When Process Becomes Form: Dansaekhwa and Korean Abstraction February 20 –April 24, 2016

Kukje Gallery / Tina Kim Gallery and The Boghossian Foundation – Villa Empain present When Process Becomes Form: Dansaekhwa and Korean Abstraction  Featuring artists Chung Chang-Sup, Chung Sang-Hwa, Ha Chong-Hyun, Kim Whanki, Kwon Young-Woo, Lee Ufan, Park Seo-Bo Curated by Sam Bardaouil and Till Fellrath Fondation Boghossian — Villa Empain  February 20 –April 24, 2016 Opening Reception: Friday February 19, 6:30-8:30PM
When Process Becomes Form: Dansaekhwa and Korean Abstraction is the first comprehensive exhibition in Belgium of a generation of loosely affiliated Korean artists whose negotiation of abstraction has become known as Dansaekhwa. The exhibition presents Dansaekhwa's leading figures: Chung Chang-Sup (1927 - 2011), Chung Sang-Hwa (b.1932), Ha Chong-Hyun (b. 1935), Kim Whanki (1913 - 1974), Kwon Young-Woo (1926 - 2013), Lee Ufan (b. 1936), and Park Seo-Bo (b. 1931). It brings together more than fifty seminal paintings from both museum and private collections, ranging from the 1960s until the 1980s. In addition, the exhibition includes an extensive corpus of archival materials and documents. Working at the crossroads of diverse stylistic influences and within a politically and socially charged context, the seven artists featured in this exhibition employ abstraction as a means of synthesis and innovation. In doing so, they have succeeded in articulating a distinct visual language that champions form and material over the outright political. Their use of pattern and repetition stems from an emphasis on their process-driven approach that places the "act of making" at the very heart of their artistic practice. Transcending the specificities of political and social conflicts, the masterpieces that are on display present the viewer with a timeless and truly universal visual language. It is in its distinct aesthetic, which is able to transcend all cultural barriers and speak to the visual sensibilities and inclinations in all of us, that the power of Dansaekhwa ultimately resides. For the generation of artists connected to Dansaekhwa, being modern was never a matter of identification with a Western model of artistic production. Neither was it a faith in a universality that levels the particularities of distinctly different conceptual and formal approaches to art making. For most of the artists presented here, working and living in Korea through the 1960s and until the 1980s, modernity had a specific meaning, one that was associated with an independence from modernization and a criticism of globalization. These are larger critical questions. How can art history be global? How can the rigid notions of center vs. periphery be reconfigured? How can the contributions of non-canonical artists be acknowledged beyond the reductive paradigms of normative comparisons? These are among the questions that have increasingly punctuated the discourse surrounding the critical reflection on the notion of multiple modernities. This is where Dansaekhwa becomes poignantly relevant. When examined within its local context as well as against the theoretical and formal concerns and advancements that were simultaneously at play elsewhere, Dansaekhwa emerges as a significant example of how modernism can operate along several axes at once, both geographically and conceptually. A multilingual (French, Flemish and English) 150-page, fully illustrated catalogue will be published in conjunction with the exhibition. The publication features an extensive curatorial essay on the history of Dansaekhwa, full artist biographies and a comprehensive timeline of the movement's evolution within the context of Korea's broader modern history. Curated by Sam Bardaouil and Till Fellrath With the support of Kukje Gallery and Tina Kim Gallery Fondation Boghossian – Villa Empain Franklin Roosevelt avenue, 67 – 1050 Brussels Open from Tuesday to Sunday, from 11 AM to 6 PM About The Boghossian Foundation The Boghossian Foundation was created in 1992 by Robert Boghossian and his two sons Jean and Albert, Lebanese jewelers of Armenian origin, based in Antwerp and Geneva. The foundation’s main objective is to contribute to development and education for youth, as well as encourage a dialogue between Eastern and Western cultures. In 2006 the foundation acquired the Villa Empain in Brussels and opened the space to the public in 2010 to host exhibitions, conferences, international meetings and other activities all year round. The Boghossian Foundation also finances social, educational, artistic and environmental projects. About Kukje Gallery / Tina Kim Gallery  Founded in the center of Seoul in 1982 by Hyun-Sook Lee, Kukje Gallery is widely celebrated as a leader in shaping Korea’s cultural landscape. Known for its diverse and ambitious programming, the gallery has introduced modern and contemporary masters to Korean audiences while also supporting the careers of some of the most significant Korean artists both within the region and abroad. Founded in New York in 2001 by Mrs. Lee’s daughter, Tina Kim Gallery is celebrated for its eclectic programming focused on international contemporary art and emerging artists. Kukje and Tina Kim Gallery regularly collaborate on organizing exhibitions and participate with joint presentations at several premier international art fairs each year. The galleries have played a seminal role in promoting Dansaekwha to an international audience over the past decade. Recent critical exhibitions include the galleries’ presentation of artists from the movement at Frieze Masters, London in 2014 and The Art of Dansaekhwa in Seoul curated by Yoon Jin Sup – presented as a comprehensive history of the major Dansaekhwa artists and their work over the past half century. In response to the tremendous international interest in Dansaekhwa, Kukje and Tina Kim also organized an unprecedented exhibition of Dansaekhwa artists as part of the Collateral Events at the Venice Biennial in 2015, providing much-needed context to appreciate the historical significance of the movement, both internationally and in Korea.
#firnartmagazine

