"Administration" means the often rigid grasping, documenting and Maintaining organizational processes according to bureaucratic regulations. "Administrative File" means the abstract specific documents in a file, but also authority decisions, with which laws are regulated in individual cases. And "tact" is known in music as a grouping of notes to a pattern of regular accents. Thus brings the Exhibition title Management cycles very different fields together: the functional administration, the legally effective Decision and the heartbeat of the artistic composition. Ignacio Uriarte (born 1972, DE / ES, lives in Berlin) has first Business administration studies and then many years worked in administrations of large technology companies. After his second degree in audiovisual art, he quit in 2003 his last office job and has devoted himself full-time since then "Conceptual office art": with coolies, markers, notepads, Binders, rulers and printer paper create works that are on that aesthetics aim in repetitions and mathematical Relations lies. His drawings, photographs, installations, Objects, video and sound works captivate through simplicity, because their sequences are always logical and obvious. If This artist for example A4 sheets to huge murals folds or with great persistence crumbles, rips or stacks, then always according to certain patterns of action in which Efficiency does not matter, observing collateral effects but a very big one. The works of Ignacio Uriarte are neither depicting nor abstracting, their rules of origin are always disclosed and thereby appear as self-founded, concrete art. Exactly These are workpieces that are concentrated Activities were carried out - by hand. Your precise To discover execution and to recapture the time spent creates a feeling of sublimity because they are office people becomes heroic: this art celebrates its outbreak from "from above" commissioned repetition and radiates as well something reassuring. First, because all operations are accurate and systematically executed and nothing remained is. Second, because they have surprisingly beautiful and the time spent in the world is not was free. The uniformity has gained meaning and is too become an original counterpart. And it becomes clear: first if file of managing organizes into bars and then this The basis for a music is the transcendence of the ordinary. After numerous solo and group exhibitions in Europe, America and Asia features Ignacio Uriarte's presentation in Art Museum Reutlingen / specifically on 1,000 square meters finally a comprehensive cross-section of the elegant Work of this amazing artist.
Pour sa première exposition monographique d’envergure dans une institution française, Vanessa Billy propose un environnement où des figures humaines côtoient des représentations d’organismes végétaux, minéraux voire microbiens, ainsi que des objets mécaniques. Ces différentes composantes montrent l’intérêt de l’artiste pour les interactions entre l’humain et la technologie, le recyclage et la transformation des matériaux. Ses recherches les plus récentes semblent la mener vers une production d’objets qui questionnent, plus précisément, l’idée de transmutation et, d’une certaine façon, les limites épistémologiques de la nature. Bien que la sculpture de Vanessa Billy possède une dimension abstraite et poétique, elle est fortement ancrée dans la réalité des matériaux. C’est dans cette même logique qu’il faut comprendre le titre de l’exposition où Impressions de vies est entendu à la fois sur un plan technique et métaphorique. L’impression, dans son travail de sculpture, consiste à laisser une trace, une empreinte, et à marquer l’action d’un corps sur un autre. De ce processus résulte un ensemble de moulages qui représentent des éléments inspirés plus ou moins distinctement du corps humain, ou d’autres plus ambigus qui relèvent de différents organismes vivants. Cette ambivalence des formes contribue à mettre en évidence une sorte de transmutation infinie des organismes, tout comme leur interdépendance par rapport à leur environnement. L’un des dispositifs centraux de l’exposition rejoue le jeu de ficelle, qui consiste à réaliser des figures à l’aide d’une ficelle en boucle avec ses mains, et qui peut se jouer seul ou à plusieurs. À partir de ce dispositif extrêmement simple, le ou les joueurs peuvent inventer une infinité de figures, des plus simples aux plus complexes. Donna Haraway, biologiste, philosophe et autrice de narrations spéculatives, convoque le jeu de ficelle en tant que modèle possible pour repenser notre place et notre rapport au monde. À rebours des modèles évolutionnistes, l’autrice voit dans cette pratique une manière pour les joueurs de nouer des liens, de tisser des chemins qui portent des conséquences mais pas des déterminismes. Ce jeu s’apparente à un cheminement commun, à une communication de la main tendue, en opposition aux notions d’individualisme et de compétition. Ainsi, il devient une logique de pensée et d’action qui invite à repenser notre relation au monde dans l’optique d’une meilleure cohabitation et imbrication entre les différents métabolismes. De ce constat, Vanessa Billy explore des formes qui mettent en évidence les métamorphoses du corps humain, les mutations entre l’animal et le végétal ou entre le végétal et le mécanique. L’humain est considéré comme une entité géologique parmi d’autres et il se confond avec les autres espèces vivantes. L’artiste étudie aussi différentes structures de vie dans le sens le plus littéral possible, puisque ce sont aussi les contraintes de vie qui donnent l’apparence aux minéraux ou aux végétaux, selon les fonctions qu’ils doivent remplir dans leur environnement. Ces concepts d’hybridation et de transformation des énergies sont essentiels dans sa pratique. Ils sont une façon de chercher à sortir d’un certain dualisme entre nature et culture et d’inscrire l’humain dans un continuum déhiérarchisé. Ses œuvres les plus récentes, tout comme le dispositif de l’exposition, tentent de donner une réalité tangible à ces idées.
