• “80 years separate Vasarely from the young Felipe Pantone and yet if they had met, their discussions on art and its possible forms would have certainly been endless.”

    - Magda Danysz

    Danysz Shanghai presents from November 5, 2022 to January 19, 2023 the second part of “Vibrations”, the exhibition held in 2019 at Danysz Paris – Marais. Built on its previous success, the optico-kinetic show – at the same time vibrant, participatory and contemplative – evolves around historic names in contemporary art and gives way to a new generation of artists. More than 70 years after the advent of this movement which crossed the borders, the artists presented within “Vibrations,” such as 1010, Elias Crespin, Jan Kaláb, David Moreno, Felipe Pantone and Li Shurui, bring a new discourse taking control over new technologies.

  • Vibrations: a dialogue between different generations
    "Vibrations", exhibition view, Danysz Shanghai

    Vibrations: a dialogue between different generations

    In the wake of the great masters of the 60's while at the same time emancipating themselves from them, the selected artists bring to light abstract geometric forms – a style that also includes kinetic art – which continue to shake up visual reference points. Indeed, beyond the international dialogue that Danysz has been defending for more than 30 years, this is a dialogue between different generations that is offered through “Vibrations.”
     
    It is then essential to go back to the origins of this significant movement to understand the complexity and beauty of geometric abstraction. At the end of the Second World War and in a great gust of freedom, a group of artists came together around a new aesthetic while refusing an academicism that could be linked to a figurative tradition.
     
    From Vasarely to Cruz-Diez without forgetting Soto and Le Parc, the elements at the heart of their art and which gather them are these clear and radical forms. Beyond the narrative, the emotion finds its source in the combination of forms and colors. Theorized by Vasarely in 1955 in the “Yellow Manifesto,” this movement advocates strong ideas around participative art and dynamism, thus bringing the first foundations around the concept of the multiple.
    • Felipe Pantone Integration System #16, 2018 Enamel and UV ink on aluminum composite panel 180 x 180 cm 70 7/8 x 70 7/8 in
      Felipe Pantone
      Integration System #16, 2018
      Enamel and UV ink on aluminum composite panel
      180 x 180 cm
      70 7/8 x 70 7/8 in
      Enquire
    • Jan Kalab Strong Red Bubble, 2021 Acrylic on canvas stretched on hand-made wooden frame 130 x 195 cm 51 1/8 x 76 3/4 in
      Jan Kalab
      Strong Red Bubble, 2021
      Acrylic on canvas stretched on hand-made wooden frame
      130 x 195 cm
      51 1/8 x 76 3/4 in
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    • Felipe Pantone Integration System #6, 2018 Enamel and UV ink on aluminum composite panel 163 x 36 cm 64 1/8 x 14 1/8 in
      Felipe Pantone
      Integration System #6, 2018
      Enamel and UV ink on aluminum composite panel
      163 x 36 cm
      64 1/8 x 14 1/8 in
      Enquire
    • Jan Kalab Yellow Drops, 2021 Acrylic on canvas stretched on hand-made wooden frame 120 x 150 cm 47 1/4 x 59 1/8 in
      Jan Kalab
      Yellow Drops, 2021
      Acrylic on canvas stretched on hand-made wooden frame
      120 x 150 cm
      47 1/4 x 59 1/8 in
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    • 1010 Qualia 06, 2021 Acrylic on canvas 150 x 120 cm 59 1/8 x 47 1/4 in
      1010
      Qualia 06, 2021
      Acrylic on canvas
      150 x 120 cm
      59 1/8 x 47 1/4 in
      Enquire
    • Li Shurui Bionic Cherry No.1, 2019 Acrylic on canvas on board ø 50 cm (x2), 21,5 x 44 cm ø 19 3/4 in, 8 1/2 x 17 3/8 in
      Li Shurui
      Bionic Cherry No.1, 2019
      Acrylic on canvas on board
      ø 50 cm (x2), 21,5 x 44 cm
      ø 19 3/4 in, 8 1/2 x 17 3/8 in
      Enquire
    • 1010, painting, courtesy Danysz gallery
      1010
      Qualia 03, 2021
      Acrylic on canvas
      156 x 126 cm
      59 1/8 x 47 1/4 in
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    • Li Shurui Love for a Minority No. 1-4, 2018 Acrylic on canvas, board ø 30 cm (x2), ø 50 cm (x2) ø 11 3/4 in (x2), ø 19 3/4 in (x2)
      Li Shurui
      Love for a Minority No. 1-4, 2018
      Acrylic on canvas, board
      ø 30 cm (x2), ø 50 cm (x2)
      ø 11 3/4 in (x2), ø 19 3/4 in (x2)
      Enquire
  • Felipe Pantone at the crossroad of art and science
    Felipe Pantone, Integration System, 2018, Enamel and UV ink on aluminum composite panel

