January 10th 2022

UNAPOLOGETIC CONTENT.

January 3rd 2022

HAPPY NEW YEAR 2022!
WARM WISHES AND NEW ADVENTURES

December 13th 2021

BEHIND THE SCENES:
MINYADES
An exhibition of paintings by Richard Höglund
The Bonnier Gallery, Miami
December 2021
A Catalogue Essay

December 6th 2021

BEHIND THE SCENES:
MISCHA KUBALL
ReferenzRäume
Museum Morsbroich
5 December – 24 April 2022

November 29th 2021

BEHIND THE SCENES:
ABOUT THE TREES
Thanksgiving 2021

November 25th 2021

UNAPOLOGETIC CONTENT.

November 15th 2021

BEHIND THE SCENES:
THE WORLD MAP
Thanks to Mr Hide

load more
November 8th 2021

BEHIND THE SCENES:
KOEN VANMECHELEN LABIOMISTA, GENK (BELGIUM)
The book launch and debate
“NOT TO BE MISTAKEN”, November, 4th

October 25th 2021

BEHIND THE SCENES:
OCTOBER 2021
"Linda Karshan: The Covid-19 Conversation"
Still in the limelight

October 18th 2021

BEHIND THE SCENES:
IDE TO POLAND
POSTSCRIPT PARIS

October 11th 2021

BEHIND THE SCENES:
IDE TO POLAND III
Out of the oven
Warsaw Sept 28-Oct 3

October 5th 2021

BEHIND THE SCENES:
HELMUT FEDERLE
NOVARTIS Campus – Forum 3, Basel
DIENER & DIENER - WIEDERIN
2005

October 2nd 2021

BEHIND THE SCENES:
BETWEEN LISTENING AND TELLING
Esther Shalev Gerz
Nuit Blanche Paris,
Tonight

September 27th 2021

UNAPOLOGETIC CONTENT.

September 20th 2021

BEHIND THE SCENES:
ART BASEL HALL 2.0C1
René Schmitt and ART & LANGUAGE
THESE SCENES, 2016

load more
September 6th 2021

BEHIND THE SCENES:
MISCHA KUBALL
Wolfsburg and Utopias

August 30th 2021

BEHIND THE SCENES:
IDE TO POLAND II
A new expedition on the CERAMIC & FOOD ROUTE
Bright blue and white ceramics fill the dining room with warmth and visual appeal

August 23rd 2021

BEHIND THE SCENES:
IDE TO POLAND I
A new expedition on the CERAMIC & FOOD ROUTE
Starts today in Warsaw through 3 October

August 2nd 2021

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
SUMMER IN PARIS

July 30th 2021

UNAPOLOGETIC CONTENT.

July 26th 2021

BEHIND THE SCENES:
ON THE ROAD AGAIN
ARCO MADRID,
1st Art Fair in 2 years

July 23rd 2021

UNAPOLOGETIC CONTENT.

July 19th 2021

UNAPOLOGETIC CONTENT.

load more
July 16th 2021

UNAPOLOGETIC CONTENT.

July 12th 2021

BEHIND THE SCENES:
IN THE ARTIST'S STUDIO
JASON BUTLER "THE COLLAGES"
Pop-Up Exhibition, Jersey

July 5th 2021

STILL BEHIND THE SCENES:
NINA NOWAK'S EXHIBITION
Galleri Susanne Ottesen, Copenhagen

June 28th 2021

BEHIND THE SCENES:
PER KIRKEBY UNREALISED BRICK PROJECTS
Galleri Susanne Ottesen, Copenhagen

June 21st 2021

NEW ARRIVALS:
MISCHA KUBALL

June 18th 2021

A WALK IN MY LIBRARY:
HELMUT FEDERLE NIETZSCHE-HAUS SILS-MARIA
Schwabe AG Basel, 2004 Peter André Bloch & Jan Thorn-Prikker
on the occasion of Helmut Federle's "Edelweiss im Nietzsche-Haus, Sils-Maria" exhibition in Nietzsche's Haus, Sept 2004 to July 2005

