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DTSTART;TZID=America/Halifax:20190916T190000
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SUMMARY:Boedi Widjaja: Declaration of | Literary Reading
DESCRIPTION:Threshold II (Literary Reading)\nMonday\, September 16\, 2019\, 7-9 pm \nArtist Boedi Widjaja and three authors—Claudia Serea\, Donald Breckinridge\, and Celina Su—read from their work to find a common and autonomous space for literature and art in the midst of recent geopolitical tensions.
URL:https://artinamericaguide.com/event/boedi-widjaja-declaration-of-literary-reading/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Event
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DTSTART;TZID=America/Halifax:20190914T140000
DTEND;TZID=America/Halifax:20190914T160000
DTSTAMP:20260416T132356
CREATED:20190829T124518Z
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SUMMARY:Boedi Widjaja: Declaration of | Artist Performance & Conversation with Boon Hui Tan
DESCRIPTION:Viewers are invited to step into and experience a collaborative performance involving art and poetry as artist Boedi Widjaja and poet Jee Leong Koh conduct a literal exchange of roles to evoke a multiplicity of meanings around the theme of “Threshold.” Thereafter\, Boon Hui Tan (Director\, Asia Society Museum) engages Boedi Widjaja in a conversation about his process and works.
URL:https://artinamericaguide.com/event/boedi-widjaja-declaration-of-artist-performance-conversation-with-boon-hui-tan/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Event
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190911T180000
DTEND;TZID=America/Halifax:20191107T180000
DTSTAMP:20260416T132356
CREATED:20190829T124722Z
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SUMMARY:Boedi Widjaja: Declaration of
DESCRIPTION:Opening reception: Wednesday\, Sep 11\, 6-8 pm\nArtist Performance & Conversation with Boon Hui Tan: Saturday\, Sep 14\, 2-4pm\nLiterary Reading: Monday\, Sep 16\, 7-9 pm \nHelwaser Gallery is pleased to present Declaration of\, the first solo presentation in New York of works by artist Boedi Widjaja (b. 1975\, Java\, Indonesia). The exhibition presents recent and latest works from the artist’s Imaginary Homeland series (2015–ongoing) encompassing drawings\, photography\, and installation. For this exhibition\, Widjaja focuses on press photographs taken during the Cold War of Indonesia’s founding figures\, Sukarno and Suharto. Having left Indonesia at a young age\, the artist’s perception of his former country is constructed mostly through images\, and the imagined. Widjaja’s works re-examine these images\, connecting them with ideas of embodiment\, gaze and memory. Declaration of will be accompanied by a catalogue\, with an essay by Shona Mei Findlay\, who currently serves as curator for Asia Programs at KADIST\, and an interview with Annie Jael Kwan\, an independent curator and researcher based in London. \nA highlight of the exhibition is the newly commissioned work\, 九百九十九朵玫瑰 (Nine Hundred and Ninety-Nine Roses) (2019)\, an installation comprising nine small-scale pinhole photos\, alongside nine pecis1 mounted onto a tripod stand. This series of pinhole photos captured then-President Sukarno’s meetings with leaders of the three power blocs—Russia\, China\, and the US—at the time of the Cold War. Using the methods of the camera obscura\, these images were created by exposing photo-sensitive paper to light passing through a small hole made on the top of each peci. \nThe exhibition also presents two large-scale negative drawings. 等著你回來 (Waiting for you) (2016)\, references a photograph taken during a meeting between Sukarno and the People’s Republic of China’s first Premier and Foreign Minister\, Zhou Enlai in 1965. 帶我去月球 (Fly me to the moon) (2019) alludes to a different image depicting Sukarno sitting alongside the 35th US president\, John F. Kennedy. Collectively\, these drawings reflect on the legacy of Sukarno and his role in veering a newly- independent nation through the fraught geo-political terrain of the time. During his presidency\, Sukarno had attempted to balance the sympathies of opposing factions that aligned themselves with the two power blocs\, China and the US. This ultimately led to his own removal from power in 1967 by Major General Suharto. For these negative drawings\, the viewer is invited to view the works through the camera of a mobile device\, with the classic invert settings turned on\, revealing the positive images of the work. \nIn addition\, a