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1 November 2007 | re-title.com newsletter - Mixed Media & Installation November 2007 |
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 BLEU ACIER
IncTampa FL Marie Yoho Dorsey : Tales From Old Japan and Other Stories 9 Nov - 29 Dec 2007 Bleu Acier is pleased to present Tales From Old Japan and Other Stories, Marie Yoho Dorsey's first solo exhibition at Bleu Acier. Dorsey's Japanese heritage is the primary stimulus of her work. A long time practitioner of Ikebana, she draws a continuous source of intellectual inspiration from this practice. Much like Ikebana whose exquisite forms are transient in nature, direct gravure has provided a sensitive tool with which to create the same fleeting forms in ink onto delicate Japanese paper. The elaboration of the image continues with the application of embroidery and sewing. As a result of this process the prints become sculptural images in nature and practice. The three new direct gravures are images rooted in traditional Japanese folk tale. The Crane Wife, Love Echo and Stardust are tales constructed within a narrative landscape. There are references to the Japanese author Kenji Miyazawa and tales such as "The Crane Wife", and "The Marriage Ceremony of Two Rocks on the Japanese Island of Saddo". In addition to these works on paper several new installations will be presented, as well as the first sculpture edition realized and published by Bleu Acier. BLEU ACIER INC. is an active fine art print publisher, print atelier, gallery and live-in loft that functions at the intersection of private and public space where art and the city keep company. Bleu Acier exhibits works in all disciplines by emerging, mid-career and established artists from the U.S. and Europe. image: Marie Yoho Dorsey, Love Echo, 2007 Direct Gravure and Embroidery on Gampi and Kitikata Edition: 3+1AP, 23 X 49 in. Published by Bleu Acier Inc. Image courtesy of BLEU ACIER Inc BLEU ACIER Inc 109 West Columbus Drive Tampa Florida FL 33602 BLEU ACIER Inc Read on... BLEU ACIER Inc |
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 Postmasters
GalleryNew York KRISTIN LUCAS : If Then Else End If 20 Oct - 24 Nov 2007 Kristin Lucas succeeded in legally changing her name from Kristin Sue Lucas to Kristin Sue Lucas. In Alameda County Court, the presiding judge who granted the request said: "So you have changed your name to exactly what it was before in the spirit of refreshing yourself as though you were a web page." Postmasters is pleased to announce the exhibition of new works by KRISTIN LUCAS "If Then Else End If" opening on October 20 and remaining on view until November 24. This is the artist's third solo show with the gallery. Positioning herself at the center of her projects, Lucas' work addresses the complexity of our relationship to the digital realm and the psychological effects of rapid spread technology. Reversing a popular concept of infusing humanity into machines she instead applies familiar strategies of electronic media to her own life. Transformations, mutations, copies, updates, versions, and self-investigation are the focus of Lucas' exhibition. "Light Boxes" (digital prints on backlit film) are photographic self-portraits with special f/x makeovers wherein the body appears diseased, the virus attacking the organic matter. Lucas, the techno-martyr, is placed within surroundings infused with digital debris and artifice. The portraits translate the complex state of being either/or, all and in between: send and receive, crash and recovery, and physical and virtual in times of transition and mutability. "Whatever Your Mind Can Conceive" is a multiple channel video projected onto roadside billboards surrounded by a desert landscape. Flaming comets, translated from pinball game graphics into laser-cut forms, pummel a landscape of cast fiberglass rocks, interlacing psychological, physical, and virtual terrains. In the videos, Lucas performs herself differently-abled, set out on an introspective journey in search of self- knowledge, while recovering from the bizarre effects of an inflamed rash, a rash that functions as an antenna for receiving Bingo call numbers. Under the care of licensed hypnotherapist, Dr. Ron Abbott, a collaborator in this lived performance, Lucas retires from her position as Bingo caller (a position that she does not actually hold) at an airport casino (that does not exist). Also Showing: Second gallery of Postmasters presents the projects related to new Kristin. In "Refresh" the artist receives a government-issued refresh. Kristin Lucas becomes the most current version of herself. Documentation includes a certified name change form, newspaper clipping, sketches from court hearings, and a transcript of a philosophical debate between the artist and the presiding judge over the perception of change. Shown alongside "Refresh" is "Before and After" - a mixed media group show/installation of portrait sets of Kristin Lucas before and after her name change. Image: Kristin Lucas "Breakout" , 2006 duraratran photograph, lightbox 36 x 36 x 5 inches ed. 3 + 1 AP Postmasters Gallery 459 West 19th Street (at 10th Avenue) New York NY 10011 Postmasters Gallery, New York Read on... Postmasters Gallery, New York |
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 Cristina Guerra,