    Felipe Pantone at the crossroad of art and science

    This group show presents works by Felipe Pantone, whose research lies at the intersection of art and science and aims at accuracy and rationality. Felipe Pantone aims at accuracy and rationality. His work is built on recurring forms that are like a nomenclature, a periodic table, or the bricks of a code intended to be combined endlessly within an evolving process where the artist introduces breaks, disruptions, changes of scale or, as he calls it, "jumps in space".

     

    His work consists of a controlled chaos that is like a representation of our world in the digital age. He creates a pictorial language that mirrors the dynamism and versatility of today’s digital reality. In a very literal sense, one could say that Pantone paints the internet.

     

    In the wake of the artists of the opticokinetic art movement, in particular Carlos Cruz-Diez, with whom he acknowledges an artistic filiation, he carries out many projects in the public space, seeking to reach the widest audience, while also adapting his studio work to a vast range of surfaces: public walls, building facades, malls, cars, motorcycles, flatboat - the list goes on. In this considerable activity, Felipe Pantone shows a great ability to constantly reinvent himself. In this respect too, his work is a reflection of our time.

     
    Felipe Pantone was born in 1986 in Buenos Aires and grew up in the south of Spain. He studied Fine Arts in Leeds and Valencia. His work has been exhibited in prestigious international institutions such as the Long Beach Museum in the United States or the Palais de Tokyo in Paris. He lives and works in Valencia, Spain
  • The dancing sculptures of Elias Crespin
    Elias Crespin, Dancing lines, 2022, aluminium, nylon, motors, computer, electronic interface, 50 x 15 cm

    The dancing sculptures of Elias Crespin

    Elias Crespin’s mobiles consist of hand-modeled metal mesh or individual elements of different materials that form a set of geometric figures. Suspended from almost invisible nylon threads connected to motors and directed by computer programming, the artist’s sculptures gently draw a dance in space and are transformed in an almost imperceptible way. They move from one form to another and from order to chaos following a choreography created by Crespin. To this research on form, space, time and movement, the Venezuelan artist often associates the study of color through the experimentation of different materials and textures, shadows and light.

     

    Elias Crespin was born in 1965 in Caracas, Venezuela, where he studied Computer Science at the Universidad Central.  An installation of his is now permanently exhibited at the Louvre Museum. His work has been exhibited in numerous institutions internationally, including the Museum of Fine Arts Houston, Maison de l’Amérique Latine Paris, Le Grand Palais Paris, Espace Culturel Louis Vuitton Paris, Boghossian Foundation Brussels, Das Kleine Museum Weissenstadt, Museum Haus Konstruktiv Zürich, Galería de Arte Nacional Caracas, Fundación Sala Mendoza Caracas as well as the Busan Biennale. His work is included in the collections of the Museum of Fine Arts Houston, Ella Fontanals-Cisneros Collection Miami, El Museo del Barrio New York, Museo de Arte Latinoamericano de Buenos Aires, Museo Nacional de Bellas Artes Buenos Aires and Das Kleine Museum Weissenstadt.

