Archivo para contemporary art



there’s not less than there is more

November 7 – December 6, 2009


Clint Griffin “untitled map”, scratched found board, date unknown

Gallery Hours:

Wed-Sat 12-6 pm

Sun 1-5 pm

or by appointment

936 Chung King Road, Los Angeles, CA 90012

Katharine Mulherin is pleased to present “there’s not less than there is more”, a new exhibition of mixed-media works by artist Clint Griffin .

Toronto-based artist Clint Griffin to uses found materials to produce collage, drawing, painting, and photo-based works constructing personal narratives that express ongoing struggles with daily life . His themes commonly deal with “man vs nature and man vs himself “.

Clint Griffin is a graduate of the Ontario College of Art and Design. A Canadian artist living and working out of Toronto, he has been making art since leaving high school in 1993.

there is not less than there’s more at KMLA features works from Griffin’s oeuvre, a treasure trove of idiosyncratic works discovered on a recent visit to Griffin’s house.

This is Clint Griffin’s first solo exhibition in Los Angeles.

To view works from this exhibition, click here:

To reserve a work, contact Katharine Mulherin at 416.993.6510 or email

1082 Queen Street West, TORONTO
936 Chung King Road, Los Angeles, CA 90012
phone: 416.993.6510


Adler Guerrier || David Castillo Gallery

Adler Guerrier
Everyday Travails
David Castillo Gallery
2234 NW 2nd Avenue, Miami
October 10- November 7, 2009
Reception October 10, 7-10 pm

David Castillo Gallery is proud to present Everyday Travails, Adler Guerrier’s first solo exhibition at the gallery and his first in Miami in over four years. The artist’s creative impulse is both intellectual and organic and is shown by his love of paper and its natural evolution into artwork and by his contemplative photography of the everyday. The current exhibition includes drawings, sculpture, photography, and video encapsulating the ideas of constant interest to the artist: place and the everyday.

The works reveal a structured imprint of the everyday, in the exploration of the relationship of media to the psycho-geographical, social, and political nature of place. Adler Guerrier sets drawing, collage, sculpture, photo, video, and installation in dialogue. His inspired cultural hybrid between color and plane are anchored by fearless, site-specific subversions of place and time in regards to conceptions of race, class, and culture. Often calling upon the districts of Miami and his own backyard, Guerrier examines the contemporary flaneur in an impending post-demographic age.

Adler Guerrier was born in Port-au-Prince, Haiti and lives and works in Miami. He studied at the New World School of the Arts in Miami and has exhibited widely including The Whitney Biennial 2008, the Wolfsonian Miami Beach, and Miami Art Museum. The artist has recently exhibited in VideoStudio at The Studio Museum in Harlem and Pivot Points 3 at Museum of Contemporary Art in North Miami and is in the permanent collection of both institutions. Upcoming exhibitions and projects include Afro-Modernism: Journeys through the Black Atlantic at the Tate Liverpool; commissioned works for Locust Projects Miami and a monograph to be published by Name Publications. Guerrier’s work has appeared in the New York Times, Artnews, and Art in America, among numerous other publications.

About David Castillo Gallery

Gallery Hours
Tuesday – Saturday, 10 am – 5pm and by appointment

David Castillo Gallery

+1 305 573 8110 Telephone

2234 NW 2nd Avenue
Miami, Florida 33127
United States

TENDENCIA at the MUAC || Puerto Rico

Currently on view until October 14th 2009 at the Museum of Art in Caguas (MUAC), TENDENCIA is a multidisciplinary event that brings together a group of contemporary artists whose practice ranges from video, installation and urban art. Organized by Victor Alex Reyes and Norma Vila Rivero, the event boasts of presenting a curated sample of emerging artists that reflect prevailing global trends in contemporary art. The event included an exhibition space where nine artists showed their work and an adjoining space outside where viewers could enjoy live music performances by Jesus Christ Scientist and Campo-Formio against a backdrop of a large mural by the urban collective The Lovers.

Inside the museum, Carlos Ruiz Valarino’s videos Dropped and La Virazón were the most arresting. La Virazón depicts an island landscape gone awry, as a few seconds in, the image abruptly turns upside down. Much like turning a dollhouse, this shift provokes the steady fall of the people in it. A metaphor for current political changes and their after-effects?

At the other end, presented on a small DVD player, Christian Sánchez’s Identity depicts the artist desperately peeling off layers of semi-transparent women’s stockings from his face. Shedding his skin to explore notions of selfhood and awareness, the artist tears the layers of stockings while his face is subtly visible but remains hidden. Much like Plato’s Allegory of the Cave, it is only when he begins to see at the end of the video that his sense of reality is skewed. Rafa Miranda’s Por un tubo y siete llaves (translated to ‘through a pipe and seven valves’) appropriates a popular saying where ideas of consumption and excess are addressed. Although the installation is rather literal, a steel pipe with seven valves, the piece instills on viewers a sense of familiarity, and elegantly ties spoken language with an aesthetic reality that brings to fruition the ludicrousness of the saying and its symbolic implications.

A curious find was Catherine Matos Olivo’s piece JM6. In it, the artist presents tattered pieces of her own past found in her backyard in Levittown, the first gated community that Levitt constructed outside the US. The installation is comprised of photos of the house and the found objects in their place of origin, as well as a small shelf where the objects were presented. From a toy kitchen to a glass bottle of soda, the nostalgic remnants of a forgotten past, the work evokes renderings on memory and the false promise of urban developers of a quiet peaceful living space. Works by Karla Cott, Marnie Pérez Moliére, Carola Cintrón, Karlo Ibarra and Javier Román were also showed.

