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Peter Fischli & David Weiss

Peter Fischli & David Weiss

Peter Fischli /born 1952 in Zurich
David Weiss /born 1946 in Zurich

works more view:
Matthew Marks Gallery

Peter Fischli and David Weiss are Swiss artists who first began working together in the late 1970s. Their sculpture, video and photographic works all generate a unique atmosphere of concentration and relaxed pleasure. The mood of their work ranges from the humorous - a pair of clay figures, for example, titled Mick Jagger and Brian Jones go home satisfied after composig 'I Can't Get No Satisfaction' - to the banal - a photographic series devoted to Airports - and even the apparently invisible - their Untitled installation simulating, through minutely detailed polyurethane sculptures, an unfinished exhibition site.

d0079151_1463225.jpgTHE POINT OF LEAST RESISTANCE Yet again, a bear and a rat are out to make a lot of money - this time with art. During a tour of investigation, they find a corpse in a gallery and, hoping it will prove to be a means of access to the worlds of culture, action and finance, they take it along with them. However the desired effect is not forthcoming and they become involved in questions and observations on the subject of art and crime. The rat tries to solve the case himself; to him there is no distinction between artist and detective. After a narrow escape from a murder attempt, the two animals join forces once again and, now sadder and wiser, they resolve to improve - something that appears to be far from easy. But at the depths of despair they discover a system of order in the chaos of the world, which encourages them to venture into the area of philosophy. From here, they proceed into undreamed-of insights and flights of fancy.

Directed by Peter Fischli, David Weiss
Written by Peter Fischli, David Weiss
Cinematography: Jürg Walther
Editing: Rainer M. Trinkler
Sound: Pavol Jasovsky, Hans Gerstengarbe
Music: Stephan Wittwer

Cast: Peter Fischli as the rat, David Weiss as the bear
Voices: Ingold Wildenauer (bear), Alfred Pfeifer (rat)

Part of a Film with a Rat and Bear, 2008 /Yokohama Toriennale 2008 TIME CREVASSE in Japan


Untitled (Flowers), 1997-1998. Selection from portfolio of 111 inkjet prints Fischli/Weiss’s delight in the ordinary is given perfect form in their flower portraits—dazzlingly colorful, close-up shots of myriad garden plants in bloom or various stages of decay. As in all the previous work in their conceptually driven practice, the flowers undermine conventional distinctions between high and low art—a culturally enforced contrast the artists once derided in a clay sculpture of two dachshunds, one standing on its hind legs, the other on all fours. Fashioned in the spirit of amateur photography in both subject and style, the flower portraits employ the technique of double exposure to achieve dizzying layered effects. The process allowed the artists to exploit their collaborative approach: one would shoot an entire roll of film in a suburban rose garden; the other would rewind it and then shoot the same roll in a park in Zurich. Deliberately decorative, these photographs push the limits of acceptability in Conceptual art. The cumulative effect of 111 different pictures, which can be installed in a room like wallpaper, glimpsed image by image as in a print portfolio, or seen singularly as a framed photograph, is one of abundance and kaleidoscopic visual pleasure.

by another29 | 2008-09-22 04:55 | □Product

Maxim Velcovsky

Maxim Velcovsky
[Qubus Design]

Qubus Design

Rámová 3 110 00 Prague 1 Czech Republic

shop opening hours:
monday – friday 10:00am – 18:00pm

A young Czech artist with a European perspective Maxim Velcovsky is one of the Czech Republic's leading young artists. Most of his work is in porcelain and involves 'reimagining' everyday objects; among his best known pieces are a vase in the shape of a Wellington boot and a porcelain version of a typical water-cooler paper cup. He is also known for a huge fibreglass crucifix, which stands in a Protestant church in Hradec Kralove. I spoke to Maxim Velcovksy at an exhibition of his at Prague's Galerie Kritiku, and began by asking him to explain the thinking behind his work.


Cathedral of St.Bartholomew [April 2007] Maxim Velcovsky has redesigned the interior of a church in Eastern Bohemia, using customised design classics, rugs and chandeliers. Working with designer Jakub Berdych under the Qubus Studio banner, the interior features Verner Panton chairs customised with a punched crucifix, Persian rugs and chandeliers of rough-cut crystal. “The latest creation of the Qubus Studio originated at the St. Bartholomew’s Church in the village of Chodovice, Eastern Bohemia. On this location, Jakub Berdych and Maxim Velcovsky have succeeded in making design an integral part of religion.


“Here at the St. Bartholomew’s Church you will surely notice that both designers have once again shown their typical flair for working with the context. Through integration and unexpected combination of intelligent elements, they have added a new dimension to the Baroque interior. “The central nave has been stripped of dull repaints and left totally exposed so that visitors can watch the course of history on fragments and details on the wall.“Illuminated by chandeliers adorned with pressed and roughly cut crystal, the bare space is dominated by an “army” of legendary chairs designed by Verner Panton with one crucial detail added – a Christian cross carved through the back of the chair.


