8T Hm Ar Ch 2015 / Pier 90, N Ew Y

Home , Atta Kim, Ena Swansea, Julia Warhola, Kris Knight, Shin Gallery, Taylor McKimens

DESIGN: WWW.HAUSER-SCHWARZ.CH

Thursday – Sunday, 5TH – 8TH MARCH 2015 / Pier 90, New York KIWON PARK 313 ART PROJECT, SEOUL

VOLTA NY 2015 | BOOTH NUMBER D16

313 ART PROJECT: KIWON PARK

WEBSITE Kiwon Park is Korea’s representative installation artist whom by interconnecting www.313artproject.com the use of an ordinary object with distinctiveness of its space applies the spatial- E-MAIL ity directly to the work’s materiality and subject. Having been awarded “Korea Art- [email protected] ist Prize,” as the 13th artist of the year 2010 by National Museum of Modern and

PHONE Contemporary Art, Korea, he has opened up a new prospect in the field of installa- +82 2 3446 3137 tion art. Park was deeply influenced by post minimalism which focuses on the pure

CELL property of matter and represents his work in simple form throughout various in- +82 10 2766 4538 situ installations. He even pays attention to the history possessed inside the place

CONTACT NAMES as well as the interrelationship with surrounding environment ultimately brining the Bonaventure Kwak work, the part of its space.

REPRESENTED ARTISTS Since its opening in 2010, 313 ART PROJECT, located in the centre of Seoul’s fash- Sophie Calle ion and art hub, Do-San Park in Gangnam, has been actively engaged to introduce Ralph Fleck and support the works of emerging and significant domestic and foreign contem- Youngjin Jo Jon Kessler porary artists of all media. Atta Kim 313 ART PROJECT has given some of the most highly respected contemporary Heryun Kim Insook Kim artists their solo debuts in Korea including Xavier Veilhan, Sophie Calle, Ena Swan- Wan Lee sea, Ralph Fleck, Teresita Fernandez, etc. It has also highlighted young and mid- Ena Swansea career Korean artists of substantial ability including Wan Lee, Atta Kim, Kiwon Park, Xavier Veilhan Heryun Kim, Insook Kim, Youngjin Jo. The gallery is committed to presenting their works on an international scale and to firmly establishing their contributions to art history of our time. COVER Kiwon Park Width 102 (detail) 2009 Oil on Korean traditional paper 214 × 150 cm

INSIDE Kiwon Park SPHÉRES 7, Les Moulins Installation view 2014

BACK Kiwon Park Width 2007–2008 Oil on Korean traditional paper 214 × 150 cm (each) BRIAN NOVATNY ADA GALLERY, RICHMOND, VA

VOLTA NY 2015 | BOOTH NUMBER E7

ADA GALLERY: BRIAN NOVATNY

WEBSITE Novatny’s work explores the tempestuous, storm-tossed seas of historical tumult, www.adagallery.com war, and disasters both private and public in a manner that simultaneously reflects E-MAIL the full sweep and powerful grandeur of their subject matter as well as reveals the [email protected] astonishingly intricate and painstakingly rendered gradations of his stark palette,

PHONE comprised mostly of a rich tonal fluctuation of black, white, and quiet grays, as well +1 804 644 0100 as muted earth tones.

CELL His figures are like fragments of the past and present struggling to remain whole +1 804 301 1550 against the devouring waves and foreboding atmospheres exploding forth at the CONTACT NAME compositional centers of his pictures, themselves surrounded by the uncertainty of John Pollard a blank white void. His solemn portraits of human fragility at times recall the spec- tral disquiet and mystery of 19th century photography or the peace and profound silence of an undisturbed sea torn asunder in paroxysms of exploded, and explo- REPRESENTED ARTISTS Jakob Boeskov sive, catharsis. His pictures depict a floating, gravitation-less fictive space where Ryan Browning his subjects exist as lost, dislocated figures caught in forgotten human dramas Jared Clark at once distant yet universal and hauntingly familiar — a place where the fervent Daniel Davidson echoes and shadows of time resound over the immensity and vast stretches of a Michelle Forsyth Kirsten Kinder dark and mute world. Derek Larson Brian Novatny was born in Wadsworth, OH in 1964. He earned his MFA at the Yale Jimmy Trotter Bruce Wilhelm University School of Art in New Haven, CT in 1990 and his BFA at the Columbus Col- lege of Art and Design in Columbus, OH in 1987. His work has appeared widely in solo and group shows– both in the US and abroad. Recent exhibits include Sailor’s COVER Diary, a solo show at Mulherin + Pollard in NYC in 2014 followed by his inclusion in Brian Novatny the UNTITLED Contemporary Art Fair MIami Beach 2014 with ADA gallery and an An Exquisite End (detail) exhibit at the Inside Out Art Museum, Beijing, China. He’s been featured at and in 2014 Oil on canvas the collections of the Mississippi Museum of Art, the Columbus (OH) Museum of Art, 60 × 50 in the Layton Gallery at the Milwaukee Institute of Art & Design, the Center on Con- temporary Art (Seattle, WA), the Knoxville Museum of Arts, and the Central Acad- INSIDE Brian Novatny emy of Fine Arts in Beijing. He is currently represented by ADA Gallery in Richmond, Going Under Virginia and lives in Brooklyn, NY. 2014 Oil on canvas 24 × 30 in

BACK (LEFT) Brian Novatny Channel Crossing 2014 Oil on shellacked paper 12.25 × 18 in

BACK (RIGHT) Brian Novatny Collapsed 2014 Oil on shellacked paper 10 × 11 in BRIAN NOVATNY ADA GALLERY, RICHMOND, VA

VOLTA NY 2015 | BOOTH NUMBER E7

ADA GALLERY: BRIAN NOVATNY

PHONE comprised mostly of a rich tonal fluctuation of black, white, and quiet grays, as well +1 804 644 0100 as muted earth tones.

BACK (LEFT) Brian Novatny Channel Crossing 2014 Oil on shellacked paper 12.25 × 18 in

BACK (RIGHT) Brian Novatny Collapsed 2014 Oil on shellacked paper 10 × 11 in SARAH WOODFINE DANIELLE ARNAUD, LONDON

VOLTA NY 2015 | BOOTH NUMBER D4

DANIELLE ARNAUD: SARAH WOODFINE

WEBSITE ‘According to the philosopher Gaston Bachelard, ‘the miniscule, a narrow gate, www.daniellearnaud.com opens up an entire world’ (The Poetics of Space, 1969). In the case of Sarah E-MAIL Woodfine, Bachelard’s maxim is entirely apt. Woodfine’s drawings, often contained [email protected] within specially constructed structures that act both as frames and as physical

PHONE extensions of the drawing itself, operate as miniature worlds, self-contained systems +44 20 7735 8292 through which a series of vignettes are staged for the viewer’s careful consideration.

CELL The deceptive, intense surface of Woodfine’s drawings is one point of attraction; +44 78 0148 1727 a second stage of intensification and of bringing into focus is enacted by Woodfine’s

CONTACT NAMES elaborate framing. One may therefore regard these ambivalent drawing-objects as Danielle Arnaud a bi-part lens through which one may view a corner, fragment or snapshot of another Rosanna Puyol universe. The environment presented may be regarded as a translation or transformation of selected aspects of the world we frequently take for granted. Woodfine’s practice involves the directing attention, of looking and causing the viewer to look REPRESENTED ARTISTS in an active, highly interested and consistently insistent way.’ — Peter Suchin Suky Best David Cotterrell Nicky Coutts Louisa Fairclough Sarah Woodfine was born in 1968 in Poole, England and studied at Liverpool School Tessa Farmer of Art (1988-1991) and at the Royal Academy Schools, London (1992-1995). Polly Gould Oona Grimes She trained as a sculptor, and this is evident in her approach to landscape, architec- Kathleen Herbert ture and optical illusion, which are recurrent themes in her work. Her drawings are Karin Kihlberg & Reuben Henry often constructed as self-contained three-dimensional worlds reminiscent of archi- Helen Maurer tectural models and of children’s toys such as cut-out card castles and toy theatres.

Each element is drawn in pencil with a precision and clarity that suggest a perfectly COVER observed reality, but also conjure up the obsessive hallucinatory character of a Sarah Woodfine dream or fantasy. Accessible and intimate, this scene is made up of fragments and How to grow an apple tree 2014 clues which invite viewers to invent their own stories. plant stand, plant pot, pencil Sarah Woodfine won the prestigious Jerwood Drawing Prize in 2004 and her work on Saunders Waterford paper 150 × 32 × 32 cm is held in various public or private collections including the Victoria & Albert Mu- seum, London; Middlesbrough Art Gallery; Ha Gamle Prestegard, Norway, as well INSIDE Sarah Woodfine as private collections in England, USA, Norway, The Netherlands, Switzerland, How to grow an apple tree (detail) Hawaii and Spain. 2014 plant stand, plant pot, pencil on Saunders Waterford paper 150 × 32 × 32 cm

BACK (LEFT) Sarah Woodfine Untitled 2014 Pencil on paper on 33 vinyl

BACK (RIGHT) Sarah Woodfine Untitled 2014 Pencil on paper on 33 vinyl JIGGER CRUZ ARNDT, BERLIN | SINGAPORE

VOLTA NY 2015 | BOOTH NUMBER B5

ARNDT: JIGGER CRUZ

WEBSITE Jigger Cruz (born 1984, Manila, Philippines; lives and works in Manila) explores the www.arndtberlin.com primitive memory of the figurative in contemporary painting. His paintings rework E-MAIL many of the stylistic quirks and formal concerns of classical painting, employing their [email protected] basic composition and approximating their processes. The figures from classical

PHONE paintings that appear beneath Cruz’s works remind the viewer of both the laborious +49 30 206 138 70 painting activity as well as the art historical baggage of the contemporary painter.

CELL Jigger’s artistic approach plays with ideas of defacement and vandalization. The +49 176 1010 5698 traditional painted landscapes that are visible underneath Cruz’s layers of impasto CONTACT NAME oil and spray paint give the impression that an Old Master painting having been Tobias Sirtl destroyed. The destruction of these figures becomes integral to our aesthetic understanding of the piece. His paintings become assemblages of recognizable objects and obscure shapes which interlace, envelope and unfurl within one another. REPRESENTED ARTISTS Jumaldi Alfi Jigger Cruz studied Fine Arts at Far Eastern University in the Philippines, and Design Sophie Calle at De La Salle-College of St. Benilde. Selected exhibitions include “Depth Circus” at Gilbert & George Geraldine Javier West Gallery, Quezon City, Philippines (2013); “Glitch Habitation” at Primae Noctis Jitish Kallat Gallery, Lugano, Switzerland (2012); “Swing” at the Blanc Art Space, Makati City, Heinz Mack Philippines (2008); and “Pink Fumes” at the Pablo Gallery, Cubao, Araneta Center, Eko Nugroho Quezon City, Philippines (2007). Agus Suwage Rodel Tapaya ARNDT was established in 1994 as one of the first contemporary art galleries with Entang Wiharso an international profile in former East Berlin. The gallery expanded its operations to the vibrant art landscapes of Asia — particularly the Southeast-Asian and Pacific regions. In its premises in Berlin and Singapore, ARNDT presents its international COVER Jigger Cruz and Asian programmes through solo exhibitions and curated shows of established Metaphorical Suffocation and emerging artists. 2014 Oil Painting and Resin 176 × 140 × 78 cm

INSIDE Jigger Cruz Between Planes and Parallels 2014 Triptych, Oil on canvas on wood 61.5 × 154.5 cm

BACK Jigger Cruz The Fall of Chromatic Sunrise 2014 Oil on canvas and wood 86 × 45 cm PETERSON KAMWATHI ARTLABAFRICA, NAIROBI

VOLTA NY 2015 | BOOTH NUMBER C14

ARTLABAFRICA: PETERSON KAMWATHI

WEBSITE Peterson Kamwathi is part of a generation of young African artists whose break with www.artlabafrica.com the colonial tutelage that for decades defined the region’s art has afforded the ex- E-MAIL ploration of topics both deeply rooted in Africa’s cultural background and engaged [email protected] with global contemporary issues.

PHONE Peterson’s highly codified, conceptual works distance themselves from the usual +25 470 644 2740 patterns of reception of figurative art from Kenya. Rendered in thick layers of char- CONTACT NAME coal, pastel, watercolor, stencils and collage, Peterson’s figures are anonymous, Lavinia Calza static, almost abstract, a physical presence powerfully pushed to the forefront of the picture plane and the viewer’s attention. His practice, fostering the idea of art as a process-based and time-based project, often creates encapsulated visual ar- REPRESENTED ARTISTS Merikokeb Berhanu chives by exploring contemporary themes in series and in layers, with each group Miriam Syowia Kyambi of works exploring social, political, personal and institutional structures through the James Muriuki depiction of the human figure. Paul Onditi Gor Soudan Positions, the series of works presented in New York, came about as a reaction to Arlene Wandera the rising tension between different religions all over the world. Increasingly fascinated by prayer, Peterson began to explore hidden convergences and open differ- ences in the expression of the fundamental ritual of prayer within the world’s main COVER religions. The structure and anatomy of prayer is at the core of this new group of Peterson Kamwathi Untitled (Positions VI) (detail) works. Shying away from literal connotations the figures that build up the composi- Signed and dated 2015 tions are generic, anonymous, collaged into skewered and organized shapes. Each on the reverse figure is individually drawn and cut out, expressing the intimate, personal nature Charcoal, stencil, watercolor of prayer and exposing human vulnerability, whilst the assembling and overlapping and collage on paper 91.5 × 75 cm of the collaged forms physically reflects the contradicting power found in the col- Executed in 2015 lective act of organized prayer.

INSIDE Established in 2013, ARTLabAfrica is a new cultural platform focused on develop- Peterson Kamwathi ing experimental art in East Africa and connecting with an international audience. Untitled II (Positions) Signed and dated 2014 Operating in a region where the paucity of infrastructure hinders the artistic recog- on the reverse nition of the talent and art produced, ARTLabAfrica provides a framework for art- Charcoal, stencil, watercolor ists to exhibit their work outside the region, further fostering curatorial practice and and collage on paper creating new dialogues with curators, collectors, museums and cultural producers 91.5 × 75 cm Executed in 2014 throughout the world.

BACK Peterson Kamwathi Untitled (Positions, Study I) Signed and dated 2014 on the reverse Charcoal, collage, stencil and pastel on paper 57 × 77.5 cm Executed in 2014 RERO BACKSLASH GALLERY, PARIS

VOLTA NY 2015 | BOOTH NUMBER E3

BACKSLASH GALLERY: RERO

WEBSITE Backslash Gallery is proud to present a solo booth show by French artist Rero, backslashgallery.com featuring a selection of his latest works on a variety of surfaces, including charred E-MAIL wood, cast busts and vintage photographs, where his signature phrases crossed [email protected] out with a stark black line reveal his obsession with image negation.

PHONE Born in 1983, Rero’s famous crossed out words are instantly recognizable as his +33 9 8139 6001 distinctive visual style and are often seen in public spaces, including the façade CELL of the Pompidou Centre in Paris. A multi-disciplinary artist, he challenges the codes +33 6 6360 1448 governing ownership of intellectual property and images, from technology and con- +33 6 6707 6160 sumerism to language and obsolescence. Negation, self-censorship and distortion CONTACT NAMES are the keywords that characterize his work. Séverine de Volkovitch Delphine Guillaud Using crossed out phrases such as This image is not available, Error 404 or Your entire life is online — always in the same Verdana font — the artist seeks to confuse viewers, forcing them to make multiple interpretations: each of us sees a double REPRESENTED ARTISTS meaning in the negation of these words. France Bizot Charlotte Charbonnel Continually stretching the boundaries of his artistic mediums, Rero frequently ques- Fahamu Pecou tions art, society and history, notably with a bust of Geta, the joint Roman emperor Luc Schuhmacher Sergen Sehitoglu murdered so that his brother Caracalla could rule alone. Geta’s face is asphyxi- Boris Tellegen ated by a plastic tarpaulin beneath which can be read the crossed out words Clear Xavier Theunis Brother History. Clemens Wolf Michael Zelehoski Rero’s work has been shown at major venues including the Pompidou Centre and Grand Palais in Paris. His work also appears in a variety of other countries, including Brazil, the USA and throughout Europe. Numerous publications of his works have COVER appeared, including a monograph published by Editions Gallimard, Paris. Rero Untitled (OFF LINE...) 2013 Cut and burnt wood 120 × 100 cm

INSIDE Rero Untitled (SORRY BUT YOU ARE LOOKING FOR SOMETHING THAT IS NOT HERE...) 2014 Book and vinyl letters under resin 61.5 × 84.5 cm

BACK Rero Untitled (ERROR: TRANSMISSION PERMISSION DENIED...) 2014 Old photograph and vinyl letters under resin 41.5 × 51.5 cm CHRISTIANE FESER GALERIE ANITA BECKERS, FRANKFURT

VOLTA NY 2015 | BOOTH NUMBER D11

GALERIE ANITA BECKERS: CHRISTIANE FESER

WEBSITE In the truest sense of the word, Christiane Feser has identified new facets to the www.galerie-beckers.de question of what we actually see in a photograph. At first glance, her series Latente E-MAIL Konstrukte shows repetitive, multi-faceted geometric structures that repeat in grid- [email protected] like manner; rectangles and triangles that partially bulge out in relief, but on the whole

PHONE remain contained within a rhythmic surface pattern. These works are based on paper +49 697 390 0967 models the artist alters through bending and folding and then photographs, where-

CELL upon she reworks the photographs in plastic manner, rephotographs them, and so +49 171 120 1505 on. Only the original respective photograph has been taken digitally; all further al-

CONTACT NAME terations are made to the prints. The method, literally multi-layered and complex, is Anita Beckers not immediately clear in the finished work. What initially seems like the photograph of an arrangement of real objects is, however, a careful “construct” that required up to five steps to fabricate. These constructs present spatial situations that would have REPRESENTED ARTISTS been as impossible in reality as the motifs of the Dutch artist M. C. Escher. When Anton Corbijn Escher’s 1955 lithograph Convex and Concave is compared to Christiane Feser’s Teresa Diehl Norbert Frensch Konstrukt 42, the difference becomes immediately clear, beyond the various levels Achim Hoops of abstraction. Escher presents a structure of stairs and buildings that is possible Jürgen Klauke as a mathematical construction, but impossible in physical reality. While the sys- Clare Langan tematically constructed “errors” are readily apparent to the naked eye, in the case Dierk Maass Annegret Soltau of Feser’s work a trained eye is required, i.e. of the exact technique of the lighting Peter Weibel and corresponding shadows, to understand the “breaks” that make a true unity of Liat Yossifor the black squares, joined together in partial relief, impossible.

Her images are not abstract, but rather portray something that represents abstraction. But nothing is being represented here, because while something built in reality COVER Christiane Feser forms the departure point, it never existed in that form; what we see only “exists” Partition 25 in the picture. Thus, image and motif are intertwined like the two sides of a Mobius 2014 strip, a “finite, curved surface in three-dimensional space that possesses neither Archival inkjet Pigment Print ‘top’ nor ‘bottom.’” August Ferdinand Möbius, the Leipzig professor for astronomy 140 × 100 × 2 cm and mechanics, constructed this figure in 1858. A visible model of a surface of this INSIDE kind can be made by taking a long rectangular strip of paper, twisting one of the Christiane Feser Partition 24 / Modell Konstrukt 95 two ends around 180°, and then gluing the two ends together.” For her models, 2014 / 2015 Christiane Feser also glues strips of paper together that she then introduces into Archival inkjet Pigment Print a paradoxical, Mobius Strip-like process. The artist herself speaks of the “stacked 110 × 80 × 2 cm time” in her images. But the stacks are glued together in a way that approaches 60 × 42 × 3 cm error and cannot be taken away again independently of one another. Much like the holes and cracks in Kertész’s photographic plate that have become an inseparable part of the motif, even more levels are inextricably connected in Christiane Feser’s pictures — creating a labyrinth in which only those who can follow many threads simultaneously can find their way.

— Ludwig Seyfarth SEBASTIAN SCHRADER BEERS CONTEMPORARY, LONDON

VOLTA NY 2015 | BOOTH NUMBER C6

BEERS CONTEMPORARY: SEBASTIAN SCHRADER

WEBSITE Beers Contemporary is based in London with an exhibition programme dedicated to www.beerscontemporary.com the exploration of relevant issues through progressive, contemporary art. Since our E-MAIL inception in 2008 and relocation to London in 2010, we have worked with emerging [email protected] and established artists to explore exciting paths and trends in contemporary art.

PHONE Our exhibitions offer a diverse array of thematic, aesthetic, and political concepts, +44 207 502 9078 highlighting an exciting approach to contemporary art that is both progressive and

CONTACT NAME thought-provoking. Kurt Beers In 2014, Director Kurt Beers authored 100 Painters of Tomorrow published by the UK’s leading fine-art publishing house Thames & Hudson, which showcases some of the most exciting emerging painters at work around the world. Other collabora- REPRESENTED ARTISTS ATOI tive ventures include the documentary, ‘What makes a Masterpiece’ with Chan- Austin Ballard nel4; collaborations with a number of universities and educational institutions; and Jonny Green a multidisciplinary programme that includes a notable international art fair presence Pablo Griss in London, New York, Toronto, Basel, Miami and Zurich. We also present an annual Clinton Hayden Lucia Pizzani adjudicated open-call exhibition, entitled ‘Contemporary Visions’. Tony Romano Andrew Salgado SEBASTIAN SCHRADER Pawel Sliwinski Schrader’s practice is strongly reminiscent of the old European masters as he inten- Leonardo Ulian tionally references both the Renaissance and Baroque periods while also radiating a bold and contemporary approach that is uniquely his own. Lucid in form, color

COVER and intention, Schrader’s artistic identity is representational and abstract in equal Sebastian Schrader measure, creeping along the line between reality and imagination. His compositions Dreamin’ Man 4 are often characterized by lingering protagonists surrounded by scattered forgotten 2014 objects; crumpled wrapping paper, sheets, clothing and empty containers. Recurring Oil on canvas 150 × 160 cm motifs of anti-heroes, daydreamers, narcissists and clown figures, offer an insight into the artist’s perception of today’s culture of individualism — namely, a preoc- INSIDE cupation with the self and the ability (or lack thereof) to participate constructively in Sebastian Schrader Interns society. His characters appear to be waiting, locked within the frame in limbo, and 2013 rejecting the hectic rhythm and notion of time altogether. Oil on canvas 190 × 250 cm In fact, Schrader’s unique painterly language is the true protagonist within his paintings. At times it is silent and undefined and other times it narrates stories that are characterized by a deafening stillness, and yet, his paintings encompass a peaceful void that is marked by hints of playful elements throughout — entirely free of catharsis. Schrader’s work gives a definite nod toward classical paintings that draw upon a wealth of myths and art historical motifs in an attempt to probe the viewer in an intensified way and most importantly, offer an altered experiential value in its ironic refraction of references and painterly precision.

Schrader received his Diploma in painting from the Weissensee School of Art Berlin in 2006. Schrader has exhibited in several group exhibitions in Germany and in Eu- rope. His previous solo exhibitions include Black Field, maerzgalerie, Berlin, 2013; telling time, with Jorma Puranen. maerzgalerie, Leipzig, 2012; Sebastian Schrader - In Between, Gesellschaft für Bildende Kunst, Trier, 2010.

Sebastian Schrader lives and works in Berlin, Germany. TRAVIS SOMERVILLE BETA PICTORIS / MAUS CONTEMPORARY, BIRMINGHAM, AL

VOLTA NY 2015 | BOOTH NUMBER B3

BETA PICTORIS / MAUS: TRAVIS SOMERVILLE

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-

CELL seum of Art in San Jose, California; the Birmingham Museum of Art in Birmingham, +1 205 413 2999 Alabama; and the Walker Art Center in Minneapolis, Minnesota.

CONTACT NAME The tumultuous history of race relations in the South has been, in large part, buried Guido H. Maus and left to fester in the years since the Civil War. While culture is intangible and abstract, its artifacts are available as evidence of its existence. Born in Atlanta, Geor- gia and raised throughout the South, Somerville unapologetically picks at these old REPRESENTED ARTISTS Willie Cole wounds by exposing the popular objects and iconography of Southern culture. His Clayton Colvin use of imagery is complex and shaped by his personal relationship to it. His work Mark Flood functions as a craft of anti-nostalgia and critical memory, and the artist’s work pre- Barbara and Michael Leisgen sented at VOLTA showcases his sharp and creative insistence on how images and Charles Lutz Eugene James Martin material objects are never merely inanimate relics of a past far removed from our Bayeté Ross Smith presents or our futures. He compels us to reconsider and repudiate the standard Leslie Smith III measure of America’s history of white supremacy and racism as a progressive nar- Taravat Talepasand rative that has seemingly ended on an utopian note of post-race. Melissa Vandenberg The work shown at VOLTA demonstrates a scripting of American history that forgoes this progressive wish fulfillment, a rhetoric of non-culpable hope. Instead, Somer- COVER ville’s work intermingles visual and verbal references to the semiotics of the Civil Travis Somerville War, Reconstruction, Jim Crow, the Civil Rights Movement, and the Age of Obama. Well Division (detail) Photograph by Chris Warner Somerville himself points out that his work complicates the sense of a collective memory about how race has shaped the political, historical, cultural, and social INSIDE contours of America: “As I attempt to navigate the terrain between autobiography, Travis Somerville Well Division history, and art, all sorts of collisions take place. It is these interesting moments 2009 and the inconsistencies that inform them that I try to capture in my work.” Through Acrylic on vintage porcelain the restaging of old advertisements and newspapers, vintage money bags and cot- drinking fountains and panels, auto ton sacks, and the poignant juxtaposition of his drawing and painting against found paint on metal drinking fountain, copper pipes, running water photos, Somerville brilliantly entices the viewer to marvel over the aesthetic power Ca. 73.5 × 318 × 14 in of American culture’s everyday brutality and myopia. Ca. 187 × 808 × 36 cm Photograph by Chris Warner

BACK Travis Somerville Historical Blindness 2014 Oil on vintage cotton picking sack Ca. 68 × 25 in Ca. 173 × 63.5 cm MARCI WASHINGTON RENA BRANSTEN PROJECTS, SAN FRANCISCO

VOLTA NY 2015 | BOOTH NUMBER F2

RENA BRANSTEN: MARCI WASHINGTON

WEBSITE “Once upon a time, in a time both past and present, there lived an ancient castle www.renabranstengallery.com upon a rock — surrounded on all sides by a dark and churning sea and only acces- E-MAIL sible at low tide. Over this castle a spell has descended, a spell of sleep — rendering [email protected] the inhabitants somnambulists trapped halfway between life and death and forced

PHONE to walk in languid nightmares. From the castle and into the woods, two sisters have +1 415 982 3292 fled. From their makeshift shelter they try every day to craft a spell to break the spell

CELL — to awaken the inhabitants and set them free.” Evocative of gothic tropes and im- +1 415 652 3486 agery culled from contemporary fashion, Marci Washington’s watercolors lead the

CONTACT NAME viewer through this tale of enchantment. Jenny Baie Washington grew up in the Bay Area and received her BFA and MFA from the Cali- fornia College of the Arts in Oakland, CA. She has been the recipient of awards from both the Anderson Ranch Foundation and the San Francisco Foundation. Re- REPRESENTED ARTISTS Ruth Asawa cent exhibitions include Secret Drawings at the Palo Alto Art Center, Palo Alto, CA Dawoud Bey in 2010, The Blood is the Life: Vampires in Art & Nature at the Everhart Museum, Edward Burtynsky Scranton, PA, as well as a solo show at Leeds College of Art, Leeds, Yorkshire, Tony DeLap UK in 2013. “Marci Washington: Selected Works 2005 – 2013” with an essay by Candida Höfer Hung Liu Nathaniel Rich was published in 2014. Vik Muniz Tracey Snelling Henry Wessel Fred Wilson

COVER Marci Washington The Castle 2013 Watercolor, gouache on paper 35 × 26 in

INSIDE Marci Washington From the Tomb 2013 Watercolor, gouache on paper 18 × 23 in

BACK Marci Washington The Nightmare 2013 Watercolor, gouache on paper 29 × 32 in THOMAS NOZKOWSKI BRAVINLEE PROGRAMS, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER A2

BRAVINLEE PROGRAMS: THOMAS NOZKOWSKI

WEBSITE Breaking the Postmodern Creed: Thomas Nozkowski’s Unimaginable Paintings and bravinlee.com Drawings by John Yau (This is part 1 of John Yau’s 5-part essay which appeared in E-MAIL Hyperallergic, March 3, 2013) [email protected]

PHONE I. +1 212 462 4404 By 1974, Thomas Nozkowski had made two decisions — he would paint on widely

CELL available, 16 x 20-inch, prepared canvas boards, and everything he painted would +1 646 522 3665 come from personal experience.

CONTACT NAMES His reference to personal experience, as he stated in an interview I did with him in John Lee 2010, was meant in “the broadest possible way. Events, things, ideas — anything. Karin Bravin Objects and places in the visual continuum, sure, but also from other arts and abstract systems.”

REPRESENTED ARTISTS On the face of it, Nozkowski’s decisions didn’t seem radical, but they were, and Philip Akkerman continue to be. Since at least the 1980s, the art world has repeatedly and predict- Jeffrey Beebe Elektra KB ably equated challenging acts with spectacle and theatricality. Applying oil paint to Douglas Florian modest-sized, inexpensive canvas boards didn’t qualify on that account, except to Judith Henry generations of younger artists who took cues from Nozkowski’s fiercely independent Laura Krifka stance of making the modest into something ambitious. Fabian Marcaccio Jennifer Reeves Nozkowski’s decisions enabled him to develop the variety of visual conundrums Charles Ritchie animating his work. His paintings are both representational and abstract. We intui- Halley Zien tively know that his paintings are of something, but we usually have no idea of what.

In the Museum of Modern Art’s current show, Inventing Abstraction, 1910–1925: COVER How a Radical Idea Changed Modern Art, the curator Leah Dickerman begins the Thomas Nozkowski exhibition with Pablo Picasso’s “Femme à la mandoline” (“Woman With Mandolin”) Untitled (8-44) (detail) 2003 (1910), where the subject is impossible to detect. As we all know, Picasso backed Oil on canvas board away from abstraction and even denied its existence. Nozkowski comes at this de- 16 × 20 in marcation from the opposite direction — he pushes toward representation, probing

INSIDE its borders, but never completely crosses the line. Thomas Nozkowski Untitled (7-16) At the same time, the modest scale of his paintings allowed Nozkowski to scrutinize 1993 the relationship between the events in the painting and its framing edge. On a literal Oil on canvas board level, he could always see exactly what he was working on, conscious of the paint- 16 × 20 in ing’s physical limits. Unlike some of his contemporaries, who were also working on BACK (LEFT) a modest scale, he wasn’t harkening back to early American modernists, such as Thomas Nozkowski Albert Pinkham Ryder and Arthur Dove because, frankly, he was not nostalgic nor Untitled (7-139) was he interested in carrying someone else’s torch. 2000 Oil on canvas board 16 × 20 in

BACK (RIGHT) Thomas Nozkowski Untitled (3-81) 1980 Oil on canvas board 16 × 20 in KATHARINA KARNER BRUNNHOFER GALLERY, LINZ

VOLTA NY 2015 | BOOTH NUMBER D5

BRUNNHOFER GALLERY: KATHARINA KARNER

WEBSITE Katharina Karner, “Looks like gold. Smells like shit” www.brunnhofer.at To create a project solely for one event is always a thrilling opportunity to either E-MAIL implement something that has been on your mind for a long time or to see artists [email protected] of your own gallery in a perfectly new light. Our project for this year’s VOLTA NY is PHONE somehow a combination of both. Katharina Karner has been working with our gallery +43 732 77 83 21 since her years of study. Since then, we were able to show a lot of her work at exhi- CELL bitions in our gallery space as well as at some fairs in Germany. Now is the time, to +43 664 38 18 104 go a step further and show this young talented artist to the rest of the world-starting CONTACT NAMES with VOLTA NY. And that is the perfect opportunity for Karner, to create an instal- Stefan Brunnhofer lation that is solely made for VOLTA NY, with ideas she had in mind for a long time. Anna Maria Brunnhofer In her work, she is coping with “the beauty” and “harmony” as terms of art, art history and collective knowledge. As she is dealing with the idea of harmony and beauty not REPRESENTED ARTISTS only in an aesthetical but also in a social way, her works do take up different traces of Lucia Dellefant narrative moments and different materials of presentation. Multimedia — Video etc. Lorenz Estermann Indra For the installation Looks like gold. Smells like shit, she is dealing with the iconic Ronald Kodritsch figure as a representation of an appreciation of beauty that is easily driven into kitsch Thomas Kühnapfel Jennifer Nehrbass on the one hand as well as the maintenance of harmony and beauty in domestic Anton Petz homes through trompe l’oeil or the modern version of it as photo wallpaper. Both Andrew Phelps issues are accompanying Karner since her very first works of art. Elisabeth Sonneck Bernd Zimmer

COVER Katharina Karner Das innere Kind – Baby’s Nightmare (detail) 2014 Oil, acrylic on canvas 180 × 120 cm

INSIDE Katharina Karner Himmelfahrt – Selbstportrait als Heilige Katharina als Minnie-Maus verkleidet (Himmelfahrt – Self-Portrait as Saint Catherine dressed as Minnie-Mouse) 2013 Oil, acrylic on canvas 150 × 200 cm

BACK Katharina Karner Super Seller – Sex 2013 Oil, gold-leaf on wood 50 × 117 cm IRA SVOBODOVÁ CES GALLERY, LOS ANGELES, CA

VOLTA NY 2015 | BOOTH NUMBER F9

CES GALLERY: IRA SVOBODOVÁ

WEBSITE Blending spatial dimensions; Playing with possibilities and impossibilities; Hidden www.carlesmithgallery.com anticipation only partially uncovered. These are common themes of Czech painter E-MAIL Ira Svobodová’s two new bodies of work, Noir and Papercut. In each series there [email protected] is a shift in her painting from her earlier works. The new direction is balanced yet

PHONE unsettling — implementing optical deceptions that teeter on the edge of abstract +1 949 370 0554 and recognizable, between two- and three-dimensional spaces.

