Opening in March 2019, The First Roma Dolce, located on Via del Corso, one of the most iconic streets of Rome.
The 19th-century building was designed by the Italian architect and urban planner Giuseppe Valadier, who created the elliptical plan of Piazza del Popolo, linking it via stairs and terraces with the Pincio and the Borghese Gardens.
The same architectural team behind The First Roma Arte, its sister property just a short walk away, is now designing The First Roma Dolce, giving life to an exquisite and refined hotel with 23 suites and guest rooms.
The end result will provide an elegant yet comfortable atmosphere comprised of warm and spacious interiors. A completely innovative food experience – a first for Rome – is also planned for guests and locals enjoyment. State of the art amenities will include in-room personal fitness areas, libraries, and technologies.
Ida Ekblad (*1980) is a painter, sculptor and printmaker living in Oslo, Norway. She runs “Schloss”, an independent exhibition space in Oslo, and just started a record label; she improves public space, creates set designs for theaters, designs shirts and even carpets. Using the world as a query, she eventually gets into battles about copyright laws. Her sources of inspiration include folk art, scrapyards, gallery art, Samuel Beckett, nature, Gena Rowlands, senses, film, and so on.
Every day life is central as it is both a grace and a threat, uplifting, funny, and a disaster. In her eyes, everything is full of promise, and so is her art. Yet, its everythingness is haunted by nothingness, which it celebrates through exuberant mastery.
Very few artists are capable of this, to take multiple roads leading in all sorts of directions. Martin Kippenberger was one of them, so is Polish artist Paulina Olowska. The danger is obvious: It is easy to get lost, and to ultimately implode. The question then is: What holds this work and its activities together? One could argue that is form, color and composition (the thing called art).
Ida Ekblad's exhibition at Kunsthalle Zurich, her biggest exhibition to date, will provide the answers. And if not, it will present art's capacity to connect worlds apart.
Opening: June 7, 2019
Kunsthalle Zürich, Switzerland.
Yasmina Alaoui is of French and Moroccan descent, born in New York in 1977. She studied Fine Arts at the Carousel du Louvre in Paris, and earned a BA in Sculpture from the College of William and Mary. She currently lives in New York city, and exhibits internationally.
The underlying themes behind all her works deal directly with her experiences of multicultural upbringing and aims to bridge extremes by embracing opposites: secular and holy, classical and contemporary, order and chaos, repulsion and attraction. She is known to create complex and intricate visual works using a wide variety of techniques, which she combines in an authenticate manner.
Yasmina has collaborated with photographer Marco Guerra on the Tales of beauty and 1001 Dreams series, which have been and collected and exhibited internationally since 2003.
Between two world wars, the Bauhaus School of Art and Design changed the face of modernity. Realized with the Bauhaus-Archiv in Berlin, this updated edition celebrates the school’s centennial, gathering 550 illustrations across 400 pages, including architectural plans and biographies of key figures like Walter Gropius, Paul Klee, and Marianne Brandt—the ultimate guide.
In a fleeting 14-year period between two world wars, Germany’s Bauhaus School of Art and Design changed the face of modernity. With utopian ideas for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology, which they applied across media and practices from film to theater, sculpture to ceramics.
This book is made in collaboration with the Bauhaus-Archiv/Museum für Gestaltung in Berlin, the world’s largest collection on the history of the Bauhaus. Some 550 illustrations including architectural plans, studies, photographs, sketches, and models record not only the realized works but also the leading principles and personalities of this idealistic creative community through its three successive locations in Weimar, Dessau, and Berlin. From informal shots of group gymnastics to drawings guided by Paul Klee, from extensive architectural plans to an infinitely sleek ashtray by Marianne Brandt, the collection brims with the colors, materials, and geometries that made up the Bauhaus vision of a “total” work of art.
As we approach the Bauhaus centennial, this is a defining account of its energy and rigor, not only as a trailblazing movement in modernism but also as a paradigm of art education, where creative expression and cutting-edge ideas led to simultaneously functional and beautiful creations. Featured artists include Josef Albers, Marianne Brandt, Walter Gropius, Gertrud Grunow, Paul Klee, Ludwig Mies van der Rohe, and Lilly Reich.
Magdalena Droste studied art history and literature in Aachen and Marburg. From 1980 she worked at the Bauhaus-Archiv in Berlin, after which she worked as a professor of art history at the BTU Cottbus. She has been responsible for numerous exhibitions and publications across all Bauhaus themes and artists.
Living up to its reputation as Korea’s first 'art-tainment' resort, Paradise serve its guests with world-class facilities and service. From the 5-star hotel with 711 rooms in various styles to the boutique hotel 'Art Paradiso' designed for creative trendsetters, experience true hospitality in the most inspiring setting.
Ultimate destination for relaxation
At Paradise Hotel & Resort, every place and corner has its own charm.
