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DTSTART;VALUE=DATE:20240406
DTEND;VALUE=DATE:20240923
DTSTAMP:20240502T102631Z
CREATED:20240502T102631Z
LAST-MODIFIED:20240502T102631Z
UID:21550-1712361600-1727049599@kaufmannrepetto.com
SUMMARY:I am Here
DESCRIPTION:In this exhibition\, a set of large murals decorated with furniture highlight universal themes\, such as family\, meaning or existence\, as well as others that have traditionally been kept at a distance from the world of “serious” art\, such as decorative art or plumbing problems. Lily van der Stokker looks for beauty in ordinary things\, including ugly ones. Joy\, well-being\, and everything that can counteract these states are among his favorite subjects. She says about her work that it is a difficult art that is easy to access (“Easy looking art that is difficult”).
URL:https://kaufmannrepetto.com/exhibition/i-am-here/
LOCATION:Frac Normandie\, Caen
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240329
DTEND;VALUE=DATE:20240531
DTSTAMP:20250716T153924Z
CREATED:20250716T153351Z
LAST-MODIFIED:20250716T153924Z
UID:25689-1711670400-1717113599@kaufmannrepetto.com
SUMMARY:Courtyard project
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/courtyard-project-2/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240329
DTEND;VALUE=DATE:20240505
DTSTAMP:20240405T134052Z
CREATED:20240403T193329Z
LAST-MODIFIED:20240405T134052Z
UID:21236-1711670400-1714867199@kaufmannrepetto.com
SUMMARY:Loop stop
DESCRIPTION:kaufmann repetto is excited to announce LOOP STOP\, Judith Hopf’s fourth solo show with the gallery\, opening in New York on March 29th. The exhibition explores how phenomena and concerns of Nature can weave a dialogue with contemporary art discourse. Themes and subjects related to our environment – animals\, plants\, weather conditions – invade the gallery space\, offering playfully subversive opportunities to question the dominant ideologies of our technology-driven\, materialistic world. \nWith radical rigor the mural Rain runs along the walls of the gallery spaces. The monotonous repetition of blue lines arranged in diagonal flows\, painted directly on the walls\, evoke an endless rainfall. A bright yellow lightning bolt\, stylized as a cartoonish zigzag line made of painted steel\, is theatrically suspended from the ceiling. Both works thematize the importance of atmospheric events whose presence (or absence) profoundly influence our environment. Snails\, a much overlooked and even despised specimen\, are visually and metaphorically taking over the floor of the main gallery. In the Snail Walk series these animals are depicted on free-standing sculptures\, their iconic forms synthesized in black lines\, gliding over the shiny surface formed by white tiles. This introduces a new direction in Hopf’s ongoing confrontation with the medium of ceramics\, frequently tackled in previous works like the porcelain Ravens\, the Exhausted Vases\, or the clay Phone Users. The quadratic tiles and the grid-like pattern formed by their joints are part of her playful adaptation of minimalist tropes that has characterized her practice since its beginnings. Here in particular\, the artist is giving a nod to Henri Matisse and his Chapelle du Rosaire in Vence\, where the French painter created murals in a restrained\, quiet language by drawing simplified black silhouettes on white tile surfaces mounted to the walls. \nAt the same time\, Hopf bears in mind that ceramic\, one of the oldest cultural mediums\, is an extremely important technical material for contemporary technology: effectively withstanding extreme temperature changes\, it is widely used in the aerospace industry of our times as thermal barrier coatings found in aircraft engines. This potential high-tech performance is in juxtaposition to the narrative of the Snail Walks. The snails are blazing their trail over the sleek white tiles\, with vector arrows under their bodies humorously indicating the direction of their progress. Proverbially known for their slowness\, they advocate here for a different perception of speed. A snail’s pace is slow but steady and could reach\, without losing sight of the goal\, as much as 16 feet per hour. It is not fast\, but definitely not standstill traffic. The new silk screen series Snailshell Mountain & Landing Hoops take up the same issue. The Landing Hoops represent car tires\, which from a mechanical point of view are the means to transmit speed from the engine to the road. While cars have been symbol of mobility and speed throughout the entire 20th century\, the rubber wheels in Hopf’s prints illustrate a paradoxical situation: Instead of rolling endlessly on endless asphalt roads\, they are now devoid of their function\, resting on a stretch of grass\, or leisurely floating through the air – like a fetish object of past times that is no longer relevant. \nConcurrently\, an oversized grass blade is towering in the space. Monumental in scale with a height of 9\,7 ft\, the extreme enlargement confers a sense of abstraction on this sculptural object. We are forced to look up to something that we normally trample upon without paying any attention. This change of perspective\, both on a visual and metaphorical level\, is at the very heart of the entire exhibition. As the title LOOP STOP suggests\, what Hopf wants to stimulate is a critical scrutiny of our technology-driven\, achievement-oriented society that disrespects Nature\, its manifestations\, and needs\, and to emancipate ourselves from the endlessly self-repeating spiral of growth and progress. \n“I believe a leaf of grass is no less than the journey-work of the stars” – Walt Whitman
URL:https://kaufmannrepetto.com/exhibition/judith-hopf/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240329
DTEND;VALUE=DATE:20240505
DTSTAMP:20240405T150339Z
CREATED:20240403T194201Z
LAST-MODIFIED:20240405T150339Z
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SUMMARY:Goro Kakei
DESCRIPTION:Goro Kakei (1930 – 2021) established himself as one of the most influential characters in 20th century Japanese art through his highly individual approach to figuration. A pivotal sojourn in Mexico in the 1960s fueled his fascination with the native art of Central America\, emancipating his practice from Western canons and unleashing his eclectic creativity. For his first show in the United States\, kaufmann repetto is pleased to present a variety of works\, spanning from the 1980s to the 2020s\, encapsulating Kakei’s rich\, genre-defying practice in both sculpture and painting.  \nGoro Kakei graduated from the Tokyo University of the Arts in 1953 with a major in sculpture. In these foundational years the artist also discovered his faith in Christianity\, which became the central focus of his early production. The portrayals of religious subjects – Apostles\, Noah\, the Virgin Mary – provided the basis of his life-long dedication to the human figure. Soon acclaimed as one of the most interesting artistic positions of his generation\, Kakei was invited to represent Japan at the 8th Saõ Paolo Biennial in 1965. His trip to Brazil and other Central American countries eventually lead to a two-year stint as a visiting professor at the University of Veracruz from 1968 to 1970\, constituting a turning point for his entire practice. While in Mexico\, he explored the native art of Central America\, and became fascinated by the simplified\, more primitive depictions of the human body\, as well as by indigenous techniques such as wood carving. Upon his return to Japan\, Kakei had fully embraced this new formal and aesthetic freedom\, leaving behind the academic precepts that he had been taught\, as well as the hitherto predominant Christian subject matter. In this period\, the artist revealed a new consciousness for the political impact of his work\, recalling his crucial childhood years and the violence of World War II\, whilst also disclosing a more intimate\, emotional side through an eloquent nostalgia for his late mother Chau. In fact\, a series of sculptural commissions for the public space in his hometown of Shizuoka exemplify this maturation: the artist conceived naked female figures –  their abundant body shapes in erratic poses reminiscent of prehistoric mother goddesses –  imbued by profound speculations about the human condition. Another characteristic of this new approach is Kakei’s turn towards bricolage techniques\, assembling ‘poor’ materials such as wood\, paper\, wire and everyday objects to create phantasmagoric\, body-shaped objects. \nThe solo exhibition at kaufmann repetto presents a variety of works from the artist’s late stage production exemplary for these developments. A series of totemic wooden sculptures like Cabezon and Equine Face explicitly allude to the influence of Mexican native art and spirituality. Also the delicate clay work Untitled\, where a  slate bears facial features interwoven with the veins of a leave\, evokes the pantheism of indigenous populations. By contrast\, the grotesque figures of Cutie or Work-23 make use of minimalistic geometries and found objects\, their funny\, mask-like faces alluding to the representations of human beings by children. Kakei’s pictorial technique resembles his sculptural one: in the three oil paintings featured in this show\, intense blocks of color blend into compositional choreographies\, as bizarre faces\, and distorted bodies seem to overflow from the two-dimensional space. \nGoro Kakei’s solo exhibitions include Goro Kakei: Natsu no Mori\, Okawa Museum of Art\, Gunma (2011); Kita Ni\, Higashi Ni\, Asahikawa Museum of Sculpture in Honor of Teijiro Nakahara\, Hokkaido (1999); and The World of Goro Kakei’s Sculpture\, Contemporary Sculpture Center\, Tokyo (1984). Kakei’s group exhibitions include: STORIES\, Shizuoka Prefectural Museum of Art\, Shizuoka (2021); History of Modern Sculpture of Japan\, The Museum of Modern Art\, Ibaraki (1991) which traveled to the Tokushima Modern Art Museum (1991); the 8th Saõ Paulo Biennial (1965); and New Generation of Japanese Sculptors\, National Museum of Modern Art\, Tokyo (1963). \nGoro Kakei was the recipient of the 23rd Nakahara Teijiro Award in 1992; in 1981 he received the National Museum of Modern Art\, Tokyo Award and the Museum of Modern Art\, Kamakura & Hayama Award at the 9th Exhibition of Contemporary Japanese Sculpture\, as well as the Kotaro Takamura Prize in 1981. He’s been awarded with the Kobe Suma Rikyu Park Award at the 7th Exhibition of Contemporary Japanese Sculpture in 1977 and the Excellence Award at the 7th Teijiro Nakahara Sculpture Prize in 1976.  \nKakei’s works are held in the permanent collections of the The National Museum of Modern Art\, Tokyo; Gunma Museum of Art\, Tatebayashi and The Miyagi Museum of Art\, Miyagi\, among others.
URL:https://kaufmannrepetto.com/exhibition/goro-kakei/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240320
DTEND;VALUE=DATE:20240812
DTSTAMP:20251028T175257Z
CREATED:20251028T175219Z
LAST-MODIFIED:20251028T175257Z
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SUMMARY:clarissa tossin: whitney biennial 2024: even better than the real thing
DESCRIPTION:clarissa tossin: Whitney Biennial 2024: Even Better Than the Real Thing \n  \nMojo’q che b’ixan ri ixkanulab’ / Antes de que los volcanes canten / Before the Volcanoes Sing (2022)\, as its trilingual title indicates\, considers the translation and resignification of forms of language across the Maya diaspora\, including glyphs\, music\, healing\, and time-keeping practices. Building on Tossin’s earlier film Ch’u Mayaa (2017)\, about the modernist appropriation of Indigenous motifs\, Mojo’q che traces the movement of Maya peoples and their cultural belongings across multiple spaces and temporalities. At the John Sowden House in Los Angeles\, built by Frank Lloyd Wright Jr. in the twentieth-century style known as “Mayan Revival\,” Tossin documents Ixil Maya artist Tohil Fidel Brito Bernal drafting glyphs and calendars that seem to activate and heal the house’s appropriated details. K’iche ’Kaqchiquel poet Rosa Chávez\, the other film’s protagonist\, moves through the vernacular architectures of her community in the western highlands of Guatemala\, using poetry to articulate ritual practices that preserve Indigenous systems of knowledge. \nEchoing throughout Mojo’q che are sounds coming from 3D-printed replicas of Maya wind instruments—bird-shaped ocarinas and flutes representing Maya deities. That Tossin’s initial plan to activate certain wind instruments held in pre-Columbian museum collections was hampered by institutional systems of conservation and display speaks to the film’s wider task of reckoning with the gaps produced by acts of dislocation. Translation implies imagining what the \n(now static and silent) instruments were used for\, and animating them\, despite these gaps\, to generate alternate space-time configurations between past and present. \n– Mariana Fernández
URL:https://kaufmannrepetto.com/exhibition/clarissa-tossin-whitney-biennial-2024-even-better-than-the-real-thing/
LOCATION:Whitney Museum of American Art\, New York
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240316
DTEND;VALUE=DATE:20240520
DTSTAMP:20240419T101717Z
CREATED:20240419T100809Z
LAST-MODIFIED:20240419T101717Z
UID:21438-1710547200-1716163199@kaufmannrepetto.com
SUMMARY:American Odyssey
DESCRIPTION:“I make these paintings\, because I see painting going in a direction I don’t want. It’s either too sweet or too critical.” \nKatherine Bradford in conversation with Karen Wilkin\, When the Swimmers Climb Out of the Water\, New York 2018 \nHALLE FÜR KUNST Steiermark is delighted to host Katherine Bradford’s first comprehensive institutional exhibition in Europe. Bradford is conceived as one of the most important positions of contemporary American painting. The show will present fifteen crucial works of the last decade from collections in New York\, as well as a cycle of twenty-three new paintings\, which the artist produced especially for the exhibition. In her striking works over many decades\, Bradford has been developing a very personal ongoing story about painting\, which she tells and retells with ever new variations. In recent years\, she has taken this to an unprecedented level of the interplay of form\, color\, and light with ​“her” mysteriously present bodies. The presentations of these strange\, present\, and self-determined bodies in their highly expressive positions — standing\, sitting\, lying or suspended\, — leads to an astounding focus on something very essential. Even after such a long and eventful American Odyssey\, the artist remains positive about humanity — and she invites us to share the sentiment. Her art stands for a vibrant and yet inherently critical humanism which it is good to see in complex times such as ours. \nPainting can do all this if the painter can. Katherine Bradford doesn’t just do it\, she does it day after day. \nThe exhibition is accompanied by a continuous program of events and education\, and a comprehensive publication by JRP|Editions\, Geneva.
