The Artsy Vanguard is our annual feature recognizing the most promising artists working today. The fifth edition of The Artsy Vanguard features 19 rising talents from across the globe who are poised to become the next great leaders of contemporary art.
This new group exhibition takes its name from an enigmatic phrase used by the American biologist Scott Gilbert who was highlighting the symbiotic relationship between man and his environment. As lichen is the result of symbiosis between mushrooms and seaweed, Scott Gilbert encourages us to rethink our relationship with the non-human, whether it be animal or vegetable, in order to maintain and above all to imagine new ways of coexistence.
BodyLand examines how depictions of natural environments and domestic settings are approached in contemporary painting, drawing, photography and sculpture. Utilising a range of tools and aesthetics, the artists in the show project psychological interpretations onto the natural world and human existence, providing a counterpoint to a traditionally male historical narrative. In lieu of conquering and overpowering nature, made manifest through tropes of victorious explorers, the exhibition presents a paradigm shift, encompassing typically female attributes that centre around a harmonious ideal of mutuality.
Devin B. Johnson has been selected for the Fountainhead Residency in Miami, March of 2023.
Each year, the fully funded Fountainhead Residency welcomes at least 30 artists from all over the world to live and work in a midcentury home in the historic Morningside neighborhood of Miami, Florida. Thirty exceptional contemporary artists working across various media have been selected as Artists-in-Residence for 2023.
New oil paintings and charcoal drawings by acclaimed artist Adrian Ghenie are presented at Thaddaeus Ropac in his most extensive exhibition in London for almost a decade. The Fear of NOW reflects a key shift in the artist’s themes and practice. Revisiting his enduring interest in portraiture through a group of figurative works, Ghenie records the impact of the Digital Era on the human condition and its physiological effects on the body.
STEVENSON is pleased to present Masemola Road, a solo exhibition of works by Simphiwe Ndzube, produced over recent months in his new Cape Town studio.
Comprising oil painting, photography and mixed-media sculpture, Masemola Road marks the beginning of a new set of visual concerns in the artist’s practice. The ecstatic, allegorical creations of previous bodies of work are exchanged for portraits and scenes drawn from autobiographical material, including family photo albums and snapshots of friends. Here, Ndzube moves away from the imaginative territory of the Mine Moon, situating his subjects in the environs of the Western and Eastern Cape, translated through his magical realist vernacular.
For her beneficiary, Katherina Olschbaur has chosen Foster Pride.
Foster Pride empowers children and teens in foster care to develop their talents, build self-esteem and reach their potential through mentoring relationships and the arts. Each year Foster Pride offers programs to approximately 400 children and teens in foster care throughout the city. As they age out of the system, their mentoring, financial literacy, job-preparedness, and internship programs provide foster teens with the resources they need to make a successful transition to adulthood.
Regarding her selection, Olschbaur writes;
“I was fortunate to grow up in a setting that allowed me to develop my artistic voice without being born into financial wealth or cultural aristocracy. Through good times and bad, I was lucky to find supportive local institutions that gave me the means to continue my practice without making compromises. Art has given me the tools necessary for survival. Foster Pride is an essential organization in New York; it allows young people to hone and develop the skills needed for expression, and through that, agency and self-definition.”
Jessica Silverman is pleased to announce Rae Klein: The Comfort in Calamity, on view September 16 through October 29, 2022 in the gallery’s second-floor space. This is the artist’s first solo exhibition with the gallery presenting ten new, large-scale oil paintings that are indicative of her practice examining power, opulence and memory through a deft combination of the surreal and the ordinary. In her paintings, Klein often suspends objects in space, recalling the compositional strangeness of Salvador Dali and Max Ernst. Playing with background and foreground wields both the precision and softness of her brush.
The singularity of the objects, along with colorful contrast and distinction in form, allows Kremer to create a clear separation between human and non-human. Yet, by instilling into both his lively figures and inanimate objects an intense sense of vitality, Kremer makes them seem as if they are ultimately supporting and balancing each other. United together humans and their interiors manifest a mash-up of lust, disturbance and harmony.
In September, an expanded version of Wonder Women will be presented at Jeffrey Deitch’s Los Angeles gallery, featuring forty Asian American, Pacific Islander, and diasporic women and non-binary artists. “The increasing violence against Asian Americans, particularly against Asian women and the elderly, emphasizes the need to tell our own stories. Figuration allows the artists to present themselves, their communities, and their histories on their own terms,” says Huang. The resulting works offer a cross-section of experience that celebrates difference and points of connection at the same time.
Ghenie has now added charcoal drawing to his repertoire, and this forthcoming presentation with Pace in Seoul will be his first exhibition devoted entirely to the medium. The works in the show examine banal and sometimes grotesque figures engaged in the most typical actions of a technological society, marrying the tradition of Otto Dix and George Grosz to a contemporary vision of people obsessed with their cell phones, masked with N95s, or idly fidgeting with remote controls as they surrender to their televisions.
Devin B. Johnson's artwork explores layering, which in his paintings symbolizes the superimposition of memories in the mind and the way events in history unfold: a feature that finds a strong harmony with the city of Siena and its past.
Contributed by Jonathan Stevenson / In “Sense of Place” at Greene Naftali Gallery, ten artists unflinchingly explore the nuances of transition, from epiphany to revolution, from getting lost to just moving on. The show is incisively curated and genuinely cohesive. Mosie Romney’s Becoming Nobody is a decisively figurative painting that could be construed as Black theatergoers — or they could be passengers on a ship — with a mysterious fading white demon hovering above. Either way, the piece is a due assault on ahistorical, acquiescent assimilation.
Solid Art is delighted to present “Gathering – Philipp Kremer”, which is the artist’s first solo exhibition at Solid Art since his participation in the gallery’s 2020 group exhibition, “like a luminous animal”. Philipp Kremer’s paintings are conflict-laden – not only in the subject matter, but also on a formal level, and in the interplay between the two. His works evoke questions of representational ethics, both in art’s address of human suffering and in the promise of social togetherness alike.
The UCT Irma Stern Museum is delighted to host the celebrated painter Georgina Gratrix as its second artist in residence. As part of the museum's 50th anniversary year, Gratrix will be working in a studio at the museum from mid-July to September 2022. Works produced during this residency will be exhibited in the UCT Irma Stern Museum from 28 September 2022.
Semiose is delighted to be hosting three recent works by the artist Moffat Takadiwa in its Project Room.
Moffat Takadiwa regularly returns to the idea that the materials he uses were originally everyday consumer commodities produced in the West, and that in this respect his oeuvre is shot through with the residues of post-colonial society. This is particularly evident in his use of computer keyboard keys with their English letters, which he weaves together to create new associations, deconstructing the authority of language and producing a kind of “Broken English” that reflects the conflicts and trauma of colonial domination. The Shona language spoken in Zimbabwe today has little in common with the original language. It is a combination of five or more different indigenous languages, a European construct resulting from the colonial strategy of division that took advantage of the amalgamation of various “tribes,” who would later come into conflict with each other.
Andréa Ormeño-Delph (b. 1992, Bronx) is a curator and gallerist living and working in New York City. Through the exploration of her Guyanese and Peruvian heritage, her curatorial practice focuses on bringing voices from South and Central America and the West Indies into a global conversation. She thrives in building relationships with artists and working collaboratively with her team in the development and production of exhibitions at the gallery’s location in Soho, New York City. Previously, Andréa has held positions at Mitchell-Innes & Nash and the Whitney Museum, and has curated exhibitions in Los Angeles, Miami, Cleveland and New York. Andréa holds a BA in Art History from the Ohio State University, and has studied communications abroad in Seoul, South Korea at Dankook University.
Rachel Keller (b. 1990, Los Angeles) is an independent curator and arts professional whose career has spanned both commercial and non-profit arts organizations. She previously served as Associate Director and Gallery Manager at Nicodim. During her time at the gallery, she has facilitated operations at the Los Angeles space, worked with gallery artists to realize exhibitions and projects, and placed artworks with established private and public collections worldwide. YOU ME ME YOU, her first curatorial project at Nicodim Los Angeles, opens on September 3rd. Rachel has held positions at the Palm Springs Art Museum, Hauser & Wirth, The Broad, LACMA, Christie’s, and the Frederick R. Weisman Art Foundation, and has curated exhibitions in Los Angeles, New York, and Dakar, Senegal. Rachel holds a BA in Art History from Sarah Lawrence College and a MA in Curatorial Practices and the Public Sphere from USC Roski School of Art and Design.
Come by to view Rae Klein, LOW VOICE OUT LOUD + Philipp Kremer, Us. Nicodim is open 11a - 6p on 7.30.22
SATURDAY, JULY 30 NEIGHBORHOOD DAY EAST: EASTSIDE, DTLA, CHINATOWN, EAST LA, NORTHEAST LA
There are four community days planned for the event that highlight art spaces located within four broad areas of Los Angeles and its surrounding communities. Divided between the regions of West, North, Central and East the community days begin on Wednesday, July 27 focusing on L.A.'s Westside and run through Saturday, July 30 with event planned in Downtown L.A. and throughout East and Northeast Los Angeles. Each day throughout the weekdn offers visitors the ability to build an itinerary of exhibitions across the geographically expansive L.A. arts community. A number of galleries will have extended hours on these days.
We apologize for any inconvience. We will see you back in the gallery on Tuesday, August 9th!
Rae Klein (b. 1995) lives and works in Michigan. She graduated from Eastern Michigan University in 2017 with a BFA in Painting. Waiting in the Field, her first solo exhibition, took place at The Valley in Taos, New Mexico in 2021. Group exhibitions include End of Eden, Galerie Wolfsen, Aalborg (2022); Todos es de Color, The Curator’s Room, Amsterdam (2022); Paper., BEERS London (2022); I Have My Eye On You, Everyday Gallery, Antwerp (2021); and When Shit Hits The Fan Again, Guts Gallery, London (2021).
Pond Society is pleased to announce the solo exhibition, “Five Walkscapes”, of artist Devin B. Johnson, featuring a series of new works created in the aftermath of pandemic.
Johnson’s abstractions, or “walkscapes,” start with a well-defined rendering of a figurative situation sourced from found photographs, record covers, and other objects that once held intense personal meaning for someone, somewhere, only to be lost or discarded. From here, he adds layers of various textural elements and paint, sometimes changing the orientation of the piece. He sees his process as an allegory for the entropy and regeneration of memory, experience, and community identity.
Liang Fu (b. 1993, Sichuan, China) lives and works in Paris, France. He received his BFA and MFA from National Fine Arts School of Nantes in Nantes, France. Recent exhibitions include DISEMBODIED, Galeria Nicodim, Bucharest (2022); Intangible, Nicodim Upstairs, Los Angeles (2022, solo); petit beurre, Maia Muller Gallery, Paris (2021); Emergence, Riseart Gallery, London (2021). Fu’s second solo exhibition with Nicodim opens this October in New York. Intangible, his first solo exhibition at the gallery, was on view at Nicodim Upstairs, Los Angeles, from March 26 – April 30, 2022.
Dominique Fung featured in At the Table, an AAPI awareness fundraising exhibition, hosted by Civil Art and Christie's CSR. Proceeds from the exhibition will be donated to Heart of Dinner a 501(c)3 non profit organization.
Moffat Takadiwa featured on the latest episode of The Frame: Conversations with Ayanda Fine Art podcast. In this episode, Takadiwa discusses using art to confront the colonial hangover in Africa, and how he is learning from and giving back to his community through Mbare Art Space. Available now on all podcast streaming platforms.
This June 4th, revolutionary sustainability platform BLANK, will host their first immersive event titled “Watching Our Waste” which will offer experiences of the best in environmentally focused fashion, regenerative art and fine dining, diverting ingredients and materials that were destined for the trash. With a focus on repurposing waste, BLANK will show that quality, beauty and desirability need not be sacrificed when implementing effective solutions around sustainability. Having launched in London last month at Mayfair’s hottest new sustainable food restaurant Apricity, BLANK has been active in their bold approach of tackling climate crisis engagement - using culture and technology to support solutions for implementation across all industries in the economy. Keeping to their striking words to spread their message through engagement across the globe, they have produced their upcoming Los Angeles exhibit in collaboration with LA-based upcycled and sustainable fashion designers Uprisers and ReWilder, Michelin trained chef, Nate Romo, and Zimbabwe artist Moffat Takadiwa.
Inspired by Genny Lim’s poem, Wonder Women, curated by Kathy Huang, presents thirty Asian American and diasporic women and non-binary artists responding to themes of wonder, self, and identity through figuration. While some artists explore wonder as it relates to mythology and legend, others depict the heroines in their lives, offering works that highlight family, community, and history. Several of the works in Wonder Women address colonial and patriarchal structures in the West.
Dominique Fung's 'Untitled' featured in GAME ON Benefit and Party at moCa Cleveland. For her lush, alluring figurative paintings, Canada-born, New York-based artist Dominique Fung draws upon personal experiences and historical artworks to create richly metaphoric musings. With influences ranging from East Asian ancient symbolism to contemporary comedians, Fung collapses past and present into seductive paintings that often tackle serious issues. Recent sold-out exhibitions across the globe and acquisitions by museums such as LACMA and ICA Miami demonstrate Fung's rapidly growing artistic influence, which has been profiled in sources such as Vice, Juxtapoz, and Bomb over the past few years.
An exhibition curated by Kehinde Wiley on the occasion of Dak'Art Biennial 2022, featuring work by previous Black Rock Senegal artists-in-residence and invited artists. The exhibition will be open from May 20- June 21 at Maison de la Culture Douta Seck in Dakar, Senegal. The selection of artwork, which spans a myriad of mediums and themes, explores Black Rock Senegal as a site of gathering and offers a powerful statement on the resonance of place, community, and shared experience.
Painted in 2021, Katherina Olschbaur’s The Lovers offers an immersive landscape in which the limbs of the titular lovers curve and entwine. The bodies are picked out in swathes of magenta, deep red and royal blue, their shadowed faces turned towards each other in a passionate embrace. The Lovers is a stunning example of Olschbaur's interrogation of desire, power and emotion and their expression through body language. Her work defies easy categorization, as gender, sexuality and narrative twist on her immense canvas.
A portion of the proceeds from the sale of this painting will benefit Black Rock Senegal, Kehinde Wiley’s multi-disciplinary residency program in Dakar that seeks to support new international artistic creation through collaborative exchange and to incite change in the global discourse about what Africa means today.
Olschbaur was selected as an Artist-in-Residence in 2021 at Black Rock Senegal, where she was “inspired by the work of local dance companies whose practices intertwine contemporary movement with traditional rhythms and techniques.”i The motion of bodies—action and reaction, push and pull—can be seen in The Lovers, as Olschbaur positions the body as a site of resistance and repressed desire.
A work by Katherina Olschbaur featured in INCOGNITO 2022, the Institute of Contemporary Art, Los Angeles’s legendary benefit art sale, scheduled for Saturday, May 7. A beloved tradition, INCOGNITO is unique among museum fundraisers. Now in its 14th iteration, nearly 400 established and emerging artists will contribute 12 x 12 inch original works of art in any medium of their choosing. All works will be sold for only $500, and the artists remain anonymous, their identities only revealed after the purchase. INCOGNITO was created with a spirit of democracy, inclusivity, and fun. All proceeds benefit ICA LA’s roster of dynamic exhibitions and Learning & Engagement programs—all of which are always free to the public.
Participating artists highlights: Tanya Aguiñiga, Charles Gaines, Liz Glynn, Sayre Gomez, Lauren Halsey, EJ Hill, Alex Hubbard, Tala Madani, Katherina Olschbaur, Cathy Opie, Laura Owens, Analia Saban, and more.
Jorge Peris presents new installation as part of the exhibition 'Ulysses' Dreams' curated by Francesco Stocchi at Fondation Carmignac in Villa Carmignac, Porquerolles Island, Spain. The exhibition is inspired by the Greek hero who sailed for ten years to return home after the Trojan War (The Iliad). Legend has it that Ulysses reached the shores of Porquerolles Island, where he fought and struck down the Alycastre, the monster sent by Poseidon and sculpted by the artist Miquel Barceló at the entrance of the Villa Carmignac. On this wild Mediterranean island off the coast of Hyères in the South of France, where the light, sea, trees and caves are the same as in Homer’s time, gods and myths are still very much alive. The Odyssey continues to accompany us and to help us live, like some more contemporary works of art, which sometimes light our way.
