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3 April 2007 | Sculpture April 2007 |
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 Marc de
Puechredon, Basel Daniel Zimmerman : Destinationen >From the 29th March 2007, the Erlenmatt area of Basel will have a new 3000m2, Cultural, Arts and Events space - the 'e-halle' - opening with ‘Destinationen’ an installation by the artist Daniel Zimmerman. Playing with history. Through this piece the history of the e-halle will be told and reinterpreted. For his installation Zimmerman will utilise the space and the names on the various destination bays; where once the temporary storage of goods would have filled the space whilst waiting for further transportation to its final destination. These now empty, will set the scene for the wooden slats used in the installation; after one week the installation and the wooden slats will find further use at other destinations. Zimmerman’s hallmark of 10'000 Plasterer’s wooden slats of 270 x 2,5 x 0,8 cm, are continuously transformed by the weather and the wear of their repeated use. The same 10'000 slats, which are now the base material for the installation "destinationen" in the e-halle, have already been used in installations by Zimmerman in the Art Centre Pasquart in Biel, "Mondsee Land Art" in Salzburg, the Bobsleigh in St. Moritz and last summer they were used for the project "Lauberhornrennen im Sommer". image: Daniel Zimmerman Installation at E-Halle Erlenstrasse 15 Basel Courtesy of Marc de Puechredon, Basel Photograph: Andreas Haganbach Gallery website Read on... Marc de Puechredon, Basel |
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 SAMSON PROJECTS,
Boston MA Nicole Cherubini : Restitutions The return of eleven ceramic pieces to Italy by the Museum of Fine Arts, Boston, causes us to reflect on the issue of restitution. Perhaps we should think about the significance of this particular event. Restitution implies “returning something to its previous state.” If we consider the possibility that the act of returning these objects is not solely intended as a restitution of the Italian cultural heritage, but also of the object, then it becomes plausible that the point of this restitution is to return the object to its past circumstances. Over time, and with the territorial movements of the artifact, it has been divested of two important circumstances: it has been extracted from both its cultural habitat and its functional habitat. They are being returned to a contemporary Italy, which offers no restitution of the cultural setting from which the objects were removed. This inability to restore even the idea of the cultural context to which the object belonged forces it to exist in a “neutral” space where at least the idea of cultural context can be historically orchestrated. The museum is presented as an ideal space for this to happen, and it is here, in this new habitat, where a second extraction is performed on the artifact, removing that which during its crafting gave it its final intention or cause: what Heidegger called causa finalis. 1 Though these vessels were meant for domestic or ritual use, their final cause has been transformed until they have become the efficient bearers of their own cancellation. Inside the museum, these vessels have been given a new final cause, but their original reason for being has not disappeared: it has merely been cancelled, and in that cancellation, the objects have become historic artifacts that narrate their loss of origin and habitat. The cancellation of the object’s causa finalis is echoed in contemporary practices such as that of Marcel Duchamp. With the invention of readymade, Duchamp stripped the object of its useful function to give it a symbolic significance it didn’t have before. Despite the fact that readymades first made its appearance in the home, it is articulated in a profoundly different setting than that of the object’s everyday use. Eventually, the readymade will find a new space in the museum, but Duchamp considers the home to be an innately artistic institution. Inversely, in the context of this exhibition, this problem could find a parallel in Nicole Cherubini’s use of materials and forms. She tends to disintegrate the contemporary notion that links ceramics and a vessel’s form to the production of utilitarian objects. In her work, materials and forms are indebted to a causa finalis which, from the outset, falls outside the rationale of everyday use. Unlike the vessels mentioned above, her objects do not elaborate a cancellation of their final cause and are not arbitrarily inserted into exhibition spaces—in fact, they are created to be displayed in art institutions. She has approached ceramics from the perspective where the object has already failed in terms of its intended use, but for some reason she continues to refer to the vessel’s forms, material (ceramics) and history. It would seem that Cherubini has not lost sight of the idea that this form