all images © PAUL ROUSTEAU

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PAUL ROUSTEAU is a French photographer whose radiant, often mysterious images show us a world in which dreams become real, and reality a dream. Intimate personal stories become part of history, and merge to form something completely new.

ROUSTEAU is constantly putting the photographic medium to the test and is able to create a visual language where documentary photography, coincidence, experiment and interventions are closely linked.

Born in 1986, graduated from CEPV Vevey in Switzerland in 2010, he has worked for clients as Die Zeit, Vice and Art Press among others.

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TUESDAY, MAY 21

➝Talk & Screening: Each One, Teach One - Theory Tuesdays at Corner College Zurich. British filmmaker IAN WOOLDRIDGE has put together a selection of artists’ films and videos whereby male performers take on a drag persona

Corner College, Kochstrasse 1, Zürich, 8pm

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WEDNESDAY, MAY 22

Opening: Let’s Make the Water Turn Black at Migros Museum in Zürich is the first solo exhibition in Switzerland of GEOFFREY FARMER. For this occasion he presents an improvised chronology of the American musician. Choreographed sculptures on a stage coalesce into a multifaceted and atmospheric work that unfolds over the course of the day.

Migros Museum für Gegenwartskunst, Limmatstrasse 270, 8005 Zurich, 6 -8 pm

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THURSDAY, MAY 23

➝Opening: The Mediterranean Dog, a group exhibition curated by ELISE LAMMER  that presents newly commissioned and existing works by PAULINE BEAUDEMONT & ADAM BAINBRIDGE, VITTORIO BRODMANN, KRIS LEMSALU, ADRIEN MISSIKA, AUDE PARISET & JULIETTE BONNEVIOT, MARTYN REYNOLDS AND MAX RUF

Cole, 19 Goulston St, London E1 7TP

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➝Opening: Go Mo Ni Ma Da, an exhibition devoted to artist DANH VO at Musée d’Art moderne de la Ville de Paris

Musée d’Art moderne de la Ville de Paris, 11 avenue du Président Wilson, 6-9 pm

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➝Talk: organized in conjunction with his current exhibition Communitas at the Stedelijk, AERNOUT MIK will discuss – with curator LEONTINE COELEWIJ- about the exhibition as well as the development of his recent work. In addition, MIK will present some fragments of his work that have not been exhibited before.

Stedelijk Museum Amsterdam, Teijin Auditorium, 8-9.45 pm

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FRIDAY, MAY 24

➝Opening: Some End of Things at Museum für Gegenwartskunst in Basel, a group exhibition which explores the dynamics of contemporary art production with works by MICHAELA EICHWALD, DAVID HAMMONS, JUDITH HOPF, FABIAN MARTI, ARIANE MÜLLER, JEWYO RHII, NORA SCHULTZ and ANICKA YI

Museum für Gegenwartskunst, St. Alban-Rheinweg 60, 4010 Basel, 6.30 pm

 

➝Opening: JOGGING presents Soon, an exhibition at the Still House in New York, after party music provided by Slava

The Still House, 481 Van Brunt Street, #9D, Brooklyn, NY , 6 – 9:00 pm.

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SATURDAY, MAY 25

➝ Last days to see: THOM HOLMES at Kunsthalle Bern, Switzerland.

Kunsthalle Bern, Helvetiaplatz 1,Bern, saturday/ sunday: 10 am to 6 pm

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SUNDAY, MAY 26

➝Opening: the Palazzo Peckham, a brand new satellite project during the 55th Venice Biennale, situated in the Castello between the Giardini (6 mins walk) the Arsenale (7 mins walk) and easily accessible on foot from the Via Garibaldi!

with works by DORA BUDOR, ROB CHAVASSE, CINDIE CHEUNG, JOE HAMILTON, PELES EMPIRE, AMY PETRA WOODWARD, JON RAFMAN PRODUCED BY AMERICAN MEDIUM, SAMARA SCOTT, VIKTOR TIMOFEEV and SIMON WERNER.

