Gallery showroom will spotlight selected works by such contemporary masters as Ron Arad, George Condo, Mat Collishaw, Evgeny Chubarov, Peter Halley, John Miller and Jenny Holzer.
From a young age, Ron Arad has been avoiding the architectural canons and clichés and experimenting with different shapes, materials, and technologies. In a thirty-year of his successful career, the artist produced an outstanding array of innovative objects that defined much of the current panorama of global design and inspired a generation of young artists and architects around the world.
Sheet metal is the trademark of Ron Arad. Artist works with steel, aluminum, and polyamide, embodying the colorful and unique style in a variety of works of art, design objects and futuristic architectural spaces.
The sculpture “D-Sofa” (1993) is an iconic work by Ron Arad and one of his key design objects.This work embodies Ron Arad’s inherent architectural style of undulating flowing forms, his inventive design that combines industrial materials into a language of volume and sinuous lines. The sofa is made of steel, a metal that appeals to the artist for its surface, strength, malleability, and spirit of minimalism.
“If I could steal any piece from my exhibition (at the MoMA, NY), it would be this D-Sofa,” says the artist, admitting the object as one of his favorites.
Table Tennis has been a constant source of entertainment and inspiration for Ron Arad, both as a design object and as a recreational activity. The concave surface of “New Ping Pong” (2008-2015) is brilliant example of Arad’s design. Polished to a high gloss, the curved table made of stainless-steel, was designed to slow down the pace of the game and make rallies last longer. In this way, a game that normally runs at high speeds is transformed into a relaxed pastime.
“I could not help but wonder what else I could have done do with this magical material. So I thought about doing something that would allow us to enjoy the material in a completely new and different way.” – Ron Arad
Among the most honored Arad’s architectural projects are interior design for the Opera and Performing Art Center in Tel Aviv, a flagship store of fashion designer Yohji Yamamoto in Tokyo and the Design Museum Holon in Israel. Artist’s public projects include: ‘Big Blue’ in Canary Wharf (London), ‘Evergreen!’ (Tokyo), ‘Kesher’ (Tel Aviv), and ‘Vortext’ (Seoul). In 2016, a mobile 16-meter ‘Spyre’ sculpture graced the entrance to the Royal Academy of Arts in London. In 2013, Ron Arad was made a Royal Academician of the Royal Academy of Arts.Artist’s work graces private and public collections all over the globe, including the Metropolitan Museum of Art (New York, USA), the Victoria and Albert Museum (London, UK), Design Museum (London, UK), Stedelijk Museum of Modern Art (Amsterdam, Netherlands), Musée National d’Art Moderne/ Centre Georges Pompidou (Paris, France), Museum of Modern Art (New York, USA), Powerhouse (Sydney, Australia), Design Museum (Osaka, Japan).
Condo studied art history and music theory at the University of Massachusetts in Lowell. After working in famous Andy Warhol’s Factory, he went to Paris in 1985 where he resided for a decade studying classical art. In a career spanning more than three decades, Condo’s body of work has consistently drawn upon art historical traditions and genres. His paintings fuse the imagery and techniques of the European Old Masters with aesthetics that echo works by such maîtres as Pablo Picasso, Francis Bacon and Willem de Kooning mixed with the popular American culture, comics, and cartoons.
A fine example of Condo’s dramatic intensity – the work “Dismas” – demonstrates artist’s study of the psychology of the portrait as well as an investigation of symbolism in imagery. Condo translates one of the most popular iconographies in Western art history into a unique work of his imagination. Dismas was the name of one of the two thieves crucified at the same time as Jesus, usually depicted beside him. Dismas’ haggard face, played by Condo, is contorted into a mimicry of pain. Theatrically propped by a bright spotlight against a dark background, the outlaw transforms from a biblical figure into a fantastical creature of Condo’s universe.The works by George Condo are featured in the most important public and private collections worlwide, including: Museum of Modern Art (MoMA) (New York, USA), Whitney Museum of American Art (New York, USA), The Solomon R. Guggenheim Museum (New York, USA), Tate Gallery (London, UK).
Throughout his 30-year career, Collishaw has contemplated the nature of the human subconscious and explored ways to influence it through various media. Through optical illusions, paintings, projections and moving sculptures, the artist creates works and scenarios that directly and unconsciously engage their viewers.
Illusion is one of the central themes in Mat Collishaw’s work, through which he questions and breaks down traditional perception of familiar images. Collishaw analyzes the influence of hidden mechanisms and visual techniques on the subconscious of the viewer. In this regard his interest in Victorian era is associated with the study of the early technique of the time used to create optical illusions. With the help of spectral projections, innovative photography, and zoetropes invented in the early days of the Victorian era, Collishaw recreates effects that underlay pre-cinematic animation.
His works encourage us to think about fundamental questions of psychology, history, sociology and science. Behind the richness and visual appeal of each work there is a deep exploration of how we perceive and are influenced by the world today through images, and modern technology. Questions regarding behavioral manipulation, programming, temporal reality all linger in the viewing experience.Mat Collishaw’s works have been exhibited in numerous museums and are presented in many private and public collections globally, including: Tate (London, UK), Somerset House (London, UK), Galleria Borghese (Rome, Italy), Victoria and Albert Museum (London, UK), and many others.
