Gallery News: Arno Kramer: CHALK

Arno Kramer
Chalk
at 

Kunsthal KAdE

Eemplein 77, (Eemhuis)
3812 EA, Amersfoort

May 26, 2018 to Aug 19, 2018

Arno Kramer, In the time changing light, 2018. Courtesy of the artist. Photo by Peter Cox.

The focus of this group exhibition is the drawing material CHALK. Artists have been asked to produce new work with blackboard chalk and there are (inter)national loans of Joseph Beuys, Rudolf Steiner, Juan Muñoz and Nemanja Nikolić.

CHALK

The focus of this group exhibition is the drawing material CHALK. Artists have been asked to produce new work with blackboard chalk and there are (inter)national loans of Joseph Beuys, Rudolf Steiner, Juan Muñoz and Nemanja Nikolić.

Curated by Kunsthal KAdE with advice from Arno Kramer

The nostalgia evoked by the act of writing and drawing on a chalkboard is the central focus of a group exhibition showcasing the new work of seventeen Dutch artists. There are also several pieces by artists such as Joseph Beuys and Rudolf Steiner on loan from international collections. The upper gallery will be hosting a guest exhibition of works by local artists exploring the theme of chalk presented by Blauwdruk 033.

Marjolijn de Wit, To What Remains, 2018. Photo: Mike Bink

Chalk evokes memories and feelings of nostalgia in people of all ages. With the invention of black and green chalkboards in the 18th century, whole generations grew up watching letters, figures, sentences, diagrams and formulas being written and drawn on the panels of the board – and then wiped off again. Teachers used white or coloured chalk, and sometimes large rulers, compasses and set squares. These materials and the act of writing on a blackboard are now almost history, having been replaced in schools by whiteboard markers and computers. 

Kunsthal KAdE invited Dutch artists to work in chalk on a blackboard background. The exhibition includes works by figurative and abstract artists and features a wide range of styles and forms. There is a large mural by Arno Kramer, a study of the green triptych as an altarpiece by Roland Sohier and a pavement chalk drawing on a set of paving slabs by Lenneke van der Goot, which will take viewers back to the school playground. KAdE is also showing several works by Joseph Beuys, Rudolf Steiner and Juan Muñoz on loan from international collections and an animation created entirely in chalk by Serbian artist Nemanja Nikolić in 2016.

Participating artists:
Marijn Akkermans (NL, 1975) | Jitske Bakker (NL, 1982) | Joseph Beuys (DE, 1921 - 1986) | Nik Christensen (GB, 1973) | Marcel van Eeden (NL, 1965) | Hanneke Francken (NL, 1976) | Lenneke van der Goot (NL, 1979) | Susanna Inglada (ES, 1983) | Arno Kramer (NL, 1945) | Bart Lodewijks (NL, 1972) | Romy Muijrers (NL, 1990) | Juan Muñoz (ES, 1953 – 2001) | Marc Nagtzaam (NL, 1968) | Mayke Nas (NL, 1972) | Nemanja Nikolić (RS, 1987) | Thomas Raat (NL, 1979) | Hans Schuttenbeld (NL, 1991) & Jilles de Man (NL, 1990) | Roland Sohier (NL, 1950) | Rudolf Steiner (HR, 1861-1925) | Guy Vording (NL, 1985) | Witte Wartena (NL, 1976) | Marjolijn de Wit (NL, 1979) | Marthe Zink (NL, 1990) | Students HKU

CHALKroom. Photo: Mike Bink

Special guest: Blauwdruk 033
Kunsthal KAdE invited Blauwdruk 033 to curate guest exhibition at CHALK. The first ‘Blueprint/Blauwdruk’ exhibition opened on 16 February 2014. It was the last exhibition hosted by kunsthal KAdE at the Smallepad building and the first joint art event presented at kunsthal KAdE by StadsGalerij, Haren Majesteit, BV De Gasten en De Observant as guest curators. The organisers Ron Jagers, Martin Honings and Adinda van Wely feel it is important to maintain ties with artists from Amersfoort as their careers unfold. In summer 2018 Blauwdruk 033 will be presenting works by some of the artists featured in previous Blauwdruk exhibitions in the upper gallery at kunsthal KAdE. These Blauwdruk artists also explore the theme of chalk. Participants: Elsemarijn Bruys (NL, 1989) | Eva Hoogenberg (NL, 1999) | Marije Koelewijn (NL, 1991) | Jippiet (NL, 1988) | Inge Vaandering (NL, 1993) | Corine Zomer (NL, 1983).

