Exhibition: Zona Maco 2024

Zona Maco Bureau and Labor Booth A106 Erica Baum, Eduardo Berliner, Julia Rommel February 7 - 11 2024

A gray scale photograph depicting a collaged image of women's clothing advertisements in a black frame

Erica Baum Woolens, 2023 (Fabrications) Archival pigment print 18.8 × 16 in. (47.75 × 40.64 cm) Edition of 6 plus II AP

A painting depicting an abstracted torso of a figurine beneath the water of green bathtub.

Eduardo Berliner Bathtub, 2022 Oil on canvas 39 ⅜ × 45 ⅝ in. (100 × 116 cm)

A large abstract painting consisting of several bands of overlapping color primarily rendered in a range of reds and blues.

Julia Rommel Second Degree, 2023 Oil on linen 84 × 79 in. (213.36 × 200.66 cm)

Erica Baum (b. 1961, lives and works in New York) focuses her photographic practice on looking closely at printed sources—from paperback books and magazines, to card catalogues and classroom blackboards—capturing serendipitous instances of found poetry, incidental beauty and humor, which would otherwise go unseen. Baum’s latest images from her Fabrications series are composed from the pages of old craft magazines, which feature sewing, cooking, and home hobby projects aimed at the domestic housewife. Baum’s work is in many institutional collections. She recently published a limited edition artist book with 3-Star Books in Paris, which was bought by the Museum of Modern Art, New York; The Tate, London; and The Whitney Museum of American Art, New York; among many others. In 2024 Baum will have her sixth solo exhibition with the gallery.

Baum received her BA from Barnard College, New York, and her MFA from Yale University, New Haven. Recent solo exhibitions include the bite in the ribbon, Galerie Crevecoeur, Paris (2022); A Method of a Cloak, Square is the Chatter, Galerie Markus Lüttgen, Düsseldorf (2020); A Method of a Cloak, Klemm’s, Berlin (2020); A Long Dress, Bureau, New York (2019); The Following Information, Bureau, New York. Group exhibitions include Pictures & After, MAMCO Genève, Geneva (2023); True Pictures?, Museum für Photographie Braunschweig, Braunschweig (2021); Pictures, Revisited, The Metropolitan Museum of Art, New York (2020); Making Knowing: Craft in Art, 1950–2019, Whitney Museum of American Art, New York (2019); Anna Atkins Refracted: Contemporary Works, The New York Public Library, New York (2018); The Arcades: Contemporary Art and Walter Benjamin, The Jewish Museum, New York (2017); Photo-Poetics: An Anthology, Solomon R. Guggenheim Museum (2015); Reconstructions: Recent Photographs and Video from the Met Collection, The Metropolitan Museum of Art, New York (2015) and the 30th Bienal de São Paulo: The Imminence of Poetics, São Paulo (2012). Her work is held in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; The Metropolitan Museum of Art, New York; MIT List Visual Arts Center, Cambridge; San Francisco Museum of Modern Art, San Francisco; MAMCO, Geneva; Albright‐Knox Art Gallery, Buffalo, New York; CNAP, Paris; FRAC Ile de France, Paris; and Yale University Art Gallery, New Haven; among others.

Eduardo Berliner (b. 1978 lives and works in Rio de Janeiro) is a painter who mines visual and emotional memories: from the landscapes of his native Rio, to still life and genre scenes, all with a hint of the uncanny. He draws and paints with an obsessive, diaristic focus, using his pen and brush to uncover and translate his personal experiences and visions, ever attuned to the way lived experience morphs into memory. His works often employ an unhindered use of fantasy and myth, as well as revealing disquieting scenes of brutality and pain, inviting a close and humanistic look at the cruelty and harshness of nature. In 2024 the artist will have his first solo exhibition with the gallery.

