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Andrea Rosen Gallery: FELIX GONZALEZ-TORRES | Ketuta Alexi-Meskhishvili - Hollow Body - 3 May 2016 to 18 June 2016

Current Exhibition

3 May 2016 to 18 June 2016

Andrea Rosen Gallery
525 West 24 Street
544 West 24th Street
NY 10011
New York, NY
New York
North America
T: 212 627 6000
F: 212 627 5450

Felix Gonzalez-Torres, "Untitled", 1989
Paint on wall Dimensions vary with installation
Installation view: Specific Objects Without Specific Form, Wiels, Brussels, 2010.

Artists in this exhibition: Felix Gonzalez-Torres, Ketuta Alexi-Meskhishvili


Curated by
Julie Ault and Roni Horn

Three-part exhibition at Andrea Rosen Gallery, New York; Massimo De Carlo, Milan; and Hauser & Wirth, London

Opening Reception May 5, 6 - 8 pm
May 3 - June 18, 2016

Andrea Rosen Gallery, Hauser & Wirth, and Massimo De Carlo are delighted to announce a three-part exhibition of the work of Felix Gonzalez-Torres. Curated by artists Julie Ault and Roni Horn, the exhibition will be on view at Andrea Rosen Gallery, New York; Massimo De Carlo, Milan; and Hauser & Wirth, London in May, June, and July 2016. This exhibition will be the first solo presentation of the artist's work in Milan since an exhibition at Massimo De Carlo in 1991 and the first in London since the artist's survey at the Serpentine in 2000. Over the last decade, Andrea Rosen Gallery has been dedicated to a series of two-person exhibitions situating Gonzalez-Torres's work with artists including Joseph Kosuth, Agnes Martin, On Kawara, and Roni Horn, and this will be the first one-person show at the gallery since 2000.

Each venue of the exhibition will focus on a dialogue within an essential body of Gonzalez-Torres's oeuvre. The experience of each of the three venues is intended to be simultaneously autonomous as well as elements of a whole. As curators take on the rights and responsibilities to make choices in and around the manifestation and installation of Gonzalez-Torres's work, every exhibition provides the opportunity for a more expansive, complex conceptualization of the artist's practice rather than an attempt to present (or preserve) a singular concrete or "correct" interpretation of the work. The profound nature of the curators' specific choices may encourage viewers to project the other possibilities of exhibitions that the uniquely open and transformative nature of Gonzalez-Torres's work allows.

Each curator of a Gonzalez-Torres exhibition, whether a new scholar or an old friend, is part of an ongoing trajectory of perspectives. The particular closeness of Ault and Horn to both the fluidity and specificity of Gonzalez-Torres's working processes during his lifetime is an invaluable resource and contribution to the understanding of the range of methodologies, open-endedness, and rigor of Gonzalez-Torres's work. 

"The failure of conceptual art is actually its success. Because we, in the next generation, took those strategies and didn't worry if it looked like art or not, that was their business...So I do believe in looking back and going through school reading books. You learn from these people. Then, hopefully, you try to make it, not better (because you can't make it better), but you make it in a way that makes sense. Like the Don Quixote of Pierre Menard by Borges; it's exactly the same thing but it's better because it's right now. It was written with a history of now..."               

-Felix Gonzalez-Torres,
interview with Robert Storr, ArtPress, 1995


Gallery 2:

Ketuta Alexi-Meskhishvili
Hollow Body

May 3 – June 18, 2016
Gallery 2Press releaseMay 3 - June 18, 2016
Opening reception Thursday, May 5, 6-8pm

Andrea Rosen Gallery is pleased to announce Hollow Body, an exhibition of recent works by Ketuta Alexi-Meskhishvili at Gallery 2. This will be the artist's first solo presentation in New York.  
Alexi-Meskhishvili's work visually splices and weaves various planes of representation and pictorial reality through her chosen photographic material.  She employs a breadth of methods, spanning analogue to digital photographic techniques, to rework and manipulate images found or her own. The multi-layered manner in which she combines these interventions, while experimental and often intuitive, converges on a conceptual logic of choreographing and staging not just surfaces, but the conditions of photographic representation.  

Alexi-Meskhishvili's exhibition at the gallery features an installation work and a group of recent photographs, several of which were shown in her solo presentation of the same title at the Kölnischer Kunstverein in 2015. The title Hollow Body relates to the hollow-body hold, a foundational position in gymnastics and weightlifting that involves bracing one's abdominals and creating total-body tension - a high level of internal exertion that is nearly unperceivable from the outside. Beyond a metaphorical understanding of this idea, the question of how much the photographic image functions as an index of a subject's exterior and how much information beyond the surface is recorded or evoked, is also of interest to Alexi-Meskhishvili. "Lesley (After Mapplethorpe 2)," "Lesley (After Friedlander)," and "Lesley (After Woodmann)" are all recent forays for Alexi-Meskhishvili into photographing a human subject - in this instance Lesley Moon, a physical trainer with whom the artist trains. In these works, Alexi-Meskhishvili, beyond complicating and revising the heavily-loaded photographic image of the female nude and canonized poses, identifies the gender typologies functioning within the gaze(s) of her chosen references. She freely adapts the conditions of the shoot to stage the body and the photographer-subject relationship anew. 

In "Osile," a pink-hued work printed on a large sheet of transparent paper, cardboard with punched holes and jagged lines cut through it is used as a stencil for successive exposures to red, blue and white light, with LED fingerlights tracing a bright trajectory and making the artist's hand visible. Also navigating translucency as a motif, a curtain titled "Don´t be an actress (yellow)"constructed of semi-transparent fabric printed with abstract forms hangs over the entrance doorway to the gallery, telling of both the artist's father´s background in stage design as well as her interest in the amount of information carried into a large-scale digital print from an analogue source. Introducing the aspect of time, "Andro's Book" is a photograph of a worn Edvard Munch catalogue positioned in a blue-toned studio setting that mimics the blue markings left on the book's cover from partial sun-exposure; Alexi-Meskhishvili describes the catalogue as a "found photogram." While it is not immediately traceable how surfaces and processes intervolve in these works or at what point each of the resulting imperfections from the printing process arise, what holds viewers at arm's length is also what exerts the works' full, enigmatic effect.    

Ketuta Alexi-Meskhishvili (b. 1979) received her BFA in Photography from Bard College, Annandale, New York in 2003. A solo exhibition of her work was presented at the Kölnischer Kunstverein, Cologne, in November 2015, and her work was included in Surround Audience: the New Museum Triennial 2015. Solo exhibitions of her work have also been held at Galerie Micky Schubert, Berlin; Kaufman Repetto, Milan; Ancient & Modern (now Bruce Haines), London; and Eighth Veil, Los Angeles. Her work has been included in recent group exhibitions at FRAC Haute-Normandie, Sotteville-lès-Rouen; Kavi Gupta, Chicago; Kunstverein Hannover, Hannover; Casey Kaplan, New York; MaryMary, Glasgow; Kunstverein Bielefeld, Bielefeld; and Karma International, Zurich. Alexi-Meskhishvili lives and works in Berlin.

Andrea Rosen Gallery

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