Discoveries at FIAC 2013: Peggy Franck

After two years of pregnancy and maternity leave, I avoided large fairs such as Frieze and FIAC, but this year was time to go back. Although it is always unpleasant to walk around a fair, it is also exciting to be able to discover in such a densed surface new names and artworks. Today I would like to present works of the artist Peggy Franck, who is not mainly a painter but showed “paintings” at the Amsterdam based gallery Diana Stigter, which represents also another artist I cherish Aukje Koks  (and who has a show on 30 November for the Amsterdam Art Week-end).

 

Image

Peggy Franck – Unexpected things came thick and fast, 2013
Acrylic paint, spraypaint, gouache on paper, C-print

Image

Peggy Franck – Unexpected things came thick and fast (The continents), 2013
Gouache, ink, spraypaint, acrylic paint on paper, C-print

 

Peggy Franck (*1978) is a young Dutch artist working with different media photography, paintings, installations. Her work is based on her practice in the studio mixing daily object with material such as Plexiglas, mirror, tape etc, a process she started during her residency at the Rijksacademie where she studied back in 2005-2006. She knows how to skillfully mix reference for the viewers, is it a painting, a photograph, abstract, showing her studio, or not. From what I saw at the Diana Stigther stand at the FIAC, I particularly liked the way she worked on a print with different type of paint, blurring the limits between photography and painting. But a larger work, a painted photography of her studio shows the relevance of her practice showing a playful theatrical context intertwined with a puzzling narrative.

Read more abour Peggy Franck’s work in this article by Zoe Gray in Code 2.0, Numéro 6, Spring 2013

 To see more of her work, see artnews.

Image

Peggy Franck, Group exhibition at Diana Stigter It might as well rain until September, Part 2 (2013)

 

Yonghi Yim’s painted collage

With great surprise I discovered last week a micro-exhibition of Yonghi Yim which took place at Hectoliter gallery in Brussels from Thursday 30 May to Saturday 1 June. Working with wood and paper collage, she uses the rigidity of the first as a marker for the latter. ImageImageImageImageImageImage

 

 

 

Dip into human psyche with Gaillard and Claude

Last week, I went to one of my favourite gallery in Brussels MOT INTERNATIONAL where they have currently a show on portrait Repeated Affinity featuring works of Aleksandra Domanovic, Gaillard & Claude and Manfred Jade. Although I found the work of Domanovic and Jade very interesting – it is photography, I would like to show you the work of Brussels based duo Gaillard and Claude who create their own marble paper, which represent a mental “painting” of our mind.

DSC_5404

DSC_5457

MOT INTERNATIONAL describes the work of the artists as a portrait of a society:

“Both of the works Untitled from the series Le groupe et la famille by Gaillard & Claude are exposures of the human psyche. The artists have produced two pieces of unique marbled paper, together with a single handmade 250 gram pill of paracetamol. This combination of a trivial remedy, enlarged to give it the potential to heal hundreds of people’s headaches, together with the dense, abstract magma of the marbled paper, confronts the viewer with a simultaneously chaotic and calming nebula. The works can be described as atmospheric portraits, in which a group of individuals is depicted in eternal motion between the personal and the collective.”

DSC_5445

Unfortunately the show ran until 16 March, but I am sure there will be other occasions to see the work of the duo.

Repeated affinity
curated by Constance Barrère Dangleterre
26th January 2013 – 16th March 2013

MOTINTERNATIONAL BRUSSELS – Rue Vandenbrandenstraat 1, 1000. Brussels, Belgium

Painting versus Object

20121203-213212.jpg

Being ourself working on a Painting vs Photography exhibitions (Ponyhof team is back to work after a long maternity leave break!), we got quite caught by the title of Standpoint gallery’s latest exhibition in London: PAINTING-VERSUS-OBJECT running until 8 december. Exploring the added-value of contemporary painting nowadays, we are quite interested in the interaction between painting and the 3D.

