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Untitled document
BLINDARTE
contemporanea
INKA ESSENHIGH
THE GOLDEN ASS
4 PAINTERS FROM NEW YORK
ADAM CVIJANOVIC
INKA ESSENHIGH
NATALIE FRANK
SANTI MOIX
16 marzo / 10 Maggio 2013
March 16 / May 10 2013
Inaugurazione / Opening
Sabato, 16 marzo 2013 dalle 19 in poi
Saturday, March 16 2013 from 7 pm
Blindarte contemporanea is proud to announce The Golden Ass, the exhibition that gathers 4 among the most interesting painters of the New York contemporary scene: Adam Cvijanovic, Inka Essenhingh, Natalie Frank and Santi Moix. The exhibition will open on Saturday 16 March from 6,30 pm at the gallery in via Caio Duilio 10, Naples.
La Blindarte contemporanea è lieta di annunciare The Golden Ass, la mostra che riunisce 4 tra i più interessanti pittori della scena contemporanea newyorkese: Adam Cvijanovic, Inka Essenhingh, Natalie Frank e Santi Moix. La mostra sarà inaugurata Sabato 16 Marzo a partire dalle 18.30 nella galleria di via Caio Duilio 10 a Napoli.
The title of the exhibition is taken from the famous Novel by Lucio Apuleio (II century A.D.), The Golden Ass, that is Le Metamorfosi, a work from the Latin literature, the only example of ancient novel in Latin language. The leading character of the book is the young Lucio who arrives to Hypata, a town in Tessaly (traditionally a land of wizards), where life is enlivened by any kind of spells. There, the protagonist is involved in more and more complex plots, which will turn him - after a failed experiment - into an ass and he will go through many ups and downs to recover his human appearance. The title, The Golden Ass, carefully sought by the artists, points out how the Myth - sometimes cruel and unexpected, some other times full of games, ironies and double meanings - is the leading theme bringing them together and that characterizes their research. In each painting, every single artist, as Apuleio in his famous novel, faces a complex story between reality and legend, full of mystery, just as the book, ready to be read, understood and interpreted and to give to the user-reader new keys to understand everyday life.
Il titolo della mostra è tratto dalla nota Novella di Lucio Apuleio (II secolo d.C.), The Golden Ass, ovvero Le Metamorfosi, opera della letteratura latina, unica testimonianza del romanzo antico in lingua latina. Il soggetto principale del libro è il giovane Lucio che arriva nella città di Hypata in Tessaglia (tradizionalmente terra di maghi), dove la vita è animata da sortilegi di ogni genere. Qui il protagonista verrà coinvolto in trame sempre più fitte che lo condurranno, a seguito di un esperimento non andato a buon fine, alla metamorfosi in un asino, e a lunghe peripezie per riassumere sembianze umane. Il titolo The Golden Ass, accuratamente ricercato dagli artisti, sottolinea come il Mito, a volte crudele ed inaspettato, altre volte intriso di giochi, ironie e doppi sensi, sia il tema principale che li accomuna e che visibilmente caratterizza le loro ricerche. In ogni dipinto ciascun artista, come Apuleio nella sua celebre novella, affronta un racconto complesso, misto di realtà e leggenda, denso di mistero, proprio come l'opera letteraria, pronta per essere letta, compresa ed interpretata e per regalare al fruitore-lettore nuove chiavi di lettura del vivere quotidiano.
ADAM CVIJANOVIC
Inspired by the Renaissance monumental painting, Adam Cvijanovic invented the famous "portable murals", that is movable frescoes, which directly impact the architectural spaces: by using the technique of flashe and latex on Tyvek paper, the artist can recreate the effect of the wall painting, and this makes it possible to move the wall painting after its creation. Always enchanted by the remains and ruins typical of the decline of the American contemporary culture, Cvijanovic, firmly convinced that history repeats, in this exhibition - like already made in Naples - symbolically goes even more back in time, by reproducing ruins dating back to ancient Rome in their current state. Here, the ruins are directly related to natural images.
An island that rises from the ocean recalls the generative power of nature, whose strength is able to modify the most imposing and solid human building.
Poppy fields bring to mind the ancient Greek and Roman myth of the cyclical change of seasons: Demeter, the goddess of harvest (Ceres for the Romans), who in the Homeric hymns was invoked as "carrier of the seasons", was depicted with a bunch of wheat and poppies in her hands; for this reason she was also called the goddess of poppies, whose powder was used in the Eleusinian Mysteries held for her cult at the beginning of Springtime and Autumn.
The ruins, symbol of the transience of human things, are at the same time the image of what persists in time. Therefore the island being born is set as a sign of change, that periodically occurs by making things temporary. Finally, the potential mobility of frescoes is a choice able to bring the attention back to the issue of time and the relevant transience of contemporary events.