Castello 270, Venezia, Italy

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sculptural work by German artist THOMAS KRATZ
seen at galleria collicaligreggi in Catania, Sicily
on Saturday, May 18, 2013
image © wfw

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Lick Gin (Situations) is running through September 29, 2013

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Fish Scale, Véritable Hollandais (Version I), 2012
photogram, c-print, 106,5 x 86,5 cm

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Fish Scale, Véritable Hollandais (version 7, 6, 8 & 4), 2012
unique photograms, 106.5 x 86.5 cm

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Fish Scale, Véritable Hollandais (Version VI), 2012
photogram, c-print, 106,5 x 86,5 cm

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Art for the Public (Twilight), 2009
two silver gelatin fiber-based prints

Art for the Public (Tilted Arc), 2009
silver gelatin fiber-based prints, 104.1 x 64.8 cm

Art for the Public (Sphere for Plaza Fountain), 2009
two silver gelatin fiber-based prints, 94.6 x 76.8 cm

Art for the Public (-), 2009
silver gelatin fiber-based prints, -

Art for the Public (Elegy to the Spanish Republic N0. 116), 2009
silver gelatin fiber-based print, 29.5 x 35 inches

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Passage of the moon over two hours, Arcachon, France, ca. 1870s/July 27, 2012., 2012, silver toned photograph, exposed to moonlight, unique in a series, 44 x 54 cm

Passage of the moon over two hours, Arcachon, France, ca. 1870s/August 11, 2012., 2012, silver toned photograph, exposed to moonlight, unique in a series, 44 x 54 cm

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Billowing. As we were driving up to Norfolk yesterday I saw the Enfield fire; where a Sony distribution centre set ablaze by rioters was just pouring out smoke over the motorway. The sheer amount of smoke was quite surprising, and today smoke was still covering the motorway. I feel such despair at people who have taken to looting; so angry at the destruction people can cause, 2011/2012, (Version II)
unique photograph, 95 x 118 cm

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installation view from Equivalents at Harris Lieberman New York, 2012

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Billowing. As we were driving up to Norfolk yesterday I saw the Enfield fire; where a Sony distribution centre set ablaze by rioters was just pouring out smoke over the motorway. The sheer amount of smoke was quite surprising, and today smoke was still covering the motorway. I feel such despair at people who have taken to looting; so angry at the destruction people can cause. 2011/2012. (Version V), 2012
unique photograph, 95 x 118 cm

A Monstrous Column Of Roaring Flame. Star Oil Co. Loucke No. 3 On Fire Since Aug. 7 1913. Most Disastrous Fire in Caddo Oil Field And Largest Single Well Fire In History Of U.S. Of A. Daily Loss of Oil Estimated At 30.000 Barrels. 1913/2012 (Version VII), 2012

Burning of the Imperial Refinery, Oil City PA, 1846/2011 (Smoke II), 2011
unique photograms, exposed and solarized with fire, 40.6×50.8 cm

Burning of the Imperial Refinery, Oil City PA, 1846/2011 (Smoke I), 2011
unique photograms, exposed and solarized with fire, 40.6×50.8 cm

Man holding large camera photographing a cataclysmic event, possibly a volcano erupting, 1908/2012 (titled Version IV)

silver gelatin b/w photograph on bromide paper, exposed and solarized by fire light, 83.5 x 100.5 cm

Man holding large camera photographing a cataclysmic event, possibly a volcano erupting, 1908/2012 (titled Version II)
silver gelatin b/w photograph on bromide paper, exposed and solarized by fire light, 83.5 x 100.5 cm

all images courtesy the artist

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For many years, the work of American artist LISA OPPENHEIM has articulated a materialist stance; rather than taking pictures of things in the world, she usually researchs or looks for images and objects that point to something larger and then develops strategies and techniques - mixing and matching photgraphy’s steps – in an attempt to explain the medium’s magic without diminishing it and to propose an alternative interpretation of our visual culture.