CONTACT NAME The Noir series departs from her previous exterior views and plunges into the depths Carl E. Smith of idealized spaces, looking from the outside in. She draws the viewer into black and white pieces, creating an image of mysterious interiors that appear to be real space. They are clearly defined and subtly complicated by metallic-toned 3-D lines, REPRESENTED ARTISTS Doty / Glasco and at the same time, imply a precarious openness. It is up to the viewer to decide Lola Dupré to cross the threshold of the known world presented, even at the risk of falling into Stephen Eichhorn a black hole. Ashkan Honarvar Robert Larson The Papercut series layers sheets of paper as representational layering of per- Mike Parillo sonal conditions such as emotions, thoughts, knowledge and experiences. Earlier Dan Peterka works draw from concrete structures, while the new iterations shift to more fragile Zin Helena Song Stephen Vasquez Lopez ephemeral forms and materials. There is a tenderness and softness emphasized by the choice of colors, yet dramatic tension activates the pieces. While making this work, Svobodová intensively listened to the music of Antonin Dvorak, capturing his COVER lyricism and alternating rhythms during the process. The minimalist stacked bent Ira Svobodová paper alludes to origami, but at the same time they could conceivably be writing Papercut 8 (detail) paper—waiting to be written upon, and structured to swallow messages. 2015 Acrylic on linen Together these bodies of work reveal that it is sometimes better to stay in a realm × 31.5 23 in of uncertainty, groping between what appears to be a reality, what seems physically 80 × 60 cm touchable, yet where any attempt to grasp suddenly escapes. INSIDE Ira Svobodová Adapted from original text by: PhDr. Tereza Bruthansová Papercut 3 2015 English Rhetoric Consultant and Copy Editor: Leora Lutz Acrylic on linen 78.5 × 55 in 200 × 140 cm

BACK Ira Svobodová Swallow Acrylic on linen 19.5 × 15.5 in 50 × 40 cm TOM BUTLER CHARLIE SMITH LONDON

VOLTA NY 2015 | BOOTH NUMBER E5

CHARLIE SMITH LONDON: TOM BUTLER

WEBSITE Tom Butler is recognised for his ongoing series of painted calling cards. Used wide- www.charliesmithlondon.com ly from the mid-19th century after the invention of albumen prints by Louis Désiré E-MAIL Blanquart-Evrard, the cabinet card remains a familiar visual object. Butler relent- [email protected] lessly collects these cards and works over the surface in immaculately rendered

PHONE gouache. His unique and technically consummate approach makes him a leading +44 20 7739 4055 proponent in this genre.

CELL Balanced delicately between beauty and the grotesque, Butler works seamlessly +44 7958 931 521 over the faces of the sitters, where they become overtaken by hair; feathered or CONTACT NAME mottled surfaces; bandages; geometric patterns; or flowers. Occasionally features Zavier Ellis of the subject remain unpainted, asserting the presence of the subject from beneath some parasitic growth that appears to emanate from within. There are clear allu- sions to a visualisation of the unconscious where the monstrous becomes apparent. REPRESENTED ARTISTS Emma Bennett Contemporaneous to the use of cabinet cards were the psychoanalytical theories of Kiera Bennett Freud and the high point of public interest in freak shows, and Butler recalls these Sam Jackson areas of interest simultaneously. Eric Manigaud Wendy Mayer Alex Gene Morrison Gavin Nolan Dominic Shepherd John Stark Gavin Tremlett

COVER Tom Butler Geoeb (detail) 2014 Gouache on Albumen print 16.5 × 10 cm

INSIDE (LEFT) Tom Butler Oehren 2014 Gouache on Albumen print 16.5 × 10 cm

INSIDE (RIGHT) Tom Butler Bacon 2014 Gouache on Albumen print 16.5 × 10 cm

BACK (LEFT) Tom Butler Nims 2014 Gouache on Albumen print 16.5 × 10 cm

BACK (RIGHT) Tom Butler Meonckton 2014 Gouache on Albumen print 16.5 × 10 cm YVES NETZHAMMER CHRISTINGER DE MAYO, ZURICH

VOLTA NY 2015 | BOOTH NUMBER B2

CHRISTINGER DE MAYO: YVES NETZHAMMER

WEBSITE Yves Netzhammer, born in 1970, studied Visual Design at the Zurich College of Art www.christingerdemayo.com and Design. Since 1997, he has been working on a widely ramified, poetic cosmos E-MAIL of imagery. His video installations, objects, slide shows and drawings fascinate [email protected] through their bodily charisma and their formal clarity. The playful recombination of

PHONE elements which seemingly can not be combined leads to the threshold of our exis- +41 44 252 08 08 tence’s dark side: soothing aspects interlock with displeasing ones, the dead melts

CELL with the alive into creatures never seen before, and the depicted scenarios run from +41 76 577 30 69 microscopic to giant scales.

CONTACT NAMES Solo exhibitions include MONA, Tasmania (2013), Minsheng Art Museum Shanghai, Andrea Hinteregger De Mayo China (2013), Kunstmuseum Bern, Switzerland (2012), Liverpool Biennial, SFMOMA Damian Christinger (2010), San Francisco (2008), Venice Biennale (2007), Karlskirche Kassel (supporting program documenta 12, 2007), Museum Rietberg, Zürich (2006), Kunsthalle Bremen

REPRESENTED ARTISTS (2005) and Helmhaus Zürich (2003). Yves Netzhammer lives and works in Zurich. Adán Vallecillo Cat Tuong Nguyen Clare Goodwin Felipe Mujica Michael Günzburger Johanna Unzueta Justin Hibbs Monica Ursina Jäger Oscar Gardea Duarte Estate Rafael Pérez

COVER Yves Netzhammer Tage ohne Stunden / Days Without Hours 2014 Projection, wood, textile, stencil and paint Video installation

INSIDE Yves Netzhammer Peripheries of Bodies 2012/2015 Video installation Steel, textile 17:10 loop

BACK (LEFT) Yves Netzhammer The Subjectivisation of Repetition (MONA, Museum of Old and New Art, Tasmania) 2012 Room installation with wall paintings 6 video projections 42:24 loop

BACK (RIGHT) Yves Netzhammer The Present Searches Its Mouth in the Reflection of the Soup Videostill from the installation 26 × 24 × 3.5 m 36 projections, objects made from wood and textile ABOUDIA ETHAN COHEN, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER A3

ETHAN COHEN NEW YORK: ABOUDIA

WEBSITE In kinetically painted canvasses redolent of Jean-Michel Basquiat and graffiti art, www.ecfa.com Aboudia Abdoulaye Diarrassouba depicts fevered landscapes and street scenes E-MAIL populated by child-like figures. His collage paintings powerfully showcase his trade- [email protected] mark “nouchi” style, drawn from the street culture of children in his home city of

PHONE Abidjan, Ivory Coast. The work is informed by their ubiquitous graffiti around Abi- +1 212 625 1250 djan and free-form street language, known as nouchi, as a form of dreamscape in

CONTACT NAMES response to privation. Rendered in oil sticks, acrylics and collage, his works are Ethan Cohen noted for brutal lines of color applied to heavily-layered background collages, details Liliana Gao of newspaper and magazine cutouts ingeniously encircled by drawings fall in and out of focus. The resulting composition suggests current events cohering through the imagination into a provocative vision. REPRESENTED ARTISTS Greg Haberny Mural-like canvases make his statement monumental but delicate, incorporating Feng Qin collage and word play in a deliberate evocation of children’s encounters with a war- Zhenghui Lan torn world. Refusing categorization as a war painter, Aboudia instead emphasizes Goncalo Mabunda Daiyun Li the vitality of dreams and language rendered in the nouchi street art style. This style Hans Breder situates Aboudia uniquely in Abidjan, while a range of global influences is articulated Yan Huang in collage and paint. His incomparable expression of lost innocence and enduring Chong Shi childhood dreams exemplifies currents in African contemporary art and its peaking Ligang Wei Andrew Rogers international relevance. Aboudia’s energized portrayal of the street culture of urban Africa creates a powerful synthesis of historic and current events, propelling him to the forefront of global COVER contemporary art. Aboudia Cubist Mouth (detail) 2014 Mixed media on canvas 70 × 56 in 177.8 × 142.3 cm

INSIDE Aboudia Le Regard du Chien 2014 Mixed media on canvas 78.8 × 118.1 in 200 × 300 cm

BACK Aboudia Nouchi City 2014 Mixed media on canvas 78 × 78 in 198 × 198 cm ERIK THOR SANDBERG CONNERSMITH, WASHINGTON, DC

VOLTA NY 2015 | BOOTH NUMBER C1

CONNERSMITH: ERIK THOR SANDBERG

WEBSITE Erik Thor Sandberg, known for his masterful representations of the human figure and www.connersmith.us.com landscape, has created a new series of Magical Realist oil paintings with inventive E-MAIL imagery ranging from panoramic to intimate. [email protected] Sandberg delves into mysteries underlying our connections to each other, and to PHONE the material world we inhabit, in the large figural landscapes that anchor his current +1 202 588 8750 body of work. The artist designed concave panels to envelope us in sweeping vis- CONTACT NAMES tas where the human psyche confronts itself and the powers of nature in the pres- Leigh Conner ent day. As the picture planes bend, so do the meanings that play out across them Jamie Smith in near and far views, pushing and pulling the ideas evoked by the breathtaking details of Sandberg’s imagery. Diverting our thoughts from a predetermined arc of

REPRESENTED ARTISTS linear progression toward elusive possibilities, these extensive topographies assert Barry X Ball that our personal and collective journeys lack sure directions and fixed outcomes. Janet Biggs Zoë Charlton Sandberg’s own brand of Sachlichkeit (objectivity) animates his smaller format pan- Patricia Cronin els with everyday objects, including piercings and pop culture toys, which he pro- Maria Friberg vocatively stages with people and wild animals. His unerring brush conjures single Ali Miller figures, pairs, or small groups of imagined characters. Each faces a nebulous force Katie Miller Julie Roberts or mysterious defining element, which is seemingly unreal, or oddly improbable. Leo Villareal The artist imbues his subjects’ internal dilemmas and interpersonal dynamics with Wilmer Wilson IV unnerving humor in these fantastic miniature worlds.

In this latest suite of small and large panels, Sandberg pushes the skillful illusionism

COVER of master painting to the contemporary edge of Magic Realism. Erik Thor Sandberg Erik Thor Sandberg (b. Quantico, VA 1975) lives and works in Washington, D.C. His Mask – Sweet 2015 works have been exhibited at public and private venues internationally, including Oil on panel the Baltimore Museum of Art, Baltimore, MD, and is in numerous private collections. 20 × 16 in

INSIDE Erik Thor Sandberg Toehold 2015 Oil on panel 36.25 × 71.25 in JEFFERSON PINDER CURATOR’S OFFICE, WASHINGTON, DC

VOLTA NY 2015 | BOOTH NUMBER A11

CURATOR’S OFFICE: JEFFERSON PINDER

WEBSITE Jefferson Pinder, a noted American performance and multi-media artist, wrestles www.curatorsoffice.com with issues of contemporary blackness, identity, masculinity, and strength in Ameri- E-MAIL can culture and the African diaspora. His experimental videos feature performances [email protected] that reference music videos, ritual, and physical theatre. Pinder uses hypnotic music,

PHONE surreal performances, and sculptural objects to underscore themes of Afro-Futurism, +1 202 360 2573 physical endurance, and blackness.

CONTACT NAME His work has been featured in numerous group shows including exhibitions at The Andrea Pollan Studio Museum in Harlem; the Wadsworth Athenaeum Museum of Art in Hartford, Connecticut; The High Museum in Atlanta; and the Zacheta National Gallery in War- saw, Poland. Although he considers his work to have a regional style and flavor, he REPRESENTED ARTISTS Dawn Black stresses the universality of his themes and travels around the globe to seek inspira- Charles Cohan tion. Pinder has spent time in Dakar, Mexico City, Khartoum, and Hanoi working on Cliff Evans projects that deal with race, identity, and social mobility. Pinder’s work was featured Simon Gouverneur (Estate) at the Smithsonian’s National Portrait Gallery exhibition Recognize. In the spring of J.W. Mahoney Jiha Moon 2012 his performance piece Ben-Hur was presented by the Corcoran Gallery of Art. Nicholas & Sheila Pye His work is included in the Smithsonian American Art Museum, Washington, DC; Eduardo Santiere The High Museum of Art, Atlanta, GA; The Studio Museum in Harlem, New York, Andy Moon Wilson NY; The Yale University Art Gallery, New Haven, CT; U.S. State Department Art in Embassies Program, Washington, DC; The University of Massachusetts, Amherst, MA; The University of Maryland, College Park, MD; and The David Driskell Collection, COVER Jefferson Pinder College Park, MD; among numerous other prominent private collections. Permanence (Grill 2) (detail) Jefferson Pinder received his BA in Theatre from the University of Maryland and 2014 Screenprint, gesso, ink, studied at the Aslo Theatre Conservatory in Sarasota, FL. In 2000, Pinder returned gold leaf on paper to the University of Maryland to receive his MFA in Mixed Media. Currently he is an edition of 4 + 1 AP Associate Professor in the Contemporary Practices department at the School of × 30 22 in the Art Institute of Chicago. INSIDE Jefferson Pinder Stellar Mass Monument 2014 Black ink and glitter on hardwood panel and ceramic, shelf 48 × 74 × 8 in installed NATHAN GLUCK LUIS DE JESUS, LOS ANGELES

VOLTA NY 2015 | BOOTH NUMBER E9

LUIS DE JESUS LOS ANGELES: NATHAN GLUCK

WEBSITE Nathan Gluck achieved acclaim as Andy Warhol’s principle studio assistant from www.luisdejesus.com the early 1950s through the mid-1960s. They met through mutual friends in 1950 E-MAIL and were employed in the same world of window design that fueled Warhol’s early [email protected] reputation. During this time they also exhibited together at the Loft Gallery. Two

PHONE years later Gluck went to work for Warhol in the top-floor railroad flat on Lexington +1 310 838 6000 Avenue that the artist shared with his mother, Julia Warhola. Over the next dozen

CELL years Gluck played an instrumental role in helping to shape and create many of +1 858 205 3739 Warhol’s most famous drawings, ads and designs. He also assisted with his early

CONTACT NAMES Pop pieces (1960-63) before The Factory was established. Luis De Jesus Throughout the course of 70 years Gluck produced hundreds of original collages in Jay Wingate which the classical, modern and commercial worlds collide, capturing a fresh, witty and joyous youthfulness that belies his age. His earliest collages, created in the

REPRESENTED ARTISTS 1930s, pay homage to Max Ernst and Picasso, while those produced from the mid Chris Barnard 1990s through 2008 display the finely honed sensibility, originality and confidence Kate Bonner of an artist completely at ease with his skills and a lifetime of knowledge. Matthew Carter Zackary Drucker Chris Engman Ken Gonzales-Day “Composed of a staggering variety of printed ephemera collected by the artist and Masood Kamandy his friends, and combining a range of printed detritus — matchbook covers, wine Molly Larkey and shipping labels, ticket stubs, fruit stickers, club flyers, photos and newspaper Josh Reames ads, to name just a few — from around the world and the past several decades, Federico Solmi these works play on words, forms, colors and, above all, on styles. Their vintage is sometimes Belle Èpoque, sometimes the swinging 60s and sometimes the dubious

COVER fin de siècle, as well as the very playful and satirical use of more recent imagery Nathan Gluck from the age of cell phones and the Internet.” Bug Doctor 2004 — Roberta Smith, chief art critic, The New York Times Collage 10.5 × 8 in

INSIDE “Nostalgia is a risk in collage, but Gluck’s ironic sense of humor prevents them from Nathan Gluck ever becoming cloying. Camp they indeed are. The verbal humor of the printed word Saluting Miss Tomato (check out the titles) constantly comes into play. Above all, Gluck’s work is fastidious. 1996 The scraps of paper are meticulously arranged on the sheet — his color is fearless.” Collage 10.5 × 8 in — Graham Shearling, art critic, The Pittsburgh Tribune

Nathan Gluck’s first solo exhibition (since the 1940s) — titled “Ephemeral Musings” — was held in 1997 at the Reinhold Brown Gallery, New York. In 2001, “Nathan Gluck: Collages” opened at The Andy Warhol Museum. His last solo exhibition, “Limited Time Offer”, was held September-November 2008 at the Athenaeum of Music and Arts Library, La Jolla, CA. He died at the age of 90 on September 27, 2008 in San Diego.

Nathan Gluck (1918 – 2008) attended the Art Students League and the Cooper Union in Manhattan, and the Pratt Institute, in Brooklyn, NY. His work is included in the permanent collections of The Museum of Modern Art; The Andy Warhol Mu- seum; Denver Art Museum; Athenaeum of Music & Arts Library, La Jolla, CA; and numerous private collections worldwide. JOSH REAMES LUIS DE JESUS, LOS ANGELES

VOLTA NY 2015 | BOOTH NUMBER E8

LUIS DE JESUS LOS ANGELES: JOSH REAMES

WEBSITE Josh Reames’ work considers abstraction and painting in relation to the internet and www.luisdejesus.com is informed by the strange, new space where a majority of viewership takes place E-MAIL online through blogs and websites. In his new paintings, depth, dimension, and the [email protected] artist’s hand are lost in translation from object to image, allowing the information to

PHONE exist as it might appear on a digital screen. +1 310 838 6000 Reames’ conceptual framework functions as a kind of filtration device, literally flat- CELL tening disparate images and references and thereby removing their hierarchy. In +1 858 205 3739 this temporal space a compendium of signs, text and symbols (emoji, letters, text, CONTACT NAMES and numbers — doubling as marks, sprayed or squeezed), objects (cigarettes, fried Luis De Jesus eggs, bombs, tennis balls), and cultural icons (Gumby, Snoopy) are all flattened to Jay Wingate the same-level composition.

Reames’ stream of metadata abstraction could be translated in this way: #relativity REPRESENTED ARTISTS #IRL #girl #animation #zztop #cruisin #sports #abstraction #URL #emoji #warhol #in- Chris Barnard stagood #iphonesia #L.A. #simpsons #breakfast #figurepainting #XXX #chat #bones Kate Bonner Matthew Carter #paper #gardening #vacation #gumby #dialogue #blogspot #wildwest #academia Zackary Drucker #millenial #agentorange #tropix #yellow #tbt #shopping #psychedelics #sextme Chris Engman #aliens #mine #bigbiz #okay #overexposure #nudes #startrek #summer #joerogan Ken Gonzales-Day #escapism #punksnotdead #A.I. Masood Kamandy Molly Larkey Thus content in Reames’s paintings can be understood in the same way one would Josh Reames understand a Google image search — a field in which images and forms are con- Federico Solmi stantly shifting and any authoritative meaning is nearly impossible to pin down. This approach constitutes a way of viewing reality that is synonymous with our contem-

COVER porary experience of spending nearly 24 hours per week (the current average for Josh Reames American adults) blog-surfing or scrolling through the web. Coke Loan Shark 2014 Josh Reames (b. 1985, Dallas, Texas) earned his MFA (2012) from the Art Institute Acrylic on canvas of Chicago and BFA (2007) from University of North Texas. He has exhibited in a 72 × 60 in number of institutions and galleries, including Annaruma Gallery, Naples, IT; LVL3,

INSIDE Devening Projects, Andrew Rafacz, Hyde Park Art Center, and the Union League Josh Reames Club, Chicago; The Hole, Muelensteen, and Monya Rowe Gallery, New York; Cir- #PAINTING installation view cuit 12 Contemporary, Dallas; and Dittrich & Schlechtriem, Berlin, among others. In 2014 Luis De Jesus Los Angeles 2012, Reames was artist-in-residence at Ox Bow (funded by Joan Mitchell Founda- tion) in Saugatuck, Michigan. BACK (LEFT) Josh Reames Bad Habits (detail) 2013 Acrylic on canvas 40 × 36 in

BACK (RIGHT) Josh Reames Old and Older 2013 Acrylic on canvas 24 × 20 in YASHUA KLOS GALERIE ANNE DE VILLEPOIX, PARIS

VOLTA NY 2015 | BOOTH NUMBER B17

GALERIE ANNE DE VILLEPOIX: YASHUA KLOS

WEBSITE In our socio-political world, Yashua Klos views the black body as being in a state www.annedevillepoix.com of deconstruction. Klos explores this concept formally through a technique of col- PHONE lage and printmaking, where breaking and layering shapes create forms that appear +33 1 4278 3224 multi-faceted and fragmented. Collage, in this sense, allows the visual ‘building’ or

CELL ‘construction’ of the ontological as a ‘form’. Through depicting broken cinderblocks, +33 6 1412 1935 splintered 2x4’s, and bricks the artist can orient this ‘form’ of existence within ar-

CONTACT NAME eas of urban abandon. Anne de Villepoix “Growing up on the South Side of Chicago, I was taught by friends how to both hide from and resist threats. There were times when confronted by police or by other young black men that we had to shift from being invisible to being strong, REPRESENTED ARTISTS Derrick Adams and back again. Omar Ba “The black body in America exists in-flux — resisting and hiding — shape shifting Caetano De Almeida Melvin Edwards as a survival strategy. To shift one’s shape is to mask, posture, camouflage, and Yashua Klos otherwise ‘perform’ a state of being that can both fight and hide.” Sven Kroner Xie Lei Throughout Klos’ practice he’s explored the figure throughout varied stages of ab- Senga Nengudi straction. Like Analytic Cubism, he often employs abstraction as a multi-perspectival Richard Nonas experience where the viewer is witness to a kind of ‘animation’. Wolf Vostell Here conceptually, there is a re-orientation of abstract art toward its African art roots, where representation functions as a vehicle for animism, and where the ex- COVER terior form is the by-product of a ‘live’ shifting interior state. Yashua Klos Face on Plane Yashua Klos received his BFA from Northern Illinois University and his MFA from 2014 Hunter College. Collage of woodblock prints on Archival Paper Klos’ works have been reviewed in the NY Times, and he’s been awarded residen- 34.5 × 51.5 in cies at Skowhegan, Bemis, and The Vermont Studio Center. Most recently he is the 87.5 × 131 cm recipient of a 2014 Joan Mitchell Grant and a 2015 NYFA Grant. INSIDE Yashua Klos Worktable 2014 Collage of woodblock prints on Archival Paper 120 × 71 in 305 × 181 cm

BACK Yashua Klos Pass Through This 2014 Collage of woodblock prints on Archival Paper 34.5 × 51.5 in 87.5 × 131 cm LEE RANALDO GALERIE JAN DHAESE, GHENT

VOLTA NY 2015 | BOOTH NUMBER D12

GALERIE JAN DHAESE: LEE RANALDO

WEBSITE LOST HIGHWAY DRAWINGS www.jan.dhaese.be From “Lost Highway” to Highway 61 Revisited, from On The Road to Siddhartha, Two E-MAIL Lane Blacktop to Weekend, songs, films, images and stories have romanticized the [email protected] allure and transformative qualities of the road, as metaphor but also as actual hard

PHONE fact, ‘…with miles to go before I sleep’. An iconic image of modernity, certainly, but +32 477 43 77 94 dating back to the earliest dirt paths the road was a symbol of movement and free-

CELL dom. To get from here to there; from New York to L.A.; to get away from something; +32 477 43 77 94 to find something; to move towards freedom or away from responsibility — dreams,

CONTACT NAME thoughts and emotions hung on the image of an open road. Jan Dhaese For a traveling musician the qualities of the highway are further reinforced by the amount of time spent staring at it on the way from one gig to the next. The Lost Highway series of drawings are my attempts to capture the landscape as it rolls REPRESENTED ARTISTS Pavel Braila past the windshield at 60 miles per hour. Gestural responses, simple skeins of lines Hedwig Brouckaert following the horizon; trying to scratch out some record of the places we’ve trav- Annelies de Mey eled through. Certain curves in the road, views through breaks in the trees, are seen Jennifer Deplu over and over again. The road, like the river, is ever different and ever the same. Marthe Ramm Fortun Remus Grecu These drawings began in earnest in 2012, as I set out on concert tours with my Sebastian Moldovan band The Dust across North and South America, Europe and points beyond. A se- Max Razdow Emerald Whipple ries done from the passenger seat of a Mercedes Sprinter Van as we traveled on the LG White Autobahn across Germany, and into Denmark was followed by another done while rolling through the Eastern United States, from Connecticut to Virginia, New York City to Maine. Later sketches track travels in Nova Scotia, Canada, on the route COVER from Halifax to Cape Breton, through Spanish deserts, along the west coast from Autobahn Drawings Vancouver down to San Diego, and in the far northeast of India. July 2012 xxiii 2012 — Lee Ranaldo, New York City Pencil on paper 14 × 11 in 35.4 × 28.4 cm

INSIDE To Bloomington, IN 052613 A 2013 Marker on paper 12 × 9 in 30.4 × 22.8 cm

BACK Iowa 101813 3 2013 Marker on paper 12 × 9 in 30.4 × 22.8 cm ANDREJ DÚBRAVSKÝ DITTRICH & SCHLECHTRIEM, BERLIN

VOLTA NY 2015 | BOOTH NUMBER B9

DITTRICH & SCHLECHTRIEM: ANDREJ DÚBRAVSKÝ

WEBSITE The works of Andrej Dúbravský (b.1987) “indeed hark back to earlier expressive www.dittrich-schlechtriem.com worlds, a century ago, of an artistic revolution inhabited by Egon Schiele and Os- E-MAIL kar Kokoschka in Vienna, and Ernst Ludwig Kirchner and Otto Mueller in Dresden, [email protected] the latter two part of the groundbreaking group of artists based around 1910 in

PHONE Dresden and known collectively as Die Brücke or the Bridge. In so far as a sense +49 30 24 34 24 62 of place is important in art, and it is, one can indeed observe that Bratislava lies

CELL halfway between Vienna and Dresden. The best paintings done in that now seem- +1 914 623 2097 ingly quite distant past were invariably filled with naked bathers and other scenes

CONTACT NAMES of subjective sexuality and tension that reflect the transgressive obsessions of that André Schlechtriem age. Although there are human constants in the representation of sexuality, there is Owen Clements also that intangible thing known as the zeitgeist that reflects in both style and content the particular nuances that characterize a time, its freedoms and its repressions and a genius that lies in a place.“ REPRESENTED ARTISTS Stefan Behlau Above excerpt, Norman Rosenthal, On The Work of Andrej Dúbravský, TVTOR 2014. Nicky Broekhuysen Bernhard Brungs “With his distinctive affection for the abysses of the soul, he also quotes the pathos Asger Carlsen formulas of landscape painting, where naked bodies have been draped in Arcadian Julian Charrière bucolic sceneries since the Renaissance to mark the God-given naturalness of hu- Klaus Jörres man flesh. Some of his works recall the airy and dainty landscapes of Watteau or Robert Lazzarini Dennis Loesch Fragonard, a few others are reminiscent of the powdered cult of nature in Gains- Hugo Markl borough or Stubbs, and yet others bring Monet’s water lilies or classical Japanese Tyra Tingleff watercolors to mind. But almost all sweetness has been drained from Dúbravský’s idylls; the outward perfection of their compositional beauty barely veils the eerily beautiful subtext of menace. These landscapes are scenes of transmutation and a COVER dissolution of the self. “ Andrej Dúbravský Content Removal Above excerpt, Daniel Schreiber, Landscapes With Symptom, 2014 2014 Acrylic on canvas 183 × 85 cm

INSIDE Andrej Dúbravský Man With Two Fully Functional Penises Answers All Your Questions 2014 Acrylic on canvas 150 × 270 cm

BACK Andrej Dúbravský You May Have To Register Before U Post 2014 Acrylic on canvas 180 × 195 cm OLIVIER MASMONTEIL GALERIE DUKAN, PARIS | LEIPZIG

VOLTA NY 2015 | BOOTH NUMBER C15

GALERIE DUKAN: OLIVIER MASMONTEIL

WEBSITE Olivier Masmonteil’s new paintings are scenes from the hushed, contemporary am- www.galeriedukan.com biences of restaurants, hotels, film sets and hospitals. Into them he slips various E-MAIL props and characters: a couple kissing, a military helicopter, the skeleton of a di- [email protected] nosaur. Some of them stand out clearly centre-stage, like inlays, while others seem

PHONE absorbed into the ambient scenery. +33 9 81 34 61 83 The painter has not really chosen these settings and motifs; rather, they are dictat- CELL ed by the constant flood of images we are subjected to. Whether from the movies, +33 6 61 93 49 29 the Internet or magazines, they come to painting ready-prepared, complete with CONTACT NAME all the sophistication that has gone into making them. The painter’s task, then, is Sam Dukan to turn them into art.

Masmonteil proceeds by successive layers. First comes the uninhabited setting, REPRESENTED ARTISTS seemingly waiting for something as it triggers a sense of déjà vu in the spectator. Josef Bolf With their pronounced play on perspective, these highly geometrical spaces open Folkert De Jong onto night-dark windows or part-open rooms: secret, oppressive yet breathable Dimitri Horta Bayrol Jimenez atmospheres that invite mental wanderings. John Kleckner These meanderings take concrete form as beings and objects hovering in these Yigal Ozeri Jean-Xavier Renaud places like fantasies and dreams. They too are drawn from our glutted visual en- Richard Stipl vironment, and set up interaction with the initial decors. Overpaintings, erasures, Alexander Tinei transparencies, overlays: it is now that these images cease to live their own lives Rosa Maria Unda Souki and become part of the interplay of painting.

The effects created by these settings and props are above all the actual language COVER of painting. Their underlying logic hinges on the patch of colour that suddenly adds Olivier Masmonteil density to an area of the picture, or the dot of light placed just where it is going to Untitled catch the eye. A painter’s goal, after all, is not to play around with images, but to 2014 Oil on canvas make paintings — and to do this by ensuring that these images are transformed 80 × 65 cm and transcended.

INSIDE In this resort to contemporary visual culture Olivier Masmonteil is pitting himself not Olivier Masmonteil against the images themselves, but first and foremost against painting’s greats. The Untitled 2014 Renaissance masters shaped their pictorial world from scratch, but today’s painter Oil on canvas works with the images we are so relentlessly bombarded with. And if he succeeds in 100 × 130 cm turning them into something so enriching for the senses that the viewer feels himself

BACK (LEFT) breathe anew, he has truly created a masterpiece. Olivier Masmonteil — Anne Malherbe Untitled 2015 Oil on canvas 55 × 65 cm

BACK (RIGHT) Olivier Masmonteil Untitled 2014 Oil on canvas 40 × 40 cm IDA KVETNY GALLERI CHRISTOFFER EGELUND, COPENHAGEN

VOLTA NY 2015 | BOOTH NUMBER C4

GALLERI CHRISTOFFER EGELUND: IDA KVETNY

WEBSITE The blazing landscapes and apocalyptic worlds of Ida Kvetny set the scene for the christofferegelund.dk ecstasies and tragedies of human life — in, with, and against nature — to unfold. E-MAIL Endless micro cosmoses, simultaneous incidents and dream-like iconography oc- [email protected] cur in the artist’s quest for an archetypical alphabet. Faces, roots and bolt nuts

PHONE encounter abstract elements to form a parallel reality where intermingling lines of +45 3393 9200 thought transcends cultures, ages and universes and sometimes even the surface

CELL of the painting. The paintings utilizes the concept of scientific imagination to allow +45 2627 w2871 the impossible to appear possible.

CONTACT NAMES Among desperate mothers searching for something lost and bodies in decay, beauty Christoffer Egelund is found in the unity of all things when all elements merge together and the forces Christian Klintholm of nature take over. Time, space and colors turn into strange events, opening up to a world beyond the one we know.

