Kaj Nyborg


Kaj Nyborg

GHOST in my house (ISOPLANT) @ New Shelter Plan.

“By showing Kaj Nyborg’s solo exhibition GHOST in my house (ISOPLANT) New Shelter Plan launches its series of autumn exhibitions that are based on a new curatorial approach. A division of the 185m2 large exhibition space into an accessible and an inaccessible part now constitutes the central premise of the coming exhibitions. The participating artists are all dealing with the themes availability / restrictions as part of their practice and they are invited to challenge and expand the concept.

Kaj Nyborg

Kaj Nyborg’s installations pinpoint the unknown in the familiar, based as they are on everyday recognizable phenomena and objects. An atmosphere of uncanniness and impermeability often emerges. Elements of surveillance and disorientation are present as the well-known objects do not contain the information or the functions that we associate them with. In this way they deny us the common knowledge that we thought we were presented to.

GHOST in my house (ISOPLANT)

Two windows with closed blinds are inserted in the wall that divides the exhibition space. Plant parts are trying to work their way through the blinds which moves slightly but not enough to reveal what is on the other side.

Impermeability is a recurring theme in Nyborg’s works, and the exhibition GHOST in my house (ISOPLANT) poses a number of related questions; to whom belongs the “home” that we are looking at and for what purpose are we looking? Does the work of art create a room of possibilities to the viewer or do we have to read the room as a locked position from which action is impossible?

Justin Morin

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Justin Morin

Work from Q10 at Galerie Jeanrochdard.

“What could these initials possibly stand for? Are they geographical coordinates?
Is it a mobile phone model? Or a secret code?
It is in fact a chemical term designating a coenzyme that acts like a vitamin inside an organism and activates the energy production on a cellular level. It was also used by the brand Nivea to describe a range of beauty products.
By choosing this kind of reference as a title for his exhibition, Justin Morin immediately thrusts us into a universe rich with references to the world of fashion, luxury, beauty and appearance. Some of you may also be reminded of the triptych of exhibitions developed by Éric Troncy in the late 1990s, of which the titles – Dramatically Different, Weather Everything, Coollustre (1) – were also names of beauty creams produced by Clinique. But whereas the French curator focuses on luxury and glamour, Morin adopts a radically different approach. In this exhibition, his interest does not lie in what these products and brands represent, but in the way in which the multinationals that produce them communicate and the symbolic system they wish to convey to their potential clients. To do this, he seizes upon his own repertoire of conventions, which can be situated on the cross section between minimal art, Op Art and kinetic art. The artist has completely appro- priated this crossover steeped in the 70s, mixing it with more modern references and even passing these historical shifts through the filter of Pop Culture, consumerism and the dictates of appearance, as it were. This concept is symbolised by the aluminium, epoxy-painted bars that feature in the exhibition. Whereas the initial pieces in the collection – which was started in 2013 – directly echo the experimentations of Victor Vasarely or Bridget Riley, the pieces that are exhibited here have been adorned with a new layer, radically altering their meaning.
Morin’s approach is as simple as it is effective, combining various previously used patterns – lines and dots – and adapting the shape of the bars to give them a less rigid and more flexible appearance – an image mainly inspired by the diagrams of the epidermis that can be found in advertisements for cosmetic products. In addition, they have all been given the name of a skin care cream. Similarly, the draped fabrics that form part of the exhibition continue a process that was started several years ago and finds its origin in the artist’s interest in advertising, charting the way in which bodies and objects are rendered totally impersonal once printed on the pages of glossy magazines. These large pieces of silk are each exhibited in accordance with a specific protocol and are actually a chro- matic transcription of this kind of advertising, providing a much more tangible and sensual version of these often grotesque images – despite their ethereal appearance, they are still very present in their surroun- dings. Whereas the images selected for previous collections referred to concepts ranging from a Cher al- bum cover to the reflection of the light on the river Neva, the draped pieces of fabric displayed in this exhibition all echo the cosmetics industry in one way or another, whether referring to the roses used to create a perfume – How to drape a rosa gallica officinalis –, the offshore platforms extracting oil that is subsequently fragmented to naphta – How to drape the ocean that surrounds an offshore Platform – or even a picture of Rihanna on the cover of Vogue magazine – How to drape Rihanna’s red hair Vogue cover. By doing this, Morin attempts to dissect and even deconstruct the imagery used by these large cosme-
tics firms, offering a much more tangible, delicate and bright version, based on a variation of shapes and colours and in stark contrast with the extremely cold and scientific aesthetic generally used to evoke these products.

