18 October 2007

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

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Jeff Bailey Gallery New York Monika Sprüth Philomene Magers London Jablonka Galerie, Cologne Vilma Gold, London Foxy Production, New York Fieldgate Gallery, London Eleni Koroneou Gallery, Athens Gallery Yujiro, London Next Newsletters         sign up!

Jeff Bailey Gallery New York Mike Peter Smith: Void Thoughts on Remote Time 9 Oct - 10 Nov 2007 Jeff Bailey Gallery is pleased to present Mike Peter Smith, Void Thoughts on Remote Time, an exhibition of new sculpture. In detailed sculptures derived from the human skull, Smith elaborates on the idea of Memento mori; transforming it into a range of mythic apparitions, narrative landscapes and anthropological references to past, present and future. In New York Spring, 2007, mixed media, two human skulls are joined, forming one large head with three eye sockets. A toad hugs the nose cavity at the left, and a violet grows from the right socket. Raccoon and duck skulls are part of this strange grouping. Life has passed from the mammals and fowl, and their function and place in the time-line of history is not clear, yet the toad and violet are evidence of nature's continuous process of renewal. Australopithecus sp. (Hand to Mouth), 2007, mixed media, is based on "Lucy", the most complete female Australopithecus skeleton found, and about 3.2 million years old. Smith presents his own Australopithecus reconstruction, depicting the skeletal remains of her jaw, shoulder and arm. Installed on the wall like a natural history museum specimen, the pose is reminiscent of Bruce Nauman's From Hand to Mouth, 1967. The Nauman sculpture depicts part of the female body still covered in flesh, and literally brings attention to both the hand and mouth. Smith's sculpture of bones focuses on the skeletal remains, dangling and lifeless. The exhibition includes flying pterosaurs, circling overhead. Miniature battleships loom on the horizon. Palm trees grow from unlikely sources. Dark pools of water reflect ancient caves. In Smith's world of dry bone and outdated industrial relics, the water still flows and the clock keeps ticking. This is Mike Peter Smith's second solo exhibition at the gallery. Previous solo exhibitions include Ambrosino Gallery, Miami and Bodybuilder and Sportsman Gallery, Chicago. His sculptures have been included in group exhibitions at Art In General, The Bronx Museum of Arts, Exit Art, Lehmann Maupin Gallery and the Queens Museum of Art. He received his MFA from The School of the Art Institute of Chicago and his BFA from The University of Utah. He lives and works in New York. Image: Mike Peter Smith "New York Spring", 2007 mixed media 8 x 12 x 9 inches Courtesy of Jeff Bailey Gallery, New York JEFF BAILEY GALLERY 511 West 25th Street #207 New York NY 10001 Jeff Bailey Gallery, New York Read on... Jeff Bailey Gallery, New York

