Tuesday, November 25, 2014

Wednesday, November 19, 2014

DEADplanetFINE* on view at the More Than One Way exhibition at Southern Exposure in SF

More Than One Way

Opening Reception: Friday, November 21, 2014, 7:00 – 9:00 PM
Screening: Saturday, December 13, 2014, 7:00 – 8:30 PM
Exhibition on View: November 21 – December 13, 2014
Gallery Hours: Tuesday – Saturday, 12:00 – 6:00 PM



Exhibition Artists

Ted Andersen
Alexis Arnold
Trent Davis Bailey
Audrey Chen
Cathleen Clarke
Serena Cole
Eliza Dennis
Mark M. Garrett
Jenne Giles
C.A. Greenlee
Patricio Guillamon
Julia Aurora Guzmán Conde
Lauren Hartman
Luke Heimbigner
Jamil Hellu
Tania Houtzager
Nolan Jankowski
Timothy Kelly
Sarah Klein
Ryan Lambert
Sara Lankutis
Wei Li
Andrea Martin
Chiyomi McKibbin
Melissa Miller
Joyce Nojima
Dawline-Jane Oni-Eseleh
Carrie Ann Plank
Nina Dolores Potepan
Jeff Ray
Rachelle Reichert
Kate Rhoades
Meghann Rienpenhoff
Jamie Servais
Matt Shapiro
Sarah A. Smith
Jess Smith
Lorna Stevens
Josh Stulen
Ruth Tabancay
Chris Thorson
McKenzie Toma and Haegen Crosby
Jürgen Trautwein - DEADplanetFINE*
Lindsay Tunkl
Peter Warren

Southern Exposure is pleased to announce More Than One Way, the organization's Annual Entry-Fee-Free Juried Exhibition and Screening of New Works by Northern California Artists. This annual event is the premier showcase of contemporary artwork by promising local talent. With a different open-ended theme each year, artists are encouraged to pursue a broad range of artistic expression across media.
The juried exhibition and screening features Northern California artists living north of King City and south of Red Bluff. Jurors Aandrea Stang and Kevin McGarry select the works by blind process, choosing pieces across media that exemplify Southern Exposure’s commitment to supporting new, innovative, risk-taking contemporary visual art practices.


About the Jurors


Aandrea Stang is the director of OxyArts at Occidental College. She serves as the director of the college's Weingart Gallery and its Wanlass Artist in Residence program. From 2002 until 2012 Stang was Senior Education Program Manager at The Museum of Contemporary Art, Los Angeles (MOCA) where she developed and produced the museum's public programming. While there she developed special programming for exhibitions such as Allan Kaprow — Art as Life (2008); William Leavitt: Theater Objects (2011) and Under the Big Black Sun: California Art 1974-1981 (2011). From 2008 to 2012 she oversaw MOCA's Engagement Party, a program that offered residencies to artists exploring socially engaged artwork.

Kevin McGarry is a writer and curator based in Los Angeles. He writes about art and culture for publications like Artforum, New York Times Style Magazine, e-flux, Art Agenda, Modern Weekly China and several others. He co-organizes Migrating Forms film festival at BAMcinématek in Brooklyn.

Saturday, October 18, 2014

Thursday, September 11, 2014

DeadPlanetFine* featured @ Screengrab6, International Media Arts Award in Townsville, Australia

Exhibition Dates:
20 September - 26 October 2014
Exhibition Venues:
Pinnacles Gallery Riverway Arts Centre, 20 Village Blvd
Opening Hours: Tuesday - Sunday: 10am - 5pm
eMerge Gallery Building 300, JCU Douglas Campus, Townsville
Opening Hours: Monday - Friday: 8.30am - 4pm


