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November 4 - Dec. 18, 2015
click on image to learn more about this exhibition - clic en la imagen para obtener más información sobre esta exposición
"I paint in order to seek a space, and in this process the painting is integrated into structures simply to show the color - color, nothing else. But that color always extends over a surface, which no longer has to be flat, and 'that' which happens between the color and the surface is what for me takes on an essential relevance. That halo that seems to go beyond the support and project itself over some other place. Painting, like walking, is a process of relationship with space."
- Irene Grau
“I am most interested in developing a visual space with color and forms on a visual plane. I start with the physical materials that a painter uses and then make changes based on intuition and on my reactions to the forms and colors present. When I am out walking, I may see a road, a construction site, working people, a tree, or the sky, and I try to incorporate the feeling of these visual physical things in my work. All of them have the power to cause me to ponder the relationship between the physical shape or material and mental reaction. Other influencing factors include the weather or conditions affected by time, body or even the sound of wind.”
- Yoshishige Furukawa, 1997
Japanese artist Yoshishige Furukawa’s paintings shown on this page date from 1973 to 1976, and are part of, or relate to, the artist’s important and rare black-rubber-sheets series created while living in New York, where the artist moved to from Japan in 1963. The non-color of black and the solid sense of the material of rubber reflected a rather reticent and ascetic impression of 1970’s art. Despite this, the various variations that were woven by the black geometric forms in triangles, squares and polygons continued to evoke dynamic senses of motion and expression that were alike in appearances but different in nature from the regularly repetitive element inherent to Minimalism.
Furukawa’s Oeuvre was recently the subject of a major retrospective at the Fukuoka Prefectural Museum of Art. The paintings shown here were included in said retrospective, and several of them are included in the exhibition’s publication.
His work is in numerous important Japanese Museum collections, including the National Museum of Modern Art in Tokyo; the National Museum of Art in Osaka; the National Museum of Modern Art in Kyoto; the Fukuoka Art Museum in Fukuoka; the Kitakyushu Museum of Art; the Museum of Modern Art in Saitama; and the Saga Prefectural Art Museum; amidst others.
His work has been exhibited in the U. S. and Japan throughout his life, including the Albright-Knox Museum in Buffalo, NY in 1991, and he received numerous important grants, twice from the Pollock-Krasner Foundation (1990 and 1997).
Manuel Caeiro, born 1975, lives and works in Lisbon. Of special note among his solo exhibitions are those held at the Palácio Vila Flor, Guimarães, Portugal; at Lurixs Gallery, Rio de Janeiro, Brazil ("DownTown", in 2009); at Carlos Carvalho Arte Contemporânea, Lisbon, Portugal (“12 000 m2 dentro de um T0”, in 2011; and "Welcome to my Loft", in 2007); and at the Portuguese National Museum of Natural History, Lisbon, Portugal ("Casas da Caparica", 2005).
Noteworthy group exhibitions include the ones held at the MACUF - Contemporary Art Museum, La Corunna, Spain, curated by Paulo Reis ("Fiat Lux - Iluminación y Creación", 2010); at the Barrié de la Maza Foundation, La Corunna, Spain ("La Colección", 2011); at the Modern Art Museum, Rio de Janeiro, Brazil, curated by Luiz Camillo Osorio and Marta Mestre ("Terceira metade", 2011); at the Manuel de Brito Art Centre ("À Volta do Papel", 2008); and at the gallery Carlos Carvalho Arte Contemporânea ("Surrounding Matta-Clark", 2006).
His work is included in the collections of the Culturgest, Lisbon; the PLMJ Foundation, Lisbon; and the Banco Sabadell, Barcelona; among others.
Barbara (*1940) and Michael Leisgen (*1944)
In the 1970s, the early works of Barbara & Michael Leisgen came as a counterpoint to conceptual photography, notably led by the typological school of Bernd & Hilla Becher in Düsseldorf. The different works illustrated hereunder are part of the Mimesis series, located in practices in operation since the early 1960s : the recording of a natural trace, research concerning the body and experiments related to Land Art. Barbara Leisgen’s silhouette is set, and leaves its fleeting trace in landscapes; the actions involve stretching out her arms to follow the contours of undulating countryside (the Paysage mimétique and Mimesis series), or to include the sun in an arc drawn by her arm while she is seen from behind in the center of the image. This is not merely imitating nature through its gestures; it describes, in the sense of tracing, and channels it as well. The (re)appropriation of the landscape is subjective, the silhouette of Barbara Leisgen being displayed in the landscape, inscribing its mark therein is ephemeral.
