Central to my process is repetition. I repeat marks, images and brushstrokes from previous paintings into each subsequent new one. I’m interested in the idea that every time I repeat a mark it changes- much like each time you recall a memory it changes. The incidental mark making that occurs when painting is also an important part of my process by which elements of newness or surprise can enter the work.

These unplanned marks find an association with the unconscious and take the work in a new direction both visually and emotionally. Paintings start from one position and end up somewhere unanticipated and new, but somewhere new that has a resonance with me. I feel they often throw up ‘new’ memories. Allowing associative thought to play a role pushes the painting along and creates new ideas for further works. Through my repetition of paint marks from painting to painting, I create a kind of ‘genealogy’ of marks; that connections can be unearthed and excavated from the work.

My paintings have become a sort of world building (‘fictionscaping’) out of my own archive of marks that grows with each use. In this way I see painting as a repository of time and memory. As the work progresses the lines between memory and fiction, past and present become blurred and make way for something new. The marks change and develop to be used again in future paintings thus constantly propelling the work forward while also looking back to the past.

“Where Everything is Held” is a liminal journey able to find a common ground in between fantasy and reality, stillness and motion, psyche and physicality, abstraction and figuration through a highly unique approach here described by Bermingham: “Central to my process is repetition.

I repeat marks, images and brushstrokes from previous paintings into each subsequent new one. I’m interested in the idea that every time I repeat a mark it changes- much like each time you recall a memory it changes. The incidental mark making that occurs when painting is also an important part of my process by which elements of newness or surprise can enter the work. These unplanned marks find an association with the unconscious and take the work in a new direction both visually and emotionally.

GR gallery is pleased to announce the first solo exhibition of Helen Bermingham with the gallery and in the U.S.. Titled “Where Everything is Held”, the show will present a new series with an intense focus on the artist’s psychological territory, introducing cognitive and emotional landscapes able to sharply communicate, through powerful yet delicate brushstrokes, feelings and recognizable patterns, in a sort of memoir of the past months revealed as the resolved conversation that occurred between unconscious, memories and the material of paint.

– BLUE STROKES –

Blue Strokes: GR Gallery Focuses on Africa in New Group Show

GR Gallery Invites Us All to a Late “SUMMER CAMP”

GR Gallery in NYC is currently presenting Digital Spirit, a duo show with Bijijoo and Vickie Vainionpää. Although working with unlike aesthetics, disparate technical approaches, and producing visuals that are seemingly unrelatable, there are conceptual similarities between the two artists that this exhibition is hoping to bring forward.

Vainionpää’s practice revolves around the impact of technology on the traditional painting process and the Montreal-based artist is employing that to research the relationships between natural, analog, and digital. Using the computer to randomly generate forms and their behavior in terms of perspective and light play, she then proceeds to render the chosen sections with a traditional oil painting technique. And speaking of researching, with a Ph.D. in biophysics, Michael Todd aka Bijijo, approaches his practice in an experimental manner, eagerly allowing the materials to lead his creative process. With a very brief compositional concept as a starting point, the Portland-based artist continuously explores the new territories he lands in, armed with confidence and curiosity of his scientific background. So, coming from a different starting point, both artists are utilizing the randomness which generates elements beyond their control, to get a core structure on which they build their more/less orderly figural visuals.

Yet, using the term “figuration” can be somewhat of a slippery slope in both cases. Where Bijijo often times bases his work on the depiction of imaginary characters, Vainionpää is strictly working within an abstract sphere. Through his experimental process, he is turning the self-evolved sections into random marks, glowing organic forms, familiar shapes, quirky character features, or mask-like compositions. Using a layering technique and mixing everything from airbrush, oil, oil stick, acrylics, and puffy paint, he is transforming these abstract shapes into voluminous structures, adding an effective light and shadow effect to their imaginary surface. Aware of the cognitive phenomenon through which most symmetrical compositions are recognized as faces, the recent pieces are basically using those to construct features of an elusive “mask”

Similar “objects” are the core of the Soft Body Dynamics series through which Vainionpää portrays the twisting, tubular forms which are systematically created using generative 3D modeling software. With the addition of also computer-generated color palette that references classical artworks, she is constructing an unusual conceptual bridge between tradition and modern technology, even AI. During this part of her process, she also used some of Bijijoo’s paint pushing experiments to surface some of the forms seen in a couple of paintings included in the presentation, adding to the subdued coherency of the display. So, while working with clearly distinctive visuals, both artists are using their respectable artistic processes as innovation, creating their own metaphysical universes, strongly inspired by and relying on both digital and analog aspects of their practices. —Sasha Bogojev

“The ways LUVS look” focuses on the new journeys that LUV, a bittersweet projection of the artist’s thoughts and feelings, is running across. He is traveling to never visited places, engaging in different activities and meeting new friends. A completely revisited forest, traditionally a holy environment, revitalized by distinct shapes and peculiar grey tones, symbolizes the unknown context;

These canvases, exemplarily executed with the artist signature unlimited gray scale palette, will picture LUV, LY’s omnipresent character, in newfangled scenarios and occupations.

The lockdown, the pandemic and this whole period I was having to isolate, made me realize the importance of being comfortable with spending a lot of time with myself. Books were a source of escape for me.

Osadebe deconstructs the notion of contemporary African art, questioning exactly what it means. Self-taught and working professionally since 2013, he has long been frustrated by the limiting label of “African art” that gets slapped on the work of artists with connections to the African continent.

Safe Space explores the duality between the physical and psychological roles that forge the foundations for locations of refuge and comfort, rather than solely focusing on a specific place. With the idea in mind that the creation of a safe space could be as simple as a group of people with shared ideas coming together.

The Japanese artist Teiji Hayama is back. The Switzerland-based artist is known for his paintings that blend pop culture and hallucinatory images. Today he returns with a look at his new solo presentation in New York City’s GR Gallery. The exhibition is entitled “Ethereal Icons” and includes a selection of distorted portraits and objects. The artwork features subject matter such as movies, music, and cultural icons from the 1960s.

With his works, Hayama aims to blend “influencers” from the past and the present while upending social media mannerisms. Highlighted works in the show include grey-scale pieces featuring Marilyn Monroe paired with an official NBA Spalding basketball, the famed model Twiggy beside an imposition of a dented Coca-Cola soda can, and a black-and-white painting featuring a closely-cropped view of mysterious lovers.

Ethereal Icons aims to showcase the unique creativity of Teiji Hayama by unveiling a new body of ground breaking works. Hayama’s mainly greyscale paintings depict oddly distorted portraits with bored exhausted faces and iconic motley objects, inspired by old celebrities and other vintage symbols, always unified by the highest level of popularity.

These glamorous models are ironically reimagined in an extra contemporary, but suspended, time frame by setting them in a sort of Social media mannerism and turning them into vintage influencers, confusing the visitor on his mass culture knowledge. With these premise the viewer is now ready to be thrown in a timeless and unique journey across  the development of Pop imagery, accompanied by a multicolor Marylin Monroe, holding a Spalding basketball.

The show puts together 20 pieces, including paintings, works on papers and sculptures. The title is inspired by the unique style and visual approach that defines the four artists, able to forge, in four exclusive ways, a dreamy esthetic that misleads our visual realm.

A total of 18 oil and acrylic paintings will be shown; this body of Lupton’s work grows out of his OCD, where performing mental and physical rituals, endlessly seeking assurance, and repeating mantras and projections make up his every day – mediating between himself and an unyielding “otherness”.

Entitled Cerberus, Lupton’s paintings appear almost like a momentary hallucination, a deep lapse into one’s own head. The familiarity of the world is punctured by distorting perspectives, abstracted figures, and a familiar-but-unknown element that feels both real and uncertain – an emotional déjà vu of sorts.

The artist will show these new works in an upcoming exhibition titled “A Manner of Forgetting” at New York City’s GR Gallery this fall. “The pieces probe how something recognizable can quickly devolve into obscurity or abstraction when it is confined in some regard.

James Evans is recognized for his oil paintings that feature discarded objects such as ketchup packets, crushed beer cans, and Trojan condom packages. Last year, Evans moved to Mexico City, where the artist is currently based, to experiment with new compositions that teeter between abstraction and realism. The resulting, yet ongoing, body of work consists of pieces that present obscure realities and fragmented scenes from everyday life to reflect the “new normal” that the world is slowly adjusting to in the midst of the COVID-19 crisis and social unrest.

Fake and Corny represents CB Hoyo’s new explorations of texture and color, compositions of eye-catching proportions, and immense vitality. This collection emerges from the fusion between some of the most iconic art masterpieces treasured in NYC and humorous thoughts deeply inspired by the artist’s interest in expressing the inexpressible.

CB’s paintings, executed upon the surface of the canvas with electrifying mastery, confront the viewer with the full force of his visual imagery and unique artistic signature. His text-based works are complemented by virtuosity in execution and give us insight into an ingenious and original mind.

GR Gallery is pleased to announce “Fake and Corny”, the first solo exhibition of CB Hoyo with the gallery, after two years of collaborations. The show will reveal, for the first time in a public exhibition, the latest series of artworks that the artist has been working on for months: the “Corny Quotes”.

Established almost 40 years ago, Studio d’Arte GR is no virgin to adaptability. From its post-war, avant-guard beginnings, the gallery is now intent on re-launching the beauty behind Abstractionism. In light of the distorted days we are living in, an online exhibition is coming our way! Featuring works by the likes of Dennis Osadebe and LY, the joining presentation named ‘Neo Luv’, is a compilation of 20 vibrant pieces as well as prints. Exploring heritage, culture, identity and globalization, the work ‘investigates and advances the discourse around the traditional’. The online exhibition will available this week ( we’re talking the 15th people!) and will run till June 7th.  

“Their work investigates and advance the discourse around the traditional cultural heritage, by decontextualizing, reinventing and mixing the old customs with new and cutting edge elements, pushing beyond the boundaries the figurative imagery in today’s art scene,” expressed the gallery in a press statement.

showcasing new works by internationally known artists from Nigeria and Japan: Dennis Osadebe and LY painter. Dubbed after LY’s main character “Luv” and Dennis own definition of his art as “Neo African”, the show will present 22 fresh paintingson canvas, and two individual prints.

GR Gallery will soon launch an online exhibition featuring new works by internationally known artists from Nigeria and Japan: Dennis Osadebe and LY. Titled “Neo Luv,” the joint presentation features a total of 20 colorful paintings on canvas alongside two individual prints. While their compositions and subjects vary in their respective practices, both bodies of work explore themes of self-identity, cultural heritage, and globalization.

O americano Dylan Gebbia-Richards leva 16 novas obras para o museu GR Gallery, em Nova York. Viridescent mostra uma coleção de peças em cera multi-coloridas de vários tamanhos, além de trabalhos experimentais em vidro desenvolvidos durante um projeto em que participou em Portland.

“I find the enormity of the natural world awe-inspiring.”

This month, Colorado-based artist Dylan Gebbia-Richards is bringing 16 new works to New York’s GR Gallery. Entitled “Viridescent,” the exhibition will showcase a collection of his signature multi-colored wax pieces in varying sizes. For the first time ever, Gebbia-Richards will also display experimental glass works that were developed last year during his residency at Bullseye Glass project in Portland.

GR Gallery is thrilled to present ATOMIZED, a unique exhibition featuring Alberto Di Fabio, Italian master of exceptional scientific abstraction and Masakatsu Sashie, a visionary Japanese talent of Pop Surrealism. The exhibition will also present new works by street art legend Harif Guzman, appositely conceived for this occasion to match the thread of the event. The show will feature 16 total works and wall painting by Di Fabio, that will challenge the title by the subliminal textures of atomized landscapes in peculiar ways.

La propuesta de Automized se centra en el interés de ambos artistas por el mundo atómico. A lo largo de 16 obras veremos la estética particular de cada autor. Así como su visión acerca del mundo natural representado en paisajes y yuxtaposiciones de objetos y texturas.

GR Gallery will open its doors to “ATOMIZED”, a unique duo exhibition of Alberto Di Fabio (1966 Avezzano, Italy), Italian master of exceptional scientific abstraction, and Masakatsu Sashie (1974, Kanazawa, Japan), a visionary Japanese talent of Pop Surrealism. The exhibition will also include new works by street art legend Harif Guzman (1975, Venezuela), appositely conceived for this occasion to match the thread of the event.

The newest art experience to take its place at GR Art Gallery in NY aims to make monuments of minutia.

“ATOMIZED” unites vivid imagery with meaningful profundity to satisfy the senses and soul at once. Three artists, 16 unique works and a major mural make multiple environmental points with pinpoint precision.

When thinking of an atom, one may think of a depiction of a nuclei or an invisibility of mass to the naked eye. But for some, an atom could identify as a tiny particle that represents a truly massive meaning.

From illustrations of post-apocalyptic, floating spheres to explosive paintings of eco and astral systems, the show will showcase the subliminal textures of atomized landscapes in intriguing ways.

With the aid of vigorous brushstrokes, his powerful and dramatic aesthetic research is delivered by a strong colour contrast that make the artworks uncommonly vibrant and luminescent.

One minute background as in… Maybe Buff can do that.

About you?

Yeah, I don’t know, what do you want to know about my background?

Well let’s start with your your name, it’s James Marshall?

Yes! I’m James Marshall, also known as Dalek.

You have worked both as James Marshall and under the moniker, Dalek, right?

La nueva exposición en GR Gallery, Surface Fetish, reúne el trabajo de Buff Monster y Dalek

GR Gallery en Nueva York ahora exhibe la expo Surface Fetish un conjunto de obras de Buff Monster y Dalek. Mostrando algunas piezas colaborativas e individuales de cada uno de los Surface Fetish.

