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27th February 2007 | Sculpture & Installation February 2007 |
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 Chapter,
Cardiff Chris Evans : The Freedom of Negative Expression Chris Evans’ solo exhibition at Chapter includes the world premiere of his sculpture and short film The Freedom of Negative Expression. The new film, co-written with Tirdad Zolghadr and Will Bradley, engages in a dialogue with a key figure in 1960s British Constructivism (who wishes to remain anonymous) known for her uncompromising views on the establishment’s misuse of the arts, and conversations in which, among other things, the productive potentials of negativity and political paranoia are at stake. The exhibition also includes a selection of existing works, including Evans’ ongoing series The Rock and The Judge and A Sculpture for Philippa Van Loon, The Other Statue (after E. Gorey) that evolved out of conversations with aristocrats and members of various elites. This way of working typifies Evans’ practice which lies between patronage and studio practice, art production and its supposed others, and meditates on the unnerving relationships between the two. This exhibition is part of a Studio Voltaire touring project, in collaboration with Chapter, Cardiff; IPS, Birmingham and Outpost, Norwich. Chris Evans has produced new works for each venue. As a companion to the touring project, a new publication by the artist, Magnetic Promenade and Other Sculpture Parks, an illustrated book of fictional sculpture parks, has been produced. It contains contributions by thirteen writers and artists including Rita McBride and Glen Rubsamen, Keren Cytter, Will Bradley, Liam Gillick, and Jaki Irvine. Chris Evans is based in Berlin and London. Recent projects include a solo exhibition at Studio Voltaire, London and Magnetic Promenade and Other Sculpture Parks (publication launch) at STORE, London. He currently has a solo exhibition at REC / Esther Schipper Project Space, Berlin and is exhibiting in several group shows including ‘Le Nouveau Siecle’ at Museum Van Loon, Amsterdam and ‘Lapdogs of the Bourgeoisie’, Gasworks, London. Evans has recently been selected for a residency and exhibition at Artpace, San Antonio in Autumn 2007. The exhibition at Chapter is financially supported by the Arts Council of Wales. The publication and touring exhibition is funded by Arts Council England and The Henry Moore Foundation with additional support from the Arts Council of Wales and STORE, London. The Freedom of Negative Expression is a co-commission with Chapter, Cardiff and Gasworks, London. Image : Chris Evans, A Sculpture for Philippa Van Loon, 2006. The Other Statue (after E. Gorey), 2006. Courtesy of Juliette Jongma Gallery, Amsterdam. Gallery website Read on... Chapter, Cardiff |
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 Black &
White Gallery, Chelsea, New York Michael Krondl - Fall Czech-born New York-based artist Michael Krondl is recognized for a practice that embraces installations which become visual experiences. Krondl places personal observations of natural phenomena into the terrain of formal aesthetics, resulting in witty and poetic work that challenges how we perceive the world around us. In his precise articulation of nature, its beauty and danger, Krondl examines and decodes human interaction with nature, working with limited materials and situations that take on symbolic meanings. In Krondl’s own words, “Fall” is a Frankenstein-like stepchild of the Hudson River School. Thomas Cole and his companions used to hike the Catskills with sketchbook in hand returning home to assemble landscapes of the sublime. Krondl lugged a backpack full of expensive technology and fashioned a large and threatening behemoth out of fragments of their beloved waterfalls. Sure, it bears only the faintest family resemblance to their splendent pictures. But the relationship is there. There is another connection to the Hudson here as well, for if the virtual water falling down the gallery wall were real, it would flow out of the white box into the street and then course into the river just across the road. It would sweep any viewers right into the sea. Does it bear repeating that the natural world is lovely to look at, but also deadly? That our finely tuned neurons are encased in a carapace of mortal flesh? That our waterfront may soon be under treat from the rising waters of the Hudson estuary? This exhibition is presented in conjunction with “Prince: Pre-Fame” by Robert Whitman. The exhibition seeks to create a dialogue between the two artists, working with different visual cues that imply sound – both natural and man-made. Image: Michael Krondl, Fall, digital print on vinyl, 9.5 x 66 feet Courtesy of Black & White Gallery, Chelsea // Williamsburg Gallery website Read on...Black & White Gallery, Chelsea |
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 Gallery Yujiro,
