group exhibition in New York, 22-48 Jackson Ave #1, Long Island City, NY 11101
4th – 24th May 2013 curated by Minjie Yoo
http://www.spacewomb.com FEATURED ARTISTS: Alexandra Henry, Alina Selezneva, Amy Cohen Banker, Anne Wölk, Anthony Smith, Benjamin Coleman, Brian Silak, Chris Perry, Daniel C. Boyer, Denise Deleray, Eric Pelka, Erin Starr, Eunjin Choi, Greg Testo, Hyemi Oh, Jamie Pearson, Jill Lear, Joan Ryan, Jongsuh Lee, Jongwang Lee, Joyce Kubat, Julia Fernandez-Pol, Jungji Lee, Kiyore, Laura Collins, Leen Yang, Lisa Gronseth, Marilyn Mitchell, Marina Heintze, Mario Lucineo, Marsha Gold Gayer, Melinda Buie, Michael McConnell, Midori Okuyama, Minjie Yoo, Nancy Mladenoff, Paula Henderson, Pauletta Chanco, Pepa, Rachel Fagiano, Richard Lund, Robyn Thomas, Saehwan Lim, Sammy Bang, Sandra Vucicevic, Sandro Del Rosario, Scott Tulay, Seunghwan Ryu, Seunghyuk Shin, Seungmee Kim, Soo & Jack, Sylvia Goldberg, Takashio Hisyasu, Teresa Getty, Torie Tiffany, Vitaly Panasyuk, Yaron Dotan, Yonghyun Yang .
catalogue release, published by Art Suites Gallery
April 9 – May 4 2013 Gabor A. Nagy, Adam Bota, Adam Magyar, Anne Wölk, curated by Uwe Goldenstein
installation view, Art Suites Gallery, Istanbulinstallation view, Art Suites Gallery, Istanbul
Artists
GÁBOR A. NAGY (*1972, painting, lives in Berlin) ADAM BOTA (*1976, painting, lives in Vienna and Berlin) ADAM MAGYAR (*1972, video and photography, lives in Berlin) ANNE WÖLK (*1982, painting, lives in Berlin)
Curator Uwe Goldenstein, director of BSA – Berlin Selected Artists
“LOVE WILL DESTROY US IN THE END” is the 3rd show of BSA at Art Suites Gallery after “TECHNOLOGY WON’T SAVE US” in 2011 on the occasion of the Istanbul Biennial and a solo show of Deenesh Ghycy in 2012. For the new show curator Uwe Goldenstein will bring fresh and brilliant works of the Berlin art scene to Istanbul. The paintings of the Berlin-based artists are focussing the ambivalent relationship of the individual life with all its desires and the reality and limits of postmodern city life. Adam Magyar will present a fantastic video of Berlin Alexanderplatz Station. In a never seen slow motion technique visitors will sink into the scanned urban life.
GÁBOR A. NAGY *1972 Hajdúböszörmény (H). Lives & works in Berlin
IN AHISTORICAL ROOMS The codified world which we inhabit no longer signifies process or becoming. It tells no stories, and inhabiting it does not mean acting. That it has ceased to mean this, is what is known as the crisis of values. For we are still largely programmed by texts – programmed for history, for science, for political programmes, for art. We read the world, for instance logically and mathematically. But the new generation, programmed by techno-images, no longer shares our values. And we don’t yet know which meaning the techno-images surrounding us are programming for. Vilém Flusser, 1978
The break with history, as described by Flusser, is radically echoed by Gábor A. Nagy: in his paintings, all historical texts which we are potentially still programmed with are ultimately condemned to be meaningless. Composed of lyrical fragments, these paintings reduce the world to a black monochrome surface, upon which figures appear to float like ciphers – they have become an intangible motive. The paintings’ revocation and negation of both image background and figuration results in a general, symbolically charged sense of distance and placelessness, that suggests an ahistorical relationship to the world. The narrative context and relationships appear to loose themselves in this blackened-out environment. Thus Nagy’s images, lacking a horizon and perhaps even a space, comment on an uprooted, demystified, and hyper-technological civilisation, whose overall out-of-focus state is almost impossible to represent. Nagy rises to the challenge with comparatively archaic technical means.
