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13 September 2007 | re-title.com newsletter - Sculpture & Installation - September 2007 |
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 Van Horn,
Düsseldorf CADY NOLAND OPEN SORE nfs from the Schuermann Collection 7 Sept - 26 Oct 2007 In the early 90's, Cady Noland's work was concerned, among other things, with US American culture's assertions of superiority and the power relationships that result from this. She reveals the great myths of America, shows how they are mirrored in consumable items, and transforms them into sculptures simultaneously aggressive and playful. As a female artist she picks up macho metaphors and produces hard, testosterone-saturated works. Power relationships within the art world are precisely interrogated. Her powerful interactions with the male- dominated public art world are positioned as sculptures in the space. The promises of freedom and happiness found in cheap myths of truckers and cowboys are reproduced ad absurdum as art hardware. In the 2000's Cady Noland's work is more relevant than ever. The conservative backlash in America has also strongly affected the art world, which is daily confronted with the need to rethink its Western worldview. Wilhelm Schuermann has selected three works from his collection for this exhibition: "Truck Rack Blank", "Open Sore, the 5 & 10 Store" and "Chainsaw Cut Cowboy with baked beans". "Truck Rack Blank" is the raw skeleton of a truck body and has the measurements of a typical overseas shipping container. Standing in the space like a minimal scaffolding of trucker legends, "Truck Rack Blank" seems like a carcass of the promise of transportability: everything can be transported. Everything is placeless, also art. The product art. The work itself remains unmoved. "Open Sore, the 5 & 10 Store" is a large light-box, like the ones used for advertising hoardings. The pun with Sore and Store is not a coincidence. In the global art market everything is always available, everything for sale. It is here that art is vulnerable. The works in the exhibition are not for sale. Image: Cady Noland Truck Rack Blank Sketch Courtesy of Van Horn, Düsseldorf Van Horn, Düsseldorf Read on... Van Horn, Düsseldorf |
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 Standpoint
Gallery, London John Summers Future Primitive Mark Tanner Sculpture Award Winner 2006/7 Solo show of new sculpture funded by the award 14 Sept - 14 Oct 2007 On first looking at John Summers' sculptures you might be bewildered, amused or even repelled by their hectic surface noise - the glitter, the chaos, the seemingly randomly assembled found objects. But looking deeper you see there is an order and control as sophisticated as any traditional sculptor. The seriousness of these playful works is in their precarious harmonies. Summers excels in the metamorphosis of his materials - retaining the sense of flow and becoming in the works while holding them at a point of minute perfection. The immediacy of his work is arrived at by continuous adjustment, as though a surgeon were working in emergency/primitive conditions, improvising with materials and instruments from a previous age. This forensic skill relates to the work made for his MA show at the Royal College, which often resembled lumps of prosthetic flesh. This almost Dr Frankenstein impulse has since shifted from animating the merely human to the creation of forms suggesting the birth of something quite unearthly. In recent works the detritus and gore that are the by- products of Summers' practice are incorporated - offcuts of board, splurges of resin and foam become the stuff of the work. It's a sparer, darker vision, thrown against the bling of glitter and sparkle. These abstracted forms lean and perch, or crouch ambivalently, reanimated into the figuration that never completely disappears. Since graduating from the Slade in 1999, and the Royal College of Art in 2002, John Summers has exhibited widely in group shows both nationally and internationally, (including Studio 1.1, London 2006, 2007; Hollow, London 2005; NY Armoury Fair 2004; Bloodshot and Brighteyed, Berlin 2004, New Contemporaries 2002, 2003). His work has generated high praise and interest, and has won him several prestigious art awards, including the Deutsche Bank Pyramid Award. The exhibition funded by Mark Tanner Sculpture Award, which Summers won in July 2006, will be his first solo show, and