open files
C o u r t e s y t h e a r t i st a n d K r i st i n H j e l l e g j e r d e G a l l e r y
K r i st i n H j e l l e g j e r d e , L o n d o n
S i n ta Ta n t r a
1 1 S e p t e m b e r – 1 0 Oct o b e r
September 12 - October 31 2015
Galerie Anne de Villepoix
43 rue de Montmorency 75003 Paris
Sinta Tantra’s bold interventions
use colour abstractions that wrap
themselves around architectural
environments, transforming
them in the process. The works
are a hybrid of pop and formalism, a bricolage of colour and
rhythm, an exploration of
identity and aesthetics. Tantra
creates works that celebrate
the spectacle, questioning the
decorative, functional and social
role of art.
‘I am intrigued when this formalism becomes “relational”—
when private becomes public and
when the viewer becomes active,’
she says. Colour exists as an
integral aspect of Tantra’s work.
‘I am drawn to colour as a material which lies in-between the language of art and industry. Colour
exists within its own structure—it
is densely packed, hermetically
sealed, contained,’ she says.
Her work takes on a sculptural
approach to ‘colour-collage’
where colour is ‘cut’ as opposed
to filled, ‘layered’ as opposed to
mixed, ‘constructed’ as opposed
to emerged. Geometric boundaries are definitive, and illusionary
highs ‘snap’ into place as you
walk around the work.
‘For my show, I’ll be combining my abstract geometric
paintings with various elements
from my outdoor installations—so as well as paint on
canvas, parts of the wall, floor
and windows will be coloured.
I’ll be covering the front windows
of the gallery with pink filters—a
play on the idea of la vie en rose,
or rose-tinted glasses. As daylight
comes through the window, the
light inside the gallery will change
accordingly. I’m always interested
in ways of bringing the outside
in and the inside out. These two
sides of my practice—painting
and installation—will be brought
together for the first time in this
American Flamingo
as Abstraction
Sinta Tantra
Image: Josef Herman Refugees. Ben Uri Collection. © Estate of Josef Herman. All rights reserved.
ORY X F o u n d a t i o n
There Are Too Many
Walls But Not
Enough Bridges
2 6 J u ly– 1 6 A u g u st
For the past five years the oryx
foundation has been inviting
numerous contemporary Arabian
and Iranian artists to Lucerne
(that’s a lovely place in Switzerland
in case you are wondering) to live,
work and exhibit, and, in the past,
over 25 Middle Eastern artists have
done just that. Likewise, European
artists have had the chance to travel
in the opposite direction.
The fruits of this exchange
programme are now on display
at Kunst(Zeug)Haus Rapperswil
(that’s close to Zurich in case you
are wondering). It is the biggest
exhibition of contemporary
Arabian and Iranian art in
Switzerland.The artists presented
include the hard-hitting images
of Iranian artist Samira Hodaei
(previously interviewed in this
magazine) and the paintings of
Out of Chaos
Ben Uri: 100 Years in London
artist Mohamed Al Mazrouei
(Egypt and Abu Dhabi), whose
work wanders through very
uncomfortable areas related to
both private and religious spheres.
The work collected for the show
varies greatly in both style and
content, from the sensual work of
Shahriar Ahmadi (also from Iran),
the intricate geometrical studies
of Layla Juma (uae) and the stark
black-and-white images produced
by Baktash Sarang (Iran).Yet there
is something distinctive about the
artists gathered for the show.The
work is loud, expressive, at times
angry, frustrated and heartfelt.
This is not the tame museum
art that populates brand-new
luxurious spaces in the Middle
East.This is edgy, disturbing,
political art. Grassroots art (almost
verging on street art) rather than
palace art.The West is always keen
to talk about the Middle East, but
not always so inclined to listen—or
look.This is a unique opportunity.
Rapperswil may not be as pretty as
Lucerne, but it is closer to Zurich,
and this is a must-do detour for
anyone interested in what is taking
place in the Middle East today.
