Ambach and Rice represents Alon Levin, Karen Sargsyan, Ron van der Ende and others at the Armory Show – New York City

March 2nd, 2011 by

Ron van der Ende, Drifting North, 2010, courtesy Ambach & Rice and the artist

March 3 – 6, 2011

Ambach & Rice gallery from Seattle, WA represents: Grant Barnhart, Ellen Lesperance, Alon Levin, Roy McMakin, Jeffry Mitchell, Abigail Reynolds, Karen Sargsyan, Martina Sauter, Eric Yahnker, Ron van der Ende.

Alon Levin, The fake, the future and the finite (A commemoration of the absolute in the 21st Century) Part 1: Sun, Rainbow, Arch, (reinvented), 2007, courtesy Ambach & Rice and the artist

Karen Sargsyan, Untitled (Abroad Understanding), 2009, courtesy Ambach & Rice and the artist

The Armory Show – Pier 94
Tel: 206-789-6242

www.ambachandrice.com
www.thearmoryshow.com

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Joris Laarman solo exhibition at Friedman Benda Gallery – New York City

March 4th, 2010 by

Joris Laarman, Half Life, 2010, courtesy Friedman Benda

March 4 – April 10, 2010

A new body of work by Dutch designer Joris Laarman will be unveiled at Friedman Benda. Laarman’s unique aesthetic merges cutting-edge technology and the life-sciences to create work of unexpected beauty. In 2008, Laarman’s Bone Chair and Bone Chaise, his first two works since graduating from Eindhoven, were displayed in MoMA’s exhibition Design and the Elastic Mind. This marked a major milestone in his career and the chair subsequently, was added to the museum’s permanent collection.

In 2006, Laarman’s Bone Chair revolutionized the design process by using an algorithm to translate the complexity, proportion and functionality of human bone and tree growth into a chair form. The algorithm, originally used by the German car industry, enabled him to reduce and strengthen his designs by optimizing material allocation, weight and stability, while minimizing material input. In his own words, he sculpted “using mother nature’s underlying codes.”

The upcoming exhibition is the culmination of five years of trial and error, exploratory material research and his continuous quest to translate science into functional objects of beauty now, on a monumental scale. His new body of work expands on his core investigations; it includes Skyline Storage, Fractal Bookshelf, a table that captures patterns inherent to flocks of birds, and a sustainable lamp made from living cells.

Joris Laarman, Bone Chaise, 2006, courtesy Friedman Benda

About Joris Laarman
Joris Laarman was born in the Netherlands in 1979, and graduated cum laude from the Design Academy Eindhoven in 2003. While still in school he created the “heatwave radiator,” a design widely-lauded and incorporated into museum collections such as the Cooper-Hewitt and Fond national d’art contemporain, Puteaux, France, and has been produced by Droog. In 2004, he received Wallpaper’s “Young Designer of the Year” award, and in the same year established his studio and laboratory. He has since received the Red Dot design award (2006), the Woon award (2007), and the international Elle deco award (2008). He has collaborated with Flos, Vitra, Swarovskki, and Droog.

His work has been exhibited internationally and can be found in major public collections worldwide including the Centre Pompidou, Paris; the Museum of Modern Art, New York; the Stedelijk Museum, Amsterdam; the Groninger Museum, Netherlands; the Art Institute of Chicago; the High Museum, Atlanta; The Museum of Fine Arts, Houston; and the Museum für Kunst und Gewerbe, Hamburg; Vitra Design Museum, Wil am Rhein, Germany.

Friedman Benda
515 West 26th Street
New York, NY 10001

www.friedmanbenda.com

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Studio Job and Maarten Baas at Moss, Independent Fair – New York City

March 4th, 2010 by

Maarten Baas, Burned, courtesy Moss

March 4 – 7, 2010

Moss and Westreich-Wagner collaborate on this that & then some installation at new art fair Fitting comfortably within the self-defined "hybrid forum", as new art fair INDEPENDENT calls itself, is an installation by Murray Moss and Franklin Getchell of New York design gallery Moss and independent art curators, Thea Westreich and Ethan Wagner.

Their installation, this that & then some, pairs art objects and design objects as possibilities. Works on display are placed in dialogue to elicit dialogue. It offers an alternative mode of presentation, eschewing the pure, unmitigated museum/gallery space where works are considered essentially on their own, for something more akin to the actuality of residential living, where works are seen proximate to each other.

Says Thea Westreich: "The installation posits that relationships the placement of art with design, and design with art can serve to illuminate visual and conceptual meaning, just as such pairings can re-orient or even obliterate notions of beauty, function and hierarchy." this that & then some is meant to embrace and accentuate the matter of placement as a modality for the collector’s subjective expression. Thus, says Murray Moss, "the combinations in this exhibition are not intended as ultimate answers, but rather as momentary placeholders, indicators of infinite possibilities."

