January 11 - February 22, 2014
Opening Saturday, January 11th, 2014
5 - 8 pm
For his first solo exhibition at Almine Rech Gallery in Brussels, Erik Lindman created six large scale works, one medium work and a selection of five smaller paintings which correlate between the two spaces he conceived for the venue.
The deliberately minimal hanging of the pieces, forces the spectator to concentrate on how they have adapted to the imposing volume of the gallery space. Whilst his previous works were largely made of found objects, sometimes barely modified, this new series is a return to painting and abstraction. The paintings are made of several elements which create a frame for a central component. This component is autonomous or may have been taken from another painting which didn’t work as intended. Nicolas Trembley interviewed the artist in his new Brooklyn studio in November 2013, while he was finalizing his work for the exhibition.
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Sergi Camargo, Enrico Castellani, Keith Coventry, Tara Donovan, Lucio Fontana, Lydia Gifford, Domenico Gnoli, Michelle Grabner, Elsa Hansen, Thomas Houseago, Sol Lewitt, Bertrand Lavier, John Lehr, Erik Lindman, Piero Manzoni, Vik Muniz, Helio Oiticica and Neville D'Almedia, Robert Rauschenberg, Jesús Rafael Soto, Luis Tomasello, Günther Uecker, Adriana Verejao, Bernar Venet and Rachel Whiteread.
Dickinson Roundell Inc.,
19 East 66th Street
New York, NY 10065
ALMINE RECH GALLERY @ FIAC, PARIS
24 - 27.10.2013
On the occasion of FIAC 2013, Almine Rech Gallery is pleased to welcome you to Booth B37 at Le Grand Palais.
Wednesday 5pm - 10pm
Thursday 12pm - 8pm
Friday 12pm - 9pm
Saturday 12pm - 8pm
Sunday 12pm - 8pm
Image: Erik Lindman, "Flag field", 2013, Found Surface (Metal), Oil on Canvas. 144" x 60"
We are delighted to present Erik Lindman’s second solo exhibition at the gallery. Over the past six
months, the artist has developed a new series of both large and small scale paintings to occupy both
floors of the gallery.
From the aesthetics (as well as politics) of waste, Lindman explores abstract painting and its position
within contemporary art. Discarded elements retrieved by the artists are physically integrated into these
paintings. These surfaces become a reflection on the act and idea of painting. In this way, scratched
Perspex, stained leather or protective surfaces are used as a starting point – or a motif – for abstract
compositions. In this new body of work, the materiality of paint becomes increasingly present eo ipso.
Paint mirrors, and yet parodies, the waning tangibility of these obsolete quotidian elements in an
increasingly virtual world.
While giving a generous place to chance and accident in the creative process, Lindman is also
interested in the notion of failure and editing. Sections of canvas from unsuccessful paintings are given
new life, as in works like in 'Harlequin' and 'Harlequin 2', where a former painting is literally split and
made into two new original works.
In Lindman’s paintings, one can often observe empty surfaces, shaped by the removal of cut canvas or
other material. Empty or blank or silent, these surfaces can be seen as blurry screens or as spaces for
projection. Key to these paintings, this tone was clearly articulated by Aoife Rosenmeyer in a recent
“When Maurice Blanchot wrote The Death of the Last Writer in 1955, he could not have foreseen our information-flooded age, yet he already identified the author as a figure that ‘imposes silence on this speaking’ – the speaking being the insistent, vain noise of the void around us. That speaking has since become a cacophony: we need authors and artists to tickle, torment and subdue it more than ever, and Lindman demonstrates this … [in an] orchestrated moment of stillness.”
Aoife Rosenmeyer, A Grammar of the Accidental, frieze d/e, n°153 March 2013
Exhibition from September 12 to November 2, 2013
Opening on September 12, 6-9pm, in presence of the artist, at the occasion of the Nuit des Bains
7b boulevard d’Yvoy, CH-1205 Geneva T +41 (0)22 321 75 63
PUBLIC FICTION Fall 2013
Curated By Alexandra Gaty & Lauren Mackler
The Stand In (or A Glass of Milk)
We are proposing an exhibition whose arrangement is unstable, whose parts accumulate and change over time. An exhibition, like a surrealist exercise; nonlinear, non-narrative, symbolic and referential. During three months, in three configurations, we will involve artists whose work mirror these ideas. Artists who flex material and content to stand-in for something else: a still life for a portrait, a film for a performance, a performance for a painting, a painting for a sculpture, a sculpture for a photograph. A presentation, in iterations, within which we play with the promise that the exhibition is a medium in itself. This new series includes artists from Los Angeles, New York, Chicago, Paris, London, and Berlin, with works by: Trisha Baga, Scott Benzel, Gabriele Beveridge, Lucas Blalock, Nina Canell, Marieta Chirulescu, Isabelle Cornaro, Deanna Erdmann, Erik Frydenborg, Amy Granat, Nathan Hylden, Barbara Kasten,Erik Lindman, Shana Lutker, Alex Olson, Lili Reynaud-Dewar, Rachelle Sawatsky, Sara VanDerBeek, Erika Vogt and Rosha Yaghmai. Populated by happenings, performances and screenings in collaboration with: Karen Adleman, Lindsay August Salazar, Scott Benzel, Brendan Fowler, Taisha Paggett and Flora Wiegmann.
From: The Museum of Public Fiction
749 Avenue 50
Los Angeles, CA 90042
Friday September 6th from 7-10pm
Phase 1: An Unbiased Teal
Friday October 4th from 7-10pm
Phase 2: An Unabated Isle
Friday November 8th from 7-10pm
Phase 3: An Unstable Idea
With performances in between...