ADAM BOTA *1975 Linz (A). Lives & works in Vienna
QUIET, PLEASE Contrary to the loud nature of Punk-rock concerts — a reoccurring subject in Bota’s recent work — the scenes he renders in oils emanate a rather tranquil and reflective, yet nonetheless intense, atmosphere. With the flow of paint on canvas with his crossfades and layers, Bota captures the cathartic experience of concert-going; of people in an ecstatically charged crowd dancing uncontrolled to fast and hard beats. In Bota’s depictions the partying individual threatens to disappear within the intertwining painted areas: like grapes on a vine, he melts together with his likeminded peers and the excitement of the moment takes on a life of its own. Fragments of piled bodies appear to penetrate each other, come apart and join to create a large inseparable body-in-motion. Beneath the artificial, often sparsely utilized light, which recalls the neon in night clubs, contours cancel each other out. Adam Bota thus emphasizes the ecstatic experience of the concert. His carefully placed colors assert a complementary life of their own. They tie themselves to the forms and lead the viewer’s eye to the energetic transference that is occurring in this independent artistic sphere. The punk moment becomes a frozen leitmotif in search of disengagement from the intensity of life — be it through layersof paint or in the dark intimacy of the club.
ADAM MAGYAR *1972 Debrecen (H). Lives & works in Berlin
HOW SOON IS NOW Still, picturing the planet earth, for convenience sake, as a gigantic coffee table does in fact help clear away the clutter – those practically pointless contingencies such as gravity and the international dateline and the equator, those nagging details that arise from the spherical view. Haruki Murakami, Hard-boiled Wonderland and the End of the World
The work of Adam Magyar is a tribute to the city and citizens. In his whole work he developes a unique technique that reveals new dimensions in photography. In its dynamics, Magyar’s ultimately utopistic perspective discloses ever-present but never-seen layers of the city and depicts citizens as elementary particles acting in the greater whole, embedded in their functional progress. Magyar’s Stainless series is in the focus of his new activities. The immaculate subway trains are captured in the process of slowing down: due to Magyar’s elaborate and ingenious photographic technique, the trains pulling into the station seem like still lives coated with deep and soothing black. As classic portraits, the subway trains seem sublime in their pure functionality and appear to convey a timeless and motionless peace both to the passengers and the portraits’ viewers, even when all passengers appear to be preparing themselves for their arrival in the train station.
Magyar’s series Urban Flow works with a reversed visual logic, because the process of acceleration is converted here into a process-wise visual standstill. With this – in fact – impossible space-time constellation, the citizens are the city itself, presented in all its dynamics. This way, he lends an abstract quality to the urban time-flow, and makes us stop. Therefore, the photographic moment is not only doubled and sequentially frozen but is brought to life in the standstill. So, glide over squares to see city vertigoes, stop at a crossing where everyone is rushing by or dive deep into the subway tunnels and marvel at the tranquility and beauty of life as aesthetized by Adam Magyar.
ANNE WÖLK *1982 Jena (D). Lives & works in Berlin
SYNERGETIC LANDSCAPES In Anne Wölk’s paintings, nature is transformed into a seemingly synthetic landscape. Yet nature’s contemplative atmosphere and rich impressions are still to be found. The laws and relations at work in her painterly cosmos obey an overarching, absolute idea, that transcends the mere representation of landscape by revealing a larger-than-life, allegorical assemblage, comprising such items as birch trees, ornamental signs and geometric effects. Mysterious narratives, suggested by the presence – or deliberate absence – of seemingly relaxed figures, encounter an unspeakable, almost mystical layer of abstraction that has leaked out into nature. In this sense, Anne Wölk’s painterly fantasies can be understood as an autonomous, self-contained world that is freed from the usual laws of representation. The synergies resulting from the confrontation of nature with a layer of unnatural, formalistic commentary are not bound to any preconceived notions of enlightenment – in fact, they seek to achieve quite the opposite. To remember and reclaim nature is to cancel out the stifling layers of postmodern interpretation and digital alienation that have come to overwrite it, and offer renewed encouragement for free projections and associations. Anne Wölk raises the question as to what extent we can still access an authentic experience of nature. In this sense, the narratives in her work postulate a state of nature that is a priori autonomous, and at the same time replete with technology.
