|5 September 2007||re-title.com newsletter - Photography, Film & Video - September 2007|
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RITTER/ ZAMET, London
Seung Woo Back
Kate Hawkins & Eloise Fornieles
Charles Danby and
7 Sept - 29 Sept 2007
Abandoned Protocol brings together artists from Korea and the UK through a primary discourse of photography that includes video and touches upon performance. Protocol offers a standard of behaviour, setting rules that govern syntax and conventions that inform communication. The artists in Abandoned Protocol consider such codes of social exchange, turning to the periphery of cultural convention to question the social, political and economic implication of these systems. The works move through social, psychological spaces, revealing in the poetical- uncanny of the landscape social codes that disclose considerations of environment and territory - terrains that exist on the margins of inhabited spaces.
Ben Judd's video work I Will Heal You (2007) draws on an amalgamation of religious and quasi-religious belief systems that were experienced and investigated by the artist during a recent three-month residency in Cali, Colombia. During this time, Judd created his own Movement complete with a manifesto that was contradictory at every turn, questioning the channels through which social codes are created, authenticated and come to stand as valid units of cultural currency. Also shown are a series of Judd's stereoscopic photographs whose manufacture perpetuates primary systems of illusion within the medium of photography.
Seung Woo Back's photographs, taken at Aiins World theme park in Korea, mediate between a manufactured world of miniature replica buildings and a real world of lived-in apartment blocks, recasting the scale of each so that their differences are all but indiscernible. The opposing types of buildings stand as parallels to social and economic discrepancies between Korea and the West.
Hyung-Geun Park's photographs of uninhabited and familiar landscapes - ponds, graveyards, woodlands - have an intensive level of detail that renders their ordinariness uncanny, fantastical, and sinister.
Behaviour, etiquette and hostility engender the collaborative work of Eloise Fornieles & Kate Hawkins. Their performance realised for film, Mal Gusto (2007) - a work first performed in Tel Aviv in 2006 - cuts directly to the superficiality of social events as played out through an artworld encounter. The two protagonists emerge from a crowd to encircle each other with unbroken stares creating palpable tension. As the matadorial encounter intensifies a violent standoff of unspoken conflict unfolds, and red wine spills..
Seung Woo Back lives and works in Seoul and London and graduated from Middlesex University in 2005. Hyung- Geun Park lives and works in Seoul and graduated from Goldsmiths in 2006, recent exhibitions include a solo show at New Art Gallery Walsall, 2006. Ben Judd lives and works in London, he graduated from Goldsmiths in 1997. I Will Heal You (2007) was produced during a three- month residency in Cali, Colombia at the start of 2007 organised by the Gasworks International Residency Programme. Eloise Fornieles and Kate Hawkins both graduated from the Slade in 2006 and began collaborating immediately afterwards. They both live and work in London; Mal Gusto (2007) was filmed from a performance that took place in End of the Peer, Paradise Row, London (2 August, 2007). It was originally conceived and performed as part of Goods to Declare / MFA International, Tel Aviv, Israel 2006.
A 24-page catalogue will be available with texts by Andrew Hunt, Keum-Hyun Han, Ian Jeffery and Skye Sherwin.
The exhibition has been curated by Charles Danby and I-MYU Projects (Jeongae Im and Eunbok Yu) with support from Ritter/Zamet and the Arts Council Korea. Abandoned Protocol will tour to Seoul in 2008.
'The Visitant', 2006
Courtesy of RITTER/ ZAMET, London
RI TTER/ ZAMET, London
Read on... RITTER/ ZAMET, London
Monika Sprüth Philomene Magers London
September 6 - 29, 2007
Monika Sprüth and Philomene Magers are pleased to announce an exhibition of Argentinian-born artist David Lamelas. With both Lamelas´ seminal film installation ´Film Script (Manipulation of Meaning)´ (1972) and the photo series ´London Friends´ from the following year, the show focuses on two works the artist realized during his residency in London from 1968 to 1977.
David Lamelas is one of the pioneers of Conceptual Art and the related practice of institutional critique which developed during the 1960s and 1970s. Born in Buenos Aires in 1946, he emerged in the early sixties with an arsenal of artistic strategies and a clarity of concept that at the time had not previously been formulated within any cultural context in Europe and the United States.