represents an important step in his development as one of the brightest new talents in British sculpture. The Mark Tanner Sculpture Award is now the largest sculpture prize of its kind in the UK. It is unique in its combination of offering both financial support towards the production of new work and a solo exhibition to an exceptional emerging sculptor. Standpoint will announce the winner of this year's award at the private view. Standpoint Gallery is an independent, artist run project and exhibition space with charitable status. The Tanner award forms an important constituent part of our core aims - to act as a platform for emerging artists outside the commercial gallery system, to support the diversity and vibrancy of artistic production, to promote excellence and commitment in the artist as maker, and to provide an arena for artists' networks and professional development. Image: John Summers Untitled 2007 Mixed media 170 x 130 x 130cm Courtesy of Standpoint Gallery, London Standpoint Gallery, London Read on...Standpoint Gallery, London |
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 COSAR HMT,
Düsseldorf GERT ROBIJNS : SLALOM 7 Sept - 12 Oct 2007 The Belgian artist Gert Robijns, in many of his video works, is interested in the supposed ephemeral moments in life. It is specifically in these that he seeks out the uniqueness of a moment, which with its quite particular atmosphere lodges itself deeply in our awareness and sticks in our memory. One such moment is the theme of Gert Robijns video installation "Slalom", which shows two motorbike learners, relentlessly driving their practice rounds in a car park. The uniform movements draw the viewer into a hypnotic undercurrent that is underlined by the way the film is presented. The film is projected onto the back of a vertical blind that hangs across the complete length of the gallery space dividing it into strips. Parallel to the motion of the motorcyclists in the film, the curtain is moved slightly every now and again by wind from a fan. The soft rustling of the curtain, the exercises of the drivers on the hot asphalt and the accompanying film soundtrack build up a strange, melancholic daydream notion of a summer's day. This does not mean Gert Robijns work drifts off into anything kitsch; it rather more reveals the conditions in this "projection" and virtually challenges the viewer to stride through the curtain to grasp the artwork in it's double role as form and fiction. Currently also on show the video work "Close 2" by Gert Robijns, in the group exhibition "Filaturen", curated by Bettina Klein, at the Sies+Höke gallery in Düsseldorf Image: Gert Robijns 'Slalom', 2007 16 mm projection, DVD-projection, vertical blind, fan, soundtrack. Courtesy of COSAR HMT, Düsseldorf COSAR HMT, Düsseldorf Read on...COSAR HMT, Düsseldorf |
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 Johnsonese
Gallery, Chicago Shencheng Xu Retrospective 8 Sept -- 6 Oct 2007 The Johnsonese Gallery presents a retrospective of ten years of sculpture made-in-America by Chinese artist Shencheng Xu thru October 6, 2007. Xu completed over a dozen monumental works in China before arriving in the US. Incorporating figurative art in the contemporary age is his passion. Xu currently teaches at Northeastern Illinois University in Chicago. Several of his past winning works from public sculpture competitions are included in our gallery show. The show also includes installations designed specifically for our gallery space as well as smaller, pedestal-sized sculptures. Xu's work has stayed true to his roots as a classically trained Chinese sculptor. Yet you can further see the evolution of his work as an immigrant outsider in America and also as a parent. Xu uses a variety of organic and synthetic materials for his sculptures, while employing traditional techniques to address contemporary issues. The work has been described as anthropomorphic, polymorphic, and chimerical. His trademark is a 'universal' face, which may be interpreted as any or all races, ages and sexes. Nearly all of his works incorporate this face. In Xu's words, "Traditional elements and strict training play an important role in my work, but that cannot prevent me from exploring and studying contemporary art. To create a specific form is no longer my main focus. I am trying to find vitality from each piece of material." Shencheng Xu received his MFA in Sculpture from the Maryland Institute College