Artist Manss Aval will be sharing his art in the upcoming Red Dot Miami. Red Dot Miami is a juried, contemporary art show in the heart of Miami featuring an international slate of galleries.
The show features galleries showcasing over 500 leading contemporary artists, and includes Art Labs, events, and informative Art Talks focused on collecting. Now in its 10th year, the five-day event attracts over 30,000 visitors, a majority of whom are high-net-worth collectors. It will be an unforgettable five days of cutting-edge art, entertainment, and special events.
Where Miami’s Arts and Entertainment District, a 7.5-acre cultural oasis in the heart of the city, sets the stage for Red Dot Miami, which offers onsite parking and close proximity to hotels and restaurants. Taking place in a 55,000-square-foot structure adjacent to Spectrum Miami, the show runs during Miami Art Week, an annual event that draws visitors from all over the world with its wide variety of art exhibitions, museum and performing arts events, and other attractions.
Red Dot Miami, now owned by Redwood Media Group, is a juried contemporary art show featuring 75 international galleries exhibiting paintings, sculpture, photography, and secondary market works.
2016 Curatorial Theme
The show theme for 2016 is [EVOLVE]: At every turn, the art world is shifting. Galleries, artists, and collectors alike are continuously evolving, in turn imploring us to expand our perspectives.
Red Dot Miami exhibitors include top emerging and established galleries from around the world, selected and approved by the Red Dot Curatorial Board.
Since its inception in 2006, Red Dot Miami has enriched the city’s arts scene beyond measure. Red Dot Miami has become one of the leading satellite shows during Miami Art Week. As it enters its 10th year, Red Dot Miami will continue to inspire attendees from all over the world with its site-specific Art Labs, Art Talks, specially selected Spotlight Galleries, special events, and more. Taking place in a beautiful gallery-style venue in the heart of Miami’s Arts & Entertainment District, Red Dot Miami 2016 aims to play a key role in the rich array of Art Week events, nurturing and strengthening Miami’s art scene with a dynamic agenda.
SHOW DAYS & HOURS
Opening Night Preview Party begins Wednesday, November 30, 6:00PM – 10:00PM. The main shows are as follows:
Thursday, December 1 | 12:00PM – 8:00PM
Friday, December 2 | 12:00PM – 8:00PM
Saturday, December 3 | 12:00PM – 8:00PM
Sunday, December 4 | 12:00PM – 5:00PM
Check back for the exciting lineup of parties and events!
Opening Night/5-Day Pass: $75 online / $85 at event
Opening Night Preview Pass: $50 online / $60 at event
General Admission, 1-Day Pass: $25 online / $30 at event
Seniors, 1-Day Pass: $15 online / $20 at event
Students, 1-Day Pass: $10 online / $20 at event
Tickets are available and can be purchased through Eventbrite.
The Bushwick Open International is a juried group show of established and emerging national and international 2D and 3D visual artists.
The show ran from September 30th to October 15th coinciding with numerous arts and culture events in Bushwick, i.e. Bushwick Film Festival, Crossing Brooklyn @ Brooklyn Museum, Bushwick Open Studios (this year celebrating their 10th anniversary edition) – just to name a few.
Bushwick Open International Chapter art show series is located in the heart of Bushwick’s art studio community – the 7th coolest neighborhood in the world according to Vogue Magazine – in a traditional gallery setting featuring state of the art lighting and white finished walls.
Bushwick Open was created by two practicing artists and gallery owners with a clear understanding of the developing contemporary art market committed to connecting individual artists with the right clients to help their artistic progress. Bushwick Open has several initiatives focused on targeting serious collectors.
Bushwick Open International Chapter will host numerous scheduled events dedicated specifically to establishing connections between artists and New York’s rich gallerist and collector community. These include a sponsored opening, auctions, hosted dinner events and talks, and collaborations with local performing and music establishments and galleries in the Tri-State area.
The talented Artists of Fine Art Maya will be participating in the upcoming 2016 Art San Diego art exhibition later this year. Art San Diego is a juried contemporary art show featuring publishers, galleries, and studios representing talented established artists. The event will feature artists from all over the world and in an unusual turn of events, it will actually take place in Fine Art Maya’s neck of the woods! Most often the Artists at the San Diego based gallery participate in events that are held outside of their local areas. The San Diego Art exhibition will be a nice change from this and will give the artists the opportunity to stay local and to share their artwork with their community too.
