Happenings provides references on art events, exhibitions, biennales, art fairs and festivals, with a focus on Abstraction in Action artists and post-90s abstraction from Latin America.
The title of the exhibition is a fragment extracted from “Elegias de Duíno” by Rainer Maria Rilke – “Anjo e boneco: haverá espetáculo”. Unlike previous designs, the artist now works with few elements and materials. The compositions are all done with gouache and charcoal pastels. There are geometric shapes combined with gestural lines, and the play between the lines and shapes always seem to be on the limit of imbalance. There is an expectation of the future and the compositions are never static.
Anibal Catalan: The Land, The Space, The Square is the first solo museum exhibition in the United States by Mexico City-based artist Anibal Catalan. The exhibition presents a series of site-specific installations, new paintings, video works, drawings and digital prints that will be displayed in the museum’s West and East galleries. Anibal Catalan was born in Iguala, Guerrero, Mexico 1973 and lives and works in Mexico City.
El Museo de Arte Moderno presenta El aire tomará esta forma de Karina Peisajovich, una obra producida integralmente por el Museo de Arte Moderno de Buenos Aires.
La luz modulará el espacio, su volumen y límites con el color y el movimiento como únicos ejes. El aire tomará esta forma materializa ante el ojo una posible representación o registro de aquello que pareciera invisible: percibir al color en absoluta desnudez formal (más allá del mundo de las líneas, los planos y sus límites) para llegar a sentir su longitud y frecuencia de onda. Peisajovich trabaja forzando el acto de ver, intentando empujar al ojo a que se encuentre con el color en estado puro, luego de una paulatina adaptación de la retina. Y que sea el ojo, posteriormente, el músculo que comience a construir imágenes: lograr recuperar la percepción como fuerza productiva al emanciparse parcialmente de su actual y constante actividad receptiva.
Beautiful danger, living life to the extreme, broken dreams and endless cycles of incurable hope and pain, screaming on the inside, pulsating with a palpable energy…
These are ideas and emotions evoked by the six artists – Greta Alfaro, Julia Chiang, Richard Garet, Pryce Lee, Naama Tsabar, Dustin Yellin – featured in the exhibition THEY SICKEN OF THE CALM WHO KNOW THE STORM, curated by Maureen Sullivan and presented at FRIDMAN GALLERY, January 16 through February 15, 2014.
Richard Garet’s electrified color-rich moving image “paintings,” created through sound then silenced, cannot be stifled. Julia Chiang’s white chains triumph beauty over function, made all the more implausible by their handmade fragility. Greta Alfaro’s films lure one in with sedate serenity. But the underlying anxiety, created mostly by our own challenges with stillness and yearning for action, is soon realized in a frenzied gluttony, leaving only the remains of the day in its wake. Dustin Yellin’s explosive and collapsed illusions are suspended, dissected and trapped forever in sliced layers of resin. Naama Tsabar plays with signifiers of danger and enjoyment, things that are slick and seductive then fall apart. Here white sheets – the material of dreaming, escape ladders, and Molotov cocktails – slowly absorbs liquor from bottles of alcohol creating a disorienting multisensory – and potentially combustible experience. Pryce Lee shows in NY for the first time with a new 9-piece shattered mirror work created specifically about an incident in the city – the 2012 Empire State Building Shooting. Capturing the randomness, violence and fragility of life, the innocent bystander suffering for being in the wrong place at the wrong time, the work reflects us destroyed and whole.
Guido Ignatti‘s work is awarded with the Premio estímulo, Fundación Castagnino for emergent artists that is part of the XVII Salón Nacional de Rosario Castagnino – MACRO in Argentina. The artist explores aesthetic theories through site-specific intervention and installation. In his work, the de-codification of the space is clearly a place of departure. Sometimes this approach within the exhibition context helps to propose something new and other times to adapt a preexisting idea that works in the space.
