MASOOD KAMANDY

Posted on 2017-01-30

Photographs are a wondrous combination of serendipity and intention. The observer effect in physics also holds true for art: seeing the world can be a transformative act. In Kamandy’s practice, photography is an expressive and experimental medium where he observes, records and refines. Focused through a lens, rays of reflected light hit a surface to create an entirely unique 2D reality. There is a curiosity and sometimes a surprise in the act of creating an image that alludes to the essence of experimentation.

The camera’s mysterious interior is often referred to as a black box. Light goes in and is organized through esoteric and seemingly unknowable processes. Almost magically an image emerges. This liminal space inside the black box where light is organized is Kamandy’s creative space.

This new body of work was created using experimental camera software developed for the iPhone by Kamandy himself. The software, named Oblique, is the culmination of research in the fields of art, computer graphics and mathematics. It embodies his desire to dig deeper into the fundamental elements of digital images.

The iPhone is the single most-used camera in history. It is also a powerful and programmable computer. The speed with which the computer processes a photograph creates new opportunities for real-time intervention and expression. Oblique compresses all editing into a single shutter press; there is no post-production. Custom filters give the user the ability to manipulate images directly using different algorithms in real-time, allowing them to experience the world in new and unique ways.

Opposite – Horizon (Light), 2017

Exhibition runs from February 18th to March 25th, 2017

Luis De Jesus Los Angeles
2635 S. La Cienega Blvd.
Los Angeles
CA 90034

www.luisdejesus.com

  

PAUL MPAGI SEPUYA – FIGURES, GROUNDS & STUDIES

Posted on 2017-01-30

While deeply engaged with ideas about studio portraiture, the exhibition frames the photographic process as an ongoing conversation and negotiation between the viewer, the artist, the subject and the work. Simultaneously, Sepuya investigates the role of desire as a productive and critical force in the medium of photography.

Referencing artistic tropes of homoerotic studio photography, Sepuya comments on the medium as a process of constructive desire: the desire to photograph, to look and to touch. Using drapes or framing to partially obscure the sitter, the studio or the camera, he engenders in the viewer a longing to see what is hidden and implicates the viewer in the looking. Sepuya inserts himself into the images, appearing alternately in a fragmented self-portrait, obscured behind a camera or drape, or reaching into the frame to arrange a sitter, adjust a cloth, or point to the model. His presence is mediated through a self-conscious play of presentation and concealing, exploring surface and reflection, lens and mirror, touch and trace.

Opposite – Mirror Study (_Q5A3505), 2016

Exhibition runs through to March 18th, 2017

Yancey Richardson Gallery
525 West 22nd Street
NY 10011
New York, NY
New York

www.yanceyrichardson.com

  

LES FEMMES S’EN MÊLENT REVISITED

Posted on 2017-01-30

In February 2017, Les Femmes s’en Mêlent festival (LFSM) and Galerie Les Filles du Calvaire (LFDC) decided to celebrate their 20th anniversary together. These two Paris-based institutions both develop and defend an original and finally quite similar vision of women artistic expression. For this reason, it only seemed natural for the gallery to host an exhibition on the history of the festival and more broadly, on women iconography in the music world.

We all remember the rock heroines from the 70’s and the beginning of the 80’s such as Patti Smith, Blondie and Kate Bush, as well as their more underground versions the Slits, Siouxsie, Poly Styrene from X-Ray Spex or Nina Hagen. They embody the unique atmosphere of a radical era, which inspired a multitude of today’s female figures, most of them being presented during the LFSM festival.

We intend to revisit twenty years of festival through sound and visual documents along with the exhibition of contemporary artworks and vintage archives in order to explore the history of the event and everything that nurtured it. The audience will have the opportunity to discover concert photographs and artist portraits (Evelyne Coutas, Sarah Bastin, Florie Berger, Renaud Montfourny, Cécil Mathieu, Vincent Ferrané), paintings and drawings (Radenko Milak, Ditte Ejlerskov, LUZ), emblematic artworks of the “rock attitude” (SMITH, Karen Knorr & Olivier Richon, Charlotte Beaudry), text excerpts (Virginie Despentes, Maylis de Kerangas), posters (Hélène Builly, Mylène Lestradic…), articles, magazine covers and rare vinyls.