URL:https://kaufmannrepetto.com/exhibition/american-odyssey/
LOCATION:Halle fur Kunst Steiermark\, Graz
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240301
DTEND;VALUE=DATE:20240505
DTSTAMP:20240423T143727Z
CREATED:20240423T143535Z
LAST-MODIFIED:20240423T143727Z
UID:21522-1709251200-1714867199@kaufmannrepetto.com
SUMMARY:hawkins/gonzalez
DESCRIPTION:“Hawkins/Gonzalez” presents the compelling artistic visions of Rochester-based painter\, Cynthia Hawkins; and Binghamton-based sculptor\, Ronald Gonzalez. This two-person exhibition features 20 paintings and works on paper by Hawkins\, alongside over 80 of Gonzalez’s found object sculptures. Cynthia Hawkins’s paintings\, continue her extended exploration of mark-making\, and long-commitment to abstraction toward a symbolic language of shapes and signs. Ronald Gonzalez’s new series of bed sculptures\, showcased in various sizes\, exemplify his masterful use of found objects to transform the familiar into a symbol laden with meaning. This juxtaposition invites viewers to engage deeply with two divergent contemporary art practices and explore the nuanced expressions of these exceptional artists. \nAs Hawkins has stated\, “My practice is abstraction. I use a variety of resources to produce my work\, including natural forms\, astronomic forms\, and maps and interstellar locations. My work is a response to the visible and invisible\, the known and the mysterious.” Her work\, informed by a rich palette and explorations of form\, embody emotional landscapes that resonate with viewers. Hawkins’s long artistic journey reflects a commitment to pushing the boundaries of contemporary painting and her in-depth effort to evoke profound emotional experiences through her work. “I believe art has the power to reach beneath the surface\, to connect us to our emotions\, our shared humanity\, and the mysteries that lie beyond our understanding.”
URL:https://kaufmannrepetto.com/exhibition/
LOCATION:Rochester Contemporary Art Center\, Rochester
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240216
DTEND;VALUE=DATE:20240324
DTSTAMP:20240918T162903Z
CREATED:20240207T101232Z
LAST-MODIFIED:20240918T162903Z
UID:20955-1708041600-1711238399@kaufmannrepetto.com
SUMMARY:Elene Chantladze
DESCRIPTION:Dual exhibitions at kaufmann repetto and Anton Kern Gallery survey the different aspects of Georgian artist Elene Chantladze’s practice. At kaufmann repetto\, a span of works that include landscapes\, portraiture\, and still life exemplify her sensitive registers of mark-making and uses of unconventional materiality. The singular point of view in these drawings and paintings possess a diaristic intimacy while conjuring a rich image-repertoire of shared associations. at Anton Kern\, her different modes of world-building draw on art historical and literary traditions of the pastoral and the folk tale to explore the everyday and the speculative characteristics that buttress her portrayals of people and animals within the landscapes they inhabit. From washes of color to finer renderings evoking mood and atmosphere\, these works elaborate narrative potential through figures\, relations\, and mise-en-scène that are both familiar and fanciful. \nBorn by the sea in Supsa\, Georgia\, a town named after the river running by her home\, Elene Chantladze gathered stones\, wrote stories and plays\, kept diaries\, and read voraciously from a young age. For much of her life\, she has lived in Tskaltubo\, where warm radon-carbonate mineral springs coursing under the earth here brought fame to the region in the form of spas popular with the Soviets. While working in the area’s various sanatoriums and diagnostic centers to support her family\, she would collect the empty chocolate boxes discarded by doctors\, the old calendar pages the nurses gave her\, or any thrown-out items with surfaces suitable to make drawings and paintings. As proper paper was expensive and too scarce for her to procure\, Chantladze embraced these obscure materials to create visual corollaries for the fables that still contour her imaginary. \nHer drawings and paintings inhabit a dual space\, grounded in ordinary stuff of everyday life as well as reflecting a highly subjective representation of lived experience. Her approach to image-making is layered\, accreted with meaning through both the materials she uses and how she synthesizes personal history\, literature\, local custom\, and global events into her fantastic tableaux. The range of media she employs — from traditional paint and charcoal to more unconventional materials like kerosene and berry juice\, as well as natural elements such as stone and man-made detritus including paper plates and plastic lids — not only speaks to the primary relationship of Chantladze’s being in the world\, but also to the deep compulsion of the artist to create something from anything. Equally inspired by the surface differentiations on a rock found by the riverbank as in the stains and marks on the discarded scraps on which she draws and paints\, her quasi-fairy-tale compositions engage with vertiginous simultaneity\, idiosyncratic figuration\, and surreal narrativity. In her work\, there is a porosity of being\, children roam fields of flowers in which their own faces peer back at them\, animals approach as friends and hover as protecting spirits over landscapes rife with foliage\, lovers can be star-crossed and bridegrooms monstrous. However\, any perception of faux-naif sensibility belies a complex reparative impulse for portraying worlds in whose making Chantladze recenters her vision and subject position within a culture that has traditionally allowed for this kind of creative labor and self-taught practice to remain invisible. \nLike a folklorist attending to local myth and legends that bind community beliefs or an astrologer scrying the night sky for patterns in the sky congruent to our most human hopes and fears\, Chantladze’s work\, evokes the potential for the otherworldly to elucidate or reimagine the everyday. As Annina Zimmermann writes\, “Elene Chantladze is not creating new worlds\, but tracing life and arranging it into meaning.”¹ In this tracing and rearranging\, she discovers not only a sense of selfhood located within the psycho-aesthetic experience\, but remakes a world in which her perspectives—shifting and idiomatic—enliven her surroundings through both wonder and critique. \n—Miciah Hussey \n  \nElene Chantladze lives and works Tskaltubo\, Georgia. She has been the subject of solo exhibitions at Kunsthalle Zurich; Gallery Nectar\, Tbilisi; LC Queisser\, Tbilisi; Modern Art\, London\, and Fierman Gallery\, New York. With artist Ser Serpas\, she had an exhibition at Conceptual Fine Arts\, Milan\, and has been included the group exhibitions “girls\, girls\, girls\,” curated by Simone Rocha at Lismore Castle Arts in Lismore Ireland\, and more recently with Rooms Studio at M HKA in Antwerp Belgium. A publication The Gift to Irma with essays by Ser Serpas and Miciah Hussey is forthcoming. \n  \n¹Zimmermann\, Annina\, and Thomas Heimann\, “Encounter with the Forest People: Introduction to the universe of the artist Elene Chantladze” in Elene Chantladze. Tbilisi: Posta Press\, 2019. 97.
URL:https://kaufmannrepetto.com/exhibition/elene-chantladze-new-york/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240202
DTEND;VALUE=DATE:20240527
DTSTAMP:20240515T132305Z
CREATED:20240228T104117Z
LAST-MODIFIED:20240515T132305Z
UID:21137-1706832000-1716767999@kaufmannrepetto.com
SUMMARY:Andrea Bowers. Exist\, Flourish\, Evolve
DESCRIPTION:LA-based artist andrea bowers bears witness in her work\, drawing attention to and inspiring movement around the most urgent issues of our time. Her drawings\, sculptures\, installations\, and films chronicle and preserve history as it occurs\, documenting collective action and amplifying the labor and lived experiences of activists dedicated to socio-political change. \nDeveloped through an ongoing partnership with the Community Environmental Legal Defense Fund (CELDF) and activist Tish O’Dell\, Exist\, Flourish\, Evolve is a new\, multi-site\, multimedia campaign that builds awareness and action around the dangers facing Lake Erie and all of the Great Lakes ecosystems. It features a monumental neon sculpture installed on a waterfront balcony of the Great Lakes Science Center; a documentary investigating the impact of factory farming on Lake Erie’s ecosystem; and a presentation in moCa’s Lewis Gallery that includes a newly-created drawing of the Lake Erie Bill of Rights\, first-of-its-kind legislation protecting an entire US ecosystem that is part of the global Rights of Nature Movement. \nBowers was raised in the small town of Huron\, Ohio and spent her childhood on the shores of Lake Erie\, connecting to the lake itself like a member of her family to be cared for\, cherished\, and protected. Yet\, Lake Erie and its watershed are abused and endangered by corporate practices such as contaminant dumping\, toxic runoff from industrial farming\, and the introduction of non-native invasive species. Exist\, Flourish\, Evolve demands justice for the Great Lakes\, urging us to prioritize the preservation of our natural ecology over industrialization and capitalism. \nWithin moCa’s gallery\, a timeline connects Bowers’s new and recent artworks with historical facts and archival materials using two catastrophic climate events as bookends to Bowers’s life thus far: the 1969 fire on the Lake Erie-connected Cuyahoga River (a result of oil slicks covering the water) and the massive 2014 algae bloom that blanketed Lake Erie and invaded Toledo’s water systems\, preventing residents from using tap water. \nFrom the Maumee to the Cuyahoga\, the works in Exist\, Flourish\, Evolve come together to share the histories of our water\, demonstrate the interconnectedness of ourselves and our natural world\, and remind us\, as Dr. Vandana Shiva states\, “nature is not out there; we are a part of it.”
URL:https://kaufmannrepetto.com/exhibition/andrea-bowers-exist-flourish-evolve/
LOCATION:Museum of Contemporary Art Cleveland\, Cleveland
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240131
DTEND;VALUE=DATE:20240329
DTSTAMP:20240328T102915Z
CREATED:20240127T135301Z
LAST-MODIFIED:20240328T102915Z
UID:20879-1706659200-1711670399@kaufmannrepetto.com
SUMMARY:Elene Chantladze
DESCRIPTION:The gale is raging over the river\nLike a beast \nA fondling weeping willow\nSlips away from the levee\, with murmur \nCloaks in its lap\nA startled carp\nTiny fingerlings \nAs disassembled rafts\nWaves carry forth\nAn ensemble of leaves \nA cunning jackal mimics\nThe screeching of the wind \nThe jackal and the wind are polyphony-howling till dawn \nWeeping-haired and warring willow twigs\nIn solitude\, protect still\nThe tiny fingerlings –\nForsaken\, lone \n  \npoem by Elene Chantladze\ntranslated by Ana Gzirishvili\nfrom Elene Chantladze\, Simon Lässig\, Stories for children\, 2023 \n  \nElene Chantladze has spent a lifetime telling stories\, keeping diaries\, imagining theatrical plays\, composing poems and\, maybe most importantly\, painting. Her exhibitions at kaufmann repetto Milan and New York present a selection of works that encapsulate the variety and versatility of Elene Chantladze’s poetic. \nAmong the roughly mixed acrylic and watercolors\, occasional splashes of gasoline\, strokes of mulberry fruit and traces of a ballpoint pen\, are layered over crumpled paper\, unevenly cut pages from an outdated calendar\, rocks found on the shores of the Black Sea\, disposable plastic plates with leftover cake stains from her grandchildren’s birthday party. \nThe materials Chantladze uses derive from her immediate environment\, much like the folkloristic\, familiar subjects of her paintings. She usually starts by painting the background densely\, and often proceeds to populate the landscape before the pigments finish to dry. Some might compare her practice to the imagination that children have when outlining creatures in the cloudy sky\, a sense of wonder and creativity one often loses during adulthood. So a yellow stain on a messy green background becomes a duck with the simple addition of a dark orange dot for its beak\, and a constellation of colorful dabs becomes a bouquet of flowers\, enormous compared to the pale female figure beside it. \nElene Chantladze’s art is ultimately a reflection of her existence\, the dreamy atmosphere and fable-like scenarios in her paintings adopt a powerful\, relatable language. Her work is not formally defined by her approach to the medium\, but depicted through a naive poetic surrealism\, an invitation to rediscover the world through the eyes of an outsider\, far from the influence of major cities and art centers. \n  \nElene Chantladze was born in Supsa\, Georgia\, in 1946. She lives and works in Tskaltubo\, Georgia. Her works have recently seen a rise in popularity\, being displayed in solo exhibitions at M HKA Antwerp and Kunsthalle Zurich (2023).
