6 June 2007

Photography & Multi-Media June 2007

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Domobaal, London Seventeen, London aeroplastics contemporary, Brussels Collective Gallery, Edinburgh See Line, Los Angeles Pari Nadimi Gallery, Toronto Paradise Row, London Next from re-title.com         sign up!

Domobaal, London Daniel Gustav Cramer Mountain 11 May - 23 June 2007 Domo Baal is delighted to host Daniel Gustav Cramer's third solo show Mountain in the gallery. This will mark the third part of the artist's Trilogy, an extensive personal archive he has been working on since 2003. The Goethe-Institut, London will concurrently host Four Photographs showing Woodland, Underwater and Mountain photographs for the first time in the UK, side by side. There will be a publication to mark this, with an essay by Charles Darwent alongside six new photographs. "At first glance, Cramer's Woodland images seem obsessively exact, concerned with scientific attention to detail: they should come from a textbook on sustainable forestry. Their complete lack of narrative, straight-on viewpoint, deep focus and square format suggest the pursuit of empirical truth. But a quick stroll through Cramer's woods reveals a rather different quality to his art." Extract from Deep Waters by Charles Darwent, published in Art Review March 2006 Daniel Gustav Cramer lives and works in Berlin and London, and lectures in Fine Art at Sheffield Hallam University. He received his MA at the RCA, London in 2003 and was selected for New Contemporaries. He won a Jerwood/Portfolio Photography Award in 2005/6. Since 2003 he has shown a selection of photographs from his ongoing personal archive project, Trilogy in London, Cologne, Lisbon, Milan, Nicosia and elsewhere, in both solo shows and curated group shows. Most recently he has shown in Liebe zum Licht, a photography survey show touring Germany, finishing in Kunstmuseum Bochum. In May he will exhibit in Gescheiterte Hoffnung, New Romanticism in Contemporary Photography in Germany, curated by Andrea Domesle during the Photography Festival in Krakow, Poland. DANIEL GUSTAV CRAMER:'MOUNTAIN' CONTINUES UNTIL 23.06.07 + BY APPOINTMENT UNTIL END JULY (CATALOGUE) DANIEL GUSTAV CRAMER: 'FOUR PHOTOGRAPHS' GOETHE INSTITUT, LONDON UNTIL 23.09.07 (CATALOGUE) DANIEL GUSTAV CRAMER: 'ERSCHEINEN/VERSCHWINDEN' EIN DEUTSCHES ALBUM UNTIL 03.06.07 GROUP SHOW CURATED BY MICHAEL STAAB BUNKIER SZTUKI, KRAKOW, POLAND (CATALOGUE) DANIEL GUSTAV CRAMER: GESCHEITERTE HOFFNUNG NEW ROMANTICISM IN CONTEMPORARY PHOTOGRAPHY IN GERMANY UNTIL 03.06.07 GROUP SHOW CURATED BY ANDREA DOMESLE Image: Daniel Gustav Cramer courtesy of Domobaal, London Gallery website Read on... Domobaal, London

Seventeen, London PAUL B. DAVIS [BEIGE] 30 May - 23 June 2007 Paul B. Davis utilises outdated/obsolete computer technologies, including most notably Nintendo games systems, in order to perform specialist interventions into the territory of the digital art medium. While the materials utilised are ready-made, the use principle is entirely hand crafted; Davis altering the existing code while adding nothing new. This idea, the implemented projection of an alternative potential onto a ready- made object, exactly and succinctly captures the structured abridgement between computers and art, between theory and praxis, ongoing in Davis' practice. Davis is a founder member of the pioneering programming ensemble, BEIGE, which also comprises Cory Arcangel (Team Gallery, NY), Joe Beuckman and Joseph Bonn. BEIGE members have subsequently used Davis' hacked NES concept to create a distinct body of work that has been shown internationally. See beige [programming ensemble] This exhibition comprises two large projections. One is a new NES hack that takes its form from the pirate video game cartridges that first alerted Davis to the possibility of intervening with games. These 'multicarts' often had for or five different games on one cartridge and echoing this, Davis is presenting five different works on one machine. Fittingly these pirated works are not all by Davis' hand, as he loots excerpts from other BEIGE collective hacks, questioning authorship in the already grey area of software as readymade. The second piece is a new video, a collaboration with the trans-media collective Paper Rad, which accentuates and aesthecises artefacts inherent in video compression formats, particularly MPEG-4. A third work, in collaboration with Cory Arcangel, titled Fat Bits, is a triptych of monitors which presents close up images of an NHL ice hockey match, converted into imagery housed in a NES. Reminiscent of the timeless NES Ice Hockey game, these abstracted motions of brawling figures present a bacon-esque scene, groaning and grunting in a slow motion and distorted struggle. Aesthetically Davis' images are solid slabs of reordered, pure proto-modernist colour. With his alterations a new game, a new screen and a new surface emerges. The materiality of a hacked game cartridge, set into the instantly recognisable Nintendo console, guarantees that the recession into a purely two-dimension digital fold is never as total as it is in the work of other digital artists, the work remains an object. Further, the dizzying hyper-graphics of many related practitioners are surrendered in favour of the neat, blocky pixilation of the outdated NES operating system. This show also includes an installation featuring 8-bit Construction Set - an art/music/concept work rendered in vinyl which will be mounted on a record deck within the gallery, visitors being invited to play it out to their own satisfaction. Quoting his influences as ranging from formalised British computing theory (Alan Turing) to the advent of widespread domestic console gaming (Mario), Davis has pioneered a truly unique strategy through a multiplicity of actions, networks and artistic creations. Davis' practise is at once rigorous, conceptual - even nerdy, while nonetheless fully intimate with the patois, style, attitude and aesthetic of retrogressively inspired, data-bit multi-media contemporary culture, that has recently forced its way into the public consciousness. Paul B. Davis, as part of BEIGE, has exhibited internationally at venues including the The Whitney Biennial 2004 (NYC), Vilma Gold (UK), Team Gallery (NYC) and Foxy Productions (NYC). Image: Paul B. Davis [Beige] Still from "Five in One", 2007 DVD projection of Hacked Nintendo Cartridge. Courtesy of SEVENTEEN Gallery website Read on...Seventeen, London

