Three-day conference between 7-9 March in Kautokeino will find “a common goal to enhance Arctic film industry”. Organised by the International Sámi Film Institute, with the Sámi University of Applied Sciences and the Norwegian Film Institute, the three-day Indigenous Film Conference in the Arctic between 7-9 March

Newsletter March 2018 International focus on Indigenous Cinema Photo: International Sami Film Institute Click for the program Three-day conference between 7-9 March in Kautokeino will find “a common goal to enhance Arctic film industry”.  Organised by the International Sámi Film Institute, with the Sámi University of Applied Sciences and the Norwegian Film Institute, the three-day Indigenous Film Conference in the Arctic between 7-9 March in Kautokeino (northern Norway) will gather app 120 international film professionals to discuss “a common goal to enhance the  Arctic indigenous film industry.” “A unique opportunity for executives and financiers to meet indigenous filmmakers from all over the Arctic” – not only Norway, also from Denmark/Greenland, Finland, Russia, Canada and the US – as managing director Anne Lajla Utsi, of the the International Sámi Film Institute, described the event, which also will host a board meeting of the European Film Academy. Read more

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These images are worth a Look as an update Escher, Just great, Folye Openings, Volta March 7-11

SIMON SCHUBERT @ VOLTANY

PIER 90 (12th Avenue and 50th Street)   Booth B14   Public Vernissage:  Wednesday, March 7, 6 - 9       Fair Hours   Thursday – Saturday: March 8 – 10, 12 - 8       Sunday, March 11: 12 - 5 pm

Simon Schubert   Untitled (Intricated 23) 2018 Folded Paper 39.5 x 27.5 Inches       Simon Schubert   Untitled (Hallway) 2017 Graphite on Paper 39.5 x 27.25 Inches

visit the exhibition here

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The Aesthetics of Matter | video interview by GalleryLOG / Catch Volta NYC March 7-11

The Aesthetics of Matter VOLTA NY is proud to team up with GalleryLOG to present a preview video of The Aesthetics of Matter, curated by Mickalene Thomas and Racquel Chevremont for VOLTA NY 2018. Thomas and Chevremont will assemble The Aesthetics of Matter across a 2,600-square-foot space in the heart of PIER 90, an array of freestanding museum-style walls that afford and en- courage dialogue between artists, as well as a specifc focus in contrast to the traditional booth architecture and solo projects surrounding it. “This exhibition will include paintings, sculpture, photography, video, text, and printed matter,” notes the co-curators. “The artists’ works are social and political through the form of collage, which has always been thought of as ‘a moment of crisis in consciousness’.” GalleryLOG — the art world's award-winning premium bespoke video content creator — was conceived to bridge the gap between galleries and art lovers worldwide by producing compelling interviews with artists, curators and directors. GalleryLOG's content is syndicated to a vast array of notable global art publications. Essential Information: PREVIEW: Wednesday, March 7, 4 – 6 pm PUBLIC VERNISSAGE: Wednesday, March 7, 6 – 9 pm PUBLIC HOURS: Thursday – Saturday, March 8 – 10 12 – 8 pm Sunday, March 11 12 – 5 pm VIP ACCESS: Mutually acknowledged VIP access with The Armory Show LOCATION: PIER 90, 12th Avenue (at West 50th Street) New York, NY 10019 #voltany2018 www.voltashow.com Getting There: DIRECT SHUTTLE: Direct shuttle from The Armory Show, Pier 94 to VOLTA NY, Pier 90 PUBLIC TRANSIT: C and E train to 50 Street / 8 Avenue 1, A, B, C, D to 59 Street / Columbus Circle TAKING THE FERRY FROM NJ: Frequent ferry service to Midtown at Pier 79, a 13 min walk to Pier 90 on the Hudson River Greenway http://bit.ly/2qHzOg7

Are you in Paris? Check Lelia Mordoch Gallery March 15th opening Looks LIke Fun!!!

