Austrian Cultural Forum, Midtown East
JUN 28 - SEP 8, 2019
Austrian Cultural Forum New York, 11 East 52nd Street, New York
This summer, the Austrian Cultural Forum New York is pleased to present a site-specific art installation by Erste Bank ExtraVALUE Art Award 2019 recipient Gabriele Edlbauer. On display from June 28 to September 8, How much is the fish? views brotherhood in the era of late capitalism through an anthropomorphic lens.
For her first solo show in New York, Gabriele Edlbauer took her inspiration from the eponymous Eurodance hit by Scooter and its opening line "The chase / is better than the catch." Four figures gather in the space the artist has created, four male "human" bodies with indeterminate "animal" heads resembling those of anteaters or moose. The sculptures appear anonymous, loath to give away who or what they stand for, yet they are united by a common theme: fishing. Surrounded by pools and buckets, the figures proudly display the trophies of a fishing trip, be it piranhas or bass. The viewer faces an idyllic bro scene, albeit one where brotherhood has little to do with the political virtue of fraternity but rather hints at men's dubious homosocial bonds in the age of pervasive and limitless capitalism.
It is hard to say whether these uncanny figures are engaged in a hobby or a hunt, whether they are adorable idiots dressed in bad carnival costumes or belong to the group of creepy clowns that haunt this era of political unrest. Edlbauer adds another layer of complexity to her installation with a cartoonish mural depicting a second bromantic fishing scene. Placed side-by-side in a boat are four anthropomorphic New York City icons: Charging Bull, Wolf of Wall Street, Mr. Met, and Sparky the Dragon. One may only speculate as what has prompted this incongruous lot to join company. The image seems to reek of machoism and money, while the characters' rich and sometimes questionable history invites comparison with the nondescript nature of the sculptures.
Cute, zany, and deeply troubling at the same time, all these figures seem much too familiar in our present day and age. In their tameness, they only appear more threatening. Gabriele Edlbauer's hybrids represent a study in political zoology and ask the audience to engage with complicated feelings in a complicated present.
This exhibition is realized in collaboration with studio das weisse haus and the sponsoring program of Erste Bank as part of the Erste Bank ExtraVALUE Art Award 2019.

Until Aug 16 2019
Muscle memory describes the ability to clone a gesture without conscious thought. Unconscious actions are learned through repetition: by performing the same task habitually, we lose awareness of the task itself. By storing a cache of automated movements in our body, we untether from the recollections lodged in our mind.
In a culture saturated in images, in a climate where we are expected to proliferate our physical selves endlessly (through our labor and images of the self), our consciousness experiences a scattering, or stuttering. By projecting the self in perpetuity, we become disassociated from our sense of ourselves.
When I make my work, I choose images of things closest to me:  my clothes, my wife’s clothes, her body, my body, our food, the plants in our apartment, my tools. These are intimate and introverted things that illuminate the most basic functions of living:  moving, dressing, eating, sheltering,  touching, interacting, offering, sharing and working. They are objects that allude to their proximity to the body (often framed like rectangular torsos in the most recent works) and the habitual repetitions we perform. Our possessions and our choices represent us, but they do not stay still. In their multiplicity, they form a portrait of a life, lived.
The works in the exhibition are made using inkjet transfer and acrylic paint on clothing or stretched, layered canvas. They incorporate gestures from photography, printmaking, sewing, painting and performance. The transfer technique allows me to literally “paint with images” as if a stroke or spill of paint magnetically attracted photographic imagery to the substrate.
While cooking dinner with my wife recently, she noted that all the works in the show depicted a garment: my plaid shirts, her dress, a yellow rain coat, a “rain pattern” camouflage jacket, a work apron, a shredded skeleton t-shirt I’ve been wearing for 20 years. I cannot hide from her influence. Her immersion in clothing as assistant curator at the Costume Institute has made me rethink received hierarchies about art and art history. It has redefined my thinking about the expressions of the self.
I’d been working intuitively all year, and over dinner with her, I had to articulate what I saw in the work: a heavy weight of mortality and gravity, gestures of offering, sharing, sheltering, preserving. Pictures of material accumulation and substance pouring down; works wet, humid and saturated; skins practically drowning in bounty and overgrowth. The vine tattooed on my wife’s leg climbs up toward the floral embroidery of her dress; a rain coat lapped by leaves of kale or exploded by late summer sunflowers; bulbous pears popping off the armature of a rib cage; potatoes coughing out of a skeleton’s chest; hands catching rain; fingers dangling a soaked pair of Vans.

