Pioneers in Computer Art
June 20 - July 31, 2019Colette Bangert, Aldo Giorgini, Jean-Pierre Hebert, Desmond Paul Henry, Hervé Huitric, Ken Knowlton, Charles Mattox, Manfred Mohr, Monique Nahas, Jacques Palumbo, Edward Zajec
June 20 - July 31, 2019Colette Bangert, Aldo Giorgini, Jean-Pierre Hebert, Desmond Paul Henry, Hervé Huitric, Ken Knowlton, Charles Mattox, Manfred Mohr, Monique Nahas, Jacques Palumbo, Edward Zajec
RCM Galerie is pleased to present ADAM BELT: WHICH WAY IS WEST, a solo exhibition of painting, drawing, installation and sculpture. Open from 31 January to 18 March 2019, this is the first solo show by the gallery for the California-based artist, whose work is inspired by natural forces coursing through the universe. The artist will be present for the opening on 31 January from 6 to 8 pm. Belt describes his practice as a quasi-religious vocation grounded in contemplation of physical and phenomenological aspects of our world and the cosmos. It emanates from the artist’s need to connect with the silence of eternity and the landscapes that were etched into his subconscious from growing up in New Mexico. “While rooted in landscape, my work grows from a lingering remembrance rather than direct experience of any specific place,” he explains. This idea is illustrated in Belt’s Nowhere Paintings, both physical in the gray matte textured surface and ethereal in the shifting reflective nature. The patterns created are reminiscent of rivers cutting though the landscape as seen high above in a moving aircraft. By incorporating reflective mircobeads in the work, Belt creates a shimmering surface that changes depending on the angle of light hitting it. Topography viewed from above also informs the series of Ebb and Flow drawings, which trace portions of the Grand Canyon as seen from satellite images from space while eliminating any of the visual cues that would allow the drawings to be placed in a static their environment. A baptismal font made of “growing” rock crystals underlines the shifting nature of our environment. Meanwhile, Rock of Ages, a singular stone created of dozens of layers of rock from different geological periods from as old as 4 billion years ago, adds another element of time. Rounding out the show is Cameo, a 20-minute looping video installation of the shadow of the earth rising the in the east opposite the sunset. On clear days in the dry desert of the southwest USA the shadow of the earth is clearly visible opposite the sunset. Cameo refers to both the tradition of silhouette portraits and brief character appearances in plays, movies and television. Adam Belt received his BFA from the University of San Diego and completed his MFA from Claremont Graduate University in 2001. In 2011, Belt was awarded the San Diego Art Prize in the Emerging Artist category. Belt’s work belongs in the permanent collection of the Museum of Contemporary Art San Diego. Belt currently lives and works in Carlsbad, CA.
RCM Galerie is pleased to present Abstract Pop, an exhibition of paintings and sculptures by the late American artist Edward Avedision(1936-2007). Open from November 29, 2018 to January 14, 2019, the show marks the first collaboration between the gallery and the Estate of the artist, who during the 1960s and 1970s was active on the New York City art scene and known for his color-saturated canvases that blend the exuberance of Pop and Op Art with Ancrethe rigor of minimalism and the playfulness of the Color Field school. His work was featured in seminal shows of the era, including the landmark Responsive Eye at MoMA in 1965. The influential gallery Robert Elkon represented him. Avedisian was born in Lowell, Massachusetts and attended the School of the Museum of Fine Arts, Boston. His first exhibition was in 1957, at the Boylston Print Center Gallery, Cambridge, Massachusetts. He then moved to New York City, where became a fixture on the vibrant downtown art scene, frequenting the Cedar Tavern on Tenth Street, associating with the critic Clement Greenberg, and affiliating with the new generation of abstract artists interested in experimentation and freedom. Robert Elkon assumed representation of Avedisian and gave him a one-man show of his stained canvases with central images consisting of three plumes arranged against a large blot. By 1963, Avedisian had transitioned to a hard-edge approach, portraying primarily large striped circles. Brian O’Dougherty noted the shift in Avedisian’s work in the New York Times, stating that his “targets woo the eye . . . in a sort of shooting match of afterimages.” Avedisian was included in the annual of the Whitney Museum for the first time in 1963, and two years later, in MoMA’s, The Responsive Eye. Avedisian was also represented in the Whitney Museum’s Young America 1965 and Expo 67 in Montreal. In the late 1960s, Avedisian started painting large-scale canvases with vertical, overlapping stripes in rich colors In1970, a solo show of his work was organized by the Bucknell University Art Gallery, Lewisburg, Pennsylvania. In 1971, Avedisian was included along with Walter Darby Bannard, Dan Christensen, Ron Davis, Larry Poons, and Peter Young in the exhibition Six Painters, organized by the Albright-Knox Art Gallery in collaboration with the Baltimore Museum of Art and the Milwaukee Art Center. In the 1970s, he left New York City for the Hudson Valley and his style became more representational. Avedisian’s work is held in the collections of the Albright-Knox Art Gallery, the Brooklyn Museum, New York, Buffalo, New York; the Denver Art Museum; the Flint Institute of Arts, Michigan; the Jack S. Blanton Museum of Art, Austin, Texas; the Metropolitan Museum of Art, New York; the Neuberger Museum of Art, Purchase, New York; the Parrish Art Museum, Water Mill, New York; the Portland Art Museum, Oregon; the Smithsonian American Art Museum, Washington, D.C.; the Solomon R. Guggenheim Museum, New York; the University of Michigan Museum of Art, Ann Arbor; the Weatherspoon Art Museum, Greensboro, North Carolina; the Whitney Museum of American Art, New York; and the Yale University Art Gallery, New Haven, Connecticut.