This exhibition is supported by the Mondriaan Fund, K.F. Hein Fonds, StadsGalerij and the municipality of Amersfoort.

https://www.kunsthalkade.nl/en/exhibitions/chalk

New Beginnings / Summer Hours

New Beginnings

Summer Opening Hours:

Friday 27th July, 10am–6pm & Saturday 28th, 11am–3pm
Wed. 1st – Friday 3rd August, 10am–6pm
Wed. 8th & Thursday 9th August, 10am–6pm
Wed. 15th & Thursday 16th, 10am–6pm

Kirstin Arndt 
Alan Butler
Damien Flood
Caroline McCarthy
Emma Roche
Nigel Rolfe
Aoife Shanahan
Xavier Theunis

Green On Red Gallery, Park Lane, Spencer Dock, Dublin 1.

Nigel Rolfe , Dark Pool, Prussian blue and ivory black pigment and lard on Fabriano paper , 2018

Don't miss out on the final days of our group exhibition, New Beginnings. 

The exhibition includes new work by gallery artists and artists showing in the gallery for the first time, including the work of Xavier Theunis, Emma Roche and Aoife Shanahan along with gallery artists Damien Flood, Nigel Rolfe, Caroline McCarthy and Alan Butler.

Damien Flood has an upcoming two person show with Herbert Warmuth at Thomas Rehbein Cologne, 14th July - 18th August, 2018.
Xavier Theunis will present a solo show in Green On Red Gallery in 2019. 
Alan Butler will present a new body of work during a solo exhibition in Green On Red Gallery in 2019. He is showing at When Facts Don’t Matter, St Carthage Hall, Lismore Castle, until July 8th and upcoming Traces, Kasteel Wijlre, The Netherlands, 01 July - 18 Nov, 2018. For more info see alanbutler.info.
Kirstin Arndt is showing with Thomas Rehbein Gallery, Cologne at 'Backstage - die Rückseite the rear side' until July 7th. 

D.Flood At Thomas Rehbein Koln

DAMIEN FLOOD / HERBERT WARMUTH

At Thomas Rehbein Galerie : Koeln
Aachener Str. 5, 50674 Köln | www.rehbein-galerie.de

14. Juli – 18. August 2018

D. Flood, 'Shape of Things', oil on reversed black primed canvas, 80 x 100 cm

Green On Red Gallery artist Damien Flood presents his two-person show with Herbert Warmuth at Thomas Rehbein Galerie, Köln, opening Saturday, 14. July 2018, 2-6pm.

In Damien Flood´s (*1979) paintings formal fragments float beyond a continuity of space and consistency of illusion. There is no unifying order to which these single elements can be attached, no congruous narrative into which they are embedded. In fact, the free arrangement of entities and pictorial excerpts proves to be a programmatic statement involving the disintegration of affiliations and thematic boundaries. Wheras some of the „traces“ bear a figurative semblance that allows for a certain degree of recognition, still others remain exempt from any obvious traceable traits and thus removed from any context. These primarily abstract pictorial marks appear to be puzzle pieces on a plain, merely primed canvas surface, loosely recalling a former composition, a patch of paint, or conveying a fleeting impression of reality. Overcoming any objective specificity, inherent in a quick perception of a hand or a vessel, these seemingly familiar forms now appear as primeval pictorial components or even cryptic signs that can be distinguished only through the interaction with their immediate surroundings within the structure of a new pictorial space. In detaching these elements from a previous symbolic realm, they gain independence and valor of their own. Their existence becomes meaningful within a new formative plane, which however remains unstable. Flood´s arrangements of disparate fragments seem to illustrate  the futility of illusion, emphazising instead the aspect of painting through multiple stylistic variations, each of these conveying distinct and often conflicting ideas and ideals. A reliable reading based on the unifying story of a „grand narrative“ (Jean-François Lyotard)  is undermined. 