Opposite – Karen Knorr & Olivier Richon – Nina Hagën et Ari Up, Série Punk, 1977

Exhibition runs through to February 25th, 2017

Galerie Les filles du calvaire
17, rue des Filles-du-Calvaire
75003
Paris
France

www.fillesducalvaire.com

  

PETER HALLEY – PAINTINGS FROM THE 1980s

Posted on 2017-01-30

The exhibition comprises a selection of paintings that surveys an important period of Peter Halley’s work, dating from 1982-1987.

Over the past four decades, Peter Halley has pursued a rigorous, theoretical approach to painting that takes influence from structures of organisation and communication. The works in this exhibition show the development during this decade of relationships between flat and textured geometric elements that the artist refers to as ‘cells’, ‘prisons’ and ‘conduits’. For Halley, these elements comprise a formal vocabulary that reflects the increasingly geometric divisions of social spaces of the world in which we live. Halley’s work is consistently concerned with abstraction not only in art, but in broader terms of culture and human behaviour.

The paintings Peter Halley made from the early 1980s onward contribute to what might now be considered the postmodern canon. Halley, together with his artist peers Jeff Koons, Haim Steinbach and others, came to international prominence during that decade with varied approaches to art making sometimes identified as ‘neo-geometric conceptualism’ or ‘Neo Geo’. These artists were making new work that proffered critique of both expressionism and non-objective abstraction, in a context informed by contemporary ideas about social control, mediation, and simulation.

Peter Halley has written on art and culture throughout his career. His essays, first published during the 1980s, address postmodernist culture, contemporary art practices, and that decade’s digital revolution through the lens of post-structuralist critique.

Opposite – Two Cells With Circulating Conduit, 1987

Exhibition runs through to March 18th, 2017

Modern Art
4-8 Helmet Row
London
EC1V 3QJ

www.modernart.net

  

JEFF MUHS – SUPERNATURE

Posted on 2017-01-30

Jeff Muhs uses the idea of supernature as an ongoing manifestation of self-discovery for his painting process both intended and happenstantial. Muhs creates work that has become its own unique process of natural creation and discovery. This process began when he first stumbled upon a more spontaneous method of mark-making using improvised brushes and black oil paint over a highly prepared surface. Through the random and overlapping application of paint thinned to various degrees, an organic black and white cosmos evolves. These initial paintings, or backgrounds, are simultaneously ethereal and earthly, displaying an intuitive playfulness that is buttressed by the artist’s knowledge and understanding of his materials.

The black and white backgrounds serve as inspiration for the opaque areas of color that is applied next. These dense areas of color compliment the under-painting by offering a sense of order and stasis. Working within the randomness of the backgrounds, the artist composes colored areas that create a Taoist whole between the two main contradictory compositional elements. The push and pull between background and foreground allows the viewer to move in, out and through the matrix of paint. The fields of color present a plane where the eye can rest, an area where the turbulence ceases and subtleties emerge, and the true beauty of the work is divulged. It is here, at this crossroads of intention and chance, where expanses of dense color delicately dance with churning areas of black and white that a new order reveals itself…a new order that the artist has graciously pulled back the curtain to reveal its mastery.

Opposite – Waters of Oblivion, 2017

Exhibition runs through to February 25th, 2017

Lyons Wier Gallery
542 W. 24th St
New York
NY 10011

www.lyonswiergallery.com

  

SPENCER SWEENEY – VIVA LAS VEGAS

Posted on 2017-01-30

Sweeney’s artistic practice stays within the genres and styles of the fine arts, music, and performance. His creative work has always been informed by musical, visual, and social impressions and encounters. Even though the title ‘Viva Las Vegas’ may suggest otherwise, this exhibition is actually the result of months of introspection and a conscious focus on working exclusively as a painter in the studio. The artist worked on several canvases simultaneously, and with Sweeney’s well-known talent as a communicator, it is easy to imagine how in the process, the paintings interrogated and fertilized each other, how they fought and lovingly made up, and then turned away from each other again.

The paintings and drawings seem to show emotionally charged creatures and energetic spaces and landscapes. In explosive, distorted pictures with pulsating colours, the works go back and forth between artistic methods and media.

Opposite – Hide This Face, 2016/2017

Exhibition runs through to March 4th, 2017

Contemporary Fine Arts Berlin
Grolmanstrasse 32/33, 10623
Am Kupfergraben 10, 10117
Berlin
Germany

www.cfa-berlin.com