BolteLangZürich

Zürich

BolteLang

www.boltelang.com
info@boltelang.com
+41 44 273 00 10

THE SHELF

The Shelf in BolteLang’s office is not just a simple shelf used to store files, catalogues and books but also functions as a showroom. The Shelf was purposely built for the space when the gallery underwent major refurbishment at the beginning of 2016, increasing the space by a third, and turning a former garage into a large office space.

For the opening of every exhibition at the gallery the two gallerists curate a mini-exhibition for The Shelf with works by the artists of the program.

During Dream London BolteLang shows a different Shelf exhibition every day of the fair with works by following artists:

Vanessa Billy
Bianca Brunner
Claudia Comte
Daniel Gustav Cramer
Athene Galiciadis

Daniel Gordon

Benjamin Senior

Jill Spector


boltelang-dream-2016-f

Daniel Gordon, 'Screen Selection 7', 2016, Pigment print on canvas, Unique, 50.8 x 40.5 cm
Daniel Gordon, ‘Screen Selection 7’, 2016, Pigment print on canvas, Unique, 50.8 x 40.5 cm
Daniel Gordon, 'Screen Selection 14', 2016, Pigment print on canvas, Unique, 50.8 x 40.5 cm
Daniel Gordon, ‘Screen Selection 14’, 2016, Pigment print on canvas, Unique, 50.8 x 40.5 cm
Daniel Gordon, 'Screen Selection 13', 2016, Pigment print on canvas, Unique, 50.8 x 40.5 cm
Daniel Gordon, ‘Screen Selection 13’, 2016, Pigment print on canvas, Unique, 50.8 x 40.5 cm
Daniel Gordon, 'Screen Selection 8', 2016, Pigment print on canvas, Unique, 50.8 x 40.5 cm
Daniel Gordon, ‘Screen Selection 8’, 2016, Pigment print on canvas, Unique, 50.8 x 40.5 cm

boltelang-dream-2016-day-5

Bianca Brunner, 'Stick (2)', 2014, Silver Gelatin Print, Painted Frame, Edition 2/5 + 2 AP, 40 x 29.5 cm
Bianca Brunner, ‘Stick (2)’, 2014, Silver Gelatin Print, Painted Frame, Edition 2/5 + 2 AP, 40 x 29.5 cm
Bianca Brunner, 'Stick (5)', 2014, Silver Gelatin Print, Painted Frame, Edition 2/5 + 2 AP, 40 x 29.5 cm
Bianca Brunner, ‘Stick (5)’, 2014, Silver Gelatin Print, Painted Frame, Edition 2/5 + 2 AP, 40 x 29.5 cm
Vanessa Billy, 'Refresh, Refresh (full yellow squeeze)', 2016, Bio Resin, Dye, Unique, 21 x 9 cm
Vanessa Billy, ‘Refresh, Refresh (full yellow squeeze)’, 2016, Bio Resin, Dye, Unique, 21 x 9 cm
Vanessa Billy, 'Künstler Tragtasche Migros Kulturprozent', 2016, Paper Bag
Vanessa Billy, ‘Künstler Tragtasche Migros Kulturprozent’, 2016, Paper Bag
Daniel Gordon, 'Screen Selection 9', 2016, Pigment Print on Canvas, Unique, 50.8 x 40.5 cm
Daniel Gordon, ‘Screen Selection 9’, 2016, Pigment Print on Canvas, Unique, 50.8 x 40.5 cm
Jill Spector, 'The Pipe Is My Hand #3', 2011, Wood, Colour Photocopy, Paper, Ink, Fabric, Glue, 68 x 45.7 x 5.7 cm
Jill Spector, ‘The Pipe Is My Hand #3’, 2011, Wood, Colour Photocopy, Paper, Ink, Fabric, Glue, 68 x 45.7 x 5.7 cm

boltelang-dream-2016-day-4

Athene Galiciadis, 'Untitled (stool - black and white triangles and red and brown fluo) tbc', 2015, Acrylic on Clay, Plexiglass, Approx 27 x 22 x 22 cm
Athene Galiciadis, ‘Untitled (stool – black and white triangles and red and brown fluo) tbc’, 2015, Acrylic on Clay, Plexiglass, Approx 27 x 22 x 22 cm
Bianca Brunner, 'Box', 2009, Silver Gelatin Print, Edition 5/5 + 2 AP, 30 x 40 cm
Bianca Brunner, ‘Box’, 2009, Silver Gelatin Print, Edition 5/5 + 2 AP, 30 x 40 cm
Bianca Brunner, 'Welcome', 2010, Two Silver Gelatine Prints, Edition 2/5 + 2 AP, 17.5 x 23cm
Bianca Brunner, ‘Welcome’, 2010, Two Silver Gelatine Prints, Edition 2/5 + 2 AP, 17.5 x 23cm
Bianca Brunner, 'Welcome', 2010, Two Silver Gelatine Prints, Edition 2/5 + 2 AP, 17.5 x 23cm
Bianca Brunner, ‘Welcome’, 2010, Two Silver Gelatine Prints, Edition 2/5 + 2 AP, 17.5 x 23cm
Bianca Brunner, 'Welcome', 2010, Two Silver Gelatine Prints, Edition 2/5 + 2 AP, 17.5 x 23cm
Bianca Brunner, ‘Welcome’, 2010, Two Silver Gelatine Prints, Edition 2/5 + 2 AP, 17.5 x 23cm
Claudia Comte, 'The Fabulous Fondue Kit!', 2016, a caquelon with four compartments, four white wine glasses, four plates, four forks, Edition 12/20
Claudia Comte, ‘The Fabulous Fondue Kit!’, 2016, a caquelon with four compartments, four white wine glasses, four plates, four forks, Edition 12/20
Claudia Comte, 'The Fabulous Fondue Kit!', 2016, a caquelon with four compartments, four white wine glasses, four plates, four forks, Edition 12/20
Claudia Comte, ‘The Fabulous Fondue Kit!’, 2016, a caquelon with four compartments, four white wine glasses, four plates, four forks, Edition 12/20
Claudia Comte, 'The Fabulous Fondue Kit!', 2016, a caquelon with four compartments, four white wine glasses, four plates, four forks, Edition 12/20
Claudia Comte, ‘The Fabulous Fondue Kit!’, 2016, a caquelon with four compartments, four white wine glasses, four plates, four forks, Edition 12/20
Claudia Comte, 'The Fabulous Fondue Kit!', 2016, a caquelon with four compartments, four white wine glasses, four plates, four forks, Edition 12/20
Claudia Comte, ‘The Fabulous Fondue Kit!’, 2016, a caquelon with four compartments, four white wine glasses, four plates, four forks, Edition 12/20

