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Espacio Minimo: The Pipe and the Flow - 18 Nov 2010 to 8 Jan 2011 Current Exhibition |
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Installation view
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The Pipe and the Flow Curator: Omar L�pez-Chahoud Artists: Olivier Babin, Eduardo Basualdo, Jonathan Ehrenberg, Tommy Hartung, Jamie Isenstein, Marepe, Suzanne McClelland, Sam Moyer, ANEXO: Individuals Proyects de: Franklin Evans y LaToya Ruby Frazier Curator: Omar L�pez-Chahoud Del 18 de Noviembre de 2010 al 6 de Enero de 2011 Opening: Jueves 18 de Noviembre, a las 20 horas Espacio Minimo is pleased to present The Pipe and the Flow, a group exhibition curated by Omar Lopez-Chahoud. Inspired by the concept of analogy, The Pipe and the Flow features work by eight international artists who combine materials and concepts that are dissimilar in nature but still agreeably related: OLIVIER BABIN ( France), EDUARDO BASUALDO (Argentina), JONATHAN EHRENBER (USA), TOMMY HARTUNG (United States), JAMIE ISENSTEIN (USA), Marepe (Brazil), SUZANE MCCLELLAND (USA), and SAM MOYER (USA). OLIVIER BABIN�s (France, 1979) work invokes analogy through simple processes that both reveal and erase aspects of reality. HAIL (2010), is half of a paper shopping bag that the artist rubbed with graphite on the wall of his studio and that now is suspended from the ceiling by a fishing line. Drifting and spinning like a black cloud on the horizon, this mobile transforms a symbol of the culture of consumption into a delicate and poetic work of art. EDUARDO BASUALDO (Argentina, 1977) presents a series of drawings and a sculpture inspired the by infinite distance found between two bodies trying to occupy the same space. Basualdo implies an inscrutable barrier between two distinct beings, a barrier that coexists with the will to minimize that distance, and which only makes clearer the hermetic nature of the human head. JONATHAN EHRENBERG (USA, 1975) alternates between working in video and works on paper employing ink, watercolor and collage. In his video work, the artist uses rough materials like plaster, cloth, and cardboard to craft a textured environment that looks like a three-dimensional, habitable painting. Ehrenberg's sets, characters and plots feel surreal and stylized, while retaining a sense of emotional truth. Seed (2010) is a video work based partly on Japanese fairy tales dealing with themes of transformation and partly on Nikolai Gogol's "The Nose". In Seed, a man begins losing pieces of himself and takes on the qualities of a tree. As his identity slips away, he faces an unsettling new reality. TOMMY HARTUNG's (USA, 1980) video work uses lo-fi effects that are standard techniques in the history of cinema. His process oriented practice uses lighting and everyday materials to create a visual narrative that hints at political issues such as the rise of imperialism. The Story of Edward Holmes (2008) is based on a fictional character who is antagonist and protagonist all at once, in effect dragging the story in any way he wants. He begins his journey as a conquistador, and ends up becoming the conquered. Hartung also presents Stay Golden Ponyboy (2008), a short abstracted video with references to Johnny and Ponyboy, the protagonists of S.E. Hinton�s classic novel (and later, a Hollywood film) for teens, The Outsiders. This video continues Hartung�s investigation of film history as a tool for dramatic and visual storytelling. JAMIE ISENSTEIN (USA, 1975) is best known for blurring the lines between performance and sculpture, and for the use of her own body as a ready-made object. In The Pipe and The Flow, Isenstein presents a 365-page hand-bound book placed directly on a pedestal facing a UV lamp, which, over the course of the exhibition, causes the book to darken and change color. This time based sculpture serves as an analogy between the book, each day of the year and the passing of time. MAREPE (Brazil, 1970) transforms utilitarian objects into the poetic, with work that addresses Brazil's culturally specific hybrid of African and European traditions. For The Pipe and the Flow a sculpture entitled Genesis combines objects such as plastic bottles, cabacas, and fishing net. These objects, taken together, serve as a reminder to Brazil's rural subsistence economy. SUZANNE MCCLELLAND (USA, 1959) uses language as the visual structure in her paintings. She emphasizes the extra linguistic contextual cues in conversation in order to construct meaning from what is said. According to McClelland, �Language must coexist as paint must coexist as the material world relies on the �other� always. Nothing is original and nothing is self sufficient and isolation is not a possiblility�every color is in relation to another color and is contained or reflected in some thing and every spill, stain, smear, line and point is a form�this is why I always return to painting. � SAM MOYER (USA, 1983) creates objects that can appear physically disparate, but all of them employ the practice of returning some power to the materials, defying their natural or intended use, highlighting their actual nature. The handmade trying to emulate the natural. Moyer uses utilitarian tools like household cleaners as paint. Alongside The Pipe and the Flow, in the project room Anexo of Espacio Minimo, Lopez-Chahoud presents the work of New York-based artists Franklin Evans and LaToya Ruby Frazier, both of whom are here exhibiting their work in Spain for the first time. Both artists have recently participated in the Greater New York 2010 exhibition at the Museum of Modern Art�s PS1 space. FRANKLIN EVANS (USA, 1967) focuses on the intervening time between two presentations of a floor painting/installation entitled �Floornotes�. It is comprised of digital images of his past work, both as archive and transitional