Lisbon Joćo Louro : BIG BANG 26 Oct -17 Nov 2007 Cristina Guerra Contemporary Art is pleased to present BIG BANG, a solo exhibition featuring two new installations and bi-dimensional works by Joćo Louro. Joćo Louro is widely regarded as a leading artist of his generation. Best known for his BLIND IMAGES and DEAD ENDS, Louro idiosyncratically gathers together references culled from popular media alongside the work of radical theorists, either under the sleek, opaque surfaces of his BLIND IMAGES or on the large- scale, rhizomatic, grass roots traffic signs that constitute his series of DEAD ENDS. Over the past two decades, Joćo Louro has defined several journeys, or better yet, the idea of journey and navigation, not from one productive or evolutional point to another, but along alternative, secondary roads, detours, forgotten paths and "cul-de-sacs" as one of the many defining subjects of his work. This time round, Louro has defined another impossible journey as the theme for his show: an expedition by car to the beginning or origin of all things, one that ends in chaos. The routes Louro proposes are never clear or linear, but rather somewhat labyrinthine, paths of flight from vertical order and prescription. It is never clear what his passengers can expect at the next turn - the journey is unpredictable - what awaits us at the next stop. The road is long and winding, and the one we have chosen to travel in the company of the artist is no exception. One senses from the back seat, from our view onto the desolate landscape, the exhilaration that radiates from the artist in his driver's seat, his excitement at the roaring engine of his chosen vehicle, his obsession with this lost highway. Louro, a blind runner, has no fear of speed. He steps down on the accelerator and concentrates on the road ahead. All of a sudden, our driver looses control. The car screeches, careers out of control and grins against the rails, spinning. By some miracle, we come to a halt. As we pry ourselves from this twisted wreck, a sense of a new beginning, of new life, flushes over us. This is what feeds and pumps through the veins of this strange creature, the daredevil, the Hollywood stuntman, the suburban racer x-type who whizzes around the parking lot in his domestic vehicle: the possibility of return. Working directly in the space at Cristina Guerra Gallery, Joćo Louro will recreate the "mise en scčne" of a fresh accident, presenting the wreckage of a crash and brutalised rails together with the fractured images or flashes of an ordered universe. Joćo Louro has exhibited in Europe and the US. Recent solo exhibitions include 'Blind Runner', Centro Cultural de Belém, Lisbon (2004); and Play, Rec and Pause, Christopher Grimes, Santa Monica (2006); and the group shows 'InSite '05 - Art Practices in The Public Domain', S. Diego and Tijuana (2005), the 51st Venice Biennial, Venice (2005). 'Blind Runner: An Artist Under Surveillance' is a documentary on the artist by director Luķs Alves de Matos will premiere in DOCLISBOA on Friday, October 26th at 6.30pm. The screening will take place in the large auditorium of Culturgest (Rua Arco do Cego, Lisbon). Image: Joćo Louro BIG BANG Installation view, 2007 Courtesy of Cristina Guerra Contemporary Art, Lisbon Cristina Guerra Contemporary Art Rua Santo António ą Estrela, 33 1350-291 Lisbon Portugal Cristina Guerra, Lisbon Read on... Cristina Guerra, Lisbon |
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 Galerie Michel
Rein, Paris MATHEW HALE : Tasuk! Tsukku-san! 13 Oct - 17 Nov 2007 Galerie Michel Rein is proud to announce Mathew Hale's first solo show in Paris. He will present a selection of drawings/ collages from his series entitled "The MIRIAM Books". According to Jordan Kantor: "Hale's appropriation and repositioning of the book page triggers a dizzying, recursive loop between drawing and writing - and between reading and viewing." (in Pissing Ink: 80 Pages from the MIRIAM Books by Mathew Hale, ed. DAAD Berlin, 2004) Born in 1962 in Swindon (England), Mathew Hale has shown his works at the DAAD galerie (Berlin) and at the Whitechapel Gallery (London). Image: Matthew Hale Tasuk! Tsukku-san! 2007 Courtesy of Galerie Michel Rein, Paris The Pages from 'The MIRIAM Books' - These drawings and/or collages are associative improvisations. I follow my hand as much as I guide my hand. The images emerge during their making. When I begin I have no idea of what, if anything, will appear. 'The discovery of their subject is their subject.' (Jeffrey Eugenides). - The process of making a series of these works begins when I cut all the pages from a chosen "host" book. I then shuffle the loose sheets and place them in a pile. Each time I want to begin a new drawing I split the pile and draw on the page that comes out on top. - There is only one rule; that there can be no failures. I must find my way through to some kind of satisfactory result in each case. Some of the best drawings and/or collages have endured long periods of failure, others appeared swiftly and fluently. Some pages remain unresolved for a long time, others are complete in a few minutes. - I always begin a new page by drawing on it in ink. Collage usually enters into a work at a point when drawing has begun fail. - A quotation: 'I really do think with my pen, for the head often knows nothing of what my hand is writing.' (Ludwig Wittgenstein). Mathew Hale, Oct. 2007 Galerie Michel Rein 42, rue de Turenne F-75003 Paris Galerie Michel Rein, Paris Read on... Galerie Michel Rein, Paris |
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 Raid
