MSA-X 2019 coverage of Diana Lowenstein Gallery, Miami
We thank, Diana Lowenstein Gallery, Miami, and their staff for there kind help, we also thank the artist for there creative phenomena.
UDO NÖGER at Diana Lowenstein Gallery, 2019
UDO NÖGER
ARTIST'S STATEMENT
A sovereign’s discourse upon light and space is characteristic of Nöger's paintings. In his sensuous, delicately color-shaded works he pursues the traditional parameters of painting. He ...explores the possibilities of the interaction of light, color and open space. His recent work incorporates translucent materials, which emphasize the artist’s interest in light and its manifestations. In Nöger’s art light enters into the painting, illuminating the forms and then returning to the surrounding space that is its source. The paintings' media is oil and acrylic on layered canvas and fabric, which trap the light so as to transform it and send it back. The light in the painting feels as though it is emanating from the forms themselves. Nöger draws and entraps luminosity not only for the practical purpose of highlighting his compositions but also for the abstract rendering of light as a material - a hugely difficult, and more than likely a German, objective. In Nöger’s case, this transformation of an abstract entity into sensuous terms feels German in both a philosophical and a formal sense; his art turns on the paradox that something as disembodied as light can be represented physically, so that our conception of it literally has something to hold. The paintings show the floating of the elements and their permanent change. His work results from a well-considered combination of concept and intuition, of rationality and subjective expression.Show More
UDO NÖGER at Diana Lowenstein Gallery, 2019
UDO NÖGER ARTIST'S STATEMENT A sovereign’s discourse upon light and ...
UDO NÖGER
ARTIST'S STATEMENT
A sovereign’s discourse upon light and space is characteristic of Nöger's paintings. In his sensuous, delicately color-shaded works he pursues the traditional parameters of painting. He ...explores the possibilities of the interaction of light, color and open space. His recent work incorporates translucent materials, which emphasize the artist’s interest in light and its manifestations. In Nöger’s art light enters into the painting, illuminating the forms and then returning to the surrounding space that is its source. The paintings' media is oil and acrylic on layered canvas and fabric, which trap the light so as to transform it and send it back. The light in the painting feels as though it is emanating from the forms themselves. Nöger draws and entraps luminosity not only for the practical purpose of highlighting his compositions but also for the abstract rendering of light as a material - a hugely difficult, and more than likely a German, objective. In Nöger’s case, this transformation of an abstract entity into sensuous terms feels German in both a philosophical and a formal sense; his art turns on the paradox that something as disembodied as light can be represented physically, so that our conception of it literally has something to hold. The paintings show the floating of the elements and their permanent change. His work results from a well-considered combination of concept and intuition, of rationality and subjective expression.Show More
Group Show - Artists showcased in Art Miami 2021,Diana Lowenstein Gallery
The Diana Lowenstein Gallery would like to present the following ...
The Diana Lowenstein Gallery would like to present the following artists that we recognize represent and push those boundaries Miami is looking for and that are a great asset to ...the International Contemporary Art scene. These artists are independent in style and concept as well as in their process of creation, yet their works create a visual dialogue, when exhibited together, and essentially exemplify what contemporary art is today.
artist:
Loris Cecchini, Daniel Domig, Angela Glajcar’s, Daniel González, Felice Grodin, Udo Nöger’s, Dirk Salz, Alex Trimino’s, Daniel VerbisShow More
IVELISSE JIMENEZ - Archive of Errors @Diana Lowenstein Gallery
IVELISSE JIMENEZ - Archive of Errors @Diana Lowenstein Gallery Born in ...
