Antenna SpaceShanghai

Shanghai

Guan Xiao, 'Marble Floor', 2016, fiberglass, resin, acrylic paint, speaker, C-stand, mesh fabric print, 450 x 250 x 150 cm
Guan Xiao, ‘Marble Floor’, 2016, fiberglass, resin, acrylic paint, speaker, C-stand, mesh fabric print, 450 x 250 x 150 cm
Yu Honglei, 'Flower's Ear', 2016, iron, poly-putty base, paint, 50 × 60 × 80cm
Yu Honglei, ‘Flower’s Ear’, 2016, iron, poly-putty base, paint, 50 × 60 × 80cm
Yu Honglei, 'Human Tower', 2016, pedestal (board, fiberglass, resin, paint), board, fiberglass, resin, paint, 245 x 125 x 195 cm
Yu Honglei, ‘Human Tower’, 2016, pedestal (board, fiberglass, resin, paint), board, fiberglass, resin, paint, 245 x 125 x 195 cm
Yu Honglei, 'Infrastructural Measurement', 2016, pedestal (board, fiberglass, resin, paint), fiberglass, 245 x 125 x 270cm
Yu Honglei, ‘Infrastructural Measurement’, 2016, pedestal (board, fiberglass, resin, paint), fiberglass, 245 x 125 x 270cm
Li Ming, 'MEIWE', 2016, Light Box, 150 x 150 x 20cm
Li Ming, ‘MEIWE’, 2016, Light Box, 150 x 150 x 20cm
Galerie Emanuel LayrVienna

Vienna

Galerie Emanuel Layr

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

Lisa Holzer (*1971) lives and works in Berlin.
‘Keep All Your Friends’ is a series of unique works within an edition of 13 + 2 AP. All of the works share the same print on cotton paper, overpainted with Tactil Color Finger paint.


'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 1/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 1/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 2/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 2/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 3/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 3/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 4/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 4/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 5/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 5/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 6/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 6/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 7/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 7/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 8/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 8/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 9/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 9/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 10/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 10/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 11/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 11/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 12/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 12/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 13/13 + 2 AP 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 13/13 + 2 AP 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 1 AP/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 1 AP/13 + 2 AP, 40 x 30.93 cm
'Keep All Your Friends', 2016, Tactil Color Finger paint on pigment print on cotton paper, 2 AP/13 + 2 AP, 40 x 30.93 cm
‘Keep All Your Friends’, 2016, Tactil Color Finger paint on pigment print on cotton paper, 2 AP/13 + 2 AP, 40 x 30.93 cm
ExileBerlin

Berlin

Exile

www.thisisexile.com
info@thisisexile.com
+49 303 0640 202

Patrick Fabian Panetta
Born 1977 in Germany.
Lives and works in Berlin.

Whenever a searching eye encounters barren land, it seeks for shelters that can provide potential sites for hiding and creation. Arid tree trunks become essential elements of orientation – relics of a life cycle on deserted soil. The Land of Nod is such a place in the Book of Genesis, located on the ‘east of Eden’, where Cain chose to flee after murdering his brother Abel. There, as vagabond, he was condemned to wander the land forever. The location east of Eden is explicit and so named on biblical maps, such as Ortelius’ and Mercator’s. Historical representations of the Land of Nod usually show vast and vacant landscapes, where several paths lead in all directions, entry points could be anywhere.

The Land of Nod is also an English idiom for the imaginary realm of sleep and dreams, followed, one assumes, by waking up. Only emerging from sleep makes a sleep what it is: a restless subconsciousness surrounded by a state of external quiescence, providing the mind with a protection for regeneration. Both conceptions suggest that the potentiality of absence denotes the state of being away. Here, existence (being) becomes an implicit expectation, because it comes prior to presence (being there) as the necessary premise for the recognition of absence. A Journey Through Vibrant Space.

Excerpt from Sandra Meireis: East of Eden, 2012


Patrick Fabian Panetta:
A Journey Through Vibrant Space

pp1

pp2

pp3

pp4

pp5

pp6

pp7

www.thisisexile.com

FruttaRome

Rome

Frutta

www.fruttagallery.com
info@fruttagallery.com
+39 06 45508934

Jacopo Miliani (b.1979, Florence; Lives and works in Milan).

