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Press Releases - CLINT ROENISCH


Opening: September 14th from 6-9pm

Exhibition: 14 September - 27 October 2007

Tel: 416.516.8593

The gallery is very pleased to present the second solo show of drawings by the Dutch artist Marcel van Eeden. The exhibition runs to October 28th.

Born in 1965 Marcel van Eeden’s magnum opus is to make a drawing a day based on sources that precede the year of his birth. Using imagery culled from an array of historical material - illustrations from old books, topographical atlases, films, art history, newspaper clippings, photo archives, magazines such as Life, Paris Match and others - van Eeden has set himself the task of drawing a vast visual diary of a world he never knew. He begins a new drawing by starting in the top left corner and ending at the bottom right. In between emerges a bewildering range of images: explosions, trains, streetscapes, abstractions, accidents, sex acts, divers, diagrams, botanical specimens, on and on. That none of the imagery reflects the era of their maker suggests that his legacy will be a project that immortalizes his absence as much as it did his presence. In selecting more than one hundred of these drawings to be included in the 4th Berlin Biennale (2006) one of the curators, Massimilano Gioni, wrote that van Eeden's "visual universe in fact seems affected by a radical form of iconophilia, an unstoppable urge to consume images and at the same time, by doing so, save them from oblivion." Van Eeden's project has been compared to the conceptual strategies of On Kawara and to the vast compendium of images compiled in Gerhard Richter's Atlas.

Marcel van Eeden's drawings have been widely exhibited. In 2007 alone exhibitions have been mounted at the Museum Dhondt-Dhaenens, the Kunsthalle Tübingen, Stedelijk Museum Amsterdam, the Bonniers Konsthall Stockholm and at Draíoch in Dublin. Solo shows are planned for 2008 in Paris, Rome and Los Angeles. His work can be found in prominent public and private collections including the Museum of Modern Art New York, Magasin 3 Stockholm, the Sammlung Goetz Collection and the Burger Collection.

For more information please contact the gallery.

M6J 1G8
TEL: 416 516 8593

"Alighiero Boetti and Martin Bennett: Numbers Speak Volumes"

Exhibition runs to July 28, 2007

The Clint Roenisch Gallery is very pleased to present an exhibition of five paintings by Martin Bennett and a work by the late Italian conceptual artist Alighiero Boetti. The exhibition runs to July 28th.

Martin Bennett was born in Winchester, England in 1970 and immigrated to Canada in 1975. A graduate of the Alberta College of Art he now divides his time between Canada and Rome. Boetti, meanwhile, was born in Turin in 1940 and moved to Rome in 1972 where he died in 1994. The exhibition proposes a link between the underlying structural strategies of both artist's work.

Martin Bennett is known in Canada for his Static Image paintings that examine the regions of abstraction, photography, figuration and the reproduction while being none of these at once. These works, painted in patterns and grids of colour since 2000, are based on the employment of a system that constructs the image while simultaneously obscuring its reading behind a veil of optical effects. To arrive at this method of working Bennett looked to the multivalent cues found in the works not just of Boetti but also Magritte, Canaletto and others. From a physical perspective Bennett built upon the sanding techniques used in an earlier series called Grey Volume Paintings. These luminous grey monochromes project a painted 'atmosphere' that has a grid as its starting point but which is then muted by a uniform, hand-sanding of the surface. In this way the weave of the canvas also begins to show through the dark fields of oil paint. The effect produces an elusive array of visual references. For this exhibition a large pristine Grey Volume from 1996 will be shown beside four smaller, new works.

In 1973 Alighiero Boetti renamed himself as a dual persona Alighiero e Boetti (“Alighiero and Boetti”) reflecting the opposing factors presented in his work: the individual and society, error and perfection, order and disorder. Like Martin Bennett, Boetti also took a keen interest in various systems of classification (grids, maps, etc.). As a conceptual artist Boetti produced a great variety of artworks, often following very precise rules and even high principles such as the 1971 Nobel Prize-winning Jacques Monod’s “Chance and Necessity”. Boetti produced ballpoint pen Monochromes (blue, black, red, green) with a white coded writing coming out of the evenly doodled coloured surface. In the early 1970s he made systematic ‘exercises’ with pencil on squared paper based on musical and mathematical rhythms. Boetti's elaborate tapestries, embroidered by hand in Afghanistan, used grid structured, multi-coloured “Magic Squares” of texts that stemmed from cultural, philosophical, mathematical and linguistic contexts. His “Tutto” (Everything) works presented dense puzzles where indeed everything can be found (newspaper silhouettes, figures of animals and shapes of domestic objects …). For this exhibition a well-known Boetti work, Da Uno A Dieci, will be shown for its relationship to Bennett's own practice of painting. This work is comprised of twenty cards, ten of which of are of hands and numbers counting from one to ten and the other ten contain only the grids.

Alighiero e Boetti's work has been widely shown for more than four decades, from the now-famous exhibition ‘When Attitudes Become Form’ (1969) curated by Harald Szeemann to a large posthumous retrospective at the Museum für Moderne Kunst, Frankfurt am Main.

Martin Bennett's work was recently shown at the Power Plant Centre for Contemporary Art. A new solo exhibition with a catalogue and interview by Christian Eckart will open this Fall in Alberta. His paintings are found in the public collections of the Alberta Foundation for the Arts; Astrazeneca; Newport Partners; Home Oil; the Nickle Arts Museum and the Glenbow Museum; TORYS; Osler, Hoskin, Harcourt and Arcis Corporation among others.

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