Born in 1940, Ulrich Erben, who has lived for a long time in Düsseldorf and Goch, is one of the classics of 'color painting' in Germany. It is about a painting that submits everything to color as a means of painting. She develops from it all levels of the image: the form, the line, the space and the light.
Erben has developed over the years a visual language of great clarity and transparency: it is about simple geometric shapes and retracted colors in subtle transitions. Erben's painting has undergone a further simplification and consolidation in recent years. It is the fruit of an artistic development that spans more than half a century. One may here speak of a real old-age work, which started about ten years ago. At the same time, this late work is tied back to the beginnings of the artist, the period around 1960, when he first attracted attention with his sparse colored drawings in Italy. This exhibition is also dedicated to them.
Even though every artistic position is unique, Erben's paintings are predestined for an encounter with the painting of Josef Albers. Here, differences as well as similarities come to light.
The exhibition once again emphasizes the rank that the Josef Albers Museum Square has developed as a place that, like a few others, examines the art form of painting in past and present with particular accuracy.
The exhibition is sponsored by the Kulturstiftung Sparkasse Bottrop, the Sparkassen-Kulturfonds of the German Sparkassen- und Giroverband and the Sparkassenverband Westfalen-Lippe.
Explore the fascinating world of Frank Bowling
Join us for a half-day conference with leading artists, academics and curators as they discuss the vital elements of Frank Bowling’s work. Three special panel discussions will assess Bowling’s remarkable six-decade career, and his relationship with Guyana, London and New York. Speakers will also consider Bowling's influences, his innovative use of paint, and the impact of his work on other artists.
Programme 14.00 Welcome and Introduction: Richard Martin (Tate)
14.10 Presentation by Gilane Tawadros (DACS and Stuart Hall Foundation)
14.40 Discussion, chaired by Allison Thompson (Barbados Community College)
15.10 Break; refreshments provided
15.30 Presentation by Giulia Smith (Ruskin School of Art, University of Oxford)
15.50 Presentation by Leon Wainright (Open University)
16.10 Discussion, chaired by Elena Crippa (Tate)
16.30 Break; refreshments provided
17.00 Artists' panel: John Bunker, Oscar Murillo and Jessica Warboys, chaired by Dorothy Price (University of Bristol)
Prints and Multiples from 1984 till 2019
Galleria Gentili partecipates at ARCO Madrid from February 27 to March 3, 2019. The gallery will present a selection of works by Ulrich Erben and Ignacio Uriarte at booth 9C15 and a special project by Vanessa Billy at booth 9C16.
Come meet us !
Galleria Gentili partecipates at ZONAMACO 2019, from February 6 to February 10, 2019 in Mexico City with a selection of works by Olaf Metzel and Heimo Zobernig.
Come meet us at Booth C204
Galleria Gentili partecipates at ArtGenève - Salon D'Art, from January 31 to February 3, 2019 in Geneve (CH) with a selection of works by Heinz Mack and Luciano Bartolini.
Come meet us at Booth B41
For the past seven years, Museo ABC and Fundación Banco Santander have supported Contemporary Art with the program Conexiones. Artists linked to drawings are invited to develop a specific project for the Museum revealing the connections between two works chosen from the funds of Colección Banco Santander and Colección ABC. They face the challenge —based on their choice and with absolute creative freedom— to reveal the connections that give name to the program.
