Matthew Lyons is Curator at The Kitchen, where he has organized exhibitions by Amy Granat, Sara Greenberger Rafferty, Glen Fogel, Vlatka Horvat, Jenny Perlin, and Mika Tajima, as well as performances by Discoteca Flaming Star, Final Fantasy, Jutta Koether, Aki Onda, and robbinschilds, among many others. His writing has appeared in ASPECT Magazine, Everywhere All At Once: Performa 07, Flash Art, Movement Research Performance Journal, and Work the Room: A Handbook of Performance Strategies.

Photo by Greg Reynolds

Czech artist Monika Mickalko’s abstract geometries evoke musical structures: their rythmic compositions of forms and bright hues follow stringent patterns while dancing over canvases with jazzy improvisation and directness. she often extends this imaginary world into the interiors or exhibition spaces, covering walls, objects and furniture with bold shapes and colors.

Berlin-based Bernd Ribeck’s abstract geometries form through an extensive process of layering and erasing ballpoint pen and marker with clear acrylic finish the makes the pieces glow like church windows. His works on paper are devoted to the search of the essential, naked forms and the possibility for spiritual or visionary thinking they evoke

The works of Berlin-based Susanne M. Winterling often revolve around the subject of role models (for a social group, for an era) and our search for them, With her films, photographs and installations she creates the atmosphere of an underlying history that suggests the “other”, but never reveals it.

Tjorg Douglas Beer works in various media including installation, painting, print and photography. His work is driven by a fascination for how identity and otherness are created in our perception, and their changing references to the surrounding network of ideologies, social conditions and psychological constellations of the unconscious.

Eva Berendes’ installations, consisting of colored yarns stretched between frames, seem to be both tight tableaux and transparent structures, two-dimensional drawings and three-dimensional objects, art and interior design. They evoke the formal traditions of Constructivism, Art Deco, Bauhaus and the focus of the latter on equal treatment of both applied and fine arts.

Swedish, New York-based Nina Carnell’s fragile insallations transform man-made and found objects into restless forms with malleable, fleeting properties. Materials become performers, developing their own temporal and narrative logic. Adapters and cables inevitably serve to provide the electric currents that are integral to Carnell’s forms and objects, but they also extend to a never-ending system of shifting energies.

Berlin-based Czech artist Swetlana Heger’s work reflects the relationships between artistic creativity, economic production and corporate patronage. In her 2009 series Lipstick Economy, she explores the aesthetics (cosmetic and experiential) of art and identity: lipstick kisses function as artist signatures that represent the artwork as a brand.

Berlin-based artist Volker Hueller (who will have a solo show at Eleven Rivington and Salon 94 in November) examines the principles of painting in etchings, collages and objects. Landscapes, portraits and architectural sceneries in his works sit at the crossroads of figuration, abstraction and ornament, while the materials are intensely tactile—provoking a sly and seductive play with all our senses.