series of archival prints on diasec are on view: 因為我的心中有你 (Keeping you in my heart) (2015); 希望你能對我說你愛我 (Please say you love me) (2015); and 就是找不到往你的方向 (Can’t find my way to you) (2015). Adopting a process-based approach within his practice\, Widjaja further put his negative drawings of Sukarno and Suharto through analogue studio photography methods\, resulting in a body of images that is removed from their original contexts. These works\, as well as other works in the exhibition\, are named after the lyrics of 1980s Mandarin pop songs; mostly about heartbreak and melodrama\, the songs were popular radio selections that the artist listened to growing up. \nThis exhibition will include an outdoor installation of ten flags on the gallery terrace. Titled Art is only a continuation of war by other means (flags) (2019)\, the work is the artist’s latest iteration of his outdoor photographic installation\, Art is only a continuation of war by other means (2016) that was presented at the 1st Yinchuan Biennale. On each flag is a distinct composition of red and blue graphics which represent an encoding of words. Together\, the flags read “Art is only a continuation of war by other means\,” a reference to “Diplomacy is only a continuation of war by other means”—a famous Clausewitzian quote credited to Premier Zhou\, as reported by American journalist Edgar Snow in 1954. The artist transposed the short and long clicks of the Morse Code into abstract compositions of red and blue. This formulation of a visual language echoes the artist’s childhood of imagining his national identity through mediated images. \n1 A peci is a popular and widely-worn type of headgear in Indonesia\, Malaysia and broader Southeast Asia. In Indonesia\, it has been adopted as a symbol of solidarity with nationalist aspirations cultivated by Sukarno. \nAbout the artist \nBoedi Widjaja currently lives and works in Singapore. He has shown in numerous exhibitions internationally\, including the Asia Pacific Triennial 9 (2018); MAP1: Waterways (2017); Diaspora Pavilion\, 57th Venice Biennale; Yinchuan Biennale (2016)\, China; From East to the Barbican (2015)\, Barbican\, London; Infinity in flux (2015)\, ArtJog\, Indonesia; and Bains Numériques #7 (2012)\, Enghien-les-Bains\, France. The artist’s solo exhibitions include: Black—Hut (2016)\, Singapore Biennale Affiliate Project\, Institue of Contemporary Art Singapore; Path. 6\, Unpacking my Library。书城 (2014)\, Esplanade\, Singapore; and Sungai\, Sejarah 河流\, 历史\, 源 (2012)\, Singapore. Recent accolades include: Top 10 Winner\, FID Prize (2017); Finalist\, Sovereign Asian Art Prize (2015); ArtReview Asia FutureGreats (2014); Grand Prize (Sound Arts; with David Letellier)\, Bains Numeriques\, France (2012); and First Prize\, Land Transport Authority Beauty World Station (2012).
URL:https://artinamericaguide.com/event/boedi-widjaja-declaration-of/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Event
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190530T180000
DTEND;TZID=America/Halifax:20190530T200000
DTSTAMP:20260416T132356
CREATED:20190502T220259Z
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SUMMARY:Opening Reception for Christina Kruse: Base and Balance
DESCRIPTION:Helwaser Gallery presents Christina Kruse: Base and Balance \nOpening Reception: Thursday\, May 30\, 2019 from 6 to 8pm \nExhibition Dates: May 30–July 25\, 2019 \nHelwaser Gallery is pleased to announce Christina Kruse: Base and Balance\, a solo exhibition by New York-based artist Christina Kruse (b. 1976\, Germany). The exhibition presents the artist’s newest body of sculptural work completed over the last two years\, showcasing the development of a new dimension to her artistic practice\, which had primarily been focused on photography. Drawing connections between rationality and organic forms\, Kruse’s artistic practice thrives on the notion of construction\, bringing together multiple elements into abstract forms. The show will be on view from May 30–July 25\, 2019\, with an opening reception on Thursday\, May 30\, 2019. The exhibition coincides with the 100th year anniversary of the founding of the Bauhaus\, and is also accompanied by a catalogue\, with the foreword written by Glenn Adamson and essays by Joerg Trempler and John Zinsser. \nKruse’s works combine various primary shapes and forms—made out of wood\, bronze\, and occasionally\, brass—into integrated wholes. Works on show include Detached (2019)\, a spherical work suspended from the ceiling by a thin\, bronze rod. Although