Category Archives: Uncategorized

40 Mt and everything in between

toxic_40_mtOpen the 360° view

40 Mt and everything in between
from 15 to 29 October 2016 c/o FarsettiArte (Prato Italy)

toxic_40mt_03 toxic_40mt_04
toxic_40mt_05 toxic_40mt_06

What’s next, Toxic?
by Veronica Santi

In this city that is famous for its yarn production, Torrick Ablack, known as Toxic in the art world, chooses denim – the fabric that is a symbol of American economic imperialism – as a base for the site-specific circular work he has made for Galleria Farsetti’s premises in Prato. It is forty meters long and two and a half high, exactly like two cars of the New York subway: the cloth, which runs seamlessly on the walls, contains a condensation of a symphony of symbols and meanings cultivated by the artist in the course of 35 years of pictorial and metropolitan practice.

At a very young age, Toxic C-One joined the circle of the “kids” who had grown without any school training and gravitated around Fashion Moda, the Bronx art gallery that was a breeding ground of the nineteen-eighties graffiti art in New York. Subsequently, together with A-One and Koor B-One, and under the influence of the theories of Rammellzee and of the friendship of Jean Michel Basquiat, he developed his own pictorial language starting from the study of the capital letters in the front pages of Medieval illuminated manuscripts, which were usually disguised as highly sophisticated decorations. His goal was, and is, to revive examples relative to a communication method that hides a deeper message behind the initial charm of the colors or patterns. How can this be done? By using what Francesca Alinovi called collage thought: juxtaposed images and symbols, “islands of meaning”, “isolated fragments of significance”, held together without an ostensible or traditionally-understood logic: “The fact that our consciousness has exploded into a myriad of subliminal associations is demonstrated by the impossibility of accepting the univocal meaning of our history and also of our lives. Every day we simply encounter clusters of events, masses of concepts that accumulate haphazardly in our minds, and we are unable to unravel the tangled thread that ties them up.” (F. Alinovi, “Lo Slang Del 2000”, Flash Art no. 115, 1983).

This work is a point of arrival and redeparture: in “40 meters and everything in between” the concepts expressed by the artist are the ones he has developed in the course of his career, but his point of view has changed deeply. Above all, the rhythm is different from that of the past. While in the nineteen-eighties the cars of the New York subways were the city arteries in which the pictorial messages of the “kids” flashed by like bullets, nowadays images and pieces of information come out of our rooms and spread throughout the world at a click on a flat screen. Boundaries are blurred; gone are the distinctions between inside and outside, center and margins, street and gallery, works of art and us. In this speed of displacement, whether real or virtual, there is a constant overlapping, and also proliferation, of meanings. And while Toxic still strives for the creation of a language that can reveal and boycott the mechanisms of communication and mass control, here, in this room, he is asking us to take a further step forward, to stop, to immerse ourselves completely in his art, in order to regain possession of our skin and to reactivate it.

“40 meters and everything in between” begins with the symbol of infinity, proceeds with a spiral movement, then plunges into pure color, that is into our emotions. Among the painted elements, “in between”, our eyes ramble adventurously, our minds recognize, apprehend, rest and associate, punctuating a time that is individual, flows by and disrupts the mechanisms that are dictated by the computers’ immediate system. We are at the center of the empty room. We too are “in between”.

toxic_40mt_01 toxic_40mt_02


What’s next, Toxic?
Di Veronica Santi

Nella città dei filati, Torrick Ablack, in arte Toxic, sceglie il jeans – materiale simbolo dell’imperialismo economico americano – come supporto dell’opera circolare realizzata site specific per la sede a Prato della galleria Farsetti: quaranta metri di lunghezza per due metri e mezzo di altezza, esattamente come due vagoni della metro di New York, per una tela che scorre lineare sulle pareti condensando al suo interno una sinfonia di simboli e significati coltivati dall’artista nel corso di 35 anni di pratiche pittoriche e metropolitane.

