CHRISTIAN BONNEFOI
SARAH CHARLESWORTH
LIZ DESCHENES
ROE ETHRIDGE
JUTTA KOETHER
DANIEL LEFCOURT
VALENTINA LIERNUR
JASON LOEBS
SCOTT LYALL
NICK MAUSS
CHARLES MAYTON
JOHN MILLER
OLIVIER MOSSET
SEAN PAUL
JULIA PHILLIPS
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

NICK MAUSS

Born 1980, New York

Lives and works in Berlin and New York

 

EDUCATION

2003, B.F.A., The Cooper Union for the Advancement of Science and Art, New York

 

TEACHING AND FELLOWSHIPS

2011-2012  Guest Professor, Hochschule für Bildende Künste, Hamburg

2013 –       Faculty, Bard MFA Program

2016          Fellow, Center for Ballet and the Arts

2008         Kunstzeitraum, Munich

 

COLLECTIONS

Museum of Modern Art, New York

Whitney Museum of American Art, New York

Museum of Contemporary Art, Los Angeles

The Walker Art Center, Minneapolis

The Hammer Museum, Los Angeles

Kadist Collection, San Francisco

Princeton Art Museum, Princeton

Long Museum, Shanghai

M+ Museum, Hong Kong

National Museum of Monaco, Princesse-Grace, Monaco

FRAC Champagne-Ardenne, Reims

Fiorucci Art Trust, London

 

SOLO EXHIBITIONS

2018 Solo exhibition, Whitney Museum of American Art, New York

2017 Illuminated Window, Palazzo della Triennale and Torre Velasca, Milan

Intricate Others, Serralves Museum of Contemporary Art, Portugal

until: and then: blinding, Campoli Presti, Paris  

2015 303 Gallery, New York

Eleni Koroneou Gallery, Athens

2014 Campoli Presti, London

By, With, To & From, Fiorucci Art Trust, London

2013 Bergen Kunsthall, Norway

MD 72, Berlin

2012 answering a glance, glance up, Indipendenza Studio, Rome

The desire for the possibility of new images, 303 Gallery, New York

Invitation a l’Étude,kim?, Riga

2011 Midway Contemporary Art, Minneapolis

Disorder, FRAC Champagne-Ardenne

Reversible Surface, Hiromi Yoshii, Tokyo

Perforations, Midway Contemporary Art, Minneapolis 

2010 Galerie Neu, Berlin

Galleria Il Capricorno, Venice

2009 303 Gallery, New York

2008 have meant, Hiromi Yoshii, Tokyo

2007 A Fair to Meddling Story, (with Ken Okiishi), Künstlerhaus Stuttgart, Stuttgart

Lymph Est, Galerie Neu, Berlin

One Season in Hell, (with Ken Okiishi), Gavin Brown’s Enterprise, New York

2005 Daniel Reich Gallery, New York

2003 Magnetic Living, (with Shelby Hughes), Daniel Reich Gallery, New York

 

CURATED EXHIBITIONS, INTERVENTIONS, SPECIAL PROJECTS

2017 Artists on Artists Lecture Series: Hanne Darboven (with Ken Okiishi), DIA Art Foundation, New York

2016 Designing Dreams, A Celebration of Leon Bakst, Nouveau Musée National De Monaco, Monaco 

2015 Poetry as not, with singing (with Ken Okiishi), DIA Art Foundation, New York 

2014 Florine Stettheimer, Lenbachhaus, Munich

INVERSIONS, Frieze Projects, London

By, With, To & From, Fiorucci Art Trust, London

Art Unlimited, Basel

2012 Volcano Extravaganza, co-curated with Milovan Farronato, Stromboli 

Crystal Flowers (LP, various artists), Mathew Records, Berlin 

2011 The 6th White Columns Annual (with Ken Okiishi), White Columns, New York 

2010 Bloodflames III, Alex Zachary, New York

2007 Between the Lines, Hotel Chelsea, New York

 

GROUP EXHIBITIONS

2017 Medusa, Musee d’Art Moderne de la Ville de Paris, Paris 

Plages, Campoli Presti, London and Paris

Roberto Burle Marx: Brazilian Modernist, Deutsche Bank Kunsthalle, Berlin

2016 Question the Wall Itself, curated by Fionn Meade, Walker Art Center, Minneapolis

Designing Dreams, A Celebration of Leon Bakst, Nouveau Musée National de Monaco, exhibition design by Nick Mauss

