re-title.com
 28 January 2011
Mixed / Multi Media 
JERWOOD SPACE, London
ASYA GEISBERG GALLERY, New York
GALERIE JETTE RUDOLPH, Berlin
SUSANNE VIELMETTER LOS ANGELES PROJECTS
CAC Vilnius
 

 
JERWOOD SPACE, London
 
 
Janne Malmros, Truncated Element III, 2010 
 
 
SURFACE NOISE
 
19 January – 27 February 2011
 
Gill Saunders and John Mackechnie curate an exhibition of ambitious and inspirational works embracing innovations afforded by both digital technologies and traditional print media. Featuring works by: Claire Barclay, Claire Bayliss, Carolyn Bunt, Dorothy Cross, Michael Fullerton, Janne Malmros and Scott Myles.
 
Surface Noise aims to confront and overturn the pejorative associations and preconceived ideas that often define print. Curator, Gill Saunders explains:
 
‘It is now a truism to observe that printmaking has ‘pushed the boundaries’, to the extent that it now defies definition. Enlisting strategies from photography and film, architecture and sculpture, painting and performance, print is continually shape-shifting.
Crucially printmaking offers the artist another vocabulary, as well as an opportunity to play, to experiment, to do things differently. Each of the artists here has worked with print in individual and original ways, exploring or challenging the capacities of their chosen medium, and making it their own.’  - Gill Saunders, Senior Curator (Prints), V&A
 
At a time when printmaking is attracting considerable attention, the tenth in the Jerwood Encounters series offers a welcome platform to show new works which incorporate print in original and unconventional ways.
 
Exhibition Events:
 
Monday 7 February 2011 The Artist and Printmaker
Mike Taylor of Paupers Press will talk to visual artists about the collaborative process and share their experiences. Participiants will include artists Stephen Chambers RA and Catherine Yass.
 
Monday 14 February 2011 The Making of Surface Noise
Curators Gill Saunders and John Mackechnie will talk to some of the artists in Surface Noise about their practice including Scott Myles, Janne Malmros, Michael Fullerton and Claire Bayliss.
 
Events are free but must be booked in advance: www.jerwoodvisualarts.org
 
 
Image:
Janne Malmros
Truncated Element III, 2010
silkscreen and gold leaf on paper
Courtesy of the artist and Jerwood Visual Arts
 
 
JVA at Jerwood Space
171 Union St
London SE1 0LN
T: 01372 462190
E: jva @ parkerharris.co.uk
Mon - Fri 10am – 5pm, Sat & Sun 10am – 3pm
 
 
 
 

 
ASYA GEISBERG GALLERY, New York
 
 
Annie Attridge, Love on the Rocks, 2010 
 
 
ANNIE ATTRIDGE
HEARTS OF OAK
 
January 15 - February 12, 2011
 
Asya Geisberg Gallery is pleased to present “Hearts of Oak”, an exhibition of porcelain works, bronze sculpture, and charcoal drawings by British artist Annie Attridge. Attridge creates a universe of caves, mounds, entrances into flesh and exits into limbs, breasts, and flowery decadence. Her bawdy and sometimes brazen imagery explicitly contradicts the decorum of traditional porcelains, revealing what hides beneath a petticoat. The rococo curving lines of 18th century porcelain are evoked in arms and legs entwining, tree limbs twisting, and animal and figure amalgamations. In the intimacy and luminous delicacy within her pieces, Attridge expresses a torrent of emotion. Attridge’s lush drawings create a velvety cover of compressed charcoal, adding drama to her cavorting carnality. Her bronze works emasculate while simultaneously endowing a symbol of timelessness and strength to soft bodies and billowing sails.
 
The process of making porcelain is long and difficult, but Attridge’s playful pinched pieces exude a simplicity and ease. Similarly, in her bronze works, Attridge takes a complex and arduous process with a long history, and shrinks the patently megalomaniacal into toy-like scale. With Flogging a Dead Horse, instead of a super-sized statue of a general on his horse proclaiming victory in the public plaza, Attridge gives us a truly miniature pony, with a shiny breast for a hump. In Termite Boobie, Attridge takes gargantuan cathedral mounds where termites create a self-contained world of digestion, and turns them into another kind of symbol of nourishment. In Love on the Rocks, the termite mound, a colony for millions, has become a private cave for half-submerged lovers.
 
