Robert Barta FLY HIGH!, 2011

Robert Barta, NEVER MISS A FLIGHT, 2011, installation view at Grimmuseum, Berlin


Robert Barta, NEVER MISS A FLIGHT, 2011,

Robert Barta, NEVER MISS A FLIGHT, 2011,

"The project FLY HIGH! is based on a form of making a two dimensional piece on paper without actually making it directly.

The fact that during a travel with my car from point A to point B the sheet of paper which is mounted on the wooden construction is covered slowly by FLIES.

After each trip I will write down the date, time needed, average speed, distance driven and average temperature of the day.

As soon as I arrive, the paper will be disattached from the wood and made ready for the next trip. I am also planing to extend the project worldwide where I will be driving (upon request) a certain distance in Brasil for example or in Canada. The construction will be aluminum made and mounted on the car that I will rent in that country for the sake of making an art piece.

After I arrive at a destination I am so excited to unveal the "present“ so I jump out of my car as it would be Christmas Eve and want to see the result of the driven hours on a highway.

Each paper is Fabriano T.W.Tistico 300g/m and 28 x 38 cm, and it is custom framed into a walnut color frame."

Robert Barta

running until July 17th 2011 TIM ELLIS *SONS OF PIONEERS*

ANDREA BIANCONI

ANDREA BIANCONI, testi di Renato Miracco, David Galloway, Andrea Bianconi, Oliver Orest Tschirky, Luigi Meneghelli / pag. 104 /ed. Charta

TIM ELLIS | Sons of Pioneers a cura di Rita Selvaggio

(PLEASE, SCROLL DOWN FOR ENGLISH VERSION)

Interrogarsi sulle possibilità inespresse del manufatto, alterarne la destinazione originaria con l’intenzione di ripensarne il valore e la funzione, mettendo in evidenza il processo che porta un oggetto trovato ad appropriarsi di un differente valore culturale.
La pratica di Tim Ellis si basa sulla giustapposizione di materiali e oggetti culturalmente diversi tra loro e ne interpella sia il loro valore formale che la loro finalità originale, forzando lo sguardo ad interrogarsi su questioni relative alle nozioni di funzionalità, autorialità e display. Attraverso relazioni mentali e alterazioni impercettibili, il giovane artista inglese dichiara una forma di impegno relativa alla nozione di artefatto e a quella di artificio, al principio di creatività e di serialità.

Il titolo della mostra si riferisce all’idea dell’essere minacciati dal peso della storia, mentre il percorso espositivo si svolge come se fosse una proposta per l’inizio di una nuova ideologia. Sia la scultura che la pittura - modelli, trofei e testimoni di qualcosa di più grande - focalizzano la loro tensione su quella congiuntura in bilico perenne tra il fatto e l’oggetto storico, tra la sua fabbricazione e la sua diffusione, suggerendo riflessioni sul ruolo dell’artificio all’interno del processo di produzione di senso.

La pittura in quest’occasione usa il medesimo identico emblema, una sorta di monumento iconico o costruzione totemica che varia cromaticamente a seconda delle stagioni e delle ore del giorno e così facendo si oppone all’inevitabile corrosione del tempo. Questi lavori continuano la serie pittorica numerata progressivamente e raccolta sotto il titolo di “United in Different Guises”. Proponendo una doppia funzione, sia di ruolo rappresentativo che comunicativo, all’origine di questo immaginario c’è una volontaria fusione di segnaletica e di design, una strategia visiva che viene poi ricomposta e codificata sotto un’apparenza più genericamente simbolica. Attraverso espedienti tecnici quali la piegatura del supporto, la graffiatura e il progressivo e graduale invecchiamento della superficie e del colore, la pittura stessa si trasforma in un avvicendamento di enunciati funzionali. Ciò che viene concesso allo sguardo è alla fine un oggetto che mette in discussione le nozioni di simbolismo e autenticità permettendo che l’immagine finale vada oltre i confini della pittura stessa.

Wondering about the unexpressed possibilities of the artefact, altering the purpose to which it was originally put with the intention of reassessing its value and function, bringing out the process that leads a found object to take on a different cultural value.
Tim Ellis’s practice is based on the juxtaposition of culturally different materials and objects and probes both their formal value and their original purpose, obliging the viewer to raise questions about notions of functionality, authorship and display. Through mental relations and the imperceptible alteration of forms, the young English artist declares a sort of relative commitment to the concept of artefact and that of artifice, to the principle of creativity and seriality.