Two works by Isabelle Albuquerque featured in the second iteration of Skin In The Game curated by Zoe Lukov and Abby Pucker. A collective offering about touch, transmission, and skin—the potential, vulnerability and risk contained therein—as a boundary to protect from danger or as a porous border to receive.
Édouard Manet’s Le Déjeuner sur l’herbe (1863) is regularly cited as the first modern painting. It is often featured as the first slide in Art History lectures about the history of modernism. More than thirty of today’s most acclaimed painters will respond to Manet’s Le Déjeuner sur l’herbe in this group exhibition at Jeffrey Deitch, Los Angeles. Dominique Fung joins Nina Chanel Abney, Vanessa Beecroft, Cecily Brown, Caitlin Cherry. Joe Coleman, Robert Colescott, Somaya Critchlow, Celeste Dupuy-Spencer, Alain Jacquet, Kurt Kauper, Karen Kilimnik, Cindy Ji Hye Kim, Jeff Koons, Ella Kruglyanskaya, Liu Xiaodong, Tala Madani, Sophie Matisse, Paul McCarthy, Sam McKinniss, Jill Mulleady, Ariana Papademetropoulos, Naudline Pierre, Christina Quarles, Walter Robinson, Giangiacomo Rossetti, David Salle, Katja Seib, Tschabalala Self, Vaughn Spann, Mickalene Thomas, Salman Toor, John Wesley, Kehinde Wiley in Luncheon on the Grass at Jeffrey Deitch, Los Angeles.
Curated by Clare Milliken and Bailey Summers, Women of Now explores how twenty-eight compelling female-identifying artists synthesize memory and a sense of place as artistic tools to impart their unique identities to the world. Artists included in the exhibition are Caroline Absher, Hayley Barker, Ana Benaroya, Coady Brown, Lucy Bull, Somaya Critchlow, Dominique Fung, Louise Giovanelli, Sasha Gordon, Ania Hobson, Rachel Jones, Cheyenne Julien, Aubrey Levinthal, Hannah Levy, Danica Lundy, Maud Madsen, Rute Merk, Jenny Morgan, Anna Park, Lauren Quin, Hannah Lupton Reinhard, Danielle Roberts, Antonia Showering, Brea Weinreb, Anna Weyant, Lily Wong, Issy Wood and Michaela Yearwood-Dan.
In contemporary art, the ideal an engineered world seems to have faded into the background. Instead, there is reflection on the world and society. One hundred years after Mondriaan's dream, our world seems anything but a paradise. Twelve contemporary artists have been invited by Kunsthal KAdE to fill a space with their view on today's chaotic world, with painting by Simphiwe Ndzube alongside works by Armando, Sebastiaan Bremer, Sanam Khatibi, Maria Klabin, Friedrich Kunath, Erwin Olaf, Olphaert den Otter, Michael Raedecker, Marina Rheingantz, Rinus Van de Velde, and Matthew Wong, as well as installations by Sander Breure & Witte van Hulzen, Hadassah Emmerich, Gijs Frieling, Anne Duk Hee Jordan, Alexandra Kehayoglou, LOLA Landscape Architects, MAISON the FAUX, Paul Morrison, Marcel Pinas, Tanja Smeets, Philip Vermeulen, and Melanie Smith.
The exhibition Colliding Epistemes is conceived as a tripartite constellation of cellular clusters presenting collaborations that materialize the shifting sands of artistic and scientific concern in the Anthropocene. In the first cluster on Speculative Ecologies artists draw on alternative epistemes to challenge the spatial order and temporalities of the Anthropocene. Invoking folk wisdom to foretell the future from fish intestines, hypothesizing the pre-human evolution of plastics and tuning in to the frequencies of a primeval bog are all means to reveal the collision of human and natural histories in the new geological epoch.
Daniel Pitín is one of the most important contemporary painters in the Czech Republic. His solo exhibition “Summer Cinema” shows a selection of paintings and a video that deal with the topic of theater and film scenography as an analogy to the reality of the complete interweaving of physical and digital reality. The exhibition is curated by curator and art theorist Jen Kratochvíl, director of the Kunsthalle Bratislava.
For their 2022 annual edition, artworks were selected by Mary Manning. The 'Annual' exhibitions illuminate aspects of the specific networks – historical, social, cultural, etc. – that individuals follow in an increasingly expansive and saturated cultural environment.
Michiel Ceulers’ practice is associated with excess of materiality. Ceulers has a fascination with cheap and shabby materials, especially cardboard. The paintings are often composed of found materials and thick layers of paint that are blithely smeared on the paintings and their frames. Ceulers' paintings represent the artist’s work in the studio, showing decay and scars, and raising the question of documentation and fiction. Each painting is a reflection of the result of a process, a physical experience that alienates the works from the artist himself.
'Late Night Enterprise' is an exhibition about nocturnal economies, including a classic painting by Robert Yarber alongside works by James Bartolacci, Sophie Calle, Caitlin Cherry, Bambou Gili, Lyle Ashton Harris, Richard Kennedy, Christina Yuna Ko, Sam McKinnis, Charlie Le Mindu, Rose Nestler, Kayode Ojo, Alina Perez, Genesis Breyer P-Orridge, Calli Roche, Paul Anthony Smith, Keioui Keijaun Thomas, Betty Tompkins, Ryan Wilde, and Ming Ying.
OUR SLICE OF TIME TOGETHER reveals Flip Project as a physical and mental place for unexpected encounters, relationships and dialogues with artists. The works curated in this exhibition confront each other in space and time, in a conversation that veers between the secular and the sacred, between the search for stability and shaky discomfort. They have the porosity of matter, body, and memory, significant in the relationships they tell and in the forms of affection they express.
Moffat Takadiwa is featured in House of Crowns, an inaugural program of group exhibitions sponsored by Phillips. Co-curated by Anwarii Musa of Artmatic and Storm Ascher of Superposition Gallery, the collection of art objects and concepts aims to facilitate mentorship and conversations between artists at all stages of their practice under the associative notion of the crown — the resule is a wide range of expressions and styles respresented through painting, sculpture, photography and more.
Șerban Savu's solo exhibition Makeovers at MNAC, Bucharest, is part of a series hosted by the museum which is dedicated to artists invited to conceptualize a presentation for the Marble Hall. In contrast to the previous exhibition - Ciprian Mureșan's monumental work - and with a space that is difficult to control, both conceptually and in terms of exhibition strategies, Șerban Savu's small-scale works, together with a model of the block where he was born and raised, create a moment of tension in relation to the layers of different histories - both shared and personal.
In Some Form or Fashion is a new, Momentary-organized exhibition that explores the cultural implications of fashion and how we shape our identities with the garments we purchase, wear, and dispose of. The exhibition features site-responsive, large-scale installations by six artists who each use clothing to map real and imagined cultural histories of fashion: Pia Camil, Martine Gutierrez, Eric N. Mack, Troy Michie, Simphiwe Ndzube, and Wendy Red Star.
Simphiwe Ndzube, along with Natalie Ball, Kevin Beasley, Georgia Gardner Gray, Tau Lewis, Jonathan Lyndon Chase, , Agata Słowak, and Frieda Toranzo Jaeger engage in this exhibition both two and three dimensional media to manifest the body and express its capacity for action; in turn conjuring an interrelational dialogue with the viewer’s own sense of self. Figuration has often been used as a visual record of history, a depiction of a particular subject in a particular time and place. For the artists in this exhibition, figuration extends beyond documentation, it is a potent tool of expression, a testimony of a new perspective. Works confronting inequalities of power via race or gender are presented alongside those which redirect our assumptions about histories and the hierarchies they established. These works are disrupting expectations about which bodies warrant representation, and why.
Nicodim congratulates Moffat Takadiwa on his appointment to the National Arts Council of Zimbabwe. The National Arts Council of Zimbabwe was created through an Act of Parliament in 1985 and has been ‘Championing’ the promotion and development of the arts sector by providing support, initiating arts programmes and forging partnerships with key stakeholders in the arts and culture sector. The council empowers communities by providing an enabling environment for the creative industries through partnerships and resources to develop, support and safeguard Zimbabwe’s culture and heritage.
Support the longest-running incubator for contemporary artists and curators in Los Angeles at the ReEmerge: A LACE Benefit Art Auction! Help ensure that art continues to be essential. Join LACE and over fifty artists as we all reemerge and come together to celebrate the Los Angeles community’s collective power and perseverance.
TEKNOLUST: OBJECTOPHILIC FUTURES envisions a post-singularity utopia/dystopia in which humans interact with intelligences of their own creation on equal footing. The exhibition manifests multiple realms of existence: a fungible, physical space in Woaw Gallery on Queen’s Road, Hong Kong; EPOCH’s REPLICANTS, which digitally recreates the architecture of Woaw’s Queen’s Road location and surrounding neighborhood in a timeline with an alternate roster of artists; and a series of IRL, WOAW-situated portals that provide networks between tangible, spiritual, and virtual universes.
"We are thrilled to open our New York space with Simphiwe Ndzube's first solo show in the city. When I defected from Romania in 1983, New York was my first home in the States. I had no money, but the galleries were free to attend. I saw Kippenberger, Basquiat and felt all the energy around them. It was infectious! Walking around TriBeCa and Soho during Frieze New York this year, I felt this same energy once again. Domnique Fung, Devin B. Johnson, and Mosie Romney live there now, and have been telling us this since the vaccine became widely available. They’re 100% correct. This new space will give us an opportunity showcase their work and feed into the conversation happening alongside all the other amazing galleries in the neighborhood. Our program is largely built around voices from communities outside the traditional western contemporary art centers—Simphiwe Ndzube and Georgina Gratrix are from South Africa, Katherina Olschbaur is from Austria, Moffat Takadiwa is from Zimbabwe, Larry Madrigal is from Arizona—and artists from untraditional backgrounds like Isabelle Albuquerque and Hugo Wilson. We are thrilled to give them this opportunity to spotlight their talents in America’s biggest city."
Mihai Nicodim —
“I’m a bit nervous to come out to my parents as bi-coastal, but our artists have been so excited and supportive, it’s difficult not to get swept up in it.”
Ben Lee Ritchie Handler, Global Director —
Nothing is Lost. Art and Matter in Transformation occupies all the exhibition spaces of the GAMeC, developing an itinerary with a strong sensorial impact, given the material and synesthetic nature of the numerous works on display, on loan from international collections both public and private. The four sections of the exhibition—Fire, Earth, Water, and Air—refer to the natural elements, understood here as the states of material aggregation, and thus preempt its relationships and transformations: fire/burning state; earth/solid state; water/liquid state; and air/gaseous state.
With a rich selection of works, the show provides an articulated framework, one capable of highlighting the strong link which has always bound artists to the chemistry of the elements and the transformation of matter. A field of study and experimentation which in our own era also constitutes a significant declination in terms of a reflection on the impact of human presence on the natural equilibria (from the availability of resources to climate change).
Jorge Peris joins Ignasi Aballí, William Anastasi, Isabelle Andriessen, Davide Balula, Lynda Benglis, Alessandro Biggio, Karla Black, Michel Blazy, Renata Boero, Dove Bradshaw, Victor Brauner, Dora Budor, Pier Paolo Calzolari, Nina Canell, Leonora Carrington, Giulia Cenci, Tony Conrad, Tania Pérez Córdova, Lisa Dalfino & Sacha Kanah, Giorgio de Chirico, Edith Dekyndt, Marcel Duchamp, Olafur Eliasson, Leandro Erlich, Max Ernst, Joana Escoval, Cerith Wyn Evans, Lars Fredrikson, Loïe Fuller, Cyprien Gaillard, Pinot Gallizio, Hans Haacke, Roger Hiorns, Rebecca Horn, Roni Horn, Paolo Icaro, Bruno Jakob, Yves Klein, Gary Kuehn, Liliane Lijn, Gordon Matta-Clark, David Medalla, Ana Mendieta, Otobong Nkanga, Otto Piene, Man Ray, Pamela Rosenkranz, Mika Rottenberg, Namsal Siedlecki, Roman Signer, Robert Smithson, Gerda Steiner & Jörg Lenzlinger, Yves Tanguy, Wolfgang Tillmans, Erika Verzutti, Andy Warhol in this group exhibition.
The KZNSA and SMAC Gallery present This Must Be The Place, a solo exhibition by Georgina Gratrix.
Gratrix’s playfully grotesque portraits and still lifes feature thickly impastoed surfaces, a bright, saturated palette, and expressive faces and figures. The Mexican-born artist, who grew up in Durban, South Africa, completed her BFA at the Michaelis School of Fine Art in Cape Town. In 2018, Gratrix was the recipient of both the Discovery Prize at Art Brussels and the Ampersand Fellowship Award. Gratrix has exhibited across South Africa and in Milan, Berlin, Miami, Los Angeles, and beyond.
Moffat Takadiwa transforms post-consumer waste – such as used toothpaste tubes, spray cans, computer keyboards – into lush, densely layered sculptures and tapestry-like wall works that embody the complexities of contemporary Zimbabwean politics, culture, and reference his Korekore heritage. For his first solo museum exhibition, Takadiwa created new works that defy gravity by floating in mid-air and cascading off walls. These pieces are Takadiwa’s investigations of power from a distinctly African perspective – one that acknowledges spirituality as a powerful resource for Africa’s future growth.
Art making, especially in the 21st century, contains within it all the radical possibilities that Voltaire implies, though its processes often gloss as minute, small, unable to make a change. The exhibition My Secret Garden at Asia Art Center, presented and organized by Emilia Yin and Melanie Ouyang Lum, seeks to explore these quiet revolutions of private creation. It unites a group of artists whose practices all constitute tessellations of Voltaire’s imperative to “tend a garden.” Comprised of an all-female and femme cohort of artists, My Secret Garden also invites a critical view into the expansion of traditionally feminine domesticity, which includes within it the tending of gardens. The physical actions of cultivations, of care and creation, are transferred to living, breathing artistic mediums.
Ciprian Muresan's new solo exhibition is a critical exploration into the collections that art institutions inherit after radical shifts in the political systems or socio-political (even aesthetical) changes of paradigms, when museum storages become repositories of “junk“. These collections-as-containers could be the subject of TV shows such as Storage Wars, where participants have the possibility to acquire the content of a storage unit without being able to check it beforehand.
In the inaugural exhibition at the Xiao Museum of Contemporary Art, Rizhou, Katherina Olschbaur and Simphiwe Ndzube join Harold Ancart, Sam Friedman, Louisa Gagliardi, Baldur Helgason, Jordan Kasey, Mike Lee, Tala Madani, Christina Quarles, Lauren Quin, Genesis Tremain, Robin F Williams, and a number of exciting contemporary artists in this group show curated by Hans Werner Holzwarth. Through absorbing and incorporating the ideas, tropes, tools, and shared experiences of the post-internet era, the artists explore an aesthetics beyond the data stream, offering points of view that break down traditional understandings of gender, race, and class in order to construct a confusing yet probing utopia that transcends the inner world of the artists' own minds.
Curated by Alia Williams, Clay Pop documents the reinvention of ceramic sculpture by a new generation of artists. A medium that has often been characterized as more craft than art is now an exciting platform for formal and conceptual innovation. Alongside Fung and Johnson, the exhibition also features works by Diana Yesenia Alvarado, Alex Anderson, Genesis Belanger, Seth Bogart, Woody De Othello, Sharif Farrag, Grant Levy-Lucero, Ruby Neri, Brian Rochefort, Sterling Ruby, Alake Shilling, and a number of other artists who "are taking a traditional medium and turning it on its head."
Situationist International writer Raoul Vaneigem remarked in 1961 in the Basic Program of the Bureau of Unitary Urbanism: “You don’t live somewhere in the city; you live somewhere in the hierarchy. At the summit of this hierarchy the ranks can be ascertained by the degree of mobility." The works in Old Growth - New Decay: Environmental Justice, Environmentalism and Sustainability speak to the urgency of an international environmental agenda as well as the importance of environmental justice and a shared and just ecological agenda that emphasizes the fair treatment and meaningful involvement of all people regardless of race, color, national origin, or income with respect to the development, implementation and enforcement of environmental laws, regulations and policies.