Due to their color specific compositional structure, the paintings of Herbert Warmuth often recall the appearance of a flag. Their pictorial plane is divided into strictly separated monochrome segments. Some of the blocky stripes prove to be smooth, even color fields, emphazising the surface without any illusionistic spatial effect. Thus the real conditions and essential prerequisites of painting, reduced to mere color and surface, are visualized here. In turn, other color areas induce an irritation, reaching beyond the essentialist parameters of a self-referential, medium-reflective painting. This manifests itself through disturbances in the surface, which seems to be ruffled and thus engaged in a movement. Such folds and creases are achieved with painterly means, so that in the imitation of materiality the textile quality, the concrete texture of cloth or canvas, is being evoked. This step into a three-dimensional space is realized on the level of depiction. At the same time, such superficial „disturbances“ accentuate the external reality, the autonomous existence of the medium carrying the painting: the canvas stretched on a frame. Herbert Warmuth also ventures into three-dimensionality on the level of objective reality. In former „flag paintings“ seams, and even buttonholes, creases and other signs of wear were often included as part of the fabric´s reality, which is draped so as to conceal the shape of the stretcher and directly refers to its obvious purpose as an item of clothing. In recent works, Herbert Warmuth goes one step further, breaking through the medium, slitting plexi glass panes or aluminium panels, in order to squeeze pieces of fabric through the emerging razor-thin openings, so that their ruffles and frills appear to burst through the surface. 

Damien Flood would like to acknowledge the support of Culture Ireland and the Arts Council of Ireland. 

Alan Butler: WHEN FACTS DON'T MATTER Until 8th July & TRACES 5th July - 18th November

Alan Butler 

WHEN FACTS DON’T MATTER

Until 8th July

'Surprise Party Breath',2015, Contents of Tamerlan Tsarnaev's Amazon.com Wish-list, Dimensions variable

WHEN FACTS DON'T MATTER

It’s the last chance to see the current exhibition at St Carthage Hall, When Facts Don’t Matter, which closes this Sunday 8 July.

Gallery artist Alan Butler joins Constant Dullaart, Eva & Franco Mattes, Trevor Paglen & Suzanne Treister at Lismore Castle Arts' presentation of When Facts Don't Matter, a group exhibition exploring how artists are responding to internet surveillance and data capture.

The exhibition looks at various aspects of online data capture – highlighted in recent times by Facebook data controversies, we are now more aware than ever of how our personal data can be shared, used, manipulated or deleted. We have assumed in the past that our subscription to social media platforms, or indeed any other form of data capture online, from banking to shopping, means companies will respect our rights to privacy or secrecy, however this is becoming less certain as news stories gather of data compromises.

In his book Psycho-politics: Neoliberalism and New Technologies of Power, Byung-Chul Han writes: Today, we are entering the age of digital psychopolitics. It means passing from passive surveillance to active steering. As such, it is precipitating a further crisis of freedom: now, free will is at stake. Big Data is a highly efficient psychopolitical instrument that makes it possible to achieve comprehensive knowledge of the dynamics of social communication. This knowledge is knowledge for the sake of domination and control…. For human beings to be able to act freely, the future must be open. However, Big Data is making it possible to predict human behavior. This means the future is becoming calculable and controllable.

The exhibition seeks to ask what takes place online and what is the nature of the exchange between the user and the other side of the screen – and in the process looks to the bigger picture – who controls data, who controls information, and ultimately, who controls the digital versions of ourselves. Are we offering up our own autonomy in the new virtual world we inhabit, and are we enslaving ourselves in a neo-liberal virtual reality?

ALAN BUTLER

Alan Butler (born 1981) conceptually reflects and refracts the inner-workings of the internet, the implications of new media technology, and the politics of appropriation. Butler’s work is such that you are made to question your grasp of the world around you, itself in the grip of systems of knowledge and coding that is never far away from the override or delete button. For Lismore Castle Arts, he will show Surprise Party Breath, the collection of the contents of Tamerlan Tsarnaev's Amazon.com Wish-list, the elder of the Boston bombers. A seemingly benign stack of books that were ‘curated’ through the online browsing habits of Tsarnaev, meditating upon the relationships between the corporate web and surveillance.

CONSTANT DULLAART

Constant Dullaart (born 1979) is a Dutch conceptual artist whose work is deeply connected to the Internet. He is known for his work series Jennifer in Paradise, which seeks to expose the technological structures that inform modern visual culture. He is also known for distributing 2.5 million bought Instagram followers amongst a personal selection of active art-world Instagram accounts. He was awarded the Prix Net Art in 2015. For Lismore Dullaart will show one of his sim card works, a work referencing minimalist modern artwork made up of sim cards originally used to create fake accounts on social media.

