Quartetfor Daniel Benjamin Gallery
4 Solo Shows, 4 Weeks, 4 Artists
With diverse practices spanning across the UK, Italy, and France these exhibitions give an insight into the unique experiences each artist had in the past year.
Sasha Ferré, Biofilm (pink), 2020.
Ferré’s work appears as a constant infiltration of absolute exteriority into the inside whereby the process or system opens itself up to the outside and that which is not instantly graspable. The outcome seems to be focused on abstraction, but is just permeated by noise whereby “all that is not information, not redundancy, not form and not restraints - is noise, the only possible source of new patterns” (Negarestani, 2008).
The process is one of a complex cyclical nature; ...
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Barbara Alegre, Adam, 2019
Sotto Sale Market peresents a series of works on paper by Barbara Alegre, an artist Sotto Sale Projects has been working with since its first exhibition in 2019.
Her artistic practice has always been intertwined with personal pain and moments of isolation that have shaped her life. Throughout the pandemic, Barbara’s experience has sadly been defined by the mourning that comes from the loss of loved ones.
These selections of gouache, watercolour and oil paintings stand for signification and oscillate between image, subject and object. Her interest in Romanticism and contemporary everyday life, embodies a stereotyped sense of love, faith and death. Perceived from the outside rather than as an intimate personal experience, it reinforces certain absurdity and comedy inside a reflective and quiet thinking.
Barbara’s ambivalent body of work is full of intimacy, beauty, and more than a pinch of pain. The use of text is subtle, embossed and almost phantasmagorical, but pleasantly experienced through visual touch. Like an inner bubble of speech or a thought. Like a song stuck to the head that becomes a pop lyric added to an image. A poetic resolution of nostalgia and mainstream culture.
About the artist: Barbara Alegre
Barbara Alegre is a Spanish visual artist currently working and living in Barcelona.She studied a Bachelor of Arts at Chelsea College of Art & Design, UCL, in 2004 and recently a Masters Degree in Painting at Royal College of Art.
Barbara’s work is attentive to ‘life forming questions’ which are probably accompanied with loneliness. Questions on time, memory and expiration, on the search of the origin, ontology, genealogy and identity, or on parenthood and the transmission of values.
Her practice contemplates different materials and approaches depending on the subject matter and the project. Therefore, figuration, conceptualisation, abstraction, text, painting, sculpture, photography are all - possible -resulting outputs.
The work supports the idea of art being a shelter or safe place. Somewhere to return and reflect. Where quietness, intimacy, contemplation and delicacy aim to bring protection and freedom. A motherly act of care and embrace.
Limerentimmersive-art + technology-experience
Limerent is an immersive art + technology experience for a single viewer.
Project by MH Sarkis (artist) and Antonia Eugenie (curator and producer)
You are invited to help us build, and be one of the first to experience a ground-breaking artwork, where interactive art, AI, and robotics converge in a totally new way.
Limerent is firstly unassuming, responsive, and knows its place. You, a viewer, see it overhead. You wonder, ponder, curiously...is that a come-hither glint in your eye? Your presence is a signal - Limerent is curious too. It descends, encompassing you within itself. It wants to know you.
We invite you to gain a deeper understanding of your own personal situation, in relation to the everchanging and somewhat collapsing world around you. We call for you to look within, and conversely, at those around you, by engaging with you directly.
Limerent’s aims are layered. It desires to further both interconnectedness and personal existence. It seeks to benefit and to be benefited from. It employs technology to preserve the self and the other, via a technofeminist lens.
Through Limerent, together we will seek to make greater connections.
Limerent is soft power.
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Limerent is due to premiere in the summer of 2021 (lockdown permitting) in London and tour other U.K. arts venues.
Progetto Incompleto Infinito/Matete Martini
Matete Martini, Roses, 2020
click here to see all the works!
Matete, urged on by the wish of re-analysing her relationship with the photographic medium, shares with us a tale made of cavities, explosions, solitude, love scenes and sexual encounters. The subjects of her compositions, herbs and fungi, become the medium of these experiments in photography/photographic experiments.
Merging autobiographical and fictive elements, the results are strong and balanced compositions that appear self-reflective. Yet the use of image manipulation, essential in her artistic process, as well as the choice of keeping the human body present, expose her predilection for third party perspectives. As seen in -Margarita, 2020- the process of layering becomes more and more complex. One lever of layering is present within the photographic and graphic manipulation process. The other - the human figure, and the growth of complexity of the lines - is drawn directly by the artist on the canvas. This process gives birth to a third dimension inhabited by the digital, the analog and the recorded.
Matete’s visceral fascination with herbs and fungi originates from their shapes and their existence within everyday life situations and memories. It is, in fact, within a context of an intimate dinner that some of these works were conceived.
“After a dinner with Margarita”...“I had to photograph them (the natural elements)”, “I had to find a way to incorporate them into my practice”.