Roberto Burle Marx: Brazilian Modernist, The Jewish Museum, New York

2015 Ljubljana Biennial of Graphic Arts, curated by Nicola Lees, Slovenia

Call and Response, Gavin Brown’s Enterprise, New York

Curated by: Impossible Love, curated by Vincent Honoré (David Roberts Art Foundation), Projektraum Viktor Bucher, Vienna

Drawing. The Bottom Line, S.M.A.K., the Municipal Museum of Contemporary Art, Ghent

2014 F.S. Interval I & II for Florine Stettheimer, Lenbachhaus, Munich

Portraits d’Interieurs, Nouveau Musée National de Monaco

The Material Image, Marianne Boesky Gallery, New York

Nick Mauss & Ken Okiishi, Mendes Wood DM, São Paulo

Essential Loneliness, Taylor Macklin, Zurich

Installation view, Nassauischer Kunstverein, Wiesbaden

2013 Test Pattern, Whitney Museum of American Art, New York

Avant de rentrer, il faut incendier la maison, Thomas Duncan Gallery, Los Angeles

On the Move
– European Kunsthalle in der KUB Arena, KunsthausBregenz

Festival der Kleinskulptur, Halle für Kunst, Lüneburg

Catch as Catch Can, Locks Gallery, Philadelphia

2012 Whitney Biennial, Whitney Museum of American Art, New York

Monika Baer, Kim Gordon, Nick Mauss, Mathew, Berlin

Relocated, (with Ken Okiishi), MD72, Berlin

Grosse Jahresgabenausstellung, KoelnischerKunstverein, Cologne

2011 The Midnight Party, Walker Art Center, Minneapolis

Lukas Duwenhögger, Nick Mauss, Birgit Megerle, Katharina Wulff, Amelie von Wulffen, Galerie Neu, Berlin

Germany is Your America, Broadway 1602, New York

Grand Opening Pt. 1, Mathew, Berlin

Nobody Can Tell The Why Of It, 1857, Oslo

Kompass: Zeichnungenausdem MoMA New York, Martin Gropius Bau, Berlin

ValodaMaksla / Two Occasions, kim?, Riga

A Different Person, BadischerKunstverein, Karlsruhe

One is the Loneliest Number (with Ken Okiishi), ICA Philadelphia

Adequate (with Michaela Eichwald and David Lieske), Sommer Contemporary, Tel Aviv

2010 Novel, Dependance, Brussels

Strange Comfort (Afforded by the Profession), Kunsthalle Basel

At Home / Not at Home: Works from the Collection of Martin and Rebecca Eisenberg, Hessel Museum of Art, CCS Bard, Annandale-on-Hudson

The Mass Ornament, Gladstone Gallery, New York

The Evryali Score, David Zwirner, New York

Greater New York, P.S.1 Contemporary Art Center

The Baghdad Batteries, P.S.1 Contemporary Art Center

Provence ‘O’, Halle für Kunst, Lüneburg

Surviving H1N1, Contemporary by Golconda, Tel Aviv

Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection, IVAM, Valenica

Ne Vivre Jamais, Elgarafi, Berlin

Broadway 1602, New York

2009 Non-Solo Show, Non-Group Show, Kunsthalle, Zurich

Never on Sunday – Tbilisi6, Tbilisi, Georgia

Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection, Museum of Modern Art, New York

modernmodern, Chelsea Art Museum, New York

Quodlibet II, Galerie Daniel Bucholz, Cologne

2008 One Season in Hell, MD72, Berlin

Not so subtle subtitle, Casey Kaplan Gallery, New York

Some Neighbors,KunstvereinMünchen, Munich

Sunset, Magasin, Grenoble Review, GalerieNeu, Berlin

Were, there, severe (thin line),Galeria Alessandro de March, Milan

Nostalgia Isn’t What It Used To Be, curated by Sharon Hayes and Brooke O’Hara, La MaMa E.T.C., New York

