Azade Köker's earlier works dealt mainly with the concepts of identity and belonging. The artist proposes hybridity as an inevitable survival mechanism, which is achieved through subjectivity based on discrepancy, transparency, and vulnerability. In her latest works, nature is negotiated as a cultural construct. She creates images of nature inhabited by traces of human intervention, which she then deconstructs by a repeating pattern on the surface. Through this layering and reworking of the surface, she disrupts the perfection and legibility of the represented image and comments on the possibilities of paintings. At UNTITLED Miami Beach 2023, selected works by Köker explore the artist's accustomed style of canvas works, such as Yeşil ve Gökyüzü (Green and the Sky) and Gossip Network along with her recent paper collages. In her recent works, Köker explores the position of women in society. Köker delves into behaviours and acts subjucated to women, exposing the forms of oppressions women have faced throughout years. In her works, titled Gossip network and This is the joy Köker exposes the mundane acts subjected to women such as cleaning, shopping, gossiping, cooking and reproducing... Köker sees this oppression as a form of control, exploitation, and violence. In her paper collage series Karneval (Carnival) Köker explores the oppression of women, by taking a node at witch-hunts in the early modern era, that broke women's control over reproduction and turned the female body into an instrument for the reproduction of the workforce. In the Karneval series, shown here at the Untitled Miami, the artist portrays female figures as witches; reminding the power of the female body.
Azade Köker (1949, Istanbul) lives and works between Berlin and Istanbul. She used to be a professor at the Braunschweig Technical University, Berlin, Germany. Her recent solo exhibitions include: Murder of a Mannequin (Zilberman Gallery, Istanbul, 2021), Verblendet (Zilberman Gallery, Berlin, 2018), Everywhere, Nowhere (Zilberman Gallery, Istanbul, 2016), Azade Köker (Proje 4L, Elgiz Museum, Istanbul, 2015), Moving Spaces (Zilberman Gallery, 2013), Human Nature (Milli Reasürans Art Gallery, Istanbul, 2007), Transparenz der Abwesentheit (Otto-Gallery, Münich, 2004), and Transparenz des Gartens (Kunstverein, Bielefeld, 2001); and her recent group exhibitions include: Interactions (Istanbul Modern Art Museum, 2021), At The End of the Day (OMM-Odunpazarı Modern Museum, Eskişehir, Turkey, 2020), Nature in Art (MOCAK, Krakow, Poland, 2019), The Spirit of the Poet (Zentrum für verfolgte Künste, Solingen, Germany, 2019), Ultrahabitat (Zilberman Gallery Berlin, 2016), Minor Heroism (Zilberman Gallery, Istanbul, 2015), Meeting Point (Kunstverein Konstanz, Germany, 2015) and Dream and Reality (Istanbul Modern, Istanbul, 2011). Her works are in numerous public and corporate collections including Akbank, Istanbul; The British Museum, London; Berlinische Gallery, Berlin; Elgiz Museum of Contemporary Art, Istanbul; Lebendiges Museum, Berlin; John Michael Kohler Arts Center, Wisconsin; Istanbul Modern Museum. She has public sculptures in Cuvry-Brunnen (Berlin), Bundesgartenschau (Berlin), Menschenlandschaften (Berlin), Frechen Museum (Düsseldorf), Bremen-Nord Zentralkrankenhaus (Bremen), Schule am Barbarossaplatz (Berlin), Schlosspark (Wolfsburg), Building of Turkish Embassy (Japan), Altınpark (Ankara), Istanbul Stock Exchange (Istanbul), Aspat Art Park (Bodrum) and Park of German Embassy (Ankara).
The artist lives and works between Istanbul and Berlin.
Inspired by nature, in his working process Larry Muñoz is drawn to details, little elements, and gestures. Through sculptures, videos, and installations, the artist invites viewers to engage with organic and industrial materials from diverse origins and explores nature in its fragility and complexity. Muñoz contemplates the universal and particular aspects of our relationship with nature, and deals with the ways we think and relate to the natural world.