aeroplastics contemporary, Brussels Carlos Aires : A Day Without Sunshine is Like Night 23 May - 14 July 2007 They lived happily .. It was during his one-year stay in the Midwest in 2004 (Colombus, Ohio) that Carlos Aires suddenly became aware, like so many other expatriates, of the central role played by the computer in our everyday management of information and communication. Messages, chats, forums, online press, photo albums, research and entertainment: everything ended up in one way or another on the screen of his portable. The paradox of the Internet (or its richness, depending on how you look at it) lies in its ability to provide, at the same time, information and the means to dissect it. And a chance to notice the gulf which sometimes (often?) separates data from their sources - for instance, the gulf the article boasting of the merits of American soldiers in combat and the clandestine video placed online by a marine which reveals the crude reality of the war in Iraq (we will come back to this). According to Carlos Aires, behind every truth on which official history is based is another kind of truth; behind every winner is a loser, and behind every fairytale prince is a dwarf. Under the generic title Happily Ever After, these great photographs summarise his outlook perfectly: while everybody is convinced that these small persons are disguised for the occasion, even though this is not true (they are simply displaying their social status and profession), nobody notices that the "fake" side is the décor, these heavy black frames which in fact were moulded by the artist from plastic resin. Apart from the irony-tinged homage to the Spanish 17th century masters, the series questions our ability to manipulate stereotypes and to separate the real from the fake - and underlines the ambiguity of the frames, the bourgeois symbol par excellence which is always excluded from official art history book. The fake hunting trophies, also made from plastic, which carry the signature of the author, form part of the same approach - unless this is an allusion to the expression ¡ cabrón !, the translation of which varies considerably depending on the context. Still in relation to the Happily Ever After series, Carlos Aires took lingering photographs at night of parks known as meeting places for the gay community. The result is a complete transfiguration of these places regarded as sordid by some and as the setting for fantasy films by all. Based on the observation that there are always several visible realities, Carlos Aires wondered about the way in which those born blind can perceive them. First he produced a compilation of very short videos all linked by the theme of death or war. Some come from the Internet, placed online almost illegally by the direct protagonists - such as the images filmed by American soldiers in Iraq. But Carlos Aires has blurred them to the extent that they are almost indescribable to those who can see: hence the title Cataract. In the final version, these sequences are peppered with comments by people born blind who deliver their experiences of death and violence or, rather, the "image" they have of this. The panel paintings using goldleaf, like contemporary icons on triplex, are more complex in terms of their relationship to the net. The images are drawn from Internet chatrooms where each person can hide behind whatever name he wishes: his dog or the disguise of Captain America. Carlos Aires adds an audio comment to each painting, the one incorporated by the user into the web page. The result is a constellation of strangers on the wall: a golden monument to solitude and virtual encounters. Another monument, one consisting of huge knives (so these objects do exist outside horror films?), on which images cut from archive photographs are engraved, while the empty matrix faces them. What is the meaning of a character suspended in space, if he cannot be placed in the context of a fatal fall? Of a child waving a flag, if he is removed from the Nazi parade he is taking part in? Of a person kneeling, if the crematorium oven over which he is leaning has disappeared? Once again, Carlos Aires plays with what you can see, what you cannot see and what is suggested. The same principle applied to pop culture produces vinyl records (preferably "love and dance" music) cut out using a digital process to adopt shapes drawn from mages of disasters or pornography. With, all the same, a happy ending (in this case, a happy beginning): while Mister Hyde I, shot in infrared, combines very ambiguously images of backrooms and very familiar views of fairground stalls (like those in a horror film), Mister Hyde III consists of slow- motion scenes of reunions at an airport: filmed very close-up, the protagonists do not notice at any time the camera filming them - or perhaps in the midst of their emotion, in one of the few public places where this kind of thing is still accepted, they choose not to see it? Pierre-Yves Desaive Image: Carlos Aires Untitled (from the series Happily Ever After) "Wolf" Kid, Mexico - 2007 125 x 125 cm - ed. 1/6 Lambda print on aluminium and mat protection layer, black wooden frame Courtesy of aeroplastics contemporary, Brussels Gallery website Read on...aeroplastics contemporary, Brussels

