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Flowers East, London
says the junk in the yard
3 Aug - 8 Sept 2007
CAN ALTAY / KEITH ARNATT / PHYLLIDA BARLOW / PETER BLAKE / DEREK BOSHIER / EDWARD BURTYNSKY
HELEN CHADWICK / KIMBERLY CLARK / SUSAN COLLIS / DOUG FISHBONE / NEIL GALL / SOPHIE GERRARD
STEPHEN GILL / GRAHAM HUDSON / STUART HAYGARTH / ANDY HSU / DAVID HUGHES / TIM LEWIS
CHRIS LITTLEWOOD & TOBY SMITH / ALASTAIR MACKIE / LEE MAELZER / ZED NELSON / JASON ODDY
CORNELIA PARKER / EDUARDO PAOLOZZI / ROBERT POLIDORI / SAVAGE / JESSICA STOCKHOLDER
MIKHAEL SUBOTZKY / JENNIFER TAYLOR / GAVIN TURK
A catalogue will be available with text by Tom Morton and Sam Chatterton Dickson
TALKS AND PERFORMANCES - PHYLLIDA BARLOW / DOUG FISHBONE / CAN ALTAY 17 AUGUST 6pm onwards
As issues of cultural ephemerality and man-made waste rise ever higher up the social agenda, this year's summer show at Flowers East takes 'junk' as its theme. The works in this exhibition examine our attitudes to the objects that we discard and the value systems that we create, to demonstrate how art can focus these assumptions through a different optic.
The featured artists - who include major figures from post-war and contemporary art in addition to emerging talents on the international scene - confront this timely and contentious subject from a number of angles. Edward Burtynsky's photographs of recycling plants in the Zhejiang Province of China make visible the human cost and environmental impact of our twenty- first century obsession with excess. Commenting further on the malignant effects of materialism, David Hughes' 'Untitled (Conveyor Belts)' is a visual statement of the blot we have created on our landscape, whilst Derek Boshier's ticket series shines a light on the minutiae of our culture of disposability.
Following the lineage of Duchamp, a number of the artists take up the discourse of the found object to explore how seemingly redundant matter can be re- substantiated with aesthetic value. Jessica Stockholder's work commands contemplation of objects we normally perceive as carrying little significance. Graham Hudson scavenges junk to create absurd assemblages on a mockingly aggrandised scale, and Peter Blake presents us with carefully curated cabinets of kitsch that, in another context, would appear as clutter.
Whilst it is the concern of some of the artists to appropriate junk as their medium, others cite it as their visual goal. By producing work that affects the appearance of the outcast or expendable, these artists disorient the viewer and upturn traditional systems of value. Gavin Turk's deceptive bronze replica of a sleeping bag, entitled 'Nomad', juxtaposes notions of the marginal and itinerant with the literal and symbolic weight of its medium. Susan Collis' 'Better Days', a dustsheet apparently splattered with paint, reveals itself on closer inspection to be a form of blank canvas, painstakingly embroidered with technicolor thread.
The title of the exhibition is taken from a lyric in the Beatles' song 'Junk', which was written at the time of The White Album but omitted from the final recording. Widely considered as a critique of consumerism and capitalist decadence, the song's critical thrust and flair for cultural commentary - together with it's 'discarded' status - make it a fitting reference point for a show that seeks both to explore the boundary between aesthetics and excess and blur the line of demarcation between the object and the abject.
'says the junk in the yard' will be accompanied by a fully illustrated catalogue with a text by Tom Morton, Contributing Editor of Frieze and exhibition curator Sam Chatterton Dickson.
Samuel (standing), Vaalkoppies (Beaufort West Rubbish Dump) 2006
Limited Edition Light jet print on Fuji Crystal Archive paper
116 x 100 cm / 45¾ x 39½ in
Courtesy of Flowers East, London
Flowers East, London
Read on... Flowers East, London
Mark Moore Gallery, Los Angeles
ULTRASONIC INTERNATIONAL II : Transcending Transience
14 July - 25 Aug 2007
From the mundane to mortality, artists address transience as a way of coming to terms with change.