C o u r t e s y t h e a r t i st a n d AB G a l l e r y
open files
Opens 2 July 2015
Free entry
Exploring a century of émigré history in London through the hidden treasures of the Ben Uri Collection
Inigo Rooms, Somerset House East Wing
King’s College London WC2R 2LS
Open 7 days a week, 12-6pm, until 8.30pm Thurs
www.benuri.org | #BenUri100
Talal Al Zeid
Enamel paint on satellites
66 x 141 x 54 cm
El Hillal wel Negma
(Crescent and Star)
Ahmed Badry
Painted cardboard, Wire,
40 x 40 x 160 cm
Detail from
The Last Supper
Mohamed Al Mazrouei
C o u r t e s y t h e a r t i st a n d AB G a l l e r y
open files
Todd Hido
1 2 S e p t e m b e r –7 N o v e m b e r
Todd Hido’s moody, almost
haunted photos of suburban
houses (and the women who seem
to be trapped in them) show in
Amsterdam in September.The
show departs somewhat from
Hido’s usual style into what the
artist terms ‘a more complicated
arrangement of images that sometimes I like to think about as a paper
movie; one that utilizes the beauty
of photography’s silent yet strong
ability to suggest open-ended
narratives, ultimately leading to the
meaning residing in the viewer’.
The shots of homes at night,
particularly, are powerful
precisely because they cannot
offer a narrative. Instead, they
invite the viewer to collude with
the artist in order to conceive of
a story—scandalous or threatening—for which the house is
the setting. ‘The suburbs are
an endlessly interesting place,’
Hido says, ‘because behind all
those closed doors and shuttered
windows, there are fascinating
scenes. Often when I’m driving
around at night making images,
I think about how the lights come
on and it seems as if the inside is
seeping to the outside.’
When asked if the artist’s
personal history forms the basis of
this series of work, Hido replies:
‘I learned from my mentor Larry
Sultan that one of the most
effective ways to speak about and
connect with others is to work
with issues that dwell within your
own self. Essentially, I draw from
within as it is a deep reservoir.’
www. reflexamsterdam.com
All images
Selections from
a Survey
New Photographs
C o u r t e s y o f G a l e r i e A l e x D a n i e l s - R e f l e x A m st e r d a m a n d To d d H i d o
Alex Daniels—Reflex,
A m st e r d a m
open files
M a u r e e n Pa l e y, Lo n d o n
T h o mas E g g e r e r
1 7 J u ly— 2 3 A u g u st
Painting is a tricky thing to define.
In fact, it is sometimes tempting
to think that the whole point, or
the whole fun, of painting is in this
game of slippery meanings. If so,
German-born, NewYork-based
artist Thomas Eggerer is a master of the form. His arresting (and
always immaculate) compositions
lose themselves in startling colours
and uncertain textures in the same
way as a clear idea will lose itself in
dreamy lassitude. Even the titles
of the pieces allude to this dynamic
interchange, this game of hide
and seek, between understanding and sensation, between control
and intuitive lyricism.That game
is now being taken to a new level
by the artist, with a series of paintings in which sensation appears
to be taking the upper hand (with
the titles veering towards abstraction and bodies in prominence),
while still remaining earthed
in—I would be tempted to call it
S u p e r D a k o t a , B r u ss e l s
B RU C E N A U M A N ,
1 1 S e p t e m b e r – 1 7 Oct o b e r
Named after a controversial
one-word poem by the minimalist
poet Aram Samoyan, this exhibition at Super Dakota in Brussels
is a collective exhibition featuring
works by Joachim Bandau, Luke
Diiorio, Connor McNicholas,
Bruce Nauman and Fred
Sandback.The pieces, selected by
curator and founder of the gallery
Damîen Bertelle-Rogier, are in
compliance with statements about
different ways that artworks can be
experienced—for example, ‘The
space acts as a placeholder’ or ‘The
viewer is taking part in the work’—
and as such explore the various
ways that the art itself interacts
with both the architectural space
and the viewer to create meaning.
This subject, Bertelle-Rogier
explains, could be overwhelmingly
abstract, so the statements also
act as keys to interacting positively
with the exhibition itself.
C o p y r i g h t t h e a r t i st, C o u r t e s y M a u r e e n Pa l e y, L o n d o n
C o u r t e s y t h e a r t i st
C o p y r i g h t t h e a r t i st, C o u r t e s y M a u r e e n Pa l e y, L o n d o n
Far left
Untitled, 2015
Luke Diiorio
Pigment, bleach
and graphite on
hand-folded linen
Golden Untitled
Thomas Eggerer
Oil on canvas
167.6 x 162.6 cm
Crimson Untitled
Thomas Eggerer
Oil on canvas
167.6 x 162.6 cm
open files
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A l i c e G a l l e r y , B r u ss e l s
Nobuyoshi Araki’s fourth solo
show at New York’s Anton Kern
Gallery presents a new ‘diary’
series that coincides with the date
of his wedding anniversary to his
wife,Yōko, who died in 1990. After
the death of his beloved cat Chiro,
his fight with prostate cancer and
the loss of vision in his right eye, the
works are the result of Araki’s turn
inwards to reflect on his own life
and mortality. Previous diary series
have depicted deeply personal
scenes of domestic life, snapshots
of Tokyo architecture, and strangers going about their daily routines:
all in the artist’s signature, highly
contrasted black-and-white film.
