John McCracken (1934-2011) occupies a singular position within the recent history of American art, as his work melds the restrained formal qualities of Minimalist sculpture with a distinctly West Coast sensibility expressed through color, form, and finish. McCracken developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial materials, including plywood, sprayed lacquer, and pigmented resin, creating the highly reflective, smooth surfaces for which he was to become known. As he described his practice, “In distilling my ideas I was doing something analogous to making poetry—trying, in a way, to say the most with the least.”
Text / Images: David Zwirner

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Born in 1956 in Folkestone (United Kingdom), ANN VERONICA JANSSENS lives and works in Brussels (Belgium). Since the late 1970s Ann Veronica Janssens develops an experimental work that emphasizes in situ installations and the use of very simple or intangible materials, such as light, sound or artificial fog. The observer is confronted with the perception of the “elusive” and a fleeting experience where it crosses the threshold of clear and controlled vision, it is an experience of loss of control, instability, fragility whether visual, physical, temporal or psychological.
In 2003, she participated in the exhibition “Aux origines de l’abstraction. 1800-1914” with the proposal Red 106 - Blue 132. In 1999, she represented Belgium at the 45th Venice Biennale with Michel François and her work has been part of many other international biennials such as Manifesta 10, St Petersburg, UK (2014); 18th Sydney Biennale, AUS (2012) ; Manifesta 8, Murcia (2011); 5th Seoul International Media Art Biennial, KR (2006); 11th Sydney Biennial, AUS (1998); 5th Istanbul International Biennial, TR (1997) and 22nd São Paulo International Biennial, BR (1994).
Text: Mennour

She has also collaborated on several occasions with choreographers such as Pierre Droulers and Anne Teresa De Keersmaeker. Since 2009, she has also initiated with Nathalie Ergino the “Brain Space Laboratory” of the Institute of Contemporary Art of Villeurbanne, an interdisciplinary project that brings together the reflections and experiences of artists and scientists.
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‘More Sky!’ is Otto Piene’s (1928-2014) slogan. He dominated the closing ceremony of the 1972 Olympics in Munich with his 400 m length rainbow. Light, movement, air, and fire – this is the stuff of which Piene’s light installations and fire pictures are made.

Along with Heinz Mack he founded the group ZERO in 1957. He was the director of the Center for Advanced Visual Studies at MIT from 1974 until 1994. He participated in the documenta II, III, and VI in Kassel, designed the German pavilion at the Venice Biennial in 1967 and 1971 as well as at the Sao Paolo Biennial in 1985.
One can find Piene’s work of art in more than 200 museums and public collections, amongst others at the Museum of Modern Art in New York City, at the National Galerie in Berlin, at the Stedelijk Museum in Amsterdam, at the Musées Royaux des Beaux Arts in Brussels and Antwerp, at the National Gallery in Ottawa, at the Museum of Modern Art in Tokyo, and at the Museum Ludwig in Cologne.
Text: Walter Storms Galerie
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