2007 Exposition N° 1, Balice/Hertling, Paris

2006 When Artists Say We, Artist’s Space, New York

All Dressed Up With Nowhere to Go, Sorcha Dallas, Glasgow

Between the Lines, (organized by Nick Mauss), Hotel Chelsea, New York

2005 Words: The Formal Presence of Text in Modern and Contemporary Works on Paper, Andrea Rosen Gallery, New York

Nick Mauss & Elizabeth Peyton, Glenn Horowitz Booksellers, Easthampton, New York

Exile: New York is a Good Hotel, Broadway 1602, New York

2004 Home (organized by Patterson Beckwith), American Fine Arts Co., Colin de Land Fine Art, New York

Happy Days Are Here Again, David Zwirner Gallery, New York

Nowojorskie Porno
(curated by Monika Szukowska), Foksal Gallery Foundation, Warsaw

The New Romantics, Greene Naftali Gallery, New York

It’s About Memory, Rhona Hoffman Gallery, Chicago

2003 my people were fair and had cum in their hair, Team Gallery, New York

Now Playing, D’AmelioTerras, New York

Today’s Man, John Connelly Presents, New York

Karaoke Death Machine, Daniel Reich Gallery, New York

Memory of a Free Festival (Marisha Farnsworth, Shelby Hughes, Alpha Lubicz,Nick Mauss), Houghton Gallery, Cooper Union School of Art, New York

2001 Sharing Horizons That Are New to Us (Natalie Conn, Nick Mauss, Aleksandr Rossman, Sasha Stim-Vogel, Ken Okiishi), Houghton Gallery, Cooper Union School of Art, New York

Coal By Any Other Name: The Journey Towards The Good Taste (compiled and set on stage by Syntax, Early Century Unrest & The Society of Control a.k.a Stephan Dillemuth), » American Fine Arts Co., Colin de Land Fine Art, New York


PUBLICATIONS

2017 Intricate Others, Fundacao Serralves / Mousse Publishing

Question the Wall Itself, Walker Art Center, Minneapolis

2016 Designing Dreams: a Celebration of Leon Bakst, Mousse Publishing/Nouveau Musee National de Monaco

Roberto Burle Marx: Brazilian Modernist, Jewish Museum, New York

2015 1NVERS1ONS, HIT Studio

Hudson, Suzanne, “Painting Now”, Thames and Hudson, New York, p.169

2014 Portraits d’interieur (cat.), Nouveau Musee National de Monaco, Mousse Publishing

Inversions, Bergen Kunsthall 

One Season in Hell (with Ken Okiishi), FRAC Champagne/Ardenne/Mousse Publishing

2013 Bloodflames III

2012 Crystal Flowers (LP, various artists), Mathew Records, Berlin

Whitney Biennial 2012 (cat.), ed. by Elisabeth Sussmann and Jay Sanders, New Haven: Yale University Press

2011 Come and Interrupt me, Midway Contemporary Art, Minneapolis

2010 Geschenkpapiere, Koenig Books, London

Greater New York 2010 (cat.), ed. by Klaus Biesenbach, Cornelia Butler, Neville Wakefield, New York: MoMA P.S.1

At Home / Not at Home (cat.), CCA Bard College: New York

2009 Rattemeyer, Christian (ed.), The Judith Rothschild Foundation Contemporary Drawings Collection. Catalogue Raisonné, New York: The Museum of Modern Art

modern, modern
(cat.), ed. by PatiHertling, Berlin: Starship and New York: Chelsea Art Museum

2008 A Fair to Meddling Story, with Ken Okiishi and Jill Johnston, JRP Ringier, Zurich

2007 One Season in Hell, with Ken Okiishi, Gavin Brown’s Enterprise, New York

2005 Nick Mauss and Elizabeth Peyton, Glenn Horowitz Bookseller: East Hampton, New York

 

PUBLISHED WRITINGS

2016 “Introduction for: Fireworks, Kenneth Anger, 1947; Un Chant d’amour, Jean Genet, 1950;  Blood of a Poet, Jean Cocteau, 1932”, Starship 15

2015 “Radical Chic: The Art of Susan Cianciolo”, Artforum, November 2015, p. 244-250

“Theatre de la Mode”, Art in America, April, 2015

2014 « Second Thoughts », Nadira Husain, Ella Kruglyanskaya, Birgit Megerle, Amelie von Wulffen, Leipzig: Tobian Naehring

