Caroline Achaintre envisages with everything that passes through her hands, the possibility of a face. Her fingers, with impatience and determination, try to find a likeness. For her, every mug is the result of a hole, identified by at least one orifice that fixes us.
Opposite – Live evil, 2021
Exhibition runs through to May 7th, 2021
Art : Concept
4, passage Sainte-Avoye
Access: gate at 8, rue Rambuteau
75003 Paris
Galleria Franco Noero present’s l’acqua, part of a series of exhibitions on the theme of water.
The artists invited to participate are: Giovanni Anselmo, Lothar Baumgarten, Jason Dodge, Lara Favaretto, Gabriel Kuri, Phillip Lai, Jac Leirner, Robert Mapplethorpe, Paulo Nazareth, Christodoulos Panayiotou, Simon Starling.
Opposite – Bottled Water E. d. E. 2, 2013
Exhibition runs through to May 8th, 2021
Galleria Franco Noero
via Mottalciata 10/B
10154 Torino
Italy
In 1957, François Morellet began a series of variations on patterns of L-shapes, all executed in oil paint on wooden panels measuring 80 cm by 80 cm. The series is called Répartition de 16 formes identiques [Distribution of 16 identical shapes]. Some of the paintings work with a highly legible, logical principle of symmetry, with the Ls slotted in to one another in a sort of puzzle in which the vertical and horizontal positions of the shape balance out across the panel. The painting exhibited here uses the same materials and has the same dimensions as the works from 1957, but this time Morellet has made use of the black and white colour scheme present in many of his chance distributions in 1958.
As for the pattern, this comes from one of the 1957 paintings. The distribution, if one looks just at the organisation of the black and white space, seems to follow a set of rules in a protocol that brings to the fore the major role played by Morellet in the history of protoconceptualism. One can’t look at it without thinking of the different series Sol LeWitt made a few years later, and
which would become the matrix for his wall drawings. Or without making a connection with the Ls that Robert Morris exhibited at Green Gallery in New York in 1965, even if Morris’ method and intentions were very different from Morellet’s. It nonetheless remains the case that between the mid 1950s and the 1960s, these ‘identical’ shapes inspired a number of creations that would mark the history, indeed the prehistory, of minimal, processual, systematic, or conceptual art.
Opposite – Répartition de 16 formes identiques, 1958
Exhibition runs through to April 3rd, 2021
Kamel Mennour
28, avenue Matignon
75008
Paris
This exhibition forms a bridge between Los Angeles and Madrid, two cities separated by some 9,400 km or 5,800 miles, representing two very different cultures united by the same language, Spanish is the mother tongue for about half the population of that major North American creative centre. The artistic contribution of the community of Latin-American origin goes back to Mexican muralist movement of the 1920s, and its socio-political approach in turn inspired the Chicano art of the 1970s. The strong radicalism of these movements, both so prolific, has continued to this day as a large group of artists carries on the fight to give visibility to an identity that is almost unknown and even ignored in Spain.
Opposite – Return, 2020
Exhibition runs through to April 24th, 2021
Tim Van Laere Gallery
Jos Smolderenstraat 50
2000 Antwerp
Belgium
The discovery, examination, and reimagining of a vast array of visual and conceptual references is essential to Buchina’s creative process. His works meld seemingly disparate figures, places, and scenarios into Surrealist-style compositions, offering viewers hints at a narrative trajectory only to leave the trail unfinished or abruptly shifting in a different direction. Produced with the line precision of graphic novels and the bold, flat monochromatics of Pop art, Buchina’s paintings and works on paper are filled with rich detail that compels active viewing and invites personal interpretation.
The open-ended nature of Buchina’s work takes on particular meaning in his two latest series, Scenery and Low Information Settings—the latter of which also gives the exhibition its name, as he draws on the news cycles and happenings that have captivated and divided our nation and the world in recent years. Indeed, Low Information Settings was inspired by Buchina’s reading on a recent conflict in a remote mountainous region, which a news report referred to as a “low information setting” or an area where access to news and outside information is limited. For Buchina, this idea offered a dynamic contrast to places like the United States, where access to content is not only easy but overwhelming, but where misinformation and mistrust of institutions have equally proliferated to detrimental effects.
Opposite – Low Information Settings #2
Exhibition runs through to April 24th, 2021
Hollis Taggart
521 W 26th Street, 1st Floor
NY 10001
New York
On view are paintings that combine the compositional elements from various series from his past practices, pigment paintings, Tacmo, Aicmo, and polystyrene paintings with glass, in a new way for the first time.
The chromatic intensity of loose pigments, the reflections of broad brushstrokes, the traces of speedily inscribed hand movements, and the luminosity of sprinkled colored glass vibrate in overlapping layers to form a polyfocal visual space. A significant voice in a generation of German painters scrutinizing the medium and its history, Heinzmann is known for his inventive, precise work that is driven by an inquiry into what painting can be today. Using a diversity of materials, from chipboard, Styrofoam, porcelain, aluminum, to nail polish, resin, pigment, fur, cotton wool, and hessian, the artist has for the last twenty-five years worked on developing new paths and a unique visual language in his practice.
The works in the main room of the gallery are characterized by his consistent and subtle approach to light, tempo, composition and color. Although each painting exists in its own right, the rhythmic sequence of their presentation facilitates the idea of a garden, a landscape, in which a figure appears and disappears. Its imagined presence activates the pictorial space, which thus becomes a stage.
Opposite – O.T., 2019
Exhibition runs through to March 20th, 2021
Perrotin
Piramide Building, 1F, 6-6-9 Roppongi, Minato-Ku
106-0032 Tokyo