Philipp Messner and Jorge Peris explore the disappearance of the outside and the expanding inner-world. Ramses II, the mighty pharaoh, held the mythical position of absolute power, looking down at his works, his land and his people. He was at the center of a cosmic order, all work and production flowing through him. Through their sculptural work, Messner and Peris bring the sensual world, the bestial and the disgusting as close to us as they dare. They are concerned with the process of production as desire, slippery and slimy, always escaping our grasp.
Drawing inspiration from Los Angeles’s unique aesthetic, the exhibition celebrates the intersection of the occult and the magic of set design, blurring the world of cinema and the great beyond. Papademetropoulos is in dialogue with a rich history of artists enraptured by alchemy at the heart of Hollywood—a portal to another world. Throughout the exhibition are works by artists that speak to the art of transmutation, including: Isabelle Albuquerque, Theodora Allen, Jean-Marie Appriou, Beck, Lucy Bull, Marjorie Cameron, Leonora Carrington, Sedrick Chisom, Henry Darger, Hugh Hayden, Mike Kelley, Friedrich Kunath, Justin Lowe and Jonah Freeman, Jill Mulleady, Raúl de Nieves, Precious Okoyomon, Luigi Ontani, Ariana Papademetropoulos, Agnes Pelton, Jim Shaw, Henry Taylor, Gus Van Sant, Alix Vernet, Marnie Weber, Ambera Wellmann, Jordan Wolfson, and Unarius.
Curated by Petr Vaňous, Daniel Pitín's new solo exhibition INKORPORACE witnesses the artist's development of deconstruction processes that decompose and reassemble narratives of figures and frames, so that they interpenetrate each other. The plot emerges from the unambiguous vanishing points and becomes an independent movement integrating into itself conscious and subliminal impulses. Pitín uses the architect-like approach as a "material" for the constellation of a convincing illusion, just like a film, but with the difference that he consciously goes behind the scenes of the whole process... and exposes it.
Singer Lucinda Williams explained to The Huffington Post about the meaning of the name of her 11th studio album, "'Where the Spirit Meets the Bone' is just that place deep down inside of us where nobody else can really see. Everybody has different ways of dealing with that." The exhibition proposes glimpses of such interactions: from inventories of the plants around the house, sketches or studies of loved ones, manifestations of loneliness by imagining fictional characters in the privacy of the apartment, to considerations on those few actors still active in the public domain (police officers, construction workers, etc.).
Congratulations to Devin B. Johnson on the acquisition of “Choir” (2021) by the Los Angeles County Museum of Art.
'“Choir” began with Peter Paul Rubens’ “Four Studies of a Head of a Moor” (1614) re-imagined as a gospel choir. The genders and orientation of the heads are flipped, and the figures are obscured, diminished, and rebuilt by the passage of time.' — Devin B. Johnson
My Heart Cries, I Set Out an Offering for You, Johnson's third solo exhibition with Nicodim, opens September 4, 2021 in Los Angeles.
Shaped by the convergence of intersectional perspectives on landscape––social, physical, and historical, this group exhibition is a collaborative curatorial project devised by School of Art students meant to develop forms of pedagogical activism by highlighting underrepresented narratives in artworks across multiple mediums.
One of the most striking characteristics of Ndzube’s practice is his incorporation of second-hand clothing and accessories into the works, like seen in Dondolo, the Witch Doctor’s Assistant, 2020. According to Ndzube, he amasses textiles, wigs, and ribbons from the garment district and local thrift stores for his collection. Like the collage of his own eyes and hand into the painting, the garments bring a personal touch to Ndzube’s work, as they reference human bodies.
The Ever Present series returns with a unique listening experience in Robert Irwin's Central Garden featuring Refuge, an album of new ambient music by Devendra Banhart and Noah Georgeson. Streaming through a custom sound system set up throughout the Central Garden’s circular pathways, music will be looping throughout the weekend to make room for meandering and contemplation. Relax on the lawns with a picnic, grab a bench, or wander among the blooming garden beds as the sonic vibrations clear the air for a new era.
Within a house, there are certain standard things like kitchens or bathrooms that influence the curation or particular things like alcoves, closets, window placement that confine and dictate where you can place things. Certain things end up sort of "belonging" somewhere because they fit or perfectly cover up a weird wall outlet or something. But these "confines" are also the type of things/ places that are fun to mess with, [like] putting Isabelle Albuquerque's reverse table piece in the dining room (sort of referencing Allen Jones' table with a female underneath the glass). So there's a freedom of curating within a house because you are redesigning/ restructuring the interior, how someone moves throughout the space or thinks about how they move throughout their own space.
Dominique Fung is featured in the third iteration of SITE: Art and Architecture in the Digital Space, set against the historic and transient Michigan Central Station. Formally dedicated in 1914, the station was an active rail hub until the cessation of Amtrak service in 1988. The Beaux-Arts structure was designed by the architects of Grand Central Terminal in New York, and was the tallest rail station in the world at the time of its construction. With a roof height of 230 feet, a main waiting room featuring marble floors, and 54-foot vaulted ceilings that echoed the sound of constant travel, the building is an architectural marvel.
Nicodim presents works by Devendra Banhart, Stanley Edmondson, Dominique Fung, Georgina Gratrix, Devin B. Johnson, Larry Madrigal, Simphiwe Ndzube, and Mosie Romney in our booth at the yearly Felix Art Fair, corresponding with the inaugural Gallery Weekend Los Angeles.
'021 - 2021' is a happy summer painting show with no concept beyond ‘paintings made in Cape Town in 2021’. Gratrix and Ndzube join Zander Blom, Jared Ginsburg, Ian Grose, Mawande Ka Zenzile, Dada Khanyisa, Kaylin Moonsamy, Richard Mudariki, Asemahle Ntlonti, Deborah Poynton, Cinga Samson and Penny Siopis for this Amsterdam group exhibition.
Gallery Association Los Angeles is pleased to announce the inaugural edition of Gallery Weekend Los Angeles, running from July 28–August 1, 2021. The first iteration of Gallery Weekend Los Angeles intends to be the inaugural edition of an annual summer moment to make art more accessible while celebrating the experience of viewing art in-person once again. Through Gallery Map Los Angeles, a breadth of self-guided options will be available, allowing visitors to create their own itineraries and viewing preferences.
This exhibition probes individual and collective ideas of bodily existence and processes of transformation, using works from 1950 to the present day. The participating artists attend to the challenges presented by history, the dictates of commerce, the sensory borders between how matter is experienced, and the perceptions of binaries and opposition – ranging from geopolitical conflicts to the tensions between humanity and the natural world in which we live.
Curated by Michael Slenkse, the artworks in All Tomorrow's Parties examine this historical (and art historical) quest to recover, record, release, reflect and revel in the post-traumatic moment—mourning the people, places, and safe spaces that were lost; celebrating those that have yet to be born while auguring in the next bacchanalia—even if, as Lou Reed’s prophetic lyrics suggest:
“Thursday's child is Sunday's clown/For whom none will go mourning.”
Philipp Kremer joins Alake Shilling, Alex Olson, Anthony James, Brian Butler, Ben Wolf-Noam, Jeremy Shockly, Joséphine Wister Faure, Katja Farin, Kelly Lamb, Lydia Beglis, Marnie Weber, Marty Shnapf, Michael John Kelly, Rachel Mason, Scott Benzel, Seffa Klein, Shagha Arianna, Shahla K. Friberg, Simon Haas, Trulee Hall, Una Szeeman, Yassi Mazandi, and others for this group exhibition which asks what excess and existential reckoning will emerge from a post-COVID world?
The Hole features work by Katherina Olschbaur in “Density Betrays Us” a guest-curated exhibition by Andrew Woolbright, Angela Dufresne and Melissa Ragona. Developing out of a 2020 article by Andrew in Whitehot Magazine, “Phantom Bodies,” this theme and many of the artists exhibited began with thinking about the body in the digital age. Seeing artworks that treat the skin like a computer “skin” questions our ideas about corporeality and weight or even gravitas.
Organized by Danny Baez and Danielle Cardusco Schaeffer at restaurant/gallery Unclebrother
Join Laura Almeida, Curatorial Fellow at the Denver Art Museum, for a virtual visit to artist Simphiwe Ndzube's studio.
Take a glimpse into Ndzube's world through the artist’s studio and workspace. Learn about his artworks, practice, and progress. There will also be an opportunity to ask questions about his creative process.
A Biography of Daphne is a curatorial project that revisits the Classical myth of Daphne as the starting point for an investigation of trauma and metamorphosis, symbiosis and entanglement in contemporary art. Daphne, the nymph who turned into a tree to evade the assault of the god Apollo, is a figure in, and of, crisis, but also a symbol of resistance and transformation. In this exhibition Daphne is cast as a dynamic model for the ruptures between the ‘figures’ and ‘grounds’ of today’s visual, social, political and ecological environments. Newly commissioned and existing works by Australian and international artists are assembled to explore the integrity and vulnerability of bodies, their performative or prosthetic extensions, and the alliances they enter – across species or registers of representation – that open identity to the possibility of a radical othering.
WoP will be Avant Arte’s first exhibition in Asia in collaboration with Woaw Gallery. This show allows audience access to original work from a collection of first time and existing collaborators, it also presents an opportunity to cement a longstanding relationship between fellow founders Christian Luiten (Avant Arte) and Kevin Poon (WOAW).
A summer group exhibition celebrating some of the most exciting Women artists working today, organized by curators Henry Relph, William Leung, and Michael Dupouy.
In Soft People (Erotic), Philipp Kremer lays arresting swathes of color that capture us in a space brimming with suggestive topologies. Bodies embrace – some at the point of climax – in moments of emotional and physical transmission, the contents of which are ripe for audience interpretation. Nude, these characters find themselves vulnerable and exposed – thus providing a fertile landscape to unpack and apply our own preconceptions surrounding the private, the taboo and further, the chance to preoccupy ourselves with examining the relations between these figures. Whilst Kremer conscientiously invokes group sex as means of exploring power relations, a sincerely playful resonance emerges as he challenges himself to overcome ones own authorial limitations during the construction of a painting.
This 'Artists Against Anti-Asian Violence Benefit Auction' has been curated by Dominique Fung on Artsy, in collaboration with The Here And There Collective.
In the first US solo museum exhibition for South African contemporary artist Simphiwe Ndzube, Oracles of the Pink Universe presents eight new works exploring the interplay between magical realism and history.
The exhibition integrates themes related to power, conflict, and the search for freedom through a Pink Universe, an imaginative world that combines fantasy with the history of Ndzube’s post-apartheid South Africa. A genre first conceptualized in Latin America, magical realism infuses reality with elements of the fantastical. Oracles of the Pink Universe is an expansion of Ndzube's visual search that explores a mythological place, drawing from his personal experiences, imagination, and art history. He will present exclusive works that depart from Hieronymus Bosch's painting The Garden of Earthly Delights (1490–1500), depicting a theatrical space where heaven, earth and hell intersect. As visitors step into this alternate universe, they will be confronted with artworks that explore themes of conflict, tension, resilience, strength and a fight for human rights.
Oracles of the Pink Universe will include a body of work comprised of vibrant paintings and sculptures, some of which ingeniously transform from two dimensional to three dimensional works of art. Ndzube’s mythical world explores boundaries, whether ontological, political, or geographical, and embraces the coexistence of seemingly irreconcilable realities, spaces and systems that confront the viewer’s perception of what is possible.
Curated by Radu Oreian, Electric Crossroads is a group exhibition of Romanian artists, spanning from crucial figures of the Romanian art history to contemporary emerging artists working across a variety of media. The exhibition is intended as a multigenerational dialogue across time, geographies and art practices to promote fruitful moments of interaction between the presented bodies of work and their cultural histories. At times of lockdown and social isolation, when we find ourselves craving for human interaction and proximity, Electric Crossroads’ goal is to represent a cultural bridge between Romanian art history and the rest of the continent’s as well as a fervid ground to develop an artistic dialogue across media: painting, drawing, installation and sculptural work engage in a curatorial assemblage of histories and cultural influences.
DU-GOOD is an exhibition with printmaker and artist Leslie Diuguid, founder of Du-Good Press, the first and only Black Female-owned Fine Art Printshop in New York City. As a true craftswoman in her field, Diuguid has distinguished herself with the unique ability to work with artists and take their vision to print with remarkable skill and detail. The exhibition aims to pull the curtain back between the viewer and the world of art fabrication by showcasing a comprehensive retrospective of over 70 prints made by Diuguid, with esteemed institutions and artists such as Barry McGee, Hassan Rahim, and Dominique Fung. In conjunction with the opening of the exhibition, Subliminal Projects and Du-Good Press will release a limited series of new prints with artists Shepard Fairey, Emma Kohlmann, Justin Hager, and B. Anele.
Senses of Brown, an online exhibition curated by César García-Alvarez, Founder of The Mistake Room (TMR) and Co-Curator of Desert X 2021 will be on view at The Armory Show's virtual exhibition platform from June 3-13 and will explore debates around the term Latinx through the lens of contemporary artistic practices. Armory Access: Curated expands on The Armory Show’s curatorial programming and provides additional support to galleries through a unique, artist-forward online platform.
Curated by Olaf Holapfel, Philipp Kremer joins Annedore Dietze, Franziska Goes, Hanna Hennenkemper, Olaf Holapfel, Malene List Thomsen, Sarah Loibl, Nik Nowak, Lisa Wilkens, and Ran Zhang in this group exhibition.
The artist Anni Albers states that “if the essence of architecture is to be rigid and permanent, then that of textiles is its antithesis.” Through her creation of a body of work that has transformed the conventional understanding of textile art, transcending the notion of a handicraft reserved exclusively for women, Anni Albers has paved the way for a practice that has since been ceaselessly re-interpreted and has elevated itself to the very pinnacle of the visual arts.
This exhibition hosted by Phillips, pays tribute to this medium by bringing together six artists around the subjects of the thread, weaving, waft and warp. Through the choice of weaving as a common denominator rather than textiles themselves, the exhibition reveals the artists’ constant curiosity and their thirst to explore the repetitive act, recycling, performance and intimacy. This exhibition features six artists, who through their complex and diverse practices accompany us on a journey through a suspended instant in the fabric of art.
Devin B. Johnson
The Rocks Took Ahold of My Soul
Edition of 75 + 5 AP
36 x 36 in
91.4 x 91.4 cm
Archival print on Moab Entrada Rag Natural White 300 gsm
Signed and Numbered on recto
Publisher: Nicodim Editions
Printer: The Lapis Press
$ 2,500.00 USD
Devin B. Johnson’s ‘The Rocks Took Ahold of My Soul’ is rendered from a painting of the same title, completed while he was in residency at Kehinde Wiley’s Black Rock Senegal. He left for Dakar shortly before the pandemic hit the States. What was supposed to be a six-week stay stretched into five months due to safety concerns and travel restrictions. While in Dakar, materials were difficult to come by. In order to create the work, in which a loosely-rendered woman carefully tiptoes the line over the rocks on an oceanfront, Johnson had to scavenge for many of the pigments, and stitch together pieces of canvas to achieve the desired scale. The effort was worth it: the painting and print marks a clear cut landmark in his practice’s evolution away from more delineated figuration toward abstraction.
Worldwide shipping available.
Lineages brings together works from NSU Art Museum’s permanent collection, which have been selected to act in conversation with the current exhibition, Eric N. Mack: Lemme walk across the room. Mack collaborated with Museum curators to cull together works that highlight some of the predecessors and abstract painters who influenced him, including Helen Frankenthaler, LaToya Ruby Frazier, Sam Gilliam, Kenneth Noland, Jules Olitski and Robert Rauschenberg. The exhibition also features contemporary artists whose work shares affinities with Mack’s poetic arrangements and thematic concerns. The works on view broadly range in media: from painting, sculpture, textile, collage and photography, reflecting the intense research and manifold forms of expression that Mack looks to in creating his art. Lineages also celebrates the Museum’s recent acquisitions by South Florida-based artists Jared McGriff and Reginald O’Neal, and Los Angeles-based, South African artist Simphiwe Ndzube.
