011, Galerie de roussan has the ambition to enlight gazes of break- exhIBITeD ArTISTS through artists and renowned artists on the world. no medium is favored; the idea Lily hibberd is to create a space for expression where everyone’s personality can freely express Stéfane Perraud Claire Trotignon itself (performance, painting, sculpture, installations, drawings, sound, video…)

OTher rePreSenTeD ArTISTS Willing to pluralize the points of view, the gallery promotes an international program Gregory Cumins and invites curators from various sectors of contemporary art one or twice a year: Petra Koehle & nicolas Vermot artists (J.J. Lebel — 21x29,7, 2012), university professors, publishing (revue mon- Petit Outhenin François mazabraud stre: Les partitions s’affichent, 2012). Lukas hoffmann It asserts its artistic line through strong curatorial projects such as nouvelles Vagues, Juliette mogenet Palais de Tokyo 2013, nuit Blanche 2013, Choices week-end galleries 2015, and many art fairs (Drawing now, Paris Photo Los Angeles, FIAC OFFICIeLLe...)

COVer Lily hibberd Polar Time: a year in six minutes, one sunrise 2012 Digital Video 6:26 min Soundtrack © The Knife ‘This is now’ 2004

InSIDe Stéfane Perraud Fragment #3 (letter to Gilgamesh) 2013 Tinos marble, palladium, LeDs Variable dimensions

BACK Claire Trotignon Explosion #1 2014 Collage of engravings 29 × 23 cm Galerie anne de Villepoix Paris

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WeBSITe www.annedevillepoix.com e-mAIL [email protected]

PhOne +33 142 783 224

COnTACT nAmeS Anne de Villepoix Dorian Dogaru

exhIBITeD ArTISTS Omar Ba Caetano de Almeida Jean Denant xie Lei

OTher rePreSenTeD ArTISTS Derrick Adams Omar Ba Caetano De Almeida melvin edwards Yashua Klos Sven Kroner xIe LeI Senga nengudi richard nonas Wolf Vostell

COVer Omar Ba You Can See After (detail) 2014 oil, gouache, ink and pencil on corrugated carton 215 × 165 cm framed

InSIDe Caetano De Almeida A Violonista 2014 acrylic on canvas 220 × 170 cm Tamar DresDner arT ProjecTs Tel Aviv VOLTA 11 | BOOTh numBer C8

TAmAr DresDner ArT ProjecTs

WeBsiTe Tissue — BATiA shAni www.facebook.com/pages/ Tissue, Batia shani’s installation echoes the unstable political situation in the middle Tamar-Dresdner-Art-Projects east & deals with recurring themes in her work of anxiety & fears. One of Tissue’s e-mAiL translations in hebrew is embroidery. [email protected] shani, who has been doing needlework since she was a child, holds a degree from PhOne +972 74 701 7764 the royal school of needlework in London. As a child to holocaust survivors the act of needlework, which evokes joining but also stabbing and wounding, is a child- CeLL hood memory, taking the artist back to a safe place but at the same time awakening +972 54 460 0293 terrors & pain. The reality of war has always been present in her life. shani’s father, COnTACT nAme husband & son fought in several wars, while she herself was a soldier during the Tamar Dresdner 1973 Yom Kipur war. Later she became a social worker dealing with families of fallen israeli soldiers, until she left the profession in the 80’ to become a full time artist. The exhiBiTeD ArTisT installation consists of handmade miniature dresses, made out of fabric scraps and Batia shani pieces of male army uniforms. some of The dresses were made in the summer of 2014 during Operation Protective edge, which took place in the Gaza strip. Others were made more recently in view of what is happening in the middle east, especially COVer in Yemen, syria & iraq. These dresses are a visualization of the absent. They may Untitled, Dress be perceived as a perpetual state of simultaneous absence and presence. On the 2014 one hand the installation overcomes the absence and the emptiness. On the other Army uniform, fabric, embroidery 60 × 35 cm hand, it is a simulacrum that emphasizes the absence and brings about an anxiety- provoking situation with a constant potential for a breakdown. The incorporation of insiDe Afraid to Become Prisoner of War male army uniforms, associated with army and with war, within the feminine dresses, 2015 creates a sense of confusion. it is a mixture of masculinity and femininity, represent- embroidery on an envelope ing a shift of identities, an exploitation of authority which is a common phenom- 18.5 × 10.5 cm enon in the army and the potential for violence against women, all recurring motifs in shani’s work. shani also embroiders her fears on envelopes. “Afraid to become prisoner of war”, “i’m afraid of them knocking on my door” resonate the time she worked for the ministry of Defence. The engagement in anxiety is directly portrayed in those hung envelopes, which are an act of releasing and disposing of her fears, while at the same time writing those fears validates them. mistakes, additions and disruptions appear in parts of the embroidered texts. The disruption of words expresses the anxiety, which threatens to disintegrate the existing order. moreover it demonstrates shani’s interest in an anxiety that rattles normality, and in the constant tension between the urge to break through barriers and the tendency towards a quiet peaceful routine. Few of the envelopes are hung backwards, a move that transforms the text into an abstract combination of symbols, thus rendering mean- ingless. The decision to display both sides of the envelopes, allows the backside to expose the uncontrollable & unpredictable aspect of the work. Post-structuralist linguistics looks at the text as texture, a material woven out of many threads. Ac- cording to Jacques Derrida, a text is etymologically linked to textile and texture, hence characterized by the same multifaceted materiality of fabric.

— Tamar Dresdner Galerie Dukan Paris / LeiPzig

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gaLerie Dukan

WeBSITe It is my ambition to bring the art of making the surreal a part of the real world to www.galeriedukan.com perfection. e-mAIL Whereas I fathom the frontiers of the possible on my quest for new ideas it is always [email protected] inspiration that finds me. PhOne +33 981 346 183 The manifestation of this inspiration crystallises — among others — in a baublery with materials and flows of colours, in paintings of bizarre grace, that transubstanti- CeLL +33 661 934 929 ates the contemplator’s earnestness into a lightness of being in which not the com- prehension powers the fantasy to undreamt heights but the perpetual amazement. COnTACT nAme Sam Dukan «A sense of humour is not a gift of the mind, it is a gift of the heart.» This bon mot of the German journalist, theatre- and cultural critic Juda Löb Barauch makes quite a good approach to the core of my art to create art. For I look at things of life and exhIBITeD ArTIST life itself with an exquisite sense of humour. nothing lasts. everything goes by. Per- Dimitri horta fection in particular. Therefore, my paintings as well are perfection and its transient- OTher rePreSenTeD ArTISTS ness at the same time. Their destruction perfectly stage-managed by their creator. Josef Bolf Folkert de Jong Whereupon, what is being destroyed is being preserved just by this destruction. Bayrol Jimenez This dichotomy that forms the frame of my oeuvre goes along also to and through the John Kleckner Olivier masmonteil subjects of my paintings. What holds the gift and the lightness to fly becomes heavy Yigal Ozeri and gets stuck to the earth. What particularly tends to be the subject of newton’s Jean-xavier renaud Law of Gravitation becomes light as a feather and escapes the earth’s gravitational richard Stipl force. Fear becomes carefreeness, put to flight by a sense of humour. Alexander Tinei rosa maria unda Souki But it is not words that characterise my work the best. Instead, I would rather let my paintings do the talk. They say something to everybody — and to everybody they say something different. What do they say to you? COVer Dimitri horta — Dimitri horta Untitled 2015 Oil and mixed media with cast resin on wood 189 × 158 cm

InSIDe Dimitri horta Rhino 2015 Oil on canvas 180 × 260 cm

BACK Dimitri horta Tinto 2015 Oil and cast resin on wood 189 × 158 cm Espacio ValVErdE Madrid

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Espacio ValVErdE

WeBSITe We present the works of elena Alonso (madrid 1981), Luis Vassallo (madrid 1981) www.espaciovalverde.com and Alejandro Botubol (Cádiz 1979). e-mAIL The primary focus of elena Alonso’s work is drawing, that she interrelates with other [email protected] disciplines such as architecture, topography, handicraft and design, paying particu- PhOne lar attention to issues related to affectivity with the environment. +34 915 226 668 She has taken drawing to a weird level of abstraction creating a universe that is at CeLL +34 609 572 226 the same time familiar and uncertain. elena’s imagination is in touch with the platonic coordinates of drawing as a tool of orientation, mapping and design, but she COnTACT nAmeS Jacobo Fitz-James Stuart is able to free this tool from a univoque, literal use, so that the observer has to find Asela Pérez Becerril his own use and meaning of the compositions. Sara G. Arjona Alejandro is mainly a painter, but he also builds simple installations and light experi- ments that serve as material for his artworks. During his stay at ISCP in new York, exhIBITeD ArTISTS Alejandro got in touch with the works of James Turrell, richard Tuttle and matt Con- elena Alonso nors and he was deeply impressed by them. he started to work with the interpreta- Alejandro Botubol tion of natural and artificial lights, engaging a dialogue between europe and America. Luis Vassallo The aesthetic ideas in Luis Vasallo’s work are organized in axes that confront op- OTher rePreSenTeD ArTISTS Luis Asin posing concepts, as ends of the same rope: idealism and realism, rupture and con- hugo Bruce tinuity, detachment and surrender, society and the individual… Jorge Diezma robert Ferrer Alfredo rodríguez

COVer elena Alonso Quicio 1 2015 mixed media on paper 74 × 56 cm

InSIDe elena Alonso Casa Leibniz 2015 mixed media various sizes

BACk elena Alonso Untitled 1 2015 mixed media on paper 30 × 21 cm JONATHAN FERRARA GALLERY New OrleaNs VOLTA 11 | BOOTh numBer B15

JONaTHaN Ferrara GallerY

WeBSITe Sidonie Villere (new Orleans, LA; b.1976) has a BFA in Ceramics from The newcomb www.jonathanferraragallery.com School of Art at Tulane university and an mFA in Ceramics from The university of e-mAIL massachusetts, Dartmouth. [email protected] As an artist her work has been exhibited across the united States and is in per- PhOne manent collections of several museums including The new Orleans museum of Art +1 504 522 5471 and The Ogden museum of Southern Art, as well as Saks Fifth Avenue Department CeLL Stores in new York, Boston, Phoenix, San Francisco, Beverly hills and most re- +1 504 343 6827 cently Chicago. COnTACT nAmeS Jonathan Ferrara Villere is a multi-faceted artist using self-preservation and its contradictions as a matthew Weldon Showman common theme in her work. As a sculptor, her ceramic works often use geology to shape metaphorical self-portraits. As a painter, her ethereal works use multiple mediums to achieve layering and subtle depth that produce a painterly effect but exhIBITeD ArTISTS maintain a sculptural aesthetic. Sidonie Villere Paul Villinski She has had solo exhibitions in miami, nashville and new Orleans and been fea-

OTher rePreSenTeD ArTISTS tured in numerous group exhibitions in Atlanta, miami, new York and new Orleans. mel Chin As a curator, she has organized national ceramic exhibitions in new Orleans and Skylar Fein Portland, Or. Additionally, her large-scale works were featured in The P.1 Projects Generic Art Solutions satellite exhibition at the Prospect.1 Biennial Welcome Center in 2008. Villere’s work Bonnie maygarden Adam mysock is also included in the publication, 500 Ceramic Sculptures: Contemporary Practice, michael Pajon Singular Work, by Glen Brown, 2009. In 2011, her work was selected by collector/ Gina Phillips curator Beth rudin DeWoody for the January White Sale, an international group ex- nikki rosato hibition in Chelsea and at Cynthia Volk Gallery new York during Asia Week. In 2015, Dan Tague monica Zeringue Villere’s work will be exhibited at the Contemporary Arts Center new Orleans in re- verb, a survey of works marking the ten-year anniversary of hurricane Katrina. In 2016, Villere will be featured in a group exhibition at Galerie Jochen hempel in Berlin.

COVer I believe our purpose is connection. Sidonie Villere Untitled I also believe we can not have connection without being vulnerable. 2015 acrylic, gauze, net, string, With my work I rely on contradictions created by self-preservation. cord and nails on plywood 18 × 14 × 3 inches These differences, produced by our need to connect as well as protect ourselves, spur dichotomies. Through creating my self portraits with three dimensional, InSIDe Paul Villinski abstract, ceramic sculptures and multi media paintings I am able to explore and edit Cirrus these dichotomies so that the viewer is left with a minimal physicality. 2015 powder coated steel, found aluminum cans, wire, blue Flashe sizes variable L: 31 × 65 × 8 inches m: 21 × 49 × 7 inches S: 16 × 35 × 6 inches

BACK (LeFT) Sidonie Villere Untitled (diptych) 2015 acrylic, spray paint, plaster, nails and muslin on plywood each 18 × 14 × 3 inches

BACK (rIGhT) Sidonie Villere Untitled 2015 acrylic, plaster, net and muslin on gessoboard 12 × 9 × 2.5 inches THE FLAT – MASSIMO CARASI Milan

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THE FlaT — MaSSiMO CaRaSi

WeBSITe michael Bevilacqua (1966 uSA) The mish/mash of high and popular culture in his www.carasi.it paintings once again becomes the driving force, interposing logos, phrases, songs e-mAIL and intellectual quotes. With this new body of works, the topic of the sacred in art [email protected] comes into view, thanks to a deliberate collision between the work of mark rothko

PhOne and the lyrics to the pop music of Lana Del rey, whose use of bibliographic refer- + 39 258 313 809 ences mixed with quotes from Walt Whitman fascinates the artist.

CeLL Bevilacqua re-affirms his ability as a refined colourist: his unpredictable combina- + 39 333 215 532 5 tion of colours and shades return to characterise this cycle, to which he adds the COnTACT nAmeS tactile sensuality of a velvety surface dusted with spray paint. massimo Carasi Daniela Barbieri Paolo Cavinato’s (1975 Italy) works begins with space, necessarily includes time, and aims to reach the so-called fifth dimension, that of the spirit and infinity.

