April 6 – 7, 2019
hosted at Piktogram Gallery, Kredytowa 9, 00-056 Warszawa, (POLAND)
March 7 – 10, 2019
50 Varick Street, New York, NY 10013, (USA)
For Independent NY, Plunkett presents an ongoing series of images pulled from Craigslist. Browsing the online listings of items for sale, she began noticing and collecting photos where dogs enter the image frame. Appearing alongside cars, agricultural equipment, marijuana growth lights and free wood cutoffs, they figure as prop, wanderer or nuisance – or seem to simply mind their own business. Their presence is most often accidental. Sometimes, it is not as clear.
In time for her presentation at Independent NY, Emalin has published the artist book Special Friend, focusing on this body of work and featuring essays by Kari Rittenbach and Gabriella Nugent.
Megan Plunkett (b. 1985 in Pasadena, CA, USA) lives and works in Los Angeles. She completed her MFA at the Milton Avery Graduate School of the Arts, Bard College, in 2017. Selected exhibitions include Plus One, with John Miller, Shoot the Lobster (New York, NY, USA. 2018): Me as a dog, Who Hit John Bar (Vilnius, Lithuania, 2018), Caisson, Diver, Charmer, Commercial Street at Jenny’s (Los Angeles, CA, USA. 2018) Live Rust, Not Right, Long As I Can See, Bad Reputation (Los Angeles, CA, USA. 2017): I Bet You Wish You Did And I Know I Do, Emalin (London, UK. 2017), New Human Agenda, And Now, (Dallas, TX, USA. 2017): Tar Pits, Redling Fine Art (Los Angeles, CA, USA. 2017); The Garden of Forking Paths, curated by Adam Marnie at Magenta Plains (New York, NY, USA. 2017).
Alvaro Barrington, Aslan Gaisumov, Jessica Vaughn
April 10 – 14, 2019
Koelnmesse, Messeplatz 1, 50679 Köln, (GERMANY)
November 20 – 22, 2018
Hotel Almanac, Gran Via de les Corts Catalanes 619 – 621, Barcelona, (SPAIN)
From 23 February to 9 March 1944, the entire Chechen and Ingush nations – wrongly accused of having collaborated with Nazi Germany – were deported by the Soviet authorities and resettled in Central Asia.
Keicheyuhea (2017) follows the artist’s grandmother, Zayanu Khasueva, as she revisits the site of her home village for the first time since the deportation 73 years earlier. Keicheyuhea, a remote titular settlement in the Caucasus mountains of the Galain-Chazh region of Chechnya, remained a closed territory under Soviet rule and has only recently become accessible to its former residents.
Evgeny Antufiev & Megan Plunkett
October 17 – 21, 2018
16, Rue Alfred De Vigny, Paris, (FRANCE)
October 04 – 07, 2018
Frieze Focus Booth H8, Regents Park, London
At the centre of Athena Papadopoulos’ presentation for Frieze London, a configuration of seven beds form a cluster perched on cocktail and medical trolleys. In Papadopoulos’ infirmary, viewers take sticky steps across a clinical floor to explore miniature single beds of wrought-iron steel curlicue presenting the mysterious inner worlds of the girls who once occupied them. To peer into these is to encounter fictionalised dreamscapes verging on nightmare: pillowcases, gauze and glues are modelled into fleshy forms, saturated with cosmetic, edible and medicinal fluids. At the centre of the beds, mattresses give way to paved pools clogged with butterflies and insects, wiccan trinkets alongside love notes, drawings and drawn text.
September 27 – 30, 2018
Special Projects, Booth 2.A.1. Flughafen Tempelhof, 12101 Berlin, (GERMANY)
Evgeny Antufiev & Athena Papadopoulos
June 21 – 24, 2018
Athens Conservatoire, Athens, (GREECE)
At Art Athina, Emalin is pleased to present a two artist presentation with Evgeny Antufiev and Athena Papadopoulos. Located at the Athens Conservatoire – conceived by the Bauhaus architect Ioannis Despotopoulos‘ – Antufiev‘s temporally and geographically ambiguous curiosities enter into dialogue with Papadopoulos‘ material explorations of female subjectivity.