Springing from the KMA’s own contemporary collection is Undercurrents: Recent Acquisitions of Contemporary Art, a show featuring more than 20 paintings and works on paper. This diverse show runs the gamut from figurative works (Katherine Bernhardt, Richard Jolley, John Kelley, Marin Majic, Daniel Pitin, and Charles E. Williams) to abstractions (Hamlett Dobbins, Michelle Grabner, Howard Hull, Josh Smith, and Jered Sprecher) to sculpture (John Himmelfarb and Creighton Michael) to photography (David Allee and Robert von Sternberg), and even to works that blur the line between representation and abstraction (Nathan Hylden and Antonio Santin).
FIGURATIVE IMPERATIVE: Contemporary European Painting from Collection of Robert Runták.
The exhibition presents many figural forms of the current painting in the European context. It is the main platform associating the presented paintings in the Trnava gallery. At the same time, an overwhelming majority of them derive their theme from photographs. They use the photographic medium and photo snapshots as input data, the first gateway to a reflection about today´s world. However, it is important that artists show this photographic theme on canvas again and subject it to the full-valued painting interpretation and version. Thus, it is confirmed once again that contemporary painting is able to absorb various media influences and also digital images, and at the same time to bring a peculiar story, painting finesse and individual expressive presentation of the theme.
Devin B. Johnson and Nicodim present a survey of new paintings largely informed by Johnson's residency at Kehinde Wiley’s Back Rock Senegal, and his subsequent visual experiences in New York over the last year.
“When I returned from Senegal, I was still reeling from the heat and sun of Dakar.” Said Johnson, “I’d come to learn in the months to come that home was different. Especially being in New York, the city was hit hard by COVID. New York, like my new paintings, is in the midst of both a becoming and an undoing. A becoming of what is to be determined.”
Johnson’s abstract works begin with a well-defined figurative situation, upon which he adds layers of various textural elements and paint, sometimes changing the orientation of the piece. He sees his process as an allegory for the entropy and regeneration of memory, experience, and community identity. As the façades of buildings remain boarded up and out of business, Johnson’s walks and commutes through New York serve as a way to take a close inventory to the surfaces and textures of eroded paint and spray paint skirmishes. In its essence, his work responds to that way time takes its own hold on the landscape around us. The works are a response to a visual language Johnson sees in the natural world.
In Dominique Fung’s solo exhibition at Jeffrey Deitch, It's Not Polite to Stare, a series of sumptuous birdcages hang from the gallery’s ceiling, inviting viewers to peer through and observe their ceramic inhabitants. Inspired by the tradition of taking songbirds for “walks” in parks in Hong Kong, these works stem from the artist’s interest in the act of staring and our shifting perception of subjects and objects. Playing with gravity, perspective, and distortions, Fung’s paintings and sculptures engage with Surrealism—a historical movement that emerged during times of oppression and fascism echoed in today’s polarized political landscape.
Since helping to launch the psychedelic “freak folk” movement in the early aughts, the multifaceted Devendra Banhart has blazed a unique creative path that extends beyond music to encompass songwriting, drawing, painting, poetry and performance alongside collaborators from ANOHNI to Beck. This exclusive performance captures Banhart playing solo at LA’s Nicodim Gallery, surrounded by the works that make up his solo exhibition The Grief I Have Caused You, with a live Q+A to follow.
With this exhibition of new paintings, Adrian Ghenie and Juerg Judin look back on 15 years of collaboration. It began in 2006 with the now legendary group exhibition The Cluj Connection, followed by a solo exhibition within a year—Ghenie’s first appearance on the international scene. Since then, he has become one of the most successful painters of his generation—the first generation to grow up in the new age of the internet. Ghenie’s response to this unprecedented flood of information, images and the technical “anything goes” was (and remains), his focus on the traditional, almost reactionary medium of painting. What distinguishes him from other figurative painters of his peer group is his profound understanding of art history, that never exhausted itself in citation, and an increasingly virtuoso play with different stages of recognizability.
Night Blessings, Katherina Olschbaur's solo exhibition at Union Pacific, Longon is comprised of eight paintings, four of which are single portraits and four motific, larger works that are displayed in dialogue, confronting their respective sentiments and dynamics. Based on Olschbaur's own desire-driven imagination, the works are a culmination of directness, rhythms, and tensions performed as she explores the relationships between painting, figuration, and space. Intensified with carefully chosen evocative colors, they are both a reappropriation of the mythology of female form as well as an escalation of the familiar excitements experienced while creating connections.
Zhou Yilun’s recent exhibition has revealed a new series of work aimed at providing a commentary on new trends and timeless classics. The artist derives inspiration from various mass media sources such as magazines, websites and television. The theme of the intervention Pink is the New Black is indicative of the works occupying the space. The colours have symbolic significance and modern relevance, pink is associated with the desire to pursue the latest trends, while black is representative of timeless classics. With this symbolic combination the artist asserts something that has not been subject to significant change. The exhibition space simultaneously operated as a coffee kiosk, as an extension of the symbolism for two weeks before the opening. Original lifestyle items and artworks are on display and offer a vision of redefined trends and classics.
Ciprian Mureșan continues his journey through art history, jumping bravely from the deconstructive reading of art books filled with reproductions into the urban space filled with monuments. Like a graffiti artist transgressing with easiness genres and media, he transforms the museum space through agglomerations of shapes competing with each other for attention. Ciprian’s universe is a charade of melancholy quotes—from drawing to sculpture, to performance, to installation—and also an attack on the cultural edifice where the phantoms of our beloved artworks are lying in state, beyond morals, but also beyond recognition.
The exhibition can be visited on the ground floor of the museum, in the Marble Hall.
Touch brings together six artists in a conversation about community, family, and place, curated by Augusto Arbizo. Comprised of paintings, photographs, and works on paper, the show features artworks which observe people in domestic settings as well as outdoors, and touches upon the human need for a sense of location and belonging. Works by four contemporary artists – Sam Contis, TM Davy, Alina Perez, and Mosie Romney – are placed in dialogue with portrait works by the late artists Darrell Ellis (1958 – 1992) and Sylvia Sleigh (1916 – 2010).
In A Condom over a Zeppelin, the mock-heroism of figurative gestuality (that echoes to Bad Painting’s macho character) reverberates in the paintings, revealing the sources of the images as different forms of acquaintances: loved-ones are mentioned, songs transcribed in a clumsy and rather old-fashioned way, visual references to other painters are scattered here and there, traces of encounters (be it real of fictional) punctuate the images and painterly inside jokes can be found, as if the anecdotal character of the practice was inescapable. This unavoidability is put to contribution: paintings seem to generate themselves, agents in a continuous digestive process. In those inter-referential dynamics, Michiel Ceulers’s paintings affirm their own dependency to the history embedded in each pictorial gesture.
THIS IS NOT AFRICA – UNLEARN WHAT YOU HAVE LEARNED disrupts a conventional and stereotypical western narrative of Africanness. It includes works that in various ways parody, break through, deconstruct or establish new cognitive parameters and forms of expression.
Shattered Glass gathers a group of 40 international artists of color whose subjects don’t ask, but rather demand to take up space. Subjects whose gaze unflinchingly holds the viewer. Figures literally walk off the canvas, asking for more than a life beyond subjugation. The artwork gathered for this exhibition introduces a new narrative altogether, and intends to shatter the glass of the long existing power structures in the art world.
Through the recycling of astronomical quantities of computer keyboard keys, various nozzles and caps from aerosol cans and soda bottles, or toothbrushes and toothpaste tubes, each of Takadiwa’s sculptures is intended as a sublimating act of resistance against the spread of local and global waste. Although they principally refer to the massive dumping grounds that cripple local industries in Zimbabwe, the sculptures are also evocative of Africa’s more general resilience faced with western liberal economies—and their waste.
Wonderland is a group exhibition featuring artists of the Chinese diaspora. All artists are based in the US. The virtual exhibition’s context is inspired by “Wonderland” —an abandoned amusement park project located in Chenzhuang Village, China.
The year 2020-2021 has been a trying one. The COVID19 pandemic has, of this moment, caused the death of over 2.5 million people and climbing, including over half a million Americans. In the midst of this disaster the US has faced election dissention, turmoil and violence that reached to the very core of our republic, to the Congress of the United States, and it is not over. So, in expanding the exhibition ‘How We Live: Part II’ to include two-dimensional works, we looked to responses from the global art community. What in our archives has had lasting meaning; what still addresses the reality, the paranoia and the fears of today?
“QUEER OUT T/HERE,” a group exhibition curated in collaboration with artist Oscar yi Hou, will “examine the condition of ‘otherness’ across overlapping lines of queerness and/or East Asian identity." QUEER OUT T/HERE will be staged in a hush-hush spot in Soho, on one of the tony nabe’s most cherished blocks, in one of those spaces that you know exist somewhere inside the grid of cast-iron buildings but can’t see from the street. Reach out to firstname.lastname@example.org about an appointment if you want to know more.
Larry Madrigal (b. 1986, Los Angeles) lives and works in Phoenix, Arizona. Madrigal recently completed his MFA at Arizona State University in Tempe. His paintings are a suspension and celebration of the precariousness by which our most mundane daily rituals are balanced on a precipice just above total anarchy. Recent exhibitions include Larry Madrigal: Scattered Daydream, Nicodim Upstairs, Los Angeles (2020, solo); When You Waked Up the Buffalo, Nicodim Gallery, Los Angeles (2020); Painting the Figure Now II, Wausau Museum of Contemporary Art, Wasau, Wisconsin (2019); New Art Arizona, Shemer Art Center and Museum, Phoenix, Arizona (2019); and Body Language: Figuration in Modern and Contemporary Art, curated by Julie Sasse, Tuscon Museum of Art, Tuscon, Arizona (2017).
Olschbaur joins Martin Aagaard Hansen, Koak, Yoan Mudry Oliver Osborne & Isadora Vogt for this group exhibition at Union Pacific London.
Devendra Banhart: The Grief I Have Caused You is featured in Nicodim’s viewing room on GalleryPlatform.LA this week. Nicodim is proud to be one of the over eighty Los Angeles art galleries that have joined together to create an online platform to promote engagement with the local and international art audience.
The Reunion: Georgina Gratrix is the first solo exhibition at a museum of the South African artist’s paintings. Bringing together 27 major artworks, completed between 2011 and 2020, this institutional exhibition draws upon the holdings of the Homestead Collection, based at Norval Foundation, as well as loans from private lenders, curated by Dr. Liese van der Watt.
"I touched the rat, and then I went to my boyfriend’s house to eat lasagne. He had been making it for two days. First, he shaped a mass of ground meat into beautiful little spheres. Then he drowned them in tomato sauce and heated them until the boiling hot sauce, unbearable for the spheres, broke them down into tiny, floating bits."
Founded by Kehinde Wiley, this year's residents include Katherina Olschbaur along with Tyna Adebowale, Abbesi Akhamie, Delali Ayivor, Hilary Balu, Mbali Dhlamini, Abdi Farah, Moses Hamborg, Arinze Ifeakandu, Cristiano Mangovo, Esmaa Mohamoud, Irene Antonia Diane Reece, Curtis Talwst Santiago, Darryl DeAngelo Terrell, and Stephanie J. Woods. This year's committe of judges was made up of Sir David Adjaye, Amoako Boafo, Naomi Campbell, Yagazie Emezi, Christine Kim, Anne Pasternak. Olschbaur is the second Nicodim artist to be selected for Black Rock—Devin B. Johnson was selected last year for the inaugural group.
Mosie Romney and Katherina Olschbaur join Anthony Cudahy, Lily Wong,
The exhibition will include artists who examine the parameters of painting, not only by questioning ideas of content or form, but also through probing the nature of painting in and of itself. The show will function as a hypothesis, a temporary tonic, to the concerns which continue to motivate artists to paint, whether in two or three dimensions. To that end, the presentation will include wall-based works as well as sculptures, so that painting can be imagined as a sensibility and an outlook, as well as a set of technical limits.
Mosie Romney (b. 1994, New York) lives and works in Ridgewood, Queens, New York. A Jamaican-American artist, they received their education from SUNY Purchase, obtaining a Bachelor of Science in Visual Arts in 2016. Romney’s canvases flirt with figuration, abstraction, and collage, fluidly navigating the waters between allegorical surrealism and personal and imagined experience. They have been an artist in residence at the Home School, Hudson in 2018 and at Pocoapoco, Oaxaca City in 2021 (upcoming). Exhibitions include Mosie Romney, Nicodim Gallery, Los Angeles (2021, solo, upcoming); Evening Lark, Y2K Group, New York (2020, solo); PAPA RAGAZZE!, Nicodim Gallery, Los Angeles (2020); Mosie Romney and Juan Guiterrez, Meredith Rosen Gallery, New York (2020); and Materia Prima, Gern en Regalia, New York (2019).
Nicodim is proud to participate in the 25th annual Tom of Finland Art and Culture Festival: Plugged In, presenting an online suite of paintings by German painter Philipp Kremer. Kremer's two-dimensional, figurative orgies and sex scenes emerge from his abstract forests of color, lacking the hierarchies traditionally associated both with their palettes and the configurations of the subjects depicted within. The Festival is set place to take place online the 11th through 13th of December and it will acknowledge Tom of Finland’s 100th birthday this year, act as a fundraiser, and function as a global hub for queer erotic art and culture.
The creation of an imaginary always implies the construction of a visual stratification, of an scenario of action in which the elements interact within each other. Takadiwa's works in this exhibition are inspired by the traditional textiles of Zimbabwe, thus proposing a contradiction of strong impact: creations balanced between the heavy and the regal.
Curated by Tandazani Dhlakama, Assistant Curator at Zeitz MOCAA, in collaboration with Pérez Collection curators, Patricia M. Hanna and Anelys Alvarez, the exhibition addresses themes such as systematic oppression, intergenerational trauma, syncretism, identity and territory, the show aims to inspire visitors to bear “witness” to its complex works and reflect on the challenges carried from one generation to another.
Hugo Wilson's new solo exhibition at Parafin will showcase new large-scale charcoal drawings, bronzes and terracotta sculptures which represent a significant development in Wilson’s practice. Also included is his largest work to date, Tapestry, a five panel charcoal drawing almost 8 metres across.
For his first solo exhibition in Johannesburg, Ndzube presents large-scale magic-realist paintings that engage with indigenous belief systems around witchcraft and the idiosyncracies of otherness. The Fantastic Ride to Gwadana includes a soundscape created by the artist in collaboration with Thabo K Makgolo and Zimbini Makwethu. This experimental work explores acoustic elements evocative of sorcery, witch-hunting and creatures that fly at night.
Philipp Kremer is featured in 'like a luminous animal,' the inaugural exhibition at Solid Art's new space in Taipei. Curated by artist Pei-Hsuan Wang and curator Hung-Fei Wu, the exhibition features works by 7 artists from distinct cultural backgrounds and from several generations. By making room for the sharing of emotional experiences, it suggests that personal 'inner knowledge' can be productive in navigating our external realities, paving way for discussions on body and gender politics as well as subjectivity and connectivity.
This new body of work continues Ghenie’s exploration of abstracting figures, layering shapes, and gestural painting techniques to create complex images intertwined with art historical narratives.
Curated by Brian Alfred, Sound & Color has brought together artists who, in diverse ways, represent sound on the visual plane. The exhibition is an exploration of the ways in which artists grapple with picturing sound and its relationship to images, and how artists can use the element of sound to heighten the dynamics of an image.
Dominique Fung’s (b. 1987, Ottawa, Canada) new series of large-scale paintings for DETOUR at ART021 are the result of the subsequent years of research into her motherland’s cultural history, casting the objects in the Met she once fetishized as an entry point—they grapple with the humorous, the uncanny, and the sublime in their investigations and criticism of cultural authenticity. Produced specifically for the upcoming fair, this series represents the artist’s dark and playful exploration of her own jook-sing-ness; they navigate and reclaim the water of her identity suspended within bamboo.
For the booth, Chinese artist Zhou Yilun (b. 1983, Hangzhou, China) has produced a new table and chair set for Nicodim. Zhou Yilun’s production “brand” R3PM3 rebuilds ordinary and old objects to redefine the boundaries of artisanal and commercial products and art.