the work appears as un-centered\, tilted\, and off-balance\, the work’s internal wooden structure was conceived as a means of purposefully shifting the work’s center of mass forward. The work stands in conversation with Settled (2018)\, a large-scale standing bronze sculpture\, where a circular “head” is supported by an elongated stem. Accompanying these works are a selection of studies rendered in pencil and chalk; almost diagrammatic in spirit\, these preparatory sketches reveal the structures\, shape\, and color relations that inform her process of constructing sculptures. \nAcross her body of sculptural work\, rectilinear forms are often counterbalanced with rounded spheres\, weighted by intense shades of black\, grey\, and white. Through emphasizing the weight and depth of each component\, as well as their surface treatments and color applications\, Kruse’s works achieve a sense of equilibrium. Although characterized by geometry and line\, her sculptures inspire uncanny references to the human figure\, inviting viewers to imagine and investigate beyond the formal limits of the sculptures that she presents. Presented in loose groupings\, her sculptures recall the notion of a tableau vivant\, reflecting her own interest in the artistic practices of leading Bauhaus practitioners such as Oskar Schlemmer. These works are a new treatment of the human figure—a motif that figured prominently in the artist’s previous photographic collage works. \nAbout the artist \nChristina Kruse (b. 1979\, Germany) is a New York-based multi-disciplinary artist who works across the fields of photography\, painting\, and sculpture. Her ongoing body of sculptural series combines bronze\, marble and wood in standing arrangements that reference geometry. Although grounded in structure\, balance and stability\, Kruse’s sculptures nevertheless evoke similarities to the human head and face\, drawing connections between rationality and the oftentimes more capricious side of human life. \nPrevious significant works include Dystonia (2013)\, a three-part performance artwork where Kruse confronts the instability of the human lived experience. Getting into a purpose-built aluminum sculpture calibrated to automatically right itself after being pushed\, Kruse allows herself to be taken along by the movements of the sculpture as it struggles to right itself in the face of multiple pushes and forces from all sides. Her earlier photographic and collage works draw on her personal biography\, often deploying self-portraits layered with tape\, watercolor\, ink\, and other media in her formal compositions. \nKruse’s artistic practice thrives on the notion of construction—that a work of art can necessarily be produced out of multiple elements that fit and connect with one another. Kruse is a recipient of the GLAAD award for Best Emerging Artist in Photography (2005). Her works have been featured in solo and group exhibitions in New York\, France\, Austria\, and Germany\, amongst others. \nPRESS CONTACT \nThomas Brown\, Olu & Company \n+1 (978) 808-1961 / thomas@olucompany.com
URL:https://artinamericaguide.com/event/opening-reception-for-christina-kruse-base-and-balance/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190530T100000
DTEND;TZID=America/Halifax:20190725T180000
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SUMMARY:Christina Kruse: Base and Balance
DESCRIPTION:Helwaser Gallery is pleased to announce Christina Kruse: Base and Balance\, a solo exhibition by New York-based artist Christina Kruse (b. 1976\, Germany) presenting the artist’s newest body of sculptural work completed over the last two years. This new direction builds on her previous body of photographic and collage works\, introducing a spatial dimension to her practice. Drawing connections between geometric and organic forms\, Kruse’s artistic practice thrives on the notion of construction\, bringing together multiple materials into cohesive abstract forms. The show will be on view from May 30–July 25\, 2019\, with an opening reception on Thursday\, May 30\, 2019. The exhibition coincides with the 100th year anniversary of the founding of the Bauhaus\, and is also accompanied by a catalogue\, with the foreword written by Glenn Adamson and essays by Joerg Trempler and John Zinsser. \nKruse’s works combine various primary shapes and forms—made out of wood\, bronze\, and occasionally\, brass—into integrated wholes. Works on show include Detached (2019)\, a spherical work suspended from the ceiling by a thin\, bronze rod. Although