EVA & FRANCO MATTES

Eva and Franco Mattes (both born 1976) are a duo of artists based in New York City. Since meeting in Berlin in 1994, they have never separated. Operating under the pseudonym 0100101110101101.org, they are counted among the pioneers of the Net Art movement and are renowned for their subversion of public media. They produce art involving the ethical and political issues arising from the inception of the Internet. For Lismore they will show Dark Content (2015), A series of video installations about internet content moderators. Contrary to popular belief, the removal of offensive material from the Internet is not carried out by sophisticated algorithms. It is the nerve-wracking, demanding job of thousands of anonymous human beings: people disguised as algorithms.

TREVOR PAGLEN

Trevor Paglen (born 1974) is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. At St Carthage Hall, Paglen displays two key photographs – Keyhole Improved Crystal from Glacier Point (Optical Reconnaissance Satellite; USA 186), 2008, which documents satellites circulating the earth’s orbit, while They Watch the Moon, 2010, which depicts. A classified ‘listening station’ in. West Virginia. The listening station, which forms part of the global ECHELON system, was designed in part to take advantage of a phenomenon called “moonbounce.” Moonbounce involves capturing communications and telemetry signals from around the world as they escape into space, hit the moon, and are reflected back towards Earth.

SUZANNE TREISTER

Suzanne Treister (born 1958) is a British artist based in London, where she studied at Saint Martin's School of Art (1978-1981) and Chelsea College of Art and Design (1981-1982). Treister will display a selection of 18 prints from the series Hexen 2.0 Tarot, alchemical drawings depicting interconnected histories of the computer and the Internet, cybernetics and the counterculture, science-fiction and scientific projections of the future, government and military research programmes, social engineering and ideas of the control society; alongside diverse philosophical, literary and political responses to the advance of technology including the claims of anarchoprimitivism, technogaianism, and transhumanism. Through representing and re-examining these subjects and histories through the lens of occult belief systems and ideas of the supernatural, the 'HEXEN 2.0 Tarot' takes us to a hypnotic, mesmerising space from where one may imagine and construct possible alternative futures. Acknowledging precedents such as the traditional tarot deck, The Rider-Waite Tarot Deck and Aleister Crowley's Thoth Tarot Deck, Suzanne Treister has here produced a new Tarot.

P2_TEX_0070_0_A_1, 2018, Cyanotype 91cm x 61cm

TRACES

Jean-Marc Bustamante – Alan Butler – Ger van Elk – Anne-Charlotte Finel – Michel François – Noémie Goudal – Martin Healy – Siobhán Hapaska – Tony Matelli – Giuseppe Penone – Diana Scherer – Thomas Trum – Sanne Vaassen – Michael John Whelan

Kasteel Wijlre presents, in collaboration with Lismore Castle Arts, the international group exhibition Traces. With works by 10 contemporary artists, whose contributions are interwoven with artworks from the (former) collection of Jo and Marlies Eyck, Traces explores relationship between art and nature. The exhibition is presented in the Hedge House, the Coach House and the Garden at Kasteel Wijlre, The Netherlands.

The designed gardens, planting, and surrounding landscapes of Kasteel Wijlre and Lismore Castle Arts are in a continuous state of change that is both respectful of tradition and always open to contemporary developments. It is this dynamic of the past and present, of management and conservation, of reflection and provocation, and of growth and decay that is reflected in the exhibition’s artworks. Walking around the country estate, Traces subtly reveals the idea of conflict: a battle that leaves its mark and is constantly present in nature.

Curators: Paul McAree and Brigitte Bloksma

Congratulating Nigel Rolfe on his survey show at Red Brick Art Museum, Beijing

Nigel Rolfe

The Time Is Now

Red Brick Art Museum, Beijing

From February 1 to February 25, 2018

Extraordinary success specially for his live four performances 

Congratulations to gallery artist Nigel Rolfe on his survey show at Red Brick Art Museum, Beijing opening 31st January 2018 and running until February 25th.
 

Large turn out and warm receptoin for Nigel Rolfe with Living in the moment, pushing boundarieshttp://usa.chinadaily.com.

