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2013/14 - LISTE 18 | The young art fair in Basel

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Inhalt / ContentGalerien / Galleries6 Vorwort / Foreword7 Dank / Acknowledgment10 Inserate / AdvertisementsSondergäste / Special Guests32 Gallerist Programme, Amsterdam34 House of Electronic Arts, <strong>Basel</strong>36 Kaskadenkondensator, <strong>Basel</strong>38 Kunsthaus CentrePasquArt, BielKunstpreis / Art Prize40 Nationale Suisse42 Performance Project46 Zeitschriften / Magaz<strong>in</strong>esGalerien / Galleries50 A–Z<strong>18</strong>2 Inserate / Advertisements200 Messe<strong>in</strong>formationen / Fair InformationA50 Altman Siegel, San Francisco52 Ancient & Modern, London54 Andersen, Copenhagen56 Aoyama / Meguro, TokyoB58 Balice Hertl<strong>in</strong>g, Paris60 B<strong>art</strong>lett, London62 BolteLang, Zurich64 Bugada & Cargnel, Paris66 Bureau, New YorkC68 Carlos / Ishikawa, London70 Croy Nielsen, Berl<strong>in</strong>D72 de Bruijne, Amsterdam74 Dépendance, BrusselsE76 Exile, Berl<strong>in</strong>F78 Fonti, Naples80 Friedlaender, Berl<strong>in</strong>82 Fritz, New YorkG84 Gaga, Mexico City86 Grey Noise, DubaiH88 Harris Lieberman, New York90 Hofland, Amsterdam92 Hollybush Gardens, London94 Hopk<strong>in</strong>son Mossman, Auckland96 Huber, Vienna98 Hunt Kastner, PragueI100 Ibid., LondonK102 Kadel Willborn, Karlsruhe / Dusseldorf104 Karma International, Zurich106 Kisterem, Budapest108 Koppe, Glasgow110 KOW, Berl<strong>in</strong>112 Kraupa-Tuskany Zeidler, Berl<strong>in</strong>L1<strong>14</strong> Labor, Mexico City116 Layr, Vienna1<strong>18</strong> Leighton, Berl<strong>in</strong>120 Limoncello, London122 Lüttgenmeijer, Berl<strong>in</strong>M124 Maisterravalbuena, Madrid126 Marcelle Alix, Paris128 M<strong>in</strong><strong>in</strong>i, Milan130 Monitor, Rome132 Mor Charpentier, ParisN134 Neue Alte Brücke, Frankfurt o.t.M.136 NoguerasBlanchard, Barcelona / Madrid138 Non, IstanbulO<strong>14</strong>0 Office Baroque, AntwerpP<strong>14</strong>2 Peres, Berl<strong>in</strong><strong>14</strong>4 Platform Ch<strong>in</strong>a, Beij<strong>in</strong>g / Hong Kong<strong>14</strong>6 Platteau, BrusselsR<strong>14</strong>8 Raster, Warsaw150 Rodeo, IstanbulS152 Sabot, Cluj-Napoca154 Schleicher / Lange, Berl<strong>in</strong>156 Schubert, Berl<strong>in</strong>158 Silberkuppe, Berl<strong>in</strong>160 Sommer & Kohl, Berl<strong>in</strong>162 Staiger, Zurich164 Stereo, Poznan166 Stigter, Amsterdam168 Subal, New York170 Supportico Lopez, Berl<strong>in</strong>T172 Tufnell, LondonV174 VI,VII, Oslo176 VidalCuglietta, Brussels178 Vilma Gold, London<strong>18</strong>0 V<strong>in</strong>er, London4 / 5


Art & Design Museums <strong>Basel</strong>Fondation Beyeler Riehen / <strong>Basel</strong>SPECIAL OFFERS <strong>2013</strong>/<strong>14</strong>FROM 82 EUROACCOMMODATION & MUSEUM PASSFONDATION BEYELER8. 6. – 6. 10. <strong>2013</strong>RIEHEN / BASELUntitled, 2001, © Maurizio Cattelan, Photo: Attilio Maranzano, courtesy the <strong>art</strong>ist<strong>Basel</strong> – the <strong>art</strong> citydur<strong>in</strong>g 365 days a year.Upcom<strong>in</strong>g Highlights:Fondation Beyeler, <strong>Basel</strong> – www.fondationbeyeler.chThomas Schütte Oct <strong>2013</strong> until Feb 20<strong>14</strong>Kunstmuseum <strong>Basel</strong> – www.kunstmuseumbasel.chJames Ensor Feb until May 20<strong>14</strong>Museum T<strong>in</strong>guely, <strong>Basel</strong> – www.t<strong>in</strong>guely.chMetamatic Reloaded Oct <strong>2013</strong> until Jan 20<strong>14</strong>Vitra Design Museum, Weil am Rhe<strong>in</strong> (D) – www.design-museum.deLightopia Sep <strong>2013</strong> until Mar 20<strong>14</strong>Further <strong>in</strong>formation and book<strong>in</strong>g details: www.basel.comBook<strong>in</strong>g code: MuKo <strong>2013</strong>/<strong>14</strong><strong>Basel</strong> TourismArt & Design Museums <strong>Basel</strong>, Aeschenvorstadt 36, CH-4010 <strong>Basel</strong>Phone +41 (0)61 268 68 68, <strong>in</strong>fo@basel.com, www.basel.com


Forum Würth ArlesheimKunst <strong>in</strong> <strong>Basel</strong>Kunst vonbesonderenMenschen21.3.– 22.9.<strong>2013</strong>Sammlung Würth &KreativwerkstattBürgerspital <strong>Basel</strong>


Swiss Art Awards <strong>Basel</strong><strong>The</strong>ater <strong>Basel</strong>AWARDS CEREMONY OPENING:MON 10.06.<strong>2013</strong>⁄17–21 HPARTY AT VOLKSHAUS BASEL:MON 10.06.<strong>2013</strong>⁄22 HGUIDED TOURS:TUE–SAT⁄10.30 AND 19 HSUN⁄10.30 HMESSE BASELHALL 411.–16.06. <strong>2013</strong>10–20 HDesign: Ludovic Balland Typography Cab<strong>in</strong>etwww.swiss<strong>art</strong>awards.ch


Werkraum W<strong>art</strong>eck pp <strong>Basel</strong>Museum für Neue Kunst Freiburg i. Br.Bildnachweis: Joseph Beuys, Capri-Batterie, 1985, Foto: Bernhard Strauss, © VG BILD-Kunst, Bonn <strong>2013</strong>MAKE ACTIVE CHOICES.KUNST UND ÖKOLOGIE: WIE TUN?17. Mai – 8. September <strong>2013</strong>www.freiburg.de/museenAmy Balk<strong>in</strong> | AES+F | Joseph Beuys | Jimmie Durham | Song Dong | Simon Dybbroe Møller | Clegg&Guttmann | Tue GreenfortSebastian Gräfe | Markus Kayser | Re<strong>in</strong>hard Kless<strong>in</strong>ger | Till Krause | Atelier Van Lieshout | Eva Meyer-Keller | Robert MorrisDaniela Nadolleck | Guy Ben-Ner | Tobias Rehberger | Daniel Roth | Mika Rottenberg | Andreas Slom<strong>in</strong>ski | V<strong>in</strong>cent TavenneThomas Thwaites | Jan Timme | Ina WeberGefördert aus Mitteln desInnovationsfonds Kunst


Kunsthalle BernKunstmuseum ThunEricka BeckmanWorks 1978–2012Kunsthalle Bern7. 6 – 4.8 <strong>2013</strong>«ES IST FAST ZU SCHÖN HIER»… AM THUNERSEEAUGUST MACKE UNDDIE SCHWEIZ25. MAI – 1. SEPTEMBER <strong>2013</strong>Kunstmuseum Thun


Kunstmuseum LuzernKunstmuseum Solothurn23.02. 16.06. <strong>2013</strong>JORGE MACCHICONTAINERAspektezeitgenössischerMalerei01.06.<strong>2013</strong> bis11.08.<strong>2013</strong>EUROPAPLATZ 1, 6002 LUZERNTEL. +41 41 226 78 00WWW.KUNSTMUSEUMLUZERN.CHÖFFNUNGSZEITENDI-SO: 10-17 UHRMI: 10-20 UHRPhilip AkkermanIan AnüllFrancis Baudev<strong>in</strong>Svenja De<strong>in</strong><strong>in</strong>gerKlod<strong>in</strong> ErbPia FriesMarkus GadientMichael van OfenGiacomo Santiago RogadoThomas ScheibitzUwe WittwerRobert ZandvlietJorge Macchi, the longest distance between two po<strong>in</strong>ts, 2012, Aquarell auf Papier, 21 × 28 cm (Detail),courtesy the <strong>art</strong>ist and Galerie Peter Kilchmann, ZürichÖffnungszeiten:Di bis Fr, 11 bis 17 UhrSa und So, 10 bis 17 Uhrwww.kunstmuseum-so.ch


Migros Museum ZürichParkett Verlag Zürich<strong>2013</strong>/<strong>14</strong>AN INSTITUTION OF THE MIGROS CULTURE PERCENTAGEOpen<strong>in</strong>g:May—AugAug—NovGEOFFREYFARMERProduction on Display: 07.—21.05.23.05.–<strong>18</strong>.08.CAREYYOUNG31.08.–10.11.Wednesday,22.05.Friday,30.08.A SMALLMUSEUMAND A LARGELIBRARY92 VOLUMES220 ARTISTSNov—JanLAURALIMAFriday,22.11.migrosmuseum.chmigros-culture-percentage.ch& EDITIONS<strong>14</strong>00 TEXTS23.11.–19.01.WWW.PARKETTART.COMMigros Museum fürGegenw<strong>art</strong>skunstLimmatstrasse 270CH–8005 Zurich


Sondergast / Special GuestHouse of Electronic Arts <strong>Basel</strong>House of Electronic Arts<strong>Basel</strong>Oslostrasse 10CH-4023 Münchenste<strong>in</strong>/<strong>Basel</strong>T +41 61 331 5840-1/1/1<strong>in</strong>fo@haus-ek.orgwww.haus-ek.orgShown at <strong>LISTE</strong>:Ulu Braun, 1976, DEVoldemars Johansons, 1980, LVAgnes Meyer-Brandis, 1973, DEAdrien Missika, 1981, FRArtists of the exhibition‘Let <strong>The</strong>re Be Light’ at HeK:SemiconductorRuth Jarman, 1973, GBJoe Gerhardt, 1972, GB(top left)Agnes Meyer-BrandisCloud Cores/AerosolP<strong>art</strong>iclesNanolithographyfrom Mak<strong>in</strong>g Cloudsor On the Absenceof Weight, 20101 × 1 cm(top right)Adrien MissikaRegarde lesMouches Voler, 20126:06 m<strong>in</strong>Film still(bottom left)VoldemarsJohansonsEmissions (pierres),2012Granite andelectronics235 × 167 cmPhoto by ValdisJansons(bottom right)Ulu BraunVertikale, <strong>2013</strong>11:30 m<strong>in</strong>Installation view,YoungProjects, LosAngeles, <strong>2013</strong>34 / 35<strong>The</strong> House of Electronic Arts <strong>Basel</strong> (HeK)is dedicated to explor<strong>in</strong>g <strong>art</strong> that applies,addresses and reflects on new media andtechnologies. At <strong>LISTE</strong> <strong>18</strong>, HeK presents four<strong>art</strong>istic positions that explore how <strong>art</strong> andscience can <strong>in</strong>fluence and <strong>in</strong>spire each other.‘Vertikale’ by Berl<strong>in</strong>-based <strong>art</strong>ist UluBraun (1976) takes us up and away <strong>in</strong>to ahyperreal world of appropriated imageryfrom c<strong>in</strong>ema and documentaries.In this video collage, vivid transformationsphysically engage the viewer as verticalfilm shots are merged and mounted tomediate a symbolic journey, from the deepsea to the peaks of human civilization.Latvian composer and sound <strong>art</strong>istVoldemars Johansons (1980) seeks<strong>in</strong>spiration <strong>in</strong> scientific approaches to nature.Dur<strong>in</strong>g a swim <strong>in</strong> Icelandic waters heexperienced rhythmical impulses of steamemissions – geothermal processes hecaptured as data and now transfers on tothe resonat<strong>in</strong>g stone objects of ‘Emissions(pierres)’ to create a tantaliz<strong>in</strong>g tonalenvironment.<strong>The</strong> works by Berl<strong>in</strong>-based <strong>art</strong>ist AgnesMeyer-Brandis (1973) playfully engage theworlds of <strong>art</strong>s and science. <strong>The</strong> aerosolp<strong>art</strong>icles from ‘Mak<strong>in</strong>g Clouds or Onthe Absence of Weight’ presented at <strong>LISTE</strong>allow a look at the t<strong>in</strong>iest poetic andimag<strong>in</strong>ary worlds one can imag<strong>in</strong>e under amicroscope – or is it a look<strong>in</strong>g glass,rather, <strong>in</strong> which science exposes itsfantastic potential?‘Regarde les Mouches Voler’ is an <strong>art</strong>isticexperiment <strong>in</strong> scientific <strong>in</strong>vestigation byFrench <strong>art</strong>ist Adrien Missika (1981). By meansof a scientific high-speed imag<strong>in</strong>g techniquethat can capture movements whichescape the human eye, we are able to tracethe <strong>in</strong>cessant beat of <strong>in</strong>sect w<strong>in</strong>gs asa fly crosses the screen <strong>in</strong> extreme slowmotion. Through temporal deceleration andrhythmical monotony, we are not only<strong>in</strong>vited ‘to watch flies’, but, as the ambiguityof the French title implies, eventuallyprompted to ‘stare <strong>in</strong>to space’.


Sondergast / Special GuestKaskadenkondensator <strong>Basel</strong>KaskadenkondensatorChris RegnBurgweg 7CH-4058 <strong>Basel</strong>M +41 78 822 21 57<strong>in</strong>fo@kasko.chwww.kasko.ch2/2/3Programm — Montag–Samstag, 10.–15. JuniBianca Hildenbrand— Montag, 10. Juni, 15.00, 19.00Elia Rediger<strong>LISTE</strong>, auf der Strasse— Mittwoch, 12. Juni, <strong>18</strong>.00<strong>The</strong>atergruppe GlückHof <strong>LISTE</strong>— Donnerstag, 13. Juni, <strong>18</strong>.00–21.00Annaïk Lou Pitteloud— Freitag, <strong>14</strong>. Juni, <strong>18</strong>.45 –21.00Sar<strong>in</strong>a Scheidegger & Chantal Küng— Samstag, 15. Juni, 19.00Luc GutHof <strong>LISTE</strong>— Sonntag, 16. JuniHelmut Heiss36 / 37«Bei den Menschen ist doch schon allesweg» Das Audio und se<strong>in</strong>e GestaltSound und Semantik zur Messe für jungeKunst zusammen mit dem Institut Kunst derHGK / FHNW, Birgit Kempker und deuxpiece,Plattform für Kunst und <strong>in</strong>termediale Projekte.Institut Kunst und Gäste: Alex Bleuler,Manuel Schneider, Tobija Stuker, MarionLocher, Jeremie Sarbach, Mario Grossert,Hanes Sturzenegger, Gabriel Salgando,Robert Kirchner, Raphael Becker und SarahElan Müller, Atonal.Anrufungen und Übertragungen, <strong>in</strong>vocations,Rückholungen, Ausstrahlungen, Sendungenund Stimmen <strong>in</strong> Geräten, die auch wiederraus kommen, voices, Töne e<strong>in</strong>fangen,was damit anfangen im Kopf, nicht nur imKunstkopf, Botschaften los schicken,Post empfangen, eat the message, hear therider, open your head, Reiter und Pferdfliegend wechseln und im Boot bleiben dabei,im Fluss vom Ereignis e<strong>in</strong>s tr<strong>in</strong>ken.Echo, Resonanz, response, take a ride <strong>in</strong> thesemantic fields.deuxpiece ist e<strong>in</strong> unabhängigesAusstellungsprojekt für junge und zeitgenössischeKunst. Die Gruben-Architekturdes Raums des Kaskadenkondensatorwird als Arena für die komplexe Audio-Installation von Bianca Hildenbrand genütztsowie für die Geräuschfotografien vonHelmut Heiss und das stumme doch heftigeVideoloop von Annaïk Lou Pitteloud.Luc Guts Performance, die auf e<strong>in</strong>emausgeklügelten System von Sensorenberuht, verwischt die Grenze zwischen Musikauflegen, produzieren und tanzen. Sar<strong>in</strong>aScheidegger und Chantal Küngs Lesung,deren AutorInnen und VorleserInnen sichunter die Besucher der <strong>LISTE</strong> mischenwerden, bildet den Auftakt zu ihrerLeseserie über den Dächern von <strong>Basel</strong>.


Sondergast / Special GuestKunsthaus CentrePasquArt BielKunsthausCentrePasquArt BielFelicity LunnShown at <strong>LISTE</strong>:Omar Ba, 1977, SNClaudia Comte, 1983, CHSeevorstadt 71–73CH-2502 BielT +41 32 322 55 86M +41 76 575 94 96felicity.lunn@pasqu<strong>art</strong>.chwww.pasqu<strong>art</strong>.ch2/4/1Claudia Comte’s Special EventPr<strong>in</strong>ts, dr<strong>in</strong>ks and a DJ set, Thursday,13th June, 4–6 pmIn connection with the publication ofClaudia Comte’s first monograph <strong>in</strong> theCollection Cahiers d’Artistes <strong>2013</strong> by theSwiss Arts Council Pro HelvetiaClaudia ComteSculpture Object10, 2012 / Pattern22, 2012Cha<strong>in</strong>saw sculpture,cedar / vectordraw<strong>in</strong>g90 × 35 × 24 cm /dimensions variableOmar BaFél<strong>in</strong>, <strong>2013</strong>Oil on canvas210 × 150 cm38 / 39<strong>The</strong> Kunsthaus CentrePasquArt <strong>in</strong> Bielis one of Switzerland’s most impressivespaces for exhibitions of contemporary <strong>art</strong>,provid<strong>in</strong>g a platform for some ofthe most excit<strong>in</strong>g <strong>art</strong>ists work<strong>in</strong>g today.At <strong>LISTE</strong> <strong>18</strong> we are present<strong>in</strong>g two <strong>young</strong><strong>art</strong>ists from the French-speak<strong>in</strong>gp<strong>art</strong> of Switzerland, Omar Ba and ClaudiaComte. React<strong>in</strong>g to the permanentfeatures of the space, Claudia Comte’slarge-format pr<strong>in</strong>ts and wooden sculpturesare juxtaposed with the enigmaticpa<strong>in</strong>t<strong>in</strong>gs of Omar Ba.Claudia Comte (b. 1983 Lausanne,lives <strong>in</strong> Berl<strong>in</strong>) works <strong>in</strong> various media,<strong>in</strong>clud<strong>in</strong>g sculpture, pr<strong>in</strong>tmak<strong>in</strong>g and<strong>in</strong>stallation and has focused <strong>in</strong> recentyears on wooden sculptures whoseorganic, abstract forms recall the work ofmodernist sculptors such as Constant<strong>in</strong>Brancusi. <strong>The</strong>se recurr<strong>in</strong>g shapes <strong>in</strong>Comte’s work reflect her <strong>in</strong>terest <strong>in</strong> therelationship between different visuallanguages, such as <strong>art</strong> history and popularculture. She re<strong>in</strong>vigorates traditional<strong>art</strong>isan practices <strong>in</strong> the production of hersculptures which are displayedon wooden stands to form a s<strong>in</strong>gleenvironment <strong>in</strong> which <strong>art</strong>work and sett<strong>in</strong>gare <strong>in</strong>dist<strong>in</strong>guishable.Omar Ba (b. 1977 Loul Sessène, Senegal,lives <strong>in</strong> Geneva) makes highly dist<strong>in</strong>ctivepa<strong>in</strong>t<strong>in</strong>gs on cardboard that reverberatewith a personal iconography. Ba’scompositions consist usually of a s<strong>in</strong>glema<strong>in</strong> figure, placed aga<strong>in</strong>st an <strong>in</strong>tenseblack background amongst ornamentalimagery. <strong>The</strong> contrast between thefantastical be<strong>in</strong>gs that evoke soldiers,dictators or hybrid creatures, and thesensuousness of the details is bothfasc<strong>in</strong>at<strong>in</strong>g and disturb<strong>in</strong>g. Beh<strong>in</strong>d theallegorical space and metaphoricaldevices of the pa<strong>in</strong>t<strong>in</strong>g lies a messageconcern<strong>in</strong>g the power systems that affectpolitical, social, cultural and identityissues <strong>in</strong> Africa.


Kunstpreis / Art PrizeNationale SuisseNationale SuisseKunstpreisSte<strong>in</strong>engraben 41CH-4003 <strong>Basel</strong>kunstpreis@nationalesuisse.chwww.nationalesuisse.ch2/1/4Nationale Suisse congratulates the<strong>2013</strong> prize w<strong>in</strong>ners Michael Meier andChristoph Franz.Michael Meier,Christoph FranzFill<strong>in</strong>g station, 2012Installation,Wood composite,wooden slats, foil,concrete1050 × 600 × 340cmArt and the City,Festival für Kunst imöffentlichen Raum,Zurich, CH8 june –23 september 2012Curated byChristoph Doswald,<strong>in</strong>itiated byArbeitsgruppe Kunstim öffentlichen Raum(AG KiöR) der StadtZürich40 / 41<strong>The</strong> Nationale Suisse EncouragementPrize for graduates of Swiss colleges ofvisual <strong>art</strong>s and media is given annuallyto a <strong>young</strong> <strong>art</strong>ist at the st<strong>art</strong> of his career.<strong>The</strong> Art Prize <strong>in</strong>cludes a monetary award ofCHF 15 000 and a curated exhibition at the<strong>LISTE</strong>. <strong>The</strong> Encouragement Prize affirmsand expands the longstand<strong>in</strong>g commitmentof Nationale Suisse to <strong>art</strong> production <strong>in</strong>Switzerland.<strong>The</strong> <strong>art</strong>ist duo Michael Meier andChristoph Franz (born 1982 and 1980respectively), which have been chosenby an <strong>in</strong>dependent jury of experts asthe w<strong>in</strong>ners of the Nationale Suisse ArtPrize <strong>2013</strong>, have collaborated onworks of <strong>art</strong> s<strong>in</strong>ce 2007. <strong>The</strong>ir temporary<strong>in</strong>terventions deal with the transformationof the urban space and the relationshipbetween <strong>art</strong> and everyday reality. In their<strong>in</strong>terventions <strong>in</strong> public spaces,they explore the function of a location andits social and historical background.With their creations, they are thereforecontribut<strong>in</strong>g to a topical social debate.<strong>The</strong>y l<strong>in</strong>k the past with the present andthus make the <strong>in</strong>visible visible. <strong>The</strong>ir constructions,which they <strong>in</strong>stall for a limitedtime <strong>in</strong> urban public spaces or with<strong>in</strong> thespecific context of an exhibition, comb<strong>in</strong>eelements of sculpture, architecture andpa<strong>in</strong>t<strong>in</strong>g.<strong>The</strong> jury that awarded this year’s ArtPrize was made up: Jean-Paul Felley(Co-Director of the Centre culturel suissede Paris), Fanni Fetzer (Director of theLucerne Museum of Art), Sab<strong>in</strong>eSchaschl (Director of haus konstruktivZurich), Thomas Schmutz (Deputy Directorof the Aargauer Kunsthaus), Peter Bläuer(<strong>LISTE</strong> <strong>Basel</strong>), Andreas Karcherand Nathalie Loch (Nationale Suisse).


<strong>The</strong> Performance-Project is madepossible by thegenerous support ofSupported byIn collaboration withPerformance-ProjectRoldenfundCurated byFabian SchöneichThis year, <strong>LISTE</strong>’s Performance Project features<strong>art</strong>ists that have a p<strong>art</strong>icular <strong>in</strong>terest <strong>in</strong> sound withrelation to the visual. Collaborat<strong>in</strong>g with AudioVisual Arts <strong>in</strong> New York, a program was developedfocus<strong>in</strong>g on a range of <strong>art</strong>ists who considerthe activity of listen<strong>in</strong>g, sonic shape, composition,distribution, technique and vocal delivery <strong>in</strong>peculiar ways.From Monday, June 10 on,from 1 p.m.Saâdane Afif, 1970, FRlives and works <strong>in</strong> Berl<strong>in</strong>, DEMount Moon: <strong>The</strong> <strong>Basel</strong> Tour, <strong>2013</strong><strong>LISTE</strong> courtyard and the CityAs p<strong>art</strong> of the performance program, Saâdane Afif<strong>in</strong>vited NYC-based busker Mount Moon to performsongs throughout the city of <strong>Basel</strong>. Those songshave been written over the past years, under the<strong>art</strong>ist’s guidel<strong>in</strong>es by collaborators, fellow <strong>art</strong>ists,and friends <strong>in</strong> relation to some of his works.A poster – both an announcement and a statementabout the performance- will be presented at <strong>LISTE</strong>.Tuesday, June 11,3.30 p.m., 7.30 p.m.Z<strong>in</strong> Taylor, 1978, CAlives and works <strong>in</strong> Brussels, BE<strong>The</strong> Story of Stripes and Dots (chapter 4), <strong>2013</strong><strong>LISTE</strong> courtyard<strong>The</strong> work of Z<strong>in</strong> Taylor deals with a diverse rangeof media and material, treat<strong>in</strong>g them all with careand precision. Taylor is a narrator, a storytellerthat is able to <strong>in</strong>itiate conversations and exchangesbetween and with objects of any k<strong>in</strong>d. For hiscontribution to the performance program, Taylorcreates a sound file activat<strong>in</strong>g the courtyardof the W<strong>art</strong>eck, the center of <strong>LISTE</strong>.Wednesday, June 12,4 p.m.Adam L<strong>in</strong>der, 1983, AUlives and works <strong>in</strong> Berl<strong>in</strong>, DECult to the What, <strong>2013</strong>Volkshaus, UnionsaalAdam L<strong>in</strong>der is a tra<strong>in</strong>ed dancer andchoreographer who merges the productivestrategies of rap music with the discourses ofWestern theatre. L<strong>in</strong>der’s performancesare full-body. He acts as a proxy for historicaltraces, reproductions from popular imageryand <strong>in</strong>animate associations.42 / 43


Performance-ProjectThursday, June 13,4 p.m.Akio Suzuki, 1941, JPlives and works <strong>in</strong> Tango, JPandAki Onda, 1967, JPlives and works <strong>in</strong> New York, USSquash, <strong>2013</strong>Garden at Alemannengasse 44<strong>The</strong> legendary Japanese sound <strong>art</strong>ist and<strong>in</strong>strument builder Akio Suzuki and Aki Onda,an electronic musician, composer,visual <strong>art</strong>ist best known for his CassetteMemories project, presents an extended durationperformance <strong>in</strong> the round.Friday, June <strong>14</strong>,5 p.m.Lubomyr Melnyk, 1948, CAlives and works <strong>in</strong> W<strong>in</strong>nipeg, CACont<strong>in</strong>uous Music, <strong>2013</strong>K<strong>art</strong>äuserkirche, <strong>The</strong>odorskirchplatz 7,near Wettste<strong>in</strong>platzLubomyr Melnyk is a composer and pianist,whose technical mastery of the piano is ofexceptional uniqueness. He is a pioneer of whathe calls ‘cont<strong>in</strong>uous music’ – an approach tothe piano which requires a totally new techniquebased on extremely rapid notes and note-seriesthat create a ‘tapestry of sound’ usually withthe susta<strong>in</strong> pedal held down to generate overtonesand sympathetic resonances. He presents amulti-layered piano piece at the K<strong>art</strong>häuser churchat Wettste<strong>in</strong>platz close to the <strong>fair</strong>.Saturday, June 15,8 p.m.Juliette Blightman, 1980, GBlives and works <strong>in</strong> Berl<strong>in</strong>, DEAutumn/W<strong>in</strong>ter <strong>2013</strong> Collection, <strong>2013</strong>Ela<strong>in</strong>e MGK, courtyard of the Museum fürGegenw<strong>art</strong>skunst, <strong>Basel</strong><strong>The</strong> British <strong>art</strong>ist Juliette Blightman presents anearly even<strong>in</strong>g fashion show/performance.<strong>The</strong> show <strong>in</strong> a room l<strong>in</strong>ed with w<strong>in</strong>dows overlook<strong>in</strong>g the Rh<strong>in</strong>e <strong>in</strong>troduces her <strong>2013</strong> Autumn /W<strong>in</strong>ter Collection of hand-made underwear.Sunday, 16 June,from 1 p.m.Hannah We<strong>in</strong>berger, 1988, CHlives and works <strong>in</strong> <strong>Basel</strong>, CHMusic for the People, <strong>2013</strong><strong>LISTE</strong> courtyardAn essential mode of We<strong>in</strong>berger’s <strong>art</strong>isticpractice and production to date has been that ofcollaboration and p<strong>art</strong>icipation. Her music andsound works were often <strong>in</strong>cluded <strong>in</strong> exhibitions aslive performances that took place dur<strong>in</strong>g open<strong>in</strong>gnights or special events. As contribution towardsthe performance program We<strong>in</strong>berger <strong>in</strong>vitesa world musician play<strong>in</strong>g <strong>in</strong> the courtyard us<strong>in</strong>gthe pre-<strong>in</strong>stalled audio system.44 / 45


