Black Ball Projects
March 14 - April 15, 2018
MARCH 14, 2018 6-9PM
We are in a moment of extreme unraveling; politically, socially, globally and artistically. But to unravel is also to ravel, we are constantly constructing and deconstructing, creating and destroying, pulling things apart and then picking up the pieces and putting them back together again; reordering structures in somewhat snarled and twisted ways... It seems as if Humpty Dumpty’s moment has finally arrived.
But we are artists, not the King’s men. And as artists, it is deeply embedded within us to collectively strive for changes to the old-world-order. In this charged world, the very act of being an artist is a political move, regardless of the form our works take. Despite this moment of profound unraveling we find ourselves in, we strive to supplant the current regime of idiocy with progressive ways; notwithstanding the endless protestations of a global right-wing.
Back Ball Projects is pleased to present 7 artists whose works deal with the concept of unRaveling in some manner; be it visual, phenomenological, conceptual, political, or physical.
Abdolreza Aminlari uses gold and other threads sewn directly onto paper creating abstract compositions that disrupt the hand-drawn gesture and that of traditionally female-gendered domesticity. Bibi Calderaro’s works ask us to connect with our wasteful patterns of planned obsolescence; unfolding notions about recycling as a coherent paradigm for change within the detritus of daily life. Adam Fowler’s layered pieces blur the boundaries between collage and drawing. Deconstructing and then re-constructing, he distorts and plays with our notions of traditional drawing. Andrea Merkx creates subtle and articulate pen & ink works-on-paper of famous architectural spaces and details. The works have a dissociative flair; removing the visual ownership of these locations by way of her methodical, minimal and detached yet hand-made renderings. Mark Schubert challenges the medium of steel, literally forcing it to unravel into linear forms that have psychic and physical affect. In Lauren Seiden’s work the predominant ingredient is graphite, which she applies in a relentless fashion on sculptural and pictorial elements; transforming their original character and orchestrating a process whereby the forms unravel and then ravel; exposing what drawing is and can be. Iva Sim?i?’s silk-screened Movie Poster stars the now convicted war criminal, Radovan Karadži?, the former Serbian President during the Yugoslav War. Sim?i?’s piece toys with our conception of politics, historical mythology and fame.
***Special Event in Conjunction with unRaveling:
Bibi Calderaro will create and lead a special walk in conjunction with the exhibition.
Specific information on this event will be forthcoming.
THE NEW MINIMALIST
Abdolreza Aminlari, Niyeti Chadha, Noor Ali Chagani, Sam Chun, Jordan Nassar, Shahpour
Pouyan, Freya Powell, Lauren Seiden, and Joseph Shetler
Curated by Sarah Burney
Abrons Art Center
On View | January 27 – February 25, 2018
Reception | Wednesday, January 31 | 6-8pm
Abrons Arts Center is pleased to present The New Minimalists, curated by Sarah Burney.
This exhibition presents the work of nine emerging contemporary artists: Abdolreza Aminlari, Niyeti Chadha, Noor Ali Chagani, Sam Chun, Jordan Nassar, Shahpour Pouyan, Freya Powell, Lauren Seiden, and Joseph Shetler. Working in a variety of media, these artists maintain the sparse aesthetic, abstraction, and incorporation of unconventional art materials and processes that defined historical Minimalism. Yet they distinguish themselves as part of a new generation of post-minimalist practitioners, more inclined to replace the monumental with the intimate, to draw inspiration from craft instead of industry, and to overtly marry formalism with the personal and political.
Lauren Seiden uses marble as a sculptural material and drawing surface. Taking graphite to stone, Seiden traces over naturally occurring marble veins, building layer upon layer of marks until the marble has been adorned with a second skin, cloaking one of art’s most elevated materials with arguably the most basic. Also meditating on stone, Sam Chun elevates a lowly pebble to an object befitting a portrait. Working in a hyper-realistic manner, Chun creates a split-view of his subject: a classical image depicting the whole stone against a deep black background and an extreme, almost abstract detail where, like Seiden, Chun painstakingly mimics the patterns drawn by Mother Nature. Also included is a sight specific graphite pool piece, Reflections in a Void : reflect three times, pictured above.
The reimagining of traditional sculptural materials continues in the work of Noor Ali Chagani. Combining his training as a miniaturist artist with the ancient technique of clay brickmaking, Chagani builds Lilliputian walls and roofs - simple, universal structures whose rich terracotta color references homes of his native Lahore, Pakistan.
Shahpour Pouyan and Freya Powell’s benign formalist sculptures belie their violent inspirations. Each of Pouyan’s ceramic domes is a scale visual representation of the energy released in a specific nuclear bomb. The size of the final dome, Russia’s Tzar Bomba, renders the first piece in this installation so small, the artist provides a magnifying glass so that we may see it. This miniscule dome represents the U.S.’ Little Boy, one of only two atomic bombs ever used in warfare. Powell’s hammered steel discs, fittingly titled Ellipses, explore the symbolic and literal silence the artist experienced in La Zona del Silencio (the Zone of Silence). Located in the Mapimí Desert in Mexico, this almost uninhabited area is steeped in mystery akin to the Bermuda Triangle - radio signals and compasses do not work within, and in 1970 it was the crash site of a U.S. Athena test-missile that veered 400 miles off course; the missile was carrying two small containers of the radioactive element cobalt 57.
By placing drawing at the center of their practice, many of the artists in this exhibition are playfully challenging the hierarchy of art processes - presenting a preparatory medium as a final product. Seiden and Powell stretch the concept of drawing one step further. The text in Powell’s word lists is not printed - the artist has hand drawn each letter and filled it with ink. Seiden’s large cloth-like sculpture is simply graphite on paper.
Craft processes meld with the personal and biographical in the work of Jordan Nassar and Joseph Shetler. Drawing upon his Palestinian heritage, Nassar adopts the vocabulary of traditional tatreez embroidery. Using cotton thread on Aida cloth, Nassar reinterprets these centuries-old patterns in sparse, abstract compositions. Shetler credits Anabaptist theology for both shaping his simple, minimalist aesthetic and instilling a penchant for labor-based processes. Taking cues from Mennonite quilt-making traditions, Shetler pieces together sections of isometric graph paper into a patched blueprint on which he draws complex, web-like grids.
The grid is also subtly referenced in Niyeti Chadha’s pen and paper drawings. Chadha considers architectural drawings and the topography of urban spaces, abstracting recognizable patterns into puzzling yet familiar forms. Abdolreza Aminlari employs a similar tactic in his photographs and works on paper. Easily mistaken as white on white paintings, the former are color photographs of the snowy Icelandic landscape on a foggy day, a straightforward photograph abstracted through Aminlari’s lens. In the latter, Aminlari adopts a domestic process, sewing, and a couture material, gold thread, to continue playing with landscape - radically abstracting the form to a glinting, ethereal vista.
9 Orchard Street, New York, NY 10002
JANUARY 12 - FEBRUARY 18, 2018
I want to be excited about art again…
Sometimes the works that are never seen, are the ones closest to the maker. These objects are vulnerable and human, often less marketable, and speak to something that is more experiential. These objects ask the question; where and how is curiosity ignited?
Foley Gallery is pleased to present Active Beige, a group exhibition curated by Lauren Seiden, featuring work by Abdolreza Aminlari, Adam Henry, Kenny Curwood, Kristen Jensen and Suzanne Song.
Every single piece Seiden selected/included in this show are works that are underexposed and have not yet been exhibited. Each piece operates aspure manifestations of the artist's abstract mind, their practice, complexities, struggles and triumphs within the studio. The works of Active Beige pursue a collective challenge to the current functionality of the gallery space. Pushing past the distributed network awaiting the show documentation online, this exhibition encourages a pause. In exchange for immediacy and dissemination, the works request deliberation and dialog as they bridge the flattened space between the studio and the gallery wall.
In an age where so much of our visual culture tells us what to think and do, it is refreshing to experience art that makes manipulation the subject and asks us rethink our positions.
Each artist’s contribution to the show challenges us to leave behind preconceived notions of space and rethink the connection of mind to environment. These works have their own pace, they reveal themselves over time and in increments. Art sets the stage for such an experience, inviting us to develop our vision and expand our perception. Active Beige is an opportunity to re-calibrate artists and viewers conception of time and attention while fostering a more intimate relationship with the viewer. In doing so, the exhibition opens up the potential for all parties to reconnect and rethink our positions in and to the world.
Active Beige is on view from January 12th through February 18th 2018. Foley Gallery is open Wednesday through Saturday, 11 - 6pm and Sunday from 12-5pm. To request images; please contact the gallery at firstname.lastname@example.org.
For these photographs, Abdolreza Aminlari uses a smartphone to capture the shifting patterns of light and shadow on his windowsill, documenting how the passage of time plays out across his bedroom. At first glance the images seem void of color, but upon closer examination slight hues of blues and yellows begin to emerge giving further evidence to the changing light.
Adam Henry’s shapes and atmosphere create visual conundrums that feel as if they go in and out of focus. It is in this liminal space that the viewer is asked to open their thinking and consider that in painting the logical and illogical are often one and the same. Henry has expressed that logic is contextual and in our current time it is often at odds with reality.
Kenny Curwood engages in spatial, temporal, and psychological misrepresentation while delivering a hand-crafted object, which often undermines its own “success.” Optically ambiguous, these sculptural works engage in the manipulation of space between the internal and external world.
Kristen Jensen creates ceramic forms as containers of emotional and psychological complexity that address personal history through cultural objects. Soft sculptures literally and metaphorically support these ceramic objects, exhibiting the physical weight of the object that they hold, they do so with significant effort and distortion to the originally intended form. As a result this fraught formal relationship is imbued with metaphorical meaning, culminating in works that are equal parts poetic and pathetic.
Suzanne Song’s paintings present spatial configurations that challenge our perception. Song uses a pared-down vocabulary of colors and repeating forms to create a series of paintings that assert their presence as both objects and illusions. In each of these works Song emphasizes the materiality of the paintings, exposing and employing the wooden panel or canvas support to create a powerful optical experience that speaks to the illusionistic potential of painting.
Lauren Seiden Exhibition Curator:
Lauren Seiden (born 1981. Lives in New York City) received her B.A. in Painting and Drawing from Bennington College in Vermont. Her recent exhibitions include The Times at FLAG Art Foundation in NYC, Yesterday So Fast at Denny Gallery in New York City, Action+Object+Exchange at ?the Drawing Center in New York City, The Mattatuck Museum, CT, Violet Burning Sunset, Curated by Todd Von Ammon, ORGANIX: Contemporary Art From The USA, at the Luciano Benetton Collection in Venice for the Venice Biennale. Seiden received the AOL and Chuck Close “25 for 25” Grant Award in 2010, in 2014 she was a recipient for ?The Drawing Center's "Open Sessions" program, and in 2016 was a FID Prize finalist. She has been reviewed and featured in ArtForum, Modern Painters, The Brooklyn Rail, Art Fag City, New York Magazine, Time Out NY, and Blouin Artinfo.
DEC 7 - 10TH
ICE PALACE STUDIOS
1400 NORTH MIAMI AVENUE
FEATURING NEW AND HISTORIC WORK FROM:
VERNISSAGE THURSDAY DEC 7, 12 -2PM
VIP PREVIEW THURSDAY DEC 7, 10AM - 12PM
FRIDAY 11AM - 7PM
SATURDAY 11AM - 7PM
SUNDAY 11AM - 5PM
thread on paper
22 x 15 inches
24.5 x 17.5 inches framed
Black Ball Projects is pleased to present 12 x 12, 2017. This is the gallery’s 3rd iteration of the initial 12 x 12 show, staged in December of 2015. The gallery is physically gridded into squares to house works from an eclectic group of artists. Each year that Black Ball Projects holds this large group show we increase the grid size by 5 inches. This year the grid dimensions are 25” x 25” and works are shown within a single grid square, they may be smaller, but not larger.
2017’s 12 x 12 show includes works by the following artists:
Taylor Absher, Abdolreza Aminlari,Joe Arnold, Michael Bauer, Danilo Correale, Damien Davis, Pia Dehne, Jen DeNike, James Foster, Linda Gallagher, Jeff Gibson, Ignacio González-Lang, Rashawn Griffin, Tamar Halpern, Miatta Kawinzi, Elissa Levy, Nicola López, Robbie McDonald, Adrian Meraz, Andrea Merkx, Rachel Owens, Laura Parnes, Ted Partin, Matt Quinn, Hanneline Rogeberg, Will Ryman, Kristen Schiele, Mark Schubert, Michael Stickrod, Kianja Strobert, Christina Tenaglia, Tracy Thomason, Sarah Trigg, Elif Uras, Jack Warren, Max Warsh, Brian Wondergem, PartA-PartB
thread on paper
22 x 15 inches
24.5 x 17.5 inches framed
527 W 18th St
New York City
Dave Brown Projects is pleased to announce the results of the 14th Semiannual Competition which was curated by Alison Hearst, Associate Curator, Modern Art Museum of Fort Worth; Benjamin Sutton, News Editor, Hyperallergic, Brooklyn; Jodi Throckmorton, Curator of Contemporary Art, Pennsylvania Academy of the Fine Art from submissions that were received from artists from approximately 40 countries. This competition features images of the work of 25 visual artists. Unrestricted monetary awards to visual artists totaling $10,000 USD will be awarded. Hollis Hammonds will receive $5,000 USD (Grand Prize). Abdolreza Aminlari, Christina Day, Dustin Farnsworth, Hwaeung Hwang, and Ira Upin will each receive $1,000 USD (Award of Excellence).
Abdolreza Aminlari (b. 1979 Tehran, Iran) works between photographic processes and hand embroidery on paper, engaging in a conversation between the two mediums. Concerned with our perception of space, time, and light and how we interact and relate to them, his work comes from an intimate place, pointing to domesticity, ritualistic action and notions of home. The artist migrated from Iran to the United States in 1988, and he initially drew on memories of his childhood home, adorned with traditional crafts, and rituals of cooking, knitting, and needlework. Presently the work has shifted to more abstracted gestures.
His compositions reveal concerns with the possibilities of repetition and iteration that are historically fundamental to the act of sewing and geometric construction. He uses a range of threads from vintage Japanese gold wrapped silk thread to the common polyester thread to sew into archival paper. He works between two contrapuntal methodologies, one that is rigorously planned and another that is organic and improvised.
Often covering the entire surface of the paper with thread, the final outcome is a compilation of geometries that visually play with depth and perception of space. For Aminlari, the ritualistic and repetitive process of making these works is essentially one of domestic labor, and the physical passage of time becomes an essential experience for both himself and the viewer.
Opening reception January 18, 2017
Cuadro Fine Art is pleased to present remnants, a solo exhibition of thread drawings and photographs by Brooklyn-based artist Abdolreza Aminlari. The works presented are united by a sense of intimacy and domesticity both in action and space. Being central to the artist’s practice, Aminlari’s focuses on examining and documenting the quiet passage of time both in personal actions and its resulting representations.
The exhibition is comprised of three series of work that are interwoven through concept and geometric elements. Presented are Aminlari’s continuation of thread drawings, in which he uses vintage gold thread to hand stitch into paper. Through repetitive actions and gestures, Aminlari takes on a practice reminiscent of domestic and factory labor, to reflect on the passage of time in our daily rituals. The final outcome is reductive geometric parallelograms stacked one upon the other. The reflective gold thread gives the illusion of depth and three dimensionality.
For his new series of works, Aminlari expands on his gold parallelogram drawings. By omitting segments of the drawings, the work disintegrates from the previous full field works to one that is reminiscent of pattern. For Aminlari, the randomness in the design and the utilization of negative space reflects the degradative effects of time. Much like the fragmented artifacts and old textiles displayed at museums, the remnant patterns of this work hint at the fading and disintegration of the previous work.
For the photographs presented, Aminlari, use an Iphone to capture the shifting patterns of light and shadow on his windowsill. Taken at different times of day and year, the photographs document how the passage of time plays out across his own bedroom. The photographs not only reference the geometries present in his thread drawings, they also reference the transformative aspect that light has on the reflective gold of the drawings.
At first glance the images seem void of color, but upon closer examination slight hues of blues and yellows begin to emerge giving further evidence to the changing light.
Abdolreza Aminlari (b. 1979, Tehran) received his BFA from the College for Creative Studies, Detroit, MI. He has had solo and group exhibitions at Taymour Grahne Gallery (New York), Andrew Rafacz Gallery (Chicago), Jackie Klempay Gallery (Brooklyn), Longhouse Projects Gallery (New York), Storefront Bushwick (Brooklyn), and Derfner Judaica Museum (Bronx). He also collaborated with composer Katharina Rosenberger on “Gesang an das noch namenlose Land,” a string trio composition accompanied by Aminlari's tapestries, commissioned by Gare du Nord (Basel).
UPCOMING EXHIBITION/ART FAIR:
Andrew Rafacz Gallery at UNTITLED 2016 in Miami Beach, Featuring works by:
UNTITLED MIAMI, 2016
12th Street and Ocean Drive
Miami Beach, FL 33139
VIP Private View: Tuesday, 11/29, 1-3pm
VIP and Press Preview: Tuesday, 11/29, 3-8pm
Public Hours: Wednesday-Saturday, 11/30-12/03, 11am-7pm
Sunday, 12/04, 11am-5pm
Text by Nicole Will:
Abdolreza Aminlari's work is delicately complicated and sophisticatedly minimal. Born in Iran in 1979, Abdi's Persian heritage informs the works on paper. Weaving gold, black and brightly colored threads geometrically into archival paper both systematically and organically. Some works remind of shapes in patterned tiling and others of vibrating nets or webs. His installations contrast the two modes.
Taking patterns as subject, he sews thread, considered for its material, color and line, into paper. Historically in art, gold has been used to depict god and the spirit, but also wealth and opulence – Abdi's gold, on the other hand, captures the element inherent in the medium – light.?
His compositions relate to the beautiful Islamic tradition using sacred geometry in the ornamentation of spiritual places. The use of gold and the non-figurative subject exemplifies the duality found in transcendent works of art: its reality and its illusion, its subject and its objecthood, the hand of the artist and the elements of nature inescapably present.
PRESS AND PUBLICATION:
ECCO DOMUS Catalogue by Art House Productions
not what it is
A Touch of Gold by Daniel Morowitz
June 27TH, 2016
St. Petersburg International New Music Festival
ensemble mosaik (Germany)
Tuesday, May 24th 2016
Erarta, Museum and Galleries of Contemporary Art
Katharina ROSENBERGER (*1971)
“Gesang an das noch namenlose Land”
(Russian Premiere, 2013), for violin, viola and cello
CURATED BY ENRICO GOMEZ
136 MAGNOLIA AVE
JERSEY CITY, NEW JERSEY
13 MAY - 26 JUNE 2016 | RECEPTION: 13 MAY, 6 - 9 PM
18K gold thread on paper
19.5 x 25.5 in
ABDOLREZA AMINLARI | “LINEA”
ABDOLREZA AMINLARI | “modulations”
21 Must-See Exhibitions Closing This Week
AUGUST 19TH, 2015
The Current Express
Issue 8: From the Readers
Composition 16, 2012 in the home of collector Maxwell Ryan of Apartment Therapy featured in
Better Homes and Gardens August 2015 Issue
Formal Relations at Taymour Grahne Gallery Reviewed in Art Asia Pacific.
