Tyra Tingleff

Art Brussels 2016, Apr 22- 24

18 April 2016

From Discovery to Rediscovery is the titular theme of this year’s Art Brussels fair, which is on at the large former industrial building, Tours & Taxis, running April 22 – 24

This year the organisers have decreased the size of the fair by about 50 galleries, promising quality over quantity, and have opened up a strand titled ‘Rediscovery‘ —dedicated to art from the 20th century by artists who are either under-represented or have been forgotten about. In with the rediscovery will be the following, whose booths aqnb recommends to go and see if you are in the capital:

Piotr Łakomy, Leo Fitzmaurice and Tyra Tingleff @ Sunday Painter

Anahita Razmi @ State of Concept

Helen Johnson, Parker Ito and Cayetano FerrerChâteau Shatto

Grear Patterson @ Ellis King

Christine Sun Kim @ Carroll/ Fletcher

Yung Jake @ Steve Turner

Navid Nuur + Anne De Vries @ Martin van Zomeren

Josh Reams + Kate Steciw @ Evelyn Yard

Jonathan Monaghan, Quayola and Addie Wagenknecht at bitforms

At the same time, there is Independent —the smaller art fair that was founded in New York in 2010 is coming to Europe (and Brussels) for the first time —running April 20 to 23.

At Independent Brussels will be Lloyd Corporation at Carlos Ishikawa, Philipp Timischl and Stano Filko at Galerie Emanuel Layr, and Rachel de Joode at Christophe Gaillard. There’ll also be ÅYR, DIS, Ned Vena and Sean Steadman at Project Native Informant, and Caroline Achaintre, John Finneran and John Wallbank at Arcade, along with booths from Ellis King, Brand New Gallery, Château Shatto, Room East and Temnikova & Kasela.

There is also Deborah Bowmann at Poppositions, as well as YIA art fair starting on April 21. The latter being held in the LOUISE 186 building and in there we recommend Julien Langendorff‘s ‘Gutter Magic’.

Also happening in Brussels (no fair) and opening on April 19 running June 4 at Galerie Jeanroch Dard is a solo show by London-based artist Dominic Samsworth called Lounge Elopes and Oscar Tuazon’s General Contractor at  dépendance.

See the Art Brussels exhibition page for more details.**

Christine Sun Kim, too possessive for score (2015). Courtesy the artist
Christine Sun Kim, ‘too possessive for score’ (2015). Courtesy the artist.
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Tyra Tingleff @ The Sunday Painter, Apr 15 – May 14

15 April 2016

Tyra Tingleff is presenting solo exhibition Grinding your teeth to keep out the wind at London’s The Sunday Painter, opening April 15 and running to May 14.

There is little information on the theme of the exhibition itself but the Berlin-based Norwegian artist, often working with painting, has presented both solo and as a group at Birsfelden’s SALTS, as well as taking part in the Fulfillment Centre at The Sunday Painter in 2014.

Tingleff’s exhibitions and works pointing to their impressionistic, layered processes, are often presented with sentence fragments and contemplative statements such as 2016’s Leaping over a bush to surprise a Quail in Berlin, and the title of the work accompanying the Grinding your teeth… press release, ‘I like the sky because I don’t believe it’s infinite’.

See The Sunday Painter website for (limited) details.**

Tyra Tingleff, Closer Scrubs (2015) @ SALTS. Exhibition view. Photo by Gunnar Meier. Courtesy the artist.
Tyra Tingleff, Closer Scrubs (2015) @ SALTS. Exhibition view. Photo by Gunnar Meier. Courtesy the artist.

Header image: Tyra Tingleff, ‘I like the sky because I don’t believe it’s infinite’ (2016). Detail. Courtesy The Sunday Painter, London.

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In Space no one can hear… @ Galleria Giovanni Bonelli‎, Apr 5 – May 17

5 April 2016

The In Space No One Can Hear You Laugh group show is on at Milan’s Galleria Giovanni Bonelli, opening April 5 and running May 17.