Press release
 

The Red Brick Art Museum will present one of the most iconic characters in the history of performance art from February 1 to February 25 - the "The Time Is Now" solo exhibition by Nigel Rolfe (born in Isle of Wight, England in 1950) , Opening on January 31st, curated by Jonas Stampe, a senior curator at the Red Brick Art Museum. For nearly 50 years, Nigel Rolfe has been one of the most important practitioners in the field of performance art since 1969. This exhibition attempts to trace back and collate the artist's artistic practice since 1973, including historical works, site-specific photography and new work done at the Red Brick Art Museum. In addition to 20 performance art pictures, the exhibition will also showcase his important video works.

The performance artist has come to Beijing and will act on the spot according to the local conditions in the Great Wall and the Red Brick Art Museum. As a large-scale ancient defense project and an important relic in the history of human civilization, the Great Wall often becomes an element of artist creation, especially the birthplace of contemporary performance art. With his usual analytic perspective, Nigel Rolfe will have a dialogue with the multi-cultural connotation and symbolic meaning of the Great Wall's evolving history and will reflect on and pursue his application in the context of contemporary performance art. Red Brick Art Museum's garden is the modernization of Chinese classical landscape mapping, a unique oriental space aesthetics, which will provide artists with a wide range of cultural context. The three acts, which have been handed over in the context of both the ancient and modern dimensions of space and time and the fields that carry Chinese tradition and contemporary culture, will bring a unique experience of participation for Chinese audiences.

As curator Jonas Stapf said: "Experience Rolfe's behaviour at the scene is to spend a moment of rich detail and presence. As the owner of the body and spirit, his behaviour is not only about where and how The most important thing to do is to move, when to rest, to watch, and, above all, how to use space in all dimensions. There is no limit to his artistic vocabulary, and though his interaction with the material and intellectual worlds is transient, his images are powerful and breathtaking. "

Nigel Rolfe's performance art works have their roots in the tradition of Viennese Actionism in the 1960s and Body art in the early 1970s. He often uses the body as a "Sculpture in Motion" and painting tool to directly interact or counter with raw material and environment such as water, fire, air, earth and wood, to find and establish balance, violence and the violent dynamic visual process of collapse, and appear above the body. He always uses the personal body as a place to challenge the physical and psychological limits and reveal the vulnerability of life. In recent years, he has created large-scale productions of images, videos and sound works based on his performance-art images, on-site remnants and related studies.

As one of the outstanding practitioners of performance art and a man of profound knowledge and analytical skills, Nigel Rolfe is now a professor at the Royal College of Art in London. He has had survey shows at the Irish Museum of Modern Art (Dublin) and the Musée d'Art Moderne de la Ville de Paris, as well as Venice, Italy , Sao Paulo, Brazil, Busan and Gwangju, South Korea, and the Biennale of Contemporary Art. In 1988, at the release of Nelson Mandela concert at Wembley Stadium, London, 600 million viewers around the world watched Rolfe's video work.

Kirstin Arndt: Tight corners Loose lines

Kirstin Arndt

Tight corners Loose lines

Opening: February 23rd – April 6th, 2018

Reception: Thursday 22nd February, 2018, 6–8pm

Kirstin Arndt, Untitled, 2007, truck tarpaulin, 135 x 135 x 30 cm. Photo: Achim Kukulies

Green On Red Gallery is delighted to present the first solo show in the gallery and in Ireland by Kirstin Arndt (b. Germany, 1961) called Tight corners Loose lines

Arndt brings to her mixture of sharp and flowing industrial materials a predilection for clean and colourful forms, at times inviting the viewer to interact with or even to recompose her work. Her sculptures, made from a wide variety of readily available industrial materials, fold, bend, fall or crease in space depending on the support or the effects of gravity on her limp or resistant forms.   