  • The optical illusions of 1010
    1010, Qualia 04, 2021, Acrylic on canvas, 150 x 120 cm

    The optical illusions of 1010

    “Vibrations” features works by 1010 as well, an artist recognized worldwide for his murals. His astonishing trompe l'oeil optical illusions play with perspectives and disturb our landmarks by creating portals that cross the walls. Whether on a canvas, on a street corner, on a billboard scarred by time or on concrete walls, 1010's creations come to life on all supports. The artist demonstrates a strong graphic coherence created through hypnotic and colorful constructions he spreads around the world.
     
    Creating his works on walls around the world, 1010 has become one of the most recognized urban artists working today. He is widely known for his large-scale op-art murals. In 2010 the artist started exploring the concept of abstract holes and over the past decade he has developed a style that is uniquely his own.  He sprays layers of abstract colour, producing irregular biomorphic shapes. Outlined in light hues, colours gradate towards the dark centre of the artwork, producing an optical illusion of three-dimensionality. 
     
    1010's studio practice allows him to work on a more intimate scale, producing layered paper cut-outs. Recent gallery shows include The Art Behind Art, Marion Gallery, Panama (2019) and Eversion, Hashimoto Contemporary, San Francisco (2016). The artist has previously created an ambitious piece on a Paris speedway  (le périphérique) covering over 40,000 square feet of concrete and a mural for Miami Dolphins at a renovated Hard Rock Stadium in 2016.  1010 lives and works in Hamburg, Germany.
  • Li Shurui: studies on light, color and space
    Li Shurui, Love for a Minority No. 1-4, 2018, Acrylic on canvas, board, ø 30 cm (x2), ø 50 cm (x2)

    Li Shurui: studies on light, color and space

    Wandering through Vibration groupshow, the viewer is invited to discover works from Li Shirui, a central figure of the contemporary Chinese scene, who has focused her research on the relationship between space and light. Fascinated by the visual patterns of LED lights, which are an integral part of the modern Chinese urban landscape, she transforms them through optical illusions by playing with perspective. Her works provide a meditative and soothing effect that enfolds the viewer in an alternative reality.
     
    The study of "light" and "color" and their cultural connotations constitute the core of Li Shurui's artistic practice. The artist is convinced that the use of "light" and "color" can embody, record, and shape individuals' needs and spirituality in different cultures and times, which is also related to their collective ideology in a broader sense. In recent years, the artist has developed a more comprehensive system of work methods. Drawing from her life experiences, Li Shurui explores the boundaries of the painted medium, as well as the functional, social and political nature of light and color through a highly personal approach and its extended practice.
     
    Li Shurui (b. 1981, Chongqing) received her BFA at Sichuan Fine Arts Institute (SFAI) in 2004. Li was granted 2016 New York Fellowship Program of Asian Cultural Council (ACC). 
    • David Moreno Family Connection II, 2019 Carbon steel, silver, paint 58 x 28 x 78 cm 22 7/8 x 11 1/8 x 30 3/4 in
      David Moreno
      Family Connection II, 2019
      Carbon steel, silver, paint
      58 x 28 x 78 cm
      22 7/8 x 11 1/8 x 30 3/4 in
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    • Elias Crespin Circuconcéntricos Alu Rouge, 2016 Painted aluminium, nylon, motors, computer, electronic interface ø 60 cm ø 23 5/8 in
      Elias Crespin
      Circuconcéntricos Alu Rouge, 2016
      Painted aluminium, nylon, motors, computer, electronic interface
      ø 60 cm
      ø 23 5/8 in
      Enquire
    • Jan Kalab Zone of Mystery, 2021 Installation 125 painted wood circles, nylon 200 x 200 x 200 cm 78 3/4 x 78 3/4 x 78 3/4 in
      Jan Kalab
      Zone of Mystery, 2021
      Installation 125 painted wood circles, nylon
      200 x 200 x 200 cm
      78 3/4 x 78 3/4 x 78 3/4 in
      Enquire
    • Li Shurui Crack in the Wind, 2017 Acrylic on canvas 140 x 487 cm 55 1/8 x 191 3/4 in
      Li Shurui
      Crack in the Wind, 2017
      Acrylic on canvas
      140 x 487 cm
      55 1/8 x 191 3/4 in
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    • Felipe Pantone Integration System #11, 2018 Enamel and UV ink on aluminum composite panel. 24 x 45 cm
      Felipe Pantone
      Integration System #11, 2018
      Enamel and UV ink on aluminum composite panel.
      24 x 45 cm
      Enquire
    • David Moreno Family Connection I, 2019 Carbon steel, silver, paint 62 x 30 x 90 cm 24 3/8 x 11 3/4 x 35 3/8 in
      David Moreno
      Family Connection I, 2019
      Carbon steel, silver, paint
      62 x 30 x 90 cm
      24 3/8 x 11 3/4 x 35 3/8 in
      Enquire
    • Elias Crespin dancing lines, 2022 aluminium, nylon, motors, computer, electronic interface 50 x 15 cm 19 3/4 x 5 7/8 in Edition of 8 plus 1 AP
      Elias Crespin
      dancing lines, 2022
      aluminium, nylon, motors, computer, electronic interface
      50 x 15 cm
      19 3/4 x 5 7/8 in
      Edition of 8 plus 1 AP
      Enquire
    • Felipe Pantone Integration System #3, 2018 Enamel and UV ink on aluminum composite panel 82 x 38 cm 32 1/4 x 15 in
      Felipe Pantone
      Integration System #3, 2018
      Enamel and UV ink on aluminum composite panel
      82 x 38 cm
      32 1/4 x 15 in
      Enquire
  • At the junction between painting and sculpture: the microorganisms of Jan Kaláb
    Jan Kalab, Yellow Drops, 2021, Acrylic on canvas stretched on hand-made wooden frame, 120 x 150 cm