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JahrgangBelgien 9,00Österreich 8,60Spanien 10,15Schweiz sfr 15,30Zwischen Tradition und Modernesubscribe, makecontactwww.eapgroup.comBRAUCHT BERLINEINE NEUE KUNSTAKADEMIE?March / März / Marzo <strong>2013</strong>26-27 english / deutsch / italianocontemporary<strong>art</strong>Zoran S. KosISSN 1660-7341,!7HB6G0-hdeaaa!actliveFreiburg i. B.redaktion@zeitform-medien.deactlive.deadcjournal.chLugano<strong>in</strong>fo@adcjournal.chadcjournal.chAfterallLondoncontact@afterall.orgafterall.orgArt & DealNew Delhi<strong>art</strong>anddeal@gmail.com<strong>art</strong>anddealmagaz<strong>in</strong>e.comArt Criticism TodayLondonma<strong>in</strong>@eapgroup.comeapgroup.comArt Guide EastBudapestpr@<strong>art</strong>guideeast.org<strong>art</strong>guideeast.orgArt <strong>in</strong> AmericaNew Yorkaiaeditor@brantpub.com<strong>art</strong><strong>in</strong>americamagaz<strong>in</strong>e.comART iTTokyopress@<strong>art</strong>-it.jp<strong>art</strong>-it.asiaART PAPERSAtlanta<strong>in</strong>fo@<strong>art</strong>papers.org<strong>art</strong>papers.orgArtam Global Art &DesignIstanbul<strong>in</strong>fo@<strong>art</strong>am.com<strong>art</strong>am.com<strong>art</strong>collector<strong>Basel</strong>contact@<strong>art</strong>collectormag.com<strong>art</strong>collectormag.comArte al LimiteSantiago<strong>in</strong>fo@<strong>art</strong>eallimite.com<strong>art</strong>eallimite.comArte e criticaRomeredazione@<strong>art</strong>eecritica.it<strong>art</strong>eecritica.itArte News PublicationsNew Yorkpaulcabezas7@yahoo.com<strong>art</strong>enewspublications.usARTE!BrasileirosSão Pauloredacao@brasileiros.com.br<strong>art</strong>ebrasileiros.com.brArtfacts.Net London<strong>in</strong>fo@<strong>art</strong>facts.net<strong>art</strong>facts.netArtforum InternationalNew Yorkgeneral<strong>in</strong>fo@<strong>art</strong>forum.com<strong>art</strong>forum.com<strong>art</strong><strong>in</strong>fo24.comSchollene<strong>in</strong>fo@<strong>art</strong><strong>in</strong>fo24.com<strong>art</strong><strong>in</strong>fo24.com<strong>art</strong>l<strong>in</strong>e>Kunstmagaz<strong>in</strong>Freiburg i. 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ZeitschriftenKQ KUNSTQUARTALWWW.KQ-DAILY.DEKUNST UND AUSSTELLUNGEN2.13 APRIL BIS JUNITitel_2_13.<strong>in</strong>dd 1 19.02.13 10:59LASSO N°4Nackt und NebelOktober 2012CHF 10✂D € 8 – A € 9,50 – SFR <strong>14</strong>BitteBittes u c h e n s e h e n f i n d e n k a u f e n s a m m e l ndie neue Zeitschrift für Kunst<strong>in</strong>teressierte und KunstsammlerRundgang Akademie DüsseldorfSchwerpunktthemaKunst und LichtArt <strong>Basel</strong>Sab<strong>in</strong>e Hertig — Schwimmbad <strong>in</strong> Manhattan — CollageTHE PARKETT SERIES WITH CONTEMPORARY ARTISTS /DIEPARKETT PARKETT-REIHE TREIHE MIT GEGENWARTSKÜNSTLERNNO. 91 · 2012CHF 45.– / € 30 / US $ 32Pr<strong>in</strong>temps / Spr<strong>in</strong>g <strong>2013</strong>Revue d’<strong>art</strong> contempora<strong>in</strong> trimestrielle et gratuiteMark HagenAli SubotnickSterl<strong>in</strong>g RubyMarc-Olivier Wahlerissue #13:TALIA LINK, Witch no. 5, 2012Digital collage, <strong>in</strong>kjet 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Altman Siegel1/6/3Altman SiegelClaudia Altman-Siegel49 Geary StreetUS-San FranciscoCA 94108T +1 415 576 9300F +1 415 373 4471M +1 (917) 674 4239<strong>in</strong>fo@altmansiegel.comwww.altmansiegel.comShown at <strong>LISTE</strong>:Nate Boyce, 1982, USJessica Dick<strong>in</strong>son, 1975, USLiam Everett, 1973, USOther Artists of the Gallery:Zarouhie Abdalian, USShannon Ebner, USLaeh Glenn, USFran Herndon, USChris Johanson, USMatt Keegan, USSh<strong>in</strong>pei Kusanagi, JPDev<strong>in</strong> Leonardi, USTrevor Paglen, USWill Rogan, USSara VanDerBeek, USEmily Wardill, UKG<strong>art</strong>h Weiser, USNate BoyceUntitled (mauve),2012S<strong>in</strong>gle channel HDvideo, steel, foam,electronics46 × 42 × 26 <strong>in</strong>50 / 51Altman Siegel will present new work byNate Boyce for <strong>LISTE</strong> <strong>18</strong>.Nate Boyce treats the temporal mov<strong>in</strong>gimage as a malleable sculptural material,by employ<strong>in</strong>g various image process<strong>in</strong>gmethods, rang<strong>in</strong>g from obsolete to cutt<strong>in</strong>gedge. In his most recent works,Boyce st<strong>art</strong>s by shoot<strong>in</strong>g video of a rotat<strong>in</strong>gthree-dimensional, hand carved object.He t hen builds compositions <strong>in</strong> thecomputer by p<strong>art</strong>ially reconstruct<strong>in</strong>g theobject with 3D animation and analoguevideo over the orig<strong>in</strong>al footage.Ultimately mix<strong>in</strong>g layers of mediation assculptural texture, this process amplifiesthe contrasts between the gra<strong>in</strong> ofanalogue video and the super clean,digital look of CGI and calls attention to thesurface of the screen itself. Shownon <strong>in</strong>dustrial LCD screens and mounted tomonochromatically related steel frames,these objects <strong>in</strong> the round becomeflattened on the screen but assume a newdimensionality through the sculpturaldisplay.Nate Boyce looks back at the role ofabstraction <strong>in</strong> early video <strong>art</strong> and exploresthe absence of dialogue it had withmodernist pa<strong>in</strong>t<strong>in</strong>g and sculpture.He conflates sculpture and video to createcompositions that live at the <strong>in</strong>tersection ofthe two mediums, and relate more directlyto the critical history of pa<strong>in</strong>t<strong>in</strong>g andsculpture than the narrative tradition of filmand video. His work actively probes theideas orig<strong>in</strong>ally posited by 1960’s Structuralistfilmmakers, as he <strong>in</strong>vestigates formalideas around Futurist and Cubist sculpture,late modernist pa<strong>in</strong>t<strong>in</strong>g, public <strong>art</strong>,and more recent experiments <strong>in</strong> stagedphotography and new technology basedpractices.


Ancient & Modern3/7/1Ancient & ModernBruce Ha<strong>in</strong>es201 Whitecross StreetGB-London, EC1Y 8QPT +44 20 7253 4550M +44 79 8941 3387mail@ancientandmodern.orgwww.ancientandmodern.orgShown at <strong>LISTE</strong>:Raphael Hefti, 1978, CHMarkus Karstieß, 1971, DEJan Pleitner, 1984, DEOther Artists of the Gallery:Ketuta Alexi-Meskhishvili, GEEva Berendes, DEMatthias Dornfeld, DEVolker Eichelmann, DEJane England, UKLuke Gottelier, UKDes Hughes, UKPaul Johnson, UKAlan Kane, UKRudolf Polanszky, AUEstate Norbert Prangenberg, DEAudrey Reynolds, UK(top left)Markus KarstießSolaris II (Mirror),2012Glazed ceramic,plat<strong>in</strong>um, raku, wood38.5 × 50.5 cm(top right)Raphael HeftiFrom the seriesSubtraction asAddition, 2012Museum glass220 × 120 × 3 cmJan PleitnerKlimm, 2012Oil on canvas120 × 150 cm52 / 53Raphael Hefti works with <strong>in</strong>terferes anddisrupts technical and <strong>in</strong>dustrial procedures<strong>in</strong> a game of <strong>in</strong>dustrial alchemy to makesculptures, <strong>in</strong>stallations, photograms andphotographs. With an abid<strong>in</strong>g <strong>in</strong>terest <strong>in</strong>the way <strong>in</strong> which th<strong>in</strong>gs are made and whatthey are capable of do<strong>in</strong>g, Hefti pushesthe mechanisms of <strong>in</strong>dustrial manufactur<strong>in</strong>gto the po<strong>in</strong>t where it produces anaesthetic transformation, where an accidentbecomes a productive force. Shows:Camden Arts Centre, London; White Cube,Bermondsey; CAPC centre d’<strong>art</strong>contempora<strong>in</strong> de Bordeaux (2012–13).Collections: David Roberts Foundation andMuseum Boijmans Van Beun<strong>in</strong>gen,Rotterdam. Recipient of the Manor Kunstpreis(Biel), 20<strong>14</strong>.Markus Karstieß adopts a primitiveapproach to gesture and modell<strong>in</strong>g, such asus<strong>in</strong>g simple, Rorschach-like hand impr<strong>in</strong>ts<strong>in</strong> clay to make raku-fired ‘Mirrors’whose titles evoke the spirit of the cosmos.Karstieß’s sculptures have also coalescedaround a k<strong>in</strong>d of mesmeric mementomori<strong>in</strong>stallation of vases <strong>in</strong> which specificflowers are placed to die. Shows: KrefelderKunstvere<strong>in</strong>, Germany (2012) and exhibited<strong>in</strong> ‘Corridor Plateau II’ at Eastside Projects,Birm<strong>in</strong>gham (2011). ‘Sculpture Garden’at K21, Kunstsammlung NRW, Düsseldorf(2010–11). Residency at the Universityof Newcastle and solo exhibition at MIMA,Middlesborough <strong>in</strong> 20<strong>14</strong>.Jan Pleitner is a pa<strong>in</strong>ter who recentlygraduated from Kunstakademie Düsseldorf(2010). In common with a new generationof <strong>art</strong>ists, his work acknowledges historicalprecedent and works with it, his assuredpa<strong>in</strong>t<strong>in</strong>gs recall<strong>in</strong>g a neo-expressionismfamiliar from the 1980s. <strong>The</strong> pa<strong>in</strong>t<strong>in</strong>gs, up toa c<strong>in</strong>ematic three metres <strong>in</strong> scale, evokea pastorally <strong>in</strong>cl<strong>in</strong>ed space out of an oeuvrethat comb<strong>in</strong>es draw<strong>in</strong>g and colour withan uncommon energy. Solo Shows:‘Die Grenzen der trunkenen Gärten’,Projekt Skagen 12, Skagen, Dänemark 2012;Show at Stadt museum Oldenburg for theFörderpreis <strong>2013</strong> für Malerei (Grants forPa<strong>in</strong>t<strong>in</strong>g) from the Öffentliche Versicherung.


Andersen0/10/6Christian Andersen Høkerboderne 17–19DK-1712 CopenhagenT +45 32 95 92 35M +45 25 37 41 01<strong>in</strong>fo@christianandersen.netwww.christianandersen.netSolo Show at <strong>LISTE</strong>:Rolf Nowotny, 1978, DKOther Artists of the Gallery:Benjam<strong>in</strong> Bernt, DKL<strong>in</strong>a Viste Grønli, NOLasse Schmidt Hansen, DKMorten Skrøder Lund, DKP<strong>in</strong>d, DKAstrid Svangren, SE(top left)Rolf NowotnyDeaf Parent, <strong>2013</strong>Powder coated steell<strong>in</strong>ed with feltø 75 cm(top right)Rolf NowotnyHow Can I Sleep,<strong>2013</strong>Installation viewRolf NowotnyHow can I sleep,<strong>2013</strong>Installation view54 / 55In his <strong>art</strong>, Rolf Nowotny deliberateson the divisions that human thought haspro jected <strong>in</strong>to the outside world formillennia. Dist<strong>in</strong>ctions between subjectand object, agency and passivity havebeen crucial for humans to legitimize theirbehaviour <strong>in</strong> the world. In a traditionalworldview the human occupies thedom<strong>in</strong>ant position of a vertical hierarchyplac<strong>in</strong>g the act<strong>in</strong>g subject at the topand the passive objects of the outside worldat its bottom. Nowotny, however,seeks a more horizontal understand<strong>in</strong>g ofthe world. An understand<strong>in</strong>g thattranscends these traditional borders whilequestion<strong>in</strong>g their solidity.His recent works have presentedthemselves as felt-l<strong>in</strong>ed circles that extend<strong>in</strong>to the exhibition space, concrete bas<strong>in</strong>s,angles <strong>in</strong> steel and alum<strong>in</strong>ium. <strong>The</strong>reis a formal rigor that can lead the thoughtstowards m<strong>in</strong>imalism and conceptual <strong>art</strong>.But there is somehow too much movementand too many stories surround<strong>in</strong>g the<strong>art</strong> works. <strong>The</strong>y are provided with strik<strong>in</strong>glyexpressive titles that contrast thestr<strong>in</strong>gency of the form: A wire bound to ametal rod is called ‘Lovesong’, the feltl<strong>in</strong>edcircles are called ‘Deaf Parent’ and theexhibitions carry dramatic titles suchas ‘sex’, ‘Full Frontal Nudity’ and ‘How CanI Sleep’. <strong>The</strong> formal seriousness of the<strong>art</strong> is contrasted by playful, provocative,even talkative titles.Meet<strong>in</strong>gs and exchanges occur crisscross<strong>in</strong>gboundaries between <strong>in</strong>tellect andsenses, materials and thoughts: Betweenabstract and concrete, subject and object.<strong>The</strong> categories are outl<strong>in</strong>ed, but neverfixed. On the contrary, they are kept <strong>in</strong> motion<strong>in</strong> <strong>art</strong> works whose <strong>in</strong>sistent materialityencourages the accumulation of mean<strong>in</strong>g.It is an <strong>art</strong> <strong>in</strong> which the <strong>art</strong>ist takesa step back and permits that, which hastraditionally been regarded as passiveobjects, to contribute to the constructionof mean<strong>in</strong>g of the works with the uniquepossibilities and limitations the p<strong>art</strong>icularmaterials offer. An <strong>art</strong> that l<strong>in</strong>gers <strong>in</strong> thespace between veil<strong>in</strong>g and unveil<strong>in</strong>g itself.Torsten Bøgh Thomsen, <strong>2013</strong>


Aoyama / Meguro3/3/1Aoyama / MeguroHideki Aoyama2-30-6 Kamimeguro MeguroJP-153-0051 TokyoT +81 3 3711 4099M +11 81 80 3123 268a@aoyamahideki.comwww.aoyamameguro.comSolo Show at <strong>LISTE</strong>:Koki Tanaka, 1975, JPOther Artists of the Gallery:Sh<strong>in</strong>ya Aota, JPSatoshi Hashimoto, JPHirofumi Isoya, JPChosil Kil, RKLotte Lyon, ROEuan Macdonald, USHiroaki Morita, JPKen Sasaki, JPJunya Sato, JPKoki Tanaka#0 communal teadr<strong>in</strong>k<strong>in</strong>g (from aseries of precarioustasks), 2012Collective acts,photograph and text73 × 110 cmCredits: created withAoyama Meguro,TokyoKoki TanakaGo to a flowermarket and make abouquet of flowersas big as possible,2009Photograph and text68.4 × 102.6 cmKoki TanakaA behavioral statement(or an unconsciousprotest), <strong>2013</strong>HD video, 8m<strong>in</strong>Photo credit: TakashiFujikawaCredits: film<strong>in</strong>g <strong>in</strong>cooperation withKorean CulturalCenter, KoreanEmbassy <strong>in</strong> JapanCommissionedby <strong>The</strong> JapanFoundationEquipment support:Artists’ Guild56 / 57Yes, our lives are complicated, you know.And I can say that reality of life consistof abstract th<strong>in</strong>gs and moments. Let’s th<strong>in</strong>kabout it. What did you have for breakfastthis morn<strong>in</strong>g? I had a peanuts buttersandwich with banana and a couple ofcoffee. Of course, I can remember it butthose th<strong>in</strong>gs are not real anymore. That ismemory of my breakfast. I just reconstructthe past at the very moment of now.Even if you are eat<strong>in</strong>g someth<strong>in</strong>g right now,you cannot catch all the reality of that food.If you can taste it, you just feel the tastefrom your tongue and mouth. But the foodhas many different k<strong>in</strong>ds of aspect. Let’ssay, peanuts butter could be material forpa<strong>in</strong>t<strong>in</strong>g, banana could be trap for mak<strong>in</strong>gpeople to slip on and coffee could growbeautiful flowers. We could f<strong>in</strong>dout alternative way to view our everydaylives even we are hav<strong>in</strong>g banal breakfastsame as yesterday. In the very usualmoment, we could see someth<strong>in</strong>g new atthe same time. <strong>The</strong>re are a lot of abstractth<strong>in</strong>gs and moments wait<strong>in</strong>g for usto brake through to a new perspective.If we face the reality of life, I th<strong>in</strong>k wecan deepen our understand<strong>in</strong>g of the world.I always try to look for that k<strong>in</strong>d of moment<strong>in</strong> my life. (Koki Tanaka)Aoyama / Meguro was founded as apreparation office (private gallery) to repre -sent Koki Tanaka <strong>in</strong> 2004, moved toNakameguro, Tokyo, and officially opened<strong>in</strong> 2007.Our gallery <strong>in</strong>dicate how to update andopen perception and <strong>in</strong>troduce approx -imately 10 <strong>art</strong>ists ma<strong>in</strong>ly from Japan, Vienna,UK and US. <strong>in</strong> the context of conceptual <strong>art</strong>.S<strong>in</strong>ce the foundation of the gallery,we encourage our <strong>art</strong>ists to engage <strong>in</strong> awide variety of activities such as,writ<strong>in</strong>g, hav<strong>in</strong>g their exhibition, p<strong>art</strong>icipat<strong>in</strong>gto talk shows or projects outside the gallery,and so on.One of the most significant event this yearis, our representative <strong>art</strong>ists, Koki Tanaka willrepresent Japan at the <strong>2013</strong> VeniceBiennale.


Balice Hertl<strong>in</strong>g1/1/2Balice Hertl<strong>in</strong>gDaniele BaliceAlexander Hertl<strong>in</strong>gShown at <strong>LISTE</strong>:Camille Blatrix, 1984, FRIsabelle Cornaro, 1974, FRSam Falls, 1984, USA47 rue RamponeauFR-75020 ParisT +33 <strong>14</strong>0 33 47 26F +33 <strong>14</strong>0 33 47 36Other <strong>art</strong>ists of the gallery:Neïl Beloufa, FRKerst<strong>in</strong> Brätsch, DEMary Beth Edelson, USLuca Frei, CHNikolas Gambaroff, DEAlexander May, USgallery@balicehertl<strong>in</strong>g.comwww.balicehertl<strong>in</strong>g.comCharles Mayton, USGreg Parma Smith, USReto Pulfer, CHSamuel Richardot, FROscar Tuazon, USStephen Willats, UKIsabelle CornaroGod Boxes, <strong>2013</strong>Elastomericpolyurethane,pa<strong>in</strong>ted steel<strong>14</strong>2 × 86 × 68 cm(each)exhibition viewBalice Hertl<strong>in</strong>g, Paris(bottom left)Sam FallsTires (Blue 3), 2012Acrylic on archivalpigment pr<strong>in</strong>t55 × 44 <strong>in</strong>(bottom right)Camille BlatrixAllison’s letter toVictor, <strong>2013</strong>Sterl<strong>in</strong>g silver, Riorosewood, Parisianmaple, bronze16 × 13 × <strong>18</strong> cm58 / 59Balice Hertl<strong>in</strong>g was founded <strong>in</strong> 2007 byDaniele Balice, Alexander Hertl<strong>in</strong>g and PatiHertl<strong>in</strong>g <strong>in</strong> the Belleville qu<strong>art</strong>er of Paris.Balice Hertl<strong>in</strong>g’s purpose is to developa cross discipl<strong>in</strong>ary gallery program whichreflects a variety of op<strong>in</strong>ions and practicesamong <strong>young</strong> <strong>art</strong>ists. <strong>The</strong> ma<strong>in</strong> focusof Balice Hertl<strong>in</strong>g is to support a variety ofapproaches, the uniqueness of the visionsof each of the <strong>art</strong>ists represented.<strong>The</strong> gallery is thereby meant to provide aframework for understand<strong>in</strong>g the <strong>in</strong>tersect<strong>in</strong>gfields of <strong>art</strong>, culture, economics andpolitics. Focus<strong>in</strong>g ma<strong>in</strong>ly on a new generationof <strong>art</strong>ists, Balice Hertl<strong>in</strong>g has organized thefirst solo exhibitions of most of the <strong>art</strong>istsrepresented by the gallery, such as Kerst<strong>in</strong>Brätsch, Isabelle Cornaro and NikolasGambaroff. <strong>The</strong> gallery also arrangedexhibitions with Mary Beth Edelson andStephen Willats, sem<strong>in</strong>al figures for someof the gallery <strong>art</strong>ists, creat<strong>in</strong>g an <strong>in</strong>tergenerationalsynergy. S<strong>in</strong>ce 2009 the galleryhas moved to a larger space, wherethe production of each show privileges sitespecific <strong>in</strong>stallations.


B<strong>art</strong>lett0/8/1Laura B<strong>art</strong>lett GalleryLaura B<strong>art</strong>lettMadele<strong>in</strong>e M<strong>art</strong><strong>in</strong>4 Herald StreetGB-London E26JTT +44 20 3487 0507M +44 777 <strong>18</strong>0 3606mail@laurab<strong>art</strong>lettgallery.comwww.laurab<strong>art</strong>lettgallery.comShown at <strong>LISTE</strong>:Lydia Gifford, 1979, UKAlex Olson, 1978, USAOther Artists of the Gallery:Becky Beasley, UKN<strong>in</strong>a Beier, DKJohn Divola, USSimon Dybbroe Møller, DKHarrell Fletcher, USCyprien Gaillard, FRIan Law, UKMarie Lund, DKElizabeth McAlp<strong>in</strong>e, UKM<strong>art</strong><strong>in</strong> Skauen, NON<strong>in</strong>a Beier and Marie Lund, DKAlex OlsonInstallation View,Bravo ZebraLaura B<strong>art</strong>lettGallery, London,<strong>2013</strong>(bottom left)Lydia GiffordShore, <strong>2013</strong>Wood, canvas,gauze, pigment, oilpa<strong>in</strong>t, pa<strong>in</strong>t166 × 26 × <strong>18</strong> cm(bottom right)Lydia GiffordShore, <strong>2013</strong>Wood, canvas,gauze, pigment, oilpa<strong>in</strong>t, pa<strong>in</strong>t166 × 26 × <strong>18</strong> cm60 / 61Alex Olson’s pa<strong>in</strong>t<strong>in</strong>gs are built us<strong>in</strong>gmultiple layers. <strong>The</strong> works place anemphasis on pa<strong>in</strong>t<strong>in</strong>g as surface, propos<strong>in</strong>gexteriors that engage with a viewer’spresumptions and projections. Work<strong>in</strong>gwith oil pa<strong>in</strong>t and very th<strong>in</strong> stretchers, Olsoncreates her marks us<strong>in</strong>g highly <strong>in</strong>dexicaltools, such as trawls, w<strong>in</strong>dow scrapers,palette knives, plastic wrap, and low gradebrushes. She po<strong>in</strong>ts to the surface itselfthrough dragg<strong>in</strong>g and rubb<strong>in</strong>g pa<strong>in</strong>t <strong>in</strong>to theface of the pa<strong>in</strong>t<strong>in</strong>g, expos<strong>in</strong>g each scratchand mark embedded with<strong>in</strong> it. Collectivelythese graphic and material marks competeaga<strong>in</strong>st one another as they vie for theviewer’s attention through their conflict<strong>in</strong>gsignals. Viewed from different angles anddistances, the pa<strong>in</strong>t<strong>in</strong>gs yield new sets of<strong>in</strong>formation, so that the encounter is oneof negotiat<strong>in</strong>g and reevaluation. <strong>The</strong> worksoffer the viewer an unfold<strong>in</strong>g experienceof visual signs that highlight the process bywhich we encounter, translate and assignmean<strong>in</strong>g to surface <strong>in</strong>formation.With physical and spatial considerationsat the core of her work, Lydia Gifford testspa<strong>in</strong>t<strong>in</strong>g processes and the limitationsof media. <strong>The</strong> fundamental relationshipbetween sight and touch is central to thework. <strong>The</strong> conflict of plane and form isembodied <strong>in</strong> a makeshift carpentry. Gifford’swooden structures are wrapped <strong>in</strong> canvasand pa<strong>in</strong>t layers are employed <strong>in</strong> a sculpturalmanner to reveal, conceal or de-form thisunderstructure.<strong>The</strong>ir placement is determ<strong>in</strong>ed byphysical references such as the constantreposition<strong>in</strong>g of the viewer. This movementcont<strong>in</strong>ues with<strong>in</strong> the works’ cont<strong>in</strong>gencyfor reconfiguration, as the <strong>in</strong>terplay of surfaceand texture, image and object, emits a visualrhythm <strong>in</strong> which float<strong>in</strong>g, fall<strong>in</strong>g or ris<strong>in</strong>gsigns both come together and drift ap<strong>art</strong>.Just as a new composition becomes visible,that which was seen before cont<strong>in</strong>uesto l<strong>in</strong>ger, rem<strong>in</strong>d<strong>in</strong>g the viewer of what nowrema<strong>in</strong>s hidden.


BolteLang0/10/5BolteLangAnna BolteChaja LangLimmatstrasse 2<strong>14</strong>CH-8005 ZurichT +41 44 273 00 10F +41 44 273 00 12<strong>in</strong>fo@boltelang.comwww.boltelang.comShown at <strong>LISTE</strong>:Bianca Brunner, 1974, CH/UKDagmar Heppner, 1977, DE/CHOther Artists of the Gallery:Vanessa Billy, CH/UKClaudia Comte, CH/DEDaniel Gustav Cramer, DEPatrick Hari, CHBenjam<strong>in</strong> Senior, UKJill Spector, USBianca BrunnerFlag, 2012C-pr<strong>in</strong>t39.5 × 52 cmEdition of 5 + 1 APDagmar HeppnerUntitled, 201230 m fabric, 30different colours oftextile dye mixedtogetherInstallation viewColor (rules), withKaye Donachie,Spazio Cab<strong>in</strong>et,Milan, Italy62 / 63At <strong>LISTE</strong> <strong>18</strong>, BolteLang shows apresentation conceived by <strong>art</strong>ists BiancaBrunner (CH/UK, 1974) and DagmarHeppner (DE/CH, 1977). <strong>The</strong> booth showsnew works by each <strong>art</strong>ist displayed <strong>in</strong> asett<strong>in</strong>g developed by Brunner and Heppnertogether.Brunner presents new pieces of differentformats – colour photographs of dyedfabric that the <strong>art</strong>ist hung on her whitepanelled studio wall. <strong>The</strong>se works build onprevious works, ‘Flag, Ship and Sail’, 2012,where the subject matter is only revealedafter close exam<strong>in</strong>ation, and the mood theyexude is enhanced by their titles.Abstract <strong>in</strong> appearance they evoke ideasof travel and the long<strong>in</strong>g for farawayplaces. <strong>The</strong>se new works – ‘Flow, Farewell,Pause and Drift’, <strong>2013</strong> make one th<strong>in</strong>kof movement and time as well – throughtheir titles and the bleached out colourof the fabric that <strong>in</strong>dicates the pass<strong>in</strong>gof time.Brunner’s works are complementedby a new <strong>in</strong>stallation by Dagmar Heppner.2–3 wooden poles with cast concretebases are placed <strong>in</strong> a row along theopen side of the booth loosely parallel toits back wall. A long piece of fabricis attached to the poles, wrapped anddraped around them, knotted and tied up,p<strong>art</strong>ly billow<strong>in</strong>g onto the floor. It givesthe poles volume – a body – and connectsthem together as one piece. <strong>The</strong> workdef<strong>in</strong>es the space of the booth allow<strong>in</strong>gthe visitor chang<strong>in</strong>g glimpses of Brunner’sworks, and equally covers and uncoverssometh<strong>in</strong>g.In addition to her <strong>in</strong>stallation Heppnerpresents a framed work on the wall.It consists of forms taken from sew<strong>in</strong>gpatterns for clothes newly arranged <strong>in</strong> ageometrical overlay<strong>in</strong>g way leav<strong>in</strong>g nopractical use to the pattern. Yet, the shapescome to new life rem<strong>in</strong>d<strong>in</strong>g of masksor creatures and thereby relat<strong>in</strong>g to thesculptures where the bulgy fabric pretendsa corporeal matter.


