Conversation with Christoph Doswald at Dirimart Gallery

Installation and Conversation with Christoph Doswald  in conjunction with
"Some USA Stories", Sept 12-Oct 12, Dirimart Gallery, Istanbul, Turkey



Dirimart Nişantaşı I Fabian Marcaccio I Some USA Stories from DIRIMART on Vimeo.

"Some USA Stories" Dirimart Gallery

"Some USA Stories"
Dirimart Gallery, Istanbul, Turkey

Dirimart is to host the Argentinian artist Fabian Marcaccio’s one-person exhibition Some USA 

Stories between September 12 and October 12. 

Some USA Stories marks the first solo exhibition of the artist in Turkey. It will be 

simultaneously held with the Istanbul Biennial at Dirimart’s main exhibition venue at 

Nişantaşı. 

Some USA Stories displays selected works from the artist’s same-titled series, which was 

exhibited in 2012 at the Kunstmuseum Krefeld. The conceptual framework of the series is 

centered on the history and the leading figures of the USA. The artist interprets American 

society and its economy while inviting the viewers to explore the dark side of the country. 

Marcaccio’s Some USA Stories redefines contemporary painting as both a study on historical 

events as well as the nature of painting itself, and in doing so he invites the viewer to step on 

the other side of the canvas. 

"Some USA Stories" at Galerie Thomas Schulte

Galerie Thomas Schulte

"Some USA Stories"

July 6 to August 24, 2013

On Friday, July 5, Galerie Thomas Schulte will open a solo exhibition of new Rope Paintings by Fabian Marcaccio from the yet unfinished cycle Some USA Stories, a large number of which was shown in a solo exhibition at the Museum Haus Esters in Krefeld in 2012.

After his Digitals, Marcaccio's Rope Paintings function as a re-territorialization or re-materialization of painting. They involve the redefinition of all the given elements of a painting from the rough wood stretcher to the hand woven rope bases to multiple applications and handlings of paint. With his Some USA Stories, Marcaccio tries to redefine contemporary history painting as a kind of investigative report on both historical events and the nature of painting itself. The artist makes repeated references to current or past events in US-American history as well as to their protagonists. His cycle of paintings is a kaleidoscope of meaning, carrying on Marcaccio's analytical discussion on the medial image-overflow in modern society.

Group show, Imprinted Pictures, Cheymore Gallery

Opening May 11th: Imprinted Pictures

Opening Reception: Saturday, May 11th 5-7p IMPRINTED PICTURES  Lydia Dona / Fabian Marcaccio  Alexander Ross / Tom McGrath  Cheymore Gallery is happy to announce a new exhibition  Imprinted Pictures. This show opens on Saturday, May 11th with a reception for the artists from 5-7p, and will be on view through July 13th.  'Imprinted Pictures' brings together the works of Lydia Dona, Fabian Marcaccio, Alexander Ross and Tom McGrath to explore the relationship between painting and the process of printmaking.    Lydia Dona lives and works in New York City.  She is well known both nationally and internationally. She was featured in the 1991 Corcoran Biennial in Washington, DC and the ground breaking Sidney Janis Gallery exhibition Conceptual Abstraction that same year.   Fabian Marcaccio is an Argentine born artist living and working in New York City. He has exhibited widely throughout the United States, Europe and South America. In 2004 the Miami Art Museum mounted a solo exhibition of his work and the Kunstmuseum Liechtenstein organized a major retrospective.  Alexander Ross was born in Denver and lives and works in New York City.  He is the recipient of the John Simon Guggenheim Memorial Foundation Fellowship and the Lewis Comfort Tiffany Foundation Award.  He has exhibited widely through out the United States and Europe.     Tom McGrath is a New York based artist who has shown internationally and around the United States. His work is included in the collections of the Metropolitan Museum of Art and the Yale Gallery of Art.      Please click here for more information or contact the gallery at 917.658.9063. Cheymore Gallery was founded in 2011 to exhibit emerging and established contemporary artists. Located in historic Tuxedo Park an hour north of New York City, the gallery is committed to bringing contemporary fine art to the Hudson Valley region featuring New York City based artists, regional artist and beyond.  The gallery hosts a program of six exhibitions annually ranging from group to solo shows.   Gallery Hours:  9am- 4pm Monday- Friday (please ring buzzer) 11-3pm Saturday and by appointment.   Getting Here:   Driving directions:  I-87 / exit 15A, to Rt. 17N/ after exit, turn left at the first light, 6 miles to Tuxedo, gallery across from the train depot.   Google Driving Directions    Train:  Take NJ Transit train from Penn Station to Tuxedo / gallery across from the train depot.   NJ Transit Train Schedule    Bus:  Shortline Bus from Port Authority to Tuxedo / gallery is across from bus depot in Tuxedo Square.   Shortline Bus Schedule  Cheymore Gallery 233 Route 17 Tuxedo Park, New York 10987

Boiler Room, Brooklyn.