Dalek (James Marshall) and Buff Monster host their second collaborative exhibition in as many years at GR Gallery in Manhattan’s Lower East Side, sandwiched between the high art of the Bowery Museum and the hungry and homeless people of the Bowery Street. A perfect snapshot of inequality in modern New York, the neighborhood has not lost its reputation in the last 10 years as a place for those desperate city folk with no means – and those city folk who need to collect art for their homes.

GR Gallery continues to showcase and celebrate modern art, recently kicking off a special collaboration exhibition. GR Gallery recently opened “Surface Fetish,” a collaborative exhibition of new artworks by Dalek (James Marshall) and Buff Monster.

by Dalek (James Marshall) and Buff Monster. These artists developed the most distinctive and iconic style in contemporary painting, and their works in various ways complement and contrast each other. They will combine their works and visions is a captivating and goofy way, giving birth to a unique exhibition design that will immerse the visitors in a kaleidoscopic world, populated by funky characters and bright uncommon shapes.

GR Gallery will open its doors to “DREAMstate”, featuring artists Joseph Lee, Erik Mark Sandberg, Dennis Osadebe and Joshua Vides in a fresh, groundbreaking group exhibition. The show puts together 20 pieces, including paintings, works on papers and installations. The title is inspired by the unique creative energy that connects the four artists, able to forge, through different visions and techniques, an oneiric reality that misleads our visual realm, offering unique interpretations, in a surrealistic key, of different aspect of nowadays society and lifestyle.

Opening on Bowery this Thursday at GR Gallery is “DREAMstate,” a group show featuring artists Joseph Lee, Erik Mark Sandberg, Dennis Osadebe, and Joshua Vides. All are exhibiting with the gallery for the first time but I’m most looking forward to Sandberg’s works. His fuzzy and gelatinous textures are a sensory experience akin to slime oozing onto Oppenheim’s cup and saucer.

GR Gallery is thrilled to present “DREAMstate”, featuring for the first time artists Joseph Lee, Erik Mark Sandberg, Dennis Osadebe and Joshua Vides in a fresh, groundbreaking group exhibition. The show puts together 20 pieces, including paintings, works on paper and installations. The title is inspired by the unique creative energy that connects the four artists, able to forge, through different visions and techniques, an oneiric reality that misleads our visual realm.

GR Gallery is set to host a group exhibition titled “DREAMstate,” including four artists: Joseph Lee, Dennis Osadebe, Erik Mark Sandberg and Joshua Vides. Twenty pieces will explore a surrealist interpretation of today’s society through paintings, works on paper and installations.

The group exhibition will unite artists who are able to create an oneiric reality through their own visions and techniques. Like the Surrealist artists of the early 20th century, the four artists continue to explore states of consciousness, illogical scenes and visual realms — all in a contemporary context. The artists play around with dream environments, evoking surrealistic figures, hypnotic arrangements and illusive interiors, destabilizing the viewers while also bringing a sense of familiarity into the images. New dimensions are formed through these optical illusions, decontextualized images, ambiguous imaginaries and distinct patterning.

GR Gallery opened a few weeks ago “Geometric Heat”, a new group show, exhibiting artworks by four internationally renowned artists: Marco Casentini Jan Kalab, Adam Lucas and Daniel Rich.

This exhibition showcases a new body of 20 paintings, specially created for this occasion. The title underline the specific dynamic approach to art developed by these artists, that use geometric shapes and a renewed inspiration from the “abstract geometry” movement to create advanced and up to date creative compositions that will throw the visitor in a timeless universe of organised vibrancy, thanks to balanced, pattern-like figures, enhanced by a strong dose of refreshing energy.

Currently on view at GR Gallery, one of our favorite Downtown art galleries, is Geometric Heat, a tantalizing exhibition showcasing the works of four international artists who share an inventive approach to geometric abstraction. The painting featured above, From the Top on Down, was fashioned by NYC-based Adam Lucas, known to many of us street art aficionados as Hanksy. Several more images we captured on our recent visit to Geometric Heat follow:

GR Gallery is pleased to present: “Geometric Heat”, a group show, exhibiting new artworks by four internationally known artists, from US and Europe: Marco Casentini Jan Kalab, Adam Lucas and Daniel Rich. This exhibition will showcase a new body of paintings, twenty in total, conceived appositely for this occasion. The title underline the specific dynamic approach to art developed by these artists, that use geometric shapes and a renewed inspiration from the “abstract geometry” movement to create advanced and up to date creative compositions that will throw the visitor in a timeless universe of organized vibrancy, thanks to balanced, pattern-like figures, enhanced by a strong dose of refreshing energy.

La GR Gallery presenta su muestra colectiva “Geometric Heat” con obras de cuatro artistas de Estados Unidos y Europa

Geometric Heat es el nombre de la nueva exposición en la GR Gallery de Nueva York. Se trata de una muestra colectiva con nueve obras de arte de cuatro artistas.

Marco Casentini, Jan Kalab, Adam Lucas y Daniel Rich son los artistas invitados, originarios de Estados Unidos y Europa.

New York City’s GR Gallery recently launched its latest group exhibition featuring original artworks by Adam Lucas, Marco Casentini, Jan Kalab, and Daniel Rich. The presentation displays a new range of paintings, 20 in total, with each artist utilizing geometric shapes across their signature compositions. “All the artists, even if with different visual accomplishments, share a similar theoretical approach and background that strongly influence their artistic procedure,” said the gallery in a statement.

Tour the exhibition above and visit GR Gallery’s website for further details. “Geometric Heat” is on view until August 18.

Yamaguchi’s artworks are strongly dimensional and are generated by a unique and complicated technique that took many years to be developed. It begins with a single, bold brushstrokes on transparent plastic over which the dimensional wood structure is built and, stroke by stroke, the composition takes shape.

Meguru’s art approaches abstraction with an urban slant, transforming the old into new and the new into an alternative reality. Graffiti influence grants an unusual look to each of the artist’s pieces, playing to a conjoined appearance of ancient futurism.

Following an announcement, Meguru Yamaguchi now gives us a look inside his latest solo exhibition at GR Gallery in New York City. Entitled “SHADOW PIECES,” the show features 15 original paintings on sculptural canvases. The Brooklyn-based artist’s trademark wood cut-out technique is prevalent throughout the works alongside the artist’s new method of spray-painting vivid color gradients directly on the sculptural bases.

El artista Meguru Yamaguchi lleva la abstracción a otro nivel con sus composiciones

El artista plástico japonés Meguru Yamaguchi llega a la ciudad de Nueva York para presentar su más reciente exposición titulada Shadow Pieces.

“Keep it Real!” is an anthological exhibition that aims to present the unique dark and unsettling irony of the internationally renowned Catalan artist and cartoonist. Back to New York for the second time (and first time in two years), his bold and direct message is sharply addressed through a very recognizable, naive and simplistic, visual style, that tend to soften the very delicate themes debated.

“Keep it Real”, que podría traducirse por “sé honesto”, es la segunda exposición de Cornellà (Barcelona, 1981) en la Gran Manzana y, con apenas 25 piezas, traslada a la GR Gallery del barrio chino el mundo macabro del artista.

Keep it Real! is an anthological exhibition that aims to present the unique dark and unsettling irony of the internationally renowned Catalan artist and cartoonist. Back to New York for the second time (and the first in two years), his bold and direct message is sharply addressed through a very recognizable, naive and simplistic visual style, that tends to soften the very delicate themes debated. With no shame or fear to offend the viewer, Cornella insists in depicting surreal macabre situations, always strongly connected with the latest society issues, where the characters cynically, but always cheerfully, do what should never be done. With his approach the artist attempt to unsettle the status quo in the art world, primarily by referencing contemporary social conditions and sensibilities on a global scale, trying to show the essence of our current culture.

Barcelona-born artist Joan Cornellà is widely-known for his figurative paintings that are often described as morbid with a tinge of humor. Cornellà’s acrylic on canvas works portray cartoonish subjects typically engaging in unsettling scenarios that ostensibly reflect socio-political issues on a global scale such as racism, abortion, and pollution. In certain cases, the artist has portrayed world leaders such as Donald Trump, Kim Jong Un, and Vladimir Putin in his visual gags that are packed with uncomfortable moments. Cornella tells HYPEBEAST that he aims to expose the inherent hypocrisy of human conditions with these pieces.

New York-based artists Yoon Hyup and Bisco Smith have teamed on an upcoming exhibition at GR Gallery. Titled “MIDNIGHTS,” the collaborative presentation will feature new original works spanning paintings, works on paper, installations, and a sprawling wall mural located inside the Lower East Side space. Bisco is known for his abstract-graffiti tags while Yoon finesses a line-and-dot aesthetic. The pieces to be displayed evoke the rush of NYC nightlife.

GR Gallery is pleased to present “Liminal Space”, Dave Persue first solo exhibition with the gallery. The show highlights Persue signature artworks including the iconic “Bunny Kitty” and “Wet Paint” paintings, going through the artist entire career and revealing also a new body of works appositely conceived for this occurrence. For Liminal Space Dave Persue will also create an unrevealed mural painting on the gallery walls; will present a new print and some classical merchandise.

Widely recognized as a legend in the street culture, Persue puts together graffiti elements with New Pop imaginary with an illustrative and energetic style giving birth to an exclusive aesthetic approach to Urban Art and a cutting edge interpretation of the artistic boundaries. This exhibition aims to explore exactly the changes that occurred during the years in the artist style and iconography that lead to a continuous evolution and bring together aspects belonging to completely different views and interpretation of art, culture, society, behaviors and work relations. In a certain way this vision symbolizes a journey that, in a way or another, a relevant and important portion of the contemporary art and culture has been going through in the past decade; a journey of transformation, adaptation and mixing apparently different elements in order to create a new a vigorous approach to art and life.

Persue also has a viable connection with John and Joan Q. Public, providing different mediums in which the masses can possess his work. Marketability and accessibility–these are the two attributes that make Liminal Space a solid effort. If you cannot afford the pieces on the wall, you can easily purchase a patch, a collectible doll or a storybook. Although some of the audience might seek more depth from Liminal Space, it has an undeniable energy. The exhibition is the perfect balance between urban, commercial and contemporary. Essentially, Dave Persue is the modern mold of what a well branded street artist can be.

Overall, Liminal Space is a user friendly exhibition that is worth checking out. While it may not move the audience on an existential level, it is entertaining and worth its salt.

“A doorway, a stretching hallway, an empty bus stop, being between jobs, relationships, or homes — Liminal Space is the emptiness that is punctuated by arrivals, departures, and events in our lives. In 2014, Persue found himself in a liminal state. Having ended his career as a commercial artist, he moved to Brooklyn in search of a clearer path for his fine art. A well respected artist in the worldwide graffiti scene, Persue’s characters and illustrative approach carried over into multiple projects — one of them ignited while commuting on New York’s subway trains. In his latest series of paintings, Persue honors one of the world’s busiest transit systems: the New York subway. A sprawling liminal space where millions of New Yorkers spend hours of their precious time daily, he utilizes the iconic Wet Paint sign as a canvas, and studies their interaction with graffiti.” — Alli Bautista

Dave Persue la leyenda de la cultura callejera sorprende

Dave Persue es un artista visual de lo más multifacético. En su obra, la plástica se convierte en un elemento maleable. Por lo que sus piezas deambulan las fronteras del arte y el graffiti. Es por ello que, la GR Gallery ha escogido el trabajo de este artista para montar una exposición individual enNueva York.

La retrospectiva lleva por nombre “Liminal Space”. Y está conformada por una serie de cuadros abstractos del artista que ha elaborado a lo largo de su carrera . Algunos destacan por su colorido llamativo. En otros, podemos encontrar a su icónico personaje Bunny Kitty.

Through the lens of his upcoming exhibition’s name, Persue’s singular street art takes on unique meaning.

The ‘liminal’ stands as the undefined space on the boundary of two very separate states. “Liminal Space” takes aim at this realm of uncertainty directly, pointing out the process of change in art and society through visual amalgamations of technique and style.

Emerging artist Meguru Yamaguchi continues to elevate his sculptural paintings in a new body of work that was unveiled at SCOPE Miami 2018. The Brooklyn-based creative showcased new works of laser-cut brushstrokes with hand-painted appliques at GR Gallery’s booth at the fair. Helming one of the largest booths at the event, highlighted pieces involve a series of small sculptural works installed to create an abstract, box-like composition which was sold either individually or as a whole. Larger cast-resin pieces were also mounted on slimmer walls that reflect the artist’s ubiquitous motifs.

GR Gallery have an incredible new exposition in the works for the 28th of November.

Set to last into the new year (January 19th, 2019), “First Matter” brings the creative minds of 3 magnificent artists together in a single space.

With man and nature as impetus for the display, Dylan Gebbia-Richards, Matthew Shlian and Mara Fabbro aim for artful abstraction through purification and perfection in perception-based pieces. Their 3-Dimensional art invades reality with life all its own.

The exhibition’s distinct protoscientific appeal describes concepts of natural tradition as perceived in modernized societies.

I tre artisti sono accomunati dall’ispirazione astratta e geometrica; tutti e tre, inoltre, hanno abbandonato l’idea del tradizionale supporto bidimensionale preferendo una sperimentazione con materiale non comune. L’intento è cogliere e riprodurre la vibrazione incontrollata e potente che governa la natura delle cose, il movimento del mondo. Le installazioni di Dylan Gebbia-Richards (USA, 1992) sono paesaggi surreali messi a confronto con una versione microscopica del mondo naturale. Giocando ad amplificare la percezione, le sue opere avvolgono lo spettatore conducendolo in una nuova dinamica rete sensoriale. Il processo artistico si basa sulla combinazione di una sperimentazione costante con una raffinata tecnica di fusione della cera di paraffina che, combinata con i pigmenti, dà vita a un paesaggio sui generis.

GR Gallery is proud to present “First Matter”, a mesmerizing show featuring internationally known artists Dylan Gebbia-Richards, Matthew Shlian and Mara Fabbro, whose work advance the discourse around the exploration of new materials and unique techniques, capable to give birth to magical compositions, that push abstract art beyond the boundaries. This exhibition will showcase fifteen new artworks appositely conceived for this occasion.

