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International 01 Art Exhibitions 2018 International 06.01.2018 > 10.03.2018 Art Exhibitions 2018 Kota Ezawa The Crime of Art 2 HOLLYWOOD EDITION 6 1 Christopher Grimes Gallery This will be Kota Ezawa’s third solo show The Scream with Christopher Grimes. At the heart 2016, Duratrans transparency of the exhibition will be the new multi- and LED lightbox channel animated film, ‘The Crime of Art’, 83.8 x 66 x 7 cm in which Ezawa recreates – in his distinc- Edition of 5, with 2 AP tive flattened, style – scenes from Holly- 2 wood art heist films, among them The Munch Theft Thomas Crown Affair (1999), How to 2017, Duratrans transparency Steal a Million, Topkapi, and Entrapment. and LED lightbox The 3-screen installation functions like a 101.6 x 152.4 cm cinematic ‘exquisite corpse’ in which one Edition of 5, with 2 AP screen continues the narrative thread 4 where the previous screen leaves off. The Crime of Art (still) In contrast to a Hollywood film, this 2017, three-channel video, animation has no beginning and no end. 3 colour, sound dimensions variable, Edition of 5 Kota Ezawa will also present a selection 3 of light boxes that further his research Adele Bloch-Bauer I into stolen works of art, including 2016, Duratrans transparency to-scale recreations of Edvard Munch’s and LED lightbox ‘The Scream’, versions of which were 137 x 137 x 7 cm stolen in 1994 and 2004, and Gustav Edition of 5, with 2 AP Klimt’s ‘Portrait of Adele Bloch-Bauer I’, 5 which was appropriated by the Nazi The Crime of Art (still) regime in 1938 and was repatriated to 2017, three-channel video, Santa Monica the Bloch-Bauer family in 2006. colour, sound dimensions Kota Ezawa was born in Cologne in variable, Edition of 5 Germany in 1969. He now lives and 6 works in San Francisco in California. Self-Portrait 1 4 5 www.cgrimes.com International 11.01.2018 > 10.02.2018 Art Exhibitions 2018 Opposite page Dexter Dalwood The Apartment History after Eugene Delacroix (1-4) 1 1 in the Making Cornelia Parker Fox Talbot’s Articles of Glass Alan Cristea GalleryAlan Pablo Bronstein | Gordon Cheung | 2 Dexter Dalwood | Walton Ford | Gordon Cheung Francis Lisa Ruyter | Paul Noble | Still Life with Golden Goblet Cornelia Parker | Clare Woods (after Pieter de Ring 1640-1660), 3 ‘History in the Making’ explores work by Francis Lisa Ruyter the above artists, which make reference after Dorothea Lange to, or appropriate, historical art as part 4 of their working practice. Whether it be Clare Woods painting, illustration, sculpture, photo- Collage for Sing Me to Sleep graphy, architecture or historical objects, From a series of 20 collages each of these artists openly acknow- 5 | 6 | 7 ledge their sources of inspiration, which Pablo Bronstein includes collections housed in the the Design for a cake basket and Bodleian Library, University of Oxford, two muffineers en-suite I Rijksmuseum, Amsterdam, and the 8 Library of Congress, Washington DC. Gordon Cheung Each of these artists is drawing on Still Life with Nautilus Cup London history as a way of making new images (after Frans Sant-Acker, for the future. 