Breach Miami

NOW NOW

GROUP EXHIBITION

MAY 22 JULY 31, 2021

HOW MANY TIMES HAS PAINTING BEEN DECLARED DEAD? HOW OFTEN HAS IT BEEN DECLARED FINISHED? IN THE 20TH CENTURY, IT DIED REGULARLY. PAINTERS AND NON-PAINTERS ALIKE FANTASIZED ABOUT ITS FUNERALS, GLEEFULLY WROTE OBITUARIES, PROCLAIMED ITS LAST WORDS. YET PAINTING CAME BACK INTO THE PUBLIC EYE AS OFTEN AS IT WAS BANISHED FROM IT. IF PAINTING WAS A CAT, IT WOULD NOT HAVE SEVEN LIVES, BUT THOUSANDS. IT WAS NEVER REALLY DEAD. TODAY, AT THE BEGINNING OF THE 21ST CENTURY, THE QUESTION “WITH OR WITHOUT CANVAS?” NO LONGER ARISES. THOSE WHO PAINT JUST PAINT. OUTSIDE, ON WALLS, ON TRAINS, ILLEGALLY. OR LEGALLY ON THE WALL OF THEIR CHILDREN’S ROOMS OR ON THE CANVAS IN THEIR STUDIOS. PAINTING IS EVERYWHERE. AT THE PRESENT TIME, YOU NO LONGER HAVE TO OVERCOME IT, CONCEPTUALLY EXCUSE OR DECONSTRUCT IT, NO LONGER HAVE TO TRANSFER IT TO OTHER MEDIA OR CUT IT WITH A KNIFE TO TALK ABOUT IT. PAINTING IS EVERYWHERE, FROM CRADLE TO GRAVE. RECENTLY, PAINTING HAS REGAINED ITS RIGHT TO LIVE AND IS MORE TOPICAL THAN EVER – WITH ALL THAT THAT IMPLIES.

 

THE GROUP SHOW NOW NOW IS ALSO THE INAUGURAL EXHIBITION OF THE NEWLY FOUNDED BREACH GALLERY BY FABIEN CASTANIER AND ED BRONER, THE LATTER ALSO BEING ITS CURATORIAL DIRECTOR. THE GALLERY’S PHILOSOPHY STANDS FOR OPENNESS AND EQUAL OPPORTUNITY. IN CONTRAST TO SELECTION PROCESSES BASED ON DISCRIMINATORY CATEGORIES, SUCH AS SOCIAL BACKGROUND OR EDUCATIONAL CREDENTIALS, AT BREACH GALLERY, IT IS THE QUALITY OF THE ARTISTIC WORK THAT IS PARAMOUNT IN THEIR SELECTION. AS AN ARTIST AND CURATOR, ED BRONER HAS LONG BEEN INTENSLY INVOLVED WITH THE MOST DIVERSE PLACES IN WHICH PAINTING CAN BE CREATED. ON THE ONE HAND, HE HAS DEMONSTRATED A KEEN INTUITION FOR YOUNG TALENT FOR MANY YEARS – EVEN WHEN THEY WERE STILL STUDENTS EXPERIMENTING AT THEIR UNIVERSITIES. HE HAS A SENSE FOR TRENDS, MOVEMENTS AND EMERGING CAREERS. HIS FORMER BLOG NOW NOW CONTEMPORARY BROUGHT ABOUT INFLUENTIAL DISCOVERIES. ON THE OTHER HAND, ED BRONER DOESN’T JUST LOOK AROUND AT INSTITUTIONS, NOR IS HE INTERESTED IN WHO WAS A MASTER STUDENT OF WHICH PROFESSOR WHEN MAKING HIS SELECTION. HE MAKES NO DISTINCTION BETWEEN SELF-TAUGHT ARTISTS, OUTSIDERS OF AN UNDERGROUND CULTURE, GRAFFITI SPRAYERS, OR AWARD-WINNING FELLOWS. AGE AND ORIGIN ARE ALSO IRRELEVANT. ED BRONER CURATES PAINTINGS, NOT BIOGRAPHIES OR PROFILES. AN UNFORTUNATELY RARE BUT ALL THE MORE EXCITING APPROACH.

 

NOW NOW SHOWS A WIDE RANGE OF CURRENT POSITIONS. SCULPTURES ALSO APPEAR, BUT THEY TOO ARE FROM THE HANDS OF THE PAINTERS. THE PAINTINGS ARE FIGURATIVE, ABSTRACT, GESTURAL, QUIET, DIRTY, WILD OR ORDERLY. HERE, TOO, THE TRANSFORMATIONS OF THE 21ST CENTURY ARE REFLECTED: WE NO LONGER LIVE IN A TIME WHEN ABSTRACT AND FIGURATIVE PAINTINGS ARE ON OPPOSING SIDES, OPERATING WITH CONTRARY VIEWS OF THE WORLD, AS WAS STILL THE CASE IN POSTWAR AND COLD WAR DEBATES. TODAY AND IN NOW NOW THE HETEROGENEOUS INFLUENCES, SUCH AS FROM THE REALISTIC, THE NAIVE, THE EXPRESSIVE, THE SURREAL OR THE COLOR FIELD PAINTING, ARE FORMATIVE. ASSOCIATIONS OF SAMPLING ARISE, REMINSCENT OF A FOLKLORE OF HIP-HOP, COMIC-CRIME STORIES, AN ASIAN POP ART OF MEXICAN MURAL PAINTING OR CHILDISH (NIGHT) DREAMS OF COLOR MATTER. THERE IS A FOCUS ON AFFIRMING NARRATIVES, VIVID STORYTELLING, THE CREATION OF PROTAGONISTS, IMPERFECT (ANTI-)HEROES AND NEW FRIENDS. TOGETHER, THE WORKS OF THE 25 PARTICIPATING INTERNATIONAL ARTISTS CREATE A COLORFUL WORLD OF HYBRID STYLES, LANDSCAPES OF ABSTRACTION AND THEIR NEW INHABITANTS. THE BREACH PHILOSOPHY IS ALREADY EVIDENT HERE.

 

TEXT BY LARISSA KIKOL