Jacco Olivier, Revolution, 2010 (still), courtesy of Marianne Boesky Gallery and the artist
February 15 – May 26, 2013
The Southeastern Center for Contemporary Art is pleased to present Afterlife: Jacco Olivier & Jennifer West, organized by SECCA; Curated by Steven Matijcio. The fluidity of paint can stay in perpetual motion through film and video – extending both the process and presence of the artist, even as their composition becomes unmoored. In this exhibition a painter who stitches photos of unfinished canvases into dream-like animations meets a filmmaker who physically assaults her medium in painterly acts of performance and alchemy. At the intersection, Amsterdam-based Jacco Olivier and Los Angeles-based Jennifer West detach the mark of the artist from its expected physical location — a cotton canvas or a strip of celluloid film – allowing the imprints of events, experiences, and their very actions/materials to float in a liquid state of limbo.
René Danïels, installation view in exhibition “Specific Collisions”, courtesy of Marianne Boesky Gallery
January 26 – February 23, 2013
Opening reception: Friday, January 25, 2013, 6-8pm
Marianne Boesky Gallery is pleased to present Specific Collisions, the second presentation by artist Melissa Gordon in an on-going series that addresses the construction of reading artworks within the frame of the exhibition format. Taking its title from both Donald Judd’s Specific Objects and Mina Loy’s play, Collision, the exhibition considers artworks in their signifier roll: re-ordering a language of interaction between the containing architecture and the works as things, which are adjusted by the circumstance and moment of viewing. The exhibition includes work by among others René Danïels, Marlene Dumas, and Willem Oorebeek.
Jacco Olivier, Stumble (still), 2009, courtesy Marianna Boesky Gallery and the artist
July 12 – November 15, 2012
Opening reception: Thursday, July 12, 2012, 6-8:30pm
ArtPace is pleased to present the exhibition International Artists-in-Residence: New Works 12.2, with Leslie Hewitt, Jacco Olivier, and Mike Osborne. Curated by independent curator Sarah Lewis.
About Jacco Olvier
Dutch artist Jacco Olivier (b. 1972) studied at the Rijksakademie, and lives and works in Amsterdam. In 2010 he had solo exhibitions at the Centro de Arte de Caja de Burgos, Spain, and at the Blaffer Gallery at the University of Houston, Texas. He was included in exhibitions at the MCA Denver (2006), ZKM, Museum fur Neue Kunst & Medienmuseum, Karlsruhe (2007) and in the 8th SITE Santa Fe Biennial: The Dissolve, curated by Daniel Belasco and Sarah Lewis (2010). In 2012, Olivier will participate in a residency program at Artspace in San Antonio, Texas. Jacco Olivier is represented by Marianne Boesky Gallery, New York; Victoria Miro Gallery, London; Galerie Thomas Schulte, Berlin; and Parra & Romero Galeria de Arte, Madrid; and Ron Mandos Gallery in Amsterdam. His exhibition in Madison Square Park is Olivier’s New York public art debut.
445 North Main Avenue
San Antonio, TX 78205
Courtesy of the artist and Marianne Boesky Gallery, New York / Madison Square Park Conservancy
Friday, March 9, 2012, 8pm
Please join Ron Mandos Gallery for an artist-lead walking tour of Jacco Olivier’s Madison Square Park outdoor exhibition of six painterly animations. Meeting point: The Shake Shack, South East Corner of Madison Square Park, near Madison Avenue and East 23rd Street, Subway: R & W 23rd Street. Please RSVP to Toby Robinson: toby [at] ronmandos.nl
Jacco Olivier, artist rendering Madison Square Park. 2011, courtesy of the artist and Marianne Boesky Gallery, New York / Madison Square Park Conservancy
December 15, 2011 – March 12, 2012
Mad. Sq. Art is pleased to announce an outdoor exhibition of six painterly animations by acclaimed Dutch artist Jacco Olivier as the final presentation of its 2011 season. Mad. Sq. Art celebrates the artist’s first public art commission in New York City, which will feature both new, site-specific and existing works displayed throughout the Park. Olivier’s series of stop-motion animations will brighten New York’s winter landscape with moving images exemplary of the artist’s characteristically rich color palette and lavishly textured style. The exhibition will remain on view daily in Madison Square Park from December 15, 2011 through March 12, 2012.
