ABOUT THE FAIR
New York City, Pier 94, Booth #818
711 12th Ave, New York
HANS OP DE BEECK
ABOUT Anthony Goicolea
Born in 1971 in Atlanta, Georgia, USA
Lives and works in New York
Anthony Goicolea (USA, 1971) is a first-generation Cuban American artist. He grew up in the Deep South of the United States of America, in the midst of the Cuban refugee crises, coupled with the advent of the AIDS crises, and the rise of the religious right. Goicolea was socially stigmatised for being Cuban, gay, and Catholic. These circumstances brought about a heightened awareness of social constructs, and the changing nature of identity in politics – a theme that continually influences his work. Goicolea explores themes ranging from personal history and identity, cultural tradition and heritage, to alienation and displacement.
His diverse oeuvre encompasses digitally manipulated self-portraits, landscapes, and narrative tableaux executed in a variety of media, including black-and-white and color photography, sculpture and video installations, and multi-layered drawings on Mylar. Best known for his powerful, and often unsettling, staged photographic and video works, Goicolea made his artistic debut in the late 1990s with a series of provocative multiple self-portrait images. These early works featured groups of young boys on the threshold of adolescence, acting out childhood fantasies and bizarre rituals of revelry and social taboo in highly staged domestic or institutional settings or dense, fairy-tale forests. Revealing a playful self-consciousness, they often consisted of complex composites of the artist himself, in all manner of poses and guises. Soon thereafter, Goicolea garnered international attention with his ambiguous, yet strangely compelling, landscapes, ranging from dream-like woodland environments to vast, unforgiving urban and industrial wastelands. The artist has created several series of digitally composited, and heretofore uncharted, topographies, often populated by bands of masked and uniformed figures.
In recent series, many of the images are devoid of humans, although the landscape reflects an anonymous and increasingly tenuous human presence. In these works, primitive lean-tos and crudely constructed shanties coexist in an uneasy union with the technological vestiges of an industrialized society. Suggesting a world on the brink of obsolescence, these chilling images further cement the pervasive undercurrent of human alienation—from one another as well as the natural environment—that can be traced throughout the artist’s work.
Anthony Goicolea has exhibited widely, notably at the Museum of Contemporary Photography, Chicago, Illinois; the International Center of Photography, New York and Museo Reina Sofia, Madrid. Goicolea’s art is held in many public collections, including the Whitney Museum of American Art, New York, NY; The Museum of Modern Art, New York, NY; The Guggenheim Museum of Art, New York, NY; The Brooklyn Museum of Art, Brooklyn, NY; Yale University Art Collection, Photography, CT; the Museum of Contemporary Art of Castile and Leon, Spain; 21c Museum, Louisville, KY, the Akzo Nobel Art Foundation, Amsterdam, and Cobra to Contemporary/The Brown Family Collection, among others.
ABOUT Hans Op de Beeck
Hans Op de Beeck was born in 1969 in Turnhout, BE
He lives and works in Brussels, BE
Visual artist Hans Op de Beeck lives and works in Brussels, where he has developed his career through international exhibitions over the past twenty years. His work consists of sculptures, installations, video work, photography, animated films, drawings, paintings and writing (short stories). It is his quest for the most effective way of presenting the concrete contents of each work that determines the medium that the artist ultimately selects. The scale can vary from the size of a small watercolour to a large, three-dimensional installation of 600m2.
The artist not only uses a very wide variety of media, but also deliberately employs a diversity of aesthetic forms, ranging from an economical, minimalist visual language to overloaded, exaggerated designs, always with the aim of articulating the content of the work as precisely as possible.
Thematically, the work concentrates on our laborious and problematic relationship with time, space and each other. Op de Beeck shows the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from contemporary everyday life, aiming thereby to capture in his images the tragicomic absurdity of our postmodern existence. Key themes are the disappearance of distances, the disembodiment of the individual and the abstraction of time that have resulted from globalisation and the changes to our living environment that developments in media, automation and technology have brought about.
