Andrea Rosen Gallery: MIKA ROTTENBERG - Bowls Balls Souls Holes
Gallery 2: Josť Lerma - 7 May 2014 to 14 June 2014
Mika Rottenberg, Still from Bowls Balls Souls Holes, 2014
video and sculpture installation
Bowls Balls Souls Holes
May 7 - June 14, 2014
Opening reception: Tuesday, May 6, 6 - 8pm
“No one saw it approach.
A small point of light lost in the glare of the morning sun.
It had been drifting for centuries through the inner solar system like an iceberg in the
ocean of interplanetary space.” – Carl Sagan
Coinciding with a major solo exhibition at the Rose Art Museum in Boston, her seventh significant solo institutional exhibition in three years, as well as the release of a comprehensive monograph, Andrea Rosen Gallery is thrilled to announce our first exhibition of Mika Rottenberg since beginning to represent her in 2012. Debuting her newest work, Bowls Balls Souls Holes, as well as her first body of discrete, small sculptures, the exhibition illuminates the sculptural integrity that has always been consistent with her oeuvre.
Expanding her exploration of the production of objects, units and value, Rottenberg’s newest body of work, Bowls Balls Souls Holes, investigates cause and effect phenomena less easily traceable, such as quantum entanglement, magnetic fields, global warming, and the production of luck. Creating physical experience that transcends the autonomous object and cinematic medium, Rottenberg guides us through elaborately constructed physical and metaphysical environments. All activities converge in a Harlem bingo hall where a sequence of numbers opens mechanic portals into an alternate reality. Here, the relationship of cause and effect obeys bizarre laws and characters linked by invisible forces engage in a parapsychological chain of events. These actions move planets, influence global temperature and shift architecture.
Employing Guinness world record holder, Mr. Stretch, as well as regulars to the bingo hall and its employees, Bowls Balls Souls Holes diminishes the space between documentary and fiction and harnesses phenomena that exist in the margins of reality. When experiencing her work, it is as if our presence becomes an essential part of a greater causality. Within this realm, invisible equations are given definite form—as smoke articulates a beam of light—and expose a space that extends beyond the borders of the body and its apparent surroundings. Here, the rhythms of her intercelestial production line generate a resonant frequency unbound by the physical parameters of any object and trace a critical constellation within our social and political cosmos.
Distilling the kinetic nature of basic physical phenomena, Rottenberg’s most recent body of discrete sculptures subtly isolate everyday moments into units of poetic visual and psychological suggestions. Echoing the sculptural nuances and intricacies embedded within her environment, Rottenberg extracts and magnifies minute sounds and gestures–like the Tsss of a drop of water on a frying pan, or the flip of a ponytail–that demand our experience of the ordinary and render it extraordinary.
The Production of Luck, published by Gregory R. Miller & Co., New York, will include texts by Christopher Bedford, Julia Bryan-Wilson, Wayne Koestenbaum and Mika Rottenberg. The publication will officially be released in September 2014 (copies will be available for viewing at the gallery in late May.) Bowls Balls Souls Holes comprises six unique variants. The expanded variant Bowls Balls Souls Holes (Hotel) was first exhibited as part of an exhibition on view at the Rose Art Museum from February 14–June 8, 2014. Currently on view at Andrea Rosen Gallery is the expanded variant Bowls Balls Souls Holes (Bingo).
Mika Rottenberg was born in Buenos Aires, Argentina in 1976, and raised in Israel. She lives and works in New York. Recent solo exhibitions include: The Rose Art Museum, Boston, MA (2014); The Israel Museum, Jerusalem (2013); Magasin 3 Stockholm Konsthall (2013); FRAC Languadoc-Roussillon, Montpellier (2012); Nottingham Contemporary (2012); M - Museum Leuven, Leuven, Belgium (2011); de Appel arts centre, Amsterdam (2011); San Francisco Museum of Modern Art, CA (2010); KW Institute for Contemporary Art, Berlin (2006); P.S.1. Contemporary Art Center, NY (2004). Her work is in the public collections of Astrup Fearnley Museum of Modern Art, Oslo; Fonds national d'art contemporain, Puteaux, France; FRAC Languedoc-Roussillon, Montpellier, France; The Israel Museum, Jerusalem; Julia Stoschek Collection, Düsseldorf; Museum of Modern Art, NY; San Francisco Museum of Modern Art, CA; The Solomon R. Guggenheim Museum, NY; and Whitney Museum of American Art, NY.
European Mixed Masters
May 7 - June 14, 2014
Opening reception: Tuesday, May 6th from 6 - 8pm
It is with great pleasure that Andrea Rosen Gallery announces our fourth solo exhibition of José Lerma. Expanding a dialogue within the context of painting, Lerma’s work continues to evolve in its exploration of both the material and conceptual issues of painting through his innovative use of non-traditional materials and techniques. Drawing inspiration from his personal history and an interest in long-passed historical figures and events, Lerma creates work that expounds on the profound contingency of the present on the past, and how art and history share innate parallels of progression and innovation.
Simultaneously lush and beautifully composed abstract paintings, José Lerma’s works are critical interrogations of viewers’ expectations and desires for painting. What initially appear to be bold, expressionist gestures, slowly reveal themselves as meticulous constructions of colored, silicone caulk–with each rendered gesture then collaged onto the painting’s surface. Lerma functionalizes our contemporary desire for materially, chromatically rich abstract painting as a way to encourage the possibility of a deeper engagement with the motivating content and narrative behind the work.
Tracing the history of 17th century French theater, European Mixed Masters features a series of paintings inspired by Palissot’s play, Critique de la Tragédie de Charles IX, a satire of a historical tragedy that became one of the catalysts for the French Revolution. Staging the theatrics within the space of a tennis match, Lerma casts four iconic tennis players from the 1980s as the leading figures of the play. Recognizing portraiture as a historical vehicle for commemorating status and power, each player, painted on reflective mylar, is rendered in silhouette in late 18th century fashion. Bridging the aesthetics of the old regime and contemporary era, the “implied” portraits of Lerma’s idealized figures are overtaken by a collage of chromatic strokes in the palette of 80s sportswear, that represent thrown flowers proceeding a performance.
As the protagonists face off in a conceptual and abstracted mixed doubles match, the epically scaled, Parterre, on the north wall of the gallery, gives rise to an impossibly arranged and intricately rendered theater audience. Based on Pietro Martini’s classic engraving, The Exhibition at the Salon Du Louvre in 1787, Parterre refers to the open space in a the theater where the public could traditionally interrupt and intervene in performances, and their opinions, much as the populist bent of the Salon could do for the artist, could validate or obliterate a production’s success. Though rooted within chronologically distant democratic spaces, the audience, players and viewers within the court of the gallery engage in a metaphorical rally, conceptually activated by the motion of each painting’s reflection within the other, and collectively traversing a historical lineage.
José Lerma received his MFA in Painting at the University of Wisconsin, Madison and had residencies at the CORE Residency Program, Museum of Fine Arts, Houston, Texas and the Skowhegan School of Painting and Sculpture, Skowhegan, Maine. Since his previous exhibition here in 2011, Lerma has exhibited his work widely both nationally and internationally, including major solo institutional exhibitions at CAM Raleigh, Raleigh, NC and MCA Chicago, Chicago, IL. Forthcoming institutional exhibitions include a major solo exhibition at the Museum of Contemporary Art Detroit, MI opening late May 2014, and an exhibition at Museo de Arte Contemporáneo de San Juan, Puerto Rico in 2015. Lerma lives and works in Chicago and is Professor of Drawing and Painting at the School of the Art Institute of Chicago.
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