Entrato giovanissimo nella cerchia dei kids cresciuti senza formazione scolastica intorno a Fashion Moda, la galleria d’arte nel Bronx officina del graffitismo newyorkese degli anni ‘80, Toxic C-One, insieme A-One e Koor B-One, influenzato dalle teorie di Rammellzee e dall’amicizia con Jean Michel Basquiat, ha maturato il proprio linguaggio partendo dallo studio delle lettere maiuscole che occupano la pagina iniziale dei codici miniati medioevali e che sono solitamente camuffate da decorazioni sofisticatissime. L’obiettivo era, ed è, quello di riprendere esempi riguardanti una metodologia di comunicazione che nasconde, oltre il fascino iniziale dei colori o del pattern, un messaggio più profondo. Come? Utilizzando quello che Francesca Alinovi definiva il pensiero a collage: immagini e simboli accostati tra loro, “isole di significato”, “frammenti isolati di senso” tenuti insieme senza una logica apparente o tradizionalmente intesa: “che la nostra coscienza sia esplosa in una miriade di associazioni subliminali lo dimostra l’impossibilità di accettare il senso univoco della nostra storia e anche quello della nostra vita. Ci troviamo di fronte, quotidianamente, a semplici aggregazioni di eventi, a grappoli di concetti che si accumulano alla rinfusa nelle nostre menti senza che sia possibile dipanare il filo aggrovigliato che li lega” (F. Alinovi, “Lo Slang Del 2000”, Flash Art n.115, 1983).

Come un punto di arrivo e di ri-partenza, in “40 meters and everything in between” i concetti espressi dall’artista sono quelli maturati nel corso della sua carriera, ma il punto di vista è cambiato profondamente. Soprattutto, è il ritmo a essere diverso rispetto al passato.
Se negli anni ‘80 i vagoni della metro di New York erano le arterie della città su cui correvano, come dei proiettili, i messaggi pittorici dei kids, oggi le immagini e le informazioni escono dalla nostra stanza per attraversare il globo intero su uno schermo piatto con un click. I confini sono sfumati, non esiste più un dentro e un fuori, un centro e una periferia, la strada e la galleria, l’opera d’arte e noi. In questa velocità di spostamento, reale o virtuale, c’è una sovrapposizione continua dei significati, oltre la loro proliferazione. E se l’obiettivo per Toxic continua a essere teso verso la creazione di un linguaggio che possa svelare e boicottare i meccanismi della comunicazione e il controllo delle masse, qui, in questa stanza, l’artista ci chiede di fare un passo aggiuntivo, di fermarci, di immergerci completamente nella sua arte per riappropriarci della nostra pelle, riattivare l’epidermide.

“40 meters and everything in between” inizia con il simbolo dell’infinito, segue un movimento a spirale per poi gettarsi nel colore puro, cioè nelle nostre emozioni. Tra un elemento dipinto e l’altro, in between, il nostro occhio si avventura, la nostra mente riconosce, conosce, riposa e associa, scandisce un tempo che è personale, sfugge, sovverte i meccanismi imposti dal sistema immediato dei computer. Ci siamo noi al centro della sala vuota. Siamo anche noi in between.

Intervista a Toxic a cura di LA REPUBBLICA
13 Ottobre 2016
di GAIA RAU

Toxic, a scuola di street art: “Così svelerò ai ragazzi fiorentini la forza dei graffiti”
Artista americano, compagno di imprese di Basquiat nel Bronx alla fine degli anni ’70, arriva a Prato per un’opera site-specific. E presto lezioni agli studenti

Dai graffiti sui vagoni della metropolitana nel Bronx, alla fine degli anni ’70, alla consacrazione nei più prestigiosi musei di arte contemporanea. Toxic, al secolo Torrick Ablack, artista statunitense classe ’65, è oggi riconosciuto come un pioniere della street art al pari di Basquiat o Rammelzee, con i quali ha condiviso i primi passi. In questi giorni è a Prato, ospite di Farsettiarte, dove sabato alle 18, in concomitanza con la riapertura del vicino Pecci, inaugurerà una sua grande opera site-specific: una tela lunga 40 metri in jeans che occuperà l’intero salone circolare della galleria, pensata per offrire una sorta di sintesi antologica, e immersiva, del suo lavoro. L’installazione, accompagnata da un testo critico di Veronica Santi, resterà poi esposta fino al 29 ottobre.