Studio Job, Graphic Paper Chandelier (Limited edition, 2007), courtesy Moss

Work from the following artists and designers will be shown: Diane Arbus, Maarten Baas, Pablo Bronstein, Fernando and Humberto Campana, Larry Clark, Ilse Crawford, Ann Demeulemeester, Valie Export, Michal Fronek & Jan Nemecek, Robert Gober, Johanna Grawunder, Sol LeWitt, Tomas Gabzdil Libertiny, Julia Lohann, Wilhelm Neuhauser, Gaetano Pesce, Sterling Ruby, Josh Smith, Thomas Struth, Studio Job, Christopher Wool

Moss at INDEPENDENT
548 West 22nd Street

New York, NY

Tel.: 212-204-7100

www.mossonline.com
www.independentnewyork.com

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Viviane Sassen solo exhibition at Danziger Projects – New York City

March 4th, 2010 by

Image: Francisca, Viviane Sassen, courtesy Danziger Projects
Image: Elvis, Viviane Sassen, courtesy Danziger Projects

March 4 – April 10, 2010

Opening reception: March 4, 6-8pm

Over the past several years, Viviane Sassen has emerged as one of the freshest voices in European photography. Already an acclaimed fashion photographer whose work appears regularly in magazines such as French VOGUE, Purple, and i-D, in 2001 Sassen began regular trips to Africa, where she had lived as a child. Her work there moved away from fashion and documentary and towards an ongoing body of collaborative portraits.

In this work she has established a visual vocabulary that is stylized, symbolic and mysterious. Her aesthetic combines a sense of childhood memory, where scenes are crystallized and highly saturated with color with a photographer’s sensitivity to the body and surface. The strong presence of shadow and darkness in Sassen’s images provokes more questions than answers. If there is such a thing as magical realism in photography, these photographs embody it.

This exhibition, Sassen’s first American showing, draws on work from three series – ‘Die Son Sien Alles’ (The Sun Sees Everything), made in South Africa; ‘Flamboya’, made in Zambia and East Africa (Kenya, Uganda, and Tanzania); and the series ‘Ultra Violet’, made in Ghana. These portraits combine the spontaneous with the staged, and often come out of ideas that Sasson carries in a sketchbook of inspirations for future compositions. These ideas are shared with her subjects as the starting point for each photograph. Critic Vince Aletti commented, “Her photographs tease fashion conventions but with witty and unexpected results, partly because her subjects are all young Africans who seem to have enjoyed collaborating with her. She tends to treat the body as a sculptural element a malleable shape that combines with blocks of shadow and bright color in arrangements that sometimes read like cut-paper collages, bold and abstract but full of vibrant life.”

Image: Mimosa, Viviane Sassen, courtesy Danziger Projects
Image: Lilac, Viviane Sassen, courtesy Danziger Projects

Viviane Sassen was born in Amsterdam in 1972. She began studying photography after going to school for fashion design, where she realized that her interest was not in clothes but in making images. In 1997, she received her Master of Fine Arts degree from the Royal Academy in Arnhem, the Netherlands. Since then she has found great success as a fashion photographer, publishing work in avant-garde fashion magazines throughout the world. In addition, she has shot advertising campaigns for clients including Louis Vuitton, Adidas, and Miu Miu.

In 2007, she received the Prix de Rome, the major Dutch prize for art, for her series ‘Ultra Violet’. Ms. Sassen’s personal work has been exhibited in museums throughout Europe and was featured in a 2008 – 2009 solo show in Amsterdam’s prestigious FOAM (Photo Museum of Amsterdam). Her African photographs have also been published in the monograph, Flamboya.

Danziger Projects
534 West 24th Street

New York, NY 10011

Tel.: 212-629-6778

www.danzigerprojects.com

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Armory Arts Week 2010

March 4th, 2010 by

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Dutch art on view during Armory Arts Week in New York City

March 4th, 2010 by

This week will show an unprecedented amount of Dutch projects in New York City at some of the most amazing venues during the 2010 Armory Arts Week. Check previous postings at Orange Alert – Dutch Art Events, and for upcoming shows, please check back here. Should you know of any events and projects we missed, please let us know via dutchartevents [at] gmail.com.