2014 Finalists


Andrew Chalmers & Oliver Ellmers
New Zealand and Australia
Pinnacles Gallery
David Chesworth and Sonia Leber
We Are Printers Too
Pinnacles Gallery
Coalfather Industries
Pinnacles Gallery
Maia Conran
United Kingdom
eMerge Gallery
Callum Cooper
Constant and the Flux
United Kingdom and Australia
Pinnacles Gallery
Will Copps
eMerge Gallery
Zlatko Ćosić,
Eleanor Dubinsky
and Laura Ferro
Pinnacles Gallery
Francesca Fini
Pinnacles Gallery
Parisa Ghaderi
Keep Calm
Pinnacles Gallery
Brooke Griffin
Instruction to Hearing Persons Desiring a Deaf Man
Pinnacles Gallery
Paul Harrison
Deviant Dream: Part I
United Kingdom
Pinnacles Gallery
Stephen Hilyard
eMerge Gallery
Iaroslav Ianovskyi
On the Horse
Pinnacles Gallery
Spinning the Planet
Italy, Germany and United Kingdom
Pinnacles Gallery
Anantha Krishnan
My Internal and External World
Pinnacles Gallery
Tang Kwok-hin
Present <> 3/18,Central and Western District
Hong Kong
Pinnacles Gallery
Mauri Lehtonen
Czech Republic
Pinnacles Gallery
Justin Lincoln
One Image After Another
Pinnacles Gallery
Justin Lincoln
SlipStream 2
eMerge Gallery
Malcolm Litson
United Kingdom
Pinnacles Gallery
Emily McFarland
Zabriskie Point Reversed
United Kingdom
Pinnacles Gallery
Lawrence F Mesich
A Building Explains Itself
Pinnacles Gallery
Jonathan Monaghan
Pinnacles Gallery
Katarzyna Parejko
Pinnacles Gallery
Stuart Pound
Shooting Loops
United Kingdom
Pinnacles Gallery
Silja Puranen
Pinnacles Gallery
Arya Sukapura Putra
Passage (loco-motion)
Pinnacles Gallery
Johan Rijpma
Pinnacles Gallery
Dénes Ruzsa and Fruzsina Spitzer
Job Interview
Pinnacles Gallery
Antoine Schmitt
7 billion pixels
eMerge Gallery
Joana Silva
Black Horse
United Kingdom
Pinnacles Gallery
Billy Sims
Tempo Rubato
Pinnacles Gallery
Rose Staff
The Space Between Us
eMerge Gallery
Theodore Tagholm
Plain Sight
United Kingdom
Pinnacles Gallery
Luhsun Tan
Twilight Shimmer
Pinnacles Gallery
David Theobald
Jingle Bells
United Kingdom
Pinnacles Gallery
Jurgen Trautwein
Pinnacles Gallery
Anna-Lena Tsutsui
eMerge Gallery
Ivar Veermäe
Crystal Computing (Google Inc., St. Ghislain)
Pinnacles Gallery
Yandell Walton
Pinnacles Gallery

2014 Theme: Velocity

Change. At speed. Everywhere.

image: NASA & ASF (2000) Lambert Glacier Velocity Map (asf.alaska.edu)

The rushing up of the earth from below as we leap into the unknown is a strong pervasive force.The comings and goings of objects, the rhizomatic fever of life - of memories and of perception - is the stuff of both nature and the machine but also the stuff of change - of a compelling need to move forward, at pace. Since the millennium we have been moving away in linear time from the trauma of the 20th century, history accumulating behind us as we hurtle towards an undefined future.Yet there also seems to be a reductive velocity at work, the future appears to be expanding only in our mind’s eye - in the stories we tell ourselves, in the frames of the cinematic moment and the pixels of our most fantastic dreaming. If we stand still long enough the hyper-reality becomes apparent. Information is expanding at an exponential rate – images, sound and text – authoring a new present-future space of mobility, of interconnectedness and most of all of rapid accelerating change. Equal parts chaos and perfection – of truth and of fiction - a dark and light exposure.
It is the making of us, this velocity of things. It is both our return to Earth and our mastery of its physics. Our identity and our collective history is fast becoming a vast data repository of machine vision - a rapid prototyping of our future selves.Financial transactions, personal communications, intimate moments exist inside this simulation of machine speed.Artificial intelligence observes, correlates, measures and makes split second decisions on our behalf.Notions of surveillance, fears for our privacy, the dilution of our identity and the voyeuristic connotations of relational databases make up the machine’s vision of us and our world. Can we keep apace of these algorithmic patterns? Can we author new vistas new dreamscapes new directions?
Meanwhile history keeps up a steady persistent pace: the image loops, the velocity increases and the hyper-real resumes its seductive play.


An Uber-Wahnsinn paranoid trembling project 

DEADplanetFINE*, is a web 1.0 retro-renaissance remixology project consisting of looped animated mouseover-gif-film-crawls.

