Adam Cvijanovic

Adam Cvijanovic

Titolo

Adam Cvijanovic

Inaugura

Venerdì, 14 Ottobre, 2016 - 19:00

Presso

Blindarte Milano
via Palermo, 11, Milano

Comunicato Stampa

COMUNICATO STAMPA

 

 

 

La Blindarte è lieta di annunciare venerdì 14 Ottobre, dalle ore 18.00, l'apertura di “The Fall”, prima mostra personale nel nuovo spazio Blindarte di Milano, in via Palermo 11, dell'artista newyorkese Adam Cvijanovic e l’apertura il venerdì successivo, 21 Ottobre, dalle ore 19.00, della mostra "The Guts of the Living" dello stesso artista nello spazio Blindarte di Napoli, in via Caio Duilio 10. Le mostre proseguiranno fino ai primi di Gennaio 2017, con una pausa in concomitanza delle esposizioni ed aste previste per Novembre. Per info contattare Blindarte.

 

Le mostre seguono le prime due personali dell'artista alla Blindarte nel 2009 e nel 2011 e la collettiva "The Golden Ass" nel 2013.

 

Con queste mostre si inaugura il ciclo di esposizioni personali e collettive che coinvolge artisti di fama internazionale invitati a confrontarsi con le 2 città in cui la Blindarte è attiva.

 

Considerato tra i pittori figurativi più interessanti e innovativi della scena artistica contemporanea newyorkese, Adam Cvijanovic, presenterà il 14 ottobre a Milano, nel nuovo spazio Blindarte di via Palermo 11, nuove opere su tela e nuovi lavori realizzati con la famosa ed innovativa tecnica dei portable murales (“affreschi mobili”). Influenzati dalla pittura paesaggistica americana del XIX secolo e dalle tecniche cinematografiche del XX secolo, ed ispirati agli affreschi rinascimentali, i portable murales sono dipinti realizzati su carta Tyvek e successivamente applicati a parete in modo da creare imponenti installazioni pittoriche che coinvolgono gli interi ambienti espositivi, e che, tra l’altro, possono essere più volte staccate e riapplicate su altre superfici.

 

"The Fall" - Milano opening 14 Ottbore

 

Le opere di Cvijanovic in mostra a Milano ricreano nel loro complesso uno scenario in cui i singoli elementi (dipinti su carta Tyvek, dipinti su tela e su differenti supporti) ricostruiscono la storia di una passeggiata di Novembre tra i boschi del New Jersey, dove lui e sua moglie Julia rivivono un intenso ma breve viaggio compiuto a Capri nel 2013.

 

In aggiunta alle opere pittoriche, Cvijanovic ha scritto un beve testo, la cui lettura è diffusa ai visitatori attraverso cuffie auricolari ed assume un ruolo guida per la visita della mostra. Il visitatore è condotto verso un viaggio multisensoriale, accompagnato dalla voce dell’artista, attraverso i sentimenti e le emozioni che lui stesso rivive, relazionandoli con quelli della moglie, nel ricordo di quel giorno: un viaggio spazio-temporale che lo conduce, come in un film, dai boschi del New Jersey alle coste mozzafiato del golfo di Napoli.

 

I frammenti-dipinti si compongono di immagini che scorrono in maniera irregolare e ricostruiscono, forse per ciascuno in maniera differente, ricordi di attimi vissuti che, in qualche modo, riprendono vita e che resteranno per molto tempo vivi nelle memorie.

 

 

Come dice Cvijanovic, citando "Midnight's Children" di Salman Rushdie, la memoria ha le proprie caratteristiche che la rendono unica. Seleziona, elimina, altera, esagera, minimizza, glorifica o anche svilisce, ma alla fine crea la propria realtà. La sua eterogenea ma generalmente coerente versione degli eventi. E nessun essere umano sano da maggior fiducia alla versione di un altro rispetto alla propria. 

 

''Remembrance of things past is not necessarily the remembrance of things as they were.” 

― Marcel Proust

 

 

"The Guts of the Living" - Napoli opening 21 Ottobre

 

Il 21 Ottobre verrà inaugurata a Napoli la mostra "The Guts of the Living", che include diverse opere di Adam Cvijanovic, su tela e su diversi supporti, ed ovviamente i dipinti Flashe su Tyvek.

