Antoine LeviParis, FR

Paris, FR

Antoine Levi

antoinelevi.fr
info@antoinelevi.fr
+33 (0) 175 57 61 67

Antoine Levi gallery presents: “Whack & Blite”, a stroboscopic combination of photographic works and drawings by the two artists G. Küng and Zoe Williams.

The title is taken from the iconic EP of Jawbreaker, a Californian punk rock band active in the 90’s, who earned a cult status among their followers. Both of us have been long-standing fans of this band and we wanted for Dream Hong Kong to take certain liberties in the selection and framing of the two artists work. Using our identification with Punk Rock as a lens, we toy with the perception of the work where it enters the illusory noble sphere of the fine arts. This then is a strange ode to the culture of the zines, the music, the gigs, the mix tapes and all that follows, a world that is represented by a simplified black and white imagery of the xerox, the leather, the amps, the outfits, etc.

There is a play on flatness with these works in two dimensions, ranging from the apparently simplified axiomatic actions of G. Küng’s (b. 1982, New York, USA) photographs, stating a certain ironic but also “a deadpan attitude” to quote her, to the sophisticated scraperboard pieces by Zoe Williams (b. 1983, Salisbury, UK) which express sensuality and awkwardness.

– Antoine Levi and Nerina Ciaccia


ezgif.com-optimize

G. Küng, 'Dog with Head Cocked', 2016, Photographic Print on Paper, 100 x 75 cm
G. Küng, ‘Dog with Head Cocked’, 2016, Photographic Print on Paper, 100 x 75 cm
G. Küng, 'Emotive Flowers', 2016, Photographic Print on Paper, 75 x 100 cm
G. Küng, ‘Emotive Flowers’, 2016, Photographic Print on Paper, 75 x 100 cm
G. Küng, 'Snow on car', 2016, Photographic Print on Paper, 75 x 100 cm
G. Küng, ‘Snow on car’, 2016, Photographic Print on Paper, 75 x 100 cm
Zoe Williams, 'Baroque tip', 2015, Scraperboard, 30.5 x 22.9 cm
Zoe Williams, ‘Baroque tip’, 2015, Scraperboard, 30.5 x 22.9 cm
Zoe Williams, 'Roman pipeclay fragment', 2015, Scraperboard, 30.5 x 22.9 cm
Zoe Williams, ‘Roman pipeclay fragment’, 2015, Scraperboard, 30.5 x 22.9 cm
Zoe Williams, 'Fleece Desire I', 2015, Scraperboard, 30.5 x 22.9 cm
Zoe Williams, ‘Fleece Desire I’, 2015, Scraperboard, 30.5 x 22.9 cm
Zoe Williams, 'Drizzle I', 2015, Scraperboard, 22.3 x 15.2 cm
Zoe Williams, ‘Drizzle I’, 2015, Scraperboard, 22.3 x 15.2 cm
Galerie Emanuel LayrVienna, AT

Vienna, AT

Galerie Emanuel Layr

emanuellayr.com
gallery@emanuellayr.com
+43 1 945 1791

For the first edition of Dream, Galerie Emanuel Layr is happy to announce its participation with new works by three gallery artists including Andy Boot (*1987), Benjamin Hirte (*1980) and Mads Westrup (*1984).

Andy Boot presents a new, not-yet-realized outdoor sculpture, based on the artist’s research on ‘Cosmic Latte’ the average color of the universe, which was calculated at the Johns Hopkins University in 2001. For this series of sculptures, Boot has gone through a complex process related to the figuration of cosmic latte. Studying a score of images on the internet, he identified and demarcated the existence of this color in those images (dissolved into cosmic latte, their actual content is irrelevant). Those cosmic latte sections of the images are then cut out (via photoshop), so to
speak, printed up and transformed into three-dimensional sculptures. With its height this sculpture is by far the tallest work by Andy Boot.

Hirte has developed an abstract clock consisting of a hook as clock hand, which resembles a question mark. While the clock face only shows the hours, the clock hand jumps from one to another in seconds. Once the file is opened in a browser, the clock hand starts from 12 am/pm which reminds of a chronograph.

Mads Westrup will present one of his most recent paintings. Westrup who examines various ways of painting has layered several colors on top of the canvas until the surface became object-like. This object-like character is intensified by the frame, which the artist commissioned: Instead of going to the framers, Westrup ordered the frame from an amateur with all its impurity and
mistakes to include this part into his work. Showing this painting in a digital environment creates a tension between the work itself and its image and underlines the exchange of content between Westrup’s painting and its frame.


Andy Boot, 'Untitled', 2016, Steel, 500 x 237 x 73 cm
Andy Boot, ‘Untitled’, 2016, Steel, 500 x 237 x 73 cm
Andy Boot, 'Untitled', 2016, Steel, 500 x 237 x 73 cm
Andy Boot, ‘Untitled’, 2016, Steel, 500 x 237 x 73 cm
Andy Boot, 'Untitled', 2016, Steel, 500 x 237 x 73 cm
Andy Boot, ‘Untitled’, 2016, Steel, 500 x 237 x 73 cm


Benjamin Hirte, ‘untitled’, 2016, Single Channel Video/Animation, Display on Projector or Screen, Dimensions Variable

Mads Westrup, 'untitled finished painting 1', 2013 - 2016, Frame, Oil on Canvas, 52 x 40 x 1.5 cm
Mads Westrup, ‘untitled finished painting 1’, 2013 – 2016, Frame, Oil on Canvas, 52 x 40 x 1.5 cm
Mads Westrup, 'untitled finished painting 1', 2013 - 2016, Frame, Oil on Canvas, 52 x 40 x 1.5 cm
Mads Westrup, ‘untitled finished painting 1’, 2013 – 2016, Frame, Oil on Canvas, 52 x 40 x 1.5 cm
FruttaRome, IT

