Ulla von Brandenberg: ‘Wagon Wheel’

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© Ulla von Brandenburg, 2009

Pilar Corrias Gallery is delighted to present ‘Wagon Wheel’: an exhibition of new works by critically acclaimed artist Ulla von Brandenburg.

Ulla von Brandenburg works in a diverse range of media to create complex, multi-layered narratives that investigate the thresholds that exist between reality and artifice. Working with film; drawing; installation, and performance, von Brandenburg engages with popular cultural forms from multiple epochs as a means to explore contemporary collective experience. Working within seemingly archaic traditions, von Brandenburg appropriates historical source material and transforms it into the present to tacitly reveal the rules that govern our social reality.

For her first exhibition at Pilar Corrias Gallery, von Brandenburg will transform the upper gallery with a labyrinthine installation of hand-made quilts. Created in response to time spent in Memphis earlier this year, these new works take the African American patchwork quilts used in the Underground Railroad as a point of departure. During the 19th Century, these quilts were encoded with vital information on how to proceed on the secret network to freedom, instructing slaves on how to prepare to escape and continue in their flight from the colonies of the New World. For example, the Wagon Wheel pattern to which the exhibition refers signalled slaves to pack up their tools in preparation for the long journey ahead.

Just as the encoded quilts functioned as both metaphors as signs, so von Brandenburg’s abstract magnifications of quilt patterns guide the viewer on their passage through the gallery. The journey culminates in a new 16 mm film shown here for the very first time. Shot in Paris this autumn this silent meditation charts our passage through life exploring the obstacles we face and resolutely overcome. Viewed alongside the seven irregularly hung quilts, the film creates a dialogue with the quilts forming a visual language that loops back on itself endlessly repeating and developing.

Ulla von Brandenburg was born in 1974 in Karlsruhe, Germany. She received her MA from Academy of Fine Arts, Hamburg in 2004. Recent solo exhibitions of the artist’s work include: Frac Ile-de-France/Le Plateau, Paris (2009); Chisenhale Gallery, London (2009); Irish Museum of Modern Art, Dublin (2008); Stedelijk Museum, Amsterdam (2008); Wattis Institute for Contemporary Art, San Francisco (2008); Kunstverein, Düsseldorf (2007); Palais de Tokyo, Paris (2006), and Kunsthalle Zürich (2006). Recent group exhibitions include Fare Mondi 53rd International Art Exhibition, La Biennale di Venezia, Venice (2009); Torino Triennale ‘50 Moons of Saturn’, Castello di Rivoli Museum of Contemporary Art, Rivoli; Fondazione Sandretto Re Rebaudengo; Palazzina della Societa Promotrice delle Belle Arti, Turin (2008); Yokohama Triennale (2008;) Biennale Jerusalem 2008; Performa 07, Performa, New York (2007); The World as a Stage, Tate Modern, London (2007), and Against Time, BonniersKonsthall, Stockholm (2007). The artist has been the recipient of numerous awards including the Kunstpreis der Böttcherstrasse in Bremen (2007), and Arbeitsstipendium Jürgen-Ponto-Stiftung (2006).

Pilar Corrias
54 Eastcastle Street London W1W 8EF
Tel +44 (0)20 7323 7000

Donald Judd: 
Progressions 1960s & 1970s

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Untitled (74-8)
Green anodized aluminum

12.7 x 175.26 x 22.86 cm, 5 x 69 x 9 in

Donald Judd: Progressions 1960s and 1970s, a solo show of the late American artist’s three dimensional wall mounted works. This show of early wall pieces is a focused cross section of Judd’s exploration into the relationships between colour, space and the object, which has defined his career as one of the most prominent in art history.

Donald Judd (1928-1994) is a name widely associated with minimalist art. From the Early 1960s Judd was experimenting with space, geometry, form, and material in ways that had not really been considered before. Pre-occupied with the complex issues surrounding the image, representation, and perception in art, Judd sought to establish a practice removed of all representative imagery, subject matter, composition and symbolism. In other words he strove for objectivity in his work, and by moving away from painting, or two dimensional work, he was able to produce objects that simply occupy space rather than represent it. So, in the early 1960s he turned his attention from painting to three dimensional forms.