I am interested in exploring what remains unseen or underappreciated in visual culture yet structures what it is possible to see. My interest lies in damaged negatives from early 20th century reportage, the personal photographs posted on Flickr by soldiers serving in Iraq, the constellation above the location of a news photograph, as well as the meaning inherent in supposedly innocuous products like crayons and alphabet charts. - LISA OPPENHEIM

As a result, the final form depends on the original material and ranges from 16mm film installations to slide shows, photographs and photograms (pictures created without a camera, using a technique as old as photography itself), as well as prints and drawings. Beyond that, her work reveals fundamental questions of how we deal with the history of photography, as well as the visualisation of knowledge, of the relationship between documentation and abstraction, together with the technical conditions of the medium, not least the role of perception.

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Good news:

• Billowing, her first artist book,  has been released in April 2013 and is available through Motto distribution and Argobooks
• her work is part of the ICP Triennal 2013 at the International Center of Photography in New York, on view from May 17 to September 8, 2013
• she will be feature in the MoMA exhibition New Photography 2013, on view from September 14, 2013–January 5, 2014 at MoMA, New York

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Bay of Pigs, 2012
sequence of digital files, black and white, sound, 45 min.(excerpt: 3.56), loop

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WILLIAM E. JONES is an artist and experimental filmmaker known for using as raw material, the nearly inexhaustible reservoir of images that can be found in film archives, on Internet, TV and DVD.

Working across prints, films and installations, JONES’ ambition is to “unsettle or subvert unthinking and habitual ways of seeing”: older narrative structures are unraveled to create new stories, images are recontextualized to produce new meaning, and different edits of the film footage are used to highlight new political or emotional significances. His sources range from vintage 1960s footage of police investigations to imagery from the US National Archives as well as legal data, pop music, and personal memories.

‘Bay of Pigs’ (2012) sees black and white footage from the failed US invasion of Cuba in 1961, taken from the Cuban documentary Girón (1974) mirrored along a horizontal line that divides the works frame equally into two halves, one section then mirrored left to right to create a kaleidoscopic effect. (…) The films disorientating soundtrack is taken from a numbers radio station, which broadcast coded messages in numerical strings – adding to the confusion, these stations are yet to be officially acknowledged politically. Taking cuts from the Cuban film (which mixes documentary with reconstructions, and has an inherently Cuban perspective) JONES puts emphasis on the disorientating nature of war, for those involved in combat and those deciphering its meaning at home. - STEVEN CAIRNS

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Good news:

• His work is currently on view at The Modern Institute, Glasgow until May 25, 2013
• On May 19th 2013 MACK will be publishing Imitation of Christ by WILLIAM E. JONES to coincide with an exhibition of the same title opening at the Hammer Museum in Los Angeles

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Circle Circle, 2007
2-channel video projection
10:00 looped, color, sound
dancer AUBRE HILL
courtesy of the artist

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Through a repertoire of precise, repeated moves and slow gestures, American multimedia artist KELLY NIPPER stages arresting environments that investigate themes of space, time, weather, emotion, moving body, and how experience is measured and counted. The result takes the form of photographs, videos, installations and now live performances, revealing a crisp minimalism and abstraction.

I was interested in sculpture early on, but later gravitated toward photography, video, and installation. The movement from one to the other had to do with making, marking, or carving space and time. In graduate school at CalArts, I used photographs of people in my installations. I think I was afraid to work with real people in live performance. With a camera, there’s always a barrier, a distance between the subject and the person behind the camera, whereas performance requires a lot of direct, hands-on work. I am more of the observer type and prefer to keep a distance. Once I left school, I started incorporating live performers into my installations, and it took me about eight years or so to understand on a practical level what that meant. There are now a lot of people involved in each of my pieces, but I still have to be able to get the distance of an observer to make the work happen. - KELLY NIPPER in conversation with ROSELEE GOLDBERG, November 2008

Circle Circle (2007) demonstrates the central importance of simple scenography and the performative basic movement that achieve a trancelike effect over viewers in KELLY NIPPER‘s work . This video is part of a larger series of works where she examines the hurricane as a form of unmeasured movement that forms elementally, circles out from the eye, and develops and changes over time. The two-channel video presents a projection of a dancer seen from behind, whose hips move at varying speeds in circular rotation analogous to the movement of a hurricane in formation.