London “THE ODD COUPLE” JOHN HUGHES AND SEUNGHEE KANG The dictionary definition of Odd; 1. “Unusual or unexpected; strange. 2. (Of whole numbers such as 3. and 5) having one left over as a remainder when divided by two. 3. In combination in the region of: fifty- odd years. 4. Occasional: we have the odd drink together. 5. Detached from a pair or set” “The Odd Couple” a joint solo exhibition of John Hughes and Seunghee Kang, both are odd, not particularly singularly but collectively they are an odd couple. Hughes was born in the UK, Kang in South Korea however both live and work in London, two different origins, two different practices. Hughes creates large-scale audio installations and Kang’s meticulous Hogarthesque drawings, paintings and sculpture, yet both are similar in exploring the nature and function of narrative. They also share a strange and unusual take on everyday actions and occurrences’ transforming these observations into works saturated in dark and disturbing humour. The exhibition is titled after, 1968 film “The Odd Couple”, staring Jack Lemmon & Walter Matthau as Felix Ungar and Oscar Maddison, is the story of two mismatched room-mates, one uptight, tidy and fastidious, the other slovenly, kooky and zany. In an interview, Lemmon described their unique relationship; "Walter is .. like my brother. I don’t know what it is.. When that type of chemistry occurs - I don’t know how to explain it .. It just happens. You’re both on the same wavelength and something good comes out of it. It’s like having a third actor.. There’s you, the other guy, and the two of you together as a third attraction. " This exhibition brings together the practices of Hughes and Kang who together produce a comparable third attraction. Hughes exhibits 5 audio installations, ‘Anne’, ‘You are my Burger King’, ‘Balkan Mantras’, ‘Seek New Havens’, & ‘Who’s that geezer?’ which are a combination of monologues & conversations, and a selection of typed & hand written transcripts from ‘Seek New Havens’. Hughes’s practice is unusual, unexpected, strange and occasional, in its familiarity, where the conversations, become uncanny, and uncomfortably. Kang’s drawings, paintings & sculptures, are deeply satirical, and darkly funny. Using drawing in a diaristic way, illustrating the Western, landscape of desire, excess, and capital. Kang depicts, narratives such as ‘Wonjogyoje’, a new term to describe the illicit relationship between an adult male and teenaged schoolgirl, where the man offers money in return for sexual gratification. Kang has found a totally different notion of ‘normal’ in London, transforming the familiar into the eccentric and surprising, the result of living as a strange in a foreign city. Image : © John Hughes and Seunghee Kang, 2007 Courtesy of Gallery Yujiro, London Gallery website Read on...Gallery Yujiro, London |
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 art agents
gallery, Hamburg Hover Eric Eley art agents gallery is pleased to announce “Hover” by Eric Eley. The exhibition will include site specific and large- scale objects, collages on resin and drawings. Hover is the first extensive solo show by the Seattle based artist. Its central object Hull is a hybrid construction made of strips of wood and colored strings precisely defining lines and planes but nevertheless describing nothing real. Hull reminds us of a missile, the supporting structure of a porch or the skeleton of a prehistoric creature. Eley’s affinity to futuristic machines and the utopian spaces of the Russian constructivism seams obvious. The hovering fragments that seemingly mock gravity are a beautiful verbalized beat between mathematical calculation and fantastic organic growth. Eric Eley received his MFA from the University of Washington in 2005 and a BFA from Syracuse University in 1999. He spent two years as an artist-in- residence at the Archie Bray Foundation in Helena, Montana were he was also a recipient of the Taunt Fellowship. His exhibition record includes group shows in Seattle, Portland, Chicago and Baltimore and solo shows in Seattle and Spokane. Eley lives and works in Seattle. Hover is Eley’s first solo show in Europe. Image : Eric Eley s.l.w., 2006 wood, canvas, twine, plaster, ink, acrylic, staples 132 x 110 x 144 in Courtesy of art agents gallery, Hamburg Gallery website Read on...art agents gallery, Hamburg |
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 Elizabeth Dee
Gallery, New York New Humans : Disassociate Elizabeth Dee Gallery is pleased to present Disassociate, a durational installation and series of performances by New Humans, a New York based minimal noise band and moniker for collaborative work by artist Mika Tajima with musicians, artists, and designers. For this exhibition, Tajima, with other founding member Howie Chen, will present two new installations that will also feature visual and performance collaborations throughout the duration of the exhibition. Disassociate consists of two installations that function as autonomous sculptures and structures for collaboration, performance, and disruption. In the main room, colorful silkscreen prints fashioned like moveable modular wall panels serve as sound barriers for performance. They will also be used as display structures for the presentation of collaborative visual works by Tajima, Vito Acconci, José León Cerrillo and Philippe Decrauzat. Over time, the panels will be spatially reconfigured and activated through layers of accumulated text and graphic compositions. The back gallery contains a perfectly ordered and precariously arranged assortment of emblematic