Influenced by the radical ideals of Russian Constructivism and Suprematism, in particular the view of Kazimir Malevich that all art of the past was “imitation” Judd tried to remove his work of all illusionistic qualities. In 1962, when first experimenting in three-dimensions, Judd’s hand-made, hand-painted wooden boxes retained a certain sculptural quality through their various imperfections; a sculptural quality that alluded to “imitation”. So in order to relieve his work of these marks of artistic expression, Judd began to have his work manufactured using materials and techniques widely used in industry.

The progressions included in this exhibition are some of the earliest examples of Judd’s industrially manufactured objects, and they follow a common pattern. For these pieces Judd worked with linear structures that grow from one edge to the other in a progression based on arbitrary mathematical sequences. He used these sequences as a compositional tool, which remained detached from any forms of representation. They were intended to do nothing to the viewer but appear in front of them, simply as an object. The viewer ‘reads’ the object by scanning the relationship between the parts of the object and the dimensions of the room. The rules of composition, taste and balance are absent; the form of the work is determined by simple rules of proportion and arithmetic.

The exhibition includes four works based on the original 1964 hand made prototype, with the same “bullnose” profile, all made to varying proportions, dimensions and from different industrial materials. The “bullnose” form was one that Judd returned to frequently during the period of progressions, with the examples in the show ranging from 1968 to 1975. During this period the evolution of manufacturing processes is also apparent, with the progression from galvanised iron painted with lacquer, to highly polished brass, to anodized aluminium. There are also square profiled works from 1967 and 1974 respectively which introduce a different aesthetic, with squared edges that would later become synonymous with Judd’s work. The saturation of colour increases with the years, as techniques of fabrication became more sophisticated, and the later, anodized aluminium pieces exhibit the smooth, graceful marriage of industrial material, colour and form that would define Judd’s whole career.

Donald Judd was born in Missouri, USA in 1928 and died in New York in 1994. He studied at Columbia University, New York from 1953-1963. His work is in permanent collections including The Museum of Modern Art, New York, and has been exhibited in museums all over the world including the Whitney Museum of Modern Art (where he had his first solo exhibition in 1968); the Solomon R. Guggenheim Museum, New York; Venice Biennial; Documenta Kassel; Stedelijk Van Abbemuseum, Eindhoven; Walker Art Center, Minneapolis; the Kunstmuseum, Basel; and Tate Modern, London.

Simon Lee Gallery
12 Berkeley Street
London W1J 8DT
telephone: +44(0)20 7491 0100
fax: +44(0)20 7491 0200

Zhang Enli

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Zhang Enli has created a new series of works that continue to invest life into the most common of signifiers from details of trees and lace curtains to bare mattresses and rubber tubing.

Imbuing his subjects with human relevance, he has said ‘I deal with reality in order to express something that goes beyond reality’ and as such he draws on the viewer’s desires for the most simple aspects of existence. Painting with thin washes of pigment, which often leave traces of turpentine dripping down the canvas, he achieves a sophistication and richness that balances the apparent simplicity of his technique and subject matter.

Having grown up in the provincial town of Jilin in the north of China, his work continues to be strongly marked by his experience of this transition, 20 years ago, to the sprawling metropolis of Shanghai. He represents this extreme contrast to the smaller city he was accustomed to, not through the consumerist preoccupation so common in contemporary Chinese painting coming from its major cities, but by looking at the ordinary, unpretentious objects that surround him and the immigrants coming from the countryside to Shanghai.
Zhang Enli’s paintings mark a strong departure from the frenzied and more fashionable work of his Chinese contemporaries – bearing no relation to ‘Political Pop’, ‘Kitsch Art’ or ‘Cynical Realism’ that infuses much of the work coming from his nation during the art boom of their post-socialist society in the nineties. A painter’s painter, Zhang Enli’s success has slowly infiltrated the international art world as a result of the continued positive reception of his work, and more recently due to solo shows in 2009 at Ikon Gallery, curated by Jonathan Watkins, and Kunsthalle Bern, curated by Philipe Pirotte. As well as his show with Hauser & Wirth, he will also be showing at Mingshen Contemporary Art Museum in 2010.