Paul Wackers’s solo exhibition,
New Alphabet, at Alice Gallery in
Brussels focuses on the artist’s notquite-figurative paintings that capture the quotidian but make it
lively and strange.The works are
dominated by still life, portraying a
series of organic elements such as
potted plants, flowers and cacti in
spaces that one imagines could be
an apartment loft or garden shed.
There’s a sense that these places
belong to the artist and yet the
swirling backdrops offer insights
into a parallel reality with multiple
The Brooklyn-based American
artist also uses references to
graphic design and illustrations
in his oeuvre, offering a synthesis between a classical heritage
and the freedom of contemporary
The appeal of Wackers’s
works—previously exhibited
at the Morgan Lehman Gallery
in NewYork and at the Eleanor
Harwood Gallery in San
Francisco—is that it’s still life,
but it’s thoroughly contemporary.
Untitled from Eros Diary
C o u r t e s y t h e a r t i st a n d A l i c e G a l l e r y
You can do anything!
don’t you know
Paul Wackers
Acrylic spray paint
on panel
C o u r t e s y t h e a r t i st & D a ata E d i t i o n s
Pa u l W ack e r s
1 7 S e p t e m b e r — 2 4 Oct o b e r
C o u r t e s y t h e a r t i st a n d A n t o n K e r n
A r ak i
9 J u ly–7 A u g u st
Hauser & Wirth, Somerset
Jenny Holzer
1 1 J u ly— 1 N o v e m b e r
Daata - E d i t i o n s
Daata-Editions launched its online
platform for the sale of video, web
and sound editions at nada, Frieze
NewYork, Salon94 and Soho
House this spring.The simple and
extremely well-designed project
allows collectors to easily and
confidently download digital art
forms that have until now been
thought of as difficult to acquire.
‘It’s about creating an economy
for artists working in these
mediums during a curious time
of change,’ says founder David
Gryn, who has been working with
© 1 9 9 6 J e n n y H o l z e r , m e m b e r A r t i sts R i g h ts S o c i e t y ( AR S ) , NY. P h o to : E r i k S u m p t i o n
A n to n K e r n , N e w Yo r k
Hauser & Wirth Somerset presents a major Jenny Holzer exhibition that runs across all five of the
galleries in Bruton Park. Holzer’s
work, characterized by her use
of what the artist calls ‘truisms’
(‘It is in your self-interest to find
a way to be very tender,’ says
one work from the series Truisms
for Survival, 1983–85), is also
exhibited in the gardens as well
artists for over 20 years, including
curating the film programme at
Art Basel Miami Beach. ‘People
think that online is some kind of
mythological space where things
happen automatically, but that’s
not the case.We need to encourage
artists to know that these mediums
are valued.’
‘Season One’ of Daata-Editions
sees 18 artists, including Ed
Fornieles, Leo Gabin, Chloe
Wise, Florian Meisenberg, David
Blandy, Hannah Perry and Ilit
Azoulay, commissioned to produce
six works, no longer than three
minutes long each, which will
be released on the site every three
weeks.The artists are commissioned and paid in full for the
works, as well as receiving royalties
on the sale of the editions, and
are free to experiment entirely
on their artworks.
as further afield amid the landscape of the surrounding area.
Much of Holzer’s work after
1993 has appropriated texts
written by others, including
authors, political figures and passages from declassified us Army
documents from the war in Iraq,
and there is often a sense that
internal, even secret, thoughts
are being made public in order
that they should be contemplated.
Holzer shows a combination
of new works that she has made
specifically for the exhibitions
alongside led pieces, sculpture,
painted signs and cast plaques
from the 80s, 90s and 2000s.
An active education programme runs alongside.
Bathing, 2015
Ed Fornieles
Selection from
Die fast and quiet...