Groupshow: Achim Mohné, Agii Gosse, Andrea Imwiehe, Andrea Thierbach, Angelika Stienecke, Anja Lenze, Anja Matzerath, Anja Z Gna, Anne Wölk, Annette Reichardt, Astrid Jahns, Barbara Deblitz, Bettina Borgmann, Britta Schopf, Carola Willbrand, Christa Niestrath, Christina Stohn, Christoph Medicus, Cornelia Effner, Donald Lessau, Dorothee Schäfer, Elena Schneider, Elke Schneider, Ellen Muck, Elmar Mauch, Eric Straub, Esther Kusche, Eugenio Ortiz, Eva und Benita Tauer, Florian Froese-Peeck, Florian Littke, Friederike Huft, Gabriela Bauerer, Gudrun F. Widlok, Harald Busch, Harvey Benge, Heike van Bentum, Horst Hahn, Ina Vermehr, Inger Dahle Klocke, Irma Jeckel, Jakob Kampert, Jens Stohn, Julia Horn, Karl-Heinz Mauermann, Kathrin Rabenort, Katja Struif, Klaus Brüggenwerth, Kristian Dahle Klocke, L. Kunz, Laas Abendroth, Linda Weiss, Lisa Haselbeck, Manuela Krekeler-Marx, Marc Met, Marc Peschke, Marc Volk, Maria Berg, Maria Jauregui Ponte, Martin Zellerhof, Matthijs Muller, Meinolf Koessmeier, Michael Kampert, Midori Mitamura, Natalie Aschenbroich, Natascha Sonnenschein, Nii Nortey, Odine Lang, Patrick Essex, Petra Ried, Pit Goertz, Rainer Kiel, Ralf Hennerici, Ralf Witthaus, Regine Strehlow-Lorenz, Reiner Zitta, Ruth Knecht, Sabine Knappe, Sabrina Rothe, Sarah Sperling, Sarah Stienecke, Sonja Karle, Sonja Kuprat, Stefan Meichtry, Stefanie C. Zürn, Steff Adams, Stewens Ragone, Susanne Greven, Sybill Kalff, Thomas Zydek, Tilman Lothspeich, Tim Eiag, Tim Fischer Triloff, Ulli Roedder, Uwe Ahlgrimm, Volker Frechen, Wolfgang Bellwinkel, Wolfgang Bous, Wolfgang Vollmer, Yvonne Diefenbach.
Art Blog to raise awareness of fine art globally, through establishing personal connections between professional Artists and people who love Art. http://artistaday.com/?p=17353
Elgiz Museum of Contemporary Art, Istanbul, TurkeyThis year’s International Collecting Award goes to an institution from Turkey AIFEMA Amigos de ARCO is presenting the Elgiz Collection with the International Collecting Award this year. In 2001, collectors Sevda and Can Elgiz transformed their passion for collecting into a social responsibility project with the mission to provide support for and international visibility to Turkish art. Now in its 12th year, the non-profit institution known as “Proje4L/Elgiz Museum of Contemporary Art” is honoured to receive this award. Given the family’s devotion and contribution, this award is being granted to an institution from Turkey and is sure to create a momentum in the country’s developments in art. The award ceremony will take place at the ARCO Madrid fair on Wednesday, February 13.