196A Piccadilly London W1J 9DY
PHONE: +44 207 287 23 00

Paul McCarthy: White Snow

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White Snow] Dwarf Heads (detail), 2009
Set of 7 drawings; pencil on vellum, tape

Hauser & Wirth New York is presenting WHITE SNOW, a group of never before seen pieces from a new body of work by Paul McCarthy, drawing upon the famous 19th century German folk tale ‘Snow White’ (‘Schneewittchen’) and commenting upon the modern interpretation of the story in Disney’s beloved 1937 animated classic Snow White and the Seven Dwarfs.

WHITE SNOW at Hauser & Wirth New York will be comprised of two sets of drawings made by the artist since late 2008. The first is a selection of diminutive black and white pencil works as detailed, atmospheric and unapologetically lovely as Old Master drawings. Here, McCarthy develops his characters – the young Snow White masturbating in a solitary romantic reverie, various phallic-nosed dwarfs in a dither at the arrival of the beautiful stranger in their midst – as players in a sly yet poignant coming-of-age narrative packing a metaphorical wallop. The images touch upon myriad dark associations invited by the Snow White tale while simultaneously suggesting a love story with profound personal resonance for the artist.

By turns heartbreaking and wickedly witty, these intimate works provide the foil for a second set of images – more than a dozen massive drawings, ranging in height from 7 to 10 feet and incorporating pages torn from auction catalogues, illustrated books, tabloids and pornographic magazines. McCarthy created these enormous, fiercely gestural and unstintingly funny drawings through a performative process – walking around and into his picture plane, coming from different directions toward paper stretched out on specially constructed tables while intermittently speaking aloud “in a sort of trance”, in a recorded monologue of words and sounds.

One of the few exhibitions ever to focus exclusively upon Paul McCarthy’s drawings, WHITE SNOW provides rare access to the initial stages of exploration that fuel the work of one of America’s most challenging and influential artists. McCarthy’s early investigations into his characters always occur through repeated and even compulsive sketching, a process that reveals layers of connections – in this case, connections between Snow White and icons of femininity as diverse as Venus, the Mona Lisa, the classical high art nude and an array of expertly packaged celebrities who populate our movies and tabloids, as well as people from the artist’s own life and private fantasies – and will ultimately give rise to sculptures, installations, a film and other works over time.

With their antecedents in his now famous 1992 Heidi collaboration with the artist Mike Kelley, the new WHITE SNOW drawings shift the Heidi narrative back to the New World where McCarthy has been inspired by impressions of the deep forests and magical clearings on his own property above the Mojave Desert and books about Disney’s version of Snow White given to him by friends. Weaving his ideas about these and other influences together, he has embarked upon an investigation of the culture that generates and embraces mass-produced images – and of artmaking itself. “It’s more about making than telling,” McCarthy has said. “Drawing is a form of analysis. I’m not controlling it, just allowing it to unfold. It’s not about clarity, it’s about each piece suggesting the next one in a continuum.”

The WHITE SNOW exhibition simultaneously introduces McCarthy’s ambitious long-term plans for his theme and vividly reveals the deep complexities of his varied agenda. The drawings on view at Hauser & Wirth New York extend his hallmark critique of our most stubbornly held and hypocritical societal norms. But while McCarthy continues here to polish his funhouse mirror onto the contradictions of Hollywood-generated fantasies and cherished American notions of purity and decency, he also opens – perhaps more widely than ever before – a window onto the deeper regions of his artistic discipline and his psyche. The large WHITE SNOW drawings, with their bold, sweeping lines and structural rigor, are simultaneous celebrations and critiques of monumental painting and its aggressively male heroes; he duels overtly with such titans of Modernism as de Kooning, Rauschenberg and Twombly, appropriating their visual language while subverting it. At the same time, McCarthy’s drawings contain worlds of self-reflection, with memory as the artist’s constant co-author.