ABOUT ART SAN DIEGO
Art San Diego is a juried, contemporary art show in the heart of southern California featuring an international slate of artists and galleries. The show features over 500 leading contemporary artists, museum exhibitions, art labs, events, and talks focused on collecting. Now in its seventh year, the four-day event attracts over 15,000 high-net-worth collectors. Make sure and attend this event for an unforgettable four days of cutting-edge art, entertainment, and special events.
Since its inception in 2009, Art San Diego has enriched the city’s arts scene beyond measure. As the only contemporary fine art show in San Diego, ASD has become one of the leading cultural events in Southern California and has inspired attendees from all over the world with its site-specific art projects, art talks and panel discussions, specially selected emerging artists, special events, and more. Taking place in a beautiful gallery-style venue in the heart of Balboa Park. ASD 2016 aims to play a key role in the park’s rich array of cultural events, nurturing and strengthening San Diego’s art scene with a dynamic agenda.
The scenic Balboa Park, a 1,200-acre cultural and recreational oasis in the heart of San Diego, sets the stage for Art San Diego 2016. Taking place in the 60,000-square-foot Balboa Park Activity Center, the show runs amidst Balboa Park’s wide variety of museums, exhibitions, performing arts, world-famous gardens, recreational facilities, restaurants, and other attractions that serve over 12 million visitors annually. Designed by award-winning architect Rob Wellington Quigley, the Activity Center represents the first new large construction in Balboa Park since the 1960s.
Art San Diego is the place to be from November 5–8, 2015. Art San Diego is a juried art show located in San Diego’s beautiful Balboa Park that highlights an international slate of artists and galleries. Join us for a four-day fine art experience, featuring music, entertainment, and other special programming and events.
MANSS AVAL – VOICES COLLECTION
Manss Aval has introduced his new collection of custom-designed clothing, Voices Collection, a line of custom-made designs developed by the Artist himself.
Fine Art Maya Artist, Manss Aval has a new line of custom-made designs printed on fabric. The clothing is created by a team of talented visionaries which includes a renowned designer in Paris and fine art photographer and painter, Manss Aval.
The new clothing collection brings beauty into every aspect of the collection’s development and provides the clothing industry with something truly unique, refreshing and overwhelmingly captivating.
Manss Aval has replicated his breathtaking artwork into a variety of different clothing pieces, tote bags, and even designer pillows.
AUBERGINE FIELDS Cashmere Silk Scarf
The scarf pictured above is made from Manss Aval’s treasured painting, AUBERGINE FIELDS.
With an opulent blend of Cashmere and Silk – featuring unique, stunning artwork – wear this beautiful scarf indoors or out, day or night, to elevate any wardrobe all season and year-long. Each piece is uniquely designed and custom-printed. Color and placement of artwork may vary upon receipt. This means each piece of clothing is unique for the owner.
FOUR APOSTELS Tote Bag
This gorgeous all-over printed tote bag – made in California, United States – features sturdy, weather-resistant fabric and dual 100% natural cotton bull denim shoulder straps. Make a beautiful, artful statement with this stand out, all-season VIDA Tote Bag – whether on an afternoon stroll around town or a weekend out of town. Each piece is uniquely designed and custom-printed. Color and placement of artwork may vary upon receipt. Made in California.
“Manss’ abstract expressionism brims with free, gestural strokes, a rich palette and radiates emotive energy. His work is characterized by a sense of impromptu and instinctive freedom.”
Kay Colvin, L Street Fine Art, San Diego
“[Manss’] compositions are bold and consistent, showing a commitment to a unique style of image processing… Manss’ pictures have this ‘grace note’ of poetry amid the chaos of the built environment…. [Manss] clearly has an innate sense of color and composition as well as the beginnings of a street photographer’s style.”
“As a photographer for more than 40 years I have had opportunities to observe the social, educational, economic and physical conditions of people in many countries and I have developed and honed unique sets of images. My belief is that these sets of images create an experience for the viewer and my hope is that these created experiences can be catalysed into something greater and more relevant for today.”
Tony Othen, curator “Crowds” exhibition, The Greenwich Gallery, April 2015.
