We found – 39 articles for painting

WALLS

For their first show of 2020, Urban Spree Galerie presents « WALLS », a collective exhibition featuring 30 international artists and dedicated to the notion of the « wall ». 

Curated by Fabrice Douar and Cyrille Gouyette (Le Louvre Museum, Paris) and co-curated by Pascal Feucher (Urban Spree Galerie, Berlin), « WALLS » invites prominent artists from both the comics scene and the street art scene to create graphic works of fiction related to walls, interpreted either as simple architectural elements, ominous symbols of segregation, canvases and vessels to convey meaning, textures, or imaginary playgrounds and labyrinths. 

Fragment of an antique wall, Pompeii. Courtesy Galerie David Ghezelbash

 

While some antique artefacts appear in the show to testify of their immortal, silent presence, in the 21st Century, the Minotaur doesn’t wait at the center of his realm but has clearly moved outside, demultiplied its presence, and is building more walls.

The exhibition’s direction is therefore resolutely multifaceted, contemporary and graphic-oriented, spanning several topographies (Europe, South Korea, Middle East, Hong Kong, Cuba…), and art forms (painting, photography, installations, videos). 

Levalet: « Voie de contournement », China ink on paper, 70x100cm, 2019

30 Artists: Alias, Andreas, Jim Avignon, Bault, Enki Bilal, Broken Fingaz Crew, Isaac Cordal (installation), Hendrik Czakainski, Christian Durieux, Philippe Écharoux (mapping installation), EVOL, Jean Faucheur, Flix, Jorge Rodriguez-Gerada, Miles Hyman, Kim Jung Gi, Levalet, Stéphane Levallois, Loustal, Marc-Antoine Mathieu, Mode2, Alexandra Novosseloff, Ernest Pignon-Ernest, Michal Škapa, Pen So, Thom Thom, Sam Tse, Santiago Valenzuela, Lars Wunderlich, Zevs.

 

Enki Bilal. Excerpt from the Portfolio « Die Mauer Berlin », Futuropolis 1982

 

In cooperation with Galerie David Ghezelbash, Galerie Huberty & Breyne, and Galerie Lelong & Co.

 

WALLS

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Vernissage: Friday, January 17th, 2019 from 18:30

Exhibition: 17.01.2019 – 29.02.2019

Wed – Sat –  12:00-18:30 or by appointment

info and catalogue: galerie@urbanspree.com

To download the Press Kit: https://www.urbanspree.com/press/



New York Perspectives

Urban Spree Galerie presents New York Perspectives, a duo show featuring Chris « Daze » Ellis and Joe Conzo, curated by Mode2. The vernissage will be on Friday, November 22nd, at 18:30, in presence of the two artists.

    Through the work of two New York City-born artists, a painter and a photographer, this exhibition is an attempt to show aspects of New York City life, through the eyes and the work of two very different individuals; though both come from a part of its counterculture.

    The drawings and paintings of the artist Chris “Daze” Ellis, and those many moments and people captured by the photography of Joe Conzo show us how the youth that were more in osmosis with the steel, the concrete, the glass, the streets and the city’s subway system, could develop new forms of visual dialogue that could form a bridge between their own social and cultural background, and a movement that would infiltrate the artworld and become a global phenonmenon.

   Coming from different neighbourhoods and cultural backgrounds, both have lived long enough to have witnessed first hand the huge transformations that the city has gone through over these last decades, while their “work”, which was actually their hobby, passion and life pretty much, has documented seminal eras during that time.

  These tumultuous years of cultural flux; of blossoming, blooming, destruction and rebirth, are often overlooked by today’s focus on the “now” of street art, and the way through which this eclipses the very alchemy that gave birth to the way in which artists express themselves in the street today, or the way in which they document city life.

    It is doubtful that much of what is happening today in visual art, music, dance and written or spoken word ever would have happened, if generations of youth in New York City had not lived what they did many decades ago; and we can count ourselves lucky that a few rare individuals happened to be there and have the instinct to document it.