The pictures recall the visions of German Romanticism, notably the pictures of Caspar David Friedrich - his painting Morgenlicht being the figurative model for the Leisgen's Mime-sis works, although Friedrich's paradigm for considering nature as sacred is amended. One might see this as an anthropocentric romantic perspective such as the French Romantic view gave us. And yet, despite the sublime aspect of the photographed scenes and the preciousness of the prints which, beyond black and white, allow us to imagine a range of colors in the dazzling light, their images also refer back to the naivety and intrinsic nostalgia of souvenir photographs. The actual viewer is placed in a specular perception, being led to look at a woman posing in a natural expanse. By doing so, Barbara & Michael Leisgen are the precursors of current landscape approaches, relying simultaneously on a modernist and postmodernist viewpoint.
Barbara and Michael Leisgen's work is discussed and mentioned in numerous publications, including "Feminism Art Theory: An Anthology 1968 - 2014" (2015) by Hilary Robinson, "Video Art Historicized: Traditions and Negotiations (Studies in Art Historiography)" by Malin Hedlin Hayden (2015), "Une introduction a l'art contemporain" by Philippe Coubetergues (2005), "Le Corps photographié" by Jean-Paul Blanchet, Dimitri Konstantinidis, ... (1996), "Le sentiment de paysage à la fin du XXème siècle" by Bernard Ceysson (1977), "Chroniques de l'Art Vivant" (1974), etc.
Their work has been the subject of several publications - mostly in conjunction with exhibitions, such as "Les Ecritures du Soleil (Sonnenschriften)" (1978), "Die Ägyptische Wand" (1980), "Stellungsspiel" (1987), "De la beauté usée : Barbara et Michael Leisgen, [exposition, Paris, Maison européenne de la photographie, 10 septembre-9 novembre 1997]" (1997), "Kunst-Landschaft 1969-2000" (2000), "Zeitsprung" (2000), and "Positions" (2006), amidst others.
Mimesis - Kornfelder [Mimetic - Cornfields]
1971, silver gelatin print on baryta paper, 4 elements
each 35 7/16 by 55 1/8 in. (90 by 140 cm)
Mark Flood (born 1957 in Houston, TX) got his BA from Rice University in Houston. His work has been exhibited internationally in Spain, the UK, France, Italy, Greece and Germany. In 2012, Luxembourg & Dayan gallery in New York held a survey of Flood’s seminal work of the 1980’s, bringing together more than one hundred pieces of Flood’s paintings and collages.
Flood’s work can be found in the collections of the Modern Art Museum of Fort Worth, the Dallas Museum of Art,the Menil Collection, the Museum of Fine Arts Houston and the Birmingham Museum of Art.
His work is widely exhibited throughout the United States and abroad. Described as an “agent provocateur and enfant terrible - a painter and a prankster," Flood is "known for his fierce intelligence, wry wit, and undeniable talent.” Beginning with his paintings and collages from the 1980s -- while he was in the punk rock band Culturcide -- Flood has been a raucous cultural critic, attacking one and all: low-brow and high culture. The artist's work is both a powerful lens on America and a sophisticated, anarchic continuation of high art’s love affair with the readymade.” Flood’s collages and collection of detritus recall Bruce Connor’s careful constructions and cataloging of the mass obsessions of his day. Flood, however, seems to have a split personality: one half punk-propaganda master and one half elegant lace painter. Using toxic colors and combinations, Flood started making paintings from paint soaked lace pressed against a canvas, showing the age and wear endured by the battered lace before its last incarnation in printmaking. Devoid of irony, the lace paintings have a formal beauty that transcends Flood’s earlier oeuvre, while still delivering a punch in the gut to traditional heroic notions of painting. Flood attributes this shift in style in part to critic Dave Hickey’s 1993 book The Invisible Dragon: Four Essays on Beauty. “Hickey made me realize that I made ugly art,” says Flood. “But that’s what I thought art was about—if you made something beautiful, you were suspect. … When I discovered how to make something beautiful, I no longer needed any art bureaucracy.”