#normamangionegallery

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Cesare Pietroiusti, Incanto (Performance con battitura d’asta del lavoro) Galleria Norma Mangione #cesarepietroiusti #normamangionegallery #contemporaryart #contempoaryperformance #artmarket (hier: Norma Mangione Gallery) https://www.instagram.com/p/CWJhp-NoxpN/?utm_medium=tumblr

[lmakbooksanddesign]

This morning I listened to a great interview with @nipplemuse and @gracie_mansion as part of the Sofa/ Painting project organized by @keijserskoning @norma_mangione_gallery and @tjboulting for @newartdealers It is an absolute great conversation and would recommend it! Go to www.keijserskoning.com/sofa-painting/ and when you are there, check out the other projects! I might be bias, but it was one of the most fun, interesting and even maybe self-reflecting project during these virtual fair days! Kuddos to the organizers, artists and participants! #newartdealersalliance #nadamiami2020 #keijserskoning #keijserskoningtradition #tjboulting #normamangionegallery #sofapainting #artfairs #goodvibes (at New York, New York) https://www.instagram.com/p/CIbSbG8lMH_/?igshid=7lzxn9ufj949

[amirshariat]

Anita Leisz at 21er Haus stunning display curated by Luisa Ziaja. She also had a great show at Norma Mangione in Turin recently #anitaleisz #21erhaus #belvedere #normamangionegallery #vienna (at 21er Haus)

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Best Wishes!!

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Norma Mangione Gallery on Mousse Magazine

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Norma Mangione Gallery on ArtForum

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Norma Mangione Gallery at Chert, Berlin

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Have you ever met Stefanie Popp?

 1974  Born in Bonn. Lives and works in Cologne, Germany

  Stefanie Popp’s research into painting goes hand-in-hand with an inner quest that ventures deep into the heart of the psyche. Figures of a beauty that always embodies something obscure and incongruous, and yet also ironic, emerge like visions from these depths. Her portraits are those of tradition, for her sitters, whether in frontal or three-quarter view, look out at us from dark backgrounds or mysterious interiors, yet they do not portray the person so much as ambiguous personal rituals. Her sitters don sadomasochist masks, hoods and laces, mediaeval armour, aerobics suits, hats, bows and tattoos, appearing in the poses of Hindu divinities or playing mock instruments made of neon and ping-pong bats, cradling strange animals or weaving ladies’ shoes into phallic forms.

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Have you ever met Raphael Danke?

Born in Aachen in 1972, lives and works in Berlin.

Mainly uses collage, photography and sculpture as his media. The body, evoked through its traces or fragments, is always at the heart of his research. The artist “dissects” photographs taken from books or magazines, eliminating the female figures and re-composing the images, using what remains of the page, without any additions or modifications. His subjects are thus abstract forms, the spectres of human figures, which we nevertheless perceive through their absence and which are transformed into objects, like abstract architectures.

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Have you ever met Michael Bauer?

1973  Born in Erkelenz, Germany. Lives and works in Cologne, Germany

One of the characteristics of Michael Bauer’s works consists in a layering process where faded signs alternate to materic lump and anatomic fragments are in a dialoge with abstract shapes. The imaginary from which he takes inspiration is populated by several images through which a sort of autobiographical atlas comes out. These images can come from different kind of feels. Sometimes consciously sometimes unconsciously picked and then transformetd, of those remain just some traces.

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Have you ever met Ruth Proctor?

1980   Born in United Kingdom. Lives and works in London, UK.

Her installations mix drawing, sculpture, dance and cinema and although not accompanied by sound, are always marked by a musical tempo

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Have you ever met Francesco Barocco?

1972    Born in Susa (Turin). Lives and works in Turin, Italy.

L’opera di Francesco Barocco non è facilmente sintetizzabile attraverso tematiche o linguaggi, è prima di tutto identificabile con un’attitudine, con l’esigenza di un lavoro condotto nello spazio del proprio studio, quotidianamente, alla ricerca di un senso di autenticità del fare che non può che conoscere continui nuovi approdi. Il suo fare non dimentica la tradizione delle tecniche, e in primo luogo dell’incisione, e non cancella neppure la storia, l’insieme delle immagini dell’arte antica e moderna, occidentale e non, a cui attinge come a un patrimonio interamente e liberamente suo.

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Have you ever met Garth Weiser?

Garth Weiser’s paintings are the product of layers, each resulting equally

from chance as they do from a conscious manipulation of time and material.

The works outwardly display a quick, surface effect that belies a slow,

systematic building.

The “interference-pattern” works disguise themselves as monochromes

and forgo the spinal element that characterized previous paintings, instead

favoring an allover composition. Creating an attention that lingers on the

surface, the pattern functions as a barrier, limiting access to the painting’s

layers. Despite maintaining their references to digital distortion and abstract

organic patterns (such as wood grain and aquatic vibration), these works do

not merely create an optical effect. Their muddled and degraded edges work

to give shape to a pulsing, auditory hum. In some cases, the interferencepattern

is interrupted by blistering lacerations that appear at once to be

erupting from the under-painting and attacking the first layers of painting.

Moreover, the new copper works acts in direct and conscious opposition to

the deceptively staid appearance of interference-pattern paintings, with their

molten finish that is almost geologic in its force. Weiser first applies piles

of colored paint in a free form and gestural manner. The copper membrane

then covers and in effect hides the expressionistic under-painting. The works

then become sites of excavation. The artist uses a razor blade to scrape and

gouge their surfaces with an intensity that at times punctures through the

paper itself. The brevity of the physical cut negates however the series of

fluid actions that precedes it. And in their following along the impulsive

and spontaneous gestures, the incisions are rendered topological and graphic

– a slice reveals the heaped residue of a now dissolved process.

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Have you ever met Jochen Lempert?

In confronting and challenging anthropocentric assumptions of

perception, these images portray a selection of flora and fauna in

various states of being, at times furtively, and at others, frontally.

In many cases the photographic object (a deer, or pigeons, or

a praying mantis) is depicted in such a way that it seems to be returning

the viewer’s gaze – an anthropomorphism that presupposes

a kindred act of discovery, a will to study, and, ultimately, the

possibility of being understood. In other cases, what is portrayed

(a mutilated fish head) threatens to dissolve into an abstraction

that confounds the human will to apprehend and organize the

perceived world into identifiable wholes. In both cases, seeing is

indeed driven by a will to believe, but believing does not necessarily

lead to seeing.