Tag Archives: Maria Stenfors

Martin Gustavsson “Indentations” at Maria Stenfors, London

Martin-Gustavsson_indentations_
Image courtesy of the artist and Maria Stenfors, London

Martin Gustavsson
Indentations

19 April – 1 June 2013
at Maria Stenfors, London

Opening: Thursday 18 April 2013, 18h30 – 20h30

The core subject matter of Gustavsson’s paintings reveal a physical rotation, through a fixed viewpoint, as if they were snapshots or the frames of a film reel. If a film is a large series of images shown in quick succession of one another, the paintings presented act equally as a short film of the sculpture, in all its dysfunction and disjointedness. Read more »

Maria Stenfors by Maria Stenfors: In Conversation

Maria_Stenfors_March2013
Maria Stenfors with the work by Julia Pfeiffer, Animal Vessel (Figure of the Thinkable), 2013. Photo: M-KOS

Maria Stenfors inaugurated in April 2010 her eponymous gallery in East Central London, and for the last three years, her space has steadily grown to present an innovative program of artists. Her gallery has now been chosen by ArtInfo as one of the Top 10 space of the Art13 London art fair, which launched its first edition last March. During our recent visit to London, M-KOS took the opportunity to interview Maria Stenfors herself.

M-KOS [MKOS]: Can you tell us about your current exhibition?

Maria Stenfors [MS]: We are currently showing works by a Berlin based artist, Julia Pfeiffer, entitled “Figures of the Thinkable”. The show has to do with ‘possibilities’, exploring what has happened, what could have and what should have, happened. Clay or ceramics is the material for her investigations. At every stage, when the clay is wet, dried, fired and glazed, each reveals different possibilities. She has a symbiotic practice of ceramics and photography. In these black and white photographs, she sets a mise-en-scène to arrange the ceramics in different stages. Opposite of these photographs, there are a set of ceramic relief, fired and grazed. On the other side, there is a wall of clay. The clay was delivered dry from the artist’s studio in Berlin, soaked in water, applied onto the wall, then again it became dry and even cracked. The one wall presents a refined quality, the other is totally raw and the photographs show the different stages that create interesting dialogues between the three walls. Julia is one of our core gallery artists that has been with us from the beginning, and this is her second solo exhibition with us.
Read more »

Julia Pfeiffer “Figures of the Thinkable” at Maria Stenfors, London

Julia_Pfeiffer_stages_chair.125222
Image courtesy the artist and Maria Stenfors, London

Julia Pfeiffer
Figures of the Thinkable

27 February – 6 April 2013
at Maria Stenfors, London

Opening: Tuesday 26 February 2013, 6.30 – 8.30pm

To think is not to get out of the cave; it is not to replace the uncertainty of shadows by the clear-cut outlines of things themselves, the flame’s flickering glow for the light of the true sun. To think is to enter the Labyrinth….

–– Cornelius Castoriadis

Figures of the Thinkable is an exploration of what has happened, what could have, and what should have, happened. Possible figures and forms are brought into being through the medium of clay and staged photographs, relaying, reminding, and echoing the movement from thought to laden physicality. Read more »

Mela Yerka “What red blue is in?” at Maria Stenfors, London


Image courtesy the artist and Maria Stenfors, London

Mela Yerka
What red blue is in?

11 January – 16 February 2013
at Maria Stenfors, London
*Opening: Thursday 10 January 2013, 6.30 – 8.30pm

Painting resides in a sphere of abstract thinking, irrespective of whether it is figurative or abstract. In Mela Yerka’s new series of work, she experiments with a variety of materials, paints and techniques. Exploring different historical motifs and extending on her previous studies, Yerka demonstrates how her work expands on the possibilities and notion of painting, challenging herself, our ways of looking and art history.
Read more »

“LtA… a subtitle” at Maria Stenfors, London


Image courtesy of Maria Stenfors

LtA… a subtitle
16 November – 22 December 2012
at Maria Stenfors, London
Artists: Hreinn Friðfinnsson, Damien Roach, Megan Rooney.
Curated by Chris Fite-Wassilak
* Opening: Thursday 15 November 2012, 18h30 – 20h30