Michael Brunswick (Canada), Susan Collis (UK), Graham Dolphin (UK), Richard Gilles (US), Julie Heffernan (US), Dimitri Kozyrev (Russia), Zane Lewis (US), Srdjan Loncar (Croatia), Rachel Perry Welty (US), Chad Person (US), Jonathan Seliger (US), Jackie Tileston (US)
This year for its second installment, Ultrasonic International is providing a forum in which to engage with and consider the almost paradoxical notion that one of life's few consistencies is its very transience. The show will bring together twelve artists whose work, although stylistically and thematically very different, is inextricably linked with notions of transience, temporality, and impermanence. The show will propose a dialogue amongst the works regarding this theme, and yet aims to allow each work to be considered as a single piece with its own independent agenda.
In participating in this dialogue and considering such ideas relating to transience, we must eventually address and confront our own impermanence. Death and mortality have been a perennial facet of art; thus the show will remain a relevant continuation of established themes and will provide a means to consider how such themes manifest themselves, consciously or unconsciously, within contemporary art.
Ozymandias Weeps, 2005
vinyl, mixed media, electronics
144 x 96 inches (circumference)
Courtesy of Mark Moore Gallery, Los Angeles
Mark Moore Gallery, Los Angeles
Read on...Mark Moore Gallery, Los Angeles
Galerie Anita Beckers, Frankfurt
The Subjectivisation of Repetition Project B
An installation within the exhibition:
VISION | AUDITION (Evangelistic support programme of documenta 12) in Kassel, Karlskirche, Karlsplatz, 34117 Kassel
Curator: Dr. h.c. Andreas Mertin, Hagen
17 June - 23 Oct 2007
"The Subjectivisation of Repetition Project B" by Yves Netzhammer combines image, sound and projection in a subversive way. Subversion, here, means the reversal of feeling, thinking and acting along the lines of an aesthetic of migration. It demands from the viewers that they picture themselves in abysmal, uprooted image worlds that unfold with signs unable to find a home in a reliable order. They find no place to stay in a narration and no peace in harmony with the world. They are signs that take on the burden of migration of meaning and meaninglessness and reverse the perception of singularity and totality.
Upon first sight, the installation appears as a mirror maze in which spaces are visually multiplied in a separated room. Netzhammer addresses the lack of pictures and the strict lines of the Huguenot Karlskirche in a discrete and at the same time intensive manner. He leaves the walls of the church unaltered, but confronts them with the special space of the installation and Bernd Schurer's sound composition .Viewed from the outside, the installation is a pictureless, built wedge; inside, it is a pulsating image world. Upon entering the installation, the spaces multiply and thus also the views of the visitors. They are repeatedly mirrored on the side walls and set in new relations to the artist's pictures. One can say that the viewer is subjected to the order of the moving mirror images, for the word "subject" originally means to be cast under something. The reflections of the viewers mingle with a changing community of living beings and objects: cages, dolphins, elephants, chameleons, maimed bodies, crutches, transporters, tanks, and huts ... The objects stand in guided relations and are controlled by touches of limbs, instruments and architectures, by functions and similar courses of movement.
The similarity of their gradual advance, for instance, makes it plausible that elephants march in a row with tanks. The shape of a razor blade suggests that a chameleon is severed and loses blood. In a credible way, a grid traces the leaps of dolphins. The courses of movement have detached themselves from their original contexts in the images. They now connect objects, animals and humans, without being regulated by a blueprint of nature, history or an overarching reason. The artist organizes a migration of relations that have abandoned their familiar context.
In "Subjectivisation of Repetition Project B", three beamers project moving images on walls of mirrors - which at times quiver. They are subtly set in motion by the sound of the installation, with the speakers installed in the walls in such a way that the mirrors can vibrate to different degrees. At times the vibration is imperceptible and at others the mirrors begin to powerfully vibrate. They occasionally resemble smooth water surfaces merely touched by falling leaves, and then restless formations of waves caused by something roughly penetrating the surface.
Netzhammer presents soft and abrupt touches between his figures and the depictions of the world and thus pursues a question insistently posed in his rich oeuvre, in drawings, prints, wall pictures, films, and installations: How is contact possible? Netzhammer develops this question in a visual way, leading to the principle question as to the possibility of relationship in general. The artist is not satisfied with narrating something or simply revealing the discrepancy between man, animal, object, and world; he instead concentrates on the respective surface that offers itself for contact. For example, the stump of a wheelchair user or the edges of a maple leaf coming into contact with continents, or shadows touching light spaces.
The artist calls the installation in Kassel Project B. Project A is simultaneously on view in the Swiss Pavilion during the 52nd Venice Biennale of Art from June 10 through November 21, 2007. The exhibition in Kassel, part of the supporting programme of documenta 12, is impressive because of its dealing with the specific space of a church, which is reflected upon both architecturally and acoustically as a problem of integration. It is not Netzhammer's intention to mediate between art and the space of church, and this should not be interpreted as setting himself off, but as a clear statement on the relation of an existing structure to a new part, which like the installation lodges as an alien element within the church.
