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CONDO 2024

Galería Mascota is pleased to announce its participation in CONDO 2024, where we will be hosting Galleria Franco Noero & Sophie Tappeiner.

Founded in Turin in 1999, Franco Noero is distinguished for its commitment to showcasing projects that traverse various artistic languages, with a particular emphasis on conceptual practices and the radical exploration of artistic research. Gallery Sophie Tappeiner, based in Vienna and established in May 2017, is dedicated to fostering a critical space centered on intersectional feminism, the body, and the interplay between our existence and its impact on the surrounding world.

Franco Noero will be presenting works by Jason Dodge, Lothar Baumgarten, alongside a photogram meticulously composed by Mario García Torres. The dialogue within this showcase aims to invite viewers to perceive each object from distinct perspectives; in the case of Dodge, he challenges us to see the poetic potential in a simple piece of fabric, and like poetry, the meaning of the work stands next to the specifics of what is woven into each piece. Meanwhile, Baumgarten's artistic works are distinguished by his exploration of ecological themes, often inspired by his travels among Native South communities. His reflections on the historical problems associated with colonialism arguably find better expression in site-specific works using words, such as wall paintings.Meanwhile, García's artwork consists of a catalogue of endemic plants from the region of Monclova, Coahuila in Mexico, documenting the artist’s attempts to seek out different possibilities. These pieces have been made through a process that involves printing shapes using iron powder on linen fabric, followed by its subsequent oxidation.

Sophie Tappeiner will present a dialogue between paintings by Angelika Loderer and Anna Schachinger, alongside sculptures by Irina Lotarevich. The juxtaposition of Loderer’s and Schachinger's work initiates a discourse between the subconscious and the physical realm, capturing figures and non-objective forms in fluid movements and open-ended moments, offering a myriad of possibilities as to what will happen next. Complementing these, Lotarevich’s sculptures are shaped by the intersection of her subjective experience with broader systems. The minimalist yet intricate and specific forms of her sculptures allude to architecture, bureaucracy, labor, and elements of her own body.

Presenting for Condo, the artwork “Housing Anxiety2” consists of thirteen keys hanging from the side of an aluminum box, making a resemblance to the precarity of housing systems, creating the perception of a cold and numb object corresponding to the growing anxieties that come with it. Also, the role of the material being steel, non-immune to the human touch and reacting to the environment, creates a whole metaphor within the piece.

Additionally, Galería Mascota will present a curated selection of artworks that delve into the profound connections between humanity and the industrial landscape, as well as the traces of everyday life. This exhibition will feature works by esteemed artists including William Anastasi, Marie Hazard, Wyatt Kahn, Michael Ross and Charlotte vander Borgh.

Among the showcased pieces will be Charlotte Vander Borght's "Someone, No One, Anyone" series, which delves into the realms of the unknown, shedding light on the abstractions inherent in public transportation and the interconnectedness of individuals. Conversely, William Anastasi's monumental work "Conic Section," dating back to the late 1960s, will be displayed. Comprising rods utilized in reinforced concrete construction, this piece challenges conventional spatial orientations by arranging rods horizontally on the floor, gradually transitioning to a vertical alignment against a diagonal strip on the wall. Through this juxtaposition of vertical and horizontal elements, Anastasi imbues his work with an exploration of inverted meanings and directional ambiguity.

Moreover, Marie Hazard's weaving technique serves as a bridge between the industrial and traditional realms, intertwining past and present. By incorporating photography into her artworks, Hazard infuses her pieces with a biographical dimension, culminating in deeply personal expressions of human connection. Notably, her inclusion of a self-portrait within the weaving further underscores the intimacy and profundity of her artistic vision.

This exhibition endeavors to offer a multifaceted exploration of each artist's unique perspective, while simultaneously highlighting the interconnectedness fostered through their diverse approaches to material experimentation, ranging from industrial mediums to traditional weaving techniques. Through this synthesis of artistic expression, Galería Mascota invites viewers to explore the multifaceted aspects of the human condition and interrelation showcased throughout the exhibition.

