Johann König, Berlin is pleased to present “sunrise”, American artist Justin Matherly’s second solo exhibition at the gallery.
An oscillation of proximity exists in Matherly's prodigious cast sculptures and large-scale photo work. At the furthest distance of the landscape, we see the sunrise; it rises towards us while appearing to retreat as we move towards the horizon line. Such constant, paradoxical shifting is allegoric of the kinetic nature in Matherly’s work: meaning and source are molten, and each degrades as the final composition takes form through a decidedly flexible casting process. An array of soft materials, such as malleable Treegators (slow release watering bags for foliage), allow for an additional element of chance in reference to the specificity of the carved form crafted from industrial Styrofoam.
For the first time, Matherly presents what appears to be a documentary photograph of a sunrise at an excavation site of the temple-tomb, Nemrud Dagi, in southeastern Turkey. It is a pointed departure from his other two-dimensional works, which endure a process of heavy abstraction from their source material. Here a photograph is presented seemingly unedited, captured by the artist on site. Yet a small instance recalls that representation is never without manipulation – collaged little blue flowers punctuate the bottom left corner of this. This addition is swathed in connotative lineages: among these, it is a recurring symbol in German Romanticism and a provocative emblem for the unreachable.
“Sunrise” dominates the gallery. Divinities Zeus and Apollo are depicted with the Hellenic King Antiochus I, as Matherly continues his investigation of dexiosis reliefs – in other words, right-handed clasps. An action of political alignment, it is both loaded and impoverished of meaning by its overuse and ubiquity. The ambulatory supports which recur in Matherly's works are central to the work, propping up the rising facade and revealing the hollowness and holes that belie the sculptures weight. It is ridden with pathos; the walkers and crutches seem to be in a perpetual state of exertion. Backing away from this piece, the pictorial handshake, the extended readymade arms and legs that support sunrise gives the work a humanistic corporeality – in essence, it is a gesture.
A more literal deconstruction exists in a small-scale sculpture propped against the wall. Clinical equipment, concrete, and a rock collected from the Turkish site compose a work that is not self-supportive, but relies instead on the gallery wall. It is a conjurer of fragmented histories and sources also, which lean on each other for context and support in contingent networks of meanings, however flexible. Sources are generated, then self-generating; Objects cycle along a mythic, twisting human narrative; Meanings shift ad infinitum somewhere between the sacred and the hollow.
Justin Matherly (born 1972) lives and works in Brooklyn. His sculpture “Sunrise” was presented in the Unlimited sector of Art Basel (2013). His work has been extensively exhibited in New York, at Paula Cooper Gallery (2013), with the Public Art Fund in City Hall Park (Common Ground, 2012), Bureau (2011), or the Sculpture Center, (2010). Justin Matherly’s next exhibition will be in February 2015 at Vienna Secession.
Reception for the artist Friday 9 January 6:00 – 8:00 pm
MARC FOXX is pleased to present Gushers, an exhibition of new work by Sanya Kantarovsky, in the second solo exhibition with the gallery by the UCLA MFA graduate, Russian-born, New York City based artist.
Gushers are rectangular shaped snacks made from sugar and fruit juice, with small amounts of other ingredients. These may include—but are not limited to—embarrassment, thwarted plans, swollen glands, unpleasant sexual encounters, arrests, indifference in the face of disaster, childish tastes, wet hands and questionable intentions.
Surrounded by a chewy gelatinous sugar coating, the center of the Gusher is a thick, sweet, content-rich liquid. When one bites into the saccharine snack, the liquid inside “gushes” out—hence the name. Yet the full impact is achieved in the sequence of gushes, conveying meaning, as with the Kuleshov Effect in film editing, through the course of juxtaposition.
Laden with confectionary history, the Gusher is burdened as well with the impossible task of conveying sweetness in a largely bitter and disenchanted world, a world overwhelmed with familiar pictures of unfamiliar people. Each Gusher packs a memory of itself, staining the tongue with streaks of saturated color, issuing a syrupy nostalgia for gushiness itself—abated only by the hope that some still remain in the pack.
Recent projects and exhibitions include: Happy Soul, an installation at LAXART; the Monteverdi residency curated by Sarah McCory in Tuscany, Italy (where some of the Gushers work was realized); Allergies, Casey Kaplan, New York, NY, 2014; Bard Girls Can Fly, White Flags, St. Louis, MO, 2014; What Were you Expecting, Mr. Milquetoast, a Plot?, Badischer Kunstverein, Karlsruhe, Germany, 2014; You Are Not An Evening, GAK, Bremen, Germany (solo), 2013; Notes on Neo Camp, Studio Voltaire, London, UK, 2013.
FOR VISUALS OR FURTHER INFORMATION PLEASE CONTACT:
MARC FOXX 6150 Wilshire Boulevard, Los Angeles, CA 90048
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Lo Studio d'Arte Cannaviello presenta la mostra personale SP/15 di Pierluigi Pusole.
Una mostra/installazione di opere recenti, nuova fase produttiva per un’importante protagonista dell’arte contemporanea europea, di cui è una delle espressioni più originali. Il suo linguaggio si è mosso tra concettualismo e pittura, alla ricerca di nuove forme capaci di spingere l’osservatore verso dimensioni sconosciute, misteriose. Forme che celebrano un “oltre” fuori del tempo e dello spazio per inseguire e fermare l’attimo, percezione dell’eterno.
I paesaggi sono caratterizzati da pochi tratti immersi in macchie di colori forti, resi lucidi da una patina trasparente che crea “allucinazioni visive”. L’osservatore si sente, quindi, trascinato nell’opera stessa, fino quasi a farne parte. Pusole definisce le sue immagini “antinaturali”, in quanto rappresentazione di una realtà che non viene da lui subita ma posseduta per essere ricreata. Quasi un “esperimento d’ingegneria genetica”.
Le opere presenti nella mostra sono acquerelli e acrilici, progettati come singole parti di un'unica grande opera, immaginati come finestre aperte su scenari rarefatti, ipnotici, in cui i soggetti “uomo” e “natura” si confrontano e si scontrano in un continuo processo di aggregazione e disgregazione che mira a sconfinare oltre il reale.
Pierluigi Pusole è nato nel 1963 a Torino, dove vive e lavora. Ha iniziato la sua carriera nel 1986 esponendo nelle più prestigiose Gallerie d’arte europee, nonché negli spazi pubblici della Biennale di Venezia, della Galleria Civica d’Arte Moderna di Bologna, del Castello di Rivoli, della Dumont Kunsthalle di Colonia, del Palazzo delle Esposizioni di Roma ed infine della Galleria d’Arte Moderna e Contemporanea di San Marino che gli ha dedicato una personale.
Ha esposto per la prima volta in questa Galleria nel 1994 con la mostra personale Super – Mondo.