22 January – 3 May 2013TEMPORARY EXHIBITION AREA: A new selection curated by Billur Tansel is on display, which concentrates around the theme of “Alienation/Estrangement”. These prominent terms that have gained significance in the sociological, conceptual, psychological, political and philosophical sense, in and after the twentieth century.With the development of science and critical thinking, the ability to believe in a transcendant basis for values and beliefs was lost and the latter was caused by a separation, disruption and fragmentation of things that until then seemed to properly belong together.In a system, where beliefs and values are in a total flux, a process of alienation/ estrangement proves to be unavoidable . And we, as the human beings, have to be a part of this change, or we will be left out.Through the study of the selected artworks made of various materials, the viewer is invited into an epistemological riddle. Each artist’s work suggests an alienation process of the human mind.The artists whose works can be viewed at the exhibition are Anne Wölk, Arslan Sükan, Aslı Torcu, Azade Köker, Bedri Baykam, Bengü Karaduman, Burcu Yağcıoğlu, Burhan Doğançay, Daniele Buetti, Danielle Kwaaital, Donald Baechler, Doug Aitken, Erdoğan Zümrütoğlu, Fausto Gilberti, Günther Förg, Hakan Onur, Hale Tenger, Hande Şekerciler, İhsan Oturmak, Jack Vanarsky, Johannes Wohnseifer, Kezban Arca Batıbeki, Loris Cecchini, Murat Germen, Mustafa Kula, Mustafa Pancar, Özlem Günyol, Paul Hodgson, Pınar Yolaçan, Piero Gilardi, Pieter Ombregt, Robert Gligorov, Roger Weik, Roman Lipski, Şenol Yorozlu, Şükran Moral, Volkan Diyaroğlu, Xavier Veilhan, Yaşam Şaşmazer and two contributing artists Orhun Erdenli and Yüce Karacagil. http://www.facebook.com/events/588904341125715/
Basak Malone LLC is pleased to release The New Collectors Book 2013 Edition to the public.Basak Malone LLC will hold a book launch party on January 5th, between 7-9 pm at 178 Prince Street (Between Thompson and Sullivan), New York, NY.
Cover Image Courtesy of : Dionisio González. Apundator ye Faraute, 2010. Installation.
The New Collectors Book aims to become an art archive to be treasured as a reference book. We believe that contemporary art has an essential value in people’s lives offering multiple reflections on how we live and how our futures might be constructed, furthermore hopefully inspiring and awakening us to become better human beings.The New Collectors Book operates as a showcase publication, dedicated to presenting a wide range of fine arts and providing an opportunity to appreciate select artworks for art world professionals as well as those who simply wish to enjoy and acknowledge art. We are happy in being able to feature emerging and outsider art alongside well-established artists. We extend our thanks to all participating artists and venues.The book features: Therese Aasvik, Menno Aden, AJL, Antonio Alonzo, Christina Antemann, Aydin Arkun, Shimon Attie, Collin Avery, Carrie Ann Baade, Eduardo Balanza, Werner Bargsten, Michel Beaucage, Mireille Beaufremez, Matthias Beckman, Gordon Bennett, Berdaguer&Pejus, Wolfgang Betke, Alexander Binder, Josh Blackwel, Isidro Blasco, Ole Martin Lund Bo, Christina Bothwell, Pascal Broccolichi, Benoit Broisat, Dorota Buczkowska, Christina Burch, Amanda Burk, Rita Sobral Campos, Susan Carnahan, Graciela Cassel, Mil Ceulemans, Marcos Chaves, Li Chen, Olga Chernysheva, Bilyana Cincarevic, Tobias Collier, Gunilla Daga, Katy De Bock, Margo de Ruiter-Hooykas, Gilles Desplanques, Stefaan Dheedene, Gerwin Eippe, Carla Elena, Carin Elberg, Vigdis Elisabeth Feldt, Jorge Fin, Richard Forster, Fabiam Freese, Karim Ghelloussi, Daniel F. Gliubizzi, Gustavo Godoy, Geert Goris, Dioniso Gonzalez, Erik Gonzalez, Yesim Meltem Gozukara, Michael Grudziecki, Francisco Bustamente Gubbins, Barbara Hardmeier, Claire Harvey, Merve Hasman, Susan Hefuna, Gregory Michael Hernandez, Kim Holtermand, Istvan Ist Huzjan, Moussin Irjan, Vineet Kacker, Seija Kameric, Eleni Kamma, Mathias Kessler, Kilu, Gunilla Klingberg, Eva Koethen, Antoni Kowalski, Helga Kreuzritter, Markus Krug, Anouk Kruithof, Beat Kuert, Ank ter Kuile, Ravi Kumar, Guy Laramee, Bo Christian Larsson, Abigail Lazkoz, Matts Leiderstam, Richard Lewsey, Nicola Lopez, Yuila Luchkina, Naj Mahdaoui, Evan Mann, Nina Annabelle Marki, Remy Markowitsch, Ahmed Mater, Annemarie Mayers, Brenda Meelker, Monali Meher, Philipp Messner, Ana Maria Micu, Vania Mignone, Mladen Miljanovic, Debbie Miracolo, Amen Mojadidi, Pedro Morales, Igor Mukhin, Ethan Murrow, Frederique Nalbandian, Florian Neufeldt, Sara Nuytemans, Verena op ter Noort, Julia Oschatz, Bruno Pacheco, Trevor Paglen, Mariu Palacios, Robert Pettena, Rudolf Polanszky, Renata Poljak, Wang Qingsong, Emmanuel Regent, William Rodwell, Kristine Roepstorff, Anders Ruhwald, Kilan Ruthemann, Jonathan Schipper, Julia Schwartz, Rusty Scruby, Franck Scurti, Noe Sendas, Dean Shim, Karina Smigla-Bobinski, Jane South, Annelies Strba, Eric Swart,Dimitris Tataris, Kosta Tonev, Suzanne Treister, Wilson Trouve, Isabelle Tuchband, Takuma Uematsu, Margarite van der Velden, Hellen van Meene, Anna J. van Stuijvenberg, Ivar Veermae, Ulrich Vogl, Melanie Vote, Natalie Waldburger, Frederic Walperswyler, Asim Waqif, Albert Weber, Cindy Wright, Richard Weiner, Wendy Wischer, Anne Wölk, Tintin Wulia, Yilmaz Zenger, Ion Zopcu.