“WHITE SNOW is a history, and some of that history is a self-portrait,” he has said. “The longer you live in the world the more you transpose present and past. At times, the past becomes the window you travel through, the window between the present and past, and things become more layered. You aren’t in the past but you are thinking about it. This [work] is not just about the story of Snow White, it’s a story about a lot of things. It’s about art, it’s a love story. I don’t have a concrete answer about what it is and I’m not looking for one. I don’t look for art to provide answers. I do something and it takes me to the next thing and the next after that.”

Hauser & Wirth New York
32 East 69th Street
New York NY 10021
Gallery hours: Tuesday – Saturday, 10 am until 6 pm

Peter Schuyff: And the Woodwards

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PETER SCHUYFF | UNTITLED | Acrylics on old drawing |  40 x 30 cm |  2009

Round and round and round it goes. There are some new paintings by Peter Schuyff in which the canvas is filled with a line – a thick wobbly painted line – one that swirls and twists in a big knotted web. One can’t help but look at it and think, “I know the feeling.” For over thirty years, Schuyff has been exploring, in the broadest sense, abstraction. Symbols, forms, icons of abstraction are taken by Schuyff and transformed and misassociated into paintings and drawings that are strange, funny, compelling. His works offers an endlessly inventive exploration of abstraction’s possibilities and its relationship to the pictorial. This will be Peter Schuyff’s first solo exhibition in Holland for over fifteen years.

His language is an expanding, distorting one of grids, targets, blobs, squares, chain-links. These pieces, either amorphous or hard-edged, are used in isolation and combination with each other. And recently letters, often writing his name, have been finding their way into the mix. A current part of Schuyff’s practice comes from working over found drawings and paintings. One cannot deny how brutal it is to add something to another’s work. Sure, artists are always quoting, pastiching, satirising each other, but to amend – and some would argue therefore to obliterate – another’s original artwork…that’s something altogether more problematic. What Schuyff offers, however, is a kind of reinvention. He perceives his role as one of reviving the mediocre – working on paintings and drawings collected from antique shops and markets, that often exhibit technical skill and are evocative of their era, but are ultimately undistinguished and likely to be consigned to obscurity. In his hands they take on another life, with a new dialogue opening up between his shapes and the drawings on which they rest.

For And the Woodwards, Schuyff will present a series of found drawings on paper over which he has added black and white forms. The drawings are atypical classic art subjects – portraits, profiles, studies of hands and feet – and Schuyff’s contributions are poppy shapes such as arrowed frames around faces, scattered circles and cloud-like blobs. In one piece Schuff circles the face in a portrait of a young woman with long, sharp triangles. The rapid, rippled movement of these triangles somehow corresponds to the frilly, garnished dress of the sitter. It targets our attention on her face, creating also a humorous imbalance between her dour, bored expression and the brash punch of Schuyff’s marks. What constantly surprises is that his additions make sense; they are a natural fit. Afterall, these bold, flat forms, over whispish antique drawings, should be jarring and inelegant. But the results create a new balance and movement within the composition – focusing the attention on certain areas, whilst obliterating others, and bestowing the sketches a muscularity, impact and visual movement.

In his paintings, Schuyff affords colour, shapes, weight to his forms. Some are paintings on found paintings, whilst others are full ‘originals’. One untitled painting shows an overlaying series of squares. There is something at once simple and deceptively complex going in in this arrangement of colours; the tricks it plays in our reading of the shapes and the complications of depth derived from the rounded borders and shadows cast by the entire matrix. On top of all these convolutions and contradictions, Schuyff signs it – he writes P. SCHUYFF – big, bold, unapologetic – adding another pictorial element to the mix.

It seems incongruous – kind of goofy – to see these shapes which we associate with heady abstraction and, of course, flatness, presented with curves, shadows, depth. Indeed, there is consistently a cartoon-like attitude in his take on abstraction – one that is purposefully irreverent and non-sensical. His composition and handling of the paint, however, is entirely controlled and deliberate. In the looped-line paintings for instance, whether it is the regular, woven thread of ‘Little Screen’ or the chaotic mass of ‘Big Gold’, these dense bodies have a sophisticated understanding of composition, colour and technique. His handling of the paint is very considered, quite classical, successfully counteracting the surreal playfulness of the images, which often recall improvised, gestural painting and furthering their sense of quotation and displacement.