The space contained is a mental space, while the objects that compose it are ab- exhIBITeD ArTISTS michael Bevilacqua stractions of real artifacts. nothing is as it appears, everything is constantly ques- Paolo Cavinato tioned, set in limbo. Leonardo ulian These non-places provoke a sense of expectation, of suspense. everything tends OTher rePreSenTeD ArTISTS towards the infinite, towards an absolute, metaphysical dimension in which the “I” emanuelle Antille Filippo Armellin becomes eternal and embraces the true essence of being. The matter creates a edward del rosario flow that opens itself to time and expands in view of the infinite. Greta Frau michael Johansson Leonardo ulian (1974 Italy, lives in London) uses patterns, microchips and circuits Patte Loper of electronic devices to weave a web of connections that resemble Tibetan man- Asuka Ohsawa dalas or precious fractal forms. mathematics, science and spirituality thus form the michaelangelo Penso basis of his research. Ward Shelley The mandala is a spiritual symbol drawing in sand and destroyed after it is created. This practice establishes a sacred space, which is ulian’s technological web can COVer be a metaphor for. michael Bevilacqua installation view of solo show Through Atlas series, ulian underlines the contraposition between analogue and “Electric Chapel: The Spiritual in digital: books and microchips — elements that similarly contain information/date Art” — are wrapped with wire that makes the content inaccessible. 2014

InSIDe (LeFT) Paolo Cavinato Protection #2 2015 varnished aluminium 300 × 272 × 220 cm

InSIDe (rIGhT) Leonardo ulian Technological mandala 30 — inner chamber 2015 electric components, copper wire, wood frame, Plexiglas 122 × 122 cm

BACk michael Bevilacqua Erased Memory (Gold Standard) 2014 Spray paint on canvas 101 × 101 cm Fresh WindoW Brooklyn, ny

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Fresh WindoW weBSiTe ShADOw / LighT www.freshwindow.org Susanne hofer, Colin O’Con, and helmut Smits e-mAiL Light and shadow are at the foundation of visual perception. Light is the reason we [email protected] see art, as much as anything else. Shadows, themselves made of light, vibrate with PhOne color, emotion and the passing of time. The interplay of shadow and light is an ev- +1 718 417 0783 eryday miracle, a reason to look, linger and think. COnTACT nAme Alma egger Shadow/Light features a compact, yet wide-ranging selection of works in all media. Their distinctive use of natural and artificial light (and the shifting real/fake, holy/ profane, serious/facetious events it brings forth) engages three emerging artists in exhiBiTeD ArTiSTS Fresh window’s roster in a conversation that feels as effortless as it is felicitously Susanne hofer orchestrated. Colin O’Con helmut Smits everything is moving in Shadow/Light, suspended as it is between cooling breezes

OTher rePreSenTeD ArTiSTS and warm glows, reflection and revelation. The physical objects in this exhibition marc egger and the images and ideas they project are equally vibrant with form and content, Lisa Fairstein alluding to each other, illuminating what’s near and pointing out to narratives and Jennifer gustavson further links beyond immediate reach. Alexa hoyer wei xiaoguang

COVer Susanne hofer Structural Survey: Cable 2014 Digital C-Print 16 × 20 inches (40 × 60 cm) inSiDe Colin O’Con Untitled (Hole Mountain) 2012 Acrylic on canvas 38 × 58 inches (96.5 × 147.5 cm)

BACk helmut Smits The Real Thing 2014 A distilling installation that turns Coca-Cola back into clean drinking water made in collaboration with martien würdemann 19 ¾ × 27 ½ × 65 inches (50 × 70 × 165 cm) frosch&portmann New York

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frosch&portmaNN

WeBsiTe A series Of siLenT remArks. www.froschportmann.com raffaella Chiara and magnolia Laurie e-mAiL A series of silent remarks combines the work of two female artists, Bern (switzerland) [email protected] based raffaella Chiara and magnolia Laurie (Baltimore, mD). Chiara’s often large- PhOne scale drawings and Laurie’s paintings on panel share an aesthetic of architectural +1 646 820 9068 landscapes; their geometric systems combined with organic structures result in a CeLL whole new universe. strong, defined lines energize the surreal compositions, subtle +1 646 266 5994 coloring adds a touch of calm. COnTACT nAmes eva frosch The installation directs the viewers attention to the adaptable yet accountable weight hp Portmann and mass of the paintings and drawings themselves. Chiara’s surreal compositions succeed in creating an entire cosmos with a few pencil lines and gentle coloring. her drawings are shown on the walls while magnolia Laurie’s paintings on panel occupy exhiBiTeD ArTisTs custom-made wooden structures that bring the works off the wall and into an active magnolia Laurie and insistent space that wanders in a non-committal manner between sculpture, raffaella Chiara billboard, and furniture. Our sense of space and how we acknowledge and engage OTher rePresenTeD ArTisTs with it will be called into question, as architecture gives way to sculpture, sculpture seth michael forman steve Green echoes painted gesture and paintings stand forth from the walls. Julia kuhl raffaella Chiara lives and works in Bern and Thun, switzerland. she was awarded eva Lake Vicki sher the swiss Art award and the kanton solothurn honored her oeuvre in 1993, 2008 hooper Turner and in 2012. Collections include, among others, schweizerische nationalbibliothek, robert Yoder kunstmuseum solothurn, kanton Bern, kunstmuseum Thun, Credit suisse and uBs Art Collection. Currently, her drawings are on view in Bellinzona (Castello sasso, somewhere between the lines, until August 2). COVer magnolia Laurie Born in hyannis, mA, magnolia Laurie lives and works in Baltimore, mD. she received Installation image her m.f.A. from mount royal school of Art, maryland institute College of Art, Balti- 2014 more, mD. her work has been included in numerous exhibitions all over the united Oil on panel / wooden structure variable states. her latest grant includes The Belle foundation for Cultural Development, san Jose, CA. most recently, Laurie was announced as one of the finalists for the insiDe prestigious Janet & Walter sondheim Prize. raffaella Chiara Phone call 1 2015 Pencil and color pencil on paper 11.5 × 16.5 inches

BACk magnolia Laurie a rumor, a murmur of what was and what’s next 2014 Oil on panel 10 × 18 inches Muriel Guépin Gallery New York

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Muriel GuépiN GallerY

WeBSITe Founded in 2009 and initially located in Brooklyn, the muriel Guépin Gallery moved www.murielguepingallery.com to the Lower east Side in 2013. e-mAIL The gallery represents both established and emerging artists and displays a variety [email protected] of works and mediums with a special interest for artists who embrace innovative art PhOne practices and non-traditional mediums. +1 347 244 1052 unique to the gallery are the special projects, talks and studio tours, as we highly CeLL +1 347 244 1052 believe in making art more accessible to our community and building a strong relationship with our collectors. Our clientele ranges from individuals who are beginning COnTACT nAme muriel Guépin to make their first art purchases, to more mature and institutional collectors who appreciate our “eye” for new talents.

The muriel Guépin Gallery‘s ambition is to be a reference for viewing art of excep- exhIBITed ArTISTS tional quality and more precisely to be a pioneer in encouraging the use of new emerson Cooper Fabiana Viso technology in art. Keun Young Park matthew Conradt numen / For use

OTher rePreSenTed ArTISTS davy & Kristin mcGuire Gabriel Barcia-Colombo Joan Lurie Joanie Lemercier Laurent Chehere Paula Overbay robert Szot

COVer Keun Young Park Joanne Face (detail) 2015 micro collage, torn and pasted photograph on paper 32 × 40 inches

InSIde matthew Conradt Like Wonders Much Reduced (detail) 2014 mixed media on mylar 27 × 72 inches

BACK (LeFT) danny Fabiana Viso Rooftop #20 2014 Gelatin silver print with emulsion removed 11 × 14 inches

BACK (rIGhT) emerson Cooper Song of Love 2007-2010 mixed media on albumen print 4.5 × 6 inches GALERIA ENRIQUE GUERRERO Mexico city

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GALeRiA eNRiQUe GUeRReRo

WeBSITe enrique Guerrero Gallery presents a new booth project by Czech artists richard Stipl galeriaenriqueguerrero.com and Josef Zlamal. Stipl`s foray into carved wooden sculpture marks a new creative e-mAIL phase which passes into monumentality and resonates with the precise drawings [email protected] and wallpaper installations of Zlamal. The coexistence of these, at first glance in-

PhOne compatible woks, has its origins in longterm cooperation born out of a trans-gen- +52 55 5280 2941 erational creative dialogue.

CeLL Their dedication to media and material functions as a starting point to a platform for +521 55 4454 7773 the analysis of the human condition. In their work they turn to a cocktail of distorted COnTACT nAmeS beauty, disgust and obscenity not as a means of criticism or inflicting violence on enrique Guerrero their viewers but rather point inward where the duality of humanity and monstros- miguel Guerrero ity become one.

exhIBITed ArTISTS richard Stipl Josef Zlamal Beatriz Zamora daniela edburg Pablo helguera

OTher rePreSenTed ArTISTS Felipe ehrenberg hector Falcon Adela Goldbard daniel Gomez Yui Kugimiya miguel Angel madrigal mAnGLe mauro Piva Carolina Ponte Pedro Varela

COVer Beatriz Zamora El negro 2014 mixed media 50 × 60 cm

InSIde richard Stipl and Josef Zlamal everything is true but nothing is real 2015 installation view variable

BACK daniela edburg Civilized Moss 2014 archivalink print 110 × 76 cm gallery h.a.n. Seoul

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Gallery h.a.n.

WeBSITe What is human existence? how do our emotions take shape? What are the imag- www.gallery-han.com es of desires that we feel? What are the differences between which are seen and e-mAIL which are felt? [email protected] Permanence of existence has an inseparable relation with impermanence. So is the PhOne relation between existence and non-existence. I find motifs of my works in the story +82 2 737 6825 of my own life as I strive to find value of human existence expressed in human de- CeLL sires such as in my mundane life and immanent world of emotions etc. +82 10 9108 5529 As nietzsche pointed out, reason, body and desires are all integral parts of human COnTACT nAme Sungwon Lee existence. And I find inspiration of my works in Buddhist’s Samsara, i.e. continual repetitive cycle of birth and death: all human beings are born, live the course of their lives and die; and we exist by living and sharing our own lives in organic rela- exhIBITeD ArTISTS tions with other existences. myungil Lee Kyeongsig Yang human existence cannot be fixed like something permanent as we are always bound to seek progress, betterment and empowerment. And as we commit a specific act OTher rePreSenTeD ArTISTS Kyung-Ja rhee to exist, desires that belong to the physical domain of human existence cannot be hwang hur separated from our actions. hence, my works are results of certain choices and Youngwon Kim actions of mine; as I seek to stay spiritually alert thus see the outcome of my inspi- eungki Kim ration displayed in my works. Sangmo Koo I make efforts to weave such stories of organic human life in my works, hoping that they would reflect human existence, how they are maintained, how our basic in- COVer stincts are expressed, how these essential elements coexist in harmony and com- Kyeongsig Yang municate one another. History... Self Existence 2014 In these works of mine, I tried not to use figurative forms, so that they can be per- mixed media ceived as something abstract that can trigger viewers’ curiosity and visual imagi- 110.5 × 80 cm (detail) nation. InSIDe myungil Lee Sometimes I work with objects (stainless steel) to express organic compositions of To Exist, or To Sustain? empty spaces and forms that I perceive, as reflections of intricate relations of all 2015 the elements in the world. Acrylic on canvas 162 × 112 cm As for colors and forms, which are essentially codes of perceptions widely agreed upon, I try to stay away from commonly accepted boundaries, repeated cliché and prejudices, while constantly trying to go beyond the walls that I have built within myself so as to push the envelope into a new realm.

Our lives, emotions and values change from yesterday, today and tomorrow, and this is the very reason that I do my works: it is the purpose of my life and the very reason that I ever exist, and it is a journey to grope my way forward to find identities of human beings that include myself.

— by myungil Lee

All objects communicate with one another. no matter whether they are organic or in- organic or whether they have the so-called “reason” or not, all objects in the universe have some means of ‘communication’ for themselves or to relate to one another. The work pursued by Kyeongsig Yang is talking about these ‘symbols’, the form of communication and the source of forces that build relationships between people and other people and other people, objects, and everything else that exists in the world. Patrick Heide contemPorary art London VOLTA 11 | BOOTh numBer B7

Patrick Heide contemPorary art

WeBSITe At VOLTA Basel 2015 Patrick heide Contemporary Art presents four artists from www.patrickheide.com the gallery’s core program: e-mAIL Kàroly Keserü, reinoud Oudshoorn, Thomas müller and Kate Terry communicate [email protected] through abstract language in distinctly different media. Keserü through painting; PhOne müller solely through drawing; Oudshoorn and Terry through sculpture and instal- +44 207 724 5548 lation. All four work process based, each highly individual in their scope. All four COnTACT nAmeS address issues of space and beauty while questioning our habits of perception and Patrick heide take modernist and post-war language and concepts to new and challenging levels. Clara Andrade Pereira Kàroly Keserü (b.1962, Budapest, hu), reaches out into the realms of conceptual and digital art. Keserü’s art arises from the considerations of primitive art and mod- exhIBITeD ArTISTS ernism, yet overcomes these roots and further expands their vocabulary. Károly Keserü Inspired by geometrical and concrete art as well as music, folk art and even textiles, Thomas müller reinoud Oudshoorn Keserü searches for an equilibrium between modern and contemporary, Western Kate Terry and eastern philosophy, system and chance, and ultimately between the physical

OTher rePreSenTeD ArTISTS and the metaphysical. maría Isabel Arango reinoud Oudshoorn (b.1953, Ommen, nL) takes the illusionary language of paint- Sarah Bridgland David Connearn ing and applies it to sculpture to form a bridge between the spatial illusion of a flat Pius Fox surface and the concrete reality of a physical object. Alex hamilton The constructions with frosted glass symbolise the contemplative and mysterious, Thomas Kilpper atmospherically reminiscent of the muffled silence of mist. Oudshoorn manufactures minjung Kim hans Kotter every sculpture and designs them to possess the same vanishing point, suggesting Dillwyn Smith an endlessness in the space that surrounds us, an infinity of mind. Susan Stockwell “A work must produce more space than it consumes” as the artist explains.

Thomas müller (b. 1959 Stuttgart, D) lets drawing develop in any direction in an at-

COVer tempt to capture its essence. Thomas müller Blue and purple ballpoint pen drawings of dense thin parallel lines are created next Untitled (detail) to motifs of organic weaving in black crayon and then opposed to almost imper- 2014 ceptible doodles in graphite or colour pencil. müller’s typical installation method in pencil and Indian ink on paper 29.7 × 21 cm rows of A4 drawings hung in open grid groupings allows the eye to wander, extend and contract. The drawings develop different trajectories and loop in and out of InSIDe reinoud Oudshoorn dialogue with each other. Untitled London artist Kate Terry (b. 1976 Ontario, CA) usually works with large-scale site- 2010 iron (2 elements) specific installations made entirely from thread. rows of coloured threads tied to 70 × 169 × 70 cm pins placed on the walls horizontally or vertically, travel across the room in inter- twining waves, following as well as softly breaking up the architectural structure. BACK (LeFT) Károly Keserü Yet the British artist also works with sculptural combining the thread with industrial Untitled (1401191) (detail) materials such as wood or concrete in a closed construction. Terry’s installations 2014 and sculptures are architectural intervention, spatial drawing and ephemeral object ink and graphite on paper at the same time. 30 × 21 cm

BACK (rIghT) Kate Terry Series IX (no.3) 2014 powder coated steel, painted wood and plywood 190 × 50 × 50 cm Galerie Jochen hempel Leipzig / BerLin

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gaLerie Jochen hempeL

WeBSITe Peter Krauskopf works with pereceptual phenomena, playing with our capacity for www.jochenhempel.com memory building. Thus his images are also concerned wtih remembrance and dis- e-mAIL appearance. In time, the motivation to define something in an abstract form evolves [email protected] automatically through the process of painting, and the material-immanent nature oft

PhOne he paint. Krauskopf gives something while simultaneously taking something back. +49 341 960 0054 he offers information and simultaneously negates it by painting over or scratch-

CeLL ing off parts oft he image and so modifying both acts to create fresh information. +49 179 108 1523 Krauskopf’s images have no story to tell but a lot to say. They speak of risks and of

COnTACT nAme a struggle: here, they do not share all that could be said. But in the mode of paint- Jochen hempel ing, nonetheless, it becomes clear that the artist is searching for a way to make the incomprehensible comprehensible. not that this stops him from interpreting the visible signs, however. exhIBITed ArTISTS Tilo Schulz Working across a variety of media including sculpture, drawing, painting, and in- natalia Zaluska stallation, Tilo Schulz is highly convincing on the grounds of his multifaceted and Peter Krauskopf scrupulous artistic oeuvre. As an artist who is also known to work as a curator, Stephan Balkenhol Schulz’s attention is focused equally on the spatial configurations and visual axes OTher rePreSenTed ArTISTS constituting the exhibition layout, as well as on the observer who plays an active Joe Amrhein part within the artist’s stagings. Benjamin Bergmann hartwig ebersbach Ascetic canvases of natalia Zaluska express the poetry of form and thoughfulness of Carsten Fock artistic gesture. As studies of perception, they are inquiries into spatial and temporal Schirin Kretschmann Sven Kroner qualities that define the painting and guide the spectator’s gaze. The artist disturbs esko männikkö the painting’s monochromatic silence by a radical cut into the surface’s fabric, thus Jong Oh activating the planes and generating a sensual polylogue between the layers. Si- ulf Puder multaneously nonchalant and controlled, her work is both smooth and violent, still Beat Streuli and conversational, minimal and neobaroque.