Rome, IT

Frutta

fruttagallery.com
info@fruttagallery.com
+39 06 68210988

Stefano Calligaro (b. 1976, Cividade del Friuli IT, lives and works in Cluj-Napoca, RO) studied Fine art at the Academy of Fine Arts, Venice. Recent solo exhibitions include Stefano Calligaro and Alex Ebstein, Frutta, Rome, IT (two person show) (2016); F*** Su**s, The art Markets, Milan, IT; All-Yo! Crypto-Phylo’s, Sabot, Cluj-Napoca, RO; Economists are watching, Frutta, Rome, IT (All 2015); Infused Logic Standardized Methods, Bikini, Lyon, FR (2014); &’, Self Service Open art Space, Stugart dE & Sabot, Cluj-Napoca, RO (2013); For Not Turning All My Nothing Into Something, Sabot, Cluj-Napoca, RO (2011); Plants, rocks and a fish inhabited pond, Wcw gallery, Hamburg, DE (2010); Two ways to look at, Secondroom, Antwerp, BE (2010); Recent group shows include IMAGINE, Brand New Gallery, Milan, IT (2016); Der Blitz 2015 | Supernova, curated by Denis Isaia and Federico Mazzonelli, MART/MAG Museo Dell’Alto Garda, Riva del Garda, IT; objects of desire, SaBOT, Cluj-Napoca, RO; Italian and british artists meet Milan, curated by Pietro di Lecce, The Workbench, Milan, IT; !Champagne!, directed by Vincenzo Della Corte, BeatTricks, Milan, IT (All 2015); Tokonoma, Lucie Fontaine projects pace, Tokyo, JP; Quotes from the Left Left Hand, Galleria Massimodeluca, Venice, IT (All 2014); Liste 18, Sabot, Basel, CH; Art O Rama, Friche la Belle de mai, Marseille, FR(All 2013); Play dice would be nice, Gaudel de Stampa, Paris, FR; Informal, Or-bits, Or-bits.org, UK (All 2012).

Ditte Gantriis (b. 1980, Rudersdal DK, lives and works in Copenhagen DK) studied Visual Communication at Danish School of Design in Copenhagen. Recent and forthcoming solo exhibitions include TBA, Jupiter Artland, Edinburgh, UK (2016); TBA, Frutta, Rome, IT (2016); Peace, Love and Harmony, curated by David Dale Gallery, S.A.L.T.S., Birsfelden, CH (2016); A Rose, Residency and solo show at Picnic Picnic, Shefield, UK (2015); Body & Soul, Frutta, Rome, IT and Ditte Gantriis & Rolf Nowotny, shared solo exhibition, Die Raum, Berlin, DE (both 2014); Standard, curated by Max Slaven, David Dale Gallery, Glasgow, UK and CASUAL FRIDAY, Peter Amby Gallery, Copenhagen, DK (both 2013); COMPANY, Green is Gold Studio, Copenhagen, DK and SERVICE, Toves Galleri, Copenhagen, DK (both 2012). Recent group shows include The Grove, Hester, New York, US; A Natural Syntax for Rhytmic Forms and Semiotic Rotations, curated by Domenico de Chirico, BID Project Gallery, Milan, IT; Trust, curated by Sonia Dermience, Kunsthal Charlottenborg, Copenhagen, DK; Italian and british artists meet Milan, curated by Pietro Di Lecce, The Workbench, Milan, IT; Women’s Art Society II, curated by Adam Carr, MOSTYN, Llandudno, UK; A room with a view, curated by David Armengol, L21, Palma de Mallorca, ES; Finite Project Altered When Open, David Dale Gallery & Studios, Glasgow, UK; You will find me if you want me in the garden, curated by Domenico de Chirico, Valentin, Paris, FR (all 2015); SMALL Rome, curated by Adam Carr, Frutta, Rome, IT; De Generation of Painting, Fondazione 107, Turin, IT; Speedboat, curated by Alex Ross, Nicelle Beauchene Gallery, New York, US (All 2014); Kultur und Freizeit, Westfälischer Kunstverein, Münster, DE; Ditte Gantriis and James Clarkson, Brussel Cologne Contemporaries, Gallery Drei, Cologne, DE; Vegetal Passion, CREDAC, Ivry, FR; Noisy Spaghetti, Fauna, Copenhagen, DK; Cloud Hosting, curated by Tim Saltarelli, Rachel Uffner Gallery, New York, US (All 2013).