“[We] find [Manss Aval’s] work to be very original and Intriguing …[it] gives the viewer an array of different emotions moving from a serene peaceful feeling to a more imaginative dream state that provokes emotions of strangeness and familiarity all at once.”
Stacia Gates, Founder/CEO, Artquench.com, 2015
“The type of art that Manss Aval creates is from the deepest perception. His colors flow on to the canvas with a true sense of harmony and structure. His viewers often ponder what he might have been thinking when creating is images. His travels around the world are evident in his work.”
Pamela Squires, Gallery Director, Gallery 570, Laguna Beach, 2015
“We refer to [Aval’s] monochromatic works in-house very excitedly as avant-garde nature Xrays.”
Juliette Townsend, Managing Editor & Curator, Artplatform, 2015
“[Aval’s] wild images of trees and branches … are very cool and slightly overwhelming.”
“Aval’s mark making techniques oozes movement and colourful moments in time. He successfully translates his inspiration of patterns, textures and nature throughout his work. The Artist draws you into the texture of the paint on an intimate level; the closer and deeper you observe you begin to find images within the brushstrokes. It is evident that San Diego, Aval’s current location has had a profound effect on the vibrant, exciting and chaotic outcome of his work. The application of paint has a real sense of quality with each mark, creating an idyllic scene and fun environment. It’s no surprise that Aval has achieved 30 national and international awards.”
Gena Johns, Gallery Manager, Jam Factory Gallery, Oxford. Curator, Global Art Agency, 2015
“An optical vision is always capable of being sensational, because it lays bare the secret components of the universe of which we are observers, but also observed, in a large puzzle that never ceases to surprise, to the endless possibilities of effects and riddles.”
“Una visione optical è sempre capace di essere sensazionale, perché mette a nudo le componenti segrete dell’universo di cui siamo osservatori, ma anche osservati, all’interno di un grande enigma che non finisce mai di sorprendere, per le infinite possibilità di effetti e di enigmi.”
Manss endorsement with photography “Conjugates” on display along with the great masters of Italian Pop Art of #SpiritoDiRoma, until October 30 at the Archaeological Museum Stadium of Domitian, Premio Arte Roma
About Professor Francesco Gallo Mazzeo
Francesco Gallo Mazzeo, Professor of Art History at the Academy of Fine Arts in Rome, former director of the Palermo and Mondadori, consultant Academy of Fashion Designers for modern art catalog, Adjunct Professor at the University of Catania, Professor at the Brera, Naples, Palermo, Catania and Reggio Calabria. Author, art critic, curator (including exhibitions for the Museum of Sao Paulo and the Principality of Monaco); collaborator for the Venice Biennale -1993, for the exhibition of Francis Bacon and installations by Alessandro Mendini. Commissioner of the Italian Prague International Biennale-2004, recipient of Pirandello Prize for Culture-2009, 2016
In the works of Manss Aval the canvas becomes a repository of graphic signs that rest upon a background that is as neutral as possible, where each track is a discovery and revelation, where each figure rises to the role of the protagonist.
This idea of a fresh start makes him similar to Joan Mirò, famous artist associated with the importance of signs, inventor of mysterious “scriptures” and most faithful follower of the magic value of the gesture.
A work by Joan Mirò in particular that approaches that of Manss Aval’ s is: “Portrait of a Dancer” Paris, mid-February–Spring 1928; where there is a whole ritual almost mystic, a religious silence.
The “acrobatic” arrangement of the strands of grass on the sand, perhaps accidental, perhaps intentional, in the works of Manss Aval recalls, although in a less experimental and defined way, the compositions that Robert Simthson and Richard Long used to create with materials of nature. Let’s not forget, however, that in the case of Manss Aval we are referring to painting and not installation, but there is a big similarity to these two exponents of Land Art in their desire to “organize” the chaos and random disorder of nature.
Manss’ Aval’s works, express an essentiality and touching simplicity, where there is no added elements to spoil the idyll, where the background is almost a blank screen, where only signs are arranged harmoniously and the veracity of the composition seems to be in front of a picture fullof light: a light that doesn’t generate shadows and is able to cancel the third dimension, by removing the thickness of the bodies.