Bugada & Cargnel0/10/7Bugada & CargnelClaudia CargnelFrédéric Bugada7–9, rue de l’ÉquerreFR-75019 ParisT +33 1 42 71 72 73F +33 1 42 71 72 00M +33 6 07 68 65 92contact@bugadacargnel.comwww.bugadacargnel.comShown at <strong>LISTE</strong>:Étienne Chambaud, 1980, FRCyprien Gaillard, 1981, FRAdrien Missika, 1981, FRNico Vascellari, 1976, ITOther Artists of the Gallery:Wilfrid Almendra, FRMarc Bijl, NLPierre Bismuth, FRMat Collishaw, UKNick Devereux, UKPiero Golia, ITAnnika Larsson, SEJulio Le Parc, AR/FRIris van Dongen, NLAdrien MissikaJard<strong>in</strong> d’Hiver(Installation atKunsthaus Glarus),<strong>2013</strong>Bamboo, syntheticres<strong>in</strong>, rope,concrete, plants300 × 100 × 100 cmÉtienne ChambaudBlade Portraits, 2012Colour photograph,lam<strong>in</strong>ated, cut andframed80 × 67 cm64 / 65Adrien Missika’s work deploys itself asa permanent <strong>in</strong>vestigation of <strong>in</strong>-betweenspaces, between fiction and reality:while play<strong>in</strong>g with the viewers’ expectationsand biases, it questions <strong>in</strong> a subtle way ourrelation to the world and its representation.Adrien Missika follows the traces ofthe Brazilian landscape architect and <strong>art</strong>istRoberto Burle Marx (1909–1994), a designerof gardens, parks and promenades who<strong>in</strong>troduced modern landscape architectureto Brazil. His sculptural flower-towerconstruction borrows its form from BurleMarx’s plant racks. For the constructionof the bamboo towers, he is us<strong>in</strong>g the Asianknot technique of scaffold<strong>in</strong>g, expand<strong>in</strong>gthe architectural space <strong>in</strong>to a verticaldimension. This formal element is oftenused <strong>in</strong> compacted city plann<strong>in</strong>g as well asutopian concepts of vertical gardens andgreen cities. P<strong>art</strong>icularly <strong>in</strong>terested <strong>in</strong>the legacy of European modernism outsideof Europe, Missika is also concernedwith the confrontation between nature andcultural construction.Etienne Chambaud explores the essenceof a work of <strong>art</strong>: its relation to its subtext,to the vertigo of its stratified referencesand lost orig<strong>in</strong>s, to its contexts, and the way<strong>art</strong>works are charged with mean<strong>in</strong>g orendowed with a p<strong>art</strong>icular narrative. He isespecially <strong>in</strong>terested <strong>in</strong> a negative def<strong>in</strong>itionof the <strong>art</strong>work, from its merge, textualor legal perimeter, and by the process andtechnology of conservation and displayof <strong>art</strong>. S<strong>in</strong>ce years is carry<strong>in</strong>g on a researchon separation as relation and exhibitionas exclusion <strong>in</strong> an <strong>in</strong>vestigation on zoos andanimal expression.Each piece from the series Blade Portrait isthe framed photographic pr<strong>in</strong>t of a flower –often with its back to the photograph,stretch<strong>in</strong>g its neck for a capital punishmentto come – and whose frame was cutthrough, leav<strong>in</strong>g the top of the photographto fall <strong>in</strong>to the lower space, <strong>in</strong> the mannerof a blade slid<strong>in</strong>g <strong>in</strong> the w<strong>in</strong>dow of aguillot<strong>in</strong>e, <strong>in</strong> an attempt to create an antiportraitof all the blades that contributed tothe work.


Bureau0/7/3BureauGabrielle Giatt<strong>in</strong>o127, Henry StreetUS-New YorkNY 10002T +1 212 227 2783M +1 917 861 9300office@bureau-<strong>in</strong>c.comwww.bureau-<strong>in</strong>c.comShown at <strong>LISTE</strong>:Vivienne Griff<strong>in</strong>, 1975, IETom Holmes, 1975, USViktor Kopp, 1971, SEOther Artists of the Gallery:Erica Baum, USEllie Ga, USMatt Hoyt, USLionel Maunz, USJulia Rommel, USTom HolmesUntitledArrangement, 2012Inkjet and <strong>in</strong>k onpaper10 × 6 <strong>in</strong> /25.40 × 15.24 cmBureau features three gallery <strong>art</strong>ists,Vivienne Griff<strong>in</strong>, Tom Holmes and Viktor Kopp.Kopp and Holmes present new work,build<strong>in</strong>g upon their earlier solo presentationsat <strong>LISTE</strong>, (2010, 2011 respectively),and Vivienne Griff<strong>in</strong> will be presented <strong>in</strong>Switzerland for the first time.66 / 67


Carlos / Ishikawa0/9/2Carlos / IshikawaVanessa CarlosUnit 4, 88 Mile End RoadGB-London E1 4UNT +44 20 7001 1744M + 44 781 707 8125gallery@carlosishikawa.comwww.carlosishikawa.comSolo Show at <strong>LISTE</strong>:Oscar Murillo, 1986, COOther Artists of the Gallery:Steve Bishop, CAEd Fornieles, UKMary Hurrell, SALloyd Corporation, NO/UKPilvi Takala, FLOscar MurilloOssie’s B<strong>in</strong>goBoutique, <strong>2013</strong>Mixed media<strong>in</strong>stallationDimension variableshall i just play the game…Oscar MurilloD<strong>in</strong>ner at themembers club? Yes!I’ill have a blackamericano first pls,<strong>2013</strong>Installation view atCarlos / Ishikawa,London68 / 69


Croy Nielsen3/6/1Croy NielsenOliver CroyHenrikke NielsenWeyd<strong>in</strong>gerstrasse 10DE-10435 Berl<strong>in</strong>T +49 30 6807 7976M +49 179 51 55 321<strong>in</strong>fo@croynielsen.dewww.croynielsen.deSolo Show at <strong>LISTE</strong>:Ben Schumacher, 1985, CAOther Artists of the Gallery:M<strong>art</strong><strong>in</strong> Erik Andersen, DKN<strong>in</strong>a Beier, DKAndy Boot, AUJudith Hopf, DEJacob Dahl Jürgensen, DKThomas Kratz, DEMarie Lund, DKBenoît Maire, FRMarlie Mul, NLJoshua Petherick, AUMandla Reuter, DERoman Schramm, DEHugh Scott-Douglas, CABen Schumacher351 Berry Street,2012 (detail)Perforated sta<strong>in</strong>lesssteel, hardwareglass, <strong>in</strong>kjet onperforated v<strong>in</strong>yl,<strong>in</strong>kjet pr<strong>in</strong>t on paper,rare e<strong>art</strong>h magnets155 × 105 × <strong>14</strong>.5 cm /61 × 41.3 × 5.7 <strong>in</strong>70 / 71Hello, <strong>The</strong> delivery address is still on theU.S.? where they <strong>in</strong>stall the track<strong>in</strong>g puckby Fox news?T: yes, this is the place, very difficult tof<strong>in</strong>d work. it is impossible for Him(the one tobe very skilled at climb<strong>in</strong>g walls, possiblya gift situations <strong>in</strong> a confused lifetime style)to change the price and delivery Colissimo<strong>in</strong>ternationally as this is done automaticallySun that there is a global address. In rderto f<strong>in</strong>d free tickets for the match youshould go to ’Order Details’ and change thedelivery address for FRANCE mention<strong>in</strong>gthe name of the recipient so french …Thanks!S<strong>in</strong>cerely, David. What should we doafter delirious style of new york, to make anhonest build<strong>in</strong>g. But his build<strong>in</strong>gs justmak<strong>in</strong>g fun of my build<strong>in</strong>gs. David man andhis animistic style of creat<strong>in</strong>g, noth<strong>in</strong>g isstagnant but sometimes he seems to be<strong>in</strong>terested <strong>in</strong> the timeless and tragic but justfor a few. Paris ok, costs 15 € schnerwolf,why do you even want this th<strong>in</strong>g, you cangrab 2 down the street right? This caseis closed. <strong>The</strong> buyer has accepted the requestof the seller to term<strong>in</strong>ate the transaction.catcameleon, do you th<strong>in</strong>k it good ideaif we just open the case, and the THAT isthe th<strong>in</strong>g. and scrap the rest? the packageis returned back. Address falscI’m sorrybut I am unable to ship the items becausepackag<strong>in</strong>g and shipp<strong>in</strong>g are maybe alittle to nice <strong>in</strong> themselves. I am will<strong>in</strong>g tohave someone pick them up for you.How many racks were you <strong>in</strong>terested <strong>in</strong>? –Donaldjmacphersonh: delai <strong>in</strong>stanceDepasse – What should I do now?greet<strong>in</strong>g – schnerwolf – We have paidno shipp<strong>in</strong>g costs – Auto-lich09Canyou refund my money before I cancel thepurchase?New York-based Ben Schumacher wasborn 1985 <strong>in</strong> Kitchener, Canada. Solo shows<strong>in</strong>clude Bortolami, New York (<strong>2013</strong>),Croy Nielsen, Berl<strong>in</strong> (w. Hugh Scott-Douglas,2012), Tomorrow Gallery, Toronto andSculpture Center, New York (both 2011).Recent group shows <strong>in</strong>clude Praz-Delavallade, Paris, Rudolphe Janssen,Brussels (both <strong>2013</strong>), and M<strong>art</strong>os Gallery,New York (2012)


de Bruijne0/6/1Ellen de Bruijne ProjectsEllen de BruijneDorothé OrczykRozengracht 207ANL-1016 LZAmsterdamT +31 20 530 4994F +31 20 530 4990M +06 494 85 207edbprojects@cs.comwww.edbprojects.comShown at <strong>LISTE</strong>:Lara Almarcegui, 1972, ESPaul<strong>in</strong>e Boudry, 1972, CH& Renate Lorenz, 1963, DEFalke Pisano, 1978, NLEvi V<strong>in</strong>gerl<strong>in</strong>g, 1979, NLOther Artists of the Gallery:Otto Berchem, USAnne-Lise Coste, FRJeremiah Day, USUta Eisenreich, DEDora Garcìa, ESSuchan K<strong>in</strong>oshita, JP/NLKlaas Kloosterboer, NLgerlach en koop, NLErkka Niss<strong>in</strong>en, SUMaria Pask, UKSusan Philipsz, UKL.A. Raeven, NLThomas Rentmeister, DEMichael Smith, USLara AlmarceguiMateriaux deConstruction –Dijon CentreHistorique, 2005Digital silkscreen117 × 93 cm72 / 73‘Construction Materials’ is a projectof Lara Almarcegui <strong>in</strong> which she breaksdown build<strong>in</strong>gs <strong>in</strong>to their raw materials.Inventories are made of the weightof the materials <strong>in</strong> build<strong>in</strong>gs, temporarystructures, and even entire cities –for example Lund, Sweden; Dijon, France;Sao Paolo, Brazil. <strong>The</strong>y look like lists of<strong>in</strong>gredients. <strong>The</strong> calculations are madeby compil<strong>in</strong>g exist<strong>in</strong>g measurements fromdistrict plans or architectural draw<strong>in</strong>gs;when this <strong>in</strong>formation is not available,structures are surveyed directlyand build<strong>in</strong>gs logged systematically.‘Charm<strong>in</strong>g for the Revolution’ recreatesthe ‘housewife’ as an ambiguous figure withan open future. This video <strong>in</strong>stallationof Paul<strong>in</strong>e Boudry/Renate Lorenz w<strong>in</strong>ksat Jack Smith, the New York undergroundperformer and filmmaker from the 60’s tothe 80’s, as well as to the history of queerand fem<strong>in</strong>ist calls such as wages forhousework! Additional references extendfrom Deleuze-Guattari’s becom<strong>in</strong>g-animal,to Pasol<strong>in</strong>i’s ironic-capitalism critical film‘<strong>The</strong> Hawks and the Sparrows’.Falke Pisano exhibits new work <strong>in</strong> whichshe <strong>in</strong>vestigates humor, us<strong>in</strong>g c<strong>art</strong>oons asher material. Humor is an area which shehas exam<strong>in</strong>ed before, for <strong>in</strong>stance <strong>in</strong>‘Repetition and Dispersion/4 jokes become5 jokes (economy)’, 2011. Through repetition,she lets the jokes <strong>in</strong> her sculpture fallap<strong>art</strong>. <strong>The</strong>y are stripped from their orig<strong>in</strong>alcontext, and only the underly<strong>in</strong>g structureof humor rema<strong>in</strong>s. Reveal<strong>in</strong>g structuresthrough repetition is an important aspect <strong>in</strong>the oeuvre of Falke Pisano.<strong>The</strong> pa<strong>in</strong>t<strong>in</strong>gs of Evi V<strong>in</strong>gerl<strong>in</strong>g mightseem abstract, but they actually refer to theworld around us. By unravel<strong>in</strong>g whatshe sees, stripp<strong>in</strong>g the context and pa<strong>in</strong>t<strong>in</strong>git as it is, she discloses the hiddenbeauty of the ord<strong>in</strong>ary. In her own words,she rids the object of its symbolic andhistorical mean<strong>in</strong>g. <strong>The</strong> result looks almosteffortless, and above all very pure.


Dépendance2/1/1dépendanceMichael CalliesAyelet Yanai4 Rue du Marché aux PorcsBE-1000 BrusselsT +32 2 217 74 00M +32 4845 06 899<strong>in</strong>fo@dependance.bewww.dependance.beShown at <strong>LISTE</strong>:Richard Aldrich,1975, USMichaela Eichwald, 1967, DENora Schultz, 1975, DELucie Stahl, 1977, DEOther Artists of the Gallery:Thomas Bayrle, DEMerl<strong>in</strong> Carpenter, UKJana Euler, DEChristian Flamm, DEManuel Gnam, DEThilo He<strong>in</strong>zmann, DEKarl Holmqvist, SESergej Jensen, DKMichael Krebber, DEL<strong>in</strong>der, UKMichaela Meise, DEHenrik Olesen, DKBenjam<strong>in</strong> Saurer, DEHanna Schwarz, DEAndreas Slom<strong>in</strong>ski, DEJosef Strau, DEOscar Tuazon, USHaegue Yang, KRMichaela EichwaldHorsti Schmandhoff,2012Wood-glue, acrylic,oil, lacquer on l<strong>in</strong>e195 × 125 cm /76.8 × 49.2 <strong>in</strong>74 / 75A strange collection of objects andmaterials are embedded with MichaelaEichwald’s brilliant, surreal pa<strong>in</strong>t<strong>in</strong>gs andsculptures. Cement, wood preserver andwax are sloshed onto canvases along withsmaller pa<strong>in</strong>t<strong>in</strong>gs or book like appendages.Co<strong>in</strong>s, p<strong>in</strong>s pebbles, fish<strong>in</strong>g tackle andhalf a boiled egg are among the small objectsdropped <strong>in</strong>to res<strong>in</strong>-filled rubber gloves,plastic bags or bottles, becom<strong>in</strong>g fixedfor perpetuity <strong>in</strong> the piss colored sticky clodsthat crown her sculptures.It’s the casual accidents and ephemeralm<strong>in</strong>utiae of our world – the sta<strong>in</strong>s and thescraps – that assume focus <strong>in</strong> Eichwald’scompositions. With titles such as ‘Sehnsuchtnacho Abstraktion’, ‘Antu-fun und denbeg<strong>in</strong>n des endlichen Lebens (Desire forAbstraction, Anti-fun and the beg<strong>in</strong>n<strong>in</strong>gof F<strong>in</strong>ite Life, 2011)’ or the more e<strong>art</strong>hly‘MILF’, Eichwald’s work has as much humoras beauty.As an <strong>art</strong>ist and a writer, Eichwald was aprotagonist of the Cologne <strong>art</strong> scenedur<strong>in</strong>g the 1990s before she moved to Berl<strong>in</strong>,where she currently lives and works.(Future Greats 2012: Michaela Eichwald,Selected by Michelle Cotton, Art Review,Issue.66, March <strong>2013</strong>)Michaela Eichwald was awarded the2012 Prix Lafayette followed by a soloexhibition at the Palais de Tokyo, Paris,<strong>2013</strong>. Additional upcom<strong>in</strong>g exhibitions<strong>in</strong>clude Reena Spaul<strong>in</strong>gs, New York andMuseum of Gegenw<strong>art</strong>skunst, <strong>Basel</strong>.


Exile2/2/2ExileChristian SiekmeierSkalitzer Str. 104, Aufgang ADE-10997 Berl<strong>in</strong>T +49 30 7623 3061M +49 171 34 56 168<strong>in</strong>fo@thisisexile.comwww.thisisexile.comShown at <strong>LISTE</strong>:Aggtelek:Gema Perales, 1982, ESXandro Valles, 1978, ESKathar<strong>in</strong>a Marszewski, 1980, DEArtie Vierkant, 1986, USM<strong>art</strong><strong>in</strong> Kohout, 1984, CZOther Artists of the Gallery:Erik Niedl<strong>in</strong>g, DEGwenn Thomas, USKazuko Miyamoto, USTM Davy, US<strong>The</strong> Estate of Bob Mizer, USAggtelekFwd: UntitledPortrait, 2012Oil on canvas170 × 120 cmArtie VierkantColor RenditionCh<strong>art</strong> Wednesday5 December 20125:15PM, <strong>2013</strong>UV Pr<strong>in</strong>t on s<strong>in</strong>tra29,2 × 20,3 cmM<strong>art</strong><strong>in</strong> KohoutGotthard, Tunnel run,June 13, <strong>2013</strong>On June 13, <strong>2013</strong>, M<strong>art</strong><strong>in</strong> Kohout will runthrough the Gotthard Road Tunnel, which,with a length of the 16.9 km, is the thirdlongestroad tunnel <strong>in</strong> the world, connect<strong>in</strong>gthe German and Italian-speak<strong>in</strong>g p<strong>art</strong>sof Switzerland. He will pass from one side tothe other, completely alone and withouta pause. No documentation will be taken<strong>in</strong>side the tunnel and Kohout will onlybe seen enter<strong>in</strong>g and exit<strong>in</strong>g the tunnel.A dedicated tour bus will leave from <strong>LISTE</strong>on Thursday, June 13 driv<strong>in</strong>g ticket holdersthrough the tunnel to Airolo <strong>in</strong> the Canton ofTic<strong>in</strong>o. It is from this po<strong>in</strong>t that Kohout willst<strong>art</strong> his run through the tunnel. Afterwards,the p<strong>art</strong>y will drive back over the mounta<strong>in</strong>sto the exit location at Göschenen, Cantonof Uri. Here, Kohout will be greeted and anApéro will be served. Subsequently, the buswill return the p<strong>art</strong>y to <strong>Basel</strong>.76 / 77Only a strictly limited edition number oftickets are available to this event. For further<strong>in</strong>formation, dep<strong>art</strong>ure times and reservationsplease email: <strong>in</strong>fo@thisisexile.com.


Fonti2/2/1FontiGiangi FontiVia Chiaia 229IT-80132 NapoliT +39 081 411 409M +39 348 821 0513<strong>in</strong>fo@galleriafonti.itwww.galleriafonti.itSolo Show at <strong>LISTE</strong>:Birgit Megerle, 1975, DEOther Artists of the Gallery:Michel Auder, FRMarc Camille Chaimowicz, UKMarieta Chirulescu, ROPeter Coff<strong>in</strong>, USChristian Flamm, DENicola Gobbetto, ITPiero Golia, ITDelia Gonzalez, USKiluanji Kia Henda, AODaniel Knorr, DE/ROFabian M<strong>art</strong>i, CHSeb Patane, IT/UKManfred Pernice, DEGiulia Piscitelli, ITGav<strong>in</strong> Russom, USLorenzo Scotto di Luzio, ITEric Wesley, USBirgit MegerleBottles(after Manet), 2012Oil and newspaperon canvas62 × 73 cm78 / 79Birgit Megerle’s recent research focuseson the perception of women <strong>in</strong> the historyof pa<strong>in</strong>t<strong>in</strong>g, <strong>in</strong> p<strong>art</strong>icular from a fem<strong>in</strong>istpo<strong>in</strong>t of view. Often the <strong>art</strong>ist represents<strong>in</strong> her works strong women, sometimesaggressive, hold<strong>in</strong>g a rope or a bow withan arrow, po<strong>in</strong>t<strong>in</strong>g to a goal outside thecanvas.Women <strong>in</strong> Megerle’s pa<strong>in</strong>t<strong>in</strong>gs wear men’sclothes or uniforms that give the figures aneccentric and sometimes erotic charisma.<strong>The</strong> project ‘Caught <strong>in</strong> the Folies-Bergère’st<strong>art</strong>s from a series of pa<strong>in</strong>t<strong>in</strong>gs referred tothe famous Édouard Manet’s pa<strong>in</strong>t<strong>in</strong>g‘Bar <strong>in</strong> the Folies-Bergère’. <strong>The</strong> bar-maid’sblank and bored expression <strong>in</strong> a tir<strong>in</strong>g job(she apparently also worked as a prostitute),<strong>in</strong>spired Birgit Megerle to isolate herface from the rest of Manet’s pa<strong>in</strong>t<strong>in</strong>g andreproduc<strong>in</strong>g the bar-maid on severalsmall-sized canvases all about 60 × 70 cm,sometimes more squared, sometimesmore rectangular. In each pa<strong>in</strong>t<strong>in</strong>g, the <strong>art</strong>istchanged the colours and the fashionlike the earr<strong>in</strong>gs or mak<strong>in</strong>g her look moreandrogynous, giv<strong>in</strong>g her a tomboy-likeappeal. ‘I overtook Manet’s simplificationof the form of the face, mak<strong>in</strong>g it moreabstract, almost like a mask. All the backgroundsand sometimes the clothesdissolve <strong>in</strong>to pa<strong>in</strong>terly gestures like dotsand grids.I copied also other elements from Manet’spa<strong>in</strong>t<strong>in</strong>g like the sparkl<strong>in</strong>g champagne andliquor-bottles. It was a pleasure to pa<strong>in</strong>tthe transparencies and highlights. On eachcanvas I first glue images from theeconomic-section of a daily newspaper:people work<strong>in</strong>g as craftsmen <strong>in</strong> a companyor renovat<strong>in</strong>g ap<strong>art</strong>ments, holiday-villas,real-estate managers, luxurious d<strong>in</strong>ners.<strong>The</strong>n I overpa<strong>in</strong>t the photos with the still lifefrom the bar.P<strong>art</strong> of the project is a two-dimensionalcut-out-bar <strong>in</strong>stalled onto the floor, stand<strong>in</strong>glike a display <strong>in</strong> a shop. On top of the barwill be represented p<strong>art</strong>s of the precious stilllife from Manet’s pa<strong>in</strong>t<strong>in</strong>g plus off-the-shelfproducts from the supermarket like Ketchup,Sangria and Pepsi’.


Friedlaender1/1/3C<strong>in</strong>zia Friedlaender Potsdamer Str. 105DE-10785 Berl<strong>in</strong>T +49 30 26 39 39 56F +49 30 26 39 39 58mail@galeriefriedlaender.dewww.galeriefriedlaender.deShown at <strong>LISTE</strong>:Eric Bell,1985, CA& Kristoffer Frick, 1985, DESab<strong>in</strong>e Reitmaier, 1974, DEStephen Rhodes, 1987, GBOther Artists of the Gallery:Bonnie Campl<strong>in</strong>, GBSunah Choi, KRM<strong>art</strong>ha Jungwirth, ATJustus Köhncke, DEDirk von Lowtzow, DEAnna Möller, DEJutta Pohlmann, DEMatthias Schaufler, DEMaria Volk, DEJeronimo Voss, DEV<strong>in</strong>cent Vulsma, NLJD Williams, GB(top left)Sab<strong>in</strong>e ReitmaierAmerican DecorativeObjects (<strong>The</strong> RobertMapplethorpeCollection, Christie’sAuction Catalogue,1989), 2009C-Pr<strong>in</strong>t, Fujicolorca type dp II, blackwaxed woodframe,UV Mirogard32 × 21 cm /12.5 × 8.5 <strong>in</strong> framedEdition 5 + 2 APPhoto: Nick Ash(top right)Stephen RhodesUntitled, 2011Oil, cardboard,canvas on MDF150 × 125 cm /59 × 49 <strong>in</strong>Eric Bell& Kristoffer FrickNephophiliaInstallation view,<strong>2013</strong>Photo: Nick Ash© Galerie C<strong>in</strong>ziaFriedlaender80 / 81Sab<strong>in</strong>e Reitmaier consciously workswith<strong>in</strong> the conventions of photography <strong>in</strong>order to <strong>in</strong>vestigate the commercialimplications that <strong>in</strong>fluence her <strong>art</strong>isticapproach. Reitmaier exam<strong>in</strong>es her positionas an <strong>art</strong>ist through her creative production.Thus, her work exists as a by-productof ongo<strong>in</strong>g <strong>in</strong>vestigations beyond thepresented photographic image. Born <strong>in</strong> 1974,Reitmaier studied at <strong>The</strong> Hochschulefür Gestaltung, Offenbach. Reitmaier hasexhibited at Meyer Ka<strong>in</strong>er, Vienna (2009);Andrew Kreps (2012) and White Columns,New York (<strong>2013</strong>); and KünstlerhausBethanien, Berl<strong>in</strong> (<strong>2013</strong>).Stephen Rhodes’ abstract pa<strong>in</strong>t<strong>in</strong>gsand mixed media compositions seek to laybare <strong>in</strong>conclusive outcomes with regard tothe legitimacy of pa<strong>in</strong>t<strong>in</strong>g. Rhodes exam<strong>in</strong>esthe process of layer<strong>in</strong>g and reduction<strong>in</strong> his work. With a strong command ofcompositional imagery, he experiments withrelational spaces, simultaneously reveal<strong>in</strong>gand conceal<strong>in</strong>g hybrid relationships aboveand beneath the picture plane. Born <strong>in</strong>1987, Rhodes completed a F<strong>in</strong>e Arts degreeat Oxford University (2009), and postgraduatestudies De Ateliers, Amsterdam(2011). Rhodes has exhibited at De Ateliers,Amsterdam (2011) and will presenthis first exhibition with Galerie C<strong>in</strong>ziaFriedlaender <strong>in</strong> December <strong>2013</strong> <strong>in</strong> Berl<strong>in</strong>.Eric Bell & Kristoffer Frick’s dual practiceis based on <strong>in</strong>terests with<strong>in</strong> the discipl<strong>in</strong>esof science, technology, design andarchitecture. <strong>The</strong>ir conscious stag<strong>in</strong>g ofspace allows for hybrid <strong>in</strong>stallationenvironments <strong>in</strong> a wide range of media.Draw<strong>in</strong>g on openly symbolic and diverselyappropriated materials and images, Bell &Frick evoke collective read<strong>in</strong>gs with<strong>in</strong>their work. Both born <strong>in</strong> 1985, they graduatedfrom the Städelschule, Frankfurt (2010),and post-graduate studies De Ateliers,Amsterdam (2012). <strong>The</strong>ir work was exhibitedat Kunstvere<strong>in</strong>, Düsseldorf (2008);Kunstvere<strong>in</strong>, Munich (2012); and StedelijkMuseum, Amsterdam, ‘Beyond Imag<strong>in</strong>ation’(2012).


Fritz-1/2/3Leslie Fritz GalleryLeslie Fritz44 Hester StreetUS-New YorkNY 10002T +1 212 609 3535F +1 212 609 3533M +1 646 209 0303e.office@lesliefritzgallery.comwww.lesliefritzgallery.comSolo Show at <strong>LISTE</strong>:Keith Farquhar, 1969, UKOther Artists of the Gallery:Andy Boot, AURob<strong>in</strong> Bruch, USTalia Chetrit, USMeredith Danluck, USIlja Karilampi, SECaitl<strong>in</strong> Keogh, USKeith FarquharThree Heads, 2007Plexi glas, wood,cotton20 × 40 <strong>in</strong>Courtesy the Artistand Leslie FritzIn the early 2000s, Keith Farquhar beganmak<strong>in</strong>g <strong>art</strong>works utiliz<strong>in</strong>g readymade cloth<strong>in</strong>gand other objects, <strong>in</strong> a decidedly handmadestyle, with their components arrangedas if to suggest (mostly male) human figures.Executed <strong>in</strong> a wide range of formats<strong>in</strong>clud<strong>in</strong>g pa<strong>in</strong>t<strong>in</strong>g, sculpture, and <strong>in</strong>stallation,the ‘Bastards’ dealt with tropes ofdisenfranchised mascul<strong>in</strong>ity and the <strong>art</strong>historical l<strong>in</strong>eage of portraiture andfiguration. Recall<strong>in</strong>g dioramas or comicstrips, Farquhar’s <strong>in</strong>stallations often yieldedtheatrical narratives or more overtlyformalist compositions. With a DIY approachto assemblage, Farquhar used t-shirts,hoodies, hand bleached jeans, and Gore-Tex fabrics, among other elements,to visualize hooligan violence, racial tension,homoeroticism, and sub-cultural groupssuch as sk<strong>in</strong>heads or <strong>in</strong>die rockers.<strong>The</strong>se <strong>art</strong>works playfully parodied genderedstereotypes and rocky notions ofmascul<strong>in</strong>e identity alongside more press<strong>in</strong>gsocial concerns such as gang warfareand xenophobia.82 / 83


Gaga3/1/1Gaga F<strong>in</strong>e ArtsFernando MestaDurango 204MX-06700 Mexico CityT +52 55 55 25 <strong>14</strong> 35M +52 1 55 21 09 00 85hello@houseofgaga.comwww.houseofgaga.comShown at <strong>LISTE</strong>:José Rojas, 1978, MXEmily Sundblad, 1977, SEOther Artists of the Gallery:Diego Berruecos, MXJay Chung & Q Takeki Maeda, US & JPClaire Fonta<strong>in</strong>e, IT/UKJuan José Gurrola, MXKarl Holmqvist, SEAlex Hubbard, USN<strong>in</strong>a Könnemann, DEDanny McDonald, USRicardo Nicolayevsky, MXFernando Palma, MXCarissa Rodriguez, USGuillermo Santamar<strong>in</strong>a, MXJosef Strau, ATAntek Walczak, USEmily SundbladOrganic Still Life(from IllustrationsFor Liv<strong>in</strong>g Currencyseries), <strong>2013</strong>YSL eyel<strong>in</strong>er on clubstationary4.25 × 5.5 <strong>in</strong>José Rojaspreview / work <strong>in</strong>progress84 / 85For its second p<strong>art</strong>icipation <strong>in</strong> <strong>LISTE</strong>,Gaga is pleased to present new worksby Emily Sundblad and José Rojas.Both groups of work have never beenexhibited before and were done speciallyfor this occasion.In the case of Sundblad, a group of portraits,self portraits and still lifes will be presentedas p<strong>art</strong> of her ongo<strong>in</strong>g research onperformance as a place where ideasof gender and preconceptions of the <strong>art</strong>istand the <strong>art</strong>istic are deconstructed.Sundblad’s work usually aims to <strong>in</strong>habitmultiple personas: from a dealer withReena Spaul<strong>in</strong>gs F<strong>in</strong>e Art to the collectiveGrand Open<strong>in</strong>gs, the fictional <strong>art</strong>ist /faux personne Reena Spaul<strong>in</strong>gs or theperformer under her own name.Rojas’ works cont<strong>in</strong>ue his research for‘Ve<strong>in</strong>s, Verses and Fixed Action Patterns’,presented <strong>in</strong> the gallery <strong>in</strong> June 2012.<strong>The</strong> show gravitated around projection,archetypes, symbolism and externalstimuli through marble sculptures,glass surfaces, light and runn<strong>in</strong>g water.For this occasion the dep<strong>art</strong><strong>in</strong>g po<strong>in</strong>tbecomes the sk<strong>in</strong>, the oils secreted by thebody and the body’s transformationfrom three dimensions <strong>in</strong>to two creat<strong>in</strong>g aseries of soft four-dimensional collages.Both works will be gathered aroundideas concern<strong>in</strong>g the body: the <strong>art</strong>ist’s andspectator’s, the represented body <strong>in</strong>portraits and the body as measurement andreceptor of stimuli and the sk<strong>in</strong>as the boundary between be<strong>in</strong>g and world.