Currently living and working in Amsterdam, Peter Schuyff was born in Baarn, Holland, in 1958. He moved to Vancouver as a child and lived for much of the 80′s and 90′s in New York, where he was associated with the Neo-Geo movement alongside painters such as Peter Halley and Philip Taafe, exhibiting with Pat Hearn Gallery and Leo Castelli Gallery, as well as in Los Angeles at the Gagosian Gallery. Recent exhibitions include Galerie Karl Pfefferle (Munchen), Studio d’Arte Rafaelli (Trento) and Nicole Klagsbrun (New York). His works are in such collections as The Museum of Modern Art, New York,  The Metropolitan Museum of Art, New York, The Fisher Landau Center for Art, New York and the Saatchi collection .

Alongside painting, Schuyff performs and records music as The Woodwards.

Opening reception:  Saturday 28 November 2009, 5:00 — 7:30 pm

AFTERPARTY:  THE WOODWARDS Live in concert, Showtime: 9:30 pm

Spuistraat 2
1012  TS Amsterdam
Telephone: 020 – 42 123 18

Paris Photo: Geographical Diversity and Discovery

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Alban, Studio photography, Le Caire, Egypte, 1945
Collection Arab Image Foundation / Georges Mikaelian family
© Arab Image Foundation

Paris Photo, the world’s leading fair for photography will feature 102 exhibitors who present a worldwide panorama of photographic expression from the 19th Century to the present day.
The 2009 edition stands out for its geographical diversity and a sense of discovery: 23 countries are represented with 75% of participants from abroad and 31 new exhibitors.

Spotlight on the Arab and Iranian photography
This year’s special focus curated by Catherine David provides an exceptional opportunity to discover the Arab and Iranian photography scene:

- The collection of the Arab Image Foundation in Beirut will show a choice of portrait photographs
- A selection of eight galleries will unveil the work of emerging artists from the r egion
- A series of videos selected by Catherine David.

The BMW –  Paris Photo Prize
For its sixth edition, the BMW – Paris Photo Prize reveals the best in contemporary photography on the theme «When was the last time you experienced something unique? » View the 20 shorlisted artists selected by a prestigious jury whose work is on exhibit during the fair. The Prize-winner will be announced on Wednesday 18th November.

Other events
Paris Photo 2009 will also brings a rich crop of other events: book signings and talks, as well as outstanding photographic exhibitions in Paris coinciding with the fair.

Dates: Thursday, 19 November – Sunday, 22 November, 2009
Opening by invitation only: Wednesday, 18 November, 7:00 pm -10:00 pm
Venue: Carrousel du Louvre, 99 rue de Rivoli, 75001 Paris, France
Opening hours: 19 Nov. from 11:30 am to 8:00 pm, 20 Nov. from 11:30 am to 10:00 pm, 21 Nov. from 11:30 am to 8:00 pm, 22 Nov. from 11:30 am to 7:00 pm
General admission: 15 €, 7.50 € for students
Advance purchase admission (no waiting in line) can be booked on Paris Photo online shop at



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sylviasleighSylvia Sleigh, Ira Joel Haber & John Perrault, 1972, Oil on canvas, 48 x 36 inches

Moving from England in the early 1960s, Sylvia Sleigh arrived in New York at a time when new art movements were on the rise. Despite these currents, Sleigh continued to produce many figurative works over the next four decades. Her edgy and often unvarnished representation of her sitter’s faces and overall expressions have become increasingly relevant over time. Well known for her large-scale male nudes, Sleigh’s output also includes a number of intimate portraits of close friends and contemporaries. I-20 is pleased to present a selection of these small-scale portraits, many being exhibited for the first time in several decades.

