November 13, 2009
HELLE MARDAHL “STAGE POWER“ SOLO EXHIBITION AT CIRCLECULTURE GALLERY
OPENING: JANUARY 20, 2010 AT 5 PM // EXHIBITION: UNTIL MARCH 6
TUE - SAT, 2 TO 6 PM
With Stage Power, Danish artist Helle Mardahl makes us experience an opulence of material and structure as the technical essence of her art. The exhibition consists of a series of individual works that become a single coherent installation, including paintings, drawings, three-dimensional textile collages, photo-collages, prints, and sculptures. With Stage Power, the artist distances herself from the clichés of fashion while she simultaneously creates her art in the hand-crafted skill of a Haute Couture production.
"The Loaded Woman"
November 9, 2009
THE THOUSANDS - NOVEMBER 18-22
An art exhibition and book launch with a brand new mural by Burning Candy and artwork by Bansky, Swoon, Faile, Os Gêmeos, Nick Walker, Judith Supine, Herakut, Kaws and many more.
Curated by Michael “RJ” Rushmore.
To accompany the show, RJ has written the book “The Thousands: Painting Outside, Breaking In” which is set on release with the exhibition and published by Drago
http://www.dragolab.com/en/books/catalogue/the-thousands
"Don't Get Ahead of Yourself " courtesy of Elbow-toe
October 20, 2009
NOMAD “RAINBOWCOLOURED TEARS OF A CLOWN” SOLO EXHIBITION AT CIRCLECULTURE GALLERY
VERNISSAGE: 30 OCTOBER 2009, 7.00 P.M.
EXHIBITION: 31 OCTOBER 2009 TO 9 JANUARY 2010
TUESDAY TO SATURDAY, 2 TO 6 P.M.
Circleculture Gallery is pleased to announce its first solo exhibition featuring the artist Nomad. As an original street artist, he developed his expressional variants conceptually and technically through interactive projects in interior and exterior spaces: combining writing and street art with poetry and classical painting. In this context, we become acquainted with Nomad’s “street art” in the gallery as part of a holistic work of art. The works shown move between humour, satire and human drama. At the centre is the clown or fool, who mirrors the ambiguity of human existence.
Madonna Ciccone with black baby Jesus, 200x100cm, Mixed Media on Canvas
September 17, 2009
DTAGNO MUSEUM SHOWS
The Fondation Cartier pour l’art contemporain presents “Born in the Streets - Graffitti “. DTagno is part of the international group exhibition in Paris.
URBAN ART - WERKE AUS DER SAMMLUNG REINKING
Weserburg | Museum fuer moderne Kunst
May 16 to October 04, 2009
Gerät 03 2009 spray paint with up to 12 cans
September 7, 2009
ANTON UNAI “FIGHTING GRAVITY” SOLO EXHIBITION AT CIRCLECULTURE
Opening: Friday, September 18, 2009 at 7 pm / Exhibition: September 19 to October 24, 2009 / Tuesdays and Saturdays, 2 – 6 pm
“Fighting Gravity“ – the title of Cicleculture’s third mono-exhibition of the free-spirited catalan Anton Unai is characteristic for his art. In an artistic party performance and gallery exhibition, Unai will demonstrate his challenge of gravity. Large-sized installations and works of painting, photography, sculpture, collage and multiple performances can be experienced – hosted by Anton Unai, the master who taught the art of flying.
September 4, 2009
NOMAD VS. ASHTON KUTCHER
VIVA LAS VEGAS - NOMAD TAGS PLANET HOLLYWOOD
While in Las Vegas, German street artist Nomad took time to spray paint the roof of Planet Hollywood Resort and Casino, a landmark of Sin City, with the assistance of Hollywood star Ashton Kutcher. The roof shows the likeness of a slot machine that could be seen from the higher floors of many of the hotel’s rooms. Crowning the slot machine is the painted expression “LUCKY ME.” As evidence, Ashton Kutcher posted the deed in his Tweet that he “just tagged the roof of Planet Hollywood.”
August 1, 2009
NOMAD PAINTS MEGA WALL
Zurzeit das vielleicht größte Graffiti in Berlin. Read more »
July 17, 2009
FRERK and MARC C. WOEHR
Carmichael Gallery is pleased to present new artwork by Frerk and Marc C. Woehr, the feature at´rtists in their July Showcase. The German duo combines urband graphics and whimsical figures to create exciting mixed media work on canvas an wodd. This first time both artists have exhibited their work in Los Angeles.
