Andréhn-Schiptjenko at Art Dubai 2023
Madinat Jumeirah Conference & Events Centre
Arena Hall - Booth C3
March 1-5
Madinat Jumeirah Conference & Events Centre
Arena Hall - Booth C3
March 1-5
We are delighted to announce our participation at ArtDubai, the Middle East’s leading international art fair,taking place every March in Dubai, UAE. We will bepresenting extraordinary recent works by Julio Le Parc,Jacob Dahlgren and Martin Jacobson. We look forward towelcoming you to our booth C3 in Arena hall.
We look forward to welcoming you to our booth C3 in Arena hall.
We look forward to welcoming you to our booth C3 in Arena hall.
Julio Le Parc (b. 1928, Argentina, lives and works in Paris, France)
Julio Le Parc is a major figure of historical importance within kinetic and contemporary art. In Paris in 1960, he cofounded the influential collective Groupe de Recherche d’Art Visuel (GRAV), along with Horacio Garcia Rossi, Francisco Sobrino, François Morellet, Joël Stein, and Jean-Pierre Vasarely (Yvaral). Le Parc’s early paintings were influenced by the constructivist movement known as Arte Concreto Invención, as well as artists such as Piet Mondrian and Victor Vasarely.
Since 1959, Le Parc has continued on his own independent path, applying rigorous organizing principles to his paintings, whether exploring the use of fourteen scales of colors or white, gray, and black in endless varying yet precise combinations. He has produced paintings that are simultaneously founded on rigorous systems of organization of surface and correlation of forms, as well as vibrant reliefs and immersive installations. He has long been concerned with how art might consider the participation of the public, and his research into perceptual instability as a pioneer of kinetic and op art led to important works involving light and movement.
Le Parc is particularly interested in opening up new relationships between the art object and the viewer, whereby the visitor is no longer a passive, dependent observer, but an active participant within a dynamic experience.
Julio Le Parc was awarded the International Grand Prize for Painting at the 33rd Venice Biennale in 1966. A defender of human rights, he fought against dictatorship in Latin America through numerous collective antifascist projects.
Julio Le Parc is a major figure of historical importance within kinetic and contemporary art. In Paris in 1960, he cofounded the influential collective Groupe de Recherche d’Art Visuel (GRAV), along with Horacio Garcia Rossi, Francisco Sobrino, François Morellet, Joël Stein, and Jean-Pierre Vasarely (Yvaral). Le Parc’s early paintings were influenced by the constructivist movement known as Arte Concreto Invención, as well as artists such as Piet Mondrian and Victor Vasarely.
Since 1959, Le Parc has continued on his own independent path, applying rigorous organizing principles to his paintings, whether exploring the use of fourteen scales of colors or white, gray, and black in endless varying yet precise combinations. He has produced paintings that are simultaneously founded on rigorous systems of organization of surface and correlation of forms, as well as vibrant reliefs and immersive installations. He has long been concerned with how art might consider the participation of the public, and his research into perceptual instability as a pioneer of kinetic and op art led to important works involving light and movement.
Le Parc is particularly interested in opening up new relationships between the art object and the viewer, whereby the visitor is no longer a passive, dependent observer, but an active participant within a dynamic experience.
Julio Le Parc was awarded the International Grand Prize for Painting at the 33rd Venice Biennale in 1966. A defender of human rights, he fought against dictatorship in Latin America through numerous collective antifascist projects.
Martin Jacobson (b. 1978, Sweden).
Dreams, myths and archetypical images all have in common that they are a door into a shared human consciousness, to experiences unbound by time. Jacobson’s imagery can be read as an associative stream, generating from these shared experiences.
With a desire to deepen the understanding of how we perceive ourselves in relation to the world surrounding us, Jacobson delves with his theatrical and saturated expression deeper into this dichotomy. Starting with existing images on archetypical motifs and themes such as sunsets, forests, mythological images and architectural forms and then recombining these elements, Martin Jacobson creates new motifs, often in stark and an almost unreal range of colours. Interpreting these originals is a way for Jacobson to create an image that is both new and old, familiar and unknown. A concentrate of light- and colour-phenomena, cultural references and emotional reactions take place in scenographic world where, just as on stage, fiction and reality meet and the double nature of beauty is allowed to be both seductive and repulsive.
Martin Jacobson has since his graduation from Malmö Art Academy (Malmö, Sweden) in 2005 been exhibited at numerous solo and group exhibitions, both in Scandinavia and internationally. Recent projects include a set design with monumentally scaled paintings, made for a stage show originally, presented at Wanås Konst in Sweden and an extensive solo exhibition at Vandalorum (Värnamo, Sweden) His works have also been shown in the exhibition Martin Jacobson: Excursions at the Nordic Watercolour Museum, (Skärhamn, Sweden), Martin Jacobson: The Traveller’s Guide to the Other Side at La Conservera (Murcia, Spain) and in the exhibition The Collectors, curated by Elmgreen & Dragset in the Danish Pavilion at the 2009 Venice Biennale.