Anche le opere esposte presso la sede napoletana della Blindarte, come quelle esposte nella sede milanese, costituiscono un evidente narrazione che scaturisce dall’interazione delle immagini multiple. Come dice l’artista stesso, i dipinti con le loro storie si intrecciano tra di loro “come gli strumenti di un’orchestra”.

 

Differentemente dall’esposizione di Milano, in cui le opere tendono verso un punto di coesione, che corrisponde alla descrizione di un momento specifico, in "The Guts of the Living" la narrativa va verso una direzione più astratta, dove il punto focale corrisponde alla narrativa stessa.

 

Usando una varietà di tecniche diverse, dalla pittura ad olio al Flashe su Tyvek, tratto distintivo dell’artista, Cvijanovic fluttua da un tempo all’altro nell’archivio di immagini e storie, ricreando, innovando, associando immagini e cercando un significato, come se stesse - parole dell’artista - salvando i sopravvissuti da un naufragio.

 

Si nota il ritratto di Curzio Malaparte, al centro di uno dei trittici che compongono la mostra. Alla sua destra un dipinto su cartone rappresenta un gruppo di piedi, forse un gruppo di soldati denudati per l’addestramento oppure una linea di prigionieri che camminano verso un futuro incerto. Vincitori e sconfitti, tutti intercambiabili. Alla sua sinistra un’esplosione ritratta da una fotografia, il momento successivo. Nella luce soffusa del crepuscolo la conclusione del suo pensiero, un ricognizione ed un sogno. Al centro il ritratto dello scrittore Malaparte mentre consuma una sigaretta accesa. Ripreso da una fotografia, il dipinto è denso della luce drammatica del romanticismo di metà secolo. Dice l’artista del celebre scrittore...“è lui l’ultimo uomo, il sopravvissuto, l’inaffidabile testimone… E’ lui forse l’unico ad aver creduto agli scarponi neri, ma allo stesso tempo in grado di scorgerne i piedi nudi all’interno".

 

Non distante da questo trittico, facendo un salto nel tempo di oltre 400 anni, Cvijanovic presenta la Santa Caterina di Raffaello. Nel dipinto originale di Raffaello Santa Caterina si appoggia ad una ruota, strumento complice del suo martirio. La Santa è un’icona rimossa dal contesto del suo tempo, rappresentata in un luogo dove l’azione resta sospesa tra l’accaduto e il non accaduto, è una memoria di rinascita di un paradiso bizantino, dove passato e futuro si incontrano in un tempo presente. Nell’opera di Cvijanovic l’immagine della Santa appare incompleta; la ruota è scomparsa, oscurata dai danni provocati dal passare del tempo. L’intenzione di Raffaello è trasmessa solo parzialmente, come in un passato trasmesso a metà. Sulla sinistra un piccolo uomo viola fissa ansiosamente alla Santa. E’ un personaggio assurdo, proveniente da un altro tempo, anche in termini di linguaggio pittorico. Il suo fissare influenza la Santa. Come W. H. Auden scrisse su W. B. Yeats nei suoi poemi: “Le parole di un morto mutano nelle viscere dei vivi”. L’esperimento viene cambiato dall’osservatore, come diceva Schrodinger nello stesso periodo. Le intenzioni di Raffaello vengono così modificate dall'artista, come le sue intenzioni saranno modificate da chiunque vagherà per la galleria e guarderà fugacemente ai suoi dipinti.

 

Dall’atro parte della galleria, appare un angelo androgino con le ali spiegate, pronto a dispensare la grazia di Dio. Tratto da un piccolo olio del XVIII° secolo del pittore Piazzetta, il grande affresco che riproduce l’angelo ha ai suoi lati dipinti ad olio che ritraggono aerostati degli anni '20, che ben rappresentano, rispetto alla figura sovrannaturale, le difficoltà e fragilità del volo per gli esseri umani.

 

“ "The Guts of the Living" - dice Cvijanovic - è una mostra sul passato, su altri artisti, e la costante rivalutazione di quel passato e di quelle opere. E’ un omaggio all’abitudine degli artisti di esprimersi su altri artisti usando il presente, anche se sono appartenuti ad epoche passate o molto antiche.