Come è nato questo progetto?
“Quando Sonia Farsetti mi ha chiamato, ad aprile, mi ha detto di avere in mente un’installazione che ricordasse le Ninfee di Monet all’Orangerie. Mi sono detto “ok, proviamo”. Non mi spaventavano le dimensioni dell’ambiente: in Polonia ho dipinto un palazzo di sei piani, e in fondo 40 metri equivalgono a due vagoni di un treno. Mi preoccupava, piuttosto, realizzare un progetto che desse continuità a un’idea. Alla fine ho deciso di attingere a disegni realizzati negli ultimi anni e di presentarli in un movimento continuo, usando come base una tela di jeans. Perché proprio il jeans? Volevo fare qualcosa di unico, e mi piace l’effetto della vernice sui miei pantaloni, quando dipingo. In più trovavo interessante lavorare con un materiale prodotto qui a Prato”.

A Firenze, dove lei ha vissuto, un nuovo regolamento comunale prevede che ai writer vengano riservati alcuni spazi cittadini. È d’accordo?
“Assolutamente. Non solo: da anni mi confronto con Cristina Giachi proprio su questo tema. Ci sono moltissimi luoghi, a Firenze e in periferia – penso ai sottopassi, o alle vecchie stazioni come quella di Calenzano – che oggi sono solo asfalto, e che possono offrire ai giovani artisti una grande opportunità per esprimersi, per diventare qualcuno. E, perché no, guadagnare un po’ di soldi. È una cosa che altrove esiste già, e funziona: a Buenos Aires un intero quartiere è dedicato alla street art, e gente arriva da tutto il mondo per fotografarlo. Queste opere potrebbero poi finire su gadget e t-shirt diventare una risorsa anche dal punto di vista economico. Credo sia fondamentale dare alla street art una nuova direzione che non sia quella del vandalismo. E, al tempo stesso, offrire ai giovani idee e occasioni: Firenze è una città meravigliosa, ma non si può vivere di solo Quattrocento. Altrimenti il risultato è che la migliore galleria di arte contemporanea della Toscana la trovi a San Gimignano, e non qui. Con Cristina abbiamo parlato della possibilità di tenere seminari e laboratori di street art nelle scuole: è un’idea che mi entusiasma”.
A Bologna, Blu ha cancellato i suoi murales perché non finissero in una mostra. Cosa ne pensa?
“Che, nel momento in cui metti una tua opera in strada, non è più tua. Più in generale, non amo questo atteggiamento “hardcore” del mondo underground, soprattutto italiano. Rifiutare il successo in nome di una fantomatica autenticità, come se essere povero ti rendesse più credibile. Oggi, poi, non è più come negli anni ’80: i mezzi sono diversi, la street art la puoi studiare all’università, e se vuoi fare un graffito non corri gli stessi rischi di allora. In questo contesto, un artista che si arrabbia perché una sua opera viene scelta per una una mostra è come un musicista che se la prende perché un suo pezzo va in radio”.
Il Bronx di fine anni ’70 in cui ha mosso i suoi primi passi è diventato una serie televisiva su Netflix,”The Get Down”. Che effetto le ha fatto?
“Ho visto solo la prima puntata. Penso che in queste operazioni ci sia tanto romanticismo, e un minimo di verità. Quello che è successo in quegli anni è stato documentato da libri, video, c’è poco da inventare. Eppure, qui lo hanno fatto. È assurdo, ma funziona. Basta non pensare che si tratti di una visione definitiva”.

