KARL HOLMQVIST

Karl Holmqvist Untitled Smoke Sign

Created on the occasion of Karl Holmqvist’s personal exhibition WORD SQUARES within the framework of the exhibition From Concrete to Liquid to Spoken Worlds to the Word at Centre d’Art Contemporain Genève, from 31 May to 27 August 2017.

Made with a lighter, like the graffiti left on the bus stops, this utopian message becomes rebellious prose and ultimately in pious wish.

Description

2017, Silkscreen on Bristol board.

Format

500 x 600 mm

Edition signed and numbered 20 copies + 3 EA.

Selling price

CHF 2000

Adrien Missika «Oahu», 2009

Adrien Missika «Oahu », 2009

Adrien Missika’s work is a constant exploration of intermediate spaces, between fiction and reality. He draws from sources such as artificial settings (or decoration ?) and comic strips, fantasy films and postcards. Extensive traveller, passionate about architecture and archaeology, Adrien Missika combines the images of his trips to those he produces in his studio from models made out of poor materials. He also often works with basic lighting. Playing with the viewer’s expectations and assumptions, the artists questions our relation to the world and its representations.

For this edition the artist uses a specific technique and depicts an insular landscape at twilight photographed in a studio with a chamber camera on a analogue negative (4 x 5 inches) and then printed on paper by rotogravure.

In 1828 in Nicéphore Nièpce’s studio photography emerged as a photogravure process. The rotogravure has retained in all its developments the characteristic of an art print: copper, ink, paper. The plate is made photosensitive with bichromated gelatine; it receives the images through exposure to light and is then etched with ferric chloride (just like aquatints). The etched plate is covered in ink and then wiped by hand in order to retain all the features from the more intense to the more subtle.

This process invented by Nicéphore Nièpce was improved by Abel Niepce de Saint-Victor and W.H. Fox Talbot in the first half of the 19th century. Conceived by Karl Klietsch in 1878 this technique of multiple reproduction allows richer nuances than paper development. As Pietro Sarto argues, with rotogravure one can work in “three dimensions”: material, volume and type of ink. Because of all these possibilities, it became the favourite technique of Edward Steichen and the photographers associated with Camera Work.

L’Atelier de Saint-Prex explores since 1968 different forms of etching. The collective of artists - with at its center Pietro Sarto, Valentine Schopfer and Michel Duplain - has among other things produced rotogravures of Balthasar Burkhard, Paul Strand or Edward Steichen.

Description

Edition of the Centre d'Art Contemporain Genève produced for the exhibition of Adrien Missika and printed at the Atelier de Saint-Prex in February 2009.

Format

Rotogravure on paper “à la cuve”, vellum of Rives 250g, “pur chiffon”.

Dimensions

57.5 x 45 cm

Edition of 15 copies (+2 H.C. et 3 E.A.), signed and numbered by the artist on the back.

Price

CHF 1000

ARVO LEO, Accidental Ant Hill Sculpture, 2014

Arvo Leo Accidental Ant Hill Sculpture (Made in 2003 after a forest fire made love to a Ford Mustang) 2014

Many years ago there was an enormous forest fire in Canada. The McLure Forest Fire of 2003 (as it is called by some) lasted over 75 days. It destroyed 26,420 hectares of forest as well as many other things natural and man-made. The total estimated cost of the fire was 31.1 million dollars, in addition to 8.2 million dollars in property losses. 72 homes and 9 businesses were destroyed. Amidst these historical statistics it just so happens that a 1984 Ford Mustang vehicle was also engulfed in the flames. The flames were very very hot that day. The flames were so hot that the aluminum housing of the vehicle's engine melted, resulting in a pool of liquid metal trickling its way down to the ground and into a subterranean ant colony, filling the ant tunnels entirely with itself. A few days later a mechanic named Dave discovered this sculpture in the ground while he was cleaning up the remains of the burned vehicle.

Many people enjoy this sculpture because of its accidental nature. Yet what if it was not an accident? What if Nature, the Car, the Trees, or the Ants themselves had motivation for this sculpture's creation and were responsible for its coming into being?

Description

Screen print on paper.

Format

128 x 85 cm

Edition of 12
Red, black or blue
signed and numbered.

Price

CHF 2000 without frame

DAVID HOMINAL «Sans titre», 2010

hominal

The composition of the serigraphy – colour blocs around a cross – relates to a certain tradition of geometric abstraction and notably Swiss concrete art. If “nothing is more concrete than a line, a colour, a surface” (Theo van Doesburg, 1930), the literal quality in question differs from that of abstract painting. The pattern reproduced originates from a wide spread industrial technique. It is a cromalin print, a high definition colour reproduction used as a validation for documents during the printing that can be find in packaging and notably on cigarette packets.

Produced by the artist in the printing studio of the Rijksakademie in Amsterdam with precise colour mixes (oil painting), the print has a tautological character yet claims its hand-crafted quality.

The rippling and fingerprints related to the manipulation of the different blocs of colour are fully assumed by the artist.

  • 4 colored circles with golden cross and brown rim (10 copies)
  • 4 colored circles with blue cross and brown rim (3 copies)
  • 3 colored circle (no gold) with red cross and brown rim (2 copies)
  • 4 colored circles, with blue cross, no rim (3 copies)
  • 4 colored circles with golden cross, no rim (1 copy)
  • 3 colored circles (no blue) with golden cross, no rim (1 copy)
  • 1 red circle with red cross, no rim (2 copies)

Description

Limited edition from the Centre d'Art Contemporain Genève conceived by the artist David Hominal as a prelude to his exhibition “L'Après-midi d'un faune”.

Paper format

Serigraphy on paper Hahn Karton 300 g/m2.

Dimensions

100 x 140 cm

Edition de 20 copies (+ 2 H.C. et 9 E.A.), signed and numbered by the artist on the back at the center.

Price

CHF 1250
Frame: CHF 620

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