Il vero privilegio di essere un artista " - continua - “ è la partecipazione a questa conversazione. Una conversazione che si estende dai primi dipinti rupestri a un futuro ignoto. Questa mostra è un mio piccolo e molto personale intervento in questa  conversazione".

 

 

__

 

 

 

English

 

Blindarte is pleased to announce the inaugural exhibition in its new space Blindarte of Milan, via Palermo 11, of “The Fall” by New York based artist Adam Cvijanovic Friday, October 14, from 6 pm. The following Friday, October 21, from 7 pm, Cvijanovic will open a concurrent exhibition "The Guts of the Living" at Blindarte’s space in Naples, via Caio Duilio 10. 

The shows will go on until the first days of January 2017, there will be a pause due to the upcoming exhibitions and auctions planned for the end of November. For more info please contact Blindarte.

 

This dual exhibit, the first of its kind for Blindarte, follows the artists first two solo shows in Italy at Blindarte, Naples, in 2009 and 2011, as well as the group show The Golden Ass in 2013, also at Blindarte Naples. 

This show inaugurates a solo and group exhibitions cycle involving internationally renowned artists invited to join the dialogue in the two cities where Blindarte is based.

Considered among the most interesting and innovative figurative painters of the New York contemporary art scene, Adam Cvijanovic, will present new works on canvas along with new works made with his innovative technique, the portable murals ("mobile frescos"). Influenced by the American landscape paintings of the 19th century, by the 20th century film techniques, and inspired by Renaissance frescoes, portable murals are paintings made of Tyvek paper and then applied to the wall in order to create impressive pictorial installations that involve the entire exhibition areas. This peculiar technique allows, among other things, paintings to be repeatedly detached and reapplied to other surfaces.

 

“The Fall” - Milan opening October 14

 

Cvijanovic’s works on exhibit in Milan recreates a scenario in which the individual elements (paintings on Tyvek paper, paintings on canvas and on different media) reconstruct the history of a November walk in the New Jersey woods, where he and his wife Julia recall an intense but brief trip to the island of Capri in 2013.

 

In addition to the paintings, Cvijanovic has written a short text, his reading of which is available to the visitors through headsets. The visitor is taken through a multisensory journey, accompanied by the voice of the artist, through the feelings and emotions of his memory of that day, in relation to those of his wife. A space-time journey that leads, like in a film, from the woods of New Jersey to the stunning coastline of the Gulf of Naples.

 

The “fragmented paintings” are composed of images that run irregularly and reconstruct memories of moments lived, perhaps for each one in a different way. A moment that somehow comes back to life, and that will remain alive in memories of those who see the exhibit.

 

As Cvijanovic says, mentioning "Midnight's Children" by Salman Rushdie, memory has its own characteristics that makes it unique. It selects, eliminates, alters, exaggerates, minimizes, glorifies or even vilifies, but in the end creates its own reality. Its heterogeneous but usually coherent version of events. And no sane human being ever trusts someone else’s version more than their own.

 

"The remembrance of things past is not necessarily the memory of how they were really". - Marcel Proust

 

"The Guts of the Living" - Naples opening October 21

 

 

On Friday, October 21 Blindarte will inaugurate the exhibition "The Guts of the Living", which includes different works of Adam Cvijanovic on canvas, on different media and obviously Flashe on Tyvek paintings.

 

Cvijanovic’s paintings in "The Guts of the Living", like the ones in Milan, gain a narrative from the interplay of multiple images. As the artist says, paintings with their stories weaves together and apart “like instruments in an orchestra”.  However, unlike the show in Milan, which goes towards a cohesive point, a description of one specific moment, "The Guts of the Living" goes to a more abstracted narrative, one where the point is nothing less than narrative itself. 

 

Using a variety of techniques in oil, along with his signature Flashe on Tyvek, Cvijanovic floats from one time to another in the archive of images and stories, sampling, recreating and innovating,  associating images and finding meaning as if - the artist says - “he was pulling survivors from a shipwreck.”