Characteristically, his use of different media is wide ranging, and has included sculpture, site specific installation and performance, as well as drawings, photographs and film, the latter of which he is perhaps most known for. What unifies this wide range of medium is the artist's focus on the transmission of "information": the conditions for the production of art and its perception, the notion of ´time´ and ´space´, the role of the viewer, and perhaps more crucially the generation and manipulation of meaning in contemporary mass media.
In 1968, the year he represented Argentina at the Venice Biennial, Lamelas also moved to London where he studied sculpture at St. Martin´s School of Art and stayed until 1977. It was during this time that Lamelas created his seminal installation work ´Film Script (Manipulation of Meaning)´, consisting of the simultaneous projection of one film and three slide sequences. The first presentation of the work was held at Nigel Greenwood's gallery in 1972. Filmed within the gallery itself with Greenwood's assistant Lynda Morris playing the leading role, the plot and location of this film was intriguingly self-referential. The film projects a running accumulation of scenes that may just as well be documentary as fictional. The first slide projector shows the action in a sequence of stills; the second shows two of the pivotal sequences of the film in a different order; while the third cuts out key moments of the action. Thus Lamelas varies the ways in which action is being manipulated, which in turn affects narrative development and influences its reception.
In the second work on display, ´London Friends´, 1973, Lamelas explores the narrow space between fiction and reality. Having invited a number of friends to a photo-session in a studio to have their pictures taken by a professional fashion photographer, Lamelas found that his subjects naturally took on glamorous poses embodying an image of fictionalized portraits of famous personalities. The resulting images, being simultaneously personal portraits and "fashion" photography, become a striking portrayal of the London scene at the time.
David Lamelas lives and works in Buenos Aires and Los Angeles, where he moved in 1977 after leaving London. Recent solo exhibition of Lamelas' work have been held at the Secession, Vienna, Museo Tamayo, Mexico City, and Neue Kunsthalle St. Gallen. Lamelas´ work ´The Violent Tapes of 1975´ is currently on view in ´Panic Attack´, the Barbican´s survey on art in the punk years.
David Lamelas, "London Friends (Lynda Morris)", 1974
Black and white photograph
Detail from the contact print
Copyright: David Lamelas
Courtesy of Monika Sprüth Philomene Magers London
Monika Sprüth Philomene Magers London
Read on...Monika Sprüth Philomene Magers London
Michael Steinberg Fine Art, New York
6 Sept - 25 Sept 2007
Nader Sadek's 'The Faceless' Joins Middle Eastern Imagery, Death Metal in Multi-Media Installation at Michael Steinberg Fine Art
Egyptian artist Nader Sadek's multimedia installation 'The Faceless' opens September 6 at Michael Steinberg Fine Art in New York's Chelsea district. Sadek's uniquely installed drawings hyperbolically juxtapose the iconographies of Death Metal and Middle Eastern fundamentalism, which outsiders often associate with darkness, moon worship, and anti-Christian fervor. 'The Faceless' startles the audience into rethinking connections between these two frequently misunderstood and vilified cultures. Sadek invited well- known Death Metal and Arabic musicians Steve Tucker (formerly of Morbid Angel, Matthew Barney's Cremaster 2), Trym (Emperor, Zyklon), Alex Skolnick (Testament), and Ralph Santolla (Obituary, formerly of Deicide, formerly of Death), as well as Middle Eastern music legend Omar Faruk Tekbilek, Miles Jay (formerly of Weird Al, Fathy Salama's Orchestra), Liron Peled (of Raquy and the Cavemen) and Raquy Danziger to contribute to "The Faceless."
These musicians worked with Sadek to produce a cacophonous noise experiment moving in and out of independently conceived Death Metal and Arabic music tracks that provide the sonic component to the multi-media installation. Having grown up a Death Metal fan in Egypt, Sadek works from the knowledge that the Egyptian state perceived both Death Metal and religious fundamentalism as threats to its power and legitimacy: Death Metal rebels against religious and political hypocrisy; piety rebels against a bureaucratic, commercialized, and godless world. Through sound, image, and space, 'The Faceless' mingles these cultures in thoughtful, frightening, and uncanny ways.
Says Sadek: "For a while now, I've been interested in exploring what different cultures perceive of as extreme. 'The Faceless' grows out of years of walking the crowded streets of Downtown Cairo dressed as a full-on death metal fan (i.e., long black hair, long- sleeve Morbid Angel/Deicide t-shirts, and an overall grungy look). Then, in a sort of twisted reversal, I decided to walk the streets of New York's Times Square in the black garb of a fully veiled woman. The intense reactions I got in each case confirmed for me the potential of this project. Those experiences inspired me to channel the popular paranoid fantasy in which the fully veiled woman is wrought from a dark death metal world, full of serpents, skulls, demons and dark mountains. I hope that by reflecting back to the audience their paranoid fantasies, which totally oversimplify the reality of Middle Eastern and death metal culture, that my work will get them to question their own prejudices and sense of the extreme."