ProjectsLos Angeles Matt Wardell Presents The Suitcase Meets The Fucked Up Drawing Party 3 Nov - 24 Nov 2007 In the exhibition, The Suitcase Meets The Fucked Up Drawing Party, a rendezvous has been arranged between two Los Angeles-based collaborative groups. Each group has a specific agenda (written or un-written, spoken or un-spoken; concrete, organic, or other-wise). Each group's membership is fluid and in flux, while maintaining certain core collaborators. Both groups engage in the concept of an 'open' work. While bound by a collective mission, neither group imposes a fixed reading of said agenda on said membership. The dilemma that emerges is what happens when two such fluid groups come in close proximity. Collaboration has long been a strategy employed in artistic production. The benefits lie in the ability to abandon personal responsibility for anything horrible that emerges, to share in the glory of others' work and claim it as your own, and, at best, a removal of ego; an out-of-body viewing of what can be produced when personal issues of career, fame, or fortune are eliminated. The specific tactics of The Suitcase and The Fucked Up Drawing Party can be traced to Surrealist party games, or more recently, The Royal Art Lodge. The Suitcase emerged from some unresolved drawings of Los Angeles-based artist Kent Hammond. He began exchanging these unfinished works in several suitcases with fellow artists. The idea was to resolve what was unresolved, include additional work to be finished, and pass the suitcase to another artist. During exhibitions, works remain in flux; edited and elaborated, executed and eliminated. Derived from wide-ranging methodologies, the by- products of The Suitcase are bound in conflict resolution. Since its inception, numerous suitcases have been passed around with stops at Park Projects and Upstairs At The Market Gallery. The Fucked Up Drawing Party (FUDP) emerged out of UCLA guided by artists Nathan Danilowicz and Daniel Gaines. According to their manifesto (yes, manifesto), "[t]he purpose of a Fucked Up Drawing Party is to get fucked up (i.e. intoxicated) and draw things that are fucked up (i.e. disturbing)." While concerned with the 'creation of abject imagery', the specifics of the FUDP are ambiguous. What one person finds abject, or 'fucked up', may drastically differ from another. With the hint of a sociological survey, the FUDPs include both artists and 'non- artists'. At the root is an interest (and engagement) in the perceived taboos of our society. This is the first exhibition of the works that have emerged from FUDPs. Also showing: In the North Gallery: Paul Paiement (US) Artist In Residence Project Room: Brian Getnick (US) Image: Matt Wardell Presents The Suitcase Meets The Fucked Up Drawing Party Courtesy of the artists and Raid Projects, Los Angeles Raid Projects 602 Moulton Ave Los Angeles CA 90031 Raid Projects, Los Angeles Read on... Raid Projects, Los Angeles |
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 Galerie
Christian LethertCologne Lutz Fritsch : Architektur für Emotionen 3 Nov - 22 Dec 2007 Lutz Fritsch is a surveyor of space; he plumbs the breadth and depth, colour temperature and visual tone of places. His self-made instruments are line and surface in graphic-sculptural combination, seemingly self-evidently proportioned measurements, and, one could say, a technical and functional based colour scale. The theatrically central, tension creating moment in his work is the almost mysterious relationship between stating and composing, between gestured / defining placement and sensitive graphic and sculptural formation. Fritsch develops and designs yardsticks for specific spaces which he offers up as sight assistants, so to say - be it on a piece of paper, on the walls of an exhibition space or in the middle of a landscape. His luminous red, blue, yellow, or green lacquered aluminium plates and metal objects seem almost immaterial in their artificial perfection and thereby allow for a particular attentiveness to the space surrounding them. Fritsch follows hereby a "dialectic' method, joining provisionally the spectacular with the modest, and conceiving his objects as understatements and exclamation points at the same time. In providing us with these sight assistants in the form of reduced drawings and sculptures, and integrating within these the dimension of a sovereign aesthetic, he directs us past optical measurement and comparison for sure: the physical places and spaces whose characteristics Fritsch tests and questions- with the help of a compositrial austerity that can be placed between Minimalism and Landscape paintings -are expanded through his work on imaginary and associated spaces. The seeming simplicity of material intervention makes the greatness or perhaps better, the expanse of the resulting spaces for reflection and spaces for imagining possible at all. In connection with three extensive research trips to the arctic and antarctic - out of which his project "library in ice" came forth - he was again able to bring this interaction particularly distinctly before his (and our) eyes. Part of the current exhibition in the Galerie Christian Lethert presents serial oil pastels from the years 1984- 91: small condensed studies on line, surface, space. The fact that Fritsch combines these with new watercolour drawings and bigger aluminium plates is particularly attractive; by doing this he documents a span of almost 25 years in which he consistently conducted his research, sensitization, and mark setting work - playfully, profoundly, and far away, fortunately, from mainstream and trends. Kay von Keitz Image: Lutz Fritsch Courtesy of Galerie Christian Lethert Galerie Christian Lethert Antwerpener Straße 4 Cologne D-50672 Galerie Christian Lethert, Cologne Read on... Galerie Christian Lethert, Cologne |
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