Posted on juli 29, 2019
Welcome to visit Wadström Tönnheim Gallery at Marbella Art Fair 2019 – booth D-04.
We are showing excellent art works by:
Matias Di Carlo
Palacio de Congresos
Posted on juli 18, 2019
One of the meanings of scale is to be an ordered succession of different values of the same quality. In sense, there is no doubt that the scale helps us to define the useful and other concepts more as we will see from the work of the artists participating in this exhibition. The exhibition “Escales”, curated by María José Cosano opens up at Wadström Tönnheim Gallery on Friday the 19 of July and will go on until the of 16 August.
Javier Map draws on the landscape as an object that has a utility, what is that utility? Do you meet it now? These are questions that arise with his work, in which he gives us the object not only as a port of artistic meaning but as a tool that serves or is part of something. The work of Antonio Mena asks us: can we change the scale of the object, its quality, its class, the space to which it previously belongs and can we assign it another meaning? In the series ”Accumulations” the artist reuses objects such as ”flip flops” collected in the mouths of the rivers of the coast of El Salvador and reuses them and transforms them into works of art.
In the case of Tonia Trujillo, the question would be: For whom is the object useful? In ”Mar de pinchos” the artist opens the borders to others: the disinherited, the humiliated, the exiled, the stateless, and forces us to position ourselves on what side of the answer are we? Scale as time can be seen in the works of Nina Nolte that uses the months as a unit of time (I’ll remember April), time limits us as beings, gives us duration, marks our history.
On the other hand, Juan López López with his work makes us wonder: What is the validity of gender as a scale? Is gender binarism, the masculine and feminine, a useful scale for the human? In the work of Maria-José Gallardo the scale is different, it is organic, relative to the animal, to the vegetable, in short, to the living, in addition, the artist does it with the profusion of the elements, reaffirms herself in the vital.
In any case, so many previous works like those of Mónica Vázquez Ayala raise us temporal or infinite scales, bodily, organic, aesthetic that lead us to follow paths following other scales, ours.
Address and opening hours: Poligono Nueva Campana, Local 37B, Nueva Andalucia (Marbella). Open Monday to Friday 17.00-20.00 or by appointment. The exhibition will go on until the of 16 August.
Posted on maj 16, 2019
WELCOME TO JOIN US AT JUST LX LISBON 2019 CONTEMPORARY ART FAIR ON THE 16-19 OF MAY (You are most welcome to contact us for complimentary tickets)
WADSTRÖM TÖNNHEIM GALLERY presents new works from the artists; MATIAS DI CARLO, ANA VELEZ and PAULA VINCENTI (the artists will be present at the fair).
Wadström Tönnheim Gallery’s mission is to examine the idea of the painterly, be it also through related media such as photography, sculpture, installations, video and drawing, in order to understand and to promote the direction of painting and its relevance to contemporary visual culture. The Gallery is owned and operated by Mattias Tönnheim.
The second edition of the fair JustLX – Lisbon Contemporary Art Fair will take place, once more, in the Museu de Carris from 16 to19 May, and will count on the high patronage of the Presidency of the Portuguese Republic. With an important commitment to emerging artists, the fair will boast more than 50 exhibitors from different countries such as China, Colombia, Spain, France, Peru, Mexico, Portugal, Sweden and USA. The extensive Portuguese representation stands out, with galleries like 111, Módulo, Monumental, and Salgadeiras, among others. Moreover, in the second edition of JUSTLX the internationalisation of the event has been consolidated with more than thirty foreign galleries. More than 250 artists will be present at the fair under the artistic direction of Semíramis González (Spain), Daniel Silvo (Spain) and, commissioning the general program, the curator Lourenço Egreja (Portugal).
Posted on mars 20, 2019
March 22th to May 25th, 2019
The Greek born, and since many years Berlin based, artist Konstantino Dregos exhibits in Spain for the first time at Wadström Tönnheim Gallery in Marbella. Grand opening for Dregos new exhibition “Calculating Infinity” is Friday the 22 of March at 18.30 – 21.00 h.
To give you an insight into the art works and mind of Konstantino Dregos we provide you with the essay “The Golden Thread” by Nick Hackworth.
