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Galeria Pedro Cera: Adam Pendleton chandelier across cognition generates glow linguistic signals perception - 23 Jan 2010 to 6 Mar 2010 Current Exhibition |
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Installation view, Adam Pendleton
chandelier across cognition generates glow linguistic signals perception Galeria Pedro Cera, 2010 |
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ADAM PENDLETON Pedro Cera Gallery is pleased to announce it�s first solo exhibition by the American artist Adam Pendleton. Adam Pendleton is interested in language and its unique capacity as an open structure to both shape existing realities and inaugurate new ones. Pendleton creates new linguistic devices and systems of display, which move language closer to form and form closer to language. The title of the exhibition is derived from the complete words of the proto-words that appear on the glass facades of the System of Display works. System of Display is an ongoing series of silkscreened mirror pieces with glass, type-printed facades. Pendleton takes art-historical and performance-art based images belonging to a visual history that continually resurfaces in contemporary art publications, along with images from other historical trajectories like Afro-Modernism, he Xeroxes them and crops them before creating the silkscreens. To generate language for the series, the artist took a text on the work of British artist Cerith Wyn Evans �which itself focused on Wyn Evan's own attempts to instrumentalize language through such modes as morse code� and isolated individual words, which felt specific to the content of the text. Pendleton then atomized the individual words printing the remnants on the glass panes. System of Display mines distinct visual and textual discourses, removing them from their original context so that they become forms of documentation of the discourses themselves. The objects cross several systems, employing a literal presentness embodied in their abstract performativity, and a discursive play on representation that extends into the social fabric. Pendleton's ceramic sculptures in red, yellow, orange, green, blue and white and two-color slikscreens on canvas are inherently abstract, material reflections on the limits of language as articulated by such figures as Wittgenstein and the late 'Clairvoyant poet' Hannah Weiner. The three forms: circle, square and rectangle, are derived from images that were published in Weiner's book Code Poems (1982). Wiener's code poems used the International Code of Signals �a 19th Century system for signaling at sea that could communicate limited phrases and words by way of semaphores, signal flags or morse code� in textual arrangements that disrupted the linear sense making for which it was designed. Attracted to �designed languages� because they demonstrated the constructed nature of language in general, Weiner�s version of morse code introduced to the dashes and dots that compose its signifying system a third element: the square, the apparent un-decipherability of which was never acknowledged. Pendleton's own 'code' work physically articulates the politics and processes of language in direct relationship to meaning making, demonstrating that thought does not always determine language, language can also determine thought. Adam Pendleton lives and works in upstate New York. His work is currently on view in a solo-exhibition at Kunstverein, Amsterdam (through 31 January) as part of a three-part collaboration between de Appel and Kunstverein. Forthcoming exhibitions include a solo-exhibition at The Kitchen, New York; Modernism and the Black Atlantic, Tate Liverpool, Liverpool, UK; Desire, Blanton Museum of Art, Austin; and From then to Now, Museum of Contemporary Art, Cleveland. Recent biennials and exhibitions include Younger than Jesus, New Museum, New York; Manifesta 7, Trentino- South Tyrol, Italy; Performa 07, New York; Object, The Undeniable Success of Operations, Stedelijk Museum Bureau, Amsterdam; The Future as Disruption, The Kitchen, New York; Talk Show, Institute of Contemporary Art, London; The one hundred and sixty-third floor: Liam Gillick curates the collection, Museum of Contemporary Art, Chicago; Freeway Balconies, Deutsche Guggenheim, Berlin; Hey