Text by Antoine Marchand.

Alexandra Gorczynski


Alexandra Gorczynski


“Gorczynski creates two-dimensional, sculptural and video works that investigate the overlap of virtual and actual states of being. Layering together paint, photographs, and moving images, Gorczynski celebrates the formal potential of new media. She also explores the fluidity of identity, the sensuous and corporeal limitations of the virtual and the real, and more recently, a modernist approach to materials, color and form.

Layering textiles, art tools, painted gestures, and images of such, Gorczynski builds uncanny compositions allowing the audience to slip in and out of digital and actual realms. The craft components and marginal inclusions of the artist and her home occupy our world and alternate worlds tugging at our understanding of objects and reality.” – Zulong Gallery

Nina Koennemann


Nina Koennemann.

Work from Lithic Reductions.

“Lithic Reductions is a site-specific installation by NINA KOENNEMANN presented in the former paint spraying booth at Taylor Macklin in Zürich.

The project focuses on NINA‘s porcelain objects that look like archaeological fragments. She took an interest in the development of stone tools which is still practiced by hobbyists as ‘knapping’. The knappers attempt, according to the press release, ‘to replicate neolithic artifacts, contextualizing their works with technical speculation, esoteric projections of stone-age thinking, and imagined narratives of survival and scarcity’.

By displaying these fictional prehistoric tools made of sanitary porcelain in the industrial exhibition space of Taylor Macklin , NINA KOENNEMANN not only questions the current notions of history, universal knowledge and vernacular culture but also examines the vestiges of the repertoire of forms within contemporary art.

➝ Lithic Reductions by NINA KOENNEMANN is on view at Taylor Mackin in Zürich till August 18, 2015.

-via We Find Wildness

Maxime Guyon

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work from Technical Exaptation at ECAL Switzerland

This project deals on the technological evolution at its large sense. Replicating the hyper-commercialization aesthetic codes, this series dissects standardized commodities and high technologies which are here listed as full species.The images are intentionally manipulated, which finally witness the hybridizations that the photographic medium as well as technology undergo. This work acts like a research on the role of a photographer nowadays while we currently experience a significant rise of post-internet art.

These 5 pieces are made of bended and laser cut steel sheet, then wrapped with glossy vinyl print, which is a function originally applied for car body printing.



Casey Richardson

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Casey Richardson

In Portals, Richardson creates virtual exhibition spaces where quotidian objects construct ambiguous narratives.  Televisions, iPads, computer monitors, and artificial plants are collated in absurd tableaus, which rethink the nature of exhibition and documentation.

My Lonely Days Are Gone / Part 2

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My Lonely Days Are Gone / Part 2

Works by Caroline Kryzecki, Carla Arocha & Stéphane Schraenen, Claudia Comte, Friederike Feldmann, Matt Mullican, Christine Streuli, Tatjana Doll, Lily van der Stokke

Organised by Arturo Herrera at Arratia Beer

In 2010 My Lonely Days Are Gone brought together ten contemporary artists to explore the potential of a given physical space to generate wall works that commented on the role of abstraction.

Part 2 of My Lonely Days Are Gone continues to explore the connection among edge to edge images and the ready-made architectural set-up of the space. Each of the commissioned works in this exhibition focuses on a number of approaches to painting, drawing, collaging and printing. These non-permanent, site specific pieces juxtapose, at times, several techniques to probe the impact of specific interventions interacting with each other and within the space.

In rethinking the usual passive role of the wall as an area where to hang works, the artists have created artworks exclusively for each of the public walls as well as the floor of the gallery. My Lonely Days Are Gone Part 2 proposes both an active dialogue among the pieces and a special awareness of architecture as a receptacle for temporary images.

From its inception abstraction has had many meanings. Its history, ramifications and impact on our visual culture are still essential to contemporary art and artists. In this exhibition an emphasis on nonfigurative works considers the efficacy and potential of the practice of abstraction, and its complex relation between its autonomy and interdependency with references in the world. The differences between abstraction and figurative art are today less defined, more fragmented, openly cross- contaminated. It is precisely this pliable language that informs the exhibition allowing representational, theoretical and abstract pictorial strategies to be juxtaposed in interconnected ways. In this age of fundamental changes, abstraction continues to represent alternative sources and realities that address the visual investigation and conceptual research of contemporary artists. An underlying temporality is part of My Lonely Days Are Gone, as all works will be painted over after the exhibition ends.


