Thursday, April 11, 2013
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
Via Lambro, 7 (ang. Via Melzo)
20129 Milano
T. + 39 0220241935
F. +39 0220244861
info@jerome-zodo.com
www.jerome-zodo.com
Thursday, March 28, 2013
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.
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
Friday, February 22, 2013
Tuesday, February 19, 2013
Lorraine Motel, Galerie Thomas Schulte, Armory 2013
Work featured by Galerie Thomas Schulte at the Armory 2013:
THE ARMORY SHOW, New York | March 7 to 10, 2013 Solo Presentation by Fabian Marcaccio Booth 610, Pier 94 | Contact +1 646 2754530
At next month's Armory Show the gallery will be representing Fabian Marcaccio in an exclusive solo show. The focus of our stand will be placed on Marcaccio's latest Rope Painting from the ongoing series "USA Stories", a large selection of which has been shown in 2012 during his solo exhibition at Museum Haus Esters in Krefeld. Marcaccio's Rope Paintings represent a new form of modern history or investigative report painting based on paradigmatic themes in American politics, economics, and society. They are a kaleidoscope of meaning, carrying on Marcaccio's analytical discussion on the medial image-overflow in modern society. The theme of Marcaccio's latest Rope Painting - the Lorraine motel, the site where Martin Luther King was assassinated - that will be on display at this year's Armory Show, allows the artist to question an historical event and the ground of painting in a contemporary context.     |
Wednesday, February 13, 2013
Upcoming Group Shows in Germany
My kind of Disneyland, March 1st until May 19, 2013, Märkisches Museum Witten,
curated by Steffen Lenk
with Tatjana Doll, Pia Fries, Gajin Fujita, Stefen Lenk, Fabian Marcaccio, Richard Allen Morris, Wilhelm Mundt, David Reed, Tinka Stock, Gert und Uwe Tobias, Günter Umberg, Stefan Wieland
Der Zweite Blick, March 2 until May 5, 2013, Städtische Galerie Nordhorn,
curated by Tilo Schulz and Veronika Olbrich,
with Cecilia Edefalk, Carsten Fock, Schirin Kretschmann, Matts Leiderstam, Fabian Marcaccio, Platino, Cornelia Renz
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