 

 

Articolo sull’esposizione a cura di PRATOSFERA
11 Ottobre 2015

Toxic a Prato, una tela di 40 metri per raccontare la street art
Toxic, uno dei nomi storici della street art americana sbarca a Prato con un’opera site specifici: una tela di jeans lunga 40 metri.

toxic--640x246

Arriva a Prato Torrick Ablack, meglio noto con lo pseudonimo di Toxic,uno dei pionieri della street art. Nei locali di Farsetti Arte, sta appunto portando a termine un’opera gigantesca chiamata “40 Meters and Everything in Between”, “concepita, progettata ed eseguita appositamente per questa occasione”, si legge nella presentazione.

“Si tratta di una grande tela di tessuto jeans lunga quaranta metri – si legge ancora nella presentazione – che occuperà tutto il salone principale di Farsettiarte e che costituirà una sorta di sintesi antologica dell’arte, della poetica e della carriera pluridecennale dell’artista statunitense”.

L’opera verrà inaugurata sabato 15 ottobre alle 18 negli spazi di viale della Repubblica e rimarrà visibile fino al 29 ottobre.

257it-40_Meters_Toxic_@Farsettiarte_15_10_2016

“Torrick Ablack, meglio noto con lo pseudonimo di Toxic, è nato a New York, nel Bronx, nel 1965, da una famiglia di origini caraibiche” si legge sul sito di Farsetti Arte. “Fin dall’adolescenza cominciò ad esprimere le sue idee ed emozioni sui muri e sui vagoni della metropolitana di New York, frequentando i primi esponenti del movimento graffitista, tra cui A-One, Koor e Jean Michel Basquiat. Nel 1982 si recò a Los Angeles ed entrò in contatto con molti esponenti delle avanguardie artistiche internazionali”.

“Tra il 1982 ed il 1985 partecipò a varie esposizioni collettive, in particolare alla Fashion Moda Gallery e alla Sidney Janis Gallery. Alla fine degli anni Ottanta – si legge ancora – si trasferì dapprima in Italia, poi in Francia. Negli ultimi trent’anni ha vissuto ed esposto in Europa, anche se ha mantenuto stretti legami con l’America. Nel 2006, ad esempio, la mostra “Graffiti Basics”, tenutasi al Brooklyn Museum lo ha riconosciuto come uno dei maestri e pionieri della Street Art. Oggi le sue opere sono conservate nelle maggiori collezioni pubbliche e private di tutto il mondo”.

 

 

GET IN WHERE YOU FIT IN

Get in where you fit in
du 16 juin 2016 au 27 juin 2016, Galerie Geraldine Zberro, Paris 
1.

 

 

 

 

 

 

 

 

Nous l’attendions en solo show a Paris depuis 10 ans, Torrick Ablack, plus connu sous le nom de Toxic, revient enfin avec l’exposition “Get in where you fit in” réunissant ses oeuvres les plus récentes.
L’exposition aura lieu à la Galerie Géraldine Zberro du 16 au 27 juin 2016.