With rooms tastefully decorated in contemporary style, luxurious pool villas with exquisite ambience, lounge that caters for diverse needs of guests, and outdoor swimming pool that captures beauty of each season, guests can experience the true essence of relaxation in all areas.
Unique aesthetic experience - only found at Paradise
Instantly recognized as Top 5 Art Hotel in the world upon opening, Paradise Hotel & Resort presents a tasteful curation of 2,700 art pieces by renowned artists around the world and creates an inspiring and unique experience that no other hotel can match.
Exquisite dining experience - as another form of art
Culinary delight is another attraction of Paradise City that you cannot miss. Pamper your palate and enjoy the latest dining trends from some of the hottest places in Europe, New York and Shanghai.
A major international loan exhibition focusing on the artistic tradition inspired by Japan’s most celebrated work of literature will go on view at The Metropolitan Museum of Art beginning March 5, 2019.
Bringing together more than 120 works of art from 32 public and private collections in Japan and the United States—including National Treasures and Important Cultural Properties, most of which have never left Japan--The Tale of Genji: A Japanese Classic Illuminated will explore the tale’s continuing influence on Japanese art since it was written around the year 1000 by the noblewoman Murasaki Shikibu (ca. 978–ca. 1014). Often referred to as the world’s first novel, The Tale of Genji has captivated readers for centuries through its sophisticated narrative style, humor and wit, and unforgettable characters, beginning with the “radiant prince” Genji, whose life and loves are the focus of the story.
“The Tale of Genji has inspired generations of artists over centuries, and ours is the first exhibition to explore this phenomenon in such a comprehensive way,” said Max Hollein, Director of The Met. “The magnificent works of art in the show will also offer a view into the development of Japanese art, a testament to the prevalence and impact of the renowned story.”
The exhibition is organized by The Metropolitan Museum of Art and The Japan Foundation, with the cooperation of the Tokyo National Museum and Ishiyamadera Temple.
It is made possible by the Mary Livingston Griggs and Mary Griggs Burke Foundation Fund, 2015; the Estate of Brooke Astor; the E. Rhodes and Leona B. Carpenter Foundation; and Ann M. Spruill and Daniel H. Cantwell.
The exhibition will present the most extensive introduction to the visual world of Genji ever shown outside Japan. It will feature nearly one thousand years of Genji-related art—an astonishing range of works including paintings, calligraphy, silk robes, lacquerware, a palanquin for a shogun’s bride, and popular art such as ukiyo-e prints and contemporary manga—and provide viewers with a window into the alluring world of the Heian imperial court (794–1185) that was created by the legendary authoress.
Comprising 54 chapters, The Tale of Genji describes the life of the prince, from the amorous escapades of his youth to his death, as well as the lives of his descendants, introducing along the way some of the most iconic female characters in the history of Japanese literature. Organized thematically in eight sections, the exhibition will pay special attention to the Buddhist reception of the tale, while also giving prominence to Genji’s female readership and important works by female artists.
Among the works on view, highlights will include two of Japan’s National Treasures. The first, on loan from Seikado Bunko Art Museum, is a pair of screens by the Rinpa master Tawaraya Sotatsu (ca. 1570-ca. 1640)--Channel Markers and The Barrier Gate—depicting two chance encounters between Genji and a former lover. The second is the breathtaking Heian-period Lotus Sutra with Each Character on a Lotus, from the Museum Yamato Bunkakan. These works will be on view for six weeks and then rotated with other masterpieces over the course of the exhibition. A number of works recognized as Important Cultural Properties will be on view throughout the exhibition, including beautifully preserved album leaves by Tosa Mitsuyoshi (1539–1613), from the Kuboso Memorial Museum of Arts, Izumi, which will be shown together with rare Tosa School album paintings from the Harvard Art Museums and The Met’s own collection.
The exhibition will also include a section featuring important works of art from Ishiyamadera Temple whose hall contains a “Genji Room” that commemorates the legend that Murasaki started writing the novel within the temple precincts. And the final section of the exhibition will feature a series of original manga drawings by Yamato Waki that were inspired by The Tale of Genji. She translated Genji into the comic book idiom, making Murasaki’s tale accessible to a whole new generation of readers.
Education Programs, Catalogue, and Credit
A site-specific opera entitled Murasaki’s Moon—commissioned by MetLiveArts, On Site Opera, and American Lyric Theater in conjunction with the exhibition—will be presented in The Met’s Astor Court on May 17, 18, and 19.
This exhibition will be the opening highlight of Japan 2019, a series of events organized by The Japan Foundation to introduce Japanese arts and culture in the United States throughout 2019.
The Tale of Genji: A Japanese Classic Illuminated will be accompanied by a fully illustrated catalogue.