New York City’s GR Gallery is set to host a group exhibition entitled “FANTASTIC WORLD,” spotlighting new original works by established visual artists Pixel Pancho, Mike Perry, Yoh Nagao, and CB Hoyo. Although distinct in style, the pieces featured in the upcoming presentation are all packed with bright colors, bizarre characters, and surreal landscapes. “Beyond this intense aesthetics, lies a clear and innovated criticism against different aspects of how our world is managed, the role of life and art,” said the gallery.

“FANTASTIC WORLD” will open from October 24 until November 25. Head over to GR Gallery’s website to learn more. Elsewhere in art, check out this week’s best art drops.

In the 2018 film Active Measures, the proliferation of fake news, a favoured narrative dictated by former KGB agent Russian President Vladimir Putin, gets exposed as an elaborate network of troll factories in Macedonia.  Lies don’t just sell crappy meals in hotels or shoddy phone chargers from China; they managed to help elect the president of the free world. Lies dominate headlines. They can divide, conquer, start wars, destroy lives.

Earlier in the week, a robot brothel was banned from operating in Texas, months after drones flew over Elon Musk’s factory to determine the veracity of Tesla vehicle production. This same week, renowned street artist Banksy shreds his own work after it sold for almost 1.5 million dollars.  Given the increasingly plausible deniability of digital age news stories, one wonders, does anything really, actually, matter anymore?

Welcome to the Post-Truth age.

An age where, thanks to powerful new software based on artificial intelligence and deep machine learning,  it will be even harder for dogged detectives to sift through the fog of counterfeit realities.

Perhaps it is fitting then, that Cuban artist CB Hoyo lends his remixed artworks alongside Pixel Pancho, Mike Perry and Yoh Nagao over the upcoming Halloween season; a time when masked deception runs rampant.  Works will be on display at the GR gallery in New York’s Bowery district. Check out the optimistically titled Fantastic World show Oct. 24 – Nov. 25.  Just remember to check for a shredder before making your next art purchase.

La exposición se conformará de veinte obras de Pixel Pancho, Mike Perry, Yoh Nagao y CB Hoyo. Los trabajos fueron realizados exclusivamente para el evento.

Pixel Pancho es un artista italiano aficionado a los robots. Ese gusto específico deriva de la idea de que los hombres proyectan sus deseos de inmortalidad en esas máquinas. Pixel crea personajes robóticos inspirados en diferentes paisajes, como la playa o el universo de ciencia ficción.

An upcoming exhibition at GR Gallery will include surreal art by the likes of Pixel Pancho, Mike Perry, Yoh Nagao and CB Hoyo, all under one roof.

Superb sci-fi themes, vibrantly visionary fantasy imagery and kaleidoscopic color palettes put these artists’ pictures in a world of their own.

A strong commentary on the state of society, especially in the face of technological advancement, is woven into this exhibition – as is the interpretation of imagination through a lens devoid of monetary value.

In pairings of two, the artists involved approach these topics from separate angles, though with similar surreal art viewpoints.

Italian artist Pixel Pancho pits time against technology in his work, demonstrating through dystopian depictions a world of the future fallen and forgotten in the past. The transient fragility of hyper-modern technology is palpable in his art. {…}

On September 6th, GR Gallery on Bowery in NYC will be presenting a duo solo show by two abstract artists—Emilio Cavallini and Meguru Yamaguchi, titled Untainted Abstraction. Aside from their age difference and coming from different parts of the world, the two artists have a very diverse and original approach to producing their innovative abstract creations.

GR Gallery is proud to present: “Untainted Abstraction”, a duo show featuring artists Emilio Cavallini and Meguru Yamaguchi, collaborating together for the first time. The exhibition will unveil 20 artworks by the two internationally known artists from Italy and Japan. Beside showcasing an unanticipated new body of works, the show will reveal a limited edition print and a 3-d wall sculpture edition, appositely conceived for this event. The artists are also organizing a design planning that will throw the visitor in a timeless world of energetic purity, thanks to an interactive and immersive installation completed by a potent and clean wall painting.

New York City’s GR Gallery will soon present a new exhibition entitled “Untainted Abstraction.” The momentous show will feature a total of 20 original works by Brooklyn-based artist Meguru Yamaguchi and Italian fashion designer-artist Emilio Cavallini.

It’s the uncommon aesthetic approach to abstraction that is the main pillar of the Untainted Abstraction exhibition. Notable in the 20 new artworks created exclusively for the showcase, the pieces are echoing of Japanese and Italian historical traditions. While Yamaguchi bases his energetic and expressive work on a brushstrokes, Cavallini layers nylon yarns, cotton threads, and printed fabric into delicate abstract creations. Through such an approach, the artists are both elevating the long-going tradition of calligraphy to a new dimension and extending the practical use of traditional crafts, the orderly perfection, and the color palette Renaissance Masters. These concepts will be further extended to a limited edition print, a 3D wall sculpture edition, as well as the interactive and immersive installation that will be painted inside the gallery space. —Sasha Bogojev

In an intriguing mash-up, upcoming art exhibition at GR Gallery dubbed “Untainted Abstraction” will feature elaborate abstract artwork by the two fashion figures Emilio Cavallini and Meguru Yamaguchi.

With very different styles and cultures, both artists’ works paired in such a way serve as a deliciously intriguing visual juxtaposition. (…)

Along with the exhibition open Wed – Sun: 12:00pm – 7:00pm until August 19th, 2018,  GR Gallery will be hosting a roundtable discussion on street art to fine art with Victor Anselmi of ASVP, Alberto Pasini Managing Director of GR gallery and Angelo Madrigale Director of Contemporary Art at Doyle New York on Wednesday August 15th from 7-9pm. Expect a lively conversation of where art is and where it is going — along with refreshments.

GR Gallery, 255 Bowery (between Houston & Stanton) New York, NY 10002.

All Photo’s Copyright 2018 Matthew A. Eller.  Follow me on Instagram @ellerlawfirm.

“Super Matter” aims to investigate and present for the first time in a solo show the latest artistic output of this internationally known and brilliant artistic duo, who is not simply characterized by a strong Urban Art and New Pop Culture influence, but is dare enough to go beyond these boundaries and, through a witty and outermost visual aesthetic, break down the restriction among the familiar and the unknown. ‘Super Matter’ is also the title of this new body of work that can be best described as Pop Abstract Expressionisnm aka ‘PopAbEx’. The new imagery breaks down the omnipotent institutions and individuals into something new and unconstrained. It takes familiar elements of super heroes and icons and reimagines them as shapes of expressive energy with dynamic strokes, bold colors and movement.

Opening this Wednesday evening. July 25, from 6-9pm at GR Gallery at 250 Bowery is “Super Matter,” a solo exhibition featuring new works fashioned collaboratively by Simon Grendene and Victor Anselmi, known to us street art aficionados as ASVP.  Segments of recognizable icons, reimagined as shapes of expressive energy, mesmerize the viewer with their dynamic strokes and bold contours. The tantalizing image featured above was fashioned on wood.  A small sampling of additional works from the upcoming exhibit follow:

ALL CITY CANVAS en entrevista con ASVP

Les realizamos una entrevista al popular dúo de arte urbano ASVP. Debido a su  actual presentación en la Galería GR de Nueva York, con “Super Matter”. En esta entrevista nos comentaron su entusiasmo por esta exhibición y como ha sido su desarrollo en el mundo del arte.

Descubre qué fue lo que nos contaron a continuación:

{….}

GR Gallery will host ASVP’s “Super Matter” at its New York venue.

“Super Matter,” is a cutting-edge solo show featuring the urban art collaborative duo ASVP, revealing for the first time a completely new body of artworks. The show will unveil 18 fresh works including paintings, prints and site-specific installation, expressly designed for this exhibition and manufactured to throw the viewer into a mesmerizing cosmos defined by bright colors and bits and pieces of recognizable icons, inserted in a mysterious context that stimulates our curiosity, says the gallery.

(Drivebycuriosity) – I like to go to art galleries. Visiting them is often very entertaining. Last week I enjoyed a look into the GR Gallery on Manhattan´s popular Bowery (gr-gallery). The art dealer presents an exhibition, called Dyspopia (through Jily 14 2018), “featuring avant-gardists artists from Spain, Italy and U.S: Belin (Miguel Ángel Belinchón Bujes), Tommaso Bet and Adam Lister” (dyspopia). The press release claims that “the artists are invested in pushing beyond the boundaries the research on figurative art experimenting with cutting edged techniques and bold composition always hype and up do date”.

I like the playful images and show here my favorites, a very subjective selection as usual.

The age of distraction. Polarization. Populism. Euro skeptic. Trade wars. A new arms race.

If there is a positive to our (seemingly) ever increasing fragmented society, it is the work that artists are inspired enough to diligently channel and reflect. Picking up the fragments and throwing them on canvas can certainly sometimes help sort out all the confusion.  And with any hope; lead to some sense of sanity.

DysPOPia features work from Spain’s Belin, Tommaso Bet hailing from Italy and finally America’s very own Adam Lister. Check out a previous post we did back in the day from him.

New York City’s GR Gallery will soon launch a group exhibition entitled “DysPOPia.” The collaborative showcase will feature new artworks by acclaimed visual artists: Belin, Tommaso Bet, and Adam Lister. Belin’s realistic abstract works coincide with Adam Lister’s famous 8-bit paintings and Bet’s collage-like pieces. Conclusively, the trio’s “creations explore and advance the discourse around a new interpretation of the figurative painting, investigating contemporary techniques and hype, up to date, affairs, mixed with a hint of genuine urban culture,” said the gallery in a statement.

View select artworks above and let us know your thoughts. “DysPOPia” will be open to the public on June 14 up until July 14. In related news, take a look at this week’s best art drops.

GR Gallery
255 Bowery New York
New York, NY 10002

Chimera is a group show at GR gallery in New York this June featuring three different generations of pioneering artists – 1010, Ron Agam and Nelio – whose works investigate and advance the discourse around colours and patterns, optical illusion, abstract geometry and urban culture.

One of the highlights of the exhibition is the latest artworks on canvas by 1010. The artist has just started to paint in Paris the biggest work of urban art ever executed: a two-mile road in the centre of the French capital – hints of which you can see displayed here.

“Chimera investigates the visual destabilisation through the artistic output of three artists and their mastery of the line and the exploration of pure colours and shapes to create mixed media artworks of intense vibrancy and life,” explains the Gallery. “The exhibition’s title refers to a visual illusive approach and also reflects and criticises aspects of contemporary fictitious society.”

The avant-gardist show – mixing polished Perspex, pure pigments, mirrored glaze, thick epoxy, wood panels, canvases and paper cuts – will reveal twenty new artworks devoted to deceptive optical effects, bright and joyful colours that mislead our perception just as our interpretation of facts is tricked daily.

New York City’s GR Gallery will soon launch an upcoming exhibit that spotlights new works by seasoned visual artists 1010, Ron Agam, and Nelio.

DALEK – BUFF MONSTER: “SPACED OUT” IN MANHATTAN

Posted on March 14, 2018

Optically entertaining Street Artists Dalek and Buff Monster don’t typically work together and are known for uniquely different approaches although their new “Spaced Out” double-solo show at GR Gallery in NYC gives a new example of how artists can work together compliment one another, if not integrate entirely.

In this show of original artworks, wall paintings, editions, and installations, the two find a common language of color while bringing their individual take on character to the party. With Dalek’s Space Monkey making a few appearances and Buff’s melty family popping up throughout this blended linear splatter of optic cosmos, the two personalities come together for the session in a welcoming and satisfying way.

We asked both artists about the show and how they worked together to find a common route in outer space.

BSA: Can you tell us a little about the process of creating work for this dual show with Buff Monster. Was there an effort to find a common aesthetic or approach?

Dalek: I’ve known Buff for years but we’ve really never crossed paths in shows or projects. So when GR started talking to me about this show they mentioned doing it with Buff and my first reaction was “that could be super fun”. I think there is a natural commonality to our work on a certain level so i knew it’d flow well regardless. We didn’t plan much; I’m a horrible planner with shows so i went into it just figuring I’d make it colorful and fun and get done what I could. Once I got in the space with him we definitely got rolling and although there wasn’t any particular attempt to gel everything we were definitely feeding off each others’ energy when getting in the work zone and the show felt really cohesive to me at the end.

Promising to be a true spectacle for the fans of street art, Spaced Outwill be a mesmerizing double-solo show featuring works by two legendary figures of graffiti writing, James Marshall (aka Dalek) and Buff Monster. Held within the halls of the GR Gallery, this will be the first time these two artists are a part of the same show.

Spaced Out will present us with sixteen new artworks, including paintings, editions and installations. All of these pieces were expressly created for this occasion and have a goal of sucking the visitor straight into a psychedelic cosmos defined by mysterious characters and unpredictable colorful shapes the two painters extracted from their street portfolios.

It’s been a hot minute since we have had the chance to see Dalek up close and personal, so we are super excited to see that Buff and Dalek are having a joint show at GR Gallery in NYC!!

Titled Spaced Out, this double-solo show sees legendary street artists, James Marshall (aka Dalek), and Buff Monster, unite together in the same exhibition for the first time. The show will reveal 16 fresh artworks including paintings, editions, and installations, expressly created for this event and designed to throw the visitor into a psychedelic cosmos defined by mysterious characters and mazy colorful shapes.

Exhibition Dates: March 9 – April 28 2018
Opening reception: Thursday March 8 6:00pm – 9:00pm

GR Gallery, 255 Bowery (between Houston & Stanton) New York, NY 10002.

See you there!