Collective Gallery, Edinburgh This is How We Walk on the Moon Johanna Billing 2 June - 14 July 2007 The Collective Gallery is delighted to present the first solo exhibition in Scotland by Swedish artist Johanna Billing, a new film commission set on the Firth of Forth with it's iconic bridges. The film was made by the artist collaborating with five local people and incorporates a special events program of live music sessions. Johanna Billing spent over a year working with the Collective's One Mile programme, including living in Edinburgh in October 2006. Her work is beginning to gain major international success. This is an amazing opportunity to see one of visual arts rising stars interaction with Edinburgh and it's people. Johanna Billing tends to stage people in her films, often collectively, engaged in activities that demand great concentration: recordings in sound studios, dance rehearsals, the tension before diving into the water. This new video centres on the ocean and the experience of sailing. Impressed by the contradiction of Edinburghs proximity to the North Sea and the lack of awareness of the majority of the population to this, Billing invited a group of local musicians on a sailing trip. Events unroll from the preparations on land through to the journey under the Firth of Forth Rail Bridge to taking down the sails: the instructor's calm directions, the students' first awkward steps in unknown territory. And the commensurate soundtrack: "This is How we Walk on the Moon," a song from the 1980s by experimental New York- based musician Arthur Russell, in an interpretation rendered by Billing and her collaborators using voice and string instruments. Against the backdrop of the constantly changing weather - storms, rain, sun - progress slowly becomes visible. For the presentation in the gallery Billing also uses handmade benches, stage and screen to tie the slightly pedagogic style of the video to the persistently present physical performance - meant more as an observation of the learning process rather than as sailing instruction. Alongside the film screening Billing has invited one of the musician/sailors Emily Roff aka Tracer Trails to produce a series of musical performances free and open to the public. On Wednesday evenings 8 -10pm for the duration of the exhibition the Gallery will become a venue featuring bands such as Wounded Knee and Rain Cloud. For more information on the music events : www.myspace.com/tracertrails Image: Johanna Billing This is How We Walk on the Moon Courtesy of Collective Gallery, Edinburgh Gallery Website Read on... Collective Gallery, Edinburgh

See Line, Los Angeles Timeline : Kathrin Burmester Chris Oatey Ami Tallman Maria Von Köhler 9 June - 28 July 2007 See Line Gallery presents Timeline a group exhibition featuring works by Kathrin Burmester, Chris Oatey, Ami Tallman and Maria Von Köhler. Kathrin Burmester's digital collages News Compositions are created from a day's worth of online news photographs. By methodically collecting and then compositing the photos, Burmester forms a new image that is notable in its ability to slow down the immediacy of photojournalistic imagery. As the individual photographs blend together they form a new image that is at once an image that collapses its content and an image where unrelated details strangely fall into place. Ultimately, Burmester's collages create an awareness of looking and seeing. She leverages the underlying properties of collage to extend the life of the source images and to facilitate an investigation of the usage of news photography. Her collages ask us to consider the impact of the hyped-up continuous distraction created by the current barrage of images and news stories. Chris Oatey's drawings are a part his larger investigation entitled "Wallpaper of Champions" which looks at how sports are valued in our culture, in this case through the pairing of athlete and spectator. An image of marathon runners is placed next to an image of a crowd, both recognizably different in content, yet aesthetically similar. It is within this space where Oatey plays on temporality and social culture, carefully constructing each image in a way that allows us to think about our relationship to sports imagery and its ability to seduce us visually. Ami Tallman draws from many disparate sources for tactical models and visual styles, producing work in groups that represent juxtapose imagery in an array of representational and discursive perspectives. For Tallman's current project, the artist looked at various environments in which semi-clandestine foreign policy decisions were being made, and in this task, came across a slew of English country manors that had been re-purposed as corporate retreats, Their current function held a great similarity to the way the homes had been used when the aristocrats who built them had been in power. Between their initial habitation and their present function, many of these homes fell into disrepair as they lost their male heirs in WWI. In depicting what these interiors looked like in the period between these two identities, Tallman attempts to capture the desolation of an inheritance without recipient, and the strangeness of what seemed like an orphaned private world. Maria von Köhler's sculptures imitate artificial, degraded replicas either through the objects themselves or the positions they take within the space. As monuments they service a homogenized heroic ideology that functions merely as a mechanism of propaganda, forming the basis of the relationship between the works both inside and outside of the gallery. The multiples evoke a kind of metonymic sliding of signification, reinforcing a relationship of ambivalence between the viewer and the heavily determined subject matter. In this, the politics of visuality and a fraught culture industry arise in repetitive dissonance, seeking to chronologize an ambiguous conflicted-ness of commodity desire. Image: Kathrin Burmester NY Times 04/11/07 (Baseball), 2007, digital c-print, 17"x22" Digital C-print, 17" x 22" Courtesy of See Line, Los Angeles Gallery website Read on... See Line, Los Angeles