dream-gif-frutta

Stefano Calligaro, 'Masquerade', 2016, Pigments on Wall, Dimensions variable
Stefano Calligaro, ‘Masquerade’, 2016, Pigments on Wall, Dimensions variable
Ditte Gantriis, 'Body & Soul', 2015, Wickerworks, Dimension Variable
Ditte Gantriis, ‘Body & Soul’, 2015, Wickerworks, Dimension Variable
Ditte Gantriis, 'Body & Soul', 2015, Wickerworks, Dimension Variable
Ditte Gantriis, ‘Body & Soul’, 2015, Wickerworks, Dimension Variable
Ditte Gantriis, 'Body & Soul', 2015, Wickerwork, 150 x 120 x 120 cm
Ditte Gantriis, ‘Body & Soul’, 2015, Wickerwork, 150 x 120 x 120 cm
Ditte Gantriis, 'Body & Soul', 2015, Wickerwork, 185 x 115 x 115 cm
Ditte Gantriis, ‘Body & Soul’, 2015, Wickerwork, 185 x 115 x 115 cm
Ditte Gantriis, 'Body & Soul', 2015, Wickerwork, 200 x 110 x 110 cm
Ditte Gantriis, ‘Body & Soul’, 2015, Wickerwork, 200 x 110 x 110 cm
Stefano Calligrafo, '2cipollesalegrossocapperimozzarella!prezzemolo', 2016, Acrylic on Canvas, 95 x 70 x 2.5 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Stefano Calligrafo, ‘2cipollesalegrossocapperimozzarella!prezzemolo’, 2016, Acrylic on Canvas, 95 x 70 x 2.5 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Stefano Calligaro, 'PancettaPecorino2ettiRucola', 2016, Acrylic on Canvas, 100 x 70 x 2.5 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Stefano Calligaro, ‘PancettaPecorino2ettiRucola’, 2016, Acrylic on Canvas, 100 x 70 x 2.5 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Stefano Calligaro, 'Spaghettiuova6pomodori1kgoliodiolivapangrattatoacciughe8', 2016, Acrylic on Canvas, 100 x 70 x 2.5 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Stefano Calligaro, ‘Spaghettiuova6pomodori1kgoliodiolivapangrattatoacciughe8’, 2016, Acrylic on Canvas, 100 x 70 x 2.5 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Stefano Calligaro, 'Sapiens Sapiens', 2016, Cotton and Polyester Fiber Fill, 90 x 30 x 8 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Stefano Calligaro, ‘Sapiens Sapiens’, 2016, Cotton and Polyester Fiber Fill, 90 x 30 x 8 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Stefano Calligaro, 'Sapiens Sapiens', 2016, Cotton and Polyester Fiber Fill, 90 x 30 x 8 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Stefano Calligaro, ‘Sapiens Sapiens’, 2016, Cotton and Polyester Fiber Fill, 90 x 30 x 8 cm, Courtesy of Frutta, Rome, Photo by Roberto Apa
Galerie Gregor StaigerZürich, CH

Zürich, CH

Galerie Gregor Staiger

gregorstaiger.com
info@gregorstaiger.com
+41 44 491 39 00

Brian Moran
‘Arnstein’s Ladder 1-8 (from Engineering Consent)’
2016
Pencil, Coloured Pencil and Fine Point Pen on Columnar Pad
27.9 x 21.6 cm / 11 x 8.5 in.


Brian Moran, 'Arnstein’s Ladder 1-8 (from Engineering Consent)', 2016, Pencil, Crayon, Felt-Tip Pen and Ink on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, ‘Arnstein’s Ladder 1-8 (from Engineering Consent)’, 2016, Pencil, Coloured Pencil and Fine Point Pen on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, 'Arnstein’s Ladder 1-8 (from Engineering Consent)', 2016, Pencil, Crayon, Felt-Tip Pen and Ink on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, ‘Arnstein’s Ladder 1-8 (from Engineering Consent)’, 2016, Pencil, Coloured Pencil and Fine Point Pen on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, 'Arnstein’s Ladder 1-8 (from Engineering Consent)', 2016, Pencil, Crayon, Felt-Tip Pen and Ink on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, ‘Arnstein’s Ladder 1-8 (from Engineering Consent)’, 2016, Pencil, Coloured Pencil and Fine Point Pen on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, 'Arnstein’s Ladder 1-8 (from Engineering Consent)', 2016, Pencil, Crayon, Felt-Tip Pen and Ink on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, ‘Arnstein’s Ladder 1-8 (from Engineering Consent)’, 2016, Pencil, Coloured Pencil and Fine Point Pen on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, 'Arnstein’s Ladder 1-8 (from Engineering Consent)', 2016, Pencil, Crayon, Felt-Tip Pen and Ink on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, ‘Arnstein’s Ladder 1-8 (from Engineering Consent)’, 2016, Pencil, Coloured Pencil and Fine Point Pen on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, 'Arnstein’s Ladder 1-8 (from Engineering Consent)', 2016, Pencil, Crayon, Felt-Tip Pen and Ink on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, ‘Arnstein’s Ladder 1-8 (from Engineering Consent)’, 2016, Pencil, Coloured Pencil and Fine Point Pen on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, 'Arnstein’s Ladder 1-8 (from Engineering Consent)', 2016, Pencil, Crayon, Felt-Tip Pen and Ink on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, ‘Arnstein’s Ladder 1-8 (from Engineering Consent)’, 2016, Pencil, Coloured Pencil and Fine Point Pen on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, 'Arnstein’s Ladder 1-8 (from Engineering Consent)', 2016, Pencil, Crayon, Felt-Tip Pen and Ink on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Brian Moran, ‘Arnstein’s Ladder 1-8 (from Engineering Consent)’, 2016, Pencil, Coloured Pencil and Fine Point Pen on Columnar Pad, 27.9 x 21.6 cm / 11 x 8.5 in.
Galeria Jaqueline MartinsSão Paulo, BR