Original acrylic painting of Queen Elizabeth II, on canvas and book pages.
Piece is signed on the front & also signed on the back.
Comes with signed certificate of authenticity.
Size: 50 x 70 cm 

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For architect Lina Bo Bardi, drawing was a primordial way of expressing herself, and in her archives in São Paulo, there are close to 6,000 of these works. This small exhibition brings togeter some 100 images of her drawings, and more of her building work and activity as a designer. In the words of the curator, 'In the face of the loss of skill in hand drawing in the arts in general and architectural practice in particular, Lina Bo Bardi's drawings continue to be an always refreshing discovery of the permanent importance and value of free and authentic thought and of skilled and learned hands.'

Venue: Fundació Joan Miró , Sants - Montjuïc
Until Sunday May 26 2019
Address: Parc de Montjuïc, s/n
Sants-Montjuïc Barcelona 08038
Opening hours: Apr-Oct: Mon (excluding holidays) closed; Tue, Wed 10am-6pm; Thu 10am-9pm; Fri 10am-6pm; Sat 10am-8pm; Sun & holidays 10am-3pm. Nov-Mar: Mon (excluding holidays) closed; Tue, Wed 10am-8pm; Thu 10am-9pm; Fri, Sat 10am-8pm; Sun & holidays 10am-3pm.

инвестировать в искусство, 投资艺术, الاستثمار في الفن, جمع الفن

Goldsmiths CCA presents the first significant exhibition in the UK in almost 40 years of work by the Chicago Imagists. Igniting the Chicago art scene in the 1960s, the artists associated with ‘Chicago Imagism’ worked across painting, sculpture, drawing, and printmaking, creating distinctive works that were irreverent and often visceral. Variously featuring vibrant colours, distorted figuration, shimmering repetitions, puns and wordplay, the Imagists channelled a collision of art history, folk art, the urban fabric of Chicago, as well as vernacular material cultures such as comic books, pinball machines and advertising.

How Chicago! focuses on fourteen artists associated with Imagism, and features painting, objects, drawings, prints and ephemera. The exhibition concentrates on works from the 1960s when they first met, through to the late 1970s, when many of them moved away, both stylistically and geographically. All of the artists studied at the School of the Art Institute of Chicago where teachers introduced them to non-Western and self-taught artists, and fostered delight in cast-off objects gleaning in the city’s thrift stores and street markets. How Chicago! highlights the affinities between a group of divergent artists who had a lasting impact on 20th century art.

How Chicago! is organised by Hayward Gallery Touring in collaboration with Goldsmiths Centre for Contemporary Art and De La Warr Pavilion. It is supported by the Terra Foundation for American Art as part of Art Design Chicago, an initiative exploring Chicago’s art and design legacy. Hayward Touring is supported by Arts Council England.

A fully illustrated catalogue titled Chicago Imagists 1960s – 1970s is available at a special exhibition price, including essays by the co-curators and art historian Lynne Warren, as well as individual texts on each artist.

Artists: Roger Brown, Sarah Canright, Jim Falconer, Ed Flood, Art Green, Philip Hanson, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Ramberg, Suellen Rocca, Barbara Rossi, Karl Wirsum, Ray Yoshida.

Additional support from Leslie Buchbinder at Pentimenti Productions.

Until Sunday May 26 2019
Venue name: Goldsmiths CCA
Address: St James
New Cross London , SE14 6AD

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The shape of the circle has been used as a symbol since the beginning of time. Ancient cultures all over the world used the circle to represent the same thing. The circle can symbolize Mother Earth. It represents the spirit of feminine energy and a space that is sacred. For me it is a symbol of the harmony and balance in nature.
Date: 2010
Size: 70 x 100 cm | 27 x 39 inch
Signed on the back.