RCM Galerie is pleased to present the exhibition Francis Celentano: Ambiguity and Tension. Open from September 13 to October 25 2018, the show marks the first collaboration between the gallery and the Estate of the late artist (1928-2016), one of the main proponents of Op Art in the United States and a leading geometric painter and sculptor during his prolonged career. Works in the exhibition have been selected to provide a window into several of the themes underscoring Francis Celentano’s artistic output and range from Hard-Edge paintings from the 1960s, stark black-and-white geometrical compositions and sensual gradient color explorations. Francis Celentano was born in New York City and grew up in the Bronx, where his parents fostered his youthful artistic proclivities. At New York University, he studied art history and enrolled in drawing classes with Philip Guston, who introduced him to many avant-garde theories, artists and critics. After obtaining a Master’s degree in 1957, Celentano left for a year in Rome on a Fulbright scholarship. On his return, Celentano gained recognition among critics, curators and galleries for his incisive Hard-Edge paintings, which included the important Lavender Creed, shown in the historical show at MoMA in 1965, The Responsive Eye. Two works from this period will be shown at the RCM show: Cathedral, an acrylic on canvas from 1964, and the study for the painting conserved in the Albright-Knox Gallery. Celentano’s work is characterized by high contrast and achieving complex visual effects with minimal means. In the 1960s, for instance, he created a series of kinetic “spin” paintings of geometric forms attached to a motorized axis launched in circular motion. HCelentano’s visibility reached a pinnacle in the 1960s, when he lived and worked in New York City. The groundbreaking Howard Wise Gallery represented his work and gave him a one-man show. Important survey shows, including Kinetic and Optical Art Today at the Albright-Knox Gallery in Buffalo, the Whitney Annual, and Plus by Minus: Today’s Half Century, also at the Albright-Knox, featured him. In 1966, Celentano accepted a position as assistant lecturer at the University of Washington in Seattle. He earned full professorship three years later and taught there until he retired in 1997. Celentano’s work is well represented in American museums, foundations, institutions and private collections. Ambiguity and Tension represents Celentano’s first one-man show in Europe. To further promote his work on the Continent, one of the artist’s kinetic paintings from 1968 – Hexagonal Metamorphosis – will be presented at the upcoming ACTIE – REACTIE 100 jaar kinetische kunst at the Rotterdam Kunsthal from September 22, 2018 to January 20, 2019. For all inquires and images, please contact the gallery.
RCM Galerie is pleased to present the exhibition Maciej Haufa: Spirituality of Absence from 5 May to 21 June 2018, the first show of the late Polish artist at the gallery. A traditional CV for Haufa, born in 1946, holds little logic. Through his activity as an artist, he came to a realization that participation in the exterior mechanics of the art world held little value for him. He contested the institutional circulation of art, and adhered to that small group of serious artists who choose discretion and diligently guarded privacy. Haufa began his artistic activity began under the cloud of a deeply suspicious Communist regime that had certain artists followed by the “secret police.” He thus rarely revealed the results of his artistic investigations, though he worked intensively and systematically. He did not seek exhibitions, although he had some in the early years of his artistic life, and cut down and reduced to the necessary minimum in order to participate in the so-called artistic life. "My standing in art comes from faith,” he wrote in one of his copious notebooks. “I explain the art of life, creation, the ability to know. For art there is no announcement, there is no modern or medieval. There is no pre- or pro-. There is no blue, no red, neither vertical nor horizontal. There is a dilemma of understanding, narrative, morality and competence. (...) I show the world narrowed down, perhaps to the perception limit. This barely visible border is intended to provoke an attempt to see an objectively non-existent image. " Fascinated by Kasimir Malevitch he drew, painted, made graphics, mostly mezzotint and drypoint engraving, created collages and special objects, including art and video books. He confronted in his utterances the sacred and profane, sophisticated metaphysics with trivial quotes from the everyday reality in which he lived and which he watched closely. Since his death in 2006, his work is getting new consideration The Piekary Gallery in Poznan, a non-profit public gallery space, showed his work in 2017. Poland’s National Zacheta museum holds some of his work. RCM Galerie is now working with the estate.