the work appears as tilted and off-balance\, the work’s internal wooden structure was conceived as a means of purposefully shifting its center of mass forward. The work stands in conversation with Settled (2018)\, a large standing bronze sculpture\, where a circular “head” is supported by an elongated stem. Accompanying these works are a selection of studies rendered in pencil and chalk; almost diagrammatic in spirit\, these preparatory sketches reveal the structural\, shape\, and color relations that inform her construction process. \nAcross her body of sculptural work\, rectilinear forms are often counterbalanced with rounded spheres\, weighted by intense shades of black\, grey\, and white. Through emphasizing the weight and depth of each component\, as well as their surface treatments and color applications\, Kruse’s works achieve a sense of equilibrium. Although characterized by geometry and line\, her sculptures inspire uncanny references to the human figure\, inviting viewers to imagine and investigate beyond its formal limits. Presented in loose groupings\, her sculptures recall the notion of a tableau vivant\, reflecting her own interest in the artistic practices of leading Bauhaus practitioners such as Oskar Schlemmer. These works are a new treatment of the human figure—a motif that figured prominently in the artist’s previous photographic collage works. \nAbout the artist\nChristina Kruse (b. 1976\, Germany) is a New York-based multi-disciplinary artist who works across the fields of photography\, painting\, and sculpture. Her ongoing body of sculptural works combines bronze\, marble and wood in standing arrangements that reference geometry. Although grounded in structure\, balance\, and stability\, Kruse’s sculptures nevertheless evoke similarities to the human head and face\, drawing connections between rationality and the oftentimes more capricious side of human life. \nPrevious significant works include Dystonia (2013)\, a three-part performance work where Kruse confronts the instability of the human-lived experience. Getting into a purpose-built aluminum sculpture calibrated to automatically right itself after being pushed\, Kruse allows herself to be taken along by the movements of the sculpture as it struggles to stay upright in the face of multiple pushes and forces from all sides. Her earlier photographic and collage works draw on her personal biography\, often deploying self-portraits layered with tape\, watercolor\, ink\, and other media in her formal compositions. \nKruse’s artistic practice thrives on the notion of construction—that a work of art can necessarily be produced out of multiple elements that fit and connect with one another. Kruse is a recipient of the GLAAD award for Best Emerging Artist in Photography (2005). Her works have been featured in solo and group exhibitions in New York\, France\, Austria\, and Germany\, amongst others.
URL:https://artinamericaguide.com/event/christina-kruse-base-and-balance/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20190413T140000
DTEND;TZID=America/Halifax:20190413T160000
DTSTAMP:20260416T132356
CREATED:20190325T163837Z
LAST-MODIFIED:20190325T163837Z
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SUMMARY:Anton Ginzburg in Conversation with Meghan Forbes
DESCRIPTION:Helwaser Gallery is pleased to present VIEWs\, the first solo exhibition of works with artist Anton Ginzburg. The exhibition introduces the newest body of works by the artist\, which includes the VIEW painting series\, a site-specific mural\, and ceramic sculptures. VIEWs presents Ginzburg’s engagement with the development of modernist-formal vocabulary in Eastern Europe\, which addresses theories of viewing. Marking the inaugural exhibition at Helwaser Gallery’s new location (833 Madison Avenue\, Third Floor)\, the show will be on view March 28–May 23\, 2019\, with an opening reception to be held Thursday\, March 28\, 2019. The core of the exhibition is the VIEW painting series. Executed on wooden panels of two distinct sizes\, each work references diagrammatic representations of the binocular field of human vision. Based on the shape and geometry of the panels\, abstract compositions are developed through color\, plane\, and line. \nIn smaller-scale works\, different planes of color overlap and intersect with each other\, demonstrating the figure and ground perception within each work. In larger works\, Ginzburg draws on the effects of the movement of color through space. Collectively\, the VIEW series analyzes the act