Timeless Motion (in Life and Light) 2016, 3D Rendering
GRIMANESA AMORÓS
TIMELESS MOTION (in Life and Light)
#timelessmotion #grimanesaamoros #cindychao #BiennaledesAntiquaires @cindy_chao @grimanesaamoros
September 9th – 18th, 2016 at Grand Palais, 3 Avenue du Général Eisenhower Paris, France
“Timeless Motion (in Life and Light),” a site-specific installation by artist Grimanesa Amorós in collaboration with CINDY CHAO The Art Jewel, will be on view at Grand Palais in Paris, during the Biennale des Antiquaires . The piece will serve as a striking setting to Chao’s 12 new masterful art jewels.The atmospheric, ephemeral quality of the setting is further reinforced with a slow movement of lights, which reflect on Chao’s art jewels making each piece come alive. Viewing jewels in this environment thus aims to transcend a purely aesthetic experience and become a meditation on the theme of nature and life.After Biennale des Antiquaires, “Timeless Motion (in Life and Light)” will travel internationally with the first stop at the LONG MUSEUM, Shanghai China. Other destinations will include Taipei, Hong Kong, Moscow, and Dubai.
In new court filings, Fabrizio Moretti reveals the work he says David Zwirner has failed to deliver—and is now seeking $6m in damages
(via The Art Newspaper)
Lawyers for Blue Art Limited, the London-based company owned by the Italian Renaissance dealer Fabrizio Moretti, filed an amended complaint Wednesday night (17 August) against the New York art dealer David Zwirner and his gallery, which Moretti says failed to deliver a work of art he bought for $2m. The new complaint comes after Zwirner’s motion to dismiss named the previously anonymous purchaser and called the lawsuit “a case of buyer’s remorse”. In response, Moretti’s recent court filings reveal the work at the heart of the case—Jeff Koons’s Gazing Ball (Centaur and Lapith Maiden) (2013), from the gallery’s show that year. And while he previously asked for the original purchase price for the work plus fees, Moretti’s updated suit seeks $6m in total damages.
In the new filing, Moretti’s lawyers say Zwirner and the gallery played “a kind of ‘three card monte’ in which the numbered casts of the sculpture”—an edition of three, plus an artist’s proof—“were distributed to their buyers willy-nilly”.
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After more than 20 years autodidactic work with woodcarving:
2001-2004 Education at the „Fachschule für das Holzbildhauerhandwerk“ in Munich
2005-2007 Masterschool for Woodsculptor in Munich
since 2004 selfemployed with an Atelier in Munich, Amalienstr.15
Exhibitions in Germany and Switzerland
Die elementare Natur, die Beziehungen zu und zwischen den Menschen sind meine Themen. Die Reduktion auf das Wesentliche, das unter der Oberfläche Verborgene sichtbar zu machen und in eine archaische, fragmentierte Formensprache zu bringen ist mein Ziel.
Gestalterische und handwerkliche Fähigkeit, Wissen um Material und Technik, bewusstes Einbeziehen von Zufälligkeiten, Verarbeitungsspuren, Risse und Kratzer betonen, das Unvollkommene hervorheben gehören zu meiner Arbeitsweise.
1968 born in Erding, Germany
1991-1993 LMU Munich
1993-1997 Academy of Fine Arts Munich
1996/97 Grant »DFJW«, Angers, France
The central themes in his pictures are the “softfacts”-the thoughts, the awareness of life.
In a surprising way he joins textures, landscapes, contemporary and historic photos of persons, houses, objects, landscapes and even words.
He has created his very own artistic technique – Décalcage.
Digital prints were attached to woodenboards by adhesive.
It’s the work done by hand that makes the décalcage a unique technique. Additionally it gives them an aesthetic presence and a painting-like structure and quality.
(Photo Credit : Masayuki Nagata)