Jacco Olivier, artist rendering Madison Square Park. 2011, courtesy of the artist and Marianne Boesky Gallery, New York / Madison Square Park Conservancy
Hannah van Bart, The Poet, 2010, Alkydoil on linen, 63 x 39 3/8 inches 160 x 100 cm, Signed, titled and dated in ink (verso), courtesy of the artist and Marianne Boesky Gallery, New York
March 31 – April 30, 2011
Marianne Boesky Gallery is pleased to announce its third solo exhibition of work by Dutch artist Hannah van Bart.
Hannah van Bart here presents a series of new paintings and drawings which continues her exploration between interior and exterior life. Further developing a formal vocabulary through the means of portraiture, van Bart for the first time creates her figures using found imagery as a point of departure rather than working from memory. In this new body of work, the artist’s idiosyncratic use of color, patterning and background composition all coalesce to impart the psychological landscape of each subject. Hannah van Bart, Woman, 2010, Alkydoil on linen, 47 1/4 x 31 1/2 inches 120 x 80 cm, Signed, titled and dated in ink (verso), courtesy of the artist and Marianne Boesky Gallery, New York
From the photographic sources that van Bart draws inspiration, a singular characteristic or unique feature pulls forth and the artist then begins transmitting an ulterior experience upon her anonymous figures. Van Bart transforms the existent imagery and abandons any sense of narrative in her depicted "sitters." Rather, central to the artist’s practice is her ability to impose a projected imagination upon each subject, concentrating on the depiction of a mood, of a presence, rather than merely illustrating the figure. The psychological impact achieved in these paintings is reminiscent of Alice Neel’s honest and emotionally intense presentation of her subjects. The unnerving nature of van Bart’s figures is further underscored by a shift in palette for the artist from the more muted tones of her previous work, where saturated greens and pinks now serve to intensify effect.
Hannah van Bart, Reservation, the act or process of keeping back, 2010, Alkydoil on linen, 57 x 31 1/2 inches 145 x 80 cm, Signed, titled and dated in ink (verso), courtesy of the artist and Marianne Boesky Gallery, New York
Using frontal views of standing or sitting figures for her compositions in the lineage of Dutch Old Master portraiture, van Bart isolates her subjects to pursue their ‘inner stories,’ as the artist denotes them. This sort of interior sense of self simultaneously expands into the enveloping space of the subject’s background, situating the individual in their own private world. In van Bart’s paintings, the role of the surrounding environment is equally weighted to that of the figure located within it. Her handling of the background of each work is one of layering, and subsequent removal and exposure, whereby the setting is flattened and lacks an ultimate specificity in disclosing any readily identifiable location. For van Bart, this is the moment, where figure and the surrounding silent world coexist in equal measure, in which the painting has become form. This existence is narrative enough.
Hannah van Bart, Girl, 2010, Alkydoil on linen, 57 x 45 1/4 inches 145 x 115 cm, courtesy of the artist and Marianne Boesky Gallery, New York
Pointing to an excerpt from Martin Heidegger’s Building, Dwelling, Thinking from 1971; "A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing," van Bart notes her interest in showing where and how the presence of the painting starts. While her figures stand or sit still, there is a floating together of mind, of the inward turn and of the surrounding that all conflates. And yet an awareness of the confinement and boundaries of the body is still palpable in their presence.
Hannah van Bart was born in 1963 in the Netherlands, and lives and works in Amsterdam. She will have a solo exhibition at the Gemeentemuseum, The Hague in 2013; previous museum exhibitions include a solo show at the CoBrA Museum and a group show at the Stedelijk Museum in Amsterdam.
