Set
Cologne, Germany
The title of the exhibition derives from the aeronautic community. A term used when a plane has reached the end of its life or is forbidden to take off. Hölzl is interested in the life cycle of materials and their transformation after the death of their current use. The concept is mirrored in the first piece, the gutted fuselage of the DA42-VI aircraft, named END-OF LIFE cycle one (2022). Diagonally suspended from the back wall, the aircraft guides you down the stairs onto the tarmac for END-OF-LIFE cycle two (2022). The flooring is a direct replica of the runway at the former inner-city Templehof Airport turned park. During the blockade of Berlin, planes were said to be landing every 90 seconds to deliver vital supplies to those cut off in the West. Constructed from 100% recycled carbon fibre imprinted with paraffin wax, the surface is rigid under foot and carpets the entirety of the downstairs. The black carbon peers through the white wax, producing an impressive simulacrum of the well-worn landing strip.
Ian Waelder / Is it like today?
1 July - 3 September
etHALL
C. de Salvador, 24
08902 L'Hospitalet de Llobregat
Barcelona
Stelios Karamanolis / Morphology
Interspecies Kin / Giovanni Chiamenti
June 11 – August 31, 2022
Spazio Volta
Piazza Mercato delle Scarpe
24129 Bergamo (IT)
Jonathan Ehrenberg
The Capital of Fine is OK
July 1-30, 2022
Essex Flowers
19 Monroe Street, NY, NY 10002
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Interior, clay and mixed media on panel 24 x 18 x 8 inches, 2022 |
Jonathan Ehrenberg’s new reliefs are handmade riffs on his digital output that explore how changes in the body affect the mind. In their post-digital afterlife, mouths and other parts begin to eat themselves, dispersing the body among its own perceptions. Jonathan currently has a solo show of these new reliefs at Essex Flowers. The exhibition’s title “The Capital of Fine is OK” is borrowed from his three-year-old daughter, Mia, who has a curious obsession with geography. One day she was rattling off countries and capitals—The capital of France is Paris. The capital of China is Beijing—when she got a big idea: The capital of Fine is OK! As the artist watched language form the intuitive, arbitrary, oddly associative building blocks of his daughter’s expanding reality, he also saw his father’s world focus in on bodily concerns: arthritic joints, a deteriorating hip. His new series of wall reliefs similarly mines the rattle-bag of the unconscious as it pieces the world together and segments the self into parts. *
3 June - 22 July 2022
Galerie Martin Janda
Eschenbachgasse 11
1010 Wien
Austria
SPATIAL MOMENTUM | Curatorial Advisor Juliet Kothe
Bretz/Holliger, Marta Dyachenko, Bastian Gehbauer, Thomas Putze, Shirin Sabahi
FRONTVIEWS at HAUNT, Kluckstraße 23A, 10785 Berlin, Tiergarten (U-Bahn Kurfürstenstraße).
bliss / Silvia Paci, Salomé Wu
June 7 - September 10, 2022
Tube Culture Hall
Piazza XXV Aprile 11/B
20154 Milan
Fanny Gicquel / now, and then
June 24 - September 24, 2022
Hua International
D08-3, 798 Art District, Beijing, China
Evelyn Taocheng Wang / Norwegian Music in Dutch Window
June 24 - July 31, 2022
KAYOKOYUKI, 2-14-2 Komagome, Toshima-ku, Tokyo 170-0003, Japan
Lena Henke / Auf dem Asphalt botanisieren gehen
April 30 to July 30, 2022
Klosterfelde Edition, Potsdamer Str. 97, 10785 Berlin
Abdul Sharif Oluwafemi Baruwa / Jugendzimmer
23 June - 30 July 2022
Exile Gallery, Elisabethstrasse 24 1010 Vienna, Austria
Jonathan Ehrenberg
The Capital of Fine is OK
July 1-30, 2022
Essex Flowers
19 Monroe Street, NY,
NY 10002
Interior, clay and mixed media on panel, 24 x 18 x 8 inches, 2022
Speech, clay and mixed media on panel, 24 x 22 x 7 inches, 2022
Hua International was founded by Xiaochan Hua and operates in two locations, Berlin and Beijing. I met Xiaochan in Berlin at the showroom of the gallery, one floor above the main exhibition space. Currently on display is Atlas Of Affinities, a beautifully curated group show with works by Lucas Odahara, Christine Sun Kim, Kim Farkas and Xie Lei among others.
Xiaochan Hua: The first project I ran was called XC Hua, which is shorthand for Xiaochan Hua, my full name. It was an experimental art and performance space that was bilocated in Berlin and Beijing. Until this day, I keep finding more ways that the two spaces complement and enhance each other in a kind of synergy. When we began working as a project space, we mostly invited curators and artists to participate in a flexible and open way, often in thematic group shows. We still have group shows like our current one in Berlin, but now we often continue to follow the artists and often do solo shows in Beijing after their presentation in Europe.
There were important artists that came out of the early group shows, three of which (Tong Kunniao, Rafael Domenech, and Fanny Gicquel) I had a strong desire to work with, which solidified after the first collaboration. For example, in January 2020, XCHua had a show called, A Year without the Southern Sun, with one work from Rafael Domenech. We quickly felt that a commercial gallery model was more suitable for the long-term development of the artists that we wanted to work with and could provide us with the means to better support the artists we wanted to represent—whether in terms of sales, cultivating relationships with curators, or placing their works in public collections. We jumped into the transition of operating as a full-time commercial gallery with both feet. Despite the pandemic, we had a clear desire to grow and we had the good fortune of finding a location in the center of the 798 Art District in Beijing, so we were able to move from the outskirts of the city. We renamed and rebranded as Hua International, with a new logo, for a renewed start. With our new name, we also wanted to emphasize that we are not a provincial gallery that mostly focuses on local or regional (Asian) artists, but that we intended to build a program that was global. It was important that the gallery was cosmopolitan in approach, embracing cosmopolitanism as moral philosophy and the desire to be an ethical member of an international art community.