The exhibition has been created for the CCA Kunsthalle and presents, for the first time together, works by these five artists who live in Oslo, Brussels, Berlin and Boston. Invited by Are Blytt, the artists have also been given the opportunity to work in the four studios at CCA Andratx as Artists-in-Residence during the month of June 2018.
Initially organised as a weekly event, ‘Young Girl Reading Group’ was established in 2013 by Dorota Gawęda and Eglė Kulbokaitė referencing Tiqqun’s Preliminary Materials For a Theory of the Young-Girl; a non binary and ageless protagonist identified as a product of consumer society. Organised around feminist inspired theory and fiction, Gawęda and Kulbokaitė first conceived YGRG as an intimate discursive space within the experience of collective reading then subsequently extending it into the domain mediated through the Internet, social media and immersive installation.
The first artwork I saw by Nina Beier was her performance Tragedy, which she has staged a number of times, but this particular version took place at Metro Pictures in New York on a muggy night in June 2012. Tragedy stars a dog laying on a Persian rug, splayed out and stock-still, playing dead. The performance inspires double takes on different emotional registers; the first is the need to confirm that one is seeing a live animal and not a hyperrealistic sculpture. After a few seconds of observation, one realizes, yes, the dog is shallowly breathing. But then one wonders how this dog is able to keep it together in a hot room filled with a hundred people. The dog isn’t exactly zen. It is still, but its somewhat anxious stare is directed at one person in the crowd. The dog’s trainer is mixed in with the gallery visitors, reassuringly staring back at the animal with a gaze that invokes supreme trustworthiness, indicating the praise, biscuit or whatever reward will be granted to the performer for a job well done. I am not sure how long the performance lasts, it could be anywhere from five minutes to a half hour. Time gets a bit suspended while watching Tragedy.
“I won’t send you two pages about my work, but I’ll send you my playlist and my references. I can’t write about my work, it’s complicated, it will be pretentious. I, as an artist, has a vision about something, and cannot pretend to be someone else, who has a vision about my vision. It’s not the artist’s job to try to analyze the works, it will become vulgar. One can’t be the actor and the critic... You will have to try to contextualize it, make sense of it, put it all together”.
The artists were invited to deepen the title of Milan Kundera's novel The Unbearable Lightness of Being in a fascinating dialogue between weights and voids that express themselves through the medium of painting.
Matt Mignanelli is best known for his intricate paintings of grids inspired by light, shadow, and architectural elements present in the urban landscape. Mignanelli explores permutations of the geometric forms while recording the element of chance associated with his freehand process in drips of paint that he allows to splash on the canvas as he works. The work in the exhibition will introduce expressionistically painted abstract fields of color alongside of the gridded compositions for which he is best known.
A new site-responsive installation by Toronto-based Laurie Kang, A Body Knots coalesces several threads of research and creation, animated by the artist’s deep curiosity with science studies, science fiction, feminist theory, and personal and cultural history. As a twin, Kang considers these discourses and their combined impact on understandings of bodies as individual and specific, while also imagining possible shared micro-level blueprints. Most recently, Kang’s attention has turned to epigenetics—the study of how one’s genetic makeup is expressed or suppressed in relation to environment. The blueprint itself doesn’t change but how it expresses itself is mutable. The field is a groundbreaking rethink of the old nature versus nurture binary, speaking to an interrelation of the inherent biological code of an organism and how, through wide-ranging environmental factors, that code is amplified or repressed.
In the melancholy of the chroma Blue of Prussia, we see immersed the after death of King Louis II of Bavaria, in “Tomber Dans Le Lac”. To fall into the lake, an expression that in French means to fall into a world of illusions, is the diving board of Lázaro Matos to perform a tragicomic acrobatics on the perils of dazzle. Ironically, it was on the Lake Starnberger that the defunct body of Louis II of Bavaria was found, three days after being deposed.
I tried to show you the best parts of me, the most edgy, composed, winking and generous of futile details, and I turned my silhouette into its own artifact orthogonal essence. Three plans, three quarters, simultaneously. Fractionated segments, carefully selected to make sure you will look at me.
