Art in the Library: Spring & Fall 2021

Marcel van Eeden, Carl Hammoud, John Kleckner, Alexandra Zuckerman
May 7, 2021 - April 29, 2022

Alexandra Zuckerman

Alexandra Zuckerman was born in 1981 in Moscow. She lives and works in Tel Aviv. In 2006 she graduated from Bezalel Academy of Arts and Design Jerusalem. She studied with Wolfgang Tillmans at Stadelschule in Frankfurt am Main. Zuckerman has had solo exhibitions in venues such as Kim? Contemporary Art Centre, Riga (2016), Galeria Sabot (with Tomer Rosenthal), Cluj-Napoca, Romania (2015), Open Space at Art Cologne (2011), Galerie Christian Nagel, Berlin (2008) and Noga Contemporary Art Gallery, Tel Aviv (2007 and 2013). Her recent group exhibitions include No Body, No Land, No Blood, No Country, Bar-David Museum, Bar’am, Israel (2018); 2018; Liste, Basel (2018 and 2017) with Galeria Sabot; Zeresh, Third Floor on the Left, Tel Aviv (2018); Yael’s Dreams (and Nightmares), Art+Text, Budapest (2018); Notes on a Shell # 2, MORE Projects at ART-O-RAMA, Marseille (2018); Domesticity VI, Kayu, Bali (2017); Ritiro, Kayu, Bali (2016); Susy Culinski & friends, Fanta Spazio, Milan (2016); Filosofen, Galleri Riis, Stockholm (2015); A guide to making a genie, 427 gallery, Riga (2015); Michal Helfman—Eli Petel—Alexandra Zuckerman, MK Search Art, San Giovanni Valdarno, Italy (2014); The Drawing Room, Magasin 3 Stockholm Konsthall (2014). Her works are held in prestigious private and public collections.

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Carl Hammoud

Carl Hammoud was born in 1976 in Stockholm, where he currently lives and works. Hammoud studied at Valand Academy of Fine Arts in Gothenburg and Idun Lovén Art School in Stockholm. Selected solo exhibitions include Gothenburg Museum of Art, Gothenburg, Sweden (2021, 2010); Lora Reynolds Gallery, Austin, Texas (2020, 2016, 2014, 2013); Eskilstuna konstmuseum, Eskilstuna, Sweden (2015); Liljevalchs konsthall, Stockholm (2012); Kalmar Art Museum, Kalmar, Sweden (2011) and Malmö Art Museum, Malmö, Sweden (2010-2011). Group exhibitions include Bohusläns Museum, Uddevalla, Sweden (2020); Ystads konstmuseum, Ystad, Sweden (2019); Asia House, London (2018); Trafo Kunsthall, Asker, Norway (2018); Moderna Museet, Malmö, Sweden (2016); Hangaram Art Museum, Seoul, South Korea (2015); Turku Art Museum, Turku, Finland (2012); Värmlands museum, Karlstad, Sweden (2011); Linköping konsthall, Linköping, Sweden (2009); Borås konstmuseum, Borås, Sweden (2009) and Göteborgs konsthall, Gothenburg, Sweden (2008). Hammoud’s work can be found in the collections of the Albright-Knox Art Gallery, Buffalo, New York; the British Museum, London; Moderna Museet, Stockholm; Malmö Art Museum, Malmö, Sweden; Gothenburg Museum of Art, Gothenburg, Sweden; Eskilstuna konstmuseum, Eskilstuna, Sweden, among others. Hammoud has recieved multiple scholarships, such as Sten A Olsson Culture Scholarship (2020); Åke Andrén’s Foundation Culture Scholarship (2012); Vera and Göran Agnekil’s Scholarship, The Royal Swedish Academy of Fine Arts (2011) and Stockholms Stads Kulturstipendium (2006). Since 2019, he is a member of the Royal Swedish Academy of Fine Arts.