The catalogue is made possible by The Andrew W. Mellon Foundation; the Florence and Herbert Irving Fund; the Charles A. Greenfield Fund; the Miriam & Ira D. Wallach Foundation; the Mary Livingston Griggs and Mary Griggs Burke Foundation Fund, 2015; the Parnassus Foundation; and Richard and Geneva Hofheimer Memorial Fund.
The exhibition is curated by John T. Carpenter, Mary Griggs Burke Curator of Japanese Art in the Department of Asian Art at The Met; and guest curator Melissa McCormick, Professor of Japanese Art and Culture at Harvard University; with Monika Bincsik, Diane and Arthur Abbey Assistant Curator for Japanese Decorative Arts at The Met; and Kyoko Kinoshita, Professor of Japanese Art History at Tama Art University.
The exhibition will be featured on The Met’s website
Born in Amsterdam, The Netherlands. Lives and works in Amsterdam, Berlin and Japan.
What Morgan Betz’s art makes clear is that a great deal of present-day art is irrelevant because it does not demonstrate its legitimacy. Every work of art must be able to answer the question of whether it is truly of any added value. Beauty in itself does not suffice. Betz’s paintings and objects are certainly not beautiful, in the classical sense of the word. He deliberately crashes off the track to find out whether anything new can be made from the ruins. He has a subtle gift for subversion, a talent that is sadly lacking from much contemporary art.
How does this subversion work? Betz is capable of drawing inspiration and influence from the maladjusted and tragicomic elements of our everyday lives. It takes courage to turn away from the customary practices of rationalization and conceptualisation in today’s visual culture.
How does it demonstrate its relevance? His work can be described as a reservoir of images, fragments, and quotations. The accumulation of all these layers enables Betz to redefine the material he has collected in terms of content. The process of making the work becomes an exercise in finding the right balance between directness, construction, and the tension of a planned outcome. Betz’s quest is for a closing equilibrium in which the image achieves tranquillity: the moment at which it needs nothing beyond itself in order to convince, and is no longer an illustration of ideas.
Source: Willem Baars Projects
Last week, Rotterdam, Holland transformed into the Valhalla for art, design and architecture lovers. Throughout the week, the city bustled with special openings, exhibitions in museums and art institutions, lectures, guided tours, debates, pop-up shows and various fairs.
Art Rotterdam - hub of the Art Rotterdam Week - celebrated its 20-year anniversary. For this jubilee edition, the fair sharpened its varied model focused on young art and put collaboration centre-stage. In a more intimate atmosphere, there was more focus on connection between national and international galleries. For four days, the Van Nelle factory formed the backdrop for the latest developments in the visual arts.
A new feature was the presentation of Now/Forever, curated by Hester Alberdingk Thijm, director of the AkzoNobel Art Foundation. The New Art Section also had a new, tailor-made architecture and curated by Tiago de Abreu Pinto. Altogether it was a great deal of pleasure and inspiration.
The gallery below presents a selection of hot picks from the fair>>
The origins of Yasukuni Jinja lie in a shrine called Shokonsha, which was established at Kudan in Tokyo in the second year of the Meiji era (1869) by the will of the Emperor Meiji. In 1879, it was renamed Yasukuni Jinja.
When the Emperor Meiji visited Shokonsha for the first time on January 27, 1874, he composed a poem: “I assure those of you who fought and died for your country that your names will live forever at this shrine in Musashino.” As expressed by this poem, Yasukuni Jinja was established to commemorate and honor the achievements of those who dedicated their precious lives to their country. The name “Yasukuni,” bestowed by the Emperor Meiji, means to preserve peace for the entire nation.
Currently, more than 2,466,000 divinities are enshrined here at Yasukuni Jinja. These are the souls of the many people who have made the ultimate sacrifice for their nation since 1853, during national crises such as the Boshin War, the Seinan War, the Sino-Japanese and Russo-Japanese wars, World War I, the Manchurian Incident, the China Incident, and the Greater East Asian War (World War II). These people, regardless of their rank or social standing, are considered to be completely equal and worshipped as venerable divinities of Yasukuni.
According to traditional Japanese beliefs, respect and awe for the deceased are best expressed by treating the dead in the same manner as if they were alive. Hence, at Yasukuni Jinja, rituals to offer meals and to dedicate words of appreciation to the dead are repeated daily. And, twice every year－in the spring and autumn－major rites are conducted at which offerings from His Majesty the Emperor are dedicated. These rites are also attended by members of the Imperial family.
Thus, Yasukuni Jinja has a deep relationship with the Japanese Imperial family. Also, five million people visit the shrine every year in its function as a central institution for commemorating those who died in wars.