COVer Tilo Schulz Untitled (detail) 2015 work in progress

InSIde natalia Zaluska Untitled 2014 mixed media, collage 190 × 160 cm

BACK Peter Krauskopf “Z”, B 250315 2015 Oil on canvas 210 × 150 cm Hilger BrOTKunsTHalle Vienna / Jersey City

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asGar/GaBrieL

WeBsiTe Cut canvasses, disjointed shapes and sprawling painting installations increases www.hilger.at AsgAr/gABrieLs’ deviation from linearity, adding to an already sublime expres- e-mAiL sion. in this way AsgAr/gABrieL create an experience that activates the exhi- [email protected] bition as an environment, placing the viewer, quite literally, amidst the drama. By [email protected] adopting a Dadaist sensibility, it can be argued that their work is proof that painting PhOne has become, ironically, anti-art. (Claire Breukel in AsgAr/gABrieLs’ Autonomous +43 1 512 53 15 218 universe…and other such Anti-Art gestures) CeLL in the recent sculptural painting-objects AsgAr/gABrieL undermine certain ex- +43 650 27 39 650 pectations that evoke traditional painting. The artists transport motion into the COnTACT nAmes static relation between observer and the painting, because our objects can only ernst hilger michael Kaufmann be captured by being surrounded. They intervene into the context of image with monochrome color spaces, overpainting and style-pluralism, which refers to modernism as well as post-modernism. With this tools the artists try to break through eXhiBiTeD ArTisT traditional viewing habits. AsgAr/gABrieL Daryoush AsgAr & elisabeth gABrieL, graduated in Art (mFA) and Philosophy OTher rePresenTeD ArTisTs (mA), live and work in Vienna Daniele Buetti Clifton Childree Faile sOLO eXhiBiTiOns: shepard Fairey 2014. Armed with Fever and good health,Torrance Art museum, Los Angeles; Peterson Kamwathi Zone1, Viennafair, hilger next, Vienna; 2012. we are hungry, in fact very hungry, Anastasia Khoroshilova Ángel marcos hilger contemporary, Vienna; VOLTA nY, BrotKunsthalle, new York; 2011. under the Cameron Platter paving stones, the beach, Kunsthallen Brandts, Odense; Auflösung der Ökonomie, michael scoggins mannheimer Kunstverein, mannheim; the disciplining time stands still, Annarumma simón Vega gallery, naples; 2009. Bucolica Obscura, mark moore gallery, Los Angeles; 2007. sweet safari or how We Desire The Wild, Lyons Wier Ortt gallery, new York; low clouds, high spirits and the island, hilger contemporary, Vienna COVer AsgAr/gABrieL untitled grOuP eXhiBiTiOns (seLeCTiOn): 2014 2014. Painting iii, Frissiras museum, Athens; 2013. curated by — The re-construc- acrylic and oil on wood tion of a mosaic, hilger next, Vienna; The Colour of Landscape — A Tribute to Joe 90 × 80 × 180 cm goode, BrotKunsthalle, Vienna; menagerie, Kunsthalle Würth, schwäbisch-hall; insiDe (LeFT) Ask for haydn, Blicke aus der gegenwart, Landesgalerie Burgenland, eisenstadt; AsgAr/gABrieL A.e.i.O.u. — Österreichische Aspekte in der sammlung Würth, museum Würth, object I 2014/15 Künzelsau; 2012. The Kids Are All right, Kunsthal rotterdam, rotterdam; The im- acrylic and oil on wood possible heap, galerie8, London; sex, Dui’s and Videotape, Brotkunsthalle, Vienna; 45 × 50 × 45 cm 2011. The istanbul summer exhibition, Port of Art, istanbul; 2010. The Promise of BACK (righT) Loss, Arario gallery, new York; Don’t worry, be happy, mAmA showroom, rotter- AsgAr/gABrieL dam; 2009. The Promise of Loss, BrotKunsthalle, Vienna; get connected, Künstler- object II haus, Vienna; 2008. The new Force of Painting, Frissiras museum, Athens; Central 2014/15 acrylic and oil on wood europe revisited ii, schloss esterhazy, eisenstadt 40 × 40 × 45 cm ArT in PuBLiC sPACe: 2009. Vienna stripe, museum in Progress, Vienna

COLLeCTiOns (seLeCTiOn): museum Wuerth (ger); sammlung esterhazy (AuT); marc Quinn private-collection (London); Collection nadour (Paris); Frank gallipoli Foundation (usA); Carla&Bruno Brown Collection (BeL); sammlung sanziany & Palais rasumofsky (Vienna); uni Credit Art Collection (iTA); siemens Art Foundation (ger); sTrABAg Collection (AuT); JaLima Collection (ger) Hilger BrOTKunsTHalle Vienna / Jersey City

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JULie MOnaCO

WeBSITe Since 2001, one of the main thematic aspects of my work has been the digital gen- www.hilger.at eration of images via the structures of fractals/surfaces (renderings) in dialogue with e-mAIL analogue elements. The focus is on researching options for the depiction of fractal [email protected] structures via specific rendering software capable of this task. The works are arti- [email protected] ficial, digitally created images that are no reflection of any found “real”; the original PhOne source material is numerical codes. The interplay between computer-generated +43 1 512 53 15 218 signs and manually applied gestures of drawing, as well as their respective media- CeLL related relocation into the materiality of gelatin silver prints or C-prints constitute +43 650 27 39 650 the intersection of my work. COnTACT nAmeS JuLIe mOnACO (b. 1973), 2002 mFA (with distinction) of the university of Applied ernst hilger michael Kaufmann Arts, Vienna, Transmedia art with Brigitte Kowanz, lives and works in Vienna Solo exhibitions (selection): 2015 “ChemICAL PLATeS”, Galerie Traklhaus Salzburg; 2014 “ChemICAL PLATeS”, Galerie hilger, Vienna; Factory der Kunsthalle Krems, exhIBITeD ArTIST Krems; 2011 19972011, hilger BrOTKunsthalle, Vienna; 2009 _957, Galerie hilger Julie monaco contemporary, Vienna; _957, La Citta, Verona; 2006 “21”, Galerie hilger contempo- OTher rePreSenTeD ArTISTS rary, Vienna; 2003 Focused Daily. hyperrealistic Landscapes, DAm Gallery, Berlin. Daniele Buetti Clifton Childree GrOuP exhIBITIOnS (SeLeCTIOn): 2015 Vienna for arts sake, archive Aus- Faile tria / contemporary art, Winterpalais Belvedere, Vienna; “Landscape in my mind” Shepard Fairey Peterson Kamwathi Landschaftsfotografie heute. Von hamish Fulton bis Andreas Gursky, Bank Austria Anastasia Khoroshilova Kunstforum, Vienna; 2013 Fragile, BAWAG Contemporary, Vienna; 10 Jahre Len- Ángel marcos tos, Lentos Kunstmuseum Linz, Linz; Young Austrian Photography, Lockheed mar- Cameron Platter tin Gallery, manison at Strathmore, maryland; 2012 Young Austrian Photography, michael Scoggins Simón Vega L2 Lounge, Washington DC; 2010 Story behold, story be told, Kunsthistorisches museum, Vienna; You never know what happen next, Lentos Kunstmuseum Linz, Linz; 2009 Stark bewölkt, muSA museum of the city of Vienna, Vienna; 2008 Cen-

COVer tral europe revisited, esterházy Contemporary, eisenstadt; 2006 Visum et reper- Julie monaco tum, Stella Art Foundation, moskau; 2004 Wolkenbilder, Alte nationalgalerie, Berlin. #902 (detail) 2008 COLLeCTIOnS (SeLeCTIOn): Sammlung Sanziany & Palais rasumofsky (AuT); silver gelatin print on aluminum, uni Credit Art Collection (ITA); Collection of the state of Austria (AuT); Lentos mu- framed, ed. 4+2 seum (AuT); Collection Lelong (FrA); museum Angerlehner (AuT); Benrubi Collec- 175 × 110 cm tion (uSA) InSIDe Julie monaco VV_6146_#F//z (detail) 2014 Chemical metallic plate Kodak on aluminum, framed, ed. 1+1 AP 123 × 185 cm

BACK Julie monaco R_AI #8 2010 c-print on aluminium, diasec, ed. 4+2 125,5 × 157 cm Gerhard hofland AmsterdAm

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GerhArd hoflAnd

WeBSITe KOen DeLAere www.gerhardhofland.com more interested in the aftereffects of his creative endeavours than an intended prod- e-mAIL uct, Koen Delaere’s dynamic methods and quick pace offer the viewer a defiantly [email protected] performative take on the grid. As he juxtaposes painterly mistakes against the ri-

PhOne gidity of the grid, we witness a form develop content. rather than struggle against +31 20 4121772 the limitations of time, he works within the time constraints that his choice of paint

CeLL and method proffer. The heavy relief of the grid functions as a way to capture the +31 629 023 933 act of painting as a photographic object or a performance-document. Koen Delaere

COnTACT nAme (b. 1970, Bruges, Belgium) lives and works in the netherlands. In 1996, he received Gerhard hofland his Bachelor in Painting at the Akademie voor Beeldende Vorming, Tilburg. he has recently exhibited at Cell Project Space, Londen; Van horn Gallery, Düsseldorf; Au- tocenter, Berlin; Gerhard hofland, Amsterdam; Ana Cristea, new York; rh Contem- exhIBITeD ArTISTS porary, new York; Peter makebish, new York; and Galerie Gebr. Lehmann, Dresden. Koen Delaere Johan Tahon JOhAn TAhOn OTher rePreSenTeD ArTISTS Johan Tahon was born in menen (Belgium) in 1965. he lives and works in munkz- Wolfgang Flad walm (Be) and in Istanbul (Tr). he studied sculpture at the Ghent royal Academy Simon hemmer michael Kirkham of Fine Arts (Be). rik meijers Jochen mühlenbrink Since 1994 Tahon exhibits his work on a regular basis in Belgium as well as abroad. malin Persson In 1996, he caught the attention of Belgium’s most influential curator and museum Jan van der Ploeg director Jan hoet (e.g. Documenta 9), who made it possible for Tahon to interact Thom Puckey with world level artists in the internationally renowned exhibition De rode Poort in the robert Seidel Jens Wolf Ghent museum of Contemporary Art (with a.o. Luc Tuymans, Vito Acconci and Sam Taylor-Wood). From then on Tahon got the full support of hoet and Tahon started exhibiting his work at different galleries and in prominent museums across europe,

COVer solo or combined with works of a.o. Ilya Kabakov, Günther Förg, Tony Cragg and Koen Delaere Stephan Balkenhol. Untitled (detail) 2015 he took part in major exhibitions like Beaufort (Ostend, Be) and Lustwarande (Til- oil, acrylic on linen burg, nL) and showed his sculptures at places like the ministry of Finance (The 180 × 125 cm hague, nL); the Gerhard marcks haus (Bremen, De); the Academia Belgica (rome, InSIDe IT); the courtyard of the Topkapi Palace (Istanbul, Tr); the Kennedy Center for the Johan Tahon Performing Arts (Washington DC, uSA); and the Istanbul Biennial (Tr). Z, I & II 2014 Tahon’s sculptures also make part of important public and private collections like glazed ceramics S.m.A.K. (Ghent, Be), m hKA (Antwerp, Be); Stedelijk museum (Amsterdam, nL); 47 × 28 × 87 cm Gem and Gemeentemuseum (The hague, nL); mArTa (herford, De); the Vanhaerents Art Collection (Brussels, Be); the collection of Sybil Sabanci (Istanbul, Tr); and the Collection of the Dutch house of royals (Amsterdam, nL). The hole New York

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The hole

WeBSITe matthew Stone’s new works for VOLTA11 oscillate between painting, photography, www.theholenyc.com figuration and abstraction to create a dynamic visual language that encourages e-mAIL new notions of media and medium in his compositions. These lush digitally printed [email protected] paintings are first hand-painted by the artist onto glass and then the resulting com-

PhOne position is photographed. These high-resolution details are then digitally intensified +1 212 466 1100 and retouched to remove subjective imperfections, such as dust and hairs. The

COnTACT nAmeS paint is then printed onto the raw linen canvas. The resulting works employ pho- Kathy Grayson (Owner, Director) tography and digital printing as part of an extended artistic process that furthers Krysta eder (Director) the visual and practical potential of paint, rather than as an objective or documen- tarian means to an end. exhIBITeD ArTIST These new works represent a continuation of the works shown at Stone’s most re- matthew Stone cent exhibitions, but engage more fully in conversation with the history of perspective

OTher rePreSenTeD ArTISTS in painting. By introducing a heightened three-dimensionality to the brushstokes, Kadar Brock Stone makes them appear to truly float in free space. much like the figures that fly in JIm JOe trompe l‘oeil ceiling painting, Stone’s paintstrokes seem to hover above the surface KATSu of the canvases and give us that same sense of depth as if looking upwards in space. Gabriel Pionkowski evan robarts Stone’s paint gestures mimic the movements and colors of renaissance painting holton rower and sculpture and suggest the punchy thrusts and flair of dancers in motion or joy- Lola montes Schnabel Kasper Sonne ful movement. Their genuine love of color and movement draw the viewer in and Jaimie Warren celebrate the eye and its joys in the realm of paint. While ostensibly resembling a eric Yahnker scaling of the “masterful” brushwork of motherwell or de Kooning, the final works, perhaps like Lichtenstein’s spoofy quoted strokes, live as flattened snapshots of captured and ephemeral moments. COVer matthew Stone matthew Stone was born in 1982 in London where he currently lives and works. The Seed Splits (detail) recent solo exhibitions include emotional manipulation at V1 Gallery, Copenha- 2015 gen, Cosmic Flesh at union Gallery, London, and unconditional Love at The hole, Digital print and acrylic on linen new York. 60 × 48 in / 152.4 × 121.9 cm

InSIDe matthew Stone Installation View: Dance Instruction (left) & Lower World Energy Source (right) 2015 Digital print and acrylic on linen 60 × 48 in each / 152.4 × 121.9 cm each

BACK matthew Stone The Seed Splits 2015 Digital print and acrylic on linen 60 × 48 in / 152.4 × 121.9 cm JARMUSCHEK+PARTNER Berlin

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JArMUSCHeK+PArTner

WeBSITe Jarmuschek+Partner presents recent works by the Leipzig-based artist Carina Linge. www.jarmuschek.de In her new series „Theatrum mundi“, she portrays a generation of people free to move e-mAIL around the globe and with infinite education opportunities — but whose confusion, mail@jarmuschek fears and unfulfilled longings reflect the downside of the freedom this worldwide

PhOne modernity offers the individual. To gain insight into our present age, Linge looks +49 30 285 99 070 back to times of change ranging from the Baroque period to the enlightenment, a

CeLL time, in which the parameters of our social constitution have been defined. She has +49 179 512 9068 created metaphoric and symbolic images at historic locations such as the Goethe

COnTACT nAmeS Theatre in Bad Lauchstädt, showing both the outer representation and the hidden Kristian Jarmuschek emotional world of the protagonists. The photographies thus reveal subtle insights Stefan Trinks into these two different worlds of the persons portrayed, unleashing a fragile balance between sensuality and passion, emptiness, loss, morality within the existential realm of experience as it is lived by modern individuals. exhIBITed ArTIST Carina Linge recently, Linge has been chosen to take part in the european month of Photog- raphy Berlin for the third time. The realization of her new photographies has been OTher rePreSenTed ArTISTS Sabine Banovic kindly supported by the art foundation of Saxony-Anhalt and the Kloster Berge Patrick Cierpka foundation. At VOLTA11 Basel, the gallery shows the complete new series of works marc Fromm for the first time. Oliver Gröne elmar haardt Petra Lottje harding meyer nika neelova Jürgen Wolf majla Zeneli

COVer Judith (Monodram No. III) (detail) 2014 C-Print on Aludibond 100 × 70 cm

InSIde Studien (detail) 2014 C-Print on Aludibond 80 × 120 cm

BACK Häschen (Monodram No. I) (detail) 2014 C-Print on Aludibond 20 × 29 cm Jecza Gallery Timisoara

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Jecza Gallery

WeBSITe Jecza Gallery, based in Timişoara, romania, mainly presents romanian contem- www.jeczagallery.com porary art from the 1970s and 1980s. Particular emphasis is also given to young e-mAIL artists, with an express interest in abstraction such as Genti Korini. ever since its [email protected] opening in 2000, first as a foundation, and later in 2011, as a commercial gallery,

PhOne it has increasingly supported the contemporary art scene, not only as an exhibition +40 256 482 056 space, but also as an important publishing house and research centre. The gallery’s

CeLL constant endeavour is to introduce such artists as Constantin Flondor, Peter Jecza, +40 722 666 445 Paul neagu, Liviu Stoicoviciu or mihai Olos to the international art scene. The gal-

COnTACT nAme lery’s current focus is to present artistic practices which reconcile “unofficial” art Andrei Jecza from the Communist era to a wider audience, by showcasing the work of artists who pioneered video installation, land art, happening and performance art during the 70s.