GR Gallery is thrilled to present “SPACED OUT”, a duo show featuring artistsDALEK and Buff Monster, collaborating together for the first time. The exhibition puts together 16 artworks including paintings, editions and installations that will throw the visitor into a psychedelic cosmos defined by mysterious characters and mazy colorful shapes.

“SPACED OUT” will present the artistic output of two internationally known and brilliant whizzes that are reinventing and elevating Urban Art and New Pop Culture. The artists chose NYC for their first show together and plan to reveal new individual artworks and an unanticipated collaborative project.

Opening reception: Thursday March 8, 6:00pm – 9:00pm

Exhibition Dates: March 8 – April 28, 2018

Contact GR Gallery at info@gr-gallery.com or by phone, 212-473-2901 for all press inquiries and to schedule a private viewing and/or an interview. The artists will be attending the opening night. The GR Gallery is located on  255 Bowery (between Houston & Stanton) New York, NY 10002.

About Buff Monster

Buff Monster, names heavy metal music, ice cream, pop art, Japanese culture and graffiti as major influences. For over 15 years, he’s painted murals and exhibited in art galleries and museums all over the world, and is included in Banksy’s Oscar-nominated documentary Exit Through the Gift Shop. He’s worked with some of the most recognizable brands, such as Disney, Converse, Hello Kitty, Samsung, Nike and Coca-Cola.

About DALEK

James Marshall, aka DALEK, merging animation, Japanese pop art, and an urban aesthetic, is best known for his Space Monkey character and in 2007, he began working in a purely abstract style. Marshall cites his assistantship in the studio of artist Takashi Murakami as a major influence. He has participated in numerous shows throughout the world and has worked for companies including Nike, Hurley, American Express, Microsoft, and Instagram.

If you’re planning a trip to NYC in March (or if you’re lucky enough to live in the vicinity of Manhattan), you should make plans to visit the GR Gallery (255 Bowery, New York – NY, 10002) where you’ll be able to pleasure your eyeballs with the art of not one but TWO great iconic street artists. Dalek and Buff Monster are teaming up next month to raise merry hell in the Lower East Side!

Running from 8th March through to 28th April, you’ll have plenty of time to pop into GR Gallery and see this double-solo exhibition. This will be the first time that both artists unite in the same exhibition. The show will reveal sixteen fresh artworks including paintings, editions and installations, expressly created for this occurrence and designed to throw the visitor into a psychedelic cosmos defined by mysterious characters and mazy colourful shapes.

A little word from GR Gallery…

1. J. Demsky, Off The Wall, @ GR GALLERY (Closes Feb 10th)

This month, J. Demsky, one of the highlights of last Miami Art Basel, is showing his internationally acclaimed work at GR Gallery.

His paintings will confuse your sense of sight. They will make you wonder about the media that this artist uses to construct his extremely detailed characters.

You will find yourself suddenly pondering about whether his work is computer rendered or drawn by hand and whether it is meant to be two or three dimensional. It will also make you question if his paintings are being referential to 1980s sci-fi motifs or if they are a visual representation of the way Demsky thinks humans will be thought of in the future.

Demsky’s pieces stand out from the crowd because they are mesmerizing from any angle you look at them. They fool your perception by creating what can only be described as a deceptive illusion of movement. His paintings are interesting because they appear to have frozen a moment in time, to have captured a mere instant in time and space.

Demsky’s work touches on the increased interconnectedness there is between artificial intelligence and human consciousness in the modern world. Demsky’s paintings may b pointing out the problematic ways in which this increased interconnectedness might limit our freedom of thought, agency, and creative capacity in the future.

There are always great art galleries in New York City year round and this spring is going to have a special one. Artists Dalek and Buff Monster will take over the GR Gallery on Bowery between March 15 and April 28. The gallery titled SPACED OUT will be a psychedelic journey into Urban Art and New Pop Culture as the pair work together for the first time. They also plan on revealing some new individual work and a unannounced collaborative project.

Buff Monster takes his inspiration from heavy metal music, ice cream, pop art, Japanese culture and graffiti, while James Marshall aka Dalek merges animation, Japanese pop art, and an urban aesthetic.

With his boldly elegant visual language, Spanish artist J Demsky has been reinventing the alphabet for over 20 years. Here in NYC, he has recently brought his talents to our streets. And through February 10, his distinct aesthetic remains on view in OFF THE WALL, a duo exhibition with sculptor Brad Howe, at GR Gallery, 255 Bowery.

Pictured above is a mural painted by J Demsky in Manhattan. Following are two more murals that J Demsky has graced us with:

At the Welling Court Mural Project in Astoria

Sophisticated and poppy palette-play coupled with a mid century affection for abstract geometry? Meet the night-glo arcade color selections and graphically charged motion of a 90s inspired digital graffiti artist.

Brad Howe and Demsky, both internationally known on the street and inside gallery walls, are separated by two decades but united by a desire to define the aesthetics and experience of public space.

Their intersections and contrasts are on display in a double-solo show at New York’s GR Gallery with examples of two and three dimensional optical play, similar to the diversionary activities that they both employ on the streets.

A collection of 20 works including paintings, sculptures and installations, “Off the Wall” keeps the focus on interaction with the wall, even though the Californian Howe may be better known for his abstract sculptures, his public art commissions and his Calder-inspired installations.

Demsky’s time-travel to an early virtual place that is optically elegant and illusionary taps a nostalgia for the period when he became a graffiti writer in Spain.

The interplay of these strong singular voices is charged in this common space and is often full of motion.

“Off The Wall” aims to exhibit the artistic output of two internationally known talents that even if belong to different generations and work with different media share the same interest for patterns, geometric shapes and illusive effects.

The exhibition title highlights how Demsky’s artworks, even if 2-D seems to stand out from the wall while Brad Howe’s delicate sculptures seem to enter inside the wall and melt with it.

“Planned Iridescence” aims to exhibit the artistic output of the internationally known and brilliant talent that is reinventing and bringing to another level the Optical and Kinetic Art tradition. Felipe Pantone’s body of work spans from graffiti to installations to “traditional” paintings.

Strong contrasts, vivid colors, effects, and the use of mixed medium and varied technique combine to impact strongly on the viewer. What really intrigues it’s not the striking nature of his work, but the artist’s journey to discover this aesthetic, that leads him to never stop experimenting in order to maintain his artistic research always bright and to bring it to the next level. In particular, symbolizing the attitude of the artist, this exhibition is a revelation, showing an advanced full experience, impossible to explain with words.

For his first Solo show in NYC Felipe Pantone is arranging an astonishing design planning, uncovering for the first time a new series of works, in fact “Planned Iridescence” is the title of these new works which are the product of years of research in his quest to evoke digital experiences through inanimate objects. Made with a unique iridescent material that allows the artist to regulate light spectrum gradients in every aspect of color, repetition, directional displacement and rotation.

Movement is activated by the viewer’s position in front of the work, creating an individual interactive participation that he perceives as cyber encounters. In order to maximize this experience, Pantone is also relying on new technologic supports and different spaces dimension, able to expand the exhibition out from the traditional boundaries.

Felipe Pantone Leaves his Graffiti Tag in New York City, 2017

• Posted by Donna on 15th October, 2017
• Filed under: From the Street

Best Art Shows Exhibits October 2017 Week One

Felipe Pantone’s “Planned Iridescence” Exhibit in NYC

Innovative artist Felipe Pantone will be making his way into New York City this fall to launch a new solo exhibit called “Planned Iridescence.” The digitally-inclined presentation will see approximately 20 new artworks that explore “the interaction between the displacement of the light spectrum and the color dynamism,” said Pantone in a statement.

“Planned Iridescence” will open at the GR gallery in New York City from October 19 up until November 25.

GR Gallery
255 Bowery
New York, NY 10002

KAWS to Debut New Artwork at Frieze Art Fair in London

The prestigious Frieze Art Fair in London is set to commence on October 17. Cocktails will be served, suits will be donned, and fine contemporary art will be available to peruse. One participating artist is KAWS who will display a handful of new pieces at Galerie Perrotin’s solo booth (A17) at the event. Accompanying the paintings is a new outdoor Companion sculpture at Regent’s Park which made its debut this past July.

Visit the Frieze Art Fair’s official website to learn more and find the address below.

Regent’s Park
Chester Rd
London, UK NW1 4NR,

Takashi Murakami’s “Under the Radiation Falls” Exhibit in Moscow

Takashi Murakami has opened a major retrospective at the Garage Museum of Contemporary Art in Moscow, Russia. Titled “Under the Radiation Falls,” the new exhibit is split into five parts and spotlights a slew of archival as well as new prints, paintings, sculptures and installations. Murakami’s signature Flowers, Mr. DOB, Kai Kai Kiki and even Miss ko2 characters are featured in the extensive presentation.

The exhibit is currently open to the public up until February 4, 2018. Visit Garage MCA’s official website to learn more.

Jenny Holzer Takes Over the Blenheim Palace in England

Jenny Holzer has launched a new exhibition at the historic Blenheim Palace in England. The presentation features a wide array of text-based artwork and stonework pieces alongside Holzer’s iconic LED light installations. Additionally, she has created a virtual reality mobile app for the showcase. The text highlighted in the pieces are culled from The Not Forgotten Association—a charity organization that provides assistance for military veterans in the UK.

The exhibit is currently open to the public up until December 31. Head over to the Blenheim Art Foundation’s official website to learn more.

Blenheim Palace
Woodstock OX20 1PP, UK

“Planned Iridescence” features 20 new works—including paintings, projections, interactive installations and murals—that are the product of years of research into ways of evoking digital experiences through inanimate objects. Pantone, who works in the optical and kinetic tradition, uses strong contrasts, vivid colors, mixed medium and varied techniques to focus on the interaction between the displacement of the light spectrum and shape-color dynamism. The exhibition, featuring iridescent material that allowed Pantone to regulate the light spectrum gradients in color, repetition and directional displacement, symbolizes the attitude and experimentation of the artist, according to the gallery release, and expands the exhibition beyond traditional boundaries.

Street Artist Felipe Pantone opens a new show tonight and gifts two new outside walls to NYC. BSA talks to him and GR gallery director Alberto Pasini about the exhibition.

An established studio in the north-eastern Italian town of Sacile since the late 1970s, the Studio d’Arte GR has specialized in Kinetic, Op, and Programmed art for decades. Curating what they estimate to be over 300 shows worldwide over that time, their GR Gallery is relatively new to New York, opening in 2016 with a 40 piece group show spanning the most unusual and dynamic techniques of the genres.

As it turns out, they are here just in time to offer a show to Argentinian/Spanish Street Artist Felipe Pantone, who has been expanding upon a geometric graffuturism vocabulary that the last decade has set free on the streets in cities around the world.

The bold Argentinian street artist known for bringing bringing digital aesthetics into the real world, Felipe Pantone is opening his first New York solo show “Planned Iridescence” this month at GR Gallery. According to the gallery, 20 pieces are expected to be featured including paintings, murals, projections and interactive pieces exploring the “interaction between the displacement of the light spectrum and the color dynamism.” Fans can catch the show’s opening on October 19 at GR Gallery, 255 Bowery, New York. Planned Iridescence will run until November 25.

NEW YORK, NY.- GR Gallery is presenting a group show featuring five artists, represented by the gallery, who are now participating at the 57th Venice Biennale: Alberto Biasi, Franco Costalonga, Nadia Costantini, Sandi Renko, Claudio Rotta Loria.

This exhibition aims to underline the international relevance and attention that is now pointing at five outstanding artists represented by GR gallery, that are simultaneously attending the most important art event in the world: the Venice Biennale. All Italian, these artists are among the founders or prime representative of the Optical Art and Kinetic Art. An movement emerged in the early 50s in Europe and South America that rose quickly in the early 60s also in the U.S., peaked with “The Responsive Eye” exhibition at New York MOMA in 1965, and then faded within a few years. On both sides of the ocean, it has had a long and outsized influence on visual art, architecture and design. In the last few years, the art world has witnessed a deluge of Op and Kinetic art centered exhibitions by major international museums and galleries and the markets took notice.

Un articolo firmato da Enzo di Martino per “Il Gazzettino” ci riporta agli anni ’60 per raccontare di un gruppo di artisti talvolta non valorizzati come avrebbero meritato. Alla Fondazione Bevilacqua La Masa, un evento collaterale alla Biennale di Venezia, promosso dall’Associazione culturale Arsnow Seragiotto.

La ricerca espressiva dell’ arte del Novecento ha percorso numerosi sentieri, spesso non tutti opportunamente registrati e valorizzati. Si assiste allora, negli anni più recenti, alla lodevole riscoperta di gruppi e movimenti che al loro apparire, forse perché troppo innovativi da un punto di vista formale, non avevano avuto l’ attenzione critica che certamente meritavano. L’ ultima ondata di queste riproposizioni storiche riguarda in particolare l’ arte italiana più rigorosamente astratta, emersa tra la fine degli anni Cinquanta e gli inizi del Sessanta, definita in parte arte programmata, in altre declinazioni ricerche ottico-cinetiche.

I loro protagonisti, penso in particolare ad alcuni nomi quali Enrico Castellani (1930) ed Agostino Bonalumi (1935 -2013)  – entrambi partecipi nel 1956 del Gruppo Azimut a Milano – hanno ormai raggiunto quotazioni di grande rilievo e interessato un mercato di vastità internazionale.

E’ dunque in questa prospettiva che va letta la mostra che, a cura di Giovanni Granzotto, viene inaugurata alla Fondazione Bevilacqua La Masa di Venezia, dove resterà aperta fino all’ 8 ottobre. Ha per titolo Alberto Biasi, Sara Campesan, Bruno Munari e altri amici di Verifica 8+1, facendo perciò espressamente riferimento alla straordinaria esperienza promossa a Mestre nel 1978, quella di un centro di documentazione e informazione di nuovi linguaggi, rimasto attivo per trent’ anni.