“Although Berdych and Velcovský had known that as a result of this work they would lose the warranty of several years provided by the legendary manufacturer of the Vitra furniture, they were not afraid to experiment.“The redesign and religiousness of this design icon is multiplied by its installation on dozens of Persian carpets, which are so typical for Muslim shrines. This space is an eclectic cocktail and a place to ponder, moving us towards cultural dialogue.”

by another29 | 2008-08-03 05:28 | □Product

Antony Gormley

Antony Gormley
born 1950 London,UK

website: www.antonygormley.com

d0079151_3114150.jpgBLIND LIGHT 2007 Initially shown at this summer's hugely acclaimed exhibition in east London
Hayward Gallery / South Bank Centre London,UK

Blind Light at the Hayward Gallery is Antony Gormley's first major exhibition in London.
The show features a series of new monumental works specially designed for the gallery's cavernous spaces, alongside pieces from the last three decades. The exhibition, which runs from May 17 until August 19 2007, also includes Event Horizon - 31 sculptural casts of the artist’s body located on rooftops and public walkways across central London.

Field 1991-2003 Trying to make something as direct as possible with clay: the earth
Field is an Antony Gormley installation of 35,000 clay figures made by a family of Mexican brick-makers. Gormley asked that the figures be easy to hold in ones hands and that the head and body be in proportion to one another. Approximately sixty members of the extended family (men, women and children) made these small figures, no more than 26 cm in height from about 25 tons of clay. Field resembles a tidal wave of miniature terracotta sleepwalkers, limited only by the walls that contain them.

by another29 | 2007-12-10 03:31 | □Product

Spencer Finch

Spencer Finch
Artist / NYC

born 1962,USA / lives and works in New York.

website: www.spencerfinch.com

d0079151_2104457.jpgAt the core of Spencer Finch's practice is his ongoing investigation into the nature of light, colour, memory and perception. Utilizing a range of media from painting, drawing, photography and installations using fluorescent lights with coloured filters, Finch distills his observations of the world into glowing abstract colour. Each work has its origin in Finch's own observation of a particular time or place with a lingering historical resonance, from a recreation of the light at the site of ancient Troy in Eos – to a futile attempt to capture the colour of a waterfall in Whit . Inherent in the work is the tension between the objective investigations of science and the subjectivity of perception and lived experience, endowing his work with a melancholy that comes from what Finch describes as 'the impossible desire to see oneself seeing'.


Sunset (South Texas, 6/21/03) 2003, 16" x 40', Fluorescent lights, filters.

by another29 | 2007-10-28 02:23 | □Product

Matthew Barney

Matthew Barney
Contemporary Artist
born 1967, in San Francisco

+The Cremaster Cycle / www.cremaster.net
+The Drawing Restraint / www.drawingrestraint.net

view more works:
Barbara Gladstone Gallery

In 1989, he graduated from Yale University, New Haven. Since then, he has created work that fuses sculptural installations with Performance and video. His singular vision foregrounds the physical rigors of sport and its erotic undercurrents to explore the limits of the body and sexuality. In this, the artist’s work reflects his own past as an athlete, while also being attuned to a new politics of the body evident in the work of many contemporary artists. Barney’s ritualistic actions unfold in hybrid spaces that evoke at once a training camp and medical research laboratory, equipped as they are with wrestling mats and blocking sleds, sternal retractors and speculums, and a range of props often cast in, or coated with, viscous substances such as wax, tapioca, and petroleum jelly. Indeed, his earliest works, created at Yale, were staged at the university’s athletic complex. Within this alternative universe, Barney’s protagonists—including an actor dressed as Oakland Raider Jim Otto, and the artist himself naked or cross-dressed—engage in a metaphoric dance of sexual differentiation.


Barney's exploration of the body draws upon an athletic model of development, in which growth occurs only through restraint: the muscle encounters resistance, becomes engorged and is broken down, and in healing becomes stronger. This triangulated relationship between desire, discipline, and productivity provides the basis for Barney's meditation on sexual difference. These athletic and sexual references converge in Otto's jersey number “00,” which becomes a leitmotif for the artist's ongoing exploration of a polymorphous sexuality. Woven cipherlike throughout Barney’s work, this motif variously appears as if marking elapsed time in his videos, and in altered form as a single oblong, resembling a football field. For the artist, however, the oblong represents “the orifice and its closure - or the body and its self-imposed restraint.” Homonymic with the word “auto,” Otto also suggests autoeroticism, or a closed, self-sufficient system.

d0079151_2425011.jpgDrawingRestraint The performance aspects of Barney's work have been described as predominant, while the resultant drawings have been called " very interesting in their own right." Some have criticized Drawing Restraint 9 for what has been termed a superficial treatment of Japanese culture combined with an undesirable awkwardness in the actors/performers, including Barney. A gallery show accompanying the Drawing Restraint 9 project appeared at Gladstone Gallery in New York 2006, featuring thermoplastic sculptures associated with the film and the remains of a private project performed at the gallery 2006, titled Drawing Restraint 13: The Instrument of Surrender, for which Barney emerged from a crate dressed as General Douglas MacArthur, walked across a platform, and fell into a vat of petroleum jelly. Barney reused his motif of dressing as MacArthur in a show later that year at the San Francisco Museum of Modern Art. That performance involved Barney scaling the museum's atrium to execute a large sketch of his iconic pill another recurring motif in his work.


by another29 | 2007-09-24 02:27 | □Product

Xavier Veilhan

Xavier Veilhan

born in 1963,Lyon
lives and works in Paris,France


d0079151_2214579.jpgHe studied at the Ecole Nationale Superieure Des Arts Décoratifs in Paris from 1981 to 1983. He attended classes at the Hochschule Des Kunste in 1984 in Berlin and enrolled in the Institut Des Hautes Etudes En Arts Plastiques in 1989 in Paris.

