ARNO EICHHORN | limited edition prints – Portfolio 10/2015
Transcription
ARNO EICHHORN | limited edition prints – Portfolio 10/2015
Portfolio_10_2015 ARNO EICHHORN WHAT THIS IS WHAT WE DO We are a publisher of limited fine art edition prints by contemporary international artists. ARNO was founded in 2013 by an artist to make challenging artistic positions accessible to larger and inspired audiences, and to increase the outreach and autonomy of the participating artists. In this initial portfolio of ARNO, we present a carefully curated selection of 51 inspirational artworks by 17 professional contemporary artists from 11 cities across six countries. And as you read this, we are already working hard on further expanding our portfolio of challenging artistic positions. Each edition is exclusively developed for ARNO in close dialogue between the artist and our curator – a process that often involves commissioning new work, sometimes over a period of several months. At ARNO we believe that exceptional art takes time to mature. We are not a fast food service, nor are we a symptom of fashion. By applying a straightforward and down-to-earth pricing policy – ranging from €50 to €2,400 – we aim to be the ambassadors of a democratisation of collecting high-quality contemporary fine art. HOW WE PRODUCE WHAT YOU WILL GET GET IN TOUCH To print each new edition our specialists carefully select the right paper stock, so each artist’s contribution can grow to its full individual potential. We don’t subscribe to all-in-one solutions. Each work of art is as individual as you are. We are able to provide you with unique fine art edition prints, and ensure longevity and perfection in both material and content. The archival fine art papers in use are designed to preserve colour and detail for a century or more, and the high-density pigments provide rich and long-lasting colours and tonalities. In fact, the accuracy and quality of our prints meet museum standards! You will find detailed information on print sizes, edition runs and pricing at the end of this portfolio. If you would like to check the availability of any specific edition, or if you have any other questions, please don’t hesitate to get in touch with us: [email protected] So is our paper choice. We only use the finest archival fine art and photographic papers, to which we apply only the highest quality archival pigment inks during our production. All editions are strictly limited and come accompanied by our certificate of authenticity applying state-of-the-art security standards. We hope you will enjoy our selection, and we would be delighted to welcome you to our community of collectors! Sign up for our news: www.arnoeichhorn.com Those who coincide too well with the epoch, those who are perfectly tied to it in every respect, are not contemporaries, precisely because they do not manage to see it; they are not able to firmly hold their gaze on it. Giorgio Agamben, Nudities, 2011 ARNO EICHHORN | ARTISTS DIANA ARTUS | Germany, 6 EMMA HOLMES | United Kingdom, 30 SASCHA POHFLEPP | Germany, 54 ALIA BILGRAMI | Pakistan, 10 MATTHIAS KRAUSE | Germany, 34 SCOTT ROBERTSON | United Kingdom, 58 BENJAMIN BOHNSACK | Germany, 14 MARIAN LUFT | Germany, 38 SHELLEY ROSE | United Kingdom, 62 JAMIE BRADBURY | Canada, 18 KALOAN MEENOCHITE | Brazil, 42 TIMOTHY SHEARER | United States, 66 GABO GUZZO | Italy, 22 SASCHA MIKLOWEIT | Germany, 46 REUBEN WU | United Kingdom, 70 PAUL PHILIPP HEINZE | Germany, 26 PAUL O’KANE | United Kingdom, 50 6 DIANA ARTUS | Germany Those aren’t your memories, they’re somebody else’s | 2011 DIANA ARTUS | 7 01.01. 08.06. 10.09. DIANA ARTUS | 8 01.01. (detail) 08.06. (detail) 10.09. (detail) DIANA ARTUS | 9 BIOGRAPHY ABOUT THE WORK Diana Artus is a Berlin-based visual artist with a strong focus on the perception of urban space, its imagery and the interdependency between city and mood. The base of her creative process is photography, which results in surreal reinterpretations of urban phenomena and architectural bodies. This often takes the form of sculptural image objects or images of images. By transforming digital photographs into original image objects with an analogue and unique character, she constantly stretches and transcends the limits of the photographic medium. ‘Implants. Those aren’t your memories, they’re somebody else’s,’ says Deckard to Rachael in a scene from the movie Blade Runner, when she tries to convince him that she is human and not a replicant by mentioning that she has memories. But the memories of replicants are artificial and implanted to better keep these human clones and their possible ambitions and desires under control. Diana received a Magister Artium degree in German Literature & Language from the University of Leipzig in 2000, and a Diploma degree in Photography from the Academy of Visual Arts Leipzig in 2007, where she also completed a Meisterschülerstipendium (Master Student Scholarship) in 2010. She has also been awarded several grants, including a studio grant at ISCP New York, 2008. Significant selected shows include several solo shows at Galerie Metro Berlin, 2010-2012; Art Cologne’s New Contemporaries, 2011; Galerie Alexander Levy, Berlin, 2013; Fabra i Coats Center of Contemporary Art, Barcelona, 2014; Tokyo Institute of Photography, 2014; and Art International Istanbul, 2014. The works commissioned by ARNO question the truth of memories and the coherence of human recollection. Resulting from a process of continuously re-photographing the photographs while adding a series of different and disturbing analogue filters, these are images of images, blurring and dissolving into a visual noise. Only some urban elements are clearly visible – somehow fragile, and not necessarily truthful fragments of reality. The images depict their own fundamental instability – their fugacity and uncertainty bear a resemblance to a mémoire involontaire: a single and unexpected moment of a sudden coincidence of different space and time layers. La mémoire involontaire evokes images of the past not seen and registered until the future – which is the present moment. 