Grey Noise0/10/2Grey NoiseUmer ButtHetal PawaniRehan ShahUnit 24 Alserkal AvenueStreet 8, Al Quoz 1Exit 43 SZRP.O. Box 27554AE-DubaiT +97 <strong>14</strong>3 790 764F +97 <strong>14</strong>3 790 769M +97 152 923 5503<strong>in</strong>fo@greynoise.orgwww.greynoise.orgShown at <strong>LISTE</strong>:Ingrid Hora, 1976, ITBasir Mahmood, 1985, PKMichael John Whelan, 1977, IRLOther Artists of the Gallery:Fahd Burki, PKEhsan ul Haq, PKAyesha Jatoi, PKNadia Khawaja, PKMehreen Murtaza, PKIqra Tanveer, PKIngrid Hora<strong>The</strong> Great LeapForward, 2011Metal, rubber300 × 40 × 50 cmIngrid Hora<strong>The</strong> Great LeapForward, 2011Film stillGrey Noise is a contemporary <strong>art</strong>gallery represent<strong>in</strong>g a selection of <strong>art</strong>ists,with a focus on work from South Asia andEurope. Launched <strong>in</strong> 2008, and runn<strong>in</strong>gsuccessfully for 3 years <strong>in</strong> Lahore, Pakistan,Grey Noise has now expanded its programand relocated to Dubai.<strong>The</strong> gallery provides emerg<strong>in</strong>g andestablished <strong>art</strong>ists with a platform for ambitiousprojects engaged <strong>in</strong> dialogue withthe <strong>in</strong>ternational <strong>art</strong> community.Through active p<strong>art</strong>nership with curators,galleries, <strong>art</strong> <strong>fair</strong>s and museums worldwide,Grey Noise aims to promote new andoften experimental streams of thought <strong>in</strong> <strong>art</strong>and culture.86 / 87


Harris Lieberman0/1/1Harris LiebermanMichael LiebermanJessie Washburne-Harris508 West 26th StreetUS-New YorkNY 10001T +1 212 206 1290M +1 91 7446 0576gallery@harrislieberman.comwww.harrislieberman.comShown at <strong>LISTE</strong>:Julia Dault, 1977, CAZak Prekop, 1979, USMatt Saunders, 1975, USOther <strong>art</strong>ists of the gallery:Arm<strong>in</strong> Boehm, DEMatthias Dornfeld, DEStef Driesen, BEDaniel Guzmán, MXKarl Haendel, USJulian Hoeber, USEvan Holloway, USOhad Meromi, ILRebecca Morris, USLisa Oppenheim, USBernd Ribbeck, DETommy White, USThomas Zipp, DEJulia DaultUntitled 23, 8:30AM–12 PM, July15, 2012Plexiglas, Formica,Tambour, Everlastbox<strong>in</strong>g wraps, str<strong>in</strong>gDimensions variableAs depicted: 95 × 585/8 × 51 1/4 <strong>in</strong>(241 × <strong>14</strong>9 × 130 cm)88 / 89Julia Dault’s works equally emphasizeprocess and f<strong>in</strong>al form. Her sculptures havea performative aspect – Dault buildsthese sculptures through sheer athleticism,her actions rendered tangible throughbend<strong>in</strong>g and fold<strong>in</strong>g flat sheets <strong>in</strong>to unconventionalforms while her pa<strong>in</strong>t<strong>in</strong>gs be<strong>art</strong>he traces of her mark mak<strong>in</strong>g and prioritizethe movement of her hand. In 2012,Julia Dault (b. 1977, Toronto, Canada) was<strong>in</strong>cluded <strong>in</strong> ‘<strong>The</strong> Ungovernables,’ the NewMuseum’s second triennial; ‘Roundtable,’the N<strong>in</strong>th Gwangju Biennale; and‘Of Geometry and Speculation,’ p<strong>art</strong> of theMarrakech Biennale. She also presented asolo exhibition at White Cube Bermondsey,London, as p<strong>art</strong> of the gallery’s ‘Insidethe White Cube’ series.Zak Prekop’s works explore ideas andelements that structure pa<strong>in</strong>t<strong>in</strong>g, from thephysical stretcher bars to the compositionalgrid, and how color is laid down andperceived by the human eye. In <strong>2013</strong>,Zak Prekop (b. 1979) was <strong>in</strong>cluded <strong>in</strong> a groupexhibition Pa<strong>in</strong>ter, Pa<strong>in</strong>ter at the WalkerArt Center, M<strong>in</strong>neapolis.Matt Saunders work follows photographicand filmic sources through the practiceof pa<strong>in</strong>t<strong>in</strong>g <strong>in</strong>to a hybrid realm of drawn-filmsand hand-pa<strong>in</strong>ted negatives, <strong>in</strong> whichmaterials are never transparent and formsrarely stable. Saunders (b. 1975) currentlydivides his time between Berl<strong>in</strong> andCambridge, MA where he is on the facultyof Harvard University. In November 2012he had a solo exhibition at Tate Liverpool.In 2011 Saunders was <strong>in</strong>cluded <strong>in</strong> the SharjahBiennial; and had solo exhibitions at MarianGoodman Gallery, Paris and Blum & Poe,Los Angeles.


Hofland0/2/1Jean<strong>in</strong>e HoflandContemporary ArtJean<strong>in</strong>e HoflandDe Clercqstraat 62NL-1052 NJAmsterdamT +31 20 753 1596M +31 62 434 3290mail@jean<strong>in</strong>ehofland.nlwww.jean<strong>in</strong>ehofland.nlSolo Show at <strong>LISTE</strong>:Feiko Beckers, 1983, NLOther Artists of the Gallery:Pim Blokker, NLRebecca Digne, FRJasper Hagenaar, NLRumiko Hagiwara, JPMichael James Jones, CAMa<strong>art</strong>en Overdijk, NLFeiko BeckersNo chanceof successwhatsoever, <strong>2013</strong>60 × 90 cmC-pr<strong>in</strong>t on alum<strong>in</strong>umFeiko BeckersThree options,2011, still fromperformance,Rijksakademie, 201160 × 90 cmC-pr<strong>in</strong>t on alum<strong>in</strong>umPhotography: RoyTaylor90 / 91Jean<strong>in</strong>e Hofland Contemporary Art isproud to present a solo project by Dutch <strong>art</strong>istFeiko Beckers (1983, NL). In his videos andperformances Beckers both recountsand stages autobiographical stories with thep<strong>art</strong>icipation of actual members of his familyand friends. <strong>The</strong>se stories revolve aroundpersonal failures, accidents and embarrass -ments he once experienced himself.His work is an attempt to f<strong>in</strong>d answers tothe unexpected and relentless nature ofthese unfortunate events. He either createsexistential solutions for the most trivial ofproblems or trivial answers for life’s biggerquestions.Beckers works with<strong>in</strong> the genre ofperformance and executes this <strong>in</strong> threedifferent manners <strong>in</strong> his <strong>art</strong> practice:live performances with an audience,staged videos without the presence of anaudience and prop-like objects thatplay an important role <strong>in</strong> both his videosand live performances. At <strong>LISTE</strong> <strong>18</strong>Beckers will show three different worksthat emphasize these different waysof approach<strong>in</strong>g the genre.First of all ‘No chance of successwhatsoever’, a live performance about shamethat Beckers will execute <strong>in</strong> the boothwith the help of his father alongside a tablelikesculpture, used as a prop <strong>in</strong>the performance. Secondly the videoperformance‘Slow and Gradual’, about thedifficulties with say<strong>in</strong>g goodbye to people,will be shown on a monitor. And thirdlythe re<strong>in</strong>terpretation of the performance‘Advantages and Disadvantages’, about theadvantages and disadvantages of lonel<strong>in</strong>ess,will be shown. This performance will bepresented <strong>in</strong> three different ways: with theprop that was used <strong>in</strong> the performance,with a photographic work and with anaudio record<strong>in</strong>g of the actual performance,but purposively without any video or livereenactment of the performance itself.Beckers was an <strong>art</strong>ist <strong>in</strong> residence atthe Rijksakademie <strong>in</strong> Amsterdam (2010–2011)and currently at Le Pavillon, Palais de Tokyo<strong>in</strong> Paris. He performed at STUK(Leuven), De Appel (Amsterdam) andBeursschouwburg (Brussel).


Hollybush Gardens3/4/1Hollybush GardensLisa Pant<strong>in</strong>gMal<strong>in</strong> Ståhl3 Warner YardGB-London EC1R 5EYT +44 20 7739 9651M +44 79 6875 4967<strong>in</strong>fo@hollybushgardens.comwww.hollybushgardens.comSolo Show at <strong>LISTE</strong>:Bruno Pacheco, 1974, PTOther Artists of the Gallery:Johanna Bill<strong>in</strong>g, SEAndrea Büttner, DEKnut Henrik Henriksen, NOKarl Holmqvist, SEClaire Hooper, GBAnja Kirschner, DE & David Panos, GBBenoît Maire, FREl<strong>in</strong>e McGeorge, NOFalke Pisano, NLRuth Proctor, GBReto Pulfer, CHBruno PachecoMar e Campo emtrês momentos,2012Installation view,Casa das Historias –Paula RegoDimensions variable(bottom left)Bruno PachecoShorel<strong>in</strong>e, 2011–12Oil on canvas,<strong>14</strong>0 × 200 cm(bottom right)Bruno PachecoDetail: Draft(1st, 2nd, 3rd; detail),2009–12Acrylic on paper76 × 56 cm92 / 93As elements of an oeuvre that stagesthe drama of pa<strong>in</strong>t<strong>in</strong>g oscillat<strong>in</strong>g between‘<strong>art</strong> and objecthood’, to refer to MichaelFried’s notorious antithesis, Pacheco’s worksmay at the same time assume an allegoricalfunction. For him pa<strong>in</strong>t<strong>in</strong>g is as strange,fasc<strong>in</strong>at<strong>in</strong>g and confus<strong>in</strong>g as the huge,near-formless mass of a dead whale encounteredat an unspecified place betweenthe land and the sea; it is as phantasmaticas the bl<strong>in</strong>d spot <strong>in</strong> vision; it is as promis<strong>in</strong>gas the colours of the ra<strong>in</strong>bow po<strong>in</strong>t<strong>in</strong>gto a pot of gold. All such possible mean<strong>in</strong>gsof pa<strong>in</strong>t<strong>in</strong>g are summoned, implementedand revoked, through the actual mak<strong>in</strong>gof <strong>in</strong>dividual works. <strong>The</strong>y are neither statednor criticized (the allegorical is noth<strong>in</strong>gbut one possible read<strong>in</strong>g of the works).Due to its recent history, pa<strong>in</strong>t<strong>in</strong>g has turned<strong>in</strong>to an open field embrac<strong>in</strong>g diverg<strong>in</strong>goptions which, at the time of essentialistdef<strong>in</strong>itions, were variously deemed tobe <strong>in</strong>cluded <strong>in</strong> and excluded from the realmof <strong>art</strong>. Pacheco criss-crosses an openfield <strong>in</strong> all directions so as to pick up whatpa<strong>in</strong>t<strong>in</strong>g has to offer – everyth<strong>in</strong>g fromcoloured th<strong>in</strong>gs to manifestations of pictorialautonomy, <strong>in</strong>terconnected with<strong>in</strong> a contextof differences. This journey is Pacheco’s‘miracle search’, to quote one of his owntitles. <strong>The</strong> miracle is not one extraord<strong>in</strong>aryevent but a realm of possibilities that is laidout and is as full of promise as the absorptiverepresentation of one of the pa<strong>in</strong>t<strong>in</strong>gs.Ulrich Loock from his text ‘DeceptiveEngagement’ <strong>in</strong> ‘Bruno Pacheco Mar eCampo em três momentos’, Pub.Casa das Historias Paula Rego, 2012Bruno Pacheco lives and works <strong>in</strong> Londonand Lisbon. Recent solo shows <strong>in</strong>clude‘MareCampo (emtresmomentos)’, Casa dasHistorias-PaulaRego, Cascais, 2012,‘Uma historia de amor’, Chiado 8-ArteContemporanea, Lisboa, 2011. Collections<strong>in</strong>clude: Kadist Art Foundation, Paris,<strong>The</strong> UBS Art Collection, London, Fundaçãode Serralves, Porto, <strong>The</strong> National ArtMuseum of Ch<strong>in</strong>a (NAMOC) and FundaçãoCalouste Gulbenkian – CAM, Lisbon.


Hopk<strong>in</strong>son Mossman-1/2/1Hopk<strong>in</strong>son MossmanSarah Hopk<strong>in</strong>sonDanae MossmanL1/19 Putiki StreetNZ-Auckland 1021T +64 93 580 855M +64 21 244 2243<strong>in</strong>fo@hopk<strong>in</strong>sonmossman.comwww.hopk<strong>in</strong>sonmossman.comShown at <strong>LISTE</strong>:Ruth Buchanan,1979, NZ/DEMilli Jannides, 1986, NZ/UKKate Newby, 1979, NZOther Artists of the Gallery:Nick Aust<strong>in</strong>, NZAndrew Barber, NZFiona Connor, NZ/USDaniel Malone, NZ/PLNicholas Mangan, AUDane Mitchell, NZTahi Moore, NZPeter Rob<strong>in</strong>son, NZLuke Willis Thompson, NZRuth BuchananOn or with<strong>in</strong> ascenario, <strong>2013</strong>Installation view:Hopk<strong>in</strong>son Cundy,AucklandMilli JannidesOther people’sw<strong>in</strong>dows, 2012Oil on l<strong>in</strong>en31 × 38 cmKate NewbyAll p<strong>art</strong>s. All thetime, (detail), 2012Ceramic and foundobjects, <strong>in</strong>k on paperDimensions vary94 / 95Ruth Buchanan constructs material spacesthat <strong>in</strong>vestigate modes of communicationand the parameters of <strong>art</strong>istic action.Buchanan’s process often beg<strong>in</strong>s <strong>in</strong> thearchive where encounters with p<strong>art</strong>icularsites, methods of display and <strong>art</strong>istic process,and the sensations of th<strong>in</strong>k<strong>in</strong>g or read<strong>in</strong>g,are channeled <strong>in</strong>to spatial propositions.<strong>The</strong> result<strong>in</strong>g works have been <strong>in</strong>terpretedas maps or diagrams of cognitive function,and her <strong>in</strong>stallations described as metaphorsfor the (<strong>art</strong>ist’s) bra<strong>in</strong>. In recent workBuchanan has borrowed and abstractedboth <strong>in</strong>formational structures (museumvitr<strong>in</strong>es, library noticeboards, teach<strong>in</strong>g aids)and domestic forms (curta<strong>in</strong>s, chairs)to reflect on the relationship and exchangebetween material surfaces and modesof display.Milli Jannides’ pa<strong>in</strong>t<strong>in</strong>g practice canbe seen as an ongo<strong>in</strong>g exploration <strong>in</strong>to theways <strong>in</strong> which the ephemeral nature ofvisual experience can be translated <strong>in</strong>to apicture. Her pa<strong>in</strong>t<strong>in</strong>gs comb<strong>in</strong>e illusionisticforms <strong>in</strong> complex, at times disorient<strong>in</strong>g,spatial configurations that bear evidenceof the <strong>art</strong>ist’s changes of course,decision-mak<strong>in</strong>g and doubt. Taken together,the pa<strong>in</strong>t<strong>in</strong>gs conceive vision as necessarilymediated and utterly subjective and explorehow this condition can be communicatedthrough a sense of touch.Kate Newby’s materials are typicallydrawn from the built environment: primarymaterials (concrete, timber, bricks)and materials associated with <strong>in</strong>habitation(carpet, fabric, clay, plants). Newby’s largescale <strong>in</strong>stallations subtly divert exist<strong>in</strong>gmaterials and spaces from their prescribedfunction to construct series of richtraversable ambiances that serve to bothbr<strong>in</strong>g the outside <strong>in</strong>, and lead the viewerfrom the <strong>in</strong>side out. Other more <strong>in</strong>timatelyscaled works (such as sets of small clayrocks and crudely formed ceramic sticks)are directed toward spheres of possibility –nature’s open system, everyday practicesand the vagaries of personal impressionsand emotions.


Huber3/4/2Galerie Andreas HuberAndreas HuberSchleifmühlgasse6–8AT-1040 WienT +43 1 586 02 37F +43 1 586 02 37 12M +43 676 580 76 00<strong>art</strong>@galerieandreashuber.atwww.galerieandreashuber.atSolo Show at <strong>LISTE</strong>:Rita Sobral Campos, 1982, PT/USOther Artists of the Gallery:Kaucyila Brooke, USJosef Dabernig, ATCarola Dertnig, ATVolker Eichelmann, UKJudith Hopf, DELeopold Kessler, ATDaniel Lergon, DEMichael P<strong>art</strong>, ATRudolf Polanszky, ATDan Rees, UKFlorian Schmidt, AT(top left)Rita Sobral Campos<strong>The</strong>y fought for theThird place, <strong>2013</strong>Carbon <strong>in</strong>k and goldleaf on paper46 × 31.5 cm (framed)Courtesy GalerieAndreas Huber,ViennaPhoto: GeorgPetermichl(top right)Rita Sobral CamposFrederik: <strong>The</strong>Mystics #1, <strong>2013</strong>Walnut wood76 × 65 × 5 cmCourtesy GalerieAndreas Huber,ViennaPhoto: GeorgPetermichlNeon Medieval –GalerieAndreas Huber15.3.<strong>2013</strong>–11.5.<strong>2013</strong>,ViennaInstallation viewPhoto: GeorgPetermichl96 / 97<strong>The</strong> draw<strong>in</strong>gs and sculptures preparedfor the project ‘Neon Medieval’ represent amoment <strong>in</strong> the narrative that Rita SobralCampos has conceived around Frederik:that moment <strong>in</strong> which Frederik enlists theadvice of five mutually conflict<strong>in</strong>g heresies.Each of these heresies, as well as Frederikhimself, is presented <strong>in</strong> animations us<strong>in</strong>gshort texts, and given visual form by variousshapes and symbols. Wooden sculptures,so-called foot soldiers, serve to representand characterize each teach<strong>in</strong>g.Inspired and enthused by the figures ofFriedrich II and medieval culture, SobralCampos sp<strong>in</strong>s a new story. She transformsthe historical, transferr<strong>in</strong>g it <strong>in</strong>to a fictionwith no def<strong>in</strong>ed time frame. Like most of herworks, ‘Neon Medieval’ is based on acomplex narrative that draws on a broadphilosophical and historical context.Current discussion plays a role as well,such as references to physics or theneurosciences. <strong>The</strong> draw<strong>in</strong>gs and woodensculptures are a manifestation ofone step of this narration. <strong>The</strong> work willbe developed further and <strong>in</strong> its nextpresentation will end up at another po<strong>in</strong>tand <strong>in</strong> another form.Installations, sculptures, draw<strong>in</strong>gs,animations, texts, books: <strong>in</strong> her multimediaprojects and obsessive research,Rita Sobral Campos f<strong>in</strong>ds the possibilities topresent her work <strong>in</strong> various media.<strong>The</strong> exhibits here, accompanied by shorttexts and glossaries, are rem<strong>in</strong>iscent ofscience fiction or pseudo-scientific fantasy.Rita Sobral Campos, born <strong>in</strong> 1982, lives andworks <strong>in</strong> New York.


Hunt Kastner0/7/1hunt kastnerKather<strong>in</strong>e KastnerCamille HuntBořivojova 85CZ-130 00 Prague 3T +420 222 969 887M +420 777 571 306<strong>in</strong>fo@huntkastner.comwww.huntkastner.comSolo Show at <strong>LISTE</strong>:Basim Magdy, 1977, EGOther Artists of the Gallery:Zbyněk Baladrán, CZJosef Bolf, CZViktor Kopasz, SKEva Koťátková, CZAlena Kotzmannová, CZDom<strong>in</strong>ik Lang, CZDaniel Pitín, CZJan Šerých, CZJiří Skála, CZMichaela <strong>The</strong>lenová, CZJiří Thýn, CZTomáš Vaněk, CZBasim Magdy<strong>The</strong>y EndorsedCollective Failure asthe Dawn of a NewRenaissance, <strong>2013</strong>Acrylic, spray pa<strong>in</strong>tand watercolor onpaper45.5 × 60.5 cmBasim MagdyReenact<strong>in</strong>g LostCivilizationsto Prevent anImpend<strong>in</strong>gApocalypse, 2012Spray pa<strong>in</strong>t andacrylic on paper50 × 65 cmBasim Magdy<strong>The</strong> Moment YouRealize Eternity isa One-Way Track,2010Spray pa<strong>in</strong>t,gouache and collageon paper23 × 30.5 cm98 / 99Basim Magdy uses a variety of techniquesand media <strong>in</strong> his work, <strong>in</strong>clud<strong>in</strong>g draw<strong>in</strong>g,pa<strong>in</strong>t<strong>in</strong>g, sculpture, film, photography and<strong>in</strong>stallations. He often juxtaposes opposites<strong>in</strong> a comb<strong>in</strong>ation of the mundane andthe absurd, reveal<strong>in</strong>g a deeper existentialreflection about the human condition.While gently warn<strong>in</strong>g of us the dangers thatlay ahead, his ultimate message is oneof hope; reassur<strong>in</strong>g us that, come what may,humanity will prevail.Basim Magdy (born 1977 <strong>in</strong> Cairo, Egypt,lives and works <strong>in</strong> Cairo and <strong>Basel</strong>) studiedpa<strong>in</strong>t<strong>in</strong>g at the faculty of F<strong>in</strong>e Arts of theHelwan University <strong>in</strong> Cairo. Most recently,his works have been exhibited at <strong>2013</strong>Future Generation Art Prize (Kiev, 2012 andVenice, <strong>2013</strong>); Confront<strong>in</strong>g the Monster <strong>in</strong> aMonster Costume, Centre Culturel Suisse,Paris (solo, <strong>2013</strong>); How to Build an InvisibleMonument, Coburn Gallery, ColoradoCollege, Colorado Spr<strong>in</strong>gs, USA (solo, <strong>2013</strong>);<strong>The</strong> Sharjah Biennale, curated by YukoHasegawa (<strong>2013</strong>); In <strong>The</strong> W<strong>in</strong>try Thicketof Metropolitan Civilization, AR/GE KunstGalerie Museum, Bolzano, curated byLuigi Fassi (2012); La Triennale: IntenseProximity, Palais de Tokyo, Paris, curated byOkwui Enwezor (2012). Selected upcom<strong>in</strong>gshows <strong>in</strong> <strong>2013</strong> <strong>in</strong>clude the 13th IstanbulBiennial, Turkey, curated by Fulya Erdemci;Biennale Jogja XII, Indonesia, curatedby Agung Hujatnikajennong and Sarah Rifky;Dissident Futures at Yerba Buena Centerfor the Arts, San Francisco, curated by Betti-Sue Hertz; and a solo exhibition at huntkastner open<strong>in</strong>g <strong>in</strong> September <strong>in</strong> Prague.


Ibid.0/4/1Ibid.Magnus Edensvard35 Hoxton SquareGB-London N1 6NNT +44 20 7998 7902M 44 75 4031 8347<strong>in</strong>fo@ibidprojects.comwww.ibidprojects.comSolo Show at <strong>LISTE</strong>:Rallou Panagiotou, 1978, GROther Artists of the Gallery:David Adamo, USJānis Avotiņš, LVRoss Chisholm, UKLouise Despont, USWilliam Hunt, UKAmir Mogharabi, USChristopher Orr, UKMichael Portnoy, USOlivier Richon, CHRallou Panagiotou<strong>The</strong> National, 2012Marble, felt,leatherette, wood,steel brackets32 × 44 × 33 cmRallou PanagiotouLiquid Degrade, 2010Marble, metal, pa<strong>in</strong>t46 × 310 × 100 cmRallou PanagiotouEyel<strong>in</strong>er (dramatic),<strong>2013</strong>Black marble, <strong>in</strong>kjetpr<strong>in</strong>t <strong>in</strong> leatherette,wood, iron, spraypa<strong>in</strong>t, bronze tubes45 × 88 × 30 cm100 / 101Rallou Panagiotou (b. 1978, Athens, livesand works <strong>in</strong> Glasgow) creates sculpturalassemblages and <strong>in</strong>stallations that comeforth as series of composite topologies,where traces of objects, activity or gestureare converted <strong>in</strong>to architectural fractions.Select<strong>in</strong>g, reconstruct<strong>in</strong>g and associat<strong>in</strong>gfragments of cultural environments,from holiday resorts to museum spatialarrangements to self-ornamentation adverts,Rallou Panagiotou’s work is concernedwith codes of display <strong>in</strong> relation to thepreservation of power and shifts of culturalvalue.In her practice, the immediacy of specificbuilt environments – a goth club,an archaeology museum, an abandonedsummer house, a plumber’s shop w<strong>in</strong>dow –is l<strong>in</strong>ked with Rem Koolhaas’ notionof ‘junkspace’: that which rema<strong>in</strong>s aftermodernization has run its course. In RallouPanagiotou’s work there is an assimilationand transformation, through a syntheticsculptural process, of the proxemics, visualdexterity, temperature and tactilityof sensory reality, shift<strong>in</strong>g from facadesto details of walls to utility objects.Perceived as relics, as constituted byfatigued objecthood, certa<strong>in</strong> surround<strong>in</strong>gsare beheld to convey an almost psychotropiceffect between memory and desire,pauses <strong>in</strong> production and social reverie.<strong>The</strong> subversion of Modernism <strong>in</strong>to symbol,its blend <strong>in</strong>to pop culture and the deactivationof tradition are notions present<strong>in</strong> Rallou Panagiotou’s work, marked<strong>in</strong> charged punctuations. <strong>The</strong> black marblehorizontal l<strong>in</strong>e <strong>in</strong> her work Eyel<strong>in</strong>er(dramatic), <strong>2013</strong>, pays a rotated homageto the ‘cont<strong>in</strong>uous l<strong>in</strong>es’ of Constant<strong>in</strong>Brancusi. Reconstructed fenc<strong>in</strong>g wire,v<strong>in</strong>yl-covered surfaces, casts of figs, cutf<strong>in</strong>gergloves carved from black marble.Each act as signifiers of real spacesas well as of mythologies of history and thepresent, of the endogenous, of identityand its representation.


