Stanley Brouwn: The Measure of a Journey

In the realm of conceptual art, where ideas often reign over tangible creations, Dutch artist Stanley Brouwn, born in Suriname and based in Amsterdam since 1957, carved a unique path for himself by focusing on the seemingly mundane act of walking. His work, spanning several decades, invites viewers to reconsider the very essence of distance, measurement and the experience of traversing space.

Brouwn’s artistic journey began in the 1960s, a time of artistic experimentation and questioning of traditional art forms. He embarked on walks, meticulously documenting his steps and the distances traveled. These walks, at first limited to his local environment, gradually expanded to encompass journeys across continents.

What distinguishes Brouwn’s work is his unwavering commitment to accuracy and his rejection of conventional artistic representations. His documentation often took the form of simple typed notes detailing the number of steps taken, the time elapsed, and sometimes even the type of footwear used. These unadorned records, devoid of any embellishment or artistic interpretation, serve as stark reminders of the physical act of movement and the passage of time.

Brouwn’s work challenges our perception of distance, prompting us to question the arbitrary nature of standardized measurements. His focus on the individual experience of space, rather than on objective cartographic representations, highlights the subjective and embodied nature of navigating the world.

His pieces, such as “This Way Brouwn” (1960-1964), in which he asked passersby for directions and then followed them, literally embody the concept of a journey guided by chance encounters and subjective perspectives. In another work, “1 Meter” (1969), Brouwn marked a distance of one meter on a wall, blurring the line between art and the everyday environment. He even went so far as to claim every shoe store in Amsterdam as a work of art, demonstrating his radical conceptual approach.

Brouwn, recognized as the best-known representative of Dutch conceptual art, always prioritized the underlying idea of his works over their formally austere aesthetics. Self-taught, he initially leaned, like the artists of the Zero movement, toward monochrome geometric abstraction. But Brouwn soon transcended the specific aesthetic of Zero. Beginning in 1960, he constructed a particularly personal and consistent body of work, in which he investigated the interplay between movement and distance. Using his body as the measure of all things, he formulated his own unique system of measurement (the sb-foot, the sb-elbow and the sb-step). From this scale, the artist investigated the field of tension between the subjective experience of distance and the objective recording of it.

Brouwn’s artistic legacy lies not in large installations or visually stunning creations, but in his ability to elevate the simple act of walking into the realm of conceptual art. His work serves as a quiet invitation to pay attention to the subtle details of our movements, the passage of time, and the unique experience of traversing space.

While Brouwn’s art may seem deceptively simple, it opens up a world of philosophical and conceptual inquiry. It challenges us to reconsider our relationship to the physical world, to question the boundaries between art and life, and to appreciate the beauty and complexity of the everyday.

In a world saturated with visual stimuli and grand artistic gestures, Stanley Brouwn’s work stands as a testament to the power of simplicity, precision, and the enduring charm of the journey itself.

Daniel Almeida & Adrian Rivera
The Elephant Never Forgets
Nostalgia, identity, and the pervasive influence of media across borders found inan uncanny backstage TV studio lot inspired by 1970s sitcom “El Chavo del Ocho”

Opening Reception; Saturday, September 07, 2024. 6:00pm-8:00pm

Locust Projects presents The Elephant Never Forgets, a majormultimedia installation in the form of an uncanny backstage TV studio lot byDaniel Arturo Almeida (b. 1992, Caracas, Venezuela) and Adrian Edgard Rivera (b.1991, Austin, Texas) opening on Saturday, September 7, 2024 with a Meet theArtist Reception from 6-8pm; Performance by LIZN’BOW at 8pm.Drawing from ‘la vecindad,’ the iconic setting of the 1970s sitcom ‘El Chavo delOcho,’1 and other historical and contemporary references from the artists’ experience of a Mexican and Venezuelan mass media, the immersive installation traces Latin American media history to lay bare the socio-political intricacies of memory through themes of transnational telecommunications, piracy as access/agency, the public broadcast theatrics of authoritarianism, constructed memories, and soft power.

The title of the exhibition, “The Elephant Never Forgets,” is inspired by the third song on side B of Jean-Jacques Perrey’s 1970 album Moog Indigo.

This playful electronic adaptation of Beethoven’s “Turkish March” was famously used without authorization as the opening theme for ‘El Chavo,’ the most watched sitcom in Mexican television history, and still airing today in syndication cementing it as an iconic and unmistakable sound across Latin America and the Spanish-speaking world, including the United States.

