A Love Letter to a Nightmare

, ,
Open: Tue-Fri 10am-6pm

456 W 18th Street, NY 10011, New York Chelsea, USA
Open: Tue-Fri 10am-6pm


Visit    

A Love Letter to a Nightmare

New York

A Love Letter to a Nightmare
to Fri 14 Aug 2020
Tue-Fri 10am-6pm

The skeleton was as happy as a madman whose straitjacket had been taken off. He felt liberated at being able to walk without flesh. The mosquitoes didn’t bite him anymore. He didn’t have to have his hair cut. He was neither hungry nor thirsty, hot nor cold. He was far from the lizard of love.

–Leonora Carrington, The Seventh Horse and Other Tales

Petzel Gallery presents A Love Letter to a Nightmare, a summer group exhibition at the gallery’s Chelsea location.

Artworks


The Music Lesson (Mercedes Sosa), 2019
Oil on canvas
50 x 34 inches 127 x 86.4 cm
Courtesy of the artist and The Approach, London

contact gallery about this work


Heels, Peel Under Shank, Soft Wrap, 2020
Acrylic on canvas
16 1/2 x 24 inches 41.9 x 61 cm
Courtesy of the artist and Downs & Ross, New York

contact gallery about this work


Colossus, Head Leans Right, Hand Supports Bun, Face Covered, 2020
Acrylic on canvas
84 x 58 inches 213.4 x 147.3 cm
Courtesy of the artist and Downs & Ross, New York

contact gallery about this work


Deep V, 2019
Oil on linen over panel
60 x 38 inches 152.4 x 96.5 cm
Courtesy of the artist and Petzel, New York

contact gallery about this work


Daphne of the West, 2020
Oil on linen
48 x 37 inches 121.9 x 94 cm
Courtesy of the artist and Simone Subal, New York

contact gallery about this work


Persian Cat Mike (Mouse House), 2020
Ceramic
12 x 18 x 18 inches 30.5 x 45.7 x 45.7 cm
Courtesy of the artist and Petzel, New York

contact gallery about this work


Cleft [ dramaturgical pîlos ], 2020
Clay, paint, rope, wood, felt, fleece, tape, cardboard, acrylic yarn, newspaper, polyvinyl acetate, gloss finish, polyurethane foam, cabinet door, beanbag chair, shower curtain rods, metal computer monitor, scanning beds, shiny shag chenille fabric, dress
canvas fabric, upholstery padding, cloth back scrubber, black and white cotton shirt 54 x 116 x 150 inches 137.2 x 294.6 x 381 cm
Courtesy of the artist and LOMEX, New York

contact gallery about this work


Picking up the pieces, 2020
Stoneware (set of 3 unbreakable elements)
Dust pan: 20 x 3.5 x 15.75 in; 50.8 x 8.9 x 40 cm Mouth: 6 x 3.5 x 2.5 in; 15.2 x 8.9 x 6.4 cm Brush: 15.5 x 4 x 5.5 in; 39.4 x 10.2 x 14 cm
Courtesy of the artist and Perrotin, New York

contact gallery about this work


Ghariba, 2017
Video
22 minutes 47 seconds
Courtesy of the artist and C L E A R I N G, New York

contact gallery about this work


Reptilian Couture, 2019
Hand-sewn, digitally-printed, silkscreened, and machine-embroidered satin with spandex, velvet, and hand-drawn, 3-D-penned plastic with ink residue, silver chain, metal purse clasps, and laser-cut mirrored plexiglass
60 x 36 x 8 inches 152.4 x 91.4 x 20.3 cm
Courtesy of the artist and Kristen Lorello, New York

contact gallery about this work


Frog Licker, 2019
Hand-sewn, digitally-printed satin and silkscreened spandex, 3D-printed plastic, metal purse clasp, with hand-sewn velvet, foam, and spacer mesh base, and hand-sewn, digitally- printed satin, silkscreened spandex, foam, and spacer mesh parts
6 1/2 x 13 1/2 x 5 inches 16.5 x 34.3 x 12.7 cm
Courtesy of the artist and Kristen Lorello, New York