June 14th 2021

BEHIND THE SCENES:
L'INTERSTICE ARLES OPENING
JOSETTE SAYERS AND GUILLAUME ZUILI'S PHOTOGRAPHS
Brave and fearless

June 4th 2021

BEHIND THE SCENES:
THE LAUNCH OF REAL TIME AND THE 3BS

load more
May 24th 2021

BEHIND THE SCENES:
MATHILDE BRETILLOT DESIGNS NEW MUSEUM FOR LA MANUFACTURE DE GIEN

May 17th 2021

THIS TIME TWO YEARS AGO:
DRAW ART FAIR, LONDON, 2019, DESIGNER MATHILDE BRETILLOT AND ARCHITECT MISKA MILLER-LOVEGROVE

May 10th 2021

NEW ARRIVALS:
WETTERLING, STOCKHOLM

April 25th 2021

A WALK IN MY LIBRARY:
HELMUT FEDERLE
ABSTRACT PAINTING OF AMERICA AND EUROPE
Ritter Verlag, Galerie nächst St. Stephan, Vienna Rosemarie Schwarzwälder, 1988

April 11th 2021

BEHIND THE SCENES:
LUKAS HOFFMANN, CNAP ACQUISITION AND TWO EXHIBITIONS

April 9th 2021

BEHIND THE SCENES:
ESTHER SHALEV-GERZ, WEFRAC 2021

February 22nd 2021

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3
The Sadness of Bad Thinking

February 15th 2021

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3, ART, POETRY, AND THE PATHOS OF COMMUNICATION,
The Art of Impeachment

load more
February 1st 2021

BEHIND THE SCENES:
WITH POET/CURATOR RICHARD MILAZZO
REVISITING OBSZINE #3

January 12th 2021

A WALK IN MY LIBRARY:
POETRY IN SEDITIOUS TIMES

January 5th 2021

HAPPY NEW YEAR AND SOUVENIRS FROM 2020!

December 31st 2020

A WALK IN MY LIBRARY:
DECEMBER 31, 2020. JASON BUTLER'S EXHIBITION
Meyer Schapiro, “Theory and Philosophy of Art: Style, Artist and Society

December 18th 2020

BEHIND THE SCENES:
LIOR GALL, BRUSSELS, 2020

December 11th 2020

HIGHLIGHT:
LOVE LETTERS
A new participative project by artist Koen Vanmechelen

December 4th 2020

BEHIND THE SCENES:
LINDA KARSHAN AND THE BROOKLYN RAIL

November 27th 2020

BEHIND THE SCENES:
NOVEMBER 2020, LINDA KARSHAN
The Covid Conversation, A New Film

load more
November 6th 2020

A WALK IN MY LIBRARY:
PARIS, NOV. 6, 2020
ABËTËI by Ishmael Fiifi Annobil

October 20th 2020

BEHIND THE SCENES:
MATHILDE BRETILLOT
Designs new offices for Parfums de Marly, Paris

October 12th 2020

BEHIND THE SCENES:
BERLIN STUDIO VISIT - LUKAS HOFFMANN

all posts title image
Work #1, Possessing Half, 2020, Gelatin silver print, Collage of two images, Concrete, Unique work, 222 cm x 163 cm, Mounted on wood, Metal frame

BEHIND THE SCENES:
LIOR GALL, BRUSSELS, 2020

December 18th 2020

Depth of Field

Part I

I have known Lior Gal over a dozen years. I have looked at his work, visited the studio, written and curated with him. More when he was based in Paris than this last period when he settled in Brussels. He was one of a very strong crew of young artists who worked as installers at ROPAC during my time there 2005-2012. They were a smart group, insightful, cheery, ironic, careful with the work of artists more famous and much older. I relied often on their back and forth when we installed without the artist.