Marianne Boesky Gallery 509 West 24th Street New York, NY 10011 Tel.: 212-680-9889
A paradigm shift in contemporary art is rare and hard to recognize at its inception, but that is what curators Sarah Lewis and Daniel Belasco have done in The Dissolve, SITE Santa Fe’s Eighth International Biennial. The curators will present a new sensibility in the art of our time, a mingling of up-to-the-minute technology and traditional visual arts (painting, drawing, and sculpture) with dance, music, and film. The fundamental form of this new work is animation, uniting the technological (the camera) with the hand-made (drawing). The Dissolve will trace the development and reinterpretation of moving image techniques in wonderfully surprising juxtapositions.
In 15,000 square feet of exhibition space, imaginatively designed by renowned architect David Adjaye, the exhibition will feature historic work from the Edison Manufacturing Company and the Fleischer Studios, as well as seminal works by masters of the moving image genre – Paul Chan, William Kentridge, Raymond Pettibon, Cindy Sherman, and Federico Solmi. An emerging group of exciting newer voices will be showcased to bring us the most recent developments in experimental forms.
Among the many highlights of this biennial will be two SITE-commissioned pieces, offering important artists in the field opportunities to push their practice in new directions. MacArthur "Genius" Award-winner, dancer, and choreographer Bill T. Jones has been commissioned to create a live performance piece for presentation at the Lensic Performing Arts Center, combining dance, movement, and video. A tenth anniversary updating of Ghostcatching, a work that animates Mr. Jones’s body as three-dimensional, computerized drawings, will be featured at SITE for the duration of the exhibition. A commission has also been accepted by Mary Reid Kelley, who works in video, animation, performance, and painting. She explores issues of gender, class, and race, but with an emphasis on avant-garde form. This groundbreaking exhibition will encourage younger audiences, well versed in the language of new media; and older visitors, familiar with the medium’s antecedents, to find common ground and shared experiences that blur the lines between past and present, and "dissolve" those between high art and popular culture.
Biennial Artists: Robert Breer, Paul Chan, Martha Colburn, Thomas Demand, Brent Green, George Griffin, Ezra Johnson, Bill T. Jones, Mary Reid Kelley, William Kentridge, Avish Khebrehzadeh, Laleh Khorr amian, Maria Lassnig, Jennifer & Kevin McCoy, Joshua Mosley, Oscar Muñoz, Jacco Olivier, Raymond Pettibon, Robert Pruitt, Christine Rebet, Robin Rhode, Hiraki Sawa, Berni Searle, Cindy Sherman, Federico Solmi, Kara Walker, with historical works by Edison Manufacturing Company, Fleischer Studios, Lotte Reiniger, Dziga Vertov
SITE Santa Fe 1606 Paseo de Peralta Santa Fe, New Mexico 87501 Tel.: 505-989-1199 www.sitesantafe.org
May 14 – August 7, 2010 Opening Reception: Thursday, May 13, 6 – 8 p.m.
Jacco Olivier‘s luscious filmic vignettes are quiet meditations on painting set in motion. Technically, his work falls into the category of animation. Images are repeatedly reworked and rephotographed to create a narrative that unfolds through a camera-driven progression. Olivier likes to tell a story, but even in his most anecdotal works, the most interesting tale is the story of painting itself.
For each work, Olivier repaints the same canvas over and over again, carefully photographing each stage of development. In time the original image slowly degenerates and finally disappears altogether in the cumulative layers of paint. The final work, the photographic record, thus becomes an animated history of a painting, a slice of time that captures scraps of narrative and memories, and joins them together to form a moving picture with an atmospheric charge enriched by an ambient soundtrack.