of viewing and demonstrates the process through the material practice of painting. \nAlso on show are Polychrome Columns (2018)\, a pair of multi-colored porcelain sculptures measuring 10 feet in height. Segmented into different colored modules\, which are stacked on top of each other\, the columns introduce a spatial dimension to the exhibition. Accompanying these columns is a site-specific mural\, comprising bands of colored lines with mirrored\, glass pieces superimposed over it. Placed in dialogue with the space of the gallery\, these works create a dynamic viewing process\, allowing visitors to immerse themselves within the works. Also presented in the exhibition\, the artist’s earlier video work Color and Line (2013) echoes this notion of space. A playful interpretation of Suprematist paintings and cinematic structure\, the work was filmed in a laundry room\, in between “cuts” of darkness (achieved by switching on and off the lights)\, creating a continuous sequence of color compositions that vary in placement. Ginzburg’s practice explores the direct relationship between the viewer and the process of observing. Through referencing theories of viewing proposed by two artists of historical avantgarde\, Mikhail Matyushin and Władysław Strzeminski\, Ginzburg applies his own methodology to painting\, sculpture\, and video. \nThis inquiry began three years ago during Ginzburg’s residency in Canada in 2016\, where the artist engaged in visual exercises used in the curriculum of the VkHUTEMAS (a modern art and technical school established by the Soviet Union in 1920). These exercises included color and spatial studies\, photography\, and graphic explorations\, which strived to re-animate the avant-garde methodology of the 20th into the present-day context. \nAbout the artist \nAnton Ginzburg (b. 1974\, St. Petersburg\, Russia) is a New York-based artist\, known for his films\, paintings\, sculptures\, and text-based printed work investigating historical narratives and poetic studies of place\, representation\, and post-Soviet identity. He earned a B.F.A. from Parsons School of Design\, The New School and M.F.A. degree from Bard College\, Milton Avery Graduate School of Arts\, Annandale-on-Hudson\, New York. His work has been shown at the 54th Venice Biennale; the Blaffer Art Museum at the University of Houston; Southern Alberta Art Gallery\, Canada; Palais de Tokyo\, Paris; the San Francisco Museum of Modern Art; White Columns\, New York; Lille 3000\, Euralille\, France; and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery\, London; Rotterdam International Film Festival (IFFR); Dallas Symphony Orchestra; Nasher Sculpture Center\, Dallas; Les Rencontres Internationales\, Paris; Haus der Kulturen der Welt\, Berlin; and New York Film Festival/Projections among others. \nwww.antonginzburg.com \nAbout the speaker \nMeghan Forbes is currently the C-MAP Fellow for Central and Eastern Europe at The Museum of Modern Art\, New York and a Visiting Scholar at the Institute for Public Knowledge at New York University. She holds a Ph.D. from the Department of Slavic Languages and Literatures at the University of Michigan\, Ann Arbor. Meghan recently co-curated the exhibition BAUHAUS↔VKhUTEMAS: Intersecting Parallels (2018) in the MoMA Library. She is the sole editor of International Perspectives on Publishing Platforms: Image\, Object\, Text (Routledge\, 2019). Besides her academic publications\, Meghan publishes regularly in venues of wider readership such as Hyperallergic\, Literary Hub\, The Los Angeles Review of Books\, Words Without Borders\, and the Michigan Quarterly Review.
URL:https://artinamericaguide.com/event/anton-ginzburg-in-conversation-with-meghan-forbes/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Event,Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190328T180000
DTEND;TZID=America/Halifax:20190523T170000
DTSTAMP:20260416T132356
CREATED:20190404T125254Z
LAST-MODIFIED:20190404T125254Z
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SUMMARY:Anton Ginzburg: VIEWs