Toxic, reconnu comme l’un des pionniers du street art des années 80, présentera des peintures toujours influencées par le lettrage parfois poussé jusqu’à l’abstraction. Il nous livre un univers complexe et coloré, composé de symbols et de tags. Sa maitrise des couleurs reste intact et bien reconnaissable. Ses oeuvres expriment force et apaisement En collaboration avec le photographe Fred Atax, des photos de Haiti retravaillées à la bombe seront également présentées, ainsi que des dessins, afin de montrer l’ensemble de son travail actuel.
Né en 1965 dans le South Bronx, l’américain Torrick Ablack, d’origine Caribéenne, est l’un des précurseur du mouvement Graffiti des années 80. Toxic, grandit dans le Bronx et commence à l’âge de 13 ans à graffer sur les trains et les murs de New York, aux côtés de ses amis.
Compagnon de route de Jean-Michel Basquiat, il forme avec lui et Rammelzee le groupe des Hollywood Africans, nom d’un célèbre tableau de Basquiat.
Toxic apparaîtra dans trois oeuvres de Basquiat. La plus connue, réalisée en 1984, le représente en pied et porte son nom « Toxic ».Cette œuvre est exposée au Whitney Museum.
Dans les années 80, il expose régulièrement à New York à la célèbre Galerie Fashion Moda et chez Sidney Janis. Depuis 30 ans, son talent et son succès, auprès d’un public averti, ne se sont jamais démentis. Il est exposé partout en Europe.
En 2006, le Brooklyn Museum rend hommage aux précurseurs du mouvement graffiti et consacre Toxic comme artiste majeur aux côtés de légendes comme NOC 167 et Bear 167.
Il est aujourd’hui reconnu comme un des grands maîtres qui ont su transporter le street art vers les sommets de l’art contemporain
Lors de la vente street art chez Artcurial en février 2016, Toxic gagne la mention prix record avec une oeuvre vendu aux enchères à 26000 euros.

IMG_3255-e1467650462864-480x600 IMG_3252-e1467650490784-480x600

IMG_3249-e1467650530130 IMG_3247-e1467650478327

IMG_3244-e1467650505440 IMG_3239-e1467650516566


TABLE RONDE CONFERENCE at PIASA

PRESSURE ART, MASTERPIECES DU GRAFFITI SUR TOILE 
curated by Alain Dominique Gallizia
Vendredi 23 octobre à 18 heures chez Piasa, Paris

Avec la participation de Alain-Dominique Gallizia, commissaire d’exposition et TOXIC, artiste.

Alain Dominique Galllizia
Alain Dominique Galllizia

Pressure Art —Vintage Vente: jeudi 29 octobre 2015 à 15 heures
Cette vente, la première uniquement consacrée aux tableaux d’époque, permet de faire la lumière sur les œuvres fondatrices et rarement présentées en dehors des expositions récentes du Grimaldi Forum de Monaco et de la Pinacothèque de Paris. Le faible nombre de tableaux produits à cette époque explique le nombre restreint d’œuvres de qualité sélectionnées pour cette vente, dans laquelle tous les maîtres précédemment cités sont représentés, par leurs tableaux ou esquisses préliminaires. L’exposition sténographiée qui la précèdera permettra à un nouveau public de découvrir, non seulement des artistes, mais bien plus encore, un art, celui qu’ils ont créé, le Pressure Art ou Pressionnisme…

TOXIC - Self, 1984 - Peinture aérosol sur toile
TOXIC – Self, 1984 – Peinture aérosol sur toile

 

GRAFFITI. NEW YORK MEETS THE DAM

TOXIC IN AMSTERDAM MUSEUM
11947431_883822465028636_9079423835539626883_n
GRAFFITI. NEW YORK MEETS THE DAM
The Martin Wong Collection in the Amsterdam Museum.
September 18, 2015 – January 24, 2016

Toxic is, among other big names of the New York City graffiti scene, at the Amsterdam Museum, till next January 2016.
The Amsterdam Museum has joined forces with The Museum of the City of New York to bring works by big New York names like Keith Haring, Lee Quiñones and Lady Pink to the Netherlands for this unique exhibition.
Their story will be added to with work from the Amsterdam graffiti scene. This will include work that has never been exhibited before, by graffiti artists like Shoe, Delta and Cat22, plus photographic and video material, sketch books (‘black books’) and objects like clothing. The exhibition will run up to and including 24 January 2016.

Toxic signing the wall at show vip opening_17.09

Toxic signing the wall at the press preview.

The ‘Graffiti. New York meets the Dam‘ exhibition opened in the Amsterdam Museum on 18 September 2015. This is a real first: never before has an exhibition been dedicated solely to graffiti in New York and Amsterdam. Featuring more than 200 objects, the exhibition tells the story of how graffiti reigned supreme in 1980’s New York and reached across the ocean to inspire Amsterdam graffiti writers too.