boltelang-dream-2016-day-3

Athene Galiciadis, 'Untitled', 2008, Coloured Pencil on Paper, 35 x 26.5 cm
Athene Galiciadis, ‘Untitled’, 2008, Coloured Pencil on Paper, 35 x 26.5 cm
Benjamin Senior, 'Rings V (Cartwheels)', 2014, Egg Tempera on Linen on Plywood, 40 x 60 cm
Benjamin Senior, ‘Rings V (Cartwheels)’, 2014, Egg Tempera on Linen on Plywood, 40 x 60 cm
Vanessa Billy, 'Oil Spill on Sky IV', 2010, Sump Oil, Coloured Paper, 70 x 100 cm
Vanessa Billy, ‘Oil Spill on Sky IV’, 2010, Sump Oil, Coloured Paper, 70 x 100 cm

Vanessa Billy, 'Refresh, Refresh (orange squeeze)', 2016, Bio Resin, Dye, 21 x 9 cm
Vanessa Billy, ‘Refresh, Refresh (orange squeeze)’, 2016, Bio Resin, Dye, 21 x 9 cm

Vanessa Billy, 'Way high', 2006, Collage, 31 x 24.5 cm
Vanessa Billy, ‘Way High’, 2006, Collage, 31 x 24.5 cm
Vanessa Billy, 'Hearing', 2009, Collage, 27.6 x 21.7cm
Vanessa Billy, ‘Hearing’, 2009, Collage, 27.6 x 21.7cm
Claudia Comte, 'Mickey Painting 1-3', 2014, Triptych: Acrylic on Canvas, (Each) 50 x 50 cm
Claudia Comte, ‘Mickey Painting 1-3’, 2014, Triptych: Acrylic on Canvas, (Each) 50 x 50 cm
Claudia Comte, 'Mickey Painting 1-3', 2014, Triptych: Acrylic on Canvas, (Each) 50 x 50 cm
Claudia Comte, ‘Mickey Painting 1-3’, 2014, Triptych: Acrylic on Canvas, (Each) 50 x 50 cm
Claudia Comte, 'Mickey Painting 1-3', 2014, Triptych: Acrylic on Canvas, (Each) 50 x 50 cm
Claudia Comte, ‘Mickey Painting 1-3’, 2014, Triptych: Acrylic on Canvas, (Each) 50 x 50 cm
Claudia Comte, 'Mickey Painting 1-3', 2014, Triptych: Acrylic on Canvas, (Each) 50 x 50 cm
Claudia Comte, ‘Mickey Painting 1-3’, 2014, Triptych: Acrylic on Canvas, (Each) 50 x 50 cm
Daniel Gustav Cramer, 'Evening At Liepnitzsee', 2011, Book, Edition 2/3 + 1 AP
Daniel Gustav Cramer, ‘Evening At Liepnitzsee’, 2011, Book, Edition 2/3 + 1 AP
Daniel Gustav Cramer, 'Evening At Liepnitzsee', 2011, Book, Edition 2/3 + 1 AP
Daniel Gustav Cramer, ‘Evening At Liepnitzsee’, 2011, Book, Edition 2/3 + 1 AP

