Friday, November 21, 2014

TEACH US TO OUTGROW OUR MADNESS, Galerie Thomas Schulte, Berlin

Gallery Site
November 22, 2014 to January 17, 2015 

Opening: Friday, November 21, 7-9pm

On Friday, November 21, Galerie Thomas Schulte is opening a group exhibition entitled, Teach Us To Outgrow Our Madness, with works by Danilo Dueñas, Alfredo Jaar, Jonathan Lasker, Iñigo Manglano-Ovalle, Fabian Marcaccio, Michael Müller, David Reed, Leunora Salihu, Albrecht Schnider and a wall drawing by Stephen Willats in the Corner Space. The exhibition will run until January 17, 2015.

Wednesday, September 17, 2014

Interview with Paul Laster, Whitehot Magazine of Contemporary Art

"Talking Painting With Fabian Marcaccio"
Interview with Paul Laster
Whitehot Magazine of Contemporary Art

"...Everything that I do now involves digital art and painting. I say that there is the pigment, the emulsion, and the pixel. In a certain time in history, you could only think about the pigment. When the emulsion came, you couldn’t help but deal with it. When the pixel came, even if you wanted to be the purest artist in the world, you had to pay attention to the pixel, as well as all kinds of digital culture..."

Friday, August 15, 2014

13 Artists in the Studio

13 Artists in the Studio, co-produced by Kim Morgan, Garry Snyder, Michael St. Johns. 
New York City, Public Broadcast Television, 1996. 

Wednesday, June 18, 2014

Art Basel - Galerie Thomas Schulte

A R T  B A S E L   |  Hall 2.1, Stand K7
June 19 to 22, 2014 

Galerie Thomas Schulte

As it is programmatic for us, our stand this year, which marks the 24th consecutive time that we partake in Art Basel, is rather conceptual, focusing on the topics of language and writing, gesture and appropriation.
It is literally writing that is the content of Michael Müller's large installation "K4 Schriftblätter", consisting of hundreds of drawings that describe his 25 year journey of developing his own writing to transcribe Robert Musil's "The Man Without Qualities". This gigantic enterprise was at the center of Müller's show at the gallery in 2013 and is only surpassed by his current exhibition or rather a Gesamtinstallation "Was nennt sich Kunst, was heißt uns wahrsein" that is on view at our Berlin space until July 26.
Next to Müller's installation is the large neon work "Teach Us To Outgrow Our Madness" by Alfredo Jaar, executed in the artist's own hand-writing and thus referring to the original first sketch of this work in 1995.
On two large tables in front, Fabian Marcaccio presents a body of works from his "Paintant Lab", that concurrently with Art Basel is exhibited at Daros Latin America in Rio de Janeiro (until August 10). Using drawings, prints and 3D printed mini sculptures of Silicon, Marcaccio creates a constantly growing archive of brushstrokes and painterly gestures, thus developing his pictorial vocabulary. 
This issue is also reflected in one of Jonathan Lasker's very important works "Explanation of Ice to a Summer Insect" from 1999, where the artist is seemingly dissecting the elements that make a painting.
The theme of writing, gesture and appropriation is extended further by Iñigo Manglano-Ovalle's highly intelligent adaptation of Brancusi's "Bird in Space", a new painting by David Reed focusing on its own gesture, small photographic works by Idris Khan from his latest series of works on script and a beautiful new medium sized canvas by Juan Uslé from his series "Soñé que revelabas".
Last but not least, there will be a small version of one of Alice Aycock's fantastically dynamic Park Avenue sculptures that have so much fascinated the New York public over the last three months (until July 20).
Besides all these works, we will have works at the stand by Iris SchomakerBernhard MartinAlbrecht SchniderRobert Mapplethorpe and Danilo Dueñas .
Come and see us at our Stand K7 in Hall 2.1!

On the occasion of Art Parcours, João Penalva presents his installation with slides and sound "Men Asleep", comprising of a collection of more than three hundred found photographs from the 30s, 40s, 50s and 60s of men who fell asleep other than on their beds. 

Monday, June 9, 2014

Permanent Change: Plastics in Architecture and Engineering

Permanent Change
Plastics in Architecture and Engineering
Michael Bell , Craig Buckley

Publication in conjunction with:

MARCH 30 — APRIL 1, 2011

Details of the conference

Plasticity Formation/Information: The forming capabilities of now

The traditional modes of production like oil painting made possible the flexible representation of flesh in bourgeois culture.

The development of photo emulsions made possible the instant image, digitalization and the net, the all-over delivery of information.

New polymer materials together with digitally aided technology make possible a new type of composite corporality.

These plastics change the predictability and sensations of objects in relation to the body and between the objects themselves. Examples are numerous but some are as intimate as sex toys and medical silicone or as extroverted and structural as silicone sealants in glass steel curtain walls.

Most uses of polymers are as instruments for the circulation of flows; the tubing between the body and medical machines, the machine parts in the form of gaskets cushioning rigid parts, and in the making of electronic chips.
This role as a sealant, circulant, cushion, gasket, filler or prosthetic make new polymers essentially the passage between bodies and objects. They are a structural plastic passage between rigid entities and soft ones. They are in the interstitial spaces of everything that matters.

They are both what makes information possible and the form of in-formation, an actual process of informing and forming. Plasticity is present at the level of the digital information, hard mold formation, and the distribution of information.

These new plasticities act as the flexible aura between things, a plastic subjectification.

FM 2012

Friday, May 16, 2014

3D printing with Silicone

Results of 2 experiments in printing with silicone on our large printer.


Air Compressor:

Paintant Lab

Selection of works from the Paintant Lab

My painting practice has always being assisted by machines.  For movements like Pop and Minimalism, interest in machines was related to repetition, serialization and the readymade.  In my work, I want to to develop the paradigm of differentiation, variation, and the “ready-grown.”  It is no longer the surface of the Campbell Soup can, now it is the altered soup inside the can.

I started using mechanized processes in the early 1990's to exlpore the relationship between hand painting and printmaking using collograph, machine etching, and photo silkcreen. In the early 2000s I started combining paint and digital printing in large scale environmental works.   At the present I am experimenting with hand painting and 3D printing to realize pictorial activities (Plastemas) that are impossible to paint by other means.

The Paintant Lab is a log of all of these pictorial experimentations, alterations, arrangements and composites.  The effect and mood of the lab is in its multiplicity of pictorial concepts, modes and techniques.  It is not contingent on any individual drawing, digital print, animation or 3D printied object.  Its force is in the innumerable branches of evolution and mutation through material, technique, space and time.

This presentation of the Paintant Lab was part of a 2014 exhibition Paintant Stories produced by Daros Latin America at Casa Daros in Rio de Janeiro, Brazil.


Drawings: Ink on tracing paper.

Actants: digital prints.

Objects: 3D printed parts and Silicone studies for rope paintings.

Animation paintants: various lengths.