The exhibition finds its most literal correspondence in both the daily life and imagination of Pierre Clement. We visualise the artist in his studio, behind his computer, searching within survivalist sites, surfing on conspiracy theorists, among which: Above Top Secret «The oldest pessimists website. It talks about everything without any hierarchy, goes from biology through ufology, down to Donald Trump. Above top secret could possibly be the title of a film by Terry Gilliam, evoking a nightmare of a future nuanced by a hymn to love. An antiphony within which, Pierre Clement would unveil, to the apocalyptic sound of «The war of the worlds”, scenes of disasters and other lines of an anticipation novel.
Looking at technology and its evolution/development is one way of perceiving the simultaneity of things: What exists at the same time in various places, can be obsolete in one and necessary in another. Everything connects, but the evolving steps in technology are only slowly getting globalized. Since we finally had the epiphany, that history is not a singular narrative, but a multitude of storylines, perspectives and shifts, how would it be possible to capture a fraction of our time in an adequate way? When the concept of progress fails where does our need for a narrative driven plot lead us to and can it branch out into the periphery? This question is similar to the idea to describe where our present begins, or ends. Technology evolves so quickly – currently, and over the past 160 years – that it always pushes the present into a state of flux and future, affordable for the one, problematic for the other, but always only in one direction: ahead. Improvements, innovations and recycling of ideas pushes the lifespan of our lives, as well as the boundaries of our bodies in a new a continuous quest of understanding our place in time, space and society. This never ending loop of the not natural, accelerated and technology invested life is also our way to look for a better future, to overcome limitations and boundaries, but is also inevitable.
Doubles have always greatly interested philosophers; especially those focused on aesthetics studies. The search for something that is concealed behind an image has been dismantled even before the dawn of the phenomenology through which a new meaning of doubles was introduced, or, better, a new feeling. This feeling isn't new, but rather a primordial feeling, probably the most ancient, pure, naïf and harmonic, or, in other words, one dating back to Ancient Greece.
Richie’s work draws on many personal references, from his working-class roots in the North of England, to metropolitan living, as well as his own experience of the darker side of urban life, making humorous references to popular culture, contemporary politics and social commentary. The exploratory and improvisational approach to painting we find in Richie Culver, can be seen as an outcome of the tensions between binary cultural and social opposites – provincial vs. cosmopolitan; on Benefits vs. affluent; art museum highs vs. street-cultural lows; North Vs South. In what seems an examination of one’s experience and inner self.
For the exhibition at MONITOR this artist duo developed a new body of work specifically for the gallery space. In the first room there are five paintings that present proto characters drawn with gouache over acrylic plaster and pigment, in fragmented compositions, that suggest proximity to a potencial language evoked through bones and inner shapes.
You are on an ocean reef. look down at your body. You have become a coral. An important part of this underwater ecosystem. look around at your new home. This is a healthy reef populated with a variety of different plants and animals and several different species of coral, including you. To survive coral need to build and maintain their skeleton. The first step is to collect the basic building blocks: calcium and carbonate ions. Use your polyp arm to grab one of each types of ions around you. These ions are combined to form calcium carbonate, the main component of your coral skeleton. You will need to continue collecting ions to maintain your skeleton and stay healthy.
Harold Ancart’s horizon line is limitless. It extends through numerous paintings, photographs, sculptures, and drawings in an inexhaustible exploration of painterly space and color. Though Harold Ancart’s new paintings are fgurative, they may also be among his most abstract. In his work, subject matter serves as an alibi for the paint to be pushed into the canvas, says the artist.
Firstly I realized that I am not immobile at the center of the universe. Then that I am not distinguished and different from any other sentient and non-sentient being. That I am far from being entirely transparent to myself. Now, digital light tells me that I’m not a separate agent, but an informatic organism sharing with others a global environment fundamentally made up of information: the luminous Infosphere.
Praz-Delavallade is pleased to present Heather Cook’s first solo exhibition with the gallery entitled, 1D 5L 2D 6L 3D 7L 4D 8L 5D 1L 6D 2L 7D 3L 8D 4L. The show consists of two interrelated series of woven works, each following Cook’s continued investigation of the process of the construction of an image. In the first two rooms there is a series of works known as Shadow Weaves, and in the last room, Weaving Drafts, works that depict the graphic representations of the weaving programs for the Shadow Weaves themselves.