Greatly inspired by Byzantine, Armenian, Russian and Arabic art – the art of illuminated manuscripts, calligraphy, and architecture – Chubarov always surrounded himself with illustrations of these masterpieces, declaring his calling as an artist as being the Medium that essentially brought these different worlds together.
For more than four decades of his career Chubarov worked in Berlin, New York, and Moscow, studying a phenomenon of the Pure Abstraction – a new intellectual form of the abstract gestural painting where the line and its implementation gained a special meaning.
Chubarov subjected the works to a game of improvisation. Fascinated by unpredictability of the abstraction, he understood improvisation in a musical sense acquainting the viewer with a phenomenon of symphonic work. There is no traditional center in his paintings. The composition is randomly scattered across the canvas. Created in defiance of academic canons, this arbitrary composition eliminates the internal balance of colors, shapes, and strokes and represent “non-relational art”.Chubarov was awarded a Pollock-Krasner Foundation grant and participated in exhibitions together with the leading artists of the post-war generation: Frank Stella, Peter Halley, Sol LeWitt and Damien Hirst. Artist’s heritage includes over hundreds of paintings, thousands of works on paper and sculptures that can be found in Public Funds, Museums and private collections around the world.
Inspired by the work of Piet Mondrian, Josef Albers and Donald Judd, Halley employed a language of geometric abstraction to develop his personal approach to painting and form a unique and highly recognizable style. Halley focused his art experiments on the reflection on complexity and scale of the city’s structure, diagramming the urban systems of communication in his paintings, drawings, and Kodaliths. Artist developed a simple vocabulary of architectural icons that he called ’prisons’ and ’cells,’ linked with straight lines – ’conduits.’ Through this vocabulary, he expressed the regimentation of the spaces we inhabit and the way they are being formed.
Halley’s formal experimentation was driven by the tension between his use of purist geometric form and his embrace of the commercial materials: fluorescent Day Glo paint and Roll-a-Tex, a powdered paint additive used to create the “popcorn” textured interior wall treatments that were ubiquitous in newly built suburban condos of the time.
Artist’s philosophy became the basis for the Neoconceptualism (Neo-Geo) movement. Seeing the metaphor of our society, Halley’s work becomes a critical analysis of the mechanization and commercialization of the modern world, that describes a phenomenon of human isolation in a social landscape.Halley’s works represented in the major museums around the world, such as: the Tate Modern (London, UK), the Art Institute of Chicago (USA), the Museum of Modern Art (NY, USA), The Dallas Museum of Art (Dallas, USA), and many others.
Over the course of 30 years, Miller has produced an eclectic and profoundly diverse body of work that addressed language, valuation, social hierarchy and abjection. Through his sculptures, photographs, paintings and installations, Miller continuously explores notions of identity, economics, and social class.
Miller is best known for a series of relief assemblages formed from found objects and synthetic low-end merchandise coated with a layer of paint that he began to make in the mid-1980s. In 2008, he began gilding the reliefs using imitation gold. The metallic shimmer of gold-plated objects evokes an unconscious attraction, drawing viewer’s eyes to the shiny surfaces. Only on a closer look, these gold-painted details turn out to be the low-cost household items. Taken together, these objects are devoid of practical application and portray a mock reflection of average life. ‘All that glitters is not gold’ – the contrast between the illusion of luxury and the disappointment of the sudden loss of value of the object reflects Miller’s position on the validity of art in consumer culture.His work has been widely exhibited in both Europe and the United States, including the New Museum (New York, NY, USA), Museum of Modern Art (New York, NY, USA), Hammer Museum (Los Angeles, CA, USA), Museum Ludwig (Cologne, Germany), Musée d’Art Moderne et Contemporain (Geneva, Switzerland) and Palais de Tokyo (Paris, France).
Holzer has become the voice of multiple generations, bringing to light that which is often thought but rarely spoken. Addressing the themes of feminism, power, violence, oppression, consumerism, despair, poverty and corruption, artist is concerned with reaching a wide audience – she intentionally takes art out of the museum and gallery context making it more accessible to the public.
Starting on the streets of New York with simple fly-posters, she has gone on to disseminate poetic, political, and personal texts, slogans, and aphorisms through a variety of media. Since mid 1990’s Holzer has created dozens of outdoor light projections on buildings in over 50 countries in cities ranging from Singapore to San Diego.
Her ‘Top Secret’ series focuses on intelligence documents from U.S. National Security Archive that were published on its website and disclosed details of the wars in Iraq and Afghanistan. From a distance the works resemble color- theory studies to the works of Kazimir Malevich and Ad Reinhardt. But, on closer look the viewer realizes that the large blocks of color are redactions, and the cheery yellows or reds are in fact obfuscations of what could be grim details: some of these documents were so heavily blacked out by censors that almost nothing was readable.The permanent installation by Jenny Holzer can be seen in many public and art spaces as Peggy Guggenheim Collection (‘Garden Bench’, Venice, Italy), Louvre Abu Dhabi (‘For the Louvre Abu Dhabi’, Abu Dhabi, United Arab Emirates), Museo Guggenheim Bilbao (Bilbao, Spain), Amsterdam Airport Schiphol (Amsterdam, Netherlands) and many others.