10 ALIA BILGRAMI | Pakistan Banainge Pakistan | 2013 – 2014 ALIA BILGRAMI | 11 Still Tulips Run Deep Banainge Pakistan – We will build Pakistan Black Tulips ALIA BILGRAMI | 12 Still Tulips Run Deep (detail) Banainge Pakistan (detail) Black Tulip (detail) ALIA BILGRAMI | 13 BIOGRAPHY ABOUT THE WORK Alia Bilgrami’s artworks contain fragments from a personal sense of dislocation, endeavouring to portray the dichotomy that exists when you have both a sense of belonging and of being scattered all at once. The notion of displacement is a topic that has featured extensively in her practice. Initially using a cardboard box and maps to visually translate the feeling, her work has shifted slightly in terms of both imagery and resonance. Settling on the tulip as a symbol to represent displacement in her artwork, she uses labour-intensive media such as photo emulsion, analogue photography, contemporary miniature painting and solar plate etchings. In the series Banainge Pakistan (We will build Pakistan), Alia’s use of the flower is symbolic. The tulip’s history stems from Persia and Turkey – representing true love, it was first cultivated as early as 1000 AD. It was appropriated much later by Western Europe and the Netherlands in the 17th Century, where it ostensibly turned into a symbol of capitalism as tulip mania spread all over Europe. Essentially, the tulip was displaced and appropriated. Furthermore, what it represented in the East is in direct contrast to what it came to represent in the West. In her recent practice, Alia expands her traditional and highly skilled technical approach through a poetic contemplation on the fall of capitalism globally and how its pieces come apart locally. She holds an MA in Fine Art from Central Saint Martins, London, 2010, where she won the Cecil Collins Memorial Award, as well as a BFA from the Indus Valley School of Art & Architecture, Karachi. Her first solo show, Tulipmania was at the Rohtas Gallery, Islamabad, 2011. Alia has exhibited extensively in Karachi, Lahore, Islamabad and internationally. She is currently a curator at Khaas Art Gallery in Islamabad, Pakistan, where she lives. Alia’s tulip prints speak of this dichotomy and are juxtaposed with both sinister as well as more commonplace elements of everyday life – highlighted by her use of newspaper clippings. Life always seems to go on, with the good and bad moments very much a part of our lives whether we accept them or not. Every human life is important and every life is connected to many, many others who are in turn affected in some way. The tulips in this series represent individuals and the tapestry formed by human relationships. 14 BENJAMIN BOHNSACK | Germany The Day I Met John Lurie | 2014 BENJAMIN BOHNSACK | 15 #1 #2 #3 BENJAMIN BOHNSACK | 16 #1 (detail) #2 (detail) #3 (detail) BENJAMIN BOHNSACK | 17 BIOGRAPHY ABOUT THE WORK Born in Münster, Benjamin Bohnsack currently lives and works in Düsseldorf, Germany. After enrolling at the academies of fine arts in Münster and later in Düsseldorf to study painting, he decided to embark on a rather subjective approach to make visible what is usually regarded to be unimportant in the rational configuration of the modern mindset. Benjamin first saw John Lurie act in some of Jim Jarmusch’s movies from the eighties. Responding intensely to any visual or auditory input, he soon discovered Lurie’s music and film projects as an inspiration. In April 2013, Benjamin went to the movies in Brooklyn together with a good friend. When they arrived at the cinema’s entrance, John Lurie came out to have a smoke. Although neither of them had a lighter, they took their chance to chat to Lurie. In a world that is ambitious about inventing ways of controlling people’s live and claims that only what can be explained is of value to us, Benjamin’s aim is to create abstract paintings of around two metres and larger, enabling the recipients to connect to what they perceive and experience a kind of ‘paint trip’ themselves. His materials are colour, space, light and sometimes shape. For the triptych commissioned by ARNO, Benjamin decided to utilise documentary photographs he completed in the past. Some of the originals were lost or damaged over time and do not exist anymore – their photographic documents being the only witness of their existence. Exchanging canvas, colours and brushes for monitor, keyboard and microprocessors, he translated the concerns of his painting practice into the digital realm. The result is a synthetic digital fusion of multiple document images into singular painterly entities, to create digital paintings that could not have come to life in another way. This work, emerging from the coincidence of a certain New York evening, however, reminds us of the upbeat rhythm in some of Lurie’s musical pieces. 18 JAMIE BRADBURY | Canada The colonials | 2015 JAMIE BRADBURY | 19 The wretched of the Earth Moses of her people Venus’ Hottentot JAMIE BRADBURY | 20 The wretched of the Earth (detail) Moses of her people (detail) Venus’ Hottentot (detail) JAMIE BRADBURY | 21 BIOGRAPHY ABOUT THE WORK Born in Canada, Jamie Bradbury lives and works in London, UK and Montreal, Canada. His work primarily explores postcolonial social and political policy through the use of drawing, painting, sculptural installations and writing. He often employs his Jamaican-Irish ancestry to investigate and highlight where these subjects intersect, or overlap, while also citing W.E.B. Du Bois’ theory of ‘double consciousness’ as a major influence to the evolution of his work. Jamie’s scans of original graphite drawings act as simulacra, exploring how embedded meaning increasingly becomes tenuous or disparate through the process of dissemination. This mirrors how personal and