Traendo ispirazione dalla pittura monumentale rinascimentale, Adam Cvijanovic ha inventato i famosi "portable murales", cioè affreschi trasportabili che intervengono direttamente sugli spazi architettonici: utilizzando la tecnica del flashe e latex su carta Tyvek, l'artista riesce a ricreare l'effetto del dipinto a parete, per poi rendere possibile il trasporto del wall painting, una volta realizzato.
Affascinato da sempre dai resti e dalle rovine simbolo della decadenza della cultura contemporanea americana, Cvijanovic, seguendo la convinzione del ciclico ripetersi degli eventi nella storia, in questa mostra - come già in precedenza qui a Napoli - si spinge simbolicamente più indietro nel tempo, riproducendo ruderi risalenti all'epoca dell'antica Roma nello stato in cui oggi si trovano. Le rovine sono qui poste in relazione diretta con immagini naturali.
Un isola che sorge dalle acque ricorda la potenza generatrice della natura, la cui forza è in grado di modificare la più imponente e solida delle costruzioni umane.
I campi di papaveri richiamano l'antico mito greco e romano del ciclico ripetersi delle stagioni: Demetra l'antica dea del grano e dell'agricoltura (Cerere per i romani), che negli Inni omerici veniva invocata come la "portatrice delle stagioni", era rappresentata con in mano fasci di grano e papaveri; per questa ragione veniva anche chiamata la dea dei papaveri, delle cui polveri si faceva uso nei misteri eleusini, a lei dedicati all'inizio delle stagioni primaverile e autunnale.
Le rovine, simbolo della caducità delle cose umane, sono al contempo anche l'immagine di ciò che nonostante tutto permane nel tempo. L'isola che nasce si pone dunque come un segno del cambiamento, che ciclicamente ovunque si determina rendendo ogni cosa transitoria. Infine la potenziale mobilità degli affreschi appare come una scelta in grado di riportare l'attenzione sulla questione temporale e sulla relativa transitorietà delle vicende contemporanee.
Adam Cvijanovic
Born in USA in 1960 / nato negli USA nel 1960
Lives and works in New York / vive e lavora a New York
SOLO EXHIBITIONS / MOSTRE PERSONALI: 2012 - Natural History, Postmasters, New York; 2010 - Defrosted: A life of Walt Disney, with David Humphrey, Postmasters, New York; 2009 - The Heaven of the Fixed Stars, Blindarte Contemporary Naples, Italy; 2008 - Adam Cvijanovic's Colossal Spectacle, Bellwether, New York; 2007 - Studies for the Fall of Babylon, Project Room, Bellwether, New York; Adam Cvijanovic and Peter Garfield: Unhinged, Mass MOCA, North Adams, MA; 2006 - Adam Cvijanovic, University of Buffalo Art Gallery Center for the Arts, Buffalo; 2005 - Hammer Projects, The Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA; Love Poem (10 Minutes After the End of Gravity), Bellwether, New York; 2004 - Ideal City, Pennsylvania Academy of the Fine Arts, Philadelphia, PA; 2003 - Hurricane Party, Bellwether, Brooklyn NY; 2002 - New City Project, Steven Sclaroff, New York; Disko Bay, Bellwether, Brooklyn; 1999 - Richard Anderson, New York; 1994 - Richard Anderson, New York; 1993 - Richard Anderson, New York; 1991 - Richard Anderson, New York; 1988 - Bess Cutler Gallery, New York; Betsy Rosenfield Gallery, Chicago, IL; Malony Gallery Santa Monica, CA; 1986 - Cathedral of St. John the Divine, New York; Stavaridis Gallery, Boston MA; Brockton Art Museum, Brockton, MA; 1985 Bess Cutler Gallery, New York; Stavaridis Gallery, Boston MA
GROUP EXHIBITIONS / MOSTRE COLLETTIVE: 2012 The Stumbling Present: Ruins in Contemporary Art at Art, Art, Design & Architecture Museum, University of Santa Barbara, CA; 18th Biennale of Sydney, Cockatoo Island, Sydney, Australia; American Dreamers, Strozzina Centro di Cultura Contemporanea a Palazzo Strozzi, Florence, Italy; 2011 - Colorific! We Make An Art Rainbow, Postmasters, New York City; Alpine Desire - Austrian Cultural Forum New York, New York City; 2010 - The Sixth Borough, curated by Manon Slome and Julian Navarro Governors Island, New York; 2009 - Up Against the Wall, curated by Rita Pinto and Ileana Tounta, Contemporary Art Center, Athens, Greece; Frenzy and Aftermath, Nicholas Robinson Gallery, New York; 2008 - Blown Away: The Artful Explosion, Krannert Art Museum, Champaign, IL; PROSPECT.1, New Orleans Biennial, New Orleans, LA; Worlds Away: New Suburban Landscape, Walker Art Center, Minneapolis, MN, traveling to the Carnegie Museum