São Paulo, BR

Ana Mazzei, 'Teatro de Borracha', 2015, Industrial Rubber, 6 x 41.5 x 30.5 cm
Ana Mazzei, ‘Teatro de Borracha’, 2015, Industrial Rubber, 6 x 41.5 x 30.5 cm
Ana Mazzei, 'Ghost Brics', 2015, Ghost Paper and Wood, Dimensions Variable - 72 pieces: 24 wall pieces and 48 floor pieces
Ana Mazzei, ‘Ghost Brics’, 2015, Ghost Paper and Wood, Dimensions Variable – 72 pieces: 24 wall pieces and 48 floor pieces
Ana Mazzei, 'Ghost Brics', 2015, Ghost Paper and Wood, Dimensions Variable - 72 pieces: 24 wall pieces and 48 floor pieces
Ana Mazzei, ‘Ghost Brics’, 2015, Ghost Paper and Wood, Dimensions Variable – 72 pieces: 24 wall pieces and 48 floor pieces
Ana Mazzei, 'The measure of her hips', 2016, Wood, Industrial Rubber, Felt and Fabric, 170 x 200 x 200 cm
Ana Mazzei, ‘The measure of her hips’, 2016, Wood, Industrial Rubber, Felt and Fabric, 170 x 200 x 200 cm

Charbel-joseph H. Boutros, ‘No light light in white’, 2014, Video, 11′
A Syriac priest starts reading the genesis in Aramaic – a dead language – shortly before day break in a forest on Mount Lebanon. As the light dims the reading becomes more and more difficult and the priest stops reading when the Aramaic words totally fade into the night.

Charbel-joseph H. Boutros, 'Joined tears', 2014, Glass, Plastic, Tears, 7.5 x 10 x 3.5 cm
Charbel-joseph H. Boutros, ‘Joined tears’, 2014, Glass, Plastic, Tears, 7.5 x 10 x 3.5 cm
Charbel-joseph H. Boutros, 'No light in white light, Night cartography', 2011/2015, Carbon and Black Spray on Paper, The time slept by the artist is erased from the white day, each night produces a new drawing. unique, 50 x 70 cm
Charbel-joseph H. Boutros, ‘No light in white light, Night cartography’, 2011/2015, Carbon and Black Spray on Paper, The time slept by the artist is erased from the white day, each night produces a new drawing. unique, 50 x 70 cm
Charbel-joseph H. Boutros, 'Drink Europa', 2012, Drinking Glass, Water (an equal mix of 28 mineral waters, from the 28 European countries), Painted Wooden Shelf, 55 x 200 x 21 cm
Charbel-joseph H. Boutros, ‘Drink Europa’, 2012, Drinking Glass, Water (an equal mix of 28 mineral waters, from the 28 European countries), Painted Wooden Shelf, 55 x 200 x 21 cm
Charbel-joseph H. Boutros, 'Measuring the measure', 2011, 3 Metallic Rulers, Drawing on Wall, 15 x 100 cm
Charbel-joseph H. Boutros, ‘Measuring the measure’, 2011, 3 Metallic Rulers, Drawing on Wall, 15 x 100 cm
Charbel-joseph H. Boutros, '90 days', 2015, Engraved Carrara Marble and Newspaper, 90 Newspapers (Folhade S.Paulo) are collected, and juxtaposed consecutively by order of days, the last one, the one on the top is the day before the opening.
Charbel-joseph H. Boutros, ’90 days’, 2015, Engraved Carrara Marble and Newspaper, 90 Newspapers (Folhade S.Paulo) are collected, and juxtaposed consecutively by
order of days, the last one, the one on the top is the day before the opening.
Charbel-joseph H. Boutros, 'Let It Ring', 2014, Telephone, Text on Paper, Notebook, Metallic Frame, Wooden Table, Dimensions Variable
Charbel-joseph H. Boutros, ‘Let It Ring’, 2014, Telephone, Text on Paper, Notebook, Metallic Frame, Wooden Table, Dimensions Variable
Charbel-joseph H. Boutres, 'Mon amour', 2012, Two Supermarket Receipts, 16 x 17 cm
Charbel-joseph H. Boutres, ‘Mon amour’, 2012, Two Supermarket Receipts, 16 x 17 cm
Charbel-joseph H. Boutres, 'Mon amour', 2012, Two Supermarket Receipts, 16 x 17 cm
Charbel-joseph H. Boutres, ‘Mon amour’, 2012, Two Supermarket Receipts, 16 x 17 cm
Charbel-joseph H. Boutros, 'But even dead can dance', 2015, Ashes on Canvas, (a new tableau is dismantled, its chassis burned, transformed into ashes, and then applied on the white surface of the canvas), 70 x 90 cm
Charbel-joseph H. Boutros, ‘But even dead can dance’, 2015, Ashes on Canvas, (a new tableau is dismantled, its chassis burned, transformed into ashes, and then applied on the white surface of the canvas), 70 x 90 cm
Jan KapsCologne, DE

Cologne, DE

Jan Kaps

jan-kaps.com
info@jan-kaps.com
+49 221 828 202 12


nothing really mattress but I guess I knew that all along



3-Violet-Dennison_Jan-Kaps_WEB4-Violet-Dennison_Jan-Kaps_WEB
too sad too sad
too sad too sad

6-Violet-Dennison_Jan-Kaps_WEB7-Violet-Dennison_Jan-Kaps_WEB
don't belong anywhere
don’t belong anywhere

9-Violet-Dennison_Jan-Kaps_WEB
10-Violet-Dennison_Jan-Kaps_WEB
11-Violet-Dennison_Jan-Kaps_WEB
12-Violet-Dennison_Jan-Kaps_WEB
13-Violet-Dennison_Jan-Kaps_WEB
14-Violet-Dennison_Jan-Kaps_WEB
15-Violet-Dennison_Jan-Kaps_WEB
16-Violet-Dennison_Jan-Kaps_WEB
17-Violet-Dennison_Jan-Kaps_WEB
18-Violet-Dennison_Jan-Kaps_WEB
18a-Violet-Dennison_Jan-Kaps_WEB
19-Violet-Dennison_Jan-Kaps_WEB
20-Violet-Dennison_Jan-Kaps_WEB
21-Violet-Dennison_Jan-Kaps_WEB
22-Violet-Dennison_Jan-Kaps_WEB
23-Violet-Dennison_Jan-Kaps_WEB

But the first form of solar love is a cloud raised up over the liquid element. The erotic cloud sometimes becomes a storm and falls back to earth in the form of rain, while lightning staves in the layers of the atmosphere.
 The rain is soon raised up again in the form of an immobile plant.

