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The satisfaction of such a basic and prehistoric need as food has conditioned civilizations throughout history. From hunter man, to the appearance of agriculture and cereals, to the creation of cities, which were built around where food was found, or the beginning of the era of supermarkets. How we relate to food, what we buy, prepare and eat, are a reflection of the identity and social and culturalconventions of the time.
We don’t all know how to grow, buy or cook aliments, but we all have to eat: we must be expertsat feeding ourselves. However, our environment is evolving faster than our bodies: most of us lead sedentary lives in overheated buildings, but our appetites seem willing to accept whatever pace the food industry imposes on us, as Carolyn Steel says in the book “Hungry Cities”. Our ancient survival instinct is still intact in our brains and urges us to keep eating whatever is put in front of us, whether we are hungry or not.
From Roman mosaics and frescoes to sumptuous banquets of sacred art, the abundance in Arcimboldo’s fruit compositions or 17th century Flemish still lifes to Warhol’s iconic pop cans or Cattelan’s banana, food and the act of eating have represented central elements in the History of Art. And their practice speaks to us of consumption, class, identity, colonialism and globalization. But also of the act itself as fundamental as feeding ourselves as the basis of our subsistence.
Through their work, the artists in this exhibition help us to converse with food, creating new relationships with it or readapting old ones to the current context. Each of them, from their individual and inevitably global gaze, address themes such as excess, waste, symbolism, brands, lack and abundance.
Gluttony and provocation in the work of Ana Barriga (Jeréz de la Frontera, 1984), Hannah Epstein’s (Canada, 1985) interpretation of the tale of ‘Goldilocks’ through greed and Western consumer habits presenting the protagonist as the ultimate white colonizer who consumes the resources of others without any concern, the digital sedentarism, waste and anthropological analysis of a present in the work of Nicolás Romero (Buenos Aires, Argentina, 1985), the ceramic feasts of Lusesita (La Rioja, 1979) and Laura Lagraña aka Culitomatón (Barcelona, 1995), the ordinariness of consumerism and the informality of the brands that surround us with Ricardo Passaporte (Lisbon, 1987); the excesses in the work of Bieke Buckinx (Brussels, 1988); the homage to food from Latin America in the iconic women of Fátima de Juan (1984, Palma de Mallorca); the reflection on the temptation and indulgence of human beings through our relationship with Mother Earth with Reihaneh Hosseini (Tehran, Iran, 1988) and the radiography with surrealist touches of Francesc Rosselló’s after-dinner ‘conversations’ (Mallorca, 1994).
Is there a relationship between how we consume food and how we consume art today, between the voracity of the art market and how we feed ourselves? This group show curated by the UVNT Art Fair team tries to resignify the obsession with food, its value and return to its most primary essence in a dialogue with contemporary painters.
Sergio Sancho and Sara Coriat
Moosey London will closing off the year with a winter group exhibition featuring artists who’ll be exhibiting with us over the next 12 months.
Artists include: Alex Chien, Armani Howard, Hannah Wilson, John Slaby, Ju Gio, Katie Hector, Landon Pointer, Mark Zubrovich, Miranda Tacchia, Rebecca Foster Clarke, Reihaneh Hosseini, Sablo Mikawa, Wenqin, Yutaka Hashimoto
ÉCHOS was born from the search for a name that could represent several ideas: a parallel to the Chronicles exhibitions organized in Germany, the twin nature and resonance of the two galleries in Düsseldorf and Paris, and the play on the notion of duo, response, binomial.
This is how « échos » was found, like a wave coming from beyond the Rhine, made to establish itself in length and make the note last in time. For this first edition of ÉCHOS, figuration, hybridity and dreaminess have given themselves an appointment to spring up in the middle of works created by Willehad Eilers, Amir H. Fallah, Asad Faulwell, Georg Haberler, Laust Højgaard, Reihaneh Hosseini, Oh de Laval, Kojiro Matsumoto, Wyatt Mills, Lena Valenzuela and André Wendland.
The human figure, sometimes accompanied by other animal and imaginary species, melts into a great discourse with the air of a fresco, narrative, spiritual, fluid and almost always linked by the blue, sometimes assumed, sometimes discrete. The blue, sure of itself and spread with largesse or hidden under its opposite red, acts as a sensitive reminder from one work to the other, like a link that is woven, like a closer echo. These two colors form an ephemeral dance like the dream that resounds in the hollow of a morning.
Ákos Ezer | André Wendland | Andrew Schoultz | Antonia Rodrian | Arno Beck | Christiane Peschek | Elisa Breyer | Hannah Bohnen | Jake Troyli | Jorinde Fischer | Julien Jaca | Julius Hofmann | Mona Broschár | Nitsa Meleto | Raffael Bader | Raphael Brunk | Reihaneh Hosseini | Ryan Travis Christian | Tim Leimbach | Tim Sandow | Umar Rashid | Wendell Gladstone | Wyatt Mills
28 April – 1 May, 2022
Thursday 28 April 2022 | 5pm To 9pm
Friday 29 April 2022 | 12pm To 9pm
Saturday 30 April 2022 | 12pm To 7pm
Sunday 1 May 2022 | 12pm To 7pm
During Gallery Weekend Berlin
Galerie Droste
KPM
Königliche Porzellan
Manufaktur Wegelystrasse 1
10623 Berlin
Gretchen Andrew | Dejan Dukic | Julian Heuser | Reihaneh Hosseini
9 April – 21 May 2022
Opening: 9 April 2022, 2 – 6 pm
elektrohalle-rhomberg.net
Samergasse 28b, 5020 Salzburg
Tuesday – Friday, 12 – 6 pm, Saturday, 12 – 4 pm
office@elektrohalle-rhomberg.net
A group exhibition featuring paintings by Marcela Flórido, Bianca Nemelc, Reihaneh Hosseini and Scout Zabinski opens Saturday, June 26 in our Chelsea gallery.
Ross+Kramer Gallery
515 west 27th st New York, NY