of Art, Pittsburgh, PA; Future Tense: Reshaping the Landscape, Neuberger Museum or Art, Purchase College, Purchase; Liverpool Biennial, Tate Liverpool, Liverpool, UK; SIGN/AGE, Armand Bartos Fine Art, New York; 2007 - Art in America: 300 Years of Innovation, organized by the Solomon R. Guggenheim Foundation & the Terra Foundation for American Art, Shanghai Museum of Contemporary Art, Shanghai, China; Pushkin State Museum of Fine Arts, Moscow, Russia; America Today, Saatchi Selection for the Hermitage 20/21, The State Hermitage Museum, St.Petersburg, Russia 07/08, Bellwether, New York; 2006 - Disaster! One Year After, curated by Nina Felshin, Zilkha Gallery, Wesleyan University, Middletown, CT; Après moi, le Déluge, FA Projects, London, England; USA TODAY, The Royal Academy of Arts, London, England; 2005 - Jack, Curated by Mari Spirito, Cuchifritos, New York; Out of Place, Mary Goldman Gallery, New York; Wasteland: 21st Century Landscape, Roebling Hall, Brooklyn; 2004 - The Dreamland Artist Club, Presented by Creative Time, Coney Island; Hello Chelsea, Bellwether, New York; Subway Series, Queens Museum, Queens; UCLA Hammer Museum, Los Angeles, CA; 2003 - Kaleidoscope, Ingrao Gallery, New York; On the Wall: Wallpaper and Tableau, Fabric Workshop and Museum, Philadelphia, PA; Yard, Socrates Sculpture Park, Long Island City; On the Wall, Rhode Island School of Design Museum, Providence, RI; 2002 - Next Wave Festival, Cur. Dan Cameron, BAM Brooklyn, Brooklyn; Arctic Light, Danese Gallery, New York; Looking at America, Yale University Museum, New Haven, CT; Social Landscape, P.P.O.W. Gallery, New York; Compact Art, Barcelona, Spain; 2001 - All American, Bellwether Gallery, Brooklyn; 2000 - Landscape 2000, University of Wyoming Art Museum, Laramie, WY; 1997 - The New Representationalism, La Mama Gallery, New York; 1995 - Chasing Angels, Christenerose Gallery, New York; 1994 - Drawing on Friendship: Portraits of Painters and Poets, Tibor de Nagy Gallery, New York; 1992 - Slow Art, PS 1, Long Island City; Mall Art, New Museum, New York
Inka Essenhigh's paintings display visions populated by ever-moving figures. They are warped fairy-tales where the characters - as archetypes, elves and anthropomorphous figures - come to life from the landscape and tell their stories: as in the painting "Diana", where an anthropomorphous figure comes off from the trees in the forest and shows and tells its legend. The paintings, full of mysticism, breath, undulate, convey a sense of continuous action and transformation. Although these are figurative works, they seem to tend to abstraction. Indeed, Ms. Essenhigh, by stating that she wants to "tell stories", considers in a liquid way the border between figurative and abstract, since the abstract element is always part of the "good figurative paintings". Therefore, her paintings tell the mythology of human beings and contemporary culture.
The image is steeped in a sense of collective unconscious and mischievous narration which shows in each single landscape, building or figure. And while she speaks of them, her mythological figures - caught during the twilight hours - fight to reach the "feeling of an inner vision".
II dipinti di Inka Essenhigh raffigurano visioni dipinte popolate di figure in continuo movimento. Sono favole distorte in cui i personaggi che le animano, come archetipi, folletti e natura antropomorfizzata, prendono vita dal paesaggio e raccontano la propria storia: come nel dipinto Diana, dove nella foresta unafigura antropomorfa si distacca dagli alberi mostrandosi e narrandoci la propria leggenda. I dipinti, densi di misticismo, respirano, ondulano, trasmettono un senso di continua azione e trasformazione. Nonostante queste opere siano figurative, danno la sensazione di tendere verso l'astrazione. Infatti la Essenhingh, affermando di voler "raccontare storie", considera in maniera fluida il confine tra figurativo ed astratto, poiché l'elemento astratto è sempre parte "dei buoni dipinti figurativi".
I suoi dipinti narrano dunque la mitologia degli esseri umani e della cultura contemporanea. L'immagine è intrisa di un senso di narrazione collettiva inconscia e birichina che si mostra in ogni paesaggio, edificio o figura. E mentre lei le racconta, le sue figure mitologiche, catturate durante le ore del crepuscolo, si dibattono per raggiungere "il sentimento di una visione interiore".