The title of the exhibition refers to the idea of being threatened by the weight of history, while it is laid out as if it were a proposal for the beginning of a new ideology. Both sculpture and painting - models, trophies and testimonies to something bigger - focus their tension on that juncture in perennial balance between the fact and the historical object, between its manufacture and its distribution, suggesting reflections on the role of artifice within the process of production of meaning.

On this occasion the paintings use exactly the same emblem, a sort of iconic monument or totemic construction whose colour varies with the season and the time of day, and in this way opposes the inevitable ravages of time. These works continue the series of progressively numbered paintings grouped under the title United in Different Guises. Proposing as they do a dual function, with a role of representation as well as communication, at the root of their imagery lies an intentional fusion of signs and design, a visual strategy that is then recomposed and codified under a more generically symbolic appearance. Through technical devices such as the bending of the support, the scratching and the progressive and gradual aging of the surface and the colour, the painting itself is transformed into a succession of functional propositions. What is offered to the gaze is in the end an object that brings into question the notions of symbolism and authenticity, allowing the final image to go beyond the confines of painting itself.

Biografia – Tim Ellis (Chester, 1981) vive e lavora a Londra. Si è formato presso la Royal Academy Schools (Londra, 2006-09) e presso la Liverpool School of art (Liverpool, 2000-03). Mostre personali: 2011, The Tourist, Spacex, Exeter, Inghilterra; 2010, A Foundation For Exchange, Primopiano, Lugano, Svizzera. Fra le mostre collettive: 2010, Newspeak, British Art Now, Saatchi Gallery, Londra; 2009, New Sensation, The Rochelle School, Londra; 2008, Premiums, The Royal Academy, Londra; 2006, Half cut for Confidence, Indipendence, Liverpool Biennal; 2005, The Jerwood Drawning Prize, The Jerwood Space, Londra.Il suo lavoro è inserito nella collettiva Secret Societies prossimamente presso la Schirn Kunsthalle di Francoforte (23 giugno-25 settembre 2011) e successivamente al CAPC di Bordeaux.


Tim Ellis | Sons of Pioneers
4 maggio – 16 luglio 2011
Opening: 4 maggio, alle ore 18,30
Furini Arte Contemporanea, Via Giulia 8, Roma
Orari: da mercoledì a venerdì, ore 13-19; sabato, ore 15-19
Info: +39 06 68307443, info@furiniartecontemporanea.it
website: www.furiniartecontemporanea.it

William Cobbing at Barbican - More Soup and Tart

Barbican - More Soup and Tart

FuriniArteContemporanea | Newsletter | FEB 2011

ANDREA BIANCONI

Kunsthal Charlottenborg - Copenhagen

The Spring Exhibition 2011

March 5 - April 25 2011
preview March 3, 8-11pm

Kunsthal Charlottenborg
Nyhavn 2, 1051 Kobenhavn K
T. +45 33 36 90 50
www.kunsthalcharlottenborg.dk





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ANDREA BIANCONI

MARAYA ART CENTRE - Sharjah, UAE

AL-GHAIB: Aesthetics of the D I S A P P E A R A R A N C E
curated by Serena Gaia Simionati

March 15-June 1, 2011
Double opening: March 14 and March 18, 2011

With a 120 page, trilingual catalogue Arabic, Italian and English
will be published by Silvana Editoriale.

Maraya Art Centre - Al Quasba
Al Taawun Road, Sharjah, United Arab Emirates
http://www.qaq.ae/art-gallery.aspx