The installation invites visitors to enter a TV production studio set filled with screens, costumes, props and set dressings. Suspended from the ceiling, a mass of bootleg marionettes with iconic faces populate the space. An industrial metal puppet theater “castelet,” armored with counterfeit national decorations, frames a hologram. A grouping of monitors tune in footage of a broadcast performance from varying camera angles undressing the manipulative choreography of televised state ceremonies of power. Large photo backdrops cascade down from a towering wall of scaffolding. Spread throughout the gallery, and three oversized heads of El Chavo characters allude to a contentious dispute over copyright and ownership. On the opposite side of the scaffolding is an intimate space, filled with a collection of photos, books, small objects and familial paraphernalia, among them a couch shining in the glow of a TV set displaying footage from 1990s anti-piracy commercials.

Deep economic inequalities and censorship have historically limited access to media, leading to piracy as a way to bypass exclusionary paywalls and state-controlled narratives. In many countries in the region, a volatile economy made a single DVD or video game worth more than a week’s salary. Piracy provided agency and became a transformative force, allowing people to remix and escape the oversaturation of foreign media. Fansubs and other grassroots efforts contributed to this cultural exchange. While the issue of piracy raises questions of ownership and authenticity, in the face of cultural flattening, the counterfeit often becomes more authentic than the original.

Almeida and Rivera’s set is a platform where the artists reminisce and reflect upon their respective biographical journeys linked by fragmented memories and layered experiences of a bygone era in Latin American media consumption.

1 El Chavo del 8 is a Mexican situational comedy television series created by and starring Roberto Gómez Bolaños and produced by Televisión Independiente de México (later, Televisa ). El Chavo first appeared in 1971 as a sketch on a Mexican show called Chespirito. It officially ended in 1980. Syndicated episodes existed until 1992 and was broadcast across all of Latin America, Brazil,
Spain and the United States with an approximate audience of around 350 million people per episode across the Americas.

LINK RELATED PROGRAMS AND EVENTS
Little Haiti Little River Art Days
Saturday, October 19 | 12-5pm|; Artist Activation: 4pm
Highlighting arts and culture offerings in the neighborhood on a quarterly basis; Artist Activation: 4pm performance by Carlos Fabián Medina, a multidisciplinary creative, actor, and director from Caracas, Venezuela, activating The Elephant Never Forgets
Closing Event: Tianguis Flea Market
Saturday, November 2, 2024 | 12-5pm: Artist Talk: 4pm
“Tianguis” are open air/street Mexican flea markets known for their rich culture of marionette making, which were a major source of inspiration for The Elephant Never Forgets. Local Miami makers, artists, and vendors gather to celebrate the closing of The Elephant Never Forgets and Niñalandia by LIZN’BOW.

ABOUT THE ARTISTS
Daniel Arturo Almeida, a Miami-based artist of Venezuelan descent, has cultivated a notable presence in the art world with an M.F.A. from the School of Visual Arts, NY, and a summa cum laude B.F.A. from Florida International University, Miami, FL. His work has garnered significant recognition, including a Curatorial Fellowship at NYU’s Latinx Project and a membership at the NEW INC, New Museum, NY. Almeida’s artistic narrative unfolds through a series of solo and group exhibitions, reflecting his nuanced exploration of identity and memory. His solo debut at Florida International University, curated by Mirta Gómez del Valle, set a profound precedent for his career. He has since contributed to various impactful group shows, such as “Dread/Dream” at SVA Chelsea Galleries and “Glow in the Dark” at A.I.R. Gallery, Brooklyn, asserting his voice within contemporary dialogues. Beyond his artistic
practice, Almeida engages in curatorial projects and art pedagogy, shaping art discourse and nurturing emerging talents.
His role in projects like “An Inward Sea: Oral History” and teaching at the Institute of Contemporary Art, Miami, underscores his commitment to community engagement and art education in Miami.

