societe


MARZIA FROZEN 

Presents



Société Anonyme
  Curated  by   Javier  RAMIREX


         Opening  Reception:  SATURDAY   February 9th  1 - 5 pm

Performance  by Emma DIXON,  ALTIPLANO


            February 9th - March  2nd, 2013

Annemarie  AMBROSOLI  - Africa  COLL - Emma DIXON 
 Anne-Marie DJURFORS - Annette LIISBERG - Barbara  HARDMEIER 
 Martina  MALAVASI - Päivit   NIEMELÄINEN  - Javier RAMIREX 
  Pierre CLÉMENT - Linda-Marie PATTYN - Karl-Otto  MYRSTAD






MARZIA  FROZEN

Neumagener Straße 27

Haus 7

13088 Berlin  

www.marziafrozen.com  

                                               
                
Marzia Frozen is pleased to announce an  international  group exhibition of a new generation of artists working today. This will be a group exhibition at MARZIA FROZEN in Berlin, and will feature a selection of  paintings, sculptures, photographs,  performances and videos.   


This exhibition is an Homage to Marcel Duchamp painter. In 1912 Duchamp would devise a Cubist-inspired technique for depicting motion, then move on to something almost unheard of abstract painting. Yet by the year’s end he would virtually abandon painting to venture into uncharted territory.

Nude Descending a Staircase was among the earliest attempts to depict motion using the medium of paint. Its conception owed something to the newborn cinema, and to photographic studies of the living body in motion, like those of Marey and Muybridge.

It was also an antidote to Cubism’s greatest weakness: Cubist paintings were necessarily static. Instead of portraying his subject from multiple views at one moment, as Cubist theory would dictate, Duchamp portrayed her from one view at multiple moments, as Muybridge did. By turning Cubist theory upside-down, Duchamp was able to give his painting something the Cubists could not: vitality.

But by adopting characteristic techniques of Cubism  the somber palette, the methodical deconstruction of form  while subverting its principles, Duchamp doubtlessly meant to mock its pretensions.
Soon after it was finished, Duchamp’s Nude was rejected by the Salon des Indépendents because members of the jury felt that Duchamp was poking fun at Cubist art. They especially objected to the title, which they felt was cartoonish. Duchamp had painted the title along the bottom edge of his painting, like a caption, which certainly reinforced their impression of his comic intent.
Like the Nude before it, The King and Queen Surrounded by Swift Nudes depicts figures in motion, but here they are juxtaposed with static entities. Abstract kinetic figures  the swift nudes of the title  flow in two streams, one ebony and one gold, amid a pair of solid-looking forms, the king and queen. The royal couple are shiny abstract forms which do not resemble any known objects.

Duchamp said the swift nudes were “flights of imagination” introduced to satisfy his preoccupation with movement. They can also be seen as flights of imagination on the part of the king and queen  which makes this painting, like The Chess Players of 1911, about portraying thought.
Duchamp’s next painting delved further into abstraction, creating an image with no counterpart in the visible world. The Passage from Virgin to Bride is a conglomeration of semi-visceral, semi-mechanical forms that suggest fleshly vessels, armatures, and vanes. Shape, color, and space fluctuate, suggesting mutating forms amidst deep recesses.
There is a greater degree of depth than in the preceding paintings, but margins between foreground and background are indistinct. As the eye moves around the canvas, its forms fluctuate in and out, change contours, and shift positions. This is a picture of complicated flux, more than a little confusing to the eye — an apt depiction of the transition from youth to young adulthood. This picture is among the earliest examples of wholly abstract modern art.
After 1912, Duchamp would paint only a few more canvases. He was growing increasingly disillusioned with what he called “retinal” art; art that appealed only to the eye  and wanted to create a new kind of art, one which would engage the mind.

He began to make notes for a large-scale project unlike anything else, which would become his monumental work of 1923, The Bride Stripped Bare by Her Bachelors, Even. In one of these notes Duchamp wonders cryptically “Can one make works of art which are not ‘of art’?”
His next work would take Duchamp far outside existing boundaries of art, into unnamed territory now called conceptual art.



ambrosoli

Annemarie  AMBROSOLI
Weiße Schleier, 2012
Oil on canvas





pierre

Pierre  CLÉMENT
Alpine
, 2012
Skis, wasted wood
dimensions variables






afrika

Africa  COLL
Tronja, 2012
 Mixed media on canvas

56 x 45 cm







emma
Emma  DIXON
IPA Istanbul,
 2012
Performance








anne
Anne-Marie DJURFORS
Blue Passage
, 2011
Oil on canvas
100 x 70 cm








annette

Annette  LIISBERG
High Sea. 2012
 Acrylic on canvas.
 80 x 100 cm







barbara

Barbara HARDMEIER
There is much more 2 tell, 2012 
Mixed media on canvas
70 x 110cm




payvit

Päivyt NIEMELÄINEN
Way, 2005
Bloodwater, pigment on canvas
75x55 cm




linda
Linda-Marie  PATTYN
Pants, 2012
Mixed media on  canvas
 120 x 140
cm





javier

Javier  RAMIREX
Twin Peaks
, 2012
Acrylic on canvas
120 x 100 cm