June 11 – 17, 2018
Burgweg 15, 4058 Basel, (SWITZERLAND)
Emalin is pleased to present a solo presentation of new works by the Lithuanian artist Augustas Serapinas (b. 1990).
The presented works reanimate disappearing and dilapidated Vienkiemis: outlying, simple-roofed wooden sheds built in the 1920s-30s across rural parts of Lithuania. Since joining the European Union in 2004, Lithuania has experienced a continuous stream of ever larger segments of the population emigrating to both Western European countries and urban centres in pursuit of economic opportunities. As a result, many Vienkiemis that served a multitude of purposes for the local communities – as storage for agricultural equipment or for residential purposes – have been abandoned and have begun to deteriorate. Threatened by total decomposition or demolition, Serapinas acquired three of the disappearing sheds located on the outskirts of Vilnius. Before dismantling them, the artist photographed the final window reflections and later collaborated with local workers skilled in glass staining to reproduce these scenes on the disassembled windowpanes.
As fragments of a historical building tradition, these objects interrogate the nature and consequences of the ‚free‘ movement of people and goods promised by economic and political allegiance-building. The Vienkiemis allow Serapinas to look at both dying professions and obsolete spaces. As examples of a specific material tradition and resourcefulness borne of necessity, the once functional space of the Vienkiemis is decontextualised in a way that opens up the possibility of rethinking how space organises our bodies, encounters and consciousness.
Emalin and Kingsboro Press’ first annual spring book sale
April 21 – 22, 2018
Unit 9, Ebor Street, London E1 6JU
The Huntingdon Estate Book Sale is Emalin’s and Kingsboro Press’ first annual spring book sale. Featuring a wide range of works including artist zines and small multiples to significant catalogs and monographs, the sale will be on from Saturday, April 21 to Sunday, April 22 from 11am – 8pm.
The book sale will take place at Unit 9, above the gallery on the first floor of Huntingdon Estate, and can be accessed via the staircase on Ebor Street.
Adam Marnie/F Magazine; Am Schmidt; Athena Papadopoulous; Barbara Ess/Just Another Asshole; Brad Grievson; Buchholz; Bunker Basement; Cactus; Cassandra Press; Claire de Rouen; Chip Hughes; Constantin Thun; Cura; DX/Distort; Emalin Books; Ethan Swan; Fortress of Amplitude; Gagosian; Gianni Manhattan; Golden Spike Press; Good Press; Hacienda; Heather-Anne Halpert; Isabel Mallet; Jeannette Mundt; Jen Shear; The Journal of Psychic Protection; Judith Kakon; Kembra Pfahler; Kingsboro Press; Lloyd Corporation; Matt Kenny; Martos/Shoot the Lobster; Milano Chow/Medium Rare; Mousse; Nathaniel Matthews; Nic Cheveldave; Nicholas Gottlund/Gottlund Verlag; Nomadic Reading Room; Odwalla 1221; Peter Friel; Primary Information; Printed Matter; Raque Ford; RATSTAR; Reba Maybury; Rory Rosenberg; Ruth Höflich; saxpublishers; Starship; Stephanie Boone; Theo Darst; Urban Zellweger; Will Boone; Will Sheridan, Jr.; Zak Kitnik & More!
booth concept by Giles Round featuring works by Nicholas Cheveldave, Athena Papadopoulos, Kembra Pfahler, Megan Plunkett and Giles Round
April 12 – 15, 2018
Booth B06, Contemporary Established and On Demand Section, Milan, (ITALY)
For the gallery‘s 2018 participation in MiArt, Emalin collaborated with British artist Giles Round (b.1976) to create a quintessentially Milanese backdrop for the group presentation of gallery artists. Round draws on the the work of Italian architect Aldo Rossi – in particular his Monumento a Sandro Pertini (1988-90) in Milan – to fashion a mise en scène for his own sculptures as well as works by Kembra Pfahler, Nicholas Cheveldave, Megan Plunkett and Athena Papadopoulos.