1648-1688) 2 3 8 4 5 6 7 www.alancristea.com International 11.01.2018 > 17.02.2018 Art Exhibitions 2018 Opposite page No One Can Play a Game Alone (Sound Graph 5) 2018, Household gloss 1 Sarah Morris paint on canvas 122 x 122 cm Berggruen Gallery Sarah Morris is widely recognized for 1 her large-scale, graphic paintings and Portrait Sarah Morris drawings that respond to the social, Photo: Anna Gaskell, 2014 political, and economic force of the Courtesy Kunstalle Wien, urban landscape through a visual Vienna language grounded in bold and 2 ambitious abstraction. Her probing Five Seconds Away of the contemporary city inspires a (Sound Graph 4) consideration of the architectural and 2017, Household gloss artistic climate of modernity and paint on canvas humanity’s footprint – a subject that 214 x 214 cm Morris energizes and invigorates 3 through a distinct use of geometry, Installation viewe scale, and colour. Her work straddles 4 the boundary between abstract and Porous Like a Sponge representational. Systems and struc- (Sound Graph 6) tures of power emerge from Morris’s 2017, Household gloss San Francisco perceptions of her urban surroundings – paint on canvas Hamburg, Rio de Janeiro, New York, 89.9 x 89.92 cm Los Angeles, Beijing – cities of persistent 5 physical and cultural transformation. As Khalifa City she proposes, navigating the modern (Abu Dhabi) world involves transgressing spaces of 2017, Household gloss private authority – a persistent line of paint on canvas inquiry that runs throughout her work. 2 89.9 x 89.92 cm 45 Using glossy house paint, Sarah Morris All works captures the vibrant and energetic Courtesy of the artist nature of the modern city through her and Berggruen Gallery, continual exploration of bright, lively San Francisco 3 colours and stirring geometric patterns. www.berggruen.com International 11.01.2018 > 24.02.2018 Art Exhibitions 2018 Opposite page Jean-Baptiste Bernadet Installation views 1 1 Hors Saison Installation view Almine Rech GalleryAlmine My approach isn’t radical. Painting is simply the most practical discipline for me, the medium which suits me best and that I’m most comfortable with. It allows me to do something and see an immediate result. Jean-Baptiste Bernadet Almine Rech Gallery is pleased to present the third solo exhibition by Jean-Baptiste Bernadet, including new paintings by the artist. 5 2 Untitled (Les Parfums Lourds) 2017, Oil on canvas Paris 235 x 216 cm 3 Untitled (Les Remontées Mécaniques) 2017, Oil on canvas 130 x 120 cm 4 2 3 Untitled (A L’entour) Born in Paris in 1978, Jean-Baptiste ‘Often, in my paintings, things happen 2017, Oil on canvas Bernadet lives and works in Brussels and all by themselves. When I apply a touch 180 x 162 cm in New York. He has had solo exhibitions of paint, it is not staged or directed. It 5 in Europe and in the United States, doesn’t express the certainty of some- Untitled including among others, two recents thing I want to depict. No, it’s a more (Un or interne, terrestre solo shows at Almine Rech Gallery in uncertain and more unexpected stroke. et anciene) London and Brussels in 2016. I never know where I’m going.’ 2017, Oil on canvas Bernadet paints fleeting and subjective 160 x 144 cm impressions, shades of light and feelings. He starts painting, building up from a He savours the moment during which background layer upon which he All works the painting comes into being and the places daubs of colour. He then spreads and installation views immediacy of what is revealed. He is also them, continuing thus until balance, Photos: Rebecca Fanuele a painter of uncertainty, of suspense, rhythm, and harmony between light 4 and of adventure. It’s a permanent and colour ring true. If he goes too far, © Jean-Baptiste Bernadet concatenation, like a jazz musician’s he starts over, correcting, wiping away, Courtesy of the Artist and improvisation using scales. backtracking, subtracting or covering. Almine Rech Gallery www.alminerech.com International 12.01.2018 > 11.02.2018 Art Exhibitions 2018 Jenny Carlsson 1 Bedarra Galerie Forsblom Galerie Forsblom Jenny Carlsson’s was born in Ronneby, Opposite page Sweden in 1984. Currently she lives and Element 5 works in Stockholm. Her powerfully 2017, Oil on