boltelang-dream-london-2016-a

Benjamin Senior, 'Poolside Construction IV', 2014, Oil on Linen, 61 x 51 cm
Benjamin Senior, ‘Poolside Construction IV’, 2014, Oil on Linen, 61 x 51 cm
Vanessa Billy, 'Refresh, Refresh (rainbow squeeze)', Bronze, Unique, 21 x 9 cm and 24 x 6 cm
Vanessa Billy, ‘Refresh, Refresh (rainbow squeeze)’, Bronze, Unique, 21 x 9 cm and 24 x 6 cm
Vanessa Billy, 'Afloat (clear yellow)', 2016, Bio Resin, Dye, Unique, 43cm ∅
Vanessa Billy, ‘Afloat (clear yellow)’, 2016, Bio Resin, Dye, Unique, 43cm ∅
Vanessa Billy, 'Afloat (blue)', 2016, Bio Resin, Dye, Unique, 43cm ∅
Vanessa Billy, ‘Afloat (blue)’, 2016, Bio Resin, Dye, Unique, 43cm ∅
Daniel Gustav Cramer, 'Untitled VIII, 2012, Found Image of Unknown Source Turned Backwards, Unique, 48 x 39.5cm
Daniel Gustav Cramer, ‘Untitled VIII, 2012, Found Image of Unknown Source Turned Backwards, Unique, 48 x 39.5cm
Daniel Gustav Cramer, 'Untitled (Cylindropuntia bigelovii)', 2015, C-Print, Ed 1 of 5 +2AP, 69 x 56 cm
Daniel Gustav Cramer, ‘Untitled (Cylindropuntia bigelovii)’, 2015, C-Print, Ed 1 of 5 +2AP, 69 x 56 cm

boltelang-dream-2016-contact-copy

ChertBerlin

Berlin

Lucy Coggle, 'Glut (bridge) II', 2012, ink, pencil and cellulose print on paper, 63.5 x 63.5 cm (25" x 25")
Lucy Coggle, ‘Glut (bridge) II’, 2012, ink, pencil and cellulose print on paper, 63.5 x 63.5 cm (25″ x 25″)
Lucy Coggle, 'Glut (ellipse) II', 2012, ink, pencil and cellulose print on paper, 63.5 x 63.5 cm (25" x 25")
Lucy Coggle, ‘Glut (ellipse) II’, 2012, ink, pencil and cellulose print on paper, 63.5 x 63.5 cm (25″ x 25″)
Lucy Coggle, 'Glut (line) II', 2012, ink, pencil and cellulose print on paper, 63.5 x 63.5 cm (25" x 25")
Lucy Coggle, ‘Glut (line) II’, 2012, ink, pencil and cellulose print on paper, 63.5 x 63.5 cm (25″ x 25″)
Lucy Coggle, 'Glut (square) II', 2012, ink, pencil and cellulose print on paper, 63.5 x 63.5 cm (25" x 25")
Lucy Coggle, ‘Glut (square) II’, 2012, ink, pencil and cellulose print on paper, 63.5 x 63.5 cm (25″ x 25″)
Lucy Coggle, 'Practical Solutions to Everyday Problems', 2007, Silkscreen on paper
Lucy Coggle, ‘Practical Solutions to Everyday Problems’, 2007, Silkscreen on paper
Jérémie Gindre, 'Seven Campgrounds and a Beehive', 2013, Indian ink on paper, Seven drawings: 29.7 x 40 cm (11 ¾" x 15 ¾"), Two drawings: 29.7 x 21 cm (11 ¾" x 8 ¼"), Unique
Jérémie Gindre, ‘Seven Campgrounds and a Beehive’, 2013, Indian ink on paper, Seven drawings: 29.7 x 40 cm (11 ¾” x 15 ¾”), Two drawings: 29.7 x 21 cm (11 ¾” x 8 ¼”), Unique
Jérémie Gindre, 'Seven Campgrounds and a Beehive', 2013, Indian ink on paper, Seven drawings: 29.7 x 40 cm (11 ¾" x 15 ¾"), Two drawings: 29.7 x 21 cm (11 ¾" x 8 ¼"), Unique
Jérémie Gindre, ‘Seven Campgrounds and a Beehive’, 2013, Indian ink on paper, Seven drawings: 29.7 x 40 cm (11 ¾” x 15 ¾”), Two drawings: 29.7 x 21 cm (11 ¾” x 8 ¼”), Unique
Jérémie Gindre, 'Seven Campgrounds and a Beehive', 2013, Indian ink on paper, Seven drawings: 29.7 x 40 cm (11 ¾" x 15 ¾"), Two drawings: 29.7 x 21 cm (11 ¾" x 8 ¼"), Unique
Jérémie Gindre, ‘Seven Campgrounds and a Beehive’, 2013, Indian ink on paper, Seven drawings: 29.7 x 40 cm (11 ¾” x 15 ¾”), Two drawings: 29.7 x 21 cm (11 ¾” x 8 ¼”), Unique
Jérémie Gindre, 'Prairie Parade (16)', 2012, Indian ink on paper, series of 24 drawings, 29.7 x 21 cm (11 ¾" x 8 ¼"), Unique
Jérémie Gindre, ‘Prairie Parade (16)’, 2012, Indian ink on paper, series of 24 drawings, 29.7 x 21 cm (11 ¾” x 8 ¼”), Unique
Jérémie Gindre, 'Prairie Parade (16)', 2012, Indian ink on paper, series of 24 drawings, 29.7 x 21 cm (11 ¾" x 8 ¼"), Unique
Jérémie Gindre, ‘Prairie Parade (16)’, 2012, Indian ink on paper, series of 24 drawings, 29.7 x 21 cm (11 ¾” x 8 ¼”), Unique
Jérémie Gindre, 'Prairie Parade (16)', 2012, Indian ink on paper, series of 24 drawings, 29.7 x 21 cm (11 ¾" x 8 ¼"), Unique
Jérémie Gindre, ‘Prairie Parade (16)’, 2012, Indian ink on paper, series of 24 drawings, 29.7 x 21 cm (11 ¾” x 8 ¼”), Unique
Jérémie Gindre, 'Nuisibles, utiles & indifferents', 2013-2015 India ink on paper, 29.7 x 21 cm (11 3/4" x 8 1/4")
Jérémie Gindre, ‘Nuisibles, utiles & indifferents’, 2013-2015 India ink on paper, 29.7 x 21 cm (11 3/4″ x 8 1/4″)
Jérémie Gindre, 'Six stiles & a broken wall', 2015, India ink on paper, series of 8 drawings, 29.7 x 40 cm (11 3/4" x 15 3/4"), 29.7 x 21 cm (11 3/4" x 8 1/4")
Jérémie Gindre, ‘Six stiles & a broken wall’, 2015, India ink on paper, series of 8 drawings, 29.7 x 40 cm (11 3/4″ x 15 3/4″), 29.7 x 21 cm (11 3/4″ x 8 1/4″)
Jérémie Gindre, 'C for Cones', 2015, India ink on paper, series of 12 drawings, 29.7 x 21 cm (11 3/4" x 8 1/4")
Jérémie Gindre, ‘C for Cones’, 2015, India ink on paper, series of 12 drawings, 29.7 x 21 cm (11 3/4″ x 8 1/4″)
Jérémie Gindre, 'C for Cones', 2015, India ink on paper, series of 12 drawings, 29.7 x 21 cm (11 3/4" x 8 1/4")
Jérémie Gindre, ‘C for Cones’, 2015, India ink on paper, series of 12 drawings, 29.7 x 21 cm (11 3/4″ x 8 1/4″)