Hans Op de Beeck sometimes calls his works “proposals”; they are irrefutably fictional, constructed and staged, leaving it up to the viewer whether to take the work seriously, as a sort of parallel reality, or immediately to put it into perspective, as no more than a visual construct. His work is nourished by a keen interest in social and cultural reflection. The artist also questions the difficult relationship between reality and representation, between what we see and what we want to believe, between what is and what we create for ourselves in order to make it easier to deal with our own insignificance and lack of identity. The visual output of that investigation often produces slumbering, insidious, melancholy and astonishing images.
Multi-disciplinary artist Hans Op de Beeck creates interworlds. Suspended between past and future, fiction and reality, his works sound out a mirage-like contemporary universe and a sensory vertigo where the familiar rubs shoulders with the strange. From installation to sculpture, from video to animated film, from short stories to painting and drawing, from photography to sound material, the media he employs seem to converge on the definition of a topos: a mental theatre that projects the viewer into a reflexive social and cultural experience, the intimate thinking of the human condition. —Eva Prouteau
Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He has had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, BE (2006); Centraal Museum, Utrecht, NL (2007); the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, US (2010); Kunstmuseum Thun, CH (2010); Centro de Arte Caja de Burgos, Burgos, ES (2010); Butler Gallery, Kilkenny, IRL (2012); Kunstverein Hannover, D (2012); Tampa Museum of Art, Tampa, USA (2013); the Harn Museum of Art, Gainesville, FL, USA (2013); FRAC Paca, Marseille, F (2013); MIT List Visual Arts Center, Cambridge, Boston MA, US (2014); MOCA Cleveland, OH, US (2014); Sammlung Goetz, Munich, D (2014); Screen Space, Melbourne, AU (2015); Espace 104, Paris, FR (2016); Art Unlimited, Basel, CH (2016); Kunstraum Dornbirn, Dornbirn, AU (2017); Museum Morsbroich, Leverkusen, DE (2017); Kunstmuseum Wolfsburg, Wolfsburg, DE (2017); Fondazione Museo Pino Pascali, Polignano a Mare, IT (2017); His work is included in museum collections of the Centre Pompidou, Paris; the Royal Museum for Modern and Fine Arts, Brussels; Museum Voorlinden, Wassenaar; Museum Arnhem, Arnhem; the ING Art Collection, Amsterdam; the Akzo Nobel Art Foundation, Amsterdam, and Cobra to Contemporary/The Brown Family Collection.
ABOUT Ryan McGinness
Ryan McGinness was born in 1972 in Virginia Beach, VA
He lives and works in New York, NY
His work consists of an amalgam of icons and symbols. Drawing from his background in the design industry, Ryan McGinness’s work resolves the clinical graphic aesthetics of media as vast, contemplative fields of intimate meditation. It incorporates strong social commentary on iconography, language, and historical and contemporary symbolism. His graphic drawings and personal iconography are replicated, recontextualized, and materialized infinitely throughout his densely layered paintings.
Born and raised in the surf and skate culture of Virginia Beach, Virginia, McGinness moved on to study at Carnegie Mellon University in Pittsburgh, Pennsylvania as an Andrew Carnegie Scholar. During college, he worked at the Andy Warhol Museum as a curatorial assistant, which inevitably influenced his proclivity toward pop and graphic aestheticism. Known for his original extensive vocabulary of graphic drawings that use the visual language of public signage, corporate logos, and contemporary iconography, McGinness creates paintings, sculptures, and environments and fabricate the iconography of contemporary experience as spiritual and timeless.
McGinness’s work can be found in such art institutions as The Museum of Modern Art in New York, NY; The Museum of Contemporary Art San Diego, CA; the Cincinnati Art Museum, Cincinatti, OH, and private and corporation collections including the Neuberger Berman Collection, New York, NY; Cobra to Contemporary/The Brown Family Collection, and the Charles Saatchi Collection, London.