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
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