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15 January 2007 | Sculpture & Installation January 2007 |
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 DCKT
Contemporary, New York Isidro Blasco : The Middle of the End DCKT Contemporary is pleased to present new photo- sculptures and installations by Spanish born, New York based artist Isidro BLASCO. In this latest body of work, BLASCO uses digital photography and common building materials to assemble three-dimensional constructions that reconstruct interior spaces and outdoor environments culled from the artist’s personal New York cityscape. BLASCO combines architecture, photography and installation to explore themes of vision and perception in relation to physical experience. His work often references the realm of private or domestic space. BLASCO normally begins by selecting one angle in a room or outdoors and then constructs a new space from the perspective of that vantage point. Though the distortions and emphases that BLASCO orchestrates risk comparison with the actual streetscapes or rooms he’s re-creating, the resulting effect is a fragmentation of a single line of sight that is reminiscent of Cubist collages. BLASCO’s three dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognizable and entirely new. BLASCO’s newest works expand his paradigm outward to urban spaces found upon exiting the interiors of his other works. For this exhibition, BLASCO has created three dimensional photographic constructions of his Jackson Heights neighborhood in Queens, NY. He has constructed collages consisting of the façade of his apartment building, a local subway stop, his building’s inner staircase and a variety of street scenes. Within these mundane scenes, BLASCO adds explosions of apartment buildings, windows and cars, realizing his fears of the current political climate and reaction to the nightly news. BLASCO will also present several smaller wall mounted works that explore these new outdoor spaces as well as the public interior spaces of his new apartment building. Image : Isidro Blasco, Subway with Explosion, 2006 c-prints, museum board, wood, hardware 38 x 56 x 18" Courtesy of DCKT Contemporary, New York Gallery website Read on... DCKT Contemporary, New York |
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 Postmasters
Gallery, New York DAVID HERBERT : I (heart) New York David Herbert is a recent graduate from Virginia Commonwealth University in Richmond. In his first solo exhibition in New York he explores the idea of great metropolis (and by extent of civilization as a whole) in final stages of collapse and disintegration. The show centers around 14 feet tall sculpture of the Empire State Building in a state of progressive decay; other sculptures represent equally iconic landmarks of New York City: Statue of Liberty, Brooklyn Bridge, and a collapsed subway car, all deceptively colorful and visually striking like a carnival mask on a terminal patient. A related series of drawings reaches into US history to further emphasize the apocalyptic Americana: KKK member with a burning flag, women taking over men's jobs during WWII, depression era speaker at the base of George Washington statue - these images are psychedelically frenetic on the surface and dark inside. Although not topical to current events Herbert works reflect our moment in time, full of doubt, pessimism one one side and decadent irrational exuberance on the other. If there will be anybody left to discover our ruins centuries from now, they may indeed look like Herbert's sculptures. Image: David Herbert, Empire, 2006 Mixed media (steel, paper,paint, sculpey) 90 x 50 x 168 inches tall Courtesy of Postmasters Gallery, New York Gallery website Read on...Postmasters Gallery, New York |
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 Monika Sprueth
Philomene Magers Cologne Mondi possibili As part of the PASSAGEN, the supporting programme of the International Furniture Fair in Cologne, at the beginning of the year Monika Sprüth and Philomene Magers present a new edition of the exhibition “Mondi Possibili”. On display will be works by artists such as Benjamin Bergmann, Thomas Demand, Thea Djordjadze, Peter Fischli/David Weiss, Thomas Grünfeld, Stefan Kern, Frances Scholz, Andreas Schulze, Franz West, and Martin Wöhrl. This exhibition series is intended to be continued in the coming years. The first exhibition titled “Mondi Possibili”, presenting furniture and objects created by artists, already dates back several years. Already in 1989 Monika Sprüth presented in her space on Maria- Hilf-Strasse furniture-like objects by, among others, Tony Cragg, Peter Fischli/David Weiss, Katharina Fritsch, and Louise