    At the junction between painting and sculpture: the microorganisms of Jan Kaláb

    Jan Kaláb's works are at the junction between painting and sculpture, eminently minimal. The works of the Czech visual artist appear as enlarged microorganisms, coexisting fluidly and naturally with their environment. Kaláb uses a visually impactful palette, often incorporating hues of neon blue, pink or orange. Despite their bold colors, his works are seamlessly aligned with their surroundings, offering a new kind of visual experience. 

     

    Jan Kaláb became a prominent figure on the urban art scene after emerging from a former Eastern Bloc. In the 1990s he founded an iconic crew, the DSK, which proved instrumental to introducing graffiti in the Check Republic and beyond. Today, Kaláb works across painting and sculpture. His language became minimal and mostly abstract; producing irregular curvilinear forms.

     

    Resembling bubbles, as in Dark Purpl Ameba (2019), these gravity-defying lightweight objects seem to move through the space, colliding with each other and changing shape. Kaláb’s works appear as blown up organic microcosms, coexisting seamlessly with their environment. The artist uses a visually impactful palette, often incorporating hues of neon blue, pink or orange. Conveying an architectural element, despite the bold colours, his works coexist with their environments without friction, which offers a different kind of visual experience.

     
  • David Moreno's undefined architectural ensembles
    David Moreno, Family Connection I, 2019, Carbon steel, silver, paint, 62 x 30 x 90 cm

    David Moreno's undefined architectural ensembles

    David Moreno's works have a kinetic feel. The eye gets lost in all these hatches and interstices that let the sun filter through. And so the artist appears to agree with Le Corbusier's famous phrase: "architecture is the learned game, correct and magnificent, of forms assembled in the light."
     
    Moreno's sculptures presented in the exhibition are part of the "Family connection" series. The undefined architectures, which can be likened to modernist nesting boxes, are here connected by multiple metal arches echoing the numerous links that unite people to places, places to their inhabitants or the members of a family to each other...
     
    The artist's works are like sketches. They represent an imaginary architecture that stand halfway between 3D-model and crafted object, between concept and realization. This is why the works appear so weightless: they seem not entirely materialized. They still belong to the realm of thought. These  architectural ensembles seem to be still in the process of conceptualization. The hand of the creator is as if suspended, on the verge of adding a new element here or there. 
     
    David Moreno was born in Barcelona in 1978. An architect by training, he soon devoted himself to his artistic practice. Since 2006, he has exhibited in galleries and museums around the world. He now lives and works between Rotterdam and Barcelona.

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