NEW YORK, NY.- Lombard-Freid Projects announced two new exhibitions for 2010. "Postcards from the World", Dan Perjovchi's third solo exhibition at Lombard-Freid Projects, establishes a dialogue with an historical piece of his, "Postcards from America" (1994). Known for his insightful social and political commentaries in the form of ephemeral wall drawings in institutions, biennials and galleries worldwide- this, unique installation of drawings will be his first gallery exhibition devoted entirely to works on paper in more than a decade. In each piece, 500 postcard-sized drawing of observations from his travels in the US (1994) and throughout the world (2009)- are sketched with minimalist purity and succeed in being as humorous and satirical as they are empathetic and profound.
Dan Perjovschi, "Postcards from the World" runs from January 14 - February 20, 2010.
For her third solo exhibition at Lombard-Freid Projects, new paintings by Iranian born Tala Madani assert their distinctive force, as her bold brushstrokes and challenging content unite to articulate her uncompromising artistic vision. "The Accidents Series", a new group of video animations created by painting and repainting a single canvas, portray a string of deadly events. Transgressing norms of social behavior, her characters inflict pain on one another with a zest for guilty pleasure.
Tala Madani runs from February 26, 2010 - April 3, 2010
The gallery is currently featuring "Birdie", Ulrich Lamfuss’ third solo exhibition at Lombard-Freid Projects. The show presents a new body of oil paintings that carefully reinterpret images borrowed from a wide range of photographic material, often replicated several times over so as to render the subject both further removed from the source and at the same time, closer to its essence. With the Pop kitsch, ironic repetition and banality of subject matter reminiscent of Jeff Koons and Andy Warhol, along with a philosophical affinity for Jean Baudrillard (simulacra and simulation), Lamsfuss explores principles of authorship, reproduction and the contemporary erosion between reality and representation.
The artist is quoted, “I am drowning in fiction: man-made mass production of images, meaning, information, art. I’m suffering from a lack of reality but I am longing for one. I think real reality is exotic and rare. The confusion makes me want to see.” "Stockfood", a painting in the exhibition of an image bought via an Internet food photo agency, refers to classic still lives, while pointing to the sources responsible for blurring the line between goods that are needed and goods for which a need is created by commercial images.
While his meticulous precision and technique may appear classical, Lamsfuss’ work resists categorization and marks a purposeful departure from past traditions of realist painting. His work uses the illusionistic devices of realism, paying close attention to surface and perspective, yet operates on a conceptual level as an inquiry into the ways in which images and symbols have replaced reality and meaning. “Watching is more true than knowing. This is the irony of indifference and brings back the aura into an empty world.”
The seeming randomness of subject matters is deceptive, as the selection is born from an almost compulsive collection of images to which Lamfuss has a personal relationship and that together present a surprisingly unified description of contemporary culture- a Tiffany vase, a Chinese laborer in a rural landscape, a cross section of a Mercedes Benz, a portrait of actor Michael Douglas. In complement to the paintings are works on paper in ink, watercolor or pencil, which re-imagine images of famous figures running the spectrum from Claudia Schiffer to Claude Levi-Strauss, Arnold Schwarzenegger to Alfred Hitchcock.