URL:https://kaufmannrepetto.com/exhibition/elene-chantladze/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240131
DTEND;VALUE=DATE:20240329
DTSTAMP:20240716T100210Z
CREATED:20240127T134104Z
LAST-MODIFIED:20240716T100210Z
UID:20913-1706659200-1711670399@kaufmannrepetto.com
SUMMARY:Vivian Suter. Tintin Nina Disco
DESCRIPTION:kaufmann repetto is pleased to announce Vivian Suter’s exhibition Tintin Nina Disco\, including more than fifty large scale works resulting from the artist’s decades-long research immersed in the lush Guatemalan rainforest. This series of canvases epitomizes Suter’s creative alliance with the vicissitudes of terrain and weather\, introducing us to the incessant rhapsody of nature and its deep connection with the artist’s practice. This resonates also in the fluid\, non-hierarchical presentation of the works\, often overlapping\, suspended and swaying in the space\, absorbed in the ecosystem and spirit of the artist’s surroundings. \nVivian Suter was born in Buenos Aires\, Argentina\, in 1949\, from Austrian migrants. When the government threatened to take over their business in the sixties\, the family moved to Basel\, Switzerland\, where Vivian Suter studied before departing on a long series of journeys through Europe\, Africa\, the Middle East and Asia. During her travels she made collages\, drawings\, sculptures and took photographs along the way\, and since her early works\, one could notice how rooted the idea of pilgrimage\, movement and change was in her practice. As soon as her career began to take off she moved once again\, far from the spotlight of the European art scene. \nVivian Suter has been living in a house she built on a former coffee plantation\, near the lake on the slopes of Panajachel\, Guatemala\, since the eighties. Her art\, which has always breathed and embodied the contexts in which she worked\, was formed as an act of mapping\, marking and naming her surroundings. The tropical rainforest is\, in fact\, an active character in the plethora of conditions that contribute to the genesis of the artwork. The canvases carry traces of their environment: rain water and mud stains\, scratches from the tree branches\, and even some paw prints of Tintin\, Nina or Disco\, the beloved dogs that roam in Suter’s open air studio. \nThe rich colors that are abstractly painted on the canvases recall pristine water bodies\, butterfly patterns\, foggy sunlight. Vivian Suter’s pictorial intervention always reveals a beautiful collaboration with the context she lives in\, and her artworks aim to transform the environment of every exhibition space they inhabit. The surface of the painting serves as a testimony for nature’s morphing – the canvas is a precarious living material\, and\, other than representing nature\, the artist witnesses its gradual decay and its vibrant regeneration. This approach towards the materiality of the unframed canvas imposes a shift in appreciation for the object’s preciousness.\nAdam Szymczyk\, who included Suter in both his Athens and Kassel setting for documenta 14\, writes about the artist’s radical perspective in his essay Against the Evil Eye: \n“Thus\, nature – itself the lure for and source of colonialism\, its raw material extracted by both the culture and industry of colonizers – serves as a respectful\, protective cover that prevents looting and looking and alleviates the effects of the “evil eye” elsewhere called the colonial gaze.”¹ \nIt seems like whenever Suter’s works are shown in an exhibition space\, the circular process of the painting’s coming into being briefly interrupts\, conceding a moment gratitude and awe for nature’s unstoppable\, never-ending flow\, as the object’s final purpose is to be swallowed back into the elements that made it. \n  \n¹Adam Szymczyk\, Against the Evil Eye: Vivian Suter’s Intrepid Painting in Vivian Suter\, The Power Plant Toronto\, Hatje Cantz Verlag\, Berlin\, 2019 \n  \n  \nkaufmann repetto è lieta di annunciare Tintin Nina Disco\, mostra personale di Vivian Suter con oltre cinquanta opere di grandi dimensioni frutto della pluridecennale ricerca immersiva dell’artista nella lussureggiante foresta pluviale guatemalteca. Questa serie di tele incarna l’alleanza creativa di Suter con le vicissitudini climatiche e territoriali\, presentando la costante rapsodia della natura e il suo intimo legame con la pratica dell’artista. Legame che ritorna nella presentazione fluida e non gerarchica delle opere\, spesso sovrapposte\, sospese e ondeggianti nello spazio\, immerse nell’ecosistema e nello spirito dell’ambiente in cui l’artista vive \nVivian Suter è nata a Buenos Aires\, Argentina\, nel 1949\, da immigrati austriaci. Quando negli anni Sessanta il governo minacciò di espropriarne l’attività\, la famiglia si trasferì in Svizzera\, a Basilea\, dove Vivian Suter compì gli studi prima di imbarcarsi in una lunga serie di viaggi attraverso Europa\, Africa\, Medio Oriente e Asia. Durante i suoi viaggi eseguì collage\, disegni\, sculture e scattò fotografie\, e fin dai suoi primi lavori si può apprezzare quanto il peregrinare\, il movimento e il cambiamento siano concetti radicati nella sua pratica. Non appena la sua carriera cominciò a decollare\, Suter si trasferì ancora\, lontano dai riflettori della scena artistica europea. \nDagli anni Ottanta vive in una casa da lei costruita in una ex piantagione di caffè\, sulle pendici di Panajachel in riva al lago Atitlán\, Guatemala. La sua arte\, che ha sempre respirato e incarnato il contesto in cui lei operava\, si è sviluppata come un’azione di mappatura che contrassegna e nomina l’ambiente circostante; ed effettivamente la foresta tropicale è un soggetto attivo nella pletora di condizioni che contribuiscono alla genesi della sua opera. Le tele recano tracce dell’ambiente: acqua piovana e macchie di fango\, graffi provocati da rami di alberi\, addirittura impronte delle zampe di Tintin\, Nina o Disco\, gli amati cani che scorrazzano nello studio all’aperto di Suter. \nI colori vivaci delle opere ricordano acque incontaminate\, forme di farfalle\, luce che filtra tra le nebbie. L’intervento pittorico di Vivian Suter disvela sempre un’incantevole collaborazione tra il contesto in cui vive e l’obiettivo che le sue opere hanno di modificare gli spazi espositivi da esse popolati. La superficie delle tele funge da testimone della trasformazione della natura – la tela è un materiale vivente precario e\, oltre a rappresentare la natura\, l’artista ne testimonia il decadimento graduale e la dinamica rigenerazione. Tale approccio nei confronti della pittura impone una nuova comprensione dell’opera\, che porta infine a una rivalutazione della sua matericità. A proposito della prospettiva radicale dell’artista\, Adam Szymczyk\, che ha incluso Suter in entrambi le sedi di Atene e Kassel per documenta 14\, scrive nel suo saggio Against the Evil Eye: \n“In tal modo la natura – essa stessa richiamo e fonte di colonialismo\, le sue materie prime estratte da entrambe cultura e industria dei colonizzatori – funge da riparo rispettoso e protettivo che impedisce saccheggio e ricerca\, e allevia gli effetti del ‘malocchio’\, altrimenti detto sguardo coloniale”¹. \nÈ come se ogni volta che le opere di Suter vengono presentate in uno spazio espositivo\, il processo circolare del venire in essere della pittura si interrompesse brevemente\, concedendo un momento di gratitudine e stupore verso il flusso inarrestabile e infinito della natura\, dato che il fine ultimo dell’oggetto è quello di essere riassorbito negli elementi che lo costituiscono. \n  \n¹Adam Szymczyk\, Against the Evil Eye: Vivian Suter’s Intrepid Painting in Vivian Suter\, The Power Plant Toronto\, Hatje Cantz Verlag\, Berlin\, 2019
URL:https://kaufmannrepetto.com/exhibition/viviansuter-kaufmannrepetto/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231201
DTEND;VALUE=DATE:20241201
DTSTAMP:20231216T152906Z
CREATED:20231216T152548Z
LAST-MODIFIED:20231216T152906Z
UID:20775-1701388800-1733011199@kaufmannrepetto.com
SUMMARY:thank you darling
DESCRIPTION:lily van der stokker is one of the Netherlands’ most celebrated contemporary artists. In 1983 she moved to New York\, opening a small artist-run gallery space in the East Village and has since lived alternately in both New York City and Amsterdam. \nFor over 30 years\, van der Stokker’s drawings and monumental wall paintings have subverted artistic convention and aesthetic expectations\, employing an Easter candy color palette to depict clouds\, flowers\, swirls\, and other traditionally feminine or decorative motifs. Van der Stokker annotates these compositions with handwritten text—spelling out intimate thoughts\, personal musings\, notes-to-self and social niceties. Her visual language is nostalgic and comforting; her playful squiggly patterns are more likely at home in the margins of a student’s notebook as they mindlessly doodle or test out their first name with the surname of a crush than they are within the white walls of a gallery. In fact\, van der Stokker’s practice is in some ways defined by this incongruity. She notes\, “if I make an artwork about family problems\, administrative tasks\, or the common flu…I’m bringing in a whole spectrum of new subject matter that is normally absent in art.” By placing on a pedestal what has traditionally been viewed as feminine or domestic\, and thus superfluous and inconsequential within the realm of “serious” visual art\, van der Stokker reclaims what has long been disregarded and overlooked. \nIn a 1990 New York Times review of van der Stokker’s debut exhibition\, critic Roberta Smith remarked\, “the messages conveyed in this terminally cheerful manner usually have a double edge.” Van der Stokker’s work\, which she has referred to as “feminist conceptual pop art\,” is undeniably joyful and positive\, however\, it often simultaneously speaks to weighty themes—aging\, health\, and\, more generally\, the lived experience of being a woman within patriarchal structures. Hidden in plain sight\, disguised by the veneer of her compositions’ cute and charming appearances\, is reality. Occasionally mundane\, sometimes cheery\, and at other moments\, cynical or intimate—“a baby\, another baby…all my no baby friends live in N.Y.\,” a past mural reads. One divulges\, “whoopy doo…I am…really ugly…sorry\,” in cartoonish thought bubbles. “My mother will loan me €80\,000 to help me buy the house\,” another reveals. Van der Stokker considers the texts to be the primary component of her work\, and with each work she lays bare a vulnerable inner-world for all to see—if they’re willing to look beyond the candy-coated facade. \nOn the High Line\, van der Stokker presents Thank You Darling\, a monumental\, site-specific mural. Thank You Darling is painted on the side of a building\, turning the architecture and shape of the edifice into the frame for the artist’s pastel and fluorescent-hued work. The light blue background is dotted with multi-colored\, simple flowers in a decorative all-over pattern that appear to float across the facade—some just coming into view from the edges of the frame. Superimposed over this\, read the words “THANK YOU DARLiNG\,” spelled out in a juvenile\, arbitrary blend of lower and upper-case lettering. Van der Stokker’s puffy bubble-letters are a classic example of playful adolescent penmanship\, seemingly lifted right out of a teenager’s diary. In this location on 22nd street\, Thank You Darling actively engages with its audience\, expressing gratitude to all those who pass\, while reclaiming\, at massive scale\, intimate language that is often mocked or disparaged as being feminine and unserious.
URL:https://kaufmannrepetto.com/exhibition/thank-you-darling/
LOCATION:High Line\, New York
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231124
DTEND;VALUE=DATE:20240126
DTSTAMP:20240113T152351Z
CREATED:20231114T175244Z
LAST-MODIFIED:20240113T152351Z
UID:20375-1700784000-1706227199@kaufmannrepetto.com
SUMMARY:Dancers and Mourners
DESCRIPTION:kaufmann repetto is pleased to announce Dancers and Mourners\, adrian paci’s ninth solo exhibition with the gallery. The artist presents a new body of work on canvas\, resulting from his ongoing research around the spiritual\, the ritual and the collective act of celebration\, portrayed through the lens of found footage\, amateur videos and authorial cinema. \nAdrian Paci’s multi-media practice stems from training as a painter at the Art Academy of Tirana in the early 1990s. Gaining popularity through videos such as Albanian Stories (1997) – his work was represented at the Albanian pavilion\, 48th Venice Biennale; Manifesta 2000 – over the years Paci developed a very personal approach to painting. While fluctuating between a variety of mediums\, he has always described himself as “a painter who makes videos and other things”. For Paci\, the use of existing images as subjects of his paintings becomes an occasion to analyze the withdrawal of subjective authorship and to explore the enigma and ambiguity of the image\, further liberating figurative painting from its representational and ideological duties. \nIn a conversation about his relationship to painting with curator Alessandro Rabottini\, Paci stated: “When you select one particular frame from a larger story\, in a way you save it from its single role as a carrier of information: you put it in a space of contemplation\, you open up a possibility for doubt and complexity. We are used to perceiving images taken from a video as “documents” since they embody a factual proximity to the event that they record. Painting allows you to detach that image from the narrative and to create a small shift\, which is precisely the space within which that image can vibrate and breathe.”\n(excerpt from: De Bellis\, Vincenzo; Rabottini\, Alessandro\, Strata: Italian Art since 2000 – The Words of the Artists\, Les presses du réel\, Milan\, 2023) \nThe series Dancers and Mourners is based on multiple stills from diverse sources: videos of weddings and celebratory rituals in Albania\, film d’auteur\, frames taken from various documentaries. The continuous human presence\, moments of daily life and bodies that fade into phantom-like presences\, are among the recurring elements represented with a vibrant gesture in Paci’s work. These subjects belong to an existential theater\, both organized and anarchic\, where the familiar nature of tradition blends with an erratic sense of unpredictability. Something solemn materializes from Paci’s brushstrokes\, a feeling of awakening\, channeled by ancient memories and cultural references\, now breathing new life on the artist’s canvas. \nThe pivotal role of the video in Adrian Paci’s practice is further explored in a dedicated room. For a couple of weeks each\, a series of recent video works will be screened throughout the duration of the exhibition. An eventful public program will dissect each work with the participation of curators\, artists and scholars in the gallery. \n\n\n\nOn Thursday\, December 14th at 6pm\, Corrado Gugliotta\, owner and founder of art gallery Laveronica\, Modica\, will talk about the reenactment of the ritual of Madonna Vasa Vasa as a secret and nocturnal meeting between the two statues that gave birth to the video U’ncuontru (2021)\, which will be screened. \nOn Thursday\, January 11th at 6pm\, a joint talk by writer and researcher Anna Castelli and philosopher Gianluca Solla will take place to explore the importance of the act of observation and the question of potentiality in Adrian Paci’s Vedo Rosso (2020)and Prova (2019). \nOn Thursday\, January 25th at 6pm\, musician Admir Shkurtaj\, with whom Paci collaborated for the the production of the video Shamatà (2021)\, will conclude the public program with a musical performance at the finissage of Adrian Paci’s exhibition. \nFull screening calendar:\n24.11.2023 – 11.12.2023 The Wanderers\n12.12.2023 – 03.01.2024 U’ncuontru\n04.01.2024 – 11.01.2024 Vedo Rosso\n11.01.2024 – 20.01.2024 Prova\n21.01.2024 – 25.01.2024 Shamatà
URL:https://kaufmannrepetto.com/exhibition/adrian-paci-dancers-and-mourners/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231117
DTEND;VALUE=DATE:20240917
DTSTAMP:20260908T165146Z
CREATED:20251018T133744Z
LAST-MODIFIED:20260908T165146Z
UID:26235-1700179200-1726531199@kaufmannrepetto.com
SUMMARY:Fantasmagoria Callas
DESCRIPTION:latifa echakhch: fantasmagoria callas \n  \nCreated by the french-moroccan artist Latifa Echakhch\, the installation belongs to one of her suspendend scenes devices. We are right in front of a curtain. A curtain of pearls attached to a puff of wires that descend from the ceiling. The phantasmal shadow of the great diva shines through the curtain of  the tiny white and red pearls. A curtain of tears and blood\, an aparition of beauty and fragility\, as told by Echakhch\, an artist who has accostumed us to explore the in-between places of things.
