THE VIEWING ROOM IN STOCKHOLM | AHN OK-HYUN: LOVE, TEARS, SEDUCTION (IT'S NOT A MELODRAMA) | NOV-FEB 2016 | LYDMAR HOTEL STOCKHOLM

THE VIEWING ROOM is pleased to introduce Ok Hyun Ahn, well received Korean contemporary artist based in New York and Seoul. Her long devotion of exploring foundation of human emotion through highly skilled techniques clearly illustrated in her moving images and stills.

In the exhibition LOVE, TEARS, SEDUCTION...(IT’S NOT A MELODRAMA), two bodies of works, MIRROR BALL project and Ma Non Troppo from HOMO SENTIMENTALIS project, are exhibited to highlight the artist’s exploration of viewer’s conscious by provoking emotional senses through embedded visual codes that are often used in mass media. Why human emotion reacts to fabricated images? Where is the boundary between cliché and reality? Is there such a thing as reality after all?

In the era of image drenched culture, the exhibition suggests that human emotion may not innate and natural but manufactured and shaped through highly refined visual codes from mass culture. It is no longer clear if human emotion reside in our conscious is genuine or deceptive.

Ok Hyun Ahn's work has been in numerous solo and group show including museums around the world: Gyeongnam Art Museum in South Korea and Photo Center NW in Seattle. In 2000, she received 2nd Sajin Bipyong (Photography Criticism) Award Prize in Seoul.


the viewing room in new york: group show | jan-Aug 2015 | NEW YORK, NY.

Stuart Arends, Alighiero Boetti, Keith Haring, Songyi Kim, Yayoi Kusama, Tadaaki Kuwayama, Sol LeWitt, Agnes Martin, Rakuko Naito, Bernar Venet, Andy Warhol, Mark Zimmermann


meeting and parting: SONGYI KIM & MAXWELL STEVENS | JAN-FEB 2011 | NEW YORK, NY 

MEETING AND PARTING examines two different formal languages that continues to fluctuate within the artists' subconscious in the process of physical creation.

Songyi Kim's work starts from collecting her memories from personal photo albums. For her, memories are ephemeral, uncanny, and unreliable; she feels betrayal by the obscurity of time. Her deep and dark marks on the surface imply her expression of incompleteness of memory. Through the repeated process of creation and destruction, Songyi reinvents herself that is a complete mixture of past and present. The excessive overlapping of expression on the paper evokes an old memory that is no longer identifiable. She continues to develop her expression on paper through different water-soluble medium, such as ink, crayon, watercolor, even coffee and tea, that can be erased but not completely, in order to trace time. 

Maxwell Stevens layers translucent parchment paper with abstracted brushwork resembling calligraphic gesture on the top of a figurative nude drawing. The skin-like layer of parchment paper intimately incorporates the nude figure underneath. The rhythmically flowing line drawings on the parchment paper distract the viewer's direct confrontation with the nude figurative drawing. The contextual tension between the two is rendered on the same surface creating emotional resonance.

Maxwell expresses his language in combination of abstraction and representation. The battle between the two aesthetic disciplines has a long history and Maxwell directly confronts the viewer with the tension: historically and psychologically.


WINTER SALON 2010 IN SYNTHESIS | DEC 2010-JAN 2011 | NEW YORK, NY.

PRESS RELEASE:

RESSLE | CHUN is pleased to present 2010 Winter Salon – In Synthesis, an exhibition of over fifty selected artists. Inspired by salon-style hanging, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries, the show intends to provide patrons of the arts with an inviting, intimate viewing experience to initiate a dialogue between artists, their work and the viewer. Following the interactive installation of the 2008 Winter Salon at Björn Ressle Gallery, this show pays tribute to the format of a salon hanging and celebrates the tradition that continues to render expositions of a large numbers of artists and an even larger numbers of works. By utilizing the maximum floor to ceiling gallery space, The 2010 Winter Salon activates the wall with artworks in various media by artists, each of whom offer a unique perspective to the show. Established, innovative and emerging artists have contributed a body of nearly one hundred fifty works of art reflecting an impressive range of theories, generations, styles and distinctive visual expression.

