21 November 2007

re-title.com newsletter - Sculpture & Installation November 2007

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Simon Lee Gallery, London David Zwirner 519 West 19th Street New York MADDER139, London Barbican Art Gallery London Galerie Michael Janssen Berlin Houldsworth, London Next Newsletters         sign up!

Simon Lee Gallery, London MICHELANGELO PISTOLETTO 23 Nov - 26 Jan 2008 Simon Lee Gallery is proud to announce the forthcoming exhibition of recent works by Michelangelo Pistoletto. Pistoletto is one of Arte Povera's most significant protagonists. His iconic mirror paintings and installations earned him rapid and lasting international recognition, representing the artist's dual interest in conceptualism and figurative representation. Throughout his work the human figure assumes a pivotal role. As the artist has said "I feel it best suited to realising the need to express particular feelings and situations of the human condition, what for me is the most vital and burning issue of all time". Since his first examination of the mirrored surface, Pistoletto has worked extensively on a range of projects across the world with the intention of bringing different disciplines and cultures together in a combined effort to develop a social conscience. His activity is rooted in a personal spirituality and the belief that the artist must assume the role of a social leader. Parallel to his exploration of the mirrored surface, he began to develop a varied approach, which extended beyond the creation of objects. His focus encompassed the foundation of physical spaces of contemplation and other alternative forms of creative expression. Examples of this are the Cittadellarte in Biella and the Multiconfessional Place of Meditation and of Prayer in Marseilles, where individuals of all beliefs can go to exchange ideas and work together on projects involving politics, economics, education, urban planning and the arts. This all-encompassing attitude to his art and his role as an artist has earned Pistoletto much success and recognition in the form of awards both from within and outside artistic circles. Throughout his career the artist has kept a record of ideas for exhibitions and impulses for his various projects. In his most recent body of work Pistoletto returns to his iconic mirror paintings in which he represents his subjects on the threshold to another dimension. The works are active and come alive when the onlooker stands before them. The sitter in the work is drawn into the kaleidoscope of society just as the onlooker is involuntarily drawn into the picture, becomes an active protagonist of the piece as he/she stands in front of it. These works cannot exist without their participating audience, whose presence in the work inevitably causes them to reflect on their own identity and sense of self. Born in Italy into a family of art restorers and schooled in advertising in the 40s and 50s, Pistoletto has exhibited extensively across Europe and the USA, with a current retrospective of his work at the Musée d'Art Moderne et d'Art Contemporain in Nice. His works feature in many public collections, among them Tate Britain, Guggenheim Museum, New York, Museo d´arte contemporanea, Castello di Rivoli, Turin, MACBA, Barcelona and MuHKa, Antwerp. image: Michelangelo Pistoletto Videoreporter, 1962 - 2007 Serigraphy on stainless steel 230 x 125 cm, 90 1/2 x 49 1/4 inches Courtesy of Simon Lee Gallery, London Simon Lee Gallery 12 Berkeley Street London W1J 8DT Simon Lee Gallery Read on... Simon Lee Gallery, London

David Zwirner 519 West 19th Street New York JASON RHOADES : Black Pussy 13 Nov - 26 Jan 2008 Jason Rhoades' untimely death in 2006 at age 41 cut short a career which, through the sheer audacity, scope, and ambition of his prolific artistic output since 1993, promised to make him one of the defining artists of his generation. While often perceived as a maverick - constantly changing styles, materials, and intellectual approaches for each project, it is the very continuity and reoccurrence of Rhoades' most important concepts and concerns throughout his career that is the hallmark of his final exhibition, Black Pussy, conceived by the artist in 2005 and 2006 and completed in Rhoades' studio shortly before his death. The last installment in a trilogy of work that includes Meccatuna (2003) and My Madinah: in pursuit of my ermitage..(2004), Black Pussy remains one of Rhoades' most mysterious works, and his most ambitious. Sprawling roughly 3,000 square feet, the work presents itself as a large installation, dominated by an empty stage bearing a neon sign which reads "Live in the Black Pussy." The work also features 185 neon pussy word signs, as part of the artist's ongoing project of creating a cross-cultural compendium of synonyms for female genitalia. Large storage racks are covered with myriad objects, including hundreds of Egyptian Hookah pipes from a seized shipping container, over 350 unique Dream Catchers (a traditional Native American fetish object used to filter dreams), 89 beaver-felt cowboy hats, 72 Chinese Scholar stones, Venetian glass vegetables (and Chinese knock-offs), colorful cloth rugs, a homemade aluminum replica of Jeff Koons' famous stainless steel Rabbit (1986), and more. To one side, a large macramé textile object covers the wall. Beyond the formal juxtapositions created, the individual elements in the massive installation interact symbolically, communicating dichotomous relationships of masculine versus feminine, Eastern versus Western traditions, the handmade versus the mass-produced, and the authentic versus the fake. Black Pussy is foremost a sculpture; however it is not merely the result of material objects chosen by the artist, but also the activities of participants in the ten Black Pussy soirées held in his Los Angeles studio. For a period of six months, the artist invited a small group of selected guests to attend a series of events officially known as Black Pussy Soirée Cabaret Macramé . Though seemingly improvised, these evenings were highly structured hybrids of performance, Happening, dinner party, and art opening. Rhoades hired performers, but also expected a high level of guest participation with the intention that these soirées would add to the constantly evolving Black Pussy installation. Each guest not only contributed a new personal pussy word to his encyclopedic list, but also a bit of themselves in the form of charisma-their intangible and individual spiritual power. The events were heavily documented in the form of photographs, which were both physically incorporated into the installation and used to compile a coffee table book, and also in the form of a soundtrack, which became a part of the work itself. Only after the addition of sound - the auditory remains of the cycle of soirées - did Rhoades consider the sculpture complete. Image: JASON RHOADES Black Pussy Installation View David Zwirner, 519 West 19th Street Courtesy of David Zwirner, New York David Zwirner, New York 519 West 19th Street New York NY 10011 David Zwirner, New York Read on... David Zwirner, New York