Featuring the likes of Julius von Bismark —who will show work at this year’s Moscow International Biennale for Young Art —artist and curator Elise Lammer and artist Tyra Tingleff the show will display artworks that create their own worlds, their own economies and self-fulfilling systems as a way to think about alternative ways of being.

Taking science fiction as a parallel model, In Space No One Can Hear You Laugh deals with “things not yet to come, with images charged with a state of future potential or spaces infused with a radical temporality”, and puts us “in touch with the ability to imagine, and with the imaginary’s capacity to build new worlds.”

The show is curated by Clarissa Tempestini.

See the PDF press release for more information.**

Elise Lammer, courtesy the artist.
Elise Lammer, courtesy the artist.

 

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Carla Scott Fullerton + Tyra Tingleff @ Chert, Sep 15 – Oct 31

15 September 2015

Carla Scott Fullerton‘s If these walls had ears and Tyra Tingleff‘s I gave the postman your name exhibitions are on at Berlin’s Chert gallery, opening September 15 and running to October 31 and 17 (respectively).

The two exhibitions open as a part of the fourth Berlin Art Week starting the same night. The Norwegian Tingleff takes the poignant phrase by writer Gertrude Stein “emotional paragraphs are made up of unemotional sentences” and applies it to her layered paintings. Glasgow-based artist Fullerton’s If these walls had ears exhibition perhaps tellingly supplements its press release with no words at all.

See the Chert Berlin website for details.**

Tyra Tingleff, Closer Scrubs (2015) @ SALTS. Exhibition view. Photo by Gunnar Meier. Courtesy the artist.
Tyra Tingleff, Closer Scrubs (2015) @ SALTS. Exhibition view. Photo by Gunnar Meier. Courtesy the artist.
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Tyra Tingleff + Ströme (2015) exhibition photos

25 May 2015

Showing alongside and in parallel with each other at Birsfelden’s SALTS between January 31 and March 13, a solo exhibition by Tyra Tingleff and a joint one by Gina Folly and Mandla Reuter are connected by their position in relation to movement, or lack there of. With a press release subtitled ‘Timeless’, Tingleff’s Closer Scrub is neither about emptiness, nor is it motionless. Within her impressionist paintings hung across two white-walled rooms, there is a variation in brightness, hue and saturation, that speaks to a layering of events. Time can be ceased and compressed with a huge number of episodes, images and information; each scratched and tortured canvas is imbued with these on a timeline, their meaning embedded in each brushstroke. It’s a collision of data within a linearity that disrupts  a ‘natural’ flow of time.

Tyra Tingleff, Closer Scrubs (2015) @ SALTS. Exhibition view. Photo by Gunnar Meier. Courtesy the artist.
Tyra Tingleff, Closer Scrub (2015) @ SALTS. Exhibition view. Photo by Gunnar Meier. Courtesy the artist.

Folly and Reuter’s shared Ströme (German for ‘streams’, or ‘currents’) exhibition on the other hand, explores nature as its theme but not nature itself. Instead, theirs is a copied or conceptualised idea of the ‘natural’ in contemporary urban areas. Throughout the works, both artists focus on these artificial representations in pieces made of polycarbonate, stainless-steel, even a Sodium-vapor lamp. In response to a constructed world of artificial infrastructure, these are industrial materials that rely on natural elements to produce them.

Folly’s work, particularly, investigates the modern zoos or animal parks mirroring the fantasy of the natural world in the Magic Box (2015) series and a projection of a rainforest on a wall in So Far (2014). The boxes are food containers for monkeys foraging in captivity, giving a simplified version of natural events. Meanwhile, Reuter presents an ancient manhole cover that indicates the existence of a stream of water underneath. It acts as a medium separating an invisible underground from its visible, man-made, surface. A cover for this hidden artificial infrastructure of a stream captured for the sake of supporting a human population, the current of cultural exchange is embodied in this water shipped from Iquitos, Peru, via Lima to Rotterdam.

Gina Folly + Mandla Reuter, 'Ströme' (2015) @ SALTS. Exhibition view. Photo by Gunnar Meier. Courtesy the artists.
Gina Folly + Mandla Reuter, Ströme‘ (2015) @ SALTS. Exhibition view. Photo by Gunnar Meier. Courtesy the artists.