October 18 – 22, 2017
Booth 5Y, Rue Beranger 11, 75003 Paris, (FRANCE)
Athena Papadopoulos, Kembra Pfahler, Megan Plunkett
October 13 – 16, 2017
October 04 – 08, 2017
Booth H9, Frieze, Regents Park, London
For Evgeny Antufiev’s debut project in the UK, the Russian artist will construct a self-contained presentation separated from the fair aisles by a cardboard creature’s face, whose mouth serves as the entryway into the booth. Once inside, the viewer encounters a myriad of objects made of metal, wood, ceramics, textile, and bone, mounted on the walls and cautiously positioned across a series of plinths. A raffle-ticket drum stands behind a central resting figure, encouraging viewer participation in a game of ‘Lucky Draw’ where everybody is a winner.
The artist carves wood, boils bones, and stuffs and embroiders traditional Russian fabrics to supplement found curiosities and deposits of kitsch. Deeply invested in the cultural particularity and symbolic significance of materials, Antufiev’s accumulations feel both prehistoric and personal: forms abandon their material functions and fantastical narratives are spun around objects that escape categorization or correlation. These displays of oddities veer between persiflage and mania, recalling the shamanic mysticism still vital in Southern Siberia, only to sever these ties and open up an alternate reality altogether. Hand-crafted items are experienced in an atmosphere of jovial theatricality, where a trivial game of luck results in a form of entertainment not fully understood.
The relationship between raffle-tickets, vessels, knives, and masks is obfuscated by temporal ambiguity: timeless and dated at once, these archetypal forms construct new chronologies that resist a linear logic. Created specifically for Frieze, Antufiev’s tomb of curiosities tests its viewers to question authoritative imagery and materiality outside of the ex-Soviet context.
Evgeny Antufiev (b. 1986 in Kyzyl, Russia) lives and works in Moscow, Russia. He graduated with a BA from the Institute of Contemporary Art, Moscow in 2009, winning the Kandinsky Prize for the Young Artist: Project of the Year during his studies. Upcoming exhibitions include: Organic resistance: body and knife – crossing the border, MOSTYN Museum (Llandudno, UK. November 2017); and With a copper mask in one hand and a vase full of secrets in the other, my body will rest in a sarcophagus, guarded by twelve specially trained monsters, Emalin (London, UK. November 2017). Selected exhibitions include Immortality Forever, M HKA – Museum of Contemporary Art Antwerp (Antwerp, Belgium. 2017); Garage Triennial of Russian Contemporary Art, Garage (Moscow, Russia. 2017); Cabaret Kultura, with V-A-C Live, performance at Whitechapel Gallery (London, UK. 2017); Eternal garden, Manifesta 11 (Zurich, Switzerland. 2016); Twelve, wood, dolphin, knife, bowl, mask, crystal, bones and marble – fusion. Exploring materials, Collezione Maramotti (Reggio Emilia, Italy. 2013); Garden of Eden, Palais de Tokyo (Paris, France. 2012); Ostalgia, New Museum (New York, USA. 2011).
June 12 – 18, 2017
Booth -1/2/1, Burgweg 15, 4058 Basel, (SWITZERLAND)
Stefania Batoeva & Nicholas Cheveldave
March 30 – April 02, 2017
Emergent Section, Booth E08, Milan, (ITALY)
Kembra Pfahler & Bruce LaBruce
February 23 – 26, 2017
Booth G13, The Geffen Contemporary at MOCA, Los Angeles (USA)
Emalin is excited to launch the re-published artist book ‘The Wall of Vagina‘ by Kembra Pfahler and Bruce LaBruce at the 2017 LA Art Book Fair.
The book contains photographs shot by Bruce at the Highland Gardens Hotel in Hollywood in 2009 and an essay by the acclaimed Jungian psychoanalyst Michael Vannoy Adams.
The book is a limited edition of 50 and available to purchase at the gallery. For more information please email us on email@example.com
October 05 – 09, 2016
Live Square, Frieze, Regents Park, London
October 06 – 09, 2016
Booth 23, Ambika P3, 35 Marylebone Rd, London