Nader Sadek, 2007
Courtesy of the artist and Michael Steinberg Fine Art, New York
Read on...Michael Steinberg Fine Art, New York
Jeff Bailey Gallery, New York
5 Sept - 6 Oct 2007
Jeff Bailey Gallery is pleased to present Chris Gentile: Photographs.
Chris Gentile's photographs are presented as allegories of his studio practice with alchemical overtones. Lightning bolts, surfboards and lifeguard chairs are meticulously cast in small scale and mixed with a variety of functional studio objects, like plywood, sawhorses and a trashcan. The combination of his sculptures and studio ephemera suggest an inconclusive narrative, and imply the after effects of both creation and decay.
Gentile's earlier photographs are images of sculptures, or sculptural scenarios, that he created in his studio. Disembodied from any specific context, scale and verisimilitude are questioned. Building upon this practice, his most recent photographs include the addition of simple studio objects, and partial glimpses of the studio itself.
For Gentile, the process of making the photograph is as important as the photograph itself. The studio serves as the artist's refuge, laboratory and cathedral: a unique place to both conceive and execute ideas. In Cast in Ancient Light, a pile of hundreds of lightning bolts cast in concrete sits alongside a gleaming trashcan. Both are resting on sawhorses and plywood, lit from above. The lightning bolt, a symbol of enlightenment, is being cast away, dumped. At the same time, the tight pile of bolts appear cast from the trashcan itself, as if it were a mold.
This combination of the (symbolically) important and obviously mundane is one that allows Gentile to explore themes of hope and abandonment, and to search for greater meaning in the mysterious alchemy of disparate objects grouped together.
This is Gentile's second solo exhibition at the gallery. Recent exhibitions include Penchant to Drift at Gregory Lind Gallery, San Francisco (solo), and Slow Revolution at Rotunda Gallery, Brooklyn (group). He received his MFA from the University of North Carolina at Chapel Hill. Gentile is co-owner of Mollusk, the recently opened surf shop in Williamsburg (Brooklyn). He lives and works in New York.
Cast in Ancient Light
24.75 x 32.25 inches
Courtesy of Jeff Bailey Gallery, New York
Jeff Bailey Gallery, New York
Read on... Jeff Bailey Gallery, New York
6 Sept - 1 Oct 2007
Houldsworth Gallery is very pleased to present the new film Metamorphosis by artist Clare Langan. A selection of stills from the new film will also be exhibited.
Clare Langan's Metamorphosis will run from 6 September to 1 October 2007 to coincide with Beck's Fusions, for which the ICA has commissioned Clare Langan to make a new work. Beck's Fusions pod comprising a 16-screen 360 degree multi-projection will be launched by the ICA, in Trafalgar Square, and open free to the public from 6-8 September.
Metamorphosis will be exhibited at Houldsworth as a large projected installation where the screen shape will reflect the anamorphic format in which the film was shot. Langan's Metamorphosis, at its first public showing, won the Principal Prize at the Oberhausen International Film Festival in May 2007.
Fulbright scholar and cinematographer, Clare Langan is one of Ireland's most celebrated artists. With previous experience working in the world of commercial big-budget films such as Braveheart, Some Mother's Son and The Boxer, she refrains from elaborate manipulation of images in post-production relying instead on the inherent sensuality of film. Her much acclaimed A Film Trilogy - Forty Below, Too Dark for Night and Glass Hour was presented at numerous important venues and biennales worldwide, most notably at MoMA in New York as part of its Mediascope Program, 2003, Tate Liverpool, 2002, the Irish Museum of Modern Art 2002, and the Metropolitan Museum of Photography in Tokyo, 2003. She represented Ireland in the 25th Bienal de Sao Paulo, 2002.
Clare Langan powerfully cultivates introspection, where poetic atmospheres and elegiac landscapes, capture the very nature of our fragile existence against the perpetual forces of nature. Langan uses the camera as an instrument to capture the reverberation of something that has disappeared. It depicts a world in an unrelenting state of transformation and motion, as it shifts between scenes of stormy landscapes to snow filled interiors, from frozen glacial surroundings to violent seas.