Daniel Keller

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Daniel Keller

works from Kai ♥ Dalston Bushwick at Kraupa-Tuskany Zeidler

Dear Dalston:

I’m sorry I misled you. When we left Cali I let you believe I wanted true Exit – from the Cali cults, from window-smashing devolutionary morons and political hysteria, from Silicon wild-eologies, from my daddy complex, from whatever. But you shouldn’t have believed anything I said.

It was a sovrin pipe dream, it was a huge success, it wasn’t what I wanted.

Wherever you go, there we are we said. Wherever I go, there she is. I meant. That’s the truth D. I wasn’t running away from Cali I was running away from Bushwick and it got too late before I realized I can’t because I love her.

I always did I always will. I wish I could have told you. You don’t have to be a self-sovrin to be bodily invaded by another.

Being with B is different… We’d do rock balancing together in the hills outside of Freistadt Cupertino.

Out by the biofuel pipeline and over the hills. Sentiment drones speeding past on a dopamine breeze. I felt part of something great and zen and vast. Socially substantial. One thing on top of another, one thing led to another. Being safe: the ultimate prize and the ultimate refuge.


– – –
Dear Dalston: I understand why you don’t respond. Maybe I wasn’t transparent: I’m sorry I made you part of my hostile emotional stack. I just always thought of you as part of this insatiable insecurity engine of narcissistic ego commodification and onanistic production. And I know I could have been more patient with your obnoxious ideas and incessant whining.

Our AKoN Sovrinty Marriage was such an obvi scam I don’t know how it lasted 5 days. But you’re more than an LLC to me, promise.

And I’m sorry about that joke about the hummingbirds. Only a few minor patches noticed.

Your feeds look good, I’ve been watching. KZ
– – –
Dear Dalston please check your holo
– – –
Dear Dalston Perhaps freedom isn’t all Exit and no Voice, perhaps freedom is provision of loyalty. I miss you
– – –
Dear Dalston –
I’m considering a return to AKoN to generate a two-year Sologamy binder contingent on my residence on SeaBoh33. I know crust punks are crustier and water people are wet but I have to come to terms with what I am too. Perseverance is a virtue but I’m not the type of person to inspire admiration in others. KZ
– – –
Dear Dalston:
The desert canvas works look viable. Very bitbank. I saw it on the holo here. Please check yours. K
– – –
Dear Dalston Have you heard from Bushwick? :( :( :( KZ
– – –
Dear Dalston:
So I’m almost used to the spirulina smoothies but I miss Hand of Providence. You’d hate it here but I’m beginning to feel repeopled again. I’m not gonna become another skinsuit I promise <3 KZ
– – –
Dear Dalston:
I met this girl, Mania. She’s no Bushwick but she’s interesting. She reminds me of you. She says “If we look deep into the core of peopling, at the essential nature of our special human cognition, descriptively, then we can get a perspective on what outward manifestations of peopling are good for us, normatively”.

I’ve been thinking about dying my hair.


Text by Ella Plevin

Images courtesy of Kraupa-Tuskany Zeidler & Hans-Georg Gaul

Peles Empire

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Works from Duo at Wentrup, Berlin

The source of Peles Empire’s artistic practice is connected with the provenance of its name in the Carpathian Mountains of Romania: Peles Castle. The eclectic building from the 1870s is distinguished by its uncommon concentration of the most disparate styles – each room imitates a different era in architectural history. Barbara Wolff (*1980) and Katharina Stöver (*1982) have worked together as Peles Empire for nine years – their photographic appropriations of this “edifice of copies” and their subsequent ongoing spatial interpretations of the source material constitute a central point of departure for their works. An important strategy used by Peles Empire is copying the copy; inherent as well is the process of translating something spatial into two-dimensionality, which ultimately again manifests itself in three-dimensional objects. Also significant is that although the original documentary image may sacrifice some of its figurative quality through the artists’ manual reproduction of particular parts of the image, it simultaneously gains spatial quality as an abstract object. Peles Empire shows the complex and – in the truest sense of the word – multilayered results of this method in their first solo exhibition at WENTRUP.

The exhibition title DUO first of all underscores the genuine connection between original and copy. The two concepts are interdependent and only attain their full meaning through the existence of the other. No copy without an original – needless to speak of originals if there were no copies. Peles Empire is interested precisely in the gap within this relationship, in the process itself, and particularly in the images and forms that the copying process gives rise to in the first place.