Genti Korini’s painting draws inspiration from the post-communist architecture that exhIBITed ArTIST Genti Korini took over his city, Tirana, after 1990. The tensions between past and present are ubiquitously present in the chaotic nature of urban development and the conflict- OTher rePreSenTed ArTISTS michele Bressan ing mix of styles associated with the period of transition. Albania’s ‘anything goes’ roman Cotosman architecture corresponds, however, to a postmodern neo-eclecticism defined by radu Cioca forms and materials conceived through novel design methodologies based on com- Alain Feliu plex algorithmic techniques and fabrication technologies. Korini has integrated the Constantin Flondor Peter Jecza generative coding in his own painting practice, creating geometric, abstract forms dan maciuca that echo the utopian visions of the Constructivist movement, whilst preserving a Vlad Olariu strong painterly aspect that stresses the medium specificity. This hybrid quality of Veres Szabolcs his painting, referencing the discontinuity of the landscape that informs it, prompts doru Tulcan us to see the world as a place of endless possibilities performed by an idea-code, as in nature, where space, time and light morph relentlessly into unexpected configurations and narratives. COVer Genti Korini — text by Simona nastac The Monument (detail) 2014 oil on canvas 210 × 120 cm

InSIde (LeFT) Genti Korini The Model 2015 oil on canvas 50 × 40 cm

InSIde (rIGhT) Genti Korini FORMA 1 2015 oil on canvas 130 × 90 cm

BACK Genti Korini Building X 2008 digigraphie 50 × 70 cm Kevin Kavanagh Dublin

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Kevin Kavanagh

WeBSITe Kevin Kavanagh is pleased to present new work by four Irish artists: Diana Copper- www.kevinkavanagh.ie white, Sinéad ní mhaonaigh, Geraldine O’neil and Tadhg mcSweeney. e-mAIL “Copperwhite’s work focuses on how the human psyche processes information, and [email protected] looks at the mechanisms of how we formulate what is real...Layering fragmented PhOne sources that range from personal memory to science, from media and internet to +353 147 595 14 personal memory, Copperwhite’s canvases become worlds in which the real is un- CeLL real and this unreality is in a constant state of reforming.” +353 863 962 248 “every painter recapitulates the history of painting in his or her own way,” wrote COnTACT nAme Kevin Kavanagh Gilles Deleuze in his Francis Bacon study...Geraldine O’neill works through the history of painting rather like a dancer who goes hill-walking on everest and discovers a panoramic base camp peopled by artists, scientists and philosophers. It is about exhIBITeD ArTISTS time. About space too. Above all, it is about painting from the skin, meaning that Diana Copperwhite technique matters and that craft must be conceptualised before it appears as art.” Sinéad ní mhaonaigh Geraldine O’neill “Kant split his concept of the sublime into three categories, the petrifying sublime, Tadhg mcSweeney sometimes accompanied with a certain dread or melancholy; the noble sublime in- OTher rePreSenTeD ArTISTS spiring quiet wonder; the splendid sublime, pervaded with beauty. One need only Amanda Coogan gaze at ní mhaonaigh’s paintings — packed complex, luxurious, transfixing — to elaine Byrne see a simultaneous evocation of not one but all these facets of the sublime, held michael Boran mick O’Dea perpetually in tension and in unison.” Paul nugent “True, there are paintings on the wall, and several sculptural pieces distributed robert Armstrong Sean Lynch throughout the space, but when you look more carefully at any of them you’re likely Sonia Shiel to become less sure about what you’re looking at...mcSweeney likes making things ulrich Vogl that invite recognition and then cancel the invitation at the last minute. his work is Vanessa Donoso López not exactly a rejection of what has gone before, of artistic or aesthetic conventions, but a bid to figure out how one can make something with the remains, the residue of what has gone before.” COVer Geraldine O’neill Tweet Tweet (detail) 2012 oil on canvas 130 × 160 cm

InSIDe Tadhg mcSweene Edifice Complex installation shot 2013 n/a n/a

BACK Diana Copperwhite Fake New World 2015 oil on canvas 100 × 100 cm Galerie Kleindienst Leipzig

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gaLerie KLeindienst

WeBSITe Christoph ruckhaberle’s leisurely scenes operate like dysfunctional stage plays. www.galeriekleindinest.de Cribbed from all the best bits of art history, he imbues his paintings with a con- e-mAIL temporary newness of vivid patterns and design colours. his elaborate sets are [email protected] backdrops of static energy against which his cast nonchalantly mingles: placid and

PhOne bored, unaware of their own interaction with an expectant audience. This sense of +49 341 477 4553 waiting is the delight in ruckhaberle’s work. Charmed by the pure casualness of it

CeLL all, his paintings offer the possibility of getting lost in a moment, a luxuriating pause +49 170 808 5816 where visual harmony is appreciated as inert ideal. ruckhaberle approaches figura-

COnTACT nAmeS tive painting from a purely formalist standpoint. his elaborate configurations don’t matthias Kleindienst strive to depict narrative, but rather offer perverse pleasure in the idiosyncrasy of Christian Seyde their construction. ruckhaberle’s avant gardist compositions break down into absurd abstractions: contorted bodies, silhouetted trees, tea pots and parasols become intriguing excuses to render complex systems of repetitive circles, squares and exhIBITed ArTISTS interlinking patterns. ruckhaberle’s folksy style gives a casual air to his balanced Susanne Kühn Christoph ruckhäberle formal tension, consciously understating his wry visual humour, and clever citation nadin maria rüfenacht of matisse and Beckmann.

OTher rePreSenTed ArTISTS ruckhaberle’s work instils a sense of isolation and detachment: his figures are fro- Claudia Angelmaier zen in self-contained realms of thought, their painterly existence derived solely for Tilo Baumgärtel Peter Busch the pleasure of creating visual suspense. Through this precarious balance of psy- Christian Brandl chological intimacy, and cool, stylised aesthetics, ruckhaberle contrives a soothing henriette Grahnert comfort through which an underlying anxiety passes almost unnoticed. Julius hofmann Tobias Lehner — written by Patricia ellis rosa Loy Sebastian nebe Anette Schröter Sebastian Speckmann Carsten Tabel Steve Viezens Corinne von Lebusa

COVer Susann Kühn Splash 2011 Paperwork 76 × 57.5 cm

InSIde Christoph ruckhäberle Untitled 5 2014 oil on canvas 200 × 290 cm

BACK nadin maria rüfenacht Le roi se meurt / Maitress 2015 diasec 34 × 50 cm GALLERY KOGURE Tokyo

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GALLERy koGURE

WeBSITe This year marks the 400th anniversary of the birth of the rimpa School of Painting. www.gallerykogure.com GALLerY KOGure present two Japanese artists, faithful to the rimpa tradition but e-mAIL sensitive to innovativeness. [email protected] The rimpa School of Painting was launched 400 years ago in Kyoto by honami PhOne Koetsu and Tawaraya Sotatsu. The school is defined by spectacular and rich deco- +81 3 5215 2877 ration and designing. It covers a wide ranging realms of art, centered on painting COnTACT nAme and extending to calligraphy and handicraft. It has been passed down to this day, hiroshi Kogure affecting the impressionists and global product design.

Takahiro hirabayashi has pursued modern female figures in the traditional Japanese exhIBITeD ArTIST painting style. his works shed spotlight on “the backside“ of fashionable young Takahiro hirabayashi women. Taiichiro Yoshida One of the defining features of his works is sophisticated use of gold and silver foil, OTher rePreSenTeD ArTISTS Atsuko Goto serving as a symbol of rimpa. he never attempts to exaggerate the brilliance of foil. Fuco ueda Instead, he bakes it to create the feel of austerity, adds cracks to produce marble Fuyuki maehara patterns, or pastes it to the back of paper so that the drawing on the surface looks Futaro mitsuki as though it illumines elegantly. All these techniques add mysterious and radiant hidenori Yamaguchi Keita Tatsuguchi smiles to women in the paintings. Glamorous hair, neat and clean fashion items, and Kenichiro Ishiguro the sense of old-fashioned and hidden gracefulness that drift over the entire work michiyo miwa symbolize the sensitivity unique to the Japanese as seen in rimpa. The rimpa style Takahiro Yamamoto is far from superficial glory, however. Seductive power lying in the refined design Takato Yamamoto never stops capturing the hearts of viewers.

Taiichiro Yoshida exploits the traditional Japanese “metal carving” techniques, com- COVer bines countless flower petals built to delicate extremities, and creates three-dimen- Takahiro hirabayashi sional works of dynamic living things.Tiny flowers that sustain the life of birds and potalaka (detail) 2013 small animals set the cycle of new life being passed down from death to birth. he mixed media takes advantage of decent and innate designing skills and admirable handiwork. 53 × 40.9 cm What is most noteworthy is his coloring techniques. he heats many kinds of metal,

InSIDe finds out the way the metal changes its colors, and cools it all of a sudden to freeze Taiichiro Yoshida the color. During the process, he never adds any color. Yoshida is the only artist in encroach the world who can use this technique. Japan has never had such an artist in the 2014 Wood, Copper, Silver past. With his light-touch decorative metal expressions, he might well be called the 6 × 33 × 14 cm successor of the modern rimpa School of Japanese Painting.

BACK (LeFT) Takahiro hirabayashi phantom pain 2014 mixed media 53 × 41 cm

BACK (rIGhT) Taiichiro Yoshida firebird 2014 Wood, Copper, Brass, Phosphor bronze, Bird’s skull 12 × 23 × 10 cm Galerie Kornfeld Berlin

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Galerie Kornfeld

WeBSITe On the special occasion of VOLTA11, Galerie Kornfeld’s booth presents the work of www.galeriekornfeld.com/en hubertus hamm and Alexander Kroll. e-mAIL Trained as a photographer, hubertus hamm has departed from the beaten track [email protected] of classical photography, and has shifted his practice to sculpture and installation. PhOne On show at our booth will be his molded mirrors, razor-thin, stainless steel sheets, +49 30 889 225 890 surface treated to be highly reflective and then deformed by a hammer. hanging on COnTACT nAmeS the wall thus deceptively suggesting the two-dimensionality of painting and pho- Julia Prezewowsky tography, these bodies take up and shape the surrounding space with authority. Giovanni De Sanctis The works of hubertus hamm are exhibited worldwide, including at the Pinakothek der moderne in munich or the Juan Art museum in Beijing (2015). Permanent instal- exhIBITeD ArTISTS lations by hubertus hamm can be admired in such places as the Allianz Arena in hubertus hamm munich, the Acatech, the national Academy of Science and engineering in munich. Alexander Kroll

OTher rePreSenTeD ArTISTS rolling, dropping, smearing, erasing, layering, collaging and risking, Alexander Kroll José m. Ciria constructs his canvasses through a fearless, uninhibited projection of movement and Stephane Couturier wonder. his art investigates painting’s limits. Kroll’s works are profoundly psychologi- robert Fry cal, a map of the weather for the past 100 years, collapsed geometric blocks and natela Iankoshvili Franziska Klotz scaffolding, blobs of time drifting by; the artist is attempting to paint the world. As Tamara Kvesitadze much as the paintings document time and human passage, they also feel psychic Alexander Polzin or even the opposite — prehistoric and prequel. Contradiction and accommodation Susanne roewer make Kroll paintings alluring and quizzical. Leonardo Silaghi hubert Scheibl Alexander Kroll’s work has been extensively shown throughout the u.S.A. in gal- Sonny Sanjay Vadgama leries such as Fredric Snitzer, miami, James harris, Seattle and Jessica Silverman, San Francisco and was recently presented in Berlin at 68Projects. COVer Alexander Kroll Math and Shadow (detail) 2014 Flashe, Acrylic and Spray Paint on Canvas 150 × 120 cm, 60 × 48 in

InSIDe hubertus hamm Molded Mirror No. 21 (detail) 2014 Stainless Steel 125 × 125 cm, 49 × 49 in

BACK Alexander Kroll Alexej 2014 Oil, Flashe and Acrylic on Linen 210 × 180 cm Galerie Martin KudleK Cologne

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galerie Martin KudleK

WeBSITe Galerie martin Kudlek shows international young to mid-career artists focussing on www.kudlek.com sculpture / objects, painting and drawing. e-mAIL For VOLTA11 Galerie martin Kudlek is presenting works by the gallery artists: [email protected] Jonathan Callan, Alexander Gorlizki, Ioana Iacob, ellen Keusen, niels Sievers and PhOne Veres Szabolcs. +49 221 72 96 67

CeLL +49 172 24 300 99

COnTACT nAme martin Kudlek

exhIBITed ArTISTS Jonathan Callan Alexander Gorlizki Ioana Iacob ellen Keusen niels Sievers Veres Szabolcs

OTher rePreSenTed ArTISTS Lucie Beppler Thomas Böing Katrin Bremermann Sylvie de meerleer Angela Glajcar ellen Keusen Sofie muller heiko räpple Frances richardson

COVer niels Sievers for 2015 Oil, Varnish, egg Tempera on Canvas 170 × 130 cm

InSIde Jonathan Callan Journals 1940-43, The Future of Freedom, The Fountainhead 2014 Paper, Wood 64 × 95 × 1,5 cm

BACK Ioana Iacob Spoons in Spain 2015 Paper 57,5 × 30 × 3,5 cm LARMgALLeRi Copenhagen

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LaRMgaLLeRi

WeBSITe In collaboration with curator Oliver Gustav, LArmgalleri presents a wunderkammer www.larmgalleri.dk installation featuring a variety of paintings and sculptures by selected artists from e-mAIL the gallery. [email protected]

PhOne The man went mad, prompted by the fact that no human being can live with the whole +45 268 092 30 truth. And for this reason, the fragment became my law and my bodies (sculptures) CeLL obey this law, they are worn down by violence: fragmented and uncompounded. +45 299 146 57 unlike the modernist artists (ex. Giacometti) I am not harbouring any wish to gather COnTACT nAmeS the fragments and assemble them into a whole. On the contrary. I want to underline Lars rahbek the fragment as an unavoidable experience, for nothing lends itself to being healed Victoria Christiansen or repaired: the frame of mind is irretrievable.

— Kaare Golles exhIBITed ArTIST In collaboration with curator Oliver Gustav, LArmgalleri presents a wunderkammer installation featuring a variety of paintings and sculptures by selected artists from the gallery.

COVer Kaare Golles AS A WEASEL SUCKS EGGS 2013 – 14 mixed media 40 × 25 × 20 cm

InSIde Kaare Golles AS A WEASEL SUCKS EGGS 2013 – 14 mixed media installation view MA2GAllery Tokyo

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MA2GAllery

WeBSITe mA2Gallery presented three Japanese artists, Aki eimizu, mituso Kim and Ken www.ma2gallery.com matsubara. e-mAIL Young painter Aki eimizu does not weaken inner light but actually strengthens it as [email protected] much as possible. At the same time, no matter how intricately the surface is manipu- PhOne lated, these paintings never get close to the condition of being nothing but physical +81 3 344 411 33 matter. The painting plan takes on ambivalent depth, making it into a special entity CeLL that seems to emit light. Viewers find themselves gazing at fine dots and curved +81 904 220 29 85 lines that appear from a place beyond the canvas while bathing in the light they emit. COnTACT nAme These hazy, faint images might be described as signs. Because of the nature of the masami matsubara images, the viewed will not read a narrative in them. This is the sort of painting that may lend itself to association with personal memories that have been forgotten. exhIBITeD ArTISTS Kim mitsuo has received a lot of attention as an emerging artist in Asia. Aki eimizu mitsuo Kim his uses silk-screen techniques on a thin layer of paraffin wax on a board, he trans- Ken matsubara fers an ink image to the wax. Then he exposes the surface to heat and melts the nobuaki Onishi wax. The ink portions that melt along with the wax return to an unfigured state and OTher rePreSenTeD ArTISTS remain as spaces of emptiness. Akihiro higuchi Keisuke Kondo Kim’s works capture the transitions between solid and liquid, foreshadowing possible Kyotaro hakamata destruction, a two-dimensional work. Kim states that he found a human quality in mats Gustafson these characteristics of paraffin. If we see the subject and his struggle reflected in mikiya Takimoto the material, we might see it as a expressing a performative identity. however, Kim naoko Sekine nobuaki Onishi is not concerned with action that leaves things loose and unformed. he operates Tamotsu Fujii the burner skillfully, reconstructing the relationship between the image and material. Tomotaka Ysui Yasuko Iba Coming from photography, Ken matsubara creates mixed-media works and installations that combine videos and objects. Thematically his works revolve around repetition and memory. matsubara states:“my works attempt to explore the pos- COVer sibility of melting memories that reside deep within one’s consciousness. These Aki eimizu works are composed of recollective photographs and videos that consist antique Clue — Drawing objects embodied with memories. I believe motion images have the ability to call 2014 tracing paper, acrylic color forth and express the fluctuating manner of recollective properties. recollections, 25.6 × 36.2 cm I presume, are genetically inherent in our DnA that contains vast knowledge from the past since antiquity. Furthermore these share a collective memory that extends InSIDe mitsuo Kim beyond individual self and interpenetrates between the past and the present era. If row — tile #2 we can recollect such memories, then I believe there is a potential for our future to 2014 ascend past the boundaries of cultural, historical, and social notions of individual- paraffin wax, screen printing, ity. Thus we are fluctuating between the past and the future in a state of repetition, ligh tbulb installation ceaselessly inquiring its means without an end.”

