Mathew

24/01/2019

Stay tuned @montezpress for the release of this incredible publication by #heikekarinfoell #speed

17/01/2019

IFC Center - Love at the Frankfurt Autoshow

NEW YORKERS! COME ALONG!

Note that seating is limited and will be available on a first-come-first-served basis starting at 6:00pm. Free tickets will be available at IFC on the day of the show only. Wednesday, January 23, 2019 7pm–10pm Than Hussein Clark: Love at the Frankfurt Autoshow, 2017 Join Art in General and artist ...

29/10/2018

Amy Lien & Enzo Camacho's Send Up of New York’s Lowline in Freiburg

The transfer of a proposed New York subterranean garden project to Kunstverein Freiburg raises questions about community and private interests

20/10/2018

Beth Collar, Thinking Here Of How The Words Formulate Inside My Head As I Am Just Thinking, @mathewgallery hosted by Waldo

14/10/2018

Than Hussein Clark
Happy Prince Caryatid B, 2018
Alabaster, verde oxidised gold-leaf, steel wire, terminal blocks, Venetian graphite plaster, wax
81 × 13 × 13 cm

13/10/2018

Cooper Jacoby @highartgallery #Paris

13/10/2018

Megan Francis Sullivan
Parcours, 2005
Gouache, Watercolour on Paper
60 × 112 cm (23 ⅝ × 44 ⅛ inches) #meganfrancissullivan

12/10/2018

Heike-Karin Föll
OPT UNCONSC, 2018
oil on canvas
180 × 160
#HeikeKarinFöll

12/10/2018

Lawrence - „Illusion“ (CD / LP via #dialrecords artworld: Robin Bruch)

06/09/2018

Timeline Photos

01/09/2018

Than Hussein Clark
“His Leftover Heart (Pauly et Cie)”

September 2 - November 3
-
Opening Tonight from 6 to 9 pm
at Crèvecœur Marseille
5-7 rue du Chevalier Roze

14/08/2018

Playing now @montezpressradio

26/07/2018

Timeline Photos

24/07/2018

Montez Press takes over the space at Mathew—a gallery in NYC—for the third summer in a row. This year Montez will present a month of radio. For 30 days, 24 hours a day, content will be streaming live from Chinatown, bringing together artists/writers/DJs/musicians/critics/theorists to explore the medium of radio.
Radio and publishing have much in common; radio is a seemingly obsolete and limited method of communication, yet, much like publishing, it continues to persist despite the ubiquity of image based technology. This month long installation will encapsulate our specific moment in art, music, and media while also showcasing the work of historical and contemporary artists and organizations that inspire and inform Montez Press.
@montezpress @montezpressradio wavefarm.org/listen radio.montezpress.com

22/06/2018

A review of Kirsten Pieroth’s „Events and Guises“ @mathewgallery by @h.a.r_r.y_ can be found in the current issue of @spike_art_magazine

16/06/2018

Cooper Jacoby
Bare Faces, 2014
Copper-plated steel, steel, steel penny, tempered glass, x-rays
75 ¼ × 9 ½ × 4 ½ inches #cooperjacoby

14/06/2018

Megan Francis Sullivan
HOMO (white series) no. I, 2013
flashe and airbrush paint on canvas
68 ⅞ × 49 ¼ inches

11/06/2018

Than Hussein Clark
Doctor Stockman at the Chacara, After a Song, 2017
Porcelian, Terra Nerra, Slip, Concrete Enale, Perspex
66 ⅞ × 19 ⅝ × 19 ⅝ inches

10/06/2018

A Catalogue Raisonné
Megan Francis Sullivan

Megan Francis Sullivan: A Catalogue Raisonné provides the first near complete survey of all the works conceived by the artist since 1987, including some of her best-known series (B O Y S and After Roe Ethridge) as well as lesser-known pieces brought to light for this book. Each work is illustrated and captioned, demonstrating both the diversity and unwavering consistency of Sullivan’s expanding oeuvre.