Their kinship with artists such as Gordon Matta-Clark, who used the deconstruction of architecture, the disassembling into fragments and uncovering of layers, as productive momentum, is apparent. At the same time, merely through the process of translation, Peles Empire is capable of creating something that Hito Steyerl has called “fractured and flexible temporalities” which, in contrast to Matta-Clark, are not conceived in terms of an ultimate form, but privilege the unfinished. All the more striking are the richly detailed structures that their objects display – possibly precisely because they are not created with finality in mind.

Peles Empire reproduces pictures of spaces in order to create new pictorial spaces from them. Their achievement in the translation lies not only in the transformations from two-dimensionality into spatiality and back, but also in how they are able to transport a real space into the digital realm and then retrieve it for the physical environment of the exhibition. In this context, they not only display the actual splinters and fissures of their sculptural process, but also make it possible to capture the aesthetic fracturings and foldings that are free to develop only within the gap between original and copy.

Asger Carlsen

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Asger Carlsen

Works from Drawing from the Hand at Dittrich & Schlechtriem, Berlin

Carlsen passes through the joining together and coordinated superimposing digital image templates to a brutal aesthetics, which focuses on a reassessment of the drawing process and a deformation of the subjects of the silhouette. With DRAWINGS FROM THE HAND Danish artist opens the fictional body hybrids of his earlier image series HESTER and WRONG and creates photographic, objects’ which have both archaic earthy and cosmic intangible remuneration. DITTRICH & Schlechtriem shows them simultaneously disturbing and alluring works in three different formats: 5 pigment prints of digitally synthesized photographs, 8 multi-layered, marble drawings’ on hot press watercolor paper and a shimmering, transmorphe sculpture that is based on a 3D printing.

The large-format black and white pigment prints make the front of the gallery extreme, objects’ on black mirrored glass surfaces. Carlsen, who works with electronic pens on tablet computers, collaged self-portraits with undefined material record and won the gestural vocabulary of Photoshop photo editor, z. B. from the time-consuming Blur, an old-masterly precision. The artist designs a raw, amorphous materiality, meat, metal and combined concrete like textures with partly futuristic surface structures. As a former crime scene photographer NYPD Carlsen has a sensitized access to post-mortem appearance of bodies and contrasts figurative details like eye sockets, noses and ears with coarse cracks and blood-like stains. A job is at times more than 200 photographic templates Step by step in a comprehensive, lasting up to six weeks imaging are combined. While earlier in the series are strategies of resolution and defacing of skin transitions in the foreground, then back breaking and transformation of the human body and its Utopian into Flipped materiality to the fore.

The exported in the format 40.6 x 28 cm, marble drawings’ show semi-transparent, gently towards their edges towards lightening color scenarios. By the artist with a pencil inscribes the silhouette of his face, the invisible gestures of the drawing hand on the computer realized on the concrete image carrier. For this also composed of numerous heterogeneous image layers work Carlsen photographs of the bathroom floor of his New York apartment used in Chinatown. These faded, interwoven by the time linoleum layers to remember this vein systems, maps, hematoma or about organ sections. The formative interplay between contingent soil and an unexpected intimacy by living room and facial contour of the artist also enables personalized readings.

The exhibition is the 3D photopolymer printing an immaterial shiny sculpture, scale 1: is executed to the photographic works 1 and treated with a metallic car paint. The asymmetric, ducted in a dark silver tone and supported by a golden ball relief structure shows the abstracted facial features of the artist. The amorphous, almost virtual character of the work is thereby the status of classical sculpture in question and intensified a trend that has already been created in the photographic series: Carlsen aims in his work on the design and analytical penetration of a kind Hyper-sculpture in which the viewer is clear at any time whether it is analog images of real objects or synthesized Photoshop designs.

Asger Carlsen overcomes DRAWINGS FROM THE HAND conventional boundaries of sculpture, Photoshop editing and classical drawing and cultured while a zone of referential between – objects that exist beyond the categories of the idea of ​​the design and its realization in the material. The previously hidden hand of the artist will be at different levels whether concretely visible by pencil marks or indirectly by fingerprints and modeling traces of the photographed material in his works. While the iconographic unity of the previous series of a new haptic rudeness turns, the associative spectrum increased significantly: morgues, pottery studios and comets surfaces now appear as atmospherically relevant reference points. The silent screams of the sealed body hybrids of Carlsen’s earlier works are transformed through the open medium of drawing in the echo of a new brutality of the material.