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WILLIAM COBBING

Herzliya Museum of Contemporary Art

Body Gestures

February 12 - May 28, 2011

Herzliya Museum of Contemporary art, 4 Ha'banim St., Herzliya 46379

Tuesday, Thursday 16:00-20:00
Monday, Wednesday, Friday, Saturday 10:00-14:00
Sunday - closed
Entrance fee 10 NIS
Guided tours and creative workshops by special appointment:
Sun.-Thurs. 9:00-13:00
Tel.: +972-9-9500762
info@herzliyamuseum.co.il
www.herzliyamuseum.co.il
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Review:
WILLIAM COBBING in ARTFORUM
by Marco Tagliafierro
January 2011 issue
p. 238-9

read the review








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MARLON DE AZAMBUJA

The Draughtsman’s Contract

Sandra Recio - Geneve (Swiss)

opening March 3 2011

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GABRIEL HARTLEY

Running at FuriniArteContemporanea - Roma

Crimping

curated by Rita Selvaggio

February 12 - April 23, 2011



Furini Arte Contemporanea
Roma - Via Giulia 8, T. +39 06 68307443
info@furiniartecontemporanea.it - www.furiniartecontemporanea.it

Opera di Marlon de Azambuja censurata ad Art First 2011

http://www.exibart.com/notizia.asp?IDNotizia=34375&IDCategoria=204

http://www.globartmag.com/2011/01/29/opera-censurata-arte-fiera-bologna/

Gabriel Hartley / Crimping / curated by Rita Selvaggio / Feb 12 - Apr 23 2011

William Cobbing | ARTFORUM | Jan 2011 by Marco Tagliafierro

GABRIEL HARTLEY | CRIMPING (works)

GABRIEL HARTLEY

RECLINER

2010

Plaster, paint, paper

110 x 49 x 56 cm. (43.3 x 19.3 x 22 in.)

(photo Andy Keith)

__________________________________________________________________________

GABRIEL HARTLEY

#12 NASH

2010

Plaster, fibre glass, paper, tennis ball

39 x 38 x 53 cm. (15.4 x 15 x 20.9 in.)

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

# 125 TRIP

2010

Wood veneer, paint, resin

39 x 30 x 47 cm. (15.4 x 11.8 x 18.5 in.)

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

WAKE

2010

Oil and spray paint on canvas

40.5 x 50.5 cm.

(photo Daniel Hewitt)

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GABRIEL HARTLEY

SWEEP

2010

Oil and spray paint on canvas

40.5 x 50.5 cm.

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

SOUP

2010

Oil and spray paint on canvas

91.5 x 101.5 cm. (36 x 40 in.)

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

RUNE

2010

Spraypaint on canvas

76 x 61 cm.

(photo Daniel Hewitt)


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GABRIEL HARTLEY

REAM

2010

Oil and spray paint on canvas

41 x 30.5 cm.

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

PLEAT

2010

Oil and spraypaint on canvas

76 x 61 cm.

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

LAPEL

2010

Oil and spray paint on canvas

76 x 61 cm.

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

KEY

2010

Oil and spray paint on canvas

41 x 33 cm.

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

COIL

2010

Oil and spray paint on canvas

60.5 x 50 cm.

(photo Daniel Hewitt)
__________________________________________________________________________

GABRIEL HARTLEY

CAGE

2010

Oil and spraypaint on canvas

76 x 61 cm.

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

BRUME

2010

Oil and spray paint on canvas

41 x 33 cm.

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

BRAND

2010

Oil and spray paint on canvas

36 x 26 cm.

(photo Daniel Hewitt)
__________________________________________________________________________

GABRIEL HARTLEY

AVENUE

2009

Oil and spraypaint on canvas

26 x 36 cm.

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

UNTITLED, 2010

Oil and spray on canvas

76 x 61 cm.

(photo Daniel Hewitt)

__________________________________________________________________________

GABRIEL HARTLEY

UNTITLED, 2010

Oil and spray on canvas

76 x 61 cm

(photo Daniel Hewitt)
__________________________________________________________________________

GABRIEL HARTLEY

KERF, 2010

Oil and spray on canvas

25,5 x 30,5 cm


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GABRIEL HARTLEY

TABLET, 2010

Oil and spray on canvas

35,5 x 46 cm


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GABRIEL HARTLEY

TALUS, 2010

Oil and spray on canvas

42 x 56,5 cm


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GABRIEL HARTLEY

TIRE, 2010

Oil and spray on canvas

42 x 56,5 cm










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GABRIEL HARTLEY

CHIP

2010

Oil and spray on canvas

25,5 x 20,5 cm










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GABRIEL HARTLEY | CRIMPING FEB 12-23 APR 2011 curated by Rita Selvaggio
Furini Arte contemporanea - Roma
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