SALON ZÜRCHER, PARIS
21 OCTOBRE – 27 OCTOBRE, 2013
Créé à l’origine par Gwenolée & Bernard Zürcher au Zürcher Studio à New York, le Salon Zürcher Paris-NY est un concept de mini-foire alternative, low cost. Tandis que la première édition du Salon à NY en mars 2011 pendant l’Armory Show était qualifiée par le New York Times de « spirited selection », la seconde édition à Paris en octobre 2011 pendant la FIAC était désignée comme un « mini art salon » par le Financial Times. En 2012, le Quotidien de l’Art reconnaissait que le Salon révèle un "pan de la scène nord américaine". Pour sa sixième édition à la Galerie Zürcher pendant la FIAC, le Salon Zürcher confirme la conception d’une foire intime et sélective en invitant du 21 au 27 octobre prochains 6 jeunes galeries américaines dont une galerie de Chicago (Andrew Rafacz), une galerie de Washington DC (Heiner Contemporary) et quatre galeries de New York.
Vernissage : Lundi 21 Octobre / 17h-22h
Mardi / 12h-20h // 20h : Jazz Concert, Henry Grimes & Bobby Few
Mercredi / FERMETURE (ouverture de la Fiac)
Jeudi / 12h-22h
Vendredi et Samedi / 12h-20h
Dimanche / 12h-17h
Avec le soutien de :
Opening : Monday, October 21 / 5-10 PM
Tuesday / 12-8 PM // 8 PM : Jazz Concert, Henry Grimes & Bobby Few
Wednesday / CLOSED (FIAC opens this day)
Thursday / 12-10 PM
Friday & Saturday / 12-8 PM
Sunday / 12-5 PM
- ANDREW RAFACZ, Chicago presents John Opera and Wendy White
- HEINER CONTEMPORARY, Washington, DC presents Austin Thomas
- SCARAMOUCHE, NY presents Kuba Bakowski and Alessandro Brighetti
- STEVEN HARVEY FINE ART PROJECTS, NY presents Sangram Majumdar, Kurt Knobelsdorf and Peter Acheson
- THE HOLE, NY presents Holton Rower
- ZURCHER STUDIO, NY presents Matt Bollinger and Paul DeMuro
KUBA BAKOWSKI // represented by Scaramouche
The work of Kuba Bakowski is defined by experimental activities in photography, film and performance. His analytical, ironic and intentionally absurd realizations reflect on a reality full of paradoxes. In blurring the borders between the artificial and the natural, between civilization and nature, Bakowski confronts the real world in a subversive way with its media counterpart.
Recent solo exhibitions include Foksal Foundation, and Bec Zmiana Foundation, both in Warsaw ; Bill Scott Sculpture Centre, Edinburgh, UK ; and Arsenal Gallery, Poznan. Bakowski’s work has also been exhibited in major exhibitions at Museum Moderner Kunst, Vienna ; Museé d’Art Moderne, Saint-Etienne ; National Centre of Contemporary Art, Moscow ; Zacheta National Gallery of Art, Warsaw ; PAN–Palazzo delle Arti Napoli, Naples ; and Chelsea Art Museum, New York. He was recently awarded Residencies at Flux Factory, New York, and Coopérative Méduse, Quebec.
MATT BOLLINGER // represented by Zürcher Studio
An essential part of Matt Bollinger’s oeuvre is in black and white, taking the form of drawings in graphite that can be large (up to two metres square) and installations, some of which are larger still (about midnight Saturday is almost seven metres in length). His technique has the rare quality of conveying a chromatic sense that is achieved only by the great colourists – Matisse or Bonnard, or, more recently, Hockney – for whom drawing signifies the implementation of a vision. Bollinger’s work suggests the cinematographic sequence shot, not so much a sense of movement, but depth of field and a wide-angle view. To which might be added the rendering of materials, down to the most minute details : the wear and tear of car seats, reflections of landscapes in rear-view mirrors, smoke inside a car that partly hides the driver’s face… Bollinger works like a true movie maker who elaborates the script and operates the camera. Starting with his own memories as a child in Kansas City, he depicts situations whose verisimilitude is obvious. They are more or less narrative, peopled with teenagers in postures emphasised by the lighting : the dazzle of headlights, cones of illumination produced by street lamps, the outline of a door or a window, open onto the night. From one drawing to another, and in the most painstaking way possible, he gives light an essential role in the construction of space. In a peripheral urban area one sees the immensity of the sky, and in a face there is the interrogation of the gaze. All these details, sometimes infinitesimal, and always intimate, are key elements of memory. But they are not intended to act as a nostalgic "reconstitution" of Matt Bollinger’s life. He uses them, rather, to activate the development of a mental space in which, as in dreams, feelings of unease and strangeness are dominant. (Bernard Zürcher)
ALESSANDRO BRIGHETTI // represented by Scaramouche
Alessandro Brighetti’s work reveals an intimate synergy between art, science and humanism. Overcoming the physiological limits inherent in organic nature ; Human intellectual evolution that drives biological improvement ; The ethical subject of laws governing genetics ; Man who tends to go beyond himself – these are the central themes in Brighetti’s practice. In his Narchitecture works, the nature of man transmutes into a new genre of post-human through the study of bone structures and organs which are then metamorphized by way of liquid.