NEW-YORK HISTORICAL SOCIETY TO TRACE THE RISE OF ANTI-SEMITISM IN GERMANY THROUGH THE PAINFUL POWER OF NAZI PROPAGANDA IMAGES

NEW-YORK HISTORICAL SOCIETY TO TRACE THE RISE OF ANTI-SEMITISM IN GERMANY THROUGH THE PAINFUL POWER OF NAZI PROPAGANDA IMAGES Anti-Semitism 1919–1939 On View April 12 – July 31, 2016 New York, NY, February 17, 2016 – At a time of continuing anti-Semitic propaganda and attacks against Jewish communities in Europe and elsewhere, the New-York Historical Society will present a powerful exhibition that examines the rise of a culture of hatred. On view April 12 through July 31, Anti-Semitism 1919–1939 will trace the gradual and deliberate indoctrination of German citizens into active hatred of Jews through the ubiquitous words and images seen daily. The exhibition will feature more than 50 objects dating from the Interwar years, drawn from the collection of The Museum of World War II in Boston, Massachusetts. Included will be examples of anti-Semitic books and signs, announcements of mass meetings that excluded Jews, the original outline of a 1939 speech by Adolf Hitler to the Reichstag about the “Jewish Question,” and a printing of the Nuremberg Laws denying Jews the basic rights of citizens that laid the legal foundation for the Holocaust. Many objects on display will be disturbing to view, but they serve to convey the dangers of ignoring or discounting anti-Semitic discourse and underestimating the impact of hateful propaganda and religious intolerance more generally—a lesson of particular importance for the 200,000 New York City public school students who learn history with New-York Historical each year. The exhibition will also help explain the connection between anti-Semitism in Europe and the history of New York City and America, as those who fled Nazism deeply impacted American cultural, educational, and scientific institutions. “Anti-Semitism is among the most harrowing topics of 20th-century history,” said Dr. Louise Mirrer, President and CEO, New-York Historical Society. “While it is painful to see artifacts from a culture of hatred, understanding how such a horrifying moment in history developed is fundamental to helping us better grasp current events. The moral questions raised by the rise of Nazism in Germany transcend geographical and temporal boundaries, and it is the responsibility of institutions like ours to educate and inspire contemporary audiences to reflect on the roles and responsibilities of individuals, organizations, and nations when confronted with injustice. In addition, anti-Semitism is essential to the history of our city, as New York was so drastically changed by the influx of Europeans escaping Nazism. ” Historical Background of the Exhibition Long before Adolf Hitler rose to power, anti-Semitism plagued Europe. In Germany, the punitive 1919 peace agreement ending World War I exacerbated existing prejudices. Some people began to blame the Bolsheviks and “the Jews” for Germany’s forced demilitarization, its exorbitant reparations payments to the victorious Allied Powers, and the collapse of its economy. As the Nazi Party rose to power, it began a long campaign of indoctrinating German citizens with violent messages of hate through the widespread dissemination of anti-Semitic propaganda. After consolidating its rule, it passed the Nuremberg Laws, systematically codifying anti-Semitism. Among these measures was the Law for the Protection of German Blood and German Honor, forbidding marriages and extramarital relations between Jews and non-Jews. In a 1938–39 questionnaire on view in the exhibition, Helga Fräenkel sought permission to marry the father of her children. The request was denied because she was Jewish. The Nazi leadership passed increasingly harsh anti-Semitic laws that restricted the movement and lives of Jews. As shown through signs on view in the exhibition, Jews were forbidden to use the same park benches as their fellow German citizens who had been defined as “Aryans” and eventually were forbidden altogether from entering parks. These actions normalized the steadily mounting physical violence against Jews and destruction of their property, leading to their forced relocation to concentration and death camps, and ultimately to Hitler’s “Final Solution” to the “Jewish Problem”—the murder of six million European Jews. Under the Nazi Regime, anti-Semitism penetrated every aspect of life, and even children’s books were not immune from its reach. Never Trust a Fox on the Green Heath and Never Trust a Jew by His Oath (1936) was an anti-Semitic children’s book printed by Julius Streicher’s publishing house. The author, Elvira Bauer, was 21 when she wrote this book. In The Jew as Destroyer of the Race (1934), one of the most virulent anti-Semitic books printed, “Aryan” women were warned about the dangers of associating with Jews. Both of these books will be on view in the exhibition. Exhibition Publication & Public Programming The exhibition will be accompanied by a companion book with a foreword by Dr. Louise Mirrer, President and CEO, New-York Historical Society. To help visitors understand the exhibition and share their feelings about the content of the show, New-York Historical has developed educational and public programs to accompany the exhibition. Visiting middle and high school students will split their time in the gallery, where they will trace the rise of anti-Semitism in Germany, and the classroom, where they will use items from the Library collection to follow the parallel rise of anti-Semitism in the U.S. and its ramifications. New-York Historical is also partnering with Facing History and Ourselves, an international educational and professional development organization, on a full-day workshop for teachers on April 19. On Thursday, May 26, Abraham Foxman, world-renowned as a leader in the fight against anti-Semitism, bigotry, and discrimination, will speak at New-York Historical about the lessons he’s learned from 50 years of fighting anti-Semitism and hate speech. As part of New-York Historical’s “Justice in Film” series, Forbidden Games (1952), a French film that follows a young girl orphaned by Nazi airstrikes, and Europa Europa (1990), a German film about a Jewish boy posing as a German orphan in WWII Europe, will be shown this spring. Anti-Semitism 1919–1939 is made possible by support provided by the Blavatnik Family Foundation, the Charina Endowment Fund, the Barbara K. and Ira A. Lipman Family, Ed and Sandy Meyer, Ann and Andrew Tisch, Pam and Scott Schafler, the David Berg Foundation, Martin J. Gross, Ruth and Sid Lapidus, Martin Lewis and Diane Brandt, Cheryl and Glen Lewy, and Tamar J. Weiss. About the New-York Historical Society The New-York Historical Society, one of America’s preeminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical has a mission to explore the richly layered history of New York City and State and the country, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history. #fineartmagazine

