Jonathan Yeo: The Print Retrospective
Opening: Nov 20
Seen as one of the most vibrant contemporary British portrait painter after having realized a 2013 exhibition in the London’s National Portrait Gallery, Jonathan Yeo emerged from an entirely self-taught background into prominence of unexpected measure. His innovative technical approach in portraiture is merged with ideas once propagated by Goya, whereas his portraits divert from the current flattery of instant photography. They are realistic and critical of the presented subjects, unapologetic and direct, while the style fantastically delivers the sometimes bitter message in the most delicate way. Commemorating the launch of Lazarides Editions and the seven-year long period of the artist collaborating with the gallery, Lazarides in London announced Jonathan Yeo: The Print Retrospective exhibition at Sea Containers.
Opening: Nov 21
Artwork cannot be presented without its contextual surroundings. Well known French artist, Claude Rutault takes this hypothesis a step further and defines it in more constraining way. He generates a set of rules called “de-finitions/methods” on how to actualize his yet-to-be-born work of art. Yes, one of the original characteristics in his practice is that he doesn’t paint the artwork himself. The works are created by the respective galleries, referred to as “charge takers”, that agreed to follow Rutault’s instructions and artistic guidance. As some kind of algorithmic do-it-yourself manual, “de-finitions/methods” affect many elements in the ever-changing equation that often ends in different result. The collection of such works will be main theme of the forthcoming exhibition at Galerie Perrotin in New York.
Land Without Footprints
Opening: Nov 21
Robert Proch is a painter, muralist and animator, whose expression’s roots can be found in caricature, animation and Impressionism, especially for the Lazarides exhibition. His works are made as an overt commentary to the society we live in and to its fast-evolving dynamics, while addressing the manner in which we interact with these changes. As his interest lies within the human interactions in the technologically oversaturated surroundings, Robert Proch breaks down natural setting, creating landscape-like environment where human shapes exist in between infinite square fields, which resemble oversized pixels. Mysterious and alluring, the paintings narrate merged stories of the depicted protagonists, while bridging the gap between realistic cityscapes and virtually created background, leaving the observer to figure out what is real and what is imagined. With the help of altered perspective, the artist flattens or volumizes shape, while the surreal world depicted suggests what the future will bring.
Opening: Nov 22
The Icelandic conceptual painter Katrin Fridriks picks up on this theme for her latest exhibition at Circle Culture Gallery. The exhibition title Stendhal Syndrome derives from her installation Perception of the Stendhal Syndrome. The installation comprises of one large-scale painting from the series Gene and Ethics and a custom made sculptural magnifying glass that is suspended from the ceiling at the other end of the gallery. The magnifying glass, aimed directly at the painting, allows viewers to look at the most meticulous details of the work. Each viewer will be confronted with a unique perception of the artwork. The slightest move of the hanging installation or the observer creates an entirely new view on the painting. Perception of the Stendhal Syndrome provides an experience of Fridriks’ art that simultaneously allows for a macro and micro perspective of the painting. The dizzying and puzzling nature of this experience is the artist’s interpretation of the name giving Stendhal Syndrome.
Opening: Nov 22
l’Atlas is one of the most renowned French street artists. Just like many of his peers, the artist begun his career with strong devotion to graffiti. He became known for a distinctive aesthetics in his urban works. Creating a visual language the artist’s practice is rooted in lettering, which could be considered a form of a minimalist expression. In the upcoming Transversal show, the artist continues his investigations with reworked calligraphies – creating a visual experience where the writing is barely visible or transforms in almost abstract expression. The abstractions are, in fact, composed out of formulas and numbers, thus conveying the necessity of the human nature to apply that, which is visible to that which is infinite. For Transversal, the artist will create a series of works on glass and wood. In addition, pieces in acrylic, aerosol and lacquer, on canvas and wood, as well as prints will be presented as part of the exhibition.
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