Inka Essenhigh
Born in USA in 1969 / nata negli USA nel 1969
Lives and works in New York / vive e lavora a New York
SOLO EXHIBITIONS / MOSTRE PERSONALI: 2012 - Tomio Koyama Gallery, Kyoto, Japan; 2011 - Pace Prints, New York; 2010 - 303 Gallery, New York; 2008 - Victoria Miro Gallery, London; 2006 - 303 Gallery, New York; 2005 Victoria Miro Gallery, London; DA2 Domus Artium, Centro de Arte de Salamanca, Spain; 2004 - Sint-Lukas Galerie, Brussels; Etchings, Michael Steinberg Fine Art, New York; 2003 - Museum of Contemporary Art, Miami; The Fruitmarket Gallery, Edinburgh, Scotland; Galleria Il Capricorno, Venice, Italy; 2002 - 303 Gallery, New York; Victoria Miro Gallery, London; 2001 - Works on paper, Mary Boone Gallery, New York; 2000 - Victoria Miro Gallery, London; Mary Boone Gallery, New York; 1999 - New Paintings, Deitch Projects, New York; American Landscapes: Recent Paintings by Inka Essenhigh, New Room of Contemporary Art, Albright Knox Art Gallery, Buffalo, New York; 1998 - Recent Paintings, Stefan Stux Gallery, New York 1997 - Wallpaper Paintings, La Mama La Galleria, New York
GROUP EXHIBITIONS / MOSTRE COLLETTIVE: 2012 - Fairy Tales, Monsters and the Genetic Imagination, First Center for the Visual Arts, Nashville, TN; 2011 - Inside the Painter's Studio, Stephen D. Paine Gallery, Massachusetts College of Art & Design, Boston; Creating the New Century: Contemporary Art from the Dicke Collection, Dayton; Art Institute, Dayton, OH; Counterpoint, Center for Maine Contemporary Art, Rockport, ME; 2010 - Between Picture and Viewer, Visual Arts Gallery, New York; 2007 - Comic Abstraction, Museum of Modern Art, New York; Imagination Becomes Reality, ZKM / Museum Für Neue kunst, Karlsruhe, Germany; The Play of Multiple Meaning, Von der Heydt-Museum Wuppertal COMIX, Kunsthallen Brandts, Odense, Denmark; Counterparts: Contemporary Painters and Their Influences, Contemporary Art, Center of Virginia; 2006 - Art on Paper 2006, Weatherspoon Art Museum, Greensboro, NC; Painting Codes, GCAC, Monfalcone, Italy; Motion on Paper, Ben Brown Fine Arts, London; The Compulsive Line: Etching 1900 to Now, The Museum of Modern Art, New York; Imagination Becomes Reality, Part III. Talking Pictures Goetz Collection, Munich, Germany; USA Today, Royal Academy of Arts, Burlington Gardens, London; 2005 - Life and Limb, curated by David Humphrey, Feigen Contemporary, New York; Neobaroque, Centro de Arte de Salamanca, Spain; 2004 - Perspectives at 25, Contemporary Arts Museum, Houston, TX; SITE Santa Fe Biennial, Santa Fe, New Mexico; Bienal de Sao Paulo, Sao Paulo, Brazil; 2003 - Supernova: Art of the 1990s from the Logan Collection, San Francisco Museum of Modern Art, CA; Reverie: Works from the Collection of Douglas S. Cramer, The Speed Art Museum, Louisville, Kentucky; Drawing, G Gallery, Washington DC; Heaven & Hell, Barbara Mathes Galley, New York; Painting Pictures: Painting and Media in the Digital Age, Kunstmuseum Wolfsberg, Germany; 2002 - Pertaining to Painting, curated by Paola Morsiani, Contemporary Arts Museum, Houston, TX; la part de l'autre, Carré d'Art, Musée d'art contemporain, Place de la Maison Carrée, Nimes, France; Art in the 'toon age, Kresge Art Museum, Michigan State University, MI; Jay Davis, Inka Essenhigh, Christian Schuman, Angstrom Gallery, Dallas, TX; 2001 - Go Figure, curated by Michael Steinberg and Stefan Stoyanov, Luxe Gallery, New York; Comic Release: Negotiating Identity for a New Generation, Carnegie Mellon; University, Pittsburgh, PA (traveling to The Center for Contemporary Art, New Orleans, LA); University of North Texas, Denton, TX; Western Washington University, Bellingham, WA; Casino 2001, 1st Quadrennial of Contemporary Art, SMAK (Stedelijk Museum voor Actuelle Kunst), Ghent, Netherlands; Works on Paper: from Acconci to Zittel, Victoria