objects referencing status, luxury and design. A large immaculate pyramid of champagne glasses will balance delicately alongside a top-heavy stack of modular Eames shell chairs. This constructed showroom scene is slated to become a site of destruction in a sound performance held midway through the exhibition. Emanating throughout the entire gallery space will be an ongoing sound element recorded by Howie Chen. The sound piece features the anticipatory drone of a guitar amp just turned on, drawn out ad infinitum, and a popular song restructured into anonymous static noise. Together, the sounds resemble the crackling prelude heard on vinyl record recordings. As it takes the shape of an evolving sound composition, the exhibition will be punctuated by two separate live performances. The first event pairs a reading by Vito Acconci with a New Humans performance of sine wave drones, feedback, and geometric beat patterns. Its ‘recording studio’ configuration of isolated and obstructed areas created by the graphic sound partitions recalls the setting of Jean-Luc Godard’s “Sympathy for the Devil,” which features The Rolling Stone’s recording sessions for their iconic anthem. The second event features a destruction performance by noise musician C. Spencer Yeh and New Humans during which the stacks of champagne glasses and shell chairs will be toppled and sampled over the course of an extreme noise set. In its entirety and in its singularities, Disassociate underlines the potentialities, separations, and contradictions of collaboration in the process of mapping different creative practices. Repurposing bankrupt formalisms and recognizing the need to destroy and build at the same time, this durational exhibition points to the kinds of strategies and processes that can be used to create new articulations of form and sound through an antagonistic relationship to expectation, formalism, and style. This is the first solo exhibition for Mika Tajima and New Humans. Mika Tajima’s work has been featured in Bunch, Alliance and Dissolve, at the Contemporary Arts Center, Cincinnati, OH; Uncertain States of America at Astrup Fearnley Museum in Oslo, Norway, traveling to Center for Curatorial Studies, Bard College, NY, Serpentine Gallery, London, UK, and Reykjavik Art Museum, Reykjavik, Iceland; and Surface Tension at the Fabric Workshop and Museum, Philadelphia, PA Image : New Humans, Infinite Black Noise, 2005 Performed at P.S.1 Contemporary Art Center Gallery website Read on... Elizabeth Dee Gallery, New York |
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 Sakshi Gallery,
Mumbai, India Shilpa Gupta’s Recent Works An exhibition in collaboration with Apeejay Media Gallery, New Delhi. The show is based on the theme that no place is safe from art. Sakshi Gallery, in collaboration with Apeejay Media Gallery, Mumbai is hosting ‘Shilpa Gupta’s Recent Works’ and will be on view March 3rd till 14th March 2007. In her solo exhibition in Sakshi Gallery, Shilpa Gupta has created artwork using interactive websites, video, gallery environments and public performances to probe and examine subversively such themes as consumer culture, exploitation of labour, militarism and human rights abuse. Gupta will showcase 5 works in various mediums: installation, video, interactive media and net-based works. The show presents the artist’s ambitions that are not only technology oriented but also have a strong political stance. The concept for this show is that the artist does not want to be secure in an antiseptic environment, protected from war, rumour, scandal and public reaction. A guerrilla tactician, she emplaces her works at the blurred edge where new-media art bleeds into the culture of everyday life. Gupta rarely asks you to exit the comforts of normality and enter the hallowed space of Art; instead, her works are designed to be activated like wi-fi hotspots, invisible zones that allow your internet connections to snap into life in a coffee bar or an airport lounge. While taking a brief walk down a corridor to the washroom, you trip on a sensor, are assailed by a disembodied voice making racial slurs. Browsing casually through a religion website, you may trigger off an array of gun-toting monks, incongruous among icons and ritual instructions, clones of the artist flashing like runtime errors. Turning a corner in a bookstore, you might find yourself in a shop selling takeaway kidneys. Pooja Sood, the curator of Apeejay Media Gallery says, “Shilpa Gupta, one of the talented artists of the younger generation from India, employs technology to engage the viewer through the provocative and interrogative dimensions of conceptual art. While asking the audience to participate in her works, she often questions the whole theoretical framework of an art object. In her solo exhibition at AMG, the artist explores religion, globalization and the complex cultural and political dynamics of the Internet.” This exhibition has toured internationally and has received critical acclaim all across. Her artworks are a visual manifestation of the dialogue of two artistic disciplines in close interaction. Visual artists were challenged to engage in an imaginary dialogue with war, abuse, racism, scandal etc. The exhibition represents the acme of New Media