Lawler. The works on display deal with the subject of furniture from a variety of angles: as citation, as homage, as adaptation, or as copy. Others are usable objects that hardly differ from their reference objects in the domain of design or furniture. In an interview Richard Artschwager once referred to furniture as things which celebrate what people do. Artschwager’s formal reductions of pieces of furniture may be understood as celebration. Celebrating their particular purpose at the formal and theoretical level, they are not suitable for actual use. This exhibition presents one of Artschwager’s crate sculptures he started making in 1993 for a show at the Portikus in Frankfurt. The crates are constructed like the crates used to transport works of art and have various shapes, partly reminiscent of specific objects. The tablecloth-like wooden shape on its top side, the hinted-at silverware and plates of aluminium, as well as the title identify the crate on display as a table. Usable objects have formed an important part of the work of Andreas Schulze from the beginning. His ceramic vases, fruit bowls or lamps, often integrated along with his paintings and other wall pieces in his installations, make formal references to middle-class home decor and kitsch. The blending of art and life, or of life and art’s usability, finds genuine expression in the work of Andreas Schulze. Thus the curtain on display emerged from a real-life situation in the artist’s former apartment. In order to separate the bay he had arranged as a guest room from the rest of the apartment, Andreas Schulze had the curtain made complete with a doorway, window, and a round opening for the ceiling lamp. The ivy wallpaper covering part of the walls of the exhibition space was designed by Thomas Demand as a decorative element for his show at London‘s Serpentine Gallery in 2006. Each of the four rooms was lined with different coloured ivy wallpaper on which his paintings were installed. Outwardly, the exhibition space was thus turned from a white cube into a living space, evoking the Serpentine Gallery’s original function as a tea pavilion. The wallpaper was printed by an English printer who to this day uses designs by William Morris for wallpapers. The works of Thea Djordjadze make formal references and pay homage to works of Le Corbusier. In her latest work the artist deals with negative casts of shapes. Martin Wöhrl’s sculptures and objects often quote or reference other works of art, but the artist also uses films as a source of inspiration. At the same time his works, like the floor piece on display, are mostly usable. Image : Thea Djordjadze, Untitled, 2006 0,69 x 1,96 x 0,50 m concrete, varnished steel Courtesy of Galerie Monika Sprüth / Philomene Magers, Köln / München / London Gallery website Press Release in German Read on...Monika Sprueth Philomene Magers Cologne |
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 Hallwalls,
Buffalo, New York ERIC BROWN: Terminals PAUL DICKINSON: Music for Worms and Compost In this exhibition, NYC-based artist Eric Brown presents new sculptures of neon. Brown’s point of departure, literally and figuratively, are the physical forms that typically represent actual terminals for air or rail transport. Terminals are points of interchange along specified routes, while remaining isolated entities unto themselves. They are locations that encompass departures, arrival, or—in the nightmare scenario—perpetual stasis. Terminals are points that serve to connect disparate places while remaining aloof and disconnected themselves. They hum with activity but remain remote, neutral spaces. Brown’s new neon works transform physical sculptural materials into ethereal space, treating a terminal as a way station that is both actual and elusive. They are not merely a stop along the way, but locations imbued with idealism and utopian promise. Eric Brown is represented by Goff+Rosenthal, NYC. In this exhibition of new work by Chicago-based sculptor and audio artist Paul Dickinson (a former Hallwalls Technical Director), the “works” are present and absent, before us and hidden from view, mute and alive with perpetual sound and activity. Three small wooden crates, fitted with visible air vents, sit in the gallery alongside a transformer and stereo speakers. Within each crate are hundreds of red worms wallowing in compost. The interior of each crate is fitted with microphones and infrared cameras, broadcasting visual and audio information to the “outside world.” Music for Worms and Compost is a specific exploration of ambient sensory experience, a collating and broadcasting of sight and sound that cannot be predetermined or predicted. Isolating the worms as Dickinson has done creates a curious relationship— they are composting, but they are doing so within a rigidly-defined environment and remain dependent upon external sources for access to the nutrients that feed them. They are composting in an unnatural environment and are unable to feed off natural sources (rainwater, insects) that may be available in a compost recessed in the earth. Images : Eric Brown, Courtesy of Hallwalls and Gof + Rosenthal, New York Paul Dickinson, Courtesy of Hallwalls Gallery website Read on... Hallwalls Contemporary Art Center, Buffalo, New York |