Maybe those fragments of yellowed grass are composing letters, a code phrase or some kind of imaginary, the fact is that it is a language of which only the artist is the interpreter.
Aval, thanks to his profession as a photographer, as well as a painter, manages to see through new, alert, lively and “mobile” eyes, all the things that surround him. He manages to restore dignity to the little quirks of nature and to give voice to objects and beings that inhabit this world. Only then the sea, the sand, the birds, the plants once again have their autonomous place in the ecosystem, without the immediate intervention of man.
He represents always a disenchanted reality, but nevertheless makes sure not to spoil the sense of wonder for nature. The lyrical sense of this work is behind the silence that rises almost “deafening”; silence that keeps away this time the chirp of seagulls or the lapping of the waves, leaving only the hot sand that burns in the sun and that has embedded inside the rocky crystals of arboreal strands.
Our world, the one where we live every day, the one we make functional to our small or large discoveries is presented in a completely new dress by Manss Aval, a dress covered by truthfulness, but also of sweetness and intimate solemnity.
Dr. Federica Peligra, “Last Paradise”, Esposizione Triennale Di Arti Visive A Roma, Giorgio Mondadori, editor, p. 71-73, 2014.
The minimalist and surreal art by Manss Aval: an interior journey through Nature and Life
In the same way as other artists, Manss Aval – a Californian lover of nature, Life and its varied possibilities of transformation and change – is both a painter and a photographer. However, the photographer in him strongly prevails.
As we know from the end of the 1960’s, photography was supplanted by an objective documentation of reality, first with television and then computers. So with its vocation resized, in a certain sense, photography retreated into itself – the same occurred for painting at the end of the nineteenth century – to become almost self-referential. As Giulio Argan rightly remarked as early as 1989, “it was through the confrontation with photography, that art gradually broke away to differentiate itself from the classic concept of mimesis and to form its own morphology and lexicon, without naturalistic roots. But the division did not last, photography entered that domain too: it presented itself as a more conceptual than technical action, potentially as creative as art and even more so.” So photography and the enjoyment of it became purely conceptual, so much so that this technique definitively entered the universe of Art and i t was possible to see clear similarities in the various currents of contemporary art of the time, such as Informel, Lyrical abstraction, French Nouveau Réalisme, New Dada and Minimalism.
Throughout his professional life, Manss Aval has favored two clearly-documented paths that are seemingly contradictory but which actually complement his personality. On the one hand, we see geometric dynamism made up of symmetries – chromatic or even veering towards an icy black and white (see the Symmetries-monochrome series) – in his digital shots, surreally inspired by futuristic photography, which emanate evanescent fluids that in turn recall optical and kinetic art. On the other, we witness the rigor of a pure and essential shot, again in color or black and white, but one that is figurative, taken from the world that we observe every day (an elderly man sitting on a bench, a dead leaf in Still Moments, a flight of birds or a waterfall). Interestingly, Manss Aval may experiment with the same shot – with its formal analogies both to traditional photography or manipulated with a post-production elaboration – either in a black and white or a color version, the latter then sometimes finding its pictorial evolution in an oil painting on canvas. Undoubtedly, there are two main factors that have influenced Manss Aval and these experiments: Minimalism and lyrical, broadly symbolic, suggestions.
“Nothing more than is necessary” could summarize the first genre of works, where everything is seen through geometrized details (see Hexangles or Rising Cones) and ‘designed’ using light, in an absolute contrast between conflicting colors or between black and white, where the surfaces are personalized by just a few elements and shards of light filter through to open up and reveal the world to the viewer. His minimalist photographs are sometimes in monochrome, often as a sketch on a grid or a matrix of mathematical origin, yet they are always able to evoke the sense of the sublime, existential states and inner depths. Manss Aval’s photographic minimalism lies in the last of these accepted meanings. His photos in this group have clear references to works by Frank Stella in his famous Black Series or Black Paintings, frameless paintings made up of parallel black stripes, divided by thin white lines. These works by Stella do not seem to have any allusive or symbolic reference, but are presented to the observer as objects having a simple value. In Manss Aval, however, we can go further, to take ‘genetic-evolutionary’ allusions, with
reference to the DNA manipulations and his dynamic geometric spirals (see the series More Abstract and Monochrome, with comparable images among them in their chromatic or black and white expression). In this way, photography can be seen to be the most suitable instrument for the creation of conceptual meanings and in this way, representation borders on geometric abstraction, kinetically blocked like some of the formal ‘meanders’ that can be seen in the work by Italian painter, Piero Dorazio. A kind of classical abstract experimentation (that has to be searched for in his works) that derives from the geometries of Mondrian, Kandinsky and Klee, but which is sometimes reduced to the two-color, philosophical absolute of black and white through the countless shades in gray. They are calligraphically drawn or ‘written’ (see Caligraphy) through an abstraction that is modernized and updated with the strictly relevant influences of photo manipulation, video and videogames.