Miro Gallery, London; 2nd Berlin Biennale, Berlin; My Reality: Contemporary Art and the Culture of Japanese Animation, Des Moines Art Center, IO (will also be exhibited at the Brooklyn Museum of Art, New York; Contemporary Art Center, Cincinnati, OH; and Tampa Museum of Art, FL); Hybrids, Tate Gallery, Liverpool; England Works on paper, Victoria Miro Gallery, London; 2000 - To Infinity and Beyond, Brooke Alexander, New York; Emotional Rescue, Center for Contemporary Art, Seattle, Washington; Deitch/Steinberg: New Editions, Deitch Projects, New York; 2000 - The Figure: Another State of Modernism, Newhouse Center for Contemporary Art at Snug Harbor Cultural Center, Staten Island,New York; Greater New York: New Art in New York Now, P.S. 1 Contemporary Art; Center,New York; 1999 - Pleasure Dome, Jessica Fredericks Gallery, New York; A room with a view,Sixth @ Prince Fine Art, New York; 1998 - Blade Runner, Caren Golden Fine Art, New York; The New Surrealism, Pamela Auchincloss Project Space, New York; Pop Surrealism, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Summer Review, 98, Stefan Stux Gallery, New York; Celebrating Diversity: Contemporary Women Painters, Hillwood Art Museum, Long Island University, Brookville, New York; wild Exit Art/The First World, New York; 1997 - Sex/Industry, Stefan Stux Gallery, New York; The Art Exchange Fair, with Stefan Stux Gallery, New York; Girls! Girls! Girls!,Tricia Collins Grand Salon, New York; 1996 - Underexposed: Nine Young American Painters, Andrè Zarre Gallery, New York; Anatomy/Intellect, Stefanelli Exhibition Space, New York; Set Off: Inaugural Group Show, View Room Exhibitions, New York; Night of 1000 Drawings, Artists' Space, New York; Featured Web Page Artist for December, Artists' Space, New York; 1994 - Inka Essenhigh, Stephen Mumford and Leemour Pelli: Paintings, School of Visual Arts, First Floor Gallery, New York; 1993 - Young Ukrainian American Painters Group Show, Ukrainian Museum, New York; Work-Play. Picture Thinking and the Analogical Imagination, Visual Arts Gallery, New York; Group Show, School of Visual Arts, Wooster Street Gallery, New York
NATALIE FRANK
The stories in Natalie Frank's paintings are literally and figuratively full of tension: between flatness and depth and between abstraction and figuration. The recurring theme Frank's work is transfiguration. The artist paints narrative representations: her characters talk to each other and to the viewer, expressing narratives of power. The space between the figures, which coalesces and dissolves, defines their consciousness and awareness of the changing world. Frank "stages" her canvases, allowing the actors in them to perform these personal narratives within the realm of the public carnivalesque.
"Frank is that rare thing in contemporary art, a virtuoso with a paintbrush. She creates operatic compositions of color and marks of every sort, from the nimble delicacies of the praying figure's frilly bra to the arpeggios of pinks in her knobby hands, all of which contrast with the hard, abstract planes that construct the room she lies in. Operatic. I use the word not only because her pieces are theatrical--as she says, "large and confrontational, visceral and expressive"--but also because the artist is a fan of the form, of Wagner in particular. And there's something of those hybrid dramas that matches her sprawling energy. "The stage is a place where people can try on different roles and act out their fantasies," she exclaims, "It's carnival time." From Modern Painters, October, 2012, written by Daniel Kunitz.
Le storie rappresentate nei dipinti di Natalie Frank appaiono letteralmente e figurativamente piene di tensione: tra piattezza e profondità e tra astrazione e figurazione. Il tema ricorrente nel lavoro della Frank è la trasfigurazione.