A migrant like Netzhammer cannot offer his signs as interpretations or illustrations of something. It contradicts the poetics and aesthetics of migrants to accommodate sense and root in meaning. Jacques Derrida and Massimo Cacciari speak of a migration of signs, as does the philosophical poet of migration, Edmond Jabès, in "The Little Book of Unsuspected Subversion". It is not only that Netzhammer doesn't strive for integration, he also doesn't evade the issue of migration. It is uncomfortable. For this reason, the work time and again imposes itself on the acoustic level. The sound within the wedge enters into the space of the church. Beyond liturgical regularity, it from time to time makes itself noticeable, and its is not predictable when.
The installation repeatedly appeals to the hope that there could be an order in the world making touches and relations comprehensible. For at times the reflections of the viewers appear to be mirrored in a way corresponding with Netzhammer's creations. This as always possible, but the impression of correspondence always dissolves and suddenly the objects fall down on the viewers with fragmentarily distinct outlines. Here, the disaster in which the relation of subject and world collapses is made experienceable as an opportunity to deal with it - and perhaps also as a precondition for possible relations.
Yves Netzhammer - The Subjectivisation of Repetition Project A
Swiss Pavilion in the Giardini, La Biennale di Venezia
The Subjectivisation of Repetition Project B, 2007
Courtesy of GALERIE ANITA BECKERS, Frankfurt
More information at:
Read on...Galerie Anita Beckers, Frankfurt
Merry Karnowsky Gallery, Los Angeles
D I S E A S E D:
New Paintings by James Marshall
4 Aug -1 Sept 2007
The Merry Karnowsky Gallery is pleased to announce an exhibition by James Marshall, formerly known as Dalek. Born in 1968, the Brooklyn-based painter made a reputation with a distinctive and innovative style, unlike any other Pop-Inspired painter working today. Stylistically synthesizing the American traditions of still animation and cartoons, his remarkably complex compositions resemble direct lineage to the expressive Japanese Superflat movement, and the zany everyday apparitions found in nature.
Marshall logically constructs narratives in all-over relationships whose internal visual order creates its own story. More than complex, all-over patterning, Marshall strives to evoke subtle and abstract personal statements, which are often enigmatic. Taking visual cues from both historic and personal origins, these compositions take colour and line into undiscovered territory. His paintings on wood panel layer dioptric fragments of an imagined world, against a fractured kaleidoscope of the real world. Slick and unblemished, these hybrid works balance the artist's pictorial impulses with near mechanical decorum, as they venture into the realm of feeling and lived experience.
In Diseased, Marshall moves away from the austere single figuration of the past, and focuses instead on hyper-filled landscapes that pluralize the macrocosmic. Just as complexity theory uses multi- dynamic spaces as formulas for the realms of the instant, Marshall's 'Nuevo-Rococo' configurations challenge the notions of the interior / macro / micro, and its conflicts or acquiescence to the world. The simultaneity of such if such complex imagery, beautifully rendered, creates the power to mesmerize and enchant the viewer.
Courtesy of Merry Karnowsky Gallery, Los Angeles
Merry Karnowsky Gallery, Los Angeles
Read on... Merry Karnowsky Gallery, Los Angeles
DEITCH PROJECTS, New York
28 July - 18 Aug 2007 2007
Thirty volunteers spent three days shredding two- thousand New York City telephone books in preparation for one of the most unusual exhibitions ever presented by a New York gallery; Dash Snow and Dan Colen's NEST.
Adapting their infamous "hamster nest" to 76 Grand Street, they reveal to the public a performance they have until now created only in private. The resulting pandemonium is on view, in addition to video and photographic documentation.
A "Hamster Nest" normally consists of their shredding enormous amounts of whatever paper material they can get their hands on and ransacking the interior of their selected space in an exuberant overnight fête. Over the years this has taken place in hotel rooms all over the world, existing only in occasional Polaroids, video, and the memories of exasperated hotel staff.
