The Italian artist Lucio Fontana was born in Rosario di Santa Fé in Argentina as the son of Italian immigrants on February 19, 1899. His father is the sculptor Luigi Fontana. Lucio Fontana attends the Istituto Tecnico Carlo Cattaneo in Milan as of 1914. He serves in World War I in 1917, however, he is dismissed as early as in 1918, because of an injury, so that he can complete his engineering studies. He studies sculpting at the Accademia di Brera in Milan in 1920, but soon follows his family back to Argentina in 1922, where he works in his father's sculpting studio. He has his own studio in Rosario di Santa Fé as of 1924. In 1928 he goes to Milan again and studies at the Accademia di Brera. Besides figurative sculptures, he also makes terracotta reliefs and painted gypsum plates as of around 1930. In 1934 he and Fausto Melotti, Atanasio Soldati, Mauro Reggiani join the Paris artists group "Abstraction-Création". They set up a manifesto on abstract art in 1935, Fontana's first one-man show with abstract works takes place the same year in the Milan Galleria del Milione. Lucio Fontana lives again in Argentina as of 1939, where he founds the private academy Altamira in 1947, he and his students at the academy compose the "Manifiesto Blanco" (white manifesto), demanding the synthesis of artistic genres and the renunciation of traditional materials. Back in Milan in 1947, he founds the "Movimento spaziale" and writes the "Primo Manifesto dello Spazialismo", demanding a new form of space-oriented art. Two years later he realizes the projects "Ambiente nero" and the first "Ambiente spaziale" in the Galleria del Naviglione: objects painted with fluorescent colors in a darkened room are illuminated by an ultraviolet light. He composes the second manifesto of the Spazialismo the same year, followed by the third in 1950 and the fourth in 1951. He executes the first perforated canvasses in 1949, they all carry the title "Concetto spaziale" (Space Concept). Lucio Fontana pierces the canvas, thus opening the image area, entirely doing without the conventional illusionist means of composition. The series of the "Pietre" is made in the 1950s, stones and canvasses beset with pieces of color glass that make for elevation that extend the image space into real space. In 1958 Lucio Fontana begins to slash monochrome painted canvasses. As of 1960 he combines the holes and slits with pastose color areas mixed with sand into which he makes scratches. At a later point he makes bronze objects, the "Nature", with gaping gashes and dents. The series of works called "La fine di Dio" is made as of 1963. Lucio Fontana belongs to the most important and most influential Italian artists, he dies in Comabbio near Varese on July 7, 1968.
Felipe Pantone (1986), is an Argentinian-born contemporary and graffiti artist who grew up in Spain. Active in the fields of kinetic art, installations, graffiti and design, his style is characterised by the use of bold colours, geometric patterns and Op art elements. Straddling conventional graffiti, typography and abstraction, his work fuses bold elements of graphic design with highly-evolved geometric shapes to create an ultra-modern aesthetic which complements and reacts to the stark modernity of our cityscapes. Besides painting walls, he has been showcasing his work in galleries and institutions around the world since 2006.
AkaCorleone (b. 1985) is a visual artist of Portuguese and Swiss descent who started out as a graffiti writer in the underworld of his native Lisbon. A compulsive drawer, obsessed with all things graphic and visual from an early age, he studied arts, earned a degree in Design and Visual Communication and worked as a graphic designer for a few years, having left the profession to focus on his artistic practice. He is known today for his dexterity in using colours, typography, characters, and refined forms which he blends to achieve eye-catching compositions imbued with originality and an all-pervasive humour. He has been exhibiting his work in solo and group exhibitions since 2010.
Lucas Dupuy is an artist from South London who is currently studying BA (Honours) Fine Art (Painting) at City and Guild’s of London Art School.
My work is looking at abstraction, design and drawing, working within the medium of painting. Combining images with abstract shapes, line and marks, I have been trying to experiment with composition, collage, digital imagery and the juxtaposition of different languages in mark making. I have been fixated on nostalgia and technology from past and present, inspired by the places I used to visit, taking imagery from both memory and photography.
Recently I have been producing paintings and drawings that have a strong relationship with digital imagery. I have been working with Photoshop and illustrator to try and experiment with designing different layouts and compositions of painting that inform my studio practice very directly.
The process of painting a painting compared to the digital process of creating an image is that it slows down something fast, painting to me is creating a physical image in the real world not the digital world. This then also highlights the importance of every nuance of surface in my work and the ability for certain techniques to be read as fast or slow and how that may differ when viewing from a distance or up close.