In order to synthesize numerous languages spoken through various artistic disciplines, the two long walls in parallel are carefully installed to create dialogue in the spatial order. The 2010 Winter Salon – In Synthesis allows the viewer access to some of the past and current pivotal artistic ideas while introducing newer talent, to generate fresh creative energy through unexpected juxtapositions.

ARTISTS:
Ok Hyun Ahn | Lawrence Anastasi | William Anastasi | Carl Andre | Stuart Arends | Chan Hyo Bae | Robert Barry | Larry Bell | Joseph Beuys | Dove Bradshaw | John Cage | John Chamberlain | Jinkee Choi | Mark DeMuro | Linda DiGusta | Robert G. Edelman | Jacob El Hanani | Ron Gorchov | Jene Highstein | Gary Hill | David Hockney | Sook Jin Jo | Neil Jenney | Alex Katz | Linda Karshan | Miru Kim | Songyi Kim | Sol Kjok | Tadaaki Kuwayama | Kakyoung Lee | Zaun Lee | Sol LeWitt | Robert Mangold | Robert C. Morgan | Andy Moses | Gerard Mossé | Rakuko Naito | Dennis Oppenheim | Pim Palsgraaf | Keun Young Park | George Quasha | Robert Rauschenberg | Lovisa Ringborg | Dorothea Rockburne | Cordy Ryman | Ethan Ryman | Fred Sandback | Anne Senstad | Howard Smith | Maxwell Stevens | Yuken Teruya | Cy Twombly | Ali Van | Bernar Venet | Merrill Wagner | Joan Waltemath | Marjorie Welish | Mark Wiener | Leah Yerpe | Mark Zimmermann


LINES IN SPACE : JENE HIGHSTEIN | MARCH - APRIL 2009 | BJORN RESSLE GALLERY, NEW YORK, NY.

CRITICAL REVIEW : BROOKLYN RAIL MAY 2009


six a-Squares and one large wedge: STUART ARENDS | SEPT-NOV 2008 | BJORN RESSLE GALLERY, NEW YORK, NY.

Björn Ressle Fine Art is pleased to open the 2006 fall season with the solo exhibition of New Mexico based artist STUART ARENDS (September 20 – November 18).

Arends’ exhibition WEDGES is a selection of new works from the past twelve months that first have been shown in Europe where he spends part time of the year and frequently exhibits.

His thoughts behind the Wedges are about perception and how we see the world we live in. Also how, by being aware, we begin to understand that the things we thought to be solid and static or unchanging can actually be fluid and in a constant state of flux.

Stuart Arends is an American artist steeped in the landscape tradition which resonated from work generated and inspired by the great Mid-West. Arend's work, although small in size, encapsulates the wide open spaces that yielded minerals or gave rich farming land, as in Arends' native Iowa.

Arends' first love in the arts was abstract expressionism, in particular De Kooning's early work and, though his first visit to Europe was injudicious, he obtained a great appreciation and understanding of early Renaissance work, the frescoes of Giotto and later for da Vinci's Last Supper. And yet, the desert is his 'heimat', and he has a sense of belonging in the dry, arid land found in New Mexico where Arends has made his home since the 1980s. His love of this landscape and awe of the delicate infrastructure so necessary for life on the edge has concentrated his art practice. Economy of means and limited palette combine to create paintings with infinite views.

The works, even though they have a real physicality, come out of traditional painting, not sculpture. As such, they are concerned with the basic painting issues of color, light, space, scale, surface and so on.
The work has remained relatively small over the years. This is because the objects deal with issues of immediacy and the potential for intimacy between the artist and the viewer, which is, for me, where the aesthetic experience exists.
(Stuart Arends, 2006)                                        

early works 1960s-1970s: SOL LEWITT | JUNE-SEPT 2008 | BJORN RESSLE GALLERY, NEW YORK, NY.