000166371_20151126165825_mood_disorder_david_horvitz_new_documents_chert_motto_books
David Horvitz
Mood Disorder (book), 2015
Mood Disorder documents the propagation of a photograph of David Horvitz across the internet. The image—a self portrait of the artist with his head in his hands, ocean waves crashing in the background—was initially uploaded to the Wikimedia Commons, and placed on various Wikipedia pages. From there, the image began to circulate, appearing on over a hundred websites as a “stock” photo to illustrate articles on a wide range of mental health and wellness issues.
With a text by Ed Steck.
Designed by The Future.
Published by Chert & Motto Books & New Documents, 2015.
ISBN: 9781927354230
35 x 25 cm (13 3/4″ x 9 7/8″)

1-0_new

34-0_new

Alvaro Urbano, 'Ledoux meets blue mountain bird', 2012, digital print, unframed: 18 x 29 cm (7 ⅛" x 11 ⅜"), Edition of 5 plus I AP
Alvaro Urbano, ‘Ledoux meets blue mountain bird’, 2012, digital print, unframed: 18 x 29 cm (7 ⅛” x 11 ⅜”), Edition of 5 plus I AP
Alvaro Urbano, 'Utopias are for Birds / Antoine-Laurent-Thomas Vaudoyer (Maison d'un Cosmopolite 1782)', 2016
Alvaro Urbano, ‘Utopias are for Birds / Antoine-Laurent-Thomas Vaudoyer (Maison d’un Cosmopolite 1782)’, 2016

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Galeria Dawid RadziszewskiWarsaw

Warsaw

Galeria Dawid Radziszewski

www.dawidradziszewski.com
gallery@dawidradziszewski.com
+48 603 899 242

Pawel Kruk (*1976) lives in Bolinas, USA. He holds an MA in Drawing from the Fine Arts Academy in Poznan. A participant of the Advanced Art Course with Marina Abramović organized by Fondazione Antonio Ratti in Como, Italy. Recipient of numerous fellowships and residencies. Kruk is two time beneficiary of the Young Poland Award. He is also an alumni of the Rijksakademie van Beeldende Kunsten in Amsterdam (2011-2012). Recent solo exhibitions include ‘All That is Solid Melts into Air, all That is Holy is Profaned,’ National Museum in Krakow, Poland (2015); ‘Remigare Necesse Est Vivere Non Est Necesse,’ HMK, Hoorn, NL (with Seamus Cater) (2015); ‘Egyptian Secrets or Pawel Investigates the Afterlife of James Lee Byars,’ Beirut, Cairo, Egypt (2014).