Volta NY March 2-6th

VOLTA NY, the premiere art fair for emerging international art within primarily solo projects, returns to PIER 90 in Hell's Kitchen, New York City, from March 2 – 6, 2016. The fair opens in previews for the first time ever on Wednesday, March 2, immediately following previews the same day at adjacent affiliate fair The Armory Show at Piers 94 and 92. In its most diverse edition yet since its 2008 founding stateside, VOLTA NY welcomes 100 galleries, not-for-profits, and artist-run spaces from 50 cities across four continents, together presenting a dynamic survey of innovative contemporary talent by artists from 43 nations. Two-thirds of featured galleries have exhibited in prior VOLTA editions in New York and Basel, with the addition of new participants from Fort-de-France, Reykjavik, Bucharest, Jeddah, Dallas, Harare, Dundee, Taipei, and elsewhere promotingVOLTA's international reach and mission as a truly globally conscious art fair. “With my move to the Caribbean a few years ago, I became much more sensitive not only to the amazing art production being made in non-traditional art centres, but also to the lack of diversity at many fairs,”comments VOLTA Artistic Director Amanda Coulson. “Maybe in a smaller, fairly homogeneous town in Switzerland this might not feel so uncomfortable, but in New York it felt very important to me that the diversity of the city’s residents be reflected in the range of our artists and exhibitors. We particularly did not want this to be reflected in a 'one time only' section, but have the positions integrated throughout the fair in an organic way that would lead to their inclusion into the international discourse in a meaningful and permanent way.” Kameelah Janan Rasheed activates the elevated walkway connecting VOLTA NY with Pier 92: TheArmory Show – Modern with her ongoing series “HOW TO SUFFER POLITELY (and Other Etiquette)”, a rallying text-based prospectus of respectability politics confronting the ongoing climate of social oppression within the United States and abroad. Rasheed is sponsored by MoCADA (Brooklyn), a hub for contemporary African Diasporan arts and a first-time VOLTA exhibitor. Additionally, Clocktower Productions, New York’s oldest alternative art project, interviews fair artists and participants for their acclaimed Clocktower Radio series. A full list of exhibitors and artists participating in VOLTA NY 2016 follows this text. VOLTA NY debuts its Video Wall programming, a daily rotation of single-channel works screened on a 30-foot wall at front of the fair. Both works by artists featured in booth projects — including “Archeton” bySonny Sanjay Vadgama (presented by Galerie Kornfeld, Berlin); and “Microphone Test” by Che-Yu Hsu (presented by Nunu Fine Art, Taipei), subject of a solo installation at Taipei Fine Arts Museum last autumn — as well as other artists represented by exhibiting galleries — including “Traveling Shots: NYC” by Diane Nerwen (carriage trade, Brooklyn), which screened in the 8th Glasgow Short Film Festival; and “2nd Test Sculpture” by Brussels and Barcelona-based Spanish duo Aggtelek (beta pictoris gallery, Birmingham, AL) — will comprise the video program, instilling a deeper dimension to the artists' practices within a prime viewing environment. Finally, New York-based multidisciplinary artist Derrick Adams inaugurates the fair's Curated Sectionseries with his project “Something I Can Feel”, assembling eight emerging and under-the-radar artists within, in Adams' words, “a physically and psychologically textured exhibition exploring elements of provocation.” The exhibiting artists in “Something I Can Feel” are: Ibrahim Ahmed, presented by Gallery Nosco, London; Leonardo Benzant and Kate Clark, both presented by Dexter Wimberly Projects, Brooklyn; Brandon Coley Cox, presented by Rush Arts Gallery, Brooklyn; Doreen Garner, presented