BACK Ken matsubara Paper in the Wind 2014 movie, Japanese vintage book, projector, mixed media 37 × 26.5 × 6 cm Ron Mandos AmsterdAm

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ron mAndos

WeBSITe Krištof Kintera (1973) is probably today’s most challenging and respected artist www.ronmandos.nl working in the Czech republic. his works mainly explore the boundaries of contem- e-mAIL porary sculpture. Kintera’s practice unfolds from public installations to small kinetic [email protected] devices. What makes his work special is that he despite this obvious catchiness;

PhOne he is able to make sharp, often intuitive decisions that produce a far more multi- +31 203 207 036 layered experience. This results in poetic images and an ambiguity, notably in his

CeLL sculptures, in their engagement with main topics of our times. +31 629 392 722 The artist oeuvre is rooted in the ‘after the wall’ period of the 90’s, a decade of wild COnTACT nAmeS capitalisation in Central and eastern europe accompanied by aggressive advertis- ron mandos ing campaigns in the public space. In this period Kintera produced his now famous Fenna Lampe Frederik Schampers Appliances series. These beautiful products, sculptures slickly enclosed in commercial packaging have no other goal than to seduce you. These absurd household appliances clearly illustrate the artist’s ability to create sculptures that are iconic exhIBITed ArTIST works by engaging with the materiality of objects and with issues of ecology and Krištof Kintera consumption.

OTher rePreSenTed ArTISTS After his residency at the rijksakademie van beeldende kunsten in Amsterdam, The daniel Arsham hans Op de Beeck netherlands Kintera’s work has become increasingly communicative and energized, Anthony Goicolea producing pieces that talk, smoke, move, bang and buzz. Simultaneously a shift Inti hernandez has taken place in his choice of materials. The materials of his sculptures maintain Isaac Julien their physical presence and identity while now being penetrated by other objects. renato nicolodi Jacco Olivier In Kintera’s world, fragile trees move nervously, affected by the global issues of our rik Smits time. he avoids this through playful, creative and direct communication with the renie Spoelstra Levi van Veluw audience, as well as paradoxical and ambiguous elements in the work. The works by Krištof Kintera are included in many private and public collections. his work is exhibited worldwide; he had numerous museum shows included solo exhi- COVer bitions like I am not you at Tinguely museum, Basel, Switzerland (2014) and Your Krištof Kintera My Light is Your Life Light is My Life at Kunsthal rotterdam, The netherlands (2015). (model: Shiva Samurai 15kw/ 50Hz) 2013 Old lamps, cabels, electro variable sizes

InSIde Krištof Kintera Nervous Trees 2013 electromechanical sculpture 320 × 185 × 150 cm

BACK Krištof Kintera Praying wood 2014 Silver coated wood 65 × 28 × 30 cm PATRICK MIKHAIL MONTRÉAL / OTTAWA

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PATRICK MIKHAIL

WeBSITe Québec artist Jennifer Lefort works in painting, drawing, and sculpture. In her work, www.patrickmikhailgallery.com she navigates the ambiguous terrains of abstraction and blurs the lines between e-mAIL formalism and expressionism, color field and pattern, structure and disorder, and [email protected] accidents and intuition. With a particular interest in how color and gesture can sub-

PhOne stitute as a form of language in abstract work, Lefort aims to create unexpected +1 514 439 2790 yet poetic relationships between those elements in her paintings and sculptures.

CeLL Lefort’s personal experience and daily intake of urban culture have been a starting +1 613 276 3243 point for her work. her paintings and sculptures become a combination of reality COnTACT nAme and fantasy information. She is fascinated with how the human condition reacts Patrick mikhail and finds its place within urban culture; more specifically, how it finds room to es- cape, to belong, to contemplate, and to move. urban centers have the capacity to change on multiple levels all at once: architecturally, demographically, financially, exhIBITeD ArTIST Jennifer Lefort and emotively. There is something about this type of change that is intangible yet palpable, inexistent yet real, forward moving yet terribly uncertain. This appears to OTher rePreSenTeD ArTISTS Lefort to be deeply at the core of most experiences: fundamentally ephemeral, vis- Sara Angelucci Jessica Auer ceral, and fleeting in nature. Scott everingham Thomas Kneubühler Jennifer Lefort completed an honours BFA at Concordia university in montréal in natasha mazurka 2002. She received her mFA from York university in Toronto in 2006, and was award- Amy Schissel ed the Graduate Development Fund and the Ontario Graduate Scholarship Award Cindy Stelmackowich in 2005. She is the recipient of the prestigious Joseph Plaskett Foundation Award, Andrew Wright michael Vickers which she used to further her research in Berlin, Germany. She was also a finalist in the 2007 rBC Canadian Painting Competition. her work can be found in a variety of international collections, and she has been presented at numerous international

COVer art fairs including VOLTA new York, VOLTA11 Basel, Art Toronto, Toronto’s Feature Jennifer Lefort Contemporary Art Fair, and montréal’s Papier. DIRE OUI (SAY YES) 2015 PATrICK mIKhAIL is committed to launching new and relevant bodies of work InSTALLATIOn VIeW | through its program of exhibitions, curatorial and academic collaborations, off-site PATrICK mIKhAIL mOnTrÉAL projects, and international art fairs and festivals. Through its vital relationships with InSIDe museums, institutions, corporate collections, arts professionals, and consultants, Jennifer Lefort the gallery has placed works in the national Gallery of Canada, Canadian museum DIRE OUI (SAY YES) of Contemporary Photography, musée national des beaux-arts du Québec, Foreign 2015 InSTALLATIOn VIeW | Affairs Canada, Canada Council Art Bank, City of Ottawa Collection, Ottawa Art PATrICK mIKhAIL mOnTrÉAL Gallery, nova Scotia Art Bank, national Portrait Gallery, and numerous international corporate collections. The Gallery has previously exhibited at VOLTA nY 2013, 2014, and 2015, and VOLTA10 BASeL. Its artists have received or been nominated for numerous awards including the Swiss Arts Award, Sobey Art Award, rBC Canadian Painting Competition, Karsh Award, Canadian Centre for Architecture Prize, and mois de la photo Award. essays, reviews, and critical discourses have appeared in Artforum, Canadian Art, Border Crossings, Camera Austria, C magazine, Afterim- age, and next Level.

PATrICK mIKhAIL is a member of the Art Dealers Association of Canada (ADAC) and l’Association des galeries d’art contemporain (AGAC). Yossi Milo GallerY New York

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Yossi Milo GallerY

WeBSITe Yossi milo Gallery is pleased to present the works of marco Breuer, matthew Brandt www.yossimilo.com and Alison rossiter — three artists who push the limits of the photographic medium e-mAIL by experimenting with photo paper in unconventional ways. [email protected] marco Breuer (German, b. 1966) consistently challenges the conventions of pho- PhOne tography by eschewing the use of camera, film and negative in favor of directly +1 212 414 0370 interacting with material and process. Breuer coaxes a vivid range of colors and COnTACT nAmeS textures from photographic paper with hand manipulation. The results are abstract, Yossi milo one-of-a-kind photographs that record their evolution through an accumulation of Alissa Schoenfeld physical marks. These images are the outcome of heavy reworking and layering of several subtractive processes, including burning, folding, scratching, sanding and exhIBITeD ArTISTS scraping the surface of the material. matthew Brandt matthew Brandt (American, b. 1982) creates his work using physical elements from marco Breuer Alison rossiter the depicted subject. Inspired by landscape photography of the American West and alternative photograph processes, he blurs the line between the photograph OTher rePreSenTeD ArTISTS mike Brodie and the photographed. Throughout his many series, Brandt explores vastly different John Chiara photographic technologies and finds common ground between the medium and the Pieter hugo subject. For his series Lakes and Reservoirs, he photographs lakes and reservoirs, Simen Johan and then submerges each resulting print in water collected from the subject of the Sze Tsung Leong Loretta Lux photograph. Prints are soaked for days, weeks, or even months, impacting the lay- Chris mcCaw ers of color that comprise the image. Lorenzo Vitturi nevet Yitzhak Alison rossiter (American, b. 1953) activates unused, long-ago-expired gelatin sil- Kohei Yoshiyuki ver paper by pouring or pooling photographic developer directly onto the surface or by dipping the sheets into the liquid. The embedded histories of these papers are then reawakened, revealing the unique characteristics of each sheet. rossiter’s COVer recent works are her most ambitious to date. These minimal images are made by matthew Brandt dipping 24” x 20” photo paper from the 1950s into developer at varying angles. The From the series Lakes and Reservoirs artist brings out the paper’s unique blacks and mid-tones, leaving the white areas Grays Lake, ID BW A1 untouched. Four sheets are then carefully assembled to create a strong, balanced 2013 composition with extraordinary sculptural qualities. Gelatin Silver print soaked in Grays Lake water All three artists are currently included in the exhibitions Light, Paper, Process: Re- 42 1/4 × 60 inches inventing Photography at the J. Paul Getty museum, Los Angeles; and The Memory (107.3 × 152.4 cm) of Time: Contemporary Photographs at the National Gallery of Art, Washington, DC. InSIDe marco Breuer Untitled (C-1573) 2014 Chromogenic Paper, embossed/ folded/burned/scraped 28 1/16 × 21 1/16 inches (71.3 × 53.5 cm)

BACK (LeFT) Alison rossiter Nepera Chemical Company Carbon Velox, shipped from works November 8, 1897, processed 2014 2014 Two Gelatin Silver Prints 8 × 5 inches (20.3 × 12.7 cm) each element

BACK (rIGhT) marco Breuer Untitled (C-1504) 2014 Chromogenic Paper, embossed/ folded/burned/scraped P74 Gallery LjubLjana

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P74 GaLLery

WeBSITe TOmAž FurLAn, TADej POgAčAr www.zavod-parasite.si Tomaž Furlan deals specifically with the uncompromising disclosure of the patho- e-mAIL logical conditions of modern and contemporary society and its behaviour. Conse- [email protected] quently, all of these bizarre objects and machines of his are also nonsensical and

PhOne self-serving. he creates these machines in the outpouring of experiences and find- +386 40 370 199 ings from observing our society, and uses them to caricature society itself.

CeLL In their function and composition, Furlan’s machines are driven to the extreme pos- +386 40 370 199 sible, absurd limits. And with this, the artist focuses on the elements that define COnTACT nAme this key set of nonsense: a monotonous and infinitely-many repetition of one and uroš Legen the same order of different tasks and movements, where it is impossible to perceive any final logical goal. exhIBITeD ArTISTS Tomaž Furlan has participated in numerous exhibitions in Slovenia and internationaly, Tadej Pogačar among others: at 3,14 gallery, Bergen, norway (2008); Parkingallery in collarobo- Tomaž Furlan ration with Azad gallery, Tehran, Iran (2009); Washington uSA (2010); manifesta 9, OTher rePreSenTeD ArTISTS genk, Belgium (2012); u3 — 7th Triennial for Slovenian Contemporary Art, mSum, Balint Szombathy Ljubljana, Slovenia (2013), mSum (2014), rochechouart museum of Contemporary Dalibor martinis jože Barši Art, rochechouart, France (2015). Tomaž Furlan is recipient of the »OhO Award mladen Stilinović 2012«, dedicated to young, progressive visual artist. Polonca Lovšin Sanja Iveković Tadej Pogačar has examined indeterminacy and transformation within social systems SBD since 1993 when he established the P.A.r.A.S.I.T.e. museum of Contemporary Art, uroš Potočnik a virtual parallel institution.

Pogačar’s black globes (in his project “Travelling globes”) without the outlines of any territories or continents are unmarked, open signs that relate to outside worlds. COVer Tadej Pogačar The two globes anticipate P.A.r.A.S.I.T.e. museum’s flexible nesting in existing or- Travelling Globes ganisms. The locations where the two globes travel to are only weakly pre-coded 1990 in cultural terms; they are wild places (e.g., backyards and natural landscapes). photo 30 × 30 cm “Twenty Palm Trees of Santa Cruz de Tenerife” discusses the economy of colonial- ism. Tenerife served the europeans as a jumping off point and laboratory for the InSIDe conquering of new continents. They represented an intermediary stop in the con- Tomaž Furlan WEAR XV. tinuing colonisation of and penetrations into the southern continents. The majority 2013 of the palms were imported, although some indigenous varieties also exist. The lush sculpture/object vegetation we admire today has been “artificially” raised and is a side effect of the 180 × 80 × 110 cm brutal european colonial history.

most recently, his work was exhibited at the garage mOCA moscow, moderna Art gallery Ljubljana, mSu Zagreb, espaiVisor Valencia, gagosian gallery, new York, galeria Luisa Strina, Sao paulo, gallery for Contemporary Art in Leipzig, the ZKm — Centre for 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.

Tadej Pogačar is the recipient of many awards, grants, and residencies, including györgy Kepes Fellowship grant for Advanced Studies and Transdisciplinary research in Art, Culture and Technology (mIT, Boston, 2012–2013), the jakopič Prize, Slovenia’s main national award for visual art (2009), the Shrinking Cities grant (Leipzig, 2004), the Franklin Furnace grant for Performance Art (new York, 2001), the AIr_port residential program Forum Stadtpark in graz (2003), and an Austrian Cultural Forum residency in London (2003). Pablo’s birthday New York CitY

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Pablo’s birthdaY

WeBSITe Pablo’s Birthday will present 3 artists at VOLTA11. each artist has created portraits www.pablosbirthday.com specifically for this booth. While all of these artworks might share a similar theme, e-mAIL their conceptual approaches and techniques are completely different. [email protected] Tim Berresheim (1975, heinsberg, Germany) is a digital artist who creates his works PhOne with the computer. he does not use the computer as a painting tool, but instead +1 212 462 2411 communicates to the computer about what to create. CeLL +1 917 519 4100 In his self-portraits, Thorsten Brinkmann (1971, herne, Germany) takes on different personalities by disguising and staging himself with an array of found objects. COnTACT nAme Arne Zimmermann eckart hahn’s (1971, Freiburg, Germany) paintings can be seen as a stage upon which the artist let’s a surreal story unfold by combining found images during his painting process. exhIBITed ArTISTS Tim Berresheim All works are portraits of a similar size. By taking away the “formal” differences the Thorsten Brinkmann art fair visitor is invited to look behind the first impression and to understand the eckart hahn individual concepts of each artist. It is a invitation into a dialogue between three OTher rePreSenTed ArTISTS different artists and the observer. henrik eiben Christian eisenberger Frank Gerritz Karsten Konrad marc Lueders Angelika Schori Pius Fox

COVer eckart hahn Portrait of a Bird 2015 Acrylic on Canvas 170 × 120 cm

InSIde (LeFT) Tim Berresheim Author of Victim of Change 2015 ultrachrome on Paper 170 × 130 cm

InSIde (rIGhT) Thorsten Brinkmann Hakon del Plume 2012 C-Print 170 × 130 cm PONCE+ROBLES Madrid

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PONCE+rOBLES

WeBSITe We present in this edition of VOLTA five artists whose work investigates the sub- www.poncerobles.com ject of landscape in contemporary art practices. The appropriation of the nature by e-mAIL humans, the use of it in the work developed by the artists playing with colors and [email protected] shapes has been constant throughout the history of art.