Berliner received his Master in Typeface Design from the University of Reading, UK; and a Bachelor of Industrial Design/Visual Communication from the Pontifícia Universidade Católica do Rio de Janeiro. Solo exhibitions include Right under My Bones, Casa Triângulo, São Paulo (2023); Eduardo Berliner: drawings, Museu Lasar Segall, São Paulo (2022); The Shape of the Remains, Casa Triângulo, São Paulo (2019); Corpo em Muda, curated by Priscyla Gomes and Felipe Kaizer, Casa Triângulo, São Paulo (2016); A Presença da Ausência, Fundação Eva Klabin, Rio de Janeiro (2015); Pinturas, curated by Hans-Michael Herzog, Casa Daros, Rio de Janeiro (2014); Sala A Contemporânea, Centro Cultural Banco do Brasil, Rio de Janeiro (2013); Casa Triângulo, São Paulo (2010). Group exhibitions include oleção Sartori - A arte contemporânea habita Antônio Prado, curated by Paulo Herkenhoff, MARGS - Museu de Arte do Rio Grande do Sul, Porto Alegre, Brazil (2022); 1981/2021: Arte Contemporânea Brasileira na Coleção Andrea e José Olympio Pereira, curated by Raphael Fonseca, Centro Cultural Banco do Brasil, Rio de Janeiro (2021); Com Título e Sem Título, Técnicas e Dimensões Variadas, Museu Oscar Niemeyer, Curitiba, Brazil (2019); Utopia de Colecionador o Pluralismo da Arte, curated by Ricardo Resende, Fundação Marcos Amaro, Itu, Brazil (2019); Projeto Cavalo: Quadrivium 8 patas, Instituto Tomie Ohtake, São Paulo (2018); Bestiário, curated by Raphael Fonseca, Centro Cultural São Paulo, São Paulo (2017); Os Muitos e o Um: Arte Contemporânea Brasileira, curated by Robert Storr, Instituto Tomie Ohtake, São Paulo (2016); A Cor do Brasil, curated by Paulo Herkenhoff and Marcelo Campos, MAR - Museu de Arte do Rio, Rio de Janeiro (2016); Dark Mirror: Lateinamerikanische Kunst Seit 1968, Kunstmuseum Wolfsburg, Wolfsburg, Germany (2015); E se quebrarem as lentes empoeiradas?, Instituto Tomie Ohtake, São Paulo (2015); Pangaea II: News Art From Africa and Latin America, Saatchi Gallery, London (2015); and the 30th Bienal de São Paulo: The Imminence of Poetics, São Paulo (2012). His work is held in the collections of the Museum of Modern Art, New York; K 11 Art Foundation, Hong Kong; Daros Latinamerica AG, Zurich; Coleção Gilberto Chateaubriand/Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro; Coleção Banco Itaú S.A., São Paulo; Museu de Arte Moderna de São Paulo, São Paulo; Museu de Arte do Rio, Rio de Janeiro; and Pinacoteca do Estado de São Paulo, São Paulo.

Julia Rommel (b. 1980, lives and works in New York) creates abstract paintings with bold, colorful geometry and structural, topographic surfaces. The surfaces feature passages of different textures and treatments, which support surprising, often adventurous color combinations. Her process is revealed in these surfaces, showing a sequence of folding, layering and stapling. In some works, a central color-field barely reaches the perimeter of the composition, displaying the layered hints of color from previously stretched edges. In others, deep creases create sharply edged pinstripes, which organize bands of color gradation, or add a ridge over which sweeps of color move and cascade. In 2024 Rommel will have her sixth solo exhibition with the gallery.

Rommel received her BS from the University of Richmond, VA; and her MFA from American University, Washington, D.C. Recent solo and two-person exhibitions include Just a Splash, Standard (Oslo), Oslo (2022); Uncle, Bureau, New York (2022); Long Leash, Overduin & Co., Los Angeles (2020); Fall Guy, Standard (Oslo), Oslo (2019); Candy Jail, Bureau, New York (2019); Twin Bed, Bureau at Tanya Leighton, Berlin (2018); Stay-at-Home Dad with Mathew Cerletty, Standard (Oslo), Oslo (2017); Man Alive, Bureau, New York (2016); A Cheesecake With Your Name On It, Overduin & Co., Los Angeles (2016); Two Italians, Six Lifeguards, The Aldrich Contemporary Art Museum, Ridgefield (2015). Her work is in the collection of the Albright Knox Art Gallery, Buffalo; Astrup Fearnley Museet, Oslo, Norway; Hammer Museum, Los Angeles; KADIST, Paris and San Francisco; Kistefos Museum, Jevnaker, Norway; Museum of Modern Art, New York; San Francisco Museum of Modern Art, San Francisco; The Metropolitan Museum of Art, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York.

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