TOXIC & MAISON PIERRE FREY

TOXIC & LA MAISON PIERRE FREY, PARIS
Logo-Pierre-Frey-détouré

A NEW COLLECTION DESIGNED BY TOXIC.
A wallpaper, a printed linen and – most striking of all – ‘No Toys Allowed’, a panoramic wall covering.

Maison Pierre Frey has always worked with contemporary artists, bringing forth talents from around the world whose works are reflective of the times. It was therefore quite natural that Pierre Frey went to meet with Toxic in his Saint Denis workshop to absorb his environment and his work. Through his paintings, Toxic has managed to carry “Street Art” to the level of contemporary art. By exploring the world of the home, his art now evolves well beyond the street.

No toys allowed, 2010 - Private collection

No toys allowed, 2010 – Wallpaper

The Grandson of the founder of La Maison Frey and the graffiti artist discovered they are on the same wavelength. Although free-spirited and independent, they both respect the importance of tradition and method. From this mix is born an unexpected collection; a fabric, a wallpaper and a panel of bright colors and abstract shapes spray painted. Eighty/Thirthy wallpaper, a name that is a nod to the 80 year history of Pierre Frey and 30 year history of work by the artist Toxic. Also available in print on linen fabric.

Toxic & Maison Pierre Frey Paris, Fabric Print, Linen

Toxic & Maison Pierre Frey Paris, Fabric Print, Linen
Toxic No Toys allowed - Wallpaper Photo : Martin Müller - Grazia Casa - Issue May 5, 2015

Toxic No Toys allowed – Wallpaper Photo : Martin Müller – Grazia Casa – Issue May 5, 2015

TOXIC & PRECIOUSLY PARIS

TOXIC & PRECIOUSLY PARIS.
Screen Shot 2015-09-25 at 20.47.30

AN EXPLOSIVE CAPSULE COLLECTION OF SIX EXCLUSIVE DESIGNS.
Preciously Paris works in association with the New Yorker artist Toxic.
Stores in France: exclusively at L’Eclaireur.

It was strolling, on Madison Avenue, in Larry Gagosian’s bookshop, her friend and famous Art Dealer, that Carole Tessier, the founder of Preciously Paris, spotted Toxic’s works leafing through a Street Art book. It was love at first sight. Designer, architect and contemporary art lover, Carole Tessier works very closely with many artistic designers.

Toxic and Carole Tessier, 2015
Toxic and Carole Tessier, 2015

Toxic’s world, overwhelming with colors, echoes its pop and neon creations, embroidered and customized clutches borderline between art and fashion. Carole offers a unique project to the artist, bringing together two styles theoretically contradictory. Street Art popular world comes and shakes up Haute-Couture refinement. Toxic and Carole Tessier work with their four hands and imagine a highly desirable capsule collection.

TEASER TOXIC & PRECIOUSLY PARIS COLLABORATION from Pink Heater on Vimeo.

On the basis of leather pieces tagged with original graffiti by the artist, Carole hand-embroidered, with traditional embroidery techniques, fine gems, pearls and other golden, silver or color wires to create six exclusive models of precious clutches, each one available in ltd 12 copies. Like every other creation of the House, models by Preciously Paris & Toxic are presented in their beautiful case.

To see the full TOXIC collection visit Preciously Paris website.