L'artista dipinge rappresentazioni narrative: i suoi personaggi comunicano tra loro e con lo spettatore, esprimendo relazioni di potere. Lo spazio tra le figure, che si fonde e si dissolve, definisce la loro coscienza e consapevolezza del mondo che cambia. La Frank "mette in scena" le sue tele, permettendo agli attori stessi di recitare queste storie personali all'interno di un regno del carnevalesco. "La FRANK è cosa rara nell'arte contemporanea, una virtuosa del pennello. Realizza composizioni operistiche di colore e segni di ogni genere, dalle agili prelibatezze dei reggiseno pieni di fronzoli della figura orante agli arpeggi di rosa nelle sue mani nodose, che contrastano con la durezza dei piani astratti che costruiscono la stanza in cui si trova. Operistico. Si può usare questa parola non solo perché i suoi lavori sono teatrali - come dice lei, grandi e conflittuali, viscerali ed espressivi - ma anche perché l'artista è una fan della forma, di Wagner in particolare. E c'è qualcosa di quei drammi ibridi che soddisfa la sua energia tentacolare. "Il palco è un luogo dove le persone possono provare ruoli diversi e mettere in atto le loro fantasie", esclama, "È tempo di carnevale." From Modern Painters, October, 2012, written by Daniel Kunitz. Natalie Frank
Natalie Frank
Born in USA in 1980 / nata negli USA nel 1980
Lives and works in New York / vive e lavora a New York
SOLO EXHIBITIONS / MOSTRE PERSONALI: 2012 - The Governed and the Governors, Fredericks Freiser, New York; My Noon, My Midnight, My Talk, My Song, Space SBH, St. Barth's, French West Indies; 2008 - Desire Comes Later, Arndt & Partner, Zurich; 2007 - Where She Stops, Mitchell-Innes & Nash, New York; 2006 - Unveiling, Briggs Robinson Gallery, New York
GROUP EXHIBITIONS / MOSTRE COLLETTIVE: 2012 - Group show: curated by Tom Sanford, in coordination with 100 Little Deaths, BravinLee Programs, New York; Pig Party, New York City (Andrew Russeth and Jamie Sterns), New York; Designed to Win, sponsored by Oakley in coordination with the 2012 Olympic Games, London Museum of Design, London, England; Retrospective of S, curated by Sam Messer and Jonathan Safran Foer, Fredericks Freiser, New York; Kim McCarty, Natalie Frank, Alyssa Monks, Jane's Gallery, Eden Rock, St. Barth's, French West Indies; Printed Histories: 16 Years of Print Portfolios at Exit Art, Exit Art, New York; Artist talk in conjunction with exhibition Figured Spaces: Selections from the John Morrissey Collection, accompanied by symposium lead by Linda Nochlin Florida Atlantic University Museum; 2011 - Iconomancy, New York Academy of Art, New York; Given a Miniscule Ledge, Norwood Club, New York; A Room of Her Own; Co-curator, Lu Magnus, New York; What the Thunder Said, Lu Magnus,New York; Uncovered, Jane's Gallery, Eden Rock, St. Barth's, French West Indies; Bare, Naked and Nude, in conjunction with my inclusion in Bram Dijkstra's book, Naked: the Nude in America, Noel Baza Fine Art, San Diego, CA; 2010 - Regarding Painting, The Rose Art Museum, Waltham, MA; Artist talk in conjunction with exhibition Fresh Apples, Cohen Gallery, Tel Aviv, Israel; 2009- Reconfiguring the Body in American Art 1820-2009, National Academy Museum, New York accompanied by a symposium moderated by Dr. Elizabeth Sackler; The Return of the Horse, Slought Foundation, Philadelphia, PA; 2008 - I Like it a Little,V&A Gallery, New York; Environments and Empires, The Rose Art Museum, Waltham, MA; 2007 - Aggression of Beauty II, Arndt & Partner, Berlin, Germany; 2006 - School Days, Jack Tilton Gallery, New York; 2005 - Drawing as a Verb, LeRoy Neiman Gallery, Columbia University, New York; Dead Kids Do Nothing, 31 Grand, Brooklyn; In the Ring, Buia Gallery, New York; Panoply, LeRoy Neiman Gallery,Columbia University, New York; 2004 - Wednesdays at the Wall, 55 Broad Street, New York; Representing the Figure, Gallerie 21:26, Oslo, Norway; 2002 - My Collection: Gary Haller, Jonathan Edwards' Master's Home, Yale University, New Haven, CT; Celebrating 30 Years of Women at Yale, Yale University, New Haven, CT; The Modern Form, The Yale Center for British Art, New Haven, CT ; The Brooklyn Museum of Art; Everson Museum of Art; The Rose Art Museum; The Whitney Museum of Art
SANTI MOIX
The surrounding nature is the main focus of Santi Moix. He has been spending years in observing it, much time spent to portray it, by filling his many notebooks with sketches and drawings.
His family gave him the ability to stay in touch with nature, but his travels and his stay in Japan and Far East - where he learnt the practices of master calligraphists - transmitted to him the ability to concentrate all the energy and freedom of nature in the immediacy of the gesture. This stay gave origin to his works on paper, that Moix himself defines "liquid", because they are permeated with oriental wisdom: "they are free, immediate, the result of the natural state where they have been conceived".
When he moved to New York, where nature is limited by the architecture of the US metropolis, Moix understood that he had to use an expressive and contemporary language which could be a free extension of nature, a display of what it stirs up inside of him, in a motion that goes from inside to outside, towards the same direction nature goes.
