JEAN TINGUELY AT BARBARA GLADSTONE GALLERY NYC

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Jean Tinguely
November 6-December 19, 2015
Opening November 5, 6-8 pm

Gladstone Gallery is pleased to announce an exhibition of works by Jean Tinguely. This exhibition will include works by the artist from 1954 through 1991. Salvaged pieces of iron and wheels collected from junkyards provided abstract shapes for the artist. Using these "forms" and incorporating  other found objects, Tinguely welded and assembled sculptures, creating a new function with the byproducts of consumption. He installed old motors, often decommissioned from 78rpm phonographs onto his sculptures to produce unpredictable and non-repeating motion. Within these dynamic sculptures of chance, accident, and inconsistency, Tinguely is perhaps best known in New York for his monumental self-destroying sculpture Homage to New York, presented for only one evening in March of 1960 in the sculpture garden at MoMA.

The earliest work on view in the show will be Tinguely's Meta-Malevich relief from 1954, whose title references constructivist compositions. A hidden pulley and rubber band system behind the pictorial plane moves white geometric shapes in front of the black background in non-repeating arrangements. Also on view will be a large group of his motorized sculptures, including Scooter (1960), a scooter with only one wheel rotated by a motor concealed within its helmet; Rachel Nr.1 (1974), a pair of the Swiss-branded ski boots topped with shears snipping at the air; and Trüffelsau (1984), the skull of a boar brought to life with its jaw comping while its driftwood tail rotates slowly. Several of Tinguely's lamps will also be installed, including L'Odalisque (1989), a 6-part sculpture with light fixtures and moving components.

Jean Tinguely (1925-1991) was born in Fribourg, Switzerland. While Tinguely worked primarily in France and Switzerland, he produced several works and completed commissions throughout Europe, United States, and Japan. His work has been presented at numerous international institutions including the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Stedelijk Museum Amsterdam; Moderna Musset, Stockholm; Louisiana Museum, Humlebaek; Institute of Contemporary Art, London; and Museum Haus Lange, Krefeld. Retrospectives have been presented by Centre National d'Art Contemporain, Paris (1971); Wilhelm Lehmbruck-Museum, Duisburg (1978); Zurich Kunsthaus (1982); and Palazzo Grassi, Venice (1987). His work has also been included in major historical exhibitions including "Bewogen Beweging" ("Art in Motion") at Stedelijk Museum, Amsterdam (1961); São Paulo Biennale (1965); "The Machine at MoMA (1968); and "Paris-Paris" at Centre Georges Pompidou, Paris (1980). In October of 2016, an exhibition of sculptures including Tinguely's "meta-magic" drawing machines will be on view along with his graphic works and artist's books at the Stedelijk Museum in Amsterdam.

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PHANOS KYRIACOU DAILY LIFE AT MACCARONE GALLERY NYC

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Daily Life
October 29 - December 19, 2015

Nickel, what is nickel, it is rid of a cover.

-Gertude Stein, "Glazed Glitter"

Maccarone is pleased to present Daily Life, its second solo exhibition with Cyprus-born and -based sculptor Phanos Kyriacou. As is characteristic of his practice, Kyriacou has assembled a new series of objects, most of which are collected from the urban and rural landscapes of his hometown of Nicosia.

Kyriacou scrutinizes and experiments with certain types of things (cast-offs, fragments, tools) in an attempt to reveal their informational complexities and, in the process, decode the world in which they can exist as possibilities. In taking these fragments and adding to them, broken pieces  of monobloc chairs, leaves from a collapsed cactus, and ceramic shards become the conceptual frameworks for reimagining or inventing new wholes. Kyriacou's approach is born out of his interest in documenting "object situations" that spring of chance and his relationships with craftsmen, from which the artist observes and collects both materials from the workshops and the human stories that exist in between.

Kyriacou's additives of casting, covering, or extending offer a variety of results - slight aluminum shapes doubled with plaster, large steel frames that house a menagerie of discards, a heap of plaster casts, or found stones covered with what Kyriacou terms "complimentary forms." Simultaneously acting as both splinters from aggregate forms and autonomous singularities abstracted from their original contexts, they exist in a liminal space, outside of any fixed category or system. Their indeterminate status allows the artist to recontextualize each one through an intuitive process. While craft is a kind of fixed knowledge, a schematic for bringing forms into the world, Kyriacou's own practice negates mastery, highlighting the fragile state of the notion of work and the labor of object-making.