PhOne For several years, Françoise Vanneraud’s (nantes, France 1984. Lives and works + 34 914 203 889 between nantes and madrid) work has revolved around the subjective perception CeLL of time and space through a questioning of the notions of exile, wandering, memory +34 619 757 100 and lived time. Vanneraud forces us to walk on her work Travesía (Crossing) installed COnTACT nAmeS on the floor of the booth, and talks about the forces that landscape suffers; internal José robles forces from inside the earth and the external produced by men. meanwhile, man- raquel Ponce uel Caeiro (Évora, Portugal, 1975. Lives and works in Lisbon) extends our horizon through his canvases with complex perspectives. Like many other contemporary exhIBITeD ArTISTS painters, Caeiro questions painting starting from the repetition of forms. each line manuel Caeiro insists on the achievement of an idea, and its multiplication, or its sequence, gener- Irene Grau ates the definitive rhythm. he works the modular detail, which unleashes each new raúl Díaz reyes image, and he always does it starting from memory or recall of what is constructed, Leslie Smith III Françoise Vanneraud seeking a new order. Irene Grau (Valencia, Spain 1986. Lives and works in Valencia) gives us the result of her travels looking for colors that she needs for her pictorial OTher rePreSenTeD ArTISTS Aggtelek compositions with photographic technique within the nature and the landscape. ricardo Calero She develops her work from relationships between color and space. Leslie Smith III Álex Bodea (maryland, uSA, 1985, works in Wisconsin and n.Y.) explores the confines of space, José hidalgo-Anastacio relinquishing conventional concepts of flatness and depth. In response to his broader maíllo Ignacio navas thematic ideas, Smith’s irregularly shaped canvases duplicate and tessellate from esther Pizarro one painting to the next. They infer narrative by representing the nuances found in Avelino Sala everyday human experiences — they push, pull and contort space for the purpose of challenging the way pictorial space is experienced. raúl Díaz reyes’ (madrid, 1977, works between Sao Paulo and madrid) recent work explores contemporary COVer urban planning, questioning how humans relate to their cities. They reflect upon the manuel Caeiro processes renovation and alteration occurring there. These works are constructed Series Briefing Room 2014 with different materials — aluminum, for example — as well as photographs and Patinated iron elements used in architectural models. Through materiality, he probes the limits of 82 × 82 × 150 cm artistic language and its aesthetic value, exploring tri-dimensionality as a means of grasping fragmented realities. InSIDe Françoise Vanneraud Travesía 2014 Tiles, markers Site Specific (variable measures)

BACk (LeFT) Irene Grau Series Colorfield 2014 ulthracrome on baritated paper 35 × 60 cm

BACk (rIGhT) Leslie Smith III Toeing the Water Line 2014 Oil on Canvas 122 × 122 cm Studio Sandra recio Geneva

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Studio Sandra recio

WeBSiTe Based in Geneva, the young gallery Studio Sandra recio has a dynamic and cre- www.sandrarecio.com ative program, which includes exhibitions, commissions, panels and publishing. e-mAiL [email protected] mArLOn De AZAmBuJA (*1978, ST. AnTOniO DA PATruLhA, BrAZiL)

PhOne When concrete becomes city’s skin, wounds and scares appear… marlon de Azam- +41 22 548 02 42 buja’s project metaesquemas is inspired by long walks in different cities, such as

CeLL madrid, Sao Paulo, Praha and his last destination Geneva, where he took photo- +41 78 784 57 16 graphs of peculiar metallic elements on the ground (lids, drains, crosswalks…). A

COnTACT nAme system of black lines is drawn on the images, allowing a connexion between vari- Sandra recio ous elements, thereby creating new abstract images and structures. interpreted as a “scheme of scheme” and inspired by a group of works by helio Oiticica, marlon de Azambuja provokes a tension between geometrical elements by a misalignment exhiBiTeD ArTiSTS of the painting’s surface. Azambuja questions permissible levels of representation Benoît Billotte in a bid to subvert artistic media, which is why he works from paper drawings to marlon de Azambuja interventions in public space. OTher rePreSenTeD ArTiSTS Johanna Abraham Graduated from the Centro de Arte Contemporânea edílson Viriato in Curitiba (Bra- Yaima Carrazana zil), marlon de Azambuja holds an extensive list of both solo and group exhibitions Loris Cecchini in South America and europe, such as the 11th havana Biennal, the 8th Biennal of Flavio Favelli mercosul (Porto Alegre), the Centro Atlántico de Arte moderno (Las Palmas) and Stéphane Kropf Florent meng the Caixa Fundación in Galicia, Spain. Olga Titus Alexander Wolff BenOÎT BiLLOTTe (*1983, meTZ, FrAnCe) Benoît Billotte’s artistic work mostly deals with the sweet propaganda forms of our contemporary world. he collects information and documentary resources, scientific COVer or technical data, which he visually transcribes without being literal. For VOLTA11, Benoît Billotte Château de sable Benoît Billotte shows a new project named by Jules Verne’s famous book The Black 2012 / 2015 indies: a series of drawings based on an extensive iconographic and cartographic Sand drawing on wall research on original maps from different mines. By playing with scale and deleting Various dimensions all keys and indexes from these black complex networks, Benoît Billote creates new inSiDe obscure and secret worlds, mysterious labyrinths where the viewer can get lost. marlon de Azambuja Metaesquemas Genève Graduated from the ecole Supérieure d’Art in metz and the heAD in Geneva, Ben- 2013 oît Billotte has shown his work in multiply solo and group exhibitions in private and Black ink on inject print public institutions among the most important are the Centre Pompidou-metz, le 21 × 30 cm (each) muDAC Lausanne, le FrAC Basse-normandie, Swiss Art Award Basel et le FrAC BACK (LeFT) Lorraine-metz. Benoît Billotte Architectone 2011 Balsa Wood 11 × 7.5 cm (each)

BACK (riGhT) marlon de Azambuja Libre Asociación 2012 Black marker on tracing paper 50 × 35 cm Galerie richard New York

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Galerie richard

WeBSITe Dionisio González and Lauren marsolier expand the boundaries of photography with www.galerierichard.com their deep conceptual understanding of digital virtuality. Digital virtuality expresses e-mAIL the potentiality for the mind to refer to an aspect of reality that is ideal, but none- [email protected] theless real. Our present way of life deals with constant states of transition between

PhOne the real and the virtual. +33 143 252 722 González’s new series Inter-Acciones and Trans-Acciones relate to the relationship CeLL between nature, time and architecture and emphasize the importance of utopia in the +33 650 244 234 creative process. he pays homage to American architects in the 50’s who envisioned COnTACT nAmeS new architectures through utopian perspectives. each work represents one single Jean-Luc richard old futuristic building in a landscape in either Spain or Alabama. The Inter-Acciones Takako richard works are much smaller than usual and in black and white, paving the way to a new sense of intimacy with the viewer. González continues to create virtual architectures exhIBITeD ArTISTS between fantasy and reality, where they succeed in being considered plausible. Dionisio González Dionisio González’s (Gijón, 1965) works are part of the Centre national d’Art et de Lauren marsolier Culture Georges-Pompidou in Paris, the InG Art Collection in Amsterdam, The mar- OTher rePreSenTeD ArTISTS gulies Collection in miami. The Inter-Acciones Series has been exhibited at Casino Christophe Avella-Bagur Linda Besemer de la exposición in Sevilla and in Sala Canal de Isabel II in madrid in 2013 in Centro Sven-Ole Frahm de Cultura Antiguo Instituto in Gijón in 2014. norio Imai Shirley Kaneda Photographs by Lauren marsolier are deliberately deceptive and require from the Takesada matsutani viewer a prolonged period of time to enjoy them. She digitally manipulates her pho- Kiyoshi nakagami tographs to create a void of sun-drenched landscapes absent of any living beings, Olaf rauh movement, or sound. The title Transition refers to the experience of moving from David ryan Yang Yi large metropolis to deserted areas, living a solitary transitional period during which we feel like a stranger in our new surroundings as much as the surroundings feel strange to us. The passage from an alienated real to an accepted one relates to

COVer the peculiar condition of 21st century human spending as much time facing digital Dionisio González screens as facing real surroundings. Trans-Acciones 2 (detail) 2014 French-born Lauren marsolier lives in Los Angeles. In 2014 her photos joined the Digital print on collections of the Los Angeles County museum of Art in L.A., the Phoenix Art mu- cotton paper on dibond seum in Phoenix, the Center for Creative Photography in Tucson, and The William 110 × 220 cm m. hunt Collection in new York. (43 5/16 × 78 ¾ inches)

InSIDe Lauren marsolier View From Shelter 2011 Archival pigment print 60.9 × 91.4 cm

BACK (LeFT) Dionisio González Inter-Acciones 8 2013 Digital print on cotton paper on dibond 63 × 63 cm (24 13/16 × 24 13/16 inches)

BACK (rIGhT) Lauren marsolier Landscape With White Chair 2011 Archival pigment print 76.2 × 76.2 cm (30 × 30 inches) DaviD Risley GalleRy Copenhagen

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DaviD Risley galleRy

WeBSITe David risley Gallery was founded in London in 2003 in London’s east end with a www.davidrisleygallery.com large space on Vyner Street working with emerging and mid career artists interna- e-mAIL tionally. In 2009 David risley Gallery relocated to Copenhagen, Denmark. This has [email protected] given the opportunity to work with more established artists in a different context,

CeLL alongside our existing programme. +45 2616 3671 +45 3131 7164 Currently: Frank Ammerlaan, The extended arms of the transom. until June 27th.

COnTACT nAmeS upcoming: Solo show with ryan Gander as Spencer Anthony, August 2014. David risley Louise Birch Sørensen

exhIBITeD ArTISTS Frank Ammerlaan Anna Bjerger Jake & Dinos Chapman Alex Da Corte robert mcnally Charlie roberts Keith Tyson

OTher repreSenTeD ArTISTS James Aldridge Dexter Dalwood Graham Dolphin helen Frik James hyde Thomas hylander henry Krokatsis michael Simpson Charlie Woolley

COVer Keith Tyson Unnatural portrait (detail) 2015 mixed media on aluminium 73 × 68 cm

InSIDe robert mcnally Test Plane 2014 pencil on ultra-black light absorbing foil 14 × 20 cm

BACK Anna Bjerger Sketch 2015 Oil on aluminium 30 × 40 cm robert henry contemporary Brooklyn VOLTA 11 | BOOTh numBer C23

roBert henry contemporary

WeBSITe Liz Jaff explores the structural attributes and aesthetic qualities intrinsic to paper www.roberthenrycontemporary.com that she cuts and folds into highly formal compositions in both objects and large- e-mAIL scale installations that reflect her personal impression of space and memory. [email protected] Jaff began folding paper over 16 years ago. Through abstraction and repetition of PhOne architectural and natural forms, she makes environments and objects that convey +1 718 473 0819 the specific feeling and character of a place or event from her everyday life. The COnTACT nAmeS ephemeral, transitory nature of paper gives Jaff the perfect medium to characterize henry Chung co-Director the fleeting feelings of her memory of time and space. robert Walden co-Director Circles serve as an interesting metaphor for memory and are a recurring motif in her work. The events of her everyday life take Jaff from home to work to studio, etc exhIBITeD ArTIST and always complete a circle by returning home. These commomplace activities Liz Jaff are recorded as abstractions of cut and folded paper often with whimsical titles, OTher rePreSenTeD ArTISTS like Tumble, Fidgit or Giggle. Circles also allow her a formal tool to investigate the mike Childs change of light and dark as two-dimensions are turned into three. When repeated James Cullinane elise engler these shapes constitute her reaction to the geometries of Sol Lewitt and Carl Andre richard Garrison and as an homage to Agnes martin. robert Lansden Sharon Lawless Liz Jaff in a native of new York City and received her BFA from The rhode Island Derek Lerner School of Design in 1989. She lives in manhattan and maintains her studio in Bush- Jerry Walden wick, Brooklyn. Pancho Westendarp Duane Zaloudek

COVer Liz Jaff Tick 2014 hand-cut paper on board 39 × 26 ½ × 1 inches (99 × 67 × 2.5 cm)

InSIDe Liz Jaff Plugs and Fuses 2011-2015 hand-cut paper Dimensions variable

BACk Liz Jaff The Good Boy 2014 hand-cut paper 77 × 43 × 3 ½ inches (1.95 m × 1.1 m × 8.9 cm) Tyler rollins Fine ArT New York

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TYler rolliNs FiNe ArT

WeBSiTe TiffAny Chung (born 1969 in Danang, Vietnam; lives and works in Saigon, www.trfineart.com Vietnam) is one of Vietnam’s most prominent and internationally active contempo- e-mAiL rary artists. her cartographic and installation works examine urban development [email protected] in relation to history and cultural memories, exploring the recovery and growth of

PhOne specific cities that were war-torn or heavily damaged by natural disasters. She is +1 212 229 9100 currently featured in the Venice Biennale in the exhibition All the World’s Futures,

COnTACT nAme curated by Okwui enwezor. Tyler rollins heri DOnO (born in 1960 in Jakarta, indonesia; lives and works in yogyakarta, indonesia) is perhaps indonesia’s most iconic contemporary artist; since his first showings in the early 1980s, he has exhibited extensively around the world, partici- exhiBiTeD ArTiSTS Tiffany Chung pating in numerous international biennials. he is currently representing indonesia heri Dono in the Venice Biennale, presenting a large-scale sculptural installation for the indo- Sopheap Pich nesia Pavilion. The distinctive style of his paintings and sculptures take inspiration OTher rePreSenTeD ArTiSTS from Javanese puppet theatre, combined with the contemporary world of machines, Arahmaiani robots, and television. fx harsono Tracey moffatt SOPheAP PiCh (born in 1971 in Battambang, Cambodia; lives and works in Phnom manuel Ocampo Penh, Cambodia) works with local Cambodian materials — primarily bamboo and Araya rasdjarmrearnsook rattan — to make sculptures inspired by bodily organs, vegetal forms, and abstract Pinaree Sanpitak Jakkai Siributr geometric structures. The works stand out for their subtlety and power, combining Agus Suwage refinement of form with a visceral, emotive force. his works are collected by many ronald Ventura major museums around the work and have been featured in a solo exhibition at new yee i-Lann york’s metropolitan museum of Art (2013) and in Documenta (2012). his fourth solo exhibition with our gallery will open on October 29, 2015.

COVer Tiffany Chung the Gulf in a map of the Persian Empire by Mons. D’Anville (detail) 2014 ink & oil on vellum paper Size: 110 × 70 cm inSiDe (LefT) Sopheap Pich Brush Fires 2014 bamboo, rattan, wire, burlap, plastic, charcoal, beeswax, damar resin 160 × 120 × 10 cm inSiDe (righT) Sopheap Pich Red Echoes 2015 bamboo, rattan, wire, burlap, damar resin, beeswax, natural pigment, oil paint 160 × 121 × 10 cm

BACk heri Dono Shooting Nose (detail) 2014 acrylic on canvas 83 × 138 cm ROYALE PROJECTS CONTEMPORARY ART Los AngeLes VOLTA 11 | BOOTh numBer A6

RoYALe PRoJeCTs ConTeMPoRARY ART

WeBSITe PhILLIP K SmITh III, born in Los Angeles CA (1972), received his Bachelor of Fine www.royaleprojects.com Arts and Bachelor of Architecture at the rhode Island School of Design. Drawing e-mAIL inspiration from the cold rigidity of the Bauhaus movement, the reductive geom- [email protected] etries of minimalism, and the optic sensation of California’s Light & Space move-

PhOne ment, Smith attempts to resolve the complex challenge of finding a natural state of +1 760 742 5182 life and spirit within these ideological, aesthetic constrictions.

CeLL Best known for ephemeral mOnumenTAL PrOJeCTS, including “Aperture”, an +1 213 446 5746 undulating wall of shifting color at the Palm Springs Art museum and “Lucid Stead” COnTACT nAmeS a radiant, mirrored shack in Joshua Tree, California. “Lucid Stead” became an in- rick royale (owner) ternational phenomenon, receiving tremendous attention both online and in print. Paige moss (owner) Lesley Oliver (assistant director) Following “Lucid Stead”, Smith’s colossal light installation, “reflection Field”, was commissioned for the Coachella music & Arts Festival in 2014. That December, “Bent Parallel” debuted in miami Beach, Florida. The sculpture induced perceptual planes exhIBITeD ArTIST of merging light and reflection and the media was quick to place Smith alongside Phillip K. Smith III the works of artist James Turrell.