Metamorphosis deals with issues of cinematic off time, but here time becomes specific, as we see a suspended time of social history. Langan's work investigates an empty cityscape whose streets are eerily absent of its inhabitants. The storm leads us into snow filled interiors, with only flashes of its former inhabitants to suggest a human presence, but not leading to any definitive conclusions as to their fate. The hybridity of Clare Langan's practice can be see with film references that are both historically arresting and diverse, from early black and white glass plate photography to Japanese ink drawings of the 15th Century. The soundtrack comprises an original score by the composer, Jurgen Simpson.
Langan has always exploited the cinematic quality of her work in its presentation, both in terms of image projection, sound, and the architecture of the space.
A Film Trilogy was exhibited at The International 2002 at Tate Liverpool for The Liverpool Biennial, and Forty Below was shown as part of the Glen Dimplex Artists' Award 2002 at the Irish Museum of Modern Art, whilst her film installation Floodlight was exhibited in At Sea, Tate Liverpool. In 2003 A Film Trilogy was presented at MoMA in New York as part of its MediaScope Program. In 2004, Langan was part of IMMA's Views from an Island; Contemporary Art from Ireland, and In 2005, A Trilogy was exhibited at The Metropolitan Museum of Photography in Tokyo; Miami Art Museum, ACME, Melbourne and at the Shanghai Youth Bienial. Following the Prinicipal Prize Award for Metamorphosis at Oberhausen Film Festival in May, the work has been selected by Isabelle Bertolotti, curator of Musee d'Art Contemporain, Lyons as part of Rendez-Vous for the Lyons Biennale in September this year.
9 minutes duration
Courtesy of Houldsworth, London
Read on... Houldsworth, London
MOT International, London
Life As You Like It
25 Aug - 29 Sept 2007
'Cats Bum Mouth', 'What useful things did he teach you?', 'Deep Decline', these are some of the words scrawled over photographs, culled from the pages of trash magazines that Clunie Reid seems to have amassed over the last few years. Images are ripped from their original context and re-appropriated. Over these images Reid adds text, hand written in marker and ballpoint pen, often taken from films, the adverts or intuitive responses by the artist to the content of the original. Like Richard Prince, Reid re-photographs images, but her stance is far from passive and she is very much rooted in the tradition initiated by Valie Export or Elaine Sturtevant. She drags the apologies for culture by the hair and shouts in their faces until they present us with their true identity. She does to the pages of Hello what punk did to music and fashion, she holds up the banality and conformity of advertising and celebrity and shows the underlining aggression and sexuality hidden under the surface of these apparently subdued, but complicit images. Collaged elements, such as children�s stickers and masking tape hover above the surface. Raw paint and marker are used to censor irrelevance often decapitating or denying the gaze. From the popular cultural media designed to control and feed the aspirations of the masses Reid presents, 'Life as you like it'.
In recent exhibitions at East International and Transmission Gallery Reid has made wall based installation works by blowing up her smaller studio photographs as large photocopies or inkjets and applying them directly to the wall with gaffer tape. These large-scale wall collages are site specific and impressively dominate these institutional spaces. For her exhibition at MOT Reid has chosen to show the original small photograph based works that inform these larger works. These are the raw hand made prototypes at the core of her practice, usually only ever seen on the walls of her studio.
Clunie Reid lives and works in London, UK and is represented by MOT International. Matthew Higgs and Marc Camille Chaimowicz selected her to participate in East International 2007, 14 July to 18 August, Norwich Gallery, Norwich and her work is to be included in a survey of contemporary photography by DuMont Literatur and Kunst Verlag published in August 2007. She had a recent solo exhibition at Keith Talent Gallery, London. Her work has been included in a number of international exhibitions including, Transmission Gallery, Glascow, 'Aspen 11', Neue Alte Brucke, Frankfurt, 'falkeandcharlotte project space'/Dolores, Ellen de Bruijne Gallery, Amsterdam, 'This show is ribbed for her pleasure', Cynthia Broan Gallery, New York, 'Les marveilles du monde'- Centre for Contemporary Art, Dunkerque, 'Sir Reel'- Redux Gallery, London, 'Not Everything'- Jeffrey Charles Gallery, London, 'Platforme Primera'- Plate forme 4, Dunkerque, France and 'Other than'- MOT, London.
Clunie Reid 2007
Courtesy MOT International, London
MOT International, London
Read on... MOT International, London
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