MADDER139, London MARK ANSTEE 15 Nov -12 Jan 2008 Cruelty has a Human Heart And Jealousy a Human Face Terror the Human Form Divine, And Secrecy the Human Dress. The Human Dress is forged Iron, The Human Form a fiery Forge, The Human Face a Furnace seal'd, The Human Heart its hungry Gorge. William Blake - A Divine Image MADDER139 is delighted to present an exhibition of new work by Mark Anstee. Invited to respond to the 250th anniversary of William Blake's birth, Anstee has chosen to convert the more familiar line of his characteristic figure drawing from ink pen to glass neon. Over the past few years, Anstee has been commissioned to make monumental durational drawings in major institutions. These have developed as a form of memorial, albeit temporary, where thousands of tiny individual figures have been drawn live in front of the visiting public, accumulating over time to form a great mass before their eventual deletion and destruction. The figures are derived from many influences; classical paintings, tomb sculptures, war photography, and have been largely concentrated around the figure in extremis. Anstee is fascinated by the moment of decision, to do or die, or the moment of indecision, the overwhelming of the individual by choice and the onset of the catatonic state. Most of his figures are drawn about face, turned away from the viewer, the classical 'rucken figuren'. The new works are individual drawings rendered in hand blown Venetian Murano glass. The subject, the 'Hoodie' shies away from us but draws attention to himself, glowing in a vibrant green, the colour of nature, of camouflage, of Kryptonite. The figures take different positions or poses that could be separate moments, frozen states in a continual movement. Is he falling? Is he struggling to stand? Or is he dancing? Are we witnesses to agony or ecstasy? With these child-sized hooded apparitions, Anstee continues to explore the line between perceptions and prejudices and what may be another kind of reality. Mark Anstee was born in Bedfordshire, England in 1964. Anstee studied at Goldsmith's College, London, BA Fine Art (1983-84), Human Anatomy for the Artist at University College Hospital, London (1984), Performing Arts at Central School of Speech and Drama, London (1985-88) and MA Fine Art at the University of Brighton (1997-99). Anstee's live drawings have been witnessed at the De La Warr Pavilion, Bexhill (2006), Fabrica, Brighton (2005), the IMMA, Dublin (2005) and the In Flanders Fields Museum, Ypres (2003). For the 2008 Capital of Culture, Anstee has been invited to make a piece for the Bluecoat, Liverpool. The show at MADDER139 is Anstee's first solo show in a commercial gallery in the UK. Image: Mark Anstee Murano Glass Neon 2007 150cm x120cm MADDER139 137-139 Whitecross St London EC1 Y 8JL MADDER139, London Read on... MADDER139, London

Barbican Art Gallery London Reza Aramesh You were the dead, their's was the future Reza Aramesh : You were the dead, their's was the future Specially commissioned performance for Seduced: Art and Sex from Antiquity to Now 22 November 2007, 6.30pm Barbican Art Gallery London Reza Aramesh's practice incorporates elements of performance, photography, film and installation art and is emphatically site-specific. Taking up and reflecting upon aspects of its settings and contents, each work creates intriguing and often unsettling dialogues between different cultural contexts, systems of power and contrasting approaches to sexuality. You were the dead, their's was the future is a specially commissioned performance for the Barbican Art Gallery's current exhibition Seduced: Art and Sex from Antiquity to Now. The work, composed of a series of carefully choreographed live tableaux, infiltrates and inflects the various layers of meaning in the exhibition. Each tableau, constituted by actors, enters into a particular relationship with both the works on display and the viewers moving through the exhibition space. In a room devoted to drawings by Egon Schiele, Gustav Klimt, Auguste Rodin, JMW Turner and Pablo Picasso, a naked man lies underneath an exhibition vitrine, half of his body hidden from view. Works by Jeff Koons will be confronted by two men, lying as though asleep or dead, one wearing a mask cast from the other's face. Some actors will be nude while others will be clothed in military fatigues. In the largest gallery, a group of uniformed men will lie awkwardly on the ground, surrounding a nude female actor reciting extracts from the letters of Anaïs Nin, John Cleland and DH Lawrence. Under the staircase a nude man will be partially covered by a white sheet, echoing the style and pose of an ancient Roman sculpture. These scenarios, rich in visual and cultural associations, but open to individual readings, will offer visitor new and intriguing readings of Seduced: Art and Sex from Antiquity to Now. Seduced: Art and Sex from Antiquity at the Barbican Art Gallery, London continues until 27 January 2008 Image: Reza Aramesh You were the dead, their's was the future, 2007 Courtesy of the artist Barbican Art Gallery Barbican Centre Silk Street London EC2Y 8DS Barbican Art Gallery Reza Aramesh Read on... Reza Aramesh

