Art Antwerp - Viewing Room

Art Antwerp

16 - 19 December 2021

Campoli Presti is pleased to be participating at Art Antwerp for the first time with a presentation of work by Katherine Bradford, Heike-Karin Föll, Xylor Jane, Nick Mauss, Eileen Quinlan and Cheyney Thompson.

Xylor Jane

Xylor Jane's paintings join the precision of conceptual values such as progression, method and the use of the grid, while focusing on numbers as recognisable visual forms of universal, empathic value. The visual impact of her paintings is not only achieved by a meticulous manufacture but by the subtle movement that colour and paint create on the surface of the canvas. Blending Pointillism, Op art, Conceptualism and algorithmic approaches, her works offer a moment of slow contemplation in an overwhelming image culture.

Xylor Jane - Untitled, 2021

Xylor Jane

Untitled, 2021

Oil and ink on panel

48.26 x 58.42 cm / 19 X 23 inches

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Hard-edge polygons, especially triangles and squares, are shapes that create unique vibrating patterns. Although their use joins histories of op-art, these works go beyond the purely visual to invite the viewer to read between the lines of their randomness. 5th spell for POTUS, is composed of right-angle ripples that alternate between black and metallic rainbow hues in an on-off circuit. The painting casted a spell to end the reign of 45 and begin a new administration -which has worked- by the use of the number 46.

Xylor Jane

Xylor Jane - Fifth Spell for POTUS, 2020

Xylor Jane

Fifth Spell for POTUS, 2020

Oil, ink and graphite on panel

47 × 49.5 cm / 18 1/2 × 19 1/2 inches (framed)

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potus close

Xylor Jane (b.1963, Long Beach, CA) lives and works in Greenfield, MA. She is currently featured in the exhibition A Spirit of Disruption presented by San Francisco Art Institute in celebration of their 150th anniversary. The artist has had solo exhibitions at University Museum of Contemporary Art, Amherst (2019) and Santa Monica Museum of Art (2014). Jane participated in group shows at The Garage Museum of Contemporary Art, Moscow; New Britain Museum of American Art, CT; Boston University Art Gallery, Boston and DESTE Foundation for Contemporary Art, Athens among others. Her work has been featured in Art Forum, Art in America, the Los Angeles Times, The New York Times, and the Brooklyn Rail. Xylor Jane: Notebooks was published in 2019 and features drawings from the last twenty years with essays by John Yau and Em Rooney.

kianja strobert

Kianja Strobert’s recent series of works presents the process, the raw material, the motivations and the goal simultaneously, devoid of any hierarchy. Strobert’s troughs filled with colour are made using pewter, a metal primarily used for decorative metal items and tableware in ancient times by the Egyptians. The work shares the context of other products of consumption, suggested by the repetition of utensils, objects and themes. Strobert’s works propose an attitude toward finish, in which the painter does not disguise the means of arriving at the final work. From ideation to creation, we are let into the artist as a maker in the studio, and a filter of our world.

Kianja Strobert - T-6, 2021

Kianja Strobert

T-6, 2021

Papier mache, metal lathe, acrylic paint, foam core, wire

74.9 x 55.9 x 10.2 cm / 29.5 x 22 x 4 inches

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Kianja Strobert - T-9, 2021

Kianja Strobert

T-9, 2021

Papier mache, metal lathe, acrylic paint, foam core, wire

76.2 x 41.9 x 17.8 cm / 30 x 16.5 x 7 inches

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when is brunch (solo exhibition)

when is brunch (solo exhibition)

March 20 – May 16, 2021

Art Omi, New York

Kianja Strobert - T-31, 2021

Kianja Strobert

T-31, 2021

Papier mache, metal lathe, wire, wood, acrylic paint, ink

47 x 57.2 x 14 cm / 18.5 x 22.5 x 5.5 inches

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Kianja Strobert - T-28, 2021