RCM Galerie is pleased to present the exhibition Peter Sedgley: Prepared Drawings and Other Vibrations. Open from 8 March to 18 April 2018, it marks the first collaboration between the gallery and the English artist, an important figure in post-war British painting and light sculpture. Sedgley, known for his exploration of color, movement and form, began to paint in 1963 and, in 1967, began to incorporate light in his works. Although his work is often aligned with Constructivism and Op Art, Sedgley does not like to be put in a category; he prefers to say that the color theories of Goethe and the creative process of Paul Klee inspire him. “It is perhaps Klee’s influence that gives my work a restlessness as I move from one media to another in a context of revelation,” says the artist. Works at RCM Galerie focus on Sedgley’s drawings, mostly from the early 1980s, when he developed a mechanized means to trace visual patterns. They include Sedgley’s famous “target” motif, in which the artist juxtaposes colors to create a rhythmical visual language based on the circle. Sedgley’s appropriation of this primal form both effaces and reinforces his artistic gesture. Sedgley’s expression is both meditated and surprising. Such is the series of “prepared drawings” from early 1980s. Produced thanks to tools created expressly by the artist, each work is a programmed expression of a visual issue. Peter Sedgley was born in 1930. A seminal figure in 1960s abstract painting, Sedgley’s work has figured in many famous survey shows dedicated Op Art, such as The Responsive Eye at Museum of Modern Art in New York. In 1968 he set up with Bridget Riley S.P.A.C.E. (Space Provision, Artistic, Cultural and Educational), a scheme for providing studio space for young artists in England. Since the early 1970s Sedgley has lived mainly in Germany and he has an international reputation as one of the most inventive artists in his field. His work is kept in many major museums, private and public collections including: Tate London; Albright-Knox Gallery and Walker Art Centre, USA.
RCM Galerie is pleased to present the exhibition Jaroslaw Kozlowski: Exercises in Meaning. Open from 11 January to 27 February 2018, it is the first collaboration between the gallery and the Polish artist, whose investigations of the concepts underpinning art and its expression date back to the 1960s. Works in the exhibition have been selected as a window on the continuity of Kozlowski’s work from the 1960s to present and underscore the artist’s indefatigable attempt to understand and describe the mechanisms of art. They include a trio of his earliest paintings from the Absence series in which Kozlowski cuts rectangular apertures into a canvas painted with a dark and textured abstract landscape. The works are a conceptualization of the pictorial surface and expose the relationship Kozlowski explores between words (in this case the title) and the art object. Created under the regime of communist Poland and its secret police, one can now see the paintings as commentary on political purging of ideas, space and even people. Also exhibited from the 1960s are a series of drawings measuring space: Exercises in Measurement. These works are made of crude lines and curves with numbers measuring with dubitable precision the space of a sheet of paper. One can trace references to the pursuit of perfection of perspective and form, which have obsessed artists from the Renaissance. Kozlowski’s drawings intellectualize this pursuit. Contemporary work in the show includes Rhetorical Figures (2009), an installation of rough cardboard, geometrical reliefs accompanied by a LED screen scrolling a bulletin of “NO NEWS” from various important cities around the world. The works are a commentary on the attractive nature of modernism and what it means to purse these forms in art. Jaroslaw Kozlowski was born in 1945 in Srem, Poland. After studies at the State Graduate School of Visual Arts in Poznan, where he has taught drawing since 1967, Kozlowski asserted himself as one of Poland’s leading conceptual artists. He has exhibited widely in Europe and has work in leading museums. Parallel to his artistic practice, Kozlowski has been a major force in promoting artists in Poland. In the 1970s, he created NET as a mail correspondence program with hundreds of artists around the world to promote the free circulation of art and he also ran a gallery in Poznan, Akumulatory 2, as an avant-garde venue in Communist Poland for some of the most challenging art of the time. Kozlowski’s recent exhibitions include: “Sensation of Reality and Conceptual Practices 1965-1980,” a solo retrospective at MOCAK, the museum of contemporary art in Cracow, the “The New Décor,” at Garage Centre for Contemporary Culture in Moscow. The exhibition marks the first time Kozlowski has shown in Paris since the 1970s.