In the second genre we can observe nature and man who, while not appearing almost ever as an actual figure, is the absent protagonist of fragments of theatrical scenes. They are simple and once again, very minimalist images that seem to encapsulate an entire life, a life that could have been seen in a production by theatre director, Giorgio Strehler. Manss Aval strives for both evocation and synthesis in his photographs, especially those in black and white: from the street photos (details of nature and landscapes) to the icy and rationalist lyricism of architecture, to fragments of cities or interiors that present an almost Bauhaus-like brightness. But also in the oneliness of an elderly man, the fragile transience of a leaf or the essence of a woman (see Essence).
Moreover, we find a perplexed wonder in front of nature and landscape, caught by the camera shot or by the paintbrush (see the series Alternate Realities, the oil painting entitled Moonlight Seduction or the other series of Landscapes). In the latter example, his paintings can surprisingly go from figurative expressionism to lyrical informel, where the only element of color is the soul of nature (as in the Abstracts series, Mirage de la Mer and Meaning of Life). Flickering refractions with their bold colors that are both real-unreal, fleeting and impalpable, spread through the poetics of the Fluid Moments series, wisely blending between the reality of one shot and the technical and conceptual manipulation. The great interest in genetics and evolution is also clearly present in pseudo-real images of twisted, fantastic and hallucinatory Genetic Possibilities, with ‘swollen’ trees that spread out their branches toward the skies that are dotted by a lacework of clouds.
Sometimes, these secondary anthropic spaces or social and urban wastes are revealed to the viewer by the photographer with the scrupulousness of a sharp engraving, in the essential photographic shots of those marginalized environments, or with an indirectly surreal effect, made up of evanescent, ethereal ocean mists. This can be seen in the esoteric black and white photographs of the Monochromes series and in the color photographs – pinkish gray or whitish light blue chromatic hues – of the Oceanscapes, where one perceives an existential and metaphysical journey, for example, through a corridor between wooden structures to reach a final, Neoplatonic light, beyond which humans may only pass in the after-life.
Lyricism always plays a discreet role and is broadly nostalgic of the twentieth-century avantgardes, with landscapes that become an entirely inner journey, made up of stimulated impressions and emotions. Perspective shots of streets or pillars recall the streets of Life. Objects, that in their minimalist simplicity, are the composition counterpoint and are almost geometrically abstract, around which a multitude of shades of gray arrange themselves, and through expert, gradual transitions, make the monochrome base solid, almost velvety.
I repeat, in this case too, the significance of the shot does not reside in the importance of the subject, but in the photographer’s ability to see the beauty – which is the value of the object – in what would normally go unnoticed or is actually absent. Yet it is a minimalism that has lyrical and almost monumental moments, for example in the architecture or the bright and strongly contrasted fragments of spaces, which suggest clear tributes to Pictorialism. We could say that Manss Aval finds “equilibrium of geometry and lines, in an overall of light and shadow”, as wellknown American photographer Alfred Stieglitz (1864-1946) and founder of the Photo-Secession movement once wrote.
In Manss Aval’s photographs, together with light, the shadow is the mistress and absolute queen, who holds – and wisely governs – the composition. Shadow designs, marks and shapes the photograph, recalling, with its ineffable, uncertain and changing ephemeral reality, the constant Freudian mutations of the human soul, which are comparable to those genetic mutations tested in laboratories, in a globalized and alienating society populated with robots and clones (see Duplicate Genes).