 

Amongst the paintings on exhibit there is a portrait of Curzio Malaparte, at the center of one of the triptychs that completes the exhibition. On its right a cartoon/painting depict a group of feet, perhaps a unit of naked men on a military training or a line of prisoners walking toward an uncertain future. Winners and losers, all interchangeable. On its left an explosion portrayed by a photograph, the next moment. In the soft light of dusk the conclusion of his thought, a recognition and a dream. In the center of the composition the portrait of the writer Malaparte drawing on his cigarette. Taken from a photograph, this painting is full of the dramatic light that characterizes the high/mid century romanticism. Cvijanovic says about the artist "he is the last man, the survivor, the unreliable witness… And if anyone believed in the black boots, but saw the feet underneath, it was probably Malaparte” 

 

Not far from this triptych, moving back for more than 400 years, Cvijanovic shows his St. Catherine of Raffaello. In the original painting by Raphael St. Catherine is leaning on a wheel, a tool used for her martyrdom. The holy icon is removed from the context of its time, represented in a place where the action has and has not happened. It is a memory of renascence of a Byzantine paradise, where past and future meet in a present tense. Cvijanovic’s work of St. Catherine appears incomplete though; the wheel has disappeared, obscured by the damage of age. The intention of Raphael is only partially transmitted, as past is always half-transmitted. On the left a little purple man stares anxiously at the Saint. He is an absurd character from another time, even in terms of pictorial language. His staring at the Saint changes her. As W.H. Auden wrote about W. B. Yeats in his poems: "The words of a dead man are modified in the guts of the living”. "The experiment is changed by the observer", as Schrodinger said almost at the same time. Raphael's intentions are modified by the artist, as the artist’s intentions will be modified by anyone wandering through the gallery and looking fleetingly to his paintings.

 

On the opposite side of the gallery, an androgynous angel appears with outspread wings, ready to dispense the grace of God. Taken from a small oil of the XVIII century by the painter Piazzetta, the great fresco of the angel has at its sides two oil paintings depicting balloons of the '20s. Compared to the supernatural figure of the angel, the balloons paintings represent the difficulties and fragility of the flight for humans.

 

"The Guts of the Living"- says Cvijanovic - is an exhibition about the past, about other artists, and the constant reappraisal of that past and those works. It is an homage to the habit artists have when they use the present tense to express their ideas on other artists, even if belonged to the past or a bygone era.

"The real privilege of being an artist - he continues- is this conversation. A conversation that stretches from the first cave paintings to a point in the unknowable future when we cease to recognize ourselves. This show is about one very small highly personal piece of that conversation”.

 

 