July 23, 2015, from the series ‘But there shall not a hair of your head perish,’ 2015, graphite on paper, 15 x 21 cm
July 23, 2015, from the series ‘But there shall not a hair of your head perish,’ 2015, graphite on paper, 15 x 21 cm
August 2, 2015, from the series ‘And not a hair of your head shall perish,’ 2015, graphite on paper, 15 x 21 cm
August 2, 2015, from the series ‘And not a hair of your head shall perish,’ 2015, graphite on paper, 15 x 21 cm
October 12, 2015, from the series ‘But not a hair of your head will perish,’ 2015, graphite on paper, 15 x 21 cm
October 12, 2015, from the series ‘But not a hair of your head will perish,’ 2015, graphite on paper, 15 x 21 cm
November 22, 2015, from the series ‘But not a hair of your head shall perish,’ 2015, graphite on paper, 15 x 21 cm
November 22, 2015, from the series ‘But not a hair of your head shall perish,’ 2015, graphite on paper, 15 x 21 cm
November 22, 2015, from the series ‘But not a hair of your head shall perish,’ 2015, graphite on paper, 15 x 21 cm
November 22, 2015, from the series ‘But not a hair of your head shall perish,’ 2015, graphite on paper, 15 x 21 cm
February 5, 2016, from the series ‘But there shall not an hair of your head perish,’ 2016, graphite on paper, 15 x 21 cm
February 5, 2016, from the series ‘But there shall not an hair of your head perish,’ 2016, graphite on paper, 15 x 21 cm
February 12, 2016, from the series ‘Still, not a hair on your heads will be lost,’ 2016, graphite on paper, 15 x 21 cm
February 12, 2016, from the series ‘Still, not a hair on your heads will be lost,’ 2016, graphite on paper, 15 x 21 cm
February 28, 2016, from the series ‘But not a hair of your head will be lost,’ 2016, graphite on paper, 15 x 21 cm
February 28, 2016, from the series ‘But not a hair of your head will be lost,’ 2016, graphite on paper, 15 x 21 cm
April 16, 2016, from the series ‘And a hair of your head will by no means be lost,’ 2016, graphite on paper, 15 x 21 cm
April 16, 2016, from the series ‘And a hair of your head will by no means be lost,’ 2016, graphite on paper, 15 x 21 cm
June 15, 2016, from the series ‘But whatever happens, not a single hair of your heads will be harmed,’ 2016, graphite on paper, 28 x 30 cm
June 15, 2016, from the series ‘But whatever happens, not a single hair of your heads will be harmed,’ 2016, graphite on paper, 28 x 30 cm
Union PacificLondon

London

Union Pacific

www.unionpacific.co.uk
mail@unionpacific.co.uk
+44 207 247 6161

Jan Kiefer was born in 1979 in Trier, Germany and lives and works in Basel, Switzerland. He studied at Academy of Art and Design in Basel, Switzerland. Previous recent exhibitions include; GILES, Gagosian Gallery, Athens; Zermatt Grove, Zambriskie Point, Geneva; Forward to History, with Robert Brambora, Kunstverein Wiesen, Germany; Swiss Art Awards, Basel and Toujours, with Max Ruf, Parkhaus Düsseldorf, Germany.


'Cats and Cactus', 2016, Stained Glass, Lead and Metal, 153 x 90 cm
‘Cats and Cactus’, 2016, Stained Glass, Lead and Metal, 153 x 90 cm
'Cats and Cactus', 2016, Stained Glass, Lead and Metal, 158 x 94cm
‘Cats and Cactus’, 2016, Stained Glass, Lead and Metal, 158 x 94cm
'Cats and Cactus', 2016, Production Drawing
‘Cats and Cactus’, 2016, Production Drawing
'Cats and Cactus', 2016, Stained Glass, Lead and Metal, Dimensions Variable
‘Cats and Cactus’, 2016, Stained Glass, Lead and Metal, Dimensions Variable
'Cats and Cactus', 2016, Stained Glass, Lead and Metal, 154 x 78 cm
‘Cats and Cactus’, 2016, Stained Glass, Lead and Metal, 154 x 78 cm
'Cats and Cactus', 2016, Stained Glass, Lead and Metal, Detail
‘Cats and Cactus’, 2016, Stained Glass, Lead and Metal, Detail
'Cats and Cactus', 2016, Drawing of Works in Production, Dimensions Variable
‘Cats and Cactus’, 2016, Drawing of Works in Production, Dimensions Variable
'Cats and Cactus', 2016, Stained Glass, Lead and Metal, Detail
‘Cats and Cactus’, 2016, Stained Glass, Lead and Metal, Detail
'Cats and Cactus', 2016, Drawing of Works in Production, Dimensions Variable
‘Cats and Cactus’, 2016, Drawing of Works in Production, Dimensions Variable
Ermes-ErmesItaly

Italy

Ermes-Ermes

www.ermes-ermes.com
ilaria@ermes-ermes.com
+39 339 6419316

For Dream London Ermes-Ermes is pleased to present ‘Hazama’, a two person show by Diego Marcon and Nicola Pecoraro.

Diego Marcon presents a group of new works, a series of five Gif animations that have been conceived as a site specific project for Dream London. These refer to a former work of the artist, the video ‘She Loves You’, shot in 2008. ‘She Loves You’ paints an ambivalent portrait of a woman, Claudia, in between escapism and attachment to real life. Each shot of the video, in its immobility, turns into an autonomous tableau vivant, an image stolen from Claudiaʼs internal monologue.
Marcon has used some unedited shootings from this work to create the Gifs here exhibited. Four of them show people who are sleeping, the images’ movement record their breath and it is so slight that the viewer doesn’t perceive it at first glance. Only the last one, with a cat with shimmering eyes moving its head, breaks this almost complete immobility.

The works presented by Nicola Pecoraro have also been created specifically for the fair. The artist printed on the surface of three dark velvet cloths some photographs from his private archive. Through the printing process the images lose their stability and they are no more clearly legible – figures and objects break their outlines and open themselves to new interpretations. The iridescent surface of the velvet cloths, fixed on stretchers the artist made from recycled wood, gives the images a new, fluid mobility. These works are connected to sculpture. Indeed, Pecoraro has chosen photographs representing situations or objects that had a sculptural appeal to his perception. In this sense, the works are the last result of multiple transformation phases: from the three-dimensional consistency of things in real life, to their two-dimensional representation in the photos, to this new ambivalent substance in the artist’s creations.