collective narratives of traditionally marginalised groups continuously and increasingly become commodified through the lens of the colonial gaze, yet progressively lose real meaning. The museum collapses into the shopping mall. It also demonstrates the historical realities and the contemporary ramifications associated with representation. These images explore the power relationships continually played out through forms of representation, questioning who has the power to decide, what gets represented, and to whom. In 2010, he graduated from the Central Saint Martins College of Art & Design MA Fine Art programme in London, while being exhibited in Canada and throughout Europe in exhibitions and fairs such as the Arte Fiera, Italy; Santorini Biennale, Greece; AACDD Festival, UK; and Art Toronto, Canada. Jamie’s work has appeared in publications and media such as Canadian Art, Bravo TV, CBC News, Canada; Garageland, Sky 1’s Pineapple Dance Studios, UK. His works are held in private and public collections such as the National Portrait Gallery of Canada. In 2014, he was shortlisted for the Jerwood Prize curated by Photo Works, and participated in a conference entitled ‘Images of Whiteness’ at Oxford University, UK, along with a residency in Atina, Italy. Drawing from both personal and more general culturally specific histories, Jamie attempts to highlight and question the boundaries of both psychological and physical spaces that enable the formation of the self and other, whilst focusing on the constant push/pull relationship between these inhabited spaces. This work concerns the creation of a historical space for the representation of African diasporic people outside of the traditional colonial commodifications of ‘blackness’, and standing apart from the Eurocentric viewpoint employed throughout the canon of Western art. 22 GABO GUZZO | Italy L.I.A. | 2014 GABO GUZZO | 23 Lessons I picked up the silence A regression GABO GUZZO | 24 Lessons (detail) I picked up the silence (detail) A regression (detail) GABO GUZZO | 25 BIOGRAPHY ABOUT THE WORK Gabo Guzzo is an Italian artist based in London. With an MSc in Economics and an MA in Fine Art, his interdisciplinary approach to art practice encompasses sound, text, video, sculpture, photography and performance. Gabo deals in multiplicities, often merging media in order to create hybrid forms of language. His practice refers to an ongoing research into the meaning of human nature; explores ideas relating to concepts of pure and impure; and draws on the tension between nature and culture, science and myth, chance and control. This subject has also been explored in a conversation between Gabo and Hans Ulrich Obrist titled: ‘On Self Invention in Art’. Gabo’s research process has resulted in the drafting of The Glossary, a dynamic list of words and concepts that attempts to present the human being in its most current state. The Glossary is a work in progress and will evolve over time. For each project or exhibition, Gabo’s artistic production is informed by one or more words from The Glossary. In the triptych commissioned by ARNO, he explores the human being in relation to the socio-cultural and technological contesting which both the individual and collective body operates. Gabo’s work considers labour process theory, social anthropology and debates in contemporary political philosophy, with the aim of examining the critical framework in which art operates today. His writing and performative work has been exhibited at the Whitechapel Gallery, London, featuring a live performance dealing in issues of identity, power and otherness. In The Geological Turn: Art and the Anthropocene at London’s Banner Repeater, Gabo staged a collaboration with scientist and Nobel Laureate Paul Crutzen, artist and writer Rasheed Araeen, and writer T. J. Demos. Words in The Glossary such as ‘Self Invention’, ‘Multividual’, ‘Multiplicity’, ‘Monster’, ‘Onanist juvenilism’ and ‘Free Will’ were functional to the development of texts and images presented in the final works. A translation process informs the creation of the three presented works: Lessons, I Picked Up The Silence, A Regression. The words extracted from The Glossary are in fact translated and transformed by Gabo into short stories and photographs. In the final production stage, texts and images are merged to become a single multi-layered body. 26 PAUL PHILIPP HEINZE | Germany Variations on folded states | 2014 PAUL PHIIPP HEINZE | 27 Folded state I Folded state II Folded state III PAUL PHIIPP HEINZE | 28 Folded state I (detail) Folded state II (detail) Folded state III (detail) PAUL PHIIPP HEINZE | 29 BIOGRAPHY ABOUT THE WORK Born in Leipzig, Germany, Paul Philipp Heinze studied at UdK Berlin, ERBA Nantes and HGB Leipzig where he received a Diploma with honours (MFA) in Media Arts. Having grown up in the former German Democratic Republic (GDR), Paul credits the state’s political transition from socialism to capitalism as a crucial influence on his socio-critical artistic thinking. Movements such as Institutional Critique and anti-art movements such as Situationist International and Fluxus also influence his post-conceptual approach to art. For a site-specific installation at the Academy of Visual Arts Leipzig in 2008, Paul analysed the composition lines of Frederic Edwin Church’s painting Twilight in the Wilderness from 1860. This painting ascribes to the Hudson River School, a mid-19th century American art movement, embodied by a group of landscape painters whose aesthetic vision was influenced by romanticism. The movement paintings reflected three themes of America in the 19th Century: discovery, exploration and settlement. Understanding the concept of an institution as a system of rules causing a particular social order or a sedimentation of dynamic social processes, Paul expands the traditional notion of Institutional Critique by shifting the focus from inherent topics