« Interwoven Globe / Decorum », May, n.12

« Quivers in Time and Place », Florine Stettheimer, Lenbachhaus, Munich

2013 « Carlo Scarpa », Artforum, November

« Being Curated », Frieze, Issue 154, April

2012 “Destroy the Destroyer: Ken Okiishi and Nick Mauss on Zoe Leonard’s Sun Photographs” AP magazine, Late autumn http://mapmagazine.co.uk/9611/ken-okiishi-nick-mauss-zoe-leonards-sun-photograph/

“Whose Sleeves?,” Peep-Hole Sheet, October

“New Work: Katharina Wullf,” Artforum, April

2011 “On Madame Gres at the MuseeBourdelle,” Artforum, October

“Études”, Triple Canopy, Issue 14, http://canopycanopycanopy.com/14/_tudes

“Openings: Nina Könnemann,” Artforum, January

“Abandoned Painting,” in Jochen Klein 1967-1997, Ostfilerd: HatjeCantz

2010 “on Isa Genzken, in Isa Genzken,” Bolzano: Museion Bolzano

“Depuis”, with Ken Okiishi, Provence, Issue O Interview with Nikolas Gambaroff, “…and at Some Point the Painting Starts Again…”, Mousse, March

2009 “The Poem Will Resemble You: The Art of Lorraine O’Grady,” Artforum, May

2008 “Abandoned Painting: The Art of Jochen Klein,” Artforum, October

« Top Ten, » with Ken Okiishi, Artforum, March

2007 « K/L/M/N/O/P – A Conversation via E-mail, January,  » with Lucy McKenzie, Ken Okiishi and Paulina Olowska, in Noël sur le balcon/HOLD THE COLOR, Sammlung Goetz, Munich, pp. 64-112

2006  “The Artist’s Artists: Ei Arakawa, RIOT THE BAR,” Artforum, December

 

SELECTED REVIEWS AND FEATURES 

2017 Wood, Catherine, « Point of Undoing », (conversation with Anne Theresa de Keersmaeker, Nick Mauss, and Heimo Zobernig), Mousse magazine

2016 Nicolao, Federico, « Designing Dreams: a Celebration of Leon Bakst », Chroniques Fialho, Alex, « Nick Mauss », artforum.com

2015 “Nick Mauss,” New Yorker, Online, April

“Nick Mauss,” Art in America, Online, March

Sam, Sherman, “Nick Mauss,” Artforum, March                 

Sherlock, Amy. « World of Interiors », Frieze, January- February

Gordon, Kim, “Second Act Kim Gordon Talks with Nick Mauss” Artforum, March

Fulton, Jeni, “Contemporary Happening” Sleek, Winter

Herbert, Martin “Previewed” ArtReview, vol. 67, no. 1 January

“Nick Mauss” L’Officiel, July-August

2014 Fox, Dan “Florine Stettheimer,” Frieze Magazine, October

Burke, Harry. “pics or it won’t happen – an overview of performance art at frieze 2014.” i-D. October 2014.

Dickens, Zone, “The Highlights: Frieze London and Frieze Masters” Harper’s Bazaar, October

Pini, Gary, “10 Must-See Art Shows Opening This Week” Paper Magazine, October

Gat, Orit “Frieze Art Fair” Art Agenda, October

Jaeger, Anne-Celine “Eight Photo Discoveries to See at Frieze London and Frieze Masters,” Time, Online, October

Sherwin, Sky “Frieze art fair preview” The Guardian, October 11

“Phaidon’s Frieze Interviews – Nick Mauss”, Phaidon Online, October

Musteata, Natalie. “The Material Image”, Artforum, September

Schillinger, Jacob, “Florine Stettenheimer”, Artforum, September

Dagen, Philippe, “Cinq artistes imaginent leur habitat intime a la villa Sauber de Monaco”, Le Monde, March 9

“Contemporary happenings”, Sleek Magazine #44, p62-63

Agnieszka Gratza. “Nick Mauss stages 1NVERS1ONS at Frieze London”, FT.com, October 10