Diego Marcon, ‘Blue Jay Way’, 2016, Animated GIF, 640 x 480 px
Diego Marcon, ‘Blue Jay Way’, 2016, Animated GIF, 640 x 480 px

Diego Marcon, ‘Blue Jay Way’, 2016, Animated GIF, 640 x 480 px
Diego Marcon, ‘Blue Jay Way’, 2016, Animated GIF, 640 x 480 px

Diego Marcon, ‘Blue Jay Way’, 2016, Animated GIF, 640 x 480 px
Diego Marcon, ‘Blue Jay Way’, 2016, Animated GIF, 640 x 480 px

Diego Marcon, ‘Blue Jay Way’, 2016, Animated GIF, 640 x 480 px
Blue Jay Way’, 2016, Animated GIF, 640 x 480 px

Diego Marcon, ‘Blue Jay Way’, 2016, Animated GIF, 640 x 480 px
Diego Marcon, ‘Blue Jay Way’, 2016, Animated GIF, 640 x 480 px

Nicola Pecoraro, 'To be titled', 2016, UV-print on Velvet, Wood Stretcher, 120 x 90 cm
Nicola Pecoraro, ‘To be titled’, 2016, UV-print on Velvet, Wood Stretcher, 120 x 90 cm

Nicola Pecoraro, 'To be titled', 2016, UV-print on Velvet, Wood Stretcher, 120 x 90 cm
Nicola Pecoraro, ‘To be titled’, 2016, UV-print on Velvet, Wood Stretcher, 120 x 90 cm

Nicola Pecoraro, 'To be titled', 2016, UV-print on Velvet, Wood Stretcher, 120 x 90 cm
Nicola Pecoraro, ‘To be titled’, 2016, UV-print on Velvet, Wood Stretcher, 120 x 90 cm

Jeanine HoflandAmsterdam

Amsterdam

Jeanine Hofland

www.jeaninehofland.nl
mail@jeaninehofland.nl
+31 683 701 978

It is often quite pleasant to encounter art like Matea Bakula’s. Straightforward, with no false ambitions and visually attractive as well. Her sculptures reflect the fact that she knows what she wants from her materials– by examining their qualities, which are often quite mundane, she makes choices in combining them together, which, as a thought process, could be classified as a sculpture itself, together with the resulting object. She is charmed by various materials, while still being aware of their inferiority and mediocrity which hide their inherent qualities. Sometimes the materials seem to be something else – the resin is caramel, a grey plastic tube is actually perspex glass. The rigorously measured surface of the objects stems from the modernist tradition with references to abstraction, minimalism and arte povera. Only a second look reveals what is going on in the work and how it was made. A tiny twist comes across like a good magic trick. Matea Bakula belongs to a wider lowermiddle stream that enlivens contemporary art by seemingly self-centered scrutiny of its own origins, whether this would be photographers immersed in analogy image production or media artists whose point of departure is the technological character of the employed media. As a sculptor Bakula thus concentrates on exploring the possibilities and limits of the individual (possibly) sculpting materials, or in fact, what her methods and processes can do with these materials. Her objects are neither narrative nor realistic in the traditional sense. Their realism lies in the materials being themselves and nothing else. The narrative aspect is similarly strong because each sculpture demands further inspection and begs the viewer to find out what is happening inside, what was the method used in their creation and why the artist chose this or that material or their combination. All of this by itself composes a strong narrative influencing one’s imagery which in turn fills the strict minimalist forms of the sculptures with content. Let’s take one
representative example that illustrates the rest: just by cutting, rolls of the cheapest wallpaper, found absolutely everywhere in the Netherlands, were turned into small birch logs; and the paper thus at least optically returned to its original form – i.e. wood. Paper of the wallpaper rolls was transformed into something that is by the majority of us perceived positively and warmly; but at the same time they remain being themselves as well as a lasting reminder of the banality that can be produced from the original, rather noble material. So far it seems that there is no reason to
worry about Matea Bakula getting stuck or running into a dead-end. Our modern civilization never ceases to produce ever new, sometimes surprisingly simple, other times disquietingly hybrid materials. The rapid pace of this evolution causes that these novelties turn banal invisible. That is when a grandiose entry into the world of art awaits them.