Jenny Holzer
Memorial Bench II:
Eye cut by flying
glass... (detail)
Jenny Holzer
Purple, 2008
Jenny Holzer
A l l W at c h e d O v e r
2 5 J u n e –7 A u g / N e w Yo r k
With the promise of a cybernetic
techno-utopia as its backdrop,
this exhibition brings together
a group of artists who apply
systems to and in their work.
Across a diversity of practices and
cultures, the dominant theme in
All Watched Over is art in the form
of information processing and its
James Cohan
The ica presents the first uk
solo institutional exhibition,
Lives onWire, by the British artist
Eloise Hawser. Hawser’s work
reconfigures and repurposes
commonplace materials applied
in industrial processes to create
sculptures and installations that
subtly demonstrate the inherent
mutability of everyday objects.
6 J u ly– 1 4 A u g / N e w Y o r k
Lives on Wire / ICA
Working in an intergenerational
context, English Summer features
the work of a wide variety of artists
living and working in the uk who
resist and subvert easy categorization. Mediating constructs of the
seen, felt, observed, both literally and
theoretically, social and potentially
political topics emerge.
27 June–29 Aug / Berlin
Grey Magic / Esther Schipper
Bermondsey Square / VITRINE
N i c o l as D e s h ay e s
Gilbert & George
g e o r g e H e n r y L o n g ly
J ack La v e n d e r
Christoph Keller
Christoph Keller’s Grey Magic
continues his artistic investigation of episodes in the history
of scientific inquiry. The exhibition will include new works in
reference to his ongoing projects
on the concept of Aether and the
entanglement of literary, artistic
and philosophical ideas found in
early 20th-century Berlin, as well
as a sensorial experiment.
1 1 J u ly– 1 5 N o v / Pa r i s
In the first of two exhibitions
curated by Chris Bayley,
London-based Molloy presents a
site-specific installation exploring
the lengths that the human body
will go to in order to have fun.
Later in the summer, Seamus
Gough comprises sculptural and
photographic works interrogating
the way in which photographic
materials are produced, supported
and displayed.
English Summer / Elizabeth Dee
Alison Jacques
This is the Pakistani miniature
painter’s first solo exhibition
at arndt’s Singapore location. Expect intense scenes of
mythological creatures and
warfare inspired by the epic poem
Shahnameh, or the Persian Book
of Kings.
Synecdoche / Jessica Silverman Gallery
Ellis King
MccGwire, fresh from success at
Glasstree at the Venice Biennale,
leads a trio of strong female artists
in a show where each work acts as
a sensual and sensory invitation to
explore other worlds. The artist’s
signature bird-feather sculptures
that can’t help but reference
historical museum taxidermy are
the main event.
Complicit / Coates & Scarry
C o o k i e Gat e
MCA Chicago
1 4 J u ly– 2 A u g / L o n d o n
1 0 J u ly– 8 A u g / D u b l i n
This huge group show at one of
Dublin’s most exciting contemporary art galleries exhibits
approximately 20 artists working
in a range of different mediums.
Chris Martin
K at e M ccGw i r e
Juliette Losq
J ay n e A n i ta S m i t h
Balula’s work is articulated around
sound, electronic and visual
devices. The works often require
viewer participation to activate them
in some way, which makes for an
enjoyably interactive gallery visit.
The gallery known for discovering
emerging artists and bringing
them to an international audience
presents a group show featuring
Beaufils’s light brushstrokes
and muted palette, Fecteau’s
sculpture, Gunderson’s fantastical
painting and drawing, Lewis’s
large-scale graphite works and
Olson’s collage-like photographic
Jaworska presents sculptural and
drawn works that explore common
features of architecture such as columns and obelisks. Expect humour,
irony and use of bold, minimalist
forms in this, her first solo show.
1 1 S e p t– 1 7 O c t / B r u s s e l s
1 0 J u ly— 8 A u g / L o n d o n
Julie Beaufils
Vincent Fecteau
Henry Gunderson
Tony Lewis
B. Ingrid Olson
1 J u ly– 2 2 a u g / s a n f r a n c i s c o
Fondation Cartier
Da v i d e B a l u l a
Khadim Ali
28 June–6 Sept
With André Magnin as its Chief
Curator, this show takes as its
departure the birth of modern
painting in the Congo in the 1920s
and looks at the development of
the country’s music, sculpture,
photography and comics. Works by
the nation’s younger painters of
today, such as Monsengo Shula
and J.-P. Mika, will also be on view.
including Emma Hart, Tim Ellis,
Mary Ramsden, Eva Stenram and
Dominic Watson, and shows a
cross-section of the most dynamic
work being made across the capital
The London
Open 2015
Marc Quinn
André Butzer
1 5 J u ly– 1 3 S e p T / L o n d o n
29 Aug–2 Oct / Berlin
yba Marc Quinn’s bloody head
(‘Self’, 1994) and Kate Moss yoga
pose (‘Siren’, 2008) have made
him one of Britain’s best-known
sculptors. The exhibition takes
further the artist’s explorations
into the boundaries between art,
science and the human body.
