A European journey, based on encounters with contemporary artists across Europe.
Salt in the Wound is an essayistic journey through Europe, based on encounters with mid-career and leading contemporary artists. The book looks into the relationship between cultural origin and the artists’ imagination. Through studio visits, exhibition reviews and conversations, the author reflects on the work of these artists, and how it relates to both local histories and the global art practice.
The book contains essays on Miroslaw Balka (Poland), Anton Henning (Germany), Flo Kasearu (Estonia), Bernard Frize (France), Anish Kapoor (India/UK), Michael Borremans (Belgium), Lia Kazakou (Greece), Sejla Kameric (Bosnia), Norbert Bisky (Germany), Monika Sosnowska (Poland), Janis Avotins (Latvia), Luc Tuymans (Belgium), Paula Rego (Portugal/UK), Klaas Kloosterboer (Netherlands), Irina Botea (Romania), Bridget Riley (UK), Marc Mulders (Netherlands), Sean Scully (Ireland/US).
‘Salt in the Wound’ is the title essay, discussing the work of Polish sculptor Miroslaw Balka. In some of his works Balka uses salt to project movies on. At the same time it is a metaphor for what art in Post-War Europe can address.
Published by Garret Publications, Helsinki, 2019. (For bookshops available through IDEA Books, Amsterdam).
Pia Krajewski, Irina Ojova
Exhibition at Künstlerhaus Bethanien, Berlin
Curated by Jurriaan Benschop
Opening 11 April 2019, 7 pm
This exhibition brings together the work of two painters who were selected for the 2019 Winsor &
Newton Residency at the Künstlerhaus Bethanien in Berlin: Pia Krajewski (Cologne, 1990) and Irina
Ojovan (Chisinau, 1988).
While Pia Krajewski maximizes the presence of a figurative motif through monumental close-ups, Irina Ojovan seems interested in the opposite movement, reducing the clues that could identify the motifs underlying her paintings. What the artists share is an interest in taking images from the exterior world, isolating them, and transforming them into a reduced painterly vocabulary. To grasp the paintings in their full scope, the viewer has to move closer to and further from the canvases, collecting sensations of texture and touch from close by, or seeing the overall image from a more distant perspective.
Gerlind Zeilner ‘Line of Thought’ exhibition at Donopoulos IFA, 2 Feb – 11 March, 2019, curated by Jurriaan Benschop
The paintings of Gerlind Zeilner are the result of both attentive observation and a vivid imagination. The Vienna based artist collects impressions from what she calls “the theatre of life” as she observes it in bars, on the streets in the city or outside in the mountains. First she makes quick sketches of scenes; later in the studio, things start to change shape as the artist looks at them, and this transformation is intensified in her paintings.
The colorful lines in Zeilner’s paintings are not only there to indicate the shape of an object, a person, or building – they also act by themselves to transmit a variety of expressions, ranging from fragility and hesitation to firmness and wonder. As a whole, the paintings embody a sensibility and a way of looking, more than a specific scene.
One of my highlights of 2018 was meeting with British artist Rachel Whiteread in Vienna to talk about her exhibition in Belvedere21. For her it was the first come back to the city after making the much discussed holocaust memorial.
“There is something about plaster that is incredibly special. It is really ancient; it comes from rock that is turned to powder, you add water it becomes liquid, heats up and dries, and pours the surface away from the object you are casting from – every minute detail. It is almost like alchemy.”
The full interview was published in DAMN magazine and can be read online here
‘Content is a Glimpse’ is an international painting exhibition presenting the work of five artists: Anna Tuori (Helsinki), David Schutter (Chicago), Fiona Rae (London), Jorge Queiroz (Lisbon), Mark Lammert (Berlin). Five artists with different backgrounds present works that imagine, form, and deform the human figure, or otherwise allude to the body. The image above shows a work from the ‘Walkers’ by Anna Tuori, of which there are three on display.
The exhibition borrows its title from the words of Willem de Kooning, who pointed to short moments of insight – each encounter like a flash – that can occur while looking at a painting. The figuration in de Kooning’s work is not something that can be pinned down as an objective fact, rather it resides and is hidden in painterly gestures, color marks, and abstraction. It comes and goes, it is part of the dynamics of perception. This quality can also be found in the works of the five artists participating in the exhibition.
Curated by Jurriaan Benschop
On display from 24 November 2018 till 9 February 2019
Catalog launch: 26 January, 4-6 pm, open event.
Efremidis Gallery, Ernst Reuter Platz 2, Berlin Charlottenburg.
The Vienna Contemporary is an art fair with a focus on Eastern Europe. This year’s edition was a welcome reminder that Europe has more to offer then nationalistic fears and (talk about) border patrols. The fair is an encouragement to cross into new territory, practice some mental migration and see what artists make in regions of Europe that are not typically in the spotlight of attention. I combined a visit to the fair with some studio- and gallery visits in the city, to find interesting artists at work, such as Erwin Bohatsch, Béatrice Dreux (Image: ‘Dark Octopussy’) and Michael Horsky. My report was published in print in the Belgian H-Art magazine #185 (in Dutch) and can also be read and viewed here .
In Los Angeles I met with painter Marc Trujillo to talk about his ambivalent appreciation of American culture and his interest in the Dutch old masters. All American consumer places such as retail stores, gas stations and fast food restaurants appear in his work, painted with precision, in a way that no camera could capture. “I am American. I have mixed feelings about all this stuff. I am ashamed of Pizza Hut; I feel bad about it and meanwhile… I’m starting to get a little hungry. If you would have shown up with some slices, I would have probably liked that.”
You can read the full text in the autumn edition of Elephant magazine (Elephant #36, 2018) or here.
For the German Tagesspiegel I went to Marseille to visit the Art-O-Rama fair and measure the artistic temperature in France’s second largest city. While artists and gallerists say there is not much market and future in Marseille, the Art-O-Rama tries to prove the opposite, and energizes the city – at least once a year. You can read the text in German here
In October I’ll be in the Los Angeles area for talks and studio visits at Otis, ArtCenter and LCAD. There are two public talks scheduled:
Otis College of Art and Design, Los Angeles, CA , 11 October 2018, 11.15 am
Laguna College of Art and Design, Laguna Beach, CA, 17 October 2018, 5 pm