Wall Drawing #4: A square divided horizontally and vertically into four equal parts, each with lines in different directions, 1969

(CURRENTLY IN THE PERMANENT COLLECTION OF THE CLEVELAND MUSEUM OF ART)


MARJORIE WELISH : PAINTING AS DIAGRAM | APRIL - JUNE 2008 | BJORN RESSLE GALLERY | NEW YORK, NY.

CRITICAL REVIEWS


AESTHETICS OF INFINITY : TADDAKI KUWAYAMA | MARCH - APRIL 2008 | BJOrn RESSLE GALLERY, NEW YORK, NY.

CRITICAL REVIEW: BROOKLYN RAIL APRIL 2008 | ART IN AMERICA APRIL 2009


GROUP SHOW: ONE | DEC-JAN 2008 | GUEST CURATOR : DOVE BRADSHAw | Bjorn Ressle gallery, new york, NY.

William Anastasi | Carl Andre | Robert Berry | Dove Bradshaw | Marcia Harfif | Jene Highstein | Sol LeWitt | Melissa Kretschmer | Richard Nonas | Marrill Wagner

NEW YORK TIMES : JANUARY 5, 2008


HOWARD SMITH | 2008 | BJORN RESSLE GALLERY, NEW YORK. NY

CRITICAL REVIEW : BROOKLYN RAIL MARCH 7, 2008


DAN FLAVIN | june-sept 2007 | BJORN RESSLE GALLERY, NEW YORK. NY

MONUMENT FOR V. TATLIN, 1966

CHECK LIST

  • Untitled (For Don Judd, Colorist) | 1987 | Colored pencil and black ink on rag graph paper | 17 x 22 inches (43,2 x 55,8 cm)
  • Untitled (To Paulina) | 1971 | Red Yellow, Pink and Blue fluorescent light across the corner | Height: 4 feet, 122 cm With: 2 feet, 61 cm | Edition of five, fabricated five
  • White around a corner | 1965 | Cool white fluorescent light | Height: 8 feet, 244 cm | Edition of three, fabricated 1
  • Untitled (Monument for V. Tatlin) | 1966 | Cool white fluorescent light | 12 feet high, 366 cm | Edition of five, fabricated four

TWO MEN SHOW : ANNE SENSTAD & DAN FLAVIN | 2007 | BJORN RESSLE GALLERY, NEW YORK. NY


PORTRAIT OF NATURE : RAGNA BERLIN | NOV - JAN 18 2006 | BJORN RESSLE GALLERY, NEW YORK, NY.

Berlin’s paintings can be looked at from a strictly formal point of view, but the abstract compositions also bear meaningful intimate communication. In their transcendental qualities the canvases recall a high modernist idiom, her own version of color field painting close to the mysterious sublime of Barnett Newman and Mark Rothko. But apart from the similarities on the level of the sublime, there is also a strong sense of humor in Berlin’s paintings, allowing for suggestive interpretations.

This jocose vein of Berlin’s œuvre becomes obvious also in the relationship between the canvases and the installations of painted biomorphic dots in the gallery space itself. Here, Berlin occupies the corner of a room: while defining or reconfiguring space, her monochromatic painting simultaneously dissolves boundaries. Standing in a position right in front of the painting, it shows as the perfect sphere, again floating in indeterminate space, but it could also be read as an illusion of a hole in the wall. Moving back and forth, or moving from one side to the other, the shape is distorted and an amorphous blob is produced. Thus the paintings on the wall are disturbing, yet peaceful, just like the canvases, as they create an effect of formlessness or even of a void.

REVIEWED: 

NY TIMES, ART FORUM, TIMEOUT, DAGENS NYHETERS, SVENSKA DAGBLADET, etc.


