Sanya Kantarovsky
Sanya Kantarovsky, Installation view, Tanya Leighton

Sanya Kantarovsky was born in Moscow (Russia) in 1982 and currently lives and works in New York. He studied painting at the Rhode Island School of Design in Providence, (RI) and received his MFA at the University of California (Los Angeles). Sanya Kantarovsky is known for his work across a variety of mediums. Similarly, the artist probes his art historical predecessors: both canonical and relatively unknown painters, writers and illustrators. The presence of these muses, which dot Kantarovsky’s compositions simultaneously questions and indulges in a lineage of painterly impulses. For this installation the array of shirts and jackets, created with former RISD classmate and fashion designer George McCracken, are patterned with watercolor imagery of the aging, white male leisure class. A button-down decorated with nude men sprinting through a field of cacti hangs beside a shirt patterned with old white men, donning patriotic colors, as they strangle one another to get to the top. Though the pair have planned this collaboration for a while, and conversations around sexual harassment have been brewing since the Trump campaign, the three-piece collection debuts at an incredibly timely moment as powerful white men face a dramatic reckoning across American culture. And with shirts and jackets on offer for $800 (edition of 25 + 5AP) and $950 (edition of 20 + 5AP) a pop, respectively, you can wear one home.


Carl Mannov
Carl Mannov, Installation view, Christian Andersen

Carl Mannov was born in Copenaghen in 1990 and he currently lives and works in Oslo. He speaks the language of a discipline, he compares those bodies as they appear and reappear. Intersubjectivity, namely the painter as a sculptor and vice versa, become the means in whichredistribution questions the original means of distribution. It also means that these are objects in motion, not in the sense that they move from a to b but that they traverse time and space by generating language and affinity. The format of his exhibitions are the intersection of mutually permeable temporalities. A type of feng shui between production, installation, and reception in which these factors together carry on a public life. Carl Mannov is a plinth that is made without the necessary skills, tools and materials at hand. A mosaic of decisions, hesitations and transitions. A crooked line bending around a crooked corner. Carl Mannov is the box that never really fits the floor, whether concrete, tiles, wood or a linoleum cover that should have long since been removed.


Rochelle Goldberg
Rochelle Goldberg, Intralocutor “Are you on or off?”, 2017, 69 x 96 x 60 inches, Miguel Abreu Gallery

Rochelle Goldberg is a Canadian artist who was born in 1984. Rochelle Goldberg has had numerous gallery and museum exhibitions, including at the Whitney Museum of American Art and at the Dortmunder Kunstverein e.V. The artist  uses crude oil, alongside living matter such as chia seeds and snails, as part of sprawling sculptures composed of ecological and industrial materials. In her oil bucket sculptures, the stench of fossil fuels emanates from baroque vessels constructed of hands, snakeskin, and foliage, all rendered in metallic-glazed ceramic. In other works, Goldberg suspends her materials in oil slicks spread across gallery floors in a gesture that recalls both rallying cries for environmentalism and geopolitical struggle, Greenpeace and Exxon, the Alberta tar sands and the Arabian Gulf. The polysemy of crude oil points to the fact that, in Goldberg’s work, objects always ooze out of their bounds in slippery pursuits of ever expanding meaning.


Dan Rees
Dan Rees, Installation view, Galeria Múrias Centeno

Dan Rees was born  in Swansea (United Kingdom) in 1982 and he lives and works in London and Swansea. The artist has been involved in projects and exhibitions all across Europe and USA. In creating his art, Rees focuses both on the process and on the concept. His variegated and prolific production is linked to the art of the past and presents references to pop culture, which make his style complex and challenging. He usually incorporates sculpture and painting into a practice that approaches the process of reproduction and recognition as a medium itself. Using materials and processes like plasticine and artex that are imbued with elements of nostalgia and cultural history, Rees references the remits of personal and everyday culture. Rees’ painting also reacts to environments outside the conventional white cube, as happened in 2012, when Rees redesigned the architecture of the Basilica of Santa Maria Maggiore in Venice, creating a series of paintings inserted within the various arches of the church, to produce a trompe l’oeil effect of the stained glass windows.


Federico Herrero
Federico Herrero, “Untitled”, 2008 – 2017, mixed media on canvas, 250 x 200 cm, Galleria Luisa Strina

Federico Herrero was born in 1978 and lives and works in Costa Rica. His work is distinguished by the continuous examination of art in everyday life and the dialog between architectural elements and an artistic form language. Federico Herrero was born in 1978 and lives and works in Costa Rica. His handling of painting cannot be narrowed to a certain space or a certain place, since his painting paves its trail over walls and floors. Herrero has therefore, since the beginning of his artistic activity, been repeatedly looking for the public space in order to present his art. Every objects seems to be art worthy with Herrero and therefore a fluent transition of functional and artistic elements is shown in his art. The communication and fusion of space and art call for the spontaneity and the improvisation in his painting and at the same time characterize them. The mosaic like color fields irritate the viewer at first, but on the second view also open small microcosms. Those implicated worlds are heightened by fantastical creatures that appear in Herreros’ paintings again and again and seem isolated on the canvas background.