James Chedburn Rêve général   Vernissage jeudi 15 mars 2018 | 18h - 21h Exposition | 16 mars - 12 mai 2017 ~ Ne manquez pas la parution de Rêve général aux Éditions Lélia Mordoch James CHEDBURN, Steamship Ariston, 2017, laiton, cuivre, bois et boîtes anciennes, 24 x 16 x 6 cm © Jean-François Deroubaix Next Stop Utopia ? Sous les pavés la plage ? Grève générale ? Le rêve de tous les révolutionnaires ? Et si tout le monde s’arrêtait pour rêver d’un monde meilleur ? Ce rêve d’un monde meilleur, James Chedburn le vit au quotidien en déroulant le fil de laiton de ses sculptures. Les oeuvres de James Chedburn relèvent-elles de l’art singulier ? Il se revendique plutôt du Steampunk, ce courant artistique né outre-Manche qui mélange toutes les époques en se référant à l’esthétique de Jules Verne dans un baroque contemporain. Que d’humour, que de tendresse, que de poésie envers les naufragés de l’idéal dans les sculptures de James Chedburn ! Avec ses manivelles il a trouvé le mouvement perpétuel… le rouage dont l’engrenage ne nécessite que de l’huile de coude. C’est à la précision de ses mécanismes, à l’étude minutieuse des articulations des corps, que James doit la perfection de ses créatures. Oui, voilà sur les murs des ombres dignes de Calder, des machines qui réjouiraient Tinguely, des épures dont le souffle appelle Léonard de Vinci. Bienvenue dans l’univers de James Chedburn où le laiton remplace le béton, où Icare échappe au Labyrinthe sans que ne fondent ses ailes, où les mythologies surgissent de ses doigts d’artiste qui assemblent et soudent l’avenir au passé, un monde de fusées à vapeur qui nous emmènent danser pour un week-end sur la Lune. Venez nombreux, il y a de la place pour tout le monde. Lélia Mordoch

Galerie Lélia Mordoch 50 rue Mazarine, 75006, Paris. | Maps +33(0)1 53 10 88 52  | lelia.mordoch.galerie@wanadoo.fr Lélia Mordoch Gallery 2300 North Miami Avenue, 33127 Fl, Miami. | Maps +1 786 431 1506 | lelia.mordoch.gallery@gmail.com www.leliamordoch.com | @leliamordochgallery | #Leliamordoch

Blindarte AuctionCollection

DATE PROSSIME ASTE  / NEXT AUCTIONS DATES: 16 Maggio/May 2018 - Napoli/Naples Oggetti d'arte, Vintage dipinti XIX-XX secolo e dipinti antichi  Art Objects, Vintage XIX-XX century paintings, Old master paintings  Chiusura raccolta/Deadline collection 31 Marzo/March 6 Giugno/June 2018 - Milano/Milan Arte moderna e contemporanea + Design Modern and contemporary art auction + Design Chiusura raccolta/Deadline collection 6 Aprile/April