REPRESENTED ARTISTS In Kvetny’s most recent work we encounter an ongoing struggle between space- Armando Marino creating and space-disintegrating elements. In the large painting Seven Setting Christoffer Jørgensen Jason Jägel Suns we are facing a barren lunar landscape. The piece mimics the composition of Crystel Ceresa a traditional landscape painting with a horizontal line dividing the picture plane into Louise Hindsgavl foreground, middle and background. In this scenario the sun has fallen into the un- Ghost of a Dream derground and is contemplating whether to rise or set. Maria Torp Thierry Feuz The painting Drilling for Shale Gas presents a copper, maroon and orange color- Michael Johansson ation. Between notes of cool azure blues and lavender we discover the main story Yuichi Hirako of the piece: four organic constructions with pointed drills on a vital race through the canvas. They are, perhaps, racing against the center of the earth, or they are

COVER steering towards a chaotic inner world. Ida Kvetny Kvetny’s art can be seen not only as strange alien worlds but as a manifestation of Meteorite (detail) 2015 a chaotic inner life, a visual representation of the mish-mash of impressions, people Mixed-media on canvas and objects; all the things we encounter in our daily lives. 203 × 127 cm

INSIDE Ida Kvetny Fembot 2015 Mixed-media on paper 42 × 59 cm

BACK Ida Kvetny REM 2015 Mixed-media on paper 30 × 30 cm NIKKI ROSATO JONATHAN FERRARA GALLERY, NEW ORLEANS

VOLTA NY 2015 | BOOTH NUMBER C18

JONATHAN FERRARA GALLERY: NIKKI ROSATO

WEBSITE Nikki Rosato (Boston, MA, b. 1986) earned her MFA from the School of the Museum www.jonathanferraragallery.com of Fine Arts, Boston in 2013. Prior to studying at SMFA, Rosato received a Bachelor E-MAIL of Arts degree in Studio Art and Art History from the University of Pittsburgh. Ro- [email protected] sato’s work has received multiple awards, including the 2008 A.J. Schneider Award.

PHONE Her work has been exhibited nationally, internationally, as well as at numerous art +1 504 522 5471 fairs including VOLTA10 in Basel, Switzerland for Art Basel, artMRKT San Francisco,

CELL Texas Contemporary, and Miami Project for Art Basel Miami Beach. +504 343 6827 In 2013, Rosato’s work was featured in Lovin’ it, Symbol and Contradiction at the CONTACT NAMES Bromer Art Collection in Roggwil-Kaltenherberg, Switzerland as well as Mapping Jonathan Ferrara the Way at Walford Mill Crafts in London. Her work has been featured in numerous Matthew Weldon Showman publications, including The Boston Globe, Harvard Review, Canadian Geographic, The Pittsburgh Tribune Review and Hi-Fructose New Magazine.

REPRESENTED ARTISTS Mel Chin Skylar Fein STATEMENT Generic Art Solutions Our physical bodies are beautiful structures full of detail, and they hold the stories Bonnie Maygarden that shape our lives. The lines on a road map are fascinatingly similar to the lines Adam Mysock Michael Pajon that cover the surface of the human body. Gina Phillips In my work involving maps, as I remove the landmasses from the silhouetted indi- Dan Tague Paul Villinski viduals I am further removing the figure’s identity, and what remains is a delicate Monica Zeringue skin-like structure. Through this process, specific individuals become ambiguous and hauntingly ghost-like, similar to the memories they represent.

COVER Nikki Rosato Elyse: Falmouth, MA 2014 Hand cut road map 20 × 16 in

INSIDE Nikki Rosato Untitled (Self Portrait) 2013 Hand cut road map 16 × 16 × 14 in

BACK (LEFT) Nikki Rosato Connections No. 2 2012 Hand cut road map 11 × 12 in

BACK (RIGHT) Nikki Rosato Untitled (Connections) 2014 Hand cut road map 9 × 6.25 in LISA D MANNER GALLERI FLACH, STOCKHOLM

VOLTA NY 2015 | BOOTH NUMBER F6

GALLERI FLACH: LISA D MANNER

WEBSITE Galleri Flach is proud to show the Swedish artist Lisa D Manner in a solo presen- www.galleriflach.com tation at VOLTA NY 2015, including 11 paintings, entitled Drifting. The collage-like E-MAIL paintings depict motifs that mix images from different eras and places. The murals [email protected] in Livia’s villa in Rome are for instance fused with the play of shadows on walls from [email protected] the artist’s own residential district in Malmö, Sweden. In a warm afternoon light, the [email protected] paintings produce dreamy and imaginative environments and landscapes through a PHONE technically very skillful and precise workmanship. Lisa D Manner was born in 1979 +46 8 661 13 99 in Malmö and graduated from Umeå University College of Art in 2007. She has at- CELL tracted much attention in Sweden and Scandinavia for her intriguing and meticu- +46 70 750 16 70 lous paintings. She enters a world that borders on reality and dream, painting and CONTACT NAMES drawing. She describes her paintings as “collages” in which she assembles scenes Eva-Lotta Holm Flach and images from many different environments. James Flach Lisa D Manner: “The starting point for my paintings is my archive of sketches and photographs. I am interested in urban environments and social structures. In my REPRESENTED ARTISTS paintings memory fragments are interwoven with historical references. The logic of Kristina Bength dreaming is my tool for joining separate parts into a whole, where time and space Mohamed Camara Jessica Faiss are allowed to meet. I examine the limit where contrasting conditions such as in- Johan Furåker door/outdoor and private/public meet and dissolve. I see these meetings as dense Andreas Johansson breakpoints that load the composition. The paintings consist of a cluster of place, Kiripi Katembo SIku time, dream and reality. For me the collages represent a state of mind where the Ville Lenkkeri Pauliina Pietilä future and the memory can meet.” Jorma Puranen Galleri Flach was founded in 1999 and is located in the major gallery district in Stock- Fredrik Wretman holm. The gallery works with Scandinavian and international contemporary art. Be- sides our regular exhibition program with 7-8 exhibitions per year, we also include

COVER project-based collaborations with artists, connecting artists from Scandinavia and Lisa D Manner non-European regions, such as West Africa. Attic 2015 Oil on panel 40 × 30 cm

INSIDE Lisa D Manner Greenhouse 2015 Oil on panel 40 × 30 cm

BACK Lisa D Manner Cooler 2015 Oil on panel 40 × 30 cm LEONARDO ULIAN THE FLAT – MASSIMO CARASI, MILAN

VOLTA NY 2015 | BOOTH NUMBER D21

THE FLAT – MASSIMO CARASI: LEONARDO ULIAN

WEBSITE The work of Leonardo Ulian originates in the dismantling and observation of patterns www.carasi.it and circuits found in electronic devices. In his approach, there is an affinity with the E-MAIL work of an anatomist who researches the mechanisms of life or that of the child- [email protected] like curiosity of those who break into the bodies of objects in order to examine the

PHONE internal components for the mere pleasure of the discovery. Ulian uses these ele- +39 2 5831 3809 ments to weave a web of connections that resemble Tibetan mandalas or a golden

CELL store of precious fractal forms. +39 33 3215 5325 Mathematics, science and spirituality thus form the basis of his research. The es- CONTACT NAMES sential binder that connects or relates these circuits consists of tin solder, which Massimo Carasi binds the parts and radiates energy throughout the whole. Energy, in all of its forms, Daniela Barbieri is a dominant theme of our time, and in his recent Milanese début, Ulian has paid tribute to the legendary figure of Nikola Tesla, the scientist and inventor who first

REPRESENTED ARTISTS realized the potential of a wireless transmission of electricity, which would make Filippo Armellin free energy accessible to the entire world. In 2012 Ulian began the Mandala series. Guido Bagini His pieces don’t neatly adhere to the geometric tradition of mandala diagrams (“It’s Michael Bevilacqua got super-strict rules,” he says), and are more improvisational, with symmetrical Paolo Cavinato Edward Del Rosario patterns radiating outward from a center. The Hindu and Buddhist religions use Greta Frau mandala charts during meditation. Tibetan Buddhists will make them out of col- Michael Johansson ored sand, and ceremoniously destroy them later—which is why Ulian compares Asuka Ohsawa his pieces to mandalas. Michelangelo Penso Ward Shelley “In a way technology is kind of ephemeral. It’s always evolving, you’re always looking for a new phone or a new computer, so it’s like mandala. They extinguish, and they can’t be permanent,” Ulian says. “My circuits do not activate lights or do other com- COVER plicated function, but they simply function as stimulus to produce simple questions Leonardo Ulian Technological like: what will happen if a real electric current flows through the Circuit/Mandala?” mandala #31 (detail) (b. Gorizia 1974, lives and works in London) 2014 Electric components, copper wire, wood frame, Plexiglas 47 × 47 in 120 × 120 cm

INSIDE (LEFT) Leonardo Ulian Atlas 03 – Contemporary reliquary 2014 Books, copper wire, microchips, piezo transducer 71.25 × 14.25 × 16.25 in 181 × 36 × 41 cm

INSIDE (RIGHT) Leonardo Ulian Technological mandala #51 2014 Electronic components, copper wire, wood frame 40 × 40 in 100 × 100 cm

BACK (LEFT) Leonardo Ulian Tesla Remixed 2014 Installation view at The Flat – Massimo Carasi, Milan SIMON SCHUBERT FOLEY, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER C16

FOLEY: SIMON SCHUBERT

WEBSITE The walls of our booth are covered with crisp, white paper that has been carefully www.foleygallery.com worked by folding and creasing. Our floors are a similar shade of soft and sup- E-MAIL ple white. Wainscoting and paper picture frames emerge from the interior walls. [email protected] Schubert’s original paper sculptures are tipped into those frames, each displaying

PHONE an interior not far removed from the one you are currently standing in. +1 212 244 9081 There is no color, no evidence of ink or graphite. There was none to begin with. CELL Warm overhead light casts delicate shadows of mid-tone grays, bringing Schubert’s +1 646 729 8117 scenes to life. CONTACT NAME Michael Foley The details in Schubert’s interiors are inspired by the late 19th century Danish painter, Vilhelm Hammershoi. In his paintings, Hammershoi employed low-key tones of neutral grays to create a somber but relaxed interior environment. Schubert refer- REPRESENTED ARTISTS ences Hammershoi, casting stunning illusions of natural light through windows and Thomas Allen manipulating ambient light to cast shadows that play on his paper floors and walls. Amy Casey Lauren Henkin Schubert, who mentions authors Samuel Beckett and Edgar Allan Poe as his biggest Ina Jang influences, evokes existential and fundamental questions. Engulfed in the beauty and Martin Klimas accomplishment of these works, we hear our own whispers, our searching through Henry Leutwyler Alexandre Orion the occasional loneliness of existence. We step into these interiors — both medita- Casey Ruble tive and haunting — embracing their elegance while searching for meaning and a Sage Sohier sense of belonging in the world. Ilona Szwarc Simon Schubert was born in 1976. He graduated from the academy of Fine Arts Kunstakademie Düsseldorf, where he studied sculpture under the direction of Pro- COVER fessor Irmin Kamp. Simon Schubert Samuel Beckett He currently lives and works in Cologne, Germany. 2014 Paper 70 × 50 cm

INSIDE Simon Schubert Untitled (light in room with piano) 2014 Paper 70 × 100 cm

BACK Simon Schubert Untitled (light on stairs) 2014 Paper 70 × 70 cm CLINT JUKKALA FRED.GIAMPIETRO GALLERY, NEW HAVEN

VOLTA NY 2015 | BOOTH NUMBER D10

FRED.GIAMPIETRO GALLERY: CLINT JUKKALA

WEBSITE At once reflective and irreverent, Clint Jukkala’s paintings explore perception and www.giampietrogallery.com the relationship between image and abstraction. Combining modernist elements and E-MAIL a basic pictorial language, Jukkala’s work hovers on the edge of nameable things. [email protected] Circular forms evoke eyes, goggles, or periscopes and frame our view into sug-

PHONE gested landscape spaces. Jukkala’s paintings invite us to look in while they gaze +1 203 777 7760 out at us in return. Through the act of looking, we become aware of our own see-

CELL ing and thinking as we search to orient ourselves in a geometric cartooned world. +1 203 415 8713 Originally from Montana, Clint Jukkala lives and works in Philadelphia, PA. Recent CONTACT NAME solo exhibitions include Fred Giampietro Gallery (New Haven, CT), BravinLee Pro- Fred Giampietro grams (New York, NY), and Finalndia University (Hancock, MI). His work has been featured in group exhibitions at Feature Inc. and Brian Morris Gallery in New York, Tiger Strikes Asteroid and Pentimenti Gallery in Philadelphia, and The Decordova REPRESENTED ARTISTS Melissa Brown Museum and Sculpture Park in Lincoln, MA. Jukkala received his MFA from the Elizabeth Gilfilen Yale School of Art and has been awarded residencies at Yaddo and the MacDow- Clare Grill ell Colony. Zachary Keeting Richard Lytle Loren Myhre Peter Ramon Enrico Riley Joe Wardwell Becky Yazdan

COVER Clint Jukkala Galactico 2014 Oil on canvas 14 × 12 in

INSIDE Clint Jukkala Doppio 2015 Oil on canvas 36 × 42 in

BACK Clint Jukkala Body Response 2014 Oil on canvas 14 × 12 in JONATHAN WATERS FRED.GIAMPIETRO GALLERY, NEW HAVEN

VOLTA NY 2015 | BOOTH NUMBER D10

FRED.GIAMPIETRO GALLERY: JONATHAN WATERS

WEBSITE “For several years in the 1970’s, I lived and worked on a small Coastal freighter over www.giampietrogallery.com in Jersey City and Staten Island. I found the ship in Canada and brought it to New E-MAIL York to use as living and studio space. The ship was painted red, black and tan and [email protected] at 160’ I was in way over my head. I eventually sold it and moved away holding on

PHONE to the navigation charts of the vessels’ travels, carrying freight around the world. +1 203 777 7760 “This series includes steel sculptures and collage. The collages incorporate the CELL backs of these nautical charts. Color is informed by the memory of the ship and +1 203 415 8713 harbor. Titles of the work reference the places visited by the vessels’ trade. The CONTACT NAME collages are spatial visually and pursue a common sensibility with the sculptures, Fred Giampietro eluding to a sense of place, activating the space around the artwork. The surfaces of both the sculpture and the collages speak to history and time and the record of their making. These are tidbits of space and time, past and present, light and dark, REPRESENTED ARTISTS Melissa Brown in and out, fragile in paper . . . forever in steel.” Elizabeth Gilfilen Jonathan Waters received his MFA from Yale University in 1977. While living in NYC, Clare Grill Zachary Keeting he was an assistant to sculptors Mark di Suvero, Charles Ginnever and Richard Richard Lytle Serra. Waters has exhibited extensively throughout the Northeast. Recent large- Loren Myhre scale projects include new work at the Governors’ Residence and Bushnell Plaza in Peter Ramon Hartford, Connecticut and The Samuel Chester French Estate in Stockbridge, Mass. Enrico Riley Joe Wardwell Becky Yazdan

COVER Jonathan Waters Sea Reach 2014 mixed media and collage on paper 12 × 8 in

INSIDE Jonathan Waters Installation view

BACK Jonathan Waters Sculpture Quarry Studio Summer No. 3 2014 Steel and oil paint 8 × 8 × 3.5 in DAVID HAYWARD FROSCH&PORTMANN, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER E2

FROSCH&PORTMANN: DAVID HAYWARD

WEBSITE NEW PAINTINGS BY DAVID HAYWARD www.froschportmann.com David Hayward’s small-scale paintings are dominated by a single image or form E-MAIL put in the middle of space. The artist’s vocabulary evokes the elegant simplicity of [email protected] archetypes such as the shape of a heavy water drop or the irregular structure of

PHONE cells; like a specimen, this straightforwardness and isolation allows for a more di- +1 646 820 9068 rect relationship or study.

CELL The paintings suggest various interpretations, while simultaneously avoiding signi- +1 646 266 5994 fying one specific meaning; this is the result of a process, a search to find or locate CONTACT NAMES based on emotional and instinctual decisions rather than proving a single idea or Eva Frosch concept. The works are clearly fought for and evidence a history of constant re- hp Portmann working, neglecting and approving; the pursuit to understand the visual workings of this complex and multilayered formation is what is most intriguing and rewarding

REPRESENTED ARTISTS about Hayward’s oeuvre. Raffaella Chiara “My paintings result from an intuitive process of constant reworking. Ideas arrive Seth Michael Forman Steve Greene and I move towards eventual resolution as elements are added, shifted, and sub- Julia Kuhl tracted. I want the image I create to resonate in a way that is familiar yet unknown. Eva Lake A picture of something to be looked at and considered.” Vicki Sher Hooper Turner — David Hayward Robert Yoder David Hayward lives and works in New York City and Washington D.C. He received his BFA from Washington University, St. Louis, MO. His awards include a match-

COVER ing scholarship from Skowhegan School of Painting and Sculpture and Washington David Hayward University, St. Louis (1995) and the Maryland State Arts Council Individual Artist Untitled (1.14) (detail) Award (2013). 2014 Oil on panel 15 × 18 in

INSIDE David Hayward Untitled (2.15) 2015 Oil on panel 15 × 18 in

BACK David Hayward Untitled (1.15) 2015 Oil on panel 15 × 18 in JORGE PINEDA LUCY GARCÍA GALLERY, SANTO DOMINGO

VOLTA NY 2015 | BOOTH NUMBER E4

LUCY GARCÍA GALLERY: JORGE PINEDA

WEBSITE Jorge Pineda’s work spans a number of disciplines. Influenced by his architec- www.lucygarciagallery.com ture studies, his drawings of simple but forceful strokes are freighted with social E-MAIL criticism and irony. Through a peculiar and distinctive drawing style, using mostly [email protected] pens, he criticizes the political and social world that surrounds us. One the issues

PHONE that have been haunting his discourse is the relation between art and power. The +1 809 697 5825 relation between the estates that shape the Art world and the artist, and how the

CONTACT NAME artists deals with these issues, and tries to find a balance between his personal Lucy García life, ethical thoughts and his personal world. Many times this conversation ends for conquering and bringing them to a very dangerous and risky zone. But Pineda mocks himself in this process and creates a dialogue full of humor, as we can see it REPRESENTED ARTISTS in the collage/drawings of the series Trampas de la Fé (Trap of the Faith), in which Quisqueya Henríquez he satirizes the icons of the artistic creation in the 20th century and his influence Pepe Mar Citlally Miranda in the contemporary creators, including him. Ore as also occurs in the series, OH! José Miura Taschen, Taschen, Taschen: volume III, where the portraits of the assumed master Raquel Paiewonsky artists of this century, are taking from the small photos that represent them, in the pages of the book of the famous editorial Taschen, Pineda draws theirs faces with a graphite pencil, a kind of coal that turns into the false diamonds that cover the COVER eyes of the subjects. With these pieces and with a series of sculptures called Other Jorge Pineda OH! Taschen Taschen Taschen, Traps, which the artist appropriates buildings such as the Guggenheim, using the Volumen III: Santiago Sierra shapes of sculptures he casts in aluminium, and that are turned into one small trap, 2013 like the ones used to catch small animals. These buildings /boxes, will be cover in Drawing, polyptych, (Work in their interior with 24-carat gold foil. progress, 144 artist’s portraits), graphite drawing fake and real In 2008, he created the collective QUINTAPATA, exhibiting the video installation DNA diamonds at the Venice Biennale; where Pineda´s work was also exhibited in 2009. He was 20.5 × 20.5 cm each selected by the Davidoff Art Initiative to participate in a residency at the Kunstlerhaus INSIDE Bethanien in Berlin. His work have been exhibited in Museum of Contemporary Art of Jorge Pineda Oro sobre jardín (Gold on garden) Castilla and Leon (MUSAC), Brooking Museum, Collection Patricia Phelps de Cisne- 2014 ros, Valenciano Institute of Modern Art (IVAM) and the Museum of Contemporary Art Drawing blue ink pen, gold leaf on of Salamanca. His works have been reviewed in newspapers such as Spain’s ABC, El paper Khadi (hand made paper) País and recently in the cover of Le Monde, during the last edition of FIAC in Paris. 70 x 102 cm each

BACK (LEFT) Jorge Pineda Trampas de la fe II: La Gallina de los huevos de oro 2013 Collage 50 × 50 cm

BACK (RIGHT) Jorge Pineda Trampas de la fe II: Deseo 2013 Collage 50 × 50 cm RUDOLF POLANSZKY DENIS GARDARIN GALLERY, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER B6

DENIS GARDARIN GALLERY: RUDOLF POLANSZKY

WEBSITE Rudolf Polanszky was born in Vienna in 1951. In 1976 he launched his career with www.denisgardarin.com the film On a Semiology of the Senses and his first conceptual works-Lard Drawings. E-MAIL Observing diverse artistic procedures and strategies of negotiating how behavior [email protected] is unconsciously guided or in Polanszky’s words “externally directed” developed

PHONE these early works. Polanszky restricted himself to certain methods as a means of +1 646 298 4602 examining and formulating the structures of “process-dependent” results. Alongside

CONTACT NAMES these quasi-scientific experiments, he created multi-media works on super8 film and Denis Gardarin video. Italian curator Francesco Stocchi has referred to Polanszky as “a philosopher Elli Gotlieb disguised as an artist” who knows well enough that “productive answers are to be found in the questions.” The terms introduced in Polanszky’s work are therefore complex and are only unpacked physically in the work: transformation, non-linearity, REPRESENTED ARTISTS symmetries, “ad hoc syntheses” etc. Geraldo De Barros Mathieu Mercier Polanszky’s work has been exhibited at Kunstraum Messner/Vienna, Galerie Jahn/ Ryan Mosley Munich, Kunsthandel/Wunderlich/Munich, Galerie Borkowski/Hannover, “Loft”/ Munich, Kunsthalle/Vanrobeyes/Gent, Modern Art Galerie/Vienna, Galerie Cosmos/ Vienna, Galerie Kalb/Vienna, Galerie Hohenlohe/Vienna, Kunstraum Fröhlich/Vienna, COVER Rudolf Polanszky Gallery Watkins/Palm Desert, Galerie Thoman/Innsbruck, 11Lijnen/Oostende, Mot Reconstructions (detail) Gallery/London, Centro Atlántico/La Palma, Venice Biennale 2007/“Hamsterwheel,” 2009 Printemps de Septembre/Tolouse, Museo Modern Art/Barcelona, Museum Malmö, Mixed media (bitumen, foils, Galerie Konzett/Vienna, Frithstreet Gallery/London, Ancient & Modern/London, Plexiglas, pigments on canvas) 51 × 46 in Musee de Monaco, Newbridge Space/Newcastle, Transition Gallery/London with 130 × 116 cm Film and video presentations at the Museum of Modern Art/N.Y., Centre Pompidou/ Paris, Museum of Fine Arts Boston, Carnegie Museum of Art Pittsburgh and the INSIDE Rudolf Polanszky Sao Paulo Bienniale/Brazil. Reconstructions 2009 Denis Gardarin Gallery was founded in 2014 to engage with the cultural shift in Mixed media (bitumen, foils, art production and reception in this era of globalization. Conceived principally as Plexiglas, pigments on canvas) a platform for artists, the gallery interrogates the notion of physical site through a mi- 51 × 46 in grating program that mounts museum-quality exhibitions in an international context. 130 × 116 cm Denis Gardarin Gallery focuses on comprehensive investigations of artists, who are leaders across disciplines, movements, and eras initially focusing on the practices of conceptual artist Mathieu Mercier, Geraldo de Barros, early leader of Brazilian concretism, figurative painter Ryan Mosley and Rudolf Polansky. SERGIO BELINCHÓN GE GALERÍA, MONTERREY / INVALIDEN1 GALERIE, BERLIN

VOLTA NY 2015 | BOOTH NUMBER C19

SERGIO BELINCHÓN

WEBSITE Towards the end of the nineteenth century, King Ludwig II of Bavaria ordered an www.gegaleria.com artificial cave to be built at his Linderhof Palace. The cave was turned into a grotto www.invaliden1.com that featured a lake illuminated by coloured lights to create a rainbow-like effect. E-MAIL His grotto was complete with handcrafted stalactites that drew upon the geologi- [email protected] cal formations of the Grotta Azurra in Capri. Sergio Belinchón used the fascinating [email protected] architecture of the Venus Grotto, located on the grounds of Linderhof Palace, as PHONE the basis of his eponymous exhibition. Belinchón presents photographs of numer- +52 81 1477 1367 (GE Galería) ous caves that have been adapted to the needs of mass tourism. The pictures +49 30 8092 4878 (Invaliden1) are reminiscent of man’s manipulation of nature and the construction of artificial CONTACT NAMES environments, a recurring theme in Sergio Belinchón’s work. Brenda Gutierrez Llaguno (GE Galería) Gabriel Elizondo Garza (GE Galería) This series of photographs unites a number of ideas Sergio Belinchón has been working on for some time, including tourism as a key factor in the artificialisation of natural spaces; the manipulation of nature, and man’s mark on particular envi- REPRESENTED ARTISTS ronments. The artificial lighting used during visits to these natural spaces results in (GE GALERÍA) Alfredo de Stefano pictures that resemble colour-saturated early twentieth-century photographs that Erika Harrsch were coloured by manually applying dyes and anilines and skilfully create powerful Ubay Murillo dreamlike imagery. Juan Miguel Pozo Ray Smith These are contrasted with the nocturnal pictures of mountainous landscapes that Marina Vargas stand in opposition to the colourful and elaborate underworld; they act as a reflec- Santiago Ydañez tion of the gloomy reality that Ludwig II was attempting to escape in his grotto. Jesus Zurita Belinchón’s photographs produce connotations of a world of fantasy and unreal- ity. They reflect on the thin line between reality and fiction and allude to a pictorial COVER abstraction of surprising plasticity. Aesthetically, his photographs resemble the Sergio Belinchón shapeless materiality of not knowing what we are seeing. Sergio Belinchón returns Venus Grotto 2014 the natural elements of these architectural spaces and their manipulated geology Installation with 3 slide projects, to us in their natural form, without filters. 3 color slides and prints Variable dimensions

INSIDE Sergio Belinchón Venus Grotto 27 2014 Inkjet print on cotton paper 100 × 125 cm (Ed. 3 + 2 AP)

BACK Sergio Belinchón Venus Grotto 06 2013 Inkjet print on cotton paper 100 × 130 cm (Ed. 3 + 2 AP) MONIR FARMANFARMAIAN HAINES GALLERY, SAN FRANCISCO

VOLTA NY 2015 | BOOTH NUMBER C11

HAINES GALLERY: MONIR FARMANFARMAIAN

WEBSITE Iranian, b. 1924; lives and works in Iran. www.hainesgallery.com On the eve of artist Monir Farmanfarmaian’s major traveling retrospective at the E-MAIL Guggenheim Museum in New York, Haines Gallery is pleased to spotlight the artist’s [email protected] talents at VOLTA with a solo display of kaleidoscopic sculptures of mirrored glass, PHONE intricate works on paper, and rarely exhibited early work. This presentation coincides +1 415 397 8114 with the launch of her newest publication, Monir Shahroudy Farmanfarmaian: Works CELL on Paper, an illustrated interview by Hans Ulrich Obrist and others. +1 908 591 2445 Now at the height of her career, Farmanfarmaian has spent the last half-century CONTACT NAMES Cheryl Haines articulating her singular vision through reverse-painted glass and mirrored objects David Spalding that recall both Qajar-era Persian interior decoration and modernist abstraction of the 20th century. Having lived in New York during the 1940s and 1950s — first as an art student, and later as a fashion illustrator for the department store Bonwit REPRESENTED ARTISTS Teller, where she worked alongside Andy Warhol — Farmanfarmaian absorbed the Ai Weiwei development both of Pop Art and Abstract Expressionism. This unique perspective, Taha Belal Pierre Cordier combined with her existing awareness of the arts and crafts throughout the ancient Kota Ezawa cities of her native Iran, produced a singular aesthetic fusion of Persian pictorial Andy Goldsworthy language and pristine geometry. Won Ju Lim David Maisel Farmanfarmaian first received significant attention in 1958, when she was awarded Aimé Mpane a gold medal for her work in the Iranian Pavilion at the Venice Biennale, leading to Darren Waterston major exhibitions in Tehran, Paris, and New York. Due to the Islamic Revolution of Zhan Wang 1979, however, she was forced to leave Iran and took refuge in New York. She returned to Tehran in 2000, where she reestablished a vibrant studio practice, result-

COVER ing in an immense international resurgence of support for her work. Monir Farmanfarmaian Farmanfarmaian’s artwork has been exhibited at major institutions and exhibitions First Family – Square (detail) 2010 worldwide, including the 29th Bienal de Sáo Paolo, Brazil (2009), the 53rd Venice Mirror, reverse glass painting, Biennale (2009), and the 6th Asia Pacific Triennial of Contemporary Art, Queensland, plaster and natural glue on wood Australia (2010), and Prospect 3, New Orleans (2014). She is the subject of a sub- 33.5 × 33.5 × 5 in stantial monograph on the artist’s life and work, Monir Shahroudy Farmanfarmaian: INSIDE Cosmic Geometry, completed by Hans Ulrich Obrist of the Serpentine Gallery, Lon- Monir Farmanfarmaian don. Recent acquisitions of Farmanfarmaian’s work include: Tate Modern, London, Nonagon & Decagon 2009 U.K.; Museum of Fine Arts, Boston, MA; Guggenheim Museum, New York, NY; and Mirror and reverse glass painting Metropolitan Museum of Art, New York, NY. on plaster and wood 39.5 × 63 × 3.25 in

BACK (LEFT) Monir Farmanfarmaian Based on Hexagon 2012 Ink, mirror and reverse-painted glass on paper 30 × 42 × 2.75 in (framed)

BACK (RIGHT) Monir Farmanfarmaian Octagon Sculpture 2013 Mirror, reverse glass painting, plaster and natural glue on wood 24 × 28 × 28 in ALEX HAMILTON PATRICK HEIDE CONTEMPORARY ART, LONDON

VOLTA NY 2015 | BOOTH NUMBER C10

PATRICK HEIDE: ALEX HAMILTON

WEBSITE Buildings and landscapes disintegrate; waves sneakily take over an Australian har- www.patrickheide.com bour view or a South London street corner: in Alex Hamilton’s latest works the flow- E-MAIL ing lines lead your eye into an ambivalent architectural landscape that constantly [email protected] shifts between structure and dissolution. The artist challenges the conventional

PHONE reading of space through the interplay of a myriad of unexpected and unpredict- +44 20 7724 5548 able lines, waves and shadows with a set of recognisable anchor images. A palm

CELL tree -lined flyover turns futuristic; in the new Masters series, Hamilton explores in +1 646 797 7386 different stages the materiality of a retail chain building.

CONTACT NAMES Space is reinvented and reinterpreted through Hamilton’s trademark technique of Clara Andrade Pereira photocopying photographs onto watercolour paper and then manipulating the im- Patrick Heide ages with a variety of drawing materials and techniques. The possibilities of these interventions are endless; no work resembles the next, since each image is care-

REPRESENTED ARTISTS fully constructed by a unique assembly of partly erased and partly drawn areas. In David Connearn the body of work exhibited, the imagined takes over the documented, as Hamilton Pius Fox increasingly emphasizes the drawing aspect of his creative process. The blocks of Károly Keserü colour seen in previous works have now given way to subtle tonal accents, which Thomas Kilpper Minjung Kim guide the eye through the labyrinth of lines, where the boundaries between the Hans Kotter photographic starting point and the layers of charcoal, pen and airbrushed colour Sharon Louden are gradually blurred. Thomas Müller Reinoud Oudshoorn By asking us to re-orientate ourselves amidst the ordered chaos of the familiar and Susan Stockwell the imagined, Hamilton’s works open our tired eyes to the wonder of a distorted reality, a constant reminder of how subjective our perception is.