The origins of Yasukuni Jinja lie in a shrine called Shokonsha, which was established at Kudan, Tokyo, in the second year of the Meiji era (1869). Japan at that time was in the process of a historic reformation known as the Meiji Restoration in order to transform into a modern unified state. Before that era, Japan had imposed upon itself a period of isolation for about 250 years, and communication with the outside world was strictly limited. However, when the United States and other Western nations began to put pressure on Japan to open its doors to the world, decision-makers were polarized into two camps—those for and against continuing isolation—and Japan was thrown into turmoil. The Tokugawa Shogunate had retained control over Japanese politics for 260 years. But, lacking the power to overcome this crisis, the Shogunate returned the reins of government to the Emperor, and Japan started building a modern state with the Emperor at its center.
On the other hand, such a drastic reformation caused the outbreak of an unavoidable and unfortunate conflict known as the Boshin War, and precious lives of those who had devoted themselves to the establishment of a modern state were lost. The Emperor Meiji, wishing to honor the memory of those who had died for their country, ordered the construction of a shrine to commemorate these people. The shrine, named Shokonsha, was established in June of 1869. This is the origin of today's Yasukuni Jinja. It was renamed as Yasukuni Jinja in 1879, and has been elevated as an Imperial Shrine of Special Status.
The name “Yasukuni,” bestowed by the Emperor Meiji, means to preserve peace for the entire nation. Therefore, Yasukuni Jinja is intended as a shrine to “bring peace to the homeland” or “build a peaceful nation.”
At Yasukuni Jinja, there are enshrined many people who sacrificed themselves in domestic conflicts such as the Boshin War, the Saga Uprising, and the Seinan War. The outbreaks of these wars mark the starting point of modern Japan. Among the enshrined are Yoshida Shoin, Sakamoto Ryoma, Takasugi Shinsaku, and Hashimoto Sanai, historic figures famous for their activities that led to the Meiji Restoration. Also enshrined are many soldiers who died in wars such as the Sino-Japanese War, the Russo-Japanese War, the First World War, the Manchurian Incident, the China Incident, and the Greater East Asian War (Second World War) to protect their country. Currently, there are more than 2,466,000 divinities enshrined at Yasukuni Kinja.
Not only soldiers’ spirits are enshrined here. There are also the souls of women and schoolgirls involved in relief operation on the battlefields, and a great number of students who went to work in factories for the war effort, as well as civilian personnel, civil-service workers, private citizens, Taiwanese and Korean people who died as Japanese, people who died during detention in Siberian labor camps, and those who were labeled war criminals and executed after being tried by the Allies.
Here at Yasukuni Jinja, these people, regardless of their rank, social standing, or gender, are considered to be subjects of completely equal respect and worship, because the purpose of the shrine is exclusively to commemorate those who sacrificed their lives for their nation. That is, the 2,466,000 divinities enshrined at Yasukuni Jinja all sacrificed their lives in the course of fulfilling their public duty to protect their motherland.
The legendary American minimalist painter Robert Ryman has passed away at the age of 88.
Robert Ryman (b. 1930, Nashville, TN; d. 2019, New York) attended the Tennessee Polytechnic Institute and the George Peabody College for Teachers in Nashville. After enlisting in the United States Army (1950–52), he moved to New York to play jazz.
In 1953 he took a temporary job—where he would ultimately work for seven years—as a guard at the Museum of Modern Art.
Soon after, he would decide to devote his career towards painting. For more than five decades, Robert Ryman has been engaged in an ongoing experiment with painting. He constantly seeks to modify his approach, resisting the comfort of tendency and maintaining the freshness of an unchartered territory. From each experience Ryman gleans the variables for a revised proposition and the impetus to propel him towards his next move.
Since Ryman’s first solo exhibition in 1967, his work has been the subject of over 100 solo exhibitions in 12 countries.
Source: Pace Gallery
Located in the valley of the river Inn, amongst the remnants of a medieval monastery and set against the backdrop of alpine mountains, opened to the public on the 2nd January 2019 is MUZEUM SUSCH: a new addition to the matrix of experimentation and novel approaches to art in response to the enchanting surroundings of Engadin.
The former vicarage, the hospice and the economic building were parts of a rural monastery founded in 1157 after Flüela Pass, on the pilgrim’s path to Rome and Santiago de Compostela. A brewery building was added in the 19th century, situated above a naturally-occurring mountain water source. To house MUZEUM SUSCH, the existing structures are subtly restored and recombined in a complex form, an inspiring environment for artistic production and mediation, a diverse ensemble encouraging exploratory journeys for visitors and introducing spaces for exhibitions and experimental presentations, performances and lectures as well as a residency programme.