Adrián Edgard Rivera, born in 1991 in Austin, Texas, and raised in Yautepec de Zaragoza, Morelos, Mexico, is a contemporary artist who currently lives and works in Brooklyn, NY. Rivera’s artistic journey is marked by a series of thought-provoking exhibitions, including recent showcases at Black Brick Project and Klaus von Nichtssagend Gallery in New York. His work delves into themes of identity, culture, and memory, as seen in his solo exhibition at Plexus Projects and participation in various curated group shows across prominent New York venues. Rivera’s commitment to his craft has been recognized through residencies and awards, notably at The New Museum’s NEW INC program and Plexus
Projects. Beyond his visual art practice, Rivera engages with the art community through lectures and talks, sharing his insights and experiences at institutions like the Institute of Contemporary Art Miami and Northern Michigan University, fostering dialogues that bridge art and technology.
The artists extend their gratitude to artist Itzel Basualdo for her critical role and contributions in the early conceptual development of “The Elephant Never Forgets.” They also extend special thanks to Maria Avellaneda, Roxana Barba, Dimitry Saïd Chamy, Coco Clockner, Haruko Hashimoto, Andres Ibarra, Kevin Leonard, Carlos Fabián Medina, Claudio Marcotulli, Eric Monasterio, Pilar Rodríguez Aranda, Sterling Rook, Corey Silverman, and Harrison Tyler, Inkub8, Bakehouse Art Complex, Lorie Mertes, Tom Mickelson, Tony Kapel, Nuria Richards, Laurie Rojas and Sid Wolf.
The Elephant Never Forgets was selected from online Open Call for the Main Gallery in 2021 from more than 280 applicants online and was coordinated by Locust Projects’ artist co-founder Elizabeth Withstandley. The 2021 Main Gallery Open Call review panel included: past exhibiting artists Shikeith (2019) and Juana Valdes (2020) and Aldeide Delgado, founder and director of WOPHA (Women Photographers International Archive).

ABOUT LOCUST PROJECTS
Founded by artists for artists in 1998, Locust Projects is Miami’s longest running nonprofit alternative art space. We produce, present, and nurture ambitious and experimental new art and the exchange of ideas through commissioned exhibitions and projects, artist residencies, summer art intensives for teens, and public programs on contemporary art and curatorial practice. As a leading incubator of new art and ideas, Locust Projects emphasizes boundary-pushing creative endeavors, risk-taking and experimentation by local, national, and international artists. We invest in South Florida’s arts community by providing artists with project grants and empower creative careers by supporting the administrative work of being an artist through an onsite artist resource hub and access to pro bono legal services.
Locust Projects 2024-2025 exhibitions and programming are made possible with support from: The John S. and James L. Knight Foundation; The Andy Warhol Foundation for the Visual Arts; The Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, The Children’s Trust; Dede and Robert Moss; The National Endowment for the Arts Art Works Grant; Diane and Werner Grob; Susan and Richard Arregui; The Korean Arts Management Service; The Berkowitz Contemporary Foundation; Funding Arts Network; Kirk Foundation; Cowles Charitable Trust, Miami Salon Group, and the Incubator Fund Supporting Sponsors and Friends.

Locust Projects presents
MAIN GALLERY: DANIEL ALMEIDA & ADRIAN RIVERA:
The Elephant Never Forgets
Exhibition Dates: September 7 – November 2, 2024
Opening Event Saturday, September 7, 2024 6-8pm, Meet the Artists
Little Haiti Little River Art Days Saturday, October 19 | 12-5pm;
Artist Activation: 4pm performance by Carlos Fabián Medina, a multidisciplinary creative, actor, and director from Caracas, Venezuela, activating The Elephant Never Forgets
Closing Event
Saturday, November 2, 2024 12-5pm: Tianguis Flea Market; 4pm Artist Talk
Public Hours:
Wednesday to Saturday 11am – 5pm
MEDIA CONTACT:
[email protected]
305-576-8570
Press kit and images:
Available here
Also on view:
PROJECT ROOM: LIZN’BOW
Niñalandia Both shows open September 7 | 6-8pm and features performance by LizN’Bow at 8pm

Artist of the Week
JOSHUA WINGERTER

“Let’s just do it man, see what happens.”

This is the philosophy of Josh Wingerter, self-made artist and entrepreneur from Westwego, Louisiana, a small town right outside of New Orleans. Josh’s early roots in his artistic process started while he was working in artist Keith Eccles’s studio, who Josh credits as a huge influence on his artwork. Despite the lack of professional training or schooling in the arts, Josh managed to wow Eccles with his work. A customer stopped by the studio one day and noticed Josh’s work. Eccles introduced them to one another and commented, “If he wasn’t so lazy, he’d be a great artist.” This is when Josh had to ask himself—is that true? Should he be challenging himself more?

This sparked the motivation needed to take Josh’s competitive nature into higher gear. His drive to create both noticeable and significant work took him to the Frenchmen Street Art Market in New Orleans. This is when his artwork started gaining more notice, particularly for the unique mediums utilized. One recognizable feature is the use of newspaper backgrounds. Josh believes we are currently in age of the last generation of the printing press, and to immortalize such a long-cherished means of communication in his work preserves its memory. Much of his work contains colorful images that pay homage to legendary people. He appreciates the New Orleans culture that he was born into. His work does feature some of the local flair, but he rather constantly exposes himself to “new information in order to always be inspired.” Josh likes to stay stimulated, garnering inspiration from a variety of sources, from the tellings of philosopher Alan Watts, matters in social activism, to books, movies, and all genres of music. He claims that his art themes come to him in waves, and he lets the art define him and tell him where to go.

