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.
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.
'Fiat 500 is a national symbol for Italy and our generation, and it's a very endearing vehicle. Everyone has stories about their first Fiat, or a first kiss in a Fiat. We're not destroying the cars, we're immortalising them.' — Ron Arad A set of colorful Fiat 500s cars called 'Pressed Flowers' (2013) refers to a collection of dried and pressed flowers, often mounted on a sheet of paper, preserving the vibrant colors and unique shapes, to capture the beautiful memories for years. In the same way, the cars from the series have been flattened by a 500-ton shipyard press to a cartoonish perfection. Artist turned a functional car into an art piece that has no utilitarian value, immortalizing the memories it could keep and the symbol it represents. The objects made for motion are now still, cars built for the road now hang on a wall, their three dimensions compressed almost entirely to two, yet they still stay cars, now shown from a new perspective.
Exhibitions Ron Arad. Gary Tatintsian Gallery, Moscow, Russia. 18 November 2016 – 1 February 2017 Ron Arad: "in Reverse". Paul Kasmin Gallery, New York, USA. 12 February – 14 March 2015 Ron Arad: "in Reverse". Pinacoteca, Turin, Italy. 20 December 2013 – 30 March 2014 Ron Arad: "in Reverse". Design Museum, Holon, Israel. 19 June – 19 October 2013
Publications Ron Arad. Gary Tatintsian Gallery, Moscow, 2017. pp. 69-73, 83 "In Reverse". Design Museum Holon, Israel, 2013. pp. 47, 54-55, 57
D-sofa, 1993 Polished copper, stainless steel 101,5 x 216 x 89 cm
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.
Exhibitions Ron Arad. Gary Tatintsian Gallery, Moscow, Russia. 18 Nov, 2016–1 Feb, 2017
Publications Catalogue 'Ron Arad'. Gary Tatintsian Gallery, Moscow, 2017. pp. 32–33, 34–35, 36–37, 40–45
New Ping Pong, 2008-2015 Mirror polished stainless steel and patinated bronze | 83,4 x 276,3 x 149,6 cm
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
Exhibitions Ron Arad. Gary Tatintsian Gallery, Moscow. 18 Nov 2016 – 1 Feb 2017 Bologna Art fair with Jablonka Gallery. Jan 2008 Villa UGC in Cannes, during the 2008 Cannes Film Festival. May 2008 Summer Exhibition. Royal Academy London. Jun 2008 Friedman Benda Gallery New York. Nov 2008
Publications Catalogue - Ron Arad. Gary Tatintsian Gallery, Moscow, 2017. pp. 56-57, 63, 68-69, 72-73, 74-75, 76-77, 87-79, 80-81, 82-83, 84, cover page 1, 4
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.
Oil on canvas 217,9 x 218,4 cm Framed: 224,5 x 224 cm
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.
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).
The Centrifugal Soul (2016), a large-scale zoetrope, was created in collaboration with renowned contemporary evolutionary psychologist Geoffrey Miller. A zoetrope – an elegant structure invented during the Victorian era, references to which invariably appear in Collishaw's works. In the center of the zoetrope is a platform adorned with models of flowers and birds. Rotating at 60 rpm, the platform is illuminated with flashes of strobe light every second, creating the illusion of movement as the birds hover over the opening buds and perform mating dances with their bright plumage. Birds are programmed by nature to perform these courtship rituals to breed and maintain the species. Technology companies have developed ways to capitalize on this natural instinct, encouraging us through social media and smartphones to constantly create and project an idealized version of ourselves, presenting ourselves to the outside world as more successful and desirable.
Exhibitions On the Origins of Art MoNA, Museum of Old and New Art, Hobart, Tasmania. 5 Nov 2016-17 Apr 2017 The Centrifugal Soul. Blain | Southern, London, UK, 2017 Dominion. New Media Gallery, New Westminster, Canada. Aug 5-Oct 1, 2017 Mat Collishaw, The Centrifugal Soul. Castle Howard, York, UK. Mar 24-Oct 4, 2018 Enjoy, Art meets Amusement (curated by Danilo Eccher). Chiostro del Bramante, Rome, Italy. Sep 23, 2017-Feb 25, 2018 A Trick of the Light. Grundy Art Gallery. Blackpool, Uk. Sep 28-Dec 14, 2019 The End of Innocence. Sorigue Foundation, Lleida. Sep 20, 2019-Mar 28, 2021 The Machine Zone. Gary Tatintsian Gallery, Moscow. Feb 25-Jun 25, 2022 Mat Collishaw. The Machine Zone. Tatintsian Gallery, Dubai. Sep 27-Nov 3, 2022
Publications Mat Collishaw. The Machine Zone. Gary Tatintsian Gallery, 2022. pp. 3-4, 52-67
The Nerve Rack, 2019 Acetal, acrylic, aluminium, brass, electric circuitry, paint, PVC, resin, servo motors, steel | 195 x 116 x 66 cm
The Nerve Rack (2019) was originally created specifically for the former Ushaw Seminary in County Durham as a site-specific installation. A life-size mechanical figure of an eagle, it was installed in the chapel of St. Cuthbert's Church opposite one of County Durham's treasures, a lectern topped with a bronze sculpture of an eagle designed by the 19th century architect Augustus Pugin. The majestic images embodied symbols of opposing spiritual beliefs in 16th century England.