“Phaidon’s Frieze Interviews – Nick Mauss”, Phaidon Online, October

2013 Vettese, Angela. “Cumulus from Italy.” Parkett, no. 93, 2013.

2012 Schjeldahl, Peter. “Not Like the Other Ones,” The NewYorker, March 12

O’Dwyer, Deirdre. “Before Nostalgia: The Whitney Biennial 2012.” Afterall online, July 27, http://www.afterall.org/online/before-nostalgia-the-whitney-biennial-2012

“Die KunstimZeitalter von Occupy”, FrankfurterAllgemeineZeitung, June 3

Caws, Mary Ann. “Whitney Biennial,” New York, Provence, Poetry, March 18,http://blog.maryanncaws.com/2012/03/whitney-biennial.html

Sanchez, Michael. “Pandora’s Black Box”, Artforum, March 1

Archey, Karen. “Liden / Issa/ Slavs& Tatars / Macuga / Mauss.” Leap, May 8, http://leapleapleap.com/2012/05/liden-issa-slavs-and-tatars-macuga-mauss/

Vogel, Carol. “Biennial Tweaks Its Boundaries,” New York Times, February 16

Smith, Roberta. “Looking Back / The 6th White Columns Annual – Selected by Ken Okiishi and Nick Mauss, New York Times, February 9

Yago, Dena. “Against Interpretation: Q+A with Nick Mauss,” Art in America online, February 8 http://www.artinamericamagazine.com/news-opinion/conversations/2012-02-08/nick-mauss-303-gallery/

“Going on About Town,” The New Yorker, February 8

Sachs, Zachary. “Nick Mauss. 303 Gallery,” Artforum.com/critic’s picks, February 6, http://artforum.com/new.php?pn=picks&id=30185&view=print

McKinnon, John. “Nick Mauss”, Artforum, January

2011 Boukobza, Julie. “A View of the New York Art Scene,” Art press, March

2010 Cotter, Holland. “Bloodflames III,” The New York Times, October

“Bloodflames III,” New Yorker, November 8

Lewis, David. “Non-solo show, Non-group show”, Artforum, April

Pulimood, Steve. Art in America, February, p.116

Baier, Simon, “EinsamkeitistkeineKunst.”, TexteZurKunst, March, issue 77

2009 Marshall, Piper. “Nick Mauss. 303 Gallery,” Artforum.com/critic’s picks

Eichler, Dominic. “How Do These Things Touch Each Other?” Mousse Magazine, September/October

2008 Bell, Kirsty. review, frieze, Issue 112, Jan/February

Wolin, Joseph R. “Feature”, Modern Painters, December/January

Jones M. Kristin. « Not So Subtle Subtitle, » frieze, Issue 118, October

2007 Sacher, Marko. « AusstellungalsSchnitzeljagd, » StuttgarterNachrichten, September 11

Zerweck, Dietholf. « RealitätmitFragezeichen, » EsslingerZeitung, October 19

Stange, Raimar. « Da(n)dy Cool, » Spike, Issue 14, Winter

kbm, « Füreinen Moment der vergeht, » tip Magazin, Issue 20, September 20- October 3

2006 Yablonsky, Linda. « Slides and Prejudice, » ARTnews, April

Cotter, Holland, « Between the Lines, » The New York Times, March 24

Smith, Roberta, « Who Needs a White Cube These Days?, » The New York Times, January 13

2005 Cotter, Holland. “Exile in New York is a Good Hotel,” New York Times, August 5

Cotter, Holland « Mind of a Writer, Hand of an Artist, » The New York Times, October 28

2004 Schambelan, Elizabeth, “Works on Paper,” Artforum, February 14

“Delia Gonzalez & Gavin Russom, Ken Okiishi & Nick Mauss,” Dune (Tokyo), No. 28

Genocchio, Benjamin. “Modern is Offered Trove of Drawings,” The New York TimesT, September 21, E1 and E5

“Happenings: Home Economics,” New York Magazine, August 9

Smith, Roberta. “Emerging Talent, And Plenty of It,” The New York Times, March 12

Wilson, Michael. “Nick Mauss and Shelby Hughes / Christian Holstad,” Artforum, March

Staniszewski, Jancek. “W DrgawkachLambady,” Fluid, No. 38

“Mlodzinowojorczycy w Warszawie,” GazetaWyborrcza (National Edition), 24-25 January