Brighetti received a graduate degree in painting in 2010 from the Accademia di Belle Arti in Bologna, Italy. From a family of surgeons and research chemists, he became an autodidact in biology and medical studies. Recent solo exhibitions include Scaramouche, New York ; MAR–Museum of Art Ravenna ; and Primae Noctis Gallery, Lugano. Upcoming Brighetti’s work will be exhibited at the Victoria and Albert Museum, London ; Kunsthalle Winterthur, Switzerland ; and Galleria Primo Marella, Milan. He was recently selected as one of ten artists for the 2013 Premio Cairo, Milan.
PAUL DeMURO // represented by Zürcher Studio
Born 1981, he lives in Brooklyn, NY. He was raised in Philadelphia. He received his MFA in Painting from Rutgers University in 2010. He obtains the Purchase Prize from the American Academy of Arts and Letters. In 2012, he held a Chashama studio residency in New York.
Paul DeMuro’s new paintings utilize a computer or even a cell phone to change the image on the screen into its photographic inverse. By using color that is removed from intuition and then translating into physical, thick, sculptural oil paint, he attempts to deal with this specific moment in the relationship between the human hand and the machine : « Would it not be hard to imagine the day when a program will arrive that makes your posts, pics, tweets, likes, etc. into a repeating algorithm, thus making your personality, persona and identity go on into the foreseeable future, long after your body dies and rots away ? » (Bernard Zürcher)
KURT KNOBELSDORF // represented by Steven Harvey Fine Art Projects
Knobelsdorf’s small paintings of South Philadelphia row houses, colorful Gulf Coast Florida residents or old women standing outside their doorway, take us with perfect pictorial pitch into worlds that we normally drive by. His bringing together of daily life and painterly panache is a singular mix of 19th, early 20th and 21st century, by an artist who look as though he stepped out of a 1950s movie. When he paints a suburban home against dark woods it is as if Courbet or Theodore Rousseau was working in the suburban slums outside Philadelphia. Like any good author, Knobelsdorf apparently adores his cast of characters- the children, old people, strippers and salesmen who inhabit his paintings.
Knobelsdorf’s microcosmos of people and places is related to contemporary painterly concerns based on the remixing of photographic sources. Knobelsdorf integrates photography into his practice even when he works from life. He uses his own photographs later in the studio to mediate the plein air paintings he makes outdoors. Knobelsdorf knows the power of photographic imagery. Since 9/11, he has been stopped twice by Homeland Security, for taking photographs while he was painting outside. In a way he is a digital painter. He understands working from the computer as well as anyone painting today. He paints from the computer as if he were painting from life. The painter Francis Bacon suggested that a painter can utilize photography if the source material was transformed. Whether he’s painting from religion or porn, horror films or advertising or the house around the corner, Knobelsdorf transforms his source material into a cavalcade of hallucinatory scenes. He discovers rituals of the bizarre and the marvelous in daily life and transforms his finds into dense painterly realities.
Born in Grosse Point, Michigan, Knobelsdorf grew up on the Gulf Coast of Florida. He studied first at the Dunedin Fine Art Center and later at The Pennsylvania Academy of Fine Arts. After winning awards there, he came under the influence of the painter E.M. Saniga, the Lancaster County painter and scientist whose work is also shown by steven harvey fine art projects. Concise, poetic and dark, Kurt Knobelsdorf’s small intense paintings are like short stories that compel us to read all the way through in one sitting.
SANGRAM MAJUMDAR // represented by Steven Harvey Fine Art Projects
Sangram Majumdar’s paintings of open spaces, voids and accumulated objects in the studio challenge the viewer’s understanding of paintings relationship to what is seen.
« My paintings are conversations between the notion of the familiar and the questions they raise through the medium itself. While physically the works are about physicality and a ‘reality’ that is experiential and tangible, psychologically they are in many ways the complete opposite. In my work, I revisit this gap between what we think we know and what is right in front of us. »
Sangram Majumdar was born in Calcutta (Kolkata), India and immigrated to the US in 1990. He has an MFA from Indiana University and a BFA from the Rhode Island School of Design. Sangram has exhibited extensively both nationally and internationally and has also lectured on his work at numerous colleges including RISD, PAFA, SUNY-Purchase, Princeton University and the New York Studio School. Recent solo exhibitions include Steven Harvey Fine Art Projects, NY ; Rothschild Fine Art, Tel Aviv, Israel ; Pulse, NY ; the Jerusalem Studio School, Israel, and the Kresge Art Museum, MI.