And good news: from 5 April to 16 June 2013, the Kunsthaus Zürich presents the solo exhibition Black Forest by KELLY NIPPER.

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still from the video 20Hz*, a SEMICONDUCTOR work by RUTH JARMAN and JOE GERHARDT
as part of their solo exhibition Let There Be Light at House of Electronic Arts, Basel**
seen on Sunday, May 12, 2013
image © wfw

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*watch the video here
**on view till June 30, 2013 (with special opening hours during Art Basel)

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view from Black Forest (2013), an exhibition by American artist KELLY NIPPER at Kunsthaus Zürich
seen on Friday, May 10, 2013
image © wfw

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this exhibition is on view until June 16, 2013

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Tiny Sausages, 2012
archival pigment inks on cotton and silk

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Beet Pallet, 2012
archival pigment inks on cotton and silk

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Invisible Sausages, 2012 
archival pigment inks on cotton and silk, 31.6 x 50.8 cm

Rainbow Botchalism, 2012 
archival pigment inks on cotton and silk, 31.6 x 44.5 cm

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Still Life 7, 2011
archival pigment inks on silk with cotton backing

Still Life 5, 2011
archival pigment inks on silk with cotton backing

Still Life 8, 2011
archival pigment inks on silk with cotton backing

Grinder Gears, 2012
archival pigment inks on cotton and silk

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shape sweat: detox vision,  2013
installation at The Vanity, Los Angeles, March-April 2013

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Leakage Industries: Clear Conduit, 2012
Leakage Industries: Strainer, 2012
exhibition view at SculptureCenter, New York, 2012

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Leakage Industries: Clear Conduit, 2012 
gelled emollient, unglazed ceramic, usb cable with gender changers, flash drive, hardware, 101.6 x 81.3 x 121.9 cm

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Leakage Industries: Clear Conduit (detail), 2012 
gelled emollient, unglazed ceramic, usb cable with gender changers, flash drive, hardware

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Silodka, 2010
fiber react dye on silk, muslin

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Leakage Industries: Soft Screw, 2012 
galvanized steel, glazed ceramic, gelled emollient, auger worm, silk gauze, hardware, 94 x 152.4 x 30.48 cm 

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Leakage Industries: Soft Screw (detail), 2012 
galvanized steel, glazed ceramic, gelled emollient, auger worm, silk gauze, hardware 

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Seasoned, 2011
archival pigment inks on silk

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Independent, exhibition view at 47 Canal, New York, March 2013

Untitled, 2012
Ceramic, combination release buckle straps

all images courtesy the artist

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ALISA BAREMBOYM is an American artist based in New York who draws her source from domesticity and the handling of objects that are affiliated to this environment. Blurring the line between photography and other mediums such as sculpture and painting, she creates hybrid objects that investigate, appropriate, and extend critical aspects of materiality, process, abstraction, and pictorial ideas.

Framing a limitless pattern is a way to underline the artifice of the image and it’s relationship to the way reality and depictions of reality interact. There is always an element of translation or conversion that exists in my work and also exists in the basic act of making something. Through the lens of photography, I am framing the subject in a way that is always a translation of what it actually is. The photograph is then transferred to a print on silk which is another translation. I am propelled by the idea that images further extend the shelf life of a consumable thing, but ultimately for a finite amount of time. – ALISA BAREMBOYM in conversation with MICHAEL BILSBOROUGH

ALISA BAREMBOYM was born in Russia in 1982 and received an MFA from Bard in 2010. Her work has been exhibited at 179 Canal, NY; White Columns, NY; Moscow International Biennale for Young Art, Moscow Museum of Contemporary Art, Russia; Andrew Kreps, NY; and Participant Inc., NY. In the past year she was included in shows at Showroom, NY, Toomer Labzda, NY, Regina Gallery London, UK and Jason Alexander, NY.