ADAM CVIJANOVIC, born in 1960, Cambridge, Massachusetts Lives and works in New York SELECTED SOLO EXHIBITIONS: 2015 “American Montage: A 10-year survey of the work of Adam Cvijanovic,” Kemper Museum of Contemporary Art, Kansas City, MI; “The Fall”, Postmasters Gallery, NY; 2013 “Adam Cvijanovic: Landscape: Another Dimension,” Center for the Arts at Virginia Tech, Blacksburg, VA; “Reconstruction” SCAD Museum of Art, Savannah, GA; “Rolling panorama number 1”  Moot Gallery, Savannah collage of art and design, Hong Kong; 2012 “Natural History” Postmasters, New York, NY; 2011 “Prophecy in a dead language”, Blindarte contemporanea, Napoli; 2010 “Defrosted: A life of Walt Disney” Exhibition by Adam Cvijanovic and David Humphrey, Postmasters, NY; 2009 "The Heaven of the Fixed Stars" Blindarte Contemporary Naples, Italy; 2008 “Adam Cvijanovic's Colossal Spectacle”, Bellwether, New York, NY; 2007 "Studies for the Fall of Babylon", Project Room, Bellwether, New York, NY, “Adam Cvijanovic and Peter Garfield: Unhinged”, Mass MOCA, North Adams, MA; 2006 Adam Cvijanovic, University of Buffalo Art Gallery Center for the Arts, Buffalo, NY; 2005 "Hammer Projects", The Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA Love Poem (10 Minutes After the End of Gravity,) Bellwether, New York, NY; 2004 "Ideal City," Pennsylvania Academy of the Fine Arts, Philadelphia, PA; 2003 "Hurricane Party," Bellwether, Brooklyn NY; 2002 "New City" Project, Steven Sclaroff New York "Disko Bay," Bellwether, Brooklyn, NY; 1999 Richard Anderson, New York, NY; 1994 Richard Anderson, New York, NY; 1988 Bess Cutler Gallery, New York, NY; Betsy Rosenfield Gallery, Chicago, IL; Malony Gallery, Santa Monica, CA;1986 Cathedral of St. John the Divine, New York, NY; Stavaridis Gallery, Boston MA; Brockton Art Museum, Brockton, MA;1985 Bess Cutler Gallery, New York, NY Stavaridis Gallery, Boston MA; SELECTED GROUP EXHIBITIONS: 2015 “Weird Science,” Marianne Boesky Gallery, New York, NY; “Not Really: Fictive Narratives in Contemporary Art,” Castle Gallery at The College of New Rochelle, New York; 2013 “Beyond Earth” Johnson Museum of Art, Cornell University, New York; “More Light,” The Fifth Moscow Biennale of Contemporary Art, curated by Catherine de Zegher, Menage,Moscow“; It’s the End of the World as We Know it (and I Feel Fine),” The Berrie Center Art Galleries, Ramapo College of New Jersey, Mahwah, NJ; 2012 “The Stumbling Present: Ruins in Contemporary Art at Art”, Art, Design & Architecture Museum, University of Santa Barbara, CA; 18th Biennale of Sydney, Cockatoo Island, Sydney, Australia; “American Dreamers”, Strozzina Centro di Cultura Contemporanea a Palazzo Strozzi, Florence, Italy; 2011 “Colorific! We Make An Art Rainbow,” Postmasters, New York City Alpine Desire - Austrian Cultural Forum New York, New York City, NY; 2010 The Sixth Borough, curated by Manon Slome and Julian Navarro Governors Island, New York, NY; 2009 “Up Against the Wall” curated by Rita Pinto and Ileana Tounta, Contemporary Art Center, Athens, Greece; "Frenzy and Aftermath", Nicholas Robinson Gallery, New York, NY; 2008 "Blown Away: The Artful Explosion", Krannert Art Museum, Champaign, IL; PROSPECT.1, New Orleans Biennial, New Orleans, LA; "Worlds Away: New Suburban Landscape", Walker Art Center, Minneapolis, MN, traveling to the Carnegie Museum of Art, Pittsburgh, PA; "Future Tense: Reshaping the Landscape", Neuberger Museum or Art, Purchase College, Purchase, NY Liverpool Biennial, Tate Liverpool, Liverpool, UK; SIGN/AGE, Armand Bartos Fine Art, New York, NY; 2007 "Art in America: 300 Years of Innovation", organized by the Solomon R. Guggenheim Foundation & the Terra Foundation for American Art, Shanghai Museum of Contemporary Art, Shanghai, China; Pushkin State Museum of Fine Arts, Moscow, Russia; "America Today", Saatchi Selection for the Hermitage 20/21, The State Hermitage Museum, St.Petersburg, Russia; “07/08”, Bellwether, New York, NY; 2006 "Disaster! One Year After", curated by Nina Felshin, Zilkha Gallery, Wesleyan