Over the past three years, the Prize has become one of the premier student art competitions in the U.S. and is open to figurative paintings, drawings and prints created by undergraduate and graduate art students. Exhibition Jurors included curators from esteemed art institutions and museums such as Crystal Bridges, the Brooklyn Museum, the Metropolitan Museum of Art, and the Noguchi Museum.
Zhou Yilun's paintings continue his usual comical and absurd style, and bizarre images lead the audience into his secretive narrative. The nine paintings on exhibition are spaced apart from each other, forming a ring around Zhou Yulun's pillar-shaped Brancusi influenced sculpture. The ring elements appearing in almost every painting interact with the infinitely rising pillars in the sculptures, which forms an energetic ritual "superstition" field. Through the parody and deconstruction of images on the semantic level, the exhibition investigates and criticizes modernist paintings under the global commercialization model, hoping that viewers will be blessed by the artist's own "superstition."
Eleven short seconds, that is the average length of time that museum visitors spend in front of a work of art.
With its exhibition Otherworlds: Painting Today, the Museum Villa Rot would like to counter this form of fast-moving contemplation of art. At the centre of the exhibition are therefore paintings that transport visitors into other, fantastic worlds of imagery and leave room for discoveries and associations.
Adrian Ghenie, the artist's newest solo show with Tim Van Laere in Antwerp features nine new paintings and three new charcoal drawings. By exploring different historical and artistic narratives and at the same time undermining them in his work, Ghenie brings feelings of vulnerability, frustration or longing to the fore and challenges our collective memory to reflect also on the human aspect behind these stories.
After the fall of communism, Lenin’s statue was torn down from its pedestal in Free Press Square in Bucharest. Rumours had it that the bronze in the statue was itself reused from a monument of King Ferdinand of Romania, in its turn destroyed and melted by communists. Mureșan proposes how absurd is it to exhibit Lenin’s statue in public today? In this exhibition, Mureșan has modelled in clay, as classically as possible, a small copy of Boris Caragea’s Lenin in Bucharest, based on reproductions of the destroyed statue. Through the casting process, small negative moulds have resulted, sized 10 to 20 cm. Again, through the modelling process by hand he enlarged 1:6 times scale. The result of the combined final pieces is intended to produce a monumental Lenin sculpture, close in its size to the original, through a formalist, abstract process. By copying the curves and volumes of the moulds, the transition from positive to negative results in a double deformation, both by reproduction as well as by oversizing. A parallel with history is therefore created – when a good idea is amplified in a distorted way, it becomes an absurd monstrosity.
The exhibition Friends and Friends of Friends highlights the potential of a globally connected world through the example of a community of young artists, who advance artistic and social debates both online and offline. While social media are used by reactionaries to weaken democracy, young artists use platforms like Instagram to make the art world more democratic.
Curator Ali Subotnick's fourth chapter, Broken Face, of her GalleryPlatform.LA exclusive curatorial series titled ABOUT FACE, examines portraiture and the complication of facial representation as framed by the current moment. This week, the focus is on faces that are distorted, incongruent, and misshapen. Since the advent of Cubism we’ve seen artists jumble around eyes, ears, noses, and mouths and each of the works here builds on that tradition through these artists’ varied but simpatico approaches. Broken Face kicks off with the iconic and influential face jumbler extraordinaire, George Condo, alongside Meg Cranston, Aaron Fowler, Georgina Gratix, Forrest Kirk, and David Shrobe.
Simphiwe Ndzube's new drawings were created at the artist’s improvised home-studio in Los Angeles, in response to and in light of the restrictions created by the pandemic. Combining acrylics, spray paint, graphite, and oil pastel, New Works on Paper extends the mixed-media approach characteristic of Ndzube’s practice, while marking a new allegorical chapter in his imaginative universe, Echoes of the First Stories.
Anne Ferrer, Sébastien Gouju, Anna Byskov & Yvan Étienne, Suzanne Husky, Léonore Boulanger, Ksenia Markelova and Hortensia Mi Kafchin have been invited to produce works in the woods around Le Cyclop. Anne Ferrer’s joyful monsters nest in the trees, Sébastien Gouju has installed weird plants guarded by imposing arachnids on the ground, and the films of Suzanne Husky and Hortensia Mi Kafchin, as well as the animations of Ksenia Markelova, shown in the shipping container turned projection room, complete this bestiary.
In Good Pictures, Austin Lee has brought together artists with whom he has a personal history, some of which he considers part of his artist community. As Lee reveals, “They are artists who have influenced what my idea of painting is. Some through years of discussion, some from only seeing the work online.”
Organized and facilitated by Taymour Grahne and Noura Al-Maashouq, “Artists for Lebanon” is an emergency benefit auction to support the Lebanese Red Cross in its ongoing efforts to respond to the catastrophe now and in the years to come. It features the works of over 40 of the world’s most exciting and sought after international artists, all inspired by the unity and resilience of the Lebanese people.
In the European tradition, still life was the lowest rung of the hierarchy of painting genres. Despite this, inanimate objects constituted a rich library of allegorical symbols, a fertile ground for artists to deal with universal topics such as the passage of time, the fragility of life and the inevitability of death. This exhibition considers the continued strategy of using domestic symbolism to address complex subject matters. In Dominique Fung’s work, objects perform in lieu of bodies to address Western fetishization and mythologizing of Asia – particularly of Asian femininity.
Isabelle Albuquerque: Sextet is featured in Nicodim’s viewing room on GalleryPlatform.LA this week. Nicodim is proud to be one of the 81 Los Angeles art galleries that have joined together to create an online platform to promote engagement with the local and international art audience.
Curator Ali Subotnick's second chapter, Blurred Vision, of her GalleryPlatform.LA exclusive curatorial series titled ABOUT FACE, examines portraiture and the complication of facial representation as framed by the current moment. With works by Dan Finsel, Llyn Foulkes, Tomoo Gokita, Todd Gray, Devin Johnson, Becky Kolsrud, and Cosmo Whyte.
A Peripheral Reverie is a group exhibition of twenty-two artists portraying moments, locations, figures, or artist’s themselves to grasp at windows to spirituality, joy, humor, and reflection. The exhibition seeks to offer a time and place for a moment of reprieve and release amidst the important and radical times we are all currently living in.
Artsy x Los Angeles Contemporary Exhibitions presents Los Angeles Contemporary Exhibitions: Live Benefit Auction 2020, as LACE enters its fifth decade as the longest-running incubator for contemporary artists and curators in Los Angeles. Contributions to LACE provide essential support for exhibitions that break boundaries, advance experimentation, and give voice to otherwise under-recognized voices in art.
Keeping the Balance is a temporary exhibition presenting about sixty works from the Art Collection Telekom. Most of the works are by artists of Eastern European roots. How can we find and keep the balance in a complex, contradictory and often conflict-laden reality? The question in the focus of the exhibition at once implies hope and formulates a statement that artistic discourse and confrontation can provoke thoughts and convey experiences which are specifically helpful in finding this balance. To keep the balance, it is important to distinguish contradictions in urging issues, truth from lies, important things from insignificant ones to make smart and well-founded decisions. Art can and does make this possible.
‘If you would die today and reincarnate one generation later, in what world would you want to be born, regardless of where or who you are?’ This is the question posed to the artists of ‘A Fair Share of Utopia’ and inspired them to create new works for Nest and CBK Zuidoost.
Recent Acquisitions by the Homestead Collection brings together a series of artworks that speak to the evolving identity of the Homestead Collection, a major resource housed at Norval Foundation. These artworks are from the twentieth and twenty-first centuries and have been created by artists from across Africa. The exhibition is broadly made up of four thematic groups as a means to understand the varied nature of the artistic languages represented. The first group of works uses the animal as a means to reflect on human fear and its transcendence. In Georgina Gratrix’s Guard Dog, the humour of the ‘fearsome pup’ belies a darker existential threat—or it may be an antidote to it.
In the fifth installment of Parafin's summer program, the gallery brings together Alison Watt and Hugo Wilson. Both artists look to the art of the past for inspiration, but to very different ends.
Join live on Thursday, August 13th, 2020 from 11:00 a.m. to 12:00 p.m. (EDT) as Arty's Chief Marketing Officer, Everette Taylor, will be moderating a conversation between Founding director of Prizm Art Fair Mikhaile Solomon, Richard Beavers of Richard Beavers Gallery, artist Devin B. Johnson, Myrtis Bedolla of Galerie Myrtis, and Meisha Johnson of Neema Fine Art Gallery, on the black experience in the art world.
After re-interpreting the peripheral universe of the UNArte workshops in his 'Material-Scapes' show, artist Petru Lucaci enters the role of curator of his students, inviting them to present works within the MNAC Bucharest exhibition. Lucaci's first guest, Razvan Boar, "one of the most present Romanian contemporary artists of the young generation" presents work within this experimental context.
Curated by Holly Baxter, PODIUM features 20 artworks by 15 highly-regarded, international Black artists. The exhibition contains painting, sculpture, photography, mixed media, and video-based work.
Isabelle Albuquerque is a Los Angeles-based sculptor and performer. She was a founding member of the music and performance duo Hecuba, and is a co-director of Osk, a collaborative studio that develops artificial and alien intelligence to create and look at art and individual experience through new human and nonhuman perspectives.
Orgy for 10 People in One Body, Albuquerque's current sculptural journey, involves casting and 3D scanning her own body to create ten headless, human-scaled figures, each composed of a different solitary material. With the series, she unpacks deeply personal and poetic moments from her life and sets them against history, myth, and wider contemporary socio-political movements. The work explores emergent systems of intrapersonal communion from outside the body, invoking collective identity, transhumanism, simultaneous emotional states, plurality, love, loss of self, relocation of memory, pleasure, and intimacy.
Sextet, Albuquerque’s first solo exhibition with Nicodim, opens in September with six sculptures from Orgy for 10 People in One Body.
Nicodim Gallery is proud to announce the acquition of Simphiwe Ndzube's Bhekizwe, The Alligator Rider (2020) by the Los Angeles County Museum of Art through the museum's Art Here and Now: Studio Forum program.
We Used to Gather presents a multitude of figurative works - all stylistically and conceptually varied - brought together symbolically through the physical presence of their works on the walls at Library Street Collective, featuring works by Nina Chanel Abney, Marcus Brutus, Canyon Castator, Ryan Travis Christian, Timothy Curtis, Maja Djordjevic, Conrad Egyir, Shepard Fairey, Amir H. Fallah, Travis Fish, Jammie Holmes, Todd James, David Leggett, Tomokazu Matsuyama, Gisela McDaniel, Rebecca Morgan, Katherina Olschbaur, Pedro Pedro, Anja Salonen, Tylonn J. Sawyer, Willie Wayne Smith, Jess Valice, Paul Verdell, Natalie Wadlington, Allison Zuckerman, and Tyrrell Winston.
The ARTNOIR From: Friends To: Friends Benefit Auction is an online fundraiser that will provide seed funding for their newly launched ARTNOIR Jar of Love Fund. The ARTNOIR Jar of Love Fund is a microgrant initiative intended to provide relief for artists, curators, and cultural workers of color. The funds from the auction will enable ARTNOIR to expand their aid and support to a wider group of recipients for the microgrant. Moreover, the proceeds raised from this auction will help empower, and fuel the lives of these grantees who are essential contributors to our creative ecosystem.
Simphiwe Ndzube joins Sara Birns, Marcus Brutus, Esiri Erheriene, Bianca Nemelc, and Emilio Villalba for a group show at this London gallery.
Animal Kingdom explores how animals can function within contemporary art. It puts in conversation a seemingly disparate group of artists spanning a multiplicity of geographic locations, traditions, and conceptual commitments, united by a fascination with animals as an iconographic feature, formal motif, or even medium. Dominique Fung's animal figures act as “witnesses” to confront white supremacist and Eurocentric fetishized views of East Asian culture. Fung has claimed that her animals aid in questioning her audience: “How are East Asian objects viewed? How is an East Asian person viewed in art history? What happens when there is very little to no representation in stories and media of the yellow person?”
In 'Recyclage/Surcyclage' Villa Datris Foundation explores recycling in all its forms in contemporary sculpture, highlighting humanity's evolving relationship to objects. Moffat Takadiwa is one of 89 international artists to be exhibited in this massive exhibition in L'Isle-sur-la-Sorgue. At a time when sustainable development has become a global priority, contemporary artists are seizing with particular acuity these fundamental questions. They also find in the detritus of modern life a rich source of inspiration to recreate a new world.
What's Up / Twenty Twenty is an exhibition and art sale for our time, one that challenges the physical exhibition space as we know it and releases viewers from the confines of one gallery in one location. Visitors and buyers alike are invited to journey through unique geographical regions, viewing important pieces of sought after works from the 1960's right through to the present day. This exhibition embraces the digitalization of the art world and celebrates the narratives that define modern humanity as the vibrant and fervent force that it is today.
Basel By Berlin is the analog counterpart to Art Basel's Digital Online Viewing Room and it is an initiative of Berlin galleries that stems from the desire to create a context in which the physical experience of art is maintained as a social space. On this occasion, Galeria Plan B will exhibit a selection of works by six artists from its program.
Philipp Kremer's works are controversial in their form and content and raise questions about perception of proximity and distance, adaptation and dissonance.
Curated by Koen Delaere, the exhibition is loosely based on Marshall McLuhan's notion of ‘juxtaposition without copula’. Presented both by Project Space On The Inside and Gerhard Hofland, the show will inaugurate their new exhibition space, featuring works by Erin Lawlor, Henning Strassburger, Arthur Löwen, Janine van Oene, Max Frintrop, Philipp Kremer, Piet Dieleman, Thomas Swinkels and Koen Delaere, among others.
“I tried to create the genesis of a cosmology" in the unexplored lands and wild seas that I call "the Moon of the Mine. It emerges from the tradition of magic realism and extends in directions currently unknown."
Born from a collective desire to support the South African Solidarity Fund, A Show of Solidarity presents new works available to support the South Africa's most vulnerable. With the generous support of the artists, SMAC Gallery stand by the government’s formalised process of capital allocation, structured through the Solidarity Fund, and commits to donating 50% of sales on each exhibited piece.
On the Ground explores the paths taken by different artists with and for nature. In line with this theme, the expression “on the ground” refers to a state of common sense, of physical contact with the natural environment, a process of silent listening, observation and minimal action.
Unlike a conventional exhibition, this solo show features Zhou Yilun as a supplier of furniture products, which he has selected to present within this six by eight square meter space in a demonstration of his reflections on the functionality of art and his use of cutting-edge technical materials. This also marks artist Zhou Yilun’s latest launch for his independent design brand R3PM3. R3PM3 was founded by artist Zhou Yilun in 2012 and offers such design products as clothing and furniture.
Sixty Los Angeles galleries from across the commercial spectrum are launching a joint online initiative called GalleryPlatform.LA, proving that crises can breed community and innovation.
Starting May 15, GalleryPlatform.LA will feature online viewing rooms for 12 member galleries each week, all hosted on a communally owned and operated digital infrastructure. The rotating program ensures that each dealer will return to the spotlight every six weeks. A diverse makeup of participants also guarantees that visitors will see smaller, more experimental spaces on equal footing with some of the art market’s blue-chip sales champions.
The most recent works by British artist Hugo Wilson playfully make use of three media: Wilson’s stylistic and thematic stringency extends across 17 oil paintings, large-format charcoal drawings, and sculptures in bronze and ceramics.
Jorge Peris constructs an unusual inhabited place with an installation that plays with the exhibition area, with its diagonals and columns and its staircase. He materialises his imagery, constructing it with characters that are revealed as visitors make their way through the exhibition and that take on various forms, overlapping times and places in a single dimension.
Using a wide range of techniques such as painting, graffiti, the use of recycled packaging or discarded everyday materials, Zhou Yilun creates complex paintings and objects/sculptures which prompt the beholder to reflect on the values and claims to validity of our modern, globalised society. A new work group is on show, consisting of large-format paintings in acrylic and spray paint on canvas.
MAMOTH's inaugural group show presents recent paintings by Anthony Cudahy, Dominique Fung, Alessandro Fogo, Jenna Gribbon and Stanislava Kovalcikova. The title is borrowed from the postmodernist novel by Italo Calvino – where interspersed, shifting voices leave the reader questioning the notion of reading as an activity, and gives the eerie feeling of being watched as you read.