On July 3rd, Dan and Dash invited fifteen fellow artists including Aaron Bondaroff, Hanna Liden, Jack Walls, Nate Lowman, and Adam McEwan to Grand Street, and from midnight to 8am, rolled around together in the waist-deep shredded paper to create this piece. One night proved to be not enough to complete their creative destruction and Dash brought a group of compatriots four additional nights. With paint poles speared into the wall, bottles protruding from hacked- up sheetrock, and a pummeling of enormous wine, pee, and paint spit-balls stuck to the walls, it seems a great deal took place during these night-into- mornings. Dark and brutal slogans commingle with moments of love and tenderness as both sentiments go into creating this ambiguous dwelling.
While their truly over-the-top performance recollects early Fluxus experiments, the result of the melee physically resembles a very strange earthwork. One visitor described the piece as "The New York Dirt Room". The room is exhibited just as the artists left it, trash and all, while the front room shows a video of a previous nest in Miami to give insight into this contemporary answer to a "happening".
These two artists live their art in a way that distinctions between the two become irrelevant when synthesized in a work of this nature. Dan Colen is a painter and sculptor known for his conceptually charged, realistic executions in paint of various objects in ruin. His recent bird-shit aintings bear an interesting resemblance to the spitball stuccoed back wall of the gallery and the shredded debris below. Dash Snow's photography, sculpture, and collage work all capture Dash's life as a radical dissenter living in dangerous times. But though their individual art projects are different, the sensibility and rebellious exuberance that runs through the work is exactly the spirit of this collaborative performance.
The artists themselves are not interested in the destruction that lies in their wake per-se, but seek rather a total freedom of expression, and an expression of their relationship with each other and members of their community.
This exhibition was truly "activated" during the performance staged on July 24th, when Gang Gang Dance and Prurient had fifty of the artists' friends ecstatically throwing paper and freaking out in the nest. The show is dedicated to Secret, Dash and Jade's daughter who was born the morning of July 23rd.
NEST : DASH SNOW & DAN COLEN
Courtesy of DEITCH PROJECTS, New York
DEITCH PROJECTS, New York
Read on... DEITCH PROJECTS, New York
EXIT ART, New York
SAWCC 10th Anniversary Exhibition
4 Aug - 1 Sept 2007
Samira Abbassy, Jaishri Abichandani, Fariba Alam, Mouna Andraos, Siona Benjamin, Anjali Bhargava, Anna Bhushan, Mareena Daredia, Sharmila Desai, Chitra Ganesh, Asha Ganpat, Mariam Ghani, Rajkamal Kahlon, Emily Jacir, Mona Kamal, Jesal Kapadia, Sarita Khurana, Swati Khurana, Yamini Nayar, Vicky Moufawad-Paul, Carol Pereira, Sreshta Premnath, Fatima Al Qadiri, Mona Al Qadiri, Sadia Rehman, Prerana Reddy
Ela Shah, Asma Ahmed Shikoh, Shahzia Sikander, Sonali Sridhar, Anahita Vossoughi, 6 + women's art collective, and SAFED STUDIO.
SAWCC (South Asian Women's Creative Collective) is an organization dedicated to the advancement, visibility and development of emerging and established South Asian women artists. SAWCC provides a forum for South Asian women artists to profile their creative and intellectual work, and network with other South Asian women artists, educators, community workers and professionals.
As the art world celebrates the work of women artists' this year, and as SAWCC commemorates their 10th anniversary, this exhibition at Exit Art will contribute to the spectacle in SAWCC's truly collective fashion. Sultana's Dream, curated by Jaishri Abichandani, Founder of SAWCC, will feature collaborative works and participatory projects that have been produced through a process of dialogue between at least two South Asian women artists - across disciplines that include: visual artists and writers, dancers, filmmakers, musicians etc. Sultana's Dream will include the work of established South Asian women artists such as Shahzia Sikander and Chitra Ganesh, as well as emerging or lesser known South Asian women artists selected from an open call for submissions. Including over 30 artists of Bangladeshi, Indian, Pakistani, Nepali, Afghan, Kuawaiti and Iranian descent, Sultana's Dream showcases the spectrum of South Asian women's intellectual and aesthetic perspectives.