RCM Galerie is pleased to present an exhibition of Vasco Bendini in collaboration with Galleria SIX in Milan and Archivio Vasco Bendini in Rome. The works on display have been selected with the intention of highlighting an aspect of Bendini's language: that of the relationship with the art of signs, with a research close to an aesthetics involving both handwriting and writing. A writing inevitably rhythmic and never tonal, made of sharp and restless signs, dissonant and surprising, that outline an innovative and acute and conscious thought. The first works with these features were already made in 1950, using Indian ink and sometimes graphite; several others, larger in size, were made employing tempera on paper. Works that Vasco Bendini will call "Segni Segreti," or Secret Signs. A pupil of both Giorgio Morandi and Virgilio Guidi, Vasco Bendini was anchored in the intellectual dimension of his time. A cultural dimension far from the sinister Italian debate of those times between "either abstraction or figuration." But also far from the abstract line proposed by Lionello Venturi during the Venice Biennale in 1952, with the Group of Eight Italian Painters, where the exhibited works still resented the conditioning of the historical avant-gardes of the early twentieth century (Cubism and Rayonism in particular). Bendini, starting from 1950, expressed himself with signs, stains and gaunt gestures with or without color, faithful to the rigor of his own thought, witness of a wider and universal change in trend, contemporary to what was already happening elsewhere. Vasco Bendini lived and worked throughout his long life daily devoting himself to an intense and fierce practice, always surprising himself by his own doing. He once said: "Art is a happy accident leading me to an unexpected destination." Born in 1922 in Bologna, he died in Rome on January 31, 2015 In November a catalog will be published by RCM Galerie and Galleria SIX, with a commentary by Marcella Valentini Bendini and an essay by Terry Atkinson Among his early personal exhibitions: '53 Gallery La Torre - Florence by Francesco Arcangeli, '56 Galleria La Loggia -Bologna by Franco Russoli, '58 Galleria Milione -Milano by Francesco Arcangeli, '58, '59, '61 and '63 personal exhibitions at the Galleria L'Attico- Rome, '61 Galleria Apollinaire- Milan by Oreste Ferrari, '63 McRoberts and Tunnard Gallery - London by Francesco Arcangeli '64 Venice Biennale with a personal room presented by Maurizio Calvesi ; Galleria L'Attico- Rome by Giulio C. Argan, '67 Bentivoglio studio -Bologna by Francesco Arcangeli '72 again at the Venice Biennale, with a personal room 73/74 Decima (Tenth) Quadriennale of Rome, Palazzo delle Esposizioni invited by Filiberto Menna and Maurizio Calvesi, '76 Modern Art Museum of Saarbruecken by Maurizio Calvesi, '77 Museum of Modern Art Saarlouis, Germany, '78 Galleria d'Arte Moderna- Bologna by Renato Barilli and Sandro Sproccati. Among the many prizes, in 2002 the Career Award at Museo di Lissone with an anthological exhibition curated by Flaminio Gualdoni and in 2010 at MAR -Ravenna together with Georges Mathieu and Arnulf Rainer, curated by Claudio Spadoni Recent personal exhibitions include: 2016 National Academy of St. Luca, Rome, curated by Fabrizio D'Amico 2015 Museum of Contemporary Art MACRO, Rome, curated by Gabriele Simongini RCM Galerie: from Oct. 25 to Nov. 27, 2017 www.rcmgalerie.com Galleria Six: Oct.21 to Dec 14, 2017 www.galleriasix.it from November 11, 2017 to January 7, 2018, the Galleria d'Arte Moderna Ricci Oddi - Piacenza will dedicate a personal exhibition to Vasco Bendini, titled "A World at the Limit" curated by Archivio Vasco Bendini and Ivo Iori
Works by: Colette Bangert, Manuel Barbadillo, Aldo Giorgini, Jean-Pierre Hebert, Hiroshi Kawano, Ken Knowlton, Tony Longson, Charles Mattox, Manfred Mohr, Vera Molnar, Frieder Nake, Monique Nahas, Jacques Palumbo, Roger Vilder, Edward Zajec