Iconic Works tells the story of the signature works: what they were, where they emerged and why and how they have influenced the contemporary art scene, featuring works by artists such as Marina Abramović, Jake and Dinos Chapman, Nancy Fouts, Mark Karasick, Sara Masüger, Kiki Smith, Yinka Shonibare, and Hugo Wilson as well as a selection from Nationalmusum’s vast collections of paintings, plaster casts, drawings and applied arts.
Traditions of art history, narratives passed down the centuries, and progressive social demands confluence in Kafchin’s idiosyncratic repertoire of motifs to take history painting in a new direction: Kafchin’s works are the foundations of Queer History Painting.
Come meet us in Room 117, right next to the Hockney Pool, rain or shine!
Direct inquiries to email@example.com
The Street & The Shop, an LA-based artist-run pop-up, will present ‘The Four Stages of (Art) Love‘ at Frieze Los Angeles.
The selected Angeleno artists in this multimedia presentation—Seth Bogart, Theodore Boyer, Andrea Marie Breiling, Robert Gunderman, Simon Haas, Zoe Hawk, February James, Kelly Lamb, Stephen Neidich, Katherina Olschbaur, Ariana Papademetropoulos, Carolyn Pennypacker Riggs, Jackie Rines, Ry Rocklen, Ammon Rost, Jeremy Shockley and Austyn Weiner—will explore Infatuation, Coupling, Disillusionment, and Lasting Love as it relates to their respective practices in painting, kinetic sculpture, drawing, ceramics, bronze casting, and soft works.
'Mysticism is just tomorrow's science dreamed today. We're thinking about esoteric energy phenomena in a scientific way. Using an anthropology of patterns we reveal mutations and anomalies that embody cultural conditions – structires that inhibit how we communicate: language itself. This study is here to tease out these occult systems, divine intuitions and spiritual cosmologies that we know are there but they're elusive and we need these prisms to see them through. I'm here to show you where all that energy is coming from and how to set it free.'
Opening Tuesday Feb. 11, 5-8pm
676 N Spring Street, 90012
Hours: Tuesday – Saturday, 11am-6pm
The Rema Hort Mann Foundation provides support for cancer patients and emerging artists through its bi-coastal grant programs. Proceeds from this auction, featuring works by Katherina Olscbaur, Zhou Yilun, April Street, Chris Hood, Katherine Bernhardt, Sojourner Truth Parsons, Farley Aguilar, and more, will benefit the Quality of Life Cancer Grant, Emerging Artist Grant, and Artist Community Engagement Grant.
"Well, you know how I adjusted to that problem of the radio in the environment - very much as the primitive people adjusted to the animals which frightened them, and which probably as you say, were intrusions, they drew pictures of them on their caves. And so I simply made a piece using radios. Now, whenever I hear radios, even a single one, not just twelve at a time...I think, well, they're just playing my piece!" - John Cage
Yves KLEIN - SYMPHONIE MONOTON - SILENCE (1947-1961)
John CAGE - SPEECH (1955)
Free concert; no tickets necessary.
The UC Berkeley Department of Art Practice kicks off it's Wiesenfeld Visiting Lecture Series with a visit from Simphiwe Ndzube. He will discuss his interdisciplinary artwork's influence of adaptive strategies through the usage of briocolage and magical realism as major epistemologies for postcolonial communies, in order to create subversive stratagems for survival and renewal. This event is free and open to the public. Doors open at 6pm.
Katherina Olschbaur gives a lecture presentation on her exhibition Dirty Elements, currently on view in the CAC Gallery. Lectures are free and open to the public. Doors open at 6pm.
Although traces of matriarchal order in Western thought typically appear as a mythological apparition, Olschbaur paints a narrative that subverts our expectations under the normative language of patriarchy. For Olschbaur, art historical tropes are appropriated and used like garments, worn then cast aside in a process that is ever changing and moving within each work. In this way, Dirty Elements investigates the power dynamics of patriarchal order and its violent denial of female sexuality.
Jeffrey Deitch and Gagosian are pleased to announce The Extreme Present, the fifth in a series of annual exhibitions at the Moore Building in the Miami Design District during Art Basel in Miami Beach, presented by Larry Gagosian and Jeffrey Deitch.
As a nominee of the Kardinal König Prize, Katherina Olschbaur joins fellow nominees to exhibit their works at the Kunstraum St. Virgil Salzburg, Austria.
Curated by Adrian Notz, Ciprian Muresan's work is on view in Fin del Futuro, an exhibition intending to open up perspectives and imaginations into a new now. End of Future shows different approaches by artists that deal with art-historical references, transhistorical works in abstraction, contemporary postapocalyptic situations of war and lost hopes, escapist dreams, surveillance, human and environmental catastrophes, spiritual and religious narrations and icons, playful compositions and interpretations of reality, alternative myths, personal universes of obsession, psychographies and soundscapes opening vast fields of imagination, the creation of new creatures and megalomaniac totalitarian utopias that change our understanding of politics and society.
Rumanian painter Adrian Ghenie (b. 1977) has drawn considerable attention in the art world in recent years, such that he can be said, without exaggeration, to be one of the most successful of all young European artists. Ghenie’s work is characterised by a very particular sense of colour, dictated by his incredible sensitivity to the art of the past. His search for a new painting technique is tied up with study of form and experiments with texture. Ghenie’s images, melting in the blurred, distorted pictorial space, take on an incredible expressive quality. Twelve canvases have been created specially for this exhibition, the artist engaging in a dialogue with the Hermitage collection in his own unique painterly manner, that harks back to his own perceptions of art in his childhood.
Katherina Olschbaur and Robert Yarber join more than 50 emerging and established LA artists in the exhibition, L.A. On Fire, curated by Michael Slenske. Throughout modern history, westerners have been drawn to fire as a result of failing to learn, as UCLA professor Daniel M. T. Fessler argues in “A Burning Desire: Steps Toward an Evolutionary Psychology of Fire Learning” (Journal of Cognition and Culture), how to properly play with and control this seductive force of nature. Rather than aiding the ecological expression of fire’s natural trajectory we seek to suppress it under our capitalist domain. The same psychology may be guiding our compulsion to reside in such inhospitable climes: LA being a prime Stateside example with its megafires, fault lines, drought, pollution, population density, and homeless epidemic. Still, new Angelenos come to bear witness each year, and each year the fires get worse. But literal flames—to say nothing of the broader perils of climate change—are only one example of “fires” perennially burning in LA.
Underpinning Fung’s new body of work are inquiries into identity and existence. What is a person? What is a thing? These questions examine the subject-object relationship, where a subject is characterised as an observer and an object as a thing observed. Each painting is an individual negotiation into the fluctuating tensions between depth and surface, interiority and exteriority, utility and decoration, and femininity and masculinity. Formative objects look out from the canvas and dare the viewer.
Nicodim Gallery is thrilled to announce its publication of the limited-edition zine Sensations for Which the Germans Probably Have Words: Volume 69, to be released this weekend at the Acid-Free Art Book Fair.
Most people are aware of the fact that Germany is a country with its own language. The German language is notorious for its long words to describe incredibly specific, yet complex feelings and sensations. (We’re pretty sure “schadenfreude” is one of these, but we wouldn’t know for sure; we don’t speak German.) Sensations for Which the Germans Probably Have Words: Volume 69, is the first published volume of an unabridged encyclopedia of every one of these complicated, dense emotions for which there is likely a denser, many-lettered, free-standing word in German.
The zine features original illustrations and descriptions of sensations for which the Germans probably have words by Isabelle Albuquerque, Maia Céleste Donnelly, Devin B. Johnson, Simphiwe Ndzube, Katherina Olschbaur, Galen Pehrson, Sissòn, and Phumelele Tshabalala.
The zine (edition of 50) will be available for sale at the Nicodim booth along with the original drawings for the volume. Concept and design by Ben Lee Ritchie Handler.
Mureşan’s versatile visual language is embodied in a method of reproduction and reference. For this exhibition, the artist has made a scale model of S.M.A.K. for the presentation of a series of so-called ‘palimpsest drawings’, which he has based on images from the museum’s new collection catalogue. In a layered way, he reduces all the artworks in the collection to a post-figurative state: a destructive and at the same time creative act that underscores the absurdity of also depicting this history as a linear story. The exhibition takes this new installation as a starting point for further exploration of Mureşan’s subjective approach to time, memory and the processes of historicization.
Empathy: Beneath the Surface features works by Hung Liu, John Nava, Simphie Ndzube, Ami Vitale, Marisa Caichiolo, and Marjorie Salvaterra in a group exhibition centered around the common threads that connect us all – loss, resilience, and hope. Motivated to recall Thousand Oaks community’s strength, compassion and connection during the Twin Tragedies of November 2018, six highly diverse and distinguished contemporary artists have come to support the museum’s mission ‘to elevate the human spirit through the palette of Art. Through six distinct gallery spaces covering 5,000 sq feet, visitors will view paintings, sculpture, virtual reality, mix-media installation, photography and tapestries.
Daniel Pitin's Waiting (2010) has been added to the collection of the Knoxville Museum of Art, Tennessee, a gift from the collection of Stephen Hanson. The work is currently on view in the museum's public gallery showcasing the institution's collection of contemporary artwork.
Textile art has long been used for practical, ornate and expressive means – a cultural vessel for storytelling in the absence of written word. Fiber artists working with the medium continue to push boundaries, redefining the dialogue between traditional and contemporary methods of woven narration. The selection of works ranging in modern and contemporary style, exhibit a complex, undulating display of thread’s ability to tell stories and evoke woven symbolism. Thread. showcases a culmination of work by some of today’s leading fiber artists: Terri Friedman, Miyoshi Barosh, Hannah Epstein, Diedrick Brackens, Tanya Aguiniga, Ardeshir Tabrizi, Channing Hansen, Moffat Takadiwa, Jeffrey Gibson, Luis Flores, Christina Forrer, Tschabalala Self, Ebony G. Patterson, and Chiachio & Giannone, alongside a selection from the Museum’s permanent collection.
Nicodim Gallery is proud to be a sponsoring gallery of the 2019 ADL ArtWorks Benefit Auction, with works by Katherina Olschbaur and Simphiwe Ndzube becoming biddable on the Paddle8 auction website on September 12, 2019. Founded in 1913 in response to an escalating climate of anti-Semitism and bigotry, ADL is a leading anti-hate organization whose mission is to protect the Jewish people and to secure justice and fair treatment for all. ADL is a global leader in exposing extremism and delivering anti-bias education, and is a leading organization in training law enforcement. All proceeds from the event and auction will benefit ADL programs and initiatives.
Buy your ticket and RSVP by September 19, 2019.
Curated by Petr Nedoma, Daniel Pitín's solo exhibition at Galerie Rudolfinum, Prague A Paper Tower showcases the vague melancholy of the tangle of theatrical scenes, suspense-building film techniques, labyrinths of laminated reality of parallel worlds, hints of destroyed lost-in-space architecture, strangely-acting characters in the void of the wreckage which all make up the artist’s many-layered and disturbing world of images. The exhibition will include a cross-section of his paintings with an emphasis on newer works, as well as several films that accentuate some aspects of his painting style and, at the same time, reveal to the viewer an insight into the sources of his inspiration.
The Atmosphere of Certain Uncertainty is Johnson’s first solo showing after completing his Masters Degree of Fine Art at Pratt Institute in May 2019. The work presented in the exhibition was created in response to Franz Fannon’s 1958 novel Black Skin White Masks, in which Fannon attempts to break down and conceptualize the contemporary black male psyche. Johnson metaphorically reinterprets the “white mask” as white socks that serves as a reminder of that assimilation we walk into everyday just as much as the mask, as implied by Fannon. 'In the series “White Nike Socks on Black Skin”, I simply wanted to attach these concepts and ideas to a classic LA convention such as slides and socks. The bodies present in the work are always a non-violent body, a body that just wants to simply be,' said Johnson.
Nicodim Gallery and Tin Flats are proud to present an exhibition of unique, 30 x 22 inch film posters by our artists and friends this weekend at Women Under the Influence Goes Idyllwild, a festival celebrating groundbreaking cinema, directed by women, for everyone. Each poster is $100 (plus shipping), and all proceeds go to the Los Angeles Community Action Network. Unique posters by Isabelle Albuquerque, Shagha Ariannia, Paige Emery, Dominique Fung, Shelley Holcomb, Katherina Olschbaur, Lydia Maria Pfeffer, Akiko Stehrenberger, and Sarah E Wilson.
La Fondazione Nicola Del Roscio opens this week in Rome, in Via Francesco Crispi just below Gagosian. The inaugural exhibition, curated by Pier Paolo Pancotto, features Serban Savu, Adrian Ghenie, Ciprian Muresan, and Geta Bratescu. The Foundation's future program, despite its heterogeneity, intends to pay tribute to the memory and work of Cy Twombly.
Simphiwe Ndzube’s hybrid sculptures and pictures interrogate post-colonialism and the history of apartheid. Stretching out in space, their dreamlike political landscapes investigate the origins of a cosmos located between unexplored lands and unnavigable seas, with magic realism a constant influence. For the Biennale, the artist stages a procession with two groups of contrasting sculptures: spiritual people and gravediggers, caught between the fight against exploitation and the urge for change; their clothes are given special attention. The artist continues to tap the themes that haunt his work, while also making connections with the 1786 silk-worker uprising and a much larger one, “la révolte des canuts”, in 1831, which are both landmarks in Lyon’s political and social history.
Hugo Wilson (b. 1982, London, United Kingdom) lives and works in London. His artworks have been exhibited in group shows at the MODEM Centre for Modern and Contemporary Arts in Debrecen, Busan Metropolitan Art Museum, the National Portrait Gallery, and the Courtauld Institute of Art in London, and are also included in key international collections, such as that of the New York Public Library, the Deutsche Bank Collection in the United Kingdom, and the Janet de Botton Collection in London. Wilson's first solo show in the United States, Ideal Hauntology (2011) at Mihai Nicodim Gallery recieved an ArtForum Critic's Pick. Recent exhibitions also include Hugo Wilson (2018, solo), Nicodim Gallery, Los Angeles; Frieze Sculpture Park (2018), London, United Kingdom; Bioperversity, Nicodim Gallery, Los Angeles (2018); and The Hierophant (2017), Galeria Nicodim, Bucharest. His work is included in Skin Stealers, the forthcoming exhibition at Nicodim Gallery, Los Angeles.
Devin B. Johnson (b. 1992, Los Angeles, California) lives and works in Los Angeles, CA. He obtained his BA in Fine Arts from the California State University of Channel Islands (2015) and received a Masters of Fine Arts at Pratt institute (2019). Johnson is one of sixteen artists from around the world selected for the inaugural year of the Black Rock Senegal residency program in March 2020, and he is featured in the Northeast and MFA issue of New American Paintings (2019). His work was included in the Trans World exhibitions at Galeria Nicodim, Bucharest, and Nicodim Gallery, Los Angeles, and will be exhibited in the forthcoming group exhibition Skin Stealers at Nicodim Gallery, Los Angeles in addition to a solo exhibition in the spring of 2020.
Jorge Peris (b. 1969, Alzira, Valencia) lives and works in El Palmar, Valencia, Spain. Peris’ most recent solo exhibitions include: Musée du château des ducs de Wurtemberg, France (2012); the Centro de Arte Contamporaneo, Spain (2011); and Macro, Rome (2010). The artist has also participated in exhibitions at CA2M, Madrid (2011); the Fondazione Giuliani per l’Arte Contemporanea, Rome (2010); the Fondazione Sandretto Re Rebaudengo, Turin (2008) and the Museo de Arte Contemporanea de Vigo, Spain (2007), as well as Our Lady of the Flowers (2018) and The Hierophant (2017) at Galeria Nicodim, Bucharest. Peris' first solo exhibition with the gallery will open summer of 2020 in Los Angeles.
Dominique Fung (b. 1987, Ottawa, Canada) lives and works in Brooklyn, New York. She received a BAA from Sheridan College Institute of Technology in Toronto, Canada. Fung’s paintings have been exhibited in Virginia Museum of Modern Art, Smithsonian National Air and Space Museum, Nicodim Gallery, Patel Gallery, and Klaus Von Nichtssagend Gallery. Fung was featured in the Trans World exhibitions at Galeria Nicodim, Bucharest, and Nicodim Gallery, Los Angeles. Her work will included in the forthcoming group exhibition Skin Stealers at Nicodim Gallery, Los Angeles, with a solo exhibition in May 2020.
