FLOOR_ presents, “8x12," from September 24 to November 7. The exhibition features 87 pieces representing a wide range of photography-based artworks by 48 artists from various countries with diverse cultural and artistic backgrounds. The works shown in the group exhibition include portraits, landscapes, documentaries, and abstract and staged images expressing different stories visually through various methods, using photography as a base medium. Although many components of each work are different, including the artists, subjects, ways of expressing the story, and dates and places that the images were made, all images are same 8x12 inches in size and placed side by side in a single space to show disparate images as one continuous cluster. By arranging the images in a line on the exhibition space’s walls, we hope that the audience not only experience each artist’s unique way of seeing and expressing but also create their own interpretations and new stories about the relationships between unfamiliar images.

Artists: Yan Jin, Kohei Kawatani, Tianli Zhang, Jacksun Bein, Hyunhee Doh, Yu Jing Liu, Marie Birkedal, Yu-Ching Wang, Jiyoung Bin, Yiseul Jung, Wen-Han Chang, Marie Haris Malekos, Stephanie Hsu, Pak Him Li, Yi-Hang Peng, Shou-An Chiang, Gianmarco Savioli, Jeong Hur, Tielin Ding, Steve Park, Maxwell Stevens, Jacob Talbot, Leanne Wiggers, Abo Huang, Nianzhang Liu, Anna Lam, Yoojeong Jin, Ally Campbel, Amelia Lau, Frida Braide, Christy Hui, Anna Bobkova, Angie Nam, Toma Gerzha, Benny van der Plank, Nin Tsai, Ming-Jer Kuo, Yumin Lee, Merani Schilcher, Anton Kuehnhackl, Jiyoung Bin, Harrison Edward, Sun-Hee Lee, Joel Derksen, Cherry Adam

State Hospital Divine Blue Sun, 20 x 30 cm, Photo, Marie Birkedal 2022

65-6 Yeonhui-ro 15-gil, Seodaemun-gu, Seoul,
Phone: +82-70-8065-7889
Email: info@projectbyfloor.com


72nd A-ONE Exhibition


Artist Reception September 10: 5:30pm-7:30pm

72nd A-ONE is a national exhibition highlighting the diversity of work that is
currently being made by established and emerging artists.

Established in 1949 as the New England Exhibition, a regional exhibit, it later became known as Art of the Northeast and is now a national exhibition. It features a wide range of collectible contemporary artwork that is both vibrant and surprising. Throughout its history, Silvermine’s signature exhibition has featured the work of many prominent artists including Louise Nevelson, Elaine de Kooning, and Milton Avery, and jurors have included major critics, curators, and directors from influential art institutions.



Sharon Butler

Painter, Art Writer, Founder of "Two Coats of Paint"

Butlers paintings, explore the tension between the digital and handmade. Solo painting exhibitions in 2016, 2018, and 2021 at Theodore Gallery were written about in Hyperallergic, artcritical, The New Criterion, The James Kalm Report, Time Out New York, and New York Magazine. Sharon has served as a lecturer and/or Visiting Artist/Critic at many notable art programs and organizations, including Brown University, Cornell University, Vermont Studio Center, Penn State, Pennsylvania Academy of the Fine Arts, the Art Institute of Chicago, the Hoffberger School of Painting (MICA), School of Visual Arts, and Parsons School of Design. She currently teaches in the MFA programs at the New York Academy of Art and the University of Connecticut

Bells for Magical Arts, watercolor on prepared rice paper, 26 x 17 in

Board the Plane, watercolor on prepared rice paper, 26 x 17 in

Bells for Magical Arts and Board the Plane are made out of fragile papers that are soaked in color and then as soon as the paint has bled into the paper, very carefully, to not break the paper, rinsed with water, and painted again, the process is then repeated. The works are created in a chemical reaction over time so residues of the paint settle as dust-like traces and hold them both in the present however also with a sense of imprints of what used to be. The works have a quality that resembles overexposed polaroids' presence in glimpses.

The paper works ephemeral quality comes from the first summer of complete lock-down in Berlin, where I drove to my studio through a deserted city on my mountain bike, with no people, no cars, just silence, and strange transient sunlight and a feeling of being the last person in the world. It was a surreal experience, everything was so quiet and beautiful and there was a sense of “past” in the empty city, a place everyone had left and was no more. At the same time, this was before we knew when a vaccine would come, so there was at the same time this very real feeling of imminent danger. That sensation came two years later expressed in these works.



"I was thinking about the rubbish, the flapping plastic in the branches, the shore-line of odd stuff caught along the fencing, and I half-closed my eyes and imagined this was the spot where everything I'd ever lost since my childhood had washed up, and I was now standing here in front of it.”

The exhibition's title, Never Let Me Go, comes from Kazuo Ishiguro's novel set in an alternate world. The main characters are three friends who were born solely to be organ donors and therefore know from an early age that they will not live past 35. Despite its sci-fi, dystopian premise, it is not about science or politics, it is an account of the lives of three friends, from childhood to what in this world describes as their "end" what we know actually means death. 