William Anastasi (1933-2023) was a contemporary American artist considered a pioneer of Conceptual and Minimal Art. As evinced in his series of Subway Drawings along with his many site-specific installations and sound works, Anastasi’s interests lie in meditation and everyday experience rather than creating a esthetically beautiful objects. Like his deceased friend and peer John Cage, Anastasi explores the relationship between the human condition and its recording mechanisms, through the mediums of visual art, sound, and experience.

Lothar Baumgarten (1944-2018) has drawn wide acclaim and respect for his powerful body of work, centered one topography and anthropology, using a wide range of mediator question the very core ideas and systems of representation -- from ephemeral sculptures, to photography, slide projections, 16 mm film works, recordings, drawings, prints, books, short stories, as well as site-specific works and wall drawings and architecture-related interventions.

Charlotte vander Borght  (b. 1988 )received her MFA at Ecole Nationale Superieure des 

Arts Visuels de la Cambre in 2013. Her work has been exhibited amongst

others at A.D. Gallery New York / C L E A R I N GBrussels & New York / New 

Space, Liège, BE/ Deborah Bowmann, Saint-Gilles, BE / Centre Wallonie-Bruxelles, Paris, FR / Bunk Club, New York and WIELS, Brussels, BE. She was artist in residence at WIELS, Brussels in 2016, currently lives and works in Brooklyn, New York.

Jason Dodge (b. 1969) for several years has been producing weavings throughout the world. He commissions handweavers to weave material, common to the place the fabric is made wool,silk, bamboo fibre, cotton etc. The weaver is asked to dye the yarn, the color of the night sky where they are.These works depend on our ability to imagine different places on earth, and how we are connected by the sky sharing the clouds and moon who defy all borders and belong to no one.

Marie Hazard (b. 1994) she graduated fromCentral Saint Martins in 2017 in London with a BA in textile design. Her medium of choice is weavingand printing. Hazard´s work with different conceptsand sources, abstracts or not, highlighting memoriesand promises. Literature, disposable photographs from her travelsand abstracts paintings, are used to question the displacementand theposition of the viewer. This is particularly relevant in her spiral works, represented as a vortex following a single law: never being interrupted.

Mario García Torres (b. 1975) uses a variety of mediums as video, installation, photography, and sculpture to question the stability of such concepts as time, memory, image, and the very essence of the artist’s role in society.

An artist a deeply interested in uncertainty and counter-narratives, his work blurs the space between fact and fiction through research and a wide range of storytelling strategies such as appropriation , narrative , repetition and reenactment.

Wyatt Khan (b. 1983) is primarily known for his investigations into the visual and spatial relationship between painting and sculpture. Using unprimed canvases stretched over wooden frames, Kahn assembles complex wall-mounted works in which the gaps between the individual canvases give rise to abstract or pictorial compositions. Rather than tracing the lines and shapes directly onto the canvas itself, he turns them into physical components of the artwork.

Angelika Loderer’s (b. 1984), emerging from the histories of modernism. Her work is also framed by the conditions of the present. On the one hand, she activates the performative power of the informed —agitating the modernist delineation between form and content.

On the other hand, she is situated in a contemporary moment characterized by modes of living in which contingency becomes the norm. In this double context, Loderer has developed a body of work that incorporates contingency as a formative condition.

Her work makes use of materials, processes, and display mechanisms that constantly perform and expose the object’s internal balancing act in relation to an equally contingent spectator.

Irina Lotarevich (b. 1991) sculptural practice is shaped by the intersection of her own subjective experience with larger systems.

Materially, she works with wood, metal, and casting techniques, frequently combining both high and low or de-valued materials with sophisticated fabrication techniques and a sensitivity to building spatial narratives.

Michael Ross (b. 1954) for the past twenty years he had direct his focus toward small, precise wall mounted sculptures created from scraps, unidentifiable hardware and miscellaneous things.

Ross’s earliest small-scale sculpture consisted of a single upright thimble containing the dust from several rooms of his home. Due to their small scale the works highlight the selection of materials and the importance they may convey no matter the scale of the final work.

Anna Schachinger (b. 1990) works with painting, drawing and ceramics. Her work oscillates between figuration and abstraction, centered on an ongoing engagement with the line. She explores notions of care, care work and women’s spaces.

Schachinger has an affinity for re-encountering the past and its residues for a better understanding of the present. Conceiving her exhibitions as site-specific installations, the spaces become part of the work, as the artist renders their structures visible.

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