Veilhan's photographs, sculptures and installations are direct evocations of generic objects in everyday-life (cars, machines, animals, people), gathered in an encyclopaedic world of images where, however, nothing is treated in its true materiality or its usual colors. Veilhan attempts to set up an image glossary disturbing the viewer as a potential narrator.


by another29 | 2007-08-03 07:51 | □Product

Stephen Dean

Stephen Dean
born 1968 Paris,France

lives and works in NYC

website: www.stephendean.com

Dean was born in Paris in 1968. He has presented solo exhibitions of his work at Galerie Xippas in Paris, the Museum of Santander in Spain, Henry Urbach Architecture in New York, Hales Gallery in London and Galerie Cohn-Edelstein in Rio de Janiero. He has participated in group exhibitions at the 51st Venice Biennale; the 8th Istanbul Biennial; the Fondazione Pitti, Florence; the Grand Palais, Paris, and Site Santa Fe, New Mexico, among many others.

No Mmore Bets 2007 Exhibition at Galeria Max Estrella


by another29 | 2007-06-10 15:35 | □Product

Allan McCollum

Allan McCollum
born 1944 Los Angels, California

63 Greene Street New York, NY 10012

website: home.att.net

Over Ten Thousand Individual Works 1987/88. Enamel on cast Hydrocal. 2" diameter, lengths variable

Each and Every One of You 2004
1,200 digital prints on cotton rag (framed) 600 of the most popular Male and 600of the most popular Female names according to the U.S.Census, 4x6 inches each.

by another29 | 2007-06-10 04:01 | □Product

Peter Downsbrough

Peter Downsbrough
born 1940, New Bunswick, New Jersey,USA

lives and works;
New York,USA

Peter Downsbrough studied architecture and art. Around the mid-1960s, after several years of work and exploring materials, an evolution took place with resulted, in 1970, in the work with the Two Pipes (outside), Two Dowels (inside), and Two Lines (on paper). At the same time, he also started taking photographs to document these pieces. Buy taking photographs of « cuts » that already existed in the urban landscape. Some of these photographs were used in books, some appeared in magazines, but it wasn’t until 1960 that they showed up in exhibitions. From 1977 on, Downsbrough realized several videos as well as audiotapes. A record was made in 1978 and released in 1982. In 1980, on the Spectacolor Board on Times Square, N.Y., he realized a piece, a 30 second spot shown once every hour for four days and documented it in a short film, « 7 come 11 ». The work with maquettes as a means of exploring space and structure started around 1983. The first commissioned public work was a wall piece realized in Rennes, France, 1990. Today, all these disciplines occupy the field of his activities.

Private Commission - Alternate View 2006 Southern France

AND - Installation View 2006 /Bars: painted rectangular metal tube (1 1/4 x 1/4 inches)

by another29 | 2007-06-09 10:56 | □Product

Damien Hirst

Damien Hirst
born 1965,Bristol

website: www.damienhirst.com

Damien Hirst is an English artist and the most prominent of the group that has been dubbed "Young British Artists" (or YBAs).
He dominated the art scene in Britain during the 1990s and is internationally renowned.

Some Comfort Gained from the Acceptance of the Inherent Lies in Everything 1995
Steel, glass, cows and formaldehyde solution 12 tanks: 78-3/4 x 35-3/8 x 11-3/4 inches each (200x 90 x 30 cm)

Hymn 2000 Painted bronze 240 x 108 x 48 inches (609.6 x 274.3 x 121.9 cm) /Photo;Exhibition at Gagosian Gallery
As one of the most recognized talents of the Young British Art movement, Hirst has risen to international prominence, startling the art world and the world at large with brilliantly conceived projects that are instantly identifiable as the work of a unique and provocative imagination. Often controversial, his most celebrated work has never shied away from the terrible beauty that lies in death and the inevitable decay contained in beauty.

Hirst's works continue to infuse everyday objects with a sense of the sublime and the absurd. The exhibition will include 16 new sculptures and a new series of paintings. It will feature Hymn, a 20-foot tall painted bronze anatomical model. This transformation of a childhood educational toy into a monumental sculpture is emblematic of Hirst's playful nature. A desire for order and a humanized science is embedded in a group of spectacular wunderkammers (glass cabinets of curiosities) that make visceral the themes of absence, longing, memory and loss. Also included in the exhibition are a number of works that further Hirst's meditations on the impermanence and fragility of life.

by another29 | 2007-06-07 01:53 | □Product