MUZEUM SUSCH is a space for argument and research relying on the laboratory character of a Kunsthalle. Founded by Grażyna Kulczyk, the Polish entrepreneur and long-term supporter of contemporary art, it is specifically (but not exclusively) informed by a deep understanding of woman artists and seeks an emotional connection to art as a matrilineage of the sometimes omitted, overlooked or misread. It aims to contribute to the recognition and greater visibility of artists and artworks which resonate these concerns, which have informed a collection focussed on conceptual art and female artists with a natural input of Central Eastern European art that is still underrepresented in reunited Europe. Thus one of the central qualities of MUZEUM SUSCH and its activities is the redefinition of the canonical and the marginalized, not as a dominating force silencing others but as an influential voice for making other voices heard.
Permanent site-specific Installations
Being simultaneously a site of contemplation, research and intervention, MUZEUM SUSCH is defined by a series of permanent, site-specific installations by international contemporary artists, which engage with the architecture and the idiosyncratic structure. Each built-in artwork plays a part in shaping the evolving character and distinctive layout of the space, inviting a unique sense of choreography with temporary works on display which will occupy the majority of the building space.
One of the first site-specific installations to arrive at MUZEUM SUSCH was Monika Sosnowska’s ‘Stairs’ (2017), a 14m steel structure that sits like the spinal column in the former ice tower of the brewery.
An Alpine Monastery
The reading and perception of the place is ambiguous: both religious – monastic and naturally historic. Swiss architects, Chasper Schmidlin and Lukas Voellmy, have been commissioned to restore and expand these existing structures according to the individual vision of the principal. The whole project balances sympathy to the history of the building, establishing space for a contemporary art museum within this context while introducing minimal architectural interventions. Taking the monastery as a place for production and to allow for reflection is at the DNA of the project. The natural history of the place can be read everywhere and penetrates the architecture in many places, as part of it.
“A Woman Looking at Men Looking at Women” – the inaugural exhibition at Muzeum Susch, a new institution founded by Grażyna Kulczyk – takes as its point of departure one of her collection’s key strengths, its focus on women artists, to explore the notion of the feminine in its diverse facets: social, political and cultural.
From artistic conventions of female representation through sexual emancipation to the questioning of traditional gender roles, the show addresses many issues central to feminist theory. Yet, rather than reiterating established polemics, it seeks to offer a fresh perspective on the paradoxes of the feminine. In the works on display, the female gaze predominates; the body is a source of pleasure rather than an ideological battlefield; motherhood and domesticity are marked not just by tenderness but also by tension.
Borrowing its title from Siri Hustvedt’s eponymous 2012 essay, which analyses the perceptual biases that affect how we judge both art and the wider world, the show celebrates pioneering women artists, who have only recently attained their long-deserved places in the art-historical canon. More importantly, however, it tells the story of those who, regardless of gender, found the passion, creativity and courage to challenge not only social norms but also the limits of art and its restrictive categories. As Hustvedt herself wrote: “A work of art has no sex.” A fearless commitment to experimentation and to pushing the boundaries of art lies at the very core of this exhibition.
Tiny Tokyo synopsis: "Epic skyscrapers, crowded city streets, even sumo wrestlers appear to be the size of tiny plastic toys or models. Captured using tilt-shift, an astonishing camera technique that has the effect of seeming to shrink its subjects - these stunning photographs by beloved tilt-shift practitioner Ben Thomas will mesmerize. A pocket sized visual wonderland, Tiny Tokyo is packed with big surprises!"
Tiny Tokyo: The Big City Made Mini, Ben Thomas (Chronicle Books)
Australian-born Ben Thomas is not only a photographer, but a visual artist. Working with the moving image in his younger years sparked his initial interest in the visual arts, but it wasn’t until his mid-twenties, when he moved to Melbourne, that he began to pursue photography.
Not knowing the city well, Ben saw photography as a tool to discover and document his new home. It was this process of documentation as well as his pure fascination with his new surroundings that sparked his passion for photography.
Photography for Ben has been a personal pursuit, never having formally studied the craft. Instead, his technical skills have improved over time through a repeated process of experimentation and refinement and also in his work with other photographers over the years. The objective in his photographic work is to create pieces that reflect a strong and individual visual aesthetic along with a revealing narrative.
For Ben, the most important factor in moving forward has been to relentlessly follow his own vision and to execute that plan without compromise. Describing his photographic style as hyperreality, he creates works that challenge the boundaries of how a photograph is constructed and perceived.
He attempts to challenge the perceptions of not only what photography is, but what a subject should be, his work being centered mostly around our urban built environment. His aim is to provide a way for people to consider the relationships that they form with their surroundings and how their environment affects them.
Ben is a Hasselblad Master 2018 and has recently completed campaigns/assignments for The New Yorker Magazine, Apple, Sony, Cake, Singapore Airlines, Penguin Books and Chronicle Books.
Growing up in Madrid, my youth was surrounded with creative self expression with a family immersed in the arts, theater, and dance. By the age of 20 I released my first EP as a musician, performing vocals, writing the lyrics, making bass and drums ideas with a band in Spain. Later, I became interested in dramatic arts, finding my way to Los Angeles, where I currently live.