This process of expression is carried out with an optimistic spirit and sense of humor: it moves from portraying subjects in a figurative manner to the slow collection of details - one line, one shape, one colour - by correcting and transforming the work into something different, other, abstract, but always looking for the hidden order of things. "My work must always suggest its potential routes. I keep painting on the canvas until I find a hole that tells me where the circulation of ideas will end. My work tries to mirror this inner/outer world that we have" because in our life the most of times "the solutions are next to us".
La natura che ci circonda è il principale interesse di Santi Moix. Saperla osservare è ciò a cui si dedica da anni, trascorrendo gran parte del tempo a ritrarla, riempiendo di disegni e schizzi i suoi numerosi taccuini.
Dalla sua famiglia di origine ha ricevuto la capacità di stare in contatto con la natura, ma sono stati i suoi viaggi e la sua permanenza in Giappone e nell'estremo oriente, dove ha conosciuto le pratiche dei maestri calligrafi, che gli hanno trasmesso la capacità di concentrare nell'istantaneità del gesto tutta l'energia e la libertà della natura. A questo soggiorno si devono i suoi lavori su carta, che Moix stesso definisce "liquidi", perché impregnati di saggezza orientale: "sono liberi, istantanei, il risultato dello stato naturale nel quale sono stati concepiti".
Quando si è così trasferito a New York, dove la natura è circoscritta entro i limiti impostile dall'architettura della metropoli americana, Moix ha compreso di dover utilizzare un linguaggio espressivo contemporaneo che si ponesse come un'estensione libera della natura, una manifestazione di ciò che essa suscita dentro di lui, in un movimento che dall'interno muove verso l'esterno, nella stessa direzione in cui va la natura.
Questo processo di esternazione è realizzato con ironia ed ottimismo: dal ritrarre soggetti in modo figurativo, si passa man mano ad accumulare i dettagli - una linea, una forma, un colore - correggendo e trasformando l'opera in qualcosa di diverso, di altro, di astratto, ma sempre alla ricerca dell'ordine nascosto delle cose. "Voglio sempre che il mio lavoro mi suggerisca i suoi percorsi potenziali. Dipingo e dipingo sulla tela fino a trovare un buco che mi dica dove la circolazione delle idee andrà. Il mio lavoro cerca di riflettere questo mondo interno/esterno che abbiamo" e perché nella nostra vita il più delle volte "le soluzioni ci sono accanto".
Santi Moix
Born in Spain in 1960 / nato in Spagna nel 1960
Lives and works in New York / vive e lavora a New York
SOLO EXHIBITIONS / MOSTRE PERSONALI: Santi Moix on Huckleberry Finn: Watercolors and Wall Drawings, PAUL KASMIN GALLERY, New York; 2011 - Las Aventuras de Huckleberry Finn, CENTRO CULTURAL FUNDACIÓN CÍRCULO DE LECTORES,Barcelona; 2010-11 - May The Earth Rest Lightly On You, PAUL KASMIN GALLERY, New York; 2008 - Garden, PAUL KASMIN GALLERY, New York; Santi Moix on Don Quixote PACE PRINTS, New York; From Clay to Sculpture; MUSEU DE CERÁMICA, Barcelona, Spain; Santi Moix, SALA PELAIRES, Spain; 2007 - New Works PAUL KASMIN GALLERY, New York; 2006 - WETTERLING GALLERY, Stockholm, Sweden; 2005 - De Dins a For a, Fundacio Caixa de Girona, Girona, Spain; Caoutchouc, GALERIA DELS ANGELS, Barcelona, Spain; 2004 - Promenade: Paintings and Plasters, PAUL KASMIN GALLERY, New York; 2003 - Alien Resident, GALERIA DELS ANGELS, Barcelona, Spain; GALERIA CYPRUS, Sant Feliu de Boada, Giron, France; 2002 - GALERIA MIGUEL MARCOS, Zaragoza, Spain; MASHA PRIETO GALLERY, Madrid, Spain; 2001 - The Pontoon Paintings, PAUL KASMIN GALLERY, New York; GALERIA DELS ANGELS, Barcelona, Spain; 2000 - PAUL KASMIN GALLERY, New York; 1999 - Obra Sobre Paper 1998-99, GALERIA CYPRUS, Girona, Spain; 1998 - PAUL KASMIN GALLERY, New York; CARLES TACHE GALLERY, Barcelona; GALERIA DELS ANGELS, Barcelona; GALERIE DE ZWARTE PANTERS, Antwerp, Netherlands; 1997 - EDICIONES BENVENISTE, Madrid; GALERIA DELS ANGELS, Barcelona; 1996 - Un orden fragil, GALERIA TRAMA, Barcelona; 1995 - ACD Rom, TEMPLO ROMANO, Vic, Spain; BLACK AND GREENBERG GALLERY, New York; Sumo, YOUGEN GALLERY, Tokyo; Etchings, Woodcuts and Monotypes, PACE PRINTS, New York; La Carbonada, GALERIA TRAMA, Barcelona; 1994 - Fundació Institut d'Estudis llerdencs/GALERIA SEBASTIÀ PETIT, Lérida, Spain; Dados, AEROPUERTO de BARCELONA; 1992 - GALERIA JORGE ALBERÓ, Madrid; GALERIA HELENA RAMOS, Cadaqués, Spain; GALERIA TRAMA, Barcelona; 1991 - GALERIA NÓ MADAS, Tarragona, Spain; 1990 - Everything flies, JANE RANKIN-REID, New York; 1989 - MUSÉE DE L'HIPPODROME, Lille, France; 1988 - MARIMURA ART MUSEUM, Tokyo; 1987 - MARUNOCHI GALLERY, Tokyo; 1986 - GALERIA RENÉ METRAS, Barcelona; YOKOYAMA GALLERY, Tokyo; 1985 - ASASHI GALLERY, Tokyo; 1984 - ASASHI GALLERY, Tokyo. AOKI GALLERY, Tokyo.