The title of the exhibition, “Hearts of Oak”, is a Cockney expression, which in the rhyming slang of working-class British culture means “broke”. A sly nod to the traditional penury associated with artists, it is also a witty joke on the upper-class origin of the decorative figurines that sit atop mantelpieces. In Attridge’s works, traditional British aristocratic referents -- the hunt, the private garden, and gymkhana equestrian events-- are fused with private dramas of desire and longing. In the churning of art history, Roman mythology and Chinese technology are repackaged by 17th century workshops led by Meissen and Sevres, then later copied by centuries of English hands, and finally a modern lass discovers a neglected art, and finds new stories to tell with this privileged medium. As Attridge says, “I have a love relationship with porcelain, and I hope we never fa ll out.” In Your borders, your rivers, your tiny villages, multiple figures prance within a maze of hedges, all on a scratched old ping-pong table. Metaphors multiply, as the landscape of the body is conflated with the arenas of play, sport, and games. Behind the charm and gaiety lies a melancholic air, where true happiness is just out of reach, and the potential for romantic fulfilment might never be realized.
 
Born in 1975, Annie Attridge lives and works in London. With a MA from the Royal Academy, and BA in Painting from the University of Brighton, Attridge was featured in “Grand National - Art from Great Britain” at the Vestfossen Kunstlaboratorium, Norway, and has had exhibitions at Galerie Maurer, Frankfurt, and Nettie Horn, London. She will be in “Material Worlds” at the Contemporary Art Society, and “Belle Laide” at Danielle Arnaud Gallery, both in London. This will be the artist’s first solo exhibition in New York.
 
 
Image:
ANNIE ATTRIDGE
Love on the Rocks, 2010
Porcelain, tin and enamel glaze
7 x 6 x 6 in
Courtesy of Asya Geisberg Gallery, New York
 
 
Asya Geisberg Gallery
537B West 23rd Street
New York, NY 10011
T: +1 (212) 675-7525
 
 
 
 
 
GALERIE JETTE RUDOLPH, Berlin
 
 
Cyrill Lachauer, Santa Cruz, 2010 
 
 
WITHOUT A TRACE
with
Benoît Broisat, Cyrill Lachauer, Gabriel Rossell Santillán
 
14 January - 19 February 2011
 
“Nothing, either in the elements or in the system, is anywhere simply present or absent. There are only, everywhere, differences and traces of traces.” (Jacques Derrida)
 
Experiencing reality through the objects that have emerged from it includes situating them in their respective cultural, political, historical, social or individual field. Ideas and knowledge that you bring with you, however, not only determine the way you interact with real things; you also furnish the media visualizations of these objects with these ideas. The truth of photographic or even film images basically depends on the perspective of the individual viewer.
Under the title Without A Trace, the Jette Rudolph Gallery brings together three artistic positions in one group exhibition. These positions destabilize and question the real origin of traces rather than examining the traditional causal relationship between object, or more specifically its image, and the real dimension associated with it. Through photography, video and individual artifacts, the “reality content” of the artistic materials is ascertained and so is their proximity to reality.
 
Photographs as media-based memories – whose content is experienced as an indication of reality – influence and transmit ideas about the real world. In short, photos produce knowledge. Read as a trace, the photo discloses its connection to the real object and reveals its constructedness as the shadow of something that it is actually not able to represent. In their work, the artists Benoît Broisat, Cyrill Lachauer and Gabriel Rossell Santillán track lost traces of both reality and pictorial realities.
French philosopher Gilles Deleuze proposes pictureless thinking for truth’s lack of visual clarity; in other words, a type of thinking that does not presuppose any pictures and that ensues independently of them. Because for Deleuze reality is myth; it is merely “empty” repetition. To overcome media-based, natural, cultural and scientific clarity, the artistic field research – that is conducted in the Deleuzian sense – takes the real, perceived object as its starting point, which in the process of being deconstructed is subject to new formulations or even recoding. Traditional patterns of perception are destabilized, opening the possibility of renegotiating the pictures’ objectivity.
 
With the objet trouvé – the found, everyday object – an item citing reality is incorporated into the artworks, which however as such is deprived of its singular connotation and is itself now in need of interpretation. At the same time, by transferring the media-generated pictures into a network of new meanings, they are divested of their referential power. Rosalind Krauss uses photography as a vehicle to explore the term simulacrum, a semblance of something, which while it is connected to reality did not however emerge from it in a primordial sense. Producing a reality effect, Krauss confirms that through the experience of reality through simulacra, an increasing dissolution of reality takes place for a person’s environment. The picture read as trace, whose origin has been lost, promises to dissolve reality into simulacra. The exhibition Without A Trace presents different artistic strategies to question the notion of the real moment as an implied sign and – through various media, virtual pictures and objects – it also aims to conceptualize projection surfaces, which in terms of reality and authenticity disclose the loss of the real object as something that is in fact productive.
 