of the art operating system – such as museums, galleries and art markets – to the entire spectrum of the human and non-human existence. Paul is specifically interested in the misconception of the ‘first view’, which is inherent in the notion of discovery during the American settlers’ movement around that time. Based on his analysis, he developed a 3D spatial model that he further formulated as a site-specific intervention for that very installation at the academy. Paul’s contribution to ARNO is an image-processing product based on the renderings of the former 3D spatial models, which again become two-dimensional works oscillating in a humorous manner towards contemporary commercial aesthetics. Paul’s work has been featured in numerous international exhibitions, and explores topics including identity construction, post-humanism, the post-internet economy and cognitive capital through artistic techniques such as installation, performance and intervention. He describes his work as bildhauerisch (sculptural), in the broadest sense, while also emphasising the sensual qualities of concepts. 30 EMMA HOLMES | United Kingdom Variations on Equilibrium | 2013 EMMA HOLMES | 31 DIY hands Pyramids Orbs EMMA HOLMES | 32 DIY hands (detail) Pyramids (detail) Orbs (detail) EMMA HOLMES | 33 BIOGRAPHY ABOUT THE WORK Emma Holmes was born in Madrid in 1965. She initially studied Fine Art, Social Science and Literature, receiving a BA in Liberal Arts from Bennington College, USA, in 1987. In 2000, she achieved an MA in Fine Art from Chelsea College of Art & Design, London. Her work consists primarily of printed and published material trough the development of two concurrent practices: studio-based paper works and a self-published biannual magazine, Schizm. Now in its seventh issue, Schizm, as the title implies, engages with ideas about discordancy and paradox. It reflects Emma’s on-going interest in editing and the ironies inherent in juxtaposition. Emma’s works for ARNO expand on her involvement in editing and the sequencing of imagery. Her interest focuses predominantly on the way ideologies attempt to shape a homogenous public space through the proliferation of images, by exploring the discrepancies and incompatibilities inherent trough their dissemination in the social space, which in reality is heterogeneous. For these works she has assembled photographs taken from books and actual places, as well as digital and other archival sources, resulting in composite images guided by the formal elements in the corresponding subject matter, i.e. orbs, images of hands sourced from DIY books, and pyramidal structures. Solo exhibitions include: Emma Holmes, Treignac Project, France, 2009. Group exhibitions include: Pigdogandmonkeyfestos, Airspace Gallery, Stoke on-Trent, UK, 2014; The Fiction Show, Cock and Bull Gallery, London, 2013; The London Open, Whitechapel Gallery, London, 2012; Treignac-Alpineum Experimental Dialogues, Alpineum Produzentengallerie, Switzerland, 2011; Regard Matrixels, Treignac Project, France, 2010; A Tergo, Limoncello Gallery, London, 2009; Farbe, MOT International, London, 2004; Tombs Of The Fantasy Undead, Bart Wells Institute, London, 2002. Curation: Schizmo, 10 Vyner St, London, 2009. Her triptych humorously plays with the scale, narrative and stylistic qualities of these images, editing and cropping them to balance, and brings them into dialogue with one another, regardless of their geographically and historically distinct origins. The triptych employs a scheme for composing imagery initially used to design a two-page spread called Pitch, After 87, for the German publication Public Folder. 34 MATTHIAS KRAUSE | Germany Treasures | 2014 MATTHIAS KRAUSE | 35 Treasure V Shiver Treasure MATTHIAS KRAUSE | 36 Treasure V (detail) Shiver (detail) Treasure (detail) MATTHIAS KRAUSE | 37 BIOGRAPHY ABOUT THE WORK Leipzig-born Matthias Krause trained as a photographer before he received an MA in Fine Art from Muthesius Academy of Fine Arts and Design in Kiel, Germany. Matthias’s contribution to ARNO is deeply inspired by his passion for the Japanese ikebana tradition – its minimalism and emphasis on shape, line and form. Ikebana aims at creating a moment in which natural elements can be appreciated that are otherwise often overlooked, bringing nature and humanity together. Matthias divides his time between Berlin, Germany, and Istanbul, Turkey, where his practice roams fields such as performance, fashion, film, advertising, music, lecture and tourism. Within these fields, his work focuses on the isolation of the banal but nevertheless meaning-producing structures, highlighting their particular attributes. For Matthias, these serve as models to contemplate on – a kind of ‘bonsai’ of the everyday life. Matthias questions how certain appearances become loaded when a visually captured moment gains autonomy from its original context or when a simplification of the familiar accumulates enough qualities to serve as a model for contemplation. He exhibited in the UK, France, Austria, Turkey, Russia and New Zealand, as well as in numerous group and solo shows in Germany, including Ikebana Figur IV at Kunsthalle Kiel. Matthias work is also held in private collections in Europe and Oceania, and he directs the Black Door Istanbul Project, together with artist Mark Henley from New Zealand. Through the medium of photography, Matthias develops his very own interpretation of ikebana’s concept of heaven, earth and man, which slightly differs from the intentions of the Japanese tradition. Achieving an utterly unique, mystic and poetic result, his ‘zen-like’ visual contemplations on the human condition combine the close-up shots of car lights – produced sometime around the early-2000s – in Treasure V and Treasure, with the shimmering watersurface of the river Spree in Berlin that formerly divided the Friedrichshain district of East-Berlin from the Kreuzberg district of West-Berlin