GRUNDEMARK NILSSON GALLERY: Free of Immediacy

© ARTISTS, ALL RIGHTS RESERVED

© ARTISTS, ALL RIGHTS RESERVED

"Free of Immediacy" exhibition shows the photographic works of Matan Mittwoch (born in 1982, Israel) in combination with an installation by Royden Rabinowitch(born in 1943, Canada), curated by Ory Dessau.

The exhibition Free of Immediacy seeks to bypass the basic notions underlying the canon of modernist abstraction, i.e., the idea of a direct, unmediated visual experience within an isolated field of vision. The exhibition seeks to prevail beyond the level of appearance, visibility, and form; beyond the confinements of human observation. It relates to the world in quantitative-calculative terms to undermine the totality of subjective expression and perception; yet, while disconnecting the empirical description of the world from direct experience, the exhibition also establishes an unfamiliar ground for cultural pluralism, for self- and collective-relativity. The exhibition does not pretend to be a summary of current tendencies in the contemporary art scene, but to be a preliminary outline, a proposal of a proposal.
 

GRUNDEMARK NILSSON GALLERY

BERLIN / STOCKHOLM
WWW.GRUNDEMARKNILSSON.SE

GRUNDEMARK NILSSON GALLERY

LINDENSTRASSE 34, 

10969 BERLIN, GERMANY

GRUNDEMARK NILSSON GALLERY

 SIBYLLEGATAN 26, 

114 42 STOCKHOLM, SWEDEN

CHRISTINE GEDEON: Kulturmöllan Installation and Stitched Works

Silence and Sound

Installation by Christine Gedeon

"I will incorporate the architecture of the mill to create 
a hybrid of silence and sound."

INSTRUMENT

 Curated by Marek Walczak

July 6 - August 10, 2013

 Kulturmöllan, Lövestad, Sweden

 Governors Island Revisited

Thread, paint and fabric on raw black canvas, 74" x 66", 2012

 OSH, Brooklyn (Plot re-visualized)

Fabric, thread and paint on raw black canvas, 54" x 32", 2012

Christine Gedeon was born in Aleppo, Syria and lives between NYC and Berlin. She examines the spaces we live in and how it affects us as individuals, using thread mainly as a medium, as both installation and works on canvas. Her installation work resides on the merging of the architectural space and the work itself.

"STITCHED WORKS: As humans, we define ourselves partly in relation to the built environment around us. Buildings in the urban context interact with one another and allow individuals to create a narrative of who they are-past, present, and future. Our memory and identity are forever changed after buildings and monuments are destroyed through war, natural destruction, and urban planning. The subsequent rebuilding both "as it once was" as well as a complete modern reconstruction ultimately suppresses memory seemingly creating a sense of utopia."

"My most recent stitched works are inspired by the evolution of urban landscapes and how it ties to memory, focusing recently on New York City's topographical evolution. I use Google Earth and archival images to collect my data and use this information as a starting point to create this invented series of urban renewal projects. The works are still done through improvisation pointing to a heterotopic, neither here nor there vision of New York; an unreality based on a utopian inspired ideal."

X-Scapes, curated by Katherine Murdock, thru June 30, 2013 

Visual Arts Center of New Jersey, Summit, New Jersey

ChristineGedeon.com

Valparaiso, Installation, (Detail 3) 2012
Thread, nails, and tape, 20’ x 11’ 

Valparaíso Studio Installation: I created an aerial view drafting of my studio space including the wooden beams on the ceiling and loosely translated the drawing as a 3D installation, reflecting the interior space. One rule in creating the piece was to make it low-impact, thereby not creating any holes in the walls and working with the existing elements that were left there. It's through these processes, exploring aerial view drawings using thread as a medium that I'm interested in reinventing space as both 2D and 3D works.

BILLY & HELLS: After Hours

 

Billy + Hells 1978 

from the series “The Astronaut’s Wife”

Billy + Hells

Flug, 2007

 

Billy + Hells
Oskar, 2008

After Hours, at Fahey/Klein in L.A., is the first U.S. exhibition from contemporary photographers Billy+Hells. This retrospective exhibition is comprised of their ethereal portraits and atmospheric landscape series. “Billy + Hells” is the pseudonym for the creative duo comprised of Berlin based photographers Anke Linz and Andreas Oettinger.

"Billy+Hells’ photographs exist in a world of in-betweens. Their deceptively simple, straightforward portraits convey a certain complexity. The archetypal characters depicted in their photographs—mothers, soldiers, cowboys, nurses, and teachers— possess an underlying sense of mystery, hinting at the duality of the sitter as well as the fictional world they inhabit. Although Billy + Hells’ images call upon historical and art historical references, their portraits are not burdened by the stipulations of historical recreations. Instead, seamlessly blending past and present, reality and fantasy, their photographs become a nostalgic diary, purposefully left open for interpretation."– Fahey/Klein 

 BILLY + HELLS / After Hours

Fahey/Klein Gallery thru December 8, 2012

 BILLYUNDHELLS

ADAM MAGYAR: Squares

CLICK ON IMAGES TO ENLARGE!

#03621  Tokyo, 2010 
Photograph (c) Adam Magyar

 #03621  Tokyo, 2010, magnifies
Photograph (c) Adam Magyar
on website you can drag pointer on image to magnify



 #26872 Tokyo, 2010 
Photograph (c) Adam Magyar

 #26872 Tokyo, 2010, magnified 
Photograph (c) Adam Magyar
on website you can drag pointer on image to magnify

I alter space
 What you see in my images is artificial
Real details can be used to create a non-existent reality

ADAM MAGYAR, now living in Berlin, was born in Debrecen, Hungary. Magyar, Jeffris Elliott and 4 other photographers won the 2009 Photography Now PQ #99 contest. Debra Klomp Ching, co-owner of KLOMPCHING GALLERY was Juror. Their work will be published in issue #99 of Center for Photography at Woodstock's PQ Magazine. Magyar's work has won several other awards, including the 2009 International Photography Awards 1st Place in Fine Art/Collage for Squares and 1st Place in Special/Aerial for Squares, 2006-2007 Josef Pecsi Scholarship and the Hungarian Press Photo Grand Prize in 2004. I asked Magyar about this series:

Can you give a short detail of how you arrived at this project?
I like to work with simple, real and obvious matters like pedestrians. I started experimenting with different digital techniques, because I did not find places that I wanted to see in my images. I wanted to depict people in endless and seamless environments, without recognizable or particular surroundings. The images are really detailed, you can see a lot of tiny things if you go close to them.

Did you set up the people in the image #517?
In a sense I did. All the squares are artificially set up from hundreds of images that I took from about 4-5 meters high of pedestrians on sidewalks. This distance, or rather, closeness allows me to create extremely high-resolution images, thus allowing the viewer to survey each person close-up. Yet, observing the image at close range makes it possible for us to see it as a whole, while looking at it from a distance results in losing all the details.

ADAM MAGYAR 
magnify details in the images on the website
 

* These are not the original images posted with this piece back in 2009. Many images from Google's Blogspot have dropped off. Check out my recent post on Magyar May 2018.