Art as it depicts the field of war through the creative use of Sound and Video Art. Some of the artworks that are interactive in nature leave the audiences spell bound. Shilpa Gupta was born in Mumbai, India in 1976 and studied sculpture at the Sir J. J. School of Art there. She has exhibited widely and recent shows include the Havana Biennial (2006), ICC Tokyo (2005), Edge of Desire (New York, 2005) and Century City at the Tate Modern (2001, London). She was also commissioned to create Blessed Bandwidth.net, a net art project for Tate Online. In 2005 she was a runner- up for the Leonardo Global Crossings Award, Leonardo Magazine, MIT Press and in 2004, she was awarded the prestigious Transmediale Award in Berlin. Some of her works have also been showcased at 2006 Sydney Biennial, the 2006 Liverpool Biennial and a two-person exhibition at Daimler Chrysler Contemporary in Berlin. Gupta currently lives and works in Mumbai. Image: Shilpa Gupta "Untitled" 2006 C-Prints Each frame 120 x 72 inches on flex Courtesy of Sakshi Gallery, Mumbai, India Gallery website Read on...Sakshi Gallery, Mumbai |
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 Luis Campana
Gallery, Cologne Wilhelm Mundt Wilhelm Mundt explores the question as to how production mechanisms and industrial manufacturing structures can be used for artistic purposes without visually controlling a work of art. The best way to describe his method is to see it as a natural combination of form and material. At the same time Wilhelm Mundt's works elude any traditional principles of identifying artistic form, just as they elude the aesthetics of ready-made objects and even though their starting point can be found in production residue at his studio and which were coated with layers of glass fibre and polyester. The exhibition is created as a retrospective, presenting works from 1998, the year of Wilhelm Mundts first solo exhibition at the Luis Campaña Gallery. Image : Wilhelm Mundt Installation at Luis Campana, Cologne, 2007 Gallery website Read on...Luis Campana Gallery, Cologne |
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 Shoshana Wayne
Gallery, Los Angeles Mounir Fatmi : Something is Possible Shoshana Wayne Gallery is pleased to present its first exhibition of work by mounir fatmi. mounir fatmi constructs visual spaces and linguistic games that aim to free the viewer from their preconceptions of politics and religion, and allow them to contemplate these and other subjects in new ways. His videos, installations, drawings, paintings and sculptures bring to light our doubts, fears and desires. They directly address the current events of our world, and serve to both explicate the origins and symptoms of global issues, as well as speak to those whose lives are affected by specific events. The exhibition “Something is Possible”, gathers together a series of artworks in diverse media that ask the viewer to search for hope within often terrifying and difficult subjects. His sculptural installations using massive amounts of antenna cable inherently reference the transmission of information and the worldwide communications network. His severing and rejoining of the cables hints at the underlying media censorship, where gaps in information become gaps in public knowledge and understanding. In a similar manner, his sculptures formed out of VHS cassettes reference the bombardment of media through incessant duplication and repetition. In the most overtly political work of the exhibition, flags of each of the G8 countries, which act as visually symbolic icons of the enormous power held by these nations, are relegated to mere adornments atop push-brooms; both a tool of the common worker and a reminder of those affected by the decisions of the group. mounir will also be exhibiting a new version of his installations using equestrian jumping bars; “obstacles”, both figurative and literal, which force the breakdown of pre-existent physical and psychological barriers. The obstacles operate on many levels, at once speaking to the distances between the Middle East and the West while simultaneously touching on the similarities in origins of traditions shared by these seemingly disparate nations and peoples. The traditional dichotomies of good and bad, beautiful and ugly, are torn apart, disallowing us to cast such narrow dispersions on complex topics. As a result, the interpretive possibilities offered to the viewer are vastly multiplied. mounir fatmi’s work has been exhibited in the Migros Museum für Gegenwarskunst, Zürich, Switzerland, the Museum Kunst Palast, Düsseldorf, Germany, Centre Georges Pompidou, Paris, France, and the Mori Art Museum in Tokyo Japan. He also recently participated in the Gwangju Biennial, Korea, and the Seville Biennial, Spain. In 2006 he was awarded the Grand Prize at the 7th Dakar Biennial, and his work will be included in the 2007 Luanda Triennial in Angola. mounir fatmi was born in Tangiers, Morocco, and lives and works between Paris, France and Tangiers. Image: Mounir Fatmi Obstacles (Something is Possible) 2003-2007 horse poles and stanchions dimensions variable Courtesy of Shoshana Wayne Gallery, Los Angeles Gallery website Read on...Shoshana Wayne Gallery, Los Angeles |
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