The 1960′s and 70′s were a particularly productive time for Sleigh. She was engaged in the feminist art movement and was involved with women-only collectives, including SoHo 20 and the Artist in Residence (A.I.R.) Gallery. Sleigh and her husband, Lawrence Alloway (1926-1990), were very involved with many friends in New York, including critics, art dealers, artists, and musicians. From this group Sleigh pulls many subjects, who include Lawrence Alloway, Betty Parsons, Ira Joel Haber, John Perrault, and the artist herself, among others. Painted from observation, these portraits not only capture a likeness, but also the idiosyncrasies of the painted personas. In Sleigh’s paintings, a specific place in time is pinpointed by Afros, bell-bottoms, floral prints, or an Arne Jacobson Egg Chair.

Sylvia Sleigh was born in 1916 in North Wales in the United Kingdom. She studied painting at the Brighton School of Art from 1934 to 1937, and had her first UK exhibition in 1954 at the Kensington Gallery, London. Sleigh moved to New York permanently in 1961. In 1973, she participated as one of three artists on the selection committee for the exhibition Women Choose Women at the New York Cultural Center. In 2004 she had a retrospective exhibition at the Snug Harbor Cultural Center. A long-term exhibition of Invitation to a Voyage (1979-1999) is currently on view at the Hudson River Museum in Yonkers, New York.

Most recently, Sleigh’s work has been included in Ingres and the Moderns, Musée national des Beaux-Arts, Quebec (traveling to Musée Ingres, Montauban), and Wack! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (traveled to the National Museum of Women in the Arts, Washington, D.C., P.S.1 Contemporary Art Center, Long Island City, New York, and the Vancouver Art Gallery, Vancouver, British Columbia).

In The Project Room: Martabel Wasserman presents a new series of photographs and sculptures. Comprising colorful everyday objects, the sculptures and the photographs of them create new communities on land and sea. Wasserman’s work is an attempt to re-evaluate intersecting and contradicting realities, visible and invisible histories, fantasies and manifestations of sexualized and gendered landscapes, inequalities in communities that strive to be egalitarian, and periods of cultural shift that encompass the fringes of historical narratives. Wasserman has participated in a dozen group exhibitions in New York City and has worked with Chris Verene in his Self-Esteem Salon. Born in Providence, Rhode Island, the artist is currently attending Harvard University.

557 West 23rd Street,
New York, NY 10011

MoMA Film Benefit After Party

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D. Jack Solomon: From 2004 through 2009

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307Mell O Drama #6 (detail), 2006, 18 X 50 acrylic on canvas.

HOH presents paintings by D. Jack Solomon from 2004 through 2009.

D. Jack Solomon’s paintings, with their iconography of shapes, forms, characters, and symbol sets, seem to teen and wiggle with life.  His Funny Paper, Mell O Drama, and Abstraction series featured in this exhibition draw from all types of visual cultures having an overall effect similar to animation.  This sophisticated, jazzy vitality is offset through the artist’s measured working methodology that involves reconstituting by careful brushstrokes the generic look of conventionalized contour lines.

Solomon’s inordinately labor-intensive working process uses no taping of any kind to get the look of “clean edges.”  Each line, segment, form, “brush-stroke” signifier of expressiveness, even the “look” of unfinished or provisional space is reconstituted by Solomon’s use of his unique “cut-around” painting technique to produce the illusion of surface layering.  This process requires the artist to use head worn magnifying loupes for the labor intensive detail work that is required to create the subtle haptic and halo effects he produces.  Surfaces are sensually intensified by the suggestion of stenciled, stamped, or decoupage areas while illusionary layering affects ratchet up the overall surface tension of the work while enhancing the optical, spatial and tactile values.  Such quietly commanding dimensional effects lend presence to work that is already singularly effective in evoking the terms of simultaneity, alternity and radical displacement.

Iconographic recycling and juxtaposed referential imagery in the work along with startling compositional and spatial incongruities are enhanced by the sanguineous flecks of red color that peek through the edge-work, and effect produced by the artist working off of a red undercoat instead of the traditional white one.  This peek-a-boo effect of what appears to be residual color serves to continually re-activate the surfaces and the playful jousting of forms and volumes.