312 Bowery:JOE REIHSEN STRUCTURAL COLOR March 8th - April 8th, 2018

JOE REIHSEN STRUCTURAL COLOR March 8th - April 8th, 2018 OPENING: Thursday, March 8th from 6-9pm The Hole is proud to present "Structural Color", the second solo exhibition at the gallery by Joe Reihsen. While his debut show in 2016, “About Face” offered New York audiences a comprehensive look at Reihsen’s techniques and styles, this exhibition focuses closely on a new body of work introducing the paradox of iridescent color and a smooth surface. Joe Reihsen has exhibited widely in LA and Europe and could be said to have pioneered a new way of painting in the abstract: creating brushstrokes on plastic that are peeled up and adhered to a painted surface. The strokes grew and glowed and were sprayed to have a dramatic topography; across a diversity of paintings, they were giant skins or tiny holographic blips. The paintings had big, muscular movement—almost ab-ex—varied marks and textures but they also somehow looked digital or computer-generated. This led to Reihsen being seen as a pioneering digital-era painter who actually doesn’t use computers or digital output at all. In this new show “Structural Color,” Reihsen has again invented a new way to make an abstract painting, again making something with just paint that is mind-bogglingly not digital in any way. These works are made more like a monoprint: paint from one surface is transferred to another surface on a plastic sheet. Elaborate armatures and physical effort were deployed in creating these paintings, especially the twelve-foot pieces. Here, with the assistance of clear matte medium, airbrush, and some magical wet-on-wet acrylic behaviors, the artist has once again innovated within the medium. These pieces are both super smooth surfaced and iridescent with color. Metallic looking and oil slick, the new paintings shimmer and glow, almost in the manner of a butterfly wing, soap bubble, or peacock feather: what is known as structural color. While not microscopically textured to interfere with visible light (as some feathers, beetles, or berries are), the paintings instead have an almost lenticular design, where opposing sides of each painted “cliff” are hit with different hues. The paintings look wet with color - sticky with it - yet touching them (please don’t touch them!) reveals they are totally smooth. The paintings are composed in multiple “transfers,” sometimes with changes in alignment, sometimes transferred only partially, as the artist “scribbles” a wiggly line across the plastic sheet to transfer only that line of paint onto the canvas. The compositions take on grid structures, as a layer of horizontal painting is applied to a vertical layer; two works in the show are print partners, with the same shape of paint transferred back and forth, creating a “variable edition.” One of the enormous paintings has a six-painting transfer with different “screens” lining up to cover the expansive canvas. While obviously doing some very advanced things with acrylic, the artist is not overly obsessed by his process and instead focuses on creating thoughtful compositions and color combinations. Building up a painting in layers is of course very classical; here, however, the artist doesn’t have complete control of each layer; with clear gel or white paint as like the "glue" for the acrylic colors, the transfers aren't always visible during the application of layers. A lot of happy accidents form, and a lot of unhappy accidents get removed or discarded: it is an intuitive process through this pretty uncharted water. The surfaces look scraped and gritty, torn or squeegeed, scribbled or sanded. Some of the transfers seem torn or wrinkled, some are slopped and gooed or snowed-in with white. The most shocking aspect is that all these diversely evocative surface textures come across on a completely smooth acrylic painting. A Gerhard Richter squeegee painting is a giant squeegee dragged over so many layers of semi-dry oil paint; here we find the same trust in his materials and intuitive craftsmanship, but a very different material, and a relatively recent invention: acrylic paint. Commercially available only as early as the 1950s, acrylic paint came to the fore in fine art shortly thereafter. Untethered to the great historical oil paintings of the past six centuries, acrylic took on modern life in a direct way. Just as Judd celebrated plastics and industrial materials as the perfect media to tackle modern concerns, Reihsen uses it in the digital era to create a non-space where layers of essentially liquid plastic give the illusion of vibrancy or life. Though his method of building up with layers mimics the layered functionality of Photoshop, he is only a "post internet" painter in so far as he looks at how the internet augments Modernist anomie. Almost all his paintings take their titles from Craigslist "Missed Connections" and he has likened being an artist to sending a different kind of hopeful "message in a bottle." Through a more poetically-minded lens, the paintings in “Structural Color” are a contradiction; their iridescence suggests a three-dimensionality of surface that almost magically isn’t there. Instead of pure abstraction, they are all in a sense trompe l’oeil works. Their physical objecthood is insistent, while their window into an alternate reality is equally enticing: their artificial light drawing you to them, their artificial depth waiting to be explored. Just like structural color in the animal kingdom is used to attract a mate, evade predators, or even communicate over long distances, here iridescence is used to confound and seduce the viewer. Whether these paintings communicate over long distances is yet to be discerned. Joe Reihsen was born 1979 in Minnesota and lives and works in Los Angeles. Solo exhibitions at Praz-Delavallade in Paris, LA and Brussels; Brand New Gallery in Milan; Anat Ebgi in Los Angeles; group shows at Arsenal in Montreal, with Lawrence Van Hagen in London and many others; art fairs around the world; all have established Reihsen as an important new voice in abstract painting. For more information email raymond@theholenyc.com

The Hole is open Wednesday - Sunday, 12-7PM 312 Bowery (between Bleecker and Houston) NYC 212 466 1100 or poke@theholenyc.com #fineartmagzine