“Nowojorskieprono,” GazetaWyborcza (Co Jest Grane), 23 January

Cotter, Holland. “Sampling Brooklyn, Where Eclectic Flames Continue to Flicker,” The New York Times, January 23

Genocchio, Benjamin. “How an Art Scene Became a Youthscape,” The New York Times, January 23

2003 Yablonsky, Linda. “Nick Mauss, Shelby Hughes and Christian Holstad,” Daniel Reich Gallery, Time Out New York, December 11

Levin, Kim. “Magnetic Living: Daniel Reich Gallery,” The Village Voice, December 10

Ammirati, Domenick. “Now Playing,” Art US, November-December

Cotter, Holland. “By and About Men, and They’re Running With It,” The New York Times, August 8

Carpenter, Susan. “The Scope L.A. Festival Trains its Gaze on the Cutting Edge,” The Los Angeles Times, July 17

Yablonsky, Linda. “Rock ‘n’ Roll Hall of Fame,” Art Review, July

Dzuverovic-Russell, Lina. “New York: Daniel Reich Gallery: Karaoke Death Machine,”Contemporary, July

Kimmelman, Michael. “Now Playing,” The New York Times, July 18

Pollack, Maika. “Karaoke Death Machine at Daniel Reich,” Flash Art, May-June

Rimanelli, David. “Karaoke Death Machine at Daniel Reich,” Artforum, Summer

Johnson, Ken. “Karaoke Death Machine,” The New York Times, May 2

THENnow with Gastone Novelli & Nick Mauss

08 Apr, 2016-10 Apr, 2016

Fieramilanocity, Milan

no images were found

Plages

16 Feb, 2017-18 Mar, 2017

Campoli Presti, London

no images were found

Plages

Monika Baer
Marc Camille Chaimowicz
Sarah Charlesworth
Isabelle Cornaro
Liz Deschenes
Willem de Rooij
Nathalie du Pasquier
Louise Lawler
Nick Mauss
Marisa Merz
Amy Sillman
Cheyney Thompson

17 February – 18 March
Campoli Presti, London

2 February – 4 March
Campoli Presti, Paris

Plages brings together artists that meditate on the place of the subject inthe marking of aspace.The works exploredifferent vision instruments through which we approach everyday objects, and therefore our distance towards them, as well as the opposition between private space and exhibition space throughpremeditated patterns that discuss the idea of functionality.Besidesits usual translation asbeach, the French termPlageisabroadnotionthatindicatesthe perimeter of a space, a time lapse or the latitude between two elements -in this casepublic/private,home/business, decorative/functional.

By pointing out the history of object production and everyday material culture, artistssuch as Sarah Charlesworth, Monika Baer, Nathalie du Pasquier, Amy Sillman, Louise Lawler, Marisa Merz and Isabelle Cornaro reframe overlooked, ordinary objects and question their purpose as consumption, design, or admiration while settinga new distance between subject and object, foreground and background, as in the site-specific, reflective work of Liz Deschenes. The displacement of domestic objects often takesthe form of a renewed artistic appropriation.

The continuity between adomestic space and the exhibition space can also be addressed through the emancipation of design from taste limitations and functional demands. By radicalizing design-based techniques, the work of artists like Nick Mauss, Marc Camille Chaimowicz, and Willem de Rooij can channel multiple painting traditions and reveal collaborative processes. Cheyney Thompson’sinterpretation and intentional distortion of reproductive techniques can take the shape of repetitive patterns that delineate the exhibition area ina suite of canvases.

For further information or images please contact cora@campolipresti.com

Plages

01 Feb, 2017-03 Mar, 2017

Campoli Presti, Paris

Plages

Monika Baer
Marc Camille Chaimowicz
Sarah Charlesworth
Isabelle Cornaro
Liz Deschenes
Willem de Rooij
Nathalie du Pasquier
Louise Lawler
Nick Mauss
Marisa Merz
Amy Sillman
Cheyney Thompson

17 February – 18 March
Campoli Presti, London

2 February – 4 March
Campoli Presti, Paris

Plages brings together artists that meditate on the place of the subject inthe marking of aspace.The works exploredifferent vision instruments through which we approach everyday objects, and therefore our distance towards them, as well as the opposition between private space and exhibition space throughpremeditated patterns that discuss the idea of functionality.Besidesits usual translation asbeach, the French termPlageisabroadnotionthatindicatesthe perimeter of a space, a time lapse or the latitude between two elements -in this casepublic/private,home/business, decorative/functional.