Hunger, Birds, Submerge (all 2003), and Hide (2004) delve into the animal realm. The viewer follows a polar bear across snowy plains on his hunt for fish, soars into the sky with a flock of birds, dives into the deep sea, or catches glimpses of a frog alternatively jumping and hiding in a grassy field. Other works, such as Sleep and Normandy (both 2004), serve as meditative windows onto simple moments of daily life: one shows a woman tossing and turning in bed, while in the other she enjoys the breeze on the seashore. In his more recent work, including BathPortrait (2009), and Transition (2010), Olivier has mined traditional genres, such landscapes and still lifes, bathers and portraits, often pushing the image to the edge of abstraction. With the new focus on painting as a historical discipline has come a shift in scale that emphasizes the viewer’s relationship to the painting as an object. Where Olivier’s early films read like intimate, jewel-like visual poems, the new ones add a surprisingly expansive spatial and physical dimension to an otherwise largely immaterial experience of sight and sound (2009).
First Take, Olivier’s first solo museum exhibition, brings together ten works created between 2003 and 2010. The artist was born in the Netherlands in 1972. He graduated from the Rijksakademie in 1998, and lives and works in Amsterdam.
Blaffer Gallery The Art Museum of the University of Houston 120 Fine Arts Building Houston, TX 77204 Tel.: 713-743-2255
February 19 – April 3, 2010 Opening reception February 18, 6-8pm
Marianne Boesky Gallery is pleased to announce an exhibition of new work by Dutch artist Jacco Olivier. This is the artist’s third solo show at the gallery.
Fusing painting and filmmaking, Jacco Olivier continually reworks his canvases, photographing each iteration and brushstroke, and finally combining the various stages with their liquid color into films. The subject matter of Olivier’s new work represents a notable shift, as the artist frees the films from the loose narrative framework he had previously employed, moving away from the language of animated film and more towards that of painting. Appropriating traditional painting subjects such as bathers, landscape, and portraiture, and pushing them at times to the edge of abstraction, the artist creates lush, painterly films. Olivier magnifies his new works to a variety of larger scales, eschewing the intimately-scaled projections of his previous work so that the films become a more “human” size; a corporeal one, in keeping with that of the painted canvas.
Olivier’s new films unravel and reveal themselves in a slower manner, offering a space for contemplation as they spool over the course of several minutes. Subjects are exposed with a sharper focus, while action remains at a minimum. In Bath, Olivier steadies his gaze upon a solitary nude figure, who dries her body off with a towel. Olivier borrows the bather, as a classic and oft-painted subject of Degas, Renoir, Cézanne and Matisse, deconstructing the figure to her most elemental components against a shifting azure background, devoid of any outside references.
With a nominal use of realism, the films Landscape and Transition explore shifting landscapes and non-linear space. In Landscape images are painted from memory, as an amorphous strip of land passes slowly beneath an aerial view. A man simply enters a body of water in Transition, swallowed amid the undefined, swirling space as a sense of mortality prevails.
The expansive film, Revolution, contains a universe revolving about an imaginary pivot point that envelops the viewer. The galaxy unhurriedly expands and contracts from rendered planets and stars to entirely abstract painted swaths. Over the course of a twenty-four-minute cycle, with each minute representing an hour, the film moves through an entire day, from warm sunlight to black void and back again. Olivier notes his inclination for, “the paint that has fallen between the lines…all those unintentional marks and pieces holding the universe together.” Revolution explores those undefined markings, conjuring up a space for the viewer to enter into a meditative, silent realm.
Jacco Olivier lives and works in Amsterdam. The artist will have solo exhibitions at the Blaffer Gallery of the University of Houston, Texas in May – July, 2010, and at the Centro de Arte ContemporâˆšÃ‰Â¬Â°neo de Caja de Burgos, Spain in the fall of 2010. Olivier is included in the upcoming SITE Santa Fe 8th Biennial: The Dissolve, curated by Daniel Belasco and Sarah Lewis, June 18, 2010 – January 2, 2011.