Monika Sprüth Philomene Magers London THEA DJORDJADZE ROSEMARIE TROCKEL "Un soir, j'ai assis la beauté sur mes genoux. And I found her bitter and I hurt her." 9 Oct -10 Nov 2007 Monika Sprüth and Philomene Magers are delighted to announce the exhibition "Un soir, j'ai assis la beauté sur mes genoux. And I found her bitter and I hurt her," a collaboration between Thea Djordjadze and Rosemarie Trockel made especially for the gallery's London space. Having realized several exhibition projects together in the past, the two artists seek each time to address concerns about the processes of artistic creation, questioning the freedoms and limitations it entails. Drawing the title of the exhibition from Arthur Rimbaud's poem 'La Saison en Enfer' the artists equally challenge and subvert our expectations of art - what we think it should provide and the promise of beauty we often expect it to entail. Playing with the scale and vitrine like qualities of the front gallery the first installation is deliberately oversized so it makes the space look too small for the exhibition. Placed in such a way that the virtually monochrome canvases seemingly float on water with their surfaces reflected against the black painted gallery, the elements of the construction overwhelm and simultaneously dissolve into the background so the whole work itself almost eludes the viewer. In the rear space suspended neon tubes and chords form a framework for the second installation. Central to this are four urns containing some of the ashes of sculptures which the artists had jointly created and then destroyed by fire in a specific location along the banks of the Rhine. Photographs and an accompanying film document this process. The original sculptures, human like in form, had been given certain 'attributes' such as those of 'the poet' or 'the artist' represented by heavy geometric structures that always threatened to overburden them. Having found an idyllic parcel of land overlooking the city of Kassel, a city rich with German art historical significance, the artists proceeded to bury these ashes, some of which are contained by the urns in the gallery. In a gesture of ritualistic destruction and transformation the sculptures are returned to the earth to a point where they will break down no more. In a distinguished career which is deeply rooted in the Cologne art scene from the early 1980's onwards , Rosemarie Trockel has been the subject of numerous solo exhibitions, amongst which the Moderne Museet, Stockholm; the Dia Center for the Arts, New York; Whitechapel Art Gallery, London and the Centre Georges Pompidou, Paris. In 2004 she received the prestigious Wolfgang-Hahn-Preis which led to the solo exhibition `Post-Menopause` at the Museum Ludwig in Cologne and the Museo Nazionale Delle Arti Del XXI Secolo in Rome. Trockel represented Germany in the 1999 Venice Biennale. Born in Georgia, Thea Djordjadze now lives and works in Cologne. She studied under Rosemarie Trockel at the Kunstakademie Düsseldorf and was a founder member of the art collective hobbypopMUSEUM. With a practice encompassing performance, painting, drawing, sculpture and installation, her work was most recently seen in London at Studio Voltaire. Previous collaborations between the two artists have taken place at the Venice Biennial 2003, the Neue Kunst Halle St Gallen 2006 and the Lyon Biennial 2007. Image: The copyright information for the image above is unknown. We cannot give licensing permission. If you know the copyright holder for this image, please email to art@spruethm agers.com Monika Sprüth Philomene Magers London 7A Grafton Street London W1S 4EJ Moniika Sprüth Philomene Magers London Read on... Monika Sprüth Philomene Magers London

Jablonka Galerie, Cologne MIKE KELLEY KANDORS 29 Sept - 24 Nov 2007 The exhibition of new works by Mike Kelley at the Jablonka Galerie features sculptures, lenticular lightboxes, and videos related to the fictional city of Kandor, the capitol of Superman's home planet Krypton. According to the Superman mythos, Kandor is the only remaining vestige of the exploded Krypton, and the city is preserved, in a reduced state, in a bottle in Superman's possession. Interestingly, the image of Kandor was never codified and the numerous representations of it in the comic book throughout the years vary widely in appearance. In this exhibition Kelley reconstructs ten unique versions of Kandor, with its enclosing bottle, which, despite obvious differences, purport to depict the same city. Thus, Kandor - as an eternally maintained, but constantly reconfigured, relic of Superman's childhood - is an apt symbol of Kelley's interests in the vagaries of memory, and relates to his own works that refer to Repressed Memory Syndrome, such as Educational Complex (1995), an architectural model made up of replicas of every educational institution that the artist ever attended, with the sections he cannot remember left blank. Such issues were foregrounded in an earlier work by Kelley that also focused on the theme of Kandor: Kandor-Con 2000, which was presented at the exhibition Zeitwenden at the Kunstmuseum Bonn in 2000. In the current exhibition, Kandors, Kelley shifts attention away from such themes to focus on the formal diversity of the various versions of Kandor. Ten images of the bottled city were selected from the hundreds of examples found in Superman comic books, and these have been recreated as sculptures scaled up to human dimensions.The original found images of Kandor were graphically altered to accentuate color and form then rendered as lenticular lightboxes, which gives the images the illusion of dimension and movement. The actual recreations of the Kandors' enclosing glass bottles, some over forty inches in height (making them, probably, the largest glass vessels ever produced in this manner) were hand blown at the Kavalier Glass factory in Sazava in the Czech Republic. The Kandors project is an exercise in the translation of graphic two-dimensional images into three dimensional sculptures. The flat areas of background color in the comic book panels have been rendered as illuminated Plexiglas walls. The various versions of Kandor are represented by under-lit resin sculptures in a variety of colors. The various bases and plinths that the Kandors sit upon have been constructed as actual furniture. But, in many cases, the bottles, bases, and cities have been separated and spaced apart, complicating their formal relationships. Kelley has described this process as an attempt to make an artwork as flat, colorful, and visually simple as a painting by Matisse which operates in three dimensions, yet still maintains an overall sense of graphic flatness. All of the works feature light or motion, and the exhibition is self-illuminated. In addition to the lenticular lightboxes and sculptures there are three types of videos included in the exhibition. Large-scale videos, projected directly on the gallery walls, focus on the glass bottles, the interiors of which have been activated with swirling patterns of light or atmospheric effects. The second group features time-lapse videos of crystals growing in common household glassware such as simple jars and bowls, accompanied by soundtracks of "new age" music composed by the artist, and presented on small monitors so that they are close to actual scale and imbued with a sense of intimacy. The third group of videos consists of a selection of graphic depictions of Kandor that have been animated in the manner of popular cartoons. Each bottle emotes, performing a single emotional sound or bodily movement: screaming, breathing, cooing, giggling. These are presented on flat screen monitors that hang directly on the wall like paintings. Image: MIKE KELLEY, KANDORS, INSTALLATION VIEW PHOTO: FREDRIK NILSEN COURTESY: JABLONKA GALERIE, COLOGNE / BERLIN JABLONKA GALERIE KOCHSTRASSE 60 D-10969 Cologne Jablonka Galerie, Cologne Read on... Jablonka Galerie, Cologne