‘ABECEDA’, 2013

In 1926 Karel Teige, a Czech avant-garde artist and designer, illustrated the Western alphabet via photographs depicting the gestures of the dancer Milca Mayerová. This work is the initial reference point for the artist Jacopo Miliani who re-enacts the full ABECEDA by Teige. Miliani is fascinated by how the representation of each letter through the dancer’s body brings an imagination of something different and not immediately recognizable. This concept brought Miliani to the idea of en-acting the same alphabet recreating and mimicking the 20th century style. In order to emphasize the value of representation, Miliani imposed a parrot masque on the face of a dancer, referring to repetition and representation. The parrot, as a bird, is actually a symbol of freedom. Traditionally parrots are also perceived as exotic animals, though they often appear in cages and are increasingly associated to a more domestic and dominated ‘reality’.


'A', 2013, Photograph, Framed, 45.5 x 35cm
‘A’, 2013, Photograph, Framed, 45.5 x 35cm
'B', 2013, Photograph, Framed, 45.5 x 35cm
‘B’, 2013, Photograph, Framed, 45.5 x 35cm
'C', 2013, Photograph, Framed, 45.5 x 35cm
‘C’, 2013, Photograph, Framed, 45.5 x 35cm
'D', 2013, Photograph, Framed, 45.5 x 35cm
‘D’, 2013, Photograph, Framed, 45.5 x 35cm
'E', 2013, Photograph, Framed, 45.5 x 35cm
‘E’, 2013, Photograph, Framed, 45.5 x 35cm
'F', 2013, Photograph, Framed, 45.5 x 35cm
‘F’, 2013, Photograph, Framed, 45.5 x 35cm
'G', 2013, Photograph, Framed, 45.5 x 35cm
‘G’, 2013, Photograph, Framed, 45.5 x 35cm
'H', 2013, Photograph, Framed, 45.5 x 35cm
‘H’, 2013, Photograph, Framed, 45.5 x 35cm
'I', 2013, Photograph, Framed, 45.5 x 35cm
‘I’, 2013, Photograph, Framed, 45.5 x 35cm
'J', 2013, Photograph, Framed, 45.5 x 35cm
‘J’, 2013, Photograph, Framed, 45.5 x 35cm
'K', 2013, Photograph, Framed, 45.5 x 35cm
‘K’, 2013, Photograph, Framed, 45.5 x 35cm
'L', 2013, Photograph, Framed, 45.5 x 35cm
‘L’, 2013, Photograph, Framed, 45.5 x 35cm
'M', 2013, Photograph, Framed, 45.5 x 35cm
‘M’, 2013, Photograph, Framed, 45.5 x 35cm
'N', 2013, Photograph, Framed, 45.5 x 35cm
‘N’, 2013, Photograph, Framed, 45.5 x 35cm
'O', 2013, Photograph, Framed, 45.5 x 35cm
‘O’, 2013, Photograph, Framed, 45.5 x 35cm
'P', 2013, Photograph, Framed, 45.5 x 35cm
‘P’, 2013, Photograph, Framed, 45.5 x 35cm

Q

'R', 2013, Photograph, Framed, 45.5 x 35cm
‘R’, 2013, Photograph, Framed, 45.5 x 35cm
'S', 2013, Photograph, Framed, 45.5 x 35cm
‘S’, 2013, Photograph, Framed, 45.5 x 35cm
'T', 2013, Photograph, Framed, 45.5 x 35cm
‘T’, 2013, Photograph, Framed, 45.5 x 35cm
'U', 2013, Photograph, Framed, 45.5 x 35cm
‘U’, 2013, Photograph, Framed, 45.5 x 35cm
'V', 2013, Photograph, Framed, 45.5 x 35cm
‘V’, 2013, Photograph, Framed, 45.5 x 35cm
'W', 2013, Photograph, Framed, 45.5 x 35cm
‘W’, 2013, Photograph, Framed, 45.5 x 35cm
'X', 2013, Photograph, Framed, 45.5 x 35cm
‘X’, 2013, Photograph, Framed, 45.5 x 35cm
'Y', 2013, Photograph, Framed, 45.5 x 35cm
‘Y’, 2013, Photograph, Framed, 45.5 x 35cm
'Z', 2013, Photograph, Framed, 45.5 x 35cm
‘Z’, 2013, Photograph, Framed, 45.5 x 35cm
Future GalleryBerlin