The exhibition's title is a reference to the classic short story "Sultana's Dream" by Rokeya Sakhawat Hussain. In the story, the typical Muslim custom of consigning women to relative seclusion is reversed; in the feminist utopia of Sultana's Dream the women make fantastic advances in the public sphere while men are relegated to the private sphere. Like the story, this exhibition underscores the innate potential of women's collective action. In Index of the Disappeared, the artists Chitra Ganesh and Mariam Ghani will create an installation composed of suspended neon signs and direct-applied vinyl lettering in English with Urdu, Arabic and Hindi hand- painted on the walls and aluminum signs in the style of the old countries The words and phrases featured in this installation will be taken from the artists' archive of official documents, ephemera and testimony that traces how censorship and data blackouts after 9/11 have created real disappearances in immigrant, other, and dissenting communities across the US.. In the sound installation Lota Stories, the visitor will hear men and women who hid their use of a lota, a water vessel typically used in bathrooms in South-Asia, from their American friends, lovers and roommates. Alternately humorous and poignant, Lota Stories underscores how the pressures of assimilation can impact even the most mundane of rituals.
PUBLIC PROGRAMS AT EXIT ART
Sultana's Dream will be punctuated each weekend by supplemental programming curated by past and present board members of SAWCC.
THURSDAY AUGUST 9, 7:00-90:00 PM
Experimental Film and Video Program Co Presented by 3rd I New York Film Collective
THURSDAY AUGUST 16 7-9 pm
Literary Panel Co Presented by the Asian American Writers Workshop
THURSDAY AUGUST 23 , 7:00-9:00 PM
Visual Artists and Curators Panel
"Sultana's Dream" is the second exhibition in a new international initiative at Exit Art of projects presenting international artists and ideas that are under recognized in New York City.
ABOUT EXIT ART
Exit Art is an interdisciplinary laboratory for contemporary culture that explores the rich diversity of voices that continually shape art and ideas. Since it's founding in 1982 by Directors Jeanette Ingberman and Papo Colo, Exit Art has presented over 2,500 artists and has grown from a pioneering alternative art space, bringing attention to the work of under- recognized artists, into a model cultural center for the 21st century. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art's exhibitions, performances and programs respond to culturally resonant themes, empowering artists to redefine their artistic sensibility. Exit Art is internationally recognized for its unmatched spirit of inventiveness, commitment to supporting artists, and consistent ability to anticipate the newest trends in the culture. A place where different disciplines and audiences converge and cross- pollinate, it is a key site for excavating the unwritten histories of contemporary art and culture.
Specter IV, 2006
Courtesy of the artist and Exit Art
Read on... EXIT ART, New York
Distance Learning Curated by Grace Davies
11 Aug - 15 Sept 2007
Rose Butler & Kypros Kyprianou,
Distance Learning creatively explores the blur and boundaries between real and virtual, interior and exterior, natural and artificial, local and global spaces, and the images and information that contribute to our understanding and 'experience' of the world.
Using moving image, installation and photography, the artists in Distance Learning have responded to new developments in technology by re-organizing and re-articulating space. The architectural spaces in Distance Learning point to new ways of experiencing and navigating space-both physically, in our homes, workplaces, and neighborhoods as well as on the Internet and are informed by the contemporary culture, virtual travel and technology.
Matthew Pontin's work explores photography and memory in terms of overlapping representations of 'actual' and 'virtual' journeys and experiences. In doing so he seeks to stimulate a dialogue with the potentialities of photography. Pontin's work uses the metaphor of travel, of journeying, to explore various discourses of ownership of images, of experience and of imagination. His 'created' visual travels are aesthetically rich in that his virtual journeys become only about seeing, about the recording or representation of the place, not about presence of the photographer.
Rose Butler & Kypros Kyprianou's One Lime Street pushes the idea of virtual and real journeying even further. The six-screen piece is a formalized meditation on the architecture of the famous Lloyds of London building and its exoskeleton lifts. People enter and leave one of six lifts and embark on interacting journeys, each journey, filmed from inside the lift has had the background buildings and horizon digitally locked in position. The result makes the lifts travel past the screens, an unexpected relationship between the camera, the vertical journey and the background perspectives result: a slippage between figure and ground. Through presentation of the cubic space in which the passengers enter and leave, we are reminded of the other spaces that are viewed through the rectangular screen; television, internet, photography, cinema and the possibilities of manipulation within these media.
Taking this concept one step further Alistair Burleigh literally fuses the idea of virtual and real space together in his piece VoidX - Escaping the Screen, a three dimensional video installation. His cubic blocks - physical boxes within the gallery space are wrapped by a virtual projected model of the same geometric arrangement. The arrangement soon becomes changed and the virtual blocks 'fly' around their physical counterpart colliding and separating providing an environment within which these two ordinarily separate realities merge. Virtual space becomes perceptually 'real' physical space.
VoidX - Escaping the Screen
Courtesy of the artist and g39, Cardiff
Read on... g39, Cardiff
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