By pointing out the history of object production and everyday material culture, artistssuch asSarah Charlesworth, Monika Baer, Nathalie du Pasquier, Amy Sillman, Louise Lawler, Marisa Merz and Isabelle Cornaro reframe overlooked, ordinary objects and question their purpose as consumption, design, or admiration while settinga new distance between subject and object, foreground and background, as in the site-specific, reflective work of Liz Deschenes. The displacement of domestic objects often takesthe form of a renewed artistic appropriation.

The continuity between adomestic space and the exhibition space can also be addressed through the emancipation of design from taste limitations and functional demands. By radicalizing design-based techniques, the work of artists like Nick Mauss, Marc Camille Chaimowicz, and Willem de Rooij can channel multiple painting traditions and reveal collaborative processes. Cheyney Thompson’sinterpretation and intentional distortion of reproductive techniques can take the shape of repetitive patterns that delineate the exhibition area ina suite of canvases.

For further information or images please contact cora@campolipresti.com

until: and then: blinding

19 Oct, 2017-17 Feb, 2018

Campoli Presti, Paris

no images were found

Nick Mauss

until: and then: blinding

19 October – 23 December 2017

Campoli Presti, Paris

 

Campoli Presti is pleased to announce its third exhibition with Nick Mauss.

Mauss’ porous approach to drawing as an expanded form of encounter fuses peripatetically to other possible formats, including sculpture, publications, performance, curated exhibitions, and writing. 

In until: and then: blinding, Mauss uses the street level and 3rd floor spaces of the gallery to consider the space between drawing and ground, and between gesture and the gaze. 

In the video « The Moment, » the shadow of a hand draws onto the frosted plane of the camera’s field of vision. Inchoate lines drawn in reverse begin to cohere into legibility over and over again.  The video is projected onto a mirror near the gallery’s ceiling, where the image appears like a hologram leaving traces, before casting the reflection onto the wooden floorboards below. Here, the process of drawing migrates from one surface to another, rendering drawing as writing, ornamentation, and forgetting.

In his essay « On Painting, or Sign and Mark, » Walter Benjamin writes, « The graphic line designates the surface and determines the latter by subordinating itself to it as its ground. Conversely, there is also a graphic line only on this ground, so that here for instance a drawing which would completely cover its ground would stop being one.  The ground attains thereby a position which is indispensable for the meaning of the drawing, so that within the graphic two lines can determine their relation to each other only relative to their ground. »

Reverse glass painting, also known as verre églomisé, was popularized as a folk art technique for depicting religious subjects in 18th and 19th century Europe, and became a catalyst for German Expressionist painting through its introduction by Gabriele Münter to her circle. The lustrous effect of ornament rendered on a silvered ground was also integrated into opulent interior schemes, and reached its pinnacle in the 1930’s through the diverse styles that characterized Art Deco. Mauss’ ongoing interest in the implications of the decorative – either its devaluation as a minor, gendered form, or its utopian dimension, in the exploration of decoration by progressive movements – undermine the division between applied and fine arts.  As Mauss recently stated in an interview with João Ribas, « I don’t see another possibility of working, outside of this constant re-orientation towards, and folding in, of multiple histories.  In the way I choose to work, I foreground the process of being subjected to influences, and emphasize the shifting of these influences.  I see this process of ‘seeing through’ something, or someone, as a way to address this moment. So anachronism is difficult for me. »

The mirrors in this exhibition are the result of an elaborate, delayed process that creates a distance in thinking, making, and perceiving the work, while at the same time maintaining a direct immediacy.  Though at first sight the work appears to be painted onto the surface of a mirror, the painting takes place on the reverse side of the glass — under the surface, so to speak.  This painted glass is covered in mirror coating, which brings its own unexpected reactions (flares, black-outs, solarizations), so that the finished painting lies within the mirror, not on its surface.  Mauss came to this way of working by thinking about suspending drawing in reflected space, humming between direct perception and memory.  The glass picture-plane absorbs the viewer, the space in which it exists, as well as other works within the space, and the changing conditions of light.  What results is a highly reactive perceptual condition that changes with one’s position in relation to it, suggesting that a picture is not a contained, stable incident, but a system of relationships in which everything is unfixed. 