“The labyrinthine man never seeks the truth but always and only his Ariadne.” – Friedrich Nietzsche
Konstantinos Dregos is a smart guy. The smartest thing he said, amongst many smart and interesting things during our interview, fragments of which are scattered liberally through this publication, is that he didn’t feel able to speak meaningfully about his paintings.
I know how he feels! No, wait! Don’t be offended. I’m not being rude. As a sometime critic, gallerist and now a curator, I’ve spent a lot of time talking about art. In that time there have been many moments when the act of explaining images with words has seemed to me to be an especially futile and silly activity. Many moments, when, to be honest, everyone would have been better off if I’d substituted the review / press release / sales speech with two simple words: Just look!
In the spirit of this hard-won wisdom I’d advise anyone looking for insights or guidance on the paintings themselves or searching answers to perfectly reasonable questions such as ‘What are those those V signs doing floating on the surface of that work?’ or ‘Are those squares of felt collaged onto the surface of that work a Beuysian reference?’ to stop worrying or even thinking too much, drop the questions and attempt the albeit impossible feat of enjoying a raw, unmediated, visual experience with the paintings. A little roleplay might help if you’re having trouble: Dim the lights and put on a little sexy, jazzy, mood music in your imagination try to imagine your eyes taking a little unauthorized break from your brain with these paintings. Relax. Let your eyes gently glide over the surfaces of the works… try to enjoy the textures… feel the smoothness of the oil paint and the rough, the seductive mattness of the surface of the scrap of collaged paper… tune into the frenetic energy of the chalked scribbles… slowly drink in those subtle tonal variations as gunmetal grey slips into those dark blue-gray hues… Well, you get the picture.
I hope that was fun. Anyway, this short introduction isn’t about the paintings but about some of the ideas that, as far as I can guess, float around in Konstantinos’ head when he’s thinking about these works. It’s a kind of cosmological expedition into the primordial intellectual soup, if you will, that forms part of the conditions of the emergence of the work.
When, in our interview, Konstantinos so eloquently said that he had no answers about the paintings, he wasn’t, I suspect, just flagging up the obvious difficulties of talking about the images with words. Instead he was pointing at a symptom that, when investigated, takes us down the rabbit-hole and into the heart of the matter, where we discover a far deeper problem, an epic problem, a problem so large, perhaps, that it underlies all others. I believe he was hinting, like a reluctant mystic, at the incommensurability of all things. He was hinting that the world of full of fracture, that the world is fracture; that all language commits violence to thought, that thought commits violence to experience, that consciousness is a wound and that existence, at its very core, a meshwork of alienation.
If that sounds absurd or fanciful, I would invite anyone who’s truly been in love, and surely that includes you, to measure the vast, oceanic quality of that feeling against the smallness and paucity of the words we have to give it voice. We try to speak the universe with mouths full of sand.
I think, at its core, Konstantinos’ work is about these fractures and the inescapable labyrinthine quality of consciousness. A world full of fracture is a world with no exits. As Philip K Dick, that extraordinary neo-Gnostic, observed in his late novel Valis, “There is no route out of the maze. The maze shifts as you move through it, because it is alive.”
So perhaps its useful to think of Konstantinos’ paintings and drawings as a continuum of making, frozen in their various physical forms as signifiers of both a fractured world and the hope, even if futile, to overcome it. Because surely if Culture is anything it is the reification of that fervent, unspoken prayer that lies hidden in the heart of all communication; the desire to transcend this fallen world and to return to that mystical wholeness from whence our immortal souls once came and dissolve, with eternal relief, into the Godhead.
Why this is hell, nor am I out of it.
Thinks thou that I who saw the face of God,
And tasted the eternal joys of Heaven,
Am not tormented with ten thousand hells,
In being deprived of everlasting bliss?
Christopher Marlowe, Doctor Faustus
But for the moment we’re still in the labyrinth and we must make do with what we have. Following Konstantinos’ insight – that error creates its own reality – an idea that is the creative motor at the heart of his work – we hold onto the golden thread of our thoughts and follow where they lead. And from time to time, when the conditions are just right,
the fire of imagination sparks the alchemy of art into transfiguring abundance and for a moment we are not alone.