  Here then, are views of New York from two different perspectives, they themselves being a complex accumulation of all of life’s experiences, and how they shape each individual’s understanding of the world around them; and the ways by which they choose to express and share this with us.

Urban Spree Prints will release two 18″x 24″ silk screen prints by Daze on the opening night and online.

The gallery and the curator heartily thank Henry Chalfant for letting us show his documentary movie “From Mambo to Hip Hop: A South Bronx Tale.”

Poster Artwork by Tyler Askew.

 

“New York Perspectives »

Christopher « Daze » Ellis / Joe Conzo

Curated by Mode2

22.11 – 21.12.2019

 

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Opening: Friday 22.11.2019 at 18:30

Exhibition: Tu-Sa – 12:00 – 18:30

Info & Catalogue: contact@urbanspree.com

 

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BIOGRAPHIES: 

 

Chris « Daze » Ellis

Growing up in Crown Heights, Brooklyn, Chris Daze Ellis (b. 1962) was aware from early on of the names and the odd characters that would be dancing along the trains that wove their way through the city. When he started out at the High School of Art & Design in 1976, he found that there was a whole community of very diverse yet like-minded individuals there, also involved with this scene; some of whom would go on to make a name for themselves in the art world.

Being a fan of drawing and comic books already, Daze camouflaged his nighttime activities under his parents’ gaze, exploring and expanding his visual vocabulary, combining the traditional with the dynamism of a new and challenging environment, with stimulus of its own.

Having mastered the medium and the environment, Daze would go on to shape his own personal vision of the world, looking as much inwards as outwards, in the relationship between the trains and walls, and what he could further explore in the studio. The strength of his successful life as an artist in his own right would develop from then on.

From his participation in his first group show, Beyond Words, at the Mudd Club in 1981, before having his own solo show at Fashion Moda (the historical South Bronx art space that bridged the established art world with the raw talent and energy coming out of New York City), Daze embraced the wide horizon that opened up before him.

From then on, Daze began to show in many different cities around the world, whether it be galleries and museum, in solo shows as well as group formats. He has participated in many public or educational art projects around the world, working with students and communities from South Korea to Brazil via Haiti, while often visiting Europe as well, and contributing to New York mural initiatives like the Leap Arts Program or Thrive Collective.

From his appearances in the film Style Wars, to being an art consultant on the Netflix series The Get Down in 2017, to participating in public painting projects from the Star Ferry Terminal in Hong Kong in 1993, painting an entire Hannover train station with fellow artists Lee Quinones and John Crash Matos, or being commissioned for murals by private clients like the law firm, Cleary, Gottlieb, Steen & Hamilton in Washington D.C. 2018; Daze has constantly had his hands on a whole range of different projects.

Daze’s paintings have found themselves in many private collections including Eric Clapton, Natalie Imbruglia, and Madonna. His work can also be found in the permanent collections of The Whitney Museum, NY, Museum of Modern art, NY, The Museum of the city of New York, The Ludwig Museum, Aachen, Yale University art Gallery, New Haven, Addison Museum of American Art at the Phillips Academy, Andover.

Chris Daze Ellis continues to live and work in New York City.

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Joe Conzo

Joe Conzo was born in the Bronx during an era of great upheaval, when the construction of the Cross Bronx Expressway was nearing its end, having destroyed the communities that lay in its path, and condemning those parts of the borough around it to social and economic decline. The apocalyptic landscapes of urban devastation, and the high criminality associated to it are emblematic of that era.

President Truman’s Urban Renewal announced in 1949, ruthlessly applied by Robert Moses, targetted the more modest and ethnically diverse neighbourhoods of New York City whose resistance to forced removal would fall on deaf ears, as private developers grabbed the prime lots. The Bronx represented both the laboratory and the collateral damage for these extreme experiments of urban renewal.

And yet, out of what looked like an urban war zone, the city’s youth began to pick up the pieces, and, out of the desolation around them, began to build their own road out of it. Realising that the state was not going to do anything positive for them, their survival instincts eventually kicked in; and out of the gang culture, the drugs, and the sheer nihilism that had reigned for a while over much of the borough, new and greener shoots were beginning to break through.