of Art's Rinehart School of Sculpture in 2001. That same year, he received the "Outstanding Student Achievement in Contemporary Sculpture Award" from the International Sculpture Center. Xu earned a BFA in Sculpture from China's Luxun Academy of Fine Arts in 1993. He has had numerous solo and group exhibitions both in United States and in China. His artworks have been published in "Sculpture" and several other art periodicals. Xu has both influenced and been influenced by the art world in Chicago. Certainly through his teaching at Northeastern Illinois University and his public sculptures, he has influenced other Chicago artists. And perhaps the defining characteristic of Chicago artists-creating craftsmanly work-has impacted Xu. He has focused on creating a substantial body of outstanding artworks during his time in America and Chicago. Xu states, "Although I cannot know what will happen next, I know what I learned here will stay with me throughout my life." The Johnsonese Gallery presented Xu's work to a broad American audience at the Bridge Art Fair Chicago in April of 2007. This event set the stage for our retrospective show. Together the artist and the gallery have published a catalog of Xu's work since his migration to America. The goal of the catalog and the show is to highlight ten years of evolution by one amazing artist, and also hopefully ten years of growing cultural links across the world. The Johnsonese Gallery, located at 2149 W. Armitage in Chicago's historic Bucktown neighborhood, specializes in progressive contemporary art. Image: Shencheng Xu, China China, 2003 Cast Bronze, 39 x 20 x 9 inches Courtesy of Johnsonese Gallery, Chicago Johnsonese Gallery, Chicago Read on... Johnsonese Gallery, Chicago |
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 Space Other,
Boston Lucienne Pereira (trans-) 7 Sept - 22 Sept 2007 This exhibition features the works of Brazilian born artist Lucienne Pereira (bo. 1963) in the gallery, and includes the screening of three short films that relate to transgender issues in the project room. The title was chosen alluding to connections to be found between these works, which probe into struggles of physical and simulated realities. The works share an attitude that is permissive to the possibilities and consequences of desire, and relate to a painful wanting to exist in extreme form. 'Form' here understood in Wittgenstein's sense, in the Tractatus: "The form is the possibility of the structure." Born in Sao Paulo in 1963, Lucienne Pereira grew up in Rio de Janeiro, Brazil. She studied art education at the Universidade Estacio de Sa, Rio de Janeiro, and later pursued independent studies of painting at The Art Students League in New York City. She obtained a B.A. at Empire State College SUNY (2002) and later earned a M.F.A. at the Frank Mohr Instituut, Groningen, The Netherlands (2005). The body of work developed over the last five years living in The Netherlands and New York refers to formal and conceptual investigations on issues of growth, symbiosis, adaptation and transmutation. She has explored such subject-matter creating objects and installations that trigger memories of living organisms, and function as systems that relate to existing interior architectural spaces. Lucienne Pereira lives and works in New York. Screening in the Project Room, three short films selected by Carmen Oquendo-Villar and Gamaliel R. Herrera: Movimiento enérgico de la voluntad hacia el conocimiento, posesión o disfrute de una persona o cosa Luján Montes and Matías Otamendi, Argentina, 2004 10 min Con qué la lavaré (With What Shall I Wash) María Trenor, Spain, 2003 11 min Brujería (Voodoo Woman) Carolina Valencia and Richard O'Regan, Colombia- Cuba-Canada, 2007 32 min Image: Lucienne Pereira Aberration II, 2007 Taffeta, organza, chicken wire, insulating poly foam, plywood sticks, hardware 108" x variable area dimensions Courtesy of the artist Space Other, Boston Read on... Space Other, Boston |
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 Winkleman
