Freedom of Expression Through Art - Selections Arts

Posted 11 November, 2019

In ART

Feature image by Rami Kanso

Some revolt on the streets and some resort to art to express their opinions. Here are some visuals translating emotions and showcasing statements related to the Lebanese revolution.

michelle illustratrice @michelleillustratrice

G°• For The Love Of Collage •° @ghyda_helou

july, 2020

07marallday25julMichael Biberstein | Seeing

Michael Biberstein Sans titre non-daté. Aquarelle et encre sur papier, 303 x 455 cm. Courtesy Jeanne Bucher Jaeger, Paris.

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Following the major retrospective dedicated to Michael Biberstein at Culturgest Lisbon in 2018, the gallery Jeanne Bucher Jaeger is pleased to present SEEING, a new exhibition of the artist’s paintings and works on paper. Born in 1948 in Solothurn, Allemannic Switzerland, the Swiss-American artist had chosen Portugal as his adopted country where he lived for forty years and where he died in 2013.

This exhibition gives a deeper insight into the various stages of Michael Biberstein’s artistic life from the deconstrution in his paintings in the 70s, when the very structure of his art was perceived as a system of signs, to his long and meticulous pictorial research starting at the end of the 80s: installations composed of bamboo in which spaces and cracks of thin layers of canvas alternate, installations exploring the polarized relationship between floor and wall or the outline of a shape, or again the Prospect/Refuge series from the 1980s, or that of the predella (in a reference to Medieval painting), monochromes reinforcing contemplative landscapes. He then studied the very medium of painting, oil and acrylic, the declension of possible syntaxes until he achieved painting as a spatial and temporal experience based on a physiological, emotional and intellectual response that colour, shape and medium trigger in the observer. Biberstein labelled his paintings, which are admiring reminiscences of Vernet, Friedrich, Turner, Monet, Cézanne and Rothko, but also secret imprints of eastern landscapes, as “seeing machines.”

Courtesy of Gallery Jeanne Bucher Jaeger.

Time

March 7 (Saturday) - July 25 (Saturday)

Organizer

Galerie Jeanne Bucher Jaeger Paris, Marais - 5 rue de Saintonge 75003 Paris

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24marallday17sepMohammed Kazem | Infinite Angles

23mayallday25julPhilip-Lorca diCorcia

28mayallday09julMichelangelo Lovelace | Nightshift

Michelangelo Lovelace, 4th Floor, 1993, Marker on paper, 23.75 x 18 inches

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Fort Gansevoort will present Nightshift, an exhibition of drawings by Michelangelo Lovelace (b. 1960), composed from the bedsides and common areas of nursing homes throughout Cleveland, Ohio, where he has worked for over 30 years as a nurse’s aide while pursuing his artistic practice.

The third exhibition in the gallery’s ongoing web series SEEING THOUGH YOU, Nightshift allows viewers to gaze into the daily lives of nursing home residents through 22 drawings that capture the vitality of spirit and depth of emotional life that persist in old age. Detailed, personal, direct, and inflected with flashes of wit, Lovelace’s portraits and observational scenes are shaped by his rare access to a swath of society too often overlooked or forgotten. As nursing homes across the country are pillaged by the COVID 19 pandemic, America has been forced to confront its biases toward the elderly. Lovelace, largely known for his vibrant paintings of inner-city Cleveland, has never been shy about depicting communities that remain conveniently but tragically relegated to the margins. In the Nightshift drawings, viewers find the artist at his most fearless and his most tender. While his work typically paints crime and poverty-filled streets from afar, Nightshift places Lovelace in close proximity to and intimate exchange with his subjects. Illustrated with an astute quietude, his nursing home images celebrate the accumulated experience and enduring life force that define each individual as singular and substantial in spite of being deemed negligible by society at large.

Nightshift is curated in collaboration with artist John Ahearn and includes Ahearn’s commentary on a central group of the works included in the exhibition. Nightshift will remain on view at Fort Gansevoort’s website through July 9, 2020.

Courtesy of Fort Gansevoort

Time

May 28 (Thursday) - July 9 (Thursday)

Location

FORT GANSEVOORT

5 Ninth Avenue, New York, NY, 10014

Organizer

FORT GANSEVOORT

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03junallday10octGideon Rubin

Gideon Rubin, Boy in Boat, 2020, oil on linen, 125 x 150 cm

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We are delighted to announce the first solo exhibition by Gideon Rubin in Italy.