OTher rePreSenTeD ArTISTS Smith’s LIGhTWOrKS are conceived as circular “Torus” and oblong “Lozenge” Kenneth Capps Alejandro Diaz forms. Specific color combinations penetrate ringed depths of acrylic, illuminating Karen Lofgren the objects and the ambient space around them. Over time the experience realigns Kristin mcIver one’s sensory priorities. David Allan Peters Liat Yossifor The LIGhT & ShADOW works are deceptively simple sculptures that strip away Smith’s hallmark technology and color, capturing the sublime purity of light and darkness, relying on the presence and absence of ambient light to render the forms. COVer Phillip K. Smith III Phillip K Smith III has recently been contracted to create a permanent, light-based Lucid Stead installation for the City of West hollywood and completed the Artist residency 2013 Program at Dartmouth College in hanover CT, whose lineage includes some of the LeD lights, wood, mirror, most innovative artists of the last century, including rauschenberg, Stella and Judd. custom electronic components (site-specific installation in Joshua Tree, CA)

InSIDe Phillip K. Smith III Lozenge 6, (horizontal) 2014 acrylic, plywood, custom electronic components 72 × 12 × 8.5 inches

BACK Phillip K. Smith III Arced Line, Single Push / Pull 2014 painted fiberglass 23.80 × 117 × 16.77 inches Rosa santos Valencia

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Rosa santos

WeBSITe rosa Santos Gallery was inaugurated in 2003 with a site-specific installation by www.rosasantos.net Spanish conceptual artist Valcárcel medina. The space of the gallery is formed by e-mAIL two exhibition spaces, an office and a storage room, all integrated in a refurbished [email protected] building located in the Old Quarter of Valencia City.

PhOne Our exhibition Programme focuses on Contemporary Visual Art, paying special at- +34 963 926 417 tention to the latest tendencies in Painting, Sculpture and Drawing, as well as Pho- CeLL tography, Video and Installations. The current purpose of the gallery is to expand our +34 659 06 60 54 presence in international contexts and promote within these the work of our artists. COnTACT nAme rosa Santos magnificent Architectures. Between the fantasy architectures of the sci-fi future — Andrea Canepa’s series — and the monumental pyramids in Cairo — maha maamoun’s work, we present a exhIBITeD ArTISTS booth to reflect on the representation of the city and the common desires in histori- Andrea Canepa maha maamoun cal narratives and the past and present construction.

OTher rePreSenTeD ArTISTS AnDreA CAnePA Lima, Peru, 1980. xavier Arenós Architectures of the future past aims to show the ways in which we have imagined Greta Alfaro the constructions of the future. mira Bernabeu Juanli Carrión By means of the presentation of a file of architectural images (82 photos) extracted mavi escamilla from science fiction movies from different eras, each image shows a frame of films set Alex Francés xisco mensua in the future, there is a conquest of the city and below is the year in which film is set. Joan Sebastian The images are mounted side-by-side as a timeline while respecting the year in which rafael Tormo i Cuenca enrique Zabala the film was set regardless of the year in which the film was made. From the order of reading of this file one can dislodge conclusions that allow us to understand the evolution of the idea of the “city of the future” and bring us clues to COVer understand our past and present better. maha maamoun Domestic Tourism II mAhA mAAmOun Cairo, egypt, 1972. 2008 / 9 Languages of representation are a central interest in the works of maha maamoun. Video, Color, Sound 60 mins Working with a wide range of sources, from sampling egyptian cinema and Youtube videos to drawing on sacred texts and pulp fiction, maamoun takes these multiple InSIDe Andrea Canepa points of entry to reflect on the bonds and fissures in individual and national nar- Architectures of ratives. the future past 2015 Domestic Tourism II, presents a montage of screen-appearances of the pyramids Photography of Giza in scenes from egyptian films from the 1950s till around 2006, and high- 82 pieces, lights the changing screen-roles these historical icons have played in contemporary variable dimensions egyptian history.

maha maamoun’s work offers scenarios in which we look at the languages and objects of past and recent history, opening up the possibility for a renewed reading of individual and collective narratives of place and time. SLAG GALLERY BROOKLYN

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SLAG GALLERY

WeBSITe Tirtzah Bassel brings her expressive, confident brushstrokes to the interrogation www.slaggallery.com of the mundane spaces we at once are forced to endure and take for granted. her e-mAIL portraits of the seemingly interminable utilize bold color juxtapositions to realize the [email protected] paradox of our modern day forced intimacies, and how we manage reconcile the

PhOne strangeness of close physical proximity with studied mental distance. The incongru- +1 212 967 9818 ity and aloneness of scrolling through feeds of personal photos in public space is

CeLL captured in Bassel’s confluence of deeply observed surroundings and the material +1 917 977 1848 exploration of the paint itself. her work, so texturally rich, is given life dually by the

COnTACT nAme expressive brushstrokes and the harmony of reds, blues and yellows she employs Irina Prototpopescu in her exploration of overlooked moments and spaces.

Ben Godward tackles the vibrant toxicity of American consumerism with his neon, varicolored installations. Through the use of plastic, rubber, found objects and ure- exhIBITed ArTISTS Tirtzah Bassel thane foam, his large, bright sculptures reference the material exacerbations of our Ben Godward current commodity-driven culture. employing a marxist critique of material excess, Tim Kent imperial gluttony, and the division between labor, consumer and product, Godward

OTher rePreSenTed ArTISTS devotes a chaotic exuberance to the destruction of the plastic environment of hy- Avital Burg per-processed articles. Frolicking through anxieties of destruction and impersonal hannah Cole creations of consumer goods, pure carnival joy harmonizes unselfconsciously with dumitru Gorzo commodity culture. hector dio mendoza Serkan Ozkaya Tim Kent captures an increasingly fractured reality in his hazy, multi-dimensional naomi Safran-hon dan Voinea cavernous interiors and endless industrial landscapes. his paintings seize upon atmospheres of detachment and isolation in their skillfully drafted, energetic abstractions, using the visual language of buildings — elevation lines, orthographic

COVer projections, and elements such as stairs, doors, and windows — to inject order into Tirtzah Bassel disordered spaces. Challenging hierarchies of perspectives, Kent’s works encourage BLACK DRESS II (detail) viewers to reconsider the dialectical relationship between artist and viewer, between 2015 imaginary and tangible places, and between abstraction and formalism. In short, Oil on Canvas 22 × 28 inches Kent’s work deals in paradox. he offers the viewer frozen constructions that are at the same time full of dynamic power. One is drawn into the work by recognizable InSIde Tim Kent objects, only to look further and discover that they are caught in impossible spaces. Glide (detail) Perspective is imposed by the artist only to be undermined over and over again by 2015 the unique perceptions of each viewer. Oil on Linen 108 × 72 inches

BACK (LeFT) Ben Godward Effect and Affect (detail) 2014 mixed media variable dimensions

BACK (rIGhT) Ben Godward Party Beuys (detail) 2014 mixed media variable dimensions Mindy SoloMon Gallery MiaMi

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Mindy SoloMon Gallery

WeBSITe ABOuT The ArTIST www.mindysolomon.com an anchovy, a chrysalis, an eyelid, a galaxy, a kayak, a lens, a love bite, a mandorla, e-mAIL a pebble, a rugby ball, a setting sun, a vulva, a wound, a zeppelin [email protected] Pierre mabille, assisted by friends and acquaintances who continue to add to the list PhOne (and to send him photographs when they encounter the shape in their daily lives), + 1 786 953 6917 has compiled more than 500 analogues for the curious shape which has recurred CeLL in his work since 1997. neither oval nor diamond, there does not seem to exist a + 1 727 409 9113 word for it in French or english. Only in German — that most flexible language — COnTACT nAme can it be named by the term Spitzoval, or pointed oval. It’s impossible to tell, with mindy Solomon mabille’s works, what is figure and what is ground. The overlapping planes of scal- loped color present the viewer with contradictory sensations of both thickness and transparency. The painting vibrates back and forth on the canvas, but miraculously, exhIBITed ArTIST Pierre mabille also across time and back and forth from the viewer to the work. The repeated shape not only represents things seen by the artist, but also things yet to be seen. When OTher rePreSenTed ArTISTS Generic Art Solutions the viewer next comes across this motif in real life, they see the painting in their roberto Gomez mind’s eye. Pointing to the past and the future, mabille’s work contains multitudes James Kennedy within its deep simplicity. It represents a seriality of endless variation — within each Osamu Kobayashi pointed lozenge shape exists the variety of the world, and the rainbow spectrum of dominique Labauvie Julian Lorber sublime and mundane. Kate macdowell Gary Petersen ABOuT The GALLerY Brian rochefort mindy Solomon Gallery specializes in contemporary emerging and mid-career art- Scot Sothern ists. represented works include painting, sculpture, photography and video in both narrative and non-objective styles. The gallery was named one of the top 500 Gal- leries Worldwide in Blouin media modern Painters 2013 and 2014 Annual Guides. COVer Pierre mabille Untitled (series “São Paulo”) (detail) 2009 Acrylic on canvas 114 × 195 cm

InSIde Pierre mabille Untitled (detail) 2014 Acrylic on canvas 162 × 195 cm

BACK Pierre mabille Suite Bonnard 2012 Acrylic on canvas 25 paintings, variable dimensions SPECTA Copenhagen

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SpeCTa

WeBsITe eLLen hyLLemOse: www.specta.dk The landscape and the way we participate in it, hold a materiality and physicality, e-mAIL which I think is of fundamental importance to us all. This goes for different kinds [email protected] of landscapes; the city, the countryside, in the apartment where I live my daily life. [email protected] something basic which exists in all of us and which is linked to all sorts of situa- PhOne tions in our daily lives. + 45 3313 0123 my works, both sculptures as well as paintings, make use of the landscape to re- CeLL veal these several interpretations and kinds of landscapes. I use observations and + 45 2963 5594 +45 2041 6733 records from my daily surroundings. The landscape, the open cultivated land, is what I grew up with, which I know inside out and thus have a familiarity with, for COnTACT nAmes else Johannesen better and for worse. Gitte Johannesen sVend-ALLAn sørensen: I come from a small farm, stengården, outside the village of Bjerringbro in denmark. exhIBITed ArTIsTs Today I can see that this is where my work derives from. my work follows my interest ellen hyllemose in nature, in hunting and in shooting, although in a more radical way than before. svend-Allan sørensen Partly in terms of approach, but also in size, form and content. my works are in a way OTher rePresenTed ArTIsTs radically un-funky. They are not street. They are fields and woods. They express my Thordis Adalsteinsdottir points of interest. And in that way they relate to present time, to the contemporary. John m Armleder Lars Arrhenius In recent years my work seems to have moved towards a return to the starting point, maj Britt Boa eva steen Christensen as if driving full speed ahead in reverse gear. That suits me fine. Therein lies the Frances Goodman prospect of settlement for me. Peter holst henckel heine Kjærgaard Klausen Andreas schulenburg daniel svarre david svensson Camilla Thorup

COVer ellen hyllemose Split 2013 Chipboard, pencil, wood, wire, lycra 96 × 90,5 cm + two objects on the floor

InsIde svend-Allan sørensen Twenty Five Notes On Birds 2012 etchings, ed. 5 each 52 × 43 cm + frame

BACK ellen hyllemose A Different Kind of Nature 2013 – 2014 mixed media dim. var. STANDING PINE Nagoya

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STaNDINg PINE

WeBSITe Standing Pine is pleased to present an exhibition of intext for the first time in Basel. www.standingpine.jp intext is a team of graphic designers hiroshi Toyama, Yusuke mimasu, and a pro- e-mAIL grammer Takehisa mashimo. Their interest is on redefining how words, languages [email protected] and texts are written and read in graphic designs from their unique perspective. PhOne Based on high techniques and broad expressions, they work on prints, videos, +81 52 203 3930 sounds, performances, and interactive works, never limiting themselves to fixed CeLL expressions. In this exhibition, with a theme of “released types,” intext will present +81 90 5108 8879 works that make us reconsider about the meaning of “reading texts.” COnTACT nAme Takeshi Tatematsu In this globalizing world, words and languages, which are important factors when we recognize each culture, are complicatedly mixed up, and the usages are changing at a high speed. For an example of english, in this age, non-native english speakers exhIBITed ArTIST exist more than 70% among all english speakers. This means that words and sounds intext of english must be obviously changing in this 50 years or more. In this process of OTher rePreSenTed ArTISTS languages merging and abstracting, some cultures might even be fading away. From Shinji Ogawa their original perspective, intext redefines the way these words and languages are Kenji Sugiyama handled, clarifies the sensitive and primitive figures of them, and depicts the mean- Pe Lang Tomoaki Shitara ings and messages they contain. intext “reading of method” is a work which picks up a page from a certain book, and ar- Youki hirakawa masayuki Arai tificially pronounces out the page in an own specific rule. “round flong” plays a pa- mayumi Inukai per pattern of words on a record player, and leads the viewers to an unusual way of reading texts. “floating type” is a device which projects lights and sounds through words clipped off from a paper, and makes us feel the text physically. COVer intext These works rebuild new relationships between viewers and texts, release the words printed motion (dictionary) from culturally fixed grammars, and make us rethink about “reading texts.” They also 2015 rediscover a new sense of words and pronunciation, an origin of forming cultures, Silk screen on digital photo frame and a joy of “reading” itself. 468 × 288 × 38 mm

InSIde intext round flong 2014 paper diameter 250 mm

BACK intext reading of method (William Cobbett p 124, 125) 2011 paper, speaker, monitor Size: 579 × 470 mm CatinCa tabaCaru Gallery New York CitY VOLTA 11 | BOOTh numBer B17

CatiNCa tabaCaru GallerY

WeBSITe Kenny rivero (b. 1981 new York City) through painting, drawing, and installation www.catincatabacaru.com contemplates notions of socio-geographic solidarity, familial expectations, race, and e-mAIL gender roles. From the lens of his Dominican-American upbringing, anecdotal his- [email protected] tory and boyhood experiences are depicted in comic-like figures, cryptic numbers

PhOne and architectural refuse. rivero received a BFA from the School of Visual Arts (2006) +1 212 260 2481 and an mFA from Yale university (2012). rivero has exhibited in venues including el

CeLL museo del Barrio in new York City; the Pera museum in Istanbul, Turkey; and the +1 919 475 8407 Stedelijk museum in hertogenbosch, netherlands.

COnTACT nAme Justin Orvis Steimer (b. 1981 Colorado) is an American abstract painter who re- Catinca Tabacaru ceived his BFA from the university of Colorado at Boulder (2004). he works primar- Tiffany Jin ily on salvaged materials ranging from linen to boat sails, which he cuts and sews into canvases. When he paints, he focuses his attention on the space, the object, exhIBITeD ArTISTS or the person the painting depicts, absorbing its energy and translating it into his Kenny rivero ever-evolving abstract vocabulary. During the 56th Venice Biennale, Steimer will Justin Orvis Steimer present a series of three paintings completed while residing in Venice, on view at Gail Stoicheff the Palazzo mora for the 2015 Personal Structures exhibition. OTher rePreSenTeD ArTISTS Joe Brittain Gail Stoicheff’s practice engages the human impulse of image-making while embrac- Jasmin Charles ing the unpredictable nature of process. As traditions of painting meet her canvas Greg haberny manipulations, remnants of the process are allowed to coexist with intentional ges- Know hope tures. The resulting works are bountiful with visual texture and references—echoes Tamara mendels rachel monosov of American post-war abstraction congress with surface, image and text, forgoing Shinji murakami both practical and ontological labels of painting. Stoicheff (b. 1976 Pennsylvania) Yapci ramos received her mFA from Bard College, Annandale-on-hudson, nY (2005). She was xavier robles de medina the recipient of robert motherwell’s prestigious Daedalus Foundation master of Duhirwe rushemeza Fine Arts Fellowship in Painting as well as The elaine DeKooning Painting Award.