We’ll post each project individually, but for now, mark your calendar and be sure to visit the following:

Emmeline de Mooij solo exhibition at Capricious Space
March 6 – April 17, 2010

Liselot van der Heijden screening, panel discussion and book launch at Cooper Union
March 5, 2010, 5:30-8pm

Akinci Gallery – The Armory Show

March 4-7, 2010

Renie Spoelstra presentation at Galerie Ron Mandos – The Armory Show
March 4-7, 2010


Tjebbe Beekman solo presentation at Diana Stigter – The Armory Show

March 4-7, 2010


David Haines solo presentation at Upstream Gallery – The Armory Show

March 4 – 7, 2010


Meschac Gaba solo presentation at Michael Stevenson – The Armory Show

March 4-7, 2010


Maarten Baas and Studio Job presentations at Moss – Independent Fair

March 4-7, 2010

Livingstone Gallery at Pulse NY
March 4-7, 2010

Amstel Gallery at Pulse NY
March 4-7, 2010

Witzenhausen Gallery at Scope NY
March 4-7, 2010

Viviane Sassen solo exhibition at Danziger Projects
March 4 – April 10, 2010

Hadassah Emmerich solo exhibition at Hendershot Gallery
March 4 – April 17, 2010

Dutch Art Now Fair at the National Arts Club
March 2-14, 2010

Mark Manders in “Skin Fruit: Selections from the Dakis Joannou Collection at the New Museum
March 1 – June 6, 2010

Marc Bijl in group exhibition at Ana Cristea Gallery
February 25 – April 3, 2010


Edgar Cleijne & Ellen Gallagher
at the Whitney Biennial

February 25 – May 30, 2010

Jacco Olivier solo exhibition at Marianne Boesky Gallery
February 19 – April 3, 2010

Mark Manders, Madelon Vriesendorp, Chris Kabel, Joris Laarman Studio, Ted Noten, Studio Job, 24h Architecture, Inside/Outside (Petra Blaisse), Maurer United Architects, MVRDV, Powerhouse Company, SeARCH, UNStudio, and West8 in the Contemplating the Void exhibition at the Solomon R. Guggenheim Museum
February 12 – April 28, 2010

Rezi van Lankveld solo exhibition at Friedrich Petzel Gallery
February 5 – March 13, 2010

Guido van der Werve solo presentation at Luhring Augustine Gallery
February 5 – March 13, 2010

Jan Dibbets solo exhibition at Barbara Gladstone Gallery
February 5 – March 13, 2010

Action! Design over Time at MoMA with work by a.o. Joris Laarman and Christien Meinderstma
February 5 – ongoing

Claudy Jongstra mural at the recently opened David Rubinstein Atrium, Lincoln Center
February 2010 – ongoing

Erwin Olaf solo exhibition at Hasted Hunt Kraeutler Gallery
January 28 – March 20, 2010

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Renie Spoelstra at Galerie Ron Mandos, The Armory Show – New York City

March 4th, 2010 by

Hans op de Beeck, Staging Silence, courtesy Galerie Ron Mandos

March 4-7, 2010

Galerie Ron Mandos is proud to announce the US premiere of Hans Op de Beeck’s latest video-piece ‘Staging Silence’ at the Armory Show 2010.

‘Staging Silence’ is based around abstract, archetypal settings that lingered in the memory of the artist as the common denominator of the many similar public places he has experienced. The video images themselves are both ridiculous and serious, just like the eclectic mix of pictures in our minds. The decision to film in black and white heightens this ambiguity: the amateurish quality of the video invokes the legacy of slapstick, as well as the insidious suspense and latent derailment of film noir. The title refers to the staging of such dormant decors where, in the absence of people, the spectator can project himself as the lone protagonist.

Memory images are disproportionate mixtures of concrete information and fantasies, and in this film they materialise before the spectator’s eyes through anonymous tinkering and improvising hands. Arms appear and disappear at random, manipulating banal objects, scale representations and artificial lighting into alienating yet recognizable locations. These places are no more or less than animated decors for possible stories, evocative visual propositions to the spectator. The film is accompanied by a score which, inspired by the images themselves, has been composed and performed by composer-musician Serge Lacroix.

Renie Spoelstra, Cabrio, courtesy Galerie Ron Mandos

In conjunction with this video-piece, Galerie Ron Mandos will showcase a new series of small charcoal drawings by Dutch artist Renie Spoelstra.

On the back of a trip to New England in the US, Renie Spoelstra has produced a startling set of drawings which signal a marked shift in subject matter. The artist has maintained her usual working process; first capturing landscapes on film and then selecting stills from which to start drawing. However following her visit to the north-eastern states of the US, which is known for its beautiful light and has a long history as film location (The Stepford Wives, What Lies Beneath, The Ice Storm, Wolf, etc…), her work has become permeated by new subject matter and novel locations embodying the same contained tension that so epitomises her work.