The new 10,000 square-foot gallery is on the ground floor of the industrial building at 1700 S. Santa Fe Avenue in Unit #160, alongside Susanne Vielmetter’s newest space.
Please join us in celebrating our move with the opening of Moffat Takadiwa’s first stateside solo exhibition on Saturday, September 7th, on view through October 19th. It will be followed by solo and group exhibitions that include new works by Dominique Fung, Devin B. Johnson, Philipp Kremer, Simphiwe Ndzube, and Jorge Peris.
TRANS WORLD, Nicodim's final exhibition at the current space on South Anderson Street, is on view through Saturday, August 10th.
Stormy Weather: Climate Change & Social Justice, a group exhibition at the Museum Arnhem, Netherlands, features works from international artists who are reflecting on current climate issues in relation to power inequality in the world, now and in the past. The artworks shown deal with many urgent issues such as rising sea levels, plastic pollution, depletion of raw materials and the rapidly increasing number and seriousness of natural disasters. The thirteen artists in the exhibition, including Moffat Takadiwa, Brook Andrew, Ursula Biemann, Serge Attukwei Clottey, and Maarten Vanden Eynde, link these phenomena and developments to global political and socio-economic systems, from the colonial era to the current capitalist world economy, which maintains global systems of inequality in power and prosperity.
Wear your best pajamas and bring something comfortable on which to sit for tarot readings by Lisa Anne Auerbach and a screening of Marie Losier’s iconic 2011 documentary "The Ballad of Genesis and Lady Jaye," an account of the Pandrogeny Project, in which artists Genesis P-Orridge and Lady Jaye united as a "pandrogyne," or single entity, through the transmutation of the cosmos and surgical body modification.
This event is held in conjunction with TRANS WORLD, a multiversal exhibition curated by Ben Lee Ritchie Handler with nomadic interiors for the universally ambiguous by Jorge Luis Cruzata.
‘Second Hand’ brings together works from the Art Jameel Collection that explore materiality in contemporary art practice. Focusing on different modes of expression through sculpture, installation, assemblage, drawing, photography, painting and performance, the artworks challenge the way we perceive material and our understanding of what the material represents. The presentation is the first exhibition drawn from the Art Jameel Collection, Dubai, featuring works by 18 artists and collectives: Adel Abdessemed, Haig Aivazian, Abbas Akhavan, Diana Al-Hadid, Doa Aly, Fayçal Baghriche, Walead Beshty, Vikram Divecha, Jason Dodge, Zahrah Al-Ghamdi, Bita Ghezelayagh, Mohammed Kazem, Azade Köker, Cinthia Marcelle, Keita Miyazaki, Slavs and Tatars, Moffat Takadiwa and Mario García Torres.
Curated by London-based Norwegian gallerist Kristin Hjellegjerde, KUBATANA: An Exhibition with Contemporary African Artists is the result of nearly two years of research, and brings together the works of 33 artists from 18 of Africa’s 54 countries across all four floors of the museum – one of the most expansive exhibitions of African art in Scandinavia to date.
Project Angel Food prepares and delivers healthy meals to feed people impacted by serious illness, bringing comfort and hope every day. Their 2019 benefit auction features artwork donated by Simphiwe Ndzube, Ed Ruscha, David Hockney, Ai Weiwei, and John Baldessari. All proceeds from this benefit auction go to Project Angel Food.
JOAN is a Los Angeles-based nonprofit space for exhibitions, performances, and screenings with a focus on emerging and under-recognized artists. Proceeds from this auction will directly fund programming at JOAN.
Saturday, April 27th, 2019, 8-11pm
1206 Maple Avenue, Suite 715, Los Angeles, CA 90015
Performance by Kinlaw, Drinks by Happy Hour Agency, and Music by DJ Muñeka
Ticket Editions available by Seth Bogart & Tanya Brodsky
To coincide with the opening of the 2019 Venice Biennale, Palazzo Cini will present The Battle Between Carnival and Feast, an exhibition of new works by Romanian artist Adrian Ghenie. Organized in collaboration with Galerie Thaddaeus Ropac, the exhibition will be installed throughout the historic house museum's second floor galleries.
Şerban Savu’s figurative paintings usually depict vast post-industrial landscapes in which figures walk about, swim and undertake everyday activities. For the most part, they portray solitary people, caught in the middle distance, isolated, and involved in a specific act. Savu's solo show at Le LAIT, titled En dérive/Adrift, brings together works produced over the past twelve years, some of which echo the local context and in particular the work of Henri de Toulouse-Lautre.
Miklos Onucsan to be featured alongside Belu Simion Fainaru and Dan Mihaltianu in the next edition of the Venice Biennale! Curated by the art historian and theorist Cristian Nae, the group's exhibition 'Unfinished Conversations on the Weight of Absence' will present new versions of individual installations by the three veteran artists.
The presentation of the installations in the Romanian pavilion, located in the Giardini, will be complimented by further work shown at the New Gallery of the Romanian Institute for Culture and Humanistic Research, in Venice’s Cannaregio district.
Ex Africa – storie e identità di un’arte universale at the Museo Civico Archeologico, Bologna is curated by Ezio Bassani and Gigi Pezzoli, with contributions from Italian and foreign scholars, and is a memorial to Bassani, who passed away suddenly while working on the project and to whom Italy is indebted for the dissemination and knowledge of African art. It is not an ethnographic exhibition, but a grand exposition that goes beyond the general/specialist dichotomy, aiming to tell stories of art, identity, power, sacredness, encounters and communication.
Ciprian Muresan (born in 1977) and Serban Savu (born 1978) graduated in 2001 from the University of Art and Design in Cluj. They are bound by a strong friendship and still share in this city the same workshop. Moreover, despite appearances, their research has a lot in common. The first tends to compile the history of art into an indecipherable palimpsest. The second surprises with its intertwined sources: from Socialist Realism to religious painting. And both are scanning their ordinary environment with the accuracy of an astronomer.
The Divine Hermaphrodite, Katherina Olschbaur's new solo exhibition in Berlin features new paintings from the artist's studio in Los Angeles. The opening will take place on March 16, between 6 and 9 pm at Gnyp Gallery's Hardenbergstraße location. The Divine Hermaphrodite looks at sacred oneness across different cultures through contemporary art works. It addresses different notions of transgender as spiritual states of divinity found through the merging with the perfect other. It embraces occult, alchemy and non-western approaches of the third sex towards imagining self-realization through this notion of mystical oneness.
Simphiwe Ndzube speaks on his childhood in South Africa and the recent development of his work. The Logan Lecture Series is sponsored by Vicki and Kent Logan in affiliation with Contemporary Alliance, a Denver Art Museum support group.
Free for Contemporary Alliance members and students with valid student ID
$20 Non-members, $15 DAM members, $10 DAM volunteers
A reception will follow at the ART, a hotel.
Crucible is the first solo exhibition in India of works by the British artist, Hugo Wilson. Wilson uses the almost bottomless well of the internet from which to draw inspiration and to source and explore a vast array of different imagery, objects and occurrences of historic importance. By using the ancient and highly plastic medium of painting as a ground upon which to bring together elements that might initially seem entirely unconnected, Wilson has the advantage of harnessing an established, global language that can mix and meld things together in coherent form.
FADOM, a communist-era building company, created a building system of prefabricates for the basic structures of inhabitation. In Przemek Pyszczek’s practice, FADOM becomes a metaphor for the aesthetics permeating post-communist Poland, its hidden rationale that manages to reconcile the shadow of the past with a consumerist spirit of the new era. Through hyperbolization of socialist aesthetics, Pyszczek achieves a sense of shared memory which belongs to no one: a para-sentiment for what might not have been experienced, but remains alluring thanks to its construction – either social or aesthetic, or maybe, as Pyszczek seems to suggest, both.
Where is the Madness You Promised Me: Dystopian Paintings from the Marc and Livia Straus Family Collection features works by contemporary artists from around the globe, examining recent dystopian painting as a symptom of society's increasing anxiety over our future.
Find works by Katherina Olschbaur and Zhou Yilun alongside a plethora of wonderful artists at the 2019 Rema Hort Mann Foundation Benefit Auction in Los Angeles. The Rema Hort Mann Foundation provides support for cancer patients and emerging artists through its bi-coastal grant programs. Proceeds from this auction benefit the Quality of Life Cancer Grant, Emerging Artist Grant, and Artist Community Engagement Grant.
“Nowhere Over The Rainbow”, a multimedia survey of works exploring the tropes and chromatics of gold, rainbows, hybrid identities and failed ideologies—via drawings, paintings, sculpture, photography, performance, and video—aims to offer a glimpse into the possibilities and realities of finding a new way in an upset world. From a “gold room” filled with blue- chip excavations to warped Kodachrome fantasies to a surrealist drawing of an alternate Oz, this is no place like home. “What do you do out here? You chase rainbows.” — Ed Ruscha
On view at the Spring Break Art Fair, located at The Stalls at Skylight ROW DLTA: 1925 East 8th Street, Los Angeles.
The central courtyard of the private Mexican art museum, Museo Kaluz, exhibiting international contemporary artists, will host a new work by Simphiwe Ndzube entitled The Rain Prayers. This ambitious installation conjures up attenuated figures in procession from a tangle of logs and invokes the carnival spirit of Cape Town. Reflect on the severe drought in South Africa, an event that reveals ample reserves of faith, ritual and community commitment within the population of Cape Town. Designed especially for this unique space, the installation links the experiences of Cape Town and Mexico City about water, the lack of it and the resilience that these circumstances generate in societies.
Simphiwe Ndzube featured alongside Urs Fischer, Jeff Koons, Nick Cave, Alex Israel, and Liz Craft in People, a group exhibition at Jeffrey Deitch Project's new space in Los Angeles. The works explore the uncanny confrontation of the artificial and the real while simultaneously responding to the multiple approaches to human identity in the contemporary world. All of the works in the exhibition reflect a contemporary approach to sculpture inspired by the innovations of Dada, Surrealism, Assemblage and by the influence of non- or meta- art sources like department store mannequins.
Among the works presented are emblematic paintings, paper drawings, collages and carved, colorful sculptures that generate a dialogue between matter, lines and sensations. The drawing, the source of pictorial image, constantly transforms into figurative characters, phantasms where acrylic colors highlight personal traits.
The artist will give a walkabout in support of the Friends of Iziko South African National Gallery on Friday 25 January at 11am.
Michiel Ceulers is featured in the group exhibition 'Salon de Peinture', where visitors can quietly linger amidst the works of over fifty Belgian (or Belgium-based) painters, curated in the style of the French salon. The exhibition is accessible free of charge and located on the sixth floor of the museum. In the exhibition, the work of Ceulers is featured alongside other artists including Fred Bervoets, Luc Tuymans, Walter Swennen, and Vedran Kopljar.
Simphiwe Ndzube is featured in New Acquisitions, a presentation of paintings, sculptures, and installations by 20 artists; all acquired in the last two years by the Rubell Family. The exhibition is on view for Art Basel, Miami and will be exhibited until June of 2019. Other artists include Janiva Ellis, Alake Shilling, Trulee Hall, Diamond Stingily, and Martha Jungwirth
Romania's President Klaus Iohannis spoke with French President Emmanuel Macron at the inauguration of the Romania-France Cultural Season at the Centre Pompidou, which marks ten years since the signing of a strategic partnership statement, and the celebration of the Centennial of Romania's Greater Union of 1918.
The two presidents visited the exhibitions of the artists Ciprian Muresan, Serban Savu and Adrian Ghenie which are currently on view at the Centre Pompidou.
Romanian Season at the Pompidou Center highlights an extraordinary laboratory of artistic creativity, intimately, and fully linked to the writing of the history of modern and contemporary art. The 2019 France-Romania season is thus the occasion to return to an essential moment in the history of the international cultural dynamics of the 20th century, for which Paris has long remained the hub of hatching and affirmation and where the actors of the artistic scenes from Central and Eastern Europe played a leading role. Through a few founding figures of artistic modernity and avant-gardes, the Center Pompidou aims to highlight and review the extreme richness of its heritage through exhibitions, installations, skirmishes and thematic itineraries.
• Ciprian Muresan and Serban Savu, L'entretien infini
[Museum, Level 4, Galerie 0]
• Adrian Ghenie, The Darwin Room, 2013-2014
[Museum, Level 4, Galerie 0]
• Ponctuations. Parcours dans les Collections - An exhibition of works from the collection of the Centre Pompidou featuring Adrian Ghenie and Ciprian Muresan, among others
[Museum, Levels 4 and 5]
Opening November 28, 2018 in Paris, France
Galeria Plan B in Berlin presents a solo exhibition of Serban Savu, to open on Friday, the 23th of November 2018.
Nicodim Gallery is proud to continue INFLUENCES, an occasional series of events exploring the relationships between art and psychoactive substances.
For the second installment, our friends at Mezcal El Silencio have created unique mezcal cocktails to pair with our Ciprian Muresan and Hugo Wilson exhibitions and the fashion of Sánchez-Kane, which is featured in a two-day pop-up in our rear gallery. Each cocktail is tailored to channel the energy and vitality of the respective installations. Psychonauts from Nicodim, El Silencio, and Sánchez-Kane will be your spirit guides in a tour through each of the three environments.
PLEASE NOTE: This is a private event. Interested patrons must RSVP to firstname.lastname@example.org with “INFLUENCES” in the subject line. The event will be capped at 100 people. All attendees must be over the age of 21 with valid identification to attend—those without valid identification will be turned away. Please travel via designated driver, Lyft, Uber, or public transportation, as driving under the influence is dangerous and illegal.
Sanchez-Kane brings the inspiration behind its avant-garde menswear collection to Los Angeles with a Tianguis-inspired shopping experience at NICODIM Gallery. In collaboration with Mezcal El Silencio, a fellow rebel brand with deep Mexican roots, Sanchez-Kane will create a ceremonial experience through an interactive art installation and debut a new unisex ring design.
The entire NICODIM Gallery will be redesigned as the iconic district of La Lagunilla Market, where bootleg DVDs dress the streets, clothes hangs off high racks and dress suits are mounted on walls. It is beautiful chaos in the eyes of Sanchez-Kane, a visionary brand founded by contemporary artist and provocateur Barbara Sanchez-Kane.
Friday, November 16, 12–8pm
Saturday, November 17, 12–5pm
Many times, the landscape is understood in escapist terms, self-forgetting, by seemingly anachronistic notions about the homeland, or by their cosmopolitan pendant—the tourist cliché. How can it, therefore, compose a contemporary landscape image that recognizes change, tempts destruction, while being able to question the conditions of a position? REMEMBERING LANDSCAPE focuses on landscape imaging and aesthetic strategies, linking them to commemoration / remembrance processes. Ciprian Muresan's work is featured in this group show curated by Eva Schmidt (MGK Siegen) and Kai Vöckler (HfG Offenbach) in cooperation with Center for Cultural Decontamination (Branislav Dimitrijević, Lola Joksimović) and the MNAC București.
Curated by Dan Breaz, Tradiții active I (Active Traditions I ) presents a selections sculpture, painting, and video works by Ciprian Muresan. Opening exactly five years after Muresan's first exhibition at the Muzeul de Artă Cluj-Napoca, Muresan continues his approach to the works of the Great Masters through his language of repitition. Muresan renegotiates the limits of art, questioning his role in art history and his rights to use basal techniques. The high stakes of these seemingly humble 'works' reveal unpredictable ways of creating the new. In Muresan's world, the new is not distincly seperate from the old.
Crossing Night (Hacer Noche) is a major exhibition initiative that presents the work of contemporary artists from Southern Africa across Oaxaca’s City’s museums and cultural centres. Comprising five exhibitions, an artists’ residency programme, a community-based educational programme, and a conference, Crossing Night undertakes to explore the historical links between southern Africa and Mexico through shared histories of conolialism and slavery. Find Simphiwe Ndzube's sculptural installation at the Centro Cultural Santo Domingo.
Congradulations to Katherina Olschbaur for being named a winner of the 2018 IBK-Förderpreise for Painting!