Drawing is the key in the work of Ignacio Uriarte (Krefeld, 1972), Spanish Artist born in Germany. His style has been described as “Office Art” as it is made with the most common working tools (sheets of paper, copies, pens, typewriters…). These are used to reflect and think about repetition, monotony, routines and grunt work. Thus, the title of the exhibition refers to the axis of rotation and symmetry or the unknown quantity in an equation. In addition, the form of the letters X, Y, Z recalls the ideas hidden in his works by: parallelism, zigzag, fold, turn up, spigot, arrow…
The invited works in Conexiones XVI are the Gerardo Rueda, Pintura blanca (1970) [White Painting], from Colección Banco Santander, and Aguinaldos, by Mecachis (Eduardo Sáenz Hermúa), published in Blanco y Negro in 1894.
Galleria Gentili participates at the 25th edition of Artissima in Turin from November 2 to 4, 2018 in the Drawings Section. In collaboration with Philip Von Rosen Galerie, we will present Ignacio Uriarte’s solo show with his latest works belonging to what the artist himself defines Office Art.
After his studies in Business Administration in Madrid and Mannheim followed by various jobs for multinational companies like Siemens, Canon and Interlub, in 1999 Uriarte (Krefeld, Germany – 1972) attended the Centro de Artes Audivisuales in Guadalajara to study audiovisual arts. The paper works that will be exhibited at Artissima are among his most recent productions and belong to the series X-Squares, created with the typewriter, and Marker Drawings, realized with permanent markers.
Uriarte’s interest in the exploration of supports and materials belonging to the world of the office work is particularly evident in the use of techniques and tools that are typical of daily dossier processing like pens, A4 sheets, Excel worksheets tab and Word docs. The almost mechanical repetition of the creative gesture defines a particular formal universe alluding to concepts such as serial production, time scanning, repetitive rhythms, routine. Uriarte’s modus operandi is systematical and ordered but the mechanical action produces countless unpredictable variables in which the artist, with his creative responsibility, tends to disappears.
Under the title HEIMVORTEIL the SCHAUWERK presents a selection of more than 100 works by German artists from the Schaufler collection. Thus, the exhibition offers a varied overview of painting, light art and sculpture of the last 60 years in Germany.
A New Platform for Art, Culture and Sports: Deutsche Bank Is Opening the PalaisPopulaire in Berlin On September 27, 2018, Deutsche Bank is opening a groundbreaking international forum for art, culture, and sports in the heart of Berlin: the PalaisPopulaire. Rooms of the historic Prinzessinnenpalais at Unter den Linden 5 were redesigned by the renowned architectural office Kuehn & Malvezzi, and with clear forms and state-of-the-art technology transformed into a dynamic stage for contemporary culture. The PalaisPopulaire will be a vibrant, cosmopolitan space that connects and enthralls lovers of contemporary art and culture as well as sports enthusiasts. It will bring exhibitions from the Deutsche Bank Collection and important partner institutions to Berlin, as well as concerts, readings, sports workshops, and digital experiences. Thorsten Strauß, Global Head of Art, Culture & Sports of Deutsche Bank said: “The name PalaisPopulaire is programmatic. It stands for a place that is contemporary and open, offering an exciting mixture of art, culture, and sports activities. The PalaisPopulaire stands for the fundamental goals that Deutsche Bank has pursued with its cultural commitment for decades: creating access for everyone, recognizing and promoting talent, and thus making a positive contribution.” The PalaisPopulaire will be directed by Svenja von Reichenbach, who has been in charge of Deutsche Bank’s Berlin exhibition activities since 1997, and directed the Deutsche Bank KunstHalle from 2013 until recently.
Gaby and Wilhelm Schürmann do not see their collection as just private property or a prestige object, but rather as an item of cultural value that needs exchange with the public. Their collection has been constantly growing since the late 1970s, and it provides an incomparable view of the development of contemporary art from the 1980s onward. This is a progressive statement on behalf of contemporary art that is anchored in social issues and sees itself as a form of communication. The rationale behind the collection, which is held in Herzogenrath near Aachen and in Berlin, is both creative and productive, and the two collectors’ practice can be described as a particularly free-spirited form of cultural production. The act of collecting is realized less in the processes of keeping and completing artworks and is instead understood mainly as an invitation to participate in the public production of connections. This very pragmatic and hands-on approach is manifested in sensual and unconventional gestures of presenting, including the principle of “comparative seeing.” In this sense, the Class Reunion exhibition, the title of which refers to a 2008 installation of the same name by Berlin artist Nairy Baghramian, will unravel an exciting, humorous, and surprising dialogue between the diverse artistic positions in the collection, establishing unexpected points of contact. One focus in this is on Viennese influences on this international collection and its networks.