Berlin

Future Gallery

www.futuregallery.org
info@futuregallery.org
+49 3023914881

Juliette Bonneviot (*1983, Paris, currently lives and works in Berlin) graduated from École des Beux-Arts de Paris. Her work has been recently exhibited at CCS Bard, Annandale-On-Hudson; Musée d’Art Moderne de la Ville de Paris, Paris; Nassauischer Kunstverein, Wiesbaden; Kunsthalle Fridericianum, Kassel; Glasgow International, Glasgow; UCCA, Beijing; Biennale de Lyon, Lyon; Utah Museum of Contemporary Art, Salt Lake City; Bergen Kunsthall, Bergen; Palais de Tokyo, Paris.

In Xenoestrogens, Bonneviot presents a series of surfaces created by a base of linen fabric, lacquers, epoxy resins, PVC, and silicone, bound with experimental mixtures of elements containing an array of xenoestrogens. These chemicals, both organic and artificially created, are found in everyday commodities like birth control pills, silicones, pesticides, detergents, lotions, shampoos, or beverage cans. They cause hormonal disruption and abnormalities in animal and human reproductive health. Beginning with this material as a core, Bonneviot spirals outward into many of the biological, cultural and philosophical implications of the nexus between ecology and gender.

The PET Woman sculptures are torsos of female bodies molded from plastic sheeting, as if protective layers for Renaissance casts. Bonneviot takes plastic as a material that is associated, on the one hand, with wipe-clean sanitation, and on the other, as a protective barrier for foods and other goods, to ensure their ‘purity’ for the consumer, regardless of how dirty or covered in insecticides or factory residue they actually are. Plastic has, mainly, a disposable use; Bonneviot, on the contrary, displays the torsos as if museum pieces or relics from life today.


Juliette Bonneviot, ‘Xenoestrogens (Sweet Star | Rouge Fatal)’, 2016, Cadmium, Aluminium, silicon rubber, 100 x 70 cm, Unique
Juliette Bonneviot, ‘Xenoestrogens (Sweet Star | Rouge Fatal)’, 2016, Cadmium, Aluminium, silicon rubber, 100 x 70 cm, Unique
Juliette Bonneviot, ‘Xenoestrogens (Peace Green)’, 2016, Lead, Cadmium, Aluminium, Aspirin, Oestradiol, Soy, Pesticide, Silicon Rubber, 200 x 100 cm, Unique
Juliette Bonneviot, ‘Xenoestrogens (Peace Green)’, 2016, Lead, Cadmium, Aluminium, Aspirin, Oestradiol, Soy, Pesticide, Silicon Rubber, 200 x 100 cm, Unique
Juliette Bonneviot, ‘PET Woman #4, 2015, PET plastic sheet, PET bottle, 75 x 48 x 26 cm, Unique
Juliette Bonneviot, ‘PET Woman #4, 2015, PET plastic sheet, PET bottle, 75 x 48 x 26 cm, Unique
Juliette Bonneviot, ‘PET Woman #5’, 2015, PET plastic sheet, PET bottle, 60 x 48 x 26 cm, Unique
Juliette Bonneviot, ‘PET Woman #5’, 2015, PET plastic sheet, PET bottle, 60 x 48 x 26 cm, Unique
Juliette Bonneviot, PET Woman #6, 2015, PET plastic sheet, PET bottle, 60 x 48 x 26 cm, Unique
Juliette Bonneviot, PET Woman #6, 2015, PET plastic sheet, PET bottle, 60 x 48 x 26 cm, Unique
Hollybush GardensLondon

