Eurasia. A View on Painting, Galerie Thaddaeus Ropac, (November 27, 2014 – February 7, 2015)

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Galerie Thaddaeus Ropac is delighted to present the group exhibition Eurasia. A View on Painting, which brings together the works of 16 artists across different genres and styles.

In light of this confrontation between various subject matters and approaches, it remains evident how deeply rooted each artist is in his culture, past and present, addressing issues of universal interest. This painting exhibition focuses on the possible junctions and their repercussions from East to West and West to

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Soluk Mavi Nokta, Gözde Başkent, Daire Galeri, (13 Aralık 2014 – 14 Şubat 2015)

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Daire Galeri, Gözde Başkent’i ikinci kişisel sergisi ile ağırlıyorDaire Galeri, 13 Aralık – 14 Şubat 2014 tarihleri arasında Gözde Başkent’in ikinci kişisel sergisi “Soluk Mavi Nokta”ya ev sahipliği yapacak. 1982 yılında Ankara’da doğan Gözde Başkent, Mimar Sinan Güzel Sanatlar Üniversitesi Resim Bölümü’nde lisans ve yüksek lisans eğitimini tamamlamıştır. Sanatçı yaşamını ve çalışmalarını Büyükada’da sürdürmektedir.

Sanatçının çalışmaları, insanın doğa üzerindeki ayrıcalıklı konumu ve doğa ile arasındaki mesafe üzerine eleştirel düşüncelerden oluşuyor. Genellikle ahşap üzerine ağırlıklı olarak kadın figürlerini illüstrativ yaklaşım ile resmettiği eserlerinde sanatçı doğa ile insanın bütünleştiği ve çelişkisiz bir ilişki sürdüğü bir dünyanın hayalini ortaya koyuyor.

Gözde Başkent, sergi ismini, Dünya’ya rekor bir uzaklıktan çekilen ve Dünya’yı

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Dayanışma, Mimar Sinan Sergi Salonu, (17-30 Aralık 2014)

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Trakya Üniversitesi Güzel Sanatlar Fakültesi öğretim üyeleri ve Edirne Güzel Sanatlar Lisesi resim öğretmenlerinin işbirliği ile gerçekleşen sergi sanatseverlerin beğenisine sunuldu

Trakya Üniversitesi Güzel Sanatlar Fakültesi öğretim üyeleri ve Edirne Güzel Sanatlar Lisesi resim öğretmenlerinin işbirliği ile Edirne Güzel Sanatlar Lisesi Mimar Sinan Sergi Salonunda hazırlanan sergi 17 Aralık 2014 Çarşamba günü saat 15.00’te Trakya Üniversitesi Rektör Yardımcısı

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XI. Bienal Internacional de la Acuarela, Galeria Berta Pietrasanta

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El Museo Nacional de la Acuarela “Alfredo Guari Rojo” Tiene El Honor de invitarlea la inauguracion de la segunda parte de exposicion

XI. Bienal Internacional de la Acuarela, Museo Nacional de la Acuarela “Alfredo Guari Rojo

1. Parte Diciembre 07, 2014 – Enero 04, 2015

2. Parte Enero 11, 2015 – Febrero 08, 2015

Galeria Berta Pietrasanta

The International Watercolor Biennial, founded by Alfredo Guati-Rojo (1918-2003), is the

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Kısık Ateşte Yüzyıl, Turgut Yüksel, ALAN İstanbul, (26.12.2014 – 31.01.2015)

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KISIK ATEŞTE YÜZYIL

26 / 12 / 2014 – 31 / 01 / 2015

Turgut Yüksel, 4. kişisel sergisi “Kısık Ateşte Yüzyıl” ile ALAN İstanbul’da!

Çağdaş Sanatta eleştiri, mizah ve zekayı birleştiren Turgut Yüksel, kağıt üzerine çizim ve plastik işlerinden oluşan yeni seri çalışmalarını “Kısık Ateşte Yüzyıl” başlıklı sergisinde bir araya getiriyor. Sanatçı, 20. yüzyıldan bugüne uzanan toplumsal ve politik düzlemdeki birçok büyük ölçekli meseleyi mikro

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Communicate Over Vast Distances, Maria Friberg, Pi Artworks London, (05 December 2014 – 31 January 2015)

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5 December 2014 – 31 January 2015

Pi Artworks London, 55 Eastcastle Street, London W1W 8EG

Pi Artworks London will close from the 22 November for the Christmas season. We will re-open on the 5 January.