Kadel Willborn1/3/1Kadel WillbornIris KadelMoritz WillbornBirkenstrasse 3DE-40233 DüsseldorfHirschstrasse 45DE-76133 Karlsruhewww.kadel-willborn.de<strong>in</strong>fo@kadel-willborn.deT +49 211 749 561 19F +49 211 749 561 20M +49 175 58 23 51 7M +49 151 22 34 81 51Solo Show at <strong>LISTE</strong>:Natalie Czech, 1976, DEOther Artists of the Gallery:Art & Language, GBMatthias Bitzer, DEShannon Bool, CANatalie Czech, DEDani Gal, ILAne Mette Hol, NOHelmut Dorner, DEHelen Feifel, DEBenedikt Hipp, DEBarbara Kasten, USMathilde Rosier, FRAdrian Williams, USNatalie CzechA poem by repetitionby Aram Saroyan,<strong>2013</strong>3 C-Pr<strong>in</strong>ts;all together107 × 65 cmCopyright: VG BildKunst102 / 103Us<strong>in</strong>g the medium of photography,Natalie Czech explores the <strong>in</strong>terrelationsbetween image and text. <strong>The</strong> st<strong>art</strong><strong>in</strong>gpo<strong>in</strong>t of the photographs is found materialfrom magaz<strong>in</strong>es, books, album covers,iPad issues or e-books on K<strong>in</strong>dle readersas well as her collection of exist<strong>in</strong>g poemsby contemporary authors and languagepictures of concrete poetry. In a meticulous,time-consum<strong>in</strong>g, subjective search process,Czech f<strong>in</strong>ds poems that exist <strong>in</strong> textmaterial and makes them visible throughmark<strong>in</strong>gs. Czech photographs the textpages and objects she has prepared andpresents them as full-scale photoswith a consciously selected pictureexcerpt and format.Czech´s new series ‘Poems by Repetition’presented at <strong>LISTE</strong><strong>18</strong> refers to GertrudeSte<strong>in</strong>’s ‘petition’ for the pr<strong>in</strong>ciple of repetition.<strong>The</strong> concept of repetition <strong>in</strong> the sense ofSte<strong>in</strong> is a dynamic and process-related formof represent<strong>in</strong>g narrative content. Repetitionproduces a tonal composition mov<strong>in</strong>g<strong>in</strong> space, similar to a song and its recurr<strong>in</strong>grefra<strong>in</strong>s. Czech has selected poems thatare characterized by the rhetoricalstylistic device of repetition, found <strong>in</strong> textsby authors like Aram Saroyan, H<strong>art</strong> Crane,Yunte Huang or Tan L<strong>in</strong>. <strong>The</strong> number of<strong>in</strong>dividual photographs of a group is def<strong>in</strong>edby the found poem and its respectiverhetorical stylistic device of repetition.<strong>The</strong> poems only become completely visibleand readable through the depictionof the respectively same photographed textmaterial and the repeated str<strong>in</strong>g<strong>in</strong>gtogether of the <strong>in</strong>dividual photographs toone group.Natalie Czech’s (*1976 GER) works havebeen shown <strong>in</strong> renowned museum exhibitionsas at ‘Made <strong>in</strong> Germany’, Sprengel MuseumHannover (2012) or ‘Anfang gut. Alles gut’at Kunsthaus Bregenz (2011). In <strong>2013</strong>,her new series ‘Poems by Repetition’ will be<strong>in</strong>cluded <strong>in</strong> her solo exhibitions atKunstvere<strong>in</strong> Hamburg (july) and Kunstvere<strong>in</strong>Braunschweig (september).


Karma International1/6/1Karma InternationalKarol<strong>in</strong>a DankowMar<strong>in</strong>a LeuenbergerHönggerstrasse 40CH-8037 ZürichT +41 79 843 58 90<strong>in</strong>fo@karma<strong>in</strong>ternational.orgwww.karma<strong>in</strong>ternational.orgShown at <strong>LISTE</strong>:Tobias Madison, 1985, CHCarissa Rodriguez, 1970, USPamela Rosenkranz, 1979, CHKeiichi Tanaami, 1936, JPSergei Tcherepn<strong>in</strong>, 1981, USOther Artists of the Gallery:Kim Seob Bon<strong>in</strong>segni, KRAgnieszka Brzezanska, PLIda Ekblad, NODavid Hom<strong>in</strong>al, CHThomas Julier, CHEmanuel Rossetti, CHThomas Sauter, CHM<strong>art</strong><strong>in</strong> Soto Climent, MXKeiichi TanaamiA tree of anelephant, 1989Wood, lacquer<strong>18</strong>.5 × 45 × 79 cmKeiichi Tanaamis (*1936) practice is ofhigh <strong>in</strong>fluence for the development of Pop Art<strong>in</strong> Japan. He’s a predecessor for manyJapanese <strong>art</strong>ists such as Takashi Murakamior Tabaimo. Tanaami studied graphicdesign and created various record covers.He worked with Ushio Sh<strong>in</strong>ara, the leaderof the Japanese Neo-Dada-movementas well as Robert Rauschenberg and MichelTapié dur<strong>in</strong>g their visits <strong>in</strong> Japan. In 1969Tanaami travelled to the USA where he metwith Andy Warhol and visited his factory.In 1975 Tanaami became the first Art Directorof the Japanese Playboy magaz<strong>in</strong>e.S<strong>in</strong>ce 1991 he teaches at the <strong>art</strong> school<strong>in</strong> Kyoto. He recently had shows atthe Sch<strong>in</strong>kel Pavillon <strong>in</strong> Berl<strong>in</strong>, Studiolo <strong>in</strong>Zurich and Nanzuka <strong>in</strong> Tokyo. He lives andworks <strong>in</strong> Tokyo.104 / 105


Kisterem0/9/5KisteremMargit ValkóKépíró u. 5.HU-1053 BudapestT +36 1 267 05 22M +36 30 960 10 15kisterem@kisterem.huwww.kisterem.huSolo Show at <strong>LISTE</strong>:Tamás Kaszás, 1976, HUOther Artists of the Gallery:Miklós Erdély, HUJános Fodor, HUGyörgy Jovánovics, HUKatal<strong>in</strong> Káldi, HUÁdám Kokesch, HUTamás Körösényi, HUAntal Lakner, HULittle Warsaw, HUJános Sugár, HUGergő Sz<strong>in</strong>yova, HUKamilla Szíj, HUJúlia Vécsei, HUGitte Villesen, DE/DKAnna B. Wiesendanger, CHTamás KaszásMemorial Course,2012Wood, chalkdraw<strong>in</strong>gs300 × 520 × 120 cmTamás KaszásMemorial Course(detail), 2012Wood, chalkdraw<strong>in</strong>gs300 × 520 × 120 cm106 / 107We activate our life as we relate to thepremises around us. We make up our m<strong>in</strong>dsand st<strong>art</strong> act<strong>in</strong>g as we go. Surrounded bygestures advertis<strong>in</strong>g various agendas mostpeople live the praxis of life on the basis ofpolitically passive, practical choices and acts.As soon as everyday life is under siege,we st<strong>art</strong> to imag<strong>in</strong>e futures differently,and activate our political speculat<strong>in</strong>gon optional paths to follow and choices toappropriate it for the better. As we appropriateanew, we reconfigure the socialsphere and our private wishes and stances<strong>in</strong>tersect with those of the public,the spiritual and the social blend. In the end,the social sphere demands the subjectivityof the spiritual energy to empower itthough forms of representation, as we needto mediate our position anew socially.We need registers to translate our futurepositions, and need to cl<strong>in</strong>g on to theknown <strong>in</strong> order to legitimize it to us ourselvesand to translate our wish to others.(Freek Lomme)Tamás Kaszás usually creates complexprojects <strong>in</strong>spired by theoretical researches.By mix<strong>in</strong>g poetic images with useful<strong>in</strong>ventions <strong>in</strong> his exhibit<strong>in</strong>g practice,autonomous <strong>art</strong> pieces appear <strong>in</strong> the frameof large <strong>in</strong>stallations (visual aid constructions– as he calls them). <strong>The</strong> MemorialCourse focuses on the aesthetical viewof the political. <strong>The</strong> chalk draw<strong>in</strong>gs showfigural elements of posters from historicalpolitical movements of the XX. Century.<strong>The</strong> textual elements and political signs areleft, as someone would reconstruct themonly by memories, recall<strong>in</strong>g the visual p<strong>art</strong>without ideological context.Kaszás is widely exhibited <strong>in</strong> Europe<strong>in</strong>clud<strong>in</strong>g Untimely Stories, Muzeum Sztuki,Lodz (2012); 12th Istanbul Biennial (2011);<strong>The</strong> Science of Imag<strong>in</strong>ation, LudwigMuseum, Budapest (2010); How to resistand object to conditions of the present,Open Space, Vienna (2009); <strong>The</strong> SweetestDream – unity and dissonance <strong>in</strong> Europe,SPACE, London (2006); Travel<strong>in</strong>g withoutmov<strong>in</strong>g, W139, Amsterdam (2004).


Koppe0/9/3Kendall KoppeSuite 1–2, 6 Dixon Street,GB-G1 4AX GlasgowT +44 <strong>14</strong> 1248 8177M +44 74 1258 9163<strong>in</strong>fo@kendallkoppe.comwww.kendallkoppe.comShown at <strong>LISTE</strong>:Niall Macdonald, 1980, UKCor<strong>in</strong> Sworn, 1976, CA/UKOther <strong>art</strong>ists of the gallery:Laura Aldridge, UKGrier Edmundson, USElla Kruglyanskaya, LV/USCraig Mulholland, UKCiara Phillips, CA/IECharlotte Prodger, UKCor<strong>in</strong> SwornTemporalArrangments,2010-presentEra specificvases and floralarrangements, slideprojector, glassDimensions variable(bottom left)Cor<strong>in</strong> Sworn<strong>The</strong> Lookers, 2010watercolour andpigment on paper,frame, RGB light<strong>in</strong>gframed work60 × 40 cm(<strong>in</strong>stallationdimensions variable)(bottom right)Niall MacdonaldEcstacy Urch<strong>in</strong>Table, 2012Cast Plaster50 × 50 × 65 cm108 / 109Cor<strong>in</strong> Sworn (b.1977, London) is <strong>in</strong>terested<strong>in</strong> the means by which <strong>art</strong>efacts areborrowed, adapted and reconfigured to telldifferent stories. Her work explores thesocial order<strong>in</strong>g of attention and how theerratic nature of perception might underm<strong>in</strong>econtrol. Sworn’s films and <strong>in</strong>stallationsoften <strong>in</strong>corporate found images, over whichshe voices her own narratives, themselvescomposed from fragments of other texts.Sworn’s recent solo exhibitions <strong>in</strong>clude;‘Endless Renovation’, ‘Art Now’, Tate Brita<strong>in</strong>(2011); ‘Lens Prism’, Tramway, Glasgow;Wash<strong>in</strong>gton Garcia, Glasgow, with GlasgowInternational Festival of Visual Art; Wittede With, Rotterdam (all 2010);‘EAST<strong>in</strong>ternational’, Norwich; Kunsthalle<strong>Basel</strong> (all 2009); P<strong>art</strong>icipant Inc. New York(2008). She was nom<strong>in</strong>ated for <strong>The</strong> JarmanAward 2011 and <strong>The</strong> Jerwood/Film andVideo Umbrella Award 2012. Sworn hasbeen selected to represent Scotland at the55th Venice Biennale, <strong>2013</strong>.Niall Macdonald (b.1980, Outer Hebridesof Scotland) creates sculptures of surgicalprecision, through a pa<strong>in</strong>stak<strong>in</strong>g processof mould<strong>in</strong>g and cast<strong>in</strong>g found objects<strong>in</strong> a variety of materials <strong>in</strong>clud<strong>in</strong>g plaster,jesmonite and rubber. Employ<strong>in</strong>g thestrategies of bricolage, Macdonald’s sculpturesjuxtapose the detritus from ourcommodity-driven culture with ancientfossils, natural forms from his Hebrideanhome and the remnants of lost civilizations.<strong>The</strong> <strong>art</strong>ist excises these fragments fromtheir cultural, social and physical situationsand then casts them as multiples <strong>in</strong> neutralmaterials, us<strong>in</strong>g a ref<strong>in</strong>ed and labour<strong>in</strong>tensiveprocess which renders theobjects <strong>in</strong> precise detail.Macdonald’s recent exhibitions ‘Every Day’,Gallery of Modern Art, Glasgow (<strong>2013</strong>);‘Petrosphere’, with Glasgow InternationalFestival of Visual Art; ‘AMMONITEKITKAT’, Kendall Koppe, Glasgow (all2012); ‘REMAP’, Athens Greece; ‘UNCUT /NORMAL TIME AT THE 75TH MERIDIAN’(with Rallou Panagiotou), +44 <strong>14</strong>1 Gallery,Glasgow (all 2011).


KOW2/3/1KOWAlexander KochNikolaus OberhuberBrunnenstrasse 9DE-10119 Berl<strong>in</strong>T +49 30 311 66 770M +49 172 19 00 983gallery@kow-berl<strong>in</strong>.comSolo Show at <strong>LISTE</strong>:Chto Delat?, founded 2003, RUOther Artists of the Gallery:Arno Brandlhuber, DEAlice Creischer, DEBarbara Hammer, USChris M<strong>art</strong><strong>in</strong>, USFrédéric Moser, CH& Philippe Schw<strong>in</strong>ger, ATMario Pfeifer, DET<strong>in</strong>a Schulz, DESantiago Sierra, ESMichael E. Smith, USFranz Erhard Walther, DEClemens von Wedemeyer, DETobias Zielony, DEChto Delat?Border Musical,<strong>2013</strong>HD Video, 16:9, color,sound, 48:30 m<strong>in</strong>Chto Delat’s latest film project ‘BorderMusical’, produced and commissioned bythe Pikene på Broen (Kirkenes, Norway)and <strong>in</strong> co-operation with Bergen Biennial<strong>2013</strong>, st<strong>art</strong>s with a critical analysis ofNorway’s contemporary society.‘Border Musical’ issues two frequent,yet disagreeable social topics: <strong>The</strong> marriagemarket along the border between Russiaand Norway and the rigid social caresystem rout<strong>in</strong>ely pull<strong>in</strong>g children out of theirfamilies to <strong>in</strong>tegrate them <strong>in</strong>to ‘healthier’environments. Whilst ‘Border Musical’ is aneat studio production with mov<strong>in</strong>g chantsrecall<strong>in</strong>g Bertholt Brecht’s ‘S<strong>in</strong>gspiele’,it deconstructs the glossy image of thewelfare state and its generous solidarity.actualized <strong>in</strong> his ‘What is to be done?’(1902). Chto Delat? as a collective operates<strong>in</strong> different mediums such as video films,graphics, and murals, learn<strong>in</strong>g theater,newspaper publication, radio plays, militanttheory and so on. <strong>The</strong> <strong>art</strong>istic activityof Chto Delat? is operated by four member<strong>art</strong>ists: Tsaplya Olga Egorova, NikolaiOle<strong>in</strong>ikov, Natalia Persh<strong>in</strong>a/Glucklya, andDmitry Vilensky who often co-operatewith Russian and <strong>in</strong>ternational <strong>art</strong>ists andresearchers <strong>in</strong> common projects realizedunder the collective name of Chto Delat?110 / 111Chto Delat? (What is to be done?) wasfounded <strong>in</strong> 2003 <strong>in</strong> Petersburg by aworkgroup of <strong>art</strong>ists, critics, philosophers,and writers from Petersburg, Moscow,and Nizhny Novgorod with the goalof merg<strong>in</strong>g political theory, <strong>art</strong>, and activism.<strong>The</strong> name of the group br<strong>in</strong>gs rem<strong>in</strong>iscencesof the first socialist worker’s selforganizations<strong>in</strong> Russia, which Len<strong>in</strong>


Kraupa-Tuskany Zeidler0/9/6Kraupa-Tuskany ZeidlerNad<strong>in</strong>e ZeidlerAmadeo Kraupa-TuskanyKarl-Liebknecht-Straße 29DE-10178 Berl<strong>in</strong>T +49 30 688 127 10M +49 172 86 66 106office@aktnz.comwww.aktnz.comSolo Show at <strong>LISTE</strong>:Florian Auer, 1984, DEOther Artists of the Gallery:Sture Johannesson, SEK-Hole, USAids-3D, USKatja Novitskova, EEAvery S<strong>in</strong>ger, USSlavs and Tatars, EurasiaFlorian AuerFrom N<strong>in</strong>e To Five,<strong>2013</strong>Neon coat hanger,jacket, airbrush120 × 90 cm112 / 113In the early 20th century chronocyclegraphsor motion study photographs weredeveloped by Frank B. Gilbreth as ameans to analyze and optimize <strong>in</strong>dustrialwork processes. Be<strong>in</strong>g a bricklayerhimself Gilbreth first began to improve theworkflow of bricklay<strong>in</strong>g, seek<strong>in</strong>g for selfimprovementand efficiency. Associatedwith factories, stability and progress dur<strong>in</strong>gthe <strong>in</strong>dustrial age brick walls turned<strong>in</strong> the 1980s <strong>in</strong>to a fashionable fake surfacedecorat<strong>in</strong>g the lofts of the nouveaurich, <strong>in</strong>dicat<strong>in</strong>g a shift from the primacyof production <strong>in</strong> factories to new forms ofvirtual office based workflows.<strong>The</strong> 1980s were the decade whenDaniel Bell’s prediction of the post-<strong>in</strong>dustrialsociety became reality on a political scale.Produc<strong>in</strong>g ideas and <strong>in</strong>creas<strong>in</strong>g capitalbecame the ma<strong>in</strong> way to grow the economy.Especially the bank<strong>in</strong>g <strong>in</strong>dustry ga<strong>in</strong>edmore power and <strong>in</strong>fluence. Stock tickerswere the tools to communicate stock prices.<strong>The</strong> most efficient way of mak<strong>in</strong>g putand call decisions was based on the<strong>in</strong>formation transmitted via analogue andlater digital ticker tapes. By depict<strong>in</strong>g pastactivities and at the same time serv<strong>in</strong>gto determ<strong>in</strong>e even more effective futureactivities, stock tickers became thechronocyclegraphs of the <strong>in</strong>formation age.<strong>The</strong> transition from <strong>in</strong>dustrial manufactur<strong>in</strong>gto the digital age of <strong>in</strong>formationmanagement and its aesthetic and visualmanifestations are central to FlorianAuer’s work. Understand<strong>in</strong>g ergonomics asa category of equipment and devicesthat fit the human body and its cognitiveabilities Florian Auer explores its hiddenforces <strong>in</strong> a post-fordist society,where work<strong>in</strong>g processes and leisure timeare blend<strong>in</strong>g <strong>in</strong>to an entity of life styleand self-optimization.


Labor0/10/9LABORPamela EcheverríaGeneral Francisco Ramirez 5Daniel GarzaMX-1<strong>18</strong>30 Mexico CityT +52 556 304 8755M +51 155 <strong>14</strong>74 5196<strong>in</strong>fo@labor.org.mxwww.labor.org.mxSolo show at <strong>LISTE</strong>:Antonio Vega Macotela, 1980, MXOther <strong>art</strong>ists of the gallery:Erick Beltrán, MXEtienne Chambaud, FRSantiago Cucullu, ARTerence Gower, CAIrene Kopelman, ARJill Magid, USNicholas Mangan, AUTeresa Margolles, MXRaphael Montañez Ortíz, USPedro Reyes, MXJorge Satorre, MXPablo Vargas Lugo, MXHéctor Zamora, MXAntonio VegaMacotelaEstudio deagotamientonúmero 2/Study ofexhaustion number 2(detail), <strong>2013</strong>Water, soil, labor andnoth<strong>in</strong>gDimensions variableAntonio Vega Macotela’s work is multidiscipl<strong>in</strong>ary,site-specific and often engagesp<strong>art</strong>icular communities such as prison<strong>in</strong>mates, soldiers, m<strong>in</strong>ers, etc.It explores notions of labor, value andexchange, specifically with regards tocurrency as a system through which socialrelations are established and negotiated.He addresses alienation <strong>in</strong> economicsystems and its social structures. Macotelauses <strong>art</strong> as a tool for shift<strong>in</strong>g and resignify<strong>in</strong>gthe mean<strong>in</strong>g of everyday life as wellas re-contextualiz<strong>in</strong>g it. His work can beunderstood both as a concrete engagementor a form of activism, where his piecescome to have a real impact on people’s livesas well as at a metaphorical level, <strong>in</strong> whichthe metaphor emerges as the resultof an action that affects a community.1<strong>14</strong> / 115


Layr0/10/3Galerie Emanuel LayrEmanuel LayrAn der Hülben 2AT-1010 WienT +43 1 524 5490M +43 676 926 1349gallery@emanuellayr.comwww.emanuellayr.comSolo Show at <strong>LISTE</strong>:Lisa Holzer, 1971, ATOther Artists of the Gallery:Franz Amann, ATJulien Bismuth, FR/USPlamen Dejanoff, BGMarius Engh, NOStano Filko, SKBenjam<strong>in</strong> Hirte, DETillman Kaiser, ATMahony, DE/ATNick Oberthaler, ATFabian Seiz, ATLisa HolzerMayo pass<strong>in</strong>g understrawberry jamsta<strong>in</strong>s, 2012Pigment pr<strong>in</strong>t oncotton paper88 × 68 cm116 / 117it does have peaks, but they do droopdown, and that’s exactly the stage we want,at this po<strong>in</strong>t. It’s a nice, creamy, sh<strong>in</strong>yconsistency, but it’s not close to be<strong>in</strong>g doneyet, cause we still have a few more<strong>in</strong>gredients to add. So, at this po<strong>in</strong>t, you’regonna wanna add your extract. You canadd any type that you like. I’m add<strong>in</strong>g vanilla.I’m just eyeball<strong>in</strong>g <strong>in</strong> here, but for a recipelike this, I would use a teaspoon, two max.You don’t wanna overpower it, too too much.<strong>The</strong>n, you’re gonna cont<strong>in</strong>ue to beat itwith your mixer. At this po<strong>in</strong>t, you’re gonnawanna <strong>in</strong>crease the mixer speed to high.Cont<strong>in</strong>ue to beat for two to three m<strong>in</strong>utes,then you’re gonna wanna add the sugar.I unfortunately didn’t record this p<strong>art</strong>, causemy camera shut off, and I didn’t realize,but all you’re gonna wanna do, is pour thesugar at a steady stream on the <strong>in</strong>sideedge of the bowl. You’re then gonna beat,until you get firm peaks. Firm peaks isthe same concept that we talked about withsoft peaks, <strong>in</strong>stead of them droop<strong>in</strong>g down,they’re gonna be more soft. You’ll gonnabe able to tell the difference, for sure.<strong>The</strong>n, you’re gonna wanna grab a large ziplockbag, like I am us<strong>in</strong>g here, or a pip<strong>in</strong>gbag. To make it easier for me, I placethe pip<strong>in</strong>g bag, or a zip-up bag, <strong>in</strong> my case,<strong>in</strong>to a cup, and then pour all my mixture<strong>in</strong>to the bag that way. At this step, I wouldtake the time to turn your oven on to 200degrees. You wanna on a very low sett<strong>in</strong>g,because you’re not really bak<strong>in</strong>g thesecookies, you’re more dry<strong>in</strong>g them out, so youcan get the crispy, fluffy, airy cookie,mer<strong>in</strong>gue type. Once all the mer<strong>in</strong>gue’s <strong>in</strong> thebag, you’re then gonna make sure, youpush everyth<strong>in</strong>g down to the bottom, whereyour open<strong>in</strong>g is gonna be. You can use a tipif you prefer, but I just like the hole <strong>in</strong> thebottom.Excerpt from Lisa Holzer, Mer<strong>in</strong>gues/Mayonnaise /Dear Mayo, <strong>2013</strong>


Leighton3/5/1Tanya Leighton GalleryTanya LeightonKurfürstenstraße 156DE-10785 Berl<strong>in</strong>T +49 30 221 607 770www.tanyaleighton.com<strong>in</strong>fo@tanyaleighton.comShown at <strong>LISTE</strong>:Aleksandra Domanović, 1981, YUCalla Henkel, 1988, USMax Pitegoff, 1987, USOther Artists of the Gallery:Ayreen Anastas, PSPavel Büchler, CZAlejandro Cesarco, UYDavid Diao, CNSean Edwards, UKRene Gabri, IRAurélien Gamboni, CHSharon Hayes, USSanya Kantarovsky, RUOliver Laric, ATEnzo Mari, ITBruce McLean, UKLucas Osp<strong>in</strong>a, CODan Rees, UKJohn Smith, UKCalla Henkel andMax PitegoffTore, Berl<strong>in</strong>, Spr<strong>in</strong>g<strong>2013</strong>, <strong>2013</strong>Digital Pr<strong>in</strong>t, <strong>art</strong>istmadeframe85 × 75 cmAleksandraDomanovićLittle Sister, <strong>2013</strong>Laser s<strong>in</strong>teredPA plastic,polyurethane,Soft-Touch andalum<strong>in</strong>um f<strong>in</strong>ish,acrylic glass1<strong>18</strong> / 119Aleksandra Domanović was born <strong>in</strong>1981 <strong>in</strong> Novi Sad, former Yugoslavia. She hasexhibited widely with solo exhibitions <strong>in</strong>2012 at Kunsthalle <strong>Basel</strong> (curated by AdamSzymczyk); Künstlerhaus Bethanien, Berl<strong>in</strong>;Villa du Parc, Annemasse, France;SPACE, London; and Tanya Leighton Gallery,Berl<strong>in</strong>. Domanović was commissionedto create a large-scale public sculpture forthe 4th Marrakech Biennale <strong>in</strong> 2012.Other recent exhibitions <strong>in</strong>clude: ‘<strong>The</strong> Bestof Times, <strong>The</strong> Worst of Times – Rebirth andApocalypse In Contemporary Art’, <strong>The</strong> FirstKiev Biennale, Kiev (2012); ‹In Practice›,SculptureCenter, New York (2012);‹Les Cadeaux Du Présent›, Centré d’<strong>art</strong>Neuchâtel, France (2011); ‹based <strong>in</strong> Berl<strong>in</strong>›,Neuer Berl<strong>in</strong>er Kunstvere<strong>in</strong>, Berl<strong>in</strong> (2011);and ‹Free›, New Museum, New York(2010). Her work has been written about <strong>in</strong>numerous publications <strong>in</strong>clud<strong>in</strong>g ArtForum,FriezeArt Review, and Kaleidoscope.Domanović lives and works <strong>in</strong> Berl<strong>in</strong>.A forthcom<strong>in</strong>g monograph on AleksandraDomanović is be<strong>in</strong>g published byKunsthalle <strong>Basel</strong>, <strong>2013</strong>.Calla Henkel was born <strong>in</strong> 1988 <strong>in</strong>M<strong>in</strong>neapolis, M<strong>in</strong>nesota. Max Pitegoff wasborn <strong>in</strong> 1987 <strong>in</strong> Boston, Massachusetts.<strong>The</strong> pair have worked collaboratively s<strong>in</strong>ceattend<strong>in</strong>g Cooper Union School of Art <strong>in</strong>New York, both graduat<strong>in</strong>g <strong>in</strong> 2011. Pitegoffand Henkel have had solo exhibitionsat T293, Naples;Tomorrow Gallery, Toronto;and Cleopatra’s, New York. Recent groupexhibitions <strong>in</strong>clude: ‘Black Cake’ (curatedby Alex G<strong>art</strong>enfeld), Team Gallery,New York (<strong>2013</strong>); ‘Deep Space (Insides)’,Joe Sheftel Gallery, New York (2012);‘Stars!’(a performance directed by MatthewLutz-K<strong>in</strong>oy), Stedelijk Museum, Amsterdam(2012); ‘LLL, hc r 1’, Kunsthalle Bern(2012); ‘July’, CEO Gallery, Malmö (2012);and ‘Asiataco’, Tanya Leighton, Berl<strong>in</strong>(2012). <strong>The</strong>ir <strong>art</strong>ist run bar ‘Times’ <strong>in</strong> Berl<strong>in</strong>was open from July, 2011 to September,2012.


Limoncello0/7/2LimoncelloRebeccaMay MarstonRosa Tyhurst340-344 K<strong>in</strong>gsland RoadGB-London E8 4DAT +44 20 7923 7033M +44 7835 112 1<strong>14</strong>limoncello@limoncellogallery.co.ukwww.limoncellogallery.co.ukSolo Show at <strong>LISTE</strong>:Yonatan V<strong>in</strong>itsky, 1980, ILOther Artists of the Gallery:Cornelia Baltes, DEVanessa Billy, CH/FRAlice Browne, UKLucy Clout, UKTomas Downes, UKSean Edwards, UKMatt Golden, UKKate Owens, UKMatthew Smith, UKJack Strange, UKSanto Tolone, ITJesse W<strong>in</strong>e, UK(top left)Yonatan V<strong>in</strong>itsky<strong>The</strong> Introduction(Yoo-Hoo), 2011Black elastic (6mm),Steel nailsDimensions variable(top right)Yonatan V<strong>in</strong>itskyLumpy Bumpy,2005/2011Mirror polishedbronze7 × 20 cm, d 12 cmYonatan V<strong>in</strong>itskyAt once I opened myeyes to the world,<strong>2013</strong>Assorted digitalpr<strong>in</strong>ts on officemagnetic board,Magnets, Googlyeyes60 × 80 cm120 / 121Yonatan V<strong>in</strong>itsky is a prolific maker,a practitioner grounded <strong>in</strong> development oftechniques, specificity of materials andf<strong>in</strong>d<strong>in</strong>g solutions for display. He is a magpiefor obscure sources <strong>in</strong> <strong>art</strong> and the worldat large, which he translates <strong>in</strong>to his workswith uncool, yet conv<strong>in</strong>c<strong>in</strong>g s<strong>in</strong>cerity.He is enamoured by aesthetics, but wouldnever be tied to a set because hisexplorations render his work seem<strong>in</strong>gly bymany different <strong>art</strong>ists. His ultimate goalis exhibition-mak<strong>in</strong>g, tak<strong>in</strong>g his disparateworks and construct<strong>in</strong>g layers ofconnections.4 Forbidden + 3 Permitted Questions:Who? From What? When? What For?What Is It? How? Why?V<strong>in</strong>itsky’s <strong>LISTE</strong> presentation comprisesof seven large-scale, elastic works. On baseplanes of coloured pa<strong>in</strong>t applied direct onthe wall, he uses lengths of elastic stretchedround nails to del<strong>in</strong>eate shapes.His technique happily occupies traditionalmedias of sculpture, pa<strong>in</strong>t<strong>in</strong>g and draw<strong>in</strong>g;but he subtly uses and comb<strong>in</strong>es materialsto pull them <strong>in</strong>to <strong>in</strong>def<strong>in</strong>ite territories.His references range widely from housedecorat<strong>in</strong>g swatches to children’s dot-to-dotgames, and from DIY to two <strong>art</strong>istic p<strong>in</strong>naclesof material <strong>in</strong>novation Dieter Roth andFred Sandback.V<strong>in</strong>itsky’s series has its orig<strong>in</strong>s <strong>in</strong> a 1955Hebrew children’s book, <strong>in</strong> which the writerposed four forbidden and three permittedquestions on the nature of the universe.V<strong>in</strong>itsky splices exist<strong>in</strong>g imagery fromsources such as text-books and c<strong>art</strong>oons,and reconfigures the p<strong>art</strong>s <strong>in</strong>to spatialarrangements on his pa<strong>in</strong>ted surfaces.Look<strong>in</strong>g at his practice there are keychapters: techniques and sources are two,for example, which are explored andactualized <strong>in</strong> these works. Another is based<strong>in</strong> how he embeds his decision-mak<strong>in</strong>gprocess with<strong>in</strong> works: so crucial to him <strong>in</strong>order that it be dynamically transferred <strong>in</strong>toa range of enabl<strong>in</strong>g questions for the viewerto approach the work: What is it? How isit made? Why is it like this? Did you want tobe an astronomer when you were a boy?