contact gallery about this work


Lion's Breath, 2019
Machine-sewn, cut bathrobes and velvet, metal purse clasps, hand-sewn digitally-printed stain, paracord, and upholstery foam
72 x 49 x 10 1/2 inches 182.9 x 124.5 x 26.7 cm. In seven parts
Courtesy of the artist and Kristen Lorello, New York

contact gallery about this work


All I Need is the Air That I Breathe, 2020
Acrylic on canvas
56 x 60 x 2 inches 142.2 x 152.4 x 5.1 cm
Courtesy of the artist and Regen Projects, Los Angeles

contact gallery about this work


Red Snake Scene in Felicitous Continuity, 2020
44 x 44 inches 111.8 x 111.8 cm
Courtesy of the artist and David Lewis, New York

contact gallery about this work


Untitled, 2019
Hand-sewn velvet and machine-embroidered pleather, upholstery foam, spacer mesh, foam, and cast concrete base
10 x 13 x 12 inches. 3 parts, overall dimensions: 9 x 13 x 12 inches 22.9 x 33 x 30.5 cm
Courtesy of the artist and Kristen Lorello, New York

contact gallery about this work


Holding Myself Up, 2020
Oil on linen over panel
39 x 15 5/8 inches 99.1 x 39.7 cm
Courtesy of the artist and Petzel, New York

contact gallery about this work


Kill Him, 2020
Unique light drawing on photo sensitive paper
77 x 43 x 2 inches 195.6 x 109.2 x 5.1 cm
Courtesy of the artist and Petzel, New York

contact gallery about this work


Hi Cutie, 2020
Unique light drawing on photo sensitive paper
76 x 40 x 2 inches 193 x 101.6 x 5.1 cm
Courtesy of the artist and Petzel, New York

contact gallery about this work


Stay, 2020
Unique light drawing on photo sensitive paper
86 x 42 x 2 inches 218.4 x 106.7 x 5.1 cm
Courtesy of the artist and Petzel, New York

contact gallery about this work


Persian Cat Isabella (Mouse House), 2020
Ceramic
12 x 16 x 16 inches 30.5 x 40.6 x 40.6 cm
Courtesy of the artist and Petzel, New York

contact gallery about this work


Persian Cat Ali (Mouse House), 2020
Ceramic
12 x 16 x 16 inches 30.5 x 40.6 x 40.6 cm
Courtesy of the artist and Petzel, New York

contact gallery about this work


Added to list

Done

Removed

Petzel A Love Letter to a Nightmare 1

Petzel A Love Letter to a Nightmare 2

Petzel A Love Letter to a Nightmare 3

Petzel A Love Letter to a Nightmare 4

Petzel A Love Letter to a Nightmare 5

Petzel A Love Letter to a Nightmare 6

Petzel A Love Letter to a Nightmare 7

Petzel A Love Letter to a Nightmare 8

Petzel A Love Letter to a Nightmare 9

The exhibition’s premise is to take into consideration contemporary visual modes and expressions that trace back to historical movements such as Surrealism, Symbolism and Pop, through the lens of our current uncertain existence. Call it vamped Surrealism and Symbolism. The show ponders how the aesthetic of modern surrealism/symbolism has been dressed up and added upon, sexualized, feminized, and reworked in the 21st Century. How does the state of a bound subconscious affect these artworks? This has become especially prevalent while the world shelters from the coronavirus pandemic and confronts centuries of inequity in a moment of historic unrest and great potential for revolutionary change. Beneath our daily struggle for normalcy bubbles a shared unconscious anxiety, fear, loneliness, despair, and trepidation of the future. In these times, the fabric of society is now both flattened into two dimensions as we socialize through screens – from our Zoom meetings, family check-ins, and “cocktails with friends,” to the daily State and Federal news conferences, Instagram stories, and Tik Tok videos – and yet simultaneously burst open in valiant action both intellectual and physical as we gather, protest, and organize in efforts to reimagine and rebuild a more just world. Our dreams have become more “vivid” and “menacing,” according to The New York Times, and, of course, in fantasy there is room for radical possibility. How might these practices of contemporary Surrealism, Symbolism and Pop, be read and implemented in reaction to the current upheaval? As one of the artists offered – how might these daydreams and nightmares be used as “forms of resistance, or in addressing trauma, enfranchising the masses, and envisioning necessary escape?” The exhibition asks how does each artist’s subjective work – painting, sculpture, installation, and video – explain a world riddled with multiple “objective” truths?