Delving into the depths of my experience with the world, art became a form of self expression that helped me understand the nature of who I am. Life in Los Angeles prioritizes the beauty, the dream, the fantasy, and the quest for the holy grail of perfection. In mild rebellion, my works emphasize the imperfections, the drama, the mystery, and emotional range of myself as well as that of humanity.
Painting became my own visual poetry following the unmet expectations, failures, passions, emotional sagas, and general chaos of that I call the human experience.
As I went through my own journey, I began to see life itself as a metamorphosis in which the cathartic pain of the chrysalis is not only necessary, but poetic and appealing as a process of purification. My intention is to create with unashamed honesty to share myself in raw humility with my audience. For the truth of life is indeed beautiful, but it’s no damn fairytale.
A self-taught freelance illustrator and professional graphic designer from Madrid. She started illustrating by chance to channel feelings that she couldn’t express in any other way. In 2012 she came across the book ‘Dark Inspirations’, which was a compilation of works from distinct artists from around the world. Even though the book is best described as obscure and desolate, she found a world of colour in its pages.
She was fascinated by Dark Inspirations as it fitted perfectly with her style. Using it as her main inspiration she recommenced her art studies. She began to upload her works to the social networks, and thanks to the culture of sharing on these began to collaborate with magazines and fanzines, as well as display her works in different parts of the world through her collaborations with clothing brands, musicians and galleries.
Montreal Self taught artist; his works are reflecting his interest in architecture and modern design. They mainly consist of abstract paintings, precise and sharp that utilise colors in a way that plays with vision creating an illusory sensation of depth.
His ever evolving research on the effect colors can have on one another and his choices of accumulation and superposition of geometric shapes result in powerful artworks in front of which the observer can not stay indifferent.
Depending on the point of view, a variation of perspective, impression of blurred, dimension, movement, and intriguing fluctuations of light happen.
Roberto Rivadeneira is an illustrator and visual artist who grew up in Quito Ecuador, and currently works in Berlin - Germany. Predominantly focussing on illustration and mural painting, the works range from small pieces to larger mural formats.
His work is deeply influenced by contemporary culture, and everyday observations between different cities and societies. Rather than a statement, Urku's work is an open invitation to interact with the space and atmosphere.
Ramsey Dau - A personal graphic vocabulary of primitive shape, pattern and expressionistic mark-making.
Ramsey Dau’s paintings combine masterfully rendered photorealism with a personal graphic vocabulary of primitive shape, pattern and expressionistic mark-making. Beginning with prodigious observation of his subconscious aesthetic and intellectual preferences, Dau creates hyper-realistic “painted collages” that challenge the viewer to discern their meaning and mode of creation. His compositions draw heavily on his background in graphic design and rely both on chance and focused intention.
I make work that I am drawn to make. Aesthetics plays a major role, but as to my motivation – I believe that to be buried in my subconscious. Modern neuropsychology emphasizes the power of the subconscious and questions the existence of free will, so maybe it is beyond my knowing. Perhaps, in time, it will reveal itself through the making of the work itself. Like some future archaeologist finding an ancient machine and trying to figure out what it is by plugging it in and letting it run – seeing what it makes.
Dau was selected as one of Modern Painters' 25 Artists to Watch in 2014. That same year he was awarded the Art Park Artist Residency in Byron Bay, Australia, which culminated in a solo exhibition at Sydney’s Mild Manners Project Gallery. In 2015, Dau's first Los Angeles solo exhibition, The Singularity is Near, was presented with KM Fine Arts, followed in 2016 with the solo show, An Ocean Beneath the Sea.
At the age of five Armand Peri was first inspired by the power of painting and started creating works of art that belied his age. Embracing his creative side with the encouragement of by his parents and teachers Developing his talent during his formative years, Armand's paintings found their way into the halls of respected museums and institutions before he reached his eighteenth birthday.
In 1983, Armand's work was chosen as the most creative and expressive from a pool of 6,000 other young artists. This first great achievement was recognized by the governor of the State of New Jersey as well as Nancy Reagan, first lady of the United States at the time. Encouraged like never before, Armand expanded his artistic expression which led to other awards and accolades in recognition of his talent.
Entering college, Armand's artistic spirit was channeled into another creative form; architecture. Graduating from the prestigious New Jersey Institute for Technology with a Bachelors of Science, Armand quickly set his sights on architecture's logical progression; real estate.
Calling upon his artistic acumen for design, aesthetics and symmetry, Armand was quickly propelled into the millionaire's club in real estate circles through a series of property acquisitions, development and sale of same. Infected with the entrepreneur's bug, Armand turned his attention to other exciting elements where a fusion of art with reality takes place; NYC nightlife.