Work #2, Untitled, 2018,
Gelatin silver print, Mold, Unique work, 13cm x 18cm, Mounted on wood, Metal frame

We debated curatorial decisions with vigor. It was their apprenticeship for seeing the hard work that goes along with being an artist and making one exhibition after the next. How to stay in honest relationship with the work as a gallerist? What does it mean moving one work into relationship with another. What does this caretaking involve and how will work be received. We have a duty of care, I always said. Lior was often the last to leave, looking longer, helping in untold ways. Dutiful, concerned, reliable. I grew to depend on this as a way of relieving my nagging sense that I might let the artist down in some way, or that my choices would prevent the audience from understanding the work in the way it was intended.

It was a terrible morning when Thaddaeus awaited me in the office and announced that Lior was leaving to work with Kiefer. “Anselm needs Lior,” was all he said. Of course I knew why. I had also seen a bit of his work by then. Kiefer knew what he wanted and so Lior became his studio assistant.

Part II

Our paths cross again sometime around 2014 in Paris. He is making art full time. We have studio visits in his atelier near Gare du Nord where he also has a large darkroom. For some reason the two artists working with photography I have followed are die-hard loyalists to film and develop their own. Shout out to Lukas Hoffmann another ROPAC graduate.

Researching now I find an exhibition planned with the two of them and painter Gregory Cumins, Depth of Field. Surprisingly the text is still relevant. “In traditional art history, the viewer approaches a work through its relationship with something called depth of field. The space in front of the work belonged to the viewer. The space inside the work is the artist’s to divide and animate as they see fit. The tension between these two zones creates a vibration where depth of field places the viewer somewhere particular in relation to the inner world of the work – this is the subject of three artists in different medium. Lior Gal clings to the precision of real film.

Work #3, From series Ice Eden, 2013,
Gelatin silver print, Collage of two images, Unique print, 74cm x 100cm, Mounted on wood, Metal frame

Lior Gal is a Brussels based, Israeli born artist who creates near apocalyptic landscapes of great proportion. He creates striking photographic works constructed by often joining two images taken during long walking expeditions (Death Valley, Icelandic Coast, Grand Canyon, Sahara Desert). These images photographed in black and white are developed and used as unidentifiable typologies of near abstract form that when juxtaposed appear joined by a seam that becomes then as if by magic, a horizon line. These appear to fly towards the viewer or recede into the emptiness of deep space. Our eyes are stymied and unable to recognize nature in her bare essence. He is brave enough to let this be the condition of his work.”

In this he does a great service to the condition of looking unapologetically. It is work conceived in harsh conditions by an eye that values this dialectic. Black and white; ice and sun.

Part III

We talk about poets and writers. He revisits Rilke; I discover the following text from 2014, still inspired. “William Wordsworth urged us to travel through landscapes in order to fulfill our soul–travelling through landscapes where man’s influence is still insignificant, not only effects our soul but also weakens the feeling of superiority over nature.”

I realize rereading his early text that along with Koen Vanmechelen, Lior Gal shares a place in my interests with artists – like Joseph Beuys — who understand we are not the dominant force in the universe but instead one among many at the mercy of mother nature.

“As an artist,” he writes, “I see nature not as a whole but as infinite fragments of individuals that perfectly fit into place. I select and record those fragments, capturing them in a certain manner so that the selected ones obtain a particular and different meaning. At a later point in the process, through the technique of collage, juxtaposing two separate fragments, a different image is created. This final image becomes estranged from reality and closer to the imaginary world from where inspiration is drawn.”

Work #4 and #5,
Left: From series The Greatest Possible Distance From Eden, 2015,
Gelatin silver print and colour inkjet print, Collage of two images, Unique print, 170 cm x 229 cm, Mounted on wood, Metal frame,
Right: Untitled, 2018, Gelatin silver print, Collage, 160 cm x 90 cm x 40 cm (approx)

“The aim is to evoke in the viewer a paradoxical sensation and to create a dialogue between the familiar and the unknown. I work with classic negative film, mainly black and white, and print all photos myself in the darkroom. I do not use any artificial manipulation in the process.”

This strikes me now as then like the first time I met my late mother-in-law in Maastricht twenty-five years ago, a proud intelligent formidable woman who never wore a smidge of make up. To this day I remain stunned by that bold brazen confidence. Terrifying in the same breath as refreshing, these works of Lior Gal dare the eye to see nature unadorned.