‘It’s Your Favourite Foreign Movie’
Annie Fehrenbacher at Standpoint, 45 Coronet Street, London, N1 6HD.

Fenhrenbacher’s current show at the easily-overlooked Standpoint gallery on Coronet Street is her first solo exhibition, featuring sculpture, installations and digital prints which explore the personification of modern culture, in particular the transformational effect that history can take upon fictional characters and events. Discovering that she is the daughter of antique collectors and dealers is no surprise; her works are a monument to the material, with a recurring reference to the ready-made versus the hand-made. ‘Italian Boys’ (2001), was a particular highlight for me, as was the discovery of this gallery, which I will definitely visit again soon.
‘It’s Your Favourite Foreign Movie’ is on show at the Standpoint Gallery until 12th June 2011.
See their website, http://www.standpointlondon.co.uk for more information.

‘The Most Beautiful World in the World’
Friedrich Kunath at White Cube Hoxton Square, London, N1 6PB

White Cube Hoxton Square present Kunath’s first UK solo exhibition, a visual circus which encompasses painting, sculpture, illustration, film, photography and sound works. The Press Release describes Kunath’s work as ‘a focus on universal themes of the human condition: love, loss, loneliness, optimism and dejection, all imparted with a tragicomic pathos.’ Stepping into this exhibition was like entering another world, with the darkened walls, eerie sound effects, and imposing sculptures all contributing to the atmosphere. An upstairs room held the most interesting works, in the form of an installation, ‘Window Pain’, and the painting ‘Sad Polo (One of these days these days will end)’ which offered a tranquil change from the more oppressive space on the floor below. Born and Germany and now living in Los Angeles, Kunath himself has noticed how his new surroundings have affected his work: ‘I guess the colours got brighter and the topics got darker. Sunshine and Noir.’
Quotes taken from the White Cube press release.
‘The Most Beautiful World in the World’ is on show at the White Cube Hoxton Square until 4th June 2011.
See their website, http://www.whitecube.com for more information.

‘I Did It My Way and Took The Highway’
Alejandro Almanza Pereda at ROVE Gallery, 33-34 Hoxton Square, London, N1 6NN

ROVE gallery presents this exciting exhibition of Almanza Pereda’s work in collaboration with Fundación Magnolia, an organisation which aims to connect the world to Mexico through contemporary art. This, his first UK exhibitions, sees Almanza Pereda return to the themes which often dominate his work, as he further pushes the boundaries in his exploration of the effects of gravity upon materials. The site-specific installations which command the space give insight into the artist’s methods, allowing the viewer to piece together the processes which are so vital to construction of these works. Two works in particular captured my attention, ‘After all these years I realised that it is better to live outside the garden with her than inside without her’ (2011), an installation which beautifully captures the fragility of the materials used, as well as the sentiment behind the title. ‘Horro vacui’, a painting covered in concrete in a way which is both haphazard and measured at once, leaves its mark among the other installations in the room. I will definitely follow the work of Alejandro Almanza Pereda in the future, and I’m excited to see how future exhibitions in the ROVE Gallery further explore the ways in which this space can be transformed.

‘After all these years I realised it is better to live outside the garden with her than inside without her’ (2011) Alejandro Almanza Pereda at ROVE Gallery.

‘I Did It My Way and Took The Highway’ is on show at the ROVE Gallery until 11th June 2011.
See their website, http://www.rovetv.net/ or the website of  Fundación Magnolia at http://fundacionmagnolia.org

Alejandro Almanza Pereda » Design You Trust

Live plants takes the edge off of self-serious contemporary art. By growing or dying, plants challenge the static condition of art-hood and the illusion of timelessness. Their standardized pots clue the viewer in to their status as ready-mades. By referencing consumer culture, decoration and domestic life, there is an appealing familiarity. Houseplants strike me as unpretentious and welcoming.

Won Ju Lim. Ruined Traces, 2007. Installation with projections, vitrines and artificial houseplants. Patrick Painter Gallery, Santa Monica, CA. Image Source: Art Rabbit, feature on LA art by Courtney Shermer, Oct. 16, 2007. (Granted, these aren’t live houseplants, but I included them because they function the same. Plus, live plants wouldn’t survive an exhibition run such a dark space.)

Simon & Tom Bloor: As Long As It Lasts. Installation view, Eastside Projects, Birmingham, UK.

Martin Creed, work from Down Over Up, 2010

Alejandro Almanza Pereda, A doctor can bury his mistakes, but an architect can only advise his clients to plant vines

Rodney McMillian, Succulent, 2010, Installation view, Susanne Vielmetter Los Angeles

Also — Jeremy Deller said

I have a fantasy of lighting a concert with some tropical plants on turntables and a few lights.

Brilliant! Read more from the joint interview between Deller and David Byrne (awesome just got awesomer) at ArtInfo.com.

“Drinnen & Draussen”
a group exhibition with Alejandro Almanza Pereda, Lucy Coggle,
Jérémie Gindre, Petrit Halilaj, Karin Hueber, Hannah James,
Heike Kabisch, Valerie Krause, Roseline Rannoch, Heiko Räpple,
Vanessa Safavi, Carla Scott Fullerton, John Spiteri, Philippe
van Wolputte. 
26 June - 26 August, 2010 Chert / Motto 
Skalitzerstr. 68 10997 Berlin
The show invites 14 artists from various countries including
Germany, Australia, Belgium, Switzerland, Great Britain,
Mexico and Kosovo. 
The different works are situated both inside the gallery space
and outside of it, using part of the courtyard where Chert and
Motto are located. In this way, the attentionis moving between
the ideas of precariousness and delicacy, creating  a different
approach to the public in respect ofthe artwork,  focusing on
the differences between a traditional gallery  context and an
extemporaneous placement.
58 pages 
With texts by Katharina Jörder, Dagmar Heppner, Olga Lewicka,
Michele Robecchi, Anke Volkmer 

Design: Sam de Groot 
Printed by Nina Reisinger 
Published by Chert & Motto
€ 13

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Art Lies- Summer- 2007