Ryan Sullivan
Ryan Sullivan, “Untitled”, 2017, cast urethane risin, fiberglass, epoxy, 213,4 x 152,1 cm, Sadie Coles HQ

Ryan Sullivan was born 1983 and lives and works in New York. He studied at the Rhode Island School of Design, Providence (RI). Sullivan embraces the ways air temperature affects the chemical reactions that make his signature abstract works come wildly to life, adding an extra element of chance to an already unpredictable method: with a canvas laid flat, he begins each piece by gradually pouring layers of paint—whether water or oil based, fine quality or commercial—one on top of another. Sullivan then tilts the canvas, thick with the mixture, this way and that, letting time and gravity do their part. Drying at varying rates, the multicolor strata wrinkle, crack, and coagulate, bringing to mind a dizzying raft of associations, from topographical maps to peeling factory walls. His creations have certainly captured the art world’s imagination. Sullivan received widespread acclaim and demand for his paintings continues to rise.


Marie Ramsden
Marie Ramsden, “Seer Sucker”, 2017, oil on canvas and oil on aluminum, 27.5 x 20.5 x 2, 200 x 140 x 4, 24 x 18 x 0.5 cm, Pilar Corrias

Mary Ramsden was born in 1984, she lives and works in London. Mary Ramsden creates abstract compositions in which amoebic forms fuse with bold, gestural mark-making. Ramsden’s practice is unapologetically painterly. Her works are testament to a commitment to painting as a progressive language that demands our attentive engagement. Strategically refusing referential readings, she makes painted objects whose compositional unity belies the complexity of their making. In Ramsden’s work even the subtlest adjustment is generative. Each shift in palette, variation in scale, or nuance of mark effects an incremental development within a broader scheme of experimentation. A recurring theme in Ramsden’s work is a preoccupation with the edge: a concern that is realised formally and pursued methodologically.


Natalie Czech
Natalie Czech, “Camera / Fjällrãven, 2016, archival pigment print with glued, 3D form 1 frame, 73, 46 x 101, 6 cm, Kadel Willborn

Natalie Czech was born in in Neuss in 1971 and she currently lives a and works in Berlin.Czech does not emphasise particular places or awards as the decisive stations of her still young career, but rather sets store on the awareness of moments: moments when a view of things important for her work as an artist occurred to her, whether in conversation, reading a book, watching a film or on a walk. It is quite possible that the viewer of her works also experiences such moments of fresh vision. With the aid of the medium of photography, Czech’s work provokes and interests because she questions the reality and possibility of visual perception. In her  work she is  concerned with the question how far and how long a photograph can be seen as a document of the present. Most of  works are collages that are composed of various temporal states. Without words would, for example, questions how far photography suffices strictly to reproduce the qualities of an art work. After all, in a photographic copy of an art work, it isn’t a matter of the exact reproduction of forms and proportions, but rather of an attempt to represent the most ideal possible side of an object.



Untitled was founded by Jeffrey Lawson in 2012 and focuses on curatorial balance and integrity across all disciplines of contemporary art. The goal is to innovate the standard fair model by selecting a curatorial team to identify, and curate a selection of galleries, artist-run exhibition spaces, and non-profit institutions and organizations, in dialogue with an architecturally designed venue.


Keita Miyazaki
Keita Miyazaki, “White current”, 2017, exhaust pipe and paper, 275x42x57cm, Rosenfeld Porcini

Keita Miyazaki  was born in Tokyo, Japan, in 1983. He studied at Tokyo University of the Arts, Japan, and at the Royal College of Art, UK. His work has been presented in several shows in UK and Japan, including the Victoria and Albert Museum and the Daiwa Foundation in London. Sculpture in the City of London featured Miyazaki’s site–specific installation Organisms of Control. A selection of recent sculptures is part of the duo exhibition ‘After the Deluge’, on show at Palazzo Sant’Apollonia during the Venice Biennale 2017. Keita Miyazaki’s sculptures and installations feature materials whose association suggests ambiguity in as much as they conjecture an unfamiliar visual language. Discarded car engine components are welded together and combined with coloured folded paper shapes and sewn felt fashioning sculptures of beguiling contradiction and unique aesthetic intrigue that appear at once automated yet also organic.


James Hillman
James Hillman, “Draco 2”, 2017, oil and collage on paper, 24 x 24 cm, Lamb Arts

 James Hillman was born in London in 1992 and he currently lives and works in Isola del Liri (Italy).  Hillman has been invited to exhibit at The North Wall (Oxford, United Kingdom2012), The Muse Gallery, (Portobello Road, London, 2012) and Hub Gallery (Canning Town, London, 2011). Important group exhibitions have been in Italy, England, Indian and Norway.


Konrad Wyrebek
Konrad Wyrebek, “MineRVittaFle06”, 2017, emulsion, acrylic, oil paint, spray paint, UV ink and varnish on canvas, Sophia Contemporary Gallery

Konrad Wyrebek was born in Kutna Hora, Czech Republic. Wyrebek’s practice encompasses video, installation, performance, sculpture and painting, and explores the boundaries of contemporary imagery and the intrinsic dangers of technology. The artist’s ‘Data Error’ series captures video images from television and the Internet and processes them through a succession of digital compressions whose deliberate settings cause corruption of data in transfer between different softwares and devices. Wyrebek sifts through hours of videos until he finds a pixelated bug that attracts his attention. The artist selects the image and crystallizes this split second into layers of paintings. Each layer is realized in turn by a machine and in turn by hand until the artist achieves his desired effect. The resulting work of art interrogates the medium on different levels. From a formalist perspective, Wyrebek references the Neoplasticism of Mondrian and the Cubism of Picasso by exploring the fourth dimension in art seen in a contemporary context as the post-internet realm and the abstract potential of electronic images. However, by introducing the synthetic use of machines in his process and leaving the viewer to question the hand of the artist, Wyrebek challenges the boundaries of painting by raising important questions about the artist’s originality and the role of technology in contemporary art.


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