and this material are inherently destined for utilitarian functions and that to insert them into the discourse of contemporary art would mean to carry out the same act of cancellation that has been applied to the artifacts that now speak of the impossibility of their restitution. Montserrat Albores (Translated from Spanish by Michelle Suderman) Nicole Cherubini (born in Boston, 1969) recieved her M.F.A. from New York University. She recently had a solo project space at the Institute of Contemporary Art, Philadelphia, PA. Her work will be included in upcoming exhibitions at the Sculpture Center (NYC, NY) and the Scottsdale Museum of Contemporary Art Image: Nicole Cherubini Amphora Loutrophoros Nestoris with Apollo’s Wreath and Painted Flowers 2007 ceramic, terracotta, porcelain, wood, muskat pellet, luster, yellow and white crystal ice, MDF, plywood, grog approximately 48 x 96 x 65 (h) inches (122 x 244 x 165 cm) Courtesy of Samson Projects, Boston MA Gallery website Read on...SAMSON PROJECTS |
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 BLEU ACIER Inc,
Tampa FL Dominique Labauvie : THE IDES OF MARCH Bleu Acier is proud to present THE IDES OF MARCH, a solo exhibition of new works on paper and sculpture by Dominique Labauvie. In ancient times, the Ides was defined as the time of the full moon and represented the commencement of a new cycle. The artist chose this apt title to describe his decision to work full-time in his studio in the United States. Labauvie's resulting works use the figure as a symbol for change in his own life and deeply felt reaction to the broader socio-political world climate. The human body becomes a partner in his reasoning of space. Though present as an abstract conceptual and formal element within the past two decades of Labauvie's work, "the body" has recently become a more recognizable part of his visual vocabulary. When asked about this transition he explained, "I cannot ignore the war, terrorism, the tsunami and Katrina – human suffering is a defining factor of my contemporary era." New drawings make direct visual connections to the tension and energy in his torch-cut metal sculptures. Labauvie employs pastels in the subtlest gradations of white (custom-made for him by the Mount Vision Pastel Company in Tampa) to create non-static two- dimensional spaces on paper. His sculpture extends these lines into the third dimension, causing the viewer's eye to move around the image as if he/she were watching the artist draw in space. Dominique Labauvie exhibits actively in private galleries and museums in the United States and Europe. In 1998 he realized “Over the Cities,” a public sculpture commissioned by the Hillsborough County Aviation Authority for The Vandenberg Airport in Tampa. Image: Dominique Labauvie Brainpower, 2007 80 X 80 X 8 in. Steel, white patina La Sauteuse, 2007 41 X 49 X 6 in. Steel, grey patina Gallery website Read on...BLEU ACIER Inc |
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 Friedrich Petzel
Gallery, New York 537 West 22nd Street JORGE PARDO Friedrich Petzel Gallery is pleased to announce a solo exhibition of new sculptures and paintings by Los Angeles-based artist Jorge Pardo. This new body of work continues Pardo’s interest in collapsing the boundaries of art, architecture and design through the appropriation of domestic architectural elements, which he transforms into seductive yet practical sculptures. On view will be temperature-controlled wine credenzas that can store over 100 bottles in a delicate honeycomb interior; intricately carved clocks; and groupings of colorful hanging lamps with seaweed-like tendrils. The new paintings, which are silk-screen on unprimed linen, take on a playful, sculptural form with draped garlands and floral appliquÈs. Born in Havana, Cuba in 1963, Jorge Pardo has exhibited internationally at institutions such as the Museum of Contemporary Art, Los Angeles, Kunsthalle Basel and Museum Boijmans van Beuningen, Rotterdam, and several site-specific installations including the lobby and bookstore for the Dia Center for the Arts, and his own bar, The Mountain, in Los Angeles’ Chinatown. This is Pardo’s seventh solo exhibition at Friedrich Petzel Gallery. Image : Jorge Pardo Untitled (clock) 2007 corrugated cardboard, plexiglas, clock mechanism 14 x 12 x 8 inches 35.6 x 30.5 x 20.3 cm Courtesy of Friedrich Petzel Gallery, New York Gallery website Read on... Friedrich Petzel Gallery, New York |
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 ingleby gallery,