BravinLee presents Fabian Marcaccio at SEVEN 2

May 10 - June 9, 2013
Opening: Friday, May 10th, 6 - 9pm

The Boiler, 191 North 14th Street
Brooklyn, NY 11211

www.seven-miami.com/

BravinLee programs will present Table, by Fabian Marcaccio. Marcaccio’s structural canvas work integrates photography, painting and sculpture. The Table-top contains items likely to be present on a table in a secret interrogation chamber. The essential cruelty of the evil premise is explored obliquely through the cluttered banality of an inquisitor’s work surface. The table is illuminated by a single light bulb hanging down from the Boiler’s 30 foot ceiling. The creepy beauty and black-box brutality of The Boiler’s interior amplifies the subject matter of Table existing in a clandestine and horrific chamber. Fabian Marcaccio recently had one person shows at CAAM in the Canary Islands, The Museum Lehmbruck, in Duisburg, Germany, The Kunstmuseen and the Museum Haus Esters, both in Krefeld, Germany. In conjunction with the Krefeld exhibitions, a book on Marcaccio’s rope paintings titled Some USA Stories was published, edited by Martin Hentschel

Fabian Marcaccio

paintantscorporation.com

http://paintantsstudio.blogspot.com

fmarcaccio@verizon.net

Interview, Corpse Variant Paintants

Fabian Marcaccio / Corpse - Variant Paintants 2011 from "His Master´s Picture" on Vimeo.

Interview made in conjuction with Corpse Variant Paintants, exhibition at Galerie Schmidt MacZollek, Sept. 9-Nov. 6, 2011.

See exhibition shots here.

3D printing

Photos of experiments in tridimensional printing of painting activities.

LOVELESS: Variant Paintants, Jerome Zodo Gallery, Milan

LOVELESS: Variant Paintants
Fabian Marcaccio
April 19th - June 7th 2013
Opening April 18th 2013 | 6.00 pm - 9.00 pm
Jerome Zodo Contemporary
Via Lambro, 7 (ang. Via Melzo)
20129 Milano

Jerome Zodo Contemporary is proud to present in exclusive LOVELESS: Variant Paintants, the first personal exhibition in Italy of Argentinean born, naturalized American, Fabian Marcaccio (1962, Rosario de Santa Fe).

Born in 1963, in Rosario di Santa Fé, of Argentinean mother and Italian father, he won first prize ‘Esso de Pintura y Dibujo’ in Buenos Aires, in 1985. Since then, after entering the Printmaking Laboratory, he has been living in New York. He boasts a top-level international curriculum; in 1995 he participated in the Biennial Exhibition Contemporary American Painting at the Corcoran Gallery of Art in Washington and in 2002 at Kassel, Documenta 11. In 2011, he received the Bernhard Heilinger Prize for Sculpture in Berlin. Marcaccio’s interest is directed at painting, interpreted as a language in evolution and constant transformation. He merges the most traditional techniques with digital experience, photography and, more recently, sculpture, thus creating complex works of art that he defines as Paintants, an aesthetic blend of expressive languages. According to his intention: “painting is, on one hand, a form of resistance that can still achieve important and innovative results, incorporating new organic and productive models that involve the heart, brain and courage”.

Fabian Marcaccio is presenting his most recent creation in Milan. Large and medium-sized canvasses composed of rope, water-paints and ink – Rope Paintings – in which the support frame is purposely clearly visible to achieve the effect of a painting in expansion in which the images can be perceived in their entirety. It is a vision that pushes beyond bidimensionality and highlights volumes and surfaces. The works created by Marcaccio “are large and full of matter but, at the same time, full of air and atmosphere. In fact, you can see the wall and supporting structure, the shadow of the painting falling onto the wall. They are paintings that are both reactionary and progressive”.

The canvasses are joined by sculptures, a testimony of the trend that Maracaccio has to deform plastic; figures in aluminium and coloured silicone, assembled objects, with altered shapes, mass amplified and projected outwards. In This Just Out Paintant, 2009, and This Just In Paintant, 2009, the image appears to be manipulated, shaken by a centrifugal force that has pulled the extremity towards a state of imminent explosion. They are structures that mutate their own boundaries, invading space, both physical and perceptually. This is artistic research that Fabian Marcaccio has been doing for many years, following the peremptory idea that art must always renew itself, placing itself in relationship to other expressive forms of language, for example architecture (note his

collaboration with Greg Lynn), music and animated cinema: “Art is constantly aimed at defining itself and defining its relationship to other languages in a state of complexity, both inner and outer, in a condition that is constantly mutating”.

Born in Rosario de Santa Fe, in Argentina in 1963, ex-student of Philosophy, Fabian Marcaccio, has exhibited in varied and important exhibitions and artistic centres, among which: the Krefeld Kunstmuseen, in Krefeld, (2012); the Kunstverein Kölnischer, Württembergischer Kunstverein in Stuttgart, the Museum Moderner Kunst in Frankfurt, the George Kolbe Museum, in Berlin (2011); the Secession, Vienna (2009); the MALBA Museo de Arte Latinoamericano in Buenos Aires, Argentina (2005); the MAM Miami Art Museum (2004); the Cologne Kunstverein, Cologne, Documenta (2002,) Art Unlimited (2006); the Biennale in Seville (2007), Istanbul and Havana, the PS1 in New York (2002). His works of art are present in the most influential collections, including: the Whitney Museum of American Art, New York, NY; MOMA, New York, NY; Museo de Arte Contemporáneo de Rosario (MACRo), Rosario, Argentina; MADC Museo de Arte y Diseño Contemporáneo, San José, Puerto Rico; Sammlung Goetz, Munich, Germany; Collezione Maramotti, Reggio Emilia, Italy; Kunstmuseum Liechtenstein, Vaduz, Lichtenstein; Daum Museum of Contemporary Art, Sedalia, MO; Philadelphia Museum of Art, Philadelphia, PA; Museum für Moderne Kunst (MMK), Frankfurt/Main, Germany; Museo de Arte Moderno, Buenos Aires, Argentina.