LE PRESSIONISME

TOXIC AT LA PINACOTEQUE DE PARIS
le_pressionnisme-pinacotheque_paris-48-rightandhype

LE PRESSIONISME
The Masterpieces of Graffiti on canvas from Basquiat to Bando

12 March 2015 – 18 October 2015

The exhibition brings together, from March 12, 2015 in the Pinacothèque de Paris nearly one hundred paintings, carried out between the 1970s and 1990s by the greatest masters of graffiti on canvas. These masterpieces will highlight the hidden history of that movement, unfairly linked to tagging and incorrectly identified by official Art history.
If the recent paintings of urban art are obvious to the large public who sees them in the galleries, very few people know that, since the 1970s, the graffiti artists created in studios a genuine production on canvas, far from the street and from Street Art, to which they are nowadays relegated. Indeed, from the very start, graffiti artists, among whom were Coco and Phase 2, gathered around Hugo Martinez within the UGA (Union of Graffiti Artists) in order to exhibit their works in galleries.

Peace 2 the 3rd Power
Toxic Peace 2 the 3rd Power@ The Pinacotèque, Paris

Andy Warhol approached and linked to his own story two artists taken from the world of graffiti : Keith Haring and Jean-Michel Basquiat (presented in this exhibition), covering the 1970s through the 1990s. The movement, in its entirety, with its history and its grand masters remained, for its part, remote from the classical art scene, and from the eyes of the public, which can finally discover it and admire its masterpieces.

 

Visions of the Ludwig Collection

TOXIC AT CENTRO CULTURAL DO BRASIL
obra-de-andy-warhol-presente-na-exposicao-visoes-da-colecao-ludwig-em-cartaz-de-25-de-janeiro-a-7-de-abril-no-ccbb-sp-1389805332854_956x500

VISIONS OF THE LUDWIG COLLECTION
CCBO – Sao Paulo, Rio de Janeiro, Belo Horizonte.

January 31, 2014 – October 21, 2014

Sponsored by Ministry of Culture and Curators: Evgenia Petrova, Joseph Kiblitsky, Ania Rodríguez, Rodolfo de Athayde.

A lifetime dedicated to collecting art can be the dream of many. But when an immense collection is available to the public in various cities of the world, this dream becomes reality through the impact and transformation that causes in the lives of people who have the opportunity to come in contact with these works. This is the case of the Ludwig Collection, which over time is reaffirmed and redefined by extending their tentacles: more than a collection, several institutions; More than seats, a full foundation dedicated to research on art.
The breadth of the collection is reflected in the exhibition we present here: heterogeneous with respect to pooled, the diverse origins of the creators, hybrid directions in their artistic tendencies. The public will have the opportunity to participate in this polyphony, in which multiple voices of artists from diverse backgrounds establish dialogues and build ties between them unpublished. Pop, photorealism, neo-expressionism, among many other variants of representation, form part of this show.

Toxic - Life, Liberty and the Pursuite of Happiness 1985

Toxic – Life, Liberty and the Pursuite of Happiness 1985 @ CCBB Brasil exhibition

The question of artistic expression is not the only guide of the collection, but also the diagnosis of contexts, the ability to grasp the vision of each artist in this world and rebuild their cultural surroundings. It’s a tangled web, paves the intersecting lines of an artist to another, from one geography to another. As a conductor of his own symphony, the public is also invited to speak, sharpen your ear to let flow improbable dialogues and in coping with various works, develop a vision of broader and richer world.

To download the exhibition catalog follow this link.

CITY AS CANVAS

TOXIC AT THE NEW YORK CITY MUSEUM
city_as_canvas_hero

CITY AS A CANVAS
Graffiti Art mrom the Martin Wong Collection

February 4 – August 24, 2014

First Exhibition of the Martin Wong Collection, Featuring 150 Works by CEY, DAZE, DONDI, FUTURA 2000, Keith Haring, LADY PINK, LEE, TRACY 168, and More New York Graffiti Artists of the 1970s–’80s Detail from Lee Quiñones, Howard the Duck, 1988 New York, February 3, 2014 – The Museum of the City of New York presents City As Canvas: Graffiti Art from the Martin Wong Collection, the first exhibition of the treasure trove of 1970s and ’80s graffiti art amassed by artist and pioneering collector Martin Wong, who donated the entire collection to the Museum in 1994.

