tatintsian gallery selected
tatintsian gallery dubai presents
2022
14.11
26.12
Tatintsian Selected project opens alongside two Dubai landmark events in fall 2022 – Alserkal Art Week and Dubai Design Week.
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.
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.
ron arad
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.
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.
One of the most influential designers and architects of our time, Ron Arad is often called the Man of steel, while his provocative conceptual works are usually deemed actual objects of the future.
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Dismas, 2007
george condo
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.
Best known for the instantly recognizable figurative painting style George Condo is widely regarded as one of leading American artist working today.
Artist's work is populated largely by dramatically stylized, almost cartoonish, characters with exaggerated, grotesque features, ghoulish expressions, often fractured nearly beyond recognition.
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.
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.
Oil on canvas
217,9 x 218,4 cm
Framed: 224,5 x 224 cm
217,9 x 218,4 cm
Framed: 224,5 x 224 cm
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MAT COLLISHAW
With an early foundation at Goldsmiths College, Collishaw formed part of the legendary movement of Young British Artists (YBA's). He was one of 16 young artists who participated in the seminal Freeze exhibition organized by Damien Hirst in 1988 as well as the famous Sensation show of 1997.
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.
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.
Mat Collishaw is one of the most significant and compelling artists in contemporary British art.
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), The Brooklyn Museum (New York, USA) and Centre Georges Pompidou (Paris, France).
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), The Brooklyn Museum (New York, USA) and Centre Georges Pompidou (Paris, France).
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Evgeny chubarov
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.
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.
A painter, sculptor, and an enigmatic visual artist, Evgeny Chubarov translated his emotions, moods, and intellectual insights to a new unprecedented visual language. He created a visual iconography that thoroughly reunified a contemporary world and the spiritual art traditions.
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.
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.
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Peter Halley
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 Neo-conceptualism (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.
Artist's philosophy became the basis for the Neo-conceptualism (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.
A true living contemporary maître and one of the most emblematic artists of his generation, Peter Halley is recognized in the history of contemporary painting as the legitimate heir of American abstraction.
Halley came to prominence in the mid-1980s. Together with Jeff Koons, Haim Steinbach, Meyer Vaisman and Julian Schnabel, he represented a generation of Neo-Conceptualist artists that first exhibited in New York's East Village.
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.
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.
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Lost Years, 2008
john miller
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.
John Miller is an artist, critic, and musician whose work has challenged the strategies of conceptual art since the early 1980s.
Along with his classmates and friends Mike Kelley and Jim Shaw, Miller was part of an influential group of artists who studied at the California Institute of the Arts in the 1970s.
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.
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.
Imitation gold leaf on assorted objects on a hollow-core panel
172,7 × 167,6 × 38,1 cm
172,7 × 167,6 × 38,1 cm
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Assets and Activities 13, 2013
jenny holzer
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.
Jenny Holzer was the only second female artist to represent the United States at the Venice Biennale (1990) and the recipient of the event's top honor – the Golden Lion that year.
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.
Jenny Holzer was the only second female artist to represent the United States at the Venice Biennale (1990) and the recipient of the event's top honor – the Golden Lion that year.
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.
A neo-conceptualist Jenny Holzer is regarded as one of the most significant artists to work in the public realm since the 1980s being a pioneer in using public art as social intervention.
The focus of her work is the delivery of words and ideas in public spaces and includes large-scale installations, advertising billboards, projections on buildings and other structures, and illuminated electronic displays.
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.
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.
Oil on linen
203,5 x 157,5 x 4 cm
203,5 x 157,5 x 4 cm
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Unit 50, Alserkal Avenue
Al Quoz, Dubai
Al Quoz, Dubai
tatintsian gallery selected
© Courtesy of the Artist and Gary Tatintsian Gallery
November 14–December 26, 2022