COVER Alex Hamilton was born in Adelaide (Australia) in 1958. He has widely exhibited in Alex Hamilton the UK, Australia and the US. His work is part of several high profile collections such Wave drawing with as the Saatchi Collection, the Victoria and Albert Museum, the Baltimore Museum Slipstream (detail) and the Denver Museum of Contemporary Art. 2014 Pitt pen on photocopy on canson watercolour paper 41.4 × 54 cm

INSIDE Alex Hamilton Bruni 2015 Pen and ink, charcoal pencil, pastel, airbrush, pitt pen, gouache on photocopy on 180 Grm watercolour paper 39.5 × 58.8 cm

BACK Alex Hamilton Victor Harbour 2015 Pen and ink, charcoal pencil, pastel, airbrush, pitt pen, gouache on photocopy on 180 Grm watercolour paper 41.5 × 50 cm MICHELLE GRABNER RICHARD HELLER GALLERY, LOS ANGELES

VOLTA NY 2015 | BOOTH NUMBER B1

RICHARD HELLER GALLERY: MICHELLE GRABNER

WEBSITE Wisconsin-born Michelle Grabner works in a variety of mediums including drawing, www.richardhellergallery.com painting, video, and sculpture. She is most widely known for her abstract metalpoint E-MAIL works and her paintings of textile patterns appropriated from everyday domestic [email protected] fabric. Incorporating writing, curating, and teaching with a studio practice grounded

PHONE in process and productivity, she has created a multi-faceted and dynamic career. +1 310 453 9191 Grabner holds an MA in Art History and a BFA in Painting and Drawing from the CELL University of Wisconsin–Milwaukee and an MFA in Art Theory and Practice from +1 310 866 1653 Northwestern University. She joined the faculty of the School of the Art Institute of CONTACT NAME Chicago in 1996, and became Chair of its prestigious Painting and Drawing De- Richard Heller partment in the Fall of 2009. She is also a senior critic at Yale University in the De- partment of Painting and Printmaking. Her writing has been published in Artforum, Modern Painters, Frieze, Art Press, and Art-Agenda, among others. She co-curated REPRESENTED ARTISTS Corey Arnold the 2014 Whitney Biennial at the Whitney Museum of American Art along with An- Firelei Báez thony Elms and Stuart Comer. AmyBennett NeilFarber I Work From Home, Michelle Grabner’s first comprehensive solo museum exhibition DavidJien at the Museum of Contemporary Art, Cleveland, organized by David Norr, opened PacoPomet in October of 2013 and was on view through February 2014. Grabner will be the CharlieRoberts subject of a forthcoming solo exhibition at the Indianapolis Museum of Art curated ZackSmith MaxSnow by Tricia Paik in May 2015. Solo exhibitions of Grabner’s work have also been held Devin Troy Strother at James Cohan Gallery, New York; INOVA, Milwaukee; University of Wisconsin, Milwaukee; Ulrich Museum, Wichita; and University Galleries, Illinois State Univer- sity. Grabner’s work is included in the permanent collection of Walker Art Center, COVER Minneapolis; MoCA, Chicago; MUDAM, Luxemburg; Milwaukee Art Museum, Wis- Michelle Grabner consin; Madison Museum of Contemporary Art, Wisconsin; Daimler Contemporary, Untitled (detail) 2014 Berlin; Smithsonian American Art Museum, Washington DC and the Victoria and Silverpoint on panel Albert Museum, London. 36 × 36 in

INSIDE LEFT Michelle Grabner Untitled 2014 Flasche and black gesso on canvas 36 inches in diameter

INSIDE RIGHT Michelle Grabner Untitled 2010 Gold and gesso on canvas 36 inches in diameter DUSTIN YELLIN RICHARD HELLER GALLERY, LOS ANGELES

VOLTA NY 2015 | BOOTH NUMBER B1

RICHARD HELLER GALLERY: DUSTIN YELLIN

WEBSITE Dustin Yellin is a contemporary artist living in Brooklyn, New York, who is best known www.richardhellergallery.com for his sculptural paintings. Multiple glass layers, each individually embellished, cre- E-MAIL ate a unified intricate, three-dimensional collage. His art is notable both for its mas- [email protected] sive scale and its fantastic, dystopian themes.

PHONE The work displays Yellin’s surreal romance with the detailed genius of the natural +1 310-453-9191 world and humankind’s dubious efforts to improve it. Yellin displays a ready willing- CELL ness to experiment with forms and materials, using bizarre found objects, eccentric +1 310-866-1653 clippings from diverse sources, computer-generated images, acrylic, and glass. CONTACT NAME Richard Heller Born in California and raised in Colorado, Yellin now resides in Brooklyn, New York where he founded the non-profit organization Pioneer Works, Center for Art and Innovation. He’s had solo exhibitions at James Fuentes Project Space, New York; REPRESENTED ARTISTS Robert Miller Gallery, New York; Patricia Faure Gallery, Los Angeles; and 20 Hoxton Corey Arnold Square Projects, London. Firelei Báez AmyBennett Yellin’s massive 12-ton, three-paneled, monumental work The Triptych made its NeilFarber museum premiere at the SCAD Museum of Art in Savannah, Georgia in early Febru- DavidJien ary 2014 and this year, from January to mid-March the sculpture will be displayed PacoPomet CharlieRoberts at S2, the New York gallery attached to worldwide auction house Sotheby’s. In this ZackSmith composition, with clippings, acrylic, and glass, Yellin perverts the view of nature MaxSnow displayed by the soaring landscapes of 19th-century romantics like Frederic Edwin Devin Troy Strother Church. The preternatural scene recalls the orgiastic, aberrant violence of Hiero- nymus Bosch, with the wickedly sunny garden recast as an ominous, roiling sea.

COVER From January 20th until March 1st, Yellin will exhibit an ensemble of fifteen Psycho- Dustin Yellin geographies at Lincoln Center, part of the New York City Ballet’s annual Art Series Untitled (small figure #38) initiative. 2014 Glass, acrylic and collage In March of 2015, Rizzoli will publish Dustin Yellin: Heavy Water, a detailed study of × × 35 13.75 7.75 in his most recent compositions. INSIDE (LEFT) Dustin Yellin Untitled (small figure #50) 2015 Glass, acrylic and collage 13.75 × 35 × 7.74 in

INSIDE (RIGHT) Dustin Yellin Psychogeography #43 2014 Glass, acrylic and collage 72 × 27 × 15 in

BACK Dustin Yellin The Triptych (detail) 2013 Glass, acrylic and collage DANIEL LEIDENFROST HILGER BROTKUNSTHALLE, VIENNA

VOLTA NY 2015 | BOOTH NUMBER A10

HILGER BROTKUNSTHALLE: DANIEL LEIDENFROST

WEBSITE The series of works by Daniel Leidenfrost contain in their original composition two www.hilger.at of the main topics of artworks in general: the forms of representation and the things E-MAIL and topics they present or stand for — things that are shown or should be shown. [email protected] Leidenfrost builds architectural and landscape models that he also uses as subjects PHONE for his photographs. In the process the photograph turns into a discrete piece of +43 1 512 53 15 art, while the model remains an integral component yet becomes more elusive and CELL harder to explore. In that setting, the structures and circumstances of production +43 65 0273 9650 are radically put on display. Production, questions of verisimilitude, the materiality CONTACT NAMES and the functions of media are reflected in Leidenfrost’s work. Ernst Hilger Michael Kaufmann What is remarkable in this process of production is the way that moods and emo- Katrin-Sophie Dworczak tions are transferred: the models have the character of handcrafted works and are reminiscent of lonely evenings in some railway workshop. The photographs evoke

REPRESENTED ARTISTS impressions of unfamiliar and at the same time well-known places in the viewer — Asgar/Gabriel strange and familiar, almost as in a dream. Daniele Buetti Clifton Childree Leidenfrost’s work takes on questions of truth, the construction of truth and the Faile relation between perception and knowledge. Peterson Kamwathi Anastasia Khoroshilova Daniel Leidenfrost, b. 1979 in Oberndorf next Salzburg. Graduated in 2008 with Di- Ángel Marcos ploma in Fine Art at the Academy of Fine Arts, Vienna. Grants: 2009 Studio grant of Julie Monaco Salzburg, Cite des Arts, Paris; 2011 Nomination for the Kardinal König Kunstpreis, Cameron Platter Salzburg, Vienna. Exhibitions (selection): 2010, November, Projektraum Viktor Bu- Michael Scoggins cher, Vienna; Dunst, Galerie 5020, Salzburg; 2012, Scheidungsgrund Architekten- haus, bb15, Linz; Hotel, Projektraum Viktor Bucher, Vienna; Europäischer Monat der

COVER Fotografie, MuSa, Vienna, Berlin, Paris; 2013, some Roads to somewhere, HilgerBrot Daniel Leidenfrost Kunsthalle, Vienna; 2014, Rooming-In, Fotoforum Braunau. Collections (selection): Playground II (detail) Collection of city of Vienna; Collection of the state Austria; Collection of the federal 2014 state Salzburg; Collection Lenikus, Vienna. C-print, ed. 2+1 40 × 60 cm

INSIDE Daniel Leidenfrost Playground III 2014 C-print, ed. 2+1 40 × 60 cm

BACK Daniel Leidenfrost Playground III / Scholle 2014 Mixed media 17 × 22.5 × 18.5 cm SIMÓN VEGA HILGER BROTKUNSTHALLE, VIENNA

VOLTA NY 2015 | BOOTH NUMBER A10

HILGER BROTKUNSTHALLE: SIMÓN VEGA

WEBSITE Simón Vega creates drawings, ephemeral sculptures and installations inspired in the www.hilger.at informal, self-made architecture and vendor carts found in the streets and marginal E-MAIL zones of El Salvador and Central America. These works, assembled with wood, card- [email protected] board, plastic and found materials often parody famous Modernist and mythological

PHONE buildings and cities, surveillance systems as well as high-tech robots and satellites +43 1 512 53 15 developed by NASA and the Soviet Space Program during the Cold War, creating an

CELL ironic and humorous fusion between first and third world, while commenting on the +43 65 0273 9650 effects of that conflict in today’s Central America. In his latest installation (on view at

CONTACT NAMES Ernst Hilger @ MANA Contemporary, Jersey City) the artist uses generic transporta- Ernst Hilger tion objects such as wooden pallets, plastic boxes, buckets, etc. along with colour- Michael Kaufmann ful cloth and plastic mantels, live plants, light, sounds, small T.V. monitors and flea Katrin-Sophie Dworczak market objects to construct a flexible, temporary sculptural lounge-space inspired in street vendor stands from El Salvador and Central America. Combining elements REPRESENTED ARTISTS from Modernist domestic architecture, Mesoamerican pyramids marketplaces and Asgar/Gabriel street vending displays from El Salvador. His works present different subjects, from Daniele Buetti historical, to archaeological to political & economic along with creative examples to Clifton Childree Faile everyday survival situations in Central America. Peterson Kamwathi Gallery Ernst Hilger has been working with Salvadorian artist Simón Vega since 2011. Anastasia Khoroshilova Ángel Marcos The gallery has the exclusive representation of his work in Europe since 2012. Julie Monaco Cameron Platter Born in San Salvador, El Salvador in 1972, Simón Vega graduated in Fine Arts at the Michael Scoggins University of Veracruz in Mexico in 2000 and received a Master´s degree in Contem- porary Arts from the Complutense University of Madrid in Spain in 2006.

COVER He has exhibited his work extensively in Europe, the United States and Latin Amer- Simón Vega ica, including the 55th Venice Biennial, the IX Havana Biennial, the Museo del Bar- Burned Toast Temple rio’s “The S-Files” show in New York in 2011 and at the Bronx River Art Center in 2014 2008, both in New York City, as well as at the BROT Kunsthalle and Gallery Hilger Wood, cardboard, plastic, found objects, paint Next in Vienna, Austria (2010 & 2012). He currently works and lives in El Salvador. 63 × 25 × 25 cm Collections (selection): Perez Art Museum Miami, Miami; MARTE Museo Nacional INSIDE del Arte, San Salvador; Collection Sanziany @ Palais Rasumofsky, Vienna; Art- Simón Vega philein Foundation, Lugano; Cassinelli Collection, Barcelona; Lodeveans Collec- Imperial Slum Ship 2013 tion, London. Wood, plastic, light, found objects 80 × 90 × 260 cm + trail

BACK (LEFT) Simón Vega TRASH WARS 2014 Box of 6 signed prints Lithograph on paper, edition of 50 30 × 30 cm

BACK (RIGHT) Simón Vega TRASH WARS 2014 Box of 6 signed prints Lithograph on paper, edition of 50 30 × 30 cm GUILLERMO PFAFF HIONAS GALLERY, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER C21

HIONAS GALLERY: GUILLERMO PFAFF

WEBSITE Guillermo Pfaff (b. 1976, Barcelona) completed his formal art studies in 1999 and www.hionasgallery.com began exhibiting commercially. Although at the time he worked in various media, E-MAIL painting soon became his most recurrent language. The decision to focus on paint- [email protected] ing involved a certain degree of self criticism: the artist conceptualized the pictorial

PHONE process in search of an approach that suited his circumstances. From 2002 to 2005 +1 646 559 5906 he left Spain to live in Paris and then Berlin. He returned to Barcelona the following

CELL year and produced a number of works at Hangar, the art production center, estab- +1 917 974 1703 lishing links with the Association of Visual Artists of Catalonia (AAVC). In 2009 Pfaff

CONTACT NAME recieved a grant to become a resident artist at Hangar for two years. In 2011 Pfaff Peter Hionas recieved a grant with residence at Yokohama’s art Triennial, Japan. Pfaff has exhibited in various group and solo exhibitions throughout Europe, Russia and Japan since 1999. In 2014 Hionas Gallery, NYC presented Inside-Out; Pfaff’s inaugural REPRESENTED ARTISTS Marina Adams Exhibition in the United States of America. Followed by a presentation of Guillermo Siri Berg Pfaff’s Paintings at the 2014 installment of Untitled Art Fair Miami. Karlos Carcamo Dennis Hollingsworth AaPFAFF is the artistic project of Guillermo Pfaff. The aim is to reflect the concept of Jill Levine painting in the 21st Century through painting itself in relation to the circumstances Burton Machen and what it should represent. Guillermo Pfaff David Rhodes Rebecca Smith Joan Waltemath

COVER Guillermo Pfaff Inside-Out Painting (detail) 2014 Enamel on stretcher bars, Oil on linen 68 × 53 in

INSIDE Guillermo Pfaff Inside-Out installation view October 17 – November 16 2014 Hionas Gallery, New York

BACK Guillermo Pfaff Space Painting 2014 Bleach and oil on canvas 26 × 21 in GABRIEL PIONKOWSKI THE HOLE, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER D13

THE HOLE: GABRIEL PIONKOWSKI

WEBSITE For VOLTA NY the Hole will present a solo booth by artist Gabriel Pionkowski (b.1986) www.theholenyc.com Pionkowski reimagines painting by delving deeper into the idea of canvas stretched E-MAIL over wood and covered with paint. Instead he de-threads the canvas, paints onto [email protected] the threads and then re-weaves the threads into a new “painted canvas.” In these PHONE laboriously hand-made artworks for which he doesn’t use assistants, Pionkowski +1 212 466 1100 exhibits a variety of works that highlight different aspects of the technique and pro- CELL voke different feelings. The largest work in the booth features a piece with wide +1 917 698 3235 (Krysta Eder) draping painted threads, woven only along the borders with the stretchers visible. CONTACT NAMES This piece looks like the warp was removed from the weft of the canvas and the Kathy Grayson painting sagged into obscurity. Whereas the work on the opposite wall features two Krysta Eder layers of de-threading and reweaving and is more about drawing: after the canvas is rebuilt from painted threads, a line drawing is painted on the surface before the

REPRESENTED ARTISTS new painting is further cut into strips and woven a second time. This integration of Kadar Brock painting onto the surface adds a double depth to the piece in content and structure. Evan Gruzis Other works on our outside walls are more deconstructed; in one, the slats used to Misaki Kawai hold the weave are left in the piece and the half-woven work is draped over a pole. KATSU Taylor McKimens in a second, flaps of weaving fold out or drape in a piece reminiscent of a tailor’s Evan Robarts shop. All works in the booth large to small force us to re-imagine what we think of Lola Montes Schnabel when we think of a painting. Kasper Sonne Matthew Stone Jaimie Warren

COVER Gabriel Pionkowski Untitled 2012 Deconstructed, hand-painted and woven canvas, acrylic, red fir, maple, metal clips 91 × 18.5 × 6 in 231.14 x 97.79 × 15.24 cm (variable)

INSIDE Gabriel Pionkowski Untitled 2013 Deconstructed, hand-painted and woven canvas, acrylic, red fir, artist’s frame, nails, aluminum clip. screws 72 × 48 in 182.88 × 121.92 cm

BACK (LEFT) Gabriel Pionkowski Untitled 2011 Deconstructed, hand-painted and woven canvas, acrylic, pine, gesso 50 × 27 in 127 × 68.58 cm

BACK (RIGHT) Gabriel Pionkowski Untitled 2014–2015 Deconstructed, hand-painted and woven canvas, acrylic, pine, nails and staples 91 × 18.5 × 6 in 231.14 × 97.79 × 15.24 cm MAÏMOUNA GUERRESI MARIANE IBRAHIM, SEATTLE

VOLTA NY 2015 | BOOTH NUMBER C9

MARIANE IBRAHIM: MAÏMOUNA GUERRESI

WEBSITE Maïmouna Patrizia Guerresi is a photographer, sculptor, installation artist who lives www.marianeibrahim.com between Italy and Senegal. Her work originates from conceptual experimentations E-MAIL inspired by the 1970s Body Art. Guerresi, early in her career, in 1982 and 1986 was [email protected] invited to participate in the Venice Biennale as well as Documenta K18 in Kassel,

PHONE Germany in 1987. +1 206 467 4927 In 1991, Guerresi travelled to various Muslim African countries. This journey marked CELL her new identify and the direction of her body of work. She adopted the name Maï- +1 602 463 1169 mouna and focused on recurring themes about multicultural symbolism and femi- +1 206 734 6440 nine spirituality. CONTACT NAMES Mariane Ibrahim-Lenhardt In 1999, Guerresi presented her first set of white resin sculptures, Bui Bui: veiled Emma McKee women sitting in a circle, accompanied by her remarkable video ‘The Virgin of the Rocks’. Various shows associated with this theme followed in Italy, Spain, Africa and the USA. For the 2006 Winter Olympics in Turin, she presents her large-scale REPRESENTED ARTISTS ‘Light Signs’ sculpture, a year later in collaboration with the Arterra Museum, she Jim Chuchu Soly Cisse exhibits two photographic works and a video at the Faccia Lei exhibition, at the Scarlett Coten Venice Biennale. Negar Farajiani Ayana V. Jackson Her search of the ‘mystic body’ entices her to create a new form of language con- Sofie Knijff stituted from traditional iconographic references such as Saints or Virgin Mary’s. In Fabrice Monteiro her “Giant” series, the artist depicts the floating bodies as a metaphor of the soul, Jean-Claude Moschetti constantly blurs the gender of her subjects and marks a white line on their faces Malick Sidibe Kimiko Yoshida to form a balance of body and soul. Guerresi’s work is linked both to Western cultures and Sufi philosophy; her recent works, M-Eating (meeting+eating) reflect a fusion of cultural and religious influences and present the status of contemporary COVER man and his relation-ship to society. An almost meditative and contemplative re- Maïmouna Guerresi flection where the protagonists interrelate and seem to expect the spiritual voice Supha that will save humanity. 2008 Resin and fabric For over twenty years, Guerresi’s poetic work has been about empowering women, 85 × 60 × 47 cm + bringing together individuals and cultures in an appreciation for a context of shared, 400 cm fabric humanity beyond psychological, cultural and political borders. INSIDE Maïmouna Guerresi Guerresi’s powerful and authentic work has been widely curated, exhibited at inter- Black Oracle (Cosmo) nationally acclaimed fairs and biennales. Her artwork has been collected by private 2009 and public collections. Lambda print on plexiglass (16 circular pieces) 80 × 80; 50 × 50; 48 × 48; 38 × 38; 31 × 31; 27 × 27; 22 × 22; 18 × 18; 15 × 15; 11.5 × 11.5; 10 × 10; 7 × 7; 5 × 5; 5 × 5; 3 × 3; 3 × 3 cm

BACK (LEFT) Maïmouna Guerresi M-Eating, White Rubber Tire - First Lesson 2014 Lambda Print on dibond 100 × 41 cm each (x 4 piece) + 3 cm space Total encumbrance 100 × 173 cm

BACK (RIGHT) Maïmouna Guerresi Surprise 2010 Lambda Print 100 × 63 cm BALÁZS KICSINY INDA GALLERY, BUDAPEST

VOLTA NY 2015 | BOOTH NUMBER D18

INDA GALLERY: BALÁZS KICSINY

WEBSITE With a long list of solo shows, participations and lecturing across Europe and the www.indagaleria.hu US in his backpack, 2005 Venice Biennale participant Balázs Kicsiny is now back E-MAIL in New York at the booth of Inda Gallery. This time, he presents sculpture, painting [email protected] and video, all connected to Carambole, a game of the billiard family. For Kicsiny,

PHONE this game is a performative expression of coincidence, determination and destiny. +36 1413 1960 The sculptural piece of the show is Epilogue to the Anthem (2013), an object as- CELL semblage, a combination of a billiard table and a coffin. This object ignores gravity +36 307 304 230 by standing upright, leaning against the wall, with three billiard balls, two white and CONTACT NAMES one red, on its green surface. Zsolt Kozma Agnes Taller The second work is The State of Play, a looped video that depicts a billiard table, filmed from above in a way that the table fits the screen’s edges. The burning billiard balls, beauteous and dramatic, are also destructive with their flames as they REPRESENTED ARTISTS roll across the table. Kicsiny’s video has reminiscences of Jean Pierre Melville’s film Marianne Csáky Le Cercle Rouge (1970). Lajos Csontó Márta Czene “…Le Cercle Rouge was basic to this work, as was the fact that somehow I had Kim Corbisier got fascinated with billiards. I took classes, and wanted to know everything about Róza El-Hassan Judit Fischer the game. I did some research on the Internet, and found that a famous player had Endre Koronczi died shortly before. This related the themes of death and billiards, the game and Judit Navratil irreversibility for me... this was how the billiards table became a coffin, with the Kamen Stoyanov burning balls leaving those irreversible marks…” Ádám Szabó The paintings in the show continue the subject of the absurd billiard game. Here, the player interacts with the billiard table through impossible maneuvers, like bal- COVER ancing, laying or kneeling on the three billiard balls, under a coffin-lamp, a special Balázs Kicsiny kind of lighting for this game of balance and control. Epilogue to the Anthem 2013 www.balazskicsiny.com Textile, billiard balls, wood, varnish The book Balázs Kicsiny: Killing Time, Mildred Lane Kemper Art Museum, Washing- 200 × 120 × 50 cm ton University in St. Louis, 2014, is available at the booth. INSIDE Balázs Kicsiny Ordination series, 1. 2013 Gouache on paper 21 × 29.5 cm

BACK Balázs Kicsiny The State of Play 2013 Looped video KENYATTA A.C. HINKLE JENKINS JOHNSON GALLERY, SAN FRANCISCO | NEW YORK

VOLTA NY 2015 | BOOTH NUMBER B13

JENKINS JOHNSON GALLERY: KENYATTA A.C. HINKLE

WEBSITE Kenyatta A.C Hinkle is an interdisciplinary visual artist, writer, and performer who www.jenkinsjohnsongallery.com integrates cultural criticism, personal narrative, social practice, and historical re- E-MAIL search to interrogate structures of power concerning race and representation. Hinkle [email protected] questions how these structures influence ideas of self through drawing, painting,

PHONE collage, video, and performance. Hinkle conducts extensive experimentation and +1 415 677 0770 play to form several bodies of work simultaneously.

CONTACT NAME Her work was shown in The Studio Museum in Harlem’s Fore exhibition, and she Karen Jenkins-Johnson was the youngest participant in the Made in LA 2012 biennial at the Hammer Mu- seum in Los Angeles. She was listed on The Huffington Post’s “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know.” Her artwork and perfor- REPRESENTED ARTISTS Ben Aronson mances have been reviewed by Artforum, The New York Times, The Washington Lalla Essaydi Post, and the Los Angeles Times, among others. She was a finalist for the 2013 Tim Etchells Los Angeles Artadia Award. Ms. Hinkle will be featured in an upcoming article in Julia Fullerton-Batten Transition Magazine, a Harvard University Publication. Hinkle is currently working Scott Fraser Annie Kevans on the following two projects: Gordon Parks The Uninvited Series, started 2008: Through drawing and painting interventions, Patricia Piccinini Melanie Pullen Hinkle reconstructs narratives of late 19th and early 20th century West African eth- Timotheus Tomicek nographic photography taken by French colonialists that were heavily distributed throughout Europe as postcards to enforce the construction of the African (and black) female body as exotic, hypersexual, and primitive. By drawing and painting COVER on top of these photos, Hinkle uses the metaphor of disease as colonialism to rep- Kenyatta A.C. Hinkle resent the ramifications of colonial conquest. Traditional Attire of the Asheentee Healing People of Central Kentifrica The Kentifrica Project, started 2010: Kentifrica is the continent of Hinkle’s ances- 2014 tral origins that has a mélange of cultures and influences from Kentucky and parts Cotton, synthetic fiber, deerskin, pigment, beads, mirrors, thread of West Africa. Kentifrica is meditation on what can and cannot be mapped when dimensions variable dealing with constructions of cultural identity. Within the project Hinkle takes on the

INSIDE roles of an auto-ethnographer, performer and museum director. She adopts various Kenyatta A.C. Hinkle forms of presentation: essays, interviews, storytelling artifacts, drawings, and video The Bastion to embody a Kentifrican consciousness. The Kentifrican Museum of Culture is a dia- 2015 sporic museum/social practice project that involves collaborations with artists and Gouache, cotton paper, India ink, collage on wood panel people who do not formally identify as artists in order to examine Kentifrican identity. 8 × 10 in

BACK (LEFT) Kenyatta A.C. Hinkle The Baracas: An Ancient Kentifrican Instrument that tracks the orbits of distant planets, re-created with Kevin Robinson and Eugene Moon for the Ethnomusicology of the Kentifrica project. 2012 Wood, silver, pigment 18 × 6 in

BACK (RIGHT) Kenyatta A.C. Hinkle Tituba Siphons Up Her Spectators in Order to Feed Her Young 2013 India ink and compressed charcoal on paper 48 × 48 in

All images copyright Kenyatta A.C. Hinkle ROBERT ARMSTRONG KEVIN KAVANAGH, DUBLIN

VOLTA NY 2015 | BOOTH NUMBER D7

KEVIN KAVANAGH: ROBERT ARMSTRONG

WEBSITE ‘One of the hallmarks of Armstrong’s talent is his tact. While his work depends for www.kevinkavanagh.ie some of its strength on his reading of the work of painters from the past, and his E-MAIL thinking about the history and process of painting, it also depends on a sort of [email protected] controlled spontaneity, a sense of free gesture, quick mark, brave addition. There

PHONE is something distinctly anti-heroic in how he approaches the making of an image. +353 1 475 9514 Thus he will take a small section of an earlier painting rather than its entire import;

CELL he will almost playfully extract a colour or an image, and then see what will hap- +353 86 396 2248 pen as he lets this merge with his own concern with making new images which are

CONTACT NAME open-ended and suggestive, which come from the mind and from dreams, or which Kevin Kavanagh come from some set of imaginative resources which lie at the heart of his talent, a talent which is both considered and ready, as he paints, to surprise us and himself.’

— Colm Tóibín REPRESENTED ARTISTS Elaine Byrne Robert Armstrong (b. 1953, Ireland) lives and works in Dublin. Recent shows include Diana Copperwhite Assumptions, Kevin Kavanagh (2014), New Connections, Rua Red (2011), Blimp on Nevan Lahart Vanessa Donoso Lopez the Horizon, Kevin Kavanagh (2009). He is a founder member of Temple Bar Gal- Sean Lynch lery and Studios, and Head of Painting at the National College of Art and Design. Sinéad Ní Mhaonaigh Paul Nugent Kevin Kavanagh is one of the Ireland’s premier galleries showing Irish and internation- Sonia Sheil al contemporary art. Founded in 1998, in 2008 the gallery moved to a custom-built Mark Swords 135m² space in the centre of Dublin. It represents both established and emerging Colm Tóibín artists from Ireland and abroad. The gallery’s annual programme consists of 8 solo Ulrich Vogl and 2 curated group shows as well as special events, screenings, performances, artist’s talks and participation at international art fairs. The gallery has published

COVER over 30 books on art. Robert Armstrong Wandering Cloud 2014 Oil on linen 30 × 40 cm

INSIDE Robert Armstrong Sigiriya 2015 Oil on linen 90 × 120 cm

BACK Robert Armstrong The Problem of Rain 2013 Oil on linen 40 × 50 cm TILO BAUMGÄRTEL GALERIE KLEINDIENST, LEIPZIG

VOLTA NY 2015 | BOOTH NUMBER A4

GALERIE KLEINDIENST: TILO BAUMGÄRTEL

WEBSITE Baumgärtel thinks in filmic and theatrical terms, and his staged spaces have an www.galeriekleindienst.de extraordinary unity as painterly compositions. Within his complex pictorial arrange- E-MAIL ments, his figures are exposed in their isolation. They are shown in interior and ex- [email protected] terior spaces, frozen mid-step as they realize that they have entered at the wrong

PHONE time. They wait on staircases and in hallways, on beaches and wharfs; they meditate +49 341 477 4553 at writing desks or pianos or blow their psychoplasm pensively at the moon, always

CELL with unmoved faces (some reveal their dreams and yearnings, floating above their +49 170 808 5816 heads in the kind of speech bubbles found in comics). The pictorial spaces that

CONTACT NAMES Baumgärtel creates are like memories and fantasies torn from their proper homes, Matthias Kleindienst offering visions of incipient decay or a looming downfall — we can’t help but feel Christian Seyde we are looking at the visualization of someone’s worst-case scenario. This unsettling world is one of beguiling possibilities — of the dark, of threatening incidents, or of the menace of something unforeseen that enshrouds the figures in their post- REPRESENTED ARTISTS catastrophic surroundings. Baumgärtel’s paintings have considerable affinity with Peter Busch Christian Brandl the great decades of the late nineteenth and early twentieth centuries — the spirit Henriette Grahnert of Max Klinger; Arnold Böcklin and Edvard Munch with a leavening of Giorgio de Julius Hofmann Chirico. The contemporary relevance of his work is anchored in his respect for tra- Tobias Lehner dition and in a sense of rootedness within it. He has thrown the window of memory Rosa Loy Nadin Maria Rüfenacht wide open and made the past contemporary. Christoph Ruckhäberle (Excerpt of Christoph Tannerts: Tilo Baumgärtel, Vitamin P2. New perspectives in Annette Schröter Corinne von Lebusa painting, 2011, Phaidon, 48-49.)

COVER Tilo Baumgärtel Untitled (detail) 2014 Charcoal on paper 140 × 220 cm

INSIDE Tilo Baumgärtel Untitled 2014 Charcoal on paper 140 × 220

BACK Tilo Baumgärtel Motivation 2009 Charcoal on paper 120 × 200 cm FUYUKI MAEHARA GALLERY KOGURE, TOKYO

VOLTA NY 2015 | BOOTH NUMBER F5

GALLERY KOGURE: FUYUKI MAEHARA

WEBSITE Please see this sculpture. This is a wooden sculpture by Fuyuki Maehara. For several www.gallerykogure.com months, he carved one log without compromise by the blade remodeled by him to E-MAIL be thinner. And in the next several months he paints it with oil for completion. Mae- [email protected] hara’s biography is unique. Although he loved to create objects, he did not like art

PHONE classes at school. After high school, he tried to be a professional boxer and changed +81 3 5215 2877 jobs frequently. However, when his fellow workers passed an entrance exam for a

CONTACT NAME college, Maehara started to sit for entrance exams for art colleges. After several Hiroshi Kogure rejections,he passed the examination for Oil Painting Department of Tokyo National University of Fine Arts and Music in 32 years old. Even so, he did not devote himself into continuously piling up the oil paints for a picture but chiseling away the material REPRESENTED ARTISTS for a sculpture. Maehara taught himself carving techniques, and concentrated on Atsuko Goto the subtracting process of sculpturing. The ethos of removal leads him to find the Fuco Ueda Hidenori Yamaguchi elegance of forgotten sceneries or the moment an object has surpassed its prime. Keita Tatsuguchi It is easy to be distracted by his technique such as sculpting from one log, or repro- Kenichiro Ishiguro ducing the model as is. However, I emphasize his essence does not stay there. We Ryo Shiotani must see the spirituality as the most significant aspect of his work. After experiencing Takahiro Hirabayashi Takahiro Yamamoto different lives, Maehara has reached to the stage to observe continuously his own Takato Yamamoto loneliness. This makes him feel through his skin impermanence of any things (which Taiichiro Yoshida is the basic teaching of Buddhism), and find simple and modest beauty within. As he works meticulously, Maehara can’t produce many works in a year. In addition, the structure of his sculpture is so delicate that it is rare to exhibit his work in num- COVER bers. In the contemporary art, many voices have shouting matches with glitter and Fuyuki Maehara Spiral Man concept with C. In contrast, the world of Maehara is quiet. His work discloses the 2014 beauty of simple existence, which is the most atypical and avant-garde nowadays. Japanese horse-chestnut, Oil 6 × 28 × 3 cm

INSIDE Fuyuki Maehara Ikkoku 2014 Magnolia Obovata, Box tree, Oil, Traditional ink 72 × 16 × 10 cm

BACK Fuyuki Maehara A crab 2006 Tsuge, Oil 9.5 × 4.5 × 2.3 cm (crab) 12.2 × 7.5 × 2 cm (marble) ROBERT FRY GALERIE KORNFELD, BERLIN

VOLTA NY 2015 | BOOTH NUMBER B4

GALERIE KORNFELD: ROBERT FRY

WEBSITE Recently listed among the ‘100 Painters of Tomorrow’, British artist Robert Fry www.galeriekornfeld.com presents a selection of mixed media on canvas and etchings.

