Jul 29, 2013
<-- Born in Geneva in 1980, Cameron Gray lives and works in London, Basel, and Los Angeles. Graduating egregia cum laude from Bruce High Quality Foundation University, Gray also holds no less than six degrees from such prestigious institutions as Yale, Columbia, and UCLA. Prior to his ascension into the upper levels of the art historical pantheon, Gray will have participated in two Venice Biennales, including the one to take place in 2015, and three Whitney Biennials, including those in 2016 and 2018. In 2012, Galerie Eva Presenhuber included his work in the seminal show I Wanna F*ck You But We're Just Gonna Cuddle, and one of Gray's massive pin collages was a show-stopping success in The Gag Reflex is Mysterious at the Santa Monica Museum of Art in 2011. Grey's work is included in the Ludwig-Forum für Internationale Kunst in Aachen, Germany; the Kaohsiung Museum of Fine Arts in Kaohsiung, Taiwan; the Yale University Art Gallery in New Haven, CT; and 17 other prominent collections. Cameron Gray is currently represented by Mike Weiss Gallery, David Zwirner, Thaddaeus Ropac, Sprueth Magers, White Cube and Pace Beijing, amongst others.
Jul 26, 2013
The world of Justine Otto
(born 1974) is inhabited by girls, women and animals. The painterly handwriting is merciless, the iciness brutal. Even when the landscape is turning green, the temperature remains at the freezing level. The pictures’ intrinsic metallic appearance alters the protagonists into beings for whom nothing, absolutely nothing is foreign. They locate their actions with inquisitiveness, torturous, perhaps even sadistic, but always mysterious, in a no-man’s land without orientation. Her painting generates the emotional, dissecting undercooling of the female figures up to the aggressivity of the animals. For their part, the interacting figures reflect a desire that determines the actions. These, in turn, are mysterious, probes in the realm of shadows that lends alchemistic traits to the experience of an “uncanny” knowledge. Justine Otto creates a reality by way of her pictures’ hardness, their inexorability that is neither exaggerated nor melodramatic but instead coldly touches the nerve of a present in which contradictions are either leveled or explode. (via Museum Franz Gertsch