It’s this sort of flow and motion of cultural production that draws both Ströme and Closer Scrub together. Where Reuter’s bright yellow gas lamp imitates time shifting from night to day, as well as a day-light lamp enhancing the natural light that already exists, Tingleff’s Closer Scrub obscures a sense of time, or duration in action. Both generate a surreal state separating the gallery space from the outside, which in this case is nature. **

Tyra Tingleff’s Closer Scrub and Gina Folly + Mandla Reuter’s Ströme was on at Birsfelden’s SALTS, running January 31 to March 13, 2015.

Header image: Gina Folly + Mandla Reuter, Ströme‘ (2015) @ SALTS. Exhibition view. Photo by Gunnar Meier. Courtesy the artists.

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Associations New @ SALTS (2014) exhibition photos

18 November 2014

An 18th-century bourgeois salon-hang for the 21st-century privilege of art production. The material parallels between the seemingly long-outdated practice of showing off a painting collection to friends and business associates in the semi-private surounds of a French living room and the nature of art display via a desktop are uncannily similar. That’s something curators Samuel Leuenberger and Elise Lammer picked up on with “cluster hung painting show” Associations New at Birsfelden’s SALTS, running from October 4 to December 8.

Associations New (2014) a cluster hung painting show @ SALTS. Installation view. Photos by Gunnar Meier. Courtesy the gallery.
Associations New (2014) a cluster hung painting show @ SALTS. Installation view. Photos by Gunnar Meier. Courtesy the gallery.

Featuring the work of 25 artists from their personal networks, Leuenberger and Lammer sought contributions of one to three paintings – from gouache on paper, egg-tempera, acrylic and oil on canvas – under 50 x 50 cm, to be hung in the kind of clusters that reduce the relevance of an individual work to being only an element of a greater display of an Enlightened household’s cultural (and economic) wealth. Now compare that with the appropriated images of a private blog or Tumblr scroll, where a personal aesthetic is publicly presented via online networks that are restricted to an audience educated in a particular cultural language, with access to and an understanding of the internet.

In the photos from Associations New, only a handful of them feature the credited work of individual arists, including Charlotte Herzig‘s ‘Landscape, the sun is actually red’ (2014) and Henning Strassburger‘s ‘o.T’ (2014), that yells “LOOK WHAT I PAINT” in black scrawl through the lurid pink and black noise of oil and acrylic. The rest are reduced to an ‘installation view’ of wall-hung paintings by the likes of Max Brand, Claudia Comte, Thomas Jeppe, Jan Kiefer and more, while a link to Pauline Beaudemont‘s concurrent L’Age D’or exhibition next door comes in two square concrete ‘chairs’, designed for the almost empty garage cubicles outside.

Associations New (2014) a cluster hung painting show @ SALTS. Installation view. Photos by Gunnar Meier. Courtesy the gallery.
Associations New (2014) a cluster hung painting show @ SALTS. Installation view. Photos by Gunnar Meier. Courtesy the gallery.

Each block seat features a quote from a film and a fiction work: one from Jacques Tati epic Play Time (1967) on a future vision of Parisian modernity and the other from objectivist Ayn Rand’s famous novel The Fountainhead. It’s taken from the part of the book where vulgar publisher and passionate private art collector Gail Wynand offers indvidualistic modernist architect a contract while announcing, “You will take your spectacular talent and make it subservient to the taste of the masses.”

As per the press release, the ‘salon’ concept also refers to the official art exhibition of the Académie des Beaux-Arts, Salon de Paris, initiated by Louis XIV in 1667. This idea of ceiling-to-floor presentations of paintings was developed in response to lack of space and became not only an exhibition of wealth but an instrument of political power. These days that display comes in the manner of privately-funded public institutions, branded art fairs and corporatised content-sharing platforms. **

Associations New group exhibition is on at Birsfelden’s SALTS, running October 4 to December 8, 2015.

Header image: Associations New (2014) a cluster hung painting show @ SALTS. Installation view. Photos by Gunnar Meier. Courtesy the gallery.

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