PERES PROJECT | Donna Huanca
Donna Huanca, Meat Curtain 2016, Courtesy of Peres Project, Berlin
Donna Huanca’s installations fuse tactile materials, such as clothing and ephemera to create architectural collages that are performative in nature. Working primarily with deconstructed clothing, dipped in paint and solidified, her sculptural gestures pause a once-fluid life of the garment. During Huanca’s durational performances the works interact with the vulnerability of live models, camouflaged and infused into the sculpture, giving life to otherwise static artworks. Born in Chicago, Huanca received a BFA in Painting from the University of Houston and studied at Stadelschule, Frankfurt, Germany. In 2012 Huanca was awarded a Fulbright Scholarship to live and work in Mexico City. Publications of her work have been featured in Art Forum, DUST, Wire, British Vogue, ArtInfo, Art in America, and the Younger than Jesus Artist Directory published by the New Museum, New York amongst others. Recent exhibitions include: MUSCLE MEMORY at Peres Projects, Berlin, WATER SCARS at Valentin, Paris, PSYCHOTRIA ELATA at Art Berlin Contemporary, Berlin, Germany, SADE ROOM (famously reclusive) at MoMA PS1 Printshop New York, SEEING AURAS at ltd Los Angeles, RAW MATERIAL at MalmÃ¶ Konsthall, Sweden, PANIC FEAR CRYING FITS at Preteen Gallery, Mexico City.
RAFFAELLA CORTESE | Karla Black
Karla Black, In Place of Requirements 2016, Galleria Raffaella Cortese
KAUFMANN REPETTO | Talia Chetrit
Talia Chetrit, Ever (Swing), 2014 / 2016, Kaufmann Repetto
Talia Chetrit was born in 1982 in Washington DC. She lives and works in New York, NY. Her career has been an ongoing exploration of what remains hidden in the practice and mechanisms of photography. Her works make frequent use of isolation, obscuration, and distortion, such that her subjects become abstracted and not immediately recognizable. She also inverts conventions of positive and negative space, horizontal and vertical orientation—these extreme effects are not the outcome of post-production processes, but are actually the product of a skillful technical grasp of the medium. There is often an underlying psychological or intimate narrative underpinning the works. In a recent series, she revisited some of the first rolls of film she shot in the 1990s of her own family; other works allude more explicitly to sexuality and the body.
JOCELYN WOLFF | Miriam Cahn
Miriam Cahn, Desaster 2016, Jocelyn Wolff
Miriam Cahn is a Swiss painter, she makes intimate, haunting paintings and drawings of semi-ambiguous figures, animals, and landscapes imbued with quiet emotion. Influenced by the black-and-white images she was exposed to through early television and reproductions in art history textbooks, Cahn used only black, white, and shades of gray in her early work. She began using color in 1994, turned on to the formal and psychological power of mass media imagery and its gradual saturation. She cites Michelangelo Antonioni’s 1964 film Il deserto rosso (Red Desert) as a work that exposed her to the hyper-reality of color. With exquisite sensitivity, Cahn uses color to highlight choice parts of her figures—principally the genitals, breasts, lips, or eyes—suggesting fragility and fecundity and endowing her figures with a sense of inner life.
LEHMANN MAUPIN | Kader Attia
Kader Attia, Modern Architecture Genealogy 2014, Lehmann Maupin
KRAUPA-TUSKANY, ZEIDLER | Katja Novitskova
Katja Novitskova, Approximation (C. Elegans, long tail) 2017, Kraupa-Tuskany, Zeidler
Katja Novitskova, born 1984 in Tallinn, Estonia, lives and works in Berlin and Amsterdam. She was artist in residence at the Rijksakademie van Beeldende Kunsten in Amsterdam from 2013 to 2015. Novitskova’s works includes cutouts from digital imagery, sculptures, installations and artist publications. In her work she examines ecological and information systems, through an engagement with digital data, exploring the co-evolution of planetary ecosystems and species and the competing forces of human expansion and biodiversity. In 2010, she published the influential artist book the ‘Post Internet Survival Guide’ and in 2016 her second artist book ‘Dawn Mission’ was published with the Kunstverein in Hamburg. She had her first solo exhibition at Kraupa-Tuskany Zeidler, Berlin in 2012. Since then her work has been exhibited internationally in solo and group exhibitions including the CCS Bard, New York (2012); Fridericianum, Kassel (2013); Astrup Fearnley Museum, Oslo (2014); Kunsthalle Lissabon (2015, solo); 13e Biennale de Lyonn (2015/2016); The Museum of Modern Art, New York (2015); the 9th Berlin Biennale for Contemporary Art (2016); Kunstverein in Hamburg (2016, solo); Okayama Art Summit, (2016); Yuz Museum, Shanghai (2016); Museum Folkwang, Essen (Nam June Paik Award 2016); Greene Naftali, New York (2016, solo). Besides the Estonian Pavilion at the 57th Venice Biennale upcoming solo and group exhibitions include The Museum of Contemporary Art Kiasma, Helsinki; K11 Art Foundation, Shanghai; Schirn Kunsthalle, Frankfurt; Kunsthal Charlottenborg, Copenhagen; The Public Art Fund, New York (solo). Her work is in the collections of Astrup Fearnley Museum, Oslo; Moderna Museet, Stockholm; Museum Ludwig, Cologne; Kumu Art Museum, Estonia; Yuz Museum, Shanghai; Fondazione Sandretto Re Rebaudengo, Turin; K11 Art Foundation, Shanghai; CC Foundation, Shanghai; Ishikawa Foundation, Okayama; Boros Collection, Berlin; Ringier Collection, Zurich; Rubell Family Collection, Miami; Aishti Art Foundation, Beirut and Sishang Art Museum, Beijing. Her work has been featured in Art Forum, Art Review, Frieze, Mousse, Metropo lis M and Leap, amongst others. Katja Novitskova is represented by Kraupa-Tuskany Zeidler, Berlin and Greene Naftali, New York.