“Art is a is a way of communicating different ideas and themes through an unlimited amount of different creative processes .”
Marie Lund (b. 1976 Copenhagen) lives and works in London. This is her second solo exhibition at the gallery. Recent solo exhibitions include Art Statements, Art Basel, Laura Bartlett Gallery, Drums, Museo Marino Marini, Florence, Back Pack, Proyectos Monclova, Mexico City, and Clickety Click, Croy Nielsen, Berlin. Her work has also been featured in exhibitions at Kunstmuseum Krefeld, Museum of Contemporary Art Detroit, Sorø Kunstmuseum, Koelnischer Kunstverein, Cologne, Kunsthalle Mulhouse, De Vleeshal, Middelburg, Contemporary Art Museum, St. Louis, Nomas Foundation, Rome, David Roberts Foundation, London, Kunstverein Braunschweig, The Swiss Institute, New York, and CCA Wattis Institute for Contemporary Art, San Francisco.
Marie Lund will have a solo exhibition at Badischer Kunstverein, Karlsruhe opening January 29th, 2015, and upcoming group shows at Palais de Tokyo, Paris, GAK, Bremen and Galerie Taxis Palais, Innsbruck.
Source: Laura Bartlett Gallery
Fu Site was born in the Liaoning province (China) in 1984. He graduated from Tsinghua University in Beijing (2006), the Ecole des Beaux-Arts in Versailles (2011) and the Ecole Supérieure d'Art du Nord Pas de Calais (2014). In 2013 he has been awarded with the first Canson painting award.
Guillaume Bresson questions the notions of scene-setting and narration in painting. His work calls forth the tradition of figurative narrative painting by subverting it with personal cultural references and depictions of pared down and theatrical urban settings. His paintings oscillate between an apparent desire for visual realism and a contemplative ideal resulting in a complex and imaginary temporality where the past reinvents the present of painting.
Represented by Nathalie Obadia Gallery (Paris-Brussels), Bresson's work has been shown internationally including in 2010 at the Palais de Tokyo and Musée d’Art moderne de la Ville de Paris (group show "Dynasty", curated by Marc Olivier Wahler and Fabrice Hergott); Staatliche Kunsthalle Karlsruhe; French Institute of Bratislava, Slovakia; Perm Museum in Russia’; Domaine départemental de Chamarande, Palais des Arts de Dinard and Mudam in Luxembourg. In 2015 his work was featured inDesdémone, entre désir et désespoir, at Institut du Monde Arabe in Paris. He was also commissioned in 2015 by Les Nouveaux Commanditaires to create the “Commande du Red Star Football Club de Saint-Ouen (93)” and another commisson by the Festival d'Avignon for the Église des Célestins, Avignon (Fr).
Greg Allen-Müller was born in San Marcos, Texas in 1973, and received his BFA from Southwest Texas State University in 1997. He moved to New York soon after and from 1999–2004 acted as assistant to Tom Wesselmann. He continues to work with the artist’s estate today, where he is involved with many museum expositions. He has had solo shows in Germany and Spain.
All of Sam Moyer’s multimedia projects have a common quality of borrowing images or materials from everyday life, and manipulating them or reproducing them into abstraction. With a background in photography, Moyer makes works that are monochromatic, modular, and rooted in geometry, with a focus on texture, pattern, and tactility. For example, her “Worry Rug” series (2009) is made from cheaply purchased Ikea rugs that she then dyed and picked apart, while another series of drawings uses pocket-sized book covers as their basis. Moyer has also become well known for using dyed and crumpled stretches of fabric that she mounts onto wood panels by ironing. These pieces frequently have subtle patterns created using bleach and ink.
American, b. 1983, Chicago, Illinois, based in Brooklyn, New York
He lives and works in Neuchâtel. He graduated in the photography departement of the Lausanne School of Art and Design and the Photography School of Vevey. Benoît Jeannet presented his work in several solo and group exhibition since 2011. He won the first Focale – Ville de Nyon award in 2012, The Beau Virage – Lausanne Place prize in 2014 and the 2015 PhotoforumPasQuart Award. The dummy of the book A Geological Index Of The Landsape was in the shortlist for the 2015 Aperture Foundation – Paris Photo Photobook Awards and the 2016 Mack Books Firstbook Award.
Portuguese artist Alexandre Farto (1987) has been interacting visually with the urban environment under the name of Vhils since his days as a prolific graffiti writer in the early 2000s.
His groundbreaking carving technique – which forms the basis of the Scratching the Surface project and was first presented to the public at the VSP group exhibition in Lisbon in 2007 and at the Cans Festival in London the following year –, has been hailed as one of the most compelling approaches to art created in the streets in the last decade.