FIVE MINIMALIST ARTISTS | 2006 | BJORN RESSLE GALLERY, NEW YORK. NY

Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Fred Sandback

  * Installation shot from the show at Bjorn Ressle Gallery in New York    Sol LeWitt WALL DRAWING #1024, 2002   Within a six by six feet square, 10,000 straight lines approximately six inches each drawn with pencil at random and within a six foot diameter circle, 10,000 not straight lines approximately six inches each drawn with pencil at random

* Installation shot from the show at Bjorn Ressle Gallery in New York

Sol LeWitt WALL DRAWING #1024, 2002

Within a six by six feet square, 10,000 straight lines approximately six inches each drawn with pencil at random and within a six foot diameter circle, 10,000 not straight lines approximately six inches each drawn with pencil at random


WILLIAM ANASTASI: WORKS FROM THE 60'S TO THE PRESENT | MAY-JULY 2006 | BJORN RESSLE GALLERY, NEW YORK. NY

Björn Ressle Fine Art, in collaboration with the artist, is pleased to announce the exhibition William Anastasi: Works from the 60’s to the Present. It will run from May 17 through July 31.

In our current exhibition Anastasi is re-creating for the first time in the United States a prophetic minimal sculpture from 1964, then untitled. The original, as it stood in his Greene Street studio 42 years ago consisted of one hundred twelve silica bricks that were stacked on edge in eight header courses of sixteen. Since silica bricks are no longer manufactured the contemporary equivalent concrete bricks have taken their place. Other works from the sixties will include Sink, 1963 (hot-rolled steel and water) and blind works (Subway Drawings and Pocket Drawings) both recent and vintage, along with a wall-sized, timed blind drawing from a series started in the mid-eighties. In addition there will be two cardboard reliefs from 1963 and another relief, the video tape version of Beethoven’s Fifth Symphony*, after the 1965 audio tape version (now in the Ganz collection) and Trespass, 1966. The exhibit includes as well the first public viewing of Anastasi’s large format Polaroid piece Nine Photographs of the Artist, 1999.

In the catalogue for Anastasi’s retrospective at the Nicolaj Copenhagen Contemporary Art Center, 2001, director Elisabeth Delin Hansen writes: Between 1966 and 1970 William Anastasi gave four exhibitions at the Dwan Gallery in New York. With the twenty-twenty vision granted by hindsight, these four shows can now be described as epoch making. However, he received only slight attention at that time outside of an extremely narrow circle.  In fact, a number of his works from the early 60’s onward anticipated to a startling degree certain important works by a number of artists including, among others, Andy Warhol, Robert Rauschenberg, Eva Hesse, Robert Smithson and Richard Serra

Thomas McEvilley, in his essay for that same retrospective catalogue writes; His work was fundamental to the formation of Conceptual Art. The incisiveness and accuracy of his intuition in the years when the thematics of Conceptualism were being worked out stand at the forefront of a canonical list of American names such as Lawrence Weiner, Joseph Kosuth and Douglas Huebler. The Artforum review for that retrospective states directly “Anastasi’s work has been seminal”.  Sculpture Magazine’s review begins with William Anastasi is indisputably one of the most underrated artists of his generation. And this was echoed in the review for the Anastasi – Bradshaw – Cage - Cunningham exhibition in San Diego, 2005: The last half of the twentieth century award for ‘Criminally Underrated’ surely belongs to Anastasi.

CRITICAL REVIEW : BROOKLYN RAIL JUNE 12, 2006

ART IN AMERICA : December 2006, Pgs 138-141

NEW YORK TIMES : ART IN REVIEW JULY 14, 2006 & ARTNET ONLINE : JULY 18, 2006


GALERIE RESSLE | STOCKHOLM, SWEDEN

JOSEPH ALBERS | ARMAN | OLLE BAERTLING | JUHANA BLOMSTEDT | NICOLA DEMARIA | JIM DINE | CLAES EKLUNDH | LARS ENGLUND | JEAN FAUTRIER | LUCIO FONTANA | DAN FLAVIN | RUNE HAGBERG | ROBERT JACOBSENRUNE JANSSON | JASPER JOHNS | DONALD JUDD | PER KIRKEBY | YVES KLEIN | ALEX KNIPSCHILD | ANDERS KNUTSSON | OLLE KAKS | SOL LEWITT | ALF LINDER | EVERT LUNDQUIST | ROBERT MANGOLD | ANTHONY O'CARROLL | GUNNAR OKNER | ERIC HOLSON | MIMMO PALADINO | ROBERT RAUSCHENBERG | RICHARD SMITH | ERNESTO TATAFIORE | GUNTER UECKER