Facing each other, they represented the unity and, at the same time, the irreconcilable differences between the Catholic and Protestant movements of the era. Contrasting the minimalism of the machine with the elegance of the bronze sculpture, the artist reflects on the power of suggestion and the ways of distorting information through visual images.
Exhibitions The Nerve Rack, Ushaw College, County Durham, Jul 5-Nov 3, 2019 Mat Collishaw. The Machine Zone. Gary Tatintsian Gallery, Moscow. Feb 25-Jun 25, 2022 Mat Collishaw. The Machine Zone. Tatintsian Gallery, Dubai. Sep 27-Nov 3, 2022 Publications Mat Collishaw. The Machine Zone. Gary Tatintsian Gallery, 2022. pp. 14, 39-51, Cover
the machine zone, 2019 Acrylic, aluminium, C-type Photograph, electrical circuitry, servo motors, steel | 6 sections, each part – 118 x 48 x 25 cm
The Machine Zone (2019) – for which the exhibition is named – is an installation of robotic birds that perform a repetitive algorithm of actions. The work refers to the 1950s experiments of the American psychologist Burrhus Frederic (B.F.) Skinner, in which he analyzed the behavior of small animals driven by a random reward system.
Skinner's basic methodology was to give his subjects a signal to encourage them to perform actions in exchange for a reward. Skinner's conclusion, that our behavior is 'a response to circumstances and environmental influences', underlies much of the research on the algorithms that govern our social networking interactions today. Taking advantage of the vulnerability of the human psyche, algorithms shape our habits and create unconscious addictions.
Exhibitions 24/7 A WAKE-UP CALL FOR OUR NON-STOP WORLD, Somerset House, London, UK. October 31, 2019 – February 23, 2020 Mat Collishaw. Djanogly Gallery, Lakeside Arts, Nottingham, March 14, 2020-September 5, 2021 UnNatural History. Herbert Art Gallery & Museum. Jordan Well, Coventry, Uk. May 28-Aug 22, 2021 Mat Collishaw. The Machine Zone. Gary Tatintsian Gallery, Moscow. Feb 25-Jun 25, 2022 Mat Collishaw. The Machine Zone. Tatintsian Gallery, Dubai. Sep 27-Nov 3, 2022
Publications Mat Collishaw. The Machine Zone. Gary Tatintsian Gallery, 2022. pp. 1-2, 16-29, Cover
The Operant Conditioning Chamber, 2022 Oil on aluminium panel 40 x 40 cm
The series of paintings called The Operant Conditioning Chamber (2022) is based on photographs of Skinner's early experiments. The birds shown there, confined in cages to study their behavior, became unwitting agents in collecting data that could then be used for manipulation and financial profit.
"Using food, leverage, and other environmental factors, Skinner demonstrated that what was thought to be an independent response was in fact a conditioned reflex, and thereby called into question the seemingly immutable concept of free will," – Lauren Slater.
Exhibitions Mat Collishaw. The Machine Zone. Gary Tatintsian Gallery, Moscow. Feb 25-Jun 25, 2022
Publications Mat Collishaw. The Machine Zone. Gary Tatintsian Gallery, 2022. pp. 34, 36
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.
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.
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.
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.
In 80s Peter Halley started to use a powdered paint additive Roll-a-Tex, used to create the 'popcorn' textured interior wall treatments that were ubiquitous in newly built suburban condos of the time.
"Humor is my favorite creative strategy, especially the Roll-a-Tex. When I came back to New York in 1980, one could easily identify the work of one significant painter from another by its characteristic texture or use of materials or brushstrokes or whatever it is." - Halley says. "Where my paintings are flat, that is a coded image of space. When they're coated with Roll-a-Tex, that implies a depiction of an enclosure or cell."
Peter Halley. Tangled, 2010 Acrylic, day-glo acrylic, metallic and pearlescent acrylic, and Roll-a-Tex on canvas 230 x 315 x 9,8 cm
Exhibitions Peter Halley, Gary Tatintsian Gallery: Sep 2010-Jan 2011
Publications 'Peter Halley. Gold.' Gary Tatintsian Gallery. 2015
"Keep in mind that I don't really see my paintings as abstract. To me, they are diagrammatic representations of the spaces we live in, isolated cellular structures connected by technologically determined pathways, like highways or the internet. At the same time, I do think of my work as diaristic. I am interested in following how my paintings change over the course of time. It's a little crazy – but rearranging these forms and reworking them over a period of over twenty-five years is interesting to me." – Peter Halley
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.
Imitation gold leaf on assorted objects on a hollow-core panel 172,7 × 167,6 × 38,1 cm
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.
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.