Edinburgh ALISON WATT: Dark Light Dark Light, an installation by Alison Watt, is the result of two years work funded in part by a Creative Scotland Award from the Scottish Arts Council. Viewed from the outside 'Dark Light' is a starkly simple sculpture: a beautiful and exquisitely pared down metal cube with a door hidden in one side which opens to reveal a small dark room. As you enter, the walls and floor and ceiling appear deep black but, as the eye adjusts to the dim light, painted images on the walls and ceiling creep into focus revealing images of black cloth in deep swathes. It is a strange and quietly unsettling experience, a painting that can literally be stepped into: the logical conclusion perhaps of the increasingly engulfing paintings that have secured Watt’s reputation over the past 10 years. A related set of 5 new prints by Alison Watt (published by Ingleby Gallery at Edinburgh Printmakers in February 2007) will also be shown. Alison Watt graduated from Glasgow School of Art in 1988 and soon became well known for her dryly painted figurative canvases, often female nudes, in light filled interiors. Her exhibition 'Fold' in 1997 at Edinburgh's Fruitmarket Gallery marked a turning point, introducing fabric alongside her figures, simultaneously suggesting a debt to the c.19th painter Ingres but also pointing to the possibilities of abstraction. 'Shift' at the Scottish National Gallery of Modern Art in 2000, took these ideas further with 12 huge paintings of fabric alone. These edged ever more towards the abstract yet had a strange, sensual quality suggestive of a human presence (or absence). Image : Alison Watt Dark Light, 2007 Courtesy of ingleby gallery, Edinburgh Gallery website Read on... ingleby gallery, Edinburgh |
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 ZieherSmith, New
York George Sánchez-Calderón : PLINTH/MONUMENT/STOOP Following its 2006 showings at the Museum of Contemporary Art in North Miami and The Moore Space, Miami, George Sánchez-Calderón’s PLINTH/MONUMENT/STOOP will be presented at ZieherSmith. The eponymous sculpture and related photographs will be accompanied by photographs of a second project, NICHE. The two series comprise a body of work undertaken by the artist during a two month period in the spring of 2006. PLINTH/MONUMENT/STOOP literally describes the plywood structure that Sánchez-Calderón built to resemble a plinth for a classical monument on one side and a stepped platform on the other. He then placed the piece in the haunting light of the I-395 Freeway Overpass, near his studio in the Overtown section of Miami, Florida. For two months, it remained outdoors for locals to use to their liking – activities that never resulted in its destruction or desecration. Instead, Sánchez-Calderón would visit at various times with his camera, and ask those at the scene if they would like to be photographed. Explaining the plinth’s traditional purpose as a pedestal for a work of art instantly inspired participants to respond. Standing on the plinth, some choose to present poses in classical contrapposto or defiant gestures of power. Others lounged on the steps, transforming it into a symbolic stoop, a traditional social center for many of America’s urban centers. A majority of the participants refused any payment other than a copy of their photograph. The following month NICHE was constructed and remained in Sánchez-Calderón’s warehouse studio. The photographs from this series also feature subjects from the surrounding vicinity, invited into the studio and paid to model for a single pose within the niche and its implied sanctity. In a neighborhood rapidly becoming gentrified, a process hastened by its growing reputation as a center of the white-hot contemporary art scene, (including the encroaching “Design District” and the annual art fairs that populate the neighborhood for one week each December), Sánchez-Calderón provides its inhabitants with a rare chance to actually participate with art through his subtle neighborhood interventions. Few forgot the artist’s promise of a photograph, and eagerly received the image documenting their contribution. Through the series, Sánchez-Calderón creates a timely portrait of Miami and an homage to the locals who might soon be displaced, images that combine the gritty reality with a graceful air of pride and dignity that can supercede all backgrounds. Image: Untitled (John), 2006 c-print 37 x 23 inches Courtesy of Ziehersmith, New York Gallery website Read on...Ziehersmith, New York |
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 M.Y.ART
PROSPECTS, New York ANDERS RUHWALD : We float in space and cannot perceive the new order M.Y. ART PROSPECTS is pleased to present "We float in space and cannot perceive in the new order" by Anders Ruhwald. This year's Sotheby's Award (Victoria and Albert Museum, UK) winner, Anders Ruhwald creates ceramics in combination with a variety of other materials that evoke the intimacy and familiarity of utilitarian objects but are neither functional nor subject to a pure aesthetic status. Six years ago, Ruhwald's work changed course from functional pottery to an investigation into the potential of functional forms to articulate larger themes. He began creating ceramic objects that, while recognizable, do not suggest specific purpose or function. Ruhwald identifies himself as an artist who came from a studio tradition that generates carefully labored