Starting out as a night club owner he immediately identified a niche market that was drastically underserved; entertainment for women. All of Armand's knowledge and life experience converged on his latest project. His award-winning experience as a bodybuilder coupled with his years of creative expression on the canvass merged with his ever-developing business acumen led him to create Hunk-o-Mania; one of the United States' most popular and successful male revue.
Turning his sights back on his first love, Armand is returning to the art world full force with new vigor and spirit.
Born in 1979, Jisan Ahn studied plastic art at Korea National University of Arts and has a degree with paintings at Frank Mohr International in the Netherlands.
He debuted in the Netherlands first while he was staying in Rijks akademie residency for 2 years from 2013. European Art Scene started paying attention to him after his solo exhibition at Galerie Bart/Amsterdam (2014, 2015). He has participated in major group exhibitions such as Arko Art Center/Seoul (2016), Gallery SKAPE/Seoul (2015), Arti ET Amicitiae/Amsterdam (2014) and got Buning Brongers Prize in 2014.
Tender by Nyoman Masriadi was an exhibition held between November 07, 2018 and November 11, 2018 during Westbund Art and Design 2018 at Westbund Art Center, Shanghai.
Masriadi was born 1973, in Gianyar, Bali and received his training in art at the Institut Seni Indonesia (ISI) Yogyakarta, where he lives with his wife Ana and his 3 children.
Something of a phenomenon, his career is a rags-to-riches story combining creative genius, cultural sensitivity, and a refusal to conform. Masriadi’s paintings frequently depict superhuman figures whose narratives, while rooted in Indonesian cultural history, offer witty and often biting social commentary on contemporary life and global pop culture.
As Ashley Bickerton explains; Masriadi’s visual vocabulary is continuously refreshing and contemporaneously relevant. Nicholas Olney, director of New York’s Paul Kasmin Gallery, recalls his initial impressions of this exhibition: “The humor and biting wit came through immediately”, he says. “This guy was speaking on a global level”.
Through his expert control of light, shadow and volume, Masriadi endows the monumental characters of his artworks with a sculptural, almost three-dimensional presence. Sometimes these characters appear in the archetypal roles of comic book heroes, cowboys, soldiers and athletes, but just as frequently, they are simply powerfully built men and women engaged in solitary acts of strength or captured in private moments of vulnerability.
Daniel Knorr(1968, Bukarest, RO) is a contemporary Romanian artist known for his projects that employ materials such as cocaine, casts of pot holes, and smoke, to trigger debates on political and theoretical content. Largely concerned with notions of emptiness, representation, and fantasy, Knorr’s texts, sculptures, graphic works, and performances take on his interests in a controversial manner.
“Formally the work can be seen as a materialization of actual bio policy, driven by a contemporary collective consciousness of health care, which was established in the past decades,” he explained of his work Smoking in the Museum (2012). “The lifestyle that gets controlled by such an ideology is just one element in the sensitive ongoing discussion between smokers and non-smokers. It represents a field where the power of politics and state and is launched on a global scale, initiating a ‘synchronized’ cultural-political discussion.”
Born in 1968 in Bucharest, Romania, he fled Romania to Germany at 14 years old with his parents. Knorr went on to study under Daniel Spoerri at the Academy of Fine Arts in Munich. The artist moved to Berlin in the 1990s and went on to represent Romania in the 2005 Venice Biennale with his work European Influenza. In 2017, his multifaceted Expiration Movement, debuted at documenta 14 in both Kassel and Athens. Knorr continues to live and work in Berlin, Germany. Today, his works are held in the collections of the Migros Museum in Zurich, the Stasi Museum in Leipzig, and the Pinakothek der Moderne in Munich, among others.
Daniel is represented by Johyun Gallery
Lives and works in Berlin and Algiers
Kader Attia (b. 1970, France), grew up in Paris and in Algeria. Preceding his studies at the École Supérieure des Arts Appliqués Duperré and the École Nationale Supérieure des Arts Décoratifs in Paris, and at Escola Massana, Centre d’Art i Disseny in Barcelona, he spent several years in Congo and in South America.
The experience with these different cultures, the histories of which over centuries have been characterised by rich trading traditions, colonialism and multi-ethnic societies, has fostered Kader Attia’s intercultural and interdisciplinary approach of research. For many years, he has been exploring the perspective that societies have on their history, especially as regards experiences of deprivation and suppression, violence and loss, and how this affects the evolving of nations and individuals — each of them being connected to collective memory.
His socio-cultural research has led Kader Attia to the notion of Repair, a concept he has been developing philosophically in his writings and symbolically in his oeuvre as a visual artist. With the principle of Repair being a constant in nature — thus also in humanity —, any system, social institution or cultural tradition can be considered as an infinite process of Repair, which is closely linked to loss and wounds, to recuperation and re-appropriation. Repair reaches far beyond the subject and connects the individual to gender, philosophy, science, and architecture, and also involves it in evolutionary processes in nature, culture, myth and history.