Kianja Strobert

T-28, 2021

Papier mache, metal lathe, acrylic paint, wood, wire

118.1 x 32.4 x 19.7 cm / 46.5 x 12.75 x 7.75 inches

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Kianja Strobert - R-3, 2021

Kianja Strobert

R-3, 2021

Mixed media

248 x 33 x 4 cm / 97.6 x 13 x 1.6 inches

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r-3 detail

Kianja Strobert - Elephant (Solo exhibition)

Kianja Strobert

Elephant (Solo exhibition)

11 September - 9 October 2021

Campoli Presti, Paris

Kianja Strobert (b. 1980) lives and work in Hudson, NY. She recently has a solo exhibition at ArtOMI in Ghent, New York (2021). Past solo exhibitions include The Studio Museum in Harlem, New York (2014) and the Santa Monica Museum of Art, California (2012). Group exhibitions include: Olana State Historic Site, Hudson, New York (2015); Kemper Museum of Art, Kansas City (2017) and The Contemporary Arts Museum, Houston (2013). The artist received her BFA from The School of the Art Institute of Chicago and her MFA from Yale University.

NICK MAUSS

The American / German artist Nick Mauss (born 1980) has formed his work through a finely tuned sensory register, with drawing at the centre of a praxis which otherwise eludes all simple categorizations. Expanding the medium of drawing through multiple registers at the same time, Mauss’ approach to drawing fuses peripatetically to other possible formats, including sculpture, publications, the format of the exhibition, and writing. In the last decade, Mauss has been expanding his artistic practice to encompass the role of curator, choreographer, scholar and performer. “I mean choreography,” says Mauss, “as a way to organise and rearrange, to work with media in time, to find new forms and sequences, as well as to revive historical material in the present.”

Nick Mauss - conducted underneath, 2014

Nick Mauss

conducted underneath, 2014

Wire mesh, plaster, pencil, acrylic, charcoal

173 x 122 cm / 68.1 x 48 inches

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conducted detail

Nick Mauss - Solo exhibition

Nick Mauss

Solo exhibition

15 November - 22 December 2013

Bergen Kunsthall, Norway

Nick Mauss - Overwrite, 2021

Nick Mauss

Overwrite, 2021

Ink on paper

83.5 x 59 cm / 32.9 x 23.2 inches

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overwrite details

Nick Mauss - Bizarre Silks, Private Imaginings and Narrative Facts, etc

Nick Mauss

Bizarre Silks, Private Imaginings and Narrative Facts, etc

7 February – 20 September 2020

Kunsthalle Basel

In Nick Mauss’ ceramic wall works, the preliminary qualities of a sketch are translated into a constructed material object, creating a passage between anticipation and full realization, invention and variation. They are produced at Gatti, Faenza, known for their collaboration with exponents of the Futurist movement. The original drawings are consciously betrayed by Mauss’ production process, by the stratifcation of illustrations overlapped in the intervals of the fring phases of the ceramic glaze: fgures and movements that repeat themselves, colliding with backgrounds and recurring ornamental motifs to conquer the foreground.

Nick Mauss - Untitled, 2012

Nick Mauss

Untitled, 2012

Glazed Ceramic

44 x 34 cm / 17.3 x 13.4 inches

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Untitled 2012 detail

Nick Mauss - Illuminated Window

Nick Mauss

Illuminated Window

20 November 2017 - 14 January 2018

Triennale di Milano, Milan

Nick Mauss lives and works in New York. The artist is currently featured in the exhibition Les Flammes - L’Âge de la céramique at Musée d’art moderne de Paris. His work “Images in Mind” is currently on view at the Whitney Museum of American Art as part of its permanent collection. In 2020 he staged the exhibition “Bizarre Silks, Private Imaginings and Narrative Facts, etc.” at Kunsthalle Basel and published “Transmissions” with Yale University Press and Dancing Foxes Press, a book that expands on his solo exhibition of the same name at the Whitney. Mauss’ work will be on view at the Musée d’Art Moderne de la Ville de Paris in the exhibition Les Flammes. L’art vivant de la céramique curated by Anne Dressen, opening this October. Mauss recently was part of the exhibition Transcorporealities at Museum Ludwig, Cologne (2019). Past solo exhibitions include Kunsthalle Basel (2020); Whitney Museum, New York (2019); Triennale di Milano and Torre Velasca, Milan (2018); Serralves Museum, Porto (2017); Bergen Kunsthall, Norway (2013) and Midway Contemporary Art, Minneapolis (2011).