London

Hollybush Gardens

www.hollybushgardens.co.uk
office@hollybushgardens.co.uk
+44 20 7837 5991

Falke Pisano and Reto Pulfer

Falke Pisano (b. 1978, Amsterdam. Lives and works in Sao Paolo) Recent exhibitions include
The value in mathematics – How do we learn? Badischer Kunstverein, Karlsruhe, DE, 2016 [solo]
Between the Ticks of the Watch, The Renaissance Society, Chicago, US, 2016 [group]
Le valeur dans le mathématique, Synagogue de Delme, Delme, FR, 2015 [solo]
Hollybush Gardens, London, UK, 2015 [solo]
The Value in Mathematics, REDCAT, Los Angeles, US, 2015 [solo] Praxes, Berlin, DE, 2014 [solo]
The Showroom, London, UK, 2013 [solo]

Reto Pulfer (b. 1981, Bern. Lives and works in Berlin)
Laureate of the Swiss Art Awards, 2016
A forthcoming monograph to be published by Sternberg Press
Recent solo exhibitions include:
Um Estado Árido, Fórum Eugénio de Almeida, Évora, PT, 2016
Die Loci Der Ortie, Centre international d’art et du paysage, Île de Vassivière, FR, 2015
Gewässerzeiten, Spike Island, Bristol, UK, 2015
Les chambres des états, Musée régional d’art contemporain Languedoc- Roussillon, Sérignan, FR, 2015
Dehydrierte Landschaft, Centre d’art contemporain Genève, CH, 2015 Erinnerungshäuser, Grimmuseum, Berlin, DE, 2014


Falke Pisano
‘Instrument For A Spatial Conception of Repetition’, 2013, should be considered as an autonomous installation piece that brings together aspects of the cycles ‘Figures of Speech’ and ‘The Body in Crisis’ as a methodological tool designed for spatial interventions.

The modular sculpture ‘Instrument for a Spatial Conception of Repetition’ consists of three screens, and five ‘tools for directing perception’ that can either be attached to the screens as part of the spatial arrangement, or be presented as indexical wall sculptures. These ‘tools’ are like fragments of a larger diagram, in which the forces are set out that have an influence on our perception of a series of linked events. Connecting place with a mental position, the posters attached to the tools-as-wall- sculptures, describe a point of view in relation to the perception of repetition.

Falke Pisano, 'Instrument for a Spatial Conception of Repetition', 2013, Three screens; paper, plexiglas, wood, aluminium, digital print, metal, powder coated steel, magnet, 320cm x 205cm each screen
Falke Pisano, ‘Instrument for a Spatial Conception of Repetition’, 2013
Three screens; paper, plexiglas, wood, aluminium, digital print, metal, powder coated steel, magnet
320 x 205cm each screen

Falke Pisano, 'Instrument for a Spatial Conception of Repetition', 2013, Three screens; Paper, plexiglas, wood, aluminium, digital print, metal, powder coated steel, magnet, 320cm x 205cm each screen
Falke Pisano, ‘Instrument for a Spatial Conception of Repetition’, 2013
Three screens; paper, plexiglas, wood, aluminium, digital print, metal, powder coated steel, magnet
320 x 205cm each screen

Falke Pisano, 'Instrument for a Spatial Conception of Repetition', 2013, Metal, powder coated steel, magnet, digital print, 161 x 26 cm
Falke Pisano, ‘Instrument for a Spatial Conception of Repetition’, 2013
Metal, powder coated steel, magnet, digital print
161 x 26 cm

Falke Pisano, 'Instrument for a Spatial Conception of Repetition', 2013, metal, powder coated steel, magnet, digital print, 142 x 51 cm
Falke Pisano, ‘Instrument for a Spatial Conception of Repetition’, 2013
Metal, powder coated steel, magnet, digital print
142 x 51 cm

Falke Pisano, 'Instrument for a Spatial Conception of Repetition', 2013, metal, powder coated steel, magnet, digital print, 67.6 x 83.1 x 8.3 cm
Falke Pisano, ‘Instrument for a Spatial Conception of Repetition’, 2013
Metal, powder coated steel, magnet, digital print
67.6 x 83.1 x 8.3 cm


Reto Pulfer
Reto Pulfer is interested in the impermanence of things, the interconnection and transition between different states of being. His work is inherently social; with the use of bed sheets, recycled clothes, ceramics, sand, twigs, spices, moss, food and tea Pulfer creates states or environments for chance encounters and exchange to take place. His textile pieces are often made from various recycled fabrics that have been died, cut apart and stitched together in new formations. The materials either carry an implicit potential of transformation within them, or are transformed by the artist in the act of making.

