Csató József: Broken Bones of the Heart

The Erika Deák Gallery exhibits paintings of József Csató. His latest series focuses on the concept of still lifes, composed of spatially inverted biomorphic motifs, and its relation to the notions of abstraction. His rich surfaces, enhanced by scratches, lines and monochrome spots, recall the image of reliefs, as their opulent overlays create multidimensional spectacles. His paintings, with their diversely textured and often vibrant colors, are both easy and playful, yet the overall impression of his work suggests a kind of ancient mystery. He constructs his compositions from motifs reminisce to natural fractions, plants, rocks or even body parts, and his now emblematic, cheerfully rounded, amoebetic Csatóforms.

Artist Walkthrough with Paul Yore: WORD MADE FLESH

'Paul Yore: WORD MADE FLESH' is an extensive survey exhibition encompassing the full scope of the artist’s work, including appliquéd quilts and needlework, banners and pendants, collage and assemblage, and large-scale mixed media installation. The exhibition, which continues ACCA’s contemporary Australian solo series, is constructed maximally as a 'gesamtkunstwerk', presenting work over the past fifteen years, alongside a major new room-scaled sculptural installation developed especially for the exhibition. Curators: Max Delany, in collaboration with Devon Ackermann and Paul Yore Advisory note: This exhibition contains adult content of a sensitive nature. Viewer discretion is advised. Some parts of the exhibition also contain flashing lights and sound. Video produced by Gatherer Media

STANIAK in Ca'n Vivot

Michael Staniak: Wall art Michael Staniak's work, at first glance, lends itself to misunderstanding. The seemingly abstract compositions, dominated by vivid color gradients, seem to tell a story of the digital world, about the flat surface of the screen and the frivolity of our lives on social media. The work of the Australian artist (born in 1982 in Melbourne) is often identified with Post-Internet art, a term that was released in the early 2010s to identify the work of a group of young artists whose works denote a profound influence of the content they consume on the web. Although Staniak fits this label, both generationally and at the level his dominant aesthetic, as well as himself acknowledging the influence of this fleeting and controversial artistic movement, other deeper references cast a new light on his work. “I am part of the generation that went from primitive computers, with black screens covered in green text” says the artist, “to the hyper-digital world we live in today.” Discovering the possibilities of image editing programs like Photoshop transformed his perception of what could be created with a computer, despite the limitations of early graphical interfaces and primitive drawing programs like MS Paint. His attention, however, soon focused on color, specifically electric blue, which is established as the normative color to designate hyperlinks on a web dominated by texts and with very few images, due to bandwidth limitations. of telephone connections. His painting is thus characterized by the prominence of color, in monochromatic compositions or with subtle gradients of two or three tones. Although these expanses of color are not flat, as might be expected from an artist trained in front of the screen and who, by his own admission, identifies his compositions with the filters of image editing software, so characteristic of the work of other artists such as Cory Archangel or Artie Vierkant. In the practise of Michael Staniak, some enigmatic textures are imposed that prevent us from detaching ourselves from the materiality of the pieces and produce a visual effect that, being contradictory, is shockingly revealing. “I have created most of my work with the intention that there are two ways to see it: in person or on a screen. When people who attend the exhibition see the pieces, they assume that they are flat, and that the texture is an effect of the software used. However, when you see the same pieces on a website, they immediately look like paintings with a physical texture to which pigments have been applied.” Staniak finds in this reverse trompe l'oeil an example of how the consumption of content on the Internet has transformed our perception of images, which can be more illusory in real life than on a computer screen. This contradiction has also marked the way in which the artist has observed his own work from the point of view of digital culture, ignoring the influence of his surroundings and the cartographic aspect of his compositions. If we consider these paintings as aerial views instead of screens, the textures that emerge from them take on new meaning that brings us closer to the notion of landscape. The shape of the sculpture itself is significant, since it is a 3D scan of a cave wall. Staniak says he is fascinated by cave paintings and how they constitute a first way of recording mankind’s own existence and belonging to a community, something that links our online presence and our digital selves on social networks. With this huge time jump we come to the disconcerting presence of Michael Staniak's work in the patio of Ca'n Vivot, a sober, cavernous and stately space transformed by brightly colored pieces giving it an illusory appearance. In this particular context, the paintings and sculptures acquire a renewed force by escaping from the white cube and impose their presence in a stylized urban cave that they occupy just like parietal art of the Internet age. "For me, the Internet is more of a mirror than a window," says the artist, "what we see is a reflection of our interests and our personality, a mental mirror." With its reflection multiplied by the mirrors on the pedestals and the wall sections that house the works, the courtyard of Ca'n Vivot, which once served as an interface between public and private life, is once again transformed into a meeting point between two realities. Pau Waelder filmed this in Ca'n Vivot, Palma, Spain. March 2022