Both his photographs and paintings are formally impeccable, both when his landscapes are exposed with the radiant and zenithal light or in backlight and in chromatic fading, like watercolor-painted scenes, and where the artist depicts scenes, environments and figures that seem to be sculpted in their saturation of color. Through his camera lens, Manss Aval accentuates and enhances the natural comparison between the technical perception of the photograph and his constant creative intervention of the artistic interpretation.
Manss Aval’s photographs have certain distinctive features that can also be perceived in some of his paintings: the sinuous structures created by technology and by dynamic and fleeting lines of strength and power; regular shadows in a grid-like pattern with undefined backdrops; a bare, cold and solitary central prospective; and the bright lights like neons, which are transformed into white clear lines – in the same way as certain optical experiments carried out in the 1970’s – which divide the painting into seemingly broken landscapes.
In a world where art, following impulses, neuroses and disenchantment of the contemporary soul, has moved away from reality to follow – both in painting and photography – only informal mirages and more cerebrally conceptual abstractions, the admirably exposed shots by Manss Aval testify, on the other hand, that it is precisely in the objectivity of reality where the purest and deepest seed of the human emotion can be found and only in a second instance, can it be transformed into digitalized processing and into special effects that are reproduced in the
‘laboratory’ of the computer.
Already the first manifesto of Surrealism dating back to 1924, allowed us to illuminate the night’s eye with the light of the spirit, which was in constant captivity in a snare of existence. Normally we are not accustomed to looking at the world through this hyper-sensitive view, because our vision is always obscured and veiled by everyday life. But this everyday vision is superimposed by a surreal vision, which has been rightly described as a critical vision. This symbolically oneiric vision also guides Manss Aval towards positivity and negativity and towards the black holes of the soul (see Badyear).
His expressive vein swings between luministic certainties and restlessness, in a kind of geometric or figurative mirage, where dreams and reality blend into each other. The work by Manss Aval presents an almost hallucinatory tension, which makes his photographic world become both surreal and geometrically rational, as if produced under a microscope in a genetic laboratory. It is the revisiting and computerized manipulation of science fiction horizons. The reshaped and surrealist shot taken by Manss Aval becomes a virtual space where imagination and reality lose their borders and exchange their roles, to access a wonderful, oneiric and vital area of our conscience.
In the mechanistic intricacies of colors that have been expressionistically modified or achromatic visions, ultimately like images of nature and the environment – although it may seem at first a superficial, almost absurd view – it is Life that is the true subject of Manss Aval’s art, seen in a cell, a ray or a blade of light, a genetic chain, a leaf, an old man or in an (illusory?) aspiration to the transcendent other world in the mind-spirit of man.
About Prof. Giampaolo Trotta
Prof. Giampaolo Trotta, architect, art historian and critic of modern and contemporary art, author of nine books, collaborator of the magazine “Eco d’Arte Moderna” and of the television program “Incontro con l’Arte” (Toscana Tv), artistic manager of the National Biennial Festival of Sacred Art in Pistoia in 2006 and of “Spazio-incontri di Arte Contemporanea” to the Diocesan Museum of Sacred in Santo Stefano al Ponte, Florence, he arranged several exhibitions in Italy and in Romania and prestigious catalogs of art. He was the artistic manager of “Spazioevent i Orler”, Marcon (Venice), and adviser for the Modern Art Gallery “Modenarte” in Modena.
The Salon Art Shopping Contemporary Art Exposition provides art lovers the experience of previewing and purchasing breathtaking art as it’s exposed to the world. The event features more than 500 artists and galleries participating from all over the world – Argentina, Brazil, China, Korea, Spain, Italy, Japan, Russia … and not to mention the highly talented artists living in France.
Come discover and share with more than 500 artists and galleries worldwide. A tour of the art world with 13 nationalities and nearly 2,100 works on display in the heart of Paris, in the prestigious setting of the Carrousel du Louvre.
The exposition is a spectacular event and a must-have experience for all who admires the gift of contemporary art.
Salon Art Shopping at the Carrousel Du Louvre begins on October 21, 2016.
Friday: October 21, 2016 at 7:00pm to 10:00
Saturday: October 22, 2016 11:00 a.m. to 8:00 pm
Sunday: October 23 , 11:00 a.m. to 7:00 p.m.
The exposition will be held at the Carrousel du Louvre: 99 rue de Rivoli, 75001 Paris
View a video from the last edition of Salon Art Shopping: