|Sept 12- Oct 19, 1997||
ARTURO CUENCA began exhibiting with
the influential group of young artists who grew up in Cuba after the
Revolution in 1959. This group became known as the "Generation of the
80’s. Cuenca is considered one the first artists who introduced
conceptual modes into Cuban contemporary art. His work was included in
the first two Biennials of Havana in 1984 and 1986. He left Cuba in 1989.
Using techniques inspired by cinema and photography, he creates
contrasts between focused and blurred images, words and pictures. He
uses photographic and digital based experiments to create paintings,
sculptural objects and installations. Arturo Cuenca makes no distinction
between painting and photography: "For me everything is photography,
everything. One looks through photographic images... All my work is
photographic. The paintings seem like out-of-focus photography, or the
other way around, focused on different objects... I do in painting what I
can’t do in photography. Painting is like an imaginary and irrational
photograph I invent".
Selected solo exhibitions
1997: The promised man, Fundacio Metronome, Barcelona, Spain. 1995: "Sharing roots: Cuenca and Gory", Museum of Art, Fort Lauderdale, Fl. "Recent works", Center for Curatorial Studies Museum, Bard College, New York. "Aesthetic Practice", Gutierrez Fine Arts, Miami. 1994: "Homenage a Jose Marti", Casa de La Cultura de Thaxcala, Mexico City. 1993: "A Decade of photographs: 1983-1993, INTAR Gallery, New York. "FIN", Galeria Nina Menocal, Mexico City. 1992:"Marti-r", Galeria Ramis Barquet, Monterrey, Mexico. 1991:"Selected works", Cuban Museum of Art and Culture, Miami, Fl.
EYAL DANIELI is a young artist who lives and works in New York. Working in a variety of media ranging from oilstick on board to oil paint on paper, Danieli emphasizes the material reality of the paint surface while retaining a strong formal structure and a clarity of articulation. He brings the figure up against the picture plane and simplifies it nearly to the point of total abstraction. Using a limited palette of black, white, and earth tones he deliberately controls his expressionistic impulse in favor of a quiet and subdued tonality. It is rare to come across an artist who pursues a most independent course, working in the nebulous field between the abstract and the figurative. Selected exhibitions: 1996: "Eyal Danieli" The Virginia and Herbert Lust Gallery, New York. 1993: "Still Life", New York Studio School Alumni Show.
NIEL FRANKEL, a New York artist, created a series entitled "Doubles" for this exhibition. He says: "I have been working on this idea for a long time, photography itself is a double. Positive and negative are the basis of photography and of language itself". In a large color photograph of a soap paper wrapping , entitled YOSEMITE, the idea of the double is developed on many levels. Both the front and the back of the wrapping are shown at the same time, making the image a diptych. The top shows a postcard-like view of Yosemite Park, the bottom shows the printed logo and copyright sign of the park. First, the soap name and the logo are "doubles" for the image of the park. Also, Yosemite Park can be considered a "double" for Nature itself, in other words a copy, an imitation of nature. The fact that it is a soap box reinforces this idea. In this gigantic National Park, one could go hiking all day and feel in the middle of wild nature but still return to base, to take a hot shower using Yosemite's soap bar! Selected solo exhibitions: 1997; solo installation, Willoughby Sharp, New York, NY. "The Sculpture Barn at Pier Show V", Red Hook, Brooklyn, NY. Performance, La Mama Gallery, NY. Scott Pfaffman, courtesy of Willoubhy Sharp. Soho Partnership, Benefit Auction, Henry Buhl Foundation, New York. 1993: "A Modern Day Fairytale, Installation Photographs, Rockland Community College Library, Suffern, NY.1992: "Palimpsest", Installation Photographs, Rockland Community College Library, Suffern, NY.
NANI SIMONIS is a German artist who lives in Munich. She also maintains a studio in New York City. Art critic Nancy Princenthal* writes: "Simonis’ painting proceed very slowly, growing incrementally in layers that are freely applied but sanded back when dry. The process reflects, Simonis says, a mixture of certainty and openness. Buried images speak through exposed ones, the message inevitably twisted; tension and compression are signal characteristics of the process.
Polymorphous figuration of the kind Simonis creates is probably most strongly identified with the work of neoexpressionist Italian painters, and in particular the Indian-influenced visual musing of Francesco Clemente. Simonis'’ painting, which shares Cemente's dreamlike narrative propulsion, is much less languorous than his; it is though, dry to the touch and sometimes dryly funny." In this exhibition, Nani Simonis presents some paintings and a selection of boxes. The boxes, although hardly deeper than picture frames, resemble empty stages or deserted theaters. Here, the background becomes of primary importance. To create it, Nani Simonis uses what she calls a technique of "wearing down" because "something totally worn down is without severity. It has nothing right, nothing wrong about it -- it has its own history". Selected solo exhibitions; 1996: "Paintings, drawings and boxes", C. Grimaldis Gallery, Baltimore, MD. 1992: "Fragility of Inner Spaces", Academie den Schönen Künste, Berlin. 1989: "Are not Afraid", Galerie Aedes, Berlin. 1987: "Eve-The extra Rib?", Krahof, Austria. 1980: "Bilder Bühen, Scenes imagées", catalogue, Münich *Excerpt from Nani Simonis, C. Grimaldis Gallery, 1996 (catalogue available)