Although an excellent sample of work is presented, viewers will probably have a difficult time figuring out which trends they are referring to. Installation and video are hardly new trends. Apart from the mediums used, the artworks on exhibit also struggled to relate to one another. I suppose we are left to rely mostly on our impulses and imagination to create possible associations between them. Placing curatorial questions aside, the event is an exciting start to what can become a trend in itself. Initiatives likes these promise to reactivate the local art scene, serving as a platform for young emerging artists in need of a space to show their work. What else is there to say? Show me more…

Carla Acevedo

Originally published in the Puerto Rico Daily Sun

Photos: Jason Mena


The Rabus Show – AEROPLASTICS contemporary

AEROPLASTICS contemporary takes great pleasure in presenting The Rabus Show, an exhibition/dialogue of works from Leopold, Till, Alex and Renate Rabus.

A Swiss family, full of stories, inspired by the places and the people around them, by their full consciousness of this world (Leopold Rabus, Mon ami Jean Buehler 2008, or further Renate Rabus Mutterglück 1993); but also four artists, markedly individual, developing a particular vision of the new artistic expression (Till Rabus, Nature morte au Poulet 2008 and Alex Rabus l’Areuse 2008).

Leopold Rabus leads us through his own personal universe, often rustic though never idyllic (Veau en train de brouter, 2009): here is painting whose reality is confronted by the interpretation it elicits. A non-existent world but one, nevertheless, we feel to have caught a glimpse of. The work is powerful and disturbing, often tinted with a humour that be taken as black (Personnes derrière une serre, 2009). Subjects approached with grace, but without beating about the bush. A gesture in perpetual motion, even when it’s static (Le point d’eau, 2008).

His brother, Till Rabus, depicts the world that appears before our eyes and that we don’t see. His urbane and hyperrealistic oeuvre beautifies the most banal refuse (P.E.T., 2008), declassifies genres and calls the validity of our value judgments into question. Precision of touch and quasi-obsessional feel for composition render his figurative work almost abstract (L’Automate à Fleurs, 2009).

And then, the parents complete this non-conformist choir, Alex Rabus, through his meticulous and incensed paintings and sculptures, leads us into questions concerning the future of Mankind and Nature. The vivid colours of his Excès de Vitesse first attract us, but we are held by the rightness of his aim and the adroitness with which its details form the whole.

Renate Rabus, by grace of her unique working of textile and her bittersweet embroidery, allows us privileged access to a different reality. Repas de Famille (2009) gives us a chance to admire this artist’s exceptional mastery of technique as much as her intimist vision of the family.

The entire ensemble aims towards the meticulous and the punctual, close to the fundamental values that these four artists share. Something that reminds us that closely held convictions and their modes of expression may be an inter-generational story, one where contemporaneity infuses the breath of life.


Mucsarnok – Kunsthalle – Budapest / September 2009


Leyden Rodriguez-Casanova – Amir H. Fallah

In the Main Gallery
Leyden Rodriguez-Casanova You might sleep, but you will never dream

September 12-October 3, 2009

David Castillo Gallery is pleased to present You might sleep, but you will never dream, Leyden Rodriguez-Casanova’s second solo exhibition at the gallery.

The artist uses a vocabulary of domestic objects and suburban architectural elements as a visual language, addressing our social, cultural and emotional existence. He uses material appropriations first introduced in post-minimal and conceptual art. Rodriguez-Casanova is presenting a series of objects that use a room as the point of departure for his concepts. All the objects are elements of a room which have been detached from their original context.

As the title of Damien Hirst’s work suggests, The Physical Impossibility of Death in the Mind of Someone Living, Rodriguez-Casanova is interested in understanding the loss of someone, including one’s self (and the “impossibility” of such). In the work An Open Door, 2008 commissioned for the Dennis and Debra Scholl Collection, the artist built an entirely new wall with a blackout doorway created by a black sheet of plexi. The opening becomes a metaphor for what lies beyond our existence. This same element exits in A Folded Bed, 2009 in which a portable folding bed is intersected by a large sheet of the same black plexi. The black plane once more is a metaphor for a void. In A Bedroom Floor, 2009 the artist has recreated the exact tile grid of his adolescent bedroom floor. A nod to Carl Andre, the work uses its own detachment and “negative space” properties to focus on the floor and its plight in its original context.

Leyden Rodriguez-Casanova lives and works in Miami, and has exhibited nationally and internationally. His work has been featured in publications such as Art in America, ARTnews, and Sculpture Magazine. The artist has recently exhibited at Socrates Sculpture Park and the Sculpture Center in New York, among many other venues.

In the Annex
Amir H. Fallah
Flowers and Terrorists

In the project room, the gallery is proud to present Amir H. Fallah’s Flowers and Terrorists.

The stark juxtaposition of flowery still lifes and political statements confront the severe spectrum the world lives in. The artist uses familiar colors and collage elements to blur the line between beauty and violence. Fallah’s still lifes “his mother wishes he would paint” are sullied through his chaotic use of explosive color, while the terror-themed paintings are calmed by the easier transitions of subtle colors.

In the David Castillo Annex, Amir H. Fallah constructs a single tower of objects from found materials in Miami. In this installation as in his paintings, the artist combines the subjects of still lifes and political statements, re-enforcing the dialogue between them. The site-specific installation is a commentary on how beauty and terror are ultimately conjoined in life.

The Los Angeles-based artist has exhibited nationally and internationally. Amir H. Fallah is also the publisher of the contemporary arts magazine Beautiful/Decay. Fallah received his B.F.A. from The Maryland Institute College of Art and his M.F.A from UCLA in 2005. He was included in the 2009 Sharjah Biennial.