In the book, Never Let Me Go is the name of a song that the narrator, Kathy, loved as a child. The song came to her on a cassette tape donated to the boarding school where she grew up. Due to a lack of personal belongings at the school, the cassette tape along with the song became a treasure. Slowly, as Kathy matured, the meaning of the song also changed. As a child it represented keeping one's favorite things safe so no one could take them, but eventually the song comes to represent the desire to hold on to things as long as possible, knowing that they and everything will eventually disappear.

The impermanence of things and experiences, including Kathy's innocence and youth, her favorite things, and eventually all the people she loved, is a central theme of the novel. The tape itself, which in the novel is lost, but is eventually found again as a copy, has a parallel to painting. Music preserved on a tape recalls how materials are bound to surfaces, preserves the character of the paint, and documents a living, moving, active process. Painting, like a cassette tape, has the ability to retain and make a recording of an experience, of the ineffable and the ephemeral, for as long as possible.

Marie Birkedal's process is built around moments where, due to its physical properties, the paint can live and move across the canvas, movement, gravity, and drying time imply a state that is not permanent, but which the artist wishes to maintain. In Birkedal's paintings we don't just see form and colour, we also see paint poured on one side of the canvas slowly moving to the other side. By watching the process, we see the history of the painting and through the history we can imagine the artist's experiences, motivations and possibly even the back story.

Ian Jehle's work focuses on the plywood surface that dictates how and where the paint is applied, a thousand small chips locked together, simultaneously moving in all directions, a universe unto itself; that asks to be understood before it inevitably falls apart. It is a puzzle that requires specific steps to solve. When you imagine each step as a beat, the painting itself becomes a recording of how the puzzle goes from unsolved to a little more solved. In Jehle's paintings, the process reveals itself in the algorithm used to color in the shapes based on a never-solved math problem. The puzzle is rarely, if ever, solved, not because of a flaw in the algorithm, more because the act of trying to solve the problem is ultimately more meaningful than the solution.

This separation between the meaning of the content of the painting and the experience of the content of the painting and the experience of the process is something that both artists emphasize and describe.

Never Let Me Go is chosen by the artists because the novel communicates why artists produce art. Early in the novel, Kathy recounts fondly the artwork she and her classmates made as children at their special boarding school. The students submitted their art to what they called the "gallery" and therefore believed that what they created had great significance to the outside world.

As they got older, the students traded artwork as a way to remind each other of their shared childhood. And as adults, long after it became clear that the world had little interest in what they produced, the art became a way for the former students, now organ donors, to understand themselves and as a record of their short lives.

As mid-career artists both Birkedal and Jehle went through development. In her early practice, Marie Birkedal worked with drawings that dealt with social, political, and psychological boundaries set for women, whereas in the last decades she has worked with painting on the premises of painting. Ian Jehle produced large unauthorized portraits of people in the art world examining the often-incongruous public identities created. The exhibition shows a selection of paintings paired by the artists.

Marie Birkedal & Ian Jehle, 2 September - 2 October 2022, Herzbergstrasse 55, 10365 Berlin

Exhibition recommendation IDOART https://www.idoart.dk/kalender/marie-birkedal-ian-jehle-never-let-me-go



Contemporary paintings in the new abnormal

Contemporary Art Chronicle

VOLUME 1: Contemporary paintings in the new abnormal.

VOLUME 1 Contemporary paintings in the new abnormal.

June 20 2022

Contemporary Art Chronicle is pleased to present Volume 1: Contemporary paintings in the new abnormal,

We are proud to present Jonathan Bennett, Marie Birkedal, Veronika Bowyer, Cristiana Canzanese, Jean Feinberg, DimaslA Group, Barbara Höller, Andrew Huff, Jeffrey Cortland Jones, Francine LeClercq, Juan Sacristán and Gabriel Soto.

Volume 1 is an exhibition about the perception of now and the enormity of our shared experience as humanity in a post pandemic era, featuring artists from Germany, Australia, Italy, United States, Spain, France, Mexico, El Salvador and Austria.

Volume 1 is a colective exhibition of artists from from a diverse cultural background whose works emerge as testimony of our shared humanity in the post pandemic time we are living.

The artists at Volume 1 present a panorama of styles and subject matter that portray intimate observations of time, color, matter, and spaciality.

Volume 1 brings together artists that explore the specific characteristics of the materials (tonality, texture, and color).

The inspiration of the artists at Volume 1 emerge from diverse cultural and emotional experiences, using the canvas to create forms, images, and geometrical systems to emphasize the materiality, and the creation process.

The paintings that make up Volume 1 are oil paint on canvas, acrylic on wood, enamel on acrylic panel, and acrylic on aludibond.Each artist give the canvas a particular surface from the transparent and glossiness to the rough and scratch: from the chaotic to an organized geometrical composition.

In essence, each of these artists use their artistic practices as a dialogue between materiality, spaciality and the passage of time.

Galerie Asterisk * Eine Feministische Intervention

Galerie Asterisk * widmet Künstlerinnen* im Jahr der Geburt ihres Kindes eine Einzelausstellung.

Retrospektiv werden alle Geburten als Ausstellung archiviert.

Auf diese Weise handelt galerie asterisk * politisch gegen exkludierende Praxis im Kunstbetrieb.

Ziel ist eine Vernetzung über die Viten: sichtbar und wiedererkennbar.

100 x 80 cm, oil on canvas, Marie Birkedal, 2022