LimoncelloLondon, UK

London, UK

Limoncello

limoncellogallery.co.uk
limoncello@limoncellogallery.co.uk
+44 7835 112 114

Yonatan Vinitsky’s rich practice is tricky to get to grips with, as so many divergent things happen simultaneously within his works and exhibitions. Attempting to designate different strands gives us a list of tools with which to look:

Starting with his #useofsourceimagery: every single work begins with a real, existing element from the world, art or otherwise. It is then #translatedorreproduced into Vinitsky’s own works. This, almost incidentally, leads to the #creationofnarratives through orchestrating information and releasing it afresh, but more importantly the ‘translation’ is effected through his #decisionmaking processes and #specificityofmaterials. Vinitsky corresponds his imagery and concept to the materials in each work; an example being his limited eight-colour palette (derived from matching colours to those sampled in road markings in London, or a train station in Warsaw, e.g.) used in his monochrome paintings. This specificity is played out in his media captions, sometimes pages long, detailing every component part of a work.

#Developmentoftechniques is paramount and is another form of Vinitsky’s palette: his presentation here comprises of eight elastic works. On base planes of coloured paint applied direct on the wall, he uses lengths of elastic stretched round nails to delineate shapes spliced from existing imagery found in text-books and cartoons. Vinitsky’s technique happily occupies traditional medias of sculpture, painting and drawing; but he subtly uses and combines materials to pull them into indefinite territories. Inextricable from his techniques is how he finds displaysolutions for each work, which often point to the institution, irrespective of the actual context, from the humblest project space to the museum itself.

More than multi-disciplinary, Vinitsky has #mercurialaesthetics, jumping wildly to the extent that the works seem to be made by a number of artists, evoking a group show within his solo shows. Aided by his #collaborations, often sought through the people featured in his sources, rather than orthodox artistic collaboration, he approaches his collaborators as materials. Vinitsky’s entire enterprise is only fully realized in his #exhibitionmaking, either beginning with a story to form works within an exhibition or more often, selecting works that will sit together to create dense webs of connections between them.

Photographer: Romain Darnaud

Yonatan Vinitsky (b. 1980, Jerusalem, based in Paris and London) gained his BA Fine Art at Goldsmiths College (2006) and his MA Sculpture at Royal College of Art (2009). Recent and forthcoming solo shows include Tel Aviv Museum of Art, Tel Aviv; Braverman Gallery, Tel Aviv; Mon Cheri, Brussels; Frutta, Rome; Limoncello, London; Ashdod Museum of Art, Ashdod. Recent group shows include Lisa Cooley, New York; OUTPOST, Norwich; Kunstverein Wiesbaden, Wiesbaden; and Palais de Tokyo, Paris, which followed his 8 month Pavillon Neuflize Residency of 2014.


Wardrobe_FINAL

Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Blue Trousers) S', 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 104. - Blue Verditer), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Blue Trousers) S’, 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 104. – Blue Verditer), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Blue Trousers) S' (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 104. - Blue Verditer), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Blue Trousers) S’ (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 104. – Blue Verditer), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Light Bronze T-shirt) S', 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 123. - Light Bronze Green), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Light Bronze T-shirt) S’, 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 123. – Light Bronze Green), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Light Bronze T-shirt) S' (Detail), 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 123. - Light Bronze Green), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Light Bronze T-shirt) S’ (Detail), 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 123. – Light Bronze Green), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Green Dress) S', 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 199. - Phthalo Green), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Green Dress) S’, 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 199. – Phthalo Green), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Green Dress) S' (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 199. - Phthalo Green), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Green Dress) S’ (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 199. – Phthalo Green), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Red Swimsuit) S', 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 190. - Atomic Red), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Red Swimsuit) S’, 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 190. – Atomic Red), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Red Swimsuit) S' (Detail), 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 190. - Atomic Red), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Red Swimsuit) S’ (Detail), 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 190. – Atomic Red), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It, (The Yellow Boxes) S', 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 47. - Mister David), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It, (The Yellow Boxes) S’, 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 47. – Mister David), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It, (The Yellow Boxes) S' (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 47. - Mister David), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It, (The Yellow Boxes) S’ (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 47. – Mister David), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Pink Folded Shirts) S', 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 185. - Angie), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Pink Folded Shirts) S’, 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 185. – Angie), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Pink Folded Shirts) S' (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 185. - Angie), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Pink Folded Shirts) S’ (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 185. – Angie), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Black Coat) S', 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 119. - Jet Black), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Black Coat) S’, 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 119. – Jet Black), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The Black Coat) S' (Detail), 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 119. - Jet Black), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The Black Coat) S’ (Detail), 2016, White Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 119. – Jet Black), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The White Blazer) S', 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 49 - First Light), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The White Blazer) S’, 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 49 – First Light), 120 x 90 x 2.5 cm
Yonatan Vinitsky, 'If You Can See It, You Can Find It (The White Blazer) S' (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 49 - First Light), 120 x 90 x 2.5 cm
Yonatan Vinitsky, ‘If You Can See It, You Can Find It (The White Blazer) S’ (Detail), 2016, Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene 49 – First Light), 120 x 90 x 2.5 cm