IVELISSE JIMENEZ - Archive of Errors @Diana Lowenstein Gallery
Born in 1966, Ciales ,Puerto Rico
I use painting as a point of departure to construct pieces that deal with the idea of ...simultaneity and contradiction. The manner in which objects, images, and materials are articulated questions the hierarchies of what is most present. The work consists of structures made from diverse elements partially covered by a veil of acetate or plastic. This wall/screen is attractive and protective at the same time. It also works as a connector that stops or ejects the viewer by making impossible frontal access to what is behind. The blurring of the outside panel unifies the singulars into a whole element. We can still view the inside where the elements are shown as irreducible and coexistent. Perception is relative and dependent upon the position from which it is viewed. The spectator must negotiate a series of points of view. The images are constantly shifting between integration and disintegration. They refer to the body/mind decision-making process of finding a method to make something present. My interest is in structures that are parallel which exists in other configurations such as language. This act of synchronizing is finally a metaphor for the elusiveness of the balance of factors that determine the production of meaning.Show More
SERGIO BAZAN - LOLE ASIKIAN | EL TIEMPO JUEGA, @ Diana Lowenstein Gallery
SERGIO BAZAN - LOLE ASIKIAN | EL TIEMPO JUEGA, @ Diana Lowenstein ...
SERGIO BAZAN - LOLE ASIKIAN | EL TIEMPO JUEGA, @ Diana Lowenstein Gallery
Time Plays.
Two photographic presentations where the dilation of oblivion is proposed.
A dialogue between the works of Sergio ...Bazán, which portray the untimely period in
NY city and the personal desolation in the face of outside noise in Lole's Asikian work.
A play of lights, shadows, and absences that are captured in the work create
a dream scene. The intensity and disenchantment of the linear remains in the image;
life begins to take a circular shape, not everything is lost.
El tiempo juega
Dos presentaciones fotográficas dónde se plantea la dilatación del olvido.
Un diálogo entre las obras de Sergio Bazán, las cuales retratan el destiempo en la
ciudad de ny y la desolación personal frente al ruido exterior en la obra de Lole Asikian.
Un juego de luces, sombras y ausencias que quedan plasmados en la obra creando un escenario onírico. La intensidad y el desencanto de lo lineal queda en la imagen;
la vida empieza a tomar una forma circular, no todo se pierde.Show More
DANIEL GONZALEZ - God of Dancing and his Amulets, Diana Lowenstein Gallery
DANIEL GONZALEZ - God of Dancing and his Amulets, Diana Lowenstein ...
DANIEL GONZALEZ - God of Dancing and his Amulets, Diana Lowenstein Gallery
My work centers around the rite of celebration and breaking the boundaries between categories.
When we are celebrating an event, ...our behavior changes considerably. Inhibitions decrease, we become lighthearted, we dance, talk and share our time with others, regardless of social differences, losing ourselves to a sense of freedom where social norms collapse.
In the paintings and Mylar Works of God of Dancing and his Amulets, I tried to create spaces where to meet and socialize, living an experience with the subjects, characters and thoughts of the artwork.
These artworks are born like a performance. I paint, glue and sew to the rhythm of music. I cover the studio floor with paper and canvas and, in passing, I layer it in stains as a leftover of the experience. I then use this material as the base layer for new paintings.
The Mylar Works are sculptures made with the material that is normally used for scenic theater curtains on Broadway or for wrapping candy. It allows to handle light itself as raw material.
Daniel Gonzalez, 2022Show More
"MIRROR IMAGE"Diana Lowenstein Gallery
"MIRROR IMAGE"Diana Lowenstein Gallery MIRROR IMAGE Works by: Lole ...
"MIRROR IMAGE"Diana Lowenstein Gallery
MIRROR IMAGE
Works by: Lole Asikian, Loris Cecchini, Daniel Domig, Adétòmíwá A. Gbadébò -
Clemencia Labin, Dirk Salz, Daniel Verbis, Santiago Villanueva
Residential Properties 2.0 Information, Diana Lowenstein Gallery
1 :: breaking glass [2015] We’ve all seen this. A group of ...
1 :: breaking glass
[2015] We’ve all seen this. A group of neighborhood kids are playing ball in the street. Suddenly, the ball is overthrown, miss-hit, or purposefully expelled through a ...window. The glass violently shatters, and the group disbands in all directions, avoiding the wrath of the homeowner. Like the force of a wrecking ball, the breaking of a window wreaks both sensory and territorial havoc.