…My cybernetic mosses, wrested from my control, molded themselves into a strange and glittering medium that was not unlike flesh.
The ghost was growing a body, a sentient tumor from the substance of my own.
From the panic and disorientation that clattered from his mind it was evident that the form that he found himself incarnated within was no shape that he had ever anticipated or conceived of…

Read more »

Yasmin Müller “Copia: Modern Disbelief” at Maria Stenfors, London


Yasmin Müller, Copia: Modern Disbelief, 2012. Installation view. Courtesy the artist and Maria Stenfors

Text by Ursula Ströbele

Copia – the name of the Roman goddess of abundance– is at the same time a term of the antique rhetoric which means pool, mass, opulence, and a wealth of knowledge and ideas.

In Alberti’s well known treatise of painting (1435), copia sits beside varietas (variety) and electio (selection) as the most important criteria for a successful composition: While copia causes “attentive consideration of the represented objects”, varietas guarantees a figurative and gestural diversity. Copia runs the risk of being “a tumultuous accumulation”, which may be averted by the electio, the deliberate action of an appropriate choice for each subject.

“Copia. Modern disbelief” – Yasmin Müller’s second solo exhibition at Maria Stenfors, presents new works in differing media, amongst them being two illuminated light boxes and an architectural installation enveloped in light projections – appearing to be a random arrangement of disparate found objects and shaped canvases.

At first glance the space seems to be streaked by a purist geometric expansive pattern, at second glance a multi-faceted net of images open up, evoking a host of associations and permitting individual interpretations.
Read more »

Review: Michelle Deignan- Journey to an absolute vantage point

Michelle Deignan: Posing as a Subject Amongst Subjects
at Maria Stenfors, London
16 July – 29 October 2011


Michelle Deignan “Microphone” (2008) Unique lambda print. Courtesy of the artist and Maria Stenfors.

Michelle Deignan’s London solo exhibition at Maria Stenfors Gallery entitled “Posing as a Subject Amongst Subjects” incorporates video installation, 16 mm film projection and photography. The installation occupies most of the exhibition space, Journey to an Absolute Vantage Point (2011) fits a two-channel video work onto a double-sided screen projection, the back-to-back videos playing off each other in treatment and in form. One side proffers a black-and-white violin, cello and piano trio performing the soundtrack of Deignan’s installation, while the other projection presents a postcard-like color shot of Berlin’s Schloss Charlottenburg (Charlottenburg Palace) and its surroundings, the scene of the story unfolding herein.
Read more »

Review: The Ha-Ha Crystal at Maria Stenfors, London

The Ha-Ha Crystal
Maria Stenfors, London
Artists: Allen Grubesic, Colin Guillemet, Niamh O’Malley, Jason Rohrer and David Lynch
Curated by Chris Fite-Wassilak

 

Allen Grubesic “The Last Laugh” (2007) India ink in Langton Aq 300gr. Image courtesy of the artist and Maria Stenfors

Maria Stenfors gallery’s group show “The Ha-Ha Crystal” originally refers to Robert Smithson’s analytical model for defining different types of laughter, according to what he calls The Six Main Crystal Systems, as an attempt to find answers on how to visualize the dimensions beyond our usual three:

“[R. Buckminster] Fuller was told by certain scientists that the fourth dimension was ‘ha-ha’, in other words, that it is laughter…Laughter is in a sense a kind of entropic ‘verbalisation.’ How could artists translate this verbal entropy, that is ‘ha-ha’, into solid models?” *

Here the four artists in The Ha-Ha Crystal exhibition endeavor to suggest possible responses to this rhetorical question. With Allen Grubesic’s “The Last Laugh” (2007) three identical white prints literally spell out “HA HA HA” in thick black typo, which don’t quite stand as words rather than a straightforward phonetic illustration. This quasi-iconic code crystallizes with Grubesic’s use of a generic typeface, to directly tap into our collective memory of laughter. Read more »