Jason Hwang: “This is High Art’s first time participating in MiArt and we are very excited to present the work of New York based artist Bradley Kronz. It will be Bradley’s first solo presentation in Italy and because so, hopefully, a surprise for the italian audience. There are a great group of galleries in the emergent section this year which should provide for some amazing presentations. Needless to say we are honored to take part.”
Bradley Kronz (b. 1987, lives and works in Brooklyn, NY) has had recent solo exhibitions at Team Bungalow in Los Angeles (March 1st – March 29th, 2015), High Art (Dec. 13th, 2014 – Feb. 7th, 2015), and Off Vendome in Dusseldorf (July 11th – Aug. 9th, 2014).
Rob Greene: “I was encouraged by some friends who had done the fair for several years to apply. Being a new gallery, and wanting to expand the reach of the program, it sounded like a fantastic way to introduce the gallery and the artists to new communities. It is incredibly exciting for the artists, too. Knowing that thousands of people, many of whom would never see an exhibition at the gallery in Los Angeles, will witness and experience the work encourages everyone to reach for new heights.
Our booth presentation will center around books, both as a form as well as a conceptual container for the various practices the gallery supports. York Chang and India Lawrence have both produced very special, very limited edition books for in the last 6 months. York made an edition of forgeries of the first edition of Jorge Luis Borges seminal collection of short stories “Ficciones.” In addition to painstakingly recreating the book — even consulting with an actual book forger — York worked with Borges scholars and linguists to add a new short story to the book that would pass through current standards of digital and academic scrutiny as an authentic, lost Borges text. And showing off some of the sensuality on display in her current exhibition at the gallery, editions of India Lawrence’s goat’s pelt covered books will be in the booth.
Finally, we will present some of Andrew Norman Wilson‘s “ScanOps” works, which have been widely featured in an array of publications from Artforum to Wired. Though not literally books, the works perfectly capture and preserve the somewhat dystopian labor conditions by Google’s effort to digitize all of the knowledge in the world. The pieces are closely related to the video work “Workers Leaving the Google Plex” 2011, which has been viewed hundreds of thousands of times since posted online.
York Chang and Andrew Norman Wilson have already started gathering quite a bit of attention internationally, so I think India Lawrence has the greatest chance to be the revelation that emerges from the presentation. Her first ever solo exhibition just opened this month, so there will likely be no other artist at the fair whose name and work are as fresh. The pieces themselves are quite appealing, and will resonate with anyone who is familiar with the history of fashion, or simply has a great appreciation for the hand of a fabric or the elegance of find paper. Milan is quite educated and forward thinking with regards to these subjects, so I have the highest expectations that the fair will help us meet the newest champions and patrons for India Lawrence.”
Elyse Derosia: “For MiArt 2015 Bodega will be showing works by Kayla Guthrie (b. 1986 Calgary, CA), Andy Meerow (b. 1980 Park Ridge, NJ), and Kyle Thurman (b.1986 West Chester, PA). We feel that Andy Meerow’s “pretzel works” are going to be a wonderful surprise to the Italian audience.”
Esther Biancotti: Concepiremo lo stand sotto ogni profilo come una mostra in galleria (tra l’altro la metratura non è tanto diversa). Presenteremo il lavoro di Marco Andrea Magni e Serena Vestrucci. Entrambe i progetti degli artisti ruotano attorno all’idea di superficie come termine e possibilità del vedere, come luogo liminale e d’incontro dove convergono differenti punti di vista. Un’indagine sugli aspetti nascosti dell’esporre, sulla profondità come “ambidromia” della prospettiva e sulla superficie come intervallo concettuale.
Fuori fiera, invece, presenteremo venerdì 10 aprile, all’interno di un abitazione privata, la performance musicale Work n 0 di Emanuele Becheri e Giovanni Kronenberg; provenienti entrambi dal contesto delle arti visive, gli artisti presenteranno una performance musicale che considerano un’ estensione della loro ricerca.
