Born in 1984. Lives and works in Paris.
Julien Spiewak completed a master’s degree after studying photography at the Paris VIII University. He’s an artist, photographer, researcher who questions the relations between photography and the human body as an artistic expression. Since 2005 he works on the series Corps de Style, which takes place inside museums and private collections in France and abroad. The inventory he makes is precise, except for one thing – a body part that intrudes in the set. He explores the strange confrontation between antique furniture and the nudity of the skin, the intrusion of an element that awakes a surrounding frozen in time.
Julien Spiewak indeed produces his images by integrating parts of a body in classical interiors, creating an analogy between classical furniture and the human skin. The artist invites us to re-read with humor an extremely codified ambiance such as Palais D’Andrea Doria, in Rome, le Musée de la Chasse, in Paris, or Palacio Rio Negro, in Rio de Janeiro. By doing so, Spiewak transforms, animates, coexists and takes place in history and questions the long tradition of photography as a “document”.
Several questions are proposed by his work, such as: taking into account the photographic document in the art area; the primary role of photography as a way of reproduction and recapturing objects and works of art as a creation process.
Chienne blanche devant un buisson de sureau (1714), Carole, fauteuil en bois de daim et cuir (XIXe siècle). Musée de la Chasse et de la Nature. 2012. Tirage argentique monté sur dibon, encadrement en bois blanc, verre 3mm. Ed 2/5
Etude. Musée de la Chasse et de la Nature (Paris). 2012. Crayon de couleur sur papier.. 21 x 29,7 cm
Etude. Palais Doria Pamphilj (Rome). 2016. Crayon de couleur sur papier.. 21 x 29,7 cm
South African, b. 1981, Wellington, based in South Africa.
Exploring the space between photography and the process of painting, photography and ephemeral sculpture, Krijno is carving an individual path through the current barrage of abstract photographic image making. A prolific artist who combines two-dimensional works with in-situ temporary installations, which reference the formalism of the wall-based art works. An inter-textual dialogue opens up between his artworks, and allows for an often-surprising tone to the assemblage.
Nico Krijno started taking photos at a very young age while growing up in a small town in the South African semi desert, before venturing to Cape Town to pursue his career in photography and film, using commercial, fashion & architectural commissions to support an independent, fine-art practice. Krijno’s subject matter is wildly eclectic; sausages and carrots on a blindingly bright tropical shirt or a schoolgirl holding a snake sit alongside one of several portraits of his muse Mignonne. His photographs are at once hyperreal and otherworldly, pointing at the banality of existence through the semiotics of everyday objects, with humour, sexual innuendo and surreality present in equal measure. Raw and magical, the work contains a dirty realism he is beginning to make his own. His first solo show, ‘On How To Fill Those Gaps’ in late 2011 – and the accompanying self published book – was widely lauded and selected works has since been included in group shows in Edinburgh, Milan, Los Angeles, San-Francisco, Glasgow & London. He was nominated for the Paul Huf Award 2013. This will be the first show at The Ravestijn Gallery, Nico Krijno lives and works in South Africa.
Sculpture Study with Wooden Blocks (2015) – Inkjet print on photo rag paper, natural wood frame with optiwhite glass – 88×110 cm
2015 Under Construction, The Ravestijn Gallery, Amsterdam, NL
New Gestures: Fabricated to be Photographed, WHATIFTHEWORLD, Cape Town, SA
2014 Construction – Residency Show, 133 Arts, Johannesburg, SA
2013 Fulcrum Study, Blank Projects, Woodstock, Cape Town, SA
2011 On How To Fill Those Gaps, Museum Gallery, Cape Town, SA
Selected Group Exhibitions
2014 Uncertain Terms, WHATIFTHEWORLD, Cape Town, SA
2013 Wish You Were Here, MOPLA, Los Angeles, US
Low Subject, The Popular Workshop, San Francisco, US
BLOG RE-BLOG, Signal Gallery, Brooklyn, New York, US
2012 Eyes Closed, Eyes Open, Studio 41, Glasgow, SC
Pro’jekt LA (Part III): New Research, Part of Month of Photography Los Angeles
(MOPLA), Los Angeles, US
When Form Becomes Attitude, Blank Projects, Cape Town, SA
Fashionality, Camera16 Gallery, Milan, IT
2011 Chain Mail, Shoshana Wayne Gallery, Los Angeles, US
Kees Visser was born in 1948 near Haarlem (NL). Lives and works between Haarlem (NL), Paris (FR) and Reykjavil (IS). Far away from the art schools and movements of which he nevertheless was a keen observer, Kees Visser has gradually created his own self-taught path over the last forty years. Parting from his native Holland, where in the mid-1970s he had worked in a vein oscillating between abstraction and Fluxus, Kees Visser left to settle in Iceland, where he lived for nearly twenty years.
Co-founder with a group of Icelandic artists of the Living Art Museum in Reykjavik in 1978, Kees Visser is present in most of the public and private collections in the country. he has several retrospective exhibitions at the National Gallery of Iceland in 2013, The Matisse Museum in Le Cateau Cambrésis (2009), TENT Rotterdam (2004).
His works are in several international private and public collections (Stedelijk Museum in Amsterdam, Frans Hals Museum in Haarlem, National Gallery of Iceland, Living Art Museum in Reykjavik, MOMA in New York, Victoria & Albert Museum in London.
« Another new work, MondLicht, is a page-by-page weaving of two books. When you weave paper together, you essentially end up with little squares and also, if it’s printed with imagery, pure elements with plastic qualities: lines, colors, and shapes, which are building materials for artworks ». (Kees Visser)
Mondlicht 30 & 43
Paper weave 23 x 18,5 cm – Unique
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Simon Schubert is best known for creating intricate works by meticulously creasing a single sheet of paper into flattened images of real or imagined interiors. Typically grand, the ballrooms, coffered ceilings, stately staircases, mirrored corridors, and doorways he depicts are realistic yet illusory. Void of any human trace, they reflect notions of isolation, loneliness, and loss.
The style of Schubert’s interiors remain influenced by 19th Century Danish painter, Vilhelm Hammershoi, who employed low-key tones of grays to create a somber interior environment. Schubert works with similar tonalities, focusing on the scenes incoming natural window light and the shadows that play on his paper floors and walls. We step into these interiors both meditative and haunting, embracing their elegance while searching for meaning and our place in the world.
Schubert has exhibited his works in a number of international galleries and institutions including Kunstmuseum Wolfsburg, Wolfsburg, Germany, Foley gallery, New York City, USA, Museum für Konkrete Kunst, Germany, Centre d´art contemporain Meymac, Meymac, France, Kunstverein Bregenz, Bregenz, Austria, and Galerie Thomas Modern, Munich.
Simon Schubert, untitled (chamber), 2014, 70 x 50 cm (85 x 65 cm framed)
Simon Schubert, untitled (light on piano), 2015, 70 x 50 cm (85 x 65 cm)
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