Lüttgenmeijer0/7/4LüttgenmeijerMarkus LüttgenRobert MeijerB<strong>art</strong>n<strong>in</strong>gallee 2–4DE-10557 Berl<strong>in</strong>T +49 30 2804 5805F +49 30 2804 5806M +49 176 2431 4432mail@luettgenmeijer.comwww.luettgenmeijer.comShown at <strong>LISTE</strong>:Matt Connors, 1973, USStefan Hablützel, 1964, CHGareth Moore, 1975, CAOther Artists of the Gallery:Erica Baum, USJames Beckett, ZAAnna Betbeze, USJason Dodge, USGer van Elk, NLChris Evans, UKDavid Jablonowski, DEGeorge Henry Longly, UKRyan McLaughl<strong>in</strong>, USMatthew Ronay, USMatthew Smith, UKMatt Stokes, UKSusanne M. W<strong>in</strong>terl<strong>in</strong>g, DEStefan HablützelO.T. (share I), <strong>2013</strong>Mixed media onc-pr<strong>in</strong>t100 × 80 cmCourtesy: the <strong>art</strong>ist& Lüttgenmeijer,Berl<strong>in</strong>122 / 123


Maisterravalbuena1/2/2MaisterravalbuenaPedro MaisterraBelén Valbuenac/o Doctor Fourquet 6ES-28012 MadridT +34 911 733 034M +34 664 4<strong>14</strong> 296galeria@maisterravalbuena.comwww.maisterravalbuena.comShown at <strong>LISTE</strong>:A Kassen, founded 2004Members of the group:Christian Bretton-Meyer, 1976, DKMorten Steen Hebsgaard, 1977, DKSøren Petersen, 1977, DKTommy Petersen, 1975, DKReg<strong>in</strong>a de Miguel, 1977, ESMaria Loboda, 1979, PLOther Artists of the Gallery:Antonio Ballester Moreno, ESKarmelo Bermejo, ESAna Cardoso, PTKate Gilmore, USClaire Harvey, GBDaniel Jacoby, PEErlea Maneros Zabala, ESNestor Sanmiguel Diest, ESHiraki Sawa, JPCristián Silva, CLA KassenEncirclement #42,2012C-pr<strong>in</strong>t, curvedglass, wood152 × 115 cmUnique pieceReg<strong>in</strong>a de MiguelKnowledge NeverComes Alone, <strong>2013</strong>HD video, colour,sound, 39’ 28’’Maria LobodaPlay of the jewels(7 citr<strong>in</strong>es, 9 Ch<strong>in</strong>eseturquoises, 5 pyrites,11 lava stones), 20128 citr<strong>in</strong>es, 9 Ch<strong>in</strong>eseturquoises, 5 pyrites,11 lava stones on awooden trayDimensions variable124 / 125A Kassen’s uncanny actions are not alwaysperceptible at first sight, but their workultimately takes on the form of performative<strong>in</strong>stallations and sculptures that succeed<strong>in</strong> alter<strong>in</strong>g the viewer’s perception,with an added dose of humor. Test<strong>in</strong>g theboundaries between what is considered<strong>art</strong> and what is not, they often draw uponreferences to 1960s conceptual <strong>art</strong> <strong>in</strong>their critical reflections on the absurdity ofsituations that arise <strong>in</strong> specific contexts,both <strong>art</strong>istic and mundane.Versatile cultural references to literature,music and <strong>art</strong> alongside mysticismand folklore can be discovered <strong>in</strong> MariaLoboda’s work. A basic <strong>in</strong>terest for thetransformation of language and knowledge<strong>in</strong> specific objects as well as roomensembles crosses her work. In thesethemes Loboda refra<strong>in</strong>s from focus on acerta<strong>in</strong> era and <strong>in</strong>stead <strong>in</strong>vestigates asa researcher throughout several fields.Loboda engages with the condensation ofcultural history <strong>in</strong> <strong>art</strong>efacts and how theymay materialise <strong>in</strong> our time.Reg<strong>in</strong>a de Miguel’s work draws connectionsbetween situations of scientific analysisand perception as objective knowledge(verisimilitude scales), non-experimentallearn<strong>in</strong>g derived from technologicalimag<strong>in</strong>ation (surpris<strong>in</strong>g and projection)and levels of formation of ideal and criticalconsciousness (new means of orientation).A p<strong>art</strong> of her production deals with thestrategies of the formation of desire,the crises of subjective mean<strong>in</strong>g and theirvisualization as psychosocial landscape asa form of map mak<strong>in</strong>g. In the same ve<strong>in</strong>,she also analyzes the speculative transfer<strong>in</strong> scientific and cultural learn<strong>in</strong>g tools.


Marcelle Alix0/9/8Marcelle Alix GalerieIsabelle AlfonsiCécilia Becanovic4, rue Jouye-RouveFR-75020 ParisT +33 9 50 04 16 80F +33 9 55 04 16 80M +33 6 32 45 80 47dema<strong>in</strong>@marcellealix.comwww.marcellealix.comShown at <strong>LISTE</strong>:Mathieu K. Abonnenc, 1977, FRAurélien Froment, 1976, FRLouise Hervé, 1981, FR & Chloé Maillet, 1981, FRCharlotte Moth, 1978, UKErnesto S<strong>art</strong>ori, 1982, ITOther Artists of the Gallery:Paul<strong>in</strong>e Boudry & Renate Lorenz, CH/DEMarie Cool & Fabio Balducci, FR/ITIan Kiaer, UKLaura Lamiel, FRMarie Voignier, FRErnesto S<strong>art</strong>oriUne moitié del’immeuble S<strong>in</strong>us1/3, Maquette(detail), 2010–2012Wood, pa<strong>in</strong>t, dyes,screws157 × 139 × 96 cmView of theexhibition ‘Whentwo become one’,Marcelle Alix, Paris,<strong>2013</strong>Photo: Aurélien MoleCourtesy MarcelleAlix, Paris126 / 127PossessedIn Witold Gombrowicz’s eponymousGothic novel, the ma<strong>in</strong> character seems tobe affected by an unknown illness thatunderm<strong>in</strong>es his physical <strong>in</strong>tegrity (the hero’slips get twice ta<strong>in</strong>ted with a terriblelead-like colour), as soon as he gets closeby an ancient house, and <strong>in</strong> p<strong>art</strong>icularnear the old kitchen where a grey towelfilled with dust and shiver<strong>in</strong>g with‘repulsive pangs’ lies. <strong>The</strong> towel is an<strong>in</strong>vented construction meant to confrontthe un-expressed which should rema<strong>in</strong> <strong>in</strong>the shadow. In the novel, the towel isused as a medium to trace back the sourceof evil and make the past express itselfas unimag<strong>in</strong>able, as a resist<strong>in</strong>g present anda disquiet<strong>in</strong>g future. <strong>The</strong> reader of the bookwonders about a disturb<strong>in</strong>g k<strong>in</strong>shipwhich upsets social conventions, captivatesspirits and spreads some mystical fluids.In the collective show that we arepropos<strong>in</strong>g, the beholder is confronted withthe repetition of traumas and with thestatement mouthed by the narrator ofMathieu K. Abonnenc’s An Italian Film (2012):‘when births no longer symbolize thecont<strong>in</strong>uation of life received through ritesbut our realities superimpose on deathsnot be<strong>in</strong>g honoured <strong>in</strong> the chaos of war’.Th<strong>in</strong>k<strong>in</strong>g about the dynamics promptedby the conflicts between contradictoryforces, heritages and splits that come fromthem, ‘Possessed’ sheds light on differentprojects <strong>in</strong>volv<strong>in</strong>g– the consequences of the fierce campaignto appropriate <strong>in</strong>digenous copper <strong>in</strong>Katanga st<strong>art</strong><strong>in</strong>g <strong>in</strong> the 16th century(a project by Mathieu K. Abonnencshown at Biennale de Rennes, MUDAMLuxemburg, Bielefelder Kunstvere<strong>in</strong> andKunsthalle <strong>Basel</strong>, 2012–<strong>2013</strong>)– the poetry of images made at the<strong>in</strong>credible ‘Ideal Palace’ of Facteur Cheval(photographs by Aurélien Froment, <strong>2013</strong>)– the subtle rehabilitation of a solitarymodern build<strong>in</strong>g (Charlotte Moth’s WillaNiespodzianka, 2012)– the reconfiguration of a daily prophecyby Gary and Duane, Ernesto S<strong>art</strong>ori’sdoppelgangers– A treatise on Baths, starr<strong>in</strong>g a mysteriousAtlantean (Louise Hervé & Chloé Maillet’sslideshow) MA


M<strong>in</strong><strong>in</strong>i2/1/2Francesca M<strong>in</strong><strong>in</strong>iAlessandra M<strong>in</strong><strong>in</strong>iVia Massimiano 25IT-<strong>2013</strong>4 MilanoT +39 022 692 46 71F +39 022 159 64 02M +39 335 784 35 43M +39 347 848 03 28<strong>in</strong>fo@francescam<strong>in</strong><strong>in</strong>i.itwww.francescam<strong>in</strong><strong>in</strong>i.itShown at <strong>LISTE</strong>:Riccardo Previdi, 1974, ITMandla Reuter, 1975, DEOther Artists of the Gallery:Ghada Amer, ETBecky Beasley, GBMatthias Bitzer, DEArm<strong>in</strong> Boehm, DEPaolo Chiasera, ITJan de Cock, BEGiulio Frigo, ITDan Graham, USAli Kazma, TRDeborah Ligorio, ITSimon Dybbroe Møller, DKGabriele Picco, ITFrancesco Simeti, ITRiccardo PrevidiInstallation view,Francesca M<strong>in</strong><strong>in</strong>i,Milan, 2012Photograph:Agost<strong>in</strong>o OsioMandla ReuterInstallation view,Kunsthalle <strong>Basel</strong>,<strong>2013</strong>Photograph:Gunnar Meier128 / 129


Monitor0/6/2MONITORPaola CapataVia Sforza Cesar<strong>in</strong>i, 43A–44IT-00<strong>18</strong>6 RomeT +39 063 937 80 24monitor@monitoronl<strong>in</strong>e.orgwww.monitoronl<strong>in</strong>e.orgShown at <strong>LISTE</strong>:Jesse Ash, 1977, UKClaudio Verna, 1937, ITOther Artists of the Gallery:Francesco Arena, ITAdam Avika<strong>in</strong>en, USGraham Hudson, UKPeter L<strong>in</strong>de Busk, DKTomaso De Luca, ITRä di M<strong>art</strong><strong>in</strong>o, ITUrsula Mayer, ATNathaniel Mellors, UKAntonio Rovaldi, ITAlexandre S<strong>in</strong>gh, FRIan Tweedy, DENico Vascellari, ITKostis Velonis, GRGuido van der Werve, NLZimmerFrei, ITClaudio Verna,Superficie modulareN. 12, 1966. Oil oncanvas, 50 × 50 cm.Courtesy the <strong>art</strong>istand Monitor, Rome.130 / 131Jesse Ash’s (London 1977) work configuresa personal and material relationship topolitics by impos<strong>in</strong>g processes of reconstructionand abstraction upon exist<strong>in</strong>gimages, sounds and words of dissem<strong>in</strong>atedideology. His work often uses the formalsupports of these contemporary authoritiessuch as political convention stage sets,newspaper imagery, rhetorical devises,gestures or advertis<strong>in</strong>g strategies as materialto comb<strong>in</strong>e with processes of delicatecraft and personally driven narratives.In turn, the work tends to convey a sense ofa personal endeavour to get closer, bothphysically and theoretically to the events,speech or content that map relations to eachother and the society that we live with<strong>in</strong>.Interested <strong>in</strong> the radical potential of speech,rumour and gossip Ash’s work is concernedwith the processes of uncover<strong>in</strong>g content –treat<strong>in</strong>g the process of une<strong>art</strong>h<strong>in</strong>g as aplace where content is equally.Claudio Verna (Guardiagrele, 1937) isconsidered to be one of the most brilliantrepresentatives of the ‘analytical pa<strong>in</strong>t<strong>in</strong>g’.S<strong>in</strong>ce 1967 his pa<strong>in</strong>t<strong>in</strong>g has been free ofany subject reference – not even to anabstract image and it has been totallyconcerned with the dynamics and dialecticsof the elements of pa<strong>in</strong>t<strong>in</strong>g itself, especiallycolour. Verna explores the changes thatexternal sources of light effect on dist<strong>in</strong>ctprimary colours, some bright and someopaque. Where colour areas overlap, thereis a sense of form and movement.Geometric forms provide the key to understand<strong>in</strong>gthe work and they are achievedby colour itself – never by draw<strong>in</strong>g. <strong>The</strong>seforms constitute the venue for an ambiguityof the perception and they are alsothe focus of the <strong>art</strong>ist’s attention. In Verna’spa<strong>in</strong>t<strong>in</strong>gs the colour is the source ofambiguity (Tomaso Tr<strong>in</strong>i, 1973).


Mor Charpentier2/5/1Mor CharpentierAlex MorPhilippe Charpentier8, Rue Sa<strong>in</strong>t-ClaudeFR-75003 ParisT +33 1 44 54 01 58M +33 7 60 63 41 71M +33 6 30 52 26 63contact@mor-charpentier.comwww.mor-charpentier.comShown at <strong>LISTE</strong>:Julieta Aranda, 1975, MECevdet Erek, 1974, TROther Artists of the Gallery:Alexander Apóstol, VEMaria José Arjona, COMilena Bonilla, COMaria Elvira Escallón, UKVoluspa Jarpa, CLEnzo Mianes, FROscar Muñoz, COMohamed Namou, FRYoshua Okón, MXLiliana Porter, ARCharwei Tsai, TWJulieta ArandaEveryth<strong>in</strong>g wasbeautiful, andnoth<strong>in</strong>g hurt (howmuch I’ve had achance to forget),Stage #2, 2010V<strong>in</strong>yl appliqué,str<strong>in</strong>g, river rocksVariable dimensionsCevdet ErekRuler Day Night,st<strong>art</strong><strong>in</strong>g date: <strong>14</strong>th ofSeptember 2011Wood and digitalpr<strong>in</strong>t100 × 5 × 0.8 cm132 / 133Julieta Aranda (B. 1975), Mexico City,Mexico, currently lives and works betweenBerl<strong>in</strong> and New York. Aranda’s multimedia,project-based work has frequently focusedon the circulation of <strong>in</strong>formation and theagency of the <strong>in</strong>dividual <strong>in</strong> contemporarysociety. Her current works allude to thepresent historical moment, where it st<strong>art</strong>sto be possible to dismantle the culturalimperative, and transform the media so thatthey can function as tools for collectiveuse, rather than as <strong>in</strong>struments for culturaldom<strong>in</strong>ation.An <strong>art</strong>ist and musician, Cevdet Erek(B. 1974), Istanbul, Turkey, composes andre-composes works that capture andreformulate spaces and situations. His works,which take the form of videos, time-based<strong>in</strong>stallations and performance, employsounds, beats, borrowed and constructedarchitectural elements, graphic illustrationsas well as readymade forms. Erek oftencollaborates with architects, directors,choreographers, authors and he is alsoco-founder of the avant-garde rock actNekropsi.


Neue Alte Brücke-1/2/2Neue Alte BrückeMark DickensonHafenstrasse 23DE-60327 Frankfurt a. M.M +49 176 6422 6509<strong>in</strong>fo@neuealtebruecke.comwww.neuealtebruecke.comSolo show at <strong>LISTE</strong>:Yngve Holen, 1982, DE/NOOther <strong>art</strong>ists of the galleryWill Benedict, USWolfgang Breuer, DENicolas Ceccaldi, CA/FRAdam Chodzko, UKSimon Fujiwara, JP/UKMorag Keil, UKJulien Nguyen, USSeth Pick, UKMandla Reuter, DEEmail <strong>2013</strong>Skjermbilde<strong>2013</strong>-04-05 kl.16.52.26Dear SirsYesterday I took the first test pictureof the iPhone. This turned out to be moredifficult that I anticipated as it is made ofvery different materials. Below I’ve attachedimages of the front and the back. Here itbecomes apparent that the glass surface isvisible but noth<strong>in</strong>g of the back rema<strong>in</strong>s.Image002.jpg Image004.jpgAs far as I understood Mr Holen it is allabout scann<strong>in</strong>g the case of the phone. Hav<strong>in</strong>gdiscussed this with Frau Köhler I wouldtherefore suggest that we open the phone,remove the <strong>in</strong>nards and rescan the iPhone.K<strong>in</strong>d regards134 / 135


NoguerasBlanchard0/10/8NoguerasBlanchard,Barcelona/MadridAlex NoguerasRebeca BlanchardXuclà 7ES-08001 BarcelonaT +34 93 342 57 21M +34 637 777 257Doctor Fourquet 4ES-28012 MadridT +34 91 506 34 84<strong>in</strong>fo@noguerasblanchard.comwww.noguerasblanchard.comShown at <strong>LISTE</strong>:Anne-Lise Coste, 1973, FRWilfredo Prieto, 1978, CUIgnacio Uri<strong>art</strong>e, 1972, ESOther Artists of the Gallery:Rafel G. Bianchi, ESLeandro Erlich, ARMar<strong>in</strong>e Hugonnier, FRMichael L<strong>in</strong>, JPJuan López, ESFran Meana, ESEster P<strong>art</strong>egàs, ESShimabuku, JPDavid Maljkovic, HRRubén Grilo, ESAnne-Lise CosteRespire respire, 2012Airbrush andtempera on canvas60 × 48 <strong>in</strong>CourtesyNoguerasBlanchard,Barcelona/Madrid136 / 137Ignacio Uri<strong>art</strong>e’s discourse is focused onthe semantic field of the office environment,draw<strong>in</strong>g <strong>in</strong>spiration from the <strong>in</strong>formation,skills and supplies encountered <strong>in</strong> theworkplace. Anne-Lise Coste is known forher radical approach, <strong>in</strong> which the creativepotential of her <strong>art</strong> is <strong>art</strong>iculated througha spontaneity of gesture and what is directlyexpressed. Wilfredo Prieto is dist<strong>in</strong>ctive<strong>in</strong> his conceptual forcefulness, narrativebrevity, absence of superfluous elements,and ref<strong>in</strong>ed sense of humour. His practiceembraces the poetry of fragmentedth<strong>in</strong>gs – as manifested <strong>in</strong> this work, h<strong>in</strong>ts that<strong>in</strong>s<strong>in</strong>uate a circumstance that is not present<strong>in</strong> the <strong>in</strong>stallation.Fluctuat<strong>in</strong>g Folds (2012) by Uri<strong>art</strong>e is asculptural draw<strong>in</strong>g <strong>in</strong>stallation made throughfold<strong>in</strong>g sheets of white A4 paper. <strong>The</strong> usualstages of fold<strong>in</strong>g are slightly modified,allow<strong>in</strong>g a play of light and shadow betweengeometric and organic. <strong>The</strong> new series oftempera pa<strong>in</strong>t<strong>in</strong>gs by Coste presents acont<strong>in</strong>uation of the <strong>art</strong>ist’s <strong>in</strong>terest that goesfrom philosophical-existential questions<strong>in</strong> a playful and light-he<strong>art</strong>ed way to a subtlenaïf humour with poems, literary extracts,metaphors and simple draw<strong>in</strong>gs. In Fearof <strong>The</strong> Void (2012), a sculpture madeof bubble wrap, Prieto explores empt<strong>in</strong>essas a poetry resource. <strong>The</strong> <strong>in</strong>stallationcan be seen as the emergence of an entity<strong>in</strong>to presence, a new k<strong>in</strong>d of aesthetic,which is hand <strong>in</strong> hand with a highest senseof poïesis.Uri<strong>art</strong>e´s wall <strong>in</strong>stallation, the series o<strong>fair</strong>brush canvas by Coste and Prieto´sground <strong>in</strong>stallation are confront<strong>in</strong>g eachother at the exhibition space to br<strong>in</strong>gtogether a special energy of a contemporaryform of poïesis. <strong>The</strong> way that these <strong>art</strong>istsformally deal with the forms that arerevealed on the white/blank surface can beseen as a metaphor of the act of poïesis.


Non0/8/2NonDerya DemirIstiklal Caddesi, MısırApt.163/4, BeyoğluTR-34340 IstanbulT +90 212 249 8774<strong>in</strong>fo@galer<strong>in</strong>on.comwww.galer<strong>in</strong>on.comSolo Show at <strong>LISTE</strong>:Meriç Algün R<strong>in</strong>gborg, 1983, TR/SEOther Artists of the Gallery:Gökçen Cabadan, TR/BEAslı Çavuşoğlu, TRErdem Ergaz, TRAnnika Eriksson, SEExtrastruggle, TRSefer Memişoğlu, TR/NLKaren Mirza, UK/IN& Brad Butler, USErdem Taşdelen, TRGüneş Terkol, TRMeriç AlgünR<strong>in</strong>gborgBillboards, 2012Inkjet pr<strong>in</strong>t onblueback paper300 × 200 cmPhoto: AnnaGranqvistMeriç AlgünR<strong>in</strong>gborgDest<strong>in</strong>ation: Peru,2009Found objectsDimensions variable138 / 139Meriç Algün R<strong>in</strong>gborg, born <strong>in</strong> Istanbul,lives and works <strong>in</strong> Stockholm. <strong>The</strong> contrast<strong>in</strong>gdifferences between the make-up ofboth cities – Istanbul and Stockholm –p<strong>art</strong>icularly socially and politically, as wellas her movement between the two, plays akey role <strong>in</strong> her work today. Algün R<strong>in</strong>gborg’sbackground and migration is exploredrigorously <strong>in</strong> works that are both formallyelegant and conceptually and politicallymotivated that imp<strong>art</strong> a concentration onrelated issues of national identity, borders,bureaucracy, and translation. <strong>The</strong> presentationat <strong>LISTE</strong> <strong>18</strong> ties together selectedworks that encapsulate Algün R<strong>in</strong>gborg’semotive methods and subjects.‘Dest<strong>in</strong>ation’ (2009) is series of <strong>in</strong>stallationschalleng<strong>in</strong>g our understand<strong>in</strong>g of whatconstitutes nations and their borders.<strong>The</strong> works are centered around transcend<strong>in</strong>gthe boundaries of countries <strong>in</strong> an attemptto display the immaterial materials thatdef<strong>in</strong>e the perimeters of specific geographicspaces: its laws. <strong>The</strong> works are gather<strong>in</strong>gsof the objects that a traveler, by law,can cross a country’s borders with.<strong>The</strong> laws that direct what can and cannotcross borders is a def<strong>in</strong>ition of the land itself,and the works make these legislationstangible by the display<strong>in</strong>g of the objects onthese lists. ‘Billboards’ (2012) is a selectionof <strong>in</strong>quiries found <strong>in</strong> various visa applicationforms. <strong>The</strong> displacement of these questions,such as ‘Are you and your p<strong>art</strong>nerliv<strong>in</strong>g <strong>in</strong> a genu<strong>in</strong>e and stable p<strong>art</strong>nership?’underl<strong>in</strong>es the <strong>in</strong>vasiveness of the queriesand, <strong>in</strong> turn, questions the questionsthemselves. ‘Becom<strong>in</strong>g European’ (2012)mimics how the Swedish Migration Officerecorded Algün R<strong>in</strong>gborg’s stay show<strong>in</strong>gthe dates and ways she resided with<strong>in</strong> theEU and disappeared when beyond itsterritory. Different colors represent differentlegal statuses; blue: tourist, red: temporaryresident, black: permanent resident –whilst the absent dates are when AlgünR<strong>in</strong>gborg was outside EU borders.


Office Baroque0/9/4Office Baroque GalleryMarie DenkensWim PeetersLouis-PhilippeVan EeckhoutteLange Kievitstraat 48BE-20<strong>18</strong> AntwerpenT +32 484 599 228<strong>in</strong>fo@officebaroque.comwww.officebaroque.comSolo Show at <strong>LISTE</strong>:Aaron Bobrow, 1985, USOther Artists of the Gallery:Michel Auder, FRMatthew Brannon, USNeil Campbell, CAMathew Cerletty, USDavid Diao, CN/USTamar Halpern, USOwen Land, USLeigh Ledare, USKirsten Pieroth, DEDavis Rhodes, CAMargaret Salmon, US/UKDaniel S<strong>in</strong>sel, DEB. Wurtz, USAaron BobrowUnder <strong>The</strong> Bridge(Peter), 2012Tarp on woodenstretcher bars153 × 304.5 cmAaron BobrowBrother and sister(Easter Sunday),2012c-pr<strong>in</strong>t55,5 × 65 cm<strong>14</strong>0 / <strong>14</strong>1


Peres0/10/4Peres ProjectsJavier PeresNick KoenigsknechtMargherita BelaiefKarl-Marx-Allee 82DE-10243 Berl<strong>in</strong>T +49 30 275 950 770F +49 30 275 950 775M +49 1762 460 1985M +49 1762 487 5943berl<strong>in</strong>@peresprojects.comwww.peresprojects.comShown at <strong>LISTE</strong>:Leo Gab<strong>in</strong>, founded 2000, BEDavid Ostrowski, 1981, DEOther Artists of the Gallery:assume vivid astro focus, BR/FRDan Attoe, USAntonio Ballester Moreno, SPJoe Bradley, USKaye Donachie, GBJeff Elrod, USMark Flood, USDorothy Iannone, USAlex Israel, USBruce LaBruce, CAKirst<strong>in</strong>e Roepstorff, DKDean Sameshima, USMar<strong>in</strong>ella Senatore, ITDash Snow, USMark Titchner, GBDavid OstrowskiF (Jet Grill), <strong>2013</strong>Oil, paper, lacquer,cotton and burlap oncanvas, wood241 × <strong>18</strong>1 cm /94.88 × 71.26 <strong>in</strong>Courtesy PeresProjectsLeo Gab<strong>in</strong>Scrapp<strong>in</strong>g afterDrill<strong>in</strong>’, 2012Lacquer, spraypa<strong>in</strong>t, acrylic andsilkscreen on canvas220 × 160 cm /86.61 × 63 <strong>in</strong>, framedAt <strong>LISTE</strong> <strong>18</strong>, Peres Projects cont<strong>in</strong>uesit’s tradition of exhibit<strong>in</strong>g emerg<strong>in</strong>g talentfrom the United States and Europe with apresentation of the Belgian collectiveLeo Gab<strong>in</strong> and Cologne based <strong>art</strong>ist DavidOstrowski. <strong>LISTE</strong> <strong>18</strong> marks Leo Gab<strong>in</strong>’sfirst presentation <strong>in</strong> Switzerland and DavidOstrowski’s first-ever <strong>in</strong> <strong>Basel</strong>.Leo Gab<strong>in</strong> (Lieven Decon<strong>in</strong>ck, GaëtanBegerem and Rob<strong>in</strong> De Vooght) all live andwork <strong>in</strong> Ghent, Belgium and have workedas a collective s<strong>in</strong>ce the early 2000’s us<strong>in</strong>gmedia such as video, pa<strong>in</strong>t<strong>in</strong>g, draw<strong>in</strong>g andsculpture. Leo Gab<strong>in</strong> take <strong>in</strong>spiration fromthe proliferation of user generated mediaon the <strong>in</strong>ternet and the until now undef<strong>in</strong>edspace straddl<strong>in</strong>g the public and privaterealms. Gab<strong>in</strong>’s work is not necessarily tobe viewed as critical of popular or youthculture, rather their work highlights aspectsof contemporary culture such as theprevalence of technology and it’s impact onconceptions of privacypa<strong>in</strong>t<strong>in</strong>g? As an conceptual pa<strong>in</strong>ter,Cologne based David Ostrowski has beenwrestl<strong>in</strong>g with these questions s<strong>in</strong>cetudy<strong>in</strong>g at the Düsseldorf Kunstakadamieunder Albert Ohlen. Larry David’s Se<strong>in</strong>felddef<strong>in</strong>ed a cultural acceptance of awkwardsilence, failure, and embarrassment andon the one hand, Ostrowski’s pa<strong>in</strong>t<strong>in</strong>gsrespond to this cultural shift. For example,Ostrowski often ‘frames’ his pa<strong>in</strong>t<strong>in</strong>gswith a mark<strong>in</strong>g <strong>in</strong> order to <strong>in</strong>dicate theircompletion and through this mechanism,otherwise failed works are completed.On the other hand Ostrowski displaces anytrace of figuration by allow<strong>in</strong>g only rough,primitive mark<strong>in</strong>gs of highly abstractedwomen’s feet, an obsession of his, to creep<strong>in</strong>to his pa<strong>in</strong>t<strong>in</strong>gs.<strong>14</strong>2 / <strong>14</strong>3How does one know when a pa<strong>in</strong>t<strong>in</strong>gis f<strong>in</strong>ished? What def<strong>in</strong>es a successful