La mostra è incentrata sull’ opera di tre figure di rilievo perché Bruno Munari (1907-1998) – al quale in marzo è stata dedicata una antologica nel Palazzo Pretorio di Cittadella – è in effetti una delle personalità più complesse ed interessanti dell’ arte italiana del XX secolo, sebbene abbia operato,sempre con grande rigore, non solo come pittore, ma anche quale grafico e designer. Alberto Biasi (nella foto una sua opera) ha ormai assunto la figura di un autentico protagonista dell’ arte programmata e non a caso è stato nel 1960 tra i fondatori dello storico Gruppo N di Padova. Le sue opere risultano sempre emotivamente e visivamente coinvolgenti, stabilendo un rapporto nuovo ed armonioso con lo spazio, spesso anche con l’ intervento del movimento e della luce.

Più intrigante perché misconosciuta la figura di Sara Campesan (1924-2016) alla quale viene opportunamente dedicata una sala – che è stata come artista la vera animatrice dell’ esperienza del Gruppo 8+1 a Mestre che ha tra gli altri ospitato grandi personaggi quali Horacio Garcia Rossi, e in particolare l’ argentino Julio Le Parc (1928) che nel 1966, l’ anno di Lucio Fontana, ha ottenuto il Gran Premio per la pittura alla Biennale di Venezia.

La rassegna risulta in effetti vasta ed esauriente perché ospita anche opere di artisti che sono stati vicini a Verifica 8+1, quali, tra gli altri, Edoer Agostini, Marina Apollonio, Ferruccio Gard, Nino Ovan, Mariapia Fanna Roncoroni, Claudio Rotta Loria e Sandi Renko. Ne risulta infine una mostra stimolante e ricca di suggestioni, per molti versi sorprendente rispetto alla visione tradizionale dell’ arte.

On the occasion of the 57th Venice Biennale, Fondazione Bevilacqua La Masapresents as Collateral Event “Alberto Biasi, Sara Campesan, Bruno Munari e altri amici di Verifica 8+1”, an exhibition curated by Giovanni Granzotto.

The exhibition puts together 15 recent artworks, including paintings on canvas and wood, works on paper and sculptors, executed between 2012 and 2017, engaging in a conversation about the infinite possibilities through which the power of astral nature interacts with one another. In addition to these, it is going to be particularly remarkable the execution of one mighty wall painting by Alberto Di Fabio and a mesmerizing wall drawing by Andrea Bianconi that will pep up GR gallery’s environment, throwing the visitors in a parallel universe distinguished by the immensity of the interstellar emptiness, populated by dynamic, aliens like, arcane signs.

GR Gallery is proud to present “INTERSTELLARIS”, a group show featuring three artists whose works investigate the discourse around the world’s and human energy through dynamic & perceptual abstract painting.

RU alum Andrea Bianco will be featured in the group exhibition  “Intersetellaris” at the GR gallery with artists Alberto Di Fabio and Felipe Pantone.  The three artists works investigate the discoyrse around the worlds and himan energy through dynamic & perceptual abstract painting.

L’arte ottica e astratto-geometrica di Ron Agam e Marco Casenti è protagonista della mostra “Incandescent Chromophilia”. L’esposizione, organizzata da GR Gallery, raccoglie i lavori recenti dei due pittori tra influenze rinascimentali e colori californiani………

“It’s not Machiavellian, it’s just practical. I try to do what’s best for the movie,” says Weinstein of TWC’s frequent release-date changes. He was photographed March 27 in front of a Ron Agam piece in his office.

From April 20-May 28, 2017, GR Gallery presents the exhibition “Incandescent Chromophilia” by Ron Agam and Marco Casentini.

Both Agam and Casentini are invested in researching and experimenting with hard-edged color field painting and geometry. The exhibition will feature 25 recent works by the two artists, engaging in a conversation about the infinite possibilities through which quadrilaterals—fixed on canvas through an exhilarating palette comparable to that of pop art—interact with one another. “Incandescent Chromophilia” aims to investigate the artistic output of two international, contemporary artists who not only share an affinity for geometry and kinetic shades, but also a deep connection with Italy, the country GR Gallery hails from.

Currently at the GR Gallery location in New York, a group show featuring Felipe Pantone, Gilbert Hsiao, Nadia Costantini, and Sandi Renko is on view thru April 16th. The exhibition entitled Interferences: Contemporary Op and Kinetic Art brings together four artists from Europe and America who draw their influence from the long history of a visual artform that uses elements of optical illusion. Their modern takes on the style see them also master form, color, and linework while putting their own unique take on the aesthetic.

Photo credit: Todd Mazer.

New York, December 1st, 2016- GR Gallery is proud to present “Interferences: Contemporary Op and Kinetic Art”, a group show featuring several generations of artists whose works investigate & advance the discourse around pattern, optical & perceptual abstract painting. The exhibition will feature recent works by four innovative artists from Europe and America, including Felipe Pantone, Gilbert Hsiao, Nadia Costantini, and Sandi Renko.

Opening reception: Thursday February 23, 6:00pm – 9:00pm (Exhibition Dates: Feb 23–April 16, 2017). Members of the press can contact GR gallery in advance to schedule a private viewing and/or an interview with the artists.

As an art movement in the United States, Op-Art (a branch of Kinetic Art) rose quickly in the early 1960s, peaked with “The Responsive Eye”exhibition at MOMA in 1965, and then faded within three years. Despite this, Op-Art has had a long afterlife and an outsized influence on visual art, architecture & design. In Europe and South America, it emerged in the early 1950s, and has enjoyed an uninterrupted, if at times understated life since that time. On both sides of the ocean, it has had a long and outsized influence on visual art, architecture & design. In the last few years, exhibitions featuring Op-Art have been appearing in museums & galleries with increasing frequency.

Its ability to have a successful afterlife is due to its ability to produce interference between the physical presence of its surface and the illusory effects its patterns create. The ‘Interference’ art form of Op-Art is an effect of synergy between the alignment of the shape & graphic that merges and affects both. Since 2013, the art world has witnessed a deluge of Op-Art and Kinetic-Art centered exhibitions by major international museums and galleries. The markets took notice: from 2000 to 2016 kinetic art prices at international auctions went up by 128% due to demand. In industrial & graphic design, in fashion, architecture, in décor objects and in a myriad of other places, Op-Art is back!

The “Interferences” exhibition investigates Op-Art through the artistic output of four American & European artists and their mastery of the line and the exploration of pure color and form to create canvases of intense vibrancy and life out of simple geometric shapes. The exhibition’s primary compositional units are focused on line interference, geometrical shapes, reversible perspective and chromatic vibration. The 25 works on view derive their power from the way in which the artists are able to create dynamic variations by altering the width, color & direction of their stripes and shapes, often with infinitesimal slightness, to create arrangements that pulsate with a serene rhythm as reflected in Hsiao’s work, or frantic energy as in Pantone’s work.

Felipe Pantone (Argentina)’s work is at the cutting edge of street art. Straddling conventional graffiti, typography and abstraction, his work fuses bold elements of graphic design with highly evolved geometric shapes.

Gilbert Hsiao (U.S.) has been exploring the mechanics of visual perception since the 1980s. The viewer perceives oscillation through the illusion of a continuous wave produced by the physiological experience of space and movement. Meticulously layered stripes in tightly woven structures create a musical rhythm and repose.

Sandi Renko (1949, Italy) is known for his contributions to industrial design, optical and kinetic art (Arte Programmata). By using undulated cardboard surfaces painted with acrylic colors, Renko creates tridimensional geometric structures that can be read from several angles, giving the impression of movement.

Nadia Costantini (1944, Italy) Nadia Costantini’s works as a painter and a sculptor is focused on the dialogue between negative & positive space to create the illusion of movement & depth. In her paintings, colorful geometric & modulated striped structures emerge from backgrounds of pure black thus emphasizing the painter’s choice of vivid, vibrant colors.

GR gallery: Founded in the mid-seventies by Italian art critic Giovanni Granzotto in Sacile, Italy, Studio d’Arte GR has been specializing in Kinetic, Op and Programmed Art; its US branch, GR gallery, continues its mission in North America.

Last week, GR gallery unveiled its fourth exhibition dedicated entirely to Op and Kinetic art. The exhibition, Interferences: Contemporary Op and Kinetic Art, pulsates as its artworks electrify the gallery’s atmosphere. The show’s opening night brought together an eclectic array of artists, curators, and art lovers, including the likes of rock photographer Bob Gruen, his wife, artist Elizabeth Gregory Gruen, and internationally renowned creators such as Ron Agam and Harif Guzman, among others. Interferences, on view at GR gallery until April 16, 2017, features recent works by four innovative artists from Europe and America: Felipe Pantone, Gilbert Hsiao, Nadia Costantini, and Sandi Renko.

An Op art immersion, the exhibition sets the output of these four artists in conversation with one another, sparking a dialogue between their distinct masteries of line and explorations of pure color and form. Across intensely vibrant canvases, the exhibition breathes life through the simplest geometric shapes, its focal points grounded in the line interferences of Nadia Costantini’s Modulazioni di Superficie, the geometrical shapes of Sandi Renko’s Stripe316, the reversible perspective of Gilbert Hsiao’s Gyro, and the chromatic vibrations of Felipe Pantone’s Optichromie 85.

The 25 works on view derive their power from the ways in which their makers dynamically alter the width, color, and direction of their stripes and shapes, often with infinitesimal slightness, to create arrangements that pulsate with a serene rhythm—something especially felt through the oscillations of Hsiao’s paintings and frantic energy of Pantone’s work. Remaining true to its founding mission, GR gallery continues to push the envelope within the panorama of New York’s contemporary art galleries by bravely presenting artists whose works investigate and advance the discourse around pattern, optical, and perceptual abstract painting.

As an art movement in the United States, Op art was borne through Kinetic art, and rose quickly in the early 1960s. After peaking at The Responsive Eye exhibition at the MoMA in 1965, it seemed to subsequently fade within three years. Despite this, Op art has maintained a lengthy afterlife, yielding an outsized influence on visual art, architecture, and design. GR gallery, entrusting that this movement would undoubtedly see a revival, has promoted and supported artists of these two often-overlooked movements since its inception in Italy, and thereafter in New York.

Without fail, the last few years have seen a deluge of Op and Kinetic art featured in museum and gallery exhibitions around the world. From industrial and graphic design to fashion, architecture, décor, and a myriad of other places, Op art is back! However, Interferences at GR gallery is by far the finest comprehensive survey of contemporary Op and Kinetic art in New York City—an optical feast not to be missed.

Felipe Pantone (Argentina)’s work is at the cutting edge of street art. Straddling conventional graffiti, typography and abstraction, his work fuses bold elements of graphic design with highly evolved geometric shapes.

Gilbert Hsiao (U.S.) has been exploring the mechanics of visual perception since the 1980s. The viewer perceives oscillation through the illusion of a continuous wave produced by the physiological experience of space and movement. Meticulously layered stripes in tightly woven structures create a musical rhythm and repose.

Sandi Renko (1949, Italy) is known for his contributions to industrial design, optical and kinetic art (Arte Programmata). By using undulated cardboard surfaces painted with acrylic colors, Renko creates tridimensional geometric structures that can be read from several angles, giving the impression of movement.

Nadia Costantini (1944, Italy) Nadia Costantini’s works as a painter and a sculptor is focused on the dialogue between negative & positive space to create the illusion of movement & depth. In her paintings, colorful geometric & modulated striped structures emerge from backgrounds of pure black thus emphasizing the painter’s choice of vivid, vibrant colors.

GR gallery: Founded in the mid-seventies by Italian art critic Giovanni Granzotto in Sacile, Italy, Studio d’Arte GR has been specializing in Kinetic, Op and Programmed Art; its US branch, GR gallery, continues its mission in North America.

International artists inaugurate exhibition in New York gallery

Text by Cristina Ochoa; Translation by Briana Prieto

Photos by Briana Prieto

Optical art is a creative movement that began to take shape in the 1960s. The GR Gallery of New York presents an exhibition that shows how much there is to be explored in the field of visual perception: Interferences: Contemporary Op and Kinetic Art.

Kinetic and optical art are currents that seek to explore through the aesthetics of movement, prioritizing the viewer’s visual experience.

The exhibition includes Gilbert Hsiao, Sandi Renko, Nadia Costantini and Felipe Pantone, artists who use the line as a fundamental element in their work.

The work of Felipe Pantone is recognized for his approach to graffiti, the colors that remind us of video games or any image of the digital era through abstract creations.

Nadia Costantini, Italian painter and sculptor who works with the positive-negative contrast to create the illusion of movement in her work, presents a series of work with geometric figures that give us the feeling of depth.

Because not everything is said in the exploration of optical art, until April 16th GR Gallery will present to us the most outstanding creators so far in this subject.

Ron Agam: Incandescent Chromophilia

It’s a cold and rainy winter morning in New York City. I’m in a taxi crossing the Queensboro Bridge on route to Ron Agam’s studio. I know that as soon as I arrive, my blue, wintry mood is bound to be uplifted. The French-Israeli artist’s kinetic, mood-enhancing paintings exact on the viewer a feeling of euphoria mixed with awe. As compositions of concentric squares, his lenticular and polymorphic paintings are exhilarating and hypnotic.

As I enter Ron’s Long Island City studio, I am greeted by Rusky, the artist’s tiny white Maltese. Rusky happily strolls next to the stunning, large-scale optical relief paintings on display, his lively movements accentuating the paintings’ magnitude and perfect dynamism. Ron Agam approaches, smiling. His expressive hazel eyes are soft-spoken, exuding a radiant aura of positive, serene energy.

Talent runs in the family; as the son of world-renowned Israeli kinetic artist Yaacov Agam, Ron only began painting after he turned 52 (he is now 59 years old). “I began this work as a leap, without knowing where it would go,” Ron explains. “And I don’t think about it now; I just paint.”