Renie Spoelstra has had a number of solo and group show presentations throughout the Netherlands and Europe and will soon be preparing for a presentation at Museum Boijmans van Beuningen in Rotterdam. 2008 saw her crowned the Dutch Artistic Talent of the Year and her work is included in a number of public collections, such as the Stedelijk Museum Schiedam (NL), Centraal Museum in Utrecht (NL) and the MACBA in Barcelona.

Galerie Ron Mandos at The Armory Show
Pier 92-94

New York, NY

www.ronmandos.nl
www.thearmoryshow.com

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Tjebbe Beekman solo exhibition at Diana Stigter Gallery, The Armory Show – New York City

March 4th, 2010 by

Tjebbe Beekman, TV Studio, 2009, courtesy Diana Stigter Gallery

March 4 – 7, 2010 Tjebbe Beekman‘s large, tactile paintings exhibit an ambivalent passion for their medium. Shiny, thickly layered paint is contaminated with sand, pieces of yarn, and nails. It is one of the most striking features of his work. In a series of smaller, snapshot sized pieces, acrylic and resin is applied so thickly that it has warped the paper underneath, leaving rectangles resembling melting polaroids or glass. Like most conceptual painters, Beekman makes paintings that are (at least in part) about painting. Thankfully, there is more to them than that. The paintings depict complex, yet ultimately false architectural environments created initially as digital composites. There is a giant theatre, a television studio, and multiple museum interiors. Whereas Beekman’s earlier paintings can be characterized by their middle-distance vantage points and empty spaces, the foregrounds of these new interiors are inhabited by non-human objects like TV cameras and skeletons in display cases.

Tjebbe Beekman, Wistful Repetition, 2006, courtesy the artist

The artist’s previous paintings described a prophylactic existence – the "capsulization" of contemporary society and the experience of isolation within the spaces of modernity. Beekman’s latest environments are sites of presentation and mediation. Theses are the places where our society and our world, past and present, are re-presented back at us. Yet this is not intimate person-to-person communication, and the works still convey a sense of separation and emptiness. Indeed, we watch TV alone at home; we sit in a crowded theatre and do not interact with our neighbors; geography, time, and a physical pane of glass separate us from objects in museums. The architectural convolution and painterly distortion of Beekman’s spaces suggest that maybe what they present to us is not as clear as it might seem. These new investigations are not so much a deviation from Beekman’s previous body of work, as they are a conceptual evolution and refinement of ideas. If The Image of a Capsular Society explored the symptoms of societal segregation and control, perhaps Beekman’s new paintings have begun to question the cause.

Diana Stigter Gallery at The Armory Show
Pier 92-94

New York City

www.thearmoryshow.com

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David Haines solo exhibition at Upstream Gallery (NL), The Armory Show – New York City

March 4th, 2010 by

David Haines, Untitled (Mc Fich), 2010, courtesy Upstream Gallery (NL)

March 4-7, 2010 Upstream Gallery (NL) will present a solo exhibition by David Haines at The Armory Show 2010. The gallery is working mainly with young artists with an international focus who are in an early stage in their professional development. The primary aim of the gallery is to expand their careers both in the Netherlands and internationaly.

David Haines was born in Nottingham, UK, and attended the Camberwell School of Art in London (1988-1991) and the Rijksakademie van Beeldende Kunsten in Amsterdam (1994-1995).

Haines has shown internationally, among others at De Appel, Amsterdam, Centre d’Arte Contemporain, Normandie France, and Luisa Strina Gallery, Sao Paulo. His work is in various collections, such as Madeira Corporate Services, Portugal, Chadha Foundation, Netherlands, and Zabludowicz Collection, London.

Upstream Gallery (NL) at the Armory Show
Pier 92-94
New York, NY

www.upstreamgallery.nl
www.thearmoryshow.com

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Meschac Gaba solo exhibition at Michael Stevenson Gallery, The Armory Show, New York City

March 4th, 2010 by

March 4 – 7, 2010

Meschac Gaba‘s Colours of Cotonou reflects his whimsical approach to sculpture. The installation consists of an ever-changing number of frames, some of which contain what appear to be random objects, many left empty. The frames are covered in fragments of Beninese money, a source material which Gaba has used before, most recognisably in four of the prints that accompany his Tresses. The found objects, or, in Gaba’s preferred term, found colours, are all everyday objects from Cotonou, Benin, where this installation was first shown.
Gaba was born in 1961 in Cotonou, Benin. He studied at the Rijksakademie van Beeldende Kunsten in Amsterdam in 1996/7, and currently lives in Rotterdam. He was included on the touring exhibition Africa Remix, and in 2006 participated in the São Paolo, Gwangju, Sydney and Havana biennales.

Michael Stevenson Gallery at The Armory Show
Pier 92-94
New York City
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