GROUP EXHIBITIONS / MOSTRE COLLETTIVE: 2009 - Naked!, PAUL KASMIN GALLERY, New York; 2005 - Cross Section, PAUL KASMIN GALLERY, New York; 2002 - True Paint, JAY GRIMM, New York; 2001 - Painting Abstraction II, NEW YORK STUDIO SCHOOL, New York; PAUL KASMIN GALLERY, New York; 2000 - Painting, PAUL KASMIN GALLERY, New York; Psycho, ANNE FAGGIONATO, London; Drawings and Photographs, MATTHEW MARKS GALLERY, New York; 1999 - The Great Drawing Show 1550 to 1999, KOHN TURNER GALLERY, Los Angeles; Summer Show, PAUL KASMIN GALLERY, New York; Abstract Painting 1999, PAUL KASMIN GALLERY, New York; 1998 - GALERIA DELS ÀNGELS, (with Aureli Ruiz,Jaume Pitarch, Adolf Genovart, and José Gallego); 1995 - Garner Tullis Workshop, MUSEO DE ARTE MODERNA DE SAO PAULO, Brazil; GALERIA DELS ÀNGELS, Barcelona; 1994 - IV Euroamericana del Grabado, La Coruña, Spain; BLACK AND GREENBERG GALLERY, New York; Premio de pintura L'Oreal, X Edicion, Madrid; 1993 - Bestiario, GALERIA PROGRESO,Madrid; GALERIA SIO, Tarragona, Spain; Katalonien, 6 Artistas Contemporáneos, Esslinger Kunstverein, Esslinger am Neckar, Germany; II Biennal d'Art Pro Liuita contra la Sida,PALAU ROBERT, Barcelona; 1992 GALERIA PROGRESO, Madrid; 1991 - The Unique Prints,PACE PRINTS, New York; YOUGEN GALLERY, Tokyo; Papers 90/91, GALERIA RENÉ METRAS, Barcelona; Papers, GALERIA NÓMADAS, Tarragona, Spain; 1989 - Papers del Bowery, GALERIA PÉRGAMON, Barcelona; Exposició Fundació Aula de Música, Barcelona; 1988 - PACE PRINTS, New York; 1987 - Tres al Port, METRÓNOM, Barcelona; 1986 - Summer Exhibition, GALERIA RENÉ METRAS, Barcelona; 1985 - Salo de Tardor, SALÓ DEL TINELL,Barcelona; Muestra de Arte Joven, Exposición Salón de Bellas Artes, Madrid; 1984 - Ambients, GALERIA RENE METRAS, Barcelona; 1983 - Blau-haus, Muebles y objetos disefiados por artistas, Sala de Exposiciones de la Obra Cultural de La Caixa, Barcelona
COURTESY OF THE IMAGES: INKA ESSENHIGH, THE ARTIST AND VICTORIA MIRO GALLERY, LONDON. ADAM CVIJANOVIC, THE ARTIST AND BLINDARTE CONTEMPORANEA, NAPLES. NATALIE FRANK, THE ARTIST AND FREDERICKS FRESIER, NEW YORK. SANTI MOIX, THE ARTIST AND PAUL KASMIN, NEW YORK.
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BLINDARTE
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March 16 - May 10
16 Marzo - 10 Maggio
The Golden Ass
4 painters from New York
Adam Cvijanovic, Inka Essenhigh,
Natalie Frank, Santi Moix
opening MARCH 16 - 7 pm
inaugurazione 16 MARZO - ore 19
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