Silence

Curated by Jaanika Peerna
Exhibition  24 May - 5 July 2012
 

Masters & Pelavin is proud to present Silence, a group exhibition of international artists, curated by Estonian artist and curator Jaanika Peerna. A variety of media will be shown—video, sculpture, painting, photography and installation—a number of artists represented, including: Peter Baumann, Anne Lindberg, Janine Magelsen, Kazumi Tanaka, Thomas Fougeirol, Kaido Ole, Jaan Toomik, Jaanika Peerna and Krista Mölder.

Within Western culture, silence is defined as the relative or total lack of audible sound. By analogy, the word silence may also refer to any absence of communication, even in media other than speech. Yet, silence is used as total communication, in reference to non verbal communication and spiritual connection. It is the absence or omission of mention, comment, or expressed concern. A freedom from the onslaught of thoughts and thought patterns. A state of being forgotten. A bringing to rest or stillness. A hush. A quell. A muzzle.

Click to read more ...

Thomas Lail

THOMAS LAIL: THE WORLD WE HAVE LOST
5 APRIL – 19 MAY 2012

In his new exhibition, titled after the pathbreaking and highly-popular publication of Peter Laslett, Lail continues to examine history and political thought through a series of variations centered on Buckminster Fuller's Dymaxion Map—a projection of a world map onto the surface of a polyhedron. Fuller intended the map to be unfolded indifferent ways to emphasize different aspects of the world. Peeling the triangular faces of the icosahedron apart in one way results in an icosahedral net that shows an almost contiguous land mass comprising all of earth's continents – not groups of continents divided by oceans. Peeling the solid apart in a different way presents a view of the world dominated by connected oceans surrounded by land.

Variations of Fuller's Dymaxion Map are directly depicted in each of Lail’s xerography paintings and works on paper, which are created from fragments of distorted reproductions of communes, "drop cities," High Modernist housing projects, Goya's "Disasters of War" and Courbet's "Burial at Ornans." From afar, this work achieves Fuller's goal of showing “a precise means for seeing the world from the dynamic, cosmic and comprehensive viewpoint.” However, upon closer examination, figures found within the assembled imagery begin to develop relationships and interactions reminiscent of The Soviet writer Ivan Efremov’s utopia, “Andromeda” (1957), in which a united humanity communicates with a galaxy-wide Great Circle in order to develop its culture within a single social framework. By also presenting cast concrete representations of the Dymaxion Map’s triangle edges, within the physical space, Lail allows viewers to enter in to the Great Circle with his subjects.

Click to read more ...

THE MATCH

NOUVELLES IMAGES, THE HAGUE
CECILIA VISSERS: THE MATCH, SOUND AND VISION
MARCH 10 – APRIL 11 2012

Part of the monthly exhibition program of Galerie Nouvelles Images, The Hague, is ‘THE MATCH’. The English word ‘match’ has two meanings in Dutch. It can either mean ‘wedstrijd’ (=match) or it can mean ‘paar’ (=couple), the last word in the sense that things go well together. Every month an artist of the gallery, in this case the Dutch painter Ditty Ketting, chooses the work of an artist who is not represented by the gallery. The title of their match – ‘Sound and Vision’ – originates from a song by David Bowie from his album Low, from 1977.

Talking about colors with Ditty Ketting is an adventure. For her, colors are like living beings with their own specific character traits that she has to learn to penetrate and tame, and control and appropriate in order to make them usable in her system.

The few colors and contours of Vissers' works are forged from the many lines and visions that have been thought and sketched, into this final minimum. Ketting's practice means the expansion of color into alternative rainbows, spectrums of the never-final maximum. The match between Vissers and Ketting, in the eye of the beholder, turns out to be one of exuberance and concentration. (Cees de Boer, march 2012)

Click to read more ...