E-MAIL Much of Fry’s work features the human body. His intricate, complex figures stand, [email protected] either in groups or pairs, naked, exposed and dominate the canvas. Fry’s work si- PHONE multaneously reveals and conceals a lot about his subjects. He uses the male body +49 30 889 225 890 as a means to unlock complex, inner psychological processes and sensations. CELL +49 157 3751 5827 The cycle of life is at the heart of Fry’s work. There is a deeply spiritual element to his practice, which can be read as a perfect symbiosis of thinking, suffering, pain and CONTACT NAMES Julia Prezewowsky expectation. Fry engages with the issues surrounding relationship and succession. Alfred Kornfeld In the implementation of his themes, Fry has achieved his own distinctive visual language, one that is strongly embedded in the tradition of British painters and can be seen as further development of the intellectual and stylistic heritage of Francis REPRESENTED ARTISTS Jose’ M. Ciria Bacon and Lucian Freud. Robert Fry seems to share his predecessors’ concerns Stephane Couturier with not only depicting the figure in space, but also attempting to point to the es- Natela Iankoshvili sence of what it means to be human. Franziska Klotz Tamara Kvesitadze Robert Fry (London, *1980) was nominated for the prestigious John Moore Con- Alexander Polzin temporary Painting Prize. Recently he has been listed among the ‘100 Painters of Susanne Roewer Tomorrow’. His works have been shown at the Hermitage Museum of St.Petersburg, Hubert Scheibl Leonardo Silaghi in LA and extensively throughout Europe. He is represented in prominent collections Sonny Sanjay Vadgama worldwide, including the Saatchi Collection, the Museum of Modern Art Moscow and the collection of Mario Testino.

COVER Robert Fry Unique Self Etching 2013 Etching, hand colored 16 × 12 in 42 × 30 cm

INSIDE Robert Fry Red 11 2012 Acrylic, Oil, Enamel on Canvas 78 × 112 in 198 × 285 cm

BACK Robert Fry Colored Diptych Part 1 2013 Etching on zinc plate 30 × 45 cm QUISQUEYA HENRÍQUEZ LYNCH THAM, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER C20

LYNCH THAM: QUISQUEYA HENRÍQUEZ

WEBSITE In 2013 Quisqueya Henríquez did an Artist in Residence program at the Bronx Mu- www.lynchtham.com seum. Her idea was to work with something related to the city, but within the con- E-MAIL text of her work. The resulting works linked the idea of eliminating blank spaces, [email protected] working with shapes and color saturated surfaces to somehow break the continuity

PHONE of the white cube. Her first influence in this genre was the architect Arne Jacobsen. +1 212 387 8190 Her first pattern, for Art Positions in 2008, Art Basel Miami, was a recreation of one

CELL of his fabric illustrations, and in years follow, she have created other patterns with +1 917 327 3580 images from works of art, architectural fragments, geometric forms and any other

CONTACT NAMES items that caught her attention. Florence Lynch The works presented at VOLTA consist of two aspects: the patterns and the pho- Bee Tham tographs of the collages made from recognizable works of arts.

Of significance, and considering MoMA as one of the central icon of culture in New REPRESENTED ARTISTS York, she used images of pieces in the institution’s collection that are available on Tiong Ang its website. After selecting and printing the pieces, she builds small sculptures of Carolina Raquel Antich Leonard Bullock photographic paper. Some are works by Ellsworth Kelly, Jackie Winsor, Dorothea Pedro Calapez Rockborne, and Carmen Herrera, among others. After building the collages/sculp- Guglielmo Achille Cavellini tures, she photographed them. The last step ends up being a picture of the original Carlo Ferraris collage, which is framed and then goes into the framed pattern. The pattern is the Quisqueya Henriquez Greg Kwiatek backdrop where the collage will hang. The final result is a mesmerizing display of Walter Robinson patterns and colors.

Quisqueya Henríquez, a leading figure among Caribbean artists, was born in 1966 in Havana, Cuba, and raised in Dominican Republic where she currently lives. She COVER Quisqueya Henríquez graduated from the ISA, Instituto Superior de Arte, Havana, Cuba, in 1992 and have Frederick Hammersley since developed a distinguish career, exhibiting in well-known institutions include the And Ellsworth Kelly (detail) Perez Museum, Miami; Miami Art Museum, The Bronx Museum, Brooklyn Museum, 2014 Institute of Visual Arts, Milwaukee, Contemporary Art Museum, Baltimore, Museo Collage on Ink Jet Print on Hahnemuhle paper mounted on Rufino Tamayo, Mexico City. Exhibition reviews and articles were published in Art in Dibond (Frame inside a frame) America, Artforum, Frieze Magazine, ARTnews, Sculpture Magazine, The New York 36 ¾ × 60 in Times, Art Papers, among others. Artist Residencies include Mattress Factory, Pitts-

INSIDE burgh, Pennsylvania; French Academy in Rome at Villa Medici, Rome, Italy; Inova, Quisqueya Henríquez Institute of Visual Arts at The University of Wisconsin in Milwaukee; McColl Center Lothar Schreyer / Donald Judd for Visual Arts, Charlotte North Carolina; Bronx Museum of the Arts, Bronx, NY. 2014 Collage on Ink Jet Print on Henríquez was the commissioned artist under the program Davidoff Art Initiative, Hahnemuhle paper mounted on for the first Davidoff Limited Art Edition cigar boxes featuring original commissioned Dibond (Frame inside a frame) 36 ½ × 55 in artwork by the artist. The editions launched in 2014 at Art Basel Hong Kong and were presented in the Davidoff Collectors’ lounge at Art Basel Miami beach, 2014. BACK (LEFT) Quisqueya Henríquez Ana Mendieta / Morris Louis 2013 Digital Collage on Hahnemuhle paper 10 × 12 in

BACK (RIGHT) Quisqueya Henríquez Piero Manzoni / Georgia O’Keeffe 2013 Digital Collage on Hahnemuhle paper 10 × 12 in NOBUAKI ONISHI MA2GALLERY, TOKYO

VOLTA NY 2015 | BOOTH NUMBER D2

MA2GALLERY: NOBUAKI ONISHI

WEBSITE Nobuaki Onishi creates objects by casting transparent resin into molds made out of www.ma2gallery.com objects found in our daily life. He then skillfully paints parts of his work, replicating E-MAIL a realistic look, which leads his work to become a unique piece of art. He makes [email protected] art that is hard to tell if it was real at first sight. He is interested to see how viewers

PHONE respond to the superficial appearance of the objects and how they distinguish the +81 3 3444 1133 artificial objects from the real.

CELL +81 80 1132 3353 ARTIST STATEMENT

CONTACT NAMES This is something that happened to my mother in the past. Someone witnessed her Masami Matsubara in a completely different place from where she as a person exists. I had no sense Meiko Kobayashi of fear or curiosity of the occult towards this so-called doppelganger effect, but the fact that the presence was there at all felt more real to me then my mother who actually spoke and breathed. REPRESENTED ARTISTS Akihiro Higuchi My work consists mostly of using casting and woodblock printing techniques with Ken Matsubara resin, scraping off the object surface, transitioning it to a different material through Keisuke Kondo the application of colors indistinguishable from the real thing. For example, in us- Kyotaro Hakamata Mats Gustafson ing glass as the motif in my work titled garasu, it has a surface that is as close to Mikiya Takimoto glass as one could achieve, and yet is an object that exists as a completely differ- Naoko Sekine ent entity from glass, torn apart between these two bodies. The clearer the glass, Tamotsu Fujii the clearer the images of the scene opposite transferred to this side, and vice versa Tomotaka Yasui Yasuko Iba with equally clear images of the scene on this side. In other words, it is a unique object that exists in an ambiguous territory, in which the more transparency there is, the more tension there is.

COVER Glass attains its most elevated material texture when it cracks, shatters into smith- Nobuaki Onishi Denkyu ereens, or occasionally cuts my hand. Superbly accurate work lies in extracting only 2014 the surface details of the glass and nothing more. That surface is not converted into Acrylic, mixed media something else, nor is there any verbal sharing of emotions or a theme for making 6 × 6 × 15 cm the right judgment. However, there is no denying the fact that the exact same sur- Cord size variable Unique face as the glass is present, along with the dissimilarities.

INSIDE When the object is transformed into another object, with all of its human relationships Nobuaki Onishi severed even while retaining the same surface as glass, its presence becomes “noth- Chen ing.” Because it no longer exists as something this or something that, it becomes 2014 more powerful, engaging the humanistic senses and memories, as if to become a Paint on resin Size variable container for all kinds of consciousness to flow into. Just like the Japanese sense of Unique nature, things lying around like rocks or shards of glass at times become the memory

BACK of weightiness, at times become humor, and at times become paranormal entities. Nobuaki Onishi This could be described as the doppelganger transformation of all things and facts. Yushitessen (part) 2014 — Nobuaki Onishi Paint on resin 20 × 20 × 3.5 cm Unique ADRIAN TONE MAKEBISH, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER D1

MAKEBISH: ADRIAN TONE

WEBSITE Adrian Tone makes big pictures that are meant to seem quick and intuitive, like www.petermakebish.com sketchbook drawings. He is attracted to the freedom to experiment that comes so E-MAIL naturally when working small and wants to bring the same sense of immediacy into [email protected] the large works. It is important they don’t look contrived. They are a flash snapshot.

PHONE The pictures are 4 x 8 feet, a standard sheet of material. They are made with acryl- +1 917 741 0077 ic, pigment, and paper which can then be directly attached to an aluminum sheet. CONTACT NAME Making them involves painting, printmaking, and photographic mounting processes. Peter Makebish One of the reasons they are vertical is because he wants them to be looked at, not landscapes to be looked into. While they are associative (plastic bags, dead skin, COVER transparent veils) it is important they look as an object, as a thing, as a piece of Adrian Tone material first. They are both what they are and a representation of themselves at Untitled the same time. They talk about how they are made: torn, dislodged, washed up 2014 Acrylic on and patched up. watercolor paper 48 × 96 in

INSIDE Adrian Tone Untitled 2014 Acrylic on watercolor paper 48 × 96 in

BACK (LEFT) Adrian Tone Untitled 2014 Acrylic on watercolor paper 48 × 96 in each

BACK (RIGHT) Adrian Tone Untitled 2014 Acrylic on watercolor paper 48 × 96 in NATASHA MAZURKA PATRICK MIKHAIL GALLERY, OTTAWA | MONTREAL

VOLTA NY 2015 | BOOTH NUMBER D17

PATRICK MIKHAIL GALLERY: NATASHA MAZURKA

WEBSITE For VOLTA NY 2015, PATRICK MIKHAIL GALLERY and Natasha Mazurka have cre- www.patrickmikhailgallery.com ated Generate/Regenerate, a site-specific installation of embossed drawings, paint- E-MAIL ings, and cut-vinyl patterns that investigates the design and expression of pattern [email protected] systems as a means to connect with other living systems. By engaging visual syntax

PHONE from assorted disciplines and eras, Mazurka explores how the designs we create +1 613 746 0690 are shape-shifting and regenerative — a reflection of ourselves in contact with the

CELL external world. +1 613 276 3243 A biomorphic whiplash motif marks the starting point of Generate/Regenerate; the CONTACT NAME iconic symbol of Art Nouveau and a potent emblem of fin-de-siècle fusions between Patrick Mikhail industry and design, natural science and art. The year 2015 marks the centennial of Art Nouveau’s demise and its approach to industrial modernity, which was ripe with fantasy, science fiction, mythology and subjectivity, and rich in patterns inspired by REPRESENTED ARTISTS Sara Angelucci nature, industry and Japanese design. The installation draws on this past era of re- Jessica Auer generation to engage with the broader processes of regenerative systems and the Scott Everingham nature of pattern languages, which rely on limited means to continuously map the Jay Isaac world around us. Mazurka’s art practice investigates the communicative potential Thomas Kneubühler Jennifer Lefort of pattern and addresses the role of pattern systems as sites that order experience Amy Schissel with both trans-cultural and trans-disciplinary histories. Cindy Stelmackowich Andrew Wright Mazurka earned an Honors BA from McMaster University, and an MFA from Con- Michael Vickers cordia University where she was the recipient of the J.W. McConnell Fellowship. Recent exhibitions include Recombinant, Prince Takamado Gallery, Tokyo, Japan; Papier Contemporary Art Fair, Montreal; Still Light, Karsh-Masson Gallery, Ottawa, COVER Canada; and Natural Motif, Ottawa Art Gallery, Ottawa. Her work is held in numer- Natasha Mazurka ous collections including Foreign Affairs Canada; City of Ottawa Fine Art Collection; Hydra (detail) 2015 Canadian Fine Art Collection of Gotland, Sweden. She has participated in residen- Design for Cut Vinyl Pattern cies including the Brucebo Fine Art Fellowship and Residency, Gotland, Sweden; 108 × 72 in the Vermont Studio Center Painting Fellowship and Residency, Johnson, VT; and a

INSIDE Media Arts Creation Residency from DAïMON, Gatineau, Québec. Natasha Mazurka PATRICK MIKHAIL GALLERY is committed to launching new and relevant bodies Index II, Set Two 2015 of work through its program of exhibitions, curatorial and academic collaborations, Hand Embossed off-site projects, and international art fairs and festivals. Through its vital relation- Parchment Paper ships with museums, institutions, corporate collections, arts professionals, and con- 12 × 17 in sultants, the gallery has placed works in the National Gallery of Canada, Canadian Museum of Contemporary Photography, Musée national des beaux-arts du Qué- bec, Foreign Affairs Canada, Canada Council Art Bank, City of Ottawa Collection, Ottawa Art Gallery, Nova Scotia Art Bank, National Portrait Gallery, and numerous international corporate collections. The Gallery has previously exhibited at VOLTA NY 2013 and 2014, and VOLTA 10 BASEL, and its artists have recieved 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 Maga- zine, Afterimage, and Next Level.

PATRICK MIKHAIL GALLERY is a member of the Art Dealers Association of Canada and l’Association des galeries d’art contemporain. RUDY SHEPHERD MIXED GREENS, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER B12

MIXED GREENS: RUDY SHEPHERD

WEBSITE Since 2007, Rudy Shepherd has focused on how people are visually represented mixedgreens.com and the often problematic way mass media illustrates its stories through sensation- E-MAIL alized, but seemingly definitive, depictions of criminals and victims. A slow accu- [email protected] mulation of drawn and painted portraits quickly escalated into a practice including

PHONE near-daily drawings of the people Shepherd sees in the news. Through his lens, the +1 212 331 8888 news is filtered, sorted, and complicated. Heroes, villains, tragedies, and triumphs

CONTACT NAMES hang together. By rendering portraits of individuals who are sensationalized or even Heather Bhandari demonized by the media, Shepherd invites us to contemplate and pay homage to Steven Sergiovanni their complexity as human beings as well as the multifaceted nature of the stories and issues they represent.

REPRESENTED ARTISTS In an attempt to counter the tragedy, conflict, and misunderstanding that pervade Kim Beck the work’s source material, Shepherd also produces objects with the power to heal Sonya Blesofsky personal and social ills. Although he proposes no solution, his sculptures, includ- Howard Fonda ing ceramic healing devices and shaman-like idols, feel ceremonial and key to the Joan Linder Adia Millett eradication the world’s negative energy. Mark Mulroney Rudy Shepherd received an MFA from the Art Institute of Chicago. Solo exhibition Stas Orlovski Rudy Shepherd venues include Carnegie Mellon University, Wake Forest Univeristy, and Location Julianne Swartz One in NYC. Group show venues include The Studio Museum in Harlem; The Ware- Mary Temple house Gallery, Syracuse, NY; Triple Candie, NYC; the Swiss Institute, NYC; PS1 Contemporary Art Center, Queens, NY; the Contemporary Museum, Baltimore, MD; the Bronx Museum of Art; and the Queens Museum of Art. He received a fellowship COVER from Socrates Sculpture Park and was a resident artist at the PS1 International Rudy Shepherd The Healer Studio Program, the Jacob Lawrence Institute for the Visual Arts, and LMCC. He 2014 lives in NYC and State College, PA. His work is currently on view in When the Stars Glazed ceramic Begin to Fall currently traveling from The Studio Museum in Harlem to the Museum × × 13 9.5 4 in of Art, Ft. Lauderdale, FL, and the ICA in Boston, MA. INSIDE Rudy Shepherd Portraits 2007-2015 Watercolor on paper Each 12 × 9 in

BACK Rudy Shepherd Healing Devices, No. 4 2012 Glazed ceramic 5.5 × 6 × 5 in KATSUMI HAYAKAWA GALLERY MOMO, TOKYO

VOLTA NY 2015 | BOOTH NUMBER E6

GALLERY MOMO: KATSUMI HAYAKAWA

WEBSITE The recent works of Katsumi Hayakawa (b. 1970, Japan) are three-dimensional in- www.gallery-momo.com stallations and wall works made out of paper and glue. The pieces are initially read E-MAIL as a whole — a pulsating arrangement of regular shapes and volume — then as an [email protected] assemblage of individual components that make up the holistic sculpture, systems

PHONE of patterns and motifs emerge from the collective. +81 3 3621 6813 Painstakingly handcrafted piece-by-piece, he play with the compositional idea of CELL void vs. solid in the careful presentation of work. While examining the impression of +81 08 4937 0131 architectural density, the pieces maintain the delicate nature of the material at hand. CONTACT NAMES Ryuhei Sugita In his early works, Hayakawa applies many layers with different paints and chips Momo Sugita away at the layers with a power drill. In this manner, the artist succeeded to express perspective and neo-futuristic spaces. Since 2009, he has developed the active motif and the stereoscopic plane expression by making the perspective in his REPRESENTED ARTISTS paper works. The works seem like that we look down at the urban constructions. Yoshiko Fukushima Yosuke Kobashi The Reflection series is made of about 15000 pieces of mirrors and paper cubes Jaye Moon on which various lines and signs are printed. Each mirror is neatly placed facing Tomoyasu Murata each other so that they create diffused reflection and give the viewers a visionary Naomi Okubo Chika Osaka illusion. The viewers cannot recognize if they see the actual printed sign or a reflec- Tokuro Sakamoto tion in the mirror. This is my study of uncertainty of the way of seeing and ambigu- Ai Shinohara ity of recognition. Ryoko Takahashi Shinnosuke Yoshida GALLERY MoMo GALLERY MoMo was established in 2003 at Roppongi, Tokyo and opened a new,

COVER larger, space in 2008 at Ryogoku, Tokyo. In 2013, GALLERY MoMo at Roppongi Katsumi Hayakawa reopened GALLERY MoMo Projects with the idea of finding new young Japanese Reflection (detail) and international artists and curators. 2014 Paper and mixed media The mission of the gallery is to introduce international artists who have unique con- 1.8 × 89.8 × 46.5 in cepts and original styles to Japan, and Japanese artists to other countries.

INSIDE Katsumi Hayakawa Fata Morgana 2014 Paper and mixed media 25.6 × 119.7 × 40.7 in

BACK Katsumi Hayakawa Composition 3 2010 Paper and mixed media 33 × 46.4 in RUBENS GHENOV MORGAN LEHMAN GALLERY, NEW YORK CITY

VOLTA NY 2015 | BOOTH NUMBER C3

MORGAN LEHMAN GALLERY: RUBENS GHENOV

WEBSITE The work of Rubens Ghenov lies at the intersection of fact and fiction. For the past www.morganlehmangallery.com two years Ghenov has been working solely with the unpublished poet Angelico Mo- E-MAIL randá (b. Spain, 1940 – d. Portugal, 2006), a fictive construct of the artist. Ghenov [email protected] uses painting and storytelling to procure a form of poetry where the interests collide,

PHONE and the familiar assimilates and decomposes into the abstract. Ghenov’s composi- +1 212 268 6699 tions, scale, and color are immersed in the life and obscure meditative rituals of the

CELL poet, while painting and fiction reciprocally provide fodder for each other. +1 860 480 8595 Rubens Ghenov was born in São Paulo, Brazil and immigrated to the US in 1989. CONTACT NAMES He holds a Bachelor of Fine Arts from Tyler School of Art (1999) and his Master of Sally Morgan Lehman Fine Arts from Rhode Island School of Design (2010). Ghenov has shown nationally Jay Lehman in both solo and group exhibitions at Geoffrey Young Gallery (MA), TSA Brooklyn (NYC), Woodmere Art Museum (PA), and the Philadelphia Museum of Art. In 2013,

REPRESENTED ARTISTS he co-curated with Dona Nelson the 72nd Annual Juried Exhibition at the Woodmere Laura Ball Art Museum. Ghenov has been featured in The Village Voice, Title Magazine, Bomb Emilie Clark Magazine, and The Philadelphia Inquirer. He currently works in Philadelphia, PA. Nancy Lorenz Sharon Louden Kim McCarty John Salvest Katia Santibañez Paul Villinski Paul Wackers Aaron Wexler

COVER Rubens Ghenov Aftersung, /I (detail) 2015 Acrylic on Linen 20 × 16 in

INSIDE Rubens Ghenov O Caracol e o Cais 2015 Acrylic on Linen 20 × 16 in

BACK Rubens Ghenov Ob verse, dusk 1 (detail) 2014 Acrylic on Linen 20 × 16 in DAVID RATHMAN MORGAN LEHMAN GALLERY, NEW YORK CITY

VOLTA NY 2015 | BOOTH NUMBER C3

MORGAN LEHMAN GALLERY: DAVID RATHMAN

WEBSITE David Rathman’s paintings and works on paper explore the stories told by every- www.morganlehmangallery.com day objects and experiences. Rathman makes paintings that impart subjective and E-MAIL personal scenarios that depict fleeting narratives extracted from larger stories. He [email protected] often captions his work, collecting quotes from writers such as Samuel Beckett,

PHONE popular song lyrics, and overheard conversations. Rathman pairs these with the +1 212 268 6699 artwork that he feels will result in the most intriguing story or will most disrupt the

CELL tone and visual narrative. Despite being predominantly monochromatic palettes, his +1 860 480 8595 modestly scaled works result in dramatic atmospheric landscapes that create vivid

CONTACT NAMES and poignant vignettes. Sally Morgan Lehman Rathman’s paintings of forlorn basketball hoops, junked cars, cowboys, and rock Jay Lehman ‘n’ roll detritus are animated by his belief that “all objects, spaces, and people are connected to great amounts of energy,” resonating with the idea that there is beauty

REPRESENTED ARTISTS and meaning to be found in our ordinary day-to-day life and surroundings. Rathman Laura Ball has focused his efforts on expressing those energies, and to conveying the vulner- Emilie Clark ability and possibilities to be found in these iconic American images. Nancy Lorenz Sharon Louden David Rathman lives and works in Minneapolis, Minnesota. He earned his Bachelor Kim McCarty of Fine Arts degree from the Minneapolis College of Art and Design in 1982. Rath- John Salvest man’s work has been featured in group and solo exhibitions in galleries and museums Katia Santibañez Paul Villinski worldwide, and his work is held in numerous public and private collections including Paul Wackers the Walker Art Center (MN), the Whitney Museum of American Art (NY), the New Mu- Aaron Wexler seum of Contemporary Art (NY), and the Art Institute of Chicago (IL), among others.

COVER David Rathman How Many More Seasons You Got? (detail) 2014 Watercolor and Ink on Canvas 30 × 38 in

INSIDE David Rathman She’s Still All Over You Hank (detail) 2009 Ink on Paper 26 × 37 in

BACK David Rathman Long Division 2014 Watercolor and Ink on Canvas 18 × 24 in MEGAN WHITMARSH MULHERIN, TORONTO | NEW YORK

VOLTA NY 2015 | BOOTH NUMBER F7

MULHERIN: MEGAN WHITMARSH

WEBSITE Megan Whitmarsh’s current works explore a magnetic constellation of women artists www.katharinemulherin.com and their archival presence from the era of second wave feminism. Acting as both E-MAIL homage and kaleidoscopic re-inventions of the past, the work integrates these his- [email protected] tories within a present day dialogue. By fitting together past ephemera with modern

PHONE and personal icons the work confers a rich sense of the periodicity of thought and +1 347 406 3690 culture. Whitmarsh works primarily in textiles, borrowing the gestures of painting,

CONTACT NAME drawing and collage. The humility of the materials remove the works slightly from Katharine Mulherin their painted and sculpted colleagues. Though grounded by precedent this medium still seems to offer surprise. Whitmarsh’s work admits to past history while seek- ing to create anew. REPRESENTED ARTISTS Mike Bayne “My work examines and re-frames personal and communal history, putting forth Oscar De Las Flores new configurations of past postures. Discovering (or fabricating) new connections Winnie Truong makes manifest the intuitive leaning towards integration that I believe is the subtext Kris Knight beneath our rational thinking. I source familiar references prompting a certain kind Michael Caines Dean Baldwin of reaction and then work to re-present them. Recent work includes a series of fic- Balint Zsako tionalized past covers of art magazines featuring women artists who I think should Heather Goodchild have had covers (but never did), and a series of handmade T-shirts re-contextualizing Annie Macdonell feminist messages from the past with the hopes of projecting them into the future.”

— Megan Whitmarsh COVER Megan Whitmarsh COMMENTS ON THE WORK: Phases and Stages “Megan Whitmarsh puts copying to her own ends. Her enlarged fabric versions 2015 Cotton, iron on, (iron-on appliqué and embroidery) of art magazine covers from the 1960s and ’70s embroidery thread aren’t copies at all. They are imagined, handmade revisions, which all feature female 60 × 40 in artists in both image and cover lines..... The images are all so cover-worthy that it INSIDE takes a minute to realize that they never existed as such. Had they, Ms. Whitmarsh Megan Whitmarsh might be doing something else entirely.” Untitled (detail) 2015 — Roberta Smith, NY Times, March 2014 Cotton, iron on, embroidery thread “The process that Whitmarsh uses is particularly interesting. The expressive ges- 30 × 40 in tures she uses come from a technique that is usually exploited for its immediacy. Abstract expressionist paintings are supposed to be fast. Instead, the artist uses an approach that is slower and more tedious. In doing so she creates a style that is uniquely her own.”

— Noé Gaytán, Platinum Cheese, September 2012

MEGAN WHITMARSH Los Angeles-based artist Megan Whitmarsh works predominantly in textiles, using hand embroidery and fabric to create wall pieces and sculptural works which make reference to both contemporary and past cultural history. She has worked with curators Robert Wilson, Todd Oldham, Dean Daderko, and Adi Nachman among others and has had projects commissioned by Art Basel Miami (Wolfsonian Museum), Mtv and the Watermill Center. She has shown in galleries and museums internationally including recent exhibitions in New York, Los Angeles, Amsterdam, Brussels, Zurich, Valencia, Malmo, and Tokyo. ADLER GUERRIER MARISA NEWMAN PROJECTS, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER B15

MARISA NEWMAN PROJECTS: ADLER GUERRIER

WEBSITE For Adler Guerrier, the very particular trajectory he traces through the world is the www.marisanewman.com locus for a series of imbricated investigations of personhood, culture, image-making E-MAIL and art history. The path his practice tracks continually spirals outwards and away [email protected] from the self. There are ideas to circulate, neighborhoods to traverse, histories to

PHONE plumb. This narrative operates as a tool to order his archive of images, to pack, +1 212 274 9166 unpack and repack abstractions.

CONTACT NAME Guerrier produces layers upon layers. He moves freely between mediums, employ- Marisa Newman ing photography, drawing, collage, and sculpture. A stencil becomes a drawing. A discarded sign becomes a sculpture. A backyard becomes a jungle. This is image- making in the urban landscape. COVER Adler Guerrier Guerrier’s site-specific installation for VOLTA is an abstract proposal for ways of Orchids and Boutonnieres thinking about what makes a place matter. His work is deeply grounded in Miami, 2010 Watercolor, graphite, solvent his adopted home. Tropical foliage from Guerrier’s suburban Miami backyard ap- transfer and paper collage pears as wallpaper, accompanied by a series of photographs and drawings. The 30 × 22 in photographs function not as documents but narrators, beginning the dialogic play INSIDE between images, marks, words, and place. Home here becomes the lever with Adler Guerrier which to address the world. Untitled (seventh st nw) 2012 Diana Nawi curated Adler Guerrier’s recent solo exhibition Formulating a Plot, a fif- Chromogenic print teen year survey of his multi-disciplinary practice at The Pérez Art Museum Miami. × 11 14 in Notable group exhibitions include Freestyle at The Studio Museum of Harlem, New BACK York, The Whitney Biennial, and Afro-Modernism: Journeys through the Black At- Adler Guerrier lantic at Tate Liverpool, UK. Untitled 2012 Chromogenic print 11 × 14 in LAVAR MUNROE NOMAD GALLERY, BRUSSELS

VOLTA NY 2015 | BOOTH NUMBER A7

NOMAD GALLERY: LAVAR MUNROE

WEBSITE Nomad Gallery is pleased to present an exhibition of new works by Bahamian born www.nomadgallery.be artist Lavar Munroe. Munroe has established a multi-faceted and energetic practice E-MAIL that manifests itself through a wide variety of media that include painting, drawing, [email protected] sculpture and performance.

CELL Exploring the realms of history, anthropology, and sociology, Munroe thematically +1 305 496 3356 explores ideas inspired by the nineteenth century phenomena of the “human zoo”. PHONE In embarking on this investigation, Munroe is particularly interested in how this phe- +32 475 219 250 nomena fits into the discourse of history, which in many ways, dictates how societ- CONTACT NAME ies behave and are governed today. Walter De Weerdt Through the manipulation of imagery sourced from ethnologic illustrations, advertisements, and sideshow banners, Munroe creates an “elsewhere” that examines REPRESENTED ARTISTS narratives, exhibits and fascinations that resulted from such displays. In much of the Hector Acebes work from this series, the ‘exotic human ‘other’ is often paired with animal counter- ruby onyinyechi amanze parts. This was true to many of the human zoo exhibits. Jean-François Boclé Jeanine Cohen Munroe creates a “lost paradise” of sorts while simultaneously referencing the sys- Kay Hassan tematic representation of human difference that occurred during the phenomena Satch Hoyt Aimé Mpane of the “human zoo” and arguably occurs today in other forms and disguises. He Duhirwe Rushemeza introduces us to an alternate history that readdresses the then popular craze for Shoshanna Weinberger monstrosity through displays and commercialization of human difference in order to justify superiority of Western, mostly Caucasian exhibitors.

COVER The process of destruction and rebuilding of Munroe’s surface is meant to further Lavar Munroe charge the narrative in these works. Through cutting, tearing, stitching, stapling Something Strange and ‘nursing’ his surfaces Munroe points to the history of exploitation and cruelty This Way Comes that was, and still is faced by the underrepresented body within the larger frame- 2014 Acrylic, spray paint, latex house work of society. paint, buttons, ribbon, string, stickers, and found fabric on cut canvas 74 × 96 in

INSIDE Lavar Munroe On Deaf Ears 2013 Acrylic, latex house paint, spray paint, and shivs on cut canvas 46 × 72 in

BACK Lavar Munroe Before His Time 2014 Acrylic, spray paint, latex house paint, 100% wool, shiv, felt, faux leather, and found fabric on cut canvas 56 × 66 in KARSTEN KONRAD PABLO’S BIRTHDAY, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER C12

PABLO’S BIRTHDAY: KARSTEN KONRAD

WEBSITE Karsten Konrad is a sculptor from Berlin whose work has been exhibited in muse- www.pablosbirthday.com ums and institutions through out Europe, North America, and Asia. Konrad’s process E-MAIL involves collecting wood, metal, and other formed material from the streets of the [email protected] city, various second hand stores, and flee markets, then, while studying the eclec-

PHONE tic shapes and colors, he comes into “conversation” with these objects, initiating a +1 212 462 2411 process of deconstruction and reconstitution of these base and discarded materials

CELL into elegantly gestural sculptures. With geometries crossing through one another +1 917 450 5354 in architectural articulations marked by a generous expressiveness, these daring

CONTACT NAMES sculptures convey kinetic tension and balance. Far from base, Konrad describes the Jimi Billingsley streets as an artists “paradise” with a “superfluidity of materials” where any material Arne Zimmermann can play a part, and “dissolve into the wholeness of the form”.