A Catalogue Raisonné is published as a multiple artwork, designed by Sara De Bondt and issued in a strictly limited edition of 30, each copy signed by the artist. It includes an introduction by the scholar Cornelia Kastelan and a foreword by Antony Hudek.

10/06/2018

Timeline Photos

09/06/2018

Megan Francis Sullivan
Groupe de Baigneurs, 1892-1894, Barnes Collection (Inverted), 2016
Oil on canvas
12 × 16 inches #meganfrancissullivan #happyweekend

08/06/2018

Villa Design Group
Repertory
In an exploration of queer politics through the medium of architecture and architexture, the Villa Design Group ventures into the avant garde. In this anthology of poetry, design, sketch, song, geography, theater, and more, the Villa Design Group has managed to reference the histories implicit in fashion, literature, and the arts while simultaneously composing a universe of their own. Repertory invites us into this universe – where queer object(ivitie)s offer the radical possibility of a world independent of the subjectivity of the bodies that subsist within it.
Design by Max Prediger
2014
16,5 × 23 cm
perfect bound
544 Pages
Edition of 800
ISBN 978-3-945247-03-7 available via @montezpress taking over for the summer @mathewgallery

07/06/2018

Hannah Regel
When I Was Alive
Hannah Regel has built a book, a house, a place to escape ones muting duties. A place of scars, write-offs, rags. It’s a dirty lustful pit where domesticity has been exposed for its perversion, and is nearly liberated. For if one cannot escape their place, a new place must be built: a home that no man dare to enter. Because what’s inside is bovine and bloody. Fleshy and rotting. Corpses, mold. “When I Was Alive” is a political tactic. A safe house for those attempting to escape the trap of history, “the catastrophe of repetition”.
London based artist Hannah Regel graduated from Goldsmiths College in 2012 and is currently completing her MFA in Sculpture at the Slade School of Fine Art. She has performed and exhibited at the Tate, ICA, Nottingham Contemporary, Spike Island and the David Roberts Art Foundation, and was selected for Bloomberg New Contemporaries in 2013. She has also appeared as a panelist for several discussions on contemporary feminism at venues including the Goldsmiths College and Tenderbooks. Hannah is the co-founder and editor of SALT. Magazine, a journal for feminism and contemporary art.
Artwork: Alice Pat Jackson
2017
10 × 19 cm
staple bound
40 Pages
ISBN 978–3–945247–25–9 @montezpress is taking over @mathewgallery this summer for the third year. Follow them for updates on coming activities! —-> @montezpress

05/06/2018

Heike-Karin Föll
garçon, 2018
Tempera und charcoal on primed canvas
63 × 39 ⅜ inches

01/06/2018

When Andrew Cunanan shot Gianni Versace in the face in 1997, a ricochet from the bullet, striking the copper gate, deflected and killed a white-winged parakeet found near the designer's body. This bird was then given an autopsy-a paint chip from the metal gate was found inside the bird's eye. The Trans-Atlantyk Carpet casts the network of international homosexual millionaires revealed during the course Cunanan's killing spree as a fleet flamingos taking flight, a mirrored spiral striking a line between Maimi and the Cote'd Azur, between the riotous colors of Memphis and the strict geometries of early 20th-century carpet design. Bracketed between two graphic L-Shaped borders, this take off is an enumeration of clouded tufted stains, where calligraphic pastel strokes seep through the carpets white pile; an event that begins to take definition through the signature placed at the Carpets edge: Chrobry '38. Possibly the signature of a painter, the scrawled word asks if like many of the Maison Myrbor Carpet's which copied famous modernist paintings of the time, if the Trans-Atlantyk begin its life as a painting on a bourgeois drawing room? Chrobry is also the name of the ship which brought the Polish Writer, Witold Gombrowicz to Argentina in 1938, just before Germany invaded Poland (when he arrived in Buenos Aries there was nowhere for him to go back to), a journey fictionalized