by Cindy Rucker Gallery, New York; Hugh Hayden, presented by Postmasters Gallery, New York;Shaun Leonardo, presented by BRIC and Mighty Tanaka, Brooklyn; and Balint Zsako, presented byThe Proposition, New York. PIER 90 can be reached by public transportation via the Eighth Avenue line (E or C trains to 50th Street) or from Columbus Circle (1, A, C, B, D trains to 59th Street/Columbus Circle), as well as direct shuttle between VOLTA NY and Pier 94: The Armory Show – Contemporary. Additionally, PIER 90 is connected by an elevated, covered and heated passageway to Pier 92: The Armory Show – Modern. VOLTA NY gratefully acknowledges Hudson Hotel and Ace Hotel New York as its 2016 Partner Hotels. VOLTA was founded in Basel in 2005 by dealers Kavi Gupta (Chicago), Friedrich Loock (Berlin), and Ulrich Voges (Frankfurt). VOLTA12 returns to Markthalle in Basel and coincides with Basel Art Week from June 13 – 18, 2016.

Pinacotheque De Paris closes due to economic climate.

Press Release The prevailing disastrous economic climate, particularly due to the November 13th terrorist attacks has driven inevitably to the closing of both Museums in Paris. Like all Museums in Paris, Pinacothèque de Paris has suffered a substantial drop in visitors. Resulting in the impossibility to keep its expensive locations Place de la Madeleine. Our goal is to carry out Pinacothèque’s restructuring in a more affordable location. We regret that we have not been selected for the Pershing project developed with Gécina Group and the great architect Rem Koolhaas. However we keep working on other projects that should come to life in 3 to 4 years with a Pinacothèque de Paris dedicated to contemporary art and another one to sculptures and primitive arts. Pinacothèque de Paris remains a prestigious emblem that will keep expanding its brand and cultural know-how worldwide and develop Museum projects abroad. Regrettably, we have to end prematurely Karl Lagerfeld’s exhibition, also threatened by a decline in the number of visitors. The exhibition of Karl Lagerfeld will end on Monday, February 15th at 6pm. We apologize to all the visitors who did not have the chance to come and see it. The permanent collection will be restructured between Singapour and new Pinacothèque de Paris museums that will open soon. Pinacothèque de Paris and its teams would like to thank kindly the public for its fidelity and enthusiasm and for having shared during the past 13 years our passion for Art and Art History. Pinacothèque de Paris is proud to have contributed to the Parisian cultural debate for more than one decade. Bringing a new know-how, it has transformed the French museum scene in terms of : scenography (color of the Museum’s walls, educational texts…) Art pieces’ display and lighting (closer hanging and specific lighting, going back to a tight hanging enabling the masterpieces to connect with each other) the choice of Art history subjects (re-interpretation of major artists such as Pollock, Munch, Giacometti, Van Gogh, civilizations confrontation, transversality, universality, double connecting exhibitions) discovery of major collections (Jacqueline Picasso, Collection Kremer, Collection Netter, Collection Gerstenmaier…) rediscovery of ancient civilizations and major periods of History (terra-cotta Xian warriors, the Incas, the Mayans, the Dutch Golden Age, the German expressionism…) discovery of artists never exhibited before in France such as Soutine,  Lichtenstein, Utrillo – Valadon, Hiroshige, Munch, Georges Rouault, Tamara de Lempicka, since then taken up by other institutions. and the presentation of unveiled treasures coming from private collections never exhibited by public institutions. Many wonderful memories that will last forever in our minds. Pinacothèque de Paris will be back soon with new cultural ventures. Marc Restellini President #Fineartmagazine