LLYV330_16_9Web

LLYV330_16_11Web

SabotCluj-Napoca, RO

Cluj-Napoca, RO

Sabot

galeria-sabot.ro
info@galeria-sabot.ro
+40 723224105

Radu Comșa
(1975, lives and works in Cluj-Napoca, Romania)
Incorporating divagations, extractions, references, Radu Comșa’s ‘transcriptions’ (from one material to another, from one shape to another, from one conceptual frame to another) are referring to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.
With his most recent painting-series – “Golden Ratio” – the artist tries to transform the quantitative rate indicators of arithmetic, the science of numbers, into qualitative colour-tastes. He uses methods closer to modern technological solutions, such as printing, the chromo-phototype, or serigraphy. Despite all appearances, he paints his work by hand, with extreme attention, similarly to the technique of batik painting. He disregards traditional painterliness and uses not an oily, mixed paste, but touches his canvas with a sublimated, more conceptual colour vision: he paints the diluted but unmixed, pure primary colours in a set proportion over one another, the colour-derivating process coming into being by colour-shifting, chromatic aberration.
Radu Comșa’s work has been included in shows at Arken Museum, Copenhagen; Center for Contemporary Art Ujazdowski Castle, Warsaw; Műcsarnok | Kunsthalle Budapest; Marianne Boesky, New York; Peles Empire, London; Trafó Gallery, Budapest; Gaudel de Stampa, Paris; Spazio A, Pistoia; Lucie Fontaine, Milan & Bali; Prague Biennial & Timisoara Biennial, among others.

Nona Inescu
(1991, lives and works in Bucharest, Romania)
After studying at the Royal Academy of Fine Arts in Antwerp (2010-2011) and at Chelsea College of Art & Design in London (2009-2010), Nona Inescu is currently completing her graduate studies at the National University of Arts in Bucharest (Photography and Video department). Her art practice is interdisciplinary and encompasses photography, sculpture, installation, digital art – works that incorporate poetic, historical references, challenge our conventional ways of viewing and thinking, and open up new possibilities for deciphering The Symbolic.
Nona Inescu’s debut solo show – “Hands don’t make magic” – took place in October 2015, at Sabot.

Alex Mirutziu
(1981, lives and works in Sibiu, Romania)
Alex Mirutziu’s installation based performances and writings question the ways in which the space after something ends is orchestrated. He uses design in its most bureaucratic sense, collecting imprints of personal and historical events, using understanding and sincerity as factors in the materialisation.
The artist made a collective with a hyper-object — namely ‘himself at 29’ – and often operate within this structure. The collective’s modus operandi is retroactive irony.
Alongside his current theoretical practice, Alex Mirutziu is frequently lecturing on performance (Royal College of Arts, London; Von Kraal Theatre, Estonia; Konstfack, Stockholm; Bezalel University of Art and Design, Tel Aviv) and is collaborating with artists/writers/musicians/designers/philosophers, among which Grit Hachmeister (DE), Paul Devens (NL), Elias Merino (ES), Graham Foust (US), Graham Harman (US). Recent projects have been hosted by ZDB, Lisbon; Power Plant, Toronto; The Glass Factory Lab, Boda; Mucsarnok Kusthalle, Budapest; Center for Contemporary Art Ujazdowski Castle & National Museum, Warsaw; Venice Biennale (2015).
In spring 2016, Alex Mirutziu will take part in the second stage of “Performance as Process” at Delfina Foundation in London, a series of residencies and events that explore performance as a way of approaching and understanding the world.

Alexandra Zuckerman
(born in Moscow, Russia, 1981; lives and works in Tel Aviv, Israel)
Alexandra Zuckerman’s diverse and vivid imagery has its roots in traditional painting, as well as in illustration, folk art, personal everyday encounters and childhood memories. Zuckerman’s works are often very detailed, demanding a close look, with a special emphasis on the flatness of the surface. “I always say that I’m a painter, but actually I work with drawing. I think that I refer to my practice as painting because I always think about images through painting when I´m working. That’s the medium that I started out with. I don’t like paint as a material so I use pencils instead, but in a way, mentally, I’m still painting when I’m creating an image.”
The artist studied fine art at Bezalel Academy of Arts and Design in Jerusalem and at the Städelschule in Frankfurt am Main, as well as biology at Tel Aviv University. Her works have been exhibited in solo exhibitions at Sabot, Cluj-Napoca, Romania (2015); MK Search Art in San Giovanni Valdarno, Italy (with Michal Helfman and Eli Petel) (2014); Fruit and Flower Deli in Stockholm (with Lucie Fontaine) (2014); Galerie Christian Nagel in Berlin (2008); and Noga Gallery of Contemporary Art in Tel Aviv (2013). She has participated in several group exhibitions such as Susy Culinski & friends at Fanta Spazio in Milan (2015), Filosofen at Galleri Riis (2015), and The Drawing Room at Magasin III (2014), both in Stockholm; A Guide to Making a Genie, at Gallery 427 in Riga (2014); The 1st Herzliya Biennial of Contemporary Art in Herzliya, Israel (2007); As If Words Meant Nothing at kunstbuero in Vienna (2009); and Garbage Man Please Garbage Me at Brun in Düsseldorf (2006). The artist has received the Excellence Award in the Arts from Bezalel Academy of Arts and Design and the America-Israel Cultural Foundation Scholarship. In 2014 she was artist-in-residence at Iaspis in Stockholm.