BY BANSIE VASVANI
Hyperallergic previews “Formal Relations,” Taymour Grahne Gallery’s upcoming exhibition
curated by Murtaza Vali and Kamrooz Aram.
June 30, 2015
Curated by Kamrooz Aram and Murtaza Vali featuring work by Abdolreza Aminlari, Doug Ashford,
Fayçal Baghriche, Eva Berendes, Ala Ebtekar, Michelle Grabner, Yamini Nayar and Zarina.
Zeitlupe 2015 | Neue Musik und Text
Katharina Rosenberger: “Gesang an das noch namenlose Land”
Sonntag, 7. Juni, 17:00 Uhr
Eintritt 9/5 €
“Gesang an das noch namenlose Land”
Zeitlupe ist ein besonderes Konzertformat, das sich die Vermittlung Neuer Musik zum Ziel gesetzt hat. Bei jeder Zeitlupe steht ein Komponist im Mittelpunkt und wird zu dem Werk eines anderen Künstlers in Beziehung gesetzt. In diesem Fall handelt es sich um die in Los Angeles lebende Komponistin Katharina Rosenberger und den in New York lebenden Künstler Abdolreza Aminlari. Dieser Dialog wird von einem Vortrag von Margit Kern und einem Künstlergespräch in Anwesenheit der Komponistin begleitet. Zur Vertiefung des Hörerlebnisses wird das im Mittelpunkt stehende Werk zum Abschluss nochmals zur Aufführung gebracht.
Vorgestellt und von Mitgliedern des renommierten Helian Quartett interpretiert wird die 2013 entstandene Komposition “Gesang an das namenlose Land”, die Rosenberger in Zusammenarbeit mit Aminari entwickelt hat. Beide Werke sind beeinflusst von dem 1503 veröffentlichten „Mundus Novus“, einem Brief, in dem Amerigo Vespucci dem Lorenzo de Medici die unbekannten Küsten der Neuen Welt beschrieb und diese mit ersten Kartenzeichnungen verband. Dieser Brief, ihr musikalisches Werk und das Triptichon der Wandteppiche Aminlaris interpretieren die Wichtigkeit von Vespuccis Reisen und Entdeckungen der ihm fremden Kulturen.
* * *
Katharina Rosenberger (* in Zürich, lebt in Los Angeles) studierte Komposition an der Columbia University in New York. Viele Werke Rosenbergers sind in einem interdisziplinären Kontext zu sehen. Ihre Kompositionen, Installationen und interdisziplinären Opern wurden auf Festivals in Amerika, Europa und Asien aufgeführt. Ihre Portrait-CD Texturen erschienen bei HatHut records wurde vom Preis der deutschen Schallplattenkritik und mit dem Copland Recording Grant ausgezeichnet. Sie ist Professorin für Komposition im Department of music der University of California, San Diego.
Abdolreza Aminlari (* in Teheran, lebt in Brooklyn, New York) studierte am College for Creative Studies in Detroit, Michigan. Seine Arbeiten wurden im Derfner Judaica Museum, New York ebenso wie Im KVKM Kunstverein, Köln gezeigt. Für sein Werk ist das Arbeiten mit Faden, Webetechniken und Stoffen von zentraler Bedeutung.
Jutta Rübenacker (Violine), Peter Meier (Viola) und Carsten Jaspert (Cello) sind Mitglieder des Helian Quartett, das 2005 von Mitgliedern der NDR Radiophilharmonie, des Niedersächsischen Staatsorchesters Hannover und der Hochschule für Musik und Theater in Hannover gegründet wurde. Namengebend ist eine Gestalt aus dem lyrischen Werk Georg Trakts.
MOP CAP 2015 Shortlist Exhibition
16 - 20 March 2015
Private View Monday 16 March 6:30-9:30pm
Inaugurated by HE Sheikh Nahayan bin Mubarak Al Nahayan