Platform Ch<strong>in</strong>a0/9/7Platform Ch<strong>in</strong>a BJSun N<strong>in</strong>gChen Haitao319-1 East End Art District A,Caochangdi Village CN-Chaoyang Ds.100015 Beij<strong>in</strong>gT +86 10 6432 0091M +86 136 0100 6060Platform Ch<strong>in</strong>a HKClaudia Albert<strong>in</strong>i60, W<strong>in</strong>g Tai Road, Chai WanIndustrial City Phase 1 Unit 601CN-Chai Wan Hong KongT +85 2 2523 8893M +85 2 9768 8093www.platformch<strong>in</strong>a.orgSolo Show at <strong>LISTE</strong>:Zhao Zhao, 1982, CNOther Artists of the Gallery:Bi Jianye, CNHuang Liang, CNJia Aili, CNJ<strong>in</strong> Shan, CNLi M<strong>in</strong>g, CNMa Ke, CNQ<strong>in</strong> Qi, CNShi J<strong>in</strong>song, CNSong Yuanyuan, CNWang Y<strong>in</strong>, CNXiao Bo, CNXiao Jiang, CNZhang Yex<strong>in</strong>g, CNZhou Yilun, CN(top)Zhao ZhaoFragments, 2007Steel26 × 27 × 5 cm(middle)Zhao ZhaoNecklace, 2007C-Pr<strong>in</strong>t andLimestone;set of 3 photos100 × 150 cm eachand 35 beads of1.5 cm diametereach(bottom)Zhao ZhaoI cannot be sadsleep<strong>in</strong>g next toyou, 2012Oil on canvas150 × <strong>18</strong>0 cm<strong>14</strong>4 / <strong>14</strong>5Tra<strong>in</strong>ed as pa<strong>in</strong>ter at X<strong>in</strong>jiang Arts Institute,Zhao Zhao (b. 1982) soon discoveredperformance as a medium to best expresshis concerns. He understands <strong>art</strong> as aperformative act to provoke and mediatealternative realities <strong>in</strong> pursuit of newsubjectivities. <strong>The</strong> first performance piecehe ever conceptualized was that of walk<strong>in</strong>gnaked <strong>in</strong> public to challenge the systemof value and religious ideologies amonglocal Muslim population. <strong>The</strong> performancenever took place as he was arrestedbefore it happened. What it seemed arebellious streak was nonetheless his soonto develop <strong>art</strong>istic direction. Zhao believes<strong>art</strong> should engage people, trigger reactionsto heighten self-consciousness. Asconsequence of his first non-performance,the display of youthful high spirits grew<strong>in</strong>to a range of concerns that henceforthcharacterizes his diverse body of works.Zhao’s approach to <strong>art</strong> and his process ofmak<strong>in</strong>g <strong>art</strong> is unique. He uses subversivemethods to present a concept, do<strong>in</strong>g so heis sharp and successful. Many of his worksare related to an event, and his personalconnection to that it. <strong>The</strong> way the event hadimpact on Zhao <strong>in</strong>duces him to turn it <strong>in</strong>toa form of expression, which fully translateshis thoughts and feel<strong>in</strong>gs.Zhao ma<strong>in</strong>ta<strong>in</strong>s that ‘aesthetics shouldgive rise to new possibilities’.Among his early projects, the photographicdocumentation of his performative<strong>in</strong>terventions to works by his predecessorsis quite explanatory: Necklace (2007) is a35 bead str<strong>in</strong>g necklace made from p<strong>art</strong>sof Joseph Beuys’ project 7000 Oaks;Euro (2008) takes stolen metal from Kiefer’sLibrary formerly on view at the HamburgerBahnhof and casts it <strong>in</strong>to a one-Euro co<strong>in</strong>.Naturally <strong>in</strong>cl<strong>in</strong>ed to a healthy disrespectfor authority, Zhao absorbed from hisproximity to Ai Weiwei an awareness of f<strong>in</strong>ergradations of iconoclastic behaviour.Hence a deep fasc<strong>in</strong>ation to iconoclasmunderlies much of his works. However,his <strong>in</strong>terventions show deep admiration anddesire for close engagement withprecursors.


Platteau0/9/1Elisa Platteau GalerieElisa PlatteauVarkensmarkt12 Rue du Marché aux PorcsBE-1000 BrusselsM +32 485 <strong>14</strong> 23 65<strong>in</strong>fo@elisaplatteau.comwww.elisaplatteau.comShown at <strong>LISTE</strong>:Valérie Mannaerts, 1974, BEJurgen Ots, 1978, BEMichael Van den Abeele, 1974, BEOther Artists of the Gallery:Jeffrey Clancy, USAnne Daems, BEDavid Robilliard, UKJurgen OtsDisque d’Or(prototype series),2012Mixed media33 × 32 × 1.5 cm<strong>14</strong>6 / <strong>14</strong>7…Belgium, one might say, has no s<strong>in</strong>gle<strong>art</strong> scene. Or it may be, perhaps, moreaccurate to say that Belgium, built as it ison divergent historic, l<strong>in</strong>guistic, and culturalfoundations and given its essentiallyirreverent attitude towards anyth<strong>in</strong>g thatwould package it <strong>in</strong>to a clear and tangibleunity, has managed to resist hav<strong>in</strong>g a‘scene’ at all. In this context, Elena Filipovic& Anne-Claire Schmitz <strong>in</strong>vited for theexhibition Un-Scene II at Wiels last yearon what some might, <strong>in</strong> shorthand, call theemerg<strong>in</strong>g Belgian <strong>art</strong> scene where for thesecond edition Michael Van den Abeeletook p<strong>art</strong>. Van den Abeele’s firm hand dragsthe viewer back <strong>in</strong>to the vortex of a neonoirsensibility that for some time has beenrecognized as the hallmark of Brussels’p<strong>art</strong>icular cultural environment.Valérie Mannaerts took p<strong>art</strong> <strong>in</strong>to the firstedition of Un-Scene <strong>in</strong> 2008 and shows forthe second time at <strong>LISTE</strong> <strong>18</strong> as she hasa solo show (curated by Cather<strong>in</strong>e Wood) atBozar from June until September <strong>in</strong> parallelwith the Giorgio Morandi retrospectivethat cannot be ignored. Mannaerts extendsthe medium of collage to <strong>in</strong>clude threedimensionalobjects. She raises questionsabout the relationship between organicand <strong>in</strong>organic forms, the autonomy of objects,and the stories that reverberate <strong>in</strong> them.With a variety of different materials shecreates hybrid and unruly forms.Furthermore is Galerie Elisa Platteauproud to show fort he first time the newworks by Jurgen Ots. Director Bill Arn<strong>in</strong>gfrom the Contemporary Arts MuseumHouston, Texas, reflects on his new work:Ots takes found screens ap<strong>art</strong> as aspectacularly loaded material, slic<strong>in</strong>g them<strong>in</strong>to strips to better understand theirpower. He also comb<strong>in</strong>es ones from differentperiods, and as p<strong>art</strong>icularly volatile materialthe older ones are more yellowed- themost universal comprehensible…


Raster0/10/10RasterLukasz GorczycaMichal KaczynskiWspolna 63PL-00687 WarsawT +48 784 588 854M +48 22 245 12 39<strong>in</strong>fo@rastergallery.comwww.rastergallery.comShown at <strong>LISTE</strong>:Rafal Bujnowski, 1974, PLMilena Korolczuk, 1984, PLSlavs and Tatars, founded 2006Other Artists of the Gallery:Azorro, PLMichal Budny, PLOskar Dawicki, PLSlawomir Elsner, DE/PLAneta Grzeszykowska, PLKwieKulik, PLZbigniew Libera, PLMarc<strong>in</strong> Maciejowski, PLPrzemek Matecki, PLB<strong>art</strong>ek Materka, PLZbigniew Rogalski, PLWilhelm Sasnal, PLJanek Simon, PL(top left)Milena KorolczukPlaton, 2012Archival <strong>in</strong>kjet pr<strong>in</strong>ton cotton paper37 × 29 cm(top right)Rafal BujnowskiUntitled, 2012Oil on canvas166 × 166 cmSlavs and TatarsKitab Kebab, 2012Books, skewerVarious dimensions<strong>14</strong>8 / <strong>14</strong>9Rafal Bujnowski blends two seem<strong>in</strong>glyremote discipl<strong>in</strong>es <strong>in</strong> his <strong>art</strong>istic practice –pa<strong>in</strong>t<strong>in</strong>g and conceptual <strong>art</strong>. Whether it’sone of his ‘pa<strong>in</strong>t<strong>in</strong>g-objects’ replicat<strong>in</strong>gan ord<strong>in</strong>ary object <strong>in</strong> shape, size andappearance, a ‘light-destroyed’, sh<strong>in</strong><strong>in</strong>gpa<strong>in</strong>t<strong>in</strong>g from the Lamp Black seriesor a landscape with successive layers ofreflections and mirror<strong>in</strong>gs – Bujnowskimanages to create an illusory effect andthus takes up a study <strong>in</strong> the politics ofvision, question<strong>in</strong>g status and orig<strong>in</strong>ality ofthe <strong>art</strong>work.Milena Korolczuk, currently the <strong>young</strong>est<strong>art</strong>ist represented by Raster gallery, dividesher time today between her native Podlasieregion – one of the most traditional areasof Poland – and California. As an <strong>art</strong>istshe represents a new generation, raisedafter the ecstatic events of 1989, portray<strong>in</strong>g<strong>young</strong> people who are unwitt<strong>in</strong>g yetactive agents of history, vessels of <strong>art</strong>isticand social change. Korolczuk is alsoan <strong>art</strong>ist of strik<strong>in</strong>g <strong>in</strong>tuition and talent forcreat<strong>in</strong>g concise images. Her work, mostlyphotographs and films, cleverly comb<strong>in</strong>esthe natural, visceral rhythm of life with itsroots <strong>in</strong> culture, mesh<strong>in</strong>g the universumof <strong>art</strong> and <strong>art</strong> history assimilated dur<strong>in</strong>gher studies with her own generationalexperience.Slavs and Tatars is an <strong>art</strong> collective,‘a faction of polemics and <strong>in</strong>timacies devotedto an area east of Eurasia’ as it describesitself. <strong>The</strong> collective’s work spans severalmedia, discipl<strong>in</strong>es, and a broad spectrum ofcultural registers; playfully collid<strong>in</strong>g thoseth<strong>in</strong>gs we consider opposites or<strong>in</strong>compatible – be it metaphysics and humor,Islam and Communism, pop culture andgeopolitics, or simply the clash of low andhigh. <strong>The</strong>ir works can be divided <strong>in</strong>to cyclestak<strong>in</strong>g up different issues: a celebrationof complexity <strong>in</strong> the Caucasus; the unlikelyheritage between Poland and Iran;mystical protest and the revolutionary roleof the sacred and syncretic.


Rodeo1/6/2RodeoSylvia KouvaliYeni Hayat Ap<strong>art</strong>.,Sıraselviler Caddesi no 49TR-Istanbul 34437T +90 212 293 5800<strong>in</strong>fo@rodeo-gallery.comwww.rodeo-gallery.comShown at <strong>LISTE</strong>:Ian Law, 1984, UKEftihis Patsourakis, 1967, GROther <strong>art</strong>ists of the galleryMark Aerial Waller, UKBanu Cennetoğlu, TRLukas Duwenhögger, DEHaris Epam<strong>in</strong>onda, CYApostolos Georgiou, GREmre Hüner, TRIman Issa, EGGülsün Karamustafa, TRShahryar Nashat, CHChristodoulos Panayiotou, CYJames Richards, UKIan LawProduction image,<strong>2013</strong>Eftihis PatsourakisHeadless, 2012Oil on wood35.5 × 35 cm150 / 151


Sabot2/1/3SabotDaria D. Perva<strong>in</strong>59-61 Henri Barbusse Str.RO-400616 Cluj-NapocaT +40 264 437 079M +40 723 224 105<strong>in</strong>fo@galeria-sabot.rowww.galeria-sabot.roShown at <strong>LISTE</strong>:Mihuț Boșcu Kafch<strong>in</strong>, 1986, ROStefano Calligaro, 1976, ITRadu Comșa, 1975, ROOther Artists of the Gallery:Al<strong>in</strong>e Cautis, USLucie Fonta<strong>in</strong>e, FRFlor<strong>in</strong> Maxa, ROAlex Mirutziu, ROVlad Nancă, ROAlice Tomaselli, IT(top left)Radu ComșaTranscriptionblue-black, <strong>2013</strong>Concrete, <strong>in</strong>laidpaper50 × 33 cm(top right)Stefano CalligaroA paradox, yes, <strong>2013</strong>Neon sign42 × 21 × 4cmMihuț Boșcu Kafch<strong>in</strong>Father Energy, <strong>2013</strong>Mirrored disco ball,eng<strong>in</strong>e, syntheticbeard, pa<strong>in</strong>tVariable dimensionsPhoto credit: ȘtefanSavaCourtesy of the <strong>art</strong>istand Sabot152 / 153Mihuț Boșcu Kafch<strong>in</strong> is one of the mostdist<strong>in</strong>ctive voices among the newgeneration of Romanian <strong>art</strong>ists. Not onlyhis work employs different media,it is also versatile <strong>in</strong> the way it borrowsvisual elements from the legacy ofvisual <strong>art</strong>, from history, science, movies,videogames and folk culture. Draw<strong>in</strong>gthe map of our collective cloud – whereArcadia meets Star Wars’ expandeduniverse – the <strong>art</strong>ist is maneuver<strong>in</strong>g a hugemach<strong>in</strong>ery of marvels. Recent shows:‘It’s compulsory that we have a title’ (Salonulde Proiecte, Bucharest, <strong>2013</strong>),‘La Triennale’ (Palais de Tokyo, Paris, 2012),‘European Travellers – Art from Clujtoday’ (Műcsarnok Kunsthalle, Budapest,2012), ‘Overlapp<strong>in</strong>g Biennial / Young Artists’Biennial’ (Bucharest, 2012).‘Objects are notes’, this could be a goodway to <strong>in</strong>troduce Stefano Calligaro.But there’s someth<strong>in</strong>g more, someth<strong>in</strong>ghidden to our perception that goesbeyond the process of mak<strong>in</strong>g, beyondthe object and the space. ‘Notes are soft’,they occupy silently the surface of a page,one next to the other, bits and pieces ofa more complex text. ‘Objects are suggestions’,but they have clear shapes andtheir own place <strong>in</strong> the world. Subtle, notm<strong>in</strong>imal, yet simple, not small, not big, buthuman scale. Recent projects at FondazioneMACC (Calasetta, <strong>2013</strong>) and SelfService Open Art Space (Stuttg<strong>art</strong>, <strong>2013</strong>).Radu Comşa’s latest works deal with form,with abstraction seen as an amal gamationof p<strong>art</strong>s and leftovers, play<strong>in</strong>g on theidea of the <strong>art</strong> object concretely exist<strong>in</strong>gas a transcript. Accord<strong>in</strong>g to theirirregularities, their need to occupy aspace, and their polarity (you can eitherhang or lay them, shift<strong>in</strong>g their function),his pa<strong>in</strong>t<strong>in</strong>gs are sculptures. <strong>The</strong> <strong>art</strong>istalways ‘rewrites’ them – disrupt<strong>in</strong>g,isolat<strong>in</strong>g, connect<strong>in</strong>g the pieces – so theyeventually operate as visual morphemesexpected to collide. Recent showsat Arken Museum (Copenhagen, <strong>2013</strong>),Műcsarnok Kunsthalle (Budapest,2012), Marianne Boesky (New York, 2012),Peles Empire (London, 2012),Gaudel de Stampa (Paris, 2012).


Schleicher / Lange0/1/2Schleicher/LangeJulia SchleicherAndreas Schleicher-LangeMarkgrafenstrasse 68DE-10969 Berl<strong>in</strong>T +49 30 955 92 917M +49 170 483 <strong>14</strong>87<strong>in</strong>fo@schleicherlange.comwww.schleicherlange.comSolo Show at <strong>LISTE</strong>:Meris Angioletti, 1977, ITOther Artists of the Gallery:Chris Cornish, UKLars Englund, SEFranziska Furter, CHKristof K<strong>in</strong>tera, CZMaria Loboda, DE/PLG<strong>in</strong>taras Makarevicius, LTAlison Moffett, USLaurent Monatron, FRTimo Nasseri, DE/IRDiogo Pimentão, PTEvariste Richer, FRMeris AngiolettiGolden, Brown andBlue, 2012Six synchronizedslide projections,coloured gels andtextDimensions variableCourtesy the <strong>art</strong>istand SCHLEICHER /LANGEMeris AngiolettiDit des trois vifs etdes trois morts, 201216mm film and wallpa<strong>in</strong>t<strong>in</strong>gDimensions variableCourtesy the <strong>art</strong>istand SCHLEICHER /LANGE154 / 155Meris Angioletti’s practice is situatedon the border between <strong>art</strong> and science.Central to her work are issues of perception,memory, and the unconscious, whichthe <strong>art</strong>ist studies by trigger<strong>in</strong>g synestheticprocesses <strong>in</strong> the viewer. In her <strong>in</strong>stallationsof light, sound, color, and images, whichfrequently use c<strong>in</strong>ema tographic techniquesand the idea of the ‘expanded c<strong>in</strong>ema’of the 1970’s, she questions vision and theprocess of reception.Angioletti expresses her <strong>in</strong>terest <strong>in</strong>relations between external and <strong>in</strong>ternal,mental spaces as well as <strong>in</strong>visibleand unconscious processes, and how they<strong>in</strong>fluence and change one another.She often leaves a free visible space <strong>in</strong> herprojections, function<strong>in</strong>g as a ‘placeholder’,as a proposal to project one’s own‘<strong>in</strong>ner vision’. She tries to draw the viewer<strong>in</strong>to a meditational experience, by us<strong>in</strong>gcerta<strong>in</strong> color effects, film-loops or multipleprojections.Meris Angioletti was born <strong>in</strong> Bergamo,Italy <strong>in</strong> 1977, and lives and works <strong>in</strong> Paris.In 2012, she p<strong>art</strong>icipated <strong>in</strong> the São PauloBiennale and was featured at the VeniceBiennale <strong>in</strong> 2011. She was also nom<strong>in</strong>atedfor the Future Generation Art Prize <strong>in</strong> 2012at Kiev’s P<strong>in</strong>chuck Art Center.


Schubert0/8/3Galerie Micky SchubertMicky SchubertShown at <strong>LISTE</strong>:Ketuta Alexi-Meskhishvili, 1979, GELydia Gifford, 1979, GBAlan Michael, 1967, GBB<strong>art</strong>n<strong>in</strong>gallee 2–4DE-10557 Berl<strong>in</strong>T +49 30 4980 8487Other Artists of the Gallery:Marieta Chirulescu, RO<strong>The</strong>a Djordjadze, GEGraham Fagen, GBManuela Le<strong>in</strong>hoß, DECarol<strong>in</strong> Leszcz<strong>in</strong>ski, DEBarry MacGregor Johnston, US<strong>in</strong>fo@mickyschubert.dewww.mickyschubert.deGerda Scheepers, ZADaniel S<strong>in</strong>sel, DEStephen Sutcliffe, GBSue Tompk<strong>in</strong>s, GBMark van Yetter, USMaximilian ZentzZlomovitz, DEAlan MichaelGlyc<strong>in</strong>es, <strong>2013</strong>Oil on canvas102 × <strong>14</strong>5 cmCourtesy: the <strong>art</strong>ist,and Micky Schubert,Berl<strong>in</strong>Ketuta Alexi-MeskhishviliEZ1, <strong>2013</strong>C-pr<strong>in</strong>t, ed. 2, + a.p.27,7 × 35 cm156 / 157Ketuta Alexi-Meskhishvili, born 1979 <strong>in</strong>Tbilisi, lives and works <strong>in</strong> Berl<strong>in</strong> andNew York, has studied photography at theBard College, Annandale, New York.Solo shows at Ancient & Modern, London;Spazio Morris, Milan; Eight Veil, Los Angeles;Micky Schubert, Berl<strong>in</strong> (upcom<strong>in</strong>g<strong>in</strong> September <strong>2013</strong>). Selected group shows:Kaufmann Repetto, Milan; Gallery Diet,Miami; Galerie Gregor Staiger, Zurich;Galerie Micky Schubert, Berl<strong>in</strong>; PeresProjects, Berl<strong>in</strong>; Taxter & Spengemann,Zurich; James Fuentes Gallery, New York.Lydia Gifford, born 1979, lives and works <strong>in</strong>London, has studied pa<strong>in</strong>t<strong>in</strong>g at the ChelseaSchool of Art and Design and at theRoyal College of Art <strong>in</strong> London. Solo shows atBaltic Centre for Contemporary Art,Gateshead, UK (upcom<strong>in</strong>g <strong>in</strong> 20<strong>14</strong>); Kunsthaus<strong>Basel</strong>land, <strong>Basel</strong>; Laura B<strong>art</strong>lett Gallery,London; David Roberts Art Foundation,London; Micky Schubert, Berl<strong>in</strong>; MarcelleAlix, Paris. Selected group exhibitions:Les Ateliers de Rennes, Biennial for ContemporaryArt, Rennes; Museum Boijmans,Rotterdam; V22, London; Magas<strong>in</strong> – CentreNational d’Art Contempora<strong>in</strong>, Grenoble;BolteLang, Zurich; Gallery Nordenhake,Stockholm.Alan Michael, born 1967 <strong>in</strong> Glasgow, livesand works <strong>in</strong> Glasgow, studied at theDuncan College of Art, Dundee. Selectedsolo shows: Tate Brita<strong>in</strong> (Art Now), London;Talbot Rice Gallery, Ed<strong>in</strong>burgh; GalerieMicky Schubert, Berl<strong>in</strong>; David KordanskyGallery, Los Angeles; Modern Art, London;Hotel, London; Transmission Gallery,Glasgow. Selected group shows: DundeeContemporary Arts, Glasgow; Gaudelde Stampa, Paris; Hotel, London; TateTriennial, Tate Brita<strong>in</strong>, London; Zero, Milan;Sutton Lane, London; Galerie Diana Stigter,Amsterdam; Collective Gallery, Ed<strong>in</strong>burgh;Center for Contemporary Arts, Glasgow.


Silberkuppe0/3/2SilberkuppeDom<strong>in</strong>ic EichlerMichel ZieglerIn der PförtnerlogeSkalitzer Strasse 68DE-10997 Berl<strong>in</strong>T +49 30 3744 3135mail@silberkuppe.orgwww.silberkuppe.orgSolo Show at <strong>LISTE</strong>:Leidy Churchman, 1979, USOther Artists of the Gallery:Gerry Bibby, AUTove El, SEMargaret Harrison, UKTobias Kaspar, CHJanette Laverrière, CHAdam L<strong>in</strong>der, AUFred Lonidier, USShahryar Nashat, CHAnna Ostoya, PLLeidy ChurchmanBang! Flat Green,2011Oil on canvas<strong>18</strong>0 × 160 cm158 / 159Silberkuppe was founded <strong>in</strong> May 2008 byDom<strong>in</strong>ic Eichler and Michel Ziegler.S<strong>in</strong>ce then they have <strong>in</strong>itiated numerousprojects, events and exhibitions <strong>in</strong>volv<strong>in</strong>gover 60 <strong>in</strong>ternational visual <strong>art</strong>ists aswell as architects, designers, curators,musicians, dancers and writers.Amongst these were the first solo shows<strong>in</strong> Germany of New York-based pa<strong>in</strong>terR. H. Quaytman, San Diego-based politicalconceptualist Fred Lonidier anddist<strong>in</strong>guished fem<strong>in</strong>ist Margaret Harrison,as well as the first <strong>in</strong>clusion <strong>in</strong> European<strong>in</strong>stitutions of major works by London-basedsculptor Phyllida Barlow.In 2009 and 2010 the latter took p<strong>art</strong> <strong>in</strong> aseries of four <strong>in</strong>stitutional group exhibitionwhich Silberkuppe was <strong>in</strong>vited to curateby the Staatliche Kunsthalle Baden-Baden,Hayward Gallery Project Space London,Museum fuer Gegenw<strong>art</strong>skunst <strong>Basel</strong>, andthe Bergen Kunsthall, Norway.Today Silberkuppe represents 10<strong>in</strong>ternational <strong>art</strong>ists from all generations.With their shared <strong>in</strong>terest <strong>in</strong> the legacy offem<strong>in</strong>ism and queer theory, social-politicalconceptualism, context <strong>art</strong>, <strong>in</strong>stitutionalcritique, appropriation and performance<strong>art</strong>, Silberkuppe and their <strong>art</strong>ists are amongstthe most significant new voices <strong>in</strong>contemporary <strong>art</strong> <strong>in</strong> Berl<strong>in</strong>.At <strong>LISTE</strong> Silberkuppe is present<strong>in</strong>g aselection of work by New York- based pa<strong>in</strong>terLeidy Churchman. To date his pa<strong>in</strong>t<strong>in</strong>gshave manifested <strong>in</strong> discreet groups of workand <strong>in</strong>stallations, sometimes p<strong>art</strong>nered byperformative videos. In both his videos andpa<strong>in</strong>t<strong>in</strong>g, the <strong>art</strong>ist’s work draws equallyon abstraction as well as a folk or naive stylewith respect to the render<strong>in</strong>g of l<strong>in</strong>esand motifs, sometimes shift<strong>in</strong>g betweenmodes <strong>in</strong> the same composition. Lazy River(2012), for <strong>in</strong>stance, consists of thirteensmall canvases side-by-side. One of themdepicts a beady-eyed, squawk<strong>in</strong>g seagullbeckon<strong>in</strong>g to the viewer <strong>in</strong> the same paletteas the other twelve canvases that haveno representational content but rather traceabstract l<strong>in</strong>es and fields, and shadow-likeor lim<strong>in</strong>al forms.


Sommer & Kohl1/2/1Sommer & KohlPatricia KohlSalome SommerKurfürstenstrasse 13/<strong>14</strong>DE-10785 Berl<strong>in</strong>T +49 30 23 00 55 81M +49 163 880 65 38M +49 179 478 <strong>14</strong> 78<strong>in</strong>fo@sommerkohl.comwww.sommerkohl.comShown at <strong>LISTE</strong>:Matt Calderwood, 1975, UKAndreas Eriksson, 1975, SEKara Uzelman, 1978, CAOther Artists of the Gallery:Eva Berendes, DEBeni Bischof, CHAlexandre da Cunha, BRKnut Henrik Henriksen, NOJeroen Jacobs, NLTony Just, USDeborah Ligorio, ITAdrian Lohmüller, DEPaul McDevitt, GBRiccardo Previdi, ITKara UzelmanAntenna, LastMounta<strong>in</strong> BirdSanctuary, <strong>2013</strong>C-pr<strong>in</strong>t,edition 1/3 + 1 AP68.5 × 48.5 cm,framed160 / 161With a background <strong>in</strong> contemporary <strong>art</strong>,urban plann<strong>in</strong>g and archaeology, KaraUzelman constructs elaborate pseudohistoricalnarratives for hitherto discarded,forlorn objects. She works with scavengedmaterials to explore the possible storiesembedded <strong>in</strong> found materials. Her grow<strong>in</strong>gbody of work has consistently evaluatedthe object’s potential for alternative sourcesof mean<strong>in</strong>g beyond what is read orunderstood on the surface. Uzelman’s workis an <strong>in</strong>terruption <strong>in</strong> our collective drivetowards mega-production and the disposableobject; it proposes a landscape <strong>in</strong> whichobjects beg<strong>in</strong> to assert themselves andreveal layer upon layer of alternativemean<strong>in</strong>g.<strong>The</strong> works for <strong>LISTE</strong> stem from Uzelman’srecent move to rural Saskatchewan,and her research <strong>in</strong>to renegade communitiesthat have historically populated this remotearea. Sourc<strong>in</strong>g materials from garagesales, adhoc excavations, and exploratorymeander<strong>in</strong>gs <strong>in</strong> the countryside, this seriesis composed of an ongo<strong>in</strong>g collectionof fabricated <strong>art</strong>efacts and documented siteworks. Uzelman engages techniquesassociated with regional homestead<strong>in</strong>g,survivalist culture and experimentalarchaeology. Through this collection ofobjects and imagery, a material languageof salvaged and reassembled twentiethcentury refuse is developed, generat<strong>in</strong>g agateway for reflection on the possiblepast and future of objects, their lost historiesand their possible stories.