Emmanuel Fremin Gallery: Super Me, Ole Marius Joergensen andGiuseppe Mastromatteo. Thursday, February 25, from 6 - 8pm.

Emmanuel Fremin Gallery is proud to present Super Me , a dual exhibition featuring the works of Ole Marius Joergensen andGiuseppe Mastromatteo. Super Me will be held from February 25 to April 2 with an artist's reception on Thursday, February 25, from 6 - 8pm. The Brave One Ole Marius Joergensen At the early age of seven, Oslo-based fine art photographer Ole Marius Joergensen became obsessed with Superheroes. "It was the only thing I could think of, I loved their meaningful and adventurous life". By showing the superhero as a real human being who is willing to try anything to be able to fly but fails miserably, Joergensen combines humor and a Norwegian sense of surrealism in his work and finds inspiration in old folk tales and Nordic sagas. Many of his iconic images reflect the dreams and fears of his countrymen as well as raising questions of identity. Identity 1 Giuseppe Mastromatteo Giuseppe’s surrealistic digital photographs take advantage of the subtlety of digital technology to reproduce humanity in impossible and illusory dimensions. Faces are ripped; hands have eyes; human anatomy is surgically rearranged with no blood flowing in these absurd images. Transfigured bodies, pierced and lacerated do not show any form of violence, but instead pose solemnly in front of the photographer’s lens, beyond any suffering. No expression exists in these faces, there is no tension but rather a sense of timelessness that leaves us open to reflect about the uncertainty of this third millennium. Like Magritte and Man Ray, Mastromatteo intervenes in the interior sense of beauty. Body expressions have always played an important role in life and communication. Most secret emotions can be explained by the use of body language. Giuseppe Mastromatteo has succeded in creating his art by expressing his emotions in an indomitable Italian way.

©2016 emmanuel fremin gallery | New York City

Leila Heller Gallery, Shoja Azari and Shahram Karimi Feb 18 March 26 2016

Consequence IV, 2016, Water color on paper with video projection installed in black boxes, 13 x 24 incaption