ezgif.com-resize

Alex Mirutziu, 'How to draw with the fact of mind', 2014, Archival Print on Hahnemühle Paper, 90 x 67 cm
Alex Mirutziu, ‘How to draw with the fact of mind’, 2014, Archival Print on Hahnemühle Paper, 90 x 67 cm
Alex Mirutziu, 'How to draw with the fact of mind', 2014, Archival Print on Hahnemühle Paper, 90 x 67 cm
Alex Mirutziu, ‘How to draw with the fact of mind’, 2014, Archival Print on Hahnemühle Paper, 90 x 67 cm
Nona Inescu, 'Sleight-of-hand', 2015, PVC Curtain and Framed Archival Print on Hahnemühle Paper, 230 x 400 cm / 60 x 80 cm
Nona Inescu, ‘Sleight-of-hand’, 2015, PVC Curtain and Framed Archival Print on Hahnemühle Paper, 230 x 400 cm / 60 x 80 cm
Nona Inescu, 'Sleight-of-hand', 2015, PVC Curtain and Framed Archival Print on Hahnemühle Paper, 230 x 400 cm / 60 x 80 cm
Nona Inescu, ‘Sleight-of-hand’, 2015, PVC Curtain and Framed Archival Print on Hahnemühle Paper, 230 x 400 cm / 60 x 80 cm
Radu Comsa, 'Diametric abstraction', 2012, Spraypaint on Wood, Dimensions Variable
Radu Comsa, ‘Diametric abstraction’, 2012, Spraypaint on Wood, Dimensions Variable
Radu Comsa, 'Diametric abstraction', 2012, Spraypaint on Wood, Dimensions Variable
Radu Comsa, ‘Diametric abstraction’, 2012, Spraypaint on Wood, Dimensions Variable
Radu Comsa, 'Diametric abstraction', 2012, Spraypaint on Wood, Dimensions Variable
Radu Comsa, ‘Diametric abstraction’, 2012, Spraypaint on Wood, Dimensions Variable
Alexandra Zuckerman, 'Cave & Door inside cave', 2015, Ink and Pencil on Paper, 21 x 29.7 cm (each)
Alexandra Zuckerman, ‘Cave & Door inside cave’, 2015, Ink and Pencil on Paper, 21 x 29.7 cm (each)
Alexandra Zuckerman, 'Cave & Door inside cave', 2015, Ink and Pencil on Paper, 21 x 29.7 cm (each)
Alexandra Zuckerman, ‘Cave & Door inside cave’, 2015, Ink and Pencil on Paper, 21 x 29.7 cm (each)
Radu Comsa, 'Golden ratio 8/13', 2016, Pigments on Cotton Fabric (Batik), 80 x 130 cm
Radu Comsa, ‘Golden ratio 8/13’, 2016, Pigments on Cotton Fabric (Batik), 80 x 130 cm
Radu Comsa, 'Golden ratio 8/13', 2016, Pigments on Cotton Fabric (Batik), 80 x 130 cm
Radu Comsa, ‘Golden ratio 8/13’, 2016, Pigments on Cotton Fabric (Batik), 80 x 130 cm
Alex Mirutziu, 'Where is the poem', performance for prepared poem and one hand, based on 'Politics' by Graham Foust, 2013, HD Video, 09:49 min; 3 B&W Laser Prints on A4 Paper
Alex Mirutziu, ‘Where is the poem’, performance for prepared poem and one hand, based on ‘Politics’ by Graham Foust, 2013, HD Video, 09:49 min; 3 B&W Laser Prints on A4 Paper
Alex Mirutziu, 'Where is the poem', performance for prepared poem and one hand, based on 'Politics' by Graham Foust, 2013, HD Video, 09:49 min; 3 B&W Laser Prints on A4 Paper
Alex Mirutziu, ‘Where is the poem’, performance for prepared poem and one hand, based on ‘Politics’ by Graham Foust, 2013, HD Video, 09:49 min; 3 B&W Laser Prints on A4 Paper
Alex Mirutziu, 'Where is the poem', performance for prepared poem and one hand, based on 'Politics' by Graham Foust, 2013, HD Video, 09:49 min; 3 B&W Laser Prints on A4 Paper
Alex Mirutziu, ‘Where is the poem’, performance for prepared poem and one hand, based on ‘Politics’ by Graham Foust, 2013, HD Video, 09:49 min; 3 B&W Laser Prints on A4 Paper

Alex Mirutziu, ‘Where is the poem’, performance for prepared poem and one hand, based on ‘Politics’ by Graham Foust, 2013, HD Video, 09:49 min

Sandy BrownBerlin, DE

Berlin, DE

Sandy Brown

www.sandy-brown.com
mail@sandy-brown.com
+49 151 2164 0399

Timothy Davies
Jean-Michel Wicker
Alex Vivian

All images are courtesy of the artists and SANDY BROWN, Berlin.