katherine bradford

Interacting with increasingly segmented, abstract backgrounds, the figures in Bradford's recent paintings address constructed social roles, like the archetypical figure of the mother, through incongruous, dream-like scenes. Bradford creates her figures with elementary painterly marks, often lacking detail or facial features that would allow to assign a gender identity. Although charged with social interactions shifting between domination and agency, her groups of people exist in collective fluidity, in an intangible atmosphere where bodies interweave and dissolve.

Katherine Bradford - Red Bicycle, 2021

Katherine Bradford

Red Bicycle, 2021

Acrylic on canvas

152.4 x 121.9 cm / 60 x 48 inches

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red bicycle detail

Diedrick Brackens and Katherine Bradford

Diedrick Brackens and Katherine Bradford

24 September - 23 December 2021

Carpenter Center for the Visual Arts, Massachusetts

Katherine Bradford (b. 1942) lives and works in New York. The artist currently has a solo exhibition at Hall Art Foundation in Vermont and a two person exhibition alongside Diedrick Brackens at Carpenter Center for the Visual Arts in New York. In 2022 Bradford will be the subject of a touring retrospective organized by the Portland Museum of Art in Maine. Bradford has exhibited widely at institutions such as MoMA PS1, New York; the Brooklyn Museum; the Modern Art Museum of Fort Worth, TX; Crystal Bridges Museum of American Art, Bentonville, AR; the Frances Young Tang Teaching Museum, Skidmore College, NY; and the Ogden Museum of Southern Art, New Orleans, as part of the fourth Prospect New Orleans Triennial.

Her work is included in collections such as the Metropolitan Museum of Art, New York; the Brooklyn Museum; the Dallas Museum of Art; the Menil Collection, Houston; the Nerman Museum of Contemporary Art, Overland Park, KS; and the Portland Museum of Art, ME. Bradford is the recipient of the 2021 Rappaport Prize and has previously been awarded the Guggenheim Fellowship and a Joan Mitchell Grant.

eileen quinlan

Eileen Quinlan explores the material boundaries of the photographic process by producing abstract images that are deeply grounded in feminist history, and the mechanics of presentation and consumption. Quinlan exposes the constructed nature of her medium by either mobilising commercial photography techniques or manually altering the surface of the negative, making the hand of the artist appear and recede.

Eileen Quinlan - I Can See It, But I Can't Feel It, 2018

Eileen Quinlan

I Can See It, But I Can't Feel It, 2018

5 UV prints on Dibond panels, Edition 2 of 3 + 2 APs

182.9 x 336.6 cm / 72 x 132.5 inches

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In: Objects Recognized in Flashes

In: Objects Recognized in Flashes

Mumok, Vienna

16 November 2019 - 6 September 2020

Eileen Quinlan (1972) lives and works in New York. Her work was recently featured in a group exhibition curated by Matthias Michalka at MUMOK, Vienna (2020). Quinlan recently had a solo exhibition at Kunstverein Düsseldorf, Germany. Her work was shown in the 57th Venice Biennale in 2017, as part of the exhibition Viva Arte Viva, curated by Christine Macel. Her work is in the collection of MoMA, New York; Whitney Museum of American Art, New York; MoMA, New York; County Museum of Art, Los Angeles; Hammer Museum, Los Angeles; The Museum of Contemporary Art, Los Angeles; CCS Bard Hessel Museum of Art, Annandale-on-Hudson; FRAC, France; The Whitworth Art Gallery, Manchester; Auckland Art Museum, North Carolina and Brooklyn Museum, New York.

cheyney thompson

Cheyney Thompson’s new series of Displacement paintings posits each canvas’s ground as a touch-sensitive surface. The works adopt a uniform structure of fivemillimeter square black marks painted in a gridded pattern atop a white ground. Before the paint is dry, Thompson deploys an assortment of custom silicone tools against the surface, forcing the wet squares out of place. He adds no new material, but rather subjects the existing marks to this process of reorganisation. The resulting transformations appear as extensions of squares into lines, glyph-like forms, and sweeping, sinuous fields of paint. Each painting has become a record of the tools’ interaction with the surface: the stops and starts, the kinetic limits of Thompson’s body and the entropic movement of the order of painted squares into noise. But, they are also pictures, as this play of ruptures and conjured forms has been frozen into an unsettled pictorial field, still with the trappings of figure ground, composition, and space.