Following his long and successful career as a fine art photographer, Ron had an epiphany after he turned down one of the largest and most lucrative job opportunities of his career—a photo book for luxury group LVMH. “Everybody criticized me and I went into a deep depression,” Agam explains, describing how he retreated to his studio, reemerging only several months later as the artist he is today. “I saw a crayon [in the studio] and I started to draw.” From that point onward, Ron never looked back. In a short, nine-year span, he has created an impressive body of work, embracing a dizzying array of techniques from lenticular, optical experiments to distilled, saturated color fields.

His use of color is unique; through juxtaposing power-saturated hues, every color reverberates, simultaneously igniting the vibrancy of its counterparts. Ron Agam’s paintings are incandescent. He explains, “My inspiration and colors came from watching my father painting in his studio in Paris which had previously been Gauguin’s atelier. As a child I witnessed how my father was working. He would use 200–300 shades of a color, a mesmerizing process to witness.” In his three-dimensional, large-scale optical reliefs, the artist’s stunning dexterity with lenticular/stereoscopic technology dazzles. The perfect dynamism of Agam’s Homage to Newton and Ein Sof resonated with me. Homage to Newton features approximately one hundred black and white concentric squares that appear, at times, to be both a tunnel and a pyramid through their spellbinding, illusory movement. Ein Sof—the Kabbalistic term for “God’s Infinite Light”—consists of a large, irregularly sided red hexagon that seems to be extruding from its core countless concentric, twisting white hexagons. The effect is astounding, leaving me to wonder if my sight is cast upon a mountain’s peak, an all-knowing eye, or a cosmic vortex.

As Josef Albers said, “Abstraction is real, probably more real than nature.”

di Sara Fruner – 28 novembre 2016

Emilio Vedova, Riccardo Licata, Gino Morandis, Valerio Guidi, Ennio Finzi: sono gli artisti che portarono in auge lo Spazialismo veneziano, facendolo uscire dall’ombra di quello milanese. A loro è dedicata la mostra appena inaugurata alla GR Gallery di Manhattan

Basterebbe lo splendido tondo di Riccardo Licata, quei segni arcani di chissà quale mitologico alfabeto, a spingere qualsiasi appassionato di arte del secondo Novecento alla GR Gallery, su Bowery. Se a quello aggiungete le tele di Gino Morandis, Valerio Guidi, Ennio Finzi e, dulcis in fundo, del Maestro Emilio Vedova, è probabile che l’appassionato torni e ritorni più volte a vedere The Great Beauty of Venice, la mostra inaugurata venerdì 18 novembre e aperta fino al 5 febbraio 2017.

Filiale americana dello Studio D’Arte GR ― veneziano d’origine e sacilese di ricollocazione ― la GR Gallery è presente a New York da un anno, e celebra, con questa mostra, il sodalizio con il gruppo di artisti dello Spazialismo italiano.

Propaggine artistica dell’Arte Informale, il Movimento Spazialista rifiuta l’immagine naturalistica e indaga la relazione tra l’uomo e lo spazio che lo circonda, ergendo quest’ultimo a vero e proprio luogo della creazione artistica. Allo Spazialismo, che ebbe in Lucio Fontana il suo fondatore e teorico, aderirono pittori come Gino Morandis e Virgilio Guidi, mentre Ennio Finzi, Riccardo Licata e Carmelo Zotti rimasero ufficialmente slegati dalla corrente, ma ufficiosamente molto vicini allo stile adottato.

Emilio Vedova, dal canto suo, si muove sempre nel mare magnum dell’Arte Informale, nell’area del segnico, pur nutrendo un grande interesse verso il ruolo esercitato dallo spazio nell’opera ― ricordiamo i suoi famosi Plurimi, opere in cui l’artista stacca il quadro dalla parete e lo installa nello spazio facendolo diventare una creazione ibrida fra pittura, scultura e architettura.

È un piacere quasi fisico, scivolare fuori dal caos della città ed entrare in un luogo dove le pareti parlano la lingua familiare di un artista come Vedova: le pennellate convulse, nere e grigie scure, tra le quali affiora una presenza gialla, oppure una serie di sprazzi rossi, dove domina la forza emotiva, quasi primitiva, del segno.

Alberto Pasini, direttore della Galleria, ci racconta di come Giovanni Granzotto, il fondatore storico dello Studio D’Arte GR, sia stato grande amico e sostenitore di tutti questi artisti gravitanti attorno alla città di Venezia, e di come si sia sempre speso, dagli anni ’70 fino a oggi, per portare in auge lo Spazialismo veneziano, facendolo uscire dall’ombra di quello milanese.

“Ci sarebbe piaciuto aggiungere anche qualche opera di Bacci, DeLuigi e Vianello, ma non volevamo allargare troppo la mostra né svelare tutto subito…”, aggiunge il Direttore, alludendo al fondo di opere a cui GR Gallery può attingere e facendomi pregustare future mostre. Il direttore ci confessa che esporre Vedova in America, oltre ad essere un onore, dato il rapporto di stima e amicizia che legava l’artista allo Studio D’Arte, significa molto, in modo particolare quest’anno, in cui il decennale dalla sua morte potrebbe riavviare il mercato, dopo un momento non facile attraversato dalla Fondazione Vedova.

La mostra contempla anche alcune tele di Massimo d’Orta, un artista che, per nascita ― Napoli ― ed età è successivo rispetto agli Spazialisti presenti nella mostra, nonché vivente: sembrerebbe una presenza decontestualizzata. Quando chiedo al Direttore quale rapporto leghi il pittore partenopeo alle opere degli Spazialisti, la risposta mi soddisfa, e mi rivela anche una scelta di strategia logistica della Galleria: “Ci siamo ritagliati una piccola stanzetta all’interno della Galleria come una specie di divertissement, un piccolo spazio in cui ospitiamo opere di mostre precedenti, anticipazioni di mostre future, piccole personali, eccetera. Abbiamo trovato che Massimo d’Orta, che conosco personalmente e apprezzo molto, avesse una certa assonanza dal punto di vista stilistico e gestuale con lo Spazialismo, e abbiamo deciso di inserirlo, con una sua piccola personale, all’interno della collettiva”.

La grande bellezza del titolo della mostra rinvia a quella immortalata da Paolo Sorrentino nell’omonimo film del 2013. “Volevamo un titolo accattivante, riconoscibile, che riconducesse al nostro passato, al nostro heritage, e abbiamo sostituito a Roma Venezia, dacché tutti gli artisti presenti nella galleria, per nascita (Vedova, Morandis) o adozione (Licata, Zoppi, Guidi), hanno orbitato attorno alla città lagunare”.

Guardando all’istintività delle tele di Vedova, ai simboli misteriosi di Licata ― caratteri geroglifici? Rune depositarie di memorie antiche? ― alle composizioni astratte, cromaticamente luminose, di Morandis, o alle figure mitiche, tra l’umano e l’animale, di Carmelo Zotti, credo che la riconoscibilità di questi artisti non potrebbe essere mai messa in discussione, neppure volendolo.

NEW YORK. Venerdì 18 Novembre, dalle ore diciotto alle ore venti,presso la GR Gallery di New York, verranno aperte le porte di ” THE GREAT BE- AUTY of Venice”, esposizione artistica incentrata sul movimento spazialista Veneziano, stile sviluppatosi negli anni cinquanta che impressionò Peggy Guggeneheim. Il movimento spazialista, fu fondato nel 1946 a Buenos Aires da Lucio Fontana, con il suo “Manifesto Bianco”, in cui esortava il superamento di un arte ormai considerata “stagnante”, confinata alla semplice pittura su tela, in favore di un’innovativo stile pittorico che sfonda i confini del dipinto, dando agli occhi degli spettatori l’idea che esistano spazio e tempo anche in campo puramente pittorico.I pittori spazialisti infatti, superano il limite della superficie del quadro, creando su di esso una tridimensionalità in grado di dare forma artistica a quella presa di coscienza caratteristica del dopo guerra, dell’esistenza di nuove forme di forza naturale, quali elettroni, particelle e raggi.  Tali forze naturali troveranno definitivo sfogo nell’iconico gesto di Fontana, che, tagliando la superficie della tela segnò definitivamente la fine di un’arte piatta in favore di una nuova arte spaziale, fortemente rappresentata da altri rivoluzionari atti artistici, da quello di Mario Deluigi, che graffiando la superficie della tela diede vita alle fantasmagoriche nuvole prefiguranti i movimenti delle particelle di luce, alle vertiginose spirali di Roberto Crippa, che richiamano l’energia degli elettroni attorno all’atomo.

GR Gallery hosts yet another spectacular contemporary art exhibit: One that hypnotizes and heals. A re-visitation of work he created almost 50 years ago, 25 of David R. Prentice’s minimalist abstract paintings from the past 5 years attempt and succeed to elevate abstract-minimalist to a new avant-garde. Resembling his earlier works, from before he transitioned to landscape painting, the show exhibits Prentice’s confrontation with “unfinished business”. Relaxing colors, reminiscent of early spring or dreamlike environments evoke introspection. “Art heals people like music heals. When we’re sad or tired or lonely, we turn to music we like. Painting should nourish in the same way; it should make you feel better. It is an adjunct to healing. It helps you overcome trauma and sadness. It helps you lead a richer life, and that’s the job. That’s what an artist is supposed to do,” notes the artist. Subtle palettes hereby mesmerize viewers, inspire reflection and soothe.

GR gallery is proud to announce a solo exhibition of the American artist David R. Prentice, featuring 25 of his minimalist abstract paintings from the past 5 years. On view will be paintings from his “Veils”, “Clouds”, and “Stardust” series with one painting from his early Minimalist phase in the 60s. In addition to this, Prentice will be unveiling his latest series “Out Of The Blue,” inspired by his late wife. This exhibition focuses on the artist’s expert and subtle use of color in his paintings.

Curated by GR gallery’s director Alberto Pasini and Lanny Powers, the exhibition’s fully illustrated catalogue presents an essay by Lanny Powers.

Beginning in 1964 with his first artistic output, the “White Series”, David R. Prentice started his career with abstract Minimalist paintings that “operated on the edge of perception”. Switching gears, the artist dove into realistic landscape paintings in the 80s. After a long and successful career with landscapes, he has revisited Minimalism with the colorful yet subtly moving pieces on view at GR gallery. These most recent works invite the viewer to contemplate how the colors move and blend seamlessly to create a dreamlike composition. The artist’s use of fundamental colors reduced to their palest tone lends the paintings an air of mystery and iridescence, rendering the dynamic effect of changing hues relative to light. David R. Prentice’s return to abstract Minimalism, manifested in his Veils, Clouds and Stardust series, offers a meditative and engaging experience

GR gallery is proud to announce a solo exhibition of the American artist David R. Prentice, featuring 25 of his minimalist abstract paintings from the past 5 years. On view will be paintings from his “Veils”, “Clouds”, and “Stardust” series with one painting from his early Minimalist phase in the 60s. In addition to this, Prentice will be unveiling his latest series “Out Of The Blue,” inspired by his late wife. This exhibition focuses on the artist’s expert and subtle use of color in his paintings.

Curated by GR gallery’s director Alberto Pasini and Lanny Powers, the exhibition’s fully illustrated catalogue presents an essay by Lanny Powers.

Beginning in 1964 with his first artistic output, the “White Series”, David R. Prentice started his career with abstract Minimalist paintings that “operated on the edge of perception”. Switching gears, the artist dove into realistic landscape paintings in the 80s. After a long and successful career with landscapes, he has revisited Minimalism with the colorful yet subtly moving pieces on view at GR gallery. These most recent works invite the viewer to contemplate how the colors move and blend seamlessly to create a dreamlike composition. The artist’s use of fundamental colors reduced to their palest tone lends the paintings an air of mystery and iridescence, rendering the dynamic effect of changing hues relative to light. David R. Prentice’s return to abstract Minimalism, manifested in his Veils, Clouds and Stardust series, offers a meditative and engaging experience

Opening reception: Thursday October 13, 2016, 6:00pm – 9:00pm
Location: GR gallery, 255 Bowery, New York, NY 10002 –

(NEW YORK, 9/1/16) – GR gallery is proud to announce a solo exhibition of the American artist David R. Prentice, featuring 25 of his Minimalist abstract paintings from the past 5 years. On view will be paintings from his “Veils”, “Clouds”, and “Stardust” series with one painting from his earliest Minimalist career in the 60s. In addition to this, Prentice will be unveiling his latest series “Out Of The Blue,” inspired by his late wife. This exhibition focuses on the artist’s expert and subtle use of color in his paintings.

Beginning in the late 50s, David R. Prentice started out his career with abstract Minimalist paintings that “operated on the edge of perception. The “White Series” from the 60s were his first artistic output at the time. Switching gears, the artist dove into realistic landscape paintings in the 80s. After a long and successful career with landscapes, he has revisited the Minimalist ideas with the colorful yet subtly moving pieces on view at GR gallery. These most recent works of his draw the viewer in to contemplate how the colors move and blend seamlessly creating a dreamlike composition. The use of fundamental colors pushed down to their palest tone makes the paintings appear to change hues in different lights, making Prentice’s paintings feel mysterious and iridescent. David R. Prentice’s return to abstract Minimalism offers a meditative experience with his engaging manifestation of veils, clouds and stardust.

About the artist: David R. Prentice (b. 1943) is an American artist. Prentice was born in Hartford, Connecticut and studied at the Art School of the University of Hartford from 1962 to 1964, after which he worked as a studio assistant to Jasper Johns, Robert Motherwell, Helen Frankenthaler, Alexander Liberman and Malcolm Morley. Prentice started his artistic career in the late 50’s as a Minimalist painter. In the 60’s, he had solo shows in some of the most renowned galleries like New York’s Teuscher Gallery and Sonnabend Gallery. Later in the 80’s, he became an accomplished and internationally known landscape painter. Just in the last period, he decided to recapture abstractminimalist art bringing it towards a new avant-garde. He has exhibited his work in several exhibitions all over the world and he now lives between Manhattan and Ashikawa City in Japan. His work can be found in several internationally known museums and public art institutions permanent collections like the Museum of Modern Art, Yale University Art Gallery, Corcoran Gallery, Asahikawa, Japan, Royce Confect, Sapporo, Japan.