инвестировать в искусство, 投资艺术, الاستثمار في الفن, جمع الفن
Abstract, abstract art, collect art, buy art, 

抽象,抽象艺术,收集艺术,买艺术,Абстрактное, абстрактное искусство, коллекционируй искусство, покупай искусство, греческое, греческое искусство
Astratto, arte astratta, colleziona arte, compra arte
Acrylic painting on canvas.
I made this abstract painting during my summer holidays on the small "Blue Zone" Aegean island of Ikaria. I used acrylics and gouache on canvas.
Date: July 2008
Size: 70 x 100 cm | 27 x 39 inch
Signed on the back.
Availabe at

инвестировать в искусство, 投资艺术, الاستثمار في الفن, جمع الفن

Abstract, abstract art, collect art, buy art, 

抽象,抽象艺术,收集艺术,买艺术,Абстрактное, абстрактное искусство, коллекционируй искусство, покупай искусство, греческое, греческое искусство
Astratto, arte astratta, colleziona arte, compra arte

Sokratis Romilios at Almine Rech Gallery
“Work from 1967 to Present”
Valentine incarnates a key moment in the development of the Los Angeles art scene in the 1960s and 1970s (in parallel, and somewhat in opposition to New York-based Minimalism). His work caught immediate attention through a fresh vernacular artistic vocabulary that encapsulated the essence of L.A. life. Valentine’s work stems from an unexpected alliance between his extraordinary technical and engineering virtuosity, and his rich and sensual perceptual experience. His sculptural and pictorial career has, for the past six decades, been spanning a colossal, yet, intimate project, and reflects Valentine’s abiding “love affair with the L.A. ocean and sky.”

Venue name: Almine Rech Gallery
Address: 39 E 78th St New York 10075
Cross street: between Madison and Park Aves
Opening hours: Tue–Sat 10am–6pm

Sokratis Romilios

This will be the artist’s second solo show with Mitchell-Innes & Nash and will feature a series of new sculptural wall pieces. Assembled largely with wood and found LP record sleeves, the works on view in Cover Story explore an aesthetic strategy that Kersels calls “materially limited bricolage.”

Sharing in the visual and conceptual legacy of H.C. Westermann, Martin Kersels also draws influences from French new realists like Jacques Villeglé and Jean Tinguely, as well as from Dadaist collagists Kurt Schwitters and Hannah Hoch. Like his predecessors, Kersels’s work strives for an aura of immediacy, shunning the eternal timelessness that is often sought in more traditional modes of art like oil painting or bronze sculpture. With this exhibition, the artist seeks to engage with the “near finite”—that is to say, the immediate world around us in both temporal and spatial terms. Kersels makes a point to note that the size of the LPs correspond directly to the allowable runtime of the music recorded, highlighting the compression of time and space inherent in a vinyl recording.

In making this body of work, Kersels was also interested in “breaking the stillness” and several pieces in the exhibition feature an internal motor that powers a moving component. In The Love Hours (for Mike Kelley), for instance, the artist has incorporated a rotating dial, not unlike a tonearm on a record player or a clock hand, which reveals a cutout of an eye as it turns. Eyes play a significant role in the visual lexicon of Kersels’s recent work; they offer up moments of reflection and the artist has likened the imagery on LP sleeves to portraits or mirrors- ones that allow the viewer to “pour their own thoughts and emotions into it.”

Cover Story will be accompanied by a new performance piece by the artist in which, dressed in costume, Kersels will activate the site-specific stage at the center of the gallery space with a three-song aural collage. Performances will take place at the opening reception and again on Saturday, May 4 at 2:30 PM.

Tuesday May 7 2019 - Saturday May 18 2019
Venue name: Mitchell-Innes & Nash
Address: 534 W 26th St  New York
Cross street: between Tenth and Eleventh Aves
Opening hours: Tue–Sat 10am–6pmTransport: Subway: C, E to 23rd St

Title: La La Love
Acrylic painting on canvas
Size:  19 x 27 inc | 50 x 70 cm 

Piece is signed on the front & also signed on the back.
Comes with signed certificate of authenticity.
Available at

инвестировать в искусство, 投资艺术, الاستثمار في الفن, جمع الفن
art, painting, collect art, buy art, greek, greek art 

art, peinture, collectionner de l'art, acheter de l'art, grec, de l'art grec

Sokratis Romilios
Austin Lee's exuberant paintings extend Pop Art into the present. As Andy Warhol used photo silkscreens to connect painting with the image-making technologies of the 1960s, Lee fuses digital techniques with traditional painting and sculptural processes to create totally contemporary works of art. Lee "humanizes" the digital sketches into lush paintings and vibrant sculptures. His work becomes a bridge between the digital and the physical.

