Synecdoches

Mara Castilho, Com A Verdade Me Enganas (With Truth You Deceive Me, photography on canvas, 83x107 cm), 2009-2017.
£8,000 (ed. 3 + 1AP)

A portrait made by an artist or self-inflicted by a mobile camera tends to be a ‘part’ of what stands to represent the ‘whole’. Mara Castilho, Emanuel de Sousa Fernandes, and Kirsty Stockdale, on a different scale and with different dynamics, engage with the image that is given by portraits on their daily artistic practice.

As self-representations made by artists’ portraits are distinctive from what a ‘selfie’ is. In the case of Mara Castilho, she brings us the unlike descriptive familiarity of materials and design inspired on the tradition of historical portraiture. She reflects upon the reform of the female condition in contemporary society through a series of self-portraits, which encompass the quintessential English rural historical environment, and that denote a tangency to the Arts and Crafts movement from the XIX century. Playing within the performance field, Mara Castilho touches and operates in more traditional mediums such as photography and video. As well, she creates a memorabilia about the transient event, while establishing a new set of principles for living and working on people lives.

Emanuel, on the other hand, with his corpulent visual expressions embodies a story about bodily manifestations and vindications of mythological and literary subjects. His self-portraits are bold accounts on something that has happened during his process of representing the person or myths that are being depicted. His paintings come to predominance while existing between a figurative form and the emulation of abstractionist effects. Emanuel is a painter who influenced by the surrounding context of what he encounter, emulates an amusing and interesting story about a (un)real incident or person.

People inner vulnerabilities, their characters and daily nuances are captured by Kirsty Stockdale in an intense and at the same time distorted way that resembles operatic shadows. Her paintings are composed by different parts of what she sees to be ‘there’ in people. Pulling out and twisting shapes her paintings give a misleading impression about one owns personal characteristics. She unveils the conscious inner thinking in a person. Kirsty brings specific forms that are assumed to be concealed into to the physical world.

Mara Castilho, Emanuel de Sousa, and Kirsty Stockdale depict detailed expressions, looks, representations and impressions of the person being depicted. They appropriate the experience, finding particular ways of being immersed in the intimacy of a represent whole in a portrait.

Produced by RUI N’ ART and Curated by Rui Cepeda Synecdoches will take place at the NO REGRETS Project space (in Hackney), between June 15th and 30th. This exhibition has the support of NO REGRETS Project.

Emanuel de Sousa, Untitled (acrylic and charcoal on canvas, 140 x 140 cm), 2015.
£5,500

Kirsty Stockdale, Camille (palette knife, acrylic on paper, 32x42.5 cm), 2008
£2,500

Synecdoches

MARA CASTILHO

EMANUEL DE SOUSA

KIRSTY STOCKDALE

Private view, June 15^th 6–8PM

June 15th to 30th 2017

Image: Emanuel de Sousa, Untitled (acrylic and charcoal on canvas, 140 x 140 cm), 2016.

RUI N’ ART

@

NO REGRETS PROJECT

6 Minerva St. (Hackney), London E2 9EH

Exhibition Hours: Monday – Saturday 11 am – 6 pm / Sunday 12 – 6 pm

Office Hours: Monday – Friday 10 am – 6 pm

A London

A London

Christmas lighting

Charlie Roberts : Juicy

Charlie Roberts
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Marlborough Contemporary

Teller on Mapplethorpe

Teller on Mapplethorpe
Alison Jacques Gallery

Teller on Mapplethorpe (exhibition view)

"Coinciding with what would have been the 70th birthday of the most iconic photographer of the 20th century, Robert Mapplethorpe, Alison Jacques Gallery has invited the acclaimed UK-based, German-born photographer Juergen Teller to curate an exhibition of Mapplethorpe’s work."

Teller on Mapplethorpe

Robert Mapplethorpe, Pods (Silver Gelatin Print, 50.8x40.6cm), 1985 (Detail)

Robert Mapplethorpe, Frogs (Silver Gelatin Print, 50.8x40.6cm), 1984 (Detail)

Teller on Mapplethorpe (exhibition view)

Robert Mapplethorpe, Italian Devil (Silver Gelatin Print, 61x50.8cm), 1988 (Detail)

A London

Manchester Art Gallery

A Manchester

Teaches of Peaches

Wien

Wien

The Living Room @ Mario Mauroner Contemporary Art Vienna AAA

«The exhibition "The Living Room" created by "Dunbar's Number" – an association of the studios Sonja Bäumel, mischer'traxler, Martin Robitsch, Konstantin Schmölzer and the curator Judith Radlegger – focuses on the processes of natural and cultural transformations.

The line between the artificial and nature gets dissolved while the formation process becomes more decisive for creations and the concept of design is fortified with the emphasis on processuality. The exhibited objects describe an ephemeral condition, are subject to continual change or a snapshot of a natural process. The first exhibition of "Dunbar's Number" already concentrated on constant changes of states and on the "mutation" becoming a self-reflexion. Now, in the third exhibition project of the collective, the participating designers and artists go even further by conceiving the macro- and microcosm "Living Room" as a place where life happens and by emphasizing on the experience of the selected projects.» [...in PR...]