She has previously exhibited with Green On Red Gallery in Material Pleasures, in 2004 and Future, 2017

Ralf Christofori has written how Kirstin Arndt has a very keen sense of the aesthetic in
everyday things. She searches for and finds her materials among common or garden building supplies – shielding fleece, barrier tape, plastic containers, shower curtains, and the like. And throughout this the Düsseldorf artist references the historical sources of Concrete Art. Kirstin Arndt does not simply present the materials she uses, they are as it were “re-informed” by her: She releases the things from their original functional contexts, gives them form, and lends them a new purpose.
In her untitled piece from 2007, she has taken industrially manufactured truck tarpaulins, complete with their functional hooks and eyes, and hung them on the wall. Quite profane, but composed most exactly to produce a charged effect. A tarpaulin coated in matt silver in the shape of a square hangs directly on the wall; to the right the silver gives way to a shiny green, thus loosening up the feeling of a two-dimensional panel painting.
Kirstin Arndt manages to approach found objects with a heightened sensitivity and attention, as both an artist and a beholder. The silver tarpaulin advances to become a monochrome picture surface, the green tarpaulin is fixed in such a way that its right-hand side evokes a Baroque arrangement of folds. In this way the work literally evolves an inner dynamism that does not simply distract our gaze on second sight from perceiving a mere “thing in itself”. The effect is astonishing – not least because this art undermines the viewer’s expectations by the simplest of means. This is clearly one of the great visual or aesthetic strengths in Kirstin Arndt’s works. But the true consequence of this piece only reveals itself once one leaves the perceptual level in order to bring to mind the artistic concept behind it. The artist draws on the underpinnings of Concrete Art and transgresses them by taking them literally and enriching them by a clever marriage with the concept of the readymade. That this marriage may truly be made in heaven and not of the shotgun variety is revealed impressively in Kirstin Arndt’s works.

Hommage an das Quadrat,  2009, . p. 70/71, Museum Ritter, Waldenbuch, Germany. (Translated from German.)

Kirstin Arndt, Untitled, 2015, stainless steel (1mm), powder-coated (signal white), per module 120 x 40 x 40 cm

Select Solo Shows
2018 Green On Red Gallery, Dublin, Ire, LOODS12, Gent, B (mit Vincent de Roder) Galerie Gisela Clement, Bonn, PS projectspace, Amsterdam, NL, 2016/17 Fuhrwerkswaage, Köln (Kat.), 2015 Galerie Kim Behm, Frankfurt, 2012 Galerie Gudrun Fuckner, Ludwigsburg, DE (with Philippe Richard), 2011Galerie Olschewski & Behm, Frankfurt a. M., DE (with Stephen Bambury), 2010 Galerie 5räume, Ludwigsburg, DE (with Andreas Reiter Raabe), 2009 Projektraum, Galerie Hamish Morrison, Berlin, DE Kunstverein Nürtingen, DE (cat.), 2008 Retour de Paris, Institut Francais, Stuttgart, DE (cat.), 2007 Studio A, Museum Gegenstandsfreier Kunst, Otterndorf, DE (cat.), 2006 process room, Irish Museum of Modern Art, Dublin, IRE,2005 Galerie Michael Sturm, Stuttgart, DE, 2004 Musée des Beaux-Arts de Mulhouse, FR (cat.), 2003 Galerie BURO EMPTY, Amsterdam, NL Kunstverein Neuhausen/Fildern, DE, 2002 Galerie der Stadt Fellbach, DE, 2001 Heidelberger Kunstverein, DE (cat.), Galerie Michael Sturm, Stuttgart, DE, 2000 Musée de Valence (Art 3), FR (cat.), Städtische Galerie Villingen-Schwenningen, DE (cat.)

