Tell It Slant

Joseph Lambert spent his days in the ‘S’ Grand Atelier writing, knitting “words,” signs understood by only him and attached to each other to form visual sentences, which form a stratum, a geological layer in the heart of the text as if the landscape stretched out all the while rolling itself up, in a twist. Text, texture, textile, weaving of signs. Present in the collections of the Musée national d’Art moderne (Pompidou), it was notably exhibited at the Maison Rouge, in 2015 and at the LAM (Villeneuve-d’Ascq), in 2018, in the at the LAM (Villeneuve-d’Ascq), in 2018, in the exhibition “Les refuges du récit”.

Armstrong was born in Thomson, Georgia. He went to school until eighth grade. He married in 1929 and had two daughters. For much of his life, he worked picking cotton on the local Mack McCormick farm. After his wife died in 1969, he began to work at the Thomson Box Factory, staying there until 1982. In 1972, he claimed to be visited by an angel who warned him that the end of world was coming soon. Armstrong went on to construct almost 1,500 box calendars with the aim of trying to determine the exact date of the approaching doomsday. Many of the calendars are made of wood with clocks and dials, painted white and over-layered with grids or with text denoting the box’s purpose.

A member of the renowned Goldstein workshop in Germany, this young artist is fascinated by the limits of perception. In his work, sounds, vibrations, waves and interferences are rendered visible. Bringing together observation and poetry, network structures emerge and create striking optical illusions. Exhibited in a gallery for the first time in 2020, Julius Bockelt has already been offered a monographic exhibition at the Folkwang Museum in Essen and has been presented at the Museum of Everything (London), the Maison rouge (Paris) and the MoNa in Brierdale (Australia). In 2023, he was exhibited alongside Gerhard Richter at the Museum Sainclair-Haus in Germany.