DEADplanetFINE*, are animated acid humorous social-commentary-line-drawings interwoven with abstract blink-scrolls, that reflect on the nightmarish state of the world.The project touches issues of war, race, rape, violence, loneliness, torture, sexism, porn, gadgetism, obsenity, power, greed, intoxication, pollution and the human folly in general.
Depending on the movement of the mouse the animations take on various speeds and directions of motion.

DEADplanetFINE*, uses a poly-linguistic-sound-blur-drone. The languages are used for their phonetics and not for the meaning of the words. 

DEADplanetFINE* attempts to expose, in a funny way, the crazy world we live in, which seems to have followed the same principle over the past aeons, which is the perpetual reoccurrence of the same.


Wednesday, September 3, 2014

Exhibition announcement SKINS at Gallery 60six in San Francisco, Oct.4 - Nov.1, 2014

    Sk-Bk acrylic on collage, 69" x 64", 2013

acrylic paintings on collage

Jürgen Trautwein is an interdisciplinary artist working in a variety of mediums including new media, hypertext works, temporary inferences, installations, painting, drawing, and photography. His process oriented practice often brings attention to notions of time and duration, where the works themselves become manifestations of immediate, everyday and present experience.

“Skins” presents Trautwein’s recent body of monochromatic acrylic paintings, constructed on geometrically ordered collages on letter-sized paper. The collages are made from ‘time-sheets,’ a collection of unwanted drawings, paintings, prints, sketches, notes, flyers, form-letters. These materials are created and saved by the artist over time, the personal content of which spans about 20 years. Trautwein joins together these time sheets, which he works on from both sides, in an intuitive process which allows for accidental fusions of various moments in time, and preserves the provisional nature of the recycled elements. Trautwein consolidates several years of information, scattered experiences and thoughts into physical objects which transcend the notion of content, and confront the viewer in an immediate, material and bodily mode.

Artist's Reception:
Saturday, October 4, 6-8:30pm

VIP Preview:
Thursday, Oct 2, 5-7:00pm

Closing Party
Saturday, Nov 1,   2-5pm

Fridays 1-7pm
Saturdays 11am-7pm
First Thursdays 5-7:30pm

by appointment weekdays
call Gwen

66 Elgin Park
San Francisco CA 94103
by appointment 415-577-4396

Saturday, July 26, 2014

sister 7, or when the daughters of Atlas are taking a shower

Selected images from the painting series "sister7", acrylic on Polyethylen, each 100 x 71cm, 2014-15

Saturday, June 28, 2014

NIESATT 014 @ZeroArts gallery Stuttgart

selected images from the NIESATT 014 exhibition @ZeroArts Stuttgart

Thursday, June 26, 2014

Selfie Fools Show/ New media Installation @ ZeroArts in Stuttgart

Jurgen Trautwein's NIESATT 014 exhibition opens Friday the 27th of June at ZeroArts in Stuttgart.

selected images from the "Selfie Fools Show" installation.

Friday, June 20, 2014

NIESATT 014 exhibition @ ZeroArts Stuttgart

Jürgen Trautwein 

Eröffnung: Freitag 27. Juni 2014, ab 20 Uhr
Showdown: Freitag 25. Juli 2014 ab 20 Uhr
geöffnet nach telefonischer Vereinbarung 0176 294 906 85

Zeichnung, Malerei und Multimedia Installation

Jürgen Trautwein zeigt die Rauminstallation NIESATT 014 aus dem Arbeitszyklus
Strategien zum Schutz vor dem Komplettwahnsinn,
Teil des sich seit 2001 in ständiger Verwandlung befindenden Werkzyklus NIESATT.
Die Ausstellung NIESATT 014 ist eine experimentelle, raumspezifische
Zeichnungs- und Multimedia Hybridisierungsinstallation,
die sich kritisch mit der Welt, in der wir leben, auseinandersetzt.
Das Wort NIESATT ist ein Neologismus, der aus den Wörtern nie und satt besteht;
liest man das Wort rückwärts und ersetzt das Doppel T mit D liest man Dasein,
somit ein Palindrom. NIESATT verweist, wie das Wort schon sagt, auf das von
Unersättlichkeit geprägte Dasein des Jetztmenschen in ständigem Hunger nach immer mehr,
ohne Rücksicht auf Umwelt und sich selbst.