Shoja Azari and Shahram Karimi  The Cold Earth Sleeps Below February 18 - March 26, 2016 Opening Reception: Thursday, February 18, 6 - 8 pm 568 West 25th Street, New York ‘The cold earth slept below/ Above the cold sky shone; And all around/ The breath of night like death did flow’ Percy Bysshe Shelley (1792-1822) Leila Heller Gallery is pleased to present a collaborative exhibition between filmmaker Shoja Azari and painter Shahram Karimi, on view from February 18th to March 26th, 2016.  The Cold Earth Sleeps Below features eleven of the artists’ unique, hallmark video-paintings, portraying and exploring humanity’s relation to the natural landscape.  The exhibition takes its title from the work of English poet Percy Shelley; the artists seek to revisit, in their own words, the contemporary relevance of “the paradoxical notion of beauty and the sublime that the Romantics fought to free from the clutch of utilitarian materialism, egoism, and the rational mind of the 18th century”.   Beauty betrays; yet its seduction remains as compelling as its deception.  In the hypnotic, shimmering collaborations between Shoja Azari and Shahram Karimi, a deep suspicion of the beautiful reveals disaster below the surface of the idyllic: a terrible sublime. For each composition, the painted canvas, layered with elements of relief texture and written text, mirrors the video image; according to the artists, their cooperative “artistic intervention attempts at thwarting or enhancing the perception of the neglected.” Taking as its point of departure the idiom of landscape as a medium as much as a genre in visual culture—a social hieroglyph mediating larger social values and literalizing the naturalization of societal conventions—The Cold Earth Sleeps Below dismantles the scaffolding of the beautiful.  For the six large-scale tableaux in the installation in the main gallery—each animated by the palimpsest of a video projection—the artists have culled found images from the popular imagination of serene, natural landscapes: an aerial vision a cherry orchard, a soothing view though dark grove of trees, a scene of a field of flowers delicately rustling in the breeze. Dreamscape I-VI, compelling their formal, synthetic beauty, evince the anthropological gaze of the natural as harmonious, sedate, governable: gestalt tableaux which suppress as much as they espouse.  MORE CHELSEA 568 West 25th Street New York City, NY 10001 T: +1 212 249 7695 info@leilahellergallery.com www.leilahellergallery.com DUBAI I-87, Alserkal Avenue PO Box 410683 Al Quoz 1, Dubai, UAE T: +971 4 321 6942 dubai@leilahellergallery.com #fineartmagazine

ART WYNWOOD TO OPEN ITS FIFTH EDITION WITH OVER 70 INTERNATIONAL GALLERIES Feb 11-15

Bernie Taupin, "Sleeping Beauty", fabric, twine, fixative on canvas, 60x36 inches, Waterhouse & Dodd, New York+London

ART WYNWOOD TO OPEN ITS FIFTH EDITION WITH OVER 70 INTERNATIONAL GALLERIES, CURATED EXHIBITIONS OF STREET ART, SEMINAL '60s ART AND INSTALLATIONS FROM LOCAL ORGANIZATIONS      Art Wynwood, the premier art fair of the winter season produced by Art Miami LLC, will showcase a dynamic array of work from the underground street art movement, emerging young talent, and world-renowned contemporary and modern artists. Its fifth edition will take place Presidents Day Weekend, opening with the highly acclaimed VIP Preview on Thursday, Feb. 11, and will open to the public onFriday, Feb. 12, and continue through Monday, Feb. 15. The major contemporary art fair will feature 72 international galleries showcasing diverse artworks from artists around the globe, including countries such as France, Belgium, Canada, Germany, Italy, United Kingdom, Liechtenstein, South Korea, and of course, from throughout the U.S.   Art Wynwood offers serious collectors as well as seasoned and beginning art enthusiasts the best opportunity to discover and acquire some of the most important art works of the era. Last year, the prestigious art fair attracted more than 35,000 collectors, curators and art enthusiasts during its five-day run, with more than 7,500 collectors attending the opening night VIP Preview. Coming off the recent success of Art Miami, which takes place annually in December, Art Wynwood is expected to draw even more notable attendees this year and is forecasted to boast additional high-value acquisitions. Some noteworthy highlights of this year's fair include the following: Art Wynwood will showcase important works like Jennifer Dalton's installation from Winkleman Gallery; Andy Warhol's Flowers from ARCHEUS/POST-MODERN; Andrew Myers' My Dealer is Not a Square from Lawrence Cantor Fine Art; Julian Lennon'sphotograph Horizons from Emmanuel Fremin; Cheryl Pope's tops from Spinello Projects; and the 1960s-inspired booth from Long-Sharp Gallery. Art Wynwood will open in the first quarter of a presidential election year this Presidents Day Weekend, and to commemorate the moment, the main entry doors of the fair will be flanked at both sides with large replica printed murals of Bernie Taupin's Sleeping Beauty,while the original work will be exhibited inside the fair at the Waterhouse & Dodd booth. Sleeping Beauty is an example of how Taupin has used the American flag as a recurring theme, utilizing this image to showcase its resilience and history of rebounding from abject adversity. The British-bornvisual artist/lyricist, now an American citizen, Taupin is inspired by the flag as a medium and features it heavily in his work.

