Nine Rules of Tremulation at Noname, Paris, 2024
Curated by Daniel Birnbaum & Jacqui Davies
'In his book On Tremulation (1719), Emanuel Swedenborg envisioned a cosmos in which everything – including seemingly solid objects vibrates. From this theory, Swedenborg edicted nine rules on how any entity trembles.
This exhibition, which includes works by sixteen artists, uses his “Nine Rules of Tremulation” as a schema to explore forms of dissemination and coagulation. Reflections, shadows, echoes, and replicas are important themes in the show, as are methods of transmissions and forms of vibration and trembling. An emphasis on the multisensory agency of things – artworks as well as technical artefact – create spaces of reflection and ambience that rid our thinking of the obsession with the historically overemphasized relationship between a perceiving subject and a known object. Other equally productive relationships between agents – synthetic or organic – can emerge.'
Includes: Karla Black, Tony Cokes, Thea Djordjadze, Trisha Donnelly, Marcel Duchamp, Cerith Wyn Evans, Spencer Finch, Shilpa Gupta, Veronika Hapchenko, Anne Imhof, Emily Kraus, Alicja Kwade, Nam June Paik, Iris Touliatou, Nobuko Tsuchiya, Anicka Yi.
Patterns at Luhring Augustine, New York, 2024
'The show highlights over twenty artists whose work explores pattern in diverse ways—as a motif, organizing principle, compositional device, and strategy. Working in painting, weaving, quilt-making, mosaic, and sculpture, this cross-generational group of artists includes:
Tauba Auerbach, Athos Bulção, Lygia Clark, Melissa Cody, Sarah Crowner, Gee’s Bend Quiltmakers (Qunnie Pettway and Loretta Pettway Bennett), Alfred Jensen, Rashid Johnson, Emily Kraus, Liu Wei, Kim MacConnel, Eric N. Mack, Jeremy Moon, Rebecca Morris, Ryan Mrozowski, Richard Rezac, Frank Stella, Philip Taaffe, Rosemarie Trockel, Juan Uslé, Jack Whitten, Christopher Wool, Yves Zurstrassen
Rather than adhering to rigid repetition or structure, these artists invite interruptions and deviations from prescribed forms through varying strategies, opening avenues to new ways of making and seeing...'
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Double Take at LVH, London, 2024
Double Take is an exhibition which explores how artists today are engaging with technology and machinery in their creative process. Central to the exhibition is the theme of perception: each of the works presented play visual tricks on the human eye upon first glance, causing viewers to question whether they are made by hand or created with mechanical or technological intervention.
Artists included: Adam Pendleton - Albert Oehlen - Andrea Marie Breiling - Andy Warhol - Brice Guilbert - Camille Henrot - Cheyney Thompson - Christopher Wool - Dustin Emory - Emily Kraus - Harminder Judge - Hugh Scott-Douglas - Jack Warne - Jeff Elrod - Jerome Nadeau - Larry Bell - Lucas Dupuy - Mary Corse - Max Boyla - Mika Tajima - Nate Lowman - Oliver Beer - Reuben Beren James - Rudolph Stingel - Viola Leddi - Wade Guyton - Wangshui
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Bloomberg New Contemporaries at Camden Art Centre, London, 2024
The resulting exhibition offers a distinctive snapshot of current artistic concerns and approaches spanning a breadth of disciplines and presents an important picture of emerging artistic practices: taking the pulse of contemporary art and the urgent lived concerns that are driving artists in the UK today. It is a unique platform that provides emerging artists, many of whom live outside London, the opportunity to present their work to a wider audience, alongside a programme of artist development opportunities to support the growth of their practice.
Themes explored in the exhibition include care, kinship, collectivity, climate justice, world-building, geographical borders, and identity politics.
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Painting, as It Were (Painting as Is III) at Kadel Willborn, Düsseldorf, Germany, 2024
Curated by Heidi Hahn & Tim Wilson with Yeşim Akdeniz, Benjamin Butler, Emily Kraus, Linda Nadji, Christopher Page, Mary Ramsden, Tim Wilson
'Painting, as It Were (Painting as Is III), the third installment of Painting as Is, an ongoing curatorial collaboration between New York based artists Heidi Hahn and Tim Wilson. As with all of these shows, Hahn and Wilson seek to bring together groups of artists that hold a keen interest in the blunt facts of painting. Facts, that when deployed, demonstrate a wide range of pictorial languages that stretch across and live within abstraction and representation—performing a kind of formal calland-response that is tethered to painting’s rich history but also give rise to each artist’s unique voice. While on the one hand, the works in these shows demonstrate a well understood formal and selfreflexive nature of an art making practice, the crux is rather more to do with an insistent belief, that is simultaneously bound up with a high level of doubt, that the manipulation and rearrangement of the objects of material world can somehow transform into objects of meaning—whatever they may be. These readings, like much of our understanding of the perceptual world, are conjectures that serve as evidence of the porous threshold through which inert materials pass into thought.'
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Echoes Across Surfaces at Duarte Sequeira, Braga, Portugal, 2023
Curated by Ivo Pacheco & Despoina Tzanou
Eliza Ballesteros — Edmond Brooks-Beckman — Emanuel De Carvalho
Jorge Galindo — Emily Kraus — Pia Ortuño — Mauro Ventura
'Bringing together the works of 7 artists, Echoes Across Surfaces delves into the potential and inherent limitations of painting. The exhibition celebrates the wide range of approaches employed by each artist, and stands as a platform to foster an exchange of ideas centred around the medium of painting across various surfaces. Embracing the use of brushstrokes, marks, dye, pigment, oil, acrylic and spray paint, each artist is guided by their distinct visual language and method, highlighting the numerous possibilities of painting.'
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John Moores Painting Prize at Walker Art Gallery, Liverpool, 2023
Stochastic 14 by Emily Kraus - Shortlisted prize winner
'John Moores Painting Prize 2023 attracted a record-breaking 3357 entries, this says a lot about the importance and popularity of the Prize to artists, the recognition of its influence on careers, and the love of painting as a medium. It continues to follow it founding principles, established in 1957 by Sir John Moores and the Walker Art Gallery: to bring together emerging and established artists and to showcase a snapshot of contemporary painting in the UK. In its long history, the Prize has evolved but one fundamental rule has remained the same; paintings are judged anonymously, allowing the works to speak for themselves and giving the process and final exhibition a unique authenticity.'
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Matija Čop and Emily Kraus at Sapling, London, 2023
A showcase of one painting by Emily Kraus and two sculptures by Matija Čop. Each areexploring the translation of sound to solid with unique machine-assisted processes.
Emily Kraus presents Stochastic 11 (2023, 170 x 300 cm, oil on canvas) as an exemplarywork from her Stochastic series. Kraus has developed a unique process to make paintings.The artist wraps a loop of stitched canvas around four metal poles attached to a cubicmetal frame. She paints the poles, then rotates the canvas at differing intervals. The artistfeels through the framework and paints by hand while allowing for splatters and wrinkles.The apparatus limits the scope of her vision, forcing her to hold a memory of surroundingmarks while focusing on the visible section of canvas. This linear limitation of time is akin tothe process of composing a musical score, only hearing one note at a time yet fitting it intothe memory of its place in the score. The resulting painting, unstitched and displayed asstretched canvas, is a product of intuition and chance. Kraus has extended the capabilitiesof her body, now able to render large expressive marks at speed and scale. The vertical andcurvilinear rhythms in her paintings keep the eye roving and alive. The viewer remainsembodied, becoming aware of the space between self and other, sound and silence.
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