Exhibition Dates: July 9 – July 30 2009, opening hours: 1pm - 7pm
CARMICHAEL GALLERY
257 N. La Brea Ave - West Hollywood, CA 90038
www.carmichaelgallery.com
Read more »
July 16, 2009
R.I.P. DASH SNOW
Those words have been sent in by CFA Gallery today…
On Dash
On meeting Dash for the first time, you don’t get the impression that he is from our time. Dash, born in 1981, does not seem like a man of the year 2007. With his long hair, his hippie sunglasses and his clothes, his preference for the music of the late 1960s and the whole psychedelic sound, Dash seems someone who was catapulted from the 1960s into our time. And that is of course no coincidence, but rather a conscious revenge against an idiotic time. Or, to be more precise, against two idiotic decades. Dash Snow is a child of the eighties, and they were, despite all the Miami Vice like pastel craziness, at their core a dark and melancholy decade. It was the decade of Reagonomics and Thatcherism, the decade of the insane arms race, people had no social utopias anymore, but instead they were afraid: afraid of losing their work, afraid of the new Batemans who would mercilessly rationalise them away, afraid of nuclear war and forest dieback, and then, in the mid-eighties, the fear of AIDS came on top of it all. Work, love, life: everything was under existential threat. That was the time into which Dash was born; the year he turned twenty was 2001, which was the beginning of a new era of fear and hysteria – the so-called millennium years will be remembered as a decade characterised by the war against terror, fear of Islamism, and a general sense of exhaustion. In the cities, architecture summoned up the good old days; new forms hardly developed. It is clear that you ask yourself in such a time where and how to go on, what to take as your own starting point and it is not surprising – and indeed rather likable – that Dash Snow simply decided to leave his own time temporarily to delve, like an archaeologist, into the depths of the 1960s and 1920s to explore how an era works that believes in experimentation, in the future, and in itself. Dash frequently works with old, yellowed paper that he tears from old books or finds somewhere. On this paper, he glues collages of words and images – and the results look as if the beat poets had collaborated with Max Ernst. Wild physical desires encounter phrases from the press, cut-out word fragments run like worried policemen of meaning across naked bodies. Of course that’s not always original, but it is necessary. By turning himself into Kerouac and Max Ernst, by assuming their role and their aesthetics, he seeks the mechanics of an optimistic awakening, the wild, buoyant, highly energetic anarchy that characterised the eras of Ernst and Kerouac and that is so sadly missing today. Perhaps we get closest to Dash’s method by using the rich German term Verdichtung. Verdichten means on the one hand to condense, to shorten, clarify; on the other hand it means to kidnap objects from the everyday world of prose into the realm of poetry – and poetry is, according to the original Greek meaning of the word poeisis, nothing other than the ‘art of bringing forth’. What is here being brought forth and clarified in Dash’s poetical collages? Dash condenses words and images of our time, the newspaper headlines, the pictures of naked women and of the great criminals into Dadaist formulas which suddenly, almost violently, sum up all the promises and crimes of our day. The word collages are also Verdichtung: they disassemble the headlines into single components and squeeze them together into nonsense messages, – thus bringing hidden truths and desires to light. They are pictures that counter the large political ideologies, the Iraq War, the West’s promises of happiness, wealth, sex, and power, with images of an individual Gegenglueck that cannot be grasped with the images and collective promises of salvation made by politics and advertising. This counter-happiness can also be found in the finesse of the materials – when he glues a word onto a piece of wood, thus underlaying and charging themeaning of the abstract term through the direct sensuousness of the grained material. There are many melancholy gestures in Dash’s works, yellowed paper, a black-and-white aesthetic, as well as vanitas motifs, skulls, death symbols. But Dash does not surrender to this melancholy, he does not celebrate it, he counters it with emanations of a wild vibrancy and of absolute happiness in the here and now: images of kissing nudes, traces of sperm, pictures of wild excess, and this antidote is also an outcry against the time that allowed itself to be completely lulled and now lies exhausted on the ground. How could the energy and verve of Dada, surrealism, and the beat generation, how could the optimistic energy of the twenties and sixties be translated into our time? That is the question that comes to mind when encountering Dash’s work, be it his collages or the Polaroids he made of himself and his friends, an atlas of the great odyssey to adulthood. And the fact that Dash, the archaeologist of happiness and hero of the immediate moment does not always answer these questions doesn’t matter all that much. He’s only 26; he still has time to find answers.
Anna T. Berger, Summer 2007
READ IN GERMAN AFTER THE JUMP.
June 27, 2009
XOOOOX “OPENING SOON” SOLO EXHIBITION AT CIRCLECULTURE
The mystery surrounding the Berlin street art phenomenon XOOOOX continues to provoke questions. The seductive, introverted-looking women stenciled on building facades and construction fences have fascinated passers-by from Milan to New York City, but what exactly do they mean? And who is hiding behind the name – a man, a woman or a group of young street artists? Since being arrested for graffiti vandalism in the late 1990s, XOOOOX has refused to reveal an identity to avoid trouble with the law.
A signed, limited print edition of XOOOOX’s work will be published on the occasion of the exhibition for a price of 95 euros. It is available at
June 26, 2009
URBAN AFFAIRS IS BACK!
June 22, 2009
ARRESTED MOTION USA ON CIRCLECULTURE
Seth Carmichael, co-owner of Carmichael Gallery in Los Angeles put up some nice questions about our work in the urban art world. Read below or go directly to Arrested Motion…
AM recently had a chance to sit down with Johann Haehling von Lanzenauer, Co-Director of the Circleculture Gallery in Berlin for a little talk about the history of the gallery and Johann’s insight into the art world. Circleculture have been a long time supporter of the international underground art world and their current show SELF-PORTRAITS (covered) is not to be missed.
Check out all the questions and answers after the jump.