by the novelist in 1953 in the form of an ironic 18th-century epic poem or Gawdwa, where the narrator is imbricated in an affair between a young man and a Polish count-“What should I choose? Fidelity to the past ... or the freedom to create oneself as one will? Shut him into his atavistic form ... or open the cage, let him fly away and do what he likes! Let him create himself!.” The ship reappears one last time in Gombrowicz dairy in 1961, when as the writer returns to Europe for the first time since his artistic exile, he dreams that the steamer taking him to Paris passes the ghost of the Chrobry on its way to Argentina. Than Hussein Clark
Trans-atlantyk (Get the F**k Out of Dodge), 2012-2013
Tufted Wool
106 ¼ × 151 ⅝ Inches

31/05/2018

Than Hussein Clark
Konnigratz / Hamichuri / Konnigratz / Hamichuri, 2013
Hand Tufted Wool, Silk, and Rayon, Hand Cut Chain Brass
294 ⅞ × 60 ¼ inches Cutting through the center of the gallery, "Konnigratz/Hamichuri/Konnigratz/Hamichuri", Clark's hand- tufted carpet produced with Dovecot Studios (Edinburgh, UK) crosses the artist's research in the decorative schemes of historic civic architecture and the interiors of early twentieth-century Vienna in order to articulate the first in a series of spatial and functional reversals. The carpet, a gilded stucco ceiling positioned on the floor, mutates Neo Rococo and Japanisme design references in a series of roundels to harness the potential of what Le Corbusier, in his attack of the interior of Charles Garnier's Paris Opera, called "an architecture of lies." Employing both the massing of ornamental languages that Le Corbusier found so perverse, and what the artist has called a "certain queer trajectory of the linear", the carpets iconography narrates the scandal which marred the construction of the Vienna Staatsoper, during which the architects of the building August Von Sicarsgard and Edwaurd Van der Null (lovers and professors at the Vienna Academy) performed a double suicide after miscalculating the foundation line of the opera house by a meter.

31/05/2018

Opening tomorrow #deuxsensdudecoratif @cacpasserelle curated by @michail_novotny bringing together all of Than Hussein Clark’s carpet works for the first time in one exhibition. #thanhusseinclark #dovecotstudios

30/05/2018

Than Hussein Clark
Dougu Cho (Ein Mann, der gewesen ist - die unbestreitbare schönste Zeit des Alten Mutter hält für das Leben das Gefühl eines Siegers), 2013
C-Print on Epson Satin Rag, Metalic Ink, Ukiyo-e Print
19 ⅝ × 15 ¾ inches

29/05/2018

Villa Design Group
Buoy/Debris/Couture Advertising, 2015
Digital Print, Tulip Wood, Black Gloss, Metallic Wax
59 × 59 × 59 inches #tbt Installation view @mumok_vienna

28/05/2018

Robin Bruch
Peti Tenget (Bali), 1977
Acrylic, Oil-Crayon on Paper
21 ⅝ × 21 ⅝ inches

25/05/2018

„Post Performance Future“ by Marie De Brugerolle discussing #thanhusseinclark and others in recent @moussemagazine

25/05/2018

Thank You @c.a.daily for the feature of „Events and Guises“ by #kirstenpieroth the exhibition is open today from 12 - 6pm

23/05/2018

Kirsten Pieroth
Abrasive (Olympus), 2018
Newspaper, paint
15 ¾ × 22 ½ inches #kirstenpieroth

21/05/2018

“Yes, Yes, All That News That Fits To Print”, 2017
A play by Than Hussein Clark
For Art-Basel Parcours Nights 2017
curated by Samuel Leuenberger #tbt

14/05/2018

Than Hussein Clark
Java Nocturne (Above my library-whim!), 2014
Wool, Silk, Rayon, PVC, Tensile, Leather, Chanler Welsh Mountain Wool, Blackened Tulipwood, Steal, Brass
1.102 ⅜ × 826 ¾ × 78 ¾ inches