Joe Conzo’s cultural capital, and that of his peers, was probably key to his survival and his blossoming during those harsh years; grandson of Dr. Evelina López Antonetty, a political activist who played a huge role in developing educational programmes for Puerto Rican children, and son of Joe Conzo Snr., who was in the thick of the huge Latin music scene of that bridged those decades; hanging with all the main players of that era, and having been the biographer of Tito Puente.

While studying at the Agnes Russell School on the campus of Columbia University, he discovered photography, the medium that would enable him to document what went on around him; from the world of latin culture through his father’s connections, to the collision of art forms that would later be called Hip Hop; a word that eclipses the sum of its parts.

Having lived many ups and downs in the eighties, to a rebirth of sorts, Joe Conzo went on to become a qualified medical nurse, then worked for the New York City Fire Department, being among the first responders on 9/11. At some point along the way, he was reunited with the camera, and began shooting again…

Whether as the photographer of rap crew The Cold Crush Brothers, a hugely influential group of MCs from the early days, or just a boy from the Bronx who had a camera and curious eyes, Joe Conzo’s photos provided reference material to Henry Chalfant ‘s documentary “From Mambo to Hip Hop: A South Bronx Tale.”, and were documented in a book called “Born In The Bronx: A Visual Record of the Early Days of Hip Hop”.

His negatives have been digitalised and archived at Cornell University, providing a unique and indispensable resource for those wishing to research the those eras.



Jim Avignon: Here Comes the Bad News Finissage

Join us in the gallery on Sunday afternoon for the finissage of the exhibition « Here Comes the Bad News« .

Between 16:00 and 19:00, Jim Avignon will spin 7″ records, meet the audience, sign books and goodies (our new limited edition mugs!) and there will be a raffle of a painting!

 

Jim Avignon

Here Comes the Bad News Finissage

Sunday, September 8th, 2019

16:00 – 19:00



Jim Avignon x Urban Art Week 2019

On the occasion of the 2nd Edition of the Berlin Urban Art Week and within the frame of his current exhibition « Here Come the Bad News », Jim Avignon will realize a large live painting in the gallery on Friday, September 6th, 2019 from 19:00 to 21:00.

Jim Avignon

Live Painting at Urban Spree

Friday 06.09.2019 from 19:00 to 21:00

Brazilian beats by DJ Holger



Jim Avignon: Here Comes the Bad News

Jim Avignon returns to Urban Spree Galerie for his second solo show « Here Comes the Bad News », 2 years after « Permanent Jetlag ».

In his only exhibition in Berlin for the year 2019, Jim Avignon describes the mood in the world and in Berlin in particular with his usual wit.

Gentrification, Global Warming, Surveillance Capitalism, Alt Right… here comes indeed the bad news. His paintings are a mash-up of cartoony figuration, expressionistic composition, – a maximum of expression with a minimum of lines.

 

Jim Avignon is a painter, illustrator and conceptual artist. Always ready to confront the establishment he is torn between pop art, street art, Picasso on acid or simply being the fastest painter in the world. His signature style consists of vivid colours, a biting humor, unpretentious materials and a mind numbing output. His art works like pop music in DIY mode.

According to the legend, the artist became stranded in the Provence city of Avignon at some point in the ’80s when his car unexpectedly broke down. He resorted to painting Dali images onto pavements, gradually raising money to repair his car. The name stayed.

In the early 90s, he became an ubiquitous painter of the techno movement, designing makeshift clubs and Love Parade trucks.

By creating a colorful flood of affordable, rapidly-produced works, Jim disrupts the well-oiled art market and pervades it with black humor and self-irony. Avignon’s images caricature the modus operandi of the art market and are also aimed at people who are bored or deterred by the gold-framed aura of so-called high art. « Good Artists Go To The Museum, Bad Artists Go Everywhere ».