study, along with digital images of other artists� works that Evans explores, as well as text related to his working process in and out of the studio. These materials and images were accumulated mostly over the past five years and all laminated as a �temporary� extension of their lifespan. At Espacio Minimo, he will present the laminated original shown in Prague contrasted with reprinted, digitally captured images of each note as presented in Prague but unlaminated. The work is mostly presented on the floor on which the viewer is invited to walk, and during the duration of the installation of �floornotesespaciominimo,� each will erode at slightly altered rates. LaToya RUBY FRAZIER (USA, 1982) will present at Espacio Minimo a selection of photographs and a video that were included in her installation as part of MoMA-PS1�s Greater New York show, which just closed in October 2010. This is the European debut of these works. Frazier focuses on landscape, and considers her surroundings to be an extension of herself. The work examines the impact of the environment on the individual, both psychically and physically. Her hometown of Braddock, Pennsylvania, is classic and tragic example of what is left behind in the bleakest corners post-industrial America. Braddock is not only plagued by gentrification, unemployment, and a declining population, but it also suffers what is among the worst air quality in the United States because of decades of industrial pollution. The landscape is literally and figuratively toxic. In the video Self-Portrait (United States Steel), 2010, the artist displays an image of the thick smoke billowing from the steel mill next to an image of herself, silently facing the camera and breathing the contaminated air, articulating the relationship between the body and the environment that shapes it. As do her family portraits, Frazier's images of Braddock exist as a means of investigating, examining, and remembering her lineage. Each generation of the artist's family corresponds to the major stages in the life of the town itself, which ages from a prosperous industrial hub in the 1930s, through the collapse of the American steel industry in the 1960s, to the "white flight" and subsequent the crack epidemic in the 1980s. Rather than simply document the town�s decline, Frazier's photographs resist what she describes as "the erasure of history," both cultural and personal, as a result of the dual forces of destitution and gentrification in Braddock. Frazier often captures sites with personal significance, documenting her experience of the landscape as an artist as something inseparable from her memories of it, allowing her to present complex images that are as public as they are private. FRANKLIN EVANS lives and works in New York, NY. His work has been exhibited at: The Drawing Center (New York, NY); El Museo del Barrio (New York, NY); New Museum (New York, NY); Weatherspoon Art Museum (Greensboro, NC); Yerba Buena Center for the Arts(San Francisco, CA); RISD Art Museum (Providence, RI); and Institute for Contemporary Art (Boston, MA). He has had solo exhibitions in New York, Toronto, San Francisco, Milan, and Zurich. His installation �timecompressionmachine� was presented in 2010 at MoMA PS1 (Long Island City, NY) for �Greater New York 2010.� His work has been reviewed by The New York Times, The New Yorker, New York Magazine, Time Out NY, The Village Voice, Art in America, Flash Art International, among many other publications. His work is in the permanent collections of El Museo del Barrio, The Weatherspoon Art Museum, The Sweeney Art Gallery, and Progressive Art Collection. He has received awards and grants from: Pollock-Krasner Foundation (2010/2011); Trebesice (2010); Yaddo (2009); Marie Walsh Sharpe Art Foundation Space Program (2008/2009); and LMCC Workspace Program (2004). He is represented by Sue Scott Gallery in New York and Federico Luger Gallery in Milan. LaToya RUBY FRAZIER was born and raised in Pittsburgh Pennsylvania. She earned a BFA in applied media arts at Edinboro University of Pennsylvania in 2004, and an MFA in art photography from Syracuse University in 2007. She has been an artist in resident at the Lower Manhattan Cultural Council in 2010, Art Omi in 2009, Center for Photography at Woodstock in 2008 and Skowhegan School of Painting and Sculpture in 2007. She is currently an artist and resident at the Whitney Museum of American Art Independent Study Program. Frazier's work has been written about in The New York Times, The New Yorker, ArtForum, Artnet, Art Papers, Art Info, Art in America, The Brooklyn Rail, The Huffington Post, The Wall Street Journal and The Village Voice. Her work has been shown in museums and galleries in New York City including P.S.1 MOMA Greater New York, the New Museum of Contemporary Art Younger Than Jesus, the Bronx Museum of the Arts, Higher Pictures Gallery and internationally in Copenhagen Denmark. Frazier�s first solo museum exhibition, Mother May I, was at the Museum of Contemporary Art Detroit May 2010. Frazier has worked as a photo editor for Newsweek. She is a member of Society for Photographic Education and Enfoco. She has been commissioned by the Aperture Foundation to photograph the New York City Green Cart Initiative for 2010 -2011. Currently she is the Associate Curator for the Mason Gross Galleries in the Department for Visual Arts where she also teaches photography in the Mason Gross School of the Arts at Rutgers University, New Brunswick NJ. Espacio M�nimo gallery wants to thank the curator, the artists and particularly the galleries: Galerie Andres Thalmann (Zurich), Anton Kern Gallery (New York), Andrew Kreps Gallery (New York), On Stellar Rays (New York), Sue Scott Gallery (New York), Galerie Max Hans Daniel (Berl�n) y Galer�a Ruth Benzacar (Buenos Aires). |
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