The exhibition will pair these paintings with Seeber’s contemporary explorations of the built landscape with an installation. This survey of her work is organized around a playable golf course installed inside the gallery space in which visitors will be invited to play golf as they walk through the show. The golf obstacles become active sculptures in the exhibition, creating porous boundaries between artwork and audience. This playful environment manifests the explorations of edges, doorways, windows, and borders in the artist’s painting. As they play, visitors will be able to trace Seeber’s artistic trajectory and see how her interventions in the form and practice of painting continue to this day.
To accompany the show, we will present a series of public programs and publish a pocketbook.
This exhibition is curated by Aimé Iglesias Lukin.
More information: https://www.as-coa.org/exhibitions/alejandra-seeber
Curada por Sonia Becce, la muestra despliega una serie de obras de reciente producción junto con otras realizadas durante los últimos quince años, que vuelven a una figuración humana. Los cuerpos, que se despliegan y repliegan, situados en escenas en movimiento, conviven con obras tempranas y excepcionales de Jorge Gumier Maier, para construir un espacio a mitad de camino entre el desfile y la coreografía. Así, convertida en una sala de ensayo, Danza Perfumi se expande en un programa de clases ‘Pasos y Poses’, coordinado por Rita Pauls, con la presencia de Emiliano Miliyo, Zezé Fassmor, Moli La Exilia y Gali DunDun como profesores.
BUILDING presents, from November 8th, 2023 to 27th January, 2024, the group exhibition Glitch, an exhibition project curated by Chiara Bertola and Davide Ferri, which features a selection of twenty-four paintings by ten Italian and international artists from different generations: Simon Callery, Angela de la Cruz, Peggy Franck, Pinot Gallizio, Mary Heilmann, Ilya & Emilia Kabakov, Andrea Kvas, Maria Morganti, Farid Rahimi, Alejandra Seeber.
In the regular and even fabric of reality, stretch marks can sometimes appear, superficial tears that reveal the presence of another dimension. The saturated fullness of life suddenly breaks down, giving way for vents from which signals of “an energy of existence” seep in, as the philosopher François Jullien stated.
Something similar occurs in painting, when the precise correspondence between image and medium fails, or when the pure materiality of painting overflows, hinting at an unprecedented vitality. All of a sudden, this disjointedness gives rise to something that presents itself to the viewer with no warning; something that, although it might potentially go unnoticed, opens a chink, a breach that reveals another view and another nuance of thought. Therefore, the focus is aimed at a kind of painting whose truth does not lie in representationand its organicity, but rather in an the idea of the a painted image that negotiates with different media and formats, embracing its presence and material ramifications.
The exhibition, which includes both figurative and abstract works, refers to an idea of “mere painting” that plays with the idea of “real painting”, or the idea of truth in painting, which has always had a place in reflections about the medium.
The resulting suggestions may sink their roots in some pictorial research of the second half of the twentieth century, in particular the ones of) exponents of the 1960s current of post-painterly abstraction, and currents of the seventies (such us Radical Painting, Pittura Pittura and Support Surfaces), which reflected a widespread desire for objectivity, and the consequent disappearance of subjectivity (that is, the artist‘s disappearance to make way for the viewer), and reflections on the genre, regarding its key elements (format, size, medium, color – “color that does not embellish”, as Maria Morganti says), whose outcome is a painterly object that rejects any kind of narrative, representation or illusion character, and asserts its presence without signifying anything other than itself.
The exhibition shows painting in its pure essentiality, together with a fecund crack, a shift, caused by subverting our habitual, conventional and, way of seeing. This produces a gap that generates a sort of energetic vitality at a primordial level, in terms of the everyday – in the sense of the pace and daily traces of time – and craftsmanship – the pleasure of making things by hand.
If convention has never taken artistic practice very far, then seeking some kind of stumbling block in representation is a necessary condition for pushing art towards a dimension of vitality. A stretch mark in the saturated, compact system of what is known and predictable, can therefore turn out to be a fertile space of freedom, in which life can flow, roam, complete and renew itself.
Works as a background, or as a landscape of the spectator, where the viewer enters inside a set and where the work becomes a place to accommodate the things that may happen there. The works of Alejandra Seeber (Buenos Aires, 1969), for example, bring forth an unstable vision that can never be defined as univocal, staining her canvases to give the image another opportunity to react, lose its bearings and multiply.
More information: https://building-gallery.com/en/exhibitions/glitch/
Summer–Insert with selected works by Brigitte Kowanz (1957 – 2022) and Alejandra Seeber (*1968)
The complex and multilayered work of the Argentinian artist Alejandra Seeber focuses on the reinterpretation of everyday subjects through spontaneous painterly gestures. The use of collage or folding techniques, which similar to Rorschach tests produce random figures, underlines the idea of change, upheaval and redefinition that characterizes her paintings. Seeber’s works thus often bear evidence of disruptions: a delicate ink drawing suddenly collides with a black background which turns into an abyss, images overlap, and figurative elements unexpectedly emerge from abstract-expressionist images.
Curated by Anne Couillaud
The feeling of summer… To me, it implies friends and flowers. Leaning solely on this impression, we are presenting Gathering at the Corner Gallery in Andes, New York.
Summer is the unhurried season of long utopic days spent with friends. Gathering after months of being apart in a moment of convergence, this exhibition is a reinvigorating circle of friends in the countryside. Guided by love and kinship, an economy of scale, and our interest in this way of connecting, we invited a group of artists to send us a work on paper representing the summer wildflower of their choice via postal mail.
In many cultures, flowers, real or represented, are used to express feelings. These phenomena of nature become the carriers of appreciation, love, joy, sympathy, friendship and care, while also often conveying or awakening the poetic. With the efflorescence of each bloom, there is also the idea of absolute — non transactional — generosity. In this Catskills space, a meadow of humble blooms is chorally formed and offered. A singular herbarium appears from the plurality of voices and locations gathered.