The exhibition features seminal paintings and “black book” sketches by CEY (Cey Adams), DAZE (Chris Ellis), DONDI (Donald White), FUTURA 2000 (Leonard McGurr), Keith Haring, LADY PINK (Sandra Fabara), LEE (Lee Quiñones), RAMMELLZEE, SHARP (Aaron Goodstone), TRACY 168 (Michael Tracy), ZEPHYR (Andrew Witten), and many more New York graffiti artists, as well as photographs by Charlie Ahearn, Henry Chalfant, Martha Cooper, and Jon Naar that show the era’s graffiti-covered subways and buildings.

Toxic - Bubble self, 1983 - Martin Wong graffiti collection

Toxic – Bubble self, 1983 – Martin Wong graffiti collection

City as Canvas opens Tuesday, February 4 and will remain on view until Sunday, August 24, 2014. 1 City as Canvas explores the cultural phenomenon of New York City graffiti art, beginning with historical photographs of graffiti long erased from subways and buildings, and delving into paintings and sketchbooks collected by Martin Wong (1946–1999). Graffiti emerged as a powerful form of self-expression in New York City in the 1970s. With Wong and his friends at its epicenter, the movement evolved from illicit expressions on subway cars and station walls to colorful paintings embraced as valuable works of art by collectors and patrons from the Downtown scene of the 1980s.

NEW ACQUISITIONS – RARELY SEEN WORKS at the Ludwig Museum, BUDAPEST

TOXIC AT THE LUDWIG MUZEUM IN BUDAPEST

469_9760-p

NEW ACQUISITIONS – RARELY SEEN WORKS
March 13, 2009 – June 14, 2009

The Ludwig Museum possesses a relatively small yet internationally significant collection of over 400 contemporary artworks. As the museum’s permanent exhibition is only able to show a small portion of the collection, we make an effort to present a fresh selection from time to time. This time we focus on the museum’s new purchases, in addition to artworks that have not been exhibited for a long time.

Rarely seen works, Ludwig Museum, Budapest. On the right : Toxic : Va fanguell!, 1984

Rarely seen works, Ludwig Museum, Budapest. On the right : Toxic : Va fanguell!, 1984

The core of the collection was donated by Irene and Peter Ludwig and comprises works by international artists from the sixties to the eighties, complete with a selection of works by major Central-European artists. In 1996 the collection received a new centre of gravity with the establishment of the contemporary art museum, which made it possible to purchase a number of works created during and after the political changes in Hungary.
Naturally, the Ludwig Museum cannot compete with the famous museums of modern and contemporary art, but it is unique in that it presents a region of a special historical and cultural context: the artistic achievements of the so-called “Eastern Block”. Museum purchases have always been guided by current tendencies in contemporary art and its major achievements, so that visitors could keep track of fresh developments from the exhibited works.

Artists featured in the exhibition: Gábor Altorjay, Gábor Bódy, Arno Breker, Rafał Bujnowski, Bukta Imre, Tomasz Ciecierski, Csontó Lajos, Ivan Chuikov, Brad Darius Davis, Denes Agnes, Esterházy Marcell, Ferenc Ficzek, Andreas Fogarasi, Péter Gémes, Gábor Gerhes, Sighard Gille, Tibor Hajas, Péter Hecker, Geoffrey Hendricks, Zuzanna Janin, György Jovánovics, Gyula Július, Krištof Kintera, Little Warsaw, Szabolcs KissPál, Tamás Komoróczky, Lady Pink , Antal Lakner, Jean-Jacques Lebel, Kim MacConnel, Rebecca Major, David Maljković, Dóra Maurer, László Najmányi, Timur Novikov, Chi Peng, Uwe Pfeifer, Dmitry Prigov, Stoph Sauter, Julian Schnabel, Lydia Schouten, Sean Snyder, Tamás St.Auby, János Sugár, Ernő Tolvaly – András Lengyel, TOXIC , Gyula.

To download the catalog follow this link.