Hey Glossolalia, Creative Time, New York; and Manifesto Marathon at the Serpentine, London. Pendleton is also the co-editor of the occasional publication LAB MAG, which publishes the work of artists, designers, poets, and architects ADAM PENDLETON A Galeria Pedro Cera tem o prazer de anunciar a primeira exposi��o individual do artista Adam Pendleton no seu espa�o, a decorrer entre 23 de Fevereiro e 6 de Mar�o. A Adam Pendleton interessa-lhe predominantemente o tema da linguagem e a sua caracter�stica singular de estrutura aberta simultaneamente a realidades existentes e a novas realidades. No seu trabalho, Pendleton cria novos dispositivos lingu�sticos e sistemas de apresenta��o, que aproximam a linguagem da forma e a forma da linguagem. O t�tulo da exposi��o deriva das palavras completas que correspondem �s proto-palavras que surgem nos trabalhos �Systems of Display�. A esta designa��o corresponde uma serie aberta de trabalhos serigrafados em espelho com superf�cies de vidro impresso com letras. Pendleton apropria-se de imagens relacionadas com temas da hist�ria de arte e da performance, recorrentemente utilizadas em publica��es de arte contempor�nea, a par de imagens com origem noutras fontes hist�ricas relacionadas com o modernismo africano. Para gerar linguagem para a serie, Pendleton recorreu a um texto que aborda o trabalho do artista brit�nico Cerith Wyn Evans � texto que em si mesmo reflecte sobre a tentativa de Wyn Evans de instrumentalizar a linguagem atrav�s de diferentes mecanismos � e isolou palavras que lhe pareciam referir-se especificamente ao conte�do do texto. Depois de isoladas, as palavras s�o �atomizadas� e o remanescente - letras soltas - � impresso na superf�cie de vidro. �Systems of Display� mina os discursos visual e de texto, retirando-os do seu contexto original de modo a que estes assumam a qualidade de documenta��o dos discursos em si mesmos. Os objectos percorrem v�rios sistemas, imbu�dos de uma presen�a literal na sua abstrac��o performativa e de um papel discursivo na representa��o que se estende ao tecido social. As cer�micas de Pendleton em vermelho, amarelo, laranja, verde, azul e branco, e as pinturas serigrafadas a duas cores, s�o inerentemente abstractas, projec��es materiais dos limites da linguagem tal como foram tratadas por figuras como Wittgenstein ou a poetisa �clarividente� Hannah Weiner. As tr�s formas dos objectos em cer�mica, c�rculo, quadrado e rect�ngulo, derivam de imagens publicadas no livro de Weiner �Code Poems� de 1982. Weiner no seu �Code Poems� utilizou o International Code of Signals � um sistema de sinaliza��o mar�tima do s�culo XIX, limitado a apenas algumas palavras e frases por sinaliza��o de bandeiras e c�digo morse � num arranjo de texto disruptivo relativamente ao sentido para o qual havia sido criado. Atra�da por �linguagens constru�das� uma vez que estas demonstravam a natureza construtiva da linguagem em geral, Wiener acrescentou ao seu c�digo morse um terceiro elemento, o quadrado, cuja tradu��o para linguagem comum nunca se chegar� a verificar. O �c�digo� de Pendleton articula fisicamente as pol�ticas e processos da linguagem em rela��o directa com o sentido do fazer, pretendendo demonstrar que n�o obstante ao pensamento nem sempre corresponder linguagem, a linguagem pode determinar pensamento. Adam Pendleton (1984, Richmond, USA) vive e trabalha em Nova Iorque. Futuras exposi��es incluem mostras na The Kitchen, New York; �Modernism and the Black Atlantic�, Tate Liverpool, Liverpool, UK; �Desire�, Blanton Museum of Art, Austin; e �From then to Now�, Museum of Contemporary Art, Cleveland. Participa��es em exposi��es e bienais incluem �Younger than Jesus�, New Museum, New York; �Manifesta 7�, Trentino- South Tyrol, Italy; �Performa 07�, New York; �Object, The Undeniable Success of Operations�, Stedelijk Museum Bureau, Amsterdam; �The Future as Disruption�, The Kitchen, New York; �Talk Show�, Institute of Contemporary Art, London; �The one hundred and sixty-third floor: Liam Gillick curates the collection�, Museum of Contemporary Art, Chicago; �Freeway Balconies�, Deutsche Guggenheim, Berlin; �Hey Hey Glossolalia�, Creative Time, New York; e �Manifesto Marathon� na Serpentine, London. Pendleton � co-editor da publica��o LAB MAG. |
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