Reto Pulfer, 'Transformationen des Zustands', 2016, Pencil, acrylic, ink, turmeric, clothes, textiles on linen,  193 x 277 cm
Reto Pulfer, ‘Transformationen des Zustands’, 2016
Pencil, acrylic, ink, turmeric, clothes, textiles on linen
193 x 277 cm

Reto Pulfer, 'Transformationen des Zustands', 2016, Pencil, acrylic, ink, turmeric, clothes, textiles on linen,  193 x 277 cm

Reto Pulfer, 'Transformationen des Zustands', 2016, Pencil, acrylic, ink, turmeric, clothes, textiles on linen,  193 x 277 cm

Reto Pulfer, 'Transformationen des Zustands', 2016, Pencil, acrylic, ink, turmeric, clothes, textiles on linen,  193 x 277 cm
Reto Pulfer, detail of ‘Transformationen des Zustands’, 2016
Pencil, acrylic, ink, turmeric, clothes, textiles on linen
193 x 277 cm

Reto Pulfer, 'Nachstellbarkeit (Die Treffen des Abends, Plauderei)', 2013–2016, Ink, acrylic, curcuma, pencil on textile, bedsheet, 270 × 560 cm
Reto Pulfer, ‘Nachstellbarkeit (Die Treffen des Abends, Plauderei)’, 2013–2016
Ink, acrylic, curcuma, pencil on textile, bedsheet
270 × 560 cm

Reto Pulfer, 'Nachstellbarkeit (Die Treffen des Abends, Plauderei)', 2013–2016, Ink, acrylic, curcuma, pencil on textile, bedsheet, 270 × 560 cm

Reto Pulfer, 'Nachstellbarkeit (Die Treffen des Abends, Plauderei)', 2013–2016, Ink, acrylic, curcuma, pencil on textile, bedsheet, 270 × 560 cm

Reto Pulfer, 'Nachstellbarkeit (Die Treffen des Abends, Plauderei)', 2013–2016, Ink, acrylic, curcuma, pencil on textile, bedsheet, 270 × 560 cm
Reto Pulfer, detail of ‘Nachstellbarkeit (Die Treffen des Abends, Plauderei)’, 2013–2016
Ink, acrylic, curcuma, pencil on textile, bedsheet
270 × 560 cm

Kate Werble New York

New York

Kate Werble

www.katewerblegallery.com
info@katewerblegallery.com
+1 212 352 9700

John Lehr (USA, b. 1975 in Baltimore, MD) graduated from Maryland Institute College of Art and received his MFA from Yale University. Lehr’s work has been exhibited at venues including The Morgan Library & Museum, New York, NY; The Walker Art Center, Minneapolis, MN; Carnegie Museum of Art, Pittsburgh, PA; The Museum of Modern Art, NY; Center for Creative Photography in Tucson, AZ; Corcoran Gallery of Art, Washington, DC; and The Yale Art and Architecture Gallery, New Haven, CT. He currently lives and works in Brooklyn, NY.

John Lehr’s ongoing series, ‘The Island Position’, recounts the commercial facades that line the main streets and thoroughfares of America’s cities and towns. Extending a tradition exemplified by Eugène Atget, Walker Evans, and Lewis Baltz, Lehr traveled widely to photograph these facades with a tripod mounted view camera. His negatives are scanned and the resulting digital files are subtly adjusted to amplify the synthetic nature of the subjects in his final prints. “Each picture presents a discreet map of decisions,” Lehr has said. “The quick fixes, hasty paint jobs, and botched renovations are remnants of that layered history. There’s also a kind of eccentric expression that, to me, points to a desperate desire to remain visible and vital. All of this gets compressed into the façade and, by extension, the photograph itself.” In April 2016 Roman Nvmerals press published a book of images from this series, titled “El Camino Real”.