Vilma Gold, London Mark Titchner The Eye Don't See Itself 11th Oct - 18th Nov 2007 Vilma Gold is pleased to announce Mark Titchner's first solo exhibition at Vilma Gold, London since 2004. The exhibition is in two parts; a sculptural installation The White Lite, and a video installation; The Eye Don't See Itself. The exhibition continues Titchner's interest in human perception, language, and states of mind, and examines the symbolism of sexuality and gender, encryption, illusion, and symbology. The Eye Don't See Itself is video projection as monument, mirrored in a black reflecting pool, referring to the Washington Monument. The video is a kaleidoscopic depiction of an unblinking eye against a phallic obelisk, on an endlessly shifting background. The background is based on a Rorschach inkblot commonly believed to represent the father. This video employs a flickering light at a frequency of 10Hz, in correspondence to the brain electrical activity in Alpha state in attempt to alter the perception of the viewer, which also references the work of W Grey Walter and Brion Gysin. Computerised Male and Female voices repeat a mantra to psychotic self-improvement.. "If you don't like your life you can change it." "After all what good is life without conquest?" "If you can dream it you can do it." "THE WHITE LITE" The second gallery space: a stepped arrangement of 20 objects, including 4 videos. Bastardised rotoreliefs depicting undulating breasts and a panoptical eye combined with casts of male and female pelvis bones, bear a resemblance to Rorschach inkblot cards. Maquettes for a version of Brancusi's 'Endless Column' made of sugar cubes, reference the giant LSD sugar cube pyramid in 'Hollywood's first underground movie' The Acid Eaters (1968). Four kinetic light works that apply the principals of Brion Gysin's Dreamachine to the forms of the Obelisk (which project an encoded light message/incantation) and the Solomonic Column (columns based on the two columns in the Temple of Solomon in Jerusalem). Two casts of hand shadow puppet versions of the devil. A carved CND symbol, and its inverted version, the Runic Symbol. Algiz the Elk, the rune of protection, a broken circle formed from two monochrome rainbows supported by a string art visualisation of every permutation of letters in the English alphabet. Lastly a sculpture of a well known five-sided shape attached to a well-known optical illusion. There are four video pieces amongst the sculptures; The Madonna - mother and child, Nuclear Family - a naked beaming father and radiant expectant mother, Tantric Separation - a depiction of tantric sex, and Fear of Life - a couple as a unit of emotional support, all depicting configurations of various couples or family units. Image: Mark Titchner The Eye Don't See Itself Installation view: The White Lite Vilma Gold 2007 Courtesy of Vilma Gold, London VILMA GOLD 6 Minerva Street E2 9EH London Vilma Gold, London Read on... Vilma Gold, London