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 Hudson Franklin,
New York Keiko Narahashi : how long have I been sleeping? Hudson Franklin is pleased to present Keiko Narahashi's first solo exhibition in New York, on view from January 11 to February 17, 2007. Keiko Narahashi creates structures that act as provisional memorials or artifacts. The fundamental building blocks are multi-size boxes built from Italian parchment paper and dipped in gesso, which causes them to warp and pucker. Along with these, she adds paint, found objects, or photographs. She often swaps elements from her older works, a process she views as recycling. Her sculptures evoke a feeling of tenuousness associated with makeshift roadside memorials or rural cairns marking the spot of an unknown memory or tragedy. Narahashi says, "I recycle materials to craft memorials to an imagined past as a hedge against a possible future." Born in Tokyo, raised in North Carolina, the artist now lives and works in New York. She received an M.F.A. in 1999 from Bard College. She has had exhibitions at The Bronx Museum of the Arts and the Art Institute of Chicago. She has been awarded a studio grant from the Marie Walshe Sharpe Foundation (2005- 2006) and a painting fellowship grant from the New York Foundation for the Arts in 2006. Image : Keiko Narahashi, you can't fall down the stairs 2 times the same way, 2006 11"x24"x12" oil, parchment, foam core, wood Courtesy of Hudson Franklin, New York Gallery website Read on... Hudson Franklin, New York |
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 Arndt &
Partner, Berlin Charles Sandison, Cryptozoologies The Scottish artist Charles Sandison transports viewers into the fascinating world of the labyrinthine complications of language. Words and symbols dance, float, meet and mingle across the walls of the darkened gallery and the whole structure of the exhibition space. Sometimes aggressive, hasty and then slow and peaceful again, it seems as if the words have acquired a life and logic of their own. In the middle of the kaleidoscopic swarms of words we feel as though we have landed in the middle of the mouth of thought itself, in which the words become the protagonists of a story about the origin of being. Their movements seem random at first, but on closer inspection, we discover that they possess an individual choreography that resembles a digital simulation of the systems of nature and civilisation, a poetic illustration of the binary code that forms their basis. In a simple but eloquent way they reveal the extent to which our language and indeed our whole system of thought rest on primordial binary structures such as light and dark, good and evil, male and female, natural and artificial, open and closed, dead and alive. Projected against the wall, the ephemeral form in which they are presented again serves to underline the fleeting nature of thought and images, which can be perpetually reinvented and put together in an infinite number of ways. Excerpt: Charles Sandison: Spatial Poetry by Katja Albers Image: Charles Sandison, Installation view at Arndt & Partner, 2007 dmulti channel data projection, computer, text and C++ code, dimensions variable Courtesy of Arndt & Partner, Berlin Gallery website Read on...Arndt & Partner, Berlin |
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 Foxy Production,
New York NETWORKED NATURE : Organized by RHIZOME Foxy Production presents Networked Nature, a group exhibition that inventively explores the representation of “nature” through the perspective of networked culture. The exhibition includes works by C5, FutureFarmers, Shih-Chieh Huang, Philip Ross, Stephen Vitiello, and Gail Wight, who provocatively combine art and politics with innovative technology, such as global positioning systems (GPS), robotics, and hydroponic environments. In their work Perfect View, San Jose-based collective C5 reached out to the subculture of recreational GPS users, or geo-cachers, asking them for their recommendations of “sublime locales.” The submitted latitudes and longitudes provided the guide points for a