utilitarian objects. He describes his work as "amongst utilitarian objects at a conceptual level without committing to them practically." Over the years, Ruhwald has become increasingly interested in how we perceive manmade objects, and for this exhibition, he has created objects that have ambiguous references to pieces of furniture or other interior items. The objects are applied with a black glaze, emphasizing variations in form and placement. Ruhwald's unique installation design allows the work to be experienced as distinct tableaux, each invoking a comparison to a common domestic setting. The works feature foreign and yet familiar forms finished with delicately crafted surfaces and a minimalist sensibility. The objects elicit complex associations with our material world while resisting the matrixes of traditional consumer society. Image: Anders Ruhwald Installation view ceramic, candle, Perspex and wood 2007 Courtesy of M.Y. Art Prospects, New York Gallery website Read on...M.Y.ART PROSPECTS, New York |
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 Galerie Reinhard
Hauff, Stuttgart About the possibility of a sculpture Gedi Sibony, Falke Pisano, Lasse Schmidt Hansen, Rosalind Nashashibi / Lucy Skaer Curated by Philipp Ziegler Traditionally we think of sculpture as three- dimensional objects, which distinguish themselves formally through their physical presence and the aesthetic qualities of the material they are made of. Abstraction, solidity and durability are other qualities usually associated with this medium. Galerie Reinhard Hauff’s present group show, “About the possibility of a Sculpture”, curated by Philipp Ziegler, attempts through works by Gedi Sibony, Falke Pisano, Lasse Schmidt Hansen and Rosalind Nashashibi/Lucy Skaer to take a critical look at these conventional ways of perceiving an artistic medium, which for a while now enjoys increasing interest. Questions relating to the nature of sculpture are in the context of this show not confined to the object-bound, but contemplate the nature of sculpture as aesthetic- perceptive sensory input. Without necessarily belonging to the category of sculpture, all the works which are shown in this exhibition - be it installation, film, photography or performance - enter first and foremost into a reflective relationship to the medium of sculpture. In an exemplary manner, the Dutch artist Falke Pisano, expresses this line of thought, reflecting on the different possibilities and ways of perceiving sculpture in one of her own pieces “A sculpture turning into a conversation”: “Things can sometimes turn into other things(...) Friendship can turn into love and the other way round, situations transform into completely different situations regularly, a book can be turned into a film, solid materials into liquid materials in many cases and sometimes into gas”. >From found materials such as cardboard, plywood, wall-to-wall carpeting and wooden sticks, the New York artist Gedi Sibony (*1973) creates reductionistic constructions, handling materials in a minimalist manner which retain traces of their original usage and nature. In his acclaimed installation at the 2006 Whitney Biennial, New York, where he used the discarded materials from the Whitney’s previous Robert Smithson retrospective, the sensitive aesthetic of the materials he used, combined with their historical reference to past purposes and identities, lent his installation - as well as the objects now shown at the Galerie Reinhard Hauff - a subtle poetic language which addresses as much our senses as our memory. Falke Pisano (*1978), who was studying at Jan van Eyck Academy in Maastricht until the end of 2006, and parrallel to this show is participating in a group show at the Stuttgarter Künstlerhaus, is represented with a selection of works in which she reflects on the effect-mechanisms of modernist sculpture and their abstract form language through theoretical texts, models and lecture performances. The Danish-born Frankfurt artist Lasse Schmidt Hansen (*1978), who participated in a 2005 group show at the Galerie Reinhard Hauff, works with everyday design objects to re-think and reformulate standardised systems. In these subversive- conceptual works the artist makes frequent references to minimalist sculptures of the 60’s. The 16-mm film “Flash in the Metropolitan”, shown in the entrance area of the Gallery, is the result of a collaboration between the two artists Rosalind Nashashibi (*1973) and Lucy Skaer (*1975) who will represent Scotland in this year’s Venice Biennial. The film - shot at night in the sculpture galleries of the New York Metropolitan Museum -liberates enigmatic objects from their nocturnal vitrine environment, to briefly restore them to their original splendour and beauty in the glare of flash lights and spots. Image: Courtesy of Galerie Reinhard Hauff, Stuttgart Gallery website Read on...Galerie Reinhard Hauff, Stuttgart |
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