This comes as no surprise when considering her previous work. For example, in -Cassandra, 2020- the artist creates an illusion of movement in the canvas through the almost chirurgic process of repetition of the same subject, as well as an analysis of the frames -again- to represent this motion. Yet, beyond the themes, inspirations, connections and technical aspects of her work, Matete is capable of arousing the curiosity of the viewer with her signature strong black lines and use of bold colours.
Sotto Sale Market’s first story, a curated selection of ideas and memories in the form of design objects and garments. The aim of Sotto Sale Market is to give visibility and financial support to art practices of emerging artists that have been previously presented by Sotto Sale Projects. Through the sale of smaller works, mementos, relics, drawings, rare fashion pieces and other curiosities, the market wants to replicate a moment in time when a particular artist felt inspired by a certain circumstance. The market is here to share these stories with you.
These limited edition throws are the product of time and isolation.Both the translation of a moment of happiness, and the desire of keeping that beautiful memory close to our hearts.
During the past few months, Yulia has travelled with her mind into her favourite place. Forte dei Marmi, in Italy, represents a lot for her; JOY, family, escape and a second home. The impossibility of leaving London and the desire to transfer these memories into an art-object gave birth to this project.
Made from an ethically-sourced blend of premium cashmere and wool manufactured in a small warehouse in Italy, the throws depict two of the artist’s favourite paintings from her own archive.
10% of the proceeds go to Battersea Dogs and Cats Home, an animal charity established in 1860.
Battersea Dogs and Cats Home is one of the few animal rescued centres that run a non-selective intake policy, meaning that they accept any breed of animal, at any age, including dogs or cats with serious medical problems.
Folding the Visible
Daniel Benjamin Gallery, London
Jemma Appleby’s works focus on the dialogue between architecture and landscape, coming back to the question of Time. By reflecting on concepts such as repetition and solitude, she finds an innovative method of abstraction.
Grinding charcoal and applying it on paper with bare hands, the artist reveals the technically astonishing, yet minimal, relatable memories on paper. It is possible, especially when coming closer to the works, to admire almost imperceptible imperfections.
This selection of drawings wants to focus on the artist’s relationship with reflection, both as reflecting surface and method of innovation. Starting from Environment #8, Appleby invites us to stand in front of these mirrors, and to project on them our own personal environments and memories. Inspired by Hutong Bubble 218 by MAD Architects, a network of metallic bubbles to be cultivated in Beijing’s historic neighbourhoods, the artist screens in a natural landscape into one of these bubbles. Everything appears distorted, yet extremely static.
A feeling of calmness is resumed in Appleby’s work by the repetition of the same architectural forms. The knowledge and experience within this repetition makes it possible to make an act of abstraction by taking the objects into a pitch black environment. Here, only reflections of lost landscapes remain visible. And now, the only way to remember is by reflecting on the Outside. Time makes “the slightest change result in phenomenological moments which twist the already sublime environment into moments of questioning”. The joy of having to think results in innovation, freedom, and invention.
From the pure reflection within the organic architecture of the Hutong Bubble, we are taken to the swirling movement of the Holon Series and the upward projection of the Jubilee Series.
These two different dynamic movements enable multiple readings of reality and human perception within the same context. They are given an introspective feeling by focusing between the natural world and its reflection on architectural facades.
By distorting, and folding the visible, the invisible is unmasked.
London, 8-11 November 2019
Curated by Maria Valeria Biondo
Interiors by Riccardo Rizzetto
Sotto Sale Projects presents LACUNA, -“I wouldn’t see anything at all, but then I’d see it in joyful fragments”-. A group exhibition featuring the work of Yulia Iosilzon, Matete Martini, Barbara Alegre.
Conceived as an analysis of the tension between the individual and society, the artists explore the blurring boundaries between the imaginary world and their tangible obsessions. Opposing notions of collectivity and isolation are scrutinised, leading to a virtual expansion of Time.
The exhibition opens a dialogue between the three artists, raising questions about time, identity and memory. Transcending lines between the real and the virtual, and revealing the fragility of a society rooted in individualism. Opening a spectrum of new possibilities where “we can do lots of things…”
Diverse mediums - sculpture, painting, sound and video - take the viewer to new layers of meaning beneath the superficial and the obvious. Matete Martini (Francesca Martini’s paintings, saturated with associations to 20th century Italian futurism and pittura metafisica carry deeper narratives and criticism towards male privilege in society. Meaning is subverted in Iosilzon’s work through persistent duality between text and subtext, clarity and opaqueness. Often painted directly on silk or thin cotton or linen, the artist’s approach is thoughtfully communicated through materials that point to weightlessness and delicacy. Yet these surfaces, which suggest the “looming, conscious fragility” of narrative thread, reconfigure themselves as a ploy to create distance, with the artist likening her choice of medium to a “mosquito net”, at once offering transparency and impenetrability, courting the parasitic viewer but frustrating ultimate consummation. Alegre’s work talks about Time as a prompt to raise questions of memory, parenthood, genealogy, identity, origin, presence-absence, human concerns, universal and standardised social decisions. Humans have always been interested in measuring time in order to understand fate and exert some control over it.
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