 Not all them have travelled all the way across the Atlantic, so what you all looking at is a distillation of an already rigorous distillation. However, they all do come from the same luminous studio on the second floor of an otherwise lifeless, warehouse, some 5455 miles away. In that room I would always sense a mix of mysterious improbabilities, for instance, I always felt that they have the ability to cleanse the energy of the room or cool down the temperature and dim the noises coming in from the numerous windows surrounding the studio.

What if these powers emanate from their earthly materials? Mountain rocks; fragments of terracotta; metals in a state of coolness. While trying to verbalize this feeling of calmness I sense around them I scribble down: 'Noise mutates into white noise, focus shifts inwards... Something happened before now and now everything is cooling down'.

Before them I feel the total freedom from geography or historical time. Are they from the past, the present, the future, or are they fragments of an interstellar archeology? In a way they manage to 'purify' from the greatest contamination of all; one's expectations.

Of course, I cannot ignore the possibility that these impressions are mere mental projections of the fact that I am aware that these are pure objects themselves; each and every one of these clusters has been gradually stripped down to its most essential elements. Try to lift an object from the 'Fugue of Founds' or the mountain rock from 'Frame Work' and both structures will immediately collapse. This manufactured balance acts as a binding agent unifying the different elements of each cluster, while also instilling movement in them.

In some, the body is inscribed and mediated but never overstated. In 'Monoblock Measurements', the average human body as envisioned be the 'universal' chair is communicated through fragments cast in lead. The weight of lead makes them look like oddly shaped humanoid limbs and before them one can catch a glimpse of the future archaeological museum. In Guide Lines, the camera zooms in on the hand of the craftsman caught in act of making. But what is it making? A universe of things, derivatives of everyday items, since this is a collection of guides created by shaping rods of Bronze on various objects and forms. Now these abstractions act as propositions and tools for making possible, yet, possibly useless objects.

Is their subtle sense of humour cooling down the room temperature?

Looking at the serendipitous teaming of a pile of stones and a terracotta pot wittingly called 'Stone Ware' or the pun-sculptures 'Frame Work' and 'Guide Lines', one unconsciously smiles but also realizes that words here are treated as objects.

In 'Daily Life', the interdependence and unity between forms is a recurring theme that is perhaps more obvious in the cases where there is a 'found' and a 'made'. For example, in 'Fugue of Founds' and the various Complementary Forms, the fragment is being extended by first becoming a guideline for a complementary form, which is subsequently rendered in a heavier material. The incompatible materials highlight the relationship and interdependence between the two otherwise compatible forms that appear as one.

The found in 'Daily Life' is reimagined, completed, doubled and equally made.

And so, it disappears each time it face a possibility of itself.

- N.Y.

Written on the occasion of Daily Life A Maccarone 

NEW AND LATER ISSUES.

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NEW AND LATER ISSUES.

1.Toilet Paper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists' mental outbursts. 

To buy please click here.

2.1968: Radical Italian Design, the newest project from Maurizio Cattelan and Pierpaolo Ferrari’sToilet Paper in collaboration with the Deste Foundation in Athens, offers an unorthodox, kaleidoscopic walk through the Dakis Joannou collection of Italian Radical Design furniture. Led by avant-garde design firms such as Archizoom, Superstudio, Global Tools and 9999, Radical Design was firmly opposed to the ethics, and indeed the very notion of, "good design" or taste.

To buy please click here.

3.By John Baldessari

New York: Inc, Printed Matter 1989

Four-color lithograph on Arches 88 

Printed by Cirrus, Los Angeles

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4.Poster for John Baldessari's exhibition at Sonnabend Gallery in New York City in 1990.

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Sarah Lucas "Nud Nob" at Gladstone Gallery NYC

Gladstone Gallery is pleased to present a solo exhibition by Sarah Lucas, her first US exhibition in nearly a decade. Since the 1990s, Lucas has been working with found objects and readily available materials to create works imbued with a distinctive and provocative visual language. Drawing on art historical references, cultural stereotypes, and the British tabloid culture, Lucas creates works that both directly and through subtle innuendo, challenge our conception of gender, sexuality, and identity. For more info please click here

Updare!We currently updating our hardware and in general the blog so we will like you to check out the amazing show of Peter Piller - Umschläge at Andrew kreps Gallery New York, More updates Coming soon!!

We currently updating our hardware and in general the blog so we will like you to check out the amazing show of Peter Piller - Umschläge at Andrew kreps Gallery New York,       More updates Coming soon!!

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