DESCRIPTION:Opening Reception: Thursday\, March 28\, 2019 from 6 to 8pm \nArtist-in-Conversation with Meghan Forbes: Saturday\, April 13\, 2019 from 2 – 4 pm \nHelwaser Gallery is pleased to present VIEWs\, the first solo exhibition of works with artist Anton Ginzburg. The exhibition introduces the newest body of works by the artist\, which includes the VIEW painting series\, a site-specific mural\, and ceramic sculptures. VIEWs presents Ginzburg’s engagement with the development of modernist-formal vocabulary in Eastern Europe\, which addresses theories of viewing. Marking the inaugural exhibition at Helwaser Gallery’s new location (833 Madison Avenue\, Third Floor)\, the show will be on view March 28–May 23\, 2019\, with an opening reception to be held Thursday\, March 28\, 2019. The core of the exhibition is the VIEW painting series. Executed on wooden panels of two distinct sizes\, each work references diagrammatic representations of the binocular field of human vision. Based on the shape and geometry of the panels\, abstract compositions are developed through color\, plane\, and line. \nIn smaller-scale works\, different planes of color overlap and intersect with each other\, demonstrating the figure and ground perception within each work. In larger works\, Ginzburg draws on the effects of the movement of color through space. Collectively\, the VIEW series analyzes the act of viewing and demonstrates the process through the material practice of painting. \nAlso on show are Polychrome Columns (2018)\, a pair of multi-colored porcelain sculptures measuring 10 feet in height. Segmented into different colored modules\, which are stacked on top of each other\, the columns introduce a spatial dimension to the exhibition. Accompanying these columns is a site-specific mural\, comprising bands of colored lines with mirrored\, glass pieces superimposed over it. Placed in dialogue with the space of the gallery\, these works create a dynamic viewing process\, allowing visitors to immerse themselves within the works. Also presented in the exhibition\, the artist’s earlier video work Color and Line (2013) echoes this notion of space. A playful interpretation of Suprematist paintings and cinematic structure\, the work was filmed in a laundry room\, in between “cuts” of darkness (achieved by switching on and off the lights)\, creating a continuous sequence of color compositions that vary in placement. Ginzburg’s practice explores the direct relationship between the viewer and the process of observing. Through referencing theories of viewing proposed by two artists of historical avantgarde\, Mikhail Matyushin and Władysław Strzeminski\, Ginzburg applies his own methodology to painting\, sculpture\, and video. \nThis inquiry began three years ago during Ginzburg’s residency in Canada in 2016\, where the artist engaged in visual exercises used in the curriculum of the VkHUTEMAS (a modern art and technical school established by the Soviet Union in 1920). These exercises included color and spatial studies\, photography\, and graphic explorations\, which strived to re-animate the avant-garde methodology of the 20th into the present-day context. \nAbout the artist \nAnton Ginzburg (b. 1974\, St. Petersburg\, Russia) is a New York-based artist\, known for his films\, paintings\, sculptures\, and text-based printed work investigating historical narratives and poetic studies of place\, representation\, and post-Soviet identity. He earned a B.F.A. from Parsons School of Design\, The New School and M.F.A. degree from Bard College\, Milton Avery Graduate School of Arts\, Annandale-on-Hudson\, New York. His work has been shown at the 54th Venice Biennale; the Blaffer Art Museum at the University of Houston; Southern Alberta Art Gallery\, Canada; Palais de Tokyo\, Paris; the San Francisco Museum of Modern Art; White Columns\, New York; Lille 3000\, Euralille\, France; and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery\, London; Rotterdam International Film Festival (IFFR); Dallas Symphony Orchestra; Nasher Sculpture Center\, Dallas; Les Rencontres Internationales\, Paris; Haus der Kulturen der Welt\, Berlin; and New York Film Festival/Projections among others. \nwww.antonginzburg.com \nAbout the speaker \nMeghan Forbes is currently the C-MAP Fellow for Central and Eastern Europe at The Museum of Modern Art\, New York and a Visiting Scholar at the Institute for Public Knowledge at New York University. She holds a Ph.D. from the Department of Slavic Languages and Literatures at the University of Michigan\, Ann Arbor. Meghan recently co-curated the exhibition BAUHAUS↔VKhUTEMAS: Intersecting Parallels (2018) in the MoMA Library. She is the sole editor of International Perspectives on Publishing Platforms: Image\, Object\, Text (Routledge\, 2019). Besides her academic publications\, Meghan publishes regularly in venues of wider readership such as Hyperallergic\, Literary Hub\, The Los Angeles Review of Books\, Words Without Borders\, and the Michigan Quarterly Review.