His art has certainly opened new doors for him over time. Josh is now a well-respected and recognized artist in his community, where his art has been featured in 15 locations in the New Orleans area. The Rebellion Bar and Urban Kitchen, Who Dat Coffee Café, and Peaches Records regularly feature his pieces and attract customers for both the business and art sales. This growing popularity has landed Josh showcasing opportunities in Washington, D.C. and Miami, FL. Miami has been a successful venture so far, allowing Josh to participate in Art Basel, showing pieces in the Art Fusion Gallery and Aqua Gallery in South Beach Miami. These opportunities have left Josh with a sense of gratitude and accomplishment and make him want to aim even higher with his goals. He would like to one day become an internationally recognized artist and never stop this journey he defines as an “infinite learning process.”

Overall, Josh feels extremely fortunate about what his art has done for him in life. He believes he doesn’t have the right to feel upset about anything because he is so lucky to have this “dream job” that allows him to spend time with his son. Just 3 months before his son’s birth, Josh quit his full-time job to pursue a career in artistry. His son and art are his ultimate focal points in life, and he believes he owes it to both his son and career to “go all in.” Josh strives to defy the odds—an artist from a small town who wants to prove that art is “more than a hobby.” It can truly provide career opportunities. “You’re going to get out of it what you put into it.”

“Spaghetti.”

Art Fusion Galleries

About william braemer and art fusion galleries

Our mission is simply to offer new and emerging artists a springboard into a prosperous and successful career in art.

As a young man, I was exposed to the art auction houses of New York through my father’s work. When I moved to Europe during the 1980’s, I lived in Florence and, was inspired by the city’s rich artistic history and its alluring culture. From that moment on, I began to pursue my growing passion for art.

Along the way I learned that being a successful artist requires more than just talent, a strong work ethic, and a joyous passion for the creative process. It is also requires learning how the art marketplace works and developing the right opportunities to present your work to art buyers in a significant and substantive manner.

I feel fortunate to have had the experiences that now allows me to share my knowledge of the business side of art with new and emerging artist from around the world here in our Miami and St. Petersburg galleries. Jay Jakela and I founded Art Fusion Galleries almost twenty years ago in Miami. Since then, we have discovered and represented more than 800 artists along the way.

Now, I am not sure which bring me the most excitement in life–continuing to be a working artist, or that first meeting with a new artist accepted into the growing Art Fusion family.

3496 NE 12TH AVE, OAKLAND PARK FL 33334, UNITED STATES

305.573.5730

24! Questions for the Concrete Present

www.kulturspeicher.de
www.mkk-ingolstadt.de
Facebook / Instagram / Facebook / Instagram

Museum für Konkrete Kunst, Ingolstadt
Museum im Kulturspeicher, Würzburg

On Friday, March 22, and Saturday, March 23, 2024, the Museum für Konkrete Kunst (MKK) in Ingolstadt and the Museum im Kulturspeicher (MiK) in Würzburg are opening the exhibition 24! Questions for the Concrete Present. This extensive cooperative show takes the hundredth birthday of the term Concrete Art as an occasion to test the topicality of this art movement. The two parts of the exhibition in Ingolstadt and Würzburg will present twenty-four young artists from Germany and abroad. The central question is how today’s young generation is adapting for itself the concept and ideas of the “Concrete”: Is Concrete Art still topical?

Concrete Art—according to tradition, the Dutch artist, architect, and theorist Theo van Doesburg (1883–1931) first coined the term and used it for his own works in 1924. Although this art movement dedicated itself to precision and clarity, the history of the origin of the name cannot be verified with certainty. One hundred years later, this unofficial anniversary nevertheless offers a suitable opportunity to ask today’s generation of young artists who are close in style to the movement about the details of their relationship to Concrete Art. What influence does its beginnings have on their own creative work? Are the term Concrete Art and the associated principles still relevant today?

MiK and MKK have invited twenty-four artists from Germany and abroad who were born from 1980 onward to provide detailed information about their relationship to Concrete Art. Around the same age as van Doesburg and other important pioneers of the movement in 1924, they seem especially well suited to report on the current status of the art movement and to look toward its future. The works shown demonstrate that principles more than a century old have remained topical and adaptable.