ABOuT CATInCA TABACAru GALLerY COVer Justin Orvis Steimer Founded in 2010 by Catinca Tabacaru, the gallery opened its doors on the Lower Piacere (Currently on exhibition: east Side of manhattan in may 2014. Interested in authenticity, a universal lan- Personal Structures, 56th guage and the geopolitical environment, the themes of identity, spirit and time run International Venice Biennale, deep throughout the gallery’s program. remaining true to its roots of curating and Palazzo mora, Venice) 2015 branching out into multidisciplinary projects, the gallery continues to organize events oil, acrylic and ink focused on building community and fostering dialogue. on 1940’s boat sail 68 × 52 inches (172.7 × 132.1 cm)

InSIDe Gail Stoicheff Trans Figuration (detail) 2015 oil and dye on velvet and canvas 96 × 72 inches (243.8 × 182.9 cm)

BACK (LeFT) Kenny rivero Homage to the Three Three (detail) 2015 oil on canvas 44 × 49.75 inches (111.8 × 126.4 cm)

BACK (rIGhT) Kenny rivero Getting Strong Now 2014 graphite and collage on salvaged paper 10.5 × 5.5 inches (26.7 × 14 cm) Ten Haaf ProjecTs AmsterdAm

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ten HAAf Projects

WeBSITe Ten haaf Projects is an art gallery located in the center of Amsterdam. We focus www.tenhaafprojects.com on the work of promising contemporary artists, as well as on the work of modern e-mAIL masters. We show, represent and support the work of a diverse group of artists in [email protected] our gallery. Our mission is to be a platform for challenging national and international

PhOne artists. Ten haaf Projects internationally oriented team, has an in depth knowledge of +31 20 428 5885 the art market. We advise, appraise and manage private and institutional collections.

COnTACT nAme We are very pleased to present a solo presentation by German artist Sebastian Justin Ten haaf Weggler (b.1983) on VOLTA Basel 2015.

The desire for eternity — broken, fragmented but still coherent — is carved in curd exhIBITeD ArTIST soap. Sebastian Weggler illustrates his own biography, as a monument to remain Sebastian Weggler in our memory forever. he takes the role of Prometheus and other mythical figures, OTher rePreSenTeD ArTISTS showing himself as the inventor of the wheel as well as the discoverer of fire, or — Andrew Gilbert in modest humility — surrounded by angels descending from the sky. Bruce Gilden Iztok Klancar Weggler is outstanding in turning everyday objects into unique pieces of art. he Luka Kurashvili demonstrates exceptional skills in working with a wide range of media: for instance hiroki Tsukuda by painting over ordinary postal stamps, and transforming them into unique minia- Sebastian Weggler tures in his series “Briefmarkensammlung”.

his Tapestries are another example of his skills to deal with diverse materials and COVer techniques: Despite the similarity to bourgeois embroideries this work is highly am- Sebastian Weggler biguous, which is typical for Weggler’s art. Ikea Stecksystem installation 2015 One could go on, wisely phrasing some Duchamp quotes without comprehending mixed media Weggler’s intention at all: In his fly works, Weggler took the valiant little tailors´ credo variable size “seven at one blow” more than literally. Small, black and dead, and floating above InSIDe the canvas each needle reveals an impaled fly in this body of work. Sebastian Weggler Hail to the Artist installation What, a prima vista looks like humorous innocence, can be fraught with deepest 2015 sarcasm. mixed media variable size Sebastian Weggler lives and works in Düsseldorf Germany. BACK Sebastian Weggler The Coronation 2015 resin and oak wood 42 × 56 cm TEZUKAYAMA GALLERY OSAKA

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TEZUKAYAMA GALLERY

WeBSITe manabu hasegawa was born in 1973 in Tokyo and graduated from the print course www.tezukayama-g.com/en at Tama Art university in 2000. he was greatly influenced by the Japanese “mono- e-mAIL ha” movement and it was during his time at university that he started to explore [email protected] frottage as a technique. PhOne he was interested in the contrast between the beauty and clarity of the textured +81 665 343 993 imprints from 2D surfaces, and the emptiness and ineffective imprints from 3D CeLL surfaces. removing the object after the rubbing is taken, hasegawa came to the +81 903 283 22 32 (ryoichi) realization that it is only a misshapen piece of paper. The element of 3D doesn’t COnTACT nAmeS work in favor of this rubbing technique. Therefore, hasegawa discovered a way in ryoichi matsuo (Gallery Director) which to continue focusing on this technique but to create beautiful and realistic Chie uchida (Assistant Director) 3D paper objects. In a country where the majority holds Shinto and Buddhist beliefs, hasegawa, in exhIBITeD ArTIST contrast, grew up in a Christian household. however, as a child he doubted the manabu hasegawa teachings. he studied Buddhism and Shinto and became interested in their philoso-

OTher rePreSenTeD ArTISTS phies. It was at this time that he first encountered “The Tale of the heike”. The con- Tomohiro Kato cept of his series’ “A Spring night’s Dream” and “Dust Before the Wind” came from Kazuma Koike this tale, one of Japan’s most epic warrior tales. A tale about the Taira, or “heike” misato Kurimune Clan, who, due to their own greed and pride, fell from glory. hasegawa extracted hirohito nomoto Yoshiyuki Ooe his titles from the opening of the tale. Kaoru Soeno The sound of the Gion Shōja bells echoes the impermanence of all things; the color Satoru Tamura Yuuki Tsukiyama of the sāla flowers reveals the truth that the prosperous must decline. The proud hiroko uehara do not endure, they are like a dream on a spring night; the mighty fall at last, they Kohei Yamashita are as dust before the wind. — (Chapter 1.1, helen Craig mcCullough’s translation) Within a beautiful woven sheet of silk, there exists two main elements; the warp, as a metaphor for Buddhist impermanence, and the weft, representing the soldiers in COVer manabu hasegawa the tale. This contrast of elements is the basis for hasegawa’s thought. Just like a Gold coin sheet of silk embodies two opposing elements becoming one, so too do hasega- 2015 wa’s sculptures. paper, colored pencil variable dimensions hasegawa expresses the essence of this tale using elements from contemporary society. The vault and gold coins: a symbol of wealth and greed. The gun: a symbol InSIDe manabu hasegawa of power and violence. These, in stark contrast with the fragility of their medium, M60 create an exhibition that is deeply rooted in philosophical thought. 2014 – 2015 paper, pencil, colored pencil 145 × 55 × 55 cm

BACK manabu hasegawa M1911A1 2014 paper, pencil, colored pencil 40 × 30 × 7 cm V1 Gallery Copenhagen

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V1 gallery

WeBSITe V1 GALLery www.v1gallery.com Founded in 2002 as a platform for contemporary art in Copenhagen. In 2005, V1 e-mAIL Gallery started operating as a commercial gallery. The gallery represents a select [email protected] group of emerging and established artists and is committed to introducing art, in all

PhOne media, to an international audience. Seeing art as a profound and competent media +45 333 103 21 for social and political discourse, the gallery aspires to serve as a platform for art

CeLL that interacts with the surrounding society. +45 268 281 66 In 2014 V1 Gallery founded Bad news, a new exhibition platform in new york. COnTACT nAmeS Jesper elg V1 Gallery’s director Jesper elg also works as an independent curator and is involved Josephine Fity in various cultural endeavors.

SeCreTS exhIBITed ArTISTS new works created for the occasion of VOLTA11 Basel 2015 from a group of art- Alicia mcCarthy ists that all work with an element of the subversive in their practice. From aesthetic John Copeland milosz Odobrovic trickery, over hidden meanings, to secret entries and visual codes, this group of rose eken artists creates work where there is always more to contemplate than apparently Cali Thornill deWitt meets the eye. many of them use a formal cloak to disguise information that will be Geoff mcFetridge disclosed to the observant. OTher rePreSenTed ArTISTS Asger Carlsen Atelier Pica Pica Jacob holdt Julie nord matthew Stone Peter Funch richard Colman Shane Bradford Troels Carlsen Thomas Øvlisen Todd James Wes Lang

COVer John Copeland A Perforated Parachute 2015 Oil on canvas 62.5 × 182.9 cm

InSIde milosz Odobrovic W006 2015 Spray paint, emulsion paint on canvas 120 × 120 cm

BACk Cali Thornhill dewitt Exit Music Investment Opportunities Wrong Answer 2015 Vinyl on corrugated plastic 46 × 61 cm WOLFSTÆDTER GALERIE FRANKFURT

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WOLFSTÆDTER GALERIE

WeBSITe »Der Wille zur Schönheit, eine Floskel nietzsches, wird hier, auf den Bildern, die uns www.wolfstaedter.de umgeben, gebrochen durch Fragen, die entstehen, wenn auf Gemeinplätzen von e-mAIL allmählich im Gedächtnis verrottenden Wirklichkeiten erzählt wird. es sind Wirklich- [email protected] keiten, die unsere Geschichte ausmachen. Kunst ist nicht unbedingt barmherzig,

CeLL sie muss genau sein. Genaugenommen steckt erfahrene heimat in den Bildern von +49 163 63 29 817 Petra Johanna Barfs.«

COnTACT nAme — Aus dem Katalogtext von Petra Johanna Barfs »erinnerung an die erinnerung« Juergen Wolfstaedter von Peter härtling

Petra Johanna Barts studierte Interdisziplinäre Kunst an der Akademie minerva, exhIBITeD ArTIST Groningen, niederlande, an der hfG / Offenbach und an der Städelschule Frank- Petra Johanna Barfs furt, Deitschland.

OTher rePreSenTeD ArTISTS “The will of beauty, one of nietzsches phrases, are here in the images which sur- Andreas exner Thomas Kilpper round us are broken by questions which arise when the commonplace gradually … Selena Kimball They are realities which influence history. Art is not necessarily merciful, it has to erling Thor Valsson Klingenberg be exact. Strictly speaking, the experienced homeland is found in Petra Johanna michael Klipphahn Barfs’ images.” Ins A Kromminga xue Liu — From the text “memory of a memory” about the work of Petra Johanna Barfs by Josef Loretan Peter härtling. Benjamin Patterson Sebastian Stoehrer Petra Johanna Barfs graduated from Akademie minerva, Groningen/netherlands and from hfG Offenbach, Städelschule Frankfurt / Germany.

COVer Petra Johanna Barfs LANDSCHAFT II C.D.FRIEDRICH 2015 Collage 13.5 cm x19 cm

InSIDe Petra Johanna Barfs PORTRAIT FISCHER 2014 Collage 25 × 39 cm YOD GallerY Osaka

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YOD GallerY

WeBSITe YOD Gallery has been established with a mission to show a new sense of value www.yodgallery.com and expression inside and outside of Japan positively with such promising artists. e-mAIL We endeavor to search for a common sense of value all over the world from the [email protected] thoughts of domestic and overseas artists and their works, since the art expres-

PhOne sion tends to be more globalised. We, as one of the primary galleries in Japan, also +81 6 6364 0775 review our identity as Japanese afresh by finding artists and works that possess

COnTACT nAmeS an independent artistic sense that can be exhibited worldwide and aim to grow up ryotaro Ishigami together with them. maki matsuura hiroshi Shinno: The concept behind the artwork

hiroshi Shinno creates “Ikimono (life)” sculptures. The ideas behind his works are exhIBITeD ArTIST greatly influenced by the environmental concerns. he represents voices of the na- hiroshi Shinno ture which mankind ignores easily or alters only for our convenience. OTher rePreSenTeD ArTISTS Agathe de Bailliencourt “Ikimono (life) sculpture” is a series of a single beetle-like creature, which reflects masashi hattori his love and ideals toward the nature. Shinno’s relationship with nature goes back eikoh hosoe to his childhood and it is the source of his creativity. Whether he is in the residen- Kosuke Kimura tial area or the countryside, he often walks around and picks up pieces of nature. Issay Kitagawa hideki Kuwajima naturally, the characteristics of Japanese climate, or any other climates are brought natsuki machida into his sculptures. The selected pieces, such as flowers, plants, seeds and leaves, ryuzo Satake are carefully cast using synthetic resin. Shinno constructs his sculptures with these Takuro Sugiyama small parts in order to embody his imagination in the form of “Ikimono” creatures. motonori uwasu One could say they are the embodiment of the real-world and fantasy by virtue of the unworldly beauty and precise craftsmanship in the artwork.

COVer The form of “Ikimono” has further developed from a single creature to a collective hiroshi Shinno entity of miniscule lives, which is becoming more abstract form, harder to identify 2013.2.20, Daikanyama 2 2013 with animals in the real-world. The experience of looking at a number of clusters Synthetic resin, Acrylic, Brass floating in the air is more like seeing living cells under a microscope. 10 × 5 × 8 cm motivated by the deep understanding of man’s involvement with nature, he started InSIDe to pick up larger pieces of nature, too. his most recent work consists of casted hiroshi Shinno 2012.3.18, Kyoto pieces of driftwoods and they are laid on the floor. The way they are laid is in the 2012 shape of an animal, yet that is subtle, especially as the color is simplified, which Synthetic resin, Acrylic, Brass became more complex in terms of understanding what one is looking at and gives 32 × 12 × 12 cm, 56 pieces viewers a space to wonder about the artwork.

Overall, Shinno’s view zooms in and out of the nature by picking up minuscule to large pieces. This represents his tenacious affection and ability to listen to the voice of ever changing form of nature. his presentation always has great atmosphere that occupies the whole space, yet there are full of details viewers can enjoy discovering.

hiroshi Shinno Biography

1979 Born in Kyoto, 2003 Graduated from Kyoto university of Art and Design, 2008 Graduated from Akademie der bildenden Kunste Wien

he was awarded “Art in the office 2012 CCC AWArDS” in Japan. his first solo exhibition is in 2008 in Austria. returning to Japan, he held solo exhibition constantly since 2010. his work was exhibited at Gunma museum of Art, Tatebayashi in 2014 as a part of group exhibition “Summer Vacation! Illustrated Book of Living Creatures”. Galeri Zilberman Istanbul

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GalerI ZIlberman

WeBsITe exTrAsTruggLe www.galerizilberman.com I dOn’T rememBer e-mAIL extrastruggle’s presentation at VOLTA11 focuses on two deadly issues: the notori- [email protected] ous diyarbakır Prison, one of the worst prisons in the world according to The Times, PhOne known for its practice of torture on inmates after the military coup of 1980, and the +902 122 511 214 fact that there is still no national slavery museum in the united states in 2015. us- COnTACT nAme ing the pseudonym “extrastruggle”, artist memed erdener searches for conscience moiz Zilberman in people’s genocide of animals, people and gods. The works under the heading “I don’t remember” hate the monotheist god, miss the forgotten ones, look for the exhIBITed ArTIsT mystery in the world of extinct animals and typography. The works try to look at extrastruggle letters of the alphabet like an illiterate person from the middle Ages looking at the

OTher rePresenTed ArTIsTs pages of the holy scripture. These letters which cannot be read at once and require selçuk Artut time to be understood offer us an opportunity of contemplation. The work that con- Alpin Arda Bağcık tains the phrase “I will drain your womb so you cannot bring more bastards into the Janet Bellotto world” — spoken by a torturer at the diyarbakır Prison towards female inmates — is Burçak Bingöl guido Casaretto today an “object of contemplation” as susan sontag states in her book “regarding Ahmet elhan the Pain of Others”. This typography suggests a method of looking at and reading extrastruggle others’ pain. Letters have peculiar aesthetics, but their main reason for invention is Zeren göktan to calm and slow down today’s gluttonous viewers. Zeynep Kayan Azade Köker Şükran moral gALerI ZILBermAn Fırat neziroğlu galeri Zilberman was founded in 2008 to promote contemporary Turkish artists in- Walid siti ternationally and to introduce international artists to the local art scene. It stages gülin hayat Topdemir Aslı Torcu 10-12 exhibitions a year in one gallery and a project space. The gallery represents eşref Yıldırım both established and young generation of artists. The gallery has a strong presence in international art fairs, forging close relationships with collectors, curators and cultural thinkers. To that effect, galeri Zilberman collaborates with independent cura- COVer tors and hosts a regular series of artist talks, lecture performances, book presenta- extrastruggle tions and round table discussions. Additionally, the gallery organizes Young Fresh Nothing Was Your Own Except Different, a selection of works chosen by an independent jury through a nationwide The Few Cubic Centimeters Inside Your Skull* open call. The gallery also supports Zed Grant, an annual artistic research grant of 2014 10 000 euro, open to art practitioners from all over the world. silver-plated purses and soldered coins 13 × 30 × 45 cm *george Orwell

InsIde extrastruggle We Always Watched 2014 passport photographs soldered onto lead surface, dentures placed within a lens, toy fork and knife 16 × 18 × 35 cm

BACK (LeFT) extrastruggle Why Does Tragedy Give Pleasure 2013 Iron plates painted with car paint 0.3 × 70 × 120 cm

BACK (rIghT) extrastruggle Black Man 2015 digitally manipulated photography 27 × 31 cm