Ausstellung

Group Show

Kleinformat

3 Mai — 24 Juni 2024

GOLESTANI is pleased to announce a new exhibition of small-format paintings by Ben Walker and Siegfried Anzinger. The small format emphasizes the artist's idea and the intimacy of the image—and requires an increased level of imagination and empathy, a close examination of the recipient. At the same time, it offers the possibility of condensing the essentials in the composition, and establishes abstraction and immediacy, that only drawing seems to be able to fulfill.

The exhibition takes place at DIANA New York—a cooperative exhibition space in the Lower East Side of New York on 127 Henry St, 10002 NYC. You are cordially invited to the exhibition opening Friday, May 3, 2024.

Opening reception
Friday, May 3, 2024
6—9pm



Artist statement Ben Walker: "My recent paintings refer to a distinct era of British culture and TV programmes and films—1970s and 1980s educational programmes for schools, children’s films and public information films. Looking back, television broadcasts and films from this time often seemed imbued with a strange, otherly quality. For example ‘Children of the stones’, an HTV production from 1977, was concerned with the subject matter and atmospheres that seemed odd or even unsettling for a broadcast aimed at children—eerily presented supernatural forces and the breakdown of normal society.
It is the setting of these films or images that is especially important to me, which draw heavily on relationships to the rural landscape, and present that landscape as a place that ‘’seems to offer security and yet it is somehow the location of menaces far more profound than those found in the city.’’ (Joe Kennedy, 2013). This is central to defining the overall mood of the paintings. Much of the source imagery seems familiar, comforting, and yet it is also unsettling or eerie. It is these qualities in the paintings, which are impressions of half-remembered, misremembered or an imagined past, that exist on the edges of memory and nostalgia where ideas of folklore, the unknown, the wyrd, science fiction and the supernatural are meshed together. Embedded in these paintings is the loss of childhood innocence and with it, the death of a bygone utopia. The paintings are on coarse-textured linen. The oil paint, thinned with turps, is scrubbed into the weave of the linen, and then may be removed and repainted over and over. Consequently, traces of earlier incarnations often remain visible in the finished picture, articulating the hauntological theme of the past repeating into the present."


Artist statement Siegfried Anzinger: "When the viewers think they are on familiar ground, they slowly lose that certainty, not the other way around. Many artists destabilize the viewers and ultimately the viewers are getting more and more secure and know what they have in front of them, and then it's all said and seen and done with. I would like to depart from clarity and reach a stage of dissolution, where you don't really know what's what in the end."


__
Ben Walker (b. 1974, British) received his MA in Fine Art from Wimbledon School of Art, London and BA in Fine Art from Sheffield Hallam University, Sheffield, UK. He has recently exhibited at Bergruen Gallery, New York, NY; PM/AM, London; Sto Lat, New York, NY; One Wall Gallery, Eugene, OR; Jack House Gallery, Portsmouth, UK; and CIMCOT, London, UK. His group exhibition venues include the Barbican Arts Trust, London; Zabludowicz Collection, London; The Art Pavilion, Mile End, London, UK; Terrace Gallery, London; and The ARB, University of Cambridge. In 2012, he was the recipient of the Jack Goldsmith Painting Prize. Walker lives and works in Kent, UK.


Siegfried Anzinger (b. 1953, Austrian) has held several notable national and international exhibitions such as the participation in Documenta 7 (1982) or representing the Austrian pavilion at the Biennale in Venice 1988. Anzinger was awarded the Oskar-Kokoschka-Prize in 1986 and the Grand Austrian State Prize for Visual Arts in 2003. His work is in the collections of the MoMA (New York City, US), Kolumba Museum (Cologne, DE), Belvedere (Vienna, AUS) and numerous other institutions. His influence extends to a young generation of artists as well. Not only since his professorship for painting at Kunstakademie Düsseldorf (1998-2021), Anzinger is more of a support system than a teacher, and stands for the freedom of expression in art. Until today, he continues his search for new solutions in painting.