One of my favorite bits of writing is about one of these rare moments. It’s Charles Bukowski writing about the moment he discovers the book Ask the Dust by the John Fante in a library in LA:
‘Then one day I pulled a book down and opened it, and there it was. I stood for a moment, reading. Then like a man who had found gold in the city dump, I carried the book to a table. The lines rolled easily across the page, there was a flow. Each line had its own energy and was followed by another like it. The very substance of each line gave the page a form, a feeling of something carved into it. And here, at last, was a man who was not afraid of emotion. The humor and the pain were intermixed with a superb simplicity. The beginning of that book was a wild and enormous miracle to me.’
And there it is. The hope of stumbling across ‘a wild and enormous miracle’. That’s why we hang on in here, following the golden thread.
Address and opening hours: Poligono Nueva Campana, Local 37B, Nueva Andalucia (Marbella). Open Tuesday to Friday 14.00-18.30 & Saturdays 12-15 or by appointment.
For more information and press photos contact:
Mattias Tönnheim at +46 704-41 19 14 alt. firstname.lastname@example.org
Posted on januari 27, 2019
Curated by Bjorn Stern
February 7th to March 16th, 2019
The exhibition “Time Bomb…” at Wadstrom Tonnheim Gallery, Marbella brings together a group of emerging artists from the U.S.A. They are presented for the first time in Marbella and some are presented for the first time ever in Spain.
“With our recent focus on cultural phenomena brought forward as inheritance from the early days of pop-art, which has amalgamated into vast and colonising structures of the mainstream, certain aspects of self referential art that used to reside in the subcultures of post-modernity and through the circular discussions of the ironically detached, have now taken on a malignant and destructive force in the wake of global social media and the realignment of the many psychologies of the self.
To describe such a complete change of attitude towards visual culture as the one experienced in the present, as a ‘phenomena’, is perhaps broad. But the seismic transformation in our perception of contemporary visual information has changed beyond recognition while in the past we were perhaps better equipped to compartmentalise such information as art, advertising, design or propaganda. These perceptions have now been utterly shattered. The force of change can best be detected among emerging visual artists across a globalised culture of consensus panic, participation economies, malignant narcissism, myopic absorption of knowledge, group pressures and the warping of human time into that of exo-time.
The exhibition “Time Bomb…” aims to address some of the challenges for contemporary artists today to create resonant narratives in an age of extreme superficiality and aggravated self reference. It also takes a look at the emergence of exo-time in visual culture, where production of images can in no way be consumed in any meaningful way by means of its own delivery systems.
Exo-time emerges then, the exhibition argues, as a disconnect between the maker and that which is made. If there is little or no equipment for a participant in visual culture to even absorb what is produced, such as the vast quantities of content from social media or A.I. generated material, might then the content itself become a victim of its own evacuation of meaning? How many images of bowls of pasta on Instagram does it take before we no longer need to view them? Statistics reveal that 1,3 Trillion images were uploaded online in 2018 alone.
Or can we imagine a new production of culture where humans are only one part of a greater whole and where other “participants’ such as Big Data, A.I. mapping, group generated content also warrant valid authorship? If so, what languages and what imagery might this new form of looking produce? Are we facing now the impetuous emojification of visual culture?
“Time Bomb…” aims to display the current zeitgeist in art making and why the act of painting, drawing and sculpture has now almost become an act of defiance in an attempt to slow down time. Soundbites such as ‘fake news’ and ‘new sincerity’ co-mingle in this new landscape of artistic production where artists are increasingly seeking ‘authenticity’ but where such processes are being drained of resources in the service of the ever faster demands of cultural consumption.
The exhibition is curated by Bjorn Stern, a London based art historian, critical theorist and independent art advisor. His previous exhibitions include, “La Bella Figura”, which addressed the challenges of creative production during the First Italian Republic in painting, installation and filmmaking, which focused on the post-war cohabitation of political and societal chaos and creative genius.
Earlier curated shows by Bjorn Stern have addressed the history of Street Art, its’ anti-intellectual origins and its gradual transcendence into the general art world, as well as the acclaimed “In-Significant’s” exhibition that took place in Malmoe, Sweden in 1998, which accurately predicted the emergence of what was to be coined ‘post-internet art’ a decade later.
Erin M Riley