in Shiver. It reminds us of a time so close and yet so far away. 38 MARIAN LUFT | Germany Jaylow | 2013 – 2014 MARIAN LUFT | 39 Paris Jessy Tops MARIAN LUFT | 40 Paris (detail) Jessy (detail) Tops (detail) MARIAN LUFT | 41 BIOGRAPHY ABOUT THE WORK ‘You call me angry razor destructive wannabe bitch, I call you post-apocalyptic wellness riot witch’ (random aesthetic generator, M. Luft). Marian Luft was born in 1983 in Kassel, Germany, and studied at HGB Leipzig and the Univerity of Applied Arts Vienna. Influenced by conceptualism and body art, he incorporates contemporary culture and technology. In 2009 he co-founded the artist collective Gallery Fist. #threesome #america #russia #opposition #agitation #porn #pop Marian’s work is colourful, shrill and frame-busting and his use of multimedia invites the viewer to ‘get lost’ to shift their borders of perception. His production displays a new young society – a universal amalgamation of writing, symbols, slogans, gestures, colours, pictures, codes and digital waste. His work ranges from online projects and performances to visual art, sound and installations, where he samples and misuses technology to create extensive and complex compositions. His works are dizzying and provocative, recapturing identity and cultural localisation in an individualised, normative society whose affiliations and classifications are no longer detectable for the majority of citizens. In the series JAYLOW, Marian challenges the liquid hegemony of the American dream and how it relates to a simultaneously growing global information supply. Playing with past modes of role-modelling, fractured surfaces and digital composition, Marian combines photography with found and appropriated footage and uses digital tools to create images full of relish. For Marian, youth culture, fashion codes and animated emoticon-texts are indicators of political awareness in any privileged society. By reproducing aesthetic trends and neglecting legibility, he uncovers mechanisms of control that seem to surround and affect us in our everyday life. JAYLOW might be perceived as autonomous objects. But eventually for Marian they are strongly connected and in a constant flow of communication to the larger field of his artistic practice. Within this field JAYLOW´s meaning will shift relating to its point of reference – it is the uncertainty and precariousness of the past, the present and the future.. 42 KALOAN MEENOCHITE | Brazil Da série entidades temporárias | 2013 KALOAN MEENOCHITE | 43 Entitades temporárias 06 Entitades temporárias 05 Entitades temporárias 04 KALOAN MEENOCHITE | 44 Entitades temporárias 06 (detail) Entitades temporárias 05 (detail) Entitades temporárias 04 (detail) KALOAN MEENOCHITE | 45 BIOGRAPHY ABOUT THE WORK Kaloan Meenochite was born in 1983 in São Carlos, Brazil. He studied Visual Arts at the Centro Universitário Belas Artes de São Paulo, and his work has since crossed multiple media within art, including drawing, installation, photo and performance art. He is a founding member of Organismo Piknik, an art group that brings together people in experimental actions in the field of art and social relations, mainly performing collaborative interventions in public spaces. Kaloan developed Da Série Entidades Temporárias during the artist in residence programme award TAC Terra Una in 2013. The residency is located in the countryside of Brazil, about 200km from Rio de Janeiro in Minas Gerais, Liberdade City. Minas Gerais was formed mainly by colonists, who from 1693 began searching for veins of gold, gemstones and later diamonds. This exploitation helped to boost occupation of inner lands and led to the foundation of several new villages. In 1697 the Portuguese abused enslaved African labourers to build the Estrada Real – the royal road – to connect Rio de Janeiro with the key mining areas of the region. During the 18th century the mining exploration was strongly controlled by the Portuguese Crown. Kaloan is also part of the Voodoohop collective, a hedonistic group who changed the party scene of São Paulo, and a founding member of Keroøàcidu Suäväk, a sound and performance project working with experimentation of altered states of consciousness, rituals, experimental music, projections and trance. In 2012 he performed with Keroøàcidu Suäväk at the end of the 30th Bienal de São Paulo, and in 2013 Kaloan won the TAC Terra UNA prize. Based on his research into the tradition of African masquerade, Kaloan investigated the flora and fauna of the region, collecting and organising the material found, analysing different colours, textures and shapes, researching nuances and differences between leaves, flowers, twigs, seeds, land, bark, fruits, stones and things found. His triptych centres on the idea of an entity, something that evokes an unknown native culture. Based on his research, he carefully constructs images of beings and natural entities, through the creation of ephemeral garments made out of perishable organic materials. 46 SASCHA MIKLOWEIT | Germany Decorations | 2014 SASCHA MIKLOWEIT | 47 GWOTCSM GWOTEM GWOTSM SASCHA MIKLOWEIT | 48 GWOTCSM (detail) GWOTEM (detail) GWOTSM (detail) SASCHA MIKLOWEIT | 49 BIOGRAPHY ABOUT THE WORK Sascha Mikloweit trained in Münster, Düsseldorf and at Central Saint Martins, London, where he was awarded an MA Fine Art in 2010. Following an interest in violence, ideology and aesthetics, his transmedial work currently uses counter-terrorism as a model to understand the dynamics of hegemonic structures, and how their manifestation feeds back into public perception. Decorations is part of Sascha’s Nonlinear History of Violence, a speculative investigation into art and politics. His contribution is inspired by the late 1920s’ concept of ‘cultural cannibalism’, the attempt by Brazilian Modernism’s ‘Movimento Antropofágico’ to overcome the cultural dominance of centuries of colonialism. Sascha’s work can be strangely