_Press Release: While the apocalyptic interpretations of the end of the mayan calendar this year is still ongoing, dreams of plausibility and darker emotional and psychological spheres such as melancholia and fear becomes the field of interest in a new groupshow at Kreuzberg Pavillon. Instead of any straight representation of current affairs or explicit commentary, Sebastiaan Schlicher introduces the viewer to a darker existential reality in his drawings,videos, audio recordings and installations. The overwritings in Anne Wölk´s paintings deal with the construction of rich, impressive and contemplative atmospheres in landscapes while Jennifer Jordan preserves fragile and precarious physical states of her work in amorphous objects. Ekaterina Mitichkina presents a collaborative drawing she made along with other artists.
Anne Wölk aus Berlin ist die zweite Stipendiatin im Bodensee Art Fund, die eine Woche in Wasserburg verbringen wird und sich malerisch dem Ort und den Menschen nähert. Am Ende ihres einwöchigen Aufenthaltes gibt es eine öffentliche Präsentation ihrer Arbeitsergebnisse.Präsentation Sa. 15. September 2012 um 18 Uhr (Eintritt frei) Landschaftsräume und Naturbilder zwischen Realität und Fiktion bilden den Schwerpunkt in Anne Wölks künstlerischem Schaffen. Fotorealistische Elemente der Wirklichkeit verbinden sich fragmentarisch mit geometrischen Formen, Symbolen der Pop-Kultur, Drippings, Motiven aus Sience-Fiction Film Stills, gesprühten Graffitis der Street-Art-Szene, multikulturellen Symbolen und Zeichen zu einem illusionistischen Bildraum, der die Gesetze der Perspektive zugunsten eines zweidimensionalen Tiefenraumes auflöst. Rückgriffe auf Landschaftsdarstellungen der Romantik oder die Tradition des Symbolismus des 19. Jahrhunderts sind durch eine fundierte Kenntnis der Kunstgeschichte ebenfalls gewollt. In diesen Modus der Überlagerungen und Staffelungen der Bildmotive ist der Mensch allgegenwärtig: Zum einen durch Hinterlassen von Zeichen und Symbolen in der Landschaft – zumeist an Bäumen – welche ihren Platz eher in urbanen Räumen haben und Ausdruck einer autonomen Subkultur sind. Zum anderen auch als Figuren im Bild. Jung, trendmäßig, sportlich oder auch in Camouflage-Kleidung angezogen, verweben sie sich im Gespinst der Motive und Farben und sind scheinbar Teil der Wirklichkeitsebene zwischen Realität und Fiktion.
Publication: OUT NOW: Scrapped Magazine, Issue 1, *Hit It*
Scrapped is a limited edition art magazine published twice yearly. The first issue, Hit It, is an edition of 200 and features work by Winston Chmielinski, Cortney Andrews, Fryd Frydendahl, Alan Charlesworth, Anne Wölk and many more! Scrapped Magazine in the window of St. Marks Book Shop in NYC.
