For its fifth year, the Salon du Dessin Contemporain is becoming DRAWING NOW PARIS. This Anglicism is not an affectation, but a way of clearly indicating the fair’s international dimension.
Nearly 30% of galleries are European this year, and more specifically German, Swiss and Belgian.
The first European fair exclusively dedicated to contemporary drawing, DRAWING NOW PARIS is a forum for exchange between every generation of artists represented by the exhibiting galleries. That is why we felt it important to open a new space, DRAWING NOW / LA MEZZANINE dedicated to young galleries (less than three years old) presenting an artist aged under 35.
Contemporary drawing is a means of expression combining graphic arts with new technologies, allowing a comparison between all today’s different drawing styles. DRAWING NOW / NUMERIQUE will also present a collection of digital drawings to provide a better understanding of this discipline so full of potential discoveries, and DRAWING NOW PARIS I SUITE... reveal the many forms that may take contemporary drawing.
A meeting place for in-the-know collectors who can acquire rare works by recognized artists whose drawings are hardly presented anywhere else. A place of discovery for young collectors who can finally access original pieces by emerging artists!
A place for quality networking between gallery owners, artists, collectors, institutions and contemporary art lovers, in a few years this fair has established itself as a key event in the contemporary art calendar.
DRAWING NOW PARIS I LE SALON DU DESSIN CONTEMPORAIN will reveal the full range of contemporary drawing from 82 European galleries at the Carrousel du Louvre, from 25th to 28th March 2011.
Christine Phal, president of DRAWING NOW PARIS / LE SALON DU DESSIN CONTEMPORAIN
books, prints and drawings by masters of drawing
great works all over the site
Hanns Schimansky, etching for The Recital, 2009
Ergo Pers is primarily a publisher of artists books, first editions of Dutch poetry and editions of French or English poetry in translation. Since its founding in 1995 Ergo Pers has brought together writers and artists to explore verbal and visual relations, such as Pierre Alechinsky, Armando, Jürgen Partenheimer, Hanns Schimansky, Ronald Noorman, Jacques Dupin, Hugo Claus, Reinier Lucassen, Dan Van Severen, André du Bouchet, Yves Bonnefoy, Pierre Reverdy and Jerome Rothenberg.
Recently Ergo Pers published a livre de peintre with John Ashbery, one of America’s most innovative and influential poets—an exceptional artist whose work stands alongside the finest of Whitman, Dickinson, Stevens, and Hart Crane.
One Sunday afternoon last month at Suzan Frecon’s Hell’s Kitchen studio, Rail’s consulting editor John Yau spoke with the painter about her new body of work which will be exhibited at Peter Blum Gallery from November 17 to January 14, 2006. John Yau (Rail): How many paintings will be in your show? Suzan Frecon: Five to seven large paintings. Rail: Will some be two panel, stacked paintings, which are like two paintings in one. Frecon: Yes. They are nine feet tall. I was working on just half that format which is precisely geared towards the dimensions that generate the rest of the painting. Then I put one on top of the other because I was trying another idea. I found that this format coincidentally corresponded to the proportions of “carpet pages” of The Lindesfarne Gospels. I was delighted by this coincidence. It reinforced the format that I have been working with for maybe ten years. read more
by David Rhodes Eve Aschheim
Galerie Inga Kondeyne, Berlin
August 28 – September 27, 2009
When Stefan Wolpe (1902-1972) began “Battle Piece” in 1942, it was to have been the first of a series of works for solo piano titled “Encouragements,” intended as a composer’s contribution to the struggle against Fascism; part of the genre Kampfmusik that had earlier included chamber operas, theatre music, and agitprop songs. The composition not only addressed the social and political struggles of the day, but also a desire to transform disparate musical idioms into a subjective communication of personal experience. The complex, multi-part structure of “Battle Piece” that finally emerged in 1947 is characterized not only by thematic repetitions but also by a sense that the music continuously seeks to discover itself rather than express a previously well-articulated premise. His music is a philosophy, a two-way street connecting communal and solitary modes of being at the junction of their interrelation. As this is music, the philosophy is an abstraction, not a description. read more
here is a link to Studio Notes, a web log showing ongoing photo documentation of rupert`s studio practice.
Studio Notes is a continuation of working processes initiated during his residency at the Centre for Drawing Project Space at Wimbledon College of Art (2009).
During this time under the supervision of Avis Newman and through participation in PHD and MA programmes at Wimbledon he established new ways of making and showing work.
As from September 2010 he have been working from Sara Lane studios, 60 Hanway St. Hoxton, London
This blog starts from January 2011 and is updated weekly, simply click on and scroll down to view previous entries.