Timothy Davies, 'Creme Caramels (VI)', 2016, Wax, Epoxy Resin, Plastic, Paper, 16 x 16 x 8 cm and 16 x 8 x 8 cm, Unique
Timothy Davies, ‘Creme Caramels (VI)’, 2016, Wax, Epoxy Resin, Plastic, Paper, 16 x 16 x 8 cm and 16 x 8 x 8 cm, Unique
Timothy Davies, 'Countries Beginning with I', 2016, Ceramic, Clear Adhesive Tape, 8 pieces at 20 x 12 cm each, Edition 1 of 3, + 2AP
Timothy Davies, ‘Countries Beginning with I’, 2016, Ceramic, Clear Adhesive Tape, 8 pieces at 20 x 12 cm each, Edition 1 of 3, + 2AP
Jean-Michel Wicker, ‘#pastapainting (bb)’, 2015, Cardboard, Fabric, Staples, Orecchiette Pasta, Spray Paint, Lacquer, Marker Pen, Xerox on Paper, Tipp-Ex, Pencil, Xerox on Plastic Film, Paper, Black Metal Hooks, 36 x 41 x 1.5 cm, Unique
Jean-Michel Wicker, ‘#pastapainting (bb)’, 2015, Cardboard, Fabric, Staples, Orecchiette Pasta, Spray Paint, Lacquer, Marker Pen, Xerox on Paper, Tipp-Ex, Pencil, Xerox on Plastic Film, Paper, Black Metal Hooks, 36 x 41 x 1.5 cm, Unique
Jean-Michel Wicker, ‘madame blanchot’, 2015, Mixed Media on Cardboard, Black Metal Hooks, 16.3 x 21 x 1.9 cm, Unique
Jean-Michel Wicker, ‘madame blanchot’, 2015, Mixed Media on Cardboard, Black Metal Hooks, 16.3 x 21 x 1.9 cm, Unique
Alex Vivian, ‘An afternoon, rain, open door’, 2013, High Chair, Violin, Massage Device, Plastic Packaging, Footprints, Dirt, Vaseline, Filthy Plinth, Dimensions variable, Unique
Alex Vivian, ‘An afternoon, rain, open door’, 2013, High Chair, Violin, Massage Device, Plastic Packaging, Footprints, Dirt, Vaseline, Filthy Plinth, Dimensions variable, Unique
Alex Vivian, 'An afternoon, rain, open door', 2013, detail view
Alex Vivian, ‘An afternoon, rain, open door’, 2013, detail view
Alex Vivian, ‘Newspaper headline (Men, boys, teenagers, etc come across as mere fodder in comparison to Tom of Finland characters.)’, 2015, Filthy Pillow Case, Acrylic Paint, 60 x 43 cm, Unique
Alex Vivian, ‘Newspaper headline (Men, boys, teenagers, etc come across as mere fodder in comparison to Tom of Finland characters.)’, 2015, Filthy Pillow Case, Acrylic Paint, 60 x 43 cm, Unique
Simone SubalNew York, US

New York, US

Sonia Almeida, ’Relief 3D', 2016, Oil on Marine Plywood, 121.9 x 81.3 cm
Sonia Almeida, ’Relief 3D’, 2016, Oil on Marine Plywood, 121.9 x 81.3 cm

Anna K.E. & Florian Meisenberg, ‘Late Checkout (part 2)’, 2015, Single Channel Video, 9’58″

Anna K.E., 'Teen Factory – Berlin NYC (black rope)', 2014, MDF, Oil Sticks, Wood, Plaster, Foam, Rope, 136 x 52 x 90 cm
Anna K.E., ‘Teen Factory – Berlin NYC (black rope)’, 2014, MDF, Oil Sticks, Wood, Plaster, Foam, Rope, 136 x 52 x 90 cm
Anna K.E., 'Teen Factory – Berlin NYC (black rope)', 2014, Detail
Anna K.E., ‘Teen Factory – Berlin NYC (black rope)’, 2014, Detail
Anna K.E., 'Teen Factory – Berlin NYC (black rope)', 2014, Detail
Anna K.E., ‘Teen Factory – Berlin NYC (black rope)’, 2014, Detail
Anna K.E., 'Teen Factory – Berlin NYC (letters)', 2013-2014, MDF, Aluminum, Found Object (Ceramic), Metal, Yoga Mats, Acrylic, Wood, String, Wood of Pencil Head, 143 x 92 x 169 cm
Anna K.E., ‘Teen Factory – Berlin NYC (letters)’, 2013-2014, MDF, Aluminum, Found Object (Ceramic), Metal, Yoga Mats, Acrylic, Wood, String, Wood of Pencil Head, 143 x 92 x 169 cm
Anna K.E., 'Teen Factory – Berlin NYC (letters)', 2013-2014, MDF, Aluminum, Found Object (Ceramic), Metal, Yoga Mats, Acrylic, Wood, String, Wood of Pencil Head, 143 x 92 x 169 cm
Anna K.E., ‘Teen Factory – Berlin NYC (letters)’, 2013-2014, MDF, Aluminum, Found Object (Ceramic), Metal, Yoga Mats, Acrylic, Wood, String, Wood of Pencil Head, 143 x 92 x 169 cm
Sonia Almeida, ’Relief Ribbons', 2016, Oil on Marine Plywood, 121.9 x 81.3 cm
Sonia Almeida, ’Relief Ribbons’, 2016, Oil on Marine Plywood, 121.9 x 81.3 cm

Anna K.E. & Florian Meisenberg, ‘Late Checkout (part 3)’, 2015, Single Channel Video, 15’39″

Anna K.E., 'Post Hunger Generation II', 2015, Wood, Plaster with Pigment, Aluminum, Rubber, Drawing, 161 x 119 x 20 cm
Anna K.E., ‘Post Hunger Generation II’, 2015, Wood, Plaster with Pigment, Aluminum, Rubber, Drawing, 161 x 119 x 20 cm
Anna K.E., 'Post Hunger Generation II', 2015, Wood, Plaster with Pigment, Aluminum, Rubber, Drawing, 161 x 119 x 20 cm
Anna K.E., ‘Post Hunger Generation II’, 2015, Wood, Plaster with Pigment, Aluminum, Rubber, Drawing, 161 x 119 x 20 cm
Sonia Almeida, 'Marble Gesture/ Moving Sculpture', 2016, Oil on Marine Plywood, 81.3 x 61 cm
Sonia Almeida, ‘Marble Gesture/ Moving Sculpture’, 2016, Oil on Marine Plywood, 81.3 x 61 cm