– Radek Váňa


Matea Bakula, 'Sunrise, Sunset And Everything In Between', 2014, Graphic Prints, 70 x 50cm
Matea Bakula, ‘Sunrise, Sunset And Everything In Between’, 2014, Graphic Prints, 320 x 50cm
Matea Bakula, 'They're Too Drunk To Dance', 2014, Wood, Plexiglass, Paint and Copper, Pink piece: 100 x 100cm, Wood piece: 72 x 72cm, Black piece: 54 x 54cm
Matea Bakula, ‘They’re Too Drunk To Dance’, 2014, Wood, Plexiglass, Paint and Copper, Pink piece: 100 x 100cm, Wood piece: 72 x 72cm, Black piece: 54 x 54cm
Matea Bakula, ‘They're Too Drunk To Dance’, 2014, Wood, Plexiglass, Paint and Copper (detail)
Matea Bakula, ‘They’re Too Drunk To Dance’, 2014, Wood, Plexiglass, Paint and Copper (detail)
Matea Bakula, 'They're Too Drunk To Dance', 2014, Wood, Plexiglass, Paint and Copper (detail)
Matea Bakula, ‘They’re Too Drunk To Dance’, 2014, Wood, Plexiglass, Paint and Copper (detail)
Matea Bakula, 'They're Too Drunk To Dance', 2014, Wood, Plexiglass, Paint and Copper (detail)
Matea Bakula, ‘They’re Too Drunk To Dance’, 2014, Wood, Plexiglass, Paint and Copper (detail)
Matea Bakula, 'Rewinding The Process', 2014, Wallpaper and Rubberbands, 60 x 53cm
Matea Bakula, ‘Rewinding The Process’, 2014, Wallpaper and Rubberbands, 60 x 53cm
Matea Bakula, 'Rewinding The Process', 2014, Wallpaper and Rubberbands, 60 x 53cm
Matea Bakula, ‘Rewinding The Process’, 2014, Wallpaper and Rubberbands, 60 x 53cm
Matea Bakula, 'Rewinding The Process', 2014, Wallpaper and Rubberbands, 60 x 53cm
Matea Bakula, ‘Rewinding The Process’, 2014, Wallpaper and Rubberbands, 60 x 53cm
Matea Bakula, 'Alaqua' and 'Running Away From The Runway', 2014
Matea Bakula, ‘Alaqua’ and ‘Running Away From The Runway’, 2014
Matea Bakula, 'Alaqua', 2014, Foamboard, Chewing Gum, Metal, 120 x 122cm
Matea Bakula, ‘Alaqua’, 2014, Foamboard, Chewing Gum, Metal, 120 x 122cm
Matea Bakula, 'Alaqua', 2014, Foamboard, Chewing Gum, Metal (detail)
Matea Bakula, ‘Alaqua’, 2014, Foamboard, Chewing Gum, Metal (detail)
Matea Bakula, 'Running Away From The Runway', 2014, Cardboard, Copper, Foil, Metal, 130 x 45cm
Matea Bakula, ‘Running Away From The Runway’, 2014, Cardboard, Copper, Foil, Metal, 130 x 45cm
Matea Bakula, 'Running Away From The Runway', 2014, Cardboard, Copper, Foil, Metal, 130 x 45cm
Matea Bakula, ‘Running Away From The Runway’, 2014, Cardboard, Copper, Foil, Metal, 130 x 45cm

Photos: GAVU, Prague

Lisa CooleyNew York

New York

Lisa Cooley

www.lisa-cooley.com
lisa@lisa-cooley.com
+1 347-351-8075

Nathalie Du Pasquier
Born 1957 in Bordeaux.
Lives and works in Milan.
www.nathaliedupasquier.com
All works courtesy Exile and Nathalie du Pasquier.


'Construction BBB', 2015, Oil on canvas, 150 x 100 cm
‘Construction BBB’, 2015, Oil on canvas, 150 x 100 cm
'Construction CCC', 2016, Oil on canvas, 100 x 100 cm
‘Construction CCC’, 2016, Oil on canvas, 100 x 100 cm
'Construction ddd', 2015, Oil on canvas, 100 x 100 cm
‘Construction ddd’, 2015, Oil on canvas, 100 x 100 cm
'Construction FFF', 2015, Oil on canvas, 100 x 100 cm
‘Construction FFF’, 2015, Oil on canvas, 100 x 100 cm
'Untitled', 2013, Oil on canvas, 100 x 100 cm
‘Untitled’, 2013, Oil on canvas, 100 x 100 cm
'Futures (Mazinger)', 2007, Oil on canvas, 150 x 150 cm
‘Futures (Mazinger)’, 2007, Oil on canvas, 150 x 150 cm
'Untitled', 2007, Oil on canvas, 100 x 100 cm
‘Untitled’, 2007, Oil on canvas, 100 x 100 cm
'Mano e Guanto', 2004, Oil on canvas, 100 x 50 cm
‘Mano e Guanto’, 2004, Oil on canvas, 100 x 50 cm
'Untitled', 2004, Oil on canvas, 130 x 130 cm
‘Untitled’, 2004, Oil on canvas, 130 x 130 cm
'Untitled', 2004, Oil on canvas, 50 x 100 cm
‘Untitled’, 2004, Oil on canvas, 50 x 100 cm
'Untitled', 2003, Oil on canvas, 100 x 100 cm
‘Untitled’, 2003, Oil on canvas, 100 x 100 cm
'Untitled', 2002, Oil on canvas, 150 x 150 cm
‘Untitled’, 2002, Oil on canvas, 150 x 150 cm
Galeria MadragoaLisbon

Lisbon

Galeria Madragoa

www.galeriamadragoa.pt
info@galeriamadragoa.pt
+351 213 901 699

Madragoa is pleased to present, on the occasion of Dream London, a new work by Adrián Balseca, ‘Project for a Portrait (The Origin of Introduced Species)’, at the same time as its presentation at the Centro de Arte Contemporaneo, Quito for the show ‘LARA, Latin American Roaming Art’, that opened on September 15th, 2016.