URL:https://artinamericaguide.com/event/anton-ginzburg-views/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Event,Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190328T180000
DTEND;TZID=America/Halifax:20190328T200000
DTSTAMP:20260416T132356
CREATED:20190326T194302Z
LAST-MODIFIED:20190326T194302Z
UID:49423-1553796000-1553803200@artinamericaguide.com
SUMMARY:Opening Reception of Anton Ginzburg: VIEWs
DESCRIPTION:Opening Reception: Thursday\, March 28\, 2019 from 6 to 8pm \nArtist-in-Conversation with Meghan Forbes: Saturday\, April 13\, 2019 from 2 – 4 pm \nHelwaser Gallery is pleased to present VIEWs\, the first solo exhibition of works with artist Anton Ginzburg. The exhibition introduces the newest body of works by the artist\, which includes the VIEW painting series\, a site-specific mural\, and ceramic sculptures. VIEWs presents Ginzburg’s engagement with the development of modernist-formal vocabulary in Eastern Europe\, which addresses theories of viewing. Marking the inaugural exhibition at Helwaser Gallery’s new location (833 Madison Avenue\, Third Floor)\, the show will be on view March 28–May 23\, 2019\, with an opening reception to be held Thursday\, March 28\, 2019. The core of the exhibition is the VIEW painting series. Executed on wooden panels of two distinct sizes\, each work references diagrammatic representations of the binocular field of human vision. Based on the shape and geometry of the panels\, abstract compositions are developed through color\, plane\, and line. \nIn smaller-scale works\, different planes of color overlap and intersect with each other\, demonstrating the figure and ground perception within each work. In larger works\, Ginzburg draws on the effects of the movement of color through space. Collectively\, the VIEW series analyzes the act of viewing and demonstrates the process through the material practice of painting. \nAlso on show are Polychrome Columns (2018)\, a pair of multi-colored porcelain sculptures measuring 10 feet in height. Segmented into different colored modules\, which are stacked on top of each other\, the columns introduce a spatial dimension to the exhibition. Accompanying these columns is a site-specific mural\, comprising bands of colored lines with mirrored\, glass pieces superimposed over it. Placed in dialogue with the space of the gallery\, these works create a dynamic viewing process\, allowing visitors to immerse themselves within the works. Also presented in the exhibition\, the artist’s earlier video work Color and Line (2013) echoes this notion of space. A playful interpretation of Suprematist paintings and cinematic structure\, the work was filmed in a laundry room\, in between “cuts” of darkness (achieved by switching on and off the lights)\, creating a continuous sequence of color compositions that vary in placement. Ginzburg’s practice explores the direct relationship between the viewer and the process of observing. Through referencing theories of viewing proposed by two artists of historical avantgarde\, Mikhail Matyushin and Władysław Strzeminski\, Ginzburg applies his own methodology to painting\, sculpture\, and video. \nThis inquiry began three years ago during Ginzburg’s residency in Canada in 2016\, where the artist engaged in visual exercises used in the curriculum of the VkHUTEMAS (a modern art and technical school established by the Soviet Union in 1920). These exercises included color and spatial studies\, photography\, and graphic explorations\, which strived to re-animate the avant-garde methodology of the 20th into the present-day context. \nAbout the artist \nAnton Ginzburg (b. 1974\, St. Petersburg\, Russia) is a New York-based artist\, known for his films\, paintings\, sculptures\, and text-based printed work investigating historical narratives and poetic studies of place\, representation\, and post-Soviet identity. He earned a B.F.A. from Parsons School of Design\, The New School and M.F.A. degree from Bard College\, Milton Avery Graduate School of Arts\, Annandale-on-Hudson\, New York. His work has been shown at the 54th Venice Biennale; the Blaffer Art Museum at the University of Houston; Southern Alberta Art Gallery\, Canada; Palais de Tokyo\, Paris; the San Francisco Museum of Modern Art; White Columns\, New York; Lille 3000\, Euralille\, France; and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery\, London; Rotterdam International Film Festival (IFFR); Dallas Symphony Orchestra; Nasher Sculpture Center\, Dallas; Les Rencontres Internationales\, Paris; Haus der Kulturen der Welt\, Berlin; and New York Film Festival/Projections among others. \nwww.antonginzburg.com \nAbout the speaker \nMeghan Forbes is currently the C-MAP Fellow for Central and Eastern Europe at The Museum of Modern Art\, New York and a Visiting Scholar at the Institute for Public Knowledge at New York University. She holds a Ph.D. from the Department of Slavic Languages and Literatures at the University of Michigan\, Ann Arbor. Meghan recently co-curated the exhibition BAUHAUS↔VKhUTEMAS: Intersecting Parallels (2018) in the MoMA Library. She is the sole editor of International Perspectives on Publishing Platforms: Image\, Object\, Text (Routledge\, 2019). Besides her academic publications\, Meghan publishes regularly in venues of wider readership such as Hyperallergic\, Literary Hub\, The Los Angeles Review of Books\, Words Without Borders\, and the Michigan Quarterly Review.
URL:https://artinamericaguide.com/event/opening-reception-of-anton-ginzburg-views/2019-03-28/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Event,Exhibition
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