The starting point of this exhibition is the same one anyone dealing with contemporary painting would start with. Painting is seen as derelict, “dangerous, anachronistic, overemotional, disengaged with current practice in current academic driven circles.” This is why we often observe a shift to installation, performance or digital media in painting students’ curricula. This being said, any visits to exhibitions, galleries or museum contest this fact and proves that painting is still a valid contemporary practice.

PAINTING-VERSUS-OBJECT looks into the “territory negotiated between painting, painters, objects and the wold they inhabit, from contrasting perspective.” While some artists presented are engaged with collaged paintings (John Holland, Katja Pudor), other are creating painterly constructions (Clare Mitten, Sean Edwards, Mia Taylor) or painted structure (Andy Wicks).

Sadly, we cannot be right now in London and can only rely on the pictures but would encourage you to go if you can and give us your impression, whether it is as good in real as it promises! It finishes on Saturday 8 December though.

Standpoint
45 Coronet St, Hoxton, London N1 6HD
standpointlondon.co.uk

Open Wednesday-Saturday 12-6pm

Until 8 December

20121203-213155.jpg

Angel Vergara at Almine Rech, “the feeling of jubilation with regard to painting”

Angel Vergara is not a painter in the classic sense of the word. He became known through his performances as straatman (streetman) when he was drawing hidden under a white sheet what was happening around him. Since then, he created painted films and staged the act of painting in various ways in his pictural production.  Almine Rech presents  in Brussels until 29 September 2012 a new solo show of his new project.

Courtesy Almine Rech Gallery

For the Almine Rech exhibition, Angel Vergara paints on images drawn from the media after he first edited and assembled them. Those images are the starting point and the frame serving his act of painting, aiming at enabling images to regain their colour, thickness and consistency they may have lost.

What is interesting in Vergara’s work is his dedication to painting as a medium, despite the originality of his approach: “While the words “and yes I said yes I will Yes” are borrowed from the closing line of James Joyce’s novel Ulysses, for Vergara they also serve as a pretext to proclaim, over and over again, the feeling of jubilation with regard to painting.”

The visitor is offered a “painterly journey” in the gallery staged by the artist himself and which presents his emancipated approach to painting.

ANGEL VERGARA and yes I said yes and I will Yes. 07 – 29.09.12 / Brussels –  Almine Rech

Article on Angel Vergara and the act of painting (in French): http://www.exporevue.com/magazine/fr/interw_vergara_macs.html

Gerhard Richter – Panorama (II)

Yesterday I went to visit the so-much-talked-about Gerhard Richter exhibition at Centre Pompidou: PANORAMA. It’s the third part of an exhibition that travelled already at Tate Modern London and the Nationalgalerie, Staatliche Museen zu Berlin, taking on each time a different stage.

Although, I thought to have seen quite an extensive part of Gerhard Richter works, I really enjoyed to see a very didactic and indeed panoramic exhibition of M. Richter’s oeuvre. The rooms are organised chronologically and thematically. The scenography presents an interesting triangular room in the middle, a promontory room inspired by 19th century panorama. I was also glad to be able to see again the John Cage series, who inspired him the famous: I have nothing to say and I say it illustrating Richter’s prolific and varied oeuvre. But the reason why I appreciated so much to see this exhibition is that it is a statement that painting is not dead, Gerhard Richter worked all his life to defend painting as a medium by re-inventing it constantly and transforming thereby the history of art.

Instead of images I prefer to leave you with the last quote of the exhibition. “Room 10: continuing to paint”:

 

“A lot of people find other media more attractive – put a screen in a museum and nobody wants to look at the painting anymore. But painting is my profession, because it has always been the thing that interested me most. And now I’m of a certain age, I come from a different tradition and, in any case, I can’t do anything else. I’m still very sure that painting is one of the most basic human capacities, like dancing and singing, that make sense, that stay with us, as something human”.

 

Liv Vaisberg

 

Centre Pompidou, Paris

Until 24 September 2012

Daily except Tuesday

 

Video

Gerhard Richter – Panorama