Having studied in Berlin and London both under sculptor David Evison and perfor-

REPRESENTED ARTISTS mance artist Marina Abramović, his reoccurring themes are “Identity and Memory”, Frank Gerritz “Material and History”, as well as “Urbanity and Urbanism”. Henrik Eiben Eckart Hahn Sculpture for Karsten Konrad, is an unerring instrument of analysis for examining and Christian Eisenberger inspecting our reality. Archaeologically he digs out the buried hopes and modernist Marc Lueders utopias inscribed in discarded commodities, furniture, machines, and architectures; Angelica Schori thus, surveying them for their contemporary capability. Pius Fox Thorsten Brinkmann

COVER Karsten Konrad Jeuxjaune 2014 Formica, wood, metal 180 × 80 × 10 cm

INSIDE Karsten Konrad Spirit of 65’ 2013 Mixed Media, Wood, Metal, Rubber 29 × 30 × 15.5 in

BACK Karsten Konrad Tag me i’m yours 2012 Formica, spray paint, aluminum 180 × 90 × 10 cm ARNOLD J. KEMP PDX CONTEMPORARY ART, PORTLAND

VOLTA NY 2015 | BOOTH NUMBER B14

PDX CONTEMPORARY ART: ARNOLD J. KEMP

WEBSITE Arnold Joseph Kemp is of the generation of pacesetting artists who became known www.pdxcontemporaryart.com in New York through participation in the Studio Museum in Harlem’s groundbreak- E-MAIL ing Freestyle exhibition of 2001. Kemp’s work functions as an indicator of one of [email protected] the varied directions artists are taking in deploying references to black culture. At

PHONE the center of the presentation Kemp has placed a hauntingly, enigmatic sculpture +1 503 222 0063 titled WHEN WILL MY LOVE BE RIGHT that is made of objects that look found but

CONTACT NAME are actually made by the artist. Accompanying this work are several of Kemp’s Jane Beebe photographic images of “aluminums” that speak with a paradoxical coolness of the conflict between competing needs to mask and to express the self that is an aesthetic stance familiar from African art and American jazz. Kemp’s work displays REPRESENTED ARTISTS a certain mastery of and irreverence toward history that allows him to move like a Anne Appleby jazz musician who plays with the confidence to push blackness into a higher level Victoria Haven James Lavadour of abstraction, to push it into silence and poetry. Nancy Lorenz D.E. May Wes Mills Jenene Nagy Adam Sorensen Marie Watt Masao Yamamoto

COVER Arnold J. Kemp WHAT ACTUALLY HAPPENS (SEE BLUE SAY WHITE) (detail) 2012 Archival pigment on Somerset paper in artist’s frame 22 × 18.5 × 1.5 in

INSIDE Arnold J. Kemp WHEN WILL MY LOVE BE RIGHT 2013 Galvanized welded and riveted steel, leather, brass, copper, and seashell 26 × 40.5 × 25 in

BACK Arnold J. Kemp WHAT ACTUALLY HAPPENS (SEE BLACK SAY RED) 2012 Archival pigment on Somerset paper in artist’s frame 43.125 × 35 × 1.5 in KENDAL HANNA POPOPSTUDIOS, NASSAU

VOLTA NY 2015 | BOOTH NUMBER A6

POPOPSTUDIOS: KENDAL HANNA

WEBSITE Popopstudios is an independent art studio and gallery dedicated to the preservation www.popopstudios.com and advancement of alternative Bahamian visual culture. The goal is to educate, E-MAIL promote, expose, and defend new and challenging developments in contemporary [email protected] art. Popopstudios exists to harbor both seasoned and developing artists interested

PHONE in new media and mixed media processes, while projecting these efforts to a na- +1 242 322 7834 tional and international audience. Resident artists form a supportive community

CELL that organizes projects and acts as a hub for contemporary art creation and dis- +1 242 557 5800 cussion. The gallery is open to artists from within the community, resident artists

CONTACT NAMES and international artists to exhibit; and artist-in-residence studio is available for visit Heino Schmid international artists. John Cox Kendal Hanna (b. 1936, Nassau) is one of the forerunners of abstract painting in The Bahamas. In his fifty plus years in art, Hanna has consistently challenged form and

REPRESENTED ARTISTS content in both his paintings and sculptures. As a young man, he always dreamed Jason Bennet of being “trained in art” and left for New York City to study but had to return home Dede Brown to look after his ailing mother and therefore never completed art school. Although Charles Campbell he worked at the post office, Hanna’s practice matured through an apprenticeship Blue Curry Michael Edwards at Chelsea Pottery—a functioning pottery and informal art school founded by Brit- Marlon Griffith ish ex-pats in the late ’50s—and a creative hub for early Bahamian modernism. Kendal Hanna Toby Lunn Diagnosed with schizophrenia in the same period, he underwent electric shock Dylan Rapillard therapy for treatment; during this time he went from painting mostly in black-and- white to a strong use of colour and he credits much of his recovery to his artistic practice. Hanna is also a sculptor, using metal and found objects and he is currently COVER working on integrating his painting and sculpture. Kendal Hanna Faces Hanna moved into Popopstudios in 2007 where he is a permanent artist-in-resi- 1991 dence. In 2011, Hanna’s retrospective was at The National Art Gallery of The Ba- Acrylic on canvas hamas (NAGB), curated by Dr. Erica M. James, currently assistant professor at Yale 14 × 11 in University, which exhibited over 170 works. Hanna was also featured in the “Master INSIDE Artists of The Bahamas” exhibition, which traveled to Waterloo Center for the Arts in Kendal Hanna Iowa, the Museum of Fine Arts in Tallahassee, Florida, and the NAGB in 2012, and Rorschach Painting IV 1985 he is represented in many of the key private collections in The Bahamas, as well as Acrylic on paper the National Collection. He has exhibited at the Inter-American Development Bank, 14 × 17 in in Washington D.C., among other venues within the United States and The Bahamas. BACK (LEFT) Kendal Hanna Mr. Dillette V 2011 Ink on paper 24 × 18 in

BACK (RIGHT) Kendal Hanna Circle [X] 2008 Mixed media on wood 48 × 48 in ROBERT BURNIER ANDREW RAFACZ, CHICAGO

VOLTA NY 2015 | BOOTH NUMBER A9

ANDREW RAFACZ: ROBERT BURNIER

WEBSITE Robert Burnier’s work concentrates on the manipulation of systems and structures, www.andrewrafacz.com investigating the potential beauty inhered in their disruption. Created within what E-MAIL he describes as an “anti-maquette” process, he aims to emphasize the non-linear, [email protected] unpredictable relationship between starting forms and ending results. Materials of-

PHONE fer resistance, producing a push back when manipulated, forcing the artist to often +1 312 404 9188 navigate previously unknown territory through each object’s creation.

CELL As the artist states: “By creating hurdles, U-turns, dead ends and gaps, I separate +1 312 404 9188 the production of each piece into discontinuous stages. Estranging one outcome CONTACT NAMES by its redirection toward another deepens what I can do. Structures become some- Andrew Rafacz thing I can interact with and find alternatives to. Different materials have different Emma Robbins limitations. Their specific nature and pre-configuration becomes a historical fact I have to deal with.”

REPRESENTED ARTISTS For titling the work, Burnier makes use of L. L. Zamenhof’s utopian language of Samantha Bittman Esperanto, developed in the late 19th Century. Esperanto borrowed from existing Jeremy Bolen Cody Hudson linguistic traditions, hoping to bridge communications. This organic approach ap- John Knuth peals in its attempt at universality without erasure, without requiring a blank slate Jason Lazarus mentality, just as Burnier begins with a set structure of material. As well, it speaks Rachel Mason to the exploration of what combinations are available to us with and also outside a John Opera Daniel Shea given discourse or architecture. “I dwell on the ideas of a ‘not-quite utopia’ and the Philip Vanderhyden impossibility of communion with the absolute,” says Burnier. “I treat these not only Wendy White as religious or philosophical questions, but as practical ones. It can be damaging to try to reach toward them. But we have to continue somehow.”

COVER ROBERT BURNIER (American, b. 1969) lives and works in Chicago. He will receive Robert Burnier his M.F.A. from the School of the Art Institute in Painting and Drawing in 2015. He Iota also holds a B.S. in Computer Science from Shippensburg University of Pennsylva- 2013 nia (1991). He was included in the Evanston and Vicinity Biennial 2012, curated by Primer on aluminum 24 × 31 in Shannon Stratton, and Some Dialogue at the Illinois State Museum, Chicago, 2012. Recently, he was included in Ghost Nature, curated by Caroline Picard, at Gallery INSIDE 400, Chicago, IL and La Box, Bourges, France. He is also included in the recently Robert Burnier Tera Desegna opened exhibition, The Chicago Effect: Redefining the Middle at the Hyde Park Art 2014 Center, Chicago, IL. His work has been exhibited at art fairs in Miami, New York, Copper and rubber and Chicago. He is included in numerous private and public collections. 41 × 41 × 4 in

BACK Robert Burnier Vojo 2013 Acrylic laquer on aluminum 11 × 18 × 15 in HULDA GUZMÁN LYLE O. REITZEL ARTE CONTEMPORÁNEO, SANTO DOMINGO

VOLTA NY 2015 | BOOTH NUMBER C7

LYLE O. REITZEL: HULDA GUZMÁN

WEBSITE “Another reference that is essential in the production of this series, is the expres- www.lyleoreitzel.com sionism, it leans towards the preservation of intuitive art, giving priority to the ex- E-MAIL pression of feelings rather than the objective description of what is known as reality. [email protected] “Having dedicated so much time to the practice of thorough work, I suddenly feel PHONE the need to investigate the free and spontaneous gesture, because expressionism +1 809 227 8361 search for the essence of an image, as abstraction does.” CELL +1 305 510 2833 HULDA GUZMÁN CONDE CONTACT NAMES Born on February 15, 1984, in the city of Santo Domingo, Dominican Republic. Lyle Reitzel Montserrat Elias EDUCATION 2002 – 2004 Fine Arts and illustration at the Altos de Chavón School of Design, (Rep.

REPRESENTED ARTISTS Dominicana) affiliated to Parsons, School of Design (NY) ; 2002 – 2003 Two schol- Edouard Duval Carrié arship courses of anatomic drawing given by Melanie Reims, at Altos de Chavón, Gerard Ellis School of Design; 2003 One scholarship semester at Altos de Chavón, School of Gustavo Peña Design; 2004 Scholarship for bachelors degree at Parsons, School of Design, New Raúl Recio José Bedia York; 2004 – 2006 Bachelors degree in Visual Arts at the National School of Arts José García Cordero (EN AP) Mexico, DF Specialty in painting and photography.; 2009 Awarded the Katja Loher painting prize at the “25th National Biennial of Visual Arts 2009”, Museum of Mod- Luis Cruz Azaceta ern Art, Santo Domingo, RD. Tania Marmolejo Scherezade García EXHIBITIONS 2013 – In Joy (Solo Show), Zona Colonial, Lyle O. Reitzel Gallery, Santo Domingo,

COVER RD; 27th National Biennial of Visual Arts, Museum of Modern Art, Santo Domingo, Hulda Guzmán RD; Ultraviolet Project, Museum of Contemporary Art and Design, Costa Rica; I Said Not On Under Construction, William Road Gallery, London; On Common Ground, Museum The Face (detail) of the OEA, Washington, DC; Avant Garde, La Castilla, Santo Domingo, RD; 2012 – 2014 Acrylic on canvas Award winner at the XIV Biennial of Art, Eduardo León Jimenes. Santiago, RD; 2011 48 × 48 in – Mayami Son Machín, Ultraviolet Project Gallery Diet, Miami, Fl; 2010 – Aesthetic

INSIDE Sold (16th anniversary), Lyle O. Reitzel Gallery, Santo Domingo, RD; 2010 – XIII Art Hulda Guzmán Biennial at Eduardo León Jimenes. Santiago, RD; Scope New York 2010 booth Lyle Portrait O. Reitzel Gallery, Lincoln Center Damrosch Park, New York, NY; 2009 XXV Visual 2014 Arts National Biennial, second place. 2009 Borderless Generation: Contemporary Acrylic on canvas 48 × 48 in Art of Latin America. Korea Foundation Cultural Center; 2008 – Dominican Power & Solid Friends During Art Basel Miami Beach; Lyle O. Reitzel Gallery, Wynwood Art District, Miami, Fl ; Starting Over, Lyle O. Reitzel, Miami, Florida ; Urgente: Arte Emergente: Hulda & Gustavo, Lyle O. Reitzel Gallery, Santo Domingo, RD; Double Glazed, New York ; 2007 – Arte Urbano Sarmiento. Santo Domingo, RD ; 2006 – Shower, El Encuentro Artesanal. Santo Domingo, RD; 2004 – Galería Altos de Chavón. La Romana, RD. DEREK LERNER ROBERT HENRY CONTEMPORARY, BROOKLYN

VOLTA NY 2015 | BOOTH NUMBER F1

ROBERT HENRY CONTEMPORARY: DEREK LERNER

WEBSITE Derek Lerner obsessively explores dualities and conflicting ideas about both his www.roberthenrycontemporary.com urge to create and its effects on the environment. Through thousands of lines ren- E-MAIL dered in pen and ink on paper the micro/macro qualities of his drawings never al- [email protected] low for a certainty of place, offering a visual representation of this conflict through

PHONE the shifting perspective. +1 718 473 0819 As Lerner’s fictional landscapes meander across the paper, growing outward as layer CONTACT NAMES upon layer is applied, they depict a co-mingling of human-made and natural systems Henry Chung and the tensions between those forces. The elements of each composition multiply Robert Walden and attach themselves to one another or consume others like fungi, cancer or sub- urbs encroaching on open land. He coalesces questions about over-consumption

REPRESENTED ARTISTS and over-population into ironically beautiful visual metaphors that reference map- Mike Childs ping, satellite photography, microscopic imagery, radial irrigation systems as well as James Cullinane signs, symbols and the random marks, scrapes and scratches found on the streets Elise Engler of major metropolitan areas. Richard Garrison Liz Jaff Although not intended to be taken literally as viruses or cancers, the symbols and Robert Lansden map-like forms that grow out of his process do impose their presence but are in- Sharon Lawless Jerry Walden complete. The constituent lines trail off and fade away around the edges of each, Pancho Westendarp seemingly built, coagulation of forms. This incompleteness compels us to wonder Duane Zaloudek are we seeing something (biological or human constructions) represented as half complete or half destroyed and is a second representation of his doubts and con- victions about his participation in the degradation of the planet. COVER Derek Lerner Looking both biological and man-made, his lyrical compositions embody dualities Asvirus 55 (detail) that reflect Lerner’s conflicted feelings about his own role and impact on our en- 2014 vironment, “…while in many ways my work is a reaction to over-consumption and Ink on paper 63 × 42 in environmental politics, the drawings themselves are yet another ‘thing’ added to the world, made no less with materials that are potentially damaging to the environment.” INSIDE Derek Lerner Asvirus 54 (detail) 2014 Ink on paper 59 × 98 in

BACK Derek Lerner Asvirus 51 (detail) 2014 Ink on paper 26 × 20 in PAUL HENRY RAMIREZ RYAN LEE, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER B10

RYAN LEE: PAUL HENRY RAMIREZ

WEBSITE Paul Henry Ramirez creates biogeomorphic abstract paintings, which combines www.ryanleegallery.com smooth delicately curving line-work with bright colored bold forms. His figural- E-MAIL based abstractions are often exhibited in dialog with architecture and architectural [email protected] elements through site-specific installations. Over the past two decades Ramirez

PHONE has developed and created site-specific installations, which combine his drawings, +1 212 397 0742 paintings, objects and sculpture with music, dance and furniture in dialog with archi-

CONTACT NAMES tectural space and architectural elements. Ramirez’s site-specific installations were Mary Ryan first featured in New York City’s alternative exhibition spaces: the Drawing Center, Jeffrey Lee Clock Tower Gallery and Franklin Furnace.

Ramirez has shown throughout the United States and Europe. He has had five one-

REPRESENTED ARTISTS person museum exhibitions including the Contemporary Arts Center in Cincinnati; Tim Braden the Whitney Museum at Philip Morris; and the Newark Museum. Ramirez’s work has Bradley Castellanos been reviewed in The New York Times, Art in America, ArtForum and many others. Seong Chun His works are in many permanent collections, including the Smithsonian American Josh Dorman Mariam Ghani Art Museum, the Whitney Museum, the Hammer Museum, the Corcoran Gallery of Martín Gutierrez Art and many private collections. Ramirez’s Going Up. Up. Up., a public art project Sangbin IM commissioned by the Percentage for Art, New York, NY, is included in the published Jiha Moon book Public Art for Public Schools, Michele Cohen (Author). Katy Stone Stephanie Syjuco Ramirez’s commissioned site-specific installation Eccentric Stimuli is featured in the Beauty Reigns: A Baroque Sensibility in Recent Painting exhibition at the Akron Art Museum, January 24 – May 3, 2015 (travel/catalogue). The site-specific instal- COVER lation for Beauty Reigns was first commissioned by the McNay Art Museum, San Paul Henry Ramirez CHUNK 17 (detail) Antonio, TX and has been re-conceived as a different site-specific installation for 2009 the Akron Art Museum. His work is featured in the Smithsonian’s Our America: The Acrylic on canvas Latino Presence in American Art, traveling to the Utah Museum of Fine Art in Salt × 72 72 in Lake City, February 6 – May 17, 2015 (national tour/catalogue). INSIDE Paul Henry Ramirez PLAYCONICS 8 2011 Acrylic on canvas 66 × 66 in

BACK (LEFT) Paul Henry Ramirez PLAYCONICS 7 2011 Acrylic on canvas 66 × 66 in

BACK (RIGHT) Paul Henry Ramirez PLAYCONICS 3 2011 Acrylic on canvas 66 × 66 in LISA SIGAL SAMSØÑ, BOSTON

VOLTA NY 2015 | BOOTH NUMBER A8

SAMSØÑ: LISA SIGAL

WEBSITE Home Court Crawl, is a series of works by Lisa Sigal recently exhibited at Prospect. www.samsonprojects.com 3: Notes for Now, New Orleans. The works taken together represent the text of a E-MAIL one act play from playwright Suzan-Lori Parks’ 365 Days/365 Plays (2002–3). The [email protected] images enact relationships between voices and houses, a dance between space

PHONE and representation, from the page to an actual place. Home Court Crawl, present- +1 617-357-7177 ed by Samsøñ in VOLTA NY 2015, is the counterpart to the public art installation

CONTACT NAMES across four distinct neighborhoods in New Orleans, a sprawling script inscribed on Camilo Alvarez vacant houses. Julia Lavigne Home Court Crawl became the first phase of Blights Out enterprise, founded in June of 2014 by Lisa Sigal, local New Orleans artist Carl Joe Williams, and Prospect New

REPRESENTED ARTISTS Orleans curator Imani Jacqueline Brown. Blights Out is a collaborative and creative Carlos Jiménez Cahua approach to neighborhood development using visual art, architecture, and perfor- Nicole Cherubini mance to see, experience, and act on issues of blight, divestment, and housing. Craig Drennen Blights Out experiential method of “performing architecture” asks: “what are the Victoria Fu Jeffrey Gibson sensibilities of place; where is the soul of a home?”; “what is community; what in- Steve Locke spires people to unite in action?”; and “how do we meet the needs of a neighborhood Todd Pavlisko outside of a profit-driven framework?” The newly established properties become Beverly Semmes a functional social sculpture: a multipurpose community learning, cultural, and re- Suzannah Sinclair Summer Wheat source center that will empower others to shape the destiny of their neighborhoods. Lisa Sigal B. 1962, Philadephia, PA. Recent awards include a Creative Capital Grant (2012), Art Matters Grant (2012), Guggenheim Fellowship (2011). Recent exhibitions COVER include Prospect. 3: Notes for Now, 2014 (New Orleans, LA), Crossing Brooklyn: Lisa Sigal Home Court Crawl Art from Bushwick, Bed-Stuy, and Beyond, Brooklyn Museum, 2014 (Brooklyn, NY), (3131 Hamilton) (detail) Shifting Horizon, Samsøñ, 2013 (Boston, MA), Riverbed, LA>< Art, 2013 (LA,CA), 2014 The Whitney Biennial, Whitney Museum of American Art, 2008 (NY, NY), Six Degrees, Archival digital print on Tyvek The New Museum, 2008 (NY,NY), Orpheus Selection, MoMA P.S. 1, 2007 (NY, NY), 22.5 × 38 in 57 × 96.5 cm A House of Many Mansions, the Aldrich Contemporary Art Museum, 2005, (Ridge- field, CT). Sigal received an MFA from Yale in 1989. She is currently curating Open INSIDE Lisa Sigal Sessions, an artist centric program, at the Drawing Center in New York. Home Court Crawl (2124 Marigny) 2014 Archival digital print on Tyvek 23 × 34 in 58.5 × 86 cm

BACK (LEFT) Lisa Sigal Home Court Crawl (4701 Mark Twain) (detail) 2014 Archival digital print on Tyvek 23 × 9 in 58.5 × 23 cm

BACK (RIGHT) Lisa Sigal Hinged Painting (City of Vernon) 2013 Paint and digital print on Tyvek paper on mounted wall section, spray paint on window screen 106 × 48 × 18 in 269.24 × 121.92 × 45.72 cm ERIC MISTRETTA SCARAMOUCHE / THE POOL NYC, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER C22

SCARAMOUCHE / THE POOL NYC: ERIC MISTRETTA

WEBSITE Eric Mistretta finds a rich source of inspiration in seemingly conflicting feelings such www.scaramoucheart.com as optimism in the face of despair, or sincerity undermined by naiveté. For Mistretta, www.thepoolnewyorkcity.com comedy and tragedy demand each other in a very dynamic way, a relationship the E-MAIL artist seeks to articulate through paintings, sculptures and installations. [email protected] [email protected] Mistretta incorporates language and recognizable cultural imagery in his work, often

PHONE fusing disparate elements to create visual hybrids that elicit both a feeling of familiar- +1 212 228 2229 (Scaramouche) ity and a sense of absurdity. With Pale Fire, a series of canvases constructed with +1 646 244 9783 (The Pool NYC) multiple layers of stretched pantyhose, Mistretta plays with the ambiguous role of

CONTACT NAMES the undergarment, which conceals as much as exalts the body it is meant to cover. Lorin Prince In repurposing a woman’s wardrobe staple, the artist explores its rich materiality Viola Romoli creating mysterious textures and intricate linear patterns that are at once elegant but also exude intimations of lust and violence.

REPRESENTED ARTISTS In Happy, Healthy, You and Yours, a disused Italian restaurant awning tramples over (SCARAMOUCHE) a pair of cast legs fitted with black-and-white striped socks. Through this uncanny Michael Bühler-Rose encounter, Mistretta references The Wizard of Oz and American popular culture, Igor Eskinja while creating a romantic slow-dance between the ordinary and the absurd. The Zoi Gaitanidou Dmitry Gutov viewer is left to explore a very familiar, yet ultimately unlikely place. Seher Shah Eric Mistretta (b. 1985, Queens, NY) received his M.F.A. from the School of Visual Jonathan VanDyke Arts (2012) and a Bachelor of Science in Visual Arts from SUNY New Paltz (2007). Mistretta’s work was featured in “The Virgins Show” curated by Marilyn Minter, REPRESENTED ARTISTS (THE POOL NYC) the inaugural exhibition of Massimiliano Gioni and Maurizio Cattelan’s gallery proj- Eteri Chkadua ect Family Business, New York. His work has been exhibited internationally most Patrick Jacobs recently at F_AIR Gallery, Florence, Italy and MonChéri, Brussels, Belgium. In Jonathan Rider January 2015, Scaramouche presented “Scenes From An Italian Restaurant,” Andrea Salvatori Bianca Sforni Mistretta‘s first solo-exhibition in New York. Fabio Viale

COVER Eric Mistretta Reminder 2015 Vinyl letters on plastic tablecloth and PVC tube 107 × 53 in

INSIDE Eric Mistretta Happy, Healthy, You and Yours 2015 Awning, shoes, socks and resin Dimensions variable

BACK Eric Mistretta Pale Fire 6 (detail) 2014 Stockings on canvas 24 × 18 in PETER SCHERRER SEASON, SEATTLE

VOLTA NY 2015 | BOOTH NUMBER B18

SEASON: PETER SCHERRER

WEBSITE “I get much of the inspiration for my work from the people and the landscape in www.season.cz this particular region... After growing up here, I was privileged to leave and go to E-MAIL art school, and now that I’m back my experience away has lent me a different point [email protected] of view — I’ve been able to connect to this place somewhat as a stranger while

PHONE still being an insider, a person who is from here and knows this place intimately.” +1 206 679 0706 — Peter Scherrer CELL +1 206 679 0706 Born and raised in Washington state, Peter brings a delicate, native understanding to his paintings to create imagined landscapes of impossible lushness that radiate CONTACT NAME Robert Yoder with chaos, hostility, and humor. Working in both watercolor on paper and oil on canvas, he manages to expand and further complicate our views on nature — by loosely considering Romanticism, our history of exploration and settlement, hippie REPRESENTED ARTISTS idealism, and his own personal experiences growing up in the region, Peter confronts Sharon Butler our flawed relationship with the nature world. By combining equal measures of ter- Dawn Cerny ror and kooky humor, his work demands we reconsider our often messy, sometimes Seth David Friedman Elisabeth Kley well-intentioned attempts to make the natural world known. Allison Manch Bellingham sits just 17 miles south of the US-Canada border — tucked up into the Philip Miner Dylan Neuwirth furthermost corner of the United States, it’s a last stop kind of place, the end of the Michael Ottersen line, where journeys halt and then either drift out into the Pacific Ocean or cross Glenn Rudolph over into Canada’s sprawl. There is an undeniable Americanness to it; there’s a Mike Simi palpable wildness to the land, a riot of growth and density in the trees, the bushes, the grasses, and too many hues of green to count. A real pioneer-like spirit seems apparent amongst most of its people, a rough and readiness, a rare mix of stoicism COVER Peter Scherrer and vulnerability that is somewhat rooted in withstanding long dark winters, isola- Snake Rock (detail) tion, and countless days of rain. And there is a shabbiness, too, a bruised history 2013 — especially in some of the smaller towns — that hints at struggling economies, Watercolor fractured communities, unfulfilled possibilities… 22.5 × 20 in This text was adapted from an originally published studio visit with Peter INSIDE Peter Scherrer Scherrer on In The Make. To see more studio visits with West Coast artists go to Pocket Knife (detail) www.inthemake.com 2013 Oil on canvas 60 × 75 in

BACK Peter Scherrer Sticks Eyes 2014 Oil on burlap on panel 16 × 20 in HYON GYON SHIN GALLERY, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER A5

SHIN GALLERY: HYON GYON

WEBSITE Hyon Gyon’s early work draws inspiration from the Korean shamanistic ritual of Gut www.shin-gallery.com (Exorcism) in which negativity is exorcised. The belief behind the ritual is that obses- E-MAIL sions and fears tend to stubbornly latch and accumulate like a parasite, debilitating [email protected] one’s condition. Only by exorcising these inner demons can this negativity transcend

PHONE into a purified, benevolent state. +1 212 375 1735 Hyon Gyon constructs her mixed media artwork by arranging pieces of traditional CELL Korean satin onto a canvas. She melts the fabric with a soldering iron to create +1 631 889 6194 dynamic compositions, conveying a discourse among moods with her hypnotic, CONTACT NAME ebullient hues and figures shamefully enshrouded by wild tendrils of hair. Emotions Hong Gyu Shin are captured at their saturation point, protruding from the figures in a metamorphic climax that blurs the dichotomy of good and evil. Hyon Gyon’s art asks the viewer to confront the grotesque with humor and sympathy because the phantasmal forms REPRESENTED ARTISTS Hamjin mirror the shape of humanity. Kenny Rivero Influenced by her transition to New York, Hyon Gyon’s present works mark a change Keunmin Lee within her own internal reflections. These abstract self-portraits portray her frustra- tions with imperfection, demonstrated by erratic patterns of hurled candle wax and

COVER distressed shapes of pillow cotton dipped in modeling paste. She acknowledges Hyon Gyon and confronts these explosive emotions in hopes of facilitating constructive, inter- Provocateur nal change. 2013 Satin and Silicone on Canvas Hyon Gyon (b. 1979, S. Korea) is based in New York, U.S.A. She received her B.A. 56 × 80 in from Mokwon University in South Korea and her M.A. and Ph.D. from Kyoto City

INSIDE University of Arts in Japan. She had solo and group exhibitions at the Museum of Hyon Gyon Kyoto in 2006; Museum of Contemporary Art, Tokyo, in 2007 and 2010; and Kyoto Hyon Gyon in her studio Art Center in 2012. She debuted in the Asian Art Museum of San Francisco. Since 2014 then the Brooklyn Museum, High Museum of Art in Atlanta, Frederick R. Weisman BACK Art Foundation, Kyoto Municipal Museum of Art, and Kyoto City University of Arts Hyon Gyon have acquired her works. Nonlinear 2013 Digital C-Print 39.3 × 51.2 in 100 × 130 cm MIRI CHAIS SHULAMIT GALLERY, LOS ANGELES

VOLTA NY 2015 | BOOTH NUMBER D20

SHULAMIT GALLERY: MIRI CHAIS

WEBSITE Miri Chais’ most recent exhibit We Are The Hollow Men references T. S. Eliot’s fa- www.shulamitgallery.com mous poem, written on the cusp of an earlier wave of modernization, which inter- E-MAIL preted the “new order” as a dehumanizing force, robbing individuals of their potency, [email protected] will, and sense of self. Like Eliot, Chais senses “something gone terribly wrong”

PHONE in contemporary life as a result of technology’s pervasive presence. Something +1 310 281 0961 has gone missing: our privacy, our agency, our spirit, our identity. All over again,

CONTACT NAMES we are fast becoming Eliot’s “hollow men… the stuffed men / Leaning together / Renée Fox Headpiece filled with straw. Alas!” In Eliot’s poem, those forces, which had given Shula Nazarian human existence definition and vitality – whether it was religion, ideology, or even sexual potency — are all lost. Chais’ installations feature combinations of individual pieces including paintings, video, unique sound compositions, sculpture and new REPRESENTED ARTISTS media works. This exhibition is an extension of Miri’s recent show at Shulamit Gal- David Abir Pooya Afshar lery, and explores many of the same themes regarding the effects of technology on Gary Baseman contemporary society. Working in a post-internet era, Chais makes work that deals Jonas N.T. Becker with the bombardment of electronic imagery and our absorption into social media Carol Es channels that have become so second nature that they are already a part of us. Shahab Fotouhi Orit Hofshi This thematic blend of symbols and icons, both ancient and modern are projected Galia Linn through the lens of technology-driven mass media in search of a future aesthetic. Elham Rokni Tal Shochat Miri Chais has exhibited internationally in Israel, Japan, and Germany. VOLTA NY 2015 is her New York debut. Since moving to Los Angeles in 2013, she has had a solo show Re:Mind at USC Fisher Museum and We Are The Hollow Men, an instal- COVER lation at Shulamit Gallery’s project space. Her installations have also been curated Miri Chais into several group exhibitions in Los Angeles. Chais’ Re:Mind was well received in Enter-Mind the Los Angeles art community and was covered by publications such as ArtLtd, 2014 Mixed-media on canvas Huffington Post and KCET. 68 × 37 in

INSIDE Re:Mind, USC Fisher Museum exhibition installation view

BACK Miri Chais Prisamyd 3 2014 Plexiglas, radiant film, and silicone rubber 2 × 24 × 25 in SANAZ MAZINANI SHULAMIT GALLERY, LOS ANGELES

VOLTA NY 2015 | BOOTH NUMBER D20

SHULAMIT GALLERY: SANAZ MAZINANI

WEBSITE Sanaz Mazinani mines images from the Internet to create large photographic col- www.shulamitgallery.com lages. Her work reflects on the digital revolution and the condition of living in the E-MAIL computer age. Utilizing news media images, repeating and refracting them, she ex- [email protected] plores the relationship between perception and representation by drawing on con-

PHONE cepts such as censorship, scale, and the body as a site of action or violence. In the +1 310 281 0961 series Frames of the Visible (2011-2014) Mazinani mined images from the Internet

CONTACT NAMES to frame questions on the representation of conflict. Her large photographic col- Renée Fox lages use images relating to the destabilizing effects of war to dissect and puncture Shula Nazarian our normative experience of the original source. For example, in the piece Together We Are, she combines an image commonly used in news articles on female suicide bombers with popular culture’s infamous media darling, Paris Hilton. By collocating REPRESENTED ARTISTS the image of a famous American media personality with that of an unidentified female David Abir Pooya Afshar suicide bomber from Afghanistan, the nature of the physical acts embodied in the Gary Baseman deceptively mirrored gestures of these two figures are exaggerated and critiqued. Jonas N.T. Becker Here again, our visual vocabulary has been affected by the repetitive onslaught of Carol Es mass media images. Shahab Fotouhi Orit Hofshi Sanaz Mazinani is an artist, curator, and educator based in San Francisco, CA and Galia Linn Toronto, ON who holds an undergraduate degree from Ontario College of Art & De- Elham Rokni Tal Shochat sign University, and a Masters in Fine Arts from Stanford University. Her work has been exhibited internationally in Ontario and Switzerland. Last year, she was invited to create the public art installation U.S.A.I.R.A.N., 2014, through Washington, DC’s COVER 5x5 Project. She has been published in Artforum, Border Crossings, Nuva Luz, NOW Sanaz Mazinani Magazine, San Francisco Chronicle, and Dide and recently received grants from the Together We Are (detail) Canada Council for the Arts and San Francisco Arts Commission. 2014 Photograph mounted on Di-bond 40 × 40 × 7 in

INSIDE Sanaz Mazinani Blue Angel 2013 Photograph mounted on Di-bond 47.5 × 110.5 × 10 in

BACK Sanaz Mazinani Blue Angel (detail) 2013 Photograph mounted on Di-bond 47.5 × 110.5 × 10 in RODRIGO TORRES SIM GALERIA, CURITIBA

VOLTA NY 2015 | BOOTH NUMBER D9

SIM GALERIA: RODRIGO TORRES

WEBSITE SIM Galeria was founded in 2011 in Curitiba, Brazil, intended as a space for dissemi- www.simgaleria.com nating and divulging Contemporary Art, showing Brazilian and international artists E-MAIL who perform their artistic researches in the most varied materials and techniques, [email protected] such as: painting, photography, sculpture and video.