EVA PRESENHUBER | Michael Williams
Michael Williams, Windsurfing 2017, Eva Presenhuber
Michael Williams has been animating the art world with his colorful and quirky paintings for over a decade ever since his solo debut at New York’s Canada gallery in 2007. Aside from early experiments with oil painting, the artist has gradually phased out the use of the brush and since 2013 has developed a unique technical approach using a number of mediums including airbrush, digital inkjet printing, and oil paint to develop his energetic and eclectic works. Throughout his constantly evolving body of work he has maintained a very distinct visual language characterized by a bold palette, layered imagery dotted with quirky, oddball references to pop culture and art history.
The unique style and process earned Williams critical plaudits and international gallery shows in Denmark, Italy, Germany, and Switzerland, as well as a solo museum show at Canada’s Musée des Beaux-Arts de Montreal in 2015. That same year Gladstone Gallery announced the co-representation of the artist, together with New York’s Canada gallery. The artist is also represented internationally by Presenhuber in Zurich.
ZERO…| Adam Gordon
Adam Gordon, Untitled 2017, Zero…
Adam Gordon lives and works in New York, NY. He received his MFA from Yale University in 2011 His work has recently been exhibited at Andrew Kreps, NY; National Exemplar, NY; Night Gallery, LA; Know More Games, NY and Derek Eller Gallery, NY. Gordon’s multi-disciplinary practice focuses on the construction of experience. Through methodically manipulating the senses and relying on lived experience, he sets an enigmatic tone, one that peels back the layers of the banal while setting the stage for the re-examination of the physical and emotional self. All the while challenging an inherent need for a defined narrative by pushing the boundaries between reality and fiction. Through the disruption of the mechanisms that customarily govern the art viewing process, he creates works that envelop and are all consuming.
GALERIE PETER KILCHMANN | Hernan Bas
Hernan Bas, Bloomsbry revisited (parroting) 2017, Galerie Peter Kilchmann
Born in 1978 in Miami, Florida, Hernan Bas creates works born of literary intrigue and tinged with nihilistic romanticism and old world imagery. Influenced by the Aesthetic and Decadent writers of the 19th century, in particular Oscar Wilde and Joris-Karl Huysman, Bas’s works weave together stories of adolescent adventures and the paranormal with classical poetry, religious stories, mythology and literature. Bas’s work has been exhibited in numerous solo exhibitions around the world, including a major presentation at the Rubell Family Collection, Miami, in 2007, which subsequently traveled to the Brooklyn Museum of Art in 2008, and a retrospective exhibition at the Kunstverein Hannover, Germany, in 2012. In 2013, Bas presented the multi-media installation, TIME, Hernan Bas: a queer and curious cabinet at the Bass Museum of Art, Miami, FL and in 2014, Rizzoli published a monograph on the artist, the most comprehensive book of his work to date. Bas has participated in a number of important group exhibitions, including “The Collectors,” curated by Elmgreen & Dragset for the Nordic and Danish Pavilions at the 53rd Venice Biennale (2009); Triumph of Painting: Part III, Saatchi Gallery, London, and Ideal Worlds – New Romanticism in Contemporary Art, Schirn Kunsthalle, Frankfurt (both 2005); and the 2004 Whitney Biennale. His work is part of the permanent collections of New York’s Brooklyn Museum of Art, The Museum of Modern Art, and Whitney Museum of American Art; as well as the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, North Miami, and San Francisco Museum of Modern Art, among others. The artist lives and works in Detroit, Michigan.
BLUM & POE | Henry Taylor
Henry Taylor, Don’t keep Love a secret. Portrait of Victoria Moreno’s niece (2017), Blum & Poe