An herbarium that conveys time, observation and connection. An herbarium that embodies the idea of interrelatedness. A network, as a form of being, comes through. An archipelago of friendship appears. Friendship, a place of flourishing — and sometimes even reinvention — of the self, can also be a place where life can be transformed, even socially and politically. Friendship as a way of life: with love as matrix, it becomes a place of tangible and accessible utopia.
The Corner Gallery,
7 Main Street, Andes, New York, 13731
Hours: Weekends 12 pm – 5 pm and by appointment
+1 (607) 435-2899
July 1st – August 12th 2023
Opening July 1st
Curators: Omar Lopez-Chadoud and CJ Chueca
Opening Reception: Friday, June 9th, 2023, 6:00-10:00 pm
Exhibition Dates: June 10th – August 20th, 2023
Location: Sugar Hill Children’s Museum of Art & Storytelling,
898 St Nicholas Ave, New York, NY 10032
Hours: Saturdays and Sundays 10:00-3:00 pm, Thursdays 5:30-8:00 pm
NEW YORK –Mental Spaces I brings together eleven artists from Latin America that reside in New York City. The works exhibited present a scenario in which the viewer is seduced to engage with the art in a non-objective way. The curators have chosen the participating artists based on their multiple cross-cultural references in which the poetics of the absurd are at times embraced. This exhibition plays on the complex relationships that exist between the artist’s mind and its most intuitive form of visual expression, often manifested through some form of abstraction. Its multimedia, process-driven works allow for a dynamic stage in which multiple concepts collide to present the most essential elements, that of being human.
Through research, the curators found that “Mental Spaces” refers to the concept of cognitive structures that are used by people to represent and organize information in their minds. They are thought of as mental containers that hold information related to a particular topic, situation, or context, and can be accessed and manipulated as needed. They allow people to make inferences, draw conclusions, and create new meanings based on their experiences and knowledge. Overall, the theory of mental spaces provides a valuable framework for understanding how people organize and make sense of the world around them, and how language and thought are intertwined in complex and dynamic ways.
Alejandra Seeber (Argentina) is working on a series of rug paintings that draw inspiration from her research with an activist movement of resistance during the last years of the Argentine dictatorship known as “el siluetazo” or the silhouettes. A simple yet effective way to conjure the body, as a ghost, traced or whole, demanding accountability towards the government. It carries the burden of death, grief, and remembrance, now the artist appropriates these gestures and depicts the bodies boldly in her work. Working through her relationship to depicting bodies and their collective traumas, the use of the rug serves as a conduit to the body as a metaphor to the notions of rest, arrival, and home, while the artist explores the familiar whilst the uncomfortable feelings and memories it surfaces.
BARRO is pleased to announce Alejandra Seeber’s solo show at
EXPO CHICAGO. EXPOSURE Section is curated by Aimé Iglesias Lukin (Director and Chief Curator of Visual Arts at the Americas Society). EXPO CHICAGO 13–16 April 2023. Navy Pier, CHICAGO, USA. BARRO Booth 471
Alejandra Seeber presents a group of paintings of different sizes on a grid and some glass and ceramic sculptures.
Seeber’s paintings have a visual morphology in common. They are reticular images shaping different formations: knits, waves, spores, a brick- like structure, and a honeycomb-like structure.
The paintings are hanging on a network of uniformly spaced horizontal and perpendicular lines. The images are geometrical patterns of different types of net-like structures situated on a system of control operating entirely in the perception field.
The installation opens strange portals in the mind-stretching realm. The fragmental images replicate themselves into different works of art, using motifs such as body parts, bricks, and waves. In the paintings and sculptures, there are legs and backsides, shredded lakes, snippets of landscapes, formations of beings, and collapsed objects from multiple realities. For instance, she creates a bag with holes from which small plants emerge; the back of the sculpture resembles a brick wall.
Seeber traces a system of signification distorting the notion of space and its visuality. The paintings and sculptures display rare events, so you need a sharp and keen eye to understand what you see; for Alejandra Seeber, an extra dimension may exist close to our familiar reality. It means there is a much richer universe at some deep underlying level.
This March, for the 10th year, Norte Maar brings forth CounterPointe, the longest standing performance production exclusively featuring collaborations between female dance makers and visual artists. The performances will take place at Downtown Brooklyn’s Mark O’Donnell Theater at the Entertainment Fund Arts Center from March 24-26, 2023. Join us in celebrating CounterPointe’s 10th Anniversary!
The future past is the imagined future of past religious, political, philosophical, scientific, and artistic movements. Ideologies of the world around us were conceived by a future past. These have been used to imagine the emancipation of humanity.Today the future evokes feelings of imminent catastrophe and the dark idea of extinction. The spirit of the times is eschatological. Humanity as a species is destined of being-toward-death. Art is the design of future modes and, as such, provides new ways of being, seeing, interpreting reality, innovating artistic procedures, and thinking about humanity from a critical and creative perspective. Artists can bring light because art is the exercise of thinking about different ways of being and experiencing the future. Art gives us the space to talk about time, whether it exists or not. This exhibition explores different angles on life on a critically damaged planet around the notions of Social (Gabriel Chaile and Agustina Woodgate), Nature (Matías Duville), Language (Alejandra Seeber), and Sexuality (Amalia Ulman and Marcelo Pombo). The strategies are heterogeneous: humor, criticism, irony, joy, or allusion. The articulation between the media, the materials, the procedure, and the theme are singular, none supposes a direct relationship between the representational and the political. Art could be understood as a time granted by the passing of the last god. In this sense, artists can shape a new philosophy for collaborative survival because art is the opening on the horizon of possible worlds.