We would like to wish everyone a happy festive season and look forward to seeing you at the gallery in the New Year.

Pi Artworks London would like to invite you to Maria Friberg’s first solo exhibition with the gallery. Friberg belongs to a generation of Scandinavian artists who rose to fame in the 90’s that are often referred to as the Nordic Miracle, a name coined in the late 90’s after a seminal survey exhibition at the Musee d’art Moderne, Paris. For Communicate over vast distances, Pi Artworks has curated a selection of both new and older photographic and video works that will give a comprehensive overview of the artists’ practice as well as underscore some of the broader themes that run through her work.

Maria Friberg creates pristinely composed photographic and video tableaus that capture individuals and small groups in inert, meditative states. These supine figures are engaged in distinctively passive and introverted actions, such as concentrating on their handheld technology, listening to music, asleep prone on a bed, or simply reclining in what appears to be a state of extreme apathy. Their blank, expressionless faces prevent the viewer from reading their emotions. Each figure lacks any visible physical or emotional interconnectedness with anyone else while simultaneously appearing completely at ease with his or her surroundings.

Maria Friberg, Still Lives 11, 2007, c-print, oak frame, 100 x 300 cm

The settings, which act as the backdrop for Friberg’s men, women and children, vary from the inexplicable stacks of crushed cars in Still Lives [2005], to the dense and luscious Botanical Garden in Days of Eyes [2014]. Each is a serene and dreamlike context that is unpopulated other than with the works’ subject or subjects and is a peculiar place to find someone at complete ease with themselves.

Friberg shuns the use of digital technology to fabricate or manipulate her work, instead, each setting is located and objects arranged through a lengthy set-up process. She also uses ordinary people as opposed to actors for her subjects. For the artist, who originally worked as a painter, the people and objects are her material, and she wants to manipulate and arrange them physically as opposed to simply rendering them on a screen. This lack of digital manipulation and experienced models creates a spontaneity during the production processes that generates visual variations of the artist’s original plan as well as allows the images to contain a visceral sense of the real places and objects they contain.

Calmation, 2013, video, 5 minute loop

Over the last 20 years, technological advancements have provided us with tools that have profoundly increased the extent to which we are able to interact and communicate with each other as well as help us record information and store it as part of a collective memory. Thus, we now have the ability and freedom to communicate what we are doing and what we have done how and when we want, increasingly ingraining ourselves in a hyper-connected but at times more physically isolated landscape. This is not necessarily a new phenomenon, as Friberg notes, photographs of public transport interiors from half a century ago often show people reading newspapers in solitude in a scene analogous to that of today. It is however a phenomena that is rapidly increasing in scale and extension. While some people adapt to this increasingly networked landscape, utilizing platforms that allow them to live parallel digital lives, those without the correct capabilities are left alienated. Either way, physical isolation is intensified.

Friberg’s work explores this key characteristic of the contemporary cultural condition of the western world. In their solitude, her tender subjects seem to find their place in this frenetic interconnected and fast-paced world by jettisoning perpetual connectivity and finding a moment of profound stillness amongst the chaos.

About Maria Friberg, b. 1966, Sweden. Friberg’s solo exhibitions this year include, Maria Friberg at Alingsås konsthall, Alingsås, Sweden; Artphilein collection on display: Maria Friberg at Choisi Cultural Association, Lugano, Switzerland; Between solitude and belonging at Connersmith, Washington, DC, USA; and Maria Friberg at Bohusläns Museum, Uddevalla, Sweden. Also in 2014, she was commissioned to make a new work by the Hasselblad Foundation, Gothenbeurg in honor of Erna Hasselblad. She was previously had solo exhibitions at Kulturhuset Borgen, Gislaved, Sweden; Fotografiska Museet, Stockholm, Sweden; Galeria Galica, Milan, Italy; and Galerie Voss, Düsseldorf, Germany. Her works can be found in private and public collections such as those of the Denver Art Museum, Denver, CO, USA; European Central Bank, Frankfurt, Germany; Museum of Fine Arts, Boston, MA, USA; The Elizabeth A Sackler Center for Feminist Art, Brooklyn Museum of Art, NY, USA and the Fotomuseum Winterthur, Switzerland, among others.

For press information, images or an interview with the artist, please contact: Neil Jefferies (nj@piartworks.com) or call +44 207 637 8403
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