VW (VeneKlasen/Werner) is pleased to present an exhibition of new works by Huma Bhabha. This is the artist’s first solo exhibition in Berlin and features sculptures and collage drawings created in 2013 while Bhabha was artist-in-residence at The American Academy in Berlin. The influence of German art on the artist has never been more keenly felt; German Expressionism, the sculptures of Georg Baselitz and the photo drawings of Arnulf Rainer and Anselm Kiefer are among the art historical referents Bhabha explores in this new body of work.
Bhabha’s approach to form is raw and visceral, suggesting violence and lending the work powerful emotional and political overtones. The artist draws freely upon the history of figurative sculpture, evoking Greek and Egyptian statuary, fertility icons, Rauschenberg’s combines or the playfully sinister sculptural portraits of Marisol; indeed, the synthesis of science fiction, modernism and “pop” with the distant past underlies much of Bhabha’s work as evidenced in her uncanny choice of materials. Styrofoam, wood, metal, terra cotta and found objects are among the numerous ingredients Bhabha employs in her totems and fragmented figures. Archaeology is an important touchstone for the artist, referencing the raw landscapes of her native Karachi to Robert Smithson’s “Monuments of Passaic” and the post-industrial cities of upstate New York, where she now resides.
Huma Bhabha was born in Pakistan in 1962 and currently lives and works in New York. Her work was included in the Paris Triennale in 2012 and the Whitney Biennial in 2010. She has participated in numerous solo and group exhibitions throughout North America and Europe and was the subject of solo exhibitions at New York's MoMA/PS1 in 2012 and the Aspen Art Museum in 2011. Bhabha is the recipient of the 2008 Emerging Artist Award of the Aldrich Museum of Contemporary Art and was the 2013 Guna S. Mundheim Fellow at the American Academy in Berlin.
Huma Bhabha opens with a reception for the artist on Friday 2 May and remains on view through 26 July 2014. Gallery hours are Tuesday through Saturday, 11AM to 6PM. For more information please call the gallery at +49 30 8161 60418, write to firstname.lastname@example.org or visit vwberlin.com.
Antoine Henri Becquerel, Robert Breer, Nina Canell, Ian Cheng, Georges Demenÿ, Jason Dodge, Ryan Estep, Dennis Oppenheim, Eileen Quinlan, Michael E. Smith
Los Angeles, July 12–August 23, 2014
Opening reception: Saturday, July 12, 6–8pm
Off the stairs on the second floor, an immersive digital field of floating orbs, frantic lines, and hulking humanoid forms shiver and hump in an amorphous desert landscape. A mess of beings unpredictably crash and bleed into one another in an endless algorithmic flow. Electric eyes emit an energetic buzz that can be felt from the east end of the gallery to the west, while small white domes silently meander across the floor. Nearby, smeared ink and awkwardly stretched canvases bear witness to the deadening effects of anesthetics on flesh and nerves.
The walls are lined with photographs. Some resemble anatomical runoff or blooming algae, while others are latticework of ambiguous aqueous blobs. In these vestiges of pictures, water destroys the image rather than tempering the corrosive effects of darkroom chemicals. Layers of plastic and emulsion separate and degrade, resulting in snapshots of this arrested disappearance.
Further on, sonic waves evaporate and harden, and a lightning rod sends virtual heat to a pan. A copper frame bears the marks of heat and oily fingers on its dappled, gleaming surface. The ghostly image of radiation hovers near a severed communication cable resting motionless on a pedestal.
Throughout this long corridor, an invisible energetic presence pulses beneath the surface. On the way out, a hand shakes violently up and down, dissolving into a blur.
Technokinesis is organized by Jenny Jaskey and Andrea Neustein. It opened in New York on June 28, 2014 and continues there until August 25. For five hours a day, the works in each location will hum in unison.
WHITE SPACE BEIJING is pleased to announce the opening of the third solo exhibition of Jian Ce on June 14, titled Projection, where her latest paintings will be presented.
The exhibition theme addresses a basic idea in traditional optics. Projection refers to Leon Battista Alberti’s optical theory of the Renaissance, which describes the relationship between the natural world, the human eye and the picture plane, at the same time providing artists with a handbook and instructions on how to create a perspectival image. The paradox between perspective and our actual visual experience is the main problem Jian Ce discusses in her works.
By setting a vanishing point and a fixed standpoint for the viewer, as well as distorting objects within its system, the perspectival image transforms the natural human experience in order to achieve a more ‘truthful and accurate’ description of reality. The problem of this aim is something Jian Ce tries to reflect critically in her artworks. Drawing on pictorial techniques that were in use before the photographic era, such as compositional principles and grid structures – which are now applied in virtual computer images – Jian Ce creates an internal system within a picture. As images, the abstracted landscapes overcome their dependency on photography and disrupt our viewing habits shaped by photographs. In her figurative works, Jian Ce reduces all personal emotion in order to build up an abstract composition with the basic elements of painting, finding a form by systematically deducing it from the picture plane, thus evoking an ‘inherent expression’.
Jian Ce was born 1984 in Shandong, China, and moved to Germany in 1988. She graduated from the Berlin University of the Arts in the master class of Georg Baselitz, Daniel Richter and Robert Lucander in 2008. She graduated from the Humboldt-Universität and Freie Unversität Berlin with a Magister Artium degree in Art History in 2009. From 2006-2007 she studied at Goldsmiths College, London. Presently, she is a PhD candidate in Art and Visual History at the Humboldt-Universität, working and living in Berlin and Beijing.
Dust as Light is the third solo exhibition of Shi Zhiying, showcasing her oil paintings over the past one year.
Shi continues to strengthen her trajectory in practice, in a void of the real world dislocating agony and confusion. By applying brush strokes as a sensory tool, the artist approaches the most illusory outlines of all matters – light. The aura of the light appears as the outline of the parent body ever since the origin of the time. Everything is going back to the form of dust no matter what kind of symbolic significance it has ever been given.
Dust as Light includes three paintings from “White Stone Buddha” series, and Shi’s latest works “Pantheon”, “The Pyramid”, and “The Temple of Heaven”. Depicting Buddha is the artist’s daily practice. As time accumulates, the transformation through repetitive practice generates a profound power that balances with the loose and purified airy atmosphere created by the strokes, to enrich the weightless light, and to defend hollowness. There is equality in principle between the man-made statues as abstract pivots for spiritual minds and architectures of power as performing stage for classes and systems. No immortal lasts forever, neither does art. Shi Zhiying takes the body of light as a measure of power, explores and exposes the most fundamental unit of the existing substances, as well as the dialectical relationship between visualized objects and meaningful illusions.
Shi Zhiying was born in Shanghai, China in 1979. She graduated from oil painting department of Shanghai University Fine Arts College in 2005 and currently lives and works in Shanghai. Her recent major exhibitions include My Generation: Young Chinese Artists in Tampa Museum of Art and Museum of Fine Arts, St. Petersburg, USA.
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