Nandita Raman, Rock on Grid, 2012. Archival inkjet print mounted behind plexi mirror, edition of 3 plus 1 AP, 25 x 20 in. Courtesy Thomas Erben Gallery.

Featuring: Barry Gerson, Duy Hoang, Nandita Raman, and Giovanna Sarti.

On Permanence and Change
July 1 – July 25, 2014
Thomas Erben Gallery
526 West 26 St.
New York City
thomaserben.com

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Image courtesy of Kansas Gallery

Sreshta Rit Premnath
January 25 – March 1, 2014
Kansas Gallery
59 Franklin Street
New York City
kansasgallery.com

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Starting with the presumption that thought is guilty only when it generates an action, within the space of the gallery the artist presents concrete examples of things that on the one hand are associated with concept, while on the other they are ready to free themselves into an infinity of new considerations.

Weiner thus foresees the maximum level of interpretative autonomy for the public, to whom he passes the responsibility for the presumed verdict: if the mind is guilty, what results remains open to judgement.
Suspended in doubt if this way, the phrases offer no replies but suggest possible questions that are open to a variety of interpretations.

A central figure in Conceptual Art, Weiner’s work has been appreciated around the world since 1960. His way of producing art by dematerialising the art object itself into pure language has contributed to a clear turning point in the history of art.
His works are to be found in the contemporary art collections of leading international museums.
A major exhibition of his work is currently open at the Stedelijk Museum of Amsterdam.

Lawrence Weiner was born in 1942 in New York, where he lives and works.

giorgiopersano.org

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According to his studio director, Mr. De Maria had passed away in his sleep, possibly due to a recurring stroke, on Thursday, July 25th. He is survived by his 100 year old mother and his brother, Terry. This soft spoken art giant always let his art do the talking. Now that he has permanently moved on we are left where we always were in relation to his work: in a perpetual state of awe, entrusted to continue the conversation in his absence.

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Noah Becker: Why did you name your exhibition Avoid This Water?
Daria Irincheeva: With most of my art I rely on my intuition more than on rational mathematical or theoretical explanations. Actually, the title came accidentally on one hot summer morning while walking. My
 friend said, “avoid this water,” and I really liked the combination of words. For the titles of my pieces and shows, I often use these kinds of combinations of words that I take from the books I read, or phrases I hear. I hope for these titles, in combination with the physical objects of my work, to be like a starting point for viewers to create their own associations, stories, or metaphorical paths.

NB: Have you ever worked in painting, or has your work always had an installation quality to it?
DI: I actually started with painting, and as I was studying first in St. Petersburg, which has a very strong classical academic influence, painting was emphasized. So, yes, in the beginning I was 
painting a lot because for three years I was taught academically how to paint, how to draw, and I used it in my first steps of understanding what art is. And now, as you saw in the exhibition, I use painted,
 stretched canvasses more as objects I can play with and transform into sculpture. For example, the books project, Empty Knowledge, consists of about 150 paintings, but those paintings function more as sculpture, as a kind of allegorical monument of the past.

NB: Where were you studying in St. Petersburg?
DI: I was at the University of Design where I studied Fashion, so you can therefore imagine how strong the classical influence in St. Petersburg is when one must study painting as part of the fashion 
design faculty! Oh my god, I was painting the same skeleton for three years! (laughs) After three years, I decided to change direction and moved to France to study contemporary art, first at the Contemporary
 Arts School of Annecy and then to the École des Beaux-arts de Lyon.

NB: How many years have you been the Director of Family Business Gallery?
DI: The gallery only opened in February, so, since then. It’s a very new gallery and I’m a very new Director, but have indeed been there from the very beginning. It’s been a very interesting 
experience and I’ve learned a lot. Now I have the feeling that I could install an exhibition with a budget of five dollars in one night. (laughs)

NB: Do you feel like your interaction with Maurizio Cattelan (co-founder of Family Business along with Massimilano Gioni) has been influential on your own work?
DI: I would say not on the philosophical nor conceptual level of my work, because that’s very personal and comes mostly from my past and my childhood, but definitely in having very high standards towards the quality of artworks, and properly managing their lives. And of course, 
through the experience of directing Family Business, where I’ve met so many highly professional and experienced artists and curators, contact from which one can learn so much and very quickly.

NB: Tell me where you met Maurizio again?
DI: I met Maurizio Cattelan in Venice in 2011. I was working for The V-A-C
 Foundation at that time. It’s the best art foundation in Russia, really intelligent, informed and modest. We had an exhibition during the Venice Biennale that was a collaboration between The V-A-C 
Foundation and Fondazione Sandretto Re Rebaudengo called “Modernikon. Contemporary Art from Russia”, curated by Francesco Bonami. Maurizio and I met at our dinner party after the opening and from the very beginning became good friends. He’s really great, very easy going, funny, and serious all at the same time.

NB: How did you end up in New York?
DI: I came to New York to continue my studies. I’m at the School of Visual Arts in my senior year. I came to New York last July. So I’ve only been here for one and a half years.

NB: Is this your first solo exhibition?
DI: Yes, it’s my first solo exhibition, but I’ve been in many group shows before, including a really great one recently in London at Yinka Shonibare’s Guest Project and the 2012 Moscow Biennale for Young Art. I would say that group shows are much easier to participate in because you are part of a curator’s statement, and you don’t have as much personal responsibility. In a solo show, you need to make a strong personal statement, open yourself up to where it’s all about your thoughts, ideas, concepts and aesthetic views. So you cannot escape. (laughs)

You can see images of Avoid this water exhibition here: dariairincheeva.com

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