And good news: her work is currently part of the group exhibition Untitled (Hybrid) at Robert Miller Gallery, New York (April 19 – June 1, 2013). She will also be part of EXPO 1: New York at MoMA PS1 from May 12 to September 2, 2013.

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Highly Liquid, exhibition view at Galerie Fons Welters, March- April 2013
photography by GERT JAN VAN ROOIJ

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Parking (Window), 2013
polyester resin, pigments, clear PVC
57 x 50 x 49 cm, photography by GERT JAN VAN ROOIJ

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Parking (Disc), 2013
polyester resin, pigments, clear PVC, vinyl sticker, powder coated steel, powder coated Aluminum, rubber stop-end, Men’s Health magazine cover, Car magazine cover, 57 x 142 x 49 cm

Parking (Service), 2013
polyester resin, pigments, powder coated Aluminum, powder coated steel, rubber stop-end, perforated foam, polyester webbing, 57 x 95 x 48.5 cm

Parking (Spine), 2013
polyester resin, pigments, powder coated copper, powder coated Aluminum, rubber stop-end, 57 x 182 x 49 cm

photography by GERT JAN VAN ROOIJ

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Parking (Disc), 2013
polyester resin, pigments, clear PVC, vinyl sticker, powder coated steel, powder coated Aluminum, rubber stop-end, Men’s Health magazine cover, Car magazine cover, 57 x 142 x 49 cm
photography by GERT JAN VAN ROOIJ

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A Line Up (IIII), 2012
CNC’d and brushed aluminium, powder coated aluminium, cast and mirror polished 
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from the exhibition Hands Down at unosolo project room, Milan, 2012

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One in a Million, 2006
coconut, quartz crystals, edition of 3, 8 x 18 x 11cm

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Spill, 2009
silicone rubber

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Lift, 2009
aluminium, fibreglass, polyester resin

Sheet Section (Countershading), 2009
polyester resin, pigments, MDF

Sheet Section (Saturation), 2009
polyester resin, MDF

Sheet Section (Saturation), 2010
polyester resin, pigments, MDF

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Back on the Level, 2011
jesmonite, silicone rubber, pigments

installation view at The Approach, London, 2011-2012

Circulation (Increase), 2011
jesmonite, silicone rubber, pigments, machine cut aluminium

 

Noise (Window Grey) & Noise (Ultramarine Blue), 2012
aluminium, spray paint, 119 x 92 x 0.5cm

 

all images courtesy the artist

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MAGALI REUS uses common materials such as glass, plastic and aluminium to create complex constellations of works which include sculptures, installations and videos.

REUS‘ pieces defy categorization, straddling the line between recognizable and unrecognizable, finished and unfinished, intuitive and conscious, organic and synthetic. Nevertheless the result is invariably carefully constructed, abstractly composed and assumes forms issuing from reality.

The individual elements are being left as they are, the composition doesn‘t lead into a defined direction, no intrusiveness of meaning is restricting the viewer, instead they rather open up questions and atmospheres. Particularly in REUS‘ work one can comprehend the most famous quote, that the work is created through the viewer. REUS provides the materials.

MAGALI REUS (b. 1981 Den Haag) lives and works in London and Amsterdam. Recent solo exhibitions include ‘Highly Liquid’ at Galerie Fons Welters Amsterdam, ‘Hands Down’ at unosolo project room Milan, ‘ON’ at The Approach London, ‘Background’ at La Salle de Bains, Lyon, ‘Some Surplus’ at Plan B in Amsterdam and ‘Playstation: A Billion Balconies Facing the Sun’ at Galerie Fons Welters, Amsterdam.

Good news: you still have a few days to view Out of Empty, a solo exhibition by MAGALI REUS at Albert Baronian Gallery in Brussels. Additionally she is part of the group show Can’t Hear My Eyes at Nogueras Blanchard, Madrid ( on view till May 18, 2013).