 

Nick Mauss (born 1980, New York, NY) is currently developing a permanent public commission for the I.M. Pei designed Building 66 on the MIT campus in Cambridge, USA, as well as an exhibition forthcoming at La Triennale di Milano this November. He has recently had a solo exhibition at Serralves Museum (2017) curated by João Ribas, with an accompanying catalogue. Other recent solo exhibitions include Bergen Kunsthall, Norway (2014); Fiorucci Art Trust, London (2014) and Indipendenza Studio, Rome curated by Campoli Presti (2012). Mauss was featured in the Whitney Biennial 2012 and Greater New York 2010, MoMA PS1; and has been in numerous group exhibitions including Musée d’Art moderne de la Ville de Paris (2017); Nouveau Musée National de Monaco (2016); S.M.A.K., Ghent (2015); Lenbachhaus, Munich (2014); The Museum of Modern Art, New York (2014); Kunsthaus Bregenz (2013); The Walker Art Center (2011); The Hessel Museum of Art, Bard Center for Curatorial Studies (2010); Kunsthalle Basel (2010); Kunsthalle Zurich (2009) and Magasin, Grenoble (2008). Mauss’ work is in public collections including The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; The Walker Art Center, Minneapolis; The Museum of Contemporary Art, Los Angeles and FRAC Champagne-Ardenne.

 

Solo Exhibition

26 Nov, 2014-24 Jan, 2015

Campoli Presti, London

no images were found

Nick Mauss
26 November 2014 – 24 January 2015
Campoli Presti, London

Campoli Presti is pleased to present Nick Mauss’ second solo exhibition with the gallery.

Mauss takes the mode of drawing, found at the interstices of various media, processes and histories, and dilates, twists, folds, intensifies and loosens those gaps to produce a different mode of making art.

For this exhibition, Mauss arrives at works that seem to be oscillating in their own processes, like the irretrievable word throbbing behind the tongue. Various material confusions and shifts of scale describe drawing as an approach in which the distracted motif, and line itself, becomes a material. Here, Mauss takes lines and outputs them as steel filigree, upon which he draws over, again and again, in pastel. The preliminary qualities of a sketch are translated into substance, creating a passage between anticipation and full realization, invention and variation. Works incised into reflective supports (made over the past two years) alternate with new drawings on plaster poured over wire mesh. The exhibition itself is arranged as if by interleaving, where the gallery space has gaps, like the protective blank pages laid between the pages of a book.

The drawing, or study, is the action that comes both before the artwork but also after – as a way of studying or « seeing » the existing artwork, or more generally, things in the world. The simultaneity of before and after happens in the present of a work that is unhinged from a productive process of becoming something else.

Nick Mauss recently presented a new performance work, 1NVERS1ONS, featuring dancers from the Northern Ballet and the National Youth Ballet, with live performances by Kim Gordon and Juliana Huxtable, as part of Frieze Projects, curated by Nicola Lees, in October of this year. His work is currently on view within the Florine Stettheimer retrospective at the Lenbachhaus, Munich and in Portraits d’Intérieurs at Nouveau Musée National de Monaco. Mauss has recently had solo exhibitions at Bergen Kunsthall, Norway (2014); Fiorucci Art Trust, London (2014) and Indipendenza Studio, Rome curated by Campoli Presti (2012). Mauss was included in the Whitney Biennial 2012 and Greater New York 2010, MoMA PS1; and has been in numerous group exhibitions including The Museum of Modern Art, New York (2014); Kunsthaus Bregenz (2013); The Walker Art Center (2011); The Hessel Museum of Art, Bard Center for Curatorial Studies (2010); Kunsthalle Basel (2010); Kunsthalle Zurich (2009) and Le Magasin, Grenoble (2008). Mauss’ work is in public collections including The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; The Walker Art Center, Minneapolis; The Museum of Contemporary Art, Los Angeles and FRAC Champagne-Ardenne (Fonds Régional d’Art Contemporain).