‘Project for a Portrait (The Origin of Introduced Species)’ results from a collaboration between the artist and Segundo Teodoro Ruiz, a craftsman originally from the province of Azuay in Ecuador who moved to the Galápagos Islands more than two decades ago. Balseca commissioned the artisan a self-portrait and filmed the entire process from the felling of a Cedrela Odorata tree, an introduced wood species, to the carving of the trunk into a colossal head. The project investigates about the human presence in the Ecuadorian archipelago and its relation to introduced species, revealing an existing anachronism in the scientific categories of endemic and introduced still in use today. This work was commissioned by the Latin America Roaming Art 2016 edition during a residency in Santa Cruz and Isabela Islands earlier in the year.
 

Adrián Balseca
(1989, Quito, Ecuador. Lives and works in Quito)
 
Balseca’s work aims to activate strategies of representation, narration, and/or interaction in order to highlight cultural specificities of a particular place. It explores the relationship and tensions between industrial and craft practices, revealing a fascination with the historic processes, and the configuration of materials involved in the production of manufactured goods. His work often involves transforming the composition of daily objects or certain civil laws into other material forms, or legal experiences. These projects —from small interventions to large-scale ‘site specific’ actions or video documentations— elaborate on ideas of emerging economies, nature, power, and social memory.
 
Balseca has participated in major solo and group exhibitions. His most recent group exhibitions include: ‘Ultralocal. Cycle: Think global, act local’, CEAAC, Strasbourg (2016); ‘Premio Nacional Nuevo Mariano Aguilera 2015­2016’, CAC­Quito (2016); ‘Encuentros del Otro Cine ­ EDOC 15’, Quito (2016); ‘Encuentro Internacional de Arte de Medellin ­ MDE15, Museo de Antioquia’, Medellin (2015); ‘Intersecciones (después de Lautréamont)’, Cisneros Fontanals Art Foundation ­ Grants & Commissions Program Exhibition, Miami (2015); ‘Caja de Cambios I’, Galería SENDA, Barcelona (2014). In 2013, he won the inaugural Premio Brasil – Emerging Art Price, at the Center for Contemporary Art Quito (CAC) and in 2014 he received the Premio Paris at the 12th International Cuenca Biennial: Leaving to return. He was awarded the annual Grants & Commissions Program 2015, at the Cisneros Fontanals Art Foundation (CIFO). Balseca was a founding member of the group La Selecta-Cooperativa Cultural, and formed part of the community art collective Tranvía Cero, both based in Quito.


‘Project for a portrait (The Origin of Introduced Species)’, 2016, Single Channel Video, 10’05” (loop), Edition of 5 + 2AP.

'Project for a portrait (The Origin of Introduced Species)' (still), 2016, Single Channel Video, 10’05” (loop), Edition of 5 + 2AP
‘Project for a portrait (The Origin of Introduced Species)’ (still), 2016, Single Channel Video, 10’05” (loop), Edition of 5 + 2AP
'Project for a portrait (The Origin of Introduced Species)' (still), 2016, Single Channel Video, 10’05” (loop), Edition of 5 + 2AP
‘Project for a portrait (The Origin of Introduced Species)’ (still), 2016, Single Channel Video, 10’05” (loop), Edition of 5 + 2AP
'Project for a portrait (The Origin of Introduced Species)' (still), 2016, Single Channel Video, 10’05” (loop), Edition of 5 + 2AP
‘Project for a portrait (The Origin of Introduced Species)’ (still), 2016, Single Channel Video, 10’05” (loop), Edition of 5 + 2AP
'Project for a portrait (The Origin of Introduced Species)' (still), 2016, Single Channel Video, 10’05” (loop), Edition of 5 + 2AP
‘Project for a portrait (The Origin of Introduced Species)’ (still), 2016, Single Channel Video, 10’05” (loop), Edition of 5 + 2AP
Michael Jon & AlanMiami & Detroit

Miami & Detroit

Michael Jon & Alan

www.michaeljonandalan.com
info@michaeljonandalan.com
+1 305 521 8520

Michael Jon & Alan presents Domingo Castillo.

bio


04small
‘Chosen by T.J.R. (Bryce Says: Billy Balls, Pincushion Protea, Celosia, Veronica, Balloon Flower, Bottlebrush Protea, Blue Turtle) or The Magic Mountain by Thomas Mann✌’, 2015, Archival Digital Print, 100% pigment ink on Rag Baryta 100% Cotton 310 gsm, in artist’s frame, 42 × 32 in, 106.7 × 81.3 cm, Editions 1, 3 of 3

01-surface-image-posthumous-renderings

‘Surface Image: Posthumous’, 2015, objects, films, books


Credits:
‘Office GA, Exercise in Style: Subtropical 1-3’, 2015, Custom furniture
‘Prologue: Oranges’, 2015, hd video, TRT: 00:30:08
‘Epilogue:’, 2015, hd video, TRT: 00:10:01


Image Credit:
Office GA, Modeling/Render Software: 3DS Max 2016 and Vray 3.2, Output Size [File Type]: 3600 x 2400 [JPEG], Render Time: 25:07

‘Prologue: Oranges’, 2015, film, TRT: 00:30:08
Part of Surface Image: Posthumous


‘Epilogue:’, 2015, film, TRT: 00:10:01

Part of Surface Image: Posthumous


‘Hood By Air’s Superego SS15 [MUSIC VIDEO]’, 2015, Music Video, TRT: 00:50:12

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