French artist Benoît Broisat consciously deals with images and works with photocopies from the onset – media-generated visualizations in a quality that looks more or less real. In his collages and video works, Broisat breaks with using the distinct media as separate entities. Different visual forms and motifs fuse and permeate one another, interweaving various levels of reality, which result in an astounding mosaic of artistic creations.
 
With his photographic work, Cyrill Lachauer reflects on the cultural and associative fundaments of his motifs and redirects them: signs that are alien to culture stop amounting to anything more than their original meaning; instead, at the same time, they attain new dimensions through cultural transfer. So the Polynesian sign for a safe home coming is re-cultivated as a western sign in tattoo culture where it appears as a swallow. The many ideas provoked this way, which he is able to gather in each individual work and which hold their ground next to one another, do less to uncover a singular, uniquely valid truth than to thematize the production of traces as such. His media pictures become collections of signs, which appear to have given up their interest in the obsolete notion of finding reality, instead privileging a virtual field of possibilities.
 
By combining new media such as photography and video with materials that take up the exhibition’s theme, Gabriel Rossell Santillán uses his installations to analyze the transmission of cultural phenomena. In ethnographic research both in Nayarit (Mexico) and Stuttgart and also in the Ethnological Museum in Berlin-Dahlem, the native Mexican explores the original roots and underlying rituals of his sources. The change in cultural understanding that transpires through de-contextualization opens a free space for the artist, where through an artistic intervention he can compensate for the empty spaces that have emerged and re-construct ritual experience. Situated transculturally, Santillán discards the various discourse patterns for his objects, instead privileging the coexistence of diverse perspectives.
 
(text: Ellen Maria Martin; translation: Cathy Lara)
 
 
Image:
Cyrill Lachauer
Santa Cruz, 2010
Baryt Pigmentdruck, 125 x 82 cm
Ed. 3+1 EA
Courtesy of Galerie Jette Rudolph, Berlin
 
 
GALERIE JETTE RUDOLPH
Zimmerstrasse 90- 91
D- 10117 Berlin
T +49 (0)-30- 613 03 887
 
 
 
 
 
SUSANNE VIELMETTER LOS ANGELES PROJECTS
 
 
Jedediah Caesar, Mango Obstruction at Susanne Vielmetter Los Angeles Projects 
 
 
JEDEDIAH CAESAR
"Mango Obstruction"
February 5 - March 12, 2011
 
"Things fell off a truck, and are put back in-a tidy impulse. Traveling sculpture becomes cargo, lands softly for a while, then becomes cargo again. Sometimes it's a storage problem. One generally doesn't cannibalize the old and infirm, but in this case it was necessary. You would be surprised how much zip you can introduce into a thing just by breaking it apart. The pattern of transit and rest is multiplied, a discrete buzz. Stillness is slowness, towards monotone, a simple weight. If you think you've seen this before..."
Jedediah Caesar, January 2011
 
Susanne Vielmetter Los Angeles Projects is pleased to present a solo exhibition of new works by Jedediah Caesar. Entitled "Mango Obstruction", the exhibition connects a new body of work with a series of past exhibitions, most notably a project of traveling and accumulating objects throughout California which was part of the 2008 California Biennial and a public sculpture, the "Gleaner Stone", he exhibited through LAXART in Culver City, CA.
 
Here Caesar offers books, bricks, murals and animations to extend those projects into elaborate spatial and temporal constructions. The works bleed into one another, but retain their autonomy through their shifting time signatures, from the metronomic repetition of the wall panels to the relentless creep of rusting cast iron. With these experimental forays into unfamiliar media Caesar points to the practice of reading which has been implicit in previous exhibitions.
 
Jedediah Caesar received his MFA from the University of California, Los Angeles. His work will be featured in upcoming solo exhibitions at the De Cordova Museum, Boston, and at the Museum of Fine Arts, Boston, MA. Recent exhibitions include the Blanton Museum, University of Texas at Austin, Texas, the Whitney Biennial, Whitney Museum of American Art, New York, NY; "Stardust", Fundament Foundation, Tilburg, Netherlands; the "California Biennial 2008", Orange County Museum of Art, Newport Beach, CA, curated by Lauri Firstenberg; "Abstract America: New Painting and Sculpture", Saatchi Gallery, London, UK; "Seedlings", Dallas Contemporary, Dallas, TX, curated by Regine Basha; "The Station", curated by Shamim Momin and Nate Lowman, Miami, Fl; "Red Wind", Blum & Poe, Los Angeles, CA; "Multiverse", Claremont Museum of Art, Clarem ont, CA; "Trace", Whitney Museum of American Art at Altria, New York; "Thing", UCLA Armand Hammer Museum and Cultural Center, Los Angeles, "The 7th Annual Altoids Collection", Consolidated Works, Seattle; Blue Star Art Complex, San Antonio; New Museum of Contemporary Art, New York; and Los Angeles Contemporary Exhibitions, Los Angeles. This is Jedediah Caesar's third solo exhibition at the gallery.
 