thirty-three state, thirteen-thousand mile motorcycle expedition by collective member Jack Toolin, who photographed the terrain at the given coordinates. The results, presented in triptychs, smartly subvert traditional representations of landscape and notions of the sublime. San Francisco-based collective FutureFarmers’ Photosynthesis Robot is a three-dimensional model of a possible perpetual motion machine driven by phototropism - the movement of plants towards the direction of the sun. Their proposal that a group plants will very slowly propel a four wheel vehicle is a witty take on the pressing search for new forms of energy. New York artist Shih-Chieh Huang’s inflatable installation, Din-Don I, is inspired by everyday household electronic devices and his studies of physical computing and robotics. In this ingenious exploration of organic systems, he creates a dynamic circulation of electricity and air: a living micro- environment. San Francisco-based Philip Ross’ Juniors are self- contained survival capsules for living plants. Blown glass enclosures provide a controlled hydroponic environment, where plants’ roots are submerged in nutrient-infused water, while LED lights supply the necessary illumination. The artist has drawn on two culturally divergent traditions - Chinese scholars’ objects and Victorian glass conservatories – that share the belief that nature is best understood when seen through the lens of human artifice. Virginia-based artist Stephen Vitiello’s Hedera (BBB) unsettles our assumptions of what an appropriate soundtrack might be. The artist has constructed a sprawling vine installation with speakers hidden between the branches that quietly broadcast percussive sounds woven from the speeches and private conversations of George W. Bush and Tony Blair. Creep, by Oakland-based Gail Wight, is an hypnotic three screen time-lapse video of the growth of dyed slime mold. Separately edited sequences play alongside each other, cycling through a sequence of fluorescent color shifts. In her aestheticizing of the normally repellent, Wight creates an ode to the beauty of natural growth patterns. Networked Nature is organized by Marisa Olson, Editor and Curator at Rhizome. Image : Installation of Networked Nature at Foxy Production, New York, 2007 Gallery website Read on...Foxy Production, New York |
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 1301PE, Los
Angeles SUPERFLEX : COPY RIGHT 1301PE is pleased to present its first solo exhibition with the Copenhagen-based collective SUPERFLEX, entitled COPY RIGHT. Fresh from their controversial inclusion in Sao Paulo’s 2006 Biennial where their major installation Guarana Power was censored by the foundation president, Manoel Francisco PÌres da Costa, SUPERFLEX confronts issues of copyrights, trademarks, intellectual property, the power embedded in these laws and how they affect contemporary society. According to PÃres da Costa, Guarana Power, an independent soda bottling plant based in Brazil, was not an “artistic activity”, it went against the “purposes foreseen” in the laws of the foundation and that it could upset possible “third party interests”. PÃres da Costa refused to name the third party interests and how they were linked to the biennial, or give credence that this non “artistic activity” had been viewed at the Venice Biennial in 2003, the Stedeljlik Museum in Amsterdam, Netherlands, Kiasma, Museum of Modern Art in Helsinki, Finland, and Red-Cat, Los Angeles. Continuing in the rich and compelling traditions of 20th-century art collectives ranging from the Bauhaus to Fluxus to Group Material, SUPERFLEX, emphasizes team practice and embraces an ideology that art shouldn’t be limited to discreet, unique objects that serve no function. Through collective strength SUPERFLEX has discovered how they can change and improve social and aesthetic structures, with an emphasis on altering assumptions in both art and life. SUPERFLEX challenges the role of artists in contemporary society” in having them, think about not only art and design, but also “economic structures of dependency” in relationship to their work. This point is exemplified in COPY RIGHT installation that takes a modified version of the Arne Jacobsen ‘Ant Chair’ and by hand-cutting makes it look closer to the original in multiple forms. Like Marcel Duchamp’s “ready-made” Urinal, COPY RIGHT challenges the notion of the ‘original work’. In an era when the debate of intellectual property and counterfeit objects intensifies, SUPERFLEX exerts a forceful artistic effect in “supercopying” and in creating “new originals”. Gallery website Read on... 1301PE, Los Angeles |
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