Esther Stewart at Heide Museum of Modern Art

Yuichi Hirako • New Home

“How we interact with nature and how we think about it is very different from a hundred years ago. It will be different a hundred years from now and that’s natural, so I make work considering the changes that will come. I've been working on this subject for a long time.” — Yuichi Hirako Gallery Baton is pleased to announce 《 New Home 》 , a solo exhibition of Yuichi Hirako, from 5th June to 13th July 2024 in the Hannam-dong space, Seoul. Hirako deals with the coexistence and interdependent relationship between nature and humans through his original style of depiction, in which metaphors and symbols stand out. In this second solo exhibition with Gallery Baton, Hirako manifests his interests and particular subjects in richer expression by organically combining painting with sculpture or installation and selectively applying traits of diverse media.

Gvantsa Jishkariani’s ‘𝓘 𝓗𝓪𝓽𝓮 𝓟𝓸𝓮𝓽𝓻𝔂, 𝓸𝓻 𝓗𝓸𝔀 𝓣𝓸 𝓑𝓮 𝓗𝓪𝓹𝓹𝔂’.

The Why Not Gallery presents Gvantsa Jishkariani’s solo show. With the intensity characteristic to the artist, the exhibition turns into a total installation, where the viewer gets lost in the whirlwinds of information flows and visual stimulation. The main source of inspiration for the artist is her immediate environment, the socio-political situation that forms the reality around - a busy, DIY chaos, at times toxic, uneven, disordered, all-engulfing tsunami that one tries to survive in vain. Although this dichotomy between the collective and the individual, between the normative and the non-standard, is a subject of constant research and inspiration for the artist, it has never before been illustrated with such intensity in her work. The chaos in the exhibition space is superimposed with gentle, aesthetic works filled with special sensitivity. Beautiful giant mosaic flowers grow out of now trash newsreels; timeless, sublime landscapes offer a refuge; bold paintings drawn with free brushstroke promise a different reality.

Cornelia Baltes - EIGEN + ART Lab

At EIGEN + ART Lab, Berlin

Bendik Giske - CTM festival - Berlin 2019

Bendik Giske is a queer artist and saxophonist who utilises physicality, vulnerability, and endurance to solder together jazz and club music with mesmerising performance. Giske takes the building blocks of electronic music and plays it live – without layering or looping – to the best of his ability, allowing human vulnerabilities to emerge. Bendik Giske live at HAU1 in Berlin during CTM festival 2019 - Persistence. Composed and performed by Bendik Giske Performance by LEGZ aka. Julian Fricker Costume by Sasa Kovacevic and Jochen Kronier

Venera Kazarova exibition / Выставка Венеры Казаровой

Video for the exhibition of artist and costume designer Venera Kazarova in the Grand Khodynka gallery Costumes and concept Venus Kazarova Directed by Yura Boguslavsky Director of photography Svetlana Makarova Camera assistant Pavel Ukhanov Animators Maria Aligozhina, Polina Campioni, Lyuba Zhukova, Sasha Sharapov, Galya Astapova Models Liza Saksina, Diana Mukhamedshina, Anastasia Makarova, Anastasia Shelepova, Pavel Ukhanov, Anastasia Mukhametzyanova, Evgenia Shelepova Color correction, compositing Ilya Yudovich Sound, Music Sasha Chirkov, Ilya Kruchinin

Ordinance of the Subconscious Treatment

Eddie Martinez : Wavelengths

Eddie Martinez (b. 1977, Groton, Connecticut) is an American painter and sculptor who lives and works in Brooklyn. Martinez is best known for his large-scale wall works incorporating figuration and abstraction, painting and drawing, which foreground his signature muscular brushwork.