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Marcel van Eeden

Marcel van Eeden was born in 1965 in The Hague, Netherlands. He lives and works in Zurich, Switzerland, and Karlsruhe, Germany. van Eeden is an internationally renowned draughtsman whose works detail events and images that predate his birth on November 22, 1965. These predominantly monochromatic drawings, stylistically reminiscent of ‘film noir’, serve to articulate a series of events that are part of a continuous yet inherently unstable narrative in constant flux. Working with found imagery from photographs to magazines, postcards, posters, advertisements, and books, van Eeden’s imagery and accompanying text within the drawings often cross into the territory of the graphic novel, generating a mood of sparse, haunting, and somewhat sombre nostalgia. Van Eeden’s practice is unique in that he adheres to a series of self-imposed rules, relentlessly producing at least one drawing per day since 1993. His paper is hand-cut to specific dimensions, and he works by filling the picture diagonally, starting from the upper left-hand corner. Most crucial, though, to this regulatory approach, is the conceptual decision to refer only to found images and textual sources that precede his date of birth: in part a result of van Eeden’s fascination with the notion of absence, or ‘nonbeing’, as espoused in the philosophies of Arthur Schopenhauer. Often using these found sources to create fictional stories, narrative structures emerged in van Eeden’s works in around 2006, when the artist began grouping his works into enigmatic series with a long-term narrative structure, using found facts and images to build a story based on elements of cinematic nostalgia and intrigue. Recent solo exhibitions includes Staatliche Kunsthalle, Karlsruhe (2019); Stedelijk Museum, Schiedam (2018); Centro de Arte Contemporaneo de Malaga (2017); Gemeentemuseum Den Haag (2014); Tel Aviv Museum of Art (2014); Neue Galerie Gladbeck (2013); Mathildenhöhe Darmstadt (2011); Haus am Waldsee, Berlin (2011) and Kunstmuseum St. Gallen (2011). Group exhibitions include Gemeentemuseum Den Haag (2020); Walker Art Center, Minneapolis (2019); Hamburger Kunsthalle (2017); Centre Pompidou, Paris (2017); Martin-Gropius-Bau, Berlin (2015, 2011); Museo de Arte de la Republica, Bogota (2014); Magasin 3 Stockholm Konsthall (2014); Aargau Kunsthaus (2014); Tate St. Ives (2013), ZKM Karlsruhe (2012); Museum Folkwang (2012) and Kunsthalle Emden (2011). Photo: © Lukas Giesler.

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John Kleckner

John Kleckner was born in 1978 in Iowa. He has devoted 15 years to drawing. His name has become synonymous with paper-based technical perfection that is as graceful as it is inscrutable. An elegant interplay of dynamic lines, myriad dots and subtle shading invades the carrier of mostly modest size. Frequently executed in simple ink or graphite, occasionally in gentle watercolor, Kleckner’s graphic ciphers are woven into intriguing compositions, where the artist builds on a visual idiom once popular with hippies, while deconstructing it with enigmatic detail. Works by Kleckner, who once called himself a “sceptical hippie”, often revolve around the human body, human relationships, and the finite nature of both. For his latest series, begun in 2015, Kleckner has put aside the ink pens and returned for the first time since graduating in 2002 to brush and palette. Distilling from more than a hundred works of paper collage that he has been making since 2012, Kleckner has produced a dozen or more large-format paintings in robust color. At first sight, the technical, formal and chromatic aspects of this series seem unrelated to Kleckner’s previous œuvre, but the reverse is true: with these latest works, Kleckner has taken his technique of stylistic contrast and disjointed motif a stage further, making the principle of collage that has accompanied his output since college a theme of his painting. Moreover, here Kleckner combines earlier and later inspirations for his art. The result is a transatlantic bridge: influences from the art history and pop culture of his native United States merge with others from Berlin, his chosen home, to create an independent repertoire of form and color. Kleckner’s works can be found in the collections of Museum of Modern Art, New York; Miettinen Collection, Helsinki and Berlin; Magasin III – Museum for Contemporary Art, Stockholm; DESTE Foundation for Contemporary Art, Athens and Saatchi Gallery, London. Portrait: John Kleckner (2017) © Courtesy Galerie Judin, Berlin.

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