Cheyney Thompson - Displacement, 2021

Cheyney Thompson

Displacement, 2021

Oil and acrylic on linen

206.7 x 156.5 cm / 81 3/8 x 61 5/8 inches

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Cheyney Thompson - L’écorché

Cheyney Thompson

L’écorché

18 October - 18 December 2021

Campoli Presti, Paris

Cheyney Thompson (1975) lives and works in New York. His work was recently included in Low Form. Imaginaries and Visions in the Age of Artificial Intelligence at MAXXI, Rome (2019) and in Programmed: Rules, Codes, and Choreographies in Art, 1965-2018 at the Whitney Museum, New York (2019). His work was on view at Centre Pompidou, Paris (2016) and Whitney Museum, New York (2015) in Collected by Thea Westreich Wagner and Ethan Wagner. Thompson had a survey exhibition at the MIT List Visual Arts Center, Massachusetts (2012) with an accompanying monograph and a solo exhibition at Kunstverein Braunschweig (2012). MoMA, New York; The Whitney Museum of American Art, New York; Centre Pompidou, Paris and SFMoMA, The San Francisco Museum of Modern Art.

heike karin föll

Heike-Karin Föll’s work examines the materiality and status of painting, drawing and writing in a culture increasingly dominated by the circulation of digital images. The quotation of pre-existing references and the appropriation of specifically nonpictorial techniques, such as collage and writing, are at the core of her work. Föll questions the authority of the medium of painting, historically linked to the larger format and the masculine, by paying particular attention to what is artistically considered as minor. Her work recalibrates the boundaries between painting and writing, fine arts and decorative arts, the material and the digital.

Heike-Karin Föll - Girl in the garden (d'après Mary Cassatt), 2021

Heike-Karin Föll

Girl in the garden (d'après Mary Cassatt), 2021

Oil and pastel on linen

160 x 140 cm / 63 x 55 inches

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girl in garden detail

Heike-Karin Föll - Speed (Solo exhibition)

Heike-Karin Föll

Speed (Solo exhibition)

22 June - 1 September 2019

KW Institute for Contemporary Art, Berlin

Heike-Karin Föll - little painting, red, pink, green, 2020

Heike-Karin Föll

little painting, red, pink, green, 2020

Oil on canvas board

26 x 20 cm / 10.23 x 7.87 inches (framed)

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little red detail

Heike-Karin Föll - For a coming attraction, 2020

Heike-Karin Föll

For a coming attraction, 2020

Oil, chalk, pastel crayon on canvas

20 x 26 cm / 10.23 x 7.87 inches (framed)

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for coming attraction detail

Heike-Karin Föll (b. 1967) lives and works in Berlin. The artist is a Professor for Drawing and Critical Digitality at Berlin University of the Arts (Universität der Künste Berlin, UdK). She recently had a major solo exhibiton at KunstWerke Institute for Contemporary Art in Berlin (2019). Past exhibitions include Centre d’Art Neuchâtel, Switzerland (2018); Neue Gesellschaft für Bildende Kunst, Berlin (2016); Mumok, Vienna (2016); Kunsthalle Bern, Switzerland (2014); The National Gallery of Denmark, Copenhagen (2014); National Museum, Tbilisi (2014); Museum of Contemporary Art, Basel (solo exhibition 2012) and Kunsthalle Zürich, Switzerland (2011).

Please note that the availability of the works might be subject to change without prior notice. For enquiries please contact cora@campolipresti.com