Rubin creates paintings where the figures are rendered without their facial features. Thus the gaze of the viewer is not captured by physiognomy, but by the atmosphere unleashed by the entire images; the subjects are characterized by their positions and attitudes, by the way they move in space and dress.

Evanescent and melancholic, Rubin’s works speak of a past or a recollection that has surfaced in memory. The paint is dense and seductive, with fluid strokes that describe intimate atmospheres and complicity between the subjects portrayed. With their forcefully evocative character, these figures trigger direct empathy in the viewer.

The subjects are depicted during everyday activities; the artist draws us into moments of elusive intimacy. A couple walking with arms around each other, a young woman undressing, flowers gradually wilting become part of a temporal dimension of slowness and calm. Landscapes are barely indicated settings, colors that stand out, revealing parts of untouched canvas.

The delicate colors used by Rubin – sandy tones, grayish blues, milky whites – combined with the multiple brushstrokes on the canvas suggest the desire to bring something almost forgotten back to life and give it permanence. The viewer can complete the missing details using his own memories.

The sources for Rubin’s works are mostly found images, old photographs that belong to a personal but anonymous past, or recent images from magazine belonging to contemporary culture. The artist collects them, creating an archive of images for his paintings, a sort of act of re-appropriation of personal memories and stories. The subjects, though differing in nature, are stylistically comparable, equalized with one another. Past and present, conscious and unconscious, personal and universal are equivalent in the eyes of the artist. Rubin’s works thus narrate fragments of a wider, complex history of multiple implications, whose many sources, artistic citations and mass media culture, are reworked in a very personal pictorial language.

The erasure of facial features in Rubin’s works takes on an unintentional resonance in the present pandemic: the surgical masks we are all wearing now remove our main identifying characteristics, making us become abstract and enigmatic, but at the same time real and vital, like the subjects he depicts.

Courtesy of Monica de Cardenas.

Time

June 3 (Wednesday) - October 10 (Saturday)

Location

Galleria Monica De Cardenas

Via Francesco Viganò 4 20124 Milano | Italy

Organizer

Galleria Monica De Cardenasinfo@monicadecardenas.com Via Francesco Viganò 4 20124 Milano | Italy

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10junallday16julMYTH-MAKING

26junallday24sepSilvia Amancei & Bogdan Armanu | It Was Always in Plain Sight

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Ivan Gallery is delighted to invite you to visit the exhibition “It was always in plain sight”, Silvia Amancei & Bogdan Armanu (SABA)’s first solo show at Ivan Gallery.

“It was always in plain sight” is a new site-specific project which unfolds in the gallery’s space in the shape of a cinematic plot narrated through a multimedia installation of objects, paintings, drawings and collages, multi-layered frames instead of literally moving-images. The storyline features two characters acted by the artists themselves as an upper-middle-class couple stumbling upon a victim-less presumed murder scene on an eventful night: “The two discover a stain of blood on their living room floor. A murder? Maybe, but there’s no body, there’s no criminal. Surely, it’s just a confusion.“ (SABA) The signs of anonymous violence and aggression invade their domestic environment and while trying to ignore, cover up or clean them, the two end up being devoured as well by the nameless, invisible affliction.

Employing the aesthetic tools of thriller and horror cinema, the artists aim at deconstructing the ideological mechanisms of Hollywood and the social blindness of neoliberalism, uncovering a deeper discussion on the contemporary configuration of life and its many “invisible” or rather ignored systemic threats. The ongoing COVID-19 pandemic just adds up a coincidental layer of meaning on top of a previously conceived project dealing with the weak spots of today’s capitalist societies, art’s powerlessness and the artist’s uncertain condition.

Courtesy of Ivan Gallery.

Time

June 26 (Friday) - September 24 (Thursday)

Location

Ivan Gallery

Dr. Dimitrie Grecescu 13 050598, Bucharest

Organizer

Ivan Galleryinfo@ivangallery.com Dr. Dimitrie Grecescu 13 050598, Bucharest

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01julallday31Selim Mawad | Once Upon a Time... A Revolution

01julallday26sepMokhtar-Henein-Agop | 100 Years of Egyptian Sculpture

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