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"In geometry, trilateration is the process of determining absolute or relative locations of points by measurement of distances, using the geometry of circles, spheres or triangles. In addition to its interest as a geometric problem, trilateration does have practical applications in surveying and navigation, including global positioning systems (GPS)" Wikipedia.
The Diana Lowenstein Gallery is pleased to present Trilateration: Andy Coolquitt, Tamar Ettun, Michael Loveland, a three-person exhibition curated by Ombretta Agró Andruff, Diana Lowenstein Gallery's curatorial advisor. French-born, New York-based Julien Gardair's painting cut-outs will be on view in the project space. An opening reception will take place on Friday April 15th, 6:00-9:30PM. The gallery will host a conversation with the artists and the curator prior to the opening reception, starting at 6:00PM The exhibition will be on view through May 28th, 2016.
Trilateration brings together the work of Austin-based Andy Coolquitt; Israeli-born and New York-based Tamar Ettun; and Miami-based Michael Loveland. While the artists share similarities in their art-making process and modus operandi, the artworks featured in the show all have strong individual personalities that set them apart, and yet are able to engage in a fascinating dialogue amongst each other. The use of everyday objects and humble materials such as kitchen rubber gloves and utensils, scraps of fabric and house carpet, as well as street signs and commercial billboards, is the common denominator that inspired Trilateration, however each artist combines, dissects and reassembles urban and domestic debris in unique and distinctive ways to create the sculptures, videos, photographs and installations that inhabit Diana Lowenstein Gallery.
Coolquitt creates objects and installations as a means to highlight how humans relate to each other and to the spaces around them, how architecture, objects, and environment interact to manipulate space and dictate experience. Ettun, through her objects and performances addresses the space between: "davka (Hebrew for 'deliberately') and awkward: a purposeful, awkward art that attempts to question and recompose movement with sculpture in the absurdity of the everyday. By composing objects and movers Ettun creates a sense of what she calls a “handheld history". Loveland's paintings and sculptures are inspired by the aesthetics of grassroots PR, buffed graffiti tags to homemade political posters and hand painted business signs. Beginning with repurposed vinyl billboards and found graphics, Loveland obliterates the original image through processes of “painting out,” masking and erasure that changes the signage’s original meaning to another level of communication. Each one of the artists is presenting existing works as well as new ones created specifically for this exhibition.
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The Diana Lowenstein Gallery is pleased to present The Ambiguous Lightness of Being - An Homage to Milan Kundera, a group exhibition curated by Ombretta Agró Andruff, Diana Lowenstein Gallery's curatorial advisor. An opening reception will take place on:
Saturday February 13th, 7:00-9:30PM
The gallery will host a conversation with some of the participating artists and the curator prior to the opening reception,starting at 6:00PM. The exhibition will be on view through March 31st, 2016.
“The heaviest of burdens crushes us, we sink beneath it, it pins us to the ground. But in love poetry of every age, the woman longs to be weighed down by the man's body. The heaviest of burdens is therefore simultaneously an image of life's most intense fulfillment. The heavier the burden, the closer our lives come to the earth, the more real and truthful they become. Conversely, the absolute absence of burden causes man to be lighter than air, to soar into heights, take leave of the earth and his earthly being, and become only half real, his movements as free as they are insignificant. What then shall we choose? Weight or lightness?”
Milan Kundera, The Unbearable Lightness of Being
This exhibition, 14 years in the making, was first conceptualized in 2002. While it never came to fruition then, its concept lingered for a long time to resurface today as the project presented at Diana Lowenstein Gallery. The exhibition, as presented here, was triggered by re-reading Kundera's masterwork and by a series of encounters between the curator and several artists that took place over the last couple of years during travels throughout Eastern and Central Europe as well as Cuba.
The featured artworks encompass a wide variety of media and approaches, yet they are all somehow connected to the dichotomy of lightness and weight, either because of their ephemeral nature and real or apparent lightness, or weight, of the materials employed to create them, or because of their ability to address profoundly personal as well metaphysical issues and express them in subtle and poetic forms through their practices.
Kundera, in response to the question noted in the excerpt above, tells us that Parmenides, the Greek philosopher who lived in the sixth century BCE, came to the conclusion that lightness is positive and weight negative. Kundera responds that "the only certainty is: the lightness/weight opposition is the most mysterious, most ambiguous of all".
It is their ambiguous nature, in fact, the thin red line that connects the artists and artworks in the exhibition.
List of participating artists: Apparatus 22, Jonathan Callan, Loris Cecchini, Michele Chiossi, Gye Hoon Park, Marya Kazoun, Jaroslav Kyša, Ronald Morán, Angelo Musco, Beatrice Pediconi, Marisabela Telleria, Xawery Wolski.
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This exhibition is supported by: "Associated Photo Imaging"
Diana Lowenstein Gallery | 2043 North Miami Avenue I Miami, FL 33127 I 305 - 576 - 1804
Attitudes in Latitudes: The Northern Wild Explores the Tropics, which spans over both The Richard Shack Gallery and Project 924, is the result of curator Ombretta Agró Andruff's research trip to Winnipeg.
The exhibition that features six artists from the Canadian microcosm and six from Miami explores their strong, and yet sometimes peculiar connection to the landscape that surrounds them as well as the creatures, either real or invented, that inhabit it.
By bringing together 12 artists from two very distinct locales, Agró not only builds a cultural bridge between the two, but also allows viewers to cross it while wearing surreal lenses – opening up their eyes to the most striking – and at the same time – most microscopic forms of environmental inspiration.
Attitudes in Latitudes shows us how artists can teach us all to pay more attention to the majestic nature that surrounds us.
For more information: www.artcentersf.org/attitudes_in_latitudes/