Eyes On - Monat der Fotografie Wien

Roberto Muffoletto

Der Sand aus den Uhren at BAWAG P.S.K. Contemporary

Der Sand aus den Uhren at BAWAG P.S.K. Contemporary

Wien

Votivkirche

Fotogalerie Wien

Diversity of Modernity Teil I des Kunstaustauschs der Fotogalerie Wien mit Organhaus, Chongqing (China): Li Yong, Li Yu & Liu Bo, Wan Haichuan, Yang Yuanyuan, Zhang Jiaping, Zhao Tianji

Susanne Gamauf (Fotogalerie Wien) and Frazier King (Houston Center for Photography)

Vienna 1900

Vienna 1900
Art from the Leopold Collection
The Leopold Museum is presenting an exhibition of Viennese art at the turn of the century, titled "Vienna 1900".

The Jugendstil, Vienna’s Art Nouveau movement, endeavoured to encompass all areas of life within a so-called „gesamtkunstwerk” („total work of art”). Its main exponents Gustav Klimt, Koloman Moser and Josef Hoffmann are synonymous with the art of the Vienna Secession around 1900. This new presentation of the Leopold Museum’s holdings – complemented by several significant works on loan – features the works from the Vienna Secession together with paintings and prints from Expressionism to the end of the First World War (Egon Schiele, Oskar Kokoschka, Anton Kolig, Herbert Boeckl and many others) as well as several fascinating examples of Wiener Werkstätte design. Furniture, silver, glass and jewellery are presented together with paintings and graphics, showing what could be termed the most exciting era in the history of Viennese art as a unique aesthetic experience.

The unconventional manner in which this exhibition covering an entire floor of the museum is set up, opens exciting vistas for those well-versed in the subject and a compact introduction to the theme and the epoch to those new to „Vienna around 1900”. While it will help tourists gain valuable insights into the spirit of Vienna around 1900, the local public will have the opportunity to rediscover the Leopold Collection’s holdings from the turn of the century.

Emphasizing his close relationship to the Leopold Collection, curator Dr. Diethard Leopold says, „I grew up with the collection; I know it to the core, better than most others.” Dir. Mag. Peter Weinhäupl, on the other hand, stresses the importance of providing the visitor more information, designing a more attractive exhibition architecture and, if possible, also including new media art in the collection. According to Mr. Weinhäupl, „The visit to the museum should be just as enjoyable an experience as looking at the artworks.” The artworks have been partially put together in the form of installations and the light shafts have been converted into „active areas”, thus integrating them into exhibition’s architecture. Different levels of the building, ramps, partition walls, etc. contribute to a novel experience of the exhibition spaces.

„Austrian art from the beginning of the twentieth century has been a strong influence for on generations of artists until today. The Leopold Museum holds a large number of works from this period, to which an entire show has been dedicated. As partners of the Leopold Museum, we are very pleased to support this exhibition,” says Director General Dr. Günther Geyer, Wiener Städtische Versicherung AG Vienna Insurance Group.

For Dr. Maria Rennhofer Cultural Head of Ö1, the exhibition’s main focus „Vienna Around 1900” covers „an important chapter in Austria’s art history, no other Austrian museum has a comparable collection of this era. It takes us back to the roots of twentieth century Austrian art and reminds us of its international status.” Maria Rennhofer also addresses the fact „that the collection has repeatedly inspired engagement with the chequered history of the twentieth century and its effect on the fates of former art owners and collectors.”

The exhibition is on level 4, the topmost floor of the museum. Its position offers a splendid visual link to „Vienna around 1900”. The view from the panorama windows – from the Art History Museum to the New Hofburg – put Vienna’s Ringstrasse in an overall context. The decision to build some of the city’s famous Art Nouveau buildings was made in the course of the urban renewal in the last third of the nineteenth century. Dr. Peter Weinhäupl has conceived a central information room, which also contains a lounge-like platform that provides unique views of late nineteenth-century buildings and the Museum Quartier’s new architecture. City maps, historical photographs and films presented in this exhibition space document the groundbreaking achievements of Vienna’s architects around 1900 – from Otto Wagner to Adolf Loos.

Relevance to our times, cross connections to related themes or parallels between the art in Vienna around 1900 and other styles are the integrative elements in the exhibition’s concept. A search object is placed in each room. How these objects relate to the exhibition is explained in a folder as well in the last room. These exhibits are a wonderful instrument for building up suspense and a superb pedagogical tool for the exhibition’s art education programme.

In a way, „Vienna at the turn of the century” was also a „programme for a hundred years” as the achievements of art around 1900 have been a lasting influence on twentieth century art. The floral elements of the Secession and Jugendstil are just as sensitive and playful as the furniture designed by the Wiener Werkstätte is cool and sophisticated. The exhibition clearly communicates this „evolution in taste” which began around 1900. Expressionism’s profundity (Egon Schiele, Oskar Kokoschka, Richard Gerstl) is equally highlighted as the influences of psychoanalysis on the „undiscovered country of the soul” and the exploration of „sex and character”. The grand furnishings of the aristocracy was the motive to provide information about the historical background and social movements in the last days of the monarchy. The end of the First World War concludes the exhibition. The presentation in the new rooms is based on an informal chronology of „the end of taste”. The exhibits are arranged thematically around the most important artistic inventions from what can be termed as the most fertile era in the history of Austrian art.

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Looking at pictures

Rear View of a Female Half-Nude with Cloth (Fragment) (1913) by Egon Schiele, at the Leopold Musuem, Wien

Wien

Cafe Hawelka

Igor Manko

St. Stephen's Cathedral

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Autumn time has arrived in #London. Red, brown, yellow, green, orange, purple trees leafs.

A London

An Exotic England