by Eugen Berlo 2017-07-15
Tomorrow is the last day, but it’s worth to make an appointment and pay a visit to the gallery. The group show is also a statement by Raluca Soaita and Andrei Breahna. As I like to follow up with a few galleries, I have (Yahveh) to say go and see it!; it is a good one and it will please you to see a nice range of artists, from Razvan Anton, Pavel Braila, Radu Cioca, to Tania Mouraud, Karolina Bregula and Mircea Stanescu. Many thanks to Răzvan Băbiceanu who walked me through.
“This public showing is the way Raluca Soaita and Andrei Breahna responsibly position themselves as related to the artists hosted by their gallery. The constant presence of video in the public space, the American-school photo, the drawing, the installation, the performance, the animation – they all have shaped a certain artist / intellectual profile in the gallery space, one bearing various practices, which EASTWARDS PROSPECTUS is supporting and developing. The exhibition is a coherent and clear discourse about the gallerist/artist relationship, about the exhibition space and the challenges raised by certain works that one feels connected to.” - read more
Art and science are often described as two opposing disciplines. Looking at the practice of the Argentinian artist and trained architect Tomás Saraceno, such a differentiation is quickly disproved. Climbing atop one of his larger-than-life installations feels like becoming part of a scientific speculation about alternative habitats, letting one sense the often disregarded correlation of the human body and its environment in a new way. From his Cloud Cities projects, to installations such as In Orbit and On Space Time Foam and his experiments around spiderwebs and aerosolar journeys, the common thread in Tomás’ works lies in a life lifted off the ground.
“I’ve been studying architecture and this is a discipline where you deal a lot with people. I remember Vito Acconci once said to me, “Don’t you come from a discipline that builds sculptures for humans?” What I am doing has never really been architecture, but what has always been at the center of my practise is incorporating the human scale and the relation of human bodies. And I was always more drawn to the experimental side of architecture or practices such as the one of Gordon Matta-Clark.”
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Brilliant, urgent and provocative, German artist Georg Baselitz is among the most celebrated artists of his time. His engagement with German national identity at a time when many artists were shying away from so difficult a subject was an extraordinary act of self-assertion. Much of his best work appears hideous, unsettling, and in some cases even crude. But there is far more to Baselitz’s paintings and art prints than first meets the eye, and their apparent coarseness camouflages their own astonishing levels of accomplishment. He has famously experimented with mediums, shifting between drawing, wooden sculpture, and painting. Prominent works include the Fracture paintings of the late 60s, which contain echoes of his life in divided Germany, but he is perhaps best known for his iconic upside-down paintings, in which the artist inverts the subject matter in order to highlight the artifice of painting.
Gaylen C. Hansen is an American artist best known for neo-expressionist figurative paintings that feature the flora and fauna of the Palouse, a geographically unusual area in Eastern Washington state where he lives and works, and “the Kernal,” Hansen’s paintings have been exhibited in museums and galleries in Seattle, Los Angeles, New York, Berlin, Beijing, and Singapore, and are held in numerous public and private collections. Hansen has received several prestigious awards, including the Flintridge Foundation Awards for Visual Artists in 2001.
Renay Elle Morris / June 2017
For decades, Valera and Natasha Cherkashin have added layer upon layer of philosophical and political ideology to their masterful works of photographic genius. With exhibitions, lectures and talks on an international stage, the art of their images have recently been compiled into a 254 page publication entitled, Actions, Happenings and art performances 1962 – 2016 _ Night with a Pioneer Leader, which delves into a history of 2 artists_a husband and wife team, and the legacy of their talent. What inspires them may not offer an easy answer. Perhaps it is a fearless energy to defend beliefs, or a lifetime of a Soviet regime. Perhaps it was Perestroika, the political movement and the "openness"policy that led to the reforms of the Soviet political and economic system during the1980s that allowed for such ambitious work.
by Sanju Mathew
Nutmeg Editions is a printing and publishing studio specialising in hand lithography, intaglio and relief printing. It was set up by Sanju Mathew. Nutmeg Editions welcomes and encourages innovative and experimental approaches to printmaking. We can guide and facilitate both experienced and relatively inexperienced printmakers; prior understanding of specific techniques is not a necessity. Nutmeg deals with all the practicalities of the printmaking process from start to finish. The technical support artists receive allows them the freedom and the confidence to develop ambitious ideas should they wish to.
Wire, plaster, gesso, oil base, gold leaf
36 in 91.4 cm
Courtesy of Heritage Auctions
Estimated value: $30,000–$50,000
Lynda Benglis moved to New York at the apex of Minimalism in the 1960s. Using brightly colored polyurethane foam and incorporating wide-ranging influences, such as Abstract Expressionism, Process Art, Minimalism, Feminist art, geological forms, and ceremonial totems, Benglis developed her instantly recognizable sculptural language of undulating, oozing biomorphic forms. Along with other feminist artists, she challenged the cool, rationalist premise of the male-dominated Minimalist movement, refusing to accept limitations, whether political or aesthetic…
Ion Țuculescu s-a născut la 19 mai 1910 la Craiova, provenit dintr-o familie de intelectuali. Urmează cursurile Colegiului Național "Carol I" din Craiova, unde în orele de desen primește primele îndrumări de la profesorul său Eugen Ciolac, de la care a aflat o parte din tainele picturii. Prima expoziție la care a fost remarcată prezența "pictorului diletant Ion Țuculescu" - alături de a fratelui său Șerban - este cea organizată în 1925, în sala de recepții a Palatului Administrativ al județului Dolj. Deși apreciat pentru talentul său artistic, Țuculescu nu se va îndrepta către o școală superioară cu profil artistic, ci se înscrie la Facultatea de Științe Naturale a Universității din București, pe care o va absolvi în 1936. Paralel frecventează și Facultatea de Medicină, obținând doctoratul în 1939 cu calificativul magna cum laude. Deși se dedicase studiului, Ion Țuculescu continuă să picteze și are prima expoziție personală în 1938 în sala Ateneului Român din București.
Până în anul 1960 participă la mai multe expoziții colective, expune la Salonul Oficial în 1941 și 1945, deschide șapte expoziții personale în clădirea Ateneului Român.
Dacă medicina nu l-a solicitat prea mult, cu excepția anilor de război, când fiind medic militar uimește prin devotament și abnegație, biologia devine celălalt pol al existenței sale în calitate de cercetător științific la Academia Română, zilele și nopțile împărțindu-le între paletă și microscop.
Pictura a învățat-o ca autodidact și distanța de la primele sale tablouri până la cele din epoca maturității a parcurs-o muncind cu înverșunare disperată. Deși a fost prezent în viața artistică fără întrerupere, opera lui a rămas aproape fără ecou, adevăratele sale dimensiuni vădindu-se abia în anii când nu mai expune, claustrat în locuința lui, unde materia lui plastică avea să se cristalizeze orbitor după îndelungate și misterioase mutații.