Foxy Production, New York Hany Armanious Year of The Pig Sty 11 Oct - 5 Dec 2007 Foxy Production presents Year of The Pig Sty, Hany Armanious' inaugural New York exhibition. In Armanious' provocative work, perverse actions take place upon unexpected materials, resulting in enigmatic objects, scenes and associations. Like a pranksterish alchemist, he transforms the process of casting into a witty and symbolic practice. His detours and digressions through the fictional systems he constructs, paradoxically foster both confusion and engagement. Year of The Pig Sty is an installation with an internal logic that seems more elusive the longer the work is contemplated. The viewer is greeted with a shocking vista of filth and disarray: on closer inspection, the work resembles a wayward workshop, where strange organic objects are crafted from mud. A desperate struggle seems to have taken place to keep an outmoded artisanal practice going. The installation is a site where intense and delirious actions have taken place, where motives remain mysterious, and odd linguistic connections are forged. Recalling Beuys' interplays between textures and history, Year of The Pig Sty inventively interweaves materials and allegory; but unlike Beuys' work, the associations here are inconclusive, provisional, and likely to be misleading. How various parts of the installation relate to one another can be alternately elementary or elusive. Crocs, the lightweight therapeutic footwear made through injection casting, figure centrally in the work: in one area, a chaotic collection of Crocs, shoe molds, molded bacon, shoeboxes, socks, among other elements, poetically and humorously conflates therapy, consumerism, and failure. An oversized Styrofoam box, hand-carved and containing mud and oversized truffles made from soil and resin, is surrounded by muddy Croc footprints. A trough constructed from form-ply is filled with mud, as if waiting for pigs to return. Resembling an alien pod, a white Styrofoam box is fused with the sole of a Birkenstock and cast in resin. A doormat with hollows is used to mold circular bricks through the action of the muddy Crocs being wiped on it. The bricks are dried under a snooker table light with hydroponic grow lamps that resembles a descending spacecraft. The same bricks are braced together to form pottery pool cues; apparently the end-product of this wayward production line. The installation represents perhaps an artist's studio in throes of fervid activity. Messy, unformed, embryonic objects are in the process of objecthood, as if we are witnesses to the primal scene of creativity. Or has the habitat of the artist been terminally disturbed, the scene contaminated, the project abandoned? HANY ARMANIOUS (Cairo, Egypt, 1962) lives and works in Sydney. He holds a BA in Visual Arts, City Art Institute, Sydney, Australia. Selected exhibitions include the Gallery of Wellington, Wellington (2007)(solo); Institute of Modern Art, Brisbane (2006)(solo); Monash University Museum of Art, Melbourne (2006); Busan Biennale, Busan (2006); Ocular Lab Inc., Melbourne, (2005)(solo); National Gallery of Australia, Canberra (2005); Auckland Art Gallery, Auckland, (2004)(solo); Ian Potter Museum, Melbourne, (2002)(solo); UCLA Hammer Museum, Los Angeles (2001) (solo). Image: Hany Armonious Year of The Pig Sty Installation at Foxy production Photo courtesy of the artist and Foxy Production, New York Foxy Production 617 West 27th St Ground Floor New York NY 10001 Foxy Production, New York Read on... Foxy Production, New York

Fieldgate Gallery, London isobar curated by Gaia Persico 20 Oct - 11 Nov 2007 Catherine Bertola Susan Collis Liz Harrison Claude Heath Kaori Homma Jools Johnson Tim Knowles Tonico Lemos Auad Scott Martin Marzia Migliora Justin Mortimer Andy Parker Gaia Persico Michael Robbs Kate Scrivener Elisa Sighicelli Finlay Taylor VedovamazzeI Sarah Woodfine Simon Woolham isobar is a temporary and variable line; it surveys contemporary drawing practice, constantly fluctuating between media. It breaks away from the preconceptions of drawing as a solely two dimensional medium and transmigrates onto three dimensional objects: furniture, computers, travel guides, books, light bulbs, fabrics, plants and pieces of fruit. Works are selected for their use of quotidian objects, fragile materials and precarious sources. The drawn is often defined by the use of mutable and ethereal media, it decomposes and changes over time, its traces and residues becoming the focus of attention; light and movement traced in the air become palpable materials, dust particles describe climatic cataclysms and suggest memories. The thrown away is covered in coveted and 'valuable' doodles and the recycled becomes an artistic source, revealing an ambivalent relationship with the constant consumption of contemporary life. Paper, typically constrained to being just a supporting surface, becomes the drawing itself. The line becomes a moving image to record fleeting moments, no longer frozen on a sheet of paper but a recreation that has become alive, mutated by the digital in endless possibilities of variations. Drawing that may be easily missed by an inattentive viewer claim back from the public the time taken for its conception, and underline the importance of being observant of our surroundings. Isobar brings to the fore artists' expressions which question the nature of drawing itself, testing our perceptions of what is 'the drawn', so that the world and the everyday may be perceived with renewed curiosity and enhanced awareness Image: Tim Knowles Courtesy of the artist Fieldgate Gallery 14 Fieldgate Street London E1 1ES Fieldgate Gallery, London Read on... Fieldgate Gallery, London