In 2016, Kader Attia founded La Colonie, a space in Paris to share ideas and to provide an agora for vivid discussion. Focussing on decolonialisation not only of peoples but also of knowledge, attitudes and practices, it aspires to de-compartmentalise knowledge by a trans-cultural, trans-disciplinary and trans-generational approach. Driven by the urgency of social and cultural reparations, it aims to reunite which has been shattered, or drift apart.
Kader Attia’s work recently has been on display at The 57th Venice Bienniale; The Power Plant, Toronto; and ACCA Melbourne. Past solo exhibitions include “Repairing the Invisible” at SMAK in Ghent; Museum of Contemporary Art, Sydney; “Sacrifice and Harmony”, Museum für Moderne Kunst, Frankfurt; “The Injuries are Here”, Musée Cantonal des Beaux Arts de Lausanne; “Contre Nature”, Beirut Art Center; “Continuum of Repair: The Light of Jacob’s Ladder”, Whitechapel Gallery, London; “Repair. 5 Acts”, KW Institute for Contemporary Art, Berlin. Kader Attia took part in dOCUMENTA(13) in Kassel, as well as group shows at MoMA, New York; or Tate Modern, London; Centre Pompidou, Paris) or The Solomon R. Guggenheim Museum, New York, just to name a few.
In 2016, Kader Attia was awarded with the Marcel Duchamp Prize, followed by the Prize of the Miró Foundation, Barcelona, and the Yanghyun Art Prize, Seoul, in 2017.
Latin phrase meaning "solid earth" (from terra, meaning 'earth', and firma, meaning 'solid'). The phrase refers to the dry land mass on the earth's surface and is used to differentiate from the sea or air.
There has always been a desire to grasp a meaning of the land that we live on, with it’s ever-transitioning spaces and the intriguing subjects/objects encountered in between. The project started after coming back from Bangladesh where I spent six months living in Dhaka, a city with approximately 110,000 people for each square mile and a lack for open spaces. Gurgaon, my hometown, is one of the major cities in India and has an abundant number of upcoming sectors. In the beginning the project was only a daily routine of a photographic walk in the morning but with time I realised a sense of a visual aesthetic which I hadn’t explored earlier. As my interest grew both in the new found aesthetic and these spaces, I spent most of my mornings exploring these areas.
The project is a visual depiction of how cities in India are changing and spaces vanishing rapidly because of the urgent demand for urbanisation. With the project I aim to portray a yearning of dissipating emotions in order to convey a feeling of longing for these open spaces which would soon disappear. In the future, I further plan to document these areas again to show the contrast between the respective time periods.
Parth Gupta is a photographer based out of New Delhi, India. Photography, for him, started as a naive act of taking images of clouds from his father’s cell phone in his early teens. But he considers his earliest connection to visual imagery with the family albums at his home. He often traces back to the innocence of the images in the album, today, to engross himself in a moment and to understand his emotions. With photography, he wishes to make images, which serve as a memento of time passed, spaces discovered and people met. A photograph that is an experience to the viewers and evokes certain emotions that stays with them.
Andrews was born in 1962 in Buenos Aires, Argentina.
He studied photography with Horacio Coppola, who invited him to join his “ Imagema” group and later moved to Germany, where he began to photograph music concerts.
From 1986 on he travels around the world documenting various places and their people, publishing articles in several magazines and newspapers.
In 1988 he studied Video Production at The International Film & TV Workshops, Maine, USA.
In 2012 he attended Juan Travnik´s course on Aesthetics and Expression.
He took part of the photographic project CITY 2000, created to document and preserve for future generations how life looked like in Chicago.
He is a member of the German Association of Journalists.
Since 2004 he has been working together with international stock photography agencies and since 2013 he teaches at private institutes.
His Fine Art prints are being represented by art galleries at solo shows and international fairs.
His book "Los Espíritus del Museo / The Museum´s Ghosts" has been published in 2018.
Some of his photographs are in private and public collections of Argentina, Brazil, Germany, Belgium, Russia, United States and Canada
Alexandra Grieß: born 1977 in Hameln/Germany, living in Hamburg since 1995, 2001-2004 studies visual communication at the HAW (University of applied Science in Hamburg, Germany. Since then working as an (Sound-)Artist, DJ and Photographer.
Jorel Heid: born 1982 in in Savigny/Switzerland, 2003-2006 education as a carpenter in Tübingen/Germany.since then working as a freelance-carpenter and designer
Alexandra Grieß and Jorel Heid have worked together since 2011. They create rooms, where the walls are fragile and expand rhytmical, or spread out in the dark. Most of their works are isolating an observation of nature. By reducing them into black or white/light and nonlight, they emerge a graphical clarity.
They like to work with materials like foils , metals, glass and wood wind, windmachines .