Art Basel Miami Beach
05 - 08 December 2013
Ernesto Neto considers sculpture as a site of exchange, a medium for interaction between the viewers, the materials used and the surrounding environment. For caring time, Neto assembled simple steel shapes, suspended a Nephrolepis at one end and put a small Vrisea on a stable pedestal at the other end. In permanent evolution through its living elements, the sculpture plays on a series of relationships that initially appear antagonistic: visual softness and childlike interlocking but heavy steel, fluidity and roughness, organic life and industrial mechanics... caring time works as a small micro system, a meditating object to look at. We will present several recent works by Ernesto Neto.
Navid Nuur’s Recaptured from the Collective can be seen as a monument raised for an idea, for the most incipient moment of creation: for a glimpse of inspiration. Navid Nuur: ‘When you have an idea and you want to express it by drawing it on paper, a lot of it gets lost because you need to know how to draw and how to use your body (…) So what I do is that I hold a permanent marker on top of a stack of paper while I am thinking and focusing on that specific idea which I want to visualize – I do not draw, I just let the idea flow in my mind and the ink will flow through the whole stack (…) After this, I use architecture model foam to trace each dot (…) You will see a 3D shape which has an inner energy, a concept which you almost can touch and it‘s pure while its meaning is not explained.”
This important painting from 2011 by Albert Oehlen combines the principles of the acclaimed Fingermalerei paintings: a powerful bright gestural abstraction on a visible white background, and the process visible in the recent works from the Interieurs series, with the furniture elements pasted on canvas. This piece has been recently exhibited at the Mumok in Vienna for the survey exhibition “Albert Oehlen, Painting”. At our booth, we will also present a work from the Interieurs series, made of cut-outs of trash advertising posters, showing a strong sense of composition and rich visual density, while evoking art history references.
Are there several images of the same American generic suburban house, some upside-down and inverted, or are they different? The composition and the special technique of Michael Radecker create an uncanny feeling: "Raedecker’s images are hand-embroidered onto washed-out grounds – all shadows, dust and pale ill light – that sprout occasional hairy clumps of fibre, or bear deep and fraying puncture wounds. Here and there, we encounter a paint drip, or its stitched double. As peripheral as they might seem, these meticulous, labour-intensive pictorial elements are key to understanding the artist’s playful way with temporality," wrote Tom Morton. A survey show of Michael Radecker’s work just opened at the Wilhelm-Hack-Museum in Germany.