Select Group Shows
2018 Backstage 2, Galerie Mehdi Chouakri, Berlin, orten, E-Werk, Freiburg (cat.), Backstage 3, Galerie Thomas Rehbein, Köln,MOMU (Fashion Museum), Antwerpen, B, 2017 Future, Green On Red Gallery, Dublin, Ire, Vier Positionen aus vier Orten, Kunstverein Nürtingen (cat.), Backstage 1, Galerie Sofie van de Velde, Antwerpen, B, Reduzieren als Verdichtung, Galerie Mathias Güntner, Hamburg, Triple point, FONDATION FIMINCO, Paris, 2016 Modi des Minimierens, Galerie Gisela Clement, Bonn, From Scratch, Picura, Dordrecht, NL, 2015 Paper V, Zeichnung, Clement & Schneider Galerie, Bonn, Standard International, Post Spatial Devices #2, Berlin, Petra Rinck Galerie, Düsseldorf, Museum gegenstandsfreier Kunst, Otterndorf (cat.), INTRO, Clement & Schneider Galerie, Bonn, Thoughts Around the Black Square, Museum Vasarely, Budapest, HU (cat.), that’s all, Galerie Sofie van de Velde, Antwerpen, B , Die Kunst der Faltung, Kunstraum Alexander Bürkle, Freiburg (cat.) Construct!, Deutscher Künstlerbund, Berlin, just that, Galerie Martina Detterer, Frankfurt a. M., Die Kunst der Faltung, Museum für Konkrete Kunst, Ingolstadt (cat.), Collector‘s Choice Only! - MATERIAL, Kunstraum Alex. Bürkle, Freiburg (cat.), Das, was man so hat. No. 2, „Dahlhausen viral“, Kunstmuseum Ahlen, 2014 Schwarz, Galerie Rehbein, Köln, DE, Beyond the wall, Kunstverein Bochum, DE, Papier/Paper IV, Collage, kunstgaleriebonn, Bonn, DE, 2013Kunstraum Düsseldorf, 5x3, Düsseldorf, DE, Wieder sehen, Museum gegenstandsfreier Kunst, Otterndorf, DE, PLASTIK, kunstgaleriebonn, Ausstellungsprojekt in Köln, DE, Novecento mai visto/ Highlights from the Daimler Art Collection,Museo di Santa Giulia, Brescia, I, 2012 DRAWING QUOTE! Pigna Project Space, Rom, I (digitaler Kat.), Arndt/Fock/Oberthaler/Schulz - Andratx open II, CCA Museum, Andratx, Mallorca, ES, Arndt/Craig/ Pfeifle, Galerie Gudrun Fuckner, Ludwigsburg, DE, Zeigen. Audiotour von Karin Sander, Kunsthalle Karlsruhe, DE, 2011 Private/Corporate VI, Daimler Art Collection, Berlin, DE, American Abstract Artists/Deutscher Künstlerbund/Galerie oqbo, Berlin, DE, Professorale, Schloss Untergröningen, DE, Galerie Gudrun Fuckner, Ludwigsburg, DE

Kirstin Arndt is represented in Germany by Galerie Gisela Clement, Bonn and Galerie Kim Behm, Frankfurt.

Arno Kramer at The Model, Sligo and Ballina Arts Centre

Arno Kramer–Current Exhibitions

Arno Kramer & Henk Visch | High Winds Slowly Move
The Model, Sligo 19 August–29 October 2017
 

Human Chain | Dutch contemporary drawings
Ballina Arts Centre, Ballina, Co. Mayo
Thursday 7th September–28 October 2017

Arno Kramer & Henk Visch | High Winds Slowly Move

The Model, Sligo 19 August–29 October 2017

The Model is delighted to present High Winds Move Slowly, a very special two-person exhibition with Dutch artists Arno Kramer and Henk Visch. This show, which is curated and toured by the Museum De Buitenplaats in the Netherlands, marks the first time that these two artists have been brought together in one exhibition. 

The opening reception will be marked by a gallery conversation between Arno Kramer, Henk Visch, and the exhibition curater Patty Wageman. 

The exhibition focuses on the similarities and differences in the work of both artists who have known each other for a long time. Arno Kramer mainly makes drawings and so-called drawing installations, while Henk Visch focuses more on drawings and sculptures. Where Arno Kramer works in Overijssel and Sligo (Ireland), Henk Visch is alternately employed in Eindhoven and Beijing (China). Both due to the mutual relationship and the fact that sculpture and drawing art are well-connected, these aspects to the museum are the reason to present their work together. The work of Arno Kramer and Henk Visch is represented in various museum and private collections.

Both artists experiment with the possibilities of the figurative and the abstract and they explore how this affects the visual area. This will be seen in the coming exhibition. Now the line or a grid plays an important role, then the figure again takes over. At Henk Visch, humans are often image-determining, with Arno Kramer that is often an animal. Sometimes, the image and the more intuitive abstractions clash in an image.

The focus of this exhibition will be on a broad presentation of both work. Visch focuses on sculptures, with Kramer some very large drawings will be image-determining. For the exhibition of Museum De Buitenplaats, new and existing work will be shown. It will be very interesting how Visch's sculptures and drawings will relate to Kramer's work in the exhibition space.