 
Image:
Jedediah Caesar
Courtesy of Susanne Vielmetter Los Angeles Projects
 
 
Susanne Vielmetter Los Angeles Projects
6006 West Washington Blvd
Culver City
Los Angeles, CA 90232
+1 310 837 2117
 
 
 
 
 
CAC Vilnius
 
 
Pilvi Takala, Players, 2010, videostill 
 
 
If it's Part Broke, Half Fix it
 
Stalkers, players and taxies, phone calls and laments, corridors and witness reports, disappointment and shame
 
28 01 2011 – 13 03 2011
 
Opening: Friday 28 January at 6 pm
Hip-hop performance by Sam de Groot and Paul Haworth at 7 pm*
Saturday 12 February at 7pm performance "Burn Your Boats" by Krõõt Juurak and Mårten Spångberg
 
An old English saying claims "If it ain't broke, don't fix it". This expression has been popularized from the idea that any attempt to improve on a system that already works well is purposeless, and may even be detrimental. Supposedly, this saying later became even a source of inspiration for anti-activists. But what if something only works half-way?
 
It might be said that today's world is very much concerned with making the most effective and efficient use of a situation and therefore the concept of halfness as such is hardly ever considered as a quality in itself. However, if you half-fix something that is partly broke, will it end up being more fixed or more broke? The paradox included here provides space for a necessary amount of absurdity and ambiguity. Employing this, the exhibition "If it's part broke, half fix it" is not seizing an opportunity to tell a critical, engaged or unique story but is rather looking into different ways of and reasons for disappointment and shame but also speculation and chance, using Yahtzee-like methods, where the level of randomness is high and luck, use of probability, and modest amount of strategy are required.
 
For example the video "Players" by Pilvi Takala is portraying a poker community following the logic of the game. They are using probability theory that ensures that they treat each other justly, and that everyone contributes equally. In the video work of Flo Kasearu human lives are for sale, best was before and now it's over! Works by Anu Pennanen, Anna Shkodenko, Taaniel Raudsepp and Sigrid Viir are in one way or other dealing with the notion of constructed environments, surveillance and monitoring. Krõõt Juurak and Mårten Spångberg are redefining dominating concepts such as crisis, representation, wild-life, city or success, and the notion of starting from the beginning.
 
The collective Johnson & Johnson is "not sure when exactly things started to go wrong" but came to realize "how sad they feel about it". Andrea Büttner states that "shame is a an emotion that indicates what really matters to us, a feeling reflecting on cultural conventions regarding what we are supposed to show or hide". Epp Kubu is portraying rather tragicomical situations of people who don't know what to do and therefore start to enjoy the suffering. The installation "The Pain" by Paul Haworth and Sam de Groot argues that maybe seventeen-year-olds have been right all along, underlining the stark dichotomies of here and there, now and later, me and you.
 
Participants: Andrea Büttner (GER), Dalia Dûdënaitë (LT), Denes Farkas & Neeme Külm (EST), Carina Gunnars & Anna Kindgren (SWE), Paul Haworth (UK/NL) & Sam de Groot (NL), Johnson & Johnson (EST), Krõõt Juurak (EST/AT) & Mårten Spångberg (SWE), Flo Kasearu (EST), Epp Kubu (EST), Darius Mikðys (LT), Anu Pennanen (FIN), Taaniel Raudsepp & Sigrid Viir (EST), Rytis Saladþius (LT), Anna Shkodenko (EST), Pilvi Takala (FIN), Triin Tamm (EST), Timo Toots (EST), Vilnius Bagel Project.
 
Curated by Margit Säde Lehni

Organized by Center for Contemporary Arts, Estonia, the CAC, Vilnius

With the support of: Nordic Culture Point, Cultural Endowment of Estonia, Estonian Ministry of Culture and IASPIS

*Opening performance by Paul Haworth & Sam de Groot at 7 pm
It’s hip-hop. Paul Haworth and Sam de Groot’s performances mix rap, beats, song, and poetry. Themes and subjects include: the city and its ebb and flow, babies, love, teen depression, inchoate longings. Paul studied as a painter, Sam as a graphic designer but it’s in hip-hop – the joy of performance, thrill of sculpting beats, search for rhymes, its clear and direct communication – that they have found their calling, their North Star.
 
 
Image:
Pilvi Takala
Players, 2010
videostill
Courtesy of the artist
 
 
CAC - Contemporary Art Centre
Vokieciu 2
LT - 01130 Vilnius
Lithuania
+3705 212 1954
 
 
 
 
 
 

 
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