Staiger3/7/2Galerie Gregor StaigerGregor StaigerLimmatstrasse 268CH-8005 ZurichT +41 44 491 39 00M +41 78 759 39 49<strong>in</strong>fo@gregorstaiger.comwww.gregorstaiger.comShown at <strong>LISTE</strong>:Brian Moran, 1978, USNicolas P<strong>art</strong>y, 1980, CHOther Artists of the Gallery:Vittorio Brodmann, CHFlorian Germann, CHSonia Kacem, CHShana Moulton, USLucy Ste<strong>in</strong>, GB(top left)Brian MoranReligious Scene(From the Book ofthe Dead), <strong>2013</strong>Gouache on paper42 × 29.7 cmSigned and datedon back(top right)Brian MoranReligious Scene(From the Book ofthe Dead), <strong>2013</strong>Gouache on paper38 × 28 cmSigned and datedon backNicolas P<strong>art</strong>yInstallation view157 Days ofSunsh<strong>in</strong>e<strong>The</strong> Bothy Project atthe Walled GardenGlasgow, <strong>2013</strong>Photograph:Patrick Jameson162 / 163At the he<strong>art</strong> of Brian Moran’s practiceis an exploration of images, of their historicalor cultural, stylistic or generic quality andp<strong>art</strong>icularly of their usage and ideologicalcontext. In series of works that eachconta<strong>in</strong> imagery from a variety of sources,the <strong>art</strong>ist presents assemblages whichconceptually rem<strong>in</strong>d of scrapbook<strong>in</strong>g,collage or montage, conta<strong>in</strong><strong>in</strong>g a successionof images that become mean<strong>in</strong>gful or whosemean<strong>in</strong>g is altered <strong>in</strong> vary<strong>in</strong>g contexts andalongside other images. Through collect<strong>in</strong>g,edit<strong>in</strong>g, manipulat<strong>in</strong>g and re-<strong>in</strong>terpolat<strong>in</strong>gimagery Moran creates encyclopediccompendia, drawn or re – drawn on paper,that often occupy a grey area betweenideologies and frequently conta<strong>in</strong> imagery,that is similar but used to different ends and<strong>in</strong> oppos<strong>in</strong>g discourses.In the work of Nicolas P<strong>art</strong>y imagery isnot rhetorical but essentially aesthetic orpictorial. In pa<strong>in</strong>t<strong>in</strong>gs, watercolors, pencil andcharcoal draw<strong>in</strong>gs, P<strong>art</strong>y works with avocabulary of figurative elements, reduced<strong>in</strong> form and sometimes at the edge ofabstraction, reveal<strong>in</strong>g geometric formsat the base of all th<strong>in</strong>gs populat<strong>in</strong>g theimage. As such, the subjects often revealless about themselves than about themedium <strong>in</strong> which they are represented.P<strong>art</strong>y’s practice extends from this core todecorative patterns <strong>in</strong> the form of muralsand onto objects, where a playfulnesswith situational and contextual elementsbecomes apparent.Please visit our booth or contact the galleryfor further <strong>in</strong>formation.


Stereo-1/2/4Galeria StereoZuzanna HadryśMichał LasotaUl. Słowackiego 30/10PL-60-823 PoznańM +48 509 099 786M +48 503 178 965galeriastereo@gmail.comwww.galeriastereo.plShown at <strong>LISTE</strong>:Wojciech Bąkowski, 1979, PLPiotr Bosacki, 1977, PLPiotr Łakomy, 1983, PLGizela Mickiewicz, 1984, PLMateusz Sadowski, 1984, PLOther Artists of the Gallery:Norman Leto, PLMagdalena Starska, PLPiotr ŁakomyUntitled (from thecycle I play mono,they want more thanstereo), 2011Materials mixed,automotive pa<strong>in</strong>t70 × 50 cmGizela MickiewiczNot too far, 2012Altered stool,toothpick48 × 30 × 30 cmNO DISC – the title of the show refers tothe moment of pause, the suspensionbefore tak<strong>in</strong>g an action. DVD player devoidof the disc, alerts the user by send<strong>in</strong>ga brief message. This moment is,simultaneously, a special time for the playeritself: s<strong>in</strong>ce it serves no purpose, it canbe seen as an autonomous object. This shiftof accents – from action and functionto the material aspects of the th<strong>in</strong>g – is anunderly<strong>in</strong>g idea for the presentation.All <strong>art</strong>ists <strong>in</strong>cluded <strong>in</strong> the show, WojciechBąkowski, Piotr Łakomy, Gizela Mickiewiczand Mateusz Sadowski, take up aneveryday life experiences and process thematerial environment of human life <strong>in</strong> their<strong>art</strong>istic practice. <strong>The</strong>refore presentation willconsist of wide range of media (photography,pa<strong>in</strong>t<strong>in</strong>g, sound object, sculpture) andfocused on the properties of used material,tak<strong>in</strong>g advantage of its specifics to buildup existential mean<strong>in</strong>gs.164 / 165


Stigter1/6/4Galerie Diana StigterDiana StigterDavid van DoesburgElandsstraat 90NL-1016 SH AmsterdamT +31 206 242 361M +31 653 7<strong>18</strong> 596mail@dianastigterwww.dianastigter.nlShown at <strong>LISTE</strong>:Mark Boulos, 1975, USYael Davids, 1968, ILJimmy Robert, 1975, FROther Artists of the Gallery:Tariq Alvi, GBTjebbe Beekman, NLSemâ Bekirovic, NLM<strong>art</strong>ha Colburn, USAmie Dicke, NLElspeth Diederix, NLIrene Fortuyn, NLTom Gidley, GBThomas Helbig, DEAukje Koks, NLNathaniel Mellors, GBSaskia Olde Wolbers, NLAmalia Pica, ARMaaike Schoorel, NLPilvi Takala, FISue Tompk<strong>in</strong>s, GBAntonio Vega Macotela, MXHelen Verhoeven, NLJimmy RobertUntitled (Shroud)<strong>2013</strong>Inkjet pr<strong>in</strong>t60 × 45,8 cm166 / 167Mark Boulos has filmed Marxist <strong>in</strong>surgents<strong>in</strong> the Philipp<strong>in</strong>es, oil guerrillas <strong>in</strong> theNiger Delta, commodities traders <strong>in</strong> Chicago,Christian mystics <strong>in</strong> Syria, and Islamicjihadists <strong>in</strong> London and New York. In hismulti-screen documentary video <strong>in</strong>stallationshe <strong>in</strong>vestigates the space between abstractconcepts and material reality. Drawn tothe extreme states of political militancy andreligious ecstasy, Boulos exam<strong>in</strong>es beliefsespoused with such transcendent convictionthat, for those who hold them, theimpossible seems real.<strong>The</strong> work of Yael Davids focuses on thenarrative character that is typical ofdocumentation and repetition. Throughdocumentation, Davids attempts to uncovertraces of the past. Us<strong>in</strong>g materials likewood, glass and fabrics, and with a stricteconomy of gesture and an ongo<strong>in</strong>g <strong>in</strong>terest<strong>in</strong> the notion of performance, Davids’<strong>in</strong>stallations attempt at turn<strong>in</strong>g memories ofephemeral, fleet<strong>in</strong>g presence <strong>in</strong>to a def<strong>in</strong>iteshape. Davids presents <strong>in</strong>stallations thatrelate to the body – both to that of the<strong>art</strong>ist/performer and to that of the viewer.Born and raised <strong>in</strong> Israel, Yael Davidsembraces both, the conflicted political historyof a nation-<strong>in</strong>-the -mak<strong>in</strong>g, and her own<strong>in</strong>dividual biography.Jimmy Robert takes his cues from culturalfigures of the recent past – avant-gardewriters, filmmakers, visual <strong>art</strong>ists – whowere not only pioneers <strong>in</strong> their respective<strong>art</strong> forms but also deft at subtly register<strong>in</strong>gthe traumas and effects of their socialconditions. Robert’s concern for the body –both personal and political – <strong>in</strong> additionto his <strong>in</strong>terest <strong>in</strong> the poetic potential ofephemeral materials unites much of his work,which ranges <strong>in</strong> media from photography,film, and video to sculpture andperformance works that value gesture andchance over elaborate choreography.


Subal3/5/2Simone Subal GallerySimone Subal131 Bowery, 2nd floorUS-New YorkNY 10002T +1 917 409 0612M +1 917 334 1<strong>14</strong>7<strong>in</strong>fo@simonesubal.comwww.simonesubal.comSolo Show at <strong>LISTE</strong>:Sonia Almeida, 1978, PTOther Artists of the Gallery:Larry Bamburg, USJulien Bismuth, FRFrank Heath, USAnna K.E. (project), GEKiki Kogelnik, ATFlorian Meisenberg (project), DEYorgos Sapountzis, GRErika Vogt, USSonia AlmeidaRegistration, 2012Oil on mar<strong>in</strong>ePlywood61 × 81 cm / 24 × 32 <strong>in</strong>Sonia AlmeidaStudio shot, March<strong>2013</strong>168 / 169Sonia Almeida’s pa<strong>in</strong>t<strong>in</strong>gs are nuanced<strong>in</strong>vestigations <strong>in</strong>to the work<strong>in</strong>gs of visualperception. Her compositions, which vary<strong>in</strong> size and scale, flirt with abstraction,although figurative elements anchor eachwork. Pa<strong>in</strong>t<strong>in</strong>g offers Almeida a way toutilize the potentials and limitations of hermedium <strong>in</strong> order to mark out the cont<strong>in</strong>gentnature of vision <strong>in</strong> an era suffusedwith both <strong>art</strong>istic and non-<strong>art</strong>istic images.Almeida’s <strong>art</strong> of the last couple of yearshas focused on two ma<strong>in</strong> issues: the visualtranslation of color and the depictionof pictorial space <strong>in</strong> response to the waythe omnipresence of screens (computers,high def<strong>in</strong>ition televisions, and handhelddevices) has made <strong>in</strong>dividuals accustomedto see<strong>in</strong>g th<strong>in</strong>gs at a remarkably highand evenly distributed resolution. Her latestwork, on view for the first time at <strong>LISTE</strong> <strong>18</strong>,<strong>in</strong>vestigates what she considers tobe the key dichotomy of visual experience:the tension between mental images anddepicted images. In pieces that pushthe physical possibility of pa<strong>in</strong>t<strong>in</strong>g, Almeidaseeks out the spaces between thedifferences <strong>in</strong> <strong>in</strong>dividuals’ visual experiences.Mental images, Almeida believes, arenot immune from <strong>in</strong>fluence; however, <strong>in</strong> theprivacy of one’s m<strong>in</strong>d the representationsone devises resist, for a brief period oftime at least, immediate contextualization.Almeida hopes to capture the seem<strong>in</strong>guniqueness of one’s own imag<strong>in</strong>ativefigurations, and present them <strong>in</strong> such a wayas to put forth a picture, a form, a depictionthat has never existed before; an aspirationthat is poetic and perhaps impossiblebut one that makes her pa<strong>in</strong>t<strong>in</strong>gs s<strong>in</strong>gularand absolutely vital.


Supportico Lopez0/10/1Supportico LopezGigiotto Del VecchioStefania PalumboKurfürstenstrasse <strong>14</strong>bDE-10785 Berl<strong>in</strong>T +49 30 31 98 93 87<strong>in</strong>fo@supporticolopez.comwww.supporticolopez.comShown at <strong>LISTE</strong>:Michael Dean, 1977, UKMaria Adele Del Vecchio, 1976, ITChrist<strong>in</strong>a Mackie, 1956, UKArmando Andrade Tudela, 1975, PEOther Artists of the Gallery:Henri Chop<strong>in</strong>, FRDanilo Correale, ITGiulio Delvé , ITMarius Engh, NOJan Peter Hammer, DENatalie Hä usler, DEFranziska Lantz, CHZ<strong>in</strong> Taylor, CANiels Trannois, FRJ. Parker Valent<strong>in</strong>e, USArmando AndradeTudelaGris# 2 (detail), 2011Fabric, bubble wrap,metalUnique327 × 207 × 12 cmAlto. Sorto. Supra. High. Rise. Above.No walls, no foundations- Kiesler dixit- andplease get rid of the counterweight.Everyth<strong>in</strong>g is reflective Flavio, and don’tforget the stairs. Oh, those stairs…Sigfrida Letal170 / 171


Tufnell0/5/1Rob Tufnell83 Page StreetGB-London SW1P 4HAmail@robtufnell.comwww.robtufnell.comSolo Show at <strong>LISTE</strong>:Aaron Angell, 1987, UKOther Artists of the Gallery:Joel Croxson, UKRuth Ewan, UKStephen Sutcliffe, UKWorks available by:Mary Barnes, UKDavid Burton, UKChristopher Logue, UKHumphrey Spender, UKAaron AngellUntitled, 2012Glazed stoneware29 × 23.5 × 17 cmAaron AngellWheel of Flesh –Long Hair, 2012Collaged walldraw<strong>in</strong>g250 cm diameter172 / 173Aaron Angell’s presentation announcesthe foundation of his Troy Town Art Pottery.This ‘studio pottery’ follows twentiethcentury ideas of <strong>art</strong>isanal ceramic makersand will accommodate both his practiceand that of <strong>in</strong>vited peers. <strong>The</strong> Pottery takessome <strong>in</strong>fluence from the works of a longforgotten novice monk, Brother V<strong>in</strong>centEley, an <strong>in</strong>itiate of the Trappist, neo-GothicMount St. Bernard Abbey <strong>in</strong> Leicestershire,England <strong>in</strong> the 1950s.After build<strong>in</strong>g a kiln beneath the monasterywithout the permission of the Abbot,he set about produc<strong>in</strong>g what he believed tobe an archetypal monastic-ware basedupon his observation of fragments ofMedieval pottery found across Europe.His Charnwood Cistercian Ware developedfrom his studies <strong>in</strong> ceramics at a localtechnical school. In 1951 he was <strong>in</strong>vitedto present his over-sized coil pots bear<strong>in</strong>gamateurish depictions of prehistoricd<strong>in</strong>osaurs with<strong>in</strong> the Festival of Brita<strong>in</strong>.After 1965 there is no trace of him.Angell’s idea of Charnwood CistercianWare consumed by 1960s counter cultureprovides one st<strong>art</strong><strong>in</strong>g po<strong>in</strong>t for the TroyTown Art Pottery. <strong>The</strong> pottery takes itsname from the Troy Town sites foundthroughout Brita<strong>in</strong>. <strong>The</strong> name <strong>in</strong>dicatesthat they were locations for historical,turf mazes based upon ancient, Classicaldesigns that were used for games andritualsDraw<strong>in</strong>g on the Lat<strong>in</strong> root of the word‘compost’, compositus – literally ‘someth<strong>in</strong>gput together’ – Angell sees his ceramics,wall draw<strong>in</strong>gs and pa<strong>in</strong>t<strong>in</strong>gs as hav<strong>in</strong>gbeen developed through accretion and rot:‘an imperfect, <strong>in</strong>complete and unscientificprocess’ <strong>in</strong> opposition to the distillationor ‘alchemical’ ideas expounded <strong>in</strong> muchcontemporary and Modern <strong>art</strong>.


VI, VII1/1/1VI, VIIEsperanza RosalesGrønlandsleiret 41NO-0190 OsloT +47 45 03 64 22M +47 90 27 98 62office@VIVII.nowww.VIVII.noSolo Show at <strong>LISTE</strong>:Eloise Hawser, 1985, UKOther Artists of the Gallery:Calla Henkel & Max Pitegoff, USJames Hoff, USLars Laumann, NO<strong>The</strong> Estate of David Lieske, DERobert Mueller, ATJochen Schmith, DE(top left)Eloise HawserHaus der Braut, 2012Roller door withcustomized elementsand paper swan,hand-made fromfolded receipts70 cm × 90 cm × 110 cm(top right)Eloise HawserUntitled, <strong>2013</strong>Shower door, patternfor Men’s suit jacket90 × 200 cm, variabledimensionsEloise HawserFather <strong>in</strong> scann<strong>in</strong>glab, 2012Exhibition viewKunstraum Riehen,<strong>Basel</strong>, 2012Courtesy of the <strong>art</strong>istLondon-based <strong>art</strong>ist, Eloise Hawser, uses3D mach<strong>in</strong><strong>in</strong>g processes and specialistfabrication techniques such as laser cutt<strong>in</strong>gand <strong>in</strong>jection mold<strong>in</strong>g to take a distancedlook at everyday objects, and to <strong>in</strong>terrogatetheir <strong>in</strong>ner work<strong>in</strong>gs thoroughly.Her tableau-like arrangements, which atfirst may seem like found objects, are virtualrender<strong>in</strong>gs manifested via rapid proto -typ<strong>in</strong>g <strong>in</strong> which elements relate to bodies <strong>in</strong>terms of height, weight and mass.<strong>The</strong> st<strong>art</strong><strong>in</strong>g po<strong>in</strong>t for ‘Dad.obj’ is a digital3D scan that the <strong>art</strong>ist has made of herfather’s body <strong>in</strong> order to reproduce him <strong>in</strong>the materials and form of her choos<strong>in</strong>g,thereby turn<strong>in</strong>g an ‘ideal’ version of a paternalfigure repeatedly, and once aga<strong>in</strong> <strong>in</strong>to anobject that the <strong>art</strong>ist has distance from.<strong>The</strong> ‘father-figure’ thus becomes notonly the <strong>art</strong>ist’s Dad, but a k<strong>in</strong>d of ‘everydad’from which other ‘fathers’ can bereproduced <strong>in</strong>to sculptural ‘bodies’ andtextile-based sk<strong>in</strong>s offer<strong>in</strong>g a conceptual<strong>in</strong>version of the role of fathers <strong>in</strong>reproduction.This denatur<strong>in</strong>g of a historically freightednotion (‘father’), <strong>in</strong>vestigates sculpturalpossibilities through the repeated productionof a ‘paternal’ figure, and the chang<strong>in</strong>gpower dynamics <strong>in</strong> the creation of objects.For the <strong>art</strong>ist, this begs the questionof whether she can become empoweredthrough the process of reproduction orwhether she can fulfill the ‘daughter’ role.174 / 175<strong>The</strong> result<strong>in</strong>g 3-D model, the ‘.obj’ or objectfile, can be <strong>in</strong>f<strong>in</strong>itely manipulated <strong>in</strong>toworks that elaborate on various elements:the textures, fabrics, dress and emotionalresonance that constitute the image of theideal father.


VidalCuglietta0/3/1Galerie VidalCugliettaBarbara CugliettaLilou Vidal5 Bd B<strong>art</strong>hélémyBE-1000 BrusselsT +32 2 502 53 20M +32 473 36 31 99M +32 488 82 23 73<strong>in</strong>fo@vidalcuglietta.comwww.vidalcuglietta.comSolo Show at <strong>LISTE</strong>:Nel Aerts, 1987, BEOther Artists of the Gallery:Danai Anesiadou, GRWim Catrysse, BEEdith Dekyndt, BECheryl Donegan, USAmy Granat , USJim Lee, USErwan Mahéo, FRMiks Mitrevics, LTMira Sanders, BEEmily Sundblad, USLisa Tan, USZ<strong>in</strong> Taylor, CAJosh Tonsfeldt, USNel AertsPlay do, <strong>2013</strong>Acrylic and filler onwood54.5 × 68.5 cm176 / 177Nel Aerts has been develop<strong>in</strong>g pa<strong>in</strong>t<strong>in</strong>gs,<strong>in</strong>stallations, videos and performances <strong>in</strong>which the experiment with materials is key.For One with the Medic<strong>in</strong>e Man (2009)she built an improvised screen out of woodand paper dur<strong>in</strong>g the open<strong>in</strong>g. <strong>The</strong> super 8film she projected onto it showed how shecreated compositions with wooden shapes<strong>in</strong> a precarious state of balance. This woodwas then used for Undisclosed Gather<strong>in</strong>g(2010), an <strong>in</strong>teractive exhibition projectwhere a colourful l<strong>in</strong>ear composition of 300processed and numbered wooden barsgradually dis<strong>in</strong>tegrated and spread amongthe audience.After a return to the atelier and aconfrontation with herself, Aerts st<strong>art</strong>edpa<strong>in</strong>t<strong>in</strong>g and created a personal own pictoriallanguage. In her pa<strong>in</strong>t<strong>in</strong>gs on woodenpanels she makes the surface her own bycreat<strong>in</strong>g textures on it (cutt<strong>in</strong>g away pa<strong>in</strong>tand wood with a chisel, fill<strong>in</strong>g it back<strong>in</strong> and scour<strong>in</strong>g it off aga<strong>in</strong> with sandpaper).Both the images she creates <strong>in</strong> her draw<strong>in</strong>gs,collages and pa<strong>in</strong>t<strong>in</strong>gs as the oftenwitty titles capture our imag<strong>in</strong>ation throughtheir simplicity. <strong>The</strong> l<strong>in</strong>es and oftenbrutal colours render these works poetic,spontaneous, grotesque and absurdat the same time: all qualities that can beassociated with the work of <strong>art</strong>istslike Jean Brusselmans, René Magritte,Philip Guston or Tal R.<strong>The</strong> themes which she deals with <strong>in</strong>her work synthesise her own world and herposition as a <strong>young</strong> <strong>art</strong>ist with<strong>in</strong> the <strong>art</strong>scene. <strong>The</strong> conventional laws of the <strong>art</strong>world are for example key <strong>in</strong> the filmdocumented performance Tribune (2011).Nel Aerts uses a rope to pull a woodenplatform along the Scheldt docks <strong>in</strong> Antwerpwith a lonely, stiff P<strong>in</strong>occhio like puppeton top. <strong>The</strong> heavy physical effort of the <strong>art</strong>istcomb<strong>in</strong>ed with the wooden armless puppeton the platform – any applause is physicallyimpossible – underl<strong>in</strong>e the hypotheticaland relative character of whatsuccess can mean for an <strong>art</strong>ist.


Vilma Gold1/4/1Vilma Gold, LondonRachel Williams6 M<strong>in</strong>erva StreetUK-London E2 9EHT +44 20 77 29 98 88F +44 20 77 29 98 98M +44 79 61 12 69 68mail@vilmagold.comwww.vilmagold.comSolo show at <strong>LISTE</strong>:Trisha Baga, 1985, USOther <strong>art</strong>ists of the gallery:Charles Atlas, USKP Brehmer, DENicholas Byrne, GBWilliam Daniels, GBVladimir Dubossarsky &Alexander V<strong>in</strong>ogradov, RUMichaela Eichwald, DEFelix Gmel<strong>in</strong>, DEBrian Griffiths, GBSophie von Hellermann, DEHobbypopmuseum, DEAlan Michael, GBK<strong>art</strong>hik Pandian, USLuther Price, USStephen G. Rhodes, USHannah Sawtell, GBMarkus Selg, DEJosef Strau, ATMark Titchner, GBJulia Wachtel, USJennifer West, USTrisha BagaHoliday, 2012Installation viewDimensions variableDundeeContemporary ArtsCourtesy Vilma Gold,LondonCharles AtlasTrisha BagaKP BrehmerNicholas ByrneWilliam DanielsVladimir Dubossarsky & AlexanderV<strong>in</strong>ogradovMichaela EichwaldFelix Gmel<strong>in</strong>Brian GriffithsSophie von HellermannHobbypopmuseumAlan MichaelK<strong>art</strong>hik PandianLuther PriceStephen G. RhodesHannah SawtellMarkus SelgJosef StrauMark TitchnerJulia WachtelJennifer West178 / 179


V<strong>in</strong>er3/6/2Jonathan V<strong>in</strong>er GalleryJonathan V<strong>in</strong>er124 Forest RoadGB-London E83BHM +44 79 6854 8764<strong>in</strong>fo@jonathanv<strong>in</strong>ergallery.comwww.jonathanv<strong>in</strong>ergallery.comSolo show at <strong>LISTE</strong>:Elias Hansen, 1979, USOther <strong>art</strong>ists of the gallery:Joe Bradley, USNicolas Deshayes, UKDan Rees, UKAgathe Snow, USJosh Smith, USTamuna Sirbiladze, GEOscar Tuazon, USEmily Wardill, UKElias HansenCity folk, I guess, 2011Cotton, glass, rubber,steel, v<strong>in</strong>yl, wood13 × 11.5 × 7 <strong>in</strong>Courtesy: JonathanV<strong>in</strong>er, LondonElias HansenThis is the easy p<strong>art</strong>,2011Found brush, glass,screws, wire, wood9.5 × 12.5 × 10 <strong>in</strong>Courtesy: JonathanV<strong>in</strong>er, London‘<strong>The</strong> pieces are fragments of story l<strong>in</strong>es…I want to create a fantastical scene, one thattakes you right to the edge of reality,but doesn’t let go of you. You are given justenough <strong>in</strong>formation to build your ownstoryl<strong>in</strong>e, but not so much you can’t follow it.’Elias Hansen’s delicate blown-glasssculptures are presented alongside deterio -rat<strong>in</strong>g found objects; elevat<strong>in</strong>g the statusof the discarded to the precious and evok<strong>in</strong>ga dialog between the narrative historiesof each object. Juxtaposition<strong>in</strong>g the wornand the exquisite, Hansen’s elaboratestructures resemble an ultimately dysfunctionalmeth lab which translates theidealism and escapism of the <strong>in</strong>dustry <strong>in</strong>toa compell<strong>in</strong>g visual language that is t<strong>in</strong>gedwith secrecy and mystery.<strong>18</strong>0 / <strong>18</strong>1


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GO!C!ART@CARGOA M<strong>in</strong>imal Festival of Diversion atCargo Bar <strong>Basel</strong>. June 8th – 16th <strong>2013</strong>CREATED BY FRANK CASTRO.BODEGA ZUM STRAUSSDas GO!C!ART lädt e<strong>in</strong>zum Mitfahren:Kurs und Richtung offen!JUMP ON!RestaurantBodega zum StraussBarfüsserplatz 164051 <strong>Basel</strong>T 061 261 22 72St. Johanns-Rhe<strong>in</strong>weg 46 . 4056 <strong>Basel</strong> . www.cargobar.ch


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Messe<strong>in</strong>formationenFair Information<strong>LISTE</strong> - Art Fair <strong>Basel</strong>Burgweg 15CH-4058 <strong>Basel</strong>T +41 61 692 20 21<strong>in</strong>fo@liste.chliste.chÖffnungszeitenOpen<strong>in</strong>g HoursDienstag–Samstag, 11.–15. Juni, 13 –21 UhrSonntag, 16. Juni, 13 –<strong>18</strong> UhrTuesday–Saturday, June 11–15, 1–9 p.m.Sunday, June 16, 1– 6 p.m.FührungenGuided ToursMittwoch–Sonntag, 15 UhrE<strong>in</strong>zelperson CHF 10.– (exkl. E<strong>in</strong>tritt)Schüler / Studenten / AHV CHF 5.–(exkl. E<strong>in</strong>tritt)Gruppen nach VoranmeldungWednesday–Sunday, 3 p.m.S<strong>in</strong>gle admission CHF 10.–(<strong>fair</strong> admission excl.)Students / AHV CHF 5.–(<strong>fair</strong> admission excl.)Groups by appo<strong>in</strong>tment onlyÖffnungszeiten MessebüroOpen<strong>in</strong>g Hours Fair OfficeDienstag–Samstag, 11.–15. Juni, 12–21 UhrSonntag, 16. Juni, 12–<strong>18</strong>Tuesday–Saturday, June 11–15, 12–9 p.m.Sunday, June 16, 12– 6 p.m.VernissageOpen<strong>in</strong>g ReceptionMontag, 10. Juni, 17–21 UhrMonday, June 10, 5–9 p.m.Vernissage P<strong>art</strong>yOpen<strong>in</strong>g Reception P<strong>art</strong>y22–4 Uhr mit DJ l<strong>in</strong>eup, im VolkshausRebgasse 12–<strong>14</strong>. E<strong>in</strong>tritt freiwww.volkshaus-basel.ch10 p.m.– 4 a.m. with DJ l<strong>in</strong>eup, at Volkshaus,Rebgasse 12–<strong>14</strong>free admissionvolkshaus-basel.chE<strong>in</strong>trittspreiseAdmissionE<strong>in</strong>male<strong>in</strong>tritt CHF 20.–reduziert CHF 10.–Für K<strong>in</strong>der bis 16 Jahren ist der E<strong>in</strong>tritt <strong>in</strong>Begleitung Erwachsener gratisAb 20 Uhr: CHF 6.–,Schüler / Studenten / AHV E<strong>in</strong>tritt freiS<strong>in</strong>gle entry CHF 20.–reduced entry CHF 10.–free admission for kids up to 16 years, ifaccompanied by an adultAfter 8 p.m.: S<strong>in</strong>gle entry CHF 6.–,students / AHV free admissionRestaurants & BarsRestaurant ‹Don Camillo›,11–23 UhrHofbar, 12–21.30 UhrTurmbar, 13–21 UhrRestaurant ‘Don Camillo’ 11 a.m.–11 p.m.Court Bar 12–9.30 p.m.Tower Bar, 1–9 p.m.Tourismus & Hotels<strong>Basel</strong> TourismusStadtcas<strong>in</strong>o <strong>Basel</strong>Ste<strong>in</strong>enberg <strong>14</strong>, 4010 <strong>Basel</strong>Bahnhof SBB, 4010 <strong>Basel</strong>T +41 61 268 68 68<strong>in</strong>fo@basel.combasel.comWege zur <strong>LISTE</strong>Directions to <strong>LISTE</strong>liste.ch/the-<strong>fair</strong>/travelsImpressumImpr<strong>in</strong>tRedaktion / Editorial:Susanne Blaser, <strong>LISTE</strong> - Art Fair <strong>Basel</strong>Grafik / Graphic design:Claudiabasel, <strong>Basel</strong>Druck / Pr<strong>in</strong>t<strong>in</strong>g:Steudler Press AG, <strong>Basel</strong>

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