Kevin O'Leary, "Woman on Chains", 2013 Martha Cooper, "Nunca"

Art Wynwood will mark the debut of Kevin O'Leary's contemporary photography exhibition. TitledIrreconcilable Images, the exhibit willfeature original works by O'Leary, a business mogul and investor on "Shark Tank." He describes the photographs as "irreconcilable" because "Viewing the work alerts your sense of foreboding, and you are suspicious of what you are seeing. The eye keeps trying to reconcile the imputed accuracies." The work displayed will span multiple decades and geographies and will include titles such as Self Portrait (1975), Inflating Zeppelin (2008) and Woman on Chains (2013). All profits from the sales of the photographs will benefit aspiring teenage entrepreneurs and the Perry J. Cohen Foundation (PJCF). The goal of PJCF, established by Pamela Cohen and Nick Korniloff, is to create awareness and education around the safe enjoyment of recreational boating, fishing and water sports. The foundation also will provide scholarships for deserving students, as well as financial assistance to future search-and-rescue efforts for others lost at sea. Martha Cooper, an iconic photographer noted for capturing the street art movement, will exhibit her work depicting Wynwood Walls and the Wynwood Arts District at this year's Art Wynwood. Cooper's work has been influential for urban vernacular art and architecture for over 40 years. Her dedication to documenting graffiti as an art form has propelled her to international acclaim, and because of her efforts, Cooper has been chosen as the recipient of the Art Wynwood Tony Goldman Lifetime Achievement Award. Kerry McLaney, Founder/Creative Director of Miami's Independent Thinkers and 305 Creative Group, is known for documenting Wynwood's evolution of street art throughout the years. When she first moved to the Edgewater/Wynwood area from Haiti, McLaney was captivated by how the colors, styles, shapes and textures of street art looked from behind the lens. In 2011, she met Martha Cooper, who quickly became an important guide into the street art world. This year, McLaney will have a boothadjacent to the Martha Cooper exhibit at Art Wynwood. PARTICIPATING GALLERIES Alejandra Von Hartz Gallery | Miami; ARCHEUS/POST-MODERN | London; Art Bastion | Miami; Art Center Allapattah | Miami; ART LEXÏNG | Miami; Art Nouveau Gallery | Miami; Artfactory Club | Vaduz; Artêria | Bromont; ARTIUM ART GALLERY | Miami; Ascaso Gallery | Miami; AUREUS Contemporary | Providence; Berry Campbell Gallery | New York; BOSSA Gallery | Miami; Boulakia Fine Art | London; Cantor Fine Art | West Hollywood; Cernuda Arte | Coral Gables; Christopher Martin Gallery | Dallas; Contessa Gallery | Cleveland; Dean Project | Miami Beach; Diana Lowenstein Gallery | Miami; Durban Segnini Gallery | Miami; Elizabeth Clement Fine Art | New York; Emerson Dorsch Gallery | Miami; Emmanuel Fremin Gallery | New York; Fabien Castanier Gallery | Culver City;FREDERIC GOT | Paris; Galeria RGR+Art | Valencia; Galerie von Braunbehrens | Stuttgart; GALLERIA CA' D'ORO | Rome; Galleria Farina | Miami; Gallery Ernst Hilger | Vienna; Gallery Tableau | Seoul;GAMO GALLERY | Seoul; Hazelton Galleries | Toronto; Heller Gallery | New York; Hollis Taggart Galleries | New York; In Dubio Pro Arte | Hamburg; Joerg Heitsch Gallery | Munich; K+Y Gallery | Paris; Lelia Mordoch Gallery | Miami; Long-Sharp Gallery | Indianapolis; Miami's Independent Thinkers | Miami; Mindy Solomon Gallery | Miami; Now Contemporary Art | Miami; Projects Gallery| Miami; Ranivilu Art Gallery | Miami; Robert Fontaine Gallery | Miami; Rofa Projects | Potomac;Rosenbaum Contemporary | Miami; Schantz Galleries Contemporary Glass | Stockbridge; Silver Lining Fine Arts | Miami; Spence Gallery | Toronto; Spinello Projects | Miami; Sponder Gallery | Miami; S W G R Gallery | Miami; The Creators Lab | Miami; The Curator's Voice Art Projects | Miami;The Great Dane Collection | Philadelphia; Unique Gallery Ltd. | Paris; UNIX Gallery | New York; Vertu Fine Art | Boca Raton; Villa del Arte Galleries | Barcelona; Vogelsang Art Gallery | Brussels; Waltman Ortega Fine Art | Miami; Waterhouse & Dodd | New York; White Dot Gallery | Miami; White Space | Miami; Winkleman Gallery | New York; Wynwood 28 | Miami; ZK Gallery | San Francisco; 55 Bellechasse | Paris ART WYNWOOD 2016 FAIR INFORMATION FAIR HOURS: VIP Preview | 6pm - 10pm Thursday, February 11, 2016 Presented by Merrill Lynch Access for Art Wynwood VIP Cardholders and Press GENERAL ADMISSION: Friday, February 12 | 11am - 7pm Saturday, February 13 | 11am - 7pm Sunday, February 14 | 11am - 7pm Monday, February 15 | 11am - 6pm TICKETS: $25 One-day Fair Pass  $55 Multi-Day Pass $15 Students 12-18 years & Seniors 62 years +  $15 Groups of 10 or more (online ticket purchase only)  Free Children under 12 years accompanied by adult.   For participating exhibitors, events and special exhibitions information, visit: www.artwynwood.com  #fimeartmagazine