University, Middletown, CT Après moi, le Déluge, FA Projects, London, England; USA TODAY, The Royal Academy of Arts, London, England; 2005; "Jack," Curated by Mari Spirito, Cuchifritos, New York, NY; Out of Place, Mary Goldman Gallery, New York, NY; Wasteland: 21st Century Landscape, Roebling Hall, Brooklyn, NY; 2004 The Dreamland Artist Club, Presented by Creative Time, Coney Island, NY Hello Chelsea, Bellwether, New York, NY; Subway Series, Queens Museum, Queens, NY UCLA Hammer Museum, Los Angeles, CA; 2003 Kaleidoscope, Ingrao Gallery, New York, NY; On the Wall: Wallpaper and Tableau, Fabric Workshop and Museum, Philadelphia, PA Yard, Socrates Sculpture Park, Long Island City, NY; On the Wall, Rhode Island School of Design Museum, Providence, RI; 2002 Next Wave Festival, Cur. Dan Cameron, BAM Brooklyn, Brooklyn, NY Arctic Light, Danese Gallery, New York, NY; Looking at America, Yale University Museum, New Haven, CT Social Landscape, P.P.O.W. Gallery, New York, NY Compact Art, Barcelona, Spain; 2001 "All American" Bellwether Gallery, Brooklyn, NY; 2000 Landscape 2000,University of Wyoming Art Museum, Laramie, WY; 1997 The New Representationalism, La Mama Gallery, New York, NY; 1995 Chasing Angels, Christenerose Gallery, New York, NY;1994 Drawing on Friendship: Portraits of Painters and Poets, Tibor de Nagy Gallery, New York, NY;1992 "Slow Art," PS 1, Long Island City, NY "Mall Art" New Museum, New York, NY; AWARDS: 2006 Art Production Fund and The Lawrence Rockefeller Foundation, Artist Fellowship and Foundation Fellowship Grant, Fondation Claude Monet, Giverny, France; SELECTED BIBLIOGRAPHY: 2015 “Kemper Museum of Contemporary Art presents 'Adam Cvijanovic: American Montage',” artdaily.org, June 30, 2015; “New York Artist’s Mobile Murals Stop at the Kemper Museum,” Laura Spencer, KCUR.org, May 30, 2015 “Summer Fun 2015: Visual art offerings include seasonal sculpture, an ode to the ocean and cinematic sensibilities,” Jon Niccum, The Kansas City Star, May 13, 2015; “Wondrous Wallpaper,” Nancy Staab, 435 Kansas City’s Magazine, May 2015; “At the College of New Rochelle, a Show Meant to Provoke Double Takes,” Susan Hodara, The New York Times, February 21, 2015; “Anti-Gran” Contemporary Perspectives on Landscape”, University of Richmond Museum, January 2015; 2014 “Up for discussion: 'Flyover country' at The Alexander,” Leslie Bailey, IndyStar, April 1; “Art show turns Roanoke store into a Grateful Dead zone,” Mike Allen, The Roanoke Times, January 31; 2012 “Goings On About Town: Natural History,” The New Yorker, October 5, 2012; “When Natural History and the Artist's Studio Collide,” Robert Cicetti, Hyperallergic, October 5, 2012 The Daily Pic, The Daily Beast, Blake Gopnik, Newsweek, September 20, 2012; “Un alce e Bambi in galleria. Adam Cvijanovic e l’illusione ottica,” Emanuela Bermascone, artribune.com, October 10, 2012; “Art Rx (September 6), Jillian Steinheur, Hyperallergic, Septeber 6, 2012 http://hyperallergic.com/56422/art-rx-30/; 2010 “Adam Cvijanovic and David Humphrey: Defrosted: A Life of Walt Disney,” Artreview # 44, October2010 Adam Cvijanovic interview by Tim Groen, September 23, 2010 www.timgroen.com/2010/09/23/adam-cvijanovic/; “A Life of Walt Disney,” Karen Rosenberg, The New York Times, July 9, 2010; “Goings On About Town: Art: Defrosted a life of Walt Disney,” NewYorker July 28, 2010 “Magic Kingdom,” Charlie Schultz, ArtSlant July 18, 2010; “Making Houses Fly,” Barbara Pollack, ARTnews, January 2010; 2009 "Being There", Elizabeth Schambelan, Art Forum, January 2009; 2008 "Adam Cvijanovic: Adam Cvijanovic's Colossal Spectacle", Murtaza Vali, Art Review, September 2008 "Holding a Mirror to the Mirror of the Past", Carol Kino, The New York Times, June 8, 2008; "Adam Cvijanovic", Seth Curcio, DailyServing.com, June 29, 2008; "Adam Cvijanovic's Colossal Spectacle", David Coggins, Time Out NY, June 25, 2008; "Adam Cvijanovic ", The New Yorker, June 24, 2008; "Adam Cvijanovic- A Colossal Spectacle- Bellwether Gallery", ChicCityrats.com, June 24, 