Jürgen Trautwein ist ein multidisziplinärer Künstler, dessen Arbeiten sich kritisch mit
zeitgenössischen Themen auseinandersetzen. Sein künstlerisches Schaffen
bewegt sich zwischen Zeichnung, Malerei, raumspezifischer Installation, Netzkunst, Video, Animation,
interaktiven Sound Screens, Photography, temporäre Intervention, Performance und Ephemeral-Land art.
Er hat an der Universität der Künste in Berlin studiert und als Meisterschüler abgeschlossen.
Seine Arbeiten wurden weltweit ausgestellt.
Er hat unter anderem in den späten Achzigern in Stuttgart im Kunsthaus Schaller seine Malerei gezeigt,
in den Mitt-Neunzigern wurde seine Netzkunst in der Stuttgarter Zeitung besprochen,
zur Jahrtausendwende wurde seine Netzkunst im Net-Art Guide vom Fraunhofer Institut in Stuttgart publiziert
und er war letztens beim Stuttgarter Filmwinter 2012, mit seiner Arbeit onspeed, vertreten
- ein Projekt das sich mit dem Datenfluss auf Twitter beschäftigt.

Mehr Informationen zu Trautwein’s Arbeiten erhalten Sie unter dem folgenden Link:


Thursday, June 12, 2014

Drawing while dying

Death Struggle - slime drawings by slugs eating or having eaten molluscicides.
Molluscicides /mɵˈlʌskəsd/, also known as snail baits and snail pellets, are pesticides against molluscs, which are usually used in agriculture orgardening, in order to control gastropod pests specifically slugs and snails which damage crops or other valued plants by feeding on them.
A number of chemicals can be employed as a molluscicide:

Wednesday, June 11, 2014

Love Darts, or who can draw a perfect line?

Cernuella virgata

the common vinyard snail.

This species of snail makes and uses love darts.

Sunday, May 25, 2014

Thinking of Walter de Maria and the line in infinite space

Walter de Maria :"... but it is, that the real notion of an infinite space is perhaps one of the few thoughts that is worth thinking about more than once."


Meaningless work is obviously the most important and significant art form today. The aesthetic feeling given by meaningless work can not be described exactly because it varies with each individual doing the work. Meaningless work is honest. Meaningless work will be enjoyed and hated by intellectuals - though they should understand it. Meaningless work can not be sold in art galleries or win prizes in museums - though old fasion records of meaningless work (most all paintings) do partake in these indignities. Like ordinary work, meaningless work can make you sweat if you do it long enough. By meaningless work I simply mean work which does not make money or accomplish a conventional purpose. For instance putting wooden blocks from one box to another, then putting them back to the original box, back and forth, back and forth etc., is a fine example of meaningless work. Or digging a hole, then covering it is another example. Filing letters in a filing cabinet could be considered meaningless work, only if one were not considered a secretary, and if one scattered the file on the floor periodically so that one didn't get any feeling of accomplishment. Digging in the garden is not meaningless work. Weight lifting, though monotonous, is not meaningless work in its aesthetic since because it will give you muscles and you know it. Caution should be taken that the work chosen should not be too pleasurable, lest pleasure becomes the purpose of the work. Hence, sex, though rhythmix, can not stictly be called meaningless - though I'm sure many people consider it so.

Meaningless work is potentially the most abstract, concrete, individual, foolish, indeterminate, exactly determined, varied, important art-action-experience one can undertake today. This concept is not a joke. Try some meaningless work in the privacy of your own room. In fact, to be fully understood, meaningless work should be done alone or else it becomes entertainment for others and the reaction or lack of reaction of the art lover to the meaningless work can not honestly be felt.
Meaningless work can contan all of the best qualities of old art forms such as painting, writing, etc. It can make you feel and think about yourself, the outside world, morality, reality, unconsciousness, nature, history, time, philosophy, nothing at all, politics, etc. without the limitations of the old art forms.

Meaningless work is individual in nature and it can be done in any form and over any span of time - from one second up to the limits of exhaustion. It can be done fast or slow or both. Rhythmically or not. It can be done anywhere in any weather conditions. Clothing, if any, is left to the individual. Whether the meaningless work, as an art form, is meaningless, in the ordinary sense of that term, is of course up to the individual. Meaningless work is the new way to tell who is square.
Get to work
WdM March, 1960.

           go here and here for more on his work