URL:https://kaufmannrepetto.com/exhibition/fantasmagoria-callas/
LOCATION:Museo Teatrale alla Scala\, Milan
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231111
DTEND;VALUE=DATE:20240107
DTSTAMP:20231116T225911Z
CREATED:20231111T115931Z
LAST-MODIFIED:20231116T225911Z
UID:20361-1699660800-1704585599@kaufmannrepetto.com
SUMMARY:studio visit
DESCRIPTION:  \nkaufmann repetto is pleased to announce Studio Visit\, billy sullivan’s sixth solo exhibition with the gallery. \nBilly Sullivan has been accumulating a substantial visual diary of art works and images for the past fifty-something years\, beginning at a time when many of his friends and cohort — circulating in the wide orbitals around Max’s Kansas City\, the Factory\, and Downtown in general — engaged in various forms of self-documentation simply as a matter of habit\, and often just for fun. Indeed\, this diaristic impetus is the thread that runs through Sullivan’s entire career\, and which forms a coherent body from the range of his painterly and photographic mediums and techniques\, the evolution of his palette over time\, the technological shift from 35mm slides to digital captures\, as well as the diverse cast of subjects and characters that wend their ways through his work\, often to reappear at unexpected moments. \nIn the most recent works in Studio Visit\, completed over the past five years in both oil on linen and pastel on paper\, Sullivan evokes encounters and dialogues with other artists as well as designers and writers — colleagues living and deceased\, well-known and emergent\, queer and not\, newer and longtime friends. \nCertain portraits encapsulate a studio visit by playfully quoting the other’s work — the revealingly bent-over figure in the background of Carroll Dunham’s profile; Parisian designer Irié ensconced on an abundantly floral motif seemingly sprung from his own patterned fabrics; and painter Anthony Cudahy\, whose husband (photographer Ian Lewandowski) appears ready to step over the threshold of a life-scale pictorial space. Two other portraits memorialize a departed artist’s personal energy — sculptor Barry Le Va\, still formidable in his wheelchair; and Rose Royale (the “drag ego” of artist Ed Shostak) rendered in a flurry of red\, hot pink\, and black. Even a still life composition doubles as an artist’s portrait\, as with the vase of flowers\, tambour table\, and deep blue carpet from Elaine Reichek’s 2022 Matissean installation. \nSometimes Sullivan catches the sitter in a lull or a moment of reflection — painter Louis Fratino leaning forward in his studio; artist and writer Sunny Suits\, set against the studio throng of Sullivan’s mural-scale 1992 drawing Gwalior Wedding; or art critic Brooks Adams (Sullivan’s boyfriend)\, presiding in the garden in his undone red-striped robe. Other times the retrieved moment translated into paint bears a more layered history\, as with the double portrait of Amy Sullivan (the artist’s first spouse) and Carol LaBrie (the pioneering Black fashion model) at Deux Magots in Paris on a November day in 1975 — which remakes an original pastel drawing destroyed by fire at The Locale (one of Mickey Ruskin’s long-gone restaurants). \nDesigner Ricky Clifton makes two notably social appearances\, in a painting and a pastel — first\, chatting with photographer Nan Goldin in a red-paneled bookstore nook after a reading by painter Peter McGough\, who eavesdrops in the foreground — and then sprawled on a sofa with artist Kayode Ojo. Sullivan also gestures implicitly to the community of his own gallery\, as he pays visits to the home of painter Nicolas Party and his wife\, novelist and editor Sarah Blakely-Cartwright\, and to the studio of painter Katherine Bradford. Even the gallery’s sister-owners take turns in the limelight — Francesca Kaufmann\, posing in Prada and Marni in Freeman’s Alley; and Chiara Repetto\, bellying up to Sullivan’s kitchen counter. \nThe exhibition concludes in the gallery’s lower-level space with a salon-style installation of thirty-odd works selected from the full span of Sullivan’s career to date\, as if to imagine the studio visit itself — with all its many layered temporal and spatial encounters\, juxtapositions\, and echoes — restaged for display across a single physical plane.
URL:https://kaufmannrepetto.com/exhibition/studio-visit/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231104
DTEND;VALUE=DATE:20240219
DTSTAMP:20231130T143251Z
CREATED:20231121T131211Z
LAST-MODIFIED:20231130T143251Z
UID:20455-1699056000-1708300799@kaufmannrepetto.com
SUMMARY:WHEN TOMORROW COMES
DESCRIPTION:nicolas party. when tomorrow comes \nNicolas Party’s exhibition at the Museum Frieder Burda is the Swiss artist’s first museum presentation in Germany. Party has transformed the entire ensemble of rooms in Richard Meier’s distinctive building\, located in the middle of a park landscape\, into a conceptionally planned painting universe that visitors can enter. Impressive groups of luminous pastels as large murals\, and small oil paintings on copper intervene in the museum’s architectural spaces\, creating an exceptionally magical power of attraction. \nThe artist\, who was born in 1980\, is known for conceiving his exhibitions as large-scale immersive stages in which the palette of his works\, which are filled with art-historical and stylistic references\, spill over onto the white walls of the exhibition space. This makes the visitor’s yearning for white walls\, after being moved by the sensuousness of art\, strikingly apparent. \nMurals painted directly on the wall show cascades of a waterfall\, a burning forest\, airy cloud formations and mountain panoramas\, or a landscape with ruins. They contrast with meticulously painted\, mysterious portraits of women with flowers\, still lifes of unidentified fruits or vegetables\, and miniature paintings depicting dinosaurs\, an expression of the artist’s recent fascination with prehistoric creatures. \nThe extensive exhibition in Baden-Baden enables visitors to immerse themselves in the artist’s unique practice and his visual meditations on the relationship between nature and humans as well as on the course of time in the world. Party’s singular visual language and subversive style allow him to condense his images into a fantastical and future-oriented cosmos of images that seems particularly topical today. \nThe artist once said\, “It’s interesting for me to think about the apocalypse and art history\, of Sodom and Gomorrah\, and other historical paintings of fires that represent the end of the world. We believe\, and we feel\, that we are at the end of our human path as global warming brings us to ecological crisis\, but this feeling has been almost a constant\, from Noah’s Ark and various apocalyptic tales in the Bible to the nuclear bombings of World War II.” \nTo cite a saying\, “It could have all happened another way.” Nicolas Party’s exhibition\, which was curated by Udo Kittelmann\, transfers this realization into a hypothetical tomorrow – one that is full of hope. \nNicolas Party (*1980 in Lausanne\, Switzerland) lives and works in New York. He is represented in numerous prestigious collections and has had major solo museum exhibitions in the US\, Europe and Asia.
URL:https://kaufmannrepetto.com/exhibition/when-tomorrow-comes/
LOCATION:Burda Museum\, Baden-Baden
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231101
DTEND;VALUE=DATE:20240318
DTSTAMP:20231214T103331Z
CREATED:20231010T110206Z
LAST-MODIFIED:20231214T103331Z
UID:19913-1698796800-1710719999@kaufmannrepetto.com
SUMMARY:Per analogiam
DESCRIPTION:Gianni Caravaggio. Per analogiam \ncurated by Elena Volpato \nGAM is happy to present the anthological exhibition of Gianni Caravaggio\, whose work has been part of the museum’s collection since 2001. The exhibition consists of a nucleus of works created over a period of almost thirty years\, from 1995 to the present. Five new works have been produced for the occasion. \nOne of these\, a black marble leaf\, entitled Quando nessuno mi vede(When nobody sees me)\, has been placed in the museum’s garden\, in the shade of a bush. Within the museum itself\, it is echoed by a green marble sculpture\, mirroring the first\, entitled Alla luce del sole(In daylight). Other works respond to each other along the way\, drawing relationships and mirror images. \nWhat emerges from the exhibition as a whole is the evocative power of the works and images which\, in presenting themselves\, always also refer back to further images and further meanings. The thought that recognises such cross-references is a thought per analogiam\, by analogy\, where every form is also a metaphor and where in every grain of matter one can recognise inscribed the emblem of the whole. Thought by analogy finds the memory of the infinite in the finite and the presence of what is above usin the smallest reality: among the works\, visitors will find a cloth laid on the ground\, a black blanket embroidered with white stars\, arranged in a precise order. Their arrangement repeats the position of the constellations above Turin on 31 October at six o’clock in the evening\, the day and time of the opening. Visitors will thus find themselves included in a perfect mirror image between the microcosm of embroidery and the sky above the museum. \nThe exhibition dedicated to the work of Gianni Caravaggio is the third in a cycle devoted to the work of Italian artists\, each time juxtaposed with certain poetic reflections. The first exhibition in 2021 dealt with the thought of contradiction in a collective of five artists. The second considered metamorphic thinking\, in the exhibition Hic sunt dracones of 2022\, in a dialogue between an artist and a collective. In this solo exhibition\, thinking by analogy is emphasised. \n“In all these exhibitions\, the area for reflection has been suggested by the expressive fabric of the exhibited works. We avoided presenting collectives of many artists to ensure that the theme did not overlap like an over-determined interpretative grid\, but that it was the individual voice of the works that specified the paths of thought\,” writes Elena Volpato. “Contradiction\, metamorphosis and analogy are three territories of the indefinite that since its birth\, philosophy has tried to expunge as aberrant forms\, contrary to logic\, rationality and deductive scientific thought\, relegating them to the space of myth\, symbolic and pre-scientific imagination. However\, they represent not only some of the most natural processes by which the human mind gives meaning to the experience of the world\, but are the very birthplace of poetic and artistic expression. In this sense\, the paths developed in the three exhibitions are neither ‘themes’ nor ‘content’. They are the essential core of the nature of what we call art\, whose authenticity lies in the forms of excess of meaning\, in a beyond of meaning that goes beyond the plane of literal reality. The work of art lives in that space of expression that is ineffable yet necessary\, and it is there that any reading or attempt at interpretation must try to encounter it.” \nThe exhibition is accompanied by the publication of a catalogue by Corraini Edizioni\, with texts by Gianni Caravaggio\, Elena Volpato and Federico Ferrari. \nWe would like to thank the Fondazione Guido ed Ettore De Fornaris and the Fondazione per l’Arte Moderna e Contemporanea CRT that have acquired some important works by Gianni Caravaggio for the GAM collection in recent years. \n  \n  \n  \na cura di Elena Volpato \nLa GAM è felice di presentare la mostra antologica di Gianni Caravaggio\, entrato a far parte della collezione del museo sin dal 2001. L’esposizione si compone di un nucleo di opere realizzate nell’arco di quasi trent’anni di lavoro\, dal 1995 ad oggi. Cinque nuove opere sono state prodotte per l’occasione.\nUna di queste\, una foglia di marmo nero\, intitolata Quando nessuno mi vede\, è stata collocata nel giardino del museo\, all’ombra di un cespuglio. All’interno le fa eco una scultura di marmo verde\, speculare alla prima\, intitolata Alla luce del sole. Altre opere si rispondono l’un l’altra nel percorso\, tracciando relazioni e rispecchiamenti. \nDall’intera mostra emerge il potere evocativo delle opere e delle immagini che\, nel presentare se stesse\, rimandano sempre anche a ulteriori immagini e ad ulteriori significati. Il pensiero che riconosce tali rimandi è il pensiero per analogiam\, dove ogni forma è anche metafora e dove in ogni granello di materia si può riconoscere inscritto l’emblema del tutto. Il pensiero per analogia trova nel finito la memoria dell’infinito e nella più piccola realtà la presenza di quanto ci sovrasta: i visitatori troveranno tra le opere un panno posato a terra\, una coperta nera ricamata di stelle bianche\, disposte in un preciso ordine. Il loro disegno ripeterà la posizione delle costellazioni sopra Torino il 31 ottobre alle sei della sera\, giorno e orario di inizio dell’inaugurazione. I visitatori si troveranno così inclusi in un perfetto rispecchiamento tra il microcosmo del ricamo e il cielo sopra il museo. \nLa mostra dedicata all’opera di Gianni Caravaggio è la terza di un ciclo rivolto al lavoro di artisti italiani\, di volta in volta accostato ad alcune riflessioni di poetica. La prima esposizione del 2021 trattò il pensiero dalla contraddizione in una collettiva di cinque artisti. La seconda ha considerato il pensiero metamorfico\, nella mostra Hic sunt dracones del 2022\, in un dialogo tra un’artista e un collettivo. In questa personale si evidenzia il pensiero per analogia. \n“In tutte queste esposizioni il piano della riflessione è stato suggerito dal tessuto espressivo delle opere esposte. Si è evitato di presentare delle collettive di molti artisti per far sì che il tema non si sovrapponesse come una griglia interpretativa sovradeterminata\, ma fosse la voce individuale delle opere a precisare i percorsi del pensiero. – scrive Elena Volpato – Contraddizione\, metamorfosi e analogia sono tre territori dell’indefinito che la filosofia\, sin dalla sua nascita\, ha cercato di espungere come forme aberranti\, contrarie alla logica\, alla razionalità e al pensiero scientifico deduttivo\, relegandole allo spazio del mito\, dell’immaginazione simbolica e prescientifica. Rappresentano però\, non solo alcuni dei processi più naturali con cui la mente umana dà senso all’esperienza del mondo\, ma sono il terreno stesso di nascita dell’espressione poetica e artistica. In questo senso\, i percorsi sviluppati nelle tre esposizioni non sono né “temi” né “contenuti”. Sono il nucleo essenziale della natura di quanto chiamiamo arte\, la cui autenticità sta nelle forme di eccedenza del senso\, in un oltre del significato che supera il piano della realtà letterale. L’opera d’arte vive in quello spazio dell’espressione che è ineffabile eppure necessario ed è lì che ogni lettura o tentativo di interpretazione dovrà provare ad incontrarla.” \nLa mostra è accompagnata dalla pubblicazione di un catalogo di Corraini Edizioni\, con scritti di Gianni Caravaggio\, Elena Volpato e Federico Ferrari. \nSi ringraziano la Fondazione Guido ed Ettore De Fornaris e la Fondazione per l’Arte Moderna e Contemporanea CRT che hanno acquisito negli anni passati alcune importanti opere di Gianni Caravaggio per la collezione della GAM
URL:https://kaufmannrepetto.com/exhibition/gianni-caravaggio-per-analogiam/
LOCATION:GAM\, Torino
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231019
DTEND;VALUE=DATE:20231020
DTSTAMP:20231214T111539Z
CREATED:20231214T111539Z
LAST-MODIFIED:20231214T111539Z
UID:20686-1697673600-1697759999@kaufmannrepetto.com
SUMMARY:Decade of Emotion
DESCRIPTION:British artist Anthea Hamilton\, known for her installations\, sculptures\, and performances\, is premiering Decade of Emotion in the Auditorium at the Bourse de Commerce\, the story of a fictional rock group modelled on the progressive rock movement of the 1960s and 70s. \nInspired by a musical genre that is both old-fashioned and modern\, these whimsical yet assertive musicians waver between formalism and eclecticism\, poetry and technicality. The music\, stage design\, and costumes of Decade of Emotion\, with their multiple influences\, emulate the aesthetics of progressive rock to create a narrative territory of personal histories\, ghosts\, and confessions. At each moment\, the work explores the boundaries between inter-generational reality and the formation of musical taste. \nDecade of Emotion came to Anthea Hamilton in a vision of the open-air inner courtyard at the National Museum of Ethnology in Osaka\, designed by Japanese architect Kisho Kurokawa (1934-2007)\, in which reproductions of works of past civilizations are exhibited on a large plinth of ink-coloured stone. In this space\, the heaviness of the stone figures evokes minimalist art and ambiguity\, gravity and ornamentation\, and a constant dialogue of materials and forms. Anthea Hamilton explains: “I wanted to use this image as a model for a progressive rock group\, as a sonic and visual exploration\, and above all\, it allowed me to work for the first time with sound at a large scale.” \nDecade of Emotion resembles the formation of an ephemeral music group\, a trajectory of celestial bodies confined to one day\, one concert\, one album\, and just one song.  Together\, the band members develop a range of their own gestures\, actions\, and styles\, thereby becoming one with the Auditorium at the Bourse de Commerce. Lying between reality and fiction\, Decade of Emotion shows us Anthea Hamilton as she sings\, but without hearing her\, as well as performers who play\, but without understanding them. A decade may suffice to absorb all the emotions they have traversed. \nThis performance forms part of the curatorial project Pourquoi Paris? initiated by exhibition curator Julie Boukobza\, which will also take place at the Centre Pompidou and the Paris club Tango on this same day. \nArtist: Anthea Hamilton \nCurated by: Julie Boukobza \nMovement director: Delphine Gaborit \nPerformers: Naim Belhaloumi and Alphonse Eklou \nDrums: Valentina Magaletti \nMusical supervisor: Andrew McDonnell
URL:https://kaufmannrepetto.com/exhibition/decade-of-emotion/
LOCATION:Bourse de Commerce / Pinault Collection\, Paris
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231007
DTEND;VALUE=DATE:20240129
DTSTAMP:20240913T103957Z
CREATED:20240913T103957Z
LAST-MODIFIED:20240913T103957Z
UID:22241-1696636800-1706486399@kaufmannrepetto.com
SUMMARY:As in a Melody or a Bird’s Nest
DESCRIPTION:‘თავისუფალი ხატვა’ translates as ‘free drawing’. The Georgian artist Elene Chantladze employs this term to title many of her works\, at times painted into the picture\, defining her manner of painting. Writing is not infrequently a pictorial element; the artist worked as a poet and author for a significant period prior to painting. Signature\, date or an image description appear in the pictures sometimes as prominently as the figures depicted. Her term of free drawing perfectly characterises her approach to the medium\, for every line\, every figurative gesture and every compositional decision is generated from the process of painting itself. All of her works are created on and with the materials that she has immediately to hand. As well as coloured pencils\, gouache and ballpoint pen\, coffee\, the juice of pressed fruit or grease also all come into play. The cardboard from a box of chocolates\, pages of a calendar or\, for example\, the back of a cupboard provide image carriers for paintings. Depending on the qualities of the material\, Chantladze is either guided directly by the given structure of the surface or\, with fast brushstrokes\, generates an abstract painterly texture which defines the conception of the image. Thus\, she initially creates a suggestive layer without representational intentions\, which relies to no small extent on chance and brings creative action itself – without compositional forethought – into focus. \nBuilding on this first stage\, Chantladze develops her pictorial programme: she draws associations from the streaks and abstract forms of her relatively haphazardly created ground\, conjuring faces\, figures\, plants and landscapes. In order to fix her visions\, she paints over some areas of the image ground\, highlights certain shapes\, carves thin strokes into the wet paint and develops pen outlines around other silhouettes. A final layer of white along the contours\, creating more homogeneous areas between the figures\, often then clarifies the pictorial action. What results are concentrated scenes that swing between abstraction and figuration: sometimes individual figures seem to emerge from a diffuse background\, sometimes a complete gathering of figures dominates the image and entirely covers the initial layer of painting. The pictures are composed either of distant\, almost isolated characters\, or densely populated scenes – sometimes so tight that the figures come together like puzzle pieces\, the edges of one figure defining the form of their neighbour. As in icon painting\, the figures seem to float auratically and most of the time frontally in a vaguely defined pictorial space tilted theatrically towards the viewer. These spaces only sometimes suggest a landscape or interior: a single table\, chair or window draws the scene into a domestic setting; flowers\, waves or a cluster of three trees work like stylised props in an otherwise mysterious location placing the action\, with a reduced gesture\, in a natural context. A hollowed-out rock formation locates another scene in the monastery of Dawid Gareja on the Georgian border with Azerbaijan\, while framing structures like the carriage in the image კაცი რომელიც იცინის (The Man Who Laughs) (2019) demonstrate the role of community defining architectures. Here and there an animal or the suggestion of a face is to be found in the spaces between pictorial elements\, where the outlines invite it. \nLike her materials\, the subjects of Chantladze’s work emerge from her immediate surroundings. They often come from a family context\, village life or folklore; some images deal with political and historic events in Georgia\, while others quote popular culture and show characters from novels\, theatre or film. Female figures in particular appear repeatedly\, sometimes with lowered eyes\, turning away in sad isolation\, sometimes in an intimate relationship with others or demonstrating tender affection towards children and animals\, as wishful notions about loving togetherness. Chantladze always directs her attention towards people or animals\, in her own words “only earthly creatures”\, with all their perhaps mundane yet complex interrelations. \nGiven the artist’s devotion to all kinds of creatures and her painterly approach\, it would be apt to compare her to certain Surrealists and their automatic painting techniques. Yet despite the apparently random nature of her work\, Chantladze’s pictorial approach is not arbitrary or metaphysical\, but closely tied to reality and her own environment. Convincing art historical links can\, if needed\, be made in further directions: from Eastern Orthodox icon painting to Georgian painter Niko Pirosmani or Soviet film. What is more\, the material she uses can be read in relation to theoretical discourses on the distribution of goods and advertising aesthetics\, as well as accessibility\, improvisation and agency. She negotiates social as she does literary and personal themes; the Russian military’s invasion of South Ossetia in 2008\, for example\, she views with uncomprehending horror\, yet with the same poetic realism that one feels in her paintings of tragic plays and in family portraits. \nChantladze’s work is not defined by a rigorous approach to the medium\, but is marked by an earnestness that is particularly noticeable for its continuity. In the entire period of her artistic work there is no search for style\, there are no phases of discovery. Her confidence when drawing out images – Chantladze’s trust in the painterly process and in her direct influences – is noticeable in all her paintings. They are images of a life with art\, far away from major centres\, but with a close connection to the here and now. Her works are being shown for the first time in an institutional solo exhibition at Kunsthalle Zürich. \nCurated by Otto Bonnen\, assistant curator Kunsthalle Zürich
URL:https://kaufmannrepetto.com/exhibition/as-in-a-melody-or-a-birds-nest/
LOCATION:Kunsthalle Zurich\, Zurich
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231007
DTEND;VALUE=DATE:20240108
DTSTAMP:20231215T170258Z
CREATED:20231215T145741Z
LAST-MODIFIED:20231215T170258Z
UID:20741-1696636800-1704671999@kaufmannrepetto.com
SUMMARY:the ceiling of a courtyard
DESCRIPTION:In her artistic practice\, thea djordjadze proceeds by means of an informed intuition. Djordjadze’s sculptures and installations emerge from the artist’s acute engagement with the active and latent energies of a space. The works are created in a process that responds to the site\, sometimes reflexively\, sometimes as an immediate\, visceral reaction to the given conditions. Often\, images and ideas from literature\, design\, painting\, architecture – particularly\, but not limited to\, Modernism – flow into Djordjadze’s work\, leaving a delicate imprint like a testimony or an echo of the artist’s encounter with them. \nFor this exhibition\, Thea Djordjadze creates a new body of work\, examining and challenging not only the formal and material qualities of the WIELS building\, but also its institutional context. The ceiling of a courtyard features new productions\, including an on-site improvisation employing her eloquent vocabulary of sculptural paintings and painterly sculptures.
URL:https://kaufmannrepetto.com/exhibition/the-ceiling-of-a-courtyard/
LOCATION:WIELS\, Brussels
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231006
DTEND;VALUE=DATE:20240121
DTSTAMP:20231104T134614Z
CREATED:20231104T133704Z
LAST-MODIFIED:20231104T134614Z
UID:20304-1696550400-1705795199@kaufmannrepetto.com
SUMMARY:Billy Sullivan\, Friends & Lovers
DESCRIPTION:friends & lovers is an expansive group exhibition that centers on relationships between artists and their subjects and explores the infinite ways\, both past and present\, we are influenced by our inner circles. just as a studio visit opens a window into an artist’s creative process\, who they choose to immortalize through paint\, bronze\, photography\, etc. similarly provides insight into who serves as their inspiration\, be that a lover\, partner\, family member\, friend\, celebrity crush\, or fleeting encounter.friends & lovers looks at portraiture through the lens of alice neel’s assertion that she painted “pictures of people.” eschewing portraiture’s bourgeois associations\, neel sought to paint resonant\, unheroic images of people in her life that were true to her experience of them\, as seen in a bracing 1952 painting of her doe-eyed\, young son hartley. likewise\, works by fifty contemporary artists encompass a range of tender\, unexpected\, complex\, and personal moments with and connections to their sitters\, creating urgent and ultimately timeless pictures of their people.\n  \nartists include: maría berrío\, peter cain\, sophie calle\, srijon chowdhury\, alex bradley cohen\, will cotton\, patricia cronin\, anthony cudahy\, john currin\, bernadette despujols\, christopher duffy\, nicole eisenman\, shanique emelife\, awol erizku\, eric fischl\, latoya ruby frazier\, ewan gibbs\, jerrell gibbs\, nan goldin\, felix gonzález-torres\, jenna gribbon\, emiliana henriquez\, patty horing\, doron langberg\, shona mcandrew\, dave mckenzie\, sam mckinniss\, marilyn minter\, alice neel\, arcmanoro niles\, aliza nisenbaum\, jennifer packer\, elizabeth peyton\, jack pierson\, alessandro raho\, lj roberts\, audrey rodriguez\, thomas ruff\, paul mpagi sepuya\, mike silva\, rudolf stingel\, ruby sky stiler\, billy sullivan\, claire tabouret\, alessandro teoldi\, wolfgang tillmans\, jim torok\, justin wadlington\, xiao wang\, anna weyant\, d’angelo lovell williams\, and sung jik yang.\n  \nfriends & lovers begins with a floor-to-ceiling installation featuring nearly three dozen paintings\, pastels\, and ink drawings by billy sullivan. created between 1974 and 2019\, each work reflects the individual personalities of sullivan’s eclectic new york social circle of artists\, club icons\, friends\, and performers; presented together they create a family tree of sorts for the artist and a portrait of new york’s underground creative scene over the past four decades.\n  \n\n\n\n\n\nkaufmann repetto milan via di porta tenaglia 7 20121 milano \n\n\n\n\n\nkaufmann repetto new york 55 walker street\, 10013 new york \n\n\n\n\nsis s.r.l. capitale sociale 90.000€ p.iva 05832500960 | 20121 – milano\, via di porta tenaglia\, 7\n\n\n\n\nprivacy policy\ncookie consent\n\n\n\n\n\nrinnova o cambia il tuo consenso cookie
URL:https://kaufmannrepetto.com/exhibition/billy-sullivan-friends-lovers/
LOCATION:FLAG Art Foundation\, New York
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231006
DTEND;VALUE=DATE:20240108
DTSTAMP:20231121T133538Z
CREATED:20231121T133538Z
LAST-MODIFIED:20231121T133538Z
UID:20470-1696550400-1704671999@kaufmannrepetto.com
SUMMARY:MATRIX193
DESCRIPTION:matrix193 \nIn an age of image excess\, Talia Chetrit uses analog photography to probe the relationship between photographer\, camera\, and subject\, investigating themes of agency\, authorship\, intimacy\, and the passage of time. Family and friends appear throughout her work\, as do the tools used to make her images\, speaking to the connection between performance and photography. \nChetrit’s varied and often charged images displace the interpretive act to viewers\, activating impulses and preconceptions and encouraging us to reflect on the role of photography in both our private and public lives. For her first solo museum exhibition in the United States\, Chetrit presents an ambiguous sequence of 15 photographs\, including recent works and images from her personal archive. Uncanny still lifes of shoes and clothes intermix with portraits\, body parts\, and family photos\, drawing out unexpected formal and narrative connections. The viewer is invited in\, but made to work.
URL:https://kaufmannrepetto.com/exhibition/matrix193/
LOCATION:Wadsworth Atheneum Museum\, Hartford
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231006
DTEND;VALUE=DATE:20240108
DTSTAMP:20251029T094440Z
CREATED:20251029T094312Z
LAST-MODIFIED:20251029T094440Z
UID:26378-1696550400-1704671999@kaufmannrepetto.com
SUMMARY:Clarissa Tossin: to take root among the stars
DESCRIPTION:Clarissa Tossin: to take root among the stars \n  \nClarissa Tossin works across artistic mediums\, including film\, sculpture\, and drawing\, to explore the intersections of climate change and global capitalism’s frontier mythologies. Born in Porto Alegre\, Brazil\, and now based in Los Angeles\, Tossin bridges Latin American and United States histories of economic and cultural exchange to interrogate persistent legacies of colonialism. The artist repurposes consumerist detritus—specifically Amazon delivery boxes—in her material investigations of the Amazon rainforest’s exploitation. In recent works\, she envisions how the same ecologically disastrous cycles of human consumption on Earth will manifest in twenty-first-century space exploration.Spanning more than a decade of the artist’s career\, this first museum solo presentation of Tossin’s work on the West Coast features several new commissions created for the exhibition. \nThe exhibition borrows its title from science-fiction writer Octavia Butler’s Earthseed novels\, in which humans seek to survive amid ecological and cultural apocalypse. A seamless melding of synthetic and organic materials prevails throughout the exhibition. Across their wide-ranging forms\, these works embody the tension between capitalist- driven environmental destruction and reciprocal caretaking approaches of Indigenous communities. \nTossin’s new works explore mapping and naming as colonial technologies of discovery and conquest on Earth and beyond. In Maritime Arrivals (2023)\, Tossin uses the visual language of fifteenth-century nautical maps to draw sites from the moon on recycled Amazon delivery envelopes. She interlaces strips of Amazon delivery boxes with NASA satellite images of the Carina Nebula in Future Geography: Cosmic Cliffs (2023)\, using techniques inspired by Amazonian basket-making traditions. And with her monumental film Mojo’q che b’ixan ri ixkanulab’ / Antes de que los volcanes canten / Before the Volcanoes Sing (2022)\, the artist examines Maya wind instruments’ ability to give voice to Indigenous systems of knowledge and reanimate both colonial and cosmological spaces. Throughout the works on view\, Tossin troubles capitalism’s unwavering faith in progress and instead seeks networks of interconnectedness across time and geographies. \nto take root among the stars is accompanied by the first monograph of Tossin’s work\, which features full-color illustrations and essays by Vic Brooks\, Leslie Dick\, and Georgia Erger. \nClarissa Tossin: to take root among the stars is organized by Georgia Erger\, Associate Curator.
URL:https://kaufmannrepetto.com/exhibition/clarissa-tossin-to-take-root-among-the-stars/
LOCATION:Frye Art Museum\, Seattle
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230923
DTEND;VALUE=DATE:20240201
DTSTAMP:20231222T160416Z
CREATED:20231222T155820Z
LAST-MODIFIED:20231222T160416Z
UID:20797-1695427200-1706745599@kaufmannrepetto.com
SUMMARY:Fear of Shoes
DESCRIPTION:Kunstmuseum Schloss Derneburg is pleased to announce an exhibition by American artist\, Katherine Bradford opening 23 September 2023\, the first solo museum presentation of the artist’s work in Germany. Bradford is best known for making luminous and dreamlike works that merge color field painting with figuration. Employing a direct and often whimsical language of composition\, Bradford’s paintings depict an imagined view of the world that prompt an introspective look at the complex forces of thought and emotion that comprise the human experience. Fear of Shoes includes over a dozen paintings created between 2009 and 2023\, including the show’s titular work\, a painting inspired by Bradford’s first visit to Schloss Derneburg. \n  \nMy painting “Fear of Shoes” was inspired by my first visit to Schloss Derneburg where I saw a suite of paintings by Baselitz that consisted simply of trouser legs and black lace-up shoes pointing upwards into the air.  What interested me the most was that the legs intruded into the canvas and were not connected to anything or anyone. In this way I saw that the artist had succeeded in balancing humanity with abstraction — the legs read as stripes and yet they clearly belonged to a person. \n– Katherine Bradford\, July 2023 \n  \nThroughout her career\, Bradford has repeatedly featured swimmers and bodies of water in her paintings. In works like Pool Swimmers\, Green (2015)\, Distant Life Guard (2018)\, and Large Ocean Painting (2016)\, swimmers are set amongst a textured and semi-transparent ground. Although these blocks or bands of color signify a representational space – a pool\, the ocean – they are also abstract fields of pigment\, studies of color and light. Wading\, swimming\, floating or treading\, the figures themselves are rendered as reduced\, fragmented and faceless patches of color. Their anonymity gives them an everyman quality. Painted in bright pinks\, peaches\, oranges and neon greens\, they appear to glow from within\, illuminating their backdrops. \nIn works like Philosopher’s Clambake (2010)\, Beautiful Lake (2009)\, and Holiday After Dark (2018)\, Bradford depicts groups of people in a gathering\, negotiating a shared space and each other. In Beautiful Lake\, simplified peach-colored figures stand within a tranquil\, night-lit lake\, surrounding\, and seemingly urinating into\, a bright blue pond in the center of the composition. Holiday After Dark shows several pink and red bodies in various states of suspension floating in a dreamlike cosmos around a mysterious circular field that can simultaneously be interpreted as a swimming pool or perhaps as a hole to the center of a galaxy. In Philosopher’s Clambake (2010)\, a group of suited scholars pontificate with themselves and each other around a colorful and brightly lit bonfire. \nKatherine Bradford (b. 1942\, New York) lives and works in Brooklyn\, New York and Brunswick\, Maine. She received a BA at Bryn Mawr College in Pennsylvania\, and an MFA at SUNY Purchase in New York. Her work has been exhibited extensively in America and in Europe\, including at The Modern Art Museum Fort Worth\, Texas; MoMA PS 1\, New York; the Brooklyn Museum\, New York; The Portland Museum of Art\, Maine; the Addison Gallery of American Art\, Massachusetts; and Crystal Bridges Museum\, Bentonville\, Arkansas\, among others. Bradford has been honored with two awards from the American Academy of Arts and Letters\, a Pollock-Krasner Foundation Grant\, a Joan Mitchell Foundation Grant and a Guggenheim Fellowship. Her work can be found in the permanent collections of The Metropolitan Museum of Art (New York)\, the Brooklyn Museum (New York)\, The Portland Museum of Art (Maine)\, the Art Museum of Portland Oregon; the Pennsylvania Academy of the Fine Arts\, Philadelphia (Pennsylvania)\, the Menil Foundation\, Houston (Texas); and the Dallas Museum of Art (Texas)\, among others. In 2022\, a major survey of her work organized by The Portland Museum of Art in Portland\, Maine and accompanied by a comprehensive monograph has traveled to the Frye Art Museum in Seattle\, Washington. Bradford’s work is also included in the group exhibition “Who’s Afraid of Stardust?”\, Kunsthalle Nurnberg\, opening 21 October 2023. \nThis exhibition is organized in collaboration with Haverkampf Leistenschneider in Berlin.
URL:https://kaufmannrepetto.com/exhibition/fear-of-shoes/
LOCATION:Hall Art Foundation / Kunstmuseum Schloss Derneburg\, Derneburg
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2023/12/B0160675-scaled.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230923
DTEND;VALUE=DATE:20240108
DTSTAMP:20240913T104243Z
CREATED:20240913T104243Z
LAST-MODIFIED:20240913T104243Z
UID:22245-1695427200-1704671999@kaufmannrepetto.com
SUMMARY:Elene Chantladze & Nata Janberidze / Keti Toloraia (Rooms Studio)
DESCRIPTION:M HKA brings together the work of artist Elene Chantladze and designers Nata Janberidze and Keti Toloraia of Rooms Studio for a joint exhibition. \nThe exhibition articulates and celebrates the common ground that comes alive through their work. Beyond their specific approaches to painting\, storytelling and design\, the two practices have in common to acknowledge interiors\, and by extension interiority\, as an essential place that contributes to the development of resilience\, freedom\, and\, most importantly\, the conception of new imaginaries. The places of everyday life\, whether indoor or outdoor\, intimate or public\, act as sites of observation and emancipation. Vernacular practices are understood and used by the three artists in a progressive fashion\, leading local traditions\, resources and knowledge towards transformative terrains\, far away from the status quo. \nThe exhibition at M HKA features a generous selection of drawings and paintings by Elene Chantladze\, in dialogue with display and support structures conceived by Rooms Studio\, at times hosting each other\, at others remaining autonomous. \nThis project is part of M HKA’s In Situ programme\, a series of exhibitions focusing on the development of new work and projects commissioned for the largest and most atypical space of the museum; it is organized on the occasion of Europalia Georgia\, an arts festival taking place across Belgium from 4 October 2023 until 14 January 2024. \nCurator: Anne-Claire Schmitz
URL:https://kaufmannrepetto.com/exhibition/elene-chantladze-nata-janberidze-keti-toloraia-rooms-studio/
LOCATION:M HKA\, Antwerp
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230920
DTEND;VALUE=DATE:20230921
DTSTAMP:20231214T140634Z
CREATED:20231214T104938Z
LAST-MODIFIED:20231214T140634Z
UID:20702-1695168000-1695254399@kaufmannrepetto.com
SUMMARY:qwalala
DESCRIPTION:A stunning\, interactive art experience will be unveiled on the Claremont McKenna College campus in September with Qwalala\, an extraordinary glass wall sculpture created by American artist pae white. \nComprised of more than 1\,500 glass bricks\, each weighing nearly 40 pounds and hand-forged by Italian artisans in a palette of 26 colors\, Qwalala is derived from the Pomo tribal word describing the meandering path of the Gualala River on the northern coast of California. Like the river itself\, Qwalala will change visually throughout the day as light and shadows cast upon clear and colored glass bricks\, creating a “storm”-like effect of swirling color\, while remaining transparent. \nThe complex installation was supported by a design team of structural engineers and landscape architects who provided a thorough design\, structural analysis\, and site preparation for the installation to be completed in 2023. The artwork is supported by a steel base and custom structural sealant applied in an innovative manner by specialized team with experience in complicated architecturial installations.
URL:https://kaufmannrepetto.com/exhibition/qwalala-3/
LOCATION:Claremont McKenna College\, Los Angeles
CATEGORIES:Permanent Installation
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2019/12/CMC_Pae_White_11082023_0194-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230913
DTEND;VALUE=DATE:20231117
DTSTAMP:20231031T104846Z
CREATED:20230920T164701Z
LAST-MODIFIED:20231031T104846Z
UID:19691-1694563200-1700179199@kaufmannrepetto.com
SUMMARY:Double Take
DESCRIPTION:kaufmann repetto is happy to announce Dianna Molzan’s third solo show at the gallery\, presenting new paintings\, drawings\, and sculptural objects. The title\, Double Take\, is key to the multi-layered viewing experience\, triggered by the interplay of associations and reminiscences that link the works throughout the exhibition. \nA playful déja vu effect underpins Molzan’s use of the twin spaces of the Milanese gallery\, by using the two central\, symmetrical rooms as an echoing premise\, one room resembling the spatial configuration and art placement of the other without being identical. \nThough flowers and floral patterns are a repeating motif in the artist’s practice\, these particular forms\, rendered as simple generic archetypes\, are the latest works that focus on familiar and cultural enduring objects\, a theme already explored in her previous series of individual vanity mirrors and doors. The compositions are nearly cartoonish\, with bold outlined color\, while the unstable ground for the meticulously executed paintings is an intricate surface of hanging threads\, that are able to undulate in response to sudden movements of the viewer in close proximity\, gently animating the flower.  \nThe stretcher bars are included as minimal conceived trompe l’oeil framing device\, and what is underneath is made overt\, the rendering and real merging through the gaps in the string surface. The flower shapes float in front of the “empty” rectangle space\, their stems spilling out of the pictorial space towards the ground. The classical categories of painterly investigation such as figure/ground\, positive/negative undergo a strange twist in these works\, who are quintessentially hybrids\, both on an imaginative and material level. \nThis scrutiny is perpetuated in a group of small-sized drawings which resume the same flower motifs of the string paintings\, as if the artist wanted to offer a way to grasp them as solid compositions\, after the difficult task of capturing them on the moveable strands of thread. \nThe other smaller abstract works in the show merge fictional and factual elements\, painted compositions seem to hang from real pegs; woven and collaged textured surfaces cast real and artificial made shadows. One of the paintings is accompanied by its doppelgänger that has become a sculptural wall installation. Elsewhere two works of the same small size can be described as having textured colored surface (one with an orange\, the other with a blue base) with tufts of thread coming out of holes (differentiated by length\, circumference\, and number)\, hence generating distinct impressions. This variation on type from one room to the other is also seen in the large woven works on the two back walls that have the same dimensions\, but different personalities.  \nTreating painting as installation objects that respond to their environment is fundamental to Molzan’s approach to exhibition\, and in Double Take she has extended this focus by introducing large\, bodily plush grids that function as geometric abstraction starting on the wall and spilling onto the floor to become a soft seating arrangement. These can be modified\, extended\, and multiplied according to location and continue the blurring of categories in keeping with her other works. With these unexpectedly large and sensuous installations\, the artist consolidates her interest to challenge the dichotomy of painting versus sculpture\, and her favoring of ‘thingness’ over imagery. \n  \n  \nkaufmann repetto è lieta di annunciare la terza personale di Dianna Molzan con la galleria\, in cui presenta nuovi dipinti\, disegni e installazioni scultoree. Il titolo\, Double Take\, è la chiave di lettura dell’esperienza visiva da vari punti di vista. L’impressione di una ‘reazione a scoppio ritardato’ viene innescata dall’interazione tra associazioni e reminiscenze che collegano i lavori in mostra. \nUn giocoso effetto déja vu sorregge l’impiego degli spazi gemelli della galleria milanese da parte di Molzan\, con le due sale centrali e simmetriche usate come presupposto riecheggiante: una stanza che assomiglia all’altra nella configurazione spaziale e nella collocazione artistica senza esserne identica. \nSebbene fiori e motivi floreali siano un motivo ricorrente nella pratica dell’artista\, queste forme particolari\, rese come archetipi quasi generici\, sono le opere più recenti che si concentrano su oggetti familiari e culturali\, un tema già esplorato nelle precedenti serie di specchietti per il trucco e porte individuali. Le composizioni sono quasi fumettistiche\, con colori audaci\, mentre la base instabile per i dipinti meticolosamente eseguiti è una intricata superficie di fili appesi\, liberi di ondulare e animando delicatamente il fiore in reazione a movimenti improvvisi dello spettatore nelle immediate vicinanze. \nLe barre del telaio vengono rappresentate come cornice trompe l’oeil minimale\, e nella parte sottostante la realtà retrostante è resa palese attraverso gli spazi vuoti nella superficie dei fili. Le forme dei fiori fluttuano davanti allo spazio rettangolare “vuoto” con gli steli che fuoriescono dallo spazio pittorico verso terra. Le categorie dell’indagine pittorica quale figura/sfondo subiscono una strana torsione di fronte a queste opere\, che sono ibride per eccellenza sia sul piano dell’immagine che del materiale. \nQuesta analisi è ripresa in un gruppo di disegni di piccole dimensioni che ripetono gli stessi motivi floreali dei dipinti\, come se l’artista volesse offrire un modo per coglierli come composizioni solide\, dopo il difficile compito di catturarli su sezioni mobili di filo. \nLe altre opere della mostra\, più piccole e astratte\, fondono elementi fittizi e concreti: composizioni dipinte che sembrano appese a pioli reali; superfici tessute e realizzate a collage proiettano ombre reali e artificiali. Uno dei dipinti è accompagnato dal suo doppelgänger che è diventato un’installazione scultorea a parete. Due opere delle stesse piccole dimensioni sembrano simili\, entrambe con una superficie tramata e colorata (una con base arancione\, l’altra con base blu) con ciuffi di filo che escono da fori (ma di lunghezza\, circonferenza e quantità diverse)\, generando così impressioni distinte. Questa variazione di tipologia da una stanza all’altra è osservabile anche nelle grandi opere intessute sulle due pareti di fondo che hanno le stesse dimensioni\, ma personalità diverse. \nTrattare i quadri come oggetti di installazione in dialogo con il loro ambiente è un aspetto fondamentale dell’approccio espositivo di Molzan\, e in Double Take ha esteso questo focus introducendo grandi e corposi reti che fungono da astrazione geometrica che inizia sul muro per riversarsi sul pavimento e diventare una morbida seduta; possono essere modificate\, estese e moltiplicate in base alla posizione e reiterano la confusione delle categorie in linea con le altre opere. Con queste installazioni inaspettatamente grandi e sensuali\, l’artista intensifica il proprio interesse verso la messa in discussione della dicotomia tra pittura e scultura\, e la propria preferenza della ‘coseità’ rispetto all’immagine.
URL:https://kaufmannrepetto.com/exhibition/double-take/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2023/09/Dianna-Molzan_Double-Take_kaufmann-repetto-Milan_2023-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230913
DTEND;VALUE=DATE:20231117
DTSTAMP:20231031T104911Z
CREATED:20230921T141521Z
LAST-MODIFIED:20231031T104911Z
UID:19717-1694563200-1700179199@kaufmannrepetto.com
SUMMARY:Strange Bargain
DESCRIPTION:kaufmann repetto is glad to announce the first solo show dedicated to Skuja Braden\, pseudonym of the international collaborative duo Ingūna Skuja (Latvia) and Melissa D. Braden (USA). The artists\, who represented Latvia in the 59th Venice Biennale in 2022\, have been working in tandem for more than two decades\, achieving an extraordinary craftsmanship in the complex medium of porcelain. Dense with multiple meanings and saturated with humor and wit\, their elaborate sculptures populate an exuberant universe that amalgamates queer and feminist perspectives\, autobiographical and cross-cultural references\, transhistorical and political concerns. The artists’ debut exhibition with the gallery spans across both the New York and Milan venues\, presenting two distinct yet interconnected projects. \nEmploying a material long marginalized and attributed to the realm of handicraft\, the domestic dimension of the porcelain is constantly tackled by the witty\, provocative richness of Skuja Braden’s imaginative repertoire. Western pinup aesthetics and Japanese erotica\, tokens of mass consumer culture and iconic cartoon heroes\, capitalist critique and Buddhist wisdom merge on voluptuously shaped vases\, plates\, and jars that are formed and glazed by hand conjunctly by both artists. The works are unified through the constant exploration\, comparison\, and juxta positioning of the separate cultures around the world through the lens of the erotic\, exemplifying how the artists utilize the body to explore concepts and ideologies. Figures entwined in erotic poses\, overtly challenging heteronormative gender expectations\, are inspired by the emancipatory Shunga genre\, a Japanese art form that flourished between the 16th and 19th century and encouraged sexual pleasure in all its forms\, including female and queer sexuality. The patriarchal regulation of women’s bodies and the commodification of female production is another recurrent theme\, as in the ongoing series Charity Collection\, where pairs of female breasts are represented under the guise of commercial milk bottles\, humorously advertising milk from all kinds of animals\, such as dolphins\, zebras\, moose\, leopard\, and giraffes. Like in a medieval bestiary\, fantastique and grotesque creatures appear throughout Skuja Braden’s practice\, including swans and dalmatians\, fish and serpents\, amorphous sea monsters and even archetypes from pop culture such as Pink Panther and Minnie Mouse. \nThe New York presentation\, entitled Pardon My Body\, brings together works from Skuja Braden’s residency in California between 2001 and 2008\, and from the last 15 years living in the countryside of Latvia. Reflecting on their personal experience of restricted bodily autonomy on different levels – inflicted by American immigration policy on the one hand and by Latvian homophobia on the other – the works are all related thematically and conceptually\, exploring how the private and the public are intertwined. The different socio-political spheres of men and women in relation to power are effectively addressed in the double entendre of Cock Block\, while women’s reproductive and sexual freedom are thematized in Still Life\, a bouquet of bronzed tampons\, as well as in Ball and Chain and Pocket Book\, where a woman’s vagina is playfully represented as an egg. The ongoing series of Babies consists in large-sized sculptures acting as vehicles for multiple opposing ideas. Spanning more than two decades\, these range from the early Flower Child – created out of a moment of distress upon Bush’s presidential election in 2000\, partly supported by people who had been hippies in the 1960’s – to the recent Flower Power\, a large lingam vessel covered in rafflesia flowers with vulva centers\, where the simplified form of the phallus is subverted by turning it into a backdrop for the surrounding flowers. \nStrange Bargain\, title of the presentation in Milan\, is an ironic statement about the paradoxical nature of commerce\, and specifically about the ‘bargain’ as an advantageous purchase at an unexpectedly cheap price. Referring to the macro-economic\, exploitative principles of late Capitalism\, but also to the art market itself\, Skuja Braden juxtaposes Greed\, a wall-mounted slyly smiling skull wearing a crown\, and a new iteration of the Charity Collection\, literally bearing in mind its reference to the principle of caritas\, one of the seven virtues.  “Charity is free\, so how much can one pay for a collection of it?” ask Skuja Braden\, “What if ‘greed’ sits right next to the collection? What is the price for ‘greed’?” Acting against the backdrop of this dilemma\, the Milanese show features several works depicting two women lovers\, a buxom blonde Marilyn Monroe and a seductive Geisha. They are Skuja Braden’s signature ‘action figures’ and alter egos\, their fictive identity employed to investigate the absence of individual authorhood. Omnipresent throughout their practice\, they enjoy love making but at the same time seem to perform the function of vigil observers of the plethora of thought-provoking narratives that the art-makers unleash in their ebullient oeuvre. \n  \n  \nkaufmann repetto è lieta di annunciare la prima personale dedicata a Skuja Braden\, pseudonimo del duo collaborativo internazionale composto da Ingūna Skuja (Lettonia) e Melissa D. Braden (USA). Le artiste\, che hanno rappresentato la Lettonia alla 59a Biennale di Venezia nel 2022\, lavorano in tandem da oltre due decenni\, raggiungendo una straordinaria maestria nel complesso medium della porcellana. Dense di significati molteplici e sature di umorismo e arguzia\, le loro sculture elaborate popolano un universo che amalgama prospettive queer e femministe\, riferimenti autobiografici e inter-culturali\, preoccupazioni trans-storiche e politiche. La mostra d’esordio delle artiste con la galleria spazia tra le sedi di New York e Milano\, presentando due progetti distinti ma interconnessi. \nA lungo marginalizzata e considerata di pertinenza dell’artigianato\, la porcellana è messa costantemente in gioco nella sua dimensione domestica dalla ricchezza arguta e provocatoria dell’immaginario di Skuja Braden. Estetica pinup occidentale ed erotica giapponese\, tracce di cultura di consumo di massa e iconici eroi dei fumetti\, critica capitalista e saggezza buddista si fondono nelle forme voluttuose di vasi\, piatti e ciotole che le due artiste modellano e smaltano a quattro mani. Accomunate dall’esplorazione\, il paragone e la giustapposizione costanti delle diverse culture del mondo attraverso la lente dell’erotico\, le opere esemplificano il modo in cui le artiste usano il corpo per esplorare concetti e ideologie. Figure avvinghiate in pose erotiche che sfidano apertamente aspettative di genere eteronormative sono ispirate agli Shunga\, emancipatoria forma d’arte giapponese fiorita tra il XVI e XIX secolo che incoraggiava il piacere erotico in tutte e sue forme\, sessualità femminile e queer incluse. La regolamentazione patriarcale del corpo delle donne e la mercificazione della produzione femminile è un altro tema ricorrente\, come nella serie Charity Collection\, in cui coppie di seni femminili sono rappresentate sotto forma di cartoni del latte che pubblicizzano ironicamente latte di tutti i tipi di animali\, quali delfini\, zebre\, alci\, leopardi e giraffe. Come in un bestiario medievale\, creature fantastiche e grottesche appaiono nella pratica di Skuja Braden\, compresi cigni e dalmati\, pesci e serpenti\, mostri marini amorfi e perfino archetipi della cultura pop come la Pantera Rosa e Topolina. \nLa presentazione di New York\, intitolata Pardon My Body\, riunisce opere provenienti dal  soggiorno in California di Skuja Braden tra il 2001 e il 2008\, e dagli ultimi quindici anni vissuti nella campagna lettone. Riflettendo sulla loro esperienza di limitata autonomia corporea a diversi livelli – inflitta dalla politica di immigrazione americana da un lato e dall’omofobia lettone dall’altro – le opere sono tutte legate tematicamente e concettualmente\, esplorando il modo in cui privato e pubblico si intrecciano. Le diverse sfere socio-politiche di uomini e donne in relazione al potere sono affrontate con efficacia nel doppio senso di Cock Block\, mentre la libertà riproduttiva e sessuale sono tematizzate in Still Life\, un bouquet di tamponi realizzato in bronzo\, come anche in Ball and Chain e Pocket Book\, in cui una vagina di donna è rappresentata giocosamente come un uovo. La serie Babies consiste in sculture di grandi dimensioni che diventano veicoli per molteplici idee in opposizione tra loro. Abbracciando oltre due decenni\, queste variano dalla iniziale Flower Child – creata in un momento di angoscia dopo l’elezione a presidente di Bush nel 2000\, in parte sostenuta da persone che erano state hippy negli anni ’60 – alla recente Flower Power\, un grande vaso lingam ricoperto di fiori di rafflesia con vulve al centro\, dove la forma stilizzata del fallo è sovvertita trasformandolo in uno sfondo o in piedistallo per i fiori circostanti. \nStrange Bargain\, titolo della presentazione di Milano\, è una dichiarazione ironica sulla natura paradossale del commercio\, in particolare sull’‘affare’ in quanto acquisto vantaggioso a un prezzo inaspettatamente basso. Riferendosi ai principi macro-economici e di sfruttamento del tardo capitalismo\, ma anche allo stesso mercato dell’arte\, Skuja Braden accosta Greed\, un teschio dal sorriso furbesco che indossa una corona a una nuova iterazione di Charity Collection che tiene letteralmente presente il suo riferimento al principio di caritas\, una delle sette virtù. “La carità è gratis\, quindi quanto si può pagare se la collezioni?”\, chiede Skuja Braden. “E se l‘avidità’ venisse esposta accanto alla ‘collezione della carità’? Qual è il prezzo dell’‘avidità’?”. Sullo sfondo di questo dilemma\, la mostra milanese presenta diverse opere che raffigurano donne amanti\, una prosperosa Marilyn Monroe bionda e una seducente geisha. Sono le ‘action figures’\, nonché alter ego\, tipiche di Skuja Braden\, le loro identità immaginarie impiegate per indagare l’assenza di autorialità individuale. Onnipresenti in tutta la loro pratica\, amano fare l’amore ma allo stesso tempo sembrano svolgere la funzione di vigili osservatrici della pletora di narrative provocatorie che le artiste scatenano nella loro opera esuberante.