There are two types of works in the booth. One is a series of works titled Noise Pollution Scrolls, which consist of rice paper scrolls measuring 500 cm in length, and collaged with a continuous trail of silvery foil pieces. The scrolls are installed onto wall-mounted steel dispensers, making their lengths adjustable. The second piece is a two-part prototype art machine that collects sensory data from the Mathew booth and uses open-source micro-controllers to translate this information into an expressive lighting system. These works refer to Italian avant-garde legacies which seesaw perilously between provincial and international relevance, like Italy before Eataly. One is the techno-euphoric Futurist ceramic practice of Nicolai Diulgheroff in Albisola. The other is the industrial painting practice of Pinot Gallizio of Alba, which for at least a brief period was sanctioned by the Situationist International.
Corrado Folinea: “Il Museo Apparente compie a Giugno prossimo 4 anni di attività, ha all’attivo circa 15 presentazioni, ha già preso parte ad alcune piccole fiere, cosiddette ‘off’ ed è in procinto di inaugurare la sua seconda sede.
A Miart presenta tutte artiste donne legate da una pratica comune e cioè quella di cercare una interazione ed una traduzione tra diverse forme espressive, dalla scultura alla foto e viceversa in Rachel de Joode dalla scultura alla istallazione in Hella Gerlach e dalla pittura all’architettura in Sol Calero. A questi lavori si affiancherà un lavoro molto ironico, quasi teatrale di Michele Di Menna. Il lavoro principale, tuttavia, sarà quello di Sol Calero, molto connesso e legato a quanto presentato al Museo Apparente ed a lei si accosteranno i lavori di Hella Gerlach, Rachel de Joode e Michele Di Menna. La sfida è quella di riuscire a portare a Milano le peculiarità che contraddistinguono il Museo Apparente. La seconda sede, invece, che ti dicevo, si chiamerà Acappella, si trova in pieno centro a Napoli ed inaugurerà il 28 Marzo prossimo con la mostra di Luc Fuller ‘Notes on Cotton Duck’ in Via Cappella Vecchia n 8.”
For MiArt 2015 Carlos/Ishikawa, will be showing works by Richard Sides (b. 1985, UK).
Click here for more information richardsides.com
For MiArt 2015 Freedman Fitzpatrick, will be showing works by Mathis Altmann, (born 1987 *Munich, Lives and works in Zurich), Matthew Lutz-Kinoy, (born 1984 *NYC, Lives and works in Los Angeles), Lucie Stahl, (born in 1977 *Berlin, Lives and works in Berlin and London), Amelie von Wulffen, (born 1966 *Breitenbrunn/Oberpfalz, DE, Lives and works in Berlin) and Phillip Zach, (born in 1984 *Cotbuss, DE, Lives and works in Istanbul).
For MiArt 2015 Green Art Gallery, will be showing works by – Kamrooz Aram (born 1978, Shiraz; lives and works in Brooklyn, NY) and Nazgol Ansarinia (born 1979, Tehran; lives and works in Tehran, Iran).
Rahel Aima: “The booth will present two young Iranian artists, Nazgol Ansarinia and Kamrooz Aram, both of whom have never shown in Italy before. Both artists look at the way in which ancient Persian culture has been nostalgically taken up and almost remythologised in the present day—coincidentally with strong Italian references. Ansarinia considers the urban fabric of Tehran, and the architectural style that has emerged post-revolution, characterised by a synthesis of classical Roman and Achaemenid styles and a heavy emphasis on columns. At the heart of her dissected sculptures lies the text of the Iranian constitution, which functions both as a pillar of contemporary society and the framework that underwrites the country’s current socioeconomic climate
Aram, meanwhile draws inspiration from the seminal exhibition designs of Carlo Scarpa to unpack the carefully constructed neutrality of the museum display—often the primary site of encounter for ancient Iranian art in the West. In addition to his collages, Aram has intervened in the fabric of the booth itself, with stretched linen Modernist abstractions which function as both exhibition design and backdrop.”