È l’inventore delle calze più indossate e celebri del mondo, le prime ad essere portate dalle ragazze dopo l’invenzione della minigonna nonché le preferite da decine di vip, prima tra tutti Madonna.
Emilio Cavallini, toscano doc, si è ricavato un ruolo nella storia della moda internazionale partendo da zero, forte soltanto di talento e tenacia.

Oggi vive tra Firenze e New York, e se le calze restano ancora la sua attività commerciale principale, i suoi interessi si sono gradualmente spostati verso l’arte: ormai da diversi anni ha infatti cominciato a realizzare opere proprio con il tessuto della calza, originalissime nel loro genere. Esposte nelle gallarie più prestigiose in Europa e in America, le sue creazioni raccontano molto di lui, del suo essere imprenditore, artista, artigiano e ovviamente uomo.

Luxgallery ha incontrato e intervistato Emilio Cavallini per farvi scoprire “l’altro lato” della moda, oltre a regalarvi un prezioso suggerimento per gli acquisti di Natale.

È da poco terminata con successo la tua mostra alla GR Gallery di Manhattan, con 25 opere rappresentati tre decenni di lavoro. Un qualcosa di molto particolare…
Credo di sì. È vero che le calze sono state introdotte nella storia dell’arte a partire dagli anni ’60-’70, però nessuno prima di me ne aveva cambiato l’utilizzo, “tornando indietro” nel processo di produzione dal capo finito alla materia prima. Io uso il tessuto delle calze per realizzare opere che prendono origine dalla matematica e dagli algoritmi, una mia grande passione.

Concretamente come lavora?
Prima vengono disegnate le opere che ho in mente, seguendo appunto delle coordinate specifiche; solo in un secondo momento di passa al lavoro “artigianale” vero e proprio.
È iniziato tutto un po’ per caso, quando negli anni Settanta intendevo creare un archivio della mia produzione; a poco a poco sono diventate delle creazioni artistiche autonome, distaccate dall’altra parte del mio mestiere. Nel 2000 ho pubblicato un libro al riguardo edito da Rizzoli e rivestito di una calza a rete nera, un qualcosa a metà tra la mia storia e le immagini che rappresentano i miei lavori. Nel frattempo, la richiesta di mostre personali è andata sempre più aumentando, nonostante alle grandi gallerie io preferisca quelle di nicchia specializzate, come il circuito dell’Opera Gallery di Parigi.

Ci racconta la sua originale ascesa nel mondo della moda?
Negli anni ’90 facevo collezioni e sfilate a Milano per l’uomo, a Parigi per la donna: ero un po’ lo stilista di tutto, sempre però proponendo capi particolari, all’avanguardia.
Ma la storia delle mie calze inizia in realtà molto prima, quando avevo appena diciotto anni e adoravo la beat generation, frequentavo Londra, ero già un grande appassionato di moda – soprattutto quella di strada – e passavo parecchio tempo dietro alla contemplazione e allo studio dell’arte antica (a tal proposito ricordo che fin da piccolo venivo appositamente a Firenze da San Miniato per visitare le chiese).
Un giorno mi ritrovai nello studio di Mary Quant, l’inventrice della minigonna, cercando di fare uno stage perché allora non esistevano neppure le scuole di moda. A un certo punto lei disse: “Ho bisogno di qualcuno che si occupi delle calze”; nessuno si fece avanti, e allora mi proposi io, conscio del fatto che in Toscana, nella zona in cui sono nato, c’erano all’epoca ben tre calzifici storici.
Senza perdere tempo le presentai dei disegni semplici, geometrici, regolari, il cui tema portante erano le righe bianche e nere, o bianche e blu, bianche e rosse, orizzontali e verticali. Beh, le piacquero tantissimo, perciò mi misi subito all’opera per cercare di farle realizzare da una delle aziende che avevo in mente. Nessuno tuttavia credette troppo nel mio progetto, così nel 1970 aprii un’azienda in proprio per la produzione di calze, e in seguito anche di collant.

Qual è stata l’invenzione che le ha regalato la vera fama?
Sono passato alla storia come promotore delle calze a rete, che fino a quel momento venivano fatte solo attraverso un tessuto con cuciture dietro; io ho inventato nello specifico le reti tubolari, spingendomi sino all’audacia di calze che vestivano l’intero corpo, le quali fecero impazzire Madonna e non pochi altri vip.

Tutta la sua produzione, tanto artistica quanto legata alla moda, si caratterizza perché innovativa e all’avanguardia. Secondo lei esiste un limite a ciò che si può definire arte, o il concetto è ormai completamente aleatorio?
In realtà tutta la natura è arte. Io penso che l’occhio debba abituarsi a vedere le cose di ogni giorno emozionandosi come se le osservasse per la prima volta. Fare ricerca artistica oggi come oggi significa soprattutto riuscire a far vivere al tuo interlocutore l’esperienza della sopresa di fronte alla quotidianità.
Il mio unico “limite”, se così lo vogliamo chiamare, è che per me l’arte deve essere bella ora, riuscendo tuttavia a durare nel tempo; non apprezzo le creazioni estemporanee che scompaiono o finiscono nel dimenticatoio dopo appena qualche decennio.

Se dovesse mettere Firenze e New York a confronto?
Se devo essere onesto quando sono a Firenze vorrei trovarmi a New York e viceversa. Sono due città completamente diverse: Firenze mi regala emozioni indescrivibili quando passeggio, entro ad esempio nella Chiesa di Santo Spirito e vedo il Giotto restaurato, ma dopo un po’ comincio ad annoiarmi, perché l’offerta di cose da fare e gli stimoli non sono paragonabili all’America.
New York invece è la modernità, la grandezza, l’architettura, il rinascimento attuale nella ricostruzione più che nelle opere vere e proprie. È anche multiculturalità, un incrocio di persone di ogni genere arrivate lì negli ultimi cento anni che si dimostrano aperte agli stranieri e sempre pronte a darsi una mano l’un l’altro.

Chiudiamo con un consiglio per un giovane artista.
Viaggiare più che si può! Nei Paesi nordici, in Europa, in Russia. È fondamentale conoscere il mondo e la gente che lo abita, cosa che non si può imparare a scuola, ma solo attraverso il viaggio. E se questo debba implicare un po’ di sacrificio perché le risorse economiche scarseggiano, ben venga: aiuterà ancora di più a crescere.

Info: www.emiliocavallini.com

Chiara Giacobelli

by Eva Zanardi

I have known Emilio Cavallini for over 20 years and I consider him a dear friend but you have my word that I will stay utterly objective. After all these years, I still marvel at Emilio’s boundless, irradiating energy and positivity.Always ready to praise someone, always ready to forgive, no matter what. We met in Milan in the early nineties and we immediately bonded. I instantly felt drawn in by his exuberant and gregarious personality. At that point, Emilio was at his peak fame as a fashion designer and he hired me as a model for many of his whimsically original fashion shows. Needless to say we had a ball. I have always known that he personally created and designed his groundbreaking pantyhose patterns, something that set him apart from all the other fashion designers. One day, I had the privilege of observing him at work, in his studio/laboratory. Emilio, with the help of applied mathematics, was creating perfectly interlocking patterns out of stubborn lines and shapes that didn’t want to collaborate. Like a mad scientist, Cavallini was guiding and submitting chaos into order. The resulting art works are at once muscular yet ethereal, their beauty lies both in their objective elegance and grace and in their deeper conceptual strive of trapping the infinite in the finite. It was then that I understood how he channeled his peculiarly boundless energy. When talking about Emilio’s work, it’s simply unchallenging to find analogies with the great mythological weavers like Penelope, wife of Odysseus and her genial ruse, the Three Parcae, the personifications of destiny, Ariadne’s thread and the Minotaur labyrinth, etc.… In those ancient myths the thread always appears as a metaphor for the act of connecting and disconnecting, a tool to control and release chaos. In continuing this narrative, Emilio Cavallini uses his threads as a leash to connect with, trap, tame and finally crystallize chaos/energy. Simply put, Emilio makes energy tangible.

1. EZ) I would like to start our conversation by asking about the title of your exhibition at GR gallery New York: Harmony Runs On A Thread” Could you tell us how this title came about and what you mean by it?
2. EC) The title of the show derives from the idea that the thread  represents  the  quest  for harmony, beauty and symmetry which, according to the laws of mathematics  that  govern  shapes  and  patterns, materializes beyond time and reality. I see my works as the materialization of an abstract music symphony transformed  into  an  actual object.

1. EZ) In the past 10 years we have seen a worldwide comeback of Kinetic and Op art, do you have an explanation for this phenomenon? Having experimented for years with both, do you have an “insider view” on why lately the public seems to be receptive and responsive to these movements?
2. EC) Kinetic and Optical art are not really coming back: they never went away. They exist as the visual outcome of the prolific conversation between art and science. They both focus on the direct observation of nature and the geometric principle of optics and perspective and on the latter’s evolution through time. In my Optical work, by creating a sort of perceptive instability, I stress the infinite combinations of reality and how our observation of them shapes my artwork. I try to distract the focal point from the objects themselves to the complex relationship between them.

Read more, attachment below:

Since 2013, the art world has witnessed a deluge of Op and Kinetic art centered exhibitions by major international museums and galleries and the markets took notice: from 2000 to 2010 kinetic art prices at international auctions went up a whopping 128%. We asked Eva Zanardi, a New York based Art Advisor, blogger and Director of Communications at GR gallery on the Lower East Side, which specializes in Kinetic and Op art, to provide some context.

Gregory de la Haba: Why in your opinion are we witnessing an Op Art and Kinetic art resurgence?

Eva Zanardi: Op and Kinetic art can be both contemplative and instinctual, evoking potent reactions which can be as tranquil as raindrops slowly falling and dispersing in a body of water (such as in Italian artist Alberto Biasi’s “Gocce”) or as mesmerizing as a lightning strike (such as in British painter Bridget Riley’s “Blaze”). I personally find the fact that these two art movements are introspective and void of any political, religious or social commentary immensely refreshing.

First and foremost, Kinetic art and Op art are not the same: Kinetic art or kineticism (from the greek word “kinesis” meaning motion) is an international movement that refers to art of both real and apparent motion, created between 1920 and 1970. The term “kinetic art” was coined by artist Naum Gabo and his brother Antoine Pevsner in 1920 but popularized by the mobiles of artist Alexander Calder and the kinetic sculptures of George Rickey. Inspired by such iconoclastic movements such as Dada and Constructivism, Kinetic art, or, as some prefer, Dynamic Art, in the ’60s spawned a new movement, Op art, mostly interested in optical effects, the illusion of movement and the perception of the visual (among many others Bridget Riley, Getulio Alviani,Victor Vasarely, Julian Stanczak). Many of the Op and Kinetic artists were fascinated by mathematical puzzles, and scientific experiments in phenomena such as the parallax effect, in which objects appear to move in relation to things around them. They combined science and art but, at the same time, explored the philosophical depth and intellectual aspirations of Geometric Abstraction and its spiritual overtones. Works by artists such as Argentine painter Eduardo Mac Entyre and Omar Rayo(Colombia), among others, suggest a higher, meditative purpose.

Read the full article attached

by Clarissa Hamlin

Can you imagine an artist weaving together vibrantly radiant spools of yarn and thread into intricate patterns?

Emilio Cavallini, who is a renowned avant-garde fashion maven, structures his artwork on a palette of geometric arrangements. Dizzying in the most exhilarating ways, his collection – featuring in a “Harmony Runs On A Threat” exhibit at GR Gallery in New York City starting Thursday Sept. 8 – demonstrates an artistic fluency. Unsparing in color and vision, viewers can treat their eyes to wonder.

His imaginations are a beautiful ecosystem of threads: carefully constructed labyrinths. Unsurprisingly, Cavallini’s work reflects the delicate spirit illuminating his fashion creations.

He expounds on weaving elaborate designs, which speak to the synergy between chaos, organization and placement. “I was breaking down barriers, going beyond the limits of censorship,” said Cavallini about his collection, which draws energies from spatialism and constructivism.

See Cavallini’s work during the “Harmony Runs On A Threat” exhibit at GR Gallery, 255 Bowery until Oct. 9.

di Petra Cason

Incontrastato “signore delle calze” della moda internazionale, ha affiancato l’ininterrotta produzione industriale alla realizzazione di un cospicuo numero di opere innovative, dove la cifra stilistica mutuava elementi e suggestioni dal mondo della moda, della matematica, dell’architettura. Lui è Emilio Cavallini e noi l’abbiamo intervistato.L’accessorio che Emilio Cavallini (San Miniato, 1945) ha innalzato a indumento da quando la minigonna “rivelò” le gambe delle donne, affiancando una caleidoscopica Mary Quant nella Londra degli Anni Settanta, e in seguito dando vita a prestigiose collaborazioni con le maggiori griffe di moda (Dior, Celine, Balenciaga, Alexander McQueen e Gucci) è diventato quasi da subito il supporto e il medium attraverso il quale Cavallini ha portato avanti un’instancabile ricerca artistica. Harmony Runs On A Thread è il titolo della nuova personale dell’artista, ospitata a New York, a partire dall’8 settembre, presso la GR Gallery: un cospicuo nucleo di opere realizzate tra gli Anni Ottanta e i primi Duemila, attraversando stili e linguaggi differenti, affrontati dall’artista in un importante arco temporale. Lo spazio espositivo newyorkese, fondato dal critico Giovanni Granzotto, curatore dell’esposizione insieme ad Alberto Pasini, è dedicato all’Arte Cinetica, Op e Programmata, e in questo contesto storico, nel cuore dell’East Village, la personale di Cavallini si colloca perfettamente.