A total of 27 artists were nominated and the jury of international experts could award a maximum of seven prizes. Since 1991, the IBK Sponsorship Awards have been awarded annually in changing categories. Judges found of interest the consequence of Olschbaur's work in terms of deeply painterly interests and questions, but which also leaves room to repeatedly strike back and form outliers.
Inspired by both the '90s and the spirit of Jeremy Scott, the creative director of the MOSCHINO House, the H & MOSCHINO party took place at the Nicodim Gallery in Bucharest, which was transformed into a vibrant, colorful space. Guests listened to the best Romanian hits of the 90s, mixed by DJ Vali Barbulescu. Just a few seconds after the countdown, they were invited to a pop up shop to discover all the pieces of the H & MOSCHINO collection.
The collection will be available in selected and online stores worldwide starting November 8, 2018.
"The whole process of the transcription of non-material media into painting, video or sculpture has become an important topic itself... The passive position of a viewer (like James Stewart in Hitchcock's Rear Window) has changed and this rises the question of losing our safe observing position..." – Daniel Pitín
Sexy Beast for Planned Parenthood Los Angeles believes everyone should have access to safe, caring, and affordable healthcare services. Since their founding in 2014, the Sexy Beast art auction and gala has raised nearly one million dollars for this crucial organization across two milestone events. This year, their sights are set even higher for their third biennial fundraising extravaganza on Saturday, October 20 at the Marciano Art Foundation. Join them in support of the critical services PPLA provides to their community by bidding on works by Brian Calvin, Katherine Bradford, Simphiwe Ndzube, Rashid Johnson, Rebecca Morris, Katherina Olschbaur and many more…
Nicodim Gallery is excited to announce INFLUENCES, an occasional series of events exploring the relationships between art and psychoactive substances.
For the first installment, the artist Robert Yarber has partnered with two of the hottest cannabis brands in Los Angeles to pair the paintings in his exhibition Robert Yarber: Return of the Repressed with strains of cannabis that the artist feels will enhance the viewing experience, and reflect his mental state during the creative process.
PLEASE NOTE: This is a private event. Interested patrons must RSVP to email@example.com with “INFLUENCES” in the subject line. The event will be capped at 100 people. All attendees must be over the age of 21 with valid identification to attend—those without valid identification will be turned away. Please travel via designated driver, Lyft, Uber, or public transportation, as driving under the influence is dangerous and illegal.
On the morning of September 28th, 1978, a young filmmaker named Trent Harris stood outside the Channel 2 studios in Salt Lake City fixing the jam in his new video camera. He raised it up to his eye and hit record. Across the parking lot in that same moment was a guy from Beaver, Utah by the name of “Groovin’ Gary”. Driving since dawn Gary made the pilgrimage to the big city because it was his destiny to be on television. He felt it. He wandered around the property of Channel 2 taking the odd photo while waiting for the door of TV Land to open. When Trent hit record Gary knew this was fate knocking.
This is the story of the Phoenix.
Opening September 28 from 8 until late.
Heidestraße 50, Berlin
Thursday 27 September: Opening 4 – 8 pm
Friday 28 September: 11 am – 7 pm
Saturday 29 September: 11 am – 7 pm
Sunday 30 September: 11 am – 6 pm
For inquiries, contact firstname.lastname@example.org.
Defying the Narrative: Contemporary Art from West and Southern Africa features works by 14 African artists, including Simphiwe Ndzube and Moffat Takadiwa. Intending to present the varied directions of contemporary African art to the Bay Area, the works in the show highlight the narrative properties of materials and the idea of figuration as a symbolic device. While all of the artists in Defying the Narrative are African, the artists represent a broad spectrum of perspectives, ideologies, and geographic origins, and the lack of a unifying narrative among them is both the premise and the conceit of this exhibition.
The exhibition Seeing Eye Awareness celebrates the artist as cultural clairvoyant, a shaman, as someone having a third eye opened unto the secrets of society, as someone we invite to reveal mystical truths. The artist's truest function has been to uncover mutations and anomalies. These are things that come from a place where language is insufficient or that crosses the border of consciousness, showing us culture’s bleeding edge. The exhibition is included in the programme of the Indigo Festival.
Get out of bed, put on your shades, and join Katherina Olschbaur for hangover drinks and a walkthrough of her show Horses!
On the show's final day: Saturday, August 18, 12:30pm at Nicodim Gallery in LA!
Simphiwe Ndzube has a new solo exhibition of drawings as well as a painting on linen at Harper's Books, East Hampton. The exhibition will be on view alongside a concurrent exhibition by Los Angeles-based painter Cassi Namoda, We Killed Mangy Dog. While Ndzube is well known for his large-scale assemblages, Dancing into Form will represent the first time in which his powerful drawings are brought together for collective consideration. Many of the works on paper featured in this exhibition served as preliminary studies for paintings and resulted from, as Ndzube puts it, a process of “working forward and backward to allow chance to open up avenues for possible compositions for newer work." As the artist notes, “they are dancing, celebrating, paddling, flying, drunk, and falling, but always in a constant journey to becoming.”
Nicodim Gallery is thrilled to announce Aaron Moulton as the newest addition to our full-time family. He has already made history with the gallery: he organized Omul Negru (2016), The Basilisk (2017), and The Hierophant (2017)—a three-part exhibition series that spanned Nicodim Gallery, Los Angeles and Galeria Nicodim, Bucharest. Moulton has worked both undercover and in-uniform as a Cultural Operative for over a decade across Europe and North America. His exhibitions and projects employ the art world to perform thought experiments that unclothe the cultural constructs on which society is built, stripping its underpinnings nude for all to see, warts and all. Mediating the visual traditions of New Age communities, the Occult, and Pseudoscience, his work manifests a tactical use of context that has offered new insights into and erects diegeses around avant-gardes, energy systems, and the power of the placebo effect. His current research explores the holistic power of revelation found in disinformation campaigns, folklore, and magical thinking. You will come to his openings and buy things.
If Bucharest’s contemporary art scene has a nexus, it is in the elegant roads to the Piața Revoluției’s north-east, which boasts a smattering of small venues. But many of the city’s finest galleries stand away from this core. Galeria Nicodim, in the almost rural-seeming northern suburbs past Herăstrău Park, takes this to extremes. Its eponymous owner, Mihai Nicodim, emigrated to the US in the 1980s and opened his first gallery in LA in 2006....
Simphiwe Ndzube is featured alongside Olafur Eliasson, Viviane Sassen, Olafur Eliasson, Njideka Akunyili Crosby, among others in the Cape Town iteration of Stevenson Gallery's anniversary exhibition 'Both, and.' A group exhibition reflecting on 15 years of the gallery’s existence, 'Both, and' is curated by Stevenson's newest partners, Sisipho Ngodwana and Alexander Richards.
Bid on 'Untitled (Study for The Purging Diptych), 2018' here.
All proceeds from this benefit auction go to Project Angel Food.
Opening Reception: Thursday, June 22, 6 – 9 pm
On view Tuesday-Saturday, 12 – 6 pm
Plan B Gallery, Berlin
Potsdamer Strasse 77 – 87, 10785 Berlin
In likeness to the surrealists, who turned to absurd and fantastical symbolic imagery as a purgative answer to the gruesome folly of industrialized warfare, Ndzube employs bizarre scenarios, and the juxtaposition of incongruous elements extracted from everyday life, to respond to more recent chapters of violence and injustice. The results are both optimistic and cathartic: an eclipse is a moment of change and a lamp a sign of enlightenment. Even a traffic cone gently directs a new route.
Robert Yarber's work will be featured in the inaugural exhibition at Desert Center, Los Angeles, Michael Slenske's new project space.
Opening Reception: Thursday June 21, 6 – 9 pm
7466 Beverly Blvd., Suite 207
Los Angeles, CA 90036
Check out Katherina Olschbaur's painting in Yvonne Force's much anticipated exhibition SEED. Other artists include Cecily Brown, Rachel Feinstein, Yoko Ono, Claire Tabouret, Ambera Wellmann, Robin F. Williams, and Lisa Yuskavage.
Opening Reception: Thursday, June 21, 6 – 9pm
A Slice through the World is a collaboration between the Drawing Room, London and Modern Art Oxford. The featured artists across the two-venue group exhibition are ruby onyinyechi amanze, Nidhal Chamekh, Milano Chow, Kate Davis, Karl Haendel, David Haines, Ian Kiaer, Ciprian Muresan, David Musgrave, Wura-Natasha Ogunji, Kathy Prendergast, Massinissa Selmani, Lucy Skaer and Barbara Walker.
Exhibition dates at Modern Art Oxford: June 16 – September 9, 2018
Exhibition dates at Drawing Room, London: June 13 – August 5, 2018
Ndzube has always had a love for art. In the early stages of his career, he told stories inspired by the struggles faced by township residents, specifically in Masiphumelele where he grew up. “I’ve always been involved as a creative growing up, taking formal and informal art classes, dancing, and then later going to art school. Art School gave me the confidence and a bigger perspective of the art world and that’s how I went in, often times blindly,” he says....
The work of the Romanian artist Ecaterina Vrana (born 1969 in Constanta, Romania) is based on „la petite histoire” of her own existence. At the same time, it appears like a library of the past, in which individual fragmentary, kaleidoscopic details can be found out of memory. This revitalization takes place in the context of a subjective spontaneity, without an intentional dramaturgy. Ecaterina’s large-format paintings are the subject of subtle observations; claiming a reinterpretation of a past marked by illness they become a plea for the joy of life. Inspiration comes out of your own life instead out of theory.
'Presentations of recent acquisitions by the Department of Prints and Drawings' are an important, regular feature on the programme of the Musée National d'Art Moderne, and the current exhibition offers an opportunity to view a selection of some 150 modern and contemporary works on paper by more than 50 artists, acquired by the Centre Pompidou since 2011. Ciprian Muresan work is featured alongside such heavy-hitters as Mamma Anderson, John Cage, Paul Klee, Wassily Kandinsky, Per Kirkeby, Mirtha Dermisache, and Tomma Abts.
The Swahili word “Mulungu” means God. It originally described white people who assumed a god-like position of power in the country. By adapting the title from Samuel Becket's Waiting For Godot, Ndzube examines the notion of theater, the tragic, and the epic, while investigating the collective psyche of black people, proposing a different set of vocabulary outside the Eurocentric legacy, and participating in activism of the global black community whose defiant spirit has given birth to an enormous range of paradigms of resistance, solidarity, and celebration.
Robert Yarber has been included in this group show at Over the Influence, Los Angeles, curated by Aaron Moulton. Yarber's work will be showng alongside artists including Patrick Nagel, Mark Mothersbaugh, Alex Israel, Andy Warhol, Jonas Wood, and Peter Shire, among others.
Nicodim Gallery is thrilled to announce its representation of the Austrian painter Katherina Olschbaur and the Zimbabwean sculptor Moffat Takadiwa!
Simphiwe Ndzube now has artwork in the following important collections: Rupert Museum, Cape Town, South Africa; University of Cape Town, South Africa; Iziko South African National Gallery, Cape Town, South Africa; Zeitz Museum of Contemporary Art Africa, Cape Town, South Africa; A4 Foundation, Cape Town, South Africa; Rubell Family Collection, Miami, Florida; The CC Foundation, Shanghai, China; HOW Art Museum, Shanghai, China; Christen Sveeas Collection, Norway; and The Denver Art Museum, Denver, Colorado.
Wilde Reiter is, ultimately, an evolution of work centralized around personal narrative, cultural narrative, and the subjective marriage of the two as seen through a lens that pushes the viewer to evaluate their stance on the subject matter in a Brechtian manner—making the familiar strange.
Nicodim Gallery is proud to announce our participation in the Acid-Free Los Angeles Art Book Market where the long-awaited exhibition catalogs for Omul Negru, Basilisk, and The Hierophant will be presented for the first time alongside a series of new energy-harnessing works by Lazaros.
Hervé Mikaeloff, the curator of the exhibition, strives to create a couple of multidisciplinary scenes, where the art pieces and artists behave as actors. Artists will share their vision on architectures, utopias, savoir-faire, memory and their willingness to receive or free themselves of public heritage.
The title of this exhibition “Jungles in Paris” has been borrowed from the Henri Rousseau exhibition at Tate Modern in 2005-06 (later show at Grand Palais, Paris and National Gallery, Washington). The visual tension created by the juxtaposition of two seemingly disparate environments (the sophisticated urban Paris versus the exotic wild untethered jungle) is the foundation for Ghenie’s new body of work.
Nicodim Gallery is proud to announce its inaugural participation in Zona Maco, a solo booth with the Romanian artist Teodor Graur. Graur’s Commie Pop will be an immersive booth installation of curated artworks from throughout his career (with a focus on recent work) presenting the East’s utopian ideals from a side of the looking glass unfamiliar to most in the West. Find Nicodim Gallery in Booth G204!
at the Art Los Angeles Contemporary
The Barker Hanger, Santa Monica
Nicodim Gallery is thrilled to announce its representation of the painter Robert Yarber. Yarber was born in Dallas, Texas in 1948, and has exhibited nationally and internationally since the early eighties. His work was featured at the Venice Biennale in 1984 and the Whitney Biennial in 1985.
Following the success of Simphiwe Ndzube’s Bhabharosi, on display at Nicodim Gallery in Los Angeles, the gallery has released an artists’ book of the same title (edition 30) available exclusively at Printed Matter’s New York Art Book Fair. Each book offers a unique glimpse at Ndzube’s creative process, featuring drawings, diagrams, and collages that the artist composed in preparation for the exhibition. Find Nicodim Gallery in Booth G03!
Nicodim Gallery is pleased to introduce its new Global Director, Benjamin Lee Ritchie Handler. Touched by a sculptor at a very young age, Ritchie Handler knew he wanted to be involved with the arts as soon as she exposed herself to him. While earning a Masters degree in Library and Information Science at UCLA, Ritchie Handler toured internationally with a rock band and worked at a number of Los Angeles-based art institutions including The Hammer, LACMA, and MOCA. In 2011, he landed at Gagosian in Beverly Hills as an Archivist and Librarian. Ritchie Handler’s first project with Nicodim Gallery will be a group show titled Homeward Bound, which opens in Los Angeles October 2017.
"The lure of abstraction is a thread that gets pulled taut inside me. I hold my subjectivity out to it like a rose that wilts in the face of indifference. Standing in front of a Razvan Boar painting loops that thread into a cat’s cradle of multidimensional looking. My heart, she pinches the X, whorls around, and opens up—straight lines twisted into new patterns of thinking.”
(excerpt from Twisting the Narrative Thread by Christina Catherine Martinez)
Published by Nicodim Gallery. Please contact the gallery directly to purchase.
In his painting, Beijing-based Lu Song also wanders through the shifting landscapes that are evolving on the edge of urban environments. Similar to the visual beauty that Li Xiaofei finds in assembly lines, Lu Song’s brooding vision, at times magical, at other darkened by a haunting disquiet, lulls viewers into a duplicitous mood of serenity before awaking us to its deeper message.
Ciprian Muresan has been selected for the 2017 Venice Biennale's central show, titled “Viva Arte Viva” and organized by Christine Macel.
The monograph, published by Nicodim Gallery, is a summarization of Zhou's 2 exhibitions in Los Angeles (2015) and Bucharest (2016).
“OVERPOP”, an exhibition based on the Yuz Collection and a curatorial dialogue derived from it, features works from Kerry Tribe, Samara Golden, Helen Marten, Ian Cheng and more.
Do you like ghost stories? Want some new nightmares?
The invocation of Omul Negru at Galeria Nicodim in Bucharest, and then again with its resurrection at Nicodim Gallery in Los Angeles was an alignment of anthropology, ritual magic and sacrilegious geometry set inside curatorial red rooms. The corresponding codex is at once a grimoire and a folklore as much as it is an exhibition catalogue and an anthology of evil. It will define a new kind of pornography and should not be treated lightly as it possesses the most evil representations of humankind's darkest nadir.
The book contains texts from Aaron Moulton, Alissa Bennett, Dr. Philip Zimbardo, Reverend Jim Jones, Albert Fish, et al.
Please contact the gallery for purchase.
In conjunction with her current eponymous exhibition at the gallery, Ecaterina Vrana's new book As I Lay Living has been released.
Please contact the gallery for more info or copies of the catalog.