The works by the twelve artists represented at the MKK belong to very different genres, including, for example, intricate, filigreed drawings by Lena Ditlmann and Marile Holzner, strictly geometrically conceived paintings of Carsten Beck, sculptural works by Martim Brion, and a large installation by Anna-Maria Bogner that fills a room. The exhibits selected for the show also illustrate the broad palette of forms of artistic expression and techniques that are essential to Concrete Art. Silvia Inselvini’s monochrome drawing thus join a dialogue with paintings and paper cutouts by Vladiana Ghiulvessi, Toulu Hassani, Jonas Weichsel, and Fiene Scharp, which in various forms grapple with the grid and other ordering structures. In a large wall work produced especially for the exhibition, Dave Grossmann engages with the design principles of Concrete Art. Marco Stanke’s objects that oscillate between painting and sculpture profoundly challenge our expectations of an image.

The twelve artists presented at the MiK are also diverse: The spectrum ranges from Erika Hock’s sculptural string objects, which invite sensory exploration and lingering, to Sali Muller’s mirror works, which focus on the subjectivity of perception. The works by Sebastian Dannenberg and Schirin Kretschmann address the museum space and engage with the limits and tipping points of painting. Charlotte Giacobbi, Cătălin Pîslaru, Virginia Toma, and Patrizia Kränzlein also work with painting and drawing, but in two dimensions, employing its means, processes, and ordering structures. Amalia Valdés Mujica combines Latin American symbolism and geometry in her reliefs. The boundaries between genres and methods are transgressed by the sculptures and photographs of Nina Brauhauser. Fabian Gatermann takes a variety of approaches to explore the phenomenon of light, such as algorithms and Plexiglas. The artistic duo Banz & Bowinkel employ computer-aided augmented reality (AR), juxtaposing the digital and the physical.

Whereas the MKK is dedicated exclusively to Concrete Art, this movement became a thematic focus for the MiK in Würzburg when it acquired the Peter C. Ruppert—Concrete Art in Europe after 1945 Collection. The cooperation of the two institutions has made it possible to present a broad selection of artists and to engage together with the present and future of Concrete Art. Another element linking the two shows is an exhibition catalogue being published by the Deutscher Kunstverlag. It has 176 pages and contains texts by Mariana Aravidou, Dr. Henrike Holsing, Dr. Mathias Listl, and Dr. Theres Rohde. The catalogue is available for 34 euros in both museum shops and in bookstores (ISBN: 978-3-422-80222-3).

100 years later of Concrete Art Movement

Although Concrete Art comes across as very precise, it is only possible to say approximately when the name was born. In his manifesto of the same name, Theo van Doesburg officially introduced the term to art theory in 1930. But the Dutch artist, architect and theorist is said to have conceived it for the first time and applied it to his own works as early as 1924.

100 years later, despite all the uncertainty, this anniversary is a fitting opportunity to question today’s generation of young artists with a stylistic affinity to the movement in detail about their relationship to Concrete Art. What influence have the beginnings of the art movement had on their own visual work? Are its principles still relevant today? And does the same apply to the name? 

Museum für Konkrete Kunst (MKK)
Tränktorstraße 6–8
85049 Ingolstadt

Concrete art – according to tradition, the Dutch artist, architect and theorist Theo van Doesburg is said to have first formulated this term in 1924 and used it for his own works. 100 years later, despite all the uncertainty, this anniversary provides a suitable opportunity to ask the generation of young artists who are stylistically close to this direction in detail about their relationship to concrete art. What influence do the beginnings of the art movement have on their own creative work? Are their principles still relevant today? And the same applies to her name?

En el MKK participan los siguientes artistas: Carsten Beck – Anna-Maria Bogner – Martim Brion – Lena Ditlmann – Vladiana Ghiulvessi – Dave Grossmann – Toulu Hassani – Marile Holzner – Silvia Inselvini – Fiene Scharp – Marco Stanke – Jonas Weichsel

Museum im Kulturspeicher (MiK)
Oskar-Laredo-Platz 1
97080 Würzburg

ARTISTS SHOWN IN THE MUSEUM IN THE KULTURSPEICHER WÜRZBURG:
Banz & Bowinkel • Nina Brauhauser • Sebastian Dannenberg • Fabian Gatermann • Charlotte Giacobbi • Erika Hock • Patrizia Kränzlein • Schirin Kretschmann • Sali Muller • Cătălin Pîslaru • Virginia Toma • Amalia Valdés Mujica