Jerome Zodo Contemporary
Via Lambro, 7 (ang. Via Melzo)
20129 Milano
T. + 39 0220241935
F. +39 0220244861
info@jerome-zodo.com
www.jerome-zodo.com

Swing State, Jane Kim Gallery

"Swing State" 
Curated by Jane Kim
Pop-up group exhibition, 119 Hester Street 
Sunday April 7 - May 5, 2013


ARTISTS // Lisa Beck // Steve di Benedetto // David Diao // Lydia Dona // Tamara Gonzales // Joanne Greenbaum // David Humphrey // James Hyde // Fabian Marcaccio, // Donald Moffett // Thomas Nozkowski // Lucas Samaras // David Shaw 

SWING STATE embraces our world of uncertainty. As a phenomenally layered group exhibition capturing the gray area that thrives between extremes, SWING STATE will open on Sunday, April 7th 2013 and unveil the motion behind the pendulum. That awkward space within the center of left and right, old and new - including abstraction and figuration - will be represented by the work of 13 New York based artists.

Fabian Marcaccio:Variants at CAAM

Fabian Marcaccio:Variants, CAAM, Centro Atlantico de Arte Moderna

Curated by Octavio Zaya

March 22-June 2, 2013

Fabian Marcaccio

Variants

Fabian Marcaccio’s prolific career starts at the beginning of the nineties and continues until now. His singular work could be seen as a field of experimentation, research and analysis on the capability, the willpower and the resistance of the traditional medium that is “painting” to survive in our present context.  By this we mean technological innovations, computing saturation and the digital era, all of which have modified deeply our way to perceive and articulate the world we live in.

Variants attempts to bring us closer to the variants of Marcaccio’s generative and multiple universe. It is a universe in constant change, which the artist has developed step by step, conceptually, physically and visually, as a response to pictorial entropy.

Marcaccio has gone beyond the conventions of painting and painterly flatness –which he used to deal with during his Abstract Expressionism period, when he decided to live in New York in the eighties–. He has developed a challenging and rigorous practice that ranges from transfer prints and digital and industrial techniques to the pictorial processes involved in spatial concerns and their expansion into the realms of sculpture and architecture. The result is a painting practice that is in constant expansion: sometimes environmental, sometimes three-dimensional and definitely sculptural, sometimes in the form of animation and on many other occasions as transition and mutation.

During the nineties, Marcaccio started to develop what he called “Paintants”, a term that he created from the fusion between “painting” and “mutant”. From that moment onwards, this Argentine artist began a de-construction –or a sort of dis-bodiment– of the pictorial practice, inspired by the dynamic relationship (sometimes collapsed) between elements and overcrowdings that attract and string one another, link up and get activated in time and space. Sometimes the artist shows us the frames of the piece, resorts to sackcloth and other fabrics, photographic images and media references, and applies different media over digitally printed surfaces. Marcaccio uses oil paintings and acrylic, silicon and sand, ropes and structures made of plastic, wood and aluminum. He also uses brushstrokes saturated with color, white or colorless silicon, and sticks them to the surface and the schemes and nets in his works, or extends them from these to the walls, the floor or the air itself.

The excess that results from Marcaccio’s painterly surfaces –something that moves between growth and decadence–, is never stable. The surface events change all the time and we cannot grasp the work either as a whole or as a unity. On the contrary, the way Marcaccio’s work spreads out suggests multiplicity and crowding, physically and visually speaking. The constant change we often mention is visible, above all, in his gigantic environmental pieces, which ooze an architectural style, and in his so called Structural Canvas Paintants. In turn, physicality and visual excess, and his ever growing sculptural tendency are even more evident in his most recent tableaus and in his “rope paintings”. It is precisely for his sculptural quality that he was granted the famous Bernhard Heiliger Award for Sculpture.

In his works of the latest years, Marcaccio seems keen on dealing with contemporary issues and images referring to society, economy and politics –which includes everything, from bank crises to terrorism–.  His works compose a hallucinatory and kaleidoscopic contemporary history, pervaded by the media saturation of our times, particularly in the United States. His main sources are internet and the newspapers. In all of these pieces, the idea that prevails is the same recurring allegory that can be found in the whole of Marcaccio’s work: the breakdown of the subject and the fragmentation of the body. Everything seems to take place within a sort of explosion that provokes a pictorial otherness and makes clear, once more, that autonomy is nothing but a fallacy.

-Octavio Zaya, 2013