beautiful and subconsciously disturbing. Format and medium are determined during the process of subject-specific engagement; most recently, this has involved minutely interpreting the remnants of an authentic ‘suspicious’ briefcase detonated by counter-terrorism task forces of the British Transport Police in London. Sascha has exhibited in South Korea, Canada, the UK, Austria, Poland and Germany, and in São Paulo, Brazil with the solo-show If You’re Frightened We’ll Protect You. His work is held in public and private collections in Europe and North America. He lives and works in Berlin. Through digital manipulation, Decorations cannibalises contemporary US military awards and their (anti-)formalist qualities as much as the notion of (anti-)formalism itself. Technically, Sascha retrieved low-resolution PNG files representing three medals awarded for outstanding achievements in the US Global War On Terrorism since 2003 (GWOT Civilian Service Medal; GWOT Expeditionary Medal for soldiers who served in one of the 49 countries or 11 sea areas worldwide; and GWOT Service Medal) from one of the largest online vendors of US military decorations, and zoomed in to 17,500%. The result is a visually seductive, microscopic analysis – conceptually metastable, oscillating between autonomous artwork and a representation of the hegemonic system they are derived from. 50 PAUL O’KANE | United Kingdom Photiclore | 2014 PAUL O’KANE | 51 #1 #2 #3 PAUL O’KANE | 52 #1 (detail) #2 (detail) #3 (detail) PAUL O’KANE | 53 BIOGRAPHY ABOUT THE WORK Paul O’Kane has been working as an artist in London for 30 years, and studied art to PhD level. Photographic, writing and moving image practices have long been central to his enquiries. He also writes for leading art journals such as Art Monthly and Third Text. Photiclore #1, #2 and #3 is a development of a longpursued enquiry into ultimate, fundamental and particular values of photography, which might only be discovered by repressing, sidelining or diminishing any presumed, established or habitually applied values. It is a recent work in which Paul chooses an arbitrary site or subject (to diminish any ‘interesting’ or ‘extraordinary’ value of the content), and describes it using crude filtration (to sideline any technical valuation of the image.) Paul’s photography has evolved through the influence of photojournalism, printmaking, fine art, philosophy and sculpture as varying contexts. He also explored photography’s potential to evidence a psychological condition, as a virtual image and material object, and as a document of personal, technical and cultural history. Significant exhibitions include For The Sake of The Image, Jerwood Space, London, 2010; There Will Be Others, Angus Hughes Gallery London, 2012; and So-Called Life, Camberwell Space, London, 2007. Despite all these reductions, an image with certain values and interests nevertheless remains or persists (as it were ‘against all odds’), though hopefully values and interests that hover on the edge of comprehension and articulation, rather than jumping too easily to the mind or tongue of the currently informed or ‘savvy’ viewer. By striving to make images that fall outside current systems of articulation and evaluation, while nevertheless carefully avoiding complete loss of value, he also pursues the peculiarly democratic and ubiquitous historical value of photography as a special art that has always been potentially of and for everyone. 54 SASCHA POHFLEPP | Germany The Greatest Show is Leaving | 2011 SASCHA POHFLEPP | 55 1 2 3 SASCHA POHFLEPP | 56 1 (detail) 2 (detail) 3 (detail) SASCHA POHFLEPP | 57 BIOGRAPHY ABOUT THE WORK Sascha Pohflepp is a German-born artist and writer. In his work and research he aims to probe the role of technology in our efforts to understand and influence our environment, extending across both historical aspects and visions of the future. His artistic practice more often than not involves collaboration with other artists and scientists, creating work on subjects ranging from synthetic biology to geo-engineeringand space exploration. The Greatest Show is Leaving is a series of photographs that were taken at Cape Canaveral on 8 July 2011 during the launch of STS-135 Atlantis, which marked the end of NASA’s Space Shuttle Program. This event was significant, not only in the history of space travel, but also in personal terms for Sascha, who in May 1983 witnessed the space shuttle Enterprise come to his hometown of Cologne. Grants and residencies include an EPSRC Knowledge Transfer grant, 2011; residencies in the Synthetic Aesthetics project and at the Art Center College Pasadena, 2010. In the autumn/winter of 2013, Sascha was an artist-in-residence at Eyebeam, New York City. Recent exhibitions include Bunny Smash, MOT, Tokyo; Grow Your Own, Science Gallery, Dublin; Talk To Me, MoMA, New York; and Pre-history of the Image at STUK Kunstencentrum, Leuven. Sascha holds a Diploma in Media Art from Berlin’s University of the Arts and an MA in Design Interactions from the Royal College of Art London, where he has also been leading the annual synthetic biology project. In Florida, standing once again on a viewing platform, he chose not to depict the launch itself, but instead let the photographs centre on the rocket plume created by the shuttle’s solid-fuel boosters. As time passed, the plume continued to dissipate into the atmosphere until it was almost indistinguishable from the rest of the overcast sky, leaving hardly a trace of what minutes ago had been an overpowering spectacle, performed for the last time. 58 SCOTT ROBERTSON | United Kingdom Larry, Moe & Curly | 2014 SCOTT ROBERTSON | 59 Larry Moe Curly SCOTT ROBERTSON | 60 Larry (detail) Moe (detail) Curly (detail) SCOTT ROBERTSON | 61 BIOGRAPHY ABOUT THE WORK Scott Robertson studied for a BA (Hons) Painting at Edinburgh College of Art (1992-1996), exchanged to Maryland Institute College of