PHONE Since the gallery’s opening many solo and group exhibitions have been organized +55 41 3322 1818 by guest curators, accompanied by publications, also it’s program includes study CONTACT NAMES groups and talks opened to general public. Guilherme Assis Laura Assis RODRIGO TORRES | GEOGRAPHIC MISINFORMATION SYSTEM Through this project, Rodrigo Torres aims to create a large 3D map through a collage

REPRESENTED ARTISTS of pictures using satellite images, as well as close up photographs of the ground Carlos Huffmann made by the artist himself. The title refers to the GIS (Geographic Information Sys- Delson Uchôa tem). However these images collected from around the globe will be combined to Eliane Prolik form a new terrain, in other words, we will have a map that does not indicate loca- Isidro Blasco Jules Spinatsch tion but creates a place. Juliana Stein “At a time in which GPS and Google Maps became our contemporary compasses, Miguel Palma Paolo Ridolfi situating us in space by means of flattened, two-dimensional images without reveal- Rafael Alonso ing volumes, Torres uses satellite images to restore the topography of the geographi- Romy Pocztaruk cal features of the landscape. The appeal of reactivating the three-dimensionality of the landscape occurs, through the use of two-dimensional images, photographs. Torres appropriates low resolution images to form a large file on which he “carves” COVER the volume using collages. High-tech satellite technology comes to life in the low- Rodrigo Torres Geographic Misinformation tech gesture of cutting and pasting, referring to when this term implied the use of System (detail) non virtual scissors and glue. In the exhibition space, *”Fotopografia” (Phototopog- 2015 raphy — the title of this series of photographic terrains”. (text by Eder Chiodetto, “ Colour print, cotton Generation 00 — The new Brazilian photography”). paper, pencil Variable dimensions Rodrigo Torres lives and works in Rio de Janeiro. Graduated in Painting from the INSIDE School of Fine Arts (EBA) of UFRJ in 2003, the artist produced by combining differ- Rodrigo Torres ent techniques such as painting, cutting and collage, photo printing, and the use of Geographic Misinformation various objects, thus achieving their own outcomes. System (detail) 2015 In 2013 he received the Foreign Ministry Prize for Contemporary Art having entered Colour print, cotton their work in the collection of the library of the Ministry of Foreign Affairs. Also in paper, pencil Variable dimensions 2013 joined the German publication “The Age of Collage: Contemporary Collage in Modern Art.”

Among his exhibitions, the following can be highlighted: Frestas – Mostra Trienal de Artes, SESC Sorocaba, Sao Paulo, Brazil (2014); Parque das Transgressões, SIM Galeria, Curitiba, Brazil; Grana Extra, Paço das Artes, Sao Paulo, Brazil (2012); O Elogio da Vertigem, Maison Européenne de la Photographie, Paris, France (2012); Art Basel, Basel (2012); Projeto solo U-Turn, Feira de Arte de Buenos Aires, Argen- tina (2011); Geração 00 A Nova Fotografia Brasileira, SESC Belenzinho, Sao Paulo, Brazil (2011); Arquivo Geral, Centro Cultural Hélio Oiticica, Rio de Janeiro, Brazil (2010); Crossing Borders, Building Bridges, Modified Arts, Phoenix, AZ, USA (2010). NAOMI SAFRAN-HON SLAG GALLERY, BROOKLYN

VOLTA NY 2015 | BOOTH NUMBER C8

SLAG GALLERY: NAOMI SAFRAN-HON

WEBSITE Naomi Safran-Hon’s new body of work is far from an over-politicalized statement on www.slaggallery.com Israeli–Palestinian relations or simple ruin porn. Rather, through her process, Safran- E-MAIL Hon’s pieces challenge the viewer to reconsider preconceptions about materials, the [email protected] notion of home as a physical locus, and the role of destruction as a negative force.

PHONE The duality of household items and refuse, the suggestion of livable spaces and the +1 917 977 1848 reality of abandoned buildings, is mirrored in the connection between the beauty of CONTACT NAME the works themselves and the destructive process used to create them. Irina Protopopescu In the end, these pieces reveal the fragility of human experience and the complicated nature of one’s home. Destruction — both intentional, at the hands of the REPRESENTED ARTISTS artist, and incidental, as the result of time and desertion — recasts the viewer’s no- Avital Burg tion of “hard times,” in terms of geopolitical conflict, irresolvable nostalgia, and the Tirtzah Bassel personal struggle to find one’s place in the world, both physical and psychological. Hannah Cole Dumitru Gorzo Naomi Safran-Hon received a Masters of Fine Arts degree from Yale University in Ioana Joa 2010 and a Bachelor of Arts degree in Studio Art and Art History from Brandeis Uni- Tim Kent Serkan Ozkaya versity in 2008. She is also a 2012 Skowhegan Residency alumnus. Naomi Safran-Hon Selected 2012 – 2016 exhibitions: Brooklyn Museum; “Heimat: Chronicle of Ab- Molly Stevens Dan Voinea sentees”, Brandt Gallery, Amsterdam, Netherlands; “Salmat Beton va-Melet Gown of Concrete and Cement”, Hartford, CN; “Two Times Gray”, Slag Contemporary, NY “Centaurs and Satyrs”, Asya Geisberg Gallery, New York, NY; “Discourse on COVER Plants”, RH Gallery, New York, NY. “Faux Sho”, at Islip Art Museum October 2014; Naomi Safran-Hon “In Between”, Kleindienst Gallery, Leipzig/Cologne, September 2014; “Visions of Wadi Salib: Hole in The Wall Place: Complex Geographies in Contemporary Israeli Art”, Delaware Center for Con- 2014 Archival ink jet print, lace, temporary Art, Delaware, 2015; solo exhibition, Silber and Rosenberg Art Galleries, pigment, acrylic and cement Baltimore, Maryland, 2016. on canvas and fabric 42 × 72 in

INSIDE Naomi Safran-Hon Wadi Salib: 3 Windows and a Door 2014 Archival ink jet print, lace, pigment, acrylic and cement on canvas 42 × 72 in

BACK Naomi Safran-Hon Wadi Salib: Red and Blue (detail) 2014 Archival ink jet print, lace, pigment, acrylic and cement on canvas 42 × 72 in DAN VOINEA SLAG GALLERY, BROOKLYN

VOLTA NY 2015 | BOOTH NUMBER C8

SLAG GALLERY: DAN VOINEA

WEBSITE Romanian artist Dan Voinea exhibits the past and present in dreamlike paintings www.slaggallery.com that are at times alienating, at times disorienting, and at times foreboding — but E-MAIL always powerfully rendered. [email protected] The subjects of his work, all anonymous, are mostly blue-collar characters: urban PHONE laborers, craftsmen, farm hands. These everymen are cast in tones at once industrial +1 917 977 1848 and rustic — ashy grays, ruddy browns — and strike highly readable poses loaded CONTACT NAME with social symbolism. Voinea’s penumbral paint handling — sometimes light and Irina Protopopescu fluid, sometimes dense and deliberate — renders his subjects in an ethereal pseu- do-clarity. Details can leap out of the paintings — individual veins, evocative facial expressions — while others — a mustachioed figure in the background, the hinges REPRESENTED ARTISTS Avital Burg on a barber’s chair — can be felt creeping out from the haze. Tirtzah Bassel There is a Kafkaesque sensibility to Voinea’s work — in his fragmented reality appa- Hannah Cole Dumitru Gorzo ritional figures wrestle with ambiguous bodies in dense shadow, or affix the viewer Ioana Joa with seemingly pained, near-accusatory sentiment for reasons unknown. The fore- Tim Kent boding images manifest the fragmented, inconsistent nature of dreams, and combine Serkan Ozkaya precise realistic detail with contemporary abstraction and absurdity. Here, figures Naomi Safran-Hon Molly Stevens appear doubled, translucent, or vague, melting into one another in a pained crisis of identity, the hopelessness and absurdity darkly emblematic of existentialist anxiety.

In this series, Voinea interrogates understandings of consciousness and phenom- COVER enology, utilizing a technique of disconcertion and disorientation to channel the Dan Voinea Smooth psychological toll of labor on the worker. Reading like snapshots from a meatpack- 2014 er’s hallucinatory dream, Voinea captures themes and archetypes of alienation with Oil on canvas physical and psychological brutality, melding the two into a rugged surreal narrative × 130 120 cm of gritty industry and atemporal struggle. INSIDE Dan Voinea Close encounter IV 2014 Oil on canvas 150 × 160 cm

BACK Dan Voinea Close encounter V (detail) 2014 Oil on canvas 160 × 150 cm SINISA KUKEC SPINELLO PROJECTS, MIAMI

VOLTA NY 2015 | BOOTH NUMBER D14

SPINELLO PROJECTS: SINISA KUKEC

WEBSITE Spinello Projects presents a solo project by Sinisa Kukec for VOLTA NY 2015. www.spinelloprojects.com Kukec seeks to create an installation that invokes the simple, subliminal power of E-MAIL the “primary” as in space time. Through the use of reflection, heat, gravity, color, [email protected] geometry, and a word who’s ultimate origin is unknown (red, yellow, and blue / PHONE square, circle, and triangle / slut). Kukec draws from Leonardo da Vinci’s Vitruvian +1 786 271 4223 Man, a work based on the correlations of ideal human proportions with geometry, CONTACT NAME by the ancient Roman architect Vitruvius, who described the human figure as be- Anthony Spinello ing the principal source of proportion among the Classical orders. Alongside this ideal, Kukec places a word who’s ultimate origin is unknown; sluts or “slut,” which first appeared in Middle English in 1402, with the meaning “a dirty, untidy, or slov- REPRESENTED ARTISTS Farley Aguilar enly woman” (and in time men). However, Kukec refers to the word as ‘non gender Aramis Gutierrez (human) greed.’ Kris Knight Sinisa Kukec This new work is a tangent of an ongoing body of work by Kukec called GRAVITY- Cheryl Pope WELL, an investigation of the invisible forces in the universe (whether it be gravity Manny Prieres or human ideology) that can influence an experience seemingly confined only to the Santiago Rubino sense of ones own being. Naama Tsabar Agustina Woodgate Kukec harbors a profound curiosity towards gravity, indeterminacy, the elusive na- Antonia Wright ture of consciousness and how their mysterious behaviors affect our place in the universe. Kukec’s work is produced through an intensive studio practice, consistently experimenting with differing materials and methodologies; all the while, maintaining COVER Sinisa Kukec cross-disciplinary interests in applied sciences and philosophy. Kukec, in his own VITRUVIANSLUTS (Blue) (detail) words, ‘cast(s) pataphysical doubt on the insane belief systems of the masses...a 2014 ‘bottoms up’ approach, an attempt to reinvent how humans think and feel.’ Acrylic mirror, red cedar, danish oil Spinello Projects is a Miami-based contemporary art program founded in 2005. The 29 × 48 × 2 in gallery supports and promotes the work of artists with unorthodox and experimental INSIDE practices. Its mission: to initiate fundamental changes in Miami’s visual landscape Sinisa Kukec and to present new aesthetic challenges to a broader global viewership. VITRUVIANSLUTS (Blue) 2014 Acrylic mirror, red cedar, danish oil 29 × 48 × 2 in

BACK Sinisa Kukec ZENITHSLUTS (in gold) a gravitywell (detail) 2014 Acrylic mirror, red oak, danish oil 84 × 46 × 3 in PER FHAGER STENE PROJECTS, STOCKHOLM

VOLTA NY 2015 | BOOTH NUMBER D6

STENE PROJECTS: PER FHAGER

WEBSITE PER FHAGER, 1980 www.steneprojects.com Crafts has taken a predominate role in the perspicuous world of art. The crafts abil- E-MAIL ity to communicate, as well as emphasize on the skill that lays beneath the works [email protected] of art makes them into artworks. There is a beauty and tension between the attrac-

CELL tive and dissociation that contemporary art and then especially craftsmanship can +46 768 986 495 take and use in its idiom as well as choice of material.

CONTACT NAME Per´s choice of material, technique and color gives us a perfect example of how Jan Stene traditional crafts can receive a new expression and context in the modern world. The embroideries differs largely in texture, technique and color density, these dif- ferences are important in the process of producing the needle point works. The REPRESENTED ARTISTS Cecilia Edefalk (SE) handmade pictures arrives from video game stills where composition, narrative and Matthew Benedict (US) memory plays its role. Sylvan Lionni (US) Gustaf Nordenskiöld (SE) The gaming industry is still in its youth though very soon to become the dominat- Julia Peirone (SE) ing genre in popular culture. Video games has quickly created its own subculture Suzannah Sinclair (US) and codes, this very much in relation to the fast growing industry and especially to Ulrika Sparre (US) people born during the 70:s who grew up with the first generation of consoles 25 Luke Stettner (US) Per Wizén (SE) years ago, as Nintendo NES, Commodore 64 and Sega Megadrive. The combina- Kristoffer Zetterstrand (SE) tion of technical progress parallel with cultural baggage is an interesting socio eco- nomical aspect for understanding the work of Per Fhager. Per creates something permanent from a transient movement. COVER Per Fhager Stitched stills from digital fantasy worlds also relates to the historical genre of natu- Field studies ralistic and romantic paintings from the 1900 century. It´s beautiful and intriguing, at (Sonic the Hedgehog 3) the same time as we almost experience the expression as superficial and shallow. 2015 Though we know that both Markus Larsson, Robert Zünd and their fellow collegues Needle point / double gobelin stitch, wool today are important figures that represent a time very often forgotten. A time when 98 × 85 cm nature and nostalgia may played a different role than today. Per Fhager helps us to

INSIDE recapture this feeling in a new time with a different language. Per Fhager Field studies (installation view, 4 out of 6) 2015 needle point / double gobelin stitch, wool 98 × 85 cm

BACK (LEFT) Per Fhager Kirby´s Dreamland 2012 Needle point / double cross stitch, wool 116 × 128 cm

BACK (RIGHT) Per Fhager Legend of Zelda Link´s Awakening 2014 Needle point / tent stitch, wool 22.5 × 20.5 cm SAM JINKS MARC STRAUS, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER A12

MARC STRAUS: SAM JINKS

WEBSITE Sam Jinks (b. 1973, Australia) is a leading figurative sculptor. Working with such www.marcstraus.com material as silicone, resin, pigment and human hair, Jinks has pushed the technical E-MAIL achievements of the genre to new heights. He is known for his amazing attention to [email protected] detail and quiet focus on deep emotional content.

PHONE Jinks’ works are frozen in their briefest and often most private moments. Emotional +1 212 510 7646 vulnerability is both the subject and result of his work, allowing the audience a rare CONTACT NAMES opportunity to examine in close proximity the ordinary, imperfect and non- ideal- Marc Straus ized body reduced to its purest form of expression. With a fold of skin, a wrinkle, a Tim Hawkinson pose, a sign of the times, Jinks achieves a fragile sense of intimacy with the viewer

Jinks’ recent sculpture, Untitled (Kneeling Woman) was five years in the making. REPRESENTED ARTISTS The sculpture is modeled at two-thirds life size, an adjustment of scale which adds Emil Alzamora poignancy to the work. The second work is of two babies and references his semi- Thomas Bangsted Birgit Brenner nal 2012 sculpture. Here, the two babies are surrounded by a multitude of frogs, Jeffrey Gibson adding an element of playfulness. Kristjan Gudmundsson Chris Jones Sam Jinks lives and works in Melbourne, Australia. His work has been exhibited inter- Marin Majić nationally at La Biennale di Venezia, Palazzo Bembo (2013); McClelland Gallery and Martha Mysko Sculpture Park, Langwarrin (2011); National Portrait Gallery, Canberra (2006/2007). John Newsom Museum collections include The Kiran Nader Museum of Art, Dehli; Museo Escultura Jong Oh Paul Pretzer Figurativa Internacional Contemporaenea (MEFIC); the Royal Melbourne Institute of Ulf Puder Technology Collection, Victoria; McClelland Gallery + Sculpture Park, Victoria; Shep- Antonio Santin parton Art Gallery, Victoria; Shepparton Art Museum, Shepparton. Zlatan Vehabovic Entang Wiharso Currently, his works are on view in exhibitions at the National Portrait Gallery,Canberra, Australia and the Libieghaus Sculpture Museum, Frankfurt, Germany. Jinks’ first solo-exhibition in the United States will open at MARC STRAUS in March 2015. He is COVER represented by MARC STRAUS, New York and Sullivan + Strumpf, Sydney. Sam Jinks Standing Pieta 2014 Silicone, pigment, resin and human hair 63 × 23 3/4 × 23 3/4 in 160 × 60 × 60 cm

INSIDE Sam Jinks Untitled (Kneeling Woman) 2015 Silicone, pigment, resin, human hair 11 3/4 × 28 1/2 × 11 in 30 × 72 × 28 cm

BACK Sam Jinks Untitled (Babies with Frogs) 2014 Silicone, pigment, resin, human hair 15 3/4 × 15 3/4 × 7 3/4 in 20 × 40 × 40 cm MARIN MAJIĆ MARC STRAUS, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER A12

MARC STRAUS: MARIN MAJIĆ

WEBSITE Marin Majić creates paintings that present a vision of unsettling idyll. His imagery is www.marcstraus.com drawn from varied sources — magazines, screen shots, film stills — creating plau- E-MAIL sible but unlikely combinations of scenery, faces and activities that with painstaking [email protected] deliberateness, acquire a cache of familiarity in spite of (or due to) their uncanny

PHONE subject matter. +1 212 510 7646 Upon close inspection of Majić’s work, something is always awry. An adoring mother CONTACT NAMES bids her son farewell, but at second glance it is revealed that their relationship is Marc Straus charged. Traditional viewpoints are reversed. Large trees obscure brick homes, add- Tim Hawkinson ing an element of suspense and unease to what would otherwise would be a common landscape. In his most recent work, Majić continues to focus on the landscape. An

REPRESENTED ARTISTS enormous mound of children’s play things take over the entirety of a large canvas. Emil Alzamora The illuminated point of focus and absence of central figuration is particularly jarring. Thomas Bangsted Birgit Brenner The key to these works is Majić’s extraordinary mastery of painting, which holds the Jeffrey Gibson viewer enrapt despite the sharp edge of the subject matter. There is a push and pull Kristjan Gudmundsson between narrative and style, a struggle between the viewer’s desire to inspect the Chris Jones lush, expertly painted scenery and their simultaneous hesitation at the unexpected Marin Majić Martha Mysko content. In one moment each painting in the exhibition can change from enchant- John Newsom ing to disconcerting; consequently each viewer comes back again and again with Jong Oh renewed interest and even amusement. Paul Pretzer Ulf Puder Marin Majić was born in 1979 in Frankfurt, Germany and lives and works in Berlin. Antonio Santin He received his MFA from the Academy of Fine Arts in Zagreb, Croatia. He was a Zlatan Vehabovic finalist in the 45th Zagreb Salon and Salon of Young Art, Zagreb, both in 2010. He Entang Wiharso has been included in several museum exhibitions in the United States including Af- ter the Fall, at the Hudson Valley Center for Contemporary Art and The Knoxville

COVER Museum (2010–11). He is represented by MARC STRAUS in New York and ARNDT Marin Majić Gallery in Berlin Father and Son 2013 Oil on Linen 14 × 11 in 36 × 28 cm

INSIDE Marin Majić The Third House from the Left 2012 Oil on Linen 63 × 88.5 in 160 × 225 cm

BACK Marin Majić Untitled 2015 Acrylic and oil on linen 94.5 × 86.5 in 240 × 220 cm HENDRIK ZIMMER GALERIE HEIKE STRELOW, FRANKFURT AM MAIN

VOLTA NY 2015 | BOOTH NUMBER B8

GALERIE HEIKE STRELOW: HENDRIK ZIMMER

WEBSITE Hendrik Zimmer paintings and installations are both informed by the context of so- www.galerieheikestrelow.de called “institutional critique” that the medium has faced since the 90`s and the In- E-MAIL ternet impact on culture at large and its distribution. Belonging to the Post-Internet [email protected] Art generation and experiencing the changes brought from a long-since digital age

PHONE and the network ideology, Zimmer develops his paintings concerned particularly with +49 694 800 5440 their materiality and their ways of presentation and dissemination in the physical

CELL and digital space. His paintings enable us to follow the production process and it +49 172 676 9613 becomes clear that Zimmer`s “pictures” exist in three different stages. He appropri-

CONTACT NAMES ates found fragments of posters, images and writing used in advertising in order to Heike Strelow incorporate these pre-existing commodified and digitally reproduced images, in the Adela Demetja canvas. On the incorporated advertisement images Zimmer intervenes by pouring, brushing, and scrubbing extensive fields of colour, stripping away layers of glued paper and painting them over again experimenting with Décollage strategies. The REPRESENTED ARTISTS multilayered Décollage paintings institute a new “picture” and the second stage of Monika Brandmeier Nin Brudermann Zimmer’s work. However his work can only be finalized in the exhibition space where Il-Jin Atem Choi the appropriate installations display of the paintings and other elements can be ar- Grösch/Metzger ranged. Only in the exhibited condition can Zimmer works accomplish their final Florian Heinke “picture” in which they are to be understood, documented and reintroduced and Mathias Kessler George Steinmann distributed again (as digital images probably much more than the original object) Katrin Ströbel in the network from where they originated. In this sense we can say that Zimmer’s Herbert Warmuth paintings embody and visualize the network, interrupting the representation of a Winter/Hoerbelt static object and becoming a transitive painting what David Joselit urges for this medium in contemporary times to be.

COVER Zimmer’s Décollage paintings reconcile figurative elements in the form of a pho- Hendrik Zimmer tographic image taken from a poster or magazine and the expressionist abstract Untitled (detail) painted gestures. Most times the introduced elements are parts of human figures, 2015 Mixed media on canvas faces, hands or other parts of the body and fully integrated in the composition. Just 119 × 85 cm as artists in the 1960´s addressed the endless mechanical reproduction of images in their work, Zimmer’s paintings evoke and reflect a contemporary moment of me- INSIDE Hendrik Zimmer dialized globalization defined by the infinite reproducibility and mutability of digital Untitled images and objects. 2015 Mixed media on canvas 185 × 135 cm

BACK (LEFT) Hendrik Zimmer Untitled (Goldrausch) 2012 Papier colle, decollage, oil & acrylic on canvas 120 × 120 cm

BACK (RIGHT) Hendrik Zimmer Untitled (Warsaw Road) 2014 Papier colle, decollage, oil & acrylic on canvas 100 × 80 cm JUDE TALLICHET STUDIO10, BROOKLYN

VOLTA NY 2015 | BOOTH NUMBER F3

STUDIO10: JUDE TALLICHET

WEBSITE Jude Tallichet’s sculptures guide the viewer in a strange meditation on loss and de- www.studio10bogart.com sire. The cast aluminum bear rug, the bronze iPhones and discarded personal items E-MAIL emerge out of intention, accident and critical response in her studio. The casting [email protected] process is used not to simulate the object but rather to imbibe it within a continuum

PHONE of signification. Jude Tallichet lives and works in Queens, NY. Tallichet’s recent solo +1 718 852 4396 exhibition, titled “U-Turn” was at STUDIO 10. She has had six solo exhibitions at

CELL Sara Meltzer Gallery, NYC, since 2000. She has exhibited nationally and interna- +1 718 908 4253 tionally in venues including the Konsthallen in Gothenburg, Sweden, The Shanghai

CONTACT NAMES Biennial in China, The Busan Biennial in Korea, The Tirana Biennial in Albania, the Larry Greenberg “Officina America” exhibition in Bologna, Italy, at Periogi Gallery in Brooklyn, and Annelie McGavin Liepzig, Germany. She participated in the inaugural Greater New York Show at PS1 MOMA, the “Treble” exhibition at Sculpture Center, and the “Brooklyn Next” exhibition at the Brooklyn Museum of Art. She has had solo shows at Robert Miller Gal- REPRESENTED ARTISTS lery in 2014, the Santa Barbara Contemporary Arts Forum and the Burnet Gallery Michele Araujo John Avelluto in Minneapolis, Minnesota. She was a featured performer in the Iron Artist Event at Caroline Cox PS1 MOMA, organized by Cabinet Magazine. Jude spent a year in Brazil as a Se- Matt Freedman nior Fullbright Fellow and has received fellowship grants in sculpture from the Na- Richard Garet tional Endowment for the Arts and the New York Foundation for the Arts. She has Meg Hitchcock David Schafer received residencies at the Rosa de la Cruz Collection, the MacDowell Colony, the Adam Simon Millay Colony and at the Civitella Ranieri Center in Umbertide, Italy. She is Profes- Tim Spelios sor and Chair of the Sculpture Department at the Tyler School of Art, where she Kate Teale has taught since 1987. Jude was a founding member of the rock band Ultra Vulva and has collaborated on video and performance projects with a diverse collection of artists and musicians, including Jeanine Antoni, Kristin Lucas, Doug Henderson, COVER John Harbison and Henry Threadgill. Jude Tallichet Untitled (Shoe) 2012 Bronze 13 × 5 × 5 in

INSIDE Jude Tallichet Bear Rug 2005 Aluminum 96 × 70 × 69 in

BACK Jude Tallichet Small Monuments 2014 Bronze 2.5 × 4.5 in RACHEL MONOSOV CATINCA TABACARU GALLERY, NEW YORK CITY

VOLTA NY 2015 | BOOTH NUMBER B16

CATINCA TABACARU: RACHEL MONOSOV

WEBSITE Catinca Tabacaru Gallery is proud to present Israeli artist Rachel Monosov. Bridging www.catincatabacaru.com photography, video and sculpture, Monosov delves into cultural notions of alienation, E-MAIL territorial belonging, gender and identity. Nature serves as a source for Monosov’s [email protected] imagery and objects, which can be interpreted as both symbolic and indexical. While

PHONE many of her works are autobiographical and steeped with a desire to grapple with +1 212 260 2481 her personal history, the collection as a whole reflects a rootless present rife with

CELL broader social implications. +919 475 8407 Monosov’s 2015 solo exhibition, Effects of Displacement, mounted a four meter long CONTACT NAMES cascading photograph, the idea of an infinite landscape, but riddled with notions Catinca Tabacaru of seen and unseen boundaries; a faux hair extension simultaneously calling to ste- Tiffany Jin reotypical kitsch accessories and modifiable personal identities; and a video work, The Visitor, filmed in Jerusalem and the Judaean Desert channeling Monosov’s re-

REPRESENTED ARTISTS turn to her homeland and the feelings of re-encountering one’s native country as a Joe Brittain foreigner. The exhibition underscored Monosov’s struggle with an in-between pres- Jasmin Charles ent, tackling themes of faith and identity in a strange, yet familiar space. Greg Haberny Tamara Mendels Monosov received her BFA in Photography from the Bezalel Academy in Jerusalem, Rachel Monosov Israel in 2010, and her MFA from The Royal Academy of Fine Arts in Ghent (KASK), Shinji Murakami Belgium in 2014. Yapci Ramos Xavier Robles de Medina Justin Orvis Steimer ABOUT CATINCA TABACARU GALLERY Gail Stoicheff Founded in 2010 by Catinca Tabacaru, the gallery opened its brick and mortar space on the Lower East Side of Manhattan in May 2014. Interested in authenticity, a universal language and the geopolitical environment, the themes of identity, gender COVER and time run deep throughout the gallery’s program. Remaining true to its roots of Rachel Monosov Animal Side 1 and 2 curating and branching out into multidisciplinary projects, the gallery continues to 2014 organize events focused on building community and fostering dialogue. Inkjet print on innova soft white cotton mounted on dibond 47.25 × 40.75 in 120 × 103.5 cm Edition of 3 + AP

INSIDE Rachel Monosov Exotic? (pentaptych) 2015 Inkjet print on Canson Infinity Platine Fiber Rag paper 8 × 5.5 in; 13 × 9 in; 31 × 22 in 21 × 14 cm; 33 × 22 cm; 79 × 56 cm 3 Variations

BACK Rachel Monosov Installation view: Effects of Displacement 2015 Catinca Tabacaru Gallery, New York, NY [dNASAb] FREDERIEKE TAYLOR GALLERY, NEW YORK

VOLTA NY 2015 | BOOTH NUMBER D19

FREDERIEKE TAYLOR GALLERY: [dNASAb]

WEBSITE [dNASAb]’s most recent body of work evokes the forms, textures, and colors of the www.frederieketaylorgallery.com living coral reef as well as the biodiversity of ocean life. [dNASAb]’s dynamic sculp- E-MAIL tures, photographs and installations are the result of intense observation of the liv- [email protected] ing marine reef ecosystem. The artist maintains a full blown reef ecosystem in his

PHONE studio in which he nurtures and propagates dozens of species of living corals as +1 646 230 0992 well as the subsequent ecosystems needed for them to thrive. This reef aquarium,

CELL or “studio tank” acts a site of research into developing living sculptures. [dNASAb] +1 917 402 4881 conducts research utilizing new materials, species integration, and optical systems

CONTACT NAME in an effort to re-contextualize the reef environment. Frederieke Taylor In his Aquascaping Project series, the artist reproduces the shifting organic growth of the reef by allowing living invertebrates to fasten to the work, making the sculpture part of the living coral it seeks to mimic. In this way the sculpture, like the reef REPRESENTED ARTISTS Long-Bin Chen and its inhabitants, transforms over time. Employing plastics, LEDs, fiber optics, Mel Chin and other media, [dNASAb] makes the connection between the rich biodiversity of Jackie Ferrara the reef and the accelerating social and cultural evolution of the world we inhabit Peter Hutchinson on land. Colorful abstracted hanging sculptures and photographs reflect the artist’s Rachel Maulwurf Meredith Monk continued exploration between art, technology and nature. Kristen Nelson The underwater world has always been a source of inspiration for the artist but it’s Christy Rupp Pauline Wertz this daily interaction with the pristine system of the “studio tank” that informs the Marion Wilson new works in these series. Utilizing the same intense observation, the artist has turned his eye to the natural environments that are the foundations for a healthy reef. What the artist has found and reclaimed on the beaches, in the Oceans, and COVER strewn through the mangrove nurseries is horrifyingly inspirational. [dNASAb] Untitled “Like an Ocean gyre, a vortex of artifacts of a consumption based contemporary 2014 society such as; plastic bottles and bags, fishing nets, and helium balloons become Archival Pigment Print ensnarled with driftwood, dead coral, and seaweed creating a grotesque amalgama- 60 × 40 in Edition of 7 tion of disparate materials which remarkably can still harbor life and be a sculptural framework for life to grow. I aim to develop work that embodies this contemporary INSIDE conundrum [dNASAb].” [dNASAb] Sculpting Life A re-contextualization of the BIOGRAPHY living marine reef ecosystem [dNASAb] works and lives in Brooklyn. He received a BFA in Sculpture and Mixed #2 / BLOOMBERG Media at Florida State University, Tallahassee, FL and was the 2006 Artist in Resi- AQUASCAPING PROJECT 2014 dence at the Institute for Electronic Arts, Alfred University, NY. Thermal formed plastics, hand cast archival images, 40 living corals, He has exhibited widely both in the United States and Europe. Most recently he in- cast clear plastic 3D fiber optic stalled a permanent commission at the Bloomberg NY Headquarters on Lexington nodes,120 LEDs, acrylic, fiber Ave, NYC 2014, entitled “Sculpting Life, A Recontextualisation of the living marine optics, reclaimed/recycled plastics, reef ecosystem”. aquatic resin, live rock, and a full marine ecosystem. Some of his more recent exhibitions include “Hotter than July” at Studio Gallery, Variable dimensions LES, in 2014 and “Separation Anxiety” at WALLPLAY Gallery. In 2013 he participated in CYBERFEST 2013 in St. Petersburg, Russia, the Redhook International Film and Video Film Festival and the Mykonos Biennale. Recent shows include: “SHOOT” at Lesley Heller Workspace, VOLTA NY 2011, “Science Fiction” at Storefront Gallery and “dataclysmic” at Frederieke Taylor Gallery in 2010.

[dNASAb]’s work is included in numerous collections, both corporate and private, including the Microsoft Bloomberg collections. TOMOHIRO KATO TEZUKAYAMA GALLERY, OSAKA

VOLTA NY 2015 | BOOTH NUMBER D3

TEZUKAYAMA GALLERY: TOMOHIRO KATO

WEBSITE Tomohiro Kato was born in Tokyo in 1981. He completed an MA from the Department www.tezukayama-g.com of Craft at Tama Art University in 2006, which included the study of many traditional E-MAIL Japanese craft techniques in a variety of media. After graduating, whilst working [email protected] in a metal processing company, Kato developed his technical skills of steelwork.

PHONE Kato has been consistently utilizing steel as his medium. The material is the most +81 6534 3993 important element for him when creating his work. By painstakingly creating objects CELL which are not normally made of steel, or by utilizing the material in ways we are fa- +81 80 3817 3187 miliar with but for purposes which are unfamiliar, the meaning and the role of this CONTACT NAMES material in our society is both highlighted and questioned. He also puts into question Chie Uchida the complexities of today’s society of mass communication and information, and by Shinpei Okada contrast, consistently employing only one material, made from natural raw materials.