A Love Letter to a Nightmare includes work by Danica Barboza, Genesis Belanger, Meriem Bennani, Sascha Braunig, Florencia Escudero, Hadi Fallahpisheh, Anna Glantz, Ivy Haldeman, Christina Quarles, Emily Mae Smith, and Greg Parma Smith.

Petzel Gallery thanks all the participating artists and their galleries for their collaboration:
C L E A R I N G, Downs & Ross, David Lewis, LOMEX, Kristen Lorello, Perrotin, Regen Projects, and Simone Subal Gallery.

Danica Barboza (b. 1988, New York) is a multimedia artist who elaborates a rich personal mythology through the mediums of sculpture, drawing, writing and assemblage. Her work portrays a mystical marriage between her and a mythologized lover, and in her sculptures’ shifting identities she explores questions around celebrity, psychology, and desire. She had her first institutional solo exhibition at Schinkel Pavillon, Berlin, Germany in 2020, and recent exhibitions with Lomex (New York) and Galerie Buchholz (Cologne).

Genesis Belanger (b. 1978, USA) Belanger’s work is characterized by the treatment of objects as surrogates for the body. Sculpted in porcelain and concrete and tinted in fondant hues, everyday objects take on human features, made uncomfortably familiar as they begin to resemble us. Belanger often creates liminal spaces that both point to society’s progressive, yet stagnant, movement in gender stereotypes and equality as well as critique mass consumerism. She frequently returns to signature motifs, including voluminous lips, a misplaced tongue, manicured nails, or abandoned symbols of desire — half-eaten fruit and flowers that are eerily overgrown with misplaced limbs. Belanger’s still life sculptures are increasingly contextualized by their surroundings, psychologically charged spaces created by the artist. The effect is uncanny, toeing the line between comfort and disquiet, the beautiful and the strange. In 2020, the Aldrich Contemporary Art Museum, in Ridgefield, Connecticut, will present her first solo exhibition at a major US museum. In 2021, Belanger will be the subject of a solo exhibition at the Consortium Museum in Dijon, France.

Meriem Bennani (b. 1988 in Rabat, Morocco) lives and works in Brooklyn, USA.
She received her BFA from Cooper Union, New York in 2012, and her MFA from the Ecole Nationale Supérieure des Arts Décoratifs, Paris in 2011. Solo exhibitions of her work have been held at C L E A R I N G Brooklyn; The Kitchen, New York; Fondation Louis Vuitton, Paris; Art Dubai; MoMA PS1, New York; and SIGNAL, Brooklyn. Her work has also been featured in numerous group exhibitions, including Whitney Biennial, New York; Biennale de l’Image en Mouvement, Geneva / Turin; Public Art Fund, New York; Shanghai Biennale; Jewish Museum, New York; Saatchi Gallery, London; MANA Contemporary, New Jersey; and Palais de Tokyo, Paris. Her exhibition, Party on the CAPS, is currently on view at the Julia Stoschek Collection, Berlin. Later in 2020, she will have a public commission at LAX airport. Meriem Bennani’s work is part of the collections of the Guggenheim Museum, New York; Whitney Museum of American Art, New York; Musée d’Art Moderne de Paris; Fondation Cartier, Paris; Kadist Foundation, Paris; and FRAC Ile-de-France, Paris.