Pari Nadimi Gallery, Toronto Michael Euyung Oh : 2006/2007 19 May - 14 July 2007 Pari Nadimi Gallery is pleased to announce the second exhibition of the gallery artist, Michael Euyung Oh. In this exhibition, Oh presents a series of multi- media works that examine the notion of the administrative arbitrariness inherent in making value judgments on both personal and cultural levels. Best Ensemble (2006) is a single channel video projection made from the official video footage of the athletes' procession from the opening ceremony of the Athens Olympic Games, 2004. In this video, the order in which the teams walk into the stadium is not alphabetical, as it was at the actual event, but re- edited according to the aesthetic preference for team uniforms and presentations as determined by Oh and two of his juridical collaborators (Dejan Dolacki and Sydney Vermont), with their favorite appearing first. Another work in this exhibition is entitled The Legal Age of Sexual Consent (2006). It is a pocket-sized, traveler-friendly folding book that simply lists the legal ages of sexual consent around the world. Also included in this exhibition are two single video installations entitled Mothers on the Run (2006) and Fathers on the Run (2006). Appropriating the public announcement video format, these videos show biological parents who lost their child custody after court arbitration and now wanted by police for child abduction. Oh's work has been exhibited internationally in London, Vienna, Geneva, Turin, and Seoul. Recent exhibitions and projects include Dysphorias, Palafukas, Turin, Italy (2007); I.D. Images of Identity, Art Gallery of Hamilton (2007); Anxiety of Influence, UCLA New Wright Gallery, Los Angeles, CA (2006); Classified Materials: Accumulations, Archives, Artists, Vancouver Art Gallery (2005); Public 28: Satan Oscillate My Metallic Sonatas, Contemporary Art Gallery, Vancouver (2004); Parallax View, the Western Front, Vancouver (2003); Sphere, Presentation House Gallery, Vancouver (2003); and About Time, Canadian Embassy Gallery, Washington, DC (2003). Image: Michael Euyung Oh Best Ensemble, Athens 2004 video still, DVD, 72 mins, 2006 Courtesy of Pari Nadimi Gallery, Toronto Gallery website Read on...Pari Nadimi Gallery, Toronto

Paradise Row, London Guillaume Paris : Paved with Good Intentions 19 May -19 June 2007 "Purity is the enemy of change, ambiguity and compromise" Mary Douglas Paradise Row presents 'Paved with Good Intentions', the first major London solo exhibition by French artist Guillaume Paris. On show will be key pieces from Paris' oeuvre along with a number of new works that, together, span the categories of sculpture, video, painting and computer-generated art. Over the last fifteen years Guillaume Paris has evolved a diverse practice that focuses, from an anthropological standpoint, on the use and abuse of meaning and identity in contemporary culture. The work examines the powerful ideological forces that shape modern society, especially their more curious elements - such as the persistence of quasi magical forms of thinking in the discourse of both consumer fetishism and Western politics that combine to form our 'new world order'. At their core, these interests lead Paris to explore notions of the ideal and the rhetoric of purity that underlie all these discourses: from politics to religion, via advertising and marketing. As part of that critique of purity Paris positively engages with ideas of change and adaptability, in conceptions of heterogeneity, transience and tolerance. In keeping with these concerns Paris produces exhibitions that define a very particular kind of space. Structurally diverse, often they combine works executed in different media that apparently address different subjects. Paris creates spaces that are opposed to any form of essentialism, tolerate antagonism and do not lend themselves to any form of closure. Instead they provoke critical engagement and, at times, a more emotional response to the vast flow of artefacts and ideas that structure and mediate the world we inhabit. Image: Guillaume Paris Priceless 2003 invite Courtesy of Paradise Row, London Gallery website Read on...Paradise Row, London

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