URL:https://kaufmannrepetto.com/exhibition/strange-bargain/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2023/09/skuja_braden-strange_bargain-kaufmann_repetto-milan-01-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230913
DTEND;VALUE=DATE:20231117
DTSTAMP:20250716T145626Z
CREATED:20250716T123005Z
LAST-MODIFIED:20250716T145626Z
UID:25666-1694563200-1700179199@kaufmannrepetto.com
SUMMARY:Courtyard project
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/courtyard-project/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2025/07/MOLZAN_WORKS_58-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230908
DTEND;VALUE=DATE:20231105
DTSTAMP:20231103T155020Z
CREATED:20230921T143652Z
LAST-MODIFIED:20231103T155020Z
UID:19730-1694131200-1699142399@kaufmannrepetto.com
SUMMARY:Pardon my Body
DESCRIPTION:kaufmann repetto is glad to announce the first solo show dedicated to Skuja Braden\, pseudonym of the international collaborative duo Ingūna Skuja (Latvia) and Melissa D. Braden (USA). The artists\, who represented Latvia in the 59th Venice Biennale in 2022\, have been working in tandem for more than two decades\, achieving an extraordinary craftsmanship in the complex medium of porcelain. Dense with multiple meanings and saturated with humor and wit\, their elaborate sculptures populate an exuberant universe that amalgamates queer and feminist perspectives\, autobiographical and cross-cultural references\, transhistorical and political concerns. The artists’ debut exhibition with the gallery spans across both the New York and Milan venues\, presenting two distinct yet interconnected projects. \nEmploying a material long marginalized and attributed to the realm of handicraft\, the domestic dimension of the porcelain is constantly tackled by the witty\, provocative richness of Skuja Braden’s imaginative repertoire. Western pinup aesthetics and Japanese erotica\, tokens of mass consumer culture and iconic cartoon heroes\, capitalist critique and Buddhist wisdom merge on voluptuously shaped vases\, plates\, and jars that are formed and glazed by hand conjunctly by both artists. The works are unified through the constant exploration\, comparison\, and juxta positioning of the separate cultures around the world through the lens of the erotic\, exemplifying how the artists utilize the body to explore concepts and ideologies. Figures entwined in erotic poses\, overtly challenging heteronormative gender expectations\, are inspired by the emancipatory Shunga genre\, a Japanese art form that flourished between the 16th and 19th century and encouraged sexual pleasure in all its forms\, including female and queer sexuality. The patriarchal regulation of women’s bodies and the commodification of female production is another recurrent theme\, as in the ongoing series Charity Collection\, where pairs of female breasts are represented under the guise of commercial milk bottles\, humorously advertising milk from all kinds of animals\, such as dolphins\, zebras\, moose\, leopard\, and giraffes. Like in a medieval bestiary\, fantastique and grotesque creatures appear throughout Skuja Braden’s practice\, including swans and dalmatians\, fish and serpents\, amorphous sea monsters and even archetypes from pop culture such as Pink Panther and Minnie Mouse. \nThe New York presentation\, entitled Pardon My Body\, brings together works from Skuja Braden’s residency in California between 2001 and 2008\, and from the last 15 years living in the countryside of Latvia. Reflecting on their personal experience of restricted bodily autonomy on different levels – inflicted by American immigration policy on the one hand and by Latvian homophobia on the other – the works are all related thematically and conceptually\, exploring how the private and the public are intertwined. The different socio-political spheres of men and women in relation to power are effectively addressed in the double entendre of Cock Block\, while women’s reproductive and sexual freedom are thematized in Still Life\, a bouquet of bronzed tampons\, as well as in Ball and Chain and Pocket Book\, where a woman’s vagina is playfully represented as an egg. The ongoing series of Babies consists in large-sized sculptures acting as vehicles for multiple opposing ideas. Spanning more than two decades\, these range from the early Flower Child – created out of a moment of distress upon Bush’s presidential election in 2000\, partly supported by people who had been hippies in the 1960’s – to the recent Flower Power\, a large lingam vessel covered in rafflesia flowers with vulva centers\, where the simplified form of the phallus is subverted by turning it into a backdrop for the surrounding flowers. \nStrange Bargain\, title of the presentation in Milan\, is an ironic statement about the paradoxical nature of commerce\, and specifically about the ‘bargain’ as an advantageous purchase at an unexpectedly cheap price. Referring to the macro-economic\, exploitative principles of late Capitalism\, but also to the art market itself\, Skuja Braden juxtaposes Greed\, a wall-mounted slyly smiling skull wearing a crown\, and a new iteration of the Charity Collection\, literally bearing in mind its reference to the principle of caritas\, one of the seven virtues.  “Charity is free\, so how much can one pay for a collection of it?” ask Skuja Braden\, “What if ‘greed’ sits right next to the collection? What is the price for ‘greed’?” Acting against the backdrop of this dilemma\, the Milanese show features several works depicting two women lovers\, a buxom blonde Marilyn Monroe and a seductive Geisha. They are Skuja Braden’s signature ‘action figures’ and alter egos\, their fictive identity employed to investigate the absence of individual authorhood. Omnipresent throughout their practice\, they enjoy love making but at the same time seem to perform the function of vigil observers of the plethora of thought-provoking narratives that the art-makers unleash in their ebullient oeuvre. \n  \n  \nkaufmann repetto è lieta di annunciare la prima personale dedicata a Skuja Braden\, pseudonimo del duo collaborativo internazionale composto da Ingūna Skuja (Lettonia) e Melissa D. Braden (USA). Le artiste\, che hanno rappresentato la Lettonia alla 59a Biennale di Venezia nel 2022\, lavorano in tandem da oltre due decenni\, raggiungendo una straordinaria maestria nel complesso medium della porcellana. Dense di significati molteplici e sature di umorismo e arguzia\, le loro sculture elaborate popolano un universo che amalgama prospettive queer e femministe\, riferimenti autobiografici e inter-culturali\, preoccupazioni trans-storiche e politiche. La mostra d’esordio delle artiste con la galleria spazia tra le sedi di New York e Milano\, presentando due progetti distinti ma interconnessi. \nA lungo marginalizzata e considerata di pertinenza dell’artigianato\, la porcellana è messa costantemente in gioco nella sua dimensione domestica dalla ricchezza arguta e provocatoria dell’immaginario di Skuja Braden. Estetica pinup occidentale ed erotica giapponese\, tracce di cultura di consumo di massa e iconici eroi dei fumetti\, critica capitalista e saggezza buddista si fondono nelle forme voluttuose di vasi\, piatti e ciotole che le due artiste modellano e smaltano a quattro mani. Accomunate dall’esplorazione\, il paragone e la giustapposizione costanti delle diverse culture del mondo attraverso la lente dell’erotico\, le opere esemplificano il modo in cui le artiste usano il corpo per esplorare concetti e ideologie. Figure avvinghiate in pose erotiche che sfidano apertamente aspettative di genere eteronormative sono ispirate agli Shunga\, emancipatoria forma d’arte giapponese fiorita tra il XVI e XIX secolo che incoraggiava il piacere erotico in tutte e sue forme\, sessualità femminile e queer incluse. La regolamentazione patriarcale del corpo delle donne e la mercificazione della produzione femminile è un altro tema ricorrente\, come nella serie Charity Collection\, in cui coppie di seni femminili sono rappresentate sotto forma di cartoni del latte che pubblicizzano ironicamente latte di tutti i tipi di animali\, quali delfini\, zebre\, alci\, leopardi e giraffe. Come in un bestiario medievale\, creature fantastiche e grottesche appaiono nella pratica di Skuja Braden\, compresi cigni e dalmati\, pesci e serpenti\, mostri marini amorfi e perfino archetipi della cultura pop come la Pantera Rosa e Topolina. \nLa presentazione di New York\, intitolata Pardon My Body\, riunisce opere provenienti dal  soggiorno in California di Skuja Braden tra il 2001 e il 2008\, e dagli ultimi quindici anni vissuti nella campagna lettone. Riflettendo sulla loro esperienza di limitata autonomia corporea a diversi livelli – inflitta dalla politica di immigrazione americana da un lato e dall’omofobia lettone dall’altro – le opere sono tutte legate tematicamente e concettualmente\, esplorando il modo in cui privato e pubblico si intrecciano. Le diverse sfere socio-politiche di uomini e donne in relazione al potere sono affrontate con efficacia nel doppio senso di Cock Block\, mentre la libertà riproduttiva e sessuale sono tematizzate in Still Life\, un bouquet di tamponi realizzato in bronzo\, come anche in Ball and Chain e Pocket Book\, in cui una vagina di donna è rappresentata giocosamente come un uovo. La serie Babies consiste in sculture di grandi dimensioni che diventano veicoli per molteplici idee in opposizione tra loro. Abbracciando oltre due decenni\, queste variano dalla iniziale Flower Child – creata in un momento di angoscia dopo l’elezione a presidente di Bush nel 2000\, in parte sostenuta da persone che erano state hippy negli anni ’60 – alla recente Flower Power\, un grande vaso lingam ricoperto di fiori di rafflesia con vulve al centro\, dove la forma stilizzata del fallo è sovvertita trasformandolo in uno sfondo o in piedistallo per i fiori circostanti. \nStrange Bargain\, titolo della presentazione di Milano\, è una dichiarazione ironica sulla natura paradossale del commercio\, in particolare sull’‘affare’ in quanto acquisto vantaggioso a un prezzo inaspettatamente basso. Riferendosi ai principi macro-economici e di sfruttamento del tardo capitalismo\, ma anche allo stesso mercato dell’arte\, Skuja Braden accosta Greed\, un teschio dal sorriso furbesco che indossa una corona a una nuova iterazione di Charity Collection che tiene letteralmente presente il suo riferimento al principio di caritas\, una delle sette virtù. “La carità è gratis\, quindi quanto si può pagare se la collezioni?”\, chiede Skuja Braden. “E se l‘avidità’ venisse esposta accanto alla ‘collezione della carità’? Qual è il prezzo dell’‘avidità’?”. Sullo sfondo di questo dilemma\, la mostra milanese presenta diverse opere che raffigurano donne amanti\, una prosperosa Marilyn Monroe bionda e una seducente geisha. Sono le ‘action figures’\, nonché alter ego\, tipiche di Skuja Braden\, le loro identità immaginarie impiegate per indagare l’assenza di autorialità individuale. Onnipresenti in tutta la loro pratica\, amano fare l’amore ma allo stesso tempo sembrano svolgere la funzione di vigili osservatrici della pletora di narrative provocatorie che le artiste scatenano nella loro opera esuberante.
URL:https://kaufmannrepetto.com/exhibition/pardon-my-body/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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