Sascha Braunig (b. 1983, Qualicum Beach, BC) is a painter who creates nontraditional portraits and still lifes. Even as Braunig reduces bodies to witch-like cut-outs, barbed skeletons, or wireforms lit with an internal neon glow, she finds a possibility for expressing freedom and tensile strength through these humanoid scaffolds. In 2016 Braunig had a solo exhibition at MoMA PS1, and her work was featured in the 2015 New Museum Triennial. She holds a BFA from The Cooper Union and an MFA in painting from Yale University. Braunig was awarded a studio residency from the Sharpe-Walentas Studio Program in 2016 – 2017, a Pollock-Krasner Foundation award in 2016, and a Macdowell Colony Fellowship in 2013.

Florencia Escudero (b. 1987, Singapore) is a multimedia artist recognized for her soft sculptures that use fabric printed with digitally rendered images. Her work aims to flip the narrative of the objectification of the female body. Escudero received her MFA from the Yale University School of Art and her BFA from the School of Visual Arts. Her works have been shown at the Instituto Cervantes, New York and the Pratt Institute, New York.

Hadi Fallahpisheh (b. 1987, Tehran) is a multimedia artist that specializes in photography, performance and installation. Often commenting on conditions of displacement, his work questions the ability of representation to convey truths, revealing the gaps between public perception and personal experience. Fallahpisheh received the Artadia Award in 2019, and his work was included in 2020 in the group exhibition “In Practice: Total Disbelief” at the Sculpture Center.

Anna Glantz (b. 1989, Concord, MA) creates paintings that consider the poetic connections between personal, invented, and historical imagery set within psychological landscapes. She received a BA in Art and Linguistics from the University of California, Los Angeles and an MFA in Visual Art from Columbia University. In 2020 she will have her first UK solo exhibition at The Approach in London.

Ivy Haldeman (b. 1985, Aurora, CO; lives and works in New York) is recognized for her nuanced, and disarmingly languorous, renderings of anthropomorphized sausages swathed in pillowy buns, pantomime hand gestures, slapstick unions of heels and banana peels, and women’s suits depleted of bodies – illuminating relations between consumerism and desire while both allegorizing and eroticizing slippages among the unequal distributions of finance and femininity. Her work has been the subject of recent solo exhibitions at Downs & Ross, New York, and Capsule, Shanghai. The artist received her BFA from the Cooper Union in 2008.

Christina Quarles (b. 1985, Chicago, IL) paints abstracted figures that are subject to identity politics. Her gestural, distorted human forms explore the ways in which race, gender, and sexuality intersect to form complex identities. She will have a solo exhibition at Museum of Contemporary Art, Chicago in 2021, and her work was included in the group exhibitions “Made in LA” at the Hammer Museum; “Fictions” at the Studio Museum in Harlem; and “Trigger: Gender as a Tool and a Weapon” at the New Museum.

Emily Mae Smith (b. 1979, Austin, TX) is an artist whose subject matter plows the Surrealist genre with Feminist psychology. She layers her paintings with popular and underrepresented Art Historical references, often marrying them with pop culture motifs. Smith has had solo exhibitions at Le Consortium, Dijon and the Wadsworth Atheneum Museum of Art, Hartford, Connecticut.

Greg Parma Smith (b. 1983, Cambridge, MA) creates visionary paintings that combine mystical symbology with a personal and experimental painterly language that draws upon and synthesizes languages from the Renaissance, medieval illustration, as well as modernisms from Miro to Jasper Johns. Martha Schwendener explained: “His ultimate tactic seems to be to show how painting can accommodate multiple ideas and worldviews, rather than what art’s gatekeepers allow at a given moment.” Smith’s work was presented in a solo exhibition at Musée d’art moderne et contemporain, Genève in 2017 and was included in a two-person exhibition at the Contemporary Art Museum, St. Louis in 2010.

Courtesy of the artists and Petzel, New York

more to explore:

 
 

By using GalleriesNow.net you agree to our use of cookies to enhance your experience. Close