Jacob Dahlgren’s work is concerned with a dialogue between the authoritative singularity of pure formal abstraction and its position within a variable, complex and social shared culture. Dahlgren’s repetitious collections of ubiquitous and ordinary objects, often domestic, industrially manufactured; stand in their gestalt form as proxy for High Modernist Abstract Painting and for all of the ideological territory that Twentieth Century Art Theory has staked out for it. The contributing objects, however, signify a collective and human aspect of society, each representing an individual choice, to be used or consumed in a unique way by its consumer. Together these objects stand for the group or community, and as such they become democratic rather than authored. This is evident in Dahlgrens’s social practice – a series of performance events around the world involving local communities – as well as in the large-scale sculptural installations in the public space for which he is well known.
This relationship with everyday life is one of the pillars of Dahlgren’s practice. Dahlgren constantly seeks geometric and abstract patterns in the surrounding world and processes the mundane and quotidian into art. His own life is inseparable from his work in a tangible way, for his project Peinture Abstraite he has worn striped t-shirts for the last fifteen years and plans to do so for the rest of his life, as a living and on-going exhibition, sometimes with external curators invited for a couple of weeks.
Dahlgren received his MFA from the Royal College of Art in 1999. He has exhibited widely in institutions such as Stavanger Kunstmuseum 2020-2021, Copenhagen Contemporary 2019 Museum Ritter, Waldenbuch (2017), MAGASIN – Centre National d’Art Contemporain (2016), KIASMA Museum of Contemporary Art, Helsinki (2013, 2011 and 2010), Henry Art Gallery, Seattle (2010, 2013), Fundació Joan Miró, Barcelona (2010), Schirn Kunsthalle, Frankfurt (2011) and Moderna Museet, Stockholm (2006). In 2007 he represented Sweden at the 52nd Venice Biennale.
Dreams, myths and archetypical images all have in common that they are a door into a shared human consciousness, to experiences unbound by time. Jacobson’s imagery can be read as an associative stream, generating from these shared experiences.
With a desire to deepen the understanding of how we perceive ourselves in relation to the world surrounding us, Jacobson delves with his theatrical and saturated expression deeper into this dichotomy. Starting with existing images on archetypical motifs and themes such as sunsets, forests, mythological images and architectural forms and then recombining these elements, Martin Jacobson creates new motifs, often in stark and an almost unreal range of colours. Interpreting these originals is a way for Jacobson to create an image that is both new and old, familiar and unknown. A concentrate of light- and colour-phenomena, cultural references and emotional reactions take place in scenographic world where, just as on stage, fiction and reality meet and the double nature of beauty is allowed to be both seductive and repulsive.
Martin Jacobson has since his graduation from Malmö Art Academy (Malmö, Sweden) in 2005 been exhibited at numerous solo and group exhibitions, both in Scandinavia and internationally. Recent projects include a set design with monumentally scaled paintings, made for a stage show originally, presented at Wanås Konst in Sweden and an extensive solo exhibition at Vandalorum (Värnamo, Sweden) His works have also been shown in the exhibition Martin Jacobson: Excursions at the Nordic Watercolour Museum, (Skärhamn, Sweden), Martin Jacobson: The Traveller’s Guide to the Other Side at La Conservera (Murcia, Spain) and in the exhibition The Collectors, curated by Elmgreen & Dragset in the Danish Pavilion at the 2009 Venice Biennale.
Jacob Dahlgren’s work is concerned with a dialogue between the authoritative singularity of pure formal abstraction and its position within a variable, complex and social shared culture. Dahlgren’s repetitious collections of ubiquitous and ordinary objects, often domestic, industrially manufactured; stand in their gestalt form as proxy for High Modernist Abstract Painting and for all of the ideological territory that Twentieth Century Art Theory has staked out for it. The contributing objects, however, signify a collective and human aspect of society, each representing an individual choice, to be used or consumed in a unique way by its consumer. Together these objects stand for the group or community, and as such they become democratic rather than authored. This is evident in Dahlgrens’s social practice – a series of performance events around the world involving local communities – as well as in the large-scale sculptural installations in the public space for which he is well known.
This relationship with everyday life is one of the pillars of Dahlgren’s practice. Dahlgren constantly seeks geometric and abstract patterns in the surrounding world and processes the mundane and quotidian into art. His own life is inseparable from his work in a tangible way, for his project Peinture Abstraite he has worn striped t-shirts for the last fifteen years and plans to do so for the rest of his life, as a living and on-going exhibition, sometimes with external curators invited for a couple of weeks.
Dahlgren received his MFA from the Royal College of Art in 1999. He has exhibited widely in institutions such as Stavanger Kunstmuseum 2020-2021, Copenhagen Contemporary 2019 Museum Ritter, Waldenbuch (2017), MAGASIN – Centre National d’Art Contemporain (2016), KIASMA Museum of Contemporary Art, Helsinki (2013, 2011 and 2010), Henry Art Gallery, Seattle (2010, 2013), Fundació Joan Miró, Barcelona (2010), Schirn Kunsthalle, Frankfurt (2011) and Moderna Museet, Stockholm (2006). In 2007 he represented Sweden at the 52nd Venice Biennale.
Jacob Dahlgren is this year's guest artist to produce a series of on-site workshops entitled The Flag Project.
For more information and visuals please contact Joséphine Bursacchi at josephine@andrehn-schiptjenko.com.
For more information on Art Dubai please visit www.artdubai.ae
