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Images from top to bottom: 

Guy Yanai’s studio,Tel Aviv. © Photo Karl Hab. // Detail of ‘Club Med Serre Chevalier’, 2017 - oil on linen, 150 x 180 cm // ‘Club Med Serre Chevalier’, 2017 - oil on linen, 150 x 180 cm

GUY YANAI Love of Beginnings March 16 — April 29, 2017

Galerie Derouillon, Paris

-Excerpt of text by Charlotte Jansen

Beginnings have a personal resonance for Yanai. He has spent his life starting over, moving between continents and across countries --new friends, new home-- finally coming full circle and settling where his journey first began, in Israël, the land of the displaced.

But even there he remains a foreigner, ensconced in his studio on a shady street in south Tel Aviv, rootless and moveable as the potted plants he often likes to paint. Far from disorienting, this outsider’s gaze is the perfect position for a painter who loves to look.

Love of Beginnings is Yanai’s second solo exhibition at Galerie Derouillon. At the centre of the show are three oil paintings, arranged in no particular order or sequence. Club Med Serre Chevalier (2017) depicts a resort in France, based on photographs taken by tourists and posted to Tripadvisor. Kitchen (2016/17) is a view of the artist’s apartment in Tel Aviv. The Piano Lesson (2017) is Yanai’s transcription of Matisse’s painting of the same title from exactly 100 years ago.

Images from top to bottom: 

MATTHYS GERBER Installation view, Sarah Cottier Gallery, Sydney  //  Bee Keeper  2017oil and acrylic on canvas194 x 266cm  //  Air Line  2017oil and acrylic on canvas172 x 265cm 

MATTHYS GERBER 10 February - 11 March, 2017

Sarah Cottier Gallery, Sydney

“I paint under the influence. I try and allow anything that can be painted into painting. This can come from Surrealism, COBRA, Abstract Expressionism or central western painting, but also pays respect to painted doors, trucks or signs. These are primarily technical issues, a space only within painting. I don’t work from ideas but more from a physical sensation, hence the scale of the works. The paintings are visual manifestations of non-alienated labor, which start from the chaotic and eventually work towards clarifying the technical relationships. This process is analogous to the syntax that develops within other social organisational systems (e.g politics). I never know where a painting is going. We both just arrive at the destination at the same time. The paintings are not about anything, they merely exist to allude to the evolution of painting. Painting is an instrument that I play, from messy taping to painting with my feet. Each is a necessary tool. I dont know about emotions in painting, but they do contain work,rest and play. I simply experience paintings by others through mine.” 

—Matthys Gerber, 2017

DAVID OSTROWSKI, F (A THING IS A THING IN A WHOLE WHICH IT'S NOT), 2016, LACQUER AND PAPER ON CANVAS, 100 X 80 CM. Currently showing at SPRÜTH MAGERS LOS ANGELES, 2016 David Ostrowski is also featured in 'Painting Regarding the Present'.

Minda Andrén ‘Cuirass’ May 24, 2017 - July 29, 2017

Zeller van Almsick, Vienna

From PR: “The exhibition title ‘Cuirass’ has its origin in the French cuirasse for leather armor (cuir = leather), the definition for armoring of the chest area. Used by the Romans and until the late 19th century, it is nowadays seen only on ceremonial occasions. While the cuirass was used for defense in close combat and was thus vitally necessary, it is often richly decorated and seen on heroic portraits of high-ranking military personas. The ornaments were very individual and the region and the blacksmith determined its origin. Minda Andrén‘s paintings oscillate between these two opposites: the physicality of a partly existential struggle and the abstract aesthetic in which they are presented.” 

Read more at: https://www.zellervanalmsick.com/

Images top to bottom:

Poleyn, 2017, Oil on canvas, 40 x 31 cm, courtesy of Minda Andrén and ZELLER VAN ALMSICK, photo: Julius Unterberger ©2017

„CUIRASS“, Installation View, courtesy of Minda Andrén and ZELLER VAN ALMSICK, photo: Julius Unterberger ©2017

Ida, 2017, Oil on canvas, 70 x 65 cm, courtesy of Minda Andrén and ZELLER VAN ALMSICK, photo: Julius Unterberger ©2017

„CUIRASS“, Installation View, courtesy of Minda Andrén and ZELLER VAN ALMSICK, photo: Julius Unterberger ©2017

Incredible show....Bernard Piffaretti, Passage à la ligne, Exhibition view, Galerie Frank Elbaz, Paris, France. 

“For Piffaretti, the title usually functions as a kind of opening credit and passage (à la ligne) is no different. A painting from 1982, from the series Paradigme - Peinture du doute, 1982-1983, in which the central axis slowly takes shape, is a case in point. A large painting from 1999 is placed in between paintings from 2016, a brief punctuation, which shows that the passage in question is also a continuum. The past always remains unfinished, turning the present into a future memory. Bernard Piffaretti’s last solo exhibitions, No Chronology at Klemm’s in Berlin in 2016 and MovingPictures at Cherry and Martin in Los Angeles in 2015, all followed the leitmotif of the passage, transforming the viewers themselves into cultural mediators.”—exhibition text

Ry David Bradley, 'Overworld', at COMA Gallery, Sydney. 

01/12/16 - 12/01/17

“In 1886 Georges Seurat developed a technique of painting with tiny flecks of pure colors inspired by scientific theories of light and perception prevalent at the time. Though Pointillism was heavily criticised, its principles are now the standard manner in which we see all screen based images, where tiny dots are placed in an array. The technique relies on the ability of the eye and mind of the viewer to blend the spots into a fuller range of tones. Acknowledging this parallel between the screen and the history of painting, Overworld presents a new body of work where pattern and repetition are employed alongside hidden surface manipulation in a series of paintings that seek to merge tradition with contemporaneity. An Overworld is an area within a video game that interconnects all its levels or locations. Typically it presents an aerial persective, a global map of the stages that have been completed or are yet to be, allowing one to see what may lay ahead without revealing what that is. Access is granted by completing tasks, or entering secret passwords. In presenting an exhibition installation that mirrors the aerial stage, where some positions have been unlocked, and others are yet to be known - Ry David Bradley continues an exploration of access and restriction within specific worlds, each an enquiry for where painting was, may now be and is yet to be.”—exhibition essay.