canvas evocative paintings combine the fury 35 x 35 cm of nature with the familiar, unassuming 1 earthiness of a wintry landscape. Lod Bedarra refers to the moment when a 2017, Oil on canva violent storm finally subsides. It is this 60 x 72 cm very moment of nature’s mollification 2 that Carlsson strives to capture in her Tibast 2 oil paintings, which depict transitional 2017, Oil on canvas states of colours metamorphosing, 72 x 60 cm colliding and evaporating into thin air. 3 Her palette and textures evoke a sense Sprängört of soil and bedrock, yet they also call to 2017, Oil on canvas mind a human agricultural imprint on 138 x 172 cm Helsinki the earth’s surface. Carlsson variably works in large and small scale. Her large canvases are expeditions into wild terrain, decomposing grasslands and bottomless rivers, whilst her smaller paintings focus our gaze on more distant horizons. In her latest works, her brushstrokes are more generous, her colours bolder, and the physical traces of her technique are more visible. Painting as she does with oils requires intense concentration and absolute presence. Her method is both meticulous and intuitive. 2 5 Carlsson reflects on ways of seeing, and 4 how paintings can alter the way we see Bedarra and experience the world. 2017, Oil on canvas 220 x 185 cm Carlsson is a graduate of the Umeå 5 Academy of Fine Arts in Sweden. Her Aura works have been exhibited at the Art 2017, Oil on canvas Exhibition Hall of Karlskrona City and 160 x 180 cm Malmö Konsthall. Her paintings are included in major Nordic collections such as the Aalto University collection, Västerbottens Museum and Blekinge 3 4 Museum. www.galerieforsblom.com International 12.01.2018 > 11.02.2018 Art Exhibitions 2018 1 Blow Up Riku 2017, Collage on aluminum 200 x 200 cm Mäkinen 2 Plantasia II Back & Forth 2018, Collage on aluminum 50 x 50 cm Galerie Forsblom Galerie Forsblom The bold forms and the rich palette 3 of collages are reminiscent of the Plantasia voluptuous shapes of ’60s plastic 2017, Collage on aluminum furniture, retro prints and sci-fi utopias.
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    HAN VAN MEEGERIN TAPAUS JA EKSPRESSION HUUMEALTTI KUUSAMO Taide ja rikos ovat usein joutuneet sukulaisuussuhteeseen, etenkin viimeisen parin vuosisadan aikana. Ajatus taiteesta itseilmaisuna ja salapoliisikertomukset syntyivät suunnilleen samoihin aikoihin, 1800-luvun alkupuolella. Väärennösten määrän kasvulla ja detektiivien suosiolla on myös ajallinen yhteytensä. Nykyäänkin nämä kaksi lajia hipovat toisiaan – siinä mielessä, että seuraamme taidokkaita detektiivejä eri medioista, samalla kun luemme jännittäviä kertomuksia siitä, miten huikean jäljitysseikkailun lopputuloksena on jälleen löydetty uusi Caravaggio, joka saattaa lopulta paljastua väärennökseksi. Käymme sankoin joukoin taidegallerioissa katsomassa aitoja maalauksia, joista osa saattaa yhtä hyvin olla väärennöksiä. ikoksen jäljet saattavat houkutella jopa jolloin oletettu alkuperäisyys ei enää ole autentti- taidemuseoon. Kun Leonardon Mona Lisa suuden mittari (vrt. Anton 2001, 8). Rvarastettiin elokuussa 1911 Louvresta, suunnattomat joukot ihmisiä tungeksi Louvreen Taiteentuntijat asialla katsomaan tyhjää paikkaa, josta Mona Lisa oli vie- Kriittinen vertailu ei kuitenkaan aina toimi – ja ty – monet ensimmäistä kertaa Louvressa. Myös syynä tähän saattavat olla voimakkaat toiveet, jot- Franz Kafka, joka sattumalta oli Pariisissa tuohon ka johtavat sokeaan ihailuun tai jopa kuvasokeu- aikaan, kävi katsomassa Louvressa tyhjänä am- teen. Ehkä ainutlaatuisin kertomus väärennösten mottavaa seinätilaa ystävänsä Max Brodin seuras- historiassa on useiden uusien Vermeerien yllät- sa.