 

Jim Avignon

« Here Comes the Bad News »

Solo Show at Urban Spree Galerie

Vernissage: Friday, August 09th, 2019

Exhibition: 09.08.2019 – 08.09.2019

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Info and catalogue: pascal@urbanspree.com



Christopher Stead: Acid Reign

Urban Spree Galerie presents « Acid Reign« , the first solo show in Germany of the British visual artist Christopher Stead.

Acid Reign is the culmination of a long-term residency at Lab Kalkhost in North Germany. Christopher Stead produced on the shores of the Baltic Sea several large format works, using a process mixing graffiti techniques and natural elements.

Cans of paint are burst with nails, sand and mud is flung. An alchemy between the paint and the land turns into a painterly concrete, cementing ideas, solidifying a tangible truth. The paintings are stuffed into rucksacks and returned to the studio where Ikea bags full of previous endeavours lie dormant ready to rework. A fecund process is born.

The fences used in the supports of the pieces are taken from decaying plots on the train lines.

Rusty fences, transgressed and twisted by nature are transported to the studio. The erosion of the metal emasculates the sterile man-made purity of the material. This gives each painting a story and a history. Every fence painting starts at night on the train tracks with a pair of bolt cutters and finds its way into the light of the studio and finally into the gaze of the public domain.

Artist Statement:

« Once upon a time, on a small island called Great Britain, there lived a lady called Margaret Thatcher. Margaret along with her Tory Party ruled the land with an iron fist and squeezed the living life out of its people. Fed up of a decade of draconian rule, the people began to gather and dance their woes away at their own party. They called this the Acid House party.

Race and class barriers were dissolved as the people united and raved as one big family. The Tory party didn’t like this as they weren’t invited, so they invented a law to stop the gathering of 20 or more people, dancing to the sounds of repetitive beats. Techno, Jungle, call it what you want. It had to stop. Whilst this may sound like a children’s horror story, it was in fact or certainly a young adults nightmare. 30 years on, the nightmare continues. Britain is again been torn apart by the right.

The paintings in Acid Reign were made on the beaches of former East Germany. 30 years ago these beaches were patrolled by the military to stop East Germans defecting to the west. Cans of paint were popped and squeezed upon the sand soaked canvas to create the acid rain.

The works seeks new places to hang. Inspired by Foucault’s concept of heterotopia, it finds solace in spaces of otherness. Informed by a youth growing up free, painting graffiti on the trains. Painting in the dark. Surrounded by fences, along the train tracks, in and on derelict buildings. Buildings which housed these parties. Places of abandon and neglect. Again, the work finds itself back in its familiar territory.

Acid Reign is emblematic of the freedom of movement in open spaces without borders. A freedom which is slowly being choked out of the people once again. »  Christopher Stead

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Christopher Stead (b. 1974, UK) lives and works in London.

Tangled, torn, popped, squeezed and then hung in spaces of other, the work exists to evade the paradigms of commercial obedience, white cube boredom, and the polarities regimented by cultural hegemony.

Informed by Thatchers dystopian Britain and her Acid House love child, the work explores free movement in spaces without borders. The paintings are made on the beaches of Spain and Finland. Some are made in the sludge of a low tide River Thames. Others were born on the Northern coast of Germany. 

They seek new places to hang. Inspired by Foucault’s concept of heterotopia, solace is found in spaces of otherness. Informed by a youth growing up painting graffiti on the trains, a youth that bled into adulthood. 20 years painting within the freedom of the dark. Surrounded by fences, along the train tracks, in and on derelict buildings. Places of abandon and neglect. Hetrotopias of deviation. Again, the work finds itself back in its familiar territory. 

In 2016 Stead graduated with a First Class BA Hons in Fine Art at the City and Guilds of London Art School, London, where he received the Painter – Stainers Scholarship Prize and Brian Till Art History Thesis Award. 

https://www.christopherstead.co.uk/


 

Christopher Stead

« Acid Reign »

Solo Show at Urban Spree Galerie

Vernissage: Thursday, May 23rd, from 19:00

Exhibition: 24.05.2019-09.06.2019

Opening Hours: Tu-Su 12:00-19:00

 

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Infos & Catalogue: pascal@urbanspree.com