Galerie Michael Janssen Berlin Martin Fletcher - Systems House 17 Nov - 22 Dec 2007 The Michael Janssen Gallery Berlin is proud to present the first solo exhibition by Martin Fletcher - Systems House in Germany. Fletcher, who appears either under the name Martin Fletcher, the pseudonym Systems House or a combination of the two, will be displaying filigree sculptures made of steel, brass and plexiglass in the exhibition. The delicate constructions, which recall old- fashioned radio antennae and receptor systems, refer to the language of form of modernistic architecture and allude to the primary structures of minimal art objects. Like the name Systems House, which is more evocative of a software company than of a private individual, the cool, technical sculptures deny any level of rapprochement. Yet, despite their geometric austerity, the works develop a brittle charm thanks to the almost haphazard rhythm created by the synthetic panels and the tower-like structures teetering quest. And precisely this unsteadiness grants the observer a glimpse of their creator. Martin Fletcher (born 1976), who earned a Master's degree from Goldsmiths College London at the end of 2006, lives and works in London. His works were displayed in the group exhibition Distinction with William Anskis and Shaan Syed at the Michael Janssen Gallery in Cologne in spring 2007. Also showing at Galerie Michael Janssen Berlin: Hughie O'Donoghue: Last Poems Image: Martin Fletcher - Systems House Radial Construction in Space II, 2007 Steel, perspex, brass approx. 82,68 x 31,5 x 31,5 inches Courtesy Galerie Michael Janssen Galerie Michael Janssen Berlin Kochstrasse 60 D-10969 Berlin Galerie Michael Janssen Berlin Read on... Galerie Michael Janssen Berlin

Houldsworth, London Laura Ford : Disagreeable People 15 Nov - 12 Jan 2008 Houldsworth is delighted to present 'Disagreeable People', a solo exhibition of new work by sculptor Laura Ford from 16 November 2007 to 13 January 2008 to coincide with her one-person show 'Rag & Bone,' commissioned by Turner Contemporary Margate. 'Rag & Bone' continues to the Economist Plaza, London, presented by Contemporary Art Society, from 7 December 2007 to 1 February 2008. Ford's socially and politically charged figures exist between the realms of fantasy and reality, childhood and adulthood. She works with a variety of materials, often using what is to hand, from fabric and found objects, to more traditional materials such as bronze and plaster. This latest body of work demonstrates a new development in Ford's practice. For'Disagreeable People' Ford has created a group of sculptures and drawings based on the children's stories of Beatrix Potter. Laura Ford comments on the parallel worlds that exist in our towns and cities between the shiny spaces of consumerism and the homeless and disenfranchised who often exist on the margins of these spaces. By casting these characters from Edwardian children's tales in distinctly contemporary, urban situations, the appeal of Potter's original stories is overshadowed by a darker and more mundane sentiment. Houldsworth will also be exhibiting small versions, in bronze, of the critically acclaimed 'Armour Boys'. The larger child-like figures were presented as solo exhibitions at Royal Scottish Academy 2006, the New Art Centre 2007, and Harewood House 2007. Whilst the five contorted figures appear lifeless and discarded, the coats of armour belie their apparent vulnerability. Laura Ford came to prominence in 'British Art Show 5' 2000 organised by the Hayward Gallery, and she represented Wales at 51st Venice Biennale in 2005. Solo exhibitions include Camden Arts Centre, Arnolfini, Bristol, Royal Scottish Academy, and Centre of Contemporary Art, Salamanca. Recent exhibitions also include the ICA, London, the Aldrich, Connecticut, Miami Art Museum, Hayward Gallery, and Rohkunstbau, Germany. Her work is in collections of the Tate, Government Art Collection, New Art Gallery, Walsall, Arts Council, Museum of Art, Iowa, and David Roberts Collection, to name a few. The exhibition at Houldsworth is presented in collaboration with Turner Contemporary, Margate, the Contemporary Art Society, and The Economist Group. Supported by Arts Council, England, and Kent County Council. Rag and Bone essay written by Morgan Falconer, New York. Image: Laura Ford Rag and Bone, 2007 bronze, edn 5 122 x 146 x 75 cm Courtesy of the artist and Houldsworth, London Houldsworth 50 Pall Mall Deposit 124-128 Barlby Road London W10 6BL Houldsworth, London Read on... Houldsworth, London

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