Arno Kramer

Besides the artistry Kramer writes about visual arts. He published, for example, seven poems and a novel. From his last Dutch poetry edition, in 2017, a translation translated from Salmon Poetry Ireland. In addition, he has taught as a guest lecturer at the Academy of Arts and Industry (AKI) in Enschede, and in countries such as England, Scotland and the United States. Since 1995, Kramer has been living in Ireland annually to work on remote locations for new drawings. In Ireland he exhibited in many museums, lectured and lectured and organized Into Irish Drawing. An exhibition also seen in Paris, Northern Ireland and the Netherlands.

Arno Kramer designed the Drawing Center Diepenheim, where he is a curator from 2008. With All About Drawing, which he started and performed with Diana Wind, he put 50 years of Dutch drawings on the map.

Henk Visch

Henk Visch followed a curriculum from 1968 to 1972 at the Academy of Arts and Design St. Joost in 's-Hertogenbosch. After his studies, he initially made drawings and etching. In 1982, Visch spent a year in Atelier PS I in New York, where he became known for his figurative sculptures. From 1984, the artist has taught at the Amsterdam Rijksacademie van Beeldende Kunsten and the Jan van Eyck Academy in Maastricht. The work of Henk Visch is located in many major national and international museum collections. Visch has also exhibited at international exhibitions, such as the Documenta in Kassel and the Venice Biennale. In addition, the artist has recently been asked to be the Dutch representative at the Kathmandu Biënnale.

This exhibition is a first presentation in a pilot that focuses on the drawing and in which the museum will work closely with Academie Minerva and the University of Groningen. In this project, presentation, research, practice and training come together.

The Model,
The Mall, Sligo
info@themodel.ie

Human Chain: Dutch contemporary drawings

An exhibition in Ballina Arts Centre, Ballina, Co. Mayo

September 17th–28 October
 

Human Chain: Dutch contemporary drawings is an exhibition of drawings and works on paper by seven Dutch artists who at one point have been resident artists at the Ballinglen Arts Foundation in Ballycastle. Selected by Arno Kramer, the artists in the exhibition are: Arno Kramer, Hanneke Francken, Caren van Herwaarden, Anita Groener, Tjibbe Hooghiemstra, Erik Mattijssen and Jacobien de Rooij. The presentation of Human Chain in Ballina Arts Centre in September 2017 will show that there is a huge variety in content and also in technique and sizes of the drawings of these seven Dutch artists.

There will also be a book launch. Salmon Poetry publishes a from Dutch in English translated poetry volume written by Arno Kramer called MORNINGRUSTLE.

Poet and writer John Brown (Belfast)will do the presentation of the book.

Salmon Poetry has published In the Chair from John Brown in 2002. An interview book including 22 interviews with poets from the North of Ireland.

Ballina Arts Centre
Barrett St.

Ballina
Co. Mayo

Tel: 096 73593
www.ballinaartscentre.com

Damien Flood Awarded The 2017 Hotron Éigse Prize

DAMIEN FLOOD awarded
the Hotron Éigse Prize 2017
 

ART WORKS '17
VISUAL Carlow
7 June - 3rd September) 
11am-8pm daily

Damien Flood, Counter (2016) Oil on canvas 150 x 125cms

Green On Red Gallery is delighted to announce the award of the Hotron 2017 overall Art Prize to Damien Flood for a work of outstanding merit.  His single painting, Counter ( 2016, pictured ) in the current Éigse 2017 curated exhibition at VISUAL, Carlow, as part of the Carlow Arts Festival, was selected from a long list of contemporary Irish and international artists by Eoin Dara, Head of Exhibitions, Dundee Centre for Contemporary Art and Emma Lucy O'Brien, Curator and Galleries Coordinator at Visual Centre for Contemporary Art, Carlow. Counter was first exhibited in Damien's solo exhibition A Root that Turns as the Sun Turns in the Green On Red Gallery in 2016.

Damien's new work is also currently featured in Wouldn't it be nice if we could dream together ? group show in the Diana Rosenstein Gallery, LA, USA, finishing today, June 10.

His work will be centrally featured in the Green On Red Gallery exhibition at VOLTA, Basel, June 12-17, 2017.  Later this year he will have a solo show at Stephane Simoens Gallery, Belgium and will spend July 2017 at La Brea Artist residency, LA.  Damien has been offered a residency at Le Centre Culturel Irlandais, Paris, in 2018.

Monograph publications include: Afterworlds, 2013, Spectral Gallery, 2011, Selected Works, 2010.