For his seventh solo show with the
gallery since 2003, Butzer presents
a host of new monochrome
paintings with all his trademark
anarchic visual codes at Galerie
Max Hetzler’s Goethestraße space.
White Cube Bermondsey
In his second solo show in three
years at the Belgian gallery,
Chris Martin presents largeformat paintings at the main
space on 35 rue de Livourne
as well as outside on building façades and maybe even
billboards in the city.
Galerie Rodolphe Janssen
Tam i n a A ma d ya r
Galerie Max Hetzler
1 6 S e p t– 2 4 O c t / B e r l i n
W u Tsa n g
The gallery presents the
Afghanistan-born Amadyar’s
first solo show. Expect moody,
semi-abstract paintings occasionally populated by shapes that
resemble street lights, darkened
football pitches or lights flickering
in empty buildings.
‘Miss Communication and Mr:Re’
presents Wu Tsang and the poet
and critical theorist Fred Moten in
two facing video channels enacting
a missed encounter, an attempt at
connection and a love story.
Galerie Guido W. Baudach
Clifton Benevento
Gordon Cheung
A n i a J aw o r ska
As part of the city’s first
Architecture Biennial, the young
Chicago-based Polish artist
A palpable sense of the body and
human touch permeates Sahib’s
work but is represented through
sculpture and paintings that are
non-figurative and sparse in colour.
Southard Reid
C h a r l e ma g n e
Pa l e s t i n e
1 8 S e p t– 8 N o v / V i e n n a
1 6 S e p t– 6 O c t / L o n d o n
Art:Concept presents Jean-Michel
Sanejouand’s first solo show at
the gallery. Since the early 60s
the artist has built up a varied
body of work that shifts back and
forth from painting to sculpture
and from objects to spatial
Following on from themes in
recent work, Cheung attempts
to explore the communication
and digital revolutions made
possible by new internet and
mobile technologies. He believes
that information overwhelms the
individual, causing a flickering
sense of reality. Look out for the
tulip motif.
American-born Charlemagne
Palestine is a composer, musician,
performer and visual artist who
has been working since the 70s
on a series of psychodramatic
video works in which he activates
the body through a symbiosis
of sound and movement and gives
expression to inner qualities.
The exhibition is curated by
Luca Lo Pinto.
Alan Cristea
Kunsthalle Wien
1 0 S e p t – T B C / Pa r i s
25 Aug–31 Jan / Chicago
Prem Sahib
1 7 S e p t– 2 0 O c t / L o n d o n
3 S e p t– 3 1 O c t / N e w Yo r k
1 5 J u ly– 6 S e p t / L o n d o n
The 2015 edition of the London
Open triennial features 48 artists
EJ E e l k e m a I ( S m a l l N e w O r d e r ) , 2 0 1 5 . C o u r t e s y t h e a r t i st a n d A l a n C r i st e a
E l o i s e Haws e r
1 J u ly– 6 s e p t / l o n d o n
4 J u ly– 5 S e p t / L o n d o n
Beauté Congo
Congo Kitiko
U n t i t l e d , 2 0 1 5 . C o u r t e s y G a l e r i e R o d o l p h e J a n ss e n , B r u ss e l s . P h oto C r e d i t : O b j e ct S t u d i e s
I n v i t e d Em e r g i n g
C u r at o r s
S i g n o f T h e i r P l a c e , 2 0 1 2 . C o u r t e s y o f t h e a r t i st
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T i m E l l i s . U n i t e d i n D i ff e r e n t G u i s e s C X C VII 2 0 1 4 . I m a g e c o u r t e s y o f t h e a r t i st a n d F OLD
P r o p o s e d l o c at i o n o f W u r l i tz e r i n N e w G a l l e r y, R e g e n t S t r e e t. C o u r t e s y t h e I C A
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pa p e r g a l l e ry o n e