At UNTITLED Miami Beach 2023, selected works by Muñoz show his interest and artistic research on capitalism, consumption and recycling. Loyal to the nightmare of my choice and Natural intelligence are two sculptures made entirely of recycled materials such as wood and butterfly wings. Creating two lines with organic material, the first line represents the ups and downs of the artists during their production processes, while the second questions if we can call intelligence to what creates beauty in nature. Vested, is a digital projection on a vintage polyester shirt. The video projection on the shirt shows jellyfishes changing colour because of LED lights. The work deals with fast fashion and the idea of wearing plastic clothes, while the colour of the jellyfishes alters with artificial lights. Chinese landscape is a photograph taken in a small village in rural China during an artistic residency. What seems like a regular post celebration image is actually a depiction of control, tradition, political surveillance and an effort to maintain power over almost any aspect of the population by the Chinese government.
Larry Muñoz (1982, Bogotá), has participated in several artistic residencies and his works have been exhibited in Turkey, Mexico, Japan, Brazil, Argentina, United States, and Colombia. His solo shows are The eternal novelty of the world (Muntref Ecoparque, Buenos Aires, 2018), Late Epiphany (Beta gallery, Bogotá, 2016), Os segredos da invisibilidade (Hermes, São Paulo Brazil, 2016). His group exhibitions include LOW-TECH (Casa Hofmann, Bogotá, 2023), Ivy (Zilberman Gallery, Istanbul, 2022), Luciferinas (Casa Hoffman, Bogotá, 2021), After the fire (Plural Nodo Cultural, Bogotá, 2019), Topofilia (Plural Nodo Cultural, Bogotá, 2018), Fuga Alba Saturniidarum (Salón Voltage, Bogotá, 2018), Multiverse (Melaká Gallery, Bogotá, 2017), OtrO (Permanent Space, Bogotá 2017, Young Colombian Artist (Casa Cervantes, Tokyo, 2017), URRA (Del Infinito Gallery, Buenos Aires, 2016), Natural Numbers (Beta Gallery Bogotá, 2016), I'll call you as soon as the sun goes down (Heiska Cultural Center, Hameenkyro, 2014).
The artist lives and works between Bogotá, Colombia, and Mexico City.
Omar Barquet's works predominantly refers to space, time, landscape, sound, nature and memory investigating emotional and internal human chaos within. The particularity of his work stems from his ability to understand the nature of space in a technical, analytical way which relates movement and repetition, visibility and invisibility. Barquet modifies his source of inspirations in his words 'in a way of 'collage' for the purpose of giving the projects a synthetic language' thereby bringing an interdisciplinary aspect to it, using a 'symphony' as a system to organise all his projects and collaborations.
In Barquet's work, landscapes become loaded metonyms for human existence. In earlier works, such as Shelter and The Song Of The Mad Woman On The Seashore, shown here at the UNTITLED Miami 2023, the artist creates installations impinging on the public space. More recently, he focused on our private, mental space. The artist often produces works in the form of series, such as Waterfalls, Syllables and Ideograms. In this way, the works manifest their imminent instability while at the same time showing us a perspective on a possible future. His recent work titled Syllables Series refers to his works as anagrams or ideograms. In harmony with the Neo-Concreto movement in Brazil, which distanced itself from the rationalist approach of concrete art, Barquet's geometric abstractions in a contemporary framework have an affinity with phenomenological approaches. His work, which also employs various printing techniques, reveals a heightened complexity in its surfaces, which he works over manually. Particular qualities, such as rhythm, silence, rawness, or density, stimulate different senses and even synesthesia.
Omar Barquet (1979, Mexico City) holds a degree in Fine Arts from "La Esmeralda", the National School of Painting, Sculpture and Printmaking in Mexico City. Barquet has received numerous awards including the Young Artists Fellowship in painting and printmaking from FONCA (Mexico) and the MACG - Bancomer Arte Actual Grant in 2009. He has participated in various residency programs, including CAPACETE in Rio de Janeiro and Casa Tomada in São Paulo, both in Brazil; also in MAAS, NYC; Fountainhead, Miami; Tupac, Lima; Vestfossen in Norway, and Kiosko in Bolivia, among others. His works were selected for the XV and XVI Tamayo Museum's Painting Biennial, Mexico. He has had solo shows at the Museo Experimental El Eco, Mexico City; the Museum of Contemporary Art, Mérida; the Kunsthalle, São Paulo; the Christinger de Mayo Gallery, Zurich, amongst others.