Art Fair march 3-6 NYC, Hope to see all of you there - Fine Art Magazine

Fine Art Magazine | Art Fair march 3-6 NYC, Hope to see all of you there - Fine Art Magazine

Art Fair march 3-6 NYC, Hope to see all of you there

February 10, 2016 Fine Art Magazine

4

Alessandro Berni, Clio Art Fair founder and owner.

Art Fair march 3-6 NYC, Hope to see all of you there - Fine Art Magazine: http://www.hydrartproject.com/ Clio Art Fair is Returning Under the New York City Sky Interview with Alessandro Berni, founder and director of the project Alessandro, Why Clio? Clio is the muse of history. When Clio sings your name while playing her harp, this means that your name has been admitted to the mental olympus of human history. I’ve always been fascinated by this mythologic and inspiring figure. When I conceptualized this idea, I was alone. I suddenly understood that I should create a great team to successfully carry out my vision. Because of that, the first person that I invited to join me was Clio. What are the challenges that you anticipate? We are a new event in a town saturated with events. It’s hard to surprise Manhattan. I would like to underline that this show is not born to host emergent artists. Our show is composed of solid and professional artists. Some of them have their studio and they are not looking for a gallery; others would like to be represented. Basically all of them use this event to make new connections in terms of art critics, collectors, curators, and gallerists. What are the distinguishing traits of your fair, or rather your anti-fair? We emphasize the concept of anti-fair because galleries are not admitted to show the artists that they represent. This event is created for independent artists. Furthermore there are no booths. We highly respect the architecture of the space that hosts our Fair. The result is a curated international group show. How does the selection process work? During the year, we make a call inviting independent artists to send us their masterpieces. Starting from the best works that we receive, we make our selection. All the works shown have been previously analyzed to be admitted by our curatorial team. We discuss everything with the artist. From the dimensions to the supporting materials that will be used. Where are the artists from? US excluded, the more represented countries are Italy and Israel. Basically we have artists from every part of the world including Korea, Argentina, Iran,and also New Zealand. It’s a real international show. What does “international” mean for you in a global context? If you live in the highly technological side of the world, everyone uses the same branch of computer, phone, the same web-sites. But we don’t have the same passport, and in particular the same history. International could be a superfluous word for artists that don’t include their past in their works or the the artists that make art with an impact of technology. I was born in Tuscany (Italy ndr). I’ve lived in Kenya, Ireland, and France. Now I’m the US. I work in English, French, and Italian, and eat sushi everyday. International is the place where I live. Talking with you I’m realizing that this word will become superfluous in the future. Let’s defer to the muse Clio to tell us when it’s time to stop to using it. Why have you chosen New York, are you planning to organize Clio Art Fairs in the future? When it comes to business and energy, there is nothing comparable to New York. The contemporary art world is a circus that each year likes to travel all around the planet. Chelsea was the right place to start our adventure. We were born as a nomadic project. We don’t exclude the notion of us being present in other towns in the future. Clio art fair 2015 hosts 50 artists plus I’ve heard there will be 5 handwritten documents signed by Napoleon Bonaparte. Why this choice to select these historical documents in a context of contemporary art fair? Napoleon is a fascinating figure with lovers and detractors. His life, his success and defeats are studied by all the world. He’s still an example for some, an evil person for others. Despite the personal opinion that everyone could have about him, all the world must recognize that he’s a man that, because of his actions, left his century as an immortal. I personally own these documents. His presence is a wish for all the artists included this year. A wish of glory and success, and why not, that one day, Clio will play her harp for some of them.