2008; "Adam Cvijanovic at Bellwether Gallery, NY", Belinda Norwitz, Art2Bank.com, June 13, 2008. "Today's Landscapes, Tomorrow's Dystopia", Benjamin Genocchio, The New York Times, June 1, 2008. "Things we actually like: Adam Cvijanovic's Colossal Spectacle", Gawker.com, May 29, 2008. "Southern Exposure", Maura Egan, The New York Times Style Magazine, December 2008. "Kaleidsocopic Biennial for a Scarred City", Roberta Smith, The New York Times, November 4, 2008. "New Orleans Rising, by Hammer and Art", Shaila Dewan, The New York Times, October 28, 2008; 2007 "American Beauties", Alastair Gee, The Moscow Times, July 27, 2007; "Adam Cvijanovic: Landscape as Narrative Space", Carmen Zita, Trace 2007, February/March, p.84-87 "Disaster Art", Christopher Bollen, VMan 2007, Spring/Summer, p.88; "Everything is Problematized", Helen Hsu, Art in America Nov 2007; MoCA Shanghai exhibition catalogue, 2007; "USA Today", John Slyce, Art Review 2007, January, p. 140-141 (image); 2006 "Adam Cvijanovic", David Colman, Elle Decor, November 2006, p. 108-110; "Danger-American Artists at work", Richard Dorment, The Telegraph, London, October 9, 2006. "Painting triumphs again", Laura Cumming, The Observer, London, October 8, 2006; "National Obsessions", Sarah Thornton, Artforum.com, October 8, 2006, Scene & Heard; "Saatchi turns from Britart to U.S. works", Mike Collett-White, The China Post, October 6, 2006. "Saatchi's USA Today at the Royal Academy of Arts London", Caroline Lewis, 24 Hour Museum, October 5, 2006; "Saatchi is ready for another sensation at the RA", Nigel Reynolds, The Daily Telegraph 2006, April 5; "Niagara's Illusion", Richard Huntington, The Buffalo News 2006, Reviews, July 7; “Playing to the Room,” Cynnie Gaasch, Art Voice, April 13, 2006; "Niagara Falls Installation to Open in Art Gallery", University at Buffalo, March 14, 2006; 2005 "Adam Cvijanovic", The New Yorker, September 26, 2005; "Goings on About Town", The New Yorker 2005; "Adam Cvijanovic", Brian Sholis, Artforum 2005; "Trendy Artists Pick Up an Old-Fashioned Habit", Carol Kino, The New York Times 2005. "Adam Cvijanovic", Gregory Montreuil, Flash Art 2005; "Ups and Downs: Literal highs and anemic lows on the ever more crowded downtown gallery roster", Jerry Saltz, The Village Voice 2005; "Listings", Johnson, The New York Times 2005; "This Year's Best: The Five Best Paintings", Karen Rosenberg, New York Magazine 2005; "Adam Cvijanovic", Katie Stone Sonnenborn, The Brooklyn Rail 2005; "Hauser am Himmel: Adam Cvijanovic malt das Ende der Schwerkraft", Lisa Zeitz, Kunstmarkt 2005. "Adam Cvijanovic", Steven Vincent, Hammer Projects Catalog 2005; "Decrypt New-York", Virgil de Voldere, L'Imprononcable No 3 2005; "Weekend Update", Walter Robinson, artnet.com 2005; 2004 "Rolling Out Wallpaper", Julie Mehta, Art Business News 2004; 2003 "A Whole New Wall Game", Kula Marisa, Surface, June 2003; "Off the Wall", Kim Levin, The Village Voice, March 5, 2003; "Paste testing the new wallpaper", Arik Chen, The New York Times, February 13, 2003. "360", Newell Turner, Palm Beach Cottage and Gardens, January 2003; 2002 "Adam Cvijanovic", Robert Marshall, Artnet.com, March 14, 2002; "Young Americans", Simon Grant, Tate, March 2002; "Editor’s Choice", Pilar Viladis, The New York Times Magazine, November 17, 2002. "Disko Bay", Martha Schwendener, Time Out NY, January 24, 2002; 2001 "All American", Ken Jhonson, The New York Times, July 2001; "All American", Robert Mahoney, Time Out NY, July 2001; "The Home Team", Victoria Rowan, New York, December 11, 2001; 1999 "Adam Cvijanovic", Justin Spring, Artforum, September 1999."Voice Choices", Kim Levin, The Vilage Voice, April 6, 1999; "Adam Cvijanovic", Simon Watson, Simon Says, March 1999. "Adam Cvijanovic", Stephany Cash, Art in America, December 1999; 1998 "Salon Moderne", Suzanne Slesin, House & Garden, June 1998; 1994 "Adam Cvijanovic", Robert Mahoney, Cover Magazine, October 1994.

mostre, arte, eventi, artistici, gallerie, contemporanea

Come Arrivare?

Informazioni su ''