Art, Baltimore (1995) and completed an MA in Fine Art at Central Saint Martins College of Art & Design in London (2008-2010). Larry, Moe & Curly were the names of The Three Stooges, an American slapstick comedy act from the late 1920s to the 1970s. Although they were known as the ‘three’ stooges, there were in fact six or seven stooges throughout their career. They became highly successful and were major stars, with their comedy being a serious business. It is that reality of the comedy that Scott is interested in – the business of being funny. He works in a variety of mediums with drawing or photography having a more conceptually driven aim. Scott’s work is often focused on his own failings and this is revealed in the physical work itself, often technically seen as ‘failing’. It is this failing that he sees as honesty, bringing with it a pathos and at times humour. His recent exhibitions include the Jerwood Drawing Prize, various venues, 2013-14; Griffin Art Prize, various venues, 2013-14; Hot 100, Schwartz Gallery, London, 2013; ko-ax, Mascalls Gallery, Paddock Wood, 2013; In Other Words, Bath, 2013; Pneu, Electro Studios, St Leonards-on-Sea, 2013. He was shortlisted for the Jerwood Drawing Prize, 2013; Griffin Art Prize, 2013; Future Map, 2010; Red Mansion Art Prize, 2010; and longlisted for the WW Solo Award, 2012. Scott’s work is three images of balloons – a symbol of the jovial, light, throwaway and short lived, something that is not normally taken seriously. Balloons, with text printed on them, are inflated and captured in a near portrait shot, almost have a personality. Scott selected three balloons from the minimum 75 he had to order to have them made – and photographed them doing as balloons do. Larry and Moe will remain as straight prints, but Curly will be crumpled and creased. It reacts almost like a child: if it can’t get its way it will try to ruin it for everyone. 62 SHELLEY ROSE | United Kingdom Three vertical points on an imaginary celestial sphere – Zenith | 2014 SHELLEY ROSE | 63 Vertical_1 Vertical_2 Vertical_3 SHELLEY ROSE | 64 Vertical_1 (detail) Vertical_2 (detail) Vertical_3 (detail) SHELLEY ROSE | 65 BIOGRAPHY ABOUT THE WORK Shelley Rose began his artistic career in the early 1970s as a printmaker for the distinguished artist Michael Rothenstein RA, printing editions at Argus Studios for the Business Art Gallery and Christie’s Contemporary Art. He later went on to teach at Goldsmiths and Central Saint Martins College of Art & Design in London. His work in abstract print and still life and landscape photography emerges from the observation of the quality and character of light and light phenomena, translated into the medium of printed colour. Shelley’s images for ARNO are part of a study relating to ‘Remnants of a Supernova’, an interpretation of a phenomenal cosmic event on a vast scale, which produces colour variations within the visible spectrum. His work explores the existence of ‘black light’ and how to make it – or to give the impression. Shelley lives in Kent, has exhibited extensively in London including the Royal Academy Summer Exhibitions and participates in art fairs throughout London and the South East. He won the John Purcell Paper Award for Outstanding Printmaking in 2005 and the Aberystwyth Purchase Prize in 2009, and his work is held in public and private collections. Zenith: Three vertical points directly above a particular location (opposite to the apparent gravitational force) on the imaginary celestial sphere. A unique alignment of forces in which gravity pulls the three vertical points toward the nadir (lowest point). The format used by Shelley in this instance is a digital colour technique to display the layering and design for an eventually more formal work using advanced techniques with raw pigments. His research continues with experiments using objects falling through layers of liquid colour. 66 TIMOTHY SHEARER | United States Si Si | 2014 TIMOTHY SHEARER | 67 springsummerfallwinter fashion See Siehe C’est Faelt TIMOTHY SHEARER | 68 springsummerfallwinter fashion (detail) See Siehe C’est (detail) Faelt (detail) TIMOTHY SHEARER | 69 BIOGRAPHY ABOUT THE WORK Timothy Shearer was born and raised in Virginia, USA, but has lived in Germany for 10 years. He studied sculpture, painting and German at the Virginia Commonwealth University and received a postgraduate degree in media art from the Academy of Media Arts, Cologne. His artistic practise explores several modes of production, from analogue to digital painting, music to sculpture, installation to web-based projects. Timothy currently has a working studio stipend at the Kölnische Kunstverein. Painting is the ultimate undying medium; from time to time it is declared dead, becomes resurrected, is killed again – only to arise from the grave. Painting has become somewhat like a character in a horror film that simply cannot be erased from existence. When images are created with a painterly character within the parameters of a computer programme, the canon becomes reanimated through simulation. The integration of text and image, recurring patterns and glitches, fragment the compositions into a new form of abstraction. Perhaps it is this type of abstraction that best resembles our disjointed current moment, interactive yet dependent on the screens that surround us in our daily lives. The precarity of being a painter is somewhat different than that of a digital artist. Instead of waiting for the next pay-check in order to buy materials, the digital artist must constantly organise and convert his data. 70 REUBEN WU | United Kingdom Svalbard | 2011 REUBEN WU | 71 untitled (Aerial Transport Station, Svalbard, 2011) untitled (Sousy Svalbard Radar, Svalbard, 2011) untitled (Fire Emergency Simulator, Svalbard, 2011) REUBEN WU | 72 untitled (Aerial Transport Station, Svalbard, 2011) (detail) untitled (Sousy Svalbard Radar, Svalbard, 2011) (detail) untitled (Fire Emergency