[2023] There is no longer a child’s baseball that strikes the window with blunt force. One can apply abstractions – as we should. Now there is the slow, atomized spreading of cracks; old buildings, or even new, that give way to water, salt, and wind. Local and global weather intertwine and mix with old foundations and new drywall. Mold, mildew, and humidity physically mark the presence of a creeping climate – a manifestation of the virtual networks of planetary overreach.
2:: swinging
[2015] If we take further and consider another example, the pendulum, a more dynamic series of reactions takes place. Swinging back and forth as well as in rotation, the amplitude and period of its swing are nonlinear, producing feedback (DeLanda, 2004). What if we were to trace this in the sand and extrude it as a workable material or membrane? What if, under certain pressures, this material was to not break, shatter, or crumble, but have elastic properties – properties that might at critical points morphologically adapt?
[2023] Why has an architect never been assassinated? Because for the architect there is a necessity for alignment and complicity with the armatures of the building. The “construction industry” requires architects for one thing – their signature and seal. Thus, where is the agency of architecture? Not in xeno-aesthetics or LEED certifications. It rests in the future of materialism itself. However, the substances where materials take shape are never delaminated from their social conditions – i.e., the rubber must always hit the road.
3 :: external pressures
[2015] As described by Moreno, G. & Oroza, E. (2012). there are pressures of economic precarity the home yields to as the “race against plywood sheets” fends off foreclosure. In turn, there may be extensions or new economic limbs that spring to supplement cutbacks. Makeshift operations for home-based businesses create new patterns of assemblages that organically grow by necessity. In Miami, there is the backdrop of an imported speculative condominium market causing further stratification of these zones (Gray, 2013).
[2023] Oh…those condos, a.k.a. 3D Assets. They are generic towers sandwiched between virtual investment flows and actual rising seas. As Diann Bauer points out:
“Climate change affects us all, though it does not affect us all equally. There is a predictable disconnect between those systemically responsible for climate change and those suffering its most dramatic consequences…In advance of a systemic breaking point, we still have the capacity to shift what cities are and how they function. We can see these transformations coming, and we can plan accordingly.”
We see it coming – in all its intensities: high winds and water, higher interest and insurance rates, inequity, displacement. But can we mitigate it through top-down strategies or bottom-up tactics?
4 :: internal pressures
[2015] On the flip side, technology has laced the traditional divisions of the house with both a publicness of the private (i.e., Facebook, Instagram) and the marketing of the domestic, i.e., eBay, and Etsy (Solis, 2012). If there is a digital entanglement of the private – how may it be materially and spatially manifested? How is the production and distribution of “products” in the home yielding conditions not only for material manufacture but immaterial labor?
[2023] “The hunch is that in the metaverse that is gradually taking shape, a real economy will be created, accompanied by new jobs. Among these, one of the most promising seems to be that of ‘metaverse architect’” (Signorelli, 2022). This recently has been coined as “architecting the metaverse.” However, reality-based technologies afford the capacity to import and export – to create inputs and outputs that may carry the same weights and biases as analog reality. This places reality-based technologies on the same plane as analog reality – they are parallel realities. Thus, it is a matter of metaversing the architect.
[2023] This exhibition is a modest reboot of the original Residential Properties that took place at the Fountainhead Residency (Miami, FL) in 2015.Show More
Since 1989, Diana Lowenstein has been part of the international art scene through her role as an active gallery owner and director, first under the name Der Brücke and later with Diana Lowenstein Fine Arts.
She began her career as a gallerist in Argentina, fomenting young local artists as well as organizing exhibitions of world-renowned foreign artists. Her art savvy as well as her relations with European galleries, resulting from her beginnings as an avid art collector, made it possible to represent grand masters such as Wifredo Lam, Roberto Matta and Antoni Tapies. One-man shows of their works were made available to an art-hungry clientele in Buenos Aires.
For over twenty years, Diana Lowenstein has been a fervid promoter of Argentine art at home and abroad. Participating in high-caliber art fairs like FIAC in Paris, ARCO in Madrid, Art Basel, Art
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