Recent selected group exhibition venues include Tracey WIlliams Ltd, NY ; Rutgers University, NJ ; The Painting Center, NY ; Alpha Gallery, MA ; the 2010 Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, NY ; US Embassy, Sierra Leone ; the International School of Drawing, Painting and Sculpture, Montecastello di Vibio, Italy and the Aichi Prefectural Museum of Art, Nagoya, Japan.
His awards include the 2009-10 Marie Walsh Sharpe Studio Space Program Grant, a MICA Trustees Award for Excellence in Teaching, two Maryland State Art Council Individual Grants in Painting, and two Elizabeth Greenshields Foundation Grants.
His work has been published in drawing textbooks : Drawing Essentials : A Guide to Drawing from Observation (Oxford University Press, 2008), Drawing : Structure and Vision, (Prentice Hall, 2008) and Exploring Life Drawing (Thompson Delmar Publishing, 2007).
Since 2003 he has been teaching painting and drawing at the Maryland Institute College of Art and is represented by Steven Harvey Fine Art Projects, NY.
HOLTON ROWER // represented by The Hole
(b. 1962, New York, NY) currently living and working in New York, NY. Rower’s newest works are a powerful exploration of movement, color, and form. By working with gravity while pouring paint onto various apparatuses, his works become psychedelic snapshots of his artistic process. Past works include sculptures constructed out of a variety of non-traditional materials including human hair, dollar bills, mutated locks, and fishhooks. While he does work within a wide variety of meaning, all of Rower’s works examine the processes and methods of creation, and reveal the inherent vibrancy that lies within each piece.
He attended The Putney School in Vermont. Rower has had numerous solo shows over the past three decades at institutions like Galerie 6, Aurau, Switzerland, Galleria Maeght, Barcelona, Spain and Paris, France, John McWhinnie, Jay Grimm Gallery, and Cencebaugh Contemporary in New York, NY, among others. He has released a multitude of books of his work and has also been featured in publications including Complex and the Huffington Post. He is currently preparing for a solo show at Pace Beijing, and a second solo show with The Hole in 2013.
AUSTIN THOMAS // represented by Heiner Contemporary
A graduate of NYU, Thomas is the recipient of several awards, including a current studio award from the Elizabeth Foundation, a Public Art Fund Commission, and a sculpture commission from Grinnell College.
Thomas has exhibited nationally as well internationally in Australia, Hungary and at the Kunsthalle Exnergasse in Vienna, Austria. In Washington, DC, Thomas has shown at the Corcoran Gallery of Art, where she is represented in the collection, and at the entrance to the Metro in Arlington, VA, where “Dreamer : An Eyrie Perch,” one of her public sculptures, was on view in 2006. In New York, she has exhibited at the Drawing Center, the Sculpture Center, and Storefront Gallery in Brooklyn, and in 2010, NYC’s Department of Cultural Affairs awarded her a commission to create a permanent public piece for a new park in Brooklyn.
Thomas’s work will be featured in an upcoming book titled “Living and Sustaining a Creative Life : Essays by 40 Working Artists.”
She continues to foster community amongst artists through various curatorial projects including her gallery Pocket Utopia located in Manhattan’s Lower East Side and maintains a blog titled “Drawing on the Utopic,” where she writes about all things utopic.
WENDY WHITE // represented by Andrew Rafacz
"In conversation, as well as in art, so much is left to interpretation, body language, and accompanying gestures. In my work, the tension between the handmade and the automatic echoes the imperfections of speaking and writing, just as language itself neither completely succeeds nor completely fails at description.
In order to accentuate the inaccuracies in translating concept to object, I often use multiple canvases abutting one another instead of a single, shaped canvas. This way, the painted compositions extend modularly with a sprawling lack of containment and the focus is shifted to the places where canvases connect. Underscoring these connections relates again to the construction of language, space and, ultimately, meaning.
Recently, I’ve been allowing the text to extend from the canvas in sculptural form. The results are similar to that of concrete poetry—the way the text looks is as important a conveyer of concept as the meanings of the words themselves. My intent is to reinterpret my relationship to my native language, English. In doing so, I have begun to invent my own fonts (the visual), and in turn, my own language (the conceptual). Consequently, the viewer is forced to use his or her senses, rather than logic, to interpret."—Wendy White