It is a truism to say that every artwork is autobiographical in nature if not in intent.  Solomon’s Funny Paper, Mell O Drama and Abstraction paintings are characterized by compositional rigor, ornate inventiveness and sensory playfulness.  They are D. Jack Solomon’s way of creating complex and interwoven yet metaphysically expansive universes.

Dominique Nahas, an independent curator and critic based in Manhattan

Hudson Opera House
327 Warren Street Hudson, New York 12534
Phone: 518-822-1438


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As part of the Otoño del arte 2009 project, the GIC (Catalan Association of Independent Art Galleries) presents Offside, an expanded exhibition in which a total of 14 art galleries and public and private institutions will be participating. Football is the central theme linking all the exhibits.

The complexity inherent in the world of football goes far beyond the simple concept of a game. This is a sport with a huge impact on society, and one that raises many questions which have frequently been of interest from an artistic point of view. The close ties between football and society mean that Offside constitutes a good opportunity to bring art and galleries to the general public.

Whilst each participant was free to choose the project that best adapted to their own trajectory or viewing space, there are common criteria about the contemporary nature of the exhibits to ensure the project reaches the widest possible audience.

The galleries involved in Offside are: ADN Galería, Galería Alejandro Sales, Galería Estrany de la Mota, Galería Manuel Mayoral, Galería Miguel Marcos, Galería Toni Tàpies, Nogueras Blanchard, Palma Dotze, Projecte SD, Sebastià Petit Art Contemporani, Fundació Suñol, Museu de Joguets i Autòmats de Verdú, Centre d’Art Contemporani Bòlit de Girona and Centre d’Art La Panera.

The list and programme of participating galleries can be found on the website:

El Otoño del arte 2009 is an initiative by the four associations of Catalan gallery owners – the Catalonia Guild of Art Galleries (GGAC), Asociación (art) Catalunya, Art Barcelona (Abe) and the Catalan Association of Independent Art Galleries (GIC) – in collaboration with the Government of Catalonia. The project comprises a season of free exhibitions and cultural offerings open to all. El Otoño del arte 2009 was conceived with a clear objective in mind: for people to breathe art, for art to entertain, give food for thought, to be moving and provocative, and to create new aficionados.

Offside Programme:

ADN Gallery“Ne vous laissez pas consoler” by Democracia
14th November 2009 – 12th January 2010

Alejandro Sales Gallery“Gradas” by Pep Durán
14th November 2009 – 12th December 2010

Estrany de la Mota Gallery“Ballpark” with Jean-Marc Bustamante, Miguel Calderón, Alicia Framis, Douglas Gordon, Jonathan Monk, Simon Patterson, Thomas Ruff and David Shrigley
14th November 2009 – 10th January 2010

Manuel Mayoral Gallery – “Cien mil pares de ojos” by Ignasi Aballí
14th November 2009 – 5th January 2010

Miguel Marcos Gallery“Engañifa” by Joan Brossa
14th November 2009 – 6th January 2010

Nogueras Blanchard“Loser” by Piero Golia
14th November 2009 – 9th January 2010

Palma Dotze“” with Muntadas, Miralda and Rabascall
18th November 2009 – 10th January 2010

Projecte SD“You’ll never walk alone!” with Jakob Kolding, Christoph Keller, Hans Peter Feldmann and Peter Piller
14th – 27th November 2009

Sebastià Petit Art Contemporani – Museu de Joguets i Autòmats, Verdú
Appearances by Renata Lucas & Daniel Steegmann
21st November 2009 – 31st January 2010

Toni Tàpies Gallery – “El Precio de los Colores” by Martí Anson
14th November 2009 – 30th December 2009

Fundació Suñol“Berlin – Barcelona” by Ann Veronica Janssens
23rd December 2009 – 9th January 2010

Bòlit Contemporary Art Centre in Girona“La angustia del portero en el penalti” by Martí Anson and “Ne vous laissez pas consoler” by Democracia
29th October – 22nd November 2009

La Panera Art Centre – “En Juego” by Eugenio Ampudi a
12th November 2009 – 6th January 2010

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