Simulator, Svalbard, 2011) (detail) REUBEN WU | 73 BIOGRAPHY ABOUT THE WORK Reuben Wu’s photographs steadfastly sit somewhere between 1970s’ concept album art, expeditionary imagery and surrealist painting. His pictures are made in the real world; however, through collapsing time and merging processes, the real is transformed into the surreal, evoking a response simultaneously familiar and foreign. The photographs amplify the strangeness of place and speak to Reuben’s individual experience within it. Reuben travelled to the Svalbard Archipelago (600 miles south of the North Pole) in 2011 and spent ten days exploring the winter landscapes. These images depict the things that interested him while he was there: The remnants of his processes – chemicals dragged arduously across the sensitised paper surface, infrared film shifting the world’s natural hues, light leaking into the camera and hitting the film plane – leave traces of their varied journeys embedded in the final image. Reuben’s physical journey is a similar one – he treks with cameras in tow to places that, for most of us, are places only ‘explorers’ would go. Considering the lengths Reuben travels to make his photographs, the unpredictability of his materials is not exactly what we’d deem trustworthy. The resultant images delineate from the expected photographic trajectory and provide a mode of seeing that is equally experiential and aesthetically unique. Aerial Transport Station: Coal mining was Spitsbergen’s main industry, and the coal was transported around the island using cable cars. This is an aerial transport station, which stands disused above the town of Longyearbyen. Sousy Svalbard Radar: The remote location of Svalbard means that there is very little radio interference in the atmosphere, allowing for many weather and aurora monitoring operations to function efficiently. This particular image depicts the Sousy Svalbard Radar, a mesosphere-stratosphere-troposphere radar located in Adventdalen. Fire Emergency Simulator: Longyearbyen Airport is the northernmost airport in the world. This object is a mock-up airplane designed to train fire fighters in the event of an accident. But it seems to represent more than that. It speaks to the notion of how objects seem talismanic, symbolising our relationship with technology and the forces of nature. It isn’t good because you like it; you like it because it’s good. Suzy Menkes, The Circus of Fashion, 2013 ARNO EICHHORN | INFO Thank you for your interest in our editions! Information on edition sizes, runs and pricing (Version 10_2015) is as follows. Each limited fine art edition print is available in the outlined sizes, edition runs and prices. Sizes are sheet measures including margins, except for square work, which will be the shorter side measure squared. To order, please use the button on the next page. This button will direct you to an online order form where you will be abele to specify for each edition print you would like: the artist name, title of work, and size (A, B, C, D, E). If you are buying an entire tryptich of one artist in one size you will benefit from 5% reduction in price. Please further state your full name and address, and in case the billing address differs from the address you would like the artwork to be shipped to, please specify both clearly. We would be delighted to welcome you to our community of collectors – do get in touch! Contact: [email protected] Size A: 21.0 x 29.7 cm | 8.27 x 11.69 inch Size D: 59.4 x 84.1 cm | 23.39 x 33.11 inch Volume of edition: 250 Volume of edition: 15 Price per image: €50.00 Price per image: €1200.00 Price per tryptich (-5%): €142.50 Price per tryptich (-5%): €3420.00 Size B: 29.7 x 42.0 cm | 11.69 x 16.54 inch Size E: 84.1 x 118.9 cm | 33.11 x 46.81 inch Volume of edition: 45 Volume of edition: 5 Price per image: €120.00 Price per image: €2400.00 Price per tryptich (-5%): €342.00 Price per tryptich (-5%): €6840.00 Size C: 42.0 x 59.4 cm | 16.54 x 23.39 inch Volume of edition: 25 Price per image: €380.00 Price per tryptich (-5%): €1083.00 REQUESTS IMPORTANT CREDITS We hope you enjoyed our selection, and we would be delighted to welcome you to our community of collectors! If you would like to check the availability of any specific edition, or if you have any other questions, please don’t hesitate to get in touch with us. Please be aware that all images in this portfolio are digital representations of the original edition prints. Colour perception, with regards to digital display devices, is very subjective unless you are using professionally calibrated equipment. Depending on the type of display you are using to view this portfolio, it might vary to a more or less significant degree from the original print editions. p.3 Agamben, G., 2010. Nudities. California: Stanford University Press, here 11. If you are a corporate client, architect or interior designer and you are interested in working with ARNO for interior projects, please let us know – we’ll be able to provide you with additional specialist support, made-to-measure consulting and solutions. Contact: [email protected] Sign up for our news: www.arnoeichhorn.com This portfolio is an attempt to give you an introduction to the artists we work with and their artworks produced for ARNO. But don’t forget, by no means can this portfolio represent the pure beauty, shine and quality of the original edition prints. We’re certain you’ll be delighted with the physical experience of our artworks. p.73 Biography by Nicole White. p.74 Menkes, S., 2013. The Circus of Fashion. T: The New York Times Style Magazine, [internet] 10 February. Available at: http://tmagazine.blogs.nytimes.com/2013/ 02/10/the-circus-of-fashion/?_r=2 [Accessed 26 March 2013]. Copy editing Brendon Hooper, Munich. ©2015 all rights reserved Arno Eichhorn Fine Art UG & the artists | unauthorized distribution and copying prohibited. Contact: [email protected] V_10_2015