John Lehr, '3275', 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 1 of 5 with 2 AP
John Lehr, ‘3275’, 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 1 of 5 with 2 AP

John Lehr, '217', 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 1 of 5 with 2 AP
John Lehr, ‘217’, 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 1 of 5 with 2 AP

John Lehr, '55', 2011, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 2 of 5 with 2 AP
John Lehr, ’55’, 2011, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 2 of 5 with 2 AP

John Lehr, '720', 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 1 of 5 with 2 AP
John Lehr, ‘720’, 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 1 of 5 with 2 AP

John Lehr, '320', 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 1 of 5 with 2 AP
John Lehr, ‘320’, 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 1 of 5 with 2 AP

John Lehr, '2651', 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 2 of 5 with 2 AP
John Lehr, ‘2651’, 2012, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 2 of 5 with 2 AP

John Lehr, '1111', 2011, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 2 of 5 with 2 AP
John Lehr, ‘1111’, 2011, Pigmented inkjet print, 21 1/2 x 26 3/8 x 1 1/2 inches (framed), Edition 2 of 5 with 2 AP

 LambdaLambdaLambda Pristina

Pristina

LambdaLambdaLambda

www.lambdalambdalambda.org
hello@lambdalambdalambda.org

Hanne Lippard (b.1984, Norwegian, lives and works in Berlin)

Over the last number of years Lippard has built up an impressive and equally idiosyncratic practice based at the meeting point of words, performance and visual art.

When composing her texts Lippard relies on the sounds that they trigger in her mind when she is writing but crucially also when she is speaking. The use of her voice has gained for her a typographical insistence, becoming her main medium of expression whether it be through the linearity of a mechanical narrator or through the use of her voice as a more personified melodic rhythm during her compelling live performances.

Her affinity with common speech ensures that hers is nothing less than a poetry that all of us can recognize. Common sayings, turns of phrase, everyday chitchat become for her a repeated chorus rather than a coherent meaningful construction of words: with Lippard they become melodies in themselves.

Aphorisms, love-songs, voicemails, quotes and slogans lose or gain value depending on how they are re-arranged and performed, Hanne Lippard reclaims language for her own end to try and overcome any overruling claim to authorship. At times graphic, playful and intimate, this is an artist using language in all its forms in an effort to create an original aesthetic of the word.

John Holten (Broken Dimanche Press)

Hanne Lippard’s recent exhibitions include Sol Calero- Sauna Caliente, Kunsthaus Bregenz, Autofoffice, Kurator (CH), Ars Viva Prize 2016 at Städtische Galerie Karlsruhe, GfZK Leipzig and Index, Stockholm, The Future of Memory, Kunsthalle Wien and The 6th Moscow Biennale of Contemporary Art, Moscow.


 Limoncello London

London

‘De Santis is coming…’
A project by Gabriele De Santis and others.


One weekend in November, De Santis transformed the gallery into a Christmas grotto with presents under the tree.


The presents were chosen by and labelled with love from the artist and priced £50 to £5000 (incl. tax, excl. shipping).


All artworks were discounted by 40% of their value.


For every artwork sold, the artist received their 50% of the value and the remaining 10% was donated to Save the Children.


Primary market Christmas shenanigans.


For Dream Miami we are offering a second chance to snap up these works and contribute to Save the Children:


With love from Vanessa Billy, £693.75
With love from Alice Browne, £1,110.01
With love from Lucy Clout, £308.34
With love from Gabriele De Santis, £5,000.00
With love from Sean Edwards, £925.01
With love from Matt Golden, £863.34
With love from Tom Gidley, £46.25
With love from Tommy Grace, £40.08
With love from Kate Owens, £1,233.34
With love from Matthew Smith, £46.25
With love from Jack Strange, £2,343.35
With love from Hannah Upritchard, £102.08
With love from Yonatan Vinitsky, £2,466.68
With love from Bedwyr Williams, £2,775.02


*A price list with photos is available by request, for those in the habit of rummaging under the Christmas tree.

img_4280-crop

sclogo-125750