Earlier generations of artists began their careers sketching on paper. Lee began by using Photoshop and other digital tools to sketch on his computer. His work combines the latest image making technologies with traditional artistic processes. He uses the airbrush and the paintbrush to create luminous paintings that evoke both the light of a computer screen and the bold coloration of color field painting.

In addition to digital drawing techniques, Lee uses 3-D modeling software to manipulate perspective in both his paintings and sculptures, creating forms that are not found in nature. He is one of the rare artists who has invented his own artistic vocabulary. Both his paintings and his sculptures are instantly identifiable as works by Austin Lee. With his original fusion of techniques, Lee creates iconic images that embody a contemporary vision.

In addition to his paintings of the invented images that emerge from his drawings, Lee will also be showing a group of new portraits that he paints from life. He has been painting visitors to his studio with airbrush during the past several years, resulting in an accumulation of faces. He describes them as being more about capturing a feeling than a likeness. "I work on them until they feel like someone is there."

Austin Lee received his MFA from Yale in 2013. During the past two years, he has presented solo exhibitions at Peres Projects in Berlin, Bank Gallery in Shanghai, and Kaikai Kiki in Tokyo. His work was included in Punch, curated by Nina Chanel Abney at Jeffrey Deitch in the fall of 2018.

Tuesday May 7 2019 - Saturday May 18 2019
Venue name: Jeffery Deitch
Address: 18 Wooster St, New York
Cross street: between Canal and Grand Sts
Opening hours: Tue-Sat 10am–6pm
Transport: Subway: A,C, E to Canal Street

Peace is the beauty of life. It is sunshine. It is the smile of a child, the love of a mother, the joy of a father, the togetherness of a family. It is the advancement of man, the victory of a just cause, the triumph of truth.
Size: 23 x 30 cm
Medium: acrylics on canvas

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Original acrylic painting of Marilyn Monroe on canvas and on book pages.
Piece is signed on the front & also signed on the back.
Comes with signed certificate of authenticity.
Marilyn is both legend and myth. Marilyn Monroe's softness and vulnerability made her irresistible and she is always a source of inspiration for me.
Size: 35 x 50 cm
Available at

“The Hugo Boss Prize 2018: Simone Leigh, Loophole of Retreat”
Solomon R. Guggenheim Museum, Upper East Side
The Guggenheim bestows the twelfth edition of its annual $100,000 prize and accompanying solo exhibition to sculptor Simone Leigh whose work could be described as a kind of homage to the strength and fortitude that African-American women have displayed in the face of adversity throughout American history, from the travails of slavery to the Black Lives Matter protests of today. 
One such figure was Harriet Jacobs (1813–1897), and abolitionist and former slave who wrote a harrowing account of her years hiding from her masters in the rafters of her grandmother’s house. Her story provides the inspiration for the exhibition, which includes ceramic objects and a sound installation. 
This year is shaping up to be a huge one for the Chicago-born artist: In addition to this show, she will making an appearance in the 2019 Whitney Biennial, and will also inaugurate the High Line's new public art platform, The Plinth, with a monumental, 16-foot-tall bust of a black woman.

Venue name: Solomon R. Guggenheim Museum
Duration: Until Sunday August 4 2019
VENUE Address: 1071 Fifth Ave New York 10128
Cross street: at 89th St
Opening hours: Mon, Wed–Fri, Sun 10am–5:30pm; Tue, Sat 10am–8pm
Transport: Subway: 4, 5, 6 to 86th St

Wednesday April 24 2019 - Sunday May 5 2019
Colorful and exuberant, Julia Rommel’s geometrically abstract paintings call to mind a mix of Kasimir Malevich and Richard Diebenkorn, among other masters of the form. Rommel’s paintings are the result of a back and forth battle with the canvas. The beginnings of a painting are reworked, covered, and revised through various stages until the moment when she finds contentment.

Venue name: Bureau
VENUE Address: 178 Norfolk St New York 10002
Cross street: between E Houston and Stanton Sts
Opening hours: Wed–Sun noon–6pm
Transport: Subway: F to Lower East Side–Second Ave

Marilyn is both legend and myth. Marilyn Monroe's softness and vulnerability made her irresistible and she is always a source of inspiration for me.
New Media: Screenprinting on Canvas.
Size: 102 W x 63 H x 1.8 cm
Available at