Gallery, New York Thomas Lendvai : Between Pain and Boredom 6 Sept 2007 to 6 Oct 2007 Winkleman Gallery is pleased to present "Between Pain and Boredom," a new site-specific sculpture and our second solo exhibition by New York artist Thomas Lendvai. In a spectacular new work that literally breaks through the walls of the gallery, Lendvai furthers his exploration of the fundamental questions about sculpture that he examined in his 2005 gallery-sized installation, "A Series of 'Nows'." For "Between Pain and Boredom" (the title of which is taken from Schopenhauer's description of the extremes of life that we all oscillate between), Lendvai has constructed a series of 16-foot beams of raw White Pine that arc through the gallery. Generated via catenaries, the precise curves of the beams (which break through interior and exterior walls of the gallery to revel both factory-cut ends in places, as well as crudely sawed-off ends in others) are the result of Lendvai's application of construction technology that pre-dates computers by millennia. Further, whereas a sub-theme of "A Series of 'Nows'" was its implication of infinity, this new installation unequivocally and unceremoniously comes to an end. Similar to his 2005 piece, however, about which The New Yorker noted, "These very simple forms create a surprisingly complex sculptural and architectural effect,"1 entering into this new installation offers an unexpectedly elaborate viewing experience, highlighting the relativity of optimum vantage point in viewing sculpture. Because it extends beyond the gallery walls, not only is it impossible to see the entire work all at once, but also one's own height complicates where one must stand to experience the formal qualities of the piece. Viewing the main section of the work with other people in the gallery makes for a peculiar sociological experience as well, as one is often able to see only the bottom or top half of other viewers. Thomas Lendvai received his BF from SUNY Stony Brook, NY, in 1998 and his MFA in sculpture from the School of Visual Arts in 2002. He has exhibited widely in the United States and in Japan. His work has been reviewed in The New Yorker, The Brooklyn Rail, and on artnet.com. Image: Thomas Lendvai Between Pain and Boredom (Installation view) Courtesy of Winkleman Gallery, New York Winkleman Gallery, New York Read on... Winkleman Gallery, New York |
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 Showroom MAMA,
Rotterdam Streetmodernism Wouter Feyaerts (BE) Philip Metten (BE) Abigail Lazkoz (ES) Lennard Schuurmans (NL) Nick Ervinck (BE) IRIS (NL) Luuk Bode (NL) Curators: Nous Faes & John de Weerd (Showroom MAMA) August 31st - Sept 30th 2007 On first sight the exhibition Streetmodernism displays the visual language of comics, tags, games, animation and tattoos. The high level of handicraft and buff expression create impressive, engaged underground Works of art. But just as easy you can see the relation with the World of classical sculpture and the modernistic parole. In short; from the street up there's lots to experience. Lennard Schuurmans (NL, 1979) has been trained as an illustrator. His work shows the influence of a.o. Japanese illustrations and Latin-American tattoos. Yet close at home the connection with the Cobra movement is easily made. Nick Ervinck (BE, 1981) preoccupies himself with the intersection between the virtual and the real world. At early age he was a strict SimCity, Settlers and Warcraft player, next to building immense landscapes with Lego. Both are visible in his oeuvre that consists of animations, digital prints and sculptures. The drawings by Abigail Lazkoz (ES, 1971) remind us at first sight of the Spanish surrealist tradition, duplicated with politically critical content and a purely comic style. Wouter Feyaerts (BE, 1980) literally uses trash and leftovers to compile his sculptures, all particles glued or taped together. These monumental creatures are at the same time tough and sensitive in their blunt yet awkward poses. IRIS (NL, 1976) her works are beautifully styled glass-sculptures, with detailed symbols common in tattoos. Luuk Bode (NL, 1972) is a artist MAMA frequently shows. In Streetmodernism we present his immense work ' Pagan Panorama' inspired by the Iraque war. The sculptures and installations by Philip Metten (BE, 1977) are graffiti based. He uses scissors and glue on photos of tags to construct complex, brightly coloured, abstract patterns with an etnic feel to them. Metten succeeds in combining contemporary ' street language' with (animistic) religious patterns. Image: Wouter Feyearts Onder ons gezegd en gezwegen mixed media (2007) unique piece 1800mm x 1200mm x 1300mm Courtesy of the artist and Showroom MAMA, Rotterdam Showroom MAMA, Rotterdam Read on... Showroom MAMA, Rotterdam |
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