Kato has been working for the series’ “Painting Prison” and “Painting Shelter” since REPRESENTED ARTISTS 2012. They are literarily “a cage for a painting”. Originally, he put other artist’s highly Yasuka Goto valued artwork inside his own steel enclosure and locked them inside. Kato has said Kazuma Koike Misato Kurimune there are several reasons for creating this work, including; “his inferiority complex Hirohito Nomoto to painting work”, his “aversion to the excessive adding of value to such works”, Yoshiyuki Ooe his “sense of superiority that the work can only be seen from behind the iron bars”, Kaoru Soeno and most ironically, his own “prison as protection for the paintings” that have en- Satoru Tamura Yuuki Tsukiyama slaved him in resentment. Hiroko Uehara The image of a “prison” has several connotations for Kato. His artistic expression Kohei Yamashita is based on his metal processing technique and ability, and therefore he cannot escape from using steel. He also happens to share his full name with a well-known

COVER Japanese mass-murderer who remains in prison on death row. Additionally, Kato is Tomohiro Kato interested in the connection of steel’s use in the making of weapons to kill people, Hidden Matter and the purpose of a steel prison, as enslavement for those violent crimes. 2015 Steel 16.5 × 21 × 18 cm

INSIDE Tomohiro Kato Sun & Steel Exhibition view (collaboration with Taro Okamoto) 2013 Steel Taro Okamoto Memorial Museum Courtesy of Xin Tahara

BACK Tomohiro Kato Painting Shelter #1 2012 Steel 37 × 31.5 × 10 cm PETRINA HICKS THIS IS NO FANTASY + DIANNE TANZER GALLERY MELBOURNE

VOLTA NY 2015 | BOOTH NUMBER C5

PETRINA HICKS

WEBSITE Petrina Hicks’ large scale, hyper-real photographs are as beautiful as they are unset- www.thisisnofantasy.com tling. Rendered so clearly and with such control they are reminiscent of advertise- E-MAIL ments. But with a series of subtle ruptures, Hicks subverts the process of seduction [email protected] creating a tension between surface aesthetic and the ideas embedded within the

PHONE image. Although loaded with symbolism her images deny a singular, clear message. +61 3 9417 7172 Hicks’ practice engages in debate about contemporary culture, femininity and the CELL nature of photography. It draws attention to habitual ways of thinking and depicting, +61 408 133 332 past and present. Rich in historical and cultural associations her images rephrase CONTACT NAMES archetypal representations familiar through art history, challenging us to question Dianne Tanzer if much has changed. Nicola Stein Jemma Clark ‘Hicks’ retrieval and reinterpretation of mythologies and social precedents suggests that history repeats. That Hicks engages with such themes in 2014 points to the folly of complacency...that she co-opts a visual language so often used to hock products REPRESENTED ARTISTS and desires serves as the ultimate repost.’ (Dan Rule, Editor, Vault) Abdul-Rahma Abdullah Natasha Bieniek Reflecting Hicks’ concern with the perfect form her subjects have a still-life quality Michael Cook nudging photography away from its two dimensional bonds and closer to sculpture. Marian Drew Juan Ford Victoria Reichelt BIOGRAPHY Yhonnie Scarce Hicks is one of Australia’s most significant contemporary photographers. She has Valerie Sparks exhibited widely in Australia and Internationally including at Biennal of Photography, Jacqui Stockdale Lorene Taurerewa Mexico; The Barbican, London; Fotoseptiembre, Mexico City; SESC_Videobrasil, Sao Paulo; Paris Photo; Pingyao International Photography Festival, China; and In- ternationall Konst Film Utstallning, Sweden.

COVER Hicks has been recognized through many prestigious awards including 2014 Bow- Petrina Hicks Venus ness Photography Prize, Josephine Ulrick Photography Award, ABN AMRO Artist 2013 Award, La Cité Paris Residency and an Akademie Schloss Solitude Fellowship, Pigment print, Germany. Her work is represented in all major Australian institutions and her im- edition of 8 +AP ages have appeared on the front covers of Eyemazing, Blink, Art Monthly Australia 100 × 100 cm and Art Collector. INSIDE Petrina Hicks New Age 2013 Pigment print, edition of 8 +AP 100 × 100 cm

BACK Petrina Hicks Ghostbite 2008 Pigment print, edition of 8 +AP 100 × 100 cm ANNE-RENÉE HOTTE GALERIE TROIS POINTS, MONTRÉAL

VOLTA NY 2015 | BOOTH NUMBER D8

GALERIE TROIS POINTS: ANNE-RENÉE HOTTE

WEBSITE In her practice, Anne-Renée Hotte reflects on greater notions of family – its role in www.galerietroispoints.com society and the relationships between its members. Through her video and photo- E-MAIL graphic work, she presents narratives that activate idealized fictional and timeless [email protected] spaces. Vividly anchored in nature, these mises en scène disclose something about

PHONE her characters’ explorations, as well as her own, revealing the delicate nature of +1 514 866 8008 group dynamics.

CELL In her work, landscape becomes a symbol of both identity and time. Sublime, vast +1 514 576 0231 and empty, the land reveals a harder truth: as much as it functions as an inviting CONTACT NAMES home, the landscape also isolates the characters within an infinite solitude. The fam- Émilie Grandmont Bérubé ily’s sense of lineage is therefore disrupted, as their relationships become rooted Jean-Michel Bourgeois in a state of duality, vacillating between union and rupture. This fictional saga, in which the characters perform simple and enigmatic gestures, evokes the underly-

REPRESENTED ARTISTS ing complex connections within a group, a clan, a family. Elmyna Bouchard Anne-Renée Hotte received a BFA from Concordia University (Montreal) and is cur- Sylvain Bouthillette Olga Chagaoutdinova rently pursuing her MFA at Université du Québec à Montréal. She has participated Michel Daigneault in several group exhibitions in Canada and Europe. Her work is part of several nu- Evergon merous and public collections; Concordia’s University’s, Art For Healing Founda- Clint Griffin tion, Embassy of Canada in Indonesia, Cirque du Soleil Collection and the Stanley Milutin Gubash Mathieu Lévesque Mills Collection. Alex McLeod Since 1988, Trois Points dares to present emerging artists, and several of these art- Natalie Reis ists are now well renowned in Canada. In 1994, Galerie Trois Points was one of the first institutions to invest in the BELGO BUILDING, located in downtown Montreal

COVER hosting more than 25 exhibition spaces in the heart of Montreal’s visual arts scene. Anne-Renée Hotte Emilie Grandmont Bérubé and Jean-Michel Bourgeois took over the gallery in 2009 Martin et Kolya (detail) 2013 and have vivified the spirit of the gallery by positively inscribing themselves in the Inkjet print on archive paper Canadian art scene, while defending and pursuing Trois Points’ mission and heritage. 30 × 40 in Edition of 5

INSIDE Anne-Renée Hotte La marche 2014 Inkjet print on archive paper 30 × 40 in Edition of 5

BACK Anne-Renée Hotte La lignée 2 (detail) 2013 Inkjet print on archive paper 32 × 48 in Edition of 5 RYAN SCHNEIDER TWO RAMS, NEW YORK CITY | LONDON

VOLTA NY 2015 | BOOTH NUMBER D1

TWO RAMS: RYAN SCHNEIDER

WEBSITE Two Rams is proud to present Brooklyn-based painter Ryan Schneider. Inspired by www.two-rams.com a summer spent wandering the deserts of Joshua Tree, Schneider’s work alerts the E-MAIL viewer to the truth found in shadows. Schneider’s canvases, activated by his quest [email protected] to “hear what wants to be painted”, explore the mysteries within the desert’s silence

PHONE and plunge into the unresolved conflict between the wild and of the manmade. The +1 646 864 1744 narrative gains momentum when we, as viewers, surrender our sense of structure

CELL and logic to the magic of disorder, mistake, and spontaneity. +1 917 701 5675 Ryan Schneider was born in Indianapolis, Indiana in 1980. He received his BFA from CONTACT NAME the Maryland Institute, College of Art in 2002. Schneider has participated in numer- Brandon Coburn ous solo and group exhibitions worldwide. Recent shows include “Ritual for Letting Go”, a solo exhibition at Two Rams, NY; “Media” at Galleri Jacob Bjørn, Denmark; “Et Brask Spark” — selections from the collection of Jens Peter Brask, at the Munk- REPRESENTED ARTISTS Lia Chavez eruphus Museum, Denmark; “Ritual Magic” at Greenpoint Terminal Gallery in Brook- Alexis Dahan lyn; and “Schneids and Heids”, a two-person exhibition with Daniel Heidkamp at Sam Fryer Bendixen Contemporary Art in Copenhagen. Schneider’s work has been featured in Juliet Jacobson Whitewall Magazine, Modern Painters, The New Yorker, Art in America, The Brooklyn Rail, Artinfo, Artblog, New American Paintings, Art F City, Brask Art Blog, NYC Art Scene, and the cover of The Diner Journal, among other publications. Schneider COVER Ryan Schneider lives and works in Brooklyn, NY. Total Increase (detail) 2014 Oil on canvas 84 × 72 in

INSIDE Ryan Schneider Striding Lion 2014 Oil on linen 62 × 72 in ROSE WYLIE UNION GALLERY, LONDON

VOLTA NY 2015 | BOOTH NUMBER C2

UNION GALLERY: ROSE WYLIE

WEBSITE For VOLTA NY 2015, UNION Gallery present the work of one of the most important www.uniongallery.com artists working with painting today; Rose Wylie. Having her feature at VOLTA has E-MAIL been conceived as a celebration of the artist’s recent successes. [email protected] Earlier in 2014, Wylie was awarded the prestigious John Moores painting prize in PHONE the UK, as the grand prizewinner selected from a shortlist of fifty prominent artists +44 20 7739 9119 and over 2,500 entrants. More recently, the Staedtische Galerie Wolfsburg opened CELL her major solo show Pink Girls, Yellow Curls in Germany. These significant achieve- +44 78 5007 9002 ments have occurred in what has been a busy year for the artist, including exhibi- CONTACT NAME tions in Taipei, Amsterdam and New York. As if this extraordinary period did not Jari Lager already contain plenty of cause for celebration, it has also been the year in which this singular artist welcomed her eightieth birthday.

REPRESENTED ARTISTS As such, UNION gallery has conceived a stand that emphasizes Wylie’s boundless Anders Krisar energy, presenting a range of large-scale new paintings from her ongoing Nicole Bernhard Martin Kidman and the Black Strap series, standalone pieces featuring her irreverent take Kieran Moore Mike Marshall on pop-culture icons like Mickey Mouse and various film stars and new works on pa- Scott Mcfarland per, produced in her signature style of multi-layered watercolour collage. These new Seahyun Lee works will be contextualized within the trajectory of Wylie’s career by the presence of Shane Bradford a smaller, carefully-curated selection of older major works representing the various Soonhak Kwon Tobias Lehner periods of the artist’s practice in which she has fixated on a specific subject matter. Yu Jinyoung Given Wylie’s fascination with the monarchy, the military, footballers, zoo animals, Nazis and much more besides, this approach makes for a lively, diverse presentation….perfect for celebrating the long-overdue recognition of this singular artist and COVER Rose Wylie her decidedly non-typical career. Korean Children Singing (detail) 2013 Oil on Canvas 183 × 254 cm

INSIDE Rose Wylie Black Strap (Red Fly) 2014 Oil on Canvas 184 × 332 cm

BACK (LEFT) Rose Wylie Dead Wasp 2014 Watercolour Pen on Paper A4 (21 × 29.7 cm)

BACK (RIGHT) Rose Wylie Lightening and Aeroplanes (Right Side) 2014 Ink and Collage on Paper A1 (59.4 × 84.1 cm) JACK FEATHERLY UPFOR, PORTLAND, OR

VOLTA NY 2015 | BOOTH NUMBER C13

UPFOR: JACK FEATHERLY

WEBSITE The following text is excerpted from curator Josephine Zarkovich’s catalog essay www.upforgallery.com and interview for Jack Featherly’s exhibition “Unpattern,” at Upfor in 2014.

E-MAIL Jack Featherly’s work incorporates lush, vibrant colors, layering compositions that [email protected] oscillate between flat geometry and painterly abstraction. Each large-scale canvas PHONE is rendered painstakingly by hand, layer by layer, but the eye is moved between the +1 503 227 5111 meticulous flatness of found images and the rougher texture of gestural color fields. CELL Each work feels like a negotiation between multiple visual inputs, suspended in a +1 503 816 8402 momentary and sometimes precarious balance that is not easily unraveled. CONTACT NAME Theo Downes-Le Guin Featherly gathers from a number of sources, most notably ASCII text art, an image- making technique that became popular on the internet in the early 90s before digital photographs were easily exchanged. From the first bulletin boards, to early AOL REPRESENTED ARTISTS chat rooms, web users made use of a limited range of text characters to create Ben Buswell ambitious, intricate images that were shared, collected and reposted. Using these MSHR (artist collective) digital artifacts, Featherly crops and embeds the text art within the paintings, fur- Brenna Murphy Ralph Pugay ther pushing them to the limits of legibility. Once placed, the images take on new Jordan Rathus meaning, becoming part of a greater landscape. Katie Torn Rodrigo Valenzuela The painter writes, “Each painting develops organically through its individual history. There is constant revision between distinct steps, where the goal is a totality. I rely on optical relationships that physically engage the viewers’ senses, rather than attempt COVER to fool or lull them. The goal is to to, in a Buddhist sense, be in the moment with Jack Featherly each painting as I work on it, allowing whatever is pushing me to dictate what I do.” Unpattern4 2013 Oil paint and enamel on canvas ABOUT THE ARTIST 78 × 54 in Jack Featherly (b. 1966, Rolla, MO) makes paintings that are stylistically diverse 198 × 137 cm and avoid presenting an “easy read,” but are nevertheless magnetic due to the

INSIDE meticulous craft and lack of obvious conceptual basis. Featherly’s solo exhibitions Jack Featherly include Team Gallery, Christopher Henry, Jose Freire (New York), Rena Bransten Installation view, left to right: (San Francisco), and Upfor Gallery (Portland). He has shown throughout the United 4126 States and in France, Germany, South Korea and Japan in two-artist and group 2014 exhibitions. His work is in the corporate collections of Progressive and Chase Bank Oil paint and ink on canvas 66 × 42 in and in various private collections. Featherly completed a BFA at Pacific Northwest 167.6 × 106.6 cm College of Art (Portland, OR). Unpattern6 2014 Oil paint and enamel on canvas 67 × 42 in 170 × 106.6 cm Positive Trend 2014 Oil paint and ink on canvas 78 × 54.5 in 198 × 138.4 cm Unpattern7 2014 Oil paint and enamel on canvas 66 × 54 in 167.6 × 137 cm

BACK Jack Featherly Positive Trend 2014 Oil paint and ink on canvas 78 × 54.5 in 198 × 138.4 cm STEPHEN PALMER VANE, NEWCASTLE UPON TYNE

VOLTA NY 2015 | BOOTH NUMBER F8

VANE: STEPHEN PALMER

WEBSITE Stephen Palmer’s most recent paintings feature second-hand copies of albums by www.vane.org.uk iconic male singers. Palmer partially obscures the original cover artwork by placing E-MAIL the record’s inner sleeve over it so that little more than the face of the recording [email protected] artist is visible. By highlighting the inner sleeves with their additions of personalised

PHONE messages and texts, hand written by their one-time owners, Palmer creates a con- +44 191 261 8281 versation between our idea of that artist and their work (whether it’s David Bowie,

CELL Leonard Cohen, or Frank Sinatra) and the ‘unknown’ person who once eagerly +44 771 309 7852 scrawled or carefully printed their thoughts thereon. Are they a serious ‘collector’

CONTACT NAMES cataloguing works, a love-struck teenager, or a football fan declaring support for Paul Stone their favourite team as they listen to the album? Christopher Yeats Other new paintings expand on an earlier series of drawings transcribing newspaper clippings, each rendered in painstaking detail, a process that confers value to events

REPRESENTED ARTISTS that may otherwise appear of little importance. In these earlier works, though the Kerstin Drechsel selection of stories seems random, the topics — such as ufology, war or obituaries Jorn Ebner — attract an obsessive following. Many reference more recent news. In The way to Mark Joshua Epstein the village a story of wartime atrocities links to the current European financial crisis Nick Fox Simon Le Ruez with reparation payments for events that happened more than fifty years ago. In The Jock Mooney Lover, the deletion of a name from an obituary leaves only a visual clue to the dead Michael Mulvihill person’s story, reflecting a filmic stereotype of male gender role. Josué Pellot Narbi Price The new paintings are, in part, a reaction against the earlier drawings. Produced in the same painstaking detail, the newspaper stories reflect on cultural, technological and scientific advances that have come to a more definitive end: the closure of COVER Rupert Murdoch’s News of the World newspaper in The end of the World Pt 1; the Stephen Palmer last flight of the space shuttle in Shuttle’s last trip. Presented as if screwed up and Shaz Luvs Ya!!! (detail) 2014 discarded by the reader, the new works have a more sculptural feel than before. Oil on canvas Does the artist wish to move on and be rid of those earlier, more careful depictions? 14 × 14 in Or does the discarding proclaim ‘this really is the end’? 35 × 35 cm Stephen Palmer (born 1967, Alton) lives in London, UK. His third solo exhibition for INSIDE Vane, ‘The end has no end’, was in February-March 2013. He has exhibited recently Stephen Palmer The end of the in London, Berlin, Prague, and New York. His work is in the UK Government Art Col- World Pt 1 (detail) lection and private collections in Australia, Denmark, UK and USA. 2014 Oil on canvas 14 × 14 in 35 × 35 cm

BACK (LEFT) Stephen Palmer The Lover (detail) 2012 Graphite on paper 15 × 15 in 38 × 38 cm

BACK (RIGHT) Stephen Palmer The road to the village (detail) 2013 Graphite on paper 15.5 × 15 in 39 × 38 cm MICHAEL TAYLOR WHATIFTHEWORLD, CAPE TOWN

VOLTA NY 2015 | BOOTH NUMBER B11

WHATIFTHEWORLD: MICHAEL TAYLOR

WEBSITE ABOUT www.whatiftheworld.com Michael Taylor (born 1979) is a South African artist who lives and works in Cape E-MAIL Town. He studied at Stellenbosch University, where he completed his Master’s De- [email protected] gree in Visual Art. Primarily working in the mediums of painting and drawing, his [email protected] work explores notions around narrative art, absorbing ideas from illustration and PHONE abstract representation. +27 447 2376

CELL ARTIST STATEMENT +27 764 222 387 My work can be described as ironic, illustrative, and self-reflexive pictures. I draw +27 494 907 293 comparisons between personal and cultural knowledge — themes and narratives CONTACT NAMES that inform my everyday thinking. These interpretations are fundamentally concerned Ashleigh McLean with image-text paradigms — the subtleties between visual thoughts and language. Justin Rhodes I look at these relationships, particularly the interplay between an image and its ad- joined title, as concepts for my work. And I am always interested in working with

REPRESENTED ARTISTS humour and ridicule, ways of communicating that are disarming, and those aspects Julia Rosa Clark pointing to being simply human. It’s these elements, I believe, that will make the Pierre Fouche viewer become aware of themselves when reading the image. Olaf Hajek Dan Halter Nico Krijno Michele Mathison Daniella Mooney Lakin Ogunbanwo Cameron Platter Athi Patra Ruga

COVER Michael Taylor The Ball Boys (detail) 2015 Gouache and pencil on paper 150 × 150 cm

INSIDE Michael Taylor Fountain of Youth 2015 Gouache and pencil on paper 150 × 150 cm

BACK Michael Taylor A Rake’s Progress 2015 Gouache and silkscreen on Paper 50 × 71 cm JIM VERBURG WIDMERTHEODORIDIS, ESCHLIKON | ZÜRICH

VOLTA NY 2015 | BOOTH NUMBER E1

WIDMERTHEODORIDIS: JIM VERBURG

WEBSITE Jim Verburg’s multidisciplinary work aims to subtly mine the complexities of intimate www.0010.ch relationships. Often working with minimal or abstract shapes and images to create E-MAIL an emotional topography, revealing the intricate layers that constitute intimacy and [email protected] the harmonies and dissonances inherent in a personal or interpersonal dynamic.

PHONE He employs various techniques in the creation of this recent body of work. Ink is +41 71 971 38 11 painted and rolled onto glass forms, transferred and layered — powdered graphite CELL is rubbed into translucent tape and rearranged — placed black vinyl creates a new +41 79 293 18 52 relationship between its reflective sides. These processes aren’t necessarily tied to +41 79 443 11 54 conventional disciplines, they are rather the result of an artist engaging with different CONTACT NAMES methods and materials to create layered dynamics of interplay & tension. The works Jordanis Theodoridis Werner Widmer reference a projection or photocopy, offering transparent layers that the viewer is invited to be absorbed by, or trapped in their opaque passages. Shapes and light patterns are photographed and formed, folded, cut, placed, reflected or repeated, REPRESENTED ARTISTS providing a visual metaphor for personal reflection and introspection — exploring Bildstein I Glatz the subtle layers inherent in everyday thoughts, negotiations, and experiences. Othmar Eder Andreas Fux Jim Verburg is a Dutch/Canadian artist based in Toronto. Recent exhibitions include Gian Häne More Than Two (Let It Make Itself) at The Power Plant (Toronto), Primeiro Estudo: huber.huber Sobre Amor at Luciana Caravello (Rio de Janeiro) and Far Away So Close at Access Matthias Liechti Michael Schnabel Gallery (Vancouver). Solo exhibitions include One and Two, at Mois de la Photo à Stefan Thiel Montréal (2011), and Afterimage at Galerie Nicolas Robert (Montreal 2014). His Nicolas Vionnet film For a Relationship won the 2008 Jury Prize for the Best Canadian Short Film Nadine Wottke at the Insideout Film Festival, and was nominated for the Iris Prize (UK). His book O/ Divided/Defined, Weights, Measures, and Emotional Geometry, was awarded by Dazibao (2013 Montreal). Work from the publication was featured by Art Metropole COVER Jim Verburg at Art Basel Miami 2013. Untitled (reflected/repeated #3) 2014 Archival inkjet print from mobile photograph 1 2 × 17 in

INSIDE Jim Verburg Untitled (reflected/repeated #1 and #4) 2014 Oil based ink painted on glass — rolled, transferred and layered onto newsprint 24 × 36 in each

BACK Jim Verburg From the ongoing series: O/, Divided/Defined, Weights, Measures, and Emotional Geometry 2013 Folded photocopied circle 8 × 10 in folded TODD LANAM MARK WOLFE CONTEMPORARY, SAN FRANCISCO

VOLTA NY 2015 | BOOTH NUMBER C17

MARK WOLFE CONTEMPORARY: TODD LANAM

WEBSITE TODD LANAM: BACK TO ISLA VISTA www.wolfecontemporary.com With “Back to Isla Vista,” Lanam continues to explore the medium of painting as it E-MAIL relates to the cognitive process of memory formation and recall. The nominal sub- [email protected] jects are interior and exterior spaces that remain prominent in the artist‘s memory.

PHONE The renderings of these spaces, however, reflect the constant shifting, omission, +1 415 369 9404 distortion, and re-creation of visual memories within the broader context of con-

CELL sciousness. They strive to highlight the inherently transient nature not only of actual +1 415 205 1479 places in the physical realm, but of our personal experiences of space that remain

CONTACT NAMES within us in constantly morphing memory. Mark Wolfe Lanam received his BFA from the California College of the Arts in 2007 and MFA in Alexis Mackenzie Painting from San Francisco State University in 2011. In addition to solo shows at Wolfe Contemporary, his work has been exhibited at art fairs in Miami, New York,

REPRESENTED ARTISTS and San Francisco, and in a recent group show at Gallery Henoch in New York.. Daniel Arnold Jud Bergeron MARK WOLFE CONTEMPORARY Jordan Eagles Founded in 2003, Mark Wolfe Contemporary exhibits a range of local and interna- Ryan Martin Sarah Thibault tional art with an emphasis on emerging and mid-career artists. We are proud to Jacob Tillman present a diverse roster of practitioners working in a wide range of media — from painting to video art — all sharing a commitment to conceptual rigor and a firm command of their craft. The gallery’s artists have garnered critical praise in local and COVER national publications and media, including Art Forum, art ltd, KQED Public Television, Todd Lanam New York Times, San Francisco Chronicle, S.F. Bay Guardian, and Village Voice, and Isla Vista Hallway (detail) have exhibited at the Museum of Art and Design, SF MOMA, the Oakland Museum, 2014 Oil on canvas and numerous other venues. 72 × 60 in

INSIDE Todd Lanam Isla Vista Beach 2012 Oil on canvas 18 × 24 in

BACK Todd Lanam School Reflections (detail) 2014 Oil on canvas 72 × 60 in HIROSHI SHINNO YOD GALLERY, OSAKA

VOLTA NY 2015 | BOOTH NUMBER F4

YOD GALLERY: HIROSHI SHINNO

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 NAME an independent artistic sense that can be exhibited worldwide and aim to grow up Ryotaro Ishigami together with them.

HIROSHI SHINNO: THE CONCEPT BEHIND THE ARTWORK REPRESENTED ARTISTS Hiroshi Shinno creates “Ikimono (life)” sculptures. The ideas behind his works are Agathe de Bailliencourt greatly influenced by the environmental concerns. He represents voices of the na- Masashi Hattori Eikoh Hosoe ture which mankind ignores easily or alters only for our convenience. Kosuke Kimura “Ikimono (life) sculpture” is a series of single beetle-like creatures, which reflect his Issay Kitagawa Hideki Kuwajima love and ideals toward nature. Shinno’s relationship with nature goes back to his Natsuki Machida childhood and it is the source of his creativity. Whether he is in the residential area Ryuzo Satake or the countryside, he often walks around and picks up pieces of nature. Naturally, Toshiyuki Shibakawa the characteristics of Japanese climate, or any other climates are brought into his Takuro Sugiyama Motonori Uwasu sculptures. The selected pieces, such as flowers, plants, seeds and leaves, are carefully cast using synthetic resin. Shinno constructs his sculptures with these small parts in order to embody his imagination in the form of “Ikimono” creatures. COVER One could say they are the embodiment of the real-world and fantasy by virtue of Hiroshi Shinno the unworldly beauty and precise craftsmanship in the artwork. 2013.2.20 Daikanyama 2 2013 The form of “Ikimono” has further developed from a single creature to a collective Synthetic resin, entity of miniscule lives, which is becoming more abstract form, harder to identify acrylic, brass with animals in the real-world. The experience of looking at a number of clusters 3.2 × 2 × 4 in floating in the air is more like seeing living cells under a microscope. INSIDE Hiroshi Shinno Motivated by the deep understanding of man’s involvement with nature, he started Cluster of Life to pick up larger pieces of nature, too. His most recent work consists of casted 2013 pieces of driftwoods and they are laid on the floor. The way they are laid is in the Synthetic resin, acrylic, stainless steel shape of an animal, yet that is subtle, especially as the color is simplified, which 5.5 × 5.5 × 5.5 in became more complex in terms of understanding what one is looking at and gives 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.

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 has held solo exhibitions 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”. FRANKLIN EVANS, ANN PIBAL STEVEN ZEVITAS GALLERY, BOSTON, MA

VOLTA NY 2015 | BOOTH NUMBER B7

STEVEN ZEVITAS GALLERY

WEBSITE FRANKLIN EVANS www.stevenzevitasgallery.com Franklin Evans presents fourpaintingstwowallsiowatonewyork, literally four paintings E-MAIL on two walls replete with references to the past, including of his graduate school time [email protected] in Iowa. The VOLTA walls mimetically reflect the studio walls on which the paintings

PHONE were made, exposing the interior thought and memory driving Evans’ practice. Ev- +1 617-778-5265 ans’ recent obsessive explorations of 1913 Armory and Matisse’s Blue Nude in that

CELL exhibition, Robert Irwin’s 1960’s orange paintings about perception, and Evans’ own +1 617-834-8674 2014 juddrules and juddpaintings exhibitions in Boston, commingle with his past

CONTACT NAME relationship to the University of Iowa where fellow Zevitas artists John Dilg (Painting Steven Zevitas Professor at the university) and Ann Pibal (a classmate of Evans at Iowa). Typical to Evans’ practice, he flips between digital and material, process and object, thought and action, and the present and memory. Evans’ totalizing environment offers lay- REPRESENTED ARTISTS ers of context that simultaneously reveal and overwhelm through the abundance of John Dilg visual data. Evans’ artwork occupies the field of painting/installation with the studio David X. Levine James Sterling Pitt process and site as its subjects. His work embodies a contemporary conceptualiza- Jered Sprecher tion of networks: constant flux, absorption of other content, defocused experience Ann Toebbe of the present, rhizomic replication, and self-referentiality. Chuck Webster Franklin Evans was born in Reno, Nevada and lives and works in New York, NY. He has degrees from Stanford University and the University of Iowa. Evans has had

COVER sixteen solo exhibitions in the United States and Europe and has been included in Franklin Evans numerous group exhibitions at, among others: MoMA PS1, NY; deCordova Sculp- betweenmatisseandjudd (detail) ture Park and Museum, MA; DiverseWorks, TX; RISD Museum, RI; Weatherspoon 2014 Acrylic on canvas Art Museum, NC; Futura, Prague, Czech Republic; El Museo del Barrio, NY; The 74 × 74 in Drawing Center, NY; Nevada Museum of Art, NV; Yerba Buena Center for the Arts, CA. Evans work is included in the public collections of Orlando Museum of Art, FL; INSIDE Ann Pibal El Museo del Barrio, NY; Weatherspoon Art Museum, NC; University of California, RBWCX3 Riverside, CA; Pizzuti Collection, OH; The Progressive Art Collection, OH; Salomon 2014 Foundation, France. Acrylic on aluminum 29 × 40 in ANN PIBAL Ann Pibal has experimented with geometric abstraction since the late 1990s, never repeating a single image, in order to build “an index of possible solutions, rather than an iconic ‘answer.’” Her work alludes to the robust history of abstract painting, architecture, and design. She is primarily interested in painting as a way of thinking; in all its facets, her work implies a certain shifting, non-settling, ongoing process.

Pibal lives and works in Brooklyn and North Bennington, Vermont. Her work has been exhibited widely at venues in the United States and Europe, including: MoMA PS1, Sikkema Jenkins & Co., Feature Inc., Max Protetch Gallery, Meulensteen, Paula Cooper Gallery, Rhona Hoffman Gallery and The Suburban in Chicago, Ste- ven Zevitas Gallery in Boston, Slewe Gallery in Amsterdam, Petra Rinck Galerie in Düsseldorf, and dePury and Luxembourg in Zurich. Her work is included in many public collections, including: The Brooklyn Museum, The Museum of Fine Arts, Bos- ton and The Hirshhorn Museum, Smithsonian Institution. Pibal has received awards from the Guggenheim Foundation, Tiffany Foundation, The Joan Mitchell Foundation, The New York Foundation for the Arts, The Pollock Krasner Foundation and others. BURÇAK BİNGÖL GALERI ZILBERMAN, ISTANBUL

VOLTA NY 2015 | BOOTH NUMBER A1

GALERI ZILBERMAN: BURÇAK BİNGÖL

WEBSITE Burçak Bingöl’s practice interrogates notions of belonging, culture, identity, deco- www.galerizilberman.com ration, and production by blurring the boundaries between these seemingly distinct E-MAIL notions. What constitutes an object of decoration? What is a replica? At what point [email protected] does an object start being itself? Where does functionality lie in objects?

PHONE In her first solo exhibition with the gallery in 2011, Bingöl utilized the conceptual +90 212 251 12 14 framework of the cabinet of curiosities to merge together her experiences and ma- CONTACT NAME terials under the same rubric. In the second stage, Bingöl built on the fragmented Moiz Zilberman identity of Turkey, highlighting the breaking from the Ottoman past without step- ping into neither the East nor the West. This project, exhibited simultaneously at the gallery space in Istanbul and Art Basel Hong Kong 2014, revolved around the REPRESENTED ARTISTS Selçuk Artut centerpiece of a life-size truck, cast in ceramics. Alpin Arda Bağcık The third and final chapter of Bingöl’s work, which debuts at VOLTA NY, is a con- Ahmet Elhan Extramücadele structed museum, which consists of objects, documentation and visuals that blur Zeynep Kayan the lines between fact and fiction, past and present, and personal and national. Lit- Azade Köker erally deconstructing objects such as İznik tiles and re-combining and re-construct- Şükran Moral ing them with her own works and pattern, Bingöl is aiming to re-think the notion of Walid Siti Gülin Hayat Topdemir a museum and display. Thinking about the narratives of objects that are built by Eşref Yıldırım objects, her project takes the idea of an encyclopedic museum to its logical next Guido Casaretto step, personalizing and taking ownership of the very narrative. Zeren Göktan Aslı Torcu Janet Bellotto GALERİ ZİLBERMAN Fırat Neziroğlu Galeri Zilberman was founded in 2008 to promote contemporary Turkish artists internationally and to introduce international artists to the local art scene. It stages 10-12 exhibitions a year in one gallery and a project space. The gallery represents COVER both established and young generation of artists. The gallery has a strong presence Burçak Bingöl in international art fairs, forging close relationships with collectors, curators and cul- Permeable II (detail) 2013 tural thinkers. To that effect, Galeri Zilberman collaborates with independent cura- 119 x 112 cm tors and hosts a regular series of artist talks, lecture performances, book presenta-

INSIDE tions and round table discussions. Additionally, the gallery organizes Young Fresh Burçak Bingöl Different, a selection of works chosen by an independent jury through a nationwide Cruise 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. Ceramics 200 × 190 × 30 cm

BACK (LEFT) Burçak Bingöl Shift I 2014 Ceramics, metal 16 × 35 × 18 cm

BACK (RIGHT) Burçak Bingöl Unforeseen Transformation #3 2011 Aluminum dibond diasec print 50 × 50 cm, Ed. 5+1 A.P.