This striking form of visual poetry, showcased around the world in both indoor and outdoor settings, has been described as brutal and complex, yet imbued with a simplicity that speaks to the core of human emotions. An ongoing reflection on identity, on life in contemporary urban societies and their saturated environments, it explores themes such as the struggle between the aspirations of the individual and the demands of everyday life, or the erosion of cultural uniqueness in the face of the dominant model of globalised development and the increasingly uniform reality it has been imposing around the world. It speaks of effacement but also of resistance, of destruction yet also of beauty in this overwhelming setting, exploring the connections and contrasts, similarities and differences, between global and local realities.
Vhils grew up in Seixal, an industrialised suburb across the river from Lisbon, the capital of Portugal, and was deeply influenced by the transformations brought on by the intensive urban development the country underwent in the 1980s and 1990s. He was particularly inspired by the way city walls absorb the social and historical changes that take place around them. Applying his original methods of creative destruction, Vhils digs into the surface layers of our material culture like a contemporary urban archaeologist, exposing what lies beyond the superficiality of things, restoring meaning and beauty to the discarded dimensions buried beneath.
An avid experimentalist, he has been developing his concept of the aesthetics of vandalism in a plurality of media – from stencil painting to wall carvings, from pyrotechnic explosions to 3D modelling, from installation to music videos – which have enabled him to expand the boundaries of visual expression.
His unique approach and artwork have been garnering critical acclaim around the world.
Born in Rio de Janeiro in 1978, Bokel graduated with a degree in Graphic Design from Univercidade in 2004. He held his first individual exhibition in 2003, at Ken’s Art Gallery, Florence, Italy, where he lived and attended photography and history of art courses. In Rio de Janeiro, he had live model classes with Bandeira de Mello, as well as painting lessons with João Magalhães and art lessons with Luiz Ernesto at School of the Visual Arts of Parque Lage, Rio de Janeiro. Through the last two decades, he has been exhibiting his works in Brazil and abroad in galleries and urban interventions, bridging street art and contemporary art.
“My work is more about your seeing than it is about my seeing, although it is a product of my seeing. I’m also interested in the sense of presence of space; that is space where you feel a presence, almost an entity — that physical feeling and power that space can give.”
For over half a century, the American artist James Turrell has worked directly with light and space to create artworks that engage viewers with the limits and wonder of human perception. Turrell, an avid pilot who has logged over twelve thousand hours flying, considers the sky as his studio, material and canvas. New Yorker critic Calvin Tompkins writes, “His work is not about light, or a record of light; it is light — the physical presence of light made manifest in sensory form.”
Informed by his training in perceptual psychology and a childhood fascination with light, Turrell began experimenting with light as a medium in southern California in the mid-1960’s. The Pasadena Art Museum mounted a one-man show of his Projection Pieces, created with high-intensity projectors and precisely modified spaces, in 1967. Mendota Stoppages, a series of light works created and exhibited in his Santa Monica studio, paired Projection Pieces with structural cuts in the building, creating apertures open to the light outside. These investigations aligning and mixing interior and exterior, formed the groundwork for the open sky spaces found in his later Skyspace, Tunnel and Crater artworks.
Turrell often cites the Parable of Plato’s Cave to introduce the notion that we are living in a reality of our own creation, subject to our human sensory limitations as well as contextual and cultural norms. This is evident in Turrell’s over eighty Skyspaces, chambers with an aperture in the ceiling open to the sky. The simple act of witnessing the sky from within a Turrell Skyspace, notably at dawn and dusk, reveals how we internally create the colors we see and thus, our perceived reality.
In 1977 Turrell began a monumental project at Roden Crater, an extinct volcano in northern Arizona. Continuing the practice begun in his Ocean Park studio, Turrell has sculpted the dimensions of the crater bowl and cut a series of chambers, tunnels and apertures within the volcano that heighten our sense of the heavens and earth. While Roden Crater is not yet open to the public, Turrell has installed works in twenty-two countries and in seventeen US states that are open to the public or can be viewed by appointment. Agua de Luz, a series of Skyspaces and pools constructed within a pyramid in the Yucatán, and forthcoming projects around the world, from Ras al-Khaimah to Tasmania, integrate many of the principles and features embedded within Roden Crater.
Turrell’s medium is pure light. He says, “My work has no object, no image and no focus. With no object, no image and no focus, what are you looking at? You are looking at you looking. What is important to me is to create an experience of wordless thought.”