Eleni Koroneou Gallery, Athens ULRICH STROTHJOHANN CLEANERS 19 Oct - 24 Nov 2007 Eleni Koroneou Gallery is pleased to present the work of the German artist Ulrich Strothjohann in his second solo exhibition. Ulrich Strothjohann was born in 1954 in Cologne and he lives and works in Cologne and Berlin. In the center of Strothjohann's work is the special dimension of his sculptures: They function always autonomously as objects but at the same time they irritate through the skilful questioning of the reality. The used materials, the tiles of the works and the relations of the objects create leves of world of models. In this way chains of interpretations and narrations are developed, that begin in an abstract, meant everyday life and finish in the experimental philosophy Ulrich Strothjohann generally creates works about the double meaning of things. His entire work is a lovingly created set of false tracks, bringing together the thing-like and the allegorical, the substructure and the authentic. The title of the current exhibition "CLEANERS" can be translated with the term "cleaning equipments". It can also be associated with the term used in American gangster films "The cleaner". This person clears the dirt after an act. In the center of Ulrich Strothjohanns exhibition are located models of dustpans, which the artist constructed from aluminum plates. Their mode of operation is however impaired by openings in the false places, so that a real use of the dustpans is not possible. The process of gathering becomes in such a way an absurd, meditating action. Ulrich Strothjohann has exhibited in museums and art centers, including the Kolbe Museum in Berlin (2005), the Aachener Kunstverein in Aachen (2004) and the Museum K21 in Dusseldorf (2003). Image: Ulrich Strothjohann "Cleaners", 2007 sculpture made of aluminium each piece measures 30 x 25 x 68 cm 28 pieces Eleni Koroneou Gallery 5-7, Mitseon str. Athens 11742 Greece Eleni Koroneou Gallery, Athens Read on... Eleni Koroneou Gallery, Athens

Gallery Yujiro, London Takefumi Ichikawa "NO MATTER" 12 Oct - 17 Nov 2007 Gallery Yujiro is delighted to announce the first UK solo exhibition and new works of emerging artist Takefumi Ichikawa in "NO MATTER". Ichikawa has created a unique way of responding to the world that he exists in, by engaging in a practice of not making anything. What is matter? In scientific terms the protons, electrons and neutrons that make up an object, but what does this mean in our day-to- day existence. Does matter, matter? Colloquially and in physics, matter is relatively easy to define. Matter is what things are made of, consisting of chemical substances. These are aggregates of atoms, which are, in turn, constituted by protons, neutrons and electrons. In this way, matter is contrasted with 'energy', as inversely, 'energy' is also an expression of matter. In recent physics there is no broad consensus as to an exact definition of matter. Ichikawa locates his practice deep within the ambiguity between matter and no matter. Ichikawa's helium filled sculptures, or, 'Fuyu' a composition of the two Japanese words "Fu", floating, and "Yu", playing, blur the boundary between what is tangible and what is not. Ichikawa's "ghosts of sculptures" float almost invisibly to the slightest movement of air, creating a profound sense of awe. "My sculpture is transparent; transparency is something that is non-existing, but it does exist. It is between nothingness and tangibility". Ichikawa refers to his playful use of a style and materials with the term 'Drunk Minimal', where Minimalism lost its seriousness. However, this correlation reveals a profound Minimalist Gestalt, where the whole is greater than the sum of its parts, and the parts are inseparable from the whole, the object, the space, and the viewer. The repetition of forms in Minimalist sculpture serves to emphasize the subtle differences in the perception of those forms in space and time, as the viewpoint shifts in time and space. In its 'Drunk Minimalism', Ichikawa repeats ethereal forms, the perception of which continually shifts because of the properties of the materials he utilizes. Working with the architectural dimensions of Gallery Yujiro and their relationship to the viewers, Ichikawa encourages them to participate and directly engage with this new drunken minimalism, playing with the definition of matter and no matter. Image: Takefumi Ichikawa Fuyu 07-11 Installation view Courtesy of Gallery Yujiro, London Gallery Yujiro Studio Unit A502, Tower Point Tower Bridge Business Complex 100 Clements Road SE16 4DG London Gallery Yujiro, London Read on... Gallery Yujiro, London

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