Read more below:

In corso fino all’8 ottobre alla GR Gallery di Manhattan, la mostra “Harmony Runs on a Thread”: 25 opere optical realizzate con filo di calza. La retrospettiva copre tre decenni del lavoro di Emilio Cavallini, lo stilista che disegnò le prime calze per Mary Quant e inventò i collant a righe e pois.

di Eva Zanardi

Sul filo dell’armonia sarà inaugurata l’8 settembre, in concomitanza con la prima serata di NY Fashion 7 Week, la mostra antologica dedicata all’artista toscano Emilio Cavallini, intitolata “Harmony Runs On A Thread”. L’esposizione, che chiuderà i battenti il 9 ottobre presso la prestigiosa sede newyorkse di GR Gallery, è a cura di Giovanni Granzotto e Alberto Pasini. Le opere dell’artista, esposte presso la galleria sita al civico 255 della Bowery, presenteranno un excursus nella carriera creativa del maestro, attraverso 25 lavori, datati tra i primi anni ’70 e il 2014, che esplorano con la medesima attenzione i vari cicli, percorsi in oltre 40 anni di lavoro: “Optical”, “Biforcazioni”, “Infinito attuale” e “Frattali”.

Continua ad essere altissima l’attenzione del collezionismo internazionale per l’arte italiana. A confermarlo il gran numero di mostre dedicate ai nostri artisti presenti nei programmi autunnali delle gallerie di mezzo mondo.

L’8 settembre prossimo inaugurerà, a New York, la mostra Emilio Cavallini: Harmony Runs On A Thread, prima personale dell’artista italiano presso la GR Gallery.

“Revolution”, running until 17 July 2016, is the solo show of Italian Kinetic artist Franco Costalonga at New York’s GR Gallery, a commercial space focused on Kinetic and Optical Art. Detecting a recent comeback of these two movements on the art market—from this year’s edition of Miart 2016 exhibiting a large body of work by Alberto Biasi, to museum exhibitions across the US presenting masterpieces by Bridget Ridley, Victor Vasarely and Edwin Mieczkowski—Where’s Art catches up with the Italian artist about his research on movement and the interaction between shapes and colors.

“Devi assolutamente incontrare il Maestro. È un’occasione imperdibile, avrai accesso al suo mitico studio e potrai osservare da vicino il luogo in cui le sue straordinarie opere d’arte prendono forma”. Così Eva Zanardi, art advisor e direttore della comunicazione per GR Gallery New York, mi ha incuriosita ad approfondire quella che altrimenti sarebbe stata la classica recensione sull’ultima mostra presente in galleria. Presso la GR Gallery di New York, infatti, il 17 luglio si concluderà Revolution, esposizione che ripercorre la carriera dalla fine degli anni ’60 ad oggi, di uno dei più significativi artisti dell’arte cinetica e programmata in Italia, Franco Costalonga.

A solo exhibition of the Italian artist and kinetic and op art innovator Franco Costalonga at the GR gallery. On view, thirty of his works from the Seventies until today, including his best known series “Oggetti Cromocinetici”, “Riflex”, “Gradienti di Luminosità” and “Mokubi”.

“Just opened, make sure to catch GR Gallery’s fantastic new Franco Costalonga show.”

“New York, è stata inaugurata ieri (27 maggio) alla GR gallery la mostra Franco Costalonga REVOLUTION, prima retrospettiva newyorchese dedicata all’artista veneziano, esponente di spicco dell’arte cinetica e programmata già presente, con a Sfera (1969), opera realizzata in plexiglas e metallo cromato, nella collezione Peggy Guggenheim. La mostra ripercorre la carriera dell’artista dalla fine degli anni ’60 fino ai giorni nostri e sviluppa un itinerario espositivo che, pur comprendendo alcuni esempi dei cicli più importanti del maestro, si incentra sul tema delle opere prettamente cinetiche, e quindi sulle “Boites”, con motore incorporato. La mostra quindi sarà un’autentica esplosione di luce e movimento, con una presenza massiccia di Oggetti Cromocinetici,Gradienti di Luminosità, Mokubi e Riflex, concretamente animati da elettromotori e lampade colorate. Sono inoltre presentate, per la prima volta, opere appartenenti all’ultimissima serie creativa di Costalonga: le Onde Gravitazionali.”

Alberto Biasi: The Artist of the Invisible

When I met with Alberto Biasi in New York at GR gallery to promote his upcoming exhibition, I also rekindled an old friendship. Mr. Biasi and his family were my neighbors in Padua (Italy) in the ‘80s and we use to share a beautiful garden with bountiful persimmon trees. I hadn’t seen the Master in over 20 years but, at 79, Alberto Biasi is as lively and friendly as I remember him. Best known as being the founder and leading spokesperson of Gruppo N, we talked about his relationship to Kinetic Art and “A Dynamic Meditation,” his first retrospective in New York, which spans 40 years’ worth of work.

By EVA ZANARDI, MAY 2016

Alberto Biasi “A Dynamic Meditation” in The Art Newspaper

“Hypnotic show of kinetic works from the 1960s until today and an interactive phosphorescent installation that you can touch, Trippy.”

You might not have heard of Alberto Biasi, but you should. A pioneer of Kinetic and Op Art, he founded the groundbreaking avant-garde collective Gruppo N in 1960, leading the way for a generation of artistic experiments into the optical and physical possibilities of art. The good news is you have a chance to catch up, because his current exhibition “A Dynamic Meditation” at GR Gallery in New York is on view through May 22, and offers viewers the chance to experience a variety of dizzying artworks in person, ranging from the 1960s to the present.

La GR Gallery, sede newyorchese dello Studio d’Arte GR di Sacile, tra le prime realtà in Italia ed in Europa a trattare l’arte Cinetica, Programmata e Optical, ha inaugurato il 31 marzo scorso la mostra A Dynamic Meditation, la prima vera antologica di Alberto Biasi negli Stati Uniti. Tra i fondatori delGruppo Enne, Biasi è uno tra i più importanti esponenti italiani dell’arte cinetica. In mostra sono presenti opere rare che dagli anni Sessanta arrivano fino ad oggi, accuratamente selezionate nel ricco percorso dell’artista iniziato nel 1959. 
In tutto sono 26 i lavori esposti nella galleria al numero 255 della Bowery a New York, tra le quali alcuni Rilievi Ottico – Dinamici, Torsioni, Assemblaggi e la sua unica installazione interattiva: Eco – ombre  (1974-2014), esposta per la prima volta negli Stati Uniti.

Interview with Italian artist, Alberto Biasi. At GR Gallery in Manhattan on show three of his series.He gets his inspiration from the fire and the rain, h creates movement out of stillness, and he finally feels understood. At the opening of Alberto Biasi – A Dynamic Meditation, we interviewed the Italian artist who founded the Gruppo N and who now claims: “Mine is not kinetic art, rather dynamic”

At GR gallery a retrospective of Italian artist and kinetic art pioneer Alberto Biasi, featuring over thirty of his most famous works from the late Sixties until today, from his best known series “Rilievi Ottico- Dinamici”, “Torsioni”, Assemblaggi and his interactive installation “Eco-ombre” 1974-2014, for the first time on view in the US. The exhibition is curated by GR gallery’s founder Giovanni Granzotto and its Director Alberto Pasini.

Apre giovedì 31 prossimo, nel cuore degli States, l’esposizio-ne “A dynamic meditation”, la prima mostra newyorkese in-teramente dedicata all’artista padovano Alberto Biasi. Un evento unico nel quale, oltre ad incontrare personalmente il pittore – riconosciuto in tut-to il mondo come uno dei maestri dell’arte cinetica – il pubblico americano avrà modo di ammirare un’antologica com-posta da ben ventisei opere.

Alla GR Gallery di New York, Alberto Biasi è il protagonista di un’antologica composta da ben 26 opere.
Opere tra cui “Rilievi Ottico – Dinamici”, “Torsioni”, “Assemblaggi” e la sua unica installazione interattiva “Eco – Ombre”, presentata per la prima volta negli Stati Uniti. Tra i fondatori del Gruppo Enne, Biasi è uno tra i più importanti esponenti italiani dell’arte cinetica. In mostra presenti opere rare dell’artista, dagli anni Sessanta fino ad oggi, scelte tra il ricco percorso dell’artista, avviato nel 1959 con le prime esposizioni del nascente Gruppo Enne, contraltare padovano del milanese Gruppo T.

NY Arts Magazine

NEW YORK, NY (December 4, 2015)- On Thursday, January 14th, 2016 GR Gallery will inaugurate its New

York headquarter with the exhibition “The Sharper Perception, Kinetic Art, Optical and Beyond”, by curator

and founder Giovanni Granzotto. The exhibition will run from January 14 through March 12, 2016.

The opening reception will begin at 6:00p.m. at GR Gallery, located at 255 Bowery, New York, NY 10002.

In the new space, which covers over 1,600 square feet, on the ground floor of 255 Bowery, will be displayed

40 artworks of various artists, reflecting the most unusual and dynamic techniques.

The exhibition will focus on the themes of perception and movement, as well as the Optical, dynamic and

three-dimensional structuring of the artwork; all features that have strongly influenced contemporary art

from the sixties until today. About 20 artists will be the protagonists of this event, which, starting from the

masters, Vasarely and Schaffer, plus some of the masters of the most important Optical currents such as

Biasi, Cruz-Diez and Julio Le Pare and those who have circled around the Azimuth project, such as

Bonalumi and Castellani. Finally, featuring younger artists such as Marcello DeAngelis and Gabriele Grossi.

On the occasion of this inaugural event, a representative catalog will be available.

On Thursday, January 14th, 2016 , GR Gallery inaugurated its New York headquarter with the exhibition “The Sharper Perception, Kinetic Art, Optical and Beyond”, by curator and founder Giovanni Granzotto. The exhibition will run through March 12, 2016.Established almost 40 years ago in the late 1970s, Studio d’Arte GR quickly focused its activity on the promotion and valorization of postwar avante­garde artwork of clear Latin matrix, favoring those artists who had created a special, personal propulsion and thrust during the triumph and eclipse of “Informale”.

BOWERY BOOGIE January 15th, 2016 at 5:11 am by Elie

Hot Karl Fischer’s drab-looking condo building at 255 Bowery finally welcomed its first ground-floor occupant. Studio d’Arte GR is the commercial tenant of note for the 1,600 square-foot space (surprise surprise), entering the Bowery arts scene with an American-specific affiliate. It’s called GR Gallery, and it opened last night with the inaugural exhibition by gallery founder Giovannin Granzotto, “The Sharper Perception.” The show runs through March 12.

FULL ARTICLE

America Oggi 13-01-2016

Lo Studio GR, nato quasi quaranta anni or sono, nella seconda metà degli settanta, molto presto ha incentrato la propria attività nella valorizzazione e nella promozione delle avanguardie europee del dopoguerra di chiara matrice latina; privilegiando nel suo percorso tutti quegli artisti che hanno prodotto particolari e personali spinte propulsive durante il periodo dei trionfi e dell’eclisse dell’Informel. Dagli anni ’90 si dedica alla riscoperta ed al rilancio dell’ultima avanguardia: il movimento dell’Arte Cinetica e Programmata. Un’attività spesso portata avanti in profonda solitudine, anticipando certamente i tempi, e proponendo artisti che nel terzo millennio la critica e il mercato hanno invece entusiasticamente riconosciuto.

FULL ARTICLE

La Voce di New York, 18 Jan 2016

di Laura Gamberini

A più di 40 anni dalla fondazione dello storico Studio d’arte G.R. da parte di Giovanni Granzotto a Sacile, la GR Gallery approda anche a New York nel place to be della scena artistica, il Lower East Side, e lo fa con una mostra,  tesa a rilanciare l’arte cinetica, un genere artistico in cui crede dagli anni Novanta. Al 255 di Bowery Street, nel cuore del Lower East Side, si trova la sede newyorchese della GR Gallery, che inaugura la sua attività negli Stati Uniti con una mostra che è quasi una sorta di sfida: The Sharper Perception, Kinetic Art, Optical and Beyond.

FULL ARTICLE

Il Gazzettino, Mercoledì 13 Gennaio 2016

Un sacilese sulla piazza artistica di New York. Giovanni Granzotto, critico d’arte e organizzatore di mostre, inaugurerà domani la “GR Gallery”, nel nuovissimo spazio che si sviluppa su oltre 160 metri quadrati al piano terra del civico 255 di Bowery Street a Manhattan. In esposizione per la prima una quarantina di opere di vari autori, realizzate attraverso tecniche diverse. La mostra si intitola “The Sharper Perception, dynamic art, optical and beyond” e rimarrà aperta fino al 12 marzo. Un concentrato di optical, strutturazione dinamica e…

FULL ARTICLE

Il Messaggero Veneto di Chiara Benotti – 8 gennaio, 2016

Da Sacile a New York con l’arte “cinetica e programmata” che seduce gli americani: “GR gallery” aprirà la sede nella Grande Mela il 14 gennaio con la mostra “The sharper perception, kinetic art, optical and beyond”.Curatore è il critico d’arte sacilese e fondatore Giovanni Granzotto, in collaborazione con Alberto Pasini, Ugo Granzotto e Giovanna Zuddas. Nel nuovo spazio che si sviluppa su oltre 160 metri quadri, al piano terra del civico 255 sulla Bowery, saranno esposte una quarantina di opere realizzate attraverso i media più insoliti e dinamici da vari artisti e giovani talenti friulani come Mara Fabbro e Marcello de Angelis, Sandi Renko. I grandi artisti che hanno consacrato la corrente internazionale sono Alberto Biasi, Jarrit Tomquist, Le Parc e altri.

FULL ARTICLE