In 2018 Omar Barquet started his first international public art project, a 7,500 sqft mural entitled "Oiseaux Exotiques", commissioned by Related Group for the Paraiso Bayviews complex, Midtown Miami. During his career Barquet established the Second Floor Art Collective with Jose Luis Landét, Agustín González and Moris. He also founded Grama Ruina, a trio for sound experimentation with composer Fernando Soberanes and musician Javier Loyola. His works are part of the following collections: The Jumex Collection, FEMSA Collection, ESPAC Collection, Jorge Pérez Collection, Sackner Collection, New Collection, JoAnn G. Hickey Collection, COPRO Collection, Related Group Collection, Museo de Arte Contemporáneo de Oaxaca, Museo de Arte de Sonora, Museo Palacio de Medicina and Phoenix Museum of Art.
The artist lives and works in Mexico City.
Lucia Tallová intertwines painting with installations, collages, and photographs, forging a material connection between themes and techniques. Her work abstains from intuitive gestures in dominant places, evolving into spatial realms. With collage-like qualities, her work forms new systems by storing and rearranging materials, and manipulating residue to grant visually useless elements a new existence. This process extends to her archive, comprising old photographs, albums, postcards, and diverse objects, where she transforms and manipulates troublesome items into a fictional archive, challenging the conventional lifespan of materials and giving them renewed significance.
The central theme, in the series Mountain by Lucia Tallová, is our memory, how we preserve our memories and how they fade away and disappear, how they can be changed or manipulated in the course of time. The objet trouvé objects and collages are embodiments of the constant search for and collection of old photos, books, prints and various bizarre objects. These become the working material from which new stories, combining reality and fiction, are created. Lucia often works with photographs of the mountains, especially the High Tatras. These are the symbols of her home country. Another aspect of this work is the dramatic contrast and tension between the materials used: real stone represents a rock while rocky structures printed on paper represent a mountain. Lucia is replacing hard stone with something as fragile and delicate as paper. The stone is sometimes much more fragile than it might seem. In the series Clouds, the clouds appear to engulf, to swallow in tumultuous and inescapable spirals those who contemplate these reverse vertigos. The body of the beholder seems to ascend to these painterly celestial realms. Ink and gesture concur to make us see these landscapes of whiteness which rise from obscurity from this backdrop of dark and menacingly foggy depths. It is a whirlwind. Spirals, swirls, contortion. From this dark and black background there surge these gaseous condensations in the shape of masses of white tint which spread assuming the form of blurred clouds. Clouds drenched in pigment. Painted clouds. Clouds whose beauty stems precisely from their fabricated, fabulated pictorialness. Clouds whose cloudiness emerges from Tallova's brush strokes. The cloud and the skies by Lucia Tallová are recurrent signs in her oeuvre and it is in these insignia that one must read the secret of her poetics. (Excerpt from the text Away from Everything by Marco Antônio Vieira)
Lucia Tallová (1985, Bratislava) is a well-established author of the young generation in the Slovak scene, a graduate of the Academy of Fine Arts, Department of Painting. Tallová is the winner of several important awards: NOVUM Foundation Art Award (2021), Tatra Banka Foundation Art Award (2016), VUB Bank, Painting of the Year (2013), Strabag Kunstforum Art Award International (2010). She attended several artistic residencies, such as Cité internationale des arts Paris (Paris, France, 2020), Artist in Residence Karla Osorio Gallery (Brasilia, Brazil, 2019), Headlands Center for the Arts (Sausalito, California, 2018), Regular Line Santa Cruz (Santa Cruz, California, 2014) Strabag Artstudio (Vienna, Austria, 2011). At the beginning of 2022, the State Theater Košice (Slovakia) presented the premiere of the opera Tosca by Puccini, for which Lucia Tallová prepared a set design. In September 2022 Lucia Tallová was one of the selected artists for the 16th Biennale de Lyon. The artist lives and works in Bratislava, Slovakia.
Dates
6–10 December 2023
Hours
